|
Hess |
Midi |
Mp3 |
Same As |
Name |
Composition Dates |
Dedicatee |
Notes |
|
Hess 1 |
 |
 |
|
Fragment in F major |
1812 |
|
original ending to first movement of Symphony
No. 8, Opus 93 |
|
Hess 2 |
|
|
WoO 12 |
12 Minuets for Orchestra; authorship: not certain |
1799 |
|
written by Beethoven’s brother Carl, possibley
with Ludwig’s help |
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #1 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #2 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #3 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #4 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #5 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #6 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #7 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #8 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #9 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #10 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #11 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #12 of 12
Ecossaises |
|
|
|
|
Hess 4 |
|
|
WoO 23 |
Ecossaise for Wind Band in G major; authorship:
reconstruction |
1810 |
|
lost; known only in Czerny’s piano arrangement |
|
Hess 5 |
|
|
WoO 13 #1 |
Dance for Orchestra in D major: #1 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #2 |
Dance for Orchestra in B flat major: #2 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #3 |
Dance for Orchestra in G major: #3 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #4 |
Dance for Orchestra in D major: #4 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #5 |
Dance for Orchestra in F major: #5 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #6 |
Dance for Orchestra in B flat major: #6 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #7 |
Dance for Orchestra in D major: #7 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #8 |
Dance for Orchestra in G major: #8 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #9 |
Dance for Orchestra in E flat major: #9 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #10 |
Dance for Orchestra in C major: #10 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #11 |
Dance for Orchestra in A major: #11 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #12 |
Dance for Orchestra in D major: #12 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 6 |
|
|
|
March for Wind Band in F major: "York’scher
March für die bohmische Landwehr" (Yorck
March) |
1809 - 1810 |
Archduke Anton |
version of WoO 18 without trio; Hess 99 is piano
version; Beethoven added a trio in B flat c. 1822;
published in 1819 without his knowledge and falsely
ascribed to Count Yorck von Wartenburg’s
reserve corps |
|
Hess 7 |
|
|
WoO 18 |
March & Trio for Wind Band in F major: "York’scher
March für die bohmische Landwehr" (Yorck
March) |
1809 - 1810 |
Archduke Anton |
Hess 99 is piano version; Hess 6 is version
without trio; Beethoven added a trio in B flat
c. 1822; published in 1819 without his knowledge
and falsely ascribed to Count Yorck von Wartenburg’s
reserve corps |
|
Hess 8 |
|
|
|
March for Wind Band in F major |
1810 |
Archduke Anton |
version of WoO 19 without trio; written for
a ‘carrousel’; Beethoven added a trio
in F minor c. 1822 |
|
Hess 9 |
|
|
WoO 19 |
March & Trio for Wind Band in F major |
1810 |
Archduke Anton |
written for a ‘carrousel’; Hess 8
is version without trio; Beethoven added a trio
in F minor c. 1822 |
|
Hess 10 |
|
|
WoO 5 |
Fragment for Violin & Orchestra in C major;
authorship: unfinished |
1790 - 1792 |
Gerhard von Breuning |
fragment of first movement of a Concerto; three
completions made |
|
Hess 11 |
|
|
|
Romance No. 3 for Violin & Orchestra |
1816 |
|
|
|
Hess 12 |
|
|
|
Concerto for Oboe & Orchestra in F major:
fragments |
1790 - 1793 |
|
lost, but sketch remains |
|
Hess 13 |
|
|
|
Romance for Piano, Flute, Bassoon & Orchestra
in E minor; authorship: reconstruction |
1786 |
|
completed by Willy Hess; fragment for the slow
movement of a larger work, possibly for WoO 37,
but more probably for a piece since lost |
|
Hess 14 |
|
|
|
Fragment No. 2 for Piano & Orchestra in
B flat major; authorship: unfinished |
1794 - 1795 |
|
fragment of first movement first version of
the Piano Concerto #2 Opus 19 |
|
Hess 15 |
|
|
|
Fragment for Piano & Orchestra in D major;
authorship: unfinished |
1814 - 1815 |
|
fragment for a Piano Concerto #6 |
|
Hess 16 |
|
|
|
Fantasia for Piano, Chorus & Orchestra |
1808 |
|
original introduction to the "Chorfantasie"
(Choral Fantasy) Opus 80 |
|
Hess 17 |
|
|
WoO 26 |
Duo for Flutes in G major: Allegro and Minuet |
1792 |
J.M. Degenhart |
|
|
Hess 18 |
|
|
WoO 28 |
Variations for Oboes & English Horn in C
major: on "Là ci darem la mano"
from Mozart’s opera "Don Giovanni" |
1795 |
|
possibly associated originally with the Trio
Opus 87 |
|
Hess 19 |
|
|
|
Fragment for Horns, Oboe & Bassoon in E
flat major: fragment of a Quintet; authorship:
reconstruction |
1793 - 1796 |
|
completed by Leopold Alexander Zellner in 1862 |
|
Hess 20 |
|
|
WoO 17 #1 |
Waltz for Instrument(s) in E flat major: #1
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #2 |
Minuet for Instrument(s) in B flat major: #2
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #3 |
Waltz for Instrument(s) in B flat major: #3
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #4 |
Minuet for Instrument(s) in E flat major: #4
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #5 |
Minuet for Instrument(s) in E flat major: #5
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #6 |
Ländler for Instrument(s) in E flat major:
#6 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #7 |
Minuet for Instrument(s) in B flat major: #7
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #8 |
Ländler for Instrument(s) in B flat major:
#8 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #9 |
Minuet for Instrument(s) in G major: #9 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #10 |
Waltz for Instrument(s) in D major: #10 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #11 |
Waltz for Instrument(s) in D major: #11 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 21 |
|
|
|
Andante con Variazioni for Wind Band; authorship:
not certain |
1802 |
|
arrangement of Septet Opus 20 for 11-piece Military
Band (fragments); Beethoven’s involvement
with arrangement uncertain |
|
Hess 22 |
|
|
|
Duo for Viola & Cello in E flat major: "mit
zwei obligaten Augengläsern" (with 2
obbligato eyeglasses) |
1796 - 1797 |
written for Nikolaus Zmeskall |
1st movement of WoO 32; Hess 22, 23 & 24
together make up WoO 32 |
|
Hess 23 |
|
|
|
Minuet for Viola & Cello in E flat major:
"mit zwei obligaten Augengläsern"
(with 2 obbligato eyeglasses), 3rd movement |
1796 - 1797 |
written for Nikolaus Zmeskall |
Hess 22, 23 & 24 together make up WoO 32 |
|
Hess 24 |
|
|
|
Fragment for Viola & Cello |
