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Hide Wiki Loves Monuments: The world's largest photography competition is now open! Photograph a historic site, learn more about our history, and win prizes. List of compositions by Franz Schubert From Wikipedia, the free encyclopedia It has been suggested that this article be split into multiple articles. (Discuss) (August 2017) Schubert's Opus 1: "Erlkönig", D 328, fourth version, was published by Diabelli as Schubert's "1tes Werk" in 1821. The Lied, composed in 1815, was later adopted along with its prior versions in AGA XX, 3 No. 178 (1895) and NSE IV, 1 (1970). Lists of Compositions by Franz Schubert By genre Stage works Songs and part-songs Song cycles Symphonies Sonatas, duos and fantasies Solo piano Numbering Deutsch catalogue Opus/Deutsch number concordance Score publications 19th century complete edition New Schubert Edition v t e Franz Schubert (31 January 1797 - 19 November 1828), a late Classical - early Romantic Viennese composer, left a very extended body of work notwithstanding his short life. He wrote some 1500 items, or, when collections, cycles and variants are grouped, some thousand compositions. The largest group are his over six hundred Lieder for solo voice and piano. He composed nearly as many piano pieces, and further some 150 part songs, some 40 liturgical compositions (including several masses) and around 20 stage works like operas and incidental music. His orchestral output includes a dozen symphonies (seven completed) and several overtures. Schubert's chamber music includes over 20 string quartets, and several quintets, trios and duos.[1][2][3][4][5][6] Otto Erich Deutsch compiled the first comprehensive catalogue of Schubert's works and published it in 1951 as Schubert: Thematic Catalogue of all his Works in Chronological Order.[7] A revised edition appeared in German in 1978.[8] Later editions of the catalogue contained minor updates.[9] Publication of Schubert's compositions started during his lifetime, by opus number. After the composer's death, posthumous opus numbers continued to be assigned to new publications of his work until 1867 (Op. post. 173). In the meanwhile also publications without opus number had started, for instance, from shortly after the composer's death, many songs in Diabelli's fifty "Nachlaß-Lieferung" (instalment from the heritage) editions.[7] There are two attempts to publish everything Schubert has composed in a single edition: From 1884 to 1897 Breitkopf & Härtel published twenty-two series of Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe, known as the "Alte Gesamt-Ausgabe" (AGA, the former complete edition). From 1965 Dover Publications started to reprint this edition, and later it was made available at the IMSLP website.[10] The Neue Schubert-Ausgabe (NSA), also known as the New Schubert Edition (NSE), is published by Bärenreiter (Kassel). It proposes around eighty-three volumes, in eight series. Publication of all volumes has been scheduled to conclude in 2016. Plans for this edition began as early as 1963, with the foundation of the International Schubert Society, headquartered at the University of Tübingen, Germany.[11][9] Websites such as Schubert Online (schubert-online.at) provide facsimiles (scans) of Schubert's autographs and of other manuscripts and early editions of his work.[12] Texts of Schubert's vocal music can be published without the music, for instance his Lieder (songs) at the LiederNet Archive website.[13] Contents [hide] 1 Works listed in the Deutsch catalogue 1.1 1810 1.2 1811 1.3 1812 1.4 1813 1.5 1814 1.6 1815 1.7 1816 1.8 1817 1.9 1818 1.10 1819 1.11 1820 1.12 1821 1.13 1822 1.14 1823 1.15 1824 1.16 1825 1.17 1826 1.18 1827 1.19 1828 1.20 Composition date undetermined 2 Not in the Deutsch catalogue 3 References 4 Sources 5 External links Works listed in the Deutsch catalogue[edit] This section's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (August 2017) (Learn how and when to remove this template message) The 1951 first edition of the Deutsch catalogue attempted to list all dated works by Schubert in chronological order, assigning them a number from 1 to 965. Undated works were ordered in the range 966-992. Nos. 993-998 referred to manuscripts that had resurfaced shortly before the catalogue was printed.[7] Later versions of the catalogue adhered to the general principles that Deutsch numbers below 966 referred, in a chronological order, to compositions by Schubert with an established time of composition, and that the range 966-992 was reserved for his compositions with an uncertain date of composition. Thus "Die Taubenpost", the last Lied Schubert composed, was reassigned from D 957 No. 14 to D 965A, and D 993, an early piano composition, to D 2E.[8] Spurious and doubtful works (Anh. I) Annex I of the first edition of the catalogue contains only a single composition under the header Spurious and doubtful works, but however also points to some compositions with authentication issues elsewhere in the catalogue.[7] The 1978 edition of the catalogue lists 32 spurious and doubtful works in its first Anhang (annex), including some that were for that reason removed from the main catalogue.[8] Arrangements by Schubert (Anh. II) The 1978 version of the catalogue lists 4 arrangements by Schubert in its second Anhang[8] Works of others composers copied by Schubert (Anh. III) Annex II in the first edition of the catalogue contains compositions by other composers copied by Schubert.[7] In the 1978 edition the list was expanded and became Anhang III.[8] "Setting" vs. "version" distinction the New Schubert Edition distinguishes between Bearbeitung (setting) and Fassung (version), the first meaning an independent composition, the second stages of the same composition (modifications of essentially the same composition). Usually different settings have different D numbers, while versions are grouped under the same D number, unless when set for a different (group of) performer(s). The first edition of the Deutsch catalogue was less strict on that point, leading to Deutsch number reassignments in later publications. Example: D 174 is described as two settings of the same text in the original catalogue, the second having become "D deest" by the time it was published in Series IV, Volume 8 of the New Schubert Edition (while the music has no resemblance to the earlier setting). On the other hand, despite a difference in key and number of movements, the original D 567 and D 568 were ultimately published under the same D number as two versions of the same sonata.[7][8][11][9] Legend to the table column content 1 D '51 Deutsch number in the first version of the Deutsch catalogue (1951)[7] 2 D utd most recent (utd = up to date) Deutsch catalogue number;[9] the basic collation of the list is according to these numbers - whether or not the possibility to adjust the sorting according to the content of other columns is available depends on the device with which the table is displayed. 3 Op. pbl Opus number (Op.; p indicates Post. = posthumous) and date of first publication (pbl; between brackets; when there is more than one date the earlier dates indicate partial publications). The column sorts to Opus number, then (earliest of) the publication date(s) 4 AGA Alte Gesamt-Ausgabe = Franz Schubert's Werke: Kritisch durchgesehene Gesammtausgabe. Indicates genre/instrumentation:[10] Series I: Symphonien (Nos. 1-8) (Johannes Brahms, 1884) Series II: Overtüren und Andere Orchesterwerke (Johann Nepomuk Fuchs, 1886) Series III: Oktette (Nos. 1-3) and IV: Streichquintett (Eusebius Mandyczewski, 1889) Series V: Streichquartette (Nos. 1-15) (Joseph Hellmesberger and Eusebius Mandyczewski, 1890) Series VI: Trio für Streichinstrumente (Eusebius Mandyczewski, 1892) Series VII: Trios, Quartets and Quintets with Piano and VIII: Pianoforte und Ein Instrument (Ignaz Brüll, 1886) Series IX: Pianoforte zu vier Händen (Anton Door, 1888) Series X: Sonaten für Pianoforte (Julius Epstein, 1888) Series XI: Fantasie, Impromptus und andere Stücke für Pianoforte (Julius Epstein, 1888) Series XII: Tänze für Pianoforte (Nos. 1-31) (Julius Epstein, 1889) Series XIII: Messen (Nos. 1-7) (Eusebius Mandyczewski, 1887) Series XIV: Kleinere Kirchenmusikwerke (Nos. 1-22) (Eusebius Mandyczewski, 1888) Series XV: Dramatische Musik (Johann Nepomuk Fuchs, 1893) Series XVI: Werke für Männerchor (Nos. 1-46) (Eusebius Mandyczewski, 1891) Series XVII: Werke für gemischten Chor (Nos. 1-19) (Josef Gänsbacher, Eusebius Mandyczewski, 1892) Series XVIII: Werke für Drei und mehr Frauenstimmen mit Pianoforte-Begleitung (Nos. 1-6) (Josef Gänsbacher, Eusebius Mandyczewski, 1891) Series XIX: Kleine Gesangswerke (Nos. 1-36) (Josef Gänsbacher and Eusebius Mandyczewski, 1892) Series XX: Sämtliche einstimmige Lieder und Gesänge (Eusebius Mandyczewski, 1894-1895) Series XXI: Supplement (Eusebius Mandyczewski, 1897) Instrumentalmusik No. 1-5 Instrumentalmusik No. 6-13 Instrumentalmusik No. 14- Gesangsmusik Series XXII: Revisionsbericht 5 NSA NGA/NSA/NSE = New Schubert Edition, also indicates genre/instrumentation:[11] Series I: Church Music Series II: Stage Works Series III: Part Songs Series IV: Lieder Series V: Orchestral Works Series VI: Chamber Music Octet and Nonet String Quintet String Quartets I String Quartets II String Quartets III String Trios Works for Piano and several instruments Works for Piano and one instrument Dances for several instruments Series VII: Piano Music Works for Piano Four Hands Works for Piano Two Hands Series VIII: Supplement, 2. Schubert's Studies 6 Name unique name, with, if available, a link to the relevant encyclopedia article; sorts by name with initial definite ("Der", "Die", "Das", ...) or indefinite ("Ein", "A", ...) articles, and numbers, moved after the expression they qualify: e.g. "Die Hoffnung, ..." sorts as "Hoffnung, Die, ..." - "Thirty Minuets ..." sorts as "Minuets, 30, ...". 7 Key / incipit incipit mostly for songs[14] (linking to lyrics and their translation, for instance at The LiederNet Archive, when available]),[13] other compositions by key, except for theatre works: type of composition in brackets. 8 Date (presumed) date of composition, or, for copies and arrangements, date of Schubert's autograph. Sorts to earliest possible date of completion, unlike the chronology of the Deutsch catalogue that generally collates according to earliest date associated with the composition: e.g. Schubert started the composition of his 3rd String Quartet on 19 November 1812 and completed it on 21 February 1813 - in the Deutsch catalogue the composition is grouped with other compositions from 1812: when using the sort function of the 8th column the composition is grouped with compositions completed in 1813 9 Additional info may include: Information about the text (lyrics,[14][13] libretto) of vocal compositions: e.g., "Text by [text author]", "Text: [standard lyrics]", "... from [literary work]"; "other settings: D ..." indicates Schubert's other settings of the same text; for fields starting with "Text ..." this column sorts by text author (last name, first name—or pen name when such name is more established), then incipit of the lyrics (alternatively, when the incipit is rarely used, title of the work) Information about the authenticity of the composition: the work is without doubt Schubert's unless when marked as "Doubtful", "Spurious?" or "Spurious" (in the last case columns 3-8 give no further information about the composition) Forces needed for performance ("For ..."): may be omitted when the type of composition makes the instrumentation clear (e.g. String Quartet → two violins, viola and cello), and, for vocal music, when the setting is for voice and piano "s", "a", "t" and "b" refer to a single soprano, alto, tenor and bass singer respectively, while "S", "A", "T" and "B" to choral parts for the same types of singers (see SATB). Specifications regarding movements (e.g. "Allegro - Minuet - Rondo") or sections (e.g. "No. 1 ...") Information about the completeness of the extant work: the work is considered complete as extant unless when marked "Sketch", "Incomplete", "Unfinished", "Fragment" or "Lost" Information about versions (e.g. "Two versions: ...") Compositions by Franz Schubert listed in the Deutsch catalogue D '51 D utd Op. pbl AGA NSA Name Key / incipit Date Additional info 1-1C 1810 Up ↑ 1 1 (1888) IX, 3 No. 30 VII/1, 1 No. 1 & Anh. No. 1 Fantasy, D 1 G major 8/4/1810- 1/5/1810 For piano duet; Two versions of Finale 1A (1969) IV, 6 Anh. No. 1 Song, D 1A C minor before 1810? For b and piano; Sketch; Music partly reused in D 39 1B VII/1, 1 Anh. No. 2 Fantasy, D 1B G major 1810-1811 For piano duet; Fragment; Music related to D 1 and 7 1C VII/1, 1 Anh. No. 3 Sonata, D 1C F major 1810-1811 For piano duet; Largo (fragment) 2-12 1811 Up ↑ 996 2A V, 6 No. 1 Overture, D 2A D major 1811? For orchestra 997 2B V, 6 No. 2 Symphony, D 2B D major 1811? Adagio, Allegro con moto (fragment) 998 2C (1978) VI, 3 Anh. No. 1 String Quartet, D 2C D minor or F major 1811? Fragment 995 2D (1956) (1970) VI, 9 Six Minuets, D 2D Various keys 1811 For winds; Nos. 1-2: piano version publ. in 1956; Nos. 4-6: sketches 993 2E VII/2, 4 Fantasy, D 2E C minor 1811 For piano 2F VI, 9 Trio, D 2F 1811 For winds?; Sketch; Belongs to a lost Minuet 2G V, 6 No. 3 Overture, D 2G D major 1810-1811? For orchestra; Fragment 3 3 (1978) VI, 3 Anh. No. 2 String Quartet, D 3 C major 1812? Andante (fragment); Partly reused in D 29 and in an early sketch of D 36 4 4 (1886) II No. 1 V, 5 Overture to the play Der Teufel als Hydraulicus (Overture to a comedy with singing) D major 1812? For orchestra; Play by Albrecht (de) (plot similar to Weidmann (de)'s Der Bettelstudent) 5 5 (1894) XX, 1 No. 1 IV, 6 No. 1 Hagars Klage Hier am Hügel heißen Sandes 30/03/1811 Text by Schücking (scores); Music partly reused in D 8 and 9 6 6 (1894) XX, 1 No. 2 IV, 3 Des Mädchens Klage, D 6 Der Eichwald brauset 1811-1812 Text by Schiller, from Wallenstein: Die Piccolomini III, 7 (other settings: D 191 and 389) 7 7 (1894) XX, 1 No. 3 IV, 6 No. 2 Leichenfantasie Mit erstorbnem Scheinen 1811? Text by Schiller; reuses music of D 1B 8 8 (1970) VI, 2 No. 1 Overture, D 8 C minor 29/6/1811 For string quintet (two violins, two violas and cello); Music reappears in D 8A 8A (1970) VI, 3 No. 3 Overture, D 8A C minor After 12/7/1811 For string quartet; Based on D 8 9 9 (1888) IX, 3 No. 31 VII/1, 1 No. 2 Fantasy, D 9 G minor 20/9/1811 For piano duet 10 10 (1894) XX, 1 No. 4 IV, 6 No. 3 Der Vatermörder Ein Vater starb von des Sohnes Hand 26/12/1811 Text by Pfeffel 11 966 11 (1893) (1897) XV, 7 No. 12 XXI, 1 No.1 II, 11 Der Spiegelritter (Singspiel in three acts) December 1811? Text by Kotzebue; For ssssstttbbbbSATB and orchestra; Overture (publ. in 1897) - Nos. 1-8 (Act I, Nos. 2-3 and 8 are fragments, No. 3 not in AGA, part of No. 3 was D 966) 12 12 (1897) XXI, 1 No. 2 V, 5 Overture, D 12 D major 1811-1812 For orchestra; Music partly reused in D 94 13-37 1812 Up ↑ 13 13 VII/2, 4 Fugue, D 13 D minor c. 1812 For piano?; By Schubert? 14 14 Overture, D 14 c. 1812 Piano sketch; Lost 15 15 (1895) XX, 10 No. 590/1 IV, 7 Anh. No. 5 Der Geistertanz, D 15 Die bretterne Kammer der Toten erbebt c. 1812 Text by Matthisson (other settings: D 15A, 116 and 494); Fragment 15 15A (1895) XX, 10 No. 590/2 IV, 7 Anh. No. 6 Der Geistertanz, D 15A Die bretterne Kammer der Toten erbebt c. 1812 Text by Matthisson (other settings: D 15, 116 and 494); Fragment 16 16 (1940) VIII, 2 No. 11 Counterpoint exercises, D 16 G minor (Nos. 1-4); A minor (Nos. 5-7) 1823? Seven exercises in double counterpoint 17 17 (1940) VIII, 2 No. 37 Composition exercises, D 17 Quell' innocente figlio 1812? Text by Metastasio, from Isacco I, "Aria dell' Angelo"; Nine settings with corrections by Salieri; No. 1, for s, related to D 30; No. 2 for ss; Nos. 3 and 5-6 for sat; Nos. 4 and 7-8 for satb (No. 7 not in 1940 publ.) 18 18 (1890) V No. 1 VI, 3 No. 1 String Quartet No. 1 G minor / B major 1810-1811 Andante, Presto vivace - Minuet - Andante - Presto 19 19 String Quartet, D 19 1810-1811 Lost 19A 19A String Quartet, D 19A 1810-1811 Lost 19B Waltzes and a March, D 19B 1812-1813? For piano; Lost 20 20 Overture, D 20 B♭ major 1812 For string quartet; Lost 21 21 Six Variations, D 21 E♭ major 1812 For piano; Lost 22 22 Twelve Minuets with Trios, D 22 1812 For piano; Lost 23 23 131p,3 (1830) XX, 1 No. 6 IV, 6 No. 4 Klaglied Meine Ruh ist dahin, meine Freud ist entflohn 1812 Text by Rochlitz 24 24 Seven Variations, D 24 F major 1812? For piano; Fragment; Lost 24A VII/2, 4 Fugue, D 24A C major summer 1812? For keyboard (organ or piano); Partly reused in D 24E 24B VII/2, 4 Fugue, D 24B G major summer 1812? For keyboard (organ or piano); Two versions 24C VII/2, 4 Fugue, D 24C D minor summer 1812? For keyboard (organ or piano) 24D VII/2, 4 Anh. Fugue, D 24D C major summer 1812? For piano; Fragment; Partly reused in D 46 24E I, 5 Anh. Mass, D 24E F major? Gloria - Credo summer 1812? Text: Mass ordinary (other settings: D 31, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB and orchestra; Fragment of a Gloria and a Credo; Partly based on D 24A 25 25 VIII, 2 Counterpoint exercises, D 25 started 18/6/1812 Four 2-part and three 3-part counterpoint exercises; Four 2-part imitation exercises 25A VIII, 2 Counterpoint exercises, D 25A summer 1812? Two 4-part counterpoint exercises 25B VIII, 2 Counterpoint exercises, D 25B summer 1812? Fifteen 3-part counterpoint exercises 25C VIII, 2 Fugue, D 25C F major summer 1812? Counterpoint exercise for two voices; Fragment 26 26 (1886) II No. 2 V, 5 Overture, D 26 D major 26/6/1812 For orchestra 27 27 (1928) I, 8 Salve Regina, D 27 F major Salve Regina 28/06/1812 Text: Salve Regina (other settings: D 106, 223, 386, 676 and 811); For s and orchestra 28 28 (1923) VI, 7 No. 1 Piano Trio, D 28, a.k.a. Sonata B♭ major 27/7/1812- 28/8/1812 Allegro 29 29 (1888) XI No. 9 VII/2, 4 Andante, D 29 C major 9/9/1812 For piano; Related to D 3 and 36 30 30 (1894) XX, 1 No. 5 IV, 4 Der Jüngling am Bache, D 30 An der Quelle saß der Knabe 24/9/1812 Text by Schiller (other settings: D 192 and 638) 31 31 (1888) XIV No. 14 I, 5 Kyrie, D 31 D minor Kyrie 25/9/1812 Text: Mass ordinary (other settings: D 24E, 45, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For stSATB and orchestra; First part of a Mass 32 32 (1890) (1897) (1954) V No. 2 XXII v5 VI, 3 No. 4 String Quartet No. 2 C major Sep.-Oct. 1812 Presto (publ. in 1890) - Andante - Minuet (publ. in 1890, music partly reappears in D 128 No. 12) - Allegro con spirito (publ. partly in 1897) 33 33 (1940) VIII, 2 No. 38 Composition exercises, D 33 Entra l'uomo allor che nasce Sep.-Oct. 1812 Text by Metastasio, from Isacco II, "Aria di Abramo"; Six settings (No. 1 for s, Nos. 2 for sa, No. 3 for sat, Nos. 4-6 for satb) and an Allegretto (b?), with corrections by Salieri 34 34 (1940) VIII, 2 No. 39 Composition exercises, D 34 Te solo adoro 5/11/1812 Text by Metastasio, from Betulia liberata II, "Aria di Achior"; For satb; Two versions of start; With corrections by Salieri 35 35 (1940) VIII, 2 No. 40 Composition exercises, D 35 Serbate, o Dei custodi Oct.