tions so involved and recondite that, though they may be clearly perceived in the score, they will strike the unfamiliar ear as aimless and inexplicable music.

The theme itself is in the form of a dialogue between first and second violins. It merges into the first variation without perceptible break in the music. Here the theme is carried by the second violin, the first filling the pauses with a descending figure. This clause of the theme is then repeated by the viola, the 'cello taking the rôle of the first violin. The second clause of the theme is similarly treated.

The remaining six variations are clearly set apart from each other by changes in the time signature. There is a variation marked piu mosso, really alla breve, which is a dialogue between first violin and 'cello, accompanied at first monotonously by the other two instruments, later with more variety and animation. The next is an andante moderato e lusinghiero, in which the theme is arranged as a canon at the second, first between the two lower instruments, later between the two higher. This leads to an adagio in 6/8 time, in which the theme is broken up into passage work. The next and fifth variation (allegretto, 2/4) is the most hidden of all. The notes of the theme are separated and scattered here and there among the four parts. But the sixth, an adagio in 9/4 time, is simpler. The seventh, and last, is a sort of epilogue, a series of different statements of the theme, at first hidden in triplet runs; then emerging after a long trill, in its simplest form, in the key of C major; then in A major with an elaborated accompaniment; in F major, simple again; and finally brilliantly in A major.

The following Presto in E major, alla breve, is very long, but is none the less symmetrical and regular in structure. It is in effect a scherzo and trio. The scherzo is in the conventional two sections, both of which are built upon the same subject. The second section is

broken by four measures (molto poco adagio!); and there is a false start of the theme, following these, in G-sharp minor, suddenly broken by a hold. This recalls the effect of the very opening of the movement, a single measure, forte, by the 'cello, as if the instrument were starting off boldly with the principal subject. But a full measure of silence follows, giving the impression that the 'cello had been too precipitate.

The Trio section offers at first no change of key; but a new theme is brought forward. Later the key changes to A major, and the rhythm is broadened. A series of isolated pizzicato notes in the various instruments prepares the return of the Scherzo (without repeats). The Trio follows again; and there is a coda, growing more rapid, after the Scherzo has been repeated for the second time.

A short adagio, beginning in G-sharp minor, forms the sixth movement, modulating to the dominant seventh in C-sharp minor. The last movement is in sonata form. There are clearly a first theme and a second theme, arranged according to rule. But the coda is very long; and, even more important, not only the first and second themes, but secondary themes and motives are all vaguely or definitely related to the themes of the earlier movements. The first theme, for all its somewhat barbaric character, is akin to the theme of the first allegro in D major. In the episodes which follow, the notes of the first violin and of the 'cello, in contrary motion, give a distinct impression of the opening fugue theme. The second theme itself-in E major -brings back a breath of the Trio, and Dr. Riemann finds in the accompaniment suggestions of the fourth variation. Only a detailed analysis could reveal the elaborate and intricate polyphony which is in every measure in the process of weaving.

After the C-sharp minor quartet, the last quartet— in F major, opus 135-appears outwardly simple. It

shares with the first of the series simplicity and regularity of form; and is, like the quartet in E-flat major, calm and outspoken, rather than disturbed, gloomy, or mysterious. It is the shortest of all the last quartets.

The first movement is in perfect sonata form. The first theme (viola) has a gently questioning sound, which one may imagine mocked by the first violin. The second theme, in C major, is light, almost in the manner of Haydn. The movement builds itself logically out of the opposition of these two motives, the one a little touched with sadness and doubt, the other confidently gay. The Scherzo which follows needs no analysis. Two themes, not very different in character, are at the basis. The second is presented successively in F, G, and A, climbing thus ever higher. The climax at which it arrives is noteworthy. The first violin is almost acrobatic in the expression of wild humor, over an accompaniment which for fifty measures consists of the unvaried repetition of a single figure by the other three instruments in unison. Following this fantastical scherzo there is a short slow movement in D-flat major full of profound but not tragic sentiment. The short theme, flowing and restrained, undergoes four variations; the second in C-sharp minor, rather agitated in character; the third in the tonic key, giving the melody to the 'cello; and the fourth disguising the theme in short phrases (first violin). To the last movement Beethoven gave the title, Der schwer gefasste Entschluss. Two motives which occur in it are considered, the one as a question: Muss es sein? the other as the answer: Es muss sein. The former is heard only in the introduction, and in the measures before the third section of the movement. The latter is the chief theme. Whether or not these phrases are related to external circumstances in Beethoven's life, the proper interpretation of them is essentially psychological. The question represents doubt and distrust of self. The answer

to such misgivings is one of deeds, not words, of strongwilled determination and vigorous action. Of such the final movement of the last quartet is expressive. Such seems the decision which Beethoven put into terms of music.

CHAPTER XVII

THE STRING ENSEMBLE SINCE BEETHOVEN

The general trend of development: Spohr, Cherubini, Schubert-Mendelssohn, Schumann and Brahms, etc.-New developments: César Franck, D'Indy, Chausson-The characteristics of the Russian schools: Tschaikowsky, Borodine, Glazounoff and others-Other national types: Grieg, Smetana, Dvořák-The three great quartets since Schubert and what they represent; modern quartets and the new quartet style: Debussy, Ravel, Schönberg— Conclusion.

I

THERE is little history of the string quartet to record after the death of Beethoven in 1827. It has undergone little or no change or development in technique until nearly the present day. The last quartets of Beethoven taxed the powers of the combined four instruments to the uttermost. Such changes of form as are to be noted in recent quartets are the adaptation of new ideas already and first put to test in music for pianoforte, orchestra, or stage. The growth of socalled modern systems of harmony affect the string quartet, but did not originate in it. A tendency towards richer or fuller scoring, towards continued use of pizzicato or other special effects, and a few touches of new virtuosity here and there, reflect the general interest of the century in the orchestra and its possibilities of tone-coloring. But it is in the main true that after a study of the last quartets of Beethoven few subsequent quartets present new difficulties; and that, excepting only a few, the many with which we shall have to do are the expressions of the genius of various musicians, most of whom were more successful in other