1796 |
written for Nikolaus Zmeskall |
fragment of 2nd (slow) movement of "mit
zwei obligaten Augengläsern" (with 2
obbligato eyeglasses) WoO 32; Hess 22, 23 &
24 together make up WoO 32 |
|
Hess 25 |
|
|
|
String Trio |
1793 |
|
possibly original finale to Trio Opus 3 |
|
Hess 26 |
|
|
WoO 9 #1 |
Minuet for Violins & Cello in E flat major:
#1 of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #2 |
Minuet for Violins & Cello in G major: #2
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #3 |
Minuet for Violins & Cello in C major: #3
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #4 |
Minuet for Violins & Cello in F major: #4
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #5 |
Minuet for Violin & Cello in D major: #5
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #6 |
Minuet for Violins & Cello in G major: #6
of 6 Minuets |
1795 |
|
|
|
Hess 27 |
|
|
WoO 11 |
7 Ländler for Violins & Cello in D
major: surviving piano version |
1799 |
|
|
|
Hess 28 |
|
|
|
String Trio |
1797 |
|
2nd trio to the Scherzo for Opus 9 #1 |
|
Hess 29 |
|
|
|
Prelude & Fugue for Violins & Cello
in E minor |
1794 - 1795 |
|
written during the studies with Albrechtsberger |
|
Hess 30 |
|
|
|
Prelude & Fugue for String Quartet in F
major |
1794 - 1795 |
|
written during the studies with Albrechtsberger;
also one of the exercises of Hess 240 |
|
Hess 31 |
|
|
|
Prelude & Fugue for String Quartet in C
major |
1794 - 1795 |
|
written during the studies with Albrechtsberger |
|
Hess 32 |
|
|
|
String Quartet in F major |
1799 |
Karl Amenda |
first version of the Quartet Opus 18 #1 |
|
Hess 33 |
|
|
|
Minuet for String Quartet in A flat major |
1790 - 1792 |
|
piano version is Hess 88 |
|
Hess 34 |
|
|
|
String Quartet in F major |
1801 - 1802 |
Baroness Josephine von Braun |
after the Piano Sonata #9, Opus 14 #1 |
|
Hess 35 |
|
|
|
Fragment for String Quartet in B minor; authorship:
reconstruction |
1817 |
|
fragment of fugue #24 from Well-Tempered Clavier
(Book One) by J S Bach, arranged for string quartet
by Beethoven |
|
Hess 36 |
|
|
|
Fugue for String Quartet: from Handel’s
"Solomon" overture, arranged for string
quartet by Beethoven |
1798 |
|
|
|
Hess 37 |
|
|
|
Fugue for Piano Four Hands in C minor: by W
A Mozart, KV 426, as revised by Beethoven |
|
|
Biamonti Appendix I #7 is version for orchestra |
|
Hess 38 |
|
|
|
Fugue for String Quintet in B flat minor |
1801 - 1802 |
|
fugue #24 from Well-Tempered Clavier (Book One)
by J S Bach, arranged for string quintet by Beethoven |
|
Hess 39 |
|
|
|
String Quintet in F Major |
|
|
lost; known only from posthumous writings |
|
Hess 40 |
|
|
|
String Quintet in D minor: movement; authorship:
unfinished |
1817 |
|
may have been the Prelude to a Fugue, since
lost |
|
Hess 41 |
|
|
WoO 62 |
String Quintet in C major: "Letzter musikalischer
Gedanke" (last musical thought); authorship:
unfinished at death |
1826 |
|
exists only in transcription for piano |
|
Hess 42 |
|
|
WoO 34 |
Duo for Violins in A major: for Alexandre Boucher |
1822 |
Alexandre Boucher |
|
|
Hess 43 |
|
|
WoO 44 #1 |
Sonatina for Mandolin & Harpsichord in C
major: called WoO 44a |
1796 |
written for Countess Josephine
de Clary |
|
|
Hess 44 |
|
|
|
Adagio ma non troppo for Mandolin & Harpsichord
in E flat major |
|
|
later revision of WoO 43b |
|
Hess 45 |
|
|
WoO 44 #2 |
Andante con Variazioni for Mandolin & Harpsichord
in D major: called WoO 44b |
1796 |
Countess Josephine de Clary |
|
|
Hess 46 |
|
|
|
Sonata for Piano & Violin in A major; authorship:
unfinished |
1790 - 1792 |
|
fragments |
|
Hess 47 |
|
|
|
Piano Trio |
|
|
arrangement of String Trio Opus 3 (1st movement
and fragment of 2nd movement) |
|
Hess 48 |
|
|
|
Allegretto for Piano Trio in E flat major |
1790 - 1792 |
|
|
|
Hess 49 |
|
|
|
Piano Trio in E Flat Major |
1786 |
|
|
|
Hess 50 |
|
|
|
Piano Trio in B Flat Major |
1786 |
|
|
|
Hess 51 |
|
|
WoO 48 |
Rondo for Piano in C major |
1783 |
|
|
|
Hess 52 |
|
|
|
Piano Sonata in C Major |
|
|
|
|
Hess 53 |
|
|
WoO 50 |
2 Sonata Movements for Piano in F major |
1790 - 1792 |
Franz Wegeler |
|
|
Hess 54 |
|
|
|
Variations for Piano: on Amenda’s theme
"Freudvoll und Liedvoll" |
|
|
|
|
Hess 55 |
|
|
|
Variations for Piano: on "Venni, Amore"
by Vincenzo Righini (first version) |
1790 - 1791 |
|
Recent discovery of the original edition of
1791 shows it to be identical in almost every
respect to that of 1802 (WoO 65), and not an earlier
version after all, making this reference superfluous. |
|
Hess 56 |
|
|
WoO 61 #1 |
Bagatelle for Piano in G minor: called WoO 61a |
1825 |
Sarah Burney Page |
originally thought to have been written for
a Lady Clifford |
|
Hess 57 |
|
|
|
Sketch for Piano in C major; authorship: unfinished |
1824 |
|
for a piano piece |
|
Hess 58 |
|
|
|
Exercise for Piano in B flat major |
1800 |
|
|
|
Hess 59 |
|
|
|
Exercise for Piano in C major |
1792 - 1800 |
|
|
|
Hess 60 |
|
|
|
Draft for Piano in A major; authorship: unfinished |
1793 |
|
|
|
Hess 61 |
|
|
|
Anglaise for Piano in D major |
1793 - 1800 |
|
|
|
Hess 62 |
|
|
WoO 61 |
Allegretto for Piano in B minor |
1821 |
Ferdinand Piringer |
|
|
Hess 63 |
|
|
|
Piece for Piano: arrangement of Christian Friedrich Daniel Schubart's
"Kaplied" by Beethoven |
1789 |
|
|
|
Hess 64 |
|
|
|
3-part Fugue for Piano in C major |
1794 - 1795 |
|
|
|
Hess 65 |
|
|
|
Piece for Piano in C major: Little Concert Finale |
1820 - 1821 |
|
from the 3rd Piano Concerto Opus 37, for piano
solo |
|
Hess 66 |
|
|
|
Allegretto for Piano in C minor |
1796 - 1797 |
|
second setting of WoO 53; may also have been
intended for the Piano Sonata #5 Opus 10 #1 |
|
Hess 67 |
|
|
|
2 German Dances for Piano: in F major and F
minor |
1811 |
|
|
|
Hess 68 |
|
|
|
Ländler for Piano in C minor |
1803 |
|
|
|
Hess 69 |
|
|
|
Allegretto for Piano in C minor |
1794 |
|
Jos van der Zanden, in his article in Bonner Beethoven-Studien, proved that Hess 69 dates from the year 1794. Furthermore he proved that there is no connection whatsoever with Opus 10 as usually thought. |
|
Hess 70 |
|
|
|
Adagio for Piano in G major |
1803 - 1804 |
|
|
|
Hess 71 |
|
|
|
Movement for Piano in G major: molto adagio |
1803 - 1804 |
|
|
|
Hess 72 |
|
|
|
Variations for Piano in A major: theme with
one variation |
1803 |
|
|
|
Hess 73 |
|
|
|
Bagatelle for Piano in C major |
1800 |
|
|
|
Hess 74 |
|
|
|
Bagatelle for Piano in E flat major |
1800 |
|
|
|
Hess 75 |
|
|
WoO 200 |
Piece for Piano in G major: "O Hoffnung,
du stählst die Herzen, du milderst die Schmerzen" |
1818 |
written for Archduke Rudolph
of Austria |
written as a theme for Archduke Rudolph, who
composed forty variations on it; also see Hess
335 |
|
Hess 76 |
|
|
|
Cadenza for Piano in C major; authorship: unfinished |
1795 - 1799 |
|
fragments & sketches for a cadenza to Piano
Concerto #1, Opus 15 |
|
Hess 77 |
|
|
|
