Composers

Franz Schubert

Piano
Voice
Bass
Tenor
Orchestra
Men's chorus
Mixed chorus
Violin
Piano four hands
Soprano
Song
Lied
Dance
Choruses
Secular choruses
Religious music
Sonata
Hymn
Quartet
Landler
by alphabet
Ave Maria4 Impromptus, D.899WinterreiseErlkönigDie schöne MüllerinSchwanengesangTrout QuintetArpeggione SonataDie ForelleSymphony No. 8Piano Trio No. 2An die MusikMoments musicaux, D.780Fantasia in F minor386 LiederPiano Sonata in B-flat major, D.960Mass No. 2Gretchen am SpinnradeSymphony No. 5String Quartet No. 14Symphony No. 9String Trio in B-flat major, D.471Piano Trio No. 1Three Marches Militaires4 Impromptus, D.935The Shepherd on the RockDu bist die Ruh'RosamundeString QuintetHeidenröslein, D.257Ständchen, D.889Introduction and Variations, D.802Piano Sonata in A major, D.959Der Tod und das MädchenNacht und TräumeWanderer FantasyPiano Sonata in A minor, D 845Mass No. 6Piano Sonata in A major, D 664Auf dem Strom, D.9434 Gesänge aus 'Wilhelm Meister', D.877Auf dem Wasser zu singenSymphony No. 43 Klavierstücke, D.946String Quartet No. 13Ständchen, D.920String Trio in B-flat major, D.581Piano Trio in E-flat major, D.897Symphony No. 336 Originaltänze, D.3653 Sonatinas, Op.137Sonatensatz, D 28Piano Sonata in C minor, D.958Mass No. 5Violin Sonata in A major, D 574Piano Sonata in A minor, D.784Frühlingsglaube, D.686Symphony No. 6An SylviaOctet in F major, D.72Deutsche MesseDer WandererFantasy for violin and pianoOctetSymphony No. 2Ganymed, D.544Piano Sonata in A minor, D.537Violin Sonata in A minor, D.385Am Tage Aller Seelen, D.343Symphony No. 1Mass No. 1Valses sentimentales, D.7793 Gesänge des Harfners, D.47817 Ländler, D.366Mass No. 4Im Frühling, D.882Wiegenlied, D 498Mass No. 3Piano Sonata in E major, D 157Lachen und Weinen, D.7773 Piano Pieces, D.459aPiano Sonata in E-flat major, D.568String Quartet No. 15Adagio and Rondo ConcertantePiano Sonata in D major, D 850Psalm 23, D.706Wandrers Nachtlied, D.768Violin Sonata in G minor, D.408Der Musensohn, D.764Piano Sonata in E major, D.459An den Mond, D.193String Quartet in G minor, D.186 German Dances, D.82012 Valses nobles, D.969Seligkeit, D.433Die junge Nonne, D.8284 Canzonas, D.688Allegro in A minor, D.947FierrabrasQuartettsatz, D 703Rastlose Liebe20 Waltzes, D.146An den Mond, D.259Der Zwerg, D.771Im Abendrot, D.799Mignon, D.321Piano Sonata in E minor, D.5665 Minuets and 5 German Dances, D.89Der König in Thule, D.367Piano Sonata in C major, D 279Rondo in B minor, D.895Suleika, D.720Grand DuoSonatine, D.968Allegretto in C minor, D.915Piano Sonata in B major, D.5752 Scherzos, D.59312 German Dances, D.420Ungarische Melodie, D.817Piano Sonata in A-flat major, D.557Schäfers Klagelied, D.121Nachtstück, D.672Piano Sonata in F-sharp minor, D.57120 LändlerAdagio in C major, D.349Adagio in G major, D.178Rondo in A major for Violin and Strings, D 438Rondo in A major, D.951Nachtviolen, D.752Divertissement à la hongroise, D.818Overture in the Italian Style, D.59150 SongsDer Abend, D.108Fischerweise, D.881Divertissement sur des motifs originaux français, D.823Schwanengesang, D.744String Quartet No. 10Claudine von Villa Bella, D.239Licht und Liebe, D.352Wandrers Nachtlied, D.224MagnificatTrio in E major, D.610String Quartet in C major, D.32Gesang der Geister über den Wassern, D.714Alfonso und EstrellaSonata for Piano Duet in B-flat major, D.617Overture in the Italian Style, D.590Piano Sonata in F minor, D.62512 German Dances, D.7904 Ländler, D.814Fantasie in C minor, D.48Overture in C minor, D.84 Refrainlieder, D.866Die Zwillingsbrüder, D.6473 Gesänge, D.902Der Wanderer an den Mond, D.870Adagio in E major, D.612Abendstern, D.806An die Nachtigall, D.497Meeres Stille, D.216String Quartet in C major, D.46String Quartet in G minor, D.173Symphony No. 10Suleika, D.717Du liebst mich nicht, D.7564 Polonaises, D.5998 Variations on an Original Theme, D.813Fantasie in C major, D.605Schubert's Werke - RevisionsberichtString Quartet No. 3Die Verschworenen, D.787Sei mir gegrüsst, D.741Auf dem See, D.543Die Sterne, D.939Piano Sonata in C major, D.613Mirjam's Siegesgesang, D.942String Quartet in D major, D.94An den Mond, D.296Stabat Mater, D.383Erster Verlust, D.226Stabat Mater, D.175String Quartet in B-flat major, D.112Piano Sonata in C-sharp minor, D.65520 Minuets, D.41Fantasie in G major, D.1An Mignon, D.161Gruppe aus dem Tartarus, D.583Salve Regina, D.676Viola, D.786Die Allmacht, D.852Fantasy in G minor, D.92 Marches caractéristiques, D.968bAuf der Bruck, D.853Minuet in C-sharp minor, D.600Des Mädchens Klage, D.191String Quartet in D major, D.74Variation on a Waltz by Diabelli, D.718Abendständchen, D.265Kindermarsch, D.928Andante in C major, D.29Eine kleine Trauermusik, D.79Des Fischers Liebesglück, D.93312 Grazer Waltzer, D.924Der vierjährige Posten, D.190Der Einsame, D.800Violin Concerto in D major, D.345Lied eines Schiffers an die Dioskuren, D.360Prometheus, D.674Der Jüngling an der Quelle, D.30012 Ecossaises, D.299An die Laute, D.905Geheimes, D.719Sehnsucht, D.6368 Ecossaises, D.529Willkommen und Abschied, D.767Abendlied, D.276Auflösung, D.807Heimliches Lieben, D.922Nachtgesang im Walde, D.9133 German Dances, D.972Die Liebe, D.2108 Ländler, D.378Romanze, D.114Chor der Engel, D.440String Quartet in B-flat major, D.68Der Wanderer, D.649Grande marche funèbre, D.859Der Jüngling und der Tod, D.5458 Variations on a French Song, D.624Die Advokaten, D.37Auf der Donau, D.553Der Fischer, D.225Gebet, D.815Piano Piece in A major, D.604String Quartet in E major, D.353Sehnsucht, D.310An die Sonne, D.439Rondo in D major, D.608Ellens Gesang, D.837Die Rose, D.745An Emma, D.113Minuet in D major, D.86Die Liebe hat gelogen, D.751Das Abendrot, D.236Rondo in E major, D.506Liebhaber in allen Gestalten, D.558Wiegenlied, D.867An die Leier, D.737Adelaide, D.95Sanctus in B-flat major, D.5610 Variations in F major, D.156Dass sie hier gewesen, D.775Abschied, D.475Ballade, D.134Allegretto in C major, D.34618 German Dances and Ecossaises, D.78312 Ecossaises, D.781Der Schiffer, D.5364 Gesänge, D.983Abschied von der Erde, D.829An den Mond, D.468Am Fenster, D.8786 Grandes marches, D.8192 Szenen aus dem Schauspiel 'Lacrimas', D.857Der Alpenjäger, D.5246 