List of compositions by Franz Schubert
Franz Schubert (31 January 1797 – 19 November 1828), a late classical – early romantic Viennese composer, left a very extended body of work notwithstanding his short life. He wrote some 1500 items, or, when collections, cycles and variants are grouped, some thousand compositions. The largest group are his over six hundred Lieder for solo voice and piano. He composed nearly as many piano pieces, and further some 150 part songs, some 40 liturgical compositions (including several masses) and around 20 stage works like operas and incidental music. His orchestral output includes a dozen of symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.
Otto Erich Deutsch compiled the first comprehensive catalogue of Schubert's works and published it in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order. A revised edition appeared in German in 1978. Later editions of the catalogue contained minor updates.
Publication of Schubert's compositions started during his lifetime, by opus number. After the composer's death, posthumous opus numbers continued to be assigned to new publications of his work until 1867 (Op. post. 173). In the mean while also publications without opus number had started, for instance, from shortly after the composer's death, many songs in Diabelli's fifty "Nachlaß-Lieferung" (instalment from the heritage) editions.
There are two attempts to publish everything Schubert has composed in a single edition:
- 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). It proposes eighty-three volumes, in eight series. Publication of all volumes has been scheduled to conclude in 2016. Plans for this edition began as early as 1963, with the foundation of the International Schubert Society, headquartered at the University of Tübingen, Germany.
Texts of Schubert's vocal music can be published without the music, for instance his Lieder (songs) at LiederNet
D 1 to D 200
- Table
- D '51: Deutsch number in the first version of the Deutsch catalogue (1951)
- D utd: Most recent (up to date) Deutsch catalogue number
- Op. / pbl: Opus number (p indicates Post. = posthumous); date of first publication in parenthesis. The column sorts to Opus number > Nachlass Lieferung No. > first publication date associated with neither of those.
- 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) (Eusebius Mandyczewski, 1889)
- Series V: Streichquartette (Nos. 1-15) (Joseph Hellmesberger and Eusebius Mandyczewski, 1890)
- 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: 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
- 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
- Series VIII: Supplement, 2. Schubert's Studies
- Name: unique name, links to article
- Key signature / incipit: incipit mostly for songs (linking to lyrics and their translation when available), other compositions by key signature, except for theatre works: type of composition in brackets.
- Date: Date of composition / autograph. When the date is a range, the column sorts to date of completion (unlike the D numbers themselves, that generally have a chronology according to earliest date associated with the composition)
- Additional info: e.g. movements, text author,...
Note: 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. The first edition of the Deutsch catalogue was less strict on that point, leading to Deutsch number reassignements in later publications. Example: D 174 is described as two settings of the same text in the original catalogue, the second having become "D. deest" by the time it was published in Series IV, Volume 8 of the New Schubert Edition (while the music has no resemblance to the earlier setting). On the other hand, despite a difference in key signature and number of movements, the original D 567 and D 568 were ultimately published under the same D number as two versions of the same sonata.
D '51 |
D utd |
Op. pbl |
AGA | NSA | Name | Key signature / incipit | Date | Additional info |
---|---|---|---|---|---|---|---|---|
1 | 1 | (1888) | IX, 3 No. 30 |
VII/1, 1 No. 1 & Anh. No. 1 | Fantasy, D 1 | G major | April–May 1810 | Adagio – Allegro; Presto – Allegretto; Finale: Allegro maestoso — Two versions of Finale |
1A | (1969) | IV, 6 Anh. No. 1 |
Song, D 1A | C minor | before 1810? |
Adagio (sketch; no text, might be same as for D 39) – Gesang for bass and piano | ||
1B | VII/1, 1 Anh. No. 2 | Fantasy, D 1B | G major | 1810-1811 | Adagio, and start of an Allegro; | |||
1C | VII/1, 1 Anh. No. 3 | Sonata, D 1C | F major | 1810-1811 | Largo (fragment of 1st movement) | |||
996 | 2A | V, 6 No. 1 | Overture, D 2A | D major | 1811? | Adagio – Allegro (fragment) | ||
997 | 2B | V, 6 No. 2 | Symphony, D 2B | D major | 1811? | Adagio, fragment of a first movement | ||
998 | 2C | (1978) | VI, 3 Anh. No. 1 |
String Quartet, D 2C | D minor or F major | 1811? | Fragment | |
995 | 2D | (1956) (1970) |
VI, 9 | Six Minuets, D 2D | Various key signatures | 1811 | For winds (No. 1-2 also for piano; No. 4-6 piano sketches) | |
993 | 2E | VII/2, 4 | Fantasy, D 2E | C minor | 1811 | Largo | ||
2F | VI, 9 | Trio, D 2F | 1811 | Piano sketch of a Trio for a Minuet like those of D 2D | ||||
2G | V, 6 No. 3 | Overture, D 2G | D major | 1810-1811? | Fragment | |||
3 | 3 | (1978) | VI, 3 Anh. No. 2 |
String Quartet, D 3 | C major | 1812? | Fragment, some of it reused in D 29 and in an early sketch of D 36 | |
4 | 4 | (1886) | II No. 1 |
V, 5 | Der Teufel als Hydraulicus | (Overture to a comedy with singing) | 1812? | Play by J. F. E. Albrecht derived from Der Bettelstudent by Paul Weidmann |
5 | 5 | (1894) | XX, 1 No. 1 |
IV, 6 No. 1 |
Hagars Klage | Hier am Hügel heißen Sandes | 30/03/1811 | Text by Clemens August Schücking |
6 | 6 | (1894) | XX, 1 No. 2 |
IV, 3 | Des Mädchens Klage | Der Eichwald brauset | 1811-1812 | Text by Friedrich Schiller, from Wallenstein: Die Piccolomini III, 7 – First setting, see also D 191 and 389 |
7 | 7 | (1894) | XX, 1 No. 3 |
IV, 6 No. 2 |
Leichenfantasie | Mit erstorbnem Scheinen | 1811? | Text by Friedrich Schiller |
8 | 8 | (1970) | VI, 2 No. 1 | Overture, D 8 | C minor | 29/6/1811 | Largo – Allegro | |
8A | (1970) | VI, 3 No. 3 | Overture, D 8A | C minor | After 12/7/1811 | Largo – Allegro (Quartet version of D 8) | ||
9 | 9 | (1888) | IX, 3 No. 31 |
VII/1, 1 No. 2 |
Fantasy, D 9 | G minor | 20/9/1811 | Largo – Allegro |
10 | 10 | (1894) | XX, 1 No. 4 |
IV, 6 No. 3 |
Der Vatermörder | Ein Vater starb von des Sohnes Hand | 26/12/1811 | Text by Gottlieb Conrad Pfeffel |
11 966 |
11 | (1893) (1897) |
XV, 7 No.12 XXI, 1 No.1 |
II, 11 | Der Spiegelritter | (Singspiel in three acts) | December 1811? |
Text by August von Kotzebue Overture, five complete numbers and three fragments from Act I are extant. Aria No. 3 not published in AGA |
12 | 12 | (1897) | XXI, 1 No. 2 |
V, 5 | Overture, D 12 | D major | 1811-1812 | Adagio – Allegro spiritoso |
13 | 13 | VII/2, 4 | Fugue, D 13 | D minor | c. 1812 | Allegro maestoso — presumably for piano | ||
14 | 14 | Overture, D 14 | c. 1812 | Lost — piano sketch | ||||
15 | 15 | (1895) | XX, 10 No. 590/1 |
IV, 7 Anh. No. 5 |
Der Geistertanz | Die bretterne Kammer | c. 1812 | Text by Friedrich von Matthisson Fragment, first setting (see also D 15A, 116 and 494) |
15 | 15A | (1895) | XX, 10 No. 590/2 |
IV, 7 Anh. No. 6 |
Der Geistertanz | Die bretterne Kammer | c. 1812 | Text by Friedrich von Matthisson Fragment, second setting (see also D 15, 116 and 494) |
16 | 16 | (1940) | VIII, 2 No. 11 |
Counterpoint exercises, D 16 | G minor and A minor | 1823? | Seven exercises in double counterpoint | |
17 | 17 | (1940) (1986) |
VIII, 2 No. 37 |
Composition exercises, D 17 | Quell’ innocente figlio | 1812? | Text by Metastasio, from Isacco I, "Aria dell' Angelo" — Nine settings, corrections by Salieri | |
18 | 18 | (1890) | V No. 1 | VI, 3 No. 1 | String Quartet No. 1 | G minor / B major | 1810-1811 | Andante – Presto vivace; Menuetto – Trio; Andante; Presto |
19 | 19 | String Quartet, D 19 | 1810-1811 | Lost | ||||
19 | 19A | String Quartet, D 19A | 1810-1811 | Lost | ||||
19B | Waltzes and a March, D 19B | 1812-1813 | Lost — for piano | |||||
20 | 20 | Overture, D 20 | B-flat major | 1812 | Lost — for string quartet | |||
21 | 21 | Six Variations, D 21 | E-flat major | 1812 | Lost — for piano | |||
22 | 22 | Twelve Minuets with Trios, D 22 | 1812 | Lost — for piano | ||||
23 | 23 | 131,3p (1830) |
XX, 1 No. 6 |
IV, 6 No. 4 |
Klaglied | Meine Ruh ist dahin | 1812 | Text by Friedrich Rochlitz |
24 | 24 | Seven Variations, D 24 | F major | 1812? | Lost fragment — for piano | |||
24A | VII/2, 4 | Fugue, D 24A | C major | Summer 1812 | Allegro — for keyboard (organ or piano) | |||
24B | VII/2, 4 | Fugue, D 24B | G major | Summer 1812 | Allegro — for keyboard (organ or piano) | |||
24C | VII/2, 4 | Fugue, D 24C | D minor | Summer 1812 | Maestoso — for keyboard (organ or piano) | |||
24D | VII/2, 4 Anh. | Fugue, D 24D | C major | Summer 1812 | Maestoso (fragment), for piano Theme reused in D 46 | |||
24E | I, 5 | Mass, D 24E | F major (?) | Summer 1812? | Fragment of a Gloria and a Credo | |||
25 | 25 | VIII, 2 | Counterpoint exercises, D 25 | Started 18/6/1812 | Four 2-part and three 3-part counterpoint exercises; Four 2-part imitation exercises | |||
25A | VIII, 2 | Counterpoint exercises, D 25A | Summer 1812? | Two 4-part counterpoint exercises | ||||
25B | VIII, 2 | Counterpoint exercises, D 25B | Summer 1812? | Fifteen 3-part counterpoint exercises | ||||
25C | VIII, 2 | Fugue, D 25C | F major | Summer 1812? | Fragment, for two voices | |||
26 | 26 | (1886) | II No. 2 | V, 5 | Overture, D 26 | D major | 26/6/1812 | Allegro spiritoso |
27 | 27 | (1928) | I, 8 | Salve Regina, D 27 | F major | 28/06/1812 | Motet/Antiphon — parts of trumpets and timpani missing | |
28 | 28 | (1923) | VI, 7 No. 1 | Trio, D 28 | B major | 28/8/1812 | Allegro — Sonata movement | |
29 | 29 | (1888) | XI No. 9 | VII/2, 4 | Andante, D 29 | C major | 9/9/1812 | For piano — see also D 3 and 36 |
30 | 30 | (1894) | XX, 1 No. 5 |
IV, 4 | Der Jüngling am Bache | An der Quelle saß der Knabe | 24/9/1812 | Text by Friedrich Schiller First setting, see also D 192 and 638 |
31 | 31 | (1888) | XIV No. 14 | I, 5 | Kyrie, D 31 | D minor | 25/9/1812 | Allegro — First part of a Mass |
32 | 32 | (1890) (1955) |
V No. 2 XXII v5 |
VI, 3 No. 4 | String Quartet No. 2 | C major | Sept-Oct 1812 | Presto; Andante; Menuetto: Allegro – Trio; Allegro con spirito — AGA V only mvts 1 & 3 |
33 | 33 | (1940) | VIII, 2 No. 38 |
Composition exercises, D 33 | Entra l'uomo allor che nasce | Sept-Oct 1812 | Text by Metastasio, from Isacco II, "Aria di Abramo" — Six settings and an Allegretto, corrections by Salieri | |
34 | 34 | (1940) | VIII, 2 No. 39 |
Composition exercises, D 34 | Te solo adoro | 5/11/1812 | Text by Metastasio, from Betulia liberata II, "Aria di Achior" — Two settings (second incomplete), corrections by Salieri | |
35 | 35 | (1940) | VIII, 2 No. 40 |
Composition exercises, D 35 | Serbate, o Dei custodi | Oct-Dec 1812 | Text by Metastasio, from La clemenza di Tito I, 5 — Three settings, corrections by Salieri | |
36 | 36 | (1890) | V No. 3 | VI, 3 No. 5 | String Quartet No. 3 | B-flat major | 1812-1813 | Allegro; Andante; Menuetto: Allegro – Trio; Allegretto |
37 | 37 | 74 (1827) |
XIX No. 1 |
III, 3 | Die Advokaten | Mein Herr, ich komm' mich anzufragen | 25-27/12/1812 | Text by Eduard von Rustenfeld, Baron Engelhart – Imitates a composition by Anton Fischer |
967 | 37A | VII/2, 4 Anh. | Fugue sketches, D 37A | 1813? | Four sketches with four voices, the first of which is marked Allegro, for Clav. | |||
38 | 38 | (1892) | XIX No. 20 |
III, 4 No. 1 | Totengräberlied | Grabe, Spaden, grabe! | 1813? | Text by Ludwig Heinrich Christoph Hölty – First of two settings, see also D 44 |
39 | 39 | (1894) | IV, 6 Anh No. 2 |
Lebenstraum | Ich saß an einer Tempelhalle | Early 1810? | Text by Gabriele von Baumberg Incomplete; seems related to D 1A | |
39A | Three Minuets with Trios, D 39A | 1813 | Lost — for orchestra | |||||
40 | Anh. I/1 |
String Quartet, D Anh. I/1 | E-flat major | 1813 | Lost or identical to D 87 | |||
41 | 41 | (1889) | XII No. 30 | VII/2, 6 | Thirty Minuets with Trios, D 41 | Various key signatures | 1813 | Nos. 1–8, 11–18 and 20–23 are extant; Partly reused by Ferdinand Schubert in a Pastoral Mass |
41A | VII/2, 4 Anh. | Fugue, D 41A | E minor | 1813 | Allegro moderato (fragment), for piano | |||
42 | 42 | (1895) (1969) |
XX, 10 No. 570 |
IV, 6 No. 5 Anh. No. 3 | Aria di Timante | Misero pargoletto | 1813? | Text by Metastasio, from Demofoonte III, 5 — Two settings; first setting two variant fragments |
43 | 43 | (1897) | XXI, 4 No. 43 |
III, 4 No. 2 | Sprüche des Confucius | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Friedrich Schiller — First of three settings, see D 69 and 70 |
44 | 44 | (1894) | XX, 1 No. 7 |
IV, 6 No. 6 |
Totengräberlied | Grabe, Spaden, grabe! | 19/1/1813 | Text by Ludwig Heinrich Christoph Hölty – Second of two settings, see also D 38 |
45 | 45 | (1888) | XIV No. 21 | I, 5 | Kyrie, D 45 | B-flat major | 1/3/1813 | Andante con espressione — Reused by Ferdinand Schubert in a Pastoral Mass |
46 | 46 | (1890) | V No. 4 | VI, 3 No. 6 | String Quartet No. 4 | C major | 3-7/3/1813 | Adagio; Andante con moto; Menuetto: Allegro – Trio; Finale: Allegro |
47 | 47 | (1974) | III, 2b Anh. No. 1 |
Dithyrambe, D 47 | Nimmer, das glaubt mir, erscheinen die Götter | 29/3/1813 | Text by Friedrich Schiller — Fragment (tenor, bass, choir, piano) — Also D 801 | |
48 | 48 | (1871) (1888) |
IX, 3 No. 32 |
VII/1, 1 No. 3 |
Fantasy, D 48 Grand Sonata, D 48 |
C minor | April to 10 June 1813 | Adagio – Allegro agitato – Andante amoroso – Allegro – Adagio (- Fuge: Allegro maestoso) |
49 | 49 | (1888) | XIV No. 15 | I, 5 | Kyrie, D 49 | D minor | 15/4/1813 | Allegro — First part of a Mass |
50 | 50 | (1894) | XX, 1 No. 8 |
IV, 6 No. 7 |
Die Schatten | Freunde, deren Grüfte sich schon bemoosten! | 12/4/1813 | Text by Friedrich von Matthisson |
51 | 51 | (1897) | XXI, 4 No. 37 |
III, 4 No. 3 | Unendliche Freude | Unendliche Freude durchwallet das Herz | 15/4/1813 | Text by Friedrich Schiller, from "Elysium": stanza 3 — also D 584, 53, 54, 57, 58, 60 |
52 | 52 | (1868) | XX, 1 No. 9 |
IV, 2b No. 8 | Sehnsucht | Ach, aus dieses Tales Gründen | 15– 17/4/1813 |
Text by Friedrich Schiller First setting, see also D 636 |
53 | 53 | (1892) | XIX No. 9 |
III, 4 No. 4 | Vorüber die stöhnende Klage | Vorüber die stöhnende Klage! | 18/4/1813 | Text by Friedrich Schiller, from "Elysium": stanza 1 — also D 584, 51, 54, 57, 58, 60 |
54 | 54 | (1873) | XIX No. 22 |
III, 4 No. 5 | Unendliche Freude | Unendliche Freude durchwallet das Herz | 19/4/1813 | Text by Friedrich Schiller, from "Elysium": stanza 3 — also D 584, 51, 53, 57, 58, 60 |
55 | 55 | (1892) | XIX No. 12 |
III, 4 No. 6 | Selig durch die Liebe | Selig durch die Liebe Götter | 21/4/1813 | Text by Friedrich Schiller, from "Der Triumph der Liebe"/1 — also D 983A, 61, 62, 63, 64 |
56 | 56 | (1892) | XIX No. 29 |
I, 8 | Sanctus, D 56 | B-flat major | 21/4/1813 | Canon for three voices, 2 versions |
57 | 57 | (1897) | XXI, 4 No. 38 |
III, 4 No. 7 | Hier strecket der wallende Pilger | Hier strecket der wallende Pilger | 29/4/1813 | Text by Friedrich Schiller, from "Elysium": stanza 4 — also D 584, 51, 53, 54, 58, 60 |
58 | 58 | (1892) | XIX No. 10 |
III, 4 No. 8 | Dessen Fahne Donnerstürme wallte | Dessen Fahne Donnerstürme wallte | May 1813 | Text by Friedrich Schiller, from "Elysium": stanza 5 — also D 584, 51, 53, 54, 57, 60 |
59 | 59 | (1832) | XX, 1 No. 10 |
IV, 6 No. 8 |
Verklärung | Lebensfunke, vom Himmel entglüht | 4/5/1813 | Text by Johann Gottfried Herder, after Alexander Pope "The dying Christian to his soul" |
60 | 60 | (1892) | XIX No. 11 |
III, 4 No. 16 | Hier umarmen sich getreue Gatten | Hier umarmen sich getreue Gatten | 3/10/1813 | Text by Friedrich Schiller, from "Elysium": stanza 6 — also D 584, 51, 53, 54, 57, 58 |
61 | 61 | (1897) | XXI, 4 No. 39 |
III, 4 No. 9 | Ein jugendlicher Maienschwung | Ein jugendlicher Maienschwung | 8/5/1813 | Text by Friedrich Schiller, from "Der Triumph der Liebe"/9 — also D 983A, 55, 62, 63, 64 |
62 | 62 | (1897) | XXI, 4 No. 40 |
III, 4 No. 10 | Thronend auf erhabnem Sitz | Thronend auf erhabnem Sitz | 9/5/1813 | Text by Friedrich Schiller, from "Der Triumph der Liebe"/15 — also D 983A, 55, 61, 63, 64 |
63 | 63 | (1892) | XIX No. 13 |
III, 4 No. 11 | Wer die steile Sternenbahn | Wer die steile Sternenbahn | 10/5/1813 | Text by Friedrich Schiller, from "Der Triumph der Liebe"/26 — also D 983A, 55, 61, 62, 64 |
64 | 64 | (1897) | XXI, 4 No. 41 |
III, 4 No. 12 | Majestät'sche Sonnenroße | Majestät'sche Sonnenroße | 10/5/1813 | Text by Friedrich Schiller, from "Der Triumph der Liebe"/16 — also D 983A, 55, 61, 62, 63 |
65 | 65 | (1892) | XIX Anh. I, No. 35 |
III, 4 Anh. II No. 1 |
Schmerz verzerret ihr Gesicht | Schmerz verzerret ihr Gesicht | 11/5/1813 | Text by Friedrich Schiller, from "Gruppe aus dem Tartarus", stanza 2 (sketch) — also D 396, 583 |
66 | 66 | (1888) | XIV No. 16 | I, 5 | Kyrie, D 66 | F major | 12/5/1813 | Larghetto |
67 | 67 | (1897) | XXI, 4 No. 42 |
III, 4 No. 13 | Frisch atmet des Morgens lebendiger Hauch | Frisch atmet des Morgens lebendiger Hauch | 15/5/1813 | Text by Friedrich Schiller, from "Der Flüchtling" – also D 402 |
68 | 68 | (1890) | V No. 5 | VI, 3 No. 7 | String Quartet No. 5 | B-flat major | 18/8/1813 | Allegro maestoso; Allegro – Middle movements missing |
69 | 69 | (1892) | XIX No. 23 |
III, 4 No. 14 |
Sprüche des Confucius | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Friedrich Schiller — second of three settings (canon), see D 43 and 70 |
70 | 70 | (1974) | III, 4 Anh. I No. 1 |
Sprüche des Confucius | Dreifach ist der Schritt der Zeit | 8/7/1813 | Text by Friedrich Schiller — Third of three settings (fragment), see D 43 and 69 | |
71 | 71 | (1892) | XIX No. 14 |
III, 4 No. 15 |
Die zwei Tugendwege | Zwei sind der Wege | 15/7/1813 | Text by Friedrich Schiller — Trio for two tenors and bass |
71A | (1956) | I, 8 | Alleluja, D 71A | F major | July 1813? | Canon for three voices | ||
71B | VII/2, 4 Anh. | Fugue, D 71B | E minor | July 1813 | Maestoso (fragment), for piano | |||
966A | 71C | V, 6 No. 5 | Orchestral piece, D 71C | D major | August or Sept. 1813 |
Allegro ma non troppo (fragment) | ||
72 | 72 | (1889) (1890) |
III No. 2 XXII v1 |
VI, 1 No. 1 & Anh. |
Wind Octet | F major | 18/8/1813 | Menuetto: Allegretto – Trio I/II; Allegro; Allegro (fragment) |
73 | 73 | (1868) | XX, 1 No. 11 |
IV, 4 | Thekla: Eine Geisterstimme | Wo ich sei, und wo mich hingewendet | 22– 23/8/1813 |
Text by Friedrich Schiller First setting, see also D 595 |
74 | 74 | (1890) | V No. 6 | VI, 4 No. 8 | String Quartet No. 6 | D major | August–Sept. 1813 | Allegro ma non troppo; Andante; Menuetto: Allegro – Trio; Allegro |
74A | V, 6 No. 4 | Orchestral piece, D 74A | D major | 1813? | Fragment | |||
75 | 75 | (1850) | XVI No. 16 |
III, 3 | Trinklied | Freunde, sammelt euch im Kreise | 29/08/1813 | Text by Fr. Schäffer For bass, men’s choir and piano |
76 | 76 | (1871) (1969) |
XX, 10 No. 571 |
IV, 6 No. 9 Anh. No. 4 | Aria di Fronimo | Pensa, che questo istante | 13 and 7 Sept. 1813 |
Text by Metastasio, from Alcide al bivio, 1st scene — Two versions (2nd in AGA) |
77 111 |
77 | (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 Friedrich Schiller – 2 versions (second was D 111) |
78 | 78 | (1895) | XX, 10 No. 572 |
IV, 6 No. 11 | Aria di Venere | Son fra l'onde | 18/9/1813 | Text by Metastasio, from Gli orti esperdi, I |
79 | 79 | (1889) | III No. 3 | VI, 1 No. 2 | Wind Nonet, a.k.a. Eine kleine Trauermusik | E-flat minor | 19/9/1813 | Grave con espressione – Franz Schuberts Begräbniß-Feyer |
80 | 80 | (1892) | XIX No. 4 |
III, 3 | Zur Namensfeier meines Vaters | Ertöne Leier zur Festesfeier! | 27/9/1813 | Text by Franz Schubert |
81 | 81 | (1895) | XX, 10 No. 583 |
IV, 14 | Auf den Sieg der Deutschen | Verschwunden sind die Schmerzen | Fall 1813 | Text by unknown artist (possibly Franz Schubert) – See also D 88 (Stanza 1) |
82 | 82 | (1884) | I, 1 No. 1 |
V, 1 No. 1 | Symphony No. 1 | D major | 28/10/1813 | Adagio – Allegro vivace; Andante; Menuetto: Allegretto – Trio; Allegro vivace |
83 | 83 | (1895) | XX, 10 No. 582 |
IV, 14 | Zur Namensfeier des Herrn Andreas Siller | Des Phöbus Strahlen | 4/11/1813 | Text by unknown artist |
84 | 84 | (1888) | XV, 1 No. 1 |
II, 1 | Des Teufels Lustschloß | (Singspiel in three acts) | 30/10/1813– 22/10/1814 |
Text by August von Kotzebue – 2 versions (AGA mixture of 1st and 2nd version) |
86 | 86 | (1886) | II No. 10 |
VI, 9 VI, 4 Anh. No. 1 |
Minuet for string quartet, D 86 | D major | November 1813? | Contemporary to D 89? |
87 | 87 | 125,1p (1840) |
V No. 10 |
VI, 4 No. 9 | String Quartet No. 10 | E-flat major | November 1813 | Allegro più moderato; Scherzo: Prestissimo – Trio; Adagio; Allegro |
87A | VI, 4 Anh. No. 2 |
Andante in C major, D 87A |
C major | November 1813 | Fragment – four voices (string quartet or vocal ensemble?) | |||
88 | 88 | (1892) | XIX No. 21 |
III, 4 No. 17 | Verschwunden sind die Schmerzen | Verschwunden sind die Schmerzen | 15/11/1813 | Text by unknown artist (possibly Franz Schubert) – First stanza of text of D 81 |
89 90 |
89 | (1886) | II No. 8 and No. 9 |
VI, 9 | Five Minuets and Five German Dances, D 89 | Various key signatures | 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 key signatures | 22/11/1813 | For piano – Each with two Trios | |
