The andante of this quartett contains some of its author’s noblest thoughts, expressed with the utmost clearness. Special attention may be directed to the middle section in C major of this movement, with its strongly-marked military rhythm and highly characteristic effects. The other two compositions in this form are that in A major, op. 26, and in C minor, op. 60. In the commencement of the former we have a fine example of poetic expression, yet at the close the same material is worked out, in a contrapuntal manner, which is quite remarkable. The slow movement of this Quartett has been referred to by Mr. Fuller Maitland as an example of “exquisite tone colour,”[32] and this work, and that in G minor already referred to, are regarded by this writer as “among the loveliest of Brahms’s works.” [Footnote 32: _Masters of German Music_, p. 20.] The Piano Quartett in C minor, op. 60, does not show the same high qualities as the other two, and is indeed somewhat lacking in spontaneity. The second entry of the strings in the opening movement has a chromatic passage which is more like Spohr than Brahms, nor is the chorale which appears in the last movement at all in his usual style. [Sidenote: =Quintett in F Minor=] Of the works for piano and strings, the great Quintett in F minor, op. 34, is a remarkable example. It has been said that Brahms has the gift of making simplicity memorable, and this is illustrated by the commencement of this quintett. To hear it once is to be impressed with its power, and although viewed theoretically it seems almost commonplace, it produces in performance an effect which is truly vital. The piano, first violin, and ’cello begin thus, the first three bars being in unison and octave:— [Music: BRAHMS, OP. 34.] A little farther on in this movement we meet with a melodious fragment very characteristic of this composer. Three notes, embraced within the range of a minor third, are used together in contrary motion, and furnish a theme which, although curiously simple, plays a considerable part in the development of the movement:— [Music: BRAHMS, OP. 34.] It has been urged against the scherzo which follows that it inclines too much to be orchestral in effect, and of the finale that it is, as one writer has it, “overcharged with subject-matter.” But however this may be as regards these two movements, it will hardly be disputed that in the andante, whose opening passage is quoted below, we have music of rare and solemn beauty, deep yet clear, profound yet spontaneous. We quote the pianoforte part, which is accompanied with a subdued imitative figure by the first violin and viola, while the ’cello plays a few pizzicato bass notes:— [Music: BRAHMS, OP. 34.] [Sidenote: =String Quartetts=]