The next period begins in the same manner, but the modulation is differently conducted, and the period now ends in the key of A. Now comes in what he calls the trio, a lovely lyric melody in the key of F. This is developed to quite a length, after which the main theme of the novelette returns, and the period ends in the key of F. Now ensues a curious sort of intermezzo, in the key of D-flat, where one voice starts out with a little melodic subject and another takes it up and imitates it, and this in turn is followed by another, quite in the manner of fugue, only that here the motive itself is very short and the imitations follow so fast, one after another, that only the beginning of each is to be made out. For the rest, it is a question of mystery. When he has carried this as far as he cares, the first subject returns; and after this again the trio, but now in the key of A major. At the end of this, again the original subject, and so finally the end. The most notable features of this novelette are its vigor, the different forms in which the subjects return, and the persistence of the two main ideas—the march and the lyric trio—which form the substance of it. The mystic and fugue-like interlude is merely an interlude. It perhaps represents one of those moments when the mind is too full for clear utterance—a condition more celebrated in fiction than desirable in reality.
The Fantasy Pieces, opus 12, are among the most happy of the smaller works of this composer. Their general character is sufficiently indicated by their titles. "In the Evening" represents one of those mystic moods suitable to twilight. "Soaring" has also been translated "Excelsior," which perhaps more truly represents its spirit. "Why?" is a question, just like the word; nevertheless this has become the greatest favorite of all the smaller Schumann pieces. "Whims" also is well named, since in this quickly moving little piece one mood follows another irrepressibly; among them are some which are highly poetic. Last of all, "The End of the Song"—a very vigorous and strongly marked movement which appeals to every one.
The Schumann songs are so remarkable as to demand separate treatment. Those upon the present list are so placed because they represent in a general way the more noticeable moods of Schumann in this form of art. They can be sung high or low, as the singer's voice requires, but they are more satisfactory if sung by a soprano voice, I think.
The first upon the list is the merry and arch little "Hat of Green," which with folk-tone sweetness and simplicity brings out a situation as old as the world and as new as the morning. The musical treatment is very clever and interesting.
The "Wanderer's Song" is characteristically German, representing the song of the young student as he sets out upon his student career as traveler, for seeing strange lands; or the emigrant who leaves his land to find a better home, but never one so well loved as his own native country. It is full of heart and courage until the middle part, where the intermezzo in the key of E major tells of softer feelings—of longing and homesickness.
"Moonlight," again, represents the peculiarly mystic and dreamy side of the Schumann nature, and there are few songs in the whole world so sweet and so beautiful as this; but it needs a pure, clear, and very true soprano voice, controlled with musical feeling. Thus interpreted it is indeed a dream.
The next two songs upon the list are out of the famous cycle called "Woman's Love and Life"—the poems of no great depth, but the subjects of lasting and universal application and interest. "He, the Noblest" gives a very spirited and sensitive musical setting to the woman's opinion of the loved one; words and music bring to expression one of the most ideal moments of woman's life. The next, "Thou Ring Upon My Finger," tells its own story, but here, again, the music is well worth while for its own sake. It is interesting as an instrumental piece without the aid of the voice. Few songs as musical have been written. The last upon the list, "Spring Night," while out of another cycle,—the so-called "Liederkreis,"—is nevertheless of quite similar excellence to the preceding.
All need to be sung with abandon, and above all with sentiment, poetry, and flexible rhythm, yet always with abounding musical life. To sing such songs well is to be an artist.