93 | 93 | (1894) | XX, 1 Nos. 13–15 |
IV, 7 Anh. No. 1 |
Don Gayseros | 1. Don Gayseros,... wunderlicher, schöner Ritter – 2. Nächtens klang die süße Laute – 3. An dem jungen Morgenhimmel |
1815? | Song cycle Text by Friedrich de la Motte Fouqué, from Der Zauberring Nos. 2 and 3 fragments |
94 | 94 | (1871) | V No. 7 | VI, 3 No. 2 | String Quartet No. 7 | D major | 1811 or 1812 |
Allegro; Andante con moto; Menuetto: Allegretto – Trio; Presto |
94A | V, 6 No. 6 | Orchestral piece, D 94A | B-flat major | c. 1814 | Fragment | |||
94B | Five Minuets and Six German Dances, D 94B | 1814 | Lost – for string quartet and two horns | |||||
95 | 95 | (1848) | XX, 1 No. 25 |
IV, 7 No. 1 |
Adelaide | Einsam wandelt dein Freund | 1814 | Text by Friedrich von Matthisson |
97 | 97 | (1894) | XX, 1 No. 19 |
IV, 7 No. 2 |
Trost: An Elisa | Lehnst du deine bleichgehärmte Wange | 1814 | Text by Friedrich von Matthisson |
98 | 98 | (1894) (1968) |
XX, 1 No. 24 |
IV, 7 No. 3 Anh. No. 2 |
Erinnerungen | Am Seegestad, in lauen Vollmondsnächten | Fall 1814 | Text by Friedrich von Matthisson – First setting (2 versions: AGA only 2nd version, 1st version is fragment); second setting: D 424 |
99 | 99 | (1894) | XX, 1 No. 16 |
IV, 7 No. 4 | Andenken | Ich denke dein wenn durch den Hain | April 1814 | Text by Friedrich von Matthisson – First setting; second 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 Friedrich von Matthisson |
101 | 101 | (1894) | XX, 1 No. 18 |
IV, 7 No. 6 | Erinnerung (Todtenopfer) | Kein Rosenschimmer leuchtet | April 1814 | Text by Friedrich von Matthisson |
102 | 102 | (1840) | XX, 1 No. 20 |
IV, 7 No. 7 | Die Betende | Laura betet! | Fall 1814 | Text by Friedrich von Matthisson – First measures reused in D 918 |
103 | 103 | (1939) | VI, 4 Anh. No. 3 |
Quartettsatz, D 103 | C minor | 23/4/1814 | Fragment – first edition completed by Alfred Orel | |
104 | 104 | (1895) | XX, 10 No. 584 |
IV, 7 No. 8 & Anh. No. 3 |
Die Befreier Europas in Paris | Sie sind in Paris! | 16/5/1814 | Text by Johann Christian Mikan – Two drafts and a final version |
105 185 |
105 | (1856) | XIII, 1 No. 1 |
I, 1a | Mass No. 1 | F major | 17/5/1814– 22/7/1814 |
Second setting of Dona nobis pacem (25-26/4/1815) used to be D 185 |
106 | 106 | (1888) | XIV No. 9 | I, 8 | Salve Regina, D 106 | B-flat major | 28/6/1814– 1/7/1814 |
Tenor and orchestra (organ as figured bass) |
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 Friedrich von Matthisson – Two versions: AGA only first version |
108 | 108 | (1894) | XX, 1 No. 22 |
IV, 7 No. 10 | Der Abend | Purpur malt die Tannenhügel | July 1814 | Text by Friedrich von Matthisson |
109 | 109 | (1894) | XX, 1 No. 23 |
IV, 7 No. 11 | Lied der Liebe | Durch Fichten am Hügel | July 1814 | Text by Friedrich von Matthisson |
110 | 110 | (1891) | XVI No. 43 |
III, 1 | Wer ist groß? | Wer ist wohl groß? | 24– 25/7/1814 |
Text by unknown artist Cantata for bass, men’s choir and orchestra |
111A | VI, 6 Anh. No. 1 |
String Trio, D 111A | B-flat major | 5– 13/9/1814 |
Fragment of an Allegro – Related to D 112 | |||
112 | 112 | 168p (1863) |
V No. 8 | VI, 4 No. 10 |
String Quartet No. 8 | B-flat major | 5– 13/9/1814 |
Allegro ma non troppo; Andante sostenuto; Menuetto: Allegro – Trio; Presto |
113 | 113 | 58,2 (1821) (1826) (1894) |
XX, 1 No. 26 |
IV, 3 | An Emma | Weit in nebelgrauer Ferne | 17/9/1814 | Text by Friedrich Schiller — Three versions, third version is Op. 58 No. 2 |
114 | 114 | (1868) (1901) |
XX, 1 No. 27 |
IV, 7 No. 12 | Romanze | Ein Fräulein klagt' im finstern Turm | September 1814 |
Text by Friedrich von Matthisson – Two versions: AGA only second version |
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– 7/10/1814 |
Text by Friedrich von Matthisson |
116 | 116 | (1840) | XX, 1 No. 29 |
IV, 7 No. 14 | Der Geistertanz | Die bretterne Kammer | 14/10/1814 | Text by Friedrich von Matthisson Third setting (see also D 15, 15A and 494) |
117 | 117 | (1894) | XX, 1 No. 30 |
IV, 8 No. 45 |
Das Mädchen aus der Fremde | In einem Tal bei armen Hirten | 16/10/1814 | Text by Friedrich Schiller First setting, see also D 252 |
118 | 118 | 2 (1821) |
XX, 1 No. 31 |
IV, 1 | Gretchen am Spinnrade | Meine Ruh' ist hin | 19/10/1814 | Text by Johann Wolfgang von Goethe, from Faust I, 15 |
119 | 119 | (1850) | XX, 1 No. 32 |
IV, 7 No. 15 | Nachtgesang | O! gib vom weichen Pfühle | 30/11/1814 | Text by Johann Wolfgang von 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 Johann Wolfgang von Goethe |
121 | 121 | 3,1 (1821) (1894) |
XX, 1 No. 34 |
IV, 1 | Schäfers Klagelied | Da droben auf jenem Berge | 30/11/1814 | Text by Johann Wolfgang von Goethe – Two versions (1st version is Op. 3 No. 1; 2nd version probably composed 1819) |
122 | 122 | (1872) | XX, 1 No. 38 |
IV, 7 No. 17 | Ammenlied | Am hohen, hohen Turm | December 1814 | Text by Michael Lubi |
123 | 123 | (1842) | XX, 1 No. 35 |
IV, 7 No. 18 | Sehnsucht | Was zieht mir das Herz so? | 3/12/1814 | Text by Johann Wolfgang von Goethe |
124 | 124 | (1894) (1968) |
XX, 1 No. 36 |
IV, 7 No. 19 & Anh. No. 7 |
Am See | Sitz' ich im Gras am glatten See | 7/12/1814 | Text by Johann Mayrhofer – Two versions: 1st version fragment (not in AGA); 1885 edition incomplete with added stanza |
125 | 125 | (1884) | I, 1 No. 2 |
V, 1 No. 2 | Symphony No. 2 | B-flat major | 10/12/1814– 24/3/1815 |
Largo – Allegro vivace; Andante; Menuetto: Allegro vivace – Trio; Presto vivace |
126 | 126 | (1832) (1873) |
XX, 1 No. 37 |
IV, 7 No. 20 & Anh. No. 8 |
Scene from Faust | Wie anders, Gretchen, war dir's | 12/12/1814 | Text by Johann Wolfgang von Goethe, from Faust I, 20 – Two versions: AGA only 2nd version; orchestration anticipated? |
128 | 128 | (1897) | XXI, 3 No. 23 |
VII/2, 6 | Twelve Viennese German Dances | Various key signatures | 1812? | For piano – includes introduction |
129 | 129 | (1892) | XIX No. 16 |
III, 4 No. 18 | Mailied | Grüner wird die Au | 1815? | Text by Ludwig Heinrich Christoph Hölty – First of three settings, see also D 199, 503 |
130 | 130 | (1892) | XIX No. 25 |
III, 4 No. 19 | Der Schnee Zerrinnt | Der Schnee Zerrinnt | 1815? | Text by Ludwig Heinrich Christoph Hölty – D 202 sets all stanzas of the same poem |
131 | 131 | (1892) | XIX No. 28 |
III, 4 No. 20 | Lacrimoso son io | Lacrimoso son io | 1815? | Text by unknown artist – two versions, second is "Lacrimosa son io" |
134 | 134 | 126p (1830) |
XX, 2 No. 99 |
IV, 7 No. 21 | Ballade | Ein Fräulein schaut vom hohen Turm | 1815? | Text by Josef Kenner |
135 | 135 | (1930) | VII/2, 6 | German Dance with Trio, D 135 | E major | 1815 | For piano – Variant version (other Trio) of Waltz D 146 No. 3 | |
136 | 136 | 46 (1825) |
XIV No. 1 | I, 8 | Offertory in C major, D 136 | Totus in corde langueo | 1815? | soprano (or tenor), clarinet (or violin) concertante, orchestra and organ |
137 | 137 | (1893) | XV, 7 No.14 |
II, 12 | Adrast | (Singspiel) | c. 1818 | Text by Johann Mayrhofer – No. 1–8 complete (AGA: No. 1–7), five fragments |
138 | 138 | 5,1 (1821) (1970) |
XX, 3 No. 177 |
IV, 1 | Rastlose Liebe | Dem Schnee, dem Regen, dem Wind entgegen | 19/5/1815 | Text by Johann Wolfgang von Goethe – Two versions: 1st version, in AGA, is Op. 5 No. 1 |
139 | 139 | (1930) | VII/2, 6 | German Dance with Trio, D 139 | C-sharp major | 1815 | For piano – The Trio is in A major | |
140 | 140 | (1850) | XVIII No. 6 |
III, 3 | Klage um Ali Bey | Laßt mich! laßt mich! ich will klagen | 1815 | Text by Matthias Claudius – D 496A is setting for solo voice |
141 | 141 | 131,1p (1830) |
XX, 2 No. 43 |
IV, 7 No. 23 | Der Mondabend | Rein und freundlich lacht der Himmel | 1815 | Text by Johann Gottfried Kumpf |
142 | 142 | 92,3 (1828) |
XX, 3 No. 174 |
IV, 5 | Geistes-Gruß | Hoch auf dem alten Turme steht | 1815 or 1816 |
Text by Johann Wolfgang von Goethe – Six versions (four in AGA), sixth is Op. 92 No. 3 |
143 | 143 | 109,2 (1829) |
XX, 3 No. 181 |
IV, 7 No. 24 | Genügsamkeit | Dort raget ein Berg aus den Wolken her | 1815 | Text by Franz von Schober – First measure (piano intro) in first edition not by Schubert |
144 | 144 | (1895) | XXII, 11 No. 209 |
IV, 7 Anh. No. 9 |
Romanze | In der Väter Hallen ruhte | April 1816 |
Text by Friedrich Leopold zu Stolberg-Stolberg – Fragment |
145 | 145 | 18 (1823) |
XII No. 2 | VII/2, 7 | Twelve Waltzes, Seventeen Ländler and Nine Écossaises, D 145 | Various key signatures | 1815– July 1821 |
For piano – See also D 970 No. 2, 421 No. 1 and 697 No. 5 |
146 | 146 | 127p (1830) |
XII No. 8 | VII/2, 7 | Twenty Waltzes, D 146 | Various key signatures | 1815–Feb- ruary 1823 |
For piano – See also D 135 and 145 No. 9; some previously as "German Dance" |
147 | 147 | (1892) | XIX No. 15 |
III, 4 No. 21 | Bardengesang | Rolle, du strömigter Carun | 20/1/1816? | Text by James Macpherson (Ossian), from "Comala" transl. by E. Baron de Harold |
148 | 148 | 131,2p (1830) |
XIX No. 8 |
III, 3 | Trinklied | Brüder! unser Erdenwallen | February 1815 |
Text by Ignaz Franz Castelli |
149 | 149 | 117 (1829) (1894) |
XX, 2 No. 45 |
IV, 7 No. 25 | Der Sänger | Dort Was hör' ich draußen vor dem Tor | February 1815 |
Text by Johann Wolfgang von Goethe – Two versions: second (first in AGA) is Op. 117 |
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 James Macpherson (Ossian), from Carric-Thura transl. by E. Baron de Harold |
151 | 151 | (c. 1850) |
XX, 2 No. 39 |
IV, 7 No. 27 | Auf einen Kirchhof | Sei gegrüßt, geweihte Stille | 2/2/1815 | Text by Franz Xaver von Schlechta |
152 | 152 | (1894) | XX, 2 No. 40 |
IV, 7 No. 28 | Minona oder die Kunde der Dogge | Wie treiben die Wolken so finster und schwer | 8/2/1815 | Text by Friedrich Anton Franz Bertrand |
153 | 153 | (1845) | XX, 2 No. 41 |
IV, 7 No. 29 | Als ich sie erröten sah | All mein Wirken, all mein Leben | 10/2/1815 | Text by Bernhard Ambros Ehrlich |
154 | 154 | (1897) | XXI, 2 No. 8 |
VII/2, 1 Anh. No. 1 |
Piano Sonata in E major, D 154 | E major | 11/2/1815 | Allegro (fragment) – Second theme re-used in first movement of D 157 |
155 | 155 | 165,3p (1862) |
XX, 2 No. 42 |
IV, 7 No. 29 | Das Bild | Ein Mädchen ist's | 10/2/1815 | Text by unknown artist |
156 | 156 | (1887) | XI No. 6 | VII/2, 4 | Ten Variations, D 156 | F major | 15/2/1815 | For piano – 2 versions of "Theme"/"Var. II" |
157 | 157 | (1888) | X No. 1 | VII/2, 1 No. 1 |
Piano Sonata in E major, D 157 | E major | 18/2/1815 | Allegro ma non troppo; Andante; Menuetto: Allegro Vivace – Trio – See also D 154 |
158 | 158 | (1889) | XII No. 29 |
VII/2, 6 | Écossaise, D 158 | D minor – F major | 21/2/1815 | For piano |
159 | 159 | 116p (1829) (1968) |
XX, 2 No. 46 |
IV, 7 No. 31 | Die Erwartung | Hör' ich das Pförtchen nicht gehen? | May 1816 | Text by Friedrich Schiller — Two versions: AGA only second (Op. 116) |
160 | 160 | (1894) | XX, 2 No. 47 |
IV, 13 | Am Flusse | Verfließet, vielgeliebte Lieder | 27/2/1815 | Text by Johann Wolfgang von Goethe – First of two settings, see also D 766 |
161 | 161 | 19,2 (1825) (1894) |
XX, 2 No. 48 |
IV, 1 | An Mignon | Über Tal und Fluß getragen | 27/2/1815 | Text by Johann Wolfgang von Goethe – Two versions (second is Op. 19 No. 2) |
162 | 162 | 5,2 (1821) (1894) |
XX, 2 No. 49 |
IV, 1 | Nähe des Geliebten | Ich denke dein, wenn mir der Sonne Schimmer | 27/2/1815 | Text by Johann Wolfgang von Goethe – Two versions: second is Op. 5 No. 2 |
163 | 163 | (1894) | XX, 2 No. 50 |
IV, 8 No. 1 |
Sängers Morgenlied | Süßes Licht! Aus goldnen Pforten | 27/2/1815 | Text by Theodor Körner First setting, see also D 165 |
164 | 164 | IV, 8 Anh. No. 1 |
Liebesrausch | Glanz des Guten und des Schönen strahlt mir dein hohes Bild | March 1815 | Text by Theodor Körner, fragment – First setting, see also D 179 | ||
165 | 165 | (1872) | XX, 2 No. 51 |
IV, 8 No. 2 |
Sängers Morgenlied | Süßes Licht! Aus goldnen Pforten | 1/3/1815 | Text by Theodor Körner Second setting, see also D 163 |
166 | 166 | (1894) | XX, 2 No. 52 |
IV, 8 No. 3 |
Amphiaraos | Vor Thebens siebenfach gähnenden Toren | 27/2/1815 | Text by Theodor Körner |
167 | 167 | (1846) | XIII, 1 No. 2 |
I, 1 | Mass No. 2 | G major | 2– 7/3/1815 |
Tr and Ti added by Ferdinand Schubert – Robert Führer as composer in 1st pub |
168 | 168 | (1872) | XVII, 1 No. 16 |
III, 2a No. 2 |
Begräbnislied: Nun laßt uns den Leib begraben | Begrabt den Leib in seiner Gruft | 9/3/1815 | Text by Friedrich Gottlieb Klopstock – For mixed choir and piano |
987 | 168A | (1872) | XVII, 1 No. 17 |
III, 2a No. 3 |
Osterlied: Jesus Christus unser Heiland, der den Tod überwand | Überwunden hat der Herr den Tod! | 9/3/1815 | Text by Friedrich Gottlieb Klopstock – For mixed choir and piano |
169 | 169 | (1894) | XX, 2 No. 53 |
III, 3 | Trinklied vor der Schlacht | Schlacht, du brichst an! | 12/3/1815 | Text by Theodor Körner – For double unison choir and piano |
170 | 170 | (1873) | XX, 2 No. 54 |
III, 3 | Schwertlied | Du Schwert an meiner Linken | 12/3/1815 | Text by Theodor 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 Theodor Körner – Two versions |
172 | 172 | IV, 8 Anh. No. 3 |
Der Morgenstern | Stern der Liebe, Glanzgebilde | 12/3/1815 | Text by Theodor Körner, fragment – First setting, see also D 203 | ||
173 | 173 | (1871) | V No. 9 | VI, 4 No. 11 |
String Quartet No. 9 | G minor | 25/3– 1/4/1815 |
Allegro con brio; Andantino; Menuetto: Allegro vivace – Trio; Allegro |
174 | 174 | (1845) | XX, 2 No. 56 |
IV, 8 No. 5 |
Das war ich | Jüngst träumte mir | 26/3/1815 | Text by Theodor Körner – Second setting (D deest) is fragment (June 1816) |
175 | 175 | (1888) | XIV No. 12 |
I, 8 | Stabat Mater, D 175 | G minor | 4– 6/4/1815 |
Sequence for mixed choir, orchestra and organ |
176 | 176 | (1872) | XX, 2 No. 57 |
IV, 8 No. 6 |
Die Sterne, D 176 | Was funkelt ihr so mild mich an | 6/4/1815 | Text by Johann Georg Fellinger |
177 | 177 | 173,3p (1867) |
XX, 2 No. 58 |
IV, 8 No. 7 |
Vergebliche Liebe | Ja, ich weiß es, diese treue Liebe | 6/4/1815 | Text by Joseph Karl Bernard |
178 | 178 | (1897) | XXI, 3 No. 22 |
VII/2, 4 | Adagio in G major, D 178 | G major | 8/4/1815 | For piano – Two versions (second is a fragment) |
179 | 179 | (1872) | XX, 2 No. 59 |
IV, 8 No. 8 |
Liebesrausch | Dir, Mädchen, schlägt mit leisem Beben | 8/4/1815 | Text by Theodor Körner – Second setting, see also D 164 |
180 | 180 | (1894) | XX, 2 No. 60 |
IV, 8 No. 9 |
Sehnsucht der Liebe | Wie die Nacht mit heil'gem Beben | 8/4/1815 | Text by Theodor Körner |
181 | 181 | (1888) | XIV No. 4 | I, 8 | Offertory in A minor, D 181 | Tres sunt, qui testimonium dant in coelo | 10– 11/4/1815 |
For mixed choir, orchestra and organ |
182 | 182 | (1842) | XX, 2 No. 61 |
IV, 8 No. 10 |
Die erste Liebe | Die erste Liebe füllt das Herz | 12/4/1815 | Text by Johann Georg Fellinger |
183 | 183 | (1887) | XX, 2 No. 62 |
III, 3 | Trinklied | Ihr Freunde und du, gold'ner Wein | 12/4/1815 | Text by Alois Zettler – For voice, unison choir and piano |
184 | 184 | 150p (1843) |
XIV No. 5 | I, 8 | Gradual in C major, D 184 | Benedictus es, Domine | 15– 17/4/1815 |
For mixed choir, orchestra and organ |
186 | 186 | (1894) | XX, 2 No. 65 |
IV, 8 No. 11 |
Die Sterbende | Heil! dies ist die letze Zähre | May 1815 | Text by Friedrich von Matthisson |
187 | 187 | (1894) | XX, 2 No. 63 |
IV, 10 | Stimme der Liebe | Abendgewölke schweben hell | May 1815 | Text by Friedrich von Matthisson – First setting, see also D 418 |
188 | 188 | (1887) | XX, 2 No. 64 |
IV, 8 No. 12 |
Naturgenuß | Im Abendschimmer wallt der Quell | May 1815 | Text by Friedrich von Matthisson – First setting, see also D 422 |
189 | 189 | 111,1p (1829) |
XX, 2 No. 66 |
III, 3 | An die Freude | Freude, schöner Götterfunken | May 1815 | Text by Friedrich Schiller – For voice, unison choir and piano |
190 | 190 | (1888) | XV, 2 No. 2 |
II, 2 IV, 14 |
Der vierjährige Posten | (Singspiel in one act) | 8– 19/5/1815 |
Text by Theodor Körner – NSE IV, 14: only aria No. 5 for voice and piano. |
191 | 191 | 58,3 (1826) (1894) |
XX, 2 No. 67 |
IV, 3 | Des Mädchens Klage | Der Eichwald brauset | 15/5/1815 | Text by Friedrich Schiller, from Wallenstein: Die Piccolomini III, 7 – Second setting (Op. 58 No. 3 is second of two versions), see also D 6 and 389 |
192 | 192 | (1887) | XX, 2 No. 68 |
IV, 4 | Der Jüngling am Bache | An der Quelle saß der Knabe | 15/5/1815 | Text by Friedrich Schiller – Second setting, see also D 30 and 638 |
193 | 193 | 57,3 (1826) |
XX, 2 No. 69 |
IV, 3 | An den Mond, D 193 | Geuß, lieber Mond, geuß deine Silberflimmer | 17/5/1815 | Text by Ludwig Heinrich Christoph 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 Ludwig Heinrich Christoph Hölty |
195 | 195 | 173,1p (1867) |
XX, 2 No. 71 |
IV, 8 No. 14 |
Amalia | Schön wie Engel voll Walhallas Wonne | 19/5/1815 | Text by Friedrich Schiller, from Die Räuber III, 1 |
196 | 196 | 172,3p (1865) |
XX, 2 No. 72 |
IV, 8 No. 15 |
An die Nachtigall | Geuß nicht so laut der liebentflammten Lieder | 22/5/1815 | Text by Ludwig Heinrich Christoph 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 Ludwig Heinrich Christoph Hölty |
198 | 198 | (1894) | XX, 2 No. 74 |
IV, 8 No. 17 |
Seufzer | Die Nachtigall singt überall | 22/5/1815 | Text by Ludwig Heinrich Christoph Hölty |
199 | 199 | (1885) | XIX No. 30 |
III, 4 No. 22 |
Mailied | Grüner wird die Au | 24/5/1815 | Text by Ludwig Heinrich Christoph Hölty – Second setting, see D 129, 503 |
200 | 200 | (1884) | I, 1 No. 3 |
V, 1 No. 3 |
Symphony No. 3 | D major | 24/5/1815– 19/6/1815 |
Adagio maestoso – Allegro con brio; Allegretto; Menuetto: Vivace – Trio; Presto vivace |
201 | 201 | (1970) | IV, 10 | Auf den Tod einer Nachtigall | Sie ist dahin, die Maienlieder tönte | 25/5/1815 | Text by Ludwig Heinrich Christoph Hölty – First setting (fragment), see also D 399 | |
202 | 202 | (1885) | XIX No. 31 |
III, 4 No. 23 |
Mailied | Der Schnee Zerrinnt | 26/5/1815 | Text by Ludwig Heinrich Christoph Hölty – For two voices or two horns, see also D 130 |
203 | 203 | (1892) | XIX No. 32 |
III, 4 No. 24 |
Der Morgenstern | Stern der Liebe, Glanzgebilde | 26/5/1815 | Text by Theodor Körner – For two voices or two horns, see also D 172 |
204 | 204 | (1892) | XIX No. 33 |
III, 4 No. 25 |
Jägerlied | Frisch auf, ihr Jäger | 26/5/1815 | Text by Theodor Körner – For two voices or two horns |
204A | Das Traumbild | May 1815 | Lost – Text by Ludwig Heinrich Christoph Hölty | |||||
205 | 205 | (1892) | XIX No. 34 |
III, 4 No. 26 |
Lützows wilde Jagd | Was glänzt dort vom Walde im Sonnenschein? | 26/5/1815 | Text by Theodor 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 Theodor Körner |
207 | 207 | (1894) | XX, 2 No. 76 |
IV, 8 No. 19 |
Der Liebende | Beglückt, beglückt | 29/5/1815 | Text by Ludwig Heinrich Christoph 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 Ludwig Heinrich Christoph Hölty – Two versions (first is fragment, incomplete in AGA XXII; second was D 212) |
174 | (1894) | XXII, 11 No. 56 |
IV, 8 Anh. No. 2 |
Das war ich | June 1816 | Second setting (fragment), see D 174 | ||
111 | 77 |
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See D 77 |
185 | 105 |
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See D 105 |
212 | 208 |
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See D 208 |
177A | VIII, 3 | Am ersten Mai | Ich ging mit ihr im Freien | before 1821 |
Text by Joseph Karl Bernard – only text extant, probably spurious | |||
2 | Anh. I/4 |
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Fragment of a string quartet movement in G major by Albert Stadler |
132 | Anh. I/18 |
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One voice of a part song, no autograph extant |
133 | Anh. I/19 |
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One voice of a part song, no autograph extant |
96 | Anh. II/2 |
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Arrangement of Wenzel Thomas Matiegkas Op. 21 |
85 | Anh. III/6 |
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Offertory "Clamavi ad te" in C major by Josef Preindl |
92 | Anh. III/11 |
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Canon "Laß immer in der Jugend Glanz", K. 410/Anh. 134/440d/484d (Mozart) |
127 | Anh. III/12 |
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Canon "Selig, selig alle, die im Herrn entschliefen!", K. 230/382b (Mozart) |
D 201 to D 998
The list below includes the following information:
- D – the catalogue number assigned by Otto Erich Deutsch or NSA authorities
- Genre – the musical genre to which the piece belongs. This has been omitted when the genre is self-explanatory or unnecessary, i.e. piano dances
- Title – the title of the work
- Incipit – the first line(s) of text, as pertaining to vocal works
- Scoring – the instrumentation and/or vocal forces required for the work
- Informal Title – any additional names by which the work is known, when applicable
- Former Deutsch Number – information on Deutsch numbers that have been re-assigned, when applicable
- Date – the known or assumed date of composition, when available; or date of publication
- Opus Number – the opus number of the original publication of the work, when applicable
- Setting – the order of setting as it pertains to vocal works that have numerous settings of the same text
- Version – the number of version as it pertains to works or vocal settings that have more than one existing version
- Notes – any additional information concerning the work: alternate titles, completeness, relation to other works, authorship, etc.
