Russian chamber music—Glinka—Quartett by Ippolitoff-Ivanoff—Quartett by Gretchaninoff—Mozart on melody—Russian schools of musical thought—Belaieff—String Quartett on name Belaieff—Arensky—Trio in D minor: Arensky—Sokoloff—Tanyeëff—Kopyloff—Tschaïkovsky. [Sidenote: =Russian Chamber Music=] A comparatively unexplored field presents itself in the chamber music by Russian composers. Ippolitoff-Ivanoff, Kopyloff, Sokoloff, Gretchaninoff, these are a few of the almost unknown names of this school. No doubt certain chamber works by Tschaïkovsky, Arensky, and one or two others are a little known in England, but those of the composers named hardly at all. Glinka, César Cui, Rimsky-Korsakoff, Liadoff, Glazounoff, and Tanyeëff are also composers whose chamber music is deserving of serious attention, for recent musical history contains nothing more interesting than the progress of Russian music. [Sidenote: =Glinka=] Glinka (1803-57) is usually regarded as the founder of the movement, but his chief works are operatic. He was a man of remarkable character, and did a great work for the welfare of music in Russia. His opera, _Life for the Czar_, marks an epoch in the national artistic life. Apart from his operas, however, he did not write a great deal, his chamber music being limited to a Septett, two String Quartetts, and a Trio for piano, clarinet, and oboe. Some of his orchestral pieces are remarkable. He took a deep interest in this kind of composition, and being a man of progressive mind he shook off the ordinary conventional methods; and his works show this in details such as quitting the routine which had previously made the first violins always play above the seconds, and these above the violas. He was also in the habit of calling the wind instruments “orchestral colour,” and the strings “orchestral motion.”