The list of compositions of Ludwig van Beethoven consists of 722 works[1] written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only eleven years old and still in Bonn, until his last work just before his death in Vienna in 1827. Beethoven composed works in all the main genres of classical music, including symphonies, concertos, string quartets, piano sonatas and opera. His compositions range from solo works to those requiring a large orchestra and chorus.
Beethoven straddled both the Classical and Romantic periods, working in genres associated with Wolfgang Amadeus Mozart and his teacher Joseph Haydn, such as the piano concerto, string quartet and symphony, while on the other hand providing the groundwork for other Romantic composers, such as Hector Berlioz and Franz Liszt, with programmatic works such as his Pastoral Symphony and Piano Sonata "Les Adieux".[2] Beethoven's work is typically divided into three periods: the "Early" period, where he composed in the "Viennese" style; the "Middle" or "Heroic" period, where his work is characterised by struggle and heroism, such as in the Eroica Symphony, the Fifth Symphony, the Appassionata Sonata and in his sole opera Fidelio; and the "Late" period, marked by intense personal expression and an emotional and intellectual profundity. Although his output greatly diminished in his later years, this period saw the composition of masterpieces such as the late string quartets, the final five piano sonatas, the Diabelli Variations, the Missa Solemnis and the Ninth Symphony.[3]
Beethoven's works are classified by both genre and various numbering systems.[4] The best-known numbering system for Beethoven's works is that by opus number, assigned by Beethoven's publishers during his lifetime. Only 172 of Beethoven's works have opus numbers, divided among 138 opus numbers. Many works that were unpublished or published without opus numbers have been assigned one of "WoO" (Werke ohne Opuszahl—works without opus number), Hess or Biamonti numbers. For example, the short piano piece "Für Elise" is more fully known as the "Bagatelle in A minor, WoO 59 ('Für Elise')". Some works are also commonly referred to by their nicknames, such as the Kreutzer Violin Sonata, or the Archduke Piano Trio.
Works are also often identified by their number within their genre. For example, the 14th string quartet, published as Opus 131, may be referenced either as "String Quartet No. 14" or "the Opus 131 String Quartet". The listings below include all of these relevant identifiers. While other catalogues of Beethoven's works exist, the numbers here represent the most commonly used.
Beethoven's works are published in several editions, the first of these was Ludwig van Beethovens Werke: Vollständige kritisch durchgesehene überall berechtigte Ausgabe published between 1862 and 1865 with a supplemental volume in 1888 by Breitkopf & Härtel, commonly known as the "Beethoven Gesamtausgabe" ['''GA''']. While this was a landmark achievement at the time, the limitations of this edition soon became apparent. Between 1959 and 1971 Willy Hess prepared a supplemental edition, Beethoven: Sämtliche Werke: Supplemente zur Gesamtausgabe, ['''HS'''] containing works that were not in the Gesamtausgabe.
Since 1961 the Beethoven Archive has been publishing a new scholarly–critical Complete Edition of Beethoven's works, Beethoven: Werke: neue Ausgabe sämtlicher Werke[5] ['''NA''']. However, only 42 of the projected 56 volumes have been published so far.[6] As this edition has not been published in full there are works without an NA designation.
Legend for publications – p: parts s: full score vs: vocal score
Beethoven wrote nine symphonies, nine concertos, and a variety of other orchestral music, ranging from overtures and incidental music for theatrical productions to other miscellaneous "occasional" works, written for a particular occasion. Of the concertos, seven are widely known (one violin concerto, five piano concertos, and one triple concerto for violin, piano, and cello); the other two are an early piano concerto (WoO 4) and an arrangement of the Violin Concerto for piano and orchestra (Opus 61a).
No.[7] | Title, key | Composition; first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Op. 21 | Symphony No. 1 in C major | data-sort-value="1799" | 1799–2 April 1800 | data-sort-value="1801" | p: Leipzig 1801 | Baron Gottfried van Swieten | i/1 | i/1 | |
Op. 36 | Symphony No. 2 in D major | data-sort-value="1801" | 1801–5 April 1803 | data-sort-value="1804" | p: Vienna, 1804; for piano, violin, cello: Vienna, 1805 | Prince Karl von Lichnowsky | i/2 | i/1 | |
Op. 55 | Symphony No. 3 "Eroica" in E major | data-sort-value="1803" | 1803–7 April 1805[8] | data-sort-value="1806" | p: Vienna, 1806 | Prince Franz Joseph von Lobkowitz | i/3 | i/2 | |
Op. 60 | Symphony No. 4 in B major | data-sort-value="1806" | 1806–March 1807 | data-sort-value="1808" | p: Vienna, 1808 | i/4 | i/2 | ||
Op. 67 | Symphony No. 5 "Fate" in C minor | data-sort-value="1807" | 1807–[9] 22 December 1808 | data-sort-value="1809" | p: Leipzig, 1809 | Prince Lobkowitz and Count Andreas Razumovsky | i/5 | i/3 | |
Op. 68 | Symphony No. 6 "Pastoral" in F major | data-sort-value="1808" | 1808–22 December 1808 | data-sort-value="1809" | p: Leipzig, 1809 | Prince Lobkowitz and Count Razumovsky | i/6 | i/3 | |
Op. 92 | Symphony No. 7 in A major | data-sort-value="1811" | 1811–8 December 1813 | data-sort-value="1816" | s, p: Vienna, 1816 | Count Moritz von Fries | i/7 | ||
Op. 93 | Symphony No. 8 in F major | data-sort-value="1812" | 1812–27 February 1814 | data-sort-value="1817" | s, p: Vienna, 1817 | shortened version of end of 1st movt, HS iv | i/8 | ||
Op. 125 | Symphony No. 9 "Choral" in D minor | data-sort-value="1822" | 1822–7 May 1824 | data-sort-value="1826" | s, p: Mainz, 1826 | Frederick William III of Prussia | i/9 | i/5 |
Beethoven is believed to have intended to write a Tenth Symphony in the last year of his life; a performing version of possible sketches was assembled by Barry Cooper.[10]
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | ||
---|---|---|---|---|---|---|---|---|
WoO 4 | Piano Concerto No. 0 in E major | data-sort-value="1784" | 1784 | data-sort-value="1862" | s: GA | survives only in pf score (with orch cues in solo part) | xxv/310 | iii/5 |
WoO 5 | Violin Concerto in C major, (fragment) | data-sort-value="1790" | 1790–1792 | data-sort-value="1879" | Vienna, 1879 | part of 1st movt only; 1st edn ded. Gerhard von Breuning | HS iii | |
Oboe Concerto in F major, (lost) | data-sort-value="1792" | 1792–1793? | sent to Bonn from Vienna in late 1793; a few sketches survive | |||||
Op. 19 | Piano Concerto No. 2 in B major | data-sort-value="1794" | begun, rev. 1794–1829 | data-sort-value="1801" | p: Leipzig, 1801 | Carl Nicklas von Nickelsberg; score frag. rejected from early version, HS iii | ix/66 | iii/2 |
cadenza for first movement | data-sort-value="1809" | 1809 | data-sort-value="1862" | GA | ix/70a | vii/7 | ||
Op. 15 | Piano Concerto No. 1 in C major | data-sort-value="1795" | 18 December 1795 rev. 1800 | data-sort-value="1801" | p: Vienna, 1801 | Princess Barbara Odescalchi (née Countess von Keglevics) | ix/65 | iii/2 |
3 cadenzas for first movement | data-sort-value="1809" | 1809 | data-sort-value="1862" | GA | ix/70a | vii/7 | ||
Op. 37 | Piano Concerto No. 3 in C minor | data-sort-value="1800" | 1800–5 April 1803? | data-sort-value="1804" | p: Vienna, 1804 | Prince Louis Ferdinand of Prussia | ix/67 | iii/2 |
cadenza for first movement | data-sort-value="1809" | 1809 | data-sort-value="1862" | GA | ix/70a | vii/7 | ||
Op. 56 | Triple Concerto for Violin, Cello, and Piano in C major | data-sort-value="1804" | 1804–May 1808 | data-sort-value="1807" | p: Vienna, 1807 | Prince Lobkowitz | ix/70 | iii/1 |
Op. 58 | Piano Concerto No. 4 in G major | data-sort-value="1804" | 1804–22 December 1808 | data-sort-value="1808" | p: Vienna, 1808 | Archduke Rudolph of Austria | ix/68 | iii/3 |
2 cadenzas for first movement, cadenza for finale | data-sort-value="1809" | 1809? | data-sort-value="1862" | GA | ix/70a | vii/7 | ||
cadenza for first movement, 2 cadenzas for finale (Hess 81, 82, 83) | data-sort-value="1809" | 1809? | data-sort-value="1961" | NA | HSx | vii/7 | ||
Op. 61 | Violin Concerto in D major | data-sort-value="1806" | 23 December 1806 | data-sort-value="1808" | p: Vienna, 1808; London, 1810 | Stephan von Breuning | iv/29; HSx | iii/4 |
Op. 61a | Beethoven's arrangement of Opus 61 for Piano in D major | data-sort-value="1807" | 1807 | data-sort-value="1808" | p: Vienna, 1808; London, 1810 | Julie von Breuning | ix/73 (solo part) | iii/5 |
