A Trio, _Walzer Märchen_, op. 54, for piano, violin, and ’cello, by Edward Schütt, consists of three delightful musical stories, told in waltz rhythm, without a trace of monotony, which might easily arise under such conditions. Schütt, their composer, lives in Vienna, where he has conducted the Akademischer Wagnerverein. He has written a number of works, and among them is a Piano Trio in C minor, which has met with much approval. [Sidenote: =Trio by Kirchner=] In the _Novelletten_ Trios, op. 59, for piano, violin, and ’cello, by Theodor Kirchner, we have a set of refined and well-written pieces which display a considerable amount of character. Kirchner, who was an intimate friend of both Mendelssohn and Schumann, has written a large number of works, chiefly in the smaller forms, for the pianoforte. His model has evidently been Schumann, and he even gives to some of his works titles which were used by that master. For instance, his op. 17 he calls “Neue Davidsbündlertänze,” and op. 53 “Florestan and Eusebius.” [Sidenote: =Raff’s C Minor Trio=] The composer, Joachim Raff (1822-82), of the Trio in C minor, op. 102, for piano, violin, and ’cello, was a distinguished example of what has been called “fatal facility.” His powers of musical invention seemed inexhaustible, and this, along with the demands of publishers, and probably, pecuniary needs, led him to overwrite himself, for of his two hundred and fifty and more works many are of but little value. With his larger works, generally speaking, it is different, and at any rate his symphonies and overtures entitle him to a leading place among contemporary composers. This Trio also ranks as one of his best works. It is full of genuine melody and true poetic feeling, the andante (Mässig langsam) being especially charming. Those who are in sympathy with the advanced school of composition will find food for their fancy also in the String Quartett in D minor, op. 77, by this composer. It is well known that Raff was an ardent follower of the Liszt-Wagner school, and in this work he fully reveals this tendency. The third movement is an extremely fine example of the emotional style, full of rich and glowing passages which bring to mind the intensity and glamour of _Tristan_ and _The Ring_. The Quartett, though difficult, is well worth knowing, if only for the sake of this movement. As has already been said, Raff no doubt wrote too much, and, in colloquial phrase, too often “gave himself away,” but for all that he had the root of the matter in him, and at his best he rises to great heights. [Sidenote: =Balfe’s Trio in A Major=]