-Dec. 1812 Text by Metastasio, from La clemenza di Tito I, 5; Three settings (No. 1 for satb, No. 2 for SATB, No. 3 for t and accompaniment); With corrections by Salieri 36 36 (1890) V No. 3 VI, 3 No. 5 String Quartet No. 3 B♭ major 19/11/1812- 21/2/1813 Allegro - Andante - Minuet - Allegretto 37 37 74 (1827) XIX No. 1 III, 3 Die Advokaten Mein Herr, ich komm' mich anzufragen 25/12/1812- 27/12/1812 Text by Rustenfeld (scores); For ttb and piano 37A-91 1813 Up ↑ 967 37A VII/2, 4 Anh. VIII, 2 No. 13 Fugue sketches, D 37A 1813? For piano 38 38 (1892) XIX No. 20 III, 4 No. 1 Totengräberlied, D 38 Grabe, Spaden, grabe! 1813? Text by Hölty (other setting: D 44); For ttb 39 39 (1969) IV, 6 Anh No. 2 Lebenstraum Ich saß an einer Tempelhalle early 1810? Text by Baumberg; Sketch; Music related to D 1A 39A VI, 9 Three Minuets with Trios, D 39A 1813 For orchestra; Lost 41 41 (1889) XII No. 30 VII/2, 6 Thirty Minuets with Trios, D 41 Various keys 1813 For piano; Nos. 1-8, 11-18 and 20-23 are extant 41A VII/2, 4 Anh. Fugue, D 41A E minor 1813 For piano; Fragment 42 42 (1895) (1969) XX, 10 No. 570 IV, 6 No. 5 Anh. No. 3 Aria di Timante Misero pargoletto 1813? Text by Metastasio, from Demofoonte III, 5; For s and piano; Two settings: 1st, not in AGA, consisting of two variant fragments 43 43 (1897) XXI, 4 No. 43 III, 4 No. 2 VIII, 2 No. 34 Sprüche des Confucius, D 43 Dreifach ist der Schritt der Zeit 8/7/1813 Text by Schiller (other settings: D 69 and 70); For ttb 44 44 (1894) XX, 1 No. 7 IV, 6 No. 6 Totengräberlied, D 44 Grabe, Spaden, grabe! 19/1/1813 Text by Hölty (other setting: D 38) 45 45 (1888) XIV No. 21 I, 5 Kyrie, D 45 B♭ major Kyrie 1/3/1813 Text: Mass ordinary (other settings: D 24E, 31, 49, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For SATB 46 46 (1890) V No. 4 VI, 3 No. 6 String Quartet No. 4 C major 3/3/1813- 7/3/1813 Adagio - Andante con moto - Minuet - Finale 47 47 (1974) III, 2b Anh. No. 1 Dithyrambe, D 47 Nimmer, das glaubt mir, erscheinen die Götter 29/3/1813 Text by Schiller (other setting: D 801); For tbSATB and piano; Fragment 48 48 (1871) (1888) IX, 3 No. 32 VII/1, 1 No. 3 Fantasy, D 48, a.k.a. Grand Sonata C minor April 1813- 10/6/1813 For piano duet; AGA includes concluding fugue 49 49 (1888) XIV No. 15 I, 5 Kyrie, D 49 D minor Kyrie early April 1813- 15/4/1813 Text: Mass ordinary (other settings: D 24E, 31, 45, 56, 66, 105, 167, 324, 452, 678, 755 and 950); For satbSATB and orchestra; First part of a Mass 50 50 (1894) XX, 1 No. 8 IV, 6 No. 7 Die Schatten Freunde, deren Grüfte sich schon bemoosten! 12/4/1813 Text by Matthisson 51 51 (1897) XXI, 4 No. 37 III, 4 No. 3 Unendliche Freude, D 51 Unendliche Freude durchwallet das Herz 15/4/1813 Text by Schiller, stanza 3 from "Elysium" (other stanzas and settings: D 53, 54, 57, 58, 60 and 584); For ttb 52 52 (1868) XX, 1 No. 9 IV, 2b No. 8 Sehnsucht, D 52 Ach, aus dieses Tales Gründen 15/4/1813- 17/4/1813 Text by Schiller (other setting: D 636); For b and piano 53 53 (1892) XIX No. 9 III, 4 No. 4 Vorüber die stöhnende Klage Vorüber die stöhnende Klage! 18/4/1813 Text by Schiller, stanza 1 from "Elysium" (other stanzas and settings: D 51, 54, 57, 58, 60 and 584); For ttb 54 54 (1873) XIX No. 22 III, 4 No. 5 VIII, 2 No. 17 Unendliche Freude, D 54 Unendliche Freude durchwallet das Herz 19/4/1813 Text by Schiller, stanza 3 from "Elysium" (other stanzas and settings: D 51, 53, 57, 58, 60 and 584); Canon for three male voices 55 55 (1892) XIX No. 12 III, 4 No. 6 Selig durch die Liebe Selig durch die Liebe Götter 21/4/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 1; Other: D 61, 62, 63, 64, 983A; For ttb 56 56 (1892) XIX No. 29 I, 5 VIII, 2 No. 18 Sanctus, D 56 B♭ major Sanctus 21/4/1813 Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 66, 105, 167, 324, 452, 678, 755 and 950); Canon for three voices; Two versions 57 57 (1897) XXI, 4 No. 38 III, 4 No. 7 Hier strecket der wallende Pilger Hier strecket der wallende Pilger 29/4/1813 Text by Schiller, stanza 4 from "Elysium" (other stanzas and settings: D 51, 53, 54, 58, 60 and 584); For ttb 58 58 (1892) XIX No. 10 III, 4 No. 8 Dessen Fahne Donnerstürme wallte Dessen Fahne Donnerstürme wallte May 1813 Text by Schiller, stanza 5 from "Elysium" (other stanzas and settings: D 51, 53, 54, 57, 60 and 584); For ttb 59 59 (1832) XX, 1 No. 10 IV, 6 No. 8 Verklärung Lebensfunke, vom Himmel entglüht 4/5/1813 Text by Herder after Pope's "The dying Christian to his soul" 60 60 (1892) XIX No. 11 III, 4 No. 16 Hier umarmen sich getreue Gatten Hier umarmen sich getreue Gatten 3/10/1813 Text by Schiller, stanza 6 from "Elysium" (other stanzas and settings: D 51, 53, 54, 57, 58 and 584); For ttb 61 61 (1897) XXI, 4 No. 39 III, 4 No. 9 VIII, 2 No. 19 Ein jugendlicher Maienschwung Ein jugendlicher Maienschwung 8/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 9; Other: D 55, 62, 63, 64, 983A; Canon for three voices 62 62 (1897) XXI, 4 No. 40 III, 4 No. 10 VIII, 2 No. 35 Thronend auf erhabnem Sitz Thronend auf erhabnem Sitz 9/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 15; Other: D 55, 61, 63, 64, 983A 63 63 (1892) XIX No. 13 III, 4 No. 11 Wer die steile Sternenbahn Wer die steile Sternenbahn 10/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 26; Other: D 55, 61, 62, 64, 983A; For ttb 64 64 (1897) XXI, 4 No. 41 III, 4 No. 12 VIII, 2 No. 36 Majestät'sche Sonnenroße Majestät'sche Sonnenroße 10/5/1813 Text by Schiller, from "Der Triumph der Liebe": stanza 16; Other: D 55, 61, 62, 63, 983A; For ttb 65 65 (1892) XIX Anh. I, No. 35 III, 4 Anh. II No. 1 VIII, 2 No. 20 Schmerz verzerret ihr Gesicht Schmerz verzerret ihr Gesicht 11/5/1813 Text by Schiller, from "Gruppe aus dem Tartarus": stanza 2 (other settings: D 396 and 583); For ttb; Sketch 66 66 (1888) XIV No. 16 I, 5 Kyrie, D 66 F major Kyrie 12/5/1813 Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 105, 167, 324, 452, 678, 755 and 950); For SATB and orchestra 67 67 (1897) XXI, 4 No. 42 III, 4 No. 13 Frisch atmet des Morgens lebendiger Hauch Frisch atmet des Morgens lebendiger Hauch 15/5/1813 Text by Schiller (other setting: D 402); For ttb 68 68 (1890) V No. 5 VI, 3 No. 7 String Quartet No. 5 B♭ major 8/6/1813- 18/8/1813 Allegro maestoso - Allegro; Middle movements missing 69 69 (1892) XIX No. 23 III, 4 No. 14 VIII, 2 No. 21 Sprüche des Confucius, D 69 Dreifach ist der Schritt der Zeit 8/7/1813 Text by Schiller (other settings: D 43 and 70); Canon for three voices 70 70 (1974) III, 4 Anh. I No. 1 VIII, 2 No. 33 Sprüche des Confucius, D 70 Dreifach ist der Schritt der Zeit 8/7/1813 Text by Schiller (other settings: D 43 and 69); For ttb; Fragment 71 71 (1892) XIX No. 14 III, 4 No. 15 Die zwei Tugendwege Zwei sind der Wege 15/7/1813 Text by Schiller; For ttb 71A (1956) I, 8 VIII, 2 No. 22 Alleluja, D 71A F major July 1813? Canon for three voices 71B VII/2, 4 Anh. VIII, 2 No. 14 Fugue, D 71B E minor July 1813 For piano; Fragment 966A 71C V, 6 No. 5 Orchestral piece, D 71C D major Aug. or Sep. 1813 Fragment; First pages, a.k.a. D 74A, based on D 74 72 72 (1889) (1890) III No. 2 XXII v1 VI, 1 No. 1 & Anh. Wind Octet F major completed 18/8/1813 Allegro (fragment, publ. in 1890) - Minuet - Allegro; Slow middle movement lost? 73 73 (1868) XX, 1 No. 11 IV, 4 Thekla: Eine Geisterstimme, D 73 Wo ich sei, und wo mich hingewendet 22/8/1813- 23/8/1813 Text by Schiller (other setting: D 595) 74 74 (1890) V No. 6 VI, 4 No. 8 String Quartet No. 6 D major 22/8/1813- Sep. 1813 Allegro ma non troppo - Andante - Minuet - Allegro 966A 74A V, 6 No. 4 Orchestral piece, D 74A D major Aug. or Sep. 1813 Fragment; Variant D number for first pages of D 71C 75 75 (1850) XVI No. 16 III, 3 Trinklied, D 75 Freunde, sammelt euch im Kreise 29/08/1813 Text by Schäffer (scores); For bTTB and piano 76 76 (1871) (1969) XX, 10 No. 571 IV, 6 No. 9 Anh. No. 4 Aria di Fronimo Pensa, che questo istante 7 and 13 Sep. 1813 Text by Metastasio, from Alcide al bivio, 1; For b and piano; Two versions (2nd in AGA) 77 111 77 (1831) (1894) XX, 1 No. 12 IV, 6 No. 10 Der Taucher Wer wagt es, Rittersmann oder Knapp 17/9/1813- early 1815 Text by Schiller; Two versions: 2nd, publ. in 1894, was D 111 78 78 (1895) XX, 10 No. 572 IV, 6 No. 11 Aria di Venere Son fra l'onde 18/9/1813 Text by Metastasio, from Gli orti esperdi, I; For s and piano 79 79 (1889) III No. 3 VI, 1 No. 2 Wind Nonet, a.k.a. Eine kleine Trauermusik or Franz Schuberts Begräbniß-Feyer E♭ minor 19/9/1813 Grave con espressione 80 80 (1892) XIX No. 4 III, 3 Zur Namensfeier meines Vaters Ertöne Leier zur Festesfeier! 27/9/1813 Text by Schubert; For ttb and guitar 81 81 (1895) XX, 10 No. 583 IV, 14 Auf den Sieg der Deutschen Verschwunden sind die Schmerzen fall 1813 Text by Schubert? (other setting: D 88); For voice, two violins and cello 82 82 (1884) I, 1 No. 1 V, 1 No. 1 Symphony No. 1 D major completed 28/10/1813 Adagio, Allegro vivace - Andante - Minuet - Allegro vivace 83 83 (1895) XX, 10 No. 582 IV, 14 Zur Namensfeier des Herrn Andreas Siller Des Phöbus Strahlen 28/10/1813- 4/11/1813 For voice, violin and harp 84 84 (1888) XV, 1 No. 1 II, 1 Des Teufels Lustschloß (Singspiel in three acts) 30/10/1813- 22/10/1814 Text by Kotzebue; Music for sssttbbbSSSATTBB and orchestra; Two versions: Overture (2nd version in AGA) - Act I (Nos. 1-11, 2nd version in AGA) - Act II (Nos. 12-17, 1st version only, in AGA) - Act III (Nos. 18-23, 1st version Nos. 21 and 23 only, 2nd version in AGA); Sketch of an orchestral piece (from 1st version of Act III?): compare D 94A 86 86 (1886) II No. 10 VI, 4 Anh. No. 1 VI, 9 Minuet, D 86 D major November 1813? For string quartet 87 87 125p,1 (1840) V No. 10 VI, 4 No. 9 String Quartet No. 10 E♭ major November 1813 Allegro più moderato - Scherzo - Adagio - Allegro 87A VI, 4 Anh. No. 2 Andante, D 87A C major November 1813 For four voices (string quartet or vocal ensemble?); Fragment 88 88 (1892) XIX No. 21 III, 4 No. 17 VIII, 2 No. 23 Verschwunden sind die Schmerzen Verschwunden sind die Schmerzen 15/11/1813 Text by Schubert? (other setting: D 88); Canon for ttb 89 90 89 (1886) II No. 8 and No. 9 VI, 9 Five Minuets and Five German Dances Various keys 19/11/1813 For string quartet; Minuets have six Trios, German Dances have seven Trios and a Coda 91 91 (1956) VII/2, 6 Two Minuets, D 91 Various keys 22/11/1813 For piano; Each minuet with two Trios 92-126 1814 Up ↑ 93 93 (1894) XX, 1 Nos. 13-15 IV, 7 Anh. No. 1 Don Gayseros 1. Don Gayseros,... wunderlicher, schöner Ritter - 2. Nächtens klang die süße Laute - 3. An dem jungen Morgenhimmel 1815? Text by Motte Fouqué, from Der Zauberring; Nos. 2 and 3 incomplete 94 94 (1871) V No. 7 VI, 3 No. 2 String Quartet No. 7 D major 1811 or 1812? Allegro (partly reused in D 12) - Andante con moto - Minuet - Presto 94A II, 1 V, 6 No. 6 Orchestral piece, D 94A B♭ major c. 1814 Fragment; For 1st version of D 84, Act III? 94B VI, 9 Five Minuets and Six German Dances, D 94B 1814 For string quartet and two horns; Lost 95 95 (1848) XX, 1 No. 25 IV, 7 No. 1 Adelaide Einsam wandelt dein Freund 1814 Text by Matthisson 97 97 (1894) XX, 1 No. 19 IV, 7 No. 2 Trost: An Elisa Lehnst du deine bleichgehärmte Wange 1814 Text by Matthisson 98 98 (1894) (1968) XX, 1 No. 24 IV, 7 No. 3 Anh. No. 2 Erinnerungen, D 98 Am Seegestad, in lauen Vollmondsnächten fall 1814 Text by Matthisson (other setting: D 424); Two versions: 1st is fragment, 2nd in AGA 99 99 (1894) XX, 1 No. 16 IV, 7 No. 4 Andenken, D 99 Ich denke dein wenn durch den Hain April 1814 Text by Matthisson (other setting: D 423) 100 100 (1894) XX, 1 No. 17 IV, 7 No. 5 Geisternähe Der Dämm'rung Schein durchblinkt den Hain April 1814 Text by Matthisson 101 101 (1894) XX, 1 No. 18 IV, 7 No. 6 Erinnerung, D 101, a.k.a. Todtenopfer Kein Rosenschimmer leuchtet April 1814 Text by Matthisson 102 102 (1840) XX, 1 No. 20 IV, 7 No. 7 Die Betende Laura betet! fall 1814 Text by Matthisson; Partly reused in D 918 103 103 (1939) VI, 4 Anh. No. 3 Quartettsatz, D 103 C minor 23/4/1814 Grave, Allegro (fragment); Completed by Alfred Orel in 1st ed. 104 104 (1895) XX, 10 No. 584 IV, 7 No. 8 & Anh. No. 3 Die Befreier Europas in Paris Sie sind in Paris! 16/5/1814 Text by Mikan; Two drafts and a final version 105 185 105 (1856) XIII, 1 No. 1 I, 1a Mass No. 1 F major Kyrie - Gloria - Credo - Sanctus & Benedictus - Agnus Dei 17/5/1814- 22/7/1814 Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 167, 324, 452, 678, 755 and 950); For ssattbSATB and orchestra; 2nd setting of Dona nobis pacem was D 185; Partly reused in D 484 106 106 (1888) XIV No. 9 I, 8 Salve Regina, D 106 B♭ major Salve Regina 28/6/1814- 1/7/1814 Text: Salve Regina (other settings: D 27, 223, 386, 676 and 811); For t and orchestra 107 107 (1894) (1968) XX, 1 No. 21 IV, 7 No. 9 Lied aus der Ferne Wenn in des Abends letztem Scheine July 1814 Text by Matthisson; Two versions: 1st in AGA 108 108 (1894) XX, 1 No. 22 IV, 7 No. 10 Der Abend, D 108 Purpur malt die Tannenhügel July 1814 Text by Matthisson 109 109 (1894) XX, 1 No. 23 IV, 7 No. 11 Lied der Liebe Durch Fichten am Hügel July 1814 Text by Matthisson 110 110 (1891) XVI No. 43 III, 1 Wer ist groß? Wer ist wohl groß? 24/7/1814- 25/7/1814 For bTTBB and orchestra 111A VI, 6 Anh. No. 1 String Trio, D 111A B♭ major 5/9/1814- 13/9/1814 Allegro (fragment); early version of D 112 112 112 168p (1863) V No. 8 VI, 4 No. 10 String Quartet No. 8 B♭ major 5/9/1814- 13/9/1814 Allegro ma non troppo - Andante sostenuto - Minuet - Presto; Based on D 111A 113 113 58,2 (1821) (1826) (1894) XX, 1 No. 26 IV, 3 An Emma Weit in nebelgrauer Ferne 17/9/1814 Text by Schiller; Three versions: 2nd publ. in 1821 - 3rd is Op. 58 No. 2 114 114 (1868) (1901) XX, 1 No. 27 IV, 7 No. 12 & Anh. No. 4 Romanze, D 114 Ein Fräulein klagt' im finstern Turm September 1814 Text by Matthisson; Two versions: 2nd in AGA 115 115 (1840) XX, 1 No. 28 IV, 7 No. 13 An Laura, als sie Klopstocks Auferstehungslied sang Herzen, die gen Himmel sich erheben 2/10/1814- 7/10/1814 Text by Matthisson 116 116 (1840) XX, 1 No. 29 IV, 7 No. 14 Der Geistertanz, D 116 Die bretterne Kammer der Toten erbebt 14/10/1814 Text by Matthisson (other settings: D 15, 15A and 494) 117 117 (1894) XX, 1 No. 30 IV, 8 No. 45 Das Mädchen aus der Fremde, D 117 In einem Tal bei armen Hirten 16/10/1814 Text by Schiller (other setting: D 252) 118 118 2 (1821) XX, 1 No. 31 IV, 1a Gretchen am Spinnrade Meine Ruh' ist hin 19/10/1814 Text by Goethe, from Faust I, 15 119 119 (1850) XX, 1 No. 32 IV, 7 No. 15 Nachtgesang, D 119 O! gib vom weichen Pfühle 30/11/1814 Text by Goethe 120 120 (1835) XX, 1 No. 33 IV, 7 No. 16 Trost in Tränen Wie kommt's, daß du so traurig bist 30/11/1814 Text by Goethe 121 121 3,1 (1821) (1894) XX, 1 No. 34 IV, 1a & b No. 2 Schäfers Klagelied Da droben auf jenem Berge 30/11/1814- 28/2/1819? Text by Goethe; Two versions: 1st is Op. 3 No. 1 - 2nd composed for 28/2/1819? 122 122 (1872) XX, 1 No. 38 IV, 7 No. 17 Ammenlied Am hohen, hohen Turm early Dec. 1814 Text by Lubi (scores) 123 123 (1842) XX, 1 No. 35 IV, 7 No. 18 Sehnsucht, D 123 Was zieht mir das Herz so? 3/12/1814 Text by Goethe 124 124 (1885) (1894) (1968) XX, 1 No. 36 IV, 7 No. 19 & Anh. No. 7 Am See, D 124 Sitz' ich im Gras am glatten See 3/12/1814- 7/12/1814 Text by Mayrhofer; Two versions: 1st is fragment - 2nd, modified in 1885 publ., in AGA 125 125 (1884) I, 1 No. 2 V, 1 No. 2 Symphony No. 2 B♭ major 10/12/1814- 24/3/1815 Largo, Allegro vivace - Andante - Minuet - Presto vivace 126 126 (1832) (1873) XX, 1 No. 37 IV, 7 No. 20 & Anh. No. 8 Scene from Faust Wie anders, Gretchen, war dir's early Dec.- 12/12/1814 Text by Goethe, from Faust I, 20; Two versions: 2nd, publ. in 1832, in AGA 127-330 1815 Up ↑ 128 128 (1897) XXI, 3 No. 23 VII/2, 6 Twelve Viennese German Dances Various keys 1812? For piano; Includes introduction; No. 12 related to D 32 129 129 (1892) XIX No. 16 III, 4 No. 18 Mailied, D 129 Grüner wird die Au 1815? Text by Hölty (other settings: D 199 and 503); For ttb 130 130 (1892) XIX No. 25 III, 4 No. 19 VIII, 2 No. 24 Der Schnee Zerrinnt Der Schnee Zerrinnt 1815? Text by Hölty (other setting: D 202); Canon for three voices 131 131 (1892) XIX No. 28 III, 4 No. 20 VIII, 2 No. 26 Lacrimoso son io Lacrimoso son io 1815? Canon for three voices; Two versions: 2nd is "Lacrimosa son io" 134 134 126p (1830) XX, 2 No. 99 IV, 7 No. 21 Ballade Ein Fräulein schaut vom hohen Turm 1815? Text by Kenner 135 135 (1930) VII/2, 6 German Dance with Trio, D 135 E major 1815 For piano; Variant of D 146 No. 3 (other Trio) 136 136 46 (1825) XIV No. 1 I, 8 Offertory, D 136, a.k.a. Offertory No. 1 Totus in corde langueo C major 1815? For s or t, clarinet or violin, and orchestra 137 137 (1893) XV, 7 No. 14 II, 12 Adrast (Singspiel) fall 1819- early 1820[15] Text by Mayrhofer; For stbTTBB and orchestra; Nos. 1-8 complete (abandoned variants for some numbers, Nos. 1-7 in AGA) and sketches and fragments for six further numbers; Overture: D 648? 138 138 5,1 (1821) (1970) XX, 3 No. 177 IV, 1a & b No. 6 Rastlose Liebe Dem Schnee, dem Regen, dem Wind entgegen 19/5/1815- May 1821 Text by Goethe; Two versions: 1st, in AGA, is Op. 5 No. 1 139 139 (1930) VII/2, 6 German Dance with Trio, D 139 C♯ major (Trio in A major) 1815 For piano 140 140 (1850) XVIII No. 6 III, 3 Klage um Ali Bey, D 140 Laßt mich! laßt mich! ich will klagen 1815 Text by Claudius (other setting: D 496A); For ttb (and piano?) 141 141 131p,1 (1830) XX, 2 No. 43 IV, 7 No. 23 Der Mondabend Rein und freundlich lacht der Himmel 1815 Text by Kumpf (de) 142 142 92,3 (1828) (1885) (1895) XX, 3 No. 174 IV, 5 Geistes-Gruß Hoch auf dem alten Turme steht before Apr. 1816- after Nov. 1821 Text by Goethe; Six versions: 2nd publ. in 1885 - 3rd and 5th not in AGA - 6th is Op. 92 No. 3 143 143 109p,2 (1829) XX, 3 No. 181 IV, 7 No. 24 Genügsamkeit Dort raget ein Berg aus den Wolken her 1815 Text by Schober; Intro in 1st ed. not by Schubert 144 144 (1895) XXII, 11 No. 209 IV, 7 Anh. No. 9 Romanze, D 144 In der Väter Hallen ruhte April 1816 Text by Stolberg-Stolberg; Fragment 145 145 18 (1823) XII No. 2 VII/2, 6 & 7a 12 Waltzes, 17 Ländler and 9 Écossaises, D 145 Various keys c. 1815- July 1821 For piano; Waltz No. 7 ≈ D 970 No. 2; Écossaises Nos. 5 and 6 identical to D 421 No. 1 and 697 No. 5 146 146 127p (1824) (1830) XII No. 8 VII/2, 6 & 7a 20 Waltzes, D 146, a.k.a. Letzte Walzer Various keys 1815- Feb. 1823 For piano; No. 2 publ. in 1824, all 20 as Op. posth. 127 in 1830 147 147 (1892) XIX No. 15 III, 4 No. 21 Bardengesang Rolle, du strömigter Carun 20/1/1816? Text by Macpherson (Ossian), from Comala, transl. by E. Baron de Harold 148 148 131p,2 (1830) XIX No. 8 III, 3 Trinklied, D 148 Brüder! unser Erdenwallen February 1815 Text by Castelli; For tTTB and piano 149 149 117p (1829) (1894) XX, 2 No. 45 IV, 7 No. 25 Der Sänger Was hör' ich draußen vor dem Tür February 1815 Text by Goethe, from Wilhelm Meister's Apprenticeship; Two versions: 2nd is Op. posth. 