The second movement, a Scherzo, commences thus:— [Music: A. LIADOFF.] The usual Trio, which follows, commences thus:— [Music] After this the Scherzo is repeated, with considerable development. This is the third movement, written, as the name indicates, in the Spanish style:— [Music: _Serenata alla Spagnola._ A. BORODIN.] The last movement (allegro), which is perhaps the least satisfactory of the set, commences somewhat after the manner of the introduction by Rimsky-Korsakoff, but subsequent treatment is different. [Music: A. GLAZOUNOFF.] A composition of this kind is obviously more of a curiosity than a work of the highest art; but an examination of the score reveals a surprising amount of skill, and, considering the restrictions under which they wrote, the several composers have contrived to invest the Quartett with much more melodic interest than at first seems possible. Other Russian composers who were associated with Belaieff have written works on the same theme, among these being a Serenade for String Quintett by Nicolas Sokoloff; and by A. Kopyloff an Andantino, and a Prelude and Fugue, both for String Quartett. [Sidenote: =Arensky=] Another work, which is, however, written much more in the idiom characteristic of the Russian school than that which has just been named, is the String Quartett in A minor, op. 35A, dedicated to the memory of Tschaïkovsky, by Arensky. [Illustration: Ihr ergebener Richard Wagner [signature]] Anton Stepanovitch Arensky was born at Novgorod in the year 1862, and studied for some time with Rimsky-Korsakoff; but, whilst acquiring a sound knowledge of technique, he does not appear to have been very largely influenced by that composer’s ideas. He is rather to be reckoned as belonging to the eclectic school of Tschaïkovsky, with whom he was subsequently associated for many years in Moscow. He has composed two operas, of which the first, _A Dream on the Volga_, is of considerable dimensions; also a Ballet and two Symphonies, besides a large number of piano pieces of varying merit. In these he displays considerable ingenuity, but unfortunately the effect is not always spontaneous; in fact, it seems as though he sometimes sets out to startle, without due thought as to whether it is worth while. Amongst his best works should be mentioned three Suites for two Pianos Concertante, afterwards orchestrated by the composer, of which the second, entitled “Silhouettes,” has attained a well-deserved popularity. His activity as a teacher is also very great, and he has produced some valuable theoretical works. Amongst the many musicians who have passed through his hands must be mentioned Sergius Rachmaninoff, one of the most promising members of the younger generation of composers.