This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

Fantasiestücke for clarinet and piano, Op. 73, were written in 1849 by Robert Schumann. Though they were originally intended for clarinet and piano, Schumann indicated that the clarinet part could be also performed on violin or cello.

Robert Schumann (; German: [ˈʁoːbɐ̯t ˈʃuːman]; 8 June 1810 – 29 July 1856) was a German composer, pianist, and music critic of the early Romantic era. He composed in all the main musical genres of the time, writing for solo piano, voice and piano, chamber groups, orchestra, choir and the opera. His works typify the spirit of the Romantic era in German music. Schumann was born in Zwickau, Saxony, to an affluent middle-class family with no musical connections, and was initially unsure whether to pursue a career as a lawyer or to make a living as a pianist-composer. He studied law at the universities of Leipzig and Heidelberg but his main interests were music and Romantic literature. From 1829 he was a student of the piano teacher Friedrich Wieck, but his hopes for a career as a virtuoso pianist were frustrated by a worsening problem with his right hand, and he concentrated on composition. His early works were mainly piano pieces, including the large-scale Carnaval, Davidsbündlertänze (Dances of the League of David), Fantasiestücke (Fantasy Pieces), Kreisleriana and Kinderszenen (Scenes from Childhood) (1834–1838). He was a co-founder of the Neue Zeitschrift für Musik (New Musical Journal) in 1834 and edited it for ten years. In his writing for the journal and in his music he distinguished between two contrasting aspects of his personality, dubbing these alter egos "Florestan" for his impetuous self and "Eusebius" for his gentle poetic side. Despite the bitter opposition of Wieck, who did not regard his pupil as a suitable husband for her, Schumann married Wieck's daughter Clara in 1840. In the years immediately following their wedding Schumann composed prolifically, writing, first, songs and song‐cycles including Frauenliebe und Leben ("Woman's Love and Life") and Dichterliebe ("Poet's Love"). He turned his attention to orchestral music in 1841, completing the first of his four symphonies. In the following year he concentrated on chamber music, writing three string quartets, a Piano Quintet and a Piano Quartet. During the rest of the 1840s, between bouts of mental and physical ill health, he composed a variety of piano and other pieces and went with his wife on concert tours in Europe. His only opera, Genoveva (1850), was not a success and has seldom been staged since. Schumann and his family moved to Düsseldorf in 1850 in the hope that his appointment as the city's director of music would provide financial security, but his shyness and mental instability made it difficult for him to work with his orchestra and he had to resign after three years. In 1853 the Schumanns met the twenty-year-old Johannes Brahms, whom Schumann praised in an article in the Neue Zeitschrift für Musik. The following year Schumann's always-precarious mental health deteriorated gravely. He threw himself into the River Rhine but was rescued and taken to a private sanatorium near Bonn, where he lived for more than two years, dying there at the age of 46. During his lifetime Schumann was recognised for his piano music – often subtly programmatic – and his songs. His other works were less generally admired, and for many years there was a widespread belief that those from his later years lacked the inspiration of his early music. More recently this view has been less prevalent, but it is still his piano works and songs from the 1830s and 1840s on which his reputation is primarily based. He had considerable influence in the nineteenth century and beyond. In the German-speaking world the composers Gustav Mahler, Richard Strauss, Arnold Schoenberg and more recently Wolfgang Rihm have been inspired by his music, as were French composers such as Georges Bizet, Gabriel Fauré, Claude Debussy and Maurice Ravel. Schumann was also a major influence on the Russian school of composers, including Anton Rubinstein and Pyotr Ilyich Tchaikovsky.

Robert Schumann's Five Pieces in Folk Style (German: Fünf Stücke im Volkston), Op. 102 is a set of five short pieces for cello and piano, composed in 1849 and published in 1851 with a dedication to cellist Andreas Grabau. It was Schumann's only published work designed explicitly for performance by cello and piano, though the pieces also appeared in a version prepared by Schumann for violin and piano. The first edition's title page reads "ad libitum violine". Another set of five pieces for piano and cello were composed by Schumann in 1853, and performed privately to acclaim; but the pieces never appeared in print and were destroyed in 1893 by Clara, who considered them the inferior product of madness.

