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#Schubert New Grove
#Schubert New Grove
#Schubert New Grove
https://doi.org/10.1093/gmo/9781561592630.article.25109
Published in print: 20 January 2001
Published online: 2001
(b Vienna, Jan 31, 1797; d Vienna, Nov 19, 1828). Austrian composer. The only canonic Viennese
composer native to Vienna, he made seminal contributions in the areas of orchestral music, chamber
music, piano music and, most especially, the German lied. The richness and subtlety of his melodic and
harmonic language, the originality of his accompaniments, his elevation of marginal genres and the
enigmatic nature of his uneventful life have invited a wide range of readings of both man and music
that remain among the most hotly debated in musical circles.
1. Life.
Schubert's Vienna was a polyglot city, more than a fifth of whose population comprised Hungarians,
Czechs, Italians, Croatians, Poles, Germans, Turks, Greeks and other nationalities. Most of Vienna's
most celebrated musicians – Haydn, Mozart, Beethoven, Gluck, Salieri, Hummel – had been born in
other parts of the Austro-Hungarian Empire or outside it. As a native Viennese, Schubert became the
direct beneficiary of its musical offerings. He was born in the district of the Himmelpfortgrund just
north-west of the Ring, the bustling, overcrowded centre of the capital of the empire. His paternal
ancestors were Moravian farmers; his father, Franz Theodor Florian (1763–1830), moved when he was
20 to Vienna from Neudorf (Nová ves) in the Altstadt (Staré Město) district of Moravia (today part of
the Czech Republic). He followed his oldest brother Karl, who had become the headmaster of the
Carmelite School in the suburb of Leopoldstadt. He took up the position of schoolteacher, one that
offered little social standing or financial reward; education was an enterprise supported only meagrely
by the imperial government. Within a year Franz Theodor met Elisabeth Vietz (1756–1812) whose
father, a locksmith and gunmaker, spent time in prison for embezzlement. Her family had also migrated
to Vienna from the northern provinces. In January of 1785 Franz and Elisabeth married; one reason
may have been the birth of their first child two months later. Of 14 births, nine children died in infancy
– only slightly worse than the 50% infant mortality rate common in Europe before the discovery of
germ theory. The survivors included Ignaz (b 1785), Ferdinand (b 1794), Karl (b 1795), Franz Peter (b
1797) and Maria Theresia (b 1801). All of the children were born in a one-room apartment in a house
called ‘Zum roten Krebsen’, a surviving building now bearing the address 54 Nussdorferstrasse.
Schubert's birth in the early afternoon of 31 January 1797 took place in a kitchen alcove whose
fireplace provided the family's only source of heat. He was baptized the next day, with his uncle Karl
Schubert named as godfather. Schubert thereby became the only one of the canonic quartet (with
Haydn, Mozart and Beethoven) of Viennese Classical composers to be born in Vienna – although many
natives of the city have been quick to point out that he was only first-generation Viennese.
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When Schubert was seven he was sent for an audition to Antonio Salieri; presumably his father made
the arrangements. Salieri's reputation as a composer had peaked years before, but in his 50s he still
enjoyed the power and prestige of the court music director. He was sufficiently impressed with
Schubert to include him as a mezzo-soprano on a list of nine singers fit to sing for services in the
imperial Hofkapelle. At the age of eight Schubert received his first violin lessons from his father. He
also took lessons in counterpoint, figured bass, singing and organ from Michael Holzer, the organist at
the Schuberts' parish church in Lichtental. Schubert's brother Ferdinand reported that Holzer
acknowledged, with tears in his eyes, that ‘whenever I wished to impart something new to him, he
always knew it already’. Ferdinand also noted that Schubert was already composing songs, string
quartets and piano pieces. When vacancies in the Hofkapelle choir opened up in 1808, Schubert passed
the highly competitive audition easily. Perhaps the biggest perk was his free tuition-and-board
admission into the Kaiserlich-königliches Stadtkonvikt (Imperial and Royal City College), which as the
principal Viennese boarding school for non-aristocrats offered Schubert his best possible opportunity
for a quality education. The 130 all-male students ranged from 11 to university age and were tutored
by Piarist monks whose order was founded in the 17th century to educate the poor. A few months after
entering the college, Schubert cowered while Napoleon's bombardment of Vienna sent a shell through
the roof of the Stadtkonvikt. Nonetheless, he was to stay at the college for five full years, receiving the
kind of education usually reserved for titled Viennese.
Encouraged by its principal, Dr Innocenz Lang, music played a sizable role in the life of the college. Its
student orchestra was first-rate, and Schubert was soon invited to join the second violins. Here he
became acquainted at first hand with the orchestral works of Haydn, Mozart, early Beethoven and
their lesser Viennese contemporaries. The orchestra's founder and leader of the second violins was a
law student named Josef von Spaun. Eight years Schubert's senior, Spaun soon befriended the
impressionable youth, and the friendship flourished, in spite of interruptions, until the composer's
death. At the end of the school year Spaun graduated; he left Vienna in September 1809 to join the civil
service at Linz. According to Spaun, Mozart's Symphony no.40 in G minor and Beethoven's Second
Symphony made a particularly strong impression on Schubert. From these years come the earliest of
his surviving compositions. During his first two years he received permission to take regular lessons
with Salieri, who urged him to find his models in Italian opera, a directive that conflicted sharply with
Schubert's enthusiasm for the music of Mozart, Haydn and Beethoven, as well as his growing interest
in the poetry of Goethe and Schiller as material for songs. By the time he was 13 Schubert seems to
have interrupted his regular lessons with Salieri. Yet by the end of 1813 he had, largely under the
tutelage of Spaun, seen half a dozen staged operas, including Mozart's Die Zauberflöte, Weigl's Die
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We do not know whether Schubert began composing even earlier than brother Ferdinand reported.
Although many of the dates assigned by scholars to his early works are speculative, Schubert's first
surviving compositions appear to date from his 13th year. In the Fantasie in G for piano duet (D1; 8
April – 1 May 1810) and the song Hagars Klage (D5; 30 March 1811) Schubert seized on two marginal
genres that over a lifetime he would transform into pillars of his output. A four-hand fantasy would
have proved less intimidating to a precocious young composer than the more settled standards for a
two-hand sonata. The Fantasie merits notice for its sheer length (more than 1000 bars) and modulatory
brashness, averaging more than a new section per minute over its 20-minute duration. Its one-
movement, multi-sectional plan was to spawn a chain of audacious experiments that extends over
Schubert's entire career; and it is significant that both the Fantasie and Hagars Klage end in a key
different from that in which they begin.
In the same month that Schubert completed what was probably his first song, his friend Spaun
returned to Vienna, where he would remain in close contact with the composer for a decade. Partsongs
and an overture round out the categories of finished works. The early years produced more than a
dozen fragmentary works (including sketches for a symphony, several sacred vocal works, three string
quartets and one complete act of a three-act Singspiel) – a pattern that was to accompany the
composer throughout his career. These sketches rarely point to a compositional impasse; rather,
Schubert seems either to have intended merely to dip his toe in the water or to have simply lost
interest. During his school holidays from around 1811, Schubert took on the role of viola player in a
family quartet that included brothers Ignaz and Ferdinand as violinists and his father on the cello.
Shortly afterwards – following several earlier false starts – he composed his first string quartet (in D,
D94), and then completed three more quartets (D32, 36 and 46) between September 1812 and early
March 1813. The slow, chromatic opening of D46, in C major, suggests Schubert's acquaintance with
Mozart's ‘Dissonance’ Quartet, K465, in the same key. Schubert was equally blessed with a symphonic
laboratory at the Stadtkonvikt, and in October of 1813 he completed his first symphony (D82, in D), in
which Schubert would have had the pleasure of both conducting and playing among the violins.
Yet the musical style of the early adolescent Schubert was largely an amalgam of the grammar of
Haydn and Mozart sprinkled with flashes of Rossini and Bach (the latter expressed loosely in a series
of student fugues and compositional exercises for piano or organ, some showing corrections in the
hand of Antonio Salieri). The 16-year-old Schubert's style at the phrase level would have been scarcely
distinguishable from scores of other turn-of-the-century Austrian composers. While occasional phrases
are worthy of the best of Viennese Classicism, Schubert's style as it began to coalesce – especially in
the instrumental works – conveyed a post-Classical looseness and freedom of structure that would set
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In May 1812 Schubert's mother died at the age of 55, perhaps from a typhus infection. We have no
evidence to help us gauge the impact of Elisabeth's death on the 15-year-old Schubert. Less than a
year later (25 April 1813) Schubert's father married 30-year-old Anna Kleyenbock, who bore Franz
Theodor five more children. Schubert seems to have enjoyed a cordial if not close relationship with his
stepmother. In the summer of 1812, after a performance of a mass by Peter Winter, Schubert's voice
broke, memorialized by the composer's entry on his part: ‘Schubert, Franz, crowed for the last time, 26
July 1812’. Although he could no longer sing in the choir, Schubert remained at the Stadtkonvikt for a
fifth year. His increasing preoccupation with composition precipitated an inevitable decline in his
academic performance, and he received warnings in both Latin and mathematics. In October 1813
Schubert was offered a scholarship for further study on the condition that he bring his academic
subjects up to standard, ‘since singing and music are but a subsidiary matter … ’. Perhaps sensing that
he was at a crossroads, perhaps believing that five years of serious study was sufficient, Schubert
declined. Whatever paternal input he received, the decision must have been largely his.
Schubert's decision to return the very next month to his father's home and take up a ten-month course
of study at the St Anna Normalhauptschule that would certify him as a teacher seems in conflict with
his decision to leave the Stadtkonvikt. Yet both his brothers were, like their father, teachers. At this
stage Schubert could not expect to make a living pursuing the activity that engaged him most –
composition. A teaching position might function as a ‘day job’ that would meet his modest overheads
until he was sufficiently independent to strike out on his own. At all events, it is very unlikely that he
saw his teacher training as leading to a lasting career. Six days a week he travelled from the
Säulengasse house into the Ring district (the inner city) to receive instruction. The explosion in his
compositional output suggests that the workload at the Normalhauptschule was not as great as that at
the Stadtkonvikt. Schubert also found time to resume twice-weekly composition lessons with Salieri. In
August 1814 he passed the final teaching examinations with strong marks in German and arithmetic
but a poor grade in religion. His father had attempted to gain another position at the ‘Scottish
Monastery’, but when that effort failed he engaged his son as his sixth assistant in the prosperous
Säulengasse school that Schubert himself had attended. Schubert's responsibilities were apparently
for the youngest students; Kreissle reports that he was strict, somewhat irascible and prepared to
enforce discipline with a slap on the head. There is also evidence that Schubert the schoolteacher
harboured sympathies for the student riots protesting against the oppressive Metternich regime that
had became a regular part of the Viennese landscape. One of his classmates at the Stadtkonvikt,
Johann Senn, lost his scholarship after trying to free a fellow student from prison. Some six years later
he and Schubert were picked up from Senn's lodgings and held for questioning. While Schubert got off
with a warning, Senn was deported. In May 1814 Schubert also completed his first opera, a three-act
Singspiel, Des Teufels Lustschloss. It received its première half a century after Schubert's death. Of
Schubert's passionate and abiding interest in opera there can be no doubt. From 1811 until 1823 there
is no year in which he was not involved in an operatic project.
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In the autumn of 1814, after a promising but unspectacular adolescence, Schubert exploded into a
burst of creative activity that over the next 15 months was virtually unrivalled in the history of Western
music. He also introduced patterns of composition that prevailed for the rest of his life. Until 1814
Schubert had drawn on almost ten different poets for the texts of some two dozen solo songs and
fragments. Beginning in the spring/summer of 1814, he devoted 13 of his next 15 songs to texts by a
single poet, Friedrich von Matthisson. Throughout 1815 he set groups of between two and more than a
dozen songs dominated by a single poet – Goethe, Körner, Hölty, Kosegarten, Baumberg, Ossian,
Klopstock, Mayrhofer and Stoll. This intense focus on one poet at a time may help explain the
composition of almost 150 songs in Schubert's 18th year – an average of more than one every three
days. Schubert had encountered Goethe's Faust in the second half of 1814, and it made an indelible
impression. His first Goethe song (the first of a group of four) produced the extraordinary Gretchen am
Spinnrade (D118; 19 October 1814), remarkable not only for its conjuring up of a spinning wheel and
its waves of crescendos but for Schubert's empathetic representation of a woman's feelings. Towards
the end of the following year he returned to Goethe for Erlkönig (D328), bringing astonishingly vivid
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In all of his combined categories, Schubert averaged an almost superhuman rate of at least 65 bars of
new music each day, roughly half of which included an orchestra. The average may indeed have been
higher, for we cannot assume that all of Schubert's works from this period have been preserved. And
such figures assume that he was a full-time composer, although in fact he was a full-time, year-round
teacher at his father's school. He was also taking composition lessons twice weekly with Salieri,
attending numerous concerts and operas, doing a modicum of private teaching, and socializing with his
friends from the Stadtkonvikt. In 1815 Schubert entered into long-term friendships with two very
different kinds of men. He met the ever industrious Anselm Hüttenbrenner (1794–1868) while both
were studying with Salieri. Though Hüttenbrenner was ostensibly a law student, their shared passion
(fig.1) for music and composition soon brought them close.
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Private Collection
Schubert's outward appearance was anything but striking or prepossessing. He was short of
stature, with a full, round face, and was rather stout. His forehead was very beautifully
domed. Because of his short-sightedness he always wore spectacles, which he did not take off
even during sleep. Dress was a thing in which he took no interest whatever … and listening
to flattering talk about himself he found downright nauseating.
Schubert inscribed his Trauerwalzer (D365, 1818) with ‘written down for my dear fellow coffee, wine
and punch drinker Anselm Hüttenbrenner, the world-famous composer’. In 1821 Hüttenbrenner was
forced to leave Vienna to take over his family's estate in Styria; in that same year he married and
eventually fathered nine children. A respectable pianist, he also became a prolific composer who
played an important, if not entirely understood, role in the saga of Schubert's ‘Unfinished’ Symphony
(D759).
In the same year that he met Hüttenbrenner, Schubert was introduced by Josef von Spaun to a highly
charismatic yet profligate dabbler in the arts, Franz von Schober (1797–1882). Although his father died
when Schober was six, the family remained prosperous enough for him to attend private schools for
the nobility (the family had been ennobled only in 1801) in both Germany and Austria. He began law
studies in Vienna in 1816 but failed to complete the course. From his mother's spacious apartment in
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Schubert's genius subsequently attracted … the heart of a seductively amiable and brilliant
young man, endowed with the noblest talents, whose extraordinary gifts would have been so
worthy of a moral foundation and would have richly repaid a stricter schooling than … the
one he unfortunately had. But shunning so much effort as unworthy of genius and summarily
rejecting such fetters as a form of prejudice and restriction, while at the same time arguing
with brilliant and ingratiatingly persuasive power, this scintillating individuality … won a
lasting and pernicious influence over Schubert's honest susceptibility.
The nature of this influence cast its shadow over the rest of Schubert's life.
Although the unparalleled productivity of 1815 tapered off slightly the following year, 1816 was
nonetheless a remarkable year in Schubert's creative life. He composed more than 110 songs, largely
in clusters of poems by Salis-Seewis, Goethe, Ossian (in translation), Schiller, Hölty, Matthisson,
Klopstock, Jacobi and Mayrhofer. For the meetings of the ‘Bildung Circle’, Schubert's friends would
search through volumes of poetry and present their favourites to Schubert – some of which he would
subsequently set. He also completed another mass (D452, in C), two acts of his first attempt at a three-
act opera (Die Bürgschaft, D435), two symphonies (D417, in C minor, later given the somewhat
misleading subtitle ‘The Tragic’ by Schubert; and in B♭, D485, the most popular of the youthful
symphonies), a string quartet (D353, in E) and three sonatas (published as ‘sonatinas’) for violin and
piano (D384, 385, 408). Still conspicuously missing are any significant works for solo piano. In mid-
April Spaun sent a first volume of Schubert songs based on texts by Goethe to the ageing poet, hoping
to secure his permission for dedications; Goethe returned the package unopened. In April Schubert
applied for the post of music teacher at the teachers' training college in Laibach (now Ljubljana). The
attractions probably included a higher salary and more time available for composition. Might he also
have hoped to make himself appear more acceptable to Therese Grob's family? Not until September
did Schubert learn that the post had gone to another applicant – about the same time that he made the
diary entry appearing to renounce marriage. In mid-June Schubert participated in the celebrations
marking the 50th anniversary of Salieri's arrival in Vienna, contributing both the text and the music of
a vocal quartet, aria and three-part canon (D407). Although his lessons had been intermittent, the large
number of instrumental and compositional exercises from his 11th to his 19th year attest to the
thorough, if ultimately limited, training he received from Salieri. On 24 July Schubert conducted his
(lost) cantata Prometheus (D451) at Heinrich Josef Watteroth's house; among the participants was the
lawyer Leopold von Sonnleithner (probably in the title role), the son of a music-loving family and
himself an accomplished musician, whose new-found enthusiasm led him to become one of Schubert's
most ardent and influential supporters.
(v) Independence.
Robert Winter
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It was inevitable that Schubert's phenomenal rate of productivity throughout 1815–16 would prove
unsustainable. About 60 solo songs, almost a third of them to texts by Mayrhofer, survive from 1817.
They include some of the most popular and enduring: Der Schiffer (D536), Ganymed (D544), An die
Musik (D547), Die Forelle (D550) and Gruppe aus dem Tartarus (D583). An die Musik was one of a pair
of poems by Schober; together with Trost im Liede (D546), both songs and poems express the intense
idealism of music as the ultimate balm for the burdens of life. They also express the most idealistic
dimension of the Schubert-Schober relationship.
Another ambitious attempt at an opera, Die Bürgschaft (D435), faltered in the third and final act. In the
early months of 1817 Schober presented Schubert to the highly regarded baritone Johann Michael
Vogl, whom Schubert had admired in a performance of Gluck's Iphigénie en Tauride four years earlier
(he may also have known Vogl's Pizarro in the 1814 première of Beethoven's Fidelio). Schober insisted
that Vogl – who physically towered over Schubert – read some songs on the spot. The singer is said to
have heard in them ‘fine ideas’ and ‘something special’. It marked the beginning of an advocacy that
lasted until Schubert's death.
Schubert's short-lived independence came to an end in the autumn of 1817, when he moved abruptly
back to his father's house in the Himmelpfortgrund. The reversal may well have been triggered by
financial difficulties and was perhaps hastened by his unenthusiastic resumption of teaching duties at
the school. Countering this sobering development was growing public recognition. On 27 September
Franz Xaver Schlechta, a member of Schubert's circle who had first met the composer at the
Stadtkonvikt, published a poem, An Herrn Franz Schubert (Als seine Kantate Prometheus aufgeführt
ward), in the Wiener allgemeine Theaterzeitung; it marked the first time that Schubert's name was
mentioned in a periodical. On 1 March 1818 one of Schubert's two overtures ‘im italienischen
Stile’ (D590–91) was performed at the inn Zum römischen Kaiser. It marked the first performance of a
Schubert work at a public concert. 11 days later an overture (probably the same one) was performed,
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Only a few months after Schubert's return home, his father was finally transferred to a school in the
Rossau district; the whole family moved there to 11 Grünetorgasse. Around this same time Schubert's
Symphony no.6 (D589) received its première in a house concert at Otto Hatwig's. Nearly
simultaneously, the song Erlafsee (D586) was published under the title of Am Erlaf-see in the
Mahlerisches Taschenbuch für Freunde interessanter Gegenden, Natur- und Kunst-Merkwürdigkeiten
der sterreichischen Monarchie (Vienna) – the very first publication of Schubert's to appear in print. On
5 March Schubert applied for membership as an accompanist in the Gesellschaft der Musikfreunde.
His catalogue now included more than 500 works and he doubtless believed that he was as qualified
for membership in this prestigious amateur group as anyone in Vienna. Hence his rejection, ostensibly
on the grounds that he was not an amateur, must have come as a deep disappointment – especially
since the society already included professional musicians. However, to block his admission only a
single member of the admissions committee would have needed to raise questions about Schubert's
politics or social standing. All of the composer's resentments must have evaporated when he reapplied
three years later and was accepted.
In the spring Otto Hatwig moved from the Schottenhof to the Gundelhof, where his private orchestra
now met. When he fell ill the concerts were moved to the apartment of Anton von Pettenkoffer where,
with Schubert frequently on the viola, it met on Thursday evenings for the next two years. Leopold von
Sonnleithner reported that the informal performances came to an end when Pettenkoffer, a worker in
the wholesale trade, won a lottery and moved from Vienna to his own country estate. For Schubert
there was, alas, no lottery. His teaching duties at his father's school became more burdensome than
ever and his relationship with his father grew increasingly strained. Works such as the Sixth Symphony
or the Rondo in D (D608) seem to portray a certain stylistic indecision. Evenings spent drinking
Bavarian beer at the inn Zur schwarzen Katze with friends such as Anselm Hüttenbrenner offered only
temporary relief. On one of these evenings in February Hüttenbrenner claimed that Schubert, after
helping empty several bottles of Hungarian red wine, ‘composed the wonderfully lovely song’ Die
Forelle. But Hüttenbrenner was mistaken in claiming that Schubert had composed the work on the
spot; he had set down the first version more than a year earlier. It was his frequent practice to write
out multiple versions (Die Forelle exists in no fewer than five), sometimes in an effort to improve the
work and other times simply to make a presentation.
(vi) Travel.
Robert Winter
In mid-1818 Schubert's gloomy spirits were lifted when he received an invitation from Count Johann
Karl Esterházy of Galanta to tutor his two young daughters at his summer estate in Zseliz (today
Želiezovce in Slovakia, then still in Hungary). Johann Karl Unger, a law professor at the Theresian
Academy in Vienna, had suggested Schubert to his close friend Esterházy, and the composer quickly
accepted. The two-day journey of more than 100 miles by stagecoach was easily the furthest the
composer had ever ventured from Vienna. Schubert remained there for almost five months (July–
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At Zseliz I am obliged to rely wholly on myself. I have to be composer, author, audience and
heaven knows what else. Not a soul here has any feeling for true art [this remark presumably
extended to the Esterházy daughters], or at most the countess now and then (unless I am
wrong). So I am alone with my beloved and have to hide her in my room, in my pianoforte
and in my breast. Although this often makes me sad, on the other hand it elevates me the
more. Have no fear, then, that I shall stay away longer than is absolutely necessary.
The merging of his art with the self-identity of an outsider was to become an ever more prominent
theme.
Letters from his brother Ferdinand during the same summer show that the stultifying home
atmosphere, especially where it concerned matters of religion, continued to worsen. It was hardly a
surprise, then, that when Schubert returned with the Esterházys to Vienna during the third week of
November he settled in with his friend Johann Mayrhofer rather than with his family. In his obituary of
Schubert, Mayrhofer remarked that ‘I wrote poems, he composed what I had written’. Schubert was
never to undertake formal teaching duties again. He probably continued to teach the two Esterházy
daughters through the winter. It had not been a productive year – a symphony, two fragmentary piano
sonatas, a few pieces for piano duet and just over a dozen songs. Although he was never to regain the
sheer level of output from the miracle years of 1815–16, 1818 marked a career low point. 1819 began
more propitiously. On 8 January Schubert's cantata Prometheus received another performance at
Sonnleithner's apartment in the Gundelhof. On 28 February the song Schäfers Klagelied (D121) was
performed by Franz Jäger in a concert at Zum römischen Kaiser – the first documented performance of
a Schubert song in a public concert. During this year Schubert began the remarkable Mass in A♭ major
(D678), although he was not to complete it until 1822.
For the summer of 1819 the 22-year-old Schubert elected not to seek employment but to travel through
Upper Austria in the company of Vogl, making extended stops in both Steyr and Linz. During this
period he very probably composed one of his most famous chamber works, the Quintet for piano, violin,
viola, cello and double bass known as ‘The Trout’ (D667). The work was apparently commissioned by a
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Some time during 1820 Schubert participated in a musical soirée at the apartment of Matthäus von
Collin, a well-connected dramatist, poet and friend of Spaun's who introduced Schubert to, among
others, Count Moritz Dietrichstein, Ignaz Franz von Mosel, Caroline Pichler, Baron Hammer-Purgstall
and Johann Ladislaus Pyrker. According to Anselm Hüttenbrenner, the company heard Der Wanderer as
sung by Vogel and the Eight Variations on a French Song for piano four hands (D624), played by
Schubert and Hüttenbrenner. In mid-March the other side of Schubert's existence surfaced when he
was present at the time his schoolfriend Johann Senn's room was searched by the police. Senn had
been under suspicion since his activist days in the ‘Bildung Circle’ at the Stadtkonvikt. The
assassination of the dramatist Kotzebue (a government sympathizer) by a radical student in 1819 had
emboldened the oppressive police to harass suspected malcontents in even greater numbers. For his
lack of contrition Senn was greeted with 14 months of detention without trial and then deportation to
the Tyrol. Schubert, who somewhat disingenuously registered himself as the ‘school assistant from the
Rossau’, escaped, in spite of alleged offensiveness, with a warning that was sure to have reinforced his
feelings of being an outsider.
