Schubert, Franz (Peter)

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Schubert, Franz (Peter)

Schubert, Franz (Peter), great Austrian composer, a supreme melodist and an inspired master of lieder, brother of Ferdinand (Lukas) Schubert; b. Vienna, Jan. 31, 1797; d. there, Nov. 19, 1828. He studied violin with his father, a schoolmaster, and received instruction on the piano from his brother Ignaz; in addition, he took lessons in piano, organ, singing, and theory with Hölzer, the choirmaster. In 1808 he became a member of the Vienna Imperial Court chapel choir, and also entered the Stadtkonvict, a training school for court singers, where he studied music with the Imperial Court organist Wenzel Ruzicka and with the famous court composer Salieri. He played violin in the school orch. and conducted it whenever an occasion called for it. He began composing in school, and wrote a Fantasie for Piano, 4-Hands, several chamber pieces, orch. overtures, and the unfinished Singspiel Der Spiegelritter. His first song, Hagars Klage, is dated March 30, 1811. In 1813 he left the Stadtkonvict, but Salieri, evidently impressed by his talent, continued to give him instruction. He further attended a training college for teachers in Vienna, and then became an instructor at his father’s school. Although very young, he began writing works in large forms; between 1813 and 1816 he composed 5 syms., 4 masses, several string quartets, and also some stage music. He also wrote his first opera, Des Teufels Lustschloss. It was then that he wrote some of his most famous lieder. He was only 17 when he wrote Gretchen am Spinnrade, and only 18 when he composed the overpowering dramatic song Erlkönig. The prodigious facility that Schubert displayed is without equal; during the year 1815 he composed about 140 songs; on a single day, Oct. 15, he wrote 8 lieder. He became friendly with the poets Johann Mayrhofer and Franz von Schober, and set a number of their poems to music. In 1817 he lodged with Schober and his widowed mother, arranging to pay for his keep from his meager resources. It was then that he met the noted baritone Johann Michael Vogl, who put many of Schubert’s songs on his concert programs. Outstanding lieder from this period include the 3 Harfenspieler, Der Wanderer, Der Tod und das Mädchen, Ganymed, An die Musik, and Die Forelle. During the summer of 1818, he served as music tutor to the family of Count Esterhâzy at Zélesz in Hungary. On March 1, 1818, his Overture in C major, “in the Italian style,” became his first orch. work to be accorded a public performance in Vienna. On June 14, 1820, his Singspiel Die Zwillingsbrüder was performed at the Kärnthner-tortheater in Vienna. On Aug. 19, 1820, a score of his incidental music for the play Die Zauberharfe was heard at the Theater an der Wien; this score contains an overture that became subsequently popular in concert performances under the name Rosamunde Overture, although it was not composed for the score to the play Rosamunde, Fürstin von Zypern, which was produced at the Theater an der Wien more than 3 years later, on Dec. 20, 1823. Although Schubert still had difficulties in earning a living, he formed a circle of influential friends in Vienna, and appeared as a pianist at private gatherings; sometimes he sang his songs, accompanying himself at the keyboard; he was also able to publ. some of his songs. A mystery is attached to his most famous work, begun in 1822, the Sym. in B minor, known popularly as the “Unfinished” Sym. Only 2 movements are known to exist, with portions of the third, a Scherzo, in sketches. What prevented him from finishing it? Speculations are as rife as they are worthless, particularly since he was usually careful in completing a work before embarking on another composition. In 1823 he completed his masterly song cycle Die schöne Müllerin; in 1824 he once again spent the summer as a private tutor in Count Esterházy’s employ in Zélesz. In 1827 he wrote another remarkable song cycle, Die Winterreise. On March 26, 1828, he presented in Vienna a public concert of his works. From that year, which proved to be his last, date several masterpieces, including the 2 books of songs collectively known as the Schwanengesang. His health was frail, and he moved to the lodgings of his brother Ferdinand. On the afternoon of Nov. 19, 1828, Schubert died, at the age of 31. For a thorough account of his illness, see E. Sams’s “Schubert’s Illness Re-examined,” Musical Times (Jan. 1980). There is no incontrovertible evidence that Schubert died of syphilis.

Schubert is often described as the creator of the genre of strophic lieder; this summary description is chronologically untenable, since Zelter wrote strophic lieder a generation before him. Goethe, whose poems were set to music by Zelter, Beethoven, and Schubert, favored Zelter’s settings. What Schubert truly created was an incomparably beautiful florilegium of lieder typifying the era of German Romantic sentiment and conveying deeply felt emotions, ranging from peaceful joy to enlightened melancholy, from philosophic meditation to throbbing drama; the poems he selected for his settings were expressive of such passing moods. He set to music 72 poems by Goethe, 47 by Mayrhofer, 46 by Schiller, 44 by Wilhelm Müller, 28 by Matthison, 23 by Hölty, 22 by Kosegarten, 13 by Körtner, 12 by Schober, and 6 by Heine.

In a sense, Schubert’s Moments musicaux, Impromptus, and other piano works are songs without texts. On several occasions, he used musical material from his songs for instrumental works, as in the great Wanderer Fantasia for Piano, based on his song Der Wanderer, and the “Forellen” Piano Quintet, in which the fourth movement is a set of variations on the song Die Forelle. His String Quartet in D minor includes a set of variations on his song Der Tod und das Mädchen in its second movement. But Schubert was not given to large theater works and oratorios. Even his extended works in sonata form are not conceived on a grand scale but, rather, are constructed according to the symmetry of recapitulations; his music captivates the listeners not by recurring variety but by the recalled felicities; time and again in his MSS, he simply indicates the repetition of a group of bars by number. Therein lies the immense difference between Schubert and Schumann, both Romantic poets of music: where Schubert was satisfied with reminding the listener of a passage already heard, Schumann variegates. Schubert was indeed the most symmetrical composer in the era of free-flowing musical prose and musical poetry.

Much confusion exists in the numbering of Schubert’s syms., the last being listed in most catalogues as No. 9; the missing uncounted sym. is No. 7, which exists as a full draft, in 4 movements, of which the first 110 bars are fully scored; several “completions” exist, the first by John Francis Barnett, made in 1883, the second by Felix Weingarrner, manufactured in 1934, and the third, and perhaps the most Schubertomorphic, constructed with artful imitation of Schubert’s ways and means, by Brian Newbould, in 1977. The “Unfinished” Sym. is then No. 8. There remains the “Gmunden” or “Gastein” Sym., so named because Schubert was supposed to have written it in Gastein, in the Tirol, in 1825. It was long regarded as irretrievably lost, but was eventually identified with No. 9, the great C major Sym. Incredibly, as late as 1978 there came to light in a somehow overlooked pile of music in the archives of the Vienna Stadtsbibliothek a sketch of still another Schubert sym., composed during the last months of his life; this insubstantial but magically tempting waft of Schubert’s genius was completed by Brian Newbould; it is numbered as his 10th.

The recognition of Schubert’s greatness was astonishingly slow. Fully 40 years elapsed before the discovery of the MS of the “Unfinished” Sym. Posthumous performances were the rule for his sym. premieres, and the publication of his syms. was exceedingly tardy. Schumann, ever sensitive to great talent, was eager to salute the kindred genius in Schubert’s syms., about whose “Heavenly length” he so admiringly complained. But it took half a century for Schubert to become firmly established in music history as one of the great Sch’s (with Chopin phonetically counted in).


