Franz Schubert, the Austrian composer hailed as the “King of Song” for leaving behind more than 600 lieder, including masterpieces such as Erlkönig and Ave Maria.
Schubert is known not only for his many celebrated songs, but also for his wide-ranging output in solo piano works, symphonies, and chamber music.
In this article, we’ve handpicked Schubert’s most popular pieces as well as hidden gems beloved by devoted classical-music aficionados.
We present a selection of sparkling works infused with the spirit of a musician who composed throughout his life.
Franz Schubert’s Masterpieces: Sparkling Classical Works Left by the King of Songs. Recommended Classical Music (101–110)
Piano Sonata No. 16 in A minor, Op. 42, D. 845, First MovementFranz Schubert
Schubert: Piano Sonata No. 16 in A minor, D 845, Op. 42 – I. First movement; Pf. Yurino Izumi
A piano piece known as one of the few sonatas Franz Schubert, a master of Romantic music, published during his lifetime.
It is characterized by unstable harmonies and bold modulations, expressing Schubert’s distinctive “transfigured sorrow.” The first movement, notable for its somber, emotionally rich melody, is in sonata form and develops a powerful yet poignant theme in A minor.
The opening subject, presented in a “question-and-answer” manner that creates a musical dialogue, is also striking.
With its complex emotional expression and palpable tension, this work is an ideal piece for those looking to refine their piano technique.
This “Minuet in A major, D334” is, as its title suggests, a minuet composed by Schubert around 1815, when he was in his teens.
It proceeds gently in typical minuet fashion, but from the trio in the latter half, the repeated left-hand chord strokes can pose a stumbling block for beginners.
That said, if you have a firm sense of 3/4 time, there’s nothing to be overly afraid of.
Focus on not overexerting the left hand and on playing the right-hand slurs smoothly to shape the beautiful melody, and do your best to perform gracefully all the way to the end!
Schubert left many waltzes for solo piano, and it is said that among the pieces he improvised before close friends, he carefully wrote out the ones he liked, which were later included in various collections.
Perhaps because they arose spontaneously for his friends, Schubert’s solo piano waltzes are accessible and relatively short, with many repeated sections; they seldom demand advanced technique, making them easy to tackle.
The Waltz in A-flat major, D.
978, discussed here, appears to have an unknown year of composition, but it is a light, graceful piano dance about a minute long that evokes the genial atmosphere of the salon.
It is quite manageable for upper-beginner level players, but its simplicity can make it prone to sounding monotonous, so even within that single minute, be sure to shape the repeated phrases with clear expression.
Impromptu in E-flat major, Op. 90 No. 2 (Schubert) – Schubert: Impromptu in E-flat major, Op. 90 No. 2
Schubert is known as a composer who left behind an enormous body of work despite his short life of just 31 years.
This piece, composed in 1827 as part of a set of four Impromptus, is considered one of Schubert’s representative piano works.
It is characterized by passages based on rapid descending scales and arpeggios, and is highly regarded for its lyrical beauty, complex structure, and expressive depth.
Even pianists with a moderate level of experience should find it quite playable.
If you perform this piece admirably at a recital, you will likely feel a real sense of growth in your piano technique.
Masterpieces by Franz Schubert: Exquisite classical works left by the King of Song. Recommended classical music (111–120)
Impromptu in G-flat major, Op. 90 No. 3Franz Schubert
Schubert – Impromptu in G flat major, Op. 90 No. 3 – pianomaedful
This piece is by Franz Schubert, a composer emblematic of the 19th-century Romantic era.
It is the third piece from his set of Impromptus composed in 1827, notable for its beautiful melody characterized by flowing sextuplet arpeggios.
Over gentle harmonies, the inner voices are ornamented, supporting a long-breathed, singing line.
This work, which conveys Schubert’s delicate sensibility and profound expressiveness, is also very popular among piano students.
The sense of meter is highly distinctive, so pay careful attention to which beat each phrase aligns with as you play.
Some arpeggios are broken chords, so as you learn them, memorize where the flats occur on the keyboard.
Holding long notes with the right hand while playing the arpeggios can be quite challenging at first, but similar figurations appear in works by other composers such as Liszt; with continued practice, you’ll be able to apply this technique to other pieces as well.
Impromptu in G-flat major, Op. 90 No. 3Franz Schubert
Schubert: Impromptus No. 3 in G-flat major, D 899, Op. 90 / Performed by: Akira Imai
What followed Classical music was Romantic music.
Romantic music departed from the earlier pursuit of axioms in musical practice, instead prioritizing human emotions and sensations; in other words, it does not demand strictness in compositional technique.
Several of Schubert’s impromptus are quintessentially human-centered.
