DVOŘÁK.] [Sidenote: =String Quartetts=] Of the String Quartetts that in E♭, op. 51, is the best known, and, along with the Negro Quartett from which quotations have just been made, is the most frequently performed. The second movement of the E♭ Quartett is an exquisite example of the Dumka or Elegy, and is one of the most charming things which Dvořák has given to the world. The melodic substance of the work is chiefly Sclavonic in character, but the genius of the composer has transformed and ennobled that which otherwise would have remained as the rough material of a mere musical dialect. The other String Quartetts, which include op. 105 and 106, are less interesting, especially the A minor op. 16, and the D minor op. 34, in which the tunes and the general feeling are much below the usual standard of Dvořák’s works. [Sidenote: =Piano Quartetts=] The Piano Quartett in D, op. 23 (Schlesinger, Berlin), may be recommended to amateurs in search of music which, while presenting no very serious executive difficulties, is full of charm. Dvořák has written nothing more delightful than the first movement, which commences with a quaint theme given to the ’cello, and of which much use is subsequently made. An interesting air with variations follows, and the work ends with a characteristic allegretto scherzando. The other Piano Quartett in E♭, op. 87, is much more elaborate, and abounds with passages skilfully worked out, but the themes are of less interest and indeed at times almost commonplace. [Sidenote: =Piano Trios=] Dvořák has written four Trios for piano, violin, and ’cello, all of which deserve to take high rank. The first, in B♭, op. 21, is spontaneous in style and feeling, reminding one indeed a good deal of Mendelssohn. The adagio is more characteristic of its composer, as are the allegretto scherzando and the finale. The whole work is well worthy of attention. The second, in G minor, op. 26, is also an interesting work. The arpeggio passages in the first movement may perhaps be regarded as ungrateful for the stringed instruments, but the remainder of the trio is most effective, and were it for nothing else than the largo, a nobly expressed piece of emotional music, the trio should command the highest esteem. It is curious to notice that the opening phrase of the final allegro strikingly resembles in rhythm the finale of Schumann’s Piano Quartett in E♭, op. 47. The Dumka Trio, op. 90, consists of six exquisite elegies expressed in the form from which the trio takes its name, each episode consisting of a slow pathetic movement, contrasted with a rapid and impetuous one. The work is the outcome of strong national feeling, and is sincere and convincing in its effect. [Sidenote: =String Sextett=]