List of compositions by Franz Schubert

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Schubert's Opus 1: "Erlkönig", D 328, fourth version, was published by Diabelli as Schubert's "1tes Werk" in 1821. The Lied, composed in 1815, was later adopted along with its prior versions in AGA XX, 3 No. 178 (1895) and NSE IV, 1 (1970).

Franz Schubert (31 January 1797 – 19 November 1828), a late Classical – early Romantic Viennese composer, left a very extended body of work notwithstanding his short life. He wrote some 1500 items, or, when collections, cycles and variants are grouped, some thousand compositions. The largest group are his over six hundred Lieder for solo voice and piano. He composed nearly as many piano pieces, and further some 150 part songs, some 40 liturgical compositions (including several masses) and around 20 stage works like operas and incidental music. His orchestral output includes a dozen symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.

Otto Erich Deutsch compiled the first comprehensive catalogue of Schubert's works and published it in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order. 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). In the mean while also publications without opus number had started, for instance, from shortly after the composer's death, many songs in Diabelli's fifty "Nachlaß-Lieferung" (instalment from the heritage) editions.

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 the LiederNet Archive website.

Works listed in the Deutsch catalogue[edit]

The 1951 first edition of the Deutsch catalogue attempted to list all dated works by Schubert in chronological order, assigning them a number from 1 to 965. Undated works were ordered in the range 966–992. Nos. 993–998 referred to manuscripts that had resurfaced shortly before the catalogue was printed.

Later versions of the catalogue adhered to the general principles that Deutsch numbers below 966 referred, in a chronological order, to compositions by Schubert with an established time of composition, and that the range 966–992 was reserved for his compositions with an uncertain date of composition. Thus "Die Taubenpost", the last Lied Schubert composed, was reassigned from D 957 No. 14 to D 965A, and D 993, an early piano composition, to D 2E.

Spurious and doubtful works (Anh. I)
Annex I of the first edition of the catalogue contains only a single composition under the header Spurious and doubtful works, but however also points to some compositions with authentication issues elsewhere in the catalogue. The 1978 edition of the catalogue lists 32 spurious and doubtful works in its first Anhang (annex), including some that were for that reason removed from the main catalogue.
Arrangements by Schubert (Anh. II)
The 1978 version of the catalogue lists 4 arrangements by Schubert in its second Anhang
Works of others composers copied by Schubert (Anh. III)
Annex II in the first edition of the catalogue contains compositions by other composers copied by Schubert. In the 1978 edition the list was expanded and became Anhang III.
"Setting" vs. "version" distinction 
the New Schubert Edition distinguishes between Bearbeitung (setting) and Fassung (version), the first meaning an independent composition, the second stages of the same composition (modifications of essentially the same composition). Usually different settings have different D numbers, while versions are grouped under the same D number, unless when set for a different (group of) performer(s). The first edition of the Deutsch catalogue was less strict on that point, leading to Deutsch number reassignments in later publications. Example: D 174 is described as two settings of the same text in the original catalogue, the second having become "D. deest" by the time it was published in Series IV, Volume 8 of the New Schubert Edition (while the music has no resemblance to the earlier setting). On the other hand, despite a difference in key signature and number of movements, the original D 567 and D 568 were ultimately published under the same D number as two versions of the same sonata.
Legend to the table
column content
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); Nachlass Lieferung Nos. are preceded by n. Date of first publication in parenthesis. The column sorts to Opus number > Nachlass Lieferung No. > first publication date associated with neither of those.
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. When the date is a range, the column sorts to date of completion (unlike the D numbers themselves, that generally have a chronology according to earliest date associated with the composition)
9 Additional info May include:
  • When the piece is no longer extant (Lost)
  • Text author of vocal works (Text by ...)
  • Forces needed for performance (For ...):
    • may be omitted when the type of composition makes the instrumentation clear (e.g. String Quartet → two violins, viola and cello), and, for vocal music, when the setting is for voice and piano
    • s, a, t and b refer to a single soprano, alto, tenor and bass singer respectively, while S, A, T and B to choral parts for the same types of singers (see SATB).
  • Information about versions (e.g. Two versions), or indication that the composition, as extant, is incomplete (Fragment)
  • Specifications regarding movements (e.g. Allegro – Minuet – Rondo) or sections (e.g. No. 1 ...)
  • Relations to other compositions (e.g. 1st setting: see also D. ...)
Compositions by Franz Schubert listed in the Deutsch catalogue
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 keys 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 Schiller, from Wallenstein: Die Piccolomini III, 7; 1st setting: see also D 191 and 389
7 7 (1894) XX, 1
No. 3
IV, 6
No. 2
Leichenfantasie Mit erstorbnem Scheinen 1811? Text by 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 der Toten erbebt c. 1812 Text by Matthisson (other settings: D 15A, 116 and 494); Fragment
15 15A (1895) XX, 10
No. 590/2
IV, 7
Anh. No. 6
Der Geistertanz Die bretterne Kammer der Toten erbebt c. 1812 Text by Matthisson (other settings: D 15, 116 and 494); Fragment
16 16 (1940) VIII, 2
No. 11
Counterpoint exercises, D 16 G minor 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
19A 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 Anh. 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
Salve Regina
28/06/1812 For s and orchestra; 1st setting: see also D 106, 223, 386, 676 and 811
28 28 (1923) VI, 7 No. 1 Piano 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 Schiller; 1st setting of three: 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.
VIII, 2 No. 13
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 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 Baumberg
Incomplete; seems related to D 1A
39A VI, 9 Three Minuets with Trios, D 39A 1813 Lost — for orchestra
41 41 (1889) XII No. 30 VII/2, 6 Thirty Minuets with Trios, D 41 Various keys 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
VIII, 2 No. 34
Sprüche des Confucius Dreifach ist der Schritt der Zeit 8/7/1813 Text by Schiller; 1st setting of three: see also D 69 and 70
44 44 (1894) XX, 1
No. 7
IV, 6
No. 6
Totengräberlied Grabe, Spaden, grabe! 19/1/1813 Text by 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 Schiller; 1st setting of two: see also D 801; Fragment; For tenor, bass, choir and piano
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 Matthisson
51 51 (1897) XXI, 4
No. 37
III, 4 No. 3 Unendliche Freude Unendliche Freude durchwallet das Herz 15/4/1813 Text by Schiller, from "Elysium": stanza 3; Other stanzas and settings: D 53, 54, 57, 58, 60, 584
52 52 (1868) XX, 1
No. 9
IV, 2b No. 8 Sehnsucht, D 52 Ach, aus dieses Tales Gründen 15–
17/4/1813
Text by Schiller; 1st setting of two: 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 Schiller, from "Elysium": stanza 1; Other stanzas and settings: D 51, 54, 57, 58, 60, 584
54 54 (1873) XIX
No. 22
III, 4 No. 5
VIII, 2 No. 17
Unendliche Freude Unendliche Freude durchwallet das Herz 19/4/1813 Text by Schiller, from "Elysium": stanza 3; Other stanzas and settings: D 51, 53, 57, 58, 60, 584
55 55 (1892) XIX
No. 12
III, 4 No. 6 Selig durch die Liebe Selig durch die Liebe Götter 21/4/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 1; Other: D 61, 62, 63, 64, 983A
56 56 (1892) XIX
No. 29
I, 5
VIII, 2 No. 18
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 Schiller, from "Elysium": stanza 4; Other stanzas and settings: D 51, 53, 54, 58, 60, 584
58 58 (1892) XIX
No. 10
III, 4 No. 8 Dessen Fahne Donnerstürme wallte Dessen Fahne Donnerstürme wallte May 1813 Text by Schiller, from "Elysium": stanza 5; Other stanzas and settings: D 51, 53, 54, 57, 60, 584
59 59 n17,4
(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 Schiller, from "Elysium": stanza 6; Other stanzas and settings: D 51, 53, 54, 57, 58, 584
61 61 (1897) XXI, 4
No. 39
III, 4 No. 9
VIII, 2 No. 19
Ein jugendlicher Maienschwung Ein jugendlicher Maienschwung 8/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 9; Other: D 55, 62, 63, 64, 983A
62 62 (1897) XXI, 4
No. 40
III, 4 No. 10
VIII, 2 No. 35
Thronend auf erhabnem Sitz Thronend auf erhabnem Sitz 9/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 15; Other: D 55, 61, 63, 64, 983A
63 63 (1892) XIX
No. 13
III, 4 No. 11 Wer die steile Sternenbahn Wer die steile Sternenbahn 10/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 26; Other: D 55, 61, 62, 64, 983A
64 64 (1897) XXI, 4
No. 41
III, 4 No. 12
VIII, 2 No. 36
Majestät'sche Sonnenroße Majestät'sche Sonnenroße 10/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 16; Other: D 55, 61, 62, 63, 983A
65 65 (1892) XIX
Anh. I, No. 35
III, 4
Anh. II No. 1

VIII, 2 No. 20
Schmerz verzerret ihr Gesicht Schmerz verzerret ihr Gesicht 11/5/1813 Text by Schiller, stanza 2 from "Gruppe aus dem Tartarus" (other settings: D 396 and 583); Sketch
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 Schiller (other setting: D 402); For ttb
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
VIII, 2 No. 21
Sprüche des Confucius Dreifach ist der Schritt der Zeit 8/7/1813 Text by Schiller; 2nd setting of three: see also D 43 and 70; Canon
70 70 (1974) III, 4
Anh. I No. 1

VIII, 2 No. 33
Sprüche des Confucius Dreifach ist der Schritt der Zeit 8/7/1813 Text by Schiller; 3rd setting of three: see also D 43 and 69; Fragment
71 71 (1892) XIX
No. 14
III, 4
No. 15
Die zwei Tugendwege Zwei sind der Wege 15/7/1813 Text by Schiller; Trio for two tenors and bass
71A (1956) I, 8
VIII, 2 No. 22
Alleluja, D 71A F major July 1813? Canon for three voices
71B VII/2, 4 Anh.
VIII, 2 No. 14
Fugue, D 71B E minor July 1813 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 Schiller; 1st setting of two: 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 n45,2
(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 n12
(1831)
(1894)
XX, 1
No. 12
IV, 6
No. 10
Der Taucher Wer wagt es, Rittersmann oder Knapp 17/9/1813–
early 1815
Text by Schiller; Two versions: 2nd 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 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 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, 4
Anh. No. 1