Cadenza for first movement, cadenza for finale | data-sort-value="1809" | 1809? | data-sort-value="1862" | GA | ix/70a | vii/7 | ||
2 cadenzas for finale (Hess 84–85) | data-sort-value="1809" | 1809? | data-sort-value="1961" | NA | HSx | vii/7 | ||
Op. 73 | Piano Concerto No. 5 "Emperor" in E major | data-sort-value="1809" | 1809–28 November 1811 | data-sort-value="1810" | p: London, 1810; Leipzig, 1811 | Archduke Rudolph | ix/69 | iii/3 |
Piano Concerto No. 6 in D major, (fragment) | data-sort-value="1814" | 1814–1815 | unfinished (performing version completed by Nicholas Cook) |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Romance Cantabile | data-sort-value="1786" | 1786? | data-sort-value="1952" | Wiesbaden, 1952 | intended as slow movement of larger work | HS iii | |||
WoO 6 | Rondo for Piano and Orchestra in B major | data-sort-value="1793" | 1793 | data-sort-value="1892" | p: Vienna, 1829 | orig. finale of op.19; solo part completed by Carl Czerny for 1st ed. | ix/72; HS iii | iii/5 | |
Op. 50 | Romance for Violin and Orchestra No. 2 in F major | data-sort-value="1798" | 1798–November 1798? | data-sort-value="1805" | p: Vienna, 1805 | iv/31 | iii/4 | ||
Op. 40 | Romance for Violin and Orchestra No. 1 in G major | data-sort-value="1801" | 1801–1802 | data-sort-value="1803" | p: Leipzig, 1803 | iv/30 | iii/4 | ||
Romance for Violin and Orchestra No. 3, (lost) | data-sort-value="1816" | 1816 | reported by W. Altmann in Preface to the Steiner edition of 1816 of the Violin Concerts | ||||||
Op. 80 | Choral Fantasy in C minor | data-sort-value="1808" | 22 December 1808, rev. 1809 | data-sort-value="1810" | p: London, 1810; Leipzig, 1811 | Maximilian Joseph, King of Bavaria | HS xix/71 | x/2 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 1 | "Ritterballet" in D major | data-sort-value="1790" | 1790–Bonn, 6 March 1791 | data-sort-value="1862" | pf: Leipzig and Winterthur, 1872; s: GA | xxv/286; HS viii | ii/2 | ||
Op. 43 | "The Creatures of Prometheus" | data-sort-value="1800" | 1800–Burgtheater, Vienna, 28 March 1801 | data-sort-value="1801" | for pf: Vienna, 1801; p: Leipzig, 1804 [ov. only]; s: GA | Princess Christiane von Lichnowsky | ii/11; HX viii | ii/2 | |
Op. 62 | "Coriolan" Overture in C minor | data-sort-value="1807" | March 1807 | data-sort-value="1808" | p: Vienna, 1808 | Heinrich Joseph von Collin | iii/18 | ii/1 | |
Op. 138 | "Leonore" Overture No. 1 in C major | data-sort-value="1807" | 1807–7 February 1828 | data-sort-value="1838" | s, p: Vienna, 1838 | iii/19 | ix/1 | ||
Op. 72a | "Leonore" Overture No. 2 in C major | data-sort-value="1804" | 1804–Theater an der Wien, Vienna, 20 November 1805 | data-sort-value="1957" | s: HS | HS ii. xi–xiii | ix/1 | ||
Op. 72b | "Leonore" Overture No. 3 in C major | data-sort-value="1805" | 1805–Theater an der Wien, 29 March 1806 | data-sort-value="1957" | s: HS | HS xi–xiii | ix/1 | ||
Op. 84 | "Egmont" in F minor | data-sort-value="1809" | 1809–15 June 1810 | data-sort-value="1810" | p: Leipzig, 1810 [ov.], Leipzig, 1812 [remainder]; vs: Leipzig, 1812 [without ov.]; s: Leipzig, 1831 | ii/12, iii/27; HS v (no.4) | ix/7 | ||
Op. 113 | "The Ruins of Athens" (Die Ruinen von Athen) in G major | data-sort-value="1811" | 1811–10 February 1812 | data-sort-value="1823" | s: Vienna, 1823 [ov. only], Vienna, 1846 [complete], | ded. (by publisher) König Friedrich Wilhelm IV of Prussia | xx/207, iii/28 | x/8 | |
Op. 117 | "King Stephen" (König Stephan) in Eb major | data-sort-value="1811" | 1811–10 February 1812 | data-sort-value="1826" | s: Vienna, 1826 [ov. only], GA [complete] | xx/207b, iii/23 | ix/8 | ||
WoO 2a | Triumphal March, for Tarpeja in C major | data-sort-value="1813" | 26 March 1813 | data-sort-value="1840" | p: Vienna, 1840; s: GA | ii/14 | ix/7 | ||
WoO 2b | Introduction to Act 2 of Leonore, 1805 version | data-sort-value="1805" | 1805, discarded | s: Mainz, 1938 | HS iv | ||||
Op. 91 | Wellington's Victory "Battle Symphony" | data-sort-value="1813" | 8 December 1813 | data-sort-value="1816" | s, p: Vienna, 1816; for pf: London and Vienna, 1816 | Prince Regent of England (later King George IV) | ii/10; HS viii (for pf) | ii/1 | |
Op. 115 | "Zur Namensfeier" (Feastday) in C major | data-sort-value="1814" | 1814–25 December 1815 | data-sort-value="1825" | s, p: Vienna, 1825 | Prince Antoni Radziwiłł | iii/22 | ii/1 | |
WoO 96 | Leonore Prohaska | data-sort-value="1815" | 1815 | data-sort-value="1862" | s: GA | xxv/272 | ix/7 | ||
Op. 114 | March and Chorus for "The Consecration of the House" | data-sort-value="1822" | 1822 | ||||||
Op. 124 | "The Consecration of the House" (Die Weihe des Hauses) in C | data-sort-value="1822" | Josefstadt-Theater, 3 October 1822 | data-sort-value="1825" | s: Mainz, 1825 | Prince Nikolay Golitsïn | iii/24 | ii/1 | |
Wo sich die Pulse, chorus for "The Consecration of the House" | data-sort-value="1822" | 1822 | data-sort-value="1862" | s:GA | xxv/266 | ix/8 | |||
WoO 3 | Gratulations-Minuet in E | data-sort-value="1822" | 3 November 1822 | data-sort-value="1832" | p: Vienna, 1832 | written for Carl Friedrich Hensler, ded. (by publisher) Karl Holz | ii/13 | ii/3 |
Beethoven wrote 16 string quartets and numerous other forms of chamber music, including piano trios, string trios, and sonatas for violin and cello with piano, as well as works with wind instruments.
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Op. 18/3 | String Quartet No. 3 in D major | data-sort-value="1798" | 1798–1799 | data-sort-value="1801" | Vienna, 1801 | Prince Lobkowitz | vi/39 | vi/3 | |
Op. 18/1 | String Quartet No. 1 in F major | data-sort-value="1799" | 1799 | data-sort-value="1801" | Vienna, 1801 | Prince Lobkowitz | vi/37 | vi/3 | |
Op. 18/2 | String Quartet No. 2 in G major | data-sort-value="1799" | 1799 | data-sort-value="1801" | Vienna, 1801 | Prince Lobkowitz | vi/38 | vi/3 | |
Op. 18/5 | String Quartet No. 5 in A major | data-sort-value="1799" | 1799 | data-sort-value="1801" | Vienna, 1801 | Prince Lobkowitz | vi/41 | vi/3 | |
Op. 18/4 | String Quartet No. 4 in C minor | data-sort-value="1799" | 1799 | data-sort-value="1801" | Vienna, 1801 | Prince Lobkowitz | vi/40 | vi/3 | |
Op. 18/6 | String Quartet No. 6 in B major | data-sort-value="1800" | 1800 | data-sort-value="1801" | Vienna, 1801 | Prince Lobkowitz | vi/42 | vi/3 | |
Op. 59/1 | String Quartet No. 7 "Razumovsky" in F major | data-sort-value="1806" | 1806 | data-sort-value="1808" | Vienna, 1808 | Count Razumovsky | vi/43 | vi/4 | |
Op. 59/2 | String Quartet No. 8 "Razumovsky" in E minor | data-sort-value="1806" | 1806 | data-sort-value="1808" | Vienna, 1808 | Count Razumovsky | vi/44 | vi/4 | |
String Quartet No. 9 "Razumovsky" C major | data-sort-value="1806" | 1806 | data-sort-value="1808" | Vienna, 1808 | Count Razumovsky | vi/45 | vi/4 | ||
Op. 74 | String Quartet No. 10 "Harp" in E major | data-sort-value="1809" | 1809 | data-sort-value="1810" | London and Leipzig, 1810 | Prince Lobkowitz | vi/46 | vi/4 | |
Op. 95 | String Quartet No. 11 "Serioso" (Serious) in F minor | data-sort-value="1810" | 1810–11 May 1814 | data-sort-value="1816" | Vienna, 1816 | Nikolaus Zmeskall von Domanovecz | vi/47 | vi/4 | |
Op. 127 | String Quartet No. 12 in E major | data-sort-value="1824" | 1824–6 March 1825 | data-sort-value="1826" | Mainz, 1826 | Prince Golitsïn | vi/48 | vi/5 | |
Op. 132 | String Quartet No. 15 in A minor | data-sort-value="1824" | 6 November 1825 | data-sort-value="1826" | Paris and Berlin, 1826 | Prince Golitsïn | vi/51 | vi/5 | |
Op. 130 | String Quartet No. 13 in B major | data-sort-value="1825" | 1825–22 April 1827 (with new finale) | data-sort-value="1827" | Vienna, 1827 | Prince Golitsïn[11] | vi/49 | vi/5 | |
Op. 133 | Große Fuge in B major | data-sort-value="1825" | 1825–21 March 1826 | data-sort-value="1827" | Vienna, 1827 | Archduke Rudolph
| vi/53 | vi/5 | |
Op. 131 | String Quartet No. 14 in C minor | data-sort-value="1825" | 1825–1826 | data-sort-value="1827" | Mainz, 1827 | Baron Joseph von Stutterheim | vi/50 | vi/5 | |
Op. 135 | String Quartet No. 16 in F major | data-sort-value="1825" | 1826–23 March 1828 | data-sort-value="1827" | Berlin and Paris, 1827 | Johann Wolfmayer | vi/52 | vi/5 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Minuet for String Quartet in A major | data-sort-value="1790" | 1790–1792 | data-sort-value="1957" | HS | HS vi | KB vi/4[12] | |||
Op. 3 | String Trio No. 1 in E major | data-sort-value="1793" | before 1794? | data-sort-value="1796" | Vienna, 1796 | vii/54 | vi/6 | ||
Op. 4 | String Quintet in E major | data-sort-value="1795" | 1795 | data-sort-value="1796" | Vienna, 1796 | thoroughly recomposed version of Octet Op. 103 | v/36 | vi/2 | |