D 201 to D 250
- D 201, Song "Auf den Tod einer Nachtigall" ['Sie ist dahin, die Maienlieder tönte'] for voice and piano (1815, 1st setting; sketch)
- D 202, Duet "Mailied" ['Der Schnee zerrinnt, der Mai beginnt'] for two voices or two horns (1815; 2nd setting of D 130, with a different title)
- D 203, Duet "Der Morgenstern" ['Stern der Liebe, Glanzgebilde!'] for two voices or two horns (1815, 2nd setting)
- D 204, Duet "Jägerlied" ['Frisch auf, ihr Jäger'] for two voices or two horns (1815)
- D 204A, Song "Das Traumbild" ['?'] for voice and piano (1815, lost)
- D 205, Duet "Lützows wilde Jagd" ['Was glänzt dort vom Walde im Sonnenschein?'] for two voices or two horns (1815)
- D 206, Song "Liebeständelei" ['Süßes Liebchen, komm zu mir!'] for voice and piano (1815)
- D 207, Song "Der Liebende" ['Beglückt, beglückt, wer dich erblickt'] for voice and piano (1815)
- D 208, Song "Die Nonne" ['Es liebt’ in Welschland irgendwo'] for voice and piano (1815, 2 versions; 1st version is a fragment; 2nd version was formerly D 212)
- D 209, Song "Der Liedler" ['Gib, Schwester, mir die Harf herab'] for voice and piano (1815, first published as Op. 38)
- D 210, Song "Die Liebe ['Freudvoll und leidvoll, gedankenvoll sein'] for voice and piano, Klärchens Lied (1815)
- D 211, Song "Adelwold und Emma" ['Hoch, und ehern schier von Dauer'] for voice and piano (1815)
- D 212, see D 208
- D 213, Song "Der Traum" ['Mir träumt’ ich war ein Vögelein'] for voice and piano (1815, first published as Op. posth. 172 No. 1)
- D 214, Song "Die Laube" ['Nimmer werd’ ich, nimmer dein vergessen'] for voice and piano (1815, first published as Op. posth. 172 No. 2)
- D 215, Song "Jägers Abendlied" ['Im Felde schleich’ ich still und wild'] for voice and piano (1815, 1st setting)
- D 215A, Song "Meeres Stille" ['Tiefe Stille herrscht im Wasser'] for voice and piano (1815, 1st setting)
- D 216, Song "Meeres Stille" ['Tiefe Stille herrscht im Wasser'] for voice and piano (1815, 2nd setting; first published as Op. 3 No. 2)
- D 217, Song "Kolmas Klage" ['Rund um mich Nacht'] for voice and piano (1815)
- D 218, Song "Grablied" ['Er fiel den Tod fürs Vaterland'] for voice and piano (1815)
- D 219, Song "Das Finden" ['Ich hab’ ein Mädchen funden'] for voice and piano (1815)
- D 220, Singspiel "Fernando" for two sopranos, tenor, two basses, one spoken role and orchestra (1815, in one act: seven numbers)
- 1. Introduktion: Mutter! Mutter! Wo bist du?
- 2. Arie: Läßt mich mein Verbrechen nicht schlafen?
- 3. Romanze: Als einst schon hinter blauer Berge Rücken
- 4. Duett: Wärst du mir auf immer nicht entrißen
- 5. Arie: Nicht der Erde Schätze lohnen
- 6. Duett: Vergessen sei, was uns getrennt
- 7. Finale: Auf dich träufle Thauesregen
- D 221, Song "Der Abend" ['Der Abend blüht, Temora glüht'] for voice and piano (1815, first published as Op. posth. 118 No. 2)
- D 222, Song "Lieb Minna" ['Schwüler Hauch weht mir herüber'] for voice and piano (1815, also appears as "Lieb Minna. Romanze")
- D 223, Offertory "Salve Regina" ['Salve Regina'] in F major for soprano, orchestra and organ, Zweites Offertorium (1815 and 1823, 2 versions; 2nd version first published as Op. 47)
- D 224, Song "Wandrers Nachtlied" ['Der du von dem Himmel bist'] for voice and piano (1815, first published as Op. 4 No. 3)
- D 225, Song "Der Fischer" ['Das Wasser rauscht’, das Wasser schwoll'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 5 No. 3; NSA also appends a modified 2nd version with changes by Johann Michael Vogl)
- D 226, Song "Erster Verlust" ['Ach, wer bringt die schönen Tage'] for voice and piano (1815, first published as Op. 5 No. 4)
- D 227, Song "Idens Nachtgesang" ['Vernimm es, Nacht'] for voice and piano (1815)
- D 228, Song "Von Ida" ['Der Morgen blüht, der Osten glüht'] for voice and piano (1815)
- D 229, Song "Die Erscheinung" ['Ich lag auf grünen Matten'] for voice and piano (1815, first published as Op. 108 No. 3)
- D 230, Song "Die Täuschung" ['Im Erlenbusch, im Tannerhain'] for voice and piano (1815, first published as Op. posth. 165 No. 4)
- D 231, Song "Das Sehnen" ['Wehmut, die mich hüllt'] for voice and piano (1815, first published as Op. posth. 172 No. 4)
- D 232, Quartet "Hymne an den Unendlichen" ['Zwischen Himmel und Erd’ '] for soprano, alto, tenor, bass and piano (1815, first published as Op. posth. 112 No. 3)
- D 233, Song "Geist der Liebe" ['Wer bist du, Geist der Liebe'] for voice and piano (1815, first published as Op. posth. 118 No. 1)
- D 234, Song "Tischlied" ['Mich ergreift, ich weiß nicht wie, himmlisches Behagen'] for voice and piano (1815, first published as Op. posth. 118 No. 3)
- D 235, Song "Abends unter der Linde" ['Woher, o namenloses Sehnen'] for voice and piano (1815, 1st setting)
- D 236, Trio "Das Abendrot" ['Der Abend blüht, der Westen glüht!'] for two sopranos, bass and piano (1815)
- D 237, Song "Abends unter der Linde" ['Woher, o namenloses Sehnen'] for voice and piano (1815, 2nd setting; 2 versions)
- D 238, Song "Die Mondnacht" ['Siehe, wie die Mondesstrahlen'] for voice and piano (1815)
- D 239, Singspiel "Claudine von Villa Bella" for two sopranos, two tenors, two basses, mixed choir and orchestra (1815, in three acts; incomplete – Act I: Overture and eight numbers, is extant, as well as one number from Act II and one number from Act III; remaining numbers were written, but are now lost)
- Akt I
- Ouvertüre
- 1. Introduktion: Das hast du wohl bereitet
- 2. Ensemble: Fröhlicher, seliger, herrlicher Tag
- 3. Ariette: Hin und wieder fliegen die Pfeile
- 4. Arie: Alle Freuden, alle Gaben, die mir heut’ gehuldigt haben
- 5. Arie: Es erhebt sich eine Stimme
- 6. Ariette: Liebe schwärmt auf allen Wegen
- 7. Räuberlied: Mit Mädchen sich vertragen
- 8. Finale I: Deinem Willen nachzugeben
- Akt II
- 9. Ariette: Liebliches Kind, kannst du mir sagen
- Akt III
- 10. Duett: Mich unfangt ein banger Schauer
- Akt I
- D 240, Song "Huldigung" ['Ganz verloren, ganz versunken in dein Anschaun'] for voice and piano (1815)
- D 241, Song "Alles um Liebe" ['Was ist es, das die Seele füllt?'] for voice and piano (1815)
- D 242, Trio "Trinklied im Winter" ['Das Glas gefüllt!'] for two tenors and bass (1815, 1st setting; D deest is the 2nd setting, with a different title)
- D 243, Trio "Frühlingslied" ['Die Luft ist blau, das Tal ist grün'] for two tenors and bass (1815, 1st setting)
- D 244, Canon "Willkommen, lieber schöner Mai" ['Willkommen, lieber schöner Mai'] for three voices (1815?, 2 versions)
- D 245, see D 587
- D 246, Song "Die Bürgschaft" ['Zu Dionys, dem Tyrannen'] for voice and piano (1815)
- D 247, Song "Die Spinnerin" ['Als ich still und ruhig spann'] for voice and piano (1815, first published as Op. posth. 118 No. 6)
- D 248, Song "Lob des Tokayers" ['O köstlicher Tokayer, o königlicher Wein'] for voice and piano (1815, first published as Op. posth. 118 No. 4)
- D 249, Cantata "Die Schlacht" ['Schwer und dumpfig'] for unspecified voices/instruments (1815, 1st setting; sketch)
- D 250, Song "Das Geheimnis" ['Sie konnte mir kein Wörtchen sagen'] for voice and piano (1815, 1st setting)
D 251 to D 300
- D 251, Song "Hoffnung" ['Es reden und träumen die Menschen viel'] for voice and piano (1815, 1st setting)
- D 252, Song "Das Mädchen aus der Fremde" ['In einem Tal bei armen Hirten'] for voice and piano (1815, 2nd setting)
- D 253, Song or Duet "Punschlied. Im Norden zu singen" ['Auf der Berge freien Höhen'] for voice and piano or for two voices (1815, 2 versions; 1st version is a Song for voice and piano; 2nd version is a Duet for two voices)
- D 254, Song "Der Gott und die Bajadere" ['Mahadöh, der Herr der Erde'] for voice and piano (1815, also appears as "Der Gott und die Bajadere. Indische Legende")
- D 255, Song "Der Rattenfänger" ['Ich bin der wohlbekannte Sänger'] for voice and piano (1815)
- D 256, Song "Der Schatzgräber" ['Arm am Beutel, krank am Herzen'] for voice and piano (1815)
- D 257, Song "Heidenröslein" ['Sah ein Knab’ ein Röslein stehn'] for voice and piano (1815, first published as Op. 3 No. 3)
- D 258, Song "Bundeslied" ['In allen guten Stunden'] for voice and piano (1815)
- D 259, Song "An den Mond" ['Fullest wieder Busch und Tal'] for voice and piano (1815, 1st setting)
- D 260, Song "Wonne der Wehmut" ['Trocknet nicht, trocknet nicht, Tränen der ewigen Liebe'] for voice and piano (1815, first published as Op. posth. 115 No. 2)
- D 261, Song "Wer kauft Liebesgötter?" ['Von allen schönen Waren'] for voice and piano (1815, 2 versions)
- D 262, Song "Die Fröhlichkeit" ['Wess’ Adern leichtes Blut durchspringt'] for voice and piano (1815)
- D 263, Song "Cora an die Sonne" ['Nach so vielen trüben Tagen'] for voice and piano (1815)
- D 264, Song "Der Morgenkuß" ['Durch eine ganze Nacht sich nah zu sein'] for voice and piano (1815, 2 versions)
- D 265, Song "Abendständchen. An Lina" ['Sei sanft wie ihre Seele'] for voice and piano (1815)
- D 266, Song "Morgenlied" ['Willkommen, rotes Morgenlicht!'] for voice and piano (1815)
- D 267, Quartet "Trinklied" ['Auf! Jeder sei nun froh und sorgenfrei!'] for two tenors, two basses and piano (1815)
- D 268, Quartet "Bergknappenlied" ['Hinab, ihr Brüder, in den Schacht!'] for two tenors, two basses and piano (1815)
- D 269, Trio "Das Leben" ['Das Leben ist ein Traum'] for tenor, two basses and piano (1815, 2 versions; 2nd version is for two sopranos, alto and piano)
- D 270, Song "An die Sonne" ['Sinke, liebe Sonne'] for voice and piano (1815, first published as Op. posth. 118 No. 5)
- D 271, Song "Der Weiberfreund" ['Noch fand von Evens Töchterscharen ich keine'] for voice and piano (1815)
- D 272, Song "An die Sonne" ['Königliche Morgensonne'] for voice and piano (1815)
- D 273, Song "Lilla an die Morgenröte" ['Wie schön bist du, du güldne Morgenröte'] for voice and piano (1815)
- D 274, Song "Tischlerlied" ['Mein Handwerk geht durch alle Welt'] for voice and piano (1815, 2 versions)
- D 275, Song "Totenkranz für ein Kind" ['Sanft wehn, im Hauch der Abendluft'] for voice and piano (1815)
- D 276, Song "Abendlied" ['Groß und rotenflammet'] for voice and piano (1815)
- D 277, Trio "Punschlied" ['Vier Elemente, inning gesellt'] for two tenors, bass and piano (1815)
- D 277A, Minuet in A minor with Trio in F major for piano (1815, alternate third movement for the Piano Sonata in C major, D 279)
- D 278, Song "Ossians Lied nach dem Falle Nathos" ['Beugt euch aus euren Wolken nieder'] for voice and piano (1815, 3 versions; 1st version is a fragment)
- D 279, Piano Sonata in C major (1815, unfinished – first three movements are extant; the Allegretto in C major, D 346 fragment is probably the fourth movement)
- D 280, Song "Das Rosenband" ['Im Frühlingsgarten fand ich sie'] for voice and piano (1815)
- D 281, Song "Das Mädchen von Inistore" ['Mädchen Inistores, wein auf dem Felsen'] for voice and piano (1815, 2 versions)
- D 282, Song "Cronnan" ['Ich sitz’ bei der moosigten Quelle'] for voice and piano (1815, 2 versions)
- D 283, Song "An den Frühling" ['Willkommen, schöner Jüngling!'] for voice and piano (1815, 1st setting; first published as Op. posth. 172 No. 5)
- D 284, Song "Lied (Es ist so angenehm)" ['Es ist so angenehm, so süß'] for voice and piano (1815)
- D 285, Song "Furcht der Geliebten/An Cidli" ['Cidli, du weinest'] for voice and piano (1815, 2 versions)
- D 286, Song "Selma und Selmar" ['Weine du nicht'] for voice and piano (1815, 2 versions)
- D 287, Song "Vaterlandslied" ['Ich bin ein deutsches Mädchen'] for voice and piano (1815, 2 versions)
- D 288, Song "An Sie" ['Zeit, Verkündigerin der besten Freuden'] for voice and piano (1815)
- D 289, Song "Die Sommernacht" ['Wenn der Schimmer von dem Monde'] for voice and piano (1815, 2 versions)
- D 290, Song "Die frühen Gräber" ['Willkommen, o silberner Mond'] for voice and piano (1815)
- D 291, Song "Dem Unendlichen" ['Wie erhebt sich das Herz'] for voice and piano (1815, 3 versions)
- D 292, see D 371
- D 293, Song "Shilric und Vinvela" ['Mein Geliebter ist ein Sohn des Hügels'] for voice and piano (1815, 2 versions)
- D 294, Cantata "Namensfeier" ['Erhabner! Verehrter Freund der Jugend!'] for soprano, tenor, bass, choir and orchestra, Namensfeier fur Franz Michael Vierthaler or Gratulations-Kantate (1815)
- D 295, Song "Hoffnung" ['Schaff, das Tagwerk meiner Hände'] for voice and piano (1815 or 1816?, 2 versions)
- D 296, Song "An den Mond" ['Füllest wieder Busch und Tal'] for voice and piano (1815 or 1816?, 2nd setting)
- D 297, Song "Augenlied" ['Süße Augen, klare Bronnen!'] for voice and piano (1817?, 2 versions and a modified 2nd version)
- D 298, Song "Liane" ['Hast du Lianen nicht gesehen?'] for voice and piano (1815)
- D 299, Twelve Écossaises for piano (1815)
- D 300, Song "Der Jüngling an der Quelle" ['Leise, rieselnder Quell'] for voice and piano (1816 or 1817)
D 301 to D 350
- D 301, Song "Lambertine" ['O Liebe, die mein Herz erfüllet'] for voice and piano (1815)
- D 302, Song "Labetrank der Liebe" ['Wenn im Spiele leiser Töne'] for voice and piano (1815)
- D 303, Song "An die Geliebte" ['O, daß ich dir vom stillen Auge'] for voice and piano (1815)
- D 304, Song "Wiegenlied" ['Schlumm’re sanft! Noch an dem Mutterherzen'] for voice and piano (1815)
- D 305, Song "Mein Gruß an den Mai" ['Sei mir gegrüßt, o Mai'] for voice and piano (1815)
- D 306, Song "Skolie" ['Laßt im Morgenstrahl des Mai’n'] for voice and piano (1815)
- D 307, Song "Die Sternenwelten" ['Oben drehen sich die großen unbekannten Welten dort'] for voice and piano (1815)
- D 308, Song "Die Macht der Liebe" ['Überall, wohin mein Auge blicket'] for voice and piano (1815)
- D 309, Song "Das gestörte Glück" ['Ich hab’ ein hießes junges Blut'] for voice and piano (1815)
- D 309A, Rondo in C major for piano (1815, fragment; possible fourth movement of the Piano Sonata in C major, D 279)
- D 310, Song "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for voice and piano (1815, 1st setting; 2 versions)
- D 311, Song "An den Mond" ['?'] for voice and piano (1815?, sketch without text)
- D 312, Song "Hektors Abschied" ['Will sich Hektor ewig von mir wenden'] for voice and piano (1815, 2 versions; 2nd version first published as Op. 58 No. 1)
- D 313, Song "Die Sterne" ['Wie wohl ist mir im Dunkeln!'] for voice and piano (1815)
- D 314, Song "Nachtgesang" ['Tiefe Feier schauert um die Welt'] for voice and piano (1815, 2 versions)
- D 315, Song "An Rosa I" ['Warum bist du nicht hier'] for voice and piano (1815, 2 versions)
- D 316, Song "An Rosa II" ['Rosa, denskt du an mich?'] for voice and piano (1815, 2 versions)
- D 317, Song "Idens Schwanenlied" ['Wie schaust du aus dem Nebelflor'] for voice and piano (1815, 2 versions)
- D 318, Song "Schwangesang" ['Endlich stehn die Pforten offen'] for voice and piano (1815)
- D 319, Song "Luisens Antwort" ['Wohl weinen Gottes Engel'] for voice and piano (1815, 2 versions)
- D 320, Song "Der Zufriedene" ['Zwar schuf das Glück hienieden'] for voice and piano (1815)
- D 321, Song "Mignon" ['Kennst du das Land'] for voice and piano (1815, 2 versions)
- D 322, Song "Hermann und Thusnelda" ['Ha, dort kömmt er'] for voice and piano (1815, 2 versions)
- D 323, Song "Klage der Ceres" ['Ist der holde Lenz erschienen?'] for voice and piano (1816; the last part, "O so laßt euch froh begrüssen" was formerly D 991; NSA also appends a variant of mm. 142-203, in addition to a modified version)
- D 324, Mass No. 3 in B-flat major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1815, first published as Op. posth. 141)
- D 325, Song "Harfenspieler" ['Wer sich der Einsamkeit ergibt'] for voice and piano (1815, 1st setting)
- D 326, Singspiel "Die Freunde von Salamanka" for three sopranos, three tenors, six basses, mixed choir and orchestra (1815, in two acts: Overture and eighteen numbers)
- Akt I
- Ouvertüre
- 1. Introduktion: Die Sonne zieht in goldnen Strahlen
- 2. Arie: Man ist so glücklich und so frei
- 3. Quartett: Morgen, wenn des Hahnes Ruf erschallt
- 4. Arie: Einsam schleich’ ich durch die Zimmer
- 5. Terzett: Lebensmut und frische Kühlung weht mir aus dem trauten Wald
- 6. Terzett: Freund, wie wird die Sache enden
- 7. Finale I: Mild senkt sich der Abend nieder
- Akt II
- 8. Introduktion: Laßt nur alles leichtfertige Wesen
- 9. Lied: Guerillas zieht durch Feld und Wald
- 10. Arie: Aus Blumen deuten die Damen gern
- 11. Duett: Ein wackres Thier, das müßt ihr sagen
- 12. Duett: Gelagert unter’m hellen Dach der Bäume
- 13. Arie: Wo ich weile, wo ich gehe
- 14. Duett: Von tausend Schlangenbissen
- 15. Romanze: Es murmeln die Quellen
- 16. Terzett: Nichte, Don Diego da, wirbt um deine freie Hand
- 17. Arie: Traurig geht der Geliebte von dannen
- 18. Finale II: Gnäd’ge Frau, ich hab’ die Ehre
- Akt I
- D 327, Song "Lorma" ['Lorma saß in der Halle von Aldo'] for voice and piano (1815, 1st setting; fragment)
- D 328, Song "Der Erlkönig" ['Wer reitet so spät durch Nacht und Wind?'] for voice and piano (1815, 4 versions; 4th version first published as Op. 1)
- D 329, Song "Die drei Sänger" ['Der König saß beim frohen Mahle'] for voice and piano (1815, fragment)
- D 329A, Canon "Das Grab" ['Das Grab ist tief und stille'] for mixed choir (1815, 1st setting; sketch)
- D 330, Chorus "Das Grab" ['Das Grab ist tief und stille'] for unison choir and piano (1815, 2nd setting; scoring also possible for choir and piano)
- D 331, Quartet "Der Entfernten" ['Wohl denk’ ich allenthalben'] for two tenors and two basses (ca. 1816, 1st setting; setting identical to the one originally catalogued as D 332)
- D 332, see D 331
- D 333, see D 796 No. 21
- D 334, Minuet in A major with Trio in E major for piano (1815)
- D 335, Minuet in E major with Two Trios for piano (1813?)
- D 336, see D Anh. I/15
- D 337, Quartet "Die Einsiedelei" ['Es rieselt klar und wehend ein Quell'] for two tenors and two basses (ca. 1816, 1st setting)
- D 338, Quartet "An den Frühling" ['Willkommen, schöner Jüngling!'] for two tenors and two basses (ca. 1816, 2nd setting)
- D 339, see D Anh. I/20
- D 340, see D Anh. I/21
- D 341, see D Anh. I/22
- D 342, Song "An mein Klavier" ['Sanftes Klavier, welche Entzückungen schaffest du mir'] for voice and piano, Seraphine an ihr Klavier (ca. 1816)
- D 343, Song "Am Tage Aller Seelen" ['Ruhn in Frieden alle Seelen'] for voice and piano, Litanei auf das Fest Aller Seelen (1816, 2 versions)
- D 344, Song "Am ersten Maimorgen" ['Heute will ich fröhlich sein'] for voice and piano (1816?)
- D 345, Concerto in D major for violin and orchestra "Konzertstück" (1816, concerto piece in one movement)
- D 346, Allegretto in C major for piano (1816?, fragment; probable fourth movement of the Piano Sonata in C major, D 279)
- D 347, Allegro moderato in C major for piano (1813?, fragment)
- D 348, Andantino in C major for Piano (1816?, fragment)
- D 349, Adagio in C major for piano (1816?, fragment)
- D 350, Song "Der Entfernten" ['Wohl denk’ ich allenthalben'] for voice and piano (1816?, 2nd setting)
D 351 to D 400
- D 351, Song "Fischerlied" ['Das Fischergewerbe gibt rüstigen Mut'] for voice and piano (1816?, 1st setting)
- D 352, Duet "Licht und Liebe" ['Liebe ist ein süßes Licht'] for soprano, tenor and piano, Nachtgesang (1816?)
