List of compositions by Franz Schubert

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Portrait of Franz Schubert by Franz Eybl (1827)

Franz Schubert (31 January 1797 – 19 November 1828) was an extremely prolific Austrian composer. He composed some 1500 works (or, when collections, cycles and variants are grouped, some thousand compositions). The largest group are the lieder for piano and solo voice (over six hundred), and nearly as many piano pieces. Schubert also composed 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 a dozen of symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.

The first comprehensive catalogue of Schubert's works was published in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order, compiled by Otto Erich Deutsch, an Austrian musicologist. A revised edition appeared in German in 1978. Later editions of the catalogue contained minor updates.

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).

There are two attempts to publish everything Schubert has composed in a single edition:

Texts of Schubert's vocal music can be published without the music, for instance his Lieder (songs) at LiederNet

D 1 to D 150[edit]

Table
  1. D '51: Deutsch number in the first version of the Deutsch catalogue (1951)
  2. D utd: Most recent (up to date) Deutsch catalogue number
  3. Op. / pbl: Opus number (p indicates Post. = posthumous); date of first publication in parenthesis
  4. AGA: Alte Gesamt-Ausgabe = Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe. Indicates genre/instrumentation:
  5. NSA: NGA/NSA/NSE = New Schubert Edition, also indicates genre/instrumentation:
  6. Name: unique name, links to article
  7. Key signature / incipit: incipit mostly for songs (linking to lyrics and their translation when available), other compositions by key signature, except for theatre works: type of composition in brackets.
  8. Date: Date of composition / autograph
  9. Additional info: e.g. movements, text author,...
D
'51
D
utd
Op.
pbl
AGA NSA Name Key signature / incipit Date Additional info
1 1 (1888) IX, 3
No. 30
VII/1, 1 No. 1 & Anh. No. 1 Fantasy, D 1 G major April–May 1810 Adagio - Allegro; Presto - Allegretto; Finale: Allegro maestoso — Two versions of Finale
1A (1969) IV, 6
Anh. No. 1
Song, D 1A C minor before
1810?
Adagio (sketch; no text, might be same as for D 39) – Gesang for bass and piano
1B VII/1, 1 Anh. No. 2 Fantasy, D 1B G major 1810-1811 Adagio, and start of an Allegro;
1C VII/1, 1 Anh. No. 3 Sonata, D 1C F major 1810-1811 Largo (fragment of 1st movement)
996 2A V, 6 No. 1 Overture, D 2A D major 1811? Adagio - Allegro (fragment)
997 2B V, 6 No. 2 Symphony, D 2B D major 1811? Adagio, fragment of a first movement
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 key signatures 1811 For winds (No. 1-2 also for piano; No. 4-6 piano sketches)
993 2E VII/2, 4 Fantasy, D 2E C minor 1811 Largo
2F VI, 9 Trio, D 2F 1811 Piano sketch of a Trio for a Minuet like those of D 2D
2G V, 6 No. 3 Overture, D 2G D major 1810-1811? Fragment
3 3 (1978) VI, 3
Anh. No. 2
String Quartet, D 3 C major 1812? Fragment, some of it reused in D 29 and in an early sketch of D 36
4 4 (1886) II
No. 1
V, 5 Der Teufel als Hydraulicus (Overture to a comedy with singing) 1812? Play by J. F. E. Albrecht derived from Der Bettelstudent by Paul Weidmann
5 5 (1894) XX, 1
No. 1
IV, 6
No. 1
Hagars Klage Hier am Hügel heißen Sandes 30/03/1811 Text by Clemens August Schücking
6 6 (1894) XX, 1
No. 2
IV, 3 Des Mädchens Klage Der Eichwald brauset 1811-1812 Text by Friedrich Schiller, from Wallenstein: Die Piccolomini III, 7 — First setting
7 7 (1894) XX, 1
No. 3
IV, 6
No. 2
Leichenfantasie Mit erstorbnem Scheinen 1811? Text by Friedrich Schiller
8 8 (1970) VI, 2 No. 1 Overture, D 8 C minor 29/6/1811 Largo - Allegro
8A (1970) VI, 3 No. 3 Overture, D 8A C minor After 12/7/1811 Largo - Allegro (Quartet version of D 8)
9 9 (1888) IX, 3
No. 31
VII/1, 1
No. 2
Fantasy, D 9 G minor 20/9/1811 Largo - Allegro
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 Gottlieb Conrad 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 August von Kotzebue
Overture, five complete numbers and three fragments from Act I are extant.
Aria No. 3 not published in AGA
12 12 (1897) XXI, 1
No. 2
V, 5 Overture, D 12 D major 1811-1812 Adagio - Allegro spiritoso
13 13 VII/2, 4 Fugue, D 13 D minor c. 1812 Allegro maestoso — presumably for piano
14 14 Overture, D 14 c. 1812 Lost — piano sketch
15 15 (1895) XX, 10
No. 590/1
IV, 7
Anh. No. 5
Der Geistertanz Die bretterne Kammer c. 1812 Text by Friedrich von Matthisson
Fragment, first setting (see also D 15A, 116 and 494)
15 15A (1895) XX, 10
No. 590/2
IV, 7
Anh. No. 6
Der Geistertanz Die bretterne Kammer c. 1812 Text by Friedrich von Matthisson
Fragment, second setting (see also D 15, 116 and 494)
16 16 (1940) VIII, 2
No. 11
Counterpoint exercises, D 16 G minor and A minor 1823? Seven exercises in double counterpoint
17 17 (1940)
(1986)
VIII, 2
No. 37
Composition exercises, D 17 Quell’ innocente figlio 1812? Text by Metastasio, from Isacco I, "Aria dell' Angelo" — Nine settings, corrections by Salieri
18 18 (1890) V No. 1 VI, 3 No. 1 String Quartet No. 1 G minor / B major 1810-1811 Andante - Presto vivace; Menuetto - Trio; Andante; Presto
19 19 String Quartet, D 19 1810-1811 Lost
19 19A String Quartet, D 19A 1810-1811 Lost
19B Waltzes and a March, D 19B 1812-1813 Lost — for piano
20 20 Overture, D 20 B-flat major 1812 Lost — for string quartet
21 21 Six Variations, D 21 E-flat major 1812 Lost — for piano
22 22 Twelve Minuets with Trios, D 22 1812 Lost — for piano
23 23 131,3p
(1830)
XX, 1
No. 6
IV, 6
No. 4
Klaglied Meine Ruh ist dahin 1812 Text by Friedrich Rochlitz
24 24 Seven Variations, D 24 F major 1812? Lost fragment — for piano
24A VII/2, 4 Fugue, D 24A C major Summer 1812 Allegro — for keyboard (organ or piano)
24B VII/2, 4 Fugue, D 24B G major Summer 1812 Allegro — for keyboard (organ or piano)
24C VII/2, 4 Fugue, D 24C D minor Summer 1812 Maestoso — for keyboard (organ or piano)
24D VII/2, 4 Anh. Fugue, D 24D C major Summer 1812 Maestoso (fragment), for piano
Theme reused in D 46
24E I, 5 Mass, D 24E F major (?) Summer 1812? Fragment of a Gloria and a Credo
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? Fragment, for two voices
26 26 (1886) II No. 2 V, 5 Overture, D 26 D major 26/6/1812 Allegro spiritoso
27 27 (1928) I, 8 Salve Regina, D 27 F major 28/06/1812 Motet/Antiphon — parts of trumpets and timpani missing
28 28 (1923) VI, 7 No. 1 Trio, D 28 B major 28/8/1812 Allegro — Sonata movement
29 29 (1888) XI No. 9 VII/2, 4 Andante, D 29 C major 9/9/1812 For piano — see also D 3 and 36
30 30 (1894) XX, 1
No. 5
IV, 4 Der Jüngling am Bache An der Quelle saß der Knabe 24/9/1812 Text by Friedrich Schiller
First setting, see also D 192 and 638
31 31 (1888) XIV No. 14 I, 5 Kyrie, D 31 D minor 25/9/1812 Allegro — First part of a Mass
32 32 (1890)
(1955)
V No. 2
XXII v5
VI, 3 No. 4 String Quartet No. 2 C major Sept-Oct 1812 Presto; Andante; Menuetto: Allegro - Trio; Allegro con spirito — AGA V only mvts 1 & 3
33 33 (1940) VIII, 2
No. 38
Composition exercises, D 33 Entra l'uomo allor che nasce Sept-Oct 1812 Text by Metastasio, from Isacco II, "Aria di Abramo" — Six settings and an Allegretto, 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" — Two settings (second incomplete), 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, corrections by Salieri
36 36 (1890) V No. 3 VI, 3 No. 5 String Quartet No. 3 B-flat major 1812-1813 Allegro; Andante; Menuetto: Allegro - Trio; Allegretto
37 37 74
(1827)
XIX
No. 1
III, 3 Die Advokaten Mein Herr, ich komm' mich anzufragen 25-27/12/1812 Text by Eduard von Rustenfeld, Baron Engelhart
Imitates a composition by Anton Fischer
967 37A VII/2, 4 Anh. Fugue sketches, D 37A 1813? Four sketches with four voices, the first of which is marked Allegro, for Clav.
38 38 (1892) XIX
No. 20
III, 4 No. 1 Totengräberlied Grabe, Spaden, grabe! 1813? Text by Ludwig Heinrich Christoph Hölty
First of two settings, see also D 44
39 39 (1894) IV, 6
Anh No. 2
Lebenstraum Ich saß an einer Tempelhalle Early 1810? Text by Gabriele von Baumberg
Incomplete; seems related to D 1A
39A Three Minuets with Trios, D 39A 1813 Lost — for orchestra
40 Anh.
I/1
String Quartet, D Anh. I/1 E-flat major 1813 Lost or identical to D 87
41 41 (1889) XII No. 30 VII/2, 6 Thirty Minuets with Trios, D 41 Various key signatures 1813 Nos. 1–8, 11–18 and 20–23 are extant; Partly reused by Ferdinand Schubert in a Pastoral Mass
41A VII/2, 4 Anh. Fugue, D 41A E minor 1813 Allegro moderato (fragment), for piano
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 — Two settings; first setting two variant fragments
43 43 (1897) XXI, 4
No. 43
III, 4 No. 2 Sprüche des Confucius Dreifach ist der Schritt der Zeit 8/7/1813 Text by Friedrich Schiller — First of three settings, see D 69 and 70
44 44 (1894) XX, 1
No. 7
IV, 6
No. 6
Totengräberlied Grabe, Spaden, grabe! 19/1/1813 Text by Ludwig Heinrich Christoph Hölty
Second of two settings, see also D 38
45 45 (1888) XIV No. 21 I, 5 Kyrie, D 45 B-flat major 1/3/1813 Andante con espressione — Reused by Ferdinand Schubert in a Pastoral Mass
46 46 (1890) V No. 4 VI, 3 No. 6 String Quartet No. 4 C major 3-7/3/1813 Adagio; Andante con moto; Menuetto: Allegro - Trio; Finale: Allegro
47 47 (1974) III, 2b
Anh. No. 1
Dithyrambe, D 47 Nimmer, das glaubt mir, erscheinen die Götter 29/3/1813 Text by Friedrich Schiller — Fragment (tenor, bass, choir, piano) — Also D 801
48 48 (1871)
(1888)
IX, 3
No. 32
VII/1, 1
No. 3
Fantasy, D 48
Grand Sonata, D 48
C minor April to 10 June 1813 Adagio - Allegro agitato - Andante amoroso - Allegro - Adagio (- Fuge: Allegro maestoso)
49 49 (1888) XIV No. 15 I, 5 Kyrie, D 49 D minor 15/4/1813 Allegro — 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 Friedrich von Matthisson
51 51 (1897) XXI, 4
No. 37
III, 4 No. 3 Unendliche Freude Unendliche Freude durchwallet das Herz 15/4/1813 Text by Friedrich Schiller, from "Elysium": stanza 3 — also D 584, 53, 54, 57, 58, 60
52 52 (1868) XX, 1
No. 9
IV, 2b No. 8 Sehnsucht Ach, aus dieses Tales Gründen 15–
17/4/1813
Text by Friedrich Schiller
First setting, see also D 636
53 53 (1892) XIX
No. 9
III, 4 No. 4 Vorüber die stöhnende Klage Vorüber die stöhnende Klage! 18/4/1813 Text by Friedrich Schiller, from "Elysium": stanza 1 — also D 584, 51, 54, 57, 58, 60
54 54 (1873) XIX
No. 22
III, 4 No. 5 Unendliche Freude Unendliche Freude durchwallet das Herz 19/4/1813 Text by Friedrich Schiller, from "Elysium": stanza 3 — also D 584, 51, 53, 57, 58, 60
55 55 (1892) XIX
No. 12
III, 4 No. 6 Selig durch die Liebe Selig durch die Liebe Götter 21/4/1813 Text by Friedrich Schiller, from "Der Triumph der Liebe"/1 — also D 983A, 61, 62, 63, 64
56 56 (1892) XIX
No. 29
I, 8 Sanctus, D 56 B-flat major 21/4/1813 Canon for three voices, 2 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 Friedrich Schiller, from "Elysium": stanza 4 — also D 584, 51, 53, 54, 58, 60
58 58 (1892) XIX
No. 10
III, 4 No. 8 Dessen Fahne Donnerstürme wallte Dessen Fahne Donnerstürme wallte May 1813 Text by Friedrich Schiller, from "Elysium": stanza 5 — also D 584, 51, 53, 54, 57, 60
59 59 (1832) XX, 1
No. 10
IV, 6
No. 8
Verklärung Lebensfunke, vom Himmel entglüht 4/5/1813 Text by Johann Gottfried Herder, after Alexander Pope "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 Friedrich Schiller, from "Elysium": stanza 6 — also D 584, 51, 53, 54, 57, 58
61 61 (1897) XXI, 4
No. 39
III, 4 No. 9 Ein jugendlicher Maienschwung Ein jugendlicher Maienschwung 8/5/1813 Text by Friedrich Schiller, from "Der Triumph der Liebe"/9 — also D 983A, 55, 62, 63, 64
62 62 (1897) XXI, 4
No. 40
III, 4 No. 10 Thronend auf erhabnem Sitz Thronend auf erhabnem Sitz 9/5/1813 Text by Friedrich Schiller, from "Der Triumph der Liebe"/15 — also D 983A, 55, 61, 63, 64
63 63 (1892) XIX
No. 13
III, 4 No. 11 Wer die steile Sternenbahn Wer die steile Sternenbahn 10/5/1813 Text by Friedrich Schiller, from "Der Triumph der Liebe"/26 — also D 983A, 55, 61, 62, 64
64 64 (1897) XXI, 4
No. 41
III, 4 No. 12 Majestät'sche Sonnenroße Majestät'sche Sonnenroße 10/5/1813 Text by Friedrich Schiller, from "Der Triumph der Liebe"/16 — also D 983A, 55, 61, 62, 63
65 65 (1892) XIX
Anh. I, No. 35
III, 4
Anh. II No. 1
Schmerz verzerret ihr Gesicht Schmerz verzerret ihr Gesicht 11/5/1813 Text by Friedrich Schiller, from "Gruppe aus dem Tartarus", stanza 2 (sketch) — also D 396, 583
66 66 (1888) XIV No. 16 I, 5 Kyrie, D 66 F major 12/5/1813 Larghetto
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 Friedrich Schiller, from "Der Flüchtling" – also D 402
68 68 (1890) V No. 5 VI, 3 No. 7 String Quartet No. 5 B-flat major 18/8/1813 Allegro maestoso; Allegro – Middle movements missing
69 69 (1892) XIX
No. 23
III, 4
No. 14
Sprüche des Confucius Dreifach ist der Schritt der Zeit 8/7/1813 Text by Friedrich Schiller — second of three settings (canon), see D 43 and 70
70 70 (1974) III, 4
Anh. I No. 1
Sprüche des Confucius Dreifach ist der Schritt der Zeit 8/7/1813 Text by Friedrich Schiller — Third of three settings (fragment), see D 43 and 69
71 71 (1892) XIX
No. 14
III, 4
No. 15
Die zwei Tugendwege Zwei sind der Wege 15/7/1813 Text by Friedrich Schiller — Trio for two tenors and bass
71A (1956) I, 8 Alleluja, D 71A F major July 1813? Canon for three voices
71B VII/2, 4 Anh. Fugue, D 71B E minor July 1813 Maestoso (fragment), for piano
966A 71C V, 6 No. 5 Orchestral piece, D 71C D major August or
Sept. 1813
Allegro ma non troppo (fragment)
72 72 (1889)
(1890)
III No. 2
XXII v1
VI, 1 No. 1
& Anh.
Wind Octet F major 18/8/1813 Menuetto: Allegretto - Trio I/II; Allegro; Allegro (fragment)
73 73 (1868) XX, 1
No. 11
IV, 4 Thekla: Eine Geisterstimme Wo ich sei, und wo mich hingewendet 22–
23/8/1813
Text by Friedrich Schiller
First setting, see also D 595
74 74 (1890) V No. 6 VI, 4 No. 8 String Quartet No. 6 D major August–Sept. 1813 Allegro ma non troppo; Andante; Menuetto: Allegro - Trio; Allegro
74A V, 6 No. 4 Orchestral piece, D 74A D major 1813? Fragment
75 75 (1850) XVI
No. 16
III, 3 Trinklied Freunde, sammelt euch im Kreise 29/08/1813 Text by Fr. Schäffer
For bass, men’s choir and piano
76 76 (1871)
(1969)
XX, 10
No. 571
IV, 6 No. 9 Anh. No. 4 Aria di Fronimo Pensa, che questo istante 13 and 7
Sept. 1813
Text by Metastasio, from Alcide al bivio, 1st scene — 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 Friedrich Schiller – 2 versions (second 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
79 79 (1889) III No. 3 VI, 1 No. 2 Wind Nonet, a.k.a. Eine kleine Trauermusik E-flat minor 19/9/1813 Grave con espressione – Franz Schuberts Begräbniß-Feyer
80 80 (1892) XIX
No. 4
III, 3 Zur Namensfeier meines Vaters Ertöne Leier zur Festesfeier! 27/9/1813 Text by Franz Schubert
81 81 (1895) XX, 10
No. 583
IV, 14 Auf den Sieg der Deutschen Verschwunden sind die Schmerzen Fall 1813 Text by unknown artist (possibly Franz Schubert) – See also D 88 (Stanza 1)
82 82 (1884) I, 1
No. 1
V, 1 No. 1 Symphony No. 1 D major 28/10/1813 Adagio – Allegro vivace; Andante; Menuetto: Allegretto – Trio; Allegro vivace
83 83 (1895) XX, 10
No. 582
IV, 14 Zur Namensfeier des Herrn Andreas Siller Des Phöbus Strahlen 4/11/1813 Text by unknown artist
84 84 (1888) XV, 1
No.1
II, 1 Des Teufels Lustschloß (Singspiel in three acts) 30/10/1813–
22/10/1814
Text by August von Kotzebue – 2 versions (AGA mixture of 1st and 2nd version)
86 86 (1886) II No. 10 VI, 9 VI, 4
Anh. No. 1
Minuet for string quartet, D 86 D major November 1813? Contemporary to D 89?
87 87 125,1p
(1840)
V No. 10 VI, 4 No. 9 String Quartet No. 10 E-flat major November 1813 Allegro più moderato; Scherzo:Prestissimo - Trio; Adagio; Allegro
87A VI, 4
Anh. No. 2
Andante in C major,
D 87A
C major November 1813 Fragment – four voices (string quartet or vocal ensemble?)
88 88 (1892) XIX
No. 21
III, 4 No. 17 Verschwunden sind die Schmerzen Verschwunden sind die Schmerzen 15/11/1813 Text by unknown artist (possibly Franz Schubert) – First stanza of text of D 81
89
90
89 (1886) II No. 8
and No. 9
VI, 9 Five Minuets and Five German Dances, D 89 Various key signatures 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 key signatures 22/11/1813 For piano – Each with two Trios
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? Song cycle
Text by Friedrich de la Motte Fouqué, from Der Zauberring
Nos. 2 and 3 fragments
94 94 (1871) V No. 7 VI, 3 No. 2 String Quartet No. 7 D major 1811 or
1812
Allegro; Andante con moto; Menuetto:Allegretto - Trio; Presto
94A V, 6 No. 6 Orchestral piece, D 94A B-flat major c. 1814 Fragment
94B Five Minuets and Six German Dances, D 94B 1814 Lost – for string quartet and two horns
95 95 (1848) XX, 1
No. 25
IV, 7
No. 1
Adelaide Einsam wandelt dein Freund 1814 Text by Friedrich von Matthisson
97 97 (1894) XX, 1
No. 19
IV, 7
No. 2
Trost: An Elisa Lehnst du deine bleichgehärmte Wange 1814 Text by Friedrich von Matthisson
98 98 (1894)
(1968)
XX, 1
No. 24
IV, 7 No. 3
Anh. No. 2
Erinnerungen Am Seegestad, in lauen Vollmondsnächten Fall 1814 Text by Friedrich von Matthisson – First setting (2 versions: AGA only 2nd version, 1st version is fragment); second setting: D 424
99 99 (1894) XX, 1
No. 16
IV, 7 No. 4 Andenken Ich denke dein wenn durch den Hain April 1814 Text by Friedrich von Matthisson – First setting; second 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 Friedrich von Matthisson
101 101 (1894) XX, 1
No. 18
IV, 7 No. 6 Erinnerung (Todtenopfer) Kein Rosenschimmer leuchtet April 1814 Text by Friedrich von Matthisson
102 102 (1840) XX, 1
No. 20
IV, 7 No. 7 Die Betende Laura betet! Fall 1814 Text by Friedrich von Matthisson – First measures reused in D 918
103 103 (1939) VI, 4
Anh. No. 3
Quartettsatz, D 103 C minor 23/4/1814 Fragment – first edition completed by Alfred Orel
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 Johann Christian Mikan – Two drafts and a final version
105
185
105 (1856) XIII, 1
No. 1
I, 1a Mass No. 1 F major 17/5/1814–
22/7/1814
Second setting of Dona nobis pacem (25-26/4/1815) used to be D 185
106 106 (1888) XIV No. 9 I, 8 Salve Regina, D 106 B-flat major 28/6/1814–
1/7/1814
Tenor and orchestra (organ as figured bass)
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 Friedrich von Matthisson – Two versions: AGA only first version
108 108 (1894) XX, 1
No. 22
IV, 7 No. 10 Der Abend Purpur malt die Tannenhügel July 1814 Text by Friedrich von Matthisson
109 109 (1894) XX, 1
No. 23
IV, 7 No. 11 Lied der Liebe Durch Fichten am Hügel July 1814 Text by Friedrich von Matthisson
110 110 (1891) XVI
No. 43
III, 1 Wer ist groß? Wer ist wohl groß? 24–
25/7/1814
Text by unknown artist
Cantata for bass, men’s choir and orchestra
111A VI, 6
Anh. No. 1
String Trio, D 111A B-flat major 5–
13/9/1814
Fragment of an Allegro – Related to D 112
112 112 168p
(1863)
V No. 8 VI, 4
No. 10
String Quartet No. 8 B-flat major 5–
13/9/1814
Allegro ma non troppo; Andante sostenuto; Menuetto: Allegro - Trio; Presto
113 113 58,2
(1821)
(1826)
(1894)
XX, 1
No. 26
IV, 3 An Emma Weit in nebelgrauer Ferne 17/9/1814 Text by Friedrich Schiller — Three versions, third version is Op. 58 No. 2
114 114 (1868)
(1901)
XX, 1
No. 27
IV, 7 No. 12 Romanze Ein Fräulein klagt' im finstern Turm September
1814
Text by Friedrich von Matthisson – Two versions: AGA only second version
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–
7/10/1814
Text by Friedrich von Matthisson
116 116 (1840) XX, 1
No. 29
IV, 7 No. 14 Der Geistertanz Die bretterne Kammer 14/10/1814 Text by Friedrich von Matthisson
Third setting (see also D 15, 15A and 494)
117 117 (1894) XX, 1
No. 30
IV, 8
No. 45
Das Mädchen aus der Fremde In einem Tal bei armen Hirten 16/10/1814 Text by Friedrich Schiller
First setting, see also D 252
118 118 2
(1821)
XX, 1
No. 31
IV, 1 Gretchen am Spinnrade Meine Ruh' ist hin 19/10/1814 Text by Johann Wolfgang von Goethe, from Faust I, 15
119 119 (1850) XX, 1
No. 32
IV, 7 No. 15 Nachtgesang O! gib vom weichen Pfühle 30/11/1814 Text by Johann Wolfgang von 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 Johann Wolfgang von Goethe
121 121 3,1
(1821)
(1894)
XX, 1
No. 34
IV, 1 Schäfers Klagelied Da droben auf jenem Berge 30/11/1814 Text by Johann Wolfgang von Goethe – Two versions (1st version is Op. 3 No. 1; 2nd version probably composed 1819)
122 122 (1872) XX, 1
No. 38
IV, 7 No. 17 Ammenlied Am hohen, hohen Turm December 1814 Text by Michael Lubi
123 123 (1842) XX, 1
No. 35
IV, 7 No. 18 Sehnsucht Was zieht mir das Herz so? 3/12/1814 Text by Johann Wolfgang von Goethe
124 124 (1894)
(1968)
XX, 1
No. 36
IV, 7 No. 19 &
Anh. No. 7
Am See Sitz' ich im Gras am glatten See 7/12/1814 Text by Johann Mayrhofer – Two versions: 1st version fragment (not in AGA); 1885 edition incomplete with added stanza
125 125 (1884) I, 1
No. 2
V, 1 No. 2 Symphony No. 2 B-flat major 10/12/1814–
24/3/1815
Largo – Allegro vivace; Andante; Menuetto: Allegro vivace – Trio; 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 12/12/1814 Text by Johann Wolfgang von Goethe, from Faust I, 20 – Two versions: AGA only 2nd version; orchestration anticipated?
128 128 (1897) XXI, 3
No. 23
VII/2, 6 Twelve Viennese German Dances Various key signatures 1812? For piano – includes introduction
129 129 (1892) XIX
No. 16
III, 4 No. 18 Mailied Grüner wird die Au 1815? Text by Ludwig Heinrich Christoph Hölty – First of three settings, see also D 199, 503
130 130 (1892) XIX
No. 25
III, 4 No. 19 Der Schnee Zerrinnt Der Schnee Zerrinnt 1815? Text by Ludwig Heinrich Christoph HöltyD 202 sets all stanzas of the same poem
131 131 (1892) XIX
No. 28
III, 4 No. 20 Lacrimoso son io Lacrimoso son io 1815? Text by unknown artist – two versions, second 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 Josef Kenner
135 135 (1930) VII/2, 6 German Dance with Trio, D 135 E major 1815 For piano – Variant version (other Trio) of Waltz D 146 No. 3
136 136 46
(1825)
XIV No. 1 I, 8 Offertory in C major, D 136 Totus in corde langueo 1815? soprano (or tenor), clarinet (or violin) concertante, orchestra and organ
137 137 (1893) XV, 7
No.14
II, 12 Adrast (Singspiel) c. 1818 Text by Johann Mayrhofer – No. 1–8 complete (AGA: No. 1–7), five fragments
138 138 5,1
(1821)
(1970)
XX, 3
No. 177
IV, 1 Rastlose Liebe Dem Schnee, dem Regen, dem Wind entgegen 19/5/1815 Text by Johann Wolfgang von Goethe – Two versions: 1st version, in AGA, is Op. 5 No. 1
139 139 (1930) VII/2, 6 German Dance with Trio, D 139 C-sharp major 1815 For piano – The Trio is in A major
140 140 (1850) XVIII
No. 6
III, 3 Klage um Ali Bey Laßt mich! laßt mich! ich will klagen 1815 Text by Matthias ClaudiusD 496A is setting for solo voice
141 141 131,1p
(1830)
XX, 2
No. 43
IV, 7 No. 23 Der Mondabend Rein und freundlich lacht der Himmel 1815 Text by Johann Gottfried Kumpf
142 142 92,3
(1828)
XX, 3
No. 174
IV, 5 Geistes-Gruß Hoch auf dem alten Turme steht 1815 or
1816
Text by Johann Wolfgang von Goethe – Six versions (four in AGA), sixth is Op. 92 No. 3
143 143 109,2
(1829)
XX, 3
No. 181
IV, 7 No. 24 Genügsamkeit Dort raget ein Berg aus den Wolken her 1815 Text by Franz von Schober – First measure (piano intro) in first edition not by Schubert
144 144 (1895) XXII, 11
No. 209
IV, 7
Anh. No. 9
Romanze In der Väter Hallen ruhte April
1816
Text by Friedrich Leopold zu Stolberg-Stolberg – Fragment
145 145 18
(1823)
XII No. 2 VII/2, 7 Twelve Waltzes, Seventeen Ländler and Nine Écossaises, D 145 Various key signatures 1815–
July 1821
For piano – See also D 970 No. 2, 421 No. 1 and 697 No. 5
146 146 127p
(1830)
XII No. 8 VII/2, 7 Twenty Waltzes, D 146 Various key signatures 1815–Feb-
ruary 1823
For piano – See also D 135 and 145 No. 9; some previously as "German Dance"
147 147 (1892) XIX
No. 15
III, 4 No. 21 Bardengesang Rolle, du strömigter Carun 20/1/1816? Text by James Macpherson (Ossian), from "Comala" transl. by E. Baron de Harold
148 148 131,2p
(1830)
XIX
No. 8
III, 3 Trinklied Brüder! unser Erdenwallen February
1815
Text by Ignaz Franz Castelli
149 149 117
(1829)
(1894)
XX, 2
No. 45
IV, 7 No. 25 Der Sänger Dort Was hör' ich draußen vor dem Tor February
1815
Text by Johann Wolfgang von Goethe – Two versions: second (first in AGA) is Op. 117
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 James Macpherson (Ossian), from Carric-Thura transl. by E. Baron de Harold
151 151 (c.
1850)
XX, 2
No. 39
IV, 7 No. 27 Auf einen Kirchhof Sei gegrüßt, geweihte Stille 2/2/1815 Text by Franz Xaver von Schlechta
152 152 (1894) XX, 2
No. 40
IV, 7 No. 28 Minona oder die Kunde der Dogge Wie treiben die Wolken so finster und schwer 8/2/1815 Text by Friedrich Anton Franz 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 Bernhard Ambros Ehrlich
154 154 (1897) XXI, 2
No. 8
VII/2, 1
Anh. No. 1
Piano Sonata in E major, D 154 E major 11/2/1815 Allegro (fragment) – Second theme re-used in first movement of D 157
155 155 165,3p
(1862)
XX, 2
No. 42
IV, 7 No. 29 Das Bild Ein Mädchen ist's 10/2/1815 Text by unknown artist
156 156 (1887) XI No. 6 VII/2, 4 Ten Variations, D 156 F major 15/2/1815 For piano – 2 versions of "Theme"/"Var. II"
157 157 (1888) X No. 1 VII/2, 1
No. 1
Piano Sonata in E major, D 157 E major 18/2/1815 Allegro ma non troppo; Andante; Menuetto: Allegro Vivace - Trio – See also D 154
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 Friedrich Schiller — Two versions: AGA only second (Op. 116)
160 160 (1894) XX, 2
No. 47
IV, 13 Am Flusse Verfließet, vielgeliebte Lieder 27/2/1815 Text by Johann Wolfgang von Goethe – First of two settings, see also D 766
161 161 19,2
(1825)
(1894)
XX, 2
No. 48
IV, 1 An Mignon Über Tal und Fluß getragen 27/2/1815 Text by Johann Wolfgang von Goethe – Two versions (second is Op. 19 No. 2)
162 162 5,2
(1821)
(1894)
XX, 2
No. 49
IV, 1 Nähe des Geliebten Ich denke dein, wenn mir der Sonne Schimmer 27/2/1815 Text by Johann Wolfgang von Goethe – Two versions: second is Op. 5 No. 2
163 163 (1894) XX, 2
No. 50
IV, 8
No. 1
Sängers Morgenlied Süßes Licht! Aus goldnen Pforten 27/2/1815 Text by Theodor Körner
First setting, see also D 165
164 164 IV, 8
Anh. No. 1
Liebesrausch Glanz des Guten und des Schönen strahlt mir dein hohes Bild March 1815 Text by Theodor Körner, fragment – First setting, see also D 179
165 165 (1872) XX, 2
No. 51
IV, 8
No. 2
Sängers Morgenlied Süßes Licht! Aus goldnen Pforten 1/3/1815 Text by Theodor Körner
Second setting, see also D 163
166 166 (1894) XX, 2
No. 52
IV, 8
No. 3
Amphiaraos Vor Thebens siebenfach gähnenden Toren 27/2/1815 Text by Theodor Körner
167 167 (1846) XIII, 1
No. 2
I, 1 Mass No. 2 G major 2–
7/3/1815
Tr and Ti added by Ferdinand SchubertRobert Führer as composer in 1st pub
168 168 (1872) XVII, 1
No. 16
III, 2a
No. 2
Begräbnislied: Nun laßt uns den Leib begraben Begrabt den Leib in seiner Gruft 9/3/1815 Text by Friedrich Gottlieb Klopstock – For mixed choir and piano
987 168A (1872) XVII, 1
No. 17
III, 2a
No. 3
Osterlied: Jesus Christus unser Heiland, der den Tod überwand Überwunden hat der Herr den Tod! 9/3/1815 Text by Friedrich Gottlieb Klopstock – For mixed choir and piano
111 77





