#Schubert New Grove

Schubert, Franz ( Peter )
Maurice J.E. Brown, Eric Sams and Robert Winter
https://doi.org/10.1093/gmo/9781561592630.article.25109
Published in print: 20 January 2001
Published online: 2001
(b Vienna, Jan 31, 1797; d Vienna, Nov 19, 1828). Austrian composer. The only canonic Viennese
composer native to Vienna, he made seminal contributions in the areas of orchestral music, chamber
music, piano music and, most especially, the German lied. The richness and subtlety of his melodic and
harmonic language, the originality of his accompaniments, his elevation of marginal genres and the
enigmatic nature of his uneventful life have invited a wide range of readings of both man and music
that remain among the most hotly debated in musical circles.
1. Life.
(i) Background and childhood.

Robert Winter
Schubert's Vienna was a polyglot city, more than a fifth of whose population comprised Hungarians,
Czechs, Italians, Croatians, Poles, Germans, Turks, Greeks and other nationalities. Most of Vienna's
most celebrated musicians – Haydn, Mozart, Beethoven, Gluck, Salieri, Hummel – had been born in
other parts of the Austro-Hungarian Empire or outside it. As a native Viennese, Schubert became the
direct beneficiary of its musical offerings. He was born in the district of the Himmelpfortgrund just
north-west of the Ring, the bustling, overcrowded centre of the capital of the empire. His paternal
ancestors were Moravian farmers; his father, Franz Theodor Florian (1763–1830), moved when he was
20 to Vienna from Neudorf (Nová ves) in the Altstadt (Staré Město) district of Moravia (today part of
the Czech Republic). He followed his oldest brother Karl, who had become the headmaster of the
Carmelite School in the suburb of Leopoldstadt. He took up the position of schoolteacher, one that
offered little social standing or financial reward; education was an enterprise supported only meagrely
by the imperial government. Within a year Franz Theodor met Elisabeth Vietz (1756–1812) whose
father, a locksmith and gunmaker, spent time in prison for embezzlement. Her family had also migrated
to Vienna from the northern provinces. In January of 1785 Franz and Elisabeth married; one reason
may have been the birth of their first child two months later. Of 14 births, nine children died in infancy
– only slightly worse than the 50% infant mortality rate common in Europe before the discovery of
germ theory. The survivors included Ignaz (b 1785), Ferdinand (b 1794), Karl (b 1795), Franz Peter (b
1797) and Maria Theresia (b 1801). All of the children were born in a one-room apartment in a house
called ‘Zum roten Krebsen’, a surviving building now bearing the address 54 Nussdorferstrasse.
Schubert's birth in the early afternoon of 31 January 1797 took place in a kitchen alcove whose
fireplace provided the family's only source of heat. He was baptized the next day, with his uncle Karl
Schubert named as godfather. Schubert thereby became the only one of the canonic quartet (with
Haydn, Mozart and Beethoven) of Viennese Classical composers to be born in Vienna – although many
natives of the city have been quick to point out that he was only first-generation Viennese.
Page 1 of 321
Printed from Grove Music Online. Grove is a registered trademark. Under the terms of the licence agreement, an
individual user may print out a single article for personal use (for details see Privacy Policy).
Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Less than a year after Maria Theresia's birth, Franz Theodor moved his family to a house (‘Zum
schwarzen Rössel’) in the nearby Säulengasse (today no.3) on which he had taken out a mortgage a
few months earlier. The bottom floor of this two-storey structure with courtyard served as the school;
the upstairs served as the family's living quarters. Here Franz Theodor, an industrious, devout
Catholic, built his student population steadily until he had 40 students in 1804, peaking to 300 students
in 1805. Most of the scant information we possess about Schubert's childhood comes from later
reminiscences by his father and his brother Ferdinand. Six-year-old Franz became a pupil at the school
in 1803 and by all accounts he was a high achiever, although in a system that, by imperial decree,
depended almost entirely on rote learning. The Schubert family were great music lovers, and although
musical training played no role in formal education, there was plenty of it after hours. Schubert
received his first piano lessons from his older brother Ignaz, but soon left him behind, averring that he
‘would continue on his own’.
When Schubert was seven he was sent for an audition to Antonio Salieri; presumably his father made
the arrangements. Salieri's reputation as a composer had peaked years before, but in his 50s he still
enjoyed the power and prestige of the court music director. He was sufficiently impressed with
Schubert to include him as a mezzo-soprano on a list of nine singers fit to sing for services in the
imperial Hofkapelle. At the age of eight Schubert received his first violin lessons from his father. He
also took lessons in counterpoint, figured bass, singing and organ from Michael Holzer, the organist at
the Schuberts' parish church in Lichtental. Schubert's brother Ferdinand reported that Holzer
acknowledged, with tears in his eyes, that ‘whenever I wished to impart something new to him, he
always knew it already’. Ferdinand also noted that Schubert was already composing songs, string
quartets and piano pieces. When vacancies in the Hofkapelle choir opened up in 1808, Schubert passed
the highly competitive audition easily. Perhaps the biggest perk was his free tuition-and-board
admission into the Kaiserlich-königliches Stadtkonvikt (Imperial and Royal City College), which as the
principal Viennese boarding school for non-aristocrats offered Schubert his best possible opportunity
for a quality education. The 130 all-male students ranged from 11 to university age and were tutored
by Piarist monks whose order was founded in the 17th century to educate the poor. A few months after
entering the college, Schubert cowered while Napoleon's bombardment of Vienna sent a shell through
the roof of the Stadtkonvikt. Nonetheless, he was to stay at the college for five full years, receiving the
kind of education usually reserved for titled Viennese.
Encouraged by its principal, Dr Innocenz Lang, music played a sizable role in the life of the college. Its
student orchestra was first-rate, and Schubert was soon invited to join the second violins. Here he
became acquainted at first hand with the orchestral works of Haydn, Mozart, early Beethoven and
their lesser Viennese contemporaries. The orchestra's founder and leader of the second violins was a
law student named Josef von Spaun. Eight years Schubert's senior, Spaun soon befriended the
impressionable youth, and the friendship flourished, in spite of interruptions, until the composer's
death. At the end of the school year Spaun graduated; he left Vienna in September 1809 to join the civil
service at Linz. According to Spaun, Mozart's Symphony no.40 in G minor and Beethoven's Second
Symphony made a particularly strong impression on Schubert. From these years come the earliest of
his surviving compositions. During his first two years he received permission to take regular lessons
with Salieri, who urged him to find his models in Italian opera, a directive that conflicted sharply with
Schubert's enthusiasm for the music of Mozart, Haydn and Beethoven, as well as his growing interest
in the poetry of Goethe and Schiller as material for songs. By the time he was 13 Schubert seems to
have interrupted his regular lessons with Salieri. Yet by the end of 1813 he had, largely under the
tutelage of Spaun, seen half a dozen staged operas, including Mozart's Die Zauberflöte, Weigl's Die
Page 2 of 321

Schweizerfamilie and Cherubini's Médée. According to Spaun, upon attending a January 1813
performance of Gluck's Iphigénie en Tauride, with Johann Michael Vogl and Anna Milder-Hauptmann in
the leading roles, Schubert ‘was totally beside himself over the effects of this magnificent music and
asserted that there could be nothing more beautiful in the world’. In spite of Schubert's heavy
involvement with musical activities, his report cards from the first four years show him to have earned
regular grades of ‘good’ or ‘very good’ in all his academic subjects.
(ii) The adolescent composer.

Robert Winter
We do not know whether Schubert began composing even earlier than brother Ferdinand reported.
Although many of the dates assigned by scholars to his early works are speculative, Schubert's first
surviving compositions appear to date from his 13th year. In the Fantasie in G for piano duet (D1; 8
April – 1 May 1810) and the song Hagars Klage (D5; 30 March 1811) Schubert seized on two marginal
genres that over a lifetime he would transform into pillars of his output. A four-hand fantasy would
have proved less intimidating to a precocious young composer than the more settled standards for a
two-hand sonata. The Fantasie merits notice for its sheer length (more than 1000 bars) and modulatory
brashness, averaging more than a new section per minute over its 20-minute duration. Its one-
movement, multi-sectional plan was to spawn a chain of audacious experiments that extends over
Schubert's entire career; and it is significant that both the Fantasie and Hagars Klage end in a key
different from that in which they begin.
In the same month that Schubert completed what was probably his first song, his friend Spaun
returned to Vienna, where he would remain in close contact with the composer for a decade. Partsongs
and an overture round out the categories of finished works. The early years produced more than a
dozen fragmentary works (including sketches for a symphony, several sacred vocal works, three string
quartets and one complete act of a three-act Singspiel) – a pattern that was to accompany the
composer throughout his career. These sketches rarely point to a compositional impasse; rather,
Schubert seems either to have intended merely to dip his toe in the water or to have simply lost
interest. During his school holidays from around 1811, Schubert took on the role of viola player in a
family quartet that included brothers Ignaz and Ferdinand as violinists and his father on the cello.
Shortly afterwards – following several earlier false starts – he composed his first string quartet (in D,
D94), and then completed three more quartets (D32, 36 and 46) between September 1812 and early
March 1813. The slow, chromatic opening of D46, in C major, suggests Schubert's acquaintance with
Mozart's ‘Dissonance’ Quartet, K465, in the same key. Schubert was equally blessed with a symphonic
laboratory at the Stadtkonvikt, and in October of 1813 he completed his first symphony (D82, in D), in
which Schubert would have had the pleasure of both conducting and playing among the violins.
Yet the musical style of the early adolescent Schubert was largely an amalgam of the grammar of
Haydn and Mozart sprinkled with flashes of Rossini and Bach (the latter expressed loosely in a series
of student fugues and compositional exercises for piano or organ, some showing corrections in the
hand of Antonio Salieri). The 16-year-old Schubert's style at the phrase level would have been scarcely
distinguishable from scores of other turn-of-the-century Austrian composers. While occasional phrases
are worthy of the best of Viennese Classicism, Schubert's style as it began to coalesce – especially in
the instrumental works – conveyed a post-Classical looseness and freedom of structure that would set
Page 3 of 321

him permanently apart from his great predecessors. Indeed, one could argue that Schubert's very
earliest works are less inventive, for example, than those of Mozart at a more tender age and less
assured structurally than the early keyboard variations and sonatas of Beethoven.
In May 1812 Schubert's mother died at the age of 55, perhaps from a typhus infection. We have no
evidence to help us gauge the impact of Elisabeth's death on the 15-year-old Schubert. Less than a
year later (25 April 1813) Schubert's father married 30-year-old Anna Kleyenbock, who bore Franz
Theodor five more children. Schubert seems to have enjoyed a cordial if not close relationship with his
stepmother. In the summer of 1812, after a performance of a mass by Peter Winter, Schubert's voice
broke, memorialized by the composer's entry on his part: ‘Schubert, Franz, crowed for the last time, 26
July 1812’. Although he could no longer sing in the choir, Schubert remained at the Stadtkonvikt for a
fifth year. His increasing preoccupation with composition precipitated an inevitable decline in his
academic performance, and he received warnings in both Latin and mathematics. In October 1813
Schubert was offered a scholarship for further study on the condition that he bring his academic
subjects up to standard, ‘since singing and music are but a subsidiary matter … ’. Perhaps sensing that
he was at a crossroads, perhaps believing that five years of serious study was sufficient, Schubert
declined. Whatever paternal input he received, the decision must have been largely his.
(iii) Finding a career.

Robert Winter
Schubert's decision to return the very next month to his father's home and take up a ten-month course
of study at the St Anna Normalhauptschule that would certify him as a teacher seems in conflict with
his decision to leave the Stadtkonvikt. Yet both his brothers were, like their father, teachers. At this
stage Schubert could not expect to make a living pursuing the activity that engaged him most –
composition. A teaching position might function as a ‘day job’ that would meet his modest overheads
until he was sufficiently independent to strike out on his own. At all events, it is very unlikely that he
saw his teacher training as leading to a lasting career. Six days a week he travelled from the
Säulengasse house into the Ring district (the inner city) to receive instruction. The explosion in his
compositional output suggests that the workload at the Normalhauptschule was not as great as that at
the Stadtkonvikt. Schubert also found time to resume twice-weekly composition lessons with Salieri. In
August 1814 he passed the final teaching examinations with strong marks in German and arithmetic
but a poor grade in religion. His father had attempted to gain another position at the ‘Scottish
Monastery’, but when that effort failed he engaged his son as his sixth assistant in the prosperous
Säulengasse school that Schubert himself had attended. Schubert's responsibilities were apparently
for the youngest students; Kreissle reports that he was strict, somewhat irascible and prepared to
enforce discipline with a slap on the head. There is also evidence that Schubert the schoolteacher
harboured sympathies for the student riots protesting against the oppressive Metternich regime that
had became a regular part of the Viennese landscape. One of his classmates at the Stadtkonvikt,
Johann Senn, lost his scholarship after trying to free a fellow student from prison. Some six years later
he and Schubert were picked up from Senn's lodgings and held for questioning. While Schubert got off
with a warning, Senn was deported. In May 1814 Schubert also completed his first opera, a three-act
Singspiel, Des Teufels Lustschloss. It received its première half a century after Schubert's death. Of
Schubert's passionate and abiding interest in opera there can be no doubt. From 1811 until 1823 there
is no year in which he was not involved in an operatic project.
Page 4 of 321

By the middle of 1813 the 16-year-old Schubert already boasted an impressive compositional
catalogue. Nonetheless, few of Vienna's musical elder statesmen would have predicted a major career.
Beginning in the summer of 1814, Schubert's confidence and productivity took a quantum leap
forward. Near the end of July he completed his first mass (in F, D105), written for the centenary of the
Lichtental church he had attended since a child. Although Schubert's spirituality was never in doubt,
his freedom with the text (including the omission of ‘Et in unam sanctam catholicam et apostolicam
ecclesiam’) suggests that the church as an institution was not sacrosanct to him. Musically the mass
displays a deep familiarity with the masses of Haydn and Mozart, and Beethoven's Mass in C, a
particular favourite of the composer's. Schubert conducted the first performance himself in October.
Ten days later the mass received another performance at the Augustinerkirche in the city. The first
soprano soloist at the première was Therese Grob, another offspring of a schoolmaster (Schubert's
brother Ignaz eventually married into her family) and presented by numerous biographers as the great
love of Schubert's life. Two years Schubert's junior, she possessed a clear and pleasing high soprano
voice. In a biographical note penned 26 years after Schubert's death, the composer's friend Anselm
Hüttenbrenner recalled a conversation in which he had noted that the composer ‘was so cold and
unforthcoming towards the fair sex at parties’. According to Hüttenbrenner, Schubert responded by
saying that ‘I loved someone very dearly and she loved me too …. For three years she hoped I would
marry her; but I could not find a position which would have provided for us both’. Only meagre
corroborative evidence of a romantic relationship survives. Anton Holzapfel testified that Schubert had
written of Therese in a long and enthusiastic letter to him that he unfortunately lost. Grob told
Schubert's first biographer, Kreissle von Hellborn, that in her father's house Schubert ‘was like an
adopted son’, but offered nothing about a more intimate relationship. Kreissle himself concluded that
Schubert ‘was somewhat indifferent to the charms of the fair sex’. The final Schubert song from
Therese's album dates from 1816, the same year in which he wrote in a diary entry (8 September): ‘To
a free man matrimony is a terrifying thought these days; he exchanges it either for melancholy or for
crude sensuality …’. Although not yet 20, Schubert never spoke of marriage again.
(iv) The miracle years.

Robert Winter
In the autumn of 1814, after a promising but unspectacular adolescence, Schubert exploded into a
burst of creative activity that over the next 15 months was virtually unrivalled in the history of Western
music. He also introduced patterns of composition that prevailed for the rest of his life. Until 1814
Schubert had drawn on almost ten different poets for the texts of some two dozen solo songs and
fragments. Beginning in the spring/summer of 1814, he devoted 13 of his next 15 songs to texts by a
single poet, Friedrich von Matthisson. Throughout 1815 he set groups of between two and more than a
dozen songs dominated by a single poet – Goethe, Körner, Hölty, Kosegarten, Baumberg, Ossian,
Klopstock, Mayrhofer and Stoll. This intense focus on one poet at a time may help explain the
composition of almost 150 songs in Schubert's 18th year – an average of more than one every three
days. Schubert had encountered Goethe's Faust in the second half of 1814, and it made an indelible
impression. His first Goethe song (the first of a group of four) produced the extraordinary Gretchen am
Spinnrade (D118; 19 October 1814), remarkable not only for its conjuring up of a spinning wheel and
its waves of crescendos but for Schubert's empathetic representation of a woman's feelings. Towards
the end of the following year he returned to Goethe for Erlkönig (D328), bringing astonishingly vivid
Page 5 of 321

and frantic life to a father, his feverish son and the figure of Death. In the same period he made the
acquaintance through Spaun of the civil servant and poet Johann Mayrhofer (1787–1836), whose Am
See (D124, December 1814) Schubert may have already set at Spaun's suggestion. Schubert doubtless
relished the chance to meet a German-language poet, a counterpoint to Salieri's narrow emphasis on
Italian. He set another Mayrhofer poem in 1815, as many as ten more in 1816, and more than 40 over
his career. Almost ten years Schubert's senior, Mayrhofer was a gifted poet, a disturbed eccentric, a
misogynist and ultimately a suicide. He and Schubert enjoyed a close if intermittent relationship.
Mayrhofer was a member of the Viennese branch of a Linz ‘circle of friends’ established in 1811, and
his participation in this self-improvement group, or ‘Bildung Circle’, probably led to Schubert's
subsequent joining. German literature and poetry were major themes of the group's meetings and
doubtless helped to spur Schubert's song production. Between the autumn of 1814 and the end of 1815
Schubert also wrote two string quartets (D112 and D173, in nine and eight days respectively) and two
symphonies (nos.2 and 3, D125 and D200), as well as his second and third masses (in G, D167; in B♭,
D324). In addition, he completed no fewer than four Singspiele (Der vierjährige Posten, D190;
Fernando, D220; Claudine von Villa Bella, D239, whose second and third acts were apparently burnt in
1848 by servants of Schubert's friend Josef Hüttenbrenner; and Die Freunde von Salamanka, D326). In
the autumn the bassoonist, violinist and conductor Otto Hatwig took over the private concerts that had
grown out of musical gatherings at the Schubert home and that had taken place briefly at the house of
a merchant, Franz Frischling.
In all of his combined categories, Schubert averaged an almost superhuman rate of at least 65 bars of
new music each day, roughly half of which included an orchestra. The average may indeed have been
higher, for we cannot assume that all of Schubert's works from this period have been preserved. And
such figures assume that he was a full-time composer, although in fact he was a full-time, year-round
teacher at his father's school. He was also taking composition lessons twice weekly with Salieri,
attending numerous concerts and operas, doing a modicum of private teaching, and socializing with his
friends from the Stadtkonvikt. In 1815 Schubert entered into long-term friendships with two very
different kinds of men. He met the ever industrious Anselm Hüttenbrenner (1794–1868) while both
were studying with Salieri. Though Hüttenbrenner was ostensibly a law student, their shared passion
(fig.1) for music and composition soon brought them close.
Page 6 of 321

Franz Schubert (right) with Anslem Hüttenbrenner and Jenger: drawing by Josef Teltscher (private
collection)
Private Collection
Hüttenbrenner offered a memorable portrait of Schubert at 18:
Schubert's outward appearance was anything but striking or prepossessing. He was short of
stature, with a full, round face, and was rather stout. His forehead was very beautifully
domed. Because of his short-sightedness he always wore spectacles, which he did not take off
even during sleep. Dress was a thing in which he took no interest whatever … and listening
to flattering talk about himself he found downright nauseating.
Schubert inscribed his Trauerwalzer (D365, 1818) with ‘written down for my dear fellow coffee, wine
and punch drinker Anselm Hüttenbrenner, the world-famous composer’. In 1821 Hüttenbrenner was
forced to leave Vienna to take over his family's estate in Styria; in that same year he married and
eventually fathered nine children. A respectable pianist, he also became a prolific composer who
played an important, if not entirely understood, role in the saga of Schubert's ‘Unfinished’ Symphony
(D759).
In the same year that he met Hüttenbrenner, Schubert was introduced by Josef von Spaun to a highly
charismatic yet profligate dabbler in the arts, Franz von Schober (1797–1882). Although his father died
when Schober was six, the family remained prosperous enough for him to attend private schools for
the nobility (the family had been ennobled only in 1801) in both Germany and Austria. He began law
studies in Vienna in 1816 but failed to complete the course. From his mother's spacious apartment in
Page 7 of 321

the Tuchlauben, Schober's warm hospitality cast its spell on members of a growing literary and
musical circle, which soon included Schubert. In 1858 a friend from Schubert's youth, Josef Kenner,
wrote unmistakably about Schober without naming him:
Schubert's genius subsequently attracted … the heart of a seductively amiable and brilliant
young man, endowed with the noblest talents, whose extraordinary gifts would have been so
worthy of a moral foundation and would have richly repaid a stricter schooling than … the
one he unfortunately had. But shunning so much effort as unworthy of genius and summarily
rejecting such fetters as a form of prejudice and restriction, while at the same time arguing
with brilliant and ingratiatingly persuasive power, this scintillating individuality … won a
lasting and pernicious influence over Schubert's honest susceptibility.
The nature of this influence cast its shadow over the rest of Schubert's life.
Although the unparalleled productivity of 1815 tapered off slightly the following year, 1816 was
nonetheless a remarkable year in Schubert's creative life. He composed more than 110 songs, largely
in clusters of poems by Salis-Seewis, Goethe, Ossian (in translation), Schiller, Hölty, Matthisson,
Klopstock, Jacobi and Mayrhofer. For the meetings of the ‘Bildung Circle’, Schubert's friends would
search through volumes of poetry and present their favourites to Schubert – some of which he would
subsequently set. He also completed another mass (D452, in C), two acts of his first attempt at a three-
act opera (Die Bürgschaft, D435), two symphonies (D417, in C minor, later given the somewhat
misleading subtitle ‘The Tragic’ by Schubert; and in B♭, D485, the most popular of the youthful
symphonies), a string quartet (D353, in E) and three sonatas (published as ‘sonatinas’) for violin and
piano (D384, 385, 408). Still conspicuously missing are any significant works for solo piano. In mid-
April Spaun sent a first volume of Schubert songs based on texts by Goethe to the ageing poet, hoping
to secure his permission for dedications; Goethe returned the package unopened. In April Schubert
applied for the post of music teacher at the teachers' training college in Laibach (now Ljubljana). The
attractions probably included a higher salary and more time available for composition. Might he also
have hoped to make himself appear more acceptable to Therese Grob's family? Not until September
did Schubert learn that the post had gone to another applicant – about the same time that he made the
diary entry appearing to renounce marriage. In mid-June Schubert participated in the celebrations
marking the 50th anniversary of Salieri's arrival in Vienna, contributing both the text and the music of
a vocal quartet, aria and three-part canon (D407). Although his lessons had been intermittent, the large
number of instrumental and compositional exercises from his 11th to his 19th year attest to the
thorough, if ultimately limited, training he received from Salieri. On 24 July Schubert conducted his
(lost) cantata Prometheus (D451) at Heinrich Josef Watteroth's house; among the participants was the
lawyer Leopold von Sonnleithner (probably in the title role), the son of a music-loving family and
himself an accomplished musician, whose new-found enthusiasm led him to become one of Schubert's
most ardent and influential supporters.
(v) Independence.
Robert Winter
Page 8 of 321

In the autumn of 1816 Schubert would have been pondering his return for a third year of teaching at
his father's school. His youthful resentment of major claims on his time would have been
understandable, and his failure to attain the Laibach position may have further soured his attitude to
teaching. Some time that autumn Schubert refused to return to his father's school, left home and
moved to the lodgings of Franz von Schober, who lived with his sister and mother in the inner Ring. He
could not have left his father's household because of its hostility to his music, for the Schuberts were
among his most enthusiastic supporters; and the symbolism of leaving the modest, pious household of
his father for the dandified Schober and the luxurious Persian décor of the inner city must have been
painful for the elder Schubert. In 1876 Schober remarked somewhat self-servingly that ‘I shall always
retain the eternally uplifting feeling of having freed this immortal master from the constraint of school,
and of having led him on his predestined path of independent, spiritual creation’. For the first few
months after the move, Schober was himself in Sweden. He returned towards the end of the year and
Schubert was to remain with him until the following August. Around the time of his move Schubert's
Fifth Symphony (D485) received its first performance at one of Otto Hatwig's house concerts. It is
ironic to note that the not quite 20-year-old composer of five symphonies, over 300 solo songs (more
than half of the surviving total), several dozen partsongs, four Singspiele, four masses, seven string
quartets and innumerable smaller works had not yet received a single public performance in Vienna, a
single public notice in a newspaper, or enjoyed a single publication. Now, gradually, these
circumstances would begin to change.
It was inevitable that Schubert's phenomenal rate of productivity throughout 1815–16 would prove
unsustainable. About 60 solo songs, almost a third of them to texts by Mayrhofer, survive from 1817.
They include some of the most popular and enduring: Der Schiffer (D536), Ganymed (D544), An die
Musik (D547), Die Forelle (D550) and Gruppe aus dem Tartarus (D583). An die Musik was one of a pair
of poems by Schober; together with Trost im Liede (D546), both songs and poems express the intense
idealism of music as the ultimate balm for the burdens of life. They also express the most idealistic
dimension of the Schubert-Schober relationship.
Another ambitious attempt at an opera, Die Bürgschaft (D435), faltered in the third and final act. In the
early months of 1817 Schober presented Schubert to the highly regarded baritone Johann Michael
Vogl, whom Schubert had admired in a performance of Gluck's Iphigénie en Tauride four years earlier
(he may also have known Vogl's Pizarro in the 1814 première of Beethoven's Fidelio). Schober insisted
that Vogl – who physically towered over Schubert – read some songs on the spot. The singer is said to
have heard in them ‘fine ideas’ and ‘something special’. It marked the beginning of an advocacy that
lasted until Schubert's death.
Schubert's short-lived independence came to an end in the autumn of 1817, when he moved abruptly
back to his father's house in the Himmelpfortgrund. The reversal may well have been triggered by
financial difficulties and was perhaps hastened by his unenthusiastic resumption of teaching duties at
the school. Countering this sobering development was growing public recognition. On 27 September
Franz Xaver Schlechta, a member of Schubert's circle who had first met the composer at the
Stadtkonvikt, published a poem, An Herrn Franz Schubert (Als seine Kantate Prometheus aufgeführt
ward), in the Wiener allgemeine Theaterzeitung; it marked the first time that Schubert's name was
mentioned in a periodical. On 1 March 1818 one of Schubert's two overtures ‘im italienischen
Stile’ (D590–91) was performed at the inn Zum römischen Kaiser. It marked the first performance of a
Schubert work at a public concert. 11 days later an overture (probably the same one) was performed,
Page 9 of 321

in an arrangement for piano eight hands, at a private entertainment at the same inn presented by the
actor Karl Friedrich Müller; Schubert was one of the four pianists. About the performance Schlechta
wrote: ‘Each of his shorter or longer compositions is characterized by profound feeling, spontaneous
but controlled force and appealing charm …’.
Only a few months after Schubert's return home, his father was finally transferred to a school in the
Rossau district; the whole family moved there to 11 Grünetorgasse. Around this same time Schubert's
Symphony no.6 (D589) received its première in a house concert at Otto Hatwig's. Nearly
simultaneously, the song Erlafsee (D586) was published under the title of Am Erlaf-see in the
Mahlerisches Taschenbuch für Freunde interessanter Gegenden, Natur- und Kunst-Merkwürdigkeiten
der sterreichischen Monarchie (Vienna) – the very first publication of Schubert's to appear in print. On
5 March Schubert applied for membership as an accompanist in the Gesellschaft der Musikfreunde.
His catalogue now included more than 500 works and he doubtless believed that he was as qualified
for membership in this prestigious amateur group as anyone in Vienna. Hence his rejection, ostensibly
on the grounds that he was not an amateur, must have come as a deep disappointment – especially
since the society already included professional musicians. However, to block his admission only a
single member of the admissions committee would have needed to raise questions about Schubert's
politics or social standing. All of the composer's resentments must have evaporated when he reapplied
three years later and was accepted.
In the spring Otto Hatwig moved from the Schottenhof to the Gundelhof, where his private orchestra
now met. When he fell ill the concerts were moved to the apartment of Anton von Pettenkoffer where,
with Schubert frequently on the viola, it met on Thursday evenings for the next two years. Leopold von
Sonnleithner reported that the informal performances came to an end when Pettenkoffer, a worker in
the wholesale trade, won a lottery and moved from Vienna to his own country estate. For Schubert
there was, alas, no lottery. His teaching duties at his father's school became more burdensome than
ever and his relationship with his father grew increasingly strained. Works such as the Sixth Symphony
or the Rondo in D (D608) seem to portray a certain stylistic indecision. Evenings spent drinking
Bavarian beer at the inn Zur schwarzen Katze with friends such as Anselm Hüttenbrenner offered only
temporary relief. On one of these evenings in February Hüttenbrenner claimed that Schubert, after
helping empty several bottles of Hungarian red wine, ‘composed the wonderfully lovely song’ Die
Forelle. But Hüttenbrenner was mistaken in claiming that Schubert had composed the work on the
spot; he had set down the first version more than a year earlier. It was his frequent practice to write
out multiple versions (Die Forelle exists in no fewer than five), sometimes in an effort to improve the
work and other times simply to make a presentation.
(vi) Travel.
Robert Winter
In mid-1818 Schubert's gloomy spirits were lifted when he received an invitation from Count Johann
Karl Esterházy of Galanta to tutor his two young daughters at his summer estate in Zseliz (today
Želiezovce in Slovakia, then still in Hungary). Johann Karl Unger, a law professor at the Theresian
Academy in Vienna, had suggested Schubert to his close friend Esterházy, and the composer quickly
accepted. The two-day journey of more than 100 miles by stagecoach was easily the furthest the
composer had ever ventured from Vienna. Schubert remained there for almost five months (July–
Page 10 of 321

November). He taught the piano and singing to his pupils Marie (aged 16) and Caroline (aged 12) and
also provided musical entertainments for the family and their guests. Along with board and lodging he
cleared some 75 florins a month. During that summer Esterházy introduced him to Baron Karl
Schönstein (1797–1876), a senior official at the Hungarian ministry of finance who was also a
passionate amateur singer. Although he had earlier expressed a marked preference for Italian music,
upon making the acquaintance of Schubert's songs he quickly became an ardent advocate of German
lieder and focussed on them almost exclusively for the rest of his career. Both Sonnleithner and Spaun
praised him fulsomely, and Schönstein himself claimed that Schubert had told him on numerous
occasions that he composed most of his songs with Schönstein's vocal range (‘a noble-sounding tenor-
baritone voice’, according to Sonnleithner) in mind. Schubert's surviving letters to friends in Vienna
portray a much more cheerful artist. Writing to a group of his friends, he exclaimed that ‘Thank God I
live at last, and it was high time, else I should have become nothing but a thwarted musician’. He
staked out his place in the previously minor genre of the piano duet, composing, probably for his
pupils, a sizable assortment of pieces including three Marches militaires (D733). But by September the
mercurial Schubert had become disillusioned with the Zseliz scene as well. He wrote to his intimate
friend Schober:
At Zseliz I am obliged to rely wholly on myself. I have to be composer, author, audience and
heaven knows what else. Not a soul here has any feeling for true art [this remark presumably
extended to the Esterházy daughters], or at most the countess now and then (unless I am
wrong). So I am alone with my beloved and have to hide her in my room, in my pianoforte
and in my breast. Although this often makes me sad, on the other hand it elevates me the
more. Have no fear, then, that I shall stay away longer than is absolutely necessary.
The merging of his art with the self-identity of an outsider was to become an ever more prominent
theme.
Letters from his brother Ferdinand during the same summer show that the stultifying home
atmosphere, especially where it concerned matters of religion, continued to worsen. It was hardly a
surprise, then, that when Schubert returned with the Esterházys to Vienna during the third week of
November he settled in with his friend Johann Mayrhofer rather than with his family. In his obituary of
Schubert, Mayrhofer remarked that ‘I wrote poems, he composed what I had written’. Schubert was
never to undertake formal teaching duties again. He probably continued to teach the two Esterházy
daughters through the winter. It had not been a productive year – a symphony, two fragmentary piano
sonatas, a few pieces for piano duet and just over a dozen songs. Although he was never to regain the
sheer level of output from the miracle years of 1815–16, 1818 marked a career low point. 1819 began
more propitiously. On 8 January Schubert's cantata Prometheus received another performance at
Sonnleithner's apartment in the Gundelhof. On 28 February the song Schäfers Klagelied (D121) was
performed by Franz Jäger in a concert at Zum römischen Kaiser – the first documented performance of
a Schubert song in a public concert. During this year Schubert began the remarkable Mass in A♭ major
(D678), although he was not to complete it until 1822.
For the summer of 1819 the 22-year-old Schubert elected not to seek employment but to travel through
Upper Austria in the company of Vogl, making extended stops in both Steyr and Linz. During this
period he very probably composed one of his most famous chamber works, the Quintet for piano, violin,
viola, cello and double bass known as ‘The Trout’ (D667). The work was apparently commissioned by a
Page 11 of 321

native of Styria, Sylvester Paumgartner, who was himself an amateur cellist. He is also supposed to
have stipulated the unusual instrumentation and the use of Schubert's popular song Die Forelle as the
basis of the theme-and-variations fourth movement. In Linz, Schubert met Anton Ottenwalt, a civil
servant, dramatist and poet. Schubert had already set one of Ottenwalt's poems, Der Knabe in der
Wiege (D579), in 1817. He was married to Josef von Spaun's sister Marie, and the music-making began
almost immediately. Ottenwalt was described by all who knew him as a man of great industriousness,
integrity and culture.
Some time during 1820 Schubert participated in a musical soirée at the apartment of Matthäus von
Collin, a well-connected dramatist, poet and friend of Spaun's who introduced Schubert to, among
others, Count Moritz Dietrichstein, Ignaz Franz von Mosel, Caroline Pichler, Baron Hammer-Purgstall
and Johann Ladislaus Pyrker. According to Anselm Hüttenbrenner, the company heard Der Wanderer as
sung by Vogel and the Eight Variations on a French Song for piano four hands (D624), played by
Schubert and Hüttenbrenner. In mid-March the other side of Schubert's existence surfaced when he
was present at the time his schoolfriend Johann Senn's room was searched by the police. Senn had
been under suspicion since his activist days in the ‘Bildung Circle’ at the Stadtkonvikt. The
assassination of the dramatist Kotzebue (a government sympathizer) by a radical student in 1819 had
emboldened the oppressive police to harass suspected malcontents in even greater numbers. For his
lack of contrition Senn was greeted with 14 months of detention without trial and then deportation to
the Tyrol. Schubert, who somewhat disingenuously registered himself as the ‘school assistant from the
Rossau’, escaped, in spite of alleged offensiveness, with a warning that was sure to have reinforced his
feelings of being an outsider.
Performances continued to accumulate throughout the spring. In March an overture (probably D648)
was performed at Anton von Pettenkoffer's. In April an overture (probably D648 as well) was performed
at a concert in Graz – the first known public orchestral performance of a Schubert work outside
Vienna. The work received a third performance in November at a Gesellschaft concert. At the
beginning of April Schubert conducted a performance of Haydn's ‘Nelson Mass’ at the Alt-Lerchenfeld
church. More importantly, on 14 June the première of Schubert's Singspiel Die Zwillingsbrüder took
place at the Kärntnertortheater (Schubert had finished the work a year and a half earlier). Based on a
French play, the tale turns around a young woman under contract from birth to marry a man (one of
two identical twins, as it turns out) she does not love. In the original production Vogl played both twins,
creating a challenge in the last scene, where both are on stage at the same time. Although it had six
performances (more than average), Die Zwillingsbrüder received a mixed reception, and the shabbily
dressed Schubert declined to acknowledge the audience's applause.
In July Schubert once again ventured outside Vienna, where he stayed as Schober's guest in the
Atzenbrugg Castle, some 40 kilometres west of Vienna. So agreeable did he find it that he returned
there in both of the two succeeding summers. After his return to Vienna in August the melodrama Die
Zauberharfe (D644), for which Schubert supplied on commission almost 3000 bars of music, was
produced at the Theater an der Wien. It received eight performances between August and November.
While playwright George von Hofmann's contribution was readily dismissed, critics were again divided
on Schubert's contribution. But almost all of them acknowledged that his score contained numerous
flashes of originality and brilliance. November also marked the marriage of Therese Grob to a baker,
Johann Bergmann. If Schubert expressed any regrets at the time concerning this turn of events, they
have not come down to us. At the beginning of December August von Gymnich performed Erlkönig at
Ignaz von Sonnleithner's. On 9 December the fourth version of Die Forelle was published in the Wiener
Page 12 of 321

Zeitschrift für Kunst. Also in that same month Schubert set down the first movement (and fragments of
a slow second movement) of a string quartet in C minor (D703, known as the ‘Quartettsatz’) that
revealed an intensity and concentration only hinted at in his earlier work.
(vii) The professional composer.

Robert Winter
By the end of 1820 the stresses of sharing a single room with Mayrhofer had brought Schubert to
breaking point. Early in 1821 Schubert moved to new lodgings in the same street (21
Wipplingerstrasse), although the two men remained on warm enough terms for Schubert to continue
setting poems by Mayrhofer. Around this same time Schubert made the acquaintance of Moritz von
Schwind, a philosophy student at the University of Vienna who had recently decided to become a
painter. Intelligent, witty, good-looking and ingratiating, Schwind (nicknamed ‘Cherubin’ after the
character in Mozart's Le nozze di Figaro) became one of Schubert's closest confidants. He even
referred to Schwind as his ‘beloved’. Unlike Spaun, Schwind became considerably enamoured of
Schober and maintained a lively correspondence with him after Schober moved to Breslau in 1823. Just
before Schober's return to Vienna in 1825 Bauernfeld remarked that ‘Moritz reveres him [Schober] like
a god’. In February Schubert found brief employment as a répétiteur at the Hofoper, where he coached
the contralto Caroline Unger in the role of Dorabella in Mozart's Così fan tutte. On a practical front,
Schubert began gathering testimonials from Count Dietrichstein, Ignaz Franz von Mosel, Salieri and
Josef Weigl, perhaps with the intention of seeking a post at the Hofoper or of soliciting a commission
for an opera.
During 1821 performances of Schubert's vocal music increased rapidly. In January Joseph Huber wrote
to his fiancée about his experience at the first documented Schubertiad:
Last Friday [the 26th] I was excellently entertained; since [Fräulein] Schober was in St
Pölten, Franz invited Schubert and 14 of his close acquaintances for the evening. Schubert
sang and played a lot of his songs by himself, lasting until about 10 o'clock in the evening.
After that we drank punch offered by one of the group, and since it was very good and
plentiful the gathering, already in a happy mood, became even merrier; it was 3 o'clock in
the morning before we parted.
In the same month Gymnich sang Der Wanderer (D489) at Ignaz von Sonnleithner's and Erlkönig at an
‘evening entertainment’ of the Gesellschaft der Musikfreunde. In February Josef Götz sang Sehnsucht
(D636) at the Gesellschaft; in March Sophie Linhart sang Gretchen am Spinnrade at Sonnleithner's. In
March, too, Vogl presented the first public performance of Erlkönig at the Kärntnertortheater. The
same programme included the first public performances of the quartet Das Dörfchen (D598) and the
octet Gesang der Geister über den Wassern (D174). Das Dörfchen was repeated in April at a
Gesellschaft concert, while Die Nachtigall (D724) received its first public performance at the
Kärntnertortheater. In June, Hérold's Das Zauberglöckchen (originally La clochette) received its
première at the Kärntnertortheater with two additional numbers supplied by Schubert. He also
completed the two Suleika songs (D717 and 720), to texts by Goethe, and possibly the Rückert song Sei
mir gegrüsst (D741). Perhaps most importantly, April saw the publication, as opp.1 and 2, of Erlkönig
and Gretchen am Spinnrade, underwritten through the generous support of Leopold von Sonnleithner
Page 13 of 321

and other of Schubert's friends. In 1821 he also published 36 dances (D365, among them the
Trauerwalzer) and ten more Goethe songs, including Der König in Thule (D367), Heidenröslein (D257),
Schäfers Klagelied (D121) and Wandrers Nachtlied (D224), in addition to such songs as Der Tod und
das Mädchen (D531) and Der Wanderer (D489). By November at the latest he had been accepted as a
member of the Gesellschaft der Musikfreunde. Almost simultaneously he was invited to compose an
opera for the Hofoper (in fact, none of his operas was ever produced there). By now Schubert was not
simply a prolific composer but, in Vienna, a widely performed, published and visible one as well.
In mid-September Schubert travelled with Schober to St Pölten (some 55 kilometres west of Vienna)
and to nearby Ochsenburg Castle, where they spent some of their four weeks as the guests of
Schober's relative Johann Nepomuk von Dankesreither, the Bishop of St Pölten. Here they collaborated
closely on a new opera, Alfonso und Estrella (D732), for which Schober served as the librettist. They
finished Act 1 and began Act 2 before returning to Vienna where, on 3 November, they attended a
truncated version of Weber's Berlin sensation, Der Freischütz. That same autumn Spaun was
transferred to the customs office in Linz; a few months later Schubert wrote a parody of an Italian
opera aria (Herrn Josef Spaun, Assessor in Linz, D749) that castigates Spaun for not writing.
Schubert's visibility in Linz grew substantially during Spaun's sojourn there. At the beginning of 1822
Schubert moved in with Schober at the family home (9 Spiegelgasse), where he remained until the
summer of 1823 except for a stint at his father's house from late 1822 to the spring of 1823. On 21
January 1822, after accompanying Schwind to a party presented by Professor Vincentius Weinridt,
Schubert sang some of his songs to an enthusiastic reception. Present at the same party was Eduard
von Bauernfeld, whose friendship with Schubert was not to blossom until three years later. The
composer continued to become a more visible part of Viennese musical life. In February he made the
acquaintance of the visiting Weber, around the time that both of them (along with Spontini, Weigl and
Umlauf) had been invited by Italian impresario Domenico Barbaia to submit works for the 1822–3
season at the Kärntnertortheater, of which he had taken control.
Schubert and Schober hastily finished Alfonso und Estrella in February and rushed it off to Barbaia –
who then failed to send them any response. Schubert's persistent efforts in Berlin, Dresden and
elsewhere to get a staging all failed. In his declining years Schober described his contribution as ‘such
a miserable, stillborn, bungling piece of work that even so great a genius as Schubert could not bring it
to life’. Vienna had no shortage of competent and even gifted librettists, and Alfonso is perhaps one
more example of Schober's hold over the composer. In mid-1822 Schubert scrawled in pencil a
document that his brother Ferdinand later labelled Mein Traum. In the literary style of Romantics such
as Novalis, it recounts the tale of a son who is twice expelled from his parental home and is reconciled
with his father only at the graveside of a young maiden. The manuscript, which Ferdinand presented to
Robert Schumann in 1839, has generally been interpreted as a ‘literary effusion’, but its very
uniqueness and timing suggest that Schubert was grappling with fundamental issues of family,
belonging and otherness. We should not demand direct parallels in Schubert's life in order for this
document to shed light on his state of mind. Not only had Schubert become a much more visible part of
Viennese musical life, he had climbed to a dramatically new level of creative expression. He completed
the Mass in A♭ (D678), begun in 1819. Nothing in his previous church music prepares us for its sweep;
in the Viennese tradition perhaps only Mozart's Requiem and C minor Mass can compare in scale and
intensity (Beethoven's Missa solemnis was completed around the same time, although there is no
reason to believe that Schubert knew it before completing his own mass). In November he completed
two movements and sketched the third of a symphony in B minor (D759), which posterity later dubbed
Page 14 of 321

the ‘Unfinished’. Again, the assurance, the focus and the sweep of both finished movements far
exceeded anything that Schubert had previously achieved in the symphonic realm. Yet with their
concentration on literature and drama, Schubert's circle of friends seem to have expressed little
interest in his symphonic works. At almost the same time he put the finishing touches on the
‘Wanderer’ Fantasy (D760), a work for solo piano of such unusual virtuosity and construction that it
fascinated Romantics (notably Liszt) for decades to come. Schubert also completed more than a dozen
solo songs and partsongs to mixed texts, including the headlong Der Musensohn (D764) and the tender
Geist der Liebe (D747). In terms of Schubert's creative growth the year 1822 has to rank with the
miracle year of 1815. Moreover, for his compositions Schubert was now being paid closer to what he
was worth. In the years 1821–2 he earned more than 2000 gulden from the publication of his opp.1–7
and 10–12; the annual salary of a minor civil servant – the social layer from which Schubert sprang –
was about 400 gulden. In today's parlance we would describe Schubert as being ‘at the top of his
game’. Publications continued apace, including Eight Variations on a French Song for piano duet (D624);
the vocal quartets Das Dörfchen (D598), Die Nachtigall (D724) and Geist der Liebe (D747); and the
songs Der Alpenjäger (D524), Die Rose (D745), Geheimes (D719), Gesänge des Harfners from Wilhelm
Meister (D478–80), Lob der Tränen (D711) and the first Suleika song (D720).
During the period of these miraculous achievements, more than one of his friends commented on
Schubert's intense and potentially debilitating lifestyle. In 1820 Anselm Hüttenbrenner noted that
Schubert ‘used to sit down at his writing desk every morning at 6 o'clock and compose straight
through until 1 o'clock in the afternoon. Meanwhile many a pipe was smoked’. Lunch included black
coffee at a coffee house and another hour or two of smoking. Leopold von Sonnleithner, one of
Schubert's biggest supporters, lamented that ‘unfortunately, I must confess that I saw him in a
drunken state several times’, recalling in particular a party that Sonnleithner had left at 2 a.m.:
‘Schubert remained still longer and the next day I learnt that he had to sleep there as he was incapable
of going home. This happened in a house where he had not been known and where he had only been
introduced a short time previously’. Accompanying these excesses were sharp changes of mood,
frequent irritability and antisocial behaviour. Schober may have played an influential role in these
developments; in December 1822 Schubert wrote to Spaun that ‘we hold readings at Schober's three
times a week as well as a Schubertiad’. A Schubertiad at Schober's in mid-January of 1823 probably
brought down the curtain on Schubert's age of innocence.
(viii) Crisis.
Robert Winter
25 years Schubert's senior, the composer and conductor Ignaz Franz von Mosel met Schubert at the
dramatist Matthäus von Collin's around 1820. Spaun later recalled that, upon hearing Vogl sing some
of Schubert's songs, Mosel declared Schubert to be ‘by no means just a prolific inventor of melodies,
but a thorough musician’. On 28 February 1823 Schubert wrote a letter to Mosel with which he
enclosed the overture and third act of his now completed opera Alfonso und Estrella. First soliciting
Mosel's opinion, he then asked if Mosel might write him a letter of recommendation to Weber in
Dresden, where Schubert also hoped for a performance. But dwarfing the main text of this otherwise
routine letter is the opening sentence, which contains the first surviving mention of a development that
altered Schubert's life permanently: ‘Kindly forgive me if I am compelled to inconvenience you with
another letter so soon, but the circumstances of my health still forbid me to leave the house’. Although
Page 15 of 321

Schubert remained circumspect about the nature of his malady, the scattered references to its
symptoms during his lifetime suggest that it was almost certainly the venereal disease syphilis.
Syphilis was common in Europe throughout the 19th century; researchers have estimated that in some
cities it afflicted as many as one in every five inhabitants. Those particularly unfortunate could
contract syphilis through a single sexual encounter; more commonly, it gained a foothold in those
practising a promiscuous lifestyle; and that such a lifestyle led to Schubert's illness is suggested by
accounts from those who knew him personally. That Schubert's nature contained a strong element of
sexual excess was long ignored or concealed by his biographers. Many of the relevant documents were
known to biographers in the 1850s; but it was only in the late 1980s that scholars brought the
contradictions in the composer's personality into the open.
References already exist in Schubert's lifetime; in a letter of 1825 from Anton Ottenwalt to Josef von
Spaun, Ottenwalt wrote that ‘of Schubert I could tell you nothing that is new to you and to us; his
works proclaim a genius for divine creation, unimpaired by the passions of an eagerly burning
sensuality …’. When Schubert became the object of intense biographical scrutiny from the 1850s
onwards, several of his friends provided reminiscences that spoke of the paradoxes in his character. In
1857 Eduard von Bauernfeld wrote to the composer's biographer Ferdinand Luib that ‘Schubert had,
so to speak, a double nature, the Viennese gaiety being interwoven and ennobled by a trait of deep
melancholy. Inwardly a poet and outwardly a kind of hedonist’. A dozen years later he wrote that ‘the
Austrian element, uncouth and sensual, revealed itself both in his life and in his art’. Expanding on the
nationalist theme, he writes that ‘the Austrian character appeared all too violently in the vigorous and
pleasure-loving Schubert, there were also times when a black-winged demon of sorrow and melancholy
forced itself into his vicinity’. In 1858 Josef Kenner wrote to his brother that ‘[Schubert's] body, strong
as it was, succumbed to the cleavage in his – souls, I would put it, of which one pressed heavenwards
and the other bathed in slime’, appending an explanation that ‘perhaps, too, it succumbed to
frustration over the lack of recognition which some of his larger efforts suffered and to bitterness at
the meanness of his publishers’. Schober – himself no model of virtue – attributed Schubert's illness to
‘excessively indulgent sensual living and its consequences’.
These characterizations of Schubert's lifestyle from his close friends – their probity notwithstanding –
leave little doubt as to his powerful sexual appetite. What remains strongly in contention, however, is
the nature of Schubert's excesses, specifically whether they were heterosexual, homosexual or perhaps
bisexual. Schubert's illness offers no help; syphilis can be contracted through either heterosexual or
homosexual activity. Those who argue for Schubert's orthodox, if hyperactive, heterosexuality point
first to the purported love affair in 1816 between Schubert and Therese Grob. Schubert's failure to
marry her is explained by Metternich's Marriage Consent Law, which forbade marriages by males in
Schubert's class unless they could verify their ability to support a family. Although lost, a ‘long,
enthusiastic letter’ from Schubert to his friend Anton Holzapfel was said to have described Schubert's
infatuation with Therese. And in a reminiscence from 1854, Anselm Hüttenbrenner described a walk
with Schubert in which the composer again declared his love for Therese. During the 1820s both
Schober and Bauernfeld mention Schubert's apparently unrequited love for Princess Caroline
Esterházy. In 1841 Wilhelm von Chézy wrote in his memoirs that Schubert ‘honoured women and wine’.
On the other hand, it is difficult to explain away Schubert's pronounced preference throughout his life
for the company of men. However congruent with contemporary practices in Viennese society, his most
intimate expressions of sentiment are all directed to men. Not a single letter survives from Schubert to
a woman, or to Schubert from a woman. Any homoerotic dimensions within Schubert's circle of friends
Page 16 of 321

would not have been openly aired but expressed through ambiguous codes known only to insiders.
Even given Josef Kenner's near-puritanical uprightness, it is hard to imagine ‘bathed in slime’ as
applying to orthodox heterosexuality. Hence we are left to ponder many ambiguities – for example,
whether ‘Greek’ describes a homosexual or a devotee of ancient Greek culture, or whether ‘young
peacocks’ refers to Schubert's need for young boys or for medicinal food. Moreover, the rigid
distinction between ‘straight’ and ‘gay’, which solidified only at the end of the 19th century, would
have been unknown to Schubert. It is possible that Schubert's passions encompassed a whole range of
heterosexual and homosexual impulses that he was driven to fulfil.
Regardless of the direct cause, in the first stage of syphilis that followed about a month after
contracting the disease Schubert would have developed genital chancres and swollen lymph nodes in
the groin. Doctors urged patients in this phase to remain at home. A few months later – perhaps
around the middle of April 1823 – he would have found himself covered with a pinkish rash
accompanied by fever. By now Schubert, who was becoming increasingly well known in Viennese
musical circles, would have had to decline social invitations. From the onset of his illness (probably no
later than January 1823) until his death six years later, Schubert would live with frequent physical
impairment and chronic anxiety. In Schubert's Vienna the contraction of syphilis was for all practical
purposes a death sentence; the time interval between contracting the disease and entering its tertiary,
and usually terminal, stage was typically three to ten years, although in some instances it might be a
good deal more. Given the widespread ignorance about hygiene and disease transmission, sufferers
from syphilis often succumbed to other maladies first. Just how devastated Schubert felt about his
sudden misfortune can be gleaned from a rare poem that he penned in May entitled Mein Gebet. Its
opening lines – ‘With a holy zeal I yearn / Life in fairer worlds to learn’ – sharpens in the third of the
four stanzas: ‘See, annihilated I lay in the dust, / Scorched by agonizing fire, / My life's martyr path, /
Approaching eternal oblivion’. In the last of the four stanzas he finds the promise of redemption: ‘And a
pure, stronger being / Let, Almighty, it be consecrated’.
(ix) Despair and resolve.

