# List of compositions by Franz Schubert

Franz Schubert (31 January 1797 – 19 November 1828), a Viennese composer of the late Classical to early Romantic eras, left a very extensive body of work notwithstanding his short life. He wrote over 1,500 items, or, when collections, cycles and variants are grouped, some thousand compositions. The largest group are his over six hundred Lieder for solo voice and piano. He composed nearly as many piano pieces, and further some 150 part songs, some 40 liturgical compositions (including several masses) and around 20 stage works like operas and incidental music. His orchestral output includes thirteen symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.
Otto Erich Deutsch compiled the first comprehensive catalogue of Schubert's works and published it in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order. A revised edition appeared in German in 1978. Later editions of the catalogue contained minor updates.
Publication of Schubert's compositions started during his lifetime, by opus number. After the composer's death, posthumous opus numbers continued to be assigned to new publications of his work until 1867 (Op. post. 173). Meanwhile, publications without opus number had also started. For instance, from shortly after the composer's death, the many songs in Diabelli's fifty Nachlaß-Lieferung (installment from the heritage) editions.
There are two attempts to publish everything Schubert has composed in a single edition:
* From 1884 to 1897 Breitkopf & Härtel published twenty-two series of Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe, known as the Alte Gesamt-Ausgabe (AGA, the former complete edition). From 1965 Dover Publications started to reprint this edition, and later it was made available at the IMSLP website.
* The Neue Schubert-Ausgabe (NSA), also known as the New Schubert Edition (NSE), is published by Bärenreiter (Kassel). Plans for this edition began as early as 1963, with the foundation of the International Schubert Society, headquartered at the University of Tübingen, Germany. 81 of the edition's projected 101 volumes were published by early May 2015, and it is scheduled to conclude in 2027.
Websites such as Schubert Online (schubert-online.at) provide facsimiles (scans) of Schubert's autographs and of other manuscripts and early editions of his work. Texts of Schubert's vocal music can be published without the music, for instance his Lieder (songs) at the LiederNet Archive website.

## Works listed in the Deutsch catalogue

The 1951 first edition of the Deutsch catalogue attempted to list all dated works by Schubert in chronological order, assigning them a number from 1 to 965. Undated works were ordered in the range 966–992. Nos. 993–998 referred to manuscripts that had resurfaced shortly before the catalogue was printed.
Later versions of the catalogue adhered to the general principles that Deutsch numbers below 966 referred, in a chronological order, to compositions by Schubert with an established time of composition, and that the range 966–992 was reserved for his compositions with an uncertain date of composition. Thus "Die Taubenpost", the last Lied Schubert composed, was reassigned from D 957 No. 14 to D 965A, and D 993, an early piano composition, to D 2E.

### Spurious and doubtful works (Anh. I)

    Annex I of the first edition of the catalogue contains only a single composition under the header Spurious and doubtful works, but however also points to some compositions with authentication issues elsewhere in the catalogue. The 1978 edition of the catalogue lists 32 spurious and doubtful works in its first Anhang (annex), including some that were for that reason removed from the main catalogue.

### Arrangements by Schubert (Anh. II)

    The 1978 version of the catalogue lists 4 arrangements by Schubert in its second Anhang

### Works of others composers copied by Schubert (Anh. III)

    Annex II in the first edition of the catalogue contains compositions by other composers copied by Schubert. In the 1978 edition the list was expanded and became Anhang III.

### "Setting" vs. "version" distinction

    the New Schubert Edition distinguishes between Bearbeitung (setting) and Fassung (version), the first meaning an independent composition, the second stages of the same composition (modifications of essentially the same composition). Usually different settings have different D numbers, while versions are grouped under the same D number, unless when set for a different (group of) performer(s). The first edition of the Deutsch catalogue was less strict on that point, leading to Deutsch number reassignments in later publications. Example: D 174 is described as two settings of the same text in the original catalogue, the second having become "D deest" by the time it was published in Series IV, Volume 8 of the New Schubert Edition (while the music has no resemblance to the earlier setting). On the other hand, despite a difference in key and number of movements, the original D 567 and D 568 were ultimately published under the same D number as two versions of the same sonata.

### Legend

Legend to the table :
| column | column | content |
| 1 | D '51 | Deutsch number in the first version of the Deutsch catalogue (1951) |
| 2 | D utd | most recent (utd = up to date) Deutsch catalogue number; the basic collation of the list is according to these numbers – whether or not the possibility to adjust the sorting according to the content of other columns is available depends on the device with which the table is displayed. |
| 3 | Op. pbl | Opus number (Op.; p indicates Post. = posthumous) and date of first publication (pbl; between brackets; when there is more than one date the earlier dates indicate partial publications). The column sorts to Opus number, then (earliest of) the publication date(s) |
| 4 | AGA | Alte Gesamt-Ausgabe = Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe. Indicates genre/instrumentation: Series I: Symphonien (Nos. 1-8) (Johannes Brahms, 1884) Series II: Overtüren und Andere Orchesterwerke (Johann Nepomuk Fuchs, 1886) Series III: Oktette (Nos. 1-3) and IV: Streichquintett (Eusebius Mandyczewski, 1889) Series V: Streichquartette (Nos. 1-15) (Joseph Hellmesberger and Eusebius Mandyczewski, 1890) Series VI: Trio für Streichinstrumente (Eusebius Mandyczewski, 1892) Series VII: Trios, Quartets and Quintets with Piano and VIII: Pianoforte und Ein Instrument (Ignaz Brüll, 1886) Series IX: Pianoforte zu vier Händen (Anton Door, 1888) Series X: Sonaten für Pianoforte (Julius Epstein, 1888) Series XI: Fantasie, Impromptus und andere Stücke für Pianoforte (Julius Epstein, 1888) Series XII: Tänze für Pianoforte (Nos. 1-31) (Julius Epstein, 1889) Series XIII: Messen (Nos. 1-7) (Eusebius Mandyczewski, 1887) Series XIV: Kleinere Kirchenmusikwerke (Nos. 1-22) (Eusebius Mandyczewski, 1888) Series XV: Dramatische Musik (Johann Nepomuk Fuchs, 1893) Series XVI: Werke für Männerchor (Nos. 1-46) (Eusebius Mandyczewski, 1891) Series XVII: Werke für gemischten Chor (Nos. 1-19) (Josef Gänsbacher, Eusebius Mandyczewski, 1892) Series XVIII: Werke für Drei und mehr Frauenstimmen mit Pianoforte-Begleitung (Nos. 1-6) (Josef Gänsbacher, Eusebius Mandyczewski, 1891) Series XIX: Kleine Gesangswerke (Nos. 1-36) (Josef Gänsbacher and Eusebius Mandyczewski, 1892) Series XX: Sämtliche einstimmige Lieder und Gesänge (Eusebius Mandyczewski, 1894-1895) Series XXI: Supplement (Eusebius Mandyczewski, 1897) Instrumentalmusik No. 1-5 Instrumentalmusik No. 6-13 Instrumentalmusik No. 14- Gesangsmusik Series XXII: Revisionsbericht |
| 5 | NSA | NGA/NSA/NSE = New Schubert Edition, also indicates genre/instrumentation: Series I: Church Music Series II: Stage Works Series III: Part Songs Series IV: Lieder Series V: Orchestral Works Series VI: Chamber Music Octet and Nonet String Quintet String Quartets I String Quartets II String Quartets III String Trios Works for Piano and several instruments Works for Piano and one instrument Dances for several instruments Series VII: Piano Music Works for Piano Four Hands Works for Piano Two Hands Series VIII: Supplement, 2. Schubert's Studies |
| 6 | Name | unique name, with, if available, a link to the relevant encyclopedia article; sorts by name with initial definite ("Der", "Die", "Das", ...) or indefinite ("Ein", "A", ...) articles, and numbers, moved after the expression they qualify: e.g. "Die Hoffnung, ..." sorts as "Hoffnung, Die, ..." – "Thirty Minuets ..." sorts as "Minuets, 30, ...". |
| 7 | Key / incipit | incipit mostly for songs (linking to lyrics and their translation, for instance at The LiederNet Archive, when available), other compositions by key, except for Schubert's stage works: type of composition in brackets. |
| 8 | Date | (presumed) date of composition, or, for copies and arrangements, date of Schubert's autograph. Sorts to earliest possible date of completion, unlike the chronology of the Deutsch catalogue that generally collates according to earliest date associated with the composition: e.g. Schubert started the composition of his 3rd String Quartet on 19 November 1812 and completed it on 21 February 1813 – in the Deutsch catalogue the composition is grouped with other compositions from 1812: when using the sort function of the 8th column the composition is grouped with compositions completed in 1813 |
| 9 | Additional info | may include: Information about the text (lyrics, libretto) of vocal compositions: e.g., "Text by [text author]", "Text: [standard lyrics]", "... from [literary work]"; "other settings: D ..." indicates Schubert's other settings of the same text; for fields starting with "Text ..." this column sorts by text author (last name, first name—or pen name when such name is more established), then incipit of the lyrics (alternatively, when the incipit is rarely used, title of the work) Information about the authenticity of the composition: the work is without doubt Schubert's unless when marked as "Doubtful", "Spurious?" or "Spurious" (in the last case columns 3–8 give no further information about the composition) Forces needed for performance ("For ..."): may be omitted when the type of composition makes the instrumentation clear (e.g. String Quartet → two violins, viola and cello), and, for vocal music, when the setting is for voice and piano "s", "a", "t" and "b" refer to a single soprano, alto, tenor and bass singer respectively, while "S", "A", "T" and "B" to choral parts for the same types of singers (see SATB). Specifications regarding movements (e.g. "Allegro – Minuet – Rondo") or sections (e.g. "No. 1 ...") Information about the completeness of the extant work: the work is considered complete as extant unless when marked "Sketch", "Incomplete", "Unfinished", "Fragment" or "Lost" Information about versions (e.g. "Two versions: ...") |

