List of compositions by Franz Schubert

Schubert's Opus 1: "Erlkönig", D 328, fourth version, was published by Diabelli as Schubert's "1^tes Werk" in 1821. The Lied, composed in 1815, was later adopted along with its prior versions in AGA XX, 3 No. 178 (1895) and NSE IV, 1 (1970).

Compositions by Franz Schubert
Lists of
By genre
Stage works Songs and part-songs Song cycles Symphonies Sonatas, duos and fantasies Solo piano
Numbering
Deutsch catalogue Opus/Deutsch number concordance
Score publications
19th century complete edition New Schubert Edition

Franz Schubert (31 January 1797 – 19 November 1828), a late Classical – early Romantic Viennese composer, left a very extended body of work notwithstanding his short life. He wrote some 1500 items, or, when collections, cycles and variants are grouped, some thousand compositions. The largest group are his over six hundred Lieder for solo voice and piano. He composed nearly as many piano pieces, and further some 150 part songs, some 40 liturgical compositions (including several masses) and around 20 stage works like operas and incidental music. His orchestral output includes a dozen symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.

Otto Erich Deutsch compiled the first comprehensive catalogue of Schubert's works and published it in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order. A revised edition appeared in German in 1978. Later editions of the catalogue contained minor updates.

Publication of Schubert's compositions started during his lifetime, by opus number. After the composer's death, posthumous opus numbers continued to be assigned to new publications of his work until 1867 (Op. post. 173). In the mean while also publications without opus number had started, for instance, from shortly after the composer's death, many songs in Diabelli's fifty "Nachlaß-Lieferung" (instalment from the heritage) editions.

There are two attempts to publish everything Schubert has composed in a single edition:

From 1884 to 1897 Breitkopf & Härtel published twenty-two series of Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe, known as the "Alte Gesamt-Ausgabe" (AGA, the former complete edition). From 1965 Dover Publications started to reprint this edition, and later it was made available at the IMSLP website.
The Neue Schubert-Ausgabe (NSA), also known as the New Schubert Edition (NSE), is published by Bärenreiter (Kassel). It proposes eighty-three volumes, in eight series. Publication of all volumes has been scheduled to conclude in 2016. Plans for this edition began as early as 1963, with the foundation of the International Schubert Society, headquartered at the University of Tübingen, Germany.

Texts of Schubert's vocal music can be published without the music, for instance his Lieder (songs) at LiederNet

Works listed in the Deutsch catalogue

The 1951 first edition of the Deutsch catalogue attempted to list all dated works by Schubert in chronological order, assigning them a number from 1 to 965. Undated works were ordered in the range 966–992. Nos. 993–998 referred to manuscripts that had resurfaced shortly before the catalogue was printed.

Later versions of the catalogue adhered to the general principles that Deutsch numbers below 966 referred, in a chronological order, to compositions by Schubert with an established time of composition, and that the range 966–992 was reserved for his compositions with an uncertain date of composition. Thus "Die Taubenpost", the last Lied Schubert composed, was reassigned from D 957 No. 14 to D 965A, and D 993, an early piano composition, to D 2E.

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

Arrangements by Schubert (Anh. II): The 1978 version of the catalogue lists 4 arrangements by Schubert in its second Anhang

Works of others composers copied by Schubert (Anh. III): Appendix II in the first edition of the catalogue contains compositions by other composers copied by Schubert. In the 1978 edition the list was expanded and became Anhang III.

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

Legend to the table
column		content
1	D '51	Deutsch number in the first version of the Deutsch catalogue (1951)
2	D utd	most recent (up to date) Deutsch catalogue number
3	Op. pbl	Opus number (p indicates Post. = posthumous); Nachlass Lieferung Nos. are preceded by n. Date of first publication in parenthesis. The column sorts to Opus number > Nachlass Lieferung No. > first publication date associated with neither of those.
4	AGA	Alte Gesamt-Ausgabe = Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe. Indicates genre/instrumentation: Series I: Symphonien (Nos. 1-8) (Johannes Brahms, 1884) Series II: Overtüren und Andere Orchesterwerke (Johann Nepomuk Fuchs, 1886) Series III: Oktette (Nos. 1-3) and IV: Streichquintett (Eusebius Mandyczewski, 1889) Series V: Streichquartette (Nos. 1-15) (Joseph Hellmesberger and Eusebius Mandyczewski, 1890) Series IX: Pianoforte zu vier Händen (Anton Door, 1888) Series X: Sonaten für Pianoforte (Julius Epstein, 1888) Series XI: Fantasie, Impromptus und andere Stücke für Pianoforte (Julius Epstein, 1888) Series XII: Tänze für Pianoforte (Nos. 1-31) (Julius Epstein, 1889) Series XIII: Messen (Nos. 1-7) (Eusebius Mandyczewski, 1887) Series XIV: Kleinere Kirchenmusikwerke (Nos. 1-22) (Eusebius Mandyczewski, 1888) Series XV: Dramatische Musik (Johann Nepomuk Fuchs, 1893) Series XVI: Werke für Männerchor (Nos. 1-46) (Eusebius Mandyczewski, 1891) Series XVII: Werke für gemischten Chor (Nos. 1-19) (Josef Gänsbacher, Eusebius Mandyczewski, 1892) Series XVIII: Werke für Drei und mehr Frauenstimmen mit Pianoforte-Begleitung (Nos. 1-6) (Josef Gänsbacher, Eusebius Mandyczewski, 1891) Series XIX: Kleine Gesangswerke (Nos. 1-36) (Josef Gänsbacher and Eusebius Mandyczewski, 1892) Series XX: Sämtliche einstimmige Lieder und Gesänge (Eusebius Mandyczewski, 1894-1895) Series XXI: Supplement (Eusebius Mandyczewski, 1897) Instrumentalmusik No. 1-5 Instrumentalmusik No. 6-13 Instrumentalmusik No. 14- Gesangsmusik Series XXII: Revisionsbericht
5	NSA	NGA/NSA/NSE = New Schubert Edition, also indicates genre/instrumentation: Series I: Church Music Series II: Stage Works Series III: Part Songs Series IV: Lieder Series V: Orchestral Works Series VI: Chamber Music Octet and Nonet String Quintet String Quartets I String Quartets II String Quartets III String Trios Works for Piano and several instruments Works for Piano and one instrument Dances for several instruments Series VII: Piano Music Works for Piano Four Hands Works for Piano Two Hands Series VIII: Supplement, 2. Schubert's Studies
6	Name	unique name, links to article
7	Key signature / incipit	incipit mostly for songs (linking to lyrics and their translation when available), other compositions by key signature, except for theatre works: type of composition in brackets.
8	Date	date of composition / autograph. When the date is a range, the column sorts to date of completion (unlike the D numbers themselves, that generally have a chronology according to earliest date associated with the composition)
9	Additional info	e.g. movements, text author,...