Robert Winter
It is unclear to what extent medical care dominated Schubert's life over the next six years. Several
friends refer to hospitalization (presumably at the Vienna general hospital) in 1823, which may have
occurred in April/May or perhaps in the summer months of June/July, when red, pea-sized papules may
have covered much of Schubert's body. Hospital conditions were unsanitary and often posed more
threat to the patient than home care. In April Schubert was probably well enough to pass a few weeks
with Schober and Josef Kupelwieser at the Bruchmann family's summer residence in Hütteldorf. By the
end of July he was able to travel with Vogl on their annual trip to Steyr and Linz. Schubert wrote to
Schober that he was ‘constantly in touch’ with his physician, Dr August von Schaeffer. During the stay
at Steyr, however, Schubert apparently took ill; the liberal politician Anton Doblhoff wrote to Schober
some months later that he ‘found him [Schubert] seriously ill at the time’. Schubert's illness, and
possibly his lifestyle, led to reclusiveness. During this summer Beethoven's nephew Karl, visiting his
uncle in Baden where the composer was engrossed in his Ninth Symphony, wrote in a conversation
book that ‘they greatly praise Schubert, but it is said that he hides himself’. By the end of July
Schubert was feeling well enough to perform with Vogl some of his songs for the Hartmann family in
Linz. He and Vogl returned to Steyr for most of August. But his anxiety and foreboding persisted. In a
Page 17 of 321

letter to Schober from 14 August, Schubert wrote that ‘I correspond busily with Schaeffer and am
fairly well. Whether I shall ever quite recover I am inclined to doubt’. In that same month Schober left
Vienna for Breslau in the apparent hope of succeeding as an actor; he did not return to Vienna for two
years. Returning once again to Linz at the end of August, Schubert and Vogl were both inducted as
honorary members of the Linz Musical Society, complementing the Diploma of Honour that Schubert
had received from the Styrian Music Society in December of 1822. When he returned to Vienna in
September he took up lodgings with Josef Huber, a civil servant known as ‘tall Huber’. By now he was
apparently suffering the symptoms of secondary syphilis, most visible from a papular rash that
required him to shave his head. Now under the care of Dr Josef Bernhardt, his treatment (possibly
again in hospital) was probably little more than a strict diet. Unlike Schaeffer, Bernhardt grew close to
the Schubert circle; he and Schwind agreed to use the intimate Du form of address, and it may have
extended to Schubert as well. By the year's end Schubert's health had rebounded once again; he was
able, for example, to participate in a Schubertiad at Bruchmann's on 11 November. Two days earlier,
Schwind wrote to Schober that ‘Schubert is better, and it will not be long before he goes about with his
own hair again, which had to be shorn owing to the rash. He wears a very cosy wig’. At this same time
the reading parties, suspended since Schober's departure, resumed at the painter Ludwig Mohn's.
Perhaps most remarkable about this year is that in spite of life-threatening crises, Schubert's
productivity maintained the pace and quality of previous years. Indeed, it could be argued that a
sharpened sense of his own mortality would spur Schubert to even greater achievements. In March
and April he completed his eighth opera, the Singspiel Die Verschworenen, based on a libretto by Ignaz
Castelli. In his preface Castelli could not resist a boast: ‘The German composer's complaint is usually
this: “Indeed, we should gladly set operas to music, if only you would supply us with the librettos!”
Here is one, gentlemen!’. Although it has proved to be Schubert's most frequently staged opera, the
composer could not persuade the management of the Kärntnertortheater to perform it. The censors'
suspicion that the title signalled seditious intentions led to a name change, Der häusliche Krieg. But
the first, makeshift performance, with only piano accompaniment, did not take place until two years
after Schubert's death. Between May and October the composer completed an even more ambitious
project, Fierrabras, based on a libretto by Schubert's friend Josef Kupelwieser. Between 1821 and 1823
Kupelwieser was the secretary to the Kärntnertortheater, a circumstance that Schubert believed would
facilitate the work's performance. But even with director Barbaia's purported interest in staging
German operas, Fierrabras fared no better than Der häusliche Krieg. When Weber's Euryanthe, a
heroic German opera commissioned by Barbaia, flopped, Schubert wrote on 30 November to Schober:
‘Weber's Euryanthe turned out wretchedly and its bad reception was quite justified, in my opinion.
These circumstances … leave me scarcely any hope for my own opera’. Schubert may even have shared
his reservations with Weber himself, leading to a greatly cooled relationship between the two
composers. In spite of these discouragements, the two operas did not exhaust Schubert's dramatic
output for the year. Around the beginning of December he was persuaded by Kupelwieser to provide
incidental music to Helmina von Chézy's play Rosamunde, Fürstin von Zypern (D797), to be presented
as a benefit for the actress Emilie Neumann, with whom Kupelwieser was in love. The première on 20
December suggests that Schubert had only a few weeks to complete his work; one confirmation of his
tight schedule is his use in several numbers of previously composed music. Remarkably, Rosamunde
proved to be one of his most unified dramatic works. In the two months before he composed
Rosamunde Schubert was hard at work on the pathbreaking song cycle, Die schöne Müllerin,
assembled from poems by Wilhelm Müller. During at least some of this time Schubert was probably
hospitalized (and his head shaved); he may have indeed composed part of the tragic cycle while in
Page 18 of 321

hospital. Müller's cycle had its origins in an 1815–16 Berlin Liederspiel, a kind of party game in which
group members take on different parts; Müller's narrative thread may include autobiographical
elements. In addition to the protagonists, the dramatic role of the mill stream is reflected especially in
Schubert's highly original accompaniments. To portray the full scope of feelings that climax in the
young miller's drowning, Schubert employs everything from the folklike strophic form of the opening of
Das Wandern to the through-composed mania of Eifersucht und Stolz. How Schubert became
acquainted with the work of the Prussian poet Müller is unknown, but he found him congenial enough
to return to him in 1827 for the poems for his next, and arguably greatest, song cycle, Winterreise. In
February Schubert completed the Piano Sonata in A minor, D784, whose compact structure
encompasses an explosive emotional range and novel keyboard techniques. 1823 also witnessed the
publication of the ‘Wanderer’ Fantasy (D760) and more than a dozen important songs, including Auf
dem Wasser zu singen (D774), Frühlingsglaube (D686), Gruppe aus dem Tartarus (D583) and Sei mir
gegrüsst (D741). As he approached the first anniversary of his illness, Schubert had grappled
repeatedly with depression and despair but maintained extraordinary resolve.
The year 1824 confirmed many changes in Schubert's life. Many of his best friends – among them
Spaun, Stadler, Kenner, Schober and Kupelwieser – were now absent from Vienna either temporarily or
permanently. Regular contact with Franz von Bruchmann, a troubled son of nobility, and with Schwind
filled only part of the void. Bruchmann, who latter described the years 1823–6 as the most difficult of
his life, shared with Schober a restless, often undisciplined, search for identity. He was drawn to the
early Romantic outpourings of the Schlegel brothers, August and Friedrich. Schubert's relationship to
Bruchmann may have extended back to the Stadkonvikt years; Bruchmann was also educated at a
Piarist school and was associated with the unfortunate Johann Senn. Free of financial worries, he never
trained for a profession, becoming a Redemptorist in 1826. The Bruchmann family hosted several
Schubertiads between 1822 and 1824. But Schubert's strained friendship with Bruchmann ended
abruptly around March 1825 when Bruchmann discovered his sister Justina's secret engagement with
Schober. Bruchmann seems to have intervened in efforts that led to the breaking off of the
engagement. Schwind, who had acted as an intermediary, and Schubert both turned against him, and
there is no evidence that they ever had contact again. Regarding the talented Schwind, Schubert wrote
to Kupelwieser in March that ‘thus, joyless and friendless, I should pass my days, did not Schwind visit
me now and again and turn on me a ray of those sweet days of the past’. In spite of Schwind's
impressive credentials, he and Schubert were not enough to sustain the reading parties and
Schubertiads that had migrated recently to Ludwig Mohn's. After a Schubertiad on 19 January, all
activities were discontinued by April. In the same letter to Kupelwieser, Schubert writes that ‘our
society [reading circle], as you probably know already, has done itself to death because of an infusion
of that rough chorus of beer drinkers and sausage eaters, for its dissolution is due in a couple of days,
though I had hardly attended myself since your departure’.
Not all of Schubert's works from these months, however, were in a tragic vein. In February he had
been commissioned by Count Ferdinand Troyer, a fine amateur clarinettist, to compose a chamber
work incorporating the clarinet. Possibly in consultation with Troyer, Schubert modelled his work after
Beethoven's equally youthful Septet, adding only another violin to create an ensemble of string
quartet, double bass, clarinet, horn and bassoon. The sunny tone of the six-movement Octet in F major
(D803) carries scarcely a whiff of despair. In the spring première at Count Troyer's, the count played
the clarinet part himself. The particular ensemble can be seen as a chamber orchestra; in his same
March letter to Kupelwieser, Schubert confided his compositional plans: ‘I seem once again to have
Page 19 of 321

composed two operas for nothing [Die Verschworenen and Fierrabras]. … Of songs I have not written
many new ones, but I have tried my hand at several instrumental works, for I wrote two quartets …
and an octet, and I want to write another quartet; in fact I intend to pave my way towards a grand
symphony in this manner’. Schubert had finally given up on any possibility of making it as an opera
composer. Although instrumental music enjoyed a prestige below that of opera, Schubert may have
been further stimulated in this direction by his attendance at the première on 7 May 1824 of
Beethoven's Ninth Symphony. To be sure, much of the programme was choral, including three
movements from the Missa solemnis and the choral finale of the symphony itself. But it was both
Vienna's and Schubert's first opportunity to hear a new Beethoven symphony in more than a decade,
and Schubert cannot have failed to be moved by the sight of the ageing composer having to be turned
around for a bow. Beethoven's means of creation, which generally involved starting with a modest idea
(this can be said of the ‘Joy’ theme itself) that is raised by stages to sublimity, would have intrigued
Schubert but not provided a model he could emulate.
After his 27th birthday at the end of January 1824, Schubert's health once again took a turn for the
worse. Even though in February Schwind reported to Schober that Schubert had discarded his wig, the
composer was confined to Huber's house as more symptoms of secondary syphilis descended on him in
the form of ‘lesions of the mouth and throat’, aching bones, and, later, pains in his left arm that
prevented him from playing the piano. Some time in February Dr Bernhardt introduced a new
treatment, which in Schubert's time simply meant a new (and medically benign) diet. This one
consisted of alternating days of pork cutlets and a dish called panada that combined flour, water,
breadcrumbs and milk. Generous portions of tea and frequent baths completed the regimen. Taking
advantage on the last day of March of the opportunity to ‘wholly pour out my soul to someone’,
Schubert wrote to Kupelwieser:
I find myself to be the most unhappy and wretched creature in the world. Imagine a man
whose health will never be right again, and who in sheer despair continually makes things
worse and worse instead of better; imagine a man, I say, whose most brilliant hopes have
perished, to whom the felicity of love and friendship have nothing to offer but pain at best,
whom enthusiasm (at least of the stimulating variety) for all things beautiful threatens to
forsake, and I ask you, is he not a miserable, unhappy being? ‘My peace is gone, my heart is
sore, I shall find it nevermore’. I might as well sing every day now, for upon retiring to bed
each night I hope that I may not wake again, and each morning only recalls yesterday's grief.
In response to his despair he kept an occasional journal; writing in March he appealed to the one thing
whose loss would be even more devastating than his physical afflictions: ‘O imagination! thou greatest
treasure of man, thou inexhaustible wellspring from which artists as well as savants drink! O remain
with us still, by however few thou are acknowledged and revered …’. Schubert can only have drawn
great comfort from the circumstance that his imagination had not deserted him, for in the months from
January to March 1824 he completed the Variations on Trockne Blumen for flute and piano (D802); the
String Quartet in A minor (D804); the String Quarter in D minor (D810), ‘Death and the Maiden’ – the
latter two among the greatest works in the chamber music repertory – and several songs to texts by
Mayrhofer. Both of the quartets are marked by such a degree of pathos and poignancy that it is
impossible not to presume a direct connection between Schubert's life and this music. In a highly
unusual notebook entry from March Schubert seems to make the connection himself: ‘What I produce
Page 20 of 321

is due to my understanding of music and to my sorrows’. One can only imagine the pleasure bordering
on awe with which the Schuppanzigh Quartet (led by Vienna's most celebrated violinist) gave the first
performance of the A minor Quartet on 14 March at the Musikverein.
Given Schubert's questionable health throughout the early months of the year, it is surprising that he
agreed, after a six-year absence, to another lengthy summer sojourn in Zseliz as the music tutor to the
two daughters of Count Johann Esterházy. He left Vienna for Zseliz on 25 May, less than three weeks
after attending the première of Beethoven's Ninth. Aged 16 and 12 during Schubert's first tour, Marie
von Esterházy was now 22 and Caroline 18. The second stay does not seem to have proved nearly as
gratifying to Schubert as the first. He wrote in September to Schober, ‘Now I sit here alone in the
depths of the Hungarian countryside, to which I unfortunately allowed myself to be enticed a second
time, without having a single person with whom I could speak a sensible word’. It is a challenge to
reconcile these words with testimony from two of Schubert's friends and acquaintances concerning his
interest in Caroline. Baron Schönstein, who visited Zseliz again for two weeks that summer, remarked
in 1857 about the ‘poetic flame that sprang up in [Schubert's] heart … for that he loved her [Caroline]
must have been clear from a remark of Schubert's – his only declaration in words. Once, namely, when
she reproached Schubert in fun for having dedicated no composition to her, he replied “What is the
point? Everything is dedicated to you anyway”’. In an 1869 reminiscence the not always reliable
Eduard von Bauernfeld wrote that Schubert was ‘head over heels in love with one of his pupils, a
young Countess Esterházy’. In a letter to Schwind of August 1824 Schubert himself remarked that ‘I
often long damnably for Vienna, in spite of the certain, attractive star’. As is the case with Therese
Grob, nothing more specific can be traced directly to Schubert.
Perhaps as a homage to the high level of musicianship exhibited by his two pupils (who, according to
Schönstein, needed coaching more than teaching), Schubert took up where he had left off in 1818,
creating a trio of undisputed masterpieces for piano duet: the Sonata in C (D812; dubbed the ‘Grand
Duo’ by its publisher Diabelli), the Variations in A ♭ on an original theme (D813), and most of the six
Grandes marches (D819). In Schubert's time music for piano four hands was not simply a convenient
vehicle for arrangements of orchestral works and opera overtures (although Schubert arranged four of
his own overtures in just this way). Rather, it was a form of music-making of considerable social
significance that permitted its executants a semi-public form of physical and emotional intimacy
unequalled by any other form of social intercourse. Two generations earlier Mozart had succeeded in
raising music for piano duet to a level above most domestic forms; but it was Schubert who took it to a
level where it stood shoulder to shoulder with the prestigious genres of the sonata, string quartet and
symphony. If Schubert performed any of the Zseliz works with either of the Esterházy daughters then
they must have been accomplished keyboard players, for both the primo and the secondo parts are
equally demanding. The rapidity with which Schubert could compose a multi-voice work with ten
individually set stanzas and piano accompaniment is related by Schönstein: ‘One morning in
September 1824 … Countess Esterházy invited Meister Schubert during breakfast … to set to music for
our four voices a poem of which she was particularly fond … Gebet [‘Prayer’, by Friedrich de la Motte
Fouqué]. Schubert read it, smiled inwardly … took the book and retired immediately in order to
compose. In the evening of the same day we were already trying through the finished song at the piano
from the manuscript’. In this same month, however, Schubert felt sufficiently alienated from the goings
on at Zseliz (and, according to Schönstein, feared that he had taken poison) to entreat Schönstein to
accompany him back to Vienna a full two months before the Esterházys' return. It is again difficult to
reconcile his abrupt and premature departure with the posthumous reports of his deeply held love for
Page 21 of 321

Caroline. On his return to Vienna Schubert moved briefly – probably for financial reasons – for one last
time into the Schubert family home in the Rossau. To be sure, it was the only place he ever lived in that
contained a piano; Schubert never bought, leased or borrowed a piano of his own.
The only composition of any note during the remainder of 1824 was the Sonata for arpeggione and
piano (D821); the arpeggione, a kind of bowed guitar, was invented in Vienna in 1814. It enjoyed only a
brief vogue; and when the sonata was published in 1871 it already included an alternative cello part.
How Schubert came into contact with the inventor Stauffer or his instrument is not known, but it
shows the composer to have been friendly to new sounds. A compelling performance on an arpeggione
today, although rare, shows that Schubert grasped immediately the instrument's plaintive, speaking
quality. The soprano Anna Milder-Hauptman wrote at the end of the year offering to advance
Schubert's operatic cause in Berlin. But when Schubert sent Alfonso und Estrella she rejected it,
averring that she preferred a role for ‘a queen, a mother or a peasant’. Nonetheless, in June 1825 she
performed Erlkönig and the second Suleika song (D717) in a public concert in Berlin, and Schubert
later dedicated Der Hirt auf dem Felsen (D965) to her. The publications of 1824, although not
voluminous, are substantial. They include the String Quartet in A minor, the only one of Schubert's
string quartets to be published in his lifetime; the vocal quartet Gondelfahrer (D809); the song An den
Tod (D518), Axa's Romanze from Rosamunde (D797/3b); and the song cycle Die schöne Müllerin, which
was issued in three parts (February, March and August). He also contributed, as he had in 1822, to a
collection of shorter piano pieces published for the holidays by Sauer & Leidesdorf. These later became
nos.3 and 6 from his popular collection of Moments musicaux (D780). Schubert may have spent part of
January 1825 in hospital, presumably undergoing treatment once again for secondary-stage
manifestations of syphilis.
(x) Respite: the summer of 1825.

Robert Winter
In the first two years of his illness Schubert had suffered symptoms that were intermittent and variable
but occurred at relatively close intervals. Hence the symptom-free period from roughly February 1825
until the first half of 1826 was one for which the composer must have been extraordinarily grateful. He
may have even concluded that he was cured (spontaneous cures were rare but not unheard of). The
absence of both Schober and Kupelwieser may have stimulated new friendships in Vienna. In February
Schwind took Schubert to a marathon visit with Bauernfeld, who remarked with satisfaction in his
diary that previously he had been only ‘distantly acquainted’ with the composer. The three soon
became a threesome. Late that same month Sophie Müller, a 22-year-old principal singer at the
Burgtheater, invited Vogl, Schubert and Johann Baptist Jenger to lunch. When Schubert visited her
alone on 20 April she sang at least three of his songs with the composer accompanying. Anselm
Hüttenbrenner later remarked that she performed Schubert's songs ‘most movingly’. They continued
their pleasurable musical visits throughout 1825 and 1826. Schwind also introduced Schubert to his
on-again, off-again flame Anna Hönig, the artistically untalented but well-educated and endearing
daughter of a lawyer; in Schubert's circle she became known as ‘die süsse Anne Page’, an allusion to
Shakespeare's The Merry Wives of Windsor.
Page 22 of 321

In February Schubert moved to 9 Technikerstrasse, the house next door to Schwind and adjacent to the
Karlskirche. Not too far away in the Wieden district, in the house where the composer Gluck had died,
lived the painter Wilhelm August Rieder. Rieder had met Schubert around the time he fell ill at the end
of 1822, and their friendship now grew closer. Rieder possessed a fine piano made by Anton Walter and
encouraged Schubert to use it whenever he did not need quiet. According to an anonymous memoir of
1897, Schubert would walk frequently to Rieder's apartment looking for open curtains in pre-arranged
window; if they were closed the chagrined composer returned home. In early May Rieder painted a
three-quarter length watercolour portrait of Schubert that both Sonnleithner and Spaun praised as an
extremely good likeness. Perhaps encouraged by the accessibility of Rieder's piano, Schubert worked
during the spring on two ambitious piano sonatas. He completed the one in A minor (D845) but the C
major Sonata (D840), dubbed ‘Reliquie’ by its publisher Whistling on the mistaken assumption that it
was Schubert's last, broke off after three impressive movements (of which the third, a minuet, is
almost complete) and 272 bars of an ineffectual finale.
Hence by the time Schubert left Vienna around 20 May for what was to be the most extended ‘holiday’
of his lifetime (four and a half months), he was in a compositionally expansive mood. His health had not
been this robust for two and a half years. He and Vogl (who had preceded Schubert) met in Steyr, as
they had in 1819. Together they then visited Linz, St Florian and Steyregg. On 6 June they reached the
scenic lakeside town of Gmunden, where they tarried for six weeks. As guests of the merchant and
music patron Ferdinand Traweger, Schubert had easy access to Traweger's ‘splendid piano’ and lived
‘like one of the family’. They were doubtless also captivated by the romantic rock cliffs that rim the
swan-inhabited lake and seem to conjure up a distant horn call. It was indeed here that Schubert
began the realization of what he had alluded to in his 1824 letter to Kupelwieser as ‘grand symphony’.
What became the ‘Great’ C major Symphony (D944, perhaps only serendipitously in the same key as
the previously abandoned piano sonata) opens with a sustained solo horn passage that would have
wafted effortlessly across the lake. Anton Ottenwalt later reported that Schubert ‘had worked on a
symphony at Gmunden’. A speculative reading of the date on its autograph led scholars to place the
genesis of the ‘Great’ C major in 1828, necessitating a lost symphony from the summer of 1825.
However, the paper used for the ‘Great’ C major and the works from that summer dated explicitly by
Schubert makes clear that the ‘Great’ is the symphony from the summer of 1825.
From Gmunden, Schubert and Vogl made return visits to Linz and Steyr, taking in Kremsmunster and
Salzburg as well. Even in the early 19th century the western portions of present-day Austria had long
been known throughout the Austro-Hungarian Empire as enviable ‘cure’ destinations. On 10 August
Schubert and Vogl arrived in the more remote, cliffside town of Bad Gastein, famous for its vertical
drops and waterfalls. Here Schubert not only worked further on the ‘Great’ C major Symphony but also
composed the Piano Sonata in D major (D850), a work of torrential energy in its first and third
movements and of symphonic scope in its slow movement. The technical demands on a fully
professional pianist such as its dedicatee Karl Maria von Bocklet were substantial. While at Bad
Gastein Schubert also composed Die Allmacht (D852), an epochal hymn of praise to a deity described
by the poet Johann Ladislaus Pyrker (whom he met there) in a series of powerful nature metaphors.
Schubert himself described the environs of Gmunden as ‘truly heavenly’; of Salzburg and Bad Gastein,
whose ‘mountains rise higher and higher’, he wrote that ‘the country surpasses the wildest
imagination’. He was equally impressed with man-made triumphs, such as Salzburg Cathedral.
Virtually everywhere that he and Vogl went they performed recent songs such as Ave Maria!, the third
of the three Ellen songs on texts from the Lady of the Lake by Sir Walter Scott (D839); Schubert and
Vogl both regularly performed songs specified for women. About their collaboration Schubert
Page 23 of 321

remarked to his brother Ferdinand: ‘The manner in which Vogl sings and the way I accompany, as
though we were one at such a moment, is something quite new and unheard-of for these people’. When
Schubert finally returned to Vienna in early October he learnt that the month before he had been
elected a representative (Ersatzmann) of the Gesellschaft der Musikfreunde. The publications of 1825
numbered more than half a dozen songs, including Die junge Nonne (D828), composed at the beginning
of the year; two works for piano duet; and the Mass in C major (D452) – the only mass of his published
in his lifetime.
(xi) Return to reality.

Robert Winter
Schubert's lengthy summer sojourn of 1825 marked the happiest period of his brief life. Over the next
three years his fortune, his finances and his health would wane steadily, yet during this time he would
produce a string of works demonstrating his idiosyncratic mastery of instrumental as well as vocal
music. In July 1825 Schober had returned from his two-year sojourn in Breslau; during much of 1826
Schubert was to live with Schober at two locations in the suburb of Währing and one in Vienna (6
Bäckerstrasse), moves necessitated by his family's loss of their luxury apartment in the Tuchlauben.
Schober's financial situation deteriorated to the point where he had to take the previously unthinkable
step of seeking employment. The Swiss publisher Nägeli approached Schubert about contributing a
piano sonata to an anthology, but could not agree to the confident composer's healthy fee. In late
January the Schuppanzigh Quartet rehearsed the D minor Quartet in Schubert's presence and then
gave a private performance on 1 February in the rooms of the tenor Josef Barth. According to Franz
Lachner, who hosted the rehearsal, Schuppanzigh, a keen advocate of new music, told Schubert: ‘My
dear fellow, this is no good, leave it alone; you stick to your songs!’. Schubert seems to have been little
fazed; in June he began work on, and quickly completed, his last string quartet (in G major, D887), a
work of striking originality. Throughout much of the year Schubert continued to expand and revise his
C major Symphony with the hope of securing a performance by the Gesellschaft orchestra. In October
he formally presented the work to the Gesellschaft with the idealistic dedication: ‘Persuaded of the
Austrian Musical Society's noble intention to support any artistic endeavour as far as possible, I
venture, as a native artist, to dedicate to them this, my symphony, and to commend it most politely to
their protection’. As a ‘token of obligation’ the Gesellschaft steering committee sent Schubert 100
florins and arranged for the copying of the parts. But they did not commit to what he longed for most –
a performance. Performances of Schubert's smaller works continued at infrequent Schubertiads: one
on 31 May at the apartment of Spaun's friend Karl Enderes, and a mammoth one at Spaun's on 15
December, at which Schubert played piano duets with Josef von Gahy and Vogl sang ‘almost 30
splendid songs’. This is the event believed to be memorialized in the thickly populated sepia drawing of
1868 by Moritz von Schwind. The 58-year-old Vogl had returned from Italy in April and announced his
engagement to Kunigunde Rosa, the daughter of a curator of the Belvedere Art Gallery and 27 years
his junior. Leopold Kupelwieser finally married his sweetheart Johanna Lutz, and both men were
therefore less closely affiliated with Schubert's inner circle. In February Schubert heard performances
of Beethoven's Second Symphony and Overture to Egmont, the Hallelujah Chorus from Handel's
Messiah and chamber music by Haydn, Mozart and Beethoven performed by the Schuppanzigh Quartet
– all on the same day.
Page 24 of 321

Schubert's old teacher Salieri had died in May 1825 and his deputy Josef Eybler was eventually named
to replace him. Hence in April 1826 Schubert applied for the vacant position of second court
Kapellmeister. Not until January the following year did he learn that the position had been abolished
and a court organist appointed instead. It is entirely possible that Schubert's lifestyle, politics and
unreliability in keeping appointments prevented his obtaining this or any other regular post during his
lifetime. Nor did Schubert's almost two-year respite from the symptoms of secondary syphilis continue.
When Bauernfeld returned from Gmunden in July he found ‘Schubert ailing (he needs “young
peacocks”, like Benvenuto Cellini), Schwind morose, Schober idle, as usual’. If the ‘young peacocks’
refer to adolescent boys rather than a dietetic antidote to syphilis, Schubert's friends would have been
no more explicit. Bauernfeld had invited Schubert to join him in Gmunden, but the composer replied in
characteristic fashion: ‘I cannot possibly get to Gmunden or anywhere else, for I have no money at all,
and altogether things go very badly with me. I do not fret about it, and am cheerful’. A final chapter in
the history of Schubert's frustrated attempts to succeed in opera was played out in 1826. Early in the
year Bauernfeld persuaded the composer to tackle Der Graf von Gleichen, the tale of a medieval count
on a crusade who falls in love with a Saracen princess, Suleika, and then brings her into his home as a
ménage à trois with his wife. It is almost inconceivable that both men could not have foreseen troubles
with the censor, but Schubert charged ahead anyway. When the censor predictably banned the libretto
in October, Schubert continued to work on it through parts of 1827, drafting almost 3000 bars in short
score for the first two acts. His encounters with opera were finally over. Nor was he very successful in
obtaining broader publication of his instrumental music. Breitkopf & Härtel – who eventually published
the ‘Great’ C major Symphony and 39 volumes of his complete works – did not even answer Schubert's
proposal. The publisher Heinrich Probst in Leipzig wrote back to Schubert that ‘the public does not yet
sufficiently and generally understand the peculiar, often ingenious, but perhaps now and then
somewhat curious procedures of your mind's creations’. Nonetheless, 1826 saw the publication of two
piano sonatas (in A minor, D845, and D major, D850), four works for piano duet and almost a dozen
songs, including Du bist die Ruh (D776) and Lachen und Weinen (D777). In addition to the G major
String Quartet, Schubert completed the spacious and meditative Piano Sonata in G major (D894), three
exquisite Shakespeare settings (D888, 889, 891) and the four Gesänge aus Wilhelm Meister of Goethe
(D877). In October he also responded to the fresh presence in Vienna of the violin virtuoso Josef Slavík
with the energetic Rondo for violin and piano in B minor (D895).
For the first few months of 1827 Schubert lived alone near the Karolinentor (opposite the present
Stadtpark). The diary of the Hartmann brothers testifies to frequent parties as well as after-hour
celebrations at Zum grünen Anker, a popular restaurant and tavern. In March Schubert moved in with
Schober for the last time, remaining, except for a two-month holiday, at the new house on the
Tuchlauben (where he had his own music room) until his final move to his brother Ferdinand's in
August 1828. Early in the year at Artaria's Schubert heard the première of his splendid Rondo, written
for and performed by Slavík and Bocklet. The most dramatic event in the first months of the year was
the death of Beethoven on 26 March. He had contracted pneumonia in December of the previous year
and by mid-January a failing liver and a stomach disorder had sealed his fate. The often fanciful Anton
Schindler claimed to have set out in February to distract Beethoven from his fate by bringing to the
composer, largely in manuscript, some 60 songs and vocal works. Beethoven expressed amazement
that Schubert had already composed over 500 songs by the age of 30 and was even more astonished at
the content of those he perused (they included Die junge Nonne and Viola). Beethoven, reported
Schindler, cried out the oft-cited line: ‘Truly in Schubert there dwells a divine spark’. Did he also
predict that Schubert would yet ‘make a great stir in the world’? Schindler's virtually wholesale
Page 25 of 321

forgeries in Beethoven's conversation books leaves us little choice but to be sceptical, yet the broad
outlines of his story sound at least plausible. And what might Beethoven have thought if he had seen
some of the mature piano sonatas, string quartets or the ‘Great’ C major Symphony? While it is
tempting to imagine a face-to-face meeting between Vienna's two most distinguished composers, their
combined reclusiveness would have made such a meeting extremely unlikely – a view reinforced by
Spaun. Schubert was among the thousands who attended Beethoven's funeral a few weeks later, and
his growing status was symbolized by his serving as a torchbearer. Following the ceremony, which
culminated in an oration by Franz Grillparzer, Schubert, Schober, Schwind and Franz von Hartmann
retired to the castle of Eisenstadt, where they reflected on Beethoven's achievements and passing until
1 a.m. A fellow torchbearer at the funeral was the German composer Johann Nepomuk Hummel, whose
fame easily surpassed that of Schubert. While still in Vienna, Hummel, his precocious 16-year-old
student Ferdinand Hiller, Schubert and Vogl were invited to dinner by Katharina Lászny, a former
Viennese opera singer married, following several high-society liaisons, to a wealthy Hungarian
nobleman. More than 50 years later Hiller recalled the magic of the evening: ‘One song was followed
by another … Schubert had but little technique, Vogl had but little voice, but they both had so much
life and feeling, and were so completely absorbed in their performances, that the wonderful
compositions could not have been interpreted with greater clarity and, at the same time, with greater
vision’. So impressed was Schubert by Hummel that he dedicated his last three piano sonatas to him;
by the time they were published in 1839, Hummel was dead, prompting Artaria to change the
dedication to Schumann.
After his frustrating experience with Probst, Schubert had considerably more success with Tobias
Haslinger, who published 12 Valses nobles (D969) for piano in January, the G major Piano Sonata in
April, and three Seidl settings in May. The proceeds from the sale may have facilitated Schubert's
leaving for a two-month working holiday in Dornbach (probably often in Schober's company), a village
a few kilometres north-west of Vienna. His principal creative activity was work on the unfinished opera
Der Graf von Gleichen. While on holiday Schubert was also elected – at the age of only 30 – to full
membership of the steering committee of the Gesellschaft der Musikfreunde; he responded in writing
that ‘I declare my gratification at the honour accorded to me by this election, and my entire readiness
to fulfil all duties connected with the same’. In mid-April Schubert attended at the Musikverein the first
public performance by an augmented Schuppanzigh Quartet of the Octet in F major. On 21 April Spaun
presented a Schubertiad that, according to Franz von Hartmann's diary, enjoyed ‘an enormous
attendance’. Hartmann also wrote that ‘at 12 o’clock we left … and a larger party went to Bogner's,
where however for that very reason it was no longer particularly jolly, and the glorious impressions of
the Schubertiad were lessened’. Another cause may have been Schubert's state of mind, which
Bauernfeld noted in early June as depressed. Schubert must have realized that his respite from
syphilitic symptoms could end at any time. In early September he accepted an invitation arranged by
Johann Jenger, a fine pianist, to visit Marie Pachler (another pianist, commended by Beethoven) in
Graz. They stayed for three weeks, sandwiching in a side visit to Wildbach Castle and attending a
charity concert of the Styrian Music Society that included three of Schubert's vocal works. Upon his
return to Vienna he wrote to Frau Pachler that ‘my usual headaches [a classic symptom of secondary
syphilis] are assailing me again’; indeed, while enjoying the Pachler family's hospitality in Graz,
Schubert had cancelled an appointment with a music lover, probably for the ‘usual’ reason. Hartmann's
diary made the blanket observation about the autumn of 1827 that ‘every Wednesday and Saturday
evening we go to the alehouse, where Enk, Schober, Schubert and Spaun can be found’.
Page 26 of 321

Since February Schubert had been preoccupied with a melancholy cycle of poems by Wilhelm Müller,
Die Winterreise. Its deeply interior, two-part tale of a young man unlucky in love who wanders across
the frozen landscape had obvious parallels with Die schöne Müllerin of four years earlier, but Müller's
new poems elicited even greater pathos from Schubert's pen. He apparently did not discover part 2
until October, probably completing the full 24-poem cycle before the end of the year. Spaun wrote that
‘we were quite dumbfounded by the gloomy mood of these songs …. To which Schubert replied, “I like
these songs more than all the others and you will get to like them too”. They did, especially in Vogl's
dramatic renditions. Spaun added that the songs of Winterreise ‘were his real swansong. From then on
he was a sick man, although his outward condition gave no immediate cause for alarm’. Gone for the
most part are the spontaneous, arching melodies of Die schöne Müllerin, replaced by declamatory lines
in a narrow range and repetitive rhythms that underscore the bleak landscape. Two thirds of the songs
are in minor, and those in major, such as the subdominant-inflected Die Nebensonnen, are often
heartbreakingly sad. Yet Schubert's personal gloom did not produce uniformly gloomy music. A flood of
works were begun or completed in the autumn. Throughout much of 1827 he worked in spurts on the
spacious and elated Piano Trio in B♭ major (D898). In November he began work on its equally convivial
sibling, the Piano Trio in E♭ major (D929). One of them (probably D898) was performed at the
Musikverein at the end of December. Both sets of the wide-ranging impromptus for piano (D899, D935)
were completed by the end of the year. If we also take into account the Eight Variations on a theme
from Hérold's opera Marie for piano duet (D908) of February, the Fantasia in C major for violin and
piano (D934) of December, songs on texts by Leitner, Metastasio, Rochlitz and Schober, and the
publication of almost 30 works, 1827 was an auspicious year.
(xii) Beginnings and the end (1828).

Robert Winter
Schubert began his final year with the familiar celebrations at Schober's. Along with friends such as
Schober, Spaun, Schwind, Bauernfeld and the von Hartmann brothers, he made his way at 2 a.m. to
Bogner's coffee house to celebrate and ponder the future. It seemed most promising. The reading
sessions that had been suspended since 1824 were now revived at Schober's. On 20 January Slavík and
Bocklet gave the première of the Fantasy for violin and piano at Slavík's private concert. On 15 January
Spaun – Schubert's friend of longest standing – announced his long-awaited engagement. Schubert,
although disappointed at the prospect of having to share his old friend, proposed a musical evening in
honour of Spaun and his fiancée, Franziska von Ehrenwerth. On 28 January Bocklet, Schuppanzigh and
Linke played one of the piano trios, after which Schubert and Bocklet played piano duets (including the
magnificent A♭ Variations) so brilliantly that, Spaun recalled, ‘everyone was enchanted and the highly
delighted Bocklet embraced his friend [Schubert]’. It was not only the last Schubertiad at Spaun's, but
the last one altogether. In the same month Schubert had begun work on the Fantasy in F minor for
piano duet (D940), his most cathartic and structurally integrated work in that medium. The dedication
to Caroline Esterházy testifies to the esteem in which he held her, although it stops short of being a
clear-cut declaration of love. When two German publishers, Schott in Mainz and Probst in Leipzig,
contacted Schubert about potential works, he replied with a varied list of largely instrumental
compositions. Schott at first offered to take the second set of impromptus, but withdrew when his Paris
office advised that they were ‘too difficult for trifles’. Probst accepted and published the E♭ Piano Trio,
including cuts in the finale that Schubert's friends had apparently urged.
Page 27 of 321

For the first time in his career, Schubert felt emboldened to present a public concert devoted entirely
to his own music. The Gesellschaft placed its concert hall in the Tuchlauben at his disposal. First
planned for 21 March, it was changed to 26 March, the first anniversary of Beethoven's death. If the
even-numbered verses of the one work composed especially for this evening, Auf dem Strom for tenor,
horn and piano (D943), were meant to recall the Funeral March of Beethoven's ‘Eroica’ Symphony,
then Schubert's homage could not have been more complete. Along with a group of songs (some
recent, others as much as 12 years old), the Schuppanzigh Quartet played the first movement of the G
major Quartet, and its members joined Bocklet in a performance of the E♭ Piano Trio. Those who
commented on the evening all state that the hall was full to capacity; in the end Schubert netted the
healthy sum of 800 florins – enough to sustain a civil servant for many months. Money, however, always
slipped quickly through Schubert's fingers. Of their group finances, Bauernfeld wrote: ‘Whoever was
flush at the moment paid … for the others … among the three of us [Bauernfeld, Schwind and
Schubert] it was Schubert who played the part of a Croesus and who, off and on, found himself
swimming in money’. Schubert insisted on paying for tickets to hear Paganini, who gave several
concerts in Vienna in 1828. After the concert Schubert treated him and Bauernfeld to several bottles of
wine before moving on to the inn zur Schnecke for more celebrations with Franz von Hartmann.
Schubert's exploration of novel keyboard styles continued in May with the Drei Klavierstücke (D946);
he may have expected the publisher to add fanciful titles. Around the same time he completed the
passionate Allegro in A minor and the Rondo in A major, both for piano four hands. These two polarized
works completed Schubert's extraordinary exploration of music for piano duet. An unrelated exception
occurred the next month, when Schubert and his composer friend Lachner set off on a two-day
excursion to Heiligenkreuz, where they hoped to hear the fine organ in the Cistercian monastery. In
Baden, where they spent the night, Schubert proposed that each of them compose a fugue to be played
at the monastery. By midnight, according to Lachner, they were finished, and at 6 o’clock the next
morning they commenced the last leg of their journey. Both fugues were played in the presence of
several monks, whose reactions are unrecorded. Diabelli's publication of Schubert's Fugue in E minor
(D952) – saturated with pre-Wagnerian chromaticism – as a piano duet probably stemmed from his
desire to make it more saleable. Meanwhile, Schubert continued to collect accolades, both in private
correspondence (as from the University of Breslau music lecturer J.T. Mosewius on both Müller song
cycles) and in print, as in a review in the Wiener Zeitschrift für Kunst praising part 1 of Winterreise and
the Rondo in B minor for violin and piano. In June Schubert turned, without any apparent external
stimulus, for the last time to the mass. The Mass in E♭ major (D950), while in some respects more
restrained than the A♭ Mass begun almost a decade before, shows Schubert's mastery of a wide range
of choral textures.
As summer approached Schubert investigated the possibilities of another holiday in Graz with Jenger
at the Pachlers, or in Gmunden. The exact reasons for delays are not known, but it may be that
Schubert already felt unwell enough to be wary of straying too far from Vienna. In July, perhaps
commissioned by the cantor Salomon Sulzer, he set Psalm xcii (D953) for soloists and chorus. In August
Schubert's physical distress was great enough for him to consult the court physician, Dr Ernst Rinna,
who made the ultimately fatal recommendation that Schubert move in with his brother Ferdinand in
the Viennese suburb of Wieden. On 1 September Schubert joined his brother in a new building on
Kettenbrückengasse 6, whose cleaner air on the outside was unfortunately complemented by very
damp air on the inside. Schubert's symptoms, which may have included giddiness and headaches, were
not enough to deter him from composing or completing a rich array of ambitious works that included
Page 28 of 321

the songs posthumously published as Schwanengesang (D957, August and October), the last three
piano sonatas (D958–60, September), the String Quintet in C major (D956, September–October) and
Der Hirt auf dem Felsen (D965, October) for voice, clarinet and piano. The seven poems each by
Rellstab and Heine that make up the posthumously titled Schwanengesang were probably intended for
separate publication. From the rippling demisemiquavers of Liebesbotschat to the languid triplets of
Ständcher, from the ebullience of Abschied to the sprawling gloom of In der Ferne, the emotional range
of the Rellstab settings is staggering. Five of the seven Heine poems are deeply tragic, and with a
remakable economy Schubert plumbs the essence of images such as Ihr Bild and Der Doppelgänger.
Even if we assume that Schwanengesang was begun earlier, the sheer quantity and quality of
productivity in Schubert's last months point to a man who has by sheer force of will resolved not to
acknowledge his failing body. But it could just as easily describe a man who knows that his time is
almost up – or a man who, in his creative prime and, having survived worse bouts of illness, had no
expectation of dying. Whatever the explanation, his productivity remains nothing short of miraculous.
The rate of publication remained equally healthy, including the E♭ Piano Trio, some 20 songs to texts
by Goethe, Leitner, Schulze, Scott, Seidl and Shakespeare, and part 1 of Winterreise.
It may have been Schubert's deeper study of the music of Handel (especially Messiah), or his
attendance at the frequent colossal performances in Vienna of Handel oratorios that spurred him to
seek counterpoint lessons with Simon Sechter, Vienna's most prominent music theorist and a strict
advocate of the Fuxian tradition. It is hard to imagine why the composer of the E♭ major Mass or the
Fantasy in F minor felt it necessary to study counterpoint, but on 4 November, accompanied by the
violinist and composer Josef Lanz (who apparently made the arrangements for both of them), Schubert
took his one and only lesson with Sechter. On 31 October Schubert had dined at the tavern zum roten
Kreuz often frequented by the composer and his family. His reaction to the fish that he ate was to feel
ill. According to Bauernfeld, he had felt this way ‘from time to time and we attached no importance to
it’. Around this time Schubert began sketches for a symphony in D major (referred to incongruously as
‘Symphony no.10’). Each of its three movements open new paths for exploration; the B minor Largo,
especially, projects an almost Mahlerian sense of foreboding alternating with salvation. Schubert very
likely worked on the symphony until he became too delirious to write.
On 3 November he felt well enough to attend the performance of a Requiem by his brother Ferdinand,
followed by a three-hour walk with Schubert family friend Josef Mayssen. A few days later Spaun
visited Schubert to have him check a copy of a psalm setting he had prepared at Schubert's request for
the Ladies Choral Society in Lemberg. The composer was in bed but protested that there was nothing
wrong with him, ‘only I am so exhausted that I feel as if I were going to fall through the bed’. His fate
was now sealed, and his 13-year-old half-sister Josefa and Ferdinand's wife Anna prepared to care for
him for the duration. On 12 November Schubert wrote an alarming letter to Schober, declaring that ‘I
am ill. I have eaten nothing for 11 days and drunk nothing, and I totter feebly and shakily from my bed
and back again. Rinna is treating me. If I try to take anything, it comes right back up’. The same letter
requests more novels by James Fennimore Cooper, the American author of, among others, The Last of
the Mohicans and The Spy. One unconfirmed report states that on 14 November Beethoven's String
Quartet in C♯ minor op.131 was performed at Schubert's bedside. Rinna now took ill himself, and Josef
von Vering was called in. A bedside conference between Vering and another physician, Johann Wisgrill,
led to a new course of treatment. We can only guess at the prescribed medications that Schubert
imbibed at regular intervals using his stopwatch. Spaun, who visited Schubert during his last days,
Page 29 of 321

reported periods of delirium in which Schubert ‘sang ceaselessly’, alternating with periods of lucidity
during which he corrected the proofs for part 2 of Winterreise. But on 18 November Schubert had to
be restrained in his bed; by 3 o’clock the next afternoon he was dead.
Schubert's death mask, in the Curtis Institute of Music, Philadelphia
The Curtis Institute of Music
The death certificate ascribed Schubert's death to Nervenfieber (nervous fever). For Otto Erich
Deutsch, Schubert's great chronicler, this meant either typhus or typhoid fever. But later writers such
as Eric Sams argue that the most probable cause was tertiary syphilis. Some of the symptoms, such as
giddiness and headaches, could have been caused by mercury, the standard medication in Schubert's
time for those afflicted with syphilis. Narrowing of the arteries in the brain – another symptom of
tertiary syphilis – could have caused a stroke that led to Schubert's fever and delirium. With the stigma
already attached to venereal disease in Schubert's time, it is easy to understand why his physicians
and family would have wished to gloss over the true cause of death. Still others have posited
malnutrition, the effects of alcoholism, and deterioration of the immune system. The imprecision of
medical practice and the poor understanding of causality in Biedermeier Vienna will always preclude a
Page 30 of 321

definitive account. What is certain is that, even by the standards of his day, Schubert died far younger
than the vast majority of his less gifted friends. Two days after Schubert's death a funeral service was
held at the Josephskirche in the Margareten suburb. A semi-delirious conversation Schubert had with
Ferdinand the evening before he died led the brother to believe that Franz wished to be buried near
Beethoven. There in Währing cemetery, in blustery November weather, Schubert, having not quite
reached his 32nd birthday, was laid to rest. A heavily attended memorial service was held at the
Augustinerkirche on 23 December, followed by a bittersweet Schubert concert at Spaun's. In January
and March of 1829 Anna Fröhlich organized two private memorial concerts at the Musikverein, with
half of the receipts going towards the erection of a funeral monument. Not until the summer of 1830
was Ludwig Forster's monument with the bust by Josef Dialer placed at Schubert's grave; it was
inscribed with the celebrated epitaph by Grillparzer: ‘The art of music has entombed here a rich
treasure but even fairer hopes’. Immortal as these words are, they also suggest that even Schubert's
most ardent supporters had little idea what he had accomplished in his brief time on earth.
(xiii) Schubert's character and the reception of his works.

Robert Winter
In the decades following Schubert's premature death, his character – or at least the character that his
friends and biographers constructed – was unavoidably linked to the reception of his music. Less than
a week after Schubert's death, Josef von Zedlitz wrote in the Wiener Zeitschrift für Kunst that ‘his
private life was absolutely honourable and worthy, as is always the case with every true artist’. In the
wake of Metternich's Europe, artists remained perhaps the one class that society could still idealize.
Although less naive, the obituaries published by Sonnleithner, Spaun and Bauernfeld glossed over
aspects of Schubert's life with which they must have been acquainted. Only Mayrhofer acknowledged
in his notice that Schubert ‘had long been seriously ill, had gone through disheartening experiences,
and life for him had shed its rosy colour’. Three decades later one might have thought that a balanced
assessment was possible – although not where Anton Schindler was concerned. Waging a rearguard
action, Schindler wrote in 1857 ‘does not the inheritance left by our young master declare clearly and
distinctly how matters stood in his case with regard to his mode of life and consequently with regard to
his use of every hour of his time? And yet the false idea has spread and taken firm root that Schubert
led a disorderly life, was addicted to drink and suchlike’. Heinrich Kreissle, Schubert's first biographer,
presented a composite picture of Schubert in 1861 (with a much expanded second edition in 1865) as
‘a good son, fondly attached to all his family, a firm friend, always ready to do a good turn for any he
loved, free from all envy and hatred, high-minded …’. In 1873 the American Schubert biographer
George Lowell Austin went one better than Kreissle: ‘The evenness of his disposition, which bore a
resemblance to the smooth surface of a mirror, was rarely ruffled by exterior matters, and there
existed a perfect harmony between his spirit and action …. The important elements of Schubert's
character were a love of truth, and a marked hatred of jealousy, tenderness with firmness, sincerity
and affection…’.
The centenary of Schubert's death in 1928 prompted a spate of books that continued to reinforce the
Schubertbild. In the English-speaking world Newman Flower's Franz Schubert: the Man and his Circle
boasted of its grounding in the scholarship of Otto Erich Deutsch. Flower did not look kindly on those
who threatened to tarnish his portrait of Schubert: ‘[Anselm] Hüttenbrenner later declared that
Schubert had “an overruling antipathy to the daughters of Eve”. But this is scarcely correct. That his
Page 31 of 321

love for Therese Grob was the great passion is beyond question’. More than a decade earlier Rudolf
Bartsch's 1912 novel Schwammerl and Willner and Reichardt's 1916 Singspiel Das Dreimäderlhaus
(English version, 1923, as Lilac Time) had spread the sentimentalized view of Schubert to every corner
of the music world. With its brief span, remarkable productivity and lack of obvious turning-points,
Schubert's biography facilitated just the kind of rewriting practised by biographers and novelists alike.
Between 1821 and Schubert's death in 1828 more than 100 opuses of his music had been published (or
at least proofed by the composer), most by Viennese firms. This was a rate unequalled by any of
Schubert's Viennese contemporaries. In terms of the sheer number of opuses, it almost doubles the
total for Beethoven over the same period. The differences lay in the emphasis. In this period Beethoven
saw seven symphonies and half a dozen overtures published; Schubert saw not one note of his
orchestral music published. Schott published Beethoven's Missa solemnis shortly after its completion;
Schubert could get only a handful of youthful sacred works into print. Almost two-thirds of Schubert's
published opuses in his lifetime were devoted to lieder (more than 175 songs). The 50 Nachlass opuses
published between 1830 and 1850 by Anton Diabelli were devoted entirely to 137 more lieder. More
than 30 other Schubert opuses were divided equally between music for piano and piano duet. Of his
greatest chamber works only the A minor Quartet and the E♭ Piano Trio appeared in his lifetime. At the
time of Beethoven's death, virtually all of the music on which his posthumous reputation would rest
had been published. Less than a quarter of Schubert's music had appeared in print when he died, and
publication was heavily skewed towards the least prestigious genres.
Facilitated by Schubert's brother Ferdinand, Robert Schumann's Viennese encounter with the ‘Great’ C
major Symphony led to Mendelssohn's celebrated Leipzig performance on 21 March 1839 and a
publication of the parts the next year. Schumann’s and Mendelssohn's roles were pivotal; previous
attempts to mount performances in Vienna and Paris had failed because the musicians found the work
too long and too difficult. But the publicity garnered by the symphony failed to have a major impact on
the firms of Artaria, Diabelli, Leidesdorf, Schweiger and Spina, who continued to favour songs,
partsongs and piano music. By 1865 only a single overture (D591) had been added to the orchestral
list. Chamber music fared better, with the publication of the ‘Trout’ Quintet, the G major String
Quartet, the Octet in F and the B♭ Piano Trio. Yet almost four decades after his death still less than half
of Schubert's music was in print. In 1865 Anselm and Josef Hüttenbrenner were finally persuaded to go
public with the ‘Unfinished’ Symphony, their legacy from Schubert's honorary 1822 diploma the Styrian
Music Society in Graz. The first public performance of the symphony under Johann Herbeck finally put
Schubert on the international map, leading quickly to performances in Germany, England, France and
North America.
2. Works.
(i) Songs.
Robert Winter
Schubert's first surviving song dates from his 15th year, and he probably wrote the last of his more
than 600 completed songs only a few weeks before his premature death. In terms of separate works,
almost two-thirds of Schubert's are lieder, and during his lifetime they were the principal vehicle of his
fame. The nearly 300 ballads and lieder of the Stuttgart court composer Johann Rudolf Zumsteeg
Page 32 of 321

provide one of the few visible lineages leading to Schubert. Spaun wrote that, from his Stadtkonvikt
days, Schubert ‘never ceased to do justice to Zumsteeg's songs, indeed he always expressed himself
with the same warmth about their value …’. Schubert may have been attracted by Zumsteeg's attempt
to enhance serious poetry (Schiller, Goethe) with music, by his use of through-composed as well as
strophic procedures, and by the admixture of recitative and lyrical sections. Six of Schubert's songs
between 1811 and 1816, including Hagars Klage, use texts set by Zumsteeg while emulating his
general musical strategies as well. Yet from the beginning Schubert's accompaniments bore little
relationship to the continuo-derived patterns of Zumsteeg, and his sense of both musical and dramatic
coherence always transcended Zumsteeg's largely local phrasing. The lieder of the Berlin composer
Carl Friedrich Zelter were probably even less of an influence, though the complexity of some of his
accompaniments approach those of Schubert.
While his skill at setting verse grew throughout his lifetime, from the age of 17 onwards Schubert was
composing masterful songs that ranked with the best produced over the next 100 years. Nothing in the
Berlin school or in the songs of Haydn, Mozart or Beethoven could have prepared Schubert's admirers
for his breakthrough lied, Gretchen am Spinnrade (D118), of October 1814. Not only do its freely
modified strophes trace a mounting dramatic trajectory that unites the whole, but the spinning-wheel
accompaniment serves as one of the protagonists. What may account partly for Schubert's great leap
was his lifelong passion for poetry, in this instance his first encounter with Goethe. Schubert
continually and assiduously sought out verse that both conveyed meaning(s) and was suited through its
declamation for musical realization. His unrelenting search led him to more than 150 poets over a 17-
year career. He set the greatest poets of his own and the preceding generations (Schiller, Goethe,
Klopstock, Heine, Rückert) but also gave extraordinary voice to his friends (Mayrhofer, Schober,
Bauernfeld, Ottenwalt, Spaun) as well as to a bewildering array of minor poets from Hölty (more than
30 songs, mostly from 1815–16) to Stolberg.
Schubert's uniqueness lay not only in his raising of the lied from a marginal to a central genre but in
his ability to fuse poetry and music in ways that seem not only unique but inevitable. Like those of
Wolf, but few others, Schubert's songs can withstand the closest scrutiny because they contain so
many layers of meaning and stylistic intersection. He reinvented in dazzling variety the kind of kinetic,
moto perpetuo accompaniment first found in Gretchen: the undulating waves of Auf dem Wasser zu
singen (D774), the impetuous brook in Wohin? (no.2 from Die schöne Müllerin), the shimmering
demisemiquavers of Liebesbotschaft (no.1 from Schwanengesang), or the gently rocking figuration of
Nacht und Träume (D827). As Schubert's expressive range developed, the integration of melody (the
reciter of the text), harmony and accompaniment increased steadily. In the laconic Am See (D124) of
1814, the folklike melody and simple oom-pah accompaniment seem reminiscent of Zumsteeg but
already include passages where the piano and voice lines interact with one another. By Rastlose Liebe
(D138) of the next year, Schubert had combined the moto perpetuo rhythm in the right hand with a
slower but equally urgent rhythm in the left hand, both counterpoised to the breathless delivery of the
voice. In Erlkönig (D328), from the autumn of 1815, he expanded this strategy into a large ballad
structure unified by virtuoso triplet rhythms and concluding with an understated recitative that invests
the death of the young boy with an almost unbearable poignancy.
Over the next dozen years Schubert invested every stylistic aspect of the lied with a richness that,
dramatically speaking, rivalled and even surpassed opera. Although his harmonic language grew out of
the chromaticism of Mozart, his harmonic daring in lieder could approach that of mid-century Wagner.
Page 33 of 321