Cadenza for Piano in C major |
1809 |
|
written for Anna Fröhlich; for Piano Concerto #1, Opus 15 (first
movement); lost |
|
Hess 78 |
|
|
|
Cadenza for Piano in C major |
|
|
for Piano Concerto #1, Opus 15 (third movement) |
|
Hess 79 |
|
|
|
Cadenza for Piano; authorship: unfinished |
1792 - 1796 |
|
sketches and fragments for cadenza to first
version of Piano Concerto #2, Opus 19 |
|
Hess 80 |
|
|
|
Cadenza for Piano; authorship: spurious |
|
|
for Piano Concerto #3, Opus 37 (first movement);
now known to be by (Sigismond?) Thalberg |
|
Hess 81 |
|
|
|
Cadenza for Piano |
1807 |
|
for Piano Concerto #4, Opus 58 (first movement
) |
|
Hess 82 |
|
|
|
Cadenza for Piano |
1807 |
|
cadenza "sensa misura" for the Rondo
of Piano Concerto #4, Opus 58 |
|
Hess 83 |
|
|
|
Cadenza for Piano |
1807 |
|
very brief cadenza to the Rondo of Piano Concerto
#4, Opus 58 |
|
Hess 84 |
|
|
|
Rondo for Piano |
|
|
solo passage for the Rondo of the piano version
of the Violin Concerto, Opus 61 |
|
Hess 85 |
|
|
|
Cadenza for Piano |
|
|
new cadenza for the Rondo of the piano version
of the Violin Concerto, Opus 61 |
|
Hess 86 |
|
|
Op. 134 |
Fugue for Piano Four Hands: Große Fuge
for Piano Four Hands |
1826 |
Archduke Rudolph of Austria |
after the String Quartet fugue Opus 133 |
| Hess 87 |
|
|
|
March for Piano: "Grenadiermarsch" |
1797 - 1798 |
|
March for 6 wind instruments, WoO 29, arranged
for piano by Beethoven; also see Hess 107 |
| Hess 88 |
|
|
|
Minuet for Piano in A flat major |
1790 - 1792 |
|
Minuet in A flat for string quartet, Hess 33,
arranged for piano by Beethoven; a "Mineur"
exists for the piano version that does not for
the quartet |
|
Hess 89 |
|
|
|
Ballet Music for Piano: "Ritterballet" |
1791 |
|
"Ritterballet", WoO 1, arranged for
piano by Beethoven |
|
Hess 90 |
|
|
|
Ballet Music for Piano: "Die Geschöpfe
des Prometheus" (The Creatures of Prometheus) |
1801 |
Princess Christiane Lichnowsky
(née Thun) |
Opus 43, arranged for piano by Beethoven |
|
Hess 91 |
|
|
|
Song: "Opferlied" (Sacrificial Song);
"Die Flamme lodert" |
1824 - 1825 |
|
Opus 121b set for voice, chorus and piano; 5
arrangements over 30 yrs; also see WoO 126 &
Hess 145 |
|
Hess 92 |
|
|
|
Song: "Bundeslied" (Song of Fellowship) |
1824 - 1825 |
|
words: Goethe; Opus 122 set for 2 voices, chorus
and piano |
|
Hess 93 |
|
|
|
Song in A major: "Freudvoll und Leidvoll" |
1810 |
|
simplified setting of song from "Egmont"
Opus 84, for voice and piano, also see Hess 94
& Hess 95 |
|
Hess 94 |
|
|
|
Song in G major: "Freudvoll und Leidvoll" |
1810 |
|
song from "Egmont" Opus 84, for piano;
also see Hess 93 & Hess 95 |
|
Hess 95 |
|
|
|
Song in F major: "Freudvoll und Leidvoll" |
1810 |
|
song from "Egmont" Opus 84, for piano;
also see Hess 93 & Hess 94 |
|
Hess 96 |
|
|
|
Fragment for Piano; authorship: unfinished |
1813 |
|
fragment of Symphony #7, Opus 92, for piano
- first 46 measures of first movement |
|
Hess 97 |
|
|
|
Piece for Piano: "Wellingtons Sieg, oder
die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1816 |
|
Opus 91 set for piano and two cannons |
|
Hess 98 |
|
|
|
Scherzo for Piano; authorship: unfinished |
1794 - 1799 |
|
from the Piano Trio Opus 1 #2, for piano solo |
|
Hess 99 |
|
|
|
March for Piano in F major: Military march "Yorck’cher
Marsch" "für die böhmische
landwehr" |
1809 - 1810 |
|
WoO 18 (actually Hess 6), for piano |
|
Hess 100 |
|
|
|
12 German Dances for Piano |
1795 |
|
dances for orchestra WoO 8, for piano |
|
Hess 101 |
|
|
|
12 Minuets for Piano |
1795 |
|
minuets for orchestra WoO 7, for piano |
|
Hess 102 |
|
|
|
9 Contredanses for Piano |
1791 - 1801 |
|
9 of 12 contredanses for orchestra WoO 14, for
piano (#1, 2, 4, 5, 7, 8, 9, 10 & 12) |
|
Hess 103 |
|
|
WoO 33 #1 |
Piece for Musical Clock in F major: or for flute;
Adagio assai; #1 of 5 pieces |
1799 |
|
|
|
Hess 104 |
|
|
WoO 33 #2 |
Piece for Musical Clock in G major: or for flute;
Scherzo-Allegro; #2 of 5 pieces |
1799 - 1800 |
|
|
|
Hess 105 |
|
|
WoO 33 #3 |
Piece for Musical Clock in G major: or for flute;
Allegro; #3 of 5 pieces |
1799 |
|
|
|
Hess 106 |
|
|
WoO 33 #4 |
Piece for Musical Clock in C major: or for flute;
Allegro non piu molto; #4 of 5 pieces |
1794 |
|
|
|
Hess 106 |
|
|
WoO 33 #5 |
Piece for Musical Clock in C major: or for flute;
Minuet-Allegretto; #5 of 5 pieces |
1794 |
|
|
|
Hess 107 |
|
|
|
Grenadier March for Musical Clock in F major:
"Grenadiermarsch" |
1798 |
|
WoO 29 for musical clock; consists of a 20-bar
march by Haydn, an original transition, and an
arrangement of the March WoO 29 |
|
Hess 108 |
|
|
|
Piece for Panharmonikon: "Wellingtons Sieg,
oder die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1813 |
|
original version of Opus 91, second part ("Siegessymphonie") |
|
Hess 109 |
|
|
Op. 72 |
Opera: "Leonore, oder Der Triumph der ehelichen
Liebe" (Leonore, or The Triumph of Married
Love); 1805 version of "Fidelio" with
overture "Leonore II" |
1804 - 1805 |
|
Libretto: Joseph Sonnleithner after Jean-Nicolas
Bouilly; Hess originally had access to only the
piano reduction; the complete score has since
been found |
|
Hess 110 |
|
|
Op. 72 |
Opera: "Leonore, oder Der Triumph der ehelichen
Liebe" (Leonore, or The Triumph of Married
Love); 1806 version of "Fidelio" with
overture "Leonore III" |
1805 - 1806 |
|
Libretto: Joseph Sonnleithner, revised by Stephan
von Breuning; Hess originally had access to only
the piano reduction; the complete score has since
been found |
|
Hess 110 #4 |
|
|
|
Trio for Solo Voice(s) & Orchestra: "Gut,
söhnchen, gut" |
1806 |
|
from 1806 version of "Leonore", Opus
72 |
|
Hess 110 #8 |
|
|
|
Recitative & Aria for Solo Voice(s) &
Orchestra: "Ach, brich noch nicht - Komm,
Hoffnung" |
1806 |
|
from 1806 version of "Leonore", Opus
72 |
|
Hess 110 #12 |
|
|
|
Finale for Solo Voice(s) & Orchestra |
1806 |
|
Finale to Act I from 1806 version of "Leonore",
Opus 72 |
|
Hess 111 |
|
|
|
Duet: "Nur hurtig fort, nur frisch gegraben" |
1805 |
|
early version before 1805 version of "Leonore",
Opus 72 |
|
Hess 112 |
|
|
|
Aria: Rocco’s Gold Aria |
1806 |
|
cut from the 1806 version of "Leonore",
Opus 72 |
|
Hess 113 |
|
|
|
Aria: Marcellina’s aria "O wär
ich schon mit dir vereint" |
1814 |
|
1814 version, with an abbreviated ending |
|
Hess 114 |
|
|
|
Recitative for Solo Voice(s) & Orchestra |
1814 |
|
for Don Fernando in the 2nd Finale for "Fidelio",
Dresden version |
|
Hess 115 |
|
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): "Vesta’s Feuer";
authorship: unfinished |
1803 |
|
fragment of first scene; words: Emanuel Schikaneder |
|
Hess 116 |
|
|
|
Fragment for Solo Voice(s): "Ritterblatt";
authorship: unfinished |
|
|
|
|
Hess 117 |
|
|
WoO 2 #1 |
Triumphal March for Orchestra in C major: "Tarpeja" |
1813 |
|
Christoph Kuffner’s drama |
|
Hess 117 |
|
|
WoO 2 #2 |
Entr’acte in D major: "Tarpeja" |
1813 |
|
