positions in Berlin, chiefly in the Royal Opera, and composed numerous songs. The best of these are the _Kinderlieder_, of which the charming ‘Lullaby’ is still popular. Chopin’s Polish Songs, opus 74, are his only vocal works. They purport to be arrangements of Polish folk-songs, but it is to be doubted whether they are to any great extent popular melodies. Probably Chopin drew freely on Polish motives and rearranged them to suit himself. However that may be, some of them are masterpieces. ‘The Maiden’s Wish’ is well known to concert audiences through Liszt’s arrangement of it for piano. The _Bacchanal_ is a glorious piece, admirable for an encore number, the simplest of quatrain tunes, but overpowering in its frenzied energy. ‘The Spring’ is a charming thing, undoubtedly of folk origin, a tender alternation of major and minor which would become monotonous except for its ineffable beauty. ‘Melancholy,’ a folk-like tune with a genuine Slavic touch, is likewise among the best, and ‘My Sweetheart,’ which recalls the Tyrolese folk-songs, is well worth knowing. These songs are of the simplest character. The last two of the collection, the ‘Lithuanian Song’ and ‘Poland’s Funeral Song,’ are more pretentious--rather like scenas than _Lieder_--and in spite of certain beauties are overweighted with pretense. Another song writer who does not usually find his way into song lists should be mentioned here. This is Michail Ivanovitch Glinka (1804-1857), founder of the national school of Russian music. Glinka was a man of remarkable talent, one who was able to fuse Italian grace, French subtlety, and German solidity into an individual style of his own, and to develop out of it an original native touch which had never appeared before in Russian music. Of his eighty-five or more songs (exclusive of those in his operas) a great number are in the thin and pretentious style of the day. But from a few of them there speaks real genius--the forerunner of the wonderful Russian song literature of recent times. The grand Hebrew Song from the incidental music to ‘Prince Kholmsky’ is the work of a man in whom much learning could not stifle the personal message. Another song, ‘Our Rose,’ is in a mixed rhythm which foreshadows the wonderful songs of Moussorgsky, and yet another, a ‘Traveller’s Song,’ makes use of the lively two-four rhythm which has since come to be associated with the Russian Cossacks. The lyric known as ‘Ilia’s Song’ and that entitled ‘Deserted Land’ both show the personal genius of the composer. We should also mention ‘Doubt,’ _Meine Ruh’ ist hin_, and ‘The Lark’ as among his best. It is not likely that singers will dig up these old songs for study, but Glinka’s distinguished name should not be forgotten in the examination of the wonderful Russian song literature which took its rise from him. FOOTNOTES: [23] Vol. II, Chapter VI. [24] See Musical Examples (Vol. XIII). [25] See Musical Examples (Vol. XIII).