Notice the wonderful D flat of the accompaniment. And notice too with what magic the simple chords of the next measure seem to fit the word kühle Wirtshaus,—the ‘cool tavern.’ A little later, on the words: bin matt zum Niedersinken—‘tired to exhaustion’—is the following passage:
bin matt zum Niedersinken und tötlich schwer verletzt
![[PNG]](#4078758979312882140_score2-p207.png.id-815714706321013832.wrap-0.html.html){kind=link}
Notice the G flat of the accompaniment, how it creeps into the harmonic framework and gives poignancy to the expression. And then four measures further on, on the words: doch weisest du mich ab?—‘and do you turn me away?’—there is this very simple musical passage:
Doch weisest du mich ab
![[PNG]](#4078758979312882140_score3-p207.png.id-8944364299259745836.wrap-0.html.html){kind=link}
Only one altered chord, that containing the B natural, but what pathos lies in it!
An even finer instance of musical delineation is the song Der Doppelgänger, the last but one that Schubert ever wrote. Mr. Henderson, in his ‘Songs and Song Writers,’ justly says that this wonderful song anticipates Wagner’s theories and methods. Here we have the continuous melody, the leit-motif (the first four measures of the accompaniment), the declamatory voice part, and the ‘orchestral comment’ which we associate with the Wagnerian music-dramas. We cannot fail to notice in this song the ghostly effect of the thick chords kept in the bass section of the pianoforte’s range, nor the uncanny effect of the short, almost gasping, phrases for the voice, nor the fierce picturing of terror on the words meine eigne Gestalt. What couldn’t Schubert have been in the history of music, asks Mr. Henderson, if he had lived!