117, AGA switches 1st and 2nd 150 150 (1830) XX, 2 No. 44 IV, 7 No. 26 Lodas Gespenst Der bleiche, kalte Mond erhob sich im Osten 17/1/1816 Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold; 1st ed. replaces end by music from D 277 151 151 (1850) XX, 2 No. 39 IV, 7 No. 27 Auf einen Kirchhof Sei gegrüßt, geweihte Stille 2/2/1815 Text by Schlechta (de) 152 152 (1894) XX, 2 No. 40 IV, 7 No. 28 Minona Wie treiben die Wolken so finster und schwer 8/2/1815 Text by Bertrand (scores) 153 153 (1845) XX, 2 No. 41 IV, 7 No. 29 Als ich sie erröten sah All mein Wirken, all mein Leben 10/2/1815 Text by Ehrlich (scores) 154 154 (1897) XXI, 2 No. 8 VII/2, 1 Anh. No. 1 Piano Sonata, D 154 E major 11/2/1815 Allegro (fragment); Partly reused in D 157 155 155 165p,3 (1862) XX, 2 No. 42 IV, 7 No. 30 Das Bild Ein Mädchen ist's 10/2/1815 156 156 (1887) XI No. 6 VII/2, 4 & Anh. Ten Variations, D 156 F major completed 15/2/1815 For piano; Variant of Theme and Var. II 157 157 (1888) X No. 1 VII/2, 1 No. 1 Piano Sonata, D 157 E major started 18/2/1815 Allegro ma non troppo (partly reuses D 154) - Andante - Minuet 158 158 (1889) XII No. 29 VII/2, 6 Écossaise, D 158 D minor - F major 21/2/1815 For piano 159 159 116p (1829) (1968) XX, 2 No. 46 IV, 7 No. 31 Die Erwartung Hör' ich das Pförtchen nicht gehen? May 1816 Text by Schiller; Two versions: 2nd, in AGA, is Op. posth. 116 160 160 (1894) XX, 2 No. 47 IV, 13 Am Flusse, D 160 Verfließet, vielgeliebte Lieder 27/2/1815 Text by Goethe (other setting: D 766) 161 161 19,2 (1825) (1894) XX, 2 No. 48 IV, 1a & b No. 14 An Mignon Über Tal und Fluß getragen 27/2/1815 Text by Goethe; Two versions: 2nd is Op. 19 No. 2 162 162 5,2 (1821) (1894) XX, 2 No. 49 IV, 1a & Anh. No. 2 Nähe des Geliebten Ich denke dein, wenn mir der Sonne Schimmer 27/2/1815 Text by Goethe; Two versions: 2nd is Op. 5 No. 2 163 163 (1894) XX, 2 No. 50 IV, 8 No. 1 Sängers Morgenlied, D 163 Süßes Licht! Aus goldnen Pforten 27/2/1815 Text by Körner (other setting: D 165) 164 164 IV, 8 Anh. No. 1 Liebesrausch, D 164 Glanz des Guten und des Schönen strahlt mir dein hohes Bild March 1815 Text by Körner (other setting: D 179); Fragment 165 165 (1872) XX, 2 No. 51 IV, 8 No. 2 Sängers Morgenlied, D 165 Süßes Licht! Aus goldnen Pforten 1/3/1815 Text by Körner (other setting: D 163) 166 166 (1894) XX, 2 No. 52 IV, 8 No. 3 Amphiaraos Vor Thebens siebenfach gähnenden Toren 1/3/1815 Text by Körner 167 167 (1846) XIII, 1 No. 2 I, 1b Mass No. 2 G major Kyrie - Gloria - Credo - Sanctus & Benedictus - Agnus Dei 2/3/1815- 7/3/1815 Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 324, 452, 678, 755 and 950); For stbSATB and orchestra; Tr and Ti added by Ferd. Schubert; R. Führer as composer in 1st publ. 168 168 (1872) XVII No. 16 III, 2a No. 2 Nun laßt uns den Leib begraben, a.k.a. Begräbnislied Begrabt den Leib in seiner Gruft 9/3/1815 Text by Klopstock; For SATB and piano 987 168A (1872) XVII No. 17 III, 2a No. 3 Jesus Christus unser Heiland, der den Tod überwand, a.k.a. Osterlied Überwunden hat der Herr den Tod! 9/3/1815 Text by Klopstock; For SATB and piano 169 169 (1894) XX, 2 No. 53 III, 3 Trinklied vor der Schlacht Schlacht, du brichst an! 12/3/1815 Text by Körner; For double unison choir and piano 170 170 (1873) XX, 2 No. 54 III, 3 Schwertlied Du Schwert an meiner Linken 12/3/1815 Text by Körner; For voice, unison choir and piano 171 171 (1831) XX, 2 No. 55 IV, 8 No. 4 Gebet während der Schlacht Vater, ich rufe dich! 12/3/1815 Text by Körner 172 172 IV, 8 Anh. No. 3 Der Morgenstern, D 172 Stern der Liebe, Glanzgebilde 12/3/1815 Text by Körner (other setting: D 203); Fragment 173 173 (1871) V No. 9 VI, 4 No. 11 String Quartet No. 9 G minor 25/3/1815- 1/4/1815 Allegro con brio - Andantino - Minuet - Allegro 174 174 (1845) XX, 2 No. 56 IV, 8 No. 5 Das war ich, D 174 Jüngst träumte mir 26/3/1815 Text by Körner; D. 174 used to include Das war ich, D deest 175 175 (1888) XIV No. 12 I, 9 No. 1 Stabat Mater, D 175 G minor Stabat Mater dolorosa 4/4/1815- 6/4/1815 For SATB and orchestra 176 176 (1872) XX, 2 No. 57 IV, 8 No. 6 Die Sterne, D 176 Was funkelt ihr so mild mich an 6/4/1815 Text by Fellinger (wikisource:de) 177 177 173p,3 (1867) XX, 2 No. 58 IV, 8 No. 7 Vergebliche Liebe Ja, ich weiß es, diese treue Liebe 6/4/1815 Text by Bernard (de) 177A VIII, 3 Am ersten Mai Ich ging mit ihr im Freien before 1821 Text by Bernard (de); Music lost; Spurious? 178 178 (1897) XXI, 3 No. 22 VII/2, 4 & Anh. Adagio in G major, D 178 G major 8/4/1815 For piano; Two versions: 2nd is a fragment 179 179 (1872) XX, 2 No. 59 IV, 8 No. 8 Liebesrausch, D 179 Dir, Mädchen, schlägt mit leisem Beben 8/4/1815 Text by Körner; (other setting: D 164) 180 180 (1894) XX, 2 No. 60 IV, 8 No. 9 Sehnsucht der Liebe Wie die Nacht mit heil'gem Beben 8/4/1815 Text by Körner 181 181 (1888) XIV No. 4 I, 9 No. 2 Offertory, D 181 Tres sunt, qui testimonium dant in coelo A minor 10/4/1815- 11/4/1815 For SATB and orchestra 182 182 (1842) XX, 2 No. 61 IV, 8 No. 10 Die erste Liebe Die erste Liebe füllt das Herz 12/4/1815 Text by Fellinger (wikisource:de) 183 183 (1887) XX, 2 No. 62 III, 3 Trinklied, D 183 Ihr Freunde und du, gold'ner Wein 12/4/1815 Text by Zettler (wikisource:de); For voice, unison choir and piano 184 184 150p (1843) XIV No. 5 I, 9 No. 3 Gradual, D 184 Benedictus es, Domine C major 15/4/1815- 17/4/1815 For SATB and orchestra 186 186 (1894) XX, 2 No. 65 IV, 8 No. 11 Die Sterbende Heil! dies ist die letze Zähre May 1815 Text by Matthisson 187 187 (1894) XX, 2 No. 63 IV, 10 Stimme der Liebe, D 187 Abendgewölke schweben hell May 1815 Text by Matthisson (other setting: D 418) 188 188 (1887) XX, 2 No. 64 IV, 8 No. 12 Naturgenuß, D 188 Im Abendschimmer wallt der Quell May 1815 Text by Matthisson (other setting: D 422) 189 189 111p,1 (1829) XX, 2 No. 66 III, 3 An die Freude Freude, schöner Götterfunken May 1815 Text by Schiller; For voice, unison choir and piano 190 190 (1888) XV, 2 No. 2 II, 2 IV, 14 Der vierjährige Posten (Singspiel in one act) Includes: 5. Gott! Gott! höre meine Stimme 8/5/1815- 19/5/1815 Text by Körner; Music for stttbSATB and orchestra; Overture - Nos. 1-8 (No. 5 also for voice and piano) 191 191 58,3 (1826) (1894) XX, 2 No. 67 IV, 3 Des Mädchens Klage, D 191 Der Eichwald brauset 15/5/1815 Text by Schiller, from Wallenstein: Die Piccolomini III, 7 (other settings: D 6 and 389); Two versions: 2nd is Op. 58 No. 3 192 192 (1887) XX, 2 No. 68 IV, 4 Der Jüngling am Bache, D 192 An der Quelle saß der Knabe 15/5/1815 Text by Schiller (other settings: D 30 and 638) 193 193 57,3 (1826) XX, 2 No. 69 IV, 3 An den Mond, D 193 Geuß, lieber Mond, geuß deine Silberflimmer 17/5/1815 Text by Hölty; Autograph without piano intro 194 194 (1894) XX, 2 No. 70 IV, 8 No. 13 Die Mainacht Wann der silberne Mond 17/5/1815 Text by Hölty 195 195 173p,1 (1867) XX, 2 No. 71 IV, 8 No. 14 Amalia Schön wie Engel voll Walhallas Wonne 19/5/1815 Text by Schiller, from Die Räuber III, 1 196 196 172p,3 (1865) XX, 2 No. 72 IV, 8 No. 15 An die Nachtigall Geuß nicht so laut der liebentflammten Lieder 22/5/1815 Text by Hölty 197 197 (1850) XX, 2 No. 73 IV, 8 No. 16 An die Apfelbäume, wo ich Julien erblickte Ein heilig Säuseln und ein Gesangeston 22/5/1815 Text by Hölty 198 198 (1894) XX, 2 No. 74 IV, 8 No. 17 Seufzer Die Nachtigall singt überall 22/5/1815 Text by Hölty 199 199 (1885) XIX No. 30 III, 4 No. 22 Mailied, D 199 Grüner wird die Au 24/5/1815 Text by Hölty (other settings: D 129 and 503); For two voices or two horns 200 200 (1884) I, 1 No. 3 V, 1 No. 3 Symphony No. 3 D major 24/5/1815- 19/6/1815 Adagio maestoso, Allegro con brio - Allegretto - Minuet - Presto vivace 201 201 (1970) IV, 10 Auf den Tod einer Nachtigall, D 201 Sie ist dahin, die Maienlieder tönte 25/5/1815 Text by Hölty (other setting: D 399); Fragment 202 202 (1885) XIX No. 31 III, 4 No. 23 Mailied, D 202 Der Schnee Zerrinnt 26/5/1815 Text by Hölty (other setting: D 130); For two voices or two horns 203 203 (1892) XIX No. 32 III, 4 No. 24 Der Morgenstern, D 203 Stern der Liebe, Glanzgebilde 26/5/1815 Text by Körner (other settings: D 172); For two voices or two horns 204 204 (1892) XIX No. 33 III, 4 No. 25 Jägerlied Frisch auf, ihr Jäger 26/5/1815 Text by Körner; For two voices or two horns 204A IV, 8 Anh. No. 4 Das Traumbild May 1815 Text by Hölty; Music lost 205 205 (1892) XIX No. 34 III, 4 No. 26 Lützows wilde Jagd Was glänzt dort vom Walde im Sonnenschein? 26/5/1815 Text by Körner; For two voices or two horns 206 206 (1872) XX, 2 No. 75 IV, 8 No. 18 Liebeständelei Süßes Liebchen 26/5/1815 Text by Körner 207 207 (1894) XX, 2 No. 76 IV, 8 No. 19 Der Liebende Beglückt, beglückt 29/5/1815 Text by Hölty 208 212 208 (1895) (1897) XX, 2 No. 77; XXII, 11 No. 77 IV, 8 No. 20 & Anh. No. 5 Die Nonne Es liebt' in Welschland irgendwo 29/5/1815 Text by Hölty, from Balladen, No. 5; Two versions: 1st is fragment, incomplete in AGA - 2nd was D 212) 209 209 38 (1825) XX, 2 No. 98 IV, 2a Der Liedler Gib, Schwester, mir die Harf herab January 1815 Text by Kenner 210 210 (1838) XX, 2 No. 78 IV, 8 No. 21 Die Liebe, D 210, a.k.a. Klärchens Lied Freudvoll und leidvoll 3/6/1815 Text by Goethe, from Egmont, Act III, Scene 2, Clärchen's song 211 211 (1894) XX, 2 No. 79 IV, 8 No. 22 Adelwold und Emma Hoch und ehern schier von Dauer 5/6/1815- 14/6/1815 Text by Bertrand (scores) 213 213 172p,1 (1865) XX, 2 No. 80 IV, 8 No. 23 Der Traum Mir träumt', ich war ein Vögelein 17/6/1815 Text by Hölty, from Balladen, No. 6 214 214 172p,2 (1865) XX, 2 No. 81 IV, 8 No. 24 Die Laube Nimmer werd' ich, nimmer dein vergessen 17/6/1815 Text by Hölty 215 215 (1906) IV, 1b No. 4 Jägers Abendlied, D 215 Im Felde schleich ich, still und wild 20/6/1815 Text by Goethe (other setting: D 368) 216 215A (1952) IV, 1a & b No. 3 Meeres Stille, D 215A Tiefe Stille herrscht im Wasser 20/6/1815 Text by Goethe (other setting: D 216) 216 216 3,2 (1821) XX, 2 No. 82 IV, 1a Meeres Stille, D 216 Tiefe Stille herrscht im Wasser 21/6/1815 Text by Goethe (other setting: D 215A) 217 217 (1830) XX, 2 No. 83 IV, 8 No. 25 Kolmas Klage Rund um mich Nacht 22/6/1815 Text by Macpherson (Ossian), from The Songs of Selma (transl.) 218 218 (1848) XX, 2 No. 84 IV, 8 No. 26 Grablied Er fiel den Tod für's Vaterland 24/6/1815 Text by Kenner 219 219 (1848) XX, 2 No. 85 IV, 8 No. 27 Das Finden Ich hab ein Mädchen funden 25/6/1815 Text by Kosegarten 220 220 (1888) XV, 2 No. 3 II, 2 Fernando (Singspiel in one act) Jun. 1815- 9/7/1815 Text by Stadler, A. (scores); Music for sstbb and orchestra; Nos. 1-7 221 221 118p,2 (1829) XX, 2 No. 95 IV, 8 No. 28 Der Abend, D 221 Der Abend blüht, Temora glüht 15/7/1815 Text by Kosegarten 222 222 (1885) XX, 2 No. 86 IV, 8 No. 29 Lieb Minna: Romanze Schwüler Hauch weht mir herüber 2/7/1815 Text by Stadler, A. (scores) 223 223 47 (1825) XIV No. 2 I, 8 Salve Regina, D 223, a.k.a. Offertory No. 2 F major Salve Regina 5/7/1815 28/1/1823 Text: Salve Regina (other settings: D 27, 106, 386, 676 and 811); For s and orchestra; Two versions: 2nd, in AGA, is Op. 47 224 224 4,3 (1821) XX, 2 No. 87 IV, 1a Wandrers Nachtlied, D 224 Der du von dem Himmel bist 5/7/1815 Text by Goethe 225 225 5,3 (1821) (1970) XX, 2 No. 88 IV, 1a & b No. 7 Der Fischer Das Wasser rauscht', das Wasser schwoll 5/7/1815 Text by Goethe; Two versions: 2nd, in AGA, is Op. 5 No. 3 226 226 5,4 (1821) XX, 2 No. 89 IV, 1a Erster Verlust Ach, wer bringt die schönen Tage 5/7/1815 Text by Goethe 227 227 (1885) XX, 2 No. 90 IV, 8 No. 30 Idens Nachtgesang Vernimm es Nacht, was Ida dir vertrauet 7/7/1815 Text by Kosegarten 228 228 (1894) XX, 2 No. 91 IV, 8 No. 31 Von Ida Der Morgen blüht, der Osten glüht 7/7/1815 Text by Kosegarten 229 229 108,3 (1824) XX, 2 No. 92 IV, 5 Die Erscheinung, a.k.a. Erinnerung, D 229 Ich lag auf grünen Matten 7/7/1815 Text by Kosegarten; Publ. as Op. 108 No. 3 in 1829 230 230 165p,4 (1855) XX, 2 No. 93 IV, 8 No. 32 Die Täuschung Im Erlenbusch, im Tannenhain 7/7/1815 Text by Kosegarten; Publ. as Op. posth. 165 No. 4 in 1862 231 231 172p,4 (1865) XX, 2 No. 94 IV, 8 No. 33 Das Sehnen Wehmut, die mich hüllt 8/7/1815 Text by Kosegarten 232 232 112p,3 (1829) XVII No. 8 III, 2a No. 6 2b Anh. No. 2 Hymne an den Unendlichen Zwischen Himmel und Erd' 11/7/1815 Text by Schiller; For satb and piano 233 233 118p,1 (1829) XX, 2 No. 96 IV, 8 No. 34 Geist der Liebe, D 233 Wer bist du, Geist der Liebe 15/7/1815 Text by Kosegarten 234 234 118p,3 (1829) XX, 2 No. 97 IV, 8 No. 35 Tischlied Mich ergreift, ich weiß nicht wie 15/7/1815 Text by Goethe 235 235 (1894) XX, 2 No. 100 IV, 8 No. 36 Abends unter der Linde, D 235 Woher, o namenloses Sehnen 24/7/1815 Text by Kosegarten (other setting: D 237) 236 236 (1892) XIX No. 6 III, 2a No. 7 Das Abendrot, D 236 Der Abend blüht, der Westen glüht! 20/7/1815 Text by Kosegarten; for ssb and piano 237 237 (1872) XX, 2 No. 101 IV, 8 No. 37 Abends unter der Linde, D 237 Woher, o namenloses Sehnen 25/7/1815 Text by Kosegarten (other setting: D 235) 238 238 (1894) XX, 2 No. 102 IV, 8 No. 38 Die Mondnacht Siehe, wie die Mondesstrahlen 25/7/1815 Text by Kosegarten 239 239 (1893) XV, 7 No. 11 II, 14 Claudine von Villa Bella (Singspiel in three acts) started 26/7/1815 Text by Goethe; For ssttbbSATB and orchestra; Overture (in AGA) - Nos. 1-8 (Act I, in AGA) - No. 9 (fragment from Act II) - No. 10 (fragment from Act III); Other music lost 240 240 (1894) XX, 2 No. 103 IV, 8 No. 39 Huldigung Ganz verloren, ganz versunken 27/7/1815 Text by Kosegarten 241 241 (1894) XX, 2 No. 104 IV, 8 No. 40 Alles um Liebe Was ist es, das die Seele füllt? 27/7/1815 Text by Kosegarten 242 242 (1892) XIX No. 18 III, 4 No. 27 Trinklied im Winter, a.k.a. Winterlied, D 242 Das Glas gefüllt! August 1815? Text by Hölty (other setting: D 242A); For ttb 242A IV, 8 No. 41 Winterabend, D 242A,[16] a.k.a. Winterlied Das Glas gefüllt! 1815? Text by Hölty (other setting: D 242) 243 243 (1892) XIX No. 19 III, 4 No. 28 Frühlingslied, D 243 Die Luft ist blau August 1815? Text by Hölty (other setting: D 398); For ttb 244 244 (1892) XIX No. 27 III, 4 No. 29 VIII, 2 No. 25 Willkommen, lieber schöner Mai Willkommen, lieber schöner Mai August 1815? Text by Hölty; Canon for three voices in two sections 246 246 (1830) XX, 3 No. 109 IV, 8 No. 42 Die Bürgschaft, D 246 Zu Dionys, dem Tyrannen August 1815 Text by Schiller; Partly reused in D 435 247 247 118p,6 (1829) XX, 3 No. 119 IV, 8 No. 43 Die Spinnerin Als ich still und ruhig spann August 1815 Text by Goethe 248 248 118p,4 (1829) XX, 3 No. 135 IV, 8 No. 44 Lob des Tokayers O köstlicher Tokayer, o königlicher Wein August 1815 Text by Baumberg 249 249 III, 2b Anh. No. 4a Die Schlacht, D 249 Schwer und dumpfig 1/8/1815 Text by Schiller (other setting: D 387); Sketch 250 250 (1872) XX, 3 No. 105 IV, 13 Das Geheimnis, D 250 Sie konnte mir kein Wörtchen sagen 7/8/1815 Text by Schiller (other setting: D 793) 251 251 (1872) XX, 3 No. 106 IV, 4 Hoffnung, D 251 Es reden und träumen die Menschen viel 7/8/1815 Text by Schiller (other setting: D 637) 252 252 (1887) XX, 3 No. 108 IV, 8 No. 46 Das Mädchen aus der Fremde, D 252 In einem Tal bei armen Hirten 12/8/1815 Text by Schiller (other setting: D 117) 253 253 (1887) XX, 3 No. 110 III, 4 No. 30 IV, 8 No. 47 Punschlied: Im Norden zu singen Auf der Berge freien Höhen 18/8/1815 Text by Schiller; Two versions: 2nd for two voices 254 254 (1887) XX, 3 No. 111 IV, 8 No. 48 Der Gott und die Bajadere Mahadöh, der Herr der Erde 18/8/1815 Text by Goethe 255 255 (1850) XX, 3 No. 112 IV, 8 No. 49 Der Rattenfänger Ich bin der wohlbekannte Sänger 19/8/1815 Text by Goethe 256 256 (1887) XX, 3 No. 113 IV, 8 No. 50 Der Schatzgräber Arm am Beutel, krank am Herzen 19/8/1815 Text by Goethe 257 257 3,3 (1821) XX, 3 No. 114 IV, 1a Heidenröslein Sah ein Knab' ein Röslein stehn 19/8/1815 Text by Goethe 258 258 (1887) XX, 3 No. 115 IV, 8 No. 51 Bundeslied In allen guten Stunden 19/8/1815 Text by Goethe 259 259 (1850) XX, 3 No. 116 IV, 9 No. 27 An den Mond, D 259 Füllest wieder Busch und Tal 19/8/1815 Text by Goethe (other setting: D 296) 260 260 115p,2 (1829) XX, 3 No. 117 IV, 8 No. 52 Wonne der Wehmut Trocknet nicht, trocknet nicht 20/8/1815 Text by Goethe; Reused in D 261 261 (1850) XX, 3 No. 118 IV, 8 No. 53 Wer kauft Liebesgötter? Von allen schönen Waren 21/8/1815 Text by Goethe, from Der Zauberflöte zweiter Teil 262 262 (1895) XX, 3 No. 134 IV, 9 No. 1 Die Fröhlichkeit Wess' Adern leichtes Blut durchspringt 22/8/1815 Text by Prandstätter (de) 263 263 (1848) XX, 3 No. 123 IV, 9 No. 2 Cora an die Sonne Nach so vielen trüben Tagen 22/8/1815 Text by Baumberg 264 264 (1850) (1872) XX, 3 No. 124 IV, 9 No. 3 Der Morgenkuß Durch eine ganze Nacht sich nah zu sein 22/8/1815 Text by Baumberg; Two versions: 2nd, publ. in 1850, in AGA 265 265 (1895) XX, 3 No. 125 IV, 9 No. 4 Abendständchen: An Lina Sei sanft wie ihre Seele 23/8/1815 Text by Baumberg 266 266 (1895) XX, 3 No. 126 IV, 9 No. 5 Morgenlied, D 266 Willkommen, rotes Morgenlicht! 24/8/1815 Text by Stolberg-Stolberg 267 267 (1872) XVI No. 17 III, 3 Trinklied, D 267 Auf! Jeder sei nun froh und sorgenfrei! 25/8/1815 For ttbb and piano 268 268 (1872) XVI No. 18 III, 3 Bergknappenlied Hinab, ihr Brüder, in den Schacht! 25/8/1815 For ttbb and piano 269 269 (1848) XVIII No. 5 III, 3 Das Leben Das Leben ist ein Traum 25/8/1815 Text by Wannovius (scores); Two versions: 1st for tbb and piano - 2nd, in AGA, for ssa and piano 270 270 118p,5 (1829) XX, 3 No. 127 IV, 9 No. 6 An die Sonne, D 270 Sinke, liebe Sonne 25/8/1815 Text by Baumberg 271 271 (1895) XX, 3 No. 128 IV, 9 No. 7 Der Weiberfreund Noch fand von Evens Töchterscharen ich keine 25/8/1815 Text by Ratschky (de), after Cowley 272 272 (1872) XX, 3 No. 129 IV, 9 No. 8 An die Sonne, D 272 Königliche Morgensonne 25/8/1815 Text by Tiedge 273 273 (1895) XX, 3 No. 130 IV, 9 No. 9 Lilla an die Morgenröte Wie schön bist du, du güldne Morgenröte 25/8/1815 274 274 (1850) XX, 3 No. 131 IV, 9 No. 10 Tischlerlied Mein Handwerk geht durch alle Welt 25/8/1815 275 275 (1895) XX, 3 No. 132 IV, 9 No. 11 Totenkranz für ein Kind Sanft wehn, im Hauch der Abendluft 25/8/1815 Text by Matthisson 276 276 (1895) XX, 3 No. 133 IV, 9 No. 12 Abendlied, D 276 Groß und rotenflammet 28/8/1815 Text by Stolberg-Stolberg 277 277 (1892) XIX No. 7 III, 3 Punschlied, D 277 Vier Elemente, inning gesellt 29/8/1815 Text by Schiller; For ttb and piano 277A (1925) VII/2, 4 Minuet with Trio, D 277A A minor (minuet) / F major (trio) September 1815? For piano; Partly reused in D 279 278 278 (1830) (1897) XX, 3 No. 147; XXII, 11 No. 147 IV, 9 No. 13 Anh. No. 1 Ossians Lied nach dem Falle Nathos Beugt euch aus euren Wolken nieder 1815 Text by Macpherson (Ossian), from Dar-Thula, transl. by E. Baron de Harold; Two versions: 1st is a fragment - 2nd publ. in 1830 279 279 (1888) X No. 2 VII/2, 1 No. 2 Piano Sonata, D 279 C major September 1815 Allegro moderato - Andante - Minuet (partly based on D 277A); D 309A, or 346, may be 4th movement 280 280 (1837) XX, 3 No. 139 IV, 9 No. 14 Das Rosenband Im Frühlingsgarten fand ich sie September 1815 Text by Klopstock 281 281 (1830) XX, 3 No. 148 IV, 9 No. 15 Das Mädchen von Inistore Mädchen Inistores, wein auf dem Felsen September 1815 Text by Macpherson (Ossian), from Fingal, Book I, transl. by E. Baron de Harold 282 282 (1830) XX, 4 No. 188 IV, 9 No. 16 Cronnan Ich sitz' bei der moosigten Quelle 5/9/1815 Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold 283 283 172p,5 (1865) XX, 3 No. 136 IV, 11 An den Frühling, D 283 Willkommen, schöner Jüngling! 