Wanderer's Song."
Forest Scenes. Opus 82.
"Entrance to the Forest."
"The Wayside Inn."
"Prophetic Bird."
"Farewell to the Forest."
Songs.
"Moonlight."
"He, the Noblest."
Night-piece in F. Opus 23. No. 4.
Novelette in F. Opus 21. No. 1.
Songs.
"Thou Ring Upon My Finger."
"The Spring Night."
Fantasy Pieces. Opus 12.
"In the Evening."
"Soaring."
"Why?"
"Whims."
"End of the Song."

The foregoing selections, as will be noticed, are all for piano and
voice; I have thought it better to confine them to these easily
accessible sources than to attempt to cover more ground. In a later
program more difficult piano selections will be given. All the
instrumental selections in this list are in the volume of "Selections
from the Works of Robert Schumann," edited by the present writer and
published by the publishers of "Music." All the songs are in the
collection of Schumann songs published by Boosey and Company.

I have written so many times upon the works and characteristics of
Schumann that it would, perhaps, suffice to refer the student to a few
of those places, such as "A Popular History of Music," pages 464 to
477. Also in the first volume of "How to Understand Music" there is
something to the point, and at various other places in the course of
the work, as will be found by looking up the references to Schumann's
music given in the index. At the beginning of the collection of
Schumann pieces, above mentioned, is an essay upon Schumann and his
works which will be found suggestive. One of the best single articles
I have seen is Mr. W. H. Hadow's essay upon "Schumann and the Romantic
Movement in Germany," which occupies pages 149 to 231 in the first
volume of his "Studies in Modern Music." In spite of these I shall add
a few observations in the present pages, since it is a peculiarity of
the works of any great writer that they grow upon the appreciation, and
while their shortcomings and limitations of whatever kind become more
apparent as the student grows in years and clearness of thought, the
beauties and originalities also press more and more upon our notice,
and perhaps, in the case of creative artists of the first order, come
out into even greater luxuriance than we at first realized. Such, at
least, I find in my own case since my first introduction to the works
of Schumann, which practically began with my acquaintance with Dr.
Mason a