of his death, he composed his last work, "Der Hirt Auf Den Felsen", making neurosyphilis unlikely. Finally, meningo-vascular syphilis is unlikely because it presents as progressive stroke-like picture, and Schubert had no neurological manifestation until his final delirium, which started only two days before his death. This, and the fact that his final illness was characterized by gastrointestinal symptoms (namely vomiting), led Robert L. Rold to argue that his final illness was a gastrointestinal one, like salmonella or indeed typhus. Eva M. Cybulska goes further and says that Schubert's syphilis is a conjecture. His multi-system signs and symptoms, she says, could point at a number of different illness such as leukaemia, anaemia, or Hashimoto's thyroiditis, and that many tell-tale signs of syphilis — chancre, mucous plaques, rash on the thorax, pupil abnormality, dysgraphia — were absent. She argues that the syphilis diagnosis originated with Schubert's biographer Otto Deutsch in 1907, based on the aforementioned indirect references by his friends, and uncritically repeated ever since. It was near the grave of Beethoven, whom he had admired all his life, that Schubert was buried at his own request, in the village cemetery of Währing on the edge of the Vienna Woods. A year earlier he had served as a torchbearer at Beethoven's funeral. In 1872, a memorial to Franz Schubert was erected in Vienna's Stadtpark. In 1888, both Schubert's and Beethoven's graves were moved to the Zentralfriedhof where they can now be found next to those of Johann Strauss II and Johannes Brahms. Anton Bruckner was present at both exhumations, and he reached into both coffins and held the revered skulls in his hands. The cemetery in Währing was converted into a park in 1925, called the Schubert Park, and his former grave site was marked by a bust. His epitaph, written by his friend, the poet Franz Grillparzer, reads: Die Tonkunst begrub hier einen reichen Besitz, aber noch viel schönere Hoffnungen ("The art of music has here interred a precious treasure, but yet far fairer hopes"). Music Schubert was remarkably prolific, writing over 1,500 works in his short career. His compositional style progressed rapidly throughout his short life. The largest number of his compositions are songs for solo voice and piano (roughly 630). Schubert also composed a considerable number of secular works for two or more voices, namely part songs, choruses and cantatas. He completed eight orchestral overtures and seven complete