- D 353, String Quartet in E major (1816, first published as Op. posth. 125 No. 2)
- D 354, Four komische Ländler in D major for two violins (1816)
- D 355, Eight Ländler in F-sharp minor for violin (?) (1816, possibly for two violins)
- D 356, Quartet "Trinklied" ['Funkelnd im Becher so helle, so hold'] for two tenors, two basses and piano (1816, fragment)
- D 357, Canon "Gold’ner Schein" ['Gold’ner Schein, deckt den Hain'] for three voices (1816)
- D 358, Song "Die Nacht" ['Du verstörst uns nicht, o Nacht!'] for voice and piano (1816, 2 versions)
- D 359, Song "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for voice and piano, Lied der Mignon (1816, 2nd setting)
- D 360, Song "Lied eines Schiffers an die Dioskuren" ['Dioskuren, Zwillingssterne'] for voice and piano (1816, first published as Op. 65 No. 1)
- D 361, Song "Am Bach im Frühling" ['Du brachst sie nun, die kalte Rinde'] for voice and piano (1816, 2 versions; 1st version first published as Op. posth. 109 No. 1)
- D 362, Song "Zufriedenheit" ['Ich bin vergnügt'] for voice and piano (1816?, 1st setting)
- D 363, Song "An Chloen" ['Die Munterkeit ist meinen Wangen'] for voice and piano (1816, fragment)
- D 364, Quartet "Fischerlied" ['Das Fischergewerbe gibt rüstigen Mut'] for two tenors and two basses (1816 or 1817?, 2nd setting)
- D 365, Thirty-six Original Dances for piano, Erste Walzer (1818–1821, first published as Op. 9)
- D 366, Seventeen Ländler for piano (1824)
- D 367, Song "Der König in Thule" ['Es war ein König in Thule'] for voice and piano (1816, first published as Op. 5 No. 5)
- D 368, Song "Jägers Abendlied" ['Im Felde schleich’ ich still und wild'] for voice and piano (1816?, 2nd setting; first published as Op. 3 No. 4; NSA also appends a modified version with changes by Johann Michael Vogl)
- D 369, Song "An Schwager Kronos" ['Spute dich, Kronos!'] for voice and piano (1816, first published as Op. 19 No. 1)
- D 370, Nine Ländler in D major for violin (?) (1816, possibly for two violins)
- D 371, Song "Klage" ['Trauer umfließt mein Leben'] for voice and piano (1816, 2 versions; 1st version [formerly D 292] is a sketch)
- D 372, Song "An die Natur" ['Süße, heilige Natur'] for voice and piano (1816, 2 versions)
- D 373, Song "Lied (Mutter geht durch ihre Kammern)" ['Mutter geht durch ihre Kammern'] for voice and piano (1816?)
- D 374, Eleven Ländler in B-flat major for violin (1816?, possibly for two violins; Nos. 1–3, 5, 7 and 11 also used in the upper parts of Nos. 1–5 and 7 from the Eight Ländler in B-flat major for piano, D 378)
- D 375, Song "Der Tod Oskars" ['Warum öffnest du wieder'] for voice and piano (1816)
- D 376, Song "Lorma" ['Lorma saß in der Halle von Aldo'] for voice and piano (1816, 2nd setting; fragment)
- D 377, Chorus "Das Grab" ['Das Grab ist tief und stille'] for men’s choir and piano (1816, 3rd setting)
- D 378, Eight Ländler in B-flat major for piano (1816; the upper parts of Nos. 1–5 and 7 also used in Nos. 1–3, 5, 7 and 11 from the Eleven Ländler in B-flat major for violin, D 374)
- D 379, Antiphon "Deutsches Salve Regina" ['Sei, Mutter der Barmherzigkeit'] in F major for mixed choir and organ (1816)
- D 380, Three Minuets, each with Two Trios for piano (1816, fragment; for the third minuet, part of the first trio and the entire second trio are missing)
- D 381, Song "Morgenlied" ['Die frohe, neubelebte Flur'] for voice and piano (1816)
- D 382, Song "Abendlied" ['Sanft glänzt die Abendsonne'] for voice and piano (1816)
- D 383, Oratorio "Stabat Mater" ['Jesus Christus schwebt am Kreuze'] in F minor for soprano, tenor, bass, mixed choir and orchestra (1816, also appears as "Deutsche Stabat Mater"; sketches for Nos. 5 and 6, "Wer wird sich nicht innig freuen" were formerly D 992)
- D 384, Sonata in D major for violin and piano (1816, 2 versions of the first movement are extant; first published as Op. posth. 137 No. 1)
- D 385, Sonata in A minor for violin and piano (1816, first published as Op. posth. 137 No. 2)
- D 386, Antiphon "Salve Regina" ['Salve Regina'] in B-flat major for mixed choir (1816)
- D 387, Cantata "Die Schlacht" ['Schwer und dumpfig'] for unspecified soloists, choir and piano (1816, 2nd setting; sketch)
- D 388, Song "Laura am Klavier" ['Wenn dein Finger durch die Saiten meistert'] for voice and piano (1816, 2 versions)
- D 389, Song "Des Mädchens Klage" ['Der Eichwald braust'] for voice and piano (1816, 3rd setting)
- D 390, Song "Entzückung an Laura" ['Laura, über diese Welt'] for voice and piano (1816, 1st setting)
- D 391, Song "Die vier Weltalter" ['Wohl perlet im Glase'] for voice and piano (1816, first published as Op. posth. 111 No. 3)
- D 392, Song "Pflügerlied" ['Arbeitsam und wacker'] for voice and piano (1816)
- D 393, Song "Die Einsiedelei" ['Es rieselt klar und wehend ein Quell'] for voice and piano (1816, 2nd setting)
- D 394, Song "An die Harmonie" ['Schöpferin beseelter Töne!'] for voice and piano, Gesang an die Harmonie (1816)
- D 395, Song "Lebens-Melodien" ['Auf den Wassern wohnt mein stilles Leben'] for voice and piano (1816, first published as Op. posth. 111 No. 2)
- D 396, Song "Gruppe aus dem Tartarus" ['Horch, wie Murmeln des empörten Meeres'] for voice and piano (1816, 1st setting; fragment)
- D 397, Song "Ritter Toggenburg" ['Ritter, treue Schwesterliebe'] for voice and piano (1816, 2 versions)
- D 398, Song "Frühlingslied" ['Die Luft ist blau'] for voice and piano (1816, 2nd setting)
- D 399, Song "Auf den Tod einer Nachtigall" ['Sie ist dahin'] for voice and piano (1816, 2nd setting)
- D 400, Song "Die Knabenzeit" ['Wie glücklich, wem das Knabenkleid'] for voice and piano (1816)
D 401 to D 450
- D 401, Song "Winterlied" ['Keine Blumen blühn'] for voice and piano (1816)
- D 402, Song "Der Flüchtling" ['Frisch atmet des Morgens lebendiger Hauch'] for voice and piano (1816)
- D 403, Song "Lied" ['In’s stille Land'] for voice and piano (1816, 4 versions; the 1st edition of the 1st version has a four-measure introduction composed by Anton Diabelli)
- D 404, Song "Die Herbstnacht" ['Mit leisen Harfentönen'] for voice and piano, Die Wehmuth (1816, 2 versions)
- D 405, Song "Der Herbstabend" ['Abendglockenhalle zittern'] for voice and piano (1816, 2 versions)
- D 406, Song "Abschied von der Harfe" ['Noch einmal tön, o Harfe'] for voice and piano (1816, 2 versions)
- D 407, Cantata "Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri" for two tenors, two basses and piano (1816)
- I. Quartet "Gütigster, Bester! Weisester Größter!" for two tenors and two basses (2 settings; 2nd setting [formerly D 441] for two tenors, bass and piano)
- II. Aria "So Güt’ als Weisheit strömen mild" for tenor and piano
- III. Canon "Unser aller Großpapa, bleibe noch recht lange da" for three voices
- D 408, Sonata in G minor for violin and piano (1816, first published as Op. posth. 137 No. 3)
- D 409, Song "Die verfehlte Stunde" ['Quälend ungestilltes Sehnen'] for voice and piano (1816, 2 versions)
- D 410, Song "Sprache der Liebe" ['Laß dich mit gelinden Schlägen rühren'] for voice and piano (1816, first published as Op. posth. 115 No. 3)
- D 411, Song "Daphne am Bach" ['Ich hab’ ein Bächlein funden'] for voice and piano (1816)
- D 412, Song "Stimme der Liebe (Meine Selinde)" ['Meine Selinde'] for voice and piano (1816, 2 versions)
- D 413, Song "Entzückung" ['Tag voll Himmel!'] for voice and piano (1816)
- D 414, Song "Geist der Liebe" ['Der Abend schleiert Flur und Hain'] for voice and piano (1816, 1st setting)
- D 415, Song "Klage" ['Die Sonne steigt, die Sonne sinkt'] for voice and piano (1816)
- D 416, Song "Lied in der Abwesenheit" ['Ach, mir ist das Herz so schwer'] for voice and piano (1816, fragment)
- D 417, Symphony No. 4 in C minor, Tragic (1816)
- D 418, Song "Stimme der Liebe (Abendgewölke)" ['Abendgewölke schweben hell'] for voice and piano, Abendgewölke (1816, 2nd setting)
- D 419, Song "Julius an Theone" ['Nimmer, nimmer darf ich dir gestehen'] for voice and piano (1816)
- D 420, Twelve German Dances for piano (1816)
- D 421, Six Écossaises for piano (1816)
- D 422, Quartet "Naturgenuß" ['Im Abendschimmer wallt der Quell'] for two tenors, two basses and piano (1822?, 2nd setting; first published as Op. 16 No. 2)
- D 423, Trio "Andenken" ['Ich denke dein, wenn durch den Hain'] for two tenors and bass (1816, 2nd setting)
- D 424, Trio "Erinnerung" ['Am Seegestad, in lauen Vollmondnächten'] for two tenors and bass (1816, 2nd setting)
- D 425, Trio "Lebenslied" ['Kommen und scheiden, suchen und meiden'] for two tenors and bass (1816, lost; see also D Anh. I/23)
- D 426, Trio "Trinklied (Herr Bacchus ist ein braver Mann)" ['Herr Bacchus ist ein braver Mann'] for two tenors and bass (1816, lost)
- D 427, Trio "Trinklied im Mai" ['Bekränzet die Tonnen'] for two tenors and bass (1816)
- D 428, Trio "Widerhall" ['Auf ewig dein, wenn Berg und Meere trennen'] for two tenors and bass (1816)
- D 429, Song "Minnelied" ['Holder klingt der Vogelsang'] for voice and piano (1816)
- D 430, Song "Die frühe Liebe" ['Schon im bunten Knabenkleide'] for voice and piano (1816, 2 versions)
- D 431, Song "Blumenlied" ['Es ist ein halbes Himmelreich'] for voice and piano (1816)
- D 432, Song "Der Leidende" ['Nimmer trag’ ich langer'] for voice and piano, Klage (1816, 3 versions)
- D 433, Song "Seligkeit" ['Freuden sonder Zahl'] for voice and piano (1816)
- D 434, Song "Erntelied" ['Sicheln schallen, Ähren fallen'] for voice and piano (1816)
- D 435, Opera "Die Bürgschaft" for four sopranos, three tenors, three basses, two baritones, mixed choir and orchestra (1816, in three acts; unfinished – Act I: nine numbers, five numbers from Act II, and one number and one fragment from Act III are extant)
- Akt I
- 1. Chor: Hilfe! Rettung
- 2. Arie: Muss ich fühlen in tiefer Brust
- 3. Chor: Wir dürstet der Aetna
- 4. Arie: Es lebe, es lebe der meutrische Thor
- 5. Arie: Diese Gnade dank’ ich dir
- 6. Arie: Ob er wohl wiederkehrt?
- 7. Romanze: Die Mutter sucht ihr liebes Kind
- 8. Duett: Wir bringen dir die Kette
- 9. Finale I: Du gehst in Kerker, Du?
- Akt II
- 10. Entreakt und Arie: O Götter! O Dank Euch
- 11. Arie: Welche Nacht hab’ich erlebt
- 12. Ensemble: Horch die Seufzer unerer Mutter
- 13. Quartett: Hinter Büschen, hinterm Laub, Räuberlied
- 14. Szene und Arie: O göttliche Ruhe
- Akt III
- 15. Entreakt
- 16. Ensemble: Der Abend rückt heran (fragment)
- Akt I
- D 436, Song "Klage" ['Dein Silber schien durch Eichengrün'] (1816, 2 versions and a variant of the 1st version; 2nd version was formerly D 437)
- D 437, see D 436
- D 438, Rondo in A major for violin and string orchestra (1816)
- D 439, Quartet "An die Sonne" ['O Sonne, Königin der Welt'] for soprano, alto, tenor, bass and piano (1816)
- D 440, Chorus "Chor der Engel" ['Christ ist erstanden'] for mixed choir (1816)
- D 441, see D 407
- D 442, Song or Chorus "Das große Halleluja" ['Ehre sei dem Hocherhabnen'] for voice and piano or choir and piano (1816)
- D 443, Song or Chorus "Schlachtlied" ['Mit unserm Arm ist nichts getan'] for voice and piano or choir and piano, Schlachtgesang (1816, 1st setting)
- D 444, Song "Die Gestirne" ['Es tönet sein Lob'] for voice and piano (1816)
- D 445, Song "Edone" ['Dein süßes Bild, Edone'] for voice and piano (1816)
- D 446, Song "Die Liebesgötter" ['Cypris, meiner Phyllis gleich'] for voice and piano (1816)
- D 447, Song "An den Schlaf" ['Komm und senke die umflorten Schwingen'] for voice and piano (1816)
- D 448, Song "Gott im Frühlinge" ['In seinem schimmernden Gewand'] for voice and piano (1816, 2 versions)
- D 449, Song "Der gute Hirt" ['Was sorgest du?'] for voice and piano (1816; NSA also appends a modified version)
- D 450, Song "Fragment aus dem Aeschylus" ['So wird der Mann'] for voice and piano (1816, 2 versions)
D 451 to D 500
- D 451, Cantata "Prometheus" ['Hervor aus Buschen und Baumen'] for soprano, bass, choir and orchestra (1816, lost)
- D 452, Mass No. 4 in C major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1816, first published as Op. 48; 2nd setting of the "Benedictus" was formerly D 961)
- D 453, Requiem in C minor for mixed choir and orchestra (1816, fragment of the first movement is extant)
- D 454, Song "Grablied auf einen Soldaten" ['Zieh hin, du braver Krieger du!'] for voice and piano (1816)
- D 455, Song "Freude der Kinderjahre" ['Freude, die im frühen Lenze'] for voice and piano (1816)
- D 456, Song "Das Heimweh (Oft in einsam stillen Stunden)" ['Oft in einsam stillen Stunden'] for voice and piano (1816)
- D 457, Song "An die untergehende Sonne" ['Sonne, du sinkst'] for voice and piano (1816 sketch, finished 1817; first published as Op. 44)
- D 458, Song "Aus Diego Manazares. Ilmerine" ['Wo irrst du durch einsame Schatten'] for voice and piano (1816, also appears as "Aus Diego Manzanares")
- D 459, Piano Sonata in E major (1816, in 2 movements; also paired with D 459A to have a five movement sonata or five piano pieces "Fünf Klavierstücke")
- D 459A, Three piano pieces "Drei Klavierstücke" (1816?, also paired with D 459 to have a five movement sonata or five piano pieces "Fünf Klavierstücke")
- D 460, Hymn "Tantum ergo" ['Tantum ergo'] in C major for soprano, mixed choir, orchestra and organ (1816)
- D 461, Hymn "Tantum ergo" ['Tantum ergo'] in C major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1816)
- D 462, Song "An Chloen" ['Bei der Liebe reinsten Flammen'] for voice and piano (1816)
- D 463, Song "Hochzeit-Lied" ['Will singen euch im alten Ton'] for voice and piano (1816)
- D 464, Song "In der Mitternacht" ['Todesstille deckt das Tal'] for voice and piano (1816)
- D 465, Song "Trauer der Liebe" ['Wo die Taub’ in stillen Buchen'] for voice and piano (1816, 2 versions)
- D 466, Song "Die Perle" ['Es ging ein Mann zur Frühlingszeit'] for voice and piano (1816)
- D 467, Song "Pflicht und Liebe" ['Du, der ewig um mich trauert'] for voice and piano (1816, fragment)
- D 468, Song "An den Mond" ['Was schauest du so hell'] for voice and piano (1816)
- D 469, Song "Mignon (So laß mich scheinen, bis ich werde)" ['So laß mich scheinen, bis ich werde'] for voice and piano (1816, 1st setting; 2 versions, both are fragments)
- D 470, Overture in B-flat major for orchestra (1816, belongs to D 472?; 2 versions; fragment of a version for string quartet was formerly D 601)
- D 471, String Trio in B-flat major (1816, unfinished – complete first movement and fragment of second movement are extant)
- D 472, Cantata "Kantate zu Ehren von Josef Spendou" for two sopranos, tenor, bass, mixed choir and orchestra (1816, see also D 470?; first published as Op. posth. 128)
- I. Da liegt er, starr
- II. Gottes Bild ist Furst und Staat
- III. Ein Punkt nur ist der Mensch
- IV. Die Sonne sticht
- D 473, Song "Liedesend" ['Auf seinem gold’nen Throne'] for voice and piano (1816, 2 versions)
- D 474, Song "Lied des Orpheus, als er in die Hölle ging" ['Wälze dich hinweg'] for voice and piano (1816, 2 versions)
- D 475, Song "Abschied" ['Über die Berge zieht ihr fort'] for voice and piano (1816, also appears as "Abschied. Nach einer Wallfahrts-Arie bearbeitet")
- D 476, Song "Rückweg" ['Zum Donaustrom, zur Kaiserstadt'] for voice and piano (1816)
- D 477, Song "Alte Liebe rostet nie" ['Alte Liebe rostet nie'] for voice and piano (1816)
- D 478, Song cycle Gesänge des Harfners aus "Wilhelm Meister" for voice and piano (1822, first published as Op. 12)
- 1. "Wer sich der Einsamkeit ergibt", Harfenspieler I (2nd setting; 2 versions; 1st version 1816, 2nd version 1822?; 2nd version first published as Op. 12 No. 1; NSA also appends a modified 2nd version)
- 2. "Wer nie sein Brot mit Tränen aß", Harfenspieler III [formerly D 480] (3 settings; 1st and 2nd settings 1816, 3rd setting 1822; 3rd setting first published as Op. 12 No. 2; NSA also appends a modified version of the 3rd setting)
- 3. "An die Türen will ich schleichen", Harfenspieler II [formerly D 479] (2 versions; 1st version 1816, 2nd version 1822?; 2nd version first published as Op. 12 No. 3; NSA also appends a modified 2nd version)
- D 479, see D 478
- D 480, see D 478
- D 481, Song "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for voice and piano, Lied der Mignon (1816, 3rd setting)
- D 482, Song "Der Sänger am Felsen" ['Klage, meine Flöte, klage'] for voice and piano (1816)
- D 483, Song "Lied (Ferne von der großen Stadt)" ['Ferne von der großen Stadt'] for voice and piano (1816)
- D 484, Song "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for voice and piano (1816, 1st setting; fragment)
- D 485, Symphony No. 5 in B-flat major (1816)
- D 486, Hymn "Magnificat" ['Magnificat anima mea Dominum'] in C major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1815)
- D 487, Adagio e Rondo concertante in F major for violin, viola, violoncello and piano (1816)
- D 488, Offertory "Auguste jam coelestium" ['Auguste jam coelestium'] in G major for soprano, tenor and orchestra (1816)
- D 489, Song "Der Wanderer" ['Ich komme vom Gebirge her'] for voice and piano, Der Unglückliche (1816, 3 versions; 2nd and 3rd versions were formerly D 493; 3rd version first published as Op. 4 No. 1)
- D 490, Song "Der Hirt" ['Du Turm, zu meinem Leide'] for voice and piano (1816)
- D 491, Song "Geheimnis" ['Sag an, wer lehrt dich Lieder'] for voice and piano (1816)
- D 492, Song "Zum Punsche" ['Woget brausend, Harmonien'] for voice and piano (1816)
- D 493, see D 489
- D 494, Quintet "Der Geistertanz" ['Die bretterne Kammer der Toten erbebt'] for two tenors and three basses (1816, 4th setting)
- D 495, Song "Abendlied der Fürstin" ['Der Abend rötet nun das Tal'] for voice and piano (1816)
- D 496, Song "Bei dem Grabe meines Vaters" ['Friede sei um diesen Grabstein her!'] for voice and piano (1816)
- D 496A, Song "Klage um Ali Bey" ['Laßt mich! Laßt mich! ich will klagen'] for voice and piano (1816, 2nd version)
- D 497, Song "An die Nachtigall" ['Er liegt und schläft'] for voice and piano (1816, first published as Op. 98 No. 1)
- D 498, Song "Wiegenlied" ['Schlafe, schlafe, holder süßer Knabe'] for voice and piano (1816, first published as Op. 98 No. 2)
- D 499, Song "Abendlied" ['Der Mond is aufgegangen'] for voice and piano (1816)
- D 500, Song "Phidile" ['Ich war erst sechzehn Sommer alt'] for voice and piano (1816)
D 501 to D 550
- D 501, Song "Zufriedenheit" ['Ich bin vergnügt'] for voice and piano (1816, 2nd setting; 2 versions)
- D 502, Song "Herbstlied" ['Bunt sind schon die Wälder'] for voice and piano (1816)
- D 503, Song "Mailied" ['Grüner wird die Au'] for voice and piano (1816, 3rd setting)
- D 504, Song "Am Grabe Anselmos" ['Daß ich dich verloren habe'] for voice and piano (1816, 2 versions; 1st version first published as Op. 6 No. 3)
- D 505, Adagio in D-flat major for piano (1818?, probably the second movement of the unfinished Piano Sonata in F minor, D 625; first published in E major in an abridged form as Op. posth. 145 No. 1)
- D 506, Rondo in E major for piano (1817?, probably the fourth movement of the unfinished? Piano Sonata in E minor, D 566; first published as Op. posth. 145 No. 2)
- D 507, Song "Skolie" ['Mädchen entsiegelten, Brüder, die Flaschen'] for voice and piano (1816)
- D 508, Song "Lebenslied" ['Kommen und Scheiden'] for voice and piano (1816)
- D 509, Song "Leiden der Trennung" ['Vom Meere trennt sich die Welle'] for voice and piano (1816, 2 versions; 1st version is a fragment)
- D 510, Aria "Vedi quanto adoro" ['Vedi quanto adoro'] for soprano and piano (1816, 4 versions; also appears as "Vedi quanto t'adoro")
- D 511, Écossaise in E-flat major for piano (ca. 1817)
- D 512, see D Anh. I/28
- D 513, Quartet "La pastorella al prato" ['La pastorella al prato'] for two tenors, two basses and piano, La Pastorella (1817?, 1st setting)
- D 513A, Song "Nur wer die Liebe kennt" ['Nur wer die Liebe kennt'] for voice and piano (1817?, sketch)
- D 514, Song "Die abgeblühte Linde" ['Wirst du halten, was du schwurst'] for voice and piano (1817?, first published as Op. 7 No. 1)
- D 515, Song "Der Flug der Zeit" ['Es floh die Zeit im Wirbelfluge'] for voice and piano (1817?, first published as Op. 7 No. 2)
- D 516, Song "Sehnsucht" ['Der Lerche wolkennahe Lieder'] for voice and piano (1816?, first published as Op. 8 No. 2)
- D 517, Song "Der Schäfer und der Reiter" ['Ein Schäfer saß im Grünen'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 13 No. 1)
- D 518, Song "An den Tod" ['Tod, du Schrecken der Natur'] for bass and piano (1816 or 1817)
- D 519, Song "Die Blumensprache" ['Es deuten die Blumen des Herzens Gefühle'] for voice and piano (1817?, first published as Op. posth. 173 No. 5)
- D 520, Song "Frohsinn" ['Ich bin von lockerem Schlage'] for voice and piano (1817, 2 versions)
- D 521, Song or Chorus "Jagdlied" ['Trarah! Trarah! Wir kehren daheim'] for voice and piano or unison choir and piano (1817)
- D 522, Song "Die Liebe" ['Wo weht der Liebe hoher Geist?'] for voice and piano (1817)
- D 523, Song "Trost" ['Nimmer lange weil’ ich hier'] for voice and piano (1817)
- D 524, Song "Der Alpenjäger" ['Auf hohen Bergesrücken'] for voice and piano (1817, 3 versions; 2nd version for bass and piano; 3rd version first published as Op. 13 No. 3)
- D 525, Song "Wie Ulfru fischt" ['Der Angel zuckt, die Rute bebt'] for bass and piano (1817, 2 versions; 2nd version first published as Op. 21 No. 3)
- D 526, Song "Fahrt zum Hades" ['Der Nachen dröhnt'] for bass and piano (1817)
- D 527, Song "Schlaflied" ['Es mahnt der Wald'] for voice and piano, Abendlied or Schlummerlied (1817, 2 versions; 2nd version first published as Op. 24 No. 2)
- D 528, Arietta "La pastorella al prato" ['La pastorella al prato'] for soprano and piano, La Pastorella (1817, 2nd setting)
- D 529, Eight Écossaises for piano (1817)
- D 530, Song "An eine Quelle" ['Du kleine grünumwachs’ne Quelle'] for voice and piano (1817, first published as Op. posth. 109 No. 3)
- D 531, Song "Der Tod und das Mädchen" ['Vorüber, ach vorüber'] for voice and piano (1817, first published as Op. 7 No. 3)
- D 532, Song "Das Lied vom Reifen" ['Seht meine lieben Bäume an'] for voice and piano (1817, fragment)
- D 533, Song "Täglich zu singen" ['Ich danke Gott und freue mich'] for voice and piano (1817)
- D 534, Song "Die Nacht" ['Die Nacht ist dumpfig und finster'] for voice and piano (1817)
- D 535, Song "Lied (Brüder, schrecklich brennt die Träne)" ['Brüder, schrecklich brennt die Träne'] for soprano and small orchestra (1817)
- D 536, Song "Der Schiffer" ['Im winde, im Sturme'] for bass and piano (1817?, 2 versions; 2nd version first published as Op. 21 No. 2)
- D 537, Piano Sonata in A minor (1817, first published as Op. posth. 164)
- D 538, Quartet "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for two tenors and two basses (1817, 2nd setting)
- D 539, Song "Am Strome" ['Ist mir’s doch, als sei mein Leben'] for voice and piano (1817, first published as Op. 8 No. 4)
- D 540, Song "Philoktet" ['Da sitz’ ich ohne Bogen'] for voice and piano (1817)
- D 541, Song "Memnon" ['Den Tag hindurch nur einmal mag ich sprechen'] for voice and piano (1817, first published as Op. 6 No. 1)
- D 542, Duet "Antigone und Oedip" ['Ihr hohen Himmlischen'] for two voices and piano (1817, first published as Op. 6 No. 2; NSA also appends a modified version with changes by Johann Michael Vogl)
- D 543, Song "Auf dem See" ['Und frische Nahrung'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 92 No. 2)
- D 544, Song "Ganymed" ['Wie im Morgenglanze'] for voice and piano (1817, first published as Op. 19 No. 3)
- D 545, Duet or Song "Der Jüngling und der Tod" ['Die Sonne sinkt, o könnt ich'] for voice and piano or two voices and piano (1817, 2 versions; 1st version is a Duet for two voices and piano; 2nd version is a Song for voice and piano)
- D 546, Song "Trost im Liede" ['Braust des Unglücks Sturm empor'] for voice and piano (1817, 2 versions; 2nd version first published as Op. posth. 101 No. 3)
- D 547, Song "An die Musik" ['Du holde Kunst'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 88 No. 4)
- D 548, Song "Orest" ['Ist dies Tauris'] for voice and piano (1817, also appears as "Orest auf Tauris")
- D 549, Song "Mahomets Gesang" ['Seht den Felsenquell'] for voice and piano (1817, 1st setting; fragment)
- D 550, Song "Die Forelle" ['In einem Bächlein helle'] for voice and piano (1816–1821, 5 versions; 4th version first published as Op. 32)
D 551 to D 600
- D 551, Song "Pax vobiscum" ['Der Friede sei mit euch!'] for voice and piano (1817)
- D 552, Song "Hänflings Liebeswerbung" ['Ahidi! ich liebe'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 20 No. 3)
- D 553, Song "Auf der Donau" ['Auf der Wellen Spiegel'] for bass and piano (1817, first published as Op. 21 No. 1)
- D 554, Song "Uraniens Flucht" ['Laßt uns, ihr Himmlischen, ein Fest begehen!'] for voice and piano (1817)
- D 555, Song ["?"] ['?'] for voice and piano "Liedentwurf in a" (1817?, sketch without text)
- D 556, Overture in D major for orchestra (1817)
- D 557, Piano Sonata in A-flat major (1817)
- D 558, Song "Liebhaber in allen Gestalten" ['Ich wollt’, ich wär’ ein Fisch'] for voice and piano (1817)
- D 559, Song "Schweizerlied" ['Uf’m Bergli bin i g’sässe'] for voice and piano (1817)
- D 560, Song "Der Goldschmiedsgesell" ['Es ist doch meine Nachbarin'] for voice and piano (1817)
- D 561, Song "Nach einem Gewitter" ['Auf den Blumen'] for voice and piano (1817)
- D 562, Song "Fischerlied" ['Das Fischergewerbe gibt rüstigen Mut'] for voice and piano (1817, 3rd setting)
- D 563, Song "Die Einsiedelei" ['Es rieselt klar und wehend ein Quell'] for voice and piano (1817, 3rd setting)
- D 564, Song "Gretchen im Zwinger" ['Ach neige, du Schmerzensreiche'] for voice and piano, Gretchens Bitte (1817, fragment)
- D 565, Song "Der Strom" ['Mein Leben wälzt sich murrend fort'] for bass and piano (1817?)