D '51	D utd	Op. pbl	AGA	NSA	Name	Key signature / incipit	Date	Additional info
1	1	(1888)	IX, 3 No. 30	VII/1, 1 No. 1 & Anh. No. 1	Fantasy, D 1	G major	April–May 1810	Adagio – Allegro; Presto – Allegretto; Finale: Allegro maestoso — Two versions of Finale
	1A	(1969)		IV, 6 Anh. No. 1	Song, D 1A	C minor	before 1810?	Adagio (sketch; no text, might be same as for D 39) – Gesang for bass and piano
	1B			VII/1, 1 Anh. No. 2	Fantasy, D 1B	G major	1810-1811	Adagio, and start of an Allegro;
	1C			VII/1, 1 Anh. No. 3	Sonata, D 1C	F major	1810-1811	Largo (fragment of 1st movement)
996	2A			V, 6 No. 1	Overture, D 2A	D major	1811?	Adagio – Allegro (fragment)
997	2B			V, 6 No. 2	Symphony, D 2B	D major	1811?	Adagio, fragment of a first movement
998	2C	(1978)		VI, 3 Anh. No. 1	String Quartet, D 2C	D minor or F major	1811?	Fragment
995	2D	(1956) (1970)		VI, 9	Six Minuets, D 2D	Various key signatures	1811	For winds (No. 1-2 also for piano; No. 4-6 piano sketches)
993	2E			VII/2, 4	Fantasy, D 2E	C minor	1811	Largo
	2F			VI, 9	Trio, D 2F		1811	Piano sketch of a Trio for a Minuet like those of D 2D
	2G			V, 6 No. 3	Overture, D 2G	D major	1810-1811?	Fragment
3	3	(1978)		VI, 3 Anh. No. 2	String Quartet, D 3	C major	1812?	Fragment, some of it reused in D 29 and in an early sketch of D 36
4	4	(1886)	II No. 1	V, 5	Der Teufel als Hydraulicus	(Overture to a comedy with singing)	1812?	Play by J. F. E. Albrecht derived from Der Bettelstudent by Paul Weidmann
5	5	(1894)	XX, 1 No. 1	IV, 6 No. 1	Hagars Klage	Hier am Hügel heißen Sandes	30/03/1811	Text by Clemens August Schücking
6	6	(1894)	XX, 1 No. 2	IV, 3	Des Mädchens Klage	Der Eichwald brauset	1811-1812	Text by Schiller, from Wallenstein: Die Piccolomini III, 7; 1st setting of three: see also D 191 and 389
7	7	(1894)	XX, 1 No. 3	IV, 6 No. 2	Leichenfantasie	Mit erstorbnem Scheinen	1811?	Text by Schiller
8	8	(1970)		VI, 2 No. 1	Overture, D 8	C minor	29/6/1811	Largo – Allegro
	8A	(1970)		VI, 3 No. 3	Overture, D 8A	C minor	After 12/7/1811	Largo – Allegro (Quartet version of D 8)
9	9	(1888)	IX, 3 No. 31	VII/1, 1 No. 2	Fantasy, D 9	G minor	20/9/1811	Largo – Allegro
10	10	(1894)	XX, 1 No. 4	IV, 6 No. 3	Der Vatermörder	Ein Vater starb von des Sohnes Hand	26/12/1811	Text by Gottlieb Conrad Pfeffel
11 966	11	(1893) (1897)	XV, 7 No.12 XXI, 1 No.1	II, 11	Der Spiegelritter	(Singspiel in three acts)	December 1811?	Text by August von Kotzebue Overture, five complete numbers and three fragments from Act I are extant. Aria No. 3 not published in AGA
12	12	(1897)	XXI, 1 No. 2	V, 5	Overture, D 12	D major	1811-1812	Adagio – Allegro spiritoso
13	13			VII/2, 4	Fugue, D 13	D minor	c. 1812	Allegro maestoso — presumably for piano
14	14				Overture, D 14		c. 1812	Lost — piano sketch
15	15	(1895)	XX, 10 No. 590/1	IV, 7 Anh. No. 5	Der Geistertanz	Die bretterne Kammer	c. 1812	Text by Friedrich von Matthisson Fragment, first setting (see also D 15A, 116 and 494)
15	15A	(1895)	XX, 10 No. 590/2	IV, 7 Anh. No. 6	Der Geistertanz	Die bretterne Kammer	c. 1812	Text by Friedrich von Matthisson Fragment, second setting (see also D 15, 116 and 494)
16	16	(1940)		VIII, 2 No. 11	Counterpoint exercises, D 16	G minor and A minor	1823?	Seven exercises in double counterpoint
17	17	(1940) (1986)		VIII, 2 No. 37	Composition exercises, D 17	Quell’ innocente figlio	1812?	Text by Metastasio, from Isacco I, "Aria dell' Angelo" — Nine settings, corrections by Salieri
18	18	(1890)	V No. 1	VI, 3 No. 1	String Quartet No. 1	G minor / B major	1810-1811	Andante – Presto vivace; Menuetto – Trio; Andante; Presto
19	19				String Quartet, D 19		1810-1811	Lost
19A	19A				String Quartet, D 19A		1810-1811	Lost
	19B				Waltzes and a March, D 19B		1812-1813	Lost — for piano
20	20				Overture, D 20	B-flat major	1812	Lost — for string quartet
21	21				Six Variations, D 21	E-flat major	1812	Lost — for piano
22	22				Twelve Minuets with Trios, D 22		1812	Lost — for piano
23	23	131,3p (1830)	XX, 1 No. 6	IV, 6 No. 4	Klaglied	Meine Ruh ist dahin	1812	Text by Friedrich Rochlitz
24	24				Seven Variations, D 24	F major	1812?	Lost fragment — for piano
	24A			VII/2, 4	Fugue, D 24A	C major	Summer 1812	Allegro — for keyboard (organ or piano)
	24B			VII/2, 4	Fugue, D 24B	G major	Summer 1812	Allegro — for keyboard (organ or piano)
	24C			VII/2, 4	Fugue, D 24C	D minor	Summer 1812	Maestoso — for keyboard (organ or piano)
	24D			VII/2, 4 Anh.	Fugue, D 24D	C major	Summer 1812	Maestoso (fragment), for piano Theme reused in D 46
	24E			I, 5 Anh.	Mass, D 24E	F major (?)	Summer 1812?	Fragment of a Gloria and a Credo
25	25			VIII, 2	Counterpoint exercises, D 25		Started 18/6/1812	Four 2-part and three 3-part counterpoint exercises; Four 2-part imitation exercises
	25A			VIII, 2	Counterpoint exercises, D 25A		Summer 1812?	Two 4-part counterpoint exercises
	25B			VIII, 2	Counterpoint exercises, D 25B		Summer 1812?	Fifteen 3-part counterpoint exercises
	25C			VIII, 2	Fugue, D 25C	F major	Summer 1812?	Fragment, for two voices
26	26	(1886)	II No. 2	V, 5	Overture, D 26	D major	26/6/1812	Allegro spiritoso
27	27	(1928)		I, 8	Salve Regina, D 27	F major	28/06/1812	Motet/Antiphon — parts of trumpets and timpani missing
28	28	(1923)		VI, 7 No. 1	Piano Trio, D 28	B major	28/8/1812	Allegro — Sonata movement
29	29	(1888)	XI No. 9	VII/2, 4	Andante, D 29	C major	9/9/1812	For piano — see also D 3 and 36
30	30	(1894)	XX, 1 No. 5	IV, 4	Der Jüngling am Bache	An der Quelle saß der Knabe	24/9/1812	Text by Schiller; 1st setting of three: see also D 192 and 638
31	31	(1888)	XIV No. 14	I, 5	Kyrie, D 31	D minor	25/9/1812	Allegro — First part of a Mass
32	32	(1890) (1955)	V No. 2 XXII v5	VI, 3 No. 4	String Quartet No. 2	C major	Sept-Oct 1812	Presto; Andante; Menuetto: Allegro – Trio; Allegro con spirito — AGA V only mvts 1 & 3
33	33	(1940)		VIII, 2 No. 38	Composition exercises, D 33	Entra l'uomo allor che nasce	Sept-Oct 1812	Text by Metastasio, from Isacco II, "Aria di Abramo" — Six settings and an Allegretto, corrections by Salieri
34	34	(1940)		VIII, 2 No. 39	Composition exercises, D 34	Te solo adoro	5/11/1812	Text by Metastasio, from Betulia liberata II, "Aria di Achior" — Two settings (second incomplete), corrections by Salieri
35	35	(1940)		VIII, 2 No. 40	Composition exercises, D 35	Serbate, o Dei custodi	Oct-Dec 1812	Text by Metastasio, from La clemenza di Tito I, 5 — Three settings, corrections by Salieri
36	36	(1890)	V No. 3	VI, 3 No. 5	String Quartet No. 3	B-flat major	1812-1813	Allegro; Andante; Menuetto: Allegro – Trio; Allegretto
37	37	74 (1827)	XIX No. 1	III, 3	Die Advokaten	Mein Herr, ich komm' mich anzufragen	25-27/12/1812	Text by Eduard von Rustenfeld, Baron Engelhart – Imitates a composition by Anton Fischer
967	37A			VII/2, 4 Anh. VIII, 2 No. 13	Fugue sketches, D 37A		1813?	Four sketches with four voices, the first of which is marked Allegro, for Clav.
38	38	(1892)	XIX No. 20	III, 4 No. 1	Totengräberlied	Grabe, Spaden, grabe!	1813?	Text by Hölty – First of two settings, see also D 44
39	39	(1894)		IV, 6 Anh No. 2	Lebenstraum	Ich saß an einer Tempelhalle	Early 1810?	Text by Baumberg Incomplete; seems related to D 1A
	39A			VI, 9	Three Minuets with Trios, D 39A		1813	Lost — for orchestra
41	41	(1889)	XII No. 30	VII/2, 6	Thirty Minuets with Trios, D 41	Various key signatures	1813	Nos. 1–8, 11–18 and 20–23 are extant; Partly reused by Ferdinand Schubert in a Pastoral Mass
	41A			VII/2, 4 Anh.	Fugue, D 41A	E minor	1813	Allegro moderato (fragment), for piano
42	42	(1895) (1969)	XX, 10 No. 570	IV, 6 No. 5 Anh. No. 3	Aria di Timante	Misero pargoletto	1813?	Text by Metastasio, from Demofoonte III, 5 — Two settings; first setting two variant fragments
43	43	(1897)	XXI, 4 No. 43	III, 4 No. 2 VIII, 2 No. 34	Sprüche des Confucius	Dreifach ist der Schritt der Zeit	8/7/1813	Text by Schiller; 1st setting of three: see also D 69 and 70
44	44	(1894)	XX, 1 No. 7	IV, 6 No. 6	Totengräberlied	Grabe, Spaden, grabe!	19/1/1813	Text by Hölty – Second of two settings, see also D 38
45	45	(1888)	XIV No. 21	I, 5	Kyrie, D 45	B-flat major	1/3/1813	Andante con espressione — Reused by Ferdinand Schubert in a Pastoral Mass
46	46	(1890)	V No. 4	VI, 3 No. 6	String Quartet No. 4	C major	3-7/3/1813	Adagio; Andante con moto; Menuetto: Allegro – Trio; Finale: Allegro
47	47	(1974)		III, 2b Anh. No. 1	Dithyrambe, D 47	Nimmer, das glaubt mir, erscheinen die Götter	29/3/1813	Text by Schiller; 1st setting of two: see also D 801; Fragment; For tenor, bass, choir and piano
48	48	(1871) (1888)	IX, 3 No. 32	VII/1, 1 No. 3	Fantasy, D 48 Grand Sonata, D 48	C minor	April to 10 June 1813	Adagio – Allegro agitato – Andante amoroso – Allegro – Adagio (- Fuge: Allegro maestoso)
49	49	(1888)	XIV No. 15	I, 5	Kyrie, D 49	D minor	15/4/1813	Allegro — First part of a Mass
50	50	(1894)	XX, 1 No. 8	IV, 6 No. 7	Die Schatten	Freunde, deren Grüfte sich schon bemoosten!	12/4/1813	Text by Friedrich von Matthisson
51	51	(1897)	XXI, 4 No. 37	III, 4 No. 3	Unendliche Freude	Unendliche Freude durchwallet das Herz	15/4/1813	Text by Schiller, from "Elysium": stanza 3; Other stanzas and settings: D 53, 54, 57, 58, 60, 584
52	52	(1868)	XX, 1 No. 9	IV, 2b No. 8	Sehnsucht	Ach, aus dieses Tales Gründen	15– 17/4/1813	Text by Schiller; 1st setting of two: see also D 636
53	53	(1892)	XIX No. 9	III, 4 No. 4	Vorüber die stöhnende Klage	Vorüber die stöhnende Klage!	18/4/1813	Text by Schiller, from "Elysium": stanza 1; Other stanzas and settings: D 51, 54, 57, 58, 60, 584
54	54	(1873)	XIX No. 22	III, 4 No. 5 VIII, 2 No. 17	Unendliche Freude	Unendliche Freude durchwallet das Herz	19/4/1813	Text by Schiller, from "Elysium": stanza 3; Other stanzas and settings: D 51, 53, 57, 58, 60, 584
55	55	(1892)	XIX No. 12	III, 4 No. 6	Selig durch die Liebe	Selig durch die Liebe Götter	21/4/1813	Text by Schiller, from "Der Triumph der Liebe": stanza 1; Other: D 61, 62, 63, 64, 983A
56	56	(1892)	XIX No. 29	I, 5 VIII, 2 No. 18	Sanctus, D 56	B-flat major	21/4/1813	Canon for three voices, 2 versions
57	57	(1897)	XXI, 4 No. 38	III, 4 No. 7	Hier strecket der wallende Pilger	Hier strecket der wallende Pilger	29/4/1813	Text by Schiller, from "Elysium": stanza 4; Other stanzas and settings: D 51, 53, 54, 58, 60, 584
58	58	(1892)	XIX No. 10	III, 4 No. 8	Dessen Fahne Donnerstürme wallte	Dessen Fahne Donnerstürme wallte	May 1813	Text by Schiller, from "Elysium": stanza 5; Other stanzas and settings: D 51, 53, 54, 57, 60, 584
59	59	n17,4 (1832)	XX, 1 No. 10	IV, 6 No. 8	Verklärung	Lebensfunke, vom Himmel entglüht	4/5/1813	Text by Johann Gottfried Herder, after Alexander Pope "The dying Christian to his soul"
60	60	(1892)	XIX No. 11	III, 4 No. 16	Hier umarmen sich getreue Gatten	Hier umarmen sich getreue Gatten	3/10/1813	Text by Schiller, from "Elysium": stanza 6; Other stanzas and settings: D 51, 53, 54, 57, 58, 584
61	61	(1897)	XXI, 4 No. 39	III, 4 No. 9 VIII, 2 No. 19	Ein jugendlicher Maienschwung	Ein jugendlicher Maienschwung	8/5/1813	Text by Schiller, from "Der Triumph der Liebe": stanza 9; Other: D 55, 62, 63, 64, 983A
62	62	(1897)	XXI, 4 No. 40	III, 4 No. 10 VIII, 2 No. 35	Thronend auf erhabnem Sitz	Thronend auf erhabnem Sitz	9/5/1813	Text by Schiller, from "Der Triumph der Liebe": stanza 15; Other: D 55, 61, 63, 64, 983A
63	63	(1892)	XIX No. 13	III, 4 No. 11	Wer die steile Sternenbahn	Wer die steile Sternenbahn	10/5/1813	Text by Schiller, from "Der Triumph der Liebe": stanza 26; Other: D 55, 61, 62, 64, 983A
64	64	(1897)	XXI, 4 No. 41	III, 4 No. 12 VIII, 2 No. 36	Majestät'sche Sonnenroße	Majestät'sche Sonnenroße	10/5/1813	Text by Schiller, from "Der Triumph der Liebe": stanza 16; Other: D 55, 61, 62, 63, 983A
65	65	(1892)	XIX Anh. I, No. 35	III, 4 Anh. II No. 1 VIII, 2 No. 20	Schmerz verzerret ihr Gesicht	Schmerz verzerret ihr Gesicht	11/5/1813	Text by Schiller, from "Gruppe aus dem Tartarus": stanza 2; See also D 396, 583; Sketch
66	66	(1888)	XIV No. 16	I, 5	Kyrie, D 66	F major	12/5/1813	Larghetto
67	67	(1897)	XXI, 4 No. 42	III, 4 No. 13	Frisch atmet des Morgens lebendiger Hauch	Frisch atmet des Morgens lebendiger Hauch	15/5/1813	Text by Schiller; See also D 402; Trio for two tenors and bass
68	68	(1890)	V No. 5	VI, 3 No. 7	String Quartet No. 5	B-flat major	18/8/1813	Allegro maestoso; Allegro – Middle movements missing
69	69	(1892)	XIX No. 23	III, 4 No. 14 VIII, 2 No. 21	Sprüche des Confucius	Dreifach ist der Schritt der Zeit	8/7/1813	Text by Schiller; 2nd setting of three: see also D 43 and 70; Canon
70	70	(1974)		III, 4 Anh. I No. 1 VIII, 2 No. 33	Sprüche des Confucius	Dreifach ist der Schritt der Zeit	8/7/1813	Text by Schiller; 3rd setting of three: see also D 43 and 69; Fragment
71	71	(1892)	XIX No. 14	III, 4 No. 15	Die zwei Tugendwege	Zwei sind der Wege	15/7/1813	Text by Schiller; Trio for two tenors and bass
	71A	(1956)		I, 8 VIII, 2 No. 22	Alleluja, D 71A	F major	July 1813?	Canon for three voices
	71B			VII/2, 4 Anh. VIII, 2 No. 14	Fugue, D 71B	E minor	July 1813	Maestoso (fragment), for piano
966A	71C			V, 6 No. 5	Orchestral piece, D 71C	D major	August or Sept. 1813	Allegro ma non troppo (fragment)
72	72	(1889) (1890)	III No. 2 XXII v1	VI, 1 No. 1 & Anh.	Wind Octet	F major	18/8/1813	Menuetto: Allegretto – Trio I/II; Allegro; Allegro (fragment)
73	73	(1868)	XX, 1 No. 11	IV, 4	Thekla: Eine Geisterstimme	Wo ich sei, und wo mich hingewendet	22– 23/8/1813	Text by Schiller; 1st setting of two: see also D 595
74	74	(1890)	V No. 6	VI, 4 No. 8	String Quartet No. 6	D major	August–Sept. 1813	Allegro ma non troppo; Andante; Menuetto: Allegro – Trio; Allegro
	74A			V, 6 No. 4	Orchestral piece, D 74A	D major	1813?	Fragment
75	75	n45,2 (1850)	XVI No. 16	III, 3	Trinklied	Freunde, sammelt euch im Kreise	29/08/1813	Text by Fr. Schäffer For bass, men’s choir and piano
76	76	(1871) (1969)	XX, 10 No. 571	IV, 6 No. 9 Anh. No. 4	Aria di Fronimo	Pensa, che questo istante	13 and 7 Sept. 1813	Text by Metastasio, from Alcide al bivio, 1st scene — Two versions (2nd in AGA)
77 111	77	n12 (1831) (1894)	XX, 1 No. 12	IV, 6 No. 10	Der Taucher	Wer wagt es, Rittersmann oder Knapp	17/9/1813– early 1815	Text by Schiller; Two versions: 2nd was D 111
78	78	(1895)	XX, 10 No. 572	IV, 6 No. 11	Aria di Venere	Son fra l'onde	18/9/1813	Text by Metastasio, from Gli orti esperdi, I
79	79	(1889)	III No. 3	VI, 1 No. 2	Wind Nonet, a.k.a. Eine kleine Trauermusik	E-flat minor	19/9/1813	Grave con espressione – Franz Schuberts Begräbniß-Feyer
80	80	(1892)	XIX No. 4	III, 3	Zur Namensfeier meines Vaters	Ertöne Leier zur Festesfeier!	27/9/1813	Text by Franz Schubert
81	81	(1895)	XX, 10 No. 583	IV, 14	Auf den Sieg der Deutschen	Verschwunden sind die Schmerzen	Fall 1813	Text by unknown artist (possibly Franz Schubert) – See also D 88 (Stanza 1)
82	82	(1884)	I, 1 No. 1	V, 1 No. 1	Symphony No. 1	D major	28/10/1813	Adagio – Allegro vivace; Andante; Menuetto: Allegretto – Trio; Allegro vivace
83	83	(1895)	XX, 10 No. 582	IV, 14	Zur Namensfeier des Herrn Andreas Siller	Des Phöbus Strahlen	4/11/1813	Text by unknown artist
84	84	(1888)	XV, 1 No. 1	II, 1	Des Teufels Lustschloß	(Singspiel in three acts)	30/10/1813– 22/10/1814	Text by August von Kotzebue – 2 versions (AGA mixture of 1st and 2nd version)
86	86	(1886)	II No. 10	VI, 4 Anh. No. 1 VI, 9	Minuet for string quartet, D 86	D major	November 1813?	Contemporary to D 89?
87	87	125,1p (1840)	V No. 10	VI, 4 No. 9	String Quartet No. 10	E-flat major	November 1813	Allegro più moderato; Scherzo: Prestissimo – Trio; Adagio; Allegro
	87A			VI, 4 Anh. No. 2	Andante in C major, D 87A	C major	November 1813	Fragment – four voices (string quartet or vocal ensemble?)
88	88	(1892)	XIX No. 21	III, 4 No. 17 VIII, 2 No. 23	Verschwunden sind die Schmerzen	Verschwunden sind die Schmerzen	15/11/1813	Text by unknown artist (possibly Franz Schubert) – First stanza of text of D 81
89 90	89	(1886)	II No. 8 and No. 9	VI, 9	Five Minuets and Five German Dances, D 89	Various key signatures	19/11/1813	For string quartet – Minuets have six Trios, German Dances have seven Trios and a Coda
91	91	(1956)		VII/2, 6	Two Minuets, D 91	Various key signatures	22/11/1813	For piano – Each with two Trios
93	93	(1894)	XX, 1 Nos. 13–15	IV, 7 Anh. No. 1	Don Gayseros	1. Don Gayseros,... wunderlicher, schöner Ritter – 2. Nächtens klang die süße Laute – 3. An dem jungen Morgenhimmel	1815?	Song cycle Text by Friedrich de la Motte Fouqué, from Der Zauberring Nos. 2 and 3 fragments
94	94	(1871)	V No. 7	VI, 3 No. 2	String Quartet No. 7	D major	1811 or 1812	Allegro; Andante con moto; Menuetto: Allegretto – Trio; Presto
	94A			II, 1 V, 6 No. 6	Orchestral piece, D 94A	B-flat major	c. 1814	Fragment (discarded orchestral interlude of D 84)
	94B			VI, 9	Five Minuets and Six German Dances, D 94B		1814	Lost – for string quartet and two horns
95	95	n42,5 (1848)	XX, 1 No. 25	IV, 7 No. 1	Adelaide	Einsam wandelt dein Freund	1814	Text by Friedrich von Matthisson
97	97	(1894)	XX, 1 No. 19	IV, 7 No. 2	Trost: An Elisa	Lehnst du deine bleichgehärmte Wange	1814	Text by Friedrich von Matthisson
98	98	(1894) (1968)	XX, 1 No. 24	IV, 7 No. 3 Anh. No. 2	Erinnerungen	Am Seegestad, in lauen Vollmondsnächten	Fall 1814	Text by Friedrich von Matthisson – First setting (2 versions: AGA only 2nd version, 1st version is fragment); second setting: D 424
99	99	(1894)	XX, 1 No. 16	IV, 7 No. 4	Andenken	Ich denke dein wenn durch den Hain	April 1814	Text by Friedrich von Matthisson – First setting; second setting: D 423
100	100	(1894)	XX, 1 No. 17	IV, 7 No. 5	Geisternähe	Der Dämm’rung Schein durchblinkt den Hain	April 1814	Text by Friedrich von Matthisson
101	101	(1894)	XX, 1 No. 18	IV, 7 No. 6	Erinnerung (Todtenopfer)	Kein Rosenschimmer leuchtet	April 1814	Text by Friedrich von Matthisson
102	102	n31,1 (1840)	XX, 1 No. 20	IV, 7 No. 7	Die Betende	Laura betet!	Fall 1814	Text by Friedrich von Matthisson – First measures reused in D 918
103	103	(1939)		VI, 4 Anh. No. 3	Quartettsatz, D 103	C minor	23/4/1814	Fragment – first edition completed by Alfred Orel
104	104	(1895)	XX, 10 No. 584	IV, 7 No. 8 & Anh. No. 3	Die Befreier Europas in Paris	Sie sind in Paris!	16/5/1814	Text by Johann Christian Mikan – Two drafts and a final version
105 185	105	(1856)	XIII, 1 No. 1	I, 1a	Mass No. 1	F major	17/5/1814– 22/7/1814	Second setting of Dona nobis pacem (25-26/4/1815) used to be D 185
106	106	(1888)	XIV No. 9	I, 8	Salve Regina, D 106	B-flat major	28/6/1814– 1/7/1814	Tenor and orchestra (organ as figured bass)
107	107	(1894) (1968)	XX, 1 No. 21	IV, 7 No. 9	Lied aus der Ferne	Wenn in des Abends letztem Scheine	July 1814	Text by Friedrich von Matthisson – Two versions: AGA only first version
108	108	(1894)	XX, 1 No. 22	IV, 7 No. 10	Der Abend	Purpur malt die Tannenhügel	July 1814	Text by Friedrich von Matthisson
109	109	(1894)	XX, 1 No. 23	IV, 7 No. 11	Lied der Liebe	Durch Fichten am Hügel	July 1814	Text by Friedrich von Matthisson
110	110	(1891)	XVI No. 43	III, 1	Wer ist groß?	Wer ist wohl groß?	24– 25/7/1814	Text by unknown artist Cantata for bass, men’s choir and orchestra
	111A			VI, 6 Anh. No. 1	String Trio, D 111A	B-flat major	5– 13/9/1814	Fragment of an Allegro – Possibly related to D 112
112	112	168p (1863)	V No. 8	VI, 4 No. 10	String Quartet No. 8	B-flat major	5– 13/9/1814	Allegro ma non troppo; Andante sostenuto; Menuetto: Allegro – Trio; Presto
113	113	58,2 (1821) (1826) (1894)	XX, 1 No. 26	IV, 3	An Emma	Weit in nebelgrauer Ferne	17/9/1814	Text by Schiller; Three versions: 3rd is Op. 58 No. 2
114	114	(1868) (1901)	XX, 1 No. 27	IV, 7 No. 12 & Anh. No. 4	Romanze	Ein Fräulein klagt' im finstern Turm	September 1814	Text by Friedrich von Matthisson – Two versions: AGA only second version
115	115	n31,3 (1840)	XX, 1 No. 28	IV, 7 No. 13	An Laura, als sie Klopstocks Auferstehungslied sang	Herzen, die gen Himmel sich erheben	2– 7/10/1814	Text by Friedrich von Matthisson
116	116	n31,2 (1840)	XX, 1 No. 29	IV, 7 No. 14	Der Geistertanz	Die bretterne Kammer	14/10/1814	Text by Friedrich von Matthisson Third setting (see also D 15, 15A and 494)
117	117	(1894)	XX, 1 No. 30	IV, 8 No. 45	Das Mädchen aus der Fremde	In einem Tal bei armen Hirten	16/10/1814	Text by Schiller; 1st setting of two: see also D 252
118	118	2 (1821)	XX, 1 No. 31	IV, 1a	Gretchen am Spinnrade	Meine Ruh' ist hin	19/10/1814	Text by Goethe, from Faust I, 15
119	119	n47,4 (1850)	XX, 1 No. 32	IV, 7 No. 15	Nachtgesang	O! gib vom weichen Pfühle	30/11/1814	Text by Goethe
120	120	n25,3 (1835)	XX, 1 No. 33	IV, 7 No. 16	Trost in Tränen	Wie kommt's, daß du so traurig bist	30/11/1814	Text by Goethe
121	121	3,1 (1821) (1894)	XX, 1 No. 34	IV, 1a & b No. 2	Schäfers Klagelied	Da droben auf jenem Berge	30/11/1814	Text by Goethe – Two versions (1st version is Op. 3 No. 1; 2nd version probably composed 1819)
122	122	(1872)	XX, 1 No. 38	IV, 7 No. 17	Ammenlied	Am hohen, hohen Turm	December 1814	Text by Michael Lubi
123	123	n37,2 (1842)	XX, 1 No. 35	IV, 7 No. 18	Sehnsucht	Was zieht mir das Herz so?	3/12/1814	Text by Goethe
124	124	(1894) (1968)	XX, 1 No. 36	IV, 7 No. 19 & Anh. No. 7	Am See	Sitz' ich im Gras am glatten See	7/12/1814	Text by Johann Mayrhofer – Two versions: 1st version fragment (not in AGA); 1885 edition incomplete with added stanza
125	125	(1884)	I, 1 No. 2	V, 1 No. 2	Symphony No. 2	B-flat major	10/12/1814– 24/3/1815	Largo – Allegro vivace; Andante; Menuetto: Allegro vivace – Trio; Presto vivace
126	126	n20,2 (1832) (1873)	XX, 1 No. 37	IV, 7 No. 20 & Anh. No. 8	Scene from Faust	Wie anders, Gretchen, war dir's	12/12/1814	Text by Goethe, from Faust I, 20 – Two versions: AGA only 2nd version; orchestration anticipated?
128	128	(1897)	XXI, 3 No. 23	VII/2, 6	Twelve Viennese German Dances	Various key signatures	1812?	For piano – includes introduction
129	129	(1892)	XIX No. 16	III, 4 No. 18	Mailied	Grüner wird die Au	1815?	Text by Hölty – First of three settings, see also D 199, 503
130	130	(1892)	XIX No. 25	III, 4 No. 19 VIII, 2 No. 24	Der Schnee Zerrinnt	Der Schnee Zerrinnt	1815?	Text by Hölty – D 202 sets all stanzas of the same poem
131	131	(1892)	XIX No. 28	III, 4 No. 20 VIII, 2 No. 26	Lacrimoso son io	Lacrimoso son io	1815?	Text by unknown artist – two versions, second is "Lacrimosa son io"
134	134	126p (1830)	XX, 2 No. 99	IV, 7 No. 21	Ballade	Ein Fräulein schaut vom hohen Turm	1815?	Text by Joseph Kenner
135	135	(1930)		VII/2, 6	German Dance with Trio, D 135	E major	1815	For piano – Variant version (other Trio) of Waltz D 146 No. 3
136	136	46 (1825)	XIV No. 1	I, 8	Offertory in C major, D 136	Totus in corde langueo	1815?	soprano (or tenor), clarinet (or violin) concertante, orchestra and organ
137	137	(1893)	XV, 7 No.14	II, 12	Adrast	(Singspiel)	c. 1818	Text by Johann Mayrhofer – No. 1–8 complete (AGA: No. 1–7), five fragments
138	138	5,1 (1821) (1970)	XX, 3 No. 177	IV, 1a & b No. 6	Rastlose Liebe	Dem Schnee, dem Regen, dem Wind entgegen	19/5/1815	Text by Goethe – Two versions: 1st version, in AGA, is Op. 5 No. 1
139	139	(1930)		VII/2, 6	German Dance with Trio, D 139	C-sharp major	1815	For piano – The Trio is in A major
140	140	n45,3 (1850)	XVIII No. 6	III, 3	Klage um Ali Bey	Laßt mich! laßt mich! ich will klagen	1815	Text by Matthias Claudius – D 496A is setting for solo voice
141	141	131,1p (1830)	XX, 2 No. 43	IV, 7 No. 23	Der Mondabend	Rein und freundlich lacht der Himmel	1815	Text by Johann Gottfried Kumpf
142	142	92,3 (1828)	XX, 3 No. 174	IV, 5	Geistes-Gruß	Hoch auf dem alten Turme steht	1815 or 1816	Text by Goethe – Six versions (four in AGA), sixth is Op. 92 No. 3
143	143	109,2 (1829)	XX, 3 No. 181	IV, 7 No. 24	Genügsamkeit	Dort raget ein Berg aus den Wolken her	1815	Text by Franz von Schober – First measure (piano intro) in first edition not by Schubert
144	144	(1895)	XXII, 11 No. 209	IV, 7 Anh. No. 9	Romanze	In der Väter Hallen ruhte	April 1816	Text by Friedrich Leopold zu Stolberg-Stolberg – Fragment
145	145	18 (1823)	XII No. 2	VII/2, 6 & 7a	Twelve Waltzes, Seventeen Ländler and Nine Écossaises, D 145	Various key signatures	1815– July 1821	For piano – See also D 970 No. 2, 421 No. 1 and 697 No. 5
146	146	127p (1830)	XII No. 8	VII/2, 6 & 7a	Twenty Waltzes, D 146	Various key signatures	1815–Feb- ruary 1823	For piano – See also D 135 and 145 No. 9; some previously as "German Dance"
147	147	(1892)	XIX No. 15	III, 4 No. 21	Bardengesang	Rolle, du strömigter Carun	20/1/1816?	Text by James Macpherson (Ossian), from "Comala" transl. by E. Baron de Harold
148	148	131,2p (1830)	XIX No. 8	III, 3	Trinklied	Brüder! unser Erdenwallen	February 1815	Text by Ignaz Franz Castelli
149	149	117 (1829) (1894)	XX, 2 No. 45	IV, 7 No. 25	Der Sänger	Was hör' ich draußen vor dem Tor	February 1815	Text by Goethe – Two versions: second (first in AGA) is Op. 117
150	150	n2 (1830)	XX, 2 No. 44	IV, 7 No. 26	Lodas Gespenst	Der bleiche, kalte Mond erhob sich im Osten	17/1/1816	Text by James Macpherson (Ossian), from "Carric-thura" transl. by E. Baron de Harold
151	151	n49,2 (c. 1850)	XX, 2 No. 39	IV, 7 No. 27	Auf einen Kirchhof	Sei gegrüßt, geweihte Stille	2/2/1815	Text by Franz Xaver von Schlechta
152	152	(1894)	XX, 2 No. 40	IV, 7 No. 28	Minona oder die Kunde der Dogge	Wie treiben die Wolken so finster und schwer	8/2/1815	Text by Friedrich Anton Franz Bertrand
153	153	n39,1 (1845)	XX, 2 No. 41	IV, 7 No. 29	Als ich sie erröten sah	All mein Wirken, all mein Leben	10/2/1815	Text by Bernhard Ambros Ehrlich
154	154	(1897)	XXI, 2 No. 8	VII/2, 1 Anh. No. 1	Piano Sonata in E major, D 154	E major	11/2/1815	Allegro (fragment) – Second theme re-used in first movement of D 157
155	155	165,3p (1862)	XX, 2 No. 42	IV, 7 No. 30	Das Bild	Ein Mädchen ist's	10/2/1815	Text by unknown artist
156	156	(1887)	XI No. 6	VII/2, 4 & Anh.	Ten Variations, D 156	F major	15/2/1815	For piano – 2 versions of "Theme"/"Var. II"