### Table
## Contents

* Deutsch catalogue Nos.
* 1–1C
* 2–12
* 13–37
* 37A–91
* 92–126
* 127–330
* 331–510
* 511–598
* 599–632
* 633–678
* 679–708
* 708A–732
* 733–767
* 768–798
* 799–822
* 823–862
* 863–895
* 896–936
* 936A–965B
* 966–992
* Anh. I
* Anh. II
* Anh. III
Compositions by Franz Schubert listed in the Deutsch catalogue :
| D '51 | D utd | Op. pbl | AGA | NSA | Name | Key / incipit | Date | Additional info |
| 1–1C | 1–1C | | | | | | 1810 | Up ↑ |
| 1 | 1 | (1888) | IX, 3 No. 30 | VII/1, 1 No. 1 & Anh. No. 1 | Fantasy, D 1 | G major | 8/4/1810– 1/5/1810 | For piano duet; Two versions of Finale |
| | 1A | (1969) | | IV, 6 Anh. No. 1 | Song, D 1A | C minor | before 1810? | For b and piano; Sketch; Music partly reused in D 39 |
| | 1B | | | VII/1, 1 Anh. No. 2 | Fantasy, D 1B | G major | 1810–1811 | For piano duet; Fragment; Music related to D 1 and 7 |
| | 1C | | | VII/1, 1 Anh. No. 3 | Sonata, D 1C | F major | 1810–1811 | For piano duet; Largo (fragment) |
| 2–12 | 2–12 | | | | | | 1811 | Up ↑ |
| 996 | 2A | | | V, 6 No. 1 | Overture, D 2A | D major | 1811? | For orchestra |
| 997 | 2B | | | V, 6 No. 2 | Symphony, D 2B | D major | 1811? | Adagio, Allegro con moto (fragment) |
| 998 | 2C | (1978) | | VI, 3 Anh. No. 1 | String Quartet, D 2C | D minor or F major | 1811? | Fragment |
| 995 | 2D | (1956) (1970) | | VI, 9 | Six Minuets, D 2D | Various keys | 1811 | For winds; Nos. 1–2: piano version publ. in 1956; Nos. 4-6: sketches |
| 993 | 2E | | | VII/2, 4 | Fantasy, D 2E | C minor | 1811 | For piano |
| | 2F | | | VI, 9 | Trio, D 2F | | 1811 | For winds?; Sketch; Belongs to a lost Minuet |
| | 2G | | | V, 6 No. 3 | Overture, D 2G | D major | 1810–1811? | For orchestra; Fragment |
| 3 | 3 | (1978) | | VI, 3 Anh. No. 2 | String Quartet, D 3 | C major | 1812? | Andante (fragment); Partly reused in D 29 and in an early sketch of D 36 |
| 4 | 4 | (1886) | II No. 1 | V, 5 | Overture to the play Der Teufel als Hydraulicus | (Overture to a comedy with singing) D major | 1812? | For orchestra; Play by Albrecht [de] (plot similar to Weidmann [de]'s Der Bettelstudent) |
| 5 | 5 | (1894) | XX, 1 No. 1 | IV, 6 No. 1 | Hagars Klage | Hier am Hügel heißen Sandes | 30/03/1811 | Text by Schücking [scores]; Music partly reused in D 8 and 9 |
| 6 | 6 | (1894) | XX, 1 No. 2 | IV, 3 | Des Mädchens Klage, D 6 | Der Eichwald brauset | 1811–1812 | Text by Schiller, from Wallenstein: Die Piccolomini III, 7 (other settings: D 191 and 389) |
| 7 | 7 | (1894) | XX, 1 No. 3 | IV, 6 No. 2 | Leichenfantasie | Mit erstorbnem Scheinen | 1811? | Text by Schiller; reuses music of D 1B |
| 8 | 8 | (1970) | | VI, 2 No. 1 | Overture, D 8 | C minor | 29/6/1811 | For string quintet (two violins, two violas and cello); Music reappears in D 8A |
| | 8A | (1970) | | VI, 3 No. 3 | Overture, D 8A | C minor | After 12/7/1811 | For string quartet; Based on D 8 |
| 9 | 9 | (1888) | IX, 3 No. 31 | VII/1, 1 No. 2 | Fantasy, D 9 | G minor | 20/9/1811 | For piano duet |
| 10 | 10 | (1894) | XX, 1 No. 4 | IV, 6 No. 3 | Der Vatermörder | Ein Vater starb von des Sohnes Hand | 26/12/1811 | Text by Pfeffel |
| 11 966 | 11 | (1893) (1897) | XV, 7 No. 12 XXI, 1 No.1 | II, 11 | Der Spiegelritter | (Singspiel in three acts) | December 1811? | Text by Kotzebue; For ssssstttbbbbSATB and orchestra; Overture (publ. in 1897) – Nos. 1–8 (Act I, Nos. 2–3 and 8 are fragments, No. 3 not in AGA, part of No. 3 was D 966) |
| 12 | 12 | (1897) | XXI, 1 No. 2 | V, 5 | Overture, D 12 | D major | 1811–1812 | For orchestra; Music partly reused in D 94 |
| 13–37 | 13–37 | | | | | | 1812 | Up ↑ |
| 13 | 13 | | | VII/2, 4 | Fugue, D 13 | D minor | c. 1812 | For piano?; By Schubert? |
| 14 | 14 | | | | Overture, D 14 | | c. 1812 | Piano sketch; Lost |
| 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 | Text by Matthisson (other settings: D 15A, 116 and 494); Fragment |
| 15 | 15A | (1895) | XX, 10 No. 590/2 | IV, 7 Anh. No. 6 | Der Geistertanz, D 15A | Die bretterne Kammer der Toten erbebt | c. 1812 | Text by Matthisson (other settings: D 15, 116 and 494); Fragment |
| 16 | 16 | (1940) | | VIII, 2 No. 11 | Counterpoint exercises, D 16 | G minor (Nos. 1–4); A minor (Nos. 5–7) | 1823? | Seven exercises in double counterpoint |
| 17 | 17 | (1940) | | VIII, 2 No. 37 | Composition exercises, D 17 | Quell' innocente figlio | 1812? | Text by Metastasio, from Isacco I, "Aria dell' Angelo"; Nine settings with corrections by Salieri; No. 1, for s, related to D 30; No. 2 for ss; Nos. 3 and 5–6 for sat; Nos. 4 and 7–8 for satb (No. 7 not in 1940 publ.) |
| 18 | 18 | (1890) | V No. 1 | VI, 3 No. 1 | String Quartet No. 1 | G minor / B major | 1810–1811 | Andante, Presto vivace – Minuet – Andante – Presto |
| 19 | 19 | | | | String Quartet, D 19 | | 1810–1811 | Lost |
| 19A | 19A | | | | String Quartet, D 19A | | 1810–1811 | Lost |
| | 19B | | | | Waltzes and a March, D 19B | | 1812–1813? | For piano; Lost |
| 20 | 20 | | | | Overture, D 20 | B♭ major | 1812 | For string quartet; Lost |
| 21 | 21 | | | | Six Variations, D 21 | E♭ major | 1812 | For piano; Lost |
| 22 | 22 | | | | Twelve Minuets with Trios, D 22 | | 1812 | For piano; Lost |
| 23 | 23 | 131p,3 (1830) | XX, 1 No. 6 | IV, 6 No. 4 | Klaglied | Meine Ruh ist dahin, meine Freud ist entflohn | 1812 | Text by Rochlitz |
| 24 | 24 | | | | Seven Variations, D 24 | F major | 1812? | For piano; Fragment; Lost |
| | 24A | | | VII/2, 4 | Fugue, D 24A | C major | summer 1812? | For keyboard (organ or piano); Partly reused in D 24E |
| | 24B | | | VII/2, 4 | Fugue, D 24B | G major | summer 1812? | For keyboard (organ or piano); Two versions |
| | 24C | | | VII/2, 4 | Fugue, D 24C | D minor | summer 1812? | For keyboard (organ or piano) |
| | 24D | | | VII/2, 4 Anh. | Fugue, D 24D | C major | summer 1812? | For piano; Fragment; Partly reused in D 46 |
| | 24E | | | I, 5 Anh. | Mass, D 24E | F major? Gloria – Credo | summer 1812? | Text: Mass ordinary (other settings: D 31, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB and orchestra; Fragment of a Gloria and a Credo; Partly based on D 24A |
| 25 | 25 | | | VIII, 2 | Counterpoint exercises, D 25 | | started 18/6/1812 | Four 2-part and three 3-part counterpoint exercises; Four 2-part imitation exercises |
| | 25A | | | VIII, 2 | Counterpoint exercises, D 25A | | summer 1812? | Two 4-part counterpoint exercises |
| | 25B | | | VIII, 2 | Counterpoint exercises, D 25B | | summer 1812? | Fifteen 3-part counterpoint exercises |
| | 25C | | | VIII, 2 | Fugue, D 25C | F major | summer 1812? | Counterpoint exercise for two voices; Fragment |
| 26 | 26 | (1886) | II No. 2 | V, 5 | Overture, D 26 | D major | 26/6/1812 | For orchestra |
| 27 | 27 | (1928) | | I, 8 | Salve Regina, D 27 | F major Salve Regina | 28/06/1812 | Text: Salve Regina (other settings: D 106, 223, 386, 676 and 811); For s and orchestra |
| 28 | 28 | (1923) | | VI, 7 No. 1 | Piano Trio, D 28, a.k.a. Sonata | B♭ major | 27/7/1812– 28/8/1812 | Allegro |
| 29 | 29 | (1888) | XI No. 9 | VII/2, 4 | Andante, D 29 | C major | 9/9/1812 | For piano; Related to D 3 and 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 | Text by Schiller (other settings: D 192 and 638) |
| 31 | 31 | (1888) | XIV No. 14 | I, 5 | Kyrie, D 31 | D minor Kyrie | 25/9/1812 | Text: Mass ordinary (other settings: D 24E, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For stSATB and orchestra; First part of a Mass |
| 32 | 32 | (1890) (1897) (1954) | V No. 2 XXII v5 | VI, 3 No. 4 | String Quartet No. 2 | C major | Sep.–Oct. 1812 | Presto (publ. in 1890) – Andante – Minuet (publ. in 1890, music partly reappears in D 128 No. 12) – Allegro con spirito (publ. partly in 1897) |
| 33 | 33 | (1940) | | VIII, 2 No. 38 | Composition exercises, D 33 | Entra l'uomo allor che nasce | Sep.–Oct. 1812 | Text by Metastasio, from Isacco II, "Aria di Abramo"; Six settings (No. 1 for s, Nos. 2 for sa, No. 3 for sat, Nos. 4–6 for satb) and an Allegretto (b?), with corrections by Salieri |
| 34 | 34 | (1940) | | VIII, 2 No. 39 | Composition exercises, D 34 | Te solo adoro | 5/11/1812 | Text by Metastasio, from Betulia liberata II, "Aria di Achior"; For satb; Two versions of start; With corrections by Salieri |
| 35 | 35 | (1940) | | VIII, 2 No. 40 | Composition exercises, D 35 | Serbate, o Dei custodi | Oct.–Dec. 1812 | Text by Metastasio, from La clemenza di Tito I, 5; Three settings (No. 1 for satb, No. 2 for SATB, No. 3 for t and accompaniment); With corrections by Salieri |
| 36 | 36 | (1890) | V No. 3 | VI, 3 No. 5 | String Quartet No. 3 | B♭ major | 19/11/1812– 21/2/1813 | Allegro – Andante – Minuet – Allegretto |
| 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 | Text by Rustenfeld [scores]; For ttb and piano |
| 37A–91 | 37A–91 | | | | | | 1813 | Up ↑ |
| 967 | 37A | | | VII/2, 4 Anh. VIII, 2 No. 13 | Fugue sketches, D 37A | | 1813? | For piano |