See D 77
2 Anh.
I/4






Fragment of a string quartet movement in G major by Albert Stadler
132 Anh.
I/18






One voice of a part song, no autograph extant
133 Anh.
I/19






One voice of a part song, no autograph extant
96 Anh.
II/2






Arrangement of Wenzel Thomas Matiegkas Op. 21
85 Anh. III/6





Offertory "Clamavi ad te" in C major by Josef Preindl
92 Anh. III/11





Canon "Laß immer in der Jugend Glanz", K. 410/Anh. 134/440d/484d (Mozart)
127 Anh. III/12





Canon "Selig, selig alle, die im Herrn entschliefen!", K. 230/382b (Mozart)

D 151 to D 998[edit]

The list below includes the following information:

  • D – the catalogue number assigned by Otto Erich Deutsch or NSA authorities
  • Genre – the musical genre to which the piece belongs. This has been omitted when the genre is self-explanatory or unnecessary, i.e. piano dances
  • Title – the title of the work
  • Incipit – the first line(s) of text, as pertaining to vocal works
  • Scoring – the instrumentation and/or vocal forces required for the work
  • Informal Title – any additional names by which the work is known, when applicable
  • Former Deutsch Number – information on Deutsch numbers that have been re-assigned, when applicable
  • Date – the known or assumed date of composition, when available; or date of publication
  • Opus Number – the opus number of the original publication of the work, when applicable
  • Setting – the order of setting as it pertains to vocal works that have numerous settings of the same text
  • Version – the number of version as it pertains to works or vocal settings that have more than one existing version
  • Notes – any additional information concerning the work: alternate titles, completeness, relation to other works, authorship, etc.

D 151 to D 200[edit]

  • D 151, Song "Auf einen Kirchhof" ['Sei gegrüßt, geweihte Stille'] for voice and piano (1815)
  • D 152, Song "Minona" ['Wie treiben die Wolden so finster und schwer'] for voice and piano (1815)
  • D 153, Song "Als ich sie erröten sah" ['All’ mein Wirken, all’ mein Leben'] for voice and piano (1815)
  • D 154, Piano Sonata in E major (1815, fragment of the first movement is extant; early version of the first movement from the Piano Sonata in E major, D 157)
  • D 155, Song "Das Bild" ['Ein Mädchen ist’s'] for voice and piano (1815, first published as Op. posth. 165 No. 3)
  • D 156, Ten Variations in F major for piano (1815, 2 versions of the "Theme" and "Variation II" are extant)
  • D 157, Piano Sonata in E major (1815, unfinished – first three movements are extant)
  • D 158, Écossaise in D minor/F major for piano (1815)
  • D 159, Song "Die Erwartung" ['Hör’ ich das Pförtchen nicht gehen?'] for voice and piano (1816, 2 versions; 2nd version first published as Op. posth. 116)
  • D 160, Song "Am Flusse" ['Verfließet, vielgeliebte Lieder'] for voice and piano (1815, 1st setting)
  • D 161, Song "An Mignon" ['Über Tal und Fluß getragen'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 19 No. 2)
  • D 162, Song "Nähe des Geliebten" ['Ich denke dein, wenn mir der Sonne Schimmer'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 5 No. 2)
  • D 163, Song "Sängers Morgenlied" ['Süßes Licht! aus goldenen Pforten'] for voice and piano (1815, 1st setting)
  • D 164, Song "Liebesrausch" ['Glanz des Guten und des Schönen strahlt mir dein hohes Bild'] for voice and piano (1815, 1st setting; fragment)
  • D 165, Song "Sängers Morgenlied" ['Süßes Licht! aus goldenen Pforten'] for voice and piano (1815, 2nd setting)
  • D 166, Song "Amphiaraos" ['Vor Thebens siebenfach gähnenden Toren'] for voice and piano (1815)
  • D 167, Mass No. 2 in G major for soprano, tenor, bass, mixed choir, string orchestra and organ (1815)
  • D 168, Chorus "Nun laßt uns den Leib begraben" ['Begrabt den Leib in seiner Gruft'] for mixed choir and piano, Bergräbnislied (1815)
  • D 168A, Chorus "Jesus Christus unser Heiland, der den Tod überwand" ['Überwunden hat der Herr den Tod!'] for mixed choir and piano, Osterlied [formerly D 987] (1815)
  • D 169, Chorus "Trinklied vor der Schlacht" ['Schlacht, du brichst an!'] for double unison choir and piano (1815)
  • D 170, Cantata "Schwertlied" ['Du Schwert an meiner Linken'] for voice, unison choir and piano (1815)
  • D 171, Song "Gebet während der Schlacht" ['Vater, ich rufe dich!'] for voice and piano (1815, 2 versions)
  • D 172, Song "Der Morgenstern" ['Stern der Liebe, Glanzgebilde!'] for voice and piano (1815, 1st setting; sketch)
  • D 173, String Quartet in G minor (1815)
  • D 174, Song "Das war ich" ['Jüngst träumte mir'] for voice and piano (1815, 2 versions; 2nd version is a sketch)
  • D 175, Sequence "Stabat mater" ['Stabat mater'] in G minor for mixed choir, orchestra and organ (1815)
  • D 176, Song "Die Sterne" ['Was funkelt ihr so mild mich an?'] for voice and piano (1815)
  • D 177, Song "Vergebliche Liebe" ['Ja, ich weiß es, diese treue Liebe'] for voice and piano (1815, first published as Op. posth. 173 No. 3)
  • D 177A, Song "Am ersten Mai" ['Ich ging mit ihr im Freien'] for voice and piano (before 1821, lost)
  • D 178, Adagio in G major for piano (1815, 2 versions; 2nd version is a fragment)
  • D 179, Song "Liebesrausch" ['Dir, Mädchen, schlägt mit leisem Beben'] for voice and piano (1815, 2nd setting)
  • D 180, Song "Sehnsucht der Liebe" ['Wie die Nacht mit heil’gem Beben'] for voice and piano (1815)
  • D 181, Offertory "Tres sunt" ['Tres sunt, qui testimonium dant in coelo'] in A minor for mixed choir, orchestra and organ (1815)
  • D 182, Song "Die erste Liebe" ['Die erste Liebe füllt das Herz'] for voice and piano (1815)
  • D 183, Cantata "Trinklied" ['Ihr Freunde und du gold’ner Wein'] for voice, unison choir and piano (1815)
  • D 184, Gradual "Benedictus es, Domine" ['Benedictus es, Domine'] in C major for mixed choir, orchestra and organ (1815, first published as Op. posth. 150)
  • D 185, see D 105
  • D 186, Song "Die Sterbende" ['Heil! dies ist die letzte Zähre'] for voice and piano (1815)
  • D 187, Song "Stimme der Liebe" ['Abendgewölke schweben hell'] for voice and piano (1815, 1st setting)
  • D 188, Song "Naturgenuß" ['Im Abendschimmer wallt der Quell'] for voice and piano (1815, 1st setting)
  • D 189, Cantata "An die Freude" ['Freude, schöner Götterfunken'] for voice, unison choir and piano (1815, first published as Op. posth. 111 No. 1)
  • D 190, Singspiel "Der vierjährige Posten" for soprano, three tenors, bass, one spoken role, mixed choir and orchestra (1815, in one act: Overture and eight numbers)
Ouvertüre
1. Introduktion: Heiter strahlt der neue Morgen
2. Duett: Du guter Heinrich! Ach, was wir beide doch glücklich sind!
3. Terzett: Mag dich die Hoffnung nicht betrügen!
4. Quartett: Freund, eilet euch zu retten!
5. Arie: Gott! Gott! höre meine Stimme (a version for voice and piano is also extant)
6. Marsch und Soldatenchor: Lustig in den Kampf
7. Ensemble: Um Gotteswillen, er ist verloren!
8. Finale: Schöne Stunde, die uns blendet
  • D 191, Song "Des Mädchens Klage" ['Der Eichwald braust'] for voice and piano (1815, 2nd setting; 2 versions; 2nd version first published as Op. 58 No. 3)
  • D 192, Song "Der Jüngling am Bache" ['An der Quelle saß der Knabe'] for voice and piano (1815, 2nd setting)
  • D 193, Song "An den Mond" ['Geuß, lieber Mond, geuß deine Silberflimmer'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 57 No. 3)
  • D 194, Song "Die Mainacht" ['Wann der silberne Mond'] for voice and piano (1815)
  • D 195, Song "Amalia" ['Schön wie Engel voll Walhallas Wonne'] for voice and piano (1815, first published as Op. posth. 173 No. 1)
  • D 196, Song "An die Nachtigall" ['Geuß nicht so laut der liebentflammten Lieder'] for voice and piano (1815, first published as Op. posth. 172 No. 3)
  • D 197, Song "An die Apfelbäume, wo ich Julien erblickte" ['Ein heilig Säuseln und ein Gesangeston'] for voice and piano (1815)
  • D 198, Song "Seufzer" ['Die Nachtigall singt überall'] for voice and piano (1815)
  • D 199, Duet "Mailied" ['Grüner wird die Au'] for two voices or two horns (1815, 2nd setting)
  • D 200, Symphony No. 3 in D major (1815)

D 201 to D 250[edit]

  • D 201, Song "Auf den Tod einer Nachtigall" ['Sie ist dahin, die Maienlieder tönte'] for voice and piano (1815, 1st setting; sketch)
  • D 202, Duet "Mailied" ['Der Schnee zerrinnt, der Mai beginnt'] for two voices or two horns (1815; 2nd setting of D 130, with a different title)
  • D 203, Duet "Der Morgenstern" ['Stern der Liebe, Glanzgebilde!'] for two voices or two horns (1815, 2nd setting)
  • D 204, Duet "Jägerlied" ['Frisch auf, ihr Jäger'] for two voices or two horns (1815)
  • D 204A, Song "Das Traumbild" ['?'] for voice and piano (1815, lost)
  • D 205, Duet "Lützows wilde Jagd" ['Was glänzt dort vom Walde im Sonnenschein?'] for two voices or two horns (1815)
  • D 206, Song "Liebeständelei" ['Süßes Liebchen, komm zu mir!'] for voice and piano (1815)
  • D 207, Song "Der Liebende" ['Beglückt, beglückt, wer dich erblickt'] for voice and piano (1815)
  • D 208, Song "Die Nonne" ['Es liebt’ in Welschland irgendwo'] for voice and piano (1815, 2 versions; 1st version is a fragment; 2nd version was formerly D 212)
  • D 209, Song "Der Liedler" ['Gib, Schwester, mir die Harf herab'] for voice and piano (1815, first published as Op. 38)
  • D 210, Song "Die Liebe ['Freudvoll und leidvoll, gedankenvoll sein'] for voice and piano, Klärchens Lied (1815)
  • D 211, Song "Adelwold und Emma" ['Hoch, und ehern schier von Dauer'] for voice and piano (1815)
  • D 212, see D 208
  • D 213, Song "Der Traum" ['Mir träumt’ ich war ein Vögelein'] for voice and piano (1815, first published as Op. posth. 172 No. 1)
  • D 214, Song "Die Laube" ['Nimmer werd’ ich, nimmer dein vergessen'] for voice and piano (1815, first published as Op. posth. 172 No. 2)
  • D 215, Song "Jägers Abendlied" ['Im Felde schleich’ ich still und wild'] for voice and piano (1815, 1st setting)
  • D 215A, Song "Meeres Stille" ['Tiefe Stille herrscht im Wasser'] for voice and piano (1815, 1st setting)
  • D 216, Song "Meeres Stille" ['Tiefe Stille herrscht im Wasser'] for voice and piano (1815, 2nd setting; first published as Op. 3 No. 2)
  • D 217, Song "Kolmas Klage" ['Rund um mich Nacht'] for voice and piano (1815)
  • D 218, Song "Grablied" ['Er fiel den Tod fürs Vaterland'] for voice and piano (1815)
  • D 219, Song "Das Finden" ['Ich hab’ ein Mädchen funden'] for voice and piano (1815)
  • D 220, Singspiel "Fernando" for two sopranos, tenor, two basses, one spoken role and orchestra (1815, in one act: seven numbers)
1. Introduktion: Mutter! Mutter! Wo bist du?
2. Arie: Läßt mich mein Verbrechen nicht schlafen?
3. Romanze: Als einst schon hinter blauer Berge Rücken
4. Duett: Wärst du mir auf immer nicht entrißen
5. Arie: Nicht der Erde Schätze lohnen
6. Duett: Vergessen sei, was uns getrennt
7. Finale: Auf dich träufle Thauesregen
  • D 221, Song "Der Abend" ['Der Abend blüht, Temora glüht'] for voice and piano (1815, first published as Op. posth. 118 No. 2)
  • D 222, Song "Lieb Minna" ['Schwüler Hauch weht mir herüber'] for voice and piano (1815, also appears as "Lieb Minna. Romanze")
  • D 223, Offertory "Salve Regina" ['Salve Regina'] in F major for soprano, orchestra and organ, Zweites Offertorium (1815 and 1823, 2 versions; 2nd version first published as Op. 47)
  • D 224, Song "Wandrers Nachtlied" ['Der du von dem Himmel bist'] for voice and piano (1815, first published as Op. 4 No. 3)
  • D 225, Song "Der Fischer" ['Das Wasser rauscht’, das Wasser schwoll'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 5 No. 3; NSA also appends a modified 2nd version with changes by Johann Michael Vogl)
  • D 226, Song "Erster Verlust" ['Ach, wer bringt die schönen Tage'] for voice and piano (1815, first published as Op. 5 No. 4)
  • D 227, Song "Idens Nachtgesang" ['Vernimm es, Nacht'] for voice and piano (1815)
  • D 228, Song "Von Ida" ['Der Morgen blüht, der Osten glüht'] for voice and piano (1815)
  • D 229, Song "Die Erscheinung" ['Ich lag auf grünen Matten'] for voice and piano (1815, first published as Op. 108 No. 3)
  • D 230, Song "Die Täuschung" ['Im Erlenbusch, im Tannerhain'] for voice and piano (1815, first published as Op. posth. 165 No. 4)
  • D 231, Song "Das Sehnen" ['Wehmut, die mich hüllt'] for voice and piano (1815, first published as Op. posth. 172 No. 4)
  • D 232, Quartet "Hymne an den Unendlichen" ['Zwischen Himmel und Erd’ '] for soprano, alto, tenor, bass and piano (1815, first published as Op. posth. 112 No. 3)
  • D 233, Song "Geist der Liebe" ['Wer bist du, Geist der Liebe'] for voice and piano (1815, first published as Op. posth. 118 No. 1)
  • D 234, Song "Tischlied" ['Mich ergreift, ich weiß nicht wie, himmlisches Behagen'] for voice and piano (1815, first published as Op. posth. 118 No. 3)
  • D 235, Song "Abends unter der Linde" ['Woher, o namenloses Sehnen'] for voice and piano (1815, 1st setting)
  • D 236, Trio "Das Abendrot" ['Der Abend blüht, der Westen glüht!'] for two sopranos, bass and piano (1815)
  • D 237, Song "Abends unter der Linde" ['Woher, o namenloses Sehnen'] for voice and piano (1815, 2nd setting; 2 versions)
  • D 238, Song "Die Mondnacht" ['Siehe, wie die Mondesstrahlen'] for voice and piano (1815)
  • D 239, Singspiel "Claudine von Villa Bella" for two sopranos, two tenors, two basses, mixed choir and orchestra (1815, in three acts; incomplete – Act I: Overture and eight numbers, is extant, as well as one number from Act II and one number from Act III; remaining numbers were written, but are now lost)
Akt I
Ouvertüre
1. Introduktion: Das hast du wohl bereitet
2. Ensemble: Fröhlicher, seliger, herrlicher Tag
3. Ariette: Hin und wieder fliegen die Pfeile
4. Arie: Alle Freuden, alle Gaben, die mir heut’ gehuldigt haben
5. Arie: Es erhebt sich eine Stimme
6. Ariette: Liebe schwärmt auf allen Wegen
7. Räuberlied: Mit Mädchen sich vertragen
8. Finale I: Deinem Willen nachzugeben
Akt II
9. Ariette: Liebliches Kind, kannst du mir sagen
Akt III
10. Duett: Mich unfangt ein banger Schauer
  • D 240, Song "Huldigung" ['Ganz verloren, ganz versunken in dein Anschaun'] for voice and piano (1815)
  • D 241, Song "Alles um Liebe" ['Was ist es, das die Seele füllt?'] for voice and piano (1815)
  • D 242, Trio "Trinklied im Winter" ['Das Glas gefüllt!'] for two tenors and bass (1815, 1st setting; D deest is the 2nd setting, with a different title)
  • D 243, Trio "Frühlingslied" ['Die Luft ist blau, das Tal ist grün'] for two tenors and bass (1815, 1st setting)
  • D 244, Canon "Willkommen, lieber schöner Mai" ['Willkommen, lieber schöner Mai'] for three voices (1815?, 2 versions)
  • D 245, see D 587
  • D 246, Song "Die Bürgschaft" ['Zu Dionys, dem Tyrannen'] for voice and piano (1815)
  • D 247, Song "Die Spinnerin" ['Als ich still und ruhig spann'] for voice and piano (1815, first published as Op. posth. 118 No. 6)
  • D 248, Song "Lob des Tokayers" ['O köstlicher Tokayer, o königlicher Wein'] for voice and piano (1815, first published as Op. posth. 118 No. 4)
  • D 249, Cantata "Die Schlacht" ['Schwer und dumpfig'] for unspecified voices/instruments (1815, 1st setting; sketch)
  • D 250, Song "Das Geheimnis" ['Sie konnte mir kein Wörtchen sagen'] for voice and piano (1815, 1st setting)