Märchenbilder or Fairy Tale Pictures, for Piano and Viola, Op. 113, was written by Robert Schumann in March 1851. The work is dedicated to the German violinist and conductor Wilhelm Joseph von Wasielewski. It consists of four character pieces and is an original composition featuring the viola from the Romantic period. Schumann gives us few clues as to what creatures or events are depicted within each movement. His 1853 composition Märchenerzählungen for clarinet, viola and piano also leaves the details to the imagination of the performers and the audience. The autograph manuscript of the work was purchased in May 2014 by the Library of Congress, where it is currently preserved.

Märchenerzählungen (Fairy tale narrations), Op. 132, is a trio composition by Robert Schumann in four movements for clarinet (violin ad libitum), viola and piano. He composed the clarinet-viola-piano trio in B-flat major, between 9 and 11 October 1853. The movements are connected by a motif (Kernmotiv). The work is dedicated to Schumann's pupil Albert Dietrich, and was published in 1854 by Breitkopf & Härtel.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

The Piano Quartet in E♭ major, Op. 47, was composed by Robert Schumann in 1842 for piano, violin, viola and cello. Written during a productive period in which he produced several large-scale chamber music works, it has been described as the "creative double" of his Piano Quintet, finished weeks earlier. Though dedicated to the Russian cellist Mathieu Wielhorsky, it was written with Schumann's wife Clara in mind, who would be the pianist at the premiere on 8 December 1844 in Leipzig. The work consists of four movements. The first movement is in sonata form and begins with a hymn-like introduction that leads to a more figural section. The second movement, a scherzo, features a quick staccato figure that moves around a G minor scale, with two contrasting trio sections. The third movement (Andante cantabile) has been called the highlight of the work, with one of the most beautiful cello themes of the Romantic period. The finale includes contrapunctal writing and makes many references to the preceding movements. At the premiere, the Piano Quartet was well received. Today, it is recognized as the culmination of virtually all previous exploration of the piano quartet as a genre up to that time, forming the foundations for later composers to build on.

The Piano Quintet in E♭ major, Op. 44, by Robert Schumann was composed in 1842 and received its first public performance the following year. Noted for its "extroverted, exuberant" character, Schumann's piano quintet is considered one of his finest compositions and a major work of nineteenth-century chamber music. Composed for piano and string quartet, the work revolutionized the instrumentation and musical character of the piano quintet and established it as a quintessentially Romantic genre. The autograph manuscript of the work is preserved in the Universitäts- und Landesbibliothek Bonn.

The Piano Trio No. 1 in D minor, Op. 63, by Robert Schumann was written in 1847. It has four movements: This piano trio (the first of three such works, and Fantasiestücke, Op. 88, for the same forces) is in an intensely romantic style, and is the most celebrated of Schumann's trios in the modern repertoire. The opening movement begins with a surging theme that is heard in counterpoint initially between the piano's bass and the violin; the scherzo's driving dotted rhythm shares its smoothly ascending contour with the flowing trio section. The third movement features a duet between violin and cello, and moves without pause to the heroic tonic-major, D major, finale.

Johannes Brahms composed his Piano Trio No. 2 in C major, Op. 87, between 1880 and 1882. It is scored for piano, violin and cello. He wrote this piece at the age of 49. A typical performance lasts roughly 27 to 30 minutes.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.

The Three Romances for Oboe and Piano, Op. 94 (German: Drei Romanzen) is a composition by Robert Schumann, his only composition for oboe. It was composed in December 1849. The work consists of three short pieces in A-B-A form, and it was written during what was speculated to be one of Schumann's manic episodes. The romances are a standard part of the oboe repertoire and are often considered amongst the best works written for the oboe. An average full performance lasts roughly 12 minutes.

