ation; not used in a constructive
sense, simply to pass from one point to another, or to connect themes
in different keys, but to furnish the ear with a purely sensuous
delight, corresponding to that which the eye derives from the
kaleidoscopic colors of a sunset. The works of Schubert, Chopin and to
a lesser degree of Schumann abound in these shifting harmonies by
which we seem to be wafted along on a magic carpet. A final
characteristic, shared by all the Romantic composers, is the
prevalence of titles--the logical result of the close connection
between music, literature and the world of outward events,--thus
Mendelssohn's Overture to the _Midsummer Night's Dream_ with its
romantic opening chords, his _Hebrides_ Overture, the musical record
of a trip to Scotland, and Schumann's _Manfred_, from Byron. Liszt
even went so far as to draw inspiration from a painting, as in his
_Battle of the Huns_, and again from a beautiful vase in _Orpheus_.

We shall now make a few specific comments on the style of Schubert and
Weber and then analyze some of their representative works. Schubert
was a born composer of songs, and though his works for Pianoforte,
String quartet and Orchestra were of marked significance and have
proved of lasting value, the instinct for highly individualized, lyric
melody predominates, and all his instrumental compositions may fairly
be called "Songs without words."[177] It is evident that the
solo-song, unencumbered by structural considerations, is one of the
best media for expressing the Romantic spirit, and many of its fairest
fruits are found in this field. Schubert's songs are often tone-dramas
in which the expressive powers of music are most eloquently
employed.[178] Note the poetic touches of character-drawing and of
description in the _Young Nun_ (see Supplement No. 50). Schubert's
pianoforte compositions are miniature tone-poems, mood-pictures--their
titles: _Impromptus_ and _Moments Musicaux_, speak for themselves--making
no pretense to the scope and elaborate structure of movements in
Sonata-form,[179] yet of great import not only for their intrinsic
beauty but as the prototypes of the numerous lyric and descriptive
pieces of Schumann, Brahms, Grieg, Debussy and others. Their charm
lies in the heart-felt melodies and surprising modulations. While
neither sublime nor deeply introspective, they make the simple, direct
appeal of a lovely flower. In the development of music they are as
important as