WoO 32 | Duo for Viola and Cello, "mit zwei obligaten Augengläsern" ("with two obbligato eyeglasses") | data-sort-value="1796" | 1796–1797 | data-sort-value="1912" | 1st movt: Leipzig, 1912; minuet: Frankfurt, London and New York, 1952 | probably written for Zmeskall von Domanovecz | HS vi | vi/6 | |
Op. 8 | Serenade for string trio, (String Trio No. 2) in D major | data-sort-value="1796" | 1796–1797 | data-sort-value="1797" | Vienna, 1797 | vii/58 | vi/6 | ||
Op. 9/1 | String Trio No. 3 in G major | data-sort-value="1797" | 1797–1798 | data-sort-value="1798" | Vienna, 1798 | Count Johann Georg von Browne | vii/55 | vi/6 | |
Op. 9/2 | String Trio No. 4 in D major | data-sort-value="1797" | 1797–1798 | data-sort-value="1798" | Vienna, 1798 | Count Johann Georg von Browne | vii/56 | vi/6 | |
Op. 9/3 | String Trio No. 5 in C minor | data-sort-value="1797" | 1797–1798 | data-sort-value="1798" | Vienna, 1798 | Count Johann Georg von Browne | vii/57 | vi/6 | |
Op. 29 | String Quintet in C major "Storm"[13] | data-sort-value="1801" | 1801 | data-sort-value="1802" | Leipzig, 1802 | Count Fries | v/34 | vi/2 | |
Hess 34 | String Quartet in F major | data-sort-value="1801" | 1801–1802 | data-sort-value="1802" | Vienna, 1802 | Baroness Josefine von Braun; arrangement of Piano Sonata No. 9 | HS vi | vi/3 | |
Op. 104 | String Quintet in C minor | data-sort-value="1801" | 1817-10 December 1818 | data-sort-value="1819" | Vienna and London, 1819 | arr. of Piano Trio Op. 1/3; arr. corrected by Beethoven, but largely the work of Kaufmann | v/36a | vi/2 | |
Hess 40 | Prelude for string quintet in D minor | data-sort-value="1801" | 1817 | data-sort-value="1955" | SMz, xcv (1955) | HS vi | vi/2 | ||
Op. 137 | Fugue for String Quintet in D major | data-sort-value="1817-11" | November 1817 | data-sort-value="1827" | Vienna, 1827 | v/35 | vi/2 | ||
WoO 34 | Duet for two violins in A major | data-sort-value="1822-04" | April 29 1822 | data-sort-value="1901" | T. von Frimmel Ludwig van Beethoven (Berlin, 1901) | Alexandre Boucher | HS vi | ||
WoO 35 | Canon for two violins in A major | data-sort-value="1825-08" | August 1825 | data-sort-value="1867" | L. Nohl Neue Briefe Beethovens (Stuttgart, 1867) | Otto de Boer | HS vi | ||
Hess 41 | String Quintet in C major[14] | data-sort-value="1826" | 1826–1827 | data-sort-value="1838" | Vienna, 1838 | survives only in piano transcription, WoO 62, last published piece. | HS viii |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Hess 46 | Violin Sonata in A major, (fragments) | data-sort-value="1790" | c. 1790–1792 | data-sort-value="1957" | HS | authenticity no longer in doubt | HS ix | ||
Anh. 4 | Flute Sonata in B major | data-sort-value="1790" | c. 1790–1792? | data-sort-value="1906" | Leipzig, 1906 | Manuscript copy found among Beethoven's papers after his death, authenticity not certain | HS ix | ||
WoO 40 | Variations for violin and piano on Se vuol ballare from Mozart's The Marriage of Figaro in F major | data-sort-value="1792" | 1792–1793 | data-sort-value="1793" | Vienna, 1793 | Eleonore von Breuning | xii/103 | v/2 | |
WoO 41 | Rondo for Violin and Piano in G major | data-sort-value="1793" | 1793–1794 | data-sort-value="1808" | Bonn, 1808 | xii/102 | v/2 | ||
WoO 43a | Sonatina for mandolin and piano in C minor | data-sort-value="1796" | 1796 | data-sort-value="1871" | Grove1 ("Mandoline") | probably written for Countess Josephine de Clary | xxv/295 | v/4 | |
WoO 43b | Adagio for mandolin and piano in E major | data-sort-value="1801" | 1796 | data-sort-value="1862" | GA | probably for Countess de Clary | xxv/296 | v/4 | |
WoO 44a | Sonatina for mandolin and piano in C major | data-sort-value="1796" | 1796 | data-sort-value="1912" | Der Merker, iii (1912) | probably for Countess de Clary | HS ix | v/4 | |
WoO 44b | Andante and Variations for mandolin and piano in D major | data-sort-value="1796" | 1796 | data-sort-value="1940" | Sudetendeutsches Musikarchiv (1940), no.1 | probably for Countess de Clary | HS ix | v/4 | |
Op. 5/1 | Cello Sonata No. 1 in F major | data-sort-value="1796" | 1796 | data-sort-value="1797" | Vienna, 1797 | Friedrich Wilhelm II of Prussia | xiii/105 | v/3 | |
Op. 5/2 | Cello Sonata No. 2 in G minor | data-sort-value="1796" | 1796 | data-sort-value="1797" | Vienna, 1797 | Friedrich Wilhelm II of Prussia | xiii/106 | v/3 | |
WoO 45 | Variations for cello and piano on "See the counquering hero comes" from Handel's Judas Maccabaeus in G major | data-sort-value="1796" | 1796 | data-sort-value="1797" | Vienna, 1797 | Princess Christiane von Lichnowsky | xiii/110 | v/3 | |
Op. 66 | Variations for cello and piano on "Ein Mädchen oder Weibchen" from Mozart's The Magic Flute in F major | data-sort-value="1796" | 1796? | data-sort-value="1798" | Vienna, 1798 | xiii/111 | v/3 | ||
Op. 12/1 | Violin Sonata No. 1 in D major | data-sort-value="1798" | 1798 | data-sort-value="1799" | Vienna, 1799 | Antonio Salieri | xii/92 | v/1 | |
Op. 12/2 | Violin Sonata No. 2 in A major | data-sort-value="1798" | 1798 | data-sort-value="1799" | Vienna, 1799 | Antonio Salieri | xii/93 | v/1 | |
Op. 12/3 | Violin Sonata No. 3 in E major | data-sort-value="1798" | 1798 | data-sort-value="1799" | Vienna, 1799 | Antonio Salieri | xii/94 | v/1 | |
Op. 17 | Horn Sonata in F major | data-sort-value="1800" | 18 April 1800 | data-sort-value="1801" | Vienna, 1801 | Baroness Josefine von Braun | xiv/112 | v/4 | |
Op. 23 | Violin Sonata No. 4 in A minor | data-sort-value="1800" | 1800 | data-sort-value="1801" | Vienna, 1801 | Count Fries | xii/95 | v/1 | |
Op. 24 | Violin Sonata No. 5 in F major, "Spring" | data-sort-value="180" | 1800–1801 | data-sort-value="1801" | Vienna, 1801 | Count Fries | xii/96 | v/1 | |
WoO 46 | Variations for cello and piano on "Bei Männern, welche Liebe fühlen" from Mozart's The Magic Flute in E major | data-sort-value="1801" | 1801 | data-sort-value="1802" | Vienna, 1802 | Count von Browne | xiii/111a | v/3 | |
Op. 30/1 | Violin Sonata No. 6 in A major | data-sort-value="1801" | 1801–1802 | data-sort-value="1803" | Vienna, 1803 | Alexander I, Tsar of Russia | xii/97 | v/2 | |
Op. 30/2 | Violin Sonata No. 7 in C minor | data-sort-value="1801" | 1801–1802 | data-sort-value="1801" | Vienna, 1803 | Alexander I, Tsar of Russia | xii/98 | v/2 | |
Op. 30/3 | Violin Sonata No. 8 in G major | data-sort-value="1801" | 1801–1802 | data-sort-value="1803" | Vienna, 1803 | Alexander I, Tsar of Russia | xii/99 | v/2 | |
Op. 47 | Violin Sonata No. 9 in A major, "Kreutzer" | data-sort-value="1802" | 1802–24 May 1803 | data-sort-value="1805" | Bonn and London, 1805 | written for George P. Bridgetower, ded. Rodolphe Kreutzer | xii/100 | v/2 | |
Op. 41 | Serenade for flute (or violin) and piano in D major | data-sort-value="1803" | 1803 | data-sort-value="1803" | Leipzig, 1803 | arr. of Serenade op.25; arr. approved and corrected by Beethoven but largely the work of someone else | HS ix | ||
Op. 42 | Notturno for Viola and Piano in D major | data-sort-value="1803" | 1803 | data-sort-value="1804" | Leipzig, 1804 | arr. of Serenade op.8; arr. approved and corrected by Beethoven but largely the work of someone else | HS ix | ||
Op. 69 | Cello Sonata No. 3 in A major | data-sort-value="1807" | 1807 | data-sort-value="1809" | Leipzig, 1809 | Baron Ignaz von Gleichenstein | xiii/107 | v/3 | |
Op. 96 | Violin Sonata No. 10 in G major | data-sort-value="1812" | 29 December 1812 Vienna, probably rev. 1814–1815 | data-sort-value="1816" | Vienna and London, 1816 | written for Pierre Rode, ded. Archduke Rudolph | xii/101 | v/2 | |
Op. 102/1 | Cello Sonata No. 4 in C major | data-sort-value="1815" | 1815 | data-sort-value="1817" | Bonn, 1817 | Countess Marie Erdödy | xiii/108 | v/3 | |
Cello Sonata No. 5 in D major | data-sort-value="1815" | 1815 | data-sort-value="1817" | Bonn, 1817 | Countess Erdödy | xiii/109 | v/3 | ||
Op. 105 | Six National Airs with Variations for flute (or violin) and piano in G major | data-sort-value="1818" | 1818–1819 | data-sort-value="1819" | London, Edinburgh and Vienna, 1819 | xiv/113–114 | v/4 | ||
Op. 107 | Ten National Airs with Variations for Flute (or Violin) and Piano in A minor | data-sort-value="1818" | 1818–1819 | data-sort-value="1819" | London and Edinburgh, 1819 [nos. 2, 6, 7]; Bonn and Cologne, 1820 [complete] | xiv/115–119 | v/4 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 38 | Piano Trio in E major | data-sort-value="1791" | 1791? | data-sort-value="1830" | Frankfurt, 1830 | xi/86 | iv/3 | ||
Hess 48 | Allegretto in E major | data-sort-value="1791" | 1791? | data-sort-value="1830" | Frankfurt, 1830 | xi/86 | iv/3 | ||