157	157	(1888)	X No. 1	VII/2, 1 No. 1	Piano Sonata in E major, D 157	E major	18/2/1815	Allegro ma non troppo; Andante; Menuetto: Allegro Vivace – Trio – See also D 154
158	158	(1889)	XII No. 29	VII/2, 6	Écossaise, D 158	D minor – F major	21/2/1815	For piano
159	159	116p (1829) (1968)	XX, 2 No. 46	IV, 7 No. 31	Die Erwartung	Hör' ich das Pförtchen nicht gehen?	May 1816	Text by Schiller; Two versions: AGA only second (Op. 116)
160	160	(1894)	XX, 2 No. 47	IV, 13	Am Flusse	Verfließet, vielgeliebte Lieder	27/2/1815	Text by Goethe – First of two settings, see also D 766
161	161	19,2 (1825) (1894)	XX, 2 No. 48	IV, 1a & b No. 14	An Mignon	Über Tal und Fluß getragen	27/2/1815	Text by Goethe – Two versions (second is Op. 19 No. 2)
162	162	5,2 (1821) (1894)	XX, 2 No. 49	IV, 1a & Anh. No. 2	Nähe des Geliebten	Ich denke dein, wenn mir der Sonne Schimmer	27/2/1815	Text by Goethe – Two versions: second is Op. 5 No. 2
163	163	(1894)	XX, 2 No. 50	IV, 8 No. 1	Sängers Morgenlied	Süßes Licht! Aus goldnen Pforten	27/2/1815	Text by Theodor Körner First setting, see also D 165
164	164			IV, 8 Anh. No. 1	Liebesrausch	Glanz des Guten und des Schönen strahlt mir dein hohes Bild	March 1815	Text by Theodor Körner, fragment – First setting, see also D 179
165	165	(1872)	XX, 2 No. 51	IV, 8 No. 2	Sängers Morgenlied	Süßes Licht! Aus goldnen Pforten	1/3/1815	Text by Theodor Körner Second setting, see also D 163
166	166	(1894)	XX, 2 No. 52	IV, 8 No. 3	Amphiaraos	Vor Thebens siebenfach gähnenden Toren	27/2/1815	Text by Theodor Körner
167	167	(1846)	XIII, 1 No. 2	I, 1b	Mass No. 2	G major	2– 7/3/1815	Tr and Ti added by Ferdinand Schubert – Robert Führer as composer in 1st pub
168	168	(1872)	XVII, 1 No. 16	III, 2a No. 2	Begräbnislied: Nun laßt uns den Leib begraben	Begrabt den Leib in seiner Gruft	9/3/1815	Text by Friedrich Gottlieb Klopstock – For mixed choir and piano
987	168A	(1872)	XVII, 1 No. 17	III, 2a No. 3	Osterlied: Jesus Christus unser Heiland, der den Tod überwand	Überwunden hat der Herr den Tod!	9/3/1815	Text by Friedrich Gottlieb Klopstock – For mixed choir and piano
169	169	(1894)	XX, 2 No. 53	III, 3	Trinklied vor der Schlacht	Schlacht, du brichst an!	12/3/1815	Text by Theodor Körner – For double unison choir and piano
170	170	(1873)	XX, 2 No. 54	III, 3	Schwertlied	Du Schwert an meiner Linken	12/3/1815	Text by Theodor Körner – For voice, unison choir and piano
171	171	n10,7 (1831)	XX, 2 No. 55	IV, 8 No. 4	Gebet während der Schlacht	Vater, ich rufe dich!	12/3/1815	Text by Theodor Körner – Two versions
172	172			IV, 8 Anh. No. 3	Der Morgenstern	Stern der Liebe, Glanzgebilde	12/3/1815	Text by Theodor Körner, fragment – First setting, see also D 203
173	173	(1871)	V No. 9	VI, 4 No. 11	String Quartet No. 9	G minor	25/3– 1/4/1815	Allegro con brio; Andantino; Menuetto: Allegro vivace – Trio; Allegro
174	174	n39,2 (1845)	XX, 2 No. 56	IV, 8 No. 5	Das war ich	Jüngst träumte mir	26/3/1815	Text by Theodor Körner – Second setting (D deest) is fragment (June 1816)
175	175	(1888)	XIV No. 12	I, 9 No. 1	Stabat Mater, D 175	G minor	4– 6/4/1815	Sequence for mixed choir, orchestra and organ
176	176	(1872)	XX, 2 No. 57	IV, 8 No. 6	Die Sterne, D 176	Was funkelt ihr so mild mich an	6/4/1815	Text by Johann Georg Fellinger
177	177	173,3p (1867)	XX, 2 No. 58	IV, 8 No. 7	Vergebliche Liebe	Ja, ich weiß es, diese treue Liebe	6/4/1815	Text by Joseph Karl Bernard
	177A			VIII, 3	Am ersten Mai	Ich ging mit ihr im Freien	before 1821	Text by Joseph Karl Bernard – only text extant, probably spurious
178	178	(1897)	XXI, 3 No. 22	VII/2, 4 & Anh.	Adagio in G major, D 178	G major	8/4/1815	For piano – Two versions (second is a fragment)
179	179	(1872)	XX, 2 No. 59	IV, 8 No. 8	Liebesrausch	Dir, Mädchen, schlägt mit leisem Beben	8/4/1815	Text by Theodor Körner – Second setting, see also D 164
180	180	(1894)	XX, 2 No. 60	IV, 8 No. 9	Sehnsucht der Liebe	Wie die Nacht mit heil'gem Beben	8/4/1815	Text by Theodor Körner
181	181	(1888)	XIV No. 4	I, 9 No. 2	Offertory in A minor, D 181	Tres sunt, qui testimonium dant in coelo	10– 11/4/1815	For mixed choir, orchestra and organ
182	182	n35,1 (1842)	XX, 2 No. 61	IV, 8 No. 10	Die erste Liebe	Die erste Liebe füllt das Herz	12/4/1815	Text by Johann Georg Fellinger
183	183	(1887)	XX, 2 No. 62	III, 3	Trinklied	Ihr Freunde und du, gold'ner Wein	12/4/1815	Text by Alois Zettler – For voice, unison choir and piano
184	184	150p (1843)	XIV No. 5	I, 9 No. 3	Gradual in C major, D 184	Benedictus es, Domine	15– 17/4/1815	For mixed choir, orchestra and organ
186	186	(1894)	XX, 2 No. 65	IV, 8 No. 11	Die Sterbende	Heil! dies ist die letze Zähre	May 1815	Text by Friedrich von Matthisson
187	187	(1894)	XX, 2 No. 63	IV, 10	Stimme der Liebe	Abendgewölke schweben hell	May 1815	Text by Friedrich von Matthisson – First setting, see also D 418
188	188	(1887)	XX, 2 No. 64	IV, 8 No. 12	Naturgenuß	Im Abendschimmer wallt der Quell	May 1815	Text by Friedrich von Matthisson – First setting, see also D 422
189	189	111,1p (1829)	XX, 2 No. 66	III, 3	An die Freude	Freude, schöner Götterfunken	May 1815	Text by Schiller; For voice, unison choir and piano
190	190	(1888)	XV, 2 No. 2	II, 2 IV, 14	Der vierjährige Posten	(Singspiel in one act)	8– 19/5/1815	Text by Theodor Körner – NSE IV, 14: only aria No. 5 for voice and piano.
191	191	58,3 (1826) (1894)	XX, 2 No. 67	IV, 3	Des Mädchens Klage	Der Eichwald brauset	15/5/1815	Text by Schiller, from Wallenstein: Die Piccolomini III, 7; 2nd setting of three: see also D 6 and 389; Two versions: 2nd is Op. 58 No. 3
192	192	(1887)	XX, 2 No. 68	IV, 4	Der Jüngling am Bache	An der Quelle saß der Knabe	15/5/1815	Text by Schiller; 2nd setting of three: see also D 30 and 638
193	193	57,3 (1826)	XX, 2 No. 69	IV, 3	An den Mond, D 193	Geuß, lieber Mond, geuß deine Silberflimmer	17/5/1815	Text by Hölty – Autograph without piano intro
194	194	(1894)	XX, 2 No. 70	IV, 8 No. 13	Die Mainacht	Wann der silberne Mond	17/5/1815	Text by Hölty
195	195	173,1p (1867)	XX, 2 No. 71	IV, 8 No. 14	Amalia	Schön wie Engel voll Walhallas Wonne	19/5/1815	Text by Schiller, from Die Räuber III, 1
196	196	172,3p (1865)	XX, 2 No. 72	IV, 8 No. 15	An die Nachtigall	Geuß nicht so laut der liebentflammten Lieder	22/5/1815	Text by Hölty
197	197	n50,1 (1850)	XX, 2 No. 73	IV, 8 No. 16	An die Apfelbäume, wo ich Julien erblickte	Ein heilig Säuseln und ein Gesangeston	22/5/1815	Text by Hölty
198	198	(1894)	XX, 2 No. 74	IV, 8 No. 17	Seufzer	Die Nachtigall singt überall	22/5/1815	Text by Hölty
199	199	(1885)	XIX No. 30	III, 4 No. 22	Mailied	Grüner wird die Au	24/5/1815	Text by Hölty – Second setting, see D 129, 503
200	200	(1884)	I, 1 No. 3	V, 1 No. 3	Symphony No. 3	D major	24/5/1815– 19/6/1815	Adagio maestoso – Allegro con brio; Allegretto; Menuetto: Vivace – Trio; Presto vivace
201	201	(1970)		IV, 10	Auf den Tod einer Nachtigall	Sie ist dahin, die Maienlieder tönte	25/5/1815	Text by Hölty – First setting (fragment), see also D 399
202	202	(1885)	XIX No. 31	III, 4 No. 23	Mailied	Der Schnee Zerrinnt	26/5/1815	Text by Hölty – For two voices or two horns, see also D 130
203	203	(1892)	XIX No. 32	III, 4 No. 24	Der Morgenstern	Stern der Liebe, Glanzgebilde	26/5/1815	Text by Theodor Körner – For two voices or two horns, see also D 172
204	204	(1892)	XIX No. 33	III, 4 No. 25	Jägerlied	Frisch auf, ihr Jäger	26/5/1815	Text by Theodor Körner – For two voices or two horns
	204A			IV, 8 Anh. No. 4	Das Traumbild		May 1815	Lost – Text by Hölty
205	205	(1892)	XIX No. 34	III, 4 No. 26	Lützows wilde Jagd	Was glänzt dort vom Walde im Sonnenschein?	26/5/1815	Text by Theodor Körner – For two voices or two horns
206	206	(1872)	XX, 2 No. 75	IV, 8 No. 18	Liebeständelei	Süßes Liebchen	26/5/1815	Text by Theodor Körner
207	207	(1894)	XX, 2 No. 76	IV, 8 No. 19	Der Liebende	Beglückt, beglückt	29/5/1815	Text by Hölty
208 212	208	(1895) (1897)	XX, 2 No. 77; XXII, 11 No. 77	IV, 8 No. 20 & Anh. No. 5	Die Nonne	Es liebt' in Welschland irgendwo	29/5/1815	Text by Hölty, from Balladen, No. 5; Two versions (first is fragment, incomplete in AGA XXII; second was D 212)
209	209	38 (1825)	XX, 2 No. 98	IV, 2a	Der Liedler	Gib, Schwester, mir die Harf herab	January 1815	Text by Joseph Kenner
210	210	n30,2 (1838)	XX, 2 No. 78	IV, 8 No. 21	Die Liebe a.k.a. Klärchens Lied	Freudvoll und leidvoll	3/6/1815	Text by Goethe, from Egmont, Act III, Scene 2, Clärchen's song
211	211		XX, 2 No. 79	IV, 8 No. 22	Adelwold und Emma	Hoch und ehern schier von Dauer	1815	Text by Friedrich Anton Franz Bertrand
213	213	172,1p (1865)	XX, 2 No. 80	IV, 8 No. 23	Der Traum	Mir träumt', ich war ein Vögelein	1815	Text by Hölty, from Balladen, No. 6
214	214	172,2p (1865)	XX, 2 No. 81	IV, 8 No. 24	Die Laube	Nimmer werd' ich, nimmer dein vergessen	1815	Text by Hölty
215	215			IV, 1b No. 4	Jägers Abendlied	Im Felde schleich ich, still und wild	1815	Text by Goethe; 1st of two settings, see D 368
216	215A			IV, 1a & b No. 3	Meeres Stille	Tiefe Stille herrscht im Wasser	1815	Text by Goethe; 1st of two settings, see D 216
216	216	3,2 (1821)	XX, 2 No. 82	IV, 1a	Meeres Stille	Tiefe Stille herrscht im Wasser	1815	Text by Goethe; 2nd of two settings, see D 215A
217	217		XX, 2 No. 83	IV, 8 No. 25	Kolmas Klage	Rund um mich Nacht	1815	Text by James Macpherson (Ossian), from "The Songs of Selma"
218	218			IV, 8 No. 26	Grablied	Er fiel den Tod für's Vaterland	1815	Text by Joseph Kenner
219	219			IV, 8 No. 27	Das Finden	Ich hab ein Mädchen funden	1815	Text by Kosegarten
220	220			II, 2	Fernando	(Singspiel in one act)	1815	for two sopranos, tenor, two basses, one spoken role and orchestra (seven numbers) 1. Introduktion: Mutter! Mutter! Wo bist du? 2. Arie: Läßt mich mein Verbrechen nicht schlafen? 3. Romanze: Als einst schon hinter blauer Berge Rücken 4. Duett: Wärst du mir auf immer nicht entrißen 5. Arie: Nicht der Erde Schätze lohnen 6. Duett: Vergessen sei, was uns getrennt 7. Finale: Auf dich träufle Thauesregen
221	221	118,2p (1829)		IV, 8 No. 28	Der Abend	Der Abend blüht, Temora glüht	1815	Text by Kosegarten
222	222			IV, 8 No. 29	Lieb Minna: Romanze	Schwüler Hauch weht mir herüber	1815	Text by Albert Stadler
223	223	47		I, 8	Salve Regina	Salve Regina	1815 and 1823	in F major for soprano, orchestra and organ, Zweites Offertorium (2 versions; 2nd version first published as Op. 47)
224	224	4,3 (1821)		IV, 1a	Wandrers Nachtlied	Der du von dem Himmel bist	1815	Text by Goethe
225	225	5,3 (1821)		IV, 1a & b No. 7	Der Fischer	Das Wasser rauscht', das Wasser schwoll	1815	Text by Goethe; Two versions: 2nd is Op. 5 No. 3
226	226	5,4 (1821)		IV, 1a	Erster Verlust	Ach, wer bringt die schönen Tage	1815	Text by Goethe
227	227			IV, 8 No. 30	Idens Nachtgesang	Vernimm es Nacht, was Ida dir vertrauet	1815	Text by Kosegarten
228	228			IV, 8 No. 31	Von Ida	Der Morgen blüht, der Osten glüht	1815	Text by Kosegarten
229	229	108,3 (1824)		IV, 5	Die Erscheinung Erinnerung	Ich lag auf grünen Matten	1815	Text by Kosegarten
230	230	165,4p		IV, 8 No. 32	Die Täuschung	Im Erlenbusch, im Tannenhain	1815	Text by Kosegarten
231	231	172,4p		IV, 8 No. 33	Das Sehnen	Wehmut, die mich hüllt	1815	Text by Kosegarten
232	232	112,3p (1829)		III, 2a No. 6 2b Anh. No. 2	Hymne an den Unendlichen	Zwischen Himmel und Erd'	1815	Text by Schiller; For satb and piano
233	233	118,1p (1829)		IV, 8 No. 34	Geist der Liebe	Wer bist du, Geist der Liebe	1815	Text by Kosegarten
234	234	118,3p (1829)		IV, 8 No. 35	Tischlied	Mich ergreift, ich weiß nicht wie	1815	Text by Goethe, stanzas 1–2, 5 and 8
235	235			IV, 8 No. 36	Abends unter der Linde	Woher, o namenloses Sehnen	1815	Text by Kosegarten; 1st of two settings, see D 237
236	236			III, 2a No. 7	Das Abendrot	Der Abend blüht, der Westen glüht!	1815	Text by Kosegarten, stanzas 1, 3, 6 and 9; for ssb and piano
237	237			IV, 8 No. 37	Abends unter der Linde	Woher, o namenloses Sehnen	1815	Text by Kosegarten; 2nd of two settings, see D 235; 2 versions
238	238			IV, 8 No. 38	Die Mondnacht	Siehe, wie die Mondesstrahlen	1815	Text by Kosegarten
239	239			II, 14	Claudine von Villa Bella	(Singspiel in three acts)	1815	for two sopranos, two tenors, two basses, mixed choir and orchestra (incomplete – Act I: Overture and eight numbers, is extant, as well as one number from Act II and one number from Act III; remaining numbers were written, but are now lost) Akt I Ouvertüre 1. Introduktion: Das hast du wohl bereitet 2. Ensemble: Fröhlicher, seliger, herrlicher Tag 3. Ariette: Hin und wieder fliegen die Pfeile 4. Arie: Alle Freuden, alle Gaben, die mir heut’ gehuldigt haben 5. Arie: Es erhebt sich eine Stimme 6. Ariette: Liebe schwärmt auf allen Wegen 7. Räuberlied: Mit Mädchen sich vertragen 8. Finale I: Deinem Willen nachzugeben Akt II 9. Ariette: Liebliches Kind, kannst du mir sagen Akt III 10. Duett: Mich unfangt ein banger Schauer
240	240			IV, 8 No. 39	Huldigung	Ganz verloren, ganz versunken	1815	Text by Kosegarten
241	241			IV, 8 No. 40	Alles um Liebe	Was ist es, das die Seele füllt?	1815	Text by Kosegarten
242	242			III, 4 No. 27	Trinklied im Winter	Das Glas gefüllt!	1815	Text by Hölty; 1st of two settings, see also D 242A; for ttb
—	242A			IV, 8 No. 41	Winterabend Winterlied	Das Glas gefüllt!	1815?	Text by Hölty; 2nd of two settings, see also D 242
243	243			III, 4 No. 28	Frühlingslied	Die Luft ist blau	1815	Text by Hölty; 1st of two settings, see also D 398; for ttb
244	244			III, 4 No. 29 VIII, 2 No. 25	Willkommen, lieber schöner Mai	Willkommen, lieber schöner Mai	1815?	Text by Hölty; Canon for three voices; two versions
246	246			IV, 8 No. 42	Die Bürgschaft	Zu Dionys, dem Tyrannen	1815	Text by Schiller
247	247	118,6p (1829)		IV, 8 No. 43	Die Spinnerin	Als ich still und ruhig spann	1815	Text by Goethe
248	248	118,4p (1829)		IV, 8 No. 44	Lob des Tokayers	O köstlicher Tokayer, o königlicher Wein	1815	Text by Baumberg
249	249			III, 2b Anh. No. 4a	Die Schlacht	Schwer und dumpfig	1815	Text by Schiller; Sketch (intro); 1st setting of two: see also D 387
	250			IV, 13	Das Geheimnis	Sie konnte mir kein Wörtchen sagen	1815	for voice and piano (1st setting)
	251			IV, 4	Hoffnung	Es reden und träumen die Menschen viel	1815	for voice and piano (1st setting)
252	252			IV, 8 No. 46	Das Mädchen aus der Fremde	In einem Tal bei armen Hirten	1815	Text by Schiller; 2nd setting of two: see also D 117
	253			III, 4 No. 30 IV, 8 No. 47	Punschlied. Im Norden zu singen	Auf der Berge freien Höhen	1815	for voice and piano or for two voices (2 versions; 1st version is a Song for voice and piano; 2nd version is a Duet for two voices)
	254			IV, 8 No. 48	Der Gott und die Bajadere	Mahadöh, der Herr der Erde	1815	for voice and piano (also appears as "Der Gott und die Bajadere. Indische Legende")
	255			IV, 8 No. 49	Der Rattenfänger	Ich bin der wohlbekannte Sänger	1815	for voice and piano
	256			IV, 8 No. 50	Der Schatzgräber	Arm am Beutel, krank am Herzen	1815	for voice and piano
	257	3,3 (1821)		IV, 1a	Heidenröslein	Sah ein Knab’ ein Röslein stehn	1815	for voice and piano (first published as Op. 3 No. 3)
	258			IV, 8 No. 51	Bundeslied	In allen guten Stunden	1815	for voice and piano
	259			IV, 9 No. 27	An den Mond	Fullest wieder Busch und Tal	1815	for voice and piano (1st setting)
	260			IV, 8 No. 52	Wonne der Wehmut	Trocknet nicht, trocknet nicht, Tränen der ewigen Liebe	1815	for voice and piano (first published as Op. posth. 115 No. 2)
	261			IV, 8 No. 53	Wer kauft Liebesgötter?	Von allen schönen Waren	1815	for voice and piano (2 versions)
	262			IV, 9 No. 1	Die Fröhlichkeit	Wess’ Adern leichtes Blut durchspringt	1815	for voice and piano
	263			IV, 9 No. 2	Cora an die Sonne	Nach so vielen trüben Tagen	1815	for voice and piano
	264			IV, 9 No. 3	Der Morgenkuß	Durch eine ganze Nacht sich nah zu sein	1815	for voice and piano (2 versions)
	265			IV, 9 No. 4	Abendständchen. An Lina	Sei sanft wie ihre Seele	1815	for voice and piano
	266			IV, 9 No. 5	Morgenlied	Willkommen, rotes Morgenlicht!	1815	for voice and piano
	267			III, 3	Trinklied	Auf! Jeder sei nun froh und sorgenfrei!	1815	for two tenors, two basses and piano
	268			III, 3	Bergknappenlied	Hinab, ihr Brüder, in den Schacht!	1815	for two tenors, two basses and piano
	269			III, 3	Das Leben	Das Leben ist ein Traum	1815	for tenor, two basses and piano (2 versions; 2nd version is for two sopranos, alto and piano)
	270			IV, 9 No. 6	An die Sonne	Sinke, liebe Sonne	1815	for voice and piano (first published as Op. posth. 118 No. 5)
	271			IV, 9 No. 7	Der Weiberfreund	Noch fand von Evens Töchterscharen ich keine	1815	for voice and piano
	272			IV, 9 No. 8	An die Sonne	Königliche Morgensonne	1815	for voice and piano
	273			IV, 9 No. 9	Lilla an die Morgenröte	Wie schön bist du, du güldne Morgenröte	1815	for voice and piano
	274			IV, 9 No. 10	Tischlerlied	Mein Handwerk geht durch alle Welt	1815	for voice and piano (2 versions)
	275			IV, 9 No. 11	Totenkranz für ein Kind	Sanft wehn, im Hauch der Abendluft	1815	for voice and piano
	276			IV, 9 No. 12	Abendlied	Groß und rotenflammet	1815	for voice and piano
	277			III, 3	Punschlied	Vier Elemente, inning gesellt	1815	for two tenors, bass and piano
	277A			VII/2, 4	Minuet in A minor with Trio in F major for piano		1815	(alternate third movement for the Piano Sonata in C major, D 279)
	278			IV, 9 No. 13 Anh. No. 1	Ossians Lied nach dem Falle Nathos	Beugt euch aus euren Wolken nieder	1815	for voice and piano (3 versions; 1st version is a fragment)
	279			VII/2, 1 No. 2	Piano Sonata in C major		1815	(unfinished – first three movements are extant; the Allegretto in C major, D 346 fragment is probably the fourth movement)
	280			IV, 9 No. 14	Das Rosenband	Im Frühlingsgarten fand ich sie	1815	for voice and piano
	281			IV, 9 No. 15	Das Mädchen von Inistore	Mädchen Inistores, wein auf dem Felsen	1815	for voice and piano (2 versions)
	282			IV, 9 No. 16	Cronnan	Ich sitz’ bei der moosigten Quelle	1815	for voice and piano (2 versions)
	283			IV, 11	An den Frühling	Willkommen, schöner Jüngling!	1815	for voice and piano (1st setting; first published as Op. posth. 172 No. 5)
	284			IV, 9 No. 17	Lied (Es ist so angenehm)	Es ist so angenehm, so süß	1815	for voice and piano
	285			IV, 9 No. 18 Anh. No. 2	Furcht der Geliebten/An Cidli	Cidli, du weinest	1815	for voice and piano (2 versions)
	286			IV, 9 No. 19	Selma und Selmar	Weine du nicht	1815	for voice and piano (2 versions)
	287			IV, 9 No. 20	Vaterlandslied	Ich bin ein deutsches Mädchen	1815	for voice and piano (2 versions)
	288			IV, 9 No. 21	An Sie	Zeit, Verkündigerin der besten Freuden	1815	for voice and piano
	289			IV, 9 No. 22	Die Sommernacht	Wenn der Schimmer von dem Monde	1815	for voice and piano (2 versions)
	290			IV, 9 No. 23	Die frühen Gräber	Willkommen, o silberner Mond	1815	for voice and piano
	291			IV, 9 No. 24	Dem Unendlichen	Wie erhebt sich das Herz	1815	for voice and piano (3 versions)
	292							see D 371
	293			IV, 9 No. 25	Shilric und Vinvela	Mein Geliebter ist ein Sohn des Hügels	1815	for voice and piano (2 versions)
	294			III, 1	Namensfeier	Erhabner! Verehrter Freund der Jugend!	1815	for soprano, tenor, bass, choir and orchestra, Namensfeier fur Franz Michael Vierthaler or Gratulations-Kantate
	295			IV, 9 No. 26	Hoffnung	Schaff, das Tagwerk meiner Hände	1815	for voice and piano (2 versions)
	296			IV, 9 No. 28	An den Mond	Füllest wieder Busch und Tal	1815 or 1816?	for voice and piano (2nd setting)
	297			IV, 9 No. 29 Anh. No. 3	Augenlied	Süße Augen, klare Bronnen!	1817?	for voice and piano (2 versions and a modified 2nd version)
	298			IV, 9 No. 30	Liane	Hast du Lianen nicht gesehen?	1815	for voice and piano
	299			VII/2, 6	Twelve Écossaises for piano		1815
	300			IV, 9 No. 31	Der Jüngling an der Quelle	Leise, rieselnder Quell	1816 or 1817	for voice and piano
	301			IV, 9 No. 32	Lambertine	O Liebe, die mein Herz erfüllet	1815	for voice and piano
	302			IV, 9 No. 33	Labetrank der Liebe	Wenn im Spiele leiser Töne	1815	for voice and piano
	303			IV, 9 No. 34	An die Geliebte	O, daß ich dir vom stillen Auge	1815	for voice and piano
	304			IV, 9 No. 35	Wiegenlied	Schlumm’re sanft! Noch an dem Mutterherzen	1815	for voice and piano
	305			IV, 9 No. 36	Mein Gruß an den Mai	Sei mir gegrüßt, o Mai	1815	for voice and piano
	306			IV, 9 No. 37	Skolie	Laßt im Morgenstrahl des Mai’n	1815	for voice and piano
	307			IV, 9 No. 38	Die Sternenwelten	Oben drehen sich die großen unbekannten Welten dort	1815	for voice and piano
	308			IV, 9 No. 39	Die Macht der Liebe	Überall, wohin mein Auge blicket	1815	for voice and piano
	309			IV, 9 No. 40	Das gestörte Glück	Ich hab’ ein hießes junges Blut	1815	for voice and piano
	309A			VII/2, 1 Anh. No. 2	Rondo	C major	1815	for piano (fragment; possible fourth movement of the Piano Sonata in C major, D 279)
	310			IV, 3	Sehnsucht	Nur wer die Sehnsucht kennt	1815	for voice and piano (1st setting; 2 versions)
	311			IV, 9 Anh. No. 3	An den Mond	?	1815?	for voice and piano (sketch without text)
	312			IV, 3	Hektors Abschied	Will sich Hektor ewig von mir wenden	1815	for voice and piano (2 versions; 2nd version first published as Op. 58 No. 1)
	313			IV, 9 No. 41	Die Sterne	Wie wohl ist mir im Dunkeln!	1815	for voice and piano
	314			IV, 9 No. 42	Nachtgesang	Tiefe Feier schauert um die Welt	1815	for voice and piano (2 versions)
	315			IV, 9 No. 43	An Rosa I	Warum bist du nicht hier	1815	for voice and piano (2 versions)
	316			IV, 9 No. 44	An Rosa II	Rosa, denskt du an mich?	1815	for voice and piano (2 versions)
	317			IV, 9 No. 45	Idens Schwanenlied	Wie schaust du aus dem Nebelflor	1815	for voice and piano (2 versions)
	318			IV, 9 No. 46	Schwangesang	Endlich stehn die Pforten offen	1815	for voice and piano
	319			IV, 9 No. 47	Luisens Antwort	Wohl weinen Gottes Engel	1815	for voice and piano (2 versions)
	320			IV, 9 No. 48	Der Zufriedene	Zwar schuf das Glück hienieden	1815	for voice and piano
	321			IV, 9 No. 49	Mignon	Kennst du das Land	1815	for voice and piano (2 versions)
	322			IV, 9 No. 50	Hermann und Thusnelda	Ha, dort kömmt er	1815	for voice and piano (2 versions)
323 991	323			IV, 9 No. 51 Anh. Nos. 5–6	Klage der Ceres	Ist der holde Lenz erschienen?	1816	for voice and piano (the last part, "O so laßt euch froh begrüssen" was formerly D 991; NSA also appends a variant of mm. 142-203, in addition to a modified version)
	324			I, 2	Mass No. 3 in B-flat major		1815	for soprano, alto, tenor, bass, mixed choir, orchestra and organ (first published as Op. posth. 141)
	324A			IV, 8 No. 41	Winterlied		1816?
	325			IV, 1b No. 9	Harfenspieler	Wer sich der Einsamkeit ergibt	1815	for voice and piano (1st setting)
	326			II, 3	Die Freunde von Salamanka	(Singspiel in two acts)	1815	for three sopranos, three tenors, six basses, mixed choir and orchestra (Overture and eighteen numbers) Akt I Ouvertüre 1. Introduktion: Die Sonne zieht in goldnen Strahlen 2. Arie: Man ist so glücklich und so frei 3. Quartett: Morgen, wenn des Hahnes Ruf erschallt 4. Arie: Einsam schleich’ ich durch die Zimmer 5. Terzett: Lebensmut und frische Kühlung weht mir aus dem trauten Wald 6. Terzett: Freund, wie wird die Sache enden 7. Finale I: Mild senkt sich der Abend nieder Akt II 8. Introduktion: Laßt nur alles leichtfertige Wesen 9. Lied: Guerillas zieht durch Feld und Wald 10. Arie: Aus Blumen deuten die Damen gern 11. Duett: Ein wackres Thier, das müßt ihr sagen 12. Duett: Gelagert unter’m hellen Dach der Bäume 13. Arie: Wo ich weile, wo ich gehe 14. Duett: Von tausend Schlangenbissen 15. Romanze: Es murmeln die Quellen 16. Terzett: Nichte, Don Diego da, wirbt um deine freie Hand 17. Arie: Traurig geht der Geliebte von dannen 18. Finale II: Gnäd’ge Frau, ich hab’ die Ehre
	327			IV, 10	Lorma	Lorma saß in der Halle von Aldo	1815	for voice and piano (1st setting; fragment)
	328	1		IV, 1a & b No. 1	Der Erlkönig	Wer reitet so spät durch Nacht und Wind?	1815	for voice and piano (4 versions; 4th version first published as Op. 1)
	329			IV, 9 Anh. No. 7	Die drei Sänger	Der König saß beim frohen Mahle	1815	for voice and piano (fragment)
	329A			III, 2b Anh. No. 3 VIII, 2 No. 27	Das Grab	Das Grab ist tief und stille	1815	Canon for mixed choir (1st setting; sketch)
	330			III, 3	Das Grab	Das Grab ist tief und stille	1815	for unison choir and piano (2nd setting; scoring also possible for choir and piano)
	331			III, 4 No. 31	Der Entfernten	Wohl denk’ ich allenthalben	1816 ca.	for two tenors and two basses (1st setting; setting identical to the one originally catalogued as D 332)
	332							see D 331
	333							see D 796 No. 21
	334			VII/2, 4	Minuet in A major with Trio in E major for piano		1815
	335			VII/2, 6	Minuet in E major with Two Trios for piano		1813?
	337			III, 4 No. 32	Die Einsiedelei	Es rieselt klar und wehend ein Quell	1816 ca.	for two tenors and two basses (1st setting)
	338			III, 4 No. 33	An den Frühling	Willkommen, schöner Jüngling!	1816 ca.	for two tenors and two basses (2nd setting)
	342			IV, 10	An mein Klavier	Sanftes Klavier, welche Entzückungen schaffest du mir	1816 ca.	for voice and piano, Seraphine an ihr Klavier
	343			IV, 10	Am Tage Aller Seelen	Ruhn in Frieden alle Seelen	1816	for voice and piano, Litanei auf das Fest Aller Seelen (2 versions)
	344			IV, 10	Am ersten Maimorgen	Heute will ich fröhlich sein	1816?	for voice and piano
	345			V, 7 No. 1	Concerto for violin and orchestra "Konzertstück"	D major	1816	(concerto piece in one movement)
	346			VII/2, 4 Anh.	Allegretto in C major for piano		1816?	(fragment; probable fourth movement of the Piano Sonata in C major, D 279)
	347			VII/2, 4 Anh.	Allegro moderato in C major for piano		1813?	(fragment)
	348			VII/2, 4 Anh.	Andantino in C major for Piano		1816?	(fragment)
	349			VII/2, 4 Anh.	Adagio in C major for piano		1816?	(fragment)
	350			IV, 10	Der Entfernten	Wohl denk’ ich allenthalben	1816?	for voice and piano (2nd setting)
