Adolf Fredrik Lindblad (1801−1878)

Adolf Fredrik Lindblad was born on 1 February 1801 in Skänninge, Östergötland and died on the farm Lövingsborg just outside of Linköping on 23 August 1878. Lindblad studied with J.C.F. Hæffner during 1823−24 in Uppsala. He studied in Berlin from 1925 to 1927 with Carl Friedrich Zelter, Ludwig Berger and Johann Bernhard Logier. He then moved back to Stockholm and from 1827 he had a music school and taught piano and composition. Except for his two symphonies and the sångspel, Frondörerna, his music was mainly composed for the world of private salons in Sweden and Germany, with great success. In 1831 he became a member of the Royal Swedish Academy of Music and in 1852 he received the academy’s gold medal.

Life

Childhood and education

Adolf Fredrik Lindblad was born on 1 February 1801 in Skänninge and died on 23 August 1878 on the farm, Lövingsborg, just outside of Linköping. Lindblad’s mother, Märtha Helena Friberg, was unmarried and the identity of his father was long unknown. At the age of one he received the name Lindblad from his relative and foster father, the master gardener and judge Carl Lindblad. Carl Lindblad and his second wife, Sophie Zetterling, were of crucial importance for Lindblad during his childhood.

Lindblad received a thorough education with the goal that he would assume his foster father's business as a merchant. Knowledge of the German language was stressed early, and during the year 1818−19 he lived in Hamburg to help with business contacts. In Hamburg Lindblad became friends with an instrument maker who, every evening, gathered well read and musical men, and it was here that Lindblad met people who led him into a literary and musical world. They read the New German literature – writers such as Schiller, Goethe, Tieck, Novalis and Jean Paul – and he heard Beethoven's music for the first time, which made an indelible impression on him. Back in Norrköping, Sweden, he worked in his foster father's shop while at the same time composing and playing as much as he could.

In the summer of 1822 he travelled with his foster mother to her relatives, the Kernell family who lived on a farm named Bleckenstad in Östergötland. At Bleckenstad he met the three children of the parson Pehr Kernell and his wife Charlotta Burén: Per Ulrik, Ann-Charlotte and Sophie Kernell, and their cousin, Per Daniel Amadeus Atterbom. Atterbom was an associate professor in Uppsala and held a strong position as a writer. He realized Lindblad's talent and helped him to come to Uppsala to study. His teacher in Uppsala was director musices Johann Christian Friedrich Hæffner, but the teaching was very sporadic. Of great importance for Lindblad was Atterbom’s introduction of him to the widow of a colonel, Malla Silfverstolpe. It was at her home that he met author and composer, Erik Gustaf Geijer and the families that were included in this circle of friends. His friendships with members of the Uppsala circle lasted throughout his life.

In 1824 Lindblad, together with Geijer, published a collection of songs using Atterbom’s texts from his play Lycksalighetens ö. The song collection became popular, largely due to the fact that Swedish music was published very sparingly, and Lindblad became known thereafter as a composer. Through her contacts with the royal court, Malla Silfverstolpe managed to obtain some financial help for Lindblad to take a study trip through Germany and down to Berlin.

Between 1825 and the spring of 1827 Lindblad stayed in Berlin, studying composition with Carl Friedrich Zelter, piano under Ludwig Berger and methods in piano playing with the then very popular Johann Bernhard Logier. His method was comprised of parallel studies in harmony with group lessons in piano playing. Through friends he met at Malla Silfverstolpe’s salons Lindblad came into contact with the Mendelssohn family and he became close friends with Felix Mendelssohn, a friendship that lasted until Mendelssohn’s death. Thanks to his stay in Berlin and his acquaintance with Felix Mendelssohn, Lindblad made many valuable contacts within Germany’s music circles. Together with the salon hostess Amalia von Hedvig as translator, Lindblad completed his own first publication in 1826, Der Nordensaal. It was dedicated to Felix Mendelssohn and consisted of Swedish popular folk songs in which Lindblad skilfully captured the texts in the piano accompaniments.

Returning to Sweden he married Sophie Kernell in the spring of 1828 and through her family he gained a contact network that was of great importance. The minister for the wedding ceremony was Sophie’s brother-in-law, Christian Stenhammar – married to her sister Ann-Charlotte. Of note is that Christian and Ann-Charlotte Stenhammar were grandparents to the composer Wilhelm Stenhammar. Their contact with relatives and friends in the eastern Swedish region of Östergötland remained active over the years. Lindblad and Sophie Kernell had three children, Lotten, who married the farmer and author, Urban von Feilitzen, Per Lindblad who held the ranks of major and captain in the Svea artillery regiment, and Malla whose married name was Grandinson.

Lindblad in Stockholm 1827−1864

In the autumn of 1827 Lindblad was back in Stockholm where he founded a music institute, which he ran until 1861 when he sold it to one of his students, Ivar Hallström. During Lindblad’s years in Stockholm the music scene slowly shifted from one based on private initiatives within the world of salons, to a more public music life that gradually began to grow starting in the middle of the 1850s. Through contacts in Berlin and Stockholm, Lindblad had students that came from social circles centred around the royal family from the beginning of his teaching career. He was both a teacher for Crown Prince Oscar and later the Prince’s children – including Prince Gustaf and Princess Eugénie. He retained the teaching job for the royal household until 1851, but continued afterward to receive an honorarium. His teaching methods for keyboards combined both group and individual lessons. Composers such as Gunnar Wennerberg, Ivar Hallström and Ludvig Norman received their first composition lessons from Lindblad.

Although music life in public circles was undeveloped, the private music scene was very lively. Lindblad was involved in the Harmoniska sällskapet (the Harmonic Society) that had its heyday during the 1830s, but whose activities decreased during the 1840s. The Harmoniska sällskapet drew in a choir of around 120 members and an orchestra of circa 40 members, who were reinforced by musicians from the Hovkapellet (the Royal Court Orchestra). They gave several concerts every year with both choral and orchestral works on the program. Lindblad also took part in Joseph Mazer’s string quartet evenings, held at his home on the street Västerlånggatan in Stockholm and on the nearby island of Djurgården during the summers. Lindblad took part in a great number of private salons, and after 1840 he participated primarily in salons he hosted himself.

