"The Pilgrimage of the Rose" cannot claim a similar high position. Arranged for Schumann by Horn after a poem of Pfarrius, it deals with a conventional story of a weakly, sentimental character, in spite of a few highly poetical incidents, and is unduly extended. Yet the music contains a most beautiful chorus for male voices with horns, and charming mixed choruses for female and mixed voices, their tones being either soft and mellow or as bright and spirited as anything written in much younger and happier years. The solos are, however, more monotonous, the famous duet of the miller and his wife being one of the few exceptions. It is also doubtful whether Schumann did right in arranging the original piano accompaniment for a whole orchestra. The second immortal work, by which Schumann has enriched vocal concert literature, is his music to scenes from Gœthe's "Faust." Part I. consists, after the weak overture, of the scenes in the garden, the dome, and before the Mater dolorosa, from the first part of Gœthe's tragedy; the scene in the garden is distinguished by a peculiarly fine musical dialogue and orchestral accompaniment, that in the dome by the addition of an impressive Dies iræ. The more important scenes, however, divided in two parts, are from Gœthe's second play: "Ariel's song in the morning dawn," "Sunrise," "Faust's monologue," "Scene of the four grey women," "Faust's blinding, death and glorification." For this mystic poetry Schumann has found a sublime musical language, which revealed to thousands the beauty of Gœthe's verses, and the hidden meaning of his thoughts. The fantastic scene of the grey women, Faust's farewell song, the dialogue between Mephisto and his Lemures, digging Faust's grave, the latter's death followed by a wonderful postlude, are extremely impressive. Yet the climax is reached in the half-religious, allegorical third part, where saints and angels sing, amongst them Gretchen as "una poenitentium." Here are true gems of musical sublimity, comparable with nothing else in the works of Schumann or any other composer. The incorporeal world of spirits becomes almost visible through the music. The final chorus in eight parts shows in its solemn beginning a marvellous mastery of contrapuntal art, while the allegro on the "eternal womanly" perhaps in neither of the two different settings which Schumann has written, fully reaches his high intentions, and is unduly extended. There are many solo and concerted numbers, yet Faust remains the central figure. The sublime music accorded to him makes his part unique, approaches nearest the Christ in Bach's "Passion," and demands a noble voice, technical perfection, and the finest shading in the spiritual expression of every phrase. The orchestral part, too, demands a careful preparation. Schumann also composed many numbers in which Gœthe did not prescribe the assistance of music, and if it is true that as a whole this work has a fragmentary character, one must not forget that