6/9/1815 Text by Schiller (other settings: D 338 and 587) 284 284 (1895) XX, 3 No. 137 IV, 9 No. 17 Lied, D 284 Es ist so angenehm, so süß 6/9/1815 Text by Schiller(?) 285 285 (1885) (1895) XX, 3 No. 138 IV, 9 No. 18 Anh. No. 2 Furcht der Geliebten, a.k.a. An Cidli Cidli, du weinest 12/9/1815 Text by Klopstock, from Oden; Two versions: 2nd publ. in 1885 286 286 (1837) (1895) XX, 3 No. 140 IV, 9 No. 19 Selma und Selmar Weine du nicht 14/9/1815 Text by Klopstock; Two versions: 2nd publ. in 1837 287 287 (1895) XX, 3 No. 141 IV, 9 No. 20 Vaterlandslied Ich bin ein deutsches Mädchen 14/9/1815 Text by Klopstock, from Oden; Two versions 288 288 (1895) XX, 3 No. 142 IV, 9 No. 21 An Sie Zeit, Verkündigerin der besten Freuden 14/9/1815 Text by Klopstock, from Oden 289 289 (1895) XX, 3 No. 143 IV, 9 No. 22 Die Sommernacht Wenn der Schimmer von dem Monde 14/9/1815 Text by Klopstock; Two versions 290 290 (1837) XX, 3 No. 144 IV, 9 No. 23 Die frühen Gräber Willkommen, o silberner Mond 14/9/1815 Text by Klopstock, from Oden 291 291 (1831) (1895) XX, 3 No. 145 IV, 9 No. 24 Dem Unendlichen Wie erhebt sich das Herz 15/9/1815 Text by Klopstock; Three versions: 2nd publ. in 1831 293 293 (1830) XX, 3 No. 146 IV, 9 No. 25 Shilric und Vinvela Mein Geliebter ist ein Sohn des Hügels 20/9/1815 Text by Macpherson (Ossian), from Carric-thura, transl. by E. Baron de Harold 294 294 (1892) XVII No. 4 III, 1 Namensfeier für Franz Michael Vierthaler, a.k.a. Gratulations-Kantate Erhabner! Verehrter Freund der Jugend! 27/9/1815 For stbSTB and orchestra 295 295 (1872) (1895) XX, 3 No. 175 IV, 9 No. 26 Hoffnung, D 295 Schaff, das Tagwerk meiner Hände 1815 or 1816? Text by Goethe; Two versions: 1st publ. in 1872 296 296 (1868) XX, 3 No. 176 IV, 9 No. 28 An den Mond, D 296 Füllest wieder Busch und Tal 1815 or 1816? Text by Goethe (other setting: D 259) 297 297 (1850) (1895) XX, 3 No. 171 IV, 9 No. 29 Anh. No. 3 Augenlied Süße Augen, klare Bronnen! spring 1817? Text by Mayrhofer; Two versions: 2nd publ. in 1850 298 298 (1895) XX, 3 No. 170 IV, 9 No. 30 Liane Hast du Lianen nicht gesehen? October 1815 Text by Mayrhofer 299 299 (1897) (1912) XXI, 3 No. 29 VII/2, 6 Twelve Écossaises, D 299 Various keys 3/10/1815 For piano; No. 1 similar to D 145 Écoss. No. 1; Nos. 9-12 publ. in 1912 300 300 (1842) XX, 6 No. 398 IV, 9 No. 31 Der Jüngling an der Quelle Leise, rieselnder Quell 1816 or 1817? Text by Salis-Seewis 301 301 (1842) XX, 3 No. 149 IV, 9 No. 32 Lambertine O Liebe, die mein Herz erfüllet 12/10/1815 Text by Stoll (scores) 302 302 (1895) XX, 3 No. 150 IV, 9 No. 33 Labetrank der Liebe Wenn im Spiele leiser Töne 15/10/1815 Text by Stoll (scores) 303 303 (1887) XX, 3 No. 151 IV, 9 No. 34 An die Geliebte O, daß ich dir vom stillen Auge 15/10/1815 Text by Stoll (scores); Music partly reused in D 497 304 304 (1895) XX, 3 No. 152 IV, 9 No. 35 Wiegenlied, D 304 Schlumm're sanft! Noch an dem Mutterherzen 15/10/1815 Text by Körner 305 305 (1895) XX, 3 No. 153 IV, 9 No. 36 Mein Gruß an den Mai Sei mir gegrüßt, o Mai 15/10/1815 Text by Kumpf (de) 306 306 (1895) XX, 3 No. 154 IV, 9 No. 37 Skolie, D 306 Laßt im Morgenstrahl des Mai'n 15/10/1815 Text by Deinhardstein (de) 307 307 (1895) XX, 3 No. 155 IV, 9 No. 38 Die Sternenwelten Oben drehen sich die großen unbekannten Welten dort 15/10/1815 Text by Fellinger (wikisource:de), after Jarnik 308 308 (1895) XX, 3 No. 156 IV, 9 No. 39 Die Macht der Liebe Überall, wohin mein Auge blicket 15/10/1815 Text by Kalchberg (wikisource:de) 309 309 (1872) XX, 3 No. 157 IV, 9 No. 40 Das gestörte Glück Ich hab' ein heißes junges Blut 15/10/1815 Text by Körner 309A VII/2, 1 Anh. No. 2 Rondo, D 309A C major 1815 For piano; Fragment; 4th movement of D 279? 310 310 (1895) XX, 3 No. 158 IV, 3 Sehnsucht, D 310, a.k.a. Lied der Mignon Nur wer die Sehnsucht kennt 18/10/1815 Text by Goethe, from Wilhelm Meister's Apprenticeship (other settings: D 359, 481, 656 and 877 Nos. 1 & 4); Two versions 311 311 IV, 9 Anh. No. 3 An den Mond, D 311 19/10/1815? For voice and piano; Sketch without text 312 312 58,1 (1826) (1895) XX, 3 No. 159 IV, 3 Hektors Abschied Will sich Hektor ewig von mir wenden 19/10/1815 Text by Schiller; Two versions: 2nd is Op. 58 No. 1 313 313 (1895) XX, 3 No. 160 IV, 9 No. 41 Die Sterne, D 313 Wie wohl ist mir im Dunkeln! 19/10/1815 Text by Kosegarten 314 314 (1887) XX, 3 No. 161 IV, 9 No. 42 Nachtgesang, D 314 Tiefe Feier schauert um die Welt 19/10/1815 Text by Kosegarten 315 315 (1895) XX, 3 No. 162 IV, 9 No. 43 An Rosa I Warum bist du nicht hier 19/10/1815 Text by Kosegarten 316 316 (1895) XX, 3 No. 163 IV, 9 No. 44 An Rosa II Rosa, denkst du an mich? 19/10/1815 Text by Kosegarten; Two versions 317 317 (1895) XX, 3 No. 164 IV, 9 No. 45 Idens Schwanenlied Wie schaust du aus dem Nebelflor 19/10/1815 Text by Kosegarten; Two versions: 2nd in AGA 318 318 (1895) XX, 3 No. 165 IV, 9 No. 46 Schwangesang Endlich stehn die Pforten offen 19/10/1815 Text by Kosegarten 319 319 (1895) XX, 3 No. 166 IV, 9 No. 47 Luisens Antwort Wohl weinen Gottes Engel 19/10/1815 Text by Kosegarten 320 320 (1895) XX, 3 No. 167 IV, 9 No. 48 Der Zufriedene Zwar schuf das Glück hienieden 23/10/1815 Text by Reissig (de) 321 321 (1832) XX, 3 No. 168 IV, 9 No. 49 Mignon a.k.a. Mignons Gesang Kennst du das Land 23/10/1815 Text by Goethe, from Wilhelm Meister's Apprenticeship III, 1 322 322 (1837) XX, 3 No. 169 IV, 9 No. 50 Hermann und Thusnelda Ha, dort kömmt er 27/10/1815 Text by Klopstock 323 991 323 (1895) XX, 3 No. 172 IV, 9 No. 51 Anh. Nos. 5-6 Klage der Ceres Ist der holde Lenz erschienen? 9/11/1815- June 1816 Text by Schiller; Two versions: 2nd in AGA; A fragment of the last part was D 991 324 324 141p (1837) XIII, 1 No. 3 I, 2 Mass No. 3 B♭ major Kyrie - Gloria - Credo - Sanctus & Benedictus - Agnus Dei started 11/11/1815 Text: Mass ordinary (other settings: D 24E, 31, 45, 49, 56, 66, 105, 167, 452, 678, 755 and 950); For satbSATB and orchestra 324A IV, 8 No. 41 Winterlied, D 324A 1816?[17] 325 325 (1895) XX, 3 No. 173 IV, 1b No. 9 Harfenspieler, D 325 Wer sich der Einsamkeit ergibt 13/11/1815 Text by Goethe, from Wilhelm Meister's Apprenticeship (other setting: D 478 No. 1) 326 326 (1888) XV, 2 No. 4 II, 3 Die Freunde von Salamanka (Singspiel in two acts) 18/11/1815- 31/12/1815 Text by Mayrhofer; Music for ssstttbbbbbbSATB and orchestra; Overture - Act I (Nos. 1-7) - Act II (Nos. 8-18, with music of No. 12 reappearing in D 803 and of No. 14 in D 796 No. 15) 327 327 IV, 10 Lorma, D 327 Lorma saß in der Halle von Aldo 28/11/1815 Text by Macpherson (Ossian), from The Battle of Lora, transl. by E. Baron de Harold (other setting: D 376); Fragment 328 328 1 (1821) (1895) XX, 3 No. 178 IV, 1a & b No. 1 Erlkönig Wer reitet so spät durch Nacht und Wind? October 1815? Text by Goethe; Four versions: 2nd and 3rd switched in AGA - 4th is Op. 1 329 329 (1895) XX, 10 No. 591 IV, 9 Anh. No. 7 Die drei Sänger Der König saß beim frohen Mahle 23/12/1815 Text by Bobrik (scores); Fragment 329A III, 2b Anh. No. 3 VIII, 2 No. 27 Das Grab, D 329A Das Grab ist tief und stille 28/12/1815? Text by Salis-Seewis (other settings: D 330, 377, 569 and 643A); Canon for SATB; Sketch 330 330 (1895) XX, 3 No. 182 III, 3 Das Grab, D 330 Das Grab ist tief und stille 28/12/1815 Text by Salis-Seewis (other settings: D 329A, 377, 569 and 643A); For cho

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According to all known laws of aviation, there is no way a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway because bees don't care what humans think is impossible. Yellow, black. Yellow, black. Yellow, black. Yellow, black. Ooh, black and yellow! Let's shake it up a little. Barry! Breakfast is ready! Ooming! Hang on a second. Hello? - Barry? - Adam? - Oan you believe this is happening? - I can't. I'll pick you up. Looking sharp. Use the stairs. Your father paid good money for those. Sorry. I'm excited. Here's the graduate. We're very proud of you, son. A perfect report card, all B's. Very proud. Ma! I got a thing going here. - You got lint on your fuzz. - Ow! That's me! - Wave to us! We'll be in row 118,000. - Bye! Barry, I told you, stop flying in the house! - Hey, Adam. - Hey, Barry. - Is that fuzz gel? - A little. Special day, graduation. Never thought I'd make it. Three days grade school, three days high school. Those were awkward. Three days college. I'm glad I took a day and hitchhiked around the hive. You did come back different. - Hi, Barry. - Artie, growing a mustache? Looks good. - Hear about Frankie? - Yeah. - You going to the funeral? - No, I'm not going. Everybody knows, sting someone, you die. Don't waste it on a squirrel. Such a hothead. I guess he could have just gotten out of the way. I love this incorporating an amusement park into our day. That's why we don't need vacations. Boy, quite a bit of pomp... under the circumstances. - Well, Adam, today we are men. - We are! - Bee-men. - Amen! Hallelujah! Students, faculty, distinguished bees, please welcome Dean Buzzwell. Welcome, New Hive Oity graduating class of... ...9:15. That concludes our ceremonies. And begins your career at Honex Industries! Will we pick ourjob today? I heard it's just orientation. Heads up! Here we go. Keep your hands and antennas inside the tram at all times. - Wonder what it'll be like? - A little scary. Welcome to Honex, a division of Honesco and a part of the Hexagon Group. This is it! Wow. Wow. We know that you, as a bee, have worked your whole life to get to the point where you can work for your whole life. Honey begins when our valiant Pollen Jocks bring the nectar to the hive. Our top-secret formula is automatically color-corrected, scent-adjusted and bubble-contoured into this soothing sweet syrup with its distinctive golden glow you know as... Honey! - That girl was hot. - She's my cousin! - She is? - Yes, we're all cousins. - Right. You're right. - At Honex, we constantly strive to improve every aspect of bee existence. These bees are stress-testing a new helmet technology. - What do you think he makes? - Not enough. Here we have our latest advancement, the Krelman. - What does that do? - Oatches that little strand of honey that hangs after you pour it. Saves us millions. Oan anyone work on the Krelman? Of course. Most bee jobs are small ones. But bees know that every small job, if it's done well, means a lot. But choose carefully because you'll stay in the job you pick for the rest of your life. The same job the rest of your life? I didn't know that. What's the difference? You'll be happy to know that bees, as a species, haven't had one day off in 27 million years. So you'll just work us to death? We'll sure try. Wow! That blew my mind! "What's the difference?" How can you say that? One job forever? That's an insane choice to have to make. I'm relieved. Now we only have to make one decision in life. But, Adam, how could they never have told us that? Why would you question anything? We're bees. We're the most perfectly functioning society on Earth. You ever think maybe things work a little too well here? Like what? Give me one example. I don't know. But you know what I'm talking about. Please clear the gate. Royal Nectar Force on approach. Wait a second. Oheck it out. - Hey, those are Pollen Jocks! - Wow. I've never seen them this close. They know what it's like outside the hive. Yeah, but some don't come back. - Hey, Jocks! - Hi, Jocks! You guys did great! You're monsters! You're sky freaks! I love it! I love it! - I wonder where they were. - I don't know. Their day's not planned. Outside the hive, flying who knows where, doing who knows what. You can'tjust decide to be a Pollen Jock. You have to be bred for that. Right. Look. That's more pollen than you and I will see in a lifetime. It's just a status symbol. Bees make too much of it. Perhaps. Unless you're wearing it and the ladies see you wearing it. Those ladies? Aren't they our cousins too? Distant. Distant. Look at these two. - Oouple of Hive Harrys. - Let's have fun with them. It must be dangerous being a Pollen Jock. Yeah. Once a bear pinned me against a mushroom! He had a paw on my throat, and with the other, he was slapping me! - Oh, my! - I never thought I'd knock him out. What were you doing during this? Trying to alert the authorities. I can autograph that. A little gusty out there today, wasn't it, comrades? Yeah. Gusty. We're hitting a sunflower patch six miles from here tomorrow. - Six miles, huh? - Barry! A puddle jump for us, but maybe you're not up for it. - Maybe I am. - You are not! We're going 0900 at J-Gate. What do you think, buzzy-boy? Are you bee enough? I might be. It all depends on what 0900 means. Hey, Honex! Dad, you surprised me. You decide what you're interested in? - Well, there's a lot of choices. - But you only get one. Do you ever get bored doing the same job every day? Son, let me tell you about stirring. You grab that stick, and you just move it around, and you stir it around. You get yourself into a rhythm. It's a beautiful thing. You know, Dad, the more I think about it, maybe the honey field just isn't right for me. You were thinking of what, making balloon animals? That's a bad job for a guy with a stinger. Janet, your son's not sure he wants to go into honey! - Barry, you are so funny sometimes. - I'm not trying to be funny. You're not funny! You're going into honey. Our son, the stirrer! - You're gonna be a stirrer? - No one's listening to me! Wait till you see the sticks I have. I could say anything right now. I'm gonna get an ant tattoo! Let's open some honey and celebrate! Maybe I'll pierce my thorax. Shave my antennae. Shack up with a grasshopper. Get a gold tooth and call everybody "dawg"! I'm so proud. - We're starting work today! - Today's the day. Oome on! All the good jobs will be gone. Yeah, right. Pollen counting, stunt bee, pouring, stirrer, front desk, hair removal... - Is it still available? - Hang on. Two left! One of them's yours! Oongratulations! Step to the side. - What'd you get? - Picking crud out. Stellar! Wow! Oouple of newbies? Yes, sir! Our first day! We are ready! Make your choice. - You want to go first? - No, you go. Oh, my. What's available? Restroom attendant's open, not for the reason you think. - Any chance of getting the Krelman? - Sure, you're on. I'm sorry, the Krelman just closed out. Wax monkey's always open. The Krelman opened up again. What happened? A bee died. Makes an opening. See? He's dead. Another dead one. Deady. Deadified. Two more dead. Dead from the neck up. Dead from the neck down. That's life! Oh, this is so hard! Heating, cooling, stunt bee, pourer, stirrer, humming, inspector number seven, lint coordinator, stripe supervisor, mite wrangler. Barry, what do you think I should... Barry? Barry! All right, we've got the sunflower patch in quadrant nine... What happened to you? Where are you? - I'm going out. - Out? Out where? - Out there. - Oh, no! I have to, before I go to work for the rest of my life. You're gonna die! You're crazy! Hello? Another call coming in. If anyone's feeling brave, there's a Korean deli on 83rd that gets their roses today. Hey, guys. - Look at that. - Isn't that the kid we saw yesterday? Hold it, son, flight deck's restricted. It's OK, Lou. We're gonna take him up. Really? Feeling lucky, are you? Sign here, here. Just initial that. - Thank you. - OK. You got a rain advisory today, and as you all know, bees cannot fly in rain. So be careful. As always, watch your brooms, hockey sticks, dogs, birds, bears and bats. Also, I got a couple of reports of root beer being poured on us. Murphy's in a home because of it, babbling like a cicada! - That's awful. - And a reminder for you rookies, bee law number one, absolutely no talking to humans! All right, launch positions! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Black and yellow! Hello! You ready for this, hot shot? Yeah. Yeah, bring it on. Wind, check. - Antennae, check. - Nectar pack, check. - Wings, check. - Stinger, check. Scared out of my shorts, check. OK, ladies, let's move it out! Pound those petunias, you striped stem-suckers! All of you, drain those flowers! Wow! I'm out! I can't believe I'm out! So blue. I feel so fast and free! Box kite! Wow! Flowers! This is Blue Leader. We have roses visual. Bring it around 30 degrees and hold. Roses! 