List of compositions by Franz Schubert
Lists of |
Compositions by Franz Schubert |
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By genre |
Publications |
Franz Schubert (31 January 1797 – 19 November 1828), a Viennese composer of the late Classical to early Romantic eras, left a very extensive body of work notwithstanding his short life. He wrote over 1,500 items, or, when collections, cycles and variants are grouped, some thousand compositions. The largest group are his over six hundred Lieder for solo voice and piano. He composed nearly as many piano pieces, and further some 150 part songs, some 40 liturgical compositions (including several masses) and around 20 stage works like operas and incidental music. His orchestral output includes thirteen symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.[1][2][3][4][5][6]
Otto Erich Deutsch compiled the first comprehensive catalogue of Schubert's works and published it in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order.[7] A revised edition appeared in German in 1978.[8] Later editions of the catalogue contained minor updates.[9]
Publication of Schubert's compositions started during his lifetime, by opus number. After the composer's death, posthumous opus numbers continued to be assigned to new publications of his work until 1867 (Op. post. 173). Meanwhile, publications without opus number had also started. For instance, from shortly after the composer's death, the many songs in Diabelli's fifty Nachlaß-Lieferung (installment from the heritage) editions.[7]
There are two attempts to publish everything Schubert has composed in a single edition:
- From 1884 to 1897 Breitkopf & Härtel published twenty-two series of Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe, known as the Alte Gesamt-Ausgabe (AGA, the former complete edition). From 1965 Dover Publications started to reprint this edition, and later it was made available at the IMSLP website.[10]
- The Neue Schubert-Ausgabe (NSA), also known as the New Schubert Edition (NSE), is published by Bärenreiter (Kassel).[11] Plans for this edition began as early as 1963, with the foundation of the International Schubert Society, headquartered at the University of Tübingen, Germany.[12] 81 of the edition's projected 101 volumes were published by early May 2015, and it is scheduled to conclude in 2027.[13]
Websites such as Schubert Online (schubert-online.at) provide facsimiles (scans) of Schubert's autographs and of other manuscripts and early editions of his work.[14] Texts of Schubert's vocal music can be published without the music, for instance his Lieder (songs) at the LiederNet Archive website.[15]
Works listed in the Deutsch catalogue
[edit]The 1951 first edition of the Deutsch catalogue attempted to list all dated works by Schubert in chronological order, assigning them a number from 1 to 965. Undated works were ordered in the range 966–992. Nos. 993–998 referred to manuscripts that had resurfaced shortly before the catalogue was printed.[7]
Later versions of the catalogue adhered to the general principles that Deutsch numbers below 966 referred, in a chronological order, to compositions by Schubert with an established time of composition, and that the range 966–992 was reserved for his compositions with an uncertain date of composition. Thus "Die Taubenpost", the last Lied Schubert composed, was reassigned from D 957 No. 14 to D 965A, and D 993, an early piano composition, to D 2E.[8]
- Spurious and doubtful works (Anh. I)
- Annex I of the first edition of the catalogue contains only a single composition under the header Spurious and doubtful works, but however also points to some compositions with authentication issues elsewhere in the catalogue.[7] The 1978 edition of the catalogue lists 32 spurious and doubtful works in its first Anhang (annex), including some that were for that reason removed from the main catalogue.[8]
- Arrangements by Schubert (Anh. II)
- The 1978 version of the catalogue lists 4 arrangements by Schubert in its second Anhang[8]
- Works of others composers copied by Schubert (Anh. III)
- Annex II in the first edition of the catalogue contains compositions by other composers copied by Schubert.[7] In the 1978 edition the list was expanded and became Anhang III.[8]
- "Setting" vs. "version" distinction
- the New Schubert Edition distinguishes between Bearbeitung (setting) and Fassung (version), the first meaning an independent composition, the second stages of the same composition (modifications of essentially the same composition). Usually different settings have different D numbers, while versions are grouped under the same D number, unless when set for a different (group of) performer(s). The first edition of the Deutsch catalogue was less strict on that point, leading to Deutsch number reassignments in later publications. Example: D 174 is described as two settings of the same text in the original catalogue, the second having become "D deest" by the time it was published in Series IV, Volume 8 of the New Schubert Edition (while the music has no resemblance to the earlier setting). On the other hand, despite a difference in key and number of movements, the original D 567 and D 568 were ultimately published under the same D number as two versions of the same sonata.[7][8][11][9]
Legend
[edit]column | content | |
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1 | D '51 | Deutsch number in the first version of the Deutsch catalogue (1951)[7] |
2 | D utd | most recent (utd = up to date) Deutsch catalogue number;[9] the basic collation of the list is according to these numbers – whether or not the possibility to adjust the sorting according to the content of other columns is available depends on the device with which the table is displayed. |
3 | Op. pbl | Opus number (Op.; p indicates Post. = posthumous) and date of first publication (pbl; between brackets; when there is more than one date the earlier dates indicate partial publications). The column sorts to Opus number, then (earliest of) the publication date(s) |
4 | AGA | Alte Gesamt-Ausgabe = Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe. Indicates genre/instrumentation:[10]
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5 | NSA | NGA/NSA/NSE = New Schubert Edition, also indicates genre/instrumentation:[11]
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6 | Name | unique name, with, if available, a link to the relevant encyclopedia article; sorts by name with initial definite ("Der", "Die", "Das", ...) or indefinite ("Ein", "A", ...) articles, and numbers, moved after the expression they qualify: e.g. "Die Hoffnung, ..." sorts as "Hoffnung, Die, ..." – "Thirty Minuets ..." sorts as "Minuets, 30, ...". |
7 | Key / incipit | incipit mostly for songs[16] (linking to lyrics and their translation, for instance at The LiederNet Archive, when available),[15] other compositions by key, except for Schubert's stage works: type of composition in brackets. |
8 | Date | (presumed) date of composition, or, for copies and arrangements, date of Schubert's autograph. Sorts to earliest possible date of completion, unlike the chronology of the Deutsch catalogue that generally collates according to earliest date associated with the composition: e.g. Schubert started the composition of his 3rd String Quartet on 19 November 1812 and completed it on 21 February 1813 – in the Deutsch catalogue the composition is grouped with other compositions from 1812: when using the sort function of the 8th column the composition is grouped with compositions completed in 1813 |
9 | Additional info | may include:
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Table
[edit]D '51 | D utd | Op. pbl | AGA | NSA | Name | Key / incipit | Date | Additional info |
---|---|---|---|---|---|---|---|---|
1–1C | | 1810 | Up ↑ | |||||
1 | 1 | (1888) | IX, 3 No. 30 | VII/1, 1 No. 1 & Anh. No. 1 | Fantasy, D 1 | G major | 8/4/1810– 1/5/1810 | For piano duet; Two versions of Finale |
1A | (1969) | IV, 6 Anh. No. 1 | Song, D 1A | C minor | before 1810? | For b and piano; Sketch; Music partly reused in D 39 | ||
1B | VII/1, 1 Anh. No. 2 | Fantasy, D 1B | G major | 1810–1811 | For piano duet; Fragment; Music related to D 1 and 7 | |||
1C | VII/1, 1 Anh. No. 3 | Sonata, D 1C | F major | 1810–1811 | For piano duet; Largo (fragment) | |||
2–12 | | 1811 | Up ↑ | |||||
996 | 2A | V, 6 No. 1 | Overture, D 2A | D major | 1811? | For orchestra | ||
997 | 2B | V, 6 No. 2 | Symphony, D 2B | D major | 1811? | Adagio, Allegro con moto (fragment) | ||
998 | 2C | (1978) | VI, 3 Anh. No. 1 | String Quartet, D 2C | D minor or F major | 1811? | Fragment | |
995 | 2D | (1956) (1970) | VI, 9 | Six Minuets, D 2D | Various keys | 1811 | For winds; Nos. 1–2: piano version publ. in 1956; Nos. 4-6: sketches | |
993 | 2E | VII/2, 4 | Fantasy, D 2E | C minor | 1811 | For piano | ||
