Although the manuscript for all three of the Don Gayseros songs is in Schubert's handwriting, there are many who doubt that the works are by Schubert. Some scholars assert that the manuscript is a copy of songs by an as-yet unidentified composer whose work Schubert admired, while others claim that the manuscript is a reworking by the student Schubert of works by another composer. Even dating the manuscript is problematic, with some scholars believing it comes from as late as 1817, while others place it in 1814 or even earlier.

Indeed, even allowing that the songs are to some extent Schubert's own compositions, they present performance problems that have severely limited their currency. Although the manuscript does not specifically call for two voices, these dramatic songs demand a male and female singer to take the parts of Don Gayseros and Donna Clara. Furthermore, the three Don Gayseros songs form a coherent cycle that requires the songs be performed together. And as few enough solo singers are willing to learn youthful

Schubert, fewer still are willing to learn dubious youthful Schubert and fewer yet are willing to learn dubious youthful Schubert duets.

All of which is a shame because the Don Gayseros songs are among the better songs in the young Schubert's handwriting. The first of the three (D. 93, No. 1) has a refreshing open-air quality to it that belies the frequency of its modulations. Indeed, Schubert modulates no less than 11 times in a song strophically setting 14 verses. At first Schubert modulates through the circle of fifths starting on F major: F to B flat to E flat to A flat to D flat to G flat then to B (G flat enharmonically being the equivalent of F sharp, the dominant of B). But from there Schubert modulates from G to C, then from C to F, then from F to B flat, and back to F to conclude in A flat major. That the song holds together harmonically is amazing; that these modulations do nothing to detract from the charm of the music is astounding.

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