Opus 33 comprises a large number of romances from L. Tieck’s _Magelone_. These songs, which incline to be long and somewhat pretentious, do not maintain the high standard usual with Brahms. There are here rather too much sound and fury. We may, however, mention three which are very fine: ‘Hey, Bow and Arrow,’ a song made of fire and steel; ‘Is It Sorrow?’ deeply emotional; and the lovely ‘Rest, Sweet Love.’ From now on we have merely a steady stream of songs with words garnered from here and there, the music of a very high standard of workmanship and the interest often hidden to the superficial glance. Each song has its individuality which must be sought out by the student. A commentary on all the songs would fill many pages. In opus 43 we find the fine song, ‘With Eternal Love,’ and the barbaric ballad, ‘The Song of Herr von Falkenstein.’ Such intentional crudity as Brahms puts into this latter song should redeem him from any suspicion of pedantry. The ‘Magyar Love Song’ of opus 46 treats the words with unusual freedom even for Brahms. The same can be said for ‘Gold Outweighs Love,’ in opus 48. Opus 49 offers us an interesting song, ‘On Sunday Morning,’ and the famous Lullaby. In opus 57 we have ‘Motionless Air,’ and in opus 58 ‘Oh, Come, Holy Summer Night,’ both fine enough to be the masterpieces of another man’s output, though they are Brahms’ second best. ‘Twilight Falls,’ of opus 59, is a deeply tragic piece in the folk-mood. In opus 63 we have one song which shows us Brahms as the most thorough technician. The ‘Consolation of Spring’ makes the most elaborate use of syncopation and mixed rhythms, accompanying the 6/4 voice part with a piano part practically in 3/2. ‘Remembrance,’ from the same group, is worth knowing, and ‘O, Would I Knew the Returning Road’ is one of the sweetest of Brahms’ songs.