2F | VI, 9 | Trio, D 2F | 1811 | For winds?; Sketch; Belongs to a lost Minuet | ||||
2G | V, 6 No. 3 | Overture, D 2G | D major | 1810–1811? | For orchestra; Fragment | |||
3 | 3 | (1978) | VI, 3 Anh. No. 2 | String Quartet, D 3 | C major | 1812? | Andante (fragment); Partly reused in D 29 and in an early sketch of D 36 | |
4 | 4 | (1886) | II No. 1 | V, 5 | Overture to the play Der Teufel als Hydraulicus | (Overture to a comedy with singing) D major | 1812? | For orchestra; Play by Albrecht (plot similar to Weidmann 's Der Bettelstudent) |
5 | 5 | (1894) | XX, 1 No. 1 | IV, 6 No. 1 | Hagars Klage | Hier am Hügel heißen Sandes | 30/03/1811 | Text by Schücking ; Music partly reused in D 8 and 9 |
6 | 6 | (1894) | XX, 1 No. 2 | IV, 3 | Des Mädchens Klage, D 6 | Der Eichwald brauset | 1811–1812 | Text by Schiller, from Wallenstein: Die Piccolomini III, 7 (other settings: D 191 and 389) |
7 | 7 | (1894) | XX, 1 No. 3 | IV, 6 No. 2 | Leichenfantasie | Mit erstorbnem Scheinen | 1811? | Text by Schiller; reuses music of D 1B |
8 | 8 | (1970) | VI, 2 No. 1 | Overture, D 8 | C minor | 29/6/1811 | For string quintet (two violins, two violas and cello); Music reappears in D 8A | |
8A | (1970) | VI, 3 No. 3 | Overture, D 8A | C minor | After 12/7/1811 | For string quartet; Based on D 8 | ||
9 | 9 | (1888) | IX, 3 No. 31 | VII/1, 1 No. 2 | Fantasy, D 9 | G minor | 20/9/1811 | For piano duet |
10 | 10 | (1894) | XX, 1 No. 4 | IV, 6 No. 3 | Der Vatermörder | Ein Vater starb von des Sohnes Hand | 26/12/1811 | Text by Pfeffel |
11 966 | 11 | (1893) (1897) | XV, 7 No. 12 XXI, 1 No.1 | II, 11 | Der Spiegelritter | (Singspiel in three acts) | December 1811? | Text by Kotzebue; For ssssstttbbbbSATB and orchestra; Overture (publ. in 1897) – Nos. 1–8 (Act I, Nos. 2–3 and 8 are fragments, No. 3 not in AGA, part of No. 3 was D 966) |
12 | 12 | (1897) | XXI, 1 No. 2 | V, 5 | Overture, D 12 | D major | 1811–1812 | For orchestra; Music partly reused in D 94 |
13–37 | | 1812 | Up ↑ | |||||
13 | 13 | VII/2, 4 | Fugue, D 13 | D minor | c. 1812 | For piano?; By Schubert? | ||
14 | 14 | Overture, D 14 | c. 1812 | Piano sketch; Lost | ||||
15 | 15 | (1895) | XX, 10 No. 590/1 | IV, 7 Anh. No. 5 | Der Geistertanz, D 15 | Die bretterne Kammer der Toten erbebt | c. 1812 | Text by Matthisson (other settings: D 15A, 116 and 494); Fragment |
15 | 15A | (1895) | XX, 10 No. 590/2 | IV, 7 Anh. No. 6 | Der Geistertanz, D 15A | Die bretterne Kammer der Toten erbebt | c. 1812 | Text by Matthisson (other settings: D 15, 116 and 494); Fragment |
16 | 16 | (1940) | VIII, 2 No. 11 | Counterpoint exercises, D 16 | G minor (Nos. 1–4); A minor (Nos. 5–7) | 1823? | Seven exercises in double counterpoint | |
17 | 17 | (1940) | VIII, 2 No. 37 | Composition exercises, D 17 | Quell' innocente figlio | 1812? | Text by Metastasio, from Isacco I, "Aria dell' Angelo"; Nine settings with corrections by Salieri; No. 1, for s, related to D 30; No. 2 for ss; Nos. 3 and 5–6 for sat; Nos. 4 and 7–8 for satb (No. 7 not in 1940 publ.) | |
18 | 18 | (1890) | V No. 1 | VI, 3 No. 1 | String Quartet No. 1 | G minor / B major | 1810–1811 | Andante, Presto vivace – Minuet – Andante – Presto |
19 | 19 | String Quartet, D 19 | 1810–1811 | Lost | ||||
19A | 19A | String Quartet, D 19A | 1810–1811 | Lost | ||||
19B | Waltzes and a March, D 19B | 1812–1813? | For piano; Lost | |||||
20 | 20 | Overture, D 20 | B♭ major | 1812 | For string quartet; Lost | |||
21 | 21 | Six Variations, D 21 | E♭ major | 1812 | For piano; Lost | |||
22 | 22 | Twelve Minuets with Trios, D 22 | 1812 | For piano; Lost | ||||
23 | 23 | 131p,3 (1830) | XX, 1 No. 6 | IV, 6 No. 4 | Klaglied | Meine Ruh ist dahin, meine Freud ist entflohn | 1812 | Text by Rochlitz |
24 | 24 | Seven Variations, D 24 | F major | 1812? | For piano; Fragment; Lost | |||
24A | VII/2, 4 | Fugue, D 24A | C major | summer 1812? | For keyboard (organ or piano); Partly reused in D 24E | |||
24B | VII/2, 4 | Fugue, D 24B | G major | summer 1812? | For keyboard (organ or piano); Two versions | |||
24C | VII/2, 4 | Fugue, D 24C | D minor | summer 1812? | For keyboard (organ or piano) | |||
24D | VII/2, 4 Anh. | Fugue, D 24D | C major | summer 1812? | For piano; Fragment; Partly reused in D 46 | |||
24E | I, 5 Anh. | Mass, D 24E | F major? Gloria – Credo | summer 1812? | Text: Mass ordinary (other settings: D 31, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB and orchestra; Fragment of a Gloria and a Credo; Partly based on D 24A | |||
25 | 25 | VIII, 2 | Counterpoint exercises, D 25 | started 18/6/1812 | Four 2-part and three 3-part counterpoint exercises; Four 2-part imitation exercises | |||
25A | VIII, 2 | Counterpoint exercises, D 25A | summer 1812? | Two 4-part counterpoint exercises | ||||
25B | VIII, 2 | Counterpoint exercises, D 25B | summer 1812? | Fifteen 3-part counterpoint exercises | ||||
25C | VIII, 2 | Fugue, D 25C | F major | summer 1812? | Counterpoint exercise for two voices; Fragment | |||
26 | 26 | (1886) | II No. 2 | V, 5 | Overture, D 26 | D major | 26/6/1812 | For orchestra |
27 | 27 | (1928) | I, 8 | Salve Regina, D 27 | F major Salve Regina | 28/06/1812 | Text: Salve Regina (other settings: D 106, 223, 386, 676 and 811); For s and orchestra | |
28 | 28 | (1923) | VI, 7 No. 1 | Piano Trio, D 28, a.k.a. Sonata | B♭ major | 27/7/1812– 28/8/1812 | Allegro | |
29 | 29 | (1888) | XI No. 9 | VII/2, 4 | Andante, D 29 | C major | 9/9/1812 | For piano; Related to D 3 and 36 |
30 | 30 | (1894) | XX, 1 No. 5 | IV, 4 | Der Jüngling am Bache, D 30 | An der Quelle saß der Knabe | 24/9/1812 | Text by Schiller (other settings: D 192 and 638) |
31 | 31 | (1888) | XIV No. 14 | I, 5 | Kyrie, D 31 | D minor Kyrie | 25/9/1812 | Text: Mass ordinary (other settings: D 24E, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For stSATB and orchestra; First part of a Mass |
32 | 32 | (1890) (1897) (1954) | V No. 2 XXII v5 | VI, 3 No. 4 | String Quartet No. 2 | C major | Sep.–Oct. 1812 | Presto (publ. in 1890) – Andante – Minuet (publ. in 1890, music partly reappears in D 128 No. 12) – Allegro con spirito (publ. partly in 1897) |
33 | 33 | (1940) | VIII, 2 No. 38 | Composition exercises, D 33 | Entra l'uomo allor che nasce | Sep.–Oct. 1812 | Text by Metastasio, from Isacco II, "Aria di Abramo"; Six settings (No. 1 for s, Nos. 2 for sa, No. 3 for sat, Nos. 4–6 for satb) and an Allegretto (b?), with corrections by Salieri | |
34 | 34 | (1940) | VIII, 2 No. 39 | Composition exercises, D 34 | Te solo adoro | 5/11/1812 | Text by Metastasio, from Betulia liberata II, "Aria di Achior"; For satb; Two versions of start; With corrections by Salieri | |
35 | 35 | (1940) | VIII, 2 No. 40 | Composition exercises, D 35 | Serbate, o Dei custodi | Oct.–Dec. 1812 | Text by Metastasio, from La clemenza di Tito I, 5; Three settings (No. 1 for satb, No. 2 for SATB, No. 3 for t and accompaniment); With corrections by Salieri | |
36 | 36 | (1890) | V No. 3 | VI, 3 No. 5 | String Quartet No. 3 | B♭ major | 19/11/1812– 21/2/1813 | Allegro – Andante – Minuet – Allegretto |
37 | 37 | 74 (1827) | XIX No. 1 | III, 3 No. 1 | Die Advokaten | Mein Herr, ich komm' mich anzufragen | 25/12/1812– 27/12/1812 | Text by Rustenfeld ; For ttb and piano |
37A–91 | | 1813 | Up ↑ | |||||
967 | 37A | VII/2, 4 Anh. VIII, 2 No. 13 | Fugue sketches, D 37A | 1813? | For piano | |||
38 | 38 | (1892) | XIX No. 20 | III, 4 No. 1 | Totengräberlied, D 38 | Grabe, Spaden, grabe! | 1813? | Text by Hölty (other setting: D 44); For ttb |
39 | 39 | (1969) | IV, 6 Anh No. 2 | Lebenstraum | Ich saß an einer Tempelhalle | early 1810? | Text by Baumberg; Sketch; Music related to D 1A | |
39A | VI, 9 | Three Minuets with Trios, D 39A | 1813 | For orchestra; Lost | ||||
41 | 41 | (1889) | XII No. 30 | VII/2, 6 | Thirty Minuets with Trios, D 41 | Various keys | 1813 | For piano; Nos. 1–8, 11–18 and 20–23 are extant |
41A | VII/2, 4 Anh. | Fugue, D 41A | E minor | 1813 | For piano; Fragment | |||
42 | 42 | (1895) (1969) | XX, 10 No. 570 | IV, 6 No. 5 Anh. No. 3 | Aria di Timante | Misero pargoletto | 1813? | Text by Metastasio, from Demofoonte III, 5; For s and piano; Two settings: 1st, not in AGA, consisting of two variant fragments |
43 | 43 | (1897) | XXI, 4 No. 43 | III, 4 No. 2 VIII, 2 No. 34 | Sprüche des Confucius, D 43 | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Schiller (other settings: D 69 and 70); For ttb |
44 | 44 | (1894) | XX, 1 No. 7 | IV, 6 No. 6 | Totengräberlied, D 44 | Grabe, Spaden, grabe! | 19/1/1813 | Text by Hölty (other setting: D 38) |
45 | 45 | (1888) | XIV No. 21 | I, 5 | Kyrie, D 45 | B♭ major Kyrie | 1/3/1813 | Text: Mass ordinary (other settings: D 24E, 31, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB |
46 | 46 | (1890) | V No. 4 | VI, 3 No. 6 | String Quartet No. 4 | C major | 3/3/1813– 7/3/1813 | Adagio – Andante con moto – Minuet – Finale |
