The seven Rellstab songs include the universally known ‘Serenade,’ the beauty of which is too obvious and too familiar to need further comment. Another and greater song of the list is _Aufenthalt_. The speaker’s ‘abode’ is among the rugged cliffs, and he reflects that his sorrow is as unshakable as the eternal rocks. The furious sweep of the song’s movement is breathless. Beneath and above the triplets of the accompaniment is always a passionate and despairing melody. When the voice rests for a moment the piano, in marvellous imitation, takes up the strain. The climax, on the words ‘_starrender Fels_,’ is terrific. The final half-declaimed phrase is almost Greek in its severe nobility. Of the Heine songs the best known is _Am Meer_ (‘By the Sea’). The introductory chords scored in the bass express the impenetrable mystery of the sea. The very simple melody is the essence of moody retrospection. Such a work as this is as supreme among songs as the second movement of Beethoven’s Fifth Symphony is in orchestral music. _Die Stadt_ and _Der Atlas_ show the great importance which Schubert accorded to the accompaniment and the freedom with which he had come to handle it. In _Ihr Bild_ (‘Her Picture’) we have another of Schubert’s very simple melodies--and how impressive in its simplicity! Perhaps Heine was never more perfectly set to music than in this instance. The wonderful _Doppelgänger_, unique among Schubert’s works, has already been mentioned. Mr. Henderson is right in his judgment of this piece. It is Wagnerism before Wagner’s time. It is the technique of the latter half of the nineteenth century previsaged by the genius of a poor and shy school-teacher living in a cheap Vienna lodging. It is a vision and a prophecy.