	351			IV, 11	Fischerlied	Das Fischergewerbe gibt rüstigen Mut	1816?	for voice and piano (1st setting)
	352			III, 2b No. 21	Licht und Liebe	Liebe ist ein süßes Licht	1816?	for soprano, tenor and piano, Nachtgesang
353	353	125,2p (1840)	V No. 11	VI, 4 No. 12	String Quartet No. 11	E major	1816	Allegro con fuoco; Andante; Menuetto: Allegro vivace – Trio; Rondo: Allegro vivace
	354			VI, 9	Four komische Ländler in D major for two violins		1816
	355			VI, 9	Eight Ländler in F-sharp minor for violin (?)		1816	(possibly for two violins)
	356			III, 3	Trinklied	Funkelnd im Becher so helle, so hold	1816	for two tenors, two basses and piano (fragment)
	357			III, 4 No. 35 VIII, 2 No. 28	Gold’ner Schein	Gold’ner Schein, deckt den Hain	1816	Canon for three voices
	358			IV, 10	Die Nacht	Du verstörst uns nicht, o Nacht!	1816	for voice and piano (2 versions)
	359			IV, 3	Sehnsucht	Nur wer die Sehnsucht kennt	1816	for voice and piano, Lied der Mignon (2nd setting)
	360			IV, 3	Lied eines Schiffers an die Dioskuren	Dioskuren, Zwillingssterne	1816	for voice and piano (first published as Op. 65 No. 1)
	361			IV, 10	Am Bach im Frühling	Du brachst sie nun, die kalte Rinde	1816	for voice and piano (2 versions; 1st version first published as Op. posth. 109 No. 1)
	362			IV, 11	Zufriedenheit	Ich bin vergnügt	1816?	for voice and piano (1st setting)
	363			IV, 10	An Chloen	Die Munterkeit ist meinen Wangen	1816	for voice and piano (fragment)
	364			III, 4 No. 34	Fischerlied	Das Fischergewerbe gibt rüstigen Mut	1816 or 1817?	for two tenors and two basses (2nd setting)
	365	9		VII/2, 6 & 7a	Thirty-six Original Dances for piano		1818–1821	Erste Walzer (first published as Op. 9)
	366			VII/2, 6 & 7a	Seventeen Ländler for piano		1824
	367	5,5 (1821)		IV, 1a	Der König in Thule	Es war ein König in Thule	1816	for voice and piano (first published as Op. 5 No. 5)
	368	3,4 (1821)		IV, 1a	Jägers Abendlied	Im Felde schleich ich, still und wild	1816?	Text by Goethe; 2nd of two settings, see D 215
	369			IV, 1a	An Schwager Kronos	Spute dich, Kronos!	1816	for voice and piano (first published as Op. 19 No. 1)
	370			VI, 9	Nine Ländler in D major for violin (?)		1816	(possibly for two violins)
	371			IV, 10	Klage	Trauer umfließt mein Leben	1816	for voice and piano (2 versions; 1st version [formerly D 292] is a sketch)
	372			IV, 10	An die Natur	Süße, heilige Natur	1816	for voice and piano (2 versions)
	373			IV, 10	Lied (Mutter geht durch ihre Kammern)	Mutter geht durch ihre Kammern	1816?	for voice and piano
	374			VI, 9	Eleven Ländler in B-flat major for violin		1816?	(possibly for two violins; Nos. 1–3, 5, 7 and 11 also used in the upper parts of Nos. 1–5 and 7 from the Eight Ländler in B-flat major for piano, D 378)
	375			IV, 10	Der Tod Oskars	Warum öffnest du wieder	1816	for voice and piano
	376			IV, 10	Lorma	Lorma saß in der Halle von Aldo	1816	for voice and piano (2nd setting; fragment)
	377			III, 3	Das Grab	Das Grab ist tief und stille	1816	for men’s choir and piano (3rd setting)
	378			VII/2, 6	Eight Ländler in B-flat major for piano		1816	(the upper parts of Nos. 1–5 and 7 also used in Nos. 1–3, 5, 7 and 11 from the Eleven Ländler in B-flat major for violin, D 374)
	379			I, 9 No. 13 & Anh. 2	Deutsches Salve Regina	Sei, Mutter der Barmherzigkeit	1816	in F major for mixed choir and organ
	380			VII/2, 6	Three Minuets, each with Two Trios for piano		1816	(fragment; for the third minuet, part of the first trio and the entire second trio are missing)
	381			IV, 10	Morgenlied	Die frohe, neubelebte Flur	1816	for voice and piano
	382			IV, 10	Abendlied	Sanft glänzt die Abendsonne	1816	for voice and piano
383 992	383			I, 7	Stabat Mater	Jesus Christus schwebt am Kreuze	1816	in F minor for soprano, tenor, bass, mixed choir and orchestra (also appears as "Deutsche Stabat Mater"; sketches for Nos. 5 and 6, "Wer wird sich nicht innig freuen" were formerly D 992)
	384			VI, 8 No. 1 & anh. 1	Violin Sonata, D 384	D major	1816	(2 versions of the first movement are extant; first published as Op. posth. 137 No. 1)
	385			VI, 8 No. 2	Violin Sonata, D 385	A minor	1816	(first published as Op. posth. 137 No. 2)
	386			I, 9 No. 12 & Anh. 1	Salve Regina	B♭ major	1816	for mixed choir
	387			III, 2b Anh. No. 4b	Die Schlacht	Schwer und dumpfig	1816	Text by Schiller; Sketch (voices); 2nd setting of two: see also D 249
	388			IV, 10	Laura am Klavier	Wenn dein Finger durch die Saiten meistert	1816	for voice and piano (2 versions)
389	389			IV, 3	Des Mädchens Klage	Der Eichwald brauset	1816	Text by Schiller, from Wallenstein: Die Piccolomini III, 7; 3rd setting of three: see also D 6 and 191
	390			IV, 10	Entzückung an Laura	Laura, über diese Welt	1816	for voice and piano (1st setting)
	391			IV, 10	Die vier Weltalter	Wohl perlet im Glase	1816	for voice and piano (first published as Op. posth. 111 No. 3)
	392			IV, 10	Pflügerlied	Arbeitsam und wacker	1816	for voice and piano
	393			IV, 11	Die Einsiedelei	Es rieselt klar und wehend ein Quell	1816	for voice and piano (2nd setting)
	394			IV, 10	An die Harmonie	Schöpferin beseelter Töne!	1816	for voice and piano, Gesang an die Harmonie
	395			IV, 10	Lebens-Melodien	Auf den Wassern wohnt mein stilles Leben	1816	for voice and piano (first published as Op. posth. 111 No. 2)
	396			IV, 2 Anh. No. 1	Gruppe aus dem Tartarus	Horch, wie Murmeln des empörten Meeres	1816	Text by Schiller, from "Gruppe aus dem Tartarus"; See also D 65, 583; Fragment
	397			IV, 10	Ritter Toggenburg	Ritter, treue Schwesterliebe	1816	for voice and piano (2 versions)
398	398			IV, 10	Frühlingslied	Die Luft ist blau	1816	Text by Hölty; 2nd of two settings, see also D 243
	399			IV, 10	Auf den Tod einer Nachtigall	Sie ist dahin	1816	for voice and piano (2nd setting)
	400			IV, 10	Die Knabenzeit	Wie glücklich, wem das Knabenkleid	1816	for voice and piano
	401			IV, 10	Winterlied	Keine Blumen blühn	1816	for voice and piano
	402			IV, 10	Der Flüchtling	Frisch atmet des Morgens lebendiger Hauch	1816	Text by Schiller; See also D 67
	403			IV, 10	Lied	In’s stille Land	1816	for voice and piano (4 versions; the 1st edition of the 1st version has a four-measure introduction composed by Anton Diabelli)
	404			IV, 10	Die Herbstnacht	Mit leisen Harfentönen	1816	for voice and piano, Die Wehmuth (2 versions)
	405			IV, 10	Der Herbstabend	Abendglockenhalle zittern	1816	for voice and piano (2 versions)
	406			IV, 10	Abschied von der Harfe	Noch einmal tön, o Harfe	1816	for voice and piano (2 versions)
	407			VIII, 2 No. 31	Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri		1816	Cantata for two tenors, two basses and piano I. Quartet "Gütigster, Bester! Weisester Größter!" for two tenors and two basses (2 settings; 2nd setting [formerly D 441] for two tenors, bass and piano) II. Aria "So Güt’ als Weisheit strömen mild" for tenor and piano III. Canon "Unser aller Großpapa, bleibe noch recht lange da" for three voices
	408			VI, 8 No. 3	Violin Sonata, D 408	G minor	1816	(first published as Op. posth. 137 No. 3)
	409			IV, 10	Die verfehlte Stunde	Quälend ungestilltes Sehnen	1816	for voice and piano (2 versions)
	410			IV, 10	Sprache der Liebe	Laß dich mit gelinden Schlägen rühren	1816	for voice and piano (first published as Op. posth. 115 No. 3)
	411			IV, 10	Daphne am Bach	Ich hab’ ein Bächlein funden	1816	for voice and piano
	412			IV, 10	Stimme der Liebe (Meine Selinde)	Meine Selinde	1816	for voice and piano (2 versions)
	413			IV, 10	Entzückung	Tag voll Himmel!	1816	for voice and piano
	414			IV, 10	Geist der Liebe	Der Abend schleiert Flur und Hain	1816	for voice and piano (1st setting)
	415			IV, 10	Klage	Die Sonne steigt, die Sonne sinkt	1816	for voice and piano
	416			IV, 10	Lied in der Abwesenheit	Ach, mir ist das Herz so schwer	1816	for voice and piano (fragment)
417	417	(1884)	I, 2 No. 4	V, 2 No. 4	Symphony No. 4 Tragic	C minor	27/4/1816	Adagio molto – Allegro vivace; Andante; Menuetto: Allegro vivace – Trio; Allegro
	418			IV, 10	Stimme der Liebe (Abendgewölke)	Abendgewölke schweben hell	1816	for voice and piano, Abendgewölke ( 2nd setting)
	419			IV, 10	Julius an Theone	Nimmer, nimmer darf ich dir gestehen	1816	for voice and piano
	420			VII/2, 7a	Twelve German Dances for piano		1816
	421			VII/2, 6	Six Écossaises for piano		1816
	422			III, 3	Naturgenuß	Im Abendschimmer wallt der Quell	1822?	for two tenors, two basses and piano (2nd setting; first published as Op. 16 No. 2)
	423			III, 4 No. 36	Andenken	Ich denke dein, wenn durch den Hain	1816	for two tenors and bass (2nd setting)
	424			III, 4 No. 37	Erinnerung	Am Seegestad, in lauen Vollmondnächten	1816	for two tenors and bass (2nd setting)
	425				Lebensbild	Kommen und scheiden, suchen und meiden	1816	lost, see also D Anh. I/23 – for two tenors and bass
	426			III, 4	Trinklied	Herr Bacchus ist ein braver Mann	1816	lost – for two tenors and bass
	427			III, 4 No. 38	Trinklied im Mai	Bekränzet die Tonnen	1816	for two tenors and bass
	428			III, 4 No. 39	Widerhall	Auf ewig dein, wenn Berg und Meere trennen	1816	for two tenors and bass
	429			IV, 10	Minnelied	Holder klingt der Vogelsang	1816	for voice and piano
	430			IV, 10	Die frühe Liebe	Schon im bunten Knabenkleide	1816	for voice and piano (2 versions)
	431			IV, 10	Blumenlied	Es ist ein halbes Himmelreich	1816	for voice and piano
	432			IV, 10	Der Leidende	Nimmer trag’ ich langer	1816	for voice and piano, Klage (3 versions)
	433			IV, 10	Seligkeit	Freuden sonder Zahl	1816	for voice and piano
	434			IV, 10	Erntelied	Sicheln schallen, Ähren fallen	1816	for voice and piano
	435			II, 13 III, 4 No. 30	Die Bürgschaft	(Opera in three acts)	1816	for four sopranos, three tenors, three basses, two baritones, mixed choir and orchestra (unfinished – Act I: nine numbers, five numbers from Act II, and one number and one fragment from Act III are extant) Akt I 1. Chor: Hilfe! Rettung 2. Arie: Muss ich fühlen in tiefer Brust 3. Chor: Wir dürstet der Aetna 4. Arie: Es lebe, es lebe der meutrische Thor 5. Arie: Diese Gnade dank’ ich dir 6. Arie: Ob er wohl wiederkehrt? 7. Romanze: Die Mutter sucht ihr liebes Kind 8. Duett: Wir bringen dir die Kette 9. Finale I: Du gehst in Kerker, Du? Akt II 10. Entreakt und Arie: O Götter! O Dank Euch 11. Arie: Welche Nacht hab’ich erlebt 12. Ensemble: Horch die Seufzer unerer Mutter 13. Quartett: Hinter Büschen, hinterm Laub, Räuberlied 14. Szene und Arie: O göttliche Ruhe Akt III 15. Entreakt 16. Ensemble: Der Abend rückt heran (fragment) (NGA III, 4 only contains No. 13)
	436			IV, 10	Klage	Dein Silber schien durch Eichengrün	1816	(2 versions and a variant of the 1st version; 2nd version was formerly D 437)
	437							see D 436
	438			V, 7 No. 2	Rondo, D 438	A major	1816	for violin and string orchestra
	439			III, 2a No. 8	An die Sonne	O Sonne, Königin der Welt	1816	for soprano, alto, tenor, bass and piano
	440			III, 2a No. 9	Chor der Engel	Christ ist erstanden	1816	for mixed choir
	441							see D 407
	442			IV, 10	Das große Halleluja	Ehre sei dem Hocherhabnen	1816	for voice and piano or choir and piano
	443			IV, 10	Schlachtlied	Mit unserm Arm ist nichts getan	1816	for voice and piano or choir and piano, Schlachtgesang (1st setting)
	444			IV, 10	Die Gestirne	Es tönet sein Lob	1816	for voice and piano
	445			IV, 10	Edone	Dein süßes Bild, Edone	1816	for voice and piano
	446			IV, 10	Die Liebesgötter	Cypris, meiner Phyllis gleich	1816	for voice and piano
	447			IV, 10	An den Schlaf	Komm und senke die umflorten Schwingen	1816	for voice and piano
	448			IV, 10	Gott im Frühlinge	In seinem schimmernden Gewand	1816	for voice and piano (2 versions)
	449			IV, 10	Der gute Hirt	Was sorgest du?	1816	for voice and piano (NSA also appends a modified version)
	450			IV, 10	Fragment aus dem Aeschylus	So wird der Mann	1816	for voice and piano (2 versions)
	451			Cantata	Prometheus	Hervor aus Buschen und Baumen	1816	for soprano, bass, choir and orchestra (lost)
	452	48		I, 2	Mass No. 4 in C major		1816	for soprano, alto, tenor, bass, mixed choir, orchestra and organ (first published as Op. 48; 2nd setting of the "Benedictus" was formerly D 961)
	453			I, 5 Anh.	Requiem in C minor		1816	for mixed choir and orchestra (fragment of the first movement is extant)
	454			IV, 10	Grablied auf einen Soldaten	Zieh hin, du braver Krieger du!	1816	for voice and piano
	455			IV, 10	Freude der Kinderjahre	Freude, die im frühen Lenze	1816	for voice and piano
	456			IV, 10	Das Heimweh (Oft in einsam stillen Stunden)	Oft in einsam stillen Stunden	1816	for voice and piano
	457	44		IV, 3	An die untergehende Sonne	Sonne, du sinkst	1816	for voice and piano (1816 sketch, finished 1817; first published as Op. 44)
	458			IV, 10	Aus Diego Manazares. Ilmerine	Wo irrst du durch einsame Schatten	1816	for voice and piano (also appears as "Aus Diego Manzanares")
	459			VII/2, 1 No. 3	Piano Sonata in E major		1816	(in 2 movements; also paired with D 459A to have a five movement sonata or five piano pieces "Fünf Klavierstücke")
	459A			VII/2, 4	Three piano pieces "Drei Klavierstücke"		1816?	(also paired with D 459 to have a five movement sonata or five piano pieces "Fünf Klavierstücke")
	460			I, 9 No. 6	Tantum ergo	C major	1816	for soprano, mixed choir, orchestra and organ
	461			I, 9 No. 7	Tantum ergo	C major	1816	for soprano, alto, tenor, bass, mixed choir, orchestra and organ
	462			IV, 10	An Chloen	Bei der Liebe reinsten Flammen	1816	for voice and piano
	463			IV, 10	Hochzeit-Lied	Will singen euch im alten Ton	1816	for voice and piano
	464			IV, 10	In der Mitternacht	Todesstille deckt das Tal	1816	for voice and piano
	465			IV, 10	Trauer der Liebe	Wo die Taub’ in stillen Buchen	1816	for voice and piano (2 versions)
	466			IV, 10	Die Perle	Es ging ein Mann zur Frühlingszeit	1816	for voice and piano
	467			IV, 10	Pflicht und Liebe	Du, der ewig um mich trauert	1816	for voice and piano (fragment)
	468			IV, 10	An den Mond	Was schauest du so hell	1816	for voice and piano
	469			IV, 3	Mignon (So laß mich scheinen, bis ich werde)	So laß mich scheinen, bis ich werde	1816	for voice and piano (1st setting; 2 versions, both are fragments)
470 601	470		II No. 3	VI, 4 Anh. No. 4	Overture	B-flat major	1816	for orchestra (belongs to D 472?; 2 versions; fragment of a version for string quartet was formerly D 601)
	471			VI, 6 No. 1 & Anh. No. 2	String Trio, D 471	B-flat major	1816	(unfinished – complete first movement and fragment of second movement are extant)
	472			III, 1	Kantate zu Ehren von Josef Spendou		1816	for two sopranos, tenor, bass, mixed choir and orchestra (see also D 470?; first published as Op. posth. 128) I. Da liegt er, starr II. Gottes Bild ist Furst und Staat III. Ein Punkt nur ist der Mensch IV. Die Sonne sticht
	473			IV, 10	Liedesend	Auf seinem gold’nen Throne	1816	for voice and piano (2 versions)
	474			IV, 10	Lied des Orpheus, als er in die Hölle ging	Wälze dich hinweg	1816	for voice and piano (2 versions)
	475			IV, 11	Abschied	Über die Berge zieht ihr fort	1816	for voice and piano (also appears as "Abschied. Nach einer Wallfahrts-Arie bearbeitet")
	476			IV, 11	Rückweg	Zum Donaustrom, zur Kaiserstadt	1816	for voice and piano
	477			IV, 11	Alte Liebe rostet nie	Alte Liebe rostet nie	1816	for voice and piano
478 479 480	478	12 (1822)		IV, 1a & b No. 10 & Anh. Nos. 6–7	Gesänge des Harfners aus "Wilhelm Meister"	1. Wer sich der Einsamkeit ergibt – 2. Wer nie sein Brot mit Tränen aß – 3. An die Türen will ich schleichen	1822	Text by Goethe, from Wilhelm Meister's Apprenticeship (song cycle): "Harfenspieler I" (2nd setting; 2 versions; 1st version 1816, 2nd version 1822?; 2nd version first published as Op. 12 No. 1; NSA also appends a modified 2nd version; see D 325 for first setting) "Harfenspieler III" [formerly D 480] (3 settings; 1st and 2nd settings 1816, 3rd setting 1822; 3rd setting first published as Op. 12 No. 2; NSA also appends a modified version of the 3rd setting) "Harfenspieler II" [formerly D 479] (2 versions; 1st version 1816, 2nd version 1822?; 2nd version first published as Op. 12 No. 3; NSA also appends a modified 2nd version)
	481			IV, 3	Sehnsucht	Nur wer die Sehnsucht kennt	1816	for voice and piano, Lied der Mignon (3rd setting)
	482			IV, 11	Der Sänger am Felsen	Klage, meine Flöte, klage	1816	for voice and piano
	483			IV, 11	Lied (Ferne von der großen Stadt)	Ferne von der großen Stadt	1816	for voice and piano
	484			IV, 11	Gesang der Geister über den Wassern	Des Menschen Seele gleicht dem Wasser	1816	for voice and piano (1st setting; fragment)
485	485	(1885)	I, 2 No. 5	V, 2 No. 5	Symphony No. 5	B-flat major	Sept.–3 Oct. 1816	Allegro; Andante con moto; Menuetto: Allegro molto – Trio; Allegro vivace
	486			I, 9 No. 4	Magnificat	C major	1815	for soprano, alto, tenor, bass, mixed choir, orchestra and organ
	487			V, 7 No. 4 VI, 7 No. 5	Adagio e Rondo concertante, D 487	F major	1816	for violin, viola, violoncello and piano
	488			I, 8	Offertory in G major, D 488	Auguste jam coelestium	1816	for soprano, tenor and orchestra
489 493	489	4,1		IV, 1a & b No. 5	Der Wanderer	Ich komme vom Gebirge her	1816	for voice and piano, Der Unglückliche (3 versions; 2nd and 3rd versions were formerly D 493; 3rd version first published as Op. 4 No. 1)
	490			IV, 11	Der Hirt	Du Turm, zu meinem Leide	1816	for voice and piano
	491			IV, 11	Geheimnis	Sag an, wer lehrt dich Lieder	1816	for voice and piano
	492			IV, 11	Zum Punsche	Woget brausend, Harmonien	1816	for voice and piano
	494			III, 4 No. 41	Der Geistertanz	Die bretterne Kammer der Toten erbebt	1816	for two tenors and three basses (4th setting)
	495			IV, 11	Abendlied der Fürstin	Der Abend rötet nun das Tal	1816	for voice and piano
	496			IV, 11	Bei dem Grabe meines Vaters	Friede sei um diesen Grabstein her!	1816	for voice and piano
	496A			IV, 7 No. 22	Klage um Ali Bey	Laßt mich! laßt mich! ich will klagen	1816	Text by Matthias Claudius – D 140 sets the text as part-song
	497			IV, 5	An die Nachtigall	Er liegt und schläft	1816	for voice and piano (first published as Op. 98 No. 1)
	498			IV, 5	Wiegenlied	Schlafe, schlafe, holder süßer Knabe	1816	for voice and piano (first published as Op. 98 No. 2)
	499			IV, 11	Abendlied	Der Mond is aufgegangen	1816	for voice and piano
	500			IV, 11	Phidile	Ich war erst sechzehn Sommer alt	1816	for voice and piano
	501			IV, 11	Zufriedenheit	Ich bin vergnügt	1816	for voice and piano (2nd setting; 2 versions)
	502			IV, 11	Herbstlied	Bunt sind schon die Wälder	1816	for voice and piano
	503			IV, 11	Mailied	Grüner wird die Au	1816	for voice and piano (3rd setting)
	504	6,3		IV, 1a & b No. 8	Am Grabe Anselmos	Daß ich dich verloren habe	1816	for voice and piano (2 versions; 1st version first published as Op. 6 No. 3)
	505			VII/2, 2	Adagio	D-flat major	1818?	for piano (probably the second movement of the unfinished Piano Sonata in F minor, D 625; first published in E major in an abridged form as Op. posth. 145 No. 1)
	506			VII/2, 4	Rondo	E major	1817?	for piano (probably the fourth movement of the unfinished? Piano Sonata in E minor, D 566; first published as Op. posth. 145 No. 2)
	507			IV, 11	Skolie	Mädchen entsiegelten, Brüder, die Flaschen	1816	for voice and piano
	508			IV, 11	Lebenslied	Kommen und Scheiden	1816	for voice and piano
	509			IV, 11	Leiden der Trennung	Vom Meere trennt sich die Welle	1816	for voice and piano (2 versions; 1st version is a fragment)
	510			IV, 11	Vedi quanto adoro	Vedi quanto adoro	1816	for soprano and piano (4 versions; also appears as "Vedi quanto t'adoro")
	511			VII/2, 6	Écossaise	E-flat major	1817 ca.	for piano
	513			III, 3	La pastorella al prato	La pastorella al prato	1817?	for two tenors, two basses and piano, La Pastorella (1st setting)
	513A			IV, 11	Nur wer die Liebe kennt	Nur wer die Liebe kennt	1817?	for voice and piano (sketch)
	514	7,1		IV, 1a	Die abgeblühte Linde	Wirst du halten, was du schwurst	1817?	for voice and piano (first published as Op. 7 No. 1)
	515	7,2		IV, 1a	Der Flug der Zeit	Es floh die Zeit im Wirbelfluge	1817?	for voice and piano (first published as Op. 7 No. 2)
	516	8,2		IV, 1a & Anh. No. 5	Sehnsucht	Der Lerche wolkennahe Lieder	1816?	for voice and piano (first published as Op. 8 No. 2)
	517	13,1		IV, 1a	Der Schäfer und der Reiter	Ein Schäfer saß im Grünen	1817	for voice and piano (2 versions; 2nd version first published as Op. 13 No. 1)
	518			IV, 5	An den Tod	Tod, du Schrecken der Natur	1816 or 1817	for bass and piano
	519			IV, 11	Die Blumensprache	Es deuten die Blumen des Herzens Gefühle	1817?	for voice and piano (first published as Op. posth. 173 No. 5)
	520			IV, 11	Frohsinn	Ich bin von lockerem Schlage	1817	for voice and piano (2 versions)
	521			III, 3	Jagdlied	Trarah! Trarah! Wir kehren daheim	1817	for voice and piano or unison choir and piano
	522			IV, 11	Die Liebe	Wo weht der Liebe hoher Geist?	1817	for voice and piano
	523			IV, 11	Trost	Nimmer lange weil’ ich hier	1817	for voice and piano
	524	13,3		IV, 1a & b No. 12	Der Alpenjäger	Auf hohen Bergesrücken	1817	for voice and piano (3 versions; 2nd version for bass and piano; 3rd version first published as Op. 13 No. 3)
	525			IV, 1a & b No. 18	Wie Ulfru fischt	Der Angel zuckt, die Rute bebt	1817	for bass and piano (2 versions; 2nd version first published as Op. 21 No. 3)
	526			IV, 11	Fahrt zum Hades	Der Nachen dröhnt	1817	for bass and piano
	527	24,2		IV, 2a & b No. 2	Schlaflied	Es mahnt der Wald	1817	for voice and piano, Abendlied or Schlummerlied (2 versions; 2nd version first published as Op. 24 No. 2)
	528			IV, 11	La pastorella al prato	La pastorella al prato'	1817	for soprano and piano, La Pastorella (2nd setting)
	529			VII/2, 6	Eight Écossaises		1817	for piano
	530			IV, 11	An eine Quelle	Du kleine grünumwachs’ne Quelle	1817	for voice and piano (first published as Op. posth. 109 No. 3)
	531	7,3		IV, 1a	Der Tod und das Mädchen	Vorüber, ach vorüber	1817	for voice and piano (first published as Op. 7 No. 3)
	532			IV, 11	Das Lied vom Reifen	Seht meine lieben Bäume an	1817	for voice and piano (fragment)
	533			IV, 11	Täglich zu singen	Ich danke Gott und freue mich	1817	for voice and piano
	534			IV, 11	Die Nacht	Die Nacht ist dumpfig und finster	1817	for voice and piano
	535			III, 1	Lied (Brüder, schrecklich brennt die Träne)	Brüder, schrecklich brennt die Träne	1817	for soprano and small orchestra
	536			IV, 1a & b No. 17	Der Schiffer	Im winde, im Sturme	1817?	for bass and piano (2 versions; 2nd version first published as Op. 21 No. 2)
	537			VII/2, 1 No. 4	Piano Sonata in A minor		1817	(first published as Op. posth. 164)
	538			III, 4 No. 42	Gesang der Geister über den Wassern	Des Menschen Seele gleicht dem Wasser	1817	for two tenors and two basses (2nd setting)
	539	8,4		IV, 1a	Am Strome	Ist mir’s doch, als sei mein Leben	1817	for voice and piano (first published as Op. 8 No. 4)
	540			IV, 11	Philoktet	Da sitz’ ich ohne Bogen	1817	for voice and piano
	541	6,1		IV, 1a	Memnon	Den Tag hindurch nur einmal mag ich sprechen	1817	for voice and piano (first published as Op. 6 No. 1)
	542	6,2		IV, 1a	Antigone und Oedip	Ihr hohen Himmlischen	1817	for two voices and piano (first published as Op. 6 No. 2; NSA also appends a modified version with changes by Johann Michael Vogl)
	543			IV, 5	Auf dem See	Und frische Nahrung	1817	for voice and piano (2 versions; 2nd version first published as Op. 92 No. 2)
	544			IV, 1a	Ganymed	Wie im Morgenglanze	1817	for voice and piano (first published as Op. 19 No. 3)
	545			IV, 11	Der Jüngling und der Tod	Die Sonne sinkt, o könnt ich	1817	for voice and piano or two voices and piano (2 versions; 1st version is a Duet for two voices and piano; 2nd version is a Song for voice and piano)
	546			IV, 5	Trost im Liede	Braust des Unglücks Sturm empor	1817	for voice and piano (2 versions; 2nd version first published as Op. posth. 101 No. 3)
	547			IV, 4	An die Musik	Du holde Kunst	1817	for voice and piano (2 versions; 2nd version first published as Op. 88 No. 4)
	548			IV, 11	Orest	Ist dies Tauris	1817	for voice and piano (also appears as "Orest auf Tauris")
	549			IV, 13	Mahomets Gesang	Seht den Felsenquell	1817	for voice and piano (1st setting; fragment)
	550	32		IV, 2a & b No. 3	Die Forelle	In einem Bächlein helle	1816–1821	for voice and piano (5 versions; 4th version first published as Op. 32)
	551			IV, 11	Pax vobiscum	Der Friede sei mit euch!	1817	for voice and piano
	552			IV, 1a & b No. 16	Hänflings Liebeswerbung	Ahidi! ich liebe	1817	for voice and piano (2 versions; 2nd version first published as Op. 20 No. 3)
	553			IV, 1a	Auf der Donau	Auf der Wellen Spiegel	1817	for bass and piano (first published as Op. 21 No. 1)
	554			IV, 11	Uraniens Flucht	Laßt uns, ihr Himmlischen, ein Fest begehen!	1817	for voice and piano
	555			IV, 11	Liedentwurf in a		1817?	for voice and piano (sketch without text)
556	556		II No. 4	V, 5	Overture	D major	1817	for orchestra
	557			VII/2, 1 No. 5	Piano Sonata in A-flat major		1817
	558			IV, 11	Liebhaber in allen Gestalten	Ich wollt’, ich wär’ ein Fisch	1817	for voice and piano
	559			IV, 11	Schweizerlied	Uf’m Bergli bin i g’sässe	1817	for voice and piano
	560			IV, 11	Der Goldschmiedsgesell	Es ist doch meine Nachbarin	1817	for voice and piano
	561			IV, 11	Nach einem Gewitter	Auf den Blumen	1817	for voice and piano
	562			IV, 11	Fischerlied	Das Fischergewerbe gibt rüstigen Mut	1817	for voice and piano (3rd setting)
	563			IV, 11	Die Einsiedelei	Es rieselt klar und wehend ein Quell	1817	for voice and piano (3rd setting)
	564			IV, 11	Gretchen im Zwinger	Ach neige, du Schmerzensreiche	1817	for voice and piano, Gretchens Bitte (fragment)
	565			IV, 11	Der Strom	Mein Leben wälzt sich murrend fort	1817?	for bass and piano