In the list of Schubert’s works given below, the D. numbers are those established by O. Deutsch (with D. Wakel-ing) in his Schubert: Thematic Catalogue of All His Works in Chronological Order (London, 1951; in Ger. as Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge …, publ. in the Neue Ausgabe sämtlicher Werke of Schubert in a rev. ed. in 1978). dramatic : Der Spiegelritter, D.ll, Singspiel (1811–12; unfinished; only the Overture and Act I completed; Swiss Radio, Dec. 11, 1949); Des Teufels Lustschloss, D.84, opera (1813–15; 2 versions; Vienna, Dec. 12, 1879); Adrast, D.137, opera (1817–19; unfinished; Vienna, Dec. 13, 1868); Der vierjährige Posten, D.190, Singspiel (1815; Dresden, Sept. 23, 1896); Fernando, D.220, Singspiel (1815; Vienna, April 13, 1907); Claudine von Villa Bella, D.239, Singspiel (1815; unfinished; only the Overture and Act I completed; Vienna, April 26, 1913); Die Freunde von Salamanka, D.326, Singspiel (1815; Halle, May 6, 1928); Die Bürgschaft, D.435, opera (1816; unfinished; only Acts I and II completed; Vienna, March 7, 1908); Die Zauberharfe, D.644, melodrama (Theater an der Wien, Vienna, Aug. 19, 1820); Die Zwillingsbrüder, DM7, Singspiel (1819; Kärnthnertortheater, Vienna, June 14, 1820); Sakuntala, D.701, opera (1820; only sketches for Acts I and II; Vienna, June 12, 1971); Duet and Aria for Hérold’s Das Zauberglöckchen (La Clochette), D.723 (Vienna, June 20, 1821); Alfonso und Estrella, D.732, opera (1821–22; Weimar, June 24, 1854); Die Verschworenen (Der häusliche Krieg), D.787, Singspiel (1823; Vienna, March 1, 1861); Rüdiger, D.791, opera (1823; sketches only; Vienna, Jan. 5, 1868); Fierabras, D.796, opera (1823; Karlsruhe, Feb. 9, 1897); Rosamunde, Fürstin von Zypern, D.797, incidental music to the play by H. von Chézy (Theater an der Wien, Vienna, Dec. 20, 1823); Der Graf von Gleichen, D.918, opera (1827; sketches only); Der Minnesänger, D.981, Singspiel (date unknown; unfinished; not extant). ORCH .: Overture in D major, D.2a (originally D.996; 1811?; fragment only); Sym. in D major, D.2b (originally D.997; 1811?; fragment of first movement only); Overture in D major, to Albrecht’s comedy Der Teufel als Hydraulicus, D.4 (1812?); Overture in D major, D.12 (1811?); Overture in D major, D.26 (1812); 3 minuets and trios, D.39a (1813; not extant); orch. fragment in D major, D.71c (originally D.966a; 1813); Sym. No. 1, in D major, D.82 (1813); orch. fragment in B-flat major, D.94a (1814?); Sym. No. 2, in B-flat major, D.125 (1814–15); Sym. No. 3, in D major, D.200 (1815); Concerto (Concertstück) in D major for Violin and Orch., D.345 (1816); Sym. No. 4, in C minor, D.417, “Tragic” (1816); Rondo in A major for Violin and Strings, D.438 (1816); Overture in B-flat major, D.470 (1816); Sym. No. 5, in B-flat major, D.485 (1816); Overture in D major, D.556 (1817); Polonaise in B-flat major for Violin and Orch., D.580 (1817); Sym. No. 6, in C major, D.485 (1816); Overture in D major, D.590, “im italienischen Stile” (1817); Overture in C major, D.591, “im italienischen Stile” (1817); Sym. in D major, D.615 (piano sketches for 2 movements only; 1818); Overture in E minor, D.648 (1819); Sym. in D major, D.708a (sketches only; 1821); Sym. (No. 7) in E minor/major, D.729 (1821; sketched in score; performing version realized by R.F. Barnett, Felix Weingartner, and Brian Newbould); Sym. No. 8, in B minor, D.759, “Unfinished” (1822; 2 movements and an unfinished scherzo); “Gmunden” or “Gastein” Sym., D.849 (identical with D.944); Sym. (No. 10) in D major, D.936a (1828; sketches only; performing versions realized by Brian Newbould and by Peter Gülke); Sym. No. 9, in C major, D.944, “Great” (1825–26). CHAMBER : String Quartet, D.2c (originally D.998; 1811?; fragment only); 6 minuets, D.2d (originally D.995; 1811); sketch for a trio of a minuet, in C major, D.2f (1811); String Quartet in C major, D.3 (1812; fragment only); Overture in C minor, D.8 (1811); Overture in C minor, D.8a (an arrangement of D.8; 1811); String Quartet in G minor/B-flat major, D.18 (1810?); String Quartet, D.19 (1810?; not extant); String Quartet, D.19a (1810?; not extant); Overture in B-flat major, D.20 (1812; not extant); Trio (Sonata in one movement) in B-flat major, D.28 (1812); String Quartet in C major, D.32 (1812); String Quartet in B-flat major, D.36 (1812–13); String Quartet in C major, D.46 (1813); String Quartet in B-flat major, D.68 (1813; 2 movements only); Wind Octet in F major, D.72 (1813); Allegro in F major, D.72a (1813; unfinished); String Quartet in D major, D.74 (1813); Wind Nonet in E-flat minor, D.79, “Franz Schuberts Begräbnis-Feyer” (Eine kleine Trauermusik) (1813); Minuet in D major, D.86 (1813); String Quartet in E- flat major, D.87 (1813); Andante in C major, D.87a (1813); 5 minuets and 6 trios, D.89 (1813); 5 Deutsche and 7 trios, with coda, D.90 (1813); String Quartet in D major, D.94 (1811?); 5 minuets and 6 Deutsche, with trios, D.94b (1814; not extant); Trio in G major, for Schubert’s arrangement of Matieg-ka’s Notturno, op.21, D.96 (1814); String Quartet in C minor, D.103 (1814; fragments, Grave, and Allegro extant); String Trio in B-flat major, D.llla (1814; not extant); String Quartet in B-flat major, D.112 (1814); String Quartet in G minor, D.173 (1815); String Quartet in E major, D.353 (1816); 4 komische Ländler in D major, D.354 (1816); 8 Ländler in F-sharp minor, D.355 (1816); 9 Ländler in D major, D.370 (1816); 11 Ländler in B-flat major, D.374 (1816); Sonata (Sonatina) in D major, D.384 (1816); Sonata (Sonatina) in A minor, D.385 (1816); Sonata (Sonatina) in G minor, D.408 (1816); String Trio in B-flat major, D.471 (1816; unfinished); Adagio and Rondo concertante in F major, D.487 (1816); Sonata (Duo) in A major, D.574 (1817); String Trio in B-flat major, D.581 (1817); Variations in A major, D.597a (1817; not extant); Overture in B-flat major, D.601 (an arrangement of the D.470 overture; 1816?; fragment only); Piano Quintet in A major, D.667, “Die Forelle” (1819); String Quartet in C minor, D.703 (Quartettsatz) (1820); Introduction and variations on Trockne Blumen from Die schöne Müllerin, in E minor/E major, D.802 (1824); Octet in F major, D.803 (1824); String Quartet in A minor, D.804 (1824); String Quartet in D minor, D.810, “Der Tod und das Mädchen” (1824); Sonata in A minor, D.821, “Arpeg-gione” (1824); String Quartet in G major, D.887 (1826); Rondo in B minor (Rondo brillant), D.895 (1826); Piano Trio movement in E-flat major, D.897, “Notturno” (1828?); Piano Trio in B-flat major, D.898 (1828?); Piano Trio in E- flat major, D.929 (1827); Fantasy in C major, D.934 (1827); String Quintet in C major, D.956 (1828); Fugue in C major, D.A1/3 (1812?;) fragment only). Piano So1o: Fantasie in C minor, D.2e (originally D.993; 1811); Fugue in D minor, D.13 (1812?); Overture, D.14 (1812?; sketch only; not extant); 6 variations in E-flat major, D.21 (1812; not extant); 7 variations in F major, D.24 (1812; fragment only; not extant); Fugue in C major, D.24a (1812); Fugue in G major, D.24b (1812); Fugue in D minor, D.24c (1812); Fugue in C major, D.24d (1812; fragment only); Fugue in F major, D.25c (1812; fragment only); Andante in C major, D.29 (1812); fugai sketches in B-flat major, D.37a (originally D.967; 1813?); Fugue in E minor, D.41a (1813; fragment only); Fugue in E minor, D.71b (1813; fragment only); Allegro in E major, D.154 (sketch of D.157; 1815); 10 variations in F major, D.156 (1815); Sonata in E major, D.157 (1815; unfinished); Adagio in G major, D.178 (1815); Sonata in C major, D.279 (1815); Allegretto in C major, D.346 (1816?; fragment only); Allegretto moderato in C major, D.347 (1813?; fragment only); Andantino in C major, D.348 (1816; fragment only); Adagio in C major, D.349 (1816?; fragment only); Sonata in F major, D.459 (1816; fragment only); 5 Klavierstücke, D.459a (first 2 from preceding work; 1816?); Adagio in D-flat major, D.505 (original slow movement of D.625; 1818); Rondo in E major, D.506 (1817); Sonata in A minor, D.537 (1817); Sonata in A-flat major, D.557 (1817); Sonata in E minor, D.566 (1817); Sonata in D-flat major, D.567 (unfinished; first version of D.568; 1817); Sonata in E-flat major, D.568 (1826?); Scherzo in D major and Allegro in F-sharp minor, D.570 (unfinished; 1817); Sonata in F-sharp minor, D.571 (1817; fragment only); Sonata in B major, D.575 (1817); 13 variations on a theme by Anselm Hüttenbrenner, in A minor, D.576 (1817); 2 scherzos, in B-flat major and D-flat major, D.593 (1817); Andante in A major, D.604 (1816?); Fantasia in C major, D.605 (1821–23; fragment only); Fantasy in C major, D.605a, “Grazer Fantasie” (1818?); March in E major, D.606 (1818?); Adagio in E major, D.612 (1818); Sonata in C major, D.613 (2 movements; 1818); Sonata in F minor, D.625 (2 movements; 1818); Sonata in C-sharp minor, D.655 (1819; fragment only); Sonata in A major, D.664 (1819?); Variations on a Waltz by Diabelli, in C minor, D.718 (1821); Overture to Alfonso und Estrella, in D major, D.759a (an arrangement of the D.732 overture; 1822); Fantasy in C major, D.760, “Wanderfantasie” (1822); Sonata in E minor, D.769a (originally D.994; 1823?; fragment only); 6 Momens musicals [sic], in C major, A-flat major, F minor, C-sharp minor, F minor, A- flat major, D.780 (1823–28); Sonata in A minor, D.784 (1823); Ungarische Melodie in B minor, D.817 (1824); Sonata in C major, D.840, Reliquie (unfinished; 1825); Sonata in A minor, D.845 (1823); Sonata in B minor, D.817 (1824); Sonata in C major, D.894 (originally known as the Fantasie, Andante, Menu-etto und Allegretto; 1826); 4 impromptus, in C minor, E-flat major, G- flat major, and A-flat major, D.899 (1827); Allegretto in C minor, D.900 (1820?; fragment only); Allegretto in C minor, D.915 (1827); sketch for a piano piece in C major, D.916b (1827); sketch for a piano piece in C minor, D.916c (1827); 4 impromptus, in F minor, A-flat major, B-flat major, and F minor, D.935 (1827); 3 Klavierstücke, in E-flat minor, E-flat major, and C major, D.946 (1828); Sonata in C minor, D.958 (1828); Sonata in A major, D.959 (1828); Sonata in B-flat major, D.960 (1828); March in G major, D.980f (date unknown). 