- D 566, Piano Sonata in E minor (1817, unfinished? – first three movements are extant; the Rondo in E major, D 506 is probably the fourth movement)
- D 567, see D 568
- D 568, Piano Sonata in D-flat major/E-flat major (1817, 2 versions; 2nd version first published as Op. posth. 122; 1st version [formerly D 567] in D-flat major; for the 1st version, the Scherzo in D-Flat major, D 593 No. 2 is possibly the third movement; the last movement is a fragment; NSA also appends an amended first movement from the 1st version)
- D 569, Chorus "Das Grab" ['Das Grab ist tief und stille'] for unison men’s choir and piano (1817, 4th setting)
- D 570, Scherzo in D major and Allegro in F-sharp minor for piano (1817?, the "Allegro" is a fragment; these were probably intended as the third and fourth movements, respectively, of the unfinished Piano Sonata in F-sharp minor, D 571)
- D 571, Piano Sonata in F-sharp minor (1817, unfinished – fragment of an "Allegro moderato" first movement is extant. The Piano piece in A major, D 604, an Andante, as well as the Scherzo in D major and Allegro in F-sharp minor fragment from D 570 probably constitute the remaining movements)
- D 572, Quartet "Lied im Freien" ['Wie schön ist’s im Freien'] for two tenors and two basses (1817)
- D 573, Song "Iphigenia" ['Blüht denn hier an Tauris Strande'] for voice and piano (1817, 3 versions; 3rd version first published as Op. 98 No. 3)
- D 574, Sonata in A major for violin and piano, Duo (1817, first published as Op. posth. 162)
- D 575, Piano Sonata in B major (1817, first published as Op. posth. 147)
- D 576, Thirteen Variations on a theme by Anselm Hüttenbrenner in A minor for piano (1817)
- D 577, Song "Entzückung an Laura" ['Laura, Laura, über diese Welt'] for voice and piano (1817, 2nd setting; 2 fragments of a sketch)
- D 578, Song "Abschied" ['Lebe wohl! Du lieber Freund!'] for voice and piano (1817)
- D 579, Song "Der Knabe in der Wiege" ['Er schläft so süß'] for voice and piano (1817, 2 versions; 2nd version is a fragment)
- D 579A, Song "Vollendung" ['Wenn ich einst das Ziel errungen habe'] for voice and piano [formerly D 989] (1817)
- D 579 B, Song "Die Erde" ['Wenn sanft entzückt mein Auge sieht'] for voice and piano [formerly D 989A] (1817)
- D 580, Polonaise in B-flat major for violin and orchestra (1817)
- D 581, String Trio in B-flat major (1817, 2 versions)
- D 582, see D 990B
- D 583, Song "Gruppe aus dem Tartarus" ['Horch, wie Murmeln des empörten Meeres'] for voice and piano (1817, 2nd setting; first published as Op. 24 No. 1)
- D 584, Song "Elysium" ['Vorüber die stöhnende Klage!'] for voice and piano (1817)
- D 585, Song "Atys" ['Der Knabe seufzt übers grüne Meer'] for voice and piano (1817)
- D 586, Song "Erlafsee" ['Mir ist so wohl, so weh’ '] for voice and piano (1817, first published as Op. 8 No. 3)
- D 587, Song "An den Frühling" ['Willkommen, schöner Jüngling!'] for voice and piano (1817, 3rd setting; 2 versions; 2nd version was formerly D 245)
- D 588, Song "Der Alpenjäger" ['Willst du nicht das Lämmlein hüten?'] for voice and piano (1817, 2 versions; 2nd version first published as Op. 37 No. 2)
- D 589, Symphony No. 6 in C major, Little C major (1817–1818)
- D 590, Overture in D major for orchestra, in the Italian Style (1817)
- D 591, Overture in C major for orchestra, in the Italian Style (1817, first published as Op. posth. 170)
- D 592, Overture in D major for piano duet, in the Italian Style (1817, version for piano duet of D 590)
- D 593, Two Scherzi for piano (1817)
- D 594, Song "Der Kampf" ['Nein, länger werd’ ich diesen Kampf nicht kämpfen'] for bass and piano (1817, first published as Op. posth. 110)
- D 595, Song "Thekla (eine Geisterstimme)" ['Wo ich sei und wo mich hingewendet'] for voice and piano (1817, 2nd setting; 2 versions; 2nd version first published as Op. 88 No. 2)
- D 596, Song "Lied eines Kindes" ['Lauter Freude fühl’ ich'] for voice and piano (1817, fragment)
- D 597, Overture in C major for piano duet, in the Italian Style (1817, version for piano duet of D 591)
- D 597A,Variations in A major for violin (1817, sketch; lost)
- D 598, Quartet "Das Dörfchen" ['Ich rühme mir mein Dörfchen hier'] for two tenors and two basses (1817, 2 versions; 1st version is a sketch without a piano part; 2nd version [formerly D 641] for two tenors, two basses and piano; 2nd version first published as Op. 11 No. 1)
- D 598A, see D Anh. I/32
- D 599, Four Polonaises for piano duet (1818, first published as Op. 75)
- D 600, Minuet in C-sharp minor for piano (1814?; the Trio in E major, D 610 was probably intended for this Minuet; in turn the Minuet with Trio D 600/610 tandem possibly constitute the third movement of the unfinished Piano Sonata in C major, D 613)
D 601 to D 650
- D 601, see D 470
- D 602, Trois Marches Héroiques for piano duet (1818 or 1824, first published as Op. 27)
- D 603, see D 968A
- D 604, Piano piece in A major (1816 or 1817; an Andante, probably the second movement of the unfinished Piano Sonata in F-sharp minor, D 571)
- D 605, Fantasy in C major for piano (1821–1823, fragment)
- D 605A, Fantasy in C major for piano, Grazer Fantasy (1818?)
- D 606, March in E major for piano (1818?)
- D 607, Song "Evangelium Johannis 6, Vers 55–58" ['In der Zeit sprach der Herr Jesus'] for voice and figured bass (1818, fragment; figured bass usually realized for piano)
- D 608, Rondo in D major for piano duet, Notre amitié est invariable (1818, 2 versions; 2nd version first published as Op. posth. 138)
- D 609, Quartet "Die Geselligkeit" ['Wer Lebenslust fühlet'] for soprano, alto, tenor, bass and piano, Lebenslust (1818; 2nd part of the 1st verse, "im traulichen Kreise" was formerly D 665)
- D 610, Trio in E major for piano, to be regarded as the lost son of a minuet (1818, this Trio was probably intended for the Minuet in C-sharp minor, D 600; in turn the Minuet with Trio D 600/610 tandem possibly constitute the third movement of the unfinished Piano Sonata in C major, D 613)
- D 611, Song "Auf der Riesenkoppe" ['Hoch auf dem Gipfel deiner Gebirge'] for voice and piano (1818)
- D 612, Adagio in E major for piano (1818, probably the second movement of the unfinished Piano Sonata in C major, D 613)
- D 613, Piano Sonata in C major (1818, unfinished – fragments of two movements are extant; the Adagio in E major, D 612 as well as the Minuet with Trio D 600/610 possibly constitute the remaining movements)
- D 614, Song "An den Mond in einer Herbstnacht" ['Freundlich ist dein Antlitz'] for voice and piano (1818)
- D 615, Sketch of a Symphony in D major (1818, piano sketches of two movements are extant)
- D 616, Song "Grablied für die Mutter" ['Hauche milder, Abendluft'] for voice and piano (1818)
- D 617, Sonata in B-flat major for piano duet (1818, first published as Op. 30)
- D 618, German Dance in G major with Two Trios and Two Ländler in E major for piano duet (1818)
- D 618A, Polonaise in B-flat major for piano duet (1818, sketch)
- D 619, Vocal exercises for two voices and figured bass "Singübungen" (1818, figured bass usually realized for piano)
- D 620, Song "Einsamkeit" ['Gib mir die Fülle der Einsamkeit!'] for voice and piano (1818)
- D 621, German Requiem in G minor for soprano, alto, tenor, bass, mixed choir and organ, Deutsche Trauermesse (1818, 4 versions; only the 1st version is complete; NSA appends a synopsis of the 2nd, 3rd and 4th versions)
- D 622, Song "Der Blumenbrief" ['Euch Blümlein will ich senden'] for voice and piano (1818)
- D 623, Song "Das Marienbild" ['Sei gegrüßt, du Frau der Huld'] for voice and piano (1818)
- D 624, Eight Variations on a French Song in E minor for piano duet (1818, first published as Op. 10; 2 versions of the "Theme" are extant)
- D 625, Piano Sonata in F minor (1818, unfinished – a completed Scherzo with Trio, and fragments of two "Allegro" movements are extant; the Adagio in D-flat major D 505 is probably the second movement)
- D 626, Song "Blondel zu Marien" ['In düstrer Nacht'] for voice and piano (1818)
- D 627, Song "Das Abendrot" ['Du heilig, glühend Abendrot!'] for bass and piano (1818, first published as Op. posth. 173 No. 6)
- D 628, Song "Sonett" ['Apollo, lebet noch dein hold Verlangen'] for voice and piano, Sonett I (1818)
- D 629, Song "Sonett" ['Allein, nachdenklich, wie gelähmt vom Krampfe'] for voice and piano, Sonett II (1818)
- D 630, Song "Sonett" ['Nunmehr, da Himmel, Erde schweigt'] for voice and piano, Sonett III (1818)
- D 631, Song "Blanka" ['Wenn mich einsam Lüfte fächeln'] for voice and piano, Das Mädchen (1818)
- D 632, Song "Vom Mitleiden Mariä" ['Als bei dem Kreuz Maria stand'] for voice and piano (1818)
- D 633, Song "Der Schmetterling" ['Wie soll ich nicht tanzen'] for voice and piano (1819 and 1823?, first published as Op. 57 No. 1)
- D 634, Song "Die Berge" ['Sieht uns der Blick gehoben'] for voice and piano (1819 and 1823?, first published as Op. 57 No. 2)
- D 635, Quartet "Leise, leise laßt uns singen" ['Leise, leise laßt uns singen'] for two tenors and two basses, Ruhe (1819)
- D 636, Song "Sehnsucht" ['Ach, aus dieses Tales Gründen'] for voice and piano (1821?, 2nd setting; 3 versions; 3rd version first published as Op. 39)
- D 637, Song "Hoffnung" ['Es reden und träumen die Menschen viel'] for voice and piano (ca. 1819, 2nd setting; first published as Op. 87 No. 2)
- D 638, Song "Der Jüngling am Bache" ['An der Quelle saß der Knabe'] for voice and piano (1819, 3rd setting; 2 versions; 2nd version first published as Op. 87 No. 3)
- D 639, Song "Widerschein" ['Fischer harrt am Brückenbogen'] for voice and piano (1820, 2 versions; 2nd version ['Harrt ein Fischer auf der Brücke'] was formerly D 949)
- D 640, see D 980A
- D 641, see D 598
- D 642, Quartet "Viel tausend Sterne prangen" ['Viel tausend Sterne prangen'] for soprano, alto, tenor, bass and piano (1812?)
- D 643, German Dance in C-sharp minor and Écossaise in D-flat major for piano (1819)
- D 643A, Quartet "Das Grab" ['Das Grab ist tief und stille'] for soprano, alto, tenor and bass (1819, 5th setting)
- D 644, Music for Zauberspiel "Die Zauberharfe" for tenor, six spoken roles, mixed choir and orchestra (1820, in three acts: Overtures to the first and third acts, and thirteen numbers; Overture to the first act known as the "Rosamunde" Overture, also used in D 797)
- Akt I
- Ouvertüre
- 1. Chor der Troubadours: Harfentöne laßt erklingen
- 2. Chor der Troubadours und Ritter: Zum Saal, der goldne Becher blinkt
- 3. Melodram
- 4. Finale I: Ida gib ein Zeichen
- Akt II
- 5. Chor der Troubadours und Ritter: Leben laßt den goldnen Wein
- 6. Melodram: Furie bebe!
- 7. Chor der Ritter: Sie Zauberin laßt uns betrügen (2 versions, 1st version is a sketch)
- 8. Melodram: Da zieh’n sie hin in heller Mondennacht
- 9. Finale II. Romanze des Palmerin: Was belebt die schöne Welt? (2 versions, 1st version is a sketch; NSA also appends an alternative, concert version); Chor der Genien: Schlafe, Liebliche
- Akt III
- Ouverture zum dritten Akt
- 10. Melodram: Geschlossen ist der Bund
- 11. Melodram hinter den Kulißen
- 12. Melodram: Wohlan! Euer Verlangen werde erfüllt!
- 13. Finale III. Schlußgesang: Durch der Töne Zaubermacht
- Akt I
- D 645, Song "Abend" ['Wie ist es denn, daß trüb und schwer'] for voice and piano (1819, fragment of a sketch)
- D 646, Song "Die Gebüsche" ['Es wehet kühl und leise'] for voice and piano (1819)
- D 647, Singspiel "Die Zwillingsbrüder" for soprano, tenor, three basses, mixed choir and orchestra (1819, in one act: Overture and ten numbers)
- Ouvertüre
- 1. Introduktion: Verglühet sind die Sterne
- 2. Duett: Vor dem Busen möge blühen
- 3. Arie: Der Vater mag wohl immer
- 4. Arie: Mag es stürmen, donnern
- 5. Quartett: Zu rechter Zeit bin ich gekommen
- 6. Arie: Liebe, theure Muttererde
- 7. Duett: Nur dir will ich gehören
- 8. Terzett: Wagen Sie Ihr Wort zu brechen
- 9. Quintett und Chor: Packt ihn, führt ihn vor Gericht
- 10. Schlußchor: Die Brüder haben sich gefunden
- D 648, Overture in E minor for orchestra (1819)
- D 649, Song "Der Wanderer" ['Wie deutlich des Mondes Licht zu mir spricht'] for voice and piano (1819, 2 versions; 2nd version first published as Op. 65 No. 2)
- D 650, Song "Abendbilder" ['Still beginnt’s im Hain zu tauen'] for voice and piano (1819)
D 651 to D 700
- D 651, Song "Himmelsfunken" ['Der Odem Gottes weht'] for voice and piano (1819)
- D 652, Song "Das Mädchen" ['Wie so innig, möcht ich sagen'] for voice and piano (1819, 2 versions)
- D 653, Song "Bertas Lied in der Nacht" ['Nacht umhüllt mit wehendem Flügel'] for voice and piano (1819)
- D 654, Song "An die Freunde" ['Im Wald, im Wald, da grabt mich ein'] for voice and piano (1819)
- D 655, Piano Sonata in C-sharp minor (1819; fragment of an "Allegro" is extant)
- D 656, Quintet "Sehnsucht" ['Nur wer die Sehnsucht kennt'] for two tenors and three basses (1819, 4th setting)
- D 657, Quartet "Ruhe, schönstes Glück der Erde" for two tenors and two basses (1819)
- D 658, Song "Geistliches Lied" ['Ich sehe dich in tausend Bildern'] for voice and piano [formerly "Marie"] (1819?)
- D 659, Song "Hymne" ['Wenige wissen das Geheimnis der Liebe'] for voice and piano (1819; also appears as "Hymne I")
- D 660, Song "Geistliches Lied" ['Wenn ich ihn nur habe'] for voice and piano (1819; also appears as "Hymne II")
- D 661, Song "Geistliches Lied" ['Wenn alle untreu werden'] for voice and piano (1819; also appears as "Hymne III")
- D 662, Song "Geistliches Lied" ['Ich sag’ es jedem, daß er lebt'] for voice and piano (1819; also appears as "Hymne IV")
- D 663, Hymn "Der 13. Psalm" ['Ach Herr, wie lange willst du mein so ganz vergessen?'] for voice and piano (1819, fragment)
- D 664, Piano Sonata in A major (1819 or 1825, first published as Op. posth. 120)
- D 665, see D 609
- D 666, Cantata "Kantate zum Geburtstag des Sängers Johann Michael Vogl" for soprano, tenor, bass and piano, Der Frühlingsmorgen (1819, first published as Op. posth. 158)
- I. Sänger, der von Herzen singet
- II. Diese Berge sah’n dich blühen
- III. Da saht ihr Orestes scheiden
- IV. Gott bewahr’ dein teures Leben
- D 667, Quintet in A major for violin, viola, violoncello, double bass and piano, Trout Quintet (1819?, first published as Op. posth. 114)
- D 668, Overture in G minor for piano duet (1819)
- D 669, Song "Beim Winde" ['Es traümen die Wolken'] for voice and piano (1819)
- D 670, Song "Die Sternennächte" ['In monderhellten Nächten'] for voice and piano (1819, 2 versions; 2nd version first published as Op. posth. 165 No. 2)
- D 671, Song "Trost" ['Hörnerklänge rufen klangend'] for voice and piano (1819)
- D 672, Song "Nachtstück" ['Wenn über Berge sich der Nebel breitet'] for voice and piano (1819, 2 versions; 2nd version first published as Op. 36 No. 2)
- D 673, Song "Die Liebende schreibt" ['Ein Blick von deinen Augen'] for voice and piano (1819, 2 versions; 2nd version first published as Op. posth. 165 No. 1)
- D 674, Song "Prometheus" ['Bedecke deinen Himmel, Zeus'] for bass and piano (1819)
- D 675, Overture in F major for piano duet (1819?, first published as Op. 34)
- D 676, Offertory "Salve Regina" ['Salve Regina'] in A major for soprano and orchestra, Drittes Offertorium (1819, first published as Op. posth. 153)
- D 677, Song "Strophe aus ‘Die Götter Griechenlands’ " ['Schöne Welt, wo bist du?'] for voice and piano (1819, 2 versions)
- D 678, Mass No. 5 in A-flat major for soprano, alto, tenor, bass, mixed choir, orchestra and organ (1819 and 1822; 2 versions)
- D 679, see D 980B
- D 680, see D 980C
- D 681, Twelve Ländler for piano (ca. 1815, Nos. 5–12 are extant)
- D 682, Song "Über allen Zauber Liebe" ['Sie hüpfte mit mir auf grünem Plan'] for voice and piano (1820 and 1824, fragment)
- D 683, see D 732 No. 11
- D 684, Song "Die Sterne" ['Du staunest, o Mensch'] for voice and piano (1820)
- D 685, Song "Morgenlied" ['Eh’ die Sonne früh aufersteht'] for voice and piano (1820, first published as Op. 4 No. 2)
- D 686, Song "Frühlingsglaube" ['Die linden Lüfte sind erwacht'] for voice and piano (1820, 3 versions; 3rd version first published as Op. 20 No. 2)
- D 687, Song "Nachthymne" ['Hinüber wall’ ich'] for voice and piano (1820)
- D 688, Song cycle Vier Canzonen for voice and piano (1820)
- 1. "Non t'accostar all'urna"
- 2. "Guarda, che bianca luna"
- 3. "Da quel sembiante appresi"
- 4. "Mio ben, ricordati"
- D 689, Oratorio "Lazarus, oder: Die Feier der Auferstehung" for three sopranos, two tenors, bass, mixed choir and orchestra (1820, in three acts; unfinished – Act I: twenty-one numbers, and eight numbers from Act II are extant)
- Akt I
- 1. Introduktion
- 2. Hier laßt mich ruhn die letzte Stunde
- 3. Noch einen Augenblick?
- 4. Trübe nicht mit Klagen seine Seele
- 5. Steh’ im letzten Kampf dem Müden
- 6. Voll Friede, ja, voll Fried’ ist die Seele
- 7. Kalter Schweiß rinnt von der Stirn
- 8. Willkommen, mein Nathanael
- 9. Wenn ich ihm nachgerungen habe
- 10. Nathanael, bewundern kann ich dich
- 11. O Martha, o Martha, bliebst du stiller
- 12. Der Trost begleite dich hinüber
- 13. Wenn nun mit tausendfachen Qualen
- 14. Gottes Liebe, du bist deine Zuversicht
- 15. In der Leiden bängster Nacht
- 16. Ach, so find’ ich ihn noch
- 17. Jemina, Tochter der Auferstehung
- 18. So schlummert auf Rosen
- 19. Nun entflog auf schnellen Schwingen
- 20. So war mir, Lazarus
- 21. O Barmherziger, o verlass ihn nicht
- Akt II
- 22. Introduktion
- 23. Wo bin ich?
- 24. Schon bereitet ihr Gräber
- 25. Wess ist der Klage Stimme
- 26. So weile hier, mein Freund
- 27. Sanft und still
- 28. So legt ihn in die Blumen
- 29. Wecke sie nicht
- Akt I
- D 690, Song "Abendröte" ['Tiefer sinket schon die Sonne'] for voice and piano (1823)
- D 691, Song "Die Vögel" ['Wie lieblich und fröhlich'] for voice and piano (1820, first published as Op. posth. 172 No. 6)
- D 692, Song "Der Knabe" ['Wenn ich nur ein Vöglein wäre'] for voice and piano (1820)
- D 693, Song "Der Fluß" ['Wie rein Gesang sich windet'] for voice and piano (1820)
- D 694, Song "Der Schiffer" ['Friedlich lieg’ ich hingegossen'] for voice and piano (1820)
- D 695, Song "Namenstagslied" ['Vater, schenk’ mir diese Stunde'] for voice and piano (1820?)
