While Sibelius was more successful in other genres—like the symphony—his songs are better than many might think, and this collection is one of the strongest pieces of evidence of his talent in vocal composition. In fact, most of the items here could be called masterful, and at least one is quite popular, the seventh, "Lastu lainehilla" (Driftwood). Because Swedish was Sibelius' first tongue, most of his songs are settings of poems in that language. Here, however, the last two entries, "Ilalle" (To Evening) and "Lastu lainehilla" are in Finnish, the language of the composer's native land.

The first item, "Sen har jag ej fragat mera" (And I questioned them no further), is an 1894 setting of a poem by Runeberg (1804 - 77), one of the composer's favorite poets. This is a rather simple yet profound song, that features a touching melody, with richly atmospheric accompaniment. Sibelius felt strongly enough about this song to orchestrate it in 1903.

"Sov in" (Slumber), the next entry (from 1894), is a lovely lullaby, on texts by K. A. Tavaststjerna (1860 - 98). The next two are also Tavaststjerna settings. No. 3, the 1891 "Fagallek" (Enticement), is a delicate and simple song, but also another masterful creation. The pianissimo piano accompaniment is brilliantly atmospheric throughout. The last Tavaststjerna setting, "Vilse" (Astray), from 1894, is bucolic in character and quite short, and again a masterpiece of at least minor rank. No. 5, the 1894 "En slända" (The dragonfly), is an effective but not outstanding entry. Texts are from O. Levertin.

The aforementioned sixth and seventh songs, dating from 1898, are both fine creations, owing to their attractive melody lines and finely-wrought accompaniments. The first of this pair is brighter and more fiery, and is a setting of texts by A. V. Forsman-Koskimies. The latter is perhaps slightly more melodically appealing and set to texts by I. Calamnius.

In the end, this collection of songs must be ranked among the composer's better efforts in the genre.

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