In Stimme der Liebe (D412) of 1816, a hymn to love, Schubert passes through no fewer than six remote
keys in the course of 30 bars. In the more expansive Ganymed (D544), he moves through three
distantly related keys specifically linked to Goethe's irregular poetic structure. The ecstatic hymn to
the almighty, Die Allmacht (D852), moves rapidly through highly chromatic sequences. Trost (D523), a
premonitory song about death from January 1817 and headed ‘mit schwärmerischer Sehnsucht’ (with
passionate longing), slips on the word ‘tief’ (deep) from B major down to the flattened sixth of G major,
a relationship that Schubert would invoke repeatedly over his career. Schubert's rhythms, often
overlooked, play an important role in defining the immediate character of a song, whether the
energized syncopations of Der Musensohn (D764), the floating two-against-three rhythms of
Frühlingsglaube (D686), or the static, hypnotic chords of Meeresstille (D216). In Der Jüngling und der
Tod (D545) the slow dotted rhythms in the prelude signify the inevitable tread of death.
But it is as a melodist that Schubert formed and sustained his reputation as a song composer. Against
the backdrop of Beethoven's predominantly instrumental style there is no doubt that Schubert's
melodies stood out for his successors as well as for the generations that have followed. Yet the irony is
that no Viennese composer's melodies depend as heavily on their accompaniments for their effect as
Schubert's. The celebrated melody of Ave Maria! (D839) leans heavily on the regular triplets and
deceptive cadences of the piano part. Each verse of An Sylvia (D891), one of Schubert's Shakespeare
settings from 1826, makes ingenious use of bar form, in which the A′ phrase moves through the
mediant and the culminating B phrase is the only one to cadence on the tonic note. But the undeniable
appeal of this melody grows equally out of the imitation in the piano at phrase ends, the playfully
staccato ascending figure in the piano's bass, and the independent melody in the piano's right hand at
the culminating end of the B phrase. As Schubert matured this interdependency between melody and
accompaniment only grew deeper.
The nearly 200 songs published in Schubert's lifetime are generally performed as if their groupings
were of no consequence; but there is ample internal evidence that he compiled his opuses carefully. In
op.59, a group of four songs published in 1826, Schubert opens with Du liebst mich nicht (D756) in A
minor, followed by another heartbreak song, Dass sie hier gewesen (D775), in the relative major. The
third song, Du bist die Ruh (D776), uses a similar form of address to the first song but in a different,
comforting mood, signalled by the more distant common-tone shift from the key of Dass sie hier
gewesen, C major, to E♭ major. Finally, the whimsical, bittersweet Lachen und Weinen (D777) is in A♭
major, to which the previous song's E♭ major serves as a retrospective dominant. Hence the opus
skilfully groups two pairs of songs in contrasting moods but united by the general theme of love.
Schubert's ongoing interest in song groupings may help explain his receptivity in 1823 to Wilhelm
Müller's narrative cycle of 23 poems with prologue and epilogue entitled Die schöne Müllerin,
published as part of a larger volume entitled Seventy-Seven Poems from the Posthumous Papers of a
Travelling-Horn-Player. The growth of Müller's poems out of literary party games in Berlin resonated
with Schubert's experiences in Viennese reading circles in 1821–2. He was doubtless also influenced
by Beethoven's song cycle An die ferne geliebte of 1815–16. After boiling Müller's verse down to 20
poems, Schubert set each one with a directness and urgency that place Müller's often elliptical or
ironic emotions in sharp relief and heighten the sense of dramatic narrative. As set by Schubert, Die
schöne Müllerin (D795) is less a tragic love story than a metaphor on the Romantic conviction that true
love on this earth finds its fulfilment only in death. Four years later Schubert returned to Müller's 1821
volume and seized on the 24 poems of Winterreise, a more interior, emotionally more nuanced portrait
Page 34 of 321

of another lovesick wanderer. Though less immediately tuneful, the songs of Winterreise are
structurally more complex and varied. Following his rejection in love, the protagonist ends up
resigning himself to the chilling alienation experienced in the last song by ‘the hurdy-gurdy man’, a
perspective that must have struck a sympathetic chord with Schubert.
Schubert's song forms – strophic, ternary, bar, through-composed, to name the most common – are
often spoken of in defining terms, but they are invariably the by-product of his encounter with the
chosen poetry rather than a pre-existing predilection. With the exception of some of the longer
narrative poems, the vast majority of the poetry Schubert set was in some variant of stanzaic form, and
his predecessors most often followed this cue with matching musical strophes. While Schubert was
sensitive to the poetic form, he was more influenced by his assessment of a poem's emotional
trajectory and dramatic possibilities. The result was a remarkable range of variations on a few formal
types. While something like a third of Schubert's songs make use of strophic form, only a relatively
small number utilize strict strophic form, in which the same music is repeated literally for each stanza.
Among the mature works these include almost half of the songs in Die schöne Müllerin and both of the
exquisite Shakespeare settings (D889, 891). All of these and other such songs contain level sets of
verses (several with refrains) and often project a selfconscious folk quality. But even those in strict
strophic form often transcend the folk pattern. The torrential triplets of the eight-bar introduction to
Ungeduld, from Die schöne Müllerin, says more about impatience than Müller's four stanzas; the
concluding refrain, with its two high As, provides an operatic climax entirely foreign to this genre. In
other instances, such as An die Musik, Schubert writes out the music to the two stanzas, whose impact
is cumulative rather than serial. More frequently Schubert's strophic forms are modified to suit the
dramatic situation. Gebet während der Schlacht (D171) places an arioso/recitative before a written-out
strophic form. His favourite variant is to turn from major to minor for the closing stanza, as in Der
Wachtelschlag (D742), Tränenregen from Die schöne Müllerin, and Im Frühling (D882). Schubert's
predilection for major–minor contrast, and for minor-keyed inflections within a major context and vice
versa, derives from Mozart but goes far beyond him. Along with Brahms, he ranks as the greatest
major–minor colourist in Western music.
Ternary forms (An den Mond, D193), bar forms (Die Forelle, D550) and rondos (Der Einsame, D800) are
scattered throughout Schubert's song output, always motivated by the dramas inherent in their texts.
But the most frequent strategy adopted by Schubert over his song career has been described by
Formenlehre theorists as ‘through-composed’ (German durchkomponiert), a catch-all for all those
songs that do not fit preconceived schemes. From the impressionistic simplicity of the 32-bar
Meeresstille (D216) to the cathartic dramatic scena Die junge Nonne (D828), Schubert responds in
seemingly infinite ways to the inner drama of his chosen poems. In this freedom of structure he is
approached only by Hugo Wolf at the end of the century.
In the end, perhaps no one summarized Schubert's achievement in song better than his lifelong friend
Joseph von Spaun:
In this category he stands unexcelled, even unapproached … Every one of his songs is in
reality a poem on the poem he set to music … Who among those who had the good fortune to
hear some of his greatest songs does not remember how this music made a long familiar
poem new for him, how it was suddenly revealed to him and penetrated to his very depth.
Page 35 of 321

(ii) Partsongs and choruses.
Robert Winter
Schubert's production of polyphonic songs and choruses extended chronologically almost as widely as
that of the lied. At the age of 15 he modelled a comic trio, Die Advokaten (D37; TTB and piano), after a
work by Anton Fischer (although in the tradition of Mozart's Das Bandel); only months before his death
he composed Glaube, Hoffnung und Liebe (D954; two tenors, two basses, chorus and wind) for the
dedication of the new bells in the Dreifaltigkeitskirche in the Alservorstadt. He completed more than
150 such works, amounting in length to some 30% of his lieder output. The fledgling tradition of part-
singing in Vienna was consolidated in 1809 in Berlin with Zelter's founding of the Liedertafel, a men's
organization modelled loosely on the Meistersinger guilds. The practice spread quickly throughout the
German-speaking regions and Schubert became its most important Viennese representative. Almost
two-thirds of Schubert's partsongs or choruses are for men's voices, reflecting the essential child-
rearing duties assigned to women in Biedermeier Europe. About a fifth are for mixed voices, and only
half a dozen call for women's voices. The remainder are either unison or unspecified. In practice, many
works could be performed with either one, several or many voices to a part, blurring any hard and fast
distinction between solo and choral partsongs. In these works Schubert presents a rich variety of
dispositions, including SATB, SAT, STB, TTB, TTBB, TTBBB, TTTTBBBB, SA, SSA, SSAA, chorus, double
chorus, often spiced with additional combinations of soloists. The songs divide almost evenly between
unaccompanied and accompanied. Schubert had a particular gift for inventing apt and varied vocal
sonorities; in Lied im Freien (D572; TTBB) the outer sections are set in sprightly homophony
punctuated by appoggiaturas to celebrate the coming of May. The second stanza's focus on the play of
light and shade is treated in imitation, while the leisurely strolling of the third stanza is set as a slow
fugato. The accompaniments range from simple keyboard to groups of horns, strings, wind and even
full orchestra.
Many of these songs and choruses are occasional pieces. Ten carry generic drinking-song titles such as
Trinklied, Punschlied or Wein und Liebe, while others are titled Schlachtlied or Fischerlied. Yet in his
partsongs Schubert was drawn to a similar array of poetry as in the solo songs. The fifth and last of his
settings of Nur wer die Sehnsucht kennt (D877 no.1) is the only one to mirror Goethe's scene as a duet
between Mignon and the Harper, and easily surpasses the solo settings in emotional range. A
remarkably high percentage of these works received their premières in Schubert's lifetime, and a
goodly number were published. With its elaborate piano accompaniment, the SSAA quartet, Gott in der
Natur (D757, first performed in 1827), is a hymn of praise to nature on almost as grand a scale as its
solo counterpart, Die Allmacht. The more intimate Des Tages Weihe (D763) uses an SATB quartet to
create a sense of gratitude more compelling than could be achieved by a solo voice. Night songs
especially stimulated Schubert's colour palette. Wehmut (‘Die Abendglöcke tönet’, D825, TTBB)
contrasts the monotone chiming of the bell with the magic of sunset. Mondenschein (D875), on a text
by Schober and which received its première in the last year of the composer's life, exemplifies the best
of Schubert's chromatic and major–minor inflections, here in a skein of aching appoggiaturas.
Nachtgesang im Walde (D913; first performed in 1827) uses the echo effect of four horns to exquisite
effect. Both Die Nacht (D983c) and Nachthelle (D892; first performed in 1827) highlight the upper male
range to portray vividly the allure of night. Nachthelle is built around an ethereal piano accompanment
that invests the choral echoes of the solo tenor with a special glow.
Page 36 of 321

Geist der Liebe, D747 (TTBB; first performed in 1822), easily surpasses Schubert's solo setting of the
same Matthisson poem. Ständchen (D920; alto and TTBB chorus), written for Anna Fröhlich, is at least
the equal of either of Schubert's more celebrated solo serenades. Certain texts lent themselves
naturally to the partsong. The collective energy of Der Tanz (SATB; D826) seems to spring off the page;
and the repeated references to battle in Friedrich de la Motte Fouqué's Gebet (SATB; D815), one of
Schubert's most ambitious partsongs, call for an equally collective utterance. Mirjams Siegesgesang
(D942), for soprano, chorus and piano (Schubert doubtless intended to orchestrate it), is Schubert's
most direct homage to Handel, whose music was frequently performed in Vienna. When reading
Handel's music at the piano, Schubert is supposed to have remarked to Hüttenbrenner: ‘Oh, the daring
of these modulations! Things like that do not occur to the likes of us even in a dream!’ Amateur
choruses and part-singing reached their peak of popularity during the 19th century, and it is to be
regretted that Schubert's partsongs, which include some of his finest inspirations, are performed
comparatively rarely today.
(iii) Sacred music.

Robert Winter
Schubert was occupied with the composition of music for the church from his 15th year until the end of
his life. In volume his sacred output falls only slightly short of Mozart and greatly exceeds that of
Beethoven. Schubert attended mass regularly as a child and probably continued the practice into his
adulthood, especially while living with or visiting his family. As with other areas of his personal life,
direct evidence concerning Schubert's religious beliefs is hard to come by. In an 1824 diary entry he
wrote that ‘It is with faith that man first enters the world. It comes long before reason and knowledge,
for to understand something one must first believe something … Reason is nothing other than analysed
faith’. After contracting syphilis Schubert made a number of heartfelt utterances in the ensuing years
that may show him struggling to come to terms with his bleak destiny. Less than a decade earlier he
had written in another diary that ‘Man resembles a ball, to be played with by fate and chance’.
Whether or not Schubert evolved a Christian humanism that combined elements of messianic Judaism
and Platonism (with its view of life as an ascent towards divine perfection), his involvement with
theological questions, broadly construed, seems to have been an important theme of his creative life.
Between 1812 and 1814 Schubert experimented with several Kyrie settings, as well as a Gloria, Credo,
Sanctus and Salve regina. He wrote the first four of his six completed masses in close succession
between 1814 and 1816, probably in response to a demand from the Lichtental church, his local parish,
and perhaps in an effort to gain the attention of the soprano Therese Grob. They bear an obvious
affinity to the Austrian Missa brevis tradition practised most conspicuously by Mozart. The first of
these, that in F (D105) composed in 1814 for the centenary of the Lichtental church, shows an
adolescent composer fully conversant with the Viennese church tradition. From the brilliant use of
brass in the Gloria to the kinetic fugue (albeit one over-reliant on sequences) of the ‘Cum Sancto
Spiritu’, Schubert writes with an assurance rivalled at this age only by Mozart. In maintaining a single
tempo in both the Credo and the Sanctus, Schubert departs confidently from tradition. Not unlike
Mozart before him, Schubert felt no obligation to present the mass text in its entirety. He habitually
omits the Credo text: ‘[Credo] in unam sanctam catholicam et apostolicam Ecclesiam’, which might
suggest a lack of sympathy for the institutional church. But on other occasions Schubert omitted
liturgical text in an unpredictable fashion, a practice that suggests a more relaxed, empirical approach
Page 37 of 321

congruent with the practices of several contemporaries. Schubert's Second Mass, in G (D167), was
composed less than a year later; scored for only strings and organ, it is also his shortest and most
intimate mass. If the dates on the autograph are reliable, he started and completed it in six days.
Although its textures are on the whole more homophonic than those in the F major Mass, movements
such as the Gloria of the G major Mass brim over with visceral rhythms, wide-ranging chord
dispositions and a harmonic momentum that extends beyond mere sequence. By contrast, the Mass in
B♭ (D324) is less personal, operating within a narrower expressive range. The last of Schubert's masses
in the Missa brevis tradition, in C major (D452), invokes most strongly the examples of Haydn and
Mozart, although with a wider harmonic spectrum. During this same period Schubert composed an
ambitious German setting of the Stabat mater (based on the paraphrase by Klopstock) and several of
his six settings of the Tantum ergo.
Following this burst of activity, Schubert then withdrew from large-scale sacred projects for several
years. The most remarkable fact about the Mass in A♭ (D678), whose intended performance destination
is unknown, is that Schubert finished it. He commenced work in the autumn of 1819, at a time when he
was reaching beyond his seemingly effortless youthful style towards a more complex and personal
mode of expression. The years between 1818 and 1822 produced, among others, four unfinished
symphonies, an unfinished oratorio, an unfinished string quartet and three unfinished piano sonatas.
Work on the mass extended over three years, parallelling very closely the gestation period for
Beethoven's Missa solemnis op.123 (although nothing suggests that Schubert was aware of
Beethoven's project). Comparisons are inevitable, and it makes sense to acknowledge at the outset that
the scale of Beethoven's is epic, monumental and symphonic, while Schubert's mass is more human
and intimate in tone (although his orchestra includes trombones), intrinsically spontaneous and
harmonically more far-reaching, nowhere more so than in the visionary Sanctus. It is still possible to
imagine Schubert's mass receiving a performance in a Viennese church, while Beethoven's demands
the concert hall (where, in fact, it received its first, albeit partial, performance). Schubert's mastery of
string figuration in the faster sections of the Gloria and Credo and the delicious use of pizzicato in the
Benedictus provide an irresistible forward momentum. The opposition of female and male voices in the
‘Hosanna’ and the hushed opening of the Credo represent colours largely foreign to Beethoven's
palette. The confident sweep of the Handelian ‘Cum Sancto Spiritu’ fugue that concludes the Gloria
testifies to the lofty contrapuntal ambitions of a composer who, in the very last month of his life,
sought out the instruction of Simon Sechter.
Lazarus (D689), begun in February 1820 without any apparent external stimulus, fits neatly into
Schubert's experimental period, for its highly original blending of elements of cantata, oratorio and
staged drama (Schubert's score includes stage directions). Although breaking off in the second of three
planned acts (representing the death, burial and resurrection of the New Testament character), the
highly flexible vocal delivery looks forward to the technique of Wagner's music dramas.
Elsewhere Schubert responded to the implorings of friends and associates. The eight chordal hymns
plus epilogue of the Deutsche Messe (D872) fulfilled J.P. Neumann's (the librettist of Schubert's
unfinished opera Sacontala) desire for liturgical music that could appeal to the broadest segment of
the congregation. Schubert's setting of Psalm xlii (D953) in Hebrew was very probably commissioned
by cantor Salomon Sulzer, whose rendition of Schubert's Der Wanderer had greatly impressed the
Page 38 of 321

composer. The synagogue in the Seitenstettengasse was only two years old, and Schubert's
contribution doubtless strengthened the hand of the man responsible for diffusing historic anti-
semitism in Vienna.
As with most of Schubert's mature sacred works, the Mass in E♭ (D950) seems to have been a response
to inner need rather than external imperative. While building upon the foundation of the A♭ Mass, it
integrates with remarkable success the symphonic organization of Beethoven with Schubert's
seemingly limitless melodic and harmonic invention. Although more compact than that in the Gloria of
D678, the concluding Gloria and Credo fugues, with their sharply chiselled subjects, suggest a
composer who had studied Beethoven's Missa solemnis. The frequent changes in mood and tempo
throughout are unified by closely spaced points of imitation (extended to impressive lengths in the
‘Hosanna’). Original orchestral touches include the thematic role played by the timpani in the Credo.
The ‘Et incarnatus est’, based on a long, arching, waltzlike melody, echoes the corresponding section of
Haydn's Heiligmesse in being composed as a round, with each voice (two tenors and soprano) taking
the melody in turn. The flowing but harmonically rich four-part solo writing of the Benedictus looks
forward to Verdi's Requiem. The awesome modulations of the Sanctus and the anguished chromaticism
of the Agnus Dei, based on an adaptation of the C♯ minor fugue subject from the first book of Bach's
Das wohltemperirte Clavier, still retain their shock value today. In the E♭ Mass Schubert had reached
his full stride as a composer of large-scale sacred works. The same assurance can be heard in the
skilful blending of solo and choral writing in the Tantum ergo (D962) and in the rhapsodic oboe solo
that drives the offertory Intende voci (D963), both composed a month before the composer's death.
(iv) Dramatic music.

Robert Winter
In no other arena of Schubert's artistic life did he encounter more frustration than in dramatic music.
At first blush, the sense of drama evinced in songs like Erlkönig, not to mention his dazzling lyrical gift,
would seem to have marked Schubert as an ideal composer of dramatic music. But like Haydn,
Schubert lacked the instinct for long-range planning and cumulative dramatic development that came
so naturally to a Mozart or a Verdi. Perhaps he could have learnt through experience, as exemplified by
his growth in the realm of symphonic music. But the circumstances for a positive learning curve could
not have been more disadvantageous during Schubert's lifetime. The two principal Viennese theatres,
the Burgtheater and the Kärntnertortheater (both owned and controlled by the emperor), were in
decline. The Burgtheater had ceased producing opera altogether, while the Kärntnertortheater faced
financial difficulties. Nor did the three suburban theatres offer more opportunity. The enthusiasm for
the operas of Rossini upon their introduction in Vienna in 1816 had turned by 1821 into what the
Viennese called the ‘Rossini Rummel’ (Rossini craze). Strict censorship introduced by Metternich
forbade any subjects challenging the imperial authority. Finally, the paucity of opportunities had
drained Vienna of virtually all of its professional librettists. In all it was an extremely poor environment
for any composer of German opera.
Schubert's enthusiasm for dramatic music nonetheless overcame any objective assessment of his
chances for success. Opera, in particular, remained the surest path in Vienna (and throughout most of
Europe) to fame and fortune. Between 1811 and 1827 Schubert began no fewer than 16 full-scale
dramatic works (not including the two fine numbers added to Hérold's Das Zauberglöckchen and the
Page 39 of 321

incidental music to Helmina von Chézy's Rosamunde), completing half of them. Half of those he began
are Singspiele growing out of the same tradition that produced Mozart's Entführung and Zauberflöte.
Schubert's first two efforts, Der Spiegelritter (D11) and Des Teufels Lustschloss (D84), were composed
before he was 18. Based on existing librettos by August von Kotzebue, a respected and successful
Viennese dramatist, their magical plots (statues that move, seduction by an Amazon) stimulated
Schubert's Romantic imagination only sporadically, as in the texture-based night music that opens Act
2 of D84. In 1815, the same year that produced some 160 lieder, the teenaged Schubert commenced no
fewer than four Singspiele, completing at least three of them. The single act of Der vierjährige Posten
(D190), Theodor Körner's improbable tale of a sentry who gets left behind by his comrades, required
only 12 days to complete. Its spirited music includes a quartet in the form of a round that may have
been inspired by Beethoven's ‘Mir ist so wunderbar’ from Fidelio. The next, and more serious, work,
Fernando (D220), includes a heroine Eleanora who seeks and finds her lost husband, and whose name
probably harks back to Beethoven's opera as well. Its one act was probably tossed off in a couple of
weeks but includes a good example of storm music and a moving prayer. The one surviving act of the
three-act Claudine von Villa Bella (D239) holds out little promise; if ever completed, the two final acts
have disappeared without a trace. The libretto for the final member of the quartet of 1815 Singspiele,
Die Freunde von Salamanka (D326), was penned by Schubert's lugubrious friend Mayrhofer. Its
tortured tale of male-dominated matchmaking offered Schubert few opportunities for dramatic conflict,
witnessed by its tedious, repetitive phrase structure.
In May 1816 Schubert embarked on his first opera on a classical theme, Die Bürgschaft (D435), based
on a story about rebellion against the despotism of the King of Syracuse. Probably based on the ballad
by Schiller, the anonymous libretto offered a number of opportunities for dramatic development, none
of which Schubert responded to. His desire for operatic experience seems to have obliterated any
sense of self-criticism that might have prompted him to abort the project well before the middle of the
third act. This undisputed failure may account for the interval of almost three years before Schubert's
next operatic project, the Singspiel Die Zwillingsbrüder (D647). Adapted by Georg von Hofmann from a
French comedy, the story entangles the fortunes of two identical twins with that of two lovers,
Lieschen and Anton. It holds a special place as the only opera of Schubert's to be performed in his
lifetime (six times at the Kärntnertortheater, starting on 14 June 1820). Perhaps more than in any other
of his operas, Schubert mastered (with more than a nod to Mozart) the pacing and character
development of ensembles, from duets to quartets. Even more promising musically are the eight
complete and four sketched numbers of Adrast (D137), probably begun in the autumn of 1819.
Presumably based on Mayrhofer's adaptation of Herodotus's account of King Croesus, it contains some
of Schubert's most audacious writing. Why he abandoned such an intriguing project is a mystery,
although it may have been to accept a commission in the summer of 1820 from the Theater an der
Wien for the score to the melodrama Die Zauberharfe (D644). Almost half of its 13 numbers employ the
technique of melodrama, with the voice speaking over an orchestral background. Schubert appears to
have been quite stimulated by the orchestral freedom implied by this style. Without the lost libretto the
full context for Schubert's score is difficult to see, but for originality its harmonic language can
withstand comparison with any achievements to the middle of the century and beyond.
In the autumn of 1820 Schubert once again took on an operatic project (Sacontala, D701) subverted by
a convoluted libretto, this one from the theologian J.P. Neumann; the composer was soon forced to
abandon it. In spite of critical acclaim, the two fine numbers that Schubert contributed to Hérold's Das
Zauberglöckchen in June 1821 doubtless did little to enhance his reputation. In the hopes of gaining
Page 40 of 321

the recognition he yearned for, Schubert finally tackled in the autumn of 1821 a full-scale grand opera
(i.e. without spoken dialogue). Alfonso und Estrella (D732), on a barely plausible plot blending
medieval chivalry and romantic nostalgia (influenced by the Walter Scott craze that was sweeping
across Europe) by Schubert's confidant Franz von Schober, occupied Schubert for over five months. In
spite of Schubert's best efforts, Schober's material (involving the usurpation of an 8th-century Spanish
king) is too static and contains too few opportunities for ensembles that advance the drama. In spite of
some interesting experiments with accompanied recitative, the work moves in slow motion. After
completion, composer and librettist touted it around unsuccessfully. With some relief Schubert may
have returned in 1823 to the medium of Singspiel in Die Verschworenen (D787). Castelli's loose
adaptation of Aristophanes' Lysistrata makes considerable use of both choruses and ensembles, and
Schubert responded with some of his most varied music and pointed characterization. This final effort
in Singspiel probably holds the stage better than any of Schubert's other operas.
After Die Verschworenen Schubert plunged almost immediately into some 300 bars of Rüdiger (D791),
only to leapfrog quickly into another grand opera, Fierrabras (D796). Based again on a libretto by a
friend of Schubert's (Josef Kupelwieser), most of the opera's action takes place in the spoken dialogue
between the musical items. In spite of several of the finest operatic numbers Schubert would pen,
including a serenade, an impassioned rage aria for Fierrabras's daughter Florinda, the ravishing duet
‘Weit über Glanz and Erdenschimmer’ and several powerful sections of melodrama, Fierrabras cannot
hold the stage. It was the last opera that Schubert would finish, although he continued to hunt for
suitable librettos for the rest of his life. In the summer of 1827 yet another Schubert friend, Eduard von
Bauernfeld, provided the composer with operatic fodder. Schubert sketched all but the final two
numbers of the two-act Der Graf von Gleichen (D918) but could not bring himself to finish it, although
he salvaged ideas from the first-act trio (no.3) for the first movement of his unfinished D major
Symphony (D936a). There is considerable irony in the circumstance that Schubert's most acclaimed
piece of dramatic music, Rosamunde (D797), was assembled hastily for a play at least as convoluted as
any of his most problematic librettos. Helmina von Chézy's Rosamunde, Fürstin von Zypern was
pilloried by the critics, but Schubert's ten numbers quickly took on a life of their own. With the
composer given days rather than weeks to prepare the music, more than half of the numbers are
recycled: for example, the overture is taken from Alfonso und Estrella, the Entr'acte in B♭ (no.6) is
based on the song Der Leidende, and we cannot rule out the possibility that the Entr'acte in B minor
(no.1) – a fully fledged sonata movement – was originally the finale for the unfinished Symphony in B
minor. Given the speed with which Schubert mastered other genres, and given the promise scattered
among his operatic failures, his lack of opportunity to learn from actual performances, and the absence
of a Da Ponte or a Boito as a mentor, sentenced him to an undeserved fate.
(v) Piano music.

Robert Winter
Although Schubert may have learnt the violin first, the piano anchored his creative life. His first
surviving work is a fantasy for piano duet (D1); among his last works (September 1828) are three
incomparable piano sonatas (D958, 959, 960). He composed more than 700 vocal and instrumental
works to include the piano, many of considerable complexity. Schubert's surviving sketches suggest
that he composed as if at the keyboard. Although he made little use of the extra low notes available on
larger Viennese pianos from 1816 (his borrowed instruments evidently did not include these notes),
Page 41 of 321

Schubert's exploitation of the piano's tone colour at least equals Beethoven's. His piano music is often
described as of moderate technical difficulty, but many of the large-scale works (especially, but not
only, the ‘Wanderer’ Fantasy) include passages that require considerable virtuosity; as to its
interpretative demands, Schubert's keyboard music is as challenging as any composed in the 19th
century.
Although Schubert returned periodically to the fantasy, his lengthiest involvement was with the solo
piano sonata. His first effort, the Sonata in E major (D157), from which three of a projected four
movements survive, dates from early 1815. That autumn two movements of the Sonata in C (D279)
display a confidence and virtuosity scarcely to be expected in an 18-year-old. The opening sonata-form
movement is the first to employ Schubert's characteristic device of a recapitulation beginning in the
subdominant – a procedure found in earlier works such as Mozart's Sonata in C, K545, and Beethoven
Coriolan overture. The Allegretto in C (D346) may have been intended as a finale. Five pieces
comprising D459 and 459a have been posited as a single sonata in E from 1816. The autograph of the
first (and the beginning of the second) movement is headed ‘Sonate’, but it is not clear how the other
three movements might have related. In the otherwise lean year of 1817 Schubert nonetheless
commenced at least five sonatas, of which the Sonata in A minor (D537) constitutes his first completed
effort. Its magnificent first movement, alternately fierce and poetic, is followed by two movements of
lesser significance. Schubert re-used the theme of the slow movement as the main theme in the finale
of the late A major Sonata D959. Retrogressive in style are the three movements of the Sonata in A♭
(D557), which may constitute a complete work. Equally fragmentary is the three-movement Sonata in E
minor (D566), for which Schubert may also have intended the Rondo in E, D506. The key of the Sonata
in D♭ major (D567) is probably unprecedented; in the mid-1820s Schubert took it up once again,
revising and augmenting it substantially while transposing it to the more orthodox key of E♭ major.
Three movements (an Andante in A, D604, and the Scherzo in D and the Allegro in F♯ minor that
comprise D570) may belong with a fragmentary Allegro moderato in F♯ minor (D571) to form a four-
movement work. The piano-rich year of 1817 was crowned by the four-movement Sonata in B major
(D575). The exposition of the first movement traverses no fewer than four separate keys in leisurely
fashion, with all the material linked persuasively by a dotted rhythm upbeat. Only the short-breathed
finale falls below the level set by this first movement.
During the years 1818 to 1822 Schubert left three other unfinished piano sonatas (D613, 625, 655).
The most interesting and extensive is the second, in F minor. If a D♭ major Adagio (D505) was intended
as the slow movement, then only the first movement requires conjectural completion. The compact
finale (whose recapitulation exists as a single line in Schubert's draft) combines Chopinesque virtuosity
and Beethovenian propulsion to impressive effect. Schubert's first sonata to maintain a consistently
high level throughout is the ‘little’ Sonata in A major, D664 (so dubbed to distinguish it from the later A
major sonata), all three of whose movements are in sonata form. In the first movement the serene,
expansive lyricism of the opening theme and more assertive second group challenge gender
stereotyping, in which the first theme is traditionally more ‘masculine’ and the second more
submissively ‘feminine’. The Andante, built on a gently sighing theme is, unusually, monothematic,
whereas the finale contrasts the fleet opening theme with a halting second group which then turns into
a rollicking ländler. Throughout the finale the pianistic figuration is both idiomatic and original.
Page 42 of 321

Whereas Schubert completed only four of the dozen sonatas he began before 1822, he finished all but
one of the eight he began after 1822. Before he began any of them he composed the unique ‘Wanderer’
Fantasy (D760), a product of the stylistic exploration and experimentation years around 1820.
Exploiting every sonority Schubert could conjure up, the four movements are linked by similar dactyllic
rhythms and constitute a novel and intriguing cyclic structure; the finale combines a recapitulation of
elements of the first movement with strenuous fugato writing. The slow movement, with its elaborate
pianistic figuration, is based on an episode from the song Der Wanderer (D489) – hence the work's
nickname. The two A minor sonatas (D784 and D845) of 1823 and 1825 are studies in contrast. The
earlier sonata was Schubert's most original keyboard sonata to date, bleak, compact yet teeming with
ideas. A single dotted rhythm in the opening unleashes a torrent of dotted octaves in the development
which are fused with a contrasting accompanying rhythm. After a modest start, the B section of the
ternary slow movement soars to unexpected heights over a bed of triplets. The agitated finale
alternates eerie whisperings with ferocious eruptions. The four-movement A minor Sonata D845 shares
the thematic richness and variety of the shorter work but is conceived on a more symphonic, even
Beethovenian, scale. The dramatic range suggests that Schubert had, at least psychologically, moved
the piano sonata from the drawing room into the concert hall. Begun and abandoned shortly before
Schubert's lengthy summer sojourn of 1825, the thematically more restrained C major Sonata (D840,
known as the ‘Reliquie’) sports an expansive first movement whose deceptively gentle gait is belied by
a harmonic audacity (especially in the astonishing transition to the second subject) found in no
previous Schubert sonata. With its exuberant energy and rich, wide-spaced textures, no other work of
Schubert's reflects his natural surroundings more vividly than the D major Sonata D850, composed
during his stay in and around Bad Gastein in the summer of 1825. Fashioned for a professional pianist,
Karl Maria von Bocklet, Schubert felt free to give the torrential yet dancelike triplets of the first
movement full rein. The emotional range of the slow movement is unprecedented in Schubert's piano
music; the seemingly innocuous syncopation that launches the subdominant second group rises to a
thunderous fff climax. The driving five-note dotted upbeat of the hemiola-laden Scherzo is a perfect foil
both to the trio, with its wide harmonic vistas, and the relaxed, playful rondo finale. The opening Molto
moderato of the G major Sonata D894, in 12/8 time, shares its tempo marking and spirit of almost
timeless contemplation by the first movement of the B♭ Sonata (D960). Perhaps taking a cue from the
corresponding movement of Beethoven's Fourth Piano Concerto, Schubert ‘orchestrates’ every triad to
maximize its sonority, drawing upon techniques from low-slung fifths to doubled and tripled thirds. The
finale of the G major Sonata suggests another homage to Beethoven, here his Piano Sonata in G, op.31
no.1, of 1802.
Only their position at the end of Schubert's short life prompts us to label the final trilogy of piano
sonatas (D958–60) as late. Now in his prime, Schubert laid out three independent solutions to the
challenge of the keyboard sonata, the first opening with a blatant tribute to the theme of Beethoven's
32 Variations in C Minor. The coincidences end there, however; the ambiguities in the sonata peak in
the much maligned finale, a frantic tarantella whose apparently rambling structure belies a strikingly
original treatment of sonata form. In the A major Sonata Schubert replaces ambiguity with extroverted
clarity. As in Beethoven's op.106, the magisterial opening proclaims the textural and formal
spaciousness of the work. Yet it is not without discontinuities; beginning as a static barcarolle, the F♯
minor Andantino contains a central episode which comes as close to a nervous breakdown as anything
in Schubert's output, while during the rapid play of registers in the Scherzo he torpedoes a placid
passage in C major with a plummeting scale in C♯ minor. Although the last movement borrows its
theme from the early A minor Sonata D537 and its schematic sonata-rondo layout and some of its
Page 43 of 321

textures from Beethoven's op.31 no.1, it transcends both these models and constitutes one of his most
subtle and alluring finales. If Schubert invests the ostensibly confident A major Sonata with a tinge of
sadness, the final Sonata, in B♭ major, is suffused by the composer's characteristic melancholy, mingled
with a feeling of contemplative ecstasy. The stepwise elegiac opening alternates with disembodied trills
in the bass, leading to remote keys, notably F♯ minor, before the exposition is over. The emphasis on F♯
minor (and the enharmonically related G♭ major) in this movement prepares listeners for the remote
key of C♯ minor in the slow movement. The suspension of time in the A section gives way to a serene A
major melody that mirrors in range and contour the theme with which the sonata opened, while
conjuring up the sonorities of the preceding A major Sonata. Characteristically, Schubert's tune
explodes in a catharsis out of which the opening stillness re-emerges. The opening of the finale again
takes a cue from Beethoven, here the second finale of the String Quartet in B♭, op.130, published in
May of the preceding year. Like Beethoven, Schubert feints mischievously at C minor before affirming
the tonic key, B♭. But the movement's textures and emotional ambiguity are uniquely Schubertian.
During his career Schubert composed more than 400 waltzes, ländler and other dances for piano,
publishing (and probably composing) them in sets. Most were improvised at social occasions or dance
parties, then refined and written down later. Technically accessible, these predominantly 16-bar binary
forms are rarely routine, and a surprising number withstand comparison with Schubert's finest work.
The five Ländler (all in A major or minor) that open D366 encompass the playful leaps of nos.1 and 2,
the sombre hymn of no.3, the poignant, appoggiatura-laden inner-voice melody of no.4 and the driving
bass of no.5. Pianists such as Sviatoslav Richter have created mini-sets from these groupings,
repeating one or more of the dances, perhaps much as Schubert did. The much smaller collection of
Moments musicaux, impromptus and Klavierstücke that Schubert composed between 1823 and 1828
are examples of the favourite Romantic genre of the short, self-contained piano piece that became
popular during the 1820s (precedents go back at least to Beethoven's op.33 bagatelles of 1802). The
compositional freedom afforded by this new genre stimulated some of Schubert's most original
creations. The six Moments musicaux, composed between 1823 and 1828, use familiar formal patterns
such as the minuet and trio (nos.1 and 6) as a vehicle for enigmatic and sorrowful expression that is
quintessentially Schubertian. The enduring popularity of no.3 in F minor, originally published as Air
russe, derives at least partly from its anticipation of a pas seul by Tchaikovsky.
Perhaps in response to the 1821 publication of pieces of the same title by the Bohemian composer Jan
Vořišek, Schubert's publisher Haslinger gave the title Four Impromptus to D899. In their ternary
design the impromptus may have been influenced by Tomášek's 1807 ‘Eclogues’, written in protest to
the vapid variation compositions of the time. Only the first of Schubert's impromptus, a mixture of
sonata, variation and through-composed elements, is not cast in ternary form. The bold opening
dominant octaves act as the foil to a muted funeral march, which Schubert contrasts with an imitative,
sensuously italianate closing theme. While less experimental formally, the remaining three impromptus
are highly individual. The A section of no.2 is a fleet moto perpetuo, while no.3 (first published in the
key of G for fear that amateurs could not navigate G♭) is the quintessence of the slow-moving Schubert
melody over a flowing arpeggiated accompaniment. The last member of the group sports a key
signature of A♭ major but moves for more than 30 bars through A♭ minor, C♭ major and B minor before
finally arriving in the home key. The contrasting B sections of all three are highly dramatic. The final
set of four impromptus (D935) was apparently meant as a continuation of the first set. They suggest a
four-movement piano sonata in F minor, with the first movement a full-blown sonata, the second a
tender minuet, the third a set of variations on the theme from Rosamunde also used in the Andante of
Page 44 of 321

the A minor Quartet, and the fourth a highly original finale containing some of Schubert's wittiest and
most audacious piano writing. Although the posthumously published Drei Klavierstücke exist only in
draft, they hold their own with the impromptus, of which they were perhaps a continuation. In all three
sections of great urgency contrast with those in which time seems to stand still. Throughout the late
piano pieces, Schubert explores a wide range of relationships between the tonic and the submediant in
all its forms (major and minor, lowered and raised), an alternative to the Classical polarization of tonic
and dominant, and one that was extensively cultivated by later Romantic composers.
Schubert's most original contribution to the keyboard repertory is arguably his music for piano duet.
Although familiar from the 18th century, keyboard music for four hands was largely restricted to
ephemeral pieces or utilitarian arrangements of orchestral works. Mozart invested the genre with
more ambition but, as with the lied, it was Schubert who took a marginal genre and made it central.
His earliest works for piano duet were three fantasies (D1, 9, 48), while a modest rondo (D608) from
January 1818 and four polonaises (D599) and a sonata (D617) of Mozartian proportions composed in
Zseliz during the summer of that year mark the beginning of Schubert's sustained interest in the
genre. His first enduring success was a set of three Marches militaires (D733), possibly written during
the summer or autumn of 1818, which was followed by a further 11 marches over the next decade.
Schubert's unusual interest in the march scarcely stemmed from any enthusiasm for war but rather
from the great range of stylistic possibilities it afforded, from funeral march to evocations of toy
soldiers. The best of these marches (which include the six Grandes marches of 1824) exploit the full
range of four hands while preserving a sense of intimate conversation.
The Grand Duo (D812) of June 1824 marked a watershed in Schubert's development, instantly raising
the piano duet to a medium worthy of comparison with the string quartet or the symphony. Both the
first and second movements feature leisurely three-key expositions, with Schubert's favourite
submediant as the intermediate key. The massively scored Scherzo, with its minor-keyed trio, is a foil
for the sly opening of the finale (initially in A minor rather than the expected C major), which grows
again to heroic proportions. At this same period Schubert invested variation form with similar
substance and prestige in the Variations in A♭ on an original theme (D813). The seventh variation is
extraordinarily bold in its chromatic colouring, while the heavily dotted eighth and final variation leads
to a poetic and ultimately triumphant coda. No work of Schubert's, incidentally, proclaims more clearly
his love of Beethoven's Seventh Symphony. Shortly after returning from Zseliz for the last time,
Schubert essayed the Divertissement à l’hongroise in G minor (D818), which has given rise to
intriguing speculation as to the exact nature and degree of its Hungarian influence. This three-
movement work is much more substantial than its title suggests, as is its companion probably
composed the next year, the Divertissement sur des motifs originaux français (D823).
Between January and June of his last year Schubert created no fewer than three enduring works for
piano duet. The Fantasy in F minor (D940) shares with the ‘Wanderer’ Fantasy a continuous four-
section scheme. The haunting opening theme returns in the finale, setting the seal on a cyclic
structure; in between comes a Largo which contrasts quasi-Baroque double-dotted rhythms with
yearning lyricism, and a fleet Scherzo, both in the unlikely key of F♯ minor. The F minor finale is itself
framed by the opening theme, between which Schubert unleashes a fugue based on a new theme. It
matters little that the fugal texture gradually dissolves, for the momentum carries through until the
final poignant recall of the opening. The masterly compression of the F minor Fantasy is in stark
contrast to the passionate expansiveness of the Allegro in A minor D947, subtitled Lebensstürme when
Diabelli published it in 1840. Few sonata movements by Schubert integrate so many diverse ideas so
Page 45 of 321

successfully. Because of its key, some commentators have suggested that the sublime Rondo in A major
(D951) may have formed the finale of a larger work headed by D947. Belonging to the same family as
the finale to Beethoven's E minor Sonata op.90, Schubert's movement is likewise a sonata-rondo, with
a central episode that functions as a development and a long coda in which one of the themes is heard
in the tenor part.
(vi) Chamber music.

Robert Winter
Schubert's first instrument was the violin, and he began writing string quartets at the age of 13 or 14.
The existence of a family quartet provided the impressionable teenager with a ready made laboratory.
Yet the demands of the new medium perfected by Haydn, Mozart and the Beethoven of the
Razumovsky quartets took Schubert almost a decade to assimilate fully. The youthful experiment of the
quartet in mixed keys (D18) of 1810–11 was succeeded by a progressively more assured series of seven
quartets over the next two to three years. In these works the influences of Haydn, Mozart and
Beethoven are readily apparent. Between 1814 and 1816, years dominated by song composition,
Schubert produced only three quartets whose movements are of widely varying quality. In many of
these early quartets Schubert resorts, not always successfully, to quasi-orchestral textures.
It was another four years before he produced the first movement of a quartet in C minor, the so-called
Quartettsatz (D703) of 1820, a work of furious intensity that heralded Schubert's maturity as a
composer of instrumental music. Its concentration and variety of texture and register paved the way
for the three great quartets of Schubert's last years. While the poignant, long-spanned theme-and-
accompaniment opening of the Quartet in A minor (D804) (the first of a planned set of three) is rooted
in the world of song, the movement as a whole reveals a new thematic economy, tautness of
development and phrase-by-phrase logic. Schubert borrowed the theme of the Andante from his
incidental music to Rosamunde; but the quartet movement is expanded into a more substantial ABAB
form, plus a coda based on both A and B (D677). The minuet, which quotes Schubert's Schiller setting
Die Götter Griechenlands, resumes the sombre pathos of the first movement. The ostensibly cheerful
opening of the A major finale is undercut by a minor-mode second group and an ambivalent final
cadence. Schubert followed the A minor immediately by the Quartet in D minor (D810), nicknamed
‘Death and the Maiden’ because the theme of the second movement draws on the song of that name.
The first movement uses full, almost orchestral textures with a previously unthinkable power and
intensity. Yet there is almost no doubling, with Schubert relying instead on an extraordinary range of
widely spaced double and triple stops. The celebrated G minor slow movement takes the chorale-like
theme through a series of five variations in which, except for the exquisite variation in the major,
harmony dominates melody. The explosive dotted-rhythm scherzo is seemingly modelled on the first
few bars of a German dance (D790 no.6). The grimly inexorable sonata-rondo finale is cast as a
saltarello, and may have been in Mendelssohn's mind when he wrote his Italian Symphony. Schubert's
final quartet, in G major, D887, dates from almost two years later, and is contemporary with
Beethoven's last quartet, op.135. Although Schubert's quartet is formally less sophisticated than
Beethoven's, it is revolutionary in the way it makes the contrast between major and minor modes the
basis of much of the structure. Schubert's harmonic language was fuelled from the outset by the
frequent equivocation between major and minor; but during the course of his career local colouring
Page 46 of 321

was gradually supplanted by longer-range strategies, of which D887 provides the most far-reaching
and disturbing example. The modal interplay is reinforced by contrasts of dynamics, spacing and
texture, with a telling use of pizzicato.
Between 1816 and 1827 Schubert composed eight works for piano and a single wind or string
instrument. The four sonatas for violin and piano (D384, 385, 408, 574; the first three were published
as sonatinas, perhaps to enhance their appeal to an amateur market) are compact, graceful works
whose unassuming character conceals an intimate understanding of the medium's conversational
potential. In 1826–7 Schubert returned to this same combination for the Rondo in B minor (D895),
easily his most impressive work for this medium, and the Fantasy in C, D934. The technical demands of
both works are considerable, but equally evident is Schubert's penchant for formal experimentation.
Generations of flautists have celebrated Schubert's decision to write his ingratiating set of variations
for flute and piano (D802) on Trockne Blumen from Die schöne Müllerin. The Sonata for arpeggione
and piano (D821), is often underrated, although its cause is not helped by modern arrangements for
various instruments, from the cello to the flute. The arpeggione's soulful, almost speechlike upper
register was clearly in the forefront of Schubert's mind when he composed this idiosyncratic work.
Apart from a youthful movement for piano trio, Schubert's three principal works for piano and strings
are all products of his last decade. The five movements of the ‘Trout’ Quintet (1819) suggest a looser,
divertimento-like structure, while the presence of the double bass gave Schubert the opportunity to
exploit open, airy textures. The recapitulation of the opening movement, beginning in the subdominant,
is a compressed transposition of the exposition, while the second and last movements make
considerable use of transposed repetition, all factors suggesting that the work was composed rapidly.
The variation fourth movement is based on Die Forelle, the popular song composed two years earlier,
with the song's A phrase repeated to give the quintet theme added weight. In spite of its modest
technical demands and accusations that its appeal is only of the surface, the ‘Trout’ Quintet projects a
timeless freshness that has ensured its perpetual popularity.
Schubert probably composed, or at least began, both of his expansive piano trios in the autumn of
1827. His recent friendships with the pianist Bocklet, the violinist Schuppanzigh and the cellist Linke
may have rekindled his interest in the medium after a gap of some 15 years. In the first movement of
the B♭ Trio (D898), Schubert creates delightfully fluid textures, with the strings now playing in unison,
now engaged in conversational interplay, while piano accompaniments invariably include thematic
elements. The approach to the second group – the emotional centre of the movement – employs a
favourite Schubertian device in which a sustained single tonic note (here, A in the cello) is suddenly
redefined as the mediant of the secondary key (F). The intensely lyrical but disjunct theme is expanded
to ten bars, with the melodic peak reserved for the final statement in the piano. In the ensuing
Andante, cast in a free ternary design, the serene A section encloses a volatile central episode. The trio
of the Scherzo, a movement of almost symphonic scope, features a sighing stepwise melody that passes
from violin to cello before concluding in a poignant duet. Labelled a rondo, the sonata-form finale
opens playfully before launching into an ambitious series of thematic developments crowned by a
rhythmic transformation of the opening theme in triple metre. A Notturno in E♭ major (D897) was
probably intended as the original slow movement of the B♭ Trio. Its turbulently imitative B section,
contrasting with the timelessness of the opening, has a volcanic power found in many of Schubert's
later slow movements. The sheer length of this ABABA movement may have led the composer to
replace it by the present Andante. The E♭ Trio (D929) opens with a triple-time triadic theme
Page 47 of 321

reminiscent of Beethoven's ‘Eroica’ but soon moves, via virtuoso runs in the piano, to a plaintive
second group in the quite unexpected key of B minor. The exposition and recapitulation sustain much
of their interest by constantly inflecting the major mode with the minor, enabling Schubert to draw out
the descent from B minor to the dominant a semitone below. After reaching a fff climax in the coda, the
movement ends with witty and touching piano reference to the second group. The marchlike Andante,
based on a C minor theme that derives from a Swedish folksong, employs the same ABABA form as the
Notturno but in an even freer fashion. Schubert accompanies the first return of the A theme with
explicitly marked tremolandos that lead to a shattering climax in B minor, the key that had played a
crucial role in the first movement. The lilting Scherzando, written in close canon, makes one wonder
how Schubert could have doubted his own contrapuntal skills. The movement ends with a truncated
return of the trio, recalling the final allusion to the second theme in the opening movement. As in the
B♭ Trio, the huge finale (totalling 748 bars) frequently changes metre (from 6/8 to 2/2) here to
accommodate a hypnotic repeated-note theme. More novel is the varied return of the first theme from
the slow movement, creating the kind of cyclic structure that would prove irresistible to composers of
the next generation. Perhaps under pressure from friends, Schubert acknowledged the problematic
length of his finale and authorized two cuts generally adopted today.
Schubert composed two chamber works for unusual combinations of instruments. The Octet in F
(D803; string quartet plus double bass, clarinet, horn, and bassoon) was commissioned by Count
Troyer, who played the clarinet at the first performance. The work contains a few orchestral-style
tuttis, none of which, however, undermines the work's essential chamber style. Except for passing
shadows in the coda of the Adagio and the minuet, the first five movements, which include a set of
brilliant variations on a jaunty theme from the operetta Die Freunde von Salamanka, are almost
entirely free from the sombre colours found in much of Schubert's later music. Only in the introduction
to the finale, with its eerie tremolandos, does darkness fall unexpectedly before evaporating in a
breezy quickstep march. An internal impulse seems to have fuelled the composition of what many
regard as Schubert's crowning achievement in chamber music, the String Quintet in C (D956), whose
genesis overlaps with the late piano sonatas. Schubert's choice of a second cello rather than the
second viola preferred by Mozart was prompted by his evident affection for the cello's plangent tenor
range and by the increased textural possibilities offered by the extra cello. Unlike Boccherini in his
quintets with two cellos, Schubert gave each of the instruments virtually equal prominence. In only a
few other works, notably the G major Quartet, does Schubert derive a large-scale structure so cogently
from the opening material, heard in the first movement as a deeply felt struggle between minor and
major; in a masterly stroke of ambiguity, the apparent slow introduction here turns out to have been in
the movement's basic Allegro tempo all along. The achingly beautiful cello duet that forms the
intermediate stage of the three-keyed exposition derives much of its poetic effect from the
reinterpreted G in the second cello that sinks flatwards to E♭. Perhaps the most astonishing feature of
the movement is its range of textures (including liberal use of pizzicato), with the instruments often
grouped into two pairs plus one single voice. Remarkably, the movement seems to expand the
sonorities of chamber music rather than veering towards an orchestral style of writing.
The ethereal, disembodied melody of the Adagio creates an illusion of time suspended. Major–minor
contrasts continue to colour the harmonic discourse at both the local and structural levels, the latter
most evident in the abrupt juxtaposition of the A section in E major with the anguished B section in F
minor. With the return of the A section haunted by distant echoes of the earthly struggles in the B
section, it is not surprising that musicians such as the pianist Artur Rubinstein – not to mention the
writer Thomas Mann – expressed a wish to die while listening to this movement. Extreme contrasts
Page 48 of 321

continue in the Scherzo, where the manic energy of the Scherzo itself provides a haunting foil for the
wraithlike stillness of the D♭ trio, which, like the F minor episode of the Adagio, is placed a semitone
above the movement's main tonality. For his finale Schubert took refuge in the Viennese dance music
he had known since a child, all the while counterpoising the pronounced lilt of the main theme with
ppp textures of the most transparent delicacy. In a bittersweet, disquieting ending that only Schubert
could have conceived, the Quintet ends with the notes D♭–C, leaving the question of mode as
ambiguous as in the opening chords of the first movement.
(vii) Orchestral music.

Robert Winter
Of all the genres in which Schubert worked, the one that interested his friends and supporters least
was orchestral music. When Antonio Salieri reportedly said: ‘He is a genius! He can write anything:
songs, masses, string quartets …’ it is no accident that he omitted any mention of symphonic music.
Along with Salieri, the Schubert circle, with its poets, playwrights, painters and philosophers, was far
more involved with the more intimate forms of music-making, especially the lied. Nonetheless,
Schubert's interest in composing for orchestra dates back to his mid-teens and dominated his
deathbed. He began more symphonies (13) than Beethoven, and completed seven. Schubert's first six
symphonies, most of them written for performance by a private orchestra which had grown out of the
family string quartet, are apprentice works, full of ingratiating touches and, less frequently, genuine
originality. It is worth remembering that at the age when Beethoven finished his First Symphony,
Schubert had little over a year to live. Born at just the right moment to inherit the full symphonic
flowering of Mozart and Haydn, as well as the intimidating assaults of Beethoven, Schubert took full
advantage of his legacy. Although his first essay, an Allegro in D (D2b), calls, unusually, for trombones,
his First Symphony (D82) adopts the formal outline and scoring of Haydn's second set of London
symphonies: a slow introduction leading to a sonata-form Allegro, a spacious slow movement, a
symphonic minuet in the tonic key of the work, and a lighter, scurrying finale that opens softly before a
tutti explosion. Mozartian touches can be heard, especially in the slow movement with its echoes of the
‘Prague’ Symphony; but the reappearance of part of the slow introduction immediately before the first
movement's recapitulation is an impressive and individual stroke. Although he may already have been
familiar with Beethoven's first six symphonies, Schubert rarely betrayed a direct influence in these
early works; one obvious exception is the use of the Eroica Symphony's ‘Prometheus’ theme in the
opening movement of the First Symphony. From the syncopated, scampering thematic material of the
opening Allegro, through the theme-and-variations slow movement and the off-tonic (C minor) minuet
to the use of three distinct key centres in the exposition of the finale, the Second Symphony, in B♭
major (D125), displays considerably more nerve and ambition. The Third Symphony (in D, D200) looks
back to no.1 in its tonality and its Mozartian patina, although the jaunty themes of the first movement,
and the buffo-style finale, have a whiff of Rossini. Schubert's Fourth Symphony (in C minor, D417)
betrays no influence of Beethoven's epic Fifth Symphony in the same key, harking instead back to
Mozartian chromaticism. In spite of the title of ‘Tragic’ added by Schubert as an afterthought, the
dominant moods are those of pathos and agitation rather than tragedy. The groping chromaticism of
the slow introduction owes much to the opening of Mozart's ‘Dissonance’ Quartet; but the second
group of the main Allegro gravitates to the submediant – a characteristically Schubertian stroke – and
the movement ends nonchalantly in the major. Of the two major-mode inner movements, the A♭
Page 49 of 321

Andante includes two troubled sections in the minor, while the minuet, in E♭ major, is disturbingly
chromatic. The finale, which also moves to the submediant for the second group, recasts the
recapitulation entirely in the major, although the effect is more colouristic than a true resolution of
preceding conflicts.
The popularity of Schubert's Symphony no.5 in B♭ (D485) derives on the surface from its amiable
themes (the first subject launched exquisitely by an in-tempo four-bar introduction) and transparent,
chamber musical textures (the orchestra includes neither clarinets, trumpets nor drums). Its deeper
appeal stems from its classical balance of thematic and structural elements. In the first movement
Schubert abandons his hitherto usually perfunctory recapitulations for a genuine resolution, adding 16
new bars that prepare for the final cadence. The three remaining movements repeatedly invoke Haydn
and, especially, Mozart: the slow movement, for instance, virtually quotes the theme of the minuet
finale from Mozart's Violin Sonata in F, K377, while the minuet is clearly indebted to the G minor
Symphony K550. Schubert's final youthful symphonic venture, the Sixth Symphony, in C (D589),
suggests a composer looking for new directions but not sure where to strike out. There are pre-echoes
of the ‘Great’ C major, but also the unmistakable influence of Rossini, one that also permeates the two
overtures ‘im italienischen Stile’ composed by Schubert at the same period as the symphony.
Written within just over four years of each other, the first six symphonies portray a gifted apprentice
largely content to embellish – with a dash of Rossini and his own more relaxed phrase structure – the
exalted legacy of Haydn, Mozart and, to a lesser degree, Beethoven. During the years 1818–22 he
strove to evolve a more individual, subjective conception of the four-movement sonata ideal; and his
struggles are betrayed by the fact that all of the symphonies he began at this period remained torsos.
Sketches for the outer movements of a symphony in D (D615, May 1818) were abandoned, in spite of
promising ideas. Some two years later a more ambitious symphonic project, also in D (D708a), suffered
the same fate, although extensive piano score sketches for four movements reveal some original ideas,
including a daring choice of the key of the tritone (A♭ major) for the second group in the first
movement. The following year, 1821, Schubert completed a draft of a symphony in E (D729) that finally
makes a decisive break with Haydn and Mozart. Following a bold minor-mode introduction to the first
movement, Schubert eschews the repeat of the exposition. Three of the movements employ his
characteristic three-key exposition, and the thematic structure is highly unified. Yet Schubert's full
scoring (for an orchestra including trombones and four horns) of less than a third of the opening
movement betrays his dissatisfaction with a work that was quickly abandoned, although its completion
has proved irresistible to conductors and scholars from Weingartner onwards.
For all these promising efforts, nothing really prepares us for the mournful rise and fall of the bass
theme that opens the famous ‘Unfinished’ Symphony (D759). Unlike his previous symphonic attempts,
Schubert fully orchestrated the first two movements, together with part of the Scherzo. Orchestral
works in B minor were almost unheard of in 1822; and originality informs every aspect of the work.
The startling move to the submediant, G major, is accomplished with shattering swiftness. The soaring
cello theme that follows and its syncopated accompaniment, are treated at length in the latter part of
the exposition; the development works the opening theme to a pitch of almost hysterical anguish
before recalling the syncopated accompaniment in isolation from the cello melody – an effect of
indescribable poignancy. At the start of the recapitulation the main theme is withheld in order to
Page 50 of 321

enhance the dramatic force of its reappearance in the coda. With its towering climaxes, its subjective,
almost confessional, tone and its extreme contrasts between violence and lyrical pathos this movement
is unprecedented in the symphonic literature.
In the E major Andante con moto Schubert uses a familiar structural pattern (ABABA) to uniquely
poetic ends, from the assuaging opening theme, exquisitely shared between horns, strings and
woodwind, through the haunting clarinet and oboe melody over a syncopated accompaniment (shades
of the first movement) and the volcanic tutti explosions, to the coda, with its miraculous harmonic
sleights-of-hand. Nowadays Schubert's two completed movements are sometimes performed with an
orchestral completion of the Scherzo and, as a finale, the imposing B minor Entr'acte from Rosamunde,
which makes at least a plausible conclusion.
Having failed to complete four successive symphonies, Schubert might have given up on symphonic
ventures. Yet Schubert's travels in Upper Austria in the summer of 1825 seem to have unleashed an
astonishing creative energy and optimism that found expression in the ‘Great’ C major Symphony
(D944). Few works have such unquenchable rhythmic vitality or seem more expressive of their direct
surroundings, from the opening horn call, which returns as a triumphant apotheosis in the coda, to the
brisk step of the stoical, marchlike Andante con moto, from the joyous alfresco dance of the vast
sonata-form Scherzo, saturated by its opening motif, to the surging triplets of the gargantuan finale.
Having found his symphonic voice – a voice at once lyrical, colouristic and expansive – Schubert was
understandably eager to undertake more symphonic projects. The so-called Symphony no.10 (D936a)
was the principal work to occupy the composer on his deathbed. He lived long enough to sketch a
three-movement work in which the last movement was apparently to combine the function of scherzo
and finale. The first movement exhibits structural gaps that challenge any projected completion. Like
the ‘Unfinished’ of six years earlier, the first movement includes a second group whose lyrical main
theme forms the movement's emotional and structural centre – so much so that the development opens
with a slowed version of it. The last revisions appear to have been made in the remarkable slow
movement (again in B minor!), which has an uncanny foretaste of Mahler. As perhaps the last music
Schubert composed, its mingled serenity and sense of loss may have grown out of his acceptance of his
own fate. Originally labelled ‘Scherzo’, the third movement soon developed into a kind of contrapuntal
rondo, sporting fugato, canon, double counterpoint, and even augmentation, all testimony to
Schubert's renewed contrapuntal studies in the last weeks of his life.
(viii) Schubert's style and influence.