Polonaises, D.824Wiegenlied, D.304Die Götter Griechenlands, D.677Psalm 92, D.95313 Variations on a Theme of Hüttenbrenner, D.576Abendlied, D.499Am Bach im Frühling, D.361Schwangesang, D.318Waltz in G major, D.844Am See, D.746Allegretto in C minor, D.900Wiener Damen-Ländler und Ecossaisen, D.734An Schwager Kronos, D.369Jägerlied, D.204Lob der Tränen, D.711Das Dörfchen, D.5983 Marches héroïques, D.602An mein Klavier, D.342Mignon, D.7266 Antiphonen zum Palmsonntag, D.696Ellens Gesang, D.838Das Lied im Grünen, D.917Introduction, Variations and Finale, D.968aSalve Regina, D.223Gondelfahrer, D.809Der Winterabend, D.938Lacrimoso son io, D.131Abendbilder, D.650An den Frühling, D.587Ecossaise, D.1586 Ecossaises, D.421Sing-Übungen, D.619Galop and Ecossaises, D.735Der Abend, D.221Nähe des Geliebten, D.162Wehmut, D.772Der Tanz, D.826Totengräbers Heimweh, D.842Salve Regina, D.386An den Frühling, D.338Tantum ergo, D.962Andantino in C major, D.348Adagio in D-flat major, D.505Gott im Frühlinge, D.448Nachthelle, D.892Das Rosenband, D.280Das Zauberglöckchen, D.723An die Freude, D.189Minuet in A major, D.334Salve Regina, D.106Am See, D.124Szene aus Goethes Faust, D.126Mignon, D.727Abendlied, D.382Lazarus, D.689Jägers Abendlied, D.3686 German Dances, D.970La pastorella al prato, D.513Mignon, D.469Erlafsee, D.586Coronach, D.836An die Nachtigall, D.196Salve Regina, D.811Die Zauberharfe, D.64412 Viennese German Dances, D.128Hymnus an den heiligen Geist, D.948Piano Sonata in E major, D.1548 Ecossaises, D.977La pastorella al prato, D.528Deutsches Salve Regina, D.379Dem Unendlichen, D.291Allegro and Scherzo, D.570Am Strome, D.539Sehnsucht, D.516An den Frühling, D.283Des Tages Weihe, D.763Die Geselligkeit, D.609Der Morgenstern, D.203Geistes-Gruss, D.142Ausgewählte Lieder für Violine und PianoforteDer Taucher, D.77Die Nachtigall, D.724Alinde, D.9046 Ecossaises in A-flat major, D.697Fahrt zum Hades, D.526Einsamkeit, D.620Abendlied für die Entfernte, D.856Herbst, D.945Liebeslauschen, D.698March in E major, D.606Hagars Klage, D.5Totus in corde langueo, D.136Grande marche héroïque, D.885Sehnsucht, D.879Gesang der Geister über den Wassern, D.538An mein Herz, D.860Am Flusse, D.160Am Grabe Anselmos, D.504Abendlied der Fürstin, D.495Der blinde Knabe, D.833Die Sommernacht, D.289Willkommen, lieber schöner Mai, D.244Der Jüngling am Bache, D.638Das Leben, D.269Begräbnislied, D.168German Dance and Ecossaise, D.6432 German Dances, D.769Der Hochzeitsbraten, D.930Die Bürgschaft, D.435Abschied, D.578Gretchen im Zwinger, D.564Das Abendrot, D.627Overture in F major, D.675Die Mondnacht, D.238Eine altschottische Ballade, D.923Mailied, D.199An die Entfernte, D.765Piano Sonata in E minor, D.769aFrühlingslied, D.398Grazer Galopp, D.925Schlaflied, D.527Lützows wilde Jagd, D.205Im Walde, D.708Sehnsucht, D.359Die Mainacht, D.194Die Nacht, D.358Die Vögel, D.691Eine Leichenphantasie, D.7Gott in der Natur, D.757Sehnsucht, D.52Intende voci, D.963Am Flusse, D.766Winterlied, D.401Die Freunde von Salamanka, D.326Die Blumensprache, D.519Die Nacht, D.534Abendröte, D.690Gondelfahrer, D.808Allegro moderato in C major, D.347An die Sonne, D.270Der Sänger, D.149Minnelied, D.429Abends unter der Linde, D.235Lied der Anne Lyle, D.830An den Tod, D.5182 German Dances, D.974Lied der Liebe, D.109Vedi quanto adoro, D.510Lied des Orpheus, als er in die Hölle ging, D.474Der Kreuzzug, D.932An den Mond in einer Herbstnacht, D.614Der Fluss, D.693Das grosse Halleluja, D.442Gesang der Geister über den Wassern, D.705Hochzeitslied, D.463Sehnsucht, D.481Thekla, D.5953 German Dances, D.971German Dance, D.722Sehnsucht, D.656German Dance, D.975Minuet in D major, D.Anh.I/15Das Heimweh, D.851Overture in B-flat major, D.470Der Schmetterling, D.6333 German Dances, D.973Ins stille Land, D.403Gott im Ungewitter, D.985Zur guten Nacht, D.9033 Minuets, D.380Lied des gefangenen Jägers, D.843Im Freien, D.880Overture in D major, D.12Lied aus der Ferne, D.107Frühlingslied, D.243Variations on a Theme from Herold's 'Marie', D.908Grab und Mond, D.893Der Geistertanz, D.116Overture in D major, D.556Overture in G minor, D.668Minuet in E major, D.335Sehnsucht, D.123Im Haine, D.738Romanze, D.144Wonne der Wehmut, D.260Amalia, D.195Um Mitternacht, D.862Overture in D major, D.26An die Natur, D.372Glaube, Hoffnung und Liebe, D.955Blumenlied, D.431Memnon, D.541Der zürnenden Diana, D.707Der Jüngling am Bache, D.30Dithyrambe, D.801Des Mädchens Klage, D.6Bardengesang, D.147Die abgeblühte Linde, D.514Hymne an den Unendlichen, D.232Das Echo, D.990cDie Bürgschaft, D.246Greisengesang, D.778Hoffnung, D.295Lied, D.284Mondenschein, D.875Kyrie in B-flat major, D.45Auguste jam coelestium, D.488Abschied von der Harfe, D.406Morgenlied, D.685Geheimnis, D.491Alles um Liebe, D.241An Laura, D.115Versunken, D.715Cotillon, D.976Nachtmusik, D.848Das Zügenglöcklein, D.871Nachtgesang, D.119Die Gebüsche, D.646Der Unglückliche, D.713Mailied, D.202Pax vobiscum, D.551Atys, D.585Der Alpenjäger, D.588Geist der Liebe, D.747Trinklied, D.75Laura am Klavier, D.388Antigone und Oedip, D.542Auf den Sieg der Deutschen, D.81Frühlingsgesang, D.709Kyrie in D minor, D.31Grenzen der Menschheit, D.716An die untergehende Sonne, D.457Andenken, D.99Trinklied, D.888An Rosa, D.316Selected Piano CompositionsJesus Christus unser Heiland, D.168aBeitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri, D.407Bootgesang, D.835Trost in Tränen, D.120Frühlingsgesang, D.740Gott der Weltschöpfer, D.986Wein und Liebe, D.901Widerspruch, D.865Auf den Tod einer Nachtigall, D.399Seufzer, D.198Der Jüngling auf dem Hügel, D.702Der Geistertanz, D.494Overture in E minor, D.648Tantum ergo, D.460Der Liedler, D.209Die Sterne, D.684Abends unter der Linde, D.237Im Walde, D.834Jägers Liebeslied, D.909Zur Namensfeier des Vaters, D.80An die Geliebte, D.303Hektors Abschied, D.312Unendliche Freude, D.54Normans Gesang, D.846Symphony in D major, D.615Mass in A minor, D.755Frühlingslied, D.914Gesang der Geister über den Wassern, D.484Dreifach ist der Schritt der Zeit, D.69Fischerlied, D.364Liedesend, D.473Klaglied, D.23Misero pargoletto, D.42Tantum ergo, D.739Cora an die Sonne, D.263Glaube, Hoffnung und Liebe, D.954Augenlied, D.297Harfenspieler, D.325An