Op. 1/1 | Piano Trio No. 1 in E major | data-sort-value="1793" | probably 1794-1795 | data-sort-value="1795" | Vienna, 1795 | Prince Lichnowsky | xi/79 | ||
Op. 1/2 | Piano Trio No. 2 in G major | data-sort-value="1794" | 1794–1795 | data-sort-value="1795" | Vienna, 1795 | Prince Lichnowsky | xi/80 | ||
Op. 1/3 | Piano Trio No. 3, C minor | data-sort-value="1794" | 1794–95 | data-sort-value="1795" | Vienna, 1795 | Prince Lichnowsky | xi/81 | ||
Op. 11 | Piano Trio No. 4 in B major (Gassenhauer) (additional version for clarinet, violoncello, and piano) | 1797 | Vienna, 1798 | Countess Maria Wilhelmine von Thun | xi/89 | ||||
Op. 44 | Variations on an original theme in E major | data-sort-value="1792" | 1792 | data-sort-value="1804" | Leipzig, 1804 | xi/88 | iv/3 | ||
Variations on Wenzel Müller's "Ich bin der Schneider Kakadu", "Kakadu Variations" in G major | data-sort-value="1803" | 1803? rev. 1816 | data-sort-value="1824" | Vienna and London, 1824 | xi/87 | iv/3 | |||
Op. 70/1 | Piano Trio No. 5 in D major "Ghost" | data-sort-value="1808" | 1808 | data-sort-value="1809" | Leipzig, 1809 | Countess Erdödy | xi/82 | ||
Op. 70/2 | Piano Trio No. 6 in E major | data-sort-value="1808" | 1808 | data-sort-value="1809" | Leipzig, 1809 | Countess Erdödy | xi/83 | ||
Op. 97 | Piano Trio No. 7 in Bb major, "Archduke" | data-sort-value="1810" | 1810–11 April 1814 | data-sort-value="1816" | Vienna and London, 1816 | Archduke Rudolph | xi/84 | ||
Op. 38 | Piano Trio in E major (additional version for clarinet, violoncello, and piano) | data-sort-value="1802" | 1802–1803 | data-sort-value="1805" | Vienna, 1805 | Professor Johann Adam Schmidt; arr. of Septet Op. 20 | xi/91 | iv/3 | |
WoO 39 | Allegretto for piano trio in B major | data-sort-value="1812-06" | June 1812 | data-sort-value="1830" | Frankfurt, 1830 | Maximiliane Brentano | xi/85 | iv/3 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Piano Quartet No. 1 in E major | data-sort-value="1785" | 1785 | data-sort-value="1828" | Vienna, 1828 | x/75 | iv/1 | |||
WoO 36/2 | Piano Quartet No. 2 in D major | data-sort-value="1785" | 1785 | data-sort-value="1828" | Vienna, 1828 | x/76 | iv/1 | ||
WoO 36/3 | Piano Quartet No. 3 in C major | data-sort-value="1785" | 1785 | data-sort-value="1828" | Vienna, 1828 | x/77 | iv/1 | ||
WoO 37 | Trio for piano, flute and bassoon in G major | data-sort-value="1786" | 1786 | data-sort-value="1862" | GA | xxv/294 | iv/3 | ||
Op. 16 | Quintet for piano and winds in E major | data-sort-value="1796" | 1796-6 April 1797 | data-sort-value="1801" | Vienna, 1801 | Prince Joseph zu Schwarzenberg | x/74 | iv/1 | |
Op. 16b | Piano Quartet in E major/minor | unknown | data-sort-value="1801" | Vienna, 1801 | arr. of Op. 16; authenticity affirmed in Wegeler and Ries (D1838) | x/78 | iv/1 | ||
Op. 11 | Trio for clarinet (or violin), cello and piano, ("Gassenhauer") (version with Violin instead of Clarinet is considered Piano Trio No. 4) in B major | data-sort-value="1797" | 1797 | data-sort-value="1798" | Vienna, 1798 | Countess Maria Wilhelmine von Thun | xi/89 | ||
Op. 38 | Trio for clarinet (or violin), cello and piano in E major | data-sort-value="1802" | 1802–1803 | data-sort-value="1805" | Vienna, 1805 | Professor Johann Adam Schmidt; arr. of Septet Op. 20 | xi/91 | iv/3 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 26 | Allegro and Minuet for two flutes in G major | data-sort-value="1792-09" | August 1792 | data-sort-value="1901" | A.W. Thayer Ludwig van Beethovens Leben, ed. H. Deiters, ii (Berlin, 1901) | J.M. Degenhart | HS vii | vi/1 | |
Op. 103 | Octet for oboes, clarinets, horns, and bassoons in E major | data-sort-value="1792-10" | before November 1792 | data-sort-value="1830" | Vienna, 1830 | viii/59 | vi/1 | ||
WoO 25 | Rondino for oboes, clarinets, horns and bassoons in E major | data-sort-value="1793" | 1793 | data-sort-value="1830" | Vienna, 1830 | intended as finale to Op. 103 | viii/60 | vi/1 | |
Quintet for oboe, 3 horns and bassoon in E major, (fragment) | data-sort-value="1793" | 1793? | data-sort-value="1954" | Mainz, 1954 | In 1862, Leopold Zellner completed a performing version from the fragments. In 1954, Willy Hess edited this and Schott published it. | HS vii | vi/1 | ||
Op. 87 | Trio for two oboes and English horn in C major | data-sort-value="1795" | 1794 | data-sort-value="1806" | Vienna, 1806 | viii/63 | vi/1 | ||
WoO 28 | Variations for two oboes and English horn on "Là ci darem la mano" from Mozart's opera Don Giovanni in C major | data-sort-value="1795" | 1795 | data-sort-value="1914" | Leipzig, 1914 | HS vii | vi/1 | ||
Op. 81b | Sextet for Horns and String Quartet in E major | data-sort-value="1795" | 1795 | data-sort-value="1810" | Bonn, 1810 | v/33 | vi/1 | ||
Op. 71 | Sextet for clarinets, horns and bassoons in E major | data-sort-value="1796" | 1796 | data-sort-value="1810" | Leipzig, 1810 | viii/61 | vi/1 | ||
Op. 20 | Septet in E major | data-sort-value="1799" | 2 April 1800 | data-sort-value="1802" | Leipzig, 1802 | Empress Maria Theresa | v/32 | vi/1 | |
Op. 25 | Serenade for flute, violin and viola in D major | data-sort-value="1801" | 1801 | data-sort-value="1802" | Vienna, 1802 | viii/62 | vi/1 | ||
WoO 30 | Three Equali for 4 trombones in D minor | data-sort-value="1812-11" | November 1812 | data-sort-value="1862" | GA | transcr. for 4 male voices by Ignaz von Seyfried perf. at Beethoven's funeral, pubd Vienna, 1827 | xxv/293 | vi/1 |
In addition to the 32 celebrated sonatas, Beethoven's work for solo piano includes many one-movement pieces, more than twenty sets of variations, most unpublished in his lifetime or published without opus number, and over thirty bagatelles, including the well-known "Für Elise".
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | class-"unsortable" | GA! | NA | ||
---|---|---|---|---|---|---|---|---|---|
WoO 47/1 | Three early Kurfürstensonatas, No. 1 in E major | data-sort-value="1783" | 1782-1783 | data-sort-value="1783" | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/156 | ||
WoO 47/2 | Three early Kurfürstensonatas, No. 2 in F minor | data-sort-value="1783" | 1782-1783 | data-sort-value="1783" | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/157 | ||
Three early Kurfürstensonatas, No. 3 in D major | data-sort-value="1783" | 1782-1783 | data-sort-value="1783" | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/158 | |||
WoO 50 | Piano Sonata in F major | data-sort-value="1790" | c. 1790–1792 | data-sort-value="1950" | Munich and Duisburg, 1950 | Franz Gerhard Wegeler
| HS ix | ||
Op. 2/1 | Piano Sonata No. 1 in F minor | data-sort-value="1793" | 1793–1795 | data-sort-value="1796" | Vienna, 1796 | Joseph Haydn | xvi/124 | vii/2 | |
Op. 2/2 | Piano Sonata No. 2 in A major | data-sort-value="1794" | 1794–1795 | data-sort-value="1795" | Vienna, 1796 | Joseph Haydn | xvi/125 | vii/2 | |
Op. 2/3 | Piano Sonata No. 3 in C major | data-sort-value="1794" | 1794–1795 | data-sort-value="1796" | Vienna, 1796 | Joseph Haydn | xvi/126 | vii/2 | |
Op. 49/1 | Piano Sonata No. 19 in G minor | data-sort-value="1797" | 1797 | data-sort-value="1805" | Vienna, 1805 | xvi/142 | vii/3 | ||
Op. 49/2 | Piano Sonata No. 20 in G major | data-sort-value="1795" | 1795–1796 | data-sort-value="1805" | Vienna, 1805 | xvi/143 | vii/3 | ||
Op. 7 | Piano Sonata No. 4 "Grand Sonata" in E major | data-sort-value="1797" | 1797–1798 | data-sort-value="1798" | Vienna, 1798 | Countess Barbara von Keglevics | xvi/127 | vii/2 | |
Op. 10/1 | Piano Sonata No. 5 in C minor "Little Pathétique" | data-sort-value="1795" | 1795–1797 | data-sort-value="1798" | Vienna, 1798 | Countess Anna Margaret von Browne | xvi/128 | vii/2 | |
Op. 10/2 | Piano Sonata No. 6 in F major | data-sort-value="1796" | 1796–1797 | data-sort-value="1798" | Vienna, 1798 | Countess von Browne | xvi/129 | vii/2 | |
Op. 10/3 | Piano Sonata No. 7 in D major | data-sort-value="1797" | 1797–1798 | data-sort-value="1798" | Vienna, 1798 | Countess von Browne | xvi/130 | vii/2 | |
WoO 51 | Piano Sonata in C major, (fragment) | data-sort-value="1797" | 1797–1798 | data-sort-value="1830" | Frankfurt, 1830 | Eleonore von Breuning; completed by Ferdinand Ries | xvi/159 | ||
Op. 13 | Piano Sonata No. 8 "Pathétique" in C minor | data-sort-value="1797" | 1797–1798 | data-sort-value="1799" | Vienna, 1799 | Prince Lichnowsky | xvi/131 | vii/2 | |
Op. 14/1 | Piano Sonata No. 9 in E major | data-sort-value="1798" | 1798 | data-sort-value="1799" | Vienna, 1799 | Baroness Josefine von Braun | xvi/132 | vii/2 | |
Op. 14/2 | Piano Sonata No. 10 in G major | data-sort-value="1799" | 1799 | data-sort-value="1799" | Vienna, 1799 | Baroness Josefine von Braun | xvi/133 | vii/2 | |