4 -hands:Fantasie in G major, D.I (1810); Fantasie in G major, (1810?; fragment only); Sonata in F major, (1810; unfinished); Fantasie in G major, D.I (1810); Fantasie in G major, D.48, “Grande sonate” (2 versions; 1813); Overture in D major, D.592, “im italienischen Stile” (an arrangement of D.590; 1817); Overture in C major, D.597, “im italienischen Stile” (an arrangement of D.591; 1817); 4 polonaises, in D minor, B-flat major, E major, and F major, D.599 (1818); 3 marches héroïques, in B minor, C major, and D major, D.602 (1818?); Rondo in D major, D.608 (2 versions; 1818); Sonata in B-flat major, D.617 (1818); Deutscher in G major, with 2 trios and 2 Ländler, in E major, D.618 (1818); Polonaise and Trio, D.618a (sketch only; 1818; orch. by Raymond Leppard; Indianapolis, Nov. 8, 1990, Leppard conducting); 8 variations on a French song, in E minor, D.624 (1818); Overture in G minor, D.668 (1819); Overture in F major, D.675 (1819); 3 marches militaires, in D major, G major, and E-flat major, D.733 (1818); Overture to Alfonso und Estrella, D.773 (an arrangement of the D.732 overture; 1823); Overture to Fierabras, D.798 (an arrangement of the D.796 overture; 1823); Sonata in C major, D.812, “Grand duo” (1824; orchestrated by Raymond Leppard; Indianapolis, Nov. 8, 1990, Leppard conducting); 8 variations on an original theme, in A-flat major, D.813 (1824); 4 Ländler, in E-flat major, A-flat major, C minor, and C major, D.814 (1824); Divertissement a l’hongroise in G minor, D.818 (1824); 6 grandes marches, in E- flat major, G minor, B minor, D major, E-flat minor, and E major, D.819 (1824); Divertissement sur des motifs originaux français in E minor, D.823:1, Marche brillante; 2, Andantino varié; 3, Rondeau brillant (1825?); 6 polonaises, in D minor, F major, B-flat major, D major, A major, and E major, D.824 (1826); Grande marche funèbre in C minor, D.859 (on the death of Alexander I of Russia; 1825); Grande marche héroïque in A minor, D.885 (for the coronation of Nicholas I of Russia; 1826); 8 variations on a theme from Hérold’s Mûrie, in C major, D.908 (1827); March in G major, D.928, “Kindermarsch” (1827); Fantasie in F minor, D.940 (1828); Allegro in A minor, D.947, Lebensstürme (1828); Rondo in A major, D.947 (1828); Fugue in E minor, D.940 (1828); Allegro moderato in A major and Andante in A minor (Sonatine), D.968 (1818?); Introduction, 4 variations on an original theme, and Finale, in B-flat major, D.968a (originally D.603; 1824?); 2 marches caractéristiques in C major, D.968b (originally D.886; 1826?). Dances For Piano: Waltzes and March, D.19b (1812?; not extant); 12 minuets with trios, D.22 (1812; not extant); 30 minuets with trios, D.41 (1813; 10 not extant); 2 minuets, in D major and A major, both with 2 trios, D.91 (1813; 2 other minuets lost); 12 Wiener Deutsche, D.128 (1812?); Deutscher in E major, with trio, D.135 (1815); Deutscher in C-sharp minor, with trio, D.139 (1815); 12 waltzes, 17 Ländler, and 9 écossaises, D.145 (1815–21); 20 waltzes (Letzte Walzer), D.146 (Nos. 1 and 3–11, 1815; Nos. 2 and 12–20, 1823); Écossaise in D minor/F major, D.158 (1815); Minuet in A minor, with trio, D.277a (1815); 12 écossaises, D.299 (1815); Minuet in A major, with trio, D.334 (1815?); Minuet in E major, with 2 trios, D.335 (1813?); 36 Originaltänze (Erste Walzer), D.365 (1816–21); 17 Ländler, D.366 (1816–24); 8 Ländler, D.378 (1816); 3 minuets, in E major, A major, and C major, each with 2 trios, D.380 (1816); 12 Deutsche, D.420 (1816); 6 écossaises, D.421 (1816); Écossaise in E-flat major, D.511 (1817?); 8 écossaises, D.529 (1817); Minuet in C-sharp minor, D.600 (1814?); Trio in E major, D.610 (1818); Deutscher in C-sharp minor and Écossaise in D-flat major, D.643 (1819); 12 Ländler, D.681 (1815?; Nos. 1–4 not extant); 6 écossaises, D.697 (1820); dEcossaise in D-flat major, D.643 (1819); 12 Landler, 2 écossaises (Wiener-Damen Landler), D.734 (1822?); Galop and 8 écossaises, D.735 (1822?); 2 Deutsche, in A major and D major, D.769 (No. 1, 1824; No. 2, 1823); 34 Valses sentimentales, D.779 (1823?); 12 écossaises, D.781 (1823); Écossaise in D major, D.782 (1823?); 16 Deutsche and 2 écossaises, D.783 (1823–24); 12 Deutsche (Ländler), D.790 (1823); 3 écossaises, D.816 (1824); 6 Deutsche, D.820 (1824); 2 Deutsche, in F major and G major, D.841 (1825); Waltz in G major (Albumblatt), D.844 (1825); 12 Grazer Walzer, D.924 (1827); Grazer Galopp in C major, D.925 (1827); Deutscher, D.944a (1828; not extant); 12 waltzes (Valses nobles), D.969 (1826); 6 Ländler, D.970 (date unknown); 3 Deutsche, in A minor, A major, and E major, D.971 (1822); 3 Deutsche, in D-flat major, A-flat major, and A major, D.972 (date unknown); 3 Deutsche, in A minor, A major, and E major, D.973 (date unknown); 2 Deutsche, both in D-flat major, D.974 (date unknown); Deutscher in D major, D.975 (date unknown); Cotillon in E-flat major, D.976 (1825); 8 écossaises, D.977 (date unknown); Waltz in A-flat major, D.978 (1825); Waltz in G major, D.979 (1826); 2 waltzes, in G major and B minor, D.980 (1826); 2 dance sketches, in A major and E major, D.980a (originally D.640; date unknown); 2 Ländler, both in E-flat major, D.980b (originally D.679; date unknown); 2 Ländler, both in D-flat major, D.980c (originally D.680; fragment only; date unknown); Waltz in C major, D.980d (1827); 2 dance sketches, in G minor and F major, D.980c (date unknown). VOCAL : Church : Salve Regina in F major for Soprano, Organ, and Orch., D.27 (1812); Kyrie in D minor for Soprano, Tenor, Chorus, Organ, and Orch., D.31 (1812); Kyrie in B-flat major for Orch., D.27 (1812); Kyrie in D minor for Soprano, Alto, Tenor, orus, Organ, and Orch., D.31 (1812); Kyrie in F major for Chorus, Organ, and Orch., D.66 (1813); Mass No. 1, in F major, for 2 Sopranos, Alto, 2 Tenors, Bass, Chorus, Organ, and Orch., D.105 (1814); Salve Regina in B-flat major for Tenor, Organ, and Orch., D.106 (1814); Totus in corde langueo, offertory in C major for Soprano or Tenor, Clarinet or Violin, Organ, and Orch., D.136 (1815); Mass No. 2, in G. major, for Soprano, Tenor, Bass, Chorus, Organ, and Strings, D.167 (1815); Stabat Mater in G minor for Chorus, Organ, and Orch., D.175 (1815); Très sunt, offertory in A minor for Chorus, Organ, and Orch., D.181 (1815); Benedictus es, Domine, gradual in C major for Chorus, Organ, and Orch., D.184 (1815); Dona nobis pacem in F major for Bass, Chorus, Organ, and Orch., D.185 (alternative movement for D.105; 1815); Salve Regina (offertorium) in F major for Soprano, Organ, and Orch., D.223 (2 versions, 1815 and 1823); Mass No. 3, in B-flat major, for Soprano, Alto, Tenor, Bass, Chorus, Organ, and Orch., D.324 (1815); Deutsches Salve Regina (Hymne an die heilige Mutter Gottes) in F major for Chorus and Organ, D.379 (1816); Stabat Mater (oratorio) in F major/F minor for Soprano, Tenor, Bass, Chorus, and Orch., D.383 (1816); Salve Regina in B-flat major for Chorus, D.386 (1816); Mass No. 4, in C major, for Soprano, Alto, Tenor, Bass, Chorus, Organ, and Orch., D.452 (1816); Tantum ergo in C major for Soprano, Chorus, Organ, and Orch., D.460 (1816); Tantum ergo in C major for Soprano, Alto, Tenor, Bass, Chorus, and Orch., D.461 (1816); Magnificat in C major for Soprano, Alto, Tenor, Bass, Chorus, Organ, and Orch., D.486 (1815); Auguste jam coelestium in G major for Soprano, Tenor, and Orch., D.488 (1816); Deutsches Requiem (Deutsche Trauermesse) in G minor for Soprano, Alto, Tenor, Bass, Chorus, and Organ, D.621 (1818); Salve Regina (offertorium) in A major for Soprano and Strings, D.676 (1819); Mass No. 5, in A-flat major, for Soprano, Alto, Tenor, Bass, Chorus, Organ, and Orch., D.678 (2 versions, 1819–22); Tantum ergo in B-flat major for Soprano, Alto, Tenor, Bass, Chorus, Organ, and Orch., D.730 (1821); Tantum ergo in C major for Chorus, Organ, and Orch., D.739 (1814); Tantum ergo in D major for Chorus, Organ, and Orch., D.750 (1822); Salve Regina in C major for 2 Tenors and 2 Basses, D.811 (1824); Deutsche Messe for Chorus and Organ, or Chorus, Organ, and Orch., D.872 (1827); Mass No. 6, in E-flat major, for Soprano, Alto, Tenor, Bass, Chorus, and Orch., D.950 (1828); Benedictus in A minor for Soprano, Alto, Tenor, Bass, Chorus, Organ, and Orch., D.961 (alternative movement for D.452; 1828); Tantum ergo in E- flat major for Soprano, Alto, Tenor, Bass, Chorus, and Orch., D.962 (1828); Intende voci, offertory in B-flat major for Tenor, Chorus, and Orch., D.963 (1828); etc. Other Vocal : Quell’ innocente figlio, D.17 (many versions, 1812); Entra l’uomo allor che nasce, D.33 (many versions, 1812); Te solo adoro for Soprano, Alto, Tenor, and Bass, D.34 (1812); Serbate, o dei custodi, D.35 (2 versions, 1812); Die Advokaten for Men’s Voices and Piano, D.37 (1812); Totengra’ber-lied for Men’s Voices, D.38 (1813); Dreifach ist der Schritt der Zeit for Men’s Voices, D.43 (1813); Dithyrambe, D.47 (1813; fragment only); Unendliche Freude for Men’s Voices, D.51 (1813); Vorüber die stöhnende Klage for Men’s Voices, D.53 (1813); UnendlicheFreude, canon for Men’s Voices, D.54 (1813); Selig durch die Liebe for Men’s Voices, D.55 (1813); Hier strecket der wallende Pilger for Men’s Voices, D.57 (1813); Dessen Fahne Donnerstürme wallte for Men’s Voices, D.55 (1813); Hier strecket der wallende Pilger for Men’s Voices, D.60 (1813); Ein jugendlicher Maienschwung, D.61 (1813); Thronend auf erhabnem Sitz for Men’s Voices, D.62 (1813); Wer die steile Sternenbahn for Men’s Voices, D.63 (1813); Majestätsche Sonnenrosse for Men’s Voices, D.64 (1813); Schmerz verzerret ihr Gesicht, canon, D.65 (1813; sketch only); Frisch atmet des Morgens lebendiger Hauch for Men’s Voices, D.67 (1813); Dreifach ist der Schritt der Zeit, D.69 (1813); Dreifach ist der Schritt der Zeit (Ewig still steht die Vergangenheit), canon for Men’s Voices, D.70 (1813); Die zwei Tugendwege for Men’s Voices, D.71 (1813); Trinklied (Freunde, sammelt euch im Kreise) for Bass, Men’s Voices, and Piano, D.75 (1813); Zur Namensfeier meines Vaters for Men’s Voices and Guitar, D.80 (1813); Verschwunden sind die Schmerzen, canon for Men’s Voices, D.88 (1813); Wer ist gross? for Bass, Men’s Voices, and Orch., D.110 (1814); Mailied (Grüner wird die Au) for Men’s Voices, D.129 (1815); Der Schnee zerrinnt, canon, D.130 (1815); Lacrimoso son io, canon, D.131 (2 versions, 1815); Lied beim Rundetanz, D.132 (1815?); Lied im Freien, D.133 (1815?); Klage um Ali Bey for Men’s Voices, D.140 (1815); Bardengesang for Men’s Voices, D.147 (1816); Trinklied (Brüder! unser Erdenwallen) for Tenor, Men’s Voices, and Piano, D.148 (1815); Nun lasst uns den Leib begraben (Begrabnislied) for Chorus and Piano, D.168 (1815); Osteriied for Chorus and Piano, D.168a (originally D.987; 1815); Trinklied vor der Schlacht for 2 Unison Choruses and Piano, D.169 (1815); Schwertlied for Voice, Unison Chorus, and Piano, D.170 (1815); Trinklied (Ihr Freunde und du gold’ner Wein) for Voice, Unison Chorus, and Piano, D.183 (1815); An die Freude for Voice, Unison Chorus, and Piano, D.189 (1815); Mailied (Grüner wird die Au) for 2 Voices, D.199 (1815); Mailied (Der Schnee zerrinnt) for 2 Voices, D.202 (1815); Der Morgenstern for 2 Voices, D.203 (1815); Jägerlied for 2 Voices, D.204 (1815); Lützows wilde Jagd for 2 Voices, D.205 (1815); Hymne an den Unendlichen for Chorus and Piano, D.232 (1815); Das Abendrot for Men’s Voices and Piano, D.236 (1815); Trinklied im Winter for Men’s Voices, D.242 (1815); Frühlingslied (Die Luft ist blau) for Men’s Voices, D.243 (1815); Willkommen, lieber schöner Mai, canon for 3 Voices, D.244 (2 versions, 1815); Punschlied: Im Norden zu singen for 2 Voices, D.253 (1815); Trinklied (Auf! jeder sei nun froh) for Men’s Voices and Piano, D.267 (1815); Bergknappenlied for Men’s Voices and Piano, D.268 (1815); Das Leben, D.269 (2 versions, 1815); Punschlied (Vier Elemente, innig gesellt) for Men’s Voices and Piano, D.277 (1815); Namensfeier für Franz Michael Vierthaler (Gratulations Kantate) for Soprano, Tenor, Bass, Chorus, and Orch., D.294 (1815); Das Grab, D.329a (1815; sketch only); Das Grab for 4 Voices and Piano, D.330 (1815); Der Entfernten for Men’s Voices, D.331 (1816?); Die Einsiedelei for Men’s Voices, D.337 (1816?); An den Frühling for Men’s Voices, D.338 (1816?); Amors Macht, D.339 (1816?); Badelied, D.340 (1816?); Sylphen, D.341 (1816?); Trinklied (Funkelnd im Becher) for Men’s Voices, D.356 (1816); Gold’ner Schein, canon for 3 Voices, D.357 (1816); Fischerlied for Men’s Voices, D.364 (1816?); Das Grab for Men’s Voices and Piano, D.377 (1816); Die Schlacht, D.387 (1816; sketch only); Beitrag zur fünfzig jährigen Jubelfeier des Herrn Salieri for Tenor, Men’s Voices, and Piano, D.407 (1816); Naturgenuss for Men’s Voices and Piano, D.422 (1822?); Andenken (Ich denke dein, wenn durch den Hain) for Men’s Voices, D.423 (1816); Erinnerungen (Am Seegestad) for Men’s Voices, D.424 (1816); Lebensbild for Men’s Voices, D.425 (1816; not extant); Trinklied (Herr Bacchus ist ein braver Mann) for Men’s Voices, D.426 (1816; not extant); Trinklied im Mai for Men’s Voices, D.427 (1816); Widerhall (Auf ewig dein) for Men’s Voices, D.428 (1816); An die Sonne for Chorus and Piano, D.439 (1816); Chor der Engel for Chorus, D.440 (1816); Das grosse Halleluja for Chorus and Piano, D.442 (1816); Schlachtlied for Chorus and Piano, D.443 (1816); Prometheus, cantata for Soprano, Bass, Chorus, and Orch., D.451 (1816; not extant); Kantate zu Ehren von Josef Spendou for 2 Sopranos, Bass, Chorus, and Orch., D.472 (1816); Der Geistertanz for Men’s Voices, D.494 (1816); La pastorella al prato for Men’s Voices and Piano, D.513 (1817?); Jagdlied for Unison Voices and Piano, D.521 (1817); Gesang der Geister über den Wassern for Men’s Voices, D.538 (1817?); Das Grab for Unison Voices and Piano, D.521 (1817); Lied im Freien for Men’s Voices, D.572 (1817); Das Dörfchen, D.598 (originally D.641; 1817; sketch only); Die Geselligkeit (Lebenslust) for Chorus and Piano, D.609 (1818); Leise, leise lasst uns singen for Men’s Voices, D.635 (1819?); Viel tausend Sterne prangen for Chorus and Piano, D.642 (1812?); Das Grab for Chorus, D.643a (1819); Sehnsucht (Nur wer die Sehnsucht kennt) for Men’s Voices, D.656 (1819); Ruhe, schönstes Gluck der Erde for Men’s Voices, D.657 (1819); Kantate zum Geburtstag des Sängers Johann Michael Vogl (Der Frühlingsmorgen) for Women’s and Men’s Voices and Piano, D.666 (1819); Lazarus, oder Die Feier der Auferstehung, oratorio for 3 Sopranos, 2 Tenors, Bass, Chorus, and Orch., D.689 (1820; unfinished); Der 23. Psalm for Women’s Voices and Piano, D.706 (1820); Frühlingsgesang for Men’s Voices, D.709 (1822); Im Gegenwärtigen Vergangenes for Men’s Voices and Piano, D.710 (1821); Gesang der Geister über den Wassern for Men’s Voices, 2 Violas, 2 Cellos, and 2 Double Basses, D.714 (originally D.704 as a sketch; 1820–21); Die Nachtigall for Men’s Voices and Piano, D.724 (1821); Frühlingsgesang for Men’s Voices and Piano, D.740 (1822); Grist der Liebe (Der Abend schieiert Flur und Hain) for Men’s Voices and Piano, D.747 (1822); Am Geburtstag des Kaisers, cantata for Soprano, Alto, Tenor, Bass, Chorus, and Orch., D.748 (1822); Gott in der Natur for Women’s Voices and Piano, D.757 (1822); Des Tages Weihe for Chorus and Piano, D.763 (1822); Ich haV in mich gesogen, D.778b (1823?; sketch only); Gondelfahrer for Men’s Voices and Piano, D.809 (1824); Gebet for Chorus and Piano, D.815 (1824); Lied eines Kriegers for Bass, Unison Voices, and Piano, D.822 (1824); Wehmut for Men’s Voices, D.825 (1826); Ewige Liebe for Men’s Voices, D.825a (1826); Flucht for Men’s Voices, D.825b (1825); Der Tanz for Chorus and Piano, D.826 (1828); Bootgesang for Men’s Voices and Piano, D.835 (1825); Coronach (Totengesang der Frauen und Mädchen) for Women’s Voices and Piano, D.836 (1825); Trinklied aus dem 16. Jahrhundert for Men’s Voices, D.847 (1825); Nachtmusik for Men’s Voices, D.848 (1825); Widerspruch for Men’s Voices and Piano, D.865 (1826?); Canon for 6 Voices, D.873 (1826?; sketch only); Nachklänge for Men’s Voices, D.873a (1826?; sketch only); Die Allmacht for Chorus and Piano, D.875a (1826?; sketch only); Nachklange for Men’s Voices, D.873a D.875 (1826); Nachthelle for Tenor, Men’s Voices, and Piano, D.892 (1826); Grab und Mond for Men’s Voices, D.893 (1826); Wein und Liebe for Men’s Voices, D.901 (1827); Zur guten Nacht for Baritone, Men’s Voices, and Piano, D.903 (1827); Schlachtlied for Men’s Voices, D.912 (1827); Nachtgesang im Walde for Men’s Voices and 4 Horns, D.913 (1827); Frühlingslied for Men’s Voices, D.914 (1827); Das stille Lied for Men’s Voices, D.916 (1827; sketch only); Ständchen, D.920 (originally D.921; 2 versions, 1827); Der Hochzeitsbraten for Soprano, Tenor, Bass, and Piano, D.930 (1827); Kantate för Irene Kiesewetter for 2 Tenors, 2 Basses, Chorus, and Piano, 4-Hands, D.936 (1827); Hymnus an den Heiligen Geist, D.941 (now listed as D.948; 2 versions, 1828); Mirjams Siegesgesang for Soprano, Chorus, and Piano, D.942 (1828); Der 92. Psalm: Lied für den Sabbath for Soprano, Alto, Tenor, Baritone, Bass, and Chorus, D.953 (1828); Glaube, Hoffnungund Liebe for 2 Tenors, 2 Basses, Chorus, and Wind Instruments or Piano, D.954 (1828); Gott im Ungewitter for Chorus and Piano, D.985 (1827?); Gott der Weltschopfer for Chorus and Piano, D.986 (1827?); Liebe säuseln die Blätter, canon for 3 Voices, D.988 (1815?). Songs :Sketch for a song, (no text; 1810?); Hagars Klage, D.5 (Schücking; 1811); Des Mädchens Klage, D.6 (Schiller; 1811?); Leichenfantasie, D.7 (Schiller; 1811?); Der Vatermörder, D.10 (Pfeffel; 1811); Der Geistertanz, D.15 and 15a (fragments only; Matthisson; 1812?); Quell’innocente figlio, D.17 (Metastasio; 1812); Klaglied, D.23 (Rochlitz; 1812); Der Jüngling am Bache, D.30 (Schiller; 1812); Entra l’uomo allor che nasce, D.33 (Metastasio; 1812); Serbate, o dei custodi, D.35 (Metastasio; 1812); Lebenstraum, D.39 (Baumberg; 1810?); Misero pargoletto, D.42 (several versions; Metastasio; 1813?); Totengräberlied, D.44 (Hölty; 1813); Die Schatten, D.50 (Matthisson; 1813); Sehnsucht, D.52 (Schiller; 1813); Verklärung, D.59 (Pope; Herder, tr.; 1813); Thekla: Eine Geisterstimme, D.73 (Schiller; 1813); Pensa, che questo istante, D.76 (2 versions; Metastasio; 1813); Der Taucher, D.77 (2 versions; second version originally D.lll; Schiller; first version, 1813–14; second version, 1815); Son fra l’onde, D.78 (Metastasio; 1813); Auf den Sieg der Deutschen, D.81, with 2 Violins and Cello (Schubert?; 1813); Zur Namensfeier des Herrn Andreas Siller, D.83, with Violin and Harp (1813); Don Gayseros, D.93 (3 versions: Don Gayseros, Don Gayseros; Nächtens klang die susse Laute; An dem jungen Morgenhimmel; F. de la Motte Fouqué; 1815?); Adelaide, D.95 (Matthisson; 1814); Trost: An Elisa, D.97 (Matthisson; 1814); Erinnerungen, D.98 (2 versions; Matthisson; 1814); Andenken, D.99 son; 1814); Trost:AnElisa, D.97 (Matthisson; 1814); Erinnerunnerung, D.101 (Matthisson; 1814); Die Betende, D.102 (Matthisson; 1814); Die Befreier Europas in Paris, D.104 (3 versions; Mikan; 1814); Lied aus der Ferne, D.107 (2 versions; Matthisson; 1814); Der Abend, D.108 (Matthisson; 1814); Lied der Liebe, D.109 (Matthisson; 1814); An Emma, D.113 (3 versions; Schiller; 1814); Romanze, D.114 (2 versions; Matthisson; 1814); An Laura, als sie Klopstocks Auferstehungslied sang, D.115 (Matthisson; 1814); Der Geistertanz, D.116 (Matthisson; 1814); Das Mädchen aus der Fremde, D.117 (Schiller; 1814); Gretchen am Spinnrade, D.118 (Goethe; 1814); Nachtgesang, D.119 (Goethe; 1814); Trost in Tränen, D.120 (Goethe; 1814); Schäfers Klagelied, D.121 (2 versions; Goethe; 1814); Ammenlied, D.122 (Lubi; 1814); Sehnsucht, D.123 (Goethe; 1814); Am See, D.124 (2 versions; Mayrhofer; 1814); Szene aus Goethes Faust, D.126, with 4 Voices (2 versions; Goethe; 1814); Ballade, D.134 (Kenner; 1815?); Rastlose Liebe, D.138 (2 versions; Goethe; first version, 1815; second version, 1821); Der Mondabend, D.141 (Kumpf; 1815); Geistes-Gruss, D.142 (6 versions; Goethe; 1815?); Genügsamkeit, D.143 (Schober; 1815); Romanze, D.144 (unfinished; F. Graf zu Stolberg- Stolberg; 1816); Der Sänger, D.149 (2 versions; Goethe; 1815); Lodas Gespenst, D.150 (Ossian; E. Baron de Harold, tr.; 1816); Auf einen Kirchhof, D.151 (Schlechta; 1815); Minona, D.152 (Bertrand; 1815); Als ich sie erröten sah, D.153 (Ehrlich; 1815); Das Bild, D.155 (1815); Die Erwartung, D.159 (2 versions; Schiller; 1816); Am Flusse, D.160 (Goethe; 1815); An Mignon, D.161 (2 versions; Goethe; 1815); Nähe des Geliebten, D.162 (2 versions; Goethe; 1815); Sängers Morgenlied, D.163 (Körner; 1815); Liebesrausch, D.164 (fragment only; Körner; 1815); Sängers Morgenlied, D.165 (Körner; 1815); Amphiaraos, D.166 (Körner; 1815); Trinklied vor der Schlacht, D.169, for 2 Unison Choruses (Körner; 1815); Schwertlied, D.170, with Unison Chorus (Körner; 1815); Gebet während der Schlacht, D.171 (Körner; 1815); Der Morgenstern, D.172 (fragment only; Körner; 1815); Das war ich, D.174 (2 versions; Körner; first version, 1815; second version, 1816); Die Sterne, D.176 (Fellinger; 1815); Vergebliche Liebe, D.177 (Bernard; 1815); Liebesrausch, D.179 (Körner; 1815); Sehnsucht der Liebe, D.180 (2 versions; Körner; 1815; second version not extant); Die erste Liebe, D.182 (Fellinger; 1815); Trinklied, D.183, with Unison Chorus (Zettler; 1815); Die Sterbende, D.186 (Matthisson; 1815); Stimme der Liebe, D.187 (Matthisson; 1815); Naturgenuss, D.188 (Matthisson; 1815); An die Freude, D.189, with Unison Chorus (Schiller; 1815); Des Mädchens Klage, D.191 (2 versions; Schiller; 1815); Der Jüngling am Bache, D.192 (Schiller; 1815); An den Mond, D.193 (Hölty; 1815); Die Mainacht, D.194 (Hölty; 1815); Amalia, D.195 (Schiller; 1815); An die Nachtigall, D.196 (Hölty; 1815); An die Apfelbäume, wo ich Julien erblickte, D.197 (Hölty; 1815); Seufzer, D.198 (Hölty; 1815); Auf den Tod einer Nachtigall, D.201 (fragment only; Hölty; 1815); Das Traumbild, D.204a (Hölty; 1815; not extant); Liebeständelei, D.206 (Körner; 1815); Der Liebende, D.207 (Hölty; 1815); Die Nonne, D.208 (2 versions; Hölty; first version, fragment only, 1815; second version, originally D.212, 1815); Der Liedler, D.209 (Kenner; 1815); Die Liebe (Klärchens Lied), D.210 (Goethe; 1815); Adelwold und Emma, D.211 (Bertrand; 1815); Der Traum, D.213 (Hölty; 1815); Die Laube, D.214 (Hölty; 1815); Jägers Abendlied, D.215 (Goethe; 1815); Meerestille, D.215a (Goethe; 1815); Meerestille, D.216 (Goethe; 1815); Kolmas Klage, D.217 (Ossian; 1815); Grablied, D.218 (Kenner; 1815); Das Finden, D.219 (Kosegarten; 1815); Der Abend, D.221 (Kosegarten; 1815); Lieb Minna, D.222 (Stadler; 1815); Wandrers Nachtlied, D.224 (Goethe; 1815); Der Fischer, D.225 (Goethe; 1815); Erster Verlust, D.226 (Goethe; 1815); Idens Nachtgesang, D.227 (Kosegarten; 1815); Von Ida, D.228 (Kosegarten; 1815); Die Erscheinung, D.229 (Kosegarten; 1815); Die Täuschung, D.227 (Kosegarten; 1815); Von Ida, D.228 (Kosegarten; 1815); Geist der Liebe, D.233 (Kosegarten; 1815); Tischlied, D.234 (Goethe; 1815); Abends unter der Linde, D.235 (Kosegarten; 1815); Abends unter der Linde, D.237 (Kosegarten; 1815); Die Mondnacht, D.238 (Kosegarten; 1815); Huldigung, D.240 (Kosegarten; 1815); Abends unterder Linde, D.237 (Kosegarten; 1815); Die Mondnacht, D.246 (Schiller; 1815); Die Spinnerin, D.247 (Goethe; 1815); Lob des Tokayers, D.248 (Baumberg; 1815); Die Schlacht, D.249 (Schiller; 1815; fragment only); Das Geheimnis, D.250 (Schiller; 1815); Hoffnung, D.251 (Schiller; 1815); Das Mädchen aus der Fremde, D.252 (Schiller; 1815); Punschlied: Im Norden zu singen, D.253 (Schiller; 1815); Der Gott und die Bajadere, D.254 (Goethe; 1815); Der Rattenfänger, D.255 (Goethe; 1815); Der Schatzgräber, D.256 (Goethe; 1815); Heidenröslein, D.257 (Goethe; 1815); Bundeslied, D.258 (Goethe; 1815); An den Mond, D.259 (Goethe; 1815); Wonne der Wehmut, D.260 (Goethe; 1815); Wer kauft Liebesgötter?, D.261 (Goethe; 1815); Die Fröhlichkeit, D.262 (Prandstetter; 1815); Gora an die Sonne, D.263 (Baumberg; 1815); Der Morgenkuss, D.264 (2 versions; Baumberg; 1815); Abendständchen: An Lina, D.265 (Baumberg; 1815); Morgenlied, D.266 (Stolberg; 1815); An die Sonne, D.270 (Baumberg; 1815); Der Weiberfreund, D.271 (Cow-ley; Ratschky, tr.; 1815); An die Sonne, D.272 (Tiedge; 1815); Lilla an die Morgenröte, D.273 (1815); Tischlerlied, D.274 (1815); Totenkranz für ein Kind, D.275 (Matthisson; 1815); Abendlied, D.276 (Stolberg; 1815); Ossians Lied nach dem Falle Nathos, D.278 (2 versions; Ossian; Harold, tr.; 1815); Das Rosenband, D.280 (Klop-stock; 1815); Das Mädchen von Inistore, D.281 (Ossian; Harold, tr.; 1815); Cronnan, D.282 (Ossian; Harold, tr.; 1815); An den Frühling, D.283 (Schiller; 1815); Lied, D.284 (Schiller?; 1815); Furcht der Geliebten (An Cidli), D.285 (2 versions; Klopstock; 1815); Selma und Selmar, D.286 (2 versions; Klopstock; 1815); Vaterlandslied, D.287 (2 versions; Klopstock; 1815); An sie, D.288 (Klopstock; 1815); Die Sommernacht, D.289 (2 versions; Klopstock; 1815); Die frühen Gräber, D.290 (Klopstock; 1815); Dem Unendlichen, D.291 (3 versions; Klopstock; 1815); Shilric und Vinvela, D.293 (Ossian; Harold, tr.; 1815); Hoffnung, D.295 (2 versions; Goethe; 1816?); An den Mond, D.296 (Goethe; 1816?); Augenlied, D.297 (2 versions; Mayrhofer; 1817?); Liane, D.298 (Mayrhofer; 1815); Der Jüngling an der Quelle, D.300 (Salis-Seewis; 1817?); Lambertine, D.301 (Stoll; 1815); Labetrank der Liebe, D.302 (Stoll; 1815); An die Geliebte, D.303 (Stoll; 1815); Wiegenlied, D.304 (Körner; 1815); Mein Grass an den Mai, D.305 (Kumpf; 1815); Skolie, D.306 (Deinhardstein; 1815); Die Sternewelten, D.307 (Jarnik; Fellinger, tr.; 1815); Die Macht der Liebe, D.308 (Kalchberg; 1815); Das gestörte Glück, D.309 (Körner; 1815); Sehnsucht, D.310 (2 versions; Goethe; 1815); An den Mond, D.311 (1815; fragment only); Hektors Abschied, D.312 (2 versions; Schiller; 1815); Die Sterne, D.313 (Kosegarten; 1815); Nachtgesang, D.314 (Kosegarten; 1815); An Rosa, D.315 (Kosegarten; 1815); An Rosa, D.316 (2 versions; Kosegarten; 1815); Idens Schwanenlied, D.317 (2 versions; Kosegarten; 1815); Schwangesang, D.318 (Kosegarten; 1815); Luisens Antwort, D.319 (Kosegarten; 1815); Der Zufriedene, D.320 (Reissig; 1815); Mignon, D.321 (Goethe; 1815); Hermann und Thusnelda, D.322 (Klopstock; 1815); Klage der Ceres, D.323 (Schiller; 1815–16); Harfenspieler, D.325 (Goethe; 1815); Lorma, D.327 (Ossian; Harold, tr.; 1815; fragment only); Erlkönig, D.328 (4 versions; Goethe; 1815); Die drei Sänger, D.329 (Bobrik; 1815; fragment only); Das Grab, D.330 (Salis-Seewis; 1815); An mein Klavier, D.342 (Schubart; 1816?); Am Tage aller Seelen (Litanei auf das Fest aller Seelen), D.343 (2 versions; Jacobi; 1816); Am ersten Maimorgen, D.344 (Claudius; 1816?); Der Entfernten, D.350 (Salis-Seewis; 1816?); Fischerlied, D.351 (Salis-Seewis; 1816); Licht und Liebe (Nachtgesang) D.352, for Soprano and Tenor (Collin; 1816?); Die Nacht, D.358 (Uz; 1816); Sehnsucht, D.359 (Goethe; 1816); Lied eines Schiffers an die Diosk-uren, D.360 (Mayrhofer; 1816); Am Bach im Frühlinge, D.361 (Schober; 1816); Zufriedenheit, D.362 (Claudius; 1816?); An Chloen, D.363 (Uz; 1816; fragment only); Der König in Thule, D.367 (Goethe; 1816); Jägers Abendlied, D.368 (Goethe; 1816); An Schwager Kronos, D.369 (Goethe; 1816); Klage, D.371 (1816); An die Natur, D.372 (Stolberg-Stolberg; 1816); Lied, D.373 (Fouqué; 1816); Der Tod Oskars, D.375 (Ossian; Harold, tr.; 1816); Lorma, D.376 (Ossian; Harold, tr.; 1816; fragment only); Morgenlied, D.381 (1816); Abendlied, D.382 (1816); Laura am Klavier, D.388 (2 versions; Schiller; 1816); Des Mädchens Klage, D.389 (Schiller; 1816); Entzückung an Laura, D.390 (Schiller; 1816); Die vier Weltalter, D.391 (Schiller; 1816); Pflügerlied, D.392 (Salis-Seewis; 1816); Die Einsiedelei, D.393 (Salis-Seewis; 1816); An die Harmonie, D.394 (Salis-Seewis; 1816); Lebensmelodien, D.395 (Schlegel; 1816); Gruppe aus dem Tartarus, D.396 (Schiller; 1816; fragment only); Ritter Toggenburg, D.397 (Schiller; 1816); Frühlingslied, D.398 (Hölty; 1816); Auf den Tod einer Nachtigall, D.399 (Hölty; 1816); Die Knabenzeit, D.400 (Hölty; 1816); Winterlied, D.401 (Hölty; 1816); Der Flüchtling, D.402 (Schiller; 1816); Lied, D.403 (4 versions; Salis-Seewis; 1816); Die Herbstnacht, D.404 (Salis-Seewis; 1816); Der Herbstabend, D.405 (2 versions; Salis- Seewis; 1816); Abschied von der Harfe, D.406 (Salis-Seewis; 1816); Die verfehlteStunde, D.409 (Schlegel; 1816); Sprache der Liebe, D.410 (Schlegel; 1816); Daphne am Bach, D.411 (Stolberg-Stolberg; 1816); Stimme der Liebe, D.412 (2 versions; Stolberg-Stolberg; 1816); Entzückung, D.413 (Matthisson; 1816); Geist der Liebe, D.414 (Matthisson; 1816); Klage, D.415 (Matthisson; 1816); Lied in der Abwesenheit, D.416 (Stolberg-Stolberg; 1816; fragment only); Stimme der Liebe, D.418 (Matthisson; 1816); Julius an Theone, D.419 (Matthisson; 1816); Minnelied, D.429 (Hölty; 1816); Die frühe Liebe, D.430 (2 versions; Hölty; 1816; second version not extant); Blumenlied, D.431 (Hölty; 1816); Der Leidende, D.432 (2 versions; 1816); Seligkeit, D.433 (Hölty; 1816); Erntelied, D.434 (Hölty; 1816); Klage, D.436 (2 versions; Hölty; 1816; second version originally D.437); Das grosse Halleluja, D.442 (Klopstock; 1816); Schlachtlied, D.443 (Klopstock; 1816); Die Gestirne, D.444 (Klopstock; 1816); Edone, D.445 (Klopstock; 1816); Die Liebesgötter, D.446 (Uz; 1816); An den Schlaf, D.447 (1816); Gott im Frühlinge, D.448 (2 versions; Uz; 1816); Der gute Hirt, D.449 (Uz; 1816); Fragment aus dem Aeschylus, D.450 (2 versions; Aeschylus; Mayrhofer, tr.; 1816); Grablied auf einen Soldaten, D.454 (Schubart; 1816); Freude der Kinderjahre, D.455 (Köpken; 1816); Das Heimweh, D.456 (Winkler; 1816); An die untergehende Sonne, D.457 (Kosegarten; 1816–17); Aus Diego Manazares (Ilmerine), D.458 (Schlechta; 1816); An