Another equally true saying of Schumann is that, compared with Beethoven, Schubert is as a woman to a man. For it must be confessed that one's attitudes towards him is almost always that of sympathy, attraction, and love, rarely that of embarrassment or fear. Here and there only, as in the Rosamund B minor Entr'acte, or the Finale of the 10th symphony, does he compel his listeners with an irrestistible power; and yet how different is this compulsion from the strong, fierce, merciless coercion, with which Beethoven forces you along, and bows and bends you to his will.
Sir George Grove, Beethoven, Schubert, Mendelssohn (London:Macmillan, 1951), p. 238.
The distance in form, intention, mood and expression between Schubert's songs for voice and piano and those of, say, Adele is remarkably small.
Howard Goodall, Howard Goodall's Story of Music. Episode 3, BBC, February 2014