Trio in B♭, op. 52, by Anton Rubinstein (1830-94), with a very fine adagio movement. Serenade Trio, op. 64, by Ferdinand Hiller (1811-85). The slow movement is called “a Ghazel.” This has been described as a short form of Persian poetry, in which the rhyme of the first two lines is repeated in every alternate line throughout the piece. Hiller’s musical equivalent for this is a simple phrase repeated by the strings, the piano filling up the intervals with other matter. Another of the movements is written chiefly in 5/4 time, but save for these peculiarities, the trio is not of any great value. Two Trios, op. 21 and op. 32, by Emil Kreuz, for piano, violin, and viola, may also be mentioned. [Sidenote: =String Trios=] As modern works for two violins and ’cello are not often to be met with, reference may be made to Two Trios, op. 135, for this combination, by Aloys Schmitt (1788-1866). No. 1, in E♭, consists of one movement only; but No. 2, in D minor, has three, viz.:—Allegro moderato, minuet, and allegro. Both are well written, playable, and pleasant. The composer was born at Erlenbach in Bavaria, and lived chiefly in Frankfort, where he was well known as a pianist and teacher of high aim. Of Trios for violin, viola, and ’cello may be named op. 69 in G minor, by W. Berger (1861). This is the work of a living musician who resides in Berlin. Berger, who has published a considerable number of important works, writes in an earnest and musicianly manner, and although this trio may be somewhat lacking in melodic interest, it should at any rate prove useful to those who seek for music written for this combination of instruments, a form which is of course much rarer than the Quartett. There are also three Trios, op. 85, for the same instruments, in D, C minor, and F, by Hermann Berens (1825-80), a Hamburg musician. [Sidenote: =Quartett: Mackenzie=] Prominent among modern quartetts stands that in E♭, for piano, violin, viola, and ’cello, by Sir A.C. Mackenzie (1847). This is an early work of this composer, and one which has hardly been accorded the recognition that it deserves. The third movement consists of a canzonetta with an interesting and fanciful set of variations. The quartett ends with a well-wrought and vigorous allegro. Sir Alexander Mackenzie has not published much chamber music, having, it would seem, preferred to occupy himself with works of larger dimensions. [Sidenote: =E Flat Quartett: Rheinberger=] The Quartett in E♭, op. 38, for piano, violin, viola, and ’cello, by Joseph Rheinberger (1839-1901), has been a good deal played in England during recent years, and is an admirable example of this refined and musicianly composer.