Franz Peter Schubert (1797-1828) was one of the most important pioneers of Romanticism. He was also considered as one of the representatives of post-Classicalism. Although, the musical concept of Classicalism is quite different from that of Romanticism, Schubert successfully integrated two styles in his compositions. In other words, Schubert’s works reflect a dual style which combines the restrictive style of Classicalism and the relatively free style of Romanticism.

In his 31-year-long life, Schubert left considerable amount of compositions. Because of the fine melodies and the various internal expressions of his music, his Lieder became popular. As a result, Schubert was awarded a reputation--- the King of Lieder. However, the reputation became a sort of task to him; people ignored the distinctive characters of his instrumental music.

Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160 is a solo piece, which Schubert recomposed one of his own vocal music, Die Schöne Müllerin, D. 795, for flute. This piece includes an Adagio prelude, an Andante theme section and seven variations. Contrasted with that of Schubert’s compositions for other instruments, the amount of his compositions for flute is relevant less; however, Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160 becomes one of the most popular repertoires of flute music.

This paper is focused on the historical and musical analysis of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160. It will be divided into three sections: (1) the introduction of historical background and the main idea of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160(2) the analysis of musical structure and (3) the interpretation and other performing concern. By pursuing this research, I hope to understand the perspective of Variations for Flute and Piano on “Trockene Blumen” from “Die schöne Müllerin” D 802 - Op.160, and further effect Schubert’s primary idea in performance.