Rosa, D.315Drang in die Ferne, D.770Totengräberlied, D.44An die Freunde, D.654An die Sonne, D.272Die Nonne, D.208Die Erwartung, D.159Klage um Ali Bey, D.140Der Spiegelritter, D.11Kantate zum Geburtstag des Sängers Johann Michael Vogl, D.666Der liebliche Stern, D.861Der Teufel als Hydraulicus, D.4Trinklied, D.267Erinnerung, D.101Heliopolis, D.754Der Blumenbrief, D.622Das Weinen, D.926Trinklied, D.148Im Gegenwärtigen Vergangenes, D.710Beim Winde, D.669Das Mädchen, D.652Herbstlied, D.502Lied im Freien, D.572Nachtgesang, D.314Verklärung, D.59Die erste Liebe, D.182Der Vatermörder, D.10Der Sieg, D.805Kyrie in F major, D.66Die Sterne, D.176Adrast, D.137Trinklied aus dem 16. Jahrhundert, D.847Alte Liebe rostet nie, D.477Der Strom, D.565Frühlingslied, D.919Selige Welt, D.743Wehmut, D.825Pensa, che questo istante, D.76Bundeslied, D.258Schwestergruss, D.762Der Leidende, D.432Der Pilgrim, D.794Der Jüngling am Bache, D.192Tantum ergo, D.750Hoffnung, D.637Franz Schubert's WorksHymne, D.662Das Grab, D.330Erinnerungen, D.98An den Schlaf, D.447Daphne am Bach, D.411Klage, D.371Wiedersehn, D.855An eine Quelle, D.530Berthas Lied in der Nacht, D.653Adelwold und Emma, D.211An Chloen, D.462Ewige Liebe, D.825aDie Mutter Erde, D.788Fragment aus dem Aeschylus, D.450Mailied, D.129An die Harmonie, D.394Trinklied, D.183Duos für Pianoforte und ViolineLiebe säuseln die Blätter, D.988Als ich sie erröten sah, D.153Trinklied im Winter, D.242Punschlied, D.253Zur Namensfeier des Herrn Andreas Siller, D.83Fischerlied, D.351Das Bild, D.155Der Rattenfänger, D.255Heliopolis, D.753Bergknappenlied, D.268Der Wachtelschlag, D.742Geisternähe, D.100Sonett, D.628Trinklied im Mai, D.427Gold'ner Schein, D.357Sehnsucht der Liebe, D.180Morgenlied, D.266Die Schatten, D.50Dreifach ist der Schritt der Zeit, D.43Hymne, D.659Ammenlied, D.122Die Berge, D.634Das Grab, D.569Nachthymne, D.687Vor meiner Wiege, D.927Die Liebende schreibt, D.673Die Sternennächte, D.670Symphony, D 708AIphigenia, D.573Kantate für Irene Kiesewetter, D.936Der Blumen Schmerz, D.731Der Schnee zerrinnt, D.130Grablied auf einen Soldaten, D.454Totengräberlied, D.38Der Traum, D.213An die Apfelbäume, wo ich Julien erblickte, D.197Wie Ulfru fischt, D.525Ruhe, schönstes Glück der Erde, D.657Das Heimweh, D.456Romanze des Richard Löwenherz, D.907Der Schiffer, D.694Auf einen Kirchhof, D.151Der gute Hirt, D.449Fülle der Liebe, D.854Himmelsfunken, D.651Marie, D.658Die Betende, D.102Lied eines Kriegers, D.822Unendliche Freude, D.51Selma und Selmar, D.286Der Flug der Zeit, D.515Ein jugendlicher Maienschwung, D.61Der Schatzgräber, D.256Hoffnung, D.251Elysium, D.584Das Mädchen aus der Fremde, D.117Punschlied, D.277Blondel zu Marien, D.626Trauer der Liebe, D.465Lied eines Kindes, D.596Schatzgräbers Begehr, D.761Widerschein, D.639Amphiaraos, D.166Jagdlied, D.521Gradual, D.184Das war ich, D.174Furcht der Geliebten, D.285Über Wildemann, D.884An Sie, D.288Die Sterne, D.313Das Grab, D.377Der Entfernten, D.331Lied, D.483Der Knabe, D.692Gesang der Norna, D.831Freiwilliges Versinken, D.700Kyrie in D minor, D.49Lied, D.535Der Mondabend, D.141Pilgerweise, D.789Nach einem Gewitter, D.561Das Geheimnis, D.250Am Geburtstage des Kaisers, D.748Naturgenuss, D.422Todesmusik, D.758Erntelied, D.434Auf der Riesenkoppe, D.611Die Spinnerin, D.247Selig durch die Liebe, D.55Die Liebe, D.522Son fra l'onde, D.78Lebenslied, D.508Der Hirt, D.490Bei dem Grabe meines Vaters, D.496Thekla, D.73Im Jänner 1817, D.876Die Erscheinung, D.229Die Befreier Europas in Paris, D.104Lied, D.373Gebet während der Schlacht, D.171Blanka, D.631Liebesrausch, D.179Dessen Fahne Donnerstürme wallte, D.58Liane, D.298Die Herbstnacht, D.404Fernando, D.220Der Morgenkuss, D.264Die frühen Gräber, D.290Der Geistertanz, D.15Die Täuschung, D.230Kolmas Klage, D.217Stimme der Liebe, D.187Vom Mitleiden Mariä, D.632Cronnan, D.282Morgenlied, D.381Geist der Liebe, D.233Der Sänger am Felsen, D.482Don Gayseros, D.93Die Macht der Liebe, D.308Sprache der Liebe, D.410Die zwei Tugendwege, D.71Die Sterbende, D.186Des Sängers Habe, D.832Fischerlied, D.562Die drei Sänger, D.329Freude der Kinderjahre, D.455Die Gestirne, D.444Vaterlandslied, D.287Rondo in C major, D.309aAusgewählte Lieder für Pianoforte solo arrangiertVerschwunden sind die Schmerzen, D.88Trost, D.523Des Mädchens Klage, D.389Trost: an Elisa, D.97Der Herbstabend, D.405Flucht, D.825b7 Easy Variations in G major, D.Anh.I/12Der zürnende Barde, D.785Vocal AlbumSonett, D.629Naturgenuss, D.188Klage, D.436Majestätsche Sonnenrosse, D.64Edone, D.445Täglich zu singen, D.533Trinklied vor der Schlacht, D.169Das Mädchen aus der Fremde, D.252Die Fröhlichkeit, D.262Das Geheimnis, D.793Lebensmut, D.883Der Kampf, D.594Lebensmut, D.937Sängers Morgenlied, D.163Das Marienbild, D.623Der Gott und die Bajadere, D.254Frisch atmet des Morgens lebendiger Hauch, D.67Sonett, D.630Aus Diego Manazares, D.458Frohsinn, D.520Das Lied vom Reifen, D.532Lebensmelodien, D.395Schweizerlied, D.559Vergissmeinnicht, D.792Piano Sonata in G major, D 894Stimme der Liebe, D.412Der Schäfer und der Reiter, D.517Trost im Liede, D.546Grablied, D.218Die frühe Liebe, D.430Herrn Josef Spaun, Assessor in Linz, D.749Das Finden, D.219Die Einsiedelei, D.337Wer ist gross?, D.110Hymne, D.660Liebeständelei, D.206Der entsühnte Orest, D.699Rückweg, D.476Mein Gruss an den Mai, D.305Der Vater mit dem Kind, D.906Hippolits Lied, D.890Grablied für die Mutter, D.616Leiden der Trennung, D.509Totengräber-Weise, D.869Vorüber die stöhnende Klage, D.53In der Mitternacht, D.464Die gefangenen Sänger, D.712Lambertine, D.301Ossians Lied nach dem Falle Nathos, D.278Das Mädchen von Inistore, D.281Der Flüchtling, D.402Sängers Morgenlied, D.165Hymne, D.66138 Waltzes, Ländler and Ecossaises, D.145Der Liebende, D.207Hermann und Thusnelda, D.322Labetrank der Liebe, D.302Huldigung, D.240Der Knabe in der Wiege, D.579Schlachtlied, D.443Loda's Gespenst, D.150Original Compositionen für Piano zu 4 HändenPhiloktet, D.540Vergebliche Liebe, D.177Genügsamkeit, D.143Schmerz verzerret ihr Gesicht, D.65Entzückung an Laura, D.390Der Entfernten, D.350Tischlied, D.234Geist der Liebe, D.414Schwertlied, D.170Hänflings Liebeswerbung, D.552Zum Punsche, D.492Das gestörte