47 | 47 | (1974) | III, 2b Anh. No. 1 | Dithyrambe, D 47 | Nimmer, das glaubt mir, erscheinen die Götter | 29/3/1813 | Text by Schiller (other setting: D 801); For tbSATB and piano; Fragment | |
48 | 48 | (1871) (1888) | IX, 3 No. 32 | VII/1, 1 No. 3 | Fantasy, D 48, a.k.a. Grand Sonata | C minor | April 1813– 10/6/1813 | For piano duet; AGA includes concluding fugue |
49 | 49 | (1888) | XIV No. 15 | I, 5 | Kyrie, D 49 | D minor Kyrie | early April 1813– 15/4/1813 | Text: Mass ordinary (other settings: D 24E, 31, 45, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For satbSATB and orchestra; First part of a Mass |
50 | 50 | (1894) | XX, 1 No. 8 | IV, 6 No. 7 | Die Schatten | Freunde, deren Grüfte sich schon bemoosten! | 12/4/1813 | Text by Matthisson |
51 | 51 | (1897) | XXI, 4 No. 37 | III, 4 No. 3 | Unendliche Freude, D 51 | Unendliche Freude durchwallet das Herz | 15/4/1813 | Text by Schiller, stanza 3 from "Elysium" (other stanzas and settings: D 53, 54, 57, 58, 60 and 584); For ttb |
52 | 52 | (1868) | XX, 1 No. 9 | IV, 2b No. 8 | Sehnsucht, D 52 | Ach, aus dieses Tales Gründen | 15/4/1813– 17/4/1813 | Text by Schiller (other setting: D 636); For b and piano |
53 | 53 | (1892) | XIX No. 9 | III, 4 No. 4 | Vorüber die stöhnende Klage | Vorüber die stöhnende Klage! | 18/4/1813 | Text by Schiller, stanza 1 from "Elysium" (other stanzas and settings: D 51, 54, 57, 58, 60 and 584); For ttb |
54 | 54 | (1873) | XIX No. 22 | III, 4 No. 5 VIII, 2 No. 17 | Unendliche Freude, D 54 | Unendliche Freude durchwallet das Herz | 19/4/1813 | Text by Schiller, stanza 3 from "Elysium" (other stanzas and settings: D 51, 53, 57, 58, 60 and 584); Canon for three male voices |
55 | 55 | (1892) | XIX No. 12 | III, 4 No. 6 | Selig durch die Liebe | Selig durch die Liebe Götter | 21/4/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 1; Other: D 61, 62, 63, 64, 983A; For ttb |
56 | 56 | (1892) | XIX No. 29 | I, 5 VIII, 2 No. 18 | Sanctus, D 56 | B♭ major Sanctus | 21/4/1813 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 66, 105, 167, 324, 452, 678, 755 and 950); Canon for three voices; Two versions |
57 | 57 | (1897) | XXI, 4 No. 38 | III, 4 No. 7 | Hier strecket der wallende Pilger | Hier strecket der wallende Pilger | 29/4/1813 | Text by Schiller, stanza 4 from "Elysium" (other stanzas and settings: D 51, 53, 54, 58, 60 and 584); For ttb |
58 | 58 | (1892) | XIX No. 10 | III, 4 No. 8 | Dessen Fahne Donnerstürme wallte | Dessen Fahne Donnerstürme wallte | May 1813 | Text by Schiller, stanza 5 from "Elysium" (other stanzas and settings: D 51, 53, 54, 57, 60 and 584); For ttb |
59 | 59 | (1832) | XX, 1 No. 10 | IV, 6 No. 8 | Verklärung | Lebensfunke, vom Himmel entglüht | 4/5/1813 | Text by Herder after Pope's "The dying Christian to his soul" |
60 | 60 | (1892) | XIX No. 11 | III, 4 No. 16 | Hier umarmen sich getreue Gatten | Hier umarmen sich getreue Gatten | 3/10/1813 | Text by Schiller, stanza 6 from "Elysium" (other stanzas and settings: D 51, 53, 54, 57, 58 and 584); For ttb |
61 | 61 | (1897) | XXI, 4 No. 39 | III, 4 No. 9 VIII, 2 No. 19 | Ein jugendlicher Maienschwung | Ein jugendlicher Maienschwung | 8/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 9; Other: D 55, 62, 63, 64, 983A; Canon for three voices |
62 | 62 | (1897) | XXI, 4 No. 40 | III, 4 No. 10 VIII, 2 No. 35 | Thronend auf erhabnem Sitz | Thronend auf erhabnem Sitz | 9/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 15; Other: D 55, 61, 63, 64, 983A |
63 | 63 | (1892) | XIX No. 13 | III, 4 No. 11 | Wer die steile Sternenbahn | Wer die steile Sternenbahn | 10/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 26; Other: D 55, 61, 62, 64, 983A; For ttb |
64 | 64 | (1897) | XXI, 4 No. 41 | III, 4 No. 12 VIII, 2 No. 36 | Majestät'sche Sonnenroße | Majestät'sche Sonnenroße | 10/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 16; Other: D 55, 61, 62, 63, 983A; For ttb |
65 | 65 | (1892) | XIX Anh. I, No. 35 | III, 4 Anh. II No. 1 VIII, 2 No. 20 | Schmerz verzerret ihr Gesicht | Schmerz verzerret ihr Gesicht | 11/5/1813 | Text by Schiller, from "Gruppe aus dem Tartarus": stanza 2 (other settings: D 396 and 583); For ttb; Sketch |
66 | 66 | (1888) | XIV No. 16 | I, 5 | Kyrie, D 66 | F major Kyrie | 12/5/1813 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 105, 167, 324, 452, 678, 755 and 950); For SATB and orchestra |
67 | 67 | (1897) | XXI, 4 No. 42 | III, 4 No. 13 | Frisch atmet des Morgens lebendiger Hauch | Frisch atmet des Morgens lebendiger Hauch | 15/5/1813 | Text by Schiller (other setting: D 402); For ttb |
68 | 68 | (1890) | V No. 5 | VI, 3 No. 7 | String Quartet No. 5 | B♭ major | 8/6/1813– 18/8/1813 | Allegro maestoso – Allegro; Middle movements missing |
69 | 69 | (1892) | XIX No. 23 | III, 4 No. 14 VIII, 2 No. 21 | Sprüche des Confucius, D 69 | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Schiller (other settings: D 43 and 70); Canon for three voices |
70 | 70 | (1974) | III, 4 Anh. I No. 1 VIII, 2 No. 33 | Sprüche des Confucius, D 70 | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Schiller (other settings: D 43 and 69); For ttb; Fragment | |
71 | 71 | (1892) | XIX No. 14 | III, 4 No. 15 | Die zwei Tugendwege | Zwei sind der Wege | 15/7/1813 | Text by Schiller; For ttb |
71A | (1956) | I, 8 VIII, 2 No. 22 | Alleluja, D 71A | F major | July 1813? | Canon for three voices | ||
71B | VII/2, 4 Anh. VIII, 2 No. 14 | Fugue, D 71B | E minor | July 1813 | For piano; Fragment | |||
966A | 71C | V, 6 No. 5 | Orchestral piece, D 71C | D major | Aug. or Sep. 1813 | Fragment; First pages, a.k.a. D 74A, based on D 74 | ||
72 | 72 | (1889) (1890) | III No. 2 XXII v1 | VI, 1 No. 1 & Anh. | Wind Octet | F major | completed 18/8/1813 | Allegro (fragment, publ. in 1890) – Minuet – Allegro; Slow middle movement lost? |
73 | 73 | (1868) | XX, 1 No. 11 | IV, 4 | Thekla: Eine Geisterstimme, D 73 | Wo ich sei, und wo mich hingewendet | 22/8/1813– 23/8/1813 | Text by Schiller (other setting: D 595) |
74 | 74 | (1890) | V No. 6 | VI, 4 No. 8 | String Quartet No. 6 | D major | 22/8/1813– Sep. 1813 | Allegro ma non troppo – Andante – Minuet – Allegro |
966A | 74A | V, 6 No. 4 | Orchestral piece, D 74A | D major | Aug. or Sep. 1813 | Fragment; Variant D number for first pages of D 71C | ||
75 | 75 | (1850) | XVI No. 16 | III, 3 No. 18 | Trinklied, D 75 | Freunde, sammelt euch im Kreise | 29/08/1813 | Text by Schäffer ; For bTTB and piano |
76 | 76 | (1871) (1969) | XX, 10 No. 571 | IV, 6 No. 9 Anh. No. 4 | Aria di Fronimo | Pensa, che questo istante | 7 and 13 Sep. 1813 | Text by Metastasio, from Alcide al bivio, 1; For b and piano; Two versions (2nd in AGA) |
77 111 | 77 | (1831) (1894) | XX, 1 No. 12 | IV, 6 No. 10 | Der Taucher | Wer wagt es, Rittersmann oder Knapp | 17/9/1813– early 1815 | Text by Schiller; Two versions: 2nd, publ. in 1894, was D 111 |
78 | 78 | (1895) | XX, 10 No. 572 | IV, 6 No. 11 | Aria di Venere | Son fra l'onde | 18/9/1813 | Text by Metastasio, from Gli orti esperdi, I; For s and piano |
79 | 79 | (1889) | III No. 3 | VI, 1 No. 2 | Wind Nonet, a.k.a. Eine kleine Trauermusik or Franz Schuberts Begräbniß-Feyer | E♭ minor | 19/9/1813 | Grave con espressione |
80 | 80 | (1892) | XIX No. 4 | III, 3 No. 2 Anh. III No. 1 Anh. IV No. 1 | Zur Namensfeier meines Vaters | Ertöne Leier zur Festesfeier! | 27/9/1813 | Text by Schubert; For ttb and guitar |
81 | 81 | (1895) | XX, 10 No. 583 | IV, 14 | Auf den Sieg der Deutschen | Verschwunden sind die Schmerzen | fall 1813 | Text by Schubert? (other setting: D 88); For voice, two violins and cello |
82 | 82 | (1884) | I, 1 No. 1 | V, 1 No. 1 | Symphony No. 1 | D major | completed 28/10/1813 | Adagio, Allegro vivace – Andante – Minuet – Allegro vivace |
83 | 83 | (1895) | XX, 10 No. 582 | IV, 14 | Zur Namensfeier des Herrn Andreas Siller | Des Phöbus Strahlen | 28/10/1813– 4/11/1813 | For voice, violin and harp |
84 | 84 | (1888) | XV, 1 No. 1 | II, 1 | Des Teufels Lustschloß | (Singspiel in three acts) | 30/10/1813– 22/10/1814 | Text by Kotzebue; Music for sssttbbbSSSATTBB and orchestra; Two versions: Overture (2nd version in AGA) – Act I (Nos. 1–11, 2nd version in AGA) – Act II (Nos. 12–17, 1st version only, in AGA) – Act III (Nos. 18–23, 1st version Nos. 21 and 23 only, 2nd version in AGA); Sketch of an orchestral piece (from 1st version of Act III?): compare D 94A |
86 | 86 | (1886) | II No. 10 | VI, 4 Anh. No. 1 VI, 9 | Minuet, D 86 | D major | November 1813? | For string quartet |
87 | 87 | 125p,1 (1840) | V No. 10 | VI, 4 No. 9 | String Quartet No. 10 | E♭ major | November 1813 | Allegro più moderato – Scherzo – Adagio – Allegro |
87A | VI, 4 Anh. No. 2 | Andante, D 87A | C major | November 1813 | For four voices (string quartet or vocal ensemble?); Fragment | |||
88 | 88 | (1892) | XIX No. 21 | III, 4 No. 17 VIII, 2 No. 23 | Verschwunden sind die Schmerzen | Verschwunden sind die Schmerzen | 15/11/1813 | Text by Schubert? (other setting: D 88); Canon for ttb |
