His songs, however, so far as they are yet catalogued, do not belong to this last period. The numerous songs of opera 1, 2, and 3 are of the first period, in which the style of Strauss was pretty closely adhered to. The ‘Eight Songs’ of opus 6 and the ‘Six Orchestral Songs’ of opus 8 are the product of the second period, the transition time in which the new Schönberg style was fairly well developed, but was used with frequent admixtures of the old. In the work of this period the hearer has a breathing space and can feel at first hearing that the music has _something_ in it after all. However, second period or not, the two groups of songs we have mentioned will be quite mystifying to the average student. They are all very long and extremely difficult to sing. For that reason they are by no means available for ordinary concert use. They can be sung only by the highly capable singer and listened to only by an audience with highly trained ears. Perhaps, even under these conditions the listener will conclude they are not worth the trouble. But the one virtue which we can predicate of Schönberg without fear of contradiction is ability, and this virtue stands out strongly in the songs. We may mention from opus 6 the ‘Maiden’s Songs,’ which attains a sense of immense physical violence. ‘Forsaken’ maintains its mood by a remarkably powerful use of a constantly repeated chromatic figure in the bass. But the best of these songs, and probably the greatest Schönberg has written, is ‘The Wanderer,’ words by Nietzsche. The other songs may be chaotic, but this has a cogent form. Moreover, it has definite melody and an accompaniment manipulated with a strong sense of design. The song as a whole is eloquent and impressive. The Six Orchestral Songs are also arranged for piano accompaniment and may be sung in concert. They are rather scenes than songs, being very long and composite and generally descriptive or dramatic, rather than lyrical. In them the technical element is all powerful. _Voll jener Süsse_, words from Petrarch, is a masterful study in the free movement of contrapuntal voices treated as in close harmony. _Das Wappenschild_ is a magnificent song of action. The basic theme is stirring, the melody is marked and impressive, and the general structure is clear and cogent. The song exemplifies Schönberg’s genius for making his counterpoint seem to express tremendous power of will. _Sehnsucht_ is a comparatively simple song, the best of the six for the student to begin on. _Nie ward ich, Herrin, müd_ is a magnificent study in powerful counterpoint. The tempo is slow, the themes are drawn out and sustained as though played slowly by a ’cello. The piece is extremely difficult to sustain at this slow tempo and is a tax on the listener’s attention beyond anything of the sort that can be called to mind, but if one can feel its beauty at all one must be impressed by the majesty of the thing.