| 38 | 38 | (1892) | XIX No. 20 | III, 4 No. 1 | Totengräberlied, D 38 | Grabe, Spaden, grabe! | 1813? | Text by Hölty (other setting: D 44); For ttb |
| 39 | 39 | (1969) | | IV, 6 Anh No. 2 | Lebenstraum | Ich saß an einer Tempelhalle | early 1810? | Text by Baumberg; Sketch; Music related to D 1A |
| | 39A | | | VI, 9 | Three Minuets with Trios, D 39A | | 1813 | For orchestra; Lost |
| 41 | 41 | (1889) | XII No. 30 | VII/2, 6 | Thirty Minuets with Trios, D 41 | Various keys | 1813 | For piano; Nos. 1–8, 11–18 and 20–23 are extant |
| | 41A | | | VII/2, 4 Anh. | Fugue, D 41A | E minor | 1813 | For piano; Fragment |
| 42 | 42 | (1895) (1969) | XX, 10 No. 570 | IV, 6 No. 5 Anh. No. 3 | Aria di Timante | Misero pargoletto | 1813? | Text by Metastasio, from Demofoonte III, 5; For s and piano; Two settings: 1st, not in AGA, consisting of two variant fragments |
| 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 | 8/7/1813 | Text by Schiller (other settings: D 69 and 70); For ttb |
| 44 | 44 | (1894) | XX, 1 No. 7 | IV, 6 No. 6 | Totengräberlied, D 44 | Grabe, Spaden, grabe! | 19/1/1813 | Text by Hölty (other setting: D 38) |
| 45 | 45 | (1888) | XIV No. 21 | I, 5 | Kyrie, D 45 | B♭ major Kyrie | 1/3/1813 | Text: Mass ordinary (other settings: D 24E, 31, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB |
| 46 | 46 | (1890) | V No. 4 | VI, 3 No. 6 | String Quartet No. 4 | C major | 3/3/1813– 7/3/1813 | Adagio – Andante con moto – Minuet – Finale |
| 47 | 47 | (1974) | | III, 2b Anh. No. 1 | Dithyrambe, D 47 | Nimmer, das glaubt mir, erscheinen die Götter | 29/3/1813 | Text by Schiller (other setting: D 801); For tbSATB and piano; Fragment |
| 48 | 48 | (1871) (1888) | IX, 3 No. 32 | VII/1, 1 No. 3 | Fantasy, D 48, a.k.a. Grand Sonata | C minor | April 1813– 10/6/1813 | For piano duet; AGA includes concluding fugue |
| 49 | 49 | (1888) | XIV No. 15 | I, 5 | Kyrie, D 49 | D minor Kyrie | early April 1813– 15/4/1813 | Text: Mass ordinary (other settings: D 24E, 31, 45, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For satbSATB and orchestra; First part of a Mass |
| 50 | 50 | (1894) | XX, 1 No. 8 | IV, 6 No. 7 | Die Schatten | Freunde, deren Grüfte sich schon bemoosten! | 12/4/1813 | Text by Matthisson |
| 51 | 51 | (1897) | XXI, 4 No. 37 | III, 4 No. 3 | Unendliche Freude, D 51 | Unendliche Freude durchwallet das Herz | 15/4/1813 | Text by Schiller, stanza 3 from "Elysium" (other stanzas and settings: D 53, 54, 57, 58, 60 and 584); For 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 | Text by Schiller (other setting: D 636); For b and piano |
| 53 | 53 | (1892) | XIX No. 9 | III, 4 No. 4 | Vorüber die stöhnende Klage | Vorüber die stöhnende Klage! | 18/4/1813 | Text by Schiller, stanza 1 from "Elysium" (other stanzas and settings: D 51, 54, 57, 58, 60 and 584); For 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 | Text by Schiller, stanza 3 from "Elysium" (other stanzas and settings: D 51, 53, 57, 58, 60 and 584); Canon for three male voices |
| 55 | 55 | (1892) | XIX No. 12 | III, 4 No. 6 | Selig durch die Liebe | Selig durch die Liebe Götter | 21/4/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 1; Other: D 61, 62, 63, 64, 983A; For ttb |
| 56 | 56 | (1892) | XIX No. 29 | I, 5 VIII, 2 No. 18 | Sanctus, D 56 | B♭ major Sanctus | 21/4/1813 | Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 66, 105, 167, 324, 452, 678, 755 and 950); Canon for three voices; Two versions |
| 57 | 57 | (1897) | XXI, 4 No. 38 | III, 4 No. 7 | Hier strecket der wallende Pilger | Hier strecket der wallende Pilger | 29/4/1813 | Text by Schiller, stanza 4 from "Elysium" (other stanzas and settings: D 51, 53, 54, 58, 60 and 584); For ttb |
| 58 | 58 | (1892) | XIX No. 10 | III, 4 No. 8 | Dessen Fahne Donnerstürme wallte | Dessen Fahne Donnerstürme wallte | May 1813 | Text by Schiller, stanza 5 from "Elysium" (other stanzas and settings: D 51, 53, 54, 57, 60 and 584); For ttb |
| 59 | 59 | (1832) | XX, 1 No. 10 | IV, 6 No. 8 | Verklärung | Lebensfunke, vom Himmel entglüht | 4/5/1813 | Text by Herder after Pope's "The dying Christian to his soul" |
| 60 | 60 | (1892) | XIX No. 11 | III, 4 No. 16 | Hier umarmen sich getreue Gatten | Hier umarmen sich getreue Gatten | 3/10/1813 | Text by Schiller, stanza 6 from "Elysium" (other stanzas and settings: D 51, 53, 54, 57, 58 and 584); For ttb |
| 61 | 61 | (1897) | XXI, 4 No. 39 | III, 4 No. 9 VIII, 2 No. 19 | Ein jugendlicher Maienschwung | Ein jugendlicher Maienschwung | 8/5/1813 | Text by Schiller, from "Der Triumph der Liebe": stanza 9; Other: D 55, 62, 63, 64, 983A; 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, 755 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 Schäffer [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 | 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: D 424); 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: D 423) |
| 100 | 100 | (1894) | XX, 1 No. 17 | IV, 7 No. 5 | Geisternähe | Der Dämm’rung Schein durchblinkt den Hain | April 1814 | Text by Matthisson |
| 101 | 101 | (1894) | XX, 1 No. 18 | IV, 7 No. 6 | Erinnerung, 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, 755 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, 223, 386, 676 and 811); 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 Lubi [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 | 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 Kumpf [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 ≈ D 970 No. 2; Écossaises Nos. 5 and 6 identical to D 421 No. 1 and 697 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 D 277 |
| 151 | 151 | (1850) | XX, 2 No. 39 | IV, 7 No. 27 | Auf einen Kirchhof | Sei gegrüßt, geweihte Stille | 2/2/1815 | Text by Schlechta [de] |
| 152 | 152 | (1894) | XX, 2 No. 40 | IV, 7 No. 28 | Minona | Wie treiben die Wolken so finster und schwer | 8/2/1815 | Text by Bertrand [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 Ehrlich [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, 755 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 Fellinger [wikisource:de] |
| 177 | 177 | 173p,3 (1867) | XX, 2 No. 58 | IV, 8 No. 7 | Vergebliche Liebe | Ja, ich weiß es, diese treue Liebe | 6/4/1815 | Text by 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 Fellinger [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 Zettler [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 Bertrand [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: D 368) |
| 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: D 216) |
| 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: D 215A) |
| 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 Stadler, A. [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 Stadler, A. [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, 386, 676 and 811); 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: D 237) |
| 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: D 235) |
| 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: D 242A); For ttb |
| | 242A | | | IV, 8 No. 41 | Winterabend, D 242A, a.k.a. Winterlied | Das Glas gefüllt! | 1815? | Text by Hölty (other setting: D 242) |
| 243 | 243 | (1892) | XIX No. 19 | III, 4 No. 28 | Frühlingslied, D 243 | Die Luft ist blau | August 1815? | Text by Hölty (other setting: D 398); 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 D 587 |
| 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: D 387); 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: D 793) |
| 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: D 637) |
| 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: D 296) |
| 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 Prandstätter [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 Wannovius [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 Ratschky [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: D 338 and 587) |
| 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 D 371 |
| 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: D 259) |
| 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 Stoll [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 Stoll [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 Stoll [scores]; Music partly reused in D 497 |
| 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 Kumpf [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 Deinhardstein [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 Fellinger [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 Kalchberg [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 Reissig [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, 755 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: D 376); 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 Bobrik [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: D 330, 377, 569 and 643A); 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: D 329A, 377, 569 and 643A); For choir and piano |