D 251 to D 300[edit]

  • D 251, Song "Hoffnung" ['Es reden und träumen die Menschen viel'] for voice and piano (1815, 1st setting)
  • D 252, Song "Das Mädchen aus der Fremde" ['In einem Tal bei armen Hirten'] for voice and piano (1815, 2nd setting)
  • D 253, Song or Duet "Punschlied. Im Norden zu singen" ['Auf der Berge freien Höhen'] for voice and piano or for two voices (1815, 2 versions; 1st version is a Song for voice and piano; 2nd version is a Duet for two voices)
  • D 254, Song "Der Gott und die Bajadere" ['Mahadöh, der Herr der Erde'] for voice and piano (1815, also appears as "Der Gott und die Bajadere. Indische Legende")
  • D 255, Song "Der Rattenfänger" ['Ich bin der wohlbekannte Sänger'] for voice and piano (1815)
  • D 256, Song "Der Schatzgräber" ['Arm am Beutel, krank am Herzen'] for voice and piano (1815)
  • D 257, Song "Heidenröslein" ['Sah ein Knab’ ein Röslein stehn'] for voice and piano (1815, first published as Op. 3 No. 3)
  • D 258, Song "Bundeslied" ['In allen guten Stunden'] for voice and piano (1815)
  • D 259, Song "An den Mond" ['Fullest wieder Busch und Tal'] for voice and piano (1815, 1st setting)
  • D 260, Song "Wonne der Wehmut" ['Trocknet nicht, trocknet nicht, Tränen der ewigen Liebe'] for voice and piano (1815, first published as Op. posth. 115 No. 2)
  • D 261, Song "Wer kauft Liebesgötter?" ['Von allen schönen Waren'] for voice and piano (1815, 2 versions)
  • D 262, Song "Die Fröhlichkeit" ['Wess’ Adern leichtes Blut durchspringt'] for voice and piano (1815)
  • D 263, Song "Cora an die Sonne" ['Nach so vielen trüben Tagen'] for voice and piano (1815)
  • D 264, Song "Der Morgenkuß" ['Durch eine ganze Nacht sich nah zu sein'] for voice and piano (1815, 2 versions)
  • D 265, Song "Abendständchen. An Lina" ['Sei sanft wie ihre Seele'] for voice and piano (1815)
  • D 266, Song "Morgenlied" ['Willkommen, rotes Morgenlicht!'] for voice and piano (1815)
  • D 267, Quartet "Trinklied" ['Auf! Jeder sei nun froh und sorgenfrei!'] for two tenors, two basses and piano (1815)
  • D 268, Quartet "Bergknappenlied" ['Hinab, ihr Brüder, in den Schacht!'] for two tenors, two basses and piano (1815)
  • D 269, Trio "Das Leben" ['Das Leben ist ein Traum'] for tenor, two basses and piano (1815, 2 versions; 2nd version is for two sopranos, alto and piano)
  • D 270, Song "An die Sonne" ['Sinke, liebe Sonne'] for voice and piano (1815, first published as Op. posth. 118 No. 5)
  • D 271, Song "Der Weiberfreund" ['Noch fand von Evens Töchterscharen ich keine'] for voice and piano (1815)
  • D 272, Song "An die Sonne" ['Königliche Morgensonne'] for voice and piano (1815)
  • D 273, Song "Lilla an die Morgenröte" ['Wie schön bist du, du güldne Morgenröte'] for voice and piano (1815)
  • D 274, Song "Tischlerlied" ['Mein Handwerk geht durch alle Welt'] for voice and piano (1815, 2 versions)
  • D 275, Song "Totenkranz für ein Kind" ['Sanft wehn, im Hauch der Abendluft'] for voice and piano (1815)
  • D 276, Song "Abendlied" ['Groß und rotenflammet'] for voice and piano (1815)
  • D 277, Trio "Punschlied" ['Vier Elemente, inning gesellt'] for two tenors, bass and piano (1815)
  • D 277A, Minuet in A minor with Trio in F major for piano (1815, alternate third movement for the Piano Sonata in C major, D 279)
  • D 278, Song "Ossians Lied nach dem Falle Nathos" ['Beugt euch aus euren Wolken nieder'] for voice and piano (1815, 3 versions; 1st version is a fragment)
  • D 279, Piano Sonata in C major (1815, unfinished – first three movements are extant; the Allegretto in C major, D 346 fragment is probably the fourth movement)
  • D 280, Song "Das Rosenband" ['Im Frühlingsgarten fand ich sie'] for voice and piano (1815)
  • D 281, Song "Das Mädchen von Inistore" ['Mädchen Inistores, wein auf dem Felsen'] for voice and piano (1815, 2 versions)
  • D 282, Song "Cronnan" ['Ich sitz’ bei der moosigten Quelle'] for voice and piano (1815, 2 versions)
  • D 283, Song "An den Frühling" ['Willkommen, schöner Jüngling!'] for voice and piano (1815, 1st setting; first published as Op. posth. 172 No. 5)
  • D 284, Song "Lied (Es ist so angenehm)" ['Es ist so angenehm, so süß'] for voice and piano (1815)
  • D 285, Song "Furcht der Geliebten/An Cidli" ['Cidli, du weinest'] for voice and piano (1815, 2 versions)
  • D 286, Song "Selma und Selmar" ['Weine du nicht'] for voice and piano (1815, 2 versions)
  • D 287, Song "Vaterlandslied" ['Ich bin ein deutsches Mädchen'] for voice and piano (1815, 2 versions)
  • D 288, Song "An Sie" ['Zeit, Verkündigerin der besten Freuden'] for voice and piano (1815)
  • D 289, Song "Die Sommernacht" ['Wenn der Schimmer von dem Monde'] for voice and piano (1815, 2 versions)
  • D 290, Song "Die frühen Gräber" ['Willkommen, o silberner Mond'] for voice and piano (1815)
  • D 291, Song "Dem Unendlichen" ['Wie erhebt sich das Herz'] for voice and piano (1815, 3 versions)
  • D 292, see D 371
  • D 293, Song "Shilric und Vinvela" ['Mein Geliebter ist ein Sohn des Hügels'] for voice and piano (1815, 2 versions)
  • D 294, Cantata "Namensfeier" ['Erhabner! Verehrter Freund der Jugend!'] for soprano, tenor, bass, choir and orchestra, Namensfeier fur Franz Michael Vierthaler or Gratulations-Kantate (1815)
  • D 295, Song "Hoffnung" ['Schaff, das Tagwerk meiner Hände'] for voice and piano (1815 or 1816?, 2 versions)
  • D 296, Song "An den Mond" ['Füllest wieder Busch und Tal'] for voice and piano (1815 or 1816?, 2nd setting)
  • D 297, Song "Augenlied" ['Süße Augen, klare Bronnen!'] for voice and piano (1817?, 2 versions and a modified 2nd version)
  • D 298, Song "Liane" ['Hast du Lianen nicht gesehen?'] for voice and piano (1815)
  • D 299, Twelve Écossaises for piano (1815)
  • D 300, Song "Der Jüngling an der Quelle" ['Leise, rieselnder Quell'] for voice and piano (1816 or 1817)

D 301 to D 350[edit]

  • D 301, Song "Lambertine" ['O Liebe, die mein Herz erfüllet'] for voice and piano (1815)
  • D 302, Song "Labetrank der Liebe" ['Wenn im Spiele leiser Töne'] for voice and piano (1815)
  • D 303, Song "An die Geliebte" ['O, daß ich dir vom stillen Auge'] for voice and piano (1815)
  • D 304, Song "Wiegenlied" ['Schlumm’re sanft! Noch an dem Mutterherzen'] for voice and piano (1815)
  • D 305, Song "Mein Gruß an den Mai" ['Sei mir gegrüßt, o Mai'] for voice and piano (1815)
  • D 306, Song "Skolie" ['Laßt im Morgenstrahl des Mai’n'] for voice and piano (1815)
  • D 307, Song "Die Sternenwelten" ['Oben drehen sich die großen unbekannten Welten dort'] for voice and piano (1815)
  • D 308, Song "Die Macht der Liebe" ['Überall, wohin mein Auge blicket'] for voice and piano (1815)
  • D 309, Song "Das gestörte Glück" ['Ich hab’ ein hießes junges Blut'] for voice and piano (1815)
  • D 309A, Rondo in C major for piano (1815, fragment; possible fourth movement of the Piano Sonata in C major, D 279)
  • D 310, Song "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for voice and piano (1815, 1st setting; 2 versions)
  • D 311, Song "An den Mond" ['?'] for voice and piano (1815?, sketch without text)
  • D 312, Song "Hektors Abschied" ['Will sich Hektor ewig von mir wenden'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 58 No. 1)
  • D 313, Song "Die Sterne" ['Wie wohl ist mir im Dunkeln!'] for voice and piano (1815)
  • D 314, Song "Nachtgesang" ['Tiefe Feier schauert um die Welt'] for voice and piano (1815, 2 versions)
  • D 315, Song "An Rosa I" ['Warum bist du nicht hier'] for voice and piano (1815, 2 versions)
  • D 316, Song "An Rosa II" ['Rosa, denskt du an mich?'] for voice and piano (1815, 2 versions)
  • D 317, Song "Idens Schwanenlied" ['Wie schaust du aus dem Nebelflor'] for voice and piano (1815, 2 versions)
  • D 318, Song "Schwangesang" ['Endlich stehn die Pforten offen'] for voice and piano (1815)
  • D 319, Song "Luisens Antwort" ['Wohl weinen Gottes Engel'] for voice and piano (1815, 2 versions)
  • D 320, Song "Der Zufriedene" ['Zwar schuf das Glück hienieden'] for voice and piano (1815)
  • D 321, Song "Mignon" ['Kennst du das Land'] for voice and piano (1815, 2 versions)
  • D 322, Song "Hermann und Thusnelda" ['Ha, dort kömmt er'] for voice and piano (1815, 2 versions)
  • D 323, Song "Klage der Ceres" ['Ist der holde Lenz erschienen?'] for voice and piano (1816; the last part, "O so laßt euch froh begrüssen" was formerly D 991; NSA also appends a variant of mm. 142-203, in addition to a modified version)
  • D 324, Mass No. 3 in B-flat major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1815, first published as Op. posth. 141)
  • D 325, Song "Harfenspieler" ['Wer sich der Einsamkeit ergibt'] for voice and piano (1815, 1st setting)
  • D 326, Singspiel "Die Freunde von Salamanka" for three sopranos, three tenors, six basses, mixed choir and orchestra (1815, in two acts: Overture and eighteen numbers)
Akt I
Ouvertüre
1. Introduktion: Die Sonne zieht in goldnen Strahlen
2. Arie: Man ist so glücklich und so frei
3. Quartett: Morgen, wenn des Hahnes Ruf erschallt
4. Arie: Einsam schleich’ ich durch die Zimmer
5. Terzett: Lebensmut und frische Kühlung weht mir aus dem trauten Wald
6. Terzett: Freund, wie wird die Sache enden
7. Finale I: Mild senkt sich der Abend nieder
Akt II
8. Introduktion: Laßt nur alles leichtfertige Wesen
9. Lied: Guerillas zieht durch Feld und Wald
10. Arie: Aus Blumen deuten die Damen gern
11. Duett: Ein wackres Thier, das müßt ihr sagen
12. Duett: Gelagert unter’m hellen Dach der Bäume
13. Arie: Wo ich weile, wo ich gehe
14. Duett: Von tausend Schlangenbissen
15. Romanze: Es murmeln die Quellen
16. Terzett: Nichte, Don Diego da, wirbt um deine freie Hand
17. Arie: Traurig geht der Geliebte von dannen
18. Finale II: Gnäd’ge Frau, ich hab’ die Ehre
  • D 327, Song "Lorma" ['Lorma saß in der Halle von Aldo'] for voice and piano (1815, 1st setting; fragment)
  • D 328, Song "Der Erlkönig" ['Wer reitet so spät durch Nacht und Wind?'] for voice and piano (1815, 4 versions; 4th version first published as Op. 1)
  • D 329, Song "Die drei Sänger" ['Der König saß beim frohen Mahle'] for voice and piano (1815, fragment)
  • D 329A, Canon "Das Grab" ['Das Grab ist tief und stille'] for mixed choir (1815, 1st setting; sketch)
  • D 330, Chorus "Das Grab" ['Das Grab ist tief und stille'] for unison choir and piano (1815, 2nd setting; scoring also possible for choir and piano)
  • D 331, Quartet "Der Entfernten" ['Wohl denk’ ich allenthalben'] for two tenors and two basses (ca. 1816, 1st setting; setting identical to the one originally catalogued as D 332)
  • D 332, see D 331
  • D 333, see D 796 No. 21
  • D 334, Minuet in A major with Trio in E major for piano (1815)
  • D 335, Minuet in E major with Two Trios for piano (1813?)
  • D 336, see D Anh. I/15
  • D 337, Quartet "Die Einsiedelei" ['Es rieselt klar und wehend ein Quell'] for two tenors and two basses (ca. 1816, 1st setting)
  • D 338, Quartet "An den Frühling" ['Willkommen, schöner Jüngling!'] for two tenors and two basses (ca. 1816, 2nd setting)
  • D 339, see D Anh. I/20
  • D 340, see D Anh. I/21
  • D 341, see D Anh. I/22
  • D 342, Song "An mein Klavier" ['Sanftes Klavier, welche Entzückungen schaffest du mir'] for voice and piano, Seraphine an ihr Klavier (ca. 1816)
  • D 343, Song "Am Tage Aller Seelen" ['Ruhn in Frieden alle Seelen'] for voice and piano, Litanei auf das Fest Aller Seelen (1816, 2 versions)
  • D 344, Song "Am ersten Maimorgen" ['Heute will ich fröhlich sein'] for voice and piano (1816?)
  • D 345, Concerto in D major for violin and orchestra "Konzertstück" (1816, concerto piece in one movement)
  • D 346, Allegretto in C major for piano (1816?, fragment; probable fourth movement of the Piano Sonata in C major, D 279)
  • D 347, Allegro moderato in C major for piano (1813?, fragment)
  • D 348, Andantino in C major for Piano (1816?, fragment)
  • D 349, Adagio in C major for piano (1816?, fragment)
  • D 350, Song "Der Entfernten" ['Wohl denk’ ich allenthalben'] for voice and piano (1816?, 2nd setting)

D 351 to D 400[edit]

  • D 351, Song "Fischerlied" ['Das Fischergewerbe gibt rüstigen Mut'] for voice and piano (1816?, 1st setting)
  • D 352, Duet "Licht und Liebe" ['Liebe ist ein süßes Licht'] for soprano, tenor and piano, Nachtgesang (1816?)
  • D 353, String Quartet in E major (1816, first published as Op. posth. 125 No. 2)
  • D 354, Four komische Ländler in D major for two violins (1816)
  • D 355, Eight Ländler in F-sharp minor for violin (?) (1816, possibly for two violins)
  • D 356, Quartet "Trinklied" ['Funkelnd im Becher so helle, so hold'] for two tenors, two basses and piano (1816, fragment)
  • D 357, Canon "Gold’ner Schein" ['Gold’ner Schein, deckt den Hain'] for three voices (1816)
  • D 358, Song "Die Nacht" ['Du verstörst uns nicht, o Nacht!'] for voice and piano (1816, 2 versions)
  • D 359, Song "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for voice and piano, Lied der Mignon (1816, 2nd setting)
  • D 360, Song "Lied eines Schiffers an die Dioskuren" ['Dioskuren, Zwillingssterne'] for voice and piano (1816, first published as Op. 65 No. 1)
  • D 361, Song "Am Bach im Frühling" ['Du brachst sie nun, die kalte Rinde'] for voice and piano (1816, 2 versions; 1st version first published as Op. posth. 109 No. 1)
  • D 362, Song "Zufriedenheit" ['Ich bin vergnügt'] for voice and piano (1816?, 1st setting)
  • D 363, Song "An Chloen" ['Die Munterkeit ist meinen Wangen'] for voice and piano (1816, fragment)
  • D 364, Quartet "Fischerlied" ['Das Fischergewerbe gibt rüstigen Mut'] for two tenors and two basses (1816 or 1817?, 2nd setting)
  • D 365, Thirty-six Original Dances for piano, Erste Walzer (1818–1821, first published as Op. 9)
  • D 366, Seventeen Ländler for piano (1824)
  • D 367, Song "Der König in Thule" ['Es war ein König in Thule'] for voice and piano (1816, first published as Op. 5 No. 5)
  • D 368, Song "Jägers Abendlied" ['Im Felde schleich’ ich still und wild'] for voice and piano (1816?, 2nd setting; first published as Op. 3 No. 4; NSA also appends a modified version with changes by Johann Michael Vogl)
  • D 369, Song "An Schwager Kronos" ['Spute dich, Kronos!'] for voice and piano (1816, first published as Op. 19 No. 1)
  • D 370, Nine Ländler in D major for violin (?) (1816, possibly for two violins)
  • D 371, Song "Klage" ['Trauer umfließt mein Leben'] for voice and piano (1816, 2 versions; 1st version [formerly D 292] is a sketch)
  • D 372, Song "An die Natur" ['Süße, heilige Natur'] for voice and piano (1816, 2 versions)
  • D 373, Song "Lied (Mutter geht durch ihre Kammern)" ['Mutter geht durch ihre Kammern'] for voice and piano (1816?)
  • D 374, Eleven Ländler in B-flat major for violin (1816?, possibly for two violins; Nos. 1–3, 5, 7 and 11 also used in the upper parts of Nos. 1–5 and 7 from the Eight Ländler in B-flat major for piano, D 378)
  • D 375, Song "Der Tod Oskars" ['Warum öffnest du wieder'] for voice and piano (1816)
  • D 376, Song "Lorma" ['Lorma saß in der Halle von Aldo'] for voice and piano (1816, 2nd setting; fragment)
  • D 377, Chorus "Das Grab" ['Das Grab ist tief und stille'] for men’s choir and piano (1816, 3rd setting)
  • D 378, Eight Ländler in B-flat major for piano (1816; the upper parts of Nos. 1–5 and 7 also used in Nos. 1–3, 5, 7 and 11 from the Eleven Ländler in B-flat major for violin, D 374)
  • D 379, Antiphon "Deutsches Salve Regina" ['Sei, Mutter der Barmherzigkeit'] in F major for mixed choir and organ (1816)
  • D 380, Three Minuets, each with Two Trios for piano (1816, fragment; for the third minuet, part of the first trio and the entire second trio are missing)
  • D 381, Song "Morgenlied" ['Die frohe, neubelebte Flur'] for voice and piano (1816)
  • D 382, Song "Abendlied" ['Sanft glänzt die Abendsonne'] for voice and piano (1816)
  • D 383, Oratorio "Stabat Mater" ['Jesus Christus schwebt am Kreuze'] in F minor for soprano, tenor, bass, mixed choir and orchestra (1816, also appears as "Deutsche Stabat Mater"; sketches for Nos. 5 and 6, "Wer wird sich nicht innig freuen" were formerly D 992)
  • D 384, Sonata in D major for violin and piano (1816, 2 versions of the first movement are extant; first published as Op. posth. 137 No. 1)
  • D 385, Sonata in A minor for violin and piano (1816, first published as Op. posth. 137 No. 2)
  • D 386, Antiphon "Salve Regina" ['Salve Regina'] in B-flat major for mixed choir (1816)
  • D 387, Cantata "Die Schlacht" ['Schwer und dumpfig'] for unspecified soloists, choir and piano (1816, 2nd setting; sketch)
  • D 388, Song "Laura am Klavier" ['Wenn dein Finger durch die Saiten meistert'] for voice and piano (1816, 2 versions)
  • D 389, Song "Des Mädchens Klage" ['Der Eichwald braust'] for voice and piano (1816, 3rd setting)
  • D 390, Song "Entzückung an Laura" ['Laura, über diese Welt'] for voice and piano (1816, 1st setting)
  • D 391, Song "Die vier Weltalter" ['Wohl perlet im Glase'] for voice and piano (1816, first published as Op. posth. 111 No. 3)
  • D 392, Song "Pflügerlied" ['Arbeitsam und wacker'] for voice and piano (1816)
  • D 393, Song "Die Einsiedelei" ['Es rieselt klar und wehend ein Quell'] for voice and piano (1816, 2nd setting)
  • D 394, Song "An die Harmonie" ['Schöpferin beseelter Töne!'] for voice and piano, Gesang an die Harmonie (1816)
  • D 395, Song "Lebens-Melodien" ['Auf den Wassern wohnt mein stilles Leben'] for voice and piano (1816, first published as Op. posth. 111 No. 2)
  • D 396, Song "Gruppe aus dem Tartarus" ['Horch, wie Murmeln des empörten Meeres'] for voice and piano (1816, 1st setting; fragment)
  • D 397, Song "Ritter Toggenburg" ['Ritter, treue Schwesterliebe'] for voice and piano (1816, 2 versions)
  • D 398, Song "Frühlingslied" ['Die Luft ist blau'] for voice and piano (1816, 2nd setting)
  • D 399, Song "Auf den Tod einer Nachtigall" ['Sie ist dahin'] for voice and piano (1816, 2nd setting)
  • D 400, Song "Die Knabenzeit" ['Wie glücklich, wem das Knabenkleid'] for voice and piano (1816)