Op. 22 | Piano Sonata No. 11 in B major | data-sort-value="1800" | 1800 | data-sort-value="1802" | Leipzig, 1802 | Count von Braun | xvi/134 | vii/2 | |
Op. 26 | Piano Sonata No. 12 in A major | data-sort-value="1800" | 1800–1801 | data-sort-value="1802" | Vienna, 1802 | Prince Lichnowsky | xvi/135 | vii/2 | |
Op. 27/1 | Piano Sonata No. 13 "Quasi una fantasia" in E major | data-sort-value="1801" | 1801 | data-sort-value="1802" | Vienna, 1802 | Princess Josephine von Liechtenstein | xvi/136 | vii/3 | |
Op. 27/2 | Piano Sonata No. 14 "Moonlight" in C minor | data-sort-value="1801" | 1801 | data-sort-value="1802" | Vienna, 1802 | Countess Giulietta Guicciardi | xvi/137 | vii/3 | |
Op. 28 | Piano Sonata No. 15 "Pastoral" in D major | data-sort-value="1801" | 1801 | data-sort-value="1802" | Vienna, 1802 | Joseph von Sonnenfels | xvi/138 | vii/3 | |
Op. 31/1 | Piano Sonata No. 16 in G major | data-sort-value="1802" | 1802 | data-sort-value="1803" | Zürich, 1803 | xvi/139 | vii/3 | ||
Op. 31/2 | Piano Sonata No. 17 in D minor, "Tempest" | data-sort-value="1802" | 1802 | data-sort-value="1803" | Zürich, 1803 | xvi/140 | vii/3 | ||
Op. 31/3 | Piano Sonata No. 18 ("The Hunt"), E | data-sort-value="1802" | 1802 | data-sort-value="1804" | Zürich and London, 1804 | xvi/141 | vii/3 | ||
Op. 53 | Piano Sonata No. 21 ("Waldstein"), C | data-sort-value="1803" | 1803–04 | data-sort-value="1805" | Vienna, 1805 | Count Ferdinand von Waldstein | xvi/144 | vii/3 | |
Op. 54 | Piano Sonata No. 22, F | data-sort-value="1804" | 1804 | data-sort-value="1806" | Vienna, 1806 | xvi/145 | vii/3 | ||
Op. 57 | Piano Sonata No. 23 ("Appassionata"), F minor | data-sort-value="1804" | 1804–05 | data-sort-value="1807" | Vienna, 1807 | Count Franz von Brunsvik | xvi/146 | vii/3 | |
Op. 78 | Piano Sonata No. 24 ("À Thérèse"), F | data-sort-value="1809" | 1809 | data-sort-value="1810" | Leipzig and London, 1810 | Countess Therese von Brunsvik | xvi/147 | ||
Op. 79 | Piano Sonata No. 25, G | data-sort-value="1809" | 1809 | data-sort-value="1810" | Leipzig and London, 1810 | xvi/148 | |||
Op. 81a | Piano Sonata No. 26 ("Les Adieux"), E | data-sort-value="1809" | 1809–10 | data-sort-value="1811" | Leipzig and London, 1811 | Archduke Rudolph | xvi/149 | ||
Op. 90 | Piano Sonata No. 27, E minor | data-sort-value="1814" | 1814 | data-sort-value="1815" | Vienna, 1815 | Count Moritz Lichnowsky | xvi/150 | ||
Op. 101 | Piano Sonata No. 28, A | data-sort-value="1816" | 1816 | data-sort-value="1817" | Vienna, 1817 | Baroness Dorothea Ertmann | xvi/151 | ||
Op. 106 | Piano Sonata No. 29 ("Hammerklavier"), B | data-sort-value="1817" | 1817–18 | data-sort-value="1819" | Vienna and London, 1819 | Archduke Rudolph | xvi/152 | ||
Op. 109 | Piano Sonata No. 30, E | data-sort-value="1820" | 1820 | data-sort-value="1821" | Berlin, 1821 | Maximiliane Brentano | xvi/153 | ||
Op. 110 | Piano Sonata No. 31, A | data-sort-value="1821" | 1821–22 | data-sort-value="1822" | Paris, Berlin, Vienna, 1822; London 1823 | xvi/154 | |||
Op. 111 | Piano Sonata No. 32, C minor | data-sort-value="1821" | 1821–22 | data-sort-value="1823" | Paris, Berlin, Vienna and London, 1823 | Archduke Rudolph
| xvi/155 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 63 | Nine variations on a march by Ernst Christoph Dressler in C minor | data-sort-value="1782" | 1782 | data-sort-value="1782" | Mannheim, 1782–83 | Countess Felice von Wolf-Metternich; First published composition | xvii/166 | vii/5 | |
WoO 65 | Twenty-four variations on Vincenzo Righini's aria "Vieni amore", D | data-sort-value="1790" | c. 1790–91 | data-sort-value="1791" | Mainz, 1791; Vienna, 1802 | Countess Maria Anna Hortensia von Hatzfeld | xvii/178 | vii/5 | |
WoO 66 | Thirteen variations on the aria "Es war einmal ein alter Mann" from Carl Ditters von Dittersdorf's opera Das rote Käppchen, A | data-sort-value="1792" | 1792 | data-sort-value="1793" | Bonn, 1793 | xvii/175 | vii/5 | ||
WoO 64 | Six variations on a Swiss song for piano or harp, F | data-sort-value="1790" | c. 1790–92 | data-sort-value="1798" | Bonn, ?1798 | xvii/177 | vii/5 | ||
WoO 68 | Twelve variations on the "Menuet a la Viganò" from Jakob Haibel's ballet Le nozze disturbate, C | data-sort-value="1795" | 1795 | data-sort-value="1796" | Vienna, 1796 | xvii/169 | vii/5 | ||
WoO 69 | Nine variations on "Quant'è più bello" from Giovanni Paisiello's opera La Molinara, A | data-sort-value="1795" | 1795 | data-sort-value="1795" | Vienna, 1795 | Prince Lichnowsky | xvii/167 | vii/5 | |
WoO 70 | Six variations on "Nel cor più non mi sento" from Giovanni Paisiello's opera La Molinara, G | data-sort-value="1795" | 1795 | data-sort-value="1796" | Vienna, 1796 | xvii/168 | vii/5 | ||
WoO 72 | Eight variations on "Une fièvre brûlante" from André Grétry's opera Richard Cœur-de-Lion, C | data-sort-value="1795" | ?1795 | data-sort-value="1798" | Vienna, 1798 | xvii/171 | vii/5 | ||
WoO 71 | Twelve variations on the Russian dance from Paul Wranitzky's ballet Das Waldmädchen, A | data-sort-value="1796" | 1796–97 | data-sort-value="1797" | Vienna, 1797 | Countess von Browne | xvii/170 | vii/5 | |
WoO 73 | Ten variations on "La stessa, la stessissima" from Antonio Salieri's opera Falstaff, B | data-sort-value="1799" | 1799 | data-sort-value="1799" | Vienna, 1799 | Countess von Keglevics | xvii/172 | vii/5 | |
WoO 76 | Eight variations on "Tändeln und scherzen" from Franz Xaver Süssmayr's opera Soliman II, F | data-sort-value="1799" | 1799 | data-sort-value="1799" | Vienna, 1799 | Countess von Browne | xvii/174 | vii/5 | |
WoO 75 | Seven variations on "Kind, willst du ruhig schlafen" from Peter Winter's opera Das unterbrochene Opferfest, F | data-sort-value="1799" | 1799 | data-sort-value="1799" | Vienna, 1799 | xvii/173 | vii/5 | ||
Six easy variations on an original theme, G | data-sort-value="1800" | 1800 | data-sort-value="1800" | Vienna, 1800 | xvii/176 | vii/5 | |||
Op. 34 | Six variations on an original theme, F | data-sort-value="1802" | 1802 | data-sort-value="1803" | Leipzig, 1803 | Princess Odescalchi | xvii/162 | vii/5 | |
Op. 35 | Fifteen variations and a fugue on an original theme, ("Eroica Variations") E | data-sort-value="1802" | 1802 | data-sort-value="1803" | Leipzig, 1803 | Count Moritz Lichnowsky | xvii/163 | vii/5 | |
WoO 78 | Seven variations on "God Save the King", C | data-sort-value="1802" | 1802–03 | data-sort-value="1804" | Vienna, 1804 | xvii/179 | vii/5 | ||
WoO 79 | Five variations on "Rule, Britannia!", D | data-sort-value="1803" | 1803 | data-sort-value="1804" | Vienna, 1804 | xvii/180 | vii/5 | ||
WoO 80 | Thirty-two variations on an original theme, C minor | data-sort-value="1806" | 1806 | data-sort-value="1807" | Vienna, 1807 | xvii/181 | vii/5 | ||
Op. 76 | Six variations on an original theme (the Turkish March from The Ruins of Athens), D | data-sort-value="1809" | 1809 | data-sort-value="1810" | Leipzig and London, 1810 | Franz Oliva | xvii/164 | vii/5 | |
Op. 120 | Thirty-three variations on a waltz by Diabelli ("Diabelli Variations"), C | data-sort-value="1819" | 1819–23 | data-sort-value="1823" | Vienna, 1823 | Antonie Brentano | xvii/165 | vii/5 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 48 | Rondo, C | data-sort-value="1783" | 1783 | data-sort-value="1783" | H.P. Bossler: Blumenlese für Klavierliebhaber, ii (Speyer, 1783) | HS ix | |||
WoO 49 | Rondo, A | data-sort-value="1783" | ?1783 | data-sort-value="1784" | H.P. Bossler: Neue Blumenlese für Klavierliebhaber, ii (Speyer, 1784) | xviii/196 | |||
Op. 39 | Two preludes through all twelve major keys for piano or organ | data-sort-value="1789" | ?1789 | data-sort-value="1803" | Leipzig, 1803 | xviii/184 | |||
WoO 81 | Allemande, A | data-sort-value="1793" | c. 1793, rev. 1822 | data-sort-value="1862" | GA | xxv/307 | |||
Op. 129 | Rondo a capriccio ("Rage Over a Lost Penny"), G | data-sort-value="1795" | 1795 | data-sort-value="1828" | Vienna, 1828 | autograph completed by unknown ed. (probably Diabelli), 1828 | xviii/191 | ||
Hess 64 | Fugue, C | data-sort-value="1795" | 1795 | data-sort-value="1955" | MT, xcvi (1955) | HS ix | |||
WoO 52 | Presto (Bagatelle),[15] C minor | data-sort-value="1795" | c. 1795, rev. 1798 and 1822 | data-sort-value="1862" | GA | Originally intended for Sonata Op.10/1 | xxv/297/1 | ||
WoO 53 | Allegretto (Bagatelle), C minor | data-sort-value="1796" | 1796–97 | data-sort-value="1862" | GA | Originally intended for Sonata Op.10/1 | xxv/299 | ||
Hess 69 | Allegretto, C minor | data-sort-value="1795" | c. 1795–96, rev. 1822 | data-sort-value="1957" | HS | probably orig. intended for Sonata op.10/1 | HS ix | ||