- D 696, Six Antiphons "Sechs Antiphonen zum Palmsonntag" for mixed choir (1820, first published as Op. posth. 113)
- 1. "Hosanna filio David"
- 2. "In monte Oliveti"
- 3. "Sanctus"
- 4. "Pueri Hebraeorum"
- 5. "Cum angelis et pueris"
- 6. "Ingrediente Domino"
- D 697, Six Écossaises in A-flat major for piano (1820, Nos. 1–4 and 6 are extant)
- D 698, Song "Des Fräuleins Liebeslauschen" ['Hier unten steht ein Ritter'] for voice and piano (1820)
- D 699, Song "Der entsühnte Orest" ['Zu meinen Füßen brichst du dich'] for voice and piano (1820)
- D 700, Song "Freiwilliges Versinken" ['Wohin? o Helios!'] for voice and piano (1820)
D 701 to D 750
- D 701, Opera "Sacontala" for fourteen sopranos, three altos, five tenors, nine basses, mixed choir and orchestra (1820, also appears as "Sakontala" or "Sakuntala"; in three acts; unfinished – sketches of eleven numbers from Acts I and II are extant)
- Akt I
- 1. Introduktion: Das holde Licht des Tages (sketch)
- 2. Arie: Du hoffest im Arme des Gatten (sketch)
- 3. Quintett: Hier liegen wir im Staub gebeuget (sketch)
- 4. Arie: Wie fühl’ ich, ihr Götter (sketch)
- 5. Chor der Waldnymphen: Wo du wandelst (sketch)
- 6. Arie: Noch schläft die goldne Sonne (sketch)
- 7. Finale I: Sieg deinen Fahnen, König (sketch)
- Akt II
- 8a. Terzett: Komm nur Dieb (sketch)
- 8b. Terzett: So liebes Brüderchen (sketch)
- 9. Quartett: Rosenzeit der Freuden (sketch)
- 10. Septett: Mit liebendem Verlangen (sketch)
- 11. Arie: Trauet auf Götter (sketch)
- Akt I
- D 702, Song "Der Jüngling auf dem Hügel" ['Ein Jüngling auf dem Hügel'] for voice and piano (1820, first published as Op. 8 No. 1)
- D 703, String Quartet in C minor, Quartettsatz (1820; unfinished – a complete first movement, known as Quartettsatz, and a fragment of the second movement are extant)
- D 704, see D 714
- D 705, Quartet "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for two tenors, two basses and piano (1820, 3rd setting; sketch)
- D 706, Hymn "Der 23. Psalm" ['Gott ist mein Hirt, mir wird nichts mangeln'] for two sopranos, two altos and piano (1820, first published as Op. posth. 132)
- D 707, Song "Der zürnenden Diana" ['Ja, spanne nur den Bogen'] for voice and piano (1820, 2 versions; 2nd version first published as Op. 36 No. 1)
- D 708, Song "Im Walde" ['Windes Rauschen, Gottes Flügel'] for voice and piano, Waldesnacht (1820)
- D 708A, Sketch of a Symphony in D major (after 1820, piano sketches of all four movements are extant)
- D 709, Quartet "Frühlingsgesang" ['Schmücket die Locken mit duftigen Kränzen'] for two tenors and two basses (before 1822, 1st setting)
- D 710, Quartet "Im Gegenwärtigen Vergangenes" ['Ros und Lilie morgentaulich'] for two tenors, two basses and piano (1821?)
- D 711, Song "Lob der Tränen" ['Laue Lüfte, Blumendüfte'] for voice and piano (1818?, 2 versions; 2nd version first published as Op. 13 No. 2)
- D 712, Song "Die gefangenen Sänger" ['Hörst du von den Nachtigallen'] for voice and piano (1821)
- D 713, Song "Der Unglückliche" ['Die Nacht bricht an'] for voice and piano (1821, 2 versions; 2nd version first published as Op. 87 No. 1)
- D 714, Octet "Gesang der Geister über den Wassern" ['Des Menschen Seele gleicht dem Wasser'] for four tenors, four basses, two violas, two violoncellos and double bass (1820–1821, 4th setting; 2 versions; 1st version [formerly D 704] is a sketch; 2nd version first published as Op. posth. 167)
- D 715, Song "Versunken" ['Voll Locken kraus ein Haupt so rund'] for voice and piano (1821, 2 versions)
- D 716, Song "Grenzen der Menschheit" ['Wenn der uralte heilige Vater'] for bass and piano (1821)
- D 717, Song "Suleika II" ['Ach um deine feuchten Schwingen'] for voice and piano (1821, first published as Op. 31)
- D 718, Variation in C minor on a Waltz by Anton Diabelli for piano (1821, written for "Vaterländischer Künstlerverein")
- D 719, Song "Geheimes" ['Über meines Liebchens Äugeln'] for voice and piano (1821, first published as Op. 14 No. 2)
- D 720, Song "Suleika I" ['Was bedeutet die Bewegung?'] for voice and piano (1821, 2 versions; 2nd version first published as Op. 14 No. 1)
- D 721, Song "Mahomets Gesang" ['Seht den Felsenquell'] for bass and piano (1821, 2nd setting; fragment)
- D 722, German Dance in G-flat major for piano (1821)
- D 723, Duet and Aria for Hérold's Das Zauberglöckchen ['Nein, nein, nein, nein, das ist zu viel'; 'Der Tag entflieht, der Abend glüht'] for two tenors, bass and orchestra (1821)
- D 724, Quartet "Die Nachtigall" ['Bescheiden verborgen im buschigten Gang'] for two tenors, two basses and piano (1821 or earlier, first published as Op. 11 No. 2)
- D 725, Duet "Linde Weste wehen" for mezzo-soprano, tenor and piano (1821, fragment)
- D 726, Song "Mignon I" ['Heiß mich nicht reden'] for voice and piano (1821, 1st setting)
- D 727, Song "Mignon II" ['So laßt mich scheinen, bis ich werde'] for voice and piano (1821, 2nd setting)
- D 728, Song "Johanna Sebus" ['Der Damm zerreißt'] for voice and piano (1821, fragment)
- D 729, Symphony (No. 7) in E major (1821, sketches of all four movements are extant)
- D 730, Hymn "Tantum ergo" ['Tantum ergo'] in B-flat major for soprano, alto, tenor, bass, mixed choir and orchestra (1821)
- D 731, Song "Der Blumen Schmerz" ['Wie tönt es mir so schaurig'] for voice and piano (1821, first published as Op. posth. 173 No. 4)
- D 732, Opera "Alfonso und Estrella" for two sopranos, two tenors, bass, two baritones, mixed choir and orchestra (1821–1822, in three acts: Overture and thirty-four numbers)
- Akt I
- Ouvertüre
- 1. Introduktion: Still, noch decket und sie Nacht
- 2. Arie: Sei mir gergrüßt, o Sonne
- 3. Chor und Ensemble: Versammelt euch, Bruder
- 4. Duett: Geschmückt von Glanz und Siegen
- 5. Rezitativ und Arie: Es ist dein streng Gebot
- 6. Rezitativ und Duett: Du rührst mich Theurer
- 7. Chor und Arie: Zur Jagd, zur Jagd!
- 8. Rezitativ und Arie: Verweile, o Prinzeßin (a version for voice and piano is also extant)
- 9. Duett: Ja gib, vernimm mein Flehen
- 10. Finale I: Glänzende Waffe den Krieger erfreut
- Akt II
- 11. Rezitativ und arie: O sing’ mir Vater [formerly D 683]
- 12. Rezitativ und Duett: Wie rühret mich dein herrlicher Gesang
- 13. Rezitativ und Arie: Wer bist du, holdes Wesen (a version for voice and piano is also extant)
- 14. Duett: Freundlich bist du mir erschienen
- 15. Arie: Könnt’ ich ewig hier verweilen
- 16. Duett: Laß dir als Erinnerungszeichen
- 17. Chor und Ensemble: Stille, Freunde, seht euch vor
- 18. Chor und Arie: Wo ist sie, was kommt ihr zu künden?
- 19. Ensemble: Die Prinzeßin ist erschienen
- 20. Duett und Chor: Darf Dich dein Kind umarmen?
- 21. Arie: Herrlich auf des Berges Höhen
- 22. Finale II: Sag’, wo ist er hingekommen
- Akt III
- 23. Introduktion
- 24. Duett: Hörst du rufen?
- 25. Duett: Du wirst mir nicht entrinnen
- 26. Terzett und Chor: Welche Stimme
- 27. Duett: Doch nun werde deinem Retter
- 28. Rezitativ und Duett: Ja ich, ich bin gerettet
- 29. Duett mit Chor: Wehe, wehe! Meines Vaters Schaaren seh’ich
- 30. Ensemble: Sie haben das Rufen vernommen
- 31. Rezitativ und Ensemble: Was geht hier vor
- 32. Arie: Wo find ich nur den Ort
- 33. Duett: Kein Geist, ich bin am Leben
- 34. Terzett: Empfange nun aus meiner Hand; Finale III: Was hör’ ich, welche Klänge
- Akt I
- D 733, Trois Marches Militaires for piano duet (1818?, first published as Op. 51)
- D 734, Sixteen Ländler and Two Écossaises for piano, Wiener Damen-Ländler (pub. 1826, first published as Op. 67)
- D 735, Galop and Eight Écossaises for piano (pub. 1825, first published as Op. 49)
- D 736, Song "Ihr Grab" ['Dort ist ihr Grab'] for voice and piano (1822?)
- D 737, Song "An die Leier" ['Ich will von Atreus Söhnen'] for voice and piano (1822 or 1823?, first published as Op. 56 No. 2)
- D 738, Song "Im Haine" ['Sonnenstrahlen durch die Tannen'] for voice and piano (1822 or 1823?, first published as Op. 56 No. 3)
- D 739, Hymn "Tantum ergo" ['Tantum ergo'] in C major for mixed choir, orchestra and organ (1814, first published as Op. 45)
- D 740, Quartet "Frühlingsgesang" ['Schmücket die Locken'] for two tenors, two basses and piano (1822, 2nd setting; first published as Op. 16 No. 1)
- D 741, Song "Sei mir gegrüßt" ['O du Entriß’ne mir'] for voice and piano (1821–1822, first published as Op. 20 No. 1)
- D 742, Song "Der Wachtelschlag" ['Ach! mir schallt’s dorten so lieblich hervor'] for voice and piano (pub. 1822, first published as Op. 68)
- D 743, Song "Selige Welt" ['Ich treibe auf des Lebens Meer'] for bass and piano (1822?, first published as Op. 23 No. 2)
- D 744, Song "Schwanengesang" ['Wie klag’ ich’s aus das Sterbegefühl'] for voice and piano (1822?, first published as Op. 23 No. 3)
- D 745, Song "Die Rose" ['Es lockte schöne Wärme'] for voice and piano (1822, 2 versions; 1st version first published as Op. 73)
- D 746, Song "Am See" ['In des Sees Wogenspiele'] for voice and piano (1822 or 1823?)
- D 747, Quartet "Geist der Liebe" ['Der Abend schleiert Flur und Hain'] for two tenors, two basses and piano (1822, 2nd setting; first published as Op. 11 No. 3)
- D 748, Cantata "Am Geburtstage des Kaisers" ['Steig empor, umblüht von Segen'] for soprano, alto, tenor, bass, mixed choir and orchestra (1822, first published as Op. posth. 157)
- D 749, Song "Herrn Josef Spaun, Assessor in Linz" ['Und nimmer schreibst du?'] for voice and piano (1822)
- D 750, Hymn "Tantum ergo" ['Tantum ergo'] in D major for mixed choir, orchestra and organ (1822)
D 751 to D 800
- D 751, Song "Die Liebe hat gelogen" ['Die Liebe hat gelogen, die Sorge lastet schwer'] for voice and piano (1822, first published as Op. 23 No. 1)
- D 752, Song "Nachtviolen" ['Nachtviolen, Nachtviolen'] for voice and piano (1822)
- D 753, Song "Heliopolis I" ['Im kalten, rauhen Norden ist Kunde mir geworden'] for voice and piano, Aus Heliopolis I or Im Hochgebirge (1822, first published as Op. 65 No. 3)
- D 754, Song "Heliopolis II" ['Fels auf Felsen hingewälzet'] for bass and piano, Aus Heliopolis II (1822)
- D 755, Kyrie ['Kyrie eleison'] to a Mass in A minor for soprano, alto, tenor, bass, mixed choir, string orchestra and organ (1822, sketch)
- D 756, Song "Du liebst mich nicht" ['Mein Herz ist zerrissen, du liebst mich nicht!'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 59 No. 1)
- D 757, Quartet "Gott in der Natur" ['Groß ist der Herr!'] for two sopranos, two altos and piano (1822, first published as Op. posth. 133)
- D 757A, March in B minor for piano (1822)
- D 758, Song "Todesmusik" ['In des Todes Feierstunde'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 108 No. 2)
- D 759, Symphony (No. 8) in B minor, Unfinished (1822, unfinished – two complete movements and a fragment of a "Scherzo" third movement are extant; the "Entre-Acte nach dem I. Aufzug", D 797 No. 1 is possibly the fourth movement)
- D 759A, Overture to the opera Alfonso und Estrella for piano (1822, version for piano of the Overture from D 732; first published as Op. 69)
- D 760, Fantasy in C major for piano, Wanderer Fantasy (1822, first published as Op. 15)
- D 761, Song "Schatzgräbers Begehr" ['In tiefster Erde ruht ein alt Gesetz'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 23 No. 4)
- D 762, Song "Schwestergruß" ['Im Mondenschein’ wall’ ich auf und ab'] for voice and piano (1822)
- D 763, Quartet "Schicksalslenker, blicke nieder" ['Schicksalslenker, blicke nieder'] for soprano, alto, tenor, bass and piano, Des Tages Weihe (1822, first published as Op. posth. 146)
- D 764, Song "Der Musensohn" ['Durch Feld und Wald zu schweifen'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 92 No. 1)
- D 765, Song "An die Entfernte" ['So hab’ ich wirklich dich verloren?'] for voice and piano (1822)
- D 766, Song "Am Flusse" ['Verfließest, vielgeliebte Lieder'] for voice and piano (1822, 2nd setting)
- D 767, Song "Willkommen und Abschied" ['Es schlug mein Herz'] for voice and piano (1822, 2 versions; 2nd version first published as Op. 56 No. 1)
- D 768, Song "Wandrers Nachtlied" ['Über allen Gipfeln ist Ruh'] for voice and piano (1824, first published as Op. 96 No. 3)
- D 769, Two German Dances for piano (1823–1824)
- D 769A, Piano Sonata in E minor [formerly D 994] (ca. 1823, fragment of an "Allegro" first movement is extant)
- D 770, Song "Drang in die Ferne" ['Vater, du glaubst es nicht'] for voice and piano (1823, first published as Op. 71)
- D 771, Song "Der Zwerg" ['Im trüben Licht verschwinden schon die Berge'] for voice and piano (1822?, first published as Op. 22 No. 1)
- D 772, Song "Wehmut" ['Wenn ich durch Wald und Fluren geh’ '] for voice and piano (1822 or 1823?, first published as Op. 22 No. 2)
- D 773, Overture to the opera Alfonso und Estrella for piano duet (1823, version for piano duet of the Overture from D 732; first published as Op. 69)
- D 774, Song "Auf dem Wasser zu singen" ['Mitten im Schimmer der spiegelnden Wellen'] for voice and piano (1823, first published as Op. 72)
- D 775, Song "Daß sie hier gewesen" ['Daß der Ostwind Düfte hauchet'] for voice and piano (1823?, first published as Op. 59 No. 2)
- D 776, Song "Du bist die Ruh" ['Du bist die Ruh, der Friede mild'] for voice and piano (1823, first published as Op. 59 No. 3)
- D 777, Song "Lachen und Weinen" ['Lachen und Weinen zu jeglicher Stunde'] for voice and piano (1823?, first published as Op. 59 No. 4)
- D 778, Song "Greisengesang" ['Der Frost hat mir bereifet'] for bass and piano (1823, 3 versions; 3rd version first published as Op. 60 No. 1)
- D 778A, Song "Die Wallfahrt" ['Meine Tränen im Bußgewand'] for bass and piano (1823?)
- D 778B, Quartet "Ich hab’ in mich gesogen" ['Ich hab’ in mich gesogen den Frühling treu und lieb'] for two tenors and two basses (1827?, sketch)
- D 779, Thirty-four Valses Sentimentales for piano (pub. 1825, first published as Op. 50)
- D 780, Six Moments musicaux for piano (pub. 1828, first published as Op. 94)
- D 781, Twelve Écossaises for piano (1823, Nos. 2–12 are extant)
- D 782, Écossaise in D major for piano (pub. 1824)
- D 783, Sixteen German Dances and Two Écossaises for piano (1823–1824; German Dances Nos. 8 and 9 also used in D 366, D 814; first published as Op. 33)
- D 784, Piano Sonata in A minor (1823, first published as Op. posth. 143)
- D 785, Song "Der zürnende Barde" ['Wer wagt’s, wer wagt’s'] for bass and piano (1823)
- D 786, Song "Viola" ['Schneeglöcklein, o Schneeglöcklein'] for voice and piano (1823, first published as Op. posth. 123)
- D 787, Singspiel "Die Verschworenen" for four or five sopranos, two altos, two or three tenors, two basses, mixed choir and orchestra, Der haüsliche Krieg (1823, in one act: eleven numbers)
- Ouvertüre (fragment)
- 1. Duett: Sie ist’s! Er ist’s! (2 versions; 1st version for soprano, tenor and orchestra; 2nd version for two sopranos and orchestra)
- 2. Romanze: Ich schleiche bang’ und still herurn
- 3. Ensemble: Ihr habt auf Eure Burg entboten
- 4. Verschwörungschor: Ja, wir schwören
- 5. Marsch und Chor: Vorüber ist die Zeit
- 6. Ensemble: Verrätherei hab’ ich entdeckt
- 7. Chor der Ritter und Frauen: Willkommen, schön willkommen
- 8. Duett: Ich muß sie finden
- 9. Ariette: Ich habe gewagt und habe gestritten
- 10. Ariette: Gesetzt, ihr habt wirklich gewagt
- 11. Finale: Wie? Darf ich meinen Augen traun?; Ensemble: Ich bin beschämt
- D 788, Song "Lied (Des Lebens Tag ist schwer und schwül)" ['Des Lebens Tag ist schwer und schwül'] for voice and piano, Die Mutter Erde (1823)
- D 789, Song "Pilgerweise" ['Ich bin ein Waller auf der Erde'] for voice and piano (1823)
- D 790, Twelve German Dances for piano (1823, also appear as "Twelve Ländler"; first published as Op. posth. 171)
- D 791, Opera "Rüdiger" for two tenors, men’s choir and orchestra (1823, sketches of two numbers are extant)
- 1. Introduktion: Durch der Ostsee wilde Wogen (sketch)
- 2. Duett: Ja, sie war’s, der Frauen Krone (sketch)
- D 792, Song "Vergißmeinnicht" ['Als der Frühling'] for voice and piano (1823)
- D 793, Song "Das Geheimnis" ['Sie konnte mir kein Wörtchen sagen'] for voice and piano (1823, 2nd setting; first published as Op. posth. 173 No. 2)
- D 794, Song "Der Pilgrim" ['Noch in meines Lebens Lenze'] for voice and piano (1823, 2 versions; 2nd version first published as Op. 37 No. 1)
- D 795, Song cycle Die schöne Müllerin for voice and piano (1823, first published as Op. 25)
- 1. "Das Wandern" ['Das Wandern ist des Müllers Lust']
- 2. "Wohin?" ['Ich hört’ ein Bächlein rauschen']
- 3. "Halt!" ['Eine Mühle seh’ ich blinken']
- 4. "Danksagung an den Bach" ['War es also gemeint']
- 5. "Am Feierabend" ['Hätt’ ich tausend Arme zu rühren']
- 6. "Der Neugierige" ['Ich frage keine Blume']
- 7. "Ungeduld" ['Ich schnitt’ es gern in alle Rinden ein']
- 8. "Morgengruß" ['Guten Morgen, schöne Müllerin']
- 9. "Des Müllers Blumen" ['Am Bach viel kleine Blumen stehn’ ']
- 10. "Tränenregen" ['Wir saßen so traulich beisammen']
- 11. "Mein!" ['Bächlein, laß dein Rauschen sein'] (NSA also appends a modified version)
- 12. "Pause" ['Meine Laute hab’ ich gehängt an die Wand']
- 13. "Mit dem grünen Lautenbande" ['Schad’ um das schöne grüne Band'] (NSA also appends a modified version)
- 14. "Der Jäger" ['Was sucht denn der Jäger']
- 15. "Eifersucht und Stolz" ['Wohin so schnell']
- 16. "Die liebe Farbe" ['In Grün will ich mich kleiden']
- 17. "Die böse Farbe" ['Ich möchte zieh’n in die Welt hinaus']
- 18. "Trockne Blumen" ['Ihr Blümlein alle'] (NSA also appends a modified version)
- 19. "Der Müller und der Bach" ['Wo ein treues Herze'] (NSA also appends a modified version)
- 20. "Des Baches Wiegenlied" ['Gute Ruh’, gute Ruh’ ']
- D 796, Opera "Fierabras" for three sopranos, three tenors, three basses, baritone, one spoken role, mixed choir and orchestra (1823, also appears as "Fierrabras"; in three acts: Overture and twenty-three numbers; first published as Op. 76)
- Akt I
- Ouvertüre
- 1. Introduktion: Der Runde Silberfaden
- 2. Duett: O Mög’ auf froher Hoffnung Schwingen
- 3. Marsch und Chor: Zu hohen Ruhmespforten
- 4. Ensemble
- a. Rezitativ und Chor: Die Beute laß, o Herr
- b. Ensemble: Des Krieges Loos hat Euch
- c. Erzählung: Am Rand der Eb’ne
- d. Ensemble: Der Landestöcher fromme Pflichteu
- e. Quartett mit Chor: Dem Erfolg vertrauen
- 5. Duett: Laß uns mutvoll hoffen
- 6. Finale I
- a. Romanze: Der Abend sinkt auf stiller Flur
- b. Rezitativ und Arie: Was quälst du mich, o Mißgeschick
- c. Ensemble: Doch horch, was regt sich
- d. Terzett: Ha, hier waltet ein Verrath
- e. Rezitativ: Nun faßet Muth
- f. Rezitativ und Terzett: Wie? Emma hier?
- g. Quartett mit Chor: Fort zum Siegesreigen
- Akt II
- 7. Lied mit Chor: Im jungen Morgenstrahle
- 8. Rezitativ, March und Ensemble: Beschloßen ist’s, ich löse seine Ketten!; Duett mit Chor: Was ist ihm geschehen?
- 9. Duett: Weit über Glanz und Erdenschimmer
- 10. Quintett: Verderben denn und Fluch
- 11. Chor: Laßt Friede in die Hallen
- 12. Terzett mit Chor: Im Tode sollt ihr büßen
- 13. Arie: Die Brust, gebeugt von Sorgen
- 14. Chor a capella: O theures Vaterland!
- 15. Melodram
- a. Melodram. Rezitativ und Ensemble: Ha, was ist das?