The 1830s were marked by intense activity at the music school, teaching at the court, spending time with friends and composing. During this decade he composed his first song collections as well as his first symphony (in C major), which premiered in its entirety in 1832 and was reviewed by Geijer, who maintained that Lindblad had composed with ‘genius of the heart’. The historical sångspel (songs interspersed with spoken dialogue, like the German Singspiel), Frondörerna (1835) was composed at the request of Crown Prince Oscar. The work had performances at the Kungliga Teatern (the Royal Opera) in the spring of 1835, however, with its spoken dialogue, it met with a cool reception. After revisions the work was performed again in the spring of 1836, now with Jenny Lind in a leading role, and her participation meant that the work had a better reception. Lindblad made some new attempts to write opera. Almqvist wrote the libretto for ‘Den blåa fanan’ and a few years later, Fredrika Bremer wrote the libretto to ‘Blenda’ for him, but neither of these projects were completed.

During the 1830s Lindblad composed chamber music, including one of his two string quintets and one of his two violin sonatas. None of his ten extant string quartets (two unfinished) were dated, so it is uncertain which of them were composed during these years, but the first two string quartets can, for stylistic reasons, safely be placed within his first years in Stockholm.

In the spring of 1828 Lindblad was employed as a teacher at the newly established Nya Elementarskolan (the New Secondary School) in Stockholm. Even though he remained there only for a short time between 1828 and 1833, he became acquainted with Carl Jonas Love Almqvist and during the 1830s they socialized intensively. Lindblad read Almqvist’s texts that were later published in Törnrosens bok and unlike friends from Uppsala, he discovered that Almqvist was a ‘genius’.

Lindblad’s greatest successes during the 1830s came with his song collections. He wrote his own texts for most of the songs and several are still known today: ‘En ung flickas morgonbetraktelse’, ‘Nära’, ‘Sotargossen’, ‘Skjutsgossen’, ‘En sommarmorgon’. The song for men’s quartet ‘En sommarafton’ (1836) became better known as the choir song, ‘Över skogen, över sjön’ from the choral work, Om vinterqväll (1845).

The years around end of the 1830s were filled with lively events. Geijer made his ‘defection’ during 1837−38 changing his political leanings from conservative to liberal. Simultaneously Atterbom published a collection of poems, Samlade dikter (1837−38) that were written during the 1810s and thus stood on the conservative side. Lindblad stood right in between his friends. There was never any open conflict but Lindblad showed his sympathy and friendship to Atterbom by setting some of his poems to music under the title Svenska Visor af Atterbom Componerade för Sång och Piano och Skalden tillägnade (Swedish song by Atterbom composed for voice and piano and dedicated to the poet). Meanwhile Almqvist became more liberal, and his publication of the short story Det går an – in which he advocated for woman's legal rights, and his involvement in the liberal newspaper Aftonbladet, caused the friendship between Lindblad and Almqvist to cool.

From the end of the 1830s, Lindblad reached a highpoint in his composing and teaching in Stockholm. In 1839 he moved into the Bondeska palatset (the Bonde Palace, near what is now Rosenbad – the Swedish Prime Minister’s official residence), with a view over the waterway, Strömmen, looking out toward the royal palace. His apartment was large, and he had several musical instruments with which he taught group lessons. He often hosted salons in the evenings, with invited guests, music and socializing. His close friends now included the author Fredrika Bremer and those people she surrounded herself with.

In the spring of 1836, the singer Jenny Lind performed as Georgette in Lindblad’s historical sångspel, Frondörerna. This was the beginning of a life long and complicated friendship between the Lindblad family and Jenny Lind. She was a student at the Kungliga Teatern and enthusiasm for her singing grew during the last years of the 1830s. After a conflict with her family in December 1839, she moved into the Lindblads’ home. She was received as a child of the household and stayed until the autumn of 1843, with the exception of a stay in Paris during 1841−42. Her stay in the Lindblad’s home slowly developed into a disaster when Lindblad felt he had have fallen in love with her. In the summer of 1843, the drama culminated and she moved out in the autumn.

In two more song collections, of which the fifth came out in December 1840 and the sixth was published in December 1844, Lindblad touches on his relationship with Jenny Lind. Popular songs from these collections include ‘Måntro? Jo, jo!’ and ‘En sommardag’ from the fifth collection, while in the sixth collection Lindblad gave his feelings a more artistic expression in, for example, ‘Hjertats vaggsång’ (Lulluby of the heart), ‘Den Skeppsbrutne’ (The Castaway) and ‘Till Sophie’ (For Sophie). The sixth collection garnered a critical, if not to say devastatingly mean, reception by Swedish reviewers. Thanks to Lindblad’s friend, Carl August Dohrn in Stettin, the songs were sent to the composer Ludwig Spohr in Germany who accentuated the originality of the forms and melodies and suggested that they be translated and published in Germany. During the 1830s, Dohrn had already begun publishing Lindblad’s songs in Germany and they were well known – not least of all during the 1840s when Jenny Lind often sang them.

After the battle with the press in 1845, Lindblad’s life changed. His composing virtually ceased, his lease at the Bondeska palatset was not renewed, and he then moved to an apartment on the street Drottninggatan. His wife was ill for long periods from the middle of the 1840s to the beginning of the 1860s, and he became less enthusiastic about teaching in the music school. His social circle also changed between the years 1847 and 1866. In 1847 his close friend Geijer died, Atterbom died in 1855, Malla Silfverstolpe – who died in 1861 – had aged, and trips to Uppsala became few and far between. Fredrika Bremer died in 1865. Almqvist was in America during the 1850s, and with the news of his death in 1866, Lindblad wrote in a letter: ‘Almqvist dead!!! […] What feelings, what memories do not transverse through my being at this moment!!! No I alone am the only one of them left, those who I lived together with and those from whom I have taken lasting impressions.’

After the 1850s his friends in Stockholm became more important; Lindblad sometimes took part in salons in the royal household and in the palace of the Norwegian ministers, where the Due family hosted salons. His friends still belonged to the world of private salons, including one or the other from the Hovkapellet, participating musicians from the Mazer quartet society – in whose circles his friend and customs official, Jonas Falkenholm was central, and those from Fredrika Bremer’s circle were of great significance as were the friends from the fragmented Uppsala group.

The public musical life in Stockholm grew gradually and one of Lindblad's former pupils, Ludvig Norman, came to have a prominent position. Around 1845 Lindblad put together and composed a new choral work, Om Vinterqväll or Gammalt och nytt − the latter was the work’s first title. The choral work was performed by the Harmoniska sällskapet in Stockholm in 1845. In April 1851 the choral work Drömmarne was premiered privately with a text written by Thekla Knös, an acquaintance from salons in Uppsala. A choir made up of friends associated with the royal court sang Drömmarne and the conductor was the court's singing teacher and Lindblad's friend, Isaac Berg. The first public performance was given in April 1853 at the De la Croix salon with Lindblad's daughter Lotten as the pianist.

