functional tonality as on creating a mood, in this case, of a sweeping wind that is personifying one wild and drunk with love. The accompaniment is a constant ascending and descending of arpeggios and scales, painting an impression of the wind, upon which the voice is the message that the wind bears, mostly in broad half and quarter notes traveling chromatically in half steps with the occasional leap. This synthesis of piano and voice illustrates one concept, rather than the text painting of individual words as in the first piece. In keeping with the overall shape of the set, the range of the song peaks on a G, leading into the dynamic climax on a G flat on the word ‘Schonheit,’ or ‘beauty.’ The harp-like accompaniment ends on a D octave, but there is no triad and therefore no feeling of cadence. The final song of the set, Trauriger Frühling (Sad spring) ties together the underlying themes of the cycle: nature, yearning, love, suffering, and death. The opening is rhythmically, similar to that of the first song, and the dynamic marking is also similar: what was first andante dolcissimo is now andante dolcissimo e molto espressivo. Whether or not these markings are those of the publisher or of Szymanowski himself, they are indicative of this transitional piece, representing Szymanowski's progression from German romanticism to adding elements of French impressionism. There are elements of both in this song. Underlining the text ‘The earth holds you fast in her darkness,’ the accompaniment illustrates the darkness and depth of the grave with low descending octaves in the left hand as the right hand exhibits a series of non-functional chords that obscure the light with chromatics filling in every crack. Then, there is specific text painting, when the melody exhibits a descending whole tone scale, depicting ‘from your depths,’ then rises at ‘you shall rise as Spring’s most beautiful flower!” Finally, there is a cadence in D major, the key of optimism, symbolizing the emergence of Spring from Winter, or, the emergence of life from death. Texts and translation Selected discography References Sources Chylinska, Teresa; Helman, Zofia; Wightman, Alistair, eds. The Songs of Karol Szymanowski and His Contemporaries. Los Angeles: Polish Music Center at USC, 2002. Downes, Stephen C. Szymanowski as Post-Wagnerian, The Love Songs of Hafiz, Op. 24. New York: Garland Publishing, 1994. Golaachowski, Stanislaw, Szymanowski. Translated by Henryk P. Anders and Christ