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A quick note on what “complete” means here: every playable engraving of Schröter's music that exists in our source corpus is now live — not every piece she ever wrote, just everything we have to work with. That's 25 pieces, all piano parts of her songs (the accompaniment line from voice-and-piano settings, not the vocal line itself). The biographical detail below is the standard account of her life, not something we derive from the scores themselves, so treat it as color rather than catalog fact.
Who she was
Corona Schröter is widely credited as a member of Goethe's Weimar circle, working there as an actress and singer until her death in 1802, and as the composer who premiered the first setting of one of Goethe's poems on stage. She is also widely credited as having created the role of the Fisherwoman in Goethe's singspiel Die Fischerin — the play in which the poem “Der Erlkönig” first appeared — and with writing the original music for it herself. Our edition is that setting: a strophic A-major song, widely credited as the first musical setting of “Der Erlkönig” ever written, some four decades before Schubert's far more famous 1815 version.
Der Erlkönig (piano part) — Corona Schröter
This piece is in A major, sits at level 5 of 9, and takes about 30 seconds to play.
Nine measures, strophic, and worlds away from the storm-driven Schubert setting most pianists know. This is the piano part only — the vocal line isn't included — but it's a striking way to hear how differently the same ballad can be told.
Open this score when you want to play it.
Goethe's other famous text in her catalog is his moon poem, set as a gentle strophic song in E-flat major.
An den Mond (piano part) — Corona Schröter
This piece is in Eb major, sits at level 5 of 9, and takes about 30 seconds to play.
A short, quietly moving setting of Goethe's moon poem from a composer who sang in his own theater company. Piano part only.
Open this score when you want to play it.
The same poem, set twice
Schröter's 25 Lieder collection (1786) includes a genuine curiosity: two separate settings of “Das Mädchen am Ufer,” Nos. 11 and 23 of the set, both in F minor. Same text, same key, two different musical readings a dozen songs apart in the same publication — a small compare-the-settings project for anyone curious how a composer revisits her own material.
Das Mädchen am Ufer, No. 11 (piano part) — Corona Schröter
This piece is in F minor, sits at level 5 of 9, and takes about 41 seconds to play.
The first of the two settings from 25 Lieder, in our edition's F minor reading. Piano part only.
Open this score when you want to play it.
Das Mädchen am Ufer, No. 23 (piano part) — Corona Schröter
This piece is in F minor, sits at level 5 of 9, and takes about 41 seconds to play.
The second setting of the same poem, twelve songs later in the same collection. Worth playing back to back with No. 11. Piano part only.
Open this score when you want to play it.
The difficulty spread
Difficulty here is PracticeClef's published 1–9 scale. Across all 25 Schröter pieces the spread sits toward the easier-to-middle end: one piece at difficulty 3, eleven at 4, eleven at 5, one at 6, and one at 7. Most are short strophic songs — several clock in under a minute — which makes the complete set a genuinely approachable “learn a whole composer” project rather than a highlights reel. The easiest and hardest of the 25 bookend it well.
Der Wassermann (piano part) — Corona Schröter
This piece is in F major, sits at level 3 of 9, and takes about 30 seconds to play.
The easiest piece in the complete set and a natural starting point before working through the rest. Piano part only.
Open this score when you want to play it.
An Laura (piano part) — Corona Schröter
This piece is in F minor, sits at level 7 of 9, and takes about 30 seconds to play.
The hardest of the 25 — a good target once the easier songs in the set feel comfortable. Piano part only.
Open this score when you want to play it.
Explore it
All 25 Schröter pieces, along with the rest of the full library, are free to browse and play — filter by composer or difficulty to find your way in. Connect a digital piano for live note feedback. Turn on Wait mode when you want the cursor to advance after you play the written notes. See the docs for setup. No account is needed.
A note on the numbers. Piece counts, keys, and difficulty grades in this post come from each piece's own metadata record in our catalog, and can be checked against the live page for each piece. “Complete” means every playable engraving of Schröter's music in our source corpus — not every piece she ever wrote. Duration figures are estimates derived from the score, not measured performances. The biographical claims about Schröter's life and career are the standard account and are noted as such above, separately from the catalog data.