It is more regrettable that some of the songs should be sad mixtures of greatness and triviality. ‘Death-Music’ is such a song. The opening bars have a deep solemnity, which is almost equal to the dignity of the theme, but seems just a little too thin or facile. Then on the words _Hebe aus dem ird’schen Ringen_ comes a passage which is one of Schubert’s great moments, and this is repeated in finer development on the words: _Alles grosses werd’ ich sehen_, until one can almost feel one’s self carried into the mysteries of death. But then follow three pages of melody which are irritating, for they have much beauty and expressiveness, but seem aimless and disorganized. In ‘Viola,’ which is a matter of twenty-one pages, there are one or two of the most gracious melodies Schubert ever wrote, but the song as a whole, what with length and formlessness, is hopeless. _Fülle der Liebe_, again, is both beautiful and expressive, altogether a distinguished piece of work, except that its movement soon becomes so monotonous that it is unendurable. So Schubert is often betraying the rapidity with which he worked. But he has left us at least one hundred songs which are immortal. First of all, they are worth knowing for their wonderful stock of melodies, as pure and rich as any composer in the world has ever given us. The enchantment can hardly wear off with such melodies as those of ‘Praise of Tears,’ ‘The Trout,’ _Du bist die Ruh_, ‘The Linden Tree,’ ‘The Inn,’ ‘To Sylvia,’ ‘Litany,’ and ‘The Serenade.’