The example and presence of Beethoven inspired Schubert to take the highest flights in his music. Like his great pattern and guide, he lived withdrawn from the public, and devoted himself heart and soul to the pursuit of his beloved calling. Schubert’s numerous symphonies, quartets, sonatas, masses, cantatas and oratorios are among the priceless possessions of musical art. It is, however, as a song composer that Schubert stands forth as a great and original master. In Schubert’s instrumental music the fecundity of musical ideas, the profusion and beauty of melody, which never failed him,—in a word, the wealth of his lyric power,—often stand in the way of the clear and cogent thematic development of his music. Schubert speaks the sincere language of the heart, and captivates the ear with the exquisite beauty of his melody. He gave new significance to the instrumental accompaniment, using it both to intensify the emotional expression and to enhance the effectiveness of the vocal part. His rhythm is manifold and animated; his harmony strong and daring. “He understood how to make the hearer believe that the keys of C major and F sharp minor are twin sisters,” says a well-known critic. Nor is it alone the lyric power which moves us in listening to Schubert’s songs. When the situation demands it, certain epic and dramatic characteristics come to light: as in the “Erlking,” perhaps the most popular of all ballads. The unflagging spontaneity which distinguishes his songs has not been matched by any of his successors; and his productiveness was something marvellous. “If fruitfulness,” says Schumann, “be a characteristic of genius, Schubert is certainly one of the greatest.” [Illustration: JOHANN BAPTIST CRAMER. (See page 589.) ]