- b. Duett mit Chor: Selbst an des Grabes Rande
- 16. Chor und Melodram: Der Hoffnung Strahl, den du gegeben
- 17. Finale II
- a. Terzett und Chor: Uns führt der Vorsicht weise Hand
- b. Melodram: Schützt ihn, ihr ew’gen Mächte
- Akt III
- 18. Chor: Bald tönet der Reigen
- 19. Quartett: Bald wird es klar
- 20. Terzett: Wenn hoch im Wolkensitze
- 21. Arie mit Chor: Der Jammers herbe Qualen; Marcia funebre und Ensemble (the latter part of this number, "Laß dein Vertrauen nicht schwinden" was formerly D 333)
- 22. Chor und Ensemble: Der Rache Opfer fallen
- 23. Finale III
- a. Rezitativ: Er ist mein Vater
- b. Ensemble: Der Sieg begleitet meine tapfern Heere
- c. Nun laßt des langersehnten Glücks uns freuen
- Akt I
- D 797, Music for Schauspiel "Rosamunde, Fürstin von Zypern" for alto, mixed choir and orchestra (1823, Overture and nine numbers; first published as Op. 26)
- Ouvertüre (from D 644)
- 1. Entre-Acte nach dem I. Aufzug (possibly the fourth movement of the Symphony (No. 8) in B minor, D 759)
- 2. Ballett
- 3a. Entre-Acte nach dem II. Aufzug
- 3b. Romanze: Der Vollmond strahlt auf Bergeshöh’n
- 4. Gesiterchor: In der Tiefe wohnt das Licht
- 5. Entre-Acte nach dem III. Aufzug
- 6. Hirtenmelodien
- 7. Hirtenchor: Hier auf den Fluren
- 8. Jagerchor: Wie lebt sich’s so fröhlich im Grünen
- 9. Ballett
- D 798, Overture to the opera Fierabras for piano duet (1823, version for piano duet of the Overture from D 796; NSA also appends a version by Carl Czerny)
- D 799, Song "Im Abendrot" ['Oh, wie schön ist deine Welt'] for voice and piano (1824 or 1825, 2 versions)
- D 800, Song "Der Einsame" ['Wann meine Grillen schwirren'] for voice and piano (1825; publishers print 2 versions, but NSA states that the differences between both do not justify a 2nd version; first published as Op. 41)
D 801 to D 850
- D 801, Song "Dithyrambe" ['Nimmer, das glaub mir, erscheinen die Götter'] for bass and piano (pub. 1826, 2nd setting; 2 versions; 2nd version first published as Op. 60 No. 2)
- D 802, Variations in E minor for flute and piano, Trockne Blumen (1824, 2 versions of "Variation V"; first published as Op. posth. 160)
- D 803, Octet in F major for two violins, viola, violoncello, double bass, clarinet, horn and bassoon (1824, first published as Op. posth. 166)
- D 804, String Quartet in A minor, Rosamunde (1824, first published as Op. 29)
- D 805, Song "Der Sieg" ['O unbewölktes Leben'] for bass and piano (1824)
- D 806, Song "Abendstern" ['Was weilst du einsam an dem Himmel'] for voice and piano (1824)
- D 807, Song "Auflösung" ['Verbirg dich, Sonne'] for voice and piano (1824)
- D 808, Song "Gondelfahrer" ['Es tanzen Mond und Sterne'] for voice and piano (1824, 1st setting)
- D 809, Quartet "Gondelfahrer" ['Es tanzen Mond und Sterne'] for two tenors, two basses and piano (1824, 2nd setting; first published as Op. 28)
- D 810, String Quartet in D minor, Death and the Maiden (1824)
- D 811, Antiphon "Salve Regina" ['Salve Regina'] in C major for two tenors and two basses (1824, first published as Op. posth. 149)
- D 812, Sonata in C major for piano duet, Grand Duo (1824, first published as Op. posth. 140)
- D 813, Eight Variations on an original theme in A-flat major for piano duet (1824, first published as Op. 35)
- D 814, Four Ländler for piano duet (1824)
- D 815, Quartet "Gebet" ['Du Urquell aller Güte'] for soprano, alto, tenor, bass and piano (1824, first published as Op. posth. 139)
- D 816, Three Écossaises for piano (1824)
- D 817, Ungarische Melodie in B minor for piano (1824)
- D 818, Divertissement à la hongroise in G minor for piano duet (1824, first published as Op. 54)
- D 819, Six Grandes Marches for piano duet (1818 or 1824, first published as Op. 40)
- D 820, Six German Dances for piano (1824)
- D 821, Sonata in A minor for arpeggione and piano (1824)
- D 822, Cantata "Lied eines Kriegers" ['Des stolzen Männerlebens schönste Zeichen'] for bass, unison men’s choir and piano (1824)
- D 823, Divertissement sur des motifs originaux français in E minor for piano duet (pub. 1826–1827, first movement originally published as Marche Brillante, Op. 63; second and third movements first published as Andantino varié and Rondeau brillant, Op. 84 Nos. 1–2)
- D 824, Six Polonaises for piano duet (1826, first published as Op. 61)
- D 825, Quartet "Wehmut" ['Die Abendglocke tönet'] for two tenors and two basses (1826, first published as Op. 64 No. 1)
- D 825A, Quartet "Ewige Liebe" ['Ertönet, ihr Saiten, in nächtlicher Ruh'] for two tenors and two basses (1826, first published as Op. 64 No. 2)
- D 825B, Quartet "Flucht" ['In der Freie will ich leben'] for two tenors and two basses (1825, first published as Op. 64 No. 3)
- D 826, Quartet "Der Tanz" ['Es redet und träumet die Jugend so viel'] for soprano, alto, tenor, bass and piano (1828)
- D 827, Song "Nacht und Träume" ['Heil’ge Nacht, du sinkest nieder!'] for voice and piano (1823, 2 versions; 2nd version first published as Op. 43 No. 2)
- D 828, Song "Die junge Nonne" ['Wie braust durch die Wipfel'] for voice and piano (1825, first published as Op. 43 No. 1)
- D 829, Melodrama "Leb’ wohl du schöne Erde" ['Leb’ wohl du schöne Erde'] for spoken voice and piano (1826, also appears as "Abschied" or "Abschied von der Erde")
- D 830, Song "Lied der Anne Lyle" ['Wärst du bei mir im Lebenstal'] for voice and piano (1825?, first published as Op. 85 No. 1)
- D 831, Song "Gesang der Norna" ['Mich führt mein Weg wohl meilenlang'] for voice and piano (1825, first published as Op. 85 No. 2)
- D 832, Song "Des Sängers Habe" ['Schlagt mein ganzes Glück in Splitter'] for voice and piano (1825)
- D 833, Song "Der blinde Knabe" ['O sagt, ihr Lieben, mir einmal'] for voice and piano (1825, 2 versions; 2nd version first published as Op. posth. 101 No. 2; NSA also appends a modified 2nd version)
- D 834, Song "Im Walde" ['Ich wandre über Berg und Tal'] for voice and piano (1825, 2 versions; 2nd version first published as Op. 93 No. 1)
- D 835, Quartet "Bootgesang" ['Triumph, er naht'] for two tenors, two basses and piano (1825, first published as Op. 52 No. 3)
- D 836, Chorus "Coronach (Totengesang der Frauen und Mädchen)" ['Er ist uns geschieden'] for women’s choir and piano, Totengesang der Frauen und Mädchen (1825, first published as Op. 52 No. 4)
- D 837, Song "Ellens Gesang I" ['Raste, Krieger, Krieg ist aus'] for voice and piano (1825, first published as Op. 52 No. 1)
- D 838, Song "Ellens Gesang II" ['Jäger, ruhe von der Jagd!'] for voice and piano (1825, first published as Op. 52 No. 2)
- D 839, Song "Ellens Gesang III (Hymne an die Jungfrau)" ['Ave Maria! Jungfrau mild'] for voice and piano, Ave Maria or Hymne an die Jungfrau (1825, first published as Op. 52 No. 6)
- D 840, Piano Sonata in C major, Reliquie (1825, unfinished – first and second movements are complete; third and fourth movements are fragments)
- D 841, Two German Dances for piano (1825)
- D 842, Song "Totengräbers Heimwehe" ['O Menschheit, o Leben, was soll’s?'] for voice and piano (1825)
- D 843, Song "Lied des gefangenen Jägers" ['Mein Roß so müd'] for voice and piano (1825, first published as Op. 52 No. 7)
- D 844, Waltz in G major for piano, Albumblatt (1825)
- D 845, Piano Sonata in A minor (1825, first published as Op. 42)
- D 846, Song "Normans Gesang" ['Die Nacht bricht bald herein'] for voice and piano (1825, first published as Op. 52 No. 5)
- D 847, Quartet "Trinklied aus dem 16. Jahrhundert" ['Edit Nonna, edit Clerus'] for two tenors and two basses (1825, first published as Op. posth. 155)
- D 848, Quartet "Nachtmusik" ['Wir stimmen dir mit Flötensang'] for two tenors and two basses (1825, first published as Op. posth. 156)
- D 849, see D 944
- D 850, Piano Sonata in D major, Gasteiner (1825, first published as Op. 53)
D 851 to D 900
- D 851, Song "Das Heimweh" ['Ach, der Gebirgssohn'] for voice and piano (1825, 2 versions; 2nd version first published as Op. 79 No. 1)
- D 852, Song "Die Allmacht" ['Groß ist Jehova, der Herr'] for voice and piano (1825, 1st setting; first published as Op. 79 No. 2; NSA also appends a modified version)
- D 853, Song "Auf der Bruck" ['Frisch trabe sonder Ruh’ und Rast'] for voice and piano (1825, 2 versions; 2nd version first published as Op. 93 No. 2)
- D 854, Song "Fülle der Liebe" ['Ein sehnend Streben teilt mir das Herz'] for voice and piano (1825)
- D 855, Song "Wiedersehn" ['Der Frühlingssonne holdes Lächeln'] for voice and piano (1825)
- D 856, Song "Abendlied für die Entfernte" ['Hinaus mein Blick, hinaus ins Tal'] for voice and piano (1825, first published as Op. 88 No. 1)
- D 857, Two songs "Zwei Szenen aus dem Schauspiel ‘Lacrimas’ " for voice and piano (1825, first published as Op. posth. 124)
- 1. "Lied der Delphine" ['Ach, was soll ich beginnen vor Liebe?']
- 2. "Lied des Florio" ['Nun, da Schatten niedergleiten']
- D 858, see D Anh. I/7
- D 859, Grande Marche Funèbre in C minor for piano duet (1825, first published as Op. 55)
- D 860, Song "An mein Herz" ['O Herz, sei endlich stille'] for voice and piano (1825)
- D 861, Song "Der liebliche Stern" ['Ihr Sternlein, still in der Höhe'] for voice and piano (1825)
- D 862, Song "Um Mitternacht" ['Keine Stimme hör’ ich schallen'] for voice and piano (1825 and 1826?, 2 versions; 2nd version first published as Op. 88 No. 3)
- D 863, Song "An Gott" ['Kein Auge hat dein Angesicht geschaut'] for one or more voices (1827 or earlier, lost)
- D 864, Song "Das Totenhemdchen" ['Starb das Kindlein'] for one or more voices (after 1824, lost)
- D 865, Quartet "Widerspruch" ['Wenn ich durch Busch und Zweig'] for two tenors, two basses and piano (1828, 2 versions; 2nd version for voice and piano; first published as Op. 105 No. 1)
- D 866, Song cycle Vier Refrainlieder for voice and piano (1828?, first published as Op. 95)
- 1. "Die Unterscheidung" ['Die Mutter hat mich jüngst gescholten']
- 2. "Bei dir allein" ['Bei dir allein empfind ich, daß ich lebe']
- 3. "Die Männer sind méchant" ['Du sagtest mir es, Mutter']
- 4. "Irdisches Glück" ['So mancher sieht mit finstrer Miene']
- D 867, Song "Wiegenlied" ['Wie sich der Äuglein kindlicher Himmel'] for voice and piano (1826 or 1827, first published as Op. 105 No. 2)
- D 868, see D 990C
- D 869, Song "Totengräber-Weise" ['Nicht so düster und so bleich'] for voice and piano (1826)
- D 870, Song "Der Wanderer an den Mond" ['Ich auf der Erd’, am Himmel du'] for voice and piano (1826, first published as Op. 80 No. 1)
- D 871, Song "Das Zügenglöcklein" ['Kling die Nacht durch, klinge'] for voice and piano (1826, 2 versions; 2nd version first published as Op. 80 No. 2)
- D 872, Mass "Deutsche Messe" for mixed choir and organ, Gesänge zur Feier des heiligen Opfers der Messe. Nebst einem Anhange, enthaltend: Das Gebet des Herr (1827, 2 versions; 2nd version adds two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and double bass)
- D 873, Canon ["?"] ['?'] in A major for six voices (1826?, sketch without text)
- D 873A, Quartet "Nachklänge" ['?'] for two tenors and two basses (?) (1826?, sketch without text)
- D 874, Song "O Quell, was strömst du rasch und wild" ['O Quell, was strömst du rasch und wild'] for voice and piano (1826?, sketch)
- D 875, Quintet "Mondenschein" ['Des Mondes Zauberblume lacht'] for two tenors, three basses and piano (1826, first published as Op. 102)
- D 875A, Chorus "Die Allmacht" ['Groß ist Jehova der Herr!'] for mixed choir and piano (1826, 2nd setting; sketch)
- D 876, Song "Im Jänner 1817" ['Ich bin von aller Ruh’ geschieden'] for voice and piano, Tiefes Leid (1826)
- D 877, Song cycle Gesänge aus "Wilhelm Meister" (1826, first published as Op. 62)
- 1. "Mignon und der Harfner" ['Nur wer die Sehnsucht kennt'] for two voices and piano (5th setting)
- 2. "Lied der Mignon" ['Heiß mich nicht reden, heiß mich schweigen'] for voice and piano (2nd setting; NSA also appends a modified version)
- 3. "Lied der Mignon" ['So laßt mich scheinen, bis ich werde'] for voice and piano (3rd setting)
- 4. "Lied der Mignon" ['Nur wer die Sehnsucht kennt'] for voice and piano (6th setting)
- D 878, Song "Am Fenster" ['Ihr lieben Mauern hold und traut'] for voice and piano (1826, first published as Op. 105 No. 3)
- D 879, Song "Sehnsucht" ['Die Scheibe friert, der Wind ist rauh'] for voice and piano (1826, first published as Op. 105 No. 4)
- D 880, Song "Im Freien" ['Draußen in der weiten Nacht'] for voice and piano (1826, first published as Op. 80 No. 3)
- D 881, Song "Fischerweise" ['Den Fischer fechten Sorgen und Gram und Leid nicht an'] for voice and piano (1826, 2 versions; 2nd version first published as Op. 96 No. 4)
- D 882, Song "Im Frühling" ['Still sitz’ ich an des Hügels Hang'] for voice and piano (1826, 2 versions; 2nd version first published as Op. posth. 101 No. 1)
- D 883, Song "Lebensmut" ['O wie dringt das junge Leben'] for voice and piano (1826)
- D 884, Song "Über Wildemann" ['Die Winde sausen am Tannenhang'] for voice and piano (1826, first published as Op. 108 No. 1)
- D 885, Grande Marche Héroique in A minor for piano duet (pub. 1826, first published as Op. 66)
- D 886, see D 968B
- D 887, String Quartet in G major (1826, first published as Op. posth. 161)
- D 888, Song "Trinklied" ['Bacchus, feister Fürst des Weins'] for voice and piano (1826)
- D 889, Song "Ständchen" ['Horch, horch! die Lerch im Ätherblau'] for voice and piano (1826)
- D 890, Song "Hippolits Lied" ['Laßt mich, ob ich auch still verglüh'] for voice and piano (1826)
- D 891, Song "An Sylvia" ['Was ist Silvia, saget an'] for voice and piano, Gesang (1826, first published as Op. 106 No. 4)
- D 892, Cantata "Nachthelle" ['Die Nacht ist heiter'] for tenor solo, two tenors, two basses and piano (1826, first published as Op. posth. 134)
- D 893, Quartet "Grab und Mond" ['Silberblauer Mondenschein fällt herab'] for two tenors and two basses (1826)
- D 894, Piano Sonata in G major, Fantasie (1826, first published as Op. 78; NSA also appends a discarded 1st version of the second movement)
- D 895, Rondo in B minor for violin and piano, Rondeau brillant (1826, first published as Op. 70)
- D 896, Song "Fröhliches Scheiden" ['Gar fröhlich kann ich scheiden'] for voice and piano (1827–1828, sketch)
- D 896A, Song "Sie in jedem Liede" ['Nehm ich die Harfe'] for voice and piano (1827–1828, sketch)
- D 896B, Song "Wolke und Quelle" ['Auf meinen heimischen Bergen'] for voice and piano (1827–1828, sketch)
- D 897, Trio in E-flat major for violin, violoncello and piano, Notturno (1828?, an "Adagio" movement is extant; first published as Op. posth. 148)
- D 898, Trio (No. 1) in B-flat major for violin, violoncello and piano (1828?, first published as Op. 99)
- D 899, Four Impromptus for piano (1827, first published as Op. 90)
- D 900, Allegretto in C minor for piano (after 1820?, fragment)
D 901 to D 950
- D 901, Quartet "Wein und Liebe" ['Liebchen und der Saft der Reben'] for two tenors and two basses (1827)
- D 902, Three songs "Drei Gesänge" for bass and piano (1827, first published as Op. 83)
- 1. "L'incanto degli occhi; Die Macht der Augen" ['Da voi, cari lumi'; 'Nur euch, schöne Sterne'] (2nd setting)
- 2. "Il traditor deluso; Der getäuschte Verräter" ['Ahimè, io tremo!'; 'Weh mir, ich bebe!']
- 3. "Il modo di prender moglie; Die Art ein Weib zu nehmen" ['Orsù! non ci pensiamo'; 'Wohlan! und ohne Zagen']
- D 903, Cantata "Zur guten Nacht" ['Horch auf! Es schlägt die Stunde'] for baritone, men’s choir and piano (1827, first published as Op. 81 No. 3)
- D 904, Song "Alinde" ['Die Sonne sinkt in’s tiefe Meer'] for voice and piano (1827, first published as Op. 81 No. 1)
- D 905, Song "An die Laute" ['Leiser, leiser, kleine Laute'] for voice and piano (1827, first published as Op. 81 No. 2)
- D 906, Song "Der Vater mit dem Kind" ['Dem Vater liegt das kind in Arm'] for voice and piano (1827)
- D 907, Song "Romanze des Richard Löwenherz" ['Großer Taten tat der Ritter fern im heiligen Lande viel'] for voice and piano (1826?, 2 versions; 2nd version first published as Op. 86)
- D 908, Eight Variations on a theme from Hérold's Opera Marie for piano duet (1827, first published as Op. 82 No. 1)
- D 909, Song "Jägers Liebeslied" ['Ich schieß’ den Hirsch im grünen Forst'] for voice and piano (1827, first published as Op. 96 No. 2)
- D 910, Song "Schiffers Scheidelied" ['Die Wogen am Gestade schwellen'] for voice and piano (1827)
- D 911, Song cycle Winterreise for voice and piano (1827, first published as Op. 89)
- 1. "Gute Nacht" ['Fremd bin ich eingezogen']
- 2. "Die Wetterfahne" ['Der Wind spielt mit der Wetterfahne']
- 3. "Gefror’ne Tränen" ['Gefror’ne Tropfen fallen']
- 4. "Erstarrung" ['Ich such’ im Schnee vergebens']
- 5. "Der Lindenbaum" ['Am Brunnen vor dem Tore']
- 6. "Wasserflut" ['Manche Trän’ aus meinen Augen']
- 7. "Auf dem Flusse" ['Der du so lustig rauschtest'] (2 versions)
- 8. "Rückblick" ['Es brennt mir unter beiden Sohlen']
- 9. "Irrlicht" ['In die tiefsten Felsengründe']
- 10. "Rast" ['Nun merk’ ich erst, wie müd ich bin'] (2 versions)
- 11. "Frühlingstraum" ['Ich träumte von bunten Blumen'] (2 versions)
- 12. "Einsamkeit" ['Wie eine trübe Wolke']
- 13. "Die Post" ['Von der Straße her ein Posthorn klingt']
- 14. "Der greise Kopf" ['Der Reif hat einen weißen Schein']
- 15. "Die Krähe" ['Eine Krähe war mit mir aus der Stadt gezogen']
- 16. "Letzte Hoffnung" ['Hie und da ist an den Bäumen']
- 17. "Im Dorfe" ['Es bellen die Hunde']
- 18. "Der stürmische Morgen" ['Wie hat der Sturm zerrissen']
- 19. "Täuschung" ['Ein Licht tanzt freundlich vor mir her']
- 20. "Der Wegweiser" ['Was vermeid’ ich denn die Wege']
- 21. "Das Wirtshaus" ['Auf einen Totenacker hat mich mein Weg gebracht']
- 22. "Mut" ['Fliegt der Schnee mir ins Gesicht'] (2 versions)
- 23. "Die Nebensonnen" ['Drei Sonnen sah ich'] (2 versions)
- 24. "Der Leiermann" ['Drüben hinterm Dorfe steht ein Leiermann']
- D 912, Chorus "Schlachtlied" ['Mit unserm Arm ist nichts getan'] for double men’s choir (1827, 2nd setting; first published as Op. posth. 151)
- D 913, Quartet "Nachtgesang im Walde" ['Sei uns stets gegrüßt, o Nacht!'] for two tenors, two basses and four horns (1827, first published as Op. posth. 139)
- D 914, Quartet "Frühlingslied" ['Geöffnet sind des Winters Riegel'] for two tenors and two basses (1827, 1st setting)
- D 915, Allegretto in C minor for piano (1827)
- D 916, Quartet "Das stille Lied" ['Schweige nur, süßer Mund'] for two tenors and two basses (1827, sketch)
- D 916A, Song ["?"] ['?'] for voice and piano "Liedentwurf in C" (1827?, sketch without text)
- D 916B, Piano piece in C major (1827?, sketch)
- D 916C, Piano piece in C minor (1827?, sketch)
- D 917, Song "Das Lied im Grünen" ['Ins Grüne, ins Grüne, da lockt uns der Frühling'] for voice and piano (1827, first published as Op. posth. 115 No. 1)
- D 918, Opera "Der Graf von Gleichen" for four sopranos, two tenors, six basses, mixed choir and orchestra (1827, in two acts; unfinished – sketches of eleven numbers for Act I and nine numbers for Act II are extant)
- Akt I
- 1. Introduktion: Es funkelt der Morgen (sketch)
- 2. Rezitativ und Cavatine: O Himmel kannst du mir; Mein Weib, o Gott (sketch)
- 3. Terzett: Wart nur wart (sketch)
- 4. Duett: Ein Schiff? ein Schiff? (sketch)
- 5a. Arie: Ihr Blumen, ihr Bäume (sketch)
- 5b. Rezitativ und Duettritornell: Suleika! Mein Herr und Freund! (sketch)
- 5c. Duett: Ich wünscht um dich zu schmücken (sketch)
- 6. Marsch, Rezitativ, Arie und Chor: Ha! Was ist das? (sketch)
- 7. Quintett: Wie Mondlicht durch die Wolken glänzt (sketch)
- 8. Rezitativ und Arie: Himmel was mußt’ ich hören?; Ja ich lieb’ ihn (sketch)
- 9. Lied: Tausend Frauen konnt’ ich schauen (sketch)
- 10. Duett: Ob ich verstehe? (sketch)
- 11. Finale I: Sie wird kommen (sketch)
- Akt II
- 12. Chor: Laßt uns nicht feyern (sketch)
- 13. Arie: Trocknet nicht Thränen der ewigen Liebe (sketch)
- 14. Chor: Vaterland nimm uns auf in deinen Arm (sketch)
- 15. Rezitativ und Arie: Burg meiner Väter; O Vater der Güte (sketch)
- 16a. Rezitativ und Duett mit Chor: Wo ist er?; Laß ab mir sprengts die Brust (sketch)
- 16b. Rezitativ und Chor: Doch sprich, wo ist mein süßer Knabe? (sketch)
- 17a. Terzett: Das Zeichen wars, das er versprach (sketch)
- 17b. Rezitativ und Quintett: Oh sieh, sie kommt; Meine Arme öffnen sich (sketch)
- 18. Lied mit Chor: Vor Allem müßt ihr wissen (sketch)
- 19. Quartett: Gratulire! nun ich habe nichts dagegen (sketch)
- 20a. Rezitativ und Arie: Sie schläft; Deine Liebe, deine Milde (sketch)
- 20b. Duett: Wohlan! Sprich zu dem frommen Kinde (sketch)
- 20c. Arie: Gütter Gott nimm aus dem Herzen (sketch)
- 20d. Rezitativ und Duett: Angelika!; Schlage nicht die Augen nieder (sketch)
- 20e. Terzett: Ihr seyd bewegt was ist geschehen? (sketch)
- 20f. Quintett: Es geht schön im Kreise der volle Pokal (sketch)
- Akt I
- D 919, Song "Frühlingslied" ['Geöffnet sind des Winters Riegel'] for voice and piano (1827?, 2nd setting)
- D 920, Cantata "Ständchen" ['Zögernd leise, in des Dunkels nächt'ger Hülle'] for alto, men’s choir and piano, Notturno (1827, 2 versions; 2nd version [formerly D 921] for alto, women’s choir and piano, first published as Op. posth. 135)
- D 921, see D 920
- D 922, Song "Heimliches Lieben" ['O du, wenn deine Lippen mich berühren'] for voice and piano (1827, 2 versions; 2nd version first published as Op. 106 No. 1)
- D 923, Song "Eine altschottische Ballade" ['Dein Schwert, wie ist’s von Blut so rot'] for male voice, female voice and piano (1827, 3 versions; 2nd version for voice and piano; 3rd version for male voice, female voice and piano; 1st version first published as Op. posth. 165 No. 5)
- D 924, Twelve Grazer Waltzes for piano (1827?, first published as Op. 91)
- D 925, Grazer Galopp in C major for piano (1827?)
- D 926, Song "Das Weinen" ['Gar tröstlich kommt geronnen'] for voice and piano (1827–1828, first published as Op. 106 No. 2)
- D 927, Song "Vor meiner Wiege" ['Das also, das ist der enge Schrein'] for voice and piano (1827–1828, first published as Op. 106 No. 3)
- D 928, March in G major for piano duet, Kindermarsch (1827)
- D 929, Trio (No. 2) in E-flat major for violin, violoncello and piano (1827, first published as Op. 100)
- D 930, Trio "Der Hochzeitsbraten" ['Ach liebes Herz, ach Theobald, laß dir nur diesmal raten'] for soprano, tenor, bass and piano (1827, first published as Op. posth. 104)
- D 931, Song "Der Wallensteiner Lanzknecht beim Trunk" ['He! schenket mir im Helme ein!'] for voice and piano (1827)
- D 932, Song "Der Kreuzzug" ['Ein Münich steht in seiner Zell'] for voice and piano (1827)
- D 933, Song "Des Fischers Liebesglück" ['Dort blinket durch Weiden'] for voice and piano (1827)
- D 934, Fantasy in C major for violin and piano (1827, first published as Op. posth. 159)
- D 935, Four Impromptus for piano (1827, first published as Op. posth. 142)
- D 936, Cantata "Kantate für Irene Kiesewetter" ['Al par del ruscelletto chiaro'] for two tenors, two basses, mixed choir and piano duet (1827, also appears as "Kantate zur Feier der Genesung der Irene Kiesewetter")
- D 936A, Sketch of a Symphony (No. 10) in D major (1828?, piano sketches of all three movements are extant)
- D 937, Song "Lebensmut" ['Fröhlicher Lebensmut braust in dem raschen Blut'] for voice and piano (1828?, fragment)
- D 938, Song "Der Winterabend" ['Es ist so still, so heimlich um mich'] for voice and piano (1828)
- D 939, Song "Die Sterne" ['Wie blitzen die Sterne so hell durch die Nacht'] for voice and piano (1828, first published as Op. 96 No. 1)
- D 940, Fantasy in F minor for piano duet (1828, first published as Op. 103)
- D 941, see D 948
- D 942, Cantata "Mirjams Siegesgesang" ['Rührt die Zimbel, schlagt die Saiten'] for soprano, mixed choir and piano (1828, first published as Op. posth. 136)
- I. Rührt die Zimbel, schlagt die Saiten
- II. Aus ägypten vor dem Volke
- III. Doch der Horizont erdunkelt
- IV. S’ist der Herr in seinem Grimme
- V. Tauchst du auf, Pharao?