Glück, D.309Die Schlacht, D.387Trost, D.671Über allen Zauber Liebe, D.682Orest auf Tauris, D.548Wer die steile Sternenbahn, D.63Minona, D.152Klage der Ceres, D.323Zufriedenheit, D.362Kantate zu Ehren von Josef Spendou, D.472Der Wallensteiner Lanzknecht beim Trunk, D.931Tres sunt, qui testimonium dant in coelo, D.181Klage, D.415Das Sehnen, D.231Hier umarmen sich getreue Gatten, D.60Luisens Antwort, D.319Schlachtlied, D.912Die Laube, D.214Hier strecket der wallende Pilger, D.57Lob des Tokayers, D.248Mahomets Gesang, D.549Lieb Minna, D.222Die Sternenwelten, D.307Idens Nachtgesang, D.227Die Perle, D.466Ihr Grab, D.736Ritter Toggenburg, D.397Uraniens Flucht, D.554Duos, Trios, Quartette, Quintette, Octett und SymphonienLilla an die Morgenröte, D.273Skolie, D.306Der Tod Oskars, D.375Totenkranz für ein Kind, D.275Zufriedenheit, D.501Schiffers Scheidelied, D.910Wer kauft Liebesgötter?, D.261Tischlerlied, D.274Idens Schwanenlied, D.317Johanna Sebus, D.728Die Liebesgötter, D.446Entzückung, D.413Pflicht und Liebe, D.467Stimme der Liebe, D.418Der Geistertanz, D.15aDie Einsiedelei, D.393Der Goldschmiedsgesell, D.560Die vier Weltalter, D.391Thronend auf erhabnem Sitz, D.62Die Knabenzeit, D.400Die Entzückung an Laura, D.577Der Zufriedene, D.320Die verfehlte Stunde, D.409Mahomets Gesang, D.721Von Ida, D.228Der Weiberfreund, D.271Die Einsiedelei, D.563Phidile, D.500Lorma, D.376Shilric und Vinvela, D.293Namensfeier für Franz Michael Vierthaler, D.294Sakuntala, D.701Skolie, D.507Pflügerlied, D.392Julius an Theone, D.419Namentagslied, D.695Sämtliche Tänze für Klavier zu 4 HändenDie Nacht, D.deestSymphonien für Klavier zu vier HändenCanon a trè, D.deest6 Schubert'sche LiederSymphony No. 7Allegro and Minuet, D.Anh.I/11Märsche für Pianoforte zu vier HändenDuet in D major, D.Anh.I/6Oremus pro PontificeOuverturenTranscriptions pour piano de 40 mélodiesGruppe aus dem Tartarus, D.396Piano Piece in F major, D.deestAria in D major, D.deestWaltz in C major, D.980dFugue in F major, D.deestPiano Sonata in C major, D 840Winterlied, D.deestSonata for Piano Duet in F major, D.1cKaiser Ferdinand II., D.Anh.I/29Fantasy in G major, D.1bAbend, D.645Psalm 13, D.663Klage, D.Anh.I/28An den Mond, D.311Auf den Tod einer Nachtigall, D.201Mailied, D.503Song Sketch in A minor, D.555Am ersten Maimorgen, D.344An Chloen, D.363Der Morgenstern, D.172Nur wer die Liebe kennt, D.513aLorma, D.327Liebesrausch, D.164Ombre amene, D.990fPiano Accompaniment in B-flat major, D.988aLinde Weste wehen, D.725Vocal Trio in B-flat major, D.deestLied in der Abwesenheit, D.416Trinklied, D.356Der Wintertag, D.984General Bass Exercises, D.Anh.I/32An Gott, D.863Augenblicke in Elysium, D.990bDas Totenhemdchen, D.864Das Traumbild, D.204aDer Graf von Gleichen, D.918Die Schiffende, D.990dFugue in E minor, D.952Lebensbild, D.425Mélodies choisies pour violon et altoMélodies par Georges ThillNew Schubert EditionTrinklied, D.426Waltz in G-flat major, D.Anh.I/1411 Ländler in B-flat major, D.37412 Ländler, D.6812 Dance Sketches, D.980a2 Dance Sketches, D.980e2 German Dances, D.8412 Ländler in D-flat major, D.980c2 Ländler in E-flat major, D.980b2 Minuets and Trios, D.912 Minuets, D.deest2 Waltzes, D.9803 Ecossaises, D.8164 Comic Ländler, D.3544 Fugal Sketches, D.37a6 Lieder für Flöte und Klavier8 Ländler in F-sharp minor, D.3559 Dances in A major, D.deest9 Ländler in D major, D.370Alleluja in F major, D.71aAmors Macht, D.Anh.I/20Andenken, D.423Badelied, D.Anh.I/21Canon in C major, D.deestCanone a sei, D.873Counterpoint Exercises, D.16Counterpoint Exercises, D.25Counterpoint Exercises, D.25aCounterpoint Exercises, D.25bCounterpoint Exercises, D.deestDas Grab, D.329aDer Graf von Habsburg, D.990Deutsche Trauermesse, D.621Die Erde, D.579bDie Wallfahrt, D.778aDreifach ist der Schritt der Zeit, D.70Ecossaise in D major, D.782Ecossaise in E-flat major, D.511Entra l'uomo allor che nasce, D.33Erinnerungen, D.424Fantasy in C minor, D.2eFröhliches Scheiden, D.896Fugal Exercises, D.965bFugue in C major, D.24aFugue in C major, D.24dFugue in C major, D.Anh.I/3Fugue in D minor, D.13Fugue in D minor, D.24cFugue in E minor, D.41aFugue in E minor, D.71bFugue in F major, D.25cFugue in G major, D.24bGerman Dance and 2 Ländler, D.618German Dance in C-sharp major, D.139German Dance in E major, D.135Gesang in C minor, D.1aImpromptus Moment MusicauxImprovvisiJägers Abendlied, D.215Kaiser Maximilian auf der Martinswand in Tirol, D.990aL'incanto degli occhi, D.990eLebenslied, D.Anh.I/23Lebenstraum, D.39Lied beim Rundetanz, D.Anh.I/18Lied im Freien, D.Anh.I/19March in B minor, D.757aMeeres Stille, D.215aNachklänge, D.873aO Quell, was strömst du rasch und wild, D.874Orchestra Piece in B-flat major, D.94aPiano Piece in C major, D.916bPiano Piece in C minor, D.916cPolonaise in B-flat major, D.580Polonaise in B-flat major, D.618aQuell' innocente figlio, D.17Serbate, o Dei custodi, D.35Sie in jedem Liede, D.896aSong Sketch in C major, D.916aString Quartet Movement, D.2cString Trio in B-flat major, D.111aSylphen, D.Anh.I/22Te solo adoro, D.34Trio of a Minuet, D.2fViolin Sonata in D major, D.384Vocal or Instrumental Movement, D.87aVollendung, D.579aWaltz in A-flat major, D.978Waltz in G major, D.979Widerhall, D.428Wolke und Quelle, D.896b6 Minuets for Winds, D.2dDas stille Lied, D.916Fantasy in C major, D.605aLeise, leise lasst uns singen, D.635Minuet in A minor, D.277aString Quartet Movement in C minor, D.103Des Teufels Lustschloss, D.84
Wikipedia
Franz Peter Schubert (German: [ˈfʁant͡s ˈpeːtɐ ˈʃuːbɐt]; 31 January 1797 – 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including more than 600 secular vocal works (mainly lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. His major works include "Erlkönig" (D. 328), the Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8 in B minor, D. 759 (Unfinished Symphony), the ”Great” Symphony No. 9 in C major, D. 944, the String Quintet (D. 956), the three last piano sonatas (D. 958–960), the opera Fierrabras (D. 796), the incidental music to the play Rosamunde (D. 797), and the song cycles Die schöne Müllerin (D. 795) and Winterreise (D. 911).