Jacopo Foroni, chief conductor at the Kungliga Teatern became an important friend during the 1850s. It is not unlikely that Foroni urged Lindblad to orchestrate Drömmarne, which was performed in 1858 in Copenhagen, in its orchestral version. After much persuasion from Foroni, Lindblad composed his second symphony in D major, which premiered in May 1855. The program had three sections; the concert began with Lindblad's symphony; songs were performed in the second section; and the third segment consisted of Beethoven's Ninth Symphony. His own symphony was performed a few more times during Lindblad's lifetime, the last time at a memorial concert on 1 February 1879. Notably, symphonic music composed by Swedish composers was unusual; it was also rare that symphonic concerts were organized, which meant that audiences were not accustomed to listening to symphonic works. Today, both of his symphonies have been recorded and are performed regularly.

During the 1850s, Lindblad's commitment to the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music) increased. In advance of the reorganization of the academy’s education institution, he put forth a proposal which was more or less followed after the establishment of the new order in 1855. Lindblad’s model was likely the Musikkonservatoriet (the Music Conservatory) in Leipzig, where he had contacts through friends as well as via his regular travels on the continent.

During the 1850s and 1860s the musicians Ludvig Norman in Stockholm and Jacob Axel Josephson in Uppsala advocated for the performance of Lindblad’s music. During 1860−61 Lindblad received a lot of attention in Stockholm. Frondörerna was performed and a piano vocal score of it was published, and several other works including Drömmarne and his chamber music were performed. An anonymous writer even suggested that he be appointed as the Musikaliska akademien’s permanent secretary! But he claimed to have reached an advanced age and was not interested in participating in public musical life.

Lövingsborg 1864−78

In 1857 Lindblad became financially independent when he inherited a fortune from Sophie Kernell’s uncle. In 1858 Urban von Feilitzen bought, with economic help from Lindblad, the farm called Lövingsborg in Skeda parish, south of Linköping. In July 1859 his daughter Lotten and Urban von Feilitzen were married. From the end of the 1840s, Lotten had been one of the teachers helping at Lindblad’s music institute, and during the 1850s she was considered one of Stockholm's most skilled pianists. In 1864 she was elected to the Kungliga Musikaliska akademien. In 1861 Lindblad sold his music school to Ivar Hallström, and in 1864 he moved to Lövingsborg and settled in a house that was built especially for the elderly Lindblad parents, with a large music room housing two grand pianos. In this way Lindblad ended his public life within the music milieu that had evolved in Stockholm. Every autumn, spring and even a few summers he travelled to Stockholm, met his friends and listened to music. He had a great reputation as a musician and he spent time with Ludvig Norman, the Neruda siblings, and with singers and musicians at the Kungliga Teatern. His music was performed – such as the string quintet in F major which was given at a chamber music evening in De la Croix’ salon in November 1865 – and his songs were often a part of the repertoire.

At Lövingsborg Lindblad composed new songs; the song texts of Carl Wilhelm Böttiger, Edvard Bäckström and Zacharias Topelius were set to music resulting in several fine songs. One example is the ‘Nattviolen’ to a text by his son-in-law, Urban von Feilitzen. Other examples include his compositions to Heinrich Heine's texts, where he returned to his romantic style. He worked on earlier pieces and played music intensively, often together with Lotten and Urban von Feilitzen. Several friends came to visit, among them Jenny Lind, Johan Henrik af Geijerstam, Henrik Munthe, Uno Troili, and several of the friends Urban von Feilitzen and Lindblad had in common, such as the authors Thekla Knös and Böttiger.

Works

Adolf Fredrik Lindblad is a typical example of the so-called poet musician – in which the artistic ideals that characterized early Romanticism meant that both the literary and the musical genius were brought together in one person. But even if Lindblad’s creative output consists mainly of vocal music, there are also two symphonies, chamber music and one sångspel.

Vocal music and sångspel

His vocal music reflects Lindblad's life: his thoughts, social circles, his longing for beauty, and the environments in which he lived.  He composed solo songs from beginning of the 1820s until his death. The song ‘Svanhvits sång’ in the first song collection from 1824 characterises Lindblad's tonal language, where the atmosphere of the text is captured in the sounds of the melody and the accompaniment.

Among the songs that were created during the 1830s and up until 1845, and even later, he often wrote the texts himself. For the most part, the songs are directly related to his life and surroundings, for example in the songs ‘Sotargossen’, ‘Skjutsgossen’, ‘Bröllopsfärden’ and ‘En ung flickas morgonbetraktelse’. Lindblad's songs often combined depictions of nature with love poetry, as in, ‘O, ljuva sommarfläkt’ (written at the end of the 1830s), where the interpretation of the text is reminiscent of Franz Schubert’s songs. Lindblad lies close to Robert Schumann in later songs such as ‘Nattviolen’ from the 1860s and the same is true of his later song settings of texts by Heinrich Heine during the 1870s.

Lindblad's personal tonal language also characterizes the song cycles, Om Vinterqväll, which includes the famous choral piece ‘Över skogen, över sjön’, and the work, Drömmarne. In the historical sångspel, Frondörerna (1835) the tonal language is reminiscent of Mozart.

Chamber music and piano music

Lindblad's instrumental music is extensive but rarely performed. Two string quintets were composed soon after his return from Berlin to Stockholm in 1829. They have four movements, and the Viennese classical style and the followers of Beethoven linger in the background.

Five of Lindblad’s completed string quartets and one incomplete were published as late as 1911, but the numbering differs from Lindblad’s own. In addition there are namely three complete quartets and a quartet movement from 1853, all of which are included in Lindblad's numbering, which thus extends the total to ten quartets. The completed quartets have four movements and are composed according to the ideals of Viennese classicism. Beethoven and Mozart were his sources of inspiration but also early Romantic composers. His String Quartet no. 2 (B-flat major) clearly exhibits features of Felix Mendelssohn's chamber music, while the fourth string quartet (B minor) is reminiscent of Haydn’s ‘Fifths’ Quartet. The fifth and sixth string quartets (E-flat major and A-flat major, the latter missing the finale) appear to return to the Viennese classical style and Mendelssohn as role models, but one also one hears some aspects from the quartets of Rossini and Schubert. The completed string quartet in F major, which was omitted in the 1911 publication, and which was given the number five in the signed manuscript, is also complicated and contains bold modulations and technically challenging passages.

Two duets for violin and piano and a piano trio were written between 1829 and 1840 and published in Germany in 1842 and 1843. The first duet, op. 9, is dedicated to his friend Jonas Falkenholm, and has a fine interplay between the piano and the violin. Interludes of folk music are also included in the piece. The trio op. 10 dedicated to Dohrn contains the tonal language from both Viennese classicism and Rossini. The duet op. 11 was dedicated to Geijer. Both of the two duets are composed according to the four-movement practice for sonatas typical at that time.