Robert Winter
19th- and earlier 20th-century commentators struggled to define Schubert's style, confining their
arguments largely to whether he fitted more into a Viennese Classical or a Romantic mould. In
practice, Schubert borrowed freely from the traditions of Haydn, Mozart and, eventually, Beethoven
while simultaneously developing his own strategies to new, subjectively expressive ends. Perhaps most
significant here was Schubert's extension of the polarized tonic–dominant Classical harmonic discourse
to a full range of flat-side relationships – subdominant, flat mediant, submediant and, especially, flat
submediant. With its flat-side staging posts, the well-documented three-key exposition attenuated the
pull of the dominant. Though Schubert was by no means the inventor of this strategy (well-known
precedents include the first movement of Beethoven's Waldstein Sonata), he raised it to extraordinary
Page 51 of 321

levels of subtlety. Along with this came both a blurring and an intensified colouristic use of the major–
minor modal system. In its simplest form this might involve converting a major-mode theme into the
minor (an extension of Mozart's practice), or it might involve a systematic rhetoric of ambiguity, as in
the first movement of the C major Quintet. If Schubert's use of rhythm has received less attention, its
generally looser, post-Classical structure proved eminently capable of supporting the arching melodic
periods for which he is justly known. Although Schubert's melodic gift has long been celebrated, it
resists generalization. But his characteristic fingerprints include a predilection for themes that revolve
around the mediant, that move mostly by steps but are defined by a telling leap, in which each phrase
carries the impetus for the next, and in which closure (often on to the tonic) is delayed until the last
possible moment.
In line with this broadened expressive range, Schubert's style can best be understood as a series of
four discrete styles. There is first of all the openly popular manner, captured in works like the Octet
(D803), songs from Die schöne Müllerin and the ‘Trout’ Quintet. Schubert's popular tone is even more
pervasive than Mozart's, surfacing in substantial as well as occasional genres. Counterpoised to this is
what might be called the ambitious style – works (and passages) that openly declare their complexity.
While weighted towards the last half of Schubert's career, they include works from every genre in
which he worked. The late symphonies, masses, string quartets and piano sonatas contain only the
most obvious examples. An extension of the ambitious style is the learned style, found primarily in
contrapuntal passages ranging from the elaborate palindrone in Die Zauberharfe, the mirror
counterpoint in the ‘Wanderer’ Fantasy, the extended fugal passages in both late masses, to the quasi-
fugal writing in the F minor Fantasy for piano duet (D940). Finally, Schubert penned passages that can
only be described (albeit unhistorically) as avant garde. These include music best described as
‘unhinged’, such as that in the slow movements of the G major Quartet and the A major Piano Sonata
(D959), or the so-called Lebensstürme for piano duet. But they also include the Wagnerian pre-echoes
in Lazarus and the Count's recitative (no.2) in Der Graf von Gleichen, or the Mahlerian premonitions in
the Andante of Symphony no.10.
Schubert's direct influence on the course of 19th-century music arguably exceeded that of Beethoven.
That, like Beethoven, he exercised no influence over opera, the dominant form of public music for the
duration of the century, does not diminish his contribution. The flood of lieder by composers such as
Franz, Mendelssohn, Schumann, Brahms, Wolf and Mahler are quite unimaginable without the
extraordinary precedent of Schubert. Of these, it was perhaps Wolf who came closest to replicating the
vast emotional range of Schubert. While Schubert's writing for piano was less obviously innovative
than that of Chopin, Schumann and Liszt, its influence was by no means neglible. The ability to exploit
and extend the singing qualities of the Viennese piano, the wealth of innovative accompanimental
textures, the formal experimentation, and the cultivation of new single-movement genres, including
miniatures such as the Moments musicaux, were all to leave their mark on subsequent generations.
While the only mature symphony of Schubert's known between 1839 and 1868 was the ‘Great’ C major,
its impact on Schumann, Mendelssohn and, much later, Brahms and Mahler (who also knew the
‘Unfinished’) was profound. It is hard to imagine Brahms at all without the example of Schubert.
Mahler's sense of spacious Austrian countryside draws directly from the Schubert of the ‘Great’ C
major. The gradual publication of Schubert's works throughout the 19th century meant that new
discoveries were constantly being made, affording numerous opportunities for influence. These
cropped up in unexpected places: the harmonic vocabulary of the King of Ragtime, Scott Joplin, is
lifted in almost textbook fashion directly from Schubert, while unmistakable Schubertian gestures such
Page 52 of 321

as the ubiquitous flat sixth chord pop up in, say, the Beatles' I saw her standing there. Indeed, the very
language of musical theatre, from Siegmund Romberg to Andrew Lloyd Webber, is saturated with
Schubertian melodic and harmonic syntax.
Works
Editions
Franz Schuberts Werke: Kritisch durchgesehene Gesamtausgabe, ed. E.

Mandyczewski, J. Brahms and others (Leipzig, 1884–97/R) [SW, ser./vol.,p.; Rb –
Revisionsbericht]
Franz Schubert: Neue Ausgabe sämtlicher Werke, ed. W. Dürr, A. Feil, C. Landon and
others (Kassel, 1964–) [NSA, ser./vol.]
Theatrical texts:
Franz Schubert: Bühnenwerke: kritische Gesamtausgabe der Texte, ed. C. Pollack

(Tutzing, 1988) [P, p.nos.]
Items are ordered by D number as enumerated in W. Dürr, A. Feil, C. Landon and others: Franz
Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge von Otto Erich Deutsch,
Neue Ausgabe sämtlicher Werke, viii/4 (Kassel, 1978); where, exceptionally, numbers have been
changed in this edition, a cross-reference is given. Numbers in parentheses following a title refer to
separate settings of the same text.
Theatrical
first performed in Vienna unless otherwise stated
Page 53 of 321

D Title Genre, acts Librettist Composed First Pu
performance
11, Der Spl, 3; only A. von Dec 1811 – Swiss Radio, 11 189
966 Spiegelritter ov. and most Kotzebue late 1812 Dec 1949
of Act 1 or early
complete 1813
84 Des Teufels Zauberoper, Kotzebue 30 Oct Musikvereinsaal, 188

Lustschloss 3 1813 – 15 12 Dec 1879 (as
[1st version] May 1814 pubd in 1888)
[2nd version] completed 199

22 Oct
1814
137 Adrast [ov., see Oper, 2 or 3; J. Mayrhofer ?late 1819 Redoutensaal, 13 189
also unfinished – early Dec 1868
ORCHESTRAL, 1820
648]
190 Der vierjährige Spl, 1 T. Körner 8–19 May Dresden, 23 Sept 188
Posten 1815 1896
220 Fernando Spl, 1 A. Stadler June – 9 13 April 1907 188

July 1815
239 Claudine von Spl, 3; only J.W. von begun 26 Gemeindehaus 189
Villa Bella ov. and Act 1 Goethe July 1815 Wieden, 26 April
survive 1913
Page 54 of 321

performance
326 Die Freunde komisches Mayrhofer 18 Nov – Halle, 6 May 1928 188
von Salamanka Spl, 2 31 Dec
1815 (?
early
1816)
435 Die Bürgschaft Oper, 3; Acts 2 May 7 March 1908 189

1 and 2 only 1816 – ?
late sum.
1816
644 Die Zauberspiel G. von ?May–Aug An der Wien, 19 189

Zauberharfe mit Musik Hofmann 1820 Aug 1820
(melodrama),
3
647 Die Posse, 1 Hofmann, ?Dec 1818 Kärntnertor, 14 188

Zwillingsbrüder after Les – Jan 1819 June 1820
deux
Valentins
701 Sacontala Oper, 3, J.P. Neumann, Oct 1820 – 12 June 1971 —

[Sakuntala] sketches for after early 1821
Acts 1 and 2 Kalidasa
only
723 Duet and aria E.G.M. spr. 1821 Kärntnertor, 20 189

for Herold’s Théaulon de June 1821
Das Zauber- Lambert,
glöckchen (La trans. F.
clochette) Treitsche
732 Alfonso und Oper, 3 F. von 20 Sept Weimar, Hof, 24 189

Estrella Schober 1821 – 27 June 1854
Feb 1822
Page 55 of 321

performance
787 Die Spl, 1 I.F. Castelli, ?late 1822 Frankfurt, 29 Aug 188
Verschworenen after – April 1861 (concert
(Der häusliche Aristophanes: 1823 perf., Vienna,
Krieg) Lysistrata Musikvereinsaal,
and 1 March 1861)
Ecclesiazusae
791 Rüdiger Oper, ?I. von Mosel begun May Redoutensaal, 5 186
sketches for 1823 Jan 1868
nos.1–2 only
796 Fierrabras heroisch- J. 25 May – 2 Karlsruhe, 188

romantische Kupelwieser, Oct 1823 Grossherzögliches
Oper, 3 after J.G.G. Hof, 9 Feb 1897
Büsching and
F.H. von der
Hagen’s story
in Buch der
Liebe (1809),
and F. de la
Motte
Fouqué:
Eginhard und
Emma (1811)
797 Rosamunde, incid music H. von Chézy aut. 1823 An der Wien, 20 189
Fürstin von to romantic Dec 1823
Zypern play, 4
918 Der Graf von romantische E. von 19 June — (Tu

Gleichen Oper, 2, Bauernfeld 1827–1828 198
sketches [fac
only
966 [see 11 above] orch

interlude to
11/3, frag.
Page 56 of 321

performance
981 Der Oper, — — — —

Minnesänger unfinished,
lost
982 [Sophie] Oper, — ?spr. 1821 — —

sketches, 3
nos. only
Page 57 of 321

Sacred
Page 58 of 321

D Title Forces Composed Published SW;
NSA
24e Mass, ?F, frag. SATB, ?1812 — —; i/5

orch, org
27 Salve regina, F S, orch, 28 June 1928 —; i/8

org 1812
31 Kyrie, d S, T, SATB, 25 Sept 1888 xiv,

orch, org 1812 175; i/
5
45 Kyrie, B♭ SATB 1 March 1888 xiv,

1813 226; i/
5
49 Kyrie, d S, A, T, B, April 1813 1888 xiv,

SATB, orch 189; i/
5
56 Santus, canon with coda, 3vv 21 April 1892 xix,

B♭ 1813 89; i/8
66 Kyrie, F SATB, 12 May 1813 1888 xiv,

orch, org 203; i/
5
71a Alleluja, F, canon 3vv ?July 1813 1956 —; i/8
105 Mass no.1, F [see also S, S, A, T, 17 May – 22 1856 xiii/1,

185] T, B, SATB, July 1814 1; i/1
orch, org
106 Salve regina, B♭ T, orch, 28 June – 1 1888 xiv,

org July 1814 47; i/8
136 Offertory: Totus in corde S/T, cl/vn, ?1815 1825, op. xiv, 1;
langueo, C orch, org 46 i/8
167 Mass no.2, G S, T, B, 2–7 March 1846 xiii/1,

SATB, str, 1815 121; i/
org 1
Page 59 of 321

NSA
175 Stabat mater, g SATB, 4–6 April 1888 xiv,

orch, org 1815 101; i/
8
181 Offertory: Tres sunt, a SATB, 10–11 April 1888 xiv,

orch, org 1815 23; i/8
184 Gradual: Benedictus es, SATB, 15–17 April c1843, op. xiv,
Domine, C orch, org 1815 150 29; i/8
185 Dona nobis pacem, F B, SATB, 25–6 April 1887 xiii/1,

[alternative movt for 105] orch, org 1815 931; i/
1
223 Salve regina S, orch,

(Offertorium), F org
version a 5 July 1815 — —; i/8
version b 28 Jan 1823 1825, op. xiv, 9;

47 i/8
324 Mass no.3, B♭ S, A, T, B, begun 11 c1837, op. xiii/1,

SATB, Nov 1815 141 157; i/
orch, org 2
379 Deutsches Salve regina SATB, org 21 Feb 1816 1859 xiv,
(Hymne an die heilige 215; i/
Mutter Gottes), F 8
383 Stabat mater (orat), F/f S, T, B, begun 28 1888 xiv,

SATB, orch Feb 1816 109; i/
7
386 Salve regina, B♭ SATB early 1816 1833 xiv,

224; i/
8
452 Mass no.4, C [see also S, A, T, B, June–July 1825, op. xiii/1,

961] SATB, 1816 48 209; i/
orch, org 2
Page 60 of 321

NSA
453 Requiem, c, frag. SATB, orch July 1816 — —; i/5
460 Tantum ergo, C S, SATB, Aug 1816 1888 xiv,

orch, org 39; i/8
461 Tantum ergo, C S, A, T, B, Aug 1816 1935 —; i/8

SATB, orch
486 Magnificat, C S, A, T, B, 15 Sept 1888 xiv,

SATB, 1815 77; i/8
orch, org
488 Auguste jam coelestium, G S, T, orch Oct 1816 1888 xiv,

59; i/8
607 Evangelium Johannis VI, E 1v, bc 1818 1920 —; i/8
621 Deutsches Requiem S, A, T, B, Aug 1818 1826 —; i/6

(Deutsche Trauermesse), SATB, org
g
676 Salve regina S, str Nov 1819 1845, op. xiv,

(Offertorium), A 153 17; i/8
678 Mass no.5, A♭ S, A, T, B, Nov 1819 –

SATB, Sept 1822
orch, org
version a 1875 —; i/3
version b 1887 xiii/2,

1; i/3
696 6 antiphons for Palm SATB March 1820 1829, op. xiv,
Sunday: Hosanna filio 113 218; i/
David; In monte Oliveti; 8
Sanctus, sanctus, sanctus;
Pueri hebraeorum; Cum
angelis et pueris;
Ingrediente Domino
Page 61 of 321

NSA
730 Tantum ergo, B♭ S, A, T, B, 16 Aug 1821 1926 —; i/8

SATB,
orch, org
739 Tantum ergo, C SATB, 1814 1825, op. xiv,

orch, org 45 37; i/8
750 Tantum ergo, D SATB, 20 March 1888 xiv,

orch, org 1822 43; i/8
755 Kyrie, a, sketch S, A, T, B, May 1822 — —; i/5

SATB, str,
org
811 Salve regina, C TTBB April 1824 1850, op. xiv,

149 220; i/
8
872 Deutsche Messe late sum.

1827
version a SATB, org — —; i/6
version b SATB, 1870 xiii/2,

orch, org 325; i/
6
Appx: Das Gebet des 1845 xiii/2,

Herrn 340; i/
6
950 Mass no.6, E♭ S, A, T, B, begun June 1865 xiii/2,

SATB, orch 1828 167; i/
4
961 Benedictus, a [alternative S, A, T, B, Oct 1828 1829 xiii/1,

movt for 452] SATB, 247; i/
orch, org 2
Page 62 of 321

NSA
962 Tantum ergo, E♭ S, A, T, B, Oct 1828 1890 xiv,

SATB, orch 227,
xxi,
269; i/
8
963 Offertory: Intende voci, B♭ T, SATB, Oct 1828 1890 xxi,

orch 277; i/
8
992 [sketches for 383]
Page 63 of 321

Mixed voices
NSA numbers refer to volume in series 3 unless otherwise stated
Page 64 of 321

D Title Forces Text Composed Published SW;
NSA
17 Quell’innocente P. Metastasio c1812 —;

figlio viii/
2
version 3 S, A, T 1940
version 4 S, A, T, 1940
B
version 7 S, A, T, —
B
B
B
33 Entra l’uomo Metastasio Sept–Oct 1940 —;

allor che nasce 1812 viii/
2
version 3 S, A, T
version 4 S, A, T,
B
version 5 S, A, T,
B
version 6 S, A, T,
B
34 Te solo adoro S, A, T, Metastasio 5 Nov 1812 1940 —;

B viii/
2
Page 65 of 321

NSA
35 Serbate, o dei Metastasio Oct 1812 1940 —;

custodi viii/
2
version 1 S, A, T,
B
version 2 SATB
47 Dithyrambe (Der T, B, F. von Schiller 29 March — —; ii

Besuch), frag. SATB, 1813
pf
168 Nun lasst uns den SATB, F.G. Klopstock 9 March 1872 xvii,
Leib begraben pf 1815 241;
(Begräbnislied) ii
168a Osterlied SATB, Klopstock 9 March 1872 xvii,

[formerly 987] pf 1815 244;
ii
232 Hymne an den SATB, Schiller 11 July 1829, op. xvii,

Unendlichen pf 1815 112/3 167;
ii
294 Namensfeier für S, T, B, 27 Sept 1892 xvii,

Franz Michael STB, 1815 142;
Vierthaler orch i
(Gratulations
Kantate)
329a Das Grab (1), SATB J.G. von Salis- ?28 Dec — —; ii
sketch Seewis 1815
439 An die Sonne SATB, J.P. Uz June 1816 1872 xvii,

pf 218;
ii
440 Chor der Engel SATB Goethe June 1816 1839 xvii,
245;
ii
Page 66 of 321

NSA
451 Prometheus S, B, P. Dräxler von 17 June — —

(cant.), lost chorus, Carin 1816
orch
472 Kantate zu Ehren 2 S, B, J. Hoheisel Sept 1816 1830, op. xvii,

von Josef SATB, 128 109;
Spendou orch i
609 Die Geselligkeit SATB, J.K. Unger Jan 1818 1872 xvii,
(Lebenslust) pf 225;
ii
642 Viel tausend SATB, A.G. Eberhard ?1812 1937 —; ii

Sterne prangen pf
643a Das Grab (5) SATB Salis-Seewis 1819 1972 —; ii
665 Im traulichen
Kreise [part of
609]
666 Kantate zum STB, pf A. Stadler 10 Aug 1849, op. xix,

Geburtstag des 1819 158 37;
Sängers Johann ii
Michael Vogl (Der
Frühlingsmorgen)
689 Lazarus, oder Die 3 S, 2 A.H. Niemeyer Feb 1820 1865 xvii,
Feier der T, B, 1; ii/
Auferstehung SATB, 10
(orat, 3), only 1st orch
act and part of
2nd complete
748 Am Geburtstag S, A, T, J.L.F. von Jan 1822 1822; xvii,

des Kaisers B, Deinhardstein 1849 as 138;
(cant.) SATB, op.157 ii
orch
Page 67 of 321

NSA
763 Des Tages Weihe SATB, 22 Nov 1842, op. xvii,

pf 1822 146 212;
ii
815 Gebet SATB, F. de la Motte Sept 1824 1840, op. xvii,

pf Fouqué 139 198;
ii
826 Der Tanz SATB, ? K. Schnitzer early 1828 1892 xvii,

pf von Mecrau 228;
ii
875a Die Allmacht (2), SATB, J.L. Pyrker von Jan 1826 — —; ii
sketch pf Felsö-Eör
920 Ständchen A, F. Grillparzer July 1827 1891 xvi,

TTBB, 108;
pf iii
version a [for
version b see
FEMALE OR
UNSPECIFIED
VOICES] [formerly
921]
930 Der S, T, B, F. von Schober Nov 1827 1829, op. xix,

Hochzeitsbraten pf 104 14;
ii
936 Kantate für Irene 2 T, 2 anon. It. text 26 Dec 1892 xvii,
Kiesewetter B, 1827 231;
SATB, ii
pf 4
hands
942 Mirjams S, Grillparzer March c1839, op. xvii,

Siegesgesang SATB, 1828 136 170;
pf ii
Page 68 of 321

NSA
953 Der 92. Psalm: S, A, T, Heb. text July 1828 1841 xvii,
Lied für den Bar, B, 247;
Sabbath SATB ii
954 Glaube, Hoffnung 2 T, 2 F. Reil Aug 1828 1828 xvii,

und Liebe B, 152;
SATB, i, ii
wind
inst/pf
985 Gott im SATB, Uz ?1827 1829, op. xvii,

Ungewitter pf 112/1 156;
ii
986 Gott der SATB, Uz ?1827 1829, op. xvii,

Weltschöpfer pf 112/2 164;
ii
987 Osterlied [see

168a]
Page 69 of 321

Male voices
NSA numbers refer to volume and page in series 3
Page 70 of 321

NSA
37 Die Advokaten TTB, pf Baron 25–7 Dec 1827, op. xix,

[based on a Engelhart 1812 74 2; iii
previous setting
by Anton
Fischer]
38 Totengräberlied TTB L.C.H. Hölty ?1813 1892 xix,

(1) 76;
iv, 3
43 Dreifach ist der TTB F. von Schiller 8 July 1813 1897 xxi,
Schritt der Zeit 337;
(1) iv, 4
51 Unendliche TTB Schiller 15 April 1897 xxi,

Freude (1) 1813 330;
iv, 8
53 Vorüber die TTB Schiller 18 April 1892 xix,

stöhnende Klage 1813 61;
iv,
10
54 Unendliche BBB/TTB Schiller 19 April 1873 xix,

Freude (2), 1813 78;
canon iv,
12
55 Selig durch die TTB Schiller 21 April 1892 xix,

Liebe 1813 67;
iv,
14
57 Hier strecket TTB Schiller 29 April 1897 xxi,

der wallende 1813 331;
Pilger iv,
15
Page 71 of 321

NSA
58 Dessen Fahne TTB Schiller May 1813 1892 xix,

Donnerstürme 63;
wallte iv,
18
60 Hier umarmen TTB Schiller 3 Oct 1813 1892 xix,

sich getreue 65;
Gatten iv,
33
62 Thronend auf TTB Schiller 9 May 1956 xxi,

erhabnem Sitz 1813 334;
iv,
22
63 Wer die steile TTB Schiller 10 May 1892 xix,

Sternenbahn 1813 68;
iv,
24
64 Majestätsche TTB Schiller 10 May 1897 xxi,

Sonnenrosse 1813 335;
iv,
26
65 Schmerz TTB Schiller 11 May 1892 xix,

verzerret ihr 1813 94;
Gesicht, canon, iv,
sketch 180
67 Frisch atmet des TTB Schiller 15 May 1897 xxi,

Morgens 1813 335;
lebendiger iv,
Hauch 27
70 Dreifach ist der TTB Schiller 8 July 1813 1928 —;

Schritt der Zeit iv,
(Ewig still steht 177
die
Vergangenheit)
(3), canon
Page 72 of 321

NSA
71 Die zwei TTB Schiller 15 July 1892 xix,

Tugendwege 1813 69;
iv,
32
75 Trinklied B, TTB, pf F. Schäffer 29 Aug 1850 xvi,

(Freunde, 1813 128;
sammelt euch im iii
Kreise)
80 Zur Namensfeier TTB, gui F. Schubert 27 Sept 1892 xix,

meines Vaters 1813 48;
iii
88 Verschwunden TTB Schubert 15 Nov 1892 xix,

sind die 1813 77;
Schmerzen, iv,
canon 35
110 Wer ist gross? B, TTBB, 24–5 July 1891 xvi,

orch 1814 205;
i
129 Mailied (Grüner TTB Hölty c1815 1892 xix,

wird die Au) (1) 72;
iv,
37
132 Lied beim ? TTB/ J.G. von Salis- 1815 or 1974 —;

Rundetanz, 1 TTBB Seewis 1816 iv,
part only 177
133 Lied im Freien, ? TTB/ Salis-Seewis 1815 or 1974 —;

1 part only TTBB 1816 iv,
178
140 Klage um Ali TTB, ?pf M. Claudius 1815 1850 xviii,

Bey (1) 32
Page 73 of 321

NSA
147 Bardengesang TTB Ossian, trans. 20 Jan 1892 xix,

E. de Harold 1816 70;
iv,
42
148 Trinklied T, TTB, pf I.F. Castelli Feb 1815 1830, op. xix,
(Brüder! unser 131/2 59;
Erdenwallen) iii
236 Das Abendrot TTB, pf L. Kosegarten 20 July 1892 xix,

1815 57;
ii
242 Trinklied im TTB Hölty ?Aug 1815 1892 xix,

Winter 74;
iv,
48
243 Frühlingslied TTB Hölty ?Aug 1815 1892 xix,

(Die Luft ist 75;
blau) iv,
50
267 Trinklied (Auf! TTBB, pf 25 Aug 1872 xvi,

jeder sei nun 1815 131;
froh) iii
268 Bergknappenlied TTBB, pf 25 Aug 1872 xvi,

1815 133;
iii
269 Das Leben TBB, pf J.C. Wannovius Aug 1815 — —;

iii
version a [for
version b see
FEMALE OR
UNSPECIFIED
VOICES]
Page 74 of 321

NSA
277 Punschlied (Vier TTB, pf Schiller 29 Aug 1892 xix,

Elemente, innig 1815 58;
gesellt) iii
330 Das Grab (2) 4 vv, pf Salis-Seewis 28 Dec 1895 xx/

1815 3,
231;
iii
version b [for
version a see
SONGS]
331 Der Entfernten TTBB Salis-Seewis c1816 1866 xvi,

(1) 194;
iv,
56
337 Die Einsiedelei TTBB Salis-Seewis c1816 c1860 xvi,

(1) 195;
iv,
58
338 An den Frühling TTBB Schiller c1816 1891 xvi,

(2) 196;
iv,
60
339 Amors Macht, 1 ? TTB/ F. von 1815 or 1974 —;

part only TTBB Matthisson 1816 iv,
178
340 Badelied, T2 ? TTB/ Matthisson 1815 or 1974 —;

only TTBB 1816 iv,
178
341 Sylphen, T2 only ? TTB/ Matthisson 1815 or 1974 —;

TTBB 1816 iv,
179
Page 75 of 321

NSA
356 Trinklied TTBB, lost 1816 1844 —;

(Funkelnd im pf acc. iii
Becher)
364 Fischerlied (2) TTBB Salis-Seewis c1816–17 1897 xxi,

320;
iv,
63
377 Das Grab (3) TTBB, pf Salis-Seewis 11 Feb 1872 xx/

1816 4, 6;
iii
387 Die Schlacht (2), solo vv, Schiller March 1897 xxi,
sketch chorus, pf 1816 341;
ii
407 Beitrag zur T, TTBB, pf Schubert by 16 June 1891–2 xvi,

fünfzig jährigen 1816 211;
Jubelfeier des iii
Herrn Salieri,
[no.1 also in
version for TTB,
see 441]
422 Naturgenuss (2) TTBB, pf Matthisson ?1822 1823, op. xvi,

16/2 76;
iii
423 Andenken (Ich TTB Matthisson May 1816 1927 —;

denke dein, iv,
wenn durch den 66
Hain) (2)
424 Erinnerungen TTB Matthisson May 1816 1927 —;

(Am Seegestad) iv,
(2) 68
425 Lebensbild, lost TTB May 1816 — —
Page 76 of 321

NSA
426 Trinklied (Herr TTB May 1816 — —

Bacchus ist ein
braver Mann),
lost
427 Trinklied im Mai TTB Hölty May 1816 1892 xix,

73;
iv,
70
428 Widerhall (Auf TTB Matthisson May 1816 1927 —;

ewig dein) iv,
73
441 [TTB version of TTB, pf Schubert by 16 June 1892 xix,

407/1] 1816 53;
iii
494 Der Geistertanz TTBBB Matthisson Nov 1816 1871 xvi,

(4) 173;
iv,
77
513 La pastorella al TTBB, pf C. Goldoni ?1817 1891 xvi,

prato (1) 134;
iii
538 Gesang der TTBB Goethe March 1891 xvi,

Geister über den 1817 175;
Wassern (2) iv,
81
569 Das Grab (4) unison vv, Salis-Seewis June 1817 1895 xx/
pf 5,
122;
iii
572 Lied im Freien TTBB Salis-Seewis July 1817 1872 xvi,

180;
iv,
89
Page 77 of 321

NSA
598 Das Dörfchen G. A. Bürger
version a, sketch TTBB Dec 1817 1891 xvi,

223;
iii
version b TTBB, pf 1818 1822, op. xvi,

[formerly 641] 11/1 41;
iii
635 Leise, leise lasst TTBB c1819 1906–7 —;

uns singen iv,
97
641 Das Dörfchen

[see 598]
656 Sehnsucht (Nur TTBBB Goethe April 1819 1867 xvi,

wer die 185;
Sehnsucht iv,
kennt) (4) 98
657 Ruhe, schönstes TTBB April 1819 1871 xvi,

Glück der Erde 187;
iv,
102
704 Gesang der

Geister über den
Wassern [see
714]
705 Gesang der TTBB, pf Goethe Dec 1820 1897 xxi,

Geister über den 313;
Wassern (3), iii
sketch
709 Frühlingsgesang TTBB F. von Schober before 1891 xvi,

(1) April 1822 169;
iv,
106
Page 78 of 321

NSA
710 Im TTBB, pf Goethe ?March 1849 xvi,

Gegenwärtigen 1821 119;
Vergangenes iii
714 Gesang der Goethe

Geister über den
Wassern (4)
version a, sketch TTTTBBBB, Dec 1820 1891 xvi,

[formerly 704] 2 va, 2 vc, 215;
db i
version b TTTTBBBB, Feb 1821 1858, op. xvi,

2 va, 2 vc, 167 24; i
db
724 Die Nachtigall TTBB, pf J.K. Unger by April 1822, op. xvi,
1821 11/2 50;
iii
740 Frühlingsgesang TTBB, pf Schober Jan–April 1823, op. xvi,

(2) 1822 16/1 65;
iii
747 Geist der Liebe TTBB, pf Matthisson Jan 1822 1822, op. xvi,
(Der Abend 11/3 59;
schleiert Flur iii
und Hain) (2)
778b Ich hab in mich TTBB F. Rückert ?1823 1978 —;

gesogen, sketch viii/
3
809 Gondelfahrer (2) TTBB, pf J. Mayrhofer March 1824, op. xvi,

1824 28 83;
iii
822 Lied eines B, unison 31 Dec 1842 xx/

Kriegers vv, pf 1824 8,
32;
iii
Page 79 of 321

NSA
825 Wehmut TTBB H. before 1828, op. xvi,

Hüttenbrenner sum. 1826 64/1 141;
iv,
121
825a Ewige Liebe TTBB E. Schulze before 1828, op. xvi,

sum. 1826 64/2 144;
iv,
126
825b Flucht TTBB K. Lappe by early 1828, op. xvi,

1825 64/3 148;
iv,
133
835 Bootgesang TTBB, pf W. Scott, 1825 1826, op. xvi,

trans. D.A. 52/3 89;
Storck iii
847 Trinklied aus TTBB F. Gräffer July 1825 1849, op. xvi,
dem 16. 155 29;
Jahrhundert iv,
139
848 Nachtmusik TTBB K.S. von July 1825 1849, op. xvi,
Seckendorff 156 166;
iv,
143
865 Widerspruch TTBB, pf J.G. Seidl ?1826 1828, op. xvi,

105/1 93;
iii
version a [for
version b see
SONGS]
873a Nachklänge, TTBB ?Jan 1826 1974 —;

sketch iv,
187
Page 80 of 321

NSA
875 Mondenschein TTBBB, pf Schober Jan 1826 1831, op. xvi,

102 153;
iii
892 Nachthelle T, TTBB, pf Seidl Sept 1826 1839, op. xvi,

134 98;
iii
893 Grab und Mond TTBB Seidl Sept 1826 1827 xvi,
197;
iv,
148
901 Wein und Liebe TTBB J.C.F. Haug before 1827 xvi,
June 1827 190;
iv,
150
903 Zur guten Nacht Bar, TTBB, F. Rochlitz Jan 1827 1827, op. xvi,
pf 81/3 91;
iii
912 Schlachtlied (2) TTBB, F.G. Klopstock 28 Feb 1844, op. xvi,
TTBB 1827 151 157;
iv,
156
913 Nachtgesang im TTBB, 4 hn Seidl April 1827 1846, op. xvi,

Walde 139 1; i
914 Frühlingslied TTBB A. Pollak April 1827 1897 xxi,

321;
iv,
166
916 Das stille Lied, TTBB J.G. May 1827 1978 —;

sketch Seegemund iv,
188,
viii/
3
Page 81 of 321

NSA
941 Hymnus an den

Heiligen Geist
[see 948]
948 Hymnus an den A. Schmidl May 1828

Heiligen Geist
version a 2 T, 2 B, 1891 xvi,

[formerly 941] TTBB 199;
i/8
version b 2 T, 2 B, 1849, op. xvi,

[formerly 964] TTBB, wind 154 11;
insts i/8
964 Hymnus an den

Heiligen Geist
[see 948]
983 Jünglingswonne TTBB Matthisson ?1822 1823, op. xvi,

17/1 137;
iv,
112
983a Liebe TTBB Schiller ?1822 1823, op. xvi,

17/2 138;
iv,
115
983b Zum Rundetanz TTBB Salis-Seewis ?1822 1823, op. xvi,

17/3 139;
iv,
116
983c Die Nacht TTBB ? F.W. ?1822 1823, op. xvi,

Krummacher 17/4 139;
iv,
118
984 Der Wintertag TTBB, lost ? ? c1865, op. —;

pf acc. 169 iii
Page 82 of 321

NSA
Page 83 of 321

Female or unspecified voices
NSA numbers refer to volume and page in series 3 unless otherwise stated
Page 84 of 321

NSA
17 Quell’innocente 2S Metastasio c1812 1940 —;

figlio, version 2 viii/
2
33 Entra l’uomo S, A Metastasio Sept–Oct 1940 —;

allor che nasce, 1812 viii/
version 2 2
61 Ein 3vv Schiller 8 May 1897 xxi,

jugendlicher 1813 333;
Maienschwung iv,
20
69 Dreifach ist der 3vv Schiller 8 July 1813 1892 xix,

Schritt der Zeit 80;
(2) iv,
30
130 Der Schnee 3vv Hölty c1815 1892 xix,

zerrinnt (1), 82;
canon iv,
38
131 Lacrimoso son 3vv ?Aug 1815 1892 xix,

io, canon, 2 87;
versions iv,
40
169 Trinklied vor 2 unison T. Körner 12 March 1894 xx/

der Schlacht choruses, 1815 2,
pf 68;
iii
170 Schwertlied 1v, Körner 12 March 1873 xx/

unison 1815 2,
chorus, 78;
pf iii
Page 85 of 321

NSA
183 Trinklied (Ihr 1v, A. Zettler 12 April 1887 xx/

Freunde und unison 1815 2,
du gold’ner chorus, 97;
Wein) pf iii
189 An die Freude 1v, Schiller May 1815 1829, op. xx/
unison 111/1 2,
chorus, 102;
pf iii
199 Mailied 2vv/2 hn Hölty 24 May 1885 xix,

(Grüner wird 1815 91;
die Au) iv,
44
202 Mailied (Der 2vv/2 hn Hölty 26 May 1885 xix,

Schnee 1815 91;
zerrinnt) (2) iv,
44
203 Der 2vv/2 hn Körner 26 May 1892 xix,

Morgenstern 1815 92;
(2) iv,
45
204 Jägerlied 2vv/2 hn Körner 26 May 1892 xix,

1815 92;
iv,
46
205 Lützows wilde 2vv/2 hn Körner 26 May 1892 xix,

Jagd 1815 93;
iv,
46
244 Willkommen, 3vv Hölty ?Aug 1815 1892 xix,

lieber schöner 85;
Mai, canon, 2 iv,
versions 51
Page 86 of 321

NSA
253 Punschlied: im 2vv Schiller 18 Aug 1887 xx/

Norden zu 1815 3,
singen 30;
iv,
54
269 Das Leben SSA, pf Wannovius 25 Aug 1849 xviii,

1815 31;
iii
version b [for
version a see
MALE VOICES]
357 Gold’ner 3vv Matthisson May 1816 1892 xix,

Schein, canon 81;
iv,
64
442 Das grosse chorus, Klopstock June 1816 c1847 xx/

Halleluja pf 4,
110;
iii
version b [for
version a see
SONGS]
443 Schlachtlied chorus, Klopstock June 1816 1895 xx/

(1) pf 4,
112;
iii
version b [for
version a see
SONGS]
521 Jagdlied unison F. Werner Jan 1817 1895 xx/

vv, pf 5, 3;
iii
Page 87 of 321

NSA
version b [for
version a see
SONGS]
706 Der 23. Psalm SSAA, pf trans. M. Dec 1820 1832, op. xviii,
Mendelssohn 132 3; iii
757 Gott in der SSAA, pf E.C. von Aug 1822 1839 xviii,
Natur Kleist 10;
iii
836 Coronach SSA, pf Scott, trans. 1825 1826, op. xviii,

(Totengesang Storck 52/4 1; iii
der Frauen und
Mädchen)
873 Canon, a, 6vv — ?Jan 1826 1974 —;

sketch iv,
187
920 Ständchen A, SSAA, Grillparzer July 1827 1840, op. xviii,

[formerly 921] pf 135 20;
iii
version b [for
version a see
MALE VOICES]
988 Liebe säuseln 3vv Hölty ?1815 1873 xix,

die Blätter, 83;
canon iv,
172
988a — pf acc. — ?after 1969 —;

only 1820 iii
Page 88 of 321

Orchestral
NSA numbers refer to volume and page in series 5
Page 89 of 321

D Title Composed Published SW;
NSA
2a Overture, D, frag. [formerly 996] ?1811 — —; iv
2b Symphony, D, frag., 1st movt only ?1811 — —; iv

[formerly 997]
4 Overture, D, for J.F.E. Albrecht’s ?1812 1886 ii, 1; iv

comedy Der Teufel als
Hydraulicus
12 Overture, D 1811 or 1812 1897 xxi, 23;

iv
26 Overture, D by 26 June 1812 1886 ii, 13;

iv
39a 3 minuets and trios, lost 1813 — —
71c Orch frag., D [formerly 966a] Aug/Sept 1813 — —; v
82 Symphony no.1, D by 28 Oct 1813 1884 i/1, 1; i,

3
94a Orch frag., B♭ c1814 — —; v
125 Symphony no.2, B♭ 10 Dec 1814 – 1884 i/1, 65;

24 March 1815 i, 71
200 Symphony no.3, D 24 May – 19 July 1884 i/1,

1815 143; i,
153
345 Concerto (Concertstück), D, vn, 1816 1897 xxi, 46;

orch iv
417 Symphony no.4, c, ‘Tragic’ by 27 April 1816 1884 i/1,

191; ii
438 Rondo, A, vn, str June 1816 1897 xxi, 73;

iv
Page 90 of 321

NSA
470 Overture, B♭ [possibly for cantata Sept 1816 1886 ii, 31;
472; arr. str qt 601] iv
485 Symphony no.5, B♭ Sept – 3 Oct 1885 i/2, 1; ii

1816
556 Overture, D May 1817 1886 ii, 47;

iv
580 Polonaise, B♭, vn, orch Sept 1817 1928 —; iv
589 Symphony no.6, C Oct 1817 – Feb 1885 i/2, 49;

1818 ii
590 Overture, D, ‘im italienischen Nov 1817 1886 ii, 63;

Stile’ [arr. pf 4 hands, 592] iv
591 Overture, C, ‘im italienischen Nov 1817 1865, op. ii, 83;
Stile’ [arr. pf 4 hands, 597] 170 iv
615 Symphony, D, pf sketches for 2 May 1818 — —; v

movts
648 Overture, e [possibly for 137, see Feb 1819 1886 ii, 101;
THEATRICAL] iv
708a Symphony, D, sketches after 1820 — —; v
729 Symphony [no.7], E, sketched in Aug 1821 1934 —; v

score
759 Symphony [no.7] no.8, b, Oct 1822 1867 i/2,

‘Unfinished’ 239; iii
849 ‘Gmunden–Gastein’ Symphony [? June–Sept 1825 — —

identical with 944]
936a Symphony, D, sketches ?mid-1828 1978 —; v
944 Symphony [no.8] no.9, C, ‘Great’ ?1825–8 1840 i/2,

117; iii
Page 91 of 321

NSA
966a Orch frag., D [see 71c]
966b Orch sketches, A, frag. 1820 or later — —; v
996 Overture [see 2a]
997 Symphony [see 2b]
Page 92 of 321

Chamber
NSA numbers refer to volume and page in series 6 unless otherwise stated
Page 93 of 321

NSA
2c String Quartet, ?d/F, 2 vn, va, vc ?1811 1978 —; iii

frag. [formerly 998]
2d 6 Minuets, C, F, D, C, 2 ob, 2 cl, 2 1811 1970 —; ix

d, B♭ [formerly 995] hn, 2 bn, trbn
2f Trio of a minuet, C, ? wind insts 1811 — —; ix

sketch
3 String Quartet, C, 2 vn, va, vc ?sum. 1812 1978 —; iii

frag.
8 Overture, c 2 vn, 2 va, vc 29 June 1811 1970 —; ii,

3
8a Overture, c [arr. of 8] 2 vn, va, vc after 12 July 1970 —; iii

1811
18 String Quartet, g/B♭ 2 vn, va, vc 1810 or 1890 v, 1;

1811 iii
19 String Quartet, lost 2 vn, va, vc 1810 or — —

1811
19a String Quartet, lost 2 vn, va, vc 1810 or — —

1811
20 Overture, B♭, lost 2 vn, va, vc 1812 — —
28 Trio (Sonata in 1 pf, vn, vc 27 July – 28 1923 —;

movt), B♭ Aug 1812 vii, 3
32 String Quartet, C 2 vn, va, vc Sept – Oct

1812
movts 1, 3 1890 v, 11
movt 4 1897 Rb,

53
movts 1–4 1954 —; iii
Page 94 of 321

NSA
36 String Quartet, B♭ 2 vn, va, vc 19 Nov 1812 1890 v, 19;

– 21 Feb iii
1813
46 String Quartet, C 2 vn, va, vc 3–7 March 1890 v, 37;

1813 iii
68 String Quartet, B♭, 1st 2 vn, va, vc 8 June – 18 1890 v, 53;

movt and finale Aug 1813 iii
72 Wind octet, F 2 ob, 2 cl, 2 by 18 Aug 1889 iii,

hn, 2 bn 1813 69; i,
3
72a Allegro, F, unfinished 2 ob, 2 cl, 2 1813 1897 Rb,

hn, 2 bn 41; i,
151
74 String Quartet, D 2 vn, va, vc 22 Aug – 1890 v, 71;

Sept 1813 iv
79 Wind nonet, e♭, ‘Franz 2 cl, 2 bn, 19 Sept 1813 1889 iii,
Schuberts Begräbnis- dbn, 2 hn, 2 81; i,
Feyer’ (Eine kleine trbn 25
Trauermusik)
86 Minuet, D 2 vn, va, vc ?Nov 1813 1886 ii,

154;
ix
87 String Quartet, E♭ 2 vn, va, vc Nov 1813 1840, op. v,

125/1 147;
iv
87a Andante, C ? 2 vn, va, vc Nov 1813 — —; iv
89 5 minuets and 6 trios, 2 vn, va, vc 19 Nov 1813 1886 ii,

C, F, d, G, C 141;
ix
Page 95 of 321

NSA
90 5 Deutsche and 7 trios 2 vn, va, vc 19 Nov 1813 1886 ii,

with coda, C, G, D, F, C 147;
ix
94 String Quartet, D 2 vn, va, vc ? 1811 or 1871 v, 93;

1812 iii
94b 5 minuets and 6 2 vn, va, vc, 2 1814 — —

Deutsche with trios, hn
lost
96 Trio, G, added to fl, va, vc, gui Feb 1814 1926 —;

Schubert’s arr. of W. viii/2
Matiegka’s Notturno
op.21 [replaces orig.
2nd trio]
103 String Quartet, c, 2 vn, va, vc 23 April 1939 —; iv

frags., Grave and 1814
Allegro
111a String Trio, B♭, frag., vn, va, vc 5–13 Sept — —

lost [? sketch for 112] 1814
112 String Quartet, B♭ 2 vn, va, vc 5–13 Sept 1863, op. v,

1814 168 109;
iv
173 String Quartet, g 2 vn, va, vc 25 March – 1 1871 v,

April 1815 129;
iv
353 String Quartet, E 2 vn, va, vc 1816 1840, op. v,

125/2 165;
iv
354 4 komische Ländler, D 2 vn Jan 1816 1930 —; ix
355 8 Ländler, f♯ ?vn Jan 1816 1928 —; ix
370 9 Ländler, D ?vn Jan 1816 1930 —; ix
Page 96 of 321

NSA
374 11 Ländler, B♭ vn ?Feb 1816 1902 —; ix
384 Sonata (Sonatina), D vn, pf March 1816 1836, op. viii,

137/1 26;
viii, 3
385 Sonata (Sonatina), a vn, pf March 1816 1836, op. viii,

137/2 40;
viii,
17
408 Sonata (Sonatina), g vn, pf April 1816 1836, op. viii,

137/3 56;
viii,
33
471 String Trio, B♭, 1st vn, va, vc Sept 1816 1890–97 vi, 1,
movt and frag. of 2nd Rb,
84; vi
487 Adagio and Rondo vn, va, vc, pf Oct 1816 1865 vii/1,
concertante, F 52;
vii,
157
574 Sonata (Duo), A vn, pf Aug 1817 1851, op. viii,

162 100;
viii,
47
581 String Trio, B♭ vn, va, vc Sept 1817 1897 xxi,

93; vi
597a Variations, A, vn Dec 1817 — —

sketches, lost
601 Overture, B♭, frag. 2 vn, va, vc c1816 — —

[arr. of orch ov. 470]
Page 97 of 321

NSA
667 Piano Quintet, A, ‘Die pf, vn, va, vc, ?aut. 1819 1829, op. vii/1,
Forelle’ db 114 52;
vii,
185
703 String Quartet, c 2 vn, va, vc Dec 1820 1870–97 v,

(Quartettsatz), with 183,
frag. 2nd movt Rb,
76; v
802 Introduction and fl, pf Jan 1824 1850, op. viii,

variations (on Trockne 160 120;
Blumen from Die viii,
schöne Müllerin), e/E 67
803 Octet, F cl, hn, bn, 2 Feb – 1

vn, va, vc, db March 1824
movts 1–3, 6 1853, op. —

166
movts 1–6 1889 iii, 1;

i, 27
804 String Quartet, a 2 vn, va, vc Feb–March 1824, op. v,

1824 29/1 191;
v
810 String Quartet, d, ‘Der 2 vn, va, vc March 1824 1831 v,

Tod und das Mädchen’ 215;
v
821 Sonata, a, ‘Arpeggione’ arpeggione, Nov 1824 1871 viii,

pf 142;
viii,
89
887 String Quartet, G 2 vn, va, vc 20–30 June 1851, op. v,

1826 161 251;
v
Page 98 of 321

NSA
895 Rondo, b (Rondo vn, pf Oct 1826 1827, op. viii,

brillant) 70 1;
viii,
107
897 Piano Trio movt, E♭, pf, vn, vc ?1828 1846, op. vii/2,
‘Notturno’ 148 106;
vii,
143
898 Piano Trio, B♭ pf, vn, vc ?1828 1836, op. vii/2,

99 2; vii,
91
929 Piano Trio, E♭ pf, vn, vc begun Nov 1828, op. vii/2,
1827 100 46;
vii,
17
934 Fantasy, C vn, pf Dec 1827 1850, op. viii,

159 70;
viii,
131
956 String Quintet, C 2 vn, va, 2 vc ?Sept 1828 1853, op. iv, 1;
163 ii, 19
995 6 Minuets [see 2d]
998 String Quartet [see 2c]
AI/3 Fugue, C, frag., va ? 2 vn, va, vc ?1812 — —;

part only viii/1
Page 99 of 321

Sonatas, fantasies and shorter works for piano
NSA numbers refer to volume in series 7/ii unless otherwise stated
Page 100 of 321


D Title and remarks Composed Published SW;
NSA
2e Fantasie, c [formerly 993] 1811 — —; iv
13 Fugue, d c1812 — —; iv
14 Overture, sketch, lost c1812 — —
21 6 variations, E♭, lost 1812 — —
24 7 variations, F, frag., lost ?sum. 1812 — —
24a Fugue, C, ? for org ?sum. 1812 1978 —; iv
24b Fugue, G, ? for org ?sum. 1812 1978 —; iv
24c Fugue, d, ? for org ?sum. 1812 1978 —; iv
24d Fugue, C, frag. ?sum. 1812 1978 —; iv
25c Fugue, F, frag. ?sum. 1812 — —;

viii/2
29 Andante, C [arr. of Str Qt, 3] 9 Sept 1812 1888 xi,

136; iv
37a fugal sketches, B♭ [formerly 967] ?1813 — —; iv
41a Fugue, e, frag. 1813 — —; iv
71b Fugue, e, frag. July 1813 — —; iv
154 Allegro, E [sketch of 157] 11 Feb 1815 1897 xxi,

136; i
156 10 variations, F 15 Feb 1815 1887 xi,

112; iv
157 Sonata, E, inc. begun Feb 1888 x, 2; i

1815
178 Adagio, G, 2 versions [2nd version 8 April 1815 1897 xxi,

frag.] 244; iv
Page 101 of 321


NSA
279 Sonata, C [minuet = 277a with Sept 1815 1888 x, 16; i

alternative trio, see DANCES FOR
PIANO; ? finale = 346]
346 Allegretto, C, frag. [? finale of 279] ?1816 1897 xxi,

222; iv
347 Allegretto moderato, C, frag. ?1813 1897 xxi,

230; iv
348 Andantino, C, frag. ?1816 1897 xxi,

233; iv
349 Adagio, C, frag. ?1816 1897 xxi,

242; iv
459 Sonata, E, frag. (nos.1, 2 of ‘Fünf Aug 1816 1843 xi,

Klavierstücke’) 170; i
459a ‘Fünf Klavierstücke’, C, A, E (nos.3–5) ?1816 1843 xi,

178; iv
505 Adagio, D♭ [orig. slow movt of 625; ?Sept 1818 1897 Rb, 4;
adapted (? by publisher) as iv
introduction to 506]
506 Rondo, E [? finale of 566] ?June 1817 1848, op. xi,

145 105; iv
537 Sonata, a March 1817 c1852, op. x, 60; i

164
557 Sonata, A♭ May 1817 1888 x, 30; i
566 Sonata, e [? finale = 506] June 1817
Moderato 1888 x, 40; i
Allegretto 1907 —; i
Scherzo 1928–9 —; i
Page 102 of 321


NSA
567 Sonata, D♭, inc. [1st version of 568] June 1817 1897 xxi,
140; i
568 Sonata, E♭ ?June 1817 1829, op. x, 74; i

122
570 Scherzo, D, Allegro f♯, inc. [? intended ?July 1817 1897 xxi,
as movts 3–4 of 571] 236; i
571 Sonata, f♯, frag. of 1st movt only July 1817 1897 xxi,
160; i
575 Sonata, B Aug 1817 1846, op. x, 44; i

147
576 13 variations on a theme by Anselm Aug 1817 1867 xi,

Hüttenbrenner, a 124; iv
593 2 scherzos, B♭, D♭ Nov 1817 1871 xi,

190; iv
604 Andante, A [? slow movt of 570/571] 1816 or July 1888 xi,

1817 138; iv
605 Fantasia, C, frag. 1821–3 1897 xxi,

214; iv
605a Fantasy, C, ‘Grazer Fantasie’ ?1818 1969 —; iv
606 March, E ?1818 1840 xi,

198; iv
612 Adagio, E [? slow movt of 613] April 1818 1869 xi,

142; iv
613 Sonata, C, 2 movts, frag. [? slow movt April 1818 1897 xxi,
= 612] 164; ii
625 Sonata, f, 2 movts, frag. [slow movt = Sept 1818 1897 xxi,
505] 172; ii
Page 103 of 321


NSA
655 Sonata, c♯, frag. of 1st movt April 1819 1897 xxi,
186; ii
664 Sonata, A 1819 or 1829, op. x, 134;

1825 120 ii
718 Variation on a waltz by Diabelli, c March 1821 1824 xi,

134; iv
759a Overture to Alfonso und Estrella, D Nov 1822 c1839, op. —; iv

[arr. from 732] 69
760 Fantasy, C, ‘Wandererfantasie’ Nov 1822 1823, op. xi, 2; v

15
769a Sonata, e, frag. [formerly 994] c1823 1958 —; i
780 6 Momens musicals [sic], C, A♭, f, c♯, 1823–8 1828, op. xi, 88;
f, A♭ 94 v
784 Sonata, a Feb 1823 1839, op. x, 94;

143 ii
817 Ungarische Melodie, b [?1st version 2 Sept 1824 1928 —; v

of pf duet, 818]
840 Sonata, C, ‘Reliquie’, movts 3–4 inc. April 1825 1861 xxi,
190; ii
845 Sonata, a before end 1826, op. x, 110;

May 1825 42 ii
850 Sonata, D Aug 1825 1826, op. x, 146;

53 ii
894 Sonata, G (formerly known as Oct 1826 1827, op. x, 178;

Fantasie, Andante, Menuetto und 78 iii
Allegretto)
899 4 Impromptus, c, E♭, G♭, A♭ ? sum.–aut. xi, 28;

1827 v
Page 104 of 321


NSA
nos.1–2 1827, op.

