This is followed by the second theme, a somewhat quaint people’s song kind of tune, played by the first violin and viola in octaves, the second violin keeping up the semiquaver rhythm just referred to, and the ’cello playing quavers pizzicato. [Music: IPPOLITOFF-IVANOFF, OP. 13.] After a considerable amount of interesting development the movement is brought to a close with the motto theme, lento pianissimo, thus:— [Music: IPPOLITOFF-IVANOFF, OP. 13.] The lento quoted above consists of twenty-one bars, of which only the last eight are here given. The second movement is entitled “Humoresca-Scherzando.” It has two principal themes, the first busy and jocose as becomes such a movement, the second of volkslied flavour and in good contrast to the first:— [Music: IPPOLITOFF-IVANOFF, OP. 13. NO. 1.] [Music: NO. 2.] Between this scherzo and the finale stands an intermezzo (allegretto grazioso). The melody is played by the first violin, which, along with the second violin and viola, is muted while the ’cello plays a pizzicato counterpoint. This is a graceful and pleasing movement, and if less characteristic than the others, it affords a well-calculated change of effect. The last movement (allegro risoluto) begins with a bold passage in A minor (No. 1), joined a little later on to a contrasted phrase (No. 2), of which much is subsequently made. [Music: IPPOLITOFF-IVANOFF, OP. 13. NO. 1.] [Music: NO. 2.] Later on another theme appears, which is worked along with those already mentioned, and the Quartett concludes with a condensed version of the introductory lento, or motto theme, merging into a rapid coda of some thirty bars, based on the opening theme of the allegro. It will hardly be gainsaid that we here have an interesting work, which, if not absolutely great, is worthy of attention both for its own sake and as an object lesson, showing as it does, what is being done by a nation whose music has already exerted a powerful influence on the art. Our second example is a String Quartett in G major, op. 2, by Alexander Gretchaninoff. [Sidenote: =Quartett by Gretchaninoff=] According to some authorities the String Quartett as an art-form has not advanced since Beethoven, he, it is asserted, having said the last word in this style. While it may be admitted that there is a good deal of warrant for this assertion, and that an analysis of Beethoven’s Quartetts, from the op. 18 to say the C♯ minor op. 131, reveals a wealth of musicianship which is no doubt disconcerting to the modern aspirant, yet it is hardly a sufficient reason why this particular source of musical inspiration should be regarded as closed, and that the man of to-day should cease writing. There is still at any rate one way in which a composer may justify himself. He may, if he can, write genuine tunes.