Performances continued to accumulate throughout the spring. In March an overture (probably D648)
was performed at Anton von Pettenkoffer's. In April an overture (probably D648 as well) was performed
at a concert in Graz – the first known public orchestral performance of a Schubert work outside
Vienna. The work received a third performance in November at a Gesellschaft concert. At the
beginning of April Schubert conducted a performance of Haydn's ‘Nelson Mass’ at the Alt-Lerchenfeld
church. More importantly, on 14 June the première of Schubert's Singspiel Die Zwillingsbrüder took
place at the Kärntnertortheater (Schubert had finished the work a year and a half earlier). Based on a
French play, the tale turns around a young woman under contract from birth to marry a man (one of
two identical twins, as it turns out) she does not love. In the original production Vogl played both twins,
creating a challenge in the last scene, where both are on stage at the same time. Although it had six
performances (more than average), Die Zwillingsbrüder received a mixed reception, and the shabbily
dressed Schubert declined to acknowledge the audience's applause.
In July Schubert once again ventured outside Vienna, where he stayed as Schober's guest in the
Atzenbrugg Castle, some 40 kilometres west of Vienna. So agreeable did he find it that he returned
there in both of the two succeeding summers. After his return to Vienna in August the melodrama Die
Zauberharfe (D644), for which Schubert supplied on commission almost 3000 bars of music, was
produced at the Theater an der Wien. It received eight performances between August and November.
While playwright George von Hofmann's contribution was readily dismissed, critics were again divided
on Schubert's contribution. But almost all of them acknowledged that his score contained numerous
flashes of originality and brilliance. November also marked the marriage of Therese Grob to a baker,
Johann Bergmann. If Schubert expressed any regrets at the time concerning this turn of events, they
have not come down to us. At the beginning of December August von Gymnich performed Erlkönig at
Ignaz von Sonnleithner's. On 9 December the fourth version of Die Forelle was published in the Wiener
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By the end of 1820 the stresses of sharing a single room with Mayrhofer had brought Schubert to
breaking point. Early in 1821 Schubert moved to new lodgings in the same street (21
Wipplingerstrasse), although the two men remained on warm enough terms for Schubert to continue
setting poems by Mayrhofer. Around this same time Schubert made the acquaintance of Moritz von
Schwind, a philosophy student at the University of Vienna who had recently decided to become a
painter. Intelligent, witty, good-looking and ingratiating, Schwind (nicknamed ‘Cherubin’ after the
character in Mozart's Le nozze di Figaro) became one of Schubert's closest confidants. He even
referred to Schwind as his ‘beloved’. Unlike Spaun, Schwind became considerably enamoured of
Schober and maintained a lively correspondence with him after Schober moved to Breslau in 1823. Just
before Schober's return to Vienna in 1825 Bauernfeld remarked that ‘Moritz reveres him [Schober] like
a god’. In February Schubert found brief employment as a répétiteur at the Hofoper, where he coached
the contralto Caroline Unger in the role of Dorabella in Mozart's Così fan tutte. On a practical front,
Schubert began gathering testimonials from Count Dietrichstein, Ignaz Franz von Mosel, Salieri and
Josef Weigl, perhaps with the intention of seeking a post at the Hofoper or of soliciting a commission
for an opera.
During 1821 performances of Schubert's vocal music increased rapidly. In January Joseph Huber wrote
to his fiancée about his experience at the first documented Schubertiad:
Last Friday [the 26th] I was excellently entertained; since [Fräulein] Schober was in St
Pölten, Franz invited Schubert and 14 of his close acquaintances for the evening. Schubert
sang and played a lot of his songs by himself, lasting until about 10 o'clock in the evening.
After that we drank punch offered by one of the group, and since it was very good and
plentiful the gathering, already in a happy mood, became even merrier; it was 3 o'clock in
the morning before we parted.
In the same month Gymnich sang Der Wanderer (D489) at Ignaz von Sonnleithner's and Erlkönig at an
‘evening entertainment’ of the Gesellschaft der Musikfreunde. In February Josef Götz sang Sehnsucht
(D636) at the Gesellschaft; in March Sophie Linhart sang Gretchen am Spinnrade at Sonnleithner's. In
March, too, Vogl presented the first public performance of Erlkönig at the Kärntnertortheater. The
same programme included the first public performances of the quartet Das Dörfchen (D598) and the
octet Gesang der Geister über den Wassern (D174). Das Dörfchen was repeated in April at a
Gesellschaft concert, while Die Nachtigall (D724) received its first public performance at the
Kärntnertortheater. In June, Hérold's Das Zauberglöckchen (originally La clochette) received its
première at the Kärntnertortheater with two additional numbers supplied by Schubert. He also
completed the two Suleika songs (D717 and 720), to texts by Goethe, and possibly the Rückert song Sei
mir gegrüsst (D741). Perhaps most importantly, April saw the publication, as opp.1 and 2, of Erlkönig
and Gretchen am Spinnrade, underwritten through the generous support of Leopold von Sonnleithner
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In mid-September Schubert travelled with Schober to St Pölten (some 55 kilometres west of Vienna)
and to nearby Ochsenburg Castle, where they spent some of their four weeks as the guests of
Schober's relative Johann Nepomuk von Dankesreither, the Bishop of St Pölten. Here they collaborated
closely on a new opera, Alfonso und Estrella (D732), for which Schober served as the librettist. They
finished Act 1 and began Act 2 before returning to Vienna where, on 3 November, they attended a
truncated version of Weber's Berlin sensation, Der Freischütz. That same autumn Spaun was
transferred to the customs office in Linz; a few months later Schubert wrote a parody of an Italian
opera aria (Herrn Josef Spaun, Assessor in Linz, D749) that castigates Spaun for not writing.
Schubert's visibility in Linz grew substantially during Spaun's sojourn there. At the beginning of 1822
Schubert moved in with Schober at the family home (9 Spiegelgasse), where he remained until the
summer of 1823 except for a stint at his father's house from late 1822 to the spring of 1823. On 21
January 1822, after accompanying Schwind to a party presented by Professor Vincentius Weinridt,
Schubert sang some of his songs to an enthusiastic reception. Present at the same party was Eduard
von Bauernfeld, whose friendship with Schubert was not to blossom until three years later. The
composer continued to become a more visible part of Viennese musical life. In February he made the
acquaintance of the visiting Weber, around the time that both of them (along with Spontini, Weigl and
Umlauf) had been invited by Italian impresario Domenico Barbaia to submit works for the 1822–3
season at the Kärntnertortheater, of which he had taken control.
Schubert and Schober hastily finished Alfonso und Estrella in February and rushed it off to Barbaia –
who then failed to send them any response. Schubert's persistent efforts in Berlin, Dresden and
elsewhere to get a staging all failed. In his declining years Schober described his contribution as ‘such
a miserable, stillborn, bungling piece of work that even so great a genius as Schubert could not bring it
to life’. Vienna had no shortage of competent and even gifted librettists, and Alfonso is perhaps one
more example of Schober's hold over the composer. In mid-1822 Schubert scrawled in pencil a
document that his brother Ferdinand later labelled Mein Traum. In the literary style of Romantics such
as Novalis, it recounts the tale of a son who is twice expelled from his parental home and is reconciled
with his father only at the graveside of a young maiden. The manuscript, which Ferdinand presented to
Robert Schumann in 1839, has generally been interpreted as a ‘literary effusion’, but its very
uniqueness and timing suggest that Schubert was grappling with fundamental issues of family,
belonging and otherness. We should not demand direct parallels in Schubert's life in order for this
document to shed light on his state of mind. Not only had Schubert become a much more visible part of
Viennese musical life, he had climbed to a dramatically new level of creative expression. He completed
the Mass in A♭ (D678), begun in 1819. Nothing in his previous church music prepares us for its sweep;
in the Viennese tradition perhaps only Mozart's Requiem and C minor Mass can compare in scale and
intensity (Beethoven's Missa solemnis was completed around the same time, although there is no
reason to believe that Schubert knew it before completing his own mass). In November he completed
two movements and sketched the third of a symphony in B minor (D759), which posterity later dubbed
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During the period of these miraculous achievements, more than one of his friends commented on
Schubert's intense and potentially debilitating lifestyle. In 1820 Anselm Hüttenbrenner noted that
Schubert ‘used to sit down at his writing desk every morning at 6 o'clock and compose straight
through until 1 o'clock in the afternoon. Meanwhile many a pipe was smoked’. Lunch included black
coffee at a coffee house and another hour or two of smoking. Leopold von Sonnleithner, one of
Schubert's biggest supporters, lamented that ‘unfortunately, I must confess that I saw him in a
drunken state several times’, recalling in particular a party that Sonnleithner had left at 2 a.m.:
‘Schubert remained still longer and the next day I learnt that he had to sleep there as he was incapable
of going home. This happened in a house where he had not been known and where he had only been
introduced a short time previously’. Accompanying these excesses were sharp changes of mood,
frequent irritability and antisocial behaviour. Schober may have played an influential role in these
developments; in December 1822 Schubert wrote to Spaun that ‘we hold readings at Schober's three
times a week as well as a Schubertiad’. A Schubertiad at Schober's in mid-January of 1823 probably
brought down the curtain on Schubert's age of innocence.
(viii) Crisis.
Robert Winter
25 years Schubert's senior, the composer and conductor Ignaz Franz von Mosel met Schubert at the
dramatist Matthäus von Collin's around 1820. Spaun later recalled that, upon hearing Vogl sing some
of Schubert's songs, Mosel declared Schubert to be ‘by no means just a prolific inventor of melodies,
but a thorough musician’. On 28 February 1823 Schubert wrote a letter to Mosel with which he
enclosed the overture and third act of his now completed opera Alfonso und Estrella. First soliciting
Mosel's opinion, he then asked if Mosel might write him a letter of recommendation to Weber in
Dresden, where Schubert also hoped for a performance. But dwarfing the main text of this otherwise
routine letter is the opening sentence, which contains the first surviving mention of a development that
altered Schubert's life permanently: ‘Kindly forgive me if I am compelled to inconvenience you with
another letter so soon, but the circumstances of my health still forbid me to leave the house’. Although
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References already exist in Schubert's lifetime; in a letter of 1825 from Anton Ottenwalt to Josef von
Spaun, Ottenwalt wrote that ‘of Schubert I could tell you nothing that is new to you and to us; his
works proclaim a genius for divine creation, unimpaired by the passions of an eagerly burning
sensuality …’. When Schubert became the object of intense biographical scrutiny from the 1850s
onwards, several of his friends provided reminiscences that spoke of the paradoxes in his character. In
1857 Eduard von Bauernfeld wrote to the composer's biographer Ferdinand Luib that ‘Schubert had,
so to speak, a double nature, the Viennese gaiety being interwoven and ennobled by a trait of deep
melancholy. Inwardly a poet and outwardly a kind of hedonist’. A dozen years later he wrote that ‘the
Austrian element, uncouth and sensual, revealed itself both in his life and in his art’. Expanding on the
nationalist theme, he writes that ‘the Austrian character appeared all too violently in the vigorous and
pleasure-loving Schubert, there were also times when a black-winged demon of sorrow and melancholy
forced itself into his vicinity’. In 1858 Josef Kenner wrote to his brother that ‘[Schubert's] body, strong
as it was, succumbed to the cleavage in his – souls, I would put it, of which one pressed heavenwards
and the other bathed in slime’, appending an explanation that ‘perhaps, too, it succumbed to
frustration over the lack of recognition which some of his larger efforts suffered and to bitterness at
the meanness of his publishers’. Schober – himself no model of virtue – attributed Schubert's illness to
‘excessively indulgent sensual living and its consequences’.
These characterizations of Schubert's lifestyle from his close friends – their probity notwithstanding –
leave little doubt as to his powerful sexual appetite. What remains strongly in contention, however, is
the nature of Schubert's excesses, specifically whether they were heterosexual, homosexual or perhaps
bisexual. Schubert's illness offers no help; syphilis can be contracted through either heterosexual or
homosexual activity. Those who argue for Schubert's orthodox, if hyperactive, heterosexuality point
first to the purported love affair in 1816 between Schubert and Therese Grob. Schubert's failure to
marry her is explained by Metternich's Marriage Consent Law, which forbade marriages by males in
Schubert's class unless they could verify their ability to support a family. Although lost, a ‘long,
enthusiastic letter’ from Schubert to his friend Anton Holzapfel was said to have described Schubert's
infatuation with Therese. And in a reminiscence from 1854, Anselm Hüttenbrenner described a walk
with Schubert in which the composer again declared his love for Therese. During the 1820s both
Schober and Bauernfeld mention Schubert's apparently unrequited love for Princess Caroline
Esterházy. In 1841 Wilhelm von Chézy wrote in his memoirs that Schubert ‘honoured women and wine’.
On the other hand, it is difficult to explain away Schubert's pronounced preference throughout his life
for the company of men. However congruent with contemporary practices in Viennese society, his most
intimate expressions of sentiment are all directed to men. Not a single letter survives from Schubert to
a woman, or to Schubert from a woman. Any homoerotic dimensions within Schubert's circle of friends
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Regardless of the direct cause, in the first stage of syphilis that followed about a month after
contracting the disease Schubert would have developed genital chancres and swollen lymph nodes in
the groin. Doctors urged patients in this phase to remain at home. A few months later – perhaps
around the middle of April 1823 – he would have found himself covered with a pinkish rash
accompanied by fever. By now Schubert, who was becoming increasingly well known in Viennese
musical circles, would have had to decline social invitations. From the onset of his illness (probably no
later than January 1823) until his death six years later, Schubert would live with frequent physical
impairment and chronic anxiety. In Schubert's Vienna the contraction of syphilis was for all practical
purposes a death sentence; the time interval between contracting the disease and entering its tertiary,
and usually terminal, stage was typically three to ten years, although in some instances it might be a
good deal more. Given the widespread ignorance about hygiene and disease transmission, sufferers
from syphilis often succumbed to other maladies first. Just how devastated Schubert felt about his
sudden misfortune can be gleaned from a rare poem that he penned in May entitled Mein Gebet. Its
opening lines – ‘With a holy zeal I yearn / Life in fairer worlds to learn’ – sharpens in the third of the
four stanzas: ‘See, annihilated I lay in the dust, / Scorched by agonizing fire, / My life's martyr path, /
Approaching eternal oblivion’. In the last of the four stanzas he finds the promise of redemption: ‘And a
pure, stronger being / Let, Almighty, it be consecrated’.
It is unclear to what extent medical care dominated Schubert's life over the next six years. Several
friends refer to hospitalization (presumably at the Vienna general hospital) in 1823, which may have
occurred in April/May or perhaps in the summer months of June/July, when red, pea-sized papules may
have covered much of Schubert's body. Hospital conditions were unsanitary and often posed more
threat to the patient than home care. In April Schubert was probably well enough to pass a few weeks
with Schober and Josef Kupelwieser at the Bruchmann family's summer residence in Hütteldorf. By the
end of July he was able to travel with Vogl on their annual trip to Steyr and Linz. Schubert wrote to
Schober that he was ‘constantly in touch’ with his physician, Dr August von Schaeffer. During the stay
at Steyr, however, Schubert apparently took ill; the liberal politician Anton Doblhoff wrote to Schober
some months later that he ‘found him [Schubert] seriously ill at the time’. Schubert's illness, and
possibly his lifestyle, led to reclusiveness. During this summer Beethoven's nephew Karl, visiting his
uncle in Baden where the composer was engrossed in his Ninth Symphony, wrote in a conversation
book that ‘they greatly praise Schubert, but it is said that he hides himself’. By the end of July
Schubert was feeling well enough to perform with Vogl some of his songs for the Hartmann family in
Linz. He and Vogl returned to Steyr for most of August. But his anxiety and foreboding persisted. In a
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Perhaps most remarkable about this year is that in spite of life-threatening crises, Schubert's
productivity maintained the pace and quality of previous years. Indeed, it could be argued that a
sharpened sense of his own mortality would spur Schubert to even greater achievements. In March
and April he completed his eighth opera, the Singspiel Die Verschworenen, based on a libretto by Ignaz
Castelli. In his preface Castelli could not resist a boast: ‘The German composer's complaint is usually
this: “Indeed, we should gladly set operas to music, if only you would supply us with the librettos!”
Here is one, gentlemen!’. Although it has proved to be Schubert's most frequently staged opera, the
composer could not persuade the management of the Kärntnertortheater to perform it. The censors'
suspicion that the title signalled seditious intentions led to a name change, Der häusliche Krieg. But
the first, makeshift performance, with only piano accompaniment, did not take place until two years
after Schubert's death. Between May and October the composer completed an even more ambitious
project, Fierrabras, based on a libretto by Schubert's friend Josef Kupelwieser. Between 1821 and 1823
Kupelwieser was the secretary to the Kärntnertortheater, a circumstance that Schubert believed would
facilitate the work's performance. But even with director Barbaia's purported interest in staging
German operas, Fierrabras fared no better than Der häusliche Krieg. When Weber's Euryanthe, a
heroic German opera commissioned by Barbaia, flopped, Schubert wrote on 30 November to Schober:
‘Weber's Euryanthe turned out wretchedly and its bad reception was quite justified, in my opinion.
These circumstances … leave me scarcely any hope for my own opera’. Schubert may even have shared
his reservations with Weber himself, leading to a greatly cooled relationship between the two
composers. In spite of these discouragements, the two operas did not exhaust Schubert's dramatic
output for the year. Around the beginning of December he was persuaded by Kupelwieser to provide
incidental music to Helmina von Chézy's play Rosamunde, Fürstin von Zypern (D797), to be presented
as a benefit for the actress Emilie Neumann, with whom Kupelwieser was in love. The première on 20
December suggests that Schubert had only a few weeks to complete his work; one confirmation of his
tight schedule is his use in several numbers of previously composed music. Remarkably, Rosamunde
proved to be one of his most unified dramatic works. In the two months before he composed
Rosamunde Schubert was hard at work on the pathbreaking song cycle, Die schöne Müllerin,
assembled from poems by Wilhelm Müller. During at least some of this time Schubert was probably
hospitalized (and his head shaved); he may have indeed composed part of the tragic cycle while in
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The year 1824 confirmed many changes in Schubert's life. Many of his best friends – among them
Spaun, Stadler, Kenner, Schober and Kupelwieser – were now absent from Vienna either temporarily or
permanently. Regular contact with Franz von Bruchmann, a troubled son of nobility, and with Schwind
filled only part of the void. Bruchmann, who latter described the years 1823–6 as the most difficult of
his life, shared with Schober a restless, often undisciplined, search for identity. He was drawn to the
early Romantic outpourings of the Schlegel brothers, August and Friedrich. Schubert's relationship to
Bruchmann may have extended back to the Stadkonvikt years; Bruchmann was also educated at a
Piarist school and was associated with the unfortunate Johann Senn. Free of financial worries, he never
trained for a profession, becoming a Redemptorist in 1826. The Bruchmann family hosted several
Schubertiads between 1822 and 1824. But Schubert's strained friendship with Bruchmann ended
abruptly around March 1825 when Bruchmann discovered his sister Justina's secret engagement with
Schober. Bruchmann seems to have intervened in efforts that led to the breaking off of the
engagement. Schwind, who had acted as an intermediary, and Schubert both turned against him, and
there is no evidence that they ever had contact again. Regarding the talented Schwind, Schubert wrote
to Kupelwieser in March that ‘thus, joyless and friendless, I should pass my days, did not Schwind visit
me now and again and turn on me a ray of those sweet days of the past’. In spite of Schwind's
impressive credentials, he and Schubert were not enough to sustain the reading parties and
Schubertiads that had migrated recently to Ludwig Mohn's. After a Schubertiad on 19 January, all
activities were discontinued by April. In the same letter to Kupelwieser, Schubert writes that ‘our
society [reading circle], as you probably know already, has done itself to death because of an infusion
of that rough chorus of beer drinkers and sausage eaters, for its dissolution is due in a couple of days,
though I had hardly attended myself since your departure’.
Not all of Schubert's works from these months, however, were in a tragic vein. In February he had
been commissioned by Count Ferdinand Troyer, a fine amateur clarinettist, to compose a chamber
work incorporating the clarinet. Possibly in consultation with Troyer, Schubert modelled his work after
Beethoven's equally youthful Septet, adding only another violin to create an ensemble of string
quartet, double bass, clarinet, horn and bassoon. The sunny tone of the six-movement Octet in F major
(D803) carries scarcely a whiff of despair. In the spring première at Count Troyer's, the count played
the clarinet part himself. The particular ensemble can be seen as a chamber orchestra; in his same
March letter to Kupelwieser, Schubert confided his compositional plans: ‘I seem once again to have
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After his 27th birthday at the end of January 1824, Schubert's health once again took a turn for the
worse. Even though in February Schwind reported to Schober that Schubert had discarded his wig, the
composer was confined to Huber's house as more symptoms of secondary syphilis descended on him in
the form of ‘lesions of the mouth and throat’, aching bones, and, later, pains in his left arm that
prevented him from playing the piano. Some time in February Dr Bernhardt introduced a new
treatment, which in Schubert's time simply meant a new (and medically benign) diet. This one
consisted of alternating days of pork cutlets and a dish called panada that combined flour, water,
breadcrumbs and milk. Generous portions of tea and frequent baths completed the regimen. Taking
advantage on the last day of March of the opportunity to ‘wholly pour out my soul to someone’,
Schubert wrote to Kupelwieser:
I find myself to be the most unhappy and wretched creature in the world. Imagine a man
whose health will never be right again, and who in sheer despair continually makes things
worse and worse instead of better; imagine a man, I say, whose most brilliant hopes have
perished, to whom the felicity of love and friendship have nothing to offer but pain at best,
whom enthusiasm (at least of the stimulating variety) for all things beautiful threatens to
forsake, and I ask you, is he not a miserable, unhappy being? ‘My peace is gone, my heart is
sore, I shall find it nevermore’. I might as well sing every day now, for upon retiring to bed
each night I hope that I may not wake again, and each morning only recalls yesterday's grief.
In response to his despair he kept an occasional journal; writing in March he appealed to the one thing
whose loss would be even more devastating than his physical afflictions: ‘O imagination! thou greatest
treasure of man, thou inexhaustible wellspring from which artists as well as savants drink! O remain
with us still, by however few thou are acknowledged and revered …’. Schubert can only have drawn
great comfort from the circumstance that his imagination had not deserted him, for in the months from
January to March 1824 he completed the Variations on Trockne Blumen for flute and piano (D802); the
String Quartet in A minor (D804); the String Quarter in D minor (D810), ‘Death and the Maiden’ – the
latter two among the greatest works in the chamber music repertory – and several songs to texts by
Mayrhofer. Both of the quartets are marked by such a degree of pathos and poignancy that it is
impossible not to presume a direct connection between Schubert's life and this music. In a highly
unusual notebook entry from March Schubert seems to make the connection himself: ‘What I produce
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Given Schubert's questionable health throughout the early months of the year, it is surprising that he
agreed, after a six-year absence, to another lengthy summer sojourn in Zseliz as the music tutor to the
two daughters of Count Johann Esterházy. He left Vienna for Zseliz on 25 May, less than three weeks
after attending the première of Beethoven's Ninth. Aged 16 and 12 during Schubert's first tour, Marie
von Esterházy was now 22 and Caroline 18. The second stay does not seem to have proved nearly as
gratifying to Schubert as the first. He wrote in September to Schober, ‘Now I sit here alone in the
depths of the Hungarian countryside, to which I unfortunately allowed myself to be enticed a second
time, without having a single person with whom I could speak a sensible word’. It is a challenge to
reconcile these words with testimony from two of Schubert's friends and acquaintances concerning his
interest in Caroline. Baron Schönstein, who visited Zseliz again for two weeks that summer, remarked
in 1857 about the ‘poetic flame that sprang up in [Schubert's] heart … for that he loved her [Caroline]
must have been clear from a remark of Schubert's – his only declaration in words. Once, namely, when
she reproached Schubert in fun for having dedicated no composition to her, he replied “What is the
point? Everything is dedicated to you anyway”’. In an 1869 reminiscence the not always reliable
Eduard von Bauernfeld wrote that Schubert was ‘head over heels in love with one of his pupils, a
young Countess Esterházy’. In a letter to Schwind of August 1824 Schubert himself remarked that ‘I
often long damnably for Vienna, in spite of the certain, attractive star’. As is the case with Therese
Grob, nothing more specific can be traced directly to Schubert.
Perhaps as a homage to the high level of musicianship exhibited by his two pupils (who, according to
Schönstein, needed coaching more than teaching), Schubert took up where he had left off in 1818,
creating a trio of undisputed masterpieces for piano duet: the Sonata in C (D812; dubbed the ‘Grand
Duo’ by its publisher Diabelli), the Variations in A ♭ on an original theme (D813), and most of the six
Grandes marches (D819). In Schubert's time music for piano four hands was not simply a convenient
vehicle for arrangements of orchestral works and opera overtures (although Schubert arranged four of
his own overtures in just this way). Rather, it was a form of music-making of considerable social
significance that permitted its executants a semi-public form of physical and emotional intimacy
unequalled by any other form of social intercourse. Two generations earlier Mozart had succeeded in
raising music for piano duet to a level above most domestic forms; but it was Schubert who took it to a
level where it stood shoulder to shoulder with the prestigious genres of the sonata, string quartet and
symphony. If Schubert performed any of the Zseliz works with either of the Esterházy daughters then
they must have been accomplished keyboard players, for both the primo and the secondo parts are
equally demanding. The rapidity with which Schubert could compose a multi-voice work with ten
individually set stanzas and piano accompaniment is related by Schönstein: ‘One morning in
September 1824 … Countess Esterházy invited Meister Schubert during breakfast … to set to music for
our four voices a poem of which she was particularly fond … Gebet [‘Prayer’, by Friedrich de la Motte
Fouqué]. Schubert read it, smiled inwardly … took the book and retired immediately in order to
compose. In the evening of the same day we were already trying through the finished song at the piano
from the manuscript’. In this same month, however, Schubert felt sufficiently alienated from the goings
on at Zseliz (and, according to Schönstein, feared that he had taken poison) to entreat Schönstein to
accompany him back to Vienna a full two months before the Esterházys' return. It is again difficult to
reconcile his abrupt and premature departure with the posthumous reports of his deeply held love for
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The only composition of any note during the remainder of 1824 was the Sonata for arpeggione and
piano (D821); the arpeggione, a kind of bowed guitar, was invented in Vienna in 1814. It enjoyed only a
brief vogue; and when the sonata was published in 1871 it already included an alternative cello part.