90/1–2
nos.3–4 1857, op.

90/3–4
900 Allegretto, c, frag. ? after 1820 1897 xxi,

220; v
915 Allegretto, c 26 April 1870 xi,

1827 146; v
916b Piano piece, C, sketch ? sum.–aut. 1978 —; v

1827
916c Piano piece, c, sketch ? sum.–aut. 1978 —; v

1827
935 4 Impromptus, f, A♭, B♭, f Dec 1827 1839, op. xi, 58;
142 v
946 3 Klavierstücke, e♭, E♭, C May 1828 1868 xi,

150; v
958 Sonata, c Sept 1828 1839 x, 204;

iii
959 Sonata, A Sept 1828 1839 x, 232;

iii
960 Sonata, B♭ Sept 1828 1839 x, 264;

iii
967 fugal sketches [see 37a]
980f March, G ? — —; vi
993 Fantasie [see 2e]
994 Sonata [see 769a]
Page 105 of 321


Dances for piano
NSA numbers refer to volume and page in series 7/ii
Page 106 of 321


NSA
19b Waltzes and march, lost ? 1812 or — —

1813
22 12 minuets with trios, lost 1812 — —
41 30 minuets with trios, 10 lost 1813 1889 xii,

137;
vi
91 2 minuets, D, A, each with 2 trios, 2 22 Nov 1813 1956 —; vi

other minuets lost
128 12 Wiener Deutsche ?1812 1897 xxi,

248;
vi
135 Deutscher, E, with trio [see 146] 1815 1930 —; vi
139 Deutscher, C♯, with trio 1815 1930 —; vi
145 12 Waltzes [no.7 = no.2 of 970], 17 1815 – July 1823, op. xii,
Ländler, 9 Ecossaises [no.5 = no.1 of 1821 18 14; vii
421; no.6 = no.5 of 697], incl. 3
Atzenbrugger Tänze (nos.1–3)
146 20 Waltzes (Letzte Walzer) [no.3 = 135 1830, op. xii,

with new trio] 127 66; vii
nos.1, 3–11 1815
nos.2, 12–20 Feb 1823
158 Ecossaise, d/F 21 Feb 1815 1889 xii,

136;
vi
277a Minuet, a [used in Sonata, 279], with ?Sept 1815 1925 —; iv

trio
299 12 Ecossaises [no.1 = Ecossaise no.1 3 Oct 1815

from 145]
Page 107 of 321


NSA
nos.1–8 1897 xxi,

264;
vi
nos.9–12 1912 —; vi
334 Minuet, A, with trio c1815 1897 xxi,

256;
iv
335 Minuet, E, with 2 trios c1813 1897 xxi,

258;
vi
365 36 Originaltänze (Erste Walzer), incl. 1816 – July 1821, op.9 xii, 2;
Trauerwalzer (no.2) and 3 1821 vii
Atzenbrugger Tänze (nos.29–31)
366 17 Ländler [no.17 arr. from 814 no.1, 1816 – Nov xii,
see PIANO FOUR HANDS] 1824 88; vi
nos.6 and 17 1824
nos.1–17 1869
378 8 Ländler, B♭ 13 Feb 1816 1869 xii,

102;
vi
380 3 minuets, E, A, C, each with 2 trios, 22 Feb 1816

2nd trio of 3rd minuet lost
nos.1 and 2 1897 xxi,

262;
vi
no.3 1956 —; vi
420 12 Deutsche 1816 1871 xii,

94; vii
Page 108 of 321


NSA
421 6 Ecossaises, A♭, f, E♭, B♭, E♭, A♭ [no. 1 May 1816 1889 xii,
= Ecossaise no.5 of 145] 132;
vi
511 Ecossaise, E♭ c1817 1924 —; vi
529 8 Ecossaises Feb 1817
nos.1–3, 6, 8, D, D, G, D, D 1871 xii,

143;
vi
nos.4, 5, 7, D 1897 xxi,

267;
vi
600 Minuet, c♯ [? trio = 610] ?1814 1897 xxi,

261;
iv
610 Trio, E [? minuet = 600] Feb 1818 1889 xii,

157;
vi
640 2 dances [see 980a]
643 Deutscher, c♯, and Ecossaise, D♭ 1819 1889 xii,

117;
vi
679 2 Ländler [see 980b]
680 2 Ländler [see 980c]
681 12 Ländler, nos.1–4 lost c1815 1930 —; vi
697 6 Ecossaises, A♭ May 1820
nos.1–4, 6 1889 xii,

134;
vi
Page 109 of 321


NSA
no.5 [= no.6 of 145] 1823 —; vi
722 Deutscher, G♭ 8 March 1889 xii,

1821 115;
vii
734 16 Ländler and 2 Ecossaises (Wiener- c1822 1826, op. xii,

Damen Ländler) 67 48; vii
735 Galop and 8 Ecossaises c1822 1825, op. xii,

49 119;
vii
769 2 Deutsche xii,

114;
vi
no.1, A Jan 1824 1889
no.2, D by Dec 1823 1823
779 34 Valses sentimentales c1823 1825, op. xii,

50 34; vii
781 12 Ecossaises Jan 1823 xii,

125;
vii
no.1 [= Ecossaise no.2 of 783] 1825, op.

33
nos.4, 7 1824
nos.2–3, 5–6, 8–12 1889
782 Ecossaise, D c1823 1824 —; vii
783 16 Deutsche and 2 Ecossaises [no.2 = Jan 1823 – 1825, op. xii,
no.1 of 781] July 1824 33 28; vii
790 12 Deutsche (Ländler) May 1823 1864, op. xii,

171 82; vi
Page 110 of 321


NSA
816 3 Ecossaises, D, D, B♭ Sept 1824 1956 —; vi
820 6 Deutsche, A♭, A♭, A♭, B♭, B♭, B♭, Oct 1824 1931 —; vi
841 2 Deutsche, F, G April 1825 1930 —; vi
844 Waltz, G (Albumblatt) 16 April 1897 xxi,

1825 268;
vi
924 12 Grazer Walzer ?Sept 1827 1828, op. xii,

91 60; vii
925 Grazer Galopp, C ?Sept 1827 1828 xii,

123;
vii
944a Deutscher, lost 1 March — —

1828
969 12 Waltzes (Valses nobles) by end 1826 1827, op. xii,

77 54; vii
970 6 Ländler, E♭, E♭, A♭, A♭, D♭, D♭ [no.2 = ? 1889 xii,
no.7 of 145] 106;
vii
971 3 Deutsche, a, A, E by end 1822 1823 xii,

108;
vii
972 3 Deutsche, D♭, A♭, A ? 1889 xii,

110;
vi
973 3 Deutsche, E, E, A♭ ? 1889 xii,

111;
vi
974 2 Deutsche, D♭ ? 1889 xii,

113;
vi
Page 111 of 321


NSA
975 Deutscher, D ? 1889 xii,

116;
vi
976 Cotillon, E♭ by end 1825 1825 xii,

118;
vi
977 8 Ecossaises ? 1889 xii,

129;
vi
978 Waltz, A♭ by end 1825 1825 —; vii
979 Waltz, G by end 1826 1826 —; vii
980 2 waltzes, G, b by end 1826 1826 —; vii
980a 2 dances, A, E, sketches [formerly 640] ? 1956 —; vi
980b 2 Ländler, E♭ [formerly 679] ? 1925 —; vi
980c 2 Ländler, D♭, frag. [formerly 680] ? 1930 —; vi
980d Waltz, C by end 1827 1828 —; vii
980c 2 dances, g, F, sketches [? for pf] ? — —; vi
Page 112 of 321


Piano four hands
NSA numbers refer to volume and page in series 7/i
Page 113 of 321


NSA
1 Fantasie, G 8 April – 1 1888 ix/3,

May 1810 189; i
1b Fantasie, G, frag. 1810 or 1811 — —; i
1c Sonata, F, frag., 1st movt only 1810 or 1811 — —; i
9 Fantasie, g 20 Sept 1811 1888 ix/3,

224; i
48 Fantasie, c (Grande sonate) April – 10 June

1813
1st version [without finale] 1871 ix/3,

234; i
2nd version [complete] 1888 —; i
592 Overture, D, ‘im italienischen Dec 1817 1872 ix/2, 26;

Stile’ [arr. of orch ov., 590] v
597 Overture, C, ‘im italienischen Nov or Dec 1872 ix/2, 14;

Stile’ [arr. of orch ov., 591] 1817 v
599 4 polonaises, d, B♭, E, F July 1818 1827, op.75 ix/3,

160; iv,
126
602 3 marches héroïques, b, C, D 1818 or 1824 1824, op.27 ix/1, 2;

iv, 3
603 Introduction, 4 variations on an

original theme and finale [see
968a]
608 Rondo, D
version a Jan 1818 — —; i
version b (Notre amitié est c1818 1835, op. ix/2,

invariable) 138 136; i
Page 114 of 321


NSA
617 Sonata, B♭ sum.–aut. 1823, op.30 ix/2, 40;

1818 i
618 Deutscher, G, with 2 trios and 2 sum.–aut. 1909 —; iv,

Ländler, E 1818 167
618a Polonaise and trio, sketch [trio July 1818 1972 —; iv,
used in 599] 180
624 8 variations on a French song, e Sept 1818 1822, op.10 ix/2,

150; i
668 Overture, g Oct 1819 1897 xxi, 106;

v
675 Overture, F ?Nov 1819 1825, op.34 ix/2, 2; v
733 3 marches militaires, D, G, E♭ ? sum.–aut. 1826, op.51 ix/1, 56;

1818 iv, 20
773 Overture to Alfonso und Estrella 1823 1826; 1830 —; v

[arr. from 732] as op.69
798 Overture to Fierrabras [arr. from late 1823 1897 xxi, 120;
796] v
812 Sonata, C, ‘Grand Duo’ June 1824 1838, op. ix/2, 66;
140 ii, 5
813 8 variations on an original theme, sum. 1824 1825, op.35 ix/2,

A♭ 168; ii,
27
814 4 Ländler, E♭, A♭, c, C [no.1 arr. July 1824 1869 ix/3,
as 366 no.17, see DANCES FOR 172; iv,
PIANO] 176
818 Divertissement à l’hongroise, g ?aut. 1824 1826, op.54 ix/3, 2;

ii, 38
819 6 grandes marches, E♭, g, b, D, ?aut. 1824 1825, op.40 ix/1, 20;
e♭, E iv, 33
Page 115 of 321


NSA
823 Divertissement sur des motifs c1825 ix/3, 38;

originaux français, e ii, 621
1 Marche brillante 1826, op.

63/1
2 Andantino varié 1827, op.

84/1
3 Rondeau brillant 1827, op.

84/2
824 6 polonaises, d, F, B♭, D, A, E 1826 1826, op.61 ix/3,

136; iv,
140
859 Grande marche funèbre, c, on the Dec 1825 1826, op.55 ix/1, 70;
death of Aleksander I of Russia iv, 74
885 Grande marche héroïque, a, for 1826 1826, op.66 ix/1, 78;
the coronation of Nicholas I of iv, 82
Russia
886 2 marches caractéristiques [see

968b]
908 8 variations on a theme from Feb 1827 1827, op. ix/2,

Hérold’s Marie, C 82/1 194; iii
928 March, G, ‘Kindermarsch’ 12 Oct 1827 1870 ix/1,

116; iv,
124
940 Fantasie, f Jan–April 1828 1829, op. ix/3,

103 112; iii
947 Allegro, a, ‘Lebensstürme’ May 1828 1840, op. ix/3, 88;

144 iii
951 Rondo, A June 1828 1828, op. ix/2,

107 118; iii
Page 116 of 321


NSA
952 Fugue, e, pf/org 3 June 1828 1848, op. ix/3,

152 176; iii
968 Allegro moderato, C, and ?1818 1888 ix/3,

Andante, a (Sonatine) 180; i
968a Introduction, 4 variations on an ?1824 1860, op. ix/2,

original theme and finale, B♭ 82/2 216; i
[formerly 603]
968b 2 marches caractéristiques, C ?1826 1830, op. ix/1, 94;

[formerly 886] 121 i
Page 117 of 321


Songs
The following list includes duets, melodramas and works for or with unison chorus or incorporating
brief passages for four-part chorus; all with piano accompaniment unless otherwise stated. SW
numbers refer to volume and page in series 20, and NSA numbers to volume and page in series 4,
unless otherwise stated. Incipits are given where different from title.
Page 118 of 321


D Title Incipit Text Key Composed Publ
1a Song sketch (no — c ?1810 1969

text)
5 Hagars Klage Hier am Hügel C.A. c 30 March 1894

heissen Sandes Schücking 1811
6 Des Mädchens Der Eichwald F. von Schiller d 1811 or 1894

Klage (1) brauset 1812
7 Leichenfantasie Mit erstorbnem Schiller d c1811 1894

Scheinen
10 Der Vatermörder Ein Vater starb G.C. Pfeffel c 26 Dec 1894

von des Sohnes 1811
Hand
15 Der Geistertanz Die bretterne F. von c c1812 1895

(1), frag. Kammer der Toten Matthisson
erbebt
15a Der Geistertanz Die bretterne Matthisson f c1812 1895

(2), frag. Kammer der Toten
erbebt
17 Quell’innocente P. Metastasio F c1812 1940

figlio
version 1
Page 119 of 321


23 Klaglied Meine Ruh’ ist F. Rochlitz g 1812 1830

dahin 131/
30 Der Jüngling am An der Quelle sass Schiller F 24 Sept 1894

Bache (1) der Knabe 1812
33 Entra l’uomo allor Metastasio e Sept–Oct 1940

che nasce 1812
version 1
35 Serbate, o dei Metastasio C 10 Dec 1940

custodi 1812
version 3
39 Lebenstraum Ich sass an einer G. von C c1810 1969

Tempelhalle Baumberg
42 Misero pargoletto Metastasio ?1813

(1)
version a, inc. g 1969
version b, inc. g 1969
Misero pargoletto g 1895

(2)
Page 120 of 321


44 Totengräberlied (2) Grabe, Spaten, L.C.H. Hölty e 19 Jan 1894

grabe! 1813
50 Die Schatten Freunde, deren Matthisson A 12 April 1894

Grüfte 1813
52 Sehnsucht (1) Ach, aus dieses Schiller d 15–17 1868

Tales Gründen April 1813
59 Verklärung Lebensfunke, vom A. Pope, trans. a 4 May 1832

Himmel ertglüht J.G. von 1813
Herder
73 Thekla: eine Wo ich sei, und wo Schiller G 22–3 Aug 1868

Geisterstimme (1) mich hingewendet 1813
76 Pensa, che questo Metastasio

istante
version a D 7 Sept 1969

1813
version b D 13 Sept 1871

1813
77 Der Taucher Wer wagt es, Schiller

Rittersmann
Page 121 of 321


version a d 17 Sept 1831

1813 – 5
April 1814
version b [formerly d by 1815 1894

111]
78 Son fra l’onde Metastasio c 18 Sept 1895

1813
81 Auf den Sieg der Verschwunden ?Schubert F aut. 1813 1895

Deutschen, with 2 sind die
vn, vc Schmerzen
83 Zur Namensfeier Des Phöbus — G 28 Oct – 4 1895

des Herrn Andreas Strahlen Nov 1813
Siller, with vn, hp
93 Don Gayseros F. de la Motte c1815 1894

Fouqué
1 Don Gayseros, F
Don Gayseros
2 Nächtens klang F
die süsse Laute
3 An dem jungen E♭
Morgenhimmel
Page 122 of 321


95 Adelaide Einsam wandelt Matthisson A♭ 1814 1848

dein Freund
97 Trost: an Elisa Lehnst du deine Matthisson a 1814 1894

bleich-gehärmte
Wange
98 Erinnerungen (1) Am Seegestad Matthisson
version a B♭ aut. 1814 1968
version b B♭ c1814 1894
99 Andenken (1) Ich denke dein Matthisson F April 1814 1894
100 Geisternähe Der Dämmrung Matthisson E♭ April 1814 1894

Schein
101 Erinnerung Kein Matthisson e April 1814 1894

Rosenschimmer
leuchtet
102 Die Betende Laura betet! Matthisson B aut. 1814 1840
Page 123 of 321


104 Die Befreier Sie sind in Paris! J.C. Mikan

Europas in Paris
version a G May 1814 1968
version b G May 1814 1968
version c G 16 May 1895

1814
107 Lied aus der Ferne Wenn in des Matthisson

Abends letztem
Scheine
version a E July 1814 1894
version b D ?July 1814 1968
108 Der Abend Purpur malt die Matthisson d July 1814 1894
Tannenhügel
109 Lied der Liebe Durch Fichten am Matthisson B♭ July 1814 1894
Hügel
111 Der Taucher [see

77]
Page 124 of 321


113 An Emma Weit in Schiller

nebelgrauer Ferne
version a F 17 Sept 1894

1814
version b F c1814 1821
version c F c1814 1826

58/2
114 Romanze Ein Fräulein klagt’ Matthisson

im finstern Turm
version a g Sept 1814 1902
version b g 29 Sept 1868

1814
115 An Laura, als sie Herzen, die gen Matthisson E 2–7 Oct 1840
Klopstocks Himmel sich 1814
Auferstehungslied erheben
sang
116 Der Geistertanz (3) Die bretterne Matthisson c 14 Oct 1840

Kammer der Toten 1814
erbebt
117 Das Mädchen aus In einem Tal bei Schiller A 16 Oct 1894
der Fremde (1) armen Hirten 1814
Page 125 of 321


118 Gretchen am Meine Ruh’ ist hin J.W. von d 19 Oct 1821
Spinnrade Goethe 1814
119 Nachtgesang O gib vom Goethe A♭ 30 Nov 1850

weichen Pfühle 1814
120 Trost in Tränen Wie kommt’s, dass Goethe F 30 Nov 1835

du so traurig bist 1814
121 Schäfers Klagelied Da droben auf Goethe

jenem Berge
version a e Nov 1814 1894
version b c 30 Nov 1821

1814 3/1
122 Ammenlied Am hohen, hohen M. Lubi g Dec 1814 1872

Turm
123 Sehnsucht Was zieht mir das Goethe G 3 Dec 1814 1842
Herz so?
124 Am See Sitz’ ich im Gras J. Mayrhofer
version a g Dec 1814 1968
Page 126 of 321


version b g 7 Dec 1814 1885
126 Szene aus Goethes Wie anders, Goethe

Faust (Dom), with Gretchen, war
4vv dir’s
version a c Dec 1814 1873
version b c 12 Dec 1832

1814
134 Ballade Ein Fräulein J. Kenner g c1815 1830

schaut vom hohen 126
Turm
138 Rastlose Liebe Dem Schnee, dem Goethe

Regen
version a E 19 May 1821

1815 5/1
version b D 1821 1970
141 Der Mondabend Rein und J.G. Kumpf A 1815 1830

freundlich lacht 131/
der Himmel
142 Geistes-Gruss Hoch auf dem Goethe 1815 or

alten Turme 1816
Page 127 of 321


version a E♭/ 1895

G♭
version b E♭/ 1885

G♭
version c D/F
version d E♭/ 1895

G♭
version e E♭/
G♭
version f E/G rev. ?1828 1828

92/3
143 Genügsamkeit Dort raget ein F. von Schober c♯ 1815 1829

Berg 109/
144 Romanze, In der Väter allen F. Graf zu E April 1816 1897

unfinished ruhte Stolberg-
Stolberg
149 Der Sänger Was hör’ ich Goethe

draussen vor dem
Tor
version a D Feb 1815 1894
Page 128 of 321


version b D 1815 1829

117
150 Lodas Gespenst Der bleiche, kalte Ossian, trans. g/B♭ 17 Jan 1830
Mond E. Baron de 1816
Harold
151 Auf einen Kirchhof Sei gegrüsst, F. von A 2 Feb 1815 c185
geweihte Stille Schlechta
152 Minona Wie treiben die F.A. Bertrand a 8 Feb 1815 1894
Wolken so finster
153 Als ich sie erröten All’ mein Wirken B.A. Ehrlich G 10 Feb 1845
sah 1815
155 Das Bild Ein Mädchen ist’s F 11 Feb 1862

1815 165/
159 Die Erwartung Hör’ ich das Schiller

Pförtchen
version a B♭ May 1816 1968
version b B♭ 1816 1829

116
Page 129 of 321


160 Am Flusse (1) Verfliesset, Goethe d 27 Feb 1894

vielgeliebte Lieder 1815
161 An Mignon Über Tal und Fluss Goethe

getragen
version a g♯ 27 Feb 1894

1815
version b g 1815 1825

19/2
162 Nähe des Geliebten Ich denke dein Goethe 27 Feb

1815
version a G♭ 1894
version b G♭ 1821
5/2
163 Sängers Süsses Licht! aus T. Körner G 27 Feb 1894

Morgenlied (1) goldenen Pforten 1815
164 Liebesrausch (1), … Glanz des Guten Körner G March 1928

frag. 1815
165 Sängers Süsses Licht! aus Körner C 1 March 1872

Morgenlied (2) goldenen Pforten 1815
Page 130 of 321


166 Amphiaraos Vor Thebens Körner g 1 March 1894

siebenfach 1815
gähnenden Toren
169 Trinklied vor der Schlacht, du Körner C 12 March 1894

Schlacht, for 2 brichst an! 1815
unison choruses
170 Schwertlied, with Du Schwert an Körner C 12 March 1873

unison chorus meiner Linken 1815
171 Gebet während der Vater, ich rufe Körner B♭ 12 March 1831
Schlacht dich! 1815
172 Der Morgenstern Stern der Liebe Körner G♭ 12 March —

(1), frag. 1815
174 Das war ich Jüngst träumte Körner

mir
version a G 26 March c184

1815
version b, frag. D cJune 1816 1897
176 Die Sterne Was funkelt ihr so J.G. Fellinger A♭ 6 April 1872
mild mich an? 1815
177 Vergebliche Liebe Ja, ich weiss es J.K. Bernard c 6 April 1867
1815 173/
179 Liebesrausch (2) Dir, Mädchen, Körner G 8 April 1872

schlägt 1815
Page 131 of 321


180 Sehnsucht der Wie die Nacht mit Körner

Liebe heiligem Beben
version a G 8 April 1894

1815
version b, frag., G July 1815 —

lost
182 Die erste Liebe Die erste Liebe Fellinger C 12 April 1842
füllt das Herz 1815
183 Trinklied, with Ihr Freunde und A. Zettler G 12 April 1887

unison chorus du gold’ner Wein 1815
186 Die Sterbende Heil! dies ist die Matthisson A♭ May 1815 1894
letzte Zähre
187 Stimme der Liebe Abendgewölke Matthisson F May 1815 1894

(1) schweben hell
188 Naturgenuss (1) Im Matthisson B♭ May 1815 1887

Abendschimmer
wallt der Quell
189 An die Freude, with Freude, schöner Schiller E May 1815 1829
unison chorus Götterfunken 111/
191 Des Mädchens Der Eichwald Schiller

Klage (2) brauset
version a c 15 May 1894

1815
Page 132 of 321


version b c 1815 1826

58/3
192 Der Jüngling am An der Quelle sass Schiller f 15 May 1887

Bache (2) der Knabe 1815
193 An den Mond Geuss, lieber Hölty f 17 May 1826

Mond 1815 57/3
194 Die Mainacht Wann der silberne Hölty d 17 May 1894

Mond 1815
195 Amalia Schön wie Engel Schiller A 19 May 1867

1815 173/
196 An die Nachtigall Geuss nicht so laut Hölty f♯ 22 May 1865

1815 172/
197 An die Apfelbäume, Ein heilig Säuseln Hölty A 22 May 1850

wo ich Julien 1815
erblickte
198 Seufzer Die Nachtigall Hölty g 22 May 1894

singt überall 1815
201 Auf den Tod einer Sie ist dahin Hölty f♯ 25 May 1970
Nachtigall (1), frag. 1815
204a Das Traumbild, lost Hölty — May 1815 —
206 Liebeständelei Süsses Liebchen, Körner E♭ 26 May 1872

komm zu mir! 1815
Page 133 of 321


207 Der Liebende Beglückt, Hölty B♭ 29 May 1894

beglückt, wer dich 1815
erblickt
208 Die Nonne Es liebt’ in Hölty

Welschland
version a, frag. A♭ 29 May 1897

1815
version b [formerly A♭ 16 June 1895

212] 1815
209 Der Liedler Gib, Schwester, Kenner a Jan 1815 1825

mir die Harf herab 38
210 Die Liebe Freudvoll und Goethe B♭ 3 June 1838

(Klärchens Lied) leidvoll 1815
211 Adelwold und Hoch, und ehern Bertrand F 5–14 June 1894
Emma schier von Dauer 1815
212 Die Nonne [see

208]
213 Der Traum Mir träumt’, ich Hölty A 17 June 1865

war ein Vögelein 1815 172/
214 Die Laube Nimmer werd’ ich, Hölty A♭ 17 June 1865

nimmer dein 1815 172/
vergessen
215 Jägers Abendlied Im Felde schleich’ Goethe F 20 June 1907

(1) ich still und wild 1815
Page 134 of 321


215a Meeresstille (1) Tiefe Stille Goethe C 20 June 1952

herrscht im 1815
Wasser
216 Meeresstille (2) Tiefe Stille Goethe C 21 June 1821

herrscht im 1815 3/2
Wasser
217 Kolmas Klage Rund um mich Ossian, trans. c 22 June 1830

Nacht 1815
218 Grablied Er fiel den Tod Kenner f 24 June 1848

fürs Vaterland 1815
219 Das Finden Ich hab’ ein L. Kosegarten B♭ 25 June 1848

Mädchen funden 1815
221 Der Abend Der Abend blüht Kosegarten B 15 July 1829

1815 118/
222 Lieb Minna Schwüler Hauch A. Stadler f 2 July 1815 1885

weht mir herüber
224 Wandrers Der du von dem Goethe G♭ 5 July 1815 1821

Nachtlied Himmel bist 4/3
225 Der Fischer Das Wasser Goethe

rauscht
version a B♭ 5 July 1815 1970

5/3
Page 135 of 321


226 Erster Verlust Ach, wer bringt Goethe f 5 July 1815 1821
die schönen Tage 5/4
227 Idens Nachtgesang Vernimm es, Kosegarten B♭ 7 July 1815 1885

Nacht
228 Von Ida Der Morgen blüht Kosegarten f 7 July 1815 1894
229 Die Erscheinung Ich lag auf grünen Kosegarten E 7 July 1815 1829
Matten 108/
230 Die Täuschung Im Erlenbusch, im Kosegarten E 7 July 1815 1862

Tannenhain 165/
231 Das Sehnen Wehmut, die mich Kosegarten a 8 July 1815 1865
hüllt 172/
233 Geist der Liebe Wer bist du, Geist Kosegarten E 15 July 1829
der Liebe 1815 118/
234 Tischlied Mich ergreift, ich Goethe C 15 July 1829

weiss nicht wie 1815 118/
235 Abends unter der Woher, o Kosegarten F 24 July 1894

Linde (1) namenloses 1815
Sehnen
237 Abends unter der Woher, o Kosegarten F 25 July 1872

Linde (2) namenloses 1815
Sehnen
Page 136 of 321


238 Die Mondnacht Siehe, wie die Kosegarten F♯ 25 July 1894

Mondesstrahlen 1815
240 Huldigung Ganz verloren, Kosegarten E 27 July 1894

ganz versunken 1815
241 Alles um Liebe Was ist es, das die Kosegarten E 27 July 1894
Seele füllt? 1815
245 An den Frühling

[see 587b]
246 Die Bürgschaft Zu Dionys, dem Schiller g Aug 1815 1830

Tyrannen
247 Die Spinnerin Als ich still und Goethe b Aug 1815 1829
ruhig spann 118/
248 Lob des Tokayers O köstlicher Baumberg B♭ Aug 1815 1829

Tokayer 118/
249 Die Schlacht (1), Schiller b 1 Aug

frag. 1815
250 Das Geheimnis (1) Sie konnte mir Schiller A♭ 7 Aug 1872
kein Wörtchen 1815
sagen
251 Hoffnung (1) Es reden und Schiller G♭ 7 Aug 1872

träumen die 1815
Menschen
252 Das Mädchen aus In einem Tal bei Schiller F 12 Aug 1887
der Fremde (2) armen Hirten 1815
Page 137 of 321


253 Punschlied: im Auf der Berge Schiller B♭ 18 Aug 1887

Norden zu singen freien Höhen 1815
254 Der Gott und die Mahadöh, der Goethe E♭ 18 Aug 1887
Bajadere Herr der Erde 1815
255 Der Rattenfänger Ich bin der Goethe G 19 Aug c185

wohlbekannte 1815
Sänger
256 Der Schatzgräber Arm am Beutel, Goethe d 19 Aug 1887

krank am Herzen 1815
257 Heidenröslein Sah ein Knab’ ein Goethe G 19 Aug 1821

Röslein stehn 1815 3/3
258 Bundeslied In allen guten Goethe B♭ 4 or 19 1887

Stunden Aug 1815
259 An den Mond (1) Füllest wieder Goethe E♭ 19 Aug c185

Busch und Tal 1815
260 Wonne der Wehmut Trocknet nicht, Goethe c 20 Aug 1829

trocknet nicht 1815 115/
261 Wer kauft Von allen schönen Goethe C 21 Aug c185

Liebesgötter? Waren 1815
262 Die Fröhlichkeit Wes’ Adern M.J. E 22 Aug 1895

leichtes Blut Prandstetter 1815
durchspringt
Page 138 of 321


263 Cora an die Sonne Nach so vielen Baumberg E♭ 22 Aug 1848

trüben Tagen 1815
264 Der Morgenkuss Durch eine ganze Baumberg

Nacht
version a E♭ 22 Aug 1872

1815
version b C c1815 1850
265 Abendständchen: Sei sanft wie ihre Baumberg B♭ 23 Aug 1895

An Lina Seele 1815
266 Morgenlied Willkommen, rotes Stolberg F 24 Aug 1895

Morgenlicht 1815
270 An die Sonne Sinke, liebe Sonne Baumberg E♭ 25 Aug 1829

1815 118/
271 Der Weiberfreund Noch fand von A. Cowley, A 25 Aug 1895

Evens trans. J.F. von 1815
Töchterscharen Ratschky
272 An die Sonne Königliche C.A. Tiedge E♭ 25 Aug 1872

Morgensonne 1815
273 Lilla an die Wie schön bist du, D 25 Aug 1895

Morgenröte du güldne 1815
Morgenröte
274 Tischlerlied Mein Handwerk C 25 Aug 1850

geht durch alle 1815
Welt
Page 139 of 321


275 Totenkranz für ein Sanft wehn, im Matthisson g 25 Aug 1895

Kind Hauch der 1815
Abendluft
276 Abendlied Gross und Stolberg A 28 Aug 1895

rotentflammet 1815
278 Ossians Lied nach Beugt euch aus Ossian, trans. ?Sept 1815
dem Falle Nathos euren Wolken Harold
nieder
version a, frag. E 1897
version b E 1830
280 Das Rosenband Im F.G. Klopstock A♭ Sept 1815 1837

Frühlingsgarten
fand ich sie
281 Das Mädchen von Mädchen Inistores Ossian, trans. c Sept 1815 1830
Inistore Harold
282 Cronnan Ich sitz’ bei der Ossian, trans. c 5 Sept 1830
moosigten Quelle Harold 1815
283 An den Frühling (1) Willkommen, Schiller F 6 Sept 1865

schöner Jüngling! 1815 172/
284 Lied Es ist so ?Schiller G 6 Sept 1895

angenehm 1815
Page 140 of 321


285 Furcht der Cidli, du weinest Klopstock

Geliebten (An Cidli)
version a A♭ 12 Sept 1895

1815
version b A♭ c1815 1885
286 Selma und Selmar Weine du nicht Klopstock
version a F c1815 1895
version b F 14 Sept 1837

1815
287 Vaterlandslied Ich bin ein Klopstock

deutsches
Mädchen
version a C 14 Sept 1895

1815
288 An Sie Zeit, Klopstock A♭ 14 Sept 1895

Verkündigerin der 1815
besten Freuden
289 Die Sommernacht Wenn der Klopstock

Schimmer von
dem Monde
Page 141 of 321


version a C 14 Sept 1895

1815
290 Die frühen Gräber Willkommen, o Klopstock a 14 Sept 1837

silberner Mond 1815
291 Dem Unendlichen Wie erhebt sich Klopstock

das Herz
version a F 15 Sept 1895

1815
version c G c1815 1895
292 Klage [see 371]
293 Shilric und Vinvela Mein Geliebter ist Ossian, trans. B♭ 20 Sept 1830
ein Sohn des Harold 1815
Hügels
295 Hoffnung Schaff, das Goethe c1816

Tagwerk meiner
Hände
version a F 1872
Page 142 of 321


version b E 1895
296 An den Mond (2) Füllest wieder Goethe A♭ c1816 1868

Busch und Tal
297 Augenlied Süsse Augen, Mayrhofer ?1817

klare Bronnen!
version a F 1895
version b F 1850
298 Liane Hast du Lianen Mayrhofer C Oct 1815 1895

nicht gesehen?
300 Der Jüngling an der Leise, rieselnder J.G. von Salis- A c1817 1842
Quelle Quell Seewis
301 Lambertine O Liebe, die mein J.L. Stoll E♭ 12 Oct 1842

Herz erfüllet 1815
302 Labetrank der Wenn im Spiele Stoll F 15 Oct 1895

Liebe leiser Töne 1815
303 An die Geliebte O, dass ich dir Stoll G 15 Oct 1887

vom stillen Auge 1815
304 Wiegenlied Schlumm’re sanft! Körner F 15 Oct 1895

1815
Page 143 of 321


305 Mein Gruss an den Sei mir gegrüsst, o Kumpf B♭ 15 Oct 1895
Mai Mai 1815
306 Skolie Lasst im J.L. von B♭ 15 Oct 1895

Morgenstrahl des Deinhardstein 1815
Mai’n
307 Die Sternenwelten Oben drehen sich U. Jarnik, F 15 Oct 1895

die grossen trans. 1815
Fellinger
308 Die Macht der Überall, wohin J.N. von B♭ 15 Oct 1895
Liebe mein Auge blicket Kalchberg 1815
309 Das gestörte Glück Ich hab’ ein Körner F 15 Oct 1872
heisses junges 1815
Blut
310 Sehnsucht (1) Nur wer die Goethe 18 Oct

Sehnsucht kennt 1815
version a A♭ 1895
version b F 1895
311 An den Mond, frag. A 19 Oct

1815
312 Hektors Abschied Will sich Hektor Schiller

ewig von mir
wenden
version a f 19 Oct 1895

1815
Page 144 of 321


version b f c1815 1826

58/1
313 Die Sterne Wie wohl ist mir Kosegarten B♭ 19 Oct 1895
im Dunkeln 1815
314 Nachtgesang Tiefe Feier Kosegarten E♭ 19 Oct 1887

schauert um die 1815
Welt
315 An Rosa I Warum bist du Kosegarten A♭ 19 Oct 1895

nicht hier 1815
316 An Rosa II Rosa, denkst du an Kosegarten

mich?
version a A♭ 19 Oct 1895

1815
317 Idens Wie schaust du Kosegarten

Schwanenlied aus dem Nebelflor
version a f 19 Oct —
1815
version b f c1815 1895
318 Schwanengesang Endlich stehn die Kosegarten f 19 Oct 1895

Pforten offen 1815
Page 145 of 321


319 Luisens Antwort Wohl weinen Kosegarten b♭ 19 Oct 1895

Gottes Engel 1815
320 Der Zufriedene Zwar schuf das C.L. Reissig A 23 Oct 1895
Glück hinieden 1815
321 Mignon Kennst du das Goethe A 23 Oct 1832

Land 1815
322 Hermann und Ha, dort kömmt er Klopstock E♭ 27 Oct 1837

Thusnelda 1815
323 Klage der Ceres Ist der holde Lenz Schiller G 9 Nov 1895
erschienen? 1815 –
June 1816
325 Harfenspieler (1) Wer sich der Goethe a 13 Nov 1895

Einsamkeit ergibt 1815
327 Lorma (1), frag. Lorma sass in der Ossian, trans. a 28 Nov 1928
Halle von Aldo Harold 1815
328 Erlkönig Wer reitet so spät Goethe
version a g ?Oct 1815 1895
version b g 1815 1868
Page 146 of 321


version c g 1815 1895
version d g 1815 1821
329 Die drei Sänger, Der König sass F. Bobrik A 23 Dec 1895
frag. beim frohen Mahle 1815
330 Das Grab (2) Das Grab ist tief Salis-Seewis c 28 Dec 1895
und stille 1815
version a [for
version b see MALE
VOICES]
342 An mein Klavier Sanftes Klavier C.F.D. A c1816 1885

Schubart
343 Am Tage aller Ruhn in Frieden J.G. Jacobi Aug 1816

Seelen (Litanei auf alle Seelen
das Fest aller
Seelen)
version a E♭ 1831
version b E♭ —
344 Am ersten Heute will ich M. Claudius G c1816 —

Maimorgen fröhlich, fröhlich
sein
Page 147 of 321


350 Der Entfernten (2) Wohl denk’ ich Salis-Seewis E♭ ?1816 1885
allenthalben
351 Fischerlied (1) Das Fischer- Salis-Seewis D ?1816 1895

gewerbe gibt
rüstigen Mut!
352 Licht und Liebe Liebe ist ein M. von Collin G ?1816 c184
(Nachtgesang), S, süsses Licht
T
358 Die Nacht Du verstörst uns J.P. Uz A♭ 1816 c184

nicht, o Nacht!
359 Sehnsucht (2) Nur wer die Goethe d 1816 1872

Sehnsucht kennt
360 Lied eines Schiffers Dioskuren, Mayrhofer A♭ 1816 1826

an die Dioskuren Zwillingssterne 65/1
361 Am Bach im Du brachst sie Schober D♭ 1816 1829

Frühlinge nun, die kalte 109/
Rinde
362 Zufriedenheit (1) Ich bin vergnügt Claudius A 1815 or 1895

1816
363 An Chloen, frag. Die Munterkeit ist Uz G 1816 —

meinen Wangen
367 Der König in Thule Es war ein König Goethe d early 1816 1821
in Thule 5/5
Page 148 of 321


368 Jägers Abendlied Im Felde schleich’ Goethe D♭ ?early 1821

(2) ich still und wild 1816 3/4
369 An Schwager Spude dich Goethe d 1816 1825

Kronos Kronos! 19/1
371 Klage [formerly Trauer umfliesst b Jan 1816 1872

292] mein Leben
372 An die Natur Süsse, heilige Stolberg- F 15 Jan 1895

Natur Stolberg 1816
373 Lied Mutter geht durch Fouqué g ?15 Jan 1895

ihre Kammern 1816
375 Der Tod Oskars Warum öffnest du Ossian, trans. c Feb 1816 1830
wieder Harold
376 Lorma (2), frag. Lorma sass in der Ossian, trans. a 10 Feb 1895
Halle von Aldo Harold 1816
381 Morgenlied Die frohe C 24 Feb 1895

neubelebte Flur 1816
382 Abendlied Sanft glänzt die F 24 Feb 1895

Abendsonne 1816
388 Laura am Klavier Wenn dein Finger Schiller 1895

durch die Saiten
meistert
version a E March
1816
Page 149 of 321


version b A c1816
389 Des Mädchens Der Eichwald Schiller c March 1873

Klage (3) braust 1816
390 Entzückung an Laura, über diese Schiller A March 1895

Laura (1) Welt 1816
391 Die vier Weltalter Wohl perlet im Schiller G March 1829

Glase 1816 111/
392 Pflügerlied Arbeitsam und Salis-Seewis C March 1895

wacker 1816
393 Die Einsiedelei (2) Es rieselt, klar und Salis-Seewis A March c184
wehend 1816
394 An die Harmonie Schöpferin Salis-Seewis A March 1895

beseelter Töne! 1816
395 Lebensmelodien Auf den Wassern A.W. von G March 1829

wohnt mein stilles Schlegel 1816 111/
Leben
396 Gruppe aus dem Horch, wie Schiller c March 1975

Tartarus (1), frag. Murmeln des 1816
empörten Meeres
397 Ritter Toggenburg Ritter, treue Schiller F 13 March 1832

Schwesterliebe 1816
Page 150 of 321


398 Frühlingslied (2) Die Luft ist blau Hölty G 13 May 1887
1816
399 Auf den Tod einer Sie ist dahin Hölty a 13 May 1895
Nachtigall (2) 1816
400 Die Knabenzeit Wie glücklich, Hölty A 13 May 1895

wem das 1816
Knabenkleid
401 Winterlied Keine Blumen Hölty a 13 May 1895

blühn 1816
402 Der Flüchtling Frisch atmet des Schiller B♭ 18 March 1872

Morgens 1816
lebendiger Hauch
403 Lied Ins stille Land Salis-Seewis
version a g 27 March 1845

1816
version b a April 1816 1895
version c a March —
1816
version d a Aug 1823 —
404 Die Herbstnacht Mit leisen Salis-Seewis F March 1885

Harfentönen 1816
405 Der Herbstabend Abendglockenhalle Salis-Seewis

zittern
Page 151 of 321


version a f April 1816 1895
version b f 1816 —
406 Abschied von der Noch einmal tön, o Salis-Seewis e March 1887
Harfe Harfe 1816
409 Die verfehlte Quälend A.W. von f April 1816 1872

Stunde ungestilltes Schlegel
Sehnen
410 Sprache der Liebe Lass dich mit A.W. von E April 1816 1829
gelinden Schlägen Schlegel 115/
411 Daphne am Bach Ich hab’ ein Stolberg- D April 1816 1887
Bächlein funden Stolberg
412 Stimme der Liebe Meine Selinde Stolberg-

Stolberg
version a E 1816 —
version b D c1816 1838
413 Entzückung Tag voll Himmel Matthisson C April 1816 1895
414 Geist der Liebe (1) Der Abend Matthisson G April 1816 1895
schleiert Flur und
Hain
415 Klage Die Sonne steigt Matthisson C April 1816 1895
Page 152 of 321


416 Lied in der Ach, mir ist das Stolberg- b April 1816 1925
Abwesenheit, frag. Herz so schwer Stolberg
418 Stimme der Liebe Abendgewölke Matthisson G 29 April 1895

(2) schweben hell 1816
419 Julius an Theone Nimmer, nimmer Matthisson g 30 April 1895

darf ich dir 1816
gestehen
429 Minnelied Holder klingt der Hölty E May 1816 1885

Vogelsang
430 Die frühe Liebe Schon im bunten Hölty

Knabenkleide
version a E May 1816 1895
version b, lost E c1816 —
431 Blumenlied Es ist ein halbes Hölty E May 1816 1887

Himmelreich
432 Der Leidende Nimmer trag’ ich May 1816

länger
version a b 1850
version b b 1895
433 Seligkeit Freuden sonder Hölty E May 1816 1895

Zahl
Page 153 of 321


434 Erntelied Sicheln schallen, Hölty E May 1816 1850

Ähren fallen
436 Klage Dein Silber schien Hölty
version a F 12 May 1850

1816
version b [formerly F 1816 —

437]
437 Klage [see 436]
442 Das grosse Ehre sei dem Klopstock E June 1816 c184
Halleluja version a Hocherhabnen
[for version b see
FEMALE OR
UNSPECIFIED
VOICES]
443 Schlachtlied (1) Mit unserm Arm Klopstock E June 1816 1895
version a [for ist nichts getan
version b see
FEMALE OR
UNSPECIFIED
VOICES]
444 Die Gestirne Es tönet sein Lob Klopstock F June 1816 1831
445 Edone Dein süsses Bild, Klopstock E♭ June 1816 1837

Edone
446 Die Liebesgötter Cypris, meiner Uz C June 1816 1887

Phyllis gleich
Page 154 of 321


447 An den Schlaf Komm, und senke A June 1816 1895

die umflorten
Schwingen
448 Gott im Frühlinge In seinem Uz

schimmernden
Gewand
version a E June 1816 1887
version b E cJune 1816 —
449 Der gute Hirt Was sorgest du? Uz E June 1816 1872
450 Fragment aus dem So wird der Mann, Aeschylus, June 1816
Aeschylus der sonder Zwang trans.
Mayrhofer
version a A♭ 1895
version b A♭ 1832
454 Grablied auf einen Zieh hin, du C.F.D. c July 1816 1872
Soldaten braver Krieger du! Schubart
455 Freude der Freude, die im F. von Köpken C July 1816 1887
Kinderjahre frühen Lenze
456 Das Heimweh Oft in einsam K.G.T. Winkler F July 1816 1887
stillen Stunden
Page 155 of 321


457 An die Sonne, du sinkst Kosegarten E♭ July 1816 – 1827

untergehende May 1817 44
Sonne
458 Aus Diego Wo irrst du durch Schlechta A♭ 30 July 1872

Manazares einsame Schatten 1816
(Ilmerine)
462 An Chloen Bei der Liebe Jacobi A♭ Aug 1816 1895

reinsten Flammen
463 Hochzeit-Lied Will singen euch Jacobi E♭ Aug 1816 1895

im alten Ton
464 In der Mitternacht Todesstille deckt Jacobi c Aug 1816 1895

das Tal
465 Trauer der Liebe Wo die Taub in Jacobi

stillen Buchen
version a A♭ Aug 1816 1885
version b A♭ c1816 —
466 Die Perle Es ging ein Mann Jacobi d Aug 1816 1872
zur Frühlingszeit
467 Pflicht und Liebe Du, der ewig um F.W. Gotter c Aug 1816 1885
mich trauert
468 An den Mond Was schauest du Hölty A 7 Aug 1895

so hell und klar 1816
Page 156 of 321


469 Mignon (1), 2 So lasst mich Goethe A♭ Sept 1816 1897

frags. scheinen
473 Liedesend Auf seinem Mayrhofer Sept 1816

goldnen Throne
version a c 1895
version b c 1833
474 Lied des Orpheus, Wälze dich hinweg Jacobi

als er in die Hölle
ging
version a, inc. G♭ Sept 1816 1895
version b G♭ 1816 1832
475 Abschied (nach Über die Berge Mayrhofer G Sept 1816 1885
einer zieht ihr fort
Wallfahrtsarie)
476 Rückweg Zum Donaustrom, Mayrhofer d Sept 1816 1872

zur Kaiserstadt
477 Alte Liebe rostet — Mayrhofer B Sept 1816 1895

nie
Page 157 of 321


478 Harfenspieler I Wer sich der Goethe

(Gesänge des Einsamkeit ergibt
Harfners no.1) (2)
version a a Sept 1816 1895
version b a 1822 1822

12/1
479 Harfenspieler II An die Türen will Goethe

(Gesänge des ich schleichen
Harfners no.3)
version b a 1822 1822

12/3
480 Harfenspieler III Wer nie sein Brot Goethe

(Gesänge des mit Tränen ass
Harfners no.2) (1,
2, 3)
version b a Sept 1816 1895
Page 158 of 321


version c a 1822 1822

12/2
481 Sehnsucht (3) Nur wer die Goethe a Sept 1816 1895
Sehnsucht kennt
482 Der Sänger am Klage, meine Flöte C. Pichler e Sept 1816 1895
Felsen
483 Lied Ferne von der Pichler E Sept 1816 1895

grossen Stadt
484 Gesang der Geister … dann zur Tiefe Goethe G Sept 1816 1895
über den Wassern nieder
(1), frag.
489 Der Wanderer Ich komme vom G.P. Schmidt

Gebirge her von Lübeck
version a c♯ Oct 1816 1895
version b [formerly b c1816 1970

493b]
version c [formerly c♯ c1816 1821

493a] 4/1
490 Der Hirt Du Turm! zu Mayrhofer F Oct 1816 1895

meinem Leide
Page 159 of 321


491 Geheimnis Sag an, wer lehrt Mayrhofer B♭ Oct 1816 1887
dich Lieder
492 Zum Punsche Woget brausend, Mayrhofer d Oct 1816 1849

Harmonien
493 Der Wanderer [see

489b–c]
495 Abendlied der Der Abend rötet Mayrhofer F Nov 1816 1868
Fürstin nun das Tal
496 Bei dem Grabe Friede sei um Claudius E♭ Nov 1816 1885
meines Vaters diesen Grabstein
496a Klage um Ali Bey Lasst mich! lasst Claudius e♭ Nov 1816 1968
mich! ich will
klagen
497 An die Nachtigall Er liegt und Claudius G Nov 1816 1829

schläft 98/1
498 Wiegenlied Schlafe, schlafe, A♭ Nov 1816 1829

holder süsser 98/2
Knabe
499 Abendlied Der Mond ist Claudius B♭ Nov 1816 1885

aufgegangen
500 Phidile Ich war erst Claudius G♭ Nov 1816 1895

sechzehn Sommer
alt
501 Zufriedenheit (2) Ich bin vergnügt Claudius Nov 1816
Page 160 of 321


version a E 1895
version b G —
502 Herbstlied Bunt sind schon Salis-Seewis G Nov 1816 1872

die Wälder
503 Mailied (3) Grüner wird die Hölty G Nov 1816 —

Au
504 Am Grabe Dass ich dich Claudius

Anselmos verloren habe
version a e♭ 4 Nov 1821

1816 6/3
version b e♭ c1816 1970
507 Skolie Mädchen Matthisson G Dec 1816 1895

entsiegelten
508 Lebenslied Kommen und Matthisson C Dec 1816 1845

Scheiden
509 Leiden der Vom Meere trennt Metastasio, Dec 1816

Trennung sich die Welle trans. H. von
Collin
version a, frag. g —
version b g 1872
Page 161 of 321


510 Vedi quanto adoro Metastasio E♭ Dec 1816 1895
513a Nur wer die Liebe F. Werner A♭ ?1817 1974

kennt, sketch
514 Die abgeblühte Wirst du halten, L. von a ?1817 1821

Linde was du schwurst Széchényi 7/1
515 Der Flug der Zeit Es floh die Zeit im Széchényi A ?1817 1821
Wirbelfluge 7/2
516 Sehnsucht Der Lerche Mayrhofer C ?1816 1822

wolkennahe 8/2
Lieder
517 Der Schäfer und Ein Schäfer sass Fouqué April 1817
der Reiter im Grünen
version a E 1972
version b E 1822
13/1
518 An den Tod Tod, du Schrecken Schubart B 1816 or 1824

der Natur 1817
519 Die Blumensprache Es deuten die ? E. Platner B♭ ?1817 1867

Blumen 173/
520 Frohsinn Ich bin von I.F. Castelli

lockerem Schlage
version a F Jan 1817 1895
Page 162 of 321


521 Jagdlied version a Trarah! Trarah! Werner F Jan 1817 1895

[for version b see wir kehren daheim
FEMALE AND
UNSPECIFIED
VOICES]
522 Die Liebe Wo weht der Liebe G. Leon G Jan 1817 1895
hoher Geist?
523 Trost Nimmer lange c♯ Jan 1817 1885

weil’ ich hier
524 Der Alpenjäger Auf hohen Mayrhofer Jan 1817

Bergesrücken
version a E 1895
version b D 1970
version c F 1822
13/3
525 Wie Ulfru fischt Der Angel zuckt Mayrhofer Jan 1817
version a d 1970
version b d 1823
21/3
Page 163 of 321


526 Fahrt zum Hades Der Nachen Mayrhofer d Jan 1817 1832
dröhnt
527 Schlaflied Es mahnt der Wald Mayrhofer Jan 1817

(Abendlied;
Schlummerlied)
version a F 1975
version b F 1823
24/2
528 La pastorella al C. Goldoni G Jan 1817 1872

prato (2)
530 An eine Quelle Du kleine Claudius A Feb 1817 1829

grünumwachs’ne 109/
Quelle
531 Der Tod und das Vorüber, ach Claudius d Feb 1817 1821
Mädchen vorüber 7/3
532 Das Lied vom Seht meine lieben Claudius A♭ Feb 1817 1895
Reifen, frag. Bäume an
533 Täglich zu singen Ich danke Gott Claudius F Feb 1817 1895
und freue mich
534 Die Nacht Die Nacht ist Ossian, trans. g Feb 1817 1830
dumpfig und Harold
finster
Page 164 of 321


535 Lied, with small Brüder, g Feb 1817 1895

orch schrecklich brennt
die Träne
536 Der Schiffer Im Winde, im Mayrhofer ?March

Sturme 1817
version a E♭ 1970
version b E♭ 1823
21/2
539 Am Strome Ist mir’s doch, als Mayrhofer B March 1822

sei mein Leben 1817 8/4
540 Philoktet Da sitz’ ich ohne Mayrhofer b March 1831

Bogen 1817
541 Memnon Den Tag hindurch Mayrhofer D♭ March 1821

nur einmal 1817 6/1
542 Antigone und Ihr hohen Mayrhofer C March 1821

Oedip Himmlischen 1817 6/2
543 Auf dem See Und frische Goethe March

Nahrung 1817
version a E 1895
version b E♭ 1828
92/2
Page 165 of 321


544 Ganymed Wie im Goethe A♭ March 1825

Morgenglanze 1817 19/3
545 Der Jüngling und Die Sonne sinkt, o J. von Spaun March
der Tod könnt ich 1817
version a c♯ 1895
version b c♯ 1872
546 Trost im Liede Braust des Schober d March 1827

Unglücks Sturm 1817 1828
empor op.10
547 An die Musik Du holde Kunst Schober
version a D March 1895

1817

88/4
548 Orest auf Tauris Ist dies Tauris Mayrhofer E♭ March 1831
1817
549 Mahomets Gesang Seht den Goethe c♯ March 1895