89 90 | 89 | (1886) | II No. 8 and No. 9 | VI, 9 | Five Minuets and Five German Dances | Various keys | 19/11/1813 | For string quartet; Minuets have six Trios, German Dances have seven Trios and a Coda |
91 | 91 | (1956) | VII/2, 6 | Two Minuets, D 91 | Various keys | 22/11/1813 | For piano; Each minuet with two Trios | |
92–126 | | 1814 | Up ↑ | |||||
93 | 93 | (1894) | XX, 1 Nos. 13–15 | IV, 7 Anh. No. 1 | Don Gayseros | 1. Don Gayseros,... wunderlicher, schöner Ritter – 2. Nächtens klang die süße Laute – 3. An dem jungen Morgenhimmel | 1815? | Text by Motte Fouqué, from Der Zauberring; Nos. 2 and 3 incomplete |
94 | 94 | (1871) | V No. 7 | VI, 3 No. 2 | String Quartet No. 7 | D major | 1811 or 1812? | Allegro (partly reused in D 12) – Andante con moto – Minuet – Presto |
94A | II, 1 V, 6 No. 6 | Orchestral piece, D 94A | B♭ major | c. 1814 | Fragment; For 1st version of D 84, Act III? | |||
94B | VI, 9 | Five Minuets and Six German Dances, D 94B | 1814 | For string quartet and two horns; Lost | ||||
95 | 95 | (1848) | XX, 1 No. 25 | IV, 7 No. 1 | Adelaide | Einsam wandelt dein Freund | 1814 | Text by Matthisson |
97 | 97 | (1894) | XX, 1 No. 19 | IV, 7 No. 2 | Trost: An Elisa | Lehnst du deine bleichgehärmte Wange | 1814 | Text by Matthisson |
98 | 98 | (1894) (1968) | XX, 1 No. 24 | IV, 7 No. 3 Anh. No. 2 | Erinnerungen, D 98 | Am Seegestad, in lauen Vollmondsnächten | fall 1814 | Text by Matthisson (other setting: D 424); Two versions: 1st is fragment, 2nd in AGA |
99 | 99 | (1894) | XX, 1 No. 16 | IV, 7 No. 4 | Andenken, D 99 | Ich denke dein wenn durch den Hain | April 1814 | Text by Matthisson (other setting: D 423) |
100 | 100 | (1894) | XX, 1 No. 17 | IV, 7 No. 5 | Geisternähe | Der Dämm’rung Schein durchblinkt den Hain | April 1814 | Text by Matthisson |
101 | 101 | (1894) | XX, 1 No. 18 | IV, 7 No. 6 | Erinnerung, D 101, a.k.a. Todtenopfer | Kein Rosenschimmer leuchtet | April 1814 | Text by Matthisson |
102 | 102 | (1840) | XX, 1 No. 20 | IV, 7 No. 7 | Die Betende | Laura betet! | fall 1814 | Text by Matthisson; Partly reused in D 918 |
103 | 103 | (1939) | VI, 4 Anh. No. 3 | Quartettsatz, D 103 | C minor | 23/4/1814 | Grave, Allegro (fragment); Completed by Alfred Orel in 1st ed. | |
104 | 104 | (1895) | XX, 10 No. 584 | IV, 7 No. 8 & Anh. No. 3 | Die Befreier Europas in Paris | Sie sind in Paris! | 16/5/1814 | Text by Mikan; Two drafts and a final version |
105 185 | 105 | (1856) | XIII, 1 No. 1 | I, 1a | Mass No. 1 | F major Kyrie – Gloria – Credo – Sanctus & Benedictus – Agnus Dei | 17/5/1814– 22/7/1814 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 167, 324, 452, 678, 755 and 950); For ssattbSATB and orchestra; 2nd setting of Dona nobis pacem was D 185; Partly reused in D 484 |
106 | 106 | (1888) | XIV No. 9 | I, 8 | Salve Regina, D 106 | B♭ major Salve Regina | 28/6/1814– 1/7/1814 | Text: Salve Regina (other settings: D 27, 223, 386, 676 and 811); For t and orchestra |
107 | 107 | (1894) (1968) | XX, 1 No. 21 | IV, 7 No. 9 | Lied aus der Ferne | Wenn in des Abends letztem Scheine | July 1814 | Text by Matthisson; Two versions: 1st in AGA |
108 | 108 | (1894) | XX, 1 No. 22 | IV, 7 No. 10 | Der Abend, D 108 | Purpur malt die Tannenhügel | July 1814 | Text by Matthisson |
109 | 109 | (1894) | XX, 1 No. 23 | IV, 7 No. 11 | Lied der Liebe | Durch Fichten am Hügel | July 1814 | Text by Matthisson |
110 | 110 | (1891) | XVI No. 43 | III, 1 | Wer ist groß? | Wer ist wohl groß? | 24/7/1814– 25/7/1814 | For bTTBB and orchestra |
111 | 77 | | | | | | | See D 77 |
111A | VI, 6 Anh. No. 1 | String Trio, D 111A | B♭ major | 5/9/1814– 13/9/1814 | Allegro (fragment); early version of D 112 | |||
112 | 112 | 168p (1863) | V No. 8 | VI, 4 No. 10 | String Quartet No. 8 | B♭ major | 5/9/1814– 13/9/1814 | Allegro ma non troppo – Andante sostenuto – Minuet – Presto; Based on D 111A |
113 | 113 | 58,2 (1821) (1826) (1894) | XX, 1 No. 26 | IV, 3 | An Emma | Weit in nebelgrauer Ferne | 17/9/1814 | Text by Schiller; Three versions: 2nd publ. in 1821 – 3rd is Op. 58 No. 2 |
114 | 114 | (1868) (1901) | XX, 1 No. 27 | IV, 7 No. 12 & Anh. No. 4 | Romanze, D 114 | Ein Fräulein klagt' im finstern Turm | September 1814 | Text by Matthisson; Two versions: 2nd in AGA |
115 | 115 | (1840) | XX, 1 No. 28 | IV, 7 No. 13 | An Laura, als sie Klopstocks Auferstehungslied sang | Herzen, die gen Himmel sich erheben | 2/10/1814– 7/10/1814 | Text by Matthisson |
116 | 116 | (1840) | XX, 1 No. 29 | IV, 7 No. 14 | Der Geistertanz, D 116 | Die bretterne Kammer der Toten erbebt | 14/10/1814 | Text by Matthisson (other settings: D 15, 15A and 494) |
117 | 117 | (1894) | XX, 1 No. 30 | IV, 8 No. 45 | Das Mädchen aus der Fremde, D 117 | In einem Tal bei armen Hirten | 16/10/1814 | Text by Schiller (other setting: D 252) |
118 | 118 | 2 (1821) | XX, 1 No. 31 | IV, 1a | Gretchen am Spinnrade | Meine Ruh' ist hin | 19/10/1814 | Text by Goethe, from Faust I, 15 |
119 | 119 | (1850) | XX, 1 No. 32 | IV, 7 No. 15 | Nachtgesang, D 119 | O! gib vom weichen Pfühle | 30/11/1814 | Text by Goethe |
120 | 120 | (1835) | XX, 1 No. 33 | IV, 7 No. 16 | Trost in Tränen | Wie kommt's, daß du so traurig bist | 30/11/1814 | Text by Goethe |
121 | 121 | 3,1 (1821) (1894) | XX, 1 No. 34 | IV, 1a & b No. 2 | Schäfers Klagelied | Da droben auf jenem Berge | 30/11/1814– 28/2/1819? | Text by Goethe; Two versions: 1st is Op. 3 No. 1 – 2nd composed for 28/2/1819? |
122 | 122 | (1872) | XX, 1 No. 38 | IV, 7 No. 17 | Ammenlied | Am hohen, hohen Turm | early Dec. 1814 | Text by Lubi |
123 | 123 | (1842) | XX, 1 No. 35 | IV, 7 No. 18 | Sehnsucht, D 123 | Was zieht mir das Herz so? | 3/12/1814 | Text by Goethe |
124 | 124 | (1885) (1894) (1968) | XX, 1 No. 36 | IV, 7 No. 19 & Anh. No. 7 | Am See, D 124 | Sitz' ich im Gras am glatten See | 3/12/1814– 7/12/1814 | Text by Mayrhofer; Two versions: 1st is fragment – 2nd, modified in 1885 publ., in AGA |
125 | 125 | (1884) | I, 1 No. 2 | V, 1 No. 2 | Symphony No. 2 | B♭ major | 10/12/1814– 24/3/1815 | Largo, Allegro vivace – Andante – Minuet – Presto vivace |
126 | 126 | (1832) (1873) | XX, 1 No. 37 | IV, 7 No. 20 & Anh. No. 8 | Scene from Faust | Wie anders, Gretchen, war dir's | early Dec.– 12/12/1814 | Text by Goethe, from Faust I, 20; Two versions: 2nd, publ. in 1832, in AGA |
127–330 | | 1815 | Up ↑ | |||||
128 | 128 | (1897) | XXI, 3 No. 23 | VII/2, 6 | Twelve Viennese German Dances | Various keys | 1812? | For piano; Includes introduction; No. 12 related to D 32 |
129 | 129 | (1892) | XIX No. 16 | III, 4 No. 18 | Mailied, D 129 | Grüner wird die Au | 1815? | Text by Hölty (other settings: D 199 and 503); For ttb |
130 | 130 | (1892) | XIX No. 25 | III, 4 No. 19 VIII, 2 No. 24 | Der Schnee Zerrinnt | Der Schnee Zerrinnt | 1815? | Text by Hölty (other setting: D 202); Canon for three voices |
131 | 131 | (1892) | XIX No. 28 | III, 4 No. 20 VIII, 2 No. 26 | Lacrimoso son io | Lacrimoso son io | 1815? | Canon for three voices; Two versions: 2nd is "Lacrimosa son io" |
134 | 134 | 126p (1830) | XX, 2 No. 99 | IV, 7 No. 21 | Ballade | Ein Fräulein schaut vom hohen Turm | 1815? | Text by Kenner |
135 | 135 | (1930) | VII/2, 6 | German Dance with Trio, D 135 | E major | 1815 | For piano; Variant of D 146 No. 3 (other Trio) | |
136 | 136 | 46 (1825) | XIV No. 1 | I, 8 | Offertory, D 136, a.k.a. Offertory No. 1 | Totus in corde langueo C major | 1815? | For s or t, clarinet or violin, and orchestra |
137 | 137 | (1893) | XV, 7 No. 14 | II, 12 | Adrast | (Singspiel) | fall 1819– early 1820[17] | Text by Mayrhofer; For stbTTBB and orchestra; Nos. 1–8 complete (abandoned variants for some numbers, Nos. 1–7 in AGA) and sketches and fragments for six further numbers; Overture: D 648? |
138 | 138 | 5,1 (1821) (1970) | XX, 3 No. 177 | IV, 1a & b No. 6 | Rastlose Liebe | Dem Schnee, dem Regen, dem Wind entgegen | 19/5/1815– May 1821 | Text by Goethe; Two versions: 1st, in AGA, is Op. 5 No. 1 |
139 | 139 | (1930) | VII/2, 6 | German Dance with Trio, D 139 | C♯ major (Trio in A major) | 1815 | For piano | |
140 | 140 | (1850) | XVIII No. 6 | III, 3 No. 3 | Klage um Ali Bey, D 140 | Laßt mich! laßt mich! ich will klagen | 1815 | Text by Claudius (other setting: D 496A); For ttb (and piano?) |
141 | 141 | 131p,1 (1830) | XX, 2 No. 43 | IV, 7 No. 23 | Der Mondabend | Rein und freundlich lacht der Himmel | 1815 | Text by Kumpf |
142 | 142 | 92,3 (1828) (1885) (1895) | XX, 3 No. 174 | IV, 5 | Geistes-Gruß | Hoch auf dem alten Turme steht | before Apr. 1816– after Nov. 1821 | Text by Goethe; Six versions: 2nd publ. in 1885 – 3rd and 5th not in AGA – 6th is Op. 92 No. 3 |
143 | 143 | 109p,2 (1829) | XX, 3 No. 181 | IV, 7 No. 24 | Genügsamkeit | Dort raget ein Berg aus den Wolken her | 1815 | Text by Schober; Intro in 1st ed. not by Schubert |
144 | 144 | (1895) | XXII, 11 No. 209 | IV, 7 Anh. No. 9 | Romanze, D 144 | In der Väter Hallen ruhte | April 1816 | Text by Stolberg-Stolberg; Fragment |