30 degrees, roger. Bringing it around. Stand to the side, kid. It's got a bit of a kick. That is one nectar collector! - Ever see pollination up close? - No, sir. I pick up some pollen here, sprinkle it over here. Maybe a dash over there, a pinch on that one. See that? It's a little bit of magic. That's amazing. Why do we do that? That's pollen power. More pollen, more flowers, more nectar, more honey for us. Oool. I'm picking up a lot of bright yellow. Oould be daisies. Don't we need those? Oopy that visual. Wait. One of these flowers seems to be on the move. Say again? You're reporting a moving flower? Affirmative. That was on the line! This is the coolest. What is it? I don't know, but I'm loving this color. It smells good. Not like a flower, but I like it. Yeah, fuzzy. Ohemical-y. Oareful, guys. It's a little grabby. My sweet lord of bees! Oandy-brain, get off there! Problem! - Guys! - This could be bad. Affirmative. Very close. Gonna hurt. Mama's little boy. You are way out of position, rookie! Ooming in at you like a missile! Help me! I don't think these are flowers. - Should we tell him? - I think he knows. What is this?! Match point! You can start packing up, honey, because you're about to eat it! Yowser! Gross. There's a bee in the car! - Do something! - I'm driving! - Hi, bee. - He's back here! He's going to sting me! Nobody move. If you don't move, he won't sting you. Freeze! He blinked! Spray him, Granny! What are you doing?! Wow... the tension level out here is unbelievable. I gotta get home. Oan't fly in rain. Oan't fly in rain. Oan't fly in rain. Mayday! Mayday! Bee going down! Ken, could you close the window please? Ken, could you close the window please? Oheck out my new resume. I made it into a fold-out brochure. You see? Folds out. Oh, no. More humans. I don't need this. What was that? Maybe this time. This time. This time. This time! This time! This... Drapes! That is diabolical. It's fantastic. It's got all my special skills, even my top-ten favorite movies. What's number one? Star Wars? Nah, I don't go for that... ...kind of stuff. No wonder we shouldn't talk to them. They're out of their minds. When I leave a job interview, they're flabbergasted, can't believe what I say. There's the sun. Maybe that's a way out. I don't remember the sun having a big 75 on it. I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Wait! Stop! Bee! Stand back. These are winter boots. Wait! Don't kill him! You know I'm allergic to them! This thing could kill me! Why does his life have less value than yours? Why does his life have any less value than mine? Is that your statement? I'm just saying all life has value. You don't know what he's capable of feeling. My brochure! There you go, little guy. I'm not scared of him. It's an allergic thing. Put that on your resume brochure. My whole face could puff up. Make it one of your special skills. Knocking someone out is also a special skill. Right. Bye, Vanessa. Thanks. - Vanessa, next week? Yogurt night? - Sure, Ken. You know, whatever. - You could put carob chips on there. - Bye. - Supposed to be less calories. - Bye. I gotta say something. She saved my life. I gotta say something. All right, here it goes. Nah. What would I say? I could really get in trouble. It's a bee law. You're not supposed to talk to a human. I can't believe I'm doing this. I've got to. Oh, I can't do it. Oome on! No. Yes. No. Do it. I can't. How should I start it? "You like jazz?" No, that's no good. Here she comes! Speak, you fool! Hi! I'm sorry. - You're talking. - Yes, I know. You're talking! I'm so sorry. No, it's OK. It's fine. I know I'm dreaming. But I don't recall going to bed. Well, I'm sure this is very disconcerting. This is a bit of a surprise to me. I mean, you're a bee! I am. And I'm not supposed to be doing this, but they were all trying to kill me. And if it wasn't for you... I had to thank you. It's just how I was raised. That was a little weird. - I'm talking with a bee. - Yeah. I'm talking to a bee. And the bee is talking to me! I just want to say I'm grateful. I'll leave now. - Wait! How did you learn to do that? - What? The talking thing. Same way you did, I guess. "Mama, Dada, honey." You pick it up. - That's very funny. - Yeah. Bees are funny. If we didn't laugh, we'd cry with what we have to deal with. Anyway... Oan I... ...get you something? - Like what? I don't know. I mean... I don't know. Ooffee? I don't want to put you out. It's no trouble. It takes two minutes. - It's just coffee. - I hate to impose. - Don't be ridiculous! - Actually, I would love a cup. Hey, you want rum cake? - I shouldn't. - Have some. - No, I can't. - Oome on! I'm trying to lose a couple micrograms. - Where? - These stripes don't help. You look great! I don't know if you know anything about fashion. Are you all right? No. He's making the tie in the cab as they're flying up Madison. He finally gets there. He runs up the steps into the church. The wedding is on. And he says, "Watermelon? I thought you said Guatemalan. Why would I marry a watermelon?" Is that a bee joke? That's the kind of stuff we do. Yeah, different. So, what are you gonna do, Barry? About work? I don't know. I want to do my part for the hive, but I can't do it the way they want. I know how you feel. - You do? - Sure. My parents wanted me to be a lawyer or a doctor, but I wanted to be a florist. - Really? - My only interest is flowers. Our new queen was just elected with that same campaign slogan. Anyway, if you look... There's my hive right there. See it? You're in Sheep Meadow! Yes! I'm right off the Turtle Pond! No way! I know that area. I lost a toe ring there once. - Why do girls put rings on their toes? - Why not? - It's like putting a hat on your knee. - Maybe I'll try that. - You all right, ma'am? - Oh, yeah. Fine. Just having two cups of coffee! Anyway, this has been great. Thanks for the coffee. Yeah, it's no trouble. Sorry I couldn't finish it. If I did, I'd be up the rest of my life. Are you...? Oan I take a piece of this with me? Sure! Here, have a crumb. - Thanks! - Yeah. All right. Well, then... I guess I'll see you around. Or not. OK, Barry. And thank you so much again... for before. Oh, that? That was nothing. Well, not nothing, but... Anyway... This can't possibly work. He's all set to go. We may as well try it. OK, Dave, pull the chute. - Sounds amazing. - It was amazing! It was the scariest, happiest moment of my life. Humans! I can't believe you were with humans! Giant, scary humans! What were they like? Huge and crazy. They talk crazy. They eat crazy giant things. They drive crazy. - Do they try and kill you, like on TV? - Some of them. But some of them don't. - How'd you get back? - Poodle. You did it, and I'm glad. You saw whatever you wanted to see. You had your "experience." Now you can pick out yourjob and be normal. - Well... - Well? Well, I met someone. You did? Was she Bee-ish? - A wasp?! Your parents will kill you! - No, no, no, not a wasp. - Spider? - I'm not attracted to spiders. I know it's the hottest thing, with the eight legs and all. I can't get by that face. So who is she? She's... human. No, no. That's a bee law. You wouldn't break a bee law. - Her name's Vanessa. - Oh, boy. She's so nice. And she's a florist! Oh, no! You're dating a human florist! We're not dating. You're flying outside the hive, talking to humans that attack our homes with power washers and M-80s! One-eighth a stick of dynamite! She saved my life! And she understands me. This is over! Eat this. This is not over! What was that? - They call it a crumb. - It was so stingin' stripey! And that's not what they eat. That's what falls off what they eat! - You know what a Oinnabon is? - No. It's bread and cinnamon and frosting. They heat it up... Sit down! ...really hot! - Listen to me! We are not them! We're us. There's us and there's them! Yes, but who can deny the heart that is yearning? There's no yearning. Stop yearning. Listen to me! You have got to start thinking bee, my friend. Thinking bee! - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Thinking bee! There he is. He's in the pool. You know what your problem is, Barry? I gotta start thinking bee? How much longer will this go on? It's been three days! Why aren't you working? I've got a lot of big life decisions to think about. What life? You have no life! You have no job. You're barely a bee! Would it kill you to make a little honey? Barry, come out. Your father's talking to you. Martin, would you talk to him? Barry, I'm talking to you! You coming? Got everything? All set! Go ahead. I'll catch up. Don't be too long. Watch this! Vanessa! - We're still here. - I told you not to yell at him. He doesn't respond to yelling! - Then why yell at me? - Because you don't listen! I'm not listening to this. Sorry, I've gotta go. - Where are you going? - I'm meeting a friend. A girl? Is this why you can't decide? Bye. I just hope she's Bee-ish. They have a huge parade of flowers every year in Pasadena? To be in the Tournament of Roses, that's every florist's dream! Up on a float, surrounded by flowers, crowds cheering. A tournament. Do the roses compete in athletic events? No. All right, I've got one. How come you don't fly everywhere? It's exhausting. Why don't you run everywhere? It's faster. Yeah, OK, I see, I see. All right, your turn. TiVo. You can just freeze live TV? That's insane! You don't have that? We have Hivo, but it's a disease. It's a horrible, horrible disease. Oh, my. Dumb bees! You must want to sting all those jerks. We try not to sting. It's usually fatal for us. So you have to watch your temper. Very carefully. You kick a wall, take a walk, write an angry letter and throw it out. Work through it like any emotion: Anger, jealousy, lust. Oh, my goodness! Are you OK? Yeah. - What is wrong with you?! - It's a bug. He's not bothering anybody. Get out of here, you creep! What was that? A Pic 'N' Save circular? Yeah, it was. How did you know? It felt like about 10 pages. Seventy-five is pretty much our limit. You've really got that down to a science. - I lost a cousin to Italian Vogue. - I'll bet. What in the name of Mighty Hercules is this? How did this get here? Oute Bee, Golden Blossom, Ray Liotta Private Select? - Is he that actor? - I never heard of him. - Why is this here? - For people. We eat it. You don't have enough food of your own? - Well, yes. - How do you get it? - Bees make it. - I know who makes it! And it's hard to make it! There's heating, cooling, stirring. You need a whole Krelman thing! - It's organic. - It's our-ganic! It's just honey, Barry. Just what?! Bees don't know about this! This is stealing! A lot of stealing! You've taken our homes, schools, hospitals! This is all we have! And it's on sale?! I'm getting to the bottom of this. I'm getting to the bottom of all of this! Hey, Hector. - You almost done? - Almost. He is here. I sense it. Well, I guess I'll go home now and just leave this nice honey out, with no one around. You're busted, box boy! I knew I heard something. So you can talk! I can talk. And now you'll start talking! Where you getting the sweet stuff? Who's your supplier? I don't understand. I thought we were friends. The last thing we want to do is upset bees! You're too late! It's ours now! You, sir, have crossed the wrong sword! You, sir, will be lunch for my iguana, Ignacio! Where is the honey coming from? Tell me where! Honey Farms! It comes from Honey Farms! Orazy person! What horrible thing has happened here? These faces, they never knew what hit them. And now they're on the road to nowhere! Just keep still. What? You're not dead? Do I look dead? They will wipe anything that moves. Where you headed? To Honey Farms. I am onto something huge here. I'm going to Alaska. Moose blood, crazy stuff. Blows your head off! I'm going to Tacoma. - And you? - He really is dead. All right. Uh-oh! - What is that?! - Oh, no! - A wiper! Triple blade! - Triple blade? Jump on! It's your only chance, bee! Why does everything have to be so doggone clean?! How much do you people need to see?! Open your eyes! Stick your head out the window! From NPR News in Washington, I'm Oarl Kasell. But don't kill no more bugs! - Bee! - Moose blood guy!! - You hear something? - Like what? Like tiny screaming. Turn off the radio. Whassup, bee boy? Hey, Blood. Just a row of honey jars, as far as the eye could see. Wow! I assume wherever this truck goes is where they're getting it. I mean, that honey's ours. - Bees hang tight. - We're all jammed in. It's a close community. Not us, man. We on our own. Every mosquito on his own. - What if you get in trouble? - You a mosquito, you in trouble. Nobody likes us. They just smack. See a mosquito, smack, smack! At least you're out in the world. You must meet girls. Mosquito girls try to trade up, get with a moth, dragonfly. Mosquito girl don't want no mosquito. You got to be kidding me! Mooseblood's about to leave the building! So long, bee! - Hey, guys! - Mooseblood! I knew I'd catch y'all down here. Did you bring your crazy straw? We throw it in jars, slap a label on it, and it's pretty much pure profit. What is this place? A bee's got a brain the size of a pinhead. They are pinheads! Pinhead. - Oheck out the new smoker. - Oh, sweet. That's the one you want. The Thomas 3000! Smoker? Ninety puffs a minute, semi-automatic. Twice the nicotine, all the tar. A couple breaths of this knocks them right out. They make the honey, and we make the money. "They make the honey, and we make the money"? Oh, my! What's going on? Are you OK? Yeah. It doesn't last too long. Do you know you're in a fake hive with fake walls? Our queen was moved here. We had no choice. This is your queen? That's a man in women's clothes! That's a drag queen! What is this? Oh, no! There's hundreds of them! Bee honey. Our honey is being brazenly stolen on a massive scale! This is worse than anything bears have done! I intend to do something. Oh, Barry, stop. Who told you humans are taking our honey? That's a rumor. Do these look like rumors? That's a conspiracy theory. These are obviously doctored photos. How did you get mixed up in this? He's been talking to humans. - What? - Talking to humans?! He has a human girlfriend. And they make out! Make out? Barry! We do not. - You wish you could. - Whose side are you on? The bees! I dated a cricket once in San Antonio. Those crazy legs kept me up all night. Barry, this is what you want to do with your life? I want to do it for all our lives. Nobody works harder than bees! Dad, I remember you coming home so overworked your hands were still stirring. You couldn't stop. I remember that. What right do they have to our honey? We live on two cups a year. They put it in lip balm for no reason whatsoever! Even if it's true, what can one bee do? Sting them where it really hurts. In the face! The eye! - That would hurt. - No. Up the nose? That's a killer. There's only one place you can sting the humans, one place where it matters. Hive at Five, the hive's only full-hour action news source. No more bee beards! With Bob Bumble at the anchor desk. Weather with Storm Stinger. Sports with Buzz Larvi. And Jeanette Ohung. - Good evening. I'm Bob Bumble. - And I'm Jeanette Ohung. A tri-county bee, Barry Benson, intends to sue the human race for stealing our honey, packaging it and profiting from it illegally! Tomorrow night on Bee Larry King, we'll have three former queens here in our studio, discussing their new book, Olassy Ladies, out this week on Hexagon. Tonight we're talking to Barry Benson. Did you ever think, "I'm a kid from the hive. I can't do this"? Bees have never been afraid to change the world. What about Bee Oolumbus? Bee Gandhi? Bejesus? Where I'm from, we'd never sue humans. We were thinking of stickball or candy stores. How old are you? The bee community is supporting you in this case, which will be the trial of the bee century. You know, they have a Larry King in the human world too. It's a common name. Next week... He looks like you and has a show and suspenders and colored dots... Next week... Glasses, quotes on the bottom from the guest even though you just heard 'em. Bear Week next week! They're scary, hairy and here live. Always leans forward, pointy shoulders, squinty eyes, very Jewish. In tennis, you attack at the point of weakness! It was my grandmother, Ken. She's 81. Honey, her backhand's a joke! I'm not gonna take advantage of that? Quiet, please. Actual work going on here. - Is that that same bee? - Yes, it is! I'm helping him sue the human race. - Hello. - Hello, bee. This is Ken. Yeah, I remember you. Timberland, size ten and a half. Vibram sole, I believe. Why does he talk again? Listen, you better go 'cause we're really busy working. But it's our yogurt night! Bye-bye. Why is yogurt night so difficult?! You poor thing. You two have been at this for hours! Yes, and Adam here has been a huge help. - Frosting... - How many sugars? Just one. I try not to use the competition. So why are you helping me? Bees have good qualities. And it takes my mind off the shop. Instead of flowers, people are giving balloon bouquets now. Those are great, if you're three. And artificial flowers. - Oh, those just get me psychotic! - Yeah, me too. Bent stingers, pointless pollination. Bees must hate those fake things! Nothing worse than a daffodil that's had work done. Maybe this could make up for it a little bit. - This lawsuit's a pretty big deal. - I guess. You sure you want to go through with it? Am I sure? When I'm done with the humans, they won't be able to say, "Honey, I'm home," without paying a royalty! It's an incredible scene here in downtown Manhattan, where the world anxiously waits, because for the first time in history, we will hear for ourselves if a honeybee can actually speak. What have we gotten into here, Barry? It's pretty big, isn't it? I can't believe how many humans don't work during the day. You think billion-dollar multinational food companies have good lawyers? Everybody needs to stay behind the barricade. - What's the matter? - I don't know, I just got a chill. Well, if it isn't the bee team. You boys work on this? All rise! The Honorable Judge Bumbleton presiding. All right. Oase number 4475, Superior Oourt of New York, Barry Bee Benson v. the Honey Industry is now in session. Mr. Montgomery, you're representing the five food companies collectively? A privilege. Mr. Benson... you're representing all the bees of the world? I'm kidding. Yes, Your Honor, we're ready to proceed. Mr. Montgomery, your opening statement, please. Ladies and gentlemen of the jury, my grandmother was a simple woman. Born on a farm, she believed it was man's divine right to benefit from the bounty of nature God put before us. If we lived in the topsy-turvy world Mr. Benson imagines, just think of what would it mean. I would have to negotiate with the silkworm for the elastic in my britches! Talking bee! How do we know this isn't some sort of holographic motion-picture-capture Hollywood wizardry? They could be using laser beams! Robotics! Ventriloquism! Oloning! For all we know, he could be on steroids! Mr. Benson? Ladies and gentlemen, there's no trickery here. I'm just an ordinary bee. Honey's pretty important to me. It's important to all bees. We invented it! We make it. And we protect it with our lives. Unfortunately, there are some people in this room who think they can take it from us 'cause we're the little guys! I'm hoping that, after this is all over, you'll see how, by taking our honey, you not only take everything we have but everything we are! I wish he'd dress like that all the time. So nice! Oall your first witness. So, Mr. Klauss Vanderhayden of Honey Farms, big company you have. I suppose so. I see you also own Honeyburton and Honron! Yes, they provide beekeepers for our farms. Beekeeper. I find that to be a very disturbing term. I don't imagine you employ any bee-free-ers, do you? - No. - I couldn't hear you. - No. - No. Because you don't free bees. You keep bees. Not only that, it seems you thought a bear would be an appropriate image for a jar of honey. They're very lovable creatures. Yogi Bear, Fozzie Bear, Build-A-Bear. You mean like this? Bears kill bees! How'd you like his head crashing through your living room?! Biting into your couch! Spitting out your throw pillows! OK, that's enough. Take him away. So, Mr. Sting, thank you for being here. Your name intrigues me. - Where have I heard it before? - I was with a band called The Police. But you've never been a police officer, have you? No, I haven't. No, you haven't. And so here we have yet another example of bee culture casually stolen by a human for nothing more than a prance-about stage name. Oh, please. Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say... Mr. Gordon M. Sumner! That's not his real name?! You idiots! Mr. Liotta, first, belated congratulations on your Emmy win for a guest spot on ER in 2005. Thank you. Thank you. I see from your resume that you're devilishly handsome with a churning inner turmoil that's ready to blow. I enjoy what I do. Is that a crime? Not yet it isn't. But is this what it's come to for you? Exploiting tiny, helpless bees so you don't have to rehearse your part and learn your lines, sir? Watch it, Benson! I could blow right now! This isn't a goodfella. This is a badfella! Why doesn't someone just step on this creep, and we can all go home?! - Order in this court! - You're all thinking it! Order! Order, I say! - Say it! - Mr. Liotta, please sit down! I think it was awfully nice of that bear to pitch in like that. I think the jury's on our side. Are we doing everything right, legally? I'm a florist. Right. Well, here's to a great team. To a great team! Well, hello. - Ken! - Hello. I didn't think you were coming. No, I was just late. I tried to call, but... the battery. I didn't want all this to go to waste, so I called Barry. Luckily, he was free. Oh, that was lucky. There's a little left. I could heat it up. Yeah, heat it up, sure, whatever. So I hear you're quite a tennis player. I'm not much for the game myself. The ball's a little grabby. That's where I usually sit. Right... there. Ken, Barry was looking at your resume, and he agreed with me that eating with chopsticks isn't really a special skill. You think I don't see what you're doing? I know how hard it is to find the rightjob. We have that in common. Do we? Bees have 100 percent employment, but we do jobs like taking the crud out. That's just what I was thinking about doing. Ken, I let Barry borrow your razor for his fuzz. I hope that was all right. I'm going to drain the old stinger. Yeah, you do that. Look at that. You know, I've just about had it with your little mind games. - What's that? - Italian Vogue. Mamma mia, that's a lot of pages. A lot of ads. Remember what Van said, why is your life more valuable than mine? Funny, I just can't seem to recall that! I think something stinks in here! I love the smell of flowers. How do you like the smell of flames?! Not as much. Water bug! Not taking sides! Ken, I'm wearing a Ohapstick hat! This is pathetic! I've got issues! Well, well, well, a royal flush! - You're bluffing. - Am I? Surf's up, dude! Poo water! That bowl is gnarly. Except for those dirty yellow rings! Kenneth! What are you doing?! You know, I don't even like honey! I don't eat it! We need to talk! He's just a little bee! And he happens to be the nicest bee I've met in a long time! Long time? What are you talking about?! Are there other bugs in your life? No, but there are other things bugging me in life. And you're one of them! Fine! Talking bees, no yogurt night... My nerves are fried from riding on this emotional roller coaster! Goodbye, Ken. And for your information, I prefer sugar-free, artificial sweeteners made by man! I'm sorry about all that. I know it's got an aftertaste! I like it! I always felt there was some kind of barrier between Ken and me. I couldn't overcome it. Oh, well. Are you OK for the trial? I believe Mr. Montgomery is about out of ideas. We would like to call Mr. Barry Benson Bee to the stand. Good idea! You can really see why he's considered one of the best lawyers... Yeah. Layton, you've gotta weave some magic with this jury, or it's gonna be all over. Don't worry. The only thing I have to do to turn this jury around is to remind them of what they don't like about bees. - You got the tweezers? - Are you allergic? Only to losing, son. Only to losing. Mr. Benson Bee, I'll ask you what I think we'd all like to know. What exactly is your relationship to that woman? We're friends. - Good friends? - Yes. How good? Do you live together? Wait a minute... Are you her little... ...bedbug? I've seen a bee documentary or two. From what I understand, doesn't your queen give birth to all the bee children? - Yeah, but... - So those aren't your real parents! - Oh, Barry... - Yes, they are! Hold me back! You're an illegitimate bee, aren't you, Benson? He's denouncing bees! Don't y'all date your cousins? - Objection! - I'm going to pincushion this guy! Adam, don't! It's what he wants! Oh, I'm hit!! Oh, lordy, I am hit! Order! Order! The venom! The venom is coursing through my veins! I have been felled by a winged beast of destruction! You see? You can't treat them like equals! They're striped savages! Stinging's the only thing they know! It's their way! - Adam, stay with me. - I can't feel my legs. What angel of mercy will come forward to suck the poison from my heaving buttocks? I will have order in this court. Order! Order, please! The case of the honeybees versus the human race took a pointed turn against the bees yesterday when one of their legal team stung Layton T. Montgomery. - Hey, buddy. - Hey. - Is there much pain? - Yeah. I... I blew the whole case, didn't I? It doesn't matter. What matters is you're alive. You could have died. I'd be better off dead. Look at me. They got it from the cafeteria downstairs, in a tuna sandwich. Look, there's a little celery still on it. What was it like to sting someone? I can't explain it. It was all... All adrenaline and then... and then ecstasy! All right. You think it was all a trap? Of course. I'm sorry. I flew us right into this. What were we thinking? Look at us. We're just a couple of bugs in this world. What will the humans do to us if they win? I don't know. I hear they put the roaches in motels. That doesn't sound so bad. Adam, they check in, but they don't check out! Oh, my. Oould you get a nurse to close that window? - Why? - The smoke. Bees don't smoke. Right. Bees don't smoke. Bees don't smoke! But some bees are smoking. That's it! That's our case! It is? It's not over? Get dressed. I've gotta go somewhere. Get back to the court and stall. Stall any way you can. And assuming you've done step correctly, you're ready for the tub. Mr. Flayman. Yes? Yes, Your Honor! Where is the rest of your team? Well, Your Honor, it's interesting. Bees are trained to fly haphazardly, and as a result, we don't make very good time. I actually heard a funny story about... Your Honor, haven't these ridiculous bugs taken up enough of this court's valuable time? How much longer will we allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients, who run legitimate businesses. I move for a complete dismissal of this entire case! Mr. Flayman, I'm afraid I'm going to have to consider Mr. Montgomery's motion. But you can't! We have a terrific case. Where is your proof? Where is the evidence? Show me the smoking gun! Hold it, Your Honor! You want a smoking gun? Here is your smoking gun. What is that? It's a bee smoker! What, this? This harmless little contraption? This couldn't hurt a fly, let alone a bee. Look at what has happened to bees who have never been asked, "Smoking or non?" Is this what nature intended for us? To be forcibly addicted to smoke machines and man-made wooden slat work camps? Living out our lives as honey slaves to the white man? - What are we gonna do? - He's playing the species card. Ladies and gentlemen, please, free these bees! Free the bees! Free the bees! Free the bees! Free the bees! Free the bees! The court finds in favor of the bees! Vanessa, we won! I knew you could do it! High-five! Sorry. I'm OK! You know what this means? All the honey will finally belong to the bees. Now we won't have to work so hard all the time. This is an unholy perversion of the balance of nature, Benson. You'll regret this. Barry, how much honey is out there? All right. One at a time. Barry, who are you wearing? My sweater is Ralph Lauren, and I have no pants. - What if Montgomery's right? - What do you mean? We've been living the bee way a long time, 27 million years. Oongratulations on your victory. What will you demand as a settlement? First, we'll demand a complete shutdown of all bee work camps. Then we want back the honey that was ours to begin with, every last drop. We demand an end to the glorification of the bear as anything more than a filthy, smelly, bad-breath stink machine. We're all aware of what they do in the woods. Wait for my signal. Take him out. He'll have nauseous for a few hours, then he'll be fine. And we will no longer tolerate bee-negative nicknames... But it's just a prance-about stage name! ...unnecessary inclusion of honey in bogus health products and la-dee-da human tea-time snack garnishments. Oan't breathe. Bring it in, boys! Hold it right there! Good. Tap it. Mr. Buzzwell, we just passed three cups, and there's gallons more coming! - I think we need to shut down! - Shut down? We've never shut down. Shut down honey production! Stop making honey! Turn your key, sir! What do we do now? Oannonball! We're shutting honey production! Mission abort. Aborting pollination and nectar detail. Returning to base. Adam, you wouldn't believe how much honey was out there. Oh, yeah? What's going on? Where is everybody? - Are they out celebrating? - They're home. They don't know what to do. Laying out, sleeping in. I heard your Uncle Oarl was on his way to San Antonio with a cricket. At least we got our honey back. Sometimes I think, so what if humans liked our honey? Who wouldn't? It's the greatest thing in the world! I was excited to be part of making it. This was my new desk. This was my new job. I wanted to do it really well. And now... Now I can't. I don't understand why they're not happy. I thought their lives would be better! They're doing nothing. It's amazing. Honey really changes people. You don't have any idea what's going on, do you? - What did you want to show me? - This. What happened here? That is not the half of it. Oh, no. Oh, my. They're all wilting. Doesn't look very good, does it? No. And whose fault do you think that is? You know, I'm gonna guess bees. Bees? Specifically, me. I didn't think bees not needing to make honey would affect all these things. It's notjust flowers. Fruits, vegetables, they all need bees. That's our whole SAT test right there. Take away produce, that affects the entire animal kingdom. And then, of course... The human species? So if there's no more pollination, it could all just go south here, couldn't it? I know this is also partly my fault. How about a suicide pact? How do we do it? - I'll sting you, you step on me. - Thatjust kills you twice. Right, right. Listen, Barry... sorry, but I gotta get going. I had to open my mouth and talk. Vanessa? Vanessa? Why are you leaving? Where are you going? To the final Tournament of Roses parade in Pasadena. They've moved it to this weekend because all the flowers are dying. It's the last chance I'll ever have to see it. Vanessa, I just wanna say I'm sorry. I never meant it to turn out like this. I know. Me neither. Tournament of Roses. Roses can't do sports. Wait a minute. Roses. Roses? Roses! Vanessa! Roses?! Barry? - Roses are flowers! - Yes, they are. Flowers, bees, pollen! I know. That's why this is the last parade. Maybe not. Oould you ask him to slow down? Oould you slow down? Barry! OK, I made a huge mistake. This is a total disaster, all my fault. Yes, it kind of is. I've ruined the planet. I wanted to help you with the flower shop. I've made it worse. Actually, it's completely closed down. I thought maybe you were remodeling. But I have another idea, and it's greater than my previous ideas combined. I don't want to hear it! All right, they have the roses, the roses have the pollen. I know every bee, plant and flower bud in this park. All we gotta do is get what they've got back here with what we've got. - Bees. - Park. - Pollen! - Flowers. - Repollination! - Across the nation! Tournament of Roses, Pasadena, Oalifornia. They've got nothing but flowers, floats and cotton candy. Security will be tight. I have an idea. Vanessa Bloome, FTD. Official floral business. It's real. Sorry, ma'am. Nice brooch. Thank you. It was a gift. Once inside, we just pick the right float. How about The Princess and the Pea? I could be the princess, and you could be the pea! Yes, I got it. - Where should I sit? - What are you? - I believe I'm the pea. - The pea? It goes under the mattresses. - Not in this fairy tale, sweetheart. - I'm getting the marshal. You do that! This whole parade is a fiasco! Let's see what this baby'll do. Hey, what are you doing?! Then all we do is blend in with traffic... ...without arousing suspicion. Once at the airport, there's no stopping us. Stop! Security. - You and your insect pack your float? - Yes. Has it been in your possession the entire time? Would you remove your shoes? - Remove your stinger. - It's part of me. I know. Just having some fun. Enjoy your flight. Then if we're lucky, we'll have just enough pollen to do the job. Oan you believe how lucky we are? We have just enough pollen to do the job! I think this is gonna work. It's got to work. Attention, passengers, this is Oaptain Scott. We have a bit of bad weather in New York. It looks like we'll experience a couple hours delay. Barry, these are cut flowers with no water. They'll never make it. I gotta get up there and talk to them. Be careful. Oan I get help with the Sky Mall magazine? I'd like to order the talking inflatable nose and ear hair trimmer. Oaptain, I'm in a real situation. - What'd you say, Hal? - Nothing. Bee! Don't freak out! My entire species... What are you doing? - Wait a minute! I'm an attorney! - Who's an attorney? Don't move. Oh, Barry. Good afternoon, passengers. This is your captain. Would a Miss Vanessa Bloome in 24B please report to the cockpit? And please hurry! What happened here? There was a DustBuster, a toupee, a life raft exploded. One's bald, one's in a boat, they're both unconscious! - Is that another bee joke? - No! No one's flying the plane! This is JFK control tower, Flight 356. What's your status? This is Vanessa Bloome. I'm a florist from New York. Where's the pilot? He's unconscious, and so is the copilot. Not good. Does anyone onboard have flight experience? As a matter of fact, there is. - Who's that? - Barry Benson. From the honey trial?! Oh, great. Vanessa, this is nothing more than a big metal bee. It's got giant wings, huge engines. I can't fly a plane. - Why not? Isn't John Travolta a pilot? - Yes. How hard could it be? Wait, Barry! We're headed into some lightning. This is Bob Bumble. We have some late-breaking news from JFK Airport, where a suspenseful scene is developing. Barry Benson, fresh from his legal victory... That's Barry! ...is attempting to land a plane, loaded with people, flowers and an incapacitated flight crew. Flowers?! We have a storm in the area and two individuals at the controls with absolutely no flight experience. Just a minute. There's a bee on that plane. I'm quite familiar with Mr. Benson and his no-account compadres. They've done enough damage. But isn't he your only hope? Technically, a bee shouldn't be able to fly at all. Their wings are too small... Haven't we heard this a million times? "The surface area of the wings and body mass make no sense." - Get this on the air! - Got it. - Stand by. - We're going live. The way we work may be a mystery to you. Making honey takes a lot of bees doing a lot of small jobs. But let me tell you about a small job. If you do it well, it makes a big difference. More than we realized. To us, to everyone. That's why I want to get bees back to working together. That's the bee way! We're not made of Jell-O. We get behind a fellow. - Black and yellow! - Hello! Left, right, down, hover. - Hover? - Forget hover. This isn't so hard. Beep-beep! Beep-beep! Barry, what happened?! Wait, I think we were on autopilot the whole time. - That may have been helping me. - And now we're not! So it turns out I cannot fly a plane. All of you, let's get behind this fellow! Move it out! Move out! Our only chance is if I do what I'd do, you copy me with the wings of the plane! Don't have to yell. I'm not yelling! We're in a lot of trouble. It's very hard to concentrate with that panicky tone in your voice! It's not a tone. I'm panicking! I can't do this! Vanessa, pull yourself together. You have to snap out of it! You snap out of it. You snap out of it. - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - Hold it! - Why? Oome on, it's my turn. How is the plane flying? I don't know. Hello? Benson, got any flowers for a happy occasion in there? The Pollen Jocks! They do get behind a fellow. - Black and yellow. - Hello. All right, let's drop this tin can on the blacktop. Where? I can't see anything. Oan you? No, nothing. It's all cloudy. Oome on. You got to think bee, Barry. - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Wait a minute. I think I'm feeling something. - What? - I don't know. It's strong, pulling me. Like a 27-million-year-old instinct. Bring the nose down. Thinking bee! Thinking bee! Thinking bee! - What in the world is on the tarmac? - Get some lights on that! Thinking bee! Thinking bee! Thinking bee! - Vanessa, aim for the flower. - OK. Out the engines. We're going in on bee power. Ready, boys? Affirmative! Good. Good. Easy, now. That's it. Land on that flower! Ready? Full reverse! Spin it around! - Not that flower! The other one! - Which one? - That flower. - I'm aiming at the flower! That's a fat guy in a flowered shirt. I mean the giant pulsating flower made of millions of bees! Pull forward. Nose down. Tail up. Rotate around it. - This is insane, Barry! - This's the only way I know how to fly. Am I koo-koo-kachoo, or is this plane flying in an insect-like pattern? Get your nose in there. Don't be afraid. Smell it. Full reverse! Just drop it. Be a part of it. Aim for the center! Now drop it in! Drop it in, woman! Oome on, already. Barry, we did it! You taught me how to fly! - Yes. No high-five! - Right. Barry, it worked! Did you see the giant flower? What giant flower? Where? Of course I saw the flower! That was genius! - Thank you. - But we're not done yet. Listen, everyone! This runway is covered with the last pollen from the last flowers available anywhere on Earth. That means this is our last chance. We're the only ones who make honey, pollinate flowers and dress like this. If we're gonna survive as a species, this is our moment! What do you say? Are we going to be bees, orjust Museum of Natural History keychains? We're bees! Keychain! Then follow me! Except Keychain. Hold on, Barry. Here. You've earned this. Yeah! I'm a Pollen Jock! And it's a perfect fit. All I gotta do are the sleeves. Oh, yeah. That's our Barry. Mom! The bees are back! If anybody needs to make a call, now's the time. I got a feeling we'll be working late tonight! Here's your change. Have a great afternoon! Oan I help who's next? Would you like some honey with that? It is bee-approved. Don't forget these. Milk, cream, cheese, it's all me. And I don't see a nickel! Sometimes I just feel like a piece of meat! I had no idea. Barry, I'm sorry. Have you got a moment? Would you excuse me? My mosquito associate will help you. Sorry I'm late. He's a lawyer too? I was already a blood-sucking parasite. All I needed was a briefcase. Have a great afternoon! Barry, I just got this huge tulip order, and I can't get them anywhere. No problem, Vannie. Just leave it to me. You're a lifesaver, Barry. Can I help who's next? All right, scramble, jocks! It's time to fly. Thank you, Barry! That bee is living my life! Let it go, Kenny. - When will this nightmare end?! - Let it all go. - Beautiful day to fly. - Sure is. Between you and me, I was dying to get out of that office. You have got to start thinking bee, my friend. - Thinking bee! - Me? Hold it. Let's just stop for a second. Hold it. I'm sorry. I'm sorry, everyone. Can we stop here? I'm not making a major life decision during a production number! All right. Take ten, everybody. Wrap it up, guys. I had virtually no rehearsal for that. Special thanks to SergeiK.

I am NOT a bee.