How Schubert came into contact with the inventor Stauffer or his instrument is not known, but it
shows the composer to have been friendly to new sounds. A compelling performance on an arpeggione
today, although rare, shows that Schubert grasped immediately the instrument's plaintive, speaking
quality. The soprano Anna Milder-Hauptman wrote at the end of the year offering to advance
Schubert's operatic cause in Berlin. But when Schubert sent Alfonso und Estrella she rejected it,
averring that she preferred a role for ‘a queen, a mother or a peasant’. Nonetheless, in June 1825 she
performed Erlkönig and the second Suleika song (D717) in a public concert in Berlin, and Schubert
later dedicated Der Hirt auf dem Felsen (D965) to her. The publications of 1824, although not
voluminous, are substantial. They include the String Quartet in A minor, the only one of Schubert's
string quartets to be published in his lifetime; the vocal quartet Gondelfahrer (D809); the song An den
Tod (D518), Axa's Romanze from Rosamunde (D797/3b); and the song cycle Die schöne Müllerin, which
was issued in three parts (February, March and August). He also contributed, as he had in 1822, to a
collection of shorter piano pieces published for the holidays by Sauer & Leidesdorf. These later became
nos.3 and 6 from his popular collection of Moments musicaux (D780). Schubert may have spent part of
January 1825 in hospital, presumably undergoing treatment once again for secondary-stage
manifestations of syphilis.
In the first two years of his illness Schubert had suffered symptoms that were intermittent and variable
but occurred at relatively close intervals. Hence the symptom-free period from roughly February 1825
until the first half of 1826 was one for which the composer must have been extraordinarily grateful. He
may have even concluded that he was cured (spontaneous cures were rare but not unheard of). The
absence of both Schober and Kupelwieser may have stimulated new friendships in Vienna. In February
Schwind took Schubert to a marathon visit with Bauernfeld, who remarked with satisfaction in his
diary that previously he had been only ‘distantly acquainted’ with the composer. The three soon
became a threesome. Late that same month Sophie Müller, a 22-year-old principal singer at the
Burgtheater, invited Vogl, Schubert and Johann Baptist Jenger to lunch. When Schubert visited her
alone on 20 April she sang at least three of his songs with the composer accompanying. Anselm
Hüttenbrenner later remarked that she performed Schubert's songs ‘most movingly’. They continued
their pleasurable musical visits throughout 1825 and 1826. Schwind also introduced Schubert to his
on-again, off-again flame Anna Hönig, the artistically untalented but well-educated and endearing
daughter of a lawyer; in Schubert's circle she became known as ‘die süsse Anne Page’, an allusion to
Shakespeare's The Merry Wives of Windsor.
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Hence by the time Schubert left Vienna around 20 May for what was to be the most extended ‘holiday’
of his lifetime (four and a half months), he was in a compositionally expansive mood. His health had not
been this robust for two and a half years. He and Vogl (who had preceded Schubert) met in Steyr, as
they had in 1819. Together they then visited Linz, St Florian and Steyregg. On 6 June they reached the
scenic lakeside town of Gmunden, where they tarried for six weeks. As guests of the merchant and
music patron Ferdinand Traweger, Schubert had easy access to Traweger's ‘splendid piano’ and lived
‘like one of the family’. They were doubtless also captivated by the romantic rock cliffs that rim the
swan-inhabited lake and seem to conjure up a distant horn call. It was indeed here that Schubert
began the realization of what he had alluded to in his 1824 letter to Kupelwieser as ‘grand symphony’.
What became the ‘Great’ C major Symphony (D944, perhaps only serendipitously in the same key as
the previously abandoned piano sonata) opens with a sustained solo horn passage that would have
wafted effortlessly across the lake. Anton Ottenwalt later reported that Schubert ‘had worked on a
symphony at Gmunden’. A speculative reading of the date on its autograph led scholars to place the
genesis of the ‘Great’ C major in 1828, necessitating a lost symphony from the summer of 1825.
However, the paper used for the ‘Great’ C major and the works from that summer dated explicitly by
Schubert makes clear that the ‘Great’ is the symphony from the summer of 1825.
From Gmunden, Schubert and Vogl made return visits to Linz and Steyr, taking in Kremsmunster and
Salzburg as well. Even in the early 19th century the western portions of present-day Austria had long
been known throughout the Austro-Hungarian Empire as enviable ‘cure’ destinations. On 10 August
Schubert and Vogl arrived in the more remote, cliffside town of Bad Gastein, famous for its vertical
drops and waterfalls. Here Schubert not only worked further on the ‘Great’ C major Symphony but also
composed the Piano Sonata in D major (D850), a work of torrential energy in its first and third
movements and of symphonic scope in its slow movement. The technical demands on a fully
professional pianist such as its dedicatee Karl Maria von Bocklet were substantial. While at Bad
Gastein Schubert also composed Die Allmacht (D852), an epochal hymn of praise to a deity described
by the poet Johann Ladislaus Pyrker (whom he met there) in a series of powerful nature metaphors.
Schubert himself described the environs of Gmunden as ‘truly heavenly’; of Salzburg and Bad Gastein,
whose ‘mountains rise higher and higher’, he wrote that ‘the country surpasses the wildest
imagination’. He was equally impressed with man-made triumphs, such as Salzburg Cathedral.
Virtually everywhere that he and Vogl went they performed recent songs such as Ave Maria!, the third
of the three Ellen songs on texts from the Lady of the Lake by Sir Walter Scott (D839); Schubert and
Vogl both regularly performed songs specified for women. About their collaboration Schubert
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Schubert's lengthy summer sojourn of 1825 marked the happiest period of his brief life. Over the next
three years his fortune, his finances and his health would wane steadily, yet during this time he would
produce a string of works demonstrating his idiosyncratic mastery of instrumental as well as vocal
music. In July 1825 Schober had returned from his two-year sojourn in Breslau; during much of 1826
Schubert was to live with Schober at two locations in the suburb of Währing and one in Vienna (6
Bäckerstrasse), moves necessitated by his family's loss of their luxury apartment in the Tuchlauben.
Schober's financial situation deteriorated to the point where he had to take the previously unthinkable
step of seeking employment. The Swiss publisher Nägeli approached Schubert about contributing a
piano sonata to an anthology, but could not agree to the confident composer's healthy fee. In late
January the Schuppanzigh Quartet rehearsed the D minor Quartet in Schubert's presence and then
gave a private performance on 1 February in the rooms of the tenor Josef Barth. According to Franz
Lachner, who hosted the rehearsal, Schuppanzigh, a keen advocate of new music, told Schubert: ‘My
dear fellow, this is no good, leave it alone; you stick to your songs!’. Schubert seems to have been little
fazed; in June he began work on, and quickly completed, his last string quartet (in G major, D887), a
work of striking originality. Throughout much of the year Schubert continued to expand and revise his
C major Symphony with the hope of securing a performance by the Gesellschaft orchestra. In October
he formally presented the work to the Gesellschaft with the idealistic dedication: ‘Persuaded of the
Austrian Musical Society's noble intention to support any artistic endeavour as far as possible, I
venture, as a native artist, to dedicate to them this, my symphony, and to commend it most politely to
their protection’. As a ‘token of obligation’ the Gesellschaft steering committee sent Schubert 100
florins and arranged for the copying of the parts. But they did not commit to what he longed for most –
a performance. Performances of Schubert's smaller works continued at infrequent Schubertiads: one
on 31 May at the apartment of Spaun's friend Karl Enderes, and a mammoth one at Spaun's on 15
December, at which Schubert played piano duets with Josef von Gahy and Vogl sang ‘almost 30
splendid songs’. This is the event believed to be memorialized in the thickly populated sepia drawing of
1868 by Moritz von Schwind. The 58-year-old Vogl had returned from Italy in April and announced his
engagement to Kunigunde Rosa, the daughter of a curator of the Belvedere Art Gallery and 27 years
his junior. Leopold Kupelwieser finally married his sweetheart Johanna Lutz, and both men were
therefore less closely affiliated with Schubert's inner circle. In February Schubert heard performances
of Beethoven's Second Symphony and Overture to Egmont, the Hallelujah Chorus from Handel's
Messiah and chamber music by Haydn, Mozart and Beethoven performed by the Schuppanzigh Quartet
– all on the same day.
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For the first few months of 1827 Schubert lived alone near the Karolinentor (opposite the present
Stadtpark). The diary of the Hartmann brothers testifies to frequent parties as well as after-hour
celebrations at Zum grünen Anker, a popular restaurant and tavern. In March Schubert moved in with
Schober for the last time, remaining, except for a two-month holiday, at the new house on the
Tuchlauben (where he had his own music room) until his final move to his brother Ferdinand's in
August 1828. Early in the year at Artaria's Schubert heard the première of his splendid Rondo, written
for and performed by Slavík and Bocklet. The most dramatic event in the first months of the year was
the death of Beethoven on 26 March. He had contracted pneumonia in December of the previous year
and by mid-January a failing liver and a stomach disorder had sealed his fate. The often fanciful Anton
Schindler claimed to have set out in February to distract Beethoven from his fate by bringing to the
composer, largely in manuscript, some 60 songs and vocal works. Beethoven expressed amazement
that Schubert had already composed over 500 songs by the age of 30 and was even more astonished at
the content of those he perused (they included Die junge Nonne and Viola). Beethoven, reported
Schindler, cried out the oft-cited line: ‘Truly in Schubert there dwells a divine spark’. Did he also
predict that Schubert would yet ‘make a great stir in the world’? Schindler's virtually wholesale
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After his frustrating experience with Probst, Schubert had considerably more success with Tobias
Haslinger, who published 12 Valses nobles (D969) for piano in January, the G major Piano Sonata in
April, and three Seidl settings in May. The proceeds from the sale may have facilitated Schubert's
leaving for a two-month working holiday in Dornbach (probably often in Schober's company), a village
a few kilometres north-west of Vienna. His principal creative activity was work on the unfinished opera
Der Graf von Gleichen. While on holiday Schubert was also elected – at the age of only 30 – to full
membership of the steering committee of the Gesellschaft der Musikfreunde; he responded in writing
that ‘I declare my gratification at the honour accorded to me by this election, and my entire readiness
to fulfil all duties connected with the same’. In mid-April Schubert attended at the Musikverein the first
public performance by an augmented Schuppanzigh Quartet of the Octet in F major. On 21 April Spaun
presented a Schubertiad that, according to Franz von Hartmann's diary, enjoyed ‘an enormous
attendance’. Hartmann also wrote that ‘at 12 o’clock we left … and a larger party went to Bogner's,
where however for that very reason it was no longer particularly jolly, and the glorious impressions of
the Schubertiad were lessened’. Another cause may have been Schubert's state of mind, which
Bauernfeld noted in early June as depressed. Schubert must have realized that his respite from
syphilitic symptoms could end at any time. In early September he accepted an invitation arranged by
Johann Jenger, a fine pianist, to visit Marie Pachler (another pianist, commended by Beethoven) in
Graz. They stayed for three weeks, sandwiching in a side visit to Wildbach Castle and attending a
charity concert of the Styrian Music Society that included three of Schubert's vocal works. Upon his
return to Vienna he wrote to Frau Pachler that ‘my usual headaches [a classic symptom of secondary
syphilis] are assailing me again’; indeed, while enjoying the Pachler family's hospitality in Graz,
Schubert had cancelled an appointment with a music lover, probably for the ‘usual’ reason. Hartmann's
diary made the blanket observation about the autumn of 1827 that ‘every Wednesday and Saturday
evening we go to the alehouse, where Enk, Schober, Schubert and Spaun can be found’.
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Schubert began his final year with the familiar celebrations at Schober's. Along with friends such as
Schober, Spaun, Schwind, Bauernfeld and the von Hartmann brothers, he made his way at 2 a.m. to
Bogner's coffee house to celebrate and ponder the future. It seemed most promising. The reading
sessions that had been suspended since 1824 were now revived at Schober's. On 20 January Slavík and
Bocklet gave the première of the Fantasy for violin and piano at Slavík's private concert. On 15 January
Spaun – Schubert's friend of longest standing – announced his long-awaited engagement. Schubert,
although disappointed at the prospect of having to share his old friend, proposed a musical evening in
honour of Spaun and his fiancée, Franziska von Ehrenwerth. On 28 January Bocklet, Schuppanzigh and
Linke played one of the piano trios, after which Schubert and Bocklet played piano duets (including the
magnificent A♭ Variations) so brilliantly that, Spaun recalled, ‘everyone was enchanted and the highly
delighted Bocklet embraced his friend [Schubert]’. It was not only the last Schubertiad at Spaun's, but
the last one altogether. In the same month Schubert had begun work on the Fantasy in F minor for
piano duet (D940), his most cathartic and structurally integrated work in that medium. The dedication
to Caroline Esterházy testifies to the esteem in which he held her, although it stops short of being a
clear-cut declaration of love. When two German publishers, Schott in Mainz and Probst in Leipzig,
contacted Schubert about potential works, he replied with a varied list of largely instrumental
compositions. Schott at first offered to take the second set of impromptus, but withdrew when his Paris
office advised that they were ‘too difficult for trifles’. Probst accepted and published the E♭ Piano Trio,
including cuts in the finale that Schubert's friends had apparently urged.
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Schubert's exploration of novel keyboard styles continued in May with the Drei Klavierstücke (D946);
he may have expected the publisher to add fanciful titles. Around the same time he completed the
passionate Allegro in A minor and the Rondo in A major, both for piano four hands. These two polarized
works completed Schubert's extraordinary exploration of music for piano duet. An unrelated exception
occurred the next month, when Schubert and his composer friend Lachner set off on a two-day
excursion to Heiligenkreuz, where they hoped to hear the fine organ in the Cistercian monastery. In
Baden, where they spent the night, Schubert proposed that each of them compose a fugue to be played
at the monastery. By midnight, according to Lachner, they were finished, and at 6 o’clock the next
morning they commenced the last leg of their journey. Both fugues were played in the presence of
several monks, whose reactions are unrecorded. Diabelli's publication of Schubert's Fugue in E minor
(D952) – saturated with pre-Wagnerian chromaticism – as a piano duet probably stemmed from his
desire to make it more saleable. Meanwhile, Schubert continued to collect accolades, both in private
correspondence (as from the University of Breslau music lecturer J.T. Mosewius on both Müller song
cycles) and in print, as in a review in the Wiener Zeitschrift für Kunst praising part 1 of Winterreise and
the Rondo in B minor for violin and piano. In June Schubert turned, without any apparent external
stimulus, for the last time to the mass. The Mass in E♭ major (D950), while in some respects more
restrained than the A♭ Mass begun almost a decade before, shows Schubert's mastery of a wide range
of choral textures.
As summer approached Schubert investigated the possibilities of another holiday in Graz with Jenger
at the Pachlers, or in Gmunden. The exact reasons for delays are not known, but it may be that
Schubert already felt unwell enough to be wary of straying too far from Vienna. In July, perhaps
commissioned by the cantor Salomon Sulzer, he set Psalm xcii (D953) for soloists and chorus. In August
Schubert's physical distress was great enough for him to consult the court physician, Dr Ernst Rinna,
who made the ultimately fatal recommendation that Schubert move in with his brother Ferdinand in
the Viennese suburb of Wieden. On 1 September Schubert joined his brother in a new building on
Kettenbrückengasse 6, whose cleaner air on the outside was unfortunately complemented by very
damp air on the inside. Schubert's symptoms, which may have included giddiness and headaches, were
not enough to deter him from composing or completing a rich array of ambitious works that included
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It may have been Schubert's deeper study of the music of Handel (especially Messiah), or his
attendance at the frequent colossal performances in Vienna of Handel oratorios that spurred him to
seek counterpoint lessons with Simon Sechter, Vienna's most prominent music theorist and a strict
advocate of the Fuxian tradition. It is hard to imagine why the composer of the E♭ major Mass or the
Fantasy in F minor felt it necessary to study counterpoint, but on 4 November, accompanied by the
violinist and composer Josef Lanz (who apparently made the arrangements for both of them), Schubert
took his one and only lesson with Sechter. On 31 October Schubert had dined at the tavern zum roten
Kreuz often frequented by the composer and his family. His reaction to the fish that he ate was to feel
ill. According to Bauernfeld, he had felt this way ‘from time to time and we attached no importance to
it’. Around this time Schubert began sketches for a symphony in D major (referred to incongruously as
‘Symphony no.10’). Each of its three movements open new paths for exploration; the B minor Largo,
especially, projects an almost Mahlerian sense of foreboding alternating with salvation. Schubert very
likely worked on the symphony until he became too delirious to write.
On 3 November he felt well enough to attend the performance of a Requiem by his brother Ferdinand,
followed by a three-hour walk with Schubert family friend Josef Mayssen. A few days later Spaun
visited Schubert to have him check a copy of a psalm setting he had prepared at Schubert's request for
the Ladies Choral Society in Lemberg. The composer was in bed but protested that there was nothing
wrong with him, ‘only I am so exhausted that I feel as if I were going to fall through the bed’. His fate
was now sealed, and his 13-year-old half-sister Josefa and Ferdinand's wife Anna prepared to care for
him for the duration. On 12 November Schubert wrote an alarming letter to Schober, declaring that ‘I
am ill. I have eaten nothing for 11 days and drunk nothing, and I totter feebly and shakily from my bed
and back again. Rinna is treating me. If I try to take anything, it comes right back up’. The same letter
requests more novels by James Fennimore Cooper, the American author of, among others, The Last of
the Mohicans and The Spy. One unconfirmed report states that on 14 November Beethoven's String
Quartet in C♯ minor op.131 was performed at Schubert's bedside. Rinna now took ill himself, and Josef
von Vering was called in. A bedside conference between Vering and another physician, Johann Wisgrill,
led to a new course of treatment. We can only guess at the prescribed medications that Schubert
imbibed at regular intervals using his stopwatch. Spaun, who visited Schubert during his last days,
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The death certificate ascribed Schubert's death to Nervenfieber (nervous fever). For Otto Erich
Deutsch, Schubert's great chronicler, this meant either typhus or typhoid fever. But later writers such
as Eric Sams argue that the most probable cause was tertiary syphilis. Some of the symptoms, such as
giddiness and headaches, could have been caused by mercury, the standard medication in Schubert's
time for those afflicted with syphilis. Narrowing of the arteries in the brain – another symptom of
tertiary syphilis – could have caused a stroke that led to Schubert's fever and delirium. With the stigma
already attached to venereal disease in Schubert's time, it is easy to understand why his physicians
and family would have wished to gloss over the true cause of death. Still others have posited
malnutrition, the effects of alcoholism, and deterioration of the immune system. The imprecision of
medical practice and the poor understanding of causality in Biedermeier Vienna will always preclude a
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In the decades following Schubert's premature death, his character – or at least the character that his
friends and biographers constructed – was unavoidably linked to the reception of his music. Less than
a week after Schubert's death, Josef von Zedlitz wrote in the Wiener Zeitschrift für Kunst that ‘his
private life was absolutely honourable and worthy, as is always the case with every true artist’. In the
wake of Metternich's Europe, artists remained perhaps the one class that society could still idealize.
Although less naive, the obituaries published by Sonnleithner, Spaun and Bauernfeld glossed over
aspects of Schubert's life with which they must have been acquainted. Only Mayrhofer acknowledged
in his notice that Schubert ‘had long been seriously ill, had gone through disheartening experiences,
and life for him had shed its rosy colour’. Three decades later one might have thought that a balanced
assessment was possible – although not where Anton Schindler was concerned. Waging a rearguard
action, Schindler wrote in 1857 ‘does not the inheritance left by our young master declare clearly and
distinctly how matters stood in his case with regard to his mode of life and consequently with regard to
his use of every hour of his time? And yet the false idea has spread and taken firm root that Schubert
led a disorderly life, was addicted to drink and suchlike’. Heinrich Kreissle, Schubert's first biographer,
presented a composite picture of Schubert in 1861 (with a much expanded second edition in 1865) as
‘a good son, fondly attached to all his family, a firm friend, always ready to do a good turn for any he
loved, free from all envy and hatred, high-minded …’. In 1873 the American Schubert biographer
George Lowell Austin went one better than Kreissle: ‘The evenness of his disposition, which bore a
resemblance to the smooth surface of a mirror, was rarely ruffled by exterior matters, and there
existed a perfect harmony between his spirit and action …. The important elements of Schubert's
character were a love of truth, and a marked hatred of jealousy, tenderness with firmness, sincerity
and affection…’.
The centenary of Schubert's death in 1928 prompted a spate of books that continued to reinforce the
Schubertbild. In the English-speaking world Newman Flower's Franz Schubert: the Man and his Circle
boasted of its grounding in the scholarship of Otto Erich Deutsch. Flower did not look kindly on those
who threatened to tarnish his portrait of Schubert: ‘[Anselm] Hüttenbrenner later declared that
Schubert had “an overruling antipathy to the daughters of Eve”. But this is scarcely correct. That his
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Between 1821 and Schubert's death in 1828 more than 100 opuses of his music had been published (or
at least proofed by the composer), most by Viennese firms. This was a rate unequalled by any of
Schubert's Viennese contemporaries. In terms of the sheer number of opuses, it almost doubles the
total for Beethoven over the same period. The differences lay in the emphasis. In this period Beethoven
saw seven symphonies and half a dozen overtures published; Schubert saw not one note of his
orchestral music published. Schott published Beethoven's Missa solemnis shortly after its completion;
Schubert could get only a handful of youthful sacred works into print. Almost two-thirds of Schubert's
published opuses in his lifetime were devoted to lieder (more than 175 songs). The 50 Nachlass opuses
published between 1830 and 1850 by Anton Diabelli were devoted entirely to 137 more lieder. More
than 30 other Schubert opuses were divided equally between music for piano and piano duet. Of his
greatest chamber works only the A minor Quartet and the E♭ Piano Trio appeared in his lifetime. At the
time of Beethoven's death, virtually all of the music on which his posthumous reputation would rest
had been published. Less than a quarter of Schubert's music had appeared in print when he died, and
publication was heavily skewed towards the least prestigious genres.
Facilitated by Schubert's brother Ferdinand, Robert Schumann's Viennese encounter with the ‘Great’ C
major Symphony led to Mendelssohn's celebrated Leipzig performance on 21 March 1839 and a
publication of the parts the next year. Schumann’s and Mendelssohn's roles were pivotal; previous
attempts to mount performances in Vienna and Paris had failed because the musicians found the work
too long and too difficult. But the publicity garnered by the symphony failed to have a major impact on
the firms of Artaria, Diabelli, Leidesdorf, Schweiger and Spina, who continued to favour songs,
partsongs and piano music. By 1865 only a single overture (D591) had been added to the orchestral
list. Chamber music fared better, with the publication of the ‘Trout’ Quintet, the G major String
Quartet, the Octet in F and the B♭ Piano Trio. Yet almost four decades after his death still less than half
of Schubert's music was in print. In 1865 Anselm and Josef Hüttenbrenner were finally persuaded to go
public with the ‘Unfinished’ Symphony, their legacy from Schubert's honorary 1822 diploma the Styrian
Music Society in Graz. The first public performance of the symphony under Johann Herbeck finally put
Schubert on the international map, leading quickly to performances in Germany, England, France and
North America.
2. Works.
(i) Songs.
Robert Winter
Schubert's first surviving song dates from his 15th year, and he probably wrote the last of his more
than 600 completed songs only a few weeks before his premature death. In terms of separate works,
almost two-thirds of Schubert's are lieder, and during his lifetime they were the principal vehicle of his
fame. The nearly 300 ballads and lieder of the Stuttgart court composer Johann Rudolf Zumsteeg
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While his skill at setting verse grew throughout his lifetime, from the age of 17 onwards Schubert was
composing masterful songs that ranked with the best produced over the next 100 years. Nothing in the
Berlin school or in the songs of Haydn, Mozart or Beethoven could have prepared Schubert's admirers
for his breakthrough lied, Gretchen am Spinnrade (D118), of October 1814. Not only do its freely
modified strophes trace a mounting dramatic trajectory that unites the whole, but the spinning-wheel
accompaniment serves as one of the protagonists. What may account partly for Schubert's great leap
was his lifelong passion for poetry, in this instance his first encounter with Goethe. Schubert
continually and assiduously sought out verse that both conveyed meaning(s) and was suited through its
declamation for musical realization. His unrelenting search led him to more than 150 poets over a 17-
year career. He set the greatest poets of his own and the preceding generations (Schiller, Goethe,
Klopstock, Heine, Rückert) but also gave extraordinary voice to his friends (Mayrhofer, Schober,
Bauernfeld, Ottenwalt, Spaun) as well as to a bewildering array of minor poets from Hölty (more than
30 songs, mostly from 1815–16) to Stolberg.
