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Lucia shuddered as she thought of those doleful fiddlers. It was indeed strange that Olga with all the opportunities she had had for hearing good music, should hire the Brinton string-quartet, but, after all, that was entirely of a piece with her views about the gramophone. Perhaps the gramophone would have its share in this musical evening.
Other of Strawinsky's compositions are: Opus 1, "Symphony in E-flat"; Opus 2, "Le Faune et la Bergère," songs with orchestral accompaniment; Opus 3, "Scherzo fantastique"; Opus 4, "Feuerswerk"; Opus 5, "Chant funèbre" in memory of Rimsky-Korsakoff; Opus 6, Four Studies for the pianoforte; Opus 7, Two songs; "Les Rois des Etoiles," for chorus and orchestra; Three songs on Japanese poems with orchestral accompaniment; Three pieces for string-quartet; An unpublished pianoforte sonata; A ballet for clowns.
Nothing of course could wholly take away the splendour of that glorious composition, and she was pleased that there was no applause between the movements, for she had rather expected that Olga would clap, and interrupt the unity of it all. Occasionally, too, she was agreeably surprised by the Brinton string-quartet: they seemed to have some inklings, though not many.
He disports himself with the infinitely dignified string-quartet, makes it do light and acrobatic things. There is one interlude of "Petruchka" that is written for snare-drums alone. His work is incrusted with cheap waltzes and barrel-organ tunes. It is gamy and racy in style; full of musical slang. He makes the orchestra imitate the quavering of an old hurdy-gurdy.
But she had said she would go: it would be very unkind to Olga to stop away now, for Olga must know by this time her passion for music, so she went. She sincerely hoped that she would not be conducted to the seat of honour, and be obliged to say a few encouraging words to the string-quartet afterwards. Once again she came rather late, for the music had begun.
His compositions include: Suite for violin and orchestra, "Les Viellées de l'Ukraine," 1891; Concerto for cello, 1894; Divertissement for orchestra, 1895; "La Mort de Tintagiles," 1897; "Divertissement espagnol" for orchestra and saxaphone; "La Villanelle du Diable"; "A Pagan Poem"; "Hora mystica"; "Psalm 137"; "To One Who Fell in Battle"; Two rhapsodies for oboe, viola and pianoforte; String-sextet; String-quartet; Music for Four Stringed Instruments; Songs on poems by Baudelaire, Verlaine, Yeats, Rossetti, Lodge, Kahn, etc.
Among Ornstein's compositions there are: Two symphonic poems, "The Fog" and "The Life of Man" (after Andrev); a Piano-concerto, Opus 44; a setting of the 30th Psalm for chorus; a Quartet for strings, Opus 28; a Miniature String-quartet; a Piano-quintet, Opus 49; two Sonatas for Violin and Piano, Opera 26 and 31; two Sonatas for Cello and Piano, Opera 45 and 78; Three Lieder, Opus 33; Four settings of Blake, Opus 18. For piano solo: Sonata, Opus 35; Dwarf Suite, Opus 11; Impressions of the Thames, Opus 13; Two Impressions of Notre-Dame, Opus 16; Two Shadow Pieces, Opus 17; Six Short Pieces, Opus 19; Three Preludes, Opus 20; Three Moods, Opus 22; Eleven Short Pieces, Opus 29; Burlesques, Opus 30; Eighteen Preludes
Among his compositions are: Opera 1, 2 and 3, Songs "Gurrelieder"; Opus 4, sextet "Verklärte Nacht"; Opus 5, "Pelleas und Melisanda"; Opus 7, 1st String-quartet; Opus 8, Songs with orchestral accompaniment; Opus 9, "Kammersymphonie"; Opus 10, 2nd String-quartet, with setting of "Entrückung," by Stefan George; Opus 11, three pieces for Piano; Opus 13, a capella choruses; Opus 15, Songs; Opus 16, five Pieces for Orchestra; Opera 17 and 19, Piano pieces; Opus 21, "Die Lieder des Pierrot Lunaire."
A second motor followed with luggage, and she quite distinctly saw the unmistakable shape of a 'cello against the window. After that no more guessing was necessary, for it was clear that poor Olga had hired the awful string-quartet from Brinton, that played in the lounge at the Royal Hotel after dinner. The Brinton string-quartet! She had heard them once at a distance and that was quite enough.
So we find him writing songs, the three Japanese lyrics, for instance, that are epigrammatic in their brevity; a piece for string-quartet that is played in fifty seconds; a three-act opera that can be performed in thirty minutes. But it is no experiment in form that he is making.