| 331–510 | 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: D 350); For ttbb; Identical to former D 332 |
| 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: D 393 and 563); 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: D 283 and 587); 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: D 331) |
| 351 | 351 | (1895) | XX, 4 No. 204 | IV, 11 | Fischerlied, D 351 | Das Fischergewerbe gibt rüstigen Mut | 1816? | Text by Salis-Seewis (other settings: D 364 and 562) |
| 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: D 501) |
| 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: D 351 and 562); 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 D 618 and No. 17 in D 814 |
| 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: D 215) |
| 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 D 378 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 D 292 |
| 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 D 378; 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: D 327); 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: D 329A, 330, 569 and 643A); 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 D 374 Nos. 1–3, 7, 11 and 5; No. 2 partly in D 146 No. 10; No. 6 reuses D 370 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 D 992 |
| 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, 223, 676 and 811); 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: D 249); Sketch for vocal soloists, choir and piano; Music partly in D 249 and 602 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: D 577) |
| 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: D 337 and 563) |
| 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: D 243) |
| 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 D 441) – 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: D 747) |
| 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 D 679 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 D Anh. I/23 with the same lyrics as D 508; 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: D Anh. I/28; 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 D 407 |
| 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: D 912); 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 Draexler von Carin [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, 755 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 Köpken [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 Schlechta [de] from Diego Manazares |
| 459 (Nos. 1–2) | 459 | (1843) | XI No. 14 | VII/2, 1 No. 3 | Piano Sonata, D 459 | E major | August 1816 | Allegro moderato – Scherzo; With D 459A a.k.a. Fünf Klavierstücke |
| 459 (Nos. 3–5) | 459A | (1843) | XI No. 14 | VII/2, 4 | Three piano pieces, D 459A | C major (No. 1) A major (No. 2) E major (No. 3) | 1816? | Adagio – Scherzo – Allegro patetico; With D 459 a.k.a. Fünf Klavierstücke |
| 460 | 460 | (1888) | XIV No. 7 | I, 9 No. 6 | Tantum ergo, D 460 | C major | August 1816 | Text by Aquinas (other settings: D 461, 730, 739, 750, 962 and Anh. I/17); For sSATB and orchestra |
| 461 | 461 | (1935) | | I, 9 No. 7 | Tantum ergo, D 461 | C major | August 1816 | Text by Aquinas (other settings: D 460, 730, 739, 750, 962 and Anh. I/17); For satbSATB and orchestra |
| 462 | 462 | (1895) | XX, 4 No. 244 | IV, 10 | An Chloen, D 462 | Bei der Liebe reinsten Flammen | August 1816 | Text by Jacobi |
| 463 | 463 | (1895) | XX, 4 No. 245 | IV, 10 | Hochzeit-Lied | Will singen euch im alten Ton | August 1816 | Text by Jacobi |
| 464 | 464 | (1895) | XX, 4 No. 246 | IV, 10 | In der Mitternacht | Todesstille deckt das Tal | August 1816 | Text by Jacobi |
| 465 | 465 | (1885) | XX, 4 No. 247 | IV, 10 | Trauer der Liebe | Wo die Taub' in stillen Buchen | August 1816 | Text by Jacobi; Two versions: 1st, in AGA, publ. 1885 |
| 466 | 466 | (1872) | XX, 4 No. 248 | IV, 10 | Die Perle | Es ging ein Mann zur Frühlingszeit | August 1816 | Text by Jacobi |
| 467 | 467 | (1885) | XX, 10 No. 593 | IV, 10 | Pflicht und Liebe | Du, der ewig um mich trauert | August 1816 | Text by Gotter; Fragment |
| 468 | 468 | (1895) | XX, 4 No. 243 | IV, 10 | An den Mond, D 468 | Was schauest du so hell | 07/08/1816 | Text by Hölty |
| 469 | 469 | (1897) | XXII, 11 Nos. 394– 395 | IV, 3 | Mignon, D 469 | So laßt mich scheinen, bis ich werde | September 1816 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 727 and 877 No. 3); Two versions, both fragments |
| 470 601 | 470 | (1886) | II No. 3 | V, 5 VI, 4 Anh. No. 4 | Overture, D 470 | B♭ major | September 1816 | For orchestra; Overture to D 472(?); Fragment for string quartet was D 601 |
| 471 | 471 | (1890) (1897) | VI No. 1 XXII, 1 p. 84 | VI, 6 No. 1 & Anh. No. 2 | String Trio, D 471 | B♭ major | September 1816 | Allegro (AGA VI) – Andante sostenuto (fragment, in AGA XXII) |
| 472 | 472 | 128p (1830) (1892) | XVII No. 2 | III, 1 | Kantate zu Ehren von Josef Spendou | Da liegt er, starr – Gottes Bild ist Furst und Staat – Ein Punkt nur ist der Mensch – Die Sonne sticht | September 1816 | Text by Hoheisel [scores]; For sstbSSATB and orchestra (piano reduction in 1st ed.); Overture: D 470(?); Recitative, aria with choir – Recitative, duet – Recitative, choir – Recitative, quartet with choir |
| 473 | 473 | (1833) (1895) | XX, 4 No. 249 | IV, 10 | Liedesend | Auf seinem gold'nen Throne | September 1816 | Text by Mayrhofer; Two versions: 2nd in 1st ed. |
| 474 | 474 | (1832) (1895) | XX, 4 No. 250 | IV, 10 | Lied des Orpheus, als er in die Hölle ging | Wälze dich hinweg | September 1816 | Text by Jacobi; Two versions: 2nd in 1st ed. |
| 475 | 475 | (1885) | XX, 4 No. 251 | IV, 11 | Abschied: Nach einer Wallfahrts-Arie bearbeitet | Über die Berge zieht ihr fort | September 1816 | Text by Jacobi |
| 476 | 476 | (1872) | XX, 4 No. 252 | IV, 11 | Rückweg | Zum Donaustrom, zur Kaiserstadt | September 1816 | Text by Mayrhofer |
| 477 | 477 | (1895) | XX, 4 No. 253 | IV, 11 | Alte Liebe rostet nie | Alte Liebe rostet nie | September 1816 | Text by Mayrhofer |
| 478 479 480 | 478 | 12 (1822) (1895) | XX, 4 Nos. 254, 256– 258, 255 | IV, 1a & b No. 10 & Anh. Nos. 6–7 | Gesänge des Harfners aus "Wilhelm Meister" | 1. Wer sich der Einsamkeit ergibt – 2. Wer nie sein Brot mit Tränen aß – 3. An die Türen will ich schleichen | September 1816–1822 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting of No. 1: D 325); No. 2 was D 480; No. 3 was D 479; Two versions: 1st, Harfenspieler I/III/II, composed 1816, publ. 1895, has two variants of No. 2 – 2nd, 1822, is Op. 12 |
| 481 | 481 | (1895) | XX, 4 No. 259 | IV, 3 | Sehnsucht, D 481 | Nur wer die Sehnsucht kennt | September 1816 | Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 310, 359, 656 and 877 Nos. 1 & 4) |
| 482 | 482 | (1895) | XX, 4 No. 264 | IV, 11 | Der Sänger am Felsen | Klage, meine Flöte, klage | September 1816 | Text by Pichler, from Idyllen |
| 483 | 483 | (1895) | XX, 4 No. 265 | IV, 11 | Lied, D 483 | Ferne von der großen Stadt | September 1816 | Text by Pichler, from Idyllen |
| 484 | 484 | (1895) | XX, 10 No. 594 | IV, 11 | Gesang der Geister über den Wassern, D 484 | Des Menschen Seele gleicht dem Wasser | September 1816 | Text by Goethe (other settings: D 538, 705 and 714); Fragment |
| 485 | 485 | (1885) | I, 2 No. 5 | V, 2 No. 5 | Symphony No. 5 | B♭ major | Sept.–3 Oct. 1816 | Allegro – Andante con moto – Minuet – Allegro vivace |
| 486 | 486 | (1888) | XIV No. 11 | I, 9 No. 4 | Magnificat | Magnificat anima mea Dominum C major | 15/09/1815 | Text by Luke (Vulgate translation); For satbSATB and orchestra |
| 487 | 487 | (1865) | VII, 1 No. 2 | V, 7 No. 4 VI, 7 No. 5 | Adagio e Rondo concertante | F major | October 1816 | For piano quartet |
| 488 | 488 | (1888) | XIV No. 10 | I, 8 | Auguste jam coelestium | Auguste jam coelestium | October 1816 | Duet for st and orchestra |
| 489 493 | 489 | 4,1 (1821) (1895) (1970) | XX, 4 No. 266 | IV, 1a & b No. 5 | Der Wanderer, D 489, a.k.a. Der Unglückliche | Ich komme vom Gebirge her | October 1816 | Text by Schmidt von Lübeck; Three versions: 1st and 3rd in AGA 1895 – 2nd and 3rd were D 493 (2nd publ. 1970 – 3rd is Op. 4 No. 1); 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: D 362); Two versions: 1st in AGA |
| 502 | 502 | (1872) | XX, 4 No. 282 | IV, 11 | Herbstlied, D 502 | Bunt sind schon die Wälder | November 1816 | Text by Salis-Seewis |
| 503 | 503 | | | IV, 11 | Mailied, D 503 | Grüner wird die Au | November 1816 | Text by Hölty (other settings: D 129 and 199) |
| 504 | 504 | 6,3 (1821) (1970) | XX, 4 No. 275 | IV, 1a & b No. 8 | Am Grabe Anselmos | Daß ich dich verloren habe | 4/11/1816 | Text by Claudius; Two versions: 1st, in AGA, is Op. 6 No. 3 |
| 505 | 505 | 145p,1 (1848) (1897) | 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: D Anh. I, 23, and possibly 425) |