VI, 9
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
VIII, 2 No. 23
Verschwunden sind die Schmerzen Verschwunden sind die Schmerzen 15/11/1813 Text by unknown artist (possibly 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 keys 19/11/1813 For string quartet – Minuets have six Trios, German Dances have seven Trios and a Coda
91 91 (1956) VII/2, 6 Two Minuets, D 91 Various keys 22/11/1813 For piano – Each 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? Text by Motte Fouqué, from Der Zauberring; Song cycle; Nos. 2 and 3 are 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 II, 1
V, 6 No. 6
Orchestral piece, D 94A B-flat major c. 1814 Fragment (discarded orchestral interlude of D 84)
94B VI, 9 Five Minuets and Six German Dances, D 94B 1814 Lost; For string quartet and two horns
95 95 n42,5
(1848)
XX, 1
No. 25
IV, 7
No. 1
Adelaide Einsam wandelt dein Freund 1814 Text by Matthisson
97 97 (1894) XX, 1
No. 19
IV, 7
No. 2
Trost: An Elisa Lehnst du deine bleichgehärmte Wange 1814 Text by Matthisson
98 98 (1894)
(1968)
XX, 1
No. 24
IV, 7 No. 3
Anh. No. 2
Erinnerungen Am Seegestad, in lauen Vollmondsnächten Fall 1814 Text by Matthisson (other setting: D 424); Two versions: 1st is fragment, 2nd in AGA
99 99 (1894) XX, 1
No. 16
IV, 7 No. 4 Andenken Ich denke dein wenn durch den Hain April 1814 Text by Matthisson (other setting: D 423)
100 100 (1894) XX, 1
No. 17
IV, 7 No. 5 Geisternähe Der Dämm’rung Schein durchblinkt den Hain April 1814 Text by Matthisson
101 101 (1894) XX, 1
No. 18
IV, 7 No. 6 Erinnerung (Todtenopfer) Kein Rosenschimmer leuchtet April 1814 Text by Matthisson
102 102 n31,1
(1840)
XX, 1
No. 20
IV, 7 No. 7 Die Betende Laura betet! Fall 1814 Text by 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
Salve Regina
28/6/1814–
1/7/1814
For t and orchestra; 2nd setting: see also D 27, 223, 386, 676 and 811
107 107 (1894)
(1968)
XX, 1
No. 21
IV, 7 No. 9 Lied aus der Ferne Wenn in des Abends letztem Scheine July 1814 Text by Matthisson; Two versions: 1st in AGA
108 108 (1894) XX, 1
No. 22
IV, 7 No. 10 Der Abend Purpur malt die Tannenhügel July 1814 Text by Matthisson
109 109 (1894) XX, 1
No. 23
IV, 7 No. 11 Lied der Liebe Durch Fichten am Hügel July 1814 Text by Matthisson
110 110 (1891) XVI
No. 43
III, 1 Wer ist groß? Wer ist wohl groß? 24–
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 – Possibly 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 Schiller; Three versions: 3rd is Op. 58 No. 2
114 114 (1868)
(1901)
XX, 1
No. 27
IV, 7 No. 12 &
Anh. No. 4
Romanze Ein Fräulein klagt' im finstern Turm September
1814
Text by Matthisson; Two versions: 2nd in AGA
115 115 n31,3
(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 Matthisson
116 116 n31,2
(1840)
XX, 1
No. 29
IV, 7 No. 14 Der Geistertanz Die bretterne Kammer der Toten erbebt 14/10/1814 Text by Matthisson (other settings: D 15, 15A and 494)
117 117 (1894) XX, 1
No. 30
IV, 8
No. 45
Das Mädchen aus der Fremde In einem Tal bei armen Hirten 16/10/1814 Text by Schiller; 1st setting of two: see also D 252
118 118 2
(1821)
XX, 1
No. 31
IV, 1a Gretchen am Spinnrade Meine Ruh' ist hin 19/10/1814 Text by Goethe, from Faust I, 15
119 119 n47,4
(1850)
XX, 1
No. 32
IV, 7 No. 15 Nachtgesang O! gib vom weichen Pfühle 30/11/1814 Text by Goethe
120 120 n25,3
(1835)
XX, 1
No. 33
IV, 7 No. 16 Trost in Tränen Wie kommt's, daß du so traurig bist 30/11/1814 Text by Goethe
121 121 3,1
(1821)
(1894)
XX, 1
No. 34
IV, 1a &
b No. 2
Schäfers Klagelied Da droben auf jenem Berge 30/11/1814 Text by 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 n37,2
(1842)
XX, 1
No. 35
IV, 7 No. 18 Sehnsucht, D 123 Was zieht mir das Herz so? 3/12/1814 Text by Goethe
124 124 (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 Mayrhofer; Two versions: 1st is fragment – 2nd 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 n20,2
(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 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 keys 1812? For piano – includes introduction
129 129 (1892) XIX
No. 16
III, 4 No. 18 Mailied, D 129 Grüner wird die Au 1815? Text by Hölty (other settings: D 199 and 503)
130 130 (1892) XIX
No. 25
III, 4 No. 19
VIII, 2 No. 24
Der Schnee Zerrinnt Der Schnee Zerrinnt 1815? Text by HöltyD 202 sets all stanzas of the same poem
131 131 (1892) XIX
No. 28
III, 4 No. 20
VIII, 2 No. 26
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 Joseph 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 Mayrhofer; No. 1–8 complete (AGA: No. 1–7) and five fragments
138 138 5,1
(1821)
(1970)
XX, 3
No. 177
IV, 1a &
b No. 6
Rastlose Liebe Dem Schnee, dem Regen, dem Wind entgegen 19/5/1815 Text by 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 Claudius (other setting: D 496A); For ttb (and piano?)
141 141 131,1p
(1830)
XX, 2
No. 43
IV, 7 No. 23 Der Mondabend Rein und freundlich lacht der Himmel 1815 Text by Kumpf (de)
142 142 92,3
(1828)
XX, 3
No. 174
IV, 5 Geistes-Gruß Hoch auf dem alten Turme steht 1815 or
1816
Text by Goethe; Six versions: four in AGA – 6th is Op. 92 No. 3
143 143 109p,2
(1829)
XX, 3
No. 181
IV, 7 No. 24 Genügsamkeit Dort raget ein Berg aus den Wolken her 1815 Text by Schober; 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 Stolberg-Stolberg; Fragment
145 145 18
(1823)
XII No. 2 VII/2, 6
& 7a
Twelve Waltzes, Seventeen Ländler and Nine Écossaises, D 145 Various keys 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, 6
& 7a
Twenty Waltzes, D 146 Various keys 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 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 Castelli
149 149 117
(1829)
(1894)
XX, 2
No. 45
IV, 7 No. 25 Der Sänger Was hör' ich draußen vor dem Tor February
1815
Text by Goethe – Two versions: second (first in AGA) is Op. 117
150 150 n2
(1830)
XX, 2
No. 44
IV, 7 No. 26 Lodas Gespenst Der bleiche, kalte Mond erhob sich im Osten 17/1/1816 Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold
151 151 n49,2
(c.
1850)
XX, 2
No. 39
IV, 7 No. 27 Auf einen Kirchhof Sei gegrüßt, geweihte Stille 2/2/1815 Text by Schlechta (de)
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 n39,1
(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, 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. 30 Das Bild Ein Mädchen ist's 10/2/1815 Text by unknown artist
156 156 (1887) XI No. 6 VII/2, 4
& Anh.
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, 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 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 Goethe – First of two settings, see also D 766
161 161 19,2
(1825)
(1894)
XX, 2
No. 48
IV, 1a &
b No. 14
An Mignon Über Tal und Fluß getragen 27/2/1815 Text by Goethe – Two versions (second is Op. 19 No. 2)
162 162 5,2
(1821)
(1894)
XX, 2
No. 49
IV, 1a &
Anh. No. 2
Nähe des Geliebten Ich denke dein, wenn mir der Sonne Schimmer 27/2/1815 Text by Goethe – Two versions: 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 Körner; 1st of two settings, 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 Körner; Fragment; 1st of two settings, 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 Körner; 2nd of two settings, 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 Körner
167 167 (1846) XIII, 1
No. 2
I, 1b 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 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 Klopstock; For mixed choir and piano
169 169 (1894) XX, 2
No. 53
III, 3 Trinklied vor der Schlacht Schlacht, du brichst an! 12/3/1815 Text by Körner; For double unison choir and piano
170 170 (1873) XX, 2
No. 54
III, 3 Schwertlied Du Schwert an meiner Linken 12/3/1815 Text by Körner; For voice, unison choir and piano
171 171 n10,7
(1831)
XX, 2
No. 55
IV, 8
No. 4
Gebet während der Schlacht Vater, ich rufe dich! 12/3/1815 Text by Körner; Two versions
172 172 IV, 8
Anh. No. 3
Der Morgenstern Stern der Liebe, Glanzgebilde 12/3/1815 Text by Körner; Fragment; 1st of two settings, see also D 203
173 173 (1871) V No. 9 VI, 4
No. 11
String Quartet No. 9 G minor 25/3–
1/4/1815
Allegro con brio; Andantino; Menuetto: Allegro vivace – Trio; Allegro
174 174 n39,2
(1845)
XX, 2
No. 56
IV, 8
No. 5
Das war ich Jüngst träumte mir 26/3/1815 Text by Körner; 1st of two settings: 2nd (D deest) is fragment (June 1816)
175 175 (1888) XIV
No. 12
I, 9
No. 1
Stabat Mater, D 175 G minor 4–
6/4/1815
Sequence for mixed choir, orchestra and organ
176 176 (1872) XX, 2
No. 57
IV, 8
No. 6
Die Sterne, D 176 Was funkelt ihr so mild mich an 6/4/1815 Text by Fellinger (wikisource:de)
177 177 173p,3
(1867)
XX, 2
No. 58
IV, 8
No. 7
Vergebliche Liebe Ja, ich weiß es, diese treue Liebe 6/4/1815 Text by Joseph Karl Bernard
177A VIII, 3 Am ersten Mai Ich ging mit ihr im Freien before
1821
Text by Joseph Karl Bernard – only text extant, probably spurious
178 178 (1897) XXI, 3
No. 22
VII/2, 4
& Anh.
Adagio in G major, D 178 G major 8/4/1815 For piano – Two versions (second is a fragment)
179 179 (1872) XX, 2
No. 59
IV, 8
No. 8
Liebesrausch Dir, Mädchen, schlägt mit leisem Beben 8/4/1815 Text by Körner; 2nd of two settings, see also D 164
180 180 (1894) XX, 2
No. 60
IV, 8
No. 9
Sehnsucht der Liebe Wie die Nacht mit heil'gem Beben 8/4/1815 Text by Körner
181 181 (1888) XIV No. 4 I, 9
No. 2
Offertory in A minor, D 181 Tres sunt, qui testimonium dant in coelo 10–
11/4/1815
For mixed choir, orchestra and organ
182 182 n35,1
(1842)
XX, 2
No. 61
IV, 8
No. 10
Die erste Liebe Die erste Liebe füllt das Herz 12/4/1815 Text by Fellinger (wikisource:de)
183 183 (1887) XX, 2
No. 62
III, 3 Trinklied Ihr Freunde und du, gold'ner Wein 12/4/1815 Text by Alois Zettler – For voice, unison choir and piano
184 184 150p
(1843)
XIV No. 5 I, 9
No. 3
Gradual in C major, D 184 Benedictus es, Domine 15–
17/4/1815
For mixed choir, orchestra and organ
186 186 (1894) XX, 2
No. 65
IV, 8
No. 11
Die Sterbende Heil! dies ist die letze Zähre May 1815 Text by Matthisson
187 187 (1894) XX, 2
No. 63
IV, 10 Stimme der Liebe Abendgewölke schweben hell May 1815 Text by Matthisson (other setting: D 418)
188 188 (1887) XX, 2
No. 64
IV, 8
No. 12
Naturgenuß Im Abendschimmer wallt der Quell May 1815 Text by Matthisson (other setting: D 422)
189 189 111,1p
(1829)
XX, 2
No. 66
III, 3 An die Freude Freude, schöner Götterfunken May 1815 Text by Schiller; For voice, unison choir and piano
190 190 (1888) XV, 2
No. 2
II, 2
IV, 14
Der vierjährige Posten (Singspiel in one act) 8–
19/5/1815
Text by Körner; NSE IV, 14: only aria No. 5 for voice and piano.
191 191 58,3
(1826)
(1894)
XX, 2
No. 67
IV, 3 Des Mädchens Klage Der Eichwald brauset 15/5/1815 Text by Schiller, from Wallenstein: Die Piccolomini III, 7; Two versions: 2nd is Op. 58 No. 3; 2nd setting: see also D 6 and 389
192 192 (1887) XX, 2
No. 68
IV, 4 Der Jüngling am Bache An der Quelle saß der Knabe 15/5/1815 Text by Schiller; 2nd setting of three: see also D 30 and 638
193 193 57,3
(1826)
XX, 2
No. 69
IV, 3 An den Mond, D 193 Geuß, lieber Mond, geuß deine Silberflimmer 17/5/1815 Text by Hölty – Autograph without piano intro
194 194 (1894) XX, 2
No. 70
IV, 8
No. 13
Die Mainacht Wann der silberne Mond 17/5/1815 Text by Hölty
195 195 173p,1
(1867)
XX, 2
No. 71
IV, 8
No. 14
Amalia Schön wie Engel voll Walhallas Wonne 19/5/1815 Text by Schiller, from Die Räuber III, 1
196 196 172,3p
(1865)
XX, 2
No. 72
IV, 8
No. 15
An die Nachtigall Geuß nicht so laut der liebentflammten Lieder 22/5/1815 Text by Hölty
197 197 n50,1
(1850)
XX, 2
No. 73
IV, 8
No. 16
An die Apfelbäume, wo ich Julien erblickte Ein heilig Säuseln und ein Gesangeston 22/5/1815 Text by Hölty
198 198 (1894) XX, 2
No. 74
IV, 8
No. 17
Seufzer Die Nachtigall singt überall 22/5/1815 Text by Hölty
199 199 (1885) XIX
No. 30
III, 4
No. 22
Mailied, D 199 Grüner wird die Au 24/5/1815 Text by Hölty (other settings: D 129 and 503)
200 200 (1884) I, 1
No. 3
V, 1
No. 3
Symphony No. 3 D major 24/5/1815–
19/6/1815
Adagio maestoso – Allegro con brio; Allegretto; Menuetto: Vivace – Trio; Presto vivace
201 201 (1970) IV, 10 Auf den Tod einer Nachtigall Sie ist dahin, die Maienlieder tönte 25/5/1815 Text by Hölty (other setting: D 399); Fragment
202 202 (1885) XIX
No. 31
III, 4
No. 23
Mailied, D 202 Der Schnee Zerrinnt 26/5/1815 Text by Hölty – For two voices or two horns, see also D 130
203 203 (1892) XIX
No. 32
III, 4
No. 24
Der Morgenstern Stern der Liebe, Glanzgebilde 26/5/1815 Text by Körner; For two voices or two horns; 2nd of two settings, see also D 172
204 204 (1892) XIX
No. 33
III, 4
No. 25
Jägerlied Frisch auf, ihr Jäger 26/5/1815 Text by Körner; For two voices or two horns
204A IV, 8
Anh. No. 4
Das Traumbild May 1815 Lost – Text by Hölty
205 205 (1892) XIX
No. 34
III, 4
No. 26
Lützows wilde Jagd Was glänzt dort vom Walde im Sonnenschein? 26/5/1815 Text by Körner; For two voices or two horns
206 206 (1872) XX, 2
No. 75
IV, 8
No. 18
Liebeständelei Süßes Liebchen 26/5/1815 Text by Körner
207 207 (1894) XX, 2
No. 76
IV, 8
No. 19
Der Liebende Beglückt, beglückt 29/5/1815 Text by Hölty
208
212
208 (1895)
(1897)
XX, 2
No. 77;
XXII, 11
No. 77
IV, 8 No. 20 & Anh. No. 5 Die Nonne Es liebt' in Welschland irgendwo 29/5/1815 Text by Hölty, from Balladen, No. 5; Two versions (first is fragment, incomplete in AGA XXII; second was D 212)
209 209 38
(1825)
XX, 2
No. 98
IV, 2a Der Liedler Gib, Schwester, mir die Harf herab January 1815 Text by Joseph Kenner
210 210 n30,2
(1838)
XX, 2
No. 78
IV, 8 No. 21 Die Liebe, D 210, a.k.a. Klärchens Lied Freudvoll und leidvoll 3/6/1815 Text by Goethe, from Egmont, Act III, Scene 2, Clärchen's song
211 211 XX, 2
No. 79
IV, 8 No. 22 Adelwold und Emma Hoch und ehern schier von Dauer 1815 Text by Friedrich Anton Franz Bertrand
213 213 172,1p
(1865)
XX, 2
No. 80
IV, 8 No. 23 Der Traum Mir träumt', ich war ein Vögelein 1815 Text by Hölty, from Balladen, No. 6
214 214 172,2p
(1865)
XX, 2
No. 81
IV, 8 No. 24 Die Laube Nimmer werd' ich, nimmer dein vergessen 1815 Text by Hölty
215 215 IV, 1b No. 4 Jägers Abendlied Im Felde schleich ich, still und wild 1815 Text by Goethe; 1st setting: see also D 368
216 215A IV, 1a &
b No. 3
Meeres Stille Tiefe Stille herrscht im Wasser 1815 Text by Goethe; 1st of two settings, see D 216
216 216 3,2
(1821)
XX, 2
No. 82
IV, 1a Meeres Stille Tiefe Stille herrscht im Wasser 1815 Text by Goethe; 2nd of two settings, see D 215A
217 217 XX, 2
No. 83
IV, 8 No. 25 Kolmas Klage Rund um mich Nacht 1815 Text by Macpherson (Ossian), from The Songs of Selma
218 218 IV, 8 No. 26 Grablied Er fiel den Tod für's Vaterland 1815 Text by Joseph Kenner
219 219 IV, 8 No. 27 Das Finden Ich hab ein Mädchen funden 1815 Text by Kosegarten
220 220 II, 2 Fernando (Singspiel in one act) 1815 for two sopranos, tenor, two basses, one spoken role and orchestra (seven numbers)
221 221 118,2p
(1829)
IV, 8 No. 28 Der Abend Der Abend blüht, Temora glüht 1815 Text by Kosegarten
222 222 IV, 8 No. 29 Lieb Minna: Romanze Schwüler Hauch weht mir herüber 1815 Text by Albert Stadler
223 223 47 I, 8 Salve Regina, D 223 a.k.a. Zweites Offertorium F major
Salve Regina
1815 and 1823 For s and orchestra; 2 versions: 2nd is Op. 47; 3rd setting: see also D 27, 106, 386, 676 and 811
224 224 4,3
(1821)
IV, 1a Wandrers Nachtlied Der du von dem Himmel bist 1815 Text by Goethe
225 225 5,3
(1821)
IV, 1a &
b No. 7
Der Fischer Das Wasser rauscht', das Wasser schwoll 1815 Text by Goethe; Two versions: 2nd is Op. 5 No. 3
226 226 5,4
(1821)
IV, 1a Erster Verlust Ach, wer bringt die schönen Tage 1815 Text by Goethe
227 227 IV, 8 No. 30 Idens Nachtgesang Vernimm es Nacht, was Ida dir vertrauet 1815 Text by Kosegarten
228 228 IV, 8 No. 31 Von Ida Der Morgen blüht, der Osten glüht 1815 Text by Kosegarten
229 229 108,3
(1824)
IV, 5 Die Erscheinung
Erinnerung
Ich lag auf grünen Matten 1815 Text by Kosegarten
230 230 165,4p IV, 8 No. 32 Die Täuschung Im Erlenbusch, im Tannenhain 1815 Text by Kosegarten
231 231 172,4p IV, 8 No. 33 Das Sehnen Wehmut, die mich hüllt 1815 Text by Kosegarten
232 232 112,3p
(1829)
III, 2a No. 6
2b Anh. No. 2
Hymne an den Unendlichen Zwischen Himmel und Erd' 1815 Text by Schiller; For satb and piano
233 233 118,1p
(1829)
IV, 8 No. 34 Geist der Liebe Wer bist du, Geist der Liebe 1815 Text by Kosegarten
234 234 118,3p
(1829)
IV, 8 No. 35 Tischlied Mich ergreift, ich weiß nicht wie 1815 Text by Goethe, stanzas 1–2, 5 and 8
235 235 IV, 8 No. 36 Abends unter der Linde Woher, o namenloses Sehnen 1815 Text by Kosegarten; 1st of two settings, see D 237
236 236 III, 2a
No. 7
Das Abendrot Der Abend blüht, der Westen glüht! 1815 Text by Kosegarten, stanzas 1, 3, 6 and 9; for ssb and piano
237 237 IV, 8 No. 37 Abends unter der Linde Woher, o namenloses Sehnen 1815 Text by Kosegarten; 2nd of two settings, see D 235; 2 versions
238 238 IV, 8 No. 38 Die Mondnacht Siehe, wie die Mondesstrahlen 1815 Text by Kosegarten
239 239 II, 14 Claudine von Villa Bella (Singspiel in three acts) 1815 for two sopranos, two tenors, two basses, mixed choir and orchestra (incomplete – Act I: Overture and Nos. 1–8, Act II No. 9, Act III: No. 10 – remaining numbers were written, but are lost)
240 240 IV, 8 No. 39 Huldigung Ganz verloren, ganz versunken 1815 Text by Kosegarten
241 241 IV, 8 No. 40 Alles um Liebe Was ist es, das die Seele füllt? 1815 Text by Kosegarten
242 242 III, 4
No. 27
Trinklied im Winter Das Glas gefüllt! 1815 Text by Hölty; 1st of two settings, see also D 242A; for ttb
242A IV, 8
No. 41
Winterabend
Winterlied
Das Glas gefüllt! 1815? Text by Hölty; 2nd of two settings, see also D 242
243 243 III, 4
No. 28
Frühlingslied Die Luft ist blau 1815 Text by Hölty (other setting: D 398); For ttb
244 244 III, 4 No. 29
VIII, 2 No. 25
Willkommen, lieber schöner Mai Willkommen, lieber schöner Mai 1815? Text by Hölty; Canon for three voices; two versions
246 246 IV, 8
No. 42
Die Bürgschaft Zu Dionys, dem Tyrannen 1815 Text by Schiller
247 247 118,6p
(1829)
IV, 8
No. 43
Die Spinnerin Als ich still und ruhig spann 1815 Text by Goethe
248 248 118,4p
(1829)
IV, 8
No. 44
Lob des Tokayers O köstlicher Tokayer, o königlicher Wein 1815 Text by Baumberg