Chloen, D.462 gacobi; 1816); Hochzeit-Lied, D.463 (Jacobi; 1816); In der Mitternacht, D.464 (Jacobi; 1816); Trauer der Liebe, D.465 (2 versions; Jacobi; 1816); Die Perle, D.466 (Jacobi; 1816); Pflicht und Liebe, D.467 (Gotter; 1816); An den Mond, D.468 (Hölty; 1816); Mignon, D.469 (Goethe; 1816; fragments only); Liedesend, D.473 (2 versions; Mayrhofer; 1816); Lied des Orpheus, als er in die Hölle ging, D.474 (2 versions; Jacobi; 1816; first version unfinished); Abschied (nach einer Wallfahrtsarie), D.475 (Mayrhofer; 1816); Rückweg, D.476 (Mayrhofer; 1816); Alte Liebe rostet nie, D.477 (Mayrhofer; 1816); Harfenspieler I (Gesänge des Harfners No. 1), D.478 (2 versions; Goethe; first version, 1816; second version, 1822); Harfenspieler lerI (Gesange des Harfners No. 1), D.478 (2 versions; Goethe; first version, 1816; second version, 1822); Harfenspieler III (Gesänge des Harfners No. 3), D.479 (2 versions; Goethe; first and second version, 1816; second version, 1822); Harfenspiele rIII (Gesange 1816); Der Sänger am Felsen, D.482 (Pichler; 1816); Lied, D.483 (Pichler; 1816); Gesang der Geister über den Wassern, D.484 (Goethe; 1816; fragment only); Der Wanderer, D.489 (3 versions; Lübeck; 1816; second version originally D.493b; third version originally D.493a); Der Hirt, D.490 (Mayrhofer; 1816); Geheimnis, D.491 (Mayrhofer; 1816); Zum Punsche, D.492 (Mayrhofer; 1816); Abendlied der Fürstin, D.495 (Mayrhofer; 1816); Bei dem Grabe meines Vaters, D.496 (Claudius; 1816); Klage um Ali Bey, D.496a (Claudius; 1816); An die Nachtigall, D.497 (Claudius; 1816); Wiegenlied, D.498 (1816); Abendlied, D.499 (Claudius; 1816); Phidile, D.500 (Claudius; 1816); Zufriedenheit, D.501 (2 versions; Claudius; 1816); Herbstlied, D.502 (Salis-Seewis; 1816); Mailied, D.500 (Claudius; 1816); Zu Grabe Anselmos, D.501 (2 versions; Claudius; 1816); Herbstlied, D.502 (Salis-Seewis; 1816); Mailied, D.508 (Matthisson; 1816); Leiden der Trennung, D.509 (2 versions; Metastasio; Collin, tr.; 1816; first version, fragment only); Vedi quanto adoro, D.510 (Metastasio; 1816); Nur wer die Liebe kennt, D.513a (Werner; 1817?; sketch only); Die abgeblühte Linde, D.514 (Széchényi; 1817?); Der Flug der Zeit, D.515 (Széchényi; 1817?); Sehnsucht, D.516 (Mayrhofer; 1816?); Der Schäfer und der Reiter, D.517 (2 versions; Fouqué; 1817); An den Tod, D.518 (Schubart; 1817?); Die Blumensprache, D.519 (Plarner?; 1817?); Frohsinn, D.520 (2 versions; Castelli; 1817); Jagdlied, D.521 (Werner; 1817); Die Liebe, D.522 (Leon; 1817); Trost, D.523 (1817); Der Alpenjäger, D.524 (3 versions; Mayrhofer; 1817); Wie Ulfru fischt, D.525 (2 versions; Mayrhofer; 1817); Fahrt zum Hades, D.526 (Mayrhofer; 1817); Schlaflied (Abendlied; Schlummerlied), D.527 (2 versions; Mayrhofer; 1817); La pastorella al prato, D.528 (Goldoni; 1817); An eine Quelle, D.530 (Claudius; 1817); Der Tod und das Mädchen, D.531 (Claudius; 1817); Das Lied vom Reifen, D.532 (Claudius; 1817; fragment only); Täglich zu singen, D.533 (Claudius; 1817); Die Nacht, D.534 (Ossian; Harold, tr.; 1817); Lied, D.535, with Small Orch. (1817); Der Schiffer, D.536 (2 versions; Mayrhofer; 1817); Am Strome, D.539 (Mayrhofer; 1817); Philoket, D.540 (Mayrhofer; 1817); Memnon, D.541 (Mayrhofer; 1817); Antigone und Oedip, D.542 (Mayrhofer; 1817); Auf dem See, D.543 (2 versions; Goethe; 1817); Ganymed, D.544 (Goethe; 1817); Der Jüngling und der Tod, D.545 (2 versions; Spaun; 1817); Trost im Liede, D.546 (Schober; 1817); An die Musik, D.547 (2 versions; Schober; 1817); Orest aufTauris, D.548 (Mayrhofer; 1817); Maho-mets Gesang, D.549 (Goethe; 1817; fragment only); Die Forelle, D.550 (5 versions; Schubart; 18177–21); Pax vobiscum, D.551 (Schober; 1817); Hänflings Liebeswerbung, D.552 (2 versions; Kind; 1817); Auf der Donau, D.553 (Mayrhofer; 1817); Uraniens Flucht, D.554 (Mayrhofer; 1817); sketch for a song, D.555 (no text; 1817); Liebhaber in allen Gestalten, D.558 (Goethe; 1817); Schweizerlied, D.559 (Goethe; 1817); Der Goldschmiedsgesell, D.560 (Goethe; 1817); Nach einem Gewitter, D.561 (Mayrhofer; 1817); Fischerlied, D.562 (Salis-Seewis; 1817); Die Einsiedelei, D.563 (Salis-Seewis; 1817); Gretchen im Zwinger (Gretchen; Gretchens Bitte), D.564 (Goethe; 1817; fragment only); Der Strom, D.565 (1817); Das Grab, D.569, for Unison Chorus (Salis-Seewis; 1817); Iphigenia, D.573 (Mayrhofer; 1817); Entzückung an Laura, D.577 (2 versions; Schiller; 1817; fragments only); Abschied, D.578 (Schubert; 1817); Der Knabe in der Wiege (Wiegenlied), D.579 (2 versions; Ottenwalt; 1817; second version, fragment only); Vollendung, D.579a (originally D.989; Matthisson; 1817); Die Erde, D.579b (originally D.989a; Marthisson; 1817); Gruppe aus dem Tartarus, D.583 (Schiller; 1817); Elysium, D.584 (Schiller; 1817); Atys, D.585 (Mayrhofer; 1817); Erlafsee, D.586 (Mayrhofer; 1817); An den Frühling, D.587 (2 versions; Schiller; 1817; second version originally D.245); Der Alpenjäger, D.588 (2 versions; Schiller; 1817; first version, fragment only); Der Kampf, D.594 (Schiller; 1817); Thekla: Eine Geisterstimme, D.595 (2 versions; Schiller; 1817); Lied eines Kindes, D.596 (1817; fragment only); Auf der Riesenkoppe, D.611 (Korner; 1818); An den Mond in einer Herbstnacht, D.614 (Schreiber; 1818); Grablied für die Mutter, D.616 (1818); a vocal exercise for 2 Voices and Figured Bass, D.619 (no text; 1818); Einsamkeit, D.620 (Mayrhofer; 1818); Der Blumenbrief, D.622 (Schreiber; 1818); Das Marienbild, D.623 (Schreiber; 1818); Blondel zu Marien, D.626 (1818); Das Abendrot, D.627 (Schreiber; 1818); Sonett I, D.628 (Petrarch; Schlegel, tr.; 1818); Sonett II, D.629 (Petrarch; Schlegel, tr.; 1818); Sonett III, D.630 (Petrarch; Gries, tr.; 1818); Blanka (Das Mädchen), D.631 (Schlegel; 1818); Vom Mitleiden Maria, D.632 (Schlegel; 1818); Der Schmetterling, D.633 (Schlegel; 1819?); Die Berge, D.634 (Schlegel; 1821?); Sehnsucht, D.636 (3 versions; Schiller; 1821?); Hoffnung, D.637 (Schiller; 1819?); Der Jüngling am Bache, D.638 (2 versions; Schiller; 1819); Widerschein, D.639 (2 versions; Schlechta; 1819?; second version originally D.949); Abend, D.645 (Tieck; 1819; fragment only); Die Gebüsche, D.646 (Schlegel; 1819); Der Wanderer, D.649 (Schlegel; 1819); Abendbilder, D.650 (Silbert; 1819); Himmelsfunken, D.651 (Silbert; 1819); Das Mädchen, D.652 (2 versions; Schlegel; 1819); Bertas Lied in der Nacht, D.653 (Grillparzer; 1819); An die Freunde, D.654 (Mayrhofer; 1819); Marie, D.658 (Novalis; 1819); Hymne I, D.659 (Novalis; 1819); Hymne II, D.660 (Novalis; 1819); Hymne III, D.661 (Novalis; 1819); Hymne IV, D.662 (Novalis; 1819); Der 13. Psalm, D.663 (M. Mendelssohn, tr.; 1819; fragment only); Beim Winde, D.669 (Mayrhofer; 1819); Die Sternennächte, D.670 (Mayrhofer; 1819); Trost, D.671 (Mayrhofer; 1819); Nachtstück, D.672 (2 versions; Mayrhofer; 1819); Die Sternenna chte, D.670 (Mayrhofer; 1819); Prometheus, D.674 (Goethe; 1819); Strophe aus Die Götter Griechenlands, D.677 (2 versions; Schiller; 1819); Über allen Zauber Liebe, D.682 (Mayrhofer; 1820?; fragment only); Die Sterne, D.684 (Schlegel; 1820); Morgenlied, D.685 (Werner; 1820); Frühlingsglaube, D.686 (3 versions; Uhland; first and second versions, 1820; third version, 1822); Nachthymne, D.687 (Novalis; 1820); 4 Canzonen: Non t’accostar all’urna (Vitorelli), Guarda, che bianca luna (Vitorelli), Da quel sembiante appresi (Metastasio), Mio ben ricordati (Metastasio), D.688 (ali 1820); Abendröte, D.690 (Schlegel; 1823); Die Vögel, D.691 (Schlegel; 1820); Der Knabe, D.692 (Schlegel; 1820); Der Fluss, D.693 (Schlegel; 1820); Der Schiffer, D.694 (Schlegel; 1820); Namenstagslied, D.695 (Stadler; 1820); Des Fräuleins Liebeslauschen (Liebeslauschen), D.698 (Schlechta; 1820); Der entsühnte Orest, D.699 (Mayrhofer; 1820); Freiwilliges Versinken, D.700 (Mayrhofer; 1820); Der Jüngling auf dem Hügel, D.702 (Hüttenbrenner; 1820); Der zürnenden Diana, D.707 (2 versions; Mayrhofer; 1820); Im Walde (Waldesnacht), D.708 (Schlegel; 1820); Lob der Tränen, D.711 (2 versions; Schlegel; 1818); Die gefangenen Sänger, D.712 (Schlegel; 1821); Der Unglückliche, D.713 (2 versions; Pichler; 1821); Versunken, D.715 (Goethe; 1821); Grenzen der Menschheit, D.716 (Goethe; 1821); Suleika, D.717 (1821?); Geheimes, D.719 (Goethe; 1821); Suleika, D.720 (2 versions; 1821); Mahomets Gesang, D.721 (Goethe; 1821; fragment only); Linde Lüfte wehen, D.725 (1821; fragment only); Mignon, D.726 (Goethe; 1821); Mignon, D.727 (Goethe; 1821); Johanna Sebus, D.728 (Goethe; 1821; fragment only); Der Blumen Schmerz, D.731 (Maylâth; 1821); Ihr Grab, D.736 (Engelhardt; 1822?); An die Leier, D.737 (Bruchmann; 1822?); Im Haine, D.738 (Bruchmann; 1822?); Sei mir gegrüsst, D.741 (Rückert; 1821?); Der Wachtelschlag, D.742 (Sauter; 1822); Selige Welt, D.743 (Senn; 1822); Schwanengesang, D.744 (Senn; 1822); Die Rose, D.745 (2 versions; Schlegel; 1822); Am See, D.746 (Bruchmann; 1822?); Herrn Josef Spaun, Assessor in Linz (Sendschreiben an den Assessor Spaun in Linz), D.749 (Collin; 1822); Die Liebe hat gelogen, D.751 (Platen-Hallermünde; 1822); Nachtviolen, D.752 (Mayrhofer; 1822); Heliopolis, D.753 (Mayrhofer; 1822); Heliopolis, D.754 (Mayrhofer; 1822); Du liebst mich nicht, D.756 (2 versions; Platen-Hallermünde; 1822); Todesmusik, D.758 (Schober; 1822); Schatzgräbers Begehr, D.761 (2 versions; Schober; 1822); Schwest-ergruss, D.762 (Bruchmann; 1822); Der Musensohn, D.764 (2 versions; Goethe; 1822); An die Entfernte, D.765 (Goethe; 1822); Am Flusse, D.766 (Goethe; 1822); Willkommen und Abschied, D.767 (2 versions; Goethe; 1822); Wandrers Nachtlied, D.768 (Goethe; 1824); Drang in die Ferne, D.770 (Leitner; 1823); Der Zwerg, D.771 (Collin; 1822?); Wehmut, D.772 (Collin; 