| 509 | 509 | (1872) | XX, 4 No. 285 | IV, 11 | Leiden der Trennung | Vom Meere trennt sich die Welle | December 1816 | Text by Metastasio, from Artaserse III, 1, "L'onda dal mar divisa", transl. by Collin, H. J.; Two versions: 1st is a fragment – 2nd in AGA |
| 510 | 510 | (1895) | XX, 10 No. 573 | IV, 11 | Vedi quanto adoro | Vedi quanto adoro | December 1816 | Text by Metastasio, from Didone abbandonata II, 4; Aria for soprano and piano; Clean copy and three sketches; Last extant autograph with corrections by Salieri |
| 511–598 | 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 Il filosofo di campagna II, 16 (other setting: D 528); For ttbb and piano |
| | 513A | | | IV, 11 | Nur wer die Liebe kennt | Nur wer die Liebe kennt | 1817? | Text by Werner; Sketch |
| 514 | 514 | 7,1 (1823) | XX, 5 No. 300 | IV, 1a | Die abgeblühte Linde | Wirst du halten, was du schwurst | 1817? | Text by Széchényi [scores] |
| 515 | 515 | 7,2 (1823) | XX, 5 No. 301 | IV, 1a | Der Flug der Zeit | Es floh die Zeit im Wirbelfluge | 1817? | Text by Széchényi [scores] |
| 516 | 516 | 8,2 (1822) | XX, 6 No. 386 | IV, 1a & Anh. No. 5 | Sehnsucht, D 516 | Der Lerche wolkennahe Lieder | 1816? | Text by Mayrhofer |
| 517 | 517 | 13,1 (1822) (1972) | XX, 5 No. 293 | IV, 1a | Der Schäfer und der Reiter | Ein Schäfer saß im Grünen | April 1817 | Text by Motte Fouqué; Two versions: 2nd, in AGA, is Op. 13 No. 1 |
| 518 | 518 | (1824) | XX, 5 No. 326 | IV, 5 | An den Tod | Tod, du Schrecken der Natur | 1816 or 1817 | Text by Schubart; For b and piano |
| 519 | 519 | 173p,5 (1867) | XX, 5 No. 299 | IV, 11 | Die Blumensprache | Es deuten die Blumen des Herzens Gefühle | 1817? | Text by Platner [scores] (?) |
| 520 | 520 | (1850) (1895) | XX, 5 No. 289 | IV, 11 | Frohsinn | Ich bin von lockerem Schlage | January 1817 | Text by Castelli; Two versions: 1st in AGA |
| 521 | 521 | (1830) (1895) | XX, 5 No. 290 | III, 3 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 Leon [de] |
| 523 | 523 | (1885) | XX, 5 No. 292 | IV, 11 | Trost, D 523 | Nimmer lange weil' ich hier | January 1817 | |
| 524 | 524 | 13,3 (1822) (1895) (1970) | XX, 5 No. 295 | IV, 1a & b No. 12 | Der Alpenjäger, D 524 | Auf hohem Bergesrücken | January 1817 | Text by Mayrhofer; Three versions: 2nd, not in AGA, is for b and piano – 3rd is Op. 13 No. 3 |
| 525 | 525 | 21,3 (1823) (1970) | XX, 5 No. 296 | IV, 1a & b No. 18 | Wie Ulfru fischt | Der Angel zuckt, die Rute bebt | January 1817 | Text by Mayrhofer; For b and piano; Two versions: 2nd, in AGA, is Op. 21 No. 3 |
| 526 | 526 | (1832) | XX, 5 No. 297 | IV, 11 | Fahrt zum Hades | Der Nachen dröhnt | January 1817 | Text by Mayrhofer; For b and piano |
| 527 | 527 | 24,2 (1823) (1975) | XX, 5 No. 298 | IV, 2a & b No. 2 | Schlaflied a.k.a. Abendlied a.k.a. Schlummerlied | Es mahnt der Wald | January 1817 | Text by Mayrhofer; Two versions: 2nd, in AGA, is Op. 24 No. 2 |
| 528 | 528 | (1872) | XX, 10 No. 574 | IV, 11 | La pastorella al prato, D 528 | La pastorella al prato | January 1817 | Text by Goldoni, from Il filosofo di campagna II, 16 (other setting: D 513); Arietta for soprano and piano |
| 529 | 529 | (1871) (1897) | XII No. 11 XXI, 3 No. 30 | VII/2, 6 | Eight Écossaises, D 529 | Various keys | February 1817 | For piano; Nos. 1–3, 6 and 8 publ. 1871 |
| 530 | 530 | 109p,3 (1829) | XX, 4 No. 273 | IV, 11 | An eine Quelle | Du kleine grünumwachs'ne Quelle | February 1817 | Text by Claudius |
| 531 | 531 | 7,3 (1823) | XX, 5 No. 302 | IV, 1a | Der Tod und das Mädchen | Vorüber, ach vorüber | February 1817 | Text by Claudius; Music partly reappears in D 810 |
| 532 | 532 | (1895) | XX, 5 No. 303 | IV, 11 | Das Lied vom Reifen | Seht meine lieben Bäume an | February 1817 | Text by Claudius; Fragment (completed in AGA) |
| 533 | 533 | (1876) (1895) | XX, 5 No. 304 | IV, 11 | Täglich zu singen | Ich danke Gott und freue mich | February 1817 | Text by Claudius; 1876 publ. is piano reduction |
| 534 | 534 | (1830) | XX, 5 No. 305 | IV, 11 | Die Nacht, D 534 | Die Nacht ist dumpfig und finster | February 1817 | Text by Macpherson (Ossian), from Domhnull mac Fhionnlaidh, transl. by E. Baron de Harold |
| 535 | 535 | (1853) (1895) | XX, 10 No. 585 | III, 1 | Lied, D 535 | Brüder, schrecklich brennt die Träne | February 1817 | For s and small orchestra; 1853 ed. is arrangement |
| 536 | 536 | 21,2 (1823) (1970) | XX, 5 No. 318 | IV, 1a & b No. 17 | Der Schiffer, D 536 | Im winde, im Sturme | 1817? | Text by Mayrhofer; For b and piano; Two versions: 2nd, in AGA, is Op. 21 No. 2 |
| 537 | 537 | 164p (1852) | X No. 6 | VII/2, 1 No. 4 | Piano Sonata, D 537 | A minor | March 1817 | Allegro ma non troppo – Allegretto quasi Andantino – Allegro vivace |
| 538 | 538 | (1891) | XVI No. 33 | III, 4 No. 42 | Gesang der Geister über den Wassern, D 538 | Des Menschen Seele gleicht dem Wasser | March 1817 | Text by Goethe (other settings: D 484, 705 and 714); For ttbb |
| 539 | 539 | 8,4 (1822) | XX, 5 No. 306 | IV, 1a | Am Strome | Ist mir's doch, als sei mein Leben | March 1817 | Text by Mayrhofer |
| 540 | 540 | (1831) | XX, 5 No. 307 | IV, 11 | Philoktet | Da sitz' ich ohne Bogen | March 1817 | Text by Mayrhofer |
| 541 | 541 | 6,1 (1821) | XX, 5 No. 308 | IV, 1a | Memnon | Den Tag hindurch nur einmal mag ich sprechen | March 1817 | Text by Mayrhofer |
| 542 | 542 | 6,2 (1821) | XX, 5 No. 309 | IV, 1a | Antigone und Oedip | Ihr hohen Himmlischen | March 1817 | Text by Mayrhofer |
| 543 | 543 | 92,2 (1828) (1895) | XX, 5 No. 310 | IV, 5 | Auf dem See | Und frische Nahrung | March 1817 | Text by Goethe; Two versions: 2nd is Op. 92 No. 2 |
| 544 | 544 | 19,3 (1825) | XX, 5 No. 311 | IV, 1a | Ganymed | Wie im Morgenglanze | March 1817 | Text by Goethe |
| 545 | 545 | (1872) (1895) | XX, 5 No. 312 | IV, 11 | Der Jüngling und der Tod | Die Sonne sinkt, o könnt ich | March 1817 | Text by Spaun; Two versions: 1st is duet – 2nd publ. 1872 |
| 546 | 546 | 101p,3 (1827) | XX, 5 No. 313 | IV, 5 | Trost im Liede | Braust des Unglücks Sturm empor | March 1817 | Text by Schober; Publ. as Op. posth. 101 No. 3 in 1828 |
| 547 | 547 | 88,4 (1827) (1895) | XX, 5 No. 314 | IV, 4 | An die Musik | Du holde Kunst | March 1817 | Text by Schober; Two versions: 2nd is Op. 88 No. 4 |
| 548 | 548 | (1831) | XX, 6 No. 382 | IV, 11 | Orest auf Tauris | Ist dies Tauris | March 1817 | Text by Mayrhofer |
| 549 | 549 | (1895) | XX, 10 No. 595 | IV, 13 | Mahomets Gesang, D 549 | Seht den Felsenquell | March 1817 | Text by Goethe (other setting: D 721); Fragment |
| 550 | 550 | 32 (1820) (1895) (1975) | XX, 5 No. 327 | IV, 2a & b No. 3 | Die Forelle | In einem Bächlein helle | late 1816– October 1821 | Text by Schubart; Five versions: 1st–4th in AGA – 4th publ. as Op. 32 in 1827; Music partly reappears in D 667 |
| 551 | 551 | (1831) | XX, 5 No. 315 | IV, 11 | Pax vobiscum | Der Friede sei mit euch! | April 1817 | Text by Schober |
| 552 | 552 | 20,3 (1823) (1970) | XX, 5 No. 316 | IV, 1a & b No. 16 | Hänflings Liebeswerbung | Ahidi! ich liebe | April 1817 | Text by Kind; Two versions: 2nd, in AGA, is Op. 20 No. 3; Music related to D 972 No. 3 |
| 553 | 553 | 21,1 (1823) | XX, 5 No. 317 | IV, 1a | Auf der Donau | Auf der Wellen Spiegel | April 1817 | Text by Mayrhofer; For b and piano |
| 554 | 554 | (1895) | XX, 5 No. 319 | IV, 11 | Uraniens Flucht | Laßt uns, ihr Himmlischen, ein Fest begehen! | April 1817 | Text by Mayrhofer |
| 555 | 555 | (1934) | | IV, 11 | Liedentwurf, D 555 | A minor | May 1817? | Sketch without text |
| 556 | 556 | (1886) | II No. 4 | V, 5 | Overture, D 556 | D major | May 1817 | For orchestra |
| 557 | 557 | (1888) | X No. 3 | VII/2, 1 No. 5 | Piano Sonata, D 557 | A♭ major | May 1817 | Allegro moderato – Andante – Allegro |
| 558 | 558 | (1887) | XX, 3 No. 120 | IV, 11 | Liebhaber in allen Gestalten | Ich wollt', ich wär' ein Fisch | May 1817 | Text by Goethe |
| 559 | 559 | (1885) | XX, 3 No. 121 | IV, 11 | Schweizerlied | Uf'm Bergli bin i g'sässe | May 1817 | Text by Goethe |
| 560 | 560 | (1850) | XX, 3 No. 122 | IV, 11 | Der Goldschmiedsgesell | Es ist doch meine Nachbarin | May 1817 | Text by Goethe |
| 561 | 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: D 351 and 364) |
| 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: D 337 and 393) |
| 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, D 593 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: D 329A, 330, 377 and 643A); 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 (D 604 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: D 390); 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 Ottenwalt [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: D 283 and 338); Two versions: 1st publ. 1885 – 2nd was D 245 |
| 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: D 592; 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: D 597 |
| 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 D 590 |