now thought to be from the opening of Act II
from "Leonore" 1805 |
|
Hess 118 |
|
|
Op. 113 |
Overture: "Die Ruinen von Athen" (The
Ruins of Athens) |
1811 |
|
music to Kotzebue’s festival play; Hess
118 includes Opus 124, Opus 114, WoO 98, and parts
of Opus 113 |
|
Hess 118 |
|
|
Op. 114 |
March for Orchestra & Chorus: for "Die
Weihe des Hauses" |
1822 |
|
1822 adaptation of no. 6 from "Die Ruinen
von Athen"; see Opus 113; Hess 118 includes
Opus 124, Opus 114, WoO 98, and parts of Opus
113 |
|
Hess 118 |
|
|
Op. 124 |
Overture in C major: "Die Weihe des Hauses"
(The Consecration of the House) |
1822 |
Prince Nikolas Borissovich
Galitzin |
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Hess 118 |
|
|
WoO 98 |
Chorus for Orchestra, Chorus & Solo Voice(s):
"Wo sich die Pulse jugendlich jagen"
chorus with soprano solo for the festive play
"Die Weihe des Hauses" |
1822 |
|
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Hess 118 |
|
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): for Meisl’s festival play
"Die Weihe des Hauses" (The Consecration
of the House) |
1822 |
|
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Hess 119 |
|
|
WoO 92 #1 |
Scene & Aria: "No, non turbarti";
for soprano w/ string orchestra, WoO 92a |
1802 |
|
words: Pietro Metastasio: "Cantata la tempesta" |
|
Hess 120 |
|
|
WoO 93 |
Duo for Solo Voice(s) & Orchestra: "Ne’
giorni tuoi felici"; for soprano & tenor
w/ orchestra |
1802 |
|
words: Pietro Metastasio: "Olimpiade" |
|
Hess 121 |
|
|
|
Aria in C major: Marcellina’s aria "O
wär ich schon mit dir vereint" |
1806 |
|
prepared for 1806 version of "Leonore"
Opus 72 |
|
Hess 122 |
|
|
|
Aria in C minor: Marcellina’s aria "O
wär ich schon mit dir vereint" |
1807 |
|
prepared for 1806 version of "Leonore",
Opus 72 |
|
Hess 123 |
|
|
|
Song |
1813 - 1814 |
|
words: Zacharias Werner |
|
Hess 124 |
|
|
WoO 105 |
Song in A major: "Hochzeitslied" for
bass, chorus & piano "Auf Freunde, singt
dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio
del Rio |
words: Anton Joseph Stein; written for the marriage
of Leopold Schmerling & Anna Giannatasio del
Rio; unison version of Hess 125 (same WoO #) |
|
Hess 125 |
|
|
WoO 105 |
Song in C major: "Hochzeitslied" "Auf
Freunde, singt dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio
del Rio |
words: Anton Joseph Stein; written for the marriage
of Leopold Schmerling & Anna Giannatasio del
Rio; unison version of Hess 124 (same WoO #) |
|
Hess 126 |
|
|
WoO 111 |
Song in G major: "Punschlied"; "Wer
nicht, wenn warm von Hand zu Hand" |
1791 - 1792 |
|
words: Anonymous |
|
Hess 127 |
|
|
WoO 103 |
Cantata in B flat major: "Un lieto brindisi:
Cantata campestre" for 4 voices & piano
acc "Johannisfeier begehn wir heute" |
1814 |
written for Giovanni Malfatti |
words: Clementi Bondi |
|
Hess 128 |
|
|
WoO 112 |
Song in G major: "An Laura"; "Freud’
umblühe dich auf allen Wegen" |
1792 |
|
words: Friedrich von Matthisson |
|
Hess 129 |
|
|
WoO 116 #1 |
Song in C minor: "Que le temps me dure"
1st version |
1793 |
|
words: Jean Jacques Rousseau; not fully notated |
|
Hess 130 |
|
|
WoO 116 #2 |
Song in C major: "Que le temps me dure"
2nd version |
1793 |
|
words: Jean Jacques Rousseau; not fully notated |
|
Hess 131 |
|
|
WoO 128 |
Song in G major: "Plaisir d’aimer"
"Plaisir d’aimer besoin d’une âme
tendre" |
1798 - 1799 |
|
words: Anonymous |
|
Hess 132 |
|
|
WoO 151 |
Song in G major: "Der edle Mensch sei hülfreich
und gut" |
1823 |
written for Baroness Cäcilie
von Eskeles |
words: Goethe |
|
Hess 133 |
|
|
|
Song: "Das liebe Kätzchen" (Austrian);
"Unsa Kaz had Kazln g’habt" |
1820 |
|
|
|
Hess 134 |
|
|
|
Song: "Der Knabe auf dem Berge" (Austrian);
"Duart ob’n af’m Beargerl gu gu" |
1820 |
|
|
|
Hess 135 |
|
|
WoO 125 |
Song in E flat major: "La tiranna",
Canzonetta; "Ah grief to think!" |
1798 - 1799 |
|
English words: William Wennington |
|
Hess 136 |
|
|
WoO 127 |
Song in C major: "Neue Liebe, neues Leben"
(New love, new life); "Herz, mein Herz, was
soll das geben?" (1st setting) |
1798 - 1799 |
|
Words: Goethe; 2nd setting is Opus 75 #2 |
|
Hess 137 |
|
|
|
Song: "Ich wiege dich in meinem Arm" |
1795 |
|
lost; title incorrectly given by Hess as "Schwinge
dich in meinen Dom"; author unknown |
|
Hess 138 |
|
|
|
Song: "Odorata - o Nice" |
1815 - 1817 |
|
|
|
Hess 139 |
|
|
|
Song: "Minnesold von Burger, in Tönen
an Amenda ausbezahlt" |
1798 - 1799 |
|
Lost; words: Bürger? |
|
Hess 140 |
|
|
|
Song: "Dimmi, ben mio, che m’ami" |
1811 |
|
later version of Opus 82 #1 |
|
Hess 141 |
|
|
|
Song: "Bußlied" |
1803 |
|
another version of last 12 bars of Opus 48 #6 |
|
Hess 142 |
|
|
|
Song: "Wonne der Wehmut" |
1810 |
|
earlier version of Opus 83 #1 |
|
Hess 143 |
|
|
|
Song: "An die Freude" |
1793 - 1799 |
|
words: Friedrich von Schiller; lost; 2 brief
sketches survive from 1798 |
|
Hess 144 |
|
|
|
Song: "Feuerfarb’" |
1792 |
|
earlier version of Opus 52 #2 |
|
Hess 145 |
|
|
|
Song in E major: "Opferlied" (Sacrificial
Song); "Die Flamme lodert" |
1796 |
|
words: Friedrich von Matthisson; earlier version
of WoO 126; 5 arrangements over 30 yrs; also see
Opus 121b & Hess 91 |
|
Hess 146 |
|
|
|
Song: "Der freie Mann" |
1792 - 1793 |
|
words: Pfeffel; another, probably earlier version
of WoO 117 |
|
Hess 147 |
|
|
|
Song: "Der Kuss" |
1798 |
|
first version of Opus 128 |
|
Hess 148 |
|
|
WoO 131 |
Sketch for Solo Voice(s) & Instrument(s)
in D minor: "Erlkönig" "Wer
reitet so spat durch Nacht und Wind?"; authorship:
unfinished |
1794 - 1796 |
|
words: Goethe |
|
Hess 149 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketches for a Song "Rastlose Liebe";
authorship: unfinished |
1796 - 1810 |
|
words: Goethe |
|
Hess 150 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketch for a Song "Heidenröslein";
authorship: unfinished |
1793 - 1796 |
|
words: Goethe |
|
Hess 151 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s)
in D Major: sketch for a Song "Traute Henriette";
authorship: unfinished |
1792 - 1793 |
|
words: Anonymous |
|
Hess 152 |
|
|
WoO 158 #1 |
Folksong Setting in A major: "Adieu, my
lov’d harp" (Irish) WoO 158b; #1 of
7 British folk songs |
1813 |
|
words: Moore |
|
Hess 153 |
|
|
WoO 158 #2 |
Folksong Setting in E flat major: "Castle
O’Neill" (Irish), without words, WoO
158b; #2 of 7 British folk songs |
1813 |
|
|
|
Hess 154 |
|
|
WoO 158 #3 |
Folksong Setting in F major: "Oh ono chri!"
(Scottish) "O was not I a weary wight"
WoO 158b; #3 of 7 British folk songs |
1817 |
|
|
|
Hess 155 |
|
|
WoO 158 #4 |
Folksong Setting: "Red gleams the sun on
yon hill tap" (Scottish) WoO 158b; #4 of
7 British folk songs |
1817 |
|
|
|
Hess 156 |
|
|
WoO 158 #1 |
Folksong Setting: "Ridder Stigs Runer"
(Danish) "Ridder nah’n dem Konigsschloss"WoO
158a; #1 of 23 continental folk songs |
1817 |
|
|
|
Hess 157 |
|
|
WoO 158 #5 |
Folksong Setting in G major: "Erin! O Erin!"
