Reger’s technical style marks most of his songs. But underneath they have a distinct individuality. The Folk-Song in opus 37 is managed with great simplicity and taste. ‘The Dying Child,’ from opus 23, exemplifies Reger’s free but well considered harmonic method. ‘Of Kissing,’ from the same group, shows us another Reger, as dainty and popular as Brahms in lighter mood. _Traum durch die Dämmerung_, from opus 35, has a wonderful accompaniment of half-suggested interweaving voices and is considered superior to Strauss’s setting of the same poem. The long-drawn melodies (in both the piano and the voice part) of ‘Love-Longings’ show us still another Reger, a master of restrained sensuous effect. The Lullaby of opus 43 is fitted out with a very complex accompaniment but retains a luscious and quiet effect from sheer power of musicianship. Two of Reger’s best songs are ‘I Believe, Dear Love’ and the ‘Prayer,’ from opus 62. The former is a charming scherzo movement and the latter illustrates the tendency, increasing in song accompaniments for half a century, to spread the piano part over an extremely wide range of notes. ‘The Willow Tree’ of opus 48 is a study in a style common to the French song writers, that of gaining emotional effect from the mere juxtaposition of chords. The _Schlichte Weisen_ of opus 76 are perhaps Reger’s most typical and most highly developed product in this field. These ‘simple tunes’ are not at all simple in point of technique, making use of all the virtuosity and finesse of his wonderful musical equipment. The songs are nearly all in lighter vein and most of them are brightened with a delicious humor. They alone would place Reger among the most notable of musical humorists. None but the trained musician can appreciate all the technical genius that went into the writing of these songs. But any music-lover, any concert audience, in fact, can appreciate their beauty and sprightly charm. The thirty-six songs maintain a remarkably high level of creative musicianship, and in point of variety and taste they are almost unsurpassed. Nearly all of them are worth knowing, but we may mention a few among the best. ‘In a Little Rose Garden’ is written in imitation of the old German _Lied_. ‘The Child’s Prayer’ is utterly delightful in its simplicity. The ‘Dialogue’ is inimitable in humorous description. In ‘The Oath’ and ‘Concerning Love’ the humor is irresistible, and in ‘God’s Blessing’ musical learning has been put to the service of delicate delineation of mood. III