249 249 III, 2b
Anh. No. 4a
Die Schlacht Schwer und dumpfig 1815 Text by Schiller; Sketch; 1st setting: see also D 387
250 250 IV, 13 Das Geheimnis Sie konnte mir kein Wörtchen sagen 1815 Text by Schiller, stanzas 1–2; 1st setting of two: see also D 793
251 251 IV, 4 Hoffnung Es reden und träumen die Menschen viel 1815 Text by Schiller; 1st setting of two: see also D 637
252 252 IV, 8
No. 46
Das Mädchen aus der Fremde In einem Tal bei armen Hirten 1815 Text by Schiller; 2nd setting of two: see also D 117
253 253 III, 4 No. 30
IV, 8 No. 47
Punschlied: Im Norden zu singen Auf der Berge freien Höhen 1815 Text by Schiller, stanzas 1–3 and 7–12; Two versions: 2nd for two voices and piano
254 254 IV, 8
No. 48
Der Gott und die Bajadere Mahadöh, der Herr der Erde 1815 Text by Schiller, also appears as "Der Gott und die Bajadere: Indische Legende"
255 255 IV, 8
No. 49
Der Rattenfänger Ich bin der wohlbekannte Sänger 1815 Text by Goethe
256 256 IV, 8
No. 50
Der Schatzgräber Arm am Beutel, krank am Herzen 1815 Text by Goethe
257 257 3,3
(1821)
IV, 1a Heidenröslein Sah ein Knab' ein Röslein stehn 1815 Text by Goethe
258 258 IV, 8
No. 51
Bundeslied In allen guten Stunden 1815 Text by Goethe
259 259 IV, 9 No. 27 An den Mond, D 259 Füllest wieder Busch und Tal 1815 Text by Goethe, stanzas 1–4 and 6–9; 1st setting of two: see also D 296
260 260 115p,2
(1829)
IV, 8
No. 52
Wonne der Wehmut Trocknet nicht, trocknet nicht 1815 Text by Goethe
261 261 IV, 8
No. 53
Wer kauft Liebesgötter? Von allen schönen Waren 1815 Text by Goethe, from Der Zauberflöte zweiter Teil; Two versions
262 262 IV, 9 No. 1 Die Fröhlichkeit Wess' Adern leichtes Blut durchspringt 1815 Text by Prandstätter (de)
263 263 IV, 9 No. 2 Cora an die Sonne Nach so vielen trüben Tagen 1815 Text by Baumberg
264 264 IV, 9 No. 3 Der Morgenkuß Durch eine ganze Nacht sich nah zu sein 1815 Text by Baumberg; Two versions
265 265 IV, 9 No. 4 Abendständchen: An Lina Sei sanft wie ihre Seele 1815 Text by Baumberg
266 266 IV, 9 No. 5 Morgenlied Willkommen, rotes Morgenlicht! 1815 Text by Stolberg-Stolberg
267 267 III, 3 Trinklied Auf! Jeder sei nun froh und sorgenfrei! 1815 For two tenors, two basses and piano
268 268 III, 3 Bergknappenlied Hinab, ihr Brüder, in den Schacht! 1815 For two tenors, two basses and piano
269 269 III, 3 Das Leben Das Leben ist ein Traum 1815 Text by Wannovius (scores); Two versions: 1st for tenor, two basses and piano – 2nd for two sopranos, alto and piano
270 270 118,5p
(1829)
IV, 9 No. 6 An die Sonne Sinke, liebe Sonne 1815 Text by Baumberg
271 271 IV, 9 No. 7 Der Weiberfreund Noch fand von Evens Töchterscharen ich keine 1815 Text by Ratschky (de), after Cowley
272 272 IV, 9 No. 8 An die Sonne Königliche Morgensonne 1815 Text by Tiedge
273 273 IV, 9 No. 9 Lilla an die Morgenröte Wie schön bist du, du güldne Morgenröte 1815
274 274 IV, 9 No. 10 Tischlerlied Mein Handwerk geht durch alle Welt 1815 Two versions
275 275 IV, 9 No. 11 Totenkranz für ein Kind Sanft wehn, im Hauch der Abendluft 1815 Text by Matthisson
276 276 IV, 9 No. 12 Abendlied Groß und rotenflammet 1815 Text by Stolberg-Stolberg
277 277 III, 3 Punschlied Vier Elemente, inning gesellt 1815 Text by Schiller; For two tenors, bass and piano
277A VII/2, 4 Minuet with Trio, D 277A A minor (minuet) / F major (trio) 1815 For piano; Alternative 3rd movement for D 279
278 278 IV, 9 No. 13 Anh. No. 1 Lied nach dem Falle Nathos Beugt euch aus euren Wolken nieder 1815 Text by Macpherson (Ossian), from Dar-Thula, transl. by E. Baron de Harold; Three versions: 1st is a fragment
279 279 VII/2, 1
No. 2
Piano Sonata, D 279 C major 1815 Three movements: D 346 is possibly 4th
280 280 IV, 9 No. 14 Das Rosenband Im Frühlingsgarten fand ich sie 1815 Text by Klopstock
281 281 IV, 9 No. 15 Das Mädchen von Inistore Mädchen Inistores, wein auf dem Felsen 1815 Text by Macpherson (Ossian), from Fingal, Book I, transl. by E. Baron de Harold; Two versions
282 282 IV, 9 No. 16 Cronnan Ich sitz' bei der moosigten Quelle 1815 Text by Macpherson (Ossian), transl. by E. Baron de Harold; Two versions
283 283 172,5p
(1865)
IV, 11 An den Frühling Willkommen, schöner Jüngling! 1815 Text by Schiller; 1st of three settings: see also D 338 and 587
284 284 IV, 9 No. 17 Lied, D 284 Es ist so angenehm, so süß 1815 Text by Schiller
285 285 IV, 9 No. 18 Anh. No. 2 Furcht der Geliebten: An Cidli Cidli, du weinest 1815 Text by Klopstock, from Oden; Two versions
286 286 IV, 9 No. 19 Selma und Selmar Weine du nicht 1815 Text by Klopstock; Two versions
287 287 IV, 9 No. 20 Vaterlandslied Ich bin ein deutsches Mädchen 1815 Text by Klopstock, from Oden; Two versions
288 288 IV, 9 No. 21 An Sie Zeit, Verkündigerin der besten Freuden 1815 Text by Klopstock, from Oden
289 289 IV, 9 No. 22 Die Sommernacht Wenn der Schimmer von dem Monde 1815 Text by Klopstock; Two versions
290 290 IV, 9 No. 23 Die frühen Gräber Willkommen, o silberner Mond 1815 Text by Klopstock, from Oden
291 291 IV, 9 No. 24 Dem Unendlichen Wie erhebt sich das Herz 1815 Text by Klopstock; Three versions
293 293 IV, 9 No. 25 Shilric und Vinvela Mein Geliebter ist ein Sohn des Hügels 1815 Text by Macpherson (Ossian); Two versions
294 294 III, 1 Namensfeier fur Franz Michael Vierthaler Erhabner! Verehrter Freund der Jugend! 1815 Gratulations-Kantate for soprano, tenor, bass, choir and orchestra
295 295 IV, 9 No. 26 Hoffnung Schaff, das Tagwerk meiner Hände 1815 Text by Goethe; Two versions
296 296 IV, 9 No. 28 An den Mond, D 296 Füllest wieder Busch und Tal 1815 or 1816? Text by Goethe; 2nd of two settings: see also D 259
297 297 IV, 9 No. 29 Anh. No. 3 Augenlied Süße Augen, klare Bronnen! 1817? Text by Mayrhofer; Two versions and a modified 2nd version
298 298 IV, 9 No. 30 Liane Hast du Lianen nicht gesehen? 1815 Text by Mayrhofer
299 299 VII/2, 6 Twelve Écossaises Various keys 1815 For piano
300 300 IV, 9 No. 31 Der Jüngling an der Quelle Leise, rieselnder Quell 1816 or 1817 Text by Salis-Seewis
301 301 IV, 9 No. 32 Lambertine O Liebe, die mein Herz erfüllet 1815 Text by Stoll (scores)
302 302 IV, 9 No. 33 Labetrank der Liebe Wenn im Spiele leiser Töne 1815 Text by Stoll (scores)
303 303 IV, 9 No. 34 An die Geliebte O, daß ich dir vom stillen Auge 1815 Text by Stoll (scores)
304 304 IV, 9 No. 35 Wiegenlied, D 304 Schlumm're sanft! Noch an dem Mutterherzen 1815 Text by Körner
305 305 IV, 9 No. 36 Mein Gruß an den Mai Sei mir gegrüßt, o Mai 1815 Text by Kumpf (de)
306 306 IV, 9 No. 37 Skolie, D 306 Laßt im Morgenstrahl des Mai’n 1815 Text by Deinhardstein (de)
307 307 IV, 9 No. 38 Die Sternenwelten Oben drehen sich die großen unbekannten Welten dort 1815 Text by Fellinger (wikisource:de), after Jarnik
308 308 IV, 9 No. 39 Die Macht der Liebe Überall, wohin mein Auge blicket 1815 Text by Kalchberg (wikisource:de)
309 309 IV, 9 No. 40 Das gestörte Glück Ich hab' ein hießes junges Blut 1815 Text by Körner
309A VII/2, 1
Anh. No. 2
Rondo C major 1815 For piano; Fragment; Possibly 4th movement of D 279
310 310 IV, 3 Sehnsucht, D 310 Nur wer die Sehnsucht kennt 1815 Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 359, 481, 656 and 877 Nos. 1 & 4)
311 311 IV, 9
Anh. No. 3
An den Mond, D 311 1815? For voice and piano; Sketch without text
312 312 58,1
(1826)
IV, 3 Hektors Abschied Will sich Hektor ewig von mir wenden 1815 Text by Schiller; Two versions: 2nd is Op. 58 No. 1
313 313 IV, 9 No. 41 Die Sterne Wie wohl ist mir im Dunkeln! 1815 Text by Kosegarten
314 314 IV, 9 No. 42 Nachtgesang Tiefe Feier schauert um die Welt 1815 Text by Kosegarten; Two versions
315 315 IV, 9 No. 43 An Rosa I Warum bist du nicht hier 1815 Text by Kosegarten; Two versions
316 316 IV, 9 No. 44 An Rosa II Rosa, denkst du an mich? 1815 Text by Kosegarten; Two versions
317 317 IV, 9 No. 45 Idens Schwanenlied Wie schaust du aus dem Nebelflor 1815 Text by Kosegarten; Two versions
318 318 IV, 9 No. 46 Schwangesang Endlich stehn die Pforten offen 1815 Text by Kosegarten
319 319 IV, 9 No. 47 Luisens Antwort Wohl weinen Gottes Engel 1815 Text by Kosegarten; Two versions
320 320 IV, 9 No. 48 Der Zufriedene Zwar schuf das Glück hienieden 1815 Text by Reissig (de)
321 321 IV, 9 No. 49 Mignon a.k.a. Mignons Gesang Kennst du das Land 1815 Text by Goethe, from Wilhelm Meister's Apprenticeship III, 1; Two versions
322 322 IV, 9 No. 50 Hermann und Thusnelda Ha, dort kömmt er 1815 Text by Klopstock; Two versions
323
991
323 IV, 9 No. 51 Anh. Nos. 5–6 Klage der Ceres Ist der holde Lenz erschienen? 1816 Text by Schiller; Several variants; Last part, "O so laßt euch froh begrüssen", was formerly D 991
324 324 141p
(1837)
I, 2 Mass No. 3 B major 1815 For satbSATB and orchestra
324A IV, 8
No. 41
Winterlied 1816?
325 325 IV, 1b No. 9 Harfenspieler Wer sich der Einsamkeit ergibt 1815 Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting: D 478 No. 1)
326 326 II, 3 Die Freunde von Salamanka (Singspiel in two acts) 1815 For three sopranos, three tenors, six basses, mixed choir and orchestra; Act I: Overture and Nos. 1–7 – Act II: Nos. 8–18
327 327 IV, 10 Lorma Lorma saß in der Halle von Aldo 1815 Text by Macpherson (Ossian), transl. by E. Baron de Harold; Fragment; 1st setting: see also D 376
328 328 1
(1821)
IV, 1a &
b No. 1
Der Erlkönig Wer reitet so spät durch Nacht und Wind? 1815 Text by Goethe; Four versions: 4th is Op. 1
329 329 IV, 9
Anh. No. 7
Die drei Sänger Der König saß beim frohen Mahle 1815 Text by Bobrik (scores); Fragment
329A III, 2b Anh. No. 3
VIII, 2 No. 27
Das Grab Das Grab ist tief und stille 1815 Text by Salis-Seewis; Canon for mixed choir; Sketch; 1st setting: see also D 330, 377, 569 and 643A
330 330 III, 3 Das Grab Das Grab ist tief und stille 1815 Text by Salis-Seewis; For (unison) choir and piano; 2nd setting: see also D 329A, 377, 569 and 643A
331
332
331 III, 4
No. 31
Der Entfernten Wohl denk' ich allenthalben 1816 ca. Text by Salis-Seewis; For two tenors and two basses; Identical to former D 332; 1st of two settings: see also D 350
334 334 VII/2, 4 Minuet with Trio A major
E major
1815 For piano
335 335 VII/2, 6 Minuet with two Trios E major 1813? For piano
337 337 III, 4
No. 32
Die Einsiedelei Es rieselt klar und wehend ein Quell 1816 ca. Text by Salis-Seewis; For ttbb; 1st setting: see also D 393 and 563
338 338 III, 4
No. 33
An den Frühling Willkommen, schöner Jüngling! 1816 ca. Text by Schiller; For two tenors and two basses; 2nd of three settings: see also D 283 and 587
342 342 IV, 10 An mein Klavier a.k.a. Seraphine an ihr Klavier Sanftes Klavier, welche Entzückungen schaffest du mir 1816 ca. Text by Schubart
343 343 IV, 10 Am Tage Aller Seelen a.k.a. Litanei auf das Fest Aller Seelen Ruh'n in Frieden alle Seelen 1816 Text by Jacobi; Two versions
344 344 IV, 10 Am ersten Maimorgen Heute will ich fröhlich sein 1816? Text by Claudius
345 345 V, 7 No. 1 Concert Piece (Konzertstück) a.k.a. Violin Concerto D major 1816 For violin and orchestra; One movement
346 346 VII/2, 4 Anh. Allegretto, D 346 C major 1816? For piano; Fragment; 4th movement of D 279?
347 347 VII/2, 4 Anh. Allegro moderato C major 1813? For piano; Fragment
348 348 VII/2, 4 Anh. Andantino C major 1816? For piano; Fragment
349 349 VII/2, 4 Anh. Adagio C major 1816? For piano; Fragment
350 350 IV, 10 Der Entfernten Wohl denk' ich allenthalben 1816? Text by Salis-Seewis; 2nd setting: see also D 331
351 351 IV, 11 Fischerlied Das Fischergewerbe gibt rüstigen Mut 1816? Text by Salis-Seewis; 1st setting: see also D 364 and 562
352 352 III, 2b
No. 21
Licht und Liebe a.k.a. Nachtgesang Liebe ist ein süßes Licht 1816? Text by Collin, M. C; For soprano, tenor and piano
353 353 125,2p
(1840)
V No. 11 VI, 4
No. 12
String Quartet No. 11 E major 1816 Allegro con fuoco – Andante – Minuet – Rondo
354 354 VI, 9 Four Komische Ländler D major 1816 For two violins
355 355 VI, 9 Eight Ländler F minor 1816 For violin(?)
356 356 III, 3 Trinklied Funkelnd im Becher so helle, so hold 1816 For vocal soloist, TTBB choir and piano; Fragment
357 357 III, 4 No. 35
VIII, 2 No. 28
Gold'ner Schein Gold'ner Schein, deckt den Hain 1816 Text by Matthisson; Canon for three voices
358 358 IV, 10 Die Nacht, D 358 Du verstörst uns nicht, o Nacht! 1816 Text by Uz; Two versions
359 359 XX, 4
No. 260
IV, 3 Sehnsucht, D 359 a.k.a. Lied der Mignon Nur wer die Sehnsucht kennt 1816 Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 481, 656 and 877 Nos. 1 & 4)
360 360 65,1
(1826)
IV, 3 Lied eines Schiffers an die Dioskuren Dioskuren, Zwillingssterne 1816 Text by Mayrhofer
361 361 109p,1
(1829)
IV, 10 Am Bach im Frühling Du brachst sie nun, die kalte Rinde 1816 Text by Schober; Two versions: 1st is Op. posth. 109 No. 1
362 362 IV, 11 Zufriedenheit Ich bin vergnugt 1816? Text by Claudius (other setting: D 501)
363 363 IV, 10 An Chloen, D 363 Die Munterkeit ist meinen Wangen 1816 Text by Uz; Fragment
364 364 III, 4
No. 34
Fischerlied Das Fischergewerbe gibt rüstigen Mut 1816 or 1817? Text by Salis-Seewis; For ttbb; 2nd setting: see also D 351 and 562
365 365 9
(1821)
VII/2, 6
& 7a
36 Original Dances a.k.a. Erste Walzer 1818–1821 For piano
366 366 VII/2, 6
& 7a
17 Ländler 1824 For piano
367 367 5,5
(1821)
IV, 1a Der König in Thule Es war ein König in Thule 1816 Text by Goethe
368 368 3,4
(1821)
IV, 1a Jägers Abendlied Im Felde schleich ich, still und wild 1816? Text by Goethe; 2nd setting: see also D 215
369 369 19,1
(1825)
IV, 1a An Schwager Kronos Spute dich, Kronos! 1816 Text by Goethe
370 370 VI, 9 Nine Ländler D major 1816 For violin(?)
371 371 IV, 10 Klage Trauer umfließt mein Leben 1816 Two versions: 1st, formerly D 292, is a sketch
372 372 IV, 10 An die Natur Süße, heilige Natur 1816 Text by Stolberg-Stolberg; Two versions
373 373 IV, 10 Lied, D 373 Mutter geht durch ihre Kammern 1816? Text by Motte Fouqué, from Undine
374 374 VI, 9 11 Ländler B major 1816? For violin; Nos. 1–3, 5, 7 and 11 reused in Nos. 1–5 and 7 of D 378
375 375 IV, 10 Der Tod Oskars Warum öffnest du wieder 1816 Text by Macpherson (Ossian), transl. by E. Baron de Harold
376 376 IV, 10 Lorma Lorma saß in der Halle von Aldo 1816 Text by Macpherson (Ossian), transl. by E. Baron de Harold; Fragment; 2nd setting: see also D 327
377 377 III, 3 Das Grab Das Grab ist tief und stille 1816 Text by Salis-Seewis; For men's choir and piano; 3rd setting: see also D 329A, 330, 569 and 643A
378 378 VII/2, 6 Eight Ländler B major 1816 For piano; Nos. 1–5 and 7 reuse Nos. 1–3, 5, 7 and 11 from D 374
379 379 I, 9
No. 13
& Anh. 2
Deutsches Salve Regina (German Salve Regina) Sei, Mutter der Barmherzigkeit
F major
1816 For SATB and organ
380 380 (1897)
(1956)
(1989)
XXI, 2
No. 28
VII/2, 6 Three Minuets, each with Two Trios E major (No. 1)
A major (No. 2)
C major (No. 3)
22/02/1816 For piano; AGA only Nos. 1–2; Start of No. 3, a fragment (1st trio incomplete, 2nd trio missing), reused in D 557
381 381 IV, 10 Morgenlied Die frohe, neubelebte Flur 1816
382 382 IV, 10 Abendlied Sanft glänzt die Abendsonne 1816
383
992
383 I, 7 Stabat Mater, D 383 a.k.a. Deutsche Stabat Mater Jesus Christus schwebt am Kreuze
F minor
1816 Text by Klopstock after Stabat Mater; For stbSATB and orchestra; Sketch for Nos. 5–6 was D 992
384 384 137p,1
(1836)
VI, 8 No. 1
& anh. 1
Violin Sonata, D 384, a.k.a. Sonatina No. 1 D major 1816 Allegro molto (+early version: see NSA) – Andante – Allegro vivace
385 385 137p,2
(1836)
VI, 8 No. 2 Violin Sonata, D 385, a.k.a. Sonatina No. 2 A minor 1816 Allegro moderato – Andante – Minuet – Allegro
386 386 I, 9
No. 12
& Anh. 1
Salve Regina, D 386 B major
Salve Regina
1816 For SATB; 4th setting: see also D 27, 106, 223, 676 and 811
387 387 III, 2b
Anh. No. 4b
Die Schlacht Schwer und dumpfig 1816 Text by Schiller; Sketch for voices and piano; 2nd setting: see also D 249
388 388 IV, 10 Laura am Klavier Wenn dein Finger durch die Saiten meistert 1816 Text by Schiller; Two versions
389 389 IV, 3 Des Mädchens Klage Der Eichwald brauset 1816 Text by Schiller, from Wallenstein: Die Piccolomini III, 7; 3rd setting: see also D 6 and 191
390 390 IV, 10 Entzückung an Laura Laura, über diese Welt 1816 Text by Schiller; 1st setting: see also D 577
391 391 111p,3
(1829)
IV, 10 Die vier Weltalter Wohl perlet im Glase 1816 Text by Schiller
392 392 IV, 10 Pflügerlied Arbeitsam und wacker 1816 Text by Salis-Seewis
393 393 IV, 11 Die Einsiedelei Es rieselt klar und wehend ein Quell 1816 Text by Salis-Seewis; 2nd setting: see also D 337 and 563
394 394 IV, 10 An die Harmonie a.k.a. Gesang an die Harmonie Schöpferin beseelter Töne! 1816 Text by Salis-Seewis
395 395 111p,2
(1829)
IV, 10 Lebensmelodien Auf den Wassern wohnt mein stilles Leben 1816 Text by Schlegel
396 396 IV, 2
Anh. No. 1
Gruppe aus dem Tartarus Horch, wie Murmeln des empörten Meeres 1816 Text by Schiller (other settings: D 65 and 583); Fragment
397 397 IV, 10 Ritter Toggenburg Ritter, treue Schwesterliebe 1816 Text by Schiller; Two versions
398 398 IV, 10 Frühlingslied Die Luft ist blau 1816 Text by Hölty (other setting: D 243)
399 399 IV, 10 Auf den Tod einer Nachtigall Sie ist dahin, die Maienlieder tönte 1816 Text by Hölty (other setting: D 201)
400 400 IV, 10 Die Knabenzeit Wie glücklich, wem das Knabenkleid 1816 Text by Hölty
401 401 IV, 10 Winterlied Keine Blumen blühn 1816 Text by Hölty
402 402 IV, 10 Der Flüchtling Frisch atmet des Morgens lebendiger Hauch 1816 Text by Schiller (other setting: D 67)
403 403 IV, 10 Lied, D 403 In's stille Land 1816 Text by Salis-Seewis; Four versions
404 404 IV, 10 Die Herbstnacht a.k.a. Die Wehmuth Mit leisen Harfentönen 1816 Text by Salis-Seewis; Two versions
405 405 IV, 10 Der Herbstabend Abendglockenhalle zittern 1816 Text by Salis-Seewis; Two versions
406 406 IV, 10 Abschied von der Harfe Noch einmal tön, o Harfe 1816 Text by Salis-Seewis; Two versions
407
441
407 VIII, 2
No. 31
Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri Gütigster, Bester! Weisester Größter! – So Güt’ als Weisheit strömen mild – Unser aller Großpapa, bleibe noch recht lange da 1816 Text by Schubert; Quartet for ttbb (+variant, formerly D 441, for ttb and piano) – Aria for t and piano – Canon for three voices