Born in the Himmelpfortgrund suburb of Vienna, Schubert showed uncommon gifts for music from an early age. His father gave him his first violin lessons and his elder brother gave him piano lessons, but Schubert soon exceeded their abilities. In 1808, at the age of eleven, he became a pupil at the Stadtkonvikt school, where he became acquainted with the orchestral music of Haydn, Mozart, and Beethoven. He left the Stadtkonvikt at the end of 1813, and returned home to live with his father, where he began studying to become a schoolteacher. Despite this, he continued his studies in composition with Antonio Salieri and still composed prolifically. In 1821, Schubert was admitted to the Gesellschaft der Musikfreunde as a performing member, which helped establish his name among the Viennese citizenry. He gave a concert of his own works to critical acclaim in March 1828, the only time he did so in his career. He died eight months later at the age of 31, the cause officially attributed to typhoid fever, but believed by some historians to be syphilis.
Appreciation of Schubert's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased greatly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th-century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of Western classical music and his music continues to be popular.
Franz Peter Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna, Archduchy of Austria on 31 January 1797, and baptised in the Catholic Church the following day. He was the twelfth child of Franz Theodor Florian Schubert (1763–1830) and Maria Elisabeth Katharina Vietz (1756–1812). Schubert's immediate ancestors came originally from the province of Zuckmantel in Austrian Silesia. His father, the son of a Moravian peasant, was a well-known parish schoolmaster, and his school in Lichtental (in Vienna's ninth district) had numerous students in attendance. He came to Vienna from Zukmantel in 1784 and was appointed schoolmaster two years later. His mother was the daughter of a Silesian master locksmith and had been a housemaid for a Viennese family before marriage. Of Franz Theodor and Elisabeth's fourteen children (one of them illegitimate, born in 1783), nine died in infancy.
At the age of five, Schubert began to receive regular instruction from his father, and a year later he was enrolled at his father's school. Although it is not known exactly when he received his first musical instruction, he was given piano lessons by his brother Ignaz, but they lasted for a very short time as Schubert excelled him within a few months. Ignaz later recalled:
I was amazed when Franz told me, a few months after we began, that he had no need of any further instruction from me, and that for the future he would make his own way. And in truth his progress in a short period was so great that I was forced to acknowledge in him a master who had completely distanced and out stripped me, and whom I despaired of overtaking.
His father gave him his first violin lessons when he was eight years old, training him to the point where he could play easy duets proficiently. Soon after, Schubert was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental. Holzer would often assure Schubert's father, with tears in his eyes, that he had never had such a pupil as Schubert, and the lessons may have largely consisted of conversations and expressions of admiration. Holzer gave the young Schubert instruction in piano and organ as well as in figured bass. According to Holzer, however, he did not give him any real instruction as Schubert would already know anything that he tried to teach him; rather, he looked upon Schubert with "astonishment and silence". The boy seemed to gain more from an acquaintance with a friendly apprentice joiner who took him to a neighbouring pianoforte warehouse where Schubert could practise on better instruments. He also played viola in the family string quartet, with his brothers Ferdinand and Ignaz on first and second violin and his father on the cello. Schubert wrote his earliest string quartets for this ensemble.
Young Schubert first came to the attention of Antonio Salieri, then Vienna's leading musical authority, in 1804, when his vocal talent was recognised. In November 1808, he became a pupil at the Stadtkonvikt (Imperial Seminary) through a choir scholarship. At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, the symphonies of Joseph Haydn and his younger brother Michael Haydn, and the overtures and symphonies of Beethoven, a composer for whom he developed admiration. His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education. One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important composer of lieder. The precocious young student "wanted to modernize" Zumsteeg's songs, as reported by Joseph von Spaun, Schubert's friend. Schubert's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well-off Spaun furnished the impoverished Schubert with much of his manuscript paper.
In the meantime, Schubert's genius began to show in his compositions; Salieri decided to start training him privately in music theory and even in composition. According to Ferdinand, the boy's first composition for piano was a Fantasy for four hands; his first song, Klagegesang der Hagar, would be written a year later. Schubert was occasionally permitted to lead the Stadtkonvikt's orchestra, and it was the first orchestra he wrote for. He devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a "Salve Regina" (D 27), a "Kyrie" (D 31), in addition to the unfinished "Octet for Winds" (D 72, said to commemorate the 1812 death of his mother), the cantata Wer ist groß? for male voices and orchestra (D 110, for his father's birthday in 1813), and his first symphony (D 82).
At the end of 1813, Schubert left the Stadtkonvikt and returned home for teacher training at the St Anna Normal-hauptschule. In 1814, he entered his father's school as teacher of the youngest pupils. For over two years young Schubert endured severe drudgery; there were, however, compensatory interests even then. He continued to take private lessons in composition from Salieri, who gave Schubert more actual technical training than any of his other teachers, before they parted ways in 1817.