Schubert's uniqueness lay not only in his raising of the lied from a marginal to a central genre but in
his ability to fuse poetry and music in ways that seem not only unique but inevitable. Like those of
Wolf, but few others, Schubert's songs can withstand the closest scrutiny because they contain so
many layers of meaning and stylistic intersection. He reinvented in dazzling variety the kind of kinetic,
moto perpetuo accompaniment first found in Gretchen: the undulating waves of Auf dem Wasser zu
singen (D774), the impetuous brook in Wohin? (no.2 from Die schöne Müllerin), the shimmering
demisemiquavers of Liebesbotschaft (no.1 from Schwanengesang), or the gently rocking figuration of
Nacht und Träume (D827). As Schubert's expressive range developed, the integration of melody (the
reciter of the text), harmony and accompaniment increased steadily. In the laconic Am See (D124) of
1814, the folklike melody and simple oom-pah accompaniment seem reminiscent of Zumsteeg but
already include passages where the piano and voice lines interact with one another. By Rastlose Liebe
(D138) of the next year, Schubert had combined the moto perpetuo rhythm in the right hand with a
slower but equally urgent rhythm in the left hand, both counterpoised to the breathless delivery of the
voice. In Erlkönig (D328), from the autumn of 1815, he expanded this strategy into a large ballad
structure unified by virtuoso triplet rhythms and concluding with an understated recitative that invests
the death of the young boy with an almost unbearable poignancy.
Over the next dozen years Schubert invested every stylistic aspect of the lied with a richness that,
dramatically speaking, rivalled and even surpassed opera. Although his harmonic language grew out of
the chromaticism of Mozart, his harmonic daring in lieder could approach that of mid-century Wagner.
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But it is as a melodist that Schubert formed and sustained his reputation as a song composer. Against
the backdrop of Beethoven's predominantly instrumental style there is no doubt that Schubert's
melodies stood out for his successors as well as for the generations that have followed. Yet the irony is
that no Viennese composer's melodies depend as heavily on their accompaniments for their effect as
Schubert's. The celebrated melody of Ave Maria! (D839) leans heavily on the regular triplets and
deceptive cadences of the piano part. Each verse of An Sylvia (D891), one of Schubert's Shakespeare
settings from 1826, makes ingenious use of bar form, in which the A′ phrase moves through the
mediant and the culminating B phrase is the only one to cadence on the tonic note. But the undeniable
appeal of this melody grows equally out of the imitation in the piano at phrase ends, the playfully
staccato ascending figure in the piano's bass, and the independent melody in the piano's right hand at
the culminating end of the B phrase. As Schubert matured this interdependency between melody and
accompaniment only grew deeper.
The nearly 200 songs published in Schubert's lifetime are generally performed as if their groupings
were of no consequence; but there is ample internal evidence that he compiled his opuses carefully. In
op.59, a group of four songs published in 1826, Schubert opens with Du liebst mich nicht (D756) in A
minor, followed by another heartbreak song, Dass sie hier gewesen (D775), in the relative major. The
third song, Du bist die Ruh (D776), uses a similar form of address to the first song but in a different,
comforting mood, signalled by the more distant common-tone shift from the key of Dass sie hier
gewesen, C major, to E♭ major. Finally, the whimsical, bittersweet Lachen und Weinen (D777) is in A♭
major, to which the previous song's E♭ major serves as a retrospective dominant. Hence the opus
skilfully groups two pairs of songs in contrasting moods but united by the general theme of love.
Schubert's ongoing interest in song groupings may help explain his receptivity in 1823 to Wilhelm
Müller's narrative cycle of 23 poems with prologue and epilogue entitled Die schöne Müllerin,
published as part of a larger volume entitled Seventy-Seven Poems from the Posthumous Papers of a
Travelling-Horn-Player. The growth of Müller's poems out of literary party games in Berlin resonated
with Schubert's experiences in Viennese reading circles in 1821–2. He was doubtless also influenced
by Beethoven's song cycle An die ferne geliebte of 1815–16. After boiling Müller's verse down to 20
poems, Schubert set each one with a directness and urgency that place Müller's often elliptical or
ironic emotions in sharp relief and heighten the sense of dramatic narrative. As set by Schubert, Die
schöne Müllerin (D795) is less a tragic love story than a metaphor on the Romantic conviction that true
love on this earth finds its fulfilment only in death. Four years later Schubert returned to Müller's 1821
volume and seized on the 24 poems of Winterreise, a more interior, emotionally more nuanced portrait
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Schubert's song forms – strophic, ternary, bar, through-composed, to name the most common – are
often spoken of in defining terms, but they are invariably the by-product of his encounter with the
chosen poetry rather than a pre-existing predilection. With the exception of some of the longer
narrative poems, the vast majority of the poetry Schubert set was in some variant of stanzaic form, and
his predecessors most often followed this cue with matching musical strophes. While Schubert was
sensitive to the poetic form, he was more influenced by his assessment of a poem's emotional
trajectory and dramatic possibilities. The result was a remarkable range of variations on a few formal
types. While something like a third of Schubert's songs make use of strophic form, only a relatively
small number utilize strict strophic form, in which the same music is repeated literally for each stanza.
Among the mature works these include almost half of the songs in Die schöne Müllerin and both of the
exquisite Shakespeare settings (D889, 891). All of these and other such songs contain level sets of
verses (several with refrains) and often project a selfconscious folk quality. But even those in strict
strophic form often transcend the folk pattern. The torrential triplets of the eight-bar introduction to
Ungeduld, from Die schöne Müllerin, says more about impatience than Müller's four stanzas; the
concluding refrain, with its two high As, provides an operatic climax entirely foreign to this genre. In
other instances, such as An die Musik, Schubert writes out the music to the two stanzas, whose impact
is cumulative rather than serial. More frequently Schubert's strophic forms are modified to suit the
dramatic situation. Gebet während der Schlacht (D171) places an arioso/recitative before a written-out
strophic form. His favourite variant is to turn from major to minor for the closing stanza, as in Der
Wachtelschlag (D742), Tränenregen from Die schöne Müllerin, and Im Frühling (D882). Schubert's
predilection for major–minor contrast, and for minor-keyed inflections within a major context and vice
versa, derives from Mozart but goes far beyond him. Along with Brahms, he ranks as the greatest
major–minor colourist in Western music.
Ternary forms (An den Mond, D193), bar forms (Die Forelle, D550) and rondos (Der Einsame, D800) are
scattered throughout Schubert's song output, always motivated by the dramas inherent in their texts.
But the most frequent strategy adopted by Schubert over his song career has been described by
Formenlehre theorists as ‘through-composed’ (German durchkomponiert), a catch-all for all those
songs that do not fit preconceived schemes. From the impressionistic simplicity of the 32-bar
Meeresstille (D216) to the cathartic dramatic scena Die junge Nonne (D828), Schubert responds in
seemingly infinite ways to the inner drama of his chosen poems. In this freedom of structure he is
approached only by Hugo Wolf at the end of the century.
In the end, perhaps no one summarized Schubert's achievement in song better than his lifelong friend
Joseph von Spaun:
In this category he stands unexcelled, even unapproached … Every one of his songs is in
reality a poem on the poem he set to music … Who among those who had the good fortune to
hear some of his greatest songs does not remember how this music made a long familiar
poem new for him, how it was suddenly revealed to him and penetrated to his very depth.
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Schubert's production of polyphonic songs and choruses extended chronologically almost as widely as
that of the lied. At the age of 15 he modelled a comic trio, Die Advokaten (D37; TTB and piano), after a
work by Anton Fischer (although in the tradition of Mozart's Das Bandel); only months before his death
he composed Glaube, Hoffnung und Liebe (D954; two tenors, two basses, chorus and wind) for the
dedication of the new bells in the Dreifaltigkeitskirche in the Alservorstadt. He completed more than
150 such works, amounting in length to some 30% of his lieder output. The fledgling tradition of part-
singing in Vienna was consolidated in 1809 in Berlin with Zelter's founding of the Liedertafel, a men's
organization modelled loosely on the Meistersinger guilds. The practice spread quickly throughout the
German-speaking regions and Schubert became its most important Viennese representative. Almost
two-thirds of Schubert's partsongs or choruses are for men's voices, reflecting the essential child-
rearing duties assigned to women in Biedermeier Europe. About a fifth are for mixed voices, and only
half a dozen call for women's voices. The remainder are either unison or unspecified. In practice, many
works could be performed with either one, several or many voices to a part, blurring any hard and fast
distinction between solo and choral partsongs. In these works Schubert presents a rich variety of
dispositions, including SATB, SAT, STB, TTB, TTBB, TTBBB, TTTTBBBB, SA, SSA, SSAA, chorus, double
chorus, often spiced with additional combinations of soloists. The songs divide almost evenly between
unaccompanied and accompanied. Schubert had a particular gift for inventing apt and varied vocal
sonorities; in Lied im Freien (D572; TTBB) the outer sections are set in sprightly homophony
punctuated by appoggiaturas to celebrate the coming of May. The second stanza's focus on the play of
light and shade is treated in imitation, while the leisurely strolling of the third stanza is set as a slow
fugato. The accompaniments range from simple keyboard to groups of horns, strings, wind and even
full orchestra.
Many of these songs and choruses are occasional pieces. Ten carry generic drinking-song titles such as
Trinklied, Punschlied or Wein und Liebe, while others are titled Schlachtlied or Fischerlied. Yet in his
partsongs Schubert was drawn to a similar array of poetry as in the solo songs. The fifth and last of his
settings of Nur wer die Sehnsucht kennt (D877 no.1) is the only one to mirror Goethe's scene as a duet
between Mignon and the Harper, and easily surpasses the solo settings in emotional range. A
remarkably high percentage of these works received their premières in Schubert's lifetime, and a
goodly number were published. With its elaborate piano accompaniment, the SSAA quartet, Gott in der
Natur (D757, first performed in 1827), is a hymn of praise to nature on almost as grand a scale as its
solo counterpart, Die Allmacht. The more intimate Des Tages Weihe (D763) uses an SATB quartet to
create a sense of gratitude more compelling than could be achieved by a solo voice. Night songs
especially stimulated Schubert's colour palette. Wehmut (‘Die Abendglöcke tönet’, D825, TTBB)
contrasts the monotone chiming of the bell with the magic of sunset. Mondenschein (D875), on a text
by Schober and which received its première in the last year of the composer's life, exemplifies the best
of Schubert's chromatic and major–minor inflections, here in a skein of aching appoggiaturas.
Nachtgesang im Walde (D913; first performed in 1827) uses the echo effect of four horns to exquisite
effect. Both Die Nacht (D983c) and Nachthelle (D892; first performed in 1827) highlight the upper male
range to portray vividly the allure of night. Nachthelle is built around an ethereal piano accompanment
that invests the choral echoes of the solo tenor with a special glow.
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Schubert was occupied with the composition of music for the church from his 15th year until the end of
his life. In volume his sacred output falls only slightly short of Mozart and greatly exceeds that of
Beethoven. Schubert attended mass regularly as a child and probably continued the practice into his
adulthood, especially while living with or visiting his family. As with other areas of his personal life,
direct evidence concerning Schubert's religious beliefs is hard to come by. In an 1824 diary entry he
wrote that ‘It is with faith that man first enters the world. It comes long before reason and knowledge,
for to understand something one must first believe something … Reason is nothing other than analysed
faith’. After contracting syphilis Schubert made a number of heartfelt utterances in the ensuing years
that may show him struggling to come to terms with his bleak destiny. Less than a decade earlier he
had written in another diary that ‘Man resembles a ball, to be played with by fate and chance’.
Whether or not Schubert evolved a Christian humanism that combined elements of messianic Judaism
and Platonism (with its view of life as an ascent towards divine perfection), his involvement with
theological questions, broadly construed, seems to have been an important theme of his creative life.
Between 1812 and 1814 Schubert experimented with several Kyrie settings, as well as a Gloria, Credo,
Sanctus and Salve regina. He wrote the first four of his six completed masses in close succession
between 1814 and 1816, probably in response to a demand from the Lichtental church, his local parish,
and perhaps in an effort to gain the attention of the soprano Therese Grob. They bear an obvious
affinity to the Austrian Missa brevis tradition practised most conspicuously by Mozart. The first of
these, that in F (D105) composed in 1814 for the centenary of the Lichtental church, shows an
adolescent composer fully conversant with the Viennese church tradition. From the brilliant use of
brass in the Gloria to the kinetic fugue (albeit one over-reliant on sequences) of the ‘Cum Sancto
Spiritu’, Schubert writes with an assurance rivalled at this age only by Mozart. In maintaining a single
tempo in both the Credo and the Sanctus, Schubert departs confidently from tradition. Not unlike
Mozart before him, Schubert felt no obligation to present the mass text in its entirety. He habitually
omits the Credo text: ‘[Credo] in unam sanctam catholicam et apostolicam Ecclesiam’, which might
suggest a lack of sympathy for the institutional church. But on other occasions Schubert omitted
liturgical text in an unpredictable fashion, a practice that suggests a more relaxed, empirical approach
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Following this burst of activity, Schubert then withdrew from large-scale sacred projects for several
years. The most remarkable fact about the Mass in A♭ (D678), whose intended performance destination
is unknown, is that Schubert finished it. He commenced work in the autumn of 1819, at a time when he
was reaching beyond his seemingly effortless youthful style towards a more complex and personal
mode of expression. The years between 1818 and 1822 produced, among others, four unfinished
symphonies, an unfinished oratorio, an unfinished string quartet and three unfinished piano sonatas.
Work on the mass extended over three years, parallelling very closely the gestation period for
Beethoven's Missa solemnis op.123 (although nothing suggests that Schubert was aware of
Beethoven's project). Comparisons are inevitable, and it makes sense to acknowledge at the outset that
the scale of Beethoven's is epic, monumental and symphonic, while Schubert's mass is more human
and intimate in tone (although his orchestra includes trombones), intrinsically spontaneous and
harmonically more far-reaching, nowhere more so than in the visionary Sanctus. It is still possible to
imagine Schubert's mass receiving a performance in a Viennese church, while Beethoven's demands
the concert hall (where, in fact, it received its first, albeit partial, performance). Schubert's mastery of
string figuration in the faster sections of the Gloria and Credo and the delicious use of pizzicato in the
Benedictus provide an irresistible forward momentum. The opposition of female and male voices in the
‘Hosanna’ and the hushed opening of the Credo represent colours largely foreign to Beethoven's
palette. The confident sweep of the Handelian ‘Cum Sancto Spiritu’ fugue that concludes the Gloria
testifies to the lofty contrapuntal ambitions of a composer who, in the very last month of his life,
sought out the instruction of Simon Sechter.
Lazarus (D689), begun in February 1820 without any apparent external stimulus, fits neatly into
Schubert's experimental period, for its highly original blending of elements of cantata, oratorio and
staged drama (Schubert's score includes stage directions). Although breaking off in the second of three
planned acts (representing the death, burial and resurrection of the New Testament character), the
highly flexible vocal delivery looks forward to the technique of Wagner's music dramas.
Elsewhere Schubert responded to the implorings of friends and associates. The eight chordal hymns
plus epilogue of the Deutsche Messe (D872) fulfilled J.P. Neumann's (the librettist of Schubert's
unfinished opera Sacontala) desire for liturgical music that could appeal to the broadest segment of
the congregation. Schubert's setting of Psalm xlii (D953) in Hebrew was very probably commissioned
by cantor Salomon Sulzer, whose rendition of Schubert's Der Wanderer had greatly impressed the
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As with most of Schubert's mature sacred works, the Mass in E♭ (D950) seems to have been a response
to inner need rather than external imperative. While building upon the foundation of the A♭ Mass, it
integrates with remarkable success the symphonic organization of Beethoven with Schubert's
seemingly limitless melodic and harmonic invention. Although more compact than that in the Gloria of
D678, the concluding Gloria and Credo fugues, with their sharply chiselled subjects, suggest a
composer who had studied Beethoven's Missa solemnis. The frequent changes in mood and tempo
throughout are unified by closely spaced points of imitation (extended to impressive lengths in the
‘Hosanna’). Original orchestral touches include the thematic role played by the timpani in the Credo.
The ‘Et incarnatus est’, based on a long, arching, waltzlike melody, echoes the corresponding section of
Haydn's Heiligmesse in being composed as a round, with each voice (two tenors and soprano) taking
the melody in turn. The flowing but harmonically rich four-part solo writing of the Benedictus looks
forward to Verdi's Requiem. The awesome modulations of the Sanctus and the anguished chromaticism
of the Agnus Dei, based on an adaptation of the C♯ minor fugue subject from the first book of Bach's
Das wohltemperirte Clavier, still retain their shock value today. In the E♭ Mass Schubert had reached
his full stride as a composer of large-scale sacred works. The same assurance can be heard in the
skilful blending of solo and choral writing in the Tantum ergo (D962) and in the rhapsodic oboe solo
that drives the offertory Intende voci (D963), both composed a month before the composer's death.
In no other arena of Schubert's artistic life did he encounter more frustration than in dramatic music.
At first blush, the sense of drama evinced in songs like Erlkönig, not to mention his dazzling lyrical gift,
would seem to have marked Schubert as an ideal composer of dramatic music. But like Haydn,
Schubert lacked the instinct for long-range planning and cumulative dramatic development that came
so naturally to a Mozart or a Verdi. Perhaps he could have learnt through experience, as exemplified by
his growth in the realm of symphonic music. But the circumstances for a positive learning curve could
not have been more disadvantageous during Schubert's lifetime. The two principal Viennese theatres,
the Burgtheater and the Kärntnertortheater (both owned and controlled by the emperor), were in
decline. The Burgtheater had ceased producing opera altogether, while the Kärntnertortheater faced
financial difficulties. Nor did the three suburban theatres offer more opportunity. The enthusiasm for
the operas of Rossini upon their introduction in Vienna in 1816 had turned by 1821 into what the
Viennese called the ‘Rossini Rummel’ (Rossini craze). Strict censorship introduced by Metternich
forbade any subjects challenging the imperial authority. Finally, the paucity of opportunities had
drained Vienna of virtually all of its professional librettists. In all it was an extremely poor environment
for any composer of German opera.
Schubert's enthusiasm for dramatic music nonetheless overcame any objective assessment of his
chances for success. Opera, in particular, remained the surest path in Vienna (and throughout most of
Europe) to fame and fortune. Between 1811 and 1827 Schubert began no fewer than 16 full-scale
dramatic works (not including the two fine numbers added to Hérold's Das Zauberglöckchen and the
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In May 1816 Schubert embarked on his first opera on a classical theme, Die Bürgschaft (D435), based
on a story about rebellion against the despotism of the King of Syracuse. Probably based on the ballad
by Schiller, the anonymous libretto offered a number of opportunities for dramatic development, none
of which Schubert responded to. His desire for operatic experience seems to have obliterated any
sense of self-criticism that might have prompted him to abort the project well before the middle of the
third act. This undisputed failure may account for the interval of almost three years before Schubert's
next operatic project, the Singspiel Die Zwillingsbrüder (D647). Adapted by Georg von Hofmann from a
French comedy, the story entangles the fortunes of two identical twins with that of two lovers,
Lieschen and Anton. It holds a special place as the only opera of Schubert's to be performed in his
lifetime (six times at the Kärntnertortheater, starting on 14 June 1820). Perhaps more than in any other
of his operas, Schubert mastered (with more than a nod to Mozart) the pacing and character
development of ensembles, from duets to quartets. Even more promising musically are the eight
complete and four sketched numbers of Adrast (D137), probably begun in the autumn of 1819.
Presumably based on Mayrhofer's adaptation of Herodotus's account of King Croesus, it contains some
of Schubert's most audacious writing. Why he abandoned such an intriguing project is a mystery,
although it may have been to accept a commission in the summer of 1820 from the Theater an der
Wien for the score to the melodrama Die Zauberharfe (D644). Almost half of its 13 numbers employ the
technique of melodrama, with the voice speaking over an orchestral background. Schubert appears to
have been quite stimulated by the orchestral freedom implied by this style. Without the lost libretto the
full context for Schubert's score is difficult to see, but for originality its harmonic language can
withstand comparison with any achievements to the middle of the century and beyond.
In the autumn of 1820 Schubert once again took on an operatic project (Sacontala, D701) subverted by
a convoluted libretto, this one from the theologian J.P. Neumann; the composer was soon forced to
abandon it. In spite of critical acclaim, the two fine numbers that Schubert contributed to Hérold's Das
Zauberglöckchen in June 1821 doubtless did little to enhance his reputation. In the hopes of gaining
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After Die Verschworenen Schubert plunged almost immediately into some 300 bars of Rüdiger (D791),
only to leapfrog quickly into another grand opera, Fierrabras (D796). Based again on a libretto by a
friend of Schubert's (Josef Kupelwieser), most of the opera's action takes place in the spoken dialogue
between the musical items. In spite of several of the finest operatic numbers Schubert would pen,
including a serenade, an impassioned rage aria for Fierrabras's daughter Florinda, the ravishing duet
‘Weit über Glanz and Erdenschimmer’ and several powerful sections of melodrama, Fierrabras cannot
hold the stage. It was the last opera that Schubert would finish, although he continued to hunt for
suitable librettos for the rest of his life. In the summer of 1827 yet another Schubert friend, Eduard von
Bauernfeld, provided the composer with operatic fodder. Schubert sketched all but the final two
numbers of the two-act Der Graf von Gleichen (D918) but could not bring himself to finish it, although
he salvaged ideas from the first-act trio (no.3) for the first movement of his unfinished D major
Symphony (D936a). There is considerable irony in the circumstance that Schubert's most acclaimed
piece of dramatic music, Rosamunde (D797), was assembled hastily for a play at least as convoluted as
any of his most problematic librettos. Helmina von Chézy's Rosamunde, Fürstin von Zypern was
pilloried by the critics, but Schubert's ten numbers quickly took on a life of their own. With the
composer given days rather than weeks to prepare the music, more than half of the numbers are
recycled: for example, the overture is taken from Alfonso und Estrella, the Entr'acte in B♭ (no.6) is
based on the song Der Leidende, and we cannot rule out the possibility that the Entr'acte in B minor
(no.1) – a fully fledged sonata movement – was originally the finale for the unfinished Symphony in B
minor. Given the speed with which Schubert mastered other genres, and given the promise scattered
among his operatic failures, his lack of opportunity to learn from actual performances, and the absence
of a Da Ponte or a Boito as a mentor, sentenced him to an undeserved fate.
Although Schubert may have learnt the violin first, the piano anchored his creative life. His first
surviving work is a fantasy for piano duet (D1); among his last works (September 1828) are three
incomparable piano sonatas (D958, 959, 960). He composed more than 700 vocal and instrumental
works to include the piano, many of considerable complexity. Schubert's surviving sketches suggest
that he composed as if at the keyboard. Although he made little use of the extra low notes available on
larger Viennese pianos from 1816 (his borrowed instruments evidently did not include these notes),
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Although Schubert returned periodically to the fantasy, his lengthiest involvement was with the solo
piano sonata. His first effort, the Sonata in E major (D157), from which three of a projected four
movements survive, dates from early 1815. That autumn two movements of the Sonata in C (D279)
display a confidence and virtuosity scarcely to be expected in an 18-year-old. The opening sonata-form
movement is the first to employ Schubert's characteristic device of a recapitulation beginning in the
subdominant – a procedure found in earlier works such as Mozart's Sonata in C, K545, and Beethoven
Coriolan overture. The Allegretto in C (D346) may have been intended as a finale. Five pieces
comprising D459 and 459a have been posited as a single sonata in E from 1816. The autograph of the
first (and the beginning of the second) movement is headed ‘Sonate’, but it is not clear how the other
three movements might have related. In the otherwise lean year of 1817 Schubert nonetheless
commenced at least five sonatas, of which the Sonata in A minor (D537) constitutes his first completed
effort. Its magnificent first movement, alternately fierce and poetic, is followed by two movements of
lesser significance. Schubert re-used the theme of the slow movement as the main theme in the finale
of the late A major Sonata D959. Retrogressive in style are the three movements of the Sonata in A♭
(D557), which may constitute a complete work. Equally fragmentary is the three-movement Sonata in E
minor (D566), for which Schubert may also have intended the Rondo in E, D506. The key of the Sonata
in D♭ major (D567) is probably unprecedented; in the mid-1820s Schubert took it up once again,
revising and augmenting it substantially while transposing it to the more orthodox key of E♭ major.
Three movements (an Andante in A, D604, and the Scherzo in D and the Allegro in F♯ minor that
comprise D570) may belong with a fragmentary Allegro moderato in F♯ minor (D571) to form a four-
movement work. The piano-rich year of 1817 was crowned by the four-movement Sonata in B major
(D575). The exposition of the first movement traverses no fewer than four separate keys in leisurely
fashion, with all the material linked persuasively by a dotted rhythm upbeat. Only the short-breathed
finale falls below the level set by this first movement.
During the years 1818 to 1822 Schubert left three other unfinished piano sonatas (D613, 625, 655).