Lindblad's keyboard music has never really been included in the repertoire of musicians, but there are gems to be found. The first two movements to a piano sonata composed in 1828, with a new dating of 1872, are preserved in manuscripts. The first movement is long and reminiscent of Schubert's piano music. During 1861−62 nine short pieces were published, and 1884 saw 25 short character pieces published that were probably composed between 1861 and 1878. Lindblad learned of Mendelssohn's Lieder ohne Worte early on and his piano pieces are composed in the same spirit.

Symphonies

Lindblad's two symphonies were composed with 25 years in-between. The first symphony in C major premiered in its entirety in the spring of 1832 and was an impressive debut work. It has four movements and the timbre is reminiscent of German Romanticism, recalling Mendelssohn's overture to A Midsummer Night's Dream, which Lindblad was well acquainted with, but it also reminds one of Carl Maria von Weber's orchestral world. Lindblad's symphony, which was printed in Leipzig in 1839, can be said to belong to the first Swedish Romantic symphonies. The second symphony (in D major) was composed under pressure from the Hovkapellet’s conductor, Jacopo Foroni, and was first performed in 1855. It has four movements and the form rests on a firm foundation of Mozart and Beethoven, while the timbre and tonal language is more reminiscent of music from Carl Maria von Weber and Mendelssohn. Only a few musicians appreciated Lindblad's symphonies during his lifetime, which could possibly be due to the relatively late entry of Romantic symphonic music onto the Swedish scene.

When summarizing Lindblad’s work, one can count him as among the foremost Swedish composers active up to the 1860s. Afterward, younger composers took over the scene. A large part of Lindblad’s vocal music rang often through the music salons of Sweden and his chamber music was played in both the salons and a few times in public concerts. His two symphonies were barely given a place in the symphonic world. Even though, for example, Ludvig Norman and Abraham Mankell realized their value, there were still more doubters. This meant that the works were only performed occasionally and then with only a single movement at a few concerts.

Eva Öhrström © 2016
Trans. Jill Ann Johnson

Bibliography

Boltenstern, T: Frondörerna och Kungliga Teatern 18231858 (unpublished thesis. Stockholm’s University 1975).
Forslin, Alfhild: Runeberg i musiken. Helsingfors: Svenska litteratursällskapet, p. 324 f.
Fröberg, Per
: Ur ett hjärtas historia; Malla Silfverstolpe och Adolf Fredrik Lindblad, in Svensk Litteraturtidskrift (1970).
—— : Minnen och bikt (1975).
Fröberg, Per/Törnbom, Gösta
: article in Svenska Män och Kvinnor, vol. 4, pp. 620−622 (1948).
Grandinson, M (pub.): Brev till Adolf Fredrik Lindblad från Felix Mendelssohn (1913).
Gustavsson, Karl Niklas
Adolf Fredrik Lindblad. Bachelor thesis in musicology, Stockholm’s university (1995).
Lagerbielke, L: Adolf Fredrik Lindblad, in Svensk Musiktidning 1883, with works list.
Linder, K
: Den unge Adolf Fredrik Lindblad 180127, en biografisk studie (unpublished disseration. Uppsala University 1973).
—— : article in Sohlmans Musiklexikon, vol. 4, pp. 324−325 (1977).
—— : Adolf Fredrik Lindblad, in Svenskt biografiskt lexikon, vol. 23 (1980−81).
Norman, Ludvig: Adolf Fredrik Lindblad som instrumentalkompositör, in Svensk Musiktidning, 1883.
Nyblom, C R: Adolf Fredrik Lindblad, minnesteckning (1881, reprinted in Svenska Akademiens handlingar 1882, and in ‘Estetiska studier’ published 1884 by Svenska Akademien).
Olsson, H: C J L Almqvist till 1836 (1937).
Silfverstolpe, M: Memoarer 34 (pub. 1910−11).
Törnblom, Folke H
: Adolf Fredrik Lindblad som operakompositör, in Svensk tidskrift för musikforskning, 1935.
—— : Då Sveriges ära hängde på några visor; musikerstriden i Stockholm sommaren 1845, in Ord och Bild, 1938.
—— : Adolf Fredrik Lindblad och Jenny Lind, in Svensk tidskrift för musikforskning 1941.

Sources

Kungliga Biblioteket, Lunds Universitetsbibliotek, Musik- och teatermuseet Stockholm, Riksarkivet, Musik- och teaterbiblioteket, Stiftelsens Musiklivets Främjande (Nydahlsamlingen), Uppsala universitetsbibliotek.
Portrait: Gripsholms slott, Kungl. Musikaliska akademien, Uppsala Universitetsbibliotek, Svenska porträttarkivet

Summary list of works

1 sångspel (Frondörerna), orchestral works (2 symphonies), chamber musik (10 string quartets, 2 string quintets, piano trio and two violin sonatas), vocal works (Om vinterqväll, Drömmarne, etc.), songs (ca 250).

Collected works

Based on Ander, Owe: An Inventory of Swedish Music, vol. 3, Stockholm 2013, pp. 65−77.

Stage music
Frondörerna or En dag under partistriderna i Paris 1849, historical comedy with songs in 3 acts (Mélesville, translation N.J. Servin-Stéenhoff), 1823−35.

Orchestra
Symphony no. 1, op. 19, C major, premiered 1831.
March for Oscar I’s coronation, 1844.
Symphony no. 2, D major, premiered 1855.

Chamber music
Adagio quasi fantasia, E-flat major/D major, for violin, cello and piano.
String quartet no. 1, A major, premiered 1829.
String quartet no. 2, F major, published 1885.
String quartet no. 1, G major.
String quartet no. 2, B-flat major.
String quartet no. 3, C major.
String quartet no. 4 B minor.
String quartet no. 6, E-flat major.
String quartet no. 7, A major, finale lost.
String quartet no. 8, F major, only the first movement extant.
String quartet no. 9, G major.
String quartet no. 10, C major.
Duet for violin and piano, op. 9, G major, published 1842?
Trio for violin, viola and piano, op. 10, G minor.
Duet for violin and piano, op. 11, D major, published 1842?
Duet for violin and piano, E-flat major.

