The trios for piano, violin and violoncello in D minor and F are of a high order too, full of ingenious ideas, one being especially interesting by its passionate, poetic spirit, the other through a greater perfection in form; but the originality and artistic perfection which characterize them do not appear in the G minor trio [Op. 110]. Of a lighter character, yet delightful on every page, are the "Phantasiestücke" for violin, 'cello and piano, and the "Märchenerzählungen" for piano, clarinet and viola. The two passionate, melancholy Violin Sonatas of his later years are, in spite of their great musical worth, perhaps more gratifying for players than for a concert audience, while many an enjoyable page may be found among the different compositions for clarinet, horn, viola, or violoncello and pianoforte. Schumann's organ compositions are few in number, the principal ones being the six fugues on B-A-C-H, which differ considerably in value and character. Besides the pianoforte concerto already mentioned, Schumann has composed one for violoncello in A minor, demanding a player of great musical intelligence: one for four horns, a revival of the old concerto grosso, and a fantasia for violin with orchestral accompaniment dedicated to Joachim, who owns also the manuscript of a whole violin concerto. All these works belong to Schumann's last period, showing traces of exhaustion, but still his noble, always purely artistic purposes. In order to picture Schumann's orchestral works with any degree of justice, we should be gifted with his own wonderful powers of description, thus producing upon our readers an impression similar to that produced by the musical work upon a sympathetic listener. What a splendid protest are they against the faint-hearted belief, that with Beethoven's "Ninth" the symphony as such had not only reached its supreme development, but died. Surely it required a genius, a great personality, a thorough master of the symphonic art to write in this field something worthy of the great predecessors, and yet original. But such a personality was Schumann, and his symphonies will forever belong to the golden treasure of instrumental music. Far from being imitations in any respect, they hold an independent position of their own and will live as long as their composer's name. Already the first one in B-flat appears at once as a masterpiece of lasting value. In this he might be called a younger brother of Beethoven, a lad with youthful thoughts and hopes and longings, with rosy cheeks and brilliant eyes, full of sweetest tenderness and mirth, but glowing with youth, manliness and vigor. His kinship with Schubert is often apparent too, although he always shows his own peculiar face. In regard to the form, he introduces many new features.