The most interesting and extensive is the second, in F minor. If a D♭ major Adagio (D505) was intended
as the slow movement, then only the first movement requires conjectural completion. The compact
finale (whose recapitulation exists as a single line in Schubert's draft) combines Chopinesque virtuosity
and Beethovenian propulsion to impressive effect. Schubert's first sonata to maintain a consistently
high level throughout is the ‘little’ Sonata in A major, D664 (so dubbed to distinguish it from the later A
major sonata), all three of whose movements are in sonata form. In the first movement the serene,
expansive lyricism of the opening theme and more assertive second group challenge gender
stereotyping, in which the first theme is traditionally more ‘masculine’ and the second more
submissively ‘feminine’. The Andante, built on a gently sighing theme is, unusually, monothematic,
whereas the finale contrasts the fleet opening theme with a halting second group which then turns into
a rollicking ländler. Throughout the finale the pianistic figuration is both idiomatic and original.
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Only their position at the end of Schubert's short life prompts us to label the final trilogy of piano
sonatas (D958–60) as late. Now in his prime, Schubert laid out three independent solutions to the
challenge of the keyboard sonata, the first opening with a blatant tribute to the theme of Beethoven's
32 Variations in C Minor. The coincidences end there, however; the ambiguities in the sonata peak in
the much maligned finale, a frantic tarantella whose apparently rambling structure belies a strikingly
original treatment of sonata form. In the A major Sonata Schubert replaces ambiguity with extroverted
clarity. As in Beethoven's op.106, the magisterial opening proclaims the textural and formal
spaciousness of the work. Yet it is not without discontinuities; beginning as a static barcarolle, the F♯
minor Andantino contains a central episode which comes as close to a nervous breakdown as anything
in Schubert's output, while during the rapid play of registers in the Scherzo he torpedoes a placid
passage in C major with a plummeting scale in C♯ minor. Although the last movement borrows its
theme from the early A minor Sonata D537 and its schematic sonata-rondo layout and some of its
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During his career Schubert composed more than 400 waltzes, ländler and other dances for piano,
publishing (and probably composing) them in sets. Most were improvised at social occasions or dance
parties, then refined and written down later. Technically accessible, these predominantly 16-bar binary
forms are rarely routine, and a surprising number withstand comparison with Schubert's finest work.
The five Ländler (all in A major or minor) that open D366 encompass the playful leaps of nos.1 and 2,
the sombre hymn of no.3, the poignant, appoggiatura-laden inner-voice melody of no.4 and the driving
bass of no.5. Pianists such as Sviatoslav Richter have created mini-sets from these groupings,
repeating one or more of the dances, perhaps much as Schubert did. The much smaller collection of
Moments musicaux, impromptus and Klavierstücke that Schubert composed between 1823 and 1828
are examples of the favourite Romantic genre of the short, self-contained piano piece that became
popular during the 1820s (precedents go back at least to Beethoven's op.33 bagatelles of 1802). The
compositional freedom afforded by this new genre stimulated some of Schubert's most original
creations. The six Moments musicaux, composed between 1823 and 1828, use familiar formal patterns
such as the minuet and trio (nos.1 and 6) as a vehicle for enigmatic and sorrowful expression that is
quintessentially Schubertian. The enduring popularity of no.3 in F minor, originally published as Air
russe, derives at least partly from its anticipation of a pas seul by Tchaikovsky.
Perhaps in response to the 1821 publication of pieces of the same title by the Bohemian composer Jan
Vořišek, Schubert's publisher Haslinger gave the title Four Impromptus to D899. In their ternary
design the impromptus may have been influenced by Tomášek's 1807 ‘Eclogues’, written in protest to
the vapid variation compositions of the time. Only the first of Schubert's impromptus, a mixture of
sonata, variation and through-composed elements, is not cast in ternary form. The bold opening
dominant octaves act as the foil to a muted funeral march, which Schubert contrasts with an imitative,
sensuously italianate closing theme. While less experimental formally, the remaining three impromptus
are highly individual. The A section of no.2 is a fleet moto perpetuo, while no.3 (first published in the
key of G for fear that amateurs could not navigate G♭) is the quintessence of the slow-moving Schubert
melody over a flowing arpeggiated accompaniment. The last member of the group sports a key
signature of A♭ major but moves for more than 30 bars through A♭ minor, C♭ major and B minor before
finally arriving in the home key. The contrasting B sections of all three are highly dramatic. The final
set of four impromptus (D935) was apparently meant as a continuation of the first set. They suggest a
four-movement piano sonata in F minor, with the first movement a full-blown sonata, the second a
tender minuet, the third a set of variations on the theme from Rosamunde also used in the Andante of
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Schubert's most original contribution to the keyboard repertory is arguably his music for piano duet.
Although familiar from the 18th century, keyboard music for four hands was largely restricted to
ephemeral pieces or utilitarian arrangements of orchestral works. Mozart invested the genre with
more ambition but, as with the lied, it was Schubert who took a marginal genre and made it central.
His earliest works for piano duet were three fantasies (D1, 9, 48), while a modest rondo (D608) from
January 1818 and four polonaises (D599) and a sonata (D617) of Mozartian proportions composed in
Zseliz during the summer of that year mark the beginning of Schubert's sustained interest in the
genre. His first enduring success was a set of three Marches militaires (D733), possibly written during
the summer or autumn of 1818, which was followed by a further 11 marches over the next decade.
Schubert's unusual interest in the march scarcely stemmed from any enthusiasm for war but rather
from the great range of stylistic possibilities it afforded, from funeral march to evocations of toy
soldiers. The best of these marches (which include the six Grandes marches of 1824) exploit the full
range of four hands while preserving a sense of intimate conversation.
The Grand Duo (D812) of June 1824 marked a watershed in Schubert's development, instantly raising
the piano duet to a medium worthy of comparison with the string quartet or the symphony. Both the
first and second movements feature leisurely three-key expositions, with Schubert's favourite
submediant as the intermediate key. The massively scored Scherzo, with its minor-keyed trio, is a foil
for the sly opening of the finale (initially in A minor rather than the expected C major), which grows
again to heroic proportions. At this same period Schubert invested variation form with similar
substance and prestige in the Variations in A♭ on an original theme (D813). The seventh variation is
extraordinarily bold in its chromatic colouring, while the heavily dotted eighth and final variation leads
to a poetic and ultimately triumphant coda. No work of Schubert's, incidentally, proclaims more clearly
his love of Beethoven's Seventh Symphony. Shortly after returning from Zseliz for the last time,
Schubert essayed the Divertissement à l’hongroise in G minor (D818), which has given rise to
intriguing speculation as to the exact nature and degree of its Hungarian influence. This three-
movement work is much more substantial than its title suggests, as is its companion probably
composed the next year, the Divertissement sur des motifs originaux français (D823).
Between January and June of his last year Schubert created no fewer than three enduring works for
piano duet. The Fantasy in F minor (D940) shares with the ‘Wanderer’ Fantasy a continuous four-
section scheme. The haunting opening theme returns in the finale, setting the seal on a cyclic
structure; in between comes a Largo which contrasts quasi-Baroque double-dotted rhythms with
yearning lyricism, and a fleet Scherzo, both in the unlikely key of F♯ minor. The F minor finale is itself
framed by the opening theme, between which Schubert unleashes a fugue based on a new theme. It
matters little that the fugal texture gradually dissolves, for the momentum carries through until the
final poignant recall of the opening. The masterly compression of the F minor Fantasy is in stark
contrast to the passionate expansiveness of the Allegro in A minor D947, subtitled Lebensstürme when
Diabelli published it in 1840. Few sonata movements by Schubert integrate so many diverse ideas so
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Schubert's first instrument was the violin, and he began writing string quartets at the age of 13 or 14.
The existence of a family quartet provided the impressionable teenager with a ready made laboratory.
Yet the demands of the new medium perfected by Haydn, Mozart and the Beethoven of the
Razumovsky quartets took Schubert almost a decade to assimilate fully. The youthful experiment of the
quartet in mixed keys (D18) of 1810–11 was succeeded by a progressively more assured series of seven
quartets over the next two to three years. In these works the influences of Haydn, Mozart and
Beethoven are readily apparent. Between 1814 and 1816, years dominated by song composition,
Schubert produced only three quartets whose movements are of widely varying quality. In many of
these early quartets Schubert resorts, not always successfully, to quasi-orchestral textures.
It was another four years before he produced the first movement of a quartet in C minor, the so-called
Quartettsatz (D703) of 1820, a work of furious intensity that heralded Schubert's maturity as a
composer of instrumental music. Its concentration and variety of texture and register paved the way
for the three great quartets of Schubert's last years. While the poignant, long-spanned theme-and-
accompaniment opening of the Quartet in A minor (D804) (the first of a planned set of three) is rooted
in the world of song, the movement as a whole reveals a new thematic economy, tautness of
development and phrase-by-phrase logic. Schubert borrowed the theme of the Andante from his
incidental music to Rosamunde; but the quartet movement is expanded into a more substantial ABAB
form, plus a coda based on both A and B (D677). The minuet, which quotes Schubert's Schiller setting
Die Götter Griechenlands, resumes the sombre pathos of the first movement. The ostensibly cheerful
opening of the A major finale is undercut by a minor-mode second group and an ambivalent final
cadence. Schubert followed the A minor immediately by the Quartet in D minor (D810), nicknamed
‘Death and the Maiden’ because the theme of the second movement draws on the song of that name.
The first movement uses full, almost orchestral textures with a previously unthinkable power and
intensity. Yet there is almost no doubling, with Schubert relying instead on an extraordinary range of
widely spaced double and triple stops. The celebrated G minor slow movement takes the chorale-like
theme through a series of five variations in which, except for the exquisite variation in the major,
harmony dominates melody. The explosive dotted-rhythm scherzo is seemingly modelled on the first
few bars of a German dance (D790 no.6). The grimly inexorable sonata-rondo finale is cast as a
saltarello, and may have been in Mendelssohn's mind when he wrote his Italian Symphony. Schubert's
final quartet, in G major, D887, dates from almost two years later, and is contemporary with
Beethoven's last quartet, op.135. Although Schubert's quartet is formally less sophisticated than
Beethoven's, it is revolutionary in the way it makes the contrast between major and minor modes the
basis of much of the structure. Schubert's harmonic language was fuelled from the outset by the
frequent equivocation between major and minor; but during the course of his career local colouring
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Between 1816 and 1827 Schubert composed eight works for piano and a single wind or string
instrument. The four sonatas for violin and piano (D384, 385, 408, 574; the first three were published
as sonatinas, perhaps to enhance their appeal to an amateur market) are compact, graceful works
whose unassuming character conceals an intimate understanding of the medium's conversational
potential. In 1826–7 Schubert returned to this same combination for the Rondo in B minor (D895),
easily his most impressive work for this medium, and the Fantasy in C, D934. The technical demands of
both works are considerable, but equally evident is Schubert's penchant for formal experimentation.
Generations of flautists have celebrated Schubert's decision to write his ingratiating set of variations
for flute and piano (D802) on Trockne Blumen from Die schöne Müllerin. The Sonata for arpeggione
and piano (D821), is often underrated, although its cause is not helped by modern arrangements for
various instruments, from the cello to the flute. The arpeggione's soulful, almost speechlike upper
register was clearly in the forefront of Schubert's mind when he composed this idiosyncratic work.
Apart from a youthful movement for piano trio, Schubert's three principal works for piano and strings
are all products of his last decade. The five movements of the ‘Trout’ Quintet (1819) suggest a looser,
divertimento-like structure, while the presence of the double bass gave Schubert the opportunity to
exploit open, airy textures. The recapitulation of the opening movement, beginning in the subdominant,
is a compressed transposition of the exposition, while the second and last movements make
considerable use of transposed repetition, all factors suggesting that the work was composed rapidly.
The variation fourth movement is based on Die Forelle, the popular song composed two years earlier,
with the song's A phrase repeated to give the quintet theme added weight. In spite of its modest
technical demands and accusations that its appeal is only of the surface, the ‘Trout’ Quintet projects a
timeless freshness that has ensured its perpetual popularity.
Schubert probably composed, or at least began, both of his expansive piano trios in the autumn of
1827. His recent friendships with the pianist Bocklet, the violinist Schuppanzigh and the cellist Linke
may have rekindled his interest in the medium after a gap of some 15 years. In the first movement of
the B♭ Trio (D898), Schubert creates delightfully fluid textures, with the strings now playing in unison,
now engaged in conversational interplay, while piano accompaniments invariably include thematic
elements. The approach to the second group – the emotional centre of the movement – employs a
favourite Schubertian device in which a sustained single tonic note (here, A in the cello) is suddenly
redefined as the mediant of the secondary key (F). The intensely lyrical but disjunct theme is expanded
to ten bars, with the melodic peak reserved for the final statement in the piano. In the ensuing
Andante, cast in a free ternary design, the serene A section encloses a volatile central episode. The trio
of the Scherzo, a movement of almost symphonic scope, features a sighing stepwise melody that passes
from violin to cello before concluding in a poignant duet. Labelled a rondo, the sonata-form finale
opens playfully before launching into an ambitious series of thematic developments crowned by a
rhythmic transformation of the opening theme in triple metre. A Notturno in E♭ major (D897) was
probably intended as the original slow movement of the B♭ Trio. Its turbulently imitative B section,
contrasting with the timelessness of the opening, has a volcanic power found in many of Schubert's
later slow movements. The sheer length of this ABABA movement may have led the composer to
replace it by the present Andante. The E♭ Trio (D929) opens with a triple-time triadic theme
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Schubert composed two chamber works for unusual combinations of instruments. The Octet in F
(D803; string quartet plus double bass, clarinet, horn, and bassoon) was commissioned by Count
Troyer, who played the clarinet at the first performance. The work contains a few orchestral-style
tuttis, none of which, however, undermines the work's essential chamber style. Except for passing
shadows in the coda of the Adagio and the minuet, the first five movements, which include a set of
brilliant variations on a jaunty theme from the operetta Die Freunde von Salamanka, are almost
entirely free from the sombre colours found in much of Schubert's later music. Only in the introduction
to the finale, with its eerie tremolandos, does darkness fall unexpectedly before evaporating in a
breezy quickstep march. An internal impulse seems to have fuelled the composition of what many
regard as Schubert's crowning achievement in chamber music, the String Quintet in C (D956), whose
genesis overlaps with the late piano sonatas. Schubert's choice of a second cello rather than the
second viola preferred by Mozart was prompted by his evident affection for the cello's plangent tenor
range and by the increased textural possibilities offered by the extra cello. Unlike Boccherini in his
quintets with two cellos, Schubert gave each of the instruments virtually equal prominence. In only a
few other works, notably the G major Quartet, does Schubert derive a large-scale structure so cogently
from the opening material, heard in the first movement as a deeply felt struggle between minor and
major; in a masterly stroke of ambiguity, the apparent slow introduction here turns out to have been in
the movement's basic Allegro tempo all along. The achingly beautiful cello duet that forms the
intermediate stage of the three-keyed exposition derives much of its poetic effect from the
reinterpreted G in the second cello that sinks flatwards to E♭. Perhaps the most astonishing feature of
the movement is its range of textures (including liberal use of pizzicato), with the instruments often
grouped into two pairs plus one single voice. Remarkably, the movement seems to expand the
sonorities of chamber music rather than veering towards an orchestral style of writing.
The ethereal, disembodied melody of the Adagio creates an illusion of time suspended. Major–minor
contrasts continue to colour the harmonic discourse at both the local and structural levels, the latter
most evident in the abrupt juxtaposition of the A section in E major with the anguished B section in F
minor. With the return of the A section haunted by distant echoes of the earthly struggles in the B
section, it is not surprising that musicians such as the pianist Artur Rubinstein – not to mention the
writer Thomas Mann – expressed a wish to die while listening to this movement. Extreme contrasts
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Of all the genres in which Schubert worked, the one that interested his friends and supporters least
was orchestral music. When Antonio Salieri reportedly said: ‘He is a genius! He can write anything:
songs, masses, string quartets …’ it is no accident that he omitted any mention of symphonic music.
Along with Salieri, the Schubert circle, with its poets, playwrights, painters and philosophers, was far
more involved with the more intimate forms of music-making, especially the lied. Nonetheless,
Schubert's interest in composing for orchestra dates back to his mid-teens and dominated his
deathbed. He began more symphonies (13) than Beethoven, and completed seven. Schubert's first six
symphonies, most of them written for performance by a private orchestra which had grown out of the
family string quartet, are apprentice works, full of ingratiating touches and, less frequently, genuine
originality. It is worth remembering that at the age when Beethoven finished his First Symphony,
Schubert had little over a year to live. Born at just the right moment to inherit the full symphonic
flowering of Mozart and Haydn, as well as the intimidating assaults of Beethoven, Schubert took full
advantage of his legacy. Although his first essay, an Allegro in D (D2b), calls, unusually, for trombones,
his First Symphony (D82) adopts the formal outline and scoring of Haydn's second set of London
symphonies: a slow introduction leading to a sonata-form Allegro, a spacious slow movement, a
symphonic minuet in the tonic key of the work, and a lighter, scurrying finale that opens softly before a
tutti explosion. Mozartian touches can be heard, especially in the slow movement with its echoes of the
‘Prague’ Symphony; but the reappearance of part of the slow introduction immediately before the first
movement's recapitulation is an impressive and individual stroke. Although he may already have been
familiar with Beethoven's first six symphonies, Schubert rarely betrayed a direct influence in these
early works; one obvious exception is the use of the Eroica Symphony's ‘Prometheus’ theme in the
opening movement of the First Symphony. From the syncopated, scampering thematic material of the
opening Allegro, through the theme-and-variations slow movement and the off-tonic (C minor) minuet
to the use of three distinct key centres in the exposition of the finale, the Second Symphony, in B♭
major (D125), displays considerably more nerve and ambition. The Third Symphony (in D, D200) looks
back to no.1 in its tonality and its Mozartian patina, although the jaunty themes of the first movement,
and the buffo-style finale, have a whiff of Rossini. Schubert's Fourth Symphony (in C minor, D417)
betrays no influence of Beethoven's epic Fifth Symphony in the same key, harking instead back to
Mozartian chromaticism. In spite of the title of ‘Tragic’ added by Schubert as an afterthought, the
dominant moods are those of pathos and agitation rather than tragedy. The groping chromaticism of
the slow introduction owes much to the opening of Mozart's ‘Dissonance’ Quartet; but the second
group of the main Allegro gravitates to the submediant – a characteristically Schubertian stroke – and
the movement ends nonchalantly in the major. Of the two major-mode inner movements, the A♭
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The popularity of Schubert's Symphony no.5 in B♭ (D485) derives on the surface from its amiable
themes (the first subject launched exquisitely by an in-tempo four-bar introduction) and transparent,
chamber musical textures (the orchestra includes neither clarinets, trumpets nor drums). Its deeper
appeal stems from its classical balance of thematic and structural elements. In the first movement
Schubert abandons his hitherto usually perfunctory recapitulations for a genuine resolution, adding 16
new bars that prepare for the final cadence. The three remaining movements repeatedly invoke Haydn
and, especially, Mozart: the slow movement, for instance, virtually quotes the theme of the minuet
finale from Mozart's Violin Sonata in F, K377, while the minuet is clearly indebted to the G minor
Symphony K550. Schubert's final youthful symphonic venture, the Sixth Symphony, in C (D589),
suggests a composer looking for new directions but not sure where to strike out. There are pre-echoes
of the ‘Great’ C major, but also the unmistakable influence of Rossini, one that also permeates the two
overtures ‘im italienischen Stile’ composed by Schubert at the same period as the symphony.
Written within just over four years of each other, the first six symphonies portray a gifted apprentice
largely content to embellish – with a dash of Rossini and his own more relaxed phrase structure – the
exalted legacy of Haydn, Mozart and, to a lesser degree, Beethoven. During the years 1818–22 he
strove to evolve a more individual, subjective conception of the four-movement sonata ideal; and his
struggles are betrayed by the fact that all of the symphonies he began at this period remained torsos.
Sketches for the outer movements of a symphony in D (D615, May 1818) were abandoned, in spite of
promising ideas. Some two years later a more ambitious symphonic project, also in D (D708a), suffered
the same fate, although extensive piano score sketches for four movements reveal some original ideas,
including a daring choice of the key of the tritone (A♭ major) for the second group in the first
movement. The following year, 1821, Schubert completed a draft of a symphony in E (D729) that finally
makes a decisive break with Haydn and Mozart. Following a bold minor-mode introduction to the first
movement, Schubert eschews the repeat of the exposition. Three of the movements employ his
characteristic three-key exposition, and the thematic structure is highly unified. Yet Schubert's full
scoring (for an orchestra including trombones and four horns) of less than a third of the opening
movement betrays his dissatisfaction with a work that was quickly abandoned, although its completion
has proved irresistible to conductors and scholars from Weingartner onwards.
For all these promising efforts, nothing really prepares us for the mournful rise and fall of the bass
theme that opens the famous ‘Unfinished’ Symphony (D759). Unlike his previous symphonic attempts,
Schubert fully orchestrated the first two movements, together with part of the Scherzo. Orchestral
works in B minor were almost unheard of in 1822; and originality informs every aspect of the work.
The startling move to the submediant, G major, is accomplished with shattering swiftness. The soaring
cello theme that follows and its syncopated accompaniment, are treated at length in the latter part of
the exposition; the development works the opening theme to a pitch of almost hysterical anguish
before recalling the syncopated accompaniment in isolation from the cello melody – an effect of
indescribable poignancy. At the start of the recapitulation the main theme is withheld in order to
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In the E major Andante con moto Schubert uses a familiar structural pattern (ABABA) to uniquely
poetic ends, from the assuaging opening theme, exquisitely shared between horns, strings and
woodwind, through the haunting clarinet and oboe melody over a syncopated accompaniment (shades
of the first movement) and the volcanic tutti explosions, to the coda, with its miraculous harmonic
sleights-of-hand. Nowadays Schubert's two completed movements are sometimes performed with an
orchestral completion of the Scherzo and, as a finale, the imposing B minor Entr'acte from Rosamunde,
which makes at least a plausible conclusion.
Having failed to complete four successive symphonies, Schubert might have given up on symphonic
ventures. Yet Schubert's travels in Upper Austria in the summer of 1825 seem to have unleashed an
astonishing creative energy and optimism that found expression in the ‘Great’ C major Symphony
(D944). Few works have such unquenchable rhythmic vitality or seem more expressive of their direct
surroundings, from the opening horn call, which returns as a triumphant apotheosis in the coda, to the
brisk step of the stoical, marchlike Andante con moto, from the joyous alfresco dance of the vast
sonata-form Scherzo, saturated by its opening motif, to the surging triplets of the gargantuan finale.
Having found his symphonic voice – a voice at once lyrical, colouristic and expansive – Schubert was
understandably eager to undertake more symphonic projects. The so-called Symphony no.10 (D936a)
was the principal work to occupy the composer on his deathbed. He lived long enough to sketch a
three-movement work in which the last movement was apparently to combine the function of scherzo
and finale. The first movement exhibits structural gaps that challenge any projected completion. Like
the ‘Unfinished’ of six years earlier, the first movement includes a second group whose lyrical main
theme forms the movement's emotional and structural centre – so much so that the development opens
with a slowed version of it. The last revisions appear to have been made in the remarkable slow
movement (again in B minor!), which has an uncanny foretaste of Mahler. As perhaps the last music
Schubert composed, its mingled serenity and sense of loss may have grown out of his acceptance of his
own fate. Originally labelled ‘Scherzo’, the third movement soon developed into a kind of contrapuntal
rondo, sporting fugato, canon, double counterpoint, and even augmentation, all testimony to
Schubert's renewed contrapuntal studies in the last weeks of his life.
19th- and earlier 20th-century commentators struggled to define Schubert's style, confining their
arguments largely to whether he fitted more into a Viennese Classical or a Romantic mould. In
practice, Schubert borrowed freely from the traditions of Haydn, Mozart and, eventually, Beethoven
while simultaneously developing his own strategies to new, subjectively expressive ends. Perhaps most
significant here was Schubert's extension of the polarized tonic–dominant Classical harmonic discourse
to a full range of flat-side relationships – subdominant, flat mediant, submediant and, especially, flat
submediant. With its flat-side staging posts, the well-documented three-key exposition attenuated the
pull of the dominant. Though Schubert was by no means the inventor of this strategy (well-known
precedents include the first movement of Beethoven's Waldstein Sonata), he raised it to extraordinary
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In line with this broadened expressive range, Schubert's style can best be understood as a series of
four discrete styles. There is first of all the openly popular manner, captured in works like the Octet
(D803), songs from Die schöne Müllerin and the ‘Trout’ Quintet. Schubert's popular tone is even more
pervasive than Mozart's, surfacing in substantial as well as occasional genres. Counterpoised to this is
what might be called the ambitious style – works (and passages) that openly declare their complexity.
While weighted towards the last half of Schubert's career, they include works from every genre in
which he worked. The late symphonies, masses, string quartets and piano sonatas contain only the
most obvious examples. An extension of the ambitious style is the learned style, found primarily in
contrapuntal passages ranging from the elaborate palindrone in Die Zauberharfe, the mirror
counterpoint in the ‘Wanderer’ Fantasy, the extended fugal passages in both late masses, to the quasi-
fugal writing in the F minor Fantasy for piano duet (D940). Finally, Schubert penned passages that can
only be described (albeit unhistorically) as avant garde. These include music best described as
‘unhinged’, such as that in the slow movements of the G major Quartet and the A major Piano Sonata
(D959), or the so-called Lebensstürme for piano duet. But they also include the Wagnerian pre-echoes
in Lazarus and the Count's recitative (no.2) in Der Graf von Gleichen, or the Mahlerian premonitions in
the Andante of Symphony no.10.
