In three Sonatas Schumann has attempted to force the wealth of his imagination into an old classic form, but as he had not then perfected himself in the latter, and besides wrote the single movements at wide intervals, he could hardly be expected to make a complete success. The material is almost crowded, the development often lacks coherence, the different portions are not of equal value; and yet, considering these productions as free music, we recognize again the composer's vast powers of invention and combination, his passionate energy, delicacy of sentiment and brilliancy of style. Of these sonatas, the one in G minor is generally praised as the best. On a higher plane we place the great fantasia in C, Op. 17, dedicated to Liszt. Here Schumann's imagination was free from strict formal fetters; the four movements keep one's interest evenly and keenly alive, and, apparently written in hours of inspiration, they go directly from heart to heart. The earnest, noble character and lofty spirit of this work remind us indeed of Beethoven, to whose monument Schumann had first intended to contribute it as an "obolus." Its difficulties are such, that only eminent players are able to master them and make the meaning of the music clear. Among Schumann's later pianoforte compositions the following are best known: the lively, fanciful "Faschingsschwank," composed in Vienna during the carnival; three romances, of which the one in F-sharp is particularly famous; some fugues and other pieces in strict contrapuntal style; the "Scenes from the Woods" (among which is the odd "Bird as Prophet"); "Bunte Blätter"; "Phantasiestücke"; "20 Album Leaves" (including the popular cradle song); and "Gesänge der Frühe"; "Three little Sonatas," dedicated to his daughters, and the well known "Album for the Young," with its forty-three charming pieces, are certainly among the most valuable works ever written for children. Of the compositions for four hands none deserves more sympathy than the charming "Pictures from the Orient," inspired by Rückert's "Makamen des Hariri," certainly in no way inferior to the famous "Evening Song" from the twelve pieces Op. 85, while the elaborate "Ball Scenes" and the easier "Children's Ball" were written at a later period. The pianoforte concerto in A minor ranks directly after Beethoven's. It has a truly symphonic character, especially in the first and last movements, the orchestra accompaniment being not less important than the brilliant solo part, while the middle movement, Intermezzo, seems even like a lovely solo for the violoncello with piano accompaniment. Two more concert pieces for pianoforte with orchestra are an Allegro appassionato (Op. 92) and a Concert Allegro with Introduction (Op. 134), the latter dedicated to Joh. Brahms.