D 401 to D 450[edit]

  • D 401, Song "Winterlied" ['Keine Blumen blühn'] for voice and piano (1816)
  • D 402, Song "Der Flüchtling" ['Frisch atmet des Morgens lebendiger Hauch'] for voice and piano (1816)
  • D 403, Song "Lied" ['In’s stille Land'] for voice and piano (1816, 4 versions; the 1st edition of the 1st version has a four-measure introduction composed by Anton Diabelli)
  • D 404, Song "Die Herbstnacht" ['Mit leisen Harfentönen'] for voice and piano, Die Wehmuth (1816, 2 versions)
  • D 405, Song "Der Herbstabend" ['Abendglockenhalle zittern'] for voice and piano (1816, 2 versions)
  • D 406, Song "Abschied von der Harfe" ['Noch einmal tön, o Harfe'] for voice and piano (1816, 2 versions)
  • D 407, Cantata "Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri" for two tenors, two basses and piano (1816)
I. Quartet "Gütigster, Bester! Weisester Größter!" for two tenors and two basses (2 settings; 2nd setting [formerly D 441] for two tenors, bass and piano)
II. Aria "So Güt’ als Weisheit strömen mild" for tenor and piano
III. Canon "Unser aller Großpapa, bleibe noch recht lange da" for three voices
  • D 408, Sonata in G minor for violin and piano (1816, first published as Op. posth. 137 No. 3)
  • D 409, Song "Die verfehlte Stunde" ['Quälend ungestilltes Sehnen'] for voice and piano (1816, 2 versions)
  • D 410, Song "Sprache der Liebe" ['Laß dich mit gelinden Schlägen rühren'] for voice and piano (1816, first published as Op. posth. 115 No. 3)
  • D 411, Song "Daphne am Bach" ['Ich hab’ ein Bächlein funden'] for voice and piano (1816)
  • D 412, Song "Stimme der Liebe (Meine Selinde)" ['Meine Selinde'] for voice and piano (1816, 2 versions)
  • D 413, Song "Entzückung" ['Tag voll Himmel!'] for voice and piano (1816)
  • D 414, Song "Geist der Liebe" ['Der Abend schleiert Flur und Hain'] for voice and piano (1816, 1st setting)
  • D 415, Song "Klage" ['Die Sonne steigt, die Sonne sinkt'] for voice and piano (1816)
  • D 416, Song "Lied in der Abwesenheit" ['Ach, mir ist das Herz so schwer'] for voice and piano (1816, fragment)
  • D 417, Symphony No. 4 in C minor, Tragic (1816)
  • D 418, Song "Stimme der Liebe (Abendgewölke)" ['Abendgewölke schweben hell'] for voice and piano, Abendgewölke (1816, 2nd setting)
  • D 419, Song "Julius an Theone" ['Nimmer, nimmer darf ich dir gestehen'] for voice and piano (1816)
  • D 420, Twelve German Dances for piano (1816)
  • D 421, Six Écossaises for piano (1816)
  • D 422, Quartet "Naturgenuß" ['Im Abendschimmer wallt der Quell'] for two tenors, two basses and piano (1822?, 2nd setting; first published as Op. 16 No. 2)
  • D 423, Trio "Andenken" ['Ich denke dein, wenn durch den Hain'] for two tenors and bass (1816, 2nd setting)
  • D 424, Trio "Erinnerung" ['Am Seegestad, in lauen Vollmondnächten'] for two tenors and bass (1816, 2nd setting)
  • D 425, Trio "Lebenslied" ['Kommen und scheiden, suchen und meiden'] for two tenors and bass (1816, lost; see also D Anh. I/23)
  • D 426, Trio "Trinklied (Herr Bacchus ist ein braver Mann)" ['Herr Bacchus ist ein braver Mann'] for two tenors and bass (1816, lost)
  • D 427, Trio "Trinklied im Mai" ['Bekränzet die Tonnen'] for two tenors and bass (1816)
  • D 428, Trio "Widerhall" ['Auf ewig dein, wenn Berg und Meere trennen'] for two tenors and bass (1816)
  • D 429, Song "Minnelied" ['Holder klingt der Vogelsang'] for voice and piano (1816)
  • D 430, Song "Die frühe Liebe" ['Schon im bunten Knabenkleide'] for voice and piano (1816, 2 versions)
  • D 431, Song "Blumenlied" ['Es ist ein halbes Himmelreich'] for voice and piano (1816)
  • D 432, Song "Der Leidende" ['Nimmer trag’ ich langer'] for voice and piano, Klage (1816, 3 versions)
  • D 433, Song "Seligkeit" ['Freuden sonder Zahl'] for voice and piano (1816)
  • D 434, Song "Erntelied" ['Sicheln schallen, Ähren fallen'] for voice and piano (1816)
  • D 435, Opera "Die Bürgschaft" for four sopranos, three tenors, three basses, two baritones, mixed choir and orchestra (1816, in three acts; unfinished – Act I: nine numbers, five numbers from Act II, and one number and one fragment from Act III are extant)
Akt I
1. Chor: Hilfe! Rettung
2. Arie: Muss ich fühlen in tiefer Brust
3. Chor: Wir dürstet der Aetna
4. Arie: Es lebe, es lebe der meutrische Thor
5. Arie: Diese Gnade dank’ ich dir
6. Arie: Ob er wohl wiederkehrt?
7. Romanze: Die Mutter sucht ihr liebes Kind
8. Duett: Wir bringen dir die Kette
9. Finale I: Du gehst in Kerker, Du?
Akt II
10. Entreakt und Arie: O Götter! O Dank Euch
11. Arie: Welche Nacht hab’ich erlebt
12. Ensemble: Horch die Seufzer unerer Mutter
13. Quartett: Hinter Büschen, hinterm Laub, Räuberlied
14. Szene und Arie: O göttliche Ruhe
Akt III
15. Entreakt
16. Ensemble: Der Abend rückt heran (fragment)
  • D 436, Song "Klage" ['Dein Silber schien durch Eichengrün'] (1816, 2 versions and a variant of the 1st version; 2nd version was formerly D 437)
  • D 437, see D 436
  • D 438, Rondo in A major for violin and string orchestra (1816)
  • D 439, Quartet "An die Sonne" ['O Sonne, Königin der Welt'] for soprano, alto, tenor, bass and piano (1816)
  • D 440, Chorus "Chor der Engel" ['Christ ist erstanden'] for mixed choir (1816)
  • D 441, see D 407
  • D 442, Song or Chorus "Das große Halleluja" ['Ehre sei dem Hocherhabnen'] for voice and piano or choir and piano (1816)
  • D 443, Song or Chorus "Schlachtlied" ['Mit unserm Arm ist nichts getan'] for voice and piano or choir and piano, Schlachtgesang (1816, 1st setting)
  • D 444, Song "Die Gestirne" ['Es tönet sein Lob'] for voice and piano (1816)
  • D 445, Song "Edone" ['Dein süßes Bild, Edone'] for voice and piano (1816)
  • D 446, Song "Die Liebesgötter" ['Cypris, meiner Phyllis gleich'] for voice and piano (1816)
  • D 447, Song "An den Schlaf" ['Komm und senke die umflorten Schwingen'] for voice and piano (1816)
  • D 448, Song "Gott im Frühlinge" ['In seinem schimmernden Gewand'] for voice and piano (1816, 2 versions)
  • D 449, Song "Der gute Hirt" ['Was sorgest du?'] for voice and piano (1816; NSA also appends a modified version)
  • D 450, Song "Fragment aus dem Aeschylus" ['So wird der Mann'] for voice and piano (1816, 2 versions)

D 451 to D 500[edit]

  • D 451, Cantata "Prometheus" ['Hervor aus Buschen und Baumen'] for soprano, bass, choir and orchestra (1816, lost)
  • D 452, Mass No. 4 in C major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1816, first published as Op. 48; 2nd setting of the "Benedictus" was formerly D 961)
  • D 453, Requiem in C minor for mixed choir and orchestra (1816, fragment of the first movement is extant)
  • D 454, Song "Grablied auf einen Soldaten" ['Zieh hin, du braver Krieger du!'] for voice and piano (1816)
  • D 455, Song "Freude der Kinderjahre" ['Freude, die im frühen Lenze'] for voice and piano (1816)
  • D 456, Song "Das Heimweh (Oft in einsam stillen Stunden)" ['Oft in einsam stillen Stunden'] for voice and piano (1816)
  • D 457, Song "An die untergehende Sonne" ['Sonne, du sinkst'] for voice and piano (1816 sketch, finished 1817; first published as Op. 44)
  • D 458, Song "Aus Diego Manazares. Ilmerine" ['Wo irrst du durch einsame Schatten'] for voice and piano (1816, also appears as "Aus Diego Manzanares")
  • D 459, Piano Sonata in E major (1816, in 2 movements; also paired with D 459A to have a five movement sonata or five piano pieces "Fünf Klavierstücke")
  • D 459A, Three piano pieces "Drei Klavierstücke" (1816?, also paired with D 459 to have a five movement sonata or five piano pieces "Fünf Klavierstücke")
  • D 460, Hymn "Tantum ergo" ['Tantum ergo'] in C major for soprano, mixed choir, orchestra and organ (1816)
  • D 461, Hymn "Tantum ergo" ['Tantum ergo'] in C major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1816)
  • D 462, Song "An Chloen" ['Bei der Liebe reinsten Flammen'] for voice and piano (1816)
  • D 463, Song "Hochzeit-Lied" ['Will singen euch im alten Ton'] for voice and piano (1816)
  • D 464, Song "In der Mitternacht" ['Todesstille deckt das Tal'] for voice and piano (1816)
  • D 465, Song "Trauer der Liebe" ['Wo die Taub’ in stillen Buchen'] for voice and piano (1816, 2 versions)
  • D 466, Song "Die Perle" ['Es ging ein Mann zur Frühlingszeit'] for voice and piano (1816)
  • D 467, Song "Pflicht und Liebe" ['Du, der ewig um mich trauert'] for voice and piano (1816, fragment)
  • D 468, Song "An den Mond" ['Was schauest du so hell'] for voice and piano (1816)
  • D 469, Song "Mignon (So laß mich scheinen, bis ich werde)" ['So laß mich scheinen, bis ich werde'] for voice and piano (1816, 1st setting; 2 versions, both are fragments)
  • D 470, Overture in B-flat major for orchestra (1816, belongs to D 472?; 2 versions; fragment of a version for string quartet was formerly D 601)
  • D 471, String Trio in B-flat major (1816, unfinished – complete first movement and fragment of second movement are extant)
  • D 472, Cantata "Kantate zu Ehren von Josef Spendou" for two sopranos, tenor, bass, mixed choir and orchestra (1816, see also D 470?; first published as Op. posth. 128)
I. Da liegt er, starr
II. Gottes Bild ist Furst und Staat
III. Ein Punkt nur ist der Mensch
IV. Die Sonne sticht
  • D 473, Song "Liedesend" ['Auf seinem gold’nen Throne'] for voice and piano (1816, 2 versions)
  • D 474, Song "Lied des Orpheus, als er in die Hölle ging" ['Wälze dich hinweg'] for voice and piano (1816, 2 versions)
  • D 475, Song "Abschied" ['Über die Berge zieht ihr fort'] for voice and piano (1816, also appears as "Abschied. Nach einer Wallfahrts-Arie bearbeitet")
  • D 476, Song "Rückweg" ['Zum Donaustrom, zur Kaiserstadt'] for voice and piano (1816)
  • D 477, Song "Alte Liebe rostet nie" ['Alte Liebe rostet nie'] for voice and piano (1816)
  • D 478, Song cycle Gesänge des Harfners aus "Wilhelm Meister" for voice and piano (1822, first published as Op. 12)
1. "Wer sich der Einsamkeit ergibt", Harfenspieler I (2nd setting; 2 versions; 1st version 1816, 2nd version 1822?; 2nd version first published as Op. 12 No. 1; NSA also appends a modified 2nd version)
2. "Wer nie sein Brot mit Tränen aß", Harfenspieler III [formerly D 480] (3 settings; 1st and 2nd settings 1816, 3rd setting 1822; 3rd setting first published as Op. 12 No. 2; NSA also appends a modified version of the 3rd setting)
3. "An die Türen will ich schleichen", Harfenspieler II [formerly D 479] (2 versions; 1st version 1816, 2nd version 1822?; 2nd version first published as Op. 12 No. 3; NSA also appends a modified 2nd version)
  • D 479, see D 478
  • D 480, see D 478
  • D 481, Song "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for voice and piano, Lied der Mignon (1816, 3rd setting)
  • D 482, Song "Der Sänger am Felsen" ['Klage, meine Flöte, klage'] for voice and piano (1816)
  • D 483, Song "Lied (Ferne von der großen Stadt)" ['Ferne von der großen Stadt'] for voice and piano (1816)
  • D 484, Song "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for voice and piano (1816, 1st setting; fragment)
  • D 485, Symphony No. 5 in B-flat major (1816)
  • D 486, Hymn "Magnificat" ['Magnificat anima mea Dominum'] in C major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1815)
  • D 487, Adagio e Rondo concertante in F major for violin, viola, violoncello and piano (1816)
  • D 488, Offertory "Auguste jam coelestium" ['Auguste jam coelestium'] in G major for soprano, tenor and orchestra (1816)
  • D 489, Song "Der Wanderer" ['Ich komme vom Gebirge her'] for voice and piano, Der Unglückliche (1816, 3 versions; 2nd and 3rd versions were formerly D 493; 3rd version first published as Op. 4 No. 1)
  • D 490, Song "Der Hirt" ['Du Turm, zu meinem Leide'] for voice and piano (1816)
  • D 491, Song "Geheimnis" ['Sag an, wer lehrt dich Lieder'] for voice and piano (1816)
  • D 492, Song "Zum Punsche" ['Woget brausend, Harmonien'] for voice and piano (1816)
  • D 493, see D 489
  • D 494, Quintet "Der Geistertanz" ['Die bretterne Kammer der Toten erbebt'] for two tenors and three basses (1816, 4th setting)
  • D 495, Song "Abendlied der Fürstin" ['Der Abend rötet nun das Tal'] for voice and piano (1816)
  • D 496, Song "Bei dem Grabe meines Vaters" ['Friede sei um diesen Grabstein her!'] for voice and piano (1816)
  • D 496A, Song "Klage um Ali Bey" ['Laßt mich! Laßt mich! ich will klagen'] for voice and piano (1816, 2nd version)
  • D 497, Song "An die Nachtigall" ['Er liegt und schläft'] for voice and piano (1816, first published as Op. 98 No. 1)
  • D 498, Song "Wiegenlied" ['Schlafe, schlafe, holder süßer Knabe'] for voice and piano (1816, first published as Op. 98 No. 2)
  • D 499, Song "Abendlied" ['Der Mond is aufgegangen'] for voice and piano (1816)
  • D 500, Song "Phidile" ['Ich war erst sechzehn Sommer alt'] for voice and piano (1816)

D 501 to D 550[edit]

  • D 501, Song "Zufriedenheit" ['Ich bin vergnügt'] for voice and piano (1816, 2nd setting; 2 versions)
  • D 502, Song "Herbstlied" ['Bunt sind schon die Wälder'] for voice and piano (1816)
  • D 503, Song "Mailied" ['Grüner wird die Au'] for voice and piano (1816, 3rd setting)
  • D 504, Song "Am Grabe Anselmos" ['Daß ich dich verloren habe'] for voice and piano (1816, 2 versions; 1st version first published as Op. 6 No. 3)
  • D 505, Adagio in D-flat major for piano (1818?, probably the second movement of the unfinished Piano Sonata in F minor, D 625; first published in E major in an abridged form as Op. posth. 145 No. 1)
  • D 506, Rondo in E major for piano (1817?, probably the fourth movement of the unfinished? Piano Sonata in E minor, D 566; first published as Op. posth. 145 No. 2)
  • D 507, Song "Skolie" ['Mädchen entsiegelten, Brüder, die Flaschen'] for voice and piano (1816)
  • D 508, Song "Lebenslied" ['Kommen und Scheiden'] for voice and piano (1816)
  • D 509, Song "Leiden der Trennung" ['Vom Meere trennt sich die Welle'] for voice and piano (1816, 2 versions; 1st version is a fragment)
  • D 510, Aria "Vedi quanto adoro" ['Vedi quanto adoro'] for soprano and piano (1816, 4 versions; also appears as "Vedi quanto t'adoro")
  • D 511, Écossaise in E-flat major for piano (ca. 1817)
  • D 512, see D Anh. I/28
  • D 513, Quartet "La pastorella al prato" ['La pastorella al prato'] for two tenors, two basses and piano, La Pastorella (1817?, 1st setting)
  • D 513A, Song "Nur wer die Liebe kennt" ['Nur wer die Liebe kennt'] for voice and piano (1817?, sketch)
  • D 514, Song "Die abgeblühte Linde" ['Wirst du halten, was du schwurst'] for voice and piano (1817?, first published as Op. 7 No. 1)
  • D 515, Song "Der Flug der Zeit" ['Es floh die Zeit im Wirbelfluge'] for voice and piano (1817?, first published as Op. 7 No. 2)
  • D 516, Song "Sehnsucht" ['Der Lerche wolkennahe Lieder'] for voice and piano (1816?, first published as Op. 8 No. 2)
  • D 517, Song "Der Schäfer und der Reiter" ['Ein Schäfer saß im Grünen'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 13 No. 1)
  • D 518, Song "An den Tod" ['Tod, du Schrecken der Natur'] for bass and piano (1816 or 1817)
  • D 519, Song "Die Blumensprache" ['Es deuten die Blumen des Herzens Gefühle'] for voice and piano (1817?, first published as Op. posth. 173 No. 5)
  • D 520, Song "Frohsinn" ['Ich bin von lockerem Schlage'] for voice and piano (1817, 2 versions)
  • D 521, Song or Chorus "Jagdlied" ['Trarah! Trarah! Wir kehren daheim'] for voice and piano or unison choir and piano (1817)
  • D 522, Song "Die Liebe" ['Wo weht der Liebe hoher Geist?'] for voice and piano (1817)
  • D 523, Song "Trost" ['Nimmer lange weil’ ich hier'] for voice and piano (1817)
  • D 524, Song "Der Alpenjäger" ['Auf hohen Bergesrücken'] for voice and piano (1817, 3 versions; 2nd version for bass and piano; 3rd version first published as Op. 13 No. 3)
  • D 525, Song "Wie Ulfru fischt" ['Der Angel zuckt, die Rute bebt'] for bass and piano (1817, 2 versions; 2nd version first published as Op. 21 No. 3)
  • D 526, Song "Fahrt zum Hades" ['Der Nachen dröhnt'] for bass and piano (1817)
  • D 527, Song "Schlaflied" ['Es mahnt der Wald'] for voice and piano, Abendlied or Schlummerlied (1817, 2 versions; 2nd version first published as Op. 24 No. 2)
  • D 528, Arietta "La pastorella al prato" ['La pastorella al prato'] for soprano and piano, La Pastorella (1817, 2nd setting)
  • D 529, Eight Écossaises for piano (1817)
  • D 530, Song "An eine Quelle" ['Du kleine grünumwachs’ne Quelle'] for voice and piano (1817, first published as Op. posth. 109 No. 3)
  • D 531, Song "Der Tod und das Mädchen" ['Vorüber, ach vorüber'] for voice and piano (1817, first published as Op. 7 No. 3)
  • D 532, Song "Das Lied vom Reifen" ['Seht meine lieben Bäume an'] for voice and piano (1817, fragment)
  • D 533, Song "Täglich zu singen" ['Ich danke Gott und freue mich'] for voice and piano (1817)
  • D 534, Song "Die Nacht" ['Die Nacht ist dumpfig und finster'] for voice and piano (1817)
  • D 535, Song "Lied (Brüder, schrecklich brennt die Träne)" ['Brüder, schrecklich brennt die Träne'] for soprano and small orchestra (1817)
  • D 536, Song "Der Schiffer" ['Im winde, im Sturme'] for bass and piano (1817?, 2 versions; 2nd version first published as Op. 21 No. 2)
  • D 537, Piano Sonata in A minor (1817, first published as Op. posth. 164)
  • D 538, Quartet "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for two tenors and two basses (1817, 2nd setting)
  • D 539, Song "Am Strome" ['Ist mir’s doch, als sei mein Leben'] for voice and piano (1817, first published as Op. 8 No. 4)
  • D 540, Song "Philoktet" ['Da sitz’ ich ohne Bogen'] for voice and piano (1817)
  • D 541, Song "Memnon" ['Den Tag hindurch nur einmal mag ich sprechen'] for voice and piano (1817, first published as Op. 6 No. 1)
  • D 542, Duet "Antigone und Oedip" ['Ihr hohen Himmlischen'] for two voices and piano (1817, first published as Op. 6 No. 2; NSA also appends a modified version with changes by Johann Michael Vogl)
  • D 543, Song "Auf dem See" ['Und frische Nahrung'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 92 No. 2)
  • D 544, Song "Ganymed" ['Wie im Morgenglanze'] for voice and piano (1817, first published as Op. 19 No. 3)
  • D 545, Duet or Song "Der Jüngling und der Tod" ['Die Sonne sinkt, o könnt ich'] for voice and piano or two voices and piano (1817, 2 versions; 1st version is a Duet for two voices and piano; 2nd version is a Song for voice and piano)
  • D 546, Song "Trost im Liede" ['Braust des Unglücks Sturm empor'] for voice and piano (1817, 2 versions; 2nd version first published as Op. posth. 101 No. 3)
  • D 547, Song "An die Musik" ['Du holde Kunst'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 88 No. 4)
  • D 548, Song "Orest" ['Ist dies Tauris'] for voice and piano (1817, also appears as "Orest auf Tauris")
  • D 549, Song "Mahomets Gesang" ['Seht den Felsenquell'] for voice and piano (1817, 1st setting; fragment)
  • D 550, Song "Die Forelle" ['In einem Bächlein helle'] for voice and piano (1816–1821, 5 versions; 4th version first published as Op. 32)

D 551 to D 600[edit]