In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works (including a "Salve Regina" and a "Tantum Ergo") for her; she was also a soloist in the premiere of his Mass No. 1 (D. 105) in September 1814. Schubert wanted to marry her, but was hindered by the harsh marriage-consent law of 1815 requiring an aspiring bridegroom to show he had the means to support a family. In November 1816, after failing to gain a musical post in Laibach (now Ljubljana, Slovenia), Schubert sent Grob's brother Heinrich a collection of songs retained by the family into the twentieth century.
One of Schubert's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which were for orchestra, including nine church works (despite being agnostic), a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1815.
Throughout 1815, Schubert lived at home with his father. He continued to teach at the school and give private musical instruction, earning enough money for his basic needs, including clothing, manuscript paper, pens, and ink, but with little to no money left over for luxuries. Spaun was well aware that Schubert was discontented with his life at the schoolhouse, and was concerned for Schubert's development intellectually and musically. In May 1816, Spaun moved from his apartment in Landskrongasse (in the inner city) to a new home in the Landstraße suburb; one of the first things he did after he settled into the new home was to invite Schubert to spend a few days with him. This was probably Schubert's first visit away from home or school. Schubert's unhappiness during his years as a schoolteacher possibly showed early signs of depression, and it is a virtual certainty that Schubert suffered from cyclothymia throughout his life.
In 1989 the musicologist Maynard Solomon suggested that Schubert was erotically attracted to men, a thesis that has, at times, been heatedly debated. The musicologist and Schubert expert Rita Steblin has said that he was "chasing women". The theory of Schubert's sexuality or "Schubert as Other" has continued to influence current scholarship.
Significant changes happened in 1816. Schober, a student and of good family and some means, invited Schubert to room with him at his mother's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father's school. By the end of the year, he became a guest in Schober's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. "I compose every morning, and when one piece is done, I begin another." During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert's main proponents in Viennese musical circles. Schubert also met Joseph Hüttenbrenner (brother of Anselm), who also played a role in promoting his music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work.
In late 1817, Schubert's father gained a new position at a school in Rossau, not far from Lichtental. Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he applied for membership in the prestigious Gesellschaft der Musikfreunde, intending to gain admission as an accompanist, but also so that his music, especially the songs, could be performed in the evening concerts. He was rejected on the basis that he was "no amateur", although he had been employed as a schoolteacher at the time and there were professional musicians already among the society's membership. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.
Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (now Želiezovce, Slovakia). The pay was relatively good, and his duties teaching piano and singing to the two daughters were relatively light, allowing him to compose happily. Schubert may have written his Marche Militaire in D major (D. 733 no. 1) for Marie and Karoline, in addition to other piano duets. On his return from Zseliz, he took up residence with his friend Mayrhofer.
During the early 1820s, Schubert was part of a close-knit circle of artists and students who had social gatherings together that became known as Schubertiads. Many of them took place in Ignaz von Sonnleithner's large apartment in the Gundelhof (Brandstätte 5, Vienna). The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police, who (in the aftermath of the French Revolution and Napoleonic Wars) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were "severely reprimanded", in part for "inveighing against [officials] with insulting and opprobrious language". While Schubert never saw Senn again, he did set some of his poems, Selige Welt (D. 743) and Schwanengesang (D 744), to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.
Schubert, who was only a little more than five feet tall, was nicknamed "Schwammerl" by his friends, which Gibbs describes as translating to "Tubby" or "Little Mushroom". "Schwamm" is German (in the Austrian and Bavarian dialects) for mushroom; the ending "-erl" makes it a diminutive. Gibbs also claims he may have occasionally drunk to excess, noting that references to Schubert's heavy drinking "... come not only in later accounts, but also in documents dating from his lifetime."
The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio Lazarus (D. 689) was begun in February; later followed, among some smaller works, by the hymn "Der 23. Psalm" (D. 706), the octet "Gesang der Geister über den Wassern" (D. 714), the Quartettsatz in C minor (D. 703), and the Wanderer Fantasy in C major for piano (D. 760). In 1820, two of Schubert's operas were staged: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on 21 August. Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof (Brandstätte 5, Vienna), a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive parsimonious royalties. The situation improved somewhat in March 1821 when Vogl performed the song "Erlkönig" (D. 328) at a concert that was extremely well received. That month, Schubert composed a Variation on a Waltz by Diabelli (D 718), being one of the fifty composers who contributed to the Vaterländischer Künstlerverein publication.
The production of the two operas turned Schubert's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he embarked on twenty stage projects, each of them failures which were quickly forgotten. In 1822, Alfonso und Estrella was refused, partly owing to its libretto (written by Schubert's friend Franz von Schober). In 1823, Fierrabras (D 796) was rejected: Domenico Barbaia, impresario for the court theatres, largely lost interest in new German opera due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber's Euryanthe. Die Verschworenen (The Conspirators, D 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde, Fürstin von Zypern (D 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music.
Despite his operatic failures, Schubert's reputation was growing steadily on other fronts. In 1821, the Gesellschaft der Musikfreunde finally accepted him as a performing member, and the number of performances of his music grew remarkably. These performances helped Schubert's reputation grow rapidly among the members of the Gesellschaft and establish his name among the citizenry. Some of the members of the Gesellschaft, most notably Ignaz von Sonnleithner and his son Leopold von Sonnleithner, had a sizeable influence on the affairs of the society, and as a result of that, and Schubert's growing reputation, his works were included in three major concerts of the Gesellschaft in 1821. In April, one of his male-voice quartets was performed, and in November, his Overture in E minor (D. 648) received its first public performance; on a different concert of the same day as the premiere of the Overture, his song Der Wanderer (D. 489) was performed.
In 1822, Schubert made the acquaintance of both Weber and Beethoven, but little came of it in either case: however, Beethoven is said to have acknowledged the younger man's gifts on a few occasions. On his deathbed, Beethoven is said to have looked into some of the younger man's works and exclaimed: "Truly, the spark of divine genius resides in this Schubert!" Beethoven also reportedly predicted that Schubert "would make a great sensation in the world," and regretted that he had not been more familiar with him earlier; he wished to see his operas and works for piano, but his severe illness prevented him from doing so.
Despite his preoccupation with the stage, and later with his official duties, Schubert wrote much music during these years. He completed the Mass in A-flat major, (D. 678) in 1822, and later that year embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the Symphony in B minor, known as the Unfinished Symphony (D. 759). The reason he left it unfinished – after writing two movements and sketches some way into a third – continues to be discussed and written about, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving. In 1823, Schubert wrote his first large-scale song cycle, Die schöne Müllerin (D. 795), setting poems by Wilhelm Müller. This series, together with the later cycle Winterreise (D. 911, also setting texts of Müller in 1827) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh' (You are rest and peace, D. 776) during this year. Also in that year, symptoms of syphilis first appeared.
