Illustrate ways in which an accompaniment can contribute to the interpretation of the text in a Lied. Answer with reference to the music of at least two composers.

Lied (plural: Lieder) is the quintessential genre of German Romanticism, whose key aesthetic ideas are found in their most concentrated form in the Lieder of Beethoven, Schubert, Schumann and Brahms, among many others. Of the many contributions these composers made towards the genre, perhaps the most important is how composers treat the accompaniment with relation to the text. Around the turn of the nineteenth century, the instrumental accompaniment was a simple, mainly chord-based embellishment of the music. Schubert's songs, however, are the first examples of the role of the piano part becoming more important in transmitting the explicit and implicit meaning of the text. Two notable examples are Gretchen am Spinnrade and Gute Nacht.In Gretchen am Spinnrade, Schubert sets the image of Gretchen spinning on her spinning-wheel through the use of rippling semiquaver figures in the right hand, with the long notes of the bottom voice of the left hand representing the pedal mechanism of the spinning-wheel and the quaver movement of the inner part representing the action of the thumb. While Gretchen laments about her impossible love for Faust, the spinning wheel drives on relentlessly, showing a mind in the throes of desperation. When she remembers his kiss ('sein Kuss!') the spinning wheel suddenly stops, replaced by dissonant chords - Gretchen's anguish reaches its peak at this moment, and yet she continues with her work, shown by the re-emergence of the spinning motif.Gute Nacht is the first song of Schubert's famous song cycle Winterreise ('Winter Journey'). In the first song, the Wandering protagonist leaves the town as a stranger, just as he arrived. He remembers the past Springtime, when the love between him and his lover was real and flowering. However, now the warmth and love of May have gone, and he decides to start walking even though he doesn't know where. The constant quaver motion of the piano accompaniment embody the relentless quality of the Wanderer's walking. Off-beat accents and harsh dimished sonorities also convey the sense of anguish and resentment in the Wanderer's heart. A brief switch to the parallel major occurs when the Wanderer talks about his lover's dreams - dreams throughout the cycle are seen as attractive havens of peace. However, the brief moment of happiness does not last for long, and the music reverts to the minor, demonstrating the futility and pessimism of the Winter Journey through the use of the instrumental accompaniment.