Piano
Sonata, A major, 1828.
Smärre kompositioner, 1−2, 1. Allegretto, 2. Poco andante, 3. Andante con moto, 4. Un poco vivace ma grazioso, 5. Fughetta, Andante con moto, 6. Andante con moto e con espressione, 7. Allegro, 8. Moderato, 9. Allegro vivace.
Smärre kompositioner, Efterlämnade arbeten, 1−3. 1. Allegretto, 2. Allegro, 3. Allegro, 4. Andante, 5. Andante con moto, 6. Allegro (‘Tandvärksfantasi’), 7. Allegretto, 8. Andante, 9. Andante, 10. Allegro, 11. Allegro molto, 12. Andante, 13. Allegretto, 14, Allegretto, 15. Poco allegro, 16. Andante con moto, 17. Andante con moto, 18. Allegro, 19. Allegretto quasi più Allegro, 20. Andante, 21, Allegretto, 22. Andante, 23. Andante con moto, 24. Più Allegro, 25. Allegretto.
Pianostycke, in autograph, some published in  Efterlämnande arbeten, mainly composed during the 1860s. 1. Meditation, 2. Allegro ma non troppo et grazioso, 3. Lento, 4. Fuga, Allegro moderato, 5. [No title], 6. Allegretto con più moto, 7. Visa, Allegretto vivace, 8. Menuetto, 9. [No title], 10. Allegretto grazioso, 11. Tandvärksfantasi, 12. Andante con più moto, 13. Moderato quasi allegretto, 14. [No title], 15. Allegro, 16. Andante, 17. Bön utan ord/Vid barnens bön, 18. ‘Till Malla och lilla Emil’, Allegretto, 19. [No title], 20. Klockringning, Largo, 21. Allegro, 22. [No title], 23. Tillegnan, 24. ‘För Malas stilla hand och milda anslag’, Ej fort, 25. Sång utan ord, 26. ‘För all del ej för fort men med uttryck’, 27. Sång utan ord, 28, Förr, Sång utan ord, 29. Nu, Sång utan ord, 30. Sång utan ord, 31. Farväl, Adagio.
Ett litet stycke, Tempo di Marcia, A major.

Sena kompositioner in autograph, 1872−73. 1. Visa utan ord, 2. Visa utan ord, 3. Con espressione, 4. [No title], 5. [No title], 6. Visa utan ord, 7. [No title], 8. [No title], 9. Andante, 10. Andante con moto, 11. Con espressione ma con moto, 12. [No title], 13. [No title], 14. [No title], 15. [No title].
Två efterlämnade pianostycken, published in the 1920s. 1. Allegretto, 2. Quasi andante.
Pianostycken, 1877. 1. Andante, 2. ‘Sista stycket’, Andante.

Choral works with accompaniment
Begravningskantat for soprano, bass, choir (STB) and piano, 1818.
Om vinterqväll for soli, mixed choir and piano (A.F. Lindblad), premiered 1845. 1. Introduktion, Om vinterqväll, 2. En vårdag (‘Giv akt! Nu kommer vår’n)’, 3. En sommarmorgon (‘Tidigt om morgon jag ilar till strand’), 4. En sommarafton (‘Öfver skogen, öfver sjön’).
Drömmarne, for mixed choir and piano, also with orkester (A.F. Lindblad based on Thekla Knös), premiered 1851. 1. Stilla på himlen molnen de segla, 2. De till dalens hyddor smyga, 3. Till den gamles bädd de gå, 4. Ännu en dröm, 5. Och andra drömmar gå, 6. Vid sin lampa tänkar´n somnat, 7. Lärkan i skyn, 8. Med en barnbön på sin mund.

Choir a cappella
Mitt folk (‘Mitt svenska folk’).
Vilda, mäktiga Sinne, njut!, jägarkör ur Lycksalighetens ö (P.D.A. Atterbom), published in Musik för sång och för fortepiano, 1824.
En sommarafton (‘Öfver skogen, öfver sjön’, Adolf Fredrik Lindblad), published in Sju sångstycken, 1836.
På gamla dagar (‘O Eduard! Minns du väl så långt tillbaks’, Adolf Fredrik Lindblad), published in Sånger vid forte-piano, book 5, 1840.
Sång vid framkomsten till Köpenhamn d. 23 June 1845 (‘Fritt må stormarna gå’), composed 1845.
Svenska flottans minnen, 1. Flaggan opp! (‘Hissa flaggan, ärad utaf verlden’, Oscar Fredrik), 2. Chapmans grafhäll (‘Främling, ej till ledungsfärder’, Oscar Fredrik), composed 1858.
Tanken (‘Tanke se hur fogeln svingar’), trio.

Mixed choir
Ett bröllopskväde (‘Blida stjernor’), SATB, composed 1862.