In 1824, he wrote the Variations in E minor for flute and piano Trockne Blumen, a song from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Sonata in A minor for arpeggione and piano (D. 821) at the time when there was a minor craze over that instrument. In the spring of that year, he wrote the Octet in F major (D. 803), a sketch for a 'Grand Symphony'; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise in G minor for piano duet (D. 818) and the String Quartet in A minor Rosamunde (D. 804). It has been said that he held a hopeless passion for his pupil, the Countess Caroline Esterházy, but the only work he dedicated to her was his Fantasia in F minor for piano duet (D. 940). His friend Eduard von Bauernfeld penned the following verse, which appears to reference Schubert's unrequited sentiments:
In love with a Countess of youthful grace, —A pupil of Galt's; in desperate case Young Schubert surrenders himself to another, And fain would avoid such affectionate pother
The setbacks of previous years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in Upper Austria where he was welcomed with enthusiasm. It was during this tour that he produced the seven-song cycle Fräulein am See, based on Walter Scott's The Lady of the Lake, and including "Ellens Gesang III" ("Hymn to the Virgin") (D. 839, Op. 52, No. 6); the lyrics of Adam Storck's German translation of the Scott poem are now frequently replaced by the full text of the traditional Roman Catholic prayer Hail Mary (Ave Maria in Latin), but for which the Schubert melody is not an original setting. The original only opens with the greeting "Ave Maria", which also recurs only in the refrain. In 1825, Schubert also wrote the Piano Sonata in A minor (D 845, first published as op. 42), and began the Symphony in C major (Great C major, D. 944), which was completed the following year.
From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz, Austria, in 1827. In 1826, he dedicated a symphony (D. 944, that later came to be known as the Great C major) to the Gesellschaft der Musikfreunde and received an honorarium in return. The String Quartet No. 14 in D minor (D. 810), with the variations on Death and the Maiden, was written during the winter of 1825–1826, and first played on 25 January 1826. Later in the year came the String Quartet No. 15 in G major, (D 887, first published as op. 161), the Rondo in B minor for violin and piano (D. 895), Rondeau brillant, and the Piano Sonata in G major, (D 894, first published as Fantasie in G, op. 78). He also produced in 1826 three Shakespearian songs, of which "Ständchen" (D. 889) and "An Sylvia" (D. 891) were allegedly written on the same day, the former at a tavern where he broke his afternoon's walk, the latter on his return to his lodging in the evening.
The works of his last two years reveal a composer entering a new professional and compositional stage. Although parts of Schubert's personality were influenced by his friends, he nurtured an intensely personal dimension in solitude; it was out of this dimension that he wrote his greatest music. The death of Beethoven affected Schubert deeply, and may have motivated Schubert to reach new artistic peaks. In 1827, Schubert wrote the song cycle Winterreise (D. 911), the Fantasy in C major for violin and piano (D. 934, first published as op. post. 159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D. 898), and the second in E-flat major, (D. 929); in 1828 the cantata Mirjams Siegesgesang (Victory Song of Miriam, D 942) on a text by Franz Grillparzer, the Mass in E-flat major (D. 950), the Tantum Ergo (D. 962) in the same key, the String Quintet in C major (D. 956), the second "Benedictus" to the Mass in C major (D. 961), the three final piano sonatas (D. 958, D. 959, and D. 960), and the collection 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano, also known as Schwanengesang (Swan-song, D. 957). (This collection – which includes settings of words by Heinrich Heine, Ludwig Rellstab, and Johann Gabriel Seidl – is not a true song cycle like Die schöne Müllerin or Winterreise.) The Great C major symphony is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825–1826 (being referred to while he was on holiday at Gastein in 1825—that work, once considered lost, is now generally seen as an early stage of his C major symphony) and was revised for prospective performance in 1828. The orchestra of the Gesellschaft reportedly read through the symphony at a rehearsal, but never scheduled a public performance of it. The reasons continue to be unknown, although the difficulty of the symphony is the possible explanation. In the last weeks of his life, he began to sketch three movements for a new Symphony in D major (D 936A); In this work, he anticipates Mahler's use of folksong-like harmonics and bare soundscapes. Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter.
On 26 March 1828, the anniversary of Beethoven's death, Schubert gave, for the only time in his career, a public concert of his own works. The concert was a success popularly and financially, even though it would be overshadowed by Niccolò Paganini's first appearances in Vienna shortly after.
In the midst of this creative activity, his health deteriorated. By the late 1820s, Schubert's health was failing and he confided to some friends that he feared that he was near death. In the late summer of 1828, he saw the physician Ernst Rinna, who may have confirmed Schubert's suspicions that he was ill beyond cure and likely to die soon. Some of his symptoms matched those of mercury poisoning (mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it). At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Five days before Schubert's death, his friend, violinist Karl Holz, and his string quartet visited him to play for him. The last musical work he had wished to hear was Beethoven's String Quartet No. 14 in C-sharp minor, Op. 131; Holz commented: "The King of Harmony has sent the King of Song a friendly bidding to the crossing".
Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand. The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis. It was near Beethoven, whom he had admired all his life, that Schubert was buried by his own request, in the village cemetery of Währing, Vienna. He had served as a torchbearer at Beethoven's funeral a year before his own death.
In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms. Anton Bruckner was present at both exhumations, and he reached into both coffins and held the revered skulls in his hands. The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust. His epitaph, written by his friend, the poet Franz Grillparzer, reads: Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen (“The art of music has here interred a precious treasure, but yet far fairer hopes”).
Schubert was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his short life. The largest number of his compositions are songs for solo voice and piano (roughly 630). Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write three concertante works for violin and orchestra. Schubert wrote a large body of music for solo piano, including eleven incontrovertibly completed sonatas and at least nine more in varying states of completion, numerous miscellaneous works and many short dances, in addition to producing a large set of works for piano four hands. He also wrote over fifty chamber works, including some fragmentary works. Schubert's sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions. He completed only eleven of his twenty stage works.
In July 1947 the Austrian composer Ernst Krenek discussed Schubert's style, abashedly admitting that he had at first "shared the wide-spread opinion that Schubert was a lucky inventor of pleasing tunes ... lacking the dramatic power and searching intelligence which distinguished such 'real' masters as J. S. Bach or Beethoven". Krenek wrote that he reached a completely different assessment after close study of Schubert's pieces at the urging of his friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving "ample evidence that [Schubert] was much more than an easy-going tune-smith who did not know, and did not care, about the craft of composition." Each sonata then in print, according to Krenek, exhibited "a great wealth of technical finesse" and revealed Schubert as "far from satisfied with pouring his charming ideas into conventional moulds; on the contrary he was a thinking artist with a keen appetite for experimentation."
That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of the String Quintet (D. 956), which is in E major, features a central section in the distant key of F minor. It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano (D. 821), or the unconventional scoring of the Trout Quintet (D. 667), which is scored for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and string quartet.
Although Schubert was clearly influenced by the Classical sonata forms of Beethoven and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his Great C major Symphony was described by Robert Schumann as running to "heavenly lengths".
It was in the genre of the Lied that Schubert made his most indelible mark. Leon Plantinga remarks that "in his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him." Prior to Schubert's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism.
Among Schubert's treatments of the poetry of Goethe, his settings of "Gretchen am Spinnrade" (D. 118) and "Der Erlkönig" (D. 328) are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in "Erlkönig". He composed music using the poems of a myriad of poets, with Goethe, Mayrhofer and Schiller being top three most frequent, and others including Heinrich Heine, Friedrich Rückert and Joseph Freiherr von Eichendorff. Of additional particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. His last collection of songs published in 1828 after his death, Schwanengesang, is also an innovative contribution to German lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl. The Wiener Theaterzeitung, writing about Winterreise at the time, commented that it was a work that "none can sing or hear without being deeply moved".
Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works: "The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. [...] Schubert created a new epoch with the Lied. [...] All other songwriters have followed in his footsteps."
When Schubert died he had around 100 opus numbers published, mainly songs, chamber music and smaller piano compositions. Publication of smaller pieces continued (including opus numbers up to 173 in the 1860s, 50 instalments with songs published by Diabelli and dozens of first publications Peters), but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert's family, friends, and publishers. Even some of Schubert's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognised as the "prince of song", although there was recognition of some of his larger-scale efforts. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major Symphony (D. 944) and took it back to Leipzig where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. An important step towards the recovery of the neglected works was the journey to Vienna which the music historian George Grove and the composer Arthur Sullivan made in October 1867. The travellers unearthed the manuscripts of six of the symphonies, parts of the incidental music to Rosamunde, the Mass No. 1 in F major (D. 105), and the operas Des Teufels Lustschloss (D. 84), Fernardo (D. 220), Der vierjährige Posten (D. 190), and Die Freunde von Salamanka (D. 326), and several other unnamed works. With these discoveries, Grove and Sullivan were able to inform the public of the existence of these works; in addition, they were able to copy the fourth and sixth symphonies, the Rosamunde incidental music, and the overture to Die Freunde von Salamanka. This led to more widespread public interest in Schubert's work.
From 1884 to 1897, Breitkopf & Härtel published Franz Schubert's Works, a critical edition including a contribution made – among others – by Johannes Brahms, editor of the first series containing eight symphonies. The publication of the Neue Schubert-Ausgabe by Bärenreiter started in the second half of the 20th century.
Since relatively few of Schubert's works were published in his lifetime, only a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition. Austrian musicologist Otto Erich Deutsch (1883–1967) is known for compiling the first comprehensive catalogue of Schubert's works. This was first published in English in 1951 (Schubert Thematic Catalogue) and subsequently revised for a new edition in German in 1978 (Franz Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge – Franz Schubert: Thematic Catalogue of his Works in Chronological Order).
Confusion arose quite early over the numbering of Schubert's late symphonies. Schubert's last completed symphony, the Great C major D 944, was assigned the numbers 7, 8, 9 and 10, depending on publication. Similarly the Unfinished D 759 has been indicated with the numbers 7, 8, and 9.
The order usually followed for these late symphonies by English-language sources is:
An even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas.
Among pianos Schubert had access to were a Benignus Seidner piano (now displayed at the Schubert Geburtshaus in Vienna) and an Anton Walter & Sohn piano (today in the collection of the Vienna Kunsthistorisches Museum). Schubert was also familiar with instruments by Viennese piano builder Conrad Graf.
A feeling of regret for the loss of potential masterpieces caused by Schubert's early death at age 31 was expressed in the epitaph on his large tombstone written by Grillparzer: "Here music has buried a treasure, but even fairer hopes." Some prominent musicians share a similar view, including the pianist Radu Lupu, who said: "[Schubert] is the composer for whom I am really most sorry that he died so young. ... Just before he died, when he wrote his beautiful two-cello String Quintet in C, he said very modestly that he was trying to learn a little more about counterpoint, and he was perfectly right. We'll never know in what direction he was going or would have gone." However, others have expressed disagreement with this early view. For instance, Robert Schumann said: "It is pointless to guess at what more [Schubert] might have achieved. He did enough; and let them be honoured who have striven and accomplished as he did", and the pianist András Schiff said that: "Schubert lived a very short life, but it was a very concentrated life. In 31 years, he lived more than other people would live in 100 years, and it is needless to speculate what could he have written had he lived another 50 years. It's irrelevant, just like with Mozart; these are the two natural geniuses of music."
The Wiener Schubertbund, one of Vienna's leading choral societies, was founded in 1863, whilst the Gründerzeit was taking place. The Schubertbund quickly became a rallying point for schoolteachers and other members of the Viennese middle class who felt increasingly embattled during the Gründerzeit and the aftermath of the Panic of 1873. In 1872, the dedication of the Schubert Denkmal, a gift to the city from Vienna's leading male chorus, the Wiener Männergesang-Verein [de], took place; the chorus performed at the event. The Denkmal was designed by Austrian sculptor Carl Kundmann and is located in Vienna's Stadtpark.
Schubert's chamber music continues to be popular. In a survey conducted by the ABC Classic FM radio station in 2008, Schubert's chamber works dominated the field, with the Trout Quintet ranked first, the String Quintet in C major ranked second, and the Notturno in E-flat major for piano trio ranked third. Furthermore, eight more of his chamber works were among the 100 ranked pieces: both piano trios, the String Quartet No. 14 (Death and the Maiden), the String Quartet No. 15, the Arpeggione Sonata, the Octet, the Fantasie in F minor for piano four-hands, and the Adagio and Rondo Concertante for piano quartet.
The New York Times' chief music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him:
You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone – including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences – Schubert is central to our concert life... Schubert's first few symphonies may be works in progress. But the Unfinished and especially the Great C major Symphony are astonishing. The latter one paves the way for Bruckner and prefigures Mahler.
From the 1830s through the 1870s, Franz Liszt transcribed and arranged several of Schubert's works, particularly the songs. Liszt, who was a significant force in spreading Schubert's work after his death, said Schubert was "the most poetic musician who ever lived." Schubert's symphonies were of particular interest to Antonín Dvořák. Hector Berlioz and Anton Bruckner acknowledged the influence of the Great C Major Symphony. It was Robert Schumann who, having seen the manuscript of the Great C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who led the first performance of the symphony, in a heavily abridged version, in Leipzig in 1839. In the 20th century, composers such as Richard Strauss, Anton Webern, Benjamin Britten, George Crumb, and Hans Zender championed or paid homage to Schubert in some of their works. Britten, an accomplished pianist, accompanied many of Schubert's Lieder and performed many piano solo and duet works.
German electronic music group Kraftwerk has an instrumental piece titled Franz Schubert on their 1977 album Trans-Europe Express.
In 1897, the 100th anniversary of Schubert's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognising Schubert as the creator of the art song, and one of Austria's favourite sons. Karlsruhe saw the first production of his opera Fierrabras.
In 1928, Schubert Week was held in Europe and the United States to mark the centenary of the composer's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for "original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory". The winning entry was Kurt Atterberg's sixth symphony.
Schubert has featured as a character in several films including Schubert's Dream of Spring (1931), Gently My Songs Entreat (1933), Serenade (1940), The Great Awakening (1941), It's Only Love (1947), Franz Schubert (1953), Das Dreimäderlhaus (1958), and Mit meinen heißen Tränen (1986). Schubert's music has also been featured in numerous post-silent era films, including Walt Disney's Fantasia (1940), which features Ave Maria (D. 839); and the biographical film Carrington (1995), which features the second movement of the String Quintet in C major (D. 956), as well as the English version of The Adventures of Milo and Otis (1989), which features Serenade and Auf dem Wasser zu singen (D. 774). Schubert's String Quartet #15 in G is featured prominently in the Woody Allen film Crimes and Misdemeanors (1989).
Schubert's life was covered in the documentary Franz Peter Schubert: The Greatest Love and the Greatest Sorrow by Christopher Nupen (1994), and in the documentary Schubert – The Wanderer by András Schiff and Mischa Scorer (1997), both produced for the BBC.
Works by Otto Erich Deutsch
Otto Erich Deutsch, working in the first half of the 20th century, was probably the preeminent scholar of Schubert's life and music. In addition to the catalogue of Schubert's works, he collected and organized a great deal of material about Schubert, some of which remains in print.
19th- and early 20th-century scholarship
Modern scholarship
Numbering of symphonies
The following sources illustrate the confusion around the numbering of Schubert's late symphonies. The B minor Unfinished Symphony is variously published as No. 7 and No. 8, in both German and English.
List of compositions (by genre)