While Reichardt’s and Schumann’s settings are both completely strophic, the other two are more complex in their own ways. Schubert’s is mostly strophic because the A and B sections repeat after measure 40, however, the material is slightly altered when in enters a minor mode following the repeat. This shows that it is in a modified strophic form. Wolf’s setting is by far the most unique of the four, as it is through composed. Given the constantly changing key areas and meters, there are only a few similarities between verses. The latter halves of each verse are nearly identical beginning at the first “Belebt” markings at measures 21, 58, and 99. However, the first halves of the verses are greatly different from one
While Reichardt’s and Schumann’s settings are both completely strophic, the other two are more complex in their own ways. Schubert’s is mostly strophic because the A and B sections repeat after measure 40, however, the material is slightly altered when in enters a minor mode following the repeat. This shows that it is in a modified strophic form. Wolf’s setting is by far the most unique of the four, as it is through composed. Given the constantly changing key areas and meters, there are only a few similarities between verses. The latter halves of each verse are nearly identical beginning at the first “Belebt” markings at measures 21, 58, and 99. However, the first halves of the verses are greatly different from one