	566			VII/2, 1 No. 6 & Anh. No. 3	Piano Sonata in E minor		1817	(unfinished? – first three movements are extant; the Rondo in E major, D 506 is probably the fourth movement)
	567							see D 568
	568			VII/2, 1 No. 7 & Anh. Nos. 4–6	Piano Sonata in D-flat major/E-flat major		1817	(2 versions; 2nd version first published as Op. posth. 122; 1st version [formerly D 567] in D-flat major; for the 1st version, the Scherzo in D-Flat major, D 593 No. 2 is possibly the third movement; the last movement is a fragment; NSA also appends an amended first movement from the 1st version)
	569			III, 3	Das Grab	Das Grab ist tief und stille	1817	for unison men’s choir and piano (4th setting)
	570			VII/2, 1 No. 8 & Anh. No. 9	Scherzo in D major and Allegro in F-sharp minor for piano	VII/2, 1 Anh. Nos. 8–9	1817?	(the "Allegro" is a fragment; these were probably intended as the third and fourth movements, respectively, of the unfinished Piano Sonata in F-sharp minor, D 571)
	571			VII/2, 1 Anh. No. 7	Piano Sonata in F-sharp minor		1817	(unfinished – fragment of an "Allegro moderato" first movement is extant. The Piano piece in A major, D 604, an Andante, as well as the Scherzo in D major and Allegro in F-sharp minor fragment from D 570 probably constitute the remaining movements)
	572			III, 4 No. 43	Lied im Freien	Wie schön ist’s im Freien	1817	for two tenors and two basses
	573			IV, 5	Iphigenia	Blüht denn hier an Tauris Strande	1817	for voice and piano (3 versions; 3rd version first published as Op. 98 No. 3)
	574			VI, 8 No. 4	Violin Sonata, D 574	A major	1817	Duo, Grand Duo (first published as Op. posth. 162)
	575			VII/2, 1 No. 9 & Anh. No. 10	Piano Sonata in B major		1817	(first published as Op. posth. 147)
	576			VII/2, 4	Thirteen Variations on a theme by Anselm Hüttenbrenner	A minor	1817	for piano
	577			IV, 10	Entzückung an Laura	Laura, Laura, über diese Welt	1817	for voice and piano (2nd setting; 2 fragments of a sketch)
	578			IV, 11	Abschied	Lebe wohl! Du lieber Freund!	1817	for voice and piano
	579			IV, 11	Der Knabe in der Wiege	Er schläft so süß	1817	for voice and piano (2 versions; 2nd version is a fragment)
	579A			IV, 11	Vollendung	Wenn ich einst das Ziel errungen habe	1817	for voice and piano [formerly D 989]
	579B			IV, 11	Die Erde	Wenn sanft entzückt mein Auge sieht	1817	for voice and piano [formerly D 989A]
	580			V, 7 No. 3	Polonaise	B-flat major	1817	for violin and orchestra
	581			VI, 6 No. 2–3	String Trio, D 581	B-flat major	1817	(2 versions)
	582							see D 990B
	583	24,1		IV, 2a	Gruppe aus dem Tartarus	Horch, wie Murmeln des empörten Meeres	1817	Text by Schiller, from "Gruppe aus dem Tartarus"; See also D 65, 396
	584			IV, 11	Elysium	Vorüber die stöhnende Klage!	1817	Text by Schiller, from "Elysium"; Settings of separate stanzas: D 51, 53, 54, 57, 58, 60
	585			IV, 11	Atys	Der Knabe seufzt übers grüne Meer	1817	for voice and piano
	586	8,3		IV, 1a	Erlafsee	Mir ist so wohl, so weh’	1817	for voice and piano (first published as Op. 8 No. 3)
	587			IV, 11	An den Frühling	Willkommen, schöner Jüngling!	1817	for voice and piano (3rd setting; 2 versions; 2nd version was formerly D 245)
	588	37,2		IV, 2a & b No. 7	Der Alpenjäger	Willst du nicht das Lämmlein hüten?	1817	for voice and piano (2 versions; 2nd version first published as Op. 37 No. 2)
589	589	(1885)	I, 2 No. 6	V, 2 No. 6	Symphony No. 6 Little C major	C major	Oct. 1817– Feb. 1818	Adagio – Allegro; Andante; Scherzo: Presto – Più lento; Allegro moderato
590	590		II No. 5	V, 5	Overture	D major	1817	in the Italian Style for orchestra
591	591		II No. 6	V, 5	Overture	C major	1817	in the Italian Style for orchestra (first published as Op. posth. 170)
	592			VII/1, 5 No. 1	Overture in the Italian Style	D major	1817	for piano duet (version for piano duet of D 590)
	593			VII/2, 4	Two Scherzi		1817	for piano
	594			IV, 11	Der Kampf	Nein, länger werd’ ich diesen Kampf nicht kämpfen	1817	for bass and piano (first published as Op. posth. 110)
595	595	88,2		IV, 4	Thekla (eine Geisterstimme)	Wo ich sei, und wo mich hingewendet	1817	Text by Schiller; 2nd setting of two: see also D 73; Two versions: 2nd is Op. 88 No. 2
	596			IV, 11	Lied eines Kindes	Lauter Freude fühl’ ich	1817	for voice and piano (fragment)
	597			VII/1, 5 No. 2	Overture in the Italian Style	C major	1817	for piano duet (version for piano duet of D 591)
597A	597A				Variations	A major	1817	for violin (sketch; lost)
598 641	598	11,1		III, 3	Das Dörfchen	Ich rühme mir mein Dörfchen hier	1817	for two tenors and two basses (2 versions; 1st version is a sketch without a piano part; 2nd version [formerly D 641] for two tenors, two basses and piano; 2nd version first published as Op. 11 No. 1)
	599			VII/1, 4	Four Polonaises for piano duet		1818	(first published as Op. 75)
	600			VII/2, 4	Minuet	C-sharp minor	1814?	for piano (the Trio in E major, D 610 was probably intended for this Minuet; in turn the Minuet with Trio D 600/610 tandem possibly constitute the third movement of the unfinished Piano Sonata in C major, D 613)
	602			VII/1, 4	Trois Marches Héroiques		1818 or 1824	for piano duet (first published as Op. 27)
	604			VII/2, 4	Piano piece	A major	1816 or 1817	(an Andante, probably the second movement of the unfinished Piano Sonata in F-sharp minor, D 571)
	605			VII/2, 4 Anh.	Fantasy	C major	1821–1823	for piano (fragment)
	605A			VII/2, 4	Fantasy	C major	1818?	Grazer Fantasy for piano
	606			VII/2, 4	March	E major	1818?	for piano
	607			I, 8	Evangelium Johannis 6, Vers 55–58	In der Zeit sprach der Herr Jesus	1818	for voice and figured bass (fragment; figured bass usually realized for piano)
	608			VII/1, 1 No. 4 & Anh. No. 4	Rondo	D major	1818	Notre amitié est invariable for piano duet (2 versions; 2nd version first published as Op. posth. 138)
	609			III, 2a No. 10	Die Geselligkeit	Wer Lebenslust fühlet	1818	for soprano, alto, tenor, bass and piano, Lebenslust (2nd part of the 1st verse, "im traulichen Kreise" was formerly D 665)
	610			VII/2, 6	Trio in E major for piano, to be regarded as the lost son of a minuet		1818	(this Trio was probably intended for the Minuet in C-sharp minor, D 600; in turn the Minuet with Trio D 600/610 tandem possibly constitute the third movement of the unfinished Piano Sonata in C major, D 613)
	611			IV, 12	Auf der Riesenkoppe	Hoch auf dem Gipfel deiner Gebirge	1818	for voice and piano
	612			VII/2, 4	Adagio	E major	1818	for piano (probably the second movement of the unfinished Piano Sonata in C major, D 613)
	613			VII/2, 2	Piano Sonata in C major		1818	(unfinished – fragments of two movements are extant; the Adagio in E major, D 612 as well as the Minuet with Trio D 600/610 possibly constitute the remaining movements)
	614			IV, 12	An den Mond in einer Herbstnacht	Freundlich ist dein Antlitz	1818	for voice and piano
	615			V, 6 No. 9	Symphony, D 615	D major	1818	(piano sketches of two movements are extant)
	616			IV, 12	Grablied für die Mutter	Hauche milder, Abendluft	1818	for voice and piano
	617	30		VII/1, 1 No. 5	Sonata, D 617	B-flat major	1818	for piano duet (first published as Op. 30)
618	618			VII/1, 4	German Dance in G major with Two Trios and Two Ländler in E major		1818	for piano duet
618A	618A			VII/1, 4	Polonaise	B-flat major	1818	for piano duet (sketch)
	619			III, 2b No. 22 VIII, 2 No. 9	Singübungen		1818	Vocal exercises for two voices and figured bass (figured bass usually realized for piano)
	620			IV, 12	Einsamkeit	Gib mir die Fülle der Einsamkeit!	1818	for voice and piano (1818)
	621			I, 6 Anh.	German Requiem	G minor	1818	for soprano, alto, tenor, bass, mixed choir and organ, Deutsche Trauermesse (4 versions; only the 1st version is complete; NSA appends a synopsis of the 2nd, 3rd and 4th versions)
	622			IV, 12	Der Blumenbrief	Euch Blümlein will ich senden	1818	for voice and piano
	623			IV, 12	Das Marienbild	Sei gegrüßt, du Frau der Huld	1818	for voice and piano
	624	10		VII/1, 1 No. 6 & Anh. Nos. 5–6	Eight Variations on a French Song	E minor	1818	for piano duet (first published as Op. 10; 2 versions of the "Theme" are extant)
	625			VII/2, 2 No. 10	Piano Sonata in F minor		1818	(unfinished – a completed Scherzo with Trio, and fragments of two "Allegro" movements are extant; the Adagio in D-flat major D 505 is probably the second movement)
	626			IV, 12	Blondel zu Marien	In düstrer Nacht	1818	for voice and piano
	627			IV, 12	Das Abendrot	Du heilig, glühend Abendrot!	1818	for bass and piano (first published as Op. posth. 173 No. 6)
	628			IV, 12	Sonett	Apollo, lebet noch dein hold Verlangen	1818	for voice and piano, Sonett I
	629			IV, 12	Sonett	Allein, nachdenklich, wie gelähmt vom Krampfe	1818	for voice and piano, Sonett II
	630			IV, 12	Sonett	Nunmehr, da Himmel, Erde schweigt	1818	for voice and piano, Sonett III
	631			IV, 12	Blanka	Wenn mich einsam Lüfte fächeln	1818	for voice and piano, Das Mädchen
	632			IV, 12	Vom Mitleiden Mariä	Als bei dem Kreuz Maria stand	1818	for voice and piano
	633			IV, 3	Der Schmetterling	Wie soll ich nicht tanzen	1819 and 1823?	for voice and piano (first published as Op. 57 No. 1)
	634			IV, 3	Die Berge	Sieht uns der Blick gehoben	1819 and 1823?,	for voice and piano (first published as Op. 57 No. 2)
	635			III, 4 No. 44	Leise, leise laßt uns singen	Leise, leise laßt uns singen	1819	for two tenors and two basses, Ruhe
	636	39		IV, 2a & b No. 9	Sehnsucht	Ach, aus dieses Tales Gründen	1821?	Text by Schiller; 2nd setting of two: see also D 52; Three versions: 3rd is Op. 39
	637			IV, 4	Hoffnung	Es reden und träumen die Menschen viel	1819 ca.	for voice and piano (2nd setting; first published as Op. 87 No. 2)
	638			IV, 4	Der Jüngling am Bache	An der Quelle saß der Knabe	1819	Text by Schiller; 3rd setting of three: see also D 30 and 192; Two versions: 2nd is Op. 87 No. 3)
	639			IV, 5	Widerschein	Fischer harrt am Brückenbogen	1820	for voice and piano (2 versions; 2nd version ['Harrt ein Fischer auf der Brücke'] was formerly D 949)
	640							see D 980A
	642			III, 2a No. 1	Viel tausend Sterne prangen	Viel tausend Sterne prangen	1812?	for soprano, alto, tenor, bass and piano
	643			VII/2, 6	German Dance in C-sharp minor and Écossaise in D-flat major		1819	for piano
	643A			III, 2a No. 11	Das Grab	Das Grab ist tief und stille	1819	for soprano, alto, tenor and bass (5th setting)
	644			II, 4	Die Zauberharfe	(Music for Zauberspiel in three acts)	1820	for tenor, six spoken roles, mixed choir and orchestra (Overtures to the first and third acts, and thirteen numbers; Overture to the first act known as the "Rosamunde" Overture, also used in D 797) Akt I Ouvertüre 1. Chor der Troubadours: Harfentöne laßt erklingen 2. Chor der Troubadours und Ritter: Zum Saal, der goldne Becher blinkt 3. Melodram 4. Finale I: Ida gib ein Zeichen Akt II 5. Chor der Troubadours und Ritter: Leben laßt den goldnen Wein 6. Melodram: Furie bebe! 7. Chor der Ritter: Sie Zauberin laßt uns betrügen (2 versions, 1st version is a sketch) 8. Melodram: Da zieh’n sie hin in heller Mondennacht 9. Finale II. Romanze des Palmerin: Was belebt die schöne Welt? (2 versions, 1st version is a sketch; NSA also appends an alternative, concert version); Chor der Genien: Schlafe, Liebliche Akt III Ouverture zum dritten Akt 10. Melodram: Geschlossen ist der Bund 11. Melodram hinter den Kulißen 12. Melodram: Wohlan! Euer Verlangen werde erfüllt! 13. Finale III. Schlußgesang: Durch der Töne Zaubermacht
	645			IV, 12	Abend	Wie ist es denn, daß trüb und schwer	1819	for voice and piano (fragment of a sketch)
	646			IV, 12	Die Gebüsche	Es wehet kühl und leise	1819	for voice and piano
	647			II, 5	Die Zwillingsbrüder	(Singspiel in one act)	1819	for soprano, tenor, three basses, mixed choir and orchestra (Overture and ten numbers) Ouvertüre 1. Introduktion: Verglühet sind die Sterne 2. Duett: Vor dem Busen möge blühen 3. Arie: Der Vater mag wohl immer 4. Arie: Mag es stürmen, donnern 5. Quartett: Zu rechter Zeit bin ich gekommen 6. Arie: Liebe, theure Muttererde 7. Duett: Nur dir will ich gehören 8. Terzett: Wagen Sie Ihr Wort zu brechen 9. Quintett und Chor: Packt ihn, führt ihn vor Gericht 10. Schlußchor: Die Brüder haben sich gefunden
648	648		II No. 7	V, 5	Overture	E minor	1819	for orchestra
	649			IV, 3	Der Wanderer	Wie deutlich des Mondes Licht zu mir spricht	1819	for voice and piano (2 versions; 2nd version first published as Op. 65 No. 2)
	650			IV, 12	Abendbilder	Still beginnt’s im Hain zu tauen	1819	for voice and piano
	651			IV, 12	Himmelsfunken	Der Odem Gottes weht	1819	for voice and piano
	652			IV, 12	Das Mädchen	Wie so innig, möcht ich sagen	1819	for voice and piano (2 versions)
	653			IV, 12	Bertas Lied in der Nacht	Nacht umhüllt mit wehendem Flügel	1819	for voice and piano
	654			IV, 12	An die Freunde	Im Wald, im Wald, da grabt mich ein	1819	for voice and piano
	655			VII/2, 2	Piano Sonata in C-sharp minor		1819	(fragment of an "Allegro" is extant)
	656			III, 4 No. 45	Sehnsucht	Nur wer die Sehnsucht kennt	1819	for two tenors and three basses (4th setting)
	657			III, 4 No. 46	Ruhe, schönstes Glück der Erde		1819	for two tenors and two basses
	658			IV, 12	Geistliches Lied	Ich sehe dich in tausend Bildern	1819?	for voice and piano [formerly "Marie"]
	659			IV, 12	Hymne	Wenige wissen das Geheimnis der Liebe	1819	for voice and piano (also appears as "Hymne I")
	660			IV, 12	Geistliches Lied	Wenn ich ihn nur habe	1819	for voice and piano (also appears as "Hymne II")
	661			IV, 12	Geistliches Lied	Wenn alle untreu werden	1819	for voice and piano (also appears as "Hymne III")
	662			IV, 12	Geistliches Lied	Ich sag’ es jedem, daß er lebt	1819	for voice and piano (also appears as "Hymne IV")
	663			IV, 12	Der 13. Psalm	Ach Herr, wie lange willst du mein so ganz vergessen?	1819	for voice and piano (fragment)
	664			VII/2, 2 No. 11	Piano Sonata in A major		1819 or 1825	(first published as Op. posth. 120)
	665							see D 609
	666			III, 2a No. 12	Kantate zum Geburtstag des Sängers Johann Michael Vogl		1819	for soprano, tenor, bass and piano, Der Frühlingsmorgen (first published as Op. posth. 158) I. Sänger, der von Herzen singet II. Diese Berge sah’n dich blühen III. Da saht ihr Orestes scheiden IV. Gott bewahr’ dein teures Leben
	667			VI, 7 No. 6	Trout Quintet	A major	1819?	for violin, viola, violoncello, double bass and piano (first published as Op. posth. 114)
	668			VII/1, 5 No. 3	Overture	G minor	1819	for piano duet
	669			IV, 12	Beim Winde	Es traümen die Wolken	1819	for voice and piano
	670			IV, 12	Die Sternennächte	In monderhellten Nächten	1819	for voice and piano (2 versions; 2nd version first published as Op. posth. 165 No. 2)
	671			IV, 12	Trost	Hörnerklänge rufen klangend	1819	for voice and piano
	672	36,2		IV, 2a & b No. 5	Nachtstück	Wenn über Berge sich der Nebel breitet	1819	for voice and piano (2 versions; 2nd version first published as Op. 36 No. 2)
	673			IV, 12	Die Liebende schreibt	Ein Blick von deinen Augen	1819	for voice and piano (2 versions; 2nd version first published as Op. posth. 165 No. 1)
	674			IV, 12	Prometheus	Bedecke deinen Himmel, Zeus	1819	for bass and piano
	675			VII/1, 5 No. 4	Overture	F major	1819?	for piano duet (first published as Op. 34)
	676			I, 8	Offertory Salve Regina	A major	1819	for soprano and orchestra, Drittes Offertorium (first published as Op. posth. 153)
	677			IV, 12	Strophe aus ‘Die Götter Griechenlands’	Schöne Welt, wo bist du?	1819	for voice and piano (2 versions)
	678			I, 3	Mass No. 5 in A-flat major		1819 and 1822	for soprano, alto, tenor, bass, mixed choir, orchestra and organ (2 versions)
	679							see D 980B
	680							see D 980C
	681			VII/2, 6	Twelve Ländler		1815 ca.	for piano (Nos. 5–12 are extant)
	682			IV, 12	Über allen Zauber Liebe	Sie hüpfte mit mir auf grünem Plan	1820 and 1824	for voice and piano (fragment)
	683							see D 732 No. 11
	684			IV, 12	Die Sterne	Du staunest, o Mensch	1820	for voice and piano
	685	4,2		IV, 1a	Morgenlied	Eh’ die Sonne früh aufersteht	1820	for voice and piano (first published as Op. 4 No. 2)
	686			IV, 1a & b No. 15	Frühlingsglaube	Die linden Lüfte sind erwacht	1820	for voice and piano (3 versions; 3rd version first published as Op. 20 No. 2)
	687			IV, 12	Nachthymne	Hinüber wall’ ich	1820	for voice and piano
	688			IV, 12	Vier Canzonen		1820	for voice and piano 1. "Non t'accostar all'urna" 2. "Guarda, che bianca luna" 3. "Da quel sembiante appresi" 4. "Mio ben, ricordati"
	689			II, 10	Lazarus, oder: Die Feier der Auferstehung	(Religious drama in three acts)	1820	for three sopranos, two tenors, bass, mixed choir and orchestra (unfinished – Act I: twenty-one numbers, and eight numbers from Act II are extant) Akt I 1. Introduktion 2. Hier laßt mich ruhn die letzte Stunde 3. Noch einen Augenblick? 4. Trübe nicht mit Klagen seine Seele 5. Steh’ im letzten Kampf dem Müden 6. Voll Friede, ja, voll Fried’ ist die Seele 7. Kalter Schweiß rinnt von der Stirn 8. Willkommen, mein Nathanael 9. Wenn ich ihm nachgerungen habe 10. Nathanael, bewundern kann ich dich 11. O Martha, o Martha, bliebst du stiller 12. Der Trost begleite dich hinüber 13. Wenn nun mit tausendfachen Qualen 14. Gottes Liebe, du bist deine Zuversicht 15. In der Leiden bängster Nacht 16. Ach, so find’ ich ihn noch 17. Jemina, Tochter der Auferstehung 18. So schlummert auf Rosen 19. Nun entflog auf schnellen Schwingen 20. So war mir, Lazarus 21. O Barmherziger, o verlass ihn nicht Akt II 22. Introduktion 23. Wo bin ich? 24. Schon bereitet ihr Gräber 25. Wess ist der Klage Stimme 26. So weile hier, mein Freund 27. Sanft und still 28. So legt ihn in die Blumen 29. Wecke sie nicht
	690			IV, 12	Abendröte	Tiefer sinket schon die Sonne	1823	for voice and piano
	691			IV, 12	Die Vögel	Wie lieblich und fröhlich	1820	for voice and piano (first published as Op. posth. 172 No. 6)
	692			IV, 12	Der Knabe	Wenn ich nur ein Vöglein wäre	1820	for voice and piano
	693			IV, 12	Der Fluß	Wie rein Gesang sich windet	1820	for voice and piano
	694			IV, 12	Der Schiffer	Friedlich lieg’ ich hingegossen	1820	for voice and piano
	695			IV, 12	Namenstagslied	Vater, schenk’ mir diese Stunde	1820?	for voice and piano
	696	113p		I, 9 No. 11	Sechs Antiphonen zum Palmsonntag		1820	for mixed choir (first published as Op. posth. 113) 1. "Hosanna filio David" 2. "In monte Oliveti" 3. "Sanctus" 4. "Pueri Hebraeorum" 5. "Cum angelis et pueris" 6. "Ingrediente Domino"
	697			VII/2, 6	Six Écossaises	A-flat major	1820	for piano (Nos. 1–4 and 6 are extant)
	698			IV, 12	Des Fräuleins Liebeslauschen	Hier unten steht ein Ritter	1820	for voice and piano
	699			IV, 12	Der entsühnte Orest	Zu meinen Füßen brichst du dich	1820	for voice and piano
	700			IV, 12	Freiwilliges Versinken	Wohin? o Helios!	1820	for voice and piano
	701			II, 15	Sacontala	(Opera in three acts)	1820	for fourteen sopranos, three altos, five tenors, nine basses, mixed choir and orchestra (also appears as "Sakontala" or "Sakuntala"; unfinished – sketches of eleven numbers from Acts I and II are extant) Akt I 1. Introduktion: Das holde Licht des Tages (sketch) 2. Arie: Du hoffest im Arme des Gatten (sketch) 3. Quintett: Hier liegen wir im Staub gebeuget (sketch) 4. Arie: Wie fühl’ ich, ihr Götter (sketch) 5. Chor der Waldnymphen: Wo du wandelst (sketch) 6. Arie: Noch schläft die goldne Sonne (sketch) 7. Finale I: Sieg deinen Fahnen, König (sketch) Akt II 8a. Terzett: Komm nur Dieb (sketch) 8b. Terzett: So liebes Brüderchen (sketch) 9. Quartett: Rosenzeit der Freuden (sketch) 10. Septett: Mit liebendem Verlangen (sketch) 11. Arie: Trauet auf Götter (sketch)
	702	8,1		IV, 1a	Der Jüngling auf dem Hügel	Ein Jüngling auf dem Hügel	1820	for voice and piano (first published as Op. 8 No. 1)
703	703	(1870)	V No. 12 XXII v5	VI, 5 No. 13 & Anh.	String Quartet No. 12 Quartettsatz	C minor	December 1820	Allegro assai (i.e. Quartettsatz); Andante (fragment, first published AGA XXII, 1897)
	704							see D 714
	705			III, 3	Gesang der Geister über den Wassern	Des Menschen Seele gleicht dem Wasser	1820	for two tenors, two basses and piano (3rd setting; sketch)
	706			III, 3	Der 23. Psalm	Gott ist mein Hirt, mir wird nichts mangeln	1820	for two sopranos, two altos and piano (first published as Op. posth. 132)
	707	36,1		IV, 2a & b No. 4	Der zürnenden Diana	Ja, spanne nur den Bogen	1820	for voice and piano (2 versions; 2nd version first published as Op. 36 No. 1)
	708			IV, 12	Im Walde	Windes Rauschen, Gottes Flügel	1820	for voice and piano, Waldesnacht
	708A			V, 6 No. 10	Symphony, D 708A	D major	1821 or later	(piano sketches of all four movements are extant)
	709			III, 4 No. 47	Frühlingsgesang	Schmücket die Locken mit duftigen Kränzen	1821 or earlier	for two tenors and two basses (1st setting)
	710			III, 3	Im Gegenwärtigen Vergangenes	Ros und Lilie morgentaulich	1821?	for two tenors, two basses and piano
	711	13,2		IV, 1a & b No. 11	Lob der Tränen	Laue Lüfte, Blumendüfte	1818?	for voice and piano (2 versions; 2nd version first published as Op. 13 No. 2)
	712			IV, 13	Die gefangenen Sänger	Hörst du von den Nachtigallen	1821	for voice and piano
	713			IV, 4	Der Unglückliche	Die Nacht bricht an	1821	for voice and piano (2 versions; 2nd version first published as Op. 87 No. 1)
	714			III, 1	Gesang der Geister über den Wassern	Des Menschen Seele gleicht dem Wasser	1820–1821	for four tenors, four basses, two violas, two violoncellos and double bass (4th setting; 2 versions; 1st version [formerly D 704] is a sketch; 2nd version first published as Op. posth. 167)
	715			IV, 13	Versunken	Voll Locken kraus ein Haupt so rund	1821	for voice and piano (2 versions)
	716			IV, 13	Grenzen der Menschheit	Wenn der uralte heilige Vater	1821	for bass and piano
	717	31		IV, 2a	Suleika II	Ach um deine feuchten Schwingen	1821	for voice and piano (first published as Op. 31)
	718			VII/2, 4	Variation on a Waltz by Anton Diabelli	C minor	1821	for piano (written for "Vaterländischer Künstlerverein")
	719			IV, 1a	Geheimes	Über meines Liebchens Äugeln	1821	for voice and piano (first published as Op. 14 No. 2)
	720			IV, 1a & b No. 13	Suleika I	Was bedeutet die Bewegung?	1821	for voice and piano (2 versions; 2nd version first published as Op. 14 No. 1)
	721			IV, 13	Mahomets Gesang	Seht den Felsenquell	1821	for bass and piano (2nd setting; fragment)
	722			VII/2, 6	German Dance	G-flat major	1821	for piano
	723			II, 18	Duet and Aria for Hérold's Das Zauberglöckchen	Nein, nein, nein, nein, das ist zu viel – Der Tag entflieht, der Abend glüht	1821	for two tenors, bass and orchestra
	724	11,2		III, 3	Die Nachtigall	Bescheiden verborgen im buschigten Gang	1821 or earlier	for two tenors, two basses and piano (first published as Op. 11 No. 2)
	725			III, 2b Anh. No. 5	Linde Weste wehen	for mezzo-soprano, tenor and piano	1821	(fragment)
	726			IV, 3	Mignon I	Heiß mich nicht reden	1821	for voice and piano (1st setting)
	727			IV, 3	Mignon II	So laßt mich scheinen, bis ich werde	1821	for voice and piano (2nd setting)
	728			IV, 13	Johanna Sebus	Der Damm zerreißt	1821	for voice and piano (fragment)
	729			V, 6 No. 7 & Anh 1	Symphony No. 7	E major	1821	(sketches of all four movements are extant)
	730			I, 9 No. 8	Tantum ergo	B♭ major	1821	for soprano, alto, tenor, bass, mixed choir and orchestra
	731			IV, 5	Der Blumen Schmerz	Wie tönt es mir so schaurig	1821	for voice and piano (first published as Op. posth. 173 No. 4)
	732			II, 6a–c	Alfonso und Estrella	(Opera in three acts)	1821–1822	for two sopranos, two tenors, bass, two baritones, mixed choir and orchestra (Overture and thirty-four numbers) Akt I Ouvertüre 1. Introduktion: Still, noch decket und sie Nacht 2. Arie: Sei mir gergrüßt, o Sonne 3. Chor und Ensemble: Versammelt euch, Bruder 4. Duett: Geschmückt von Glanz und Siegen 5. Rezitativ und Arie: Es ist dein streng Gebot 6. Rezitativ und Duett: Du rührst mich Theurer 7. Chor und Arie: Zur Jagd, zur Jagd! 8. Rezitativ und Arie: Verweile, o Prinzeßin (a version for voice and piano is also extant) 9. Duett: Ja gib, vernimm mein Flehen 10. Finale I: Glänzende Waffe den Krieger erfreut Akt II 11. Rezitativ und arie: O sing’ mir Vater [formerly D 683] 12. Rezitativ und Duett: Wie rühret mich dein herrlicher Gesang 13. Rezitativ und Arie: Wer bist du, holdes Wesen (a version for voice and piano is also extant) 14. Duett: Freundlich bist du mir erschienen 15. Arie: Könnt’ ich ewig hier verweilen 16. Duett: Laß dir als Erinnerungszeichen 17. Chor und Ensemble: Stille, Freunde, seht euch vor 18. Chor und Arie: Wo ist sie, was kommt ihr zu künden? 19. Ensemble: Die Prinzeßin ist erschienen 20. Duett und Chor: Darf Dich dein Kind umarmen? 21. Arie: Herrlich auf des Berges Höhen 22. Finale II: Sag’, wo ist er hingekommen Akt III 23. Introduktion 24. Duett: Hörst du rufen? 25. Duett: Du wirst mir nicht entrinnen 26. Terzett und Chor: Welche Stimme 27. Duett: Doch nun werde deinem Retter 28. Rezitativ und Duett: Ja ich, ich bin gerettet 29. Duett mit Chor: Wehe, wehe! Meines Vaters Schaaren seh’ich 30. Ensemble: Sie haben das Rufen vernommen 31. Rezitativ und Ensemble: Was geht hier vor 32. Arie: Wo find ich nur den Ort 33. Duett: Kein Geist, ich bin am Leben 34. Terzett: Empfange nun aus meiner Hand; Finale III: Was hör’ ich, welche Klänge
	733	51		VII/1, 4	Trois Marches Militaires for piano duet		1818?	(first published as Op. 51)
	734			VII/2, 7a	Sixteen Ländler and Two Écossaises			for piano, Wiener Damen-Ländler (pub. 1826, first published as Op. 67)
	735	49		VII/2, 7a	Galop and Eight Écossaises			for piano (pub. 1825, first published as Op. 49)
	736			IV, 13	Ihr Grab	Dort ist ihr Grab	1822?	for voice and piano
	737			IV, 3	An die Leier	Ich will von Atreus Söhnen	1822 or 1823?	for voice and piano (first published as Op. 56 No. 2)
	738			IV, 3	Im Haine	Sonnenstrahlen durch die Tannen	1822 or 1823?	for voice and piano (first published as Op. 56 No. 3)