The six String Quartets, Op. 76, by Joseph Haydn were composed in 1797 or 1798 and dedicated to the Hungarian count Joseph Georg von Erdődy (1754–1824). They form the last complete set of string quartets that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II and was composing the oratorio The Creation as well as Princess Maria Hermenegild Esterházy's annual mass. Although accounts left by visitors to the Esterházy estate indicate that the quartets were completed by 1797, an exclusivity agreement caused them not to be published until 1799. Correspondence between Haydn and his Viennese publishers Artaria reveal confusion as regards their release: Haydn had promised Messrs. Longman Clementi & Co. in London the first publishing rights, but a lack of communication led him to worry that their publication in Vienna might also be, unintentionally, their first appearance in full. In the event, their publication in London and Vienna was almost simultaneous. The Op. 76 quartets are among Haydn's most ambitious chamber works, deviating more than their predecessors from standard sonata form and each emphasizing their thematic continuity through the seamless and near-continual exchange of motifs between instruments. In addition to not using the expected sonata form in some of the string quartets' first movements, Haydn employs uncommon forms in other movements such as a canon, a fantasy and an alternativo. He also plays with tempo markings, key signatures and many sections emphasizing the viola and cello. Charles Burney wrote to Haydn praising these innovations: ...they are full of invention, fire, good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly-cultivated talents, who had expended none of his fire before. The set is one of the most renowned of Haydn's string quartet collections.

The six String Quartets, Op. 76, by Joseph Haydn were composed in 1797 or 1798 and dedicated to the Hungarian count Joseph Georg von Erdődy (1754–1824). They form the last complete set of string quartets that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II and was composing the oratorio The Creation as well as Princess Maria Hermenegild Esterházy's annual mass. Although accounts left by visitors to the Esterházy estate indicate that the quartets were completed by 1797, an exclusivity agreement caused them not to be published until 1799. Correspondence between Haydn and his Viennese publishers Artaria reveal confusion as regards their release: Haydn had promised Messrs. Longman Clementi & Co. in London the first publishing rights, but a lack of communication led him to worry that their publication in Vienna might also be, unintentionally, their first appearance in full. In the event, their publication in London and Vienna was almost simultaneous. The Op. 76 quartets are among Haydn's most ambitious chamber works, deviating more than their predecessors from standard sonata form and each emphasizing their thematic continuity through the seamless and near-continual exchange of motifs between instruments. In addition to not using the expected sonata form in some of the string quartets' first movements, Haydn employs uncommon forms in other movements such as a canon, a fantasy and an alternativo. He also plays with tempo markings, key signatures and many sections emphasizing the viola and cello. Charles Burney wrote to Haydn praising these innovations: ...they are full of invention, fire, good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly-cultivated talents, who had expended none of his fire before. The set is one of the most renowned of Haydn's string quartet collections.

The six String Quartets, Op. 76, by Joseph Haydn were composed in 1797 or 1798 and dedicated to the Hungarian count Joseph Georg von Erdődy (1754–1824). They form the last complete set of string quartets that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II and was composing the oratorio The Creation as well as Princess Maria Hermenegild Esterházy's annual mass. Although accounts left by visitors to the Esterházy estate indicate that the quartets were completed by 1797, an exclusivity agreement caused them not to be published until 1799. Correspondence between Haydn and his Viennese publishers Artaria reveal confusion as regards their release: Haydn had promised Messrs. Longman Clementi & Co. in London the first publishing rights, but a lack of communication led him to worry that their publication in Vienna might also be, unintentionally, their first appearance in full. In the event, their publication in London and Vienna was almost simultaneous. The Op. 76 quartets are among Haydn's most ambitious chamber works, deviating more than their predecessors from standard sonata form and each emphasizing their thematic continuity through the seamless and near-continual exchange of motifs between instruments. In addition to not using the expected sonata form in some of the string quartets' first movements, Haydn employs uncommon forms in other movements such as a canon, a fantasy and an alternativo. He also plays with tempo markings, key signatures and many sections emphasizing the viola and cello. Charles Burney wrote to Haydn praising these innovations: ...they are full of invention, fire, good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well already, but of one of highly-cultivated talents, who had expended none of his fire before. The set is one of the most renowned of Haydn's string quartet collections.