Op. 51/1 | Rondos, C, | data-sort-value="1796" | c. 1796–97 | data-sort-value="1810" | London and Leipzig, 1810 | Prince Lobkowitz | vi/46 | ||
Op. 51/2 | Rondos, G | data-sort-value="1798" | c. 1798 | data-sort-value="1802" | Vienna, 1802 | Countess Henriette Lichnowsky | xviii/186 | ||
Op. 33 | Seven Bagatelles | data-sort-value="1801" | 1801–02 | data-sort-value="1803" | Vienna and London, 1803 | xviii/183 | |||
WoO 54 | Lustig-Traurig (Bagatelle), C | data-sort-value="1802" | ?1802 | data-sort-value="1862" | GA | xxv/300 | |||
WoO 55 | Prelude, F minor | data-sort-value="1803" | c. 1803 | data-sort-value="1805" | Vienna, 1805 | xviii/195 | |||
WoO 56 | Allegretto (Bagatelle), C | data-sort-value="1803" | 1803, rev. 1822 | data-sort-value="1862" | GA | Originally intended for sonata Op. 53 | xxv/297/2 | ||
WoO 57 | Andante ("Andante favori"), F | data-sort-value="1803" | 1803 | data-sort-value="1805" | Vienna, 1805 | Originally intended for sonata Op. 53 | xviii/192 | ||
WoO 82 | Minuet, E | data-sort-value="1803" | c. 1803 | data-sort-value="1805" | Vienna, 1805 | xviii/193 | |||
Op. 77 | Fantasia, G minor | data-sort-value="1809" | 1809 | data-sort-value="1810" | Leipzig and London, 1810 | Count Franz von Brunsvik | xviii/187 | ||
WoO 59 | Für Elise (Bagatelle), A minor | data-sort-value="1808" | 1808–10 | data-sort-value="1867" | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | xxv/298 | |||
Op. 89 | Polonaise, C | data-sort-value="1814" | 1814 | data-sort-value="1815" | Vienna, 1815 | Empress Elisabeth Alexeyerna of Russia | xviii/188 | ||
WoO 60 | Bagatelle, B | data-sort-value="1818" | 1818 | data-sort-value="1824" | Berliner allgemeine musikalische Zeitung, i (1824) | xxv/301 | |||
Hess 65 | "Concert Finale", C | data-sort-value="1820" | 1820–21 | data-sort-value="1821" | in F. Starke, ed.: Wiener Piano-Forte-Schule, iii (Vienna, 1821) | arr. of coda to finale of Piano Concerto No. 3 | HS ix | ||
WoO 61 | Allegretto, B minor | data-sort-value="1821" | 1821 | data-sort-value="1893" | Robitschek: Deutscher Kunst- und Musikzeitung (15 March 1893) | Ferdinand Piringer | HS ix | ||
Op. 119 | Eleven Bagatelles | data-sort-value="1820" | 1820–2[16] | data-sort-value="1821" | nos. 7–11 in F. Starke, ed.: Wiener Piano-Forte-Schule, iii (Vienna, 1821); all 11, London, 1823 | xviii/189 | |||
Op. 126 | Six Bagatelles | data-sort-value="1824" | 1824 | data-sort-value="1825" | Mainz, 1825 | xviii/190 | |||
WoO 84 | Waltz, E | data-sort-value="1824" | 1824 | data-sort-value="1824" | Vienna, 1824 | Friedrich Demmer (publisher's ded.) | xxv/303 | ||
Allegretto quasi andante, G minor | data-sort-value="1825" | 1825 | data-sort-value="1956" | NZM, cxvii (1956) | Sarah Burney Payne | HS ix | |||
WoO 85 | Waltz, D | data-sort-value="1825" | 1825 | data-sort-value="1825" | Vienna, 1825 | Duchess Sophie of Austria (publisher's ded.) | xxv/304 | ||
WoO 86 | Ecossaise, E | data-sort-value="1825" | 1825 | data-sort-value="1825" | Vienna, 1825 | Duchess Sophie of Austria (publisher's ded.) | xxv/305 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
Eight Variations on a Theme by Count Waldstein, C | data-sort-value="1792" | ?1792 | data-sort-value="1794" | Bonn, 1794 | xv/122 | vii/1 | |||
Op. 6 | Sonata for Piano, Four Hands, D | data-sort-value="1796" | 1796–97 | data-sort-value="1797" | Vienna, 1797 | xv/120 | vii/1 | ||
WoO 74 | Six Variations on Beethoven's "Ich denke dein", D | data-sort-value="1799" | 1799, 1803[17] | data-sort-value="1805" | Vienna, 1805 | Countess Therese von Brunsvik and Josephine Deym (née Brunsvik) | xv/123 | vii/1 | |
Op. 45 | Three marches | data-sort-value="1803" | 1803 | data-sort-value="1804" | Vienna, 1804 | Princess Maria Esterházy | xv/121 | vii/1 | |
Fugue for Piano, four hands, B | data-sort-value="1826" | 1826 | data-sort-value="1827" | Vienna, 1827 | Archduke Rudolph
| HS viii | vii/1 |
While he completed only one opera, Beethoven wrote vocal music throughout his life, including two Mass settings, other works for chorus and orchestra (in addition to the Ninth Symphony), arias, duets, art songs (lieder), and true song cycles.
No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 91 | Two arias for Umlauf's Singspiel Die schöne Schusterin | data-sort-value="1795" | ?1795–96 | data-sort-value="1862" | s:GA | xxv/270 | x/3 | ||
Vestas Feuer, fragment | data-sort-value="1803" | 1803 | data-sort-value="1953" | s: Wiesbaden, 1953 | HS xiii | ||||
Op. 72 | Fidelio | data-sort-value="1804" | 1st version (with op.72a: Leonore Overture no. 2), 1804–05; Theater an der Wien, Vienna, 20 November 1805 | data-sort-value="1905" | vs: Leipzig, 1905; s: HS[18] | HS ii. xi–xiii | |||
data-sort-value="1805" | 2nd version (with op.72b: Leonore Overture no.3), 1805–06; Theater an der Wien, 29 March 1806 | data-sort-value="1810" | vs: Leipzig, 1810; s: HS | HS xi–xiii | |||||
data-sort-value="1814" | final version (with op.72c: Fidelio Overture), 1814; Kärntnertor, Vienna, 23 May 1814 | data-sort-value="1814" | vs: Vienna, 1814; s: Paris, 1826, Bonn, 1847 | xx/206 | |||||
WoO 94 | Germania, finale of Die gute Nachricht (Singspiel, G.F. Treitschke) | data-sort-value="1814" | 1814; Kärntnertor, 11 April 1814 | data-sort-value="1814" | vs: Vienna, 1814; s: GA | xx/207d | ix/7 | ||
WoO 97 | Es ist vollbracht, finale of Die Ehrenpforten (Singspiel, Treitschke) | data-sort-value="1815" | 1815; Kärntnertor, 15 July 1815 | data-sort-value="1815" | vs: Vienna, 1815; s: GA | xx/207c | ix/7 |
No. | Title, key | Composition, first performance | Publication | Dedication, remarks | class=Wunsortable" | GA! | NA | ||
---|---|---|---|---|---|---|---|---|---|
WoO 87 | Cantata on the Death of Emperor Joseph II | data-sort-value="1790" | March 1790 | data-sort-value="1862" | GA | xxv/264 | x/1 | ||
WoO 88 | Cantata on the accession of Emperor Leopold II | data-sort-value="1790-09" | September–October 1790 | data-sort-value="1862" | GA | xxv/265 | x/1 | ||
Op. 85 | Christus am Ölberge (Christ on the Mount of Olives) | data-sort-value="1803" | 1803, rev. 1804; 5 April 1803 | data-sort-value="1811" | Leipzig, 1811 | xix/205 | viii/1 | ||
Op. 86 | Mass in C major | data-sort-value="1807" | 1807; 13 September 1807 | data-sort-value="1812" | Leipzig, 1812 | Prince Ferdinand Kinsky | xix/204 | viii/2 | |
Op. 80 | Choral Fantasy, C minor | data-sort-value="1808" | 1808, rev. 1809; 22 December 1808 | data-sort-value="1810" | p: London, 1810; Leipzig, 1811 | Maximilian Joseph, King of Bavaria | HS xix/71 | x/2 | |
WoO 95 | Chor auf die verbündeten Fürsten "Ihr weisen Gründer" | data-sort-value="1814" | September 1814 | data-sort-value="1862" | GA | for Congress of Vienna | xxv/267 | x/2 | |
Op. 136 | Der glorreiche Augenblick (The glorious moment) | data-sort-value="1814" | 1814; 29 November 1814 | data-sort-value="1837" | Vienna, 1837 | for Congress of Vienna | xxi/208 | x/1 | |
Op. 112 | Meeresstille und glückliche Fahrt ("Calm Sea and Prosperous Voyage") | data-sort-value="1814" | 1814–15; 25 December 1815 | data-sort-value="1822" | Vienna, 1822 | Johann Wolfgang von Goethe | xxi/209 | x/2 | |
Op. 123 | Missa solemnis, D | data-sort-value="1819" | 1819–23; 7 April 1824 | data-sort-value="1827" | Mainz, 1827 | Archduke Rudolph (orig. intended for Rudolph's installation as archbishop, 9 March 1820) | xxi/203 | viii/3 | |
Opferlied "Die Flamme lodert" | data-sort-value="1822" | 1822; 23 December 1822 | data-sort-value="1862" | GA | xxv/268 | ||||
Opferlied, 2nd version | data-sort-value="1824" | 1824 | data-sort-value="1824" | Mainz, 1824 | xxii/212 | x/2 | |||
Op. 122 | Bundeslied "In allen guten Stunden" | data-sort-value="1823" | 1823–24 | data-sort-value="1825" | Mainz, 1825 | xxii/213 | x/2 |
No. | Title | Composition, first performance | Publication | Dedication, remarks | class=Wunsortable" | GA! | NA | ||
---|---|---|---|---|---|---|---|---|---|
WoO 102 | Abschiedsgesang "Die Stunde schlägt", for male voices | data-sort-value="1814" | 1814 | data-sort-value="1862" | GA | Leopold Weiss; at the request of Mathias Tuscher | xxv/273 | ||
WoO 103 | Cantata campestre "Un lieto brindisi", for four voices and piano | data-sort-value="1814" | 1814; 24 June 1814 | data-sort-value="1945" | Jb der Literarischen Vereinigung Winterthur 1945 | Giovanni Malfatti | HS v | xii/1 | |
WoO 104 | Gesang der Mönche "Rasch tritt der Tod", from Wilhelm Tell (Schiller), for two tenors and bass | data-sort-value="1817" | 1817 | data-sort-value="1839" | NZM, vi (1839) | in memory of Franz Sales Kandler and Wenzel Krumpholz | xxiii/255 | ||
