Although it has been established that the unaccompanied part song setting of Frühlingslied (Spring Song) (D. 914) preceded the solo voice with piano accompaniment setting of the same text (D. 919), both settings are so masterfully conceived for the respective mediums that it is almost unimaginable that they were not simultaneously conceived. The part song version was a commission by the publisher Haslinger solicited from Schubert in late spring 1826 for the lucrative part song trade. But apparently either Schubert or Haslinger realized that the part song could be easily adapted as a solo song by taking the first tenor's line as the melody and re-writing the other three voices as a piano accompaniment. Although some scholars suspect on the basis of some awkward hand positions that the piano writing is not in fact Schubert's, no one disputes the notion that the adaptation of the melody is his work. The elegant simplicity of the additions Schubert made to the line and slight embellishments he added to the cadences are true Schubert. The song itself is a light and lovely hymn to the vernal season set in A flat major with the duple time of the first three verses blossoming into lilting triple time for the fourth and final verse.

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