The F-A-E Sonata, a four-movement work for violin and piano, is a collaborative musical work by three composers: Robert Schumann, the young Johannes Brahms, and Schumann's pupil Albert Dietrich. It was composed in Düsseldorf in October 1853. The sonata was Schumann's idea as a gift and tribute to violinist Joseph Joachim, whom the three composers had recently befriended. Joachim had adopted the Romantic German phrase "Frei aber einsam" ("free but lonely") as his personal motto. The composition's movements are all based on the musical notes F-A-E, the motto's initials, as a musical cryptogram. Schumann assigned each movement to one of the composers. Dietrich wrote the substantial first movement in sonata form. Schumann followed with a short Intermezzo as the second movement. The Scherzo was by Brahms, who had already proven himself a master of this form in his E flat minor Scherzo for piano and the scherzi in his first two piano sonatas. Schumann provided the finale. Schumann penned the following dedication on the original score: "F.A.E.: In Erwartung der Ankunft des verehrten und geliebten Freundes JOSEPH JOACHIM schrieben diese Sonate R.S., J.B., A.D." ("F.A.E.: In expectation of the arrival of their revered and beloved friend, Joseph Joachim, this sonata was written by R.S., J.B., A.D."). The composers presented the score to Joachim on 28 October at a soirée in the Schumann household, which Bettina von Arnim and her daughter Gisela also attended. The composers challenged Joachim to determine who composed each movement. Joachim played the work that evening, with Clara Schumann at the piano. Joachim identified each movement's author with ease. The complete work was not published during the composers' lifetimes. Schumann incorporated his two movements into his Violin Sonata No. 3. Joachim retained the original manuscript, from which he allowed only Brahms's Scherzo to be published in 1906, nearly ten years after Brahms's death. Whether Dietrich made any further use of his sonata-allegro is not known. The complete sonata was first published in 1935. All three composers also wrote violin concerti for Joachim. Schumann's was completed on 3 October 1853, just before the F-A-E Sonata was begun. Joachim never performed it, unlike the concertos of Brahms and Dietrich. Steven Isserlis, the English cellist and Schumann aficionado, has transcribed the F-A-E Sonata for cello and piano.

The Violin Sonata No. 1 in A minor, Op. 105 of Robert Schumann was written the week of 12–16 September 1851. Schumann was reported to have expressed displeasure with the work ("I did not like the first Sonata for Violin and Piano; so I wrote a second one, which I hope has turned out better"). This was also the year of the premiere of the Rhenish symphony, and among compositions the substantial revision of the Fourth Symphony, the Third Piano Trio, the oratorio Der Rose Pilgerfahrt, a number of piano works and two of his concert overtures, Julius Caesar (after Shakespeare) and Hermann und Dorothea after Goethe. The first private performance was on 16 October 1851 by Clara Schumann and Wilhelm Joseph von Wasielewski. It was given its official premiere by Clara Schumann and Ferdinand David in March 1852.

The Violin Sonata No. 2 in A major, Op. 100 ("Thun" or "Meistersinger"), by Johannes Brahms, the second of three such works for violin and piano, was written while spending the summer of 1886 in Thun in the Bernese Oberland, Switzerland. It was first performed on 2 December 1886 in Vienna. It was a very fertile and refreshing time for Brahms. His friend, the Swiss pastor and poet Josef Victor Widmann (1842–1911), lived in Bern and they visited each other. He was also visited by the poet Klaus Groth and the young German contralto Hermine Spies. Both Groth and Brahms were somewhat enamoured of Spies. He found himself so invigorated by the genial atmosphere and surroundings that he said the area was "so full of melodies that one has to be careful not to step on any". In a short space of time, he produced, in addition to this violin sonata, the Cello Sonata No. 2 in F major, Op. 99, the Piano Trio No. 3 in C minor, Op. 101, and various songs. The second Violin Sonata is the shortest and is considered the most lyrical of Brahms's three violin sonatas. It is also considered the most difficult of the three to bring off successfully where virtuosity bows in the face of lyricism. It maintains a radiant, happy mood throughout.

This list of compositions by Robert Schumann is classified into piano, vocal, orchestral and chamber works. All works are also listed separately, by opus number. Schumann wrote almost exclusively for the piano until 1840, when he burst into song composition around the time of his marriage to Clara Wieck. Partly due to Clara Schumann's encouragement, he then expanded his oeuvre to orchestral works, composing the 1st symphony, the 4th symphony, and the Overture, Scherzo and Finale Op. 52 in the year of 1841. The next year, 1842, is known as 'the year of chamber works,' where he notably composed 3 String Quartets, a Piano Quintet, and a Piano Quartet. Robert Schumann is known as one of the most prolific composers in the Romantic era, producing multiple works for multiple instruments, forms, and genres (both absolute and program music). The list is based on lists of his works, such as in the 2001 biography by Eric Frederick Jensen.