Editing Franz Schubert (section)

====Instrumental music, stage works and church music====
{{see also|Sonatas, duos and fantasies by Franz Schubert|List of solo piano compositions by Franz Schubert|Stage works by Franz Schubert}}

That "appetite for experimentation" manifests itself repeatedly in Schubert's output in a wide variety of forms and genres, including opera, [[liturgical music]], chamber and solo piano music, and symphonic works. Perhaps most familiarly, his adventurousness is reflected in his notably original sense of modulation; for example, the second movement of the [[String Quintet (Schubert)|String Quintet]] (D. 956), which is in E major, features a central section in the [[distant key]] of F minor.<ref name="Gammond117">[[#Gammond|Gammond (1982)]], p. 117</ref> It also appears in unusual choices of instrumentation, as in the [[Arpeggione Sonata|Sonata in A minor for arpeggione]] and piano (D. 821), or the unconventional scoring of the ''[[Trout Quintet]]'' (D. 667) for piano, violin, viola, cello, and double bass, whereas conventional piano quintets are scored for piano and [[string quartet]].
{{Listen
| type         = music
| image        = none
| help         = no
| filename     = Schubert - Arpeggione Sonata - 1. Allegro Moderato.ogg
| title        = Arpeggione Sonata, D. 821 (version for cello and piano), I. Allegro moderato
| alt          =
| description  = Hans Goldstein (cello) and Clinton Adams (piano)
| filename2    = Schubert - Piano Sonatas - 5 Moderato.ogg
| title2       = Piano Sonata in B-flat major, D. 960, I. Molto moderato
| alt2         = 
| description2 = Randolph Hokanson, piano
| filename3    = Schubert Symphony No. 8 'Unfinished' - 1- Allegro moderato in B minor.ogg
| title3       = Symphony No. 8 in B minor, D. 759 ("Unfinished") – I. Allegro moderato
| alt3         =
| description3 = Fulda Symphonic Orchestra and Simon Schindler
}}

Although Schubert was clearly influenced by the Classical [[sonata form]]s of Beethoven, Haydn and Mozart, his formal structures and his developments tend to give the impression more of melodic development than of harmonic drama.<ref name="Gammond76">[[#Gammond|Gammond (1982)]], pp. 76–81</ref> This combination of Classical form and long-breathed Romantic melody sometimes lends them a discursive style: his [[Symphony No. 9 (Schubert)|''Great C Major Symphony'']] was described by [[Robert Schumann]] as running to "heavenly lengths".<ref name="Brown630">[[#Brown|Brown (2002)]], p. 630</ref>