	739	45		I, 9 No. 5	Tantum ergo	C major	1814	for mixed choir, orchestra and organ (first published as Op. 45)
	740			III, 3	Frühlingsgesang	Schmücket die Locken	1822	for two tenors, two basses and piano (2nd setting; first published as Op. 16 No. 1)
	741			IV, 1a	Sei mir gegrüßt	O du Entriß’ne mir	1821–1822	for voice and piano (first published as Op. 20 No. 1)
	742			IV, 3	Der Wachtelschlag	Ach! mir schallt’s dorten so lieblich hervor		for voice and piano (pub. 1822, first published as Op. 68)
	743	23,2		IV, 2a	Selige Welt	Ich treibe auf des Lebens Meer	1822?	for bass and piano (first published as Op. 23 No. 2)
	744	23,3		IV, 2a	Schwanengesang	Wie klag’ ich’s aus das Sterbegefühl	1822?	for voice and piano (first published as Op. 23 No. 3)
	745			IV, 3	Die Rose	Es lockte schöne Wärme	1822	for voice and piano (2 versions; 1st version first published as Op. 73)
	746			IV, 13	Am See	In des Sees Wogenspiele	1822 or 1823?	for voice and piano
	747	11,3		III, 3	Geist der Liebe	Der Abend schleiert Flur und Hain	1822	for two tenors, two basses and piano (2nd setting; first published as Op. 11 No. 3)
	748			III, 1	Am Geburtstage des Kaisers	Steig empor, umblüht von Segen	1822	for soprano, alto, tenor, bass, mixed choir and orchestra (first published as Op. posth. 157)
	749			IV, 13	Herrn Josef Spaun, Assessor in Linz	Und nimmer schreibst du?	1822	for voice and piano
	750			I, 9 No. 9	Tantum ergo	D major	1822	for mixed choir, orchestra and organ
	751	23,1		IV, 2a	Die Liebe hat gelogen	Die Liebe hat gelogen, die Sorge lastet schwer	1822	for voice and piano (first published as Op. 23 No. 1)
	752			IV, 13	Nachtviolen	Nachtviolen, Nachtviolen	1822	for voice and piano
	753			IV, 3	Heliopolis I	Im kalten, rauhen Norden ist Kunde mir geworden	1822	for voice and piano, Aus Heliopolis I or Im Hochgebirge (first published as Op. 65 No. 3)
	754			IV, 13	Heliopolis II	Fels auf Felsen hingewälzet	1822	for bass and piano, Aus Heliopolis II
	755			I, 5 Anh.	Kyrie	A minor	1822	for soprano, alto, tenor, bass, mixed choir, string orchestra and organ (sketch)
	756			IV, 3	Du liebst mich nicht	Mein Herz ist zerrissen, du liebst mich nicht!	1822	for voice and piano (2 versions; 2nd version first published as Op. 59 No. 1)
	757			III, 3	Gott in der Natur	Groß ist der Herr!	1822	for two sopranos, two altos and piano (first published as Op. posth. 133)
	757A			VII/2, 4	March	B minor	1822	for piano
	758	108,2		IV, 5	Todesmusik	In des Todes Feierstunde	1822	for voice and piano (2 versions; 2nd version first published as Op. 108 No. 2)
759	759	(1867)	I, 2 No. 8	V, 3 No. 7	Symphony No. 8 Unfinished	B minor	30/10/1822	Two complete movements (Allegro moderato; Andante con moto) and a fragment of a Scherzo third movement (Allegro-Trio) are extant; D 797 No. 1 may be its fourth movement
	759A			VII/2, 4	Overture to the opera Alfonso und Estrella		1822	for piano (version for piano of the Overture from D 732; first published as Op. 69)
	760			VII/2, 5	Fantasy in C major Wanderer Fantasy		1822	(first published as Op. 15)
	761	23,4		IV, 2a & b No. 1	Schatzgräbers Begehr	In tiefster Erde ruht ein alt Gesetz	1822	for voice and piano (2 versions; 2nd version first published as Op. 23 No. 4)
	762			IV, 13	Schwestergruß	Im Mondenschein’ wall’ ich auf und ab	1822	for voice and piano
	763			III, 2a No. 13	Schicksalslenker, blicke nieder	Schicksalslenker, blicke nieder	1822	for soprano, alto, tenor, bass and piano, Des Tages Weihe (first published as Op. posth. 146)
	764			IV, 5	Der Musensohn	Durch Feld und Wald zu schweifen	1822	for voice and piano (2 versions; 2nd version first published as Op. 92 No. 1)
	765			IV, 13	An die Entfernte	So hab’ ich wirklich dich verloren?	1822	for voice and piano
	766			IV, 13	Am Flusse	Verfließest, vielgeliebte Lieder	1822	for voice and piano (2nd setting)
	767			IV, 3	Willkommen und Abschied	Es schlug mein Herz	1822	for voice and piano (2 versions; 2nd version first published as Op. 56 No. 1)
	768			IV, 5	Wandrers Nachtlied	Über allen Gipfeln ist Ruh	1824	for voice and piano (first published as Op. 96 No. 3)
	769			VII/2, 6 & 7a	Two German Dances		1823–1824	for piano
994	769A			VII/2, 2	Piano Sonata in E minor		1823 ca.	[formerly D 994] (fragment of an "Allegro" first movement is extant)
	770			IV, 3	Drang in die Ferne	Vater, du glaubst es nicht	1823	for voice and piano (first published as Op. 71)
	771			IV, 1a	Der Zwerg	Im trüben Licht verschwinden schon die Berge	1822?	for voice and piano (first published as Op. 22 No. 1)
	772			IV, 1a	Wehmut	Wenn ich durch Wald und Fluren geh’	1822 or 1823?	for voice and piano (first published as Op. 22 No. 2)
	773			VII/1, 5 No. 5	Overture to the opera Alfonso und Estrella		1823	for piano duet (version for piano duet of the Overture from D 732; first published as Op. 69)
	774			IV, 3	Auf dem Wasser zu singen	Mitten im Schimmer der spiegelnden Wellen	1823	for voice and piano (first published as Op. 72)
	775			IV, 3	Daß sie hier gewesen	Daß der Ostwind Düfte hauchet	1823	for voice and piano (first published as Op. 59 No. 2)
	776			IV, 3	Du bist die Ruh	Du bist die Ruh, der Friede mild	1823	for voice and piano (first published as Op. 59 No. 3)
	777			IV, 3	Lachen und Weinen	Lachen und Weinen zu jeglicher Stunde	1823?	for voice and piano (first published as Op. 59 No. 4)
	778			IV, 3	Greisengesang	Der Frost hat mir bereifet	1823	for bass and piano (3 versions; 3rd version first published as Op. 60 No. 1)
	778A			IV, 13	Die Wallfahrt	Meine Tränen im Bußgewand	1823?	for bass and piano
	778B			VIII, 3	Ich hab’ in mich gesogen	Ich hab’ in mich gesogen den Frühling treu und lieb	1827?	for two tenors and two basses (sketch)
	779	50		VII/2, 6 & 7a	Thirty-four Valses Sentimentales			for piano (pub. 1825, first published as Op. 50)
	780			VII/2, 2	Six Moments musicaux			for piano (pub. 1828, first published as Op. 94)
	781			VII/2, 6 & 7a	Twelve Écossaises		1823	for piano (Nos. 2–12 are extant)
	782			VII/2, 7a	Écossaise	D major		for piano (pub. 1824)
	783			VII/2, 6 & 7a	Sixteen German Dances and Two Écossaises		1823–1824	for piano (German Dances Nos. 8 and 9 also used in D 366, D 814; first published as Op. 33)
	784			VII/2, 2 No. 12	Piano Sonata in A minor		1823	(first published as Op. posth. 143)
	785			IV, 13	Der zürnende Barde	Wer wagt’s, wer wagt’s	1823	for bass and piano
	786			IV, 13	Viola	Schneeglöcklein, o Schneeglöcklein	1823	for voice and piano (first published as Op. posth. 123)
	787			II, 7	Die Verschworenen	(Singspiel in one act)	1823	for four or five sopranos, two altos, two or three tenors, two basses, mixed choir and orchestra, Der haüsliche Krieg (eleven numbers) Ouvertüre (fragment) 1. Duett: Sie ist’s! Er ist’s! (2 versions; 1st version for soprano, tenor and orchestra; 2nd version for two sopranos and orchestra) 2. Romanze: Ich schleiche bang’ und still herurn 3. Ensemble: Ihr habt auf Eure Burg entboten 4. Verschwörungschor: Ja, wir schwören 5. Marsch und Chor: Vorüber ist die Zeit 6. Ensemble: Verrätherei hab’ ich entdeckt 7. Chor der Ritter und Frauen: Willkommen, schön willkommen 8. Duett: Ich muß sie finden 9. Ariette: Ich habe gewagt und habe gestritten 10. Ariette: Gesetzt, ihr habt wirklich gewagt 11. Finale: Wie? Darf ich meinen Augen traun?; Ensemble: Ich bin beschämt
	788			IV, 13	Lied (Des Lebens Tag ist schwer und schwül)	Des Lebens Tag ist schwer und schwül	1823	for voice and piano, Die Mutter Erde
	789			IV, 13	Pilgerweise	Ich bin ein Waller auf der Erde	1823	for voice and piano
	790			VII/2, 6	Twelve German Dances		1823	for piano (also appear as "Twelve Ländler"; first published as Op. posth. 171)
	791			II, 16	Rüdiger	(Opera)	1823	for two tenors, men’s choir and orchestra (sketches of two numbers are extant) 1. Introduktion: Durch der Ostsee wilde Wogen (sketch) 2. Duett: Ja, sie war’s, der Frauen Krone (sketch)
	792			IV, 13	Vergißmeinnicht	Als der Frühling	1823	for voice and piano
	793			IV, 13	Das Geheimnis	Sie konnte mir kein Wörtchen sagen	1823	for voice and piano (2nd setting; first published as Op. posth. 173 No. 2)
	794	37,1		IV, 2a & b No. 6	Der Pilgrim	Noch in meines Lebens Lenze	1823	for voice and piano (2 versions; 2nd version first published as Op. 37 No. 1)
	795	25		IV, 2a & Anh. No. 2–5	Die schöne Müllerin		1823	Song cycle for voice and piano 1. "Das Wandern" ['Das Wandern ist des Müllers Lust'] 2. "Wohin?" ['Ich hört’ ein Bächlein rauschen'] 3. "Halt!" ['Eine Mühle seh’ ich blinken'] 4. "Danksagung an den Bach" ['War es also gemeint'] 5. "Am Feierabend" ['Hätt’ ich tausend Arme zu rühren'] 6. "Der Neugierige" ['Ich frage keine Blume'] 7. "Ungeduld" ['Ich schnitt’ es gern in alle Rinden ein'] 8. "Morgengruß" ['Guten Morgen, schöne Müllerin'] 9. "Des Müllers Blumen" ['Am Bach viel kleine Blumen stehn’ '] 10. "Tränenregen" ['Wir saßen so traulich beisammen'] 11. "Mein!" ['Bächlein, laß dein Rauschen sein'] (NSA also appends a modified version) 12. "Pause" ['Meine Laute hab’ ich gehängt an die Wand'] 13. "Mit dem grünen Lautenbande" ['Schad’ um das schöne grüne Band'] (NSA also appends a modified version) 14. "Der Jäger" ['Was sucht denn der Jäger'] 15. "Eifersucht und Stolz" ['Wohin so schnell'] 16. "Die liebe Farbe" ['In Grün will ich mich kleiden'] 17. "Die böse Farbe" ['Ich möchte zieh’n in die Welt hinaus'] 18. "Trockne Blumen" ['Ihr Blümlein alle'] (NSA also appends a modified version) 19. "Der Müller und der Bach" ['Wo ein treues Herze'] (NSA also appends a modified version) 20. "Des Baches Wiegenlied" ['Gute Ruh’, gute Ruh’ ']
	796			II, 8a–c	Fierabras	(Opera in three acts)	1823	for three sopranos, three tenors, three basses, baritone, one spoken role, mixed choir and orchestra (also appears as "Fierrabras"; Overture and twenty-three numbers; first published as Op. 76) Akt I Ouvertüre 1. Introduktion: Der Runde Silberfaden 2. Duett: O Mög’ auf froher Hoffnung Schwingen 3. Marsch und Chor: Zu hohen Ruhmespforten 4. Ensemble a. Rezitativ und Chor: Die Beute laß, o Herr b. Ensemble: Des Krieges Loos hat Euch c. Erzählung: Am Rand der Eb’ne d. Ensemble: Der Landestöcher fromme Pflichteu e. Quartett mit Chor: Dem Erfolg vertrauen 5. Duett: Laß uns mutvoll hoffen 6. Finale I a. Romanze: Der Abend sinkt auf stiller Flur b. Rezitativ und Arie: Was quälst du mich, o Mißgeschick c. Ensemble: Doch horch, was regt sich d. Terzett: Ha, hier waltet ein Verrath e. Rezitativ: Nun faßet Muth f. Rezitativ und Terzett: Wie? Emma hier? g. Quartett mit Chor: Fort zum Siegesreigen Akt II 7. Lied mit Chor: Im jungen Morgenstrahle 8. Rezitativ, March und Ensemble: Beschloßen ist’s, ich löse seine Ketten!; Duett mit Chor: Was ist ihm geschehen? 9. Duett: Weit über Glanz und Erdenschimmer 10. Quintett: Verderben denn und Fluch 11. Chor: Laßt Friede in die Hallen 12. Terzett mit Chor: Im Tode sollt ihr büßen 13. Arie: Die Brust, gebeugt von Sorgen 14. Chor a capella: O theures Vaterland! 15. Melodram a. Melodram. Rezitativ und Ensemble: Ha, was ist das? b. Duett mit Chor: Selbst an des Grabes Rande 16. Chor und Melodram: Der Hoffnung Strahl, den du gegeben 17. Finale II a. Terzett und Chor: Uns führt der Vorsicht weise Hand b. Melodram: Schützt ihn, ihr ew’gen Mächte Akt III 18. Chor: Bald tönet der Reigen 19. Quartett: Bald wird es klar 20. Terzett: Wenn hoch im Wolkensitze 21. Arie mit Chor: Der Jammers herbe Qualen; Marcia funebre und Ensemble (the latter part of this number, "Laß dein Vertrauen nicht schwinden" was formerly D 333) 22. Chor und Ensemble: Der Rache Opfer fallen 23. Finale III a. Rezitativ: Er ist mein Vater b. Ensemble: Der Sieg begleitet meine tapfern Heere c. Nun laßt des langersehnten Glücks uns freuen
	797	26		II, 9 III, 2b Anh. No. 6–7 IV, 2a	Rosamunde, Fürstin von Zypern	(Music for Schauspiel in three acts)	1823	for alto, mixed choir and orchestra (Overture and nine numbers) Ouvertüre (from D 644) 1. Entre-Acte nach dem I. Aufzug (possibly the fourth movement of the Symphony (No. 8) in B minor, D 759) 2. Ballett 3a. Entre-Acte nach dem II. Aufzug 3b. Romanze: Der Vollmond strahlt auf Bergeshöh’n 4. Gesiterchor: In der Tiefe wohnt das Licht 5. Entre-Acte nach dem III. Aufzug 6. Hirtenmelodien 7. Hirtenchor: Hier auf den Fluren 8. Jagerchor: Wie lebt sich’s so fröhlich im Grünen 9. Ballett (NSA IV, 2a: only Ariette = Romanze 3b)
	798			VII/1, 5 No. 6	Overture to the opera Fierabras		1823	for piano duet (version for piano duet of the Overture from D 796; NSA also appends a version by Carl Czerny)
	799			IV, 13	Im Abendrot	Oh, wie schön ist deine Welt	1824 or 1825	for voice and piano (2 versions)
	800	41		IV, 2a	Der Einsame	Wann meine Grillen schwirren	1825	for voice and piano (publishers print 2 versions, but NSA states that the differences between both do not justify a 2nd version; first published as Op. 41)
	801			IV, 3	Dithyrambe	Nimmer, das glaub mir, erscheinen die Götter		Text by Schiller; 2nd setting of two: see also D 47; Two versions: 2nd is Op. 60 No. 2, published 1826
	802			VI, 8 No. 5 & anh. 2	Variations for flute and piano	E minor	1824	Trockne Blumen (2 versions of "Variation V"; first published as Op. posth. 160)
803	803		III No. 1	VI, 1 No. 3	Octet, D 803	F major	1824	for two violins, viola, violoncello, double bass, clarinet, horn and bassoon (first published as Op. posth. 166)
804	804	29 (1824)	V No. 13	VI, 5 No. 14	String Quartet No. 13 Rosamunde	A minor	Feb.–Mar. 1824	Allegro ma non troppo; Andante; Menuetto: Allegretto – Trio; Allegro moderato
	805			IV, 13	Der Sieg	O unbewölktes Leben	1824	for bass and piano
	806			IV, 13	Abendstern	Was weilst du einsam an dem Himmel	1824	for voice and piano
	807			IV, 13	Auflösung	Verbirg dich, Sonne	1824	for voice and piano
	808			IV, 13	Gondelfahrer	Es tanzen Mond und Sterne	1824	for voice and piano (1st setting)
	809			III, 3	Gondelfahrer	Es tanzen Mond und Sterne	1824	for two tenors, two basses and piano (2nd setting; first published as Op. 28)
810	810	(1831)	V No. 14	VI, 5 No. 15	String Quartet No. 14 Death and the Maiden	D minor	March 1824	Allegro; Andante con moto; Scherzo: Allegro molto – Trio; Presto
	811	149p		I, 9 No. 14	Salve Regina	C major	1824	for two tenors and two basses (first published as Op. posth. 149)
	812			VII/1, 2 No. 1	Sonata, D 812	C major	1824	Grand Duo for piano duet (first published as Op. posth. 140)
	813			VII/1, 2 No. 2	Eight Variations on an original theme	A-flat major	1824	for piano duet (first published as Op. 35)
	814			VII/1, 4	Four Ländler		1824	for piano duet
	815			III, 2a No. 14	Gebet	Du Urquell aller Güte	1824	for soprano, alto, tenor, bass and piano (first published as Op. posth. 139)
	816			VII/2, 6	Three Écossaises		1824	for piano
	817			VII/2, 3	Ungarische Melodie	B minor	1824	for piano
	818	54		VII/1, 2 No. 3	Divertissement à la hongroise	G minor	1824	for piano duet (first published as Op. 54)
	819	40		VII/1, 4	Six Grandes Marches		1818 or 1824	for piano duet (first published as Op. 40)
	820			VII/2, 6	Six German Dances		1824	for piano
	821			VI, 8 No. 6	Arpeggione Sonata	A minor	1824	for arpeggione and piano
	822			III, 3	Lied eines Kriegers	Des stolzen Männerlebens schönste Zeichen	1824	for bass, unison men’s choir and piano
	823			VII/1, 2 No. 4	Divertissement sur des motifs originaux français	E minor		for piano duet (pub. 1826–1827, first movement originally published as Marche Brillante, Op. 63; second and third movements first published as Andantino varié and Rondeau brillant, Op. 84 Nos. 1–2)
	824			VII/1, 4	Six Polonaises		1826	for piano duet (first published as Op. 61)
	825	64,1		III, 4 No. 52	Wehmut	Die Abendglocke tönet	1826	for two tenors and two basses (first published as Op. 64 No. 1)
	825A	64,2		III, 4 No. 53	Ewige Liebe	Ertönet, ihr Saiten, in nächtlicher Ruh	1826	for two tenors and two basses (first published as Op. 64 No. 2)
	825B	64,3		III, 4 No. 54	Flucht	In der Freie will ich leben	1825	for two tenors and two basses (first published as Op. 64 No. 3)
	826			III, 2a No. 17	Der Tanz	Es redet und träumet die Jugend so viel	1828	for soprano, alto, tenor, bass and piano
	827	43,2		IV, 2a & b No. 10	Nacht und Träume	Heil’ge Nacht, du sinkest nieder!	1823	for voice and piano (2 versions; 2nd version first published as Op. 43 No. 2)
	828	43,1		IV, 2a	Die junge Nonne	Wie braust durch die Wipfel	1825	for voice and piano (first published as Op. 43 No. 1)
	829			IV, 13	Leb’ wohl du schöne Erde	Leb’ wohl du schöne Erde	1826	for spoken voice and piano (also appears as "Abschied" or "Abschied von der Erde")
	830			IV, 4	Lied der Anne Lyle	Wärst du bei mir im Lebenstal	1825?	for voice and piano (first published as Op. 85 No. 1)
	831			IV, 4	Gesang der Norna	Mich führt mein Weg wohl meilenlang	1825	for voice and piano (first published as Op. 85 No. 2)
	832			IV, 13	Des Sängers Habe	Schlagt mein ganzes Glück in Splitter	1825	for voice and piano
	833			IV, 5	Der blinde Knabe	O sagt, ihr Lieben, mir einmal	1825	for voice and piano (2 versions; 2nd version first published as Op. posth. 101 No. 2; NSA also appends a modified 2nd version)
	834			IV, 5	Im Walde	Ich wandre über Berg und Tal	1825	for voice and piano (2 versions; 2nd version first published as Op. 93 No. 1)
	835	52,3		IV, 3	Bootgesang	Triumph, er naht	1825	for two tenors, two basses and piano (first published as Op. 52 No. 3)
	836	52,4		IV, 3	Coronach (Totengesang der Frauen und Mädchen)	Er ist uns geschieden	1825	for women’s choir and piano, Totengesang der Frauen und Mädchen (first published as Op. 52 No. 4)
	837	52,1		IV, 3	Ellens Gesang I	Raste, Krieger, Krieg ist aus	1825	for voice and piano (first published as Op. 52 No. 1)
	838	52,2		IV, 3	Ellens Gesang II	Jäger, ruhe von der Jagd!	1825	for voice and piano (first published as Op. 52 No. 2)
	839	52,6		IV, 3	Ellens Gesang III (Hymne an die Jungfrau)	Ave Maria! Jungfrau mild	1825	for voice and piano, Ave Maria or Hymne an die Jungfrau (first published as Op. 52 No. 6)
	840			VII/2, 2 No. 13	Piano Sonata in C major, Reliquie		1825	(unfinished – first and second movements are complete; third and fourth movements are fragments)
	841			VII/2, 6	Two German Dances		1825	for piano
	842			IV, 13	Totengräbers Heimwehe	O Menschheit, o Leben, was soll’s?	1825	for voice and piano
	843	52,7		IV, 3	Lied des gefangenen Jägers	Mein Roß so müd	1825	for voice and piano (first published as Op. 52 No. 7)
	844			VII/2, 6	Waltz Albumblatt	G major	1825	for piano
	845	42		VII/2, 2 No. 14	Piano Sonata in A minor		1825	(first published as Op. 42)
	846	52,5		IV, 3	Normans Gesang	Die Nacht bricht bald herein	1825	for voice and piano (first published as Op. 52 No. 5)
	847	155p		III, 4 No. 55	Trinklied aus dem 16. Jahrhundert	Edit Nonna, edit Clerus	1825	for two tenors and two basses (first published as Op. posth. 155)
	848	156p		III, 4 No. 56	Nachtmusik	Wir stimmen dir mit Flötensang	1825	for two tenors and two basses (first published as Op. posth. 156)
	850	53		VII/2, 2 No. 15	Piano Sonata in D major, Gasteiner		1825	(first published as Op. 53)
	851			IV, 3	Das Heimweh	Ach, der Gebirgssohn	1825	for voice and piano (2 versions; 2nd version first published as Op. 79 No. 1)
	852			IV, 3 IV, 4	Die Allmacht	Groß ist Jehova, der Herr	1825	for voice and piano (1st setting; first published as Op. 79 No. 2; NSA also appends a modified version)
	853			IV, 5	Auf der Bruck	Frisch trabe sonder Ruh’ und Rast	1825	for voice and piano (2 versions; 2nd version first published as Op. 93 No. 2)
	854			IV, 13	Fülle der Liebe	Ein sehnend Streben teilt mir das Herz	1825	for voice and piano
	855			IV, 13	Wiedersehn	Der Frühlingssonne holdes Lächeln	1825	for voice and piano
	856			IV, 4	Abendlied für die Entfernte	Hinaus mein Blick, hinaus ins Tal	1825	for voice and piano (first published as Op. 88 No. 1)
	857			IV, 13	Zwei Szenen aus dem Schauspiel ‘Lacrimas’		1825	for voice and piano (first published as Op. posth. 124) 1. "Lied der Delphine" ['Ach, was soll ich beginnen vor Liebe?'] 2. "Lied des Florio" ['Nun, da Schatten niedergleiten']
	859	55		VII/1, 4	Grande Marche Funèbre	C minor	1825	for piano duet (first published as Op. 55)
	860			IV, 13	An mein Herz	O Herz, sei endlich stille	1825	for voice and piano
	861			IV, 13	Der liebliche Stern	Ihr Sternlein, still in der Höhe	1825	for voice and piano
	862			IV, 4	Um Mitternacht	Keine Stimme hör’ ich schallen	1825 and 1826?	for voice and piano (2 versions; 2nd version first published as Op. 88 No. 3)
	863			IV, 13	An Gott	Kein Auge hat dein Angesicht geschaut	1827 or earlier	for one or more voices (lost)
	864			IV, 13	Das Totenhemdchen	Starb das Kindlein	1825 or later	for one or more voices (lost)
	865			IV, 5	Widerspruch	Wenn ich durch Busch und Zweig	1828	for two tenors, two basses and piano (2 versions; 2nd version for voice and piano; first published as Op. 105 No. 1)
	866			IV, 5	Vier Refrainlieder		1828?	for voice and piano (first published as Op. 95) 1. "Die Unterscheidung" ['Die Mutter hat mich jüngst gescholten'] 2. "Bei dir allein" ['Bei dir allein empfind ich, daß ich lebe'] 3. "Die Männer sind méchant" ['Du sagtest mir es, Mutter'] 4. "Irdisches Glück" ['So mancher sieht mit finstrer Miene']
	867			IV, 5	Wiegenlied	Wie sich der Äuglein kindlicher Himmel	1826 or 1827	for voice and piano (first published as Op. 105 No. 2)
	868							see D 990C
	869			IV, 14	Totengräber-Weise	Nicht so düster und so bleich	1826	for voice and piano
	870			IV, 4	Der Wanderer an den Mond	Ich auf der Erd’, am Himmel du	1826	for voice and piano (first published as Op. 80 No. 1)
	871			IV, 4	Das Zügenglöcklein	Kling die Nacht durch, klinge	1826	for voice and piano (2 versions; 2nd version first published as Op. 80 No. 2)
	872			I, 6	Deutsche Messe		1827	for mixed choir and organ, Gesänge zur Feier des heiligen Opfers der Messe. Nebst einem Anhange, enthaltend: Das Gebet des Herr (2 versions; 2nd version adds two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani and double bass)
	873			III, 4 Anh. II No. 2 VIII, 2 No. 29	Canon	A major	1826?	for six voices (sketch without text)
	873A			III, 4 Anh. II No. 3	Nachklänge		1826?	for two tenors and two basses (?) (sketch without text)
	874			IV, 14	O Quell, was strömst du rasch und wild	O Quell, was strömst du rasch und wild	1826?	for voice and piano (sketch)
	875			III, 3	Mondenschein	Des Mondes Zauberblume lacht	1826	for two tenors, three basses and piano (first published as Op. 102)
	875A			III, 2b Anh. No. 8	Die Allmacht	Groß ist Jehova der Herr!	1826	for mixed choir and piano (2nd setting; sketch)
	876			IV, 14	Im Jänner 1817	Ich bin von aller Ruh’ geschieden	1826	for voice and piano, Tiefes Leid
	877			III, 2 No. 23 IV, 3	Gesänge aus "Wilhelm Meister"		1826	(first published as Op. 62) 1. "Mignon und der Harfner" ['Nur wer die Sehnsucht kennt'] for two voices and piano (5th setting) 2. "Lied der Mignon" ['Heiß mich nicht reden, heiß mich schweigen'] for voice and piano (2nd setting; NSA also appends a modified version) 3. "Lied der Mignon" ['So laßt mich scheinen, bis ich werde'] for voice and piano (3rd setting) 4. "Lied der Mignon" ['Nur wer die Sehnsucht kennt'] for voice and piano (6th setting)
	878			IV, 5	Am Fenster	Ihr lieben Mauern hold und traut	1826	for voice and piano (first published as Op. 105 No. 3)
	879			IV, 5	Sehnsucht	Die Scheibe friert, der Wind ist rauh	1826	for voice and piano (first published as Op. 105 No. 4)
	880			IV, 4	Im Freien	Draußen in der weiten Nacht	1826	for voice and piano (first published as Op. 80 No. 3)
	881			IV, 5	Fischerweise	Den Fischer fechten Sorgen und Gram und Leid nicht an	1826	for voice and piano (2 versions; 2nd version first published as Op. 96 No. 4)
	882			IV, 5	Im Frühling	Still sitz’ ich an des Hügels Hang	1826	for voice and piano (2 versions; 2nd version first published as Op. posth. 101 No. 1)
	883			IV, 14	Lebensmut	O wie dringt das junge Leben	1826	for voice and piano
	884	108,1		IV, 5	Über Wildemann	Die Winde sausen am Tannenhang	1826	for voice and piano (first published as Op. 108 No. 1)
	885			VII/1, 4	Grande Marche Héroique	A minor		for piano duet (pub. 1826, first published as Op. 66)
887	887	161p (1851)	V No. 15	VI, 5 No. 16	String Quartet No. 15	G major	20–30/6/1826	Allegro molto moderato; Andante un poco mosso; Scherzo: Allegro vivace – Trio: Allegretto; Allegro assai
	888			IV, 14	Trinklied	Bacchus, feister Fürst des Weins	1826	for voice and piano
	889			IV, 14	Ständchen	Horch, horch! die Lerch im Ätherblau	1826	for voice and piano
	890			IV, 14	Hippolits Lied	Laßt mich, ob ich auch still verglüh	1826	for voice and piano
891	891			IV, 5	An Sylvia	Was ist Silvia, saget an	1826	for voice and piano, Gesang (first published as Op. 106 No. 4)
	892			III, 3	Nachthelle	Die Nacht ist heiter	1826	for tenor solo, two tenors, two basses and piano (first published as Op. posth. 134)
	893			III, 4 No. 57	Grab und Mond	Silberblauer Mondenschein fällt herab	1826	for two tenors and two basses
	894			VII/2, 3 No. 16	Piano Sonata, D 894, Fantasie	G major	1826	(first published as Op. 78; NSA also appends a discarded 1st version of the second movement)
	895			VI, 8 No. 7	Rondeau brillant	B minor	1826	Rondo for violin and piano (first published as Op. 70)
	896			IV, 14	Fröhliches Scheiden	Gar fröhlich kann ich scheiden	1827–1828	for voice and piano (sketch)
	896A			IV, 14	Sie in jedem Liede	Nehm ich die Harfe	1827–1828	for voice and piano (sketch)
	896B			IV, 14	Wolke und Quelle	Auf meinen heimischen Bergen	1827–1828	for voice and piano (sketch)
	897			VI, 7 No. 4	Notturno	E-flat major	1828?	for violin, violoncello and piano (an "Adagio" movement is extant; first published as Op. posth. 148)
	898			VI, 7 No. 3	Piano Trio No. 1	B-flat major	1828?	for violin, violoncello and piano (first published as Op. 99)
