Voice and piano: the vocal and the instrumental element form an organic, symphonic web, inseparable and as equal partners.The 'declamatory' song in which the poem dominates the musical arrangement ( 'Der DoppelgГ¤nger').The structuring element lies in the piano part colouring and harmony are characteristic and achieve a closeness to symphonic elements ( 'Die junge Nonne', 'Der Wanderer').The lied which resembles folksongs, with the melody exclusively in the voice, the piano is mere accompaniment ( 'Das Wandern', 'Das HeidenrГ¶slein').

'Prometheus', 'Der DoppelgГ¤nger', 'Letzte Hoffnung').ДЄs to the relationship voice - piano we can distinguish the following characteristic forms: declamation alternating with Arioso, aria or strophe unification is achieved by a symphonic structure with different motives. 'On-running', through-composed songs with a special melody for each stanza, in which he makes use of various combinations, e.g. 'Des Baches Wiegenlied', 'Du bist die Ruh', 'Der Lindenbaum'). 'Modified strophic form: with occasional variation of individual stanzas, according to the text (e.g.

Modified strophic form: with occasional variation of individual stanzas, according to the text (e.g.

Strophic form: strict similarity of all verses (e.g.

'Swansong' is no cycle Schubert created it includes songs from Schubert's latest period which were gathered by his friends under this title. Melodic inventiveness remains his most effective means of characterisation.Д«oth cycles are settings of poems by Wilhelm MГјller. In his 'lied' compositions no formal development or ascending line to a particular climax can be traced. In 18 he wrote 'Gretchen am Spinnrad' (Gretchen at the spinning-wheel), 'ErlkГ¶nig', 'HeidenrГ¶slein' (Hedgerose). His first song dates from 1811, 'Hagars Klage' (Hagar's lament). He wrote more than 660 songs, 66 of them settings of Goethe poems. Version of this article in the new AEIOU.

Different strophes is