ABSTRACT
This chapter presents three sets of songs, Uber Wildemann; Todesmusik and Die Erscheinung, published by M. J. Leidesdorf on 28 January 1829. The contrast between the demonic drive in Uber Wildemann and the simple, folk-like style of Die Erscheinung is extreme, but perhaps no more so than the contrasts found in many of Franz Schubert's late works. Although Youens condemns Schober's Todesmusik, she acknowledges that nonetheless Schubert made something extremely fine out of it. Schubert set ten poems from Ernst Schulze's Poetisches Tagebuch in 1826, and his songs bear witness to his deep empathy for the poet. Susan Youens believes that Schubert seems to have understood the delusory erotomania chronicled in Schulze's poetry better than almost anyone else except the poet's friends, and he had the means to make it audible. One of the few things which brought Schulze a measure of tranquillity was music.
