The Quartett, op. 35A, was originally composed for violin, viola, and two ’cellos, and afterwards re-written for the usual combination. Far from its losing by the change, its heaviness is considerably relieved and its value enhanced. It is dedicated to the memory of Tschaïkovsky, the material being taken from the Greek orthodox liturgy, from Tschaïkovsky’s own works, and from national sources.[36] [Footnote 36: _Notes on Modern Russian Music_ (Edwin Evans).] The work opens thus:— [Music: ARENSKY, OP. 35A.] A little farther on this is repeated in slightly varied form, with a fresh theme played above it by the first violin:— [Music: ARENSKY, OP. 35A.] This, with further variation and another theme of an equally melodious and elegiac character, constitutes the basis of the first movement, which after considerable development ends pianissimo with a repetition of the opening theme. An air, quoted below, obviously of the volkslied order, treated in variation form, constitutes the second movement, and presents numerous points of interest. The coda, for instance, commences with four bars of chords of harmonics played by the four instruments. This leads on to a repetition of the elegiac theme with which the Quartett begins, and then the movement ends with certain quaint allusions to the theme quoted above. [Music: ARENSKY, OP. 35A. THEME.] The finale, which is in free fugal form, with an introductory andante and a short adagio episode, brings this interesting work to a conclusion. [Sidenote: =Trio in D Minor: Arensky=] Another composition by Arensky is the Trio in D minor, op. 32, for piano, violin, and ’cello, inscribed to the memory of the ’cellist, Charles Davidoff, who was the principal of the Conservatoire at St. Petersburg. It was played at the Monday Popular Concerts in 1896 by Sapellnikoff, Joachim, and Paul Ludwig. It is well written, but, save as to the elegiac slow movement, not touched with the usual Sclav feeling, nor is the melodic material, although pleasant enough, at all remarkable. In a still greater measure the same judgment applies to this composer’s Quintett, op. 51, for piano and strings, an elaborate and high-sounding but really somewhat empty composition. Other chamber music works of this school which may be mentioned are:— [Sidenote: =Sokoloff=] (1) A String Quartett in F, op. 7, by Nicolas Sokoloff, a St. Petersburg musician, born in the year 1858. The first movement of this work is well characterised, and contains some remarkable imitative writing. The whole Quartett, if not great, is certainly worthy of attention. [Sidenote: =Tanyeëff=] (2) A String Quartett in D minor, op. 7, by S. Tanyeëff, which consists of two movements only, the second being a notable set of eight variations, with a coda which is based on the principal theme of the first movement. Tanyeëff, who was a pupil of Tschaïkovsky, is now professor of harmony and composition in the Conservatoire of Moscow. [Sidenote: =Kopyloff=]