145 | 145 | 18 (1823) | XII No. 2 | VII/2, 6 & 7a | 12 Waltzes, 17 Ländler and 9 Écossaises, D 145 | Various keys | c. 1815– July 1821 | For piano; Waltz No. 7 ≈ D 970 No. 2; Écossaises Nos. 5 and 6 identical to D 421 No. 1 and 697 No. 5 |
146 | 146 | 127p (1824) (1830) | XII No. 8 | VII/2, 6 & 7a | 20 Waltzes, D 146, a.k.a. Letzte Walzer | Various keys | 1815– Feb. 1823 | For piano; No. 2 publ. in 1824, all 20 as Op. posth. 127 in 1830 |
147 | 147 | (1892) | XIX No. 15 | III, 4 No. 21 | Bardengesang | Rolle, du strömigter Carun | 20/1/1816? | Text by Macpherson (Ossian), from Comala, transl. by E. Baron de Harold |
148 | 148 | 131p,2 (1830) | XIX No. 8 | III, 3 No. 4 | Trinklied, D 148 | Brüder! unser Erdenwallen | February 1815 | Text by Castelli; For tTTB and piano |
149 | 149 | 117p (1829) (1894) | XX, 2 No. 45 | IV, 7 No. 25 | Der Sänger | Was hör' ich draußen vor dem Tür | February 1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship; Two versions: 2nd is Op. posth. 117, AGA switches 1st and 2nd |
150 | 150 | (1830) | XX, 2 No. 44 | IV, 7 No. 26 | Lodas Gespenst | Der bleiche, kalte Mond erhob sich im Osten | 17/1/1816 | Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold; 1st ed. replaces end by music from D 277 |
151 | 151 | (1850) | XX, 2 No. 39 | IV, 7 No. 27 | Auf einen Kirchhof | Sei gegrüßt, geweihte Stille | 2/2/1815 | Text by Schlechta |
152 | 152 | (1894) | XX, 2 No. 40 | IV, 7 No. 28 | Minona | Wie treiben die Wolken so finster und schwer | 8/2/1815 | Text by Bertrand |
153 | 153 | (1845) | XX, 2 No. 41 | IV, 7 No. 29 | Als ich sie erröten sah | All mein Wirken, all mein Leben | 10/2/1815 | Text by Ehrlich |
154 | 154 | (1897) | XXI, 2 No. 8 | VII/2, 1 Anh. No. 1 | Piano Sonata, D 154 | E major | 11/2/1815 | Allegro (fragment); Partly reused in D 157 |
155 | 155 | 165p,3 (1862) | XX, 2 No. 42 | IV, 7 No. 30 | Das Bild | Ein Mädchen ist's | 10/2/1815 | |
156 | 156 | (1887) | XI No. 6 | VII/2, 4 & Anh. | Ten Variations, D 156 | F major | completed 15/2/1815 | For piano; Variant of Theme and Var. II |
157 | 157 | (1888) | X No. 1 | VII/2, 1 No. 1 | Piano Sonata, D 157 | E major | started 18/2/1815 | Allegro ma non troppo (partly reuses D 154) – Andante – Minuet |
158 | 158 | (1889) | XII No. 29 | VII/2, 6 | Écossaise, D 158 | D minor – F major | 21/2/1815 | For piano |
159 | 159 | 116p (1829) (1968) | XX, 2 No. 46 | IV, 7 No. 31 | Die Erwartung | Hör' ich das Pförtchen nicht gehen? | May 1816 | Text by Schiller; Two versions: 2nd, in AGA, is Op. posth. 116 |
160 | 160 | (1894) | XX, 2 No. 47 | IV, 13 | Am Flusse, D 160 | Verfließet, vielgeliebte Lieder | 27/2/1815 | Text by Goethe (other setting: D 766) |
161 | 161 | 19,2 (1825) (1894) | XX, 2 No. 48 | IV, 1a & b No. 14 | An Mignon | Über Tal und Fluß getragen | 27/2/1815 | Text by Goethe; Two versions: 2nd is Op. 19 No. 2 |
162 | 162 | 5,2 (1821) (1894) | XX, 2 No. 49 | IV, 1a & Anh. No. 2 | Nähe des Geliebten | Ich denke dein, wenn mir der Sonne Schimmer | 27/2/1815 | Text by Goethe; Two versions: 2nd is Op. 5 No. 2 |
163 | 163 | (1894) | XX, 2 No. 50 | IV, 8 No. 1 | Sängers Morgenlied, D 163 | Süßes Licht! Aus goldnen Pforten | 27/2/1815 | Text by Körner (other setting: D 165) |
164 | 164 | IV, 8 Anh. No. 1 | Liebesrausch, D 164 | Glanz des Guten und des Schönen strahlt mir dein hohes Bild | March 1815 | Text by Körner (other setting: D 179); Fragment | ||
165 | 165 | (1872) | XX, 2 No. 51 | IV, 8 No. 2 | Sängers Morgenlied, D 165 | Süßes Licht! Aus goldnen Pforten | 1/3/1815 | Text by Körner (other setting: D 163) |
166 | 166 | (1894) | XX, 2 No. 52 | IV, 8 No. 3 | Amphiaraos | Vor Thebens siebenfach gähnenden Toren | 1/3/1815 | Text by Körner |
167 | 167 | (1846) | XIII, 1 No. 2 | I, 1b | Mass No. 2 | G major Kyrie – Gloria – Credo – Sanctus & Benedictus – Agnus Dei | 2/3/1815– 7/3/1815 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 324, 452, 678, 755 and 950); For stbSATB and orchestra; Tr and Ti added by Ferd. Schubert; R. Führer as composer in 1st publ. |
168 | 168 | (1872) | XVII No. 16 | III, 2a No. 2 | Nun laßt uns den Leib begraben, a.k.a. Begräbnislied | Begrabt den Leib in seiner Gruft | 9/3/1815 | Text by Klopstock; For SATB and piano |
987 | 168A | (1872) | XVII No. 17 | III, 2a No. 3 | Jesus Christus unser Heiland, der den Tod überwand, a.k.a. Osterlied | Überwunden hat der Herr den Tod! | 9/3/1815 | Text by Klopstock; For SATB and piano |
169 | 169 | (1894) | XX, 2 No. 53 | III, 3 No. 10 Anh. I No. 1 | Trinklied vor der Schlacht | Schlacht, du brichst an! | 12/3/1815 | Text by Körner; For double unison choir and piano |
170 | 170 | (1873) | XX, 2 No. 54 | III, 3 No. 11 | Schwertlied | Du Schwert an meiner Linken | 12/3/1815 | Text by Körner; For voice, unison choir and piano |
171 | 171 | (1831) | XX, 2 No. 55 | IV, 8 No. 4 | Gebet während der Schlacht | Vater, ich rufe dich! | 12/3/1815 | Text by Körner |
172 | 172 | IV, 8 Anh. No. 3 | Der Morgenstern, D 172 | Stern der Liebe, Glanzgebilde | 12/3/1815 | Text by Körner (other setting: D 203); Fragment | ||
173 | 173 | (1871) | V No. 9 | VI, 4 No. 11 | String Quartet No. 9 | G minor | 25/3/1815– 1/4/1815 | Allegro con brio – Andantino – Minuet – Allegro |
174 | 174 | (1845) | XX, 2 No. 56 | IV, 8 No. 5 | Das war ich, D 174 | Jüngst träumte mir | 26/3/1815 | Text by Körner; D. 174 used to include Das war ich, D deest |
174 | deest | (1894) | XXII, 11 No. 56 | IV, 8 Anh. No. 2 | Das war ich, D deest | June 1816 | Fragment; Music without text, title identical to D 174 | |
175 | 175 | (1888) | XIV No. 12 | I, 9 No. 1 | Stabat Mater, D 175 | G minor Stabat Mater dolorosa | 4/4/1815– 6/4/1815 | For SATB and orchestra |
176 | 176 | (1872) | XX, 2 No. 57 | IV, 8 No. 6 | Die Sterne, D 176 | Was funkelt ihr so mild mich an | 6/4/1815 | Text by Fellinger |
177 | 177 | 173p,3 (1867) | XX, 2 No. 58 | IV, 8 No. 7 | Vergebliche Liebe | Ja, ich weiß es, diese treue Liebe | 6/4/1815 | Text by Bernard |
177A | VIII, 3 | Am ersten Mai | Ich ging mit ihr im Freien | before 1821 | Text by Bernard; Music lost; Spurious? | |||
178 | 178 | (1897) | XXI, 3 No. 22 | VII/2, 4 & Anh. | Adagio in G major, D 178 | G major | 8/4/1815 | For piano; Two versions: 2nd is a fragment |
179 | 179 | (1872) | XX, 2 No. 59 | IV, 8 No. 8 | Liebesrausch, D 179 | Dir, Mädchen, schlägt mit leisem Beben | 8/4/1815 | Text by Körner; (other setting: D 164) |
180 | 180 | (1894) | XX, 2 No. 60 | IV, 8 No. 9 | Sehnsucht der Liebe | Wie die Nacht mit heil'gem Beben | 8/4/1815 | Text by Körner |
181 | 181 | (1888) | XIV No. 4 | I, 9 No. 2 | Offertory, D 181 | Tres sunt, qui testimonium dant in coelo A minor | 10/4/1815– 11/4/1815 | For SATB and orchestra |
182 | 182 | (1842) | XX, 2 No. 61 | IV, 8 No. 10 | Die erste Liebe | Die erste Liebe füllt das Herz | 12/4/1815 | Text by Fellinger |
183 | 183 | (1887) | XX, 2 No. 62 | III, 3 No. 12 | Trinklied, D 183 | Ihr Freunde und du, gold'ner Wein | 12/4/1815 | Text by Zettler ; For voice, unison choir and piano |
184 | 184 | 150p (1843) | XIV No. 5 | I, 9 No. 3 | Gradual, D 184 | Benedictus es, Domine C major | 15/4/1815– 17/4/1815 | For SATB and orchestra |
185 | 105 | | | | | | | See D 105 |
186 | 186 | (1894) | XX, 2 No. 65 | IV, 8 No. 11 | Die Sterbende | Heil! dies ist die letze Zähre | May 1815 | Text by Matthisson |
187 | 187 | (1894) | XX, 2 No. 63 | IV, 10 | Stimme der Liebe, D 187 | Abendgewölke schweben hell | May 1815 | Text by Matthisson (other setting: D 418) |
188 | 188 | (1887) | XX, 2 No. 64 | IV, 8 No. 12 | Naturgenuß, D 188 | Im Abendschimmer wallt der Quell | May 1815 | Text by Matthisson (other setting: D 422) |
189 | 189 | 111p,1 (1829) | XX, 2 No. 66 | III, 3 No. 13 | An die Freude | Freude, schöner Götterfunken | May 1815 | Text by Schiller; For voice, unison choir and piano |
190 | 190 | (1888) | XV, 2 No. 2 | II, 2 IV, 14 | Der vierjährige Posten | (Singspiel in one act) Includes: 5. Gott! Gott! höre meine Stimme | 8/5/1815– 19/5/1815 | Text by Körner; Music for stttbSATB and orchestra; Overture – Nos. 1–8 (No. 5 also for voice and piano) |
191 | 191 | 58,3 (1826) (1894) | XX, 2 No. 67 | IV, 3 | Des Mädchens Klage, D 191 | Der Eichwald brauset | 15/5/1815 | Text by Schiller, from Wallenstein: Die Piccolomini III, 7 (other settings: D 6 and 389); Two versions: 2nd is Op. 58 No. 3 |
192 | 192 | (1887) | XX, 2 No. 68 | IV, 4 | Der Jüngling am Bache, D 192 | An der Quelle saß der Knabe | 15/5/1815 | Text by Schiller (other settings: D 30 and 638) |
193 | 193 | 57,3 (1826) | XX, 2 No. 69 | IV, 3 | An den Mond, D 193 | Geuß, lieber Mond, geuß deine Silberflimmer | 17/5/1815 | Text by Hölty; Autograph without piano intro |
194 | 194 | (1894) | XX, 2 No. 70 | IV, 8 No. 13 | Die Mainacht | Wann der silberne Mond | 17/5/1815 | Text by Hölty |
195 | 195 | 173p,1 (1867) | XX, 2 No. 71 | IV, 8 No. 14 | Amalia | Schön wie Engel voll Walhallas Wonne | 19/5/1815 | Text by Schiller, from Die Räuber III, 1 |