| 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 D 591 |
| 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 D 641 |
| 599–632 | 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 D 610 and/or D 613 |
| 601 | 470 | | | | | | | See D 470 |
| 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 Unger [Wikisource:de]; For satb and piano; 2nd part of 1st stanza, "im traulichen Kreise", was D 665 |
| 610 | 610 | (1889) | XII No. 31 | VII/2, 6 | Trio, D 610 | E major | February 1818 | For piano; May belong to D 600, 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; D 612 and 600/610 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 Schreiber [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 Schreiber [de] |
| 623 | 623 | (1831) | XX, 5 No. 341 | IV, 12 | Das Marienbild | Sei gegrüßt, du Frau der Huld | August 1818 | Text by Schreiber [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 Schreiber [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 | 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: D 251) |
| 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 Schlechta [de]; Two versions; 1st publ. 1820 – 2nd, in AGA with another text variant ("Harrt ein Fischer auf der Brücke"), was D 949 |
| 641 | 598 | | | | | | | See D 598 |
| 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: D 329A, 330, 377 and 569); 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 Georg von Hofmann; 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 Silbert [wikisource:de] |
| 651 | 651 | (1831) | XX, 6 No. 353 | IV, 12 | Himmelsfunken | Der Odem Gottes weht | February 1819 | Text by Silbert [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 Geistliche Lieder [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 Geistliche Lieder [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 Geistliche Lieder [de] |
| 661 | 661 | (1872) | XX, 6 No. 362 | IV, 12 | Hymn III | Wenn alle untreu werden | May 1819 | Text by Novalis, No. 6 from Geistliche Lieder [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 Geistliche Lieder [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 D 609 |
| 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 Stadler, A. [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, 223, 386 and 811); 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, 755 and 950); For satbSATB and orchestra; Two versions: 1st publ. in 1875 – 2nd in AGA |
| 679–708 | 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 Vittorelli (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 | Namenstagslied | Vater, schenk' mir diese Stunde | 19/3/1820? | Text by Stadler, A. [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 Schlechta [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 Hüttenbrenner, H. [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 | 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: D 740); 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: D 549); 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 Unger [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: D 460, 461, 739, 750, 962 and Anh. I/17); 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 D 683 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 | 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 Engelhardt (a.k.a. Richard Roos) [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 Bruchmann [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 Bruchmann [de] |
| 739 | 739 | 45 (1825) | XIV No. 6 | I, 9 No. 5 | Tantum ergo, D 739 | C major | 1814 | Text by Aquinas (other settings: D 460, 461, 730, 750, 962 and Anh. I/17); 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: D 709); 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 Sauter [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 Bruchmann [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: D 414); 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 Deinhardstein [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: D 460, 461, 730, 739, 962 and Anh. I/17); 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 Bruchmann [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 | 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 |
| 776 | 776 | 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, 5 | 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 D 783 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. D 790 No. 2, D 781 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 Bruchmann [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 = D 783 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: D 250) |
| 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 D 798, 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 D 333, 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 | 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 Lappe [de] |
| 800 | 800 | 41 (1825) (1827) | XX, 8 No. 465 | IV, 2a | Der Einsame | Wann meine Grillen schwirren | early 1825 | Text by Lappe [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: D 809) |
| 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: D 808); 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, 223, 386 and 676); 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 D 366 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, 5 | Ungarische Melodie | B minor | 2/9/1824 | For piano; Reappears in D 818 |
| 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 D 817 |
| 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 | 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 Hüttenbrenner, H. [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 Lappe [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 Schnitzer von Meerau [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 Craigher de Jachelutta [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 Pratobevera [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 Spiker [de] |
| 832 | 832 | (1830) | XX, 8 No. 466 | IV, 13 | Des Sängers Habe | Schlagt mein ganzes Glück in Splitter | February 1825 | Text by Schlechta [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 Craigher de Jachelutta [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 Storck [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 Storck [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 Storck [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 Storck [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 Storck [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 Craigher de Jachelutta [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 Storck [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 Storck [de] (Canto II, 23) |
| 847 | 847 | 155p (1849) | XVI No. 29 | III, 4 No. 55 | Trinklied aus dem 16. Jahrhundert | | July 1825 | Text by Gräffer; 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 | Die Allmacht, D 852 | Groß ist Jehova, der Herr! | August 1825 | Text by Pyrker (other setting: D 875A); 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 | 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 Schlechta [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: D 852); 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, 726 and 727); No. 1 for two voices and piano; No. 2 has two versions; No. 4 reuses music of D 403 |
| 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 Schlechta [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 Mayerhofer von Grünbühel [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 Gerstenberg [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 | 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: D 990E) 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 Müller, (K. L.) M. [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: D 443); 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 Pollak; Music reappears in other setting D 919); 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 Seegemund; 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 Reil [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 D 260 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 Pollak; Music based on other setting D 914 |
| 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 Klen(c)ke [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 D 741 |
| 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 | 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 Schmidl [de]; Two versions: 1st, for ttbbTTBB, was D 941 – 2nd, Op. posth. 154 for ttbbTTBB and winds, was D 964 |
| 949 | 639 | | | | | | | See D 639 |
| 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 755); 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 Reil [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 Kuffner [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 Nos. 1–13 | 957 | (1829) | XX, 9 Nos. 554– 566 | IV, 14 | Schwanengesang, D 957, a.k.a. 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. Rauschender Strom, 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 Gassen | August– September? 1828 | Text by Rellstab (Nos. 1–7) and Heine, H. (Nos. 8–13); D 965A was No. 14; Early versions for Nos. 1 and 3; Variant for No. 4 |
