r revision much of this music has become obsolete. The joke
is well-known that he could set a theatre notice to music, and his
rule for composing was "When I have finished one song I begin
another."]

[Footnote 178: For an original, though at times rhapsodic, study of
Schubert's vocal style see H.T. Finck's _Songs and Song Writers_, and
the last chapter of the Fifth Volume of the Oxford History.]

[Footnote 179: Schubert did compose a number of Pianoforte Sonatas in
the conventional form, but with the exception of the one in A minor
they seem diffuse and do not represent him at his best; they certainly
have not held their own in modern appeal.]

[Footnote 180: For the account of its exciting discovery in Vienna by
Schumann in 1838, after a neglect of ten years, see the life of
Schubert in Grove's Dictionary.]

As examples[181] for analytical comment we select the Menuetto in B
minor from the Fantasia for Pianoforte, op. 78; the fourth Impromptu
in A-flat major from the set, op. 90, and the B minor Symphony for
orchestra. The Menuetto, though one of Schubert's simpler pieces--the
first part in an idealized Mozartian vein--yet exemplifies in the Trio
one of the composer's most characteristic traits, the predilection for
those bewitching alternations,[182] like sunlight and shadow, between
the major and the minor mode.

[Footnote 181: For lack of space no one of these compositions is cited
in the Supplement, but they are all readily available.]

[Footnote 182: This tendency is prevalent in folk-music, especially
that of the Russians and Scandinavians. Schubert, however, was the
_first_ to make such systematic and artistic use of the effect. For a
beautiful modern example see the Spanish folk-dance by Granados,
_e.g._,

[Music]]

The Impromptu in A-flat major, one of several equally fine ones, is
notable for the wealth of its iridescent modulations and for the note
of genuine pathos and passion in the middle portion in the minor mode.
Schubert might well say that his most inspired music came from his
sorrows.

The _Unfinished Symphony_ requires less comment and elucidation than
perhaps any other symphonic composition. The two movements are in
definite Sonata-form--the first, strict, the second, with
modifications; but the quality of the themes is quite different from
that to which we have been accustomed in classical treatment. Instead
of the terse, characteristic motive which, often at first
uncompromisingly b