Schubert's direct influence on the course of 19th-century music arguably exceeded that of Beethoven.
That, like Beethoven, he exercised no influence over opera, the dominant form of public music for the
duration of the century, does not diminish his contribution. The flood of lieder by composers such as
Franz, Mendelssohn, Schumann, Brahms, Wolf and Mahler are quite unimaginable without the
extraordinary precedent of Schubert. Of these, it was perhaps Wolf who came closest to replicating the
vast emotional range of Schubert. While Schubert's writing for piano was less obviously innovative
than that of Chopin, Schumann and Liszt, its influence was by no means neglible. The ability to exploit
and extend the singing qualities of the Viennese piano, the wealth of innovative accompanimental
textures, the formal experimentation, and the cultivation of new single-movement genres, including
miniatures such as the Moments musicaux, were all to leave their mark on subsequent generations.
While the only mature symphony of Schubert's known between 1839 and 1868 was the ‘Great’ C major,
its impact on Schumann, Mendelssohn and, much later, Brahms and Mahler (who also knew the
‘Unfinished’) was profound. It is hard to imagine Brahms at all without the example of Schubert.
Mahler's sense of spacious Austrian countryside draws directly from the Schubert of the ‘Great’ C
major. The gradual publication of Schubert's works throughout the 19th century meant that new
discoveries were constantly being made, affording numerous opportunities for influence. These
cropped up in unexpected places: the harmonic vocabulary of the King of Ragtime, Scott Joplin, is
lifted in almost textbook fashion directly from Schubert, while unmistakable Schubertian gestures such
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Works
Editions
Franz Schubert: Neue Ausgabe sämtlicher Werke, ed. W. Dürr, A. Feil, C. Landon and
others (Kassel, 1964–) [NSA, ser./vol.]
Theatrical texts:
Items are ordered by D number as enumerated in W. Dürr, A. Feil, C. Landon and others: Franz
Schubert: Thematisches Verzeichnis seiner Werke in chronologischer Folge von Otto Erich Deutsch,
Neue Ausgabe sämtlicher Werke, viii/4 (Kassel, 1978); where, exceptionally, numbers have been
changed in this edition, a cross-reference is given. Numbers in parentheses following a title refer to
separate settings of the same text.
Theatrical
first performed in Vienna unless otherwise stated
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11, Der Spl, 3; only A. von Dec 1811 – Swiss Radio, 11 189
966 Spiegelritter ov. and most Kotzebue late 1812 Dec 1949
of Act 1 or early
complete 1813
137 Adrast [ov., see Oper, 2 or 3; J. Mayrhofer ?late 1819 Redoutensaal, 13 189
also unfinished – early Dec 1868
ORCHESTRAL, 1820
648]
190 Der vierjährige Spl, 1 T. Körner 8–19 May Dresden, 23 Sept 188
Posten 1815 1896
239 Claudine von Spl, 3; only J.W. von begun 26 Gemeindehaus 189
Villa Bella ov. and Act 1 Goethe July 1815 Wieden, 26 April
survive 1913
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326 Die Freunde komisches Mayrhofer 18 Nov – Halle, 6 May 1928 188
von Salamanka Spl, 2 31 Dec
1815 (?
early
1816)
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787 Die Spl, 1 I.F. Castelli, ?late 1822 Frankfurt, 29 Aug 188
Verschworenen after – April 1861 (concert
(Der häusliche Aristophanes: 1823 perf., Vienna,
Krieg) Lysistrata Musikvereinsaal,
and 1 March 1861)
Ecclesiazusae
791 Rüdiger Oper, ?I. von Mosel begun May Redoutensaal, 5 186
sketches for 1823 Jan 1868
nos.1–2 only
797 Rosamunde, incid music H. von Chézy aut. 1823 An der Wien, 20 189
Fürstin von to romantic Dec 1823
Zypern play, 4
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136 Offertory: Totus in corde S/T, cl/vn, ?1815 1825, op. xiv, 1;
langueo, C orch, org 46 i/8
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184 Gradual: Benedictus es, SATB, 15–17 April c1843, op. xiv,
Domine, C orch, org 1815 150 29; i/8
379 Deutsches Salve regina SATB, org 21 Feb 1816 1859 xiv,
(Hymne an die heilige 215; i/
Mutter Gottes), F 8
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696 6 antiphons for Palm SATB March 1820 1829, op. xiv,
Sunday: Hosanna filio 113 218; i/
David; In monte Oliveti; 8
Sanctus, sanctus, sanctus;
Pueri hebraeorum; Cum
angelis et pueris;
Ingrediente Domino
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version 3 S, A, T 1940
version 4 S, A, T, 1940
B
version 5 S, A, T 1940
version 6 S, A, T 1940
version 7 S, A, T, —
B
version 8 S, A, T, 1940
B
version 9 S, A, T, 1940
B
version 3 S, A, T
version 4 S, A, T,
B
version 5 S, A, T,
B
version 6 S, A, T,
B
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version 1 S, A, T,
B
version 2 SATB
168 Nun lasst uns den SATB, F.G. Klopstock 9 March 1872 xvii,
Leib begraben pf 1815 241;
(Begräbnislied) ii
329a Das Grab (1), SATB J.G. von Salis- ?28 Dec — —; ii
sketch Seewis 1815
440 Chor der Engel SATB Goethe June 1816 1839 xvii,
245;
ii
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609 Die Geselligkeit SATB, J.K. Unger Jan 1818 1872 xvii,
(Lebenslust) pf 225;
ii
665 Im traulichen
Kreise [part of
609]
689 Lazarus, oder Die 3 S, 2 A.H. Niemeyer Feb 1820 1865 xvii,
Feier der T, B, 1; ii/
Auferstehung SATB, 10
(orat, 3), only 1st orch
act and part of
2nd complete
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875a Die Allmacht (2), SATB, J.L. Pyrker von Jan 1826 — —; ii
sketch pf Felsö-Eör
version a [for
version b see
FEMALE OR
UNSPECIFIED
VOICES] [formerly
921]
936 Kantate für Irene 2 T, 2 anon. It. text 26 Dec 1892 xvii,
Kiesewetter B, 1827 231;
SATB, ii
pf 4
hands
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953 Der 92. Psalm: S, A, T, Heb. text July 1828 1841 xvii,
Lied für den Bar, B, 247;
Sabbath SATB ii
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43 Dreifach ist der TTB F. von Schiller 8 July 1813 1897 xxi,
Schritt der Zeit 337;
(1) iv, 4
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148 Trinklied T, TTB, pf I.F. Castelli Feb 1815 1830, op. xix,
(Brüder! unser 131/2 59;
Erdenwallen) iii
version a [for
version b see
FEMALE OR
UNSPECIFIED
VOICES]
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version b [for
version a see
SONGS]
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387 Die Schlacht (2), solo vv, Schiller March 1897 xxi,
sketch chorus, pf 1816 341;
ii
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569 Das Grab (4) unison vv, Salis-Seewis June 1817 1895 xx/
pf 5,
122;
iii
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724 Die Nachtigall TTBB, pf J.K. Unger by April 1822, op. xvi,
1821 11/2 50;
iii
747 Geist der Liebe TTBB, pf Matthisson Jan 1822 1822, op. xvi,
(Der Abend 11/3 59;
schleiert Flur iii
und Hain) (2)
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847 Trinklied aus TTBB F. Gräffer July 1825 1849, op. xvi,
dem 16. 155 29;
Jahrhundert iv,
139
848 Nachtmusik TTBB K.S. von July 1825 1849, op. xvi,
Seckendorff 156 166;
iv,
143
version a [for
version b see
SONGS]
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893 Grab und Mond TTBB Seidl Sept 1826 1827 xvi,
197;
iv,
148
901 Wein und Liebe TTBB J.C.F. Haug before 1827 xvi,
June 1827 190;
iv,
150
903 Zur guten Nacht Bar, TTBB, F. Rochlitz Jan 1827 1827, op. xvi,
pf 81/3 91;
iii
912 Schlachtlied (2) TTBB, F.G. Klopstock 28 Feb 1844, op. xvi,
TTBB 1827 151 157;
iv,
156
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189 An die Freude 1v, Schiller May 1815 1829, op. xx/
unison 111/1 2,
chorus, 102;
pf iii
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version b [for
version a see
MALE VOICES]
version b [for
version a see
SONGS]
version b [for
version a see
SONGS]
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version b [for
version a see
SONGS]
706 Der 23. Psalm SSAA, pf trans. M. Dec 1820 1832, op. xviii,
Mendelssohn 132 3; iii
757 Gott in der SSAA, pf E.C. von Aug 1822 1839 xviii,
Natur Kleist 10;
iii
version b [for
version a see
MALE VOICES]
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470 Overture, B♭ [possibly for cantata Sept 1816 1886 ii, 31;
472; arr. str qt 601] iv
591 Overture, C, ‘im italienischen Nov 1817 1865, op. ii, 83;
Stile’ [arr. pf 4 hands, 597] 170 iv
648 Overture, e [possibly for 137, see Feb 1819 1886 ii, 101;
THEATRICAL] iv
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movts 1, 3 1890 v, 11
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79 Wind nonet, e♭, ‘Franz 2 cl, 2 bn, 19 Sept 1813 1889 iii,
Schuberts Begräbnis- dbn, 2 hn, 2 81; i,
Feyer’ (Eine kleine trbn 25
Trauermusik)
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471 String Trio, B♭, 1st vn, va, vc Sept 1816 1890–97 vi, 1,
movt and frag. of 2nd Rb,
84; vi
487 Adagio and Rondo vn, va, vc, pf Oct 1816 1865 vii/1,
concertante, F 52;
vii,
157
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667 Piano Quintet, A, ‘Die pf, vn, va, vc, ?aut. 1819 1829, op. vii/1,
Forelle’ db 114 52;
vii,
185
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897 Piano Trio movt, E♭, pf, vn, vc ?1828 1846, op. vii/2,
‘Notturno’ 148 106;
vii,
143
929 Piano Trio, E♭ pf, vn, vc begun Nov 1828, op. vii/2,
1827 100 46;
vii,
17
956 String Quintet, C 2 vn, va, 2 vc ?Sept 1828 1853, op. iv, 1;
163 ii, 19
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13 Fugue, d c1812 — —; iv
505 Adagio, D♭ [orig. slow movt of 625; ?Sept 1818 1897 Rb, 4;
adapted (? by publisher) as iv
introduction to 506]
Allegretto 1907 —; i
Scherzo 1928–9 —; i
567 Sonata, D♭, inc. [1st version of 568] June 1817 1897 xxi,
140; i
570 Scherzo, D, Allegro f♯, inc. [? intended ?July 1817 1897 xxi,
as movts 3–4 of 571] 236; i
571 Sonata, f♯, frag. of 1st movt only July 1817 1897 xxi,
160; i
613 Sonata, C, 2 movts, frag. [? slow movt April 1818 1897 xxi,
= 612] 164; ii
625 Sonata, f, 2 movts, frag. [slow movt = Sept 1818 1897 xxi,
505] 172; ii
655 Sonata, c♯, frag. of 1st movt April 1819 1897 xxi,
186; ii
780 6 Momens musicals [sic], C, A♭, f, c♯, 1823–8 1828, op. xi, 88;
f, A♭ 94 v
840 Sonata, C, ‘Reliquie’, movts 3–4 inc. April 1825 1861 xxi,
190; ii
935 4 Impromptus, f, A♭, B♭, f Dec 1827 1839, op. xi, 58;
142 v
980f March, G ? — —; vi
145 12 Waltzes [no.7 = no.2 of 970], 17 1815 – July 1823, op. xii,
Ländler, 9 Ecossaises [no.5 = no.1 of 1821 18 14; vii
421; no.6 = no.5 of 697], incl. 3
Atzenbrugger Tänze (nos.1–3)
nos.9–12 1912 —; vi
365 36 Originaltänze (Erste Walzer), incl. 1816 – July 1821, op.9 xii, 2;
Trauerwalzer (no.2) and 3 1821 vii
Atzenbrugger Tänze (nos.29–31)
366 17 Ländler [no.17 arr. from 814 no.1, 1816 – Nov xii,
see PIANO FOUR HANDS] 1824 88; vi
nos.1–17 1869
no.3 1956 —; vi
421 6 Ecossaises, A♭, f, E♭, B♭, E♭, A♭ [no. 1 May 1816 1889 xii,
= Ecossaise no.5 of 145] 132;
vi
nos.4, 7 1824
783 16 Deutsche and 2 Ecossaises [no.2 = Jan 1823 – 1825, op. xii,
no.1 of 781] July 1824 33 28; vii
820 6 Deutsche, A♭, A♭, A♭, B♭, B♭, B♭, Oct 1824 1931 —; vi
970 6 Ländler, E♭, E♭, A♭, A♭, D♭, D♭ [no.2 = ? 1889 xii,
no.7 of 145] 106;
vii
608 Rondo, D
618a Polonaise and trio, sketch [trio July 1818 1972 —; iv,
used in 599] 180
798 Overture to Fierrabras [arr. from late 1823 1897 xxi, 120;
796] v
812 Sonata, C, ‘Grand Duo’ June 1824 1838, op. ix/2, 66;
140 ii, 5
814 4 Ländler, E♭, A♭, c, C [no.1 arr. July 1824 1869 ix/3,
as 366 no.17, see DANCES FOR 172; iv,
PIANO] 176
819 6 grandes marches, E♭, g, b, D, ?aut. 1824 1825, op.40 ix/1, 20;
e♭, E iv, 33
859 Grande marche funèbre, c, on the Dec 1825 1826, op.55 ix/1, 70;
death of Aleksander I of Russia iv, 74
885 Grande marche héroïque, a, for 1826 1826, op.66 ix/1, 78;
the coronation of Nicholas I of iv, 82
Russia
version 1
version 1
version 3
1 Don Gayseros, F
Don Gayseros
2 Nächtens klang F
die süsse Laute
3 An dem jungen E♭
Morgenhimmel
108 Der Abend Purpur malt die Matthisson d July 1814 1894
Tannenhügel
109 Lied der Liebe Durch Fichten am Matthisson B♭ July 1814 1894
Hügel
115 An Laura, als sie Herzen, die gen Matthisson E 2–7 Oct 1840
Klopstocks Himmel sich 1814
Auferstehungslied erheben
sang
117 Das Mädchen aus In einem Tal bei Schiller A 16 Oct 1894
der Fremde (1) armen Hirten 1814
118 Gretchen am Meine Ruh’ ist hin J.W. von d 19 Oct 1821
Spinnrade Goethe 1814
123 Sehnsucht Was zieht mir das Goethe G 3 Dec 1814 1842
Herz so?
version c D/F
version e E♭/
G♭
150 Lodas Gespenst Der bleiche, kalte Ossian, trans. g/B♭ 17 Jan 1830
Mond E. Baron de 1816
Harold
151 Auf einen Kirchhof Sei gegrüsst, F. von A 2 Feb 1815 c185
geweihte Stille Schlechta
152 Minona Wie treiben die F.A. Bertrand a 8 Feb 1815 1894
Wolken so finster
153 Als ich sie erröten All’ mein Wirken B.A. Ehrlich G 10 Feb 1845
sah 1815
version a G♭ 1894
version b G♭ 1821
5/2
171 Gebet während der Vater, ich rufe Körner B♭ 12 March 1831
Schlacht dich! 1815
176 Die Sterne Was funkelt ihr so J.G. Fellinger A♭ 6 April 1872
mild mich an? 1815
177 Vergebliche Liebe Ja, ich weiss es J.K. Bernard c 6 April 1867
1815 173/
182 Die erste Liebe Die erste Liebe Fellinger C 12 April 1842
füllt das Herz 1815
186 Die Sterbende Heil! dies ist die Matthisson A♭ May 1815 1894
letzte Zähre
189 An die Freude, with Freude, schöner Schiller E May 1815 1829
unison chorus Götterfunken 111/
201 Auf den Tod einer Sie ist dahin Hölty f♯ 25 May 1970
Nachtigall (1), frag. 1815
211 Adelwold und Hoch, und ehern Bertrand F 5–14 June 1894
Emma schier von Dauer 1815
226 Erster Verlust Ach, wer bringt Goethe f 5 July 1815 1821
die schönen Tage 5/4
228 Von Ida Der Morgen blüht Kosegarten f 7 July 1815 1894
229 Die Erscheinung Ich lag auf grünen Kosegarten E 7 July 1815 1829
Matten 108/
231 Das Sehnen Wehmut, die mich Kosegarten a 8 July 1815 1865
hüllt 172/
233 Geist der Liebe Wer bist du, Geist Kosegarten E 15 July 1829
der Liebe 1815 118/
241 Alles um Liebe Was ist es, das die Kosegarten E 27 July 1894
Seele füllt? 1815
247 Die Spinnerin Als ich still und Goethe b Aug 1815 1829
ruhig spann 118/
250 Das Geheimnis (1) Sie konnte mir Schiller A♭ 7 Aug 1872
kein Wörtchen 1815
sagen
252 Das Mädchen aus In einem Tal bei Schiller F 12 Aug 1887
der Fremde (2) armen Hirten 1815
254 Der Gott und die Mahadöh, der Goethe E♭ 18 Aug 1887
Bajadere Herr der Erde 1815
278 Ossians Lied nach Beugt euch aus Ossian, trans. ?Sept 1815
dem Falle Nathos euren Wolken Harold
nieder
version b E 1830
281 Das Mädchen von Mädchen Inistores Ossian, trans. c Sept 1815 1830
Inistore Harold
282 Cronnan Ich sitz’ bei der Ossian, trans. c 5 Sept 1830
moosigten Quelle Harold 1815
293 Shilric und Vinvela Mein Geliebter ist Ossian, trans. B♭ 20 Sept 1830
ein Sohn des Harold 1815
Hügels
version a F 1872
version b E 1895
version a F 1895
version b F 1850
300 Der Jüngling an der Leise, rieselnder J.G. von Salis- A c1817 1842
Quelle Quell Seewis
305 Mein Gruss an den Sei mir gegrüsst, o Kumpf B♭ 15 Oct 1895
Mai Mai 1815
308 Die Macht der Überall, wohin J.N. von B♭ 15 Oct 1895
Liebe mein Auge blicket Kalchberg 1815
309 Das gestörte Glück Ich hab’ ein Körner F 15 Oct 1872
heisses junges 1815
Blut
version a A♭ 1895
version b F 1895
313 Die Sterne Wie wohl ist mir Kosegarten B♭ 19 Oct 1895
im Dunkeln 1815
version a f 19 Oct —
1815
320 Der Zufriedene Zwar schuf das C.L. Reissig A 23 Oct 1895
Glück hinieden 1815
323 Klage der Ceres Ist der holde Lenz Schiller G 9 Nov 1895
erschienen? 1815 –
June 1816
327 Lorma (1), frag. Lorma sass in der Ossian, trans. a 28 Nov 1928
Halle von Aldo Harold 1815
329 Die drei Sänger, Der König sass F. Bobrik A 23 Dec 1895
frag. beim frohen Mahle 1815
330 Das Grab (2) Das Grab ist tief Salis-Seewis c 28 Dec 1895
und stille 1815
version a [for
version b see MALE
VOICES]
version a E♭ 1831
version b E♭ —
350 Der Entfernten (2) Wohl denk’ ich Salis-Seewis E♭ ?1816 1885
allenthalben
352 Licht und Liebe Liebe ist ein M. von Collin G ?1816 c184
(Nachtgesang), S, süsses Licht
T
367 Der König in Thule Es war ein König Goethe d early 1816 1821
in Thule 5/5
375 Der Tod Oskars Warum öffnest du Ossian, trans. c Feb 1816 1830
wieder Harold
376 Lorma (2), frag. Lorma sass in der Ossian, trans. a 10 Feb 1895
Halle von Aldo Harold 1816
version a E March
1816
version b A c1816
393 Die Einsiedelei (2) Es rieselt, klar und Salis-Seewis A March c184
wehend 1816
398 Frühlingslied (2) Die Luft ist blau Hölty G 13 May 1887
1816
399 Auf den Tod einer Sie ist dahin Hölty a 13 May 1895
Nachtigall (2) 1816
version c a March —
1816
version b f 1816 —
406 Abschied von der Noch einmal tön, o Salis-Seewis e March 1887
Harfe Harfe 1816
410 Sprache der Liebe Lass dich mit A.W. von E April 1816 1829
gelinden Schlägen Schlegel 115/
411 Daphne am Bach Ich hab’ ein Stolberg- D April 1816 1887
Bächlein funden Stolberg
version a E 1816 —
414 Geist der Liebe (1) Der Abend Matthisson G April 1816 1895
schleiert Flur und
Hain
416 Lied in der Ach, mir ist das Stolberg- b April 1816 1925
Abwesenheit, frag. Herz so schwer Stolberg
version a b 1850
version b b 1895
442 Das grosse Ehre sei dem Klopstock E June 1816 c184
Halleluja version a Hocherhabnen
[for version b see
FEMALE OR
UNSPECIFIED
VOICES]
443 Schlachtlied (1) Mit unserm Arm Klopstock E June 1816 1895
version a [for ist nichts getan
version b see
FEMALE OR
UNSPECIFIED
VOICES]
444 Die Gestirne Es tönet sein Lob Klopstock F June 1816 1831
449 Der gute Hirt Was sorgest du? Uz E June 1816 1872
450 Fragment aus dem So wird der Mann, Aeschylus, June 1816
Aeschylus der sonder Zwang trans.
Mayrhofer
version a A♭ 1895
version b A♭ 1832
454 Grablied auf einen Zieh hin, du C.F.D. c July 1816 1872
Soldaten braver Krieger du! Schubart
455 Freude der Freude, die im F. von Köpken C July 1816 1887
Kinderjahre frühen Lenze
456 Das Heimweh Oft in einsam K.G.T. Winkler F July 1816 1887
stillen Stunden
version b A♭ c1816 —
466 Die Perle Es ging ein Mann Jacobi d Aug 1816 1872
zur Frühlingszeit
467 Pflicht und Liebe Du, der ewig um F.W. Gotter c Aug 1816 1885
mich trauert
version a c 1895
version b c 1833
475 Abschied (nach Über die Berge Mayrhofer G Sept 1816 1885
einer zieht ihr fort
Wallfahrtsarie)
481 Sehnsucht (3) Nur wer die Goethe a Sept 1816 1895
Sehnsucht kennt
482 Der Sänger am Klage, meine Flöte C. Pichler e Sept 1816 1895
Felsen
484 Gesang der Geister … dann zur Tiefe Goethe G Sept 1816 1895
über den Wassern nieder
(1), frag.
491 Geheimnis Sag an, wer lehrt Mayrhofer B♭ Oct 1816 1887
dich Lieder
495 Abendlied der Der Abend rötet Mayrhofer F Nov 1816 1868
Fürstin nun das Tal
496 Bei dem Grabe Friede sei um Claudius E♭ Nov 1816 1885
meines Vaters diesen Grabstein
496a Klage um Ali Bey Lasst mich! lasst Claudius e♭ Nov 1816 1968
mich! ich will
klagen
version a E 1895
version b G —
version a, frag. g —
version b g 1872
515 Der Flug der Zeit Es floh die Zeit im Széchényi A ?1817 1821
Wirbelfluge 7/2
517 Der Schäfer und Ein Schäfer sass Fouqué April 1817
der Reiter im Grünen
version a E 1972
version b E 1822
13/1
522 Die Liebe Wo weht der Liebe G. Leon G Jan 1817 1895
hoher Geist?
version a E 1895
version b D 1970
version c F 1822
13/3
525 Wie Ulfru fischt Der Angel zuckt Mayrhofer Jan 1817
version a d 1970
version b d 1823
21/3
526 Fahrt zum Hades Der Nachen Mayrhofer d Jan 1817 1832
dröhnt
version a F 1975
version b F 1823
24/2
531 Der Tod und das Vorüber, ach Claudius d Feb 1817 1821
Mädchen vorüber 7/3
532 Das Lied vom Seht meine lieben Claudius A♭ Feb 1817 1895
Reifen, frag. Bäume an
533 Täglich zu singen Ich danke Gott Claudius F Feb 1817 1895
und freue mich
534 Die Nacht Die Nacht ist Ossian, trans. g Feb 1817 1830
dumpfig und Harold
finster
version a E♭ 1970
version b E♭ 1823
21/2
version a E 1895
version b E♭ 1828
92/2
545 Der Jüngling und Die Sonne sinkt, o J. von Spaun March
der Tod könnt ich 1817
version a c♯ 1895
version b c♯ 1872
548 Orest auf Tauris Ist dies Tauris Mayrhofer E♭ March 1831
1817
551 Pax vobiscum Der Friede sei mit Schober F April 1817 1831
euch!