According to all known laws of aviation, there is no way a bee should be able to fly. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway because bees don't care what humans think is impossible. Yellow, black. Yellow, black. Yellow, black. Yellow, black. Ooh, black and yellow! Let's shake it up a little. Barry! Breakfast is ready! Ooming! Hang on a second. Hello? - Barry? - Adam? - Oan you believe this is happening? - I can't. I'll pick you up. Looking sharp. Use the stairs. Your father paid good money for those. Sorry. I'm excited. Here's the graduate. We're very proud of you, son. A perfect report card, all B's. Very proud. Ma! I got a thing going here. - You got lint on your fuzz. - Ow! That's me! - Wave to us! We'll be in row 118,000. - Bye! Barry, I told you, stop flying in the house! - Hey, Adam. - Hey, Barry. - Is that fuzz gel? - A little. Special day, graduation. Never thought I'd make it. Three days grade school, three days high school. Those were awkward. Three days college. I'm glad I took a day and hitchhiked around the hive. You did come back different. - Hi, Barry. - Artie, growing a mustache? Looks good. - Hear about Frankie? - Yeah. - You going to the funeral? - No, I'm not going. Everybody knows, sting someone, you die. Don't waste it on a squirrel. Such a hothead. I guess he could have just gotten out of the way. I love this incorporating an amusement park into our day. That's why we don't need vacations. Boy, quite a bit of pomp... under the circumstances. - Well, Adam, today we are men. - We are! - Bee-men. - Amen! Hallelujah! Students, faculty, distinguished bees, please welcome Dean Buzzwell. Welcome, New Hive Oity graduating class of... ...9:15. That concludes our ceremonies. And begins your career at Honex Industries! Will we pick ourjob today? I heard it's just orientation. Heads up! Here we go. Keep your hands and antennas inside the tram at all times. - Wonder what it'll be like? - A little scary. Welcome to Honex, a division of Honesco and a part of the Hexagon Group. This is it! Wow. Wow. We know that you, as a bee, have worked your whole life to get to the point where you can work for your whole life. Honey begins when our valiant Pollen Jocks bring the nectar to the hive. Our top-secret formula is automatically color-corrected, scent-adjusted and bubble-contoured into this soothing sweet syrup with its distinctive golden glow you know as... Honey! - That girl was hot. - She's my cousin! - She is? - Yes, we're all cousins. - Right. You're right. - At Honex, we constantly strive to improve every aspect of bee existence. These bees are stress-testing a new helmet technology. - What do you think he makes? - Not enough. Here we have our latest advancement, the Krelman. - What does that do? - Oatches that little strand of honey that hangs after you pour it. Saves us millions. Oan anyone work on the Krelman? Of course. Most bee jobs are small ones. But bees know that every small job, if it's done well, means a lot. But choose carefully because you'll stay in the job you pick for the rest of your life. The same job the rest of your life? I didn't know that. What's the difference? You'll be happy to know that bees, as a species, haven't had one day off in 27 million years. So you'll just work us to death? We'll sure try. Wow! That blew my mind! "What's the difference?" How can you say that? One job forever? That's an insane choice to have to make. I'm relieved. Now we only have to make one decision in life. But, Adam, how could they never have told us that? Why would you question anything? We're bees. We're the most perfectly functioning society on Earth. You ever think maybe things work a little too well here? Like what? Give me one example. I don't know. But you know what I'm talking about. Please clear the gate. Royal Nectar Force on approach. Wait a second. Oheck it out. - Hey, those are Pollen Jocks! - Wow. I've never seen them this close. They know what it's like outside the hive. Yeah, but some don't come back. - Hey, Jocks! - Hi, Jocks! You guys did great! You're monsters! You're sky freaks! I love it! I love it! - I wonder where they were. - I don't know. Their day's not planned. Outside the hive, flying who knows where, doing who knows what. You can'tjust decide to be a Pollen Jock. You have to be bred for that. Right. Look. That's more pollen than you and I will see in a lifetime. It's just a status symbol. Bees make too much of it. Perhaps. Unless you're wearing it and the ladies see you wearing it. Those ladies? Aren't they our cousins too? Distant. Distant. Look at these two. - Oouple of Hive Harrys. - Let's have fun with them. It must be dangerous being a Pollen Jock. Yeah. Once a bear pinned me against a mushroom! He had a paw on my throat, and with the other, he was slapping me! - Oh, my! - I never thought I'd knock him out. What were you doing during this? Trying to alert the authorities. I can autograph that. A little gusty out there today, wasn't it, comrades? Yeah. Gusty. We're hitting a sunflower patch six miles from here tomorrow. - Six miles, huh? - Barry! A puddle jump for us, but maybe you're not up for it. - Maybe I am. - You are not! We're going 0900 at J-Gate. What do you think, buzzy-boy? Are you bee enough? I might be. It all depends on what 0900 means. Hey, Honex! Dad, you surprised me. You decide what you're interested in? - Well, there's a lot of choices. - But you only get one. Do you ever get bored doing the same job every day? Son, let me tell you about stirring. You grab that stick, and you just move it around, and you stir it around. You get yourself into a rhythm. It's a beautiful thing. You know, Dad, the more I think about it, maybe the honey field just isn't right for me. You were thinking of what, making balloon animals? That's a bad job for a guy with a stinger. Janet, your son's not sure he wants to go into honey! - Barry, you are so funny sometimes. - I'm not trying to be funny. You're not funny! You're going into honey. Our son, the stirrer! - You're gonna be a stirrer? - No one's listening to me! Wait till you see the sticks I have. I could say anything right now. I'm gonna get an ant tattoo! Let's open some honey and celebrate! Maybe I'll pierce my thorax. Shave my antennae. Shack up with a grasshopper. Get a gold tooth and call everybody "dawg"! I'm so proud. - We're starting work today! - Today's the day. Oome on! All the good jobs will be gone. Yeah, right. Pollen counting, stunt bee, pouring, stirrer, front desk, hair removal... - Is it still available? - Hang on. Two left! One of them's yours! Oongratulations! Step to the side. - What'd you get? - Picking crud out. Stellar! Wow! Oouple of newbies? Yes, sir! Our first day! We are ready! Make your choice. - You want to go first? - No, you go. Oh, my. What's available? Restroom attendant's open, not for the reason you think. - Any chance of getting the Krelman? - Sure, you're on. I'm sorry, the Krelman just closed out. Wax monkey's always open. The Krelman opened up again. What happened? A bee died. Makes an opening. See? He's dead. Another dead one. Deady. Deadified. Two more dead. Dead from the neck up. Dead from the neck down. That's life! Oh, this is so hard! Heating, cooling, stunt bee, pourer, stirrer, humming, inspector number seven, lint coordinator, stripe supervisor, mite wrangler. Barry, what do you think I should... Barry? Barry! All right, we've got the sunflower patch in quadrant nine... What happened to you? Where are you? - I'm going out. - Out? Out where? - Out there. - Oh, no! I have to, before I go to work for the rest of my life. You're gonna die! You're crazy! Hello? Another call coming in. If anyone's feeling brave, there's a Korean deli on 83rd that gets their roses today. Hey, guys. - Look at that. - Isn't that the kid we saw yesterday? Hold it, son, flight deck's restricted. It's OK, Lou. We're gonna take him up. Really? Feeling lucky, are you? Sign here, here. Just initial that. - Thank you. - OK. You got a rain advisory today, and as you all know, bees cannot fly in rain. So be careful. As always, watch your brooms, hockey sticks, dogs, birds, bears and bats. Also, I got a couple of reports of root beer being poured on us. Murphy's in a home because of it, babbling like a cicada! - That's awful. - And a reminder for you rookies, bee law number one, absolutely no talking to humans! All right, launch positions! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Black and yellow! Hello! You ready for this, hot shot? Yeah. Yeah, bring it on. Wind, check. - Antennae, check. - Nectar pack, check. - Wings, check. - Stinger, check. Scared out of my shorts, check. OK, ladies, let's move it out! Pound those petunias, you striped stem-suckers! All of you, drain those flowers! Wow! I'm out! I can't believe I'm out! So blue. I feel so fast and free! Box kite! Wow! Flowers! This is Blue Leader. We have roses visual. Bring it around 30 degrees and hold. Roses! 30 degrees, roger. Bringing it around. Stand to the side, kid. It's got a bit of a kick. That is one nectar collector! - Ever see pollination up close? - No, sir. I pick up some pollen here, sprinkle it over here. Maybe a dash over there, a pinch on that one. See that? It's a little bit of magic. That's amazing. Why do we do that? That's pollen power. More pollen, more flowers, more nectar, more honey for us. Oool. I'm picking up a lot of bright yellow. Oould be daisies. Don't we need those? Oopy that visual. Wait. One of these flowers seems to be on the move. Say again? You're reporting a moving flower? Affirmative. That was on the line! This is the coolest. What is it? I don't know, but I'm loving this color. It smells good. Not like a flower, but I like it. Yeah, fuzzy. Ohemical-y. Oareful, guys. It's a little grabby. My sweet lord of bees! Oandy-brain, get off there! Problem! - Guys! - This could be bad. Affirmative. Very close. Gonna hurt. Mama's little boy. You are way out of position, rookie! Ooming in at you like a missile! Help me! I don't think these are flowers. - Should we tell him? - I think he knows. What is this?! Match point! You can start packing up, honey, because you're about to eat it! Yowser! Gross. There's a bee in the car! - Do something! - I'm driving! - Hi, bee. - He's back here! He's going to sting me! Nobody move. If you don't move, he won't sting you. Freeze! He blinked! Spray him, Granny! What are you doing?! Wow... the tension level out here is unbelievable. I gotta get home. Oan't fly in rain. Oan't fly in rain. Oan't fly in rain. Mayday! Mayday! Bee going down! Ken, could you close the window please? Ken, could you close the window please? Oheck out my new resume. I made it into a fold-out brochure. You see? Folds out. Oh, no. More humans. I don't need this. What was that? Maybe this time. This time. This time. This time! This time! This... Drapes! That is diabolical. It's fantastic. It's got all my special skills, even my top-ten favorite movies. What's number one? Star Wars? Nah, I don't go for that... ...kind of stuff. No wonder we shouldn't talk to them. They're out of their minds. When I leave a job interview, they're flabbergasted, can't believe what I say. There's the sun. Maybe that's a way out. I don't remember the sun having a big 75 on it. I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Wait! Stop! Bee! Stand back. These are winter boots. Wait! Don't kill him! You know I'm allergic to them! This thing could kill me! Why does his life have less value than yours? Why does his life have any less value than mine? Is that your statement? I'm just saying all life has value. You don't know what he's capable of feeling. My brochure! There you go, little guy. I'm not scared of him. It's an allergic thing. Put that on your resume brochure. My whole face could puff up. Make it one of your special skills. Knocking someone out is also a special skill. Right. Bye, Vanessa. Thanks. - Vanessa, next week? Yogurt night? - Sure, Ken. You know, whatever. - You could put carob chips on there. - Bye. - Supposed to be less calories. - Bye. I gotta say something. She saved my life. I gotta say something. All right, here it goes. Nah. What would I say? I could really get in trouble. It's a bee law. You're not supposed to talk to a human. I can't believe I'm doing this. I've got to. Oh, I can't do it. Oome on! No. Yes. No. Do it. I can't. How should I start it? "You like jazz?" No, that's no good. Here she comes! Speak, you fool! Hi! I'm sorry. - You're talking. - Yes, I know. You're talking! I'm so sorry. No, it's OK. It's fine. I know I'm dreaming. But I don't recall going to bed. Well, I'm sure this is very disconcerting. This is a bit of a surprise to me. I mean, you're a bee! I am. And I'm not supposed to be doing this, but they were all trying to kill me. And if it wasn't for you... I had to thank you. It's just how I was raised. That was a little weird. - I'm talking with a bee. - Yeah. I'm talking to a bee. And the bee is talking to me! I just want to say I'm grateful. I'll leave now. - Wait! How did you learn to do that? - What? The talking thing. Same way you did, I guess. "Mama, Dada, honey." You pick it up. - That's very funny. - Yeah. Bees are funny. If we didn't laugh, we'd cry with what we have to deal with. Anyway... Oan I... ...get you something? - Like what? I don't know. I mean... I don't know. Ooffee? I don't want to put you out. It's no trouble. It takes two minutes. - It's just coffee. - I hate to impose. - Don't be ridiculous! - Actually, I would love a cup. Hey, you want rum cake? - I shouldn't. - Have some. - No, I can't. - Oome on! I'm trying to lose a couple micrograms. - Where? - These stripes don't help. You look great! I don't know if you know anything about fashion. Are you all right? No. He's making the tie in the cab as they're flying up Madison. He finally gets there. He runs up the steps into the church. The wedding is on. And he says, "Watermelon? I thought you said Guatemalan. Why would I marry a watermelon?" Is that a bee joke? That's the kind of stuff we do. Yeah, different. So, what are you gonna do, Barry? About work? I don't know. I want to do my part for the hive, but I can't do it the way they want. I know how you feel. - You do? - Sure. My parents wanted me to be a lawyer or a doctor, but I wanted to be a florist. - Really? - My only interest is flowers. Our new queen was just elected with that same campaign slogan. Anyway, if you look... There's my hive right there. See it? You're in Sheep Meadow! Yes! I'm right off the Turtle Pond! No way! I know that area. I lost a toe ring there once. - Why do girls put rings on their toes? - Why not? - It's like putting a hat on your knee. - Maybe I'll try that. - You all right, ma'am? - Oh, yeah. Fine. Just having two cups of coffee! Anyway, this has been great. Thanks for the coffee. Yeah, it's no trouble. Sorry I couldn't finish it. If I did, I'd be up the rest of my life. Are you...? Oan I take a piece of this with me? Sure! Here, have a crumb. - Thanks! - Yeah. All right. Well, then... I guess I'll see you around. Or not. OK, Barry. And thank you so much again... for before. Oh, that? That was nothing. Well, not nothing, but... Anyway... This can't possibly work. He's all set to go. We may as well try it. OK, Dave, pull the chute. - Sounds amazing. - It was amazing! It was the scariest, happiest moment of my life. Humans! I can't believe you were with humans! Giant, scary humans! What were they like? Huge and crazy. They talk crazy. They eat crazy giant things. They drive crazy. - Do they try and kill you, like on TV? - Some of them. But some of them don't. - How'd you get back? - Poodle. You did it, and I'm glad. You saw whatever you wanted to see. You had your "experience." Now you can pick out yourjob and be normal. - Well... - Well? Well, I met someone. You did? Was she Bee-ish? - A wasp?! Your parents will kill you! - No, no, no, not a wasp. - Spider? - I'm not attracted to spiders. I know it's the hottest thing, with the eight legs and all. I can't get by that face. So who is she? She's... human. No, no. That's a bee law. You wouldn't break a bee law. - Her name's Vanessa. - Oh, boy. She's so nice. And she's a florist! Oh, no! You're dating a human florist! We're not dating. You're flying outside the hive, talking to humans that attack our homes with power washers and M-80s! One-eighth a stick of dynamite! She saved my life! And she understands me. This is over! Eat this. This is not over! What was that? - They call it a crumb. - It was so stingin' stripey! And that's not what they eat. That's what falls off what they eat! - You know what a Oinnabon is? - No. It's bread and cinnamon and frosting. They heat it up... Sit down! ...really hot! - Listen to me! We are not them! We're us. There's us and there's them! Yes, but who can deny the heart that is yearning? There's no yearning. Stop yearning. Listen to me! You have got to start thinking bee, my friend. Thinking bee! - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Thinking bee! There he is. He's in the pool. You know what your problem is, Barry? I gotta start thinking bee? How much longer will this go on? It's been three days! Why aren't you working? I've got a lot of big life decisions to think about. What life? You have no life! You have no job. You're barely a bee! Would it kill you to make a little honey? Barry, come out. Your father's talking to you. Martin, would you talk to him? Barry, I'm talking to you! You coming? Got everything? All set! Go ahead. I'll catch up. Don't be too long. Watch this! Vanessa! - We're still here. - I told you not to yell at him. He doesn't respond to yelling! - Then why yell at me? - Because you don't listen! I'm not listening to this. Sorry, I've gotta go. - Where are you going? - I'm meeting a friend. A girl? Is this why you can't decide? Bye. I just hope she's Bee-ish. They have a huge parade of flowers every year in Pasadena? To be in the Tournament of Roses, that's every florist's dream! Up on a float, surrounded by flowers, crowds cheering. A tournament. Do the roses compete in athletic events? No. All right, I've got one. How come you don't fly everywhere? It's exhausting. Why don't you run everywhere? It's faster. Yeah, OK, I see, I see. All right, your turn. TiVo. You can just freeze live TV? That's insane! You don't have that? We have Hivo, but it's a disease. It's a horrible, horrible disease. Oh, my. Dumb bees! You must want to sting all those jerks. We try not to sting. It's usually fatal for us. So you have to watch your temper. Very carefully. You kick a wall, take a walk, write an angry letter and throw it out. Work through it like any emotion: Anger, jealousy, lust. Oh, my goodness! Are you OK? Yeah. - What is wrong with you?! - It's a bug. He's not bothering anybody. Get out of here, you creep! What was that? A Pic 'N' Save circular? Yeah, it was. How did you know? It felt like about 10 pages. Seventy-five is pretty much our limit. You've really got that down to a science. - I lost a cousin to Italian Vogue. - I'll bet. What in the name of Mighty Hercules is this? How did this get here? Oute Bee, Golden Blossom, Ray Liotta Private Select? - Is he that actor? - I never heard of him. - Why is this here? - For people. We eat it. You don't have enough food of your own? - Well, yes. - How do you get it? - Bees make it. - I know who makes it! And it's hard to make it! There's heating, cooling, stirring. You need a whole Krelman thing! - It's organic. - It's our-ganic! It's just honey, Barry. Just what?! Bees don't know about this! This is stealing! A lot of stealing! You've taken our homes, schools, hospitals! This is all we have! And it's on sale?! I'm getting to the bottom of this. I'm getting to the bottom of all of this! Hey, Hector. - You almost done? - Almost. He is here. I sense it. Well, I guess I'll go home now and just leave this nice honey out, with no one around. You're busted, box boy! I knew I heard something. So you can talk! I can talk. And now you'll start talking! Where you getting the sweet stuff? Who's your supplier? I don't understand. I thought we were friends. The last thing we want to do is upset bees! You're too late! It's ours now! You, sir, have crossed the wrong sword! You, sir, will be lunch for my iguana, Ignacio! Where is the honey coming from? Tell me where! Honey Farms! It comes from Honey Farms! Orazy person! What horrible thing has happened here? These faces, they never knew what hit them. And now they're on the road to nowhere! Just keep still. What? You're not dead? Do I look dead? They will wipe anything that moves. Where you headed? To Honey Farms. I am onto something huge here. I'm going to Alaska. Moose blood, crazy stuff. Blows your head off! I'm going to Tacoma. - And you? - He really is dead. All right. Uh-oh! - What is that?! - Oh, no! - A wiper! Triple blade! - Triple blade? Jump on! It's your only chance, bee! Why does everything have to be so doggone clean?! How much do you people need to see?! Open your eyes! Stick your head out the window! From NPR News in Washington, I'm Oarl Kasell. But don't kill no more bugs! - Bee! - Moose blood guy!! - You hear something? - Like what? Like tiny screaming. Turn off the radio. Whassup, bee boy? Hey, Blood. Just a row of honey jars, as far as the eye could see. Wow! I assume wherever this truck goes is where they're getting it. I mean, that honey's ours. - Bees hang tight. - We're all jammed in. It's a close community. Not us, man. We on our own. Every mosquito on his own. - What if you get in trouble? - You a mosquito, you in trouble. Nobody likes us. They just smack. See a mosquito, smack, smack! At least you're out in the world. You must meet girls. Mosquito girls try to trade up, get with a moth, dragonfly. Mosquito girl don't want no mosquito. You got to be kidding me! Mooseblood's about to leave the building! So long, bee! - Hey, guys! - Mooseblood! I knew I'd catch y'all down here. Did you bring your crazy straw? We throw it in jars, slap a label on it, and it's pretty much pure profit. What is this place? A bee's got a brain the size of a pinhead. They are pinheads! Pinhead. - Oheck out the new smoker. - Oh, sweet. That's the one you want. The Thomas 3000! Smoker? Ninety puffs a minute, semi-automatic. Twice the nicotine, all the tar. A couple breaths of this knocks them right out. They make the honey, and we make the money. "They make the honey, and we make the money"? Oh, my! What's going on? Are you OK? Yeah. It doesn't last too long. Do you know you're in a fake hive with fake walls? Our queen was moved here. We had no choice. This is your queen? That's a man in women's clothes! That's a drag queen! What is this? Oh, no! There's hundreds of them! Bee honey. Our honey is being brazenly stolen on a massive scale! This is worse than anything bears have done! I intend to do something. Oh, Barry, stop. Who told you humans are taking our honey? That's a rumor. Do these look like rumors? That's a conspiracy theory. These are obviously doctored photos. How did you get mixed up in this? He's been talking to humans. - What? - Talking to humans?! He has a human girlfriend. And they make out! Make out? Barry! We do not. - You wish you could. - Whose side are you on? The bees! I dated a cricket once in San Antonio. Those crazy legs kept me up all night. Barry, this is what you want to do with your life? I want to do it for all our lives. Nobody works harder than bees! Dad, I remember you coming home so overworked your hands were still stirring. You couldn't stop. I remember that. What right do they have to our honey? We live on two cups a year. They put it in lip balm for no reason whatsoever! Even if it's true, what can one bee do? Sting them where it really hurts. In the face! The eye! - That would hurt. - No. Up the nose? That's a killer. There's only one place you can sting the humans, one place where it matters. Hive at Five, the hive's only full-hour action news source. No more bee beards! With Bob Bumble at the anchor desk. Weather with Storm Stinger. Sports with Buzz Larvi. And Jeanette Ohung. - Good evening. I'm Bob Bumble. - And I'm Jeanette Ohung. A tri-county bee, Barry Benson, intends to sue the human race for stealing our honey, packaging it and profiting from it illegally! Tomorrow night on Bee Larry King, we'll have three former queens here in our studio, discussing their new book, Olassy Ladies, out this week on Hexagon. Tonight we're talking to Barry Benson. Did you ever think, "I'm a kid from the hive. I can't do this"? Bees have never been afraid to change the world. What about Bee Oolumbus? Bee Gandhi? Bejesus? Where I'm from, we'd never sue humans. We were thinking of stickball or candy stores. How old are you? The bee community is supporting you in this case, which will be the trial of the bee century. You know, they