(1), frag. Felsenquell 1817
550 Die Forelle In einem Bächlein Schubart

helle
Page 166 of 321


version a D♭ c1817 1895
version b D♭ c1817 1895
version c D♭ Feb 1818 1895
version d D♭ c1820 1820

1827
op.32
version e D♭ Oct 1821 1975
551 Pax vobiscum Der Friede sei mit Schober F April 1817 1831
euch!
552 Hänflings Ahidi! ich liebe F. Kind

Liebeswerbung
version a A April 1817 1970
version b A c1817 1823

20/3
Page 167 of 321


553 Auf der Donau Auf der Wellen Mayrhofer E♭ April 1817 1823
Spiegel 21/1
554 Uraniens Flucht Lasst uns, ihr Mayrhofer D April 1817 1895
Himmlischen
555 Song sketch (no a ?May 1817 1934

text)
558 Liebhaber in allen Ich wollt’, ich wär’ Goethe A May 1817 1887
Gestalten ein Fisch
559 Schweizerlied Uf’m Bergli bin i Goethe F May 1817 1885

g’sässe
560 Der Es ist doch meine Goethe F May 1817 1850

Goldschmiedsgesell Nachbarin
561 Nach einem Auf den Blumen Mayrhofer F May 1817 1872
Gewitter
562 Fischerlied (3) Das Salis-Seewis F May 1817 1895

Fischergewerbe
gibt rüstigen Mut!
563 Die Einsiedelei (3) Es rieselt, klar und Salis-Seewis C May 1817 1887
wehend
564 Gretchen im Ach neige, du Goethe b♭ May 1817 1838

Zwinger (Gretchen; Schmerzensreiche
Gretchens Bitte),
frag.
Page 168 of 321


565 Der Strom Mein Leben wälzt d ?June 1817 1876

sich murrend fort
569 Das Grab (4), for Das Grab ist tief Salis-Seewis c♯ June 1817 1895
unison chorus und stille
573 Iphigenia Blüht denn hier an Mayrhofer G♭ July 1817 1829

Tauris Strande 98/3
577 Entzückung an Schiller Aug 1817

Laura (2)
frag. a Laura, Laura, über A 1873

diese Welt
frag. b Amoretten seh ich D♭ 1895
578 Abschied Lebe wohl! lebe Schubert b 24 Aug 1838

wohl! 1817
579 Der Knabe in der Er schläft so süss A. Ottenwalt

Wiege (Wiegenlied)
version a C aut. 1817 1872
version b, frag. A♭ Nov 1817 1897
579a Vollendung Wenn ich einst das Matthisson A ?Sept–Oct 1970

[formerly 989] Ziel errungen 1817
habe
Page 169 of 321


579b Die Erde [formerly Wenn sanft Matthisson E ?Sept–Oct 1970

989a] entzückt 1817
582 Augenblicke im
Elysium [see 990b]
583 Gruppe aus dem Horch, wie Schiller C Sept 1817 1823
Tartarus (2) Murmeln des 24/1
empörten Meeres
584 Elysium Vorüber die Schiller E Sept 1817 1830

stöhnende Klage!
585 Atys Der Knabe seufzt Mayrhofer a Sept 1817 1833
586 Erlafsee Mir ist so wohl, so Mayrhofer F Sept 1817 1818

weh’ 1822
op.8/
587 An den Frühling (3) Willkommen, Schiller

schöner Jüngling!
version a A Oct 1817 1885
version b [formerly B♭ c1817 1895

245]
588 Der Alpenjäger Willst du nicht das Schiller

Lämmlein hüten
version a, frag. E♭ Oct 1817 1897
Page 170 of 321



37/2
594 Der Kampf Nein, länger werd’ Schiller d Nov 1817 1829
ich diesen Kampf 110
595 Thekla: eine Wo ich sei, und wo Schiller

Geisterstimme (2) mich hingewendet
version a c♯ Nov 1817 1895
version b c c1817 1827

88/2
596 Lied eines Kindes, Lauter Freude B♭ Nov 1817 1895

frag. fühl’ ich
611 Auf der Hoch auf dem Körner d March c185

Riesenkoppe Gipfel deiner 1818
Gebirge
614 An den Mond in Freundlich ist dein A. Schreiber A April 1818 1832
einer Herbstnacht Antlitz
616 Grablied für die Hauche milder, b June 1818 1838

Mutter Abendluft
619 Vocal exercise, 2vv, — C July 1818 1892

figured bass (no
text)
Page 171 of 321


620 Einsamkeit Gib mir die Fülle Mayrhofer B♭ July 1818 1840
der Einsamkeit!
622 Der Blumenbrief Euch Blümlein will Schreiber D Aug 1818 1833
ich senden
623 Das Marienbild Sei gegrüsst, du Schreiber C Aug 1818 1831

Frau der Huld
626 Blondel zu Marien In düstrer Nacht e♭ Sept 1818 1842
627 Das Abendrot Du heilig, glühend Schreiber E Nov 1818 1867

Abendrot! 173/
628 Sonett I Apollo, lebet noch Petrarch, B♭ Nov 1818 1895

trans. A.W. von
Schlegel
629 Sonett II Allein, Petrarch, g Nov 1818 1895

nachdenklich, wie trans. A.W. von
gelähmt Schlegel
630 Sonett III Nunmehr, da Petrarch, C Dec 1818 1895

Himmel, Erde trans. J.D.
Gries
631 Blanka (Das Wenn mich einsam F. von a Dec 1818 1885
Mädchen) Lüfte fächeln Schlegel
632 Vom Mitleiden Als bei dem Kreuz F. von g Dec 1818 1831
Mariä Maria stand Schlegel
Page 172 of 321


633 Der Schmetterling Wie soll ich nicht F. von F c1819 1826
tanzen Schlegel 57/1
634 Die Berge Sieht uns der Blick F. von G c1819 1826
gehoben Schlegel 57/2
636 Sehnsucht (2) Ach, aus dieses Schiller c1821

Tales Gründen
version a b 1975
version b b 1895
version c b 1826
39
637 Hoffnung (2) Es reden und Schiller B♭ c1819 1827

träumen die 87/2
Menschen
638 Der Jüngling am An der Quelle sass Schiller

Bache (3) der Knabe
version a d April 1819 1895

87/3
639 Widerschein Schlechta c1819
Page 173 of 321


version a Fischer harrt am D 1820

Brückenbogen
version b [formerly Tom lehnt harrend B♭ 1832

949] auf der Brücke
645 Abend, frag. Wie ist es denn L. Tieck g ?Jan 1819 —
646 Die Gebüsche Es wehet kühl und F. von G Jan 1819 1885
leise Schlegel
649 Der Wanderer Wie deutlich des F. von D Feb 1819 1826
Mondes Licht Schlegel 65/2
650 Abendbilder Still beginnt’s im J.P. Silbert a Feb 1819 1831

Hain zu tauen
651 Himmelsfunken Der Odem Gottes Silbert G Feb 1819 1831

weht
652 Das Mädchen Wie so innig, F. von

möcht ich sagen Schlegel
version a A Feb 1819 1842
version b A cFeb 1819 —
653 Bertas Lied in der Nacht umhüllt mit F. Grillparzer e♭ Feb 1819 c184
Nacht wehendem Flügel
654 An die Freunde Im Wald, im Wald Mayrhofer a March c184

da grabt mich ein 1819
Page 174 of 321


658 Marie Ich sehe dich in Novalis [F. von D ?May 1819 1895
tausend Bildern Hardenberg]
659 Hymne I Wenige wissen das Novalis a May 1819 1872

Geheimnis
660 Hymne II Wenn ich ihn nur Novalis b♭ May 1819 1872
habe
661 Hymne III Wenn alle untreu Novalis b♭ May 1819 1872
werden
662 Hymne IV Ich sag’ es jedem Novalis A May 1819 1872
663 Der 13. Psalm, Ach, Herr, wie trans. M. D♭ June 1819 1927
frag. lange Mendelssohn
669 Beim Winde Es träumen die Mayrhofer g Oct 1819 1829

Wolken
670 Die Sternennächte In monderhellten Mayrhofer D♭ Oct 1819 1862

Nächten 165/
671 Trost Hörnerklänge Mayrhofer E♭ Oct 1819 1849

rufen klagend
672 Nachtstück — Mayrhofer
version a Wenn über Bergen c♯ Oct 1819 1975

der Nebel sich
breitet
Page 175 of 321


version b Wenn über Berge c c1819 1825

sich der Nebel 36/2
breitet
673 Die Liebende Ein Blick von Goethe B♭ Oct 1819 1832
schreibt deinen Augen 1862
op.16
674 Prometheus Bedecke deinen Goethe g Oct 1819 1850

Himmel, Zeus
677 Strophe aus Die Schöne Welt, wo Schiller Nov 1819

Götter bist du?
Griechenlands
version a a/A 1895
version b a/A 1848
682 Über allen Zauber Sie hüpfte mit mir Mayrhofer G c1820 1895
Liebe, frag. auf grünem Plan
684 Die Sterne Du staunest, o F. von E♭ 1820 1850

Mensch Schlegel
685 Morgenlied Eh’ die Sonne früh Werner a 1820 1821

aufersteht 4/2
686 Frühlingsglaube Die linden Lüfte L. Uhland

sind erwacht
Page 176 of 321


version a B♭ Sept 1820 1970
version c A♭ Nov 1822 1823

20/2
687 Nachthymne Hinüber wall’ ich Novalis D Jan 1820 1872
688 Vier Canzonen Jan 1820 1871
1 Non t’accostar J.A. Vitorelli C

all’urna
2 Guarda, che Vitorelli G

bianca luna
3 Da quel Metastasio B♭
sembiante appresi
4 Mio ben Metastasio b♭

ricordati
690 Abendröte Tiefer sinket F. von A March 1830

schon die Sonne Schlegel 1823
691 Die Vögel Wie lieblich und F. von A March 1865

fröhlich Schlegel 1820 172/
Page 177 of 321


692 Der Knabe Wenn ich nur ein F. von A March 1872
Vöglein wäre Schlegel 1820
693 Der Fluss Wie rein Gesang F. von B March 1872

sich windet Schlegel 1820
694 Der Schiffer Friedlich lieg’ ich F. von D March 1842

hingegossen Schlegel 1820
695 Namenstagslied Vater, schenk’ mir A. Stadler A March 1895

diese Stunde 1820
698 Des Fräuleins Da unten steht ein Schlechta A Sept 1820 1832
Liebeslauschen Ritter
(Liebeslauschen)
699 Der entsühnte Zu meinen Füssen Mayrhofer C Sept 1820 1831

Orest brichst du dich
700 Freiwilliges Wohin? O Helios! Mayrhofer d Sept 1820 1831

Versinken
702 Der Jüngling auf Ein Jüngling auf H. G Nov 1820 1822
dem Hügel dem Hügel Hüttenbrenner 8/1
707 Der zürnenden Ja, spanne nur den Mayrhofer Dec 1820
Diana Bogen
version a A 1895
Page 178 of 321


version b A♭ 1825
36/1
708 Im Walde Windes Rauschen, F. von c♯ Dec 1820 1832

(Waldesnacht) Gottes Flügel Schlegel
711 Lob der Tränen Laue Lüfte, A.W. von 1818

Blumendüfte Schlegel
version a D 1970
version b D 1822
13/2
712 Die gefangenen Hörst du von den A.W. von G Jan 1821 1842
Sänger Nachtigallen Schlegel
713 Der Unglückliche Die Nacht bricht C. Pichler Jan 1821

an
version a b 1895
version b b 1827
87/1
715 Versunken Voll Locken kraus Goethe A♭ Feb 1821 1845

ein Haupt
Page 179 of 321


716 Grenzen der Wenn der uralte Goethe E March 1832

Menschheit heilige Vater 1821
717 Suleika II Ach um deine ? M. von B♭ ?March 1825

feuchten Willemer 1821 31
Schwingen
719 Geheimes Über meines Goethe A♭ March 1822

Liebchens Äugeln 1821 14/2
720 Suleika I Was bedeutet die ?Willemer

Bewegung?
version a b March 1970

1821
version b b c1821 1822

14/1

725 Linde Lüfte wehen, b April 1821 1929

Mez, T, frag.
726 Mignon I (1) Heiss mich nicht Goethe b April 1821 1870
reden
727 Mignon II (2) So lasst mich Goethe b April 1821 1850

scheinen
Page 180 of 321


728 Johanna Sebus, Der Damm Goethe d April 1821 1895

frag. zerreisst
731 Der Blumen Wie tönt es mir so J. Mayláth e Sept 1821 1821
Schmerz schaurig 1867
op.17
736 Ihr Grab Dort ist ihr Grab K.A. E♭ ?1822 1842
Engelhardt
737 An die Leier Ich will von Atreus F.S. Ritter von E♭ ? 1822 or 1826
Söhnen Bruchmann, 1823 56/2
after Anacreon
738 Im Haine Sonnenstrahlen Bruchmann A ? 1822 or 1826

durch die Tannen 1823 56/3
741 Sei mir gegrüsst O du Entrissne mir F. Rückert B♭ between 1823

end 1821 20/1
and aut.
1822
742 Der Wachtelschlag Ach! mir schallt’s S.F. Sauter A 1822 1822
dorten 1827
op.68
743 Selige Welt Ich treibe auf des J.C. Senn A♭ ?aut. 1822 1823
Lebens Meer 23/2
744 Schwanengesang Wie klag ich’s aus Senn A♭ ?aut. 1822 1823
23/3
745 Die Rose Es lockte schöne F. von 1822

Wärme Schlegel
Page 181 of 321


version a G 1822
1827
op.73
version b F 1895
746 Am See In des Sees Bruchmann E♭ ? 1822 or 1831

Wogenspiele 1823
749 Herrn Josef Spaun, Und nimmer M. von Collin c Jan 1822 1850
Assessor in Linz schreibst du?
(Sendschreiben an
den Assessor
Spaun in Linz)
751 Die Liebe hat A. von Platen- c by 17 April 1823

gelogen Hallermünde 1822 23/1
752 Nachtviolen Mayrhofer C April 1822 1872
753 Heliopolis I Im kalten rauhen Mayrhofer e April 1822 1826

Norden 65/3
754 Heliopolis II Fels auf Felsen Mayrhofer c April 1822 1842

hingewälzet
756 Du liebst mich Mein Herz ist Platen- July 1822

nicht zerrissen Hallermünde
version a g♯ 1895
Page 182 of 321


version b a 1826
59/1
758 Todesmusik In des Todes Schober G♭ Sept 1822 1829

Feierstunde 108/
761 Schatzgräbers In tiefster Erde Schober Nov 1822

Begehr ruht ein alt Gesetz
version a d 1823
23/4
version b d 1895
762 Schwestergruss Im Mondenschein Bruchmann f♯ Nov 1822 1833

wall’ ich auf und
ab
764 Der Musensohn Durch Feld und Goethe

Wald zu schweifen
version a A♭ Dec 1822 1895
version b G c1822 1828

92/1
765 An die Entfernte So hab’ ich Goethe G Dec 1822 1868

wirklich dich
verloren?
Page 183 of 321


766 Am Flusse (2) Verfliesset, Goethe D Dec 1822 1872

vielgeliebte Lieder
767 Willkommen und Es schlug mein Goethe

Abschied Herz
version a D Dec 1822 1895

56/1
768 Wandrers Über allen Gipfeln Goethe B♭ by July 1827

Nachtlied ist Ruh 1824 1828
op.96
770 Drang in die Ferne Vater, du glaubst K.G. von a/A early 1823 1823
es nicht Leitner 1827
op.71
771 Der Zwerg Im trüben Licht M. von Collin a ? 1822 or 1823

verschwinden 1823 22/1
schon die Berge
772 Wehmut Wenn ich durch M. von Collin d ? 1822 or 1823

Wald und Fluren 1823 22/2
geh’
774 Auf dem Wasser zu Mitten im Stolberg- A♭ 1823 1823

singen Schimmer der Stolberg 1827
spiegelnden op.72
Wellen
775 Dass sie hier Dass der Ostwind Rückert C ?1823 1826
gewesen Düfte 59/2
Page 184 of 321


776 Du bist die Ruh Rückert E♭ 1823 1826

59/3
777 Lachen und Weinen Rückert A♭ ?1823 1826

59/4
778 Greisengesang Der Frost hat mir Rückert by June

bereifet 1823
version a b —
version b b 1826
60/1
778a Die Wallfahrt Meine Tränen im Rückert f ?1823 1969

Bussgewand
785 Der zürnende Wer wagt’s, wer Bruchmann g Feb 1823 1831
Barde wagt’s
786 Viola Schneeglöcklein, o Schober A♭ March 1830

Schneeglöcklein 1823 123
788 Lied (Die Mutter Des Lebens Tag ist Stolberg- a/A April 1823 1838
Erde) schwer Stolberg
789 Pilgerweise Ich bin ein Waller Schober f♯ April 1823 1832
auf der Erde
792 Vergissmeinnicht Als der Frühling Schober A♭ May 1823 1833

sich vom Herzen
793 Das Geheimnis (2) Sie konnte mir Schiller G May 1823 1867
kein Wörtchen 173/
sagen
Page 185 of 321


794 Der Pilgrim Noch in meines Schiller

Lebens Lenze

37/1
795 Die schöne W. Müller Oct–Nov 1824

Müllerin 1823 25
1 Das Wandern Das Wandern ist B♭

des Müllers Lust
2 Wohin? Ich hört’ ein G

Bächlein rauschen
3 Halt! Eine Mühle seh’ C

ich blinken
4 Danksagung an War es also G

den Bach gemeint
5 Am Feierabend Hätt’ ich tausend a

Arme zu rühren
Page 186 of 321


6 Der Neugierige Ich frage keine B

Blume
7 Ungeduld Ich schnitt es gern A

in alle Rinden ein
8 Morgengruss Guten Morgen, C

schöne Müllerin
9 Des Müllers Am Bach viel A

Blumen kleine Blumen
stehn
10 Tränenregen Wir sassen so A

traulich
beisammen
11 Mein! Bächlein, lass dein D

Rauschen sein
12 Pause Meine Laute hab’ B♭

ich gehängt
13 Mit dem grünen Schad’ um das B♭

Lautenbande schöne grüne
Band
Page 187 of 321


14 Der Jäger Was sucht denn c

der Jäger
15 Eifersucht und Wohin so schnell g

Stolz
16 Die liebe Farbe In Grün will ich b

mich kleiden
17 Die böse Farbe Ich möchte ziehn B

in die Welt hinaus
18 Trockne Blumen Ihr Blümlein alle, e

die sie mir gab
19 Der Müller und Wo ein treues g

der Bach Herze in Liebe
vergeht
20 Des Baches Gute Ruh’, gute E

Wiegenlied Ruh’
797 Romanze zum Der Vollmond H. von Chézy f aut. 1823 1824
Drama Rosamunde strahlt auf 26
(3b) Bergeshöhn
Page 188 of 321


799 Im Abendrot O, wie schön ist K. Lappe A♭ 1824 or 1832

deine Welt Feb 1825
800 Der Einsame Wann meine Lappe

Grillen schwirren
version a G early 1825 1825

41
801 Dithyrambe Nimmer, das glaub Schiller A by June 1826

mir 1826 60/2
805 Der Sieg O unbewölktes Mayrhofer F March 1833

Leben! 1824
806 Abendstern Was weilst du Mayrhofer a March 1833

einsam an dem 1824
Himmel
807 Auflösung Verbirg dich, Mayrhofer G March 1842

Sonne 1824
808 Gondelfahrer (1) Es tanzen Mond Mayrhofer C March 1872

und Sterne 1824
822 Lied eines Des stolzen A 31 Dec 1842

Kriegers, with Männerlebens 1824
unison chorus schönste Zeichen
Page 189 of 321


827 Nacht und Träume Heil’ge Nacht, du M. von Collin by June

sinkest nieder 1823
version a B 1975
version b B 1825
43/2
828 Die junge Nonne Wie braust durch J.N. Craigher f early 1825 1825
die Wipfel de Jachelutta 43/1
829 Abschied, Leb wohl, du A. von F Feb 1826 1873

melodrama schöne Erde Pratobevera
830 Lied der Anne Lyle Wärst du bei mir A. MacDonald c ?early 1828
im Lebenstal trans. ? S. May 1825 85/1
831 Gesang der Norna Mich führt mein W. Scott, f early 1825 1828
Weg trans. S.H. 85/2
Spiker
832 Des Sängers Habe Schlagt mein Schlechta B♭ Feb 1825 1830
ganzes Glück
833 Der blinde Knabe O sagt, ihr Lieben, C. Cibber,

mir einmal trans.
Craigher
version a B♭ April 1825 1895
Page 190 of 321


version b B♭ April 1825 1827

1828
op.10
834 Im Walde Ich wandre über E. Schulze

Berg und Tal
version a g March 1835

1825 93/1
version b b♭ c1825 1828

90/1
837 Ellens Gesang I Raste, Krieger, Scott, trans. D♭ April–July 1826

Krieg ist aus D.A. Storck 1825 52/1
838 Ellens Gesang II Jäger, ruhe von Scott, trans. E♭ April–July 1826
der Jagd! Storck 1825 52/2
839 Ellens Gesang III Ave Maria! Scott, trans. B♭ April 1825 1826
(Hymne an die Jungfrau mild! Storck 52/6
Jungfrau)
842 Totengräbers O Menschheit, o Craigher f April 1825 1833

Heimweh Leben
843 Lied des Mein Ross so müd Scott, trans. d April 1825 1826
gefangenen Jägers in dem Stalle Storck 52/7
846 Normans Gesang Die Nacht bricht Scott, trans. c April 1825 1826
bald herein Storck 52/5
851 Das Heimweh Ach, der J.L. Pyrker von Aug 1825
Gebirgssohn Felsö-Eör
Page 191 of 321


version a a 1895
version b a 1827
79/1
852 Die Allmacht (1) Gross ist Jehovah, Pyrker Aug 1825
der Herr
version a A —
version b C 1827
79/2
853 Auf der Bruck Frisch trabe Schulze

sonder Ruh
version a G March or 1835

Aug 1825 93/2

90/2
854 Fülle der Liebe Ein sehnend F. von A♭ Aug 1825 1830
Streben Schlegel
855 Wiedersehn Der A.W. von G Sept 1825 1842

Frühlingssonne Schlegel
holdes Lächeln
856 Abendlied für die Hinaus, mein A.W. von F Sept 1825 1827
Entfernte Blick! Schlegel 88/1
Page 192 of 321


857 Zwei Szenen aus C.W. von Sept 1825 1829

dem Schauspiel Schütz 124
Lacrimas
1 Lied der Delphine Ach, was soll ich A

beginnen
2 Lied des Florio Nun, da Schatten E

niedergleiten
860 An mein Herz O Herz, sei Schulze a Dec 1825 1832

endlich stille
861 Der liebliche Stern Ihr Sternlein, still Schulze G Dec 1825 1832
in der Höhe
862 Um Mitternacht Keine Stimme hör Schulze

ich schallen
version a B♭ Dec 1825 —
version b B♭ ?March 1827

1826 88/3
863 An Gott, lost C.C. Hohlfeld — by 1827 —
864 Das E. von — after 1824 —

Totenhemdchen, Bauernfeld
lost
865 Widerspruch Wenn ich durch J.G. Seidl D ?1826 1828

version b [for Busch und Zweig 105/
version a see MALE
VOICES]
Page 193 of 321


866 Vier Refrainlieder Seidl ?sum. 1828

1828 95
1 Die Die Mutter hat G

Unterscheidung mich jüngst
gescholten
2 Bei dir allein A♭
3 Die Männer sind Du sagtest mir es, a

méchant Mutter
4 Irdisches Glück So mancher sieht d

mit finstrer Miene
867 Wiegenlied Wie sich der Seidl A♭ ?1826 1828

Äuglein kindlicher 105/
Himmel
868 Das Echo [see

990c]
869 Totengräber-Weise Nicht so düster Schlechta f♯ 1826 1832

und so bleich
870 Der Wanderer an Ich auf der Erd’, Seidl g/G 1826 1827
den Mond am Himmel du 80/1
871 Das Zügenglöcklein Kling die Nacht Seidl 1826

durch, klinge
version a A♭ 1979
Page 194 of 321


version b A♭ 1827
80/2
874 O Quell, was Schulze G ?Jan 1826 1974

strömst du rasch
und wild, frag.
876 Im Jänner 1817 Ich bin von aller Schulze e Jan 1826 1838
(Tiefes Leid) Ruh geschieden
877 Gesänge aus Goethe Jan 1826 1827

Wilhelm Meister 62
1 Mignon und der Nur wer die b

Harfner (5), S, T Sehnsucht kennt
2 Lied der Mignon Heiss mich nicht e

(2) reden
3 Lied der Mignon So lasst mich B

(3) scheinen
4 Lied der Mignon Nur wer die a

(6) Sehnsucht kennt
878 Am Fenster Ihr lieben Mauern Seidl F March 1828

hold und traut 1826 105/
879 Sehnsucht Die Scheibe friert Seidl d March 1828

1826 105/
Page 195 of 321


880 Im Freien Draussen in der Seidl E♭ March 1827

weiten Nacht 1826 80/3
881 Fischerweise Den Fischer Schlechta March

fechten Sorgen 1826
version a D 1895
version b D 1828
96/4
882 Im Frühling Still sitz’ ich an Schulze G March 1828

des Hügels Hang 1826 101/
883 Lebensmut O wie dringt das Schulze B♭ March 1832

junge Leben 1826
884 Über Wildemann Die Winde sausen Schulze d March 1829

am Tannenhang 1826 108/
888 Trinklied (Come, Bacchus, feister W. C July 1826 1850

thou monarch of Fürst Shakespeare,
the vine) trans. F.M. von
Grünbühel and
Bauernfeld
889 Ständchen (Hark, Horch, horch! die Shakespeare, C July 1826 1830
hark the lark) Lerch trans. A.W. von
Schlegel
890 Hippolits Lied Lasst mich, ob ich F. von a July 1826 1830
auch still verglüh Gerstenberg
Page 196 of 321


891 Gesang (An Sylvia; Was ist Silvia Shakespeare, A July 1826 1828
Who is Sylvia?) trans. 106/
Bauernfeld
896 Fröhliches Gar fröhlich kann Leitner F aut. 1827 – 1920

Scheiden, sketch ich scheiden early 1828
896a Sie in jedem Liede, Nehm ich die Leitner B♭ aut. 1827 – —
sketch Harfe early 1828
896b Wolke und Quelle, Auf meinen Leitner C aut. 1827 – —

sketch heimischen early 1828
Bergen
902 Drei Gesänge 1827 1827

83
1 L’incanto degli Da voi, cari lumi Metastasio C

occhi (Die Macht (Nur euch, schöne
der Augen) (2) Sterne)
2 Il traditor deluso Ahimè, io tremo! Metastasio e

(Der getäuschte (Weh mir, ich
Verräter) (2) bebe)
3 Il modo di Or sù! non ci C

prender moglie pensiamo
(Die Art, ein Weib (Wohlan! und ohne
zu nehmen) Zagen)
904 Alinde Die Sonne sinkt Rochlitz A Jan 1827 1827

ins tiefe Meer 81/1
905 An die Laute Leiser, leiser, Rochlitz D Jan 1827 1827

kleine Laute 81/2
906 Der Vater mit dem Dem Vater liegt Bauernfeld D Jan 1827 1832
Kind das Kind im Arm
Page 197 of 321


907 Romanze des Grosse Taten tat Scott trans. ?March

Richard Löwenherz der Ritter K.L.M. Müller 1826
version a b 1979
version b b 1828
86
909 Jägers Liebeslied Ich schiess’ den Schober D Feb 1827 1828
Hirsch 96/2
910 Schiffers Die Wogen am Schober e Feb 1827 1833

Scheidelied Gestade schwellen
911 Winterreise W. Müller 1828

89
Book 1: Feb – spr.

1827
1 Gute Nacht Fremd bin ich d

eingezogen
2 Die Wetterfahne Der Wind spielt a

mit der
Wetterfahne
3 Gefrorne Tränen Gefrorne Tropfen f

fallen
4 Erstarrung Ich such im c

Schnee vergebens
5 Der Lindenbaum Am Brunnen vor E

dem Tore
Page 198 of 321


6 Wasserflut Manche Trän’ aus

meinen Augen
version a f♯
version b e
7 Auf dem Flusse Der du so lustig e

rauschtest
8 Rückblick Es brennt mir g

unter beiden
Sohlen
9 Irrlicht In die tiefsten b

Felsengründe
10 Rast Nun merk ich erst
version a c
version b d 1895
11 Frühlingstraum Ich träumte von A/a

bunten Blumen
12 Einsamkeit Wie eine trübe

Wolke
version a b
Page 199 of 321


version b d 1895
Book 2: begun Oct

1827
13 Die Post Von der Strasse E♭

her ein Posthorn
klingt
14 Der greise Kopf Der Reif hat einen c

weissen Schein
15 Die Krähe Eine Krähe war c

mit mir
16 Letzte Hoffnung Hie und da ist an E♭

den Bäumen
17 Im Dorfe Es bellen die D

Hunde
18 Der stürmische Wie hat der Sturm d

Morgen zerrissen
19 Täuschung Ein Licht tanzt A

freundlich
20 Der Wegweiser Was vermeid ich g

denn die Wege
Page 200 of 321


21 Das Wirtshaus Auf einen F

Totenacker
22 Mut Fliegt der Schnee

mir ins Gesicht
version a a —
version b g
23 Die Drei Sonnen sah

Nebensonnen ich
version a A —
version b A
24 Der Leiermann Drüben hinterm

Dorfe
version a a 1895
version b b
916a Song sketch (no — C ?May 1827 —

text)
917 Das Lied im Ins Grüne, ins J.A.F. Reil A June 1827 1829
Grünen Grüne 115/
Page 201 of 321


919 Frühlingslied (2) Geöffnet sind des A. Pollak A♭ ?early 1897

Winters Riegel 1827
922 Heimliches Lieben O du, wenn deine K.L. von

Lippen Klenke

106/
923 Eine altschottische Dein Schwert, wie anon. Eng.,

Ballade ist’s von Blut so trans. Herder
rot
version a, 2vv g Sept 1827 1862

165/
version b g c1827 1895
version c, 2vv g c1827 1971
926 Das Weinen Gar tröstlich Leitner D aut. 1827 – 1828

kommt geronnen early 1828 106/
927 Vor meiner Wiege Das also, das ist Leitner b aut. 1827 – 1828
der enge Schrein early 1828 106/
Page 202 of 321


931 Der Wallensteiner He! schenket mir Leitner g Nov 1827 1835
Lanzknecht beim im Helme ein!
Trunk
932 Der Kreuzzug Ein Münich steht Leitner D Nov 1827 1832
in seiner Zell
933 Des Fischers Dort blinket durch Leitner a Nov 1827 1835
Liebesglück Weiden
937 Lebensmut, frag. Fröhlicher L. Rellstab B♭ ?sum. 1872

Lebensmut 1828
938 Der Winterabend Es ist so still Leitner B♭ Jan 1828 1835
939 Die Sterne Wie blitzen die Leitner E♭ Jan 1828 1828
Sterne 96/1
943 Auf dem Strom, Nimm die letzten Rellstab E March 1829
with hn/vc obbl Abschiedsküsse 1828 119
945 Herbst Es rauschen die Rellstab e April 1828 1895

Winde
949 Widerschein [see

639b]
955 Glaube, Hoffnung Glaube, hoffe, C. Kuffner E♭ Aug 1828 1828

und Liebe liebe! 97
957 Schwanengesang Aug–Oct 1829

1828
Book 1:
Page 203 of 321


1 Liebesbotschaft Rauschendes Rellstab G Aug 1828

Bächlein, so
silbern
2 Kriegers Ahnung In tiefer Ruh liegt Rellstab c

um mich her
3 Säuselnde Lüfte Rellstab B♭

Frühlingssehnsucht wehend so mild
4 Ständchen Leise flehen meine Rellstab d

Lieder
5 Aufenthalt Rauschender Rellstab e

Strom, brausender
Wald
6 In der Ferne Wehe dem Rellstab b

Fliehenden
Book 2:
7 Abschied Ade! du muntre, Rellstab E♭

du fröhliche Stadt
8 Der Atlas Ich unglückselger H. Heine g

Atlas
9 Ihr Bild Ich stand in Heine b♭

dunklen Träumen
10 Das Du schönes Heine A♭

Fischermädchen Fischermädchen
Page 204 of 321


11 Die Stadt Am fernen Heine c

Horizonte
12 Am Meer Das Meer Heine C

erglänzte weit
hinaus
13 Der Still ist die Nacht Heine b

Doppelgänger
14 Die Taubenpost Ich hab’ eine Seidl G Oct 1828

Brieftaub
965 Der Hirt auf dem Wenn auf dem W. Müller, ?H. B♭ Oct 1828 1830
Felsen, with cl obbl höchsten Fels von Chézy 129
965a Die Taubenpost 965a

[see 957/14]
989 Vollendung [see 989

579a]
989a Die Erde [see 989a

579b]
990 Der Graf von Zu Aachen in Schiller G ?1815 1853

Habsburg seiner
Kaiserspracht
990a Kaiser Maximilian Hinauf! hinauf! in H. von Collin B♭ ?1815 1853

auf der Sprung und Lauf
Martinswand
990b Augenblicke im Schober ? —

Elysium, lost
[formerly 582]
Page 205 of 321


990c Das Echo [formerly Herzliebe gute Castelli B♭ ? 1830

868] Mutter 130
990d Die Schiffende, lost Sie wankt dahin! Hölty — ? —
990e L’incanto degli Da voi, cari lumi Metastasio B♭ ? 1933

occhi (1), ?frag.
990f Il traditor deluso Ahimè! io tremo! Metastasio — ? —

(1), ?frag., lost
991 [part of 323]
AI/ Mein Frieden Ferne, ferne Heine E♭ ?1815 1840

30 flammenhelle
Sterne
481 Sehnsucht (3) Nur wer die Goethe a Sept 1816 1895
Sehnsucht kennt
482 Der Sänger am Klage, meine Flöte C. Pichler e Sept 1816 1895
Felsen
483 Lied Ferne von der Pichler E Sept 1816 1895

grossen Stadt
484 Gesang der Geister … dann zur Tiefe Goethe G Sept 1816 1895
über den Wassern nieder
(1), frag.
489 Der Wanderer Ich komme vom G.P. Schmidt

Gebirge her von Lübeck
Page 206 of 321


version a c♯ Oct 1816 1895
version b [formerly b c1816 1970

493b]
version c [formerly c♯ c1816 1821

493a] 4/1
490 Der Hirt Du Turm! zu Mayrhofer F Oct 1816 1895

meinem Leide
491 Geheimnis Sag an, wer lehrt Mayrhofer B♭ Oct 1816 1887
dich Lieder
492 Zum Punsche Woget brausend, Mayrhofer d Oct 1816 1849

Harmonien
493 Der Wanderer [see

489b–c]
495 Abendlied der Der Abend rötet Mayrhofer F Nov 1816 1868
Fürstin nun das Tal
496 Bei dem Grabe Friede sei um Claudius E♭ Nov 1816 1885
meines Vaters diesen Grabstein
496a Klage um Ali Bey Lasst mich! lasst Claudius e♭ Nov 1816 1968
mich! ich will
klagen
Page 207 of 321


497 An die Nachtigall Er liegt und Claudius G Nov 1816 1829

schläft 98/1
498 Wiegenlied Schlafe, schlafe, A♭ Nov 1816 1829

holder süsser 98/2
Knabe
499 Abendlied Der Mond ist Claudius B♭ Nov 1816 1885

aufgegangen
500 Phidile Ich war erst Claudius G♭ Nov 1816 1895

sechzehn Sommer
alt
501 Zufriedenheit (2) Ich bin vergnügt Claudius Nov 1816
version a E 1895
version b G —
502 Herbstlied Bunt sind schon Salis-Seewis G Nov 1816 1872

die Wälder
503 Mailied (3) Grüner wird die Hölty G Nov 1816 —

Au
504 Am Grabe Dass ich dich Claudius

Anselmos verloren habe
version a e♭ 4 Nov 1821

1816 6/3
version b e♭ c1816 1970
Page 208 of 321


507 Skolie Mädchen Matthisson G Dec 1816 1895

entsiegelten
508 Lebenslied Kommen und Matthisson C Dec 1816 1845

Scheiden
509 Leiden der Vom Meere trennt Metastasio, Dec 1816

Trennung sich die Welle trans. H. von
Collin
version a, frag. g —
version b g 1872
510 Vedi quanto adoro Metastasio E♭ Dec 1816 1895
513a Nur wer die Liebe F. Werner A♭ ?1817 1974

kennt, sketch
514 Die abgeblühte Wirst du halten, L. von a ?1817 1821

Linde was du schwurst Széchényi 7/1
515 Der Flug der Zeit Es floh die Zeit im Széchényi A ?1817 1821
Wirbelfluge 7/2
516 Sehnsucht Der Lerche Mayrhofer C ?1816 1822

wolkennahe 8/2
Lieder
517 Der Schäfer und Ein Schäfer sass Fouqué April 1817
der Reiter im Grünen
Page 209 of 321


version a E 1972
version b E 1822
13/1
518 An den Tod Tod, du Schrecken Schubart B 1816 or 1824

der Natur 1817
519 Die Blumensprache Es deuten die ? E. Platner B♭ ?1817 1867

Blumen 173/
520 Frohsinn Ich bin von I.F. Castelli

lockerem Schlage
version a F Jan 1817 1895
521 Jagdlied version a Trarah! Trarah! Werner F Jan 1817 1895

[for version b see wir kehren daheim
FEMALE AND
UNSPECIFIED
VOICES]
522 Die Liebe Wo weht der Liebe G. Leon G Jan 1817 1895
hoher Geist?
523 Trost Nimmer lange c♯ Jan 1817 1885

weil’ ich hier
524 Der Alpenjäger Auf hohen Mayrhofer Jan 1817

Bergesrücken
Page 210 of 321


version a E 1895
version b D 1970
version c F 1822
13/3
525 Wie Ulfru fischt Der Angel zuckt Mayrhofer Jan 1817
version a d 1970
version b d 1823
21/3
526 Fahrt zum Hades Der Nachen Mayrhofer d Jan 1817 1832
dröhnt
527 Schlaflied Es mahnt der Wald Mayrhofer Jan 1817

(Abendlied;
Schlummerlied)
version a F 1975
version b F 1823
24/2
Page 211 of 321


528 La pastorella al C. Goldoni G Jan 1817 1872

prato (2)
530 An eine Quelle Du kleine Claudius A Feb 1817 1829

grünumwachs’ne 109/
Quelle
531 Der Tod und das Vorüber, ach Claudius d Feb 1817 1821
Mädchen vorüber 7/3
532 Das Lied vom Seht meine lieben Claudius A♭ Feb 1817 1895
Reifen, frag. Bäume an
533 Täglich zu singen Ich danke Gott Claudius F Feb 1817 1895
und freue mich
534 Die Nacht Die Nacht ist Ossian, trans. g Feb 1817 1830
dumpfig und Harold
finster
535 Lied, with small Brüder, g Feb 1817 1895

orch schrecklich brennt
die Träne
536 Der Schiffer Im Winde, im Mayrhofer ?March

Sturme 1817
version a E♭ 1970
version b E♭ 1823
21/2
Page 212 of 321


539 Am Strome Ist mir’s doch, als Mayrhofer B March 1822

sei mein Leben 1817 8/4
540 Philoktet Da sitz’ ich ohne Mayrhofer b March 1831

Bogen 1817
541 Memnon Den Tag hindurch Mayrhofer D♭ March 1821

nur einmal 1817 6/1
542 Antigone und Ihr hohen Mayrhofer C March 1821

Oedip Himmlischen 1817 6/2
543 Auf dem See Und frische Goethe March

Nahrung 1817
version a E 1895
version b E♭ 1828
92/2
544 Ganymed Wie im Goethe A♭ March 1825

Morgenglanze 1817 19/3
545 Der Jüngling und Die Sonne sinkt, o J. von Spaun March
der Tod könnt ich 1817
version a c♯ 1895
Page 213 of 321


version b c♯ 1872
546 Trost im Liede Braust des Schober d March 1827

Unglücks Sturm 1817 1828
empor op.10
547 An die Musik Du holde Kunst Schober
version a D March 1895

1817

88/4
548 Orest auf Tauris Ist dies Tauris Mayrhofer E♭ March 1831
1817

550 Die Forelle In einem Bächlein Schubart

helle
version a D♭ c1817 1895
version b D♭ c1817 1895
Page 214 of 321


version c D♭ Feb 1818 1895
version d D♭ c1820 1820

1827
op.32
version e D♭ Oct 1821 1975
551 Pax vobiscum Der Friede sei mit Schober F April 1817 1831
euch!
552 Hänflings Ahidi! ich liebe F. Kind

Liebeswerbung
version a A April 1817 1970
version b A c1817 1823

20/3
553 Auf der Donau Auf der Wellen Mayrhofer E♭ April 1817 1823
Spiegel 21/1
554 Uraniens Flucht Lasst uns, ihr Mayrhofer D April 1817 1895
Himmlischen
555 Song sketch (no a ?May 1817 1934

text)
Page 215 of 321


558 Liebhaber in allen Ich wollt’, ich wär’ Goethe A May 1817 1887
Gestalten ein Fisch
559 Schweizerlied Uf’m Bergli bin i Goethe F May 1817 1885

g’sässe
560 Der Es ist doch meine Goethe F May 1817 1850

Goldschmiedsgesell Nachbarin
561 Nach einem Auf den Blumen Mayrhofer F May 1817 1872
Gewitter
562 Fischerlied (3) Das Salis-Seewis F May 1817 1895

Fischergewerbe
gibt rüstigen Mut!
563 Die Einsiedelei (3) Es rieselt, klar und Salis-Seewis C May 1817 1887
wehend
564 Gretchen im Ach neige, du Goethe b♭ May 1817 1838

Zwinger (Gretchen; Schmerzensreiche
Gretchens Bitte),
frag.
565 Der Strom Mein Leben wälzt d ?June 1817 1876

sich murrend fort
569 Das Grab (4), for Das Grab ist tief Salis-Seewis c♯ June 1817 1895
unison chorus und stille
573 Iphigenia Blüht denn hier an Mayrhofer G♭ July 1817 1829

Tauris Strande 98/3
Page 216 of 321


577 Entzückung an Schiller Aug 1817

Laura (2)
frag. a Laura, Laura, über A 1873

diese Welt
frag. b Amoretten seh ich D♭ 1895
578 Abschied Lebe wohl! lebe Schubert b 24 Aug 1838

wohl! 1817
579 Der Knabe in der Er schläft so süss A. Ottenwalt

Wiege (Wiegenlied)
version a C aut. 1817 1872
version b, frag. A♭ Nov 1817 1897
579a Vollendung Wenn ich einst das Matthisson A ?Sept–Oct 1970

[formerly 989] Ziel errungen 1817
habe
579b Die Erde [formerly Wenn sanft Matthisson E ?Sept–Oct 1970

989a] entzückt 1817
582 Augenblicke im
Elysium [see 990b]
583 Gruppe aus dem Horch, wie Schiller C Sept 1817 1823
Tartarus (2) Murmeln des 24/1
empörten Meeres
Page 217 of 321


584 Elysium Vorüber die Schiller E Sept 1817 1830

stöhnende Klage!
585 Atys Der Knabe seufzt Mayrhofer a Sept 1817 1833
586 Erlafsee Mir ist so wohl, so Mayrhofer F Sept 1817 1818

weh’ 1822
op.8/
587 An den Frühling (3) Willkommen, Schiller

schöner Jüngling!
version a A Oct 1817 1885
version b [formerly B♭ c1817 1895

245]
588 Der Alpenjäger Willst du nicht das Schiller

Lämmlein hüten
version a, frag. E♭ Oct 1817 1897

37/2
594 Der Kampf Nein, länger werd’ Schiller d Nov 1817 1829
ich diesen Kampf 110
595 Thekla: eine Wo ich sei, und wo Schiller

Geisterstimme (2) mich hingewendet
Page 218 of 321


version a c♯ Nov 1817 1895

88/2
596 Lied eines Kindes, Lauter Freude B♭ Nov 1817 1895

frag. fühl’ ich
611 Auf der Hoch auf dem Körner d March c185

Riesenkoppe Gipfel deiner 1818
Gebirge
614 An den Mond in Freundlich ist dein A. Schreiber A April 1818 1832
einer Herbstnacht Antlitz
616 Grablied für die Hauche milder, b June 1818 1838

Mutter Abendluft
619 Vocal exercise, 2vv, — C July 1818 1892

figured bass (no
text)
620 Einsamkeit Gib mir die Fülle Mayrhofer B♭ July 1818 1840
der Einsamkeit!
622 Der Blumenbrief Euch Blümlein will Schreiber D Aug 1818 1833
ich senden
623 Das Marienbild Sei gegrüsst, du Schreiber C Aug 1818 1831

Frau der Huld
Page 219 of 321


626 Blondel zu Marien In düstrer Nacht e♭ Sept 1818 1842
627 Das Abendrot Du heilig, glühend Schreiber E Nov 1818 1867

Abendrot! 173/
628 Sonett I Apollo, lebet noch Petrarch, B♭ Nov 1818 1895

trans. A.W. von
Schlegel
629 Sonett II Allein, Petrarch, g Nov 1818 1895

nachdenklich, wie trans. A.W. von
gelähmt Schlegel
630 Sonett III Nunmehr, da Petrarch, C Dec 1818 1895

Himmel, Erde trans. J.D.
Gries
631 Blanka (Das Wenn mich einsam F. von a Dec 1818 1885
Mädchen) Lüfte fächeln Schlegel
632 Vom Mitleiden Als bei dem Kreuz F. von g Dec 1818 1831
Mariä Maria stand Schlegel
633 Der Schmetterling Wie soll ich nicht F. von F c1819 1826
tanzen Schlegel 57/1
634 Die Berge Sieht uns der Blick F. von G c1819 1826
gehoben Schlegel 57/2
636 Sehnsucht (2) Ach, aus dieses Schiller c1821

Tales Gründen
Page 220 of 321


version a b 1975
version b b 1895
version c b 1826
39
637 Hoffnung (2) Es reden und Schiller B♭ c1819 1827

träumen die 87/2
Menschen
638 Der Jüngling am An der Quelle sass Schiller

Bache (3) der Knabe
version a d April 1819 1895

87/3
639 Widerschein Schlechta c1819
version a Fischer harrt am D 1820

Brückenbogen
version b [formerly Tom lehnt harrend B♭ 1832

949] auf der Brücke
645 Abend, frag. Wie ist es denn L. Tieck g ?Jan 1819 —
Page 221 of 321


646 Die Gebüsche Es wehet kühl und F. von G Jan 1819 1885
leise Schlegel
649 Der Wanderer Wie deutlich des F. von D Feb 1819 1826
Mondes Licht Schlegel 65/2
650 Abendbilder Still beginnt’s im J.P. Silbert a Feb 1819 1831

Hain zu tauen
651 Himmelsfunken Der Odem Gottes Silbert G Feb 1819 1831

weht
652 Das Mädchen Wie so innig, F. von

möcht ich sagen Schlegel
version a A Feb 1819 1842
version b A cFeb 1819 —
653 Bertas Lied in der Nacht umhüllt mit F. Grillparzer e♭ Feb 1819 c184
Nacht wehendem Flügel
654 An die Freunde Im Wald, im Wald Mayrhofer a March c184

da grabt mich ein 1819
658 Marie Ich sehe dich in Novalis [F. von D ?May 1819 1895
tausend Bildern Hardenberg]
659 Hymne I Wenige wissen das Novalis a May 1819 1872

Geheimnis
Page 222 of 321


660 Hymne II Wenn ich ihn nur Novalis b♭ May 1819 1872
habe
661 Hymne III Wenn alle untreu Novalis b♭ May 1819 1872
werden
662 Hymne IV Ich sag’ es jedem Novalis A May 1819 1872
663 Der 13. Psalm, Ach, Herr, wie trans. M. D♭ June 1819 1927
frag. lange Mendelssohn
669 Beim Winde Es träumen die Mayrhofer g Oct 1819 1829

Wolken
670 Die Sternennächte In monderhellten Mayrhofer D♭ Oct 1819 1862

Nächten 165/
671 Trost Hörnerklänge Mayrhofer E♭ Oct 1819 1849

rufen klagend
672 Nachtstück — Mayrhofer
version a Wenn über Bergen c♯ Oct 1819 1975

der Nebel sich
breitet
version b Wenn über Berge c c1819 1825

sich der Nebel 36/2
breitet
673 Die Liebende Ein Blick von Goethe B♭ Oct 1819 1832
schreibt deinen Augen 1862
op.16
Page 223 of 321


674 Prometheus Bedecke deinen Goethe g Oct 1819 1850

Himmel, Zeus
677 Strophe aus Die Schöne Welt, wo Schiller Nov 1819

Götter bist du?
Griechenlands
version a a/A 1895
version b a/A 1848
682 Über allen Zauber Sie hüpfte mit mir Mayrhofer G c1820 1895
Liebe, frag. auf grünem Plan
684 Die Sterne Du staunest, o F. von E♭ 1820 1850

Mensch Schlegel
685 Morgenlied Eh’ die Sonne früh Werner a 1820 1821

aufersteht 4/2
686 Frühlingsglaube Die linden Lüfte L. Uhland

sind erwacht
version c A♭ Nov 1822 1823

20/2
Page 224 of 321


687 Nachthymne Hinüber wall’ ich Novalis D Jan 1820 1872
688 Vier Canzonen Jan 1820 1871
1 Non t’accostar J.A. Vitorelli C

all’urna
2 Guarda, che Vitorelli G

bianca luna
3 Da quel Metastasio B♭
sembiante appresi
4 Mio ben Metastasio b♭

ricordati
690 Abendröte Tiefer sinket F. von A March 1830

schon die Sonne Schlegel 1823
691 Die Vögel Wie lieblich und F. von A March 1865

fröhlich Schlegel 1820 172/
692 Der Knabe Wenn ich nur ein F. von A March 1872
Vöglein wäre Schlegel 1820
693 Der Fluss Wie rein Gesang F. von B March 1872

sich windet Schlegel 1820
694 Der Schiffer Friedlich lieg’ ich F. von D March 1842

hingegossen Schlegel 1820
Page 225 of 321


695 Namenstagslied Vater, schenk’ mir A. Stadler A March 1895

diese Stunde 1820
698 Des Fräuleins Da unten steht ein Schlechta A Sept 1820 1832
Liebeslauschen Ritter
(Liebeslauschen)
699 Der entsühnte Zu meinen Füssen Mayrhofer C Sept 1820 1831

Orest brichst du dich
700 Freiwilliges Wohin? O Helios! Mayrhofer d Sept 1820 1831

Versinken
702 Der Jüngling auf Ein Jüngling auf H. G Nov 1820 1822
dem Hügel dem Hügel Hüttenbrenner 8/1
707 Der zürnenden Ja, spanne nur den Mayrhofer Dec 1820
Diana Bogen
version a A 1895
version b A♭ 1825
36/1
708 Im Walde Windes Rauschen, F. von c♯ Dec 1820 1832

(Waldesnacht) Gottes Flügel Schlegel
711 Lob der Tränen Laue Lüfte, A.W. von 1818

Blumendüfte Schlegel
Page 226 of 321


version a D 1970
version b D 1822
13/2
712 Die gefangenen Hörst du von den A.W. von G Jan 1821 1842
Sänger Nachtigallen Schlegel
713 Der Unglückliche Die Nacht bricht C. Pichler Jan 1821

an
version a b 1895
version b b 1827
87/1
715 Versunken Voll Locken kraus Goethe A♭ Feb 1821 1845

ein Haupt
716 Grenzen der Wenn der uralte Goethe E March 1832

Menschheit heilige Vater 1821
717 Suleika II Ach um deine ? M. von B♭ ?March 1825

feuchten Willemer 1821 31
Schwingen
719 Geheimes Über meines Goethe A♭ March 1822

Liebchens Äugeln 1821 14/2
Page 227 of 321


720 Suleika I Was bedeutet die ?Willemer

Bewegung?
version a b March 1970

1821
version b b c1821 1822

14/1

725 Linde Lüfte wehen, b April 1821 1929

Mez, T, frag.
726 Mignon I (1) Heiss mich nicht Goethe b April 1821 1870
reden
727 Mignon II (2) So lasst mich Goethe b April 1821 1850

scheinen
728 Johanna Sebus, Der Damm Goethe d April 1821 1895

frag. zerreisst
731 Der Blumen Wie tönt es mir so J. Mayláth e Sept 1821 1821
Schmerz schaurig 1867
op.17
736 Ihr Grab Dort ist ihr Grab K.A. E♭ ?1822 1842
Engelhardt
737 An die Leier Ich will von Atreus F.S. Ritter von E♭ ? 1822 or 1826
Söhnen Bruchmann, 1823 56/2
after Anacreon
Page 228 of 321


738 Im Haine Sonnenstrahlen Bruchmann A ? 1822 or 1826

durch die Tannen 1823 56/3
741 Sei mir gegrüsst O du Entrissne mir F. Rückert B♭ between 1823

end 1821 20/1
and aut.
1822
742 Der Wachtelschlag Ach! mir schallt’s S.F. Sauter A 1822 1822
dorten 1827
op.68
743 Selige Welt Ich treibe auf des J.C. Senn A♭ ?aut. 1822 1823
Lebens Meer 23/2
744 Schwanengesang Wie klag ich’s aus Senn A♭ ?aut. 1822 1823
23/3
745 Die Rose Es lockte schöne F. von 1822

Wärme Schlegel
version a G 1822
1827
op.73
version b F 1895
746 Am See In des Sees Bruchmann E♭ ? 1822 or 1831

Wogenspiele 1823
749 Herrn Josef Spaun, Und nimmer M. von Collin c Jan 1822 1850
Assessor in Linz schreibst du?
(Sendschreiben an
den Assessor
Spaun in Linz)
Page 229 of 321


751 Die Liebe hat A. von Platen- c by 17 April 1823

gelogen Hallermünde 1822 23/1
752 Nachtviolen Mayrhofer C April 1822 1872
753 Heliopolis I Im kalten rauhen Mayrhofer e April 1822 1826

Norden 65/3
754 Heliopolis II Fels auf Felsen Mayrhofer c April 1822 1842

hingewälzet
756 Du liebst mich Mein Herz ist Platen- July 1822

nicht zerrissen Hallermünde
version a g♯ 1895
version b a 1826
59/1
758 Todesmusik In des Todes Schober G♭ Sept 1822 1829

Feierstunde 108/
761 Schatzgräbers In tiefster Erde Schober Nov 1822

Begehr ruht ein alt Gesetz
version a d 1823
23/4
Page 230 of 321


version b d 1895
762 Schwestergruss Im Mondenschein Bruchmann f♯ Nov 1822 1833

wall’ ich auf und
ab
764 Der Musensohn Durch Feld und Goethe

Wald zu schweifen
version a A♭ Dec 1822 1895

92/1
765 An die Entfernte So hab’ ich Goethe G Dec 1822 1868

wirklich dich
verloren?
766 Am Flusse (2) Verfliesset, Goethe D Dec 1822 1872

vielgeliebte Lieder
767 Willkommen und Es schlug mein Goethe

Abschied Herz
version a D Dec 1822 1895

56/1
Page 231 of 321


768 Wandrers Über allen Gipfeln Goethe B♭ by July 1827

Nachtlied ist Ruh 1824 1828
op.96
770 Drang in die Ferne Vater, du glaubst K.G. von a/A early 1823 1823
es nicht Leitner 1827
op.71
771 Der Zwerg Im trüben Licht M. von Collin a ? 1822 or 1823

verschwinden 1823 22/1
schon die Berge
772 Wehmut Wenn ich durch M. von Collin d ? 1822 or 1823