196 | 196 | 172p,3 (1865) | XX, 2 No. 72 | IV, 8 No. 15 | An die Nachtigall | Geuß nicht so laut der liebentflammten Lieder | 22/5/1815 | Text by Hölty |
197 | 197 | (1850) | XX, 2 No. 73 | IV, 8 No. 16 | An die Apfelbäume, wo ich Julien erblickte | Ein heilig Säuseln und ein Gesangeston | 22/5/1815 | Text by Hölty |
198 | 198 | (1894) | XX, 2 No. 74 | IV, 8 No. 17 | Seufzer | Die Nachtigall singt überall | 22/5/1815 | Text by Hölty |
199 | 199 | (1885) | XIX No. 30 | III, 4 No. 22 | Mailied, D 199 | Grüner wird die Au | 24/5/1815 | Text by Hölty (other settings: D 129 and 503); For two voices or two horns |
200 | 200 | (1884) | I, 1 No. 3 | V, 1 No. 3 | Symphony No. 3 | D major | 24/5/1815– 19/6/1815 | Adagio maestoso, Allegro con brio – Allegretto – Minuet – Presto vivace |
201 | 201 | (1970) | IV, 10 | Auf den Tod einer Nachtigall, D 201 | Sie ist dahin, die Maienlieder tönte | 25/5/1815 | Text by Hölty (other setting: D 399); Fragment | |
202 | 202 | (1885) | XIX No. 31 | III, 4 No. 23 | Mailied, D 202 | Der Schnee Zerrinnt | 26/5/1815 | Text by Hölty (other setting: D 130); For two voices or two horns |
203 | 203 | (1892) | XIX No. 32 | III, 4 No. 24 | Der Morgenstern, D 203 | Stern der Liebe, Glanzgebilde | 26/5/1815 | Text by Körner (other setting: D 172); For two voices or two horns |
204 | 204 | (1892) | XIX No. 33 | III, 4 No. 25 | Jägerlied | Frisch auf, ihr Jäger | 26/5/1815 | Text by Körner; For two voices or two horns |
204A | IV, 8 Anh. No. 4 | Das Traumbild | May 1815 | Text by Hölty; Music lost | ||||
205 | 205 | (1892) | XIX No. 34 | III, 4 No. 26 | Lützows wilde Jagd | Was glänzt dort vom Walde im Sonnenschein? | 26/5/1815 | Text by Körner; For two voices or two horns |
206 | 206 | (1872) | XX, 2 No. 75 | IV, 8 No. 18 | Liebeständelei | Süßes Liebchen | 26/5/1815 | Text by Körner |
207 | 207 | (1894) | XX, 2 No. 76 | IV, 8 No. 19 | Der Liebende | Beglückt, beglückt | 29/5/1815 | Text by Hölty |
208 212 | 208 | (1895) (1897) | XX, 2 No. 77; XXII, 11 No. 77 | IV, 8 No. 20 & Anh. No. 5 | Die Nonne | Es liebt' in Welschland irgendwo | 29/5/1815 | Text by Hölty, from Balladen, No. 5; Two versions: 1st is fragment, incomplete in AGA – 2nd was D 212 |
209 | 209 | 38 (1825) | XX, 2 No. 98 | IV, 2a | Der Liedler | Gib, Schwester, mir die Harf herab | January 1815 | Text by Kenner |
210 | 210 | (1838) | XX, 2 No. 78 | IV, 8 No. 21 | Die Liebe, D 210, a.k.a. Klärchens Lied | Freudvoll und leidvoll | 3/6/1815 | Text by Goethe, from Egmont, Act III, Scene 2, Clärchen's song |
211 | 211 | (1894) | XX, 2 No. 79 | IV, 8 No. 22 | Adelwold und Emma | Hoch und ehern schier von Dauer | 5/6/1815– 14/6/1815 | Text by Bertrand |
212 | 208 | | | | | | | See D 208 |
213 | 213 | 172p,1 (1865) | XX, 2 No. 80 | IV, 8 No. 23 | Der Traum | Mir träumt', ich war ein Vögelein | 17/6/1815 | Text by Hölty, from Balladen, No. 6 |
214 | 214 | 172p,2 (1865) | XX, 2 No. 81 | IV, 8 No. 24 | Die Laube | Nimmer werd' ich, nimmer dein vergessen | 17/6/1815 | Text by Hölty |
215 | 215 | (1906) | IV, 1b No. 4 | Jägers Abendlied, D 215 | Im Felde schleich ich, still und wild | 20/6/1815 | Text by Goethe (other setting: D 368) | |
216 | 215A | (1952) | IV, 1a & b No. 3 | Meeres Stille, D 215A | Tiefe Stille herrscht im Wasser | 20/6/1815 | Text by Goethe (other setting: D 216) | |
216 | 216 | 3,2 (1821) | XX, 2 No. 82 | IV, 1a | Meeres Stille, D 216 | Tiefe Stille herrscht im Wasser | 21/6/1815 | Text by Goethe (other setting: D 215A) |
217 | 217 | (1830) | XX, 2 No. 83 | IV, 8 No. 25 | Kolmas Klage | Rund um mich Nacht | 22/6/1815 | Text by Macpherson (Ossian), from The Songs of Selma (transl.) |
218 | 218 | (1848) | XX, 2 No. 84 | IV, 8 No. 26 | Grablied | Er fiel den Tod für's Vaterland | 24/6/1815 | Text by Kenner |
219 | 219 | (1848) | XX, 2 No. 85 | IV, 8 No. 27 | Das Finden | Ich hab ein Mädchen funden | 25/6/1815 | Text by Kosegarten |
220 | 220 | (1888) | XV, 2 No. 3 | II, 2 | Fernando | (Singspiel in one act) | Jun. 1815– 9/7/1815 | Text by Stadler, A. ; Music for sstbb and orchestra; Nos. 1–7 |
221 | 221 | 118p,2 (1829) | XX, 2 No. 95 | IV, 8 No. 28 | Der Abend, D 221 | Der Abend blüht, Temora glüht | 15/7/1815 | Text by Kosegarten |
222 | 222 | (1885) | XX, 2 No. 86 | IV, 8 No. 29 | Lieb Minna: Romanze | Schwüler Hauch weht mir herüber | 2/7/1815 | Text by Stadler, A. |
223 | 223 | 47 (1825) | XIV No. 2 | I, 8 | Salve Regina, D 223, a.k.a. Offertory No. 2 | F major Salve Regina | 5/7/1815 28/1/1823 | Text: Salve Regina (other settings: D 27, 106, 386, 676 and 811); For s and orchestra; Two versions: 2nd, in AGA, is Op. 47 |
224 | 224 | 4,3 (1821) | XX, 2 No. 87 | IV, 1a | Wandrers Nachtlied, D 224 | Der du von dem Himmel bist | 5/7/1815 | Text by Goethe |
225 | 225 | 5,3 (1821) (1970) | XX, 2 No. 88 | IV, 1a & b No. 7 | Der Fischer | Das Wasser rauscht', das Wasser schwoll | 5/7/1815 | Text by Goethe; Two versions: 2nd, in AGA, is Op. 5 No. 3 |
226 | 226 | 5,4 (1821) | XX, 2 No. 89 | IV, 1a | Erster Verlust | Ach, wer bringt die schönen Tage | 5/7/1815 | Text by Goethe |
227 | 227 | (1885) | XX, 2 No. 90 | IV, 8 No. 30 | Idens Nachtgesang | Vernimm es Nacht, was Ida dir vertrauet | 7/7/1815 | Text by Kosegarten |
228 | 228 | (1894) | XX, 2 No. 91 | IV, 8 No. 31 | Von Ida | Der Morgen blüht, der Osten glüht | 7/7/1815 | Text by Kosegarten |
229 | 229 | 108,3 (1824) | XX, 2 No. 92 | IV, 5 | Die Erscheinung, a.k.a. Erinnerung, D 229 | Ich lag auf grünen Matten | 7/7/1815 | Text by Kosegarten; Publ. as Op. 108 No. 3 in 1829 |
230 | 230 | 165p,4 (1855) | XX, 2 No. 93 | IV, 8 No. 32 | Die Täuschung | Im Erlenbusch, im Tannenhain | 7/7/1815 | Text by Kosegarten; Publ. as Op. posth. 165 No. 4 in 1862 |
231 | 231 | 172p,4 (1865) | XX, 2 No. 94 | IV, 8 No. 33 | Das Sehnen | Wehmut, die mich hüllt | 8/7/1815 | Text by Kosegarten |
232 | 232 | 112p,3 (1829) | XVII No. 8 | III, 2a No. 6 2b Anh. No. 2 | Hymne an den Unendlichen | Zwischen Himmel und Erd' | 11/7/1815 | Text by Schiller; For satb and piano |
233 | 233 | 118p,1 (1829) | XX, 2 No. 96 | IV, 8 No. 34 | Geist der Liebe, D 233 | Wer bist du, Geist der Liebe | 15/7/1815 | Text by Kosegarten |
234 | 234 | 118p,3 (1829) | XX, 2 No. 97 | IV, 8 No. 35 | Tischlied | Mich ergreift, ich weiß nicht wie | 15/7/1815 | Text by Goethe |
235 | 235 | (1894) | XX, 2 No. 100 | IV, 8 No. 36 | Abends unter der Linde, D 235 | Woher, o namenloses Sehnen | 24/7/1815 | Text by Kosegarten (other setting: D 237) |
236 | 236 | (1892) | XIX No. 6 | III, 2a No. 7 | Das Abendrot, D 236 | Der Abend blüht, der Westen glüht! | 20/7/1815 | Text by Kosegarten; for ssb and piano |
237 | 237 | (1872) | XX, 2 No. 101 | IV, 8 No. 37 | Abends unter der Linde, D 237 | Woher, o namenloses Sehnen | 25/7/1815 | Text by Kosegarten (other setting: D 235) |
238 | 238 | (1894) | XX, 2 No. 102 | IV, 8 No. 38 | Die Mondnacht | Siehe, wie die Mondesstrahlen | 25/7/1815 | Text by Kosegarten |
239 | 239 | (1893) | XV, 7 No. 11 | II, 14 | Claudine von Villa Bella | (Singspiel in three acts) | started 26/7/1815 | Text by Goethe; For ssttbbSATB and orchestra; Overture (in AGA) – Nos. 1–8 (Act I, in AGA) – No. 9 (fragment from Act II) – No. 10 (fragment from Act III); Other music lost |
240 | 240 | (1894) | XX, 2 No. 103 | IV, 8 No. 39 | Huldigung | Ganz verloren, ganz versunken | 27/7/1815 | Text by Kosegarten |
241 | 241 | (1894) | XX, 2 No. 104 | IV, 8 No. 40 | Alles um Liebe | Was ist es, das die Seele füllt? | 27/7/1815 | Text by Kosegarten |
242 | 242 | (1892) | XIX No. 18 | III, 4 No. 27 | Trinklied im Winter, a.k.a. Winterlied, D 242 | Das Glas gefüllt! | August 1815? | Text by Hölty (other setting: D 242A); For ttb |
242A | IV, 8 No. 41 | Winterabend, D 242A,[18] a.k.a. Winterlied | Das Glas gefüllt! | 1815? | Text by Hölty (other setting: D 242) | |||
243 | 243 | (1892) | XIX No. 19 | III, 4 No. 28 | Frühlingslied, D 243 | Die Luft ist blau | August 1815? | Text by Hölty (other setting: D 398); For ttb |
244 | 244 | (1892) | XIX No. 27 | III, 4 No. 29 VIII, 2 No. 25 | Willkommen, lieber schöner Mai | Willkommen, lieber schöner Mai | August 1815? | Text by Hölty; Canon for three voices in two sections |
245 | 587 | | | | | | | See D 587 |
246 | 246 | (1830) | XX, 3 No. 109 | IV, 8 No. 42 | Die Bürgschaft, D 246 | Zu Dionys, dem Tyrannen | August 1815 | Text by Schiller; Partly reused in D 435 |
247 | 247 | 118p,6 (1829) | XX, 3 No. 119 | IV, 8 No. 43 | Die Spinnerin | Als ich still und ruhig spann | August 1815 | Text by Goethe |
248 | 248 | 118p,4 (1829) | XX, 3 No. 135 | IV, 8 No. 44 | Lob des Tokayers | O köstlicher Tokayer, o königlicher Wein | August 1815 | Text by Baumberg |
249 | 249 | III, 2b Anh. No. 4a | Die Schlacht, D 249 | Schwer und dumpfig | 1/8/1815 | Text by Schiller (other setting: D 387); Sketch | ||
250 | 250 | (1872) | XX, 3 No. 105 | IV, 13 | Das Geheimnis, D 250 | Sie konnte mir kein Wörtchen sagen | 7/8/1815 | Text by Schiller (other setting: D 793) |
