Excerpts from the Rosamunde music are frequently performed, and are some of Schubert's most performed pieces. They have been recorded several times, notably under the batons of Kurt Masur and Claudio Abbado.
The music consists of an overture and ten numbers. There are two overtures associated with Rosamunde. The one actually played in the production was originally written for Schubert's opera Alfonso und Estrella. The overture usually associated with Rosamunde (though it apparently had nothing to do with it), is that to Die Zauberharfe (The Magic Harp), presumably because that overture was originally published with the incidental music. This overture is in C minor and major.
The other numbers are:
Entr'acte No. 1, a stirring movement in B minor (Allegro molto moderato), which some believe may have been originally intended as the finale to Schubert's "Unfinished" Symphony.
Ballet music No. 1, really two pieces in one. The first is a march in B minor (Allegro moderato) beginning with a modified version of the opening theme of the first entr'acte. Like the entr'acte, this ends in B major. A bridge passage leads to a lyrical piece in G major bearing the rather puzzling tempo marking of Andante un poco assai.
Entr'acte No. 2 in D major (Andante), the outer sections of which have the same thematic material as those of No. 5, the "Chorus of Spirits." The central sections of both, though different, are in a similarly ominous mood.
Romanze, "Der Vollmond Strahlt auf Bergeshöh'n" (The Full Moon Shines on the Mountain Height) (Andante con moto) in F minor and major for soprano and orchestra.
Geisterchor (Chorus of Spirits), "In der Tiefe wohnt das Licht" (In the Deep Dwells the Light) in D major (Adagio), accompanying the brewing of the poisoned ink(!).
^Ein fragmentarischer autographer Entwurf zur Erstfassung von Chézys Schauspiel „Rosamunde“, in: Schubert durch die Brille. Internationales Franz Schubert Institut, Mitteilungen 18, Tutzing 1997, 46-57