| 958 | 958 | (1839) | X No. 13 | VII/2, 3 No. 17 | Piano Sonata, D 958 | C minor | September 1828 | Allegro – Adagio – Minuet – Allegro |
| 959 | 959 | (1839) | X No. 14 | VII/2, 3 No. 18 | Piano Sonata, D 959 | A major | September 1828 | Allegro – Andantino – Scherzo – Allegretto (partly based on 2nd movement of D 537) |
| 960 | 960 | (1839) | X No. 15 | VII/2, 3 No. 19 | Piano Sonata, D 960 | B♭ major | September 1828 | Molto moderato – Andante sostenuto – Scherzo – Allegro ma non troppo |
| 961 | 452 | | | | | | | See D 452 |
| 962 | 962 | (1890) | XXI, 4 No. 32 | I, 9 No. 10 & Anh. 4 | Tantum ergo, D 962 | E♭ major | October 1828 | Text by Aquinas (other settings: D 460, 461, 730, 739, 750 and Anh. I/17); For satbSATB and orchestra; Sketch in AGA XIV No. 22 |
| 963 | 963 | (1890) | XXI, 4 No. 33 | I, 8 | Intende voci, a.k.a. Offertory, D 963, or Aria for tenor with choir | B♭ major | October 1828 | Text: Psalm 5:3–4a, offertory for the Friday after Oculi Sunday; For tSATB and orchestra |
| 964 | 948 | 154p (1849) | XVI No. 2 | | | Herr, unser Gott! erhöre unser Flehen | | See D 948, 2nd version |
| 965 | 965 | 129p (1830) | XX, 10 No. 569 | IV, 14 | Der Hirt auf dem Felsen | Wenn auf dem höchsten Fels ich steh | October 1828 | Text by Müller, W., and Varnhagen von Ense; For voice, clarinet and piano |
| 957 No. 14 | 965A | (1829) | XX, 9 No. 567 | IV, 14 | Die Taubenpost | Ich hab' eine Brieftaub in meinem Sold | October 1828 | Text by Seidl; Was D 957 No. 14 |
| | 965B | | | VIII, 2 Nos. 15–16 | Fugal exercises, D 965B | | November 1828 | Partly similar to D 952 |
| 966–992 | 966–992 | | | | | | 1810–1828 | Up ↑ |
| 966 | 11 | | | | | | | See D 11 No. 3 |
| | 966B | | | V, 6 No. 8 | Orchestral piece, D 966B | A major | 1820 or later | Sketch |
| 968 | 968 | (1888) | IX, 3 No. 29 | VII/1, 1 No. 7 | Sonatina, D 968 | C major – A minor | 1815–1819? | For piano duet; Allegro moderato – Andante |
| 603 | 968A | 82p,2 (1860) | IX, 2 No. 18 | VII/1, 1 No. 8 | Introduction, Variations and Finale | B♭ major | ? | For piano duet |
| 886 | 968B | 121p (1829) | IX, 1 No. 6 | VII/1, 4 | Deux Marches caractéristiques | C major | spring 1826? | For piano duet |
| 969 | 969 | 77 (1827) | XII No. 6 | VII/2, 7a | 12 Valses nobles | Various keys | before 22/1/1827 | For piano |
| 970 | 970 | (1889) | XII No. 13 | VII/2, 6 | Six Ländler, D 970, a.k.a. German Dances | Various keys | ? | For piano; No. 2 near-identical to D 145 No. 7 |
| 971 | 971 | (1823) | XII No. 14 | VII/2, 7a | Three German Dances, D 971 | Various keys | before 10/1/1823 | For piano |
| 972 | 972 | (1889) | XII No. 15 | VII/2, 6 | Three German Dances, D 972 | Various keys | before April 1817? | For piano; No. 3 reused in D 552 |
| 973 | 973 | (1889) | XII No. 16 | VII/2, 6 | Three German Dances, D 973 | Various keys | ? | For piano |
| 974 | 974 | (1889) | XII No. 17 | VII/2, 6 | Two German Dances, D 974 | Various keys | ? | For piano |
| 975 | 975 | (1889) | XII No. 20 | VII/2, 6 | German Dance, D 975 | D major | ? | For piano |
| 976 | 976 | (1825) | XII No. 22 | VII/2, 7a | Cotillon | E♭ major | before 29/12/1825 | For piano |
| 977 | 977 | (1889) | XII No. 26 | VII/2, 6 | Eight Écossaises, D 977 | Various keys | ? | For piano |
| 978 | 978 | (1825) | | VII/2, 7a | Waltz, D 978 | A♭ major | before 29/12/1825 | For piano |
| 979 | 979 | (1826) | | VII/2, 7a | Waltz, D 979 | G major | before 23/12/1826 | For piano |
| 980 | 980 | (1826) | | VII/2, 7a | Two Waltzes, D 980 | Various keys | before 23/12/1826 | For piano |
| 640 | 980A | | | VII/2, 6 | Two Dances, D 980A | Various keys | ? | For piano; Sketches |
| 679 | 980B | (1925) | | VII/2, 6 | Two Ländler, D 980B | E♭ major | ? | For piano |
| 680 | 980C | (1930) | | VII/2, 6 | Two Ländler, D 980C | D♭ major | ? | For piano; Fragments |
| | 980D | (1828) | | VII/2, 7a | Waltz, D 980D, a.k.a. Krähwinkler Tanz | C major | before 26/1/1828 | For piano |
| | 980E | | | VII/2, 6 | Two Dances, D 980E | Various keys | 1818 or later | For piano(?); Sketches |
| | 980F | | | VII/2, 6 | March, D 980F | G major | ? | For piano; Arr. of a lost march for orchestra? |
| 981 | 981 | | | | Der Minnesänger | (Singspiel) | ? | Text by Kotzebue?; Lost |
| 982 | 982 | | | II, 16 | Sketches for an opera a.k.a. Sophie | (Opera) | Sep.–Oct. 1820 | For satb and orchestra; Nos. 1–3 (No. 3 partly reused in D 796 No. 7) |
| 983 No. 1 | 983 | 17,1 (1823) | XVI No. 20 | III, 4 No. 48 | Jünglingswonne | So lang im deutschen Eichentale | before 9/10/1823 | Text by Matthisson; For ttbb |
| 983 No. 2 | 983A | 17,2 (1823) | XVI No. 21 | III, 4 No. 49 | Liebe | Liebe rauscht der Silberbach | before 9/10/1823 | Text by Schiller, from "Der Triumph der Liebe": stanza 25; Other: D 55, 61, 62, 63, 64; For ttbb |
| 983 No. 3 | 983B | 17,3 (1823) | XVI No. 22 | III, 4 No. 50 | Zum Rundetanz | Auf! es dunkelt; silbern funkelt | before 9/10/1823 | Text by Salis-Seewis (other setting: D Anh. I/18); For 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 | before 9/10/1823 | Text by Krummacher(?); For ttbb |
| 984 | 984 | 169p (1865) | | III, 3 Anh. II No. 7 | Der Wintertag a.k.a. Geburtstaglied | In schöner heller Winterzeit | 1821 or later? | For ttbb and piano; Fragment: piano part lost |
| 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? | ? | Text by Uz; For satb and piano |
| 986 | 986 | 112p,2 (1829) | XVII No. 7 | III, 2a No. 5 | Gott der Weltschöpfer | Zu Gott, zu Gott flieg auf | ? | Text by Uz; For satb and piano |
| 988 | 988 | (1873) | XIX No. 26 | III, 4 No. 61 VIII, 2 No. 30 | Liebe säuseln die Blätter | Liebe säuseln die Blätter | ? | Text by Hölty; Canon for three voices |
| | 988A | | | III, 3 Anh. II No. 8 | Accompaniment part | B♭ major | 1821 or later | For piano, as accompaniment for a vocal composition |
| 990 | 990 | (1853) | | IV, 14 | Der Graf von Habsburg | Zu Aachen in seiner Kaiserpracht | 1815–1820 | Text by Schiller |
| 990 | 990A | (1853) | | IV, 14 | Kaiser Maximilian auf der Martinswand [in Tirol] | Hinauf! hinauf! in Sprung und Lauf | 1815–1820 | Text by Collin, H. J. |
| 582 | 990B | | | IV, 14 | Augenblicke im Elysium | Vor der in Ehrfurcht all mein Wesen kniet | ? | Text by Schober; Music lost |
| 868 | 990C | 130p (1830) | XX, 8 No. 513 | IV, 14 | Das Echo | Herzliebe gute Mutter, o grolle nicht mit mir | ? | Text by Castelli |
| | 990D | | | IV, 14 | Die Schiffende | Sie wankt dahin! Die Abendwinde spielen | ? | Text by Hölty; Music lost |
| | 990E | | | IV, 4 IV, 11 | L'incanto degli occhi | Da voi, cari lumi | 1813–1816? | Text by Metastasio, from Attilio Regolo II (other version: D 902 No. 1); Aria for s |
| | 990F | | | IV, 11 | Ombre amene a.k.a. La serenata | Ombre amene | 1813–1816? | Text by Metastasio; Aria for s; Formerly misidentified as an early setting of Il traditor deluso, D 902 No. 2 |
| 991 | 323 | | | | O so laßt euch froh begrüssen | O so laßt euch froh begrüssen | | Text by Schiller; Last part of D 323 |
| 992 | 383 | | | | | | | See D 383 |
| Anh. I | Anh. I | Spurious and doubtful works | Spurious and doubtful works | Spurious and doubtful works | Spurious and doubtful works | Spurious and doubtful works | | Up ↑ |
| 40 | Anh. I/1 | | | | String Quartet, D Anh. I/1 | E♭ major | 1813 | Doubtful: lost or identical to D 87 |
| | Anh. I/2 | | | | String Quartet, D Anh. I/2 | F major | 1816 | Doubtful: lost or identical to D 353 |
| | Anh. I/3 | | | VIII, 2 Anh. No. 2 | Fugue, D Anh. I/3 | C major | 1812? | Spurious?; For string quartet?; Fragment: only viola part is extant |
| 2 | Anh. I/4 | | | | | | | Spurious: fragment of a string quartet movement in G major by Stadler, A. [scores] |
| | Anh. I/5 | | | | | | | Spurious: sketch for the opening movement of a string quartet in E♭ major |
| | Anh. I/6 | | | | | | | Spurious: Duet in D major for two violins |
| | Anh. I/6A | | | | | | | Spurious: Symphony in E major "1825" by Gunter Elsholz (fake Gmunden-Gastein Symphony, D 849) |
| 858 | Anh. I/7 | | | VII/1, 4 | March, D Anh. I/7 | | November 1825 | Doubtful; Lost; For two pianos, eight hands |
| | Anh. I/8 | | | | Piano Sonata, D Anh. I/8 | F major | 1815 | Doubtful: lost or identical to D 157 |
| | Anh. I/9 | | | | Piano Sonata, D Anh. I/9 | F major | 1816 | Doubtful: lost or identical to D 459 |
| | Anh. I/10 | | | | Fantasy, D Anh. I/10 | E♭ major | 1825? | Doubtful; Lost; For piano |
| | Anh. I/11 | | | | | | | Spurious: Allegro in G major and Minuet in C major, a.k.a. Sonatina; For piano; Publ. in 1967 |
| | Anh. I/12 | (1810) | | | Seven Easy Variations | G major | before Nov. 1810 | Spurious?; For piano |
