having found the acceptable gift, and from a chorus of the blest there resounds a glad welcome to the redeemed Peri (‘Oh, welcome mid the blest!’). ‘The Pilgrimage of the Rose’ was written for solos, chorus, and orchestra in the spring of 1851 and first performed at Düsseldorf, May 6, 1852. It is founded on a fairy tale by Moritz Horn, the uninspiring and weak text of which is probably responsible for the infrequent performance of this cantata, though individual numbers are occasionally given. The narrative calls for eight personages distributed among the various voices and there are twenty-four numbers. The rather commonplace story relates the wanderings of a rose, who, transformed into a lovely maiden, tastes the joys of pure happiness among mortals. The rose, which she must always carry with her, she finally gives to her infant babe, and, as she dies, she is carried away by angels. Among the most interesting numbers are the opening song in canon-form for two sopranos (‘Of loving will the token’), the chorus of fairies (‘In dancing’), a spirited male chorus (‘In the thick wood hast wandered’), the duet (‘In the smiling valley’), and the two bridal choruses (‘Why sound the horns so gaily?’ and ‘And now at the miller’s’). ‘The Minstrel’s Curse,’ a work for solo voices, chorus, and orchestra, was written and first performed in 1852. It presents the familiar Uhland ballad of the same name, adapted for the composer by Richard Pohl. The original text is not closely followed and several other poems by Uhland are introduced, such as _Die drei Lieder_, _Entsagung_, and _Hohe Liebe_, the singing of which last-named song is made the occasion that leads to the tragedy. The cantata opens with a description of the castle and the proud king by the narrator, after which an alto solo announces the advent of the minstrels. The youth sings a graceful Provençal song and a chorus follows. The stern king angrily objects to the tender themes chosen by the youth and the harper sings in sterner mood. The queen plaintively requests more songs and the youth and the harper again sing of spring and pleasure. The youth then sings passionately of love and the harper and the queen join him in a powerful trio that precedes the tragedy, after which the chorus carries the narration to the end.