of them. However, such bandying of terms only tends to obscure the facts. Let us get to the songs. Because Brahms worked with more care and reserve than most of his contemporaries, he must be approached with some care by the student. Doubtless, if one unfamiliar with his work turned over his songs at random the result would be somewhat discouraging. There is so much more there than meets the eye that much of his work is certainly uninteresting to the superficial glance. But there are many songs which must make an instant appeal by their sheer loveliness. Let the student who sincerely wishes to appreciate Brahms begin with these songs. Let us make out a provisional list of them. It would include: ‘In Strange Lands,’ opus 3; ‘Rest, My Love,’ opus 33; the ‘Folksong’ in opus 7; ‘The Sorrowful One,’ the ‘Serenade,’ and ‘Longing,’ from opus 14; ‘Hey, Bow and Arrow,’ opus 33; ‘Sunday,’ opus 47; the famous Cradle Song, opus 49; ‘Remembrance,’ opus 63; ‘The Lover’s Oath,’ opus 69; ‘Vain Serenade,’ opus 84; ‘The Virgin’s Lullaby,’ opus 91; the Sapphic Ode, opus 94; and every one of the Gypsy Songs, opus 103. To call any of these songs ‘dull’ is rank foolishness. Their beauty appeals instantly even to a listener who is in no wise a technical musician. Sentiment, passion, military frenzy and simple high spirits are expressed in these songs. They are in some cases as simple as anything by Schubert, as popular in character as any folk-song. Let the student learn to know and love some of these and he will have little difficulty with the more elaborate songs later on. The first quality that appeals straight to the heart in many of the Brahms songs is their large element of the folk-song. Many of the lyrics bear the title _Volkslied_, being musical settings of popular poems, treated in the popular vein. Brahms was devoted to folk-music and understood the value of the musical units it contains in such profusion. A large proportion of his music, if analyzed to its essentials, will show the folk-song as its base. His elaborate songs, however abstruse and self-conscious, may be called only a _development_ of the folk-song. The development is managed with the consummate art of the trained musician; but the stuff of the song is in almost every case a musical unit which makes an instant appeal. The student is very foolish if he sees only the development and not the beautiful music beneath it.