Voice and piano
Musik för sång och fortepiano, published 1824, 1. Erster Verlust/Den första förlusten (‘Ach! Wer bringt sie schönen Tage/Ack! Hvem ger mig känslans tider’, J.W. Goethe), 2. Sjömans-Sång (‘Vid vindars sång’, von Zeipel), 3. Berg och Dal (‘Så mörk är ej skog’, P.D.A. Atterbom), Jägarkör (‘Vilda, mäktiga Sinne, njut!’, P.D.A. Atterbom), 4. Romans (‘Ungmön i lunden på jagtnätet band’, P.D.A. Atterbom), 5. Felicias sång (‘Säg mig vackra bi, du lilla’, P.D.A. Atterbom), 6. Svanhvits sång (‘Stilla, o stilla’, P.D.A. Atterbom), 7. Der Sänger/Sångarn (‘Was hör ich draussen vor dem Thor/Derutanföre hvilket ljud’, J.W. Goethe).
Der Norden-Saal, eine sammlung schwedischer Volkslieder, 1−2, trans. by A. von Helwig, published 1826. 1. Die Prüfung/Prövningen (‘Die Jungfrau sie ging zum Meeresstrand/Jungfrun hon gick till sjöastrand’), 2. Swen im Rosenhaim/Sven i Rosengård (‘Sag an wo blibst du so lange/Hvar har du varit så lång’), 3. Die Berg- Gefangene/Den bergtagna (‘Und früh zu der Christmett/Och jungfrun hon skulle till ottesången gå’), 4. Herzog Silfverdal/Hertig Silfverdal (‘Ihr meine liebe Hofherrn/Och kära min hofmän’), 5. Die Jungfrau im blauen Walde/Jungfrun i blå skogen (‘Die Jungfrau sie sollte wohl zir Krankenwarte gehn/Jungfrun hon skulle sig åt vakerstugan gå’), 6. Die kleine Karin/Liten Karin (‘Die kleine Karin diente am jungen Königs Hof/Och liten Karin tjente’), 7. Die Meerfrau/Hafsfrun (‘Herr Hildebrand er sprach zo seiner Mutter so/Herr Hildebrand han talte till sin moder’), 8. Ritter Olle/Riddar Olle (‘Ritter Olle reitet wohl gen Süd das Eiland lang/Riddar Olle rider sig Allt söder om ö’), 9a. Das Lied von Necken/Neckens polska (‘In des Meeres tiefen Wunderhallen/Djupt i hafvet på demantehällen’, A.A. Afzelius), 9b. Der Neck/Näcken (‘Stieg sont auf vom tiefsten Grunde’, C. Klingeman), same melody as the previous one, 10. Der Norden Saal/Nordländarns minnen (‘Fern hin im Nord glänzet herrlich der Saal/Fjerran i Norden lyser salen så klar’, S.J. Hedborn), 11. Der Kloster-Raub/Herr Karl eller Klosterrovet (‘Herr Karl trat vor seiner Mutter hin/Herr Carl han gick för sin fostermodern in’), 12. Nachtwächter Lied/Brandvaktsrop (‘Zwölf hat die Glock/Klockan är tio slagen!)’.
Sju sångstycken (Adolf Fredrik Lindblad), published 1836. 1. En ung flickas morgonbetraktelse (‘Jag är så glad idag’), 2. Nära (‘Fågeln på grenen sjunger lika gällt’), 3. Fjerran (‘Vind du som smeker min flickas kind’), 4. Sotargossen (‘Huh, huh! Jag fryser’), 5. En sommarmorgon (‘Tidigt om morgon jag ilar till strand’), 6. En sommarafton (‘Öfver skogen, öfver sjön’), 7. Gammalmodig visa (‘Stilla sjung din sång’).
Nya sånger vid forte-piano (Adolf Fredrik Lindblad), published 1838. 1. I dalen (‘O sköna lund, der näktergalar slå!’), 2. På berget (‘Högt här uppå berget’), 3. Bröllopsfärden (‘Solen går ned’), 4. För evigt (‘Öfver vågors klara speglar’), 5. Den ensamma (‘År från år kommer vår’), 6. Obesvarad kärlek (‘Svara på mitt ögas fråga!’), 7. Farväl (‘O, farväl du blomsterdal!’), 8. Saknad (‘Jag hade en vän’), 9. Gubben vid vägen (‘Glada ungdom se min nöd’).
Nyare sånger vid forte-piano, (Adolf Fredrik Lindblad), published 1838. 1. Om kom – nej, dröj (‘Om kom, dock nej, låt mig få njuta’), 2. Skjutsgossen på hemvägen, 3. Om natten (‘O, hvad sällsam fröjd’), 4. Dalkullevisan (‘Vandrat har jag mil så långa’), 5. Den moderlösa (‘Ack käraste vänner’), 6. Invaliden (‘Se, hvad han står’), 7. I en ung flickas minnesbok (‘Tro ej på minnet’). 8. Am Aarensee (‘Am Aarensee, da rauscht det vielgrüne Wald’, von Schlippenbach), 9. Får gå (‘Barn jag var, sprang ur min kammar’), 10. Visa (‘Hvad jag af allting älskat mest’).
Svenska visor af Atterbom, published 1838. 1. Jungfrun i lunden (‘Sommaren kommer’). 2. Apelgården (‘Jag vet mig så fager en apelgård’). 3. Sorg (‘Det är visst ingen i verlden till’), 4. Trohet (‘Den kärlek till dig jag bär’), 5. Sparfven (‘Muntra sparf i linden’), 6. Friskt mod (‘Friskt upp mitt hjerta’).
Sånger vid forte-piano, book 5, (Adolf Fredrik Lindblad), published 1840. 1. Ack nej, ack nej, du vet det ej (‘Säg vet du väl’), 2. Mån tro, jo, jo (‘Hvad månd det landet heta’), 3. Frieriet (‘Ack Betty, af ditt ögonpar’), 4. Om aftonen (‘Hör ej på vindens suckar i skogen’), 5. Varning (‘Se konvaljerna små’), 6. En vårdag (‘Lärkan drillar upp i skyn’), 7. En sommardag (‘Om ljufva ensamhet’), 8. Bekännelse (‘Sjunger jag, så hör du mig’), 9. På gamla dagar (‘O Eduard! Mins du väl så långt tillbaks’), duet ST, 10. I behåll (‘Nu är jag nöjd och stilla’).
Jenny Linds farväl/Avskedssång (‘Då jag var barn’), published 1841.
Sånger vid Forte-piano, (text by A.F. Lindblad unless otherwise noted), published 1851−52. 1. Hjertats vaggsång (‘Jag vill vagga med hjerta till ro’), 2. Fåfäng varning (‘Skogens hind, lätt som en vind’), 3. Bland vilden i dalen djupa (P.D.A. Atterbom), 4. Som mörka bäcken rinner (P.D.A. Atterbom), 5. Föresats (‘O, jag vill ej sjunga’), 6. I maj 1844 (‘I rätt och sanning’), 7. Till Sophie (‘Som floden sakta i sin dal’), 8. En dagkarls visa (‘Med min spade gick jag här’), 9. Vaggvisa (‘Jag sjunger för min lilla’, F.M. Franzén), 10. Den skeppsbrutne (‘Hans koja stod vid sjön’), 11. Slåttervisa (‘Skarp min lie nu jag slipa må’), 12. Den öfvergifna (‘Löf och örter och blommor små’, J.L. Runeberg), 13. Ny kärlek (‘Skenets boja vid min ande icke trycker’), 14. Flickan vid vattnet (‘Floden hör jag brusa’), 15. Om hösten (‘Så tog då sommaren så snart en ända’), 16. Mitt lif (‘Strid på brädden af en graf’, J.L. Runeberg), 17. Dödgräfvarsång (‘Till ro, till ro!’), 18. Ur Vårbetraktelser under sjukdom (‘Här ligger jag ännu’, J. Freese), 19. Vid en spegelklar sjö en sommarafton (‘Nu somnar hvar fläkt öfver vågen’, P.D.A. Atterbom).
