It is inspiring to see how the thorough understanding and appreciation of this genius, and of the wealth, depth and greatness of his style, are progressing in the different countries, and just as inspiring to examine his extraordinary influence upon the more recent epochs of musical history. While some composers tried to follow him in his own fields, as Mendelssohn in the oratorio or Rheinberger in compositions for the organ, others, as Schumann and Brahms in instrumental works, have adopted his wonderful polyphonic and contrapuntal art, showing his influence just in those productions, which otherwise exhibit most strongly their own individuality. Even the revolutionary Wagner held Bach's genius in veneration, and paid a noble tribute to it in his Mastersingers. Indeed, considering these facts, an overwhelming sense of admiration and gratitude must fill our hearts, particularly in thinking of the great master of modern German song to whom this article is devoted. Not an imitator, but a worthy successor of Bach, in a field, the highest cultivation of which has been preserved to modern time as one of its noblest tasks, is Robert Franz, whose life and works may perhaps awaken a double interest, if viewed in the light of the above introductory remarks. In outward appearance this life was, perhaps, even more quiet and simple than that of Bach. Franz's soul and mind had always turned toward the inner world, just as in his songs he studiously avoided all ostentation and meaningless brilliancy. There is indeed a significant harmony between his life and songs, the latter being the outgrowth of the former, not occasionally written down from a vain ambition to compose, nor as a pastime or fashion, but as the fulfilment of his life's task, to which his genius had committed him.