	899			VII/2, 5 & Anh.	Four Impromptus		1827	for piano (first published as Op. 90)
	900			VII/2, 5 Anh.	Allegretto	C minor	1821 or later?	for piano (fragment)
	901			III, 4 No. 58	Wein und Liebe	Liebchen und der Saft der Reben	1827	for two tenors and two basses
	902			IV, 4	Drei Gesänge		1827	for bass and piano (first published as Op. 83) 1. "L'incanto degli occhi; Die Macht der Augen" ['Da voi, cari lumi'; 'Nur euch, schöne Sterne'] (2nd setting) 2. "Il traditor deluso; Der getäuschte Verräter" ['Ahimè, io tremo!'; 'Weh mir, ich bebe!'] 3. "Il modo di prender moglie; Die Art ein Weib zu nehmen" ['Orsù! non ci pensiamo'; 'Wohlan! und ohne Zagen']
	903			IV, 4	Zur guten Nacht	Horch auf! Es schlägt die Stunde	1827	for baritone, men’s choir and piano (first published as Op. 81 No. 3)
	904			IV, 4	Alinde	Die Sonne sinkt in’s tiefe Meer	1827	for voice and piano (first published as Op. 81 No. 1)
	905			IV, 4	An die Laute	Leiser, leiser, kleine Laute	1827	for voice and piano (first published as Op. 81 No. 2)
	906			IV, 14	Der Vater mit dem Kind	Dem Vater liegt das kind in Arm	1827	for voice and piano
	907			IV, 4	Romanze des Richard Löwenherz	Großer Taten tat der Ritter fern im heiligen Lande viel	1826?	for voice and piano (2 versions; 2nd version first published as Op. 86)
	908			VII/1, 3 No. 1 Anh. No. 1	Eight Variations on a theme from Hérold's Opera Marie		1827	for piano duet (first published as Op. 82 No. 1)
	909			IV, 5	Jägers Liebeslied	Ich schieß’ den Hirsch im grünen Forst'	1827	for voice and piano (first published as Op. 96 No. 2)
	910			IV, 14	Schiffers Scheidelied	Die Wogen am Gestade schwellen	1827	for voice and piano
	911			IV, 4	Winterreise		1827	for voice and piano (first published as Op. 89) 1. "Gute Nacht" ['Fremd bin ich eingezogen'] 2. "Die Wetterfahne" ['Der Wind spielt mit der Wetterfahne'] 3. "Gefror’ne Tränen" ['Gefror’ne Tropfen fallen'] 4. "Erstarrung" ['Ich such’ im Schnee vergebens'] 5. "Der Lindenbaum" ['Am Brunnen vor dem Tore'] 6. "Wasserflut" ['Manche Trän’ aus meinen Augen'] 7. "Auf dem Flusse" ['Der du so lustig rauschtest'] (2 versions) 8. "Rückblick" ['Es brennt mir unter beiden Sohlen'] 9. "Irrlicht" ['In die tiefsten Felsengründe'] 10. "Rast" ['Nun merk’ ich erst, wie müd ich bin'] (2 versions) 11. "Frühlingstraum" ['Ich träumte von bunten Blumen'] (2 versions) 12. "Einsamkeit" ['Wie eine trübe Wolke'] 13. "Die Post" ['Von der Straße her ein Posthorn klingt'] 14. "Der greise Kopf" ['Der Reif hat einen weißen Schein'] 15. "Die Krähe" ['Eine Krähe war mit mir aus der Stadt gezogen'] 16. "Letzte Hoffnung" ['Hie und da ist an den Bäumen'] 17. "Im Dorfe" ['Es bellen die Hunde'] 18. "Der stürmische Morgen" ['Wie hat der Sturm zerrissen'] 19. "Täuschung" ['Ein Licht tanzt freundlich vor mir her'] 20. "Der Wegweiser" ['Was vermeid’ ich denn die Wege'] 21. "Das Wirtshaus" ['Auf einen Totenacker hat mich mein Weg gebracht'] 22. "Mut" ['Fliegt der Schnee mir ins Gesicht'] (2 versions) 23. "Die Nebensonnen" ['Drei Sonnen sah ich'] (2 versions) 24. "Der Leiermann" ['Drüben hinterm Dorfe steht ein Leiermann']
	912	151p		III, 4 No. 59	Schlachtlied	Mit unserm Arm ist nichts getan	1827	for double men’s choir (2nd setting; first published as Op. posth. 151)
	913			III, 1	Nachtgesang im Walde	Sei uns stets gegrüßt, o Nacht!	1827	for two tenors, two basses and four horns (first published as Op. posth. 139)
	914			III, 4 No. 60	Frühlingslied	Geöffnet sind des Winters Riegel	1827	for two tenors and two basses (1st setting)
	915			VII/2, 5	Allegretto	C minor	1827	for piano
	916			III, 4 Anh. II No. 4	Das stille Lied	Schweige nur, süßer Mund	1827	for two tenors and two basses (sketch)
	916A			IV, 14	Liedentwurf in C		1827?	for voice and piano (sketch without text)
	916B			VII/2, 5 Anh.	Piano piece	C major	1827?	(sketch)
	916C			VII/2, 5 Anh.	Piano piece	C minor	1827?	(sketch)
	917			IV, 14	Das Lied im Grünen	Ins Grüne, ins Grüne, da lockt uns der Frühling	1827	for voice and piano (first published as Op. posth. 115 No. 1)
	918			II, 17	Der Graf von Gleichen	(Opera in two acts)	1827	for four sopranos, two tenors, six basses, mixed choir and orchestra (unfinished – sketches of eleven numbers for Act I and nine numbers for Act II are extant) Akt I 1. Introduktion: Es funkelt der Morgen (sketch) 2. Rezitativ und Cavatine: O Himmel kannst du mir; Mein Weib, o Gott (sketch) 3. Terzett: Wart nur wart (sketch) 4. Duett: Ein Schiff? ein Schiff? (sketch) 5a. Arie: Ihr Blumen, ihr Bäume (sketch) 5b. Rezitativ und Duettritornell: Suleika! Mein Herr und Freund! (sketch) 5c. Duett: Ich wünscht um dich zu schmücken (sketch) 6. Marsch, Rezitativ, Arie und Chor: Ha! Was ist das? (sketch) 7. Quintett: Wie Mondlicht durch die Wolken glänzt (sketch) 8. Rezitativ und Arie: Himmel was mußt’ ich hören?; Ja ich lieb’ ihn (sketch) 9. Lied: Tausend Frauen konnt’ ich schauen (sketch) 10. Duett: Ob ich verstehe? (sketch) 11. Finale I: Sie wird kommen (sketch) Akt II 12. Chor: Laßt uns nicht feyern (sketch) 13. Arie: Trocknet nicht Thränen der ewigen Liebe (sketch) 14. Chor: Vaterland nimm uns auf in deinen Arm (sketch) 15. Rezitativ und Arie: Burg meiner Väter; O Vater der Güte (sketch) 16a. Rezitativ und Duett mit Chor: Wo ist er?; Laß ab mir sprengts die Brust (sketch) 16b. Rezitativ und Chor: Doch sprich, wo ist mein süßer Knabe? (sketch) 17a. Terzett: Das Zeichen wars, das er versprach (sketch) 17b. Rezitativ und Quintett: Oh sieh, sie kommt; Meine Arme öffnen sich (sketch) 18. Lied mit Chor: Vor Allem müßt ihr wissen (sketch) 19. Quartett: Gratulire! nun ich habe nichts dagegen (sketch) 20a. Rezitativ und Arie: Sie schläft; Deine Liebe, deine Milde (sketch) 20b. Duett: Wohlan! Sprich zu dem frommen Kinde (sketch) 20c. Arie: Gütter Gott nimm aus dem Herzen (sketch) 20d. Rezitativ und Duett: Angelika!; Schlage nicht die Augen nieder (sketch) 20e. Terzett: Ihr seyd bewegt was ist geschehen? (sketch) 20f. Quintett: Es geht schön im Kreise der volle Pokal (sketch)
	919			IV, 14	Frühlingslied	Geöffnet sind des Winters Riegel	1827?	for voice and piano (2nd setting)
	920			III, 3	Ständchen	Zögernd leise, in des Dunkels nächt'ger Hülle	1827	for alto, men’s choir and piano, Notturno (2 versions; 2nd version [formerly D 921] for alto, women’s choir and piano, first published as Op. posth. 135)
	921							see D 920
	922			IV, 5	Heimliches Lieben	O du, wenn deine Lippen mich berühren	1827	for voice and piano (2 versions; 2nd version first published as Op. 106 No. 1)
	923			III, 2b No. 24 IV, 14	Eine altschottische Ballade	Dein Schwert, wie ist’s von Blut so rot	1827	for male voice, female voice and piano (3 versions; 2nd version for voice and piano; 3rd version for male voice, female voice and piano; 1st version first published as Op. posth. 165 No. 5)
	924			VII/2, 7a	Twelve Grazer Waltzes		1827?	for piano (first published as Op. 91)
	925			VII/2, 7a	Grazer Galopp	C major	1827?	for piano
	926			IV, 5	Das Weinen	Gar tröstlich kommt geronnen	1827–1828	for voice and piano (first published as Op. 106 No. 2)
	927			IV, 5	Vor meiner Wiege	Das also, das ist der enge Schrein	1827–1828	for voice and piano (first published as Op. 106 No. 3)
	928			VII/1, 4	March	G major	1827	Kindermarsch for piano duet
	929			VI, 7 No. 2 & Anh.	Piano Trio No. 2	E-flat major	1827	for violin, cello and piano (first published as Op. 100)
	930			III, 2a No. 15	Der Hochzeitsbraten	Ach liebes Herz, ach Theobald, laß dir nur diesmal raten	1827	for soprano, tenor, bass and piano (first published as Op. posth. 104)
	931			IV, 14	Der Wallensteiner Lanzknecht beim Trunk	He! schenket mir im Helme ein!	1827	for voice and piano
	932			IV, 14	Der Kreuzzug	Ein Münich steht in seiner Zell	1827	for voice and piano
	933			IV, 14	Des Fischers Liebesglück	Dort blinket durch Weiden	1827	for voice and piano
	934			VI, 8 No. 8	Fantasy for violin and piano	C major	1827	(first published as Op. posth. 159)
	935			VII/2, 5 & Anh.	Four Impromptus		1827	for piano (first published as Op. posth. 142)
	936			III, 2a No. 16	Kantate für Irene Kiesewetter	Al par del ruscelletto chiaro	1827	for two tenors, two basses, mixed choir and piano duet (also appears as "Kantate zur Feier der Genesung der Irene Kiesewetter")
	936A			V, 6 No. 11 & Anh. 2	Symphony No. 10	D major	1828?	(piano sketches of all three movements are extant)
	937			IV, 14	Lebensmut	Fröhlicher Lebensmut braust in dem raschen Blut	1828?	for voice and piano (fragment)
	938			IV, 14	Der Winterabend	Es ist so still, so heimlich um mich	1828	for voice and piano
	939			IV, 5	Die Sterne	Wie blitzen die Sterne so hell durch die Nacht	1828	for voice and piano (first published as Op. 96 No. 1)
	940			VII/1, 3 No. 2 & Anh. No. 1	Fantasy in F minor		1828	for piano duet (first published as Op. 103)
	942			III, 2b No. 18	Mirjams Siegesgesang	Rührt die Zimbel, schlagt die Saiten	1828	for soprano, mixed choir and piano (first published as Op. posth. 136) I. Rührt die Zimbel, schlagt die Saiten II. Aus ägypten vor dem Volke III. Doch der Horizont erdunkelt IV. S’ist der Herr in seinem Grimme V. Tauchst du auf, Pharao? VI. Drum mit Zimbeln und mit Saiten
	943			IV, 14	Auf dem Strom	Nimm die letzten Abschiedsküsse	1828	for voice, horn (or violoncello) and piano (first published as Op. posth. 119)
944	944	(1840)	I, 2 No. 7	V, 4 No. 8	Symphony No. 9 Great C major	C major	1825?– March 1828	Andante – Allegro ma non troppo; Andante con moto; Scherzo: Allegro vivace; Allegro vivace. See also D 849 (Gmunden-Gastein symphony)
944A	944A				German Dance		1828	in an unknown key for piano (lost)
	945			IV, 14	Herbst	Es rauschen die Winde so herbstlich und kalt	1828	for voice and piano
	946			VII/2, 5	Three piano pieces "Drei Klavierstücke"		1828
	947			VII/1, 3 No. 3	Allegro	A minor	1828	Lebensstürme for piano duet (first published as Op. posth. 144)
948 941 964	948	154p		I, 9 No. 15–16 & Anh. 3	Hymnus an den heiligen Geist	Komm, heil’ger Geist, erhöre unser Flehen	1828	for two tenors, two basses and men’s choir (2 versions; 1st version was formerly D 941; 2nd version [formerly D 964] for two tenors, two basses, men’s choir, two oboes, two clarinets, two bassoons, two trumpets, two horns and three trombones; 2nd version first published as Op. posth. 154)
	949							see D 639
	950			I, 4	Mass No. 6 in E-flat major		1828	for soprano, alto, tenor, bass, mixed choir and orchestra
	951			VII/1, 3 No. 4 & Anh. No. 2	Rondo	A major	1828	Grand Rondeau for piano duet (first published as Op. 107)
	952			VII/1, 3 No. 5	Fugue	E minor	1828	for organ duet or piano duet (first published as Op. posth. 152)
	953			III, 2b No. 19	Der 92. Psalm	tôw l’hôdôs ladônoj	1828	for baritone, soprano, alto, tenor, bass and mixed choir
	954			III, 2b No. 20	Glaube, Hoffnung und Liebe	Gott, laß die Glocke glücklich steigen	1828	for two tenors, two basses, mixed choir and piano (scoring also possible for two tenors, two basses, mixed choir, two oboes, two clarinets, two bassoons, two horns and two trombones)
	955			IV, 5	Glaube, Hoffnung und Liebe	Glaube, hoffe, liebe!	1828	for voice and piano (first published as Op. 97)
956	956		IV No. 1	VI, 2 No. 2	String Quintet	C major	1828	for two violins, viola and two violoncellos (first published as Op. posth. 163)
	957			IV, 14	13 Lieder nach Gedichten von Rellstab und Heine		1828	for voice and piano (also appears as "Schwanengesang") 1. "Liebesbotschaft" ['Rauschendes Bächlein, so silber und hell'] 2. "Kriegers Ahnung" ['In tiefer Ruh liegt um mich her'] 3. "Frühlingssehnsucht" ['Säuselnde Lüfte wehen so mild'] 4. "Ständchen" ['Leise flehen meine Lieder'], Serenade (NSA also appends a modified version) 5. "Aufenhalt" ['Rauschender Strom, brausender Wald'] 6. "In der Ferne" ['Wehe dem Fliehenden'] 7. "Abschied" ['Ade! du muntre, du fröhliche Stadt'] 8. "Der Atlas" ['Ich unglückselger Atlas'] 9. "Ihr Bild" ['Ich stand in dunkeln Träumen'] 10. "Das Fischermädchen" ['Du schönes Fischermädchen'] 11. "Die Stadt" ['Am fernen Horizonte'] 12. "Am Meer" ['Das Meer erglänzte weit hinaus'] 13. "Der Doppelgänger" ['Still ist die Nacht, es ruhen die Gassen']
	958			VII/2, 3 No. 17	Piano Sonata in C minor		1828
	959			VII/2, 3 No. 18	Piano Sonata in A major		1828
	960			VII/2, 3 No. 19	Piano Sonata in B-flat major		1828
	961							see D 452
	962			I, 9 No. 10 & Anh. 4	Tantum ergo	E♭ major	1828	for soprano, alto, tenor, bass, mixed choir and orchestra
	963			I, 8	Offertory Intende voci	B-flat major	1828	for tenor, mixed choir and orchestra
	965			IV, 14	Der Hirt auf dem Felsen	Wenn auf dem höchsten Fels ich steh	1828	for voice, clarinet and piano (first published as Op. posth. 129)
	965A			IV, 14	Die Taubenpost	Ich hab’ eine Brieftaub in meinem Sold	1828	for voice and piano [formerly D 957 No. 14]
	965B			VIII, 2 Nos. 15–16	Fugenübungen		1828	Fugal exercises for unspecified instruments/voices (eighteen fugal expositions for two voices)
966	11/3							see D 11 No. 3
	966A							see D 71C
	966B			V, 6 No. 8	Orchestral piece	A major	1820 or later	(sketch)
	967							see D 37A
	968			VII/1, 1 No. 7	Sonatine		between 1815 and 1819?	Allegro moderato in C major and Andante in A minor for piano duet
603	968A			VII/1, 1 No. 8	Introduction, Four Variations on an original theme and Finale	B-flat major		for piano duet [formerly D 603] (date unknown, first published as Op. posth. 82 No. 2)
886	968B			VII/1, 4	Deux Marches Caractéristiques	C major		for piano duet [formerly D 886] (date unknown, first published as Op. posth. 121)
	969			VII/2, 7a	Twelve Waltzes for piano Valses nobles			(pub. 1827, first published as Op. 77)
	970			VII/2, 6	Six Ländler			for piano (date unknown, also appear as "Six German Dances")
	971			VII/2, 7a	Three German Dances		1823?	for piano
	972			VII/2, 6	Three German Dances		1816 or earlier	for piano
	973			VII/2, 6	Three German Dances		1823?	for piano
	974			VII/2, 6	Two German Dances		1822?	for piano
	975			VII/2, 6	German Dance	D major	1824?	for piano
	976			VII/2, 7a	Cotillon	E-flat major		for piano (pub. 1825)
	977			VII/2, 6	Eight Écossaises		1816?	for piano
	978			VII/2, 7a	Waltz	A-flat major		for piano (pub. 1825)
	979			VII/2, 7a	Waltz	G major		for piano (pub. 1826)
	980			VII/2, 7a	Two Waltzes			for piano (pub. 1826)
	980A			VII/2, 6	Two Dances		1820 or earlier	for piano [formerly D 640] (sketches)
	980B			VII/2, 6	Two Ländler	E-flat major	1816?	for piano [formerly D 679]
	980C			VII/2, 6	Two Ländler	D-flat major	1820 or earlier	for piano [formerly D 680] (fragment)
	980D			VII/2, 7a	Waltz	C major for piano, Krähwinkler Tanz		(pub. 1828)
	980E			VII/2, 6	Two Dances		1819 or later	for piano (?) (sketches)
	980F			VII/2, 6	March	G major		for piano (date unknown; piano reduction of a lost march for orchestra?)
	981			Singspiel	Der Minnesänger			(date unknown, fragment; lost)
	982			II, 16	Sketches for an opera	(Opera)	1819–1821?	for two sopranos, tenor, bass and orchestra (also appears as "Sophie"; title and text author unknown; sketches of three numbers are extant) 1. Quartett: O lang ersehnte Seligkeit (sketch) 2. Ariette: Philomele, Philomele (sketch) 3. Terzett: Wir giessen die Nelken (sketch)
	983	17,1 (1823)		III, 4 No. 48	Jünglingswonne	So lang im deutschen Eichentale		for two tenors and two basses (pub. 1823, first published as Op. 17 No. 1)
	983A	17,2 (1823)		III, 4 No. 49	Liebe	Liebe rauscht der Silberbach		Text by Schiller, from "Der Triumph der Liebe"; Other: D 55, 61, 62, 63, 64; For two tenors and two basses
	983B	17,3 (1823)		III, 4 No. 50	Zum Rundetanz	Auf! es dunkelt; silbern funkelt		for two tenors and two basses (pub. 1823, first published as Op. 17 No. 3)
	983C	17,4 (1823)		III, 4 No. 51	Die Nacht	Wie schön bist du, freundliche Stille		for two tenors and two basses (pub. 1823, first published as Op. 17 No. 4)
	984			III, 3	Der Wintertag	In schöner heller Winterzeit ward eine Maid geboren	1821 or later	for two tenors, two basses and piano, Geburtstaglied (fragment; piano part is lost; first published as Op. posth. 169)
	985			III, 2a No. 4	Gott im Ungewitter	Du Schrecklicher, wer kann vor dir und deinem Donner stehn?	1815?	for soprano, alto, tenor, bass and piano (first published as Op. posth. 112 No. 1)
	986			III, 2a No. 5	Gott der Weltschöpfer	Zu Gott, zu Gott flieg auf	1815?	for soprano, alto, tenor, bass and piano (first published as Op. posth. 112 No. 2)
	988			III, 4 No. 61 VIII, 2 No. 30	Liebe säuseln die Blätter	Liebe säuseln die Blätter	1815?	Canon for three voices
	988A			III, 3	Accompaniment part	B-flat major	1821 or later	for piano (fragment; for a multi-part vocal composition?)
	989							see D 579A
	989A							see D 579 B
	990			IV, 14	Der Graf von Habsburg	Zu Aachen in seiner Kaiserpracht		for voice and piano (date unknown)
	990A			IV, 14	Kaiser Maximilian auf der Martinswand	Hinauf! hinauf! in Sprung und Lauf		for voice and piano (date unknown, also appears as "Kaiser Maximilian auf der Martinswand in Tirol")
	990B			IV, 14	Augenblicke im Elysium	Vor der in Ehrfurcht all mein Wesen kniet		for voice and piano [formerly D 582] (date unknown, lost)
	990C			IV, 14	Das Echo	Herzliebe gute Mutter, o grolle nicht mit mir	1828?	for voice and piano [formerly D 868] (first published as Op. posth. 130)
	990D			IV, 14	Die Schiffende	Sie wankt dahin; die Abendwinde spielen	1815?	for voice and piano (lost)
	990E			IV, 4 IV, 11	L'incanto degli occhi	Da voi, cari lumi	1816?	for soprano and piano (1st setting; fragment)
	990F			IV, 11	Ombre amene	Ombre amene	1816?	for soprano and piano, La serenata (fragment; originally, the Deutsch catalogue incorrectly listed this entry as an early version of the song "Il traditor deluso")
111	77							See D 77
185	105							See D 105
212	208							See D 208
245	587							see D 587
493	489							See D 489
601	470							See D 470
641	598							See D 598
849	944							D 849 used to be the Gmunden-Gastein symphony, later identified with Symphony No. 9, see D 944
941	948							See D 948, first version
964	948							See D 948, second version
991	323							See D 323
992	383							See D 383
174		(1894)	XXII, 11 No. 56	IV, 8 Anh. No. 2	Das war ich		June 1816	Second setting (fragment), see D 174
40	Anh. I/1				String Quartet, D Anh. I/1	E-flat major	1813	Lost or identical to D 87
	Anh. I/2							String Quartet in F major (1816, lost or identical to D 353 or D 487)
	Anh. I/3			VIII, 2 Anh. No. 2				Fugue in C major for string quartet (?) (1812?, fragment; only viola part is extant)
2	Anh. I/4							Fragment of a string quartet movement in G major by Albert Stadler
	Anh. I/5							String Quartet in E-flat major (date unknown, sketch of the first movement is extant; composition by Anselm Hüttenbrenner)
	Anh. I/6							Duet in D major for two violins (1816, not by Schubert)
	Anh. I/6A							Symphony in E major, Symphony 1825 (date unknown, not by Schubert; composition by Gunter Elsholz)
858	Anh. I/7			VII/1, 4	March			for two pianos, eight hands [formerly D 858] (1825, lost)
	Anh. I/8							Piano Sonata in F major (1815, lost or identical to D 157)
	Anh. I/9							Piano Sonata in F major (1816, lost or identical to D 459)
	Anh. I/10							Fantasy in E-flat major for piano (1825?, lost)
	Anh. I/11							Allegro in G major and Minuet in C major for piano (date unknown, also appears as "Sonatina"; not by Schubert)
	Anh. I/12							Seven Easy Variations in G major for piano (pub. 1810, presumably not by Schubert)
	Anh. I/13							Six German Dances for piano (1814, lost)
	Anh. I/14							Waltz [in G-flat major] for piano, Kupelwieser-Walzer (1826, transcribed by Richard Strauss)
336	Anh. I/15							Minuet with Trio in D major for piano [formerly D 336] (date unknown, presumably not by Schubert)
	Anh. I/16							Dance "Écossaise de Vienne" in A-flat major for piano (1821?, composition by Anselm Hüttenbrenner?)
	Anh. I/17							Hymn "Tantum ergo" ['Tantum ergo'] in B-flat major for unknown voices/instruments (date unknown, fragment; only one soprano part is extant; presumably not by Schubert)
132	Anh. I/18			III, 4 Anh. I No. 2	Lied beim Rundetanz	Auf, es dunkelt, silbern funkelt	1815-1816	fragment, formerly D 132 – One voice of a part song, no autograph extant
133	Anh. I/19			III, 4 Anh. I No. 3	Lied im Freien	Wie schön ist’s im Freien	1815-1816	fragment, formerly D 133 – One voice of a part song, no autograph extant
339	Anh. I/20			III, 4 Anh. I No. 4	Amors Macht	Wo Amors Flügel weben	1815-1816	fragment, formerly D 339
340	Anh. I/21			III, 4 Anh. I No. 5	Badelied	Zur Elbe, zur Elbe, des Äthers Gewölbe	1815-1816	fragment, formerly D 340
341	Anh. I/22			III, 4 Anh. I No. 6	Sylphen	Was unterm Monde gleicht uns Sylphen flink und leicht	1815-1816	fragment, formerly D 341
425	Anh. I/23			III, 4 Anh. I No. 7	Lebenslied	Kommen und scheiden, suchen und meiden	1815-1816	fragment, see also D 425
	Anh. I/24							Cantata "Kantate auf den Vater" ['?'] for unspecified voices and piano (?) (1816, lost)
	Anh. I/25							Cantata "Drum Schwester und Brüder" ['Drum Schwester und Brüder singt fröhliche Lieder'] for voice (?), choir, violin, violoncello and other unknown instruments (1819, fragment; only violin and violoncello parts are extant)
	Anh. I/26							Trio or Quartet "Sturmbeschwörung" ['Nirgends Rettung, nirgends Land'] for two sopranos and alto (?) or two sopranos and two altos (?) (date unknown, fragment; only one soprano part is extant)
	Anh. I/27							Song "Drei Chöre mit Bläsern" ['Lieblich ist, wenn sanftes Grau; Leb wohl, geliebte Freundin; O Zeit, wie manchen herben Schmerz'] for male choir, two horns and two bassoons (date unknown, fragment; not by Schubert)
512	Anh. I/28							Song "Klage (Nimmer länger trag ich)" ['Nimmer länger trag ich dieser Leiden Last'] for voice and piano, Nimmer länger trag ich [formerly D 512] (ca. 1817, presumably not by Schubert)
	Anh. I/29							Song "Kaiser Ferdinand II." ['Was reget die Stadt sich in freudiger Hast?'] for voice and piano (1809?, doubtful)
	Anh. I/30							Song "Mein Frieden" ['Ferne, ferne flammen helle Sterne'] for voice and piano (pub. 1823, composition by Franz Anton Schubert)
	Anh. I/31							Song "Adieu! (Lebe wohl!)" ['Voici l'instant suprême; Schon naht, um uns zu scheiden'] for voice and piano (pub. 1824, composition by August Heinrich von Weyrauch)
598A	Anh. I/32			VIII, 2 Anh. No. 1				Composition exercises "Generalbaßübungen" for unspecified instruments/voices [formerly D 598A] (date unknown)
	Anh. II/1							Arrangement of the Overture to the opera Iphigenie in Aulis for piano duet (1810?, fragment; composition by Christoph Willibald Gluck)
96	Anh. II/2							Arrangement of the "Notturno in G major for Flute, Viola and Guitar" for flute, guitar, viola and violoncello [formerly D 96] (1814, also appears as "Quartet in G major for flute, guitar, viola and violoncello"; composition by Wenzel Thomas Matiegka, Op. 21; Trio II in the second movement "Menuetto", by Schubert)
	Anh. II/3							Arrangement of Two Arias from the Opera "Echo et Narcisse" ['Rien de la nature'; 'O combats, o désordre extrème!'] for voice and piano (1816, compositions by Christoph Willibald Gluck)
	Anh. II/4							Arrangement of the Hymn "Der 8. Psalm für Solostimme und Klavier" ['Unendlicher, Gott, unser Herr'] for voice, two oboes, two clarinets, timpani, strings and organ (1823, composition by Maximilian Stadler; instrumentation by Schubert)
	Anh. III/1							Nine Canons "Neun Kanons" ['Es packe dich das Glück beim Kragen; Vom Glück sei alles dir beschert; Glück fehl dir vor allem; Wohlsein und Freude; Drum habe Dank, o Vater Hayden; Adam hat siebn Söhn; Cato, Plato, Cicero; Was i beim Tag mit der Leiern gwinn; Alleluia'] for four or more voices (ca. 1810 copy; compositions by Michael Haydn, Joseph Haydn, Josef Otter, Wolfgang Amadeus Mozart and anonymous composers)
	Anh. III/2							Song "Die Teilung der Erde" ['Nehmt hin die Welt! rief Zeus aus seinen Höhen'] for voice and piano (ca. 1810 copy; composition by Franz de Paula Roser)
	Anh. III/3							Symphony in C major, KV 551 (1813 copy; composition by Wolfgang Amadeus Mozart)
	Anh. III/4							Canon "Kanon (Hoffnung Kind des Himmels)" ['Hoffnung Kind des Himmels'] from the Singspiel "Elbondocani" for two sopranos, tenor, bass and piano (1813? copy; composition by Johann Rudolf Zumsteeg)
	Anh. III/5							Trio "Chor der Derwische" ['Ein Gott, ein wahrer Gott ist nur'] for two tenors and bass (1813? copy; composition by Johann Rudolf Zumsteeg)
85	Anh. III/6							Offertory "Clamavi ad te" in C major, Op. 16 [formerly D 85] for unspecified voices/instruments (1813 copy of the solo soprano voice is extant; composition by Josef Preindl)
	Anh. III/7							Scene "Monolog aus Goethes ‘Iphigenie’ " ['Heraus in eure Schatten'] for voice, women’s choir and piano ['Heraus in eure Schatten'] (1815 copy; composition by Johann Friedrich Reichardt)
	Anh. III/8							Symphony No. 4 in B-flat major, Op. 60 (8-bar copy after 1820; composition by Ludwig van Beethoven)
	Anh. III/9							Song "Deutsches Hochamt (Hier liegt vor deiner Majestät)" ['?'] for voice and organ (copy of the organ part lost; composition by Michael Haydn)
	Anh. III/10							Mass in C major (1820 copy; composition by Josef Preindl)
92	Anh. III/11							Canon "Laß immer in der Jugend Glanz", K. 410/Anh. 134/440d/484d, for two voices [formerly D 92] (copy lost; composition by Wolfgang Amadeus Mozart)
127	Anh. III/12							Canon "Selig, selig alle, die im Herrn entschliefen!", K. 230/382b, for two voices [formerly D 127] (copy lost; composition by Wolfgang Amadeus Mozart)
	Anh. III/13							Song "Abendlied unterm gestirnten Himmel" ['Wenn die Sonne niedersinket'], WoO 150, for voice and piano (1820 copy; composition by Ludwig van Beethoven)