251 | 251 | (1872) | XX, 3 No. 106 | IV, 4 | Hoffnung, D 251 | Es reden und träumen die Menschen viel | 7/8/1815 | Text by Schiller (other setting: D 637) |
252 | 252 | (1887) | XX, 3 No. 108 | IV, 8 No. 46 | Das Mädchen aus der Fremde, D 252 | In einem Tal bei armen Hirten | 12/8/1815 | Text by Schiller (other setting: D 117) |
253 | 253 | (1887) | XX, 3 No. 110 | III, 4 No. 30 IV, 8 No. 47 | Punschlied: Im Norden zu singen | Auf der Berge freien Höhen | 18/8/1815 | Text by Schiller; Two versions: 2nd for two voices |
254 | 254 | (1887) | XX, 3 No. 111 | IV, 8 No. 48 | Der Gott und die Bajadere | Mahadöh, der Herr der Erde | 18/8/1815 | Text by Goethe |
255 | 255 | (1850) | XX, 3 No. 112 | IV, 8 No. 49 | Der Rattenfänger | Ich bin der wohlbekannte Sänger | 19/8/1815 | Text by Goethe |
256 | 256 | (1887) | XX, 3 No. 113 | IV, 8 No. 50 | Der Schatzgräber | Arm am Beutel, krank am Herzen | 19/8/1815 | Text by Goethe |
257 | 257 | 3,3 (1821) | XX, 3 No. 114 | IV, 1a | Heidenröslein | Sah ein Knab' ein Röslein stehn | 19/8/1815 | Text by Goethe |
258 | 258 | (1887) | XX, 3 No. 115 | IV, 8 No. 51 | Bundeslied | In allen guten Stunden | 19/8/1815 | Text by Goethe |
259 | 259 | (1850) | XX, 3 No. 116 | IV, 9 No. 27 | An den Mond, D 259 | Füllest wieder Busch und Tal | 19/8/1815 | Text by Goethe (other setting: D 296) |
260 | 260 | 115p,2 (1829) | XX, 3 No. 117 | IV, 8 No. 52 | Wonne der Wehmut | Trocknet nicht, trocknet nicht | 20/8/1815 | Text by Goethe; Reused in D |
261 | 261 | (1850) | XX, 3 No. 118 | IV, 8 No. 53 | Wer kauft Liebesgötter? | Von allen schönen Waren | 21/8/1815 | Text by Goethe, from Der Zauberflöte zweiter Teil |
262 | 262 | (1895) | XX, 3 No. 134 | IV, 9 No. 1 | Die Fröhlichkeit | Wess' Adern leichtes Blut durchspringt | 22/8/1815 | Text by Prandstätter |
263 | 263 | (1848) | XX, 3 No. 123 | IV, 9 No. 2 | Cora an die Sonne | Nach so vielen trüben Tagen | 22/8/1815 | Text by Baumberg |
264 | 264 | (1850) (1872) | XX, 3 No. 124 | IV, 9 No. 3 | Der Morgenkuß | Durch eine ganze Nacht sich nah zu sein | 22/8/1815 | Text by Baumberg; Two versions: 2nd, publ. in 1850, in AGA |
265 | 265 | (1895) | XX, 3 No. 125 | IV, 9 No. 4 | Abendständchen: An Lina | Sei sanft wie ihre Seele | 23/8/1815 | Text by Baumberg |
266 | 266 | (1895) | XX, 3 No. 126 | IV, 9 No. 5 | Morgenlied, D 266 | Willkommen, rotes Morgenlicht! | 24/8/1815 | Text by Stolberg-Stolberg |
267 | 267 | (1872) | XVI No. 17 | III, 3 No. 19 | Trinklied, D 267 | Auf! Jeder sei nun froh und sorgenfrei! | 25/8/1815 | For ttbb and piano |
268 | 268 | (1872) | XVI No. 18 | III, 3 No. 20 | Bergknappenlied | Hinab, ihr Brüder, in den Schacht! | 25/8/1815 | For ttbb and piano |
269 | 269 | (1848) | XVIII No. 5 | III, 3 No. 5 Anh. IV No. 2 | Das Leben | Das Leben ist ein Traum | 25/8/1815 | Text by Wannovius ; Two versions: 1st for tbb and piano – 2nd, in AGA, for ssa and piano |
270 | 270 | 118p,5 (1829) | XX, 3 No. 127 | IV, 9 No. 6 | An die Sonne, D 270 | Sinke, liebe Sonne | 25/8/1815 | Text by Baumberg |
271 | 271 | (1895) | XX, 3 No. 128 | IV, 9 No. 7 | Der Weiberfreund | Noch fand von Evens Töchterscharen ich keine | 25/8/1815 | Text by Ratschky , after Cowley |
272 | 272 | (1872) | XX, 3 No. 129 | IV, 9 No. 8 | An die Sonne, D 272 | Königliche Morgensonne | 25/8/1815 | Text by Tiedge |
273 | 273 | (1895) | XX, 3 No. 130 | IV, 9 No. 9 | Lilla an die Morgenröte | Wie schön bist du, du güldne Morgenröte | 25/8/1815 | |
274 | 274 | (1850) | XX, 3 No. 131 | IV, 9 No. 10 | Tischlerlied | Mein Handwerk geht durch alle Welt | 25/8/1815 | |
275 | 275 | (1895) | XX, 3 No. 132 | IV, 9 No. 11 | Totenkranz für ein Kind | Sanft wehn, im Hauch der Abendluft | 25/8/1815 | Text by Matthisson |
276 | 276 | (1895) | XX, 3 No. 133 | IV, 9 No. 12 | Abendlied, D 276 | Groß und rotenflammet | 28/8/1815 | Text by Stolberg-Stolberg |
277 | 277 | (1892) | XIX No. 7 | III, 3 No. 6 | Punschlied, D 277 | Vier Elemente, inning gesellt | 29/8/1815 | Text by Schiller; For ttb and piano |
277A | (1925) | VII/2, 4 | Minuet with Trio, D 277A | A minor (minuet) / F major (trio) | September 1815? | For piano; Partly reused in D 279 | ||
278 | 278 | (1830) (1897) | XX, 3 No. 147; XXII, 11 No. 147 | IV, 9 No. 13 Anh. No. 1 | Ossians Lied nach dem Falle Nathos | Beugt euch aus euren Wolken nieder | 1815 | Text by Macpherson (Ossian), from Dar-Thula, transl. by E. Baron de Harold; Two versions: 1st is a fragment – 2nd publ. in 1830 |
279 | 279 | (1888) | X No. 2 | VII/2, 1 No. 2 | Piano Sonata, D 279 | C major | September 1815 | Allegro moderato – Andante – Minuet (partly based on D 277A); D 309A, or 346, may be 4th movement |
280 | 280 | (1837) | XX, 3 No. 139 | IV, 9 No. 14 | Das Rosenband | Im Frühlingsgarten fand ich sie | September 1815 | Text by Klopstock |
281 | 281 | (1830) | XX, 3 No. 148 | IV, 9 No. 15 | Das Mädchen von Inistore | Mädchen Inistores, wein auf dem Felsen | September 1815 | Text by Macpherson (Ossian), from Fingal, Book I, transl. by E. Baron de Harold |
282 | 282 | (1830) | XX, 4 No. 188 | IV, 9 No. 16 | Cronnan | Ich sitz' bei der moosigten Quelle | 5/9/1815 | Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold |
283 | 283 | 172p,5 (1865) | XX, 3 No. 136 | IV, 11 | An den Frühling, D 283 | Willkommen, schöner Jüngling! | 6/9/1815 | Text by Schiller (other settings: D 338 and 587) |
284 | 284 | (1895) | XX, 3 No. 137 | IV, 9 No. 17 | Lied, D 284 | Es ist so angenehm, so süß | 6/9/1815 | Text by Schiller(?) |
285 | 285 | (1885) (1895) | XX, 3 No. 138 | IV, 9 No. 18 Anh. No. 2 | Furcht der Geliebten, a.k.a. An Cidli | Cidli, du weinest | 12/9/1815 | Text by Klopstock, from Oden; Two versions: 2nd publ. in 1885 |
286 | 286 | (1837) (1895) | XX, 3 No. 140 | IV, 9 No. 19 | Selma und Selmar | Weine du nicht | 14/9/1815 | Text by Klopstock; Two versions: 2nd publ. in 1837 |
287 | 287 | (1895) | XX, 3 No. 141 | IV, 9 No. 20 | Vaterlandslied | Ich bin ein deutsches Mädchen | 14/9/1815 | Text by Klopstock, from Oden; Two versions |
288 | 288 | (1895) | XX, 3 No. 142 | IV, 9 No. 21 | An Sie | Zeit, Verkündigerin der besten Freuden | 14/9/1815 | Text by Klopstock, from Oden |
289 | 289 | (1895) | XX, 3 No. 143 | IV, 9 No. 22 | Die Sommernacht | Wenn der Schimmer von dem Monde | 14/9/1815 | Text by Klopstock; Two versions |
290 | 290 | (1837) | XX, 3 No. 144 | IV, 9 No. 23 | Die frühen Gräber | Willkommen, o silberner Mond | 14/9/1815 | Text by Klopstock, from Oden |
291 | 291 | (1831) (1895) | XX, 3 No. 145 | IV, 9 No. 24 | Dem Unendlichen | Wie erhebt sich das Herz | 15/9/1815 | Text by Klopstock; Three versions: 2nd publ. in 1831 |
292 | 371 | | | | | | | See D 371 |
293 | 293 | (1830) | XX, 3 No. 146 | IV, 9 No. 25 | Shilric und Vinvela | Mein Geliebter ist ein Sohn des Hügels | 20/9/1815 | Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold |
294 | 294 | (1892) | XVII No. 4 | III, 1 | Namensfeier für Franz Michael Vierthaler, a.k.a. Gratulations-Kantate | Erhabner! Verehrter Freund der Jugend! | 27/9/1815 | For stbSTB and orchestra |
295 | 295 | (1872) (1895) | XX, 3 No. 175 | IV, 9 No. 26 | Hoffnung, D 295 | Schaff, das Tagwerk meiner Hände | 1815 or 1816? | Text by Goethe; Two versions: 1st publ. in 1872 |
296 | 296 | (1868) | XX, 3 No. 176 | IV, 9 No. 28 | An den Mond, D 296 | Füllest wieder Busch und Tal | 1815 or 1816? | Text by Goethe (other setting: D 259) |
297 | 297 | (1850) (1895) | XX, 3 No. 171 | IV, 9 No. 29 Anh. No. 3 | Augenlied | Süße Augen, klare Bronnen! | spring 1817? | Text by Mayrhofer; Two versions: 2nd publ. in 1850 |
298 | 298 | (1895) | XX, 3 No. 170 | IV, 9 No. 30 | Liane | Hast du Lianen nicht gesehen? | October 1815 | Text by Mayrhofer |
299 | 299 | (1897) (1912) | XXI, 3 No. 29 | VII/2, 6 | Twelve Écossaises, D 299 | Various keys | 3/10/1815 | For piano; No. 1 similar to D 145 Écoss. No. 1; Nos. 9–12 publ. in 1912 |
300 | 300 | (1842) | XX, 6 No. 398 | IV, 9 No. 31 | Der Jüngling an der Quelle | Leise, rieselnder Quell | 1816 or 1817? | Text by Salis-Seewis |
301 | 301 | (1842) | XX, 3 No. 149 | IV, 9 No. 32 | Lambertine | O Liebe, die mein Herz erfüllet | 12/10/1815 | Text by Stoll |
302 | 302 | (1895) | XX, 3 No. 150 | IV, 9 No. 33 | Labetrank der Liebe | Wenn im Spiele leiser Töne | 15/10/1815 | Text by Stoll |
303 | 303 | (1887) | XX, 3 No. 151 | IV, 9 No. 34 | An die Geliebte | O, daß ich dir vom stillen Auge | 15/10/1815 | Text by Stoll ; Music partly reused in D 497 |
304 | 304 | (1895) | XX, 3 No. 152 | IV, 9 No. 35 | Wiegenlied, D 304 | Schlumm're sanft! Noch an dem Mutterherzen | 15/10/1815 | Text by Körner |
305 | 305 | (1895) | XX, 3 No. 153 | IV, 9 No. 36 | Mein Gruß an den Mai | Sei mir gegrüßt, o Mai | 15/10/1815 | Text by Kumpf |
306 | 306 | (1895) | XX, 3 No. 154 | IV, 9 No. 37 | Skolie, D 306 | Laßt im Morgenstrahl des Mai'n | 15/10/1815 | Text by Deinhardstein |
