3 String Quartetts in A min., F, and A, op. 41. Pianoforte Quintett in E♭, op. 44. Pianoforte Quartett in E♭, op. 47. Pianoforte Trio in D min., op. 63. Pianoforte Trio in F, op. 80. Pianoforte Trio in G min., op. 110. 4 Phantasiestücke for piano, violin, and ’cello, op. 88. Adagio and Allegro for piano and horn, op. 70. 3 Phantasiestücke for piano and clarinet, op. 73. 3 Romanzen for piano and oboe, op. 94. 5 Stücke im Volkston, for piano and ’cello, op. 102. Sonata in A min., for piano and violin, op. 105. Sonata in D min., for piano and violin, op. 121. 4 Märchenbilder for piano and viola, op. 113. 4 Märchenerzählungen for piano, clarinet, and viola, op. 132. [Sidenote: =Spohr=] [Sidenote: =Spohr’s Opinion of Beethoven’s Works=] Had Spohr’s (1784-1859) musical powers, remarkable as they no doubt were, been equal to his individuality of character he would have outstripped all his contemporaries, not perhaps excepting Beethoven himself. He was essentially a self-centred man, a kind of solar mind whose constant tendency was to make satellites of whoever and whatever came within the sphere of his personal influence. This it is which tends to explain his criticisms of the men of his own time, such, for example, as that the opening of Beethoven’s C minor Symphony was unfitted for such a work; that the slow movement was tedious; the finale full of unmeaning noise; that the Ninth Symphony was “monstrous and tasteless”; and that Beethoven was, as a composer, “wanting both in æsthetic culture and sense of beauty.” This, too, it should be remembered, cannot have been any mere hasty or superficial judgment, seeing that Spohr lived in the city of Vienna for some time along with Beethoven, knew him personally, and must have had a fairly full opportunity of forming an opinion of his music. In contradistinction to this, however, we must place the facts that he admired the earlier works of the Bonn master, and was indeed the first to perform publicly at Berlin and Leipzig the String Quartetts op. 18. Also, strange to say, that in the year 1853 he brought out, in spite of much opposition, at the Cassel Opera-house, where he was the director, Wagner’s opera _Tannhäuser_! This curious combination of conflicting qualities is further exemplified by the fact that he, who was naturally a classic in style, and regarded Mozart as his model, wrote a number of his important works to a programme. Among these we find an orchestral symphony entitled “The Worldly and the Heavenly Influences in the Life of Man,” with a solo orchestra for the heavenly, and an ordinary full orchestra for the worldly influences. Another was called “The Seasons.” No doubt these works contain many fine ideas, and some movements are full of charm, but for all this, it cannot be said that they were really successful, or that Spohr thereby increased the scope of the symphonic form. [Sidenote: =Characteristics of his Compositions=]