  • D 551, Song "Pax vobiscum" ['Der Friede sei mit euch!'] for voice and piano (1817)
  • D 552, Song "Hänflings Liebeswerbung" ['Ahidi! ich liebe'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 20 No. 3)
  • D 553, Song "Auf der Donau" ['Auf der Wellen Spiegel'] for bass and piano (1817, first published as Op. 21 No. 1)
  • D 554, Song "Uraniens Flucht" ['Laßt uns, ihr Himmlischen, ein Fest begehen!'] for voice and piano (1817)
  • D 555, Song ["?"] ['?'] for voice and piano "Liedentwurf in a" (1817?, sketch without text)
  • D 556, Overture in D major for orchestra (1817)
  • D 557, Piano Sonata in A-flat major (1817)
  • D 558, Song "Liebhaber in allen Gestalten" ['Ich wollt’, ich wär’ ein Fisch'] for voice and piano (1817)
  • D 559, Song "Schweizerlied" ['Uf’m Bergli bin i g’sässe'] for voice and piano (1817)
  • D 560, Song "Der Goldschmiedsgesell" ['Es ist doch meine Nachbarin'] for voice and piano (1817)
  • D 561, Song "Nach einem Gewitter" ['Auf den Blumen'] for voice and piano (1817)
  • D 562, Song "Fischerlied" ['Das Fischergewerbe gibt rüstigen Mut'] for voice and piano (1817, 3rd setting)
  • D 563, Song "Die Einsiedelei" ['Es rieselt klar und wehend ein Quell'] for voice and piano (1817, 3rd setting)
  • D 564, Song "Gretchen im Zwinger" ['Ach neige, du Schmerzensreiche'] for voice and piano, Gretchens Bitte (1817, fragment)
  • D 565, Song "Der Strom" ['Mein Leben wälzt sich murrend fort'] for bass and piano (1817?)
  • D 566, Piano Sonata in E minor (1817, unfinished? – first three movements are extant; the Rondo in E major, D 506 is probably the fourth movement)
  • D 567, see D 568
  • D 568, Piano Sonata in D-flat major/E-flat major (1817, 2 versions; 2nd version first published as Op. posth. 122; 1st version [formerly D 567] in D-flat major; for the 1st version, the Scherzo in D-Flat major, D 593 No. 2 is possibly the third movement; the last movement is a fragment; NSA also appends an amended first movement from the 1st version)
  • D 569, Chorus "Das Grab" ['Das Grab ist tief und stille'] for unison men’s choir and piano (1817, 4th setting)
  • D 570, Scherzo in D major and Allegro in F-sharp minor for piano (1817?, the "Allegro" is a fragment; these were probably intended as the third and fourth movements, respectively, of the unfinished Piano Sonata in F-sharp minor, D 571)
  • D 571, Piano Sonata in F-sharp minor (1817, unfinished – fragment of an "Allegro moderato" first movement is extant. The Piano piece in A major, D 604, an Andante, as well as the Scherzo in D major and Allegro in F-sharp minor fragment from D 570 probably constitute the remaining movements)
  • D 572, Quartet "Lied im Freien" ['Wie schön ist’s im Freien'] for two tenors and two basses (1817)
  • D 573, Song "Iphigenia" ['Blüht denn hier an Tauris Strande'] for voice and piano (1817, 3 versions; 3rd version first published as Op. 98 No. 3)
  • D 574, Sonata in A major for violin and piano, Duo (1817, first published as Op. posth. 162)
  • D 575, Piano Sonata in B major (1817, first published as Op. posth. 147)
  • D 576, Thirteen Variations on a theme by Anselm Hüttenbrenner in A minor for piano (1817)
  • D 577, Song "Entzückung an Laura" ['Laura, Laura, über diese Welt'] for voice and piano (1817, 2nd setting; 2 fragments of a sketch)
  • D 578, Song "Abschied" ['Lebe wohl! Du lieber Freund!'] for voice and piano (1817)
  • D 579, Song "Der Knabe in der Wiege" ['Er schläft so süß'] for voice and piano (1817, 2 versions; 2nd version is a fragment)
  • D 579A, Song "Vollendung" ['Wenn ich einst das Ziel errungen habe'] for voice and piano [formerly D 989] (1817)
  • D 579 B, Song "Die Erde" ['Wenn sanft entzückt mein Auge sieht'] for voice and piano [formerly D 989A] (1817)
  • D 580, Polonaise in B-flat major for violin and orchestra (1817)
  • D 581, String Trio in B-flat major (1817, 2 versions)
  • D 582, see D 990B
  • D 583, Song "Gruppe aus dem Tartarus" ['Horch, wie Murmeln des empörten Meeres'] for voice and piano (1817, 2nd setting; first published as Op. 24 No. 1)
  • D 584, Song "Elysium" ['Vorüber die stöhnende Klage!'] for voice and piano (1817)
  • D 585, Song "Atys" ['Der Knabe seufzt übers grüne Meer'] for voice and piano (1817)
  • D 586, Song "Erlafsee" ['Mir ist so wohl, so weh’ '] for voice and piano (1817, first published as Op. 8 No. 3)
  • D 587, Song "An den Frühling" ['Willkommen, schöner Jüngling!'] for voice and piano (1817, 3rd setting; 2 versions; 2nd version was formerly D 245)
  • D 588, Song "Der Alpenjäger" ['Willst du nicht das Lämmlein hüten?'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 37 No. 2)
  • D 589, Symphony No. 6 in C major, Little C major (1817–1818)
  • D 590, Overture in D major for orchestra, in the Italian Style (1817)
  • D 591, Overture in C major for orchestra, in the Italian Style (1817, first published as Op. posth. 170)
  • D 592, Overture in D major for piano duet, in the Italian Style (1817, version for piano duet of D 590)
  • D 593, Two Scherzi for piano (1817)
  • D 594, Song "Der Kampf" ['Nein, länger werd’ ich diesen Kampf nicht kämpfen'] for bass and piano (1817, first published as Op. posth. 110)
  • D 595, Song "Thekla (eine Geisterstimme)" ['Wo ich sei und wo mich hingewendet'] for voice and piano (1817, 2nd setting; 2 versions; 2nd version first published as Op. 88 No. 2)
  • D 596, Song "Lied eines Kindes" ['Lauter Freude fühl’ ich'] for voice and piano (1817, fragment)
  • D 597, Overture in C major for piano duet, in the Italian Style (1817, version for piano duet of D 591)
  • D 597A,Variations in A major for violin (1817, sketch; lost)
  • D 598, Quartet "Das Dörfchen" ['Ich rühme mir mein Dörfchen hier'] for two tenors and two basses (1817, 2 versions; 1st version is a sketch without a piano part; 2nd version [formerly D 641] for two tenors, two basses and piano; 2nd version first published as Op. 11 No. 1)
  • D 598A, see D Anh. I/32
  • D 599, Four Polonaises for piano duet (1818, first published as Op. 75)
  • D 600, Minuet in C-sharp minor for piano (1814?; the Trio in E major, D 610 was probably intended for this Minuet; in turn the Minuet with Trio D 600/610 tandem possibly constitute the third movement of the unfinished Piano Sonata in C major, D 613)

D 601 to D 650[edit]

  • D 601, see D 470
  • D 602, Trois Marches Héroiques for piano duet (1818 or 1824, first published as Op. 27)
  • D 603, see D 968A
  • D 604, Piano piece in A major (1816 or 1817; an Andante, probably the second movement of the unfinished Piano Sonata in F-sharp minor, D 571)
  • D 605, Fantasy in C major for piano (1821–1823, fragment)
  • D 605A, Fantasy in C major for piano, Grazer Fantasy (1818?)
  • D 606, March in E major for piano (1818?)
  • D 607, Song "Evangelium Johannis 6, Vers 55–58" ['In der Zeit sprach der Herr Jesus'] for voice and figured bass (1818, fragment; figured bass usually realized for piano)
  • D 608, Rondo in D major for piano duet, Notre amitié est invariable (1818, 2 versions; 2nd version first published as Op. posth. 138)
  • D 609, Quartet "Die Geselligkeit" ['Wer Lebenslust fühlet'] for soprano, alto, tenor, bass and piano, Lebenslust (1818; 2nd part of the 1st verse, "im traulichen Kreise" was formerly D 665)
  • D 610, Trio in E major for piano, to be regarded as the lost son of a minuet (1818, this Trio was probably intended for the Minuet in C-sharp minor, D 600; in turn the Minuet with Trio D 600/610 tandem possibly constitute the third movement of the unfinished Piano Sonata in C major, D 613)
  • D 611, Song "Auf der Riesenkoppe" ['Hoch auf dem Gipfel deiner Gebirge'] for voice and piano (1818)
  • D 612, Adagio in E major for piano (1818, probably the second movement of the unfinished Piano Sonata in C major, D 613)
  • D 613, Piano Sonata in C major (1818, unfinished – fragments of two movements are extant; the Adagio in E major, D 612 as well as the Minuet with Trio D 600/610 possibly constitute the remaining movements)
  • D 614, Song "An den Mond in einer Herbstnacht" ['Freundlich ist dein Antlitz'] for voice and piano (1818)
  • D 615, Sketch of a Symphony in D major (1818, piano sketches of two movements are extant)
  • D 616, Song "Grablied für die Mutter" ['Hauche milder, Abendluft'] for voice and piano (1818)
  • D 617, Sonata in B-flat major for piano duet (1818, first published as Op. 30)
  • D 618, German Dance in G major with Two Trios and Two Ländler in E major for piano duet (1818)
  • D 618A, Polonaise in B-flat major for piano duet (1818, sketch)
  • D 619, Vocal exercises for two voices and figured bass "Singübungen" (1818, figured bass usually realized for piano)
  • D 620, Song "Einsamkeit" ['Gib mir die Fülle der Einsamkeit!'] for voice and piano (1818)
  • D 621, German Requiem in G minor for soprano, alto, tenor, bass, mixed choir and organ, Deutsche Trauermesse (1818, 4 versions; only the 1st version is complete; NSA appends a synopsis of the 2nd, 3rd and 4th versions)
  • D 622, Song "Der Blumenbrief" ['Euch Blümlein will ich senden'] for voice and piano (1818)
  • D 623, Song "Das Marienbild" ['Sei gegrüßt, du Frau der Huld'] for voice and piano (1818)
  • D 624, Eight Variations on a French Song in E minor for piano duet (1818, first published as Op. 10; 2 versions of the "Theme" are extant)
  • D 625, Piano Sonata in F minor (1818, unfinished – a completed Scherzo with Trio, and fragments of two "Allegro" movements are extant; the Adagio in D-flat major D 505 is probably the second movement)
  • D 626, Song "Blondel zu Marien" ['In düstrer Nacht'] for voice and piano (1818)
  • D 627, Song "Das Abendrot" ['Du heilig, glühend Abendrot!'] for bass and piano (1818, first published as Op. posth. 173 No. 6)
  • D 628, Song "Sonett" ['Apollo, lebet noch dein hold Verlangen'] for voice and piano, Sonett I (1818)
  • D 629, Song "Sonett" ['Allein, nachdenklich, wie gelähmt vom Krampfe'] for voice and piano, Sonett II (1818)
  • D 630, Song "Sonett" ['Nunmehr, da Himmel, Erde schweigt'] for voice and piano, Sonett III (1818)
  • D 631, Song "Blanka" ['Wenn mich einsam Lüfte fächeln'] for voice and piano, Das Mädchen (1818)
  • D 632, Song "Vom Mitleiden Mariä" ['Als bei dem Kreuz Maria stand'] for voice and piano (1818)
  • D 633, Song "Der Schmetterling" ['Wie soll ich nicht tanzen'] for voice and piano (1819 and 1823?, first published as Op. 57 No. 1)
  • D 634, Song "Die Berge" ['Sieht uns der Blick gehoben'] for voice and piano (1819 and 1823?, first published as Op. 57 No. 2)
  • D 635, Quartet "Leise, leise laßt uns singen" ['Leise, leise laßt uns singen'] for two tenors and two basses, Ruhe (1819)
  • D 636, Song "Sehnsucht" ['Ach, aus dieses Tales Gründen'] for voice and piano (1821?, 2nd setting; 3 versions; 3rd version first published as Op. 39)
  • D 637, Song "Hoffnung" ['Es reden und träumen die Menschen viel'] for voice and piano (ca. 1819, 2nd setting; first published as Op. 87 No. 2)
  • D 638, Song "Der Jüngling am Bache" ['An der Quelle saß der Knabe'] for voice and piano (1819, 3rd setting; 2 versions; 2nd version first published as Op. 87 No. 3)
  • D 639, Song "Widerschein" ['Fischer harrt am Brückenbogen'] for voice and piano (1820, 2 versions; 2nd version ['Harrt ein Fischer auf der Brücke'] was formerly D 949)
  • D 640, see D 980A
  • D 641, see D 598
  • D 642, Quartet "Viel tausend Sterne prangen" ['Viel tausend Sterne prangen'] for soprano, alto, tenor, bass and piano (1812?)
  • D 643, German Dance in C-sharp minor and Écossaise in D-flat major for piano (1819)
  • D 643A, Quartet "Das Grab" ['Das Grab ist tief und stille'] for soprano, alto, tenor and bass (1819, 5th setting)
  • D 644, Music for Zauberspiel "Die Zauberharfe" for tenor, six spoken roles, mixed choir and orchestra (1820, in three acts: Overtures to the first and third acts, and thirteen numbers; Overture to the first act known as the "Rosamunde" Overture, also used in D 797)
Akt I
Ouvertüre
1. Chor der Troubadours: Harfentöne laßt erklingen
2. Chor der Troubadours und Ritter: Zum Saal, der goldne Becher blinkt
3. Melodram
4. Finale I: Ida gib ein Zeichen
Akt II
5. Chor der Troubadours und Ritter: Leben laßt den goldnen Wein
6. Melodram: Furie bebe!
7. Chor der Ritter: Sie Zauberin laßt uns betrügen (2 versions, 1st version is a sketch)
8. Melodram: Da zieh’n sie hin in heller Mondennacht
9. Finale II. Romanze des Palmerin: Was belebt die schöne Welt? (2 versions, 1st version is a sketch; NSA also appends an alternative, concert version); Chor der Genien: Schlafe, Liebliche
Akt III
Ouverture zum dritten Akt
10. Melodram: Geschlossen ist der Bund
11. Melodram hinter den Kulißen
12. Melodram: Wohlan! Euer Verlangen werde erfüllt!
13. Finale III. Schlußgesang: Durch der Töne Zaubermacht
  • D 645, Song "Abend" ['Wie ist es denn, daß trüb und schwer'] for voice and piano (1819, fragment of a sketch)
  • D 646, Song "Die Gebüsche" ['Es wehet kühl und leise'] for voice and piano (1819)
  • D 647, Singspiel "Die Zwillingsbrüder" for soprano, tenor, three basses, mixed choir and orchestra (1819, in one act: Overture and ten numbers)
Ouvertüre
1. Introduktion: Verglühet sind die Sterne
2. Duett: Vor dem Busen möge blühen
3. Arie: Der Vater mag wohl immer
4. Arie: Mag es stürmen, donnern
5. Quartett: Zu rechter Zeit bin ich gekommen
6. Arie: Liebe, theure Muttererde
7. Duett: Nur dir will ich gehören
8. Terzett: Wagen Sie Ihr Wort zu brechen
9. Quintett und Chor: Packt ihn, führt ihn vor Gericht
10. Schlußchor: Die Brüder haben sich gefunden
  • D 648, Overture in E minor for orchestra (1819)
  • D 649, Song "Der Wanderer" ['Wie deutlich des Mondes Licht zu mir spricht'] for voice and piano (1819, 2 versions; 2nd version first published as Op. 65 No. 2)
  • D 650, Song "Abendbilder" ['Still beginnt’s im Hain zu tauen'] for voice and piano (1819)

D 651 to D 700[edit]

  • D 651, Song "Himmelsfunken" ['Der Odem Gottes weht'] for voice and piano (1819)
  • D 652, Song "Das Mädchen" ['Wie so innig, möcht ich sagen'] for voice and piano (1819, 2 versions)
  • D 653, Song "Bertas Lied in der Nacht" ['Nacht umhüllt mit wehendem Flügel'] for voice and piano (1819)
  • D 654, Song "An die Freunde" ['Im Wald, im Wald, da grabt mich ein'] for voice and piano (1819)
  • D 655, Piano Sonata in C-sharp minor (1819; fragment of an "Allegro" is extant)
  • D 656, Quintet "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for two tenors and three basses (1819, 4th setting)
  • D 657, Quartet "Ruhe, schönstes Glück der Erde" for two tenors and two basses (1819)
  • D 658, Song "Geistliches Lied" ['Ich sehe dich in tausend Bildern'] for voice and piano [formerly "Marie"] (1819?)
  • D 659, Song "Hymne" ['Wenige wissen das Geheimnis der Liebe'] for voice and piano (1819; also appears as "Hymne I")
  • D 660, Song "Geistliches Lied" ['Wenn ich ihn nur habe'] for voice and piano (1819; also appears as "Hymne II")
  • D 661, Song "Geistliches Lied" ['Wenn alle untreu werden'] for voice and piano (1819; also appears as "Hymne III")
  • D 662, Song "Geistliches Lied" ['Ich sag’ es jedem, daß er lebt'] for voice and piano (1819; also appears as "Hymne IV")
  • D 663, Hymn "Der 13. Psalm" ['Ach Herr, wie lange willst du mein so ganz vergessen?'] for voice and piano (1819, fragment)
  • D 664, Piano Sonata in A major (1819 or 1825, first published as Op. posth. 120)
  • D 665, see D 609
  • D 666, Cantata "Kantate zum Geburtstag des Sängers Johann Michael Vogl" for soprano, tenor, bass and piano, Der Frühlingsmorgen (1819, first published as Op. posth. 158)
I. Sänger, der von Herzen singet
II. Diese Berge sah’n dich blühen
III. Da saht ihr Orestes scheiden
IV. Gott bewahr’ dein teures Leben
  • D 667, Quintet in A major for violin, viola, violoncello, double bass and piano, Trout Quintet (1819?, first published as Op. posth. 114)
  • D 668, Overture in G minor for piano duet (1819)
  • D 669, Song "Beim Winde" ['Es traümen die Wolken'] for voice and piano (1819)
  • D 670, Song "Die Sternennächte" ['In monderhellten Nächten'] for voice and piano (1819, 2 versions; 2nd version first published as Op. posth. 165 No. 2)
  • D 671, Song "Trost" ['Hörnerklänge rufen klangend'] for voice and piano (1819)
  • D 672, Song "Nachtstück" ['Wenn über Berge sich der Nebel breitet'] for voice and piano (1819, 2 versions; 2nd version first published as Op. 36 No. 2)
  • D 673, Song "Die Liebende schreibt" ['Ein Blick von deinen Augen'] for voice and piano (1819, 2 versions; 2nd version first published as Op. posth. 165 No. 1)
  • D 674, Song "Prometheus" ['Bedecke deinen Himmel, Zeus'] for bass and piano (1819)
  • D 675, Overture in F major for piano duet (1819?, first published as Op. 34)
  • D 676, Offertory "Salve Regina" ['Salve Regina'] in A major for soprano and orchestra, Drittes Offertorium (1819, first published as Op. posth. 153)
  • D 677, Song "Strophe aus ‘Die Götter Griechenlands’ " ['Schöne Welt, wo bist du?'] for voice and piano (1819, 2 versions)
  • D 678, Mass No. 5 in A-flat major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1819 and 1822; 2 versions)
  • D 679, see D 980B
  • D 680, see D 980C
  • D 681, Twelve Ländler for piano (ca. 1815, Nos. 5–12 are extant)
  • D 682, Song "Über allen Zauber Liebe" ['Sie hüpfte mit mir auf grünem Plan'] for voice and piano (1820 and 1824, fragment)
  • D 683, see D 732 No. 11
  • D 684, Song "Die Sterne" ['Du staunest, o Mensch'] for voice and piano (1820)
  • D 685, Song "Morgenlied" ['Eh’ die Sonne früh aufersteht'] for voice and piano (1820, first published as Op. 4 No. 2)
  • D 686, Song "Frühlingsglaube" ['Die linden Lüfte sind erwacht'] for voice and piano (1820, 3 versions; 3rd version first published as Op. 20 No. 2)
  • D 687, Song "Nachthymne" ['Hinüber wall’ ich'] for voice and piano (1820)
  • D 688, Song cycle Vier Canzonen for voice and piano (1820)
1. "Non t'accostar all'urna"
2. "Guarda, che bianca luna"
3. "Da quel sembiante appresi"
4. "Mio ben, ricordati"
  • D 689, Oratorio "Lazarus, oder: Die Feier der Auferstehung" for three sopranos, two tenors, bass, mixed choir and orchestra (1820, in three acts; unfinished – Act I: twenty-one numbers, and eight numbers from Act II are extant)
Akt I
1. Introduktion
2. Hier laßt mich ruhn die letzte Stunde
3. Noch einen Augenblick?
4. Trübe nicht mit Klagen seine Seele
5. Steh’ im letzten Kampf dem Müden
6. Voll Friede, ja, voll Fried’ ist die Seele
7. Kalter Schweiß rinnt von der Stirn
8. Willkommen, mein Nathanael
9. Wenn ich ihm nachgerungen habe
10. Nathanael, bewundern kann ich dich
11. O Martha, o Martha, bliebst du stiller
12. Der Trost begleite dich hinüber
13. Wenn nun mit tausendfachen Qualen
14. Gottes Liebe, du bist deine Zuversicht
15. In der Leiden bängster Nacht
16. Ach, so find’ ich ihn noch
17. Jemina, Tochter der Auferstehung
18. So schlummert auf Rosen
19. Nun entflog auf schnellen Schwingen
20. So war mir, Lazarus
21. O Barmherziger, o verlass ihn nicht
Akt II
22. Introduktion
23. Wo bin ich?
24. Schon bereitet ihr Gräber
25. Wess ist der Klage Stimme
26. So weile hier, mein Freund
27. Sanft und still
28. So legt ihn in die Blumen
29. Wecke sie nicht
  • D 690, Song "Abendröte" ['Tiefer sinket schon die Sonne'] for voice and piano (1823)
  • D 691, Song "Die Vögel" ['Wie lieblich und fröhlich'] for voice and piano (1820, first published as Op. posth. 172 No. 6)
  • D 692, Song "Der Knabe" ['Wenn ich nur ein Vöglein wäre'] for voice and piano (1820)
  • D 693, Song "Der Fluß" ['Wie rein Gesang sich windet'] for voice and piano (1820)
  • D 694, Song "Der Schiffer" ['Friedlich lieg’ ich hingegossen'] for voice and piano (1820)
  • D 695, Song "Namenstagslied" ['Vater, schenk’ mir diese Stunde'] for voice and piano (1820?)
  • D 696, Six Antiphons "Sechs Antiphonen zum Palmsonntag" for mixed choir (1820, first published as Op. posth. 113)
1. "Hosanna filio David"
2. "In monte Oliveti"
3. "Sanctus"
4. "Pueri Hebraeorum"
5. "Cum angelis et pueris"
6. "Ingrediente Domino"
  • D 697, Six Écossaises in A-flat major for piano (1820, Nos. 1–4 and 6 are extant)
  • D 698, Song "Des Fräuleins Liebeslauschen" ['Hier unten steht ein Ritter'] for voice and piano (1820)
  • D 699, Song "Der entsühnte Orest" ['Zu meinen Füßen brichst du dich'] for voice and piano (1820)
  • D 700, Song "Freiwilliges Versinken" ['Wohin? o Helios!'] for voice and piano (1820)

D 701 to D 750[edit]

