line is constantly moving, depicting a constantly burning fire, rather than establishing a linear harmonic structure. The arc of this piece seems to come out of nowhere, on a sudden leap to an A-natural, a half-step higher than the peak of the previous song, on the word ‘Liebesgluten,’ or ‘glowing, fiery love.’ The song does finally cadence in Bb Major, with the voice ending on F, the fifth. So, whereas the last song's accompaniment illustrated specific images, this accompaniment paints more of an impression, representing Szymanowski's progression from the German romantic style to the French impressionistic style. The fourth piece in the cycle, Tanz (Dance), is the most ‘prophetic’ of Szymanowski's new style. ‘It is perhaps in this one song that it is possible to see the bridge between Szymanowski’s “Germanic” mode of expression and the later, middle-period style.’ Though ‘dance was a recurring feature of Szymanowski’s music,’ this one differs ‘from the earlier, rather heavier examples,’ exhibiting ‘more refined, rocking rhythms’ found in some of his middle-period pieces, such as Metopes, op. 29, and the interludes of his Third Symphony. There is an A pedal in the left hand of the piano for much of the song, though at the beginning of the piece it is embellished by a G minor triad, and at the end by a repeated chromatic motive alternated with an octave E in the right hand, ‘dying away to an open fifth, leaving an abiding impression of near stasis,’ thus placing little emphasis on structural tonality. The climax of this piece occurs on a G# resolving briefly to an A, suggesting a turning point in the structure of the cycle itself, as the past three songs have peaked at G, G# and A, respectively. Also, this text is the most descriptively ‘exotic’ in its illustration of a tribal dance in which some only wear shoes and some are naked. To Szymanowski, who was seeking freedom of expression himself, the taboo of nudity was a tangible element of those pleasures forbidden to the Europeans yet allowed to the ‘heathens’ of the far East. Der verliebte Ostwind (The East wind in love) is the fifth in the set, and one of the three songs Szymanowski selected from op. 24 to include in his second set of Hafiz liebeslieder, op. 26 for solo voice and orchestra. In this song as in the other two, he relies less on