Mannerism of a pronounced kind, such as the frequent employment of chromatic progressions both melodic and harmonic, of enharmonic modulations, and a certain kind of constantly repeated phrase and cadence, these it is which prevent Spohr from occupying a place of the first rank among composers. His works for the violin, as a performer on which instrument he occupied a most distinguished position, are, however, of the highest order, and as a composer of chamber music, with which we are here chiefly concerned, his double quartetts, especially the earlier ones, display his powers in the most favourable light. In his ordinary quartetts, however, the leading violin is, generally speaking, used with undue importance. Still, when all is said, the fact remains that these works uphold a high and dignified standard, and while not in any sense an epoch maker in music, Spohr undoubtedly exerted a most beneficial influence on the art. His chief chamber music compositions are:—33 String Quartetts, 8 Quintetts, 4 Double Quartetts, 5 Piano Trios, 2 Sextetts, 1 Septett, 1 Octett, and 1 Nonett; also Duets for 2 violins, violin and harp, violin and piano, etc. There is also a Concerto for String Quartett, op. 131, with orchestral accompaniment. [Illustration: BRAHMS. (_Photo of a Bust._)] CHAPTER VII. BRAHMS AND DVOŘÁK. Opinions of Brahms—Weingartner—H.T. Finck—Bülow on Rubinstein—H. Davey—Schumann—W.J. Henderson—Philip Spitta—Sir Hubert Parry—W.H. Hadow—Piano Trio, op. 8: two versions—Horn Trio, op. 40—String Sextett in B♭—String Sextett in G major—Piano Quartett in G minor—Quintett in F minor—String Quartetts—Thematic resemblances—String Quintetts—Clarinet Quintett—Dvořák—Revival of Bohemian music—Birthplace and early career—Criticisms on his works—His symphonic poems for orchestra—An American national style of music—The Negro Quartett—String Quartetts—Piano Quartetts—Piano Trios—String Sextett—Other chamber music. The individuality of Brahms (1833-97) was quite as pronounced as that of Spohr, although in a different way, but his creative musical powers were much greater. It is sometimes said that Schumann is the one great composer since Beethoven; but when we shall have arrived at that point of time from which Brahms’s position can be adequately reviewed, the extreme probability is that he will then be regarded as the great one, rather than Schumann, or any of the others who have lived and laboured since the death of the Bonn master. [Sidenote: =Opinions of Brahms=] [Sidenote: =Weingartner=]