(Scottish-Irish) "Like the bride lamp that
lay" WoO 158b; #5 of 7 British folk songs |
1815 |
|
|
|
Hess 158 |
|
|
WoO 158 #11 |
Folksong Setting: "Yo no quiero embarcarme"
(Iberian) WoO 158a; #11 of 23 continental folk
songs |
1816 |
|
|
|
Hess 159 |
|
|
WoO 158 #12 |
Folksong Setting: "Seus lindos olhos"
(Portuguese) WoO 158a; #12 of 23 continental folk
songs |
1816 |
|
|
|
Hess 160 |
|
|
WoO 158 #13 |
Folksong Setting: "Vo lesocke komarockov
mnogo urodilos" (Im Walde sind viele Mücklein
geboren) (Russian) WoO 158a; #13 of 23 continental
folk songs |
1816 |
|
|
|
Hess 161 |
|
|
WoO 158 #14 |
Folksong Setting: "Akh, recen’ki,
recen’ki" (Ach Bächlein, Bächlein,
kühle Wasser) (Russian) WoO 158a; #14 of
23 continental folk songs |
1816 |
|
|
|
Hess 162 |
|
|
WoO 158 #15 |
Folksong Setting: "Kak Posli nasi podruzki"
(As They Went) (Unsere Mädchen gingen in
den Wald) (Russian) WoO 158a; #15 of 23 continental
folk songs |
1816 |
|
|
|
Hess 163 |
|
|
WoO 158 #19 |
Folksong Setting: "Una paloma blanca"
(Spanish Bolero a Solo) WoO 158a; #19 of 23 continental
folk songs |
1816 |
|
|
|
Hess 164 |
|
|
WoO 158 #20 |
Folksong Setting: "Como la mariposa soy"
(Spanish Bolero a due) WoO 158a; #20 of 23 continental
folk songs |
1816 |
|
Hess 207 is the first version of the coda |
|
Hess 165 |
|
|
WoO 158 #21 |
Folksong Setting: "Tiranilla Española"
(Spanish); "La tiranna se embarca" WoO
158a; #21 of 23 continental folk songs |
1816 |
|
|
|
Hess 166 |
|
|
WoO 158 #1 |
Folksong Setting in E minor: "When my Hero
in court appears" WoO 158c; #1 of 6 assorted
folk songs |
1817 |
|
words: John Gay |
|
Hess 167 |
|
|
WoO 158 #2 |
Folksong Setting in B flat major: "Air
de Colin" from Rousseau’s "Le Devin
du Village"; "Non, non, Colette n’est
point trompeuse" WoO 158c; #2 of 6 assorted
folk songs |
1817 |
|
words: Rousseau |
|
Hess 168 |
|
|
WoO 158 |
Folksong Setting in F major: "Air Français"
(French) WoO 158d |
1817 |
|
no text or title |
|
Hess 169 |
|
|
WoO 158 #3 |
Folksong Setting in B major: "Mark yonder
pomp of costly fashion" (Scottish) WoO 158c;
#3 of 6 assorted folk songs |
1820 |
|
words: Robert Burns |
|
Hess 170 |
|
|
WoO 158 #6 |
Folksong Setting in A minor: "O Mary ye’s
be clad in silk" (Scottish) WoO 158b; #6
of 7 British folk songs |
1815 |
|
|
|
Hess 171 |
|
|
WoO 158 #18 |
Folksong Setting: "An ä Bergli bin
i gesässe" (Swiss) WoO 158a; #18 of
23 continental folk songs |
1816 |
|
|
|
Hess 172 |
|
|
WoO 158 #2 |
Folksong Setting: "Horch auf, mein Liebchen"
(German) WoO 158a; #2 of 23 continental folk songs |
1816 |
|
|
|
Hess 173 |
|
|
WoO 158 #3 |
Folksong Setting: "Wegen meiner blieb d’Fräula"
(German) WoO 158a; #3 of 23 continental folk songs |
1816 |
|
|
|
Hess 174 |
|
|
WoO 158 #4 |
Folksong Setting: "Wann i in der Früh
aufsteh" (Tyrolean) WoO 158a; #4 of 23 continental
folk songs |
1816 |
|
|
|
Hess 175 |
|
|
WoO 158 #4 |
Folksong Setting in A major: "Bonnie wee
thing" (Scottish) for 3 voices and piano
WoO 158c; #4 of 6 assorted folk songs |
1820 |
|
words: Robert Burns |
|
Hess 176 |
|
|
WoO 158 #5 |
Folksong Setting in B flat major: "From
thee, Eliza, I must go" (Scottish) for 3
voices and piano trio WoO 158c; #5 of 6 assorted
folk songs |
1818 |
|
words: Robert Burns |
|
Hess 177 |
|
|
WoO 158 #16 |
Folksong Setting: "Schöne Minka, ich
muß scheiden" (Ukrainian-Cossack) WoO
158a; #16 of 23 continental folk songs |
1816 |
|
variations on this air: Op 107 #7 |
|
Hess 178 |
|
|
|
Folksong Setting: ‘"Tis sunshine at
last" (Irish) |
1815 |
|
duet setting of WoO 153 #13 |
|
Hess 179 |
|
|
WoO 158 #6 |
Folksong Setting in E minor: Untitled (Scottish)
without words, WoO 158c; #6 of 6 assorted folk
songs |
1810 |
|
|
|
Hess 180 |
|
|
WoO 158 #7 |
Folksong Setting in G minor: "Lament for
Owen Roe O’Neill" (Irish) without words,
WoO 158b; #7 of 7 British folk songs |
1810 |
|
|
|
Hess 181 |
|
|
WoO 158 #23 |
Folksong Setting: "Da brava, Catina"
(Venetian) WoO 158a; #23 of 23 continental folk
songs |
1816 |
|
|
|
Hess 182 |
|
|
WoO 158 #5 |
Folksong Setting: "Teppichkrämer-Lied";
"I bin a Tyroler Bua" (Tyrolean) WoO
158a; #5 of 23 continental folk songs |
1816 |
|
variations on this air: Op 107 #1 |
|
Hess 183 |
|
|
WoO 158 #6 |
Folksong Setting: "A Madel, ja a Madel"
(Tyrolean) WoO 158a; #6 of 23 continental folk
songs |
1816 |
|
variations on this air: Op 107 #5 |
|
Hess 184 |
|
|
WoO 158 #9 |
Folksong Setting: "Oj, oj upilem sie w
karczmie" (Polish) WoO 158a; #9 of 23 continental
folk songs |
1816 |
|
|
|
Hess 185 |
|
|
WoO 158 #10 |
Folksong Setting: "Poszla baba po popiol"
(Polish) WoO 158a; #10 of 23 continental folk
songs |
1816 |
|
|
|
Hess 186 |
|
|
WoO 158 #17 |
Folksong Setting: "Lilla Carl", Vaggvisa
(Swedish lullaby) WoO 158a; #17 of 23 continental
folk songs |
1817 |
|
words: C M Bellmann |
|
Hess 187 |
|
|
WoO 158 #7 |
Folksong Setting: "Wer solche Buema afipackt"
(Tyrolean) WoO 158a; #7 of 23 continental folk
songs |
1817 |
|
|
|
Hess 188 |
|
|
WoO 158 #22 |
Folksong Setting: "Édes kinos emlékezet",
"Magyar Szüretötö Enek"
(Hungarian grape harvest song) WoO 158a; #22 of
23 continental folk songs |
1817 |
|
|
|
Hess 189 |
|
|
WoO 158 #8 |
Folksong Setting: "Ih mag di nit nehma,
du töppeter Hecht" (Tyrolean) WoO 158a;
#8 of 23 continental folk songs |
1817 |
|
|
|
Hess 190 |
|
|
|
Folksong Setting in F major: (Irish) |
|
|
unknown; Hess later withdrew it from the catalog |
|
Hess 190 |
|
|
|
Draft for Piano in D major: "Cupid’s
Kindness", (Welsh) "Dear brother" |
|
|
completed draft of piano version of WoO 155
#21 |
|
Hess 191 |
|
|
|
Folksong Setting in G minor: "The Vale
of Clwyd" (Welsh) "Think not I’ll
leave" |
1810 |
|
early version of WoO 155 #19, for voice &
piano |
|
Hess 192 |
|
|
|
Folksong Setting: "On the massacre of Glencoe"
(Irish) "O! tell me, harper" |
1813 |
|
words: Sir Walter Scott; replacement setting
for WoO 152 #5 |
|
Hess 193 |
|
|
|
Folksong Setting: "Farewell bliss and farewell
Nancy" (Irish) |
1810 |
|
early version of codas to WoO 152 #20 |
|
Hess 194 |
|
|
|
Folksong Setting: "I dream’d I lay
where flow’rs were springing" (Irish) |
1810 |
|
words: Robert Burns; original setting of WoO
153 #5 |
|
Hess 195 |
|
|
|
Folksong Setting: "When far from the home"
(Irish) |
1813 |
|
words: David Thomson; alternative setting for
WoO 153 #11 |
|
Hess 196 |
|
|
|
Folksong Setting: "I’ll praise the
saints with early song" (Irish) |
1810 |
|
words: William Smyth; original setting of WoO
153 #12 |
|
Hess 197 |
|
|
|
Folksong Setting: "‘Tis but in vain,
for nothing thrives" (Irish) |
1810 |
|
words: William Smyth; original setting of WoO
153 #15 |
|
Hess 198 |
|
|
|
Folksong Setting: "O would I were but that
sweet linnet!"; air: "The pretty girl
milking the cows" (Irish) |
1812 |
|
words: William Smyth; original setting of WoO
154 #9 |
|
Hess 199 |
|
|
|
Folksong Setting: "The Soldier in a Foreign
Land", "The piper who sat on his low
mossy seat", air: "The Brown Maid"
(Irish) |
|
|
words: Joanna Baillie; other version of WoO
154 #11 |
|
Hess 200 |
|
|
|
Folksong Setting: "The Maid of Isla"
(Scottish) |
1816 |
|
earlier version of Opus 108 #4 |
|
Hess 201 |
|
|
|
Folksong Setting: "Bonnie Laddie, Highland
Laddie" (Scottish) |
1816 - 1818 |
|
other version of violin part of Opus 108 #7 |
|
Hess 202 |
|
|
|
Folksong Setting: "O! thou art the lad
of my heart, Willy" (Scottish) |
1815 |
|
first version of Opus 108 #11 |
|
Hess 203 |
|
|
|
Folksong Setting: "Faithfu’ Johnie"
(Scottish) "When will you come again" |
1810 |
|
words: Anne Grant; original setting of Opus
108 #20 |
|
Hess 204 |
|
|
|
Folksong Setting: "O let the night my blushes
hide" (Welsh) |
1809 |
|
original version of WoO 155 #7 |
|
Hess 205 |
|
|
|
Folksong Setting: "The Dream" (Welsh) |
1810 |
|
another version of WoO 155 #14 |
|
Hess 206 |
|
|
|
Folksong Setting: "To the Blackbird"
(Welsh) "Sweet warbler of a strain divine" |
1810 |
|
words: David ap Gwillim; original setting of
WoO 155 #20 |
|
Hess 207 |
|
|
|
Folksong Setting: "Como la mariposa soy"
(Spanish Bolero a due) |
1816 |
|
first version of coda to WoO 158a #20 (Hess
164) |
|
Hess 208 |
|
|
WoO 99 #3.1 |
