The nineteenth-century part-song had a brilliant history. The enthusiasm with which it was cultivated in Germany under certain patriotic stimuli, later spread to England and France with happy results. The first German choral society made up wholly of amateur singers was the Berlin _Singakademie_, founded on May 27th, 1791, by Karl Christian Fasch (1736-1800). Male choruses, as much social as musical in nature, had existed in Germany since the seventeenth century, but they did not attain much popularity or influence until Carl Friedrich Zelter (1758-1832) established the first _Liedertafel_ in Berlin in 1808, composed of twenty-four men from the _Singakademie_. The political effect of Weber’s stirring part-songs, especially his setting of the patriotic songs in Körner’s _Leyer und Schwert_, as, for example, ‘Bright sword of liberty’ and ‘Lützow’s wild hunt,’ has been already mentioned. The love of choral singing became contagious, and, stimulated by the new feeling of nationalism, both male choruses (_Liedertafeln_) and choral societies (_Gesangvereine_) began to multiply rapidly, especially after 1818. Though much of the part-music written for their consumption was weak and tasteless, many of the great composers bountifully contributed of their best ideas. Schubert wrote some fifty pieces of this class, twenty-two of which are for unaccompanied male voices. Among these seldom-sung pieces are many of astonishing beauty, as his setting of _Nur wer die Sehnsucht kennt_. Schumann wrote about a dozen part-songs for male voices and some twenty for mixed voices, many of them as poetic and charmingly melodic as his songs. Mendelssohn’s part-songs, however, exerted an overpowering influence not only in his own country but especially in England, where he was imitated _ad nauseam_ for nearly fifty years by native composers. Here, however, they were instrumental in creating such a revival of choral singing among the people, well-nigh dead since the old madrigal days, that singing societies were established far and wide throughout the land, even in remote communities. So many of these part-songs of Mendelssohn are familiar household songs in Germany, England, and America that it will be unnecessary to name any here. Among the German part-song writers of less importance are Ignaz Seyfried (1776-1841), Julius Otto (1804-1877), Friedrich Kücken (1810-1882), Friedrich Truhn (1811-1886), Ferdinand Hiller (1811-1885), Robert Franz (1815-1892), Carl Wilhelm (1815-1873), composer of _Die Wacht am Rhein_, Franz Abt (1819-1885), and Joachim Raff (1822-1882).