Wald und Fluren 1823 22/2
geh’
774 Auf dem Wasser zu Mitten im Stolberg- A♭ 1823 1823

singen Schimmer der Stolberg 1827
spiegelnden op.72
Wellen
775 Dass sie hier Dass der Ostwind Rückert C ?1823 1826
gewesen Düfte 59/2
776 Du bist die Ruh Rückert E♭ 1823 1826

59/3
777 Lachen und Weinen Rückert A♭ ?1823 1826

59/4
778 Greisengesang Der Frost hat mir Rückert by June

bereifet 1823
version a b —
version b b 1826
60/1
Page 232 of 321


778a Die Wallfahrt Meine Tränen im Rückert f ?1823 1969

Bussgewand
785 Der zürnende Wer wagt’s, wer Bruchmann g Feb 1823 1831
Barde wagt’s
786 Viola Schneeglöcklein, o Schober A♭ March 1830

Schneeglöcklein 1823 123
788 Lied (Die Mutter Des Lebens Tag ist Stolberg- a/A April 1823 1838
Erde) schwer Stolberg
789 Pilgerweise Ich bin ein Waller Schober f♯ April 1823 1832
auf der Erde
792 Vergissmeinnicht Als der Frühling Schober A♭ May 1823 1833

sich vom Herzen
793 Das Geheimnis (2) Sie konnte mir Schiller G May 1823 1867
kein Wörtchen 173/
sagen
794 Der Pilgrim Noch in meines Schiller

Lebens Lenze

37/1
795 Die schöne W. Müller Oct–Nov 1824

Müllerin 1823 25
Page 233 of 321


1 Das Wandern Das Wandern ist B♭

des Müllers Lust
2 Wohin? Ich hört’ ein G

Bächlein rauschen
3 Halt! Eine Mühle seh’ C

ich blinken
4 Danksagung an War es also G

den Bach gemeint
5 Am Feierabend Hätt’ ich tausend a

Arme zu rühren
6 Der Neugierige Ich frage keine B

Blume
7 Ungeduld Ich schnitt es gern A

in alle Rinden ein
8 Morgengruss Guten Morgen, C

schöne Müllerin
Page 234 of 321


9 Des Müllers Am Bach viel A

Blumen kleine Blumen
stehn
10 Tränenregen Wir sassen so A

traulich
beisammen
11 Mein! Bächlein, lass dein D

Rauschen sein
12 Pause Meine Laute hab’ B♭

ich gehängt
13 Mit dem grünen Schad’ um das B♭

Lautenbande schöne grüne
Band
14 Der Jäger Was sucht denn c

der Jäger
15 Eifersucht und Wohin so schnell g

Stolz
16 Die liebe Farbe In Grün will ich b

mich kleiden
Page 235 of 321


17 Die böse Farbe Ich möchte ziehn B

in die Welt hinaus
18 Trockne Blumen Ihr Blümlein alle, e

die sie mir gab
19 Der Müller und Wo ein treues g

der Bach Herze in Liebe
vergeht
20 Des Baches Gute Ruh’, gute E

Wiegenlied Ruh’
797 Romanze zum Der Vollmond H. von Chézy f aut. 1823 1824
Drama Rosamunde strahlt auf 26
(3b) Bergeshöhn
799 Im Abendrot O, wie schön ist K. Lappe A♭ 1824 or 1832

deine Welt Feb 1825
800 Der Einsame Wann meine Lappe

Grillen schwirren
version a G early 1825 1825

41
Page 236 of 321


801 Dithyrambe Nimmer, das glaub Schiller A by June 1826

mir 1826 60/2
805 Der Sieg O unbewölktes Mayrhofer F March 1833

Leben! 1824
806 Abendstern Was weilst du Mayrhofer a March 1833

einsam an dem 1824
Himmel
807 Auflösung Verbirg dich, Mayrhofer G March 1842

Sonne 1824
808 Gondelfahrer (1) Es tanzen Mond Mayrhofer C March 1872

und Sterne 1824
822 Lied eines Des stolzen A 31 Dec 1842

Kriegers, with Männerlebens 1824
unison chorus schönste Zeichen
827 Nacht und Träume Heil’ge Nacht, du M. von Collin by June

sinkest nieder 1823
version a B 1975
version b B 1825
43/2
828 Die junge Nonne Wie braust durch J.N. Craigher f early 1825 1825
die Wipfel de Jachelutta 43/1
Page 237 of 321


829 Abschied, Leb wohl, du A. von F Feb 1826 1873

melodrama schöne Erde Pratobevera
830 Lied der Anne Lyle Wärst du bei mir A. MacDonald c ?early 1828
im Lebenstal trans. ? S. May 1825 85/1
831 Gesang der Norna Mich führt mein W. Scott, f early 1825 1828
Weg trans. S.H. 85/2
Spiker
832 Des Sängers Habe Schlagt mein Schlechta B♭ Feb 1825 1830
ganzes Glück
833 Der blinde Knabe O sagt, ihr Lieben, C. Cibber,

mir einmal trans.
Craigher
version a B♭ April 1825 1895
version b B♭ April 1825 1827

1828
op.10
834 Im Walde Ich wandre über E. Schulze

Berg und Tal
version a g March 1835

1825 93/1
version b b♭ c1825 1828

90/1
837 Ellens Gesang I Raste, Krieger, Scott, trans. D♭ April–July 1826

Krieg ist aus D.A. Storck 1825 52/1
Page 238 of 321


838 Ellens Gesang II Jäger, ruhe von Scott, trans. E♭ April–July 1826
der Jagd! Storck 1825 52/2
839 Ellens Gesang III Ave Maria! Scott, trans. B♭ April 1825 1826
(Hymne an die Jungfrau mild! Storck 52/6
Jungfrau)
842 Totengräbers O Menschheit, o Craigher f April 1825 1833

Heimweh Leben
843 Lied des Mein Ross so müd Scott, trans. d April 1825 1826
gefangenen Jägers in dem Stalle Storck 52/7
846 Normans Gesang Die Nacht bricht Scott, trans. c April 1825 1826
bald herein Storck 52/5
851 Das Heimweh Ach, der J.L. Pyrker von Aug 1825
Gebirgssohn Felsö-Eör
version a a 1895
version b a 1827
79/1
852 Die Allmacht (1) Gross ist Jehovah, Pyrker Aug 1825
der Herr
version a A —
version b C 1827
79/2
Page 239 of 321


853 Auf der Bruck Frisch trabe Schulze

sonder Ruh
version a G March or 1835

Aug 1825 93/2

90/2
854 Fülle der Liebe Ein sehnend F. von A♭ Aug 1825 1830
Streben Schlegel
855 Wiedersehn Der A.W. von G Sept 1825 1842

Frühlingssonne Schlegel
holdes Lächeln
856 Abendlied für die Hinaus, mein A.W. von F Sept 1825 1827
Entfernte Blick! Schlegel 88/1
857 Zwei Szenen aus C.W. von Sept 1825 1829

dem Schauspiel Schütz 124
Lacrimas
1 Lied der Delphine Ach, was soll ich A

beginnen
2 Lied des Florio Nun, da Schatten E

niedergleiten
860 An mein Herz O Herz, sei Schulze a Dec 1825 1832

endlich stille
861 Der liebliche Stern Ihr Sternlein, still Schulze G Dec 1825 1832
in der Höhe
Page 240 of 321


862 Um Mitternacht Keine Stimme hör Schulze

ich schallen
version a B♭ Dec 1825 —
version b B♭ ?March 1827

1826 88/3
863 An Gott, lost C.C. Hohlfeld — by 1827 —
864 Das E. von — after 1824 —

Totenhemdchen, Bauernfeld
lost
865 Widerspruch Wenn ich durch J.G. Seidl D ?1826 1828

version b [for Busch und Zweig 105/
version a see MALE
VOICES]
866 Vier Refrainlieder Seidl ?sum. 1828

1828 95
1 Die Die Mutter hat G

Unterscheidung mich jüngst
gescholten
2 Bei dir allein A♭
3 Die Männer sind Du sagtest mir es, a

méchant Mutter
4 Irdisches Glück So mancher sieht d

mit finstrer Miene
Page 241 of 321


867 Wiegenlied Wie sich der Seidl A♭ ?1826 1828

Äuglein kindlicher 105/
Himmel
868 Das Echo [see

990c]
869 Totengräber-Weise Nicht so düster Schlechta f♯ 1826 1832

und so bleich
870 Der Wanderer an Ich auf der Erd’, Seidl g/G 1826 1827
den Mond am Himmel du 80/1
871 Das Zügenglöcklein Kling die Nacht Seidl 1826

durch, klinge
version a A♭ 1979
version b A♭ 1827
80/2
874 O Quell, was Schulze G ?Jan 1826 1974

strömst du rasch
und wild, frag.
876 Im Jänner 1817 Ich bin von aller Schulze e Jan 1826 1838
(Tiefes Leid) Ruh geschieden
877 Gesänge aus Goethe Jan 1826 1827

Wilhelm Meister 62
1 Mignon und der Nur wer die b

Harfner (5), S, T Sehnsucht kennt
Page 242 of 321


2 Lied der Mignon Heiss mich nicht e

(2) reden
3 Lied der Mignon So lasst mich B

(3) scheinen
4 Lied der Mignon Nur wer die a

(6) Sehnsucht kennt
878 Am Fenster Ihr lieben Mauern Seidl F March 1828

hold und traut 1826 105/
879 Sehnsucht Die Scheibe friert Seidl d March 1828

1826 105/
880 Im Freien Draussen in der Seidl E♭ March 1827

weiten Nacht 1826 80/3
881 Fischerweise Den Fischer Schlechta March

fechten Sorgen 1826
version a D 1895
version b D 1828
96/4
882 Im Frühling Still sitz’ ich an Schulze G March 1828

des Hügels Hang 1826 101/
Page 243 of 321


883 Lebensmut O wie dringt das Schulze B♭ March 1832

junge Leben 1826
884 Über Wildemann Die Winde sausen Schulze d March 1829

am Tannenhang 1826 108/
888 Trinklied (Come, Bacchus, feister W. C July 1826 1850

thou monarch of Fürst Shakespeare,
the vine) trans. F.M. von
Grünbühel and
Bauernfeld
889 Ständchen (Hark, Horch, horch! die Shakespeare, C July 1826 1830
hark the lark) Lerch trans. A.W. von
Schlegel
890 Hippolits Lied Lasst mich, ob ich F. von a July 1826 1830
auch still verglüh Gerstenberg
891 Gesang (An Sylvia; Was ist Silvia Shakespeare, A July 1826 1828
Who is Sylvia?) trans. 106/
Bauernfeld
896 Fröhliches Gar fröhlich kann Leitner F aut. 1827 – 1920

Scheiden, sketch ich scheiden early 1828
896a Sie in jedem Liede, Nehm ich die Leitner B♭ aut. 1827 – —
sketch Harfe early 1828
896b Wolke und Quelle, Auf meinen Leitner C aut. 1827 – —

sketch heimischen early 1828
Bergen
902 Drei Gesänge 1827 1827

83
Page 244 of 321


1 L’incanto degli Da voi, cari lumi Metastasio C

occhi (Die Macht (Nur euch, schöne
der Augen) (2) Sterne)
2 Il traditor deluso Ahimè, io tremo! Metastasio e

(Der getäuschte (Weh mir, ich
Verräter) (2) bebe)
3 Il modo di Or sù! non ci C

prender moglie pensiamo
(Die Art, ein Weib (Wohlan! und ohne
zu nehmen) Zagen)
904 Alinde Die Sonne sinkt Rochlitz A Jan 1827 1827

ins tiefe Meer 81/1
905 An die Laute Leiser, leiser, Rochlitz D Jan 1827 1827

kleine Laute 81/2
906 Der Vater mit dem Dem Vater liegt Bauernfeld D Jan 1827 1832
Kind das Kind im Arm
907 Romanze des Grosse Taten tat Scott trans. ?March

Richard Löwenherz der Ritter K.L.M. Müller 1826
version a b 1979
version b b 1828
86
909 Jägers Liebeslied Ich schiess’ den Schober D Feb 1827 1828
Hirsch 96/2
Page 245 of 321


910 Schiffers Die Wogen am Schober e Feb 1827 1833

Scheidelied Gestade schwellen
911 Winterreise W. Müller 1828

89
Book 1: Feb – spr.

1827
1 Gute Nacht Fremd bin ich d

eingezogen
2 Die Wetterfahne Der Wind spielt a

mit der
Wetterfahne
3 Gefrorne Tränen Gefrorne Tropfen f

fallen
4 Erstarrung Ich such im c

Schnee vergebens
5 Der Lindenbaum Am Brunnen vor E

dem Tore
6 Wasserflut Manche Trän’ aus

meinen Augen
version a f♯
version b e
7 Auf dem Flusse Der du so lustig e

rauschtest
Page 246 of 321


8 Rückblick Es brennt mir g

unter beiden
Sohlen
9 Irrlicht In die tiefsten b

Felsengründe
10 Rast Nun merk ich erst
version a c
version b d 1895
11 Frühlingstraum Ich träumte von A/a

bunten Blumen
12 Einsamkeit Wie eine trübe

Wolke
version a b
version b d 1895
Book 2: begun Oct

1827
13 Die Post Von der Strasse E♭

her ein Posthorn
klingt
Page 247 of 321


14 Der greise Kopf Der Reif hat einen c

weissen Schein
15 Die Krähe Eine Krähe war c

mit mir
16 Letzte Hoffnung Hie und da ist an E♭

den Bäumen
17 Im Dorfe Es bellen die D

Hunde
18 Der stürmische Wie hat der Sturm d

Morgen zerrissen
19 Täuschung Ein Licht tanzt A

freundlich
20 Der Wegweiser Was vermeid ich g

denn die Wege
21 Das Wirtshaus Auf einen F

Totenacker
22 Mut Fliegt der Schnee

mir ins Gesicht
version a a —
version b g
Page 248 of 321


23 Die Drei Sonnen sah

Nebensonnen ich
version a A —
version b A
24 Der Leiermann Drüben hinterm

Dorfe
version a a 1895
version b b
916a Song sketch (no — C ?May 1827 —

text)
917 Das Lied im Ins Grüne, ins J.A.F. Reil A June 1827 1829
Grünen Grüne 115/
919 Frühlingslied (2) Geöffnet sind des A. Pollak A♭ ?early 1897

Winters Riegel 1827
922 Heimliches Lieben O du, wenn deine K.L. von

Lippen Klenke
Page 249 of 321



106/
923 Eine altschottische Dein Schwert, wie anon. Eng.,

Ballade ist’s von Blut so trans. Herder
rot
version a, 2vv g Sept 1827 1862

165/
version b g c1827 1895
version c, 2vv g c1827 1971
926 Das Weinen Gar tröstlich Leitner D aut. 1827 – 1828

kommt geronnen early 1828 106/
927 Vor meiner Wiege Das also, das ist Leitner b aut. 1827 – 1828
der enge Schrein early 1828 106/
931 Der Wallensteiner He! schenket mir Leitner g Nov 1827 1835
Lanzknecht beim im Helme ein!
Trunk
932 Der Kreuzzug Ein Münich steht Leitner D Nov 1827 1832
in seiner Zell
933 Des Fischers Dort blinket durch Leitner a Nov 1827 1835
Liebesglück Weiden
Page 250 of 321


937 Lebensmut, frag. Fröhlicher L. Rellstab B♭ ?sum. 1872

Lebensmut 1828
938 Der Winterabend Es ist so still Leitner B♭ Jan 1828 1835
939 Die Sterne Wie blitzen die Leitner E♭ Jan 1828 1828
Sterne 96/1
943 Auf dem Strom, Nimm die letzten Rellstab E March 1829
with hn/vc obbl Abschiedsküsse 1828 119
945 Herbst Es rauschen die Rellstab e April 1828 1895

Winde
949 Widerschein [see

639b]
955 Glaube, Hoffnung Glaube, hoffe, C. Kuffner E♭ Aug 1828 1828

und Liebe liebe! 97
957 Schwanengesang Aug–Oct 1829

1828
Book 1:
1 Liebesbotschaft Rauschendes Rellstab G Aug 1828

Bächlein, so
silbern
2 Kriegers Ahnung In tiefer Ruh liegt Rellstab c

um mich her
3 Säuselnde Lüfte Rellstab B♭

Frühlingssehnsucht wehend so mild
Page 251 of 321


4 Ständchen Leise flehen meine Rellstab d

Lieder
5 Aufenthalt Rauschender Rellstab e

Strom, brausender
Wald
6 In der Ferne Wehe dem Rellstab b

Fliehenden
Book 2:
7 Abschied Ade! du muntre, Rellstab E♭

du fröhliche Stadt
8 Der Atlas Ich unglückselger H. Heine g

Atlas
9 Ihr Bild Ich stand in Heine b♭

dunklen Träumen
10 Das Du schönes Heine A♭

Fischermädchen Fischermädchen
11 Die Stadt Am fernen Heine c

Horizonte
12 Am Meer Das Meer Heine C

erglänzte weit
hinaus
13 Der Still ist die Nacht Heine b

Doppelgänger
Page 252 of 321


14 Die Taubenpost Ich hab’ eine Seidl G Oct 1828

Brieftaub
965 Der Hirt auf dem Wenn auf dem W. Müller, ?H. B♭ Oct 1828 1830
Felsen, with cl obbl höchsten Fels von Chézy 129
965a Die Taubenpost

[see 957/14]
989 Vollendung [see

579a]
989a Die Erde [see

579b]
990 Der Graf von Zu Aachen in Schiller G ?1815 1853

Habsburg seiner
Kaiserspracht
990a Kaiser Maximilian Hinauf! hinauf! in H. von Collin B♭ ?1815 1853

auf der Sprung und Lauf
Martinswand
990b Augenblicke im Schober ? —

Elysium, lost
[formerly 582]
990c Das Echo [formerly Herzliebe gute Castelli B♭ ? 1830

868] Mutter 130
990d Die Schiffende, lost Sie wankt dahin! Hölty — ? —
990e L’incanto degli Da voi, cari lumi Metastasio B♭ ? 1933

occhi (1), ?frag.
990f Il traditor deluso Ahimè! io tremo! Metastasio — ? —

(1), ?frag., lost
Page 253 of 321


991 [part of 323]
AI/ Mein Frieden Ferne, ferne Heine E♭ ?1815 1840

30 flammenhelle
Sterne
Page 254 of 321


Index to the songs
Abend, 645
Abendbilder, 650
Abendgewölke schweben hell, 187, 418
Abendglockenhalle zittern, 405a–b
Abendlied, 276, 382, 499, 527a–b
Abendlied der Fürstin, 495
Abendlied für die Entfernte, 856
Abendröte, 690
Abendständchen: An Lina, 265
Abendstern, 806
Abends unter der Linde, 235, 237
Abschied, 578, 829, 957/7
Abschied (nach einer Wallfahrtsarie), 475
Abschied von der Harfe, 406
Ach, aus dieses Tales Gründen, 52, 636a–c
Ach, der Gebirgssohn, 851a–b
Ach, Herr, wie lange, 663
Ach, mir ist das Herz so schwer, 416
Ach! mir schallt’s dorten, 742
Ach, neige, du Schmerzensreiche, 564
Ach um deine feuchten Schwingen, 717
Page 255 of 321


Ach, was soll ich beginnen, 857/1
Ach, wer bringt die schönen Tage, 226
Ade! du muntre, du fröhliche Stadt, 957/7
Adelaide, 95
Adelwold und Emma, 211
Ahidi! ich liebe, 552a–b
Ahimè! io tremo!, 902/2, 990f
Alinde, 904
Allein, nachdenklich, wie gelähmt, 629
Alles um Liebe, 241
All’ mein Wirken, 153
Als bei dem Kreuz Maria stand, 632
Als der Frühling sich vom Herzen, 792
Als ich sie erröten sah, 153
Als ich still und ruhig spann, 247
Alte Liebe rostet nie, 477
Amalia, 195
Am Bach im Frühlinge, 361
Am Bach viel kleine Blumen stehn, 795/9
Am Brunnen vor dem Tore, 911/5
Am ersten Maimorgen, 344
Am Feierabend, 795/5
Am Fenster, 878
Page 256 of 321


Am fernen Horizonte, 957/11
Am Flusse, 160, 766
Am Grabe Anselmos, 504a–b
Am hohen, hohen Turm, 122
Am Meer, 957/12
Ammenlied, 122
Amoretten seh ich, 577b
Amphiaraos, 166
Am See, 124a–b, 746
Am Seegestad, 98
Am Strome, 539
Am Tage aller Seelen, 343a–b
An Cidli, 285a–b
An Chloen, 363, 462
An dem jungen Morgenhimmel, 93/3
An den Frühling, 283, 587a–b
Andenken, 99
An den Mond, 193, 259, 296, 311, 468
An den Mond in einer Herbstnacht, 614
An den Schlaf, 447
An den Tod, 518
An der Quelle sass der Knabe, 30, 192, 683a-b
An die Apfelbäume, wo ich Julien erblickte, 197
Page 257 of 321


An die Entfernte, 765
An die Freude, 189
An die Freunde, 654
An die Geliebte, 303
An die Harmonie, 394
An die Laute, 905
An die Leier, 737
An die Musik, 547a–b
An die Nachtigall, 196, 497
An die Natur, 372
An die Sonne, 270, 272
An die Turen will ich schleichen, 479a–b
An die untergehende Sonne, 457
An eine Quelle, 530
An Emma, 113a–c
An Gott, 863
An Laura, als sie Klopstocks Auferstehungslied sang, 115
An mein Herz, 860
An mein Klavier, 342
An Mignon, 161a–b
An Rosa, 315, 316a–b
An Schwager Kronos, 369
An Sie, 288
Page 258 of 321


An Sylvia, 891
Antigone und Oedip, 542
Apollo, lebet noch, 628
Arbeitsam und wacker, 392
Arm am Beutel, krank am Herzen, 256
Atys, 585
Auf dem Flusse, 911/7
Auf dem See, 543a–b
Auf dem Strom, 943
Auf dem Wasser zu singen, 774
Auf den Blumen, 561
Auf den Sieg der Deutschen, 81
Auf den Tod einer Nachtigall, 201, 399
Auf den Wassern wohnt mein stilles Leben, 395
Auf der Berge freien Höhen, 253
Auf der Bruck, 853a–b
Auf der Donau, 553
Auf der Riesenkoppe, 611
Auf der Wellen Spiegel, 553
Auf einen Kirchhof, 151
Auf einen Totenacker, 911/21
Aufenthalt, 957/5
Auf hohen Bergesrücken, 524a–c
Page 259 of 321


Auflösung, 807
Auf meinen heimischen Bergen, 896b
Auf seinem goldnen Throne, 473a–b
Augenblicke im Elysium, 990b
Augenlied, 297a–b
Aus Diego Manazares, 458
Ave Maria! Jungfrau mild!, 839
Bacchus, feister Fürst, 888
Bächlein, lass dein Rauschen sein, 795/11
Ballade, 134
Bedecke deinen Himmel, Zeus, 674
Beglückt, beglückt, wer dich erblickt, 207
Bei dem Grabe meines Vaters, 496
Bei der Liebe reinsten Flammen, 462
Bei dir allein, 866/2
Beim Winde, 669
Bertas Lied in der Nacht, 653
Beugt euch aus euren Wolken nieder, 278a–b
Blanka, 631
Blondel zu Marien, 626
Blüht denn hier an Tauris Strande, 573
Blumenlied, 431
Braust des Unglücks Sturm empor, 546
Page 260 of 321


Brüder, schrecklich brennt die Träne, 535
Bundeslied, 258
Bunt sind schon die Wälder, 502
Cidli, du weinest, 285a–b
Come, thou monarch of the vine, 888
Cora an die Sonne, 263
Cronnan, 282
Cypris, meiner Phyllis gleich, 446
Da droben auf jenem Berge, 121a–b
Danksagung an den Bach, 795/4
… dann zur Tiefe nieder, 484
Daphne am Bach, 411
Da quel sembiante appresi, 688/3
Das Abendrot, 627
Das also, das ist der enge Schrein, 927
Das Bild, 155
Das Echo, 990c
Das Finden, 219
Das Fischergewerbe gibt rüstigen Mut!, 351, 562
Das Fischermädchen, 957/10
Das Geheimnis, 250, 793
Das gestörte Glück, 309
Das Grab, 330, 569
Page 261 of 321


Das Grab ist tief und stille, 330, 569
Das grosse Halleluja, 442
Das Heimweh, 456, 851a–b
Da sitz’ ich ohne Bogen, 540
Das Lied im Grünen, 917
Das Lied vom Reifen, 532
Das Madchen, 631, 652a–b
Das Mädchen aus der Fremde, 117, 252
Das Mädchen von Inistore, 281
Das Marienbild, 623
Das Meer erglänzte weit hinaus, 957/12
Das Rosenband, 280
Dass der Ostwind Düfte, 775
Das Sehnen, 231
Dass ich dich verloren habe, 504a–b
Dass sie hier gewesen, 775: Das Totenhemdchen, 864
Das Traumbild, 204a
Das Wandern, 795/1
Das war ich, 174a–b
Das Wasser rauscht, 225a–b
Das Weinen, 926
Das Wirtshaus, 911/21
Das Zügenglöcklein, 871a–b
Page 262 of 321


Da unten steht ein Ritter, 698
Da voi, cari lumi, 902/1a–b, 990e
Dein Schwert, wie ist’s von Blut so rot, 923a–c
Dein Silber schien, 436a–b
Dein süsses Bild, Edone, 445
Dem Schnee, dem Regen, 138a–b
Dem Unendlichen, 291a–c
Dem Vater liegt das Kind im Arm, 906
Den Fischer fechten Sorgen, 881a–b
Den Tag hindurch nur einmal, 541
Der Abend, 108, 221
Der Abend blüht, 221
Der Abend rötet nun das Tal, 495
Der Abend schleiert Flur und Hain, 414
Der Alpenjäger, 524a–c, 588a–b
Der Angel zuckt, 525a–b
Der Atlas, 957/8
Der bleiche, kalte Mond, 150
Der blinde Knabe, 833a–b
Der Blumenbrief, 622
Der Blumen Schmerz, 731
Der Dämmrung Schein, 100
Der Damm zerreisst, 728
Page 263 of 321


Der Doppelgänger, 957/13
Der 13. Psalm, 663
Der du so lustig rauschtest, 911/7
Der du von dem Himmel bist, 224
Der Eichwald braus(e)t, 6, 191a–b, 389
Der Einsame, 800a–b
Der Entfernten, 350
Der entsühnte Orest, 699
Der Fischer, 225a–b
Der Flüchtling, 402
Der Flug der Zeit, 515
Der Fluss, 693
Der Friede sei mit euch!, 551
Der Frost hat mir bereifet, 778a–b
Der Frühlingssonne holdes Lächeln, 855
Der Geistertanz, 15, 15a, 116
Der getäuschte Verräter, 902/2
Der Goldschmiedsgesell, 560
Der Gott und die Bajadere, 254
Der Graf von Habsburg, 990
Der greise Kopf, 911/14
Der gute Hirt, 449
Der Herbstabend, 405a–b
Page 264 of 321


Der Hirt, 490
Der Hirt auf dem Felsen, 965
Der Jäger, 795/14
Der Jüngling am Bache, 30, 192, 638a–b
Der Jüngling an der Quelle, 300
Der Jüngling auf dem Hügel, 702
Der Jüngling und der Tod, 545a–b
Der Kampf, 594
Der Knabe, 692
Der Knabe in der Wiege, 579a–b
Der Knabe seufzt, 585
Der König in Thule, 367
Der König sass beim frohen Mahle, 329
Der Kreuzzug, 932
Der Leidende, 432a–b
Der Leiermann, 911/24a–b
Der Lerche wolkennahe Lieder, 516
Der Liebende, 207
Der liebliche Stern, 861
Der Liedler, 209
Der Lindenbaum, 911/5
Der Mondabend, 141
Der Mond ist aufgegangen, 499
Page 265 of 321


Der Morgen blüht, 228
Der Morgenkuss, 264a–b
Der Morgenstern, 172
Der Müller und der Bach, 795/19
Der Musensohn, 764a–b
Der Nachen dröhnt, 526
Der Neugierige, 795/6
Der Odem Gottes weht, 651
Der Pilgrim, 794a–b
Der Rattenfänger, 255
Der Reif hat einen weissen Schein, 911/14
Der Sänger, 149a–b
Der Sänger am Felsen, 482
Der Schäfer und der Reiter, 517a–b
Der Schatzgräber, 256
Der Schiffer, 536a–b, 694
Der Schmetterling, 633
Der Sieg, 805
Der Strom, 565
Der stürmische Morgen, 911/18
Der Taucher, 77a–b
Der Tod Oskars, 375
Der Tod und das Mädchen, 531
Page 266 of 321


Der Traum, 213
Der Unglückliche, 713a–b
Der Vater mit dem Kind, 906
Der Vatermörder, 10
Der Vollmond strahlt auf Bergeshöhn, 797(3b)
Der Wachtelschlag, 742
Der Wallensteiner Lanzknecht beim Trunk, 931
Der Wanderer, 489a–c, 649
Der Wanderer an den Mond, 870
Der Wegweiser, 911/20
Der Weiberfreund, 271
Der Wind spielt mit der Wetterfahne, 911/2
Der Winterabend, 938
Der Zufriedene, 320
Der zürnende Barde, 785
Der zürnenden Diana, 707a–b
Der Zwerg, 771
Des Baches Wiegenlied, 795/20
Des Fischers Liebesglück, 933
Des Fräuleins Liebeslauschen, 698
Des Lebens Tag ist schwer, 788
Des Mädchens Klage, 6, 191a–b, 389
Des Müllers Blumen, 795/9
Page 267 of 321


Des Phöbus Strahlen, 83
Des Sängers Habe, 832
Des stolzen Männerlebens schönste Zeichen, 822
Die abgeblühte Linde, 514
Die Allmacht, 852a–b
Die Art, ein Weib zu nehmen, 902/3
Die Befreier Europas in Paris, 104a–c
Die Berge, 634
Die Betende, 102
Die Blumensprache, 519
Die böse Farbe, 795/17
Die bretterne Kammer der Toten erbebt, 15, 15a, 116
Die Bürgschaft, 246
Die drei Sänger, 329
Die Einsiedelei, 393, 563
Die Erde, 579b
Die Erscheinung, 229
Die erste Liebe, 182
Die erste Liebe füllt das Herz, 182
Die Erwartung, 159a–b
Die Forelle, 550a–e
Die frohe neubelebte Flur, 381
Die Fröhlichkeit, 262
Page 268 of 321


Die frühe Liebe, 430a–b
Die frühen Gräber, 290
Die Gebüsche, 646
Die gefangenen Sänger, 712
Die Gestirne, 444
Die Herbstnacht, 404
Die junge Nonne, 828
Die Knabenzeit, 400
Die Krähe, 911/15
Die Laube, 214
Die Liebe, 210, 522
Die liebe Farbe, 795/16
Die Liebe hat gelogen, 751
Die Liebende schreibt, 673
Die Liebesgötter, 446
Die linden Lüfte sind erwacht, 686a–c
Die Luft ist blau, 398
Die Macht der Augen, 902/1
Die Macht der Liebe, 308
Die Mainacht, 194
Die Männer sind méchant, 866/3
Die Mondnacht, 238
Die Munterkeit ist meinen Wangen, 363
Page 269 of 321


Die Mutter Erde, 788
Die Mutter hat mich jüngst gescholten, 866/1
Die Nacht, 358, 534
Die Nacht bricht an, 713a–b
Die Nacht bricht bald herein, 846
Die Nachtigall singt überall, 198
Die Nacht ist dumpfig und finster, 534
Die Nebensonnen, 911/23a–b
Die Nonne, 208a–b
Die Perle, 466
Die Post, 911/13
Die Rose, 745a–b
Die Schatten, 50
Die Scheibe friert, 879
Die Schiffende, 990d
Die Schlacht, 249
Die schöne Müllerin, 795
Die Sommernacht, 289a–b
Die Sonne sinkt, o könnt ich, 545a–b
Die Sonne sinkt ins tiefe Meer, 904
Die Sonne steigt, 415
Die Spinnerin, 247
Die Stadt, 957/11
Page 270 of 321


Die Sterbende, 186
Die Sterne, 176, 313, 684, 939
Die Sternennächte, 670
Die Sternenwelten, 307
Die Taubenpost, 957/14
Die Täuschung, 230
Die Unterscheidung, 866/1
Die verfehlte Stunde, 409
Die vier Weltalter, 391
Die Vögel, 691
Die Wallfahrt, 778a
Die Wetterfahne, 911/2
Die Winde sausen am Tannenhang, 884
Die Wogen am Gestade schwellen, 910
Dioskuren, Zwillingssterne, 360
Dir, Mädchens schlägt, 179
Dithyrambe, 801
Dom, 126a–b
Don Gayseros, 93/1
Dort blinket durch Weiden, 933
Dort ist ihr Grab, 736
Dort raget ein Berg, 143
Drang in die Ferne, 770
Page 271 of 321


Draussen in der weiten Nacht, 880
Drei Gesänge, 902
Drei Sonnen sah ich, 911/23a–b
Drüben hinterm Dorfe, 911/24a–b
Du bist die Ruh, 776
Du brachst sie nun, die kalte Rinde, 361
Du, der ewig um mich trauert, 467
Du heilig, glühend Abendrot!, 627
Du holde Kunst, 547a–b
Du kleine grünumwachs’ne Quelle, 530
Du liebst mich nicht, 756a–b
Durch eine ganze Nacht, 264a–b
Durch Feld und Wald zu schweifen, 764a–b
Durch Fichten am Hügel, 109
Du sagtest mir es, Mutter, 866/3
Du schönes Fischermädchen, 957/10
Du Schwert an meiner Linken, 170
Du staunest, o Mensch, 684
Du Turm! zu meinem Leide, 490
Du verstörst uns nicht, o Nacht!, 358
Edone, 445
Eh’ die Sonne früh aufersteht, 685
Ehre Sei dem Hocherhabnen, 442
Page 272 of 321


Eifersucht und Stolz, 795/15
Ein Blick von deinen Augen, 673
Eine altschottische Ballade, 923a–c
Eine Krähe war mit mir, 911/15
Eine Mühle seh’ ich blinken, 795/3
Ein Fräulein klagt’ im finstern Turm, 114a–b
Ein Fräulein schaut vom hohen Turm, 134
Ein heilig Säuseln, 197
Ein Jüngling auf dem Hügel, 702
Ein Licht tanzt freundlich, 911/19
Ein Mädchen ist’s, 155
Ein Münich steht in seiner Zell, 932
Einsamkeit, 620, 911/12a–b
Einsam wandelt dein Freund, 95
Ein Schäfer sass im Grünen, 517a–b
Ein sehnend Streben, 854
Ein Vater starb von des Sohnes Hand, 10
Ellens Gesang, 837, 838, 839
Elysium, 584
Endlich stehn die Pforten offen, 318
Entra l’uomo allor che nasce, 33
Entzückung, 413
Entzückung an Laura, 390, 577a–b
Page 273 of 321


Er fiel den Tod fürs Vaterland, 218
Erinnerung, 101
Erinnerungen, 98a–b
Erlafsee, 586
Er liegt und schläft, 497
Erlkönig, 328a–d
Erntelied, 434
Er schläft so süss, 579a–b
Erstarrung, 911/4
Erster Verlust, 226
Es bellen die Hunde, 911/17
Es brennt mir unter beiden Sohlen, 911/8
Es deuten die Blumen, 519
Es floh die Zeit im Wirbelfluge, 515
Es ging ein Mann zur Frühlingszeit, 466
Es ist doch meine Nachbarin, 560
Es ist ein halbes Himmelreich, 431
Es ist so angenehm, 284
Es ist so still, 938
Es liebt’ in Welschland, 208a–b
Es lockte schöne Wärme, 745a–b
Es mahnt der Wald, 527a–b
Es rauschen die Winde, 945
Page 274 of 321


Es reden und träumen die Menschen, 251, 637
Es rieselt, klar und wehend, 393, 563
Es schlug mein Herz, 767a–b
Es tanzen Mond und Sterne, 808
Es tönet sein Lob, 444
Es traümen die Wolken, 669
Es war ein König in Thule, 367
Es wehet kühl und leise, 646
Euch Blümlein will ich senden, 622
Fahrt zum Hades, 526
Fels auf Felsen hingewälzet, 754
Ferne, ferne flammenhelle Sterne, AI/30
Ferne von der grossen Stadt, 483
Fischer harrt am Brückenbogen, 639a
Fischerlied, 351, 562
Fischerweise, 881a–b
Fliegt der Schnee mir ins Gesicht, 911/ 22a–b
Fragment aus dem Aeschylus, 450a–b
Freiwilliges Versinken, 700
Fremd bin ich eingezogen, 911/1
Freude der Kinderjahre, 455
Freude, die im frühen Lenze, 455
Freuden sonder Zahl, 433
Page 275 of 321


Freude, schöner Götterfunken, 189
Freudvoll und leidvoll, 210
Freunde, deren Grüfte, 50
Freundlich ist dein Antlitz, 614
Friede sei um diesen Grabstein, 496
Friedlich lieg’ ich hingegossen, 694
Frisch atmet des Morgens lebendiger Hauch, 402
Frisch trabe sonder Ruh, 853a–b
Fröhlicher Lebensmut, 937
Fröhliches Scheiden, 896, Frohsinn, 520a–b
Frühlingsglaube, 686a–c
Frühlingslied, 398, 919
Frühlingssehnsucht, 957/3
Frühlingstraum, 911/11
Fülle der Liebe, 854
Füllest wieder Busch und Tal, 259, 296
Furcht der Geliebten, 285a–b
Ganymed, 544
Ganz verloren, ganz versunken, 240
Gar fröhlich kann ich scheiden, 896
Gar tröstlich kommt geronnen, 926
Gebet während der Schlacht, 171
Gefrorne Tränen, 911/3
Page 276 of 321


Gefrorne Tropfen fallen, 911/3
Geheimes, 719
Geheimnis, 491, Geist der Liebe, 233, 414
Geisternähe, 100, Geistes-Gruss, 142a–f
Genügsamkeit, 143
Geöffnet sind des Winters Riegel, 919
Gesang, 891
Gesang der Geister über den Wassern, 484
Gesang der Norna, 831
Gesänge aus Wilhelm Meister, 877
Gesänge des Harfners, 478a–b, 479a–b, 480a–c
Geuss, lieber Mond, 193
Geuss nicht so laut, 196
Gib mir die Fülle der Einsamkeit!, 620
Gib, Schwester, mir die Harf herab, 209
… Glanz des Guten, 164
Glaube, hoffe, liebe!, 955
Glaube, Hoffnung und Liebe, 955
Gondelfahrer, 808
Gott im Frühlinge, 448a–b
Grabe, Spaten, grabe!, 44
Grablied, 218
Grablied auf einen Soldaten, 454
Page 277 of 321


Grablied für die Mutter, 616
Greisengesang, 778a–b
Grenzen der Menschheit, 716
Gretchen, 564
Gretchen am Spinnrade, 118
Gretchen im Zwinger, 564
Gretchens Bitte, 564
Grosse Taten tat der Ritter, 907a–b
Gross ist Jehovah, der Herr, 852a–b
Gross und rotentflammet, 276
Grüner wird die Au, 503
Gruppe aus dem Tartarus, 396, 583
Guarda, che bianca luna, 688/2
Gute Nacht, 911/1
Guten Morgen, schöne Müllerin, 795/8
Gute Ruh’, gute Ruh’, 795/20
Ha, dort kömmt er, 322
Hagars Klage, 5
Halt!, 795/3, Hänflings Liebeswerbung, 552a-b
Harfenspieler, 325, 478a–b, 479a–b, 480a–c
Hark, hark the lark, 889
Hast du Lianen nicht gesehen?, 298
Hätt’ ich tausend Arme zu rühren, 795/5
Page 278 of 321


Hauche milder, Abendluft, 616
Heidenröslein, 257
Heil! dies ist die letzte Zähre, 186
Heil’ge Nacht, du sinkest nieder, 827a–b
Heimliches Lieben, 922a–b
Heiss mich nicht reden, 726, 877/2
Hektors Abschied, 312a–b
Heliopolis, 753, 754
Herbst, 945
Herbstlied, 502
Hermann und Thusnelda, 322
Herrn Josef Spaun, Assessor in Linz, 749
Herzen, die gen Himmel sich erheben, 115
Herzliebe, gute Mutter, 990c
He! schenket mir im Helme ein, 931
Heute will ich fröhlich, fröhlich sein, 344
Hier am Hügel heissen Sandes, 5
Hie und da ist an den Bäumen, 911/16
Himmelsfunken, 651
Hinauf! hinauf! in Sprung und Lauf, 990a
Hinaus, mein Blick!, 856
Hippolits Lied, 890
Hinüber wall’ ich, 687
Page 279 of 321


Hoch auf dem alten Turme, 142a–f
Hoch auf dem Gipfel, 611
Hoch, und ehern schier von Dauer, 211
Hochzeit-Lied, 463
Hoffnung, 251, 295a–b, 637
Holder klingt der Vogelsang, 429
Horch, horch! die Lerch, 889
Horch, wie Murmeln des empörten Meeres, 396, 583
Hör’ ich das Pförtchen, 159a–b
Hörnerklänge rufen klagend, 671
Hörst du von den Nachtigallen, 712
Huldigung, 240
Hymne, 659, 660, 661, 662
Hymne an die Jungfrau, 839
Ich auf der Erd’, 870
Ich bin der wohlbekannte Sänger, 255
Ich bin ein deutsches Mädchen, 287a–b
Ich bin ein Waller auf der Erde, 789
Ich bin vergnügt, 362, 501a–b
Ich bin von aller Ruh’ geschieden, 876
Ich bin von lockerem Schlage, 520a–b
Ich danke Gott und freue mich, 533
Ich denke dein, 99, 162a–b
Page 280 of 321


Ich frage keine Blume, 795/6
Ich hab’ ein Bächlein funden, 411
Ich hab’ eine Brieftaub, 957/14
Ich hab’ ein heisses junges Blut, 309
Ich hab’ ein Mädchen funden, 219
Ich hört’ ein Bächlein rauschen, 795/2
Ich komme vom Gebirge her, 489a–c
Ich lag auf grünen Matten, 229
Ich möchte ziehn in die Welt hinaus, 795/17
Ich sag’ es jedem, 662
Ich sass an einer Tempelhalle, 39
Ich schiess’ den Hirsch, 909
Ich schnitt es gern in alle Rinden ein, 795/7
Ich sehe dich in tausend Bildern, 658
Ich sitz’ bei der moosigten Quelle, 282
Ich stand in dunklen Träumen, 957/9
Ich such im Schnee vergebens, 911/4
Ich träumte von bunten Blumen, 911/11
Ich treibe auf des Lebens Meer, 743
Ich unglückselger Atlas, 957/8
Ich wandre über Berg und Tal, 834a–b
Ich war erst sechzehn Sommer alt, 500
Ich will von Atreus Söhnen, 737
Page 281 of 321


Ich wollt’, ich wär’ ein Fisch, 558
Idens Nachtgesang, 227
Idens Schwanenlied, 317a–b
Ihr Bild, 957/9
Ihr Blümlein alle, die sie mir gab, 795/18
Ihr Freunde und du gold ner Wein, 183
Ihr Grab, 736
Ihr hohen Himmlischen, 542
Ihr lieben Mauern hold und traut, 878
Ihr Sternlein, still in der Höhe, 861
Ilmerine, 458
Il modo di prender moglie, 902/3
Il traditor deluso, 902/2, 990f
Im Abendrot, 799
Im Abendschimmer wallt der Quell, 188
Im Dorfe, 911/17
Im Erlenbusch, im Tannenhain, 230
Im Felde schleich’ ich still und wild, 215, 368
Im Freien, 880
Im Frühling, 882
Im Frühlingsgarten fand ich sie, 280
Im Haine, 738
Im Jänner 1817, 876
Page 282 of 321


Im kalten rauhen Norden, 753
Im Mondenschein wall’ ich auf und ab, 762
Im trüben Licht verschwinden schon die Berge, 771
Im Walde, 708, 834a–b
Im Wald, im Wald da grabt mich ein, 654
Im Winde, im Sturme, 536a–b
In allen guten Stunden, 258
In der Ferne, 957/6
In der Mitternacht, 464
In der Väter Hallen ruhte, 144
In des Sees Wogenspiele, 746
In des Todes Feierstunde, 758
In die tiefsten Felsengründe, 911/9
In düstrer Nacht, 626
In einem Bächlein helle, 550a–e
In einem Tal bei armen Hirten, 117, 252
In Grün will ich mich kleiden, 795/16
In monderhellten Nächten, 670
In seinem schimmernden Gewand, 448a–b
Ins Grüne, ins Grüne, 917
Ins stille Land, 403a–d
In tiefer Ruh liegt um mich her, 957/2
In tiefster Erde ruht ein alt Gesetz, 761a–b
Page 283 of 321


Iphigenia, 573
Irdisches Glück, 866/4
Irrlicht, 911/9
Ist der holde Lenz erschienen?, 323
Ist dies Tauris, 548
Ist mir’s doch, als sei mein Leben, 539
Jagdlied, 521
Jäger, ruhe von der Jagd, 838
Jägers Abendlied, 215, 368
Jägers Liebeslied, 909
Ja ich weiss es, 177
Ja, spanne nur den Bogen, 707a–b
Johanna Sebus, 728
Julius an Theone, 419
Jüngst träumte mir, 174a–b
Kaiser Maximilian auf der Martinswand, 990a
Keine Blumen blühn, 401
Keine Stimme hör ich schallen, 862a–b
Kein Rosenschimmer leuchtet, 101
Kennst du das Land, 321
Klage, 371, 415, 436a–b
Klage der Ceres, 323
Klage, meine Flöte, 482
Page 284 of 321


Klage um Ali Bey, 496a
Klaglied, 23
Klärchens Lied, 210
Kling’ die Nacht durch, klinge, 871a–b
Kolmas Klage, 217
Kommen und Scheiden, 508
Komm, und senke die umflorten Schwingen, 447
Königliche Morgensonne, 272
Kriegers Ahnung, 957/2
Labetrank der Liebe, 302
Lachen und Weinen, 777
Lambertine, 301
La pastorella al prato, 528
Lass dich mit gelinden Schlägen, 410
Lasst im Morgenstrahl des Mai’n, 306
Lasst mich! lasst mich! ich will klagen, 496a
Lasst mich, ob ich auch still verglüh, 890
Lasst uns, ihr Himmlischen, 554
Laue Lüfte, Blumendüfte, 711a–b
Laura am Klavier, 388a–b
Laura betet!, 102
Laura, Laura, über diese Welt, 577a
Laura, über diese Welt, 390
Page 285 of 321


Lauter Freude fühl’ ich, 596
Lebensfunke, vom Himmel erglüht, 59
Lebenslied, 508
Lebensmelodien, 395
Lebensmut, 883, 937
Lebenstraum, 39
Lebe wohl! lebe wohl!, 578
Leb wohl, du schöne Erde, 829
Lehnst du deine bleichgehärmte Wange, 97
Leichenfantasie, 7
Leiden der Trennung, 509a–b
Leise flehen meine Lieder, 957/4
Leise, rieselnder Quell, 300
Leiser, leiser, kleine Laute, 905
Letzte Hoffnung, 911/16
Liane, 298
Licht und Liebe, 352
Liebe ist ein süsses Licht, 352
Liebesbotschaft, 957/1
Liebeslauschen, 698
Liebesrausch, 164, 179
Liebeständelei, 206
Liebhaber in allen Gestalten, 558
Page 286 of 321


Lieb Minna, 222
Lied, 284, 362, 373, 403a–d, 483, 535, 788
Lied aus der Ferne, 107a–b
Lied der Anne Lyle, 830
Lied der Delphine, 857/1
Lied der Liebe, 109
Lied der Mignon, 877/2–4
Lied des Florio, 857/2
Lied des gefangenen Jägers, 843
Lied des Orpheus, als er in die Hölle ging, 474a–b
Lied eines Kindes, 596
Lied eines Kriegers, 822
Lied eines Schiffers an die Dioskuren, 360
Liedesend, 473a–b
Lied in der Abwesenheit, 416
Lilla an die Morgenröte, 273
L’incanto degli occhi, 902/1, 990e
Linde Lüfte wehen, 725
Litanei auf das Fest aller Seelen, 343a–b
Lob der Tränen, 711a–b
Lob des Tokayers, 248
Lodas Gespenst, 150
Lorma, 327, 376
Page 287 of 321


Lorma sass in der Halle von Aldo, 327, 376
Luisens Antwort, 319
Mädchen entsiegelten, 507
Mädchen Inistores, 281
Mahadöh, der Herr der Erde, 254
Mahomets Gesang, 549, 721
Mailied, 503
Manche Trän’ aus meinen Augen, 911/6a–b
Marie, 658
Meeresstille, 215a, 216
Mein!, 795/11
Meine Laute hab’ ich gehängt, 795/12
Meine Ruh’ ist dahin, 23
Meine Ruh’ ist hin, 118
Meine Selinde, 412a–b
Meine Tränen im Bussgewand, 778a
Mein Frieden, AI/30
Mein Geliebter ist ein Sohn des Hügels, 293
Mein Gruss an den Mai, 305
Mein Handwerk geht durch alle Welt, 274
Mein Herz ist zerrissen, 756a–b
Mein Leben wälzt sich murrend fort, 565
Mein Ross so müd in dem Stalle, 843
Page 288 of 321


Memnon, 541
Mich ergreift, ich weiss nicht wie, 234
Mich führt mein Weg, 831
Mignon, 321, 469a–b, 726, 727
Mignon und der Harfner, 877/1
Minnelied, 429
Minona, 152
Mio ben ricordati, 688/4
Mir ist so wohl, so weh’, 586
Mir träumt’, ich war ein Vögelein, 213
Misero pargoletto, 42/1a–b
42/2
Mit dem grünen Lautenbande, 795/13
Mit erstorbnem Scheinen, 7
Mit leisen Harfentönen, 404
Mitten im Schimmer der spiegelnden Wellen, 774
Mit unserm Arm ist nichts getan, 443
Morgengruss, 795/8
Morgenlied, 266, 381, 685
Mut, 911/22a–b
Mutter geht durch ihre Kammern, 373
Nach einem Gewitter, 561
Nach so vielen trüben Tagen, 263
Page 289 of 321


Nächtens klang die süsse Laute, 93/2
Nachtgesang, 119, 314, 352
Nachthymne, 687
Nachtstück, 672a–b
Nacht umhüllt mit wehendem Flügel, 653
Nacht und Träume, 827a–b
Nachtviolen, 752
Nähe des Geliebten, 162a–b
Namenstagslied, 695
Naturgenuss, 188
Nehm ich die Harfe, 896a
Nein, länger werd’ ich diesen Kampf, 594
Nicht so düster und so bleich, 869
Nimm die letzten Abschiedsküsse, 943
Nimmer, das glaub mir, 801
Nimmer lange weil’ ich hier, 523
Nimmer, nimmer darf ich dir gestehen, 419
Nimmer trag’ ich länger, 432a–b
Nimmer werd’ ich, nimmer dein vergessen, 214
Noch einmal tön, o Harfe, 406
Noch fand von Evens Töchterscharen, 271
Noch in meines Lebens Lenze, 794a–b
Non t’accostar all’urna, 688/1
Page 290 of 321


Normans Gesang, 846
Nun, da Schatten niedergleiten, 857/2
Nunmehr, da Himmel, Erde, 630
Nun merk ich erst, 911/10a–b
Nur euch, schöne Sterne, 902/1
Nur wer die Liebe kennt, 513a
Nur wer die Sehnsucht kennt, 310a–b, 359, 481, 877/1, 877/4
Oben drehen sich die grossen, 307
O, dass ich dir vom stillen Auge, 303
O du Entrissne mir, 741
O du, wenn deine Lippen, 922a–b
Oft in einsam stillen Stunden, 456
O gib vom weichen Pfühle, 119
O Herz, sei endlich stille, 860
O köstlicher Tokayer, 248
O Liebe, die mein Herz erfüllet, 301
O Menschheit, o Leben, 842
O Quell, was strömst du rasch und wild, 874
Orest auf Tauris, 548
Or sù! non ci pensiamo, 902/3
O sagt, ihr Lieben, mir einmal, 833a–b
Ossians Lied nach dem Falle Nathos, 278a–b
O unbewölktes Leben!, 805
Page 291 of 321


O wie dringt das junge Leben, 883
O, wie schön ist deine Welt, 799
Pause, 795/12
Pax vobiscum, 551
Pensa, che questo istante, 76a–b
Pflicht und Liebe, 467
Pflügerlied, 392
Phidile, 500
Philoktet, 540
Pilgerweise, 789
Prometheus, 674
Punschlied: im Norden zu singen, 253
Purpur malt die Tannenhügel, 108
Quälend ungestilltes Sehnen, 409
Quell’innocente figlio, 17
Rast, 911/10a–b
Raste, Krieger, Krieg ist aus, 837
Rastlose Liebe, 138a–b
Rauschender Strom, brausender Wald, 957/5
Rauschendes Bächlein, so silbern, 957/1
Rein und freundlich lacht der Himmel, 141
Ritter Toggenburg, 397
Ritter, treue Schwesterliebe, 397
Page 292 of 321


Romanze, 114a–b, 144
Romanze des Richard Löwenherz, 907a–b
Romanze zum Drama Rosamunde, 797 (3b)
Rosa, denkst du an mich?, 316a–b
Rückblick, 911/8
Rückweg, 476
Ruhn in Frieden alle Seelen, 343a–b
Rund um mich Nacht, 217
Sag an, wer lehrt dich Lieder, 491
Sah ein Knab’ ein Röslein stehn, 257
Sanftes Klavier, 342
Sanft glänzt die Abendsonne, 382
Sanft wehn, im Hauch der Abendluft, 275
Sängers Morgenlied, 163, 165
Säuselnde Lüfte wehend so mild, 957/3
Schad’ um das schöne grüne Band, 795/13
Schäfers Klagelied, 121a–b
Schaff, das Tagwerk meiner Hände, 295a–b
Schatzgräbers Begehr, 761a–b
Schiffers Scheidelied, 910
Schlacht du brichst an!, 169
Schlachtlied, 443
Schlafe, schlafe, holder süsser Knabe, 498
Page 293 of 321