Duet: "Fra tutte le pene" (WoO 99/3a),
1 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Zenobia"; incorporating
Salieri’s corrections (Biamonti 142 is before
the corrections) |
|
Hess 209 |
|
|
WoO 99 #3.2 |
Trio for Solo Voice(s): "Fra tutte le pene"
(WoO 99/3b), 2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Zenobia"; incorporating
Salieri’s corrections (Hess 225 is before
the corrections) |
|
Hess 210 |
|
|
WoO 99 #3.3 |
Quartet for Solo Voice(s): "Fra tutte le
pene" (WoO 99/3c), 3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Zenobia"; incorporating
Salieri’s corrections (Hess 224 is before
the corrections) |
|
Hess 211 |
|
|
WoO 99 #1 |
Duet in B flat major: "Bei labbri, che
Amore" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate La gelosia" |
|
Hess 212 |
|
|
WoO 99 #6 |
Trio for Solo Voice(s) in G major: "Ma
tu tremi, o mio tesoro" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate La tempesta" |
|
Hess 213 |
|
|
WoO 99 #10.1 |
Quartet for Solo Voice(s) in G major: "Quella
cetra ah pur tu sei" (WoO 99/10a), 1 of 3
settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio |
|
Hess 214 |
|
|
WoO 99 #2 |
Trio for Solo Voice(s) in C major: "Chi
mai di questo core" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate Il ritorno" |
|
Hess 215 |
|
|
WoO 99 #11 |
Duet in D major: "Scrivo in te" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate Il nome" |
|
Hess 216 |
|
|
WoO 99 #9 |
Trio for Solo Voice(s) in E flat major: "Per
te d’amico aprile" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate Il nome" |
|
Hess 217 |
|
|
WoO 99 #7.1 |
Quartet for Solo Voice(s) in C major: "Nei
campi e nelle selve" (WoO 99/7a), 1 of 2
settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate XXVII" |
|
Hess 218 |
|
|
WoO 99 #10.2 |
Trio for Solo Voice(s) in A major: "Quella
cetra ah pur tu sei" (WoO 99/10b), 2 of 3
settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio |
|
Hess 219 |
|
|
WoO 99 #10.3 |
Quartet for Solo Voice(s) in F major: "Quella
cetra ah pur tu sei" (WoO 99/10c), 3 of 3
settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio |
|
Hess 220 |
|
|
WoO 99 #7.2 |
Quartet for Solo Voice(s) in C major: "Nei
campi e nelle selve" (WoO 99/7b), 2 of 2
settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio: "Cantate XXVII" |
|
Hess 221 |
|
|
WoO 99 #5.1 |
Quartet for Solo Voice(s) in B flat major: "Giura
il nocchier" (WoO 99/5a), 1 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Le gelosia" |
|
Hess 222 |
|
|
WoO 99 #4.1 |
Quartet for Solo Voice(s) in B flat major: "Già
la notte s’avvicina" (WoO 99/4a), 1
of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "La pesca" |
|
Hess 223 |
|
|
WoO 99 #4.2 |
Trio for Solo Voice(s) in C major: "Già
la notte s’avvicina" (WoO 99/4b), 2
of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "La pesca" |
|
Hess 224 |
|
|
WoO 99 #3.3 |
Quartet for Solo Voice(s): "Fra tutte le
pene" (WoO 99/3c), 3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Zenobia"; before
Salieri’s corrections (Hess 210 incorporates
the corrections) |
|
Hess 225 |
|
|
WoO 99 #3.2 |
Trio for Solo Voice(s) in E flat major: "Fra
tutte le pene" (WoO 99/3b), 2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Zenobia"; before
Salieri’s corrections (Hess 209 incorporates
the corrections) |
|
Hess 226 |
|
|
WoO 99 #12 |
Quartet for Solo Voice(s): "Silvio, amante
disperato" |
1801 - 1802 |
written for Antonio Salieri |
words: Metastasio "Cantate XXVII" |
|
Hess 227 |
|
|
WoO 99 #5.2 |
Trio for Solo Voice(s) in C major: "Giura
il nocchier" (WoO 99/5b), 2 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Le gelosia" |
|
Hess 228 |
|
|
|
Duet in C major: "Salvo tu vuoi lo sposo?" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Zenobia"; most
likely done at the same time as the WoO 99 works |
|
Hess 229 |
|
|
|
2-part Canon: "Languisco e moro" |
1803 |
written for Antonio Salieri |
most likely done at the same time as the WoO
99 works |
|
Hess 230 |
|
|
|
Quartet for Solo Voice(s) in C major: "Giura
il nocchier" |
1792 - 1794 |
written for Antonio Salieri |
first version of WoO 99 #5a; words: Metastasio
"Le gelosia" |
|
Hess 231 |
|
|
|
Duet in C major: "Sei mio ben" |
1801 - 1803 |
written for Antonio Salieri |
words: Metastasio "Cantate XXIV";
most likely done at the same time as the WoO 99
works |
|
Hess 232 |
|
|
|
Song in E flat major: "E pur fra le tempeste";
tenor melody |
1792 - 1795 |
written for Antonio Salieri |
words: Metastasio "La tempeste"; most
likely done at the same time as the WoO 99 works |
|
Hess 233 |
|
|
|
300 Exercises for Study: simple counterpoint
(2, 3 & 4 part) |
1793 |
|
written for Haydn |
|
Hess 234 |
|
|
|
125 Exercises for Study: strict counterpoint
(2, 3 & 4 part) |
1794 - 1795 |
|
written for Albrechtsberger |
|
Hess 235 |
|
|
|
26 Exercises for Study: free counterpoint (2,
3 & 4 part) |
1794 - 1795 |
|
written for Albrechtsberger |
|
Hess 236 #1 |
|
|
|
2-part Simple Fugue for Study in D minor: strict;
#1 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #2 |
|
|
|
2-part Simple Fugue for Study: strict; in E
phrygian; #2 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #3 |
|
|
|
2-part Simple Fugue for Study in F major: strict;
#3 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #4 |
|
|
|
2-part Simple Fugue for Study in B flat major:
strict; #4 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #5 |
|
|
|
2-part Simple Fugue for Study in D minor: strict;
#5 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #6 |
|
|
|
2-part Simple Fugue for Study in E minor: strict;
#6 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #7 |
|
|
|
2-part Simple Fugue for Study in F major: strict;
#7 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #8 |
|
|
|
2-part Simple Fugue for Study in B flat major:
strict; #8 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #9 |
|
|
|
2-part Simple Fugue for Study in C major: strict;
#9 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #10 |
|
|
|
2-part Simple Fugue for Study in E minor: strict;
#10 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #11 |
|
|
|
2-part Simple Fugue for Study in F major: strict;
#11 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 236 #12 |
|
|
|
2-part Simple Fugue for Study in G major: strict;
#12 of 18 fugues |
1794 - 1795 |
|
|
|
Hess 237 #1 |
|
|
|
3-part Simple Fugue for Study in G major: (strict);
#1 of 7 fugues |
1794 - 1795 |
|
|
|
Hess 237 #2 |
|
|
|
3-part Simple Fugue for Study in F major: (strict);
#2 of 7 fugues |
1794 - 1795 |
|
|
|
Hess 237 #3 |
|
|
|
3-part Simple Fugue for Study in E minor: (strict);
#3 of 7 fugues |
1794 - 1795 |
|
|
|
Hess 237 #4 |
|
|
|
3-part Simple Fugue for Study in D minor: (strict);
#4 of 7 fugues |
1794 - 1795 |
|
|
|
Hess 237 #5 |
|
|
|
3-part Simple Fugue for Study in B flat major:
(strict); #5 of 7 fugues |
1794 - 1795 |
|
|
|
Hess 238 #1 |
|
|
|
4-part Simple Fugue for Study in E minor: (strict);
#1 of 9 fugues |
1794 - 1795 |
|
|
|
Hess 238 #2 |
|
|
|
4-part Simple Fugue for Study in D minor: (strict);
#2 of 9 fugues |
1794 - 1795 |
|
|
|
Hess 238 #3 |
|
|
|
4-part Simple Fugue for Study in C major: (strict);
#3 of 9 fugues |
1794 - 1795 |
|
|
|
Hess 238 #4 |
|
|
|
4-part Simple Fugue for Study in A minor: (strict);
#4 of 9 fugues |
1794 - 1795 |
|
|
|
Hess 238 #5 |
|
|
|
4-part Simple Fugue for Study in B flat major:
(strict); #5 of 9 fugues |
1794 - 1795 |
|
|
|
Hess 238 #6 |
|
|
|
4-part Simple Fugue for Study in A minor: (strict);
#6 of 9 fugues |
1794 - 1795 |
|
|
|
Hess 239 #1 |
|
|
|
4-part Chorale Fugue for Study in F major: #1
of 3 fugues |
1794 - 1795 |
|
|
|
Hess 239 #2 |
|
|
|
4-part Chorale Fugue for Study in D minor: #2
of 3 fugues |
1794 - 1795 |
|
|
|
Hess 239 #3 |
|
|
|
4-part Chorale Fugue for Study in G major: #3
of 3 fugues |
1794 - 1795 |
|
|
|
Hess 240 |
|
|
|
4 Exercises for Study: double counterpoint of
the octave (2-voice) |
1794 - 1795 |
|
one fugue is separately cataloged as Hess 30 |
|
Hess 241 |
|
|
|
24 Exercises for Study: double counterpoint
of the octave and a third |
1794 - 1795 |