408 408 137p,3
(1836)
VI, 8 No. 3 Violin Sonata, D 408, a.k.a. Sonatina No. 3 G minor 1816 Allegro giusto – Andante – Minuet – Allegro moderato
409 409 IV, 10 Die verfehlte Stunde Quälend ungestilltes Sehnen 1816 Text by Schlegel; Two versions
410 410 115p,3
(1829)
IV, 10 Sprache der Liebe Laß dich mit gelinden Schlägen rühren 1816 Text by Schlegel
411 411 IV, 10 Daphne am Bach Ich hab' ein Bächlein funden 1816 Text by Stolberg-Stolberg
412 412 IV, 10 Stimme der Liebe (Meine Selinde) Meine Selinde 1816 Text by Stolberg-Stolberg; Two versions
413 413 IV, 10 Entzückung Tag voll Himmel! 1816 Text by Matthisson
414 414 IV, 10 Geist der Liebe Der Abend schleiert Flur und Hain 1816 Text by Matthisson (other setting: D 747)
415 415 IV, 10 Klage Die Sonne steigt, die Sonne sinkt 1816 Text by Matthisson
416 416 IV, 10 Lied in der Abwesenheit Ach, mir ist das Herz so schwer 1816 Text by Stolberg-Stolberg; Fragment
417 417 (1884) I, 2
No. 4
V, 2
No. 4
Symphony No. 4
Tragic
C minor 27/4/1816 Adagio molto, Allegro vivace – Andante – Minuet – Allegro
418 418 IV, 10 Stimme der Liebe Abendgewölke schweben hell 1816 Text by Matthisson (other setting: D 187)
419 419 IV, 10 Julius an Theone Nimmer, nimmer darf ich dir gestehen 1816 Text by Matthisson
420 420 VII/2, 7a Twelve German Dances 1816 For piano
421 421 VII/2, 6 Six Écossaises 1816 For piano
422 422 16,2
(1823)
III, 3 Naturgenuß Im Abendschimmer wallt der Quell 1822? Text by Matthisson (other setting: D 188); For ttbb and piano
423 423 III, 4
No. 36
Andenken Ich denke dein wenn durch den Hain 1816 Text by Matthisson (other setting: D 99); For ttb
424 424 III, 4
No. 37
Erinnerungen Am Seegestad, in lauen Vollmondsnächten 1816 Text by Matthisson (other setting: D 98); For ttb
425 425 Lebensbild 1816 Lost: may be related to D Anh. I/23 with the same lyrics as D 508; For ttb
426 426 III, 4 Trinklied Herr Bacchus ist ein braver Mann 1816 Lost; Text by Bürger(?); For ttb
427 427 III, 4
No. 38
Trinklied im Mai Bekränzet die Tonnen 1816 Text by Hölty; For ttb
428 428 III, 4
No. 39
Widerhall Auf ewig dein, wenn Berg und Meere trennen 1816 Text by Matthisson; For ttb
429 429 IV, 10 Minnelied Holder klingt der Vogelsang 1816 Text by Hölty
430 430 IV, 10 Die frühe Liebe Schon im bunten Knabenkleide 1816 Text by Hölty; Two versions: 1st in AGA
431 431 IV, 10 Blumenlied Es ist ein halbes Himmelreich 1816 Text by Hölty
432 432 IV, 10 Der Leidende a.k.a. Klage Nimmer trag' ich langer 1816 Two versions
433 433 IV, 10 Seligkeit Freuden sonder Zahl 1816 Text by Hölty
434 434 IV, 10 Erntelied Sicheln schallen, Ähren fallen 1816 Text by Hölty
435 435 II, 13
III, 4 No. 30
Die Bürgschaft (Opera in three acts) 1816 For four sopranos, three tenors, three basses, two baritones, mixed choir and orchestra; Unfinished; Act I: Nos. 1–9, Act II: Nos. 10–14, Act III: Nos. 15–16; No. 16 is fragment; NSA III, 4 only contains No. 13
436
437
436 IV, 10 Klage Dein Silber schien durch Eichengrün 1816 Text by Hölty; Two versions: 1st has variant, 2nd was D 437
438 438 V, 7 No. 2 Rondo, D 438 A major 1816 For violin and string orchestra
439 439 III, 2a
No. 8
An die Sonne O Sonne, Königin der Welt 1816 Text by Uz; For satb and piano
440 440 III, 2a
No. 9
Chor der Engel Christ ist erstanden 1816 Text by Goethe, from Faust I, 1; For SATB
442 442 IV, 10 Das große Halleluja Ehre sei dem Hocherhabnen 1816 Text by Klopstock; For voice(s?) and piano
443 443 IV, 10 Schlachtlied a.k.a. Schlachtgesang Mit unserm Arm ist nichts getan 1816 Text by Klopstock, from Oden (other setting: D 912); For voice(s?) and piano
444 444 IV, 10 Die Gestirne Es tönet sein Lob 1816 Text by Klopstock, from Oden
445 445 IV, 10 Edone Dein süßes Bild, Edone 1816 Text by Klopstock, from Oden
446 446 IV, 10 Die Liebesgötter Cypris, meiner Phyllis gleich 1816 Text by Uz
447 447 IV, 10 An den Schlaf Komm und senke die umflorten Schwingen 1816
448 448 IV, 10 Gott im Frühlinge In seinem schimmernden Gewand 1816 Text by Uz; Two versions: 1st in AGA
449 449 IV, 10 Der gute Hirt Was sorgest du? 1816 Text by Uz
450 450 IV, 10 Fragment from Aeschylus So wird der Mann 1816 Text by Mayrhofer after Aeschylus' Eumenides (Oresteia III); Two versions
451 451 Prometheus Hervor aus Buschen und Baumen 1816 Text by Draexler von Carin (de); Lost; Cantata for soprano, bass, choir and orchestra
452 452 48
(1825)
(1829)
I, 2 Mass No. 4 C major 1816 For satbSATB and orchestra; 2nd setting of "Benedictus", formerly D 961, publ. 1829
453 453 I, 5 Anh. Requiem C minor 1816 Fragment; For SATB and orchestra
454 454 IV, 10 Grablied auf einen Soldaten Zieh hin, du braver Krieger du! 1816 Text by Schubart
455 455 IV, 10 Freude der Kinderjahre Freude, die im frühen Lenze 1816 Text by Köpken (scores)
456 456 IV, 10 Das Heimweh Oft in einsam stillen Stunden 1816 Text by Hell
457 457 44
(1827)
XX, 4
No. 237
IV, 3 An die untergehende Sonne Sonne, du sinkst July 1816–
May 1817
Text by Kosegarten
458 458 (1872) XX, 4
No. 242
IV, 10 Aus Diego Manazares: Ilmerine Wo irrst du durch einsame Schatten 30/07/1816 Text by Schlechta (de) from Diego Manazares
459
(Nos.
1–2)
459 (1843) XI No. 14 VII/2, 1
No. 3
Piano Sonata, D 459 E major August
1816
Allegro moderato – Scherzo; With D 459A a.k.a. Fünf Klavierstücke
459
(Nos.
3–5)
459A (1843) XI No. 14 VII/2, 4 Three piano pieces, D 459A C major (No. 1)
A major (No. 2)
E major (No. 3)
1816? Adagio – Scherzo – Allegro patetico; With D 459 a.k.a. Fünf Klavierstücke
460 460 (1888) XIV No. 7 I, 9
No. 6
Tantum ergo, D 460 C major August
1816
Text by Aquinas (other settings: D 461, 730, 739, 750, 962 and Anh. I/17); For sSATB and orchestra
461 461 (1935) I, 9
No. 7
Tantum ergo, D 461 C major August
1816
Text by Aquinas (other settings: D 460, 730, 739, 750, 962 and Anh. I/17); For satbSATB and orchestra
462 462 (1895) XX, 4
No. 244
IV, 10 An Chloen, D 462 Bei der Liebe reinsten Flammen August
1816
Text by Jacobi
463 463 (1895) XX, 4
No. 245
IV, 10 Hochzeit-Lied Will singen euch im alten Ton August
1816
Text by Jacobi
464 464 (1895) XX, 4
No. 246
IV, 10 In der Mitternacht Todesstille deckt das Tal August
1816
Text by Jacobi
465 465 (1885) XX, 4
No. 247
IV, 10 Trauer der Liebe Wo die Taub' in stillen Buchen August
1816
Text by Jacobi; Two versions: 1st, in AGA, publ. 1885
466 466 (1872) XX, 4
No. 248
IV, 10 Die Perle Es ging ein Mann zur Frühlingszeit August
1816
Text by Jacobi
467 467 (1885) XX, 10
No. 593
IV, 10 Pflicht und Liebe Du, der ewig um mich trauert August
1816
Text by Gotter; Fragment
468 468 (1895) XX, 4
No. 243
IV, 10 An den Mond, D 468 Was schauest du so hell 07/08/1816 Text by Hölty
469 469 (1897) XXII, 11 Nos. 394–
395
IV, 3 Mignon, D 469 So laßt mich scheinen, bis ich werde September
1816
Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 727 and 877 No. 3); Two versions, both fragments
470
601
470 (1886) II No. 3 VI, 4
Anh. No. 4
Overture, D 470 B major September
1816
For orchestra; Overture to D 472(?); Fragment for string quartet was D 601
471 471 (1890)
(1897)
VI No. 1
XXII, 1 p. 84
VI, 6 No. 1
& Anh. No. 2
String Trio, D 471 B major September
1816
Allegro (AGA VI) – Andante sostenuto (fragment, in AGA XXII)
472 472 128p
(1830)
(1892)
XVII, 1
No. 2
III, 1 Kantate zu Ehren von Josef Spendou Da liegt er, starr – Gottes Bild ist Furst und Staat – Ein Punkt nur ist der Mensch – Die Sonne sticht September
1816
Text by Hoheisel (scores); For sstbSSATB and orchestra (piano reduction in 1st ed.); Overture: D 470(?); Recitative, aria with choir – Recitative, duet – Recitative, choir – Recitative, quartet with choir
473 473 (1833)
(1895)
XX, 4
No. 249
IV, 10 Liedesend Auf seinem gold'nen Throne September
1816
Text by Mayrhofer; Two versions: 2nd in 1st ed.
474 474 (1832)
(1895)
XX, 4
No. 250
IV, 10 Lied des Orpheus, als er in die Hölle ging Wälze dich hinweg September
1816
Text by Jacobi; Two versions: 2nd in 1st ed.
475 475 (1885) XX, 4
No. 251
IV, 11 Abschied: Nach einer Wallfahrts-Arie bearbeitet Über die Berge zieht ihr fort September
1816
Text by Jacobi
476 476 (1872) XX, 4
No. 252
IV, 11 Rückweg Zum Donaustrom, zur Kaiserstadt September
1816
Text by Mayrhofer
477 477 (1895) XX, 4
No. 253
IV, 11 Alte Liebe rostet nie Alte Liebe rostet nie September
1816
Text by Mayrhofer
478
479
480
478 12
(1822)
(1895)
XX, 4
Nos. 254, 256–
258
, 255
IV, 1a &
b No. 10
& Anh.
Nos. 6–7
Gesänge des Harfners aus "Wilhelm Meister" 1. Wer sich der Einsamkeit ergibt – 2. Wer nie sein Brot mit Tränen aß – 3. An die Türen will ich schleichen September
1816–1822
Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting of No. 1: D 325); No. 2 was D 480; No. 3 was D 479; Two versions: 1st, Harfenspieler I/III/II, composed 1816, publ. 1895, has two variants of No. 2 – 2nd, 1822, is Op. 12
481 481 (1895) XX, 4
No. 259
IV, 3 Sehnsucht, D 481 Nur wer die Sehnsucht kennt September
1816
Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 359, 656 and 877 Nos. 1 & 4)
482 482 (1895) XX, 4
No. 264
IV, 11 Der Sänger am Felsen Klage, meine Flöte, klage September
1816
Text by Pichler, from Idyllen
483 483 (1895) XX, 4
No. 265
IV, 11 Lied, D 483 Ferne von der großen Stadt September
1816
Text by Pichler, from Idyllen
484 484 (1895) XX, 10
No. 594
IV, 11 Gesang der Geister über den Wassern, D 484 Des Menschen Seele gleicht dem Wasser September
1816
Text by Goethe (other settings: D 538, 705 and 714); Fragment
485 485 (1885) I, 2
No. 5
V, 2
No. 5
Symphony No. 5 B major Sept.–3 Oct.
1816
Allegro – Andante con moto – Minuet – Allegro vivace
486 486 (1888) XIV No. 11 I, 9
No. 4
Magnificat Magnificat anima mea Dominum
C major
15/09/1815 Text by Luke (Vulgate translation); For satbSATB and orchestra
487 487 (1865) VII, 1
No. 2
V, 7 No. 4
VI, 7 No. 5
Adagio e Rondo concertante F major October 1816 For piano quartet
488 488 (1888) XIV No. 10 I, 8 Auguste jam coelestium Auguste jam coelestium October 1816 Duet for st and orchestra
489
493
489 4,1
(1821)
(1895)
(1970)
XX, 4
No. 266
IV, 1a &
b No. 5
Der Wanderer, D 489, a.k.a. Der Unglückliche Ich komme vom Gebirge her October 1816 Text by Schmidt von Lübeck; Three versions: 1st and 3rd in AGA 1895 – 2nd and 3rd were D 493 (2nd publ. 1970 – 3rd is Op. 4 No. 1)
490 490 (1895) XX, 4
No. 267
IV, 11 Der Hirt Du Turm! zu meinem Leide October 1816 Text by Mayrhofer
491 491 (1887) XX, 4
No. 269
IV, 11 Geheimnis: An F. Schubert Sag an, wer lehrt dich Lieder October 1816 Text by Mayrhofer
492 492 (1849) XX, 4
No. 270
IV, 11 Zum Punsche, D 492 Woget brausend, Harmonien October 1816 Text by Mayrhofer
494 494 (1871) XVI
No. 32
III, 4
No. 41
Der Geistertanz Die bretterne Kammer der Toten erbebt November 1816 Text by Matthisson (other settings: D 15, 15A and 116); For ttbbb
495 495 (1868) XX, 4
No. 271
IV, 11 Abendlied der Fürstin Der Abend rötet nun das Tal November 1816 Text by Mayrhofer
496 496 (1885) XX, 4
No. 274
IV, 11 Bei dem Grabe meines Vaters Friede sei um diesen Grabstein her! November 1816 Text by Claudius
140 496A (1968) IV, 7
No. 22
Klage um Ali Bey Laßt mich! laßt mich! ich will klagen November 1816 Text by Claudius (other setting: D 140)
497 497 98,1
(1829)
XX, 4
No. 276
IV, 5 An die Nachtigall, D 497 Er liegt und schläft November 1816 Text by Claudius
498 498 98,2
(1829)
XX, 4
No. 277
IV, 5 Wiegenlied, D 498 Schlafe, schlafe, holder süßer Knabe November 1816
499 499 (1885) XX, 4
No. 278
IV, 11 Abendlied, D 499 Der Mond ist aufgegangen November 1816 Text by Claudius
500 500 (1895) XX, 4
No. 279
IV, 11 Phidile Ich war erst sechzehn Sommer alt November 1816 Text by Claudius
501 501 (1895) XX, 4
No. 281
IV, 11 Zufriedenheit Ich bin vergnugt November 1816 Text by Claudius (other setting: D 362); Two versions: 1st in AGA
502 502 (1872) XX, 4
No. 282
IV, 11 Herbstlied, D 502 Bunt sind schon die Wälder November 1816 Text by Salis-Seewis
503 503 IV, 11 Mailied, D 503 Grüner wird die Au November 1816 Text by Hölty (other settings: D 129 and 199)
504 504 6,3
(1821)
(1970)
XX, 4
No. 275
IV, 1a &
b No. 8
Am Grabe Anselmos Daß ich dich verloren habe 4/11/1816 Text by Claudius; Two versions: 1st, in AGA, is Op. 6 No. 3
505 505 145p,1
(1848)
(1897)
XXI, 1
No. 5
XXII, 4 No. 5
VII/2, 2 Adagio, D 505 D major September
1818?
For piano; 2nd movement of D 625?; Abridged variant in E major, in AGA XXI, is Op. posth. 145 No. 1
506 506 145p,2
(1848)
XXI, 1
No. 5
VII/2, 4 Rondo, D 506 E major June 1817? For piano; 4th movement of D 566?
507 507 (1895) XX, 4
No. 283
IV, 11 Skolie, D 507 Mädchen entsiegelten December 1816 Text by Matthisson
508 508 (1845) XX, 4
No. 284
IV, 11 Lebenslied, D 508 Kommen und Scheiden December 1816 Text by Matthisson (other settings: D Anh. I, 23, and possibly 425)
509 509 (1872) XX, 4
No. 285
IV, 11 Leiden der Trennung Vom Meere trennt sich die Welle December 1816 Text by Metastasio, from Artaserse III, 1, "L'onda dal mar divisa", transl. by Collin, H. J.; Two versions: 1st is a fragment – 2nd in AGA
510 510 (1895) XX, 10
No. 573
IV, 11 Vedi quanto adoro Vedi quanto adoro December 1816 Text by Metastasio, from Didone abbandonata II, 4; Aria for soprano and piano; Clean copy and three sketches
511–...
1817 Up ↑
511 511 VII/2, 6 Écossaise, D 511 E major c.1817 For piano
513 513 (1891) XVI
No. 19
III, 3 La pastorella al prato, D 513 La pastorella al prato 1817? Text by Goldoni, from Il filosofo di campagna II, 16 (other setting: D 528); For ttbb and piano
513A IV, 11 Nur wer die Liebe kennt Nur wer die Liebe kennt 1817? Text by Werner; Sketch
514 514 7,1
(1823)
XX, 5
No. 300
IV, 1a Die abgeblühte Linde Wirst du halten, was du schwurst 1817? Text by Széchényi (scores)
515 515 7,2
(1823)
XX, 5
No. 301
IV, 1a Der Flug der Zeit Es floh die Zeit im Wirbelfluge 1817? Text by Széchényi (scores)
516 516 8,2
(1822)
XX, 6
No. 386
IV, 1a &
Anh. No. 5
Sehnsucht, D 516 Der Lerche wolkennahe Lieder 1816? Text by Mayrhofer
517 517 13,1
(1822)
(1972)
XX, 5
No. 293
IV, 1a Der Schäfer und der Reiter Ein Schäfer saß im Grünen April 1817 Text by Motte Fouqué; Two versions: 2nd, in AGA, is Op. 13 No. 1
518 518 (1824) XX, 5
No. 326
IV, 5 An den Tod Tod, du Schrecken der Natur 1816 or 1817 Text by Schubart; For b and piano
519 519 173p,5
(1867)
XX, 5
No. 299
IV, 11 Die Blumensprache Es deuten die Blumen des Herzens Gefühle 1817? Text by Platner (scores) (?)
520 520 (1850)
(1895)
XX, 5
No. 289
IV, 11 Frohsinn Ich bin von lockerem Schlage January
1817
Text by Castelli; Two versions: 1st in AGA
521 521 (1830)
(1895)
XX, 5
No. 290
III, 3 Jagdlied Trarah! Trarah! Wir kehren daheim January
1817
Text by Werner, from Wanda, Königin der Sarmaten I (other text in 1830 ed.); For voice (or: unison choir) and piano
522 522 (1895) XX, 5
No. 291
IV, 11 Die Liebe, D 522 Wo weht der Liebe hoher Geist? January
1817
Text by Leon (de)
523 523 (1885) XX, 5
No. 292
IV, 11 Trost, D 523 Nimmer lange weil' ich hier January
1817
524 524 13,3
(1822)
(1895)
(1970)
XX, 5
No. 295
IV, 1a &
b No. 12
Der Alpenjäger, D 524 Auf hohem Bergesrücken January
1817
Text by Mayrhofer; Three versions: 2nd, not in AGA, is for b and piano – 3rd is Op. 13 No. 3
525 525 21,3
(1823)
(1970)
XX, 5
No. 296
IV, 1a &
b No. 18
Wie Ulfru fischt Der Angel zuckt, die Rute bebt January
1817
Text by Mayrhofer; For b and piano; Two versions: 2nd, in AGA, is Op. 21 No. 3
526 526 (1832) XX, 5
No. 297
IV, 11 Fahrt zum Hades Der Nachen dröhnt January
1817
Text by Mayrhofer; For b and piano
527 527 24,2
(1823)
(1975)
XX, 5
No. 298
IV, 2a &
b No. 2
Schlaflied a.k.a. Abendlied a.k.a. Schlummerlied Es mahnt der Wald January
1817
Text by Mayrhofer; Two versions: 2nd, in AGA, is Op. 24 No. 2
528 528 (1872) XX, 10
No. 574
IV, 11 La pastorella al prato, D 528 La pastorella al prato January
1817
Text by Goldoni, from Il filosofo di campagna II, 16 (other setting: D 513); Arietta for soprano and piano
529 529 (1871)
(1897)
XII No. 11
XXI, 3 No. 30
VII/2, 6 Eight Écossaises, D 529 Various keys February
1817
For piano; Nos. 1–3, 6 and 8 publ. 1871
530 530 109p,3
(1829)
XX, 4
No. 273
IV, 11 An eine Quelle Du kleine grünumwachs'ne Quelle February
1817
Text by Claudius
531 531 7,3
(1823)
XX, 5
No. 302
IV, 1a Der Tod und das Mädchen Vorüber, ach vorüber February
1817
Text by Claudius; Music partly reappears in D 810
532 532 (1895) XX, 5
No. 303
IV, 11 Das Lied vom Reifen Seht meine lieben Bäume an February
1817
Text by Claudius; Fragment (completed in AGA)
533 533 (1876)
(1895)
XX, 5
No. 304
IV, 11 Täglich zu singen Ich danke Gott und freue mich February
1817
Text by Claudius; 1876 publ. is piano reduction
534 534 (1830) XX, 5
No. 305
IV, 11 Die Nacht, D 534 Die Nacht ist dumpfig und finster February
1817
Text by Macpherson (Ossian), from Domhnull mac Fhionnlaidh, transl. by E. Baron de Harold
535 535 (1853)
(1895)
XX, 10
No. 585
III, 1 Lied, D 535 Brüder, schrecklich brennt die Träne February
1817
For s and small orchestra; 1853 ed. is arrangement
536 536 21,2
(1823)
(1970)
XX, 5
No. 318
IV, 1a &
b No. 17
Der Schiffer, D 536 Im winde, im Sturme 1817? Text by Mayrhofer; For b and piano; Two versions: 2nd, in AGA, is Op. 21 No. 2
537 537 164p
(1852)
X No. 6 VII/2, 1
No. 4
Piano Sonata, D 537 A minor March 1817 Allegro ma non troppo – Allegretto quasi Andantino – Allegro vivace
538 538 (1891) XVI
No. 33
III, 4
No. 42
Gesang der Geister über den Wassern, D 538 Des Menschen Seele gleicht dem Wasser March 1817 Text by Goethe (other settings: D 484, 705 and 714); For ttbb
539 539 8,4
(1822)
XX, 5
No. 306
IV, 1a Am Strome Ist mir's doch, als sei mein Leben March 1817 Text by Mayrhofer
540 540 (1831) XX, 5
No. 307
IV, 11 Philoktet Da sitz' ich ohne Bogen March 1817 Text by Mayrhofer
541 541 6,1
(1821)
XX, 5
No. 308
IV, 1a Memnon Den Tag hindurch nur einmal mag ich sprechen March 1817 Text by Mayrhofer
542 542 6,2
(1821)
XX, 5
No. 309
IV, 1a Antigone und Oedip Ihr hohen Himmlischen March 1817 Text by Mayrhofer
543 543 92,2
(1828)
(1895)
XX, 5
No. 310
IV, 5 Auf dem See Und frische Nahrung March 1817 Text by Goethe; Two versions: 2nd is Op. 92 No. 2
