Doch weisest du mich ab Only one altered chord, that containing the B natural, but what pathos lies in it! An even finer instance of musical delineation is the song _Der Doppelgänger_, the last but one that Schubert ever wrote. Mr. Henderson, in his ‘Songs and Song Writers,’ justly says that this wonderful song anticipates Wagner’s theories and methods. Here we have the continuous melody, the leit-motif (the first four measures of the accompaniment), the declamatory voice part, and the ‘orchestral comment’ which we associate with the Wagnerian music-dramas. We cannot fail to notice in this song the ghostly effect of the thick chords kept in the bass section of the pianoforte’s range, nor the uncanny effect of the short, almost gasping, phrases for the voice, nor the fierce picturing of terror on the words _meine eigne Gestalt_. What couldn’t Schubert have been in the history of music, asks Mr. Henderson, if he had lived! Schubert’s command over modulation is facile and abundant. Sometimes there is no rest in the matter of modulation. Yet the changes of key and mode never seem strange. Tonalities melt into one another, and voices lead as naturally as they do in the simple key-schemes of Haydn. The best of examples is the wonderful song, _Die Allmacht_. Nominally in the key of C major, it remains actually in this key for only about a fifth of its length. The astonishing simplicity and inevitableness of Schubert’s modulations are well exemplified by the change from F major to G flat major on the words _Gross ist Jehovah der Herr_ (at their next to last appearance). Wagner used precisely this modulation about ten years later for the climax to the great prayer in the opera _Rienzi_. But we find it no uncommon thing to discover that strokes of genius in other composers have been anticipated in Schubert. But the richness and smoothness of Schubert’s modulations, which are everywhere to be discovered in his songs, are not the most important qualities from the artistic standpoint. The important thing is the marvellous deftness with which the composer uses his modulation for expressive purposes. Let us return to _Das Wirtshaus_, a thorough knowledge of which is a liberal education in Schubert’s art. Modulation here is like flowing water. But notice especially the last (repeated) line of the poem: _Nun weiter denn, nun weiter, mein treuer Wanderstab_--‘then on again, my faithful wanderer’s staff.’ The first half of the line is in C minor. Then on the words _mein treuer Wanderstab_ it goes again into its original F major. The effect is past all analysis. We feel the tragic vista of life ahead of the man, the eternal trudging along white dusty roads. The human pathos of the modulation is intense.