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.
Masterpieces by Franz Schubert: Exquisite classical works left by the King of Song. Recommended classical music (111–120)
Impromptus No. 3 in B-flat major, D 935, Op. 142Franz Schubert
Schubert: Impromptus No. 3 in B-flat major, D 935, Op. 142 / Performed by Akira Imai
Let us introduce a work by Franz Schubert, a leading figure of early 19th-century Austria.
Composed in 1827, this piece is written in a theme-and-variations form, consisting of a theme followed by five variations.
It is characterized by a familiar melody that includes quotations from incidental music by Schubert himself.
Each variation employs various techniques—such as dotted rhythms, ornamentation, and triplets—beautifully fusing Viennese Classical virtuosity with Romantic lyricism.
Among Schubert’s piano works, this impromptu is one of the most highly regarded and frequently performed.
It is a recommended piece for those beginning piano through intermediate players who wish to experience Schubert’s world.
In Japan, it has also been used in commercials for TEPCO (Tokyo Electric Power Company), so you might find yourself thinking, “Oh, it’s that piece!” as you play it.
Fantasy in C major, Op. 15, D 760 “Wanderer Fantasy”Franz Schubert
Schubert / Fantasy in C major “Wanderer Fantasy,” D 760, Op. 15 / Atsushi Imada
Franz Schubert’s Fantasy in C major, Op.
15, D.
760, is an advanced piano work in four movements.
There’s even an anecdote that Schubert himself couldn’t play it well and said, “Let the devil play a piece like this.” The left-hand arpeggios in the fourth movement, in particular, are a torment for performers.
But beyond virtuosity, the piece demands profound musicality.
Seamlessly blending Schubert’s passion and craft, it’s perfect for anyone who wants to experience the essence of piano performance.
There is also an arrangement by Franz Liszt, so comparing versions is highly recommended.
Fantasia in C major, Op. 15, D. 760 “Wanderer Fantasy”Franz Schubert
Schubert / Fantasy in C major “Wanderer Fantasy,” D 760, Op. 15 / Atsushi Imada
A work by Franz Schubert, a composer emblematic of the Romantic era.
Composed in 1822, this piece is based on the melody of Schubert’s own song “Der Wanderer.” It consists of four movements and is notable for being performed without breaks.
In the second movement, the “Wanderer” melody is clearly quoted, strongly reflecting themes of loneliness and drifting.
Technically, it is extremely difficult, and Schubert himself is said to have remarked, “Let the devil play a piece like this,” acknowledging its challenges.
It’s a piece that is sure to shine on the recital stage—a true masterpiece that experienced pianists should definitely try.
Schubert: Fantasy in F minor, D 940, Op. 103 Pf. Hiroshi Kurokawa; Pf. Ikuko Nakaoki
The celebrated Fantasy in F minor, Op.
103, D 940—said to have been composed in the year Franz Schubert died—is a single-movement work that, in practice, unfolds like a four-movement piece, each section possessing its own character.
In that sense, it resembles the Wanderer Fantasy.
From measure 133, a dissonance appears where F and E clash by a semitone; since this is difficult to bring out clearly in a piano duet, be sure to practice the final section thoroughly.
It is said he was so moved by Goethe’s poem that he completed it in a single night.
The piece depicts a father fleeing from the Erlking while galloping through the night on horseback, clutching his ailing son.
The piano’s repeated notes evoke the horse’s gallop and the parent and child’s anxiety and urgency, brilliantly expressing the Erlking’s seductive enticements, the father’s desperation, and the boy’s terror.
First performed in 1821, it has since been performed continually by many singers and pianists.
Its unique blend of fear and poignancy makes it perfect for Halloween.