|
|
|
Hess 242 |
|
|
|
6 Exercises for Study: double counterpoint of
the octave plus a fifth |
1794 - 1795 |
|
|
|
Hess 243 #1 |
|
|
|
4-part Double Fugue for Study in C major: #1
of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
|
Hess 243 #2 |
|
|
|
4-part Double Fugue for Study in F major: #2
of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
|
Hess 243 #3 |
|
|
|
4-part Double Fugue for Study in C major: #3
of 5 fugues in double counterpoint |
1794 - 1795 |
|
part of Prelude & Fugue for String Quartet,
Hess 31 |
|
Hess 243 #4 |
|
|
|
4-part Double Fugue for Study in C major: #4
of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
|
Hess 243 #5 |
|
|
|
4-part Double Fugue for Study in D minor: #5
of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
|
Hess 244 #1 |
|
|
|
4-part Triple Fugue for Study in D minor: #1
of 2 fugues |
1794 - 1795 |
|
|
|
Hess 244 #2 |
|
|
|
4-part Triple Fugue for Study in F major: #2
of 2 fugues |
1794 - 1795 |
|
|
|
Hess 245 |
|
|
|
Fragment for String Quartet in D minor; authorship:
unfinished |
1794 |
|
fragment of a Fugue |
|
Hess 246 |
|
|
|
4-part Double Fugue for Chorus in F major: "Kyrie
eleison"; authorship: unfinished |
1794 - 1795 |
|
|
|
Hess 247 |
|
|
WoO 160 #1 |
3-part Canon in G major: for Three Unison Voices
(Allegretto) without Text |
1795 |
|
counterpoint study for Albrechtsberger |
|
Hess 248 |
|
|
WoO 160 #2 |
4-part Canon: for Four Unison Voices (Moderato)
without Text |
1795 |
|
counterpoint study for Albrechtsberger |
|
Hess 249 |
|
|
WoO 167 |
3-part Canon in C major: "Brauchle, Linke" |
1815 |
|
|
|
Hess 250 |
|
|
WoO 169 |
2-part Riddle Canon in C major: "Ich küße
Sie, drücke Sie an mein Herz" |
1816 |
written for Anna Milder-Hauptmann |
|
|
Hess 251 |
|
|
WoO 170 |
2-part Canon in C major: "Ars longa, vita
brevis" (first version) |
1816 |
written for Johann Nepomuk
Hummel |
words: Seneca; other versions are WoO 192 &
WoO 193 |
|
Hess 252 |
|
|
WoO 171 |
4-part Canon in G major: "Glück fehl’
dir vor allem!"; authorship: spurious |
1817 |
written for Anna Giannatasio
del Rio |
actually written by Michael Haydn |
|
Hess 253 |
|
|
WoO 173 |
2-part Riddle Canon in B flat major: "Hol’
euch der Teufel! B’hüt euch Gott!" |
1819 |
written for Sigmund Anton
Steiner |
|
|
Hess 254 |
|
|
|
Canon in G major: "Hol dich der Teufel"
(May the devil get you); authorship: unfinished |
1801 |
|
fragment; see WoO 173 |
|
Hess 255 |
|
|
WoO 175 |
4-part Riddle Canon: "Sankt Petrus war
ein Fels/ Bernardus war ein Sankt" |
1820 |
written for Carl Peters &
Carl Bernard |
|
|
Hess 256 |
|
|
|
Joke in A major: "Sankt Petrus ist ein
Fels" |
1820 |
|
fragment - refers to WoO 175 |
|
Hess 257 |
|
|
WoO 177 |
Canon in E major: "Bester Magistrat, Ihr
friert"; canon for 4 male voices & 2
double-basses |
1820 |
|
|
|
Hess 258 |
|
|
WoO 181 #2 |
4-part Canon in C major: "Gehabt euch wohl" |
1820 |
|
|
|
Hess 259 |
|
|
WoO 181 #3 |
3-part Canon in C major: "Tugend ist kein
leerer Name" |
1820 |
|
|
|
Hess 260 |
|
|
|
Canon: "Fettlümerl und Bankert haben
triumphirt" (Fat-lout and bastard have triumphed) |
1823 |
|
|
|
Hess 261 |
|
|
WoO 183 |
4-part Canon in F major: "Bester Herr Graf,
Sie sind ein Schaf" |
1823 |
written for Count Moritz Lichnowsky |
|
|
Hess 262 |
|
|
WoO 184 |
5-part Canon in G major: "Falstafferel,
lass dich sehen!" |
1823 |
written for Ignaz Schuppanzigh |
|
|
Hess 263 |
|
|
|
2-part Canon in E flat major: "Te solo
adoro" |
1824 |
written for Carlos Evasio
Soliva |
words: Pietro Metastasio; on same text as WoO
186 and Hess 264 |
|
Hess 264 |
|
|
|
2-part Canon: "Te solo adoro" |
1824 |
written for Carlos Evasio
Soliva |
words: Pietro Metastasio; on same text as WoO
186 and Hess 263 |
|
Hess 265 |
|
|
WoO 188 |
2-part Riddle Canon in B flat major: "Gott
ist eine feste Burg" |
1825 |
written for Oberst von Duterlohe |
|
|
Hess 266 |
|
|
WoO 189 |
4-part Canon in C major: "Doktor, sperrt
das Tor dem Tod" |
1825 |
written for Anton Braunhofer |
|
|
Hess 267 |
|
|
WoO 190 |
2-part Canon in C major: "Ich war hier,
Doktor, ich war hier" |
1825 |
written for Anton Braunhofer |
|
|
Hess 268 |
|
|
WoO 192 |
4-part Riddle Canon in F major: "Ars longa,
vita brevis" (second version) |
1825 |
written for Sir George Smart |
words: Seneca; other versions are WoO 170 &
WoO 193 |
|
Hess 269 |
|
|
WoO 193 |
Riddle Canon in C major: "Ars longa, vita
brevis" (third version) |
1825 |
|
words: Seneca; other versions are WoO 170 &
WoO 192 |
|
Hess 270 |
|
|
WoO 196 |
4-part Riddle Canon in F major: "Es muß
sein!" |
1826 |
written for Ignaz Dembscher |
|
|
Hess 271 |
|
|
WoO 197 |
5-part Canon in C major: "Das ist das Werk,
sorgt um das Geld!" |
1826 |
written for Karl Holz |
|
|
Hess 272 |
|
|
WoO 203 |
Riddle Canon in A major: "Das Schöne
zu dem Guten!", musical motto (2nd version) |
1825 |
written for Ludwig Rellstab |
Letter 1366b; other version is WoO 202 |
|
Hess 273 |
|
|
WoO 35 |
Canon in A major: for 2 violins or for 2 cellos;
for Samson de Boer |
1825 |
written for Samson de Boer |
not for Otto de Boer as some sources claim |
|
Hess 274 |
|
|
|
2-part Canon in G major: without text |
1803 |
|
|
|
Hess 275 |
|
|
|
2-part Canon in A flat major: without text |
1803 |
|
Hess 328 is a duplicate number for the same
piece |
|
Hess 276 |
|
|
|
3-part Canon: "Herr Graf, ich komme zu
fragen" |
1797 |
|
|
|
Hess 277 |
|
|
|
2-part Canon in F major: "Esel aller Esel,
hi ha"; 2-part canon w/ free additional part |
1826 |
|
|
|
Hess 278 |
|
|
WoO 100 |
Joke in G major: "Lob auf den Dicken"
"Schuppanzigh ist ein Lump" for tenor
& 2 basses & chorus |
1801 |
written for Ignaz Schuppanzigh |
words: Beethoven? |
|
Hess 279 |
|
|
WoO 101 |
Joke in E flat major: "Graf, liebster Graf,
liebstes Schaf" for 3 voices |
1802 |
written for Nikolaus Zmeskall |
words: Beethoven |
|
Hess 280 |
|
|
WoO 198 |
2-part Riddle Canon in C major: "Wir irren
allesamt" |
1826 |
written for Karl Holz |
|
|
Hess 281 |
|
|
WoO 199 |
Joke in D major: "Ich bin der Herr von
zu" (I am the man for you) |
1814 |
written for Archduke Rudolph
of Austria |
joke intended for the Archduke |
|
Hess 282 |
|
|
WoO 201 |
Joke in C major: "Ich bin bereit! Amen"
(I am ready), beginning of a double fugue |
1818 |
written for Vincent Hauschka |
Letter 903 |
|
Hess 283 |
|
|
WoO 202 |
Riddle Canon in F major: "Das Schöne
zum Guten!", musical motto (1st version) |
1823 |
written for Marie Pachler-Koschak |
other version is WoO 203 |
|
Hess 284 |
|
|
WoO 204 |
Joke in D minor: "Holz, Holz, geigt die
Quartette so, als ob sie Kraut eintreten"
(Holz, Holz, you play the quartets as if you were
chopping cabbage) |
1825 |
|
in Conversation Book of September 1825 |
|
Hess 285 |
|
|
|
Joke in E flat major: "Tobias" |
1825 |
written for Tobias Haslinger |
found among the sketches for the String Quartet
Opus 127 |
|
Hess 286 |
|
|
WoO 205 #1 |
Musical greetings for Solo Voice(s) in C major:
"Baron, Baron, Baron" (WoO 205a), #1
of 10 musical greetings |
1798 |
written for Nikolaus Zmeskall |
Letter 29 |
|
Hess 287 |
|
|
WoO 205 #2 |
Musical greetings for Solo Voice(s): "Allein,
allein, allein, jedoch. Silentium!!" (WoO
205b), #2 of 10 musical greetings |
1814 |
written for Count Moritz Lichnowsky |
Letter 498 |
|
Hess 288 |
|
|
WoO 205 #3 |
Musical greetings for Solo Voice(s): "O
Adjutant" (WoO 205c), #3 of 10 musical greetings |
1817 |
written for Tobias Haslinger |
Letter 742 |
|
Hess 289 |
|
|
WoO 205 #4 |
Musical greetings for Solo Voice(s) in C major:
"Wo? Wo?" (WoO 205d), #4 of 10 musical
greetings |
1817 |
written for Nanette Streicher |
Letter 789 or 792 |
|
Hess 290 |
|
|
WoO 205 #5 |
Musical greetings for Solo Voice(s) in D major:
"Erfüllung, Erfüllung" (WoO
205e), #5 of 10 musical greetings |
1819 |
written for Archduke Rudolph
of Austria |
Letter 948 |
|
Hess 291 |
|
|
WoO 205 #6 |
Musical greetings for Solo Voice(s) in F major:
"Scheut euch nicht" (WoO 205f), #6 of
10 musical greetings |
1822 |
written for George Friedrich
Treitschke |
Letter 1068 |
|
Hess 292 |
|
|
WoO 205 #7 |
Musical greetings for Solo Voice(s) in E major:
"Tobias! Paternostergäßler. Tobias!