Schlaflied, 527a–b
Schlagt mein ganzes Glück, 832
Schlummerlied, 527a–b
Schlumm’re sanft!, 304
Schneeglöcklein, o Schneeglöcklein, 786
Schöne Welt, wo bist du?, 677a–b
Schon im bunten Knabenkleide, 430a–b
Schön wie Engel, 195
Schöpferin beseelter Töne!, 394
Schwanengesang, 744, 957
Schwanengesang, 318
Schweizerlied, 559
Schwertlied, 170
Schwestergruss, 762
Schwüler Hauch weht mir herüber, 222
Sehnsucht, 52, 123, 310a–b, 359, 481, 516, 636a–c, 879
Sehnsucht der Liebe, 180a–b
Seht den Felsenquell, 549, 721
Seht meine lieben Bäume an, 532
Sei gegrüsst, du Frau der Huld, 623
Sei gegrüsst, geweihte Stille, 151
Sei mir gegrüsst, 741
Sei mir gegrüsst, o Mai, 305
Page 294 of 321


Sei sanft wie ihre Seele, 265
Selige Welt, 743
Seligkeit, 433
Selma und Selmar, 286a–b
Sendschreiben an den Assessor Spaun in Linz, 749
Serbate, o dei custodi, 35
Seufzer, 198
Shilric und Vinvela, 293
Sicheln schallen, Ähren fallen, 434
Siehe, wie die Mondesstrahlen, 238
Sieht uns der Blick gehoben, 634
Sie hüpfte mit mir, 682
Sie in jedem Liede, 896a
Sie ist dahin, 201, 399
Sie konnte mir kein Wörtchen sagen, 250, 793
Sie sind in Paris!, 104a–c
Sie wankt dahin!, 990d
Sinke, liebe Sonne, 270
Sitz’ ich im Gras, 124a–b
Skolie, 306, 507
So hab’ ich wirklich dich verloren?, 765
So lasst mich scheinen, 469a–b, 727, 877/3
So mancher sieht mit finstrer Miene, 866/4
Page 295 of 321


Sonett, 628, 629, 630
Son fra l’onde, 78
Sonne, du sinkst, 457
Sonnenstrahlen durch die Tannen, 738
So wird der Mann, der sonder Zwang, 450a–b
Sprache der Liebe, 410
Spude dich Kronos!, 369
Ständchen, 889, 957/4
Stern der Liebe, 172
Still beginnt’s im Hain zu tauen, 650
Still ist die Nacht, 957/13
Still sitz’ ich an des Hügels Hang, 882
Stimme der Liebe, 187, 412a–b, 418
Strophe aus Die Götter Griechenlands, 677a–b
Suleika, 717, 720a–b
Süsse Augen, klare Bronnen!, 297a–b
Süsse, heilige Natur, 372
Süsses Licht! aus goldenen Pforten, 163, 165
Süsses Liebchen, komm zu mir!, 206
Szene aus Goethes Faust, 126a–b
Täglich zu singen, 533
Tag voll Himmel, 413
Täuschung, 911/19
Page 296 of 321


Thekla: eine Geisterstimme, 73, 595a–b
Tiefe Feier schauert um die Welt, 314
Tiefer sinket schon die Sonne, 690
Tiefes Leid, 876
Tiefe Stille herrscht im Wasser, 215a, 216
Tischlerlied, 274
Tischlied, 234
Tod, du Schrecken der Natur, 518
Todesmusik, 758
Todesstille deckt das Tal, 464
Tom lehnt harrend auf der Brücke, 639b
Totengräberlied, 44
Totengräbers Heimweh, 842
Totengräber-Weise, 869
Totenkranz für ein Kind, 275
Tränenregen, 795/10
Trarah! Trarah! wir kehren daheim, 521
Trauer der Liebe, 465a–b
Trauer umfliesst mein Leben, 371
Trinklied, 183, 888
Trinklied vor der Schlacht, 169
Trockne Blumen, 795/18
Trocknet nicht, 260
Page 297 of 321


Trost, 523, 671
Trost: an Elisa, 97
Trost im Liede, 546
Trost in Tränen, 120
Über allen Gipfeln ist Ruh, 768
Über allen Zauber Liebe, 682
Überall, wohin mein Auge blicket, 308
Über die Berge zieht ihr fort, 475
Über meines Liebchens Äugeln, 719
Über Tal und Fluss getragen, 161a–b
Über Wildemann, 884
Uf’m Bergli bin i g’sässe, 559
Um Mitternacht, 862a–b
Und frische Nahrung, 543a–b
Und nimmer schreibst du?, 749
Ungeduld, 795/7
Uraniens Flucht, 554
Vater, du glaubst es nicht, 770
Vater, ich rufe dich!, 171
Vaterlandslied, 287a–b
Vater, schenk’ mir diese Stunde, 695
Vedi, quanto adoro, 510
Verbirg dich, Sonne, 807
Page 298 of 321


Verfliesset, vielgeliebte Lieder, 160, 766
Vergebliche Liebe, 177
Vergissmeinnicht, 792
Verklärung, 59
Vernimm es, Nacht, 227
Verschwunden sind die Schmerzen, 81
Versunken, 715
Vier Canzonen, 688
Vier Refrainlieder, 866
Viola, 786
Vollendung, 579a
Voll Locken kraus ein Haupt, 715
Vom Meere trennt sich die Welle, 509a–b, Vom Mitleiden Mariä, 632
Von allen schönen Waren, 261
Von der Strasse her ein Posthorn klingt, 911/13
Von Ida, 228
Vor meiner Wiege, 927
Vor Thebens siebenfach gähnenden Toren, 166
Vorüber, ach vorüber, 531
Vorüber die stöhnende Klage!, 584
Waldesnacht, 708
Wälze dich hinweg, 474a-b
Wandrers Nachtlied, 224, 768
Page 299 of 321


Wann der silberne Mond, 194
Wann meine Grillen schwirren, 800a–b
War es also gemeint, 795/4
Wärst du bei mir im Lebenstal, 830
Warum bist du nicht hier, 315
Warum öffnest du wieder, 375
Was bedeutet die Bewegung?, 720a–b
Was funkelt ihr so mild mich an?, 176
Was hör’ ich draussen vor dem Tor, 149a–b
Was ist es, das die Seele füllt?, 241
Was ist Silvia, 891
Was schauest du so hell und klar, 468
Wasserflut, 911/6a–b
Was sorgest du?, 449
Was sucht denn der Jäger, 795/14
Was vermeid ich denn die Wege, 911/20
Was weilst du einsam an dem Himmel, 806
Was zieht mir das Herz so?, 123
Wehe dem Fliehenden, 957/6
Weh mir, ich bebe, 902/2
Wehmut, 772
Wehmut, die mich hüllt, 231
Weine du nicht, 286a–b
Page 300 of 321


Weit in nebelgrauer Ferne, 113a–c
Wenige wissen das Geheimnis, 659
Wenn alle untreu werden, 661
Wenn auf dem höchsten Fels, 965
Wenn dein Finger durch die Saiten meistert, 388a–b
Wenn der Schimmer von dem Monde, 289a–b
Wenn der uralte heilige Vater, 716
Wenn ich durch Busch und Zweig, 865b
Wenn ich durch Wald und Fluren geh, 772
Wenn ich einst das Ziel errungen habe, 579a
Wenn ich ihn nur habe, 660
Wenn ich nur ein Vöglein wäre, 692
Wenn im Spiele leiser Töne, 302
Wenn in des Abends letztem Scheine, 107a–b
Wenn mich einsam Lüfte fächeln, 631
Wenn sanft entzückt, 579b
Wenn über Bergen der Nebel sich breitet, 672a
Wenn über Berge sich der Nebel breitet, 672b
Wer bist du, Geist der Liebe, 233
Wer kauft Liebesgötter?, 261
Wer nie sein Brot mit Tränen ass, 480a–c
Wer reitet so spät, 328a–d
Wer sich der Einsamkeit ergibt, 325, 478a–b
Page 301 of 321


Wer wagt es, Rittersmann, 77a–b
Wer wagt’s, wer wagt’s, 785
Wes’ Adern leichtes Blut durchspringt, 262
Who is Sylvia?, 891
Widerschein, 639a–b
Widerspruch, 865b
Wie anders, Gretchen, war dir’s, 126a–b
Wie blitzen die Sterne, 939
Wie braust durch die Wipfel, 828
Wiedersehn, 855
Wie deutlich des Mondes Licht, 649
Wie die Nacht mit heilgem Beben, 180a–b
Wie eine trübe Wolke, 911/12a–b
Wie erhebt sich das Herz, 291a–c
Wiegenlied, 304, 498, 579a–b, 867
Wie glücklich, wem das Knabenkleid, 400
Wie hat der Sturm zerrissen, 911/18
Wie im Morgenglanze, 544
Wie ist es denn, 645
Wie klag ich’s aus, 744
Wie kommt’s, dass du so traurig bist, 120
Wie lieblich und fröhlich, 691
Wie rein Gesang sich windet, 693
Page 302 of 321


Wie schaust du aus dem Nebelflor, 317a–b
Wie schön bist du, du güldne Morgenröte, 273
Wie sich der Äuglein kindlicher Himmel, 867
Wie so innig, möcht ich sagen, 652a–b
Wie soll ich nicht tanzen, 633
Wie tönt es mir so schaurig, 731
Wie treiben die Wolken so finster, 152
Wie Ulfru fischt, 525a–b
Wie wohl ist mir im Dunkeln, 313
Willkommen, o silberner Mond, 290
Willkommen, rotes Morgenlicht, 266
Willkommen, schöner Jüngling!, 283, 587a–b
Willkommen und Abschied, 767a–b
Will sich Hektor ewig von mir wenden, 312a–b
Will singen euch im alten Ton, 463
Willst du nicht das Lämmlein hüten, 588a–b
Windes Rauschen, Gottes Flügel, 708
Winterlied, 401
Winterreise, 911
Wir sassen so traulich beisammen, 795/10
Wirst du halten, was du schwurst, 514
Wo die Taub in stillen Buchen, 465a–b
Wo ein treues Herze, 795/19
Page 303 of 321


Woget brausend, Harmonien, 492
Woher, o namenloses Sehnen, 235, 237
Wohin?, 795/2
Wohin? O Helios!, 700
Wohin so schnell, 795/15
Wohlan! und ohne Zagen, 902/3
Wohl denk’ ich allenthalben, 350
Wohl perlet im Glase, 391
Wohl weinen Gottes Engel, 319
Wo ich sei, und wo mich hingewendet, 73, 595a–b
Wo irrst du durch einsame Schatten, 458
Wolke und Quelle, 896b
Wonne der Wehmut, 260
Wo weht der Liebe hoher Geist?, 522
Zeit, Verkündigenn der besten Freuden, 288
Zieh hin, du braver Krieger du!, 454
Zu Aachen in seiner Kaiserpracht, 990
Zu Dionys, dem Tyrannen, 246
Zufriedenheit, 362, 501a–b
Zum Donaustrom, zur Kaiserstadt, 476
Zu meinen Füssen brichst du dich, 699
Zum Punsche, 492
Zur Namensfeier des Herrn Andreas Siller, 83
Page 304 of 321


Zwar schuf das Glück, 320
Zwei Szenen aus dem Schauspiel Lacrimas, 857
Song without title or words, 1a, 555, 619, 916a
Miscellaneous
published in NSA viii/1–2 unless otherwise stated
16 7 contrapuntal studies, nos.1–4, g, nos.3–7, a, ?vv, ?1823, ed. in Orel (1940/R)
25 2 contrapuntal studies, a 2–4, frags., begun 18 June 1812
25a 2 contrapuntal studies, a 4, frags., ?sum. 1812
25b 15 contrapuntal studies, a 3, frags., ?sum. 1812 (part facs. in Landon, 1969)
AI/3 Fugue, C, str qt, frag., va only, ?1812
AI/ Waltz, ‘Kupelwieser-Walzer’, G, pf, 17 Sept 1826 (Vienna, 1970)

14
AI/ Lebenslied, TTB/TTBB, 2nd T only, 1815 or 1816 (Kassel, 1974) [? part of lost
23 Lebensbild, 425]
AI/ Klage, song, c1817 [formerly 512]

28
AI/ Figured bass exercises, before 1812 [formerly 598a]

32
AII/ arr. of ov. to Gluck’s Iphigénie en Aulide, pf 4 hands, frag., ?early 1810
1
AII/ arr. of W. Matiegka’s Notturno op.21, fl, va, vc, gui, 26 Feb 1814 (Munich,
2 1926) [see also CHAMBER, D96]
AII/ arr. of 2 arias from Gluck’s Echo et Narcisse, 1v, pf, March 1816
3
Page 305 of 321


AII/ arr. of M. Stadler’s Psalm viii, S, 2 ob, 2 cl, str, timp, org, 29 Aug 1823
4 (Vienna, 1960)
Doubtful and spurious works
AI/4 Str qt, G, frag., by A. Stadler [formerly 2]
AI/7 March, 2 pf 8 hands, Nov 1825, lost [formerly 858]
AI/12 7 leichte Variationen, G, pf, ?1810
AI/15 Minuet and trio, D, pf [formerly 336]
AI/17 Tantum ergo, B♭, frag., S-only
AI/25 Drum Schwester und Brüder, 1v, chorus, insts, frag., Oct 1819
AI/26 Sturmbeschworung, ? trio/qt, mixed vv, frag., S only
AI/29 Kaiser Ferdinand II, song
AIII/6 Offertory: Clamavi ad te, frag., ?Nov 1813, by J. Preindl [formerly 85]
AIII/ Lass immer in der Jugend Glanz, canon, 2vv, after Mozart [formerly 92]
11
AIII/ Selig alle, die im Herrn entschliefen, canon, 2vv, after Mozart [formerly 127]
12
Bibliography
A Bibliographies. B Catalogues. C Documents. D Iconography. E Manuscsripts, sources. F Contemporary accounts. G
Biography. H Musical style. I Orchestral works. J Chamber works. K Piano works. L Sacred works. M Stage works. N
Choral works. O Songs. P General studies.
A: Bibliographies
W. Kahl: Verzeichnis des Schrifttums über Franz Schubert, 1828–1928 (Regensburg, 1938)
A.H. King: ‘Bibliography’, Schubert: a Symposium, ed. G. Abraham (London, 1946/R), 259–66
Page 306 of 321


H. Knaus: Franz Schubert: vom Vorstadtkind zum Compositeur (Vienna, 1997)
B: Catalogues
G. Nottebohm: Thematisches Verzeichnis der im Druck erschienenen Werke von Franz Schubert
(Vienna, 1874)
O.E. Deutsch with D.R. Wakeling: Schubert: a Thematic Catalogue of his Works (London, 1951)
[preface, p.ix, lists and discusses all previous catalogues; corrections and addns to catalogue in
ML, xxxiv (1953), 25–32]; Ger. trans., rev., enlarged, by W. Dürr, A. Feil, C. Landon and others,
Neue Ausgabe sämtlicher Werke, viii/4, as Franz Schubert: thematisches Verzeichnis seiner
Werke in chronologischer Folge von Otto Erich Deutsch (Kassel, 1978)
R. van Hoorickx: ‘Thematic Catalogue of Schubert’s Works: New Additions, Corrections and
Notes’, RBM, 28–30 (1974–6), 136–71
H. Hilmar: Verzeichnis der Schubert-Handschriften in der Musiksammlung der Wiener Stadt-

und Landesbibliothek (Kassel, 1978)
W. Litschauer, ed.: Neue Dokumente zum Schubert-Kreis: aus Breifen und Tagebüchern seiner
Freunden (Vienna, 1986)
C: Documents
O.E. Deutsch, ed.: Franz Schubert: die Dokumente seines Lebens und Schaffens, ii/1: Die
Dokumente seines Lebens (Munich, 1914, enlarged 2/1964, Neue Ausgabe sämtlicher Werke,
viii/5; Eng. trans., 1946/R, as Schubert: a Documentary Biography)
O.E. Deutsch, ed.: Franz Schuberts Briefe und Schriften (Munich, 1919, 4/1954; Eng. trans.,
1928/R)
O.E. Deutsch, ed.: Franz Schuberts Tagebuch (Vienna, 1928; Eng. trans., 1928) [facs. and
transcr.]
H. Werlé, ed.: Franz Schubert in seinen Briefen und Aufzeichnungen (Leipzig, 1948, 4/1955)
R. Klein: Schubert-Stätten (Vienna, 1972)
T.G. Waidlich, ed.: Franz Schubert: Dokumente 1817–1830, i: Texte-Programme, Rezensionen,

Anzeigen, Nekrologe, Musikbeilagen und andere gedruckte Quellen (Tutzing, 1993)
D: Iconography
A. Trost: ‘Franz Schuberts Bildnisse’, Berichte und Mittheilungen des Alterthums-Vereines zu
Wien, 33/2 (1898), 85–95
O.E. Deutsch, ed.: Franz Schubert: die Dokumente seines Lebens und Schaffens, iii: Sein Leben
in Bildern (Munich, 1913)
O.E. Deutsch: Die historischen Bildnisse Franz Schuberts in getreuen Nachbildungen (Vienna,
1922)
Page 307 of 321


A. Orel: Franz Schubert, 1797–1828: sein Leben in Bildern (Leipzig, 1939)
R. Petzoldt: Franz Schubert: sein Leben in Bildern (Leipzig, 1953)
O.E. Deutsch: ‘Rieders Schubert-Bildnis’, ÖMz, 14 (1959), 1–3
F. Novotny: ‘Zu einem Bildnis Franz Schuberts’, Musica, 15 (1961), 57–60
E. Hilmar and O. Brusatti, eds.: Franz Schubert (Vienna, 1978) [exhibition catalogue]
E. Badura-Skoda: ‘A Schubert Life Mask’, MT, 120 (1979), 575–7
W. Litschauer: ‘Unbekanntes zur Schubert-Ikonographie: ein Kurzkrimi’, Schubert durch die

Brille, no.6 (1991), 56–65
R. Steblin: Ein unbekanntes frühes Schubert-Portrait? (Tutzing, 1992)
E: Manuscripts, sources
M. Friedlaender: ‘Fälschungen in Schubert’s Liedern’, VMw, 9 (1893), 166–85
J. Mantuani: ‘Schubertiana: ein Beitrag zur Schubertforschung’, Die Musik, 1 (1901–2), 1374–91
[Schubert autographs found in St Peter’s, Vienna]
E. Decsey: ‘Aus Josef Huttenbrenner’s Schubert-Nachlass’, Die Musik, 11/4 (1911–12), 297–304
R. Lachmann: ‘Die Schubert-Autographen der Staatsbibliothek zu Berlin’, ZMw, 11 (1928–9),

109–19
J.G. Prod’homme: ‘Les manuscrits de Schubert à la Bibliotheque du Conservatoire de Paris,’

RdM, 9 (1928), 209–24
Kongress für Schubertforschung: Vienna 1928 [incl. essays by M. Friedlaender, R. Haas, G.

Kinsky, J. Wolf, on Schubert collections and source material]
M.J.E. Brown: ‘Recent Schubert Discoveries’, ML, 32 (1951), 349–61
M.J.E. Brown: ‘New, Old and Rediscovered Schubert Manuscripts’, ML, 37 (1957), 359–68
M.J.E. Brown: ‘Schubert’s Manuscripts: some Chronological Issues’, MR, 19 (1958), 180–85
M.J.E. Brown: ‘Schubert: Discoveries of the Last Decade’, MQ, 47 (1961), 293–314
W. Suppan: ‘Schubert-Autographe im Nachlass Weis-Ostborn’, SMH, 6 (1964), 131–41
M.J.E. Brown: ‘Two Schubert Discoveries’, MT, 109 (1968), 801 only [Albumleaf, 1821, Die
Wallfahrt D778 a]
A. Feil and W. Dürr: ‘Kritisch revidierte Gesamtausgaben von Werken Franz Schuberts im 19.
Jahrhundert’, Musik und Verlag: Karl Vötterle zum 65. Geburtstag, ed. R. Baum and W. Rehm
(Kassel, 1968), 268–78
Page 308 of 321


O.E. Deutsch: ‘Eine merkwürdige Schubert-Handschrift’, Musa – mens – musici: im Gedenken an
Walther Vetter (Leipzig, 1969), 283–6 [Schubert’s arr. for voice and orch of Stadler’s Psalm viii,
AII/4]
A. Feil and W. Dürr: ‘Die Neue Schubert-Ausgabe: über einige Probleme des Herausgebens von
Musik’, ÖMz, 24 (1969), 553–63
R. van Hoorickx: ‘About some Early Schubert Manuscripts’, MR, 30 (1969), 118–23
I. Kecskeméti: ‘Neu entdeckte Schubert-Autographe’, ÖMz, 24 (1969), 564–8
C. Landon: ‘Neue Schubert-Funde’, ÖMz, 24 (1969), 299–323; Eng. trans., MR, xxxi (1970), 215–
31
R. van Hoorickx: ‘Two Essays on Schubert, I: Schubert’s Variations, op.10, II: Ferdinand and
Franz Schubert’, RBM, 24 (1970), 81–95
M.J.E. Brown: ‘Schubert: Discoveries of the Last Decade’, MQ, 57 (1971), 351–78
A. Weinmann: ‘Zwei neue Schubert-Funde’, ÖMz, 27 (1972), 75–8 [version a of Mut D911, no.22;
4th setting of Das Grab D569 for chorus]
R. van Hoorickx: ‘The Schubert Manuscript D.966’, ML, 54 (1973), 385–6
R. van Hoorickx: ‘A Schubert Manuscript Identified’, MT, 115 (1974), 127 only [D966]
R. van Hoorickx: ‘Un manuscrit inconnu de Schubert’, RBM, 28–30 (1974–6), 260–63 [Über
Wildemann D884]
F.G. Zeileis: ‘Bemerkungen zur Erstveröffentlichung einer bisher ungedruckten Komposition aus
Franz Schuberts Studienzeit’, Beiträge zur Musikdokumentation: Franz Grasberger zum 60.
Geburtstag, ed. G. Brosche (Tutzing, 1975), 493–503 [incl. facs.]
R. van Hoorickx: ‘Some Unknown Schubert Manuscripts’, MT, 118 (1977), 1001–2
E. Hilmar: Verzeichnis der Schubert-Handschriften in der Musiksammlung der Wiener Stadt-

und Landesbibliothek, CaM, 8 (Kassel, 1978)
R. Winter: ‘Schubert’s Undated Works, a New Chronology’, MT, 119 (1978), 498–500
B. Newbould, ed.: Franz Schubert: Symphony No.10 in D Major, D936A (London, 1995)
[realization; incl. critical material]
F: Contemporary accounts
R. Bright: Travels from Vienna through Lower Hungary, with some Remarks on the State of
Vienna during the Congress in the year 1814 (Edinburgh, 1818)
J.C. von Zedlitz: ‘Nachruf an Schubert’, Wiener Zeitschrift für Kunst, Literatur, Theater und
Mode (25 Nov 1828)
J. Mayrhofer: ‘Erinnerungen an Franz Schubert’, Neues Archiv für Geschichte, Staatenkund,

Literatur und Kunst, 1 (1829), 121–3
Page 309 of 321


L. von Sonnleithner: ‘Biographie des Franz Schuberts’, Monatbericht der Gesellschaft der
Musikfreunde (1829), 19–25
J. Mailáth, ed.: Leben der Sophie Müller (Vienna, 1832) [diary references]
A. Schindler: ‘Erinnerungen an Franz Schubert’, Niederrheinische Musik-Zeitung, 5 (1857), 73–

8, 81–5
H. von Chézy: Unvergessenes (Leipzig, 1858), 259ff
I.F. Castelli: Memoiren meines Lebens, 4 (Vienna, 1861); ed. J. Bindtner (Munich, 1913), 123–4
A.H. Hoffmann von Fallersleben: Mein Leben: Aufzeichnungen und Erinnerungen (Hanover,
1868), 2, 50ff
E. von Bauernfeld: ‘Einiges von Franz Schubert’, Signale für die musikalische Welt, 27 (1869),
977–81, 993–7, 1009–12, 1025–8; Eng. trans., Musical World (15 Jan, 19 Feb 1870)
A. Fareanu: ‘Leopold von Sonnleithner: Erinnerungen an Franz Schubert’, ZMw, 1 (1918–19),

466–83
J. von Spaun: Neues um Franz Schubert: einige Bemerkungen über die Biographie Schuberts
von Herrn Ritter v. Kreissle-Hellborn [1865] (Vienna, 1934)
G. Schünemann, ed.: Erinnerungen an Schubert: Josef von Spauns erste Lebensbeschreibung

[1829] (Berlin and Zurich, 1936)
O.E. Deutsch, ed.: Schubert die Erinnerungen seiner Freunde (Leipzig, 1957, 3/1974; Eng.
trans., 1958)
G: Biography
WurzbachL
C.G. von Leitner: Anselm Hüttenbrenner (Graz, 1868)
G. Grove: ‘Schubert, Franz’, Grove1; repr. in Beethoven, Schubert, Mendelssohn (London, 1951)
L. Herbeck: Johann Herbeck: ein Lebensbild (Vienna, 1885), 162ff
M. Friedlaender: Beiträge zur Biographie Franz Schuberts (Berlin, 1887, Leipzig, 1928, as Franz
Schubert: Skizze seines Lebens und Wirkens)
O.E. Deutsch: Schubert-Brevier (Berlin, 1905)
M. Vancsa: ‘Schubert und seine Verleger’, Jahresbericht des Schubertbundes Vienna, 1905, 47–
57
E. Mandyczewski: Geschichte der k.k. Gesellschaft der Musikfreunde, suppl. (Vienna, 1912)
F. Walker: ‘Schubert’s Last Illness’, MMR, 77 (1947), 232–5
M.J.E. Brown: Schubert: a Critical Biography (London, 1958/R; Ger. trans., 1969)
Page 310 of 321


M.J.E. Brown: ‘Schubert and Salieri’, MMR, 88 (1958), 211–19
F. Hüttenbrenner: ‘Anselm Hüttenbrenner und Schuberts H-moll Symphonie’, Zeitschrift des

Historischen Vereines für Steiermark, 102 (1961), 122–37
O.E. Deutsch: ‘Der “Mutwille” in Hütteldorf’, ÖMz, 20 (1965), 95–101
O.E. Deutsch: ‘Ein Scherzgedicht aus der Schubertkreis’, ÖMz, 21 (1966), 49–52
P. Ronge: ‘Franz Schubert: der Mensch, Geschwister, Vorfahren, Lebenslauf: ein Beitrag zur
Genealogie’, Genealogie, 26 (1967), 721–36; see also xviii (1969), 534–7
O.E. Deutsch: ‘Schubert und die Königin Hortense’, ÖMz, 28 (1973), 121–4
H. Osterheld: Franz Schubert: Schicksal und Persönlichkeit (Stuttgart, 1978)
O. Biba: ‘Schubert's Position in Viennese Musical Life’, 19CM, 3 (1979–80), 106–13
W. Dürr: ‘Schubert and Johann Michael Vogl: a Reapprasail’, 19CM, 3 (1979–80), 126–40
M. Solomon: ‘Schubert and Beethoven’, 19CM, 3 (1979–80), 114–25
E. Sams: ‘Schubert’s Illness Re-Examined’, MT, 121 (1980), 15–22
M. Solomon: ‘Franz Schubert's “My Dream”’, American Imago, 38 (1981), 137
H. Goldschmidt: ‘Schubert und kein Ende’, Beiträge zur Musikwissenschaft, 25 (1983), 288–92
W. Aderhold, W. Dürr and W. Litschauer, eds.: Franz Schubert: Jahre der Krise, 1818–1823:
Arnold Feil zum 60 Geburtstag (Kassel, 1985)
W. Dürr: ‘Der Linzer Schubert-Kreis und seine “Beiträge zur Bildung für Jünglinge”’,
Historisches Jb der Stadt Linz (1985), 51–9
C. Osborne: Schubert and his Vienna (New York, 1985)
E. Hilmar: Schubert and his Time (Portland, OR, 1988)
D.P. Schroeder: ‘Schubert the Singer’, MR, 49 (1988), 254–66
R. van Hoorickx: ‘Schubert: Further Discoveries since 1978’, MR, 100 (1989), 103–23
W. Litschauer: ‘Zu Fritz Lehners Schubert-Film Notturno’, Schubert durch die Brille, no.2
(1989), 26–9
M. Solomon: ‘Franz Schubert and the Peacocks of Benvenuto Cellini’, 19CM, 12 (1988–9), 193–
206
P. Gülke: Franz Schubert und seine Zeit (Laaber, 1991)
D. Gramit: ‘Schubert's “Bildender Umgang”’, Schubert durch die Brille, no.8 (1992), 5–21
D. Gramit: ‘Constructing a Victorian Schubert: Music, Biography, and Cultural Values’, 19CM, 17
(1993–4), 65–78
Page 311 of 321


K. Muxfeldt: ‘Political Crimes and Liberty, or, Why Would Schubert Eat a Peacock?’, 19CM, 17
(1993–4), 47–65
M. Solomon: ‘Schubert: some Consequences of Nostalgia’, 19CM, 17 (1993–4), 34–46
R. Steblin: ‘The Peacock's Tale: Schubert's Sexuality Reconsidered’, 19CM, 17 (1993–4), 5–33
R. Winter: ‘Whose Schubert?’, 19CM, 17 (1993–4), 94–101
E. Worgull: ‘Ein repräsentaives Jugendbildnis Schuberts’, Schubert durch die Brille, no.12
(1994), 54–89
H. Kiemle: ‘Woran starb Schubert eigentlich?’, Schubert durch die Brille, nos.16/17 (1996), 41–
51
E.N. McKay: Franz Schubert: a Biography (Oxford, 1996)
P. Clive: Schubert and his World: a Biographical Dictionary (Oxford, 1997)
B. Newbould: Schubert: the Music and the Man (London, 1997)
R. Steblin: ‘Schubert through the Kaleidescope: the “Unsinngesellschaft” and its Illustrious
Members’, ÖMz, 102 (1997), 52–61 [Schubert issue]
L. Feurzeig: ‘Heroines in Perversity: Marie Schmith, Animal Magnetism, and the Schubert
Circle’, 19CM, 21 (1997–8), 223
E. Badura-Skoda and others, eds.: Schubert und seine Freunde (Vienna, 1999)
H: Musical style
G. Abraham, ed.: Schubert: a Symposium (London, 1946/R)
M.J.E. Brown: Schubert’s Variations (London, 1954)
E.G. Porter: ‘Schubert’s Harmonies’, MR, 19 (1958), 20–26
E.N. McKay: ‘The Interpretation of Schubert’s Decrescendo and Accent Markings’, MR, 22
(1961), 108–11
F. Eibner: ‘The Dotted-Quaver-And-Semiquaver Figure with Triplet Accompaniment in the Works

of Schubert’, MR, 23 (1962), 281–4
K.P. Bernet Kempers: ‘Ganztonreihen bei Schubert’, Organicae voces: Festschrift Joseph Smits
van Waesberghe (Amsterdam, 1963), 7–10
M. Chusid: ‘Schubert’s Cyclic Compositions of 1824’, AcM, 36 (1964), 37–45
A. Feil: Studien zu Schuberts Rhythmik (Munich, 1966)
W. Riezler: Schuberts Instrumentalmusik (Zurich, 1967)
M. Boyd: ‘Schubert’s Short Cuts’, MR, 29 (1968), 12–21
Page 312 of 321


M.K. Whaples: ‘On Structural Integration in Schubert’s Instrumental Works’, AcM, 40 (1968),
186–95
R. Bruce: ‘The Lyrical Element in Schubert’s Instrumental Forms’, MR, 30 (1969), 131–7
H. Keller: ‘Schuberts Verhältnis zur Sonatenform’, Musa – mens – musici: im Gedenken an

Walther Vetter (Leipzig, 1969), 287–95
A. Whittall: ‘The Sonata Crisis: Schubert in 1828’, MR, 30 (1969), 124–30
E.T. Cone: ‘Schubert’s Beethoven’, MQ, 56 (1970), 779–93
M.J.E. Brown: ‘Schubert and some Folksongs’, ML, 53 (1972), 173–8
D. Coren: ‘Ambiguity in Schubert’s Recapitulations’, MQ, 60 (1974), 568–82
M.K. Whaples: ‘Style in Schubert’s Piano Music from 1817 to 1818’, MR, 35 (1974), 260–80
W.S. Newman: ‘Freedom of Tempo in Schubert’s Instrumental Music’, MQ, 61 (1975), 528–45
L.M. Griffel: ‘A Reappraisal of Schubert’s Methods of Composition’, MQ, 63 (1977), 186–210
W. Gray: ‘Schubert the Instrumental Composer’, MQ, 64 (1978), 483–94
J. Webster: ‘Schubert's Sonata Form and Brahms's First Maturity’, 19CM, 2 (1978–9), 18–35; iii
(1979–80), 52–71
E. Cone: ‘Schubert's Promissory Note: an Exercise in Musical Hermeneutics’, 19CM, 5 (1981–2),

233–41
E. Badura-Skoda and P. Branscombe: Schubert Studies: Problems of Style and Chronology

(Cambridge, 1982)
N. Temperley: ‘Schubert and Beethoven's Eight-Six Chord’, 19CM, 5 (1981–2), 142–54
D. Goldberger: ‘An Unexpted New Source for Schubert's A minor Sonata, D845’, 19CM, 6 (1982–
3), 3–12
A. Mann: ‘Schubert's Lesson with Sechter’, 19CM, 6 (1982–3), 159–65
E. Cone: ‘Schubert's Unfinished Business’, 19CM, 7 (1983–4), 222–32
W.M. Frisch, ed.: Schubert: Critical and Analytical Studies (Lincoln, NE, 1986)
J. Hinrichsen: ‘Die Sonatenform im Spätwerk Franz Schuberts’, AMw, 45 (1988), 16–49
E.W. Partsch, ed.: Franz Schubert: der Fortschrttliche? Analysen – Perspektiven – Fakten
(Tutzing, 1989)
W. Thomas: Schubert-Studien (Frankfurt, 1990)
V.K. Agawu: ‘Schubert's Sexuality: a Prescription for Analysis?’, 19CM, 17 (1993–4), 79–82
S. McClary: ‘Music and Sexuality: on the Steblin/Solomon Debate’, 19CM, 17 (1993–4), 83–8
Page 313 of 321


B. Newbould: ‘Beethoven, Schubert, Birds, and Scales’, The Beethoven Newsletter, nos.8–9
(1993–4)
J. Webster: ‘Music, Pathology, Sexuality, Beethoven, Schubert’, 19CM, 17 (1993–4), 89–93
S. McClary: ‘Constructions of Subjectivity in Schubert's Music’, Queering the Pitch (1994), 205–
33
W. Dürr: ‘The “Prince of Song”: a Critique of Old and New Schubert Clichés’, ÖMz, 52 (1997),
12–21 [Schubert issue]
W. Kinderman: ‘Wandering Archtypes in Schubert's Instrumental Music’, 19CM, 21 (1997), 208–

22
S. McClary: ‘The Impromptu that Trod on a Load: or How Music Tells Stories’, Narrative, 5
(1997), 20–35
R. Kramer: ‘The Hedgehog: of Fragments Finished and Unfinished’, 19CM, 21 (1997–8), 134–48
R. Cohn: ‘As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert’, 19CM,
22 (1998–9), 213–32
I: Orchestral works
R. Schumann: ‘Die 7. Symphonie von Franz Schubert’, NZM, 12 (1840), 81–3
J.F. Barnett: ‘Some Details concerning the Completion and Instrumentation of Schubert’s Sketch
Symphony … as Performed … May 5, 1883’, PMA, 17 (1890–91), 177–90
E. Laaff: Franz Schuberts Sinfonien (Wiesbaden, 1933)
O.E. Deutsch: ‘The Riddle of Schubert’s Unfinished Symphony’, MR, 1 (1940), 36–53
O.E. Deutsch: ‘The Discovery of Schubert’s C major Symphony’, MQ, 38 (1952), 528–32
A. Carse: ‘Editing Schubert’s Unfinished Symphony’, MT, 95 (1954), 143–5
J. Reed: ‘The “Gastein” Symphony Reconsidered’, ML, 40 (1959), 341–9
M.J.E. Brown: ‘Schubert’s Italian Overtures’, MR, 26 (1965), 303–7
S. Kunze: Franz Schubert: Sinfonie h-moll: Unvollendete (Munich, 1965)
M.J.E. Brown: Schubert Symphonies (London, 1970)
G. Abraham: ‘Finishing the Unfinished’, MT, 112 (1971), 547–8
J. Reed: ‘How the “Great” C major was written’, ML, 56 (1975), 18–25
J. Rifkin: ‘A Note on Schubert's Great C-Major Symphony’, 19CM, 6 (1982–3), 13–16
H. Goldschmidt and R. Winter: ‘The Continuing Schubert Controversy’, 19CM, 9 (1985–6), 70–77
B. Newbould: Schubert and the Symphony: a New Perspective (London, 1992)
Page 314 of 321


B. Newbould: ‘Schubert: Symphony in E “1825”’, MT, 84 (1993), 280 only
D. Jacobson: ‘Schubert's D.936A: Eine sinfonische Hommage an Beethoven?’, Schubert durch die
Brille, no.15 (1995), 113–26
B. Newbould: ‘Schuberts D.936A: Eine sinfonische Hommage an sich selbst?’, Schubert durch
die Brille, nos.16/17 (1996), 123–9
M. Solomon: ‘Schubert's “Unfinished” Symphony’, 19CM, 21 (1997–8), 111–33
J: Chamber works
O.E. Deutsch: ‘The Chronology of Schubert’s String Quartets’, ML, 24 (1943), 25–30
H.-M. Sachse: Franz Schuberts Streichquartette (Munich, 1958)
M. Chusid: The Chamber Music of Franz Schubert (diss., U. of California, Berkeley, 1961)
A.A. Abert: ‘Rhythmus und Klang in Schuberts Streichquintett’, Festschrift Karl Gustav Fellerer
zum sechzigsten Geburtstag, ed. H. Hüschen (Regensburg, 1962/R), 1–11
J.A. Westrup: Schubert Chamber Music (London, 1969)
K. Marx: ‘Einige Anmerkungen zu Schuberts “Forellenquintett” und Oktet’, NZM, Jg.132 (1971),
588–92
M. Chusid: ‘Das “Orchestermässige” in Schuberts früher Streicherkammermusik’, Zur

Aufführungspraxis der Werke Franz Schuberts: Vienna 1974, 77–86
J. Gillett: ‘The Problem of Schubert’s G major String Quartet (D.887)’, MR, 35 (1974), 281–92
R. van Hoorickx: ‘Schubert’s Guitar Quartet’, RBM, 31 (1977), 111–35
M. Willfort: ‘Das Urbild des Andante aus Schuberts Klaviertrio Es-dur D.929’, ÖMz, 33 (1978),
277–83
P. McCreless: ‘A Candidate for the Canon? a New Look at Schubert's Fantasie in C Major for
Violin and Piano’, 19CM, 20 (1996–7), 205–30
K: Piano works
H. Költzsch: Franz Schubert in seinen Klaviersonaten (Leipzig, 1927/R)
H. Truscott: ‘Schubert’s Unfinished Sonata in C major’, MR, 28 (1957), 114–37
P. Mies: ‘Die Entwürfe Franz Schuberts zu den letzten drei Klaviersonaten von 1828’, BMw, 2/3
(1960), 52–68
P. Badura-Skoda: ‘Unbekannter Eigenschriften bekannter Schubert-Werke’, NZM, Jg.122 (1961),

502–10 [4 impromptus D935]
A. Brendel: ‘Die beiden Versionen von Schuberts ‘Wanderer-Fantasie’’, ÖMz, 17 (1962), 56–60
Page 315 of 321


M.J.E. Brown: ‘Schubert: Three Dance-music Manuscripts’, Festschrift Otto Erich Deutsch, ed.
W. Gerstenberg, J. LaRue and W. Rehm (Kassel, 1963), 226–31
P. Radcliffe: Schubert Piano Sonatas (London, 1967)
F. Bisogni: ‘Rilievi filologici sulle sonate giovanili di Franz Schubert (1815–17)’, NRMI, 2 (1968),
453–72
R. van Hoorickx: ‘A Schubert Autograph at the Brussels Conservatoire’, RBM, 22 (1968), 109–11
[6 Polonaises op.61, D824]
M. Hughes, L. Moss and C. Schachter: ‘Analysis Symposium’, JMT, 12 (1968), 184–239; see also
JMT, xiii (1969), 128–39, 218–29 [Moment musical op.94 no.1 D780]
A. Tyson: ‘Schubert and Terpsichore ’, MT, 109 (1968), 812 only
D.A. Weekley: The One-Piano, Four-Hand Compositions of Franz Schubert: an Historical and
Interpretative Analysis (diss., Indiana U., 1968)
R. van Hoorickx: ‘Franz Schubert (1797–1828): List of the Dances in Chronological order’, RBM,
25 (1971), 68–97
K. Stekl: ‘Zwei wiederaufgefundene Schubert-Ländler’, Steirische Sängerzeitung, 41 (1971), 1

only [ D679]
J.P. Vogel: ‘Die “Grazer Fantasie” von Franz Schubert’, Mf, 24 (1971), 168–74
K.M. Komma: ‘Franz Schuberts Klaviersonate a-moll op.posth.164 (D537)’, Zeitschrift für
Musiktheorie, 3/2 (1972), 2–14
K. Musiol: ‘“Sieben leichte Variationen in G-Dur”, ein verschollenes Jugendwerk von Franz
Schubert’, Mf, 28 (1975), 202–8
F. Bisogni: ‘Rilievi filologici sulle sonate della maturità di Franz Schubert (1817–1828)’, RIM, 11
(1976), 71–105
W. Dürr: ‘“Sieben leichte Variationen in G” – von Schubert?’, Mf, 29 (1976), 175–7
E. Sams: ‘Schubert’s Piano Duets’, MT, 117 (1976), 120–21
S. McClary: ‘Pitches, Expression, Ideology: an Exercise in Mediation’, Enclitic, 7/1 (1983), 76–86
W. Litschauer: ‘Unbekannte Dokumente zum Tanz in Schuberts Freundeskreis’, Studien zur

Musikwissenschaft, 42 (1993), 243–9
W. Litschauer and W. Deutsch: Schubert und das Tanzvergnügen seiner Zeit (Vienna, 1997)
W. Litschauer: ‘On the Performance Practice of Schubert's Dances’, ÖMz, 52 (1997), 42–51
[Schubert issue]
P. Brett: ‘Piano Four-Hands: Schubert and the Performance of Gay Male Desire’, 19CM, 21
(1997–8), 149–76
Page 316 of 321


L: Sacred works
O. Wissig: Franz Schuberts Messen (Leipzig, 1909)
M.J.E. Brown: ‘Schubert’s Settings of the “Salve regina”’, ML, 37 (1956), 234–49
R. van Hoorickx: ‘Schubert’s “Pastoral” Mass’, ML, 42 (1961), 53–5
R.S. Stringham: The Masses of Franz Schubert (diss., Cornell U., 1964)
F. Burkhart: ‘Franz Schuberts ‘Deutsche Messe’’, ÖMz, 31 (1976), 565–73
R. van Hoorickx: ‘Schubert and the Bible’, MT, 119 (1978), 953–5
W. Dürr: ‘Dona nobis pacem: Gedanken zu Schuberts späten Messen’, Bachiana et alia
musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 62–74
H. Jaskulsky: Die lateinischen Messen Franz Schuberts (Mainz, 1986)
P. Badura-Skoda: ‘Schuberts korrumpierte Messtexte: Absicht oder Versehen?’, Das Orchester,

38 (1990), 131–4
E. Benedikt: ‘Memoranda on Schubert's Masses: on the Date of the First Performance of the
Mass in F Major (d105)’, ÖMz, 52 (1997), 64–9 [Schubert issue]
M: Stage works
F. Liszt: ‘Schubert's “Alfonso und Estrell”’, Gesammelte Schriften, ed. L. Ramann, 3/1 (Leipzig,
1881/R), 68–78
M.J.E. Brown: ‘Schubert’s Two Major Operas’, MR, 20 (1959), 104–18
E.N. McKay: The Stage-works of Schubert, considered in the Framework of Austrian

Biedermeier Society (diss., U. of Oxford, 1962–3)
E.N. McKay: ‘Schubert’s Music for the Theatre’, PRMA, 93 (1966–7), 51–66
M.J.E. Brown: ‘Schubert’s Fierrabras ’, MT, 112 (1971), 338–9
M.J. Citron: Schubert’s Seven Complete Operas: a Musico-dramatic Study (diss., U. of North
Carolina, 1971)
W. Szmolyan: ‘Schubert als Opernkomponist’, ÖMz, 26 (1971), 282–9
G.R. Cunningham: Franz Schubert als Theaterkomponist (diss., U. of Freiburg, 1974)
P. Branscombe: ‘Schubert and his Librettists – 1’, MT, 119 (1978), 943–7
T.G. Waidelich: ‘Einige Korrekturen zu Alfonso und Estrella ’, Schubert durch die Brille, no.5
(1990), 31 only
T.G. Waidelich: Franz Schubert: Alfonso und Estrella: eine frühe durchkomponierte Deutsche
Oper: Geschichte und Analyse (Tutzing, 1991)
Page 317 of 321


E.N. McKay: Franz Schubert’s Music for the Theatre (Tutzing, 1991)
N: Choral works
V. Keldorfer: ‘Schuberts Chorschaffen’, ÖMz, 13 (1958), 257–61
P. Mies: ‘Interessantes Schubertfragment aufgefunden: “Die Allmacht” für gemischten Chor’,

Lied und Chor, 51 (1959), 139
A. Niemeyer: ‘Franz Schuberts “Lazarus”-Fragment und seine Beziehung zur Textdichtung’,

GfMKB: Leipzig 1966, 300–5
R. van Hoorickx: ‘Schuberts Trio “Die Advokaten”’, RBM, 25 (1971), 46–52
A. Weinmann: ‘Eine österreichische Volkshymne von Franz Schubert’, ÖMz, 27 (1972), 430–34
O: Songs
O.E. Deutsch: Die Originalausgaben von Schuberts Goethe-Liedern (Vienna, 1926)
R. Capell: Schubert’s Songs (London, 1928/R, rev. 3/1973 by M. Cooper)
P. Mies: Schubert, der Meister des Liedes (Berlin, 1928)
E. Schnapper: Die Gesänge des jungen Schubert vor dem Durchbruch des romantischen
Liedprinzipes (Berne and Leipzig, 1937)
H. Haas: Über die Bedeutung der Harmonik in den Liedern Franz Schuberts (Bonn, 1957)
M.J.E. Brown: ‘Schubert’s “Wilhelm Meister”’, MMR, 88 (1958), 4–12
J. Kramarz: Das Rezitativ im Liedschaffen Franz Schuberts (diss., Free U. of Berlin, 1959)
E.G. Porter: Schubert’s Song-Technique (London, 1961)
J. Kerman: ‘A Romantic Detail in Schubert’s Schwanengesang ’, MQ, 48 (1962), 36–49
V. Levi: ‘Le arie e ariette di Schubert su testo italiano’, SMw, 25 (1962), 307–14
J.M. Stein: ‘Schubert’s Heine Songs’, Journal of Aesthetics and Art Criticism, 24 (1966), 559–66
M.J.E. Brown: Schubert Songs (London, 1967)
T.G. Georgiades: Schubert: Musik und Lyrik (Göttingen, 1967)
M.J.E. Brown: ‘The Therese Grob Collection of Songs by Schubert’, ML, xlix (1968), 122–34
R. van Hoorickx: ‘Notes on a Collection of Schubert Songs copied from Early Manuscripts
around 1821–5’, RBM, 22 (1968), 86–101
J.P. Larsen: ‘Zu Schuberts Vertonung des Liedes Nur wer die Sehnsucht kennt ’, Musa – mens –
musici: im Gedenken an Walther Vetter (Leipzig, 1969), 277–81
Page 318 of 321


E. Schwarmath-Tarján: Musikalischer Bau und Sprachvertonung in Schuberts Liedern (Tutzing,
1969)
D.B. Greene: ‘Schubert’s Winterreise: A Study in the Aesthetics of Mixed Media’, Journal of
Aesthetics and Art Criticism, 29 (1970–71), 181–93
E. Brody and R. A. Fowkes: The German Lied and its Poetry (New York, 1971)
D. Fischer-Dieskau: Auf den Spuren der Schubert-Lieder: Werden, Wesen, Wirkung (Wiesbaden,
1971; Eng trans., 1976)
W. Gray: ‘The Classical Nature of Schubert’s Lieder’, MQ, lvii (1971), 62–72
W. Gerstenberg: ‘Der Rahmen der Tonalität im Liede Schuberts’, Musicae scientiae collectanea:
Festschrift Karl Gustav Fellerer, ed. H. Hüschen (Cologne, 1973), 147–55
B. Kinsey: ‘Schubert and the Poems of Ossian’, MR, 24 (1973), 22–9
H. Lowen Marshall: ‘Symbolism in Schubert’s Winterreise ’, Studies in Romanticism, 12 (1973),

607–32
J.H. Thomas: ‘Schubert’s Modified Strophic Songs with Particular Reference to Schwanengesang
’, MR, 24 (1973), 83–99
J. Armitage-Smith: ‘Schubert’s Winterreise, Part I: the Sources of the Musical Text’, MQ, 60
(1974), 20–36
M. Flothuis: ‘Franz Schubert’s Compositions to Poems from Goethe’s Wilhelm Meisters

Lehrjahre ’, Notes on Notes: Selected Essays (Buren, 1974), 87–138
M. and L. Schochow eds.: Franz Schubert: die Texte seiner einstimmig komponierten Lieder and
ihre Dichter (Hildesheim and New York, 1974)
J. Chailley: Le voyage d’hiver de Schubert (Paris, 1975)
A. Feil: Franz Schubert: Die schöne Müllerin, Winterreise (Stuttgart, 1975; Eng. trans., 1988)
G. Moore: The Schubert Song Cycles (London, 1975; Ger. trans., 1975 as Schuberts
Liederzyklen)
E. Sams: ‘Notes on a Magic Flute: the Origins of the Schubertian Lied’, MT, 119 (1978), 947–9
R. Kramer: ‘Schubert's Heine’, 19CM, 8 (1984–5), 213–25
J. Reed: The Schubert Song Companion (Manchester, 1985)
R. Wigmore, trans.: Schubert: the Complete Song Texts (London, 1988)
D. Stein: ‘Schubert's Erlkönig: Motivic Parallelism and Motivic Transformation’, 19CM, 8 (1989–
90), 145–58
E. Buddle: ‘Marginalien zu Schuberts Winterreise’, ÖMz, 45 (1990), 673–9
S. Youens: Retracing a Winter’s Journey: Schubert’s Winterreise (Ithaca, NY, 1991)
Page 319 of 321


S. Youens: Schubert: Die schöne Müllerin (Cambridge, 1992)
L. Kramer: ‘Performance and Social Meaning in the Lied: Schubert's Erster Verlust’, CMc, no.56
(1994), 5–23
R. Kramer: Distant Cycles: Schubert and the Conceiving of Song (Chicago, 1994)
R. Steblin: ‘Wilhelm Müllers Aufenthalt in Wien im Jahre 1817: eine Verbindung zu Schubert
durch Schlechta’, Vom Pasqualatihaus: Musikwissenschaftliche Perspektiven aus Wien, no.4
(1994), 19–26
C. Gibbs: ‘“Komm, geh” mit mir: Schubert's Uncanny Erlkönig’, 19CM, 19 (1995–6), 115–35
S. Youens: Schubert’s Poets and the Making of Lieder (Cambridge, 1996)
L. Litterick: ‘Recycling Schubert: on Reading Richard Kramer's “Distant Cycles: Schubert and
the Conceiving of Song”’, 19CM, 20 (1996–7), 77–95
S. Youens: ‘Of Dwarves, Perversion, and Patriotism: Schubert's Der Zwerg, D771’, 19CM, 21
(1997–8), 177–207
P: General studies
R. Schumann: Gesammelte Schriften über Musik und Musiker (Leipzig, 1854/R, rev. 5/1914/R by
M. Krersig; Eng. trans., 1877–80; new Eng. trans., 1946/R [selection])
H. Kreissle von Hellborn: Franz Schubert (Vienna, 1865; Eng. trans., 1869)
A. Reissmann: Franz Schubert: sein Leben and seine Werke (Berlin, 1873)
H.F. Frost: Franz Schubert (London, 1881, 2/1923)
A. Dvořák: ‘Franz Schubert’, Century Magazine, 48 (1894), 341–6
R. Heuberger: Franz Schubert (Berlin, 1902, rev. 3/1920 by H. von der Pforten)
O. Bie: Franz Schubert: sein Leben und sein Werk (Berlin, 1925; Eng. trans., 1928)
D.F. Tovey: ‘Franz Schubert’, The Heritage of Music, ed. H.J. Foss, 1 (London, 1927/R), 82–122
P. Stefan: Franz Schubert (Berlin, 1928)
B. Paumgartner: Franz Schubert (Zurich, 1943, 4/1974)
A. Hutchings: Schubert (London, 1945, 4/1973)
A. Einstein: Schubert (London, 1951/R1971; Ger. orig., 1952)
W. Vetter: Der Klassiker Schubert (Leipzig, 1953)
P. Mies: Franz Schubert (Leipzig, 1954)
H. Gál: Franz Schubert, oder Die Melodie (Frankfurt, 1970, 2/1992); Eng. trans., London, 1974,
as Franz Schubert and the Essence of Melody)
Page 320 of 321


M.J.E. Brown: Essays on Schubert (London, 1966/R)
J. Reed: Schubert: the Final Years (London, 1972)
R. van Hoorickx: ‘Schubert’s Reminiscences of his Own Works’, MQ, 60 (1974), 373–88
O. Brusatti, ed.: Schubert Congress: Vienna 1978
W. Dürr and A. Krause, eds.: Schubert Handbuch (Kassel, 1997)
R. Erickson, ed.: Schubert’s Vienna (New Haven, CT, 1997)
C. Gibbs: The Cambridge Companion to Schubert (Cambridge, 1997)
J. Horowitz: ‘Schubert at 200’, American Scholar, 66 (1997), 419–22

See also from The New Grove Dictionary of Opera: Alfonso und Estrella; Fierrabras; Verschworenen,
Die; and Zwillingsbrüder, Die.
More on this topic

Schubert, Franz (opera) <http://oxfordmusiconline.com/grovemusic/view/10.1093/gmo/
9781561592630.001.0001/omo-9781561592630-e-5000009229> in Oxford Music Online <http://
oxfordmusiconline.com>
Page 321 of 321


#Schubert New Grove

Uploaded by

Copyright:

Available Formats

You might also like

#Schubert New Grove

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

#Schubert New Grove

Uploaded by

Copyright:

Available Formats

Schubert, Franz ( Peter )

Maurice J.E. Brown, Eric Sams and Robert Winter

(i) Background and childhood.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(ii) The adolescent composer.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(iii) Finding a career.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(iv) The miracle years.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Hüttenbrenner offered a memorable portrait of Schubert at 18:

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(vii) The professional composer.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(ix) Despair and resolve.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(x) Respite: the summer of 1825.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(xi) Return to reality.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(xii) Beginnings and the end (1828).

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Schubert's death mask, in the Curtis Institute of Music, Philadelphia

The Curtis Institute of Music

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(xiii) Schubert's character and the reception of his works.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(iii) Sacred music.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(iv) Dramatic music.

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

Subscriber: The Incorporated Society of Musicians; date: 24 November 2019

(v) Piano music.