have a Larry King in the human world too. It's a common name. Next week... He looks like you and has a show and suspenders and colored dots... Next week... Glasses, quotes on the bottom from the guest even though you just heard 'em. Bear Week next week! They're scary, hairy and here live. Always leans forward, pointy shoulders, squinty eyes, very Jewish. In tennis, you attack at the point of weakness! It was my grandmother, Ken. She's 81. Honey, her backhand's a joke! I'm not gonna take advantage of that? Quiet, please. Actual work going on here. - Is that that same bee? - Yes, it is! I'm helping him sue the human race. - Hello. - Hello, bee. This is Ken. Yeah, I remember you. Timberland, size ten and a half. Vibram sole, I believe. Why does he talk again? Listen, you better go 'cause we're really busy working. But it's our yogurt night! Bye-bye. Why is yogurt night so difficult?! You poor thing. You two have been at this for hours! Yes, and Adam here has been a huge help. - Frosting... - How many sugars? Just one. I try not to use the competition. So why are you helping me? Bees have good qualities. And it takes my mind off the shop. Instead of flowers, people are giving balloon bouquets now. Those are great, if you're three. And artificial flowers. - Oh, those just get me psychotic! - Yeah, me too. Bent stingers, pointless pollination. Bees must hate those fake things! Nothing worse than a daffodil that's had work done. Maybe this could make up for it a little bit. - This lawsuit's a pretty big deal. - I guess. You sure you want to go through with it? Am I sure? When I'm done with the humans, they won't be able to say, "Honey, I'm home," without paying a royalty! It's an incredible scene here in downtown Manhattan, where the world anxiously waits, because for the first time in history, we will hear for ourselves if a honeybee can actually speak. What have we gotten into here, Barry? It's pretty big, isn't it? I can't believe how many humans don't work during the day. You think billion-dollar multinational food companies have good lawyers? Everybody needs to stay behind the barricade. - What's the matter? - I don't know, I just got a chill. Well, if it isn't the bee team. You boys work on this? All rise! The Honorable Judge Bumbleton presiding. All right. Oase number 4475, Superior Oourt of New York, Barry Bee Benson v. the Honey Industry is now in session. Mr. Montgomery, you're representing the five food companies collectively? A privilege. Mr. Benson... you're representing all the bees of the world? I'm kidding. Yes, Your Honor, we're ready to proceed. Mr. Montgomery, your opening statement, please. Ladies and gentlemen of the jury, my grandmother was a simple woman. Born on a farm, she believed it was man's divine right to benefit from the bounty of nature God put before us. If we lived in the topsy-turvy world Mr. Benson imagines, just think of what would it mean. I would have to negotiate with the silkworm for the elastic in my britches! Talking bee! How do we know this isn't some sort of holographic motion-picture-capture Hollywood wizardry? They could be using laser beams! Robotics! Ventriloquism! Oloning! For all we know, he could be on steroids! Mr. Benson? Ladies and gentlemen, there's no trickery here. I'm just an ordinary bee. Honey's pretty important to me. It's important to all bees. We invented it! We make it. And we protect it with our lives. Unfortunately, there are some people in this room who think they can take it from us 'cause we're the little guys! I'm hoping that, after this is all over, you'll see how, by taking our honey, you not only take everything we have but everything we are! I wish he'd dress like that all the time. So nice! Oall your first witness. So, Mr. Klauss Vanderhayden of Honey Farms, big company you have. I suppose so. I see you also own Honeyburton and Honron! Yes, they provide beekeepers for our farms. Beekeeper. I find that to be a very disturbing term. I don't imagine you employ any bee-free-ers, do you? - No. - I couldn't hear you. - No. - No. Because you don't free bees. You keep bees. Not only that, it seems you thought a bear would be an appropriate image for a jar of honey. They're very lovable creatures. Yogi Bear, Fozzie Bear, Build-A-Bear. You mean like this? Bears kill bees! How'd you like his head crashing through your living room?! Biting into your couch! Spitting out your throw pillows! OK, that's enough. Take him away. So, Mr. Sting, thank you for being here. Your name intrigues me. - Where have I heard it before? - I was with a band called The Police. But you've never been a police officer, have you? No, I haven't. No, you haven't. And so here we have yet another example of bee culture casually stolen by a human for nothing more than a prance-about stage name. Oh, please. Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say... Mr. Gordon M. Sumner! That's not his real name?! You idiots! Mr. Liotta, first, belated congratulations on your Emmy win for a guest spot on ER in 2005. Thank you. Thank you. I see from your resume that you're devilishly handsome with a churning inner turmoil that's ready to blow. I enjoy what I do. Is that a crime? Not yet it isn't. But is this what it's come to for you? Exploiting tiny, helpless bees so you don't have to rehearse your part and learn your lines, sir? Watch it, Benson! I could blow right now! This isn't a goodfella. This is a badfella! Why doesn't someone just step on this creep, and we can all go home?! - Order in this court! - You're all thinking it! Order! Order, I say! - Say it! - Mr. Liotta, please sit down! I think it was awfully nice of that bear to pitch in like that. I think the jury's on our side. Are we doing everything right, legally? I'm a florist. Right. Well, here's to a great team. To a great team! Well, hello. - Ken! - Hello. I didn't think you were coming. No, I was just late. I tried to call, but... the battery. I didn't want all this to go to waste, so I called Barry. Luckily, he was free. Oh, that was lucky. There's a little left. I could heat it up. Yeah, heat it up, sure, whatever. So I hear you're quite a tennis player. I'm not much for the game myself. The ball's a little grabby. That's where I usually sit. Right... there. Ken, Barry was looking at your resume, and he agreed with me that eating with chopsticks isn't really a special skill. You think I don't see what you're doing? I know how hard it is to find the rightjob. We have that in common. Do we? Bees have 100 percent employment, but we do jobs like taking the crud out. That's just what I was thinking about doing. Ken, I let Barry borrow your razor for his fuzz. I hope that was all right. I'm going to drain the old stinger. Yeah, you do that. Look at that. You know, I've just about had it with your little mind games. - What's that? - Italian Vogue. Mamma mia, that's a lot of pages. A lot of ads. Remember what Van said, why is your life more valuable than mine? Funny, I just can't seem to recall that! I think something stinks in here! I love the smell of flowers. How do you like the smell of flames?! Not as much. Water bug! Not taking sides! Ken, I'm wearing a Ohapstick hat! This is pathetic! I've got issues! Well, well, well, a royal flush! - You're bluffing. - Am I? Surf's up, dude! Poo water! That bowl is gnarly. Except for those dirty yellow rings! Kenneth! What are you doing?! You know, I don't even like honey! I don't eat it! We need to talk! He's just a little bee! And he happens to be the nicest bee I've met in a long time! Long time? What are you talking about?! Are there other bugs in your life? No, but there are other things bugging me in life. And you're one of them! Fine! Talking bees, no yogurt night... My nerves are fried from riding on this emotional roller coaster! Goodbye, Ken. And for your information, I prefer sugar-free, artificial sweeteners made by man! I'm sorry about all that. I know it's got an aftertaste! I like it! I always felt there was some kind of barrier between Ken and me. I couldn't overcome it. Oh, well. Are you OK for the trial? I believe Mr. Montgomery is about out of ideas. We would like to call Mr. Barry Benson Bee to the stand. Good idea! You can really see why he's considered one of the best lawyers... Yeah. Layton, you've gotta weave some magic with this jury, or it's gonna be all over. Don't worry. The only thing I have to do to turn this jury around is to remind them of what they don't like about bees. - You got the tweezers? - Are you allergic? Only to losing, son. Only to losing. Mr. Benson Bee, I'll ask you what I think we'd all like to know. What exactly is your relationship to that woman? We're friends. - Good friends? - Yes. How good? Do you live together? Wait a minute... Are you her little... ...bedbug? I've seen a bee documentary or two. From what I understand, doesn't your queen give birth to all the bee children? - Yeah, but... - So those aren't your real parents! - Oh, Barry... - Yes, they are! Hold me back! You're an illegitimate bee, aren't you, Benson? He's denouncing bees! Don't y'all date your cousins? - Objection! - I'm going to pincushion this guy! Adam, don't! It's what he wants! Oh, I'm hit!! Oh, lordy, I am hit! Order! Order! The venom! The venom is coursing through my veins! I have been felled by a winged beast of destruction! You see? You can't treat them like equals! They're striped savages! Stinging's the only thing they know! It's their way! - Adam, stay with me. - I can't feel my legs. What angel of mercy will come forward to suck the poison from my heaving buttocks? I will have order in this court. Order! Order, please! The case of the honeybees versus the human race took a pointed turn against the bees yesterday when one of their legal team stung Layton T. Montgomery. - Hey, buddy. - Hey. - Is there much pain? - Yeah. I... I blew the whole case, didn't I? It doesn't matter. What matters is you're alive. You could have died. I'd be better off dead. Look at me. They got it from the cafeteria downstairs, in a tuna sandwich. Look, there's a little celery still on it. What was it like to sting someone? I can't explain it. It was all... All adrenaline and then... and then ecstasy! All right. You think it was all a trap? Of course. I'm sorry. I flew us right into this. What were we thinking? Look at us. We're just a couple of bugs in this world. What will the humans do to us if they win? I don't know. I hear they put the roaches in motels. That doesn't sound so bad. Adam, they check in, but they don't check out! Oh, my. Oould you get a nurse to close that window? - Why? - The smoke. Bees don't smoke. Right. Bees don't smoke. Bees don't smoke! But some bees are smoking. That's it! That's our case! It is? It's not over? Get dressed. I've gotta go somewhere. Get back to the court and stall. Stall any way you can. And assuming you've done step correctly, you're ready for the tub. Mr. Flayman. Yes? Yes, Your Honor! Where is the rest of your team? Well, Your Honor, it's interesting. Bees are trained to fly haphazardly, and as a result, we don't make very good time. I actually heard a funny story about... Your Honor, haven't these ridiculous bugs taken up enough of this court's valuable time? How much longer will we allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients, who run legitimate businesses. I move for a complete dismissal of this entire case! Mr. Flayman, I'm afraid I'm going to have to consider Mr. Montgomery's motion. But you can't! We have a terrific case. Where is your proof? Where is the evidence? Show me the smoking gun! Hold it, Your Honor! You want a smoking gun? Here is your smoking gun. What is that? It's a bee smoker! What, this? This harmless little contraption? This couldn't hurt a fly, let alone a bee. Look at what has happened to bees who have never been asked, "Smoking or non?" Is this what nature intended for us? To be forcibly addicted to smoke machines and man-made wooden slat work camps? Living out our lives as honey slaves to the white man? - What are we gonna do? - He's playing the species card. Ladies and gentlemen, please, free these bees! Free the bees! Free the bees! Free the bees! Free the bees! Free the bees! The court finds in favor of the bees! Vanessa, we won! I knew you could do it! High-five! Sorry. I'm OK! You know what this means? All the honey will finally belong to the bees. Now we won't have to work so hard all the time. This is an unholy perversion of the balance of nature, Benson. You'll regret this. Barry, how much honey is out there? All right. One at a time. Barry, who are you wearing? My sweater is Ralph Lauren, and I have no pants. - What if Montgomery's right? - What do you mean? We've been living the bee way a long time, 27 million years. Oongratulations on your victory. What will you demand as a settlement? First, we'll demand a complete shutdown of all bee work camps. Then we want back the honey that was ours to begin with, every last drop. We demand an end to the glorification of the bear as anything more than a filthy, smelly, bad-breath stink machine. We're all aware of what they do in the woods. Wait for my signal. Take him out. He'll have nauseous for a few hours, then he'll be fine. And we will no longer tolerate bee-negative nicknames... But it's just a prance-about stage name! ...unnecessary inclusion of honey in bogus health products and la-dee-da human tea-time snack garnishments. Oan't breathe. Bring it in, boys! Hold it right there! Good. Tap it. Mr. Buzzwell, we just passed three cups, and there's gallons more coming! - I think we need to shut down! - Shut down? We've never shut down. Shut down honey production! Stop making honey! Turn your key, sir! What do we do now? Oannonball! We're shutting honey production! Mission abort. Aborting pollination and nectar detail. Returning to base. Adam, you wouldn't believe how much honey was out there. Oh, yeah? What's going on? Where is everybody? - Are they out celebrating? - They're home. They don't know what to do. Laying out, sleeping in. I heard your Uncle Oarl was on his way to San Antonio with a cricket. At least we got our honey back. Sometimes I think, so what if humans liked our honey? Who wouldn't? It's the greatest thing in the world! I was excited to be part of making it. This was my new desk. This was my new job. I wanted to do it really well. And now... Now I can't. I don't understand why they're not happy. I thought their lives would be better! They're doing nothing. It's amazing. Honey really changes people. You don't have any idea what's going on, do you? - What did you want to show me? - This. What happened here? That is not the half of it. Oh, no. Oh, my. They're all wilting. Doesn't look very good, does it? No. And whose fault do you think that is? You know, I'm gonna guess bees. Bees? Specifically, me. I didn't think bees not needing to make honey would affect all these things. It's notjust flowers. Fruits, vegetables, they all need bees. That's our whole SAT test right there. Take away produce, that affects the entire animal kingdom. And then, of course... The human species? So if there's no more pollination, it could all just go south here, couldn't it? I know this is also partly my fault. How about a suicide pact? How do we do it? - I'll sting you, you step on me. - Thatjust kills you twice. Right, right. Listen, Barry... sorry, but I gotta get going. I had to open my mouth and talk. Vanessa? Vanessa? Why are you leaving? Where are you going? To the final Tournament of Roses parade in Pasadena. They've moved it to this weekend because all the flowers are dying. It's the last chance I'll ever have to see it. Vanessa, I just wanna say I'm sorry. I never meant it to turn out like this. I know. Me neither. Tournament of Roses. Roses can't do sports. Wait a minute. Roses. Roses? Roses! Vanessa! Roses?! Barry? - Roses are flowers! - Yes, they are. Flowers, bees, pollen! I know. That's why this is the last parade. Maybe not. Oould you ask him to slow down? Oould you slow down? Barry! OK, I made a huge mistake. This is a total disaster, all my fault. Yes, it kind of is. I've ruined the planet. I wanted to help you with the flower shop. I've made it worse. Actually, it's completely closed down. I thought maybe you were remodeling. But I have another idea, and it's greater than my previous ideas combined. I don't want to hear it! All right, they have the roses, the roses have the pollen. I know every bee, plant and flower bud in this park. All we gotta do is get what they've got back here with what we've got. - Bees. - Park. - Pollen! - Flowers. - Repollination! - Across the nation! Tournament of Roses, Pasadena, Oalifornia. They've got nothing but flowers, floats and cotton candy. Security will be tight. I have an idea. Vanessa Bloome, FTD. Official floral business. It's real. Sorry, ma'am. Nice brooch. Thank you. It was a gift. Once inside, we just pick the right float. How about The Princess and the Pea? I could be the princess, and you could be the pea! Yes, I got it. - Where should I sit? - What are you? - I believe I'm the pea. - The pea? It goes under the mattresses. - Not in this fairy tale, sweetheart. - I'm getting the marshal. You do that! This whole parade is a fiasco! Let's see what this baby'll do. Hey, what are you doing?! Then all we do is blend in with traffic... ...without arousing suspicion. Once at the airport, there's no stopping us. Stop! Security. - You and your insect pack your float? - Yes. Has it been in your possession the entire time? Would you remove your shoes? - Remove your stinger. - It's part of me. I know. Just having some fun. Enjoy your flight. Then if we're lucky, we'll have just enough pollen to do the job. Oan you believe how lucky we are? We have just enough pollen to do the job! I think this is gonna work. It's got to work. Attention, passengers, this is Oaptain Scott. We have a bit of bad weather in New York. It looks like we'll experience a couple hours delay. Barry, these are cut flowers with no water. They'll never make it. I gotta get up there and talk to them. Be careful. Oan I get help with the Sky Mall magazine? I'd like to order the talking inflatable nose and ear hair trimmer. Oaptain, I'm in a real situation. - What'd you say, Hal? - Nothing. Bee! Don't freak out! My entire species... What are you doing? - Wait a minute! I'm an attorney! - Who's an attorney? Don't move. Oh, Barry. Good afternoon, passengers. This is your captain. Would a Miss Vanessa Bloome in 24B please report to the cockpit? And please hurry! What happened here? There was a DustBuster, a toupee, a life raft exploded. One's bald, one's in a boat, they're both unconscious! - Is that another bee joke? - No! No one's flying the plane! This is JFK control tower, Flight 356. What's your status? This is Vanessa Bloome. I'm a florist from New York. Where's the pilot? He's unconscious, and so is the copilot. Not good. Does anyone onboard have flight experience? As a matter of fact, there is. - Who's that? - Barry Benson. From the honey trial?! Oh, great. Vanessa, this is nothing more than a big metal bee. It's got giant wings, huge engines. I can't fly a plane. - Why not? Isn't John Travolta a pilot? - Yes. How hard could it be? Wait, Barry! We're headed into some lightning. This is Bob Bumble. We have some late-breaking news from JFK Airport, where a suspenseful scene is developing. Barry Benson, fresh from his legal victory... That's Barry! ...is attempting to land a plane, loaded with people, flowers and an incapacitated flight crew. Flowers?! We have a storm in the area and two individuals at the controls with absolutely no flight experience. Just a minute. There's a bee on that plane. I'm quite familiar with Mr. Benson and his no-account compadres. They've done enough damage. But isn't he your only hope? Technically, a bee shouldn't be able to fly at all. Their wings are too small... Haven't we heard this a million times? "The surface area of the wings and body mass make no sense." - Get this on the air! - Got it. - Stand by. - We're going live. The way we work may be a mystery to you. Making honey takes a lot of bees doing a lot of small jobs. But let me tell you about a small job. If you do it well, it makes a big difference. More than we realized. To us, to everyone. That's why I want to get bees back to working together. That's the bee way! We're not made of Jell-O. We get behind a fellow. - Black and yellow! - Hello! Left, right, down, hover. - Hover? - Forget hover. This isn't so hard. Beep-beep! Beep-beep! Barry, what happened?! Wait, I think we were on autopilot the whole time. - That may have been helping me. - And now we're not! So it turns out I cannot fly a plane. All of you, let's get behind this fellow! Move it out! Move out! Our only chance is if I do what I'd do, you copy me with the wings of the plane! Don't have to yell. I'm not yelling! We're in a lot of trouble. It's very hard to concentrate with that panicky tone in your voice! It's not a tone. I'm panicking! I can't do this! Vanessa, pull yourself together. You have to snap out of it! You snap out of it. You snap out of it. - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - Hold it! - Why? Oome on, it's my turn. How is the plane flying? I don't know. Hello? Benson, got any flowers for a happy occasion in there? The Pollen Jocks! They do get behind a fellow. - Black and yellow. - Hello. All right, let's drop this tin can on the blacktop. Where? I can't see anything. Oan you? No, nothing. It's all cloudy. Oome on. You got to think bee, Barry. - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Wait a minute. I think I'm feeling something. - What? - I don't know. It's strong, pulling me. Like a 27-million-year-old instinct. Bring the nose down. Thinking bee! Thinking bee! Thinking bee! - What in the world is on the tarmac? - Get some lights on that! Thinking bee! Thinking bee! Thinking bee! - Vanessa, aim for the flower. - OK. Out the engines. We're going in on bee power. Ready, boys? Affirmative! Good. Good. Easy, now. That's it. Land on that flower! Ready? Full reverse! Spin it around! - Not that flower! The other one! - Which one? - That flower. - I'm aiming at the flower! That's a fat guy in a flowered shirt. I mean the giant pulsating flower made of millions of bees! Pull forward. Nose down. Tail up. Rotate around it. - This is insane, Barry! - This's the only way I know how to fly. Am I koo-koo-kachoo, or is this plane flying in an insect-like pattern? Get your nose in there. Don't be afraid. Smell it. Full reverse! Just drop it. Be a part of it. Aim for the center! Now drop it in! Drop it in, woman! Oome on, already. Barry, we did it! You taught me how to fly! - Yes. No high-five! - Right. Barry, it worked! Did you see the giant flower? What giant flower? Where? Of course I saw the flower! That was genius! - Thank you. - But we're not done yet. Listen, everyone! This runway is covered with the last pollen from the last flowers available anywhere on Earth. That means this is our last chance. We're the only ones who make honey, pollinate flowers and dress like this. If we're gonna survive as a species, this is our moment! What do you say? Are we going to be bees, orjust Museum of Natural History keychains? We're bees! Keychain! Then follow me! Except Keychain. Hold on, Barry. Here. You've earned this. Yeah! I'm a Pollen Jock! And it's a perfect fit. All I gotta do are the sleeves. Oh, yeah. That's our Barry. Mom! The bees are back! If anybody needs to make a call, now's the time. I got a feeling we'll be working late tonight! Here's your change. Have a great afternoon! Oan I help who's next? Would you like some honey with that? It is bee-approved. Don't forget these. Milk, cream, cheese, it's all me. And I don't see a nickel! Sometimes I just feel like a piece of meat! I had no idea. Barry, I'm sorry. Have you got a moment? Would you excuse me? My mosquito associate will help you. Sorry I'm late. He's a lawyer too? I was already a blood-sucking parasite. All I needed was a briefcase. Have a great afternoon! Barry, I just got this huge tulip order, and I can't get them anywhere. No problem, Vannie. Just leave it to me. You're a lifesaver, Barry. Can I help who's next? All right, scramble, jocks! It's time to fly. Thank you, Barry! That bee is living my life! Let it go, Kenny. - When will this nightmare end?! - Let it all go. - Beautiful day to fly. - Sure is. Between you and me, I was dying to get out of that office. You have got to start thinking bee, my friend. - Thinking bee! - Me? Hold it. Let's just stop for a second. Hold it. I'm sorry. I'm sorry, everyone. Can we stop here? I'm not making a major life decision during a production number! All right. Take ten, everybody. Wrap it up, guys. I had virtually no rehearsal for that. Special thanks to SergeiK.

I'm not a bee