553 Auf der Donau Auf der Wellen Mayrhofer E♭ April 1817 1823
Spiegel 21/1
554 Uraniens Flucht Lasst uns, ihr Mayrhofer D April 1817 1895
Himmlischen
558 Liebhaber in allen Ich wollt’, ich wär’ Goethe A May 1817 1887
Gestalten ein Fisch
561 Nach einem Auf den Blumen Mayrhofer F May 1817 1872
Gewitter
563 Die Einsiedelei (3) Es rieselt, klar und Salis-Seewis C May 1817 1887
wehend
569 Das Grab (4), for Das Grab ist tief Salis-Seewis c♯ June 1817 1895
unison chorus und stille
582 Augenblicke im
Elysium [see 990b]
583 Gruppe aus dem Horch, wie Schiller C Sept 1817 1823
Tartarus (2) Murmeln des 24/1
empörten Meeres
594 Der Kampf Nein, länger werd’ Schiller d Nov 1817 1829
ich diesen Kampf 110
614 An den Mond in Freundlich ist dein A. Schreiber A April 1818 1832
einer Herbstnacht Antlitz
620 Einsamkeit Gib mir die Fülle Mayrhofer B♭ July 1818 1840
der Einsamkeit!
622 Der Blumenbrief Euch Blümlein will Schreiber D Aug 1818 1833
ich senden
631 Blanka (Das Wenn mich einsam F. von a Dec 1818 1885
Mädchen) Lüfte fächeln Schlegel
632 Vom Mitleiden Als bei dem Kreuz F. von g Dec 1818 1831
Mariä Maria stand Schlegel
633 Der Schmetterling Wie soll ich nicht F. von F c1819 1826
tanzen Schlegel 57/1
634 Die Berge Sieht uns der Blick F. von G c1819 1826
gehoben Schlegel 57/2
version a b 1975
version b b 1895
version c b 1826
39
646 Die Gebüsche Es wehet kühl und F. von G Jan 1819 1885
leise Schlegel
649 Der Wanderer Wie deutlich des F. von D Feb 1819 1826
Mondes Licht Schlegel 65/2
653 Bertas Lied in der Nacht umhüllt mit F. Grillparzer e♭ Feb 1819 c184
Nacht wehendem Flügel
658 Marie Ich sehe dich in Novalis [F. von D ?May 1819 1895
tausend Bildern Hardenberg]
660 Hymne II Wenn ich ihn nur Novalis b♭ May 1819 1872
habe
661 Hymne III Wenn alle untreu Novalis b♭ May 1819 1872
werden
663 Der 13. Psalm, Ach, Herr, wie trans. M. D♭ June 1819 1927
frag. lange Mendelssohn
673 Die Liebende Ein Blick von Goethe B♭ Oct 1819 1832
schreibt deinen Augen 1862
op.16
682 Über allen Zauber Sie hüpfte mit mir Mayrhofer G c1820 1895
Liebe, frag. auf grünem Plan
3 Da quel Metastasio B♭
sembiante appresi
692 Der Knabe Wenn ich nur ein F. von A March 1872
Vöglein wäre Schlegel 1820
698 Des Fräuleins Da unten steht ein Schlechta A Sept 1820 1832
Liebeslauschen Ritter
(Liebeslauschen)
702 Der Jüngling auf Ein Jüngling auf H. G Nov 1820 1822
dem Hügel dem Hügel Hüttenbrenner 8/1
707 Der zürnenden Ja, spanne nur den Mayrhofer Dec 1820
Diana Bogen
version a A 1895
version b A♭ 1825
36/1
version a D 1970
version b D 1822
13/2
712 Die gefangenen Hörst du von den A.W. von G Jan 1821 1842
Sänger Nachtigallen Schlegel
version a b 1895
version b b 1827
87/1
726 Mignon I (1) Heiss mich nicht Goethe b April 1821 1870
reden
731 Der Blumen Wie tönt es mir so J. Mayláth e Sept 1821 1821
Schmerz schaurig 1867
op.17
736 Ihr Grab Dort ist ihr Grab K.A. E♭ ?1822 1842
Engelhardt
737 An die Leier Ich will von Atreus F.S. Ritter von E♭ ? 1822 or 1826
Söhnen Bruchmann, 1823 56/2
after Anacreon
742 Der Wachtelschlag Ach! mir schallt’s S.F. Sauter A 1822 1822
dorten 1827
op.68
743 Selige Welt Ich treibe auf des J.C. Senn A♭ ?aut. 1822 1823
Lebens Meer 23/2
744 Schwanengesang Wie klag ich’s aus Senn A♭ ?aut. 1822 1823
23/3
version a G 1822
1827
op.73
version b F 1895
749 Herrn Josef Spaun, Und nimmer M. von Collin c Jan 1822 1850
Assessor in Linz schreibst du?
(Sendschreiben an
den Assessor
Spaun in Linz)
version a g♯ 1895
version b a 1826
59/1
version a d 1823
23/4
version b d 1895
770 Drang in die Ferne Vater, du glaubst K.G. von a/A early 1823 1823
es nicht Leitner 1827
op.71
775 Dass sie hier Dass der Ostwind Rückert C ?1823 1826
gewesen Düfte 59/2
version a b —
version b b 1826
60/1
785 Der zürnende Wer wagt’s, wer Bruchmann g Feb 1823 1831
Barde wagt’s
788 Lied (Die Mutter Des Lebens Tag ist Stolberg- a/A April 1823 1838
Erde) schwer Stolberg
789 Pilgerweise Ich bin ein Waller Schober f♯ April 1823 1832
auf der Erde
793 Das Geheimnis (2) Sie konnte mir Schiller G May 1823 1867
kein Wörtchen 173/
sagen
797 Romanze zum Der Vollmond H. von Chézy f aut. 1823 1824
Drama Rosamunde strahlt auf 26
(3b) Bergeshöhn
version a B 1975
version b B 1825
43/2
828 Die junge Nonne Wie braust durch J.N. Craigher f early 1825 1825
die Wipfel de Jachelutta 43/1
830 Lied der Anne Lyle Wärst du bei mir A. MacDonald c ?early 1828
im Lebenstal trans. ? S. May 1825 85/1
831 Gesang der Norna Mich führt mein W. Scott, f early 1825 1828
Weg trans. S.H. 85/2
Spiker
832 Des Sängers Habe Schlagt mein Schlechta B♭ Feb 1825 1830
ganzes Glück
838 Ellens Gesang II Jäger, ruhe von Scott, trans. E♭ April–July 1826
der Jagd! Storck 1825 52/2
839 Ellens Gesang III Ave Maria! Scott, trans. B♭ April 1825 1826
(Hymne an die Jungfrau mild! Storck 52/6
Jungfrau)
843 Lied des Mein Ross so müd Scott, trans. d April 1825 1826
gefangenen Jägers in dem Stalle Storck 52/7
846 Normans Gesang Die Nacht bricht Scott, trans. c April 1825 1826
bald herein Storck 52/5
851 Das Heimweh Ach, der J.L. Pyrker von Aug 1825
Gebirgssohn Felsö-Eör
version a a 1895
version b a 1827
79/1
852 Die Allmacht (1) Gross ist Jehovah, Pyrker Aug 1825
der Herr
version a A —
version b C 1827
79/2
854 Fülle der Liebe Ein sehnend F. von A♭ Aug 1825 1830
Streben Schlegel
856 Abendlied für die Hinaus, mein A.W. von F Sept 1825 1827
Entfernte Blick! Schlegel 88/1
861 Der liebliche Stern Ihr Sternlein, still Schulze G Dec 1825 1832
in der Höhe
870 Der Wanderer an Ich auf der Erd’, Seidl g/G 1826 1827
den Mond am Himmel du 80/1
version a A♭ 1979
version b A♭ 1827
80/2
876 Im Jänner 1817 Ich bin von aller Schulze e Jan 1826 1838
(Tiefes Leid) Ruh geschieden
version a D 1895
version b D 1828
96/4
889 Ständchen (Hark, Horch, horch! die Shakespeare, C July 1826 1830
hark the lark) Lerch trans. A.W. von
Schlegel
890 Hippolits Lied Lasst mich, ob ich F. von a July 1826 1830
auch still verglüh Gerstenberg
891 Gesang (An Sylvia; Was ist Silvia Shakespeare, A July 1826 1828
Who is Sylvia?) trans. 106/
Bauernfeld
896a Sie in jedem Liede, Nehm ich die Leitner B♭ aut. 1827 – —
sketch Harfe early 1828
906 Der Vater mit dem Dem Vater liegt Bauernfeld D Jan 1827 1832
Kind das Kind im Arm
version a b 1979
version b b 1828
86
909 Jägers Liebeslied Ich schiess’ den Schober D Feb 1827 1828
Hirsch 96/2
version a f♯
version b e
version a c
version b d 1895
version a b
version b d 1895
version a a —
version b g
version a A —
version b A
version a a 1895
version b b
917 Das Lied im Ins Grüne, ins J.A.F. Reil A June 1827 1829
Grünen Grüne 115/
927 Vor meiner Wiege Das also, das ist Leitner b aut. 1827 – 1828
der enge Schrein early 1828 106/
931 Der Wallensteiner He! schenket mir Leitner g Nov 1827 1835
Lanzknecht beim im Helme ein!
Trunk
932 Der Kreuzzug Ein Münich steht Leitner D Nov 1827 1832
in seiner Zell
933 Des Fischers Dort blinket durch Leitner a Nov 1827 1835
Liebesglück Weiden
939 Die Sterne Wie blitzen die Leitner E♭ Jan 1828 1828
Sterne 96/1
943 Auf dem Strom, Nimm die letzten Rellstab E March 1829
with hn/vc obbl Abschiedsküsse 1828 119
Book 1:
Book 2:
965 Der Hirt auf dem Wenn auf dem W. Müller, ?H. B♭ Oct 1828 1830
Felsen, with cl obbl höchsten Fels von Chézy 129
481 Sehnsucht (3) Nur wer die Goethe a Sept 1816 1895
Sehnsucht kennt
482 Der Sänger am Klage, meine Flöte C. Pichler e Sept 1816 1895
Felsen
484 Gesang der Geister … dann zur Tiefe Goethe G Sept 1816 1895
über den Wassern nieder
(1), frag.
491 Geheimnis Sag an, wer lehrt Mayrhofer B♭ Oct 1816 1887
dich Lieder
495 Abendlied der Der Abend rötet Mayrhofer F Nov 1816 1868
Fürstin nun das Tal
496 Bei dem Grabe Friede sei um Claudius E♭ Nov 1816 1885
meines Vaters diesen Grabstein
496a Klage um Ali Bey Lasst mich! lasst Claudius e♭ Nov 1816 1968
mich! ich will
klagen
version a E 1895
version b G —
version a, frag. g —
version b g 1872
515 Der Flug der Zeit Es floh die Zeit im Széchényi A ?1817 1821
Wirbelfluge 7/2
517 Der Schäfer und Ein Schäfer sass Fouqué April 1817
der Reiter im Grünen
version a E 1972
version b E 1822
13/1
522 Die Liebe Wo weht der Liebe G. Leon G Jan 1817 1895
hoher Geist?
version a E 1895
version b D 1970
version c F 1822
13/3
525 Wie Ulfru fischt Der Angel zuckt Mayrhofer Jan 1817
version a d 1970
version b d 1823
21/3
526 Fahrt zum Hades Der Nachen Mayrhofer d Jan 1817 1832
dröhnt
version a F 1975
version b F 1823
24/2
531 Der Tod und das Vorüber, ach Claudius d Feb 1817 1821
Mädchen vorüber 7/3
532 Das Lied vom Seht meine lieben Claudius A♭ Feb 1817 1895
Reifen, frag. Bäume an
533 Täglich zu singen Ich danke Gott Claudius F Feb 1817 1895
und freue mich
534 Die Nacht Die Nacht ist Ossian, trans. g Feb 1817 1830
dumpfig und Harold
finster
version a E♭ 1970
version b E♭ 1823
21/2
version a E 1895
version b E♭ 1828
92/2
545 Der Jüngling und Die Sonne sinkt, o J. von Spaun March
der Tod könnt ich 1817
version a c♯ 1895
version b c♯ 1872
548 Orest auf Tauris Ist dies Tauris Mayrhofer E♭ March 1831
1817
551 Pax vobiscum Der Friede sei mit Schober F April 1817 1831
euch!
553 Auf der Donau Auf der Wellen Mayrhofer E♭ April 1817 1823
Spiegel 21/1
554 Uraniens Flucht Lasst uns, ihr Mayrhofer D April 1817 1895
Himmlischen
558 Liebhaber in allen Ich wollt’, ich wär’ Goethe A May 1817 1887
Gestalten ein Fisch
561 Nach einem Auf den Blumen Mayrhofer F May 1817 1872
Gewitter
563 Die Einsiedelei (3) Es rieselt, klar und Salis-Seewis C May 1817 1887
wehend
569 Das Grab (4), for Das Grab ist tief Salis-Seewis c♯ June 1817 1895
unison chorus und stille
582 Augenblicke im
Elysium [see 990b]
583 Gruppe aus dem Horch, wie Schiller C Sept 1817 1823
Tartarus (2) Murmeln des 24/1
empörten Meeres
594 Der Kampf Nein, länger werd’ Schiller d Nov 1817 1829
ich diesen Kampf 110
614 An den Mond in Freundlich ist dein A. Schreiber A April 1818 1832
einer Herbstnacht Antlitz
620 Einsamkeit Gib mir die Fülle Mayrhofer B♭ July 1818 1840
der Einsamkeit!
622 Der Blumenbrief Euch Blümlein will Schreiber D Aug 1818 1833
ich senden
631 Blanka (Das Wenn mich einsam F. von a Dec 1818 1885
Mädchen) Lüfte fächeln Schlegel
632 Vom Mitleiden Als bei dem Kreuz F. von g Dec 1818 1831
Mariä Maria stand Schlegel
633 Der Schmetterling Wie soll ich nicht F. von F c1819 1826
tanzen Schlegel 57/1
634 Die Berge Sieht uns der Blick F. von G c1819 1826
gehoben Schlegel 57/2
version a b 1975
version b b 1895
version c b 1826
39
646 Die Gebüsche Es wehet kühl und F. von G Jan 1819 1885
leise Schlegel
649 Der Wanderer Wie deutlich des F. von D Feb 1819 1826
Mondes Licht Schlegel 65/2
653 Bertas Lied in der Nacht umhüllt mit F. Grillparzer e♭ Feb 1819 c184
Nacht wehendem Flügel
658 Marie Ich sehe dich in Novalis [F. von D ?May 1819 1895
tausend Bildern Hardenberg]
660 Hymne II Wenn ich ihn nur Novalis b♭ May 1819 1872
habe
661 Hymne III Wenn alle untreu Novalis b♭ May 1819 1872
werden
663 Der 13. Psalm, Ach, Herr, wie trans. M. D♭ June 1819 1927
frag. lange Mendelssohn
673 Die Liebende Ein Blick von Goethe B♭ Oct 1819 1832
schreibt deinen Augen 1862
op.16
682 Über allen Zauber Sie hüpfte mit mir Mayrhofer G c1820 1895
Liebe, frag. auf grünem Plan
3 Da quel Metastasio B♭
sembiante appresi
692 Der Knabe Wenn ich nur ein F. von A March 1872
Vöglein wäre Schlegel 1820
698 Des Fräuleins Da unten steht ein Schlechta A Sept 1820 1832
Liebeslauschen Ritter
(Liebeslauschen)
702 Der Jüngling auf Ein Jüngling auf H. G Nov 1820 1822
dem Hügel dem Hügel Hüttenbrenner 8/1
707 Der zürnenden Ja, spanne nur den Mayrhofer Dec 1820
Diana Bogen
version a A 1895
version b A♭ 1825
36/1
version a D 1970
version b D 1822
13/2
712 Die gefangenen Hörst du von den A.W. von G Jan 1821 1842
Sänger Nachtigallen Schlegel
version a b 1895
version b b 1827
87/1
726 Mignon I (1) Heiss mich nicht Goethe b April 1821 1870
reden
731 Der Blumen Wie tönt es mir so J. Mayláth e Sept 1821 1821
Schmerz schaurig 1867
op.17
736 Ihr Grab Dort ist ihr Grab K.A. E♭ ?1822 1842
Engelhardt
737 An die Leier Ich will von Atreus F.S. Ritter von E♭ ? 1822 or 1826
Söhnen Bruchmann, 1823 56/2
after Anacreon
742 Der Wachtelschlag Ach! mir schallt’s S.F. Sauter A 1822 1822
dorten 1827
op.68
743 Selige Welt Ich treibe auf des J.C. Senn A♭ ?aut. 1822 1823
Lebens Meer 23/2
744 Schwanengesang Wie klag ich’s aus Senn A♭ ?aut. 1822 1823
23/3
version a G 1822
1827
op.73
version b F 1895
749 Herrn Josef Spaun, Und nimmer M. von Collin c Jan 1822 1850
Assessor in Linz schreibst du?
(Sendschreiben an
den Assessor
Spaun in Linz)
version a g♯ 1895
version b a 1826
59/1
version a d 1823
23/4
version b d 1895
770 Drang in die Ferne Vater, du glaubst K.G. von a/A early 1823 1823
es nicht Leitner 1827
op.71
775 Dass sie hier Dass der Ostwind Rückert C ?1823 1826
gewesen Düfte 59/2
version a b —
version b b 1826
60/1
785 Der zürnende Wer wagt’s, wer Bruchmann g Feb 1823 1831
Barde wagt’s
788 Lied (Die Mutter Des Lebens Tag ist Stolberg- a/A April 1823 1838
Erde) schwer Stolberg
789 Pilgerweise Ich bin ein Waller Schober f♯ April 1823 1832
auf der Erde
793 Das Geheimnis (2) Sie konnte mir Schiller G May 1823 1867
kein Wörtchen 173/
sagen
797 Romanze zum Der Vollmond H. von Chézy f aut. 1823 1824
Drama Rosamunde strahlt auf 26
(3b) Bergeshöhn
version a B 1975
version b B 1825
43/2
828 Die junge Nonne Wie braust durch J.N. Craigher f early 1825 1825
die Wipfel de Jachelutta 43/1
830 Lied der Anne Lyle Wärst du bei mir A. MacDonald c ?early 1828
im Lebenstal trans. ? S. May 1825 85/1
831 Gesang der Norna Mich führt mein W. Scott, f early 1825 1828
Weg trans. S.H. 85/2
Spiker
832 Des Sängers Habe Schlagt mein Schlechta B♭ Feb 1825 1830
ganzes Glück
838 Ellens Gesang II Jäger, ruhe von Scott, trans. E♭ April–July 1826
der Jagd! Storck 1825 52/2
839 Ellens Gesang III Ave Maria! Scott, trans. B♭ April 1825 1826
(Hymne an die Jungfrau mild! Storck 52/6
Jungfrau)
843 Lied des Mein Ross so müd Scott, trans. d April 1825 1826
gefangenen Jägers in dem Stalle Storck 52/7
846 Normans Gesang Die Nacht bricht Scott, trans. c April 1825 1826
bald herein Storck 52/5
851 Das Heimweh Ach, der J.L. Pyrker von Aug 1825
Gebirgssohn Felsö-Eör
version a a 1895
version b a 1827
79/1
852 Die Allmacht (1) Gross ist Jehovah, Pyrker Aug 1825
der Herr
version a A —
version b C 1827
79/2
854 Fülle der Liebe Ein sehnend F. von A♭ Aug 1825 1830
Streben Schlegel
856 Abendlied für die Hinaus, mein A.W. von F Sept 1825 1827
Entfernte Blick! Schlegel 88/1
861 Der liebliche Stern Ihr Sternlein, still Schulze G Dec 1825 1832
in der Höhe
870 Der Wanderer an Ich auf der Erd’, Seidl g/G 1826 1827
den Mond am Himmel du 80/1
version a A♭ 1979
version b A♭ 1827
80/2
876 Im Jänner 1817 Ich bin von aller Schulze e Jan 1826 1838
(Tiefes Leid) Ruh geschieden
version a D 1895
version b D 1828
96/4
889 Ständchen (Hark, Horch, horch! die Shakespeare, C July 1826 1830
hark the lark) Lerch trans. A.W. von
Schlegel
890 Hippolits Lied Lasst mich, ob ich F. von a July 1826 1830
auch still verglüh Gerstenberg
891 Gesang (An Sylvia; Was ist Silvia Shakespeare, A July 1826 1828
Who is Sylvia?) trans. 106/
Bauernfeld
896a Sie in jedem Liede, Nehm ich die Leitner B♭ aut. 1827 – —
sketch Harfe early 1828
906 Der Vater mit dem Dem Vater liegt Bauernfeld D Jan 1827 1832
Kind das Kind im Arm
version a b 1979
version b b 1828
86
909 Jägers Liebeslied Ich schiess’ den Schober D Feb 1827 1828
Hirsch 96/2
version a f♯
version b e
version a c
version b d 1895
version a b
version b d 1895
version a a —
version b g
version a A —
version b A
version a a 1895
version b b
917 Das Lied im Ins Grüne, ins J.A.F. Reil A June 1827 1829
Grünen Grüne 115/
927 Vor meiner Wiege Das also, das ist Leitner b aut. 1827 – 1828
der enge Schrein early 1828 106/
931 Der Wallensteiner He! schenket mir Leitner g Nov 1827 1835
Lanzknecht beim im Helme ein!
Trunk
932 Der Kreuzzug Ein Münich steht Leitner D Nov 1827 1832
in seiner Zell
933 Des Fischers Dort blinket durch Leitner a Nov 1827 1835
Liebesglück Weiden
939 Die Sterne Wie blitzen die Leitner E♭ Jan 1828 1828
Sterne 96/1
943 Auf dem Strom, Nimm die letzten Rellstab E March 1829
with hn/vc obbl Abschiedsküsse 1828 119
Book 1:
Book 2:
965 Der Hirt auf dem Wenn auf dem W. Müller, ?H. B♭ Oct 1828 1830
Felsen, with cl obbl höchsten Fels von Chézy 129
Abend, 645
Abendbilder, 650
Abendröte, 690
Abendstern, 806
Adelaide, 95
Alinde, 904
Amalia, 195
Am Feierabend, 795/5
Am Fenster, 878
Am Meer, 957/12
Ammenlied, 122
Amphiaraos, 166
Am Seegestad, 98
Am Strome, 539
An Cidli, 285a–b
Andenken, 99
An Emma, 113a–c
An Gott, 863
An Mignon, 161a–b
An Sie, 288
Atys, 585
Aufenthalt, 957/5
Augenlied, 297a–b
Ballade, 134
Blanka, 631
Blumenlied, 431
Bundeslied, 258
Cronnan, 282
Der Vatermörder, 10
Die Schatten, 50
Dithyrambe, 801
Dom, 126a–b
Edone, 445
Elysium, 584
Entzückung, 413
Erinnerung, 101
Erinnerungen, 98a–b
Erlafsee, 586
Erlkönig, 328a–d
Erntelied, 434
Erstarrung, 911/4
Fischerweise, 881a–b
Frühlingsglaube, 686a–c
Frühlingssehnsucht, 957/3
Frühlingstraum, 911/11
Ganymed, 544
Geheimes, 719
Genügsamkeit, 143
Gesang, 891
Gondelfahrer, 808
Grablied, 218
Greisengesang, 778a–b
Gretchen, 564
Hagars Klage, 5
Heidenröslein, 257
Herbst, 945
Herbstlied, 502
Himmelsfunken, 651
Hochzeit-Lied, 463
Huldigung, 240
Ilmerine, 458
Im Abendrot, 799
Im Dorfe, 911/17
Im Freien, 880
Im Frühling, 882
Im Haine, 738
Irrlicht, 911/9
Jagdlied, 521
Klaglied, 23
Lambertine, 301
Lebenslied, 508
Lebensmelodien, 395
Lebenstraum, 39
Leichenfantasie, 7
Liane, 298
Liebesbotschaft, 957/1
Liebeslauschen, 698
Liebeständelei, 206
Liedesend, 473a–b
Mailied, 503
Marie, 658
Mein!, 795/11
Minnelied, 429
Minona, 152
42/2
Morgengruss, 795/8
Mut, 911/22a–b
Nachthymne, 687
Nachtstück, 672a–b
Nachtviolen, 752
Namenstagslied, 695
Naturgenuss, 188
Nur wer die Sehnsucht kennt, 310a–b, 359, 481, 877/1, 877/4
Pause, 795/12
Pflügerlied, 392
Phidile, 500
Philoktet, 540
Pilgerweise, 789
Prometheus, 674
Quell’innocente figlio, 17
Rast, 911/10a–b
Rückblick, 911/8
Rückweg, 476
Schlachtlied, 443
Schlummerlied, 527a–b
Schwanengesang, 318
Schweizerlied, 559
Schwertlied, 170
Schwestergruss, 762
Seligkeit, 433
Seufzer, 198
Täuschung, 911/19
Tischlerlied, 274
Tischlied, 234
Todesmusik, 758
Totengräberlied, 44
Totengräber-Weise, 869
Tränenregen, 795/10
Trost: an Elisa, 97
Um Mitternacht, 862a–b
Ungeduld, 795/7
Vaterlandslied, 287a–b
Vergissmeinnicht, 792
Verklärung, 59
Versunken, 715
Viola, 786
Vollendung, 579a
Vom Meere trennt sich die Welle, 509a–b, Vom Mitleiden Mariä, 632
Waldesnacht, 708
Wasserflut, 911/6a–b
Wehmut, 772
Widerschein, 639a–b
Widerspruch, 865b
Wiedersehn, 855
Winterlied, 401
Winterreise, 911
Wohin?, 795/2
Miscellaneous
published in NSA viii/1–2 unless otherwise stated
25b 15 contrapuntal studies, a 3, frags., ?sum. 1812 (part facs. in Landon, 1969)
AI/ Lebenslied, TTB/TTBB, 2nd T only, 1815 or 1816 (Kassel, 1974) [? part of lost
23 Lebensbild, 425]
AII/ arr. of ov. to Gluck’s Iphigénie en Aulide, pf 4 hands, frag., ?early 1810
1
AII/ arr. of W. Matiegka’s Notturno op.21, fl, va, vc, gui, 26 Feb 1814 (Munich,
2 1926) [see also CHAMBER, D96]
AII/ arr. of 2 arias from Gluck’s Echo et Narcisse, 1v, pf, March 1816
3
AI/25 Drum Schwester und Brüder, 1v, chorus, insts, frag., Oct 1819
AIII/6 Offertory: Clamavi ad te, frag., ?Nov 1813, by J. Preindl [formerly 85]
AIII/ Lass immer in der Jugend Glanz, canon, 2vv, after Mozart [formerly 92]
11
AIII/ Selig alle, die im Herrn entschliefen, canon, 2vv, after Mozart [formerly 127]
12
Bibliography
A Bibliographies. B Catalogues. C Documents. D Iconography. E Manuscsripts, sources. F Contemporary accounts. G
Biography. H Musical style. I Orchestral works. J Chamber works. K Piano works. L Sacred works. M Stage works. N
Choral works. O Songs. P General studies.