Sånger vid piano-forte, book 6, published 1845?. 1. Illusion (‘Än du dig mot ljusets höjder svingar’, A.F. Lindblad), 2. Hon skrifver (‘En stund jag har att skrifva dig till’, A.F. Lindblad), 3. Aftonen (‘Aftonen nalkas, i skuggornas hägn’, E.J. Stagnelius), 4. Jag lefver väl som en dufva (P.D.A. Atterbom), 5. Balders bål (‘Midnattssolen på berget satt’, E. Tegnér).
Tre sånger vid piano-forte, published 1847. 1. Glädjen (‘I varelser känner I glädje?’, P.D.A. Atterbom), 2. Höstqvällen (‘Hur blekt är allt’, J.L. Runeberg), 3. Hon vill ej sjunga mer (‘Å nej, det tror jag ej’, A.F. Lindblad).
Nio smärre sånger vid piano-forte, published 1851−52. 1. Silvio till Laura (‘Jag fann dig’, C.W. Böttiger), 2. Förr och nu (‘Förr ständigt i krig’, A.F. Lindblad), 3. Den gamle (‘En konung syns den gamle mig’, A.F. Lindblad), 4. Bedragen väntan (‘Och sjön han slår så hårt mot strand’, A.F. Lindblad), 5. Den tvifvlande (‘O, hade jag ett ögonpar’, J.L. Runeberg), 6. I höet (‘Bäst ängen stod i prakt’, T. Knös), 7. Misstanken (‘Hur din kind är purpurröd’, A.F. Lindblad), 8. Ånger (‘O, kom åter’, A.F. Lindblad), 9. Helsning till den annalkande ålderdomen (‘Min koja har stått så månget år’, A.F. Lindblad).
Sånger vid piano-forte, 1−2, To Thekla, (Thekla Knös), published 1856. 1. Strykningsvisa (‘Ha jern så varmt och snällt’), 2. Den flitiga handen (‘Vid min flickas sybord’), 3. Barfota (‘Sakta lilla foten blyger’), 4. Den bortgångne (‘Jag minnes dig’), 5. Systern (‘Ack i din inre, i din tysta verld’).
Svenska Flottans Minnen (Oscar Fredrik), lost 1858?. 1. Östersjön (‘Du blommande haf’), 2. Flaggan opp! (‘Hissa flaggan, ärad utaf verlden’), TTBB, 3. Jonas Hökenflykt (‘Har du skådat örnens flygt’), 4. Psilander (‘En blåögd Julidag’), 5. Nils Ehrensköld (‘Kung Karl en flykting var’), 6. Chapmans grafhäll (‘Främling, en till ledungsfärder’), TTBB.
Sånger och visor, published 1866. 1. Afslag (‘O förlåt, vredgas ej’, A.F. Lindblad), 2. Erik Gustaf Geijer (‘Framåt, framåt’, A.F. Lindblad), 3. Hvar är mitt hem (T. Knös), 4. A une femme (‘Enfant, si j´étais roi’, V. Hugo), 5. Tröstung (‘Es ziehen am HJimmel die Wolken so grau’, Krimer), 6. Till enkefru Anna E. Geijer (‘Anna, Anna! Ilande gå’, A.F. Lindblad), 7. Hon varken hör eller ser (‘Hör du ej’, A.F. Lindblad), 8. Tvekan (‘Ja, ja, nej, nej! Hvad fruktar, hvad ängslas du så’, A.F. Lindblad), 9. Vid barnens aftonbön (‘O Gud! Du dig förbarmar’, A.F. Lindblad), 10. Efter läsningen af en tendensdikt (‘Det talas, det skrifves’, A.F. Lindblad), 11. Till godheten (‘Du mig bevekt’, U. von Feilitzen), 12. Tidigt om morgonen (‘Sjusofverska lilla’, T. Knös), 13. En qvinna vid sitt arbete (‘Hell, lugna, tysta tankar’, T. Knös), 14. Nattviolen (‘Nu blommar nattviolen’, U. von Feilitzen).
13 nya sånger vid piano, published 1868. 1. Naturbetraktelser (‘Ser jag hur blommor små’, T. Knös), 2. Uplandsflickan (‘Jag kom öfver ängen’, C.E. Fahlcrantz), 3. Sagan (‘Berätta vill jag en saga’, T. Knös), 4. Tillegnan till en vän (‘Förlåt, min vän, jag kommer’, A.F. Lindblad), 5. Diclythra Formosa/Trädgårdslyran (‘Vackra lilla blomster’, T. Knös), 6. Efter solnedgången (‘Månsken darrar öfver vågen’, T. Knös), 7. Mognadt förstånd (‘En liten pilt på renen’, A.F. Lindblad), 8. Förtröstan (‘Timmarne ilat’, A.F. Lindblad), 9. Der schlummernde Amor (‘Er liegt und schläft’, M. Claudius), 10. Önskan i salongen (‘O, blefve den strålande salen’, T. Knös), 11. Visiter (‘Hör tamburens klocka’, T. Knös), 12. Aftonstämning (‘När solen sig sänker’, T. Knös), 13. Reminiscens (‘Auf Wiedersehn’, A.F. Lindblad).
Fänrik Ståls sägner satta i musik, 1−4, (J.L. Runeberg), published 1856. 1. Vårt land (‘Vårt land, vårt land, vårt fosterland’), 2. Vårt land (‘Vårt land, vårt land, vårt fosterland’), another melody, TTBB, 3. Fänrik Stål (‘Till flydda tider’), 4. Ur Molnets broder (‘Nu är åsen i min stuga bruten’), 5. Ur Molnets broder (‘Ej med klagan skall mitt minne firas’), 6. Veteranen (‘Han reste sig ansenlig’), 7. Löjtnant Sidén (‘Det var den tappre löjtnant Sidén’), 8. Torpflickan (‘Red mig en graf’), 9. Sven Dufva (‘Sven Dufvas fader var sergeant’), 10. von Konow och hans korporal (‘Och jag har icke dragit dig upp ur dyn’), 11. Den döende krigaren (‘Försvunnen var en blodig dag’), 12. Otto von Fieandt (‘Från Christina var en man’), 13. De två dragonerna (‘Stål så hette en’), 14. Sandels (‘Sandels han satt i Pardela by’), 15. Döbeln vid Jutas (‘Herr prosten talte’), 16. Fältmarskalken (‘Gladt i Frantsila ett jubel ljöd’), 17. Gamle Hurtig (‘Aldrig brusto ord vi bivuaken’). 18. Kulneff (‘Och efter qvällen räcker till’).
