The beauty of the Hungarian melodies, merely as melodies, is unsurpassed. The great melody which Liszt used in the Fourteenth Hungarian Rhapsody, and which has since come to be used as the national song, to the fine words which in the German version commence _Wenn dem Ungarvolke Gott viel Leiden gab_--this has become a true folk-song by adoption, though it is not one in origin. No country ever had a more glorious hymn for its national praise. Several dance-tunes given by Reimann[9] are of the highest quality--especially _Zigeunermusik_, _Der Seele Spiegel_, and _Drunten im Tale_, and _Erwartung_, the last being a melody which served Brahms for one of his ‘Hungarian Dances.’ Another matchless tune is one translated by Reimann as _In Grosswardein_. Here we see used to full value (in a melody of great simplicity) several of the most distinctive qualities of the Hungarian music, namely the accented grace note, the peculiar minor scale having a flatted sixth and a raised seventh, and always emphasizing the skip between, and the conventional phrase structure, which always repeats the first phrase, note for note, in the dominant. Indeed, no songs are better worth study for their clear and solid architecture. Francis Alexander Korbay (born, Pesth, 1848; died, 1914) was one of the chief enthusiasts for the Hungarian folk-song and has helped by his collections and editions to spread the love of them. His arrangements are sometimes elaborate and often not true to the spirit of the original, but they sufficiently preserve the national spirit to foreign ears. And it has always been true that folk-music must first go through a stage of adaptation and arrangement before people are willing to listen to it in its purity. Of the Korbay songs at least one fine example, ‘Had a Horse,’ has become familiar in American concert halls. VI