When I was a small child, The New York Times received every new creation of Igor Stravinsky with hostility, but even then I knew, like everybody else… - Charles Rosen

The song cycle is the most original musical form created in the first half of the nineteenth century. It most clearly embodies the Romantic conception of experience as a gradual unfolding and illumination of reality in place of the Classical insistence on an initial clarity. The form of Schubert's song cycle is not less precise than that of a Classical sonata, but its precision is only gradually comprehended as it unfolds.

The absolutely inaudible is rejected from music during the period of Viennese Classicism in which every musical line is potentially or imaginatively audible, but it makes a dramatic reappearance in the music of Schumann. The most striking of many examples is one of the episodes in the Humoresk, the last of the great piano works of Schumann's early years. ... There are three staves: the uppermost for the right hand; the lowest for the left; the middle, which contains the melody, is not to be played. Note that the melody is no more to be imagined as a specific sound than it is to be played: nothing tells us that the melody is to be heard as vocal or instrumental. This melody, however, is embodied in the upper and lower parts as a kind of after-resonance-out of phase, delicate, and shadowy.

The most signal triumphs of the Romantic portrayal of memory are not those which recall past happiness, but remembrances of those moments when future happiness still seemed possible, when hopes were not yet frustrated.