e theme with its long-drawn out final note after the
upward leap. It is a real musical question, _e.g._

[Music]

_Grillen_, the next piece in the set, deserves careful study. It is
too long to present as a whole, but we cite the middle part (See
Supplement No. 52) as it is such a convincing example of syncopated
effect (_i.e._, the persistent placing of the accent on weak beats),
and of elasticity in the metric scheme.

_Novellette in E major._

This piece illustrates the vigor and massiveness of Schumann's
pianoforte style. Note the sonority gained by the use of widely spaced
chords. For the brilliant effect demanded, there should be a liberal
use of the damper pedal.[192] We likewise find, beginning with the
third brace, some characteristic polyphonic imitations which give to
the movement a remarkable concentration. In the middle contrasting
portion it seems as if Schumann had taken a leaf out of Chopin's
book--a beautiful, lyric melody floating on an undercurrent of
sonorous, arpeggio chords. The theme is presented in dialogue form,
first in the upper voice, next in an inner voice and finally in the
bass. (See Supplement No. 53.)

[Footnote 192: A beautiful contrast may be made by playing the section
in F major with the "una corda" pedal throughout.]

SONG, _Mondnacht_.

No estimate of Schumann would be fair or comprehensive without some
mention of his songs; upon which, together with his pianoforte
compositions, his immortality tends more and more to rest.
Notwithstanding the many poetic and dramatic touches in Schubert's
accompaniments, those of Schumann are on the whole more finely
wrought; for he had the advantage of Schubert in being, himself, a
pianist of high attainment, thoroughly versed in pianistic effects.
His imagination was also more sensitive to subtle shades of meaning in
the text and he was inspired by the wonderful lyrics of Heine,
Eichendorff and Chamisso who in Schubert's day had written very
little. Special features of Schumann's songs are the instrumental
preludes and postludes, the prelude establishing just the right
setting for the import of the words and the postlude commenting on the
beautiful message which the voice has just delivered. In _Mondnacht_,
for example, (as previously mentioned), note how the voice stops in
suspense and in what an eloquent revery the accompaniment completes
the picture. (See Supplement No. 54.)

OVERTURE TO _Manfred_.

This Overture, the first