544 544 19,3
(1825)
XX, 5
No. 311
IV, 1a Ganymed Wie im Morgenglanze March 1817 Text by Goethe
545 545 (1872)
(1895)
XX, 5
No. 312
IV, 11 Der Jüngling und der Tod Die Sonne sinkt, o könnt ich March 1817 Text by Spaun; Two versions: 1st is duet – 2nd publ. 1872
546 546 101p,3
(1827)
XX, 5
No. 313
IV, 5 Trost im Liede Braust des Unglücks Sturm empor March 1817 Text by Schober; Publ. as Op. posth. 101 No. 3 in 1828
547 547 88,4
(1827)
(1895)
XX, 5
No. 314
IV, 4 An die Musik Du holde Kunst March 1817 Text by Schober; Two versions: 2nd is Op. 88 No. 4
548 548 (1831) XX, 6
No. 382
IV, 11 Orest auf Tauris Ist dies Tauris March 1817 Text by Mayrhofer
549 549 (1895) XX, 10
No. 595
IV, 13 Mahomets Gesang, D 549 Seht den Felsenquell March 1817 Text by Goethe (other setting: D 721); Fragment
550 550 32
(1820)
(1895)
(1975)
XX, 5
No. 327
IV, 2a &
b No. 3
Die Forelle In einem Bächlein helle late 1816–
October 1821
Text by Schubart; Five versions: 1st–4th in AGA – 4th publ. as Op. 32 in 1827; Music partly reappears in D 667
551 551 (1831) XX, 5
No. 315
IV, 11 Pax vobiscum Der Friede sei mit euch! April 1817 Text by Schober
552 552 20,3
(1823)
(1970)
XX, 5
No. 316
IV, 1a &
b No. 16
Hänflings Liebeswerbung Ahidi! ich liebe April 1817 Text by Kind; Two versions: 2nd, in AGA, is Op. 20 No. 3); Music related to D 972 No. 3
553 553 21,1
(1823)
XX, 5
No. 317
IV, 1a Auf der Donau Auf der Wellen Spiegel April 1817 Text by Mayrhofer; For b and piano
554 554 (1895) XX, 5
No. 319
IV, 11 Uraniens Flucht Laßt uns, ihr Himmlischen, ein Fest begehen! April 1817 Text by Mayrhofer
555 555 (1934) IV, 11 Liedentwurf, D 555 A minor May 1817? Sketch without text
556 556 (1886) II No. 4 V, 5 Overture, D 556 D major May 1817 For orchestra
557 557 (1888) X No. 3 VII/2, 1
No. 5
Piano Sonata, D 557 A major May 1817 Allegro moderato – Andante – Allegro
558 558 (1887) XX, 3
No. 120
IV, 11 Liebhaber in allen Gestalten Ich wollt', ich wär' ein Fisch May 1817 Text by Goethe
559 559 (1885) XX, 3
No. 121
IV, 11 Schweizerlied Uf'm Bergli bin i g'sässe May 1817 Text by Goethe
560 560 (1850) XX, 3
No. 122
IV, 11 Der Goldschmiedsgesell Es ist doch meine Nachbarin May 1817 Text by Goethe
561 IV, 11 Nach einem Gewitter Auf den Blumen 1817 for voice and piano
562 562 IV, 11 Fischerlied Das Fischergewerbe gibt rüstigen Mut 1817 Text by Salis-Seewis; 3rd setting: see also D 351 and 364
563 563 IV, 11 Die Einsiedelei Es rieselt klar und wehend ein Quell 1817 Text by Salis-Seewis; 3rd setting: see also D 337 and 393
564 IV, 11 Gretchen im Zwinger Ach neige, du Schmerzensreiche 1817 for voice and piano, Gretchens Bitte (fragment)
565 IV, 11 Der Strom Mein Leben wälzt sich murrend fort 1817? for b and piano
566 566 VII/2, 1 No. 6
& Anh. No. 3
Piano Sonata, D 566 E minor 1817 Three movements: D 506 is possibly 4th
567
568
568 VII/2, 1 No. 7
& Anh. Nos. 4–6
Piano Sonata, D 568 D major (1st version) / E major (2nd version 1817 Two versions: 1st, with incomplete last movement, was D 567, with D 593 No. 2 as possible 3rd movement – 2nd is Op. posth. 122, with variant of 1st movement
569 569 III, 3 Das Grab Das Grab ist tief und stille 1817 Text by Salis-Seewis; For unison men's choir and piano; 4th setting: see also D 329A, 330, 377 and 643A
570 570 VII/2, 1 No. 8
Anh. Nos. 8–9
Scherzo and Allegro, D 570 D major (scherzo) / F minor (allegro) 1817? For piano; Fragment (Allegro); 3rd & 4th movement of D 571?
571 571 VII/2, 1
Anh. No. 7
Piano Sonata, D 571 F minor 1817 Fragment (Allegro moderato); D 604 and 570 may constitute its remaining movements
572 III, 4
No. 43
Lied im Freien Wie schön ist’s im Freien 1817 for two tenors and two basses
573 IV, 5 Iphigenia Blüht denn hier an Tauris Strande 1817 for voice and piano (3 versions; 3rd version first published as Op. 98 No. 3)
574 VI, 8 No. 4 Violin Sonata, D 574 A major 1817 Duo, Grand Duo (first published as Op. posth. 162)
575 575 147p VII/2, 1 No. 9
& Anh. No. 10
Piano Sonata, D 575 B major 1817
576 VII/2, 4 Thirteen Variations on a theme by Anselm Hüttenbrenner A minor 1817 for piano
577 577 IV, 10 Entzückung an Laura Laura, über diese Welt 1817 Text by Schiller; Two fragments of a sketch; 2nd setting: see also D 390
578 IV, 11 Abschied Lebe wohl! Du lieber Freund! 1817 for voice and piano
579 IV, 11 Der Knabe in der Wiege Er schläft so süß 1817 for voice and piano (2 versions; 2nd version is a fragment)
579A IV, 11 Vollendung Wenn ich einst das Ziel errungen habe 1817 for voice and piano [formerly D 989]
579B IV, 11 Die Erde Wenn sanft entzückt mein Auge sieht 1817 for voice and piano [formerly D 989A]
580 V, 7 No. 3 Polonaise B-flat major 1817 for violin and orchestra
581 VI, 6
No. 2–3
String Trio, D 581 B-flat major 1817 (2 versions)
582 see D 990B
583 583 24,1
(1823)
IV, 2a Gruppe aus dem Tartarus Horch, wie Murmeln des empörten Meeres 1817 Text by Schiller (other settings: D 65 and 396)
584 IV, 11 Elysium Vorüber die stöhnende Klage! 1817 Text by Schiller, from "Elysium"; Settings of separate stanzas: D 51, 53, 54, 57, 58, 60
585 IV, 11 Atys Der Knabe seufzt übers grüne Meer 1817 for voice and piano
586 8,3
(1822)
IV, 1a Erlafsee Mir ist so wohl, so weh’ 1817 for voice and piano (first published as Op. 8 No. 3)
587 587 IV, 11 An den Frühling Willkommen, schöner Jüngling! 1817 Text by Schiller; 3rd of three settings: see also D 283 and 338; Two versions: 2nd was D 245
588 588 37,2 IV, 2a &
b No. 7
Der Alpenjäger, D 588 Willst du nicht das Lämmlein hüten? 1817 for voice and piano (2 versions; 2nd version first published as Op. 37 No. 2)
589 589 (1885) I, 2
No. 6
V, 2
No. 6
Symphony No. 6
Little C major
C major Oct. 1817–
Feb. 1818
Adagio – Allegro; Andante; Scherzo: Presto – Più lento; Allegro moderato
590 590 II No. 5 V, 5 Overture D major 1817 in the Italian Style for orchestra
591 591 II No. 6 V, 5 Overture C major 1817 in the Italian Style for orchestra (first published as Op. posth. 170)
592 VII/1, 5
No. 1
Overture in the Italian Style D major 1817 for piano duet (version for piano duet of D 590)
593 VII/2, 4 Two Scherzi 1817 for piano
594 IV, 11 Der Kampf Nein, länger werd’ ich diesen Kampf nicht kämpfen 1817 for b and piano (first published as Op. posth. 110)
595 595 88,2
(1827)
IV, 4 Thekla (eine Geisterstimme) Wo ich sei, und wo mich hingewendet 1817 Text by Schiller; 2nd setting of two: see also D 73; Two versions: 2nd is Op. 88 No. 2
596 IV, 11 Lied eines Kindes Lauter Freude fühl’ ich 1817 for voice and piano (fragment)
597 VII/1, 5
No. 2
Overture in the Italian Style C major 1817 for piano duet (version for piano duet of D 591)
597A 597A Variations A major 1817 for violin (sketch; lost)
598
641
598 11,1
III, 3 Das Dörfchen Ich rühme mir mein Dörfchen hier 1817 for two tenors and two basses (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)
599 VII/1, 4 Four Polonaises for piano duet 1818 (first published as Op. 75)
600 600 VII/2, 4 Minuet C minor 1814? For piano; May combine with D 610, possibly as 3rd movement of D 613
602 VII/1, 4 Trois Marches Héroiques 1818 or 1824 for piano duet (first published as Op. 27)
604 604 VII/2, 4 Andante, D 604 A major 1816 or 1817 For piano; 2nd movement of D 571?
605 VII/2, 4 Anh. Fantasy C major 1821–1823 for piano (fragment)
605A VII/2, 4 Fantasy C major 1818? Grazer Fantasy for piano
606 VII/2, 4 March E major 1818? for piano
607 I, 8 Evangelium Johannis 6, Vers 55–58 In der Zeit sprach der Herr Jesus 1818 for voice and figured bass (fragment; figured bass usually realized for piano)
608 VII/1, 1 No. 4 & Anh. No. 4 Rondo D major 1818 Notre amitié est invariable for piano duet (2 versions; 2nd version first published as Op. posth. 138)
609 III, 2a
No. 10
Die Geselligkeit Wer Lebenslust fühlet 1818 for soprano, alto, tenor, bass and piano, Lebenslust (2nd part of the 1st verse, "im traulichen Kreise" was formerly D 665)
610 610 VII/2, 6 Trio, D 610 E major 1818 For piano; May belong to D 600, and together with that minuet to D 613
611 IV, 12 Auf der Riesenkoppe Hoch auf dem Gipfel deiner Gebirge 1818 for voice and piano
612 612 VII/2, 4 Adagio E major 1818 For piano; 2nd movement of D 613?
613 613 VII/2, 2 Piano Sonata, D 613 C major 1818 Two movements (both fragments); D 612 and 600/610 may constitute its other movements
614 IV, 12 An den Mond in einer Herbstnacht Freundlich ist dein Antlitz 1818 for voice and piano
615 V, 6 No. 9 Symphony, D 615 D major 1818 (piano sketches of two movements are extant)
616 IV, 12 Grablied für die Mutter Hauche milder, Abendluft 1818 for voice and piano
617 30 VII/1, 1
No. 5
Sonata, D 617 B-flat major 1818 for piano duet (first published as Op. 30)
618 618 VII/1, 4 German Dance in G major with Two Trios and Two Ländler in E major 1818 for piano duet
618A 618A VII/1, 4 Polonaise B-flat major 1818 for piano duet (sketch)
619 III, 2b No. 22
VIII, 2 No. 9
Singübungen 1818 Vocal exercises for two voices and figured bass (figured bass usually realized for piano)
620 IV, 12 Einsamkeit Gib mir die Fülle der Einsamkeit! 1818 for voice and piano (1818)
621 I, 6 Anh. German Requiem G minor 1818 for soprano, alto, tenor, bass, mixed choir and organ, Deutsche Trauermesse (4 versions; only the 1st version is complete; NSA appends a synopsis of the 2nd, 3rd and 4th versions)
622 IV, 12 Der Blumenbrief Euch Blümlein will ich senden 1818 for voice and piano
623 IV, 12 Das Marienbild Sei gegrüßt, du Frau der Huld 1818 for voice and piano
624 10
VII/1, 1 No. 6 & Anh. Nos. 5–6 Eight Variations on a French Song E minor 1818 for piano duet (first published as Op. 10; 2 versions of the "Theme" are extant)
625 625 VII/2, 2
No. 10
Piano Sonata, D 625 F minor 1818 Fragments of two Allegro movements, and Scherzo with Trio; D 505 may be its 2nd movement
626 IV, 12 Blondel zu Marien In düstrer Nacht 1818 for voice and piano
627 173p,6
(1867)
IV, 12 Das Abendrot Du heilig, glühend Abendrot! 1818 for b and piano
628 IV, 12 Sonett Apollo, lebet noch dein hold Verlangen 1818 for voice and piano, Sonett I
629 IV, 12 Sonett Allein, nachdenklich, wie gelähmt vom Krampfe 1818 for voice and piano, Sonett II
630 IV, 12 Sonett Nunmehr, da Himmel, Erde schweigt 1818 for voice and piano, Sonett III
631 IV, 12 Blanka Wenn mich einsam Lüfte fächeln 1818 for voice and piano, Das Mädchen
632 IV, 12 Vom Mitleiden Mariä Als bei dem Kreuz Maria stand 1818 for voice and piano
633 IV, 3 Der Schmetterling Wie soll ich nicht tanzen 1819 and 1823? for voice and piano (first published as Op. 57 No. 1)
634 IV, 3 Die Berge Sieht uns der Blick gehoben 1819 and 1823?, for voice and piano (first published as Op. 57 No. 2)
635 III, 4
No. 44
Leise, leise laßt uns singen Leise, leise laßt uns singen 1819 for two tenors and two basses, Ruhe
636 636 39 IV, 2a &
b No. 9
Sehnsucht, D 636 Ach, aus dieses Tales Gründen 1821? Text by Schiller; 2nd setting of two: see also D 52; Three versions: 3rd is Op. 39
637 637 87,2
(1827)
IV, 4 Die Hoffnung Es reden und träumen die Menschen viel 1819 ca. Text by Schiller; 2nd setting of two: see also D 251
638 IV, 4 Der Jüngling am Bache An der Quelle saß der Knabe 1819 Text by Schiller; 3rd setting of three: see also D 30 and 192; Two versions: 2nd is Op. 87 No. 3)
639 IV, 5 Widerschein Fischer harrt am Brückenbogen 1820 for voice and piano (2 versions; 2nd version ['Harrt ein Fischer auf der Brücke'] was formerly D 949)
640 see D 980A
642 III, 2a
No. 1
Viel tausend Sterne prangen Viel tausend Sterne prangen 1812? for soprano, alto, tenor, bass and piano
643 VII/2, 6 German Dance in C-sharp minor and Écossaise in D-flat major 1819 for piano
643A III, 2a
No. 11
Das Grab Das Grab ist tief und stille 1819 Text by Salis-Seewis; For soprano, alto, tenor and bass; 5th setting: see also D 329A, 330, 377 and 569
644 644 II, 4 Die Zauberharfe (Incidental music for Zauberspiel in three acts) 1820 for tenor, six spoken roles, mixed choir and orchestra (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)
645 IV, 12 Abend Wie ist es denn, daß trüb und schwer 1819 for voice and piano (fragment of a sketch)
646 IV, 12 Die Gebüsche Es wehet kühl und leise 1819 for voice and piano
647 647 II, 5 Die Zwillingsbrüder (Singspiel in one act) 1819 for soprano, tenor, three basses, mixed choir and orchestra (Overture and ten numbers)
648 648 II No. 7 V, 5 Overture E minor 1819 for orchestra
649 IV, 3 Der Wanderer Wie deutlich des Mondes Licht zu mir spricht 1819 for voice and piano (2 versions; 2nd version first published as Op. 65 No. 2)
650 IV, 12 Abendbilder Still beginnt’s im Hain zu tauen 1819 for voice and piano
651 IV, 12 Himmelsfunken Der Odem Gottes weht 1819 for voice and piano
652 IV, 12 Das Mädchen Wie so innig, möcht ich sagen 1819 for voice and piano (2 versions)
653 IV, 12 Bertas Lied in der Nacht Nacht umhüllt mit wehendem Flügel 1819 for voice and piano
654 IV, 12 An die Freunde Im Wald, im Wald, da grabt mich ein 1819 for voice and piano
655 655 VII/2, 2 Piano Sonata, D 655 C minor 1819 Fragment (Allegro)
656 656 III, 4
No. 45
Sehnsucht, D 656 Nur wer die Sehnsucht kennt 1819 Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 359, 481 and 877 Nos. 1 & 4); For ttbbb
657 III, 4
No. 46
Ruhe, schönstes Glück der Erde 1819 for two tenors and two basses
658 IV, 12 Geistliches Lied Ich sehe dich in tausend Bildern 1819? for voice and piano [formerly "Marie"]
659 IV, 12 Hymne Wenige wissen das Geheimnis der Liebe 1819 for voice and piano (also appears as "Hymne I")
660 IV, 12 Geistliches Lied Wenn ich ihn nur habe 1819 for voice and piano (also appears as "Hymne II")
661 IV, 12 Geistliches Lied Wenn alle untreu werden 1819 for voice and piano (also appears as "Hymne III")
662 IV, 12 Geistliches Lied Ich sag’ es jedem, daß er lebt 1819 for voice and piano (also appears as "Hymne IV")
663 IV, 12 Der 13. Psalm Ach Herr, wie lange willst du mein so ganz vergessen? 1819 for voice and piano (fragment)
664 664 120p VII/2, 2
No. 11
Piano Sonata, D 664 A major 1819 or 1825
665 see D 609
666 III, 2a
No. 12
Kantate zum Geburtstag des Sängers Johann Michael Vogl 1819 for soprano, tenor, bass and piano, Der Frühlingsmorgen (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
667 VI, 7 No. 6 Trout Quintet A major 1819? for violin, viola, violoncello, double bass and piano (first published as Op. posth. 114)
668 VII/1, 5
No. 3
Overture G minor 1819 for piano duet
669 IV, 12 Beim Winde Es traümen die Wolken 1819 for voice and piano
670 IV, 12 Die Sternennächte In monderhellten Nächten 1819 for voice and piano (2 versions; 2nd version first published as Op. posth. 165 No. 2)
671 671 IV, 12 Trost, D 671 Hörnerklänge rufen klangend 1819 for voice and piano
672 36,2 IV, 2a &
b No. 5
Nachtstück Wenn über Berge sich der Nebel breitet 1819 for voice and piano (2 versions; 2nd version first published as Op. 36 No. 2)
673 IV, 12 Die Liebende schreibt Ein Blick von deinen Augen 1819 for voice and piano (2 versions; 2nd version first published as Op. posth. 165 No. 1)
674 IV, 12 Prometheus Bedecke deinen Himmel, Zeus 1819 for b and piano
675 VII/1, 5
No. 4
Overture F major 1819? for piano duet (first published as Op. 34)
676 676 153p
(1845)
I, 8 Salve Regina, D 676, a.k.a. Drittes Offertorium A major
Salve Regina
1819 For s and orchestra; 5th setting: see also D 27, 106, 223, 386 and 811
677 IV, 12 Strophe aus ‘Die Götter Griechenlands’ Schöne Welt, wo bist du? 1819 for voice and piano (2 versions)
678 I, 3 Mass No. 5 in A-flat major 1819 and 1822 for soprano, alto, tenor, bass, mixed choir, orchestra and organ (2 versions)
679 see D 980B
680 see D 980C
681 VII/2, 6 Twelve Ländler 1815 ca. for piano (Nos. 5–12 are extant)
682 IV, 12 Über allen Zauber Liebe Sie hüpfte mit mir auf grünem Plan 1820 and 1824 for voice and piano (fragment)
683 see D 732 No. 11
684 IV, 12 Die Sterne Du staunest, o Mensch 1820 for voice and piano
685 4,2
(1821)
IV, 1a Morgenlied Eh' die Sonne früh aufersteht 1820 for voice and piano (first published as Op. 4 No. 2)
686 20,2
(1823)
IV, 1a &
b No. 15
Frühlingsglaube Die linden Lüfte sind erwacht 1820 for voice and piano (3 versions; 3rd version first published as Op. 20 No. 2)
687 IV, 12 Nachthymne Hinüber wall’ ich 1820 for voice and piano
688 IV, 12 Vier Canzonen 1820 for voice and piano
1. "Non t'accostar all'urna"
2. "Guarda, che bianca luna"
3. "Da quel sembiante appresi"
4. "Mio ben, ricordati"
689 689 II, 10 Lazarus, oder: Die Feier der Auferstehung (Religious drama in three acts) 1820 for three sopranos, two tenors, bass, mixed choir and orchestra (unfinished; Act I: Nos. 1–21, Act II: Nos. 22–29)
690 IV, 12 Abendröte Tiefer sinket schon die Sonne 1823 for voice and piano
691 IV, 12 Die Vögel Wie lieblich und fröhlich 1820 for voice and piano (first published as Op. posth. 172 No. 6)
692 IV, 12 Der Knabe Wenn ich nur ein Vöglein wäre 1820 for voice and piano
693 IV, 12 Der Fluß Wie rein Gesang sich windet 1820 for voice and piano
694 694 IV, 12 Der Schiffer, D 694 Friedlich lieg’ ich hingegossen 1820 for voice and piano
695 IV, 12 Namenstagslied Vater, schenk’ mir diese Stunde 1820? for voice and piano
696 113p I, 9
No. 11
Sechs Antiphonen zum Palmsonntag 1820 for mixed choir (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"
697 VII/2, 6 Six Écossaises A-flat major 1820 for piano (Nos. 1–4 and 6 are extant)
698 IV, 12 Des Fräuleins Liebeslauschen Hier unten steht ein Ritter 1820 for voice and piano
699 IV, 12 Der entsühnte Orest Zu meinen Füßen brichst du dich 1820 for voice and piano
700 IV, 12 Freiwilliges Versinken Wohin? o Helios! 1820 for voice and piano
701 701 II, 15 Sacontala (Opera in three acts) 1820 for fourteen sopranos, three altos, five tenors, nine basses, mixed choir and orchestra (also appears as "Sakontala" or "Sakuntala"; unfinished: all numbers are sketches; Act I: Nos. 1–7, Act II: Nos. 8a–11)
702 8,1
(1822)
IV, 1a Der Jüngling auf dem Hügel Ein Jüngling auf dem Hügel 1820 for voice and piano (first published as Op. 8 No. 1)
703 703 (1870) V No. 12
XXII v5
VI, 5
No. 13 & Anh.