  • D 701, Opera "Sacontala" for fourteen sopranos, three altos, five tenors, nine basses, mixed choir and orchestra (1820, also appears as "Sakontala" or "Sakuntala"; in three acts; unfinished – sketches of eleven numbers from Acts I and II are extant)
Akt I
1. Introduktion: Das holde Licht des Tages (sketch)
2. Arie: Du hoffest im Arme des Gatten (sketch)
3. Quintett: Hier liegen wir im Staub gebeuget (sketch)
4. Arie: Wie fühl’ ich, ihr Götter (sketch)
5. Chor der Waldnymphen: Wo du wandelst (sketch)
6. Arie: Noch schläft die goldne Sonne (sketch)
7. Finale I: Sieg deinen Fahnen, König (sketch)
Akt II
8a. Terzett: Komm nur Dieb (sketch)
8b. Terzett: So liebes Brüderchen (sketch)
9. Quartett: Rosenzeit der Freuden (sketch)
10. Septett: Mit liebendem Verlangen (sketch)
11. Arie: Trauet auf Götter (sketch)
  • D 702, Song "Der Jüngling auf dem Hügel" ['Ein Jüngling auf dem Hügel'] for voice and piano (1820, first published as Op. 8 No. 1)
  • D 703, String Quartet in C minor, Quartettsatz (1820; unfinished – a complete first movement, known as Quartettsatz, and a fragment of the second movement are extant)
  • D 704, see D 714
  • D 705, Quartet "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for two tenors, two basses and piano (1820, 3rd setting; sketch)
  • D 706, Hymn "Der 23. Psalm" ['Gott ist mein Hirt, mir wird nichts mangeln'] for two sopranos, two altos and piano (1820, first published as Op. posth. 132)
  • D 707, Song "Der zürnenden Diana" ['Ja, spanne nur den Bogen'] for voice and piano (1820, 2 versions; 2nd version first published as Op. 36 No. 1)
  • D 708, Song "Im Walde" ['Windes Rauschen, Gottes Flügel'] for voice and piano, Waldesnacht (1820)
  • D 708A, Sketch of a Symphony in D major (after 1820, piano sketches of all four movements are extant)
  • D 709, Quartet "Frühlingsgesang" ['Schmücket die Locken mit duftigen Kränzen'] for two tenors and two basses (before 1822, 1st setting)
  • D 710, Quartet "Im Gegenwärtigen Vergangenes" ['Ros und Lilie morgentaulich'] for two tenors, two basses and piano (1821?)
  • D 711, Song "Lob der Tränen" ['Laue Lüfte, Blumendüfte'] for voice and piano (1818?, 2 versions; 2nd version first published as Op. 13 No. 2)
  • D 712, Song "Die gefangenen Sänger" ['Hörst du von den Nachtigallen'] for voice and piano (1821)
  • D 713, Song "Der Unglückliche" ['Die Nacht bricht an'] for voice and piano (1821, 2 versions; 2nd version first published as Op. 87 No. 1)
  • D 714, Octet "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for four tenors, four basses, two violas, two violoncellos and double bass (1820–1821, 4th setting; 2 versions; 1st version [formerly D 704] is a sketch; 2nd version first published as Op. posth. 167)
  • D 715, Song "Versunken" ['Voll Locken kraus ein Haupt so rund'] for voice and piano (1821, 2 versions)
  • D 716, Song "Grenzen der Menschheit" ['Wenn der uralte heilige Vater'] for bass and piano (1821)
  • D 717, Song "Suleika II" ['Ach um deine feuchten Schwingen'] for voice and piano (1821, first published as Op. 31)
  • D 718, Variation in C minor on a Waltz by Anton Diabelli for piano (1821, written for "Vaterländischer Künstlerverein")
  • D 719, Song "Geheimes" ['Über meines Liebchens Äugeln'] for voice and piano (1821, first published as Op. 14 No. 2)
  • D 720, Song "Suleika I" ['Was bedeutet die Bewegung?'] for voice and piano (1821, 2 versions; 2nd version first published as Op. 14 No. 1)
  • D 721, Song "Mahomets Gesang" ['Seht den Felsenquell'] for bass and piano (1821, 2nd setting; fragment)
  • D 722, German Dance in G-flat major for piano (1821)
  • D 723, Duet and Aria for Hérold's Das Zauberglöckchen ['Nein, nein, nein, nein, das ist zu viel'; 'Der Tag entflieht, der Abend glüht'] for two tenors, bass and orchestra (1821)
  • D 724, Quartet "Die Nachtigall" ['Bescheiden verborgen im buschigten Gang'] for two tenors, two basses and piano (1821 or earlier, first published as Op. 11 No. 2)
  • D 725, Duet "Linde Weste wehen" for mezzo-soprano, tenor and piano (1821, fragment)
  • D 726, Song "Mignon I" ['Heiß mich nicht reden'] for voice and piano (1821, 1st setting)
  • D 727, Song "Mignon II" ['So laßt mich scheinen, bis ich werde'] for voice and piano (1821, 2nd setting)
  • D 728, Song "Johanna Sebus" ['Der Damm zerreißt'] for voice and piano (1821, fragment)
  • D 729, Symphony (No. 7) in E major (1821, sketches of all four movements are extant)
  • D 730, Hymn "Tantum ergo" ['Tantum ergo'] in B-flat major for soprano, alto, tenor, bass, mixed choir and orchestra (1821)
  • D 731, Song "Der Blumen Schmerz" ['Wie tönt es mir so schaurig'] for voice and piano (1821, first published as Op. posth. 173 No. 4)
  • D 732, Opera "Alfonso und Estrella" for two sopranos, two tenors, bass, two baritones, mixed choir and orchestra (1821–1822, in three acts: Overture and thirty-four numbers)
Akt I
Ouvertüre
1. Introduktion: Still, noch decket und sie Nacht
2. Arie: Sei mir gergrüßt, o Sonne
3. Chor und Ensemble: Versammelt euch, Bruder
4. Duett: Geschmückt von Glanz und Siegen
5. Rezitativ und Arie: Es ist dein streng Gebot
6. Rezitativ und Duett: Du rührst mich Theurer
7. Chor und Arie: Zur Jagd, zur Jagd!
8. Rezitativ und Arie: Verweile, o Prinzeßin (a version for voice and piano is also extant)
9. Duett: Ja gib, vernimm mein Flehen
10. Finale I: Glänzende Waffe den Krieger erfreut
Akt II
11. Rezitativ und arie: O sing’ mir Vater [formerly D 683]
12. Rezitativ und Duett: Wie rühret mich dein herrlicher Gesang
13. Rezitativ und Arie: Wer bist du, holdes Wesen (a version for voice and piano is also extant)
14. Duett: Freundlich bist du mir erschienen
15. Arie: Könnt’ ich ewig hier verweilen
16. Duett: Laß dir als Erinnerungszeichen
17. Chor und Ensemble: Stille, Freunde, seht euch vor
18. Chor und Arie: Wo ist sie, was kommt ihr zu künden?
19. Ensemble: Die Prinzeßin ist erschienen
20. Duett und Chor: Darf Dich dein Kind umarmen?
21. Arie: Herrlich auf des Berges Höhen
22. Finale II: Sag’, wo ist er hingekommen
Akt III
23. Introduktion
24. Duett: Hörst du rufen?
25. Duett: Du wirst mir nicht entrinnen
26. Terzett und Chor: Welche Stimme
27. Duett: Doch nun werde deinem Retter
28. Rezitativ und Duett: Ja ich, ich bin gerettet
29. Duett mit Chor: Wehe, wehe! Meines Vaters Schaaren seh’ich
30. Ensemble: Sie haben das Rufen vernommen
31. Rezitativ und Ensemble: Was geht hier vor
32. Arie: Wo find ich nur den Ort
33. Duett: Kein Geist, ich bin am Leben
34. Terzett: Empfange nun aus meiner Hand; Finale III: Was hör’ ich, welche Klänge
  • D 733, Trois Marches Militaires for piano duet (1818?, first published as Op. 51)
  • D 734, Sixteen Ländler and Two Écossaises for piano, Wiener Damen-Ländler (pub. 1826, first published as Op. 67)
  • D 735, Galop and Eight Écossaises for piano (pub. 1825, first published as Op. 49)
  • D 736, Song "Ihr Grab" ['Dort ist ihr Grab'] for voice and piano (1822?)
  • D 737, Song "An die Leier" ['Ich will von Atreus Söhnen'] for voice and piano (1822 or 1823?, first published as Op. 56 No. 2)
  • D 738, Song "Im Haine" ['Sonnenstrahlen durch die Tannen'] for voice and piano (1822 or 1823?, first published as Op. 56 No. 3)
  • D 739, Hymn "Tantum ergo" ['Tantum ergo'] in C major for mixed choir, orchestra and organ (1814, first published as Op. 45)
  • D 740, Quartet "Frühlingsgesang" ['Schmücket die Locken'] for two tenors, two basses and piano (1822, 2nd setting; first published as Op. 16 No. 1)
  • D 741, Song "Sei mir gegrüßt" ['O du Entriß’ne mir'] for voice and piano (1821–1822, first published as Op. 20 No. 1)
  • D 742, Song "Der Wachtelschlag" ['Ach! mir schallt’s dorten so lieblich hervor'] for voice and piano (pub. 1822, first published as Op. 68)
  • D 743, Song "Selige Welt" ['Ich treibe auf des Lebens Meer'] for bass and piano (1822?, first published as Op. 23 No. 2)
  • D 744, Song "Schwanengesang" ['Wie klag’ ich’s aus das Sterbegefühl'] for voice and piano (1822?, first published as Op. 23 No. 3)
  • D 745, Song "Die Rose" ['Es lockte schöne Wärme'] for voice and piano (1822, 2 versions; 1st version first published as Op. 73)
  • D 746, Song "Am See" ['In des Sees Wogenspiele'] for voice and piano (1822 or 1823?)
  • D 747, Quartet "Geist der Liebe" ['Der Abend schleiert Flur und Hain'] for two tenors, two basses and piano (1822, 2nd setting; first published as Op. 11 No. 3)
  • D 748, Cantata "Am Geburtstage des Kaisers" ['Steig empor, umblüht von Segen'] for soprano, alto, tenor, bass, mixed choir and orchestra (1822, first published as Op. posth. 157)
  • D 749, Song "Herrn Josef Spaun, Assessor in Linz" ['Und nimmer schreibst du?'] for voice and piano (1822)
  • D 750, Hymn "Tantum ergo" ['Tantum ergo'] in D major for mixed choir, orchestra and organ (1822)

D 751 to D 800[edit]

  • D 751, Song "Die Liebe hat gelogen" ['Die Liebe hat gelogen, die Sorge lastet schwer'] for voice and piano (1822, first published as Op. 23 No. 1)
  • D 752, Song "Nachtviolen" ['Nachtviolen, Nachtviolen'] for voice and piano (1822)
  • D 753, Song "Heliopolis I" ['Im kalten, rauhen Norden ist Kunde mir geworden'] for voice and piano, Aus Heliopolis I or Im Hochgebirge (1822, first published as Op. 65 No. 3)
  • D 754, Song "Heliopolis II" ['Fels auf Felsen hingewälzet'] for bass and piano, Aus Heliopolis II (1822)
  • D 755, Kyrie ['Kyrie eleison'] to a Mass in A minor for soprano, alto, tenor, bass, mixed choir, string orchestra and organ (1822, sketch)
  • D 756, Song "Du liebst mich nicht" ['Mein Herz ist zerrissen, du liebst mich nicht!'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 59 No. 1)
  • D 757, Quartet "Gott in der Natur" ['Groß ist der Herr!'] for two sopranos, two altos and piano (1822, first published as Op. posth. 133)
  • D 757A, March in B minor for piano (1822)
  • D 758, Song "Todesmusik" ['In des Todes Feierstunde'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 108 No. 2)
  • D 759, Symphony (No. 8) in B minor, Unfinished (1822, unfinished – two complete movements and a fragment of a "Scherzo" third movement are extant; the "Entre-Acte nach dem I. Aufzug", D 797 No. 1 is possibly the fourth movement)
  • D 759A, Overture to the opera Alfonso und Estrella for piano (1822, version for piano of the Overture from D 732; first published as Op. 69)
  • D 760, Fantasy in C major for piano, Wanderer Fantasy (1822, first published as Op. 15)
  • D 761, Song "Schatzgräbers Begehr" ['In tiefster Erde ruht ein alt Gesetz'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 23 No. 4)
  • D 762, Song "Schwestergruß" ['Im Mondenschein’ wall’ ich auf und ab'] for voice and piano (1822)
  • D 763, Quartet "Schicksalslenker, blicke nieder" ['Schicksalslenker, blicke nieder'] for soprano, alto, tenor, bass and piano, Des Tages Weihe (1822, first published as Op. posth. 146)
  • D 764, Song "Der Musensohn" ['Durch Feld und Wald zu schweifen'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 92 No. 1)
  • D 765, Song "An die Entfernte" ['So hab’ ich wirklich dich verloren?'] for voice and piano (1822)
  • D 766, Song "Am Flusse" ['Verfließest, vielgeliebte Lieder'] for voice and piano (1822, 2nd setting)
  • D 767, Song "Willkommen und Abschied" ['Es schlug mein Herz'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 56 No. 1)
  • D 768, Song "Wandrers Nachtlied" ['Über allen Gipfeln ist Ruh'] for voice and piano (1824, first published as Op. 96 No. 3)
  • D 769, Two German Dances for piano (1823–1824)
  • D 769A, Piano Sonata in E minor [formerly D 994] (ca. 1823, fragment of an "Allegro" first movement is extant)
  • D 770, Song "Drang in die Ferne" ['Vater, du glaubst es nicht'] for voice and piano (1823, first published as Op. 71)
  • D 771, Song "Der Zwerg" ['Im trüben Licht verschwinden schon die Berge'] for voice and piano (1822?, first published as Op. 22 No. 1)
  • D 772, Song "Wehmut" ['Wenn ich durch Wald und Fluren geh’ '] for voice and piano (1822 or 1823?, first published as Op. 22 No. 2)
  • D 773, Overture to the opera Alfonso und Estrella for piano duet (1823, version for piano duet of the Overture from D 732; first published as Op. 69)
  • D 774, Song "Auf dem Wasser zu singen" ['Mitten im Schimmer der spiegelnden Wellen'] for voice and piano (1823, first published as Op. 72)
  • D 775, Song "Daß sie hier gewesen" ['Daß der Ostwind Düfte hauchet'] for voice and piano (1823?, first published as Op. 59 No. 2)
  • D 776, Song "Du bist die Ruh" ['Du bist die Ruh, der Friede mild'] for voice and piano (1823, first published as Op. 59 No. 3)
  • D 777, Song "Lachen und Weinen" ['Lachen und Weinen zu jeglicher Stunde'] for voice and piano (1823?, first published as Op. 59 No. 4)
  • D 778, Song "Greisengesang" ['Der Frost hat mir bereifet'] for bass and piano (1823, 3 versions; 3rd version first published as Op. 60 No. 1)
  • D 778A, Song "Die Wallfahrt" ['Meine Tränen im Bußgewand'] for bass and piano (1823?)
  • D 778B, Quartet "Ich hab’ in mich gesogen" ['Ich hab’ in mich gesogen den Frühling treu und lieb'] for two tenors and two basses (1827?, sketch)
  • D 779, Thirty-four Valses Sentimentales for piano (pub. 1825, first published as Op. 50)
  • D 780, Six Moments musicaux for piano (pub. 1828, first published as Op. 94)
  • D 781, Twelve Écossaises for piano (1823, Nos. 2–12 are extant)
  • D 782, Écossaise in D major for piano (pub. 1824)
  • D 783, Sixteen German Dances and Two Écossaises for piano (1823–1824; German Dances Nos. 8 and 9 also used in D 366, D 814; first published as Op. 33)
  • D 784, Piano Sonata in A minor (1823, first published as Op. posth. 143)
  • D 785, Song "Der zürnende Barde" ['Wer wagt’s, wer wagt’s'] for bass and piano (1823)
  • D 786, Song "Viola" ['Schneeglöcklein, o Schneeglöcklein'] for voice and piano (1823, first published as Op. posth. 123)
  • D 787, Singspiel "Die Verschworenen" for four or five sopranos, two altos, two or three tenors, two basses, mixed choir and orchestra, Der haüsliche Krieg (1823, in one act: eleven numbers)
Ouvertüre (fragment)
1. Duett: Sie ist’s! Er ist’s! (2 versions; 1st version for soprano, tenor and orchestra; 2nd version for two sopranos and orchestra)
2. Romanze: Ich schleiche bang’ und still herurn
3. Ensemble: Ihr habt auf Eure Burg entboten
4. Verschwörungschor: Ja, wir schwören
5. Marsch und Chor: Vorüber ist die Zeit
6. Ensemble: Verrätherei hab’ ich entdeckt
7. Chor der Ritter und Frauen: Willkommen, schön willkommen
8. Duett: Ich muß sie finden
9. Ariette: Ich habe gewagt und habe gestritten
10. Ariette: Gesetzt, ihr habt wirklich gewagt
11. Finale: Wie? Darf ich meinen Augen traun?; Ensemble: Ich bin beschämt
  • D 788, Song "Lied (Des Lebens Tag ist schwer und schwül)" ['Des Lebens Tag ist schwer und schwül'] for voice and piano, Die Mutter Erde (1823)
  • D 789, Song "Pilgerweise" ['Ich bin ein Waller auf der Erde'] for voice and piano (1823)
  • D 790, Twelve German Dances for piano (1823, also appear as "Twelve Ländler"; first published as Op. posth. 171)
  • D 791, Opera "Rüdiger" for two tenors, men’s choir and orchestra (1823, sketches of two numbers are extant)
1. Introduktion: Durch der Ostsee wilde Wogen (sketch)
2. Duett: Ja, sie war’s, der Frauen Krone (sketch)
  • D 792, Song "Vergißmeinnicht" ['Als der Frühling'] for voice and piano (1823)
  • D 793, Song "Das Geheimnis" ['Sie konnte mir kein Wörtchen sagen'] for voice and piano (1823, 2nd setting; first published as Op. posth. 173 No. 2)
  • D 794, Song "Der Pilgrim" ['Noch in meines Lebens Lenze'] for voice and piano (1823, 2 versions; 2nd version first published as Op. 37 No. 1)
  • D 795, Song cycle Die schöne Müllerin for voice and piano (1823, first published as Op. 25)
1. "Das Wandern" ['Das Wandern ist des Müllers Lust']
2. "Wohin?" ['Ich hört’ ein Bächlein rauschen']
3. "Halt!" ['Eine Mühle seh’ ich blinken']
4. "Danksagung an den Bach" ['War es also gemeint']
5. "Am Feierabend" ['Hätt’ ich tausend Arme zu rühren']
6. "Der Neugierige" ['Ich frage keine Blume']
7. "Ungeduld" ['Ich schnitt’ es gern in alle Rinden ein']
8. "Morgengruß" ['Guten Morgen, schöne Müllerin']
9. "Des Müllers Blumen" ['Am Bach viel kleine Blumen stehn’ ']
10. "Tränenregen" ['Wir saßen so traulich beisammen']
11. "Mein!" ['Bächlein, laß dein Rauschen sein'] (NSA also appends a modified version)
12. "Pause" ['Meine Laute hab’ ich gehängt an die Wand']
13. "Mit dem grünen Lautenbande" ['Schad’ um das schöne grüne Band'] (NSA also appends a modified version)
14. "Der Jäger" ['Was sucht denn der Jäger']
15. "Eifersucht und Stolz" ['Wohin so schnell']
16. "Die liebe Farbe" ['In Grün will ich mich kleiden']
17. "Die böse Farbe" ['Ich möchte zieh’n in die Welt hinaus']
18. "Trockne Blumen" ['Ihr Blümlein alle'] (NSA also appends a modified version)
19. "Der Müller und der Bach" ['Wo ein treues Herze'] (NSA also appends a modified version)
20. "Des Baches Wiegenlied" ['Gute Ruh’, gute Ruh’ ']
  • D 796, Opera "Fierabras" for three sopranos, three tenors, three basses, baritone, one spoken role, mixed choir and orchestra (1823, also appears as "Fierrabras"; in three acts: Overture and twenty-three numbers; first published as Op. 76)
Akt I
Ouvertüre
1. Introduktion: Der Runde Silberfaden
2. Duett: O Mög’ auf froher Hoffnung Schwingen
3. Marsch und Chor: Zu hohen Ruhmespforten
4. Ensemble
a. Rezitativ und Chor: Die Beute laß, o Herr
b. Ensemble: Des Krieges Loos hat Euch
c. Erzählung: Am Rand der Eb’ne
d. Ensemble: Der Landestöcher fromme Pflichteu
e. Quartett mit Chor: Dem Erfolg vertrauen
5. Duett: Laß uns mutvoll hoffen
6. Finale I
a. Romanze: Der Abend sinkt auf stiller Flur
b. Rezitativ und Arie: Was quälst du mich, o Mißgeschick
c. Ensemble: Doch horch, was regt sich
d. Terzett: Ha, hier waltet ein Verrath
e. Rezitativ: Nun faßet Muth
f. Rezitativ und Terzett: Wie? Emma hier?
g. Quartett mit Chor: Fort zum Siegesreigen
Akt II
7. Lied mit Chor: Im jungen Morgenstrahle
8. Rezitativ, March und Ensemble: Beschloßen ist’s, ich löse seine Ketten!; Duett mit Chor: Was ist ihm geschehen?
9. Duett: Weit über Glanz und Erdenschimmer
10. Quintett: Verderben denn und Fluch
11. Chor: Laßt Friede in die Hallen
12. Terzett mit Chor: Im Tode sollt ihr büßen
13. Arie: Die Brust, gebeugt von Sorgen
14. Chor a capella: O theures Vaterland!
15. Melodram
a. Melodram. Rezitativ und Ensemble: Ha, was ist das?
b. Duett mit Chor: Selbst an des Grabes Rande
16. Chor und Melodram: Der Hoffnung Strahl, den du gegeben
17. Finale II
a. Terzett und Chor: Uns führt der Vorsicht weise Hand
b. Melodram: Schützt ihn, ihr ew’gen Mächte
Akt III
18. Chor: Bald tönet der Reigen
19. Quartett: Bald wird es klar
20. Terzett: Wenn hoch im Wolkensitze
21. Arie mit Chor: Der Jammers herbe Qualen; Marcia funebre und Ensemble (the latter part of this number, "Laß dein Vertrauen nicht schwinden" was formerly D 333)
22. Chor und Ensemble: Der Rache Opfer fallen
23. Finale III
a. Rezitativ: Er ist mein Vater
b. Ensemble: Der Sieg begleitet meine tapfern Heere
c. Nun laßt des langersehnten Glücks uns freuen
  • D 797, Music for Schauspiel "Rosamunde, Fürstin von Zypern" for alto, mixed choir and orchestra (1823, Overture and nine numbers; first published as Op. 26)
Ouvertüre (from D 644)
1. Entre-Acte nach dem I. Aufzug (possibly the fourth movement of the Symphony (No. 8) in B minor, D 759)
2. Ballett
3a. Entre-Acte nach dem II. Aufzug
3b. Romanze: Der Vollmond strahlt auf Bergeshöh’n
4. Gesiterchor: In der Tiefe wohnt das Licht
5. Entre-Acte nach dem III. Aufzug
6. Hirtenmelodien
7. Hirtenchor: Hier auf den Fluren
8. Jagerchor: Wie lebt sich’s so fröhlich im Grünen
9. Ballett
  • D 798, Overture to the opera Fierabras for piano duet (1823, version for piano duet of the Overture from D 796; NSA also appends a version by Carl Czerny)
  • D 799, Song "Im Abendrot" ['Oh, wie schön ist deine Welt'] for voice and piano (1824 or 1825, 2 versions)
  • D 800, Song "Der Einsame" ['Wann meine Grillen schwirren'] for voice and piano (1825; publishers print 2 versions, but NSA states that the differences between both do not justify a 2nd version; first published as Op. 41)

D 801 to D 850[edit]