1822?); Auf dem Wasser zu singen, D.774 (Stolberg-Stolberg; 1823); Dass sie hier gewesen, D.775 (Rückert; 1823?); Du bist die Ruh, D.776 (Rückert; 1823); Lachen und Weinen, D.777 (Rückert; 1823?); Greisengesang, D.778 (2 versions; Rückert; 1823); Die Wallfahrt, D.778a (Rückert; 1823?); Der zürnende Barde, D.785 (Bruchmann; 1823); Viola, D.786 (Schober; 1823); Lied (Die Mutter Erde), D.788 (Stolberg-Stolberg; 1823); Pilgerweise, D.789 (Schober; 1823); Vergissmeinnicht, D.792 (Schober; 1823); Das Geheimnis, D.793 (Schiller; 1823); Der Pilgrim, D.794 (2 versions; Schiller; 1823); Die schöne Müllerin, song cycle, D.795 (Müller; 1823; 1, Das Wandern; 2, Wohin?; 3, Halt!; 4, Danksagung an den Bach; 5, Am Feierabend; 6, Der Neugierige; 7, Ungeduld; 8, Morgengruss; 9, Des Müllers Blumen; 10, Tränenregen; 11, Meint; 12, Pause; 13, Mit dem grünen Lautenbande; 14, Der Jäger; 15, Eifersucht und Stolz; 16, Die liebe Farbe; 17, Die böse Farbe; 18, Trockne Blumen; 19, Der Müller und der Bach; 20, Des Baches Wiegenlied); Romanze zum Drama Rosamunde, D.797 (Chézy; 1823); Im Abendrot, D.799 (Lappe; 1824?); Der Einsame, D.800 (2 versions; Lappe; 1825); Dithyrambe, D.801 (Schiller; 1826); Der Sieg, D.805 (Mayrhofer; 1824); Abendstern, D.806 (Mayrhofer; 1824); Auflösung, D.807 (Mayrhofer; 1824); Gondelfahrer, D.808 (Mayrhofer; 1824); Lied eines Kriegers, D.822, with Unison Chorus (1824); Nacht und Träume, D.827 (2 versions; Collin; 1823); Die junge Nonne, D.828 (Craigher de Jachelutta; 1825); Abschied, D.829 (Pratobevera; 1826); Lied der Anne Lyle, D.830 (MacDonald; 1825); Gesang der Noma, D.831 (Scott; Spiker, tr.; 1825); Des Sängers Habe, D.832 (Schlechta; 1825); Der blinde Knabe, D.833 (2 versions; Cibber; Craigher, tr.; 1825); Im Walde, D.834 (2 versions; Schulze; 1825); Ellens Gesang, D.837 (Scott; Storck, tr.; 1825); Ellens Gesang, D.838 (Scott; Storck, tr.; 1825); E//ens Gesang (Hymne an dieJungfrau), D.839 (Scott; Storck, tr.; 1825); Totengräbers Heimwehe, D.842 (Craigher; 1825); Lied des gefangenen Jägers, D.843 (Scott; Storck, tr.; 1825); Normans Gesang, D.846 (Scott; Storck, tr.; 1825); Das Heimweh, D.851 (2 versions; Felsö-Eör; 1825); Die Allmacht, D.852 (2 versions; Pyrker; 1825); Auf der Brück, D.853 (2 versions; Schulze; 1825); Fülle der Liebe, D.854 (Schlegel; 1825); Wiedersehn, D.855 (Schlegel; 1825); Abendlied für die Entfernte, D.856 (Schlegel; 1825); 2 Szenen aus dem Schauspiel Lacrimai, D.857: 1, Lied der Delphine; 2, Lied des Florio (Schütz; 1825); An mein Herz, D.860 (Schulze; 1825); Der liebliche Stern, D.861 (Schulze; 1825); Um Mitternacht, D.862 (2 versions; Schulze; first version, 1825; second version, 1826); An Gott, D.863 (Hohlfeld; 1827; not extant); Das Totenhemdchen, D.864 (Bauernfeld; 1824; not extant); Widerspruch, D.865 (Seidl; 1826?); 4 Refrainlieder, D.866 (Seidl; 1828): 1, Die Unterscheidung; 2, Bei dir allein; 3, Die Männer sind méchant; 4, Irdisches Glück; Wiegenlied, D.867 (Seidl; 1826?); Totengräber-Weise, D.869 (Schlechta; 1826); Der Wanderer an den Mond, D.870 (Seidl; 1826); Das Zägenglöcklein, D.871 (2 versions; Seidl; 1826); O Quell, was strömst du rasch und wild, D.874 (Schulze; 1826; fragment only); Im Jänner 1817 (Tiefes Leid), D.876 (Schulze; 1826); Gesänge aus Wilhelm Meister, D.877: 1, Mignon und der Harfner; 2, 3, and 4, Lied der Mignon (Goethe; 1826); Am Fenster, D.878 (Seidl; 1826); Sehnsucht, D.879 (Seidl; 1826); Im Freien, D.880 (Seidl; 1826); Fischerweise, D.881 (2 versions; Schlechta; 1826); Im Frühling, D.882 (Schulze; 1826); Lebensmut, D.883 (Schulze; 1826); Über Wildemann, D.884 (Schulze; 1826); Trinklied (Come, thou monarch of the vine), D.888 (Shakespeare; Grünbühel and Bauernfeld, tr.; 1826); Standchen (Hark, hark the lark), D.889 (Shakespeare; Schlegel, tr.; 1826); Hippolits Lied, D.890 (Gerstenberg; 1826); Gesang (An Sylvia; Who Is harkthelark), D.889 (Shakespeare; Schlegel, tr.; 1826); Fröhliches Scheiden, D.896 (Leitner; 1827–28; sketch only); Sie in jedem Liede, D.896a (Leitner; 1827–28; sketch only); Wolke und FrohlichesScheiden, D.896 (Leitner; 1827–28; sketch only); 3 Sie i n (1827): 1, L’incanto degli occhi (Die Macht der Augen); 2, II Traditor deluso (Der getäuschte Verräter); 3, II modo di prender moglie (Die Art, ein Weib zu nehmen); Alinde, D.904 (Rochlitz; 1827); An die Laute, D.905 (Rochlitz; 1827); Der Vater mit dem Kind, D.906 (Bauernfeld; 1827); Romanze des Richard Löwenherz, D.907 (2 versions; Scott; Müller, tr.; 1826); Jägers Liebeslied, D.909 (Schober; 1827); Schiffers Scheidelied, D.910 (Schober; 1827); Die Winterreise, song cycle, D.911 (Müller; 1827; Book I: 1, Gute Nacht; 2, Die Wetterfahne; 3, Gefrorne Tränen; 4, Erstarrung; 5, Der Lindenbaum; 6, Wasserflut [2 versions]; 7, Auf dem Flusse; 8, Rückblick; 9, Irrlicht; 10, Rast [2 versions]; 11, Frühlingstraum; 12, Einsamkeit [2 versions]; Book II: 13, Die Post; 14, Der greise Kopf; 15, Die Krähe; 16, Letzte Hoffnung; 17, Im Dorfe; 18, Der stürmische Morgen; 19, Täuschung; 20, Der Wegweiser, 21, Das Wirthaus; 22, Mut [2 versions]; 23, Die Nebensonnen [2 versions]; 24, Der Leiermann [2 versions]); sketch for a song, D.916a (no text; 1827); Das Lied im Grünen, D.917 (Reil; 1827); Frühlingslied, D.919 (PoUak; 1827); Heimliches Lieben, D.922 (2 versions; 1827); Eine altschottische Ballade, D.923 (3 versions; first and third for 2 Voices; Eng. author unknown; Herder, tr.; 1827); Das Weinen, D.926 (Leitner; 1827–28); Vor meiner Wiege, D.927 (Leitner; 1827–28); Der Wallensteiner Lanzknecht beim Trunk, D.931 (Leitner; 1827); Der Kreuzzug, D.932 (Leitner; 1827); Des Fischers Liebesglück, D.933 (Leitner; 1827); Lebensmut, D.937 (Rellstab; 1828; fragment only); Der Winterabend, D.938 (Leitner; 1828); Die Sterne, D.939 (Leitner; 1828); Auf dem Strom, D.943, with Horn or Cello obbligato (Rellstab; 1828); Herbst, D.945 (Rellstab; 1828); Glaube, Hoffnung und Liebe, D.955 (Kuffner; 1828); Schwanengesang, D.957 (1828; Book 1:1, Liebesbotschafl [Rellstab]; 2, Kriegers Ahnung [Rellstab]; 3, Frühlingssehnsucht [Rellstab]; 4, Ständchen [Rellstab]; 5, Aufenthalt [Rellstab]; 6, In der Ferne [Rellstab]; Book II: 7, Abschied [Rellstab]; 8, Der Atlas [Heine]; 9, Ihr Bild [Heine]; 10, Das Fischermädchen [Heine]; 11, Die Stadt [Heine]; 12, Am Meer [Heine]; 13, Der Doppelgänger [Heine]; 14, Die Taubenpost [Seidl]); Der Hirt auf dem Felsen, D.965, with Clarinet obbligato (Müller; 1828); Der Graf von Habsburg, D.990 (Schiller; 1815?); Kaiser Maximilian auf der Martinswand, D.990a (Collin; 1815?); Augenblicke in Elysium, D.990b (originally D.582; Schober; not extant); Das Echo, D.990c (originally D.868; Castelli); Die Schiffende, D.990d (Holty; not extant); L’incanto degli occhi, D.990e (Metastasio); II Traditor deluso, D.990f (Metastasio; not extant); Mein Frieden, D.AI/30 (Heine; 1815?).


collected editions, source material : The first complete critical edition of his works, F. S.s Werke: Kritisch durchgesehene Gesamtausgabe, edited by E. Mandyczewski (assisted by Brahms, Brüll, Hellmesberger, J.N. Fuchs et al.), was publ. by Breitkopf & Härtel (40 vols, in 21 series, Leipzig, 1884–97). A new and exhaustive critical edition, F. S.: Neue Ausgabe sämtlicher Werke, ed. by W. Dürr, A. Feil, C. Landon et al., is being publ. under the sponsorship of the Internationalen Schubert-Gesellschaft (Kassel, 1964 et seq.). The Standard thematic catalogue is by O. Deutsch and D. Wakeling, S.: Thematic Catalogue of All His Works in Chronological Order (London, 1951; in Ger. as F. S.: Thematisches Verzeichnis seiner Werke in chronologischer Folge…, publ, in the Neue Ausgabe sämtlicher Werke of Schubert in a rev. ed. in 1978; new ed. as The S. Thematic Catalog, 1995). Other sources include the following: O. Deutsch, ed., F. S.s Briefe und Schriften (Munich, 1919; Eng. tr., 1928; fourth Ger. ed., 1954); Bericht über den Internationalen Kongress für S.forschung: Wien 1928 (Augsburg, 1929); O. Deutsch, ed., F. S.s Tagebuch (facsimile and transcription; Vienna, 1928; Eng. tr 1928); W. Kahl, Verzeichnis des Schrifttums über F. S.: 1828–1928 (Regensburg, 1938); H. Werlé, ed., F. S. in seinen Briefen und Aufzeichnungen (Leipzig, 1948; fourth ed., 1955); R. Klein, S.- Stätten (Vienna, 1972); E. Hilmar, Verzeichnis der S.-Handschriften in der Musiksammlung der Wiener Stadt- und Landesbibliothek (Kassel, 1978); W. Thomas, S.-Studien (Frankfurt am Main, 1990); F. Dieckmann, F. S.: Eine Annäherung (Frankfurt am Main, 1996); M. Stegemann, S.- Almanach: Eine musikalischhistorische Chronik (Munich, 1996); W. Dürr and A. Krause, eds., S.-Handbuch (Kassel, 1997); R. Erickson, ed., S.’s Vienna (New Haven, 1997); C. Gibbs, ed., The Cambridge Companion to S. (Cambridge, 1997); E. Hackenbracht, ed., 1797–1997: Der Flug der Zeit: F. S.: Ein Lesebuch (Tutzing, 1997); B. Newbould, ed., S. Studies (Aldershot, 1998). biographical : H. Kreissie von Hellborn, F. S.: Eine biographische Skizze (Vienna, 1861; second ed., greatly enl. as F. S., 1865; Eng. tr., London, 1866); A. Reissmann, F. S.: Sein Leben und seine Werke (Berlin, 1873); H. Frost, F. S.(London, 1881; second ed., 1923); M. Friedlaender, Beiträge zur Biographie F. S.s (Berlin, 1887; new ed. as F. S.: Skizze seines Lebens und Wirken, Leipzig, 1928); A. Niggli, S. (Leipzig, 1890); H. Ritter, F. S. (Bamberg, 1896); R. Heuberger, F. S.(Berlin, 1902; third ed., rev., 1920, by H. von der Pforten); M. Zenger, F. S.s Wirken und Erdenwallen (Langensalza, 1902); O. Deutsch, S.-Brevier (Berlin, 1905); W. Klatte, S. (Berlin, 1907); L.