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Whereas in instrumental forms the output, however measurable or astonishing, remain with his death at 31 understandably 'unfinished', its rapid progress into post-classical durations and procedures only gradually and partially fulfilled by such successors as Brahms and Dvorak, Bruckner and Mahler, in songs he is from his mid-teens onwards the flawless master of a hitherto unsuspected realm. There were Lieder before, but the genre was minor, even puny.