and it is frequently met with in various shapes during the progress of the movement. Its first three notes, modified in this way— [Music] are skilfully used in the scherzo to form a connecting link with the passage which leads from the moderato to the repetition of the presto. Also it is found at the commencement of the vivace movement with which the work ends. The second theme of the opening movement may also be quoted, exemplifying as it does what has been said about the melodic interest with which Gretchaninoff invests his work:— [Music: GRETCHANINOFF, OP. 2.] The almost Italian feeling and freedom of expression here will not escape notice; also that while there is no lack of scholarship, it is only used as a means to an end. [Music] The second movement commences thus:— [Music: GRETCHANINOFF, OP. 2.] This leads to a charming second theme which speaks for itself:— [Music: GRETCHANINOFF, OP. 2.] The remarks on page 149 apply with equal force to the melody played by the 2nd violin in the above extract. [Music] The third movement is a scherzo, full of life and vivacity. Its first theme, given out by the viola, is heard after a few bars of introduction, thus:— [Music: GRETCHANINOFF, OP. 2.] This is developed, with much spirit and variety of treatment, until with slackened speed it merges into a “moderato e tranquillo,” to which reference has been made as containing, near its close, the “motto theme.” After this the first subject of the scherzo is resumed, and the movement runs on to a climax, in which, with excellent effect, the original theme is given out by the violins in octaves. The finale commences with a slow introduction, whose first notes are made up of a unison passage in the minor mode, which is closely akin to the motto theme. At the commencement of the vivace which follows this introduction we again have the motto in the major mode:— [Music: GRETCHANINOFF, OP. 2.] Of this theme (the motto) in various forms much use is made during the course of the finale. Here, for instance, is an interesting passage, the latter part of which (meno mosso) is a metamorphosis of this theme:— [Music: GRETCHANINOFF, OP. 2.] The almost orchestral effect of extended unison passages such as this and the previous example is perhaps hardly admissible in the chamber music form. Yet in the works of the classical masters (Cherubini, for instance) such passages may at times be found. [Music] Later in the movement the viola, with a quiet persistence which runs on for a number of bars, repeats this same theme thus:— [Music] Another theme of melodious character may also be quoted. It appears first in the key of E♭, and later in G, and, along with what has been mentioned, constitutes the principal subject-matter of the movement which ends this interesting Quartett. The following is the theme as it first appears:— [Music: GRETCHANINOFF, OP. 2.]