Paternostergäßlerischer, Bierhäuslerischer
musikalischer Philister!" (WoO 205g), #7
of 10 musical greetings |
1824 |
written for Tobias Haslinger |
Letter 1312 |
|
Hess 293 |
|
|
WoO 205 #8 |
Musical greetings for Solo Voice(s) in D major:
"Tobias Tobias" (WoO 205h), #8 of 10
musical greetings |
1825 |
written for Tobias Haslinger |
Letter 1365 |
|
Hess 294 |
|
|
WoO 205 #9 |
Musical greetings for Solo Voice(s) in C major:
"Bester To----(bias)" (WoO 205i), #9
of 10 musical greetings |
1826 |
written for Tobias Haslinger |
Letter 1534 |
|
Hess 295 |
|
|
WoO 205 #10 |
Musical greetings for Solo Voice(s) in C major:
"Erster aller Tobiasse" (WoO 205k),
#10 of 10 musical greetings |
1826 |
written for Tobias Haslinger |
Letter 1536 |
|
Hess 296 |
|
|
|
Little Cadenza for Instrument(s) |
1822 |
written for Léon de Saint-Lubin |
|
|
Hess 297 |
|
|
|
Adagio for Horns in F major |
1815 |
|
occurs within a series of studies in instrumentation |
|
Hess 298 |
|
|
|
Sketch in C minor: sketch for a movement of
a Symphony; authorship: unfinished |
1791 - 1793 |
|
theme used in the Piano Quartet WoO 36 #1 |
|
Hess 299 |
|
|
|
Sketch for Instrument(s) in A major: sketch
for a Canon "Bester Magistrat" ; authorship:
unfinished |
1820 |
|
same "Magistrat" as WoO 177 |
|
Hess 300 |
|
|
|
Sketch for Instrument(s): sketch for a Canon
"Liebe mich, werter Weissenbach"; authorship:
reconstruction |
1819 - 1820 |
written for Alyos Weissenbach |
|
|
Hess 301 |
|
|
|
Sketch for Instrument(s): sketch for a Canon
"Wähner, es ist kein Wahn"; authorship:
unfinished |
1819 - 1820 |
|
|
|
Hess 302 |
|
|
|
Sketch for Instrument(s): sketch for a Canon
"Uns geht es kannibalisch wohl als wie fünfhundert
Säuen"; authorship: unfinished |
1825 |
|
sketch is found amongst the work on the Grosse
Fuge, Opus 133 |
|
Hess 303 |
|
|
|
Sketch for Instrument(s): sketch for a Canon
"Großen Dank für solche Gnade"
(Many thanks, many thanks, for such great mercy);
authorship: unfinished |
1823 |
|
found among the sketches for the Adagio from
the Ninth Symphony |
|
Hess 304 |
|
|
|
Sketch for Instrument(s) in C major: sketch
for a Canon "Ich blase das Fagott" (I
play the bassoon); authorship: unfinished |
|
|
not in G major as stated by Hess |
|
Hess 305 |
|
|
|
Sketch for Instrument(s) in D major: sketch
for a Canon "Geschlagen ist der Feind"
(the enemy has been beaten); authorship: unfinished |
1813 |
|
found amidst the sketches for "Wellington’s
Victory", opus 91 |
|
Hess 306 |
|
|
|
Canon: "Wie Silber die Rede" |
|
written for the family Giannatasio
del Rio |
lost |
|
Hess 307 |
|
|
|
Canon: "Ewig dein" |
|
|
|
|
Hess 308 |
|
|
|
Canon |
|
written for Friedrich Kuhlau |
unknown |
|
Hess 309 |
|
|
|
Canon |
|
written for Friedrich Kuhlau |
unknown |
|
Hess 310 |
|
|
|
Prelude for Organ in C Major |
|
|
|
|
Hess 311 |
|
|
|
Canon: "Grasmücke" |
|
|
|
|
Hess 312 |
|
|
|
4-part Canon: "Singen ist des Lebens Freude" |
|
|
|
|
Hess 313 |
|
|
|
Song: "Te solo adoro" |
1824 |
written for Carlos Evasio
Soliva |
It is not clear whether this is a fourth version
of the setting (see WoO 186, Hess 263 & Hess
264), or merely a confused reference to one of
the other three |
|
Hess 314 |
|
|
|
Funeral Cantata |
1781 |
|
for the death of the English ambassador George
Cressener |
|
Hess 315 |
|
|
|
Fugue for Instrument(s) |
|
|
unknown |
|
Hess 316 |
|
|
|
Quintet for Instrument(s) |
1793 |
|
unknown |
|
Hess 317 |
|
|
|
Cantata: "Europens Befreyungsstunde" |
1814 |
|
|
|
Hess 318 |
|
|
|
String Quintet; authorship: unfinished |
|
|
|
|
Hess 319 |
|
|
|
String Quintet |
1805 |
|
|
|
Hess 320 |
|
|
|
Andante for String Quartet in G major: sketches;
authorship: unfinished |
1815 |
|
|
|
Hess 321 |
|
|
|
Little Instrumental Melody for Piano & Violin
in B flat major |
1800 |
|
|
|
Hess 322 |
|
|
|
Melody for Solo Voice(s) in E flat major: "Gott
allein ist unser Herr, er allein" |
1818 |
|
|
|
Hess 323 |
|
|
|
Melody for Solo Voice(s) in C major: "Leb
wohl, schöne Abendsonne" |
1818 |
|
|
|
Hess 324 |
|
|
|
Melody for Instrument(s) in C minor; authorship:
unfinished |
1802 |
|
|
|
Hess 325 |
|
|
|
Piece for Piano in D major |
1802 |
|
|
|
Hess 326 |
|
|
|
4-part Fugue for Piano in C major; authorship:
unfinished |
1800 - 1801 |
|
|
|
Hess 327 |
|
|
|
2 Little Melodies for Instrument(s) in A minor:
in A minor and C major |
1803 |
|
|
|
Hess 328 |
|
|
|
2-part Canon in A flat major |
1803 |
|
Hess 275 is a duplicate number for the same
piece; Hess withdrew this number |
|
Hess 329 |
|
|
|
Sketch for Unknown: sketch for "Tibi gratulor";
beginning of a composition for many voices; authorship:
unfinished |
1803 |
|
|
|
Hess 330 |
|
|
|
Sketch for Piano in C minor: sketches for a
March; authorship: unfinished |
1804 |
|
|
|
Hess 331 |
|
|
|
Minuet for Piano in B flat major; authorship:
unfinished |
1799 |
|
|
|
Hess 332 |
|
|
|
Pastorella for String Quartet in D major |
1799 |
|
|
|
Hess 333 |
|
|
|
Minuet-Scherzo for String Quartet in A major |
1799 |
|
|
|
Hess 334 |
|
|
|
Draft for String Quartet in A major: of a Presto
(Allegro); authorship: unfinished |
1799 |
|
|
|
Hess 335 |
|
|
|
2 Exercises for Instrument(s): on the Song "Gedenke
Mein" |
|
written for Archduke Rudolph
of Austria |
a homework assignment for the Archduke Rudolf;
also see WoO 200 |
Beethoven's
music - The Hess catalogue