307 | 307 | (1895) | XX, 3 No. 155 | IV, 9 No. 38 | Die Sternenwelten | Oben drehen sich die großen unbekannten Welten dort | 15/10/1815 | Text by Fellinger , after Jarnik |
308 | 308 | (1895) | XX, 3 No. 156 | IV, 9 No. 39 | Die Macht der Liebe | Überall, wohin mein Auge blicket | 15/10/1815 | Text by Kalchberg |
309 | 309 | (1872) | XX, 3 No. 157 | IV, 9 No. 40 | Das gestörte Glück | Ich hab' ein heißes junges Blut | 15/10/1815 | Text by Körner |
309A | VII/2, 1 Anh. No. 2 | Rondo, D 309A | C major | 1815 | For piano; Fragment; 4th movement of D 279? | |||
310 | 310 | (1895) | XX, 3 No. 158 | IV, 3 | Sehnsucht, D 310, a.k.a. Lied der Mignon | Nur wer die Sehnsucht kennt | 18/10/1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 359, 481, 656 and 877 Nos. 1 & 4); Two versions |
311 | 311 | IV, 9 Anh. No. 3 | An den Mond, D 311 | 19/10/1815? | For voice and piano; Sketch without text | |||
312 | 312 | 58,1 (1826) (1895) | XX, 3 No. 159 | IV, 3 | Hektors Abschied | Will sich Hektor ewig von mir wenden | 19/10/1815 | Text by Schiller; Two versions: 2nd is Op. 58 No. 1 |
313 | 313 | (1895) | XX, 3 No. 160 | IV, 9 No. 41 | Die Sterne, D 313 | Wie wohl ist mir im Dunkeln! | 19/10/1815 | Text by Kosegarten |
314 | 314 | (1887) | XX, 3 No. 161 | IV, 9 No. 42 | Nachtgesang, D 314 | Tiefe Feier schauert um die Welt | 19/10/1815 | Text by Kosegarten |
315 | 315 | (1895) | XX, 3 No. 162 | IV, 9 No. 43 | An Rosa I | Warum bist du nicht hier | 19/10/1815 | Text by Kosegarten |
316 | 316 | (1895) | XX, 3 No. 163 | IV, 9 No. 44 | An Rosa II | Rosa, denkst du an mich? | 19/10/1815 | Text by Kosegarten; Two versions |
317 | 317 | (1895) | XX, 3 No. 164 | IV, 9 No. 45 | Idens Schwanenlied | Wie schaust du aus dem Nebelflor | 19/10/1815 | Text by Kosegarten; Two versions: 2nd in AGA |
318 | 318 | (1895) | XX, 3 No. 165 | IV, 9 No. 46 | Schwangesang | Endlich stehn die Pforten offen | 19/10/1815 | Text by Kosegarten |
319 | 319 | (1895) | XX, 3 No. 166 | IV, 9 No. 47 | Luisens Antwort | Wohl weinen Gottes Engel | 19/10/1815 | Text by Kosegarten |
320 | 320 | (1895) | XX, 3 No. 167 | IV, 9 No. 48 | Der Zufriedene | Zwar schuf das Glück hienieden | 23/10/1815 | Text by Reissig |
321 | 321 | (1832) | XX, 3 No. 168 | IV, 9 No. 49 | Mignon a.k.a. Mignons Gesang | Kennst du das Land | 23/10/1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship III, 1 |
322 | 322 | (1837) | XX, 3 No. 169 | IV, 9 No. 50 | Hermann und Thusnelda | Ha, dort kömmt er | 27/10/1815 | Text by Klopstock |
323 991 | 323 | (1895) | XX, 3 No. 172 | IV, 9 No. 51 Anh. Nos. 5–6 | Klage der Ceres | Ist der holde Lenz erschienen? | 9/11/1815– June 1816 | Text by Schiller; Two versions: 2nd in AGA; A fragment of the last part was D 991 |
324 | 324 | 141p (1837) | XIII, 1 No. 3 | I, 2 | Mass No. 3 | B♭ major Kyrie – Gloria – Credo – Sanctus & Benedictus – Agnus Dei | started 11/11/1815 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 452, 678, 755 and 950); For satbSATB and orchestra |
324A | IV, 8 No. 41 | Winterlied, D 324A | 1816?[19] | |||||
325 | 325 | (1895) | XX, 3 No. 173 | IV, 1b No. 9 | Harfenspieler, D 325 | Wer sich der Einsamkeit ergibt | 13/11/1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting: D 478 No. 1) |
326 | 326 | (1888) | XV, 2 No. 4 | II, 3 | Die Freunde von Salamanka | (Singspiel in two acts) | 18/11/1815– 31/12/1815 | Text by Mayrhofer; Music for ssstttbbbbbbSATB and orchestra; Overture – Act I (Nos. 1–7) – Act II (Nos. 8–18, with music of No. 12 reappearing in D 803 and of No. 14 in D 796 No. 15) |
327 | 327 | IV, 10 | Lorma, D 327 | Lorma saß in der Halle von Aldo | 28/11/1815 | Text by Macpherson (Ossian), from The Battle of Lora, transl. by E. Baron de Harold (other setting: D 376); Fragment | ||
328 | 328 | 1 (1821) (1895) | XX, 3 No. 178 | IV, 1a & b No. 1 | Erlkönig | Wer reitet so spät durch Nacht und Wind? | October 1815? | Text by Goethe; Four versions: 2nd and 3rd switched in AGA – 4th is Op. 1 |
329 | 329 | (1895) | XX, 10 No. 591 | IV, 9 Anh. No. 7 | Die drei Sänger | Der König saß beim frohen Mahle | 23/12/1815 | Text by Bobrik ; Fragment |
329A | III, 2b Anh. No. 3 VIII, 2 No. 27 | Das Grab, D 329A | Das Grab ist tief und stille | 28/12/1815? | Text by Salis-Seewis (other settings: D 330, 377, 569 and 643A); Canon for SATB; Sketch | |||
330 | 330 | (1895) | XX, 3 No. 182 | III, 3 No. 14 Anh. I No. 2 | Das Grab, D 330 | Das Grab ist tief und stille | 28/12/1815 | Text by Salis-Seewis (other settings: D 329A, 377, 569 and 643A); For choir and piano |
331–510 | | 1816 | Up ↑ | |||||
331 332 | 331 | (1866) | XVI No. 38 | III, 4 No. 31 | Der Entfernten, D 331 | Wohl denk' ich allenthalben | c. 1816 | Text by Salis-Seewis (other setting: D 350); For ttbb; Identical to former D 332 |
333 | 796 | | | | Laß dein Vertrauen nicht schwinden | | | Part of D 796 No. 21 |
334 | 334 | (1897) | XXI, 3 No. 24 | VII/2, 4 | Minuet with Trio, D 334 | A major (minuet) / E major (trio) | before fall 1815 | For piano |
335 | 335 | (1897) | XXI, 3 No. 25 | VII/2, 6 | Minuet with two Trios | E major | 1813? | For piano |
337 | 337 | (1860) | XVI No. 39 | III, 4 No. 32 | Die Einsiedelei, D 337, a.k.a. Lob der Einsamkeit | Es rieselt klar und wehend ein Quell | c. 1816 | Text by Salis-Seewis (other settings: D 393 and 563); For ttbb |
338 | 338 | (1891) | XVI No. 40 | III, 4 No. 33 | An den Frühling, D 338 | Willkommen, schöner Jüngling! | c. 1816 | Text by Schiller (other settings: D 283 and 587); For ttbb |
342 | 342 | (1885) | XX, 4 No. 238 | IV, 10 | An mein Klavier a.k.a. Seraphine an ihr Klavier | Sanftes Klavier, welche Entzückungen schaffest du mir | c. 1816 | Text by Schubart |
343 | 343 | (1831) | XX, 5 No. 342 | IV, 10 | Am Tage Aller Seelen a.k.a. Litanei auf das Fest Aller Seelen | Ruh'n in Frieden alle Seelen | August 1816 | Text by Jacobi; Two versions: 1st, in AGA, publ. in 1831 |
344 | 344 | IV, 10 | Am ersten Maimorgen | Heute will ich fröhlich sein | 1816? | Text by Claudius | ||
345 | 345 | (1897) | XXI, 1 No. 3 | V, 7 No. 1 | Violin Concerto, a.k.a. Konzertstück (Concert Piece) | D major | 1816 | Adagio, Allegro |
346 | 346 | (1897) | XXI, 3 No. 17 | VII/2, 4 Anh. | Allegretto, D 346 | C major | 1816? | For piano; Fragment; 4th movement of D 279? |
347 | 347 | (1897) | XXI, 3 No. 18 | VII/2, 4 Anh. | Allegro moderato, D 347 | C major | 1813? | For piano; Fragment |
348 | 348 | (1897) | XXI, 3 No. 19 | VII/2, 4 Anh. | Andantino, D 348 | C major | 1816? | For piano; Fragment |
349 | 349 | (1897) | XXI, 3 No. 21 | VII/2, 4 Anh. | Adagio, D 349 | C major | 1816? | For piano; Fragment |
350 | 350 | (1885) | XX, 4 No. 203 | IV, 10 | Der Entfernten, D 350 | Wohl denk' ich allenthalben | 1816? | Text by Salis-Seewis (other setting: D 331) |
351 | 351 | (1895) | XX, 4 No. 204 | IV, 11 | Fischerlied, D 351 | Das Fischergewerbe gibt rüstigen Mut | 1816? | Text by Salis-Seewis (other settings: D 364 and 562) |
352 | 352 | (1847) | XX, 4 No. 286 | III, 2b No. 21 | Licht und Liebe a.k.a. Nachtgesang | Liebe ist ein süßes Licht | 1816? | Text by Collin, M. C.; For st and piano |
353 | 353 | 125p,2 (1840) | V No. 11 | VI, 4 No. 12 | String Quartet No. 11 | E major | 1816 | Allegro con fuoco – Andante – Minuet – Rondo |
354 | 354 | (1930) | VI, 9 | Four Komische Ländler | D major | January 1816 | For two violins | |
355 | 355 | (1928) | VI, 9 | Eight Ländler, D 355 | F♯ minor | January 1816 | For violin(?) | |
356 | 356 | (1844) | III, 3 Anh. II No. 3 | Trinklied, D 356 | Funkelnd im Becher so helle, so hold | 1816 | For vocal soloist, TTBB and piano; Piano part lost (by Czerny in 1844 ed.) | |
357 | 357 | (1892) | XIX No. 24 | III, 4 No. 35 VIII, 2 No. 28 | Goldner Schein | Goldner Schein deckt den Hain | 1/5/1816 | Text by Matthisson; Canon for three voices |
358 | 358 | (1849) | XX, 4 No. 235 | IV, 10 | Die Nacht, D 358 | Du verstörst uns nicht, o Nacht! | 1816 | Text by Uz |
359 | 359 | (1872) | XX, 4 No. 260 | IV, 3 | Sehnsucht, D 359 a.k.a. Lied der Mignon | Nur wer die Sehnsucht kennt | 1816 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 481, 656 and 877 Nos. 1 & 4) |
360 | 360 | 65,1 (1826) | XX, 4 No. 268 | IV, 3 | Lied eines Schiffers an die Dioskuren | Dioskuren, Zwillingssterne | 1816 | Text by Mayrhofer |
361 | 361 | 109p,1 (1829) | XX, 4 No. 272 | IV, 10 | Am Bach im Frühling | Du brachst sie nun, die kalte Rinde | 1816 | Text by Schober; Piano intro probably not by Schubert |
362 | 362 | (1895) | XX, 4 No. 280 | IV, 11 | Zufriedenheit, D 362, a.k.a. Lied | Ich bin vergnugt | 1815 or 1816? | Text by Claudius (other setting: D 501) |
363 | 363 | IV, 10 | An Chloen, D 363 | Die Munterkeit ist meinen Wangen | 1816 | Text by Uz; Fragment | ||
364 | 364 | (1897) | XXI, 4 No. 35 | III, 4 No. 34 | Fischerlied, D 364 | Das Fischergewerbe gibt rüstigen Mut | 1816 or 1817? | Text by Salis-Seewis (other settings: D 351 and 562); For ttbb |
365 | 365 | 9 (1821) | XII No. 1 | VII/2, 6 & 7a |