Nio sånger af Elias Sehlstedt, published 1868. 1. Reseintryck på isen mellan Sandhamn och Stockholm (‘Vid femti års ålder blef stugan mig trång’), 2. Lifvets saga (‘Liten stump jag sjunga vill’), 3. Vår-rim (‘O hvad kip, o hvad kip’), 4. Segelsång (‘Kula i, lilla vind’), 5. Bostället (‘Min Gud, så trefligt’), 6. Den gamle lotsen (‘På den ödsliga häll’), 7. Våren kommer (‘Våren arbetar allt hvad han förmår’), 8. Min förtröstan (‘Jag tänker stundom’), 9. Skaldekonsten (‘Man frågat mig’).
Sånger och visor vid pianoforte, 1−8, published 1879−80. 1. Vinterfärd (‘Och jag for öfver sjö’, E. Sehlstedt), 2. Resan (‘Det var vinter, min bror’, E. Sehlstedt).
Aftonstunder i hemmet, nya sånger och visor vid piano, 1−4, published 1871−72. 1. Neckrosen (‘Och pilten sprang neder’, C.W. Böttiger), 2. Den första lärkan (‘I Tyskland marken re´n var grön’, C.W. Böttiger), 3. Karin Månsdotters vaggvisa för Erik XIV (‘Sof, du stormiga hjerta, sof’, Z. Topelius), 4. Karin Månsdotters vaggvisa för Erik XIV (‘Sof, du stormiga hjerta, sof’, Z. Topelius), alternativ version, 5. Sylvias visa (‘En liten fågel fjerran’, Z. Topelius), 6. Det sägs (‘Flicka, hvad ditt ögonpar’, E. Bäckström), 7. Hvar? (‘Hvar, o hvar på de rullande verldarnes klot’, C.W. Böttiger), 8. Spinnvisa (‘Jag spinner min tråd’, Z. Topelius), 9. Ensamhet (‘O, vor´ jag det minsta bland lingonen små’, Z. Topelius), 10. Barnatro (‘Du fattige sparf uppå taket’, Z. Topelius), 11. Vårdagsgryning (‘Luft, friska luft’, E. Bäckström), 12. Källsökaren (‘Jag går så tyst’, T. Knös), 13. Flyktingen (‘Glädje, bida nu’, C.W. Böttiger), 14. Sken och ljus (‘Låt dig ej af ytan fånga’, C.W. Böttiger), 15. På afstånd (‘Hur skön du står der’, E. Bäckström), 16. Furien och engeln (‘På besök kom till mitt sjuka hjerta’, C.W. Böttiger), 17. Sågqvarnen (‘I dalens djup jag ofta står’, C.W. Böttiger), 18. Vissna blommor (‘De blommor jag vågat ge’, E. Bäckström), 19. Sagorna (‘Hon lekte med mig förr så gladt’, E. Bäckström), 20. Regnbågen (‘En båge står högt öfver åker och by’, Z. Topelius), 21. Midsommarnatt (‘Vi möttes på den högsta topp’, Z. Topelius), 22. På nattlig is (‘Jag gick öfver isen’, Z. Topelius), 23. På sveden (‘Mitt stål är hvasst’, Z. Topelius), 24. Klostergården (‘Mellan skogens dunkla grenar’, E. Bäckström), 25. Aprilnarri (‘Kom glada gosse, hör’, Z. Topelius), 26. Fosterländsk sång (‘Det rinner strömmar många’, A.F. Lindblad), 27. Vallhjons sång (‘Jag vallar så trogen’, A.F. Lindblad), 28. Mitt läseri (‘Jag har min lust och mitt sinne för mig’, A.F. Lindblad), 29. Helsningssång (‘Den blida, sköna sångarmön’), 30. Tyst, låts om ingenting (‘När ingen hör mig’, Alida), 31. Venez, mon enfant (V. Hugo), 32. Tonen (‘I skogen smågutten gik’, B. Björnson). 33. I barndomshemmets trädgård (‘Lindar, der min lefnads saga runnit opp’, E. Bäckström), 34. Min mammas förklädsband (‘Jag ser mig sjelf en liten en’, O. Stig).
Efterlämnade sånger, published 1879. 1. Sie haben heut´ Abend Gesellschaft (H. Heine), 2. Wie kannst du ruhig schlafen (H. Heine), 3. So hast gu ganz und gar vergessen (H. Heine), 4. Ja, du bist elend, und ich grolle nicht (H. Heine), 5. Wir haben viel für einander gefühlt (H. Heine), 6. Lieb Liebchen, leg’s Händchen auf’s Herze mein (H. Heine), 7. Morgens steh ich auf und frage (H. Heine), 8. Still ist der Nacht (H. Heine), 9. Der Asra (‘Täglich ging die wunderschöne Sultanstochter’, H. Heine), 10. Fader vår (‘Fader vår som är i himmelen’), 11. Vattenliljan (‘Jag ser Atlanten sina massor jaga’, C. Snoilsky), 12. Moll och Dur (‘Ensam i sin bur liten fågel sitter’, G.W. Blanchet), 13. Ett sommarhem (‘Min hydda uppå berget står’, A.F. Lindblad), 14. Postscriptum till Thekla [Knös] (‘Du försåtligt på mitt piano lade’, A.F. Lindblad), 15. Svar på ‘Palinodia’ och fortsättningen av grälet [med G. Wennerberg] (‘Nej, nej, min bror, A.F. Lindblad), 16. Till Lotten (‘Stilla, tyst, klaga ej’, A.F. Lindblad), 17. Till Fru Sophie d´Ailly (‘Se dig ej omkring’, A.F. Lindblad), 18. Till Grefvinnan Mathilde de la Gardie (‘De blommor som jag fått’, A.F. Lindblad), 19. Afskedssång (‘Det är i dag för sista gången’, A.F. Lindblad), 20. Fridshelsning (‘Hvarför fråga ständigt så?’, Urban), 21. Min fönsterträdgård (‘Jag har en fönsterträdgård’, R. Winter), 22. Den 16 September 1877 (‘Minnets fagra mör som vakta’, O. Stig), 23. Under sjukdom (‘Haf tröst, min själ, förtvifla ej’, A.F. Lindblad), 24. Den 1 februari 1878 (‘Till segels än min farkost går’, Urban), 25. Sista visan (‘Gammal och svag, dag efter dag’, A.F. Lindblad) Nota bene (‘Ser du ängeln?’).

For two and three voices
Två- och trestämmiga sånger vid pianoforte, published 1847. 1. De förlofvade (‘Din vilja är min lag’), soprano and tenor, 2. Gnabb och försoning (‘Min herre nej!’), two sopranos, 3. Lektion (‘Kärleken är en Gud med vingar’), two sopranos, 4. Tanken (‘Tanke, se hur fågeln svingar’), soprano, tenor and bass, På gamla dagar (‘O Eduard! Mins du väl så långt tillbaks’, A.F. Lindblad), soprano and tenor, published 1840.

Arrangements
Der Nordensaal (‘Fern hin im Nord glänzet herrlich der Saal/Fjerran i Norden lyser salen så klar’, S.J. Hedborn), for voice and piano, published 1826.


Works by Adolf Fredrik Lindblad

This is not a complete list of works. The following works are those that have been inventoried so far.

Number of works: 265