String Quartet No. 12 Quartettsatz C minor December 1820 Allegro assai (i.e. Quartettsatz); Andante (fragment, first published AGA XXII, 1897)
705 705 III, 3 Gesang der Geister über den Wassern, D 705 Des Menschen Seele gleicht dem Wasser 1820 Text by Goethe (other settings: D 484, 538 and 714); Sketch for ttbb and piano
706 III, 3 Der 23. Psalm Gott ist mein Hirt, mir wird nichts mangeln 1820 for two sopranos, two altos and piano (first published as Op. posth. 132)
707 36,1 IV, 2a &
b No. 4
Der zürnenden Diana Ja, spanne nur den Bogen 1820 for voice and piano (2 versions; 2nd version first published as Op. 36 No. 1)
708 IV, 12 Im Walde Windes Rauschen, Gottes Flügel 1820 for voice and piano, Waldesnacht
708A V, 6 No. 10 Symphony, D 708A D major 1821 or later (piano sketches of all four movements are extant)
709 III, 4
No. 47
Frühlingsgesang Schmücket die Locken mit duftigen Kränzen 1821 or earlier for two tenors and two basses (1st setting)
710 III, 3 Im Gegenwärtigen Vergangenes Ros und Lilie morgentaulich 1821? for two tenors, two basses and piano
711 13,2
(1822)
IV, 1a &
b No. 11
Lob der Tränen Laue Lüfte, Blumendüfte 1818? for voice and piano (2 versions; 2nd version first published as Op. 13 No. 2)
712 IV, 13 Die gefangenen Sänger Hörst du von den Nachtigallen 1821 for voice and piano
713 IV, 4 Der Unglückliche Die Nacht bricht an 1821 for voice and piano (2 versions; 2nd version first published as Op. 87 No. 1)
714 714 167p III, 1 Gesang der Geister über den Wassern, D 714 Des Menschen Seele gleicht dem Wasser 1820–1821 Text by Goethe (other settings: D 484, 538 and 705); For ttttbbbb, two violas, two cellos and double bass; Two versions: 1st, a sketch, was D 704 – 2nd is Op. posth. 167
715 IV, 13 Versunken Voll Locken kraus ein Haupt so rund 1821 for voice and piano (2 versions)
716 IV, 13 Grenzen der Menschheit Wenn der uralte heilige Vater 1821 for b and piano
717 31 IV, 2a Suleika II Ach um deine feuchten Schwingen 1821 for voice and piano (first published as Op. 31)
718 VII/2, 4 Variation on a Waltz by Anton Diabelli C minor 1821 for piano (written for "Vaterländischer Künstlerverein")
719 IV, 1a Geheimes Über meines Liebchens Äugeln 1821 for voice and piano (first published as Op. 14 No. 2)
720 IV, 1a &
b No. 13
Suleika I Was bedeutet die Bewegung? 1821 for voice and piano (2 versions; 2nd version first published as Op. 14 No. 1)
721 721 IV, 13 Mahomets Gesang, D 721 Seht den Felsenquell 1821 Text by Goethe (other setting: D 549); For b and piano; Fragment
722 VII/2, 6 German Dance G-flat major 1821 for piano
723 723 II, 18 Duet and Aria for Hérold's Das Zauberglöckchen Nein, nein, nein, nein, das ist zu viel – Der Tag entflieht, der Abend glüht 1821 for two tenors, bass and orchestra
724 11,2
III, 3 Die Nachtigall Bescheiden verborgen im buschigten Gang 1821 or earlier for two tenors, two basses and piano (first published as Op. 11 No. 2)
725 III, 2b
Anh. No. 5
Linde Weste wehen for mezzo-soprano, tenor and piano 1821 (fragment)
726 IV, 3 Mignon I Heiß mich nicht reden 1821 for voice and piano (1st setting)
727 727 IV, 3 Mignon II So laßt mich scheinen, bis ich werde 1821 Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 469 and 877 No. 3)
728 IV, 13 Johanna Sebus Der Damm zerreißt 1821 for voice and piano (fragment)
729 V, 6 No. 7
& Anh 1
Symphony No. 7 E major 1821 (sketches of all four movements are extant)
730 I, 9
No. 8
Tantum ergo B major 1821 Text by Aquinas (other settings: D 460, 461, 739, 750, 962 and Anh. I/17); For satbSATB and orchestra
731 173p,4
(1867)
IV, 5 Der Blumen Schmerz Wie tönt es mir so schaurig 1821 for voice and piano
732 732 II, 6a–c Alfonso und Estrella (Opera in three acts) 1821–1822 for two sopranos, two tenors, bass, two baritones, mixed choir and orchestra (Act I: Overture and Nos. 1–10, Act II: Nos. 11–22, Act III: Nos. 23–34)
733 51 VII/1, 4 Trois Marches Militaires for piano duet 1818? (first published as Op. 51)
734 VII/2, 7a Sixteen Ländler and Two Écossaises for piano, Wiener Damen-Ländler (pub. 1826, first published as Op. 67)
735 49 VII/2, 7a Galop and Eight Écossaises for piano (pub. 1825, first published as Op. 49)
736 IV, 13 Ihr Grab Dort ist ihr Grab 1822? for voice and piano
737 IV, 3 An die Leier Ich will von Atreus Söhnen 1822 or 1823? for voice and piano (first published as Op. 56 No. 2)
738 IV, 3 Im Haine Sonnenstrahlen durch die Tannen 1822 or 1823? for voice and piano (first published as Op. 56 No. 3)
739 45 I, 9
No. 5
Tantum ergo C major 1814 Text by Aquinas (other settings: D 460, 461, 730, 750, 962 and Anh. I/17); For SATB and orchestra
740 III, 3 Frühlingsgesang Schmücket die Locken 1822 for two tenors, two basses and piano (2nd setting; first published as Op. 16 No. 1)
741 20,1
(1823)
IV, 1a Sei mir gegrüßt O du Entriß’ne mir 1821–1822 for voice and piano (first published as Op. 20 No. 1)
742 IV, 3 Der Wachtelschlag Ach! mir schallt’s dorten so lieblich hervor for voice and piano (pub. 1822, first published as Op. 68)
743 23,2 IV, 2a Selige Welt Ich treibe auf des Lebens Meer 1822? for b and piano (first published as Op. 23 No. 2)
744 23,3 IV, 2a Schwanengesang Wie klag’ ich’s aus das Sterbegefühl 1822? for voice and piano (first published as Op. 23 No. 3)
745 IV, 3 Die Rose Es lockte schöne Wärme 1822 for voice and piano (2 versions; 1st version first published as Op. 73)
746 IV, 13 Am See In des Sees Wogenspiele 1822 or 1823? for voice and piano
747 747 11,3
(1822)
III, 3 Geist der Liebe Der Abend schleiert Flur und Hain 1822 Text by Matthisson (other setting: D 414); For ttbb and piano
748 III, 1 Am Geburtstage des Kaisers Steig empor, umblüht von Segen 1822 for soprano, alto, tenor, bass, mixed choir and orchestra (first published as Op. posth. 157)
749 IV, 13 Herrn Josef Spaun, Assessor in Linz Und nimmer schreibst du? 1822 for voice and piano
750 I, 9
No. 9
Tantum ergo D major 1822 Text by Aquinas (other settings: D 460, 461, 730, 739, 962 and Anh. I/17); For SATB and orchestra
751 23,1 IV, 2a Die Liebe hat gelogen Die Liebe hat gelogen, die Sorge lastet schwer 1822 for voice and piano (first published as Op. 23 No. 1)
752 IV, 13 Nachtviolen Nachtviolen, Nachtviolen 1822 for voice and piano
753 IV, 3 Heliopolis I Im kalten, rauhen Norden ist Kunde mir geworden 1822 for voice and piano, Aus Heliopolis I or Im Hochgebirge (first published as Op. 65 No. 3)
754 IV, 13 Heliopolis II Fels auf Felsen hingewälzet 1822 for b and piano, Aus Heliopolis II
755 I, 5 Anh. Kyrie A minor 1822 for soprano, alto, tenor, bass, mixed choir, string orchestra and organ (sketch)
756 IV, 3 Du liebst mich nicht Mein Herz ist zerrissen, du liebst mich nicht! 1822 for voice and piano (2 versions; 2nd version first published as Op. 59 No. 1)
757 III, 3 Gott in der Natur Groß ist der Herr! 1822 for two sopranos, two altos and piano (first published as Op. posth. 133)
757A VII/2, 4 March B minor 1822 for piano
758 108,2 IV, 5 Todesmusik In des Todes Feierstunde 1822 for voice and piano (2 versions; 2nd version first published as Op. 108 No. 2)
759 759 (1867) I, 2
No. 8
V, 3
No. 7
Symphony No. 8
Unfinished
B minor 30/10/1822 Two complete movements (Allegro moderato; Andante con moto) and a fragment of a Scherzo third movement (Allegro-Trio) are extant; D 797 No. 1 may be its fourth movement
759A VII/2, 4 Overture to the opera Alfonso und Estrella 1822 for piano (version for piano of the Overture from D 732; first published as Op. 69)
760 VII/2, 5 Fantasy in C major Wanderer Fantasy 1822 (first published as Op. 15)
761 23,4 IV, 2a &
b No. 1
Schatzgräbers Begehr In tiefster Erde ruht ein alt Gesetz 1822 for voice and piano (2 versions; 2nd version first published as Op. 23 No. 4)
762 IV, 13 Schwestergruß Im Mondenschein’ wall’ ich auf und ab 1822 for voice and piano
763 III, 2a
No. 13
Schicksalslenker, blicke nieder Schicksalslenker, blicke nieder 1822 for soprano, alto, tenor, bass and piano, Des Tages Weihe (first published as Op. posth. 146)
764 92,1
(1828)
IV, 5 Der Musensohn Durch Feld und Wald zu schweifen 1822 for voice and piano (2 versions; 2nd version first published as Op. 92 No. 1)
765 IV, 13 An die Entfernte So hab’ ich wirklich dich verloren? 1822 for voice and piano
766 IV, 13 Am Flusse Verfließest, vielgeliebte Lieder 1822 for voice and piano (2nd setting)
767 IV, 3 Willkommen und Abschied Es schlug mein Herz 1822 for voice and piano (2 versions; 2nd version first published as Op. 56 No. 1)
768 IV, 5 Wandrers Nachtlied Über allen Gipfeln ist Ruh 1824 for voice and piano (first published as Op. 96 No. 3)
769 VII/2, 6
& 7a
Two German Dances 1823–1824 for piano
994 769A VII/2, 2 Piano Sonata, D 769a E minor 1823 ca. Fragment (Allegro); Was D 994
770 IV, 3 Drang in die Ferne Vater, du glaubst es nicht 1823 for voice and piano (first published as Op. 71)
771 IV, 1a Der Zwerg Im trüben Licht verschwinden schon die Berge 1822? for voice and piano (first published as Op. 22 No. 1)
772 IV, 1a Wehmut Wenn ich durch Wald und Fluren geh’ 1822 or 1823? for voice and piano (first published as Op. 22 No. 2)
773 VII/1, 5
No. 5
Overture to the opera Alfonso und Estrella 1823 for piano duet (version for piano duet of the Overture from D 732; first published as Op. 69)
774 IV, 3 Auf dem Wasser zu singen Mitten im Schimmer der spiegelnden Wellen 1823 for voice and piano (first published as Op. 72)
775 IV, 3 Daß sie hier gewesen Daß der Ostwind Düfte hauchet 1823 for voice and piano (first published as Op. 59 No. 2)
776 IV, 3 Du bist die Ruh Du bist die Ruh, der Friede mild 1823 for voice and piano (first published as Op. 59 No. 3)
777 IV, 3 Lachen und Weinen Lachen und Weinen zu jeglicher Stunde 1823? for voice and piano (first published as Op. 59 No. 4)
778 IV, 3 Greisengesang Der Frost hat mir bereifet 1823 for b and piano (3 versions; 3rd version first published as Op. 60 No. 1)
778A IV, 13 Die Wallfahrt Meine Tränen im Bußgewand 1823? for b and piano
778B VIII, 3 Ich hab’ in mich gesogen Ich hab’ in mich gesogen den Frühling treu und lieb 1827? for two tenors and two basses (sketch)
779 50 VII/2, 6
& 7a
Thirty-four Valses Sentimentales for piano (pub. 1825, first published as Op. 50)
780 VII/2, 2 Six Moments musicaux for piano (pub. 1828, first published as Op. 94)
781 VII/2, 6
& 7a
Twelve Écossaises 1823 for piano (Nos. 2–12 are extant)
782 VII/2, 7a Écossaise D major for piano (pub. 1824)
783 VII/2, 6
& 7a
Sixteen German Dances and Two Écossaises 1823–1824 for piano (German Dances Nos. 8 and 9 also used in D 366, D 814; first published as Op. 33)
784 784 143p VII/2, 2
No. 12
Piano Sonata, D 784 A minor 1823
785 IV, 13 Der zürnende Barde Wer wagt’s, wer wagt’s 1823 for b and piano
786 IV, 13 Viola Schneeglöcklein, o Schneeglöcklein 1823 for voice and piano (first published as Op. posth. 123)
787 787 II, 7 Die Verschworenen (Singspiel in one act) 1823 for four or five sopranos, two altos, two or three tenors, two basses, mixed choir and orchestra (also Der haüsliche Krieg; Fragment of overture, and eleven numbers)
788 IV, 13 Lied (Des Lebens Tag ist schwer und schwül) Des Lebens Tag ist schwer und schwül 1823 for voice and piano, Die Mutter Erde
789 IV, 13 Pilgerweise Ich bin ein Waller auf der Erde 1823 for voice and piano
790 VII/2, 6 Twelve German Dances 1823 for piano (also appear as "Twelve Ländler"; first published as Op. posth. 171)
791 791 II, 16 Rüdiger (Opera) 1823 for two tenors, men’s choir and orchestra (sketches of two numbers are extant)
792 IV, 13 Vergißmeinnicht Als der Frühling 1823 for voice and piano
793 793 173p,2
(1867)
IV, 13 Das Geheimnis Sie konnte mir kein Wörtchen sagen 1823 Text by Schiller, stanzas 1–2; 2nd setting of two: see also D 250
794 37,1 IV, 2a &
b No. 6
Der Pilgrim Noch in meines Lebens Lenze 1823 for voice and piano (2 versions; 2nd version first published as Op. 37 No. 1)
795 25 IV, 2a &
Anh. No. 2–5
Die schöne Müllerin 1823 Song cycle for voice and piano
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’ ']
796 796 76 II, 8a–c Fierrabras (Opera in three acts) 1823 For three sopranos, three tenors, three basses, baritone, one spoken role, mixed choir and orchestra; Also spelled "Fierabras"; Three acts: Overture and twenty-three numbers; No. 21 formerly also D 333
797 797 26 II, 9
III, 2b Anh. No. 6–7
IV, 2a
Rosamunde, Fürstin von Zypern (Incidental music for Schauspiel in three acts) 1823 for alto, mixed choir and orchestra (Overture from D 644, nine numbers; NSA IV, 2a only Ariette = Romanze 3b)
798 VII/1, 5
No. 6
Overture to the opera Fierabras 1823 for piano duet (version for piano duet of the Overture from D 796; NSA also appends a version by Carl Czerny)
799 IV, 13 Im Abendrot Oh, wie schön ist deine Welt 1824 or 1825 for voice and piano (2 versions)
800 41 IV, 2a Der Einsame Wann meine Grillen schwirren 1825 for voice and piano (publishers print 2 versions, but NSA states that the differences between both do not justify a 2nd version; first published as Op. 41)
801 IV, 3 Dithyrambe Nimmer, das glaub mir, erscheinen die Götter Text by Schiller; 2nd setting of two: see also D 47; Two versions: 2nd is Op. 60 No. 2, published 1826
802 VI, 8 No. 5
& anh. 2
Variations for flute and piano E minor 1824 Trockne Blumen (2 versions of "Variation V"; first published as Op. posth. 160)
803 803 III No. 1 VI, 1 No. 3 Octet, D 803 F major 1824 for two violins, viola, violoncello, double bass, clarinet, horn and bassoon (first published as Op. posth. 166)
804 804 29
(1824)
V No. 13 VI, 5
No. 14
String Quartet No. 13 Rosamunde A minor Feb.–Mar. 1824 Allegro ma non troppo; Andante; Menuetto: Allegretto – Trio; Allegro moderato
805 IV, 13 Der Sieg O unbewölktes Leben 1824 for b and piano
806 IV, 13 Abendstern Was weilst du einsam an dem Himmel 1824 for voice and piano
807 IV, 13 Auflösung Verbirg dich, Sonne 1824 for voice and piano
808 IV, 13 Gondelfahrer Es tanzen Mond und Sterne 1824 for voice and piano (1st setting)
809 III, 3 Gondelfahrer Es tanzen Mond und Sterne 1824 for two tenors, two basses and piano (2nd setting; first published as Op. 28)
810 810 (1831) V No. 14 VI, 5
No. 15
String Quartet No. 14 Death and the Maiden D minor March 1824 Allegro; Andante con moto; Scherzo: Allegro molto – Trio; Presto
811 811 149p
1850
I, 9
No. 14
Salve Regina, D 811 C major
Salve Regina
1824 For ttbb; 6th setting: see also D 27, 106, 223, 386 and 676
812 VII/1,
2 No. 1
Sonata, D 812 C major 1824 Grand Duo for piano duet (first published as Op. posth. 140)
813 VII/1,
2 No. 2
Eight Variations on an original theme A-flat major 1824 for piano duet (first published as Op. 35)
814 VII/1, 4 Four Ländler 1824 for piano duet
815 III, 2a
No. 14
Gebet Du Urquell aller Güte 1824 for soprano, alto, tenor, bass and piano (first published as Op. posth. 139)
816 VII/2, 6 Three Écossaises 1824 for piano
817 VII/2, 3 Ungarische Melodie B minor 1824 for piano
818 54 VII/1,
2 No. 3
Divertissement à la hongroise G minor 1824 for piano duet (first published as Op. 54)
819 40 VII/1, 4 Six Grandes Marches 1818 or 1824 for piano duet (first published as Op. 40)
820 VII/2, 6 Six German Dances 1824 for piano
821 VI, 8 No. 6 Arpeggione Sonata A minor 1824 for arpeggione and piano
822 III, 3 Lied eines Kriegers Des stolzen Männerlebens schönste Zeichen 1824 for bass, unison men’s choir and piano
823 VII/1,
2 No. 4
Divertissement sur des motifs originaux français 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)
824 VII/1, 4 Six Polonaises 1826 for piano duet (first published as Op. 61)
825 64,1 III, 4
No. 52
Wehmut Die Abendglocke tönet 1826 for two tenors and two basses (first published as Op. 64 No. 1)
825A 64,2 III, 4
No. 53
Ewige Liebe Ertönet, ihr Saiten, in nächtlicher Ruh 1826 for two tenors and two basses (first published as Op. 64 No. 2)
825B 64,3 III, 4
No. 54
Flucht In der Freie will ich leben 1825 for two tenors and two basses (first published as Op. 64 No. 3)
826 III, 2a
No. 17
Der Tanz Es redet und träumet die Jugend so viel 1828 for soprano, alto, tenor, bass and piano
827 43,2 IV, 2a &
b No. 10
Nacht und Träume Heil’ge Nacht, du sinkest nieder! 1823 for voice and piano (2 versions; 2nd version first published as Op. 43 No. 2)
828 43,1 IV, 2a Die junge Nonne Wie braust durch die Wipfel 1825 for voice and piano (first published as Op. 43 No. 1)
829 IV, 13 Leb’ wohl du schöne Erde Leb’ wohl du schöne Erde 1826 for spoken voice and piano (also appears as "Abschied" or "Abschied von der Erde")
830 IV, 4 Lied der Anne Lyle Wärst du bei mir im Lebenstal 1825? for voice and piano (first published as Op. 85 No. 1)
831 IV, 4 Gesang der Norna Mich führt mein Weg wohl meilenlang 1825 for voice and piano (first published as Op. 85 No. 2)
832 IV, 13 Des Sängers Habe Schlagt mein ganzes Glück in Splitter 1825 for voice and piano
833 101p,2
(1828)
IV, 5 Der blinde Knabe O sagt, ihr Lieben, mir einmal 1825 for voice and piano (2 versions; 2nd version first published as Op. posth. 101 No. 2; NSA also appends a modified 2nd version)
834 IV, 5 Im Walde Ich wandre über Berg und Tal 1825 for voice and piano (2 versions; 2nd version first published as Op. 93 No. 1)
835 52,3 IV, 3 Bootgesang Triumph, er naht 1825 for two tenors, two basses and piano (first published as Op. 52 No. 3)
836 52,4 IV, 3 Coronach (Totengesang der Frauen und Mädchen) Er ist uns geschieden 1825 for women’s choir and piano, Totengesang der Frauen und Mädchen (first published as Op. 52 No. 4)
837 52,1 IV, 3 Ellens Gesang I Raste, Krieger, Krieg ist aus 1825 for voice and piano (first published as Op. 52 No. 1)
838 52,2 IV, 3 Ellens Gesang II Jäger, ruhe von der Jagd! 1825 for voice and piano (first published as Op. 52 No. 2)
839 52,6 IV, 3 Ellens Gesang III (Hymne an die Jungfrau) Ave Maria! Jungfrau mild 1825 for voice and piano, Ave Maria or Hymne an die Jungfrau (first published as Op. 52 No. 6)
840 840 VII/2, 2
No. 13
Piano Sonata, D 840 ("Reliquie") C major 1825 Four movements: last two are fragments
841 VII/2, 6 Two German Dances 1825 for piano
842 IV, 13 Totengräbers Heimwehe O Menschheit, o Leben, was soll’s? 1825 for voice and piano
