Much the same can be said of every one of the _Dichterliebe_ songs. There is no superficial similarity between any two. Each one uses technical means which are employed in no other. In each the technical means are nicely adapted to the character of the music. Each one of the accompaniments calls upon a different department of the pianist’s art. Each is developed, technically, in its own manner and in the manner of no other one of Schumann’s songs. In other words, each of these remarkable songs has that thing known as style. Each has a personality as distinct as the personality of one interesting man is distinct from that of another. The accompaniments might be published alone as Essays in Style. Such an achievement marks a development of detailed technical resource hitherto unheard of. From it all later German and French song writers directly derive. Nor must it be assumed that the voice parts are uninteresting or unvocal. Quite the contrary. Only in these songs, as in none that had preceded them, the voice parts are not the songs, nor a small part of the songs; the songs are inconceivable, are non-existent, except as voice and piano parts intimately combined. Songs 1 and 2, ‘In the Wondrous Lovely Month of May’ and ‘From Out My Tears,’ are simple melodies, charming, but little self-conscious, demanding something of the singer’s art and learning if they are not to sound trivial. The third song, ‘The Rose, the Lily, the Dove, the Sun,’ is a technical _tour de force_, an extremely brief and rapid little piece, demanding the utmost delicacy of intonation and enunciation, which might almost be sung in a single breath. The fourth song, ‘When I Look Into Thine Eyes,’ is a sort of duet between the voice and the piano. Each phrase from the singer is tenderly echoed in the accompaniment. The whole melody has a touching simplicity. Number 6 looks austere. Here Schumann’s effort to maintain a single style (both technically and poetically) throughout has perhaps led him to dispense with detailed expression. ‘In the Rhine, the Holy River,’ runs the first line, and the accompaniment depicts the Rhine flowing, ever so slowly and majestically, past the Cathedral of Cologne. And, since he is particularly interested in these songs in homogeneity of style, he makes the whole song flow along to this type of accompaniment. If the singer is chiefly interested in exhibiting his voice, he will leave this song in disgust as cold and unpoetic. But let him beware that his real motive be not the difficulty he experiences in singing it well.