Франц Шуберт (31 января 1797-19 ноября 1828), венский композитор конца От эпохи от классической до ранней романтической эпохи, несмотря на его короткую жизнь, осталось очень много работ. Написал более 1500 наименований, а если объединить сборники, циклы и варианты, то несколько тысяч сочинений. Самая большая группа - его более шестисот Lieder для сольного голоса и фортепиано. Он написал почти столько же фортепианных пьес, а также около 150 партийных песен, около 40 литургических сочинений (в том числе несколько месс ) и около 20 сценических произведений, таких как оперы и музыкальное сопровождение. Его оркестровый выход включает дюжину симфоний (семь завершенных) и несколько увертюр. Камерная музыка Шуберта включает более 20 струнных квартетов и несколько квинтетов, трио и дуэтов.
Отто Эрих Дойч составил первый исчерпывающий каталог работ Шуберта и опубликовал его в 1951 году как Шуберт: Тематический каталог всех его работ в хронологическом порядке. Пересмотренное издание вышло на немецком языке в 1978 г. Более поздние выпуски каталога содержали незначительные обновления.
Публикация сочинений Шуберта началась еще при его жизни с опуса номер. После смерти композитора посмертные номера опусов продолжали присваиваться новым публикациям его сочинений до 1867 г. (Op. Post. 173). Между тем, также начались публикации без номера опусов, например, вскоре после смерти композитора, многие песни в пятидесяти изданиях Диабелли Nachlaß -Lieferung (взнос из наследия).
Есть две попытки опубликовать все сочиненное Шубертом в одном издании:
Веб-сайты, такие как Schubert Online (schubert-online.at), предоставляют факсимиле (сканы) автографов Шуберта и других рукописей и ранних изданий его работ. Тексты вокальной музыки Шуберта могут быть опубликованы без музыки, например его Lieder (песни ) на веб-сайте LiederNet Archive.
В первом издании Немецкого каталога 1951 года была предпринята попытка перечислить все датированные работы Шуберта в хронологическом порядке, присвоив им номера от 1 до 965. Недатированные работы были заказывается в диапазоне 966–992. №№ 993–998 относились к рукописям, которые были обнаружены незадолго до того, как каталог был напечатан.
Более поздние версии каталога придерживались общих принципов, которые немецкие числа ниже 966 относили в хронологическом порядке к композициям авторов Шуберта с установленным временем сочинения, и что диапазон 966–992 был зарезервирован для его сочинений с неопределенной датой сочинения. Таким образом, "Die Taubenpost ", последняя песня Шуберта, была перенесена с D 957 No. 14 на D 965A, а D 993, раннее фортепианное сочинение, на D 2E.
столбец | содержание | |
---|---|---|
1 | D '51 | Немецкий номер в первой версии Deutsch catalogue (1951) |
2 | D utd | самый последний (utd = актуальный) номер в немецком каталоге; базовая сортировка списка осуществляется в соответствии с этими числами - доступна ли возможность настроить сортировку в соответствии с содержимым других столбцов, зависит от устройства, с помощью которого отображается таблица. |
3 | Опис.. pbl | Опус номер (Op. ; p означает Пост. = посмертно ) и дату первой публикации (pbl ; в скобках; при наличии более одной даты более ранние даты указывают на частичные публикации). Столбец сортируется по номеру Opus, а затем (самой ранней из) дат публикации |
4 | AGA | Alte Gesamt-Ausgabe = Верке Франца Шуберта: Kritisch durchgesehene Gesammtausgabe. Обозначает жанр / инструментарий:
|
5 | NSA | NGA / NSA / NSE = New Schubert Edition, также указывает Жанр / инструментарий:
|
6 | Имя | уникальное имя со ссылкой на соответствующую статью энциклопедии, если таковая имеется; сортирует по имени с начальными определенными ("Der", "Die", "Das",...) или неопределенными ("Ein", "A",...) артиклями и числами, перемещенными после выражения, которое они квалифицируют: например "Die Hoffnung,..." сортируется как "Hoffnung, Die,..." - "Тридцать менуэтов..." сорта "Менуэты, 30,...". |
7 | Key / incipit | incipit в основном для песен (ссылка на текст и их перевод, например, в The LiederNet Archive, если таковой имеется), другие композиции с помощью key, кроме сценических произведений Шуберта : вид композиции в скобках. |
8 | Дата | (предполагаемая) дата составления или, для копий и аранжировок, дата автографа Шуберта. Сортировка по самой ранней возможной дате завершения, в отличие от хронологии немецкого каталога, которая обычно сопоставляется по самой ранней дате, связанной с композицией: например, Шуберт начал сочинение своего 3-го струнного квартета 19 ноября 1812 года и завершил его 21 февраля 1813 года - в каталоге Deutsch композиция сгруппирована с другими сочинениями 1812 года: при использовании функции сортировки 8-го столбца композиция сгруппирована с композициями, завершенными в 1813 году |
9 | Дополнительная информация | может включать:
|
D. '51 | D. utd | Op.. pbl | AGA | NSA | Имя | Ключ / инципит | Дата | Дополнительная информация |
---|---|---|---|---|---|---|---|---|
1–1C | 1810 | Вверх ↑ | ||||||
1 | 1 | (1888) | IX, 3. No. 30 | VII / 1, 1 № 1 и Anh. № 1 | Fantasy, D 1 | соль мажор | 4.08.1810–. 05.01.1810 | Для фортепианного дуэта; Две версии Finale |
1A | (1969) | IV, 6. Anh. № 1 | Песня, D 1A | до минор | до. 1810? | Для b и фортепиано; Эскиз; Музыка частично использована повторно в D 39 | ||
1B | VII / 1, 1 Anh. № 2 | Фантазия, D 1B | соль мажор | 1810–1811 | Для фортепианного дуэта; Фрагмент; Музыка, относящаяся к D 1 и 7 | |||
1C | VII / 1, 1 Anh. № 3 | Соната, D 1C | Фа мажор | 1810–1811 | Для фортепианного дуэта; Ларго (фрагмент) | |||
2–12 | 1811 | Вверх ↑ | ||||||
996 | 2A | V, 6 No. 1 | Увертюра, D 2A | Ре мажор | 1811? | Для оркестра | ||
997 | 2B | V, 6 No. 2 | Симфония, D 2B | Ре мажор | 1811? | Adagio, Allegro con moto (фрагмент) | ||
998 | 2C | (1978) | VI, 3. Anh. No. 1 | Струнный квартет, D 2C | ре минор или фа мажор | 1811? | Фрагмент | |
995 | 2D | (1956). (1970) | VI, 9 | Шесть менуэтов, D 2D | Различные клавиши | 1811 | Для ветров ; №№ 1–2: фортепианная версия опубл. в 1956 г.; №№ 4-6: эскизы | |
993 | 2E | VII / 2, 4 | Fantasy, D 2E | до минор | 1811 | Для фортепиано | ||
2F | VI, 9 | Trio, D 2F | 1811 | Для ветров ?; Эскиз; Принадлежит к утраченному Менуэту | ||||
2G | V, 6 No. 3 | Увертюра, D 2G | Ре мажор | 1810–1811? | Для оркестра; Фрагмент | |||
3 | 3 | (1978) | VI, 3. Anh. No. 2 | Струнный квартет, D 3 | до мажор | 1812? | Анданте (фрагмент); Частично повторно использовано в D 29 и в раннем эскизе D 36 | |
4 | 4 | (1886) | II. No. 1 | V, 5 | Увертюра к пьесе Der Teufel als Hydraulicus | (Увертюра к комедии с пением). Ре мажор | 1812? | Для оркестра; Играть [de ] (сюжет похож на [de ]] Der Bettelstudent ) |
5 | 5 | (1894) | XX, 1. No. 1 | IV, 6. No. 1 | Hagars Klage | Hier am Hügel heißen Sandes | 30.03.1811 | Текст [баллов ]; Музыка частично повторно использована в D 8 и 9 |
6 | 6 | (1894) | XX, 1. No. 2 | IV, 3 | Des Mädchens Klage, D 6 | Der Eichwald brauset | 1811–1812 | Текст Шиллера, из Валленштейна : Die Piccolomini III, 7 (другие настройки: D 191 и 389 ) |
7 | 7 | (1894) | XX, 1. № 3 | IV, 6. № 2 | Leichenfantasie | Mit erstorbnem Scheinen | 1811? | Текст Шиллера ; повторно использует музыку D 1B |
8 | 8 | (1970) | VI, 2 No. 1 | Overture, D 8 | До минор | 29.06.1811 | Для струнного квинтета (две скрипки, две альты и виолончель); Музыка вновь появляется в D 8A | |
8A | (1970) | VI, 3 No. 3 | Увертюра, D 8A | до минор | После. 07.12.1811 | Для струнного квартета; На основании D 8 | ||
9 | 9 | (1888) | IX, 3. No. 31 | VII / 1, 1. No. 2 | Фэнтези, D 9 | соль минор | 20.09.1811 | Для фортепианного дуэта |
10 | 10 | (1894) | XX, 1. No. 4 | IV, 6. No. 3 | Der Vatermörder | Ein Vater starb von des Sohnes Hand | 26.12.1811 | Текст: Пфеффель |
11. 966 | 11 | (1893). ( 1897) | XV, 7. No. 12. XXI, 1. №1 | II, 11 | Der Spiegelritter | (Зингшпиль в трех действиях) | декабрь. 1811? | Текст: Коцебу ; Для ssssstttbbbbSATB и оркестра; Увертюра (опубл. 1897 г.) - №№ 1–8 (Акт I, №№ 2–3 и 8 - фрагменты, № 3 не в AGA, часть № 3 была D 966 ) |
12 | 12 | (1897 г.) | XXI, 1. No. 2 | V, 5 | Увертюра, D 12 | Ре мажор | 1811–1812 | Для оркестра; Музыка частично повторно использован в D 94 |
13–37 | 1812 | Up ↑ | ||||||
13 | 13 | VII / 2, 4 | Fugue, D 13 | Ре минор | c.1812 | Для фортепиано ?; Шуберт? | ||
14 | 14 | Увертюра, D 14 | c.1812 | Фортепианный эскиз; Утраченный | ||||
15 | 15 | (1895) | XX, 10. No. 590/1 | IV, 7. Anh. No. 5 | Der Geistertanz, D 15 | Die bretterne Kammer der Toten erbebt | c.1812 г. | Текст от Matthisson (другие настройки: D 15A, 116 и 494 ); фрагмент |
15 | 15A | (1895) | XX, 10. No. 590/2 | IV, 7. Anh. No. 6 | Der Geistertanz, D 15A | Die bretterne Kammer der Toten erbebt | c.1812 | Текст: Matthisson (другие настройки: D 15, 116 и 494 ); Фрагмент |
16 | 16 | (1940) | VIII, 2. No. 11 | Контрпункт упражнения, D 16 | соль минор (№№ 1–4); Несовершеннолетний (№№ 5–7) | 1823? | Семь упражнений в двойном контрапункте | |
17 | 17 | (1940) | VIII, 2. No. 37 | Упражнения по композиции, D 17 | Quell 'innocente figlio | 1812? | Текст Метастазио, из Исакко I, «Ария дель Анджело»; Девять настроек с исправлениями Salieri ; № 1, для s, относящийся к D 30 ; № 2 для сс ; №№ 3 и 5–6 для сб. ; №№ 4 и 7–8 для сатб (№ 7 не в опубл. 1940 г.) | |
18 | 18 | (1890) | V № 1 | VI, 3 No. 1 | Струнный квартет No. 1 | соль минор / си мажор | 1810–1811 | Анданте, Presto vivace - Менуэт - Анданте - Presto |
19 | 19 | String Quartet, D 19 | 1810–1811 | Lost | ||||
19A | 19A | String Quartet, D 19A | 1810–1811 | Потерянный | ||||
19B | Вальсы и марш, D 19B | 1812–1813? | Для фортепиано; Lost | |||||
20 | 20 | Увертюра, D 20 | B ♭ мажор | 1812 | Для струнного квартета; Lost | |||
21 | 21 | Шесть вариаций, D 21 | E ♭ major | 1812 | Для фортепиано; Lost | |||
22 | 22 | Двенадцать менуэтов с трио, D 22 | 1812 | Для фортепиано; Утерян | ||||
23 | 23 | 131p, 3. (1830) | XX, 1. No. 6 | IV, 6. No. 4 | Klaglied | Meine Ruh ist dahin, Meine Freud ist entflohn | 1812 | Текст: Rochlitz |
24 | 24 | Семь вариаций, D 24 | Фа мажор | 1812? | Для фортепиано; Фрагмент; Потерянный | |||
24A | VII / 2, 4 | Фуга, D 24A | до мажор | лето. 1812? | Для клавишных (орган или фортепиано); Частично повторно использовался в D 24E | |||
24B | VII / 2, 4 | Fugue, D 24B | соль мажор | лето. 1812? | Для клавишных (орган или фортепиано); Две версии | |||
24C | VII / 2, 4 | Fugue, D 24C | D minor | лето. 1812? | Для клавишных (орган или фортепиано) | |||
24D | VII / 2, 4 Anh. | Фуга, D 24D | до мажор | лето. 1812 г. ? | Для фортепиано; Фрагмент; Частично повторно использовано в D 46 | |||
24E | I, 5 Anh. | Mass, D 24E | F major?. Gloria - Credo | лето. 1812? | Текст: Обычная масса (другие настройки: D 31, 45, 49, 56, 66, 105, 167, 324, 452, 678 и 950 ); Для САТБ и оркестра; Фрагмент Глории и Кредо; Частично основано на D 24A | |||
25 | 25 | VIII, 2 | упражнениях по контрапункту, D 25 | начат. 18/6/1812 | Четыре двухчастных и три трехчастных контрапункта упражнения; Четыре имитационных упражнения из 2 частей | |||
25A | VIII, 2 | контрпункт упражнения, D 25A | лето. 1812? | Два контрпунктных упражнения из 4 частей | ||||
25B | VIII, 2 | Контрпунктные упражнения, D 25B | лето. 1812? | Пятнадцать упражнений-контрапунктов из 3 частей | ||||
25C | VIII, 2 | Fugue, D 25C | F major | лето. 1812? | Упражнение на контрапункт для двух голосов; Фрагмент | |||
26 | 26 | (1886) | II No. 2 | V, 5 | Увертюра, D 26 | Ре мажор | 26.06.1812 | Для оркестра |
27 | 27 | (1928) | I, 8 | Salve Regina, D 27 | F major. Salve Regina | 28.06.1812 | Текст: Salve Regina (другие настройки: D 106 и); Для s и оркестра | |
28 | 28 | (1923) | VI, 7 No. 1 | Фортепианное трио, D 28, также известное как Соната | B ♭ мажор | 27/7 / 1812–. 28/8/1812 | Аллегро | |
29 | 29 | (1888) | XI No. 9 | VII / 2, 4 | Анданте, D 29 | до мажор | 9.9.1812 | Для фортепиано; Относится к D 3 и 36 |
30 | 30 | (1894) | XX, 1. No. 5 | IV, 4 | Der Jüngling am Bache, D 30 | An der Quelle saß der Knabe | 24/9/1812 | Текст: Шиллер (другие настройки: D 192 и 638 ) |
31 | 31 | (1888) | XIV No. 14 | I, 5 | Kyrie, D 31 | Ре минор. Кайри | 25/9/1812 | Текст: Обычная масса (другие настройки: D 24E, 45, 49, 56, 66, 105, 167, 324, 452, 678 и 950 ); для stSATB и оркестр; Первая часть мессы |
32 | 32 | (1890). (1897). (1954) | V No. 2. XXII v5 | VI, 3 No. 4 | Струнный квартет № 2 | до мажор | сентябрь – октябрь. 1812 г. | Presto (опубл. 1890 г.) - Andante - Менуэт (опубл. 1890 г., музыка частично вновь появляется в D 128 № 12) - Allegro con spirito (опубл. частично в 1897 г.) |
33 | 33 | (1940) | VIII, 2. № 38 | Упражнения по композиции, D 33 | Entra l'uomo allor che nasce | сентябрь – октябрь. 1812 г. | Текст: Metastasio из Исакко II, "Ария Абрамо"; Шесть настроек (№ 1 для s, № 2 для sa, № 3 для sat, № 4–6 для satb ) и Аллегретто (b ?) С исправлениями, внесенными Сальери | |
34 | 34 | (1940) | VIII, 2. No. 39 | Композиционные упражнения, D 34 | Te solo adoro | 11.05.1812 | Текст Metastasio, из Betulia liberata II, «Ария ди Ахиор»; Для satb ; Две версии запуска; С исправлениями Сальери | |
35 | 35 | (1940) | VIII, 2. No. 40 | Упражнения по композиции, D 35 | Serbate, o Dei custodi | октябрь – декабрь. 1812 | Текст: Метастазио, из Ла clemenza di Tito I, 5; Три настройки (№ 1 для satb, № 2 для SATB, № 3 для t и аккомпанемент); С исправлениями Сальери | |
36 | 36 | (1890) | V No. 3 | VI, 3 No. 5 | Струнный квартет No. 3 | B ♭ мажор | 19.11.1812–. 21.2.1813 | Аллегро - Анданте - Менуэт - Аллегретто |
37 | 37 | 74. (1827) | XIX. No. 1 | III, 3 No. 1 | Die Advokaten | Mein Herr, ich komm 'mich anzufragen | 25/12/1812–. 27/12/1812 | Текст по [баллам ]; Для ttb и фортепиано |
37A – 91 | 1813 | Up ↑ | ||||||
967 | 37A | VII / 2, 4 Anh.. VIII, 2 Нет. 13 | Эскизы фуги, D 37A | 1813? | Для фортепиано | |||
38 | 38 | (1892) | XIX. No. 20 | III, 4 No. 1 | Totengräberlied, D 38 | Grabe, Spaden, grabe! | 1813? | Текст от Hölty (другая настройка: D 44 ); Для ttb |
39 | 39 | (1969) | IV, 6. Anh No. 2 | Lebenstraum | Ich saß an einer Tempelhalle | начало 1810 г.? | Текст: Баумберг ; Эскиз; Музыка, относящаяся к D 1A | |
39A | VI, 9 | Три менуэта с трио, D 39A | 1813 | Для оркестра; Утрачен | ||||
41 | 41 | (1889) | XII. No. 30 | VII / 2, 6 | Тридцать менуэтов с трио, D 41 | Различные клавиши | 1813 | Для фортепиано; Сохранились №№ 1–8, 11–18 и 20–23 |
41A | VII / 2, 4 Anh. | Fugue, D 41A | E minor | 1813 | Для фортепиано; Фрагмент | |||
42 | 42 | (1895). (1969) | XX, 10. No. 570 | IV, 6 No. 5 Anh. № 3 | Ария ди Тиманте | Мисеро Парголетто | 1813? | Текст: Метастазио, из Демофунте III, 5; Для s и фортепиано; Две настройки: 1-я, не в AGA, состоящая из двух вариантных фрагментов |
43 | 43 | (1897) | XXI, 4. No. 43 | III, 4 No. 2. VIII, 2 No. 34 | Sprüche des Confucius, D 43 | Dreifach ist der Schritt der Zeit | 07.08.1813 | Текст от Шиллера (другие настройки: D 69 и 70 ); Для ttb |
44 | 44 | (1894) | XX, 1. No. 7 | IV, 6. No. 6 | Totengräberlied, D 44 | Grabe, Spaden, grabe! | 19.01.1813 | Текст: Hölty (другая настройка: D 38 ) |
45 | 45 | (1888) | XIV No. 21 | I, 5 | Kyrie, D 45 | B ♭ major. Kyrie | 1/3/1813 | Текст: Обычная масса (другие настройки: D 24E, 31, 49, 56, 66, 105, 167, 324, 452, 678 и 950 ); для SATB |
46 | 46 | (1890) | V № 4 | VI, 3 No. 6 | Струнный квартет No. 4 | До мажор | 3/3/1813–. 03.07.1813 | Adagio - Andante con moto - Менуэт - Finale |
47 | 47 | (1974) | III, 2b. Anh. No. 1 | Dithyrambe, D 47 | Nimmer, das glaubt mir, erscheinen die Götter | 29/3 / 1813 | Текст: Шиллер (другая настройка: D 801 ); Для tbSATB и фортепиано; Фрагмент | |
48 | 48 | (1871). (1888) | IX, 3. No. 32 | VII / 1, 1. No. 3 | Fantasy, D 48, также известная как Большая соната | До минор | Ап риль 1813–. 06.10.1813 | Для фортепианного дуэта; AGA включает заключительную фугу |
49 | 49 | (1888) | XIV No. 15 | I, 5 | Кайри, D 49 | Ре минор. Кайри | начало апреля. 1813–. 15/4/1813 | Текст: Обычный (другие параметры: D 24E, 31, 45, 56, 66, 105, 167, 324, 452, 678 и 950 ); Для сатбСАТБ и оркестр; Первая часть мессы |
50 | 50 | (1894) | XX, 1. No. 8 | IV, 6. No. 7 | Die Schatten | Freunde, deren Grüfte sich schon bemoosten! | 12.04.1813 | Текст: Маттиссон |
51 | 51 | (1897) | XXI, 4. Нет. 37 | III, 4 No. 3 | Unendliche Freude, D 51 | Unendliche Freude durchwallet das Herz | 15.4.1813 | Текст: Шиллер, строфа 3 из «Элизиума» (другие строфы и настройки: D 53, 54, 57, 58, 60 и 584 ); Для ttb |
52 | 52 | (1868) | XX, 1. No. 9 | IV, 2b No. 8 | Sehnsucht, D 52 | Ach, aus dieses Tales Gründen | 15/4/1813–. 17/4/1813 | Текст: Шиллер (другая настройка: D 636 ); Для b и фортепиано |
53 | 53 | (1892) | XIX. No. 9 | III, 4 No. 4 | Vorüber die stöhnende Klage | Vorüber die stöhnende Klage! | 18/4/1813 | Текст Schiller, stanza 1 из «Элизиума» (другие строфы и настройки: D 51, 54, 57, 58, 60 и 584 ); Для ttb |
54 | 54 | (1873) | XIX. No. 22 | III, 4 No. 5. VIII, 2 No. 17 | Unendliche Freude, D 54 | Unendliche Freude durchwallet das Herz | 19.4.1813 | Текст: Шиллер, строфа 3 из "Elysium" (другие строфы и настройки: D 51, 53, 57, 58, 60 и 584 ); Канон для трех мужских голосов |
55 | 55 | (1892) | XIX. No. 12 | III, 4 No. 6 | Selig durch die Liebe | Selig durch die Liebe Götter | 21/4/1813 | Текст: Шиллер, с «Триумф дер Либе»: строфа 1; Другое: D 61, 62, 63, 64, 983A ; Для ttb |
56 | 56 | (1892) | XIX. No. 29 | I, 5. VIII, 2 No. 18 | Sanctus, D 56 | B ♭ major. Sanctus | 21.04.1813 | Текст: Обычный (другие настройки: D 24E, 31, 45, 49, 66, 105, 167, 324, 452, 678 и 950 ); Канон для трех голосов; Две версии |
57 | 57 | (1897) | XXI, 4. No. 38 | III, 4 No. 7 | Hier strecket der wallende Pilger | Hier strecket der wallende Pilger | 29/4/1813 | Текст: Шиллер, строфа 4 из «Элизиума» (другие строфы и настройки: D 51, 53, 54, 58, 60 и 584 ); Для ttb |
58 | 58 | (1892) | XIX. No. 10 | III, 4 No. 8 | Dessen Fahne Donnerstürme wallte | Dessen Fahne Donnerstürme wallte | май 1813 г. | Текст Шиллер, строфа 5 из "Elysium" "(другие строфы и настройки: D 51, 53, 54, 57, 60 и 584 ); Для ttb |
59 | 59 | (1832) | XX, 1. No. 10 | IV, 6. No. 8 | Verklärung | Lebensfunke, vom Himmel entglüht | 05.04.1813 | Текст Гердера после Папы «Умирающий христианин к его душе » |
60 | 60 | (1892) | XIX. No. 11 | III, 4 No. 16 | Hier umarmen sich getreue Gatten | Hier umarmen sich getreue Gatten | 10.03.1813 | Текст: Шиллер, строфа 6 из «Элизиума» (другие строфы и настройки: D 51, 53, 54, 57, 58 и 584 ); Для ttb |
61 | 61 | (1897) | XXI, 4. No. 39 | III, 4 No. 9. VIII, 2 No. 19 | Ein jugendlicher Maienschwung | Ein jugendlicher Maienschwung | 05.08.1813 | Текст: Schiller, from "Der Triumph der Liebe": stanza 9; Other: D 55, 62, 63, 64, 983A ; Canon for three voices |
62 | 62 | (1897) | XXI, 4. No. 40 | III, 4 No. 10. VIII, 2 No. 35 | Thronend auf erhabnem Sitz | Thronend auf erhabnem Sitz | 9/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 15; Other: D 55, 61, 63, 64, 983A |
63 | 63 | (1892) | XIX. No. 13 | III, 4 No. 11 | Wer die steile Sternenbahn | Wer die steile Sternenbahn | 10/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 26; Other: D 55, 61, 62, 64, 983A ; For ttb |
64 | 64 | (1897) | XXI, 4. No. 41 | III, 4 No. 12. VIII, 2 No. 36 | Majestät'sche Sonnenroße | Majestät'sche Sonnenroße | 10/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 16; Other: D 55, 61, 62, 63, 983A ; For ttb |
65 | 65 | (1892) | XIX. Anh. I, No. 35 | III, 4. Anh. II No. 1. VIII, 2 No. 20 | Schmerz verzerret ihr Gesicht | Schmerz verzerret ihr Gesicht | 11/5/1813 | Text by Schiller, from "Gruppe aus dem Tartarus": stanza 2 (other settings: D 396 and 583 ); For ttb ; Sketch |
66 | 66 | (1888) | XIV No. 16 | I, 5 | Kyrie, D 66 | F major. Kyrie | 12/5/1813 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 105, 167, 324, 452, 678, and 950 ); For SATB and orchestra |
67 | 67 | (1897) | XXI, 4. No. 42 | III, 4 No. 13 | Frisch atmet des Morgens lebendiger Hauch | Frisch atmet des Morgens lebendiger Hauch | 15/5/1813 | Text by Schiller (other setting: D 402 ); For ttb |
68 | 68 | (1890) | V No. 5 | VI, 3 No. 7 | String Quartet No. 5 | B♭ major | 8/6/1813–. 18/8/1813 | Allegro maestoso – Allegro; Middle movements missing |
69 | 69 | (1892) | XIX. No. 23 | III, 4 No. 14. VIII, 2 No. 21 | Sprüche des Confucius, D 69 | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Schiller (other settings: D 43 and 70 ); Canon for three voices |
70 | 70 | (1974) | III, 4. Anh. I No. 1. VIII, 2 No. 33 | Sprüche des Confucius, D 70 | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Schiller (other settings: D 43 and 69 ); For ttb ; Fragment | |
71 | 71 | (1892) | XIX. No. 14 | III, 4. No. 15 | Die zwei Tugendwege | Zwei sind der Wege | 15/7/1813 | Text by Schiller ; For ttb |
71A | (1956) | I, 8. VIII, 2 No. 22 | Alleluja, D 71A | F major | July 1813? | Canon for three voices | ||
71B | VII/2, 4 Anh.. VIII, 2 No. 14 | Fugue, D 71B | E minor | July 1813 | For piano; Fragment | |||
966A | 71C | V, 6 No. 5 | Orchestral piece, D 71C | D major | Aug. or. Sep. 1813 | Fragment; First pages, a.k.a. D 74A, based on D 74 | ||
72 | 72 | (1889). (1890) | III No. 2. XXII v1 | VI, 1 No. 1. Anh. | Wind Octet | F major | completed. 18/8/1813 | Allegro (fragment, publ. in 1890) – Minuet – Allegro; Slow middle movement lost? |
73 | 73 | (1868) | XX, 1. No. 11 | IV, 4 | Thekla: Eine Geisterstimme, D 73 | Wo ich sei, und wo mich hingewendet | 22/8/1813–. 23/8/1813 | Text by Schiller (other setting: D 595 ) |
74 | 74 | (1890) | V No. 6 | VI, 4 No. 8 | String Quartet No. 6 | D major | 22/8/1813–. Sep. 1813 | Allegro ma non troppo – Andante – Minuet – Allegro |
966A | 74A | V, 6 No. 4 | Orchestral piece, D 74A | D major | Aug. or. Sep. 1813 | Fragment; Variant D number for first pages of D 71C | ||
75 | 75 | (1850) | XVI. No. 16 | III, 3 No. 18 | Trinklied, D 75 | Freunde, sammelt euch im Kreise | 29/08/1813 | Text by [scores ]; For bTTB and piano |
76 | 76 | (1871). (1969) | XX, 10. No. 571 | IV, 6 No. 9 Anh.No. 4 | Aria di Fronimo | Pensa, che questo istante | 7 and 13. Sep. 1813 | Text by Metastasio, from Alcide al bivio, 1; For b and piano; Two versions (2nd in AGA) |
77. 111 | 77 | (1831). (1894) | XX, 1. No. 12 | IV, 6. No. 10 | Der Taucher | Wer wagt es, Rittersmann oder Knapp | 17/9/1813–. early 1815 | Text by Schiller ; Two versions: 2nd, publ. in 1894, was D 111 |
78 | 78 | (1895) | XX, 10. No. 572 | IV, 6 No. 11 | Aria di Venere | Son fra l'onde | 18/9/1813 | Text by Metastasio, from Gli orti esperdi, I; For s and piano |
79 | 79 | (1889) | III No. 3 | VI, 1 No. 2 | Wind Nonet, a.k.a. Eine kleine Trauermusik or Franz Schuberts Begräbniß-Feyer | E♭ minor | 19/9/1813 | Grave con espressione |
80 | 80 | (1892) | XIX. No. 4 | III, 3 No. 2. Anh. III No. 1. Anh. IV No. 1 | Zur Namensfeier meines Vaters | Ertöne Leier zur Festesfeier! | 27/9/1813 | Text by Schubert ; For ttb and guitar |
81 | 81 | (1895) | XX, 10. No. 583 | IV, 14 | Auf den Sieg der Deutschen | Verschwunden sind die Schmerzen | fall 1813 | Text by Schubert ? (other setting: D 88 ); For voice, two violins and cello |
82 | 82 | (1884) | I, 1. No. 1 | V, 1 No. 1 | Symphony No. 1 | D major | completed. 28/10/1813 | Adagio, Allegro vivace – Andante – Minuet – Allegro vivace |
83 | 83 | (1895) | XX, 10. No. 582 | IV, 14 | Zur Namensfeier des Herrn Andreas Siller | Des Phöbus Strahlen | 28/10/1813–. 4/11/1813 | For voice, violin and harp |
84 | 84 | (1888) | XV, 1. No. 1 | II, 1 | Des Teufels Lustschloß | (Singspiel in three acts) | 30/10/1813–. 22/10/1814 | Text by Kotzebue ; Music for sssttbbbSSSATTBB and orchestra; Two versions: Overture (2nd version in AGA) – Act I (Nos. 1–11, 2nd version in AGA) – Act II (Nos. 12–17, 1st version only, in AGA) – Act III (Nos. 18–23, 1st version Nos. 21 and 23 only, 2nd version in AGA); Sketch of an orchestral piece (from 1st version of Act III?): compare D 94A |
86 | 86 | (1886) | II. No. 10 | VI, 4. Anh. No. 1. VI, 9 | Minuet, D 86 | D major | November. 1813? | For string quartet |
87 | 87 | 125p,1. (1840) | V. No. 10 | VI, 4 No. 9 | String Quartet No. 10 | E♭ major | November. 1813 | Allegro più moderato – Scherzo – Adagio – Allegro |
87A | VI, 4. Anh. No. 2 | Andante, D 87A | C major | November. 1813 | For four voices (string quartet or vocal ensemble?); Fragment | |||
88 | 88 | (1892) | XIX. No. 21 | III, 4 No. 17. VIII, 2 No. 23 | Verschwunden sind die Schmerzen | Verschwunden sind die Schmerzen | 15/11/1813 | Text by Schubert ? (other setting: D 88 ); Canon for ttb |
89. 90 | 89 | (1886) | II No. 8. and No. 9 | VI, 9 | Five Minuets and Five German Dances | Various keys | 19/11/1813 | For string quartet; Minuets have six Trios, German Dances have seven Trios and a Coda |
91 | 91 | (1956) | VII/2, 6 | Two Minuets, D 91 | Various keys | 22/11/1813 | For piano; Each minuet with two Trios | |
92–126 | 1814 | Up ↑ | ||||||
93 | 93 | (1894) | XX, 1. Nos.. 13–15 | IV, 7. Anh. No. 1 | Don Gayseros | 1. Don Gayseros,... wunderlicher, schöner Ritter – 2. Nächtens klang die süße Laute – 3. An dem jungen Morgenhimmel | 1815? | Text by Motte Fouqué, from Der Zauberring; Nos. 2 and 3 incomplete |
94 | 94 | (1871) | V No. 7 | VI, 3 No. 2 | String Quartet No. 7 | D major | 1811 or. 1812? | Allegro (partly reused in D 12 ) – Andante con moto – Minuet – Presto |
94A | II, 1. V, 6 No. 6 | Orchestral piece, D 94A | B♭ major | c.1814 | Fragment; For 1st version of D 84, Act III? | |||
94B | VI, 9 | Five Minuets and Six German Dances, D 94B | 1814 | For string quartet and two horns; Lost | ||||
95 | 95 | (1848) | XX, 1. No. 25 | IV, 7. No. 1 | Adelaide | Einsam wandelt dein Freund | 1814 | Text by Matthisson |
97 | 97 | (1894) | XX, 1. No. 19 | IV, 7. No. 2 | Trost: An Elisa | Lehnst du deine bleichgehärmte Wange | 1814 | Text by Matthisson |
98 | 98 | (1894). (1968) | XX, 1. No. 24 | IV, 7 No. 3. Anh. No. 2 | Erinnerungen, D 98 | Am Seegestad, in lauen Vollmondsnächten | fall 1814 | Text by Matthisson (other setting:); Two versions: 1st is fragment, 2nd in AGA |
99 | 99 | (1894) | XX, 1. No. 16 | IV, 7 No. 4 | Andenken, D 99 | Ich denke dein wenn durch den Hain | April 1814 | Text by Matthisson (other setting:) |
100 | 100 | (1894) | XX, 1. No. 17 | IV, 7 No. 5 | Geisternähe | Der Dämm’rung Schein durchblinkt den Hain | April 1814 | Text by Matthisson |
101 | 101 | (1894) | XX, 1. No. 18 | IV, 7 No. 6 | Erinnerung, D 101, a.k.a. Todtenopfer | Kein Rosenschimmer leuchtet | April 1814 | Text by Matthisson |
102 | 102 | (1840) | XX, 1. No. 20 | IV, 7 No. 7 | Die Betende | Laura betet! | fall 1814 | Text by Matthisson ; Partly reused in D 918 |
103 | 103 | (1939) | VI, 4. Anh. No. 3 | Quartettsatz, D 103 | C minor | 23/4/1814 | Grave, Allegro (fragment); Completed by Alfred Orel in 1st ed. | |
104 | 104 | (1895) | XX, 10. No. 584 | IV, 7 No. 8. Anh. No. 3 | Die Befreier Europas in Paris | Sie sind in Paris! | 16/5/1814 | Text by Mikan ; Two drafts and a final version |
105. 185 | 105 | (1856) | XIII, 1. No. 1 | I, 1a | Mass No. 1 | F major. Kyrie – Gloria – Credo – Sanctus Benedictus – Agnus Dei | 17/5/1814–. 22/7/1814 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 167, 324, 452, 678, and 950 ); For ssattbSATB and orchestra; 2nd setting of Dona nobis pacem was D 185 ; Partly reused in D 484 |
106 | 106 | (1888) | XIV No. 9 | I, 8 | Salve Regina, D 106 | B♭ major. Salve Regina | 28/6/1814–. 1/7/1814 | Text: Salve Regina (other settings: D 27, and); For t and orchestra |
107 | 107 | (1894). (1968) | XX, 1. No. 21 | IV, 7 No. 9 | Lied aus der Ferne | Wenn in des Abends letztem Scheine | July 1814 | Text by Matthisson ; Two versions: 1st in AGA |
108 | 108 | (1894) | XX, 1. No. 22 | IV, 7 No. 10 | Der Abend, D 108 | Purpur malt die Tannenhügel | July 1814 | Text by Matthisson |
109 | 109 | (1894) | XX, 1. No. 23 | IV, 7 No. 11 | Lied der Liebe | Durch Fichten am Hügel | July 1814 | Text by Matthisson |
110 | 110 | (1891) | XVI. No. 43 | III, 1 | Wer ist groß? | Wer ist wohl groß? | 24/7/1814–. 25/7/1814 | For bTTBB and orchestra |
111 | 77 | See D 77 | ||||||
111A | VI, 6. Anh. No. 1 | String Trio, D 111A | B♭ major | 5/9/1814–. 13/9/1814 | Allegro (fragment); early version of D 112 | |||
112 | 112 | 168p. (1863) | V No. 8 | VI, 4. No. 10 | String Quartet No. 8 | B♭ major | 5/9/1814–. 13/9/1814 | Allegro ma non troppo – Andante sostenuto – Minuet – Presto; Based on D 111A |
113 | 113 | 58,2. (1821). (1826). (1894) | XX, 1. No. 26 | IV, 3 | An Emma | Weit in nebelgrauer Ferne | 17/9/1814 | Text by Schiller ; Three versions: 2nd publ. in 1821 – 3rd is Op. 58 No. 2 |
114 | 114 | (1868). (1901) | XX, 1. No. 27 | IV, 7 No. 12. Anh. No. 4 | Romanze, D 114 | Ein Fräulein klagt' im finstern Turm | September. 1814 | Text by Matthisson ; Two versions: 2nd in AGA |
115 | 115 | (1840) | XX, 1. No. 28 | IV, 7 No. 13 | An Laura, als sie Klopstocks Auferstehungslied sang | Herzen, die gen Himmel sich erheben | 2/10/1814–. 7/10/1814 | Text by Matthisson |
116 | 116 | (1840) | XX, 1. No. 29 | IV, 7 No. 14 | Der Geistertanz, D 116 | Die bretterne Kammer der Toten erbebt | 14/10/1814 | Text by Matthisson (other settings: D 15, 15A and 494 ) |
117 | 117 | (1894) | XX, 1. No. 30 | IV, 8. No. 45 | Das Mädchen aus der Fremde, D 117 | In einem Tal bei armen Hirten | 16/10/1814 | Text by Schiller (other setting: D 252 ) |
118 | 118 | 2. (1821) | XX, 1. No. 31 | IV, 1a | Gretchen am Spinnrade | Meine Ruh' ist hin | 19/10/1814 | Text by Goethe, from Faust I, 15 |
119 | 119 | (1850) | XX, 1. No. 32 | IV, 7 No. 15 | Nachtgesang, D 119 | O! gib vom weichen Pfühle | 30/11/1814 | Text by Goethe |
120 | 120 | (1835) | XX, 1. No. 33 | IV, 7 No. 16 | Trost in Tränen | Wie kommt's, daß du so traurig bist | 30/11/1814 | Text by Goethe |
121 | 121 | 3,1. (1821). (1894) | XX, 1. No. 34 | IV, 1a. b No. 2 | Schäfers Klagelied | Da droben auf jenem Berge | 30/11/1814–. 28/2/1819? | Text by Goethe ; Two versions: 1st is Op. 3 No. 1 – 2nd composed for 28/2/1819? |
122 | 122 | (1872) | XX, 1. No. 38 | IV, 7 No. 17 | Ammenlied | Am hohen, hohen Turm | early Dec.. 1814 | Text by [scores ] |
123 | 123 | (1842) | XX, 1. No. 35 | IV, 7 No. 18 | Sehnsucht, D 123 | Was zieht mir das Herz so? | 3/12/1814 | Text by Goethe |
124 | 124 | (1885). (1894). (1968) | XX, 1. No. 36 | IV, 7 No. 19. Anh. No. 7 | Am See, D 124 | Sitz' ich im Gras am glatten See | 3/12/1814–. 7/12/1814 | Text by Mayrhofer ; Two versions: 1st is fragment – 2nd, modified in 1885 publ., in AGA |
125 | 125 | (1884) | I, 1. No. 2 | V, 1 No. 2 | Symphony No. 2 | B♭ major | 10/12/1814–. 24/3/1815 | Largo, Allegro vivace – Andante – Minuet – Presto vivace |
126 | 126 | (1832). (1873) | XX, 1. No. 37 | IV, 7 No. 20. Anh. No. 8 | Scene from Faust | Wie anders, Gretchen, war dir's | early Dec.–. 12/12/1814 | Text by Goethe, from Faust I, 20; Two versions: 2nd, publ. in 1832, in AGA |
127–330 | 1815 | Up ↑ | ||||||
128 | 128 | (1897) | XXI, 3. No. 23 | VII/2, 6 | Twelve Viennese German Dances | Various keys | 1812? | For piano; Includes introduction; No. 12 related to D 32 |
129 | 129 | (1892) | XIX. No. 16 | III, 4 No. 18 | Mailied, D 129 | Grüner wird die Au | 1815? | Text by Hölty (other settings: D 199 and 503 ); For ttb |
130 | 130 | (1892) | XIX. No. 25 | III, 4 No. 19. VIII, 2 No. 24 | Der Schnee Zerrinnt | Der Schnee Zerrinnt | 1815? | Text by Hölty (other setting: D 202 ); Canon for three voices |
131 | 131 | (1892) | XIX. No. 28 | III, 4 No. 20. VIII, 2 No. 26 | Lacrimoso son io | Lacrimoso son io | 1815? | Canon for three voices; Two versions: 2nd is "Lacrimosa son io" |
134 | 134 | 126p. (1830) | XX, 2. No. 99 | IV, 7 No. 21 | Ballade | Ein Fräulein schaut vom hohen Turm | 1815? | Text by Kenner |
135 | 135 | (1930) | VII/2, 6 | German Dance with Trio, D 135 | E major | 1815 | For piano; Variant of D 146 No. 3 (other Trio) | |
136 | 136 | 46. (1825) | XIV No. 1 | I, 8 | Offertory, D 136, a.k.a. Offertory No. 1 | Totus in corde langueo. C major | 1815? | For s or t, clarinet or violin, and orchestra |
137 | 137 | (1893) | XV, 7. No. 14 | II, 12 | Adrast | (Singspiel) | fall 1819–. early. 1820 | Text by Mayrhofer ; For stbTTBB and orchestra; Nos. 1–8 complete (abandoned variants for some numbers, Nos. 1–7 in AGA) and sketches and fragments for six further numbers; Overture: D 648 ? |
138 | 138 | 5,1. (1821). (1970) | XX, 3. No. 177 | IV, 1a. b No. 6 | Rastlose Liebe | Dem Schnee, dem Regen, dem Wind entgegen | 19/5/1815–. May 1821 | Text by Goethe ; Two versions: 1st, in AGA, is Op. 5 No. 1 |
139 | 139 | (1930) | VII/2, 6 | German Dance with Trio, D 139 | C♯ major (Trio in A major) | 1815 | For piano | |
140 | 140 | (1850) | XVIII. No. 6 | III, 3 No. 3 | Klage um Ali Bey, D 140 | Laßt mich! laßt mich! ich will klagen | 1815 | Text by Claudius (other setting: D 496A ); For ttb (and piano?) |
141 | 141 | 131p,1. (1830) | XX, 2. No. 43 | IV, 7 No. 23 | Der Mondabend | Rein und freundlich lacht der Himmel | 1815 | Text by [de ] |
142 | 142 | 92,3. (1828). (1885). (1895) | XX, 3. No. 174 | IV, 5 | Geistes-Gruß | Hoch auf dem alten Turme steht | before. Apr. 1816–. after. Nov. 1821 | Text by Goethe ; Six versions: 2nd publ. in 1885 – 3rd and 5th not in AGA – 6th is Op. 92 No. 3 |
143 | 143 | 109p,2. (1829) | XX, 3. No. 181 | IV, 7 No. 24 | Genügsamkeit | Dort raget ein Berg aus den Wolken her | 1815 | Text by Schober ; Intro in 1st ed. not by Schubert |
144 | 144 | (1895) | XXII, 11. No. 209 | IV, 7. Anh. No. 9 | Romanze, D 144 | In der Väter Hallen ruhte | April 1816 | Text by Stolberg-Stolberg ; Fragment |
145 | 145 | 18. (1823) | XII. No. 2 | VII/2, 6. 7a | 12 Waltzes, 17 Ländler and 9 Écossaises, D 145 | Various keys | c.1815–. July 1821 | For piano; Waltz No. 7 ≈ No. 2; Écossaises Nos. 5 and 6 identical to No. 1 and No. 5 |
146 | 146 | 127p. (1824). (1830) | XII. No. 8 | VII/2, 6. 7a | 20 Waltzes, D 146, a.k.a. Letzte Walzer | Various keys | 1815–. Feb. 1823 | For piano; No. 2 publ. in 1824, all 20 as Op. posth. 127 in 1830 |
147 | 147 | (1892) | XIX. No. 15 | III, 4 No. 21 | Bardengesang | Rolle, du strömigter Carun | 20/1/1816? | Text by Macpherson (Ossian ), from Comala, transl. by E. Baron de Harold |
148 | 148 | 131p,2. (1830) | XIX. No. 8 | III, 3 No. 4 | Trinklied, D 148 | Brüder! unser Erdenwallen | February. 1815 | Text by Castelli ; For tTTB and piano |
149 | 149 | 117p. (1829). (1894) | XX, 2. No. 45 | IV, 7 No. 25 | Der Sänger | Was hör' ich draußen vor dem Tür | February. 1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship ; Two versions: 2nd is Op. posth. 117, AGA switches 1st and 2nd |
150 | 150 | (1830) | XX, 2. No. 44 | IV, 7 No. 26 | Lodas Gespenst | Der bleiche, kalte Mond erhob sich im Osten | 17/1/1816 | Text by Macpherson (Ossian ), from Carric-thura, transl. by E. Baron de Harold; 1st ed. replaces end by music from |
151 | 151 | (1850) | XX, 2. No. 39 | IV, 7 No. 27 | Auf einen Kirchhof | Sei gegrüßt, geweihte Stille | 2/2/1815 | Text by [de ] |
152 | 152 | (1894) | XX, 2. No. 40 | IV, 7 No. 28 | Minona | Wie treiben die Wolken so finster und schwer | 8/2/1815 | Text by [scores ] |
153 | 153 | (1845) | XX, 2. No. 41 | IV, 7 No. 29 | Als ich sie erröten sah | All mein Wirken, all mein Leben | 10/2/1815 | Text by [scores ] |
154 | 154 | (1897) | XXI, 2. No. 8 | VII/2, 1. Anh. No. 1 | Piano Sonata, D 154 | E major | 11/2/1815 | Allegro (fragment); Partly reused in D 157 |
155 | 155 | 165p,3. (1862) | XX, 2. No. 42 | IV, 7 No. 30 | Das Bild | Ein Mädchen ist's | 10/2/1815 | |
156 | 156 | (1887) | XI No. 6 | VII/2, 4. Anh. | Ten Variations, D 156 | F major | completed. 15/2/1815 | For piano; Variant of Theme and Var. II |
157 | 157 | (1888) | X No. 1 | VII/2, 1. No. 1 | Piano Sonata, D 157 | E major | started. 18/2/1815 | Allegro ma non troppo (partly reuses D 154 ) – Andante – Minuet |
158 | 158 | (1889) | XII. No. 29 | VII/2, 6 | Écossaise, D 158 | D minor – F major | 21/2/1815 | For piano |
159 | 159 | 116p. (1829). (1968) | XX, 2. No. 46 | IV, 7 No. 31 | Die Erwartung | Hör' ich das Pförtchen nicht gehen? | May 1816 | Text by Schiller ; Two versions: 2nd, in AGA, is Op. posth. 116 |
160 | 160 | (1894) | XX, 2. No. 47 | IV, 13 | Am Flusse, D 160 | Verfließet, vielgeliebte Lieder | 27/2/1815 | Text by Goethe (other setting: D 766 ) |
161 | 161 | 19,2. (1825). (1894) | XX, 2. No. 48 | IV, 1a. b No. 14 | An Mignon | Über Tal und Fluß getragen | 27/2/1815 | Text by Goethe ; Two versions: 2nd is Op. 19 No. 2 |
162 | 162 | 5,2. (1821). (1894) | XX, 2. No. 49 | IV, 1a. Anh. No. 2 | Nähe des Geliebten | Ich denke dein, wenn mir der Sonne Schimmer | 27/2/1815 | Text by Goethe ; Two versions: 2nd is Op. 5 No. 2 |
163 | 163 | (1894) | XX, 2. No. 50 | IV, 8. No. 1 | Sängers Morgenlied, D 163 | Süßes Licht! Aus goldnen Pforten | 27/2/1815 | Text by Körner (other setting: D 165 ) |
164 | 164 | IV, 8. Anh. No. 1 | Liebesrausch, D 164 | Glanz des Guten und des Schönen strahlt mir dein hohes Bild | March 1815 | Text by Körner (other setting: D 179 ); Fragment | ||
165 | 165 | (1872) | XX, 2. No. 51 | IV, 8. No. 2 | Sängers Morgenlied, D 165 | Süßes Licht! Aus goldnen Pforten | 1/3/1815 | Text by Körner (other setting: D 163 ) |
166 | 166 | (1894) | XX, 2. No. 52 | IV, 8. No. 3 | Amphiaraos | Vor Thebens siebenfach gähnenden Toren | 1/3/1815 | Text by Körner |
167 | 167 | (1846) | XIII, 1. No. 2 | I, 1b | Mass No. 2 | G major. Kyrie – Gloria – Credo – Sanctus Benedictus – Agnus Dei | 2/3/1815–. 7/3/1815 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 324, 452, 678, and 950 ); For stbSATB and orchestra; Tr and Ti added by Ferd. Schubert ; R. Führer as composer in 1st publ. |
168 | 168 | (1872) | XVII. No. 16 | III, 2a. No. 2 | Nun laßt uns den Leib begraben, a.k.a. Begräbnislied | Begrabt den Leib in seiner Gruft | 9/3/1815 | Text by Klopstock ; For SATB and piano |
987 | 168A | (1872) | XVII. No. 17 | III, 2a. No. 3 | Jesus Christus unser Heiland, der den Tod überwand, a.k.a. Osterlied | Überwunden hat der Herr den Tod! | 9/3/1815 | Text by Klopstock ; For SATB and piano |
169 | 169 | (1894) | XX, 2. No. 53 | III, 3 No. 10. Anh. I No. 1 | Trinklied vor der Schlacht | Schlacht, du brichst an! | 12/3/1815 | Text by Körner ; For double unison choir and piano |
170 | 170 | (1873) | XX, 2. No. 54 | III, 3 No. 11 | Schwertlied | Du Schwert an meiner Linken | 12/3/1815 | Text by Körner ; For voice, unison choir and piano |
171 | 171 | (1831) | XX, 2. No. 55 | IV, 8. No. 4 | Gebet während der Schlacht | Vater, ich rufe dich! | 12/3/1815 | Text by Körner |
172 | 172 | IV, 8. Anh. No. 3 | Der Morgenstern, D 172 | Stern der Liebe, Glanzgebilde | 12/3/1815 | Text by Körner (other setting: D 203 ); Fragment | ||
173 | 173 | (1871) | V No. 9 | VI, 4. No. 11 | String Quartet No. 9 | G minor | 25/3/1815–. 1/4/1815 | Allegro con brio – Andantino – Minuet – Allegro |
174 | 174 | (1845) | XX, 2. No. 56 | IV, 8. No. 5 | Das war ich, D 174 | Jüngst träumte mir | 26/3/1815 | Text by Körner ; D. 174 used to include Das war ich, D deest |
174 | deest | (1894) | XXII, 11. No. 56 | IV, 8. Anh. No. 2 | Das war ich, D deest | June 1816 | Fragment; Music without text, title identical to D 174 | |
175 | 175 | (1888) | XIV. No. 12 | I, 9. No. 1 | Stabat Mater, D 175 | G minor. Stabat Mater dolorosa | 4/4/1815–. 6/4/1815 | For SATB and orchestra |
176 | 176 | (1872) | XX, 2. No. 57 | IV, 8. No. 6 | Die Sterne, D 176 | Was funkelt ihr so mild mich an | 6/4/1815 | Text by [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 Bernard |
177A | VIII, 3 | Am ersten Mai | Ich ging mit ihr im Freien | before. 1821 | Text by Bernard ; Music lost; Spurious? | |||
178 | 178 | (1897) | XXI, 3. No. 22 | VII/2, 4. Anh. | Adagio in G major, D 178 | G major | 8/4/1815 | For piano; Two versions: 2nd is a fragment |
179 | 179 | (1872) | XX, 2. No. 59 | IV, 8. No. 8 | Liebesrausch, D 179 | Dir, Mädchen, schlägt mit leisem Beben | 8/4/1815 | Text by Körner ; (other setting: D 164 ) |
180 | 180 | (1894) | XX, 2. No. 60 | IV, 8. No. 9 | Sehnsucht der Liebe | Wie die Nacht mit heil'gem Beben | 8/4/1815 | Text by Körner |
181 | 181 | (1888) | XIV No. 4 | I, 9. No. 2 | Offertory, D 181 | Tres sunt, qui testimonium dant in coelo. A minor | 10/4/1815–. 11/4/1815 | For SATB and orchestra |
182 | 182 | (1842) | XX, 2. No. 61 | IV, 8. No. 10 | Die erste Liebe | Die erste Liebe füllt das Herz | 12/4/1815 | Text by [wikisource:de ] |
183 | 183 | (1887) | XX, 2. No. 62 | III, 3 No. 12 | Trinklied, D 183 | Ihr Freunde und du, gold'ner Wein | 12/4/1815 | Text by [wikisource:de ]; For voice, unison choir and piano |
184 | 184 | 150p. (1843) | XIV No. 5 | I, 9. No. 3 | Gradual, D 184 | Benedictus es, Domine. C major | 15/4/1815–. 17/4/1815 | For SATB and orchestra |
185 | 105 | See D 105 | ||||||
186 | 186 | (1894) | XX, 2. No. 65 | IV, 8. No. 11 | Die Sterbende | Heil! dies ist die letze Zähre | May 1815 | Text by Matthisson |
187 | 187 | (1894) | XX, 2. No. 63 | IV, 10 | Stimme der Liebe, D 187 | Abendgewölke schweben hell | May 1815 | Text by Matthisson (other setting: D 418 ) |
188 | 188 | (1887) | XX, 2. No. 64 | IV, 8. No. 12 | Naturgenuß, D 188 | Im Abendschimmer wallt der Quell | May 1815 | Text by Matthisson (other setting: D 422 ) |
189 | 189 | 111p,1. (1829) | XX, 2. No. 66 | III, 3 No. 13 | An die Freude | Freude, schöner Götterfunken | May 1815 | Text by Schiller ; For voice, unison choir and piano |
190 | 190 | (1888) | XV, 2. No. 2 | II, 2. IV, 14 | Der vierjährige Posten | (Singspiel in one act). Includes: 5. Gott! Gott! höre meine Stimme | 8/5/1815–. 19/5/1815 | Text by Körner ; Music for stttbSATB and orchestra; Overture – Nos. 1–8 (No. 5 also for voice and piano) |
191 | 191 | 58,3. (1826). (1894) | XX, 2. No. 67 | IV, 3 | Des Mädchens Klage, D 191 | Der Eichwald brauset | 15/5/1815 | Text by Schiller, from Wallenstein : Die Piccolomini III, 7 (other settings: D 6 and 389 ); Two versions: 2nd is Op. 58 No. 3 |
192 | 192 | (1887) | XX, 2. No. 68 | IV, 4 | Der Jüngling am Bache, D 192 | An der Quelle saß der Knabe | 15/5/1815 | Text by Schiller (other settings: D 30 and 638 ) |
193 | 193 | 57,3. (1826) | XX, 2. No. 69 | IV, 3 | An den Mond, D 193 | Geuß, lieber Mond, geuß deine Silberflimmer | 17/5/1815 | Text by Hölty ; Autograph without piano intro |
194 | 194 | (1894) | XX, 2. No. 70 | IV, 8. No. 13 | Die Mainacht | Wann der silberne Mond | 17/5/1815 | Text by Hölty |
195 | 195 | 173p,1. (1867) | XX, 2. No. 71 | IV, 8. No. 14 | Amalia | Schön wie Engel voll Walhallas Wonne | 19/5/1815 | Text by Schiller, from Die Räuber III, 1 |
196 | 196 | 172p,3. (1865) | XX, 2. No. 72 | IV, 8. No. 15 | An die Nachtigall | Geuß nicht so laut der liebentflammten Lieder | 22/5/1815 | Text by Hölty |
197 | 197 | (1850) | XX, 2. No. 73 | IV, 8. No. 16 | An die Apfelbäume, wo ich Julien erblickte | Ein heilig Säuseln und ein Gesangeston | 22/5/1815 | Text by Hölty |
198 | 198 | (1894) | XX, 2. No. 74 | IV, 8. No. 17 | Seufzer | Die Nachtigall singt überall | 22/5/1815 | Text by Hölty |
199 | 199 | (1885) | XIX. No. 30 | III, 4. No. 22 | Mailied, D 199 | Grüner wird die Au | 24/5/1815 | Text by Hölty (other settings: D 129 and 503 ); For two voices or two horns |
200 | 200 | (1884) | I, 1. No. 3 | V, 1. No. 3 | Symphony No. 3 | D major | 24/5/1815–. 19/6/1815 | Adagio maestoso, Allegro con brio – Allegretto – Minuet – Presto vivace |
201 | 201 | (1970) | IV, 10 | Auf den Tod einer Nachtigall, D 201 | Sie ist dahin, die Maienlieder tönte | 25/5/1815 | Text by Hölty (other setting: D 399 ); Fragment | |
202 | 202 | (1885) | XIX. No. 31 | III, 4. No. 23 | Mailied, D 202 | Der Schnee Zerrinnt | 26/5/1815 | Text by Hölty (other setting: D 130 ); For two voices or two horns |
203 | 203 | (1892) | XIX. No. 32 | III, 4. No. 24 | Der Morgenstern, D 203 | Stern der Liebe, Glanzgebilde | 26/5/1815 | Text by Körner (other setting: D 172 ); For two voices or two horns |
204 | 204 | (1892) | XIX. No. 33 | III, 4. No. 25 | Jägerlied | Frisch auf, ihr Jäger | 26/5/1815 | Text by Körner ; For two voices or two horns |
204A | IV, 8. Anh. No. 4 | Das Traumbild | May 1815 | Text by Hölty ; Music lost | ||||
205 | 205 | (1892) | XIX. No. 34 | III, 4. No. 26 | Lützows wilde Jagd | Was glänzt dort vom Walde im Sonnenschein? | 26/5/1815 | Text by Körner ; For two voices or two horns |
206 | 206 | (1872) | XX, 2. No. 75 | IV, 8. No. 18 | Liebeständelei | Süßes Liebchen | 26/5/1815 | Text by Körner |
207 | 207 | (1894) | XX, 2. No. 76 | IV, 8. No. 19 | Der Liebende | Beglückt, beglückt | 29/5/1815 | Text by Hölty |
208. 212 | 208 | (1895). (1897) | XX, 2. No. 77 ;. XXII, 11. No. 77 | IV, 8 No. 20 Anh. No. 5 | Die Nonne | Es liebt' in Welschland irgendwo | 29/5/1815 | Text by Hölty, from Balladen, No. 5; Two versions: 1st is fragment, incomplete in AGA – 2nd was D 212 |
209 | 209 | 38. (1825) | XX, 2. No. 98 | IV, 2a | Der Liedler | Gib, Schwester, mir die Harf herab | January 1815 | Text by Kenner |
210 | 210 | (1838) | XX, 2. No. 78 | IV, 8 No. 21 | Die Liebe, D 210, a.k.a. Klärchens Lied | Freudvoll und leidvoll | 3/6/1815 | Text by Goethe, from Egmont, Act III, Scene 2, Clärchen's song |
211 | 211 | (1894) | XX, 2. No. 79 | IV, 8 No. 22 | Adelwold und Emma | Hoch und ehern schier von Dauer | 5/6/1815–. 14/6/1815 | Text by [scores ] |
212 | 208 | See D 208 | ||||||
213 | 213 | 172p,1. (1865) | XX, 2. No. 80 | IV, 8 No. 23 | Der Traum | Mir träumt', ich war ein Vögelein | 17/6/1815 | Text by Hölty, from Balladen, No. 6 |
214 | 214 | 172p,2. (1865) | XX, 2. No. 81 | IV, 8 No. 24 | Die Laube | Nimmer werd' ich, nimmer dein vergessen | 17/6/1815 | Text by Hölty |
215 | 215 | (1906) | IV, 1b No. 4 | Jägers Abendlied, D 215 | Im Felde schleich ich, still und wild | 20/6/1815 | Text by Goethe (other setting:) | |
216 | 215A | (1952) | IV, 1a. b No. 3 | Meeres Stille, D 215A | Tiefe Stille herrscht im Wasser | 20/6/1815 | Text by Goethe (other setting:) | |
216 | 216 | 3,2. (1821) | XX, 2. No. 82 | IV, 1a | Meeres Stille, D 216 | Tiefe Stille herrscht im Wasser | 21/6/1815 | Text by Goethe (other setting:) |
217 | 217 | (1830) | XX, 2. No. 83 | IV, 8 No. 25 | Kolmas Klage | Rund um mich Nacht | 22/6/1815 | Text by Macpherson (Ossian ), from The Songs of Selma (transl.) |
218 | 218 | (1848) | XX, 2. No. 84 | IV, 8 No. 26 | Grablied | Er fiel den Tod für's Vaterland | 24/6/1815 | Text by Kenner |
219 | 219 | (1848) | XX, 2. No. 85 | IV, 8 No. 27 | Das Finden | Ich hab ein Mädchen funden | 25/6/1815 | Text by Kosegarten |
220 | 220 | (1888) | XV, 2. No. 3 | II, 2 | Fernando | (Singspiel in one act) | Jun. 1815–. 9/7/1815 | Text by [scores ]; Music for sstbb and orchestra; Nos. 1–7 |
221 | 221 | 118p,2. (1829) | XX, 2. No. 95 | IV, 8 No. 28 | Der Abend, D 221 | Der Abend blüht, Temora glüht | 15/7/1815 | Text by Kosegarten |
222 | 222 | (1885) | XX, 2. No. 86 | IV, 8 No. 29 | Lieb Minna: Romanze | Schwüler Hauch weht mir herüber | 2/7/1815 | Text by [scores ] |
223 | 223 | 47. (1825) | XIV No. 2 | I, 8 | Salve Regina, D 223, a.k.a. Offertory No. 2 | F major. Salve Regina | 5/7/1815. 28/1/1823 | Text: Salve Regina (other settings: D 27, 106, and); For s and orchestra; Two versions: 2nd, in AGA, is Op. 47 |
224 | 224 | 4,3. (1821) | XX, 2. No. 87 | IV, 1a | Wandrers Nachtlied, D 224 | Der du von dem Himmel bist | 5/7/1815 | Text by Goethe |
225 | 225 | 5,3. (1821). (1970) | XX, 2. No. 88 | IV, 1a. b No. 7 | Der Fischer | Das Wasser rauscht', das Wasser schwoll | 5/7/1815 | Text by Goethe ; Two versions: 2nd, in AGA, is Op. 5 No. 3 |
226 | 226 | 5,4. (1821) | XX, 2. No. 89 | IV, 1a | Erster Verlust | Ach, wer bringt die schönen Tage | 5/7/1815 | Text by Goethe |
227 | 227 | (1885) | XX, 2. No. 90 | IV, 8 No. 30 | Idens Nachtgesang | Vernimm es Nacht, was Ida dir vertrauet | 7/7/1815 | Text by Kosegarten |
228 | 228 | (1894) | XX, 2. No. 91 | IV, 8 No. 31 | Von Ida | Der Morgen blüht, der Osten glüht | 7/7/1815 | Text by Kosegarten |
229 | 229 | 108,3. (1824) | XX, 2. No. 92 | IV, 5 | Die Erscheinung, a.k.a. Erinnerung, D 229 | Ich lag auf grünen Matten | 7/7/1815 | Text by Kosegarten ; Publ. as Op. 108 No. 3 in 1829 |
230 | 230 | 165p,4. (1855) | XX, 2. No. 93 | IV, 8 No. 32 | Die Täuschung | Im Erlenbusch, im Tannenhain | 7/7/1815 | Text by Kosegarten ; Publ. as Op. posth. 165 No. 4 in 1862 |
231 | 231 | 172p,4. (1865) | XX, 2. No. 94 | IV, 8 No. 33 | Das Sehnen | Wehmut, die mich hüllt | 8/7/1815 | Text by Kosegarten |
232 | 232 | 112p,3. (1829) | XVII. No. 8 | III, 2a No. 6. 2b Anh. No. 2 | Hymne an den Unendlichen | Zwischen Himmel und Erd' | 11/7/1815 | Text by Schiller ; For satb and piano |
233 | 233 | 118p,1. (1829) | XX, 2. No. 96 | IV, 8 No. 34 | Geist der Liebe, D 233 | Wer bist du, Geist der Liebe | 15/7/1815 | Text by Kosegarten |
234 | 234 | 118p,3. (1829) | XX, 2. No. 97 | IV, 8 No. 35 | Tischlied | Mich ergreift, ich weiß nicht wie | 15/7/1815 | Text by Goethe |
235 | 235 | (1894) | XX, 2. No. 100 | IV, 8 No. 36 | Abends unter der Linde, D 235 | Woher, o namenloses Sehnen | 24/7/1815 | Text by Kosegarten (other setting:) |
236 | 236 | (1892) | XIX. No. 6 | III, 2a. No. 7 | Das Abendrot, D 236 | Der Abend blüht, der Westen glüht! | 20/7/1815 | Text by Kosegarten ; for ssb and piano |
237 | 237 | (1872) | XX, 2. No. 101 | IV, 8 No. 37 | Abends unter der Linde, D 237 | Woher, o namenloses Sehnen | 25/7/1815 | Text by Kosegarten (other setting:) |
238 | 238 | (1894) | XX, 2. No. 102 | IV, 8 No. 38 | Die Mondnacht | Siehe, wie die Mondesstrahlen | 25/7/1815 | Text by Kosegarten |
239 | 239 | (1893) | XV, 7. No. 11 | II, 14 | Claudine von Villa Bella | (Singspiel in three acts) | started. 26/7/1815 | Text by Goethe ; For ssttbbSATB and orchestra; Overture (in AGA) – Nos. 1–8 (Act I, in AGA) – No. 9 (fragment from Act II) – No. 10 (fragment from Act III); Other music lost |
240 | 240 | (1894) | XX, 2. No. 103 | IV, 8 No. 39 | Huldigung | Ganz verloren, ganz versunken | 27/7/1815 | Text by Kosegarten |
241 | 241 | (1894) | XX, 2. No. 104 | IV, 8 No. 40 | Alles um Liebe | Was ist es, das die Seele füllt? | 27/7/1815 | Text by Kosegarten |
242 | 242 | (1892) | XIX. No. 18 | III, 4. No. 27 | Trinklied im Winter, a.k.a. Winterlied, D 242 | Das Glas gefüllt! | August. 1815? | Text by Hölty (other setting:); For ttb |
242A | IV, 8. No. 41 | Winterabend, D 242A, a.k.a. Winterlied | Das Glas gefüllt! | 1815? | Text by Hölty (other setting:) | |||
243 | 243 | (1892) | XIX. No. 19 | III, 4. No. 28 | Frühlingslied, D 243 | Die Luft ist blau | August. 1815? | Text by Hölty (other setting:); For ttb |
244 | 244 | (1892) | XIX. No. 27 | III, 4 No. 29. VIII, 2 No. 25 | Willkommen, lieber schöner Mai | Willkommen, lieber schöner Mai | August. 1815? | Text by Hölty ; Canon for three voices in two sections |
245 | 587 | See | ||||||
246 | 246 | (1830) | XX, 3. No. 109 | IV, 8. No. 42 | Die Bürgschaft, D 246 | Zu Dionys, dem Tyrannen | August. 1815 | Text by Schiller ; Partly reused in D 435 |
247 | 247 | 118p,6. (1829) | XX, 3. No. 119 | IV, 8. No. 43 | Die Spinnerin | Als ich still und ruhig spann | August. 1815 | Text by Goethe |
248 | 248 | 118p,4. (1829) | XX, 3. No. 135 | IV, 8. No. 44 | Lob des Tokayers | O köstlicher Tokayer, o königlicher Wein | August. 1815 | Text by Baumberg |
249 | 249 | III, 2b. Anh. No. 4a | Die Schlacht, D 249 | Schwer und dumpfig | 1/8/1815 | Text by Schiller (other setting:); Sketch | ||
250 | 250 | (1872) | XX, 3. No. 105 | IV, 13 | Das Geheimnis, D 250 | Sie konnte mir kein Wörtchen sagen | 7/8/1815 | Text by Schiller (other setting:) |
251 | 251 | (1872) | XX, 3. No. 106 | IV, 4 | Hoffnung, D 251 | Es reden und träumen die Menschen viel | 7/8/1815 | Text by Schiller (other setting:) |
252 | 252 | (1887) | XX, 3. No. 108 | IV, 8. No. 46 | Das Mädchen aus der Fremde, D 252 | In einem Tal bei armen Hirten | 12/8/1815 | Text by Schiller (other setting: D 117 ) |
253 | 253 | (1887) | XX, 3. No. 110 | III, 4 No. 30. IV, 8 No. 47 | Punschlied: Im Norden zu singen | Auf der Berge freien Höhen | 18/8/1815 | Text by Schiller ; Two versions: 2nd for two voices |
254 | 254 | (1887) | XX, 3. No. 111 | IV, 8. No. 48 | Der Gott und die Bajadere | Mahadöh, der Herr der Erde | 18/8/1815 | Text by Goethe |
255 | 255 | (1850) | XX, 3. No. 112 | IV, 8. No. 49 | Der Rattenfänger | Ich bin der wohlbekannte Sänger | 19/8/1815 | Text by Goethe |
256 | 256 | (1887) | XX, 3. No. 113 | IV, 8. No. 50 | Der Schatzgräber | Arm am Beutel, krank am Herzen | 19/8/1815 | Text by Goethe |
257 | 257 | 3,3. (1821) | XX, 3. No. 114 | IV, 1a | Heidenröslein | Sah ein Knab' ein Röslein stehn | 19/8/1815 | Text by Goethe |
258 | 258 | (1887) | XX, 3. No. 115 | IV, 8. No. 51 | Bundeslied | In allen guten Stunden | 19/8/1815 | Text by Goethe |
259 | 259 | (1850) | XX, 3. No. 116 | IV, 9 No. 27 | An den Mond, D 259 | Füllest wieder Busch und Tal | 19/8/1815 | Text by Goethe (other setting:) |
260 | 260 | 115p,2. (1829) | XX, 3. No. 117 | IV, 8. No. 52 | Wonne der Wehmut | Trocknet nicht, trocknet nicht | 20/8/1815 | Text by Goethe ; Reused in D |
261 | 261 | (1850) | XX, 3. No. 118 | IV, 8. No. 53 | Wer kauft Liebesgötter? | Von allen schönen Waren | 21/8/1815 | Text by Goethe, from Der Zauberflöte zweiter Teil |
262 | 262 | (1895) | XX, 3. No. 134 | IV, 9 No. 1 | Die Fröhlichkeit | Wess' Adern leichtes Blut durchspringt | 22/8/1815 | Text by [de ] |
263 | 263 | (1848) | XX, 3. No. 123 | IV, 9 No. 2 | Cora an die Sonne | Nach so vielen trüben Tagen | 22/8/1815 | Text by Baumberg |
264 | 264 | (1850). (1872) | XX, 3. No. 124 | IV, 9 No. 3 | Der Morgenkuß | Durch eine ganze Nacht sich nah zu sein | 22/8/1815 | Text by Baumberg ; Two versions: 2nd, publ. in 1850, in AGA |
265 | 265 | (1895) | XX, 3. No. 125 | IV, 9 No. 4 | Abendständchen: An Lina | Sei sanft wie ihre Seele | 23/8/1815 | Text by Baumberg |
266 | 266 | (1895) | XX, 3. No. 126 | IV, 9 No. 5 | Morgenlied, D 266 | Willkommen, rotes Morgenlicht! | 24/8/1815 | Text by Stolberg-Stolberg |
267 | 267 | (1872) | XVI. No. 17 | III, 3 No. 19 | Trinklied, D 267 | Auf! Jeder sei nun froh und sorgenfrei! | 25/8/1815 | For ttbb and piano |
268 | 268 | (1872) | XVI. No. 18 | III, 3 No. 20 | Bergknappenlied | Hinab, ihr Brüder, in den Schacht! | 25/8/1815 | For ttbb and piano |
269 | 269 | (1848) | XVIII. No. 5 | III, 3 No. 5. Anh. IV No. 2 | Das Leben | Das Leben ist ein Traum | 25/8/1815 | Text by [scores ]; Two versions: 1st for tbb and piano – 2nd, in AGA, for ssa and piano |
270 | 270 | 118p,5. (1829) | XX, 3. No. 127 | IV, 9 No. 6 | An die Sonne, D 270 | Sinke, liebe Sonne | 25/8/1815 | Text by Baumberg |
271 | 271 | (1895) | XX, 3. No. 128 | IV, 9 No. 7 | Der Weiberfreund | Noch fand von Evens Töchterscharen ich keine | 25/8/1815 | Text by [de ], after Cowley |
272 | 272 | (1872) | XX, 3. No. 129 | IV, 9 No. 8 | An die Sonne, D 272 | Königliche Morgensonne | 25/8/1815 | Text by Tiedge |
273 | 273 | (1895) | XX, 3. No. 130 | IV, 9 No. 9 | Lilla an die Morgenröte | Wie schön bist du, du güldne Morgenröte | 25/8/1815 | |
274 | 274 | (1850) | XX, 3. No. 131 | IV, 9 No. 10 | Tischlerlied | Mein Handwerk geht durch alle Welt | 25/8/1815 | |
275 | 275 | (1895) | XX, 3. No. 132 | IV, 9 No. 11 | Totenkranz für ein Kind | Sanft wehn, im Hauch der Abendluft | 25/8/1815 | Text by Matthisson |
276 | 276 | (1895) | XX, 3. No. 133 | IV, 9 No. 12 | Abendlied, D 276 | Groß und rotenflammet | 28/8/1815 | Text by Stolberg-Stolberg |
277 | 277 | (1892) | XIX. No. 7 | III, 3 No. 6 | Punschlied, D 277 | Vier Elemente, inning gesellt | 29/8/1815 | Text by Schiller ; For ttb and piano |
277A | (1925) | VII/2, 4 | Minuet with Trio, D 277A | A minor (minuet) / F major (trio) | September. 1815? | For piano; Partly reused in D 279 | ||
278 | 278 | (1830). (1897) | XX, 3. No. 147 ;. XXII, 11. No. 147 | IV, 9 No. 13 Anh. No. 1 | Ossians Lied nach dem Falle Nathos | Beugt euch aus euren Wolken nieder | 1815 | Text by Macpherson (Ossian ), from Dar-Thula, transl. by E. Baron de Harold; Two versions: 1st is a fragment – 2nd publ. in 1830 |
279 | 279 | (1888) | X No. 2 | VII/2, 1. No. 2 | Piano Sonata, D 279 | C major | September. 1815 | Allegro moderato – Andante – Minuet (partly based on D 277A ); D 309A, or 346, may be 4th movement |
280 | 280 | (1837) | XX, 3. No. 139 | IV, 9 No. 14 | Das Rosenband | Im Frühlingsgarten fand ich sie | September. 1815 | Text by Klopstock |
281 | 281 | (1830) | XX, 3. No. 148 | IV, 9 No. 15 | Das Mädchen von Inistore | Mädchen Inistores, wein auf dem Felsen | September. 1815 | Text by Macpherson (Ossian ), from Fingal, Book I, transl. by E. Baron de Harold |
282 | 282 | (1830) | XX, 4. No. 188 | IV, 9 No. 16 | Cronnan | Ich sitz' bei der moosigten Quelle | 5/9/1815 | Text by Macpherson (Ossian ), from Carric-thura, transl. by E. Baron de Harold |
283 | 283 | 172p,5. (1865) | XX, 3. No. 136 | IV, 11 | An den Frühling, D 283 | Willkommen, schöner Jüngling! | 6/9/1815 | Text by Schiller (other settings: and) |
284 | 284 | (1895) | XX, 3. No. 137 | IV, 9 No. 17 | Lied, D 284 | Es ist so angenehm, so süß | 6/9/1815 | Text by Schiller (?) |
285 | 285 | (1885). (1895) | XX, 3. No. 138 | IV, 9 No. 18 Anh. No. 2 | Furcht der Geliebten, a.k.a. An Cidli | Cidli, du weinest | 12/9/1815 | Text by Klopstock, from Oden; Two versions: 2nd publ. in 1885 |
286 | 286 | (1837). (1895) | XX, 3. No. 140 | IV, 9 No. 19 | Selma und Selmar | Weine du nicht | 14/9/1815 | Text by Klopstock ; Two versions: 2nd publ. in 1837 |
287 | 287 | (1895) | XX, 3. No. 141 | IV, 9 No. 20 | Vaterlandslied | Ich bin ein deutsches Mädchen | 14/9/1815 | Text by Klopstock, from Oden; Two versions |
288 | 288 | (1895) | XX, 3. No. 142 | IV, 9 No. 21 | An Sie | Zeit, Verkündigerin der besten Freuden | 14/9/1815 | Text by Klopstock, from Oden |
289 | 289 | (1895) | XX, 3. No. 143 | IV, 9 No. 22 | Die Sommernacht | Wenn der Schimmer von dem Monde | 14/9/1815 | Text by Klopstock ; Two versions |
290 | 290 | (1837) | XX, 3. No. 144 | IV, 9 No. 23 | Die frühen Gräber | Willkommen, o silberner Mond | 14/9/1815 | Text by Klopstock, from Oden |
291 | 291 | (1831). (1895) | XX, 3. No. 145 | IV, 9 No. 24 | Dem Unendlichen | Wie erhebt sich das Herz | 15/9/1815 | Text by Klopstock ; Three versions: 2nd publ. in 1831 |
292 | 371 | See | ||||||
293 | 293 | (1830) | XX, 3. No. 146 | IV, 9 No. 25 | Shilric und Vinvela | Mein Geliebter ist ein Sohn des Hügels | 20/9/1815 | Text by Macpherson (Ossian ), from Carric-thura, transl. by E. Baron de Harold |
294 | 294 | (1892) | XVII. No. 4 | III, 1 | Namensfeier für Franz Michael Vierthaler, a.k.a. Gratulations-Kantate | Erhabner! Verehrter Freund der Jugend! | 27/9/1815 | For stbSTB and orchestra |
295 | 295 | (1872). (1895) | XX, 3. No. 175 | IV, 9 No. 26 | Hoffnung, D 295 | Schaff, das Tagwerk meiner Hände | 1815 or. 1816? | Text by Goethe ; Two versions: 1st publ. in 1872 |
296 | 296 | (1868) | XX, 3. No. 176 | IV, 9 No. 28 | An den Mond, D 296 | Füllest wieder Busch und Tal | 1815 or. 1816? | Text by Goethe (other setting:) |
297 | 297 | (1850). (1895) | XX, 3. No. 171 | IV, 9 No. 29 Anh. No. 3 | Augenlied | Süße Augen, klare Bronnen! | spring. 1817? | Text by Mayrhofer ; Two versions: 2nd publ. in 1850 |
298 | 298 | (1895) | XX, 3. No. 170 | IV, 9 No. 30 | Liane | Hast du Lianen nicht gesehen? | October. 1815 | Text by Mayrhofer |
299 | 299 | (1897). (1912) | XXI, 3. No. 29 | VII/2, 6 | Twelve Écossaises, D 299 | Various keys | 3/10/1815 | For piano; No. 1 similar to D 145 Écoss. No. 1; Nos. 9–12 publ. in 1912 |
300 | 300 | (1842) | XX, 6. No. 398 | IV, 9 No. 31 | Der Jüngling an der Quelle | Leise, rieselnder Quell | 1816 or. 1817? | Text by Salis-Seewis |
301 | 301 | (1842) | XX, 3. No. 149 | IV, 9 No. 32 | Lambertine | O Liebe, die mein Herz erfüllet | 12/10/1815 | Text by [scores ] |
302 | 302 | (1895) | XX, 3. No. 150 | IV, 9 No. 33 | Labetrank der Liebe | Wenn im Spiele leiser Töne | 15/10/1815 | Text by [scores ] |
303 | 303 | (1887) | XX, 3. No. 151 | IV, 9 No. 34 | An die Geliebte | O, daß ich dir vom stillen Auge | 15/10/1815 | Text by [scores ]; Music partly reused in |
304 | 304 | (1895) | XX, 3. No. 152 | IV, 9 No. 35 | Wiegenlied, D 304 | Schlumm're sanft! Noch an dem Mutterherzen | 15/10/1815 | Text by Körner |
305 | 305 | (1895) | XX, 3. No. 153 | IV, 9 No. 36 | Mein Gruß an den Mai | Sei mir gegrüßt, o Mai | 15/10/1815 | Text by [de ] |
306 | 306 | (1895) | XX, 3. No. 154 | IV, 9 No. 37 | Skolie, D 306 | Laßt im Morgenstrahl des Mai'n | 15/10/1815 | Text by [de ] |
307 | 307 | (1895) | XX, 3. No. 155 | IV, 9 No. 38 | Die Sternenwelten | Oben drehen sich die großen unbekannten Welten dort | 15/10/1815 | Text by [wikisource:de ], after Jarnik |
308 | 308 | (1895) | XX, 3. No. 156 | IV, 9 No. 39 | Die Macht der Liebe | Überall, wohin mein Auge blicket | 15/10/1815 | Text by [wikisource:de ] |
309 | 309 | (1872) | XX, 3. No. 157 | IV, 9 No. 40 | Das gestörte Glück | Ich hab' ein heißes junges Blut | 15/10/1815 | Text by Körner |
309A | VII/2, 1. Anh. No. 2 | Rondo, D 309A | C major | 1815 | For piano; Fragment; 4th movement of D 279 ? | |||
310 | 310 | (1895) | XX, 3. No. 158 | IV, 3 | Sehnsucht, D 310, a.k.a. Lied der Mignon | Nur wer die Sehnsucht kennt | 18/10/1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 359, 481, 656 and 877 Nos. 1 4); Two versions |
311 | 311 | IV, 9. Anh. No. 3 | An den Mond, D 311 | 19/10/1815? | For voice and piano; Sketch without text | |||
312 | 312 | 58,1. (1826). (1895) | XX, 3. No. 159 | IV, 3 | Hektors Abschied | Will sich Hektor ewig von mir wenden | 19/10/1815 | Text by Schiller ; Two versions: 2nd is Op. 58 No. 1 |
313 | 313 | (1895) | XX, 3. No. 160 | IV, 9 No. 41 | Die Sterne, D 313 | Wie wohl ist mir im Dunkeln! | 19/10/1815 | Text by Kosegarten |
314 | 314 | (1887) | XX, 3. No. 161 | IV, 9 No. 42 | Nachtgesang, D 314 | Tiefe Feier schauert um die Welt | 19/10/1815 | Text by Kosegarten |
315 | 315 | (1895) | XX, 3. No. 162 | IV, 9 No. 43 | An Rosa I | Warum bist du nicht hier | 19/10/1815 | Text by Kosegarten |
316 | 316 | (1895) | XX, 3. No. 163 | IV, 9 No. 44 | An Rosa II | Rosa, denkst du an mich? | 19/10/1815 | Text by Kosegarten ; Two versions |
317 | 317 | (1895) | XX, 3. No. 164 | IV, 9 No. 45 | Idens Schwanenlied | Wie schaust du aus dem Nebelflor | 19/10/1815 | Text by Kosegarten ; Two versions: 2nd in AGA |
318 | 318 | (1895) | XX, 3. No. 165 | IV, 9 No. 46 | Schwangesang | Endlich stehn die Pforten offen | 19/10/1815 | Text by Kosegarten |
319 | 319 | (1895) | XX, 3. No. 166 | IV, 9 No. 47 | Luisens Antwort | Wohl weinen Gottes Engel | 19/10/1815 | Text by Kosegarten |
320 | 320 | (1895) | XX, 3. No. 167 | IV, 9 No. 48 | Der Zufriedene | Zwar schuf das Glück hienieden | 23/10/1815 | Text by [de ] |
321 | 321 | (1832) | XX, 3. No. 168 | IV, 9 No. 49 | Mignon a.k.a. Mignons Gesang | Kennst du das Land | 23/10/1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship III, 1 |
322 | 322 | (1837) | XX, 3. No. 169 | IV, 9 No. 50 | Hermann und Thusnelda | Ha, dort kömmt er | 27/10/1815 | Text by Klopstock |
323. 991 | 323 | (1895) | XX, 3. No. 172 | IV, 9 No. 51 Anh. Nos. 5–6 | Klage der Ceres | Ist der holde Lenz erschienen? | 9/11/1815–. June 1816 | Text by Schiller ; Two versions: 2nd in AGA; A fragment of the last part was D 991 |
324 | 324 | 141p. (1837) | XIII, 1. No. 3 | I, 2 | Mass No. 3 | B♭ major. Kyrie – Gloria – Credo – Sanctus Benedictus – Agnus Dei | started. 11/11/1815 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 452, 678, and 950 ); For satbSATB and orchestra |
324A | IV, 8. No. 41 | Winterlied, D 324A | 1816? | |||||
325 | 325 | (1895) | XX, 3. No. 173 | IV, 1b No. 9 | Harfenspieler, D 325 | Wer sich der Einsamkeit ergibt | 13/11/1815 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting: D 478 No. 1) |
326 | 326 | (1888) | XV, 2. No. 4 | II, 3 | Die Freunde von Salamanka | (Singspiel in two acts) | 18/11/1815–. 31/12/1815 | Text by Mayrhofer ; Music for ssstttbbbbbbSATB and orchestra; Overture – Act I (Nos. 1–7) – Act II (Nos. 8–18, with music of No. 12 reappearing in D 803 and of No. 14 in D 796 No. 15) |
327 | 327 | IV, 10 | Lorma, D 327 | Lorma saß in der Halle von Aldo | 28/11/1815 | Text by Macpherson (Ossian ), from The Battle of Lora, transl. by E. Baron de Harold (other setting:); Fragment | ||
328 | 328 | 1. (1821). (1895) | XX, 3. No. 178 | IV, 1a. b No. 1 | Erlkönig | Wer reitet so spät durch Nacht und Wind? | October. 1815? | Text by Goethe ; Four versions: 2nd and 3rd switched in AGA – 4th is Op. 1 |
329 | 329 | (1895) | XX, 10. No. 591 | IV, 9. Anh. No. 7 | Die drei Sänger | Der König saß beim frohen Mahle | 23/12/1815 | Text by [scores ]; Fragment |
329A | III, 2b Anh. No. 3. VIII, 2 No. 27 | Das Grab, D 329A | Das Grab ist tief und stille | 28/12/1815? | Text by Salis-Seewis (other settings:, and); Canon for SATB ; Sketch | |||
330 | 330 | (1895) | XX, 3. No. 182 | III, 3 No. 14. Anh. I No. 2 | Das Grab, D 330 | Das Grab ist tief und stille | 28/12/1815 | Text by Salis-Seewis (other settings:, and); For choir and piano |
331–510 | 1816 | Up ↑ | ||||||
331. 332 | 331 | (1866) | XVI. No. 38 | III, 4. No. 31 | Der Entfernten, D 331 | Wohl denk' ich allenthalben | c.1816 | Text by Salis-Seewis (other setting:); For ttbb ; Identical to former |
333 | 796 | Laß dein Vertrauen nicht schwinden | Part of D 796 No. 21 | |||||
334 | 334 | (1897) | XXI, 3. No. 24 | VII/2, 4 | Minuet with Trio, D 334 | A major (minuet) / E major (trio) | before. fall 1815 | For piano |
335 | 335 | (1897) | XXI, 3. No. 25 | VII/2, 6 | Minuet with two Trios | E major | 1813? | For piano |
337 | 337 | (1860) | XVI. No. 39 | III, 4. No. 32 | Die Einsiedelei, D 337, a.k.a. Lob der Einsamkeit | Es rieselt klar und wehend ein Quell | c.1816 | Text by Salis-Seewis (other settings: and); For ttbb |
338 | 338 | (1891) | XVI. No. 40 | III, 4. No. 33 | An den Frühling, D 338 | Willkommen, schöner Jüngling! | c.1816 | Text by Schiller (other settings: and); For ttbb |
342 | 342 | (1885) | XX, 4. No. 238 | IV, 10 | An mein Klavier a.k.a. Seraphine an ihr Klavier | Sanftes Klavier, welche Entzückungen schaffest du mir | c.1816 | Text by Schubart |
343 | 343 | (1831) | XX, 5. No. 342 | IV, 10 | Am Tage Aller Seelen a.k.a. Litanei auf das Fest Aller Seelen | Ruh'n in Frieden alle Seelen | August. 1816 | Text by Jacobi ; Two versions: 1st, in AGA, publ. in 1831 |
344 | 344 | IV, 10 | Am ersten Maimorgen | Heute will ich fröhlich sein | 1816? | Text by Claudius | ||
345 | 345 | (1897) | XXI, 1. No. 3 | V, 7 No. 1 | Violin Concerto, a.k.a. Konzertstück (Concert Piece) | D major | 1816 | Adagio, Allegro |
346 | 346 | (1897) | XXI, 3. No. 17 | VII/2, 4 Anh. | Allegretto, D 346 | C major | 1816? | For piano; Fragment; 4th movement of D 279 ? |
347 | 347 | (1897) | XXI, 3. No. 18 | VII/2, 4 Anh. | Allegro moderato, D 347 | C major | 1813? | For piano; Fragment |
348 | 348 | (1897) | XXI, 3. No. 19 | VII/2, 4 Anh. | Andantino, D 348 | C major | 1816? | For piano; Fragment |
349 | 349 | (1897) | XXI, 3. No. 21 | VII/2, 4 Anh. | Adagio, D 349 | C major | 1816? | For piano; Fragment |
350 | 350 | (1885) | XX, 4. No. 203 | IV, 10 | Der Entfernten, D 350 | Wohl denk' ich allenthalben | 1816? | Text by Salis-Seewis (other setting:) |
351 | 351 | (1895) | XX, 4. No. 204 | IV, 11 | Fischerlied, D 351 | Das Fischergewerbe gibt rüstigen Mut | 1816? | Text by Salis-Seewis (other settings: and) |
352 | 352 | (1847) | XX, 4. No. 286 | III, 2b. No. 21 | Licht und Liebe a.k.a. Nachtgesang | Liebe ist ein süßes Licht | 1816? | Text by Collin, M. C. ; For st and piano |
353 | 353 | 125p,2. (1840) | V No. 11 | VI, 4. No. 12 | String Quartet No. 11 | E major | 1816 | Allegro con fuoco – Andante – Minuet – Rondo |
354 | 354 | (1930) | VI, 9 | Four Komische Ländler | D major | January. 1816 | For two violins | |
355 | 355 | (1928) | VI, 9 | Eight Ländler, D 355 | F♯ minor | January. 1816 | For violin(?) | |
356 | 356 | (1844) | III, 3 Anh. II No. 3 | Trinklied, D 356 | Funkelnd im Becher so helle, so hold | 1816 | For vocal soloist, TTBB and piano; Piano part lost (by Czerny in 1844 ed.) | |
357 | 357 | (1892) | XIX. No. 24 | III, 4 No. 35. VIII, 2 No. 28 | Goldner Schein | Goldner Schein deckt den Hain | 1/5/1816 | Text by Matthisson ; Canon for three voices |
358 | 358 | (1849) | XX, 4. No. 235 | IV, 10 | Die Nacht, D 358 | Du verstörst uns nicht, o Nacht! | 1816 | Text by Uz |
359 | 359 | (1872) | XX, 4. No. 260 | IV, 3 | Sehnsucht, D 359 a.k.a. Lied der Mignon | Nur wer die Sehnsucht kennt | 1816 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 481, 656 and 877 Nos. 1 4) |
360 | 360 | 65,1. (1826) | XX, 4. No. 268 | IV, 3 | Lied eines Schiffers an die Dioskuren | Dioskuren, Zwillingssterne | 1816 | Text by Mayrhofer |
361 | 361 | 109p,1. (1829) | XX, 4. No. 272 | IV, 10 | Am Bach im Frühling | Du brachst sie nun, die kalte Rinde | 1816 | Text by Schober ; Piano intro probably not by Schubert |
362 | 362 | (1895) | XX, 4. No. 280 | IV, 11 | Zufriedenheit, D 362, a.k.a. Lied | Ich bin vergnugt | 1815 or. 1816? | Text by Claudius (other setting:) |
363 | 363 | IV, 10 | An Chloen, D 363 | Die Munterkeit ist meinen Wangen | 1816 | Text by Uz ; Fragment | ||
364 | 364 | (1897) | XXI, 4. No. 35 | III, 4. No. 34 | Fischerlied, D 364 | Das Fischergewerbe gibt rüstigen Mut | 1816 or. 1817? | Text by Salis-Seewis (other settings: and); For ttbb |
365 | 365 | 9. (1821) | XII. No. 1 | VII/2, 6. 7a | 36 Original Dances a.k.a. Erste Walzer | Various keys | c.Mar. 1818–. Jul. 1821 | For piano; No. 2 publ. in 1826 as Beethoven 's (Kinksky Anh. 14 No. 1) |
366 | 366 | (1824). (1869) | XII. No. 10 | VII/2, 6. 7a | 17 Ländler, D 366 | Various keys | c.Jul. 1824–. Nov. 1824 | For piano; Nos. 6 and 17 publ. in 1824; No. 7 partly reappears in and No. 17 in |
367 | 367 | 5,5. (1821) | XX, 4. No. 261 | IV, 1a | Der König in Thule | Es war ein König in Thule | early 1816 | Text by Goethe, from Faust I, 8 |
368 | 368 | 3,4. (1821) | XX, 4. No. 262 | IV, 1a | Jägers Abendlied, D 368 | Im Felde schleich ich, still und wild | early 1816? | Text by Goethe (other setting:) |
369 | 369 | 19,1. (1825) | XX, 4. No. 263 | IV, 1a | An Schwager Kronos | Spute dich, Kronos! | 1816 | Text by Goethe |
370 | 370 | (1930) | VI, 9 | Nine Ländler, D 370 | D major | January. 1816 | For violin?; No. 7 reused in No. 6 | |
371. 292 | 371 | (1872) | XX, 4. No. 185 | IV, 10 | Klage, D 371 | Trauer umfließt mein Leben | January. 1816 | Two versions: 1st, a sketch, was |
372 | 372 | (1895) | XX, 4. No. 183 | IV, 10 | An die Natur | Süße, heilige Natur | 15/1/1816 | Text by Stolberg-Stolberg |
373 | 373 | (1895) | XX, 4. No. 184 | IV, 10 | Lied, D 373 | Mutter geht durch ihre Kammern | 15/1/1816? | Text by Motte Fouqué, from Undine |
374 | 374 | (1902) | VI, 9 | 11 Ländler, D 374 | B♭ major | February. 1816? | For violin; Nos. 1–3, 5, 7 and 11 reused in Nos. 1–5 and 7 of ; No. 2 also partly in D 146 No. 10 | |
375 | 375 | (1830) | XX, 4. No. 187 | IV, 10 | Der Tod Oskars | Warum öffnest du wieder | February. 1816 | Text by Macpherson (Ossian ), transl. by E. Baron de Harold |
376 | 376 | (1895) | XX, 10. No. 592 | IV, 10 | Lorma, D 376 | Lorma saß in der Halle von Aldo | 10/2/1816 | Text by Macpherson (Ossian ), from The Battle of Lora, transl. by E. Baron de Harold (other setting:); Fragment |
377 | 377 | (1872) | XX, 4. No. 186 | III, 3 No. 21. Anh. I No. 3 | Das Grab, D 377 | Das Grab ist tief und stille | 11/2/1816 | Text by Salis-Seewis (other settings:, and); For TTBB and piano |
378 | 378 | (1889) | XII. No. 12 | VII/2, 6 | Eight Ländler, D 378 | B♭ major | 13/2/1816 | For piano; Nos. 1–5 and 7 reuse Nos. 1–3, 7, 11 and 5; No. 2 partly in D 146 No. 10; No. 6 reuses No. 7 |
379 | 379 | (1859) | XIV No. 17 | I, 9. No. 13. Anh. 2 | Deutsches Salve Regina (German Salve Regina) | Sei, Mutter der Barmherzigkeit. F major | 21/2/1816 | Text: after Salve Regina ; 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) | 22/2/1816 | 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 | (1895) | XX, 4. No. 189 | IV, 10 | Morgenlied, D 381 | Die frohe, neubelebte Flur | 24/2/1816 | |
382 | 382 | (1895) | XX, 4. No. 190 | IV, 10 | Abendlied, D 382 | Sanft glänzt die Abendsonne | 24/2/1816 | |
383. 992 | 383 | (1888) | XIV No. 13 | I, 7 | Stabat Mater, D 383, a.k.a. Deutsches Stabat Mater (German Stabat Mater) | Jesus Christus schwebt am Kreuze. F minor | started. 28/2/1816 | Text by Klopstock after Stabat Mater ; For stbSATB and orchestra; Sketch for Nos. 5–6 was |
384 | 384 | 137p,1. (1836) | VIII. No. 2 | VI, 8 No. 1. anh. 1 | Violin Sonata, D 384, a.k.a. Sonatina No. 1 | D major | March 1816 | Allegro molto (+early version in NSA) – Andante – Allegro vivace |
385 | 385 | 137p,2. (1836) | VIII. No. 3 | VI, 8 No. 2 | Violin Sonata, D 385, a.k.a. Sonatina No. 2 | A minor | March 1816 | Allegro moderato – Andante – Minuet – Allegro |
386 | 386 | (1833) | XIV No. 20 | I, 9. No. 12. Anh. 1 | Salve Regina, D 386 | B♭ major. Salve Regina | early 1816 | Text: Salve Regina (other settings: D 27, 106, and); For SATB |
387 | 387 | (1897) | XXI, 4. No. 44 | III, 2b. Anh. No. 4b | Die Schlacht, D 387 | Schwer und dumpfig | March 1816 | Text by Schiller (other setting:); Sketch for vocal soloists, choir andpiano; Music partly in and No. 1 |
388 | 388 | (1895) | XX, 4. No. 193 | IV, 10 | Laura am Klavier | Wenn dein Finger durch die Saiten meistert | March 1816 | Text by Schiller ; Two versions |
389 | 389 | (1873) | XX, 4. No. 194 | IV, 3 | Des Mädchens Klage, D 389 | Der Eichwald brauset | March 1816 | Text by Schiller, from Wallenstein : Die Piccolomini III, 7 (other settings: D 6 and 191 ) |
390 | 390 | (1895) | XX, 4. No. 195 | IV, 10 | Entzückung an Laura, D 390 | Laura, über diese Welt | March 1816 | Text by Schiller (other setting:) |
391 | 391 | 111p,3. (1829) | XX, 4. No. 196 | IV, 10 | Die vier Weltalter | Wohl perlet im Glase | March 1816 | Text by Schiller |
392 | 392 | (1895) | XX, 4. No. 197 | IV, 10 | Pflügerlied | Arbeitsam und wacker | March 1816 | Text by Salis-Seewis |
393 | 393 | (1845) | XX, 4. No. 198 | IV, 11 | Die Einsiedelei, D 393 | Es rieselt klar und wehend ein Quell | March 1816 | Text by Salis-Seewis (other settings: and) |
394 | 394 | (1895) | XX, 4. No. 199 | IV, 10 | An die Harmonie a.k.a. Gesang an die Harmonie | Schöpferin beseelter Töne! | March 1816 | Text by Salis-Seewis |
395 | 395 | 111p,2. (1829) | XX, 4. No. 205 | IV, 10 | Lebensmelodien | Auf den Wassern wohnt mein stilles Leben | March 1816 | Text by Schlegel, A. W. |
396 | 396 | (1975) | IV, 2. Anh. No. 1 | Gruppe aus dem Tartarus, D 396 | Horch, wie Murmeln des empörten Meeres | March 1816 | Text by Schiller (other settings: D 65 and 583 ); Fragment | |
397 | 397 | (1832) | XX, 4. No. 191 | IV, 10 | Ritter Toggenburg | Ritter, treue Schwesterliebe | 13/3/1816 | Text by Schiller |
398 | 398 | (1887) | XX, 4. No. 217 | IV, 10 | Frühlingslied, D 398 | Die Luft ist blau | 13/5/1816 | Text by Hölty (other setting:) |
399 | 399 | (1895) | XX, 4. No. 218 | IV, 10 | Auf den Tod einer Nachtigall, D 399 | Sie ist dahin, die Maienlieder tönte | 13/5/1816 | Text by Hölty (other setting: D 201 ) |
400 | 400 | (1895) | XX, 4. No. 219 | IV, 10 | Die Knabenzeit | Wie glücklich, wem das Knabenkleid | 13/5/1816 | Text by Hölty |
401 | 401 | (1895) | XX, 4. No. 220 | IV, 10 | Winterlied, D 401 | Keine Blumen blühn | 13/5/1816 | Text by Hölty |
402 | 402 | (1872) | XX, 4. No. 192 | IV, 10 | Der Flüchtling | Frisch atmet des Morgens lebendiger Hauch | 18/3/1816 | Text by Schiller (other setting: D 67 ) |
403 | 403 | (1845). (1895) | XX, 4. No. 201 | IV, 10 | Lied, D 403 | In's stille Land | 27/3/1816 | Text by Salis-Seewis ; Four versions: 1st, publ. in 1845, and 2nd in AGA; Music partly reappears in D 877 No. 4 |
404 | 404 | (1885) | XX, 4. No. 200 | IV, 10 | Die Herbstnacht a.k.a. Die Wehmuth | Mit leisen Harfentönen | March 1816 | Text by Salis-Seewis |
405 | 405 | (1895) | XX, 4. No. 202 | IV, 10 | Der Herbstabend | Abendglockenhalle zittern | April 1816 | Text by Salis-Seewis ; Two versions: 1st in AGA |
406 | 406 | (1887) | XX, 4. No. 208 | IV, 10 | Abschied von der Harfe | Noch einmal tön, o Harfe | March 1816 | Text by Salis-Seewis |
407. 441 | 407 | (1891). (1892) | XVI. No. 44. XIX. No. 5 | III, 3 No. 22. Anh. IV No. 3. 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 | before. 16/6/1816 | Text by Schubert ; Quartet for ttbb (variant for ttb and piano: formerly) – Aria for t and piano – Canon for three voices |
408 | 408 | 137p,3. (1836) | VIII. No. 4 | VI, 8 No. 3 | Violin Sonata, D 408, a.k.a. Sonatina No. 3 | G minor | April 1816 | Allegro giusto – Andante – Minuet – Allegro moderato |
409 | 409 | (1872) | XX, 4. No. 206 | IV, 10 | Die verfehlte Stunde | Quälend ungestilltes Sehnen | April 1816 | Text by Schlegel, A. W. |
410 | 410 | 115p,3. (1829) | XX, 4. No. 207 | IV, 10 | Sprache der Liebe | Laß dich mit gelinden Schlägen rühren | April 1816 | Text by Schlegel, A. W. |
411 | 411 | (1887) | XX, 4. No. 209 | IV, 10 | Daphne am Bach | Ich hab' ein Bächlein funden | April 1816 | Text by Stolberg-Stolberg |
412 | 412 | (1838) | XX, 4. No. 210 | IV, 10 | Stimme der Liebe, D 412 | Meine Selinde | April 1816 | Text by Stolberg-Stolberg ; Two versions: 2nd in AGA |
413 | 413 | (1895) | XX, 4. No. 211 | IV, 10 | Entzückung | Tag voll Himmel! | April 1816 | Text by Matthisson |
414 | 414 | (1895) | XX, 4. No. 212 | IV, 10 | Geist der Liebe, D 414 | Der Abend schleiert Flur und Hain | April 1816 | Text by Matthisson (other setting:) |
415 | 415 | (1895) | XX, 4. No. 213 | IV, 10 | Klage, D 415 | Die Sonne steigt, die Sonne sinkt | April 1816 | Text by Matthisson |
416 | 416 | (1825) | IV, 10 | Lied in der Abwesenheit | Ach, mir ist das Herz so schwer | April 1816 | Text by Stolberg-Stolberg ; Fragment | |
417 | 417 | (1884) | I, 2. No. 4 | V, 2. No. 4 | Symphony No. 4. Tragic | C minor | completed. 27/4/1816 | Adagio molto, Allegro vivace – Andante – Minuet – Allegro |
418 | 418 | (1895) | XX, 4. No. 214 | IV, 10 | Stimme der Liebe, D 418 | Abendgewölke schweben hell | 29/4/1816 | Text by Matthisson (other setting: D 187 ) |
419 | 419 | (1895) | XX, 4. No. 215 | IV, 10 | Julius an Theone | Nimmer, nimmer darf ich dir gestehen | 30/4/1816 | Text by Matthisson |
420 | 420 | (1871) | XII. No. 11 | VII/2, 7a | Twelve German Dances, D 420 | Various keys | 1816 | For piano; No. 10 reappears in No. 1 |
421 | 421 | (1889) | XII. No. 27 | VII/2, 6 | Six Écossaises, D 421 | Various keys | May 1816 | For piano; No. 1 after D 145 Écoss. No. 5 |
422 | 422 | 16,2. (1823) | XVI. No. 8 | III, 3 No. 23 | Naturgenuß, D 422 | Im Abendschimmer wallt der Quell | 1822? | Text by Matthisson (other setting: D 188 ); For ttbb and piano |
423 | 423 | (1974) | III, 4. No. 36 | Andenken, D 423 | Ich denke dein wenn durch den Hain | May 1816 | Text by Matthisson (other setting: D 99 ); For ttb | |
424 | 424 | (1974) | III, 4. No. 37 | Erinnerungen, D 424 | Am Seegestad, in lauen Vollmondsnächten | May 1816 | Text by Matthisson (other setting: D 98 ); For ttb | |
425 | 425 | Lebensbild | May 1816 | Lost: may be related to with the same lyrics as ; For ttb | ||||
426 | 426 | III, 4 | Trinklied, D 426 | Herr Bacchus ist ein braver Mann | May 1816 | Lost; Text by Bürger ; For ttb | ||
427 | 427 | (1892) | XIX. No. 17 | III, 4. No. 38 | Trinklied im Mai | Bekränzet die Tonnen | May 1816 | Text by Hölty ; For ttb |
428 | 428 | (1974) | III, 4. No. 39 | Widerhall | Auf ewig dein, wenn Berg und Meere trennen | May 1816 | Text by Matthisson ; For ttb | |
429 | 429 | (1885) | XX, 4. No. 221 | IV, 10 | Minnelied | Holder klingt der Vogelsang | May 1816 | Text by Hölty |
430 | 430 | (1895) | XX, 4. No. 222 | IV, 10 | Die frühe Liebe | Schon im bunten Knabenkleide | May 1816 | Text by Hölty ; Two versions: 1st in AGA |
431 | 431 | (1887) | XX, 4. No. 223 | IV, 10 | Blumenlied | Es ist ein halbes Himmelreich | May 1816 | Text by Hölty |
432 | 432 | (1850). (1895) | XX, 4. No. 224 | IV, 10 | Der Leidende a.k.a. Klage, D 432 | Nimmer trag' ich langer | May 1816 | Other setting: ; Two versions: 1st publ. in 1850 |
433 | 433 | (1895) | XX, 4. No. 225 | IV, 10 | Seligkeit | Freuden sonder Zahl | May 1816 | Text by Hölty |
434 | 434 | (1850) | XX, 4. No. 226 | IV, 10 | Erntelied | Sicheln schallen, Ähren fallen | May 1816 | Text by Hölty |
435 | 435 | (1893) | XV, 7. No. 13 | II, 13. III, 4 No. 30 | Die Bürgschaft, D 435 | (Opera in three acts) | started. 2/5/1816 | For four sopranos, three tenors, three basses, two baritones, SATB and orchestra; Unfinished: Nos. 1–9 (Act I) – Nos. 10–14 (Act II, No. 13 in NSA III, 4, No. 14 reuses part of D 246 ) – Nos. 15–16 (Act III, No. 16 is fragment) |
436. 437 | 436 | (1850) | XX, 4. No. 216 | IV, 10 | Klage, D 436 | Dein Silber schien durch Eichengrün | 12/5/1816 | Text by Hölty ; Two versions: 1st publ. in 1850 – 2nd was D 437 |
438 | 438 | (1897) | XXI, 1. No. 4 | V, 7 No. 2 | Rondo, D 438 | A major | June 1816 | For violin and string orchestra |
439 | 439 | (1872) | XVII. No. 12 | III, 2a. No. 8 | An die Sonne, D 439 | O Sonne, Königin der Welt | June 1816 | Text by Uz ; For satb and piano |
440 | 440 | (1839) | XVII. No. 18 | III, 2a. No. 9 | Chor der Engel | Christ ist erstanden | June 1816 | Text by Goethe, from Faust I, 1; For SATB |
441 | 407 | See | ||||||
442 | 442 | (1847) | XX, 4. No. 227 | III, 3 No. 7. Anh. I No. 4. IV, 10 | Das große Halleluja | Ehre sei dem Hocherhabnen | June 1816 | Text by Klopstock ; For voice(s?) and piano |
443 | 443 | (1895) | XX, 4. No. 228 | III, 3 No. 8. Anh. I No. 5. IV, 10 | Schlachtlied, D 443, a.k.a. Schlachtgesang | Mit unserm Arm ist nichts getan | June 1816 | Text by Klopstock, from Oden (other setting:); For voice(s?) and piano |
444 | 444 | (1831) | XX, 4. No. 229 | IV, 10 | Die Gestirne | Es tönet sein Lob | June 1816 | Text by Klopstock, from Oden |
445 | 445 | (1837) | XX, 4. No. 230 | IV, 10 | Edone | Dein süßes Bild, Edone | June 1816 | Text by Klopstock, from Oden |
446 | 446 | (1887) | XX, 4. No. 231 | IV, 10 | Die Liebesgötter | Cypris, meiner Phyllis gleich | June 1816 | Text by Uz |
447 | 447 | (1895) | XX, 4. No. 232 | IV, 10 | An den Schlaf | Komm und senke die umflorten Schwingen | June 1816 | |
448 | 448 | (1887) | XX, 4. No. 233 | IV, 10 | Gott im Frühlinge | In seinem schimmernden Gewand | June 1816 | Text by Uz ; Two versions: 1st, publ. in 1887, in AGA |
449 | 449 | (1872) | XX, 4. No. 234 | IV, 10 | Der gute Hirt | Was sorgest du? | June 1816 | Text by Uz |
450 | 450 | (1832). (1895) | XX, 4. No. 236 | IV, 10 | Fragment from Aeschylus | So wird der Mann | June 1816 | Text by Mayrhofer after Aeschylus' Eumenides (Oresteia III); Two versions: 2nd publ. in 1832 |
451 | 451 | Prometheus, D 451 | Hervor aus Buschen und Baumen | 17/6/1816 | Text by [de ]; Lost; Cantata for soprano, bass, choir and orchestra | |||
452. 961 | 452 | 48. (1825). (1829) | XIII, 1. No. 4 | I, 2 | Mass No. 4 | C major. Kyrie – Gloria – Credo – Sanctus Benedictus – Agnus Dei | Jun. 1816–. Oct. 1828 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 324, 678, and 950 ); For satbSATB and orchestra; 2nd setting of "Benedictus", publ. in 1829, was D 961 |
453 | 453 | I, 5 Anh. | Requiem | C minor. Introitus – Kyrie | July 1816 | Fragment; For SATB and orchestra | ||
454 | 454 | (1872) | XX, 4. No. 239 | IV, 10 | Grablied auf einen Soldaten | Zieh hin, du braver Krieger du! | July 1816 | Text by Schubart |
455 | 455 | (1887) | XX, 4. No. 240 | IV, 10 | Freude der Kinderjahre | Freude, die im frühen Lenze | July 1816 | Text by [scores ] |
456 | 456 | (1887) | XX, 4. No. 241 | IV, 10 | Das Heimweh, D 456 | Oft in einsam stillen Stunden | July 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 [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:, and); For sSATB and orchestra |
461 | 461 | (1935) | I, 9. No. 7 | Tantum ergo, D 461 | C major | August. 1816 | Text by Aquinas (other settings:, and); 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: 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 (?); Fragment for string quartet was |
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. 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 [scores ]; For sstbSSATB and orchestra (piano reduction in 1st ed.); Overture: (?); 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); Music partly reappears in D 760 |
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 | III, 3 No. 15. IV, 11 | Zum Punsche, D 492 | Woget brausend, Harmonien | October 1816 | Text by Mayrhofer |
493 | 489 | See D 489 | ||||||
494 | 494 | (1871) | XVI. No. 32 | III, 4. No. 41 | Der Geistertanz, D 494 | 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, D 496A | 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, D 501 | Ich bin vergnugt | November 1816 | Text by Claudius (other setting:); 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) | XI 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) | XI 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:, and possibly) |
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; Last extant autograph with corrections by Salieri |
511–598 | 1817 | Up ↑ | ||||||
511 | 511 | VII/2, 6 | Écossaise, D 511 | E♭ major | c.1817 | For piano | ||
513 | 513 | (1891) | XVI. No. 19 | III, 3 Anh. II No. 4 | La pastorella al prato, D 513 | La pastorella al prato | 1817? | Text by Goldoni, from II, 16 (other setting:); 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 [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 [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 [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 No. 16. Anh. I No. 6 | 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 [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 II, 16 (other setting:); 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:); 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 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 | 561 | (1872) | XX, 5. No. 320 | IV, 11 | Nach einem Gewitter | Auf den Blumen | May 1817 | Text by Mayrhofer |
562 | 562 | (1895) | XX, 5. No. 321 | IV, 11 | Fischerlied, D 562 | Das Fischergewerbe gibt rüstigen Mut | May 1817 | Text by Salis-Seewis (other settings: and) |
563 | 563 | (1887) | XX, 5. No. 322 | IV, 11 | Die Einsiedelei, D 563 | Es rieselt klar und wehend ein Quell | May 1817 | Text by Salis-Seewis (other settings: and) |
564 | 564 | (1838) | XX, 10. No. 596 | IV, 11 | Gretchen im Zwinger a.k.a. Gretchens Bitte | Ach neige, du Schmerzensreiche | May 1817 | Text by Goethe, from Faust I, 18; Fragment |
565 | 565 | (1876) | XX, 5. No. 324 | IV, 11 | Der Strom | Mein Leben wälzt sich murrend fort | June 1817? | For b and piano |
566 | 566 | (1888). (1907). (1928-. 29) | X No. 4 | VII/2, 1 No. 6. Anh. No. 3 | Piano Sonata, D 566 | E minor | June 1817 | Moderato (in AGA) – Allegretto (publ. 1907) – Scherzo (publ. 1928/29); D 506 4th movement? |
567. 568 | 568 | 122p. (1829). (1897) | X No. 7. XXI, 2. No. 9 | VII/2, 1 No. 7. Anh. Nos. 4–6 | Piano Sonata in D♭ major, D 568 ;. Piano Sonata in E♭ major, D 568 | D♭ major;. E♭ major | June 1817 | Two versions: 1st, in D♭ major, composed June 1817 – 2nd, in E♭ major, is Op. posth. 122; Allegro moderato – Andante molto – Minuet (2nd version only, No. 2 for 1st version?) – Allegro moderato (2nd version), Allegretto (fragment, 1st version) |
569 | 569 | (1895) | XX, 5. No. 323 | III, 3 No. 17 | Das Grab, D 569 | Das Grab ist tief und stille | June 1817 | Text by Salis-Seewis (other settings:, and); For unison men's choir and piano |
570 | 570 | (1897) | XXI, 3. No. 20 | VII/2, 1 No. 8. Anh. Nos. 8–9 | Scherzo and Allegro | D major (scherzo). F♯ minor (allegro) | July 1817? | For piano; Allegro is fragment; Last movements of D 571 ? |
571 | 571 | (1897) | XXI, 2. No. 10 | VII/2, 1. Anh. No. 7 | Piano Sonata, D 571 | F♯ minor | July 1817 | Allegro moderato; Fragment; Completed by ( and) 570 ? |
572 | 572 | (1872) | XVI. No. 34 | III, 4. No. 43 | Lied im Freien, D 572 | Wie schön ist's im Freien | July 1817 | Text by Salis-Seewis (other setting: D Anh. I/19 ; For ttbb |
573 | 573 | 98,3. (1829) | XX, 5. No. 325 | IV, 5 | Iphigenia | Blüht denn hier an Tauris Strande | July 1817 | Text by Mayrhofer |
574 | 574 | 162p. (1851) | VIII. No. 6 | VI, 8 No. 4 | Violin Sonata, D 574, a.k.a. (Grand) Duo | A major | August 1817 | Allegro moderato – Scherzo – Andantino – Allegro vivace |
575 | 575 | 147p. (1846) | X No. 5 | VII/2, 1 No. 9. Anh. No. 10 | Piano Sonata, D 575 | B major | August 1817 | Allegro ma non troppo – Andante – Scherzo – Allegro giusto |
576 | 576 | (1867) | XI No. 7 | VII/2, 4 | 13 Variations on a theme by Anselm Hüttenbrenner | A minor | August 1817 | For piano |
577 | 577 | (1895) | XX, 10. No. 597 | IV, 10 | Entzückung an Laura, D 577 | Laura, über diese Welt | August 1817 | Text by Schiller (other setting:); Two fragments of a sketch |
578 | 578 | (1838) | XX, 10. No. 586 | IV, 11 | Abschied, D 578 | Lebe wohl! Du lieber Freund! | 24/08/1817 | Text by Schubert |
579 | 579 | (1872). (1897) | XX, 5. No. 335. XXII, 11. No. 335 | IV, 11 | Der Knabe in der Wiege | Er schläft so süß | Autumn. 1817 | Text by [scores ]; Two versions: 1st publ. 1872 – 2nd is fragment |
989 | 579A | (1970) | IV, 11 | Vollendung | Wenn ich einst das Ziel errungen habe | Sept. or Oct.. 1817? | Text by Matthisson | |
989A | 579B | (1970) | IV, 11 | Die Erde | Wenn sanft entzückt mein Auge sieht | Sept. or Oct.. 1817? | Text by Matthisson | |
580 | 580 | (1928) | V, 7 No. 3 | Polonaise, D 580 | B♭ major | September. 1817 | For violin and orchestra | |
581 | 581 | (1897) | XXI, 1. No. 5 | VI, 6. No. 2–3 | String Trio, D 581 | B♭ major | September. 1817 | Allegro moderato – Andante – Minuet – Rondo |
583 | 583 | 24,1. (1823) | XX, 5. No. 328 | IV, 2a | Gruppe aus dem Tartarus, D 583 | Horch, wie Murmeln des empörten Meeres | September. 1817 | Text by Schiller (other settings: D 65 and 396 ) |
584 | 584 | (1830) | XX, 5. No. 329 | IV, 11 | Elysium | Vorüber die stöhnende Klage! | September. 1817 | Text by Schiller (settings of separate stanzas: D 51, 53, 54, 57, 58 and 60 ) |
585 | 585 | (1833) | XX, 5. No. 330 | IV, 11 | Atys | Der Knabe seufzt übers grüne Meer | September. 1817 | Text by Mayrhofer |
586 | 586 | 8,3. (1818) | XX, 5. No. 331 | IV, 1a | Erlafsee | Mir ist so wohl, so weh' | September. 1817 | Text by Mayrhofer ; Publ. as Op. 8 No. 3 in 1822 |
587. 245 | 587 | (1885). (1895) | XX, 3. No. 107 | IV, 11 | An den Frühling, D 587 | Willkommen, schöner Jüngling! | October. 1817 | Text by Schiller (other settings: and); Two versions: 1st publ. 1885 – 2nd was |
588 | 588 | 37,2. (1825). (1897). (1975) | XX, 5. No. 332. XXII, 11. No. 332 | IV, 2a. b No. 7 | Der Alpenjäger, D 588 | Willst du nicht das Lämmlein hüten? | October. 1817 | Text by Schiller ; Two versions: 1st incomplete in AGA – 2nd is 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 – Allegro moderato |
590 | 590 | (1886) | II No. 5 | V, 5 | Overture in the Italian Style, D 590 | D major | November. 1817 | For orchestra; Piano duet arrangement: ; Music partly reappears in D 644 |
591 | 591 | 170p. (1865) | II No. 6 | V, 5 | Overture in the Italian Style, D 591 | C major | November. 1817 | For orchestra; Piano duet arrangement: |
592 | 592 | (1872) | IX, 2. No. 10 | VII/1, 5. No. 1 | Overture in the Italian Style, D 592 | D major | December. 1817 | For piano duet; Arrangement of |
593 | 593 | (1871) | XI No. 15 | VII/2, 4 | Two Scherzi | Various keys | November. 1817 | For piano; No. 2 related to D 568 |
594 | 594 | 110p. (1829) | XX, 5. No. 333 | IV, 11 | Der Kampf | Nein, länger werd' ich diesen Kampf nicht kämpfen | November. 1817 | Text by Schiller ; For b and piano |
595 | 595 | 88,2. (1827). (1895) | XX, 5. No. 334 | IV, 4 | Thekla: Eine Geisterstimme, D 595 | Wo ich sei, und wo mich hingewendet | November. 1817 | Text by Schiller (other setting: D 73 ); Two versions: 2nd is Op. 88 No. 2 |
596 | 596 | (1895) | XX, 10. No. 598 | IV, 11 | Lied eines Kindes | Lauter Freude fühl' ich | November. 1817 | Fragment |
597 | 597 | (1872) | IX, 2. No. 9 | VII/1, 5. No. 2 | Overture in the Italian Style, D 597 | C major | Nov. or Dec.. 1817 | For piano duet; Arrangement of |
597A | 597A | Variations | A major | December. 1817 | Lost sketch for violin | |||
598. 641 | 598 | 11,1. (1822). (1891) | XVI. No. 4. No. 46 | III, 3 No. 24. Anh. IV No. 4 | Das Dörfchen | Ich rühme mir mein Dörfchen hier | December. 1817 | Text by Bürger ; For ttbb and piano; Two versions: 1st is sketch without piano – 2nd, Op. 11 No. 1, was |
599–632 | 1818 | Up ↑ | ||||||
599 | 599 | 75. (1827) | IX, 3. No. 26 | VII/1, 4 | Four Polonaises | Various keys | July 1818 | For piano duet |
600 | 600 | (1897) | XXI, 3. No. 27 | VII/2, 4 | Minuet, D 600 | C♯ minor | early 1814? | For piano; May combine with and/or D 613 |
601 | 470 | See | ||||||
602 | 602 | 27. (1824) | IX, 1. No. 1 | VII/1, 4 | Trois Marches héroiques | Various keys | 1818 or 1824 | For piano duet |
604 | 604 | (1888) | XI No. 10 | VII/2, 4 | Piano piece, D 604, a.k.a. Andante | A major | 1816 or 1817 | 2nd movement of D 571 ? |
605 | 605 | (1897) | XXI, 3. No. 15 | VII/2, 4 Anh. | Fantasy, D 605 | C major | 1821–1823 | For piano; Fragment |
605A | (1969) | VII/2, 4 | Fantasy, D 605A, a.k.a. Grazer Fantasy | C major | 1818? | For piano | ||
606 | 606 | (1840) | XI No. 16 | VII/2, 4 | March, D 606 | E major | 1818? | For piano |
607 | 607 | I, 8 | Evangelium Johannis 6, Vers 55–58 | In der Zeit sprach der Herr Jesus | 1818 | Text by John (Luther translation) ; For voice and figured bass | ||
608 | 608 | 138p. (1834) | IX, 2. No. 14 | VII/1, 1 No. 4 Anh. No. 4 | Rondo, D 608, "Notre amitié est invariable" | D major | January. 1818 | For piano duet; Two versions: 2nd, in AGA, is Op. posth. 138 |
609. 665 | 609 | (1872) | XVII. No. 13 | III, 2a. No. 10 | Die Geselligkeit a.k.a. Lebenslust | Wer Lebenslust fühlet | January. 1818 | Text by [Wikisource:de ]; For satb and piano; 2nd part of 1st stanza, "im traulichen Kreise", was |
610 | 610 | (1889) | XII. No. 31 | VII/2, 6 | Trio, D 610 | E major | February. 1818 | For piano; May belong to, and together with that minuet to D 613 |
611 | 611 | (1850) | XX, 5. No. 336 | IV, 12 | Auf der Riesenkoppe | Hoch auf dem Gipfel deiner Gebirge | March 1818 | Text by Körner |
612 | 612 | (1869) | XI No. 11 | VII/2, 4 | Adagio, D 612 | E major | April 1818 | For piano; 2nd movement of D 613 ? |
613 | 613 | (1897) | XXI, 2. No. 11 | VII/2, 2 | Piano Sonata, D 613 | C major | April 1818 | Moderato – [?]; Fragments; and / may constitute its other movements |
614 | 614 | (1832) | XX, 5. No. 337 | IV, 12 | An den Mond in einer Herbstnacht | Freundlich ist dein Antlitz | April 1818 | Text by [de ] |
615 | 615 | V, 6 No. 9 | Symphony, D 615 | D major | May 1818 | Adagio, Allegro moderato – [?]; Sketches | ||
616 | 616 | (1830) | XX, 5. No. 338 | IV, 12 | Grablied für die Mutter | Hauche milder, Abendluft | June 1818 | |
617 | 617 | 30. (1823) | IX, 2. No. 11 | VII/1, 1. No. 5 | Sonata, D 617 | B♭ major | Summer–. Autumn. 1818(?) | For piano duet; Allegro moderato – Andante con moto – Allegretto |
618 | 618 | (1909) | VII/1, 4 | German Dance with Two Trios and Two Ländler | G major (Deutscher/Trios). E major (Ländler) | Summer–. Autumn. 1818 | For piano duet | |
618A | 618A | (1972) | VII/1, 4 | Polonaise, D 618A | B♭ major | July 1818 | For piano duet; Sketch | |
619 | 619 | (1892) | XIX. No. 36 | III, 2b No. 22. VIII, 2 No. 9 | Sing-Übungen (vocal exercises) | July 1818 | For two voices and figured bass | |
620 | 620 | (1840) | XX, 5. No. 339 | IV, 12 | Einsamkeit, D 620 | Gib mir die Fülle der Einsamkeit! | July 1818 | Text by Mayrhofer |
621 | 621 | (1826) | I, 6 Anh. | Deutsches Requiem (German Requiem) a.k.a. Deutsche Trauermesse | G minor. Bei des Entschlafnen Trauerbahre | August 1818 | Text by Schmid ; Only known in Ferd. Schubert 's arrangements; Publ. 1826 for satbSATB and organ | |
622 | 622 | (1833) | XX, 5. No. 340 | IV, 12 | Der Blumenbrief | Euch Blümlein will ich senden | August 1818 | Text by [de ] |
623 | 623 | (1831) | XX, 5. No. 341 | IV, 12 | Das Marienbild | Sei gegrüßt, du Frau der Huld | August 1818 | Text by [de ] |
624 | 624 | 10. (1822) | IX, 2. No. 15 | VII/1, 1 No. 6 Anh. Nos. 5–6 | Eight Variations on a French Song (i.e. Le bon Chevalier ) | E minor | September. 1818 | Theme after Hortense de Beauharnais ; For piano duet |
625 | 625 | (1897) | XXI, 2. No. 12 | VII/2, 2. No. 10 | Piano Sonata, D 625 | F minor | September. 1818 | Allegro (fragment) – Scherzo – Allegro (fragment); D 505 may be its 2nd movement |
626 | 626 | (1842) | XX, 5. No. 343 | IV, 12 | Blondel zu Marien | In düstrer Nacht | September. 1818 | |
627 | 627 | 173p,6. (1867) | XX, 5. No. 344 | IV, 12 | Das Abendrot, D 627 | Du heilig, glühend Abendrot! | November. 1818 | Text by [de ]; For b and piano |
628 | 628 | (1895) | XX, 5. No. 345 | IV, 12 | Sonett I | Apollo, lebet noch dein hold Verlangen | November. 1818 | Text by Petrarch, transl. by Schlegel, A. W. |
629 | 629 | (1895) | XX, 5. No. 346 | IV, 12 | Sonett II | Allein, nachdenklich, wie gelähmt vom Krampfe | November. 1818 | Text by Petrarch, transl. by Schlegel, A. W. |
630 | 630 | (1895) | XX, 5. No. 347 | IV, 12 | Sonett III | Nunmehr, da Himmel, Erde schweigt | November. 1818 | Text by Petrarch, transl. by Gries |
631 | 631 | (1885) | XX, 5. No. 348 | IV, 12 | Blanka a.k.a. Das Mädchen | Wenn mich einsam Lüfte fächeln | December. 1818 | Text by Schlegel, F. |
632 | 632 | (1831) | XX, 5. No. 349 | IV, 12 | Vom Mitleiden Mariä | Als bei dem Kreuz Maria stand | December. 1818 | Text by Schlegel, F. |
633–678 | 1819 | Up ↑ | ||||||
633 | 633 | 57,1. (1826) | XX, 3. No. 179 | IV, 3 | Der Schmetterling | Wie soll ich nicht tanzen | 1819–1823? | Text by Schlegel, F., from Abendröte I, 7 |
634 | 634 | 57,2. (1826) | XX, 3. No. 180 | IV, 3 | Die Berge | Sieht uns der Blick gehoben | 1819–1823? | Text by Schlegel, F., from Abendröte I, 1 |
635 | 635 | (1900). (1906–. 1907) | III, 4. No. 44 | Leise, leise laßt uns singen, later also: Ruhe, and: (Nächtliches) Ständchen | Leise, leise laßt uns singen, schlummre sanft (later also: Leise, leise laßt uns singen, still schon sieht der Mond ) | c.1819 | For ttbb ; later text versions, from 1900, by Robert Graf and Anton Weiß | |
636 | 636 | 39. (1826). (1895). (1975) | XX, 6. No. 357 | IV, 2a. b No. 9 | Sehnsucht, D 636 | Ach, aus dieses Tales Gründen | early. 1821? | Text by Schiller (other setting: D 52 ); Three versions: 1st not in AGA – 3rd is Op. 39 |
637 | 637 | 87,2. (1827) | XX, 6. No. 358 | IV, 4 | (Die) Hoffnung, D 637 | Es reden und träumen die Menschen viel | c.1819? | Text by Schiller (other setting:) |
638 | 638 | 87,3. (1827). (1895) | XX, 6. No. 359 | IV, 4 | Der Jüngling am Bache, D 638 | An der Quelle saß der Knabe | April 1819 | Text by Schiller (other settings: D 30 and 192 ); Two versions: 2nd is Op. 87 No. 3 |
639. 949 | 639 | (1820). (1832) | XX, 9. No. 553 | IV, 5 | Widerschein | Fischer harrt am Brückenbogen ; Tom Lehnt harrend auf der Brücke | 1820;. May/Sept.. 1828 | Text by [de ]; Two versions; 1st publ. 1820 – 2nd, in AGA with another text variant ("Harrt ein Fischer auf der Brücke"), was |
641 | 598 | See | ||||||
642 | 642 | (1937) | III, 2a. No. 1 | Viel tausend Sterne prangen | Viel tausend Sterne prangen | 1812? | Text by Eberhard ; For satb and piano | |
643 | 643 | (1889) | XII. No. 21 | VII/2, 6 | German Dance and Écossaise | C♯ minor (German dance). D♭ major (Écossaise) | 1819 | For piano |
643A | (1972) | III, 2a. No. 11 | Das Grab, D 643A | Das Grab ist tief und stille | 1819 | Text by Salis-Seewis (other settings:, and); For satb | ||
644 | 644 | (1855). (1887). (1891). (1975) | XV, 4. No. 7 | II, 4 | Die Zauberharfe | (Incidental music). Was belebt die schöne Welt? (Romanze from No. 9) – Durch der Töne Zaubermacht (final choir) | Apr.–Aug.. 1820 | Text by [de ]; Music for tSATB and orchestra; Three acts: Overture (reused in D 797, publ. 1855) and Nos. 1–4 – Nos. 5–9 (Romanze from No. 9, not in AGA, publ. 1887 with piano reduction and 1975 in concert version) – Overture and Nos. 10–13 |
645 | 645 | IV, 12 | Abend, D 645 | Wie ist es denn, daß trüb und schwer | early 1819 | Text by Tieck ; Fragment of a sketch | ||
646 | 646 | (1885) | XX, 6. No. 350 | IV, 12 | Die Gebüsche | Es wehet kühl und leise | January. 1819 | Text by Schlegel, F., from Abendröte II, 9 |
647 | 647 | (1872). (1889) | XV, 3. No. 5 | II, 5 | Die Zwillingsbrüder | (Singspiel) | Oct. 1818–. 1819 | For stbbbSATB and orchestra (piano reduction in 1872 edition); Overture and Nos. 1–10 |
648 | 648 | (1886) | II No. 7 | V, 5 | Overture, D 648 | E minor | February. 1819 | For orchestra |
649 | 649 | 65,2. (1826) | XX, 6. No. 351 | IV, 3 | Der Wanderer, D 649 | Wie deutlich des Mondes Licht zu mir spricht | February. 1819 | Text by Schlegel, F., from Abendröte II, 1; Two versions: 2nd is Op. 65 No. 2 |
650 | 650 | (1831) | XX, 6. No. 352 | IV, 12 | Abendbilder | Still beginnt's im Hain zu tauen | February. 1819 | Text by [wikisource:de ] |
651 | 651 | (1831) | XX, 6. No. 353 | IV, 12 | Himmelsfunken | Der Odem Gottes weht | February. 1819 | Text by [wikisource:de ] |
652 | 652 | (1842) | XX, 6. No. 354 | IV, 12 | Das Mädchen, D 652 | Wie so innig, möcht ich sagen | February. 1819 | Text by Schlegel, F., from Abendröte II, 4; Two versions: 1st, in AGA, publ. 1842 |
653 | 653 | (1842) | XX, 6. No. 355 | IV, 12 | Bertas Lied in der Nacht | Nacht umhüllt mit wehendem Flügel | February. 1819 | Text by Grillparzer |
654 | 654 | (1842) | XX, 6. No. 356 | IV, 12 | An die Freunde | Im Wald, im Wald, da grabt mich ein | March 1819 | Text by Mayrhofer |
655 | 655 | (1897) | XXI, 2. No. 13 | VII/2, 2 | Piano Sonata, D 655 | C♯ minor | April 1819 | Allegro; Fragment |
656 | 656 | (1867) | XVI. No. 35 | III, 4. No. 45 | Sehnsucht, D 656 | Nur wer die Sehnsucht kennt | April 1819 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 359, 481 and 877 Nos. 1 4); For ttbbb |
657 | 657 | (1871) | XVI. No. 36 | III, 4. No. 46 | Ruhe, schönstes Glück der Erde | Ruhe, schönstes Glück der Erde | April 1819 | For ttbb |
658 | 658 | (1895) | XX, 6. No. 364 | IV, 12 | Marie | Ich sehe dich in tausend Bildern | May 1819? | Text by Novalis, No. 15 from [de ] |
659 | 659 | (1872) | XX, 6. No. 360 | IV, 12 | Hymn I | Wenige wissen das Geheimnis der Liebe | May 1819 | Text by Novalis, No. 7 from [de ] |
660 | 660 | (1872) | XX, 6. No. 361 | IV, 12 | Hymn II | Wenn ich ihn nur habe | May 1819 | Text by Novalis, No. 5 from [de ] |
661 | 661 | (1872) | XX, 6. No. 362 | IV, 12 | Hymn III | Wenn alle untreu werden | May 1819 | Text by Novalis, No. 6 from [de ] |
662 | 662 | (1872) | XX, 6. No. 363 | IV, 12 | Hymn IV | Ich sag' es jedem, daß er lebt | May 1819 | Text by Novalis, No. 9 from [de ] |
663 | 663 | IV, 12 | Psalm 13 (12) | Ach Herr, wie lange willst du mein so ganz vergessen? | June 1819 | Text by Mendelssohn, M., translating Psalm 13 ; Fragment | ||
664 | 664 | 120p. (1829) | X No. 10 | VII/2, 2. No. 11 | Piano Sonata, D 664 | A major | Summer 1819. or 1825 | Allegro moderato – Andante – Allegro |
665 | 609 | See | ||||||
666 | 666 | 158p. (1849) | XIX. No. 3 | III, 2a. No. 12 | Kantate zum Geburtstag des Sängers Johann Michael Vogl | Sänger, der von Herzen singet – Diese Berge sah'n dich blühen – Da saht ihr Oresten scheiden – Gott bewahr' dein teures Leben | 10/08/1819 | Text by [scores ]; For stb and piano; Publ. 1849, with different text, as Der Frühlingsmorgen |
667 | 667 | 114p. (1829) | VII, 1. No. 1 | VI, 7 No. 6 | Trout Quintet | A major | 1819? | Allegro vivace – Andante – Scherzo – Theme and variations – Allegro giusto; For violin, viola, cello, double bass and piano; Reuses music of D 550 |
668 | 668 | (1897) | XXI, 2. No. 6 | VII/1, 5. No. 3 | Overture, D 668 | G minor | October. 1819 | For piano duet |
669 | 669 | (1829) | XX, 6. No. 365 | IV, 12 | Beim Winde | Es traümen die Wolken | October. 1819 | Text by Mayrhofer |
670 | 670 | 165p,2. (1862) | XX, 6. No. 366 | IV, 12 | Die Sternennächte | In monderhellten Nächten | October. 1819 | Text by Mayrhofer ; Two versions: 2nd is Op. posth. 165 No. 2 |
671 | 671 | (1849) | XX, 6. No. 367 | IV, 12 | Trost, D 671 | Hörnerklänge rufen klagend | October. 1819 | Text by Mayrhofer |
672 | 672 | 36,2. (1825). (1975) | XX, 6. No. 368 | IV, 2a. b No. 5 | Nachtstück | Wenn über Berge sich der Nebel breitet | October. 1819 | Text by Mayrhofer ; Two versions: 2nd is Op. 36 No. 2 |
673 | 673 | 165p,1. (1832). (1862) | XX, 6. No. 369 | IV, 12 | Die Liebende schreibt | Ein Blick von deinen Augen | October. 1819 | Text by Goethe ; Two versions: 1st publ. in 1832 – 2nd is Op. posth. 165 No. 1 |
674 | 674 | (1850) | XX, 6. No. 370 | IV, 12 | Prometheus, D 674 | Bedecke deinen Himmel, Zeus | October. 1819 | Text by Goethe ; For b and piano |
675 | 675 | 34. (1825) | IX, 2. No. 8 | VII/1, 5. No. 4 | Overture, D 675 | F major | November. 1819? | For piano duet |
676 | 676 | 153p. (1845). (1888) | XIV No. 3 | I, 8 | Salve Regina, D 676, a.k.a. Drittes Offertorium | A major. Salve Regina | November. 1819 | Text: Salve Regina (other settings: D 27, 106, and); For s and orchestra; Shortened in 1st ed., Op. posth. 153 |
677 | 677 | (1848). (1895) | XX, 6. No. 371 | IV, 12 | Stanza from "Die Götter Griechenlands" | Schöne Welt, wo bist du? | November. 1819 | Text by Schiller ; Two versions: 2nd publ. in 1848 |
678 | 678 | (1875). (1887) | XIII, 2. No. 5 | I, 3 | Mass No. 5 | A♭ major. Kyrie – Gloria – Credo – Sanctus Benedictus – Agnus Dei | Nov. 1819–. Sept. 1822 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 324, 452, and 950 ); For satbSATB and orchestra; Two versions: 1st publ. in 1875 – 2nd in AGA |
679–708 | 1820 | Up ↑ | ||||||
681 | 681 | (1930) | VII/2, 6 | Twelve Ländler, D 681 | Various keys | c.1815 | For piano; Nos. 1–4 are lost | |
682 | 682 | (1895) | XX, 10. No. 599 | IV, 12 | Über allen Zauber Liebe | Sie hüpfte mit mir auf grünem Plan | 1820–1824 | Text by Mayrhofer ; Fragment |
683 | 732 | Die Wolkenbraut | Der Jäger ruhte hingegossen | See D 732 No. 11 | ||||
684 | 684 | (1850) | XX, 6. No. 378 | IV, 12 | Die Sterne, D 684 | Du staunest, o Mensch | 1820 | Text by Schlegel, F., from Abendröte II, 8 |
685 | 685 | 4,2. (1821) | XX, 6. No. 379 | IV, 1a | Morgenlied, D 685 | Eh' die Sonne früh aufersteht | 1820 | Text by Werner |
686 | 686 | 20,2. (1823). (1970) | XX, 6. No. 380 | IV, 1a. b No. 15 | Frühlingsglaube | Die linden Lüfte sind erwacht | Sep. 1820–. Nov. 1822 | Text by Uhland ; Three versions: 3rd, in AGA, is Op. 20 No. 2 |
687 | 687 | (1872) | XX, 6. No. 372 | IV, 12 | Nachthymne | Hinüber wall' ich | January. 1820 | Text by Novalis |
688 | 688 | (1871) | XX, 10. Nos.. 575–. 578 | IV, 12 | Vier Canzonen | 1. Non t'accostar all'urna – 2. Guarda, che bianca luna – 3. Da quel sembiante appresi – 4. Mio ben, ricordati | January. 1820 | Text by [de ] (Nos. 1–2) and Metastasio (No. 3 from L'eroe cinese I, 3 – No. 4 from Alessandro nell'Indie III, 7) |
689 | 689 | (1865). (1892) | XVII. No. 1 | II, 10 | Lazarus, oder: Die Feier der Auferstehung | (Scenic oratorio in three acts) | early 1820–. Mar. 1820 | Text by Niemeyer ; For sssttbSATB and orchestra (piano reduction in 1865 publ.); Unfinished: Nos. 1–21 (Act I) – Nos. 22–29 (Act II) |
690 | 690 | (1830) | XX, 6. No. 376 | IV, 12 | Abendröte | Tiefer sinket schon die Sonne | March 1823 | Text by Schlegel, F., from Abendröte I |
691 | 691 | 172p,6. (1865) | XX, 6. No. 373 | IV, 12 | Die Vögel | Wie lieblich und fröhlich | March 1820 | Text by Schlegel, F., from Abendröte I, 2 |
692 | 692 | (1872) | XX, 6. No. 374 | IV, 12 | Der Knabe | Wenn ich nur ein Vöglein wäre | March 1820 | Text by Schlegel, F., from Abendröte I, 3 |
693 | 693 | (1872) | XX, 6. No. 375 | IV, 12 | Der Fluß | Wie rein Gesang sich windet | March 1820 | Text by Schlegel, F., from Abendröte I, 4 |
694 | 694 | (1842) | XX, 6. No. 377 | IV, 12 | Der Schiffer, D 694 | Friedlich lieg' ich hingegossen | March 1820 | Text by Schlegel, F. |
695 | 695 | (1895) | XX, 10. No. 587 | IV, 12 | Namenstagsl ied | Vater, schenk' mir diese Stunde | 19/3/1820? | Text by [scores ] |
696 | 696 | 113p. (1829) | XIV No. 18 | I, 9. No. 11 | Sechs Antiphonen zum Palmsonntag | Hosanna filio David – In monte Oliveti – Sanctus – Pueri Hebraeorum – Cum angelis et pueris – Ingrediente Domino | 26/3/1820 | For SATB |
697 | 697 | 18,É6. (1823). (1889) | XII. No. 28. No. 2,É6 | VII/2, 6 | Six Écossaises, D 697 | A♭ major | May 1820 | For piano; No. 5 is 6th Écossaise of Op. 18 |
698 | 698 | (1832) | XX, 6. No. 381 | IV, 12 | Des Fräuleins Liebeslauschen | Hier unten steht ein Ritter | September. 1820 | Text by [de ] |
699 | 699 | (1831) | XX, 6. No. 383 | IV, 12 | Der entsühnte Orest | Zu meinen Füßen brichst du dich | September. 1820 | Text by Mayrhofer |
700 | 700 | (1831) | XX, 6. No. 384 | IV, 12 | Freiwilliges Versinken | Wohin? o Helios! | September. 1820 | Text by Mayrhofer |
701 | 701 | (1929) | II, 15 | Sakuntala (also spelled Sacontala or Sakontala) | (Opera in three acts) | Oct. 1820–. spring. 1821 | Text by Neumann after Kalidasa 's Shakuntala ; For ssssssttttttbbbbbbSATB and orchestra; Unfinished (all numbers are sketches): Nos. 1–7 (Act I, last pages publ. in 1929) – Nos. 8a–11 (Act II) | |
702 | 702 | 8,1. (1822) | XX, 6. No. 385 | IV, 1a | Der Jüngling auf dem Hügel | Ein Jüngling auf dem Hügel | November. 1820 | Text by [de ] |
703 | 703 | (1870). (1897) | V No. 12. XXII v5 | VI, 5. No. 13 Anh. | String Quartet No. 12 | C minor | December. 1820 | Allegro assai (a.k.a. Quartettsatz, publ. 1870) – Andante (fragment) |
704 | 714 | See D 714 | ||||||
705 | 705 | (1897) | XXI, 4. No. 34 | III, 3 Anh. II No. 5 | Gesang der Geister über den Wassern, D 705 | Des Menschen Seele gleicht dem Wasser | December. 1820 | Text by Goethe (other settings: D 484, 538 and 714 ); Sketch for ttbb and piano |
706 | 706 | 132p. (1832) | XVIII. No. 2 | III, 3 No. 25. Anh. III No. 2. Anh. IV No. 5 | Psalm 23 (22) | Gott ist mein Hirt, mir wird nichts mangeln | December. 1820 | Text by Mendelssohn, M., translating Psalm 23 ; For ssaa and piano |
707 | 707 | 36,1. (1825). (1895) | XX, 6. No. 387 | IV, 2a. b No. 4 | Der zürnenden Diana | Ja, spanne nur den Bogen | December. 1820 | Text by Mayrhofer ; Two versions: 2nd is Op. 36 No. 1 |
708 | 708 | (1832) | XX, 6. No. 387 | IV, 12 | Im Walde, D 708, a.k.a. Waldesnacht | Windes Rauschen, Gottes Flügel | December. 1820 | Text by Schlegel, F. |
708A–732 | 1821 | Up ↑ | ||||||
615 | 708A | V, 6 No. 10 | Symphony, D 708A | D major | 1821 or. later | Sketches of four movements | ||
709 | 709 | (1891) | XVI. No. 31 | III, 4. No. 47 | Frühlingsgesang, D 709 | Schmücket die Locken mit duftigen Kränzen | March 1822. or earlier | Text by Schober (other setting, partly reusing music of this setting:); For ttbb |
710 | 710 | (1849) | XVI. No. 15 | III, 3 No. 26 | Im Gegenwärtigen Vergangenes | Ros und Lilie morgentaulich | March 1821? | Text by Goethe ; For ttbb and piano |
711 | 711 | 13,2. (1822). (1970) | XX, 5. No. 294 | IV, 1a. b No. 11 | Lob der Tränen | Laue Lüfte, Blumendüfte | 1818–1821? | Text by Schlegel, A. W. ; Two versions: 2nd, in AGA, is Op. 13 No. 2 |
712 | 712 | (1842) | XX, 6. No. 389 | IV, 13 | Die gefangenen Sänger | Hörst du von den Nachtigallen | January. 1821 | Text by Schlegel, A. W. |
713 | 713 | 87,1. (1827). (1895) | XX, 6. No. 390 | IV, 4 | Der Unglückliche | Die Nacht bricht an | January. 1821 | Text by Pichler ; Two versions: 2nd is Op. 87 No. 1 |
714. 704 | 714 | 167p. (1858). (1891) | XVI. No. 3. No. 45 | III, 1 | Gesang der Geister über den Wassern, D 714 | Des Menschen Seele gleicht dem Wasser | Dec. 1820–. Feb. 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 | 715 | (1845) | XX, 6. No. 391 | IV, 13 | Versunken | Voll Locken kraus ein Haupt so rund | February. 1821 | Text by Goethe |
716 | 716 | (1832) | XX, 6. No. 393 | IV, 13 | Grenzen der Menschheit | Wenn der uralte heilige Vater | March 1821 | Text by Goethe ; For b and piano |
717 | 717 | 31. (1825) | XX, 6. No. 397 | IV, 2a | Suleika II | Ach um deine feuchten Schwingen | March? 1821 | Text by Willemer |
718 | 718 | (1824 ) | XI No. 8 | VII/2, 4 | Variation on a Waltz by Anton Diabelli | C minor | March 1821 | For piano; No. 38 in Vaterländischer Künstlerverein Vol. II |
719 | 719 | 14,2. (1822) | XX, 6. No. 392 | IV, 1a | Geheimes | Über meines Liebchens Äugeln | March 1821 | Text by Goethe |
720 | 720 | 14,1. (1822) | XX, 6. No. 396 | IV, 1a. b No. 13 | Suleika I | Was bedeutet die Bewegung? | March 1821 | Text by Willemer ; Two versions; 2nd, in AGA, is Op. 14 No. 1 |
721 | 721 | (1895) | XX, 10. No. 600 | IV, 13 | Mahomets Gesang, D 721 | Seht den Felsenquell | March 1821 | Text by Goethe (other setting:); For b and piano; Fragment |
722 | 722 | (1889) | XII. No. 19 | VII/2, 6 | German Dance, D 722 | G♭ major | 8/3/1821 | For piano |
723 | 723 | (1893) | XV, 7. No. 15 | II, 18 | Duet and Aria for Hérold 's Das Zauberglöckchen | Nein, nein, nein, nein, das ist zu viel – Der Tag entflieht, der Abend glüht | Apr.–May. 1821 | Text by Théaulon, transl. by Treitschke ;Duet for tb and aria for t (both with orchestra) |
724 | 724 | 11,2. (1822) | XVI. No. 5 | III, 3 No. 27 | Die Nachtigall | Bescheiden verborgen im buschigten Gang | 22/4/1821. or earlier | Text by [Wikisource:de ]; For ttbb and piano |
725 | 725 | (1929) | III, 2b. Anh. No. 5 | Duet, D 725 | Linde Lüfte wehen, or: Linde Weste wehen | April 1821 | Fragment for mezzo-soprano, tenor and piano | |
726 | 726 | (1870) | XX, 6. No. 394 | IV, 3 | Mignon I, D 726 | Heiß mich nicht reden | April 1821 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting: D 877 No. 2) |
727 | 727 | (1850) | XX, 6. No. 395 | IV, 3 | Mignon II, D 727 | So laßt mich scheinen, bis ich werde | April 1821 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 469 and 877 No. 3) |
728 | 728 | (1895) | XX, 10. No. 601 | IV, 13 | Johanna Sebus | Der Damm zerreißt | April 1821 | Text by Goethe ; Fragment |
729 | 729 | (1894). (1934) | V, 6 No. 7. Anh 1 | Symphony No. 7 | E major | August. 1821 | Adagio, Allegro – Andante – Scherzo – Allegro giusto; Sketches; First editions are completions by others (piano reduction in 1894) | |
730 | 730 | (1926) | I, 9. No. 8 | Tantum ergo, D 730 | B♭ major | 16/8/1821 | Text by Aquinas (other settings:, and); For satbSATB and orchestra | |
731 | 731 | 173p,4. (1821) | XX, 6. No. 399 | IV, 5 | Der Blumen Schmerz | Wie tönt es mir so schaurig | September. 1821 | Text by Majláth ; Publ. as Op. posth. 173 No. 4 in 1867 |
732. 683 | 732 | (1833). (1834). (1867). (1882). (1892) | XV, 4. No. 8. (Ov.). XV, 5. No. 9 | II, 6a–c. IV, 14 | Alfonso und Estrella | (Opera in three acts) | 20/9/1821–. 27/2/1822 | Text by Schober ; For two sopranos, two tenors, bass, two baritones, SATB and orchestra (piano reduction in 1882 publ.); Overture (also used as overture to D 797, publ. 1867, piano reductions: D 759A and 773 ) – Act I: Nos. 1–10 (No. 8 publ. 1833 with piano reduction) – Act II: Nos. 11–22 (No. 11 was also and some of its music reappears in No. 19 of D 911, No. 13 publ. 1834 with piano reduction) – Act III: Nos. 23–34 |
733–767 | 1822 | Up ↑ | ||||||
733 | 733 | 51. (1826) | IX, 1. No. 3 | VII/1, 4 | Trois Marches militaires | D major. G major. E♭ major | Summer–. Autumn. 1818? | For piano duet |
734 | 734 | 67. (1826) | XII. No. 5 | VII/2, 7a | 16 Ländler and 2 Écossaises, a.k.a. Wiener Damen-Ländler | Various keys | before. 15/12/1826 | For piano |
735 | 735 | 49. (1825) | XII. No. 23 | VII/2, 7a | Galop and Eight Écossaises | Various keys | before. 21/11/1825 | For piano |
736 | 736 | (1842) | XX, 7. No. 402 | IV, 13 | Ihr Grab | Dort ist ihr Grab | 1822? | Text by [de ] |
737 | 737 | 56,2. (1826) | XX, 7. No. 414 | IV, 3 | An die Leier | Ich will von Atreus Söhnen | 1822 or. 1823? | Text by [de ] translating Anacreon |
738 | 738 | 56,3. (1826) | XX, 7. No. 415 | IV, 3 | Im Haine | Sonnenstrahlen durch die Tannen | 1822 or. 1823? | Text by [de ] |
739 | 739 | 45. (1825) | XIV No. 6 | I, 9. No. 5 | Tantum ergo, D 739 | C major | 1814 | Text by Aquinas (other settings:, and); For SATB and orchestra |
740 | 740 | 16,1. (1823) | XVI. No. 7 | III, 3 No. 28. Anh. III No. 3. Anh. IV No. 6 | Frühlingsgesang, D 740 | Schmücket die Locken mit duftigen Kränzen | January–. early April. 1822 | Text by Schober (other setting, of which the music is partly reused in this setting:); For ttbb and piano |
741 | 741 | 20,1. (1823) | XX, 6. No. 400 | IV, 1a | Sei mir gegrüßt | O du Entriß'ne mir | late 1821–. autumn 1822 | Text by Rückert |
742 | 742 | 68. (1822) | XX, 7. No. 401 | IV, 3 | Der Wachtelschlag | Ach! mir schallt's dorten so lieblich hervor | before. 30/7/1822 | Text by [de ]; Publ. as Op. 68 in 1827 |
743 | 743 | 23,2. (1823) | XX, 7. No. 406 | IV, 2a | Selige Welt | Ich treibe auf des Lebens Meer | autumn. 1822? | Text by Senn ; For b and piano |
744 | 744 | 23,3. (1823) | XX, 7. No. 407 | IV, 2a | Schwanengesang, D 744 | Wie klag' ich's aus das Sterbegefühl | autumn. 1822? | Text by Senn |
745 | 745 | 73. (1822). (1895) | XX, 7. No. 408 | IV, 3 | Die Rose | Es lockte schöne Wärme | 1822 | Text by Schlegel, F., from Abendröte I, 6; Two versions: 1st publ. as Op. 73 in 1827 |
746 | 746 | (1831) | XX, 7. No. 422 | IV, 13 | Am See, D 746 | In des Sees Wogenspiele | 1822 or. 1823? | Text by [de ] |
747 | 747 | 11,3. (1822) | XVI. No. 6 | III, 3 No. 29 | Geist der Liebe, D 747 | Der Abend schleiert Flur und Hain | January. 1822 | Text by Matthisson (other setting:); For ttbb and piano |
748 | 748 | 157p. (1822) | XVII. No. 3 | III, 1 | Am Geburtstage des Kaisers | Steig empor, umblüht von Segen | January. 1822 | Text by [de ]; For satbSATB and orchestra; Publ. with a modified text as Op. posth. 157 in 1849 |
749 | 749 | (1850) | XX, 10. No. 588 | IV, 13 | Herrn Josef Spaun, Assessor in Linz | Und nimmer schreibst du? | January. 1822 | Text by Collin, M. C. |
750 | 750 | (1888) | XIV No. 8 | I, 9. No. 9 | Tantum ergo, D 750 | D major | 22/3/1822 | Text by Aquinas (other settings:, and); For SATB and orchestra |
751 | 751 | 23,1. (1823) | XX, 7. No. 410 | IV, 2a | Die Liebe hat gelogen | Die Liebe hat gelogen | before. 17/4/1822 | Text by Platen |
752 | 752 | (1872) | XX, 7. No. 403 | IV, 13 | Nachtviolen | Nachtviolen, Nachtviolen | April 1822 | Text by Mayrhofer |
753 | 753 | 65,3. (1826) | XX, 7. No. 404 | IV, 3 | Heliopolis I a.k.a. Aus Heliopolis | Im kalten, rauhen Norden | April 1822 | Text by Mayrhofer |
754 | 754 | (1842) | XX, 7. No. 405 | IV, 13 | Heliopolis II a.k.a. Im Hochgebirge | Fels auf Felsen hingewälzet | April 1822 | Text by Mayrhofer ; For b and piano |
755 | 755 | I, 5 Anh. | Kyrie, D 755 | A minor. Kyrie | May 1822 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 324, 452, 678 and 950 ); For satbSATB, strings and organ; Sketch | ||
756 | 756 | 59,1. (1826). (1895) | XX, 7. No. 409 | IV, 3 | Du liebst mich nicht | Mein Herz ist zerrissen, du liebst mich nicht! | July 1822 | Text by Platen ; Two versions: 2nd is Op. 59 No. 1 |
757 | 757 | 133p. (1839) | XVIII. No. 3 | III, 3 No. 30. Anh. III No. 4 | Gott in der Natur | Groß ist der Herr! | August. 1822 | Text by Kleist ; For ssaa and piano |
757A | VII/2, 4 | March, D 757A | B minor | 1822 | For piano | |||
758 | 758 | 108,2. (1829) | XX, 7. No. 411 | IV, 5 | Todesmusik | In des Todes Feierstunde | September. 1822 | Text by Schober ; Two versions: 2nd is Op. 108 No. 2 |
759 | 759 | (1867) | I, 2. No. 8. XXII v1 | V, 3. No. 7 | Symphony No. 8, a.k.a. Unfinished Symphony | B minor | 30/10/1822 | Allegro moderato – Andante con moto – Scherzo (Fragment); D 797 No. 1 may be its 4th movement |
732. (Ov.) | 759A | 69. (1839) | VII/2, 4 | Overture to Alfonso und Estrella, D 759A | D major | November. 1822 | For piano; Arranged from D 732 (see also: D 773 ) | |
760 | 760 | 15. (1823) | XI No. 1 | VII/2, 5 | Fantasy, D 760, a.k.a. Wanderer Fantasy | C major | November. 1822 | For piano; Reuses music of D 489 |
761 | 761 | 23,4. (1823). (1795) | XX, 7. No. 412 | IV, 2a. b No. 1 | Schatzgräbers Begehr | In tiefster Erde ruht ein alt Gesetz | November. 1822 | Text by Schober ; Two versions: 2nd is Op. 23 No. 4 |
762 | 762 | (1833) | XX, 7. No. 413 | IV, 13 | Schwestergruß | Im Mondenschein' wall' ich auf und ab | November. 1822 | Text by [de ] |
763 | 763 | 146p. (1842) | XVII. No. 11 | III, 2a. No. 13 | Des Tages Weihe | Schicksalslenker, blicke nieder | 22/11/1822 | For satb and piano |
764 | 764 | 92,1. (1828). (1895) | XX, 7. No. 416 | IV, 5 | Der Musensohn | Durch Feld und Wald zu schweifen | early Dec.. 1822 | Text by Goethe ; Two versions: 2nd is Op. 92 No. 1 |
765 | 765 | (1868) | XX, 7. No. 417 | IV, 13 | An die Entfernte | So hab' ich wirklich dich verloren? | early Dec.. 1822 | Text by Goethe |
766 | 766 | (1872) | XX, 7. No. 418 | IV, 13 | Am Flusse, D 766 | Verfließet, vielgeliebte Lieder | early Dec.. 1822 | Text by Goethe (other setting: D 160 ) |
767 | 767 | 56,1. (1826). (1895) | XX, 7. No. 419 | IV, 3 | Willkommen und Abschied | Es schlug mein Herz | early Dec.. 1822 | Text by Goethe ; Two versions: 2nd is Op. 56 No. 1 |
768–798 | 1823 | Up ↑ | ||||||
768 | 768 | 96,3. (1827) | XX, 7. No. 420 | IV, 5 | Wandrers Nachtlied, D 768 | Über allen Gipfeln ist Ruh | before. July 1824 | Text by Goethe ; Publ. as Op. 96 No. 3 in 1828 |
769 | 769 | (1823). (1889) | XII. No. 18 | VII/2, 6. 7a | Two German Dances, D 769 | Various keys | before. 19/12/1823. –Jan. 1824 | For piano; No. 2 publ. in 1823 |
994 | 769A | VII/2, 2 | Piano Sonata, D 769a | E minor | c.1823 | Allegro; Fragment | ||
770 | 770 | 71. (1823) | XX, 7. No. 424 | IV, 3 | Drang in die Ferne | Vater, du glaubst es nicht | early 1823 | Text by Leitner ; Publ. as Op. 71 in 1827 |
771 | 771 | 22,1. (1823) | XX, 7. No. 425 | IV, 1a | Der Zwerg | Im trüben Licht verschwinden schon die Berge | 1822? | Text by Collin, M. C. |
772 | 772 | 22,2. (1823) | XX, 7. No. 426 | IV, 1a | Wehmut, D 772 | Wenn ich durch Wald und Fluren geh' | 1822 or. 1823? | Text by Collin, M. C. |
773 | 773 | 69. (1826) | VII/1, 5. No. 5 | Overture to Alfonso und Estrella, D 773 | 1823 | For piano duet; Arranged from D 732 (see also: D 759A ); Publ. as Op. 69 in 1830 | ||
774 | 774 | 72. (1823) | XX, 7. No. 428 | IV, 3 | Auf dem Wasser zu singen | Mitten im Schimmer der spiegelnden Wellen | 1823 | Text by Stolberg-Stolberg ; Publ. as Op. 72 in 1827 |
775 | 775 | 59,2. (1826) | XX, 8. No. 453 | IV, 3 | Daß sie hier gewesen | Daß der Ostwind Düfte hauchet | 1823? | Text by Rückert |
59,3. (1826) | XX, 8. No. 454 | IV, 3 | Du bist die Ruh | Du bist die Ruh, der Friede mild | 1823 | Text by Rückert | ||
777 | 777 | 59,4. (1826) | XX, 8. No. 455 | IV, 3 | Lachen und Weinen | Lachen und Weinen zu jeglicher Stunde | 1823? | Text by Rückert |
778 | 778 | 60,1. (1826) | XX, 8. No. 456 | IV, 3 | Greisengesang | Der Frost hat mir bereifet | before. June 1823 | Text by Rückert ; For b and piano; Two versions; 2nd, in AGA, is Op. 60 No. 1 |
778A | (1969) | IV, 13 | Die Wallfahrt | Meine Tränen im Bußgewand | 1823? | Text by Rückert ; For b and piano | ||
778B | VIII, 3 | Ich hab' in mich gesogen | Ich hab' in mich gesogen den Frühling treu und lieb | 1823? | Text by Rückert ; Sketch; For ttbb | |||
779 | 779 | 50. (1825) | XII. No. 4. Anh. | VII/2, 6. 7a | 34 Valses sentimentales | Various keys | Feb. 1823. –before. 21/11/1825 | For piano; Early versions of Nos. 1, 2, 4, 8, 9, 12, 14 and 33 in AGA Anh. |
780 | 780 | 94. (1823). (1824). (1828) | XI No. 4 | VII/2, 2 | Six Moments musicaux | Various keys | before. Dec. 1823. –before. 11/7/1828 | For piano; No. 3 publ. in 1823; No. 6 publ. in 1824; Publ. as Op. 94 in 1828 |
781 | 781 | (1824). (1825). (1889) | XII. No. 25. No. 3 | VII/2, 6. 7a | Twelve Écossaises, D 781 | Various keys | January. 1823 | For piano; No. 1 (=Écossaise No. 2 of and AGA XII No. 3) publ. in 1825; Nos. 4 and 7 publ. in 1824 |
782 | 782 | (1824) | VII/2, 7a | Écossaise, D 782 | D major | before. 21/2/1824 | For piano | |
783 | 783 | 33. (1825) | XII. No. 3 | VII/2, 6. 7a | Sixteen German Dances and Two Écossaises | Various keys | Jan. 1823. –before. 8/1/1825 | For piano; Related to other dances, e.g. No. 2, No. 1 |
784 | 784 | 143p. (1839) | X No. 8 | VII/2, 2. No. 12 | Piano Sonata, D 784 | A minor | February. 1823 | Allegro giusto – Andante – Allegro vivace |
785 | 785 | (1831) | XX, 7. No. 421 | IV, 13 | Der zürnende Barde | Wer wagt's, wer wagt's | February. 1823 | Text by [de ]; For b and piano |
786 | 786 | 123p. (1830) | XX, 7. No. 423 | IV, 13 | Viola | Schneeglöcklein, o Schneeglöcklein | March 1823 | Text by Schober |
787 | 787 | (1889). (1964) | XV, 3. No. 6 | II, 7 | Die Verschworenen, a.k.a. Der haüsliche Krieg | (Singspiel in one act) | completed. April 1823 | Text by Castelli ; For ssss(s)aatt(t)bbSATB and orchestra; Overture (fragment publ. in 1964) – Nos. 1–11 |
788 | 788 | (1838) | XX, 7. No. 427 | IV, 13 | Lied, D 788, a.k.a. Die Mutter Erde | Des Lebens Tag ist schwer und schwül | April 1823 | Text by Stolberg-Stolberg |
789 | 789 | (1832) | XX, 7. No. 429 | IV, 13 | Pilgerweise | Ich bin ein Waller auf der Erde | April 1823 | Text by Schober |
790 | 790 | 171p. (1864) | XII. No. 9 | VII/2, 6 | Twelve German Dances, D 790, a.k.a. Twelve Ländler | Various keys | May 1823 | For piano; No. 2 = No. 1; No. 8 similar to D. 783 No. 1 |
791 | 791 | (1867) | II, 16 | Rüdiger | (Opera) | May 1823 | Text by Mosel ?; For ttTTBB and orchestra; Sketches of two numbers | |
792 | 792 | (1833) | XX, 7. No. 430 | IV, 13 | Vergißmeinnicht | Als der Frühling | May 1823 | Text by Schober |
793 | 793 | 173p,2. (1867) | XX, 7. No. 431 | IV, 13 | Das Geheimnis, D 793 | Sie konnte mir kein Wörtchen sagen | May 1823 | Text by Schiller (other setting:) |
794 | 794 | 37,1. (1825). (1909) | XX, 7. No. 432 | IV, 2a. b No. 6 | Der Pilgrim | Noch in meines Lebens Lenze | May 1823 | Text by Schiller ; Two versions (merged into one in AGA): 1st is fragment – 2nd is Op. 37 No. 1 |
795 | 795 | 25. (1824) | XX, 7. Nos.. 433–. 452 | IV, 2a. Anh. No. 2–5 | Die schöne Müllerin (1. Das Wandern – 2. Wohin? – 3. Halt! – 4. Danksagung an den Bach – 5. Am Feierabend – 6. Der Neugierige – 7. Ungeduld – 8. Morgengruß – 9. Des Müllers Blumen – 10. Tränenregen – 11. Mein! – 12. Pause – 13. Mit dem grünen Lautenbande – 14. Der Jäger – 15. Eifersucht und Stolz – 16. Die liebe Farbe – 17. Die böse Farbe – 18. Trockne Blumen – 19. Der Müller und der Bach – 20. Des Baches Wiegenlied) | 1. Das Wandern ist des Müllers Lust – 2. Ich hört' ein Bächlein rauschen – 3. Eine Mühle seh' ich blinken – 4. War es also gemeint – 5. Hätt' ich tausend Arme zu rühren – 6. Ich frage keine Blume – 7. Ich schnitt' es gern in alle Rinden ein – 8. Guten Morgen, schöne Müllerin – 9. Am Bach viel kleine Blumen stehn' – 10. Wir saßen so traulich beisammen – 11. Bächlein, laß dein Rauschen sein – 12. Meine Laute hab' ich gehängt an die Wand – 13. Schad' um das schöne grüne Band – 14. Was sucht denn der Jäger – 15. Wohin so schnell – 16. In Grün will ich mich kleiden – 17. Ich möchte zieh'n in die Welt hinaus – 18. Ihr Blümlein alle – 19. Wo ein treues Herze – 20. Gute Ruh', gute Ruh' | October?–. November. 1823 | Text by Müller, W. |
796. 333 | 796 | 76. (1827). (1840). (1867). (1872). (1886) | XV, 6. No. 10 | II, 8a–c | Fierabras, also spelled Fierrabras | (Opera in three acts). Vocal numbers include 5. Laß uns mutvoll hoffen and 6b. Was quälst du mich, o Mißgeschick | 25/5/1823–. 2/10/1823 | Text by Kupelwieser ; Music for three sopranos, three tenors, three basses, baritone, SATB and orchestra; Overture (Schubert's piano duet version is, Czerny 's piano duet version publ. in 1827 as Schubert's Op. 76, orchestral score publ. in 1867) – Act I: Nos. 1–6 – Act II: Nos. 7–17 (No. 7 reuses music of D 982 No. 3, No. 15 reuses music of D 326 No. 14) – Act III: Nos. 18–23 (No. 21 publ. with piano reduction in 1840, last part of No. 21 was, No. 22 publ. with piano reduction in 1872) |
797 | 797 | 26. (1824). (1828). (1866). (1867). (1891) | XV, 4. No. 8 | II, 9. III, 2b Anh. No. 6–7. III, 3 No. 31. IV, 2a | Rosamunde, Fürstin von Zypern. (1. Entre'acte I – 2. Ballet I – 3a. Entre'acte II – 3b. Romanze a.k.a. Ariette – 4. Geisterchor – 5. Entre'acte III – 6. Hirtenmelodien – 7. Hirtenchor – 8. Jagerchor – 9. Ballet II) | (Incidental music for a play in three acts). Vocal numbers: 3b. Der Vollmond strahlt auf Bergeshöhn – 4. In der Tiefe wohnt das Licht – 7. Hier auf den Fluren – 8. Wie lebt sich's so fröhlich im Grünen | autumn 1823 | Text by Chézy ; For aSATB and orchestra; (Overture: see D 644 and 732 ) – Nos. 1–9 (Nos. 1 and 5 publ. in 1866, Nos. 2 and 9 publ. in 1867, No. 3b publ. with piano reduction as Op. 26 in 1824, Nos. 4, 7 and 8 publ. with piano reduction in 1828 or 1834, No. 4 publ. 1828; No. 5 partly reused in D 935 No. 3 and Andante of D 804 ) |
798 | 798 | (1897) | XXI, 2. No. 7 | VII/1, 5. No. 6 | Overture to Fierabras | after. 2/10/1823 | Arrangement for piano duet of D 796 's overture | |
799–822 | 1824 | Up ↑ | ||||||
799 | 799 | (1832) | XX, 8. No. 463 | IV, 13 | Im Abendrot, D 799 | Oh, wie schön ist deine Welt | 1824 or. Feb. 1825 | Text by [de ] |
800 | 800 | 41. (1825). (1827) | XX, 8. No. 465 | IV, 2a | Der Einsame | Wann meine Grillen schwirren | early 1825 | Text by [de ]; Two near-identical versions: 2nd publ. as Op. 41 in 1827 |
801 | 801 | 60,2. (1826) | XX, 8. No. 457 | IV, 3 | Dithyrambe, D 801 | Nimmer, das glaubt mir, erscheinen die Götter | before. 10/6/1826 | Text by Schiller (other setting: D 47 ); For b and piano |
802 | 802 | 160p. (1850) | VIII. No. 7 | VI, 8 No. 5. anh. 2 | Variations on "Trockne Blumen " | E minor | January. 1824 | For flute and piano; Introduction, Theme (D 795 No. 18) and 7 Variations |
803 | 803 | 166p. (1851). (1898) | III No. 1 | VI, 1 No. 3 | Octet, D 803 | F major | February–. 1/3/1824 | For clarinet, bassoon, horn, string quartet and double bass; Movements 4 and 5 missing in 1st publ. |
804 | 804 | 29. (1824) | V No. 13 | VI, 5. No. 14 | String Quartet No. 13 Rosamunde | A minor | Feb.–early. March 1824 | Allegro ma non troppo – Andante (after D 797 No. 5) – Minuet – Allegro moderato |
805 | 805 | (1833) | XX, 8. No. 458 | IV, 13 | Der Sieg | O unbewölktes Leben | early March. 1824 | Text by Mayrhofer ; For b and piano |
806 | 806 | (1833) | XX, 8. No. 459 | IV, 13 | Abendstern | Was weilst du einsam an dem Himmel | early March. 1824 | Text by Mayrhofer |
807 | 807 | (1842) | XX, 8. No. 460 | IV, 13 | Auflösung | Verbirg dich, Sonne | March 1824 | Text by Mayrhofer |
808 | 808 | (1872) | XX, 8. No. 461 | IV, 13 | Gondelfahrer, D 808 | Es tanzen Mond und Sterne | early March. 1824 | Text by Mayrhofer (other setting:) |
809 | 809 | 28. (1824) | XVI. No. 9 | III, 3 No. 32 | Gondelfahrer, D 809 | Es tanzen Mond und Sterne | March 1824 | Text by Mayrhofer (other setting:); For ttbb and piano |
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 (after D 531 ) – Scherzo – Presto |
811 | 811 | 149p. (1850) | XIV No. 19 | I, 9. No. 14 | Salve Regina, D 811 | C major. Salve Regina | April 1824 | Text: Salve Regina (other settings: D 27, 106, and); For ttbb |
812 | 812 | 140p. (1837) | IX, 2. No. 12 | VII/1,. 2 No. 1 | Sonata, D 812, a.k.a. Grand Duo | C major | June 1824 | For piano duet; Allegro moderato – Andante – Scherzo – Allegro vivace |
813 | 813 | 35. (1825) | IX, 2. No. 16 | VII/1,. 2 No. 2 | Eight Variations on an original theme | A♭ major | late May–mid. July 1824 | For piano duet |
814 | 814 | (1869) | IX, 3. No. 27 | VII/1, 4 | Four Ländler, D 814 | Various keys | July 1824 | For piano duet; No. 1 also as Allemande No. 17 |
815 | 815 | 139pI. (1840) | XVII. No. 10 | III, 2a. No. 14 | Gebet, D 815 | Du Urquell aller Güte | September. 1824 | Text by Motte Fouqué ; For satb and piano |
816 | 816 | (1956) | VII/2, 6 | Three Écossaises | Various keys | September. 1824 | For piano | |
817 | 817 | (1928) | VII/2, 3 | Ungarische Melodie | B minor | 2/9/1824 | For piano; Reappears in | |
818 | 818 | 54. (1826) | IX, 3. No. 19 | VII/1,. 2 No. 3 | Divertissement à l'hongroise | G minor | autumn. 1824? | For piano duet; Partly based on |
819 | 819 | 40. (1825) | IX, 1. No. 2 | VII/1, 4 | Six Grandes Marches | Various keys | 1818 or. 1824 | For piano duet |
820 | 820 | (1931) | VII/2, 6 | Six German Dances, D 820 | Various keys | October. 1824 | For piano | |
821 | 821 | (1871) | VIII. No. 8 | VI, 8 No. 6 | Arpeggione Sonata | A minor | November. 1824 | Allegro moderato – Adagio – Allegretto |
822 | 822 | (1842) | XX, 8. No. 464 | III, 3 Anh. II No. 6 | Lied eines Kriegers | Des stolzen Männerlebens schönste Zeichen | 31/12/1824 | For b, unison men's choir and piano |
823–862 | 1825 | Up ↑ | ||||||
823 | 823 | 63. 84. (1826). (1827) | IX, 3. Nos.. 20–22 | VII/1,. 2 No. 4 | Divertissement sur des motifs originaux français | E minor | before. 17/6/1826–. before. 6/7/1827 | For piano duet; Tempo di Marcia (publ. as Divertissement en Forme d'une Marche brillante et raisonnée Op. 63 in 1826) – Theme and variations (publ. as Andantino varié Op. 84 No. 1 in 1827) – Rondo (publ. as Rondeau brillant Op. 84 No. 2 in 1827) |
824 | 824 | 61. (1826) | IX, 3. No. 25 | VII/1, 4 | Six Polonaises | Various keys | April 1826 | For piano duet |
825. No. 1 | 825 | 64,1. (1828) | XVI. No. 24 | III, 4. No. 52 | Wehmut, D 825 | Die Abendglocke tönet | before. summer 1826 | Text by [de ]; For ttbb |
825. No. 2 | 825A | 64,2. (1828) | XVI. No. 25 | III, 4. No. 53 | Ewige Liebe | Ertönet, ihr Saiten, in nächtlicher Ruh | before. summer 1826 | Text by Schulze ; For ttbb |
825. No. 3 | 825B | 64,3. (1828) | XVI. No. 26 | III, 4. No. 54 | Flucht | In der Freie will ich leben | early 1825 | Text by [de ]; For ttbb |
826 | 826 | (1892) | XVII. No. 14 | III, 2a. No. 17 | Der Tanz | Es redet und träumet die Jugend so viel | early 1828 | Text by [scores ]?; For satb and piano |
827 | 827 | 43,2. (1825). (1975) | XX, 8. No. 470 | IV, 2a. b No. 10 | Nacht und Träume | Heil'ge Nacht, du sinkest nieder! | before. June 1823 | Text by Collin, M. C. ; Two versions: 2nd, in AGA, is Op. 43 No. 2 |
828 | 828 | 43,1. (1825) | XX, 8. No. 469 | IV, 2a | Die junge Nonne | Wie braust durch die Wipfel | early 1825 | Text by [de ] |
829 | 829 | (1873) | XX, 10. No. 603 | IV, 13 | Abschied, D 829, a.k.a. Abschied von der Erde | Leb' wohl du schöne Erde | before. 17/2/1826 | Text by [cs ]; Melodrama for spoken voice and piano |
830 | 830 | 85,1. (1828) | XX, 9. No. 541 | IV, 4 | Lied der Anne Lyle | Wärst du bei mir im Lebenstal | early 1825? | Text by Macdonald quoted in Scott 's Montrose (transl.) |
831 | 831 | 85,2. (1828) | XX, 9. No. 542 | IV, 4 | Gesang der Norna | Mich führt mein Weg wohl meilenlang | early 1825 | Text by Scott from The Pirate transl. by [de ] |
832 | 832 | (1830) | XX, 8. No. 466 | IV, 13 | Des Sängers Habe | Schlagt mein ganzes Glück in Splitter | February. 1825 | Text by [de ] |
833 | 833 | 101p,2. (1827). (1895) | XX, 8. No. 468 | IV, 5 | Der blinde Knabe | O sagt, ihr Lieben, mir einmal | April 1825 | Text by Cibber transl. by [de ]; Two versions: 2nd publ. as Op. posth. 101 No. 2 in 1828 |
834 | 834 | 93,1. (1828). (1835) | XX, 8. No. 476 | IV, 5 | Im Walde, D 834 | Ich wandre über Berg und Tal | March 1825. –Sep. 1827 | Text by Schulze ; Two versions: 2nd, publ. 1828, in AGA |
835 | 835 | 52,3. (1826) | XVI. No. 10 | III, 3 No. 33. IV, 3 | Bootgesang a.k.a. Boat Song | Triumph, er naht (Hail to the chief ) | 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto II, 19); For ttbb and piano |
836 | 836 | 52,4. (1826) | XVIII. No. 1 | III, 3 No. 9. IV, 3 | Coronach: Totengesang der Frauen und Mädchen | Er ist uns geschieden (He is gone to the mountain) | 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto III, 16); For SSA and piano |
837 | 837 | 52,1. (1826) | XX, 8. No. 471 | IV, 3 | Ellens Gesang I a.k.a. Ellen's Song (I) | Raste, Krieger, Krieg ist aus (Soldier rest! thy warfare o'er ) | April–. July 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto I, 31) |
838 | 838 | 52,2. (1826) | XX, 8. No. 472 | IV, 3 | Ellens Gesang II a.k.a. Ellen's Song (II) | Jäger, ruhe von der Jagd! (Huntsman rest! thy chase is done) | April–. July 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto I, 32) |
839 | 839 | 52,6. (1826) | XX, 8. No. 474 | IV, 3 | Ave Maria a.k.a. Ellens Gesang III: Hymne an die Jungfrau | Ave Maria! Jungfrau mild (Ave Maria! maiden mild) | April 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto III, 29) |
840 | 840 | (1839). (1861) | XXI, 3. No. 14 | VII/2, 2. No. 13 | Piano Sonata, D 840 ("Reliquie") | C major | April 1825 | Moderato – Andante (publ. 1839) – Minuet (fragment) – Rondo (fragment) |
841 | 841 | (1930) | VII/2, 6 | Two German Dances, D 841 | Various keys | April 1825 | For piano | |
842 | 842 | (1833) | XX, 8. No. 467 | IV, 13 | Totengräbers Heimwehe | O Menschheit, o Leben, was soll's? | April 1825 | Text by [de ] |
843 | 843 | 52,7. (1826) | XX, 8. No. 475 | IV, 3 | Lied des gefangenen Jägers – Lay of the Imprisoned Huntsman | Mein Roß so müd – My hawk is tired | April 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto VI, 24) |
844 | 844 | (1897) | XXI, 3. No. 31 | VII/2, 6 | Waltz, D 844, a.k.a. Albumblatt | G major | 16/4/1825 | For piano |
845 | 845 | 42. (1826) | X No. 9 | VII/2, 2. No. 14 | Piano Sonata, D 845 | A minor | before end. May 1825 | Moderato – Andante – Scherzo – Rondo |
846 | 846 | 52,5. (1826) | XX, 8. No. 473 | IV, 3 | Normans Gesang | Die Nacht bricht bald herein | April 1825 | Text by Scott from The Lady of the Lake transl. by [de ] (Canto II, 23) |
847 | 847 | 155p. (1849) | XVI. No. 29 | III, 4. No. 55 | Trinklied aus dem 16. Jahrhundert | Edit Nonna, edit Clerus | July 1825 | Text by [de ]; For ttbb |
848 | 848 | 156p. (1849) | XVI. No. 30 | III, 4. No. 56 | Nachtmusik | Wir stimmen dir mit Flötensang | July 1825 | Text by Seckendorff ; For ttbb |
849 | 944 | Gmunden-Gastein Symphony | C major | Jun.–Sep.. 1825 | Probably identical to D 944 (if not: lost); See also D Anh. I/6A | |||
850 | 850 | 53. (1826) | X No. 11 | VII/2, 2. No. 15 | Piano Sonata, D 850 ("Gasteiner") | D major | August 1825 | Allegro vivace – Con moto – Scherzo – Rondo |
851 | 851 | 79,1. (1827). (1895) | XX, 8. No. 478 | IV, 3 | Das Heimweh, D 851 | Ach, der Gebirgssohn | August 1825 | Text by Pyrker ; Two versions: 2nd is Op. 79 No. 1 |
852 | 852 | 79,2. (1827) | XX, 8. No. 479 | IV, 3. IV, 4 | Die Allmacht, D 852 | Groß ist Jehova, der Herr! | August 1825 | Text by Pyrker (other setting:); Two versions: 2nd, in AGA, is Op. 79 No. 2 |
853 | 853 | 93,2. (1828). (1835) | XX, 8. No. 477 | IV, 5 | Auf der Bruck | Frisch trabe sonder Ruh' und Rast | Mar. or Aug.. 1825–. Sep. 1827 | Text by Schulze ; Two versions: 2nd, publ. 1828, in AGA |
854 | 854 | (1830) | XX, 8. No. 480 | IV, 13 | Fülle der Liebe | Ein sehnend Streben teilt mir das Herz | August 1825 | Text by Schlegel, F. |
855 | 855 | (1842) | XX, 8. No. 481 | IV, 13 | Wiedersehn | Der Frühlingssonne holdes Lächeln | September. 1825 | Text by Schlegel, A. W. |
856 | 856 | 88,1. (1827) | XX, 8. No. 482 | IV, 4 | Abendlied für die Entfernte | Hinaus mein Blick, hinaus ins Tal | September. 1825 | Text by Schlegel, A. W. |
857 | 857 | 124p. (1829) | XX, 8. Nos.. 483–. 484 | IV, 13 | Two scenes from Lacrimas: 1. Lied der Delphine – 2. Lied des Florio | 1. Ach, was soll ich beginnen vor Liebe? – 2. Nun, da Schatten niedergleiten | September. 1825 | Text by Schütz |
859 | 859 | 55. (1826) | IX, 1. No. 4 | VII/1, 4 | Grande Marche Funèbre | C minor | after. 1/12/1825 | For piano duet |
860 | 860 | (1832) | XX, 8. No. 485 | IV, 13 | An mein Herz | O Herz, sei endlich stille | December. 1825 | Text by Schulze |
861 | 861 | (1832) | XX, 8. No. 486 | IV, 13 | Der liebliche Stern | Ihr Sternlein, still in der Höhe | December. 1825 | Text by Schulze |
862 | 862 | 88,3. (1827) | XX, 8. No. 499 | IV, 4 | Um Mitternacht | Keine Stimme hör' ich schallen | Dec. 1825–. Mar. 1826? | Text by Schulze ; Two versions: 2nd is Op. 88 No. 3 |
863–895 | 1826 | Up ↑ | ||||||
863 | 863 | IV, 13 | An Gott | Kein Auge hat dein Angesicht geschaut | 1827 or. earlier | Text by Hohlfeld (setting by Rindler publ. 1826 ); Music lost | ||
864 | 864 | IV, 13 | Das Totenhemdchen | Starb das Kindlein | 1825 or. later | Text by Bauernfeld ; Music lost | ||
865 | 865 | 105,1. (1828) | XVI. No. 12 | III, 3 No. 34. IV, 5 | Widerspruch | Wenn ich durch Busch und Zweig | 1826?–1828? | Text by Seidl ; Two versions: 1st for ttbb and piano |
866 | 866 | 95. (1828) | XX, 8. Nos.. 508–. 511 | IV, 5 | Vier Refrainlieder: 1. Die Unterscheidung – 2. Bei dir allein – 3. Die Männer sind méchant – 4. Irdisches Glück | 1. Die Mutter hat mich jüngst gescholten – 2. Bei dir allein empfind ich, daß ich lebe – 3. Du sagtest mir es, Mutter – 4. So mancher sieht mit finstrer Miene | Summer. 1828? | Text by Seidl |
867 | 867 | 105,2. (1828) | XX, 8. No. 512 | IV, 5 | Wiegenlied, D 867 | Wie sich der Äuglein kindlicher Himmel | 1826?–1828? | Text by Seidl |
869 | 869 | (1832) | XX, 8. No. 496 | IV, 14 | Totengräber-Weise | Nicht so düster und so bleich | 1826 | Text by [de ] |
870 | 870 | 80,1. (1827) | XX, 8. No. 506 | IV, 4 | Der Wanderer an den Mond | Ich auf der Erd', am Himmel du | 1826 | Text by Seidl |
871 | 871 | 80,2. (1827). (1979) | XX, 8. No. 507 | IV, 4 | Das Zügenglöcklein | Kling die Nacht durch, klinge | 1826 | Text by Seidl ; Two versions: 2nd, in AGA, is Op. 80 No. 2 |
872 | 872 | (1854). (1870) | XIII, 2. No. 7 | I, 6 | Deutsche Messe mit dem Anhang "Das Gebet des Herrn" (German Mass with The Lord's Prayer appended): 1. Zum Eingang – 2. Zum Gloria – 3. Zum Evangelium und Credo – 4. Zum Offertorium – 5. Zum Sanctus – 6. Nach der Wandlung – 7. Zum Agnus Dei – 8. Schlussgesang – Anh.: Das Gebet des Herrn | 1. Wohin soll ich mich wenden – 2. Ehre, Ehre sei Gott in der Höhe! – 3. Noch lag die Schöpfung formlos da – 4. Du gabst, o Herr, mir Sein und Leben – 5. Heilig, heilig, heilig, heilig ist der Herr! – 6. Betrachtend deine Huld und Güte – 7. Mein Heiland, Herr und Meister! – 8. Herr, du hast mein Flehn vernommen – Anh.: Anbetend deine Macht und Größe | summer or. early fall. 1827 | Text by Neumann ; Two versions: 1st for SATB and organ – 2nd, in AGA, adds winds, and optional double bass; Ferd. Schubert started publishing his arrangements from before 1838; Vocal score publ. in 1854 |
873 | 873 | (1974) | III, 4 Anh. II No. 2. VIII, 2 No. 29 | Canon, D 873 | A major | January. 1826? | For six voices; Sketch | |
873A | III, 4. Anh. II No. 3 | Nachklänge | January. 1826? | For ttbb ; Sketch | ||||
874 | 874 | IV, 14 | O Quell, was strömst du rasch und wild | O Quell, was strömst du rasch und wild | January. 1826? | Text by Schulze ; Sketch | ||
875 | 875 | 102. (1831) | XVI. No. 27 | III, 3 No. 35 | Mondenschein | Des Mondes Zauberblume lacht | January. 1826 | Text by Schober ; For ttbbb and piano (only voices in AGA, piano score in 1st ed. not original) |
875A | III, 2b. Anh. No. 8 | Die Allmacht, D 875A | Groß ist Jehova, der Herr! | January. 1826 | Text by Pyrker (other setting:); For SATB and piano; Sketch | |||
876 | 876 | (1838) | XX, 8. No. 487 | IV, 14 | Im Jänner 1817 a.k.a. Tiefes Leid | Ich bin von aller Ruh' geschieden | January. 1826 | Text by Schulze |
877 | 877 | 62. (1827) | XX, 8. Nos.. 488–. 491 | III, 2b No. 23. IV, 3 | Gesänge aus Wilhelm Meister (Songs from Wilhelm Meister ): 1. Mignon und der Harfner – 2.–4. Lied der Mignon | 1.4. Nur wer die Sehnsucht kennt – 2. Heiß mich nicht reden, heiß mich schweigen – 3. So laßt mich scheinen, bis ich werde | January. 1826 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 359, 469, 481, 656, and); No. 1 for two voices and piano; No. 2 has two versions; No. 4 reuses music of |
878 | 878 | 105,3. (1828) | XX, 8. No. 492 | IV, 5 | Am Fenster | Ihr lieben Mauern hold und traut | March 1826 | Text by Seidl |
879 | 879 | 105,4. (1828) | XX, 8. No. 493 | IV, 5 | Sehnsucht, D 879 | Die Scheibe friert, der Wind ist rauh | March 1826 | Text by Seidl |
880 | 880 | 80,3. (1827) | XX, 8. No. 494 | IV, 4 | Im Freien | Draußen in der weiten Nacht | March 1826 | Text by Seidl |
881 | 881 | 96,4. (1828). (1895) | XX, 8. No. 495 | IV, 5 | Fischerweise | Den Fischer fechten Sorgen und Gram und Leid nicht an | March 1826 | Text by [de ]; Two versions: 2nd is Op. 96 No. 4 |
882 | 882 | 101p,1. (1828) | XX, 8. No. 497 | IV, 5 | Im Frühling | Still sitz' ich an des Hügels Hang | March 1826 | Text by Schulze |
883 | 883 | (1832) | XX, 8. No. 498 | IV, 14 | Lebensmut, D 883 | O wie dringt das junge Leben | March 1826 | Text by Schulze |
884 | 884 | 108,1. (1829) | XX, 8. No. 500 | IV, 5 | Über Wildemann | Die Winde sausen am Tannenhang | March 1826 | Text by Schulze |
885 | 885 | 66. (1826) | IX, 1. No. 5 | VII/1, 4 | Grande Marche Héroique | A minor | c.3/9/1826 | For piano duet |
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 assai |
888 | 888 | (1850) | XX, 8. No. 502 | IV, 14 | Trinklied, D 888 | Bacchus, feister Fürst des Weins | July 1826 | Text by Shakespeare from Antony and Cleopatra II, 7, transl. by [de ] and Bauernfeld |
889 | 889 | (1830) | XX, 8. No. 503 | IV, 14 | Ständchen, D 889 | Horch, horch! die Lerch im Ätherblau | July 1826 | Text by Shakespeare from Cymbeline II, 3, transl. by Schlegel, A. W. |
890 | 890 | (1830) | XX, 8. No. 504 | IV, 14 | Hippolits Lied | Laßt mich, ob ich auch still verglüh | July 1826 | Text by [scores ] |
891 | 891 | 106,4. (1828) | XX, 8. No. 505 | IV, 5 | An Sylvia a.k.a. An Silvia a.k.a. Gesang, D 891 | Was ist Silvia, saget an | July 1826 | Text by Shakespeare from The Two Gentlemen of Verona IV, 2, transl. by Bauernfeld |
892 | 892 | 134p. (1839) | XVI. No. 13 | III, 3 No. 36 | Nachthelle | Die Nacht ist heiter | September. 1826 | Text by Seidl ; For tenor solo, ttbb and piano |
893 | 893 | (1827) | XVI. No. 41 | III, 4. No. 57 | Grab und Mond | Silberblauer Mondenschein fällt herab | September. 1826 | Text by Seidl ; For ttbb |
894 | 894 | 78. (1827) | X No. 12 | VII/2, 3. No. 16 | Piano Sonata, D 894 ("Fantasie") | G major | October. 1826 | Molto moderato e cantabile – Andante – Minuet – Allegretto |
895 | 895 | 70. (1827) | VIII. No. 1 | VI, 8 No. 7 | Rondo, D 895, a.k.a. Rondeau brillant | B minor | October. 1826 | For violin and piano |
896–936 | 1827 | Up ↑ | ||||||
896 | 896 | IV, 14 | Fröhliches Scheiden | Gar fröhlich kann ich scheiden | fall 1827–. early 1828 | Text by Leitner ; Sketch | ||
896A | IV, 14 | Sie in jedem Liede | Nehm ich die Harfe | fall 1827–. early 1828 | Text by Leitner ; Sketch | |||
896B | IV, 14 | Wolke und Quelle | Auf meinen heimischen Bergen | fall 1827–. early 1828 | Text by Leitner ; Sketch | |||
897 | 897 | 148p. (1846) | VII, 2. No. 5 | VI, 7 No. 4 | Notturno (Piano Trio, D 897) | E♭ major | 1828? | Adagio |
898 | 898 | 99p. (1836) | VII, 2. No. 3 | VI, 7 No. 3 | Piano Trio No. 1 | B♭ major | 1828? | Allegro moderato – Andante un poco mosso – Scherzo – Rondo |
899 | 899 | 90. (1827). (1857) | XI No. 2 | VII/2, 5 Anh. | Impromptus Nos. 1–4 | C minor – E♭ major – G♭ major – A♭ major | summer–. fall 1827? | For piano; Nos. 1–2 publ. 1827 |
900 | 900 | (1897) | XXI, 3. No. 16 | VII/2, 5 Anh. | Allegretto, D 900 | C minor | 1821 or. later? | For piano; Fragment |
901 | 901 | (1827) | XVI. No. 37 | III, 4. No. 58 | Wein und Liebe | Liebchen und der Saft der Reben | before. June 1827 | Text by Haug ; For ttbb |
902 | 902 | 83. (1827) | XX, 10. Nos.. 579–. 581 | IV, 4 | Drei Gesänge: 1. L'incanto degli occhi (Die Macht der Augen) – 2. Il traditor deluso (Der getäuschte Verräter) – 3. Il modo di prender moglie (Die Art ein Weib zu nehmen) | 1. Da voi, cari lumi (Nur euch, schöne Sterne) – 2. Ahimè, io tremo! (Weh mir, ich bebe!) – 3. Orsù! non ci pensiamo (Wohlan! und ohne Zagen) | 1827. (before. September) | Text by Metastasio, from Attilio Regolo II, 5 (No. 1, other version:) and Gioas re di Giuda II (No. 2); For b and piano |
903 | 903 | 81,3. (1827) | XVI. No. 11 | III, 3 No. 37. IV, 4 | Zur guten Nacht | Horch auf! Es schlägt die Stunde | January. 1827 | Text by Rochlitz ; For vocal soloist, TTBB and piano |
904 | 904 | 81,1. (1827) | XX, 4. No. 287 | IV, 4 | Alinde | Die Sonne sinkt ins tiefe Meer | January. 1827 | Text by Rochlitz |
905 | 905 | 81,2. (1827) | XX, 4. No. 288 | IV, 4 | An die Laute | Leiser, leiser, kleine Laute | January. 1827 | Text by Rochlitz |
906 | 906 | (1832) | XX, 8. No. 514 | IV, 14 | Der Vater mit dem Kind | Dem Vater liegt das kind in Arm | January. 1827 | Text by Bauernfeld |
907 | 907 | 86. (1828). (1979) | XX, 8. No. 501 | IV, 4 | Romanze des Richard Löwenherz | Großer Taten tat der Ritter fern im heiligen Lande viel | March. 1826? | Text by Scott from Ivanhoe transl. by [wikisource:de ] (Ch. 17); Two versions: 2nd, in AGA, is Op. 86 |
908 | 908 | 82,1. (1827) | IX, 2. No. 17 | VII/1, 3 No. 1. Anh. No. 1 | Eight Variations on a theme from Hérold's Marie | C major | February. 1827 | For piano duet |
909 | 909 | 96,2. (1828) | XX, 8. No. 515 | IV, 5 | Jägers Liebeslied | Ich schieß' den Hirsch im grünen Forst | February. 1827 | Text by Schober |
910 | 910 | (1833) | XX, 8. No. 516 | IV, 14 | Schiffers Scheidelied | Die Wogen am Gestade schwellen | February. 1827 | Text by Schober |
911 | 911 | 89. (1828) | XX, 9. Nos.. 517–. 540 | IV, 4 | Winterreise :. —Part I—. 1. Gute Nacht – 2. Die Wetterfahne – 3. Gefror'ne Tränen – 4. Erstarrung – 5. Der Lindenbaum – 6. Wasserflut – 7. Auf dem Flusse – 8. Rückblick – 9. Irrlicht – 10. Rast – 11. Frühlingstraum – 12. Einsamkeit. —Part II—. 13. Die Post – 14. Der greise Kopf – 15. Die Krähe – 16. Letzte Hoffnung – 17. Im Dorfe – 18. Der stürmische Morgen – 19. Täuschung – 20. Der Wegweiser – 21. Das Wirtshaus – 22. Mut – 23. Die Nebensonnen – 24. Der Leiermann | —Part I—. 1. Fremd bin ich eingezogen – 2. Der Wind spielt mit der Wetterfahne – 3. Gefror'ne Tropfen fallen – 4. Ich such' im Schnee vergebens – 5. Am Brunnen vor dem Tore – 6. Manche Trän' aus meinen Augen – 7. Der du so lustig rauschtest – 8. Es brennt mir unter beiden Sohlen – 9. In die tiefsten Felsengründe – 10. Nun merk' ich erst, wie müd ich bin – 11. Ich träumte von bunten Blumen – 12. Wie eine trübe Wolke. —Part II—. 13. Von der Straße her ein Posthorn klingt – 14. Der Reif hat einen weißen Schein – 15. Eine Krähe war mit mir aus der Stadt gezogen – 16. Hie und da ist an den Bäumen – 17. Es bellen die Hunde – 18. Wie hat der Sturm zerrissen – 19. Ein Licht tanzt freundlich vor mir her – 20. Was vermeid' ich denn die Wege – 21. Auf einen Totenacker hat mich mein Weg gebracht – 22. Fliegt der Schnee mir ins Gesicht – 23. Drei Sonnen sah ich – 24. Drüben hinterm Dorfe steht ein Leiermann | February. 1827. (Part I. started);. October. 1827. (Part II. started) | Text by Müller, W. ; Two versions for Nos. 7, 10, 11, 22 and 23; Music of No. 19 partly based on D 732 No. 11 |
912 | 912 | 151p. (1845) | XVI. No. 28 | III, 4. No. 59 | Schlachtlied, D 912 | Mit unserm Arm ist nichts getan | 28/2/1827 | Text by Klopstock, from Oden (other setting:); For TTBBTTBB |
913 | 913 | 139pII. (1846) | XVI. No. 1 | III, 1 | Nachtgesang im Walde | Sei uns stets gegrüßt, o Nacht! | April 1827 | Text by Seidl ; For ttbb and four horns |
914 | 914 | (1897) | XXI, 4. No. 36a | III, 4. No. 60 | Frühlingslied, D 914 | Geöffnet sind des Winters Riegel | April 1827 | Text by ; Music reappears in other setting); For ttbb |
915 | 915 | (1870) | XI No. 12 | VII/2, 5 | Allegretto, D 915 | C minor | 26/4/1827 | For piano |
916 | 916 | (1961) | III, 4. Anh. II No. 4 | Das stille Lied | Schweige nur, süßer Mund | May 1827 | Text by ; For ttbb ; Sketch | |
916A | IV, 14 | Liedentwurf, D 916A | C major | May 1827? | Sketch without text | |||
916B | (1978) | VII/2, 5 Anh. | Piano piece, D 916B | C major | summer–. fall 1827? | Sketch | ||
916C | (1978) | VII/2, 5 Anh. | Piano piece, D 916C | C minor | summer–. fall 1827? | Sketch | ||
917 | 917 | 115p,1. (1829) | XX, 9. No. 543 | IV, 14 | Das Lied im Grünen | Ins Grüne, ins Grüne | June 1827 | Text by [de ] |
918 | 918 | (1868). (1962) | II, 17 | Der Graf von Gleichen | (Opera in two acts) | started. 19/6/1827 | Text by Bauernfeld ; For ssssttbbbbbbSATB and orchestra; Music for Nos. 1–20f (sketches); No. 13 partly based on and No. 20c on D 102 ; Completions of No. 1 publ. in 1868, as "Morgengesang im Walde", and of No. 14 in 1962; Act I: Nos. 1–11 – Act II: Nos. 12–22 | |
919 | 919 | (1897) | XXI, 4. No. 36b | IV, 14 | Frühlingslied, D 919 | Geöffnet sind des Winters Riegel | spring. 1827? | Text by ; Music based on other setting |
920. 921 | 920 | 135p. (1840). (1891) | XVI. No. 14. XVIII. No. 4 | III, 3 No. 38 | Ständchen, D 920, a.k.a. Notturno | Zögernd leise | July 1827 | Text by Grillparzer ; For a, choir and piano; Two versions: choir TTBB in 1st, and SSAA in 2nd (which was D 921, publ. as Op. posth. 135) |
922 | 922 | 106,1. (1828). (1895) | XX, 9. No. 544 | IV, 5 | Heimliches Lieben | O du, wenn deine Lippen mich berühren | September. 1827 | Text by [de ]; Two versions: 2nd is Op. 106 No. 1 |
923 | 923 | 165p,5. (1862). (1895). (1971) | XX, 9. No. 545 | III, 2b No. 24. IV, 14 | Eine altschottische Ballade | Dein Schwert, wie ist’s von Blut so rot | September. 1827 | Text by Herder after "Edward, Edward" from Percy 's Reliques of Ancient English Poetry ; For male voice, female voice and piano; Three versions: 1st is Op. posth. 165 No. 5 – 2nd for voice and piano – 3rd publ. in 1971 |
924 | 924 | 91. (1828) | XII. No. 7 | VII/2, 7a | Twelve Grazer Waltzes | Various keys | September. 1827? | For piano |
925 | 925 | (1828) | XII. No. 24 | VII/2, 7a | Grazer Galopp | C major | September. 1827? | For piano |
926 | 926 | 106,2. (1828) | XX, 9. No. 546 | IV, 5 | Das Weinen | Gar tröstlich kommt geronnen | fall 1827–. early 1828 | Text by Leitner |
927 | 927 | 106,3. (1828) | XX, 9. No. 547 | IV, 5 | Vor meiner Wiege | Das also, das ist der enge Schrein | fall 1827–. early 1828 | Text by Leitner |
928 | 928 | (1870) | IX, 1. No. 7 | VII/1, 4 | March, D 928, a.k.a. Kindermarsch | G major | 12/10/1827 | For piano duet |
929 | 929 | 100. (1828). (1975) | VII, 2. No. 4 | VI, 7 No. 2. Anh. | Piano Trio No. 2 | E♭ major | started. Nov. 1827 | Allegro – Andante con moto – Scherzando – Allegro moderato; Shortened version, in AGA, is Op. 100 |
930 | 930 | 104p. (1829) | XIX. No. 2 | III, 2a. No. 15 | Der Hochzeitsbraten | Ach liebes Herz, ach Theobald | November. 1827 | Text by Schober ; For stb and piano |
931 | 931 | (1835) | XX, 9. No. 548 | IV, 14 | Der Wallensteiner Lanzknecht beim Trunk | He! schenket mir im Helme ein! | November. 1827 | Text by Leitner |
932 | 932 | (1832) | XX, 9. No. 549 | IV, 14 | Der Kreuzzug | Ein Münich steht in seiner Zell | November. 1827 | Text by Leitner |
933 | 933 | (1835) | XX, 9. No. 550 | IV, 14 | Des Fischers Liebesglück | Dort blinket durch Weiden | November. 1827 | Text by Leitner |
934 | 934 | 159p. (1850) | VIII. No. 5 | VI, 8 No. 8 | Fantasy, D 934 | C major | December. 1827 | For violin and piano; Reuses music of |
935 | 935 | 142p. (1839) | XI No. 3 | VII/2, 5 Anh. | Impromptus Nos. 5–8 | F minor – A♭ major – B♭ major – F minor | December. 1827 | For piano; 7th Impromptu reuses music of D 797 |
936 | 936 | (1892) | XVII. No. 15 | III, 2a. No. 16 | Kantate für Irene Kiesewetter a.k.a. Cantate zur Feier der Genesung der Irene Kiesewetter | Al par del ruscelletto chiaro | 26/12/1827 | for ttbbSATB and piano duet |
936A–965B | 1828 | Up ↑ | ||||||
615 | 936A | V, 6 No. 11. Anh. 2 | Symphony No. 10 | D major | spring–. summer. 1828? | Sketches for [Allegro maestoso] (two versions) – Andante – Scherzo (two versions) | ||
937 | 937 | (1872) | XX, 10. No. 602 | IV, 14 | Lebensmut, D 937 | Fröhlicher Lebensmut | summer. 1828? | Text by Rellstab ; Fragment |
938 | 938 | (1835) | XX, 9. No. 551 | IV, 14 | Der Winterabend, D 938 | Es ist so still, so heimlich um mich | January. 1828 | Text by Leitner |
939 | 939 | 96,1. (1828) | XX, 9. No. 552 | IV, 5 | Die Sterne, D 939 | Wie blitzen die Sterne so hell durch die Nacht | January. 1828 | Text by Leitner |
940 | 940 | 103. (1829) | IX, 3. No. 24 | VII/1, 3 No. 2 Anh. No. 1 | Fantasy, D 940 | F minor | January–. April 1828 | For piano duet |
941 | 948 | See D 948, 1st version | ||||||
942 | 942 | 136p. (1839) | XVII. No. 9 | III, 2b. No. 18 | Mirjams Siegesgesang | Rührt die Zimbel, schlagt die Saiten – Aus ägypten vor dem Volke – Doch der Horizont erdunkelt – S'ist der Herr in seinem Grimme – Tauchst du auf, Pharao? – Drum mit Zimbeln und mit Saiten | March 1828 | Text by Grillparzer ; For sSATB and piano |
943 | 943 | 119p. (1829) | XX, 10. No. 568 | IV, 14 | Auf dem Strom | Nimm die letzten Abschiedsküsse | March 1828 | Text by Rellstab ; For voice, horn (or cello) and piano |
944. 849 | 944 | (1840) | I, 2. No. 7 | V, 4. No. 8 | Symphony No. 9, Great C major | C major | summer. 1825?–. March 1828 | Andante, Allegro ma non troppo – Andante con moto – Scherzo – Allegro vivace; Probably identical to Gmunden-Gastein Symphony, D 849 |
944A | 944A | German Dance, D 944A | 1/3/1828 | For piano; Lost | ||||
945 | 945 | (1895) | XX, 10. No. 589 | IV, 14 | Herbst, D 945 | Es rauschen die Winde | April 1828 | Text by Rellstab |
946 | 946 | (1868) | XI No. 13 | VII/2, 5 | Three piano pieces, a.k.a. Impromptus, D 946 | E♭ minor – E♭ major – C major | May 1828 | Allegro assai, Andante – Allegretto – Allegro |
947 | 947 | 144p. (1840) | IX, 3. No. 23 | VII/1,. 3 No. 3 | Allegro, D 947, a.k.a. Lebensstürme | A minor | May 1828 | For piano duet |
948. 941. 964 | 948 | (1891). 154p. (1849) | XVI. No. 42. (1st v.). No. 2. (2nd v.) | I, 9. No. 15–16. Anh. 3 | Hymnus an den heiligen Geist | Komm, heil'ger Geist, erhöre unser Flehen (1st v.); Herr, unser Gott! erhöre unser Flehen (2nd v.) | May 1828 | Text by [de ]; Two versions: 1st, for ttbbTTBB, was D 941 – 2nd, Op. posth. 154 for ttbbTTBB and winds, was D 964 |
949 | 639 | See | ||||||
950 | 950 | (1865) | XIII, 2. No. 6 | I, 4 | Mass No. 6 | E♭ major. Kyrie – Gloria – Credo – Sanctus Benedictus – Agnus Dei | started. June 1828 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 324, 452, 678 and); For satbSATB and orchestra |
951 | 951 | 107. (1829) | IX, 2. No. 13 | VII/1, 3 No. 4. Anh. No. 2 | Rondo, D 951, a.k.a. Grand Rondeau | A major | June 1828 | For piano duet |
952 | 952 | 152p. (1848) | IX, 3. No. 28 | VII/1,. 3 No. 5 | Fugue, D 952 | E minor | 3/6/1828 | For organ duet or piano duet |
953 | 953 | (1841) | XVII. No. 19 | III, 2b. No. 19 | Psalm 92 (91) | tôw l'hôdôs ladônoj | July 1828 | Text: Psalm 92 ; For baritone and satbSATB |
954 | 954 | (1828) | XVII. No. 5 | III, 2b. No. 20 | Glaube, Hoffnung und Liebe, D 954 | Gott, laß die Glocke glücklich steigen | before. 2/9/1828 | Text by [de ]; For ttbbSATB acc. by winds or piano |
955 | 955 | 97. (1828) | XX, 8. No. 462 | IV, 5 | Glaube, Hoffnung und Liebe, D 955 | Glaube, hoffe, liebe! | August. 1828 | Text by [de ] |
956 | 956 | 163p. (1853) | IV No. 1 | VI, 2 No. 2 | String Quintet | C major | September. 1828? | Allegro ma non troppo – Adagio – Presto – Allegretto; For two violins, viola and two cellos |
957. №№. 1–13 | 957 | (1829) | XX, 9. Номера. 554–. 566 | IV, 14 | Шваненгесанг, D 957, он же 13 Lieder nach Gedichten von Rellstab und Heine :. —Rellstab—. 1. Liebesbotschaft - 2. Kriegers Ahnung - 3. Frühlingssehnsucht - 4. Ständchen - 5. Aufenhalt - 6. In der Ferne - 7. Abschied. - Heine -. 8. Der Atlas - 9. Ihr Bild - 11. Die Stadt - 12. Am Meer - 13. Der Doppelgänger | 1. Rauschendes Bächlein, so silber und hell - 2. In tiefer Ruh liegt um mich her - 3. Säuselnde Lüfte wehen so mild - 4. Leise flehen meine Lieder - 5. Раушендер Штром, brausender Wald - 6. Wehe dem Fliehenden - 7. Ade ! du muntre, du fröhliche Stadt - 8. Ich unglückselger Atlas - 9. Ich stand in dunkeln Träumen - 10. Das Fischermädchen - 11. Am fernen Horizonte - 12. Das Meer erglänzte weit hinaus - 13. Still ist die Nacht, es ruhen die Гассен | август–. сентябрь?. 1828 | Текст: Реллстаб (№№ 1–7) и Хайне, Х. (№№ 8–13); D 965A был № 14; Ранние версии для №№ 1 и 3; Вариант для № 4 |
958 | 958 | (1839) | X № 13 | VII / 2, 3. No. 17 | Соната для фортепиано, D 958 | до минор | сентябрь. 1828 | Аллегро - Адажио - Менуэт - Аллегро |
959 | 959 | ( 1839) | X № 14 | VII / 2, 3. No. 18 | Соната для фортепиано, D 959 | Ля мажор | сентябрь. 1828 | Аллегро - Андантино - Скерцо - Аллегретто (частично на основе 2-й части) |
960 | 960 | (1839) | X No. 15 | VII / 2, 3. No. 19 | Соната для фортепиано, D 960 | B ♭ major | сентябрь. 1828 | Molto moderato - Andante sostenuto - Scherzo - Allegro ma non troppo |
961 | 452 | См. D 452 | ||||||
962 | 962 | (1890) | XXI, 4. No. 32 | I, 9. No. 10. и Ань. 4 | Tantum ergo, D 962 | E ♭ major | октябрь. 1828 | Текст Фомы Аквинского (другие настройки:, и); Для сатбСАТБ и оркестр; Эскиз в AGA XIV No. 22 |
963 | 963 | (1890) | XXI, 4. No. 33 | I, 8 | Intende voci, также известное как Offertory, D 963, или Aria для тенора с хором | B ♭ major | октябрь. 1828 | Текст: Псалом 5 :3 –4a, офертарий на пятницу после Oculi Sunday ; Для tSATB и оркестра |
964 | 948 | 154p. (1849) | XVI. No. 2 | Герр, unser Gott! erhöre unser Flehen | См. D 948, 2-я версия | |||
965 | 965 | 129p. (1830) | XX, 10. No. 569 | IV, 14 | Der Hirt auf dem Felsen | Wenn auf dem höchsten Fels ich steh | октябрь. 1828 | Текст Müller, W. и Варнхаген фон Энсе ; Для голоса, кларнета и фортепиано |
957. No.. 14 | 965A | (1829) | XX, 9. No. 567 | IV, 14 | Die Taubenpost | Ich hab 'eine Brieftaub in meinem Продано | октябрь. 1828 г. | Текст: Зейдл ; Был D 957 No. 14 |
965B | VIII, 2. №№ 15–16 | Фугальные упражнения, D 965B | ноябрь. 1828 | Отчасти аналогично | ||||
966–992 | 1810–1828 | Вверх ↑ | ||||||
966 | 11 | См. D 11 No. 3 | ||||||
966B | V, 6 No. 8 | Оркестровая пьеса, D 966B | A Major | 1820 или. позже | Sketch | |||
968 | 968 | (1888) | IX, 3. No. 29 | VII / 1, 1. No. 7 | Сонатина, D 968 | до мажор - ля минор | 1815–1819? | Для фортепианного дуэта; Allegro moderato - Анданте |
603 | 968A | 82p, 2. (1860) | IX, 2. No. 18 | VII / 1, 1. No. 8 | Вступление, вариации и финал | B ♭ мажор | ? | Для фортепианного дуэта |
886 | 968B | 121p. (1829) | IX, 1. п. 6 | VII / 1, 4 | Deux Marches caractéristiques | до мажор | весна 1826 г.? | Для фортепианного дуэта |
969 | 969 | 77. (1827) | XII. No. 6 | VII / 2, 7a | 12 Valses nobles | Различные клавиши | до. 22.01.1827 | Для фортепиано |
970 | 970 | (1889) | XII. No. 13 | VII / 2, 6 | Six Ländler, D 970, a.k.a. German Dances | Различные клавиши | ? | Для фортепиано; № 2 почти идентичен D 145 № 7 |
971 | 971 | (1823) | XII. No. 14 | VII / 2, 7a | Три немецких танца, D 971 | Различные тональности | до. 01.10.1823 | Для фортепиано |
972 | 972 | (1889) | XII. No. 15 | VII / 2, 6 | Три немецких танца, D 972 | Различные ключи | до. апреля 1817 г.? | Для фортепиано; № 3 повторно использован в |
973 | 973 | (1889) | XII. No. 16 | VII / 2, 6 | Три немецких танца, D 973 | Различные клавиши | ? | Для фортепиано |
974 | 974 | (1889) | XII. No. 17 | VII / 2, 6 | Два немецких танца, D 974 | Различные клавиши | ? | Для фортепиано |
975 | 975 | (1889) | XII. No. 20 | VII / 2, 6 | Немецкий танец, D 975 | Ре мажор | ? | Для фортепиано |
976 | 976 | (1825) | XII. No. 22 | VII / 2, 7a | Котильон | E ♭ major | до. 29/12/1825 | Для фортепиано |
977 | 977 | (1889) | XII. No. 26 | VII / 2, 6 | Восемь Экосезов, D 977 | Различные клавиши | ? | Для фортепиано |
978 | 978 | (1825) | VII / 2, 7a | Вальс, D 978 | A ♭ мажор | до. 29.12.1825 | Для фортепиано | |
979 | 979 | (1826) | VII / 2, 7a | Вальс, D 979 | соль мажор | до. 23.12.1826 | Для фортепиано | |
980 | 980 | (1826) | VII / 2, 7a | Два вальса, D 980 | Различные клавиши | до. 23.12.1826 | Для фортепиано | |
640 | 980A | VII / 2, 6 | Два танца, D 980A | Различные клавиши | ? | Для фортепиано; Эскизы | ||
679 | 980B | (1925) | VII / 2, 6 | Два Лендлера, D 980B | E ♭ major | ? | Для фортепиано | |
680 | 980C | (1930) | VII / 2, 6 | Two Ländler, D 980C | D ♭ major | ? | Для пианино; Фрагменты | |
980D | (1828) | VII / 2, 7a | Вальс, D 980D, он же Krähwinkler Tanz | до мажор | до. 26.01.1828 | Для фортепиано | ||
980E | VII / 2, 6 | Два танца, D 980E | Различные клавиши | 1818 или. позже | Для фортепиано (?); Эскизы | |||
980F | VII / 2, 6 | март, D 980F | соль мажор | ? | Для фортепиано; Arr. потерянного марша для оркестра? | |||
981 | 981 | Der Minnesänger | (Singspiel) | ? | Текст: Коцебу ?; Утрачено | |||
982 | 982 | II, 16 | Эскизы к опере Софи | (Opera) | сентябрь – октябрь. 1820 | Для sstb и оркестра; №№ 1–3 (№ 3 частично повторно используется в D 796 № 7) | ||
983. №. 1 | 983 | 17,1. ( 1823) | XVI. No. 20 | III, 4. No. 48 | Jünglingswonne | So lang im deutschen Eichentale | до. 10.09.1823 | Текст: Маттиссон ; Для ttbb |
983. No.. 2 | 983A | 17,2. (1823) | XVI. No. 21 | III, 4. No. 49 | Liebe | Liebe rauscht der Silberbach | до. 10.09.1823 | Текст: Шиллер, из "Der Triumph der Liebe": строфа 25 ; Другое: D 55, 61, 62, 63, 64 ; Для ttbb |
983. No.. 3 | 983B | 17,3. (1823) | XVI. No. 22 | III, 4. No. 50 | Зум Рундетанц | Ауф! es dunkelt; silbern funkelt | до. 10.09.1823 | Текст: Салис-Сьюис (другая настройка: D Anh. I / 18 ); Для ttbb |
983. No.. 4 | 983C | 17,4. (1823) | XVI. No. 23 | III, 4. No. 51 | Die Nacht, D 983C | Wie schön bist du, freundliche Stille | до. 10.09.1823 | Текст: Круммахер (?); Для ttbb |
984 | 984 | 169p. (1865) | III, 3 Anh. II No. 7 | Der Wintertag a.k.a. Geburtstaglied | In schöner heller Winterzeit | 1821 или. позже? | Для ttbb и фортепиано; Фрагмент: утраченная партия фортепиано | |
985 | 985 | 112p, 1. (1829) | XVII. No. 6 | III, 2a. No. 4 | Gott im Ungewitter | Du Schrecklicher, wer kann vor dir und deinem Donner stehn? | ? | Текст: Уз ; Для satb и фортепиано |
986 | 986 | 112p, 2. (1829) | XVII. No. 7 | III, 2a. No. 5 | Gott der Weltschöpfer | Zu Gott, zu Gott flieg auf | ? | Текст: Uz ; Для satb и фортепиано |
988 | 988 | (1873) | XIX. No. 26 | III, 4. No. 61. VIII, 2. No. 30 | Liebe säuseln die Blätter | Liebe säuseln die Blätter | ? | Текст: Hölty ; Канон для трех голосов |
988A | III, 3 Anh. II No. 8 | Партия аккомпанемента | B ♭ мажор | 1821 или. позже | Для фортепиано в качестве аккомпанемента вокальной композиции | |||
990 | 990 | (1853) | IV, 14 | Der Graf von Habsburg | Зу Аахен в сейнере Kaiserpracht | 1815–1820 | Текст: Шиллер | |
990A | (1853) | IV, 14 | Кайзер Максимилиан ауф дер Мартинсванд [в Тироле] | Хинауф! хинауф! in Sprung und Lauf | 1815–1820 | Текст: Collin, HJ | ||
582 | 990B | IV, 14 | Augenblicke im Elysium | Vor der in Ehrfurcht all mein Wesen kniet | ? | Текст: Schober ; Музыка потерянная | ||
868 | 990C | 130p. (1830) | XX, 8. No. 513 | IV, 14 | Das Echo | Herzliebe gute Mutter, o grolle nicht mit mir | ? | Текст: Кастелли |
990D | IV, 14 | Die Schiffende | Sie wankt dahin! Die Abendwinde spielen | ? | Текст Hölty ; Музыка утеряна | |||
990E | IV, 4 IV, 11 | L'incanto degli occhi | Da voi, cari lumi | 1813–1816? | Текст Метастазио из Аттилио Реголо II (другая версия: № 1); Aria for s | |||
990F | IV, 11 | Ombre amene a.k.a. La serenata | Ombre amene | 1813–1816? | Текст от Metastasio ; Ария для s ; Ранее ошибочно идентифицированный как ранний сеттинг Il traditor deluso, № 2 | |||
991 | 323 | O so laßt euch froh beginrüssen | O so laßt euch froh beginrüssen | Текст: Шиллер ; Последняя часть | ||||
992 | 383 | См. D 383 | ||||||
Anh. I | Поддельные и сомнительные произведения | Вверх ↑ | ||||||
40 | Anh.. I / 1 | String Quartet, D Anh. I / 1 | E ♭ major | 1813 | Под вопросом: утрачено или идентично D 87 | |||
Anh.. I / 2 | Струнный квартет, D Anh. I / 2 | F major | 1816 | Под вопросом: утрачено или идентично D 353 | ||||
Anh.. I / 3 | VIII, 2. Ань. № 2 | Фуга, Д Ань. I / 3 | До мажор | 1812? | Поддельный ?; Для струнного квартета ?; Фрагмент: сохранилась только партия альта | |||
2 | Anh.. I / 4 | Spurious: фрагмент движения струнного квартета соль мажор [партитур ] | ||||||
Anh.. I / 5 | Spurious: набросок вступительной части струнного квартета ми мажор | |||||||
Anh.. I / 6 | Spurious: Дуэт ре мажор для двух скрипок | |||||||
Anh.. I / 6A | Поддельный: Симфония ми мажор "1825" Гюнтера Эльсхольца (поддельная симфония Гмунден-Гастайн, D 849 ) | |||||||
858 | Anh.. I / 7 | VII / 1, 4 | март, провинция Ань. I / 7 | ноябрь. 1825 | сомнительный; потерянный; для двух фортепиано в восемь рук | |||
ань.. I / 8 | Соната для фортепиано, D Anh. I / 8 | F Major | 1815 | Под вопросом: утеряна или идентична D 157 | ||||
Anh.. I / 9 | Соната для фортепиано, D Anh. I / 9 | Фа мажор | 1816 | Под вопросом: утеряна или идентична D 459 | ||||
Anh.. I / 10 | Fantasy, D Anh. I / 10 | E ♭ major | 1825? | Doubtful; Lost; For piano | ||||
Anh.. I / 11 | S чистые: Аллегро соль мажор и Менуэт до мажор, он же Сонатина; Для фортепиано; Publ. в 1967 | |||||||
Ань.. I / 12 | (1810) | Семь простых вариаций | соль мажор | до. ноя. 1810 | Поддельный ?; Для фортепиано | |||
Anh.. I / 13 | Six German Dances, D Anh. I / 13 | 1814 | Сомнительно; Потерянный; Для фортепиано | |||||
Anh.. I / 14 | (1970) | VIII, 1 | Waltz, D Anh. I / 4, a.k.a. Купельвизер-Вальцер | G ♭ major | 17.09.1826 | Под вопросом; Для фортепиано | ||
336 | Anh.. I / 15 | (1897) | XXI, 3. No. 26 | VIII, 1 | Менуэт с трио, D Anh. I / 15 | Ре мажор | Под вопросом; Для фортепиано | |
Anh.. I / 16 | (1975) | Écossaise de Vienne | A ♭ major | 1821? | Под вопросом: от Hüttenbrenner ?; Для фортепиано | |||
Anh.. I / 17 | VIII, 1 | Tantum ergo, D Anh. I / 17 | B ♭ major | Текст Аквинского (другие настройки:, и); Поддельный ?; Фрагмент: только s часть | ||||
132 | Anh.. I / 18 | (1974) | III, 4. Anh. I № 2 | Лид бейм Рундетанц | Auf, es dunkelt, silbern funkelt | 1815–1816 | Текст: Салис-Сьюис (другая настройка:); Сомнительно; Фрагмент: один голос партитуры | |
133 | Anh.. I / 19 | (1974) | III, 4. Anh. I No. 3 | Lied im Freien, D Anh. I / 19 | Wie schön ist's im Freien | 1815–1816 | Текст: Салис-Сьюис (другая настройка:); Сомнительно; Фрагмент: один голос отрывка песни | |
339 | Anh.. I / 20 | (1974) | III, 4. Anh. I № 4 | Amors Macht | Wo Amors Flügel weben | 1815–1816 | Текст: Маттиссон ; Сомнительно; Фрагмент: один голос части песни | |
340 | Anh.. I / 21 | (1974) | III, 4. Anh. I No. 5 | Badelied | Zur Elbe, zur Elbe, des Äthers Gewölbe | 1815–1816 | Текст: Маттиссон ; Сомнительно; Фрагмент: один голос партитуры | |
341 | Anh.. I / 22 | (1974) | III, 4. Anh. I № 6 | Сильфен | Был unterm Monde gleicht uns Sylphen flink und leicht | 1815–1816 | Текст: Маттиссон ; Сомнительно; Фрагмент: один голос отрывка песни | |
425 | Anh.. I / 23 | (1974) | III, 4. Anh. I No. 7 | Lebenslied, D Anh. I / 23 | Kommen und Scheiden | 1815–1816 | Текст: Маттиссон (другая настройка:); Сомнительно; Фрагмент: один голос партитуры; Относится к ? | |
Ань.. I / 24 | Kantate auf den Vater (Кантата своему отцу) | 27.09.1816 | Сомнительно; Lost | |||||
Anh.. I / 25 | VIII, 1 | Drum Schwester und Brüder | Drum Schwester und Brüder singt fröhliche Liede | октябрь. 1819 | Сомнительно; Для голосов и инструментов; Фрагмент: текст хора и сохранившиеся партии второй скрипки и виолончели | |||
Anh.. I / 26 | VIII, 1 | Sturmbeschwörung | Nirgends Rettung, nirgends Land | до. 1840 | Поддельный ?; Для голосов; Фрагмент: s сохранившаяся часть | |||
Anh.. I / 27 | Spurious: фрагмент из трех TTB хоров с ветрами | |||||||
512 | Anh.. I / 28 | VIII, 1 | Klage, D Anh. I / 28 | Nimmer länger trag ich dieser Leiden Last | c.1817 | Другая настройка:; Поддельный? | ||
Ань.. I / 29 | VIII, 1 | Кайзер Фердинанд II. | Reget die Stadt sich in freudiger Hast? | 1853 или. ранее | Сомнительный | |||
Ань.. I / 30 | Поддельный: "Mein Frieden" (Текст Ferne, ferne flammen helle Sterne by Heine, C.), publ. в 1823 году другим Шубертом | |||||||
Ань.. I / 31 | Ложный: «Прощай!» / «Lebe wohl!» (Текст Voici l'instant suprême авторства Беланжера после Wetzel, переведен на немецкий как Schon naht, um uns zu scheiden ), publ. в 1824 г., согласно [et ] | |||||||
598A | Anh.. I / 32 | VIII, 2. Anh. № 1 | Темы для упражнений на чистом басу | до. 1812 года | Сомнительно | |||
Ань. II | Аранжировки Шуберта | Вверх ↑ | ||||||
Anh.. II / 1 | VIII, 1 | Аранжировка увертюры Глюка к Iphigénie en Aulide | в начале 1810 г.? | Фрагмент для фортепианного дуэта: сохранились последние такты партии Примо | ||||
96 | Anh.. II / 2 | (1926 ) | VIII, 1 | Переложение Матиегка Ноттурно (Трио), соч. 21, он же квартет, Д Ань. II / 2 | соль мажор | 26.02.1814 | Для партии флейты, альта, гитары и виолончели, добавленной Шубертом; Части 2 (Трио II) и 5 (Вариант II) в композиции Шуберта | |
Ань.. II / 3 | VIII, 1 | Переложение двух арий из Глюк 's Echo et Narcisse | Риен де ля природы - О битвы, о крайности! | март 1816 г. | Текст: Чуди | |||
Ань.. II / 4 | (1960) | VIII, 1 | Аранжировка М. Восьмой псалом Штадлера (Псалом Цвельфа Давида № 1: «Unendlicher! Gott, unser Herr!») | Dem Sangmeister auf Gittith, ein Psalm Davids | 29/8 / 1823 | Текст Мендельсон, М., перевод Псалом 8 ; Для голоса и оркестра; Шуберт адаптировал и оркестровал фортепианный аккомпанемент, немного изменив вокальную партию | ||
Anh. III | Копии Шуберта произведений других композиторов | Наверх ↑ | ||||||
Anh.. III / 1 | Копия Шуберта девяти канонов Майкла Гайдна и других композиторов: Nos. 1, 3, 4 и 6 М. Гайдна - № 2 М. или Дж. Гайдн - № 5 по [Wikisource: de ] - № 9 по Моцарт | 1. Es packe dich das Glück beim Kragen (F мажор) - 2. Vom Glück sei alles dir beschert (B ♭ major) - 3. Glück fehl dir vor allem (соль мажор) - 4. Wohlsein und Freude (до мажор) - 5. Drum habe Dank, o Vater Hayden - 6. Adam hat siebn Söhn (F мажор) - 7. Катон, Платон, Цицерон (F мажор) - 8. Was i beim Tag mit der Leiern gwinn (ми минор) - 9. Аллилуиа ( До мажор) | лето. 1810 | No. 1: для пяти голосов (MH 577, также) - No. 2: для четырех голосов (MH 619 или Hob. XXVIIb : Bb1) - No. 3: для четырех голосов (MH 582 ) - № 4: для пяти голосов (MH 584 ) - № 5: для девяти голосов - № 6: для четырех голосов ( MH 699, также) - № 7: (MH 714 ) - № 8: (MH 723 ) - № 9: для четырех голосов ( K. 553 [оценок ]) | ||||
Anh.. III / 2 | Копия Шуберта [оценок ] [de ] | Nehmt hin die Welt! краткое описание Zeus aus seinen Höhen | c.1810 | Текст: Шиллер ; Также Hob. XXVIa : C1 | ||||
Anh.. III / 3 | Копия Шуберта части Симфонии № 41 Моцарта | до мажор | после. 29 / 3/1813 | Начало менуэта (3-я часть) | ||||
Anh.. III / 4 | Копия Шуберта канона из Zumsteeg Эльбондокани | Hoffnung Kind des Himmels | до. осени 1813 года? | Текст: Хауг (пер. С французского); Для sstb и фортепиано | ||||
Anh.. III / 5 | Копия Шуберта Zumsteeg Chor der Derwische | Ein Gott, ein wahrer Gott ist nur | пружина. 1813 г.? | Текст от Иффланда, из Ахмет и Зенид ; для ttb | ||||
85 | Anh.. III / 6 | Копия Шуберта офферториума [de ] "Clamavi ad te", соч. 16 | До мажор | ноябрь. 1813? | Только начало части s сохранилось в копии Шуберта | |||
Anh.. III / 7 | Копия Шуберта Райхардта [набирает ] | Heraus in eure Schatten | 1815 | Текст Гете, из Ифигения в Тавриде ; Для голоса, женского хора и фортепиано | ||||
Anh.. III / 8 | Копия Шуберта части Симфонии № 4 Бетховена | B ♭ мажор | 1821 или. позже | Начало Adagio, Allegro vivace (1 часть) | ||||
Anh.. III / 9 | Копия Шуберта органной части M. Гайдна Deutsches Hochamt, MH 560 | Hier liegt vor deiner Majestät. B ♭ major | ? | Текст: Кольбреннер ; Для SATB и орган; Утрачен автограф Шуберта | ||||
Ан.. III / 10 | Копия Шуберта мессы [de ] до мажор | до мажор. Кири - Gloria - Credo - Sanctus Benedictus - Agnus Dei | 1821 или. позже | Текст: Mass normal (настройки Шуберта: D 24E, 31, 45, 49, 56, 66, 105, 167, 324, 452, 678 и 950 ); Для САТБ и оркестра; Копия Шуберта и его брата Фердинанд | ||||
92 | Ан.. III / 11 | Копия канона Шуберта, написанная Моцартом (ранее), после [набрано ] | Laß immer in der Jugend Glanz | ? | Для двух голосов; Утрачен автограф Шуберта | |||
127 | Anh.. III / 12 | Копия Шуберта канона Моцарта, [score ] | Selig, selig alle, die im Herrn entschliefen! | ? | Текст Hölty ; Для двух голосов; Утерян автограф Шуберта | |||
Ань.. III / 13 | Копия Шуберта Бетховена [баллов ] | Wenn die Sonne niedersinket | после. марта 1820 г. | Текст: Гобл ; Автограф Шуберта транспонированный, неполный |
В New Schubert Edition упоминается несколько композиций без немецкого номера (D deest), большинство из них утеряно или фрагментарно:
Многотомные издания, веб-сайты и каталоги
Другое
На Викискладе есть материалы, связанные с Композиции Франца Шуберта. |