843 52,7 IV, 3 Lied des gefangenen Jägers Mein Roß so müd 1825 for voice and piano (first published as Op. 52 No. 7)
844 VII/2, 6 Waltz Albumblatt G major 1825 for piano
845 845 42 VII/2, 2
No. 14
Piano Sonata, D 845 A minor 1825
846 52,5 IV, 3 Normans Gesang Die Nacht bricht bald herein 1825 for voice and piano (first published as Op. 52 No. 5)
847 155p III, 4
No. 55
Trinklied aus dem 16. Jahrhundert Edit Nonna, edit Clerus 1825 for two tenors and two basses (first published as Op. posth. 155)
848 156p III, 4
No. 56
Nachtmusik Wir stimmen dir mit Flötensang 1825 for two tenors and two basses (first published as Op. posth. 156)
850 53 VII/2, 2
No. 15
Piano Sonata, D 850 ("Gasteiner") D major 1825
851 IV, 3 Das Heimweh Ach, der Gebirgssohn 1825 for voice and piano (2 versions; 2nd version first published as Op. 79 No. 1)
852 IV, 3
IV, 4
Die Allmacht Groß ist Jehova, der Herr 1825 for voice and piano (1st setting; first published as Op. 79 No. 2; NSA also appends a modified version)
853 IV, 5 Auf der Bruck Frisch trabe sonder Ruh’ und Rast 1825 for voice and piano (2 versions; 2nd version first published as Op. 93 No. 2)
854 IV, 13 Fülle der Liebe Ein sehnend Streben teilt mir das Herz 1825 for voice and piano
855 IV, 13 Wiedersehn Der Frühlingssonne holdes Lächeln 1825 for voice and piano
856 88,1
(1827)
IV, 4 Abendlied für die Entfernte Hinaus mein Blick, hinaus ins Tal 1825 for voice and piano (first published as Op. 88 No. 1)
857 IV, 13 Zwei Szenen aus dem Schauspiel ‘Lacrimas’ 1825 for voice and piano (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']
859 55 VII/1, 4 Grande Marche Funèbre C minor 1825 for piano duet (first published as Op. 55)
860 IV, 13 An mein Herz O Herz, sei endlich stille 1825 for voice and piano
861 IV, 13 Der liebliche Stern Ihr Sternlein, still in der Höhe 1825 for voice and piano
862 88,3
(1827)
IV, 4 Um Mitternacht Keine Stimme hör’ ich schallen 1825 and 1826? for voice and piano (2 versions; 2nd version first published as Op. 88 No. 3)
863 IV, 13 An Gott Kein Auge hat dein Angesicht geschaut 1827 or earlier for one or more voices (lost)
864 IV, 13 Das Totenhemdchen Starb das Kindlein 1825 or later for one or more voices (lost)
865 IV, 5 Widerspruch Wenn ich durch Busch und Zweig 1828 for two tenors, two basses and piano (2 versions; 2nd version for voice and piano; first published as Op. 105 No. 1)
866 IV, 5 Vier Refrainlieder 1828? for voice and piano (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']
867 IV, 5 Wiegenlied, D 867 Wie sich der Äuglein kindlicher Himmel 1826 or 1827 for voice and piano (first published as Op. 105 No. 2)
868 see D 990C
869 IV, 14 Totengräber-Weise Nicht so düster und so bleich 1826 for voice and piano
870 IV, 4 Der Wanderer an den Mond Ich auf der Erd’, am Himmel du 1826 for voice and piano (first published as Op. 80 No. 1)
871 IV, 4 Das Zügenglöcklein Kling die Nacht durch, klinge 1826 for voice and piano (2 versions; 2nd version first published as Op. 80 No. 2)
872 I, 6 Deutsche Messe 1827 for mixed choir and organ, Gesänge zur Feier des heiligen Opfers der Messe. Nebst einem Anhange, enthaltend: Das Gebet des Herr (2 versions; 2nd version adds two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and double bass)
873 III, 4 Anh. II No. 2
VIII, 2 No. 29
Canon A major 1826? for six voices (sketch without text)
873A III, 4
Anh. II No. 3
Nachklänge 1826? for two tenors and two basses (?) (sketch without text)
874 IV, 14 O Quell, was strömst du rasch und wild O Quell, was strömst du rasch und wild 1826? for voice and piano (sketch)
875 III, 3 Mondenschein Des Mondes Zauberblume lacht 1826 for two tenors, three basses and piano (first published as Op. 102)
875A III, 2b
Anh. No. 8
Die Allmacht Groß ist Jehova der Herr! 1826 for mixed choir and piano (2nd setting; sketch)
876 IV, 14 Im Jänner 1817 Ich bin von aller Ruh’ geschieden 1826 for voice and piano, Tiefes Leid
877 III, 2 No. 23
IV, 3
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 (other settings: D 469 and 727)
4. "Lied der Mignon" ['Nur wer die Sehnsucht kennt'] for voice and piano (6th setting)
878 IV, 5 Am Fenster Ihr lieben Mauern hold und traut 1826 for voice and piano (first published as Op. 105 No. 3)
879 879 IV, 5 Sehnsucht, D 879 Die Scheibe friert, der Wind ist rauh 1826 for voice and piano (first published as Op. 105 No. 4)
880 IV, 4 Im Freien Draußen in der weiten Nacht 1826 for voice and piano (first published as Op. 80 No. 3)
881 IV, 5 Fischerweise Den Fischer fechten Sorgen und Gram und Leid nicht an 1826 for voice and piano (2 versions; 2nd version first published as Op. 96 No. 4)
882 101p,1
(1828)
IV, 5 Im Frühling Still sitz’ ich an des Hügels Hang 1826 for voice and piano (2 versions; 2nd version first published as Op. posth. 101 No. 1)
883 IV, 14 Lebensmut O wie dringt das junge Leben 1826 for voice and piano
884 108,1 IV, 5 Über Wildemann Die Winde sausen am Tannenhang 1826 for voice and piano (first published as Op. 108 No. 1)
885 VII/1, 4 Grande Marche Héroique A minor for piano duet (pub. 1826, first published as Op. 66)
887 887 161p
(1851)
V No. 15 VI, 5
No. 16
String Quartet No. 15 G major 20–30/6/1826 Allegro molto moderato; Andante un poco mosso; Scherzo: Allegro vivace – Trio: Allegretto; Allegro assai
888 IV, 14 Trinklied Bacchus, feister Fürst des Weins 1826 for voice and piano
889 IV, 14 Ständchen Horch, horch! die Lerch im Ätherblau 1826 for voice and piano
890 IV, 14 Hippolits Lied Laßt mich, ob ich auch still verglüh 1826 for voice and piano
891 891 IV, 5 An Sylvia Was ist Silvia, saget an 1826 for voice and piano, Gesang (first published as Op. 106 No. 4)
892 III, 3 Nachthelle Die Nacht ist heiter 1826 for tenor solo, two tenors, two basses and piano (first published as Op. posth. 134)
893 III, 4
No. 57
Grab und Mond Silberblauer Mondenschein fällt herab 1826 for two tenors and two basses
894 894 78 VII/2, 3
No. 16
Piano Sonata, D 894 ("Fantasie") G major 1826
895 VI, 8 No. 7 Rondeau brillant B minor 1826 Rondo for violin and piano (first published as Op. 70)
896 IV, 14 Fröhliches Scheiden Gar fröhlich kann ich scheiden 1827–1828 for voice and piano (sketch)
896A IV, 14 Sie in jedem Liede Nehm ich die Harfe 1827–1828 for voice and piano (sketch)
896B IV, 14 Wolke und Quelle Auf meinen heimischen Bergen 1827–1828 for voice and piano (sketch)
897 VI, 7 No. 4 Notturno E-flat major 1828? for violin, violoncello and piano (an "Adagio" movement is extant; first published as Op. posth. 148)
898 VI, 7 No. 3 Piano Trio No. 1 B-flat major 1828? for violin, violoncello and piano (first published as Op. 99)
899 VII/2, 5 & Anh. Four Impromptus 1827 for piano (first published as Op. 90)
900 VII/2, 5 Anh. Allegretto C minor 1821 or later? for piano (fragment)
901 III, 4
No. 58
Wein und Liebe Liebchen und der Saft der Reben 1827 for two tenors and two basses
902 IV, 4 Drei Gesänge 1827 for b and piano (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']
903 IV, 4 Zur guten Nacht Horch auf! Es schlägt die Stunde 1827 for baritone, men’s choir and piano (first published as Op. 81 No. 3)
904 IV, 4 Alinde Die Sonne sinkt in’s tiefe Meer 1827 for voice and piano (first published as Op. 81 No. 1)
905 IV, 4 An die Laute Leiser, leiser, kleine Laute 1827 for voice and piano (first published as Op. 81 No. 2)
906 IV, 14 Der Vater mit dem Kind Dem Vater liegt das kind in Arm 1827 for voice and piano
907 IV, 4 Romanze des Richard Löwenherz Großer Taten tat der Ritter fern im heiligen Lande viel 1826? for voice and piano (2 versions; 2nd version first published as Op. 86)
908 VII/1, 3 No. 1
Anh. No. 1
Eight Variations on a theme from Hérold's Opera Marie 1827 for piano duet (first published as Op. 82 No. 1)
909 IV, 5 Jägers Liebeslied Ich schieß’ den Hirsch im grünen Forst' 1827 for voice and piano (first published as Op. 96 No. 2)
910 IV, 14 Schiffers Scheidelied Die Wogen am Gestade schwellen 1827 for voice and piano
911 IV, 4 Winterreise 1827 for voice and piano (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']
912 912 151p
(1827)
III, 4
No. 59
Schlachtlied Mit unserm Arm ist nichts getan 1827 Text by Klopstock, from Oden (other setting: D 443); For TTBBTTBB
913 III, 1 Nachtgesang im Walde Sei uns stets gegrüßt, o Nacht! 1827 for two tenors, two basses and four horns (first published as Op. posth. 139)
914 III, 4
No. 60
Frühlingslied Geöffnet sind des Winters Riegel 1827 for two tenors and two basses (1st setting)
915 VII/2, 5 Allegretto C minor 1827 for piano
916 III, 4
Anh. II No. 4
Das stille Lied Schweige nur, süßer Mund 1827 for two tenors and two basses (sketch)
916A IV, 14 Liedentwurf in C 1827? for voice and piano (sketch without text)
916B VII/2, 5 Anh. Piano piece C major 1827? (sketch)
916C VII/2, 5 Anh. Piano piece C minor 1827? (sketch)
917 IV, 14 Das Lied im Grünen Ins Grüne, ins Grüne, da lockt uns der Frühling 1827 for voice and piano (first published as Op. posth. 115 No. 1)
918 918 II, 17 Der Graf von Gleichen (Opera in two acts) 1827 for four sopranos, two tenors, six basses, mixed choir and orchestra (unfinished: all numbers are sketches; Act I: Nos. 1–11, Act II: Nos. 12–20f)
919 IV, 14 Frühlingslied Geöffnet sind des Winters Riegel 1827? for voice and piano (2nd setting)
920 III, 3 Ständchen Zögernd leise, in des Dunkels nächt'ger Hülle 1827 for alto, men’s choir and piano, Notturno (2 versions; 2nd version [formerly D 921] for alto, women’s choir and piano, first published as Op. posth. 135)
921 see D 920
922 IV, 5 Heimliches Lieben O du, wenn deine Lippen mich berühren 1827 for voice and piano (2 versions; 2nd version first published as Op. 106 No. 1)
923 III, 2b No. 24
IV, 14
Eine altschottische Ballade Dein Schwert, wie ist’s von Blut so rot 1827 for male voice, female voice and piano (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)
924 VII/2, 7a Twelve Grazer Waltzes 1827? for piano (first published as Op. 91)
925 VII/2, 7a Grazer Galopp C major 1827? for piano
926 IV, 5 Das Weinen Gar tröstlich kommt geronnen 1827–1828 for voice and piano (first published as Op. 106 No. 2)
927 IV, 5 Vor meiner Wiege Das also, das ist der enge Schrein 1827–1828 for voice and piano (first published as Op. 106 No. 3)
928 VII/1, 4 March G major 1827 Kindermarsch for piano duet
929 VI, 7 No. 2
& Anh.
Piano Trio No. 2 E-flat major 1827 for violin, cello and piano (first published as Op. 100)
930 III, 2a
No. 15
Der Hochzeitsbraten Ach liebes Herz, ach Theobald, laß dir nur diesmal raten 1827 for soprano, tenor, bass and piano (first published as Op. posth. 104)
931 IV, 14 Der Wallensteiner Lanzknecht beim Trunk He! schenket mir im Helme ein! 1827 for voice and piano
932 IV, 14 Der Kreuzzug Ein Münich steht in seiner Zell 1827 for voice and piano
933 IV, 14 Des Fischers Liebesglück Dort blinket durch Weiden 1827 for voice and piano
934 VI, 8 No. 8 Fantasy for violin and piano C major 1827 (first published as Op. posth. 159)
935 VII/2, 5 & Anh. Four Impromptus 1827 for piano (first published as Op. posth. 142)
936 III, 2a
No. 16
Kantate für Irene Kiesewetter Al par del ruscelletto chiaro 1827 for two tenors, two basses, mixed choir and piano duet (also appears as "Kantate zur Feier der Genesung der Irene Kiesewetter")
936A V, 6 No. 11
& Anh. 2
Symphony No. 10 D major 1828? (piano sketches of all three movements are extant)
937 IV, 14 Lebensmut Fröhlicher Lebensmut braust in dem raschen Blut 1828? for voice and piano (fragment)
938 IV, 14 Der Winterabend Es ist so still, so heimlich um mich 1828 for voice and piano
939 IV, 5 Die Sterne Wie blitzen die Sterne so hell durch die Nacht 1828 for voice and piano (first published as Op. 96 No. 1)
940 VII/1, 3 No. 2 & Anh. No. 1 Fantasy in F minor 1828 for piano duet (first published as Op. 103)
942 III, 2b
No. 18
Mirjams Siegesgesang Rührt die Zimbel, schlagt die Saiten 1828 for soprano, mixed choir and piano (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
943 IV, 14 Auf dem Strom Nimm die letzten Abschiedsküsse 1828 for voice, horn (or violoncello) and piano (first published as Op. posth. 119)
944 944 (1840) I, 2
No. 7
V, 4
No. 8
Symphony No. 9
Great C major
C major 1825?–
March 1828
Andante – Allegro ma non troppo; Andante con moto; Scherzo: Allegro vivace; Allegro vivace. See also D 849 (Gmunden-Gastein symphony)
944A 944A German Dance 1828 in an unknown key for piano (lost)
945 IV, 14 Herbst Es rauschen die Winde so herbstlich und kalt 1828 for voice and piano
946 VII/2, 5 Three piano pieces "Drei Klavierstücke" 1828
947 VII/1,
3 No. 3
Allegro A minor 1828 Lebensstürme for piano duet (first published as Op. posth. 144)
948
941
964
948 154p I, 9
No. 15–16
& Anh. 3
Hymnus an den heiligen Geist Komm, heil’ger Geist, erhöre unser Flehen 1828 for two tenors, two basses and men’s choir (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)
949 see D 639
950 I, 4 Mass No. 6 in E-flat major 1828 for soprano, alto, tenor, bass, mixed choir and orchestra
951 VII/1, 3 No. 4
& Anh. No. 2
Rondo A major 1828 Grand Rondeau for piano duet (first published as Op. 107)
952 VII/1,
3 No. 5
Fugue E minor 1828 for organ duet or piano duet (first published as Op. posth. 152)
953 III, 2b
No. 19
Der 92. Psalm tôw l’hôdôs ladônoj 1828 for baritone, soprano, alto, tenor, bass and mixed choir
954 III, 2b
No. 20
Glaube, Hoffnung und Liebe Gott, laß die Glocke glücklich steigen 1828 for two tenors, two basses, mixed choir and piano (scoring also possible for two tenors, two basses, mixed choir, two oboes, two clarinets, two bassoons, two horns and two trombones)
955 IV, 5 Glaube, Hoffnung und Liebe Glaube, hoffe, liebe! 1828 for voice and piano (first published as Op. 97)
956 956 IV No. 1 VI, 2 No. 2 String Quintet C major 1828 for two violins, viola and two violoncellos (first published as Op. posth. 163)
957 IV, 14 13 Lieder nach Gedichten von Rellstab und Heine 1828 for voice and piano (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']
958 958 VII/2, 3
No. 17
Piano Sonata, D 958 C minor 1828
959 959 VII/2, 3
No. 18
Piano Sonata, D 959 A major 1828
960 960 VII/2, 3
No. 19
Piano Sonata, D 960 B major 1828
961 see D 452
962 I, 9
No. 10
& Anh. 4
Tantum ergo E major 1828 Text by Aquinas (other settings: D 460, 461, 730, 739, 750 and Anh. I/17); For satbSATB and orchestra
963 I, 8 Offertory Intende voci B-flat major 1828 for tenor, mixed choir and orchestra
965 IV, 14 Der Hirt auf dem Felsen Wenn auf dem höchsten Fels ich steh 1828 for voice, clarinet and piano (first published as Op. posth. 129)
965A IV, 14 Die Taubenpost Ich hab’ eine Brieftaub in meinem Sold 1828 for voice and piano [formerly D 957 No. 14]
965B VIII, 2
Nos. 15–16
Fugenübungen 1828 Fugal exercises for unspecified instruments/voices (eighteen fugal expositions for two voices)
966 11/3 see D 11 No. 3
966A see D 71C
966B V, 6 No. 8 Orchestral piece A major 1820 or later (sketch)
967 see D 37A
968 VII/1, 1
No. 7
Sonatine between 1815 and 1819? Allegro moderato in C major and Andante in A minor for piano duet
603 968A VII/1, 1
No. 8
Introduction, Four Variations on an original theme and Finale B-flat major for piano duet [formerly D 603] (date unknown, first published as Op. posth. 82 No. 2)
886 968B VII/1, 4 Deux Marches Caractéristiques C major for piano duet [formerly D 886] (date unknown, first published as Op. posth. 121)
969 VII/2, 7a Twelve Waltzes for piano Valses nobles (pub. 1827, first published as Op. 77)
970 VII/2, 6 Six Ländler for piano (date unknown, also appear as "Six German Dances")
971 VII/2, 7a Three German Dances 1823? for piano
972 VII/2, 6 Three German Dances 1816 or earlier for piano
973 VII/2, 6 Three German Dances 1823? for piano
974 VII/2, 6 Two German Dances 1822? for piano
975 VII/2, 6 German Dance D major 1824? for piano
976 VII/2, 7a Cotillon E-flat major for piano (pub. 1825)
977 977 VII/2, 6 Eight Écossaises, D 977 1816? for piano
978 VII/2, 7a Waltz A-flat major for piano (pub. 1825)
979 VII/2, 7a Waltz G major for piano (pub. 1826)
980 VII/2, 7a Two Waltzes for piano (pub. 1826)
980A VII/2, 6 Two Dances 1820 or earlier for piano [formerly D 640] (sketches)
980B VII/2, 6 Two Ländler E-flat major 1816? for piano [formerly D 679]
980C VII/2, 6 Two Ländler D-flat major 1820 or earlier for piano [formerly D 680] (fragment)
980D VII/2, 7a Waltz C major for piano, Krähwinkler Tanz (pub. 1828)
980E VII/2, 6 Two Dances 1819 or later for piano (?) (sketches)
980F VII/2, 6 March G major for piano (date unknown; piano reduction of a lost march for orchestra?)
981 981 Der Minnesänger (Singspiel) (date unknown, fragment; lost)
982 982 II, 16 Sketches for an opera (Opera) 1819–1821? for two sopranos, tenor, bass and orchestra (also appears as Sophie; title and text author unknown; sketches of three numbers are extant)
983 17,1
(1823)
III, 4
No. 48
Jünglingswonne So lang im deutschen Eichentale for two tenors and two basses (pub. 1823, first published as Op. 17 No. 1)
983A 17,2
(1823)
III, 4
No. 49
Liebe Liebe rauscht der Silberbach Text by Schiller, from "Der Triumph der Liebe"; Other: D 55, 61, 62, 63, 64; For two tenors and two basses
983B 17,3
(1823)
III, 4
No. 50
Zum Rundetanz Auf! es dunkelt; silbern funkelt for two tenors and two basses (pub. 1823, first published as Op. 17 No. 3)
983C 17,4
(1823)
III, 4
No. 51
Die Nacht, D 983C Wie schön bist du, freundliche Stille for two tenors and two basses (pub. 1823, first published as Op. 17 No. 4)
984 III, 3 Der Wintertag In schöner heller Winterzeit ward eine Maid geboren 1821 or later for two tenors, two basses and piano, Geburtstaglied (fragment; piano part is lost; first published as Op. posth. 169)
985 III, 2a
No. 4
Gott im Ungewitter Du Schrecklicher, wer kann vor dir und deinem Donner stehn? 1815? for soprano, alto, tenor, bass and piano (first published as Op. posth. 112 No. 1)
986 III, 2a
No. 5
Gott der Weltschöpfer Zu Gott, zu Gott flieg auf 1815? for soprano, alto, tenor, bass and piano (first published as Op. posth. 112 No. 2)
988 III, 4
No. 61

