songs, many of which are besides hardly appropriate for the concert hall. The master's high culture guided him in the selection of poems, and the great representatives of German lyric poetry, Heine, Rückert, Eichendorff, Chamisso, and Kerner, owe a great deal of their popularity to Schumann, as so many of their finest poems have become inseparably connected with his music. In his several cycles of songs (Heine's and Eichendorff's "Liederkreis," Heine's "Dichterliebe," Rückert's "Liebesfrühling," to which Clara Schumann has contributed some numbers, and Chamisso's "Frauen-Liebe und Leben"), the single numbers are not connected, but their coherence is often indicated by some other way. Intensity and purity of feeling, truth of expression for situations or moods of every kind, and a rare harmony between the poetic and musical senses secure to many of these songs the highest position in this kind of literature. Some have a simple, almost popular character (particularly those by Burns), others are very elaborate. In ballads ("Belsazar," "Soldier's Bride," "Two Grenadiers," "Die Rothe Hanne," "Der arme Peter," etc.), Schumann has a peculiar style of his own, differing much from that of the great master of German ballad music, Loewe, less popular, yet in many ways not less effective. Less happy perhaps are his later settings of the songs from Gœthe's "Wilhelm Meister" and of poems of Elise Kullmann, Queen Mary Stuart and others. Much could be said of the many delightful vocal duets, varying so much in style and spirit, and interesting us so much both in the vocal and piano parts. Yet we can only mention them here, as well as the several important and larger works for solo voices and piano in a cyclic form, such as the "Minnespiel" from Rückert's "Liebesfrühling," the "Spanische Liederspiel" and "Spanische Liebeslieder," all of which should be favorite numbers for vocal chamber concerts.