Not in the Deutsch catalogue

D deest, Sketch of a composition "?" ['?'] for unspecified voices and orchestra (1811?, sketch)
D deest, Mass in C major (?) for mixed choir, two violins and organ (1811?, sketch?; lost or never written)
D deest, Theme of a dance composition (?) for piano (?) (1812?, sketch)
D deest, Trio "Scherz-Terzett" ['Mala musica, bona musica?'] for three altos (1812, doubtful)
D deest, Aria "?" ['?'] for bass and piano (?) (1812, sketch; also appears as "Allegretto in D major")
D deest, Fantasy in an unknown key for string quartet (1813, lost)^[1]
D deest, Fugue in an unknown key for piano or organ (1813, lost)
D deest, Fragment of a composition for violin (?) (1813, sketch; fragment)
D deest, Sketch of a composition for unspecified instrument(s) (1813, sketch)
D deest, Fugue in F major for piano (1813, sketch)
D deest, Piano piece (?) in F major (1813, sketch)
D deest, Themes to Two Minuets for piano (1813?, sketches)
D deest, Fragment of an instrumental composition for violin, viola and guitar (?) (1813?, fragment)
D deest, Song "?" ['?'] improvised for a play for voice and piano (1815?, lost?; possibly identical to D 284)
D deest, String Quartet in B-flat major (1816, lost)
D deest, Canon "Canon a trè" ['?'] in B-flat major for three voices (1816? fragment)
D deest, Four Dances in A major for piano (1816?, only incipits are extant)
D deest, Song "?" ['?'] in C major for voice and piano (1816, fragment)
D deest, Song "Die Nacht" ['Die Nacht bricht an, mit leisen Lüften sinket'] for voice and guitar (after 1816?, doubtful; accompaniment part by Franz Xaver Baron von Schlechta; voice part by Schubert?)
D deest, Sketch of a theme for unspecified instruments/voices "Themenentwurf" (1818, sketch)
D deest, Sketch of a theme in A minor for unspecified instruments/voices "Themenentwurf" (1818, sketch)
D deest, Ecossaise in G major, Ländler in F major and Ländler in F minor (?) for piano (1818, sketches)
D deest, Vocal composition "?" ['?'] for mixed choir (?) (1818?, fragment without text)
D deest, Accompaniment for a vocal composition "?" ['?'] (1821?, fragment)
D deest, Vocal composition "?" ['?'] for unspecified voices (1821?, fragment)
D deest, Tantum ergo ['Tantum ergo'] in C major for mixed choir and orchestra (1821)
D deest, Tantum ergo ['Tantum ergo'] in C major for mixed choir and orchestra (1821)
D deest, Fragment of a composition for unspecified instruments (1823, sketch)
D deest, Sketch of a composition for orchestra (?) (1823, piano sketch)
D deest, Piano Sonata in C-sharp major (1825?, lost or identical to D 568 1st version)
D deest, Canon ["?"] ['?'] in C major for five voices (1826?)
D deest, Song "?" ['?'] for voice and piano (ca. 1827, fragment; lost)
D deest, Imitation exercises in invertible counterpoint for unspecified instruments/voices (1828; three 2-part imitation exercises)
D deest, Song (?) "Seliges Genügen" ['?'] for unspecified voice(s)/instrument(s) (date unknown, lost)
D deest, Song (?) "...doch stärker ist die Mutterliebe" ['?'] for voice (?) and orchestra (date unknown, fragment; lost)
D deest, Overture in an unknown key for orchestra (date unknown, lost)
D deest, Fragment of a cantata (?) "?" ['?'] for unspecified soloists, choir and orchestra (date unknown, fragment without text)
D deest, Song (?) or piano piece (?) "Lieder für das Pianoforte" ['?'] for voice (?) and/or piano (?) (date unknown, lost)
D deest, String Sextet in an unknown key for three violins, viola, violoncello and double bass (date unknown, fragment; lost)
D deest, Trio "?" ['?'] in D major for unspecified voices (date unknown, fragment without text)

References

↑ Fantasie, D deest (1813) at schubert-ausgabe.de

Sources

Franz Schubert's Works (various editors and editions)
Schubert Thematic Catalogue (various editions)
Neue Schubert-Ausgabe (various editors and publication dates)
Eva Badura-Skoda and Peter Branscombe. Schubert Studies: Problems of Style and Chronology. Cambridge University Press, 1982. Reprint 2008. ISBN 0521088720 ISBN 9780521088725 ISBN 9780521226066
Brian Newbould. Schubert: The Music and the Man. University of California Press, 1999. ISBN 0520219570 ISBN 9780520219571
Reinhard Van Hoorickx. "Franz Schubert (1797–1828) List of the Dances in Chronological Order" in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol. 25, No. 1/4, pp. 68–97, 1971
Reinhard Van Hoorickx. "Thematic Catalogue of Schubert's Works: New Additions, Corrections and Notes" in Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, Vol. 28/30, pp. 136–171, 1974—1976.

External links

Wikimedia Commons has media related to Compositions by Franz Schubert.

(German) Franz Schubert, Thematisches Verzeichnis seiner Werke in chronologischer Folge on-line copy of the 1978 version of the Deutsch catalogue at archive.org
(German) Franz Schubert 31.1.1797 – 19.11.1828 at home.arcor.de/kbhartmann
(French) Franz Schubert: Catalogue des oeuvres at musiqueorguequebec.ca
(Italian) Franz SCHUBERT: Catalogo delle composizioni at flaminioonline.it
555 on-line autographs of compositions by Schubert, ordered by D. number at schubert-online.at by Austrian Academy of Sciences (OAW)
List of works by Franz Schubert: Scores at the International Music Score Library Project
Free scores by Franz Schubert at the International Music Score Library Project
Franz Schubert (1797–1828): New Edition of the Complete Works at www.baerenreiter.com
The New Schubert Edition at schubert-ausgabe.de
SCHUBERT FIRST PUBLIC PERFORMANCES: A TIMELINE at schubertusa.weebly.com
Schubert Edition at www.brilliantclassics.com

Franz Schubert

Compositions

By genre	chamber music church music orchestral works (symphonies) piano music (piano solo) sonatas, duos and fantasies songs and part-songs (song cycles) stage works

Publications	Deutsch catalogue opus/Deutsch number concordance 19th century complete edition New Schubert Edition

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