The Quartet No. 3, op. 9 (1960) signed the new stage in Basner's creative evolution. This cycle of four movements magnetize by its aesthetic idea being masterfully embodied. The author strives for the logic of symphonic magnitude, which is revealed in intentionally coarse imaginative contrasts, intensive elaboration and bold fresco-like manner of depicting. Every movement of the quartet is given its definite genre title: Pastorale, Scherzo, Nocturne and Theme with variations (perhaps this structure was cast over by the by Shostakovich's Quartet No. 2. The whole musical development goes evenly, i. e. from the characters of the spring awakening and unhurried pondering up to struggle against the sinister fugato whirling, elegiac reconciliation in the Pastorale, dazzling and slightest dance, imbibed with the miraculous and grotesque humour and Scherzo.
Nocturne is the lyrical monologue illuminated with the philosophical thought. This is the kind of confession, uttered reflections, whe re all the feelings are strained to its limit. The Finale attacca rushes in as the sun-shine, struggling through the false dawn. As for the Theme with variations, there is the genre element, rising clearly making it closer to the Finale with Scherzo. The music equally acquires vigorous and dashing character, anticipating Finale's conclusion, the boisterous whirling of which is ruled by the emotion of exultation.