WoO 105 | Hochzeitslied "Auf Freunde, singt dem Gott der Ehen", for tenor (or male solo), chorus and piano | data-sort-value="1819" | 1819 | data-sort-value="1858" | Der Bär 1927 for tenor; London, 1858 for male solo | Anna Giannatasio del Rio | HS v | xii/1 | |
Birthday Cantata for Prince Lobkowitz "Es lebe unser theurer Fürst", for soprano, chorus and piano | data-sort-value="1823" | April 1823 | data-sort-value="1867" | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | Prince Lobkowitz | xxv/274 | xii/1 |
No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 89 | Prüfung des Küssens, aria for bass | data-sort-value="1790" | c. 1790–92 | data-sort-value="1862" | GA | xxv/269/1 | x/3 | ||
WoO 90 | Mit Mädeln sich vertragen, aria for bass | data-sort-value="1790" | c. 1790–92 | data-sort-value="1862" | GA | xxv/269/2 | x/3 | ||
WoO 92 | Primo amore, scena and aria for soprano | data-sort-value="1790" | c. 1790–92 | data-sort-value="1862" | GA | xxv/271 | x/3 | ||
Op. 65 | Ah! perfido, scena and aria for soprano | data-sort-value="1796" | early 1796 | data-sort-value="1805" | p, vs: Leipzig, 1805; s: GA; | Countess Josephine de Clary (ded. in MS, not in 1st edition;text of recitative by Pietro Metastasio from Achille in Sciro | xxii/210 | x/3 | |
No, non turbarti, scena and aria for soprano | data-sort-value="1802" | early 1802 | data-sort-value="1949" | Wiesbaden, 1949 | HS ii | x/3 | |||
WoO 93 | Ne' giorni tuoi felici, duet for soprano and tenor | data-sort-value="1802" | late 1802 | data-sort-value="1939" | Leipzig, 1939 | HS ii, xiv | x/3 | ||
Op. 116 | Tremate, empi, tremate, for soprano, tenor and bass | data-sort-value="1802" | 1802; 1814 | data-sort-value="1826" | p, vs: Vienna, 1826; s: GA | xxii:211 | x/3 | ||
Op. 118 | Elegiac song ("Sanft wie du lebtest"), for soprano, alto, tenor, bass and string quartet | data-sort-value="1814-06" | July 1814 | data-sort-value="1814" | Vienna, 1814 | Baron Johann von Pasqualati | xxii/214 | x/2 |
No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||
---|---|---|---|---|---|---|---|---|---|
WoO 107 | Schilderung eines Mädchens | data-sort-value="1783" | ?1783 | data-sort-value="1784" | H.P. Bossler: Blumenlese für Klavierliebhaber, ii (Speyer, 1783) | xxiii/228 | xii/1 | ||
WoO 108 | An einen Säugling | data-sort-value="1784" | ?1784 | data-sort-value="1784" | H.P. Bossler: Neue Blumenlese für Klavierliebhaber, ii (Speyer, 1784) | xxiii/229 | xii/1 | ||
WoO 110 | Elegie auf den Tod eines Pudels | data-sort-value="1790" | ?c. 1790 | data-sort-value="1862" | ?GA | xxv/284 | xii/1 | ||
WoO 113 | Klage | data-sort-value="1790" | c. 1790 | data-sort-value="1862" | GA | xxv/283 | xii/1 | ||
Traute Henriette | data-sort-value="1790" | c. 1790–1792 | data-sort-value="1949" | ÖMz, iv (1949) | HS v | xii/1 | |||
Op. 52 | Eight Songs | data-sort-value="1790" | 1790–96 | data-sort-value="1805" | Vienna, 1805 | xxiii/218 | xii/1 | ||
WoO 111 | Punschlied | data-sort-value="1791" | c. 1791 | data-sort-value="1925" | L. Schiedermair Der junge Beethoven (Leipzig, 1925/R,3/1951) | HS v | xii/1 | ||
WoO 109 | Trinklied | data-sort-value="1792" | c. 1792 | data-sort-value="1862" | GA | xxv/282 | xii/1 | ||
WoO 112 | An Laura | data-sort-value="1792" | c. 1792 | data-sort-value="1916" | G. Kinsky: Musik historisches Museum von Wilhelm Heyer in Cöln: Katalog, iv (Cologne, 1916) | HS v | xii/1 | ||
WoO 114 | Selbstgespräch | data-sort-value="1792" | c. 1792 | data-sort-value="1862" | GA | xxv/275 | xii/1 | ||
WoO 115 | An Minna | data-sort-value="1792" | c. 1792 | data-sort-value="1862" | GA | xxv/280 | xii/1 | ||
WoO 117 | Der freie Mann | data-sort-value="1792" | 1792, rev. 1794 | data-sort-value="1808" | Bonn, 1808 | xxiii/232; HS v | xii/1 | ||
WoO 116 | Que le temps dure | xii/1 | |||||||
Hess 129 | ?early 1794 | Die Musik, i (1901–02) | 1st version of WoO 116 | HS v | |||||
Hess 130 | ?1794 | GA | 2nd version of WoO 116 | HS v | |||||
WoO 119 | O care selve | data-sort-value="1794" | c. 1794 | data-sort-value="1862" | GA | xxv/279 | xii/1 | ||
WoO 126 | Opferlied | data-sort-value="1794" | 1794–95, rev. 1801–02 | data-sort-value="1808" | Bonn, 1808 | xxiii/233; HS v | xii/1 | ||
WoO 118 | Two Songs | data-sort-value="1794" | 1794–95 | data-sort-value="1837" | Vienna, 1837 | xxiii/253 | xii/1 | ||
Op. 46 | Adelaide | data-sort-value="1794" | 1794–95 | data-sort-value="1797" | Vienna, 1797 | Friedrich von Matthisson | xxiii/216 | xii/1 | |
WoO 123 | Zärtliche Liebe | data-sort-value="1795" | c. 1795 | data-sort-value="1803" | Vienna, 1803 | xxiii/249 | xii/1 | ||
WoO 124 | La partenza | data-sort-value="1795" | c. 1795–1796 | data-sort-value="1803" | Vienna, 1803 | xxiii/251 | xii/1 | ||
WoO 121 | Abschiedsgesang an Wiens Bürger | data-sort-value="1796" | 1796 | data-sort-value="1796" | Vienna, 1796 | Obrist Wachtmeister von Kövesdy | xxiii/230 | xii/1 | |
WoO 122 | Kriegslied der Österreicher | data-sort-value="1797" | 1797 | data-sort-value="1797" | Vienna, 1797 | xxiii/231 | xii/1 | ||
WoO 125 | La tiranna | data-sort-value="1798" | 1798–99 | data-sort-value="1799" | London, 1799 | ded. (by W. Wennington) Mrs Tschoffen | HS v | xii/1 | |
WoO 128 | Plaisir d'aimer | data-sort-value="1798" | 1798–99 | data-sort-value="1901" | Die Musik, i (1901–02) | HS v | xii/1 | ||
WoO 127 | Neue Liebe, neues Leben | data-sort-value="1798" | 1798–99 | data-sort-value="1808" | Bonn, 1808 | HS v | xii/1 | ||
WoO 74 | Ich denke dein | ||||||||
Op. 48 | Six Songs | data-sort-value="1801" | c. 1801 – early 1802[19] | data-sort-value="1803" | Vienna, 1803 | Count von Browne | xxiii/217 | xii/1 | |
WoO 120 | Man strebt die Flamme zu verhehlen | data-sort-value="1802" | c. 1802 | data-sort-value="1862" | GA | Frau von Weissenthurn | xxv/278 | xii/1 | |
WoO 129 | Der Wachtelschlag | data-sort-value="1803" | 1803 | data-sort-value="1804" | Vienna, 1804 | Count von Browne | xxiii/234 | xii/1 | |
Op. 88 | Das Glück der Freundschaft | data-sort-value="1803" | 1803 | data-sort-value="1803" | Vienna, 1803 | xxiii/222 | xii/1 | ||
Op. 32 | An die Hoffnung | data-sort-value="1805" | 1805 | data-sort-value="1805" | Vienna, 1805 | for Josephine Deym | xxiii/215 | xii/1 | |
WoO 130 | Gedenke mein | data-sort-value="1804" | ?1804–05, rev. 1819–20 | data-sort-value="1844" | Vienna, 1844 | xxv/281 | xii/1 | ||
WoO 132 | Als die Geliebte sich trennen wollte | data-sort-value="1806" | 1806 | data-sort-value="1809" | AMZ, xii (1809–10) | xxiii/235 | xii/1 | ||
WoO 133 | In questa tomba oscura | data-sort-value="1806" | 1806–07 | data-sort-value="1808" | Vienna, 1808 | ded. (by publisher) Prince Lobkowitz | xxiii/252 | xii/1 | |
WoO 134 | Sehnsucht (4 settings) | data-sort-value="1807" | 1807–08 | data-sort-value="1810" | Vienna, 1810 | xxiii/250 | xii/1 | ||
WoO 136 | Andenken | data-sort-value="1805" | 1805 | data-sort-value="1810" | Leipzig and London 1810 | for Josephine Deym | xxiii/248 | xii/1 | |
WoO 137 | Lied aus der Ferne | data-sort-value="1809" | 1809 | data-sort-value="1810" | Leipzig and London, 1810 | xxiii/236 | xii/1 | ||
WoO 138 | Der Jüngling in der Fremde | data-sort-value="1809" | 1809 | data-sort-value="1810" | Vienna, 1810 | ded. (by Reissig[20]) Archduke Rudolph | xxiii/237 | xii/1 | |
WoO 139 | Der Liebende | data-sort-value="1809" | 1809 | data-sort-value="1810" | Vienna and London, 1810 | ded. (by Reissig) Archduke Rudolph | xxiii/238 | xii/1 | |
Op. 75 | Six Songs | data-sort-value="1809" | 1809[21] | data-sort-value="1810" | Leipzig and London, 1810 | Princess Caroline Kinsky | xxiii/219 | xii/1 | |
Op. 82 | Four Ariettas and a Duet | data-sort-value="1809" | ?1809 | data-sort-value="1811" | Leipzig and London, 1811 | xxiii/220 | xii/1 | ||
Op. 83 | Three Songs | data-sort-value="1810" | 1810 | data-sort-value="1811" | Leipzig, 1811 | Princess Caroline Kinsky | xxiii/221 | xii/1 | |
WoO 140 | An die Geliebte (2 versions) | data-sort-value="1811" | December 1811, rev. 1814 | data-sort-value="1814" | 1st version: Augsburg, c. 1826; 2nd version: Friedensblätter (12 July 1814) | xxiii/243a | xii/1 | ||
WoO 141 | Der Gesang der Nachtigall | data-sort-value="1813" | May 1813 | data-sort-value="1862" | GA | xxv/227 | xii/1 | ||
WoO 142 | Der Bardengeist | data-sort-value="1813" | November 1813 | data-sort-value="1814" | Erichson: Musen-Almanach für das Jahr 1814 (Vienna, 1813–14) | xxiii/241 | xii/1 | ||
Op. 94 | An die Hoffnung | data-sort-value="1813" | 1813–15 | data-sort-value="1816" | Vienna, 1816 | Princess Kinsky | xxiii/223 | xii/1 | |
WoO 143 | Des Kriegers Abschied | data-sort-value="1814" | 1814 | data-sort-value="1815" | Vienna, 1815 | ded. (by Reissig) Caroline von Bernath | xxiii/240 | xii/1 | |