| | Anh. I/13 | | | | Six German Dances, D Anh. I/13 | | 1814 | Doubtful; Lost; For piano |
| | Anh. I/14 | (1970) | | VIII, 1 | Waltz, D Anh. I/4, a.k.a. Kupelwieser-Walzer | G♭ major | 17/9/1826 | Doubtful; For piano |
| 336 | Anh. I/15 | (1897) | XXI, 3 No. 26 | VIII, 1 | Minuet with Trio, D Anh. I/15 | D major | | Doubtful; For piano |
| | Anh. I/16 | (1975) | | | Écossaise de Vienne | A♭ major | 1821? | Doubtful: by Hüttenbrenner?; For piano |
| | Anh. I/17 | | | VIII, 1 | Tantum ergo, D Anh. I/17 | B♭ major | | Text by Aquinas (other settings: D 460, 461, 730, 739, 750 and 962); Spurious?; Fragment: only s part |
| 132 | Anh. I/18 | (1974) | | III, 4 Anh. I No. 2 | Lied beim Rundetanz | Auf, es dunkelt, silbern funkelt | 1815–1816 | Text by Salis-Seewis (other setting: D 983B); Doubtful; Fragment: one voice of a part song |
| 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 | Text by Salis-Seewis (other setting: D 572); Doubtful; Fragment: one voice of a part song |
| 339 | Anh. I/20 | (1974) | | III, 4 Anh. I No. 4 | Amors Macht | Wo Amors Flügel weben | 1815–1816 | Text by Matthisson; Doubtful; Fragment: one voice of a part song |
| 340 | Anh. I/21 | (1974) | | III, 4 Anh. I No. 5 | Badelied | Zur Elbe, zur Elbe, des Äthers Gewölbe | 1815–1816 | Text by Matthisson; Doubtful; Fragment: one voice of a part song |
| 341 | Anh. I/22 | (1974) | | III, 4 Anh. I No. 6 | Sylphen | Was unterm Monde gleicht uns Sylphen flink und leicht | 1815–1816 | Text by Matthisson; Doubtful; Fragment: one voice of a part song |
| 425 | Anh. I/23 | (1974) | | III, 4 Anh. I No. 7 | Lebenslied, D Anh. I/23 | Kommen und Scheiden | 1815–1816 | Text by Matthisson (other setting: D 508); Doubtful; Fragment: one voice of a part song; Related to D 425? |
| | Anh. I/24 | | | | Kantate auf den Vater (Cantata to his father) | | 27/9/1816 | Doubtful; Lost |
| | Anh. I/25 | | | VIII, 1 | Drum Schwester und Brüder | Drum Schwester und Brüder singt fröhliche Liede | October 1819 | Doubtful; For voices and instruments; Fragment: choir text, and violin II and cello parts extant |
| | Anh. I/26 | | | VIII, 1 | Sturmbeschwörung | Nirgends Rettung, nirgends Land | before 1840 | Spurious?; For voices; Fragment: s part extant |
| | Anh. I/27 | | | | | | | Spurious: fragment of three TTB choirs with winds |
| 512 | Anh. I/28 | | | VIII, 1 | Klage, D Anh. I/28 | Nimmer länger trag ich dieser Leiden Last | c. 1817 | Other setting: D 432; Spurious? |
| | Anh. I/29 | | | VIII, 1 | Kaiser Ferdinand II. | Was reget die Stadt sich in freudiger Hast? | 1853 or earlier | Doubtful |
| | Anh. I/30 | | | | | | | Spurious: "Mein Frieden" (Text Ferne, ferne flammen helle Sterne by Heine, C.), publ. in 1823, by another Schubert |
| | Anh. I/31 | | | | | | | Spurious: "Adieu!"/"Lebe wohl!" (Text Voici l'instant suprême by Bélanger after Wetzel, re-translated in German as Schon naht, um uns zu scheiden), publ. in 1824, by Weyrauch [et] |
| 598A | Anh. I/32 | | | VIII, 2 Anh. No. 1 | Themes for thoroughbass exercises | | before 1812 | Doubtful |
| Anh. II | Anh. II | Schubert's arrangements | Schubert's arrangements | Schubert's arrangements | Schubert's arrangements | Schubert's arrangements | | Up ↑ |
| | Anh. II/1 | | | VIII, 1 | Arrangement of Gluck's overture to Iphigénie en Aulide | | early 1810? | Fragment for piano duet: last bars of the Primo part extant |
| 96 | Anh. II/2 | (1926) | | VIII, 1 | Arrangement of Matiegka's Notturno (Trio), Op. 21, a.k.a. Quartet, D Anh. II/2 | G major | 26/2/1814 | For flute, viola, guitar, and a cello part added by Schubert; Movements 2 (Trio II) and 5 (Var. II) recomposed by Schubert |
| | Anh. II/3 | | | VIII, 1 | Arrangement of two arias from Gluck's Echo et Narcisse | Rien de la nature – O combats, o désordre extrème! | March 1816 | Text by Tschudi |
| | Anh. II/4 | (1960) | | VIII, 1 | Arrangement of M. Stadler's 8th Psalm (Zwölf Psalmen David's No. 1: "Unendlicher! Gott, unser Herr!") | Dem Sangmeister auf Gittith, ein Psalm Davids | 29/8/1823 | Text by Mendelssohn, M., translating Psalm 8; For voice and orchestra; Schubert adapted and orchestrated the piano accompaniment, slightly modifying the vocal part |
| Anh. III | Anh. III | Schubert's copies of compositions by other composers | Schubert's copies of compositions by other composers | Schubert's copies of compositions by other composers | Schubert's copies of compositions by other composers | Schubert's copies of compositions by other composers | | Up ↑ |
| | Anh. III/1 | | | | Schubert's copy of nine canons by Michael Haydn and other composers: Nos. 1, 3, 4 and 6 by M. Haydn – No. 2 by M. or J. Haydn – No. 5 by Otter [Wikisource:de] – No. 9 by Mozart | 1. Es packe dich das Glück beim Kragen (F major) – 2. Vom Glück sei alles dir beschert (B♭ major) – 3. Glück fehl dir vor allem (G major) – 4. Wohlsein und Freude (C major) – 5. Drum habe Dank, o Vater Hayden – 6. Adam hat siebn Söhn (F major) – 7. Cato, Plato, Cicero (F major) – 8. Was i beim Tag mit der Leiern gwinn (E minor) – 9. Alleluia (C major) | summer 1810 | No. 1: for five voices (MH 577, also K. Anh. C.10.14) – No. 2: for four voices (MH 619 or Hob. XXVIIb:Bb1) – No. 3: for four voices (MH 582) – No. 4: for five voices (MH 584) – No. 5: for nine voices – No. 6: for four voices (MH 699, also K. 562b) – No. 7: (MH 714) – No. 8: (MH 723) – No. 9: for four voices (K. 553 [scores]) |
| | Anh. III/2 | | | | Schubert's copy of Roser [scores]'s Die Teilung der Erde [de] | Nehmt hin die Welt! rief Zeus aus seinen Höhen | c. 1810 | Text by Schiller; Also Hob. XXVIa:C1 |
| | Anh. III/3 | | | | Schubert's copy of part of Mozart's Symphony No. 41 | C major | after 29/3/1813 | Start of Minuet (3rd movement) |
| | Anh. III/4 | | | | Schubert's copy of a canon from Zumsteeg's Elbondocani | Hoffnung Kind des Himmels | before fall 1813? | Text by Haug (transl. from French); For sstb and piano |
| | Anh. III/5 | | | | Schubert's copy of Zumsteeg's Chor der Derwische | Ein Gott, ein wahrer Gott ist nur | spring 1813? | Text by Iffland, from Achmet und Zenide; for ttb |
| 85 | Anh. III/6 | | | | Schubert's copy of Preindl [de]'s Offertory "Clamavi ad te", Op. 16 | C major | November 1813? | Only the start of the s part is extant in Schubert's copy |
| | Anh. III/7 | | | | Schubert's copy of Reichardt's Monolog aus Goethe's Iphigenie [scores] | Heraus in eure Schatten | 1815 | Text by Goethe, from Iphigenia in Tauris; For voice, women's choir and piano |
| | Anh. III/8 | | | | Schubert's copy of part of Beethoven's Symphony No. 4 | B♭ major | 1821 or later | Start of Adagio, Allegro vivace (1st movement) |
| | Anh. III/9 | | | | Schubert's copy of the organ part of M. Haydn's Deutsches Hochamt, MH 560 | Hier liegt vor deiner Majestät B♭ major | ? | Text by Kohlbrenner; For SATB and organ; Schubert's autograph lost |
| | Anh. III/10 | | | | Schubert's copy of Preindl [de]'s Mass in C major | C major Kyrie – Gloria – Credo – Sanctus & Benedictus – Agnus Dei | 1821 or later | Text: Mass ordinary (Schubert's settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB and orchestra; Copied by Schubert and his brother Ferdinand |
| 92 | Anh. III/11 | | | | Schubert's copy of a canon by Mozart, K. 440d (formerly K. Anh. 134), after K. 410/484d [scores] | Laß immer in der Jugend Glanz | ? | For two voices; Schubert's autograph lost |
| 127 | Anh. III/12 | | | | Schubert's copy of a canon by Mozart, K. 230/382b [scores] | Selig, selig alle, die im Herrn entschliefen! | ? | Text by Hölty; For two voices; Schubert's autograph lost |
| | Anh. III/13 | | | | Schubert's copy of Beethoven's Abendlied unterm gestirnten Himmel, WoO 150 [scores] | Wenn die Sonne niedersinket | after March 1820 | Text by Goeble; Schubert's autograph transposed, incomplete |

## Not in the Deutsch catalogue

The New Schubert Edition mentions several compositions without a Deutsch number (D deest), most of them lost or fragmentary:
* Song for voice and piano, improvised for a play, possibly identical to D 284 (1815?, lost?)
* "Seliges Genügen", on a text by Johanna Claudine von Ziglowski (date unknown, lost)
* Song, fragment for voice and piano (c. 1827, lost)
* Fragment without text for vocal soloists, choir and orchestra (date unknown)
* "doch stärker ist die Mutterliebe", fragment for voice and orchestra (date unknown, lost)
* Overture for orchestra (date unknown, lost)
* String Quartet in B-flat major (1816, lost)
* Fantasy for string quartet (1813, lost)
* String Sextet, fragment for three violins, viola, cello and double bass (date unknown, lost)
* Fugue for piano duet (1813, lost)
* "Lieder für das Pianoforte": songs for voice and/or piano (unknown date, lost)
* Minuet for piano? (1813?, sketch)
* Canon a trè: fragment of a canon for three voices (1816?)
* Canon in C major for five voices (1826?)
* Three 2-part imitation exercises in invertible counterpoint (1828)