So much for the chief vocal works of this master; it will be seen that he loves historic pictures, and the poets Geibel, Lingg, and Scheffel have helped him by libretto and advice in this direction; and he sings so constantly of war and warriors, that he may be called the Tyrtæus of modern music. But it must not be supposed that his entire work has been in this field only; he has won much success in some of the large instrumental forms as well. His three symphonies in E flat, F minor, and E major, are but seldom performed, but it is difficult to discover the cause of this neglect; possibly the earnest, sombre, even gloomy tints of the second are not to the taste of those who seek only pleasure in music. But the third symphony in E is genial and attractive and would please almost any cultured audience although it is not in the strictest form. The first two symphonies are built in classical style, and Bruch seems to have taken Beethoven for his model in this field. It must be confessed, however, that none of the three works has yet received due appreciation. Vastly different is it with the two violin concertos, the first of which is dedicated to Joachim, the second to Sarasate; these are very frequently heard in our concert rooms and the first, (in G minor, Op. 26) may be mentioned as one of the chief works in this form, and equal, and by some held superior, to Mendelssohn’s well-known violin concerto. The third violin concerto is scarcely known yet in America. It was played at the music festival of Düsseldorf, by Joseph Joachim, with great success. It has a dreamy, prayerful, second movement, and a most martial and brilliant finale, but its first movement is prolix when compared with the power of the themes of the G minor concerto. It may be of interest to append a list of the most important of Bruch’s published compositions; they are as follows:— Op. 1. “Scherz, List und Rache.” (Goethe.) A comic opera in one act. Op. 3. “Jubilate, Amen.” For Soprano, Chorus and Orchestra. Op. 8. “The Birches and the Alders.” Soprano solo, Chorus and Orchestra. Op. 9. String Quartette. C minor. Op. 10. Quartette in E major. (Both rather too broad in their ideas for the vehicle of expression.) Op. 12. Six pieces for Piano. (Simple, yet beautiful in expression, and showing the composer in a very different field from that of his majestic cantatas.) Op. 16. “Loreley.” Grand romantic opera. Op. 19. “Römischer Triumphgesang”; “Wessobrunner Gebet.” Male choruses with orchestra; the first has become celebrated. Op. 20. “The Flight of the Holy Family.” (Libretto by Eichendorff.) A great work for Chorus and Orchestra. Op. 22. Does not exist! By a clerical error the Frithjof music was numbered Opus 23 instead of 22. Op. 23. “Frithjof.” (See above.) Op. 24. “Schön Ellen”: “Fair Ellen.” (See above.)