- VI. Drum mit Zimbeln und mit Saiten
- D 943, Song "Auf dem Strom" ['Nimm die letzten Abschiedsküsse'] for voice, horn (or violoncello) and piano (1828, first published as Op. posth. 119)
- D 944, Symphony (No. 9) in C major, Great C major (1825? and 1828, identical to the "Gmunden-Gastein" Symphony, D 849)
- D 944A, German Dance in an unknown key for piano (1828, lost)
- D 945, Song "Herbst" ['Es rauschen die Winde so herbstlich und kalt'] for voice and piano (1828)
- D 946, Three piano pieces "Drei Klavierstücke" (1828)
- D 947, Allegro in A minor for piano duet, Lebensstürme (1828, first published as Op. posth. 144)
- D 948, Hymn "Hymnus an den heiligen Geist" ['Komm, heil’ger Geist, erhöre unser Flehen'] for two tenors, two basses and men’s choir (1828, 2 versions; 1st version was formerly D 941; 2nd version [formerly D 964] for two tenors, two basses, men’s choir, two oboes, two clarinets, two bassoons, two trumpets, two horns and three trombones; 2nd version first published as Op. posth. 154)
- D 949, see D 639
- D 950, Mass No. 6 in E-flat major for soprano, alto, tenor, bass, mixed choir and orchestra (1828)
D 951 to D 965B
- D 951, Rondo in A major for piano duet, Grand Rondeau (1828, first published as Op. 107)
- D 952, Fugue in E minor for organ duet or piano duet (1828, first published as Op. posth. 152)
- D 953, Hymn "Der 92. Psalm" ['tôw l’hôdôs ladônoj'] for baritone, soprano, alto, tenor, bass and mixed choir (1828)
- D 954, Cantata "Glaube, Hoffnung und Liebe" ['Gott, laß die Glocke glücklich steigen'] for two tenors, two basses, mixed choir and piano (1828; scoring also possible for two tenors, two basses, mixed choir, two oboes, two clarinets, two bassoons, two horns and two trombones)
- D 955, Song "Glaube, Hoffnung und Liebe" ['Glaube, hoffe, liebe!'] for voice and piano (1828, first published as Op. 97)
- D 956, String Quintet in C major for two violins, viola and two violoncellos (1828, first published as Op. posth. 163)
- D 957, Song cycle 13 Lieder nach Gedichten von Rellstab und Heine for voice and piano (1828, also appears as "Schwanengesang")
- 1. "Liebesbotschaft" ['Rauschendes Bächlein, so silber und hell']
- 2. "Kriegers Ahnung" ['In tiefer Ruh liegt um mich her']
- 3. "Frühlingssehnsucht" ['Säuselnde Lüfte wehen so mild']
- 4. "Ständchen" ['Leise flehen meine Lieder'], Serenade (NSA also appends a modified version)
- 5. "Aufenhalt" ['Rauschender Strom, brausender Wald']
- 6. "In der Ferne" ['Wehe dem Fliehenden']
- 7. "Abschied" ['Ade! du muntre, du fröhliche Stadt']
- 8. "Der Atlas" ['Ich unglückselger Atlas']
- 9. "Ihr Bild" ['Ich stand in dunkeln Träumen']
- 10. "Das Fischermädchen" ['Du schönes Fischermädchen']
- 11. "Die Stadt" ['Am fernen Horizonte']
- 12. "Am Meer" ['Das Meer erglänzte weit hinaus']
- 13. "Der Doppelgänger" ['Still ist die Nacht, es ruhen die Gassen']
- D 958, Piano Sonata in C minor (1828)
- D 959, Piano Sonata in A major (1828)
- D 960, Piano Sonata in B-flat major (1828)
- D 961, see D 452
- D 962, Hymn "Tantum ergo" ['Tantum ergo'] in E-flat major for soprano, alto, tenor, bass, mixed choir and orchestra (1828)
- D 963, Offertory "Intende voci" ['Intende voci'] in B-flat major for tenor, mixed choir and orchestra (1828)
- D 964, see D 948
- D 965, Song "Der Hirt auf dem Felsen" ['Wenn auf dem höchsten Fels ich steh'] for voice, clarinet and piano (1828, first published as Op. posth. 129)
- D 965A, Song "Die Taubenpost" ['Ich hab’ eine Brieftaub in meinem Sold'] for voice and piano [formerly D 957 No. 14] (1828)
- D 965B, Fugal exercises for unspecified instruments/voices "Fugenübungen" (1828; eighteen fugal expositions for two voices)
D 966 to D 998 (Undated works)
- D 966, see D 11 No. 3
- D 966A, see D 71C
- D 966B, Sketch of an orchestral piece in A major (after 1819, sketch)
- D 967, see D 37A
- D 968, Allegro moderato in C major and Andante in A minor for piano duet, Sonatine (between 1815 and 1819?)
- D 968A, Introduction, Four Variations on an original theme and Finale in B-flat major for piano duet [formerly D 603] (date unknown, first published as Op. posth. 82 No. 2)
- D 968B, Deux Marches Caractéristiques in C major for piano duet [formerly D 886] (date unknown, first published as Op. posth. 121)
- D 969, Twelve Waltzes for piano, Valses nobles (pub. 1827, first published as Op. 77)
- D 970, Six Ländler for piano (date unknown, also appear as "Six German Dances")
- D 971, Three German Dances for piano (1823?)
- D 972, Three German Dances for piano (before 1817)
- D 973, Three German Dances for piano (1823?)
- D 974, Two German Dances for piano (1822?)
- D 975, German Dance in D major for piano (1824?)
- D 976, Cotillon in E-flat major for piano (pub. 1825)
- D 977, Eight Écossaises for piano (1816?)
- D 978, Waltz in A-flat major for piano (pub. 1825)
- D 979, Waltz in G major for piano (pub. 1826)
- D 980, Two Waltzes for piano (pub. 1826)
- D 980A, Two Dances for piano [formerly D 640] (before 1821, sketches)
- D 980B, Two Ländler in E-flat major for piano [formerly D 679] (1816?)
- D 980C, Two Ländler in D-flat major for piano [formerly D 680] (before 1821, fragment)
- D 980D, Waltz in C major for piano, Krähwinkler Tanz (pub. 1828)
- D 980E, Two Dances for piano (?) (after 1818, sketches)
- D 980F, March in G major for piano (date unknown; piano reduction of a lost march for orchestra?)
- D 981, Singspiel "Der Minnesänger" (date unknown, fragment; lost)
- D 982, Opera "?" for two sopranos, tenor, bass and orchestra (1819–1821?, also appears as "Sophie"; title and text author unknown; sketches of three numbers are extant)
- 1. Quartett: O lang ersehnte Seligkeit (sketch)
- 2. Ariette: Philomele, Philomele (sketch)
- 3. Terzett: Wir giessen die Nelken (sketch)
- D 983, Quartet "Jünglingswonne" ['So lang im deutschen Eichentale'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 1)
- D 983A, Quartet "Liebe" ['Liebe rauscht der Silberbach'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 2)
- D 983B, Quartet "Zum Rundetanz" ['Auf! es dunkelt; silbern funkelt'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 3)
- D 983C, Quartet "Die Nacht" ['Wie schön bist du, freundliche Stille'] for two tenors and two basses (pub. 1823, first published as Op. 17 No. 4)
- D 984, Quartet "Der Wintertag" ['In schöner heller Winterzeit ward eine Maid geboren'] for two tenors, two basses and piano, Geburtstaglied (after 1820, fragment; piano part is lost; first published as Op. posth. 169)
- D 985, Quartet "Gott im Ungewitter" ['Du Schrecklicher, wer kann vor dir und deinem Donner stehn?'] for soprano, alto, tenor, bass and piano (1815?, first published as Op. posth. 112 No. 1)
- D 986, Quartet "Gott der Weltschöpfer" ['Zu Gott, zu Gott flieg auf'] for soprano, alto, tenor, bass and piano (1815?, first published as Op. posth. 112 No. 2)
- D 987, see D 168A
- D 988, Canon "Liebe säuseln die Blätter" ['Liebe säuseln die Blätter'] for three voices (1815?)
- D 988A, Accompaniment part in B-flat major for piano (after 1820, fragment; for a multi-part vocal composition?)
- D 989, see D 579A
- D 989A, see D 579 B
- D 990, Song "Der Graf von Habsburg" ['Zu Aachen in seiner Kaiserpracht'] for voice and piano (date unknown)
- D 990A, Song "Kaiser Maximilian auf der Martinswand" ['Hinauf! hinauf! in Sprung und Lauf'] for voice and piano (date unknown, also appears as "Kaiser Maximilian auf der Martinswand in Tirol")
- D 990B, Song "Augenblicke im Elysium" ['Vor der in Ehrfurcht all mein Wesen kniet'] for voice and piano [formerly D 582] (date unknown, lost)
- D 990C, Song "Das Echo" ['Herzliebe gute Mutter, o grolle nicht mit mir'] for voice and piano [formerly D 868] (1828?, first published as Op. posth. 130)
- D 990D, Song "Die Schiffende" ['Sie wankt dahin; die Abendwinde spielen'] for voice and piano (1815?, lost)
- D 990E, Aria "L'incanto degli occhi" ['Da voi, cari lumi'] for soprano and piano (1816?, 1st setting; fragment)
- D 990F, Aria "Ombre amene" ['Ombre amene'] for soprano and piano, La serenata (1816?, fragment; originally, the Deutsch catalogue incorrectly listed this entry as an early version of the song "Il traditor deluso")
- D 991, see D 323
- D 992, see D 383
- D 993, see D 2E
- D 994, see D 769A
- D 995, see D 2D
- D 996, see D 2A
- D 997, see D 2B
- D 998, see D 2C
Appendix and missing works
- D Anh. I/1, String Quartet in E-flat major [formerly D 40] (1813, lost or identical to D 87)
- D Anh. I/2, String Quartet in F major (1816, lost or identical to D 353 or D 487)
- D Anh. I/3, Fugue in C major for string quartet (?) (1812?, fragment; only viola part is extant)
- D Anh. I/4, String Quartet in G major [formerly D 2] (fragment of one movement is extant; composition by Albert Stadler)
- D Anh. I/5, String Quartet in E-flat major (date unknown, sketch of the first movement is extant; composition by Anselm Hüttenbrenner)
- D Anh. I/6, Duet in D major for two violins (1816, not by Schubert)
- D Anh. I/6A, Symphony in E major, Symphony 1825 (date unknown, not by Schubert; composition by Gunter Elsholz)
- D Anh. I/7, March for two pianos, eight hands [formerly D 858] (1825, lost)
- D Anh. I/8, Piano Sonata in F major (1815, lost or identical to D 157)
- D Anh. I/9, Piano Sonata in F major (1816, lost or identical to D 459)
- D Anh. I/10, Fantasy in E-flat major for piano (1825?, lost)
- D Anh. I/11, Allegro in G major and Minuet in C major for piano (date unknown, also appears as "Sonatina"; not by Schubert)
- D Anh. I/12, Seven Easy Variations in G major for piano (pub. 1810, presumably not by Schubert)
- D Anh. I/13, Six German Dances for piano (1814, lost)
- D Anh. I/14, Waltz [in G-flat major] for piano, Kupelwieser-Walzer (1826, transcribed by Richard Strauss)
- D Anh. I/15, Minuet with Trio in D major for piano [formerly D 336] (date unknown, presumably not by Schubert)
- D Anh. I/16, Dance "Écossaise de Vienne" in A-flat major for piano (1821?, composition by Anselm Hüttenbrenner?)
- D Anh. I/17, Hymn "Tantum ergo" ['Tantum ergo'] in B-flat major for unknown voices/instruments (date unknown, fragment; only one soprano part is extant; presumably not by Schubert)
- D Anh. I/18, Trio or Quartet "Lied beim Rundetanz" ['Auf, es dunkelt, silbern funkelt'] for two tenors and bass or two tenors and two basses [formerly D 132] (1815 or 1816, fragment)
- D Anh. I/19, Trio or Quartet "Lied im Freien" ['Wie schön ist’s im Freien'] for two tenors and bass or two tenors and two basses [formerly D 133] (1815 or 1816, fragment)
- D Anh. I/20, Trio or Quartet "Amors Macht" ['Wo Amors Flügel weben'] for two tenors and bass or two tenors and two basses [formerly D 339] (1815 or 1816, fragment)
- D Anh. I/21, Trio or Quartet "Badelied" ['Zur Elbe, zur Elbe, des Äthers Gewölbe'] for two tenors and bass or two tenors and two basses [formerly D 340] (1815 or 1816, fragment)
- D Anh. I/22, Trio or Quartet "Sylphen" ['Was unterm Monde gleicht uns Sylphen flink und leicht'] for two tenors and bass or two tenors and two basses [formerly D 341] (1815 or 1816, fragment)
- D Anh. I/23, Trio or Quartet "Lebenslied" ['Kommen und scheiden, suchen und meiden'] for two tenors and bass or two tenors and two basses (1815 or 1816, fragment; see also D 425)
- D Anh. I/24, Cantata "Kantate auf den Vater" ['?'] for unspecified voices and piano (?) (1816, lost)
- D Anh. I/25, Cantata "Drum Schwester und Brüder" ['Drum Schwester und Brüder singt fröhliche Lieder'] for voice (?), choir, violin, violoncello and other unknown instruments (1819, fragment; only violin and violoncello parts are extant)
- D Anh. I/26, Trio or Quartet "Sturmbeschwörung" ['Nirgends Rettung, nirgends Land'] for two sopranos and alto (?) or two sopranos and two altos (?) (date unknown, fragment; only one soprano part is extant)
- D Anh. I/27, Song "Drei Chöre mit Bläsern" ['Lieblich ist, wenn sanftes Grau; Leb wohl, geliebte Freundin; O Zeit, wie manchen herben Schmerz'] for male choir, two horns and two bassoons (date unknown, fragment; not by Schubert)
- D Anh. I/28, Song "Klage (Nimmer länger trag ich)" ['Nimmer länger trag ich dieser Leiden Last'] for voice and piano, Nimmer länger trag ich [formerly D 512] (ca. 1817, presumably not by Schubert)
- D Anh. I/29, Song "Kaiser Ferdinand II." ['Was reget die Stadt sich in freudiger Hast?'] for voice and piano (1809?, doubtful)
- D Anh. I/30, Song "Mein Frieden" ['Ferne, ferne flammen helle Sterne'] for voice and piano (pub. 1823, composition by Franz Anton Schubert)
- D Anh. I/31, Song "Adieu! (Lebe wohl!)" ['Voici l'instant suprême; Schon naht, um uns zu scheiden'] for voice and piano (pub. 1824, composition by August Heinrich von Weyrauch)
- D Anh. I/32, Composition exercises "Generalbaßübungen" for unspecified instruments/voices [formerly D 598A] (date unknown)
- D Anh. II/1, Arrangement of the Overture to the opera Iphigenie in Aulis for piano duet (1810?, fragment; composition by Christoph Willibald Gluck)
- D Anh. II/2, Arrangement of the "Notturno in G major for Flute, Viola and Guitar" for flute, guitar, viola and violoncello [formerly D 96] (1814, also appears as "Quartet in G major for flute, guitar, viola and violoncello"; composition by Wenzel Thomas Matiegka, Op. 21; Trio II in the second movement "Menuetto", by Schubert)
- D Anh. II/3, Arrangement of Two Arias from the Opera "Echo et Narcisse" ['Rien de la nature'; 'O combats, o désordre extrème!'] for voice and piano (1816, compositions by Christoph Willibald Gluck)
- D Anh. II/4, Arrangement of the Hymn "Der 8. Psalm für Solostimme und Klavier" ['Unendlicher, Gott, unser Herr'] for voice, two oboes, two clarinets, timpani, strings and organ (1823, composition by Maximilian Stadler; instrumentation by Schubert)
- D Anh. III/1, Nine Canons "Neun Kanons" ['Es packe dich das Glück beim Kragen; Vom Glück sei alles dir beschert; Glück fehl dir vor allem; Wohlsein und Freude; Drum habe Dank, o Vater Hayden; Adam hat siebn Söhn; Cato, Plato, Cicero; Was i beim Tag mit der Leiern gwinn; Alleluia'] for four or more voices (ca. 1810 copy; compositions by Michael Haydn, Joseph Haydn, Josef Otter, Wolfgang Amadeus Mozart and anonymous composers)
- D Anh. III/2, Song "Die Teilung der Erde" ['Nehmt hin die Welt! rief Zeus aus seinen Höhen'] for voice and piano (ca. 1810 copy; composition by Franz de Paula Roser)
- D Anh. III/3, Symphony in C major, KV 551 (1813 copy; composition by Wolfgang Amadeus Mozart)
- D Anh. III/4, Canon "Kanon (Hoffnung Kind des Himmels)" ['Hoffnung Kind des Himmels'] from the Singspiel "Elbondocani" for two sopranos, tenor, bass and piano (1813? copy; composition by Johann Rudolf Zumsteeg)
- D Anh. III/5, Trio "Chor der Derwische" ['Ein Gott, ein wahrer Gott ist nur'] for two tenors and bass (1813? copy; composition by Johann Rudolf Zumsteeg)
- D Anh. III/6, Offertory "Clamavi ad te" in C major, Op. 16 [formerly D 85] for unspecified voices/instruments (1813 copy of the solo soprano voice is extant; composition by Josef Preindl)
- D Anh. III/7, Scene "Monolog aus Goethes ‘Iphigenie’ " ['Heraus in eure Schatten'] for voice, women’s choir and piano ['Heraus in eure Schatten'] (1815 copy; composition by Johann Friedrich Reichardt)
- D Anh. III/8, Symphony No. 4 in B-flat major, Op. 60 (8-bar copy after 1820; composition by Ludwig van Beethoven)
- D Anh. III/9, Song "Deutsches Hochamt (Hier liegt vor deiner Majestät)" ['?'] for voice and organ (copy of the organ part lost; composition by Michael Haydn)
- D Anh. III/10, Mass in C major (1820 copy; composition by Josef Preindl)
- D Anh. III/11, Canon "Laß immer in der Jugend Glanz" ['Laß immer in der Jugend Glanz'], KV 484d, for two voices [formerly D 92] (copy lost; composition by Wolfgang Amadeus Mozart)
- D Anh. III/12, Canon "Selig alle, die im Herrn entschliefen" ['Selig alle, die im Herrn entschliefen'], KV 382b, for two voices [formerly D 127] (copy lost; composition by Wolfgang Amadeus Mozart)
- D Anh. III/13, Song "Abendlied unterm gestirnten Himmel" ['Wenn die Sonne niedersinket'], WoO 150, for voice and piano (1820 copy; composition by Ludwig van Beethoven)
- D deest, Sketch of a composition "?" ['?'] for unspecified voices and orchestra (1811?, sketch)
- D deest, Mass in C major (?) for mixed choir, two violins and organ (1811?, sketch?; lost or never written)
- D deest, Theme of a dance composition (?) for piano (?) (1812?, sketch)
- D deest, Trio "Scherz-Terzett" ['Mala musica, bona musica?'] for three altos (1812, doubtful)
- D deest, Aria "?" ['?'] for bass and piano (?) (1812, sketch; also appears as "Allegretto in D major")
- D deest, Fantasy in an unknown key for string quartet (1813, lost)
- D deest, Fugue in an unknown key for piano or organ (1813, lost)
- D deest, Fragment of a composition for violin (?) (1813, sketch; fragment)
- D deest, Sketch of a composition for unspecified instrument(s) (1813, sketch)
- D deest, Fugue in F major for piano (1813, sketch)
- D deest, Piano piece (?) in F major (1813, sketch)
- D deest, Themes to Two Minuets for piano (1813?, sketches)
- D deest, Fragment of an instrumental composition for violin, viola and guitar (?) (1813?, fragment)
- D deest, Song "?" ['?'] improvised for a play for voice and piano (1815?, lost?; possibly identical to D 284)
- D deest, String Quartet in B-flat major (1816, lost)
- D deest, Canon "Canon a trè" ['?'] in B-flat major for three voices (1816? fragment)
- D deest, Four Dances in A major for piano (1816?, only incipits are extant)
- D deest, Song "?" ['?'] in C major for voice and piano (1816, fragment)
- D deest, Song "Die Nacht" ['Die Nacht bricht an, mit leisen Lüften sinket'] for voice and guitar (after 1816?, doubtful; accompaniment part by Franz Xaver Baron von Schlechta; voice part by Schubert?)
- D deest, Sketch of a theme for unspecified instruments/voices "Themenentwurf" (1818, sketch)
- D deest, Sketch of a theme in A minor for unspecified instruments/voices "Themenentwurf" (1818, sketch)
- D deest, Ecossaise in G major, Ländler in F major and Ländler in F minor (?) for piano (1818, sketches)
- D deest, Vocal composition "?" ['?'] for mixed choir (?) (1818?, fragment without text)
- D deest, Song "Winterlied" ['Das Glas gefüllt!'] for voice and piano, Winterabend (after 1820; 2nd setting of D 242, with a different title; also appears unofficially listed as D 242A or D 324A)
- D deest, Accompaniment for a vocal composition "?" ['?'] (1821?, fragment)
- D deest, Vocal composition "?" ['?'] for unspecified voices (1821?, fragment)
- D deest, Tantum ergo ['Tantum ergo'] in C major for mixed choir and orchestra (1821)
- D deest, Tantum ergo ['Tantum ergo'] in C major for mixed choir and orchestra (1821)
- D deest, Fragment of a composition for unspecified instruments (1823, sketch)
- D deest, Sketch of a composition for orchestra (?) (1823, piano sketch)
- D deest, Piano Sonata in C-sharp major (1825?, lost or identical to D 568 1st version)
- D deest, Canon ["?"] ['?'] in C major for five voices (1826?)
- D deest, Song "?" ['?'] for voice and piano (ca. 1827, fragment; lost)
- D deest, Imitation exercises in invertible counterpoint for unspecified instruments/voices (1828; three 2-part imitation exercises)
- D deest, Song (?) "Seliges Genügen" ['?'] for unspecified voice(s)/instrument(s) (date unknown, lost)
- D deest, Song (?) "...doch stärker ist die Mutterliebe" ['?'] for voice (?) and orchestra (date unknown, fragment; lost)
- D deest, Overture in an unknown key for orchestra (date unknown, lost)
- D deest, Fragment of a cantata (?) "?" ['?'] for unspecified soloists, choir and orchestra (date unknown, fragment without text)
- D deest, Song (?) or piano piece (?) "Lieder für das Pianoforte" ['?'] for voice (?) and/or piano (?) (date unknown, lost)
- D deest, String Sextet in an unknown key for three violins, viola, violoncello and double bass (date unknown, fragment; lost)
- D deest, Trio "?" ['?'] in D major for unspecified voices (date unknown, fragment without text)
See also
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Wikimedia Commons has media related to Compositions by Franz Schubert. |
- List of compositions by Franz Schubert by genre
- Schubert opus/Deutsch number concordance
- Category:Compositions by Franz Schubert
Sources
- Franz Schubert's Works (various editors and editions)
- Schubert Thematic Catalogue (various editions)
- Neue Schubert-Ausgabe (various editors and publication dates)
- Eva Badura-Skoda and Peter Branscombe. Schubert Studies: Problems of Style and Chronology. Cambridge University Press, 1982. Reprint 2008. ISBN 0521088720 ISBN 9780521088725 ISBN 9780521226066
- Brian Newbould. Schubert: The Music and the Man. University of California Press, 1999. ISBN 0520219570 ISBN 9780520219571
- Reinhard Van Hoorickx. "Franz Schubert (1797–1828) List of the Dances in Chronological Order" in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol. 25, No. 1/4, pp. 68–97, 1971
- Reinhard Van Hoorickx. "Thematic Catalogue of Schubert's Works: New Additions, Corrections and Notes" in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol. 28/30, pp. 136–171, 1974—1976.
External links
- (German) Franz Schubert, Thematisches Verzeichnis seiner Werke in chronologischer Folge on-line copy of the 1978 version of the Deutsch catalogue at archive.org
- (German) Franz Schubert 31.1.1797 – 19.11.1828 at home
.arcor .de /kbhartmann - (French) Franz Schubert: Catalogue des oeuvres at musiqueorguequebec
.ca - (Italian) Franz SCHUBERT: Catalogo delle composizioni at flaminioonline
.it - 555 on-line autographs of compositions by Schubert, ordered by D. number at schubert-online.at by Austrian Academy of Sciences (OAW)
- List of works by Franz Schubert: Scores at the International Music Score Library Project
- Free scores by Franz Schubert at the International Music Score Library Project
- Franz Schubert (1797–1828): New Edition of the Complete Works at www
.baerenreiter .com - The New Schubert Edition at schubert-ausgabe
.de - SCHUBERT FIRST PUBLIC PERFORMANCES: A TIMELINE at schubertusa
.weebly .com - Schubert Edition at www
.brilliantclassics .com