VIII, 2
No. 30
Liebe säuseln die Blätter Liebe säuseln die Blätter 1815? Canon for three voices
988A III, 3 Accompaniment part B-flat major 1821 or later for piano (fragment; for a multi-part vocal composition?)
989 see D 579A
989A see D 579 B
990 IV, 14 Der Graf von Habsburg Zu Aachen in seiner Kaiserpracht for voice and piano (date unknown)
990A IV, 14 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")
990B IV, 14 Augenblicke im Elysium Vor der in Ehrfurcht all mein Wesen kniet for voice and piano [formerly D 582] (date unknown, lost)
990C IV, 14 Das Echo Herzliebe gute Mutter, o grolle nicht mit mir 1828? for voice and piano [formerly D 868] (first published as Op. posth. 130)
990D IV, 14 Die Schiffende Sie wankt dahin; die Abendwinde spielen 1815? for voice and piano (lost)
990E IV, 4 IV, 11 L'incanto degli occhi Da voi, cari lumi 1816? for soprano and piano (1st setting; fragment)
990F IV, 11 Ombre amene Ombre amene 1816? for soprano and piano, La serenata (fragment; originally, the Deutsch catalogue incorrectly listed this entry as an early version of the song "Il traditor deluso")
111 77





See D 77
185 105





See D 105
212 208





See D 208
991 323





See D 323
292 371





See D 371
992 383





See D 383
441 407





See D 407
601 470





See D 470
493 489





See D 489
245 587





See D 587
641 598





See D 598
704 714





See D 714
333 796





see D 796 No. 21
849 944





D 849 used to be the Gmunden-Gastein symphony, later identified with Symphony No. 9, see D 944
941 948





See D 948, first version
964 948





See D 948, second version
174 (1894) XXII, 11
No. 56
IV, 8
Anh. No. 2
Das war ich June 1816 Second setting (fragment), see D 174
40 Anh.
I/1
String Quartet, D Anh. I/1 E-flat major 1813 Lost or identical to D 87
Anh. I/2 String Quartet in F major (1816, lost or identical to D 353 or D 487)
Anh. I/3 VIII, 2
Anh. No. 2
Fugue in C major for string quartet (?) (1812?, fragment; only viola part is extant)
2 Anh.
I/4






Fragment of a string quartet movement in G major by Albert Stadler
Anh. I/5 String Quartet in E-flat major (date unknown, sketch of the first movement is extant; composition by Anselm Hüttenbrenner)
Anh. I/6 Duet in D major for two violins (1816, not by Schubert)
Anh. I/6A Symphony in E major, Symphony 1825 (date unknown, not by Schubert; composition by Gunter Elsholz)
858 Anh. I/7 VII/1, 4 March for two pianos, eight hands [formerly D 858] (1825, lost)
Anh. I/8 Piano Sonata in F major (1815, lost or identical to D 157)
Anh. I/9 Piano Sonata in F major (1816, lost or identical to D 459)
Anh. I/10 Fantasy in E-flat major for piano (1825?, lost)
Anh. I/11 Allegro in G major and Minuet in C major for piano (date unknown, also appears as "Sonatina"; not by Schubert)
Anh. I/12 Seven Easy Variations in G major for piano (pub. 1810, presumably not by Schubert)
Anh. I/13 Six German Dances for piano (1814, lost)
Anh. I/14 Waltz [in G-flat major] for piano, Kupelwieser-Walzer (1826, transcribed by Richard Strauss)
336 Anh. I/15 Minuet with Trio in D major for piano [formerly D 336] (date unknown, presumably not by Schubert)
Anh.
I/16






Dance "Écossaise de Vienne" in A-flat major for piano (1821?, composition by Anselm Hüttenbrenner?)
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)
132 Anh.
I/18
III, 4
Anh. I No. 2
Lied beim Rundetanz Auf, es dunkelt, silbern funkelt 1815-1816 fragment, formerly D 132 – One voice of a part song, no autograph extant
133 Anh.
I/19
III, 4
Anh. I No. 3
Lied im Freien Wie schön ist’s im Freien 1815-1816 fragment, formerly D 133 – One voice of a part song, no autograph extant
339 Anh. I/20 III, 4
Anh. I No. 4
Amors Macht Wo Amors Flügel weben 1815-1816 fragment, formerly D 339
340 Anh. I/21 III, 4
Anh. I No. 5
Badelied Zur Elbe, zur Elbe, des Äthers Gewölbe 1815-1816 fragment, formerly D 340
341 Anh. I/22 III, 4
Anh. I No. 6
Sylphen Was unterm Monde gleicht uns Sylphen flink und leicht 1815-1816 fragment, formerly D 341
425 Anh. I/23 III, 4
Anh. I No. 7
Lebenslied, D Anh. I/23 Kommen und Scheiden 1815-1816 Text by Matthisson (other setting: D 508); Fragment; D 425 may be related to this setting
Anh. I/24 Cantata "Kantate auf den Vater" ['?'] for unspecified voices and piano (?) (1816, lost)
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)
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)
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)
512 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)
Anh. I/29 Song "Kaiser Ferdinand II." ['Was reget die Stadt sich in freudiger Hast?'] for voice and piano (1809?, doubtful)
Anh. I/30 Song "Mein Frieden" ['Ferne, ferne flammen helle Sterne'] for voice and piano (pub. 1823, composition by Franz Anton Schubert)
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)
598A Anh. I/32 VIII, 2
Anh. No. 1
Composition exercises "Generalbaßübungen" for unspecified instruments/voices [formerly D 598A] (date unknown)
Anh.
II/1






Arrangement of the Overture to the opera Iphigenie in Aulis for piano duet (1810?, fragment; composition by Christoph Willibald Gluck)
96 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)
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)
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)
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)
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)
Anh. III/3





Symphony in C major, KV 551 (1813 copy; composition by Wolfgang Amadeus Mozart)
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)
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)
85 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)
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)
Anh. III/8





Symphony No. 4 in B-flat major, Op. 60 (8-bar copy after 1820; composition by Ludwig van Beethoven)
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)
Anh. III/10





Mass in C major (1820 copy; composition by Josef Preindl)
92 Anh. III/11





Canon "Laß immer in der Jugend Glanz", K. 410/Anh. 134/440d/484d, for two voices [formerly D 92] (copy lost; composition by Wolfgang Amadeus Mozart)
127 Anh. III/12





Canon "Selig, selig alle, die im Herrn entschliefen!", K. 230/382b, for two voices [formerly D 127] (copy lost; composition by Wolfgang Amadeus Mozart)
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)

Not in the Deutsch catalogue[edit]

  • 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)[1]
  • 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, 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)

References[edit]

  1. ^ Fantasie, D deest (1813) at schubert-ausgabe.de

Sources[edit]

External links[edit]