Georg Henschel (born Breslau 1850) is a song writer whose present reputation is very far from equalling the high standard of his work. This is perhaps because his songs as a whole show no striking element of novelty. But it is none the less regrettable. For in point of pure merit Henschel must be ranked among the finest song writers of his time. Born and educated in Germany, he has spent most of the working years of his life in America and England, where he has made a notable reputation as singer and conductor. His musicianship is solid and deep, his inspiration fresh and unhackneyed, his method honest and straightforward. He is purely German. In his songs we feel the best traditions of the best song writers, concentrated and amalgamated, but without any element of crass imitation. His songs have the artistic finish which is necessary to give conviction to any lyric work. In mood they vary greatly from that of natural grandeur and religious dignity all the way to the most delicate sentiment and humor. Each of the songs is nicely individualized, both in the musical themes and in the manner of treatment. In them one is often reminded of Schumann, but the solid musicianship of Brahms is equally evident. There are no slipshod songs in his list and few which do not stand on a high artistic level. The accompaniment is rich, but on the whole conservative, acting essentially as a support to the voice, however richly decorated it may be. The general method is strictly lyrical and melodic. Pure declamation enters seldom. The dramatic and the picturesque elements are present, but subordinated to the lyrical. Schumann’s influence is continually evident, but Brahms, too, is there with his solid and careful musicianship. Further, we must place Henschel as one of the great masters of the folk-spirit in art-song. His naïveté is not studied; it springs from a human sympathy with the fundamental things in music. We have repeatedly mentioned in this book the great test of the song writer, namely that he shall be able to express emotional states in a few notes; by this test Henschel is among the most genuine of lyricists. Henschel’s songs have been published in small groups throughout his period of activity. Many of the groups are in the nature of suites, or at least have some element of unity. We may mention the ‘Forest Flowers of Thuringia,’ opera 22 and 24; the six songs, _Im Volkston_, opus 29; the _Serbisches Liederspiel_, opus 32, comprising ten songs in a close cycle; the four songs to poems by Hafiz, opus 34; and the three songs from Kingsley’s ‘Water Babies,’ opus 36. Opera 22, 24, 29, and 32 are all largely in the folk-manner and comprise some of Henschel’s best. In addition to these and numerous independent songs there are a number of ballads, some of them furnished with orchestral accompaniment which are among the best examples of this difficult modern form.