  • D 801, Song "Dithyrambe" ['Nimmer, das glaub mir, erscheinen die Götter'] for bass and piano (pub. 1826, 2nd setting; 2 versions; 2nd version first published as Op. 60 No. 2)
  • D 802, Variations in E minor for flute and piano, Trockne Blumen (1824, 2 versions of "Variation V"; first published as Op. posth. 160)
  • D 803, Octet in F major for two violins, viola, violoncello, double bass, clarinet, horn and bassoon (1824, first published as Op. posth. 166)
  • D 804, String Quartet in A minor, Rosamunde (1824, first published as Op. 29)
  • D 805, Song "Der Sieg" ['O unbewölktes Leben'] for bass and piano (1824)
  • D 806, Song "Abendstern" ['Was weilst du einsam an dem Himmel'] for voice and piano (1824)
  • D 807, Song "Auflösung" ['Verbirg dich, Sonne'] for voice and piano (1824)
  • D 808, Song "Gondelfahrer" ['Es tanzen Mond und Sterne'] for voice and piano (1824, 1st setting)
  • D 809, Quartet "Gondelfahrer" ['Es tanzen Mond und Sterne'] for two tenors, two basses and piano (1824, 2nd setting; first published as Op. 28)
  • D 810, String Quartet in D minor, Death and the Maiden (1824)
  • D 811, Antiphon "Salve Regina" ['Salve Regina'] in C major for two tenors and two basses (1824, first published as Op. posth. 149)
  • D 812, Sonata in C major for piano duet, Grand Duo (1824, first published as Op. posth. 140)
  • D 813, Eight Variations on an original theme in A-flat major for piano duet (1824, first published as Op. 35)
  • D 814, Four Ländler for piano duet (1824)
  • D 815, Quartet "Gebet" ['Du Urquell aller Güte'] for soprano, alto, tenor, bass and piano (1824, first published as Op. posth. 139)
  • D 816, Three Écossaises for piano (1824)
  • D 817, Ungarische Melodie in B minor for piano (1824)
  • D 818, Divertissement à la hongroise in G minor for piano duet (1824, first published as Op. 54)
  • D 819, Six Grandes Marches for piano duet (1818 or 1824, first published as Op. 40)
  • D 820, Six German Dances for piano (1824)
  • D 821, Sonata in A minor for arpeggione and piano (1824)
  • D 822, Cantata "Lied eines Kriegers" ['Des stolzen Männerlebens schönste Zeichen'] for bass, unison men’s choir and piano (1824)
  • D 823, Divertissement sur des motifs originaux français in E minor for piano duet (pub. 1826–1827, first movement originally published as Marche Brillante, Op. 63; second and third movements first published as Andantino varié and Rondeau brillant, Op. 84 Nos. 1–2)
  • D 824, Six Polonaises for piano duet (1826, first published as Op. 61)
  • D 825, Quartet "Wehmut" ['Die Abendglocke tönet'] for two tenors and two basses (1826, first published as Op. 64 No. 1)
  • D 825A, Quartet "Ewige Liebe" ['Ertönet, ihr Saiten, in nächtlicher Ruh'] for two tenors and two basses (1826, first published as Op. 64 No. 2)
  • D 825B, Quartet "Flucht" ['In der Freie will ich leben'] for two tenors and two basses (1825, first published as Op. 64 No. 3)
  • D 826, Quartet "Der Tanz" ['Es redet und träumet die Jugend so viel'] for soprano, alto, tenor, bass and piano (1828)
  • D 827, Song "Nacht und Träume" ['Heil’ge Nacht, du sinkest nieder!'] for voice and piano (1823, 2 versions; 2nd version first published as Op. 43 No. 2)
  • D 828, Song "Die junge Nonne" ['Wie braust durch die Wipfel'] for voice and piano (1825, first published as Op. 43 No. 1)
  • D 829, Melodrama "Leb’ wohl du schöne Erde" ['Leb’ wohl du schöne Erde'] for spoken voice and piano (1826, also appears as "Abschied" or "Abschied von der Erde")
  • D 830, Song "Lied der Anne Lyle" ['Wärst du bei mir im Lebenstal'] for voice and piano (1825?, first published as Op. 85 No. 1)
  • D 831, Song "Gesang der Norna" ['Mich führt mein Weg wohl meilenlang'] for voice and piano (1825, first published as Op. 85 No. 2)
  • D 832, Song "Des Sängers Habe" ['Schlagt mein ganzes Glück in Splitter'] for voice and piano (1825)
  • D 833, Song "Der blinde Knabe" ['O sagt, ihr Lieben, mir einmal'] for voice and piano (1825, 2 versions; 2nd version first published as Op. posth. 101 No. 2; NSA also appends a modified 2nd version)
  • D 834, Song "Im Walde" ['Ich wandre über Berg und Tal'] for voice and piano (1825, 2 versions; 2nd version first published as Op. 93 No. 1)
  • D 835, Quartet "Bootgesang" ['Triumph, er naht'] for two tenors, two basses and piano (1825, first published as Op. 52 No. 3)
  • D 836, Chorus "Coronach (Totengesang der Frauen und Mädchen)" ['Er ist uns geschieden'] for women’s choir and piano, Totengesang der Frauen und Mädchen (1825, first published as Op. 52 No. 4)
  • D 837, Song "Ellens Gesang I" ['Raste, Krieger, Krieg ist aus'] for voice and piano (1825, first published as Op. 52 No. 1)
  • D 838, Song "Ellens Gesang II" ['Jäger, ruhe von der Jagd!'] for voice and piano (1825, first published as Op. 52 No. 2)
  • D 839, Song "Ellens Gesang III (Hymne an die Jungfrau)" ['Ave Maria! Jungfrau mild'] for voice and piano, Ave Maria or Hymne an die Jungfrau (1825, first published as Op. 52 No. 6)
  • D 840, Piano Sonata in C major, Reliquie (1825, unfinished – first and second movements are complete; third and fourth movements are fragments)
  • D 841, Two German Dances for piano (1825)
  • D 842, Song "Totengräbers Heimwehe" ['O Menschheit, o Leben, was soll’s?'] for voice and piano (1825)
  • D 843, Song "Lied des gefangenen Jägers" ['Mein Roß so müd'] for voice and piano (1825, first published as Op. 52 No. 7)
  • D 844, Waltz in G major for piano, Albumblatt (1825)
  • D 845, Piano Sonata in A minor (1825, first published as Op. 42)
  • D 846, Song "Normans Gesang" ['Die Nacht bricht bald herein'] for voice and piano (1825, first published as Op. 52 No. 5)
  • D 847, Quartet "Trinklied aus dem 16. Jahrhundert" ['Edit Nonna, edit Clerus'] for two tenors and two basses (1825, first published as Op. posth. 155)
  • D 848, Quartet "Nachtmusik" ['Wir stimmen dir mit Flötensang'] for two tenors and two basses (1825, first published as Op. posth. 156)
  • D 849, see D 944
  • D 850, Piano Sonata in D major, Gasteiner (1825, first published as Op. 53)

D 851 to D 900[edit]

  • D 851, Song "Das Heimweh" ['Ach, der Gebirgssohn'] for voice and piano (1825, 2 versions; 2nd version first published as Op. 79 No. 1)
  • D 852, Song "Die Allmacht" ['Groß ist Jehova, der Herr'] for voice and piano (1825, 1st setting; first published as Op. 79 No. 2; NSA also appends a modified version)
  • D 853, Song "Auf der Bruck" ['Frisch trabe sonder Ruh’ und Rast'] for voice and piano (1825, 2 versions; 2nd version first published as Op. 93 No. 2)
  • D 854, Song "Fülle der Liebe" ['Ein sehnend Streben teilt mir das Herz'] for voice and piano (1825)
  • D 855, Song "Wiedersehn" ['Der Frühlingssonne holdes Lächeln'] for voice and piano (1825)
  • D 856, Song "Abendlied für die Entfernte" ['Hinaus mein Blick, hinaus ins Tal'] for voice and piano (1825, first published as Op. 88 No. 1)
  • D 857, Two songs "Zwei Szenen aus dem Schauspiel ‘Lacrimas’ " for voice and piano (1825, first published as Op. posth. 124)
1. "Lied der Delphine" ['Ach, was soll ich beginnen vor Liebe?']
2. "Lied des Florio" ['Nun, da Schatten niedergleiten']
  • D 858, see D Anh. I/7
  • D 859, Grande Marche Funèbre in C minor for piano duet (1825, first published as Op. 55)
  • D 860, Song "An mein Herz" ['O Herz, sei endlich stille'] for voice and piano (1825)
  • D 861, Song "Der liebliche Stern" ['Ihr Sternlein, still in der Höhe'] for voice and piano (1825)
  • D 862, Song "Um Mitternacht" ['Keine Stimme hör’ ich schallen'] for voice and piano (1825 and 1826?, 2 versions; 2nd version first published as Op. 88 No. 3)
  • D 863, Song "An Gott" ['Kein Auge hat dein Angesicht geschaut'] for one or more voices (1827 or earlier, lost)
  • D 864, Song "Das Totenhemdchen" ['Starb das Kindlein'] for one or more voices (after 1824, lost)
  • D 865, Quartet "Widerspruch" ['Wenn ich durch Busch und Zweig'] for two tenors, two basses and piano (1828, 2 versions; 2nd version for voice and piano; first published as Op. 105 No. 1)
  • D 866, Song cycle Vier Refrainlieder for voice and piano (1828?, first published as Op. 95)
1. "Die Unterscheidung" ['Die Mutter hat mich jüngst gescholten']
2. "Bei dir allein" ['Bei dir allein empfind ich, daß ich lebe']
3. "Die Männer sind méchant" ['Du sagtest mir es, Mutter']
4. "Irdisches Glück" ['So mancher sieht mit finstrer Miene']
  • D 867, Song "Wiegenlied" ['Wie sich der Äuglein kindlicher Himmel'] for voice and piano (1826 or 1827, first published as Op. 105 No. 2)
  • D 868, see D 990C
  • D 869, Song "Totengräber-Weise" ['Nicht so düster und so bleich'] for voice and piano (1826)
  • D 870, Song "Der Wanderer an den Mond" ['Ich auf der Erd’, am Himmel du'] for voice and piano (1826, first published as Op. 80 No. 1)
  • D 871, Song "Das Zügenglöcklein" ['Kling die Nacht durch, klinge'] for voice and piano (1826, 2 versions; 2nd version first published as Op. 80 No. 2)
  • D 872, Mass "Deutsche Messe" for mixed choir and organ, Gesänge zur Feier des heiligen Opfers der Messe. Nebst einem Anhange, enthaltend: Das Gebet des Herr (1827, 2 versions; 2nd version adds two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and double bass)
  • D 873, Canon ["?"] ['?'] in A major for six voices (1826?, sketch without text)
  • D 873A, Quartet "Nachklänge" ['?'] for two tenors and two basses (?) (1826?, sketch without text)
  • D 874, Song "O Quell, was strömst du rasch und wild" ['O Quell, was strömst du rasch und wild'] for voice and piano (1826?, sketch)
  • D 875, Quintet "Mondenschein" ['Des Mondes Zauberblume lacht'] for two tenors, three basses and piano (1826, first published as Op. 102)
  • D 875A, Chorus "Die Allmacht" ['Groß ist Jehova der Herr!'] for mixed choir and piano (1826, 2nd setting; sketch)
  • D 876, Song "Im Jänner 1817" ['Ich bin von aller Ruh’ geschieden'] for voice and piano, Tiefes Leid (1826)
  • D 877, Song cycle Gesänge aus "Wilhelm Meister" (1826, first published as Op. 62)
1. "Mignon und der Harfner" ['Nur wer die Sehnsucht kennt'] for two voices and piano (5th setting)
2. "Lied der Mignon" ['Heiß mich nicht reden, heiß mich schweigen'] for voice and piano (2nd setting; NSA also appends a modified version)
3. "Lied der Mignon" ['So laßt mich scheinen, bis ich werde'] for voice and piano (3rd setting)
4. "Lied der Mignon" ['Nur wer die Sehnsucht kennt'] for voice and piano (6th setting)
  • D 878, Song "Am Fenster" ['Ihr lieben Mauern hold und traut'] for voice and piano (1826, first published as Op. 105 No. 3)
  • D 879, Song "Sehnsucht" ['Die Scheibe friert, der Wind ist rauh'] for voice and piano (1826, first published as Op. 105 No. 4)
  • D 880, Song "Im Freien" ['Draußen in der weiten Nacht'] for voice and piano (1826, first published as Op. 80 No. 3)
  • D 881, Song "Fischerweise" ['Den Fischer fechten Sorgen und Gram und Leid nicht an'] for voice and piano (1826, 2 versions; 2nd version first published as Op. 96 No. 4)
  • D 882, Song "Im Frühling" ['Still sitz’ ich an des Hügels Hang'] for voice and piano (1826, 2 versions; 2nd version first published as Op. posth. 101 No. 1)
  • D 883, Song "Lebensmut" ['O wie dringt das junge Leben'] for voice and piano (1826)
  • D 884, Song "Über Wildemann" ['Die Winde sausen am Tannenhang'] for voice and piano (1826, first published as Op. 108 No. 1)
  • D 885, Grande Marche Héroique in A minor for piano duet (pub. 1826, first published as Op. 66)
  • D 886, see D 968B
  • D 887, String Quartet in G major (1826, first published as Op. posth. 161)
  • D 888, Song "Trinklied" ['Bacchus, feister Fürst des Weins'] for voice and piano (1826)
  • D 889, Song "Ständchen" ['Horch, horch! die Lerch im Ätherblau'] for voice and piano (1826)
  • D 890, Song "Hippolits Lied" ['Laßt mich, ob ich auch still verglüh'] for voice and piano (1826)
  • D 891, Song "An Sylvia" ['Was ist Silvia, saget an'] for voice and piano, Gesang (1826, first published as Op. 106 No. 4)
  • D 892, Cantata "Nachthelle" ['Die Nacht ist heiter'] for tenor solo, two tenors, two basses and piano (1826, first published as Op. posth. 134)
  • D 893, Quartet "Grab und Mond" ['Silberblauer Mondenschein fällt herab'] for two tenors and two basses (1826)
  • D 894, Piano Sonata in G major, Fantasie (1826, first published as Op. 78; NSA also appends a discarded 1st version of the second movement)
  • D 895, Rondo in B minor for violin and piano, Rondeau brillant (1826, first published as Op. 70)
  • D 896, Song "Fröhliches Scheiden" ['Gar fröhlich kann ich scheiden'] for voice and piano (1827–1828, sketch)
  • D 896A, Song "Sie in jedem Liede" ['Nehm ich die Harfe'] for voice and piano (1827–1828, sketch)
  • D 896B, Song "Wolke und Quelle" ['Auf meinen heimischen Bergen'] for voice and piano (1827–1828, sketch)
  • D 897, Trio in E-flat major for violin, violoncello and piano, Notturno (1828?, an "Adagio" movement is extant; first published as Op. posth. 148)
  • D 898, Trio (No. 1) in B-flat major for violin, violoncello and piano (1828?, first published as Op. 99)
  • D 899, Four Impromptus for piano (1827, first published as Op. 90)
  • D 900, Allegretto in C minor for piano (after 1820?, fragment)

D 901 to D 950[edit]

  • D 901, Quartet "Wein und Liebe" ['Liebchen und der Saft der Reben'] for two tenors and two basses (1827)
  • D 902, Three songs "Drei Gesänge" for bass and piano (1827, first published as Op. 83)
1. "L'incanto degli occhi; Die Macht der Augen" ['Da voi, cari lumi'; 'Nur euch, schöne Sterne'] (2nd setting)
2. "Il traditor deluso; Der getäuschte Verräter" ['Ahimè, io tremo!'; 'Weh mir, ich bebe!']
3. "Il modo di prender moglie; Die Art ein Weib zu nehmen" ['Orsù! non ci pensiamo'; 'Wohlan! und ohne Zagen']
  • D 903, Cantata "Zur guten Nacht" ['Horch auf! Es schlägt die Stunde'] for baritone, men’s choir and piano (1827, first published as Op. 81 No. 3)
  • D 904, Song "Alinde" ['Die Sonne sinkt in’s tiefe Meer'] for voice and piano (1827, first published as Op. 81 No. 1)
  • D 905, Song "An die Laute" ['Leiser, leiser, kleine Laute'] for voice and piano (1827, first published as Op. 81 No. 2)
  • D 906, Song "Der Vater mit dem Kind" ['Dem Vater liegt das kind in Arm'] for voice and piano (1827)
  • D 907, Song "Romanze des Richard Löwenherz" ['Großer Taten tat der Ritter fern im heiligen Lande viel'] for voice and piano (1826?, 2 versions; 2nd version first published as Op. 86)
  • D 908, Eight Variations on a theme from Hérold's Opera Marie for piano duet (1827, first published as Op. 82 No. 1)
  • D 909, Song "Jägers Liebeslied" ['Ich schieß’ den Hirsch im grünen Forst'] for voice and piano (1827, first published as Op. 96 No. 2)
  • D 910, Song "Schiffers Scheidelied" ['Die Wogen am Gestade schwellen'] for voice and piano (1827)
  • D 911, Song cycle Winterreise for voice and piano (1827, first published as Op. 89)
1. "Gute Nacht" ['Fremd bin ich eingezogen']
2. "Die Wetterfahne" ['Der Wind spielt mit der Wetterfahne']
3. "Gefror’ne Tränen" ['Gefror’ne Tropfen fallen']
4. "Erstarrung" ['Ich such’ im Schnee vergebens']
5. "Der Lindenbaum" ['Am Brunnen vor dem Tore']
6. "Wasserflut" ['Manche Trän’ aus meinen Augen']
7. "Auf dem Flusse" ['Der du so lustig rauschtest'] (2 versions)
8. "Rückblick" ['Es brennt mir unter beiden Sohlen']
9. "Irrlicht" ['In die tiefsten Felsengründe']
10. "Rast" ['Nun merk’ ich erst, wie müd ich bin'] (2 versions)
11. "Frühlingstraum" ['Ich träumte von bunten Blumen'] (2 versions)
12. "Einsamkeit" ['Wie eine trübe Wolke']
13. "Die Post" ['Von der Straße her ein Posthorn klingt']
14. "Der greise Kopf" ['Der Reif hat einen weißen Schein']
15. "Die Krähe" ['Eine Krähe war mit mir aus der Stadt gezogen']
16. "Letzte Hoffnung" ['Hie und da ist an den Bäumen']
17. "Im Dorfe" ['Es bellen die Hunde']
18. "Der stürmische Morgen" ['Wie hat der Sturm zerrissen']
19. "Täuschung" ['Ein Licht tanzt freundlich vor mir her']
20. "Der Wegweiser" ['Was vermeid’ ich denn die Wege']
21. "Das Wirtshaus" ['Auf einen Totenacker hat mich mein Weg gebracht']
22. "Mut" ['Fliegt der Schnee mir ins Gesicht'] (2 versions)
23. "Die Nebensonnen" ['Drei Sonnen sah ich'] (2 versions)
24. "Der Leiermann" ['Drüben hinterm Dorfe steht ein Leiermann']
  • D 912, Chorus "Schlachtlied" ['Mit unserm Arm ist nichts getan'] for double men’s choir (1827, 2nd setting; first published as Op. posth. 151)
  • D 913, Quartet "Nachtgesang im Walde" ['Sei uns stets gegrüßt, o Nacht!'] for two tenors, two basses and four horns (1827, first published as Op. posth. 139)
  • D 914, Quartet "Frühlingslied" ['Geöffnet sind des Winters Riegel'] for two tenors and two basses (1827, 1st setting)
  • D 915, Allegretto in C minor for piano (1827)
  • D 916, Quartet "Das stille Lied" ['Schweige nur, süßer Mund'] for two tenors and two basses (1827, sketch)
  • D 916A, Song ["?"] ['?'] for voice and piano "Liedentwurf in C" (1827?, sketch without text)
  • D 916B, Piano piece in C major (1827?, sketch)
  • D 916C, Piano piece in C minor (1827?, sketch)
  • D 917, Song "Das Lied im Grünen" ['Ins Grüne, ins Grüne, da lockt uns der Frühling'] for voice and piano (1827, first published as Op. posth. 115 No. 1)
  • D 918, Opera "Der Graf von Gleichen" for four sopranos, two tenors, six basses, mixed choir and orchestra (1827, in two acts; unfinished – sketches of eleven numbers for Act I and nine numbers for Act II are extant)
Akt I
1. Introduktion: Es funkelt der Morgen (sketch)
2. Rezitativ und Cavatine: O Himmel kannst du mir; Mein Weib, o Gott (sketch)
3. Terzett: Wart nur wart (sketch)
4. Duett: Ein Schiff? ein Schiff? (sketch)
5a. Arie: Ihr Blumen, ihr Bäume (sketch)
5b. Rezitativ und Duettritornell: Suleika! Mein Herr und Freund! (sketch)
5c. Duett: Ich wünscht um dich zu schmücken (sketch)
6. Marsch, Rezitativ, Arie und Chor: Ha! Was ist das? (sketch)
7. Quintett: Wie Mondlicht durch die Wolken glänzt (sketch)
8. Rezitativ und Arie: Himmel was mußt’ ich hören?; Ja ich lieb’ ihn (sketch)
9. Lied: Tausend Frauen konnt’ ich schauen (sketch)
10. Duett: Ob ich verstehe? (sketch)
11. Finale I: Sie wird kommen (sketch)
Akt II
12. Chor: Laßt uns nicht feyern (sketch)
13. Arie: Trocknet nicht Thränen der ewigen Liebe (sketch)
14. Chor: Vaterland nimm uns auf in deinen Arm (sketch)
15. Rezitativ und Arie: Burg meiner Väter; O Vater der Güte (sketch)
16a. Rezitativ und Duett mit Chor: Wo ist er?; Laß ab mir sprengts die Brust (sketch)
16b. Rezitativ und Chor: Doch sprich, wo ist mein süßer Knabe? (sketch)
17a. Terzett: Das Zeichen wars, das er versprach (sketch)
17b. Rezitativ und Quintett: Oh sieh, sie kommt; Meine Arme öffnen sich (sketch)
18. Lied mit Chor: Vor Allem müßt ihr wissen (sketch)
19. Quartett: Gratulire! nun ich habe nichts dagegen (sketch)
20a. Rezitativ und Arie: Sie schläft; Deine Liebe, deine Milde (sketch)
20b. Duett: Wohlan! Sprich zu dem frommen Kinde (sketch)
20c. Arie: Gütter Gott nimm aus dem Herzen (sketch)
20d. Rezitativ und Duett: Angelika!; Schlage nicht die Augen nieder (sketch)
20e. Terzett: Ihr seyd bewegt was ist geschehen? (sketch)
20f. Quintett: Es geht schön im Kreise der volle Pokal (sketch)
  • D 919, Song "Frühlingslied" ['Geöffnet sind des Winters Riegel'] for voice and piano (1827?, 2nd setting)
  • D 920, Cantata "Ständchen" ['Zögernd leise, in des Dunkels nächt'ger Hülle'] for alto, men’s choir and piano, Notturno (1827, 2 versions; 2nd version [formerly D 921] for alto, women’s choir and piano, first published as Op. posth. 135)
  • D 921, see D 920
  • D 922, Song "Heimliches Lieben" ['O du, wenn deine Lippen mich berühren'] for voice and piano (1827, 2 versions; 2nd version first published as Op. 106 No. 1)
  • D 923, Song "Eine altschottische Ballade" ['Dein Schwert, wie ist’s von Blut so rot'] for male voice, female voice and piano (1827, 3 versions; 2nd version for voice and piano; 3rd version for male voice, female voice and piano; 1st version first published as Op. posth. 165 No. 5)
  • D 924, Twelve Grazer Waltzes for piano (1827?, first published as Op. 91)
  • D 925, Grazer Galopp in C major for piano (1827?)
  • D 926, Song "Das Weinen" ['Gar tröstlich kommt geronnen'] for voice and piano (1827–1828, first published as Op. 106 No. 2)
  • D 927, Song "Vor meiner Wiege" ['Das also, das ist der enge Schrein'] for voice and piano (1827–1828, first published as Op. 106 No. 3)
  • D 928, March in G major for piano duet, Kindermarsch (1827)
  • D 929, Trio (No. 2) in E-flat major for violin, violoncello and piano (1827, first published as Op. 100)
  • D 930, Trio "Der Hochzeitsbraten" ['Ach liebes Herz, ach Theobald, laß dir nur diesmal raten'] for soprano, tenor, bass and piano (1827, first published as Op. posth. 104)
  • D 931, Song "Der Wallensteiner Lanzknecht beim Trunk" ['He! schenket mir im Helme ein!'] for voice and piano (1827)
  • D 932, Song "Der Kreuzzug" ['Ein Münich steht in seiner Zell'] for voice and piano (1827)
  • D 933, Song "Des Fischers Liebesglück" ['Dort blinket durch Weiden'] for voice and piano (1827)
  • D 934, Fantasy in C major for violin and piano (1827, first published as Op. posth. 159)
  • D 935, Four Impromptus for piano (1827, first published as Op. posth. 142)
  • D 936, Cantata "Kantate für Irene Kiesewetter" ['Al par del ruscelletto chiaro'] for two tenors, two basses, mixed choir and piano duet (1827, also appears as "Kantate zur Feier der Genesung der Irene Kiesewetter")
  • D 936A, Sketch of a Symphony (No. 10) in D major (1828?, piano sketches of all three movements are extant)
  • D 937, Song "Lebensmut" ['Fröhlicher Lebensmut braust in dem raschen Blut'] for voice and piano (1828?, fragment)
  • D 938, Song "Der Winterabend" ['Es ist so still, so heimlich um mich'] for voice and piano (1828)
  • D 939, Song "Die Sterne" ['Wie blitzen die Sterne so hell durch die Nacht'] for voice and piano (1828, first published as Op. 96 No. 1)
  • D 940, Fantasy in F minor for piano duet (1828, first published as Op. 103)
  • D 941, see D 948
  • D 942, Cantata "Mirjams Siegesgesang" ['Rührt die Zimbel, schlagt die Saiten'] for soprano, mixed choir and piano (1828, first published as Op. posth. 136)
I. Rührt die Zimbel, schlagt die Saiten
II. Aus ägypten vor dem Volke
III. Doch der Horizont erdunkelt
IV. S’ist der Herr in seinem Grimme
V. Tauchst du auf, Pharao?
VI. Drum mit Zimbeln und mit Saiten
  • D 943, Song "Auf dem Strom" ['Nimm die letzten Abschiedsküsse'] for voice, horn (or violoncello) and piano (1828, first published as Op. posth. 119)
  • D 944, Symphony (No. 9) in C major, Great C major (1825? and 1828, identical to the "Gmunden-Gastein" Symphony, D 849)
  • D 944A, German Dance in an unknown key for piano (1828, lost)
  • D 945, Song "Herbst" ['Es rauschen die Winde so herbstlich und kalt'] for voice and piano (1828)
  • D 946, Three piano pieces "Drei Klavierstücke" (1828)
  • D 947, Allegro in A minor for piano duet, Lebensstürme (1828, first published as Op. posth. 144)
  • D 948, Hymn "Hymnus an den heiligen Geist" ['Komm, heil’ger Geist, erhöre unser Flehen'] for two tenors, two basses and men’s choir (1828, 2 versions; 1st version was formerly D 941; 2nd version [formerly D 964] for two tenors, two basses, men’s choir, two oboes, two clarinets, two bassoons, two trumpets, two horns and three trombones; 2nd version first published as Op. posth. 154)
  • D 949, see D 639
  • D 950, Mass No. 6 in E-flat major for soprano, alto, tenor, bass, mixed choir and orchestra (1828)