WoO 144 | Merkenstein | data-sort-value="1814" | 1814 | data-sort-value="1816" | Selam: ein Almanach für Freunde des Mannigfaltigen auf das Schaltjahr 1816 (Vienna, 1815–16) | xxv/276 | xii/1 | ||
Op. 100 | Merkenstein | data-sort-value="1814" | 1814 | data-sort-value="1816" | Vienna, 1816 | Count Joseph Karl von Dietrichstein | xxiii/226 | xii/1 | |
WoO 135 | Die laute Klage | data-sort-value="1815" | ?c. 1815 | data-sort-value="1837" | Vienna, 1837 | xxiii/254 | xii/1 | ||
WoO 145 | Das Geheimnis | data-sort-value="1815" | 1815 | data-sort-value="1816" | Wiener Zeitschrift für Kunst, Literatur, Theater und Mode, i (1816) | xxiii/245 | xii/1 | ||
WoO 146 | Sehnsucht | data-sort-value="1816" | early 1816 | data-sort-value="1816" | Vienna, 1816 | xxiii/239 | xii/1 | ||
Op. 98 | An die ferne Geliebte | data-sort-value="1816" | 1816 | data-sort-value="1816" | Vienna, 1816 | Prince Lobkowitz[22] | xxiii/224 | xii/1 | |
Op. 99 | Der Mann von Wort | data-sort-value="1816" | ?May 1816 | data-sort-value="1816" | Vienna, 1816 | xxiii/225 | xii/1 | ||
WoO 147 | Ruf von Berge | data-sort-value="1816" | December 1816 | data-sort-value="1817" | Gedichte von Friedrich Treitschke (Vienna, 1817) | xxiii/242 | xii/1 | ||
WoO 148 | So oder so | data-sort-value="1817" | 1817 | data-sort-value="1817" | Wiener Zeitschrift für Kunst, ii (1817) | xxiii/224 | xii/1 | ||
WoO 149 | Resignation | data-sort-value="1817" | 1817[23] | data-sort-value="1818" | Wiener Zeitschrift für Kunst, iii (1818) | xxiii/246 | xii/1 | ||
WoO 150 | Abendlied unterm gestirnten Himmel[24] | data-sort-value="1820" | March 1820 | data-sort-value="1817" | Wiener Zeitschrift für Kunst, v (1817) | xxiii/247 | xii/1 | ||
Op. 128 | Der Kuss | data-sort-value="1822" | November–December 1822 | data-sort-value="1825" | Mainz, 1825 | xxiii/227 | xii/1 | ||
WoO 151 | Der edle Mensche sei hülfreich und gut | data-sort-value="1823" | January 1823 | data-sort-value="1900" | G. Lange: Musikgeschichtliches (Berlin, 1900) | Baroness Cäcilie von Eskeles | HS v |
No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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WoO 152 | Twenty-five Irish Songs | data-sort-value="1810" | 1810–12 | data-sort-value="1814" | London and Edinburgh, 1814 | xxiv/261 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
WoO 153 | Twenty Irish songs | data-sort-value="1810" | 1810–15 | data-sort-value="1814" | London and Edinburgh, 1814 [nos. 1–4], 1816 [nos. 5–10]; GA | xxiv/262 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
WoO 154 | Twelve Irish songs | data-sort-value="1812" | 1812–13 | data-sort-value="1816" | (London and Edinburgh, 1816 [without nos. 2 and 7]); GA | xxiv/258 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
WoO 155 | Twenty-six Welsh songs | data-sort-value="1809" | 1809 | data-sort-value="1817" | London and Edinburgh, 1817 | xxiii/219 | xi/1 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Op. 108 | Twenty-five Scottish Songs | data-sort-value="1815" | 1815–18 | data-sort-value="1818" | London and Edinburgh, 1818 | xxiv/257 | xi/1 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
WoO 156 | Twelve Scottish songs | data-sort-value="1815" | 1815–19 | data-sort-value="1822" | London and Edinburgh, 1822 [no.1], 1824–25 [nos. 2–4, 8, 9, 12], 1839 [nos. 5–6], 1841 [nos. 7, 10, 11); GA | |xxiv/260 |xi/1<ref name=compedit /> |-style="vertical-align: top" |WoO 157 |Twelve songs of various nationalities {{ordered list | God Save the King | The Soldier | O Charlie is my darling | O sanctissima | The Miller of the Dee | A health to the brave | Since all thy vows, false maid | By the side of the Shannon | Highlander's Lament | Sir Johnie Cope | The wandering minstrel | La gondoletta }} |data-sort-value="1815"|1815–20 |data-sort-value="1816"|London and Edinburgh, 1816 [nos. 2, 6, 8, 11], 1822 [no. 3], 1824–25 [no. 5], 1839 [no. 1]); GA||xxiv/259|xi/1, xi/3 |-style="vertical-align: top"|nowrap|WoO 158a|Twenty-three songs of various nationality|data-sort-value="1816"|1816–17|data-sort-value="1902"|Die Musik, ii (1902–03) [no. 19], J. Schmidt-Görg: |-style="vertical-align: top"|WoO 158b|Seven British songs|data-sort-value="1813"|1813–17|||HS xiv|xi/1, xi/3 |-style="vertical-align: top"|WoO 158c|Six songs of various nationality|data-sort-value="1817"|1817–20|||HS xiv|xi/1, xi/3 |-style="vertical-align: top"|Hess 168|Air français|data-sort-value="1817"|1817|||HS xiv|xi/3 |-style="vertical-align: top"||Two Austrian folksongs|data-sort-value="1820"|1820|Niederrheinische Musikzeitung, xiii (1865)|||xi/3|} Wind Band
Collections of dances
Canons and musical jokes
Miscellaneous
List of works by BeethovenThe following is a list of Beethoven's works, sorted by Opus number, followed by works listed as WoO in the Kinsky–Halm Catalogue, and then works listed in the appendix of that catalogue, which are given "Anhang" numbers. These are followed by additional works with Hess numbers listed in the catalogue of Willy Hess that are not otherwise listed in the Kinsky–Halm Catalogue. Lastly there are works with Biamonti numbers (Bia.), from the Biamonti Catalogue, an attempt to catalogue everything that Beethoven wrote in chronological order, though there are works that were not known at the time it was compiled. Thus there is no definitive catalogue of Beethoven's works to match the Deutsch catalogue for Schubert or the Köchel catalogue for Mozart. Works with opus numbersThe opus numbers were assigned by publishers to Beethoven's works as they were published. The opus numbers do not include all works that were published in Beethoven's lifetime nor are they in chronological order. For instance, the Octet Op. 103 was written before November 1792, while Op. 102 and Op. 104 were written in 1815 and 1817 respectively.
Works with WoO numbersThe numbers and categories used below are from the Kinsky–Halm Catalogue of 1955. WoO is an abbreviation of "Werke ohne Opuszahl", German for "Works without Opus number". While some of these works were published during Beethoven's lifetime but not given opus numbers, for instance the piano variations WoO 80, others like Für Elise WoO 59 were not published until later. Unlike with opus numbers which were assigned depending on when the works were published, WoO numbers were assigned by genre. Instrumental works: WoO 1–86Orchestral worksOrchestra alone
Concertante
Dances
Marches and dances for winds
Chamber worksWithout piano
With piano
Piano works for 2 or 4 handsSonatas and single-movement works
Variations
Dances
Vocal works: WoO 87–205Cantatas, choruses and arias with orchestra
Works for multiple voices with piano accompaniment, or unaccompanied
Lieder and songs for solo voice and piano
Folksong arrangements for one or more voices, with piano trio accompaniment
Vocal canons
Musical jokes, quips, and dedications
Added works: WoO 206–228The 2014 revision to the Kinsky catalogue, edited by Dorfmüller, Gertsch and Ronge, assigned WoO numbers to a number of works that appear in other listings.[35]
Works with Anhang (Anh.) and Unvollendete (Unv.) numbersThese are works from the Appendix (Anhang in German) of Kinsky's catalog that were attributed to Beethoven at the time the catalog was compiled, but might not have been written by him. The 2014 revision to the Kinsky catalogue, edited by Dorfmüller, Gertsch and Ronge also introduced the category of Unvollendete (unfinished works), for several works that had previously appeared in other listings.
Works with Hess numbersWorks with Hess numberThese works have numbers that were assigned by Willy Hess in his catalogue of Beethoven's works.[43] Many of the works in the Hess catalog also have WoO or Unv. numbers; those entries are not listed here.
Works with Hess Anhang (Anh.) numbersThese are works included in the appendix of Hess's catalogue that might not be genuine works by Beethoven.[44]
Works with Biamonti numbersThe Italian musicologist Giovanni Biamonti compiled a chronological catalogue Beethoven's entire output known at the time, including sketches and fragments. While most of these works were already included in other catalogues, there were some that had been missed by earlier compilers.[45] This list does not include works with opus, WoO or Hess numbers, nor does it include sketches.
There were also several projected works by Beethoven, including the operas Alessandro, Memnons Dreiklang, and Bradamante; an oratorio on a text by Meissner, an oratorio "Die Befrieung Jerusalems", and an oratorio "Die Sündflut" with text by Hammer-Purgstall.[46] See also
ReferencesSourcesCatalogues and bibliographies
Works collections (scores)
Books
External links
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