Now in Schubert all the elements of intensity, power, and poetical depth in song are found united as never before in such perfection or on such a scale. The breadth and vigor of dramatic treatment, the profound and subtle harmonic changes, the accumulation of effect by the rhythm and sometimes by the independent melodic themes of the accompaniment, are all to be found in his songs; and at the same time the perfect spontaneity and the indescribable poetical fragrance of the Volkslied are fully preserved. Utterances that spring from the depth of the human soul are clothed in the highest forms of art without losing their naiveté. We must thus rank Schubert among the most consummate masters of expression the world has ever seen. His songs represent the high-water mark of human achievement in one direction, as Beethoven's symphonies represent it in another. All subsequent composers, beginning with Mendelssohn and Schumann, have been pupils of Schubert in song-writing, but no one has yet equalled the master. Mendelssohn's songs, while perfect in form and bewitching for grace, are far inferior to Schubert's in intensity of passion. On the other hand Schumann has written some songs--such as "Frühlingsnacht," "Ich grolle nicht," the "Frauenliebe" cycle, and others--which for concentrated fire, as well as for original and magnificent harmonies--almost surpass those of Schubert; but in wealth of imagination, in spontaneity and variety, he remains distinctly inferior to his master. In thus carrying the Lied to the highest point of development it has yet reached, Schubert became one of the chief sources of inspiration for modern music in all its departments. The influence of his conception of the Lied is to be seen in all his most highly developed and characteristic writing for piano, for orchestra, and for chorus. In his earlier symphonies, quartets, and sonatas he was strongly influenced by his study of Mozart, and his own individuality is by no means so distinctly asserted as in his songs. If the sonata form of expression were as easily caught as the simple song form, this need not have been the case. After Schubert had mastered the sonata form so that it became for him as easy a vehicle of spontaneous expression as the Lied, his sonatas and symphonies became strongly characteristic and replete with originality. This is exemplified in his eighth and tenth symphonies, in his piano sonatas, Op. 42 and Op. 78, and in his later chamber music. In such compositions he simply worked within the forms perfected by Beethoven and did nothing to extend them. But his musical individuality, saturated with the Lied, impressed upon these noble works features that have influenced all later instrumental music, imparting to it a more romantic character. As Mr. Paine observes, "we are constantly surprised by the sudden and abrupt modulations, rhythmical effects of melody and accompaniment which we call Schubert's that give variety and life to his movements.