A: Bibliographies
W. Kahl: Verzeichnis des Schrifttums über Franz Schubert, 1828–1928 (Regensburg, 1938)
A.H. King: ‘Bibliography’, Schubert: a Symposium, ed. G. Abraham (London, 1946/R), 259–66
B: Catalogues
G. Nottebohm: Thematisches Verzeichnis der im Druck erschienenen Werke von Franz Schubert
(Vienna, 1874)
O.E. Deutsch with D.R. Wakeling: Schubert: a Thematic Catalogue of his Works (London, 1951)
[preface, p.ix, lists and discusses all previous catalogues; corrections and addns to catalogue in
ML, xxxiv (1953), 25–32]; Ger. trans., rev., enlarged, by W. Dürr, A. Feil, C. Landon and others,
Neue Ausgabe sämtlicher Werke, viii/4, as Franz Schubert: thematisches Verzeichnis seiner
Werke in chronologischer Folge von Otto Erich Deutsch (Kassel, 1978)
R. van Hoorickx: ‘Thematic Catalogue of Schubert’s Works: New Additions, Corrections and
Notes’, RBM, 28–30 (1974–6), 136–71
W. Litschauer, ed.: Neue Dokumente zum Schubert-Kreis: aus Breifen und Tagebüchern seiner
Freunden (Vienna, 1986)
C: Documents
O.E. Deutsch, ed.: Franz Schubert: die Dokumente seines Lebens und Schaffens, ii/1: Die
Dokumente seines Lebens (Munich, 1914, enlarged 2/1964, Neue Ausgabe sämtlicher Werke,
viii/5; Eng. trans., 1946/R, as Schubert: a Documentary Biography)
O.E. Deutsch, ed.: Franz Schuberts Briefe und Schriften (Munich, 1919, 4/1954; Eng. trans.,
1928/R)
O.E. Deutsch, ed.: Franz Schuberts Tagebuch (Vienna, 1928; Eng. trans., 1928) [facs. and
transcr.]
H. Werlé, ed.: Franz Schubert in seinen Briefen und Aufzeichnungen (Leipzig, 1948, 4/1955)
D: Iconography
A. Trost: ‘Franz Schuberts Bildnisse’, Berichte und Mittheilungen des Alterthums-Vereines zu
Wien, 33/2 (1898), 85–95
O.E. Deutsch, ed.: Franz Schubert: die Dokumente seines Lebens und Schaffens, iii: Sein Leben
in Bildern (Munich, 1913)
O.E. Deutsch: Die historischen Bildnisse Franz Schuberts in getreuen Nachbildungen (Vienna,
1922)
E. Hilmar and O. Brusatti, eds.: Franz Schubert (Vienna, 1978) [exhibition catalogue]
E: Manuscripts, sources
M. Friedlaender: ‘Fälschungen in Schubert’s Liedern’, VMw, 9 (1893), 166–85
J. Mantuani: ‘Schubertiana: ein Beitrag zur Schubertforschung’, Die Musik, 1 (1901–2), 1374–91
[Schubert autographs found in St Peter’s, Vienna]
E. Decsey: ‘Aus Josef Huttenbrenner’s Schubert-Nachlass’, Die Musik, 11/4 (1911–12), 297–304
M.J.E. Brown: ‘New, Old and Rediscovered Schubert Manuscripts’, ML, 37 (1957), 359–68
M.J.E. Brown: ‘Schubert’s Manuscripts: some Chronological Issues’, MR, 19 (1958), 180–85
M.J.E. Brown: ‘Schubert: Discoveries of the Last Decade’, MQ, 47 (1961), 293–314
M.J.E. Brown: ‘Two Schubert Discoveries’, MT, 109 (1968), 801 only [Albumleaf, 1821, Die
Wallfahrt D778 a]
A. Feil and W. Dürr: ‘Kritisch revidierte Gesamtausgaben von Werken Franz Schuberts im 19.
Jahrhundert’, Musik und Verlag: Karl Vötterle zum 65. Geburtstag, ed. R. Baum and W. Rehm
(Kassel, 1968), 268–78
A. Feil and W. Dürr: ‘Die Neue Schubert-Ausgabe: über einige Probleme des Herausgebens von
Musik’, ÖMz, 24 (1969), 553–63
R. van Hoorickx: ‘About some Early Schubert Manuscripts’, MR, 30 (1969), 118–23
C. Landon: ‘Neue Schubert-Funde’, ÖMz, 24 (1969), 299–323; Eng. trans., MR, xxxi (1970), 215–
31
R. van Hoorickx: ‘Two Essays on Schubert, I: Schubert’s Variations, op.10, II: Ferdinand and
Franz Schubert’, RBM, 24 (1970), 81–95
M.J.E. Brown: ‘Schubert: Discoveries of the Last Decade’, MQ, 57 (1971), 351–78
A. Weinmann: ‘Zwei neue Schubert-Funde’, ÖMz, 27 (1972), 75–8 [version a of Mut D911, no.22;
4th setting of Das Grab D569 for chorus]
R. van Hoorickx: ‘A Schubert Manuscript Identified’, MT, 115 (1974), 127 only [D966]
R. van Hoorickx: ‘Un manuscrit inconnu de Schubert’, RBM, 28–30 (1974–6), 260–63 [Über
Wildemann D884]
F.G. Zeileis: ‘Bemerkungen zur Erstveröffentlichung einer bisher ungedruckten Komposition aus
Franz Schuberts Studienzeit’, Beiträge zur Musikdokumentation: Franz Grasberger zum 60.
Geburtstag, ed. G. Brosche (Tutzing, 1975), 493–503 [incl. facs.]
R. van Hoorickx: ‘Some Unknown Schubert Manuscripts’, MT, 118 (1977), 1001–2
R. Winter: ‘Schubert’s Undated Works, a New Chronology’, MT, 119 (1978), 498–500
B. Newbould, ed.: Franz Schubert: Symphony No.10 in D Major, D936A (London, 1995)
[realization; incl. critical material]
F: Contemporary accounts
R. Bright: Travels from Vienna through Lower Hungary, with some Remarks on the State of
Vienna during the Congress in the year 1814 (Edinburgh, 1818)
J.C. von Zedlitz: ‘Nachruf an Schubert’, Wiener Zeitschrift für Kunst, Literatur, Theater und
Mode (25 Nov 1828)
J. Mailáth, ed.: Leben der Sophie Müller (Vienna, 1832) [diary references]
I.F. Castelli: Memoiren meines Lebens, 4 (Vienna, 1861); ed. J. Bindtner (Munich, 1913), 123–4
A.H. Hoffmann von Fallersleben: Mein Leben: Aufzeichnungen und Erinnerungen (Hanover,
1868), 2, 50ff
E. von Bauernfeld: ‘Einiges von Franz Schubert’, Signale für die musikalische Welt, 27 (1869),
977–81, 993–7, 1009–12, 1025–8; Eng. trans., Musical World (15 Jan, 19 Feb 1870)
J. von Spaun: Neues um Franz Schubert: einige Bemerkungen über die Biographie Schuberts
von Herrn Ritter v. Kreissle-Hellborn [1865] (Vienna, 1934)
O.E. Deutsch, ed.: Schubert die Erinnerungen seiner Freunde (Leipzig, 1957, 3/1974; Eng.
trans., 1958)
G: Biography
WurzbachL
G. Grove: ‘Schubert, Franz’, Grove1; repr. in Beethoven, Schubert, Mendelssohn (London, 1951)
M. Friedlaender: Beiträge zur Biographie Franz Schuberts (Berlin, 1887, Leipzig, 1928, as Franz
Schubert: Skizze seines Lebens und Wirkens)
M. Vancsa: ‘Schubert und seine Verleger’, Jahresbericht des Schubertbundes Vienna, 1905, 47–
57
E. Mandyczewski: Geschichte der k.k. Gesellschaft der Musikfreunde, suppl. (Vienna, 1912)
M.J.E. Brown: Schubert: a Critical Biography (London, 1958/R; Ger. trans., 1969)
O.E. Deutsch: ‘Ein Scherzgedicht aus der Schubertkreis’, ÖMz, 21 (1966), 49–52
P. Ronge: ‘Franz Schubert: der Mensch, Geschwister, Vorfahren, Lebenslauf: ein Beitrag zur
Genealogie’, Genealogie, 26 (1967), 721–36; see also xviii (1969), 534–7
O.E. Deutsch: ‘Schubert und die Königin Hortense’, ÖMz, 28 (1973), 121–4
W. Dürr: ‘Schubert and Johann Michael Vogl: a Reapprasail’, 19CM, 3 (1979–80), 126–40
H. Goldschmidt: ‘Schubert und kein Ende’, Beiträge zur Musikwissenschaft, 25 (1983), 288–92
W. Aderhold, W. Dürr and W. Litschauer, eds.: Franz Schubert: Jahre der Krise, 1818–1823:
Arnold Feil zum 60 Geburtstag (Kassel, 1985)
W. Dürr: ‘Der Linzer Schubert-Kreis und seine “Beiträge zur Bildung für Jünglinge”’,
Historisches Jb der Stadt Linz (1985), 51–9
R. van Hoorickx: ‘Schubert: Further Discoveries since 1978’, MR, 100 (1989), 103–23
W. Litschauer: ‘Zu Fritz Lehners Schubert-Film Notturno’, Schubert durch die Brille, no.2
(1989), 26–9
M. Solomon: ‘Franz Schubert and the Peacocks of Benvenuto Cellini’, 19CM, 12 (1988–9), 193–
206
D. Gramit: ‘Schubert's “Bildender Umgang”’, Schubert durch die Brille, no.8 (1992), 5–21
D. Gramit: ‘Constructing a Victorian Schubert: Music, Biography, and Cultural Values’, 19CM, 17
(1993–4), 65–78
R. Steblin: ‘The Peacock's Tale: Schubert's Sexuality Reconsidered’, 19CM, 17 (1993–4), 5–33
E. Worgull: ‘Ein repräsentaives Jugendbildnis Schuberts’, Schubert durch die Brille, no.12
(1994), 54–89
H. Kiemle: ‘Woran starb Schubert eigentlich?’, Schubert durch die Brille, nos.16/17 (1996), 41–
51
R. Steblin: ‘Schubert through the Kaleidescope: the “Unsinngesellschaft” and its Illustrious
Members’, ÖMz, 102 (1997), 52–61 [Schubert issue]
L. Feurzeig: ‘Heroines in Perversity: Marie Schmith, Animal Magnetism, and the Schubert
Circle’, 19CM, 21 (1997–8), 223
E. Badura-Skoda and others, eds.: Schubert und seine Freunde (Vienna, 1999)
H: Musical style
G. Abraham, ed.: Schubert: a Symposium (London, 1946/R)
E.N. McKay: ‘The Interpretation of Schubert’s Decrescendo and Accent Markings’, MR, 22
(1961), 108–11
K.P. Bernet Kempers: ‘Ganztonreihen bei Schubert’, Organicae voces: Festschrift Joseph Smits
van Waesberghe (Amsterdam, 1963), 7–10
R. Bruce: ‘The Lyrical Element in Schubert’s Instrumental Forms’, MR, 30 (1969), 131–7
M.K. Whaples: ‘Style in Schubert’s Piano Music from 1817 to 1818’, MR, 35 (1974), 260–80
W.S. Newman: ‘Freedom of Tempo in Schubert’s Instrumental Music’, MQ, 61 (1975), 528–45
J. Webster: ‘Schubert's Sonata Form and Brahms's First Maturity’, 19CM, 2 (1978–9), 18–35; iii
(1979–80), 52–71
D. Goldberger: ‘An Unexpted New Source for Schubert's A minor Sonata, D845’, 19CM, 6 (1982–
3), 3–12
W.M. Frisch, ed.: Schubert: Critical and Analytical Studies (Lincoln, NE, 1986)
E.W. Partsch, ed.: Franz Schubert: der Fortschrttliche? Analysen – Perspektiven – Fakten
(Tutzing, 1989)
V.K. Agawu: ‘Schubert's Sexuality: a Prescription for Analysis?’, 19CM, 17 (1993–4), 79–82
S. McClary: ‘Music and Sexuality: on the Steblin/Solomon Debate’, 19CM, 17 (1993–4), 83–8
S. McClary: ‘Constructions of Subjectivity in Schubert's Music’, Queering the Pitch (1994), 205–
33
W. Dürr: ‘The “Prince of Song”: a Critique of Old and New Schubert Clichés’, ÖMz, 52 (1997),
12–21 [Schubert issue]
S. McClary: ‘The Impromptu that Trod on a Load: or How Music Tells Stories’, Narrative, 5
(1997), 20–35
R. Kramer: ‘The Hedgehog: of Fragments Finished and Unfinished’, 19CM, 21 (1997–8), 134–48
R. Cohn: ‘As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert’, 19CM,
22 (1998–9), 213–32
I: Orchestral works
R. Schumann: ‘Die 7. Symphonie von Franz Schubert’, NZM, 12 (1840), 81–3
J.F. Barnett: ‘Some Details concerning the Completion and Instrumentation of Schubert’s Sketch
Symphony … as Performed … May 5, 1883’, PMA, 17 (1890–91), 177–90
O.E. Deutsch: ‘The Riddle of Schubert’s Unfinished Symphony’, MR, 1 (1940), 36–53
O.E. Deutsch: ‘The Discovery of Schubert’s C major Symphony’, MQ, 38 (1952), 528–32
J. Reed: ‘How the “Great” C major was written’, ML, 56 (1975), 18–25
H. Goldschmidt and R. Winter: ‘The Continuing Schubert Controversy’, 19CM, 9 (1985–6), 70–77
D. Jacobson: ‘Schubert's D.936A: Eine sinfonische Hommage an Beethoven?’, Schubert durch die
Brille, no.15 (1995), 113–26
B. Newbould: ‘Schuberts D.936A: Eine sinfonische Hommage an sich selbst?’, Schubert durch
die Brille, nos.16/17 (1996), 123–9
J: Chamber works
O.E. Deutsch: ‘The Chronology of Schubert’s String Quartets’, ML, 24 (1943), 25–30
M. Chusid: The Chamber Music of Franz Schubert (diss., U. of California, Berkeley, 1961)
A.A. Abert: ‘Rhythmus und Klang in Schuberts Streichquintett’, Festschrift Karl Gustav Fellerer
zum sechzigsten Geburtstag, ed. H. Hüschen (Regensburg, 1962/R), 1–11
K. Marx: ‘Einige Anmerkungen zu Schuberts “Forellenquintett” und Oktet’, NZM, Jg.132 (1971),
588–92
J. Gillett: ‘The Problem of Schubert’s G major String Quartet (D.887)’, MR, 35 (1974), 281–92
M. Willfort: ‘Das Urbild des Andante aus Schuberts Klaviertrio Es-dur D.929’, ÖMz, 33 (1978),
277–83
P. McCreless: ‘A Candidate for the Canon? a New Look at Schubert's Fantasie in C Major for
Violin and Piano’, 19CM, 20 (1996–7), 205–30
K: Piano works
H. Költzsch: Franz Schubert in seinen Klaviersonaten (Leipzig, 1927/R)
P. Mies: ‘Die Entwürfe Franz Schuberts zu den letzten drei Klaviersonaten von 1828’, BMw, 2/3
(1960), 52–68
A. Brendel: ‘Die beiden Versionen von Schuberts ‘Wanderer-Fantasie’’, ÖMz, 17 (1962), 56–60
F. Bisogni: ‘Rilievi filologici sulle sonate giovanili di Franz Schubert (1815–17)’, NRMI, 2 (1968),
453–72
R. van Hoorickx: ‘A Schubert Autograph at the Brussels Conservatoire’, RBM, 22 (1968), 109–11
[6 Polonaises op.61, D824]
M. Hughes, L. Moss and C. Schachter: ‘Analysis Symposium’, JMT, 12 (1968), 184–239; see also
JMT, xiii (1969), 128–39, 218–29 [Moment musical op.94 no.1 D780]
D.A. Weekley: The One-Piano, Four-Hand Compositions of Franz Schubert: an Historical and
Interpretative Analysis (diss., Indiana U., 1968)
R. van Hoorickx: ‘Franz Schubert (1797–1828): List of the Dances in Chronological order’, RBM,
25 (1971), 68–97
J.P. Vogel: ‘Die “Grazer Fantasie” von Franz Schubert’, Mf, 24 (1971), 168–74
K.M. Komma: ‘Franz Schuberts Klaviersonate a-moll op.posth.164 (D537)’, Zeitschrift für
Musiktheorie, 3/2 (1972), 2–14
K. Musiol: ‘“Sieben leichte Variationen in G-Dur”, ein verschollenes Jugendwerk von Franz
Schubert’, Mf, 28 (1975), 202–8
F. Bisogni: ‘Rilievi filologici sulle sonate della maturità di Franz Schubert (1817–1828)’, RIM, 11
(1976), 71–105
S. McClary: ‘Pitches, Expression, Ideology: an Exercise in Mediation’, Enclitic, 7/1 (1983), 76–86
W. Litschauer and W. Deutsch: Schubert und das Tanzvergnügen seiner Zeit (Vienna, 1997)
W. Litschauer: ‘On the Performance Practice of Schubert's Dances’, ÖMz, 52 (1997), 42–51
[Schubert issue]
P. Brett: ‘Piano Four-Hands: Schubert and the Performance of Gay Male Desire’, 19CM, 21
(1997–8), 149–76
M.J.E. Brown: ‘Schubert’s Settings of the “Salve regina”’, ML, 37 (1956), 234–49
R.S. Stringham: The Masses of Franz Schubert (diss., Cornell U., 1964)
R. van Hoorickx: ‘Schubert and the Bible’, MT, 119 (1978), 953–5
W. Dürr: ‘Dona nobis pacem: Gedanken zu Schuberts späten Messen’, Bachiana et alia
musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 62–74
E. Benedikt: ‘Memoranda on Schubert's Masses: on the Date of the First Performance of the
Mass in F Major (d105)’, ÖMz, 52 (1997), 64–9 [Schubert issue]
M: Stage works
F. Liszt: ‘Schubert's “Alfonso und Estrell”’, Gesammelte Schriften, ed. L. Ramann, 3/1 (Leipzig,
1881/R), 68–78
E.N. McKay: ‘Schubert’s Music for the Theatre’, PRMA, 93 (1966–7), 51–66
M.J. Citron: Schubert’s Seven Complete Operas: a Musico-dramatic Study (diss., U. of North
Carolina, 1971)
P. Branscombe: ‘Schubert and his Librettists – 1’, MT, 119 (1978), 943–7
T.G. Waidelich: ‘Einige Korrekturen zu Alfonso und Estrella ’, Schubert durch die Brille, no.5
(1990), 31 only
T.G. Waidelich: Franz Schubert: Alfonso und Estrella: eine frühe durchkomponierte Deutsche
Oper: Geschichte und Analyse (Tutzing, 1991)
N: Choral works
V. Keldorfer: ‘Schuberts Chorschaffen’, ÖMz, 13 (1958), 257–61
A. Weinmann: ‘Eine österreichische Volkshymne von Franz Schubert’, ÖMz, 27 (1972), 430–34
O: Songs
O.E. Deutsch: Die Originalausgaben von Schuberts Goethe-Liedern (Vienna, 1926)
E. Schnapper: Die Gesänge des jungen Schubert vor dem Durchbruch des romantischen
Liedprinzipes (Berne and Leipzig, 1937)
H. Haas: Über die Bedeutung der Harmonik in den Liedern Franz Schuberts (Bonn, 1957)
J. Kramarz: Das Rezitativ im Liedschaffen Franz Schuberts (diss., Free U. of Berlin, 1959)
V. Levi: ‘Le arie e ariette di Schubert su testo italiano’, SMw, 25 (1962), 307–14
J.M. Stein: ‘Schubert’s Heine Songs’, Journal of Aesthetics and Art Criticism, 24 (1966), 559–66
M.J.E. Brown: ‘The Therese Grob Collection of Songs by Schubert’, ML, xlix (1968), 122–34
R. van Hoorickx: ‘Notes on a Collection of Schubert Songs copied from Early Manuscripts
around 1821–5’, RBM, 22 (1968), 86–101
J.P. Larsen: ‘Zu Schuberts Vertonung des Liedes Nur wer die Sehnsucht kennt ’, Musa – mens –
musici: im Gedenken an Walther Vetter (Leipzig, 1969), 277–81
D.B. Greene: ‘Schubert’s Winterreise: A Study in the Aesthetics of Mixed Media’, Journal of
Aesthetics and Art Criticism, 29 (1970–71), 181–93
E. Brody and R. A. Fowkes: The German Lied and its Poetry (New York, 1971)
D. Fischer-Dieskau: Auf den Spuren der Schubert-Lieder: Werden, Wesen, Wirkung (Wiesbaden,
1971; Eng trans., 1976)
W. Gray: ‘The Classical Nature of Schubert’s Lieder’, MQ, lvii (1971), 62–72
W. Gerstenberg: ‘Der Rahmen der Tonalität im Liede Schuberts’, Musicae scientiae collectanea:
Festschrift Karl Gustav Fellerer, ed. H. Hüschen (Cologne, 1973), 147–55
J.H. Thomas: ‘Schubert’s Modified Strophic Songs with Particular Reference to Schwanengesang
’, MR, 24 (1973), 83–99
J. Armitage-Smith: ‘Schubert’s Winterreise, Part I: the Sources of the Musical Text’, MQ, 60
(1974), 20–36
M. and L. Schochow eds.: Franz Schubert: die Texte seiner einstimmig komponierten Lieder and
ihre Dichter (Hildesheim and New York, 1974)
A. Feil: Franz Schubert: Die schöne Müllerin, Winterreise (Stuttgart, 1975; Eng. trans., 1988)
G. Moore: The Schubert Song Cycles (London, 1975; Ger. trans., 1975 as Schuberts
Liederzyklen)
E. Sams: ‘Notes on a Magic Flute: the Origins of the Schubertian Lied’, MT, 119 (1978), 947–9
D. Stein: ‘Schubert's Erlkönig: Motivic Parallelism and Motivic Transformation’, 19CM, 8 (1989–
90), 145–58
L. Kramer: ‘Performance and Social Meaning in the Lied: Schubert's Erster Verlust’, CMc, no.56
(1994), 5–23
R. Kramer: Distant Cycles: Schubert and the Conceiving of Song (Chicago, 1994)
R. Steblin: ‘Wilhelm Müllers Aufenthalt in Wien im Jahre 1817: eine Verbindung zu Schubert
durch Schlechta’, Vom Pasqualatihaus: Musikwissenschaftliche Perspektiven aus Wien, no.4
(1994), 19–26
C. Gibbs: ‘“Komm, geh” mit mir: Schubert's Uncanny Erlkönig’, 19CM, 19 (1995–6), 115–35
L. Litterick: ‘Recycling Schubert: on Reading Richard Kramer's “Distant Cycles: Schubert and
the Conceiving of Song”’, 19CM, 20 (1996–7), 77–95
S. Youens: ‘Of Dwarves, Perversion, and Patriotism: Schubert's Der Zwerg, D771’, 19CM, 21
(1997–8), 177–207
P: General studies
R. Schumann: Gesammelte Schriften über Musik und Musiker (Leipzig, 1854/R, rev. 5/1914/R by
M. Krersig; Eng. trans., 1877–80; new Eng. trans., 1946/R [selection])
H. Kreissle von Hellborn: Franz Schubert (Vienna, 1865; Eng. trans., 1869)
A. Reissmann: Franz Schubert: sein Leben and seine Werke (Berlin, 1873)
R. Heuberger: Franz Schubert (Berlin, 1902, rev. 3/1920 by H. von der Pforten)
O. Bie: Franz Schubert: sein Leben und sein Werk (Berlin, 1925; Eng. trans., 1928)
D.F. Tovey: ‘Franz Schubert’, The Heritage of Music, ed. H.J. Foss, 1 (London, 1927/R), 82–122
H. Gál: Franz Schubert, oder Die Melodie (Frankfurt, 1970, 2/1992); Eng. trans., London, 1974,
as Franz Schubert and the Essence of Melody)
R. van Hoorickx: ‘Schubert’s Reminiscences of his Own Works’, MQ, 60 (1974), 373–88