-A. Bourgault-Ducoudray, S. (Paris, 1908; new ed., 1926); H. Antc-liffe, S. (London, 1910); W. Dahms, S. (Berlin, 1912); O. Deutsch, ed., F. S.: Die Dokumente seines Lebens und Schaffens (in collaboration, first with L. Scheibler, then with W. Kahl and G. Kinsky; it was planned as a comprehensive work in 3 vols, containing all known documents, pictures, and other materials, arranged in chronological order, with a thematic catalogue; only 2 vols, publ.: Vol. Ill, Sein Leben in Bildern, Munich, 1913; Vol. II, part 1, Die Dokumente seines Lebens, Munich, 1914, which appeared in an Eng. tr. by Eric Blom as S.: A Documentary Biography, London, 1946, and in an American ed. as The S. Reader: A Life of F. S. in Letters and Documents, N.Y., 1947; a second Ger. ed., enl., was publ. in the Neue Ausgabe sämtlicher Werke of Schubert in 1964; new ed., 1996); K. Kobald, S. und Schwind (Zürich, 1921); O. Bie, F. S.: Sein Leben und sein Werk (Berlin, 1925; Eng. tr., 1928); E. Bethge, F. S. (Leipzig, 1928); H. Eulenberg, S. und die Frauen (Hellerau, 1928); N. Flower, F. S. (London and N.Y., 1928; new ed., 1949); A. Glazunov, S. (Leningrad, 1928); K. Kobald, F. S. und seine Zeit (Zürich, 1928; Eng. tr., 1928; new Ger. ed., 1948); G. Kruse, F. S.(Bielefeld, 1928); P. Landormy, La Vie de S. (Paris, 1928); J.-G. Prod’homme, S. (Paris, 1928); idem, S. raconté par ceux qui l’ont vu (Paris, 1928); P. Stefan, F. S. (Berlin, 1928; new ed., Vienna, 1947); A. Weiss, F. S. (Vienna, 1928); R. Bates, F. S. (London, 1934); W. Vetter, F. S. (Potsdam, 1934); G. Schünemann, Erinnerungen an S. (Berlin, 1936); A. Orel, Der junge S. (Vienna, 1940); A. Kolb, F. S.: Sein Leben (Stockholm, 1941); K. Höcker, Wege zu S. (Regensburg, 1942); B. Paumgartner, F. S. (Zürich, 1943; second ed., 1947); R. Tenschert, Du holde Kunst: Ein kleiner S.-Spiegel (Vienna, 1943); A. Hutchings, S. (London, 1945; fourth ed., rev., 1973); W. and P. Rehberg, F. S. (Zürich, 1946); C. Weingartner, F. S. (Alten, 1947); R. Schauffler, F. S.: The Ariel of Music (N.Y., 1949); A. Einstein, S.: A Musical Portrait (N.Y., 1951; Ger. ed., 1952); H. Rutz, S.: Dokumente seines Lebens und Schaffens (Munich, 1952); H. Goldschmidt, F. S. (Berlin, 1954; fifth ed., 1964); P. Mies, F. S. (Leipzig, 1954); O. Deutsch, ed., S.: Die Erinnerungen seiner Freunde (Leipzig, 1957; Eng. tr. as S.: Memoirs by His Friends, N.Y., 1958; third Ger. ed., 1974); M.J.E. Brown, S.: A Critical Biography (London, 1958; second ed., 1961); F. Hug, F. S.: Leben und Werk eines Früuhvollendeten (Frankfurt am Main, 1958); L. Kusche, F. S.: Dichtung und Wahrheit (Munich, 1962); K. Kobald, F. S.(Vienna, 1963); A. Kolb, S. (Gütersloh, 1964); J. Bruyr, F. S.: L’Homme et son oeuvre (Paris, 1965); F. de Eaubonne and M.-R. Hofmann, La Vie de S.(Paris, 1965); W. Marggraf, F. S. (Leipzig, 1967); J. Reed, S.: The Final Years (London, 1972); J. Wechsberg, S. (N.Y., 1977); H. Fröhlich, S. (Munich, 1978); H. Osterheld, F. S.: Schicksal und Persönlichkeit (Stuttgart, 1978); P. Gammond, S. (London, 1982); E. Hilmar, F. S. in seiner Zeit (Vienna, 1985); G. Marek, S.(N.Y., 1985); C. Osborne, S. and his Vienna (London, 1985); J. Reed, S. (London, 1987); F. Hilmar, S. (Graz, 1989); E. Krenek, F. S.: Ein Porträt (Tutzing, 1990); P. Gülke, F. S. und seine Zeit (Laaber, 1991); M. Schneider, S. (Paris, 1994); E. McKay, F. S.: A Biography (Oxford, 1996); M. Wagner, F. S.: Sein Werk, sein Leben (Vienna, 1996); W. Bodendorff, Wer war F. S.?: Eine Biographie (Augsburg, 1997); E. Hilmar, F. S. (Reinbek, 1997); H. Knaus, F. S.: Vom Vorstadtkind zum Compositeur (Vienna, 1997); B. Newbould, S.: The Music and the Man (Berkeley, 1997). critical, analytical : J. Rissé, F. S. in seinen Liedern (2 vols., Hannover, 1872); H. de Curzon, Les Lieder de F. S. (Brussels, 1899); M. Gallet, S. et le Lied (Paris, 1907); O. Wissig, F. S.s Messen (Leipzig, 1909); M. Bauer, Die Lieder F. S.s (Leipzig, 1915); H. von der Pfordten, S. und das deutsche Lied (Leipzig, 1916; second ed., 1920); R. Krott, Die Singspiele S.s (diss., Univ. of Vienna, 1921); O. Deutsch, Die Originalausgaben von S.s Goethe-Liedern (Vienna, 1926); H. Költzsch, F. S. in seinen Klaviersonaten (Leipzig, 1927); F. von Kraus, Beiträge zur Erforschung des malenden und poetisierenden Wesens in der Begleitung von F. S.s Liedern (Mainz, 1927); R. Capell, S.’s Songs (London, 1928; third ed., rev., 1973, by M. Cooper); F. Damian, F. S.s Liederkreis, Die schöne Müllerin (Leipzig, 1928); F. Günther, S.s Lied (Stuttgart, 1928); K. Huschke, Das 7 Gestirn der grossen S. ’sehen Kammermusikwerke (Pritzwalk, 1928); K. Kobald, Der Meister des deutschen Liedes, F. S.(Vienna and Leipzig, 1928); C. Lafite, Das S.lied und seine Sänger (Vienna, 1928); P. Mies, S., Der Meister des Liedes (Berlin, 1928); F. Weingartner, S. und sein Kreis (Zürich, 1928); H. Biehle, S.s Lieder als Gesangsproblem (Langensalza, 1929); H. Bosch, Die Entwicklung des Romantischen in S.s Liedern (Leipzig, 1930); H. Therstappen, Die Entwicklung der Form bei S. (Leipzig, 1931); E. Laaff, F. S.s Sinfonien (Wiesbaden, 1933); E. Porter, The Songs of S. (London, 1937); G. Abraham, ed., The Music of S.(N.Y, 1947); W. Vetter, Der Klassiker S. (2 vols., Leipzig, 1953); E. Schmitz, S.s Auswirkung auf die deutsche Musik bis zu Hugo Wolf und Bruckner (Leipzig, 1954); H. Haas, Über die Bedeutung der Harmonik in den Liedern F. S.s (Bonn, 1957); H.-M. Sachse, F. S.s Streichquartette (Munich, 1958); M. Chusid, The Chamber Music of F. S. (diss., Univ. of Calif., Berkeley, 1961); E. Porter, S.’s Song- technique (London, 1961); E. Norman-McKay, The Stage-works of S., Considered in the Framework of Austrian Biedermeier Society (diss., Univ. of Oxford, 1962–63); A. Bell, The Songs of S. (Lowestoft, 1964); R. Stringham, The Masses of F. S. (diss., Cornell Univ., 1964); S. Kunze, F. S.: Sinfonie h-moll: Unvollendete (Munich, 1965); M.J.E. Brown, Essays on S. (London, 1966); idem, S. Songs (London, 1967); T. Georgiades, S.: Musik und Lyrik (Göttingen, 1967); P. Radcliffe, S. Piano Sonatas (London, 1967); D. Weekley, The One-piano, Four-hand Compositions of F. S.: Historical and Interpretative Analysis (diss., Ind. Univ., 1968); J. Westrup, S. Chamber Music (London, 1969); M. Brown, S. Symphonies (London, 1970); H. Gál, F. S. oder Die Melodie (Frankfurt am Main, 1970; Eng. tr. as F. S. and the Essence of Melody, London, 1974); M. Citron, S.’s Seven Complete Operas: A Musico-dramatic Study (diss., Univ. of N.C., 1971); D. Fischer-Dieskau, Auf den Spuren der S.-Lieder: Werden-Wesen-Wir (Wiesbaden, 1971; Eng. tr. as S.: A Biographical Study of His Songs, London, 1976); R. Weber, Die Sinfonien F. S.s im Versuch einer Strukturwissenschaftlichen Darstellung und Untersuchungen (diss., Univ. of Münster, 1971); G. Cunningham, F. S. als Theaterkomponist (diss., Univ. of Freiburg, 1974); G. Moore, The S. Song Cycles, with Thoughts on Performance (London, 1975); E. Badura-Skoda and P. Branscombe, eds., S. Studies: Problems of Style and Chronology (Cambridge, 1982); L. Minchin, S. in English (London, 1982); J. Reed, The S. Song Companion (Manchester, 1984); W. Maser, Armer SA: Fälschungen und Manipulationen: Marginalien zu F. S.s Sinfonie von 1825 (Stuttgart, 1985); R. Schulz-Storck, Tempobezeichnungen in F. S.s Liedern (1985); W. Frisch, S.: Critical and Analytical Studies (Lincoln, Nebr., 1986); H. Jaskulsky, Die lateinischen Messen F. S.s (Mainz, 1986); E. McKay, The Impact of the New Pianofortes on Classical Keyboard Style: Mozart, Beethoven, and S. (West Hagley, West Midlands, 1987); B. Eckle, Studien zu F. S.s Orchestersatz: Das obligate Accompagnement in den Sinfonien (Stuttgart, 1988); E. Partsch, ed., F. S.—Der Fortschrittliche? AnalysenPerspektivenFakten (Tutzing, 1989); H. Utz, Untersuchungen zur Syntax der Lieder F. S.s (Munich, 1989); E. McKay, F. S.’s Music for the Theatre (Tutzing, 1990); M.-A. Dittrich, Harmonik und Sprachvertonung in S.s Liedern (Hamburg, 1991); W. Dürr and A. Feil, F. S.: Unter Mitarbeit von Walburga Litschauer (Stuttgart, 1991); T. Waidelich, F. S., Alfonso und Estrella: Eine frühe durchkomponierte deutsche Oper: Geschichte und Analyse (Tutzing, 1991); S. Youens, Retracing a Winter’s Journey: S.’s Winterreise (Ithaca, 1991); A. Krause, Die Klaviersonaten F. S.s: Form, Gattung, Ästhetik (Kassel, 1992); B. Newbould, S. and the Symphony: A New Perspective (Surbiton, 1992); S. Youens, S.: Die schone Müllerin (Cambridge, 1992); K. Bangerter, F. S.: Grosse Sinfonie in C-Dur, D.944 (Munich, 1993); M. Hirsch, S.’s Dramatic Lieder (Cambridge, 1993); J. Stüber, S.s Quartett “Der Tod und das Mädchen”: Anleitung zur Intonationsanalyse (Bonn, 1993); H.-J. Hinrichsen, Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmusik F. S.s (Tutzing, 1994); R. Kramer, Distant Cycles: S. and the Conceivingof Song (Chicago, 1994); H. Well, Frühwerk und Innovation: Studien zu den “Jugendsinfonien” F. S.s (Kassel, 1995); W. Boden-dorff, F. S.S Frauenbild (Augsburg, 1996); D. Fischer-Dieskau, S. und säne Lieder (Stuttgart, 1996); S. Näher, Das S.-Lied und säne Interpreten (Stuttgart, 1996); S. Saathen, Wanderfantasie: Ein S.-buch (Vienna, 1996); M. Stegemann, ”Ich bin zu Ende mit allen Träumen”: F. S.(Munich, 1996); W. Bodendorff, Die kleineren Kirchenwerke F. S.s (Augsburg, 1997); S. Youens, S., Müller, and Die schöne Müllerin (Cambridge, 1997); L. Kramer, F. S.: Sexuality, Subjectivity, Song (Cambridge, 1998); M. Chusid, A Companion to S.’s “Schwanengesang”; (New Haven, 2000). iconography : O. Deutsch, Die historischen Bildnisse F. S.s in getreuen Nachbildungen (Vienna, 1922); A. Orel, F. S., 1797–1828: Sein Leben in Bildern (Leipzig, 1939); R. Petzoldt, F. S.: Sein Leben in Bildern (Leipzig, 1953); E. Hilmar and O. Brusatti, eds., F. S. (exhibition catalogue; Vienna, 1978).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire