Franz Schubert - wikipedia Franz Schubert `` Schubert '' redirects here. For the other composer of the same name, see François Schubert. For other uses, see Schubert ( disambiguation ). Oil painting of Franz Schubert by Wilhelm August Rieder ( 1875 ), made from his own 1825 watercolor portrait Franz Peter Schubert ( German : ( ˈfʁant͡s ˈʃuːbɐt ) ; 31 January 1797 -- 19 November 1828 ) was an Austrian composer. Schubert died at age 31, but was extremely prolific during his lifetime. His output consists of over 600 secular vocal works ( mainly Lieder ), seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Appreciation of Schubert 's music while he was alive was limited to a relatively small circle of admirers in Vienna, but interest in his work increased significantly in the decades following his death. Felix Mendelssohn, Robert Schumann, Franz Liszt, Johannes Brahms and other 19th - century composers discovered and championed his works. Today, Schubert is ranked among the greatest composers of the late Classical and early Romantic eras and is one of the most frequently performed composers of the early 19th century. Contents 1 Biography 1.1 Early life and education 1.2 Teacher at his father 's school 1.3 Supported by friends 1.4 Musical maturity 1.5 Last years and masterworks 1.6 Final illness and death 2 Music 2.1 Style 2.1. 1 Instrumental music, stage works and church music 2.1. 2 Lieder and art songs 2.2 Publication -- catalogue 2.2. 1 Complete editions 2.2. 2 Deutsch catalogue 2.2. 3 Numbering issues 3 Recognition 3.1 Tributes by other musicians 3.2 Commemorations 3.3 Portrayal in film 3.4 Filmography 4 Notes 5 References 5.1 19th - and early 20th - century scholarship 5.2 Modern scholarship 5.3 Numbering of symphonies 6 Further reading 7 External links 7.1 Recordings 7.2 Sheet music Biography Early life and education Schubert was born in Himmelpfortgrund ( now a part of Alsergrund ), Vienna, Archduchy of Austria on 31 January 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster ; his mother, Elisabeth ( Vietz ), was the daughter of a Silesian master locksmith and had been a housemaid for a Viennese family before marriage. Of Franz Theodor 's fourteen children ( one of them illegitimate, born in 1783 ), nine died in infancy. Their father was a well - known teacher, and his school in Lichtental ( in Vienna 's ninth district ) had numerous students in attendance. Though he was not recognised or even formally trained as a musician, he passed on certain musical basics to his gifted son. The house in which Schubert was born, today Nussdorfer Strasse 54 At the age of six, Franz began to receive regular instruction from his father, and a year later was enrolled at his father 's school. His formal musical education started around the same time. His father taught him basic violin technique, and his brother Ignaz gave him piano lessons. Aged seven, he was given his first lessons outside the family by Michael Holzer, organist and choirmaster of the local parish church in Lichtental ; the lessons may have largely consisted of conversations and expressions of admiration. The boy seemed to gain more from an acquaintance with a friendly joiner 's apprentice who took him to a neighbouring pianoforte warehouse where Franz could practice on better instruments. He also played viola in the family string quartet, with brothers Ferdinand and Ignaz on first and second violin and his father on the cello. Franz wrote his earliest string quartets for this ensemble. Young Schubert first came to the attention of Antonio Salieri, then Vienna 's leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt ( Imperial Seminary ) through a choir scholarship. At the Stadtkonvikt, he was introduced to the overtures and symphonies of Mozart, and the symphonies of Joseph Haydn and his younger brother Michael. His exposure to these and other works, combined with occasional visits to the opera, laid the foundation for a broader musical education. One important musical influence came from the songs by Johann Rudolf Zumsteeg, an important Lieder composer of the time. The precocious young student `` wanted to modernize '' them, as reported by Joseph von Spaun, Schubert 's friend. Schubert 's friendship with Spaun began at the Stadtkonvikt and lasted throughout his short life. In those early days, the financially well - off Spaun furnished the impoverished Schubert with much of his manuscript paper. In the meantime, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt 's orchestra, and Salieri decided to start training him privately in music theory and even in composition. It was the first orchestra he wrote for, and he devoted much of the rest of his time at the Stadtkonvikt to composing chamber music, several songs, piano pieces and, more ambitiously, liturgical choral works in the form of a `` Salve Regina '' ( D 27 ), a `` Kyrie '' ( D 31 ), in addition to the unfinished `` Octet for Winds '' ( D 72, said to commemorate the 1812 death of his mother ), the cantata Wer ist groß ? for male voices and orchestra ( D 110, for his father 's birthday in 1813 ), and his first symphony ( D 82 ). Mass No. 2 in G major, D 167 ( 1815 ) Kyrie Gloria Credo Sanctus Benedictus Agnus Dei Performance by the MIT Concert Choir Problems playing these files ? See media help. Teacher at his father 's school At the end of 1813, he left the Stadtkonvikt and returned home for teacher training at the St Anna Normal - hauptschule. In 1814, he entered his father 's school as teacher of the youngest pupils. For over two years young Schubert endured such drudgery, dragging himself through it with resounding indifference. There were, however, compensatory interests even then. He continued to take private lessons in composition from Salieri, who gave Schubert more actual technical training than any of his other teachers, before they parted ways in 1817. In 1814, Schubert met a young soprano named Therese Grob, daughter of a local silk manufacturer, and wrote several of his liturgical works ( including a `` Salve Regina '' and a `` Tantum Ergo '' ) for her ; she was also a soloist in the premiere of his Mass No. 1 ( D. 105 ) in September 1814. Schubert wanted to marry her, but was hindered by the harsh marriage - consent law of 1815 requiring an aspiring bridegroom to show he had the means to support a family. In November 1816, after failing to gain a musical post in Laibach ( now Ljubljana, Slovenia ). Schubert sent Grob 's brother Heinrich a collection of songs retained by the family into the twentieth century. One of Schubert 's most prolific years was 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works ( despite being agnostic ), a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814. The musicologist Maynard Solomon has suggested that Schubert was erotically attracted to men, a thesis that has, at times, been heatedly debated. The musicologist and Schubert expert Rita Steblin has said that he was `` chasing women ''. The theory of Schubert 's homosexuality has begun to influence the interpretation of his work in scholarly papers. Supported by friends Significant changes happened in 1816. Schober, a student and of good family and some means, invited Schubert to room with him at his mother 's house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father 's school. By the end of the year, he became a guest in Schober 's lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. `` I compose every morning, and when one piece is done, I begin another. '' During this year, he focused on orchestral and choral works, although he also continued to write Lieder ( songs ). Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers. Caricature of Johann Michael Vogl and Franz Schubert by Franz von Schober ( 1825 ) In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert 's senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert 's main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner ( brother to Anselm ), who also played a role in promoting Schubert 's music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving his work. In late 1817, Schubert 's father gained a new position at a school in Rossau, not far from Lichtental. Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad. Schubert spent the summer of 1818 as a music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz ( now Želiezovce, Slovakia ). The pay was relatively good, and his duties teaching piano and singing to the two daughters were relatively light, allowing him to compose happily. Schubert may have written his Marche Militaire in D major ( D. 733 no. 1 ) for Marie and Karoline, in addition to other piano duets. On his return from Zseliz, he took up residence with his friend Mayrhofer. During the early 1820s, Schubert was part of a close - knit circle of artists and students who had social gatherings together that became known as Schubertiaden. The tight circle of friends with which Schubert surrounded himself was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian police, who ( in the aftermath of the French Revolution and Napoleonic Wars ) were on their guard against revolutionary activities and suspicious of any gathering of youth or students. One of Schubert 's friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently forbidden to enter Vienna. The other four, including Schubert, were `` severely reprimanded '', in part for `` inveighing against ( officials ) with insulting and opprobrious language ''. While Schubert never saw Senn again, he did set some of his poems, Selige Welt ( D. 743 ) and Schwanengesang ( D 744 ), to music. The incident may have played a role in a falling - out with Mayrhofer, with whom he was living at the time. He was nicknamed `` Schwammerl '' by his friends, which Gibbs describes as translating to `` Tubby '' or `` Little Mushroom ''. Schubert, at 1.52 m in height, was not quite five feet tall. `` Schwamm '' is Austrian ( and other ) dialect for mushroom ; the ending `` - erl '' makes it a diminutive. Fantasy in C major for piano Wanderer Fantasy, D 760 ( 1822 ) I. Allegro con fuoco II. Adagio III. Presto IV. Allegro Performed by Daniel Blanch. Courtesy of Musopen Musical maturity The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio Lazarus ( D. 689 ) was begun in February ; later followed, amid a number of smaller works, by the hymn `` Der 23. Psalm '' ( D. 706 ), the octet `` Gesang der Geister über den Wassern '' ( D. 714 ), the Quartettsatz in C minor ( D. 703 ), and the Wanderer Fantasy in C major for piano ( D. 760 ). Of most notable interest is the staging in 1820 of two of Schubert 's operas : Die Zwillingsbrüder ( D. 647 ) appeared at the Theater am Kärntnertor on 14 June, and Die Zauberharfe ( D. 644 ) appeared at the Theater an der Wien on 21 August. Hitherto, his larger compositions ( apart from his masses ) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet - parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, with Anton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers ( all songs ) appeared on these terms ; then the commission ceased, and he began to receive penurious royalties. The situation improved somewhat in March 1821 when Vogl performed the song `` Der Erlkönig '' ( D. 328 ) at a concert that was extremely well received. That month, Schubert composed a Variation on a Waltz by Diabelli ( D 718 ), being one of the fifty composers who contributed to the Vaterländischer Künstlerverein publication. Piano Sonata in B - flat major, D. 960 ( 1828 ) I. Molto moderato II. Andante sostenuto III. Scherzo. Allegro vivace con delicatezza IV. Allegro, ma non-troppo Performed by Randolph Hokanson Problems playing these files ? See media help. The production of the two operas turned Schubert 's attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. All in all, he embarked on twenty stage projects, each of them failures which were quickly forgotten. In 1822, Alfonso und Estrella was refused, partly owing to its libretto ( written by Schubert 's friend Franz von Schober. Fierrabras ( D 796 ) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber 's Euryanthe. Die Verschworenen ( The Conspirators, D 787 ) was prohibited by the censor ( apparently on the grounds of its title ), and Rosamunde, Fürstin von Zypern ( D 797 ) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the first two are written on a scale which would make their performances exceedingly difficult ( Fierabras, for instance, contains over 1,000 pages of manuscript score ), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance with both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man 's gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert 's music, especially not the instrumental works, as so little of it was printed or performed in the composer 's lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man 's works and exclaimed : `` Truly, the spark of divine genius resides in this Schubert ! '', but what would have come of it, if he had recovered, we can never know. Watercolor of Franz Schubert by Wilhelm August Rieder ( 1825 ) Last years and masterworks Despite his preoccupation with the stage, and later with his official duties, Schubert found time during these years for a significant amount of composition. He completed the Mass in A-flat major ( D. 678 ) and, in 1822, embarked suddenly on a work which more decisively than almost any other in those years showed his maturing personal vision, the Symphony in B minor Unfinished ( D. 759 ). The reason he left it unfinished -- after two movements and sketches some way into a third -- remains an enigma, and it is also remarkable that he did not mention it to any of his friends, even though, as Brian Newbould notes, he must have felt thrilled by what he was achieving. The event has been debated endlessly without resolution. In 1823 Schubert, in addition to Fierrabras, also wrote his first large - scale song cycle, Die schöne Müllerin ( D. 795 ), setting poems by Wilhelm Müller. This series, together with the later cycle Winterreise ( D. 911, also setting texts of Müller in 1827 ) is widely considered one of the pinnacles of Lieder. He also composed the song Du bist die Ruh ' ( You are rest and peace, D. 776 ) during this year. Also in that year, symptoms of syphilis first appeared. In 1824, he wrote the Variations in E minor for flute and piano Trockne Blumen, a song from the cycle Die schöne Müllerin, and several string quartets. He also wrote the Sonata in A minor for arpeggione and piano ( D. 821 ) at the time when there was a minor craze over that instrument. In the spring of that year, he wrote the Octet in F major ( D. 803 ), a sketch for a ' Grand Symphony ' ; and in the summer went back to Zseliz. There he became attracted to Hungarian musical idiom, and wrote the Divertissement à la hongroise in G minor for piano duet ( D. 818 ) and the String Quartet in A minor Rosamunde ( D. 804 ). It has been said that he held a hopeless passion for his pupil, the Countess Karoline Esterházy, but the only work he dedicated to her was his Fantasia in F minor for piano duet ( D. 940 ). His friend Eduard von Bauernfeld penned the following verse, which appears to reference Schubert 's unrequited sentiments : In love with a Countess of youthful grace, -- A pupil of Galt 's ; in desperate case Young Schubert surrenders himself to another, And fain would avoid such affectionate pother `` Ellens Gesang III '', D. 839 ( `` Ave Maria '' ) Performed by Dorothea Fayne ( voice ) and Uwe Streibel ( piano ) The setbacks of previous years were compensated by the prosperity and happiness of 1825. Publication had been moving more rapidly, the stress of poverty was for a time lightened, and in the summer he had a pleasant holiday in Upper Austria where he was welcomed with enthusiasm. It was during this tour that he produced the seven - song cycle Fräulein am See, based on Walter Scott 's Lady of the Lake, and including `` Ellens Gesang III '' ( `` Hymn to the Virgin '' ) ( D. 839, Op. 52, No. 6 ) ; the lyrics of Adam Storck 's German translation of the Scott poem are now frequently substituted by the full text of the traditional Roman Catholic prayer Hail Mary ( Ave Maria in Latin ) -- for which the Schubert melody is not an original setting, as it is widely, though mistakenly, thought. The original only opens with the greeting `` Ave Maria '', which also recurs only in the refrain. In 1825, Schubert also wrote the Piano Sonata in A minor ( D 845, first published as op. 42 ), and began the Symphony in C major ( Great C major, D. 944 ), which was completed the following year. Portrait of Franz Schubert by Franz Eybl ( 1827 ) From 1826 to 1828, Schubert resided continuously in Vienna, except for a brief visit to Graz in 1827. The history of his life during these three years was comparatively uninteresting, and is little more than a record of his compositions. In 1826, he dedicated a symphony ( D. 944, that later came to be known as the Great C major ) to the Gesellschaft der Musikfreunde and received an honorarium in return. In the spring of 1828, he gave, for the only time in his career, a public concert of his own works, which was very well received. The compositions themselves are a sufficient biography. The String Quartet No. 14 in D minor ( D. 810 ), with the variations on Death and the Maiden, was written during the winter of 1825 -- 1826, and first played on 25 January 1826. Later in the year came the String Quartet No. 15 in G major, ( D 887, first published as op. 161 ), the Rondo in B minor for violin and piano ( D. 895 ), Rondeau brillant, and the Piano Sonata in G major, ( D 894, first published as Fantasie in G, op. 78 ). To these should be added the three Shakespearian songs, of which `` Ständchen '' ( D. 889 ) and `` An Sylvia '' ( D. 891 ) were allegedly written on the same day, the former at a tavern where he broke his afternoon 's walk, the latter on his return to his lodging in the evening. In 1827, Schubert wrote the song cycle Winterreise ( D. 911 ), a colossal peak in art song ( `` remarkable '' was the way it was described at the Schubertiades ), the Fantasy in C major for violin and piano ( D. 934, first published as op. post. 159 ), the Impromptus for piano, and the two piano trios ( the first in B - flat major ( D. 898 ), and the second in E-flat major, ( D. 929 ) ; in 1828 the cantata Mirjams Siegesgesang ( Victory Song of Miriam, D 942 ) on a text by Franz Grillparzer, the Mass in E-flat major ( D. 950 ), the Tantum Ergo ( D. 962 ) in the same key, the String Quintet in C major ( D. 956 ), the second `` Benedictus '' to the Mass in C major ( D. 452 ), the three final piano sonatas ( D. 958, D. 959, and D. 960 ), and the song cycle 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano, also known as Schwanengesang ( Swan - song, D. 957 ). This collection, while not a true song cycle, retains a unity amongst the individual songs, touching depths of tragedy and of the morbidly supernatural, which had rarely been plumbed by any composer in the century preceding it. Six of these are set to words by Heinrich Heine, whose Buch der Lieder appeared in the autumn. The Symphony in C major ( D. 944 ) is dated 1828, but Schubert scholars believe that this symphony was largely written in 1825 -- 1826 ( being referred to while he was on holiday at Gastein in 1825 -- that work, once considered lost, is now generally seen as an early stage of his C major symphony ) and was revised for prospective performance in 1828. This was a fairly unusual practice for Schubert, for whom publication, let alone performance, was rarely contemplated for most of his larger - scale works during his lifetime. The huge, Beethovenian work was declared `` unplayable '' by a Viennese orchestra. In the last weeks of his life, he began to sketch three movements for a new Symphony in D major ( D 936A ). Schubert 's glasses Impromptu in B - flat major, D 935 no. 3 ( 1827 ) This Impromptu is a theme and variations based on a theme from Rosamunde. Performed by Randolph Hokanson. The works of his last two years reveal a composer increasingly meditating on the darker side of the human psyche and human relationships, and with a deeper sense of spiritual awareness and conception of the ' beyond '. He reaches extraordinary depths in several chillingly dark songs of this period, especially in the larger cycles. For example, the song `` Der Doppelgänger '' ( D 957, No. 13, `` The double '' ) reaching an extraordinary climax, conveying madness at the realization of rejection and imminent death -- a stark and visionary picture in sound and words that had been prefigured a year before by `` Der Leiermann '' ( D 911, No. 24, `` The Hurdy - Gurdy Man '' ) at the end of Winterreise -- and yet the composer is able to touch repose and communion with the infinite in the almost timeless ebb and flow of the string quintet and his last three piano sonatas, moving between joyful, vibrant poetry and remote introspection. Even in large - scale works he was sometimes using increasingly sparse textures ; Newbould cites his writing in the fragmentary Symphony in D major ( D 936A ), probably the work of his very last two months. In this work, he anticipates Mahler 's use of folksong - like harmonics and bare soundscapes. Schubert expressed the wish, were he to survive his final illness, to further develop his knowledge of harmony and counterpoint, and had actually made appointments for lessons with the counterpoint master Simon Sechter. Final illness and death Memorial at the Kalvarienberg Church, Hernals The site of Schubert 's first tomb at Währing In the midst of this creative activity, his health deteriorated. The cause of his death was officially diagnosed as typhoid fever, though other theories have been proposed, including the tertiary stage of syphilis. By the late 1820s, Schubert 's health was failing and he confided to some friends that he feared that he was near death. In the late summer of 1828, the composer saw court physician Ernst Rinna, who may have confirmed Schubert 's suspicions that he was ill beyond cure and likely to die soon. Some of his symptoms matched those of mercury poisoning ( mercury was then a common treatment for syphilis, again suggesting that Schubert suffered from it ). At the beginning of November, he again fell ill, experiencing headaches, fever, swollen joints, and vomiting. He was generally unable to retain solid food and his condition worsened. Schubert died in Vienna, aged 31, on 19 November 1828, at the apartment of his brother Ferdinand. The last musical work he had wished to hear was Beethoven 's String Quartet No. 14 in C - sharp minor, Op. 131 ; his friend, violinist Karl Holz, who was present at the gathering, five days before Schubert 's death, commented : `` The King of Harmony has sent the King of Song a friendly bidding to the crossing ''. It was next to Beethoven, whom he had admired all his life, that Schubert was buried by his own request, in the village cemetery of Währing, Vienna. He had served as a torchbearer at Beethoven 's funeral a year before his own death. In 1872, a memorial to Franz Schubert was erected in Vienna 's Stadtpark. In 1888, both Schubert 's and Beethoven 's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms. The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust. Music Franz Schubert Memorial by Carl Kundmann in Vienna 's Stadtpark See also : List of compositions by Franz Schubert by genre Schubert was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his short life. The largest number of his compositions are songs for solo voice and piano ( over 600 ). He also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed eight orchestral overtures and seven complete symphonies, in addition to fragments of six others. While he composed no concertos, he did write three concertante works for violin and orchestra. There is a large body of music for solo piano, including fourteen complete sonatas, numerous miscellaneous works and many short dances. There is also a relatively large set of works for piano duet. There are over fifty chamber works, including some fragmentary works. His sacred output includes seven masses, one oratorio and one requiem, among other mass movements and numerous smaller compositions. He completed only eleven of his twenty - stage works. Style In July 1947 the Austrian composer Ernst Krenek discussed Schubert 's style, abashedly admitting that he had at first `` shared the wide - spread opinion that Schubert was a lucky inventor of pleasing tunes... lacking the dramatic power and searching intelligence which distinguished such ' real ' masters as J.S. Bach or Beethoven ''. Krenek wrote that he reached a completely different assessment after close study of Schubert 's pieces at the urging of friend and fellow composer Eduard Erdmann. Krenek pointed to the piano sonatas as giving `` ample evidence that ( Schubert ) was much more than an easy - going tune - smith who did not know, and did not care, about the craft of composition. '' Each sonata then in print, according to Krenek, exhibited `` a great wealth of technical finesse '' and revealed Schubert as `` far from satisfied with pouring his charming ideas into conventional molds ; on the contrary he was a thinking artist with a keen appetite for experimentation. '' Instrumental music, stage works and church music See also : Sonatas, duos and fantasies by Franz Schubert ; List of solo piano compositions by Franz Schubert ; and Stage works by Franz Schubert That `` appetite for experimentation '' manifests itself repeatedly in Schubert 's output in a wide variety of forms and genres, including opera, liturgical music, chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness manifests itself as a notably original sense of modulation, as in the second movement of the String Quintet ( D. 956 ) where he modulates from E major through F minor, to reach the tonic key of E major. It also appears in unusual choices of instrumentation, as in the Sonata in A minor for arpeggione and piano ( D. 821 ), or the unconventional scoring of the Trout Quintet ( D. 667 ). Sonata in A minor for arpeggione and piano, D 821 I. Allegro Moderato II. Adagio and III. Allegretto Performed by Hans Goldstein ( cello ) and Clinton Adams ( piano ) While he was clearly influenced by the Classical sonata forms of Beethoven and Mozart ( his early works, among them notably the 5th Symphony, are particularly Mozartean ), his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama. This combination of Classical form and long - breathed Romantic melody sometimes lends them a discursive style : his Great C major Symphony was described by Robert Schumann as running to `` heavenly lengths ''. His harmonic innovations include movements in which the first section ends in the key of the subdominant rather than the dominant ( as in the last movement of the Trout Quintet ). Schubert 's practice here was a forerunner of the common Romantic technique of relaxing, rather than raising, tension in the middle of a movement, with final resolution postponed to the very end. Lieder and art songs See also : List of songs composed by Franz Schubert and Schubert 's song cycles It was in the genre of the Lied, however, that Schubert made his most indelible mark. Leon Plantinga remarks, `` In his more than six hundred Lieder he explored and expanded the potentialities of the genre, as no composer before him. '' Prior to Schubert 's influence, Lieder tended toward a strophic, syllabic treatment of text, evoking the folksong qualities engendered by the stirrings of Romantic nationalism. Among Schubert 's treatments of the poetry of Goethe, his settings of `` Gretchen am Spinnrade '' ( D. 118 ) and `` Der Erlkönig '' ( D. 328 ) are particularly striking for their dramatic content, forward - looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in `` Gretchen '' and the furious and ceaseless gallop in `` Erlkönig ''. He composed music using the poems of a myriad of poets, with Goethe, Mayrhofer and Schiller being the top three most frequent, and others like Heinrich Heine, Friedrich Rückert and Joseph Freiherr von Eichendorff among many others. Also of particular note are his two song cycles on the poems of Wilhelm Müller, Die schöne Müllerin and Winterreise, which helped to establish the genre and its potential for musical, poetic, and almost operatic dramatic narrative. His last song cycle published in 1828 after his death, Schwanengesang, is also an innovative contribution to German lieder literature, as it features poems by different poets, namely Ludwig Rellstab, Heine, and Johann Gabriel Seidl. The Wiener Theaterzeitung, writing about Winterreise at the time, commented that it was a work that `` none can sing or hear without being deeply moved ''. Antonín Dvořák wrote in 1894 that Schubert, whom he considered one of the truly great composers, was clearly influential on shorter works, especially Lieder and shorter piano works : `` The tendency of the romantic school has been toward short forms, and although Weber helped to show the way, to Schubert belongs the chief credit of originating the short models of piano forte pieces which the romantic school has preferably cultivated. (... ) Schubert created a new epoch with the Lied. (... ) All other songwriters have followed in his footsteps. '' Publication -- Catalogue Interior of museum at Schubert 's birthplace, Vienna, 1914 When Schubert died he had around 100 opus numbers published, mainly songs, chamber music and smaller piano compositions. Publication of smaller pieces continued ( including opus numbers up to 173 in 1860s, 50 instalments with songs published by Diabelli and dozens of first publications Peters ), but the manuscripts of many of the longer works, whose existence was not widely known, remained hidden in cabinets and file boxes of Schubert 's family, friends, and publishers. Even some of Schubert 's friends were unaware of the full scope of what he wrote, and for many years he was primarily recognized as the `` prince of song '', although there was recognition of some of his larger - scale efforts. In 1838 Robert Schumann, on a visit to Vienna, found the dusty manuscript of the C major Symphony ( D. 944 ) and took it back to Leipzig where it was performed by Felix Mendelssohn and celebrated in the Neue Zeitschrift. An important step towards the recovery of the neglected works was the journey to Vienna which Sir George Grove ( widely known for the Grove Dictionary of Music and Musicians ) and Arthur Sullivan made in the autumn of 1867. The travellers rescued from oblivion seven symphonies, the Rosamunde incidental music, some of the masses and operas, several chamber works, and a vast quantity of miscellaneous pieces and songs. This led to more widespread public interest in Schubert 's work. Complete editions Lithograph of Franz Schubert by Josef Kriehuber ( 1846 ) See also : Franz Schubert 's Works and Neue Schubert - Ausgabe From 1884 to 1897, Breitkopf & Härtel published Franz Schubert 's Works, a critical edition including a contribution made -- among others -- by Johannes Brahms, editor of the first series containing eight symphonies. The publication of the Neue Schubert - Ausgabe by Bärenreiter started in the second half of the 20th century. Deutsch Catalogue Examples of works for violin and piano Rondo in B minor for violin and piano Rondeau brillant, D 895 Fantasy in C major for violin and piano, D 934 Performed by Dénes Zsigmondy ( violin ) and Anneliese Nissen ( piano ) Problems playing these files ? See media help. See also : Schubert Thematic Catalogue, Schubert opus / Deutsch number concordance, and List of compositions by Franz Schubert Since relatively few of Schubert 's works were published in his lifetime, only a small number of them have opus numbers assigned, and even in those cases, the sequence of the numbers does not give a good indication of the order of composition. Austrian musicologist Otto Erich Deutsch ( 1883 -- 1967 ) is known for compiling the first comprehensive catalogue of Schubert 's works. This was first published in English in 1951 ( Schubert Thematic Catalogue ) and subsequently revised for a new edition in German in 1978 ( Franz Schubert : Thematisches Verzeichnis seiner Werke in chronologischer Folge -- Franz Schubert : Thematic Catalogue of his Works in Chronological Order ). Numbering issues See also : Schubert 's symphonies § Numbering issues ; and Sonatas, duos and fantasies by Franz Schubert § Numbering of the Piano Sonatas Confusion arose quite early over the numbering of Schubert 's late symphonies. Schubert 's last completed symphony, the Great C major D 944, was assigned the numbers 7, 8, 9 and 10, depending on publication. Similarly the Unfinished D 759 has been indicated with the numbers 7, 8, and 9. The order usually followed for these late symphonies by English - language sources is : No. 7 : E major, D 729 No. 8 : B minor, D 759 Unfinished No. 9 : C major, D 944 Great C major No. 10 : D major, D 936A An even broader confusion arose over the numbering of the piano sonatas, with numbering systems ranging from 15 to 23 sonatas, although numbers are used far more often for the symphonies than for the piano sonatas of Schubert. Recognition A feeling of regret for the loss of potential masterpieces caused by his early death at age 31 was expressed in the epitaph on his large tombstone written by his friend the poet Franz Grillparzer : `` Here music has buried a treasure, but even fairer hopes. '' Some have disagreed with this early view, arguing that Schubert in his lifetime did produce enough masterpieces not to be limited to the image of an unfulfilled promise. This is in particular the opinion of pianists, including Alfred Brendel, who dryly billed the Grillparzer epitaph as `` inappropriate ''. Schubert 's chamber music continues to be popular. In a poll, the results of which were announced in October 2008, the ABC in Australia found that Schubert 's chamber works dominated the field, with the Trout Quintet coming first, followed by two of his other works. The New York Times music critic Anthony Tommasini, who ranked Schubert as the fourth greatest composer, wrote of him : You have to love the guy, who died at 31, ill, impoverished and neglected except by a circle of friends who were in awe of his genius. For his hundreds of songs alone -- including the haunting cycle Winterreise, which will never release its tenacious hold on singers and audiences -- Schubert is central to our concert life... Schubert 's first few symphonies may be works in progress. But the Unfinished and especially the Great C major Symphony are astonishing. The latter one paves the way for Bruckner and prefigures Mahler. Tributes by other musicians From the 1830s through the 1870s, Franz Liszt transcribed and arranged a number of Schubert 's works, particularly the songs. Liszt, who was a significant force in spreading Schubert 's work after his death, said Schubert was `` the most poetic musician who ever lived. '' Schubert 's symphonies were of particular interest to Antonín Dvořák, with Hector Berlioz and Anton Bruckner acknowledging the influence of the Great C major Symphony. It was Robert Schumann who, having seen the manuscript of the ' Great ' C Major Symphony in Vienna in 1838, drew it to the attention of Mendelssohn, who gave the first performance of it in Leipzig in 1839. In the 20th century, composers such as Anton Webern, Benjamin Britten, Richard Strauss, George Crumb and Hans Zender either championed or paid homage to Schubert in their work. Britten, an accomplished pianist, accompanied many of Schubert 's Lieder and performed many piano solo and duet works. In 1977, the German electronic band Kraftwerk recorded an instrumental tribute song called `` Franz Schubert '' on their album Trans - Europe Express. Commemorations Austrian 50 Schilling Silver Coin 1978 : 150th Anniversary of his death In 1897, the 100th anniversary of Schubert 's birth was marked in the musical world by festivals and performances dedicated to his music. In Vienna, there were ten days of concerts, and the Emperor Franz Joseph gave a speech recognizing Schubert as the creator of the art song, and one of Austria 's favorite sons. Karlsruhe saw the first production of his opera Fierabras. In 1928, Schubert week was held in Europe and the United States to mark the centenary of the composer 's death. Works by Schubert were performed in churches, in concert halls, and on radio stations. A competition, with top prize money of $10,000 and sponsorship by the Columbia Phonograph Company, was held for `` original symphonic works presented as an apotheosis of the lyrical genius of Schubert, and dedicated to his memory ''. The winning entry was Kurt Atterberg 's sixth symphony. Portrayal in film Schubert has featured as a character in a number of films including Schubert 's Dream of Spring ( 1931 ), Gently My Songs Entreat ( 1933 ), Serenade ( 1940 ), The Great Awakening ( 1941 ), It 's Only Love ( 1947 ), Franz Schubert ( 1953 ), Das Dreimäderlhaus ( 1958 ), and Notturno ( 1986 ). Filmography Schubert 's music has been featured in numerous films since the silent era, some of which are listed here. Film Title Released Director Schubert Music L'Age d'Or 1930 Luis Buñuel ' Unfinished ' Symphony No. 8 in B minor, D. 759 Fantasia 1940 Walt Disney Ave Maria, Op. 52 No. 6 Tortilla Flat 1942 Victor Fleming Kyrie The Life and Death of Colonel Blimp 1943 Michael Powell / Emeric Pressburger ' Unfinished ' Symphony No. 8 in B minor, D. 759 Double Indemnity 1944 Billy Wilder ' Unfinished ' Symphony No. 8 in B minor, D. 759 Brief Encounter 1945 David Lean Marche Militaire One Wonderful Sunday 1947 Akira Kurosawa ' Unfinished ' Symphony No. 8 in B minor, D. 759 Bugs Bunny Rides Again 1948 Friz Freleng Der Erlkönig Rear Window 1954 Alfred Hitchcock Ballet Music No. 2 in G major ( from Rosamunde ) Barry Lyndon Stanley Kubrick Piano Trio in E-flat major, Op. 100 ( 2nd Mvt. ) German Dance No. 1 in C major Marathon Man 1976 John Schlesinger Der Neugierige A Midsummer Night 's Sex Comedy 1982 Woody Allen Die schöne Müllerin, D. 795, No. 2 : ' Wohin ? ' A Room with a View 1985 James Ivory Piano Sonata No. 4 in A minor, Op. 164, D. 537 Withnail & I Bruce Robinson Piano Sonata in B - flat major, D. 960 Crimes and Misdemeanors Woody Allen String Quartet in G major, Op. 161 ( 1st Mvt. ), D. 887 The Remains of the Day James Ivory Sei mir gegrüβt, D. 741 Sherlock Holmes : A Game of Shadows 2011 Guy Ritchie Die Forelle ( `` The Trout '' ), Op. 32, D 550 The Lady in the Van 2015 Nicholas Hytner Impromptu in G - flat major, Op. 90, No. 3 Notes Jump up ^ Rita Steblin, `` Franz Schubert -- das dreizehnte Kind '', Wiener Geschichtsblätter, 3 / 2001, 245 -- 265. Jump up ^ Wilberforce ( 1866 ), p. 2 : `` the school was much frequented '' ^ Jump up to : Duncan ( 1905 ), p. 3 Jump up ^ Gibbs ( 2000 ), p. 25 Jump up ^ Maurice J.E. Brown ( de ), The New Grove Schubert, ISBN 0 - 393 - 30087 - 0, pp. 2 -- 3 Jump up ^ Wilberforce ( 1866 ), p. 3 ^ Jump up to : Gibbs ( 2000 ), p. 26 Jump up ^ Duncan ( 1905 ), pp. 5 -- 7 ^ Jump up to : Duncan ( 1905 ), p. 7 Jump up ^ Gibbs ( 2000 ), p. 29 ^ Jump up to : Duncan ( 1905 ), p. 9 Jump up ^ Frost, p. 9 Jump up ^ Duncan ( 1905 ), p. 10 ^ Jump up to : Duncan ( 1905 ), pp. 13 -- 14 Jump up ^ Erich Benedikt, `` Notizen zu Schuberts Messen. Mit neuem Uraufführungsdatum der Messe in F - Dur '', Österreichische Musikzeitschrift 52, 1 -- 2 / 1997, p. 64 Jump up ^ Steblin Jump up ^ Gibbs ( 2000 ), p. 39 Jump up ^ Newbould ( 1999 ), p. 64 Jump up ^ Elizabeth Norman McKay ( 1996 ). Franz Schubert : a biography. Clarendon Press. p. 308. ISBN 978 - 0 - 19 - 816523 - 1. Jump up ^ Arthur Hutchings ( 1967 ). Church Music in the Nineteenth Century. London : Oxford University Press. p. 166. ISBN 0837196957. The unctuous style we hear every Christmas is found in church music by Schubert and the Chevalier Neukomm, both known in private letters to be agnostic. Jump up ^ Newbould ( 1999 ), p. 40 Jump up ^ Gibbs ( 1997 ), p. 108 Jump up ^ Solomon, M. ( 1989 ) : `` Franz Schubert and the peacocks of Benvenuto Cellini. 19th - Century Music 12, pp. 193 -- 206. Jump up ^ `` Schubert : Music, Sexuality, Culture. '' 19th - Century Music, 1993, 17 : 3 -- 101. Jump up ^ `` Schubert à la Mode '', New York Review Of Books, 20 October 1994 ( 1 ) Jump up ^ Steblin, Rita ( 1993 ) : `` The Peacock 's Tale : Schubert 's Sexuality Reconsidered. '' 19th - Century Music. Berkeley, California : Univ. of California Press, ISSN 0148 - 2076, ZDB - ID 4395712, T 17., 1, pp. 5 -- 33 ; Steblin, Rita ( 1996 ), Babette und Therese Kunz : neue Forschungen zum Freundeskreis um Franz Schubert und Leopold Kupelwieser, Wien : Vom Pasqualatihaus. ISBN 3901254161 ; Steblin, Rita ( 1997 ) : `` Schubert 's ' Nina ' and the True Peacocks ) ''. The Musical Times 138, pp. 13 -- 19 ; Steblin, Rita ( 1998 ) : Die Unsinnsgesellschaft : Franz Schubert, Leopold Kupelwieser und ihr Freundeskreis. Böhlau. ISBN 3 - 205 - 98820 - 5 ; Steblin, Rita ( 2001 ) : `` Schubert 's Problematic Relationship with Johann Mayrhofer : New Documentary Evidence ''. Barbara Haggh ( ed. ) : Essays on Music and Culture in Honor of Herbert Kellman. Paris - Tours : Minerve, pp. 465 -- 495 ; Steblin, Rita ( 2008 ), `` Schubert 's Pepi : His Love Affair with the Chambermaid Josepha Pöcklhofer and Her Surprising Fate ''. The Musical Times, pp. 47 -- 69. Jump up ^ Horton, Julian `` Schubert '', Routledge, 2015, p66, Note 2 Jump up ^ Duncan ( 1905 ), p. 26 Jump up ^ McKay, p. 56 Jump up ^ Gibbs ( 2000 ), p. 44 Jump up ^ Newbould ( 1999 ), p. 66 Jump up ^ Duncan ( 1905 ), pp. 90 -- 93 ^ Jump up to : Newbould ( 1999 ) pp. 69 -- 72 Jump up ^ Gibbs ( 2000 ), p. 59 Jump up ^ Newbould ( 1999 ), p. 235 Jump up ^ Gibbs ( 2000 ), p. 67 Jump up ^ Gibbs ( 2000 ), p. 68 Jump up ^ Hadow, William Henry ( 1911 ). `` Franz Schubert ''. Encyclopædia Britannica. 24. London, New York : The Encyclopædia Britannica Company. p. 380. ^ Jump up to : Austin ( 1873 ), pp. 46 -- 47 Jump up ^ Wilberforce ( 1866 ), pp. 90 -- 92 Jump up ^ Wilberforce ( 1866 ), p. 25 Jump up ^ Newbould ( 1999 ), p. 173 Jump up ^ Gibbs ( 1997 ), p. 228 Jump up ^ Gibbs ( 2000 ), p. 111 Jump up ^ Thayer, pp. 299 -- 300 Jump up ^ Newbould ( 1999 ), p. 215 Jump up ^ Michael Dirda ( 4 February 2015 ). `` Ian Bostridge 's ' Schubert 's Winter Journey examines the composer 's melancholy work ''. The Washington Post. Retrieved 8 February 2015. Franz Schubert 's Winterreise is the greatest, and the most bleakly melancholy, of all song cycles. Jump up ^ John Reed ( 15 August 1997 ). The Schubert Song Companion. Manchester University Press. pp. 208 -- 9. ISBN 978 - 1 - 901341 - 00 - 3. Jump up ^ Newbould ( 1999 ), p. 210 Jump up ^ Newbould ( 1999 ), pp. 221 -- 225 Jump up ^ Newbould ( 1999 ), p. 218 Jump up ^ Duncan ( 1905 ), p. 99 Jump up ^ Emmons, p. 38 Jump up ^ Newbould ( 1999 ), p. 228 Jump up ^ Newbould ( 1999 ), p. 254 Jump up ^ Newbould ( 1999 ), pp. 265 -- 266 Jump up ^ Smith & Carlson, p. 78 Jump up ^ Newbould ( 1999 ) pp. 261 -- 263 Jump up ^ Newbould ( 1999 ) pp. 270 -- 274 Jump up ^ Gibbs ( 1997 ), p. 202 Jump up ^ Newbould ( 1999 ), p. 385 Jump up ^ Newbould ( 1999 ) ibid, and comments in the liner notes to the cd recording issued on Hyperion Records Jump up ^ Schonberg, p. 130 Jump up ^ Brian Newbould, Schubert : The Music and the Man, UCLA Press, 1997, discusses Schubert 's medical history and his death ; leans toward Schubert 's contracting syphilis in 1822 and dying from it, while judging the evidence not quite conclusive announcing the test for syphilis. Jump up ^ Brian Newbould, 1999, on the medical evidence Jump up ^ Newbould ibid Jump up ^ Gibbs ( 2000 ), pp. 168 -- 169 Jump up ^ Deutsch O.E. Schubert : Memoirs by his friends, p. 300. London, 1959. ^ Jump up to : Duncan ( 1905 ), pp. 79 -- 80 Jump up ^ Gibbs ( 2000 ), p. 197 Jump up ^ Gammond ( 1982 ), p. 143, discussing in particular his chamber music Jump up ^ Ewen, p. 384 Jump up ^ Norman McKay, Elizabeth. Franz Schubert. In : The New Grove Dictionary of Opera. Macmillan, London and New York, 1997 Jump up ^ Lev. Jump up ^ Gammond ( 1982 ), p. 117 Jump up ^ Gammond ( 1982 ), pp. 76 -- 81 Jump up ^ Brown, p. 630 Jump up ^ Plantinga, Leon ( 1984 ). Romantic Music : A History of Musical Style in Nineteenth - Century Europe. Norton. p. 117. ISBN 0 - 393 - 95196 - 0. Jump up ^ Plantinga, pp. 107 -- 117 Jump up ^ Swafford, p. 211 Jump up ^ Gammond ( 1982 ), pp. 153 -- 156 Jump up ^ Dvořák, Century Illustrated, July 1894, pp. 344 -- 345 Jump up ^ Deutsch 1978, p. 668 Jump up ^ Deutsch 1978, pp. 668 -- 669 ^ Jump up to : Kreissle, pp. 297 -- 332, in which Grove recounts his visit to Vienna. Jump up ^ Gibbs ( 2000 ), pp. 61 -- 62 Jump up ^ See e.g. Kreissle, p. 324, where Grove describes current ( 1860s ) interest in Schubert 's work, and Gibbs ( 1997 ), pp. 250 -- 251, describing the size and scope of the 1897 Schubert centennial commemorations. ' Jump up to : ^ See references below for citations containing different numbers for the Unfinished Symphony. Jump up ^ Duncan ( 1905 ), p. 80 Jump up ^ `` The Classical Music Chamber Music 100 ''. Australian Broadcasting Co. Retrieved 24 August 2010. Jump up ^ `` The Greatest Composers -- A Top 10 List ''. NYTimes.com. Retrieved 20 August 2017. Jump up ^ Liszt ( 1989 ), p. 144 ^ Jump up to : Newbould ( 1999 ), pp. 403 -- 404 Jump up ^ Maurice J.E. Brown, The New Grove Schubert Jump up ^ Trans - Europe Express track listing Jump up ^ Rodenberg, p. 118 Jump up ^ Musical Times, February 1897, p. 113 Jump up ^ Gibbs ( 1997 ), p. 318 ^ Jump up to : `` Schubert Ecstasy ''. Time. 3 December 1928. Retrieved 8 April 2009. Jump up ^ L'Age d'Or ( 1930 ), retrieved 2017 - 12 - 02 Jump up ^ Fantasia ( 1940 ), retrieved 2017 - 12 - 02 Jump up ^ Tortilla Flat ( 1942 ), retrieved 2017 - 12 - 02 Jump up ^ The Life and Death of Colonel Blimp ( 1943 ), retrieved 2017 - 12 - 02 Jump up ^ Double Indemnity ( 1944 ), retrieved 2017 - 12 - 02 Jump up ^ Brief Encounter ( 1945 ), retrieved 2017 - 12 - 02 Jump up ^ `` Unfinished Symphony in One Wonderful Sunday by Kurosawa ''. Unfinished Symphony in One Wonderful Sunday by Kurosawa. Retrieved 2017 - 12 - 23. Jump up ^ Bugs Bunny Rides Again ( 1948 ), retrieved 2017 - 12 - 02 Jump up ^ Rear Window ( 1954 ), retrieved 2017 - 12 - 02 ^ Jump up to : Barry Lyndon ( 1975 ), retrieved 2017 - 12 - 02 Jump up ^ Marathon Man ( 1976 ), retrieved 2017 - 12 - 02 Jump up ^ A Midsummer Night 's Sex Comedy ( 1982 ), retrieved 2017 - 12 - 02 Jump up ^ A Room with a View ( 1985 ), retrieved 2017 - 12 - 02 Jump up ^ Withnail & I ( 1987 ), retrieved 2017 - 12 - 02 Jump up ^ Crimes and Misdemeanors ( 1989 ), retrieved 2017 - 12 - 02 Jump up ^ The Remains of the Day ( 1993 ), retrieved 2017 - 12 - 02 References Kreissle von Hellborn, Heinrich ( 1865 ). Franz Schubert. Carl Gerold 's Sohn. The first significant biography of Schubert. This edition is available at ( 2 ) ( roughly, volume 1 of Kreissle ) Kreissle von Hellborn, Heinrich ; Coleridge, Arthur Duke ( translator ) ; Grove, George ( appendix ) ( 1869 ). The Life of Franz Schubert, Vol. 2. Longmans, Green, and Co. CS1 maint : Multiple names : authors list ( link ) ( roughly, volume 2 of Kreissle ) 19th - and early 20th - century scholarship Austin, George Lowell ( 1873 ). The Life of Franz Schubert. Shepard and Gill. ISBN 0 - 404 - 12856 - 4. OCLC 4450950. Duncan, Edmondstoune ( 1905 ). Schubert. J.M. Dent. ISBN 1 - 4437 - 8279 - 3. OCLC 2058050. Dvořák, Antonín ( July 1894 ). `` Franz Schubert ''. Century Illustrated Magazine. Cairns Collection of American Women Writers. 48 ( 3 ). OCLC 4279873. Frost, Henry Frederic ( 1915 ). Schubert. Scribner. OCLC 45465176. Grove, George ; Fuller - Maitland, John Alexander ( 1908 ). Grove 's Dictionary of Music and Musicians. 4. Macmillan. OCLC 407077. Rodenberg, Julius ; Pechel, Rudolf ( 1900 ). Deutsche Rundschau, volume 102 ( Jan -- Mar 1900 ) ( in German ). Gebrüder Paetel. OCLC 1566444. Thayer, Alexander Wheelock ; Krehbiel, Henry E. ; Deiters, Hermann ; Riemann, Hugo ( 1921 ). The Life of Ludwig Van Beethoven : vol 3. New York : The Beethoven Association. OCLC 422583. CS1 maint : Multiple names : authors list ( link ) `` Musical Times ''. 38. Novello. February 1897. OCLC 1608351. Chisholm, Hugh, ed. ( 1911 ). `` Schubert, Franz Peter ''. Encyclopædia Britannica ( 11th ed. ). Cambridge University Press. Herbermann, Charles, ed. ( 1913 ). `` Franz Schubert ''. Catholic Encyclopedia. New York : Robert Appleton Company. Modern scholarship Brown, A. Peter ( 2002 ). The Symphonic Repertoire. Indiana University Press. ISBN 978 - 0 - 253 - 33487 - 9. Deutsch, Otto Erich ; et al. ( 1978 ). Franz Schubert, thematisches Verzeichnis seiner Werke in chronologischer Folge. Bärenreiter. ISBN 978 - 3 - 7618 - 0571 - 8. Emmons, Shirlee ; Lewis, Wilbur Watkin ( 2006 ). Researching the Song : A Lexicon. Oxford University Press US. ISBN 978 - 0 - 19 - 515202 - 9. Ewen, David ( 2007 ). Composers of Yesterday. READ BOOKS. ISBN 978 - 1 - 4067 - 5987 - 7. Gammond, Peter ( 1982 ). Schubert. London : Methuen. ISBN 0 - 413 - 46990 - 5. Gibbs, Christopher H. ( 2000 ). The Life of Schubert. Cambridge University Press. ISBN 0 - 521 - 59512 - 6. Gibbs, Christopher H. ( ed. ) ( 1997 ). The Cambridge Companion to Schubert. Cambridge Companions to Music. Cambridge University Press. ISBN 978 - 0 - 521 - 48424 - 4. CS1 maint : Extra text : authors list ( link ) Lev, Ray ( 1947 ). Franz Schubert -- Piano Sonata no. 15 in C major ( Unfinished ) ; Allegretto in C minor -- Ray Lev, Pianist ( 78 RPM ). United States : Concert Hall Society. Release B3. Lindmayr - Brandl, Andrea ( 2003 ). Franz Schubert : Das fragmentarische Werk ( in German ). Franz Steiner Verlag. ISBN 978 - 3 - 515 - 08250 - 1. Liszt, Franz ; Suttoni, Charles ( translator, contributor ) ( 1989 ). An Artist 's Journey : Lettres D'un Bachelier ès Musique, 1835 -- 1841. University of Chicago Press. ISBN 0 - 226 - 48510 - 2. CS1 maint : Multiple names : authors list ( link ) Tobias Lund ( 2009 ) : Enthusiasm, Contemplation, and Romantic Longing : Reconsidering Schubert 's Sectional Songs in the Light of Historical Context. Lund Univ., Department of Arts and Cultural Sciences, 2009. ISBN 9197667021, ISBN 9789197667029. 359 S. McClary, Susan ( 1994 ). `` Constructions of Subjectivity in Franz Schubert 's Music ''. In Brett, Philip ; Wood, Elizabeth ; Thomas, Gary. Queering the Pitch : The New Gay and Lesbian Musicology. Routledge. ISBN 0 - 415 - 90753 - 5. Newbould, Brian ( 1999 ). Schubert : The Music and the Man. University of California Press. ISBN 0 - 520 - 21957 - 0. Schonberg, Harold C. ( 1997 ). The Lives of the Great Composers. W.W. Norton. ISBN 978 - 0 - 393 - 03857 - 6. Smith, Jane Stuart ; Carlson, Betty ; Schaeffer, Francis A ( 1995 ). The Gift of Music : Great Composers and Their Influence. Good News Publishers. ISBN 978 - 0 - 89107 - 869 - 2. CS1 maint : Multiple names : authors list ( link ) Steblin, Rita ( 1998 ). `` Schubert 's Relationship with Women : An Historical Account ''. In Newbould, Brian. Schubert Studies. Ashgate. pp. 159 -- 182. ISBN 978 - 1 - 85928 - 253 - 3. Steblin, Rita ( 1998 ). `` In Defense of Scholarship and Archival Research : Why Schubert 's Brothers Were Allowed to Marry ''. Current Musicology. 62 : 7 -- 17. Swafford, Jan ( 1992 ). The Vintage Guide to Classical Music. Vintage Books. ISBN 0 - 679 - 72805 - 8. Numbering of symphonies The following citations illustrate the confusion around the numbering of Schubert 's late symphonies. The B minor Unfinished Symphony is variously published as No. 7 and No. 8, in both German and English. All of these editions appeared to be in print ( or at least somewhat readily available ) in 2008. Schubert, Franz ( 1996 ). Symphony, No 7, D 759, B minor, `` Unfinished '' ( in German ). Bärenreiter. OCLC 39794412. German - language publication of the Unfinished Symphony score as No. 7. Schubert, Franz ( 2008 ). Symphony No. 7 in B minor D 759 Unfinished Symphony. Eulenburg Audio + Score Series. Eulenburg. ISBN 978 - 3 - 7957 - 6529 - 3. English - language publication of the Unfinished Symphony score as No. 7. Schubert, Franz ; Reichenberger, Teresa ( 1986 ). Symphony No. 8 in B minor, D. 759 Unfinished ( Paperback ). ISBN 978 - 3 - 7957 - 6278 - 0. English - language publication of the Unfinished Symphony score as No. 8. Further reading Otto Erich Deutsch, working in the first half of the 20th century, was probably the preeminent scholar of Schubert 's life and music. In addition to the catalogue of Schubert 's works, he collected and organized a great deal of material about Schubert, some of which is still in print. Deutsch, Otto Erich ; Wakeling, Donald R. ( 1995 ). The Schubert Thematic Catalogue. Courier Dover Publications. ISBN 978 - 0 - 486 - 28685 - 3. Deutsch, Otto Erich ; Blom, Eric ( translator ) ( 1977 ). Schubert : A Documentary Biography. Da Capo Press. ISBN 978 - 0 - 306 - 77420 - 1. Deutsch, Otto Erich ( 1998 ) ( 1958 ). Schubert : Memoirs by His Friends. Oxford University Press. ISBN 978 - 0 - 19 - 816436 - 4. This is a reprint of Deutsch 's 1958 work Schubert, Franz ; Deutsch, Otto Erich ( 1928 ). Franz Schubert 's Letters and Other Writings. Translated by Savile, Venetia. A.A. Knopf. ISBN 0 - 8369 - 5242 - 1. OCLC 891887. Kahl, Willi ( 1938 ). Verzeichnis des Schrifttums über Franz Schubert 1828 -- 1928. Bosse Regensburg. Davidson, Michael ; Hillenaar, Henk ( 2008 ). Schubert & Mayrhofer. Kahn & Averill, London. ISBN 1 - 871 - 08291 - 9. Davidson, Michael ; Hillenaar, Henk ( 2010 ). Schubert & Friendship. Kahn & Averill, London. ISBN 1 - 871 - 08294 - 3. Hilmar, Ernst. Bausteine zu einer neuen Schubert - Bibliographie vornehmlich der Schriften von 1929 bis 2000. Teil I : Alphabetische Ordnung nach Autoren. In : Schubert durch die Brille No. 25, ( 2000 ), p. 95 -- 303 ( Supplements and Index in No. 26, 27 ). Hans Schneider Tutzing. Gerlich, Thomas ( 2001 ). Schubert - Bibliographie ( since 1999 ). In : Schubert : Perspektiven. Steiner Stuttgart. McKay, Elizabeth Norman ( 1991 ). Franz Schubert 's music for the theatre. H. Schneider. ISBN 978 - 3 - 7952 - 0664 - 2. McKay, Elizabeth Norman ( 1996 ). Franz Schubert : A Biography. Oxford University Press. ISBN 978 - 0 - 19 - 816681 - 8. Newbould, Brian ( 1997 ). Schubert : The Music and the Man. University of California Press. ISBN 978 - 0 - 520 - 21957 - 1. Newbould, Brian ( 1998 ). Schubert Studies. Ashgate. ISBN 978 - 1 - 85928 - 253 - 3. Newbould, Brian ( 1992 ). Schubert and the Symphony : A New Perspective. Toccata Press. ISBN 978 - 0 - 907689 - 26 - 3. Newbould, Brian ( 2003 ). Schubert the Progressive : History, Performance Practice, Analysis. Ashgate. ISBN 978 - 0 - 7546 - 0368 - 9. Additional sources : Walther Dürr, Andreas Krause ( eds. ) : Schubert - Handbuch. Metzler, Stuttgart 1997, ISBN 3 - 476 - 01418 - 5 Ernst Hilmar : Verzeichnis der Schubert - Handschriften in der Musiksammlung der Wiener Stadt - und Landesbibliothek. Kassel u.a. 1978 ( Catalogus Musicus 8 ). Ernst Hilmar, Margret Jestremski ( eds. ) : Schubert - Enzyklopädie. 2 Bände. Hans Schneider, Tutzing 2004, ISBN 3 - 7952 - 1155 - 7 Hans - Joachim Hinrichsen ( de ) : Untersuchungen zur Entwicklung der Sonatenform in der Instrumentalmusik Franz Schuberts. Tutzing 1994 Elizabeth Norman McKay : Franz Schubert 's Music for the Theatre. Foreword by Claudio Abbado. ( Veröffentlichungen des IFSI, 5 ), Tutzing 1991 Christian Pollack ( ed. ) : Franz Schubert : Bühnenwerke. Kritische Gesamtausgabe der Texte. Tutzing 1988 Ernst Hilmar, Otto Brusatti ( eds., mit einer Einleitung von Walter Obermaier ) : Franz Schubert. Ausstellung der Wiener Stadt - und Landesbibliothek zum 150. Todestag des Komponisten. Katalog. Wien 1978. Ernst Hilmar : Schubert. Graz 1989 Till Gerrit Waidelich ( ed., together with R. Hilmar - Voit, A. Mayer ) : Franz Schubert. Dokumente 1817 -- 1830. Erster Band : Texte. Programme, Rezensionen, Anzeigen, Nekrologe, Musikbeilagen und andere gedruckte Quellen ( Veröffentlichungen des IFSI, 10 / 1 ), Tutzing 1993 Michael Lorenz : Studien zum Schubert - Kreis, PhDiss., University of Vienna, Vienna 2001 Ernst Hilmar ( ed. ) : Franz Schubert. Dokumente 1801 -- 1830. Erster Band. Addenda und Kommentar. ( Veröffentlichungen des IFSI, 10 / 2 ), Tutzing 2003 Ernst Hilmar ( ed. ) : Schubert durch die Brille. Mitteilungen des Internationalen Franz Schubert Instituts. Wien / Tutzing 1988 -- 2003 Hans - Joachim Hinrichsen, Till Gerrit Waidelich ( eds. ) : Schubert : Perspektiven Stuttgart 2001ff. ISSN 1617 - 6340 ( content since 2001 ) Alexander Stillmark : `` ' Es war alles gut und erfuellt '. Rudolf Hans Bartsch 's Schwammwerl and the Making of the Schubert Myth '', in : The Biedermeier and Beyond, edited by Ian F. Roe / John Warren, Peter Lang, Bern, Berlin, Frankfurt / M, 1999. External links Wikiquote has quotations related to : Franz Schubert Wikisource has original text related to this article : Franz Schubert Wikimedia Commons has media related to Franz Schubert. Franz Schubert at Encyclopædia Britannica Franz Schubert at the Musopen project Texts and translations of vocal music by Schubert at The LiederNet Archive Franz Schubert Museum in Hohenems / Austria `` Franz Schubert material ''. BBC Radio 3 archives. Franz Schubert at the Internet Broadway Database Franz Schubert on IMDb Franz Schubert ( character ) on IMDb Digital reproductions of score manuscripts and letters by Franz Schubert Notes on Franz Schubert by pianist Bart Berman The Franz Schubert Society of Victoria Franz - Schubert - Institut in Baden bei Wien References to Franz Schubert in historic European Newspapers via The European Library Recordings Schubertlied.de -- Free Recordings of many Lieder by Schubert ( mp3 ) Schubert cylinder recordings, from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library. Chronological Spotify playlist of numerous works from D 1 to D 988, from Spotify Classical Playlists Sheet music Kreusch-sheet-music.net Schubert 's Piano Works Schubertline.co.uk about 250 of Schubert 's Songs ( Schubertline edition ) Free scores by Franz Schubert at Open Music Library Free scores by Franz Schubert at the International Music Score Library Project ( IMSLP ) Free scores by Franz Schubert in the Choral Public Domain Library ( ChoralWiki ) Works by Franz Schubert at Project Gutenberg Works by or about Franz Schubert at Internet Archive Schubert 's Sheet Music by Mutopia Project Lieder sheet music First Viennese School Joseph Haydn Wolfgang Amadeus Mozart Ludwig van Beethoven ( Franz Schubert ) Franz Schubert Compositions By genre chamber music church music orchestral works ( symphonies ) piano music ( piano solo ) sonatas, duos and fantasies songs and part - songs ( song cycles ) stage works Publications Deutsch catalogue opus / Deutsch number concordance 19th century complete edition New Schubert Edition Media Schubertiade Angeli senza paradiso Das Dreimäderlhaus Franz Schubert Gently My Songs Entreat The Great Awakening It 's Only Love Serenade Schubert 's Dream of Spring 1928 International Columbia Graphophone Competition People Eva Badura - Skoda Otto Erich Deutsch Walther Dürr Julius Epstein Dietrich Fischer - Dieskau Max Friedlaender Johann Nepomuk Fuchs Therese Grob Ernst Hilmar Anselm Hüttenbrenner Eusebius Mandyczewski Johann Mayrhofer Elizabeth Norman McKay Gustav Nottebohm Wilhelm Müller Johann Philipp Neumann Brian Newbould Franz von Schober Ferdinand Schubert Johann Senn Joseph von Spaun Rita Steblin Johann Michael Vogl Masses by Franz Schubert No. 1 in F major No. 2 in G major No. 3 in B flat major No. 4 in C major No. 5 in A flat major No. 6 in E flat major Deutsche Messe List of compositions by Franz Schubert Symphonies by Franz Schubert Completed symphonies No. 1 in D major No. 2 in B - flat major No. 3 in D major No. 4 in C minor ( Tragic ) No. 5 in B - flat major No. 6 in C major ( Little ) No. 9 in C major ( Great ) Incomplete / unfinished D 2B in D major D 615 in D major D 708A in D major No. 7 in E major No. 8 in B minor ( Unfinished ) No. 10 in D major Schubert 's symphonies List of compositions by Franz Schubert by genre List of compositions by Franz Schubert Chamber music by Franz Schubert Duos For violin and piano Duo in A major, D 574 Rondo in B minor, D 895 Arpeggione Sonata, D 821 Trios Sonatensatz for piano trio, D 28 String Trios D 111A, 471 and 581 Notturno for piano trio, D 897 Piano Trio No. 1, D 898 Piano Trio No. 2, D 929 `` The Shepherd on the Rock '', D 965 String Quartets No. 1 No. 2 No. 3 No. 4 No. 5 No. 6 No. 7 Quartettsatz, D 103 No. 8 No. 9 No. 10 No. 11 No. 12 ( Quartettsatz ) No. 13 ( Rosamunde ) No. 14 ( Death and the Maiden ) No. 15 Quintets and more Rondo for violin and strings Adagio and Rondo Concertante Trout Quintet Octet String Quintet List of compositions by Franz Schubert by genre List of compositions by Franz Schubert Piano compositions and sonatas by Franz Schubert Piano two hands Sonatas E major -- B major, D 157 ( and Allegro in E major, D 154 ) C major -- A minor, D 279 ( and associated D 277A, D 309A and D 346 ) E major, D 459, a.k.a. Fünf Klavierstücke ( Five Piano Pieces ), including Drei Klavierstücke ( Three Piano Pieces ), D 459A E minor, D 769A A minor, D 537 ( Op. posth. 164 ) A-flat major -- E-flat major, D 557 E minor -- A-flat major, D 566 ( and Rondo / Allegretto in E major, D 506 ) D - flat major, D 567 / 568 E-flat major, D 568 ( Op. posth. 122 ) F - sharp minor, D 571 ( and associated D 570 and D 604 ) B major, D 575 ( Op. posth. 147 ) C major, D 613 ( and associated D 600, D 610 and D 612 ) F minor, D 625 ( and Adagio in D - flat major, D 505 ) C - sharp minor, D 655 A major, D 664 ( Op. posth. 120 ) A minor, D 784 ( Op. posth. 143 ) C major `` Reliquie '', D 840 A minor, D 845 ( Op. 42 ) D major `` Gasteiner '', D 850 ( Op. 53 ) G major `` Fantasy '', D 894 ( Op. 78 ) C minor, D 958 A major, D 959 B - flat major, D 960 Other Vaterländischer Künstlerverein II : Variation No. 38 on a waltz by Diabelli, D 718 Wanderer Fantasy, D 760 Valses Sentimentales, D 779 ( Op. 50 ) -- Valses Nobles, D 969 ( Op. 77 ) Moments musicaux, D 780 ( Op. 94 ) Impromptus, D 899 ( Op. 90 ) & D 935 ( Op. posth. 142 ) -- Impromptus / Klavierstücke, D 946 Piano four hands Sonata in B - flat major for piano four - hands, D 617 ( Op. 30 ) Three Marches Militaires, D 733 ( Op. 51 ) Sonata in C major `` Grand Duo '', D 812 ( Op. posth. 140 ) Fantasia in F minor, D 940 ( Op. posth. 103 ) Other sonatas violin and piano Violin Sonata in A major `` ( Grand ) Duo '', D 574 ( Op. posth. 162 ) arpeggione and piano Sonata in A minor for Arpeggione and Piano, D 821 piano trio Sonatensatz, D 28 Sonatas, duos and fantasies by Franz Schubert List of compositions by Franz Schubert ( by genre ) Romanticism Countries Denmark England ( literature ) France ( literature ) Germany Norway Poland Russia ( literature ) Scotland Movements Bohemianism Counter-Enlightenment Dark romanticism Düsseldorf School Gesamtkunstwerk Gothic fiction Gothic Revival ( architecture ) Hudson River School Indianism Nazarene movement Ossian Romantic hero Romanticism in science Romantic nationalism Opium and Romanticism Transcendentalism Ultra-Romanticism Wallenrodism Writers Abovian Alencar Alfieri Andersen A. v. Arnim B. v. Arnim Azevedo Baratashvili Baratynsky Barbauld ( Aikin ) Batyushkov Baudelaire Beer Bertrand Blake Botev Brentano Bryant Burns Byron Castelo Branco Castilho Cazotte Chateaubriand Chavchavadze Clare Coleridge Cooper De Quincey Dias Dumas Eichendorff Emerson Eminescu Espronceda Fouqué Foscolo Garrett Gautier Goethe Grimm Brothers Gutzkow Hauff Hawthorne Heine Heliade Herculano Hoffmann Hölderlin Hugo Ilić Irving Jakšić Jean Paul Karamzin Keats Kleist Krasiński Lamartine Larra Leopardi Lermontov Lowell Macedonski Mácha Magalhães Malczewski Manzoni Maturin Mérimée Mickiewicz Musset Nalbandian Nerval Nodier Norwid Novalis Oehlenschläger Orbeliani Poe Polidori Potocki Prešeren Pushkin Raffi Schiller Schwab Scott Seward M. Shelley P.B. Shelley Shevchenko Słowacki De Staël Stendhal Tieck Tyutchev Uhland Vörösmarty Vyazemsky Wordsworth Zhukovsky Zorrilla Music Adam Alkan Auber Beethoven Bellini Bennett Berlioz Bertin Berwald Brahms Bruckner Cherubini Chopin Dargomyzhsky Félicien David Ferdinand David Donizetti Fauré Field Franck Franz Glinka Gomis Halévy Kalkbrenner Liszt Loewe Marschner Masarnau Méhul Fanny Mendelssohn Felix Mendelssohn Méreaux Meyerbeer Moniuszko Moscheles Mussorgsky Niedermeyer Onslow Paganini Prudent Reicha Rimsky - Korsakov Rossini Rubinstein Schubert Clara Schumann Robert Schumann Smetana Sor Spohr Spontini Thalberg Verdi Voříšek Wagner Weber Theologians and philosophers Chaadayev Coleridge Feuerbach Fichte Goethe Hegel Khomyakov Müller Ritschl Rousseau Schiller A. Schlegel F. Schlegel Schopenhauer Schleiermacher Tieck Wackenroder Visual artists Aivazovsky Bierstadt Blake Bonington Bryullov Chassériau Church Constable Cole Corot Dahl David d'Angers Delacroix Friedrich Fuseli Géricault Girodet Głowacki Goya Gude Hayez Janmot Jones Kiprensky Koch Lampi Leutze Loutherbourg Maison Martin Michałowski Palmer Porto - Alegre Préault Révoil Richard Rude Runge Saleh Scheffer Stattler Stroj Tidemand Tropinin Turner Veit Ward Wiertz `` Age of Enlightenment Realism '' VIAF : 29719275 LCCN : n50000561 ISNI : 0000 0001 2095 8492 GND : 118610961 SELIBR : 207256 SUDOC : 02734262X BNF : cb13899553z ( data ) BIBSYS : 90057996 MusicBrainz : f91e3a88 - 24ee - 4563 - 8963 - fab73d2765ed NLA : 36175891 NDL : 00455783 NKC : jn19990007813 ICCU : IT ICCU CFIV 011295 BNE : XX4660433 IATH : w6x928c9 Classical music portal Austria portal Biography portal Retrieved from `` https://en.wikipedia.org/w/index.php?title=Franz_Schubert&oldid=818264534 '' Categories : Franz Schubert 1797 births 1828 deaths 19th - century Austrian people 19th - century classical composers Austrian agnostics Austrian classical composers Austrian classical pianists Austrian Classical - period composers Austrian expatriates in Hungary Austrian male classical composers Austrian opera composers Austrian people of Moravian - German descent Austrian Romantic composers Burials at the Vienna Central Cemetery Child classical musicians Composers for piano Deaths from syphilis Deaths from typhoid fever Esterházy Infectious disease deaths in Austria Male opera composers Pupils of Antonio Salieri Viennese composers Hidden categories : Interlanguage link template link number Articles with hAudio microformats All articles with unsourced statements Articles with unsourced statements from December 2017 Articles containing German - language text Wikipedia articles needing page number citations from February 2012 Articles with unsourced statements from November 2008 CS1 maint : Multiple names : authors list CS1 German - language sources ( de ) Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference Articles incorporating a citation from the 1913 Catholic Encyclopedia with Wikisource reference CS1 maint : Extra text : authors list Articles with Encyclopædia Britannica links Articles with IBDb links Composers with IMSLP links Articles with International Music Score Library Project links Articles with Project Gutenberg links Articles with Internet Archive links AC with 15 elements Wikipedia articles with VIAF identifiers Wikipedia articles with LCCN identifiers Wikipedia articles with ISNI identifiers Wikipedia articles with GND identifiers Wikipedia articles with SELIBR identifiers Wikipedia articles with BNF identifiers Wikipedia articles with BIBSYS identifiers Wikipedia articles with MusicBrainz identifiers Wikipedia articles with NLA identifiers Wikipedia articles with SBN identifiers Wikipedia articles with SNAC - ID identifiers Use dmy dates from April 2013 Talk Contents About Wikipedia Wikiquote Afrikaans Alemannisch አማርኛ Aragonés Armãneashti Asturianu Aymar aru Azərbaycanca Bân - lâm - gú Башҡортса Беларуская Беларуская ( тарашкевіца ) ‎ Bislama Български Boarisch Bosanski Brezhoneg Буряад Català Čeština Chamoru Cymraeg Dansk Deutsch Eesti Ελληνικά Español Esperanto Euskara فارسی Fiji Hindi Føroyskt Français Frysk Galego 客家 語 / Hak - kâ - ngî 한국어 Հայերեն Hrvatski Ido Ilokano Bahasa Indonesia Interlingua Íslenska Italiano עברית Basa Jawa ქართული Қазақша Kiswahili Latina Latviešu Lëtzebuergesch Lietuvių Ligure Livvinkarjala Magyar Македонски Malagasy മലയാളം Malti मराठी მარგალური مصرى Bahasa Melayu Mìng - dĕ̤ng - ngṳ̄ Монгол မြန်မာဘာသာ Nederlands 日本 語 Нохчийн Nordfriisk Norsk Norsk nynorsk Occitan Олык марий Oʻzbekcha / ўзбекча ਪੰਜਾਬੀ پنجابی Picard Piemontèis Plattdüütsch Polski Português Română Runa Simi Русиньскый Русский Scots Seeltersk Shqip Simple English Slovenčina Slovenščina کوردی Српски / srpski Srpskohrvatski / српскохрватски Suomi Svenska தமிழ் Татарча / tatarça ไทย Türkçe Українська اردو Tiếng Việt Volapük Winaray ייִדיש 粵語 Žemaitėška 中文 Kabɩyɛ Edit links This page was last edited on 2 January 2018, at 15 : 43. 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Question: what type of song did schubert specialize in
Answer: Lieder