D 951 to D 965B[edit]

  • D 951, Rondo in A major for piano duet, Grand Rondeau (1828, first published as Op. 107)
  • D 952, Fugue in E minor for organ duet or piano duet (1828, first published as Op. posth. 152)
  • D 953, Hymn "Der 92. Psalm" ['tôw l’hôdôs ladônoj'] for baritone, soprano, alto, tenor, bass and mixed choir (1828)
  • D 954, Cantata "Glaube, Hoffnung und Liebe" ['Gott, laß die Glocke glücklich steigen'] for two tenors, two basses, mixed choir and piano (1828; scoring also possible for two tenors, two basses, mixed choir, two oboes, two clarinets, two bassoons, two horns and two trombones)
  • D 955, Song "Glaube, Hoffnung und Liebe" ['Glaube, hoffe, liebe!'] for voice and piano (1828, first published as Op. 97)
  • D 956, String Quintet in C major for two violins, viola and two violoncellos (1828, first published as Op. posth. 163)
  • D 957, Song cycle 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano (1828, also appears as "Schwanengesang")
1. "Liebesbotschaft" ['Rauschendes Bächlein, so silber und hell']
2. "Kriegers Ahnung" ['In tiefer Ruh liegt um mich her']
3. "Frühlingssehnsucht" ['Säuselnde Lüfte wehen so mild']
4. "Ständchen" ['Leise flehen meine Lieder'], Serenade (NSA also appends a modified version)
5. "Aufenhalt" ['Rauschender Strom, brausender Wald']
6. "In der Ferne" ['Wehe dem Fliehenden']
7. "Abschied" ['Ade! du muntre, du fröhliche Stadt']
8. "Der Atlas" ['Ich unglückselger Atlas']
9. "Ihr Bild" ['Ich stand in dunkeln Träumen']
10. "Das Fischermädchen" ['Du schönes Fischermädchen']
11. "Die Stadt" ['Am fernen Horizonte']
12. "Am Meer" ['Das Meer erglänzte weit hinaus']
13. "Der Doppelgänger" ['Still ist die Nacht, es ruhen die Gassen']
  • D 958, Piano Sonata in C minor (1828)
  • D 959, Piano Sonata in A major (1828)
  • D 960, Piano Sonata in B-flat major (1828)
  • D 961, see D 452
  • D 962, Hymn "Tantum ergo" ['Tantum ergo'] in E-flat major for soprano, alto, tenor, bass, mixed choir and orchestra (1828)
  • D 963, Offertory "Intende voci" ['Intende voci'] in B-flat major for tenor, mixed choir and orchestra (1828)
  • D 964, see D 948
  • D 965, Song "Der Hirt auf dem Felsen" ['Wenn auf dem höchsten Fels ich steh'] for voice, clarinet and piano (1828, first published as Op. posth. 129)
  • D 965A, Song "Die Taubenpost" ['Ich hab’ eine Brieftaub in meinem Sold'] for voice and piano [formerly D 957 No. 14] (1828)
  • D 965B, Fugal exercises for unspecified instruments/voices "Fugenübungen" (1828; eighteen fugal expositions for two voices)

D 966 to D 998 (Undated works)[edit]

  • D 966, see D 11 No. 3
  • D 966A, see D 71C
  • D 966B, Sketch of an orchestral piece in A major (after 1819, sketch)
  • D 967, see D 37A
  • D 968, Allegro moderato in C major and Andante in A minor for piano duet, Sonatine (between 1815 and 1819?)
  • D 968A, Introduction, Four Variations on an original theme and Finale in B-flat major for piano duet [formerly D 603] (date unknown, first published as Op. posth. 82 No. 2)
  • D 968B, Deux Marches Caractéristiques in C major for piano duet [formerly D 886] (date unknown, first published as Op. posth. 121)
  • D 969, Twelve Waltzes for piano, Valses nobles (pub. 1827, first published as Op. 77)
  • D 970, Six Ländler for piano (date unknown, also appear as "Six German Dances")
  • D 971, Three German Dances for piano (1823?)
  • D 972, Three German Dances for piano (before 1817)
  • D 973, Three German Dances for piano (1823?)
  • D 974, Two German Dances for piano (1822?)
  • D 975, German Dance in D major for piano (1824?)
  • D 976, Cotillon in E-flat major for piano (pub. 1825)
  • D 977, Eight Écossaises for piano (1816?)
  • D 978, Waltz in A-flat major for piano (pub. 1825)
  • D 979, Waltz in G major for piano (pub. 1826)
  • D 980, Two Waltzes for piano (pub. 1826)
  • D 980A, Two Dances for piano [formerly D 640] (before 1821, sketches)
  • D 980B, Two Ländler in E-flat major for piano [formerly D 679] (1816?)
  • D 980C, Two Ländler in D-flat major for piano [formerly D 680] (before 1821, fragment)
  • D 980D, Waltz in C major for piano, Krähwinkler Tanz (pub. 1828)
  • D 980E, Two Dances for piano (?) (after 1818, sketches)
  • D 980F, March in G major for piano (date unknown; piano reduction of a lost march for orchestra?)
  • D 981, Singspiel "Der Minnesänger" (date unknown, fragment; lost)
  • D 982, Opera "?" for two sopranos, tenor, bass and orchestra (1819–1821?, also appears as "Sophie"; title and text author unknown; sketches of three numbers are extant)
1. Quartett: O lang ersehnte Seligkeit (sketch)
2. Ariette: Philomele, Philomele (sketch)
3. Terzett: Wir giessen die Nelken (sketch)
  • D 983, Quartet "Jünglingswonne" ['So lang im deutschen Eichentale'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 1)
  • D 983A, Quartet "Liebe" ['Liebe rauscht der Silberbach'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 2)
  • D 983B, Quartet "Zum Rundetanz" ['Auf! es dunkelt; silbern funkelt'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 3)
  • D 983C, Quartet "Die Nacht" ['Wie schön bist du, freundliche Stille'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 4)
  • D 984, Quartet "Der Wintertag" ['In schöner heller Winterzeit ward eine Maid geboren'] for two tenors, two basses and piano, Geburtstaglied (after 1820, fragment; piano part is lost; first published as Op. posth. 169)
  • D 985, Quartet "Gott im Ungewitter" ['Du Schrecklicher, wer kann vor dir und deinem Donner stehn?'] for soprano, alto, tenor, bass and piano (1815?, first published as Op. posth. 112 No. 1)
  • D 986, Quartet "Gott der Weltschöpfer" ['Zu Gott, zu Gott flieg auf'] for soprano, alto, tenor, bass and piano (1815?, first published as Op. posth. 112 No. 2)
  • D 987, see D 168A
  • D 988, Canon "Liebe säuseln die Blätter" ['Liebe säuseln die Blätter'] for three voices (1815?)
  • D 988A, Accompaniment part in B-flat major for piano (after 1820, fragment; for a multi-part vocal composition?)
  • D 989, see D 579A
  • D 989A, see D 579 B
  • D 990, Song "Der Graf von Habsburg" ['Zu Aachen in seiner Kaiserpracht'] for voice and piano (date unknown)
  • D 990A, Song "Kaiser Maximilian auf der Martinswand" ['Hinauf! hinauf! in Sprung und Lauf'] for voice and piano (date unknown, also appears as "Kaiser Maximilian auf der Martinswand in Tirol")
  • D 990B, Song "Augenblicke im Elysium" ['Vor der in Ehrfurcht all mein Wesen kniet'] for voice and piano [formerly D 582] (date unknown, lost)
  • D 990C, Song "Das Echo" ['Herzliebe gute Mutter, o grolle nicht mit mir'] for voice and piano [formerly D 868] (1828?, first published as Op. posth. 130)
  • D 990D, Song "Die Schiffende" ['Sie wankt dahin; die Abendwinde spielen'] for voice and piano (1815?, lost)
  • D 990E, Aria "L'incanto degli occhi" ['Da voi, cari lumi'] for soprano and piano (1816?, 1st setting; fragment)
  • D 990F, Aria "Ombre amene" ['Ombre amene'] for soprano and piano, La serenata (1816?, fragment; originally, the Deutsch catalogue incorrectly listed this entry as an early version of the song "Il traditor deluso")
  • D 991, see D 323
  • D 992, see D 383
  • D 993, see D 2E
  • D 994, see D 769A
  • D 995, see D 2D
  • D 996, see D 2A
  • D 997, see D 2B
  • D 998, see D 2C

Appendix and missing works[edit]

  • D Anh. I/1, String Quartet in E-flat major [formerly D 40] (1813, lost or identical to D 87)
  • D Anh. I/2, String Quartet in F major (1816, lost or identical to D 353 or D 487)
  • D Anh. I/3, Fugue in C major for string quartet (?) (1812?, fragment; only viola part is extant)
  • D Anh. I/4, String Quartet in G major [formerly D 2] (fragment of one movement is extant; composition by Albert Stadler)
  • D Anh. I/5, String Quartet in E-flat major (date unknown, sketch of the first movement is extant; composition by Anselm Hüttenbrenner)
  • D Anh. I/6, Duet in D major for two violins (1816, not by Schubert)
  • D Anh. I/6A, Symphony in E major, Symphony 1825 (date unknown, not by Schubert; composition by Gunter Elsholz)
  • D Anh. I/7, March for two pianos, eight hands [formerly D 858] (1825, lost)
  • D Anh. I/8, Piano Sonata in F major (1815, lost or identical to D 157)
  • D Anh. I/9, Piano Sonata in F major (1816, lost or identical to D 459)
  • D Anh. I/10, Fantasy in E-flat major for piano (1825?, lost)
  • D Anh. I/11, Allegro in G major and Minuet in C major for piano (date unknown, also appears as "Sonatina"; not by Schubert)
  • D Anh. I/12, Seven Easy Variations in G major for piano (pub. 1810, presumably not by Schubert)
  • D Anh. I/13, Six German Dances for piano (1814, lost)
  • D Anh. I/14, Waltz [in G-flat major] for piano, Kupelwieser-Walzer (1826, transcribed by Richard Strauss)
  • D Anh. I/15, Minuet with Trio in D major for piano [formerly D 336] (date unknown, presumably not by Schubert)
  • D Anh. I/16, Dance "Écossaise de Vienne" in A-flat major for piano (1821?, composition by Anselm Hüttenbrenner?)
  • D Anh. I/17, Hymn "Tantum ergo" ['Tantum ergo'] in B-flat major for unknown voices/instruments (date unknown, fragment; only one soprano part is extant; presumably not by Schubert)
  • D Anh. I/18, Trio or Quartet "Lied beim Rundetanz" ['Auf, es dunkelt, silbern funkelt'] for two tenors and bass or two tenors and two basses [formerly D 132] (1815 or 1816, fragment)
  • D Anh. I/19, Trio or Quartet "Lied im Freien" ['Wie schön ist’s im Freien'] for two tenors and bass or two tenors and two basses [formerly D 133] (1815 or 1816, fragment)
  • D Anh. I/20, Trio or Quartet "Amors Macht" ['Wo Amors Flügel weben'] for two tenors and bass or two tenors and two basses [formerly D 339] (1815 or 1816, fragment)
  • D Anh. I/21, Trio or Quartet "Badelied" ['Zur Elbe, zur Elbe, des Äthers Gewölbe'] for two tenors and bass or two tenors and two basses [formerly D 340] (1815 or 1816, fragment)
  • D Anh. I/22, Trio or Quartet "Sylphen" ['Was unterm Monde gleicht uns Sylphen flink und leicht'] for two tenors and bass or two tenors and two basses [formerly D 341] (1815 or 1816, fragment)
  • D Anh. I/23, Trio or Quartet "Lebenslied" ['Kommen und scheiden, suchen und meiden'] for two tenors and bass or two tenors and two basses (1815 or 1816, fragment; see also D 425)
  • D Anh. I/24, Cantata "Kantate auf den Vater" ['?'] for unspecified voices and piano (?) (1816, lost)
  • D Anh. I/25, Cantata "Drum Schwester und Brüder" ['Drum Schwester und Brüder singt fröhliche Lieder'] for voice (?), choir, violin, violoncello and other unknown instruments (1819, fragment; only violin and violoncello parts are extant)
  • D Anh. I/26, Trio or Quartet "Sturmbeschwörung" ['Nirgends Rettung, nirgends Land'] for two sopranos and alto (?) or two sopranos and two altos (?) (date unknown, fragment; only one soprano part is extant)
  • D Anh. I/27, Song "Drei Chöre mit Bläsern" ['Lieblich ist, wenn sanftes Grau; Leb wohl, geliebte Freundin; O Zeit, wie manchen herben Schmerz'] for male choir, two horns and two bassoons (date unknown, fragment; not by Schubert)
  • D Anh. I/28, Song "Klage (Nimmer länger trag ich)" ['Nimmer länger trag ich dieser Leiden Last'] for voice and piano, Nimmer länger trag ich [formerly D 512] (ca. 1817, presumably not by Schubert)
  • D Anh. I/29, Song "Kaiser Ferdinand II." ['Was reget die Stadt sich in freudiger Hast?'] for voice and piano (1809?, doubtful)
  • D Anh. I/30, Song "Mein Frieden" ['Ferne, ferne flammen helle Sterne'] for voice and piano (pub. 1823, composition by Franz Anton Schubert)
  • D Anh. I/31, Song "Adieu! (Lebe wohl!)" ['Voici l'instant suprême; Schon naht, um uns zu scheiden'] for voice and piano (pub. 1824, composition by August Heinrich von Weyrauch)
  • D Anh. I/32, Composition exercises "Generalbaßübungen" for unspecified instruments/voices [formerly D 598A] (date unknown)
  • D Anh. II/1, Arrangement of the Overture to the opera Iphigenie in Aulis for piano duet (1810?, fragment; composition by Christoph Willibald Gluck)
  • D Anh. II/2, Arrangement of the "Notturno in G major for Flute, Viola and Guitar" for flute, guitar, viola and violoncello [formerly D 96] (1814, also appears as "Quartet in G major for flute, guitar, viola and violoncello"; composition by Wenzel Thomas Matiegka, Op. 21; Trio II in the second movement "Menuetto", by Schubert)
  • D Anh. II/3, Arrangement of Two Arias from the Opera "Echo et Narcisse" ['Rien de la nature'; 'O combats, o désordre extrème!'] for voice and piano (1816, compositions by Christoph Willibald Gluck)
  • D Anh. II/4, Arrangement of the Hymn "Der 8. Psalm für Solostimme und Klavier" ['Unendlicher, Gott, unser Herr'] for voice, two oboes, two clarinets, timpani, strings and organ (1823, composition by Maximilian Stadler; instrumentation by Schubert)
  • D Anh. III/1, Nine Canons "Neun Kanons" ['Es packe dich das Glück beim Kragen; Vom Glück sei alles dir beschert; Glück fehl dir vor allem; Wohlsein und Freude; Drum habe Dank, o Vater Hayden; Adam hat siebn Söhn; Cato, Plato, Cicero; Was i beim Tag mit der Leiern gwinn; Alleluia'] for four or more voices (ca. 1810 copy; compositions by Michael Haydn, Joseph Haydn, Josef Otter, Wolfgang Amadeus Mozart and anonymous composers)
  • D Anh. III/2, Song "Die Teilung der Erde" ['Nehmt hin die Welt! rief Zeus aus seinen Höhen'] for voice and piano (ca. 1810 copy; composition by Franz de Paula Roser)
  • D Anh. III/3, Symphony in C major, KV 551 (1813 copy; composition by Wolfgang Amadeus Mozart)
  • D Anh. III/4, Canon "Kanon (Hoffnung Kind des Himmels)" ['Hoffnung Kind des Himmels'] from the Singspiel "Elbondocani" for two sopranos, tenor, bass and piano (1813? copy; composition by Johann Rudolf Zumsteeg)
  • D Anh. III/5, Trio "Chor der Derwische" ['Ein Gott, ein wahrer Gott ist nur'] for two tenors and bass (1813? copy; composition by Johann Rudolf Zumsteeg)
  • D Anh. III/6, Offertory "Clamavi ad te" in C major, Op. 16 [formerly D 85] for unspecified voices/instruments (1813 copy of the solo soprano voice is extant; composition by Josef Preindl)
  • D Anh. III/7, Scene "Monolog aus Goethes ‘Iphigenie’ " ['Heraus in eure Schatten'] for voice, women’s choir and piano ['Heraus in eure Schatten'] (1815 copy; composition by Johann Friedrich Reichardt)
  • D Anh. III/8, Symphony No. 4 in B-flat major, Op. 60 (8-bar copy after 1820; composition by Ludwig van Beethoven)
  • D Anh. III/9, Song "Deutsches Hochamt (Hier liegt vor deiner Majestät)" ['?'] for voice and organ (copy of the organ part lost; composition by Michael Haydn)
  • D Anh. III/10, Mass in C major (1820 copy; composition by Josef Preindl)
  • D Anh. III/11, Canon "Laß immer in der Jugend Glanz" ['Laß immer in der Jugend Glanz'], KV 484d, for two voices [formerly D 92] (copy lost; composition by Wolfgang Amadeus Mozart)
  • D Anh. III/12, Canon "Selig alle, die im Herrn entschliefen" ['Selig alle, die im Herrn entschliefen'], KV 382b, for two voices [formerly D 127] (copy lost; composition by Wolfgang Amadeus Mozart)
  • D Anh. III/13, Song "Abendlied unterm gestirnten Himmel" ['Wenn die Sonne niedersinket'], WoO 150, for voice and piano (1820 copy; composition by Ludwig van Beethoven)
  • D deest, Sketch of a composition "?" ['?'] for unspecified voices and orchestra (1811?, sketch)
  • D deest, Mass in C major (?) for mixed choir, two violins and organ (1811?, sketch?; lost or never written)
  • D deest, Theme of a dance composition (?) for piano (?) (1812?, sketch)
  • D deest, Trio "Scherz-Terzett" ['Mala musica, bona musica?'] for three altos (1812, doubtful)
  • D deest, Aria "?" ['?'] for bass and piano (?) (1812, sketch; also appears as "Allegretto in D major")
  • D deest, Fantasy in an unknown key for string quartet (1813, lost)
  • D deest, Fugue in an unknown key for piano or organ (1813, lost)
  • D deest, Fragment of a composition for violin (?) (1813, sketch; fragment)
  • D deest, Sketch of a composition for unspecified instrument(s) (1813, sketch)
  • D deest, Fugue in F major for piano (1813, sketch)
  • D deest, Piano piece (?) in F major (1813, sketch)
  • D deest, Themes to Two Minuets for piano (1813?, sketches)
  • D deest, Fragment of an instrumental composition for violin, viola and guitar (?) (1813?, fragment)
  • D deest, Song "?" ['?'] improvised for a play for voice and piano (1815?, lost?; possibly identical to D 284)
  • D deest, String Quartet in B-flat major (1816, lost)
  • D deest, Canon "Canon a trè" ['?'] in B-flat major for three voices (1816? fragment)
  • D deest, Four Dances in A major for piano (1816?, only incipits are extant)
  • D deest, Song "?" ['?'] in C major for voice and piano (1816, fragment)
  • D deest, Song "Die Nacht" ['Die Nacht bricht an, mit leisen Lüften sinket'] for voice and guitar (after 1816?, doubtful; accompaniment part by Franz Xaver Baron von Schlechta; voice part by Schubert?)
  • D deest, Sketch of a theme for unspecified instruments/voices "Themenentwurf" (1818, sketch)
  • D deest, Sketch of a theme in A minor for unspecified instruments/voices "Themenentwurf" (1818, sketch)
  • D deest, Ecossaise in G major, Ländler in F major and Ländler in F minor (?) for piano (1818, sketches)
  • D deest, Vocal composition "?" ['?'] for mixed choir (?) (1818?, fragment without text)
  • D deest, Song "Winterlied" ['Das Glas gefüllt!'] for voice and piano, Winterabend (after 1820; 2nd setting of D 242, with a different title; also appears unofficially listed as D 242A or D 324A)
  • D deest, Accompaniment for a vocal composition "?" ['?'] (1821?, fragment)
  • D deest, Vocal composition "?" ['?'] for unspecified voices (1821?, fragment)
  • D deest, Tantum ergo ['Tantum ergo'] in C major for mixed choir and orchestra (1821)
  • D deest, Tantum ergo ['Tantum ergo'] in C major for mixed choir and orchestra (1821)
  • D deest, Fragment of a composition for unspecified instruments (1823, sketch)
  • D deest, Sketch of a composition for orchestra (?) (1823, piano sketch)
  • D deest, Piano Sonata in C-sharp major (1825?, lost or identical to D 568 1st version)
  • D deest, Canon ["?"] ['?'] in C major for five voices (1826?)
  • D deest, Song "?" ['?'] for voice and piano (ca. 1827, fragment; lost)
  • D deest, Imitation exercises in invertible counterpoint for unspecified instruments/voices (1828; three 2-part imitation exercises)
  • D deest, Song (?) "Seliges Genügen" ['?'] for unspecified voice(s)/instrument(s) (date unknown, lost)
  • D deest, Song (?) "...doch stärker ist die Mutterliebe" ['?'] for voice (?) and orchestra (date unknown, fragment; lost)
  • D deest, Overture in an unknown key for orchestra (date unknown, lost)
  • D deest, Fragment of a cantata (?) "?" ['?'] for unspecified soloists, choir and orchestra (date unknown, fragment without text)
  • D deest, Song (?) or piano piece (?) "Lieder für das Pianoforte" ['?'] for voice (?) and/or piano (?) (date unknown, lost)
  • D deest, String Sextet in an unknown key for three violins, viola, violoncello and double bass (date unknown, fragment; lost)
  • D deest, Trio "?" ['?'] in D major for unspecified voices (date unknown, fragment without text)

See also[edit]

Sources[edit]

External links[edit]