|
Opus |
SubOp |
Name |
Midi
|
Mp3 |
Dates |
Dedicatee |
Notes |
More |
|
1 |
1 |
Piano Trio No. 1 in E flat major |
|
|
1792 - 1793 |
Prince Karl Lichnowsky |
|
|
|
1 |
2 |
Piano Trio No. 2 in G major |
|
|
1792 - 1794 |
Prince Karl Lichnowsky |
|
|
|
1 |
3 |
Piano Trio No. 3 in C minor: later arranged
for string quintet as Opus 104 |
|
|
1792 - 1794 |
Prince Karl Lichnowsky |
|
|
|
2 |
1 |
Piano Sonata No. 1 in F minor: second movement
uses material from the Piano Quartet WoO 36 #3 |
|
|
1793 - 1795 |
Franz Joseph Haydn |
|
|
|
2 |
2 |
Piano Sonata No. 2 in A major |
|
|
1794 - 1795 |
Franz Joseph Haydn |
|
|
|
2 |
3 |
Piano Sonata No. 3 in C major: first movement
uses material from the Piano Quartet WoO 36 #3 |
|
|
1794 - 1795 |
Franz Joseph Haydn |
|
|
|
3 |
|
String Trio in E flat major: an incomplete piano
trio arrangement exists as Hess 47; also Hess
25 may be an earlier version of the finale |
|
|
1794 |
|
|
|
|
4 |
|
String Quintet in E flat major: after the Octet
Opus 103 |
|
|
1795 |
|
|
|
|
5 |
1 |
Sonata No. 1 for Piano & Cello in F major |
|
|
1796 |
King Friedrich Wilhelm II
of Prussia |
|
|
|
5 |
2 |
Sonata No. 2 for Piano & Cello in G minor |
|
|
1796 |
King Friedrich Wilhelm II
of Prussia |
|
|
|
6 |
|
Sonata for Piano Duet in D major |
|
|
1796 - 1797 |
|
|
|
|
7 |
|
Piano Sonata No. 4 in E flat major |
|
|
1796 - 1797 |
Countess Barbara von Keglevics |
|
|
|
8 |
|
Serenade for String Trio in D major: (arranged
later for piano & viola Opus 42) |
|
|
1796 - 1797 |
|
|
|
|
9 |
1 |
String Trio in G major: Hess 28 is a second
Trio for the Scherzo |
|
|
1797 - 1798 |
Count Johann Georg Browne |
|
|
|
9 |
2 |
String Trio in D major |
|
|
1797 - 1798 |
Count Johann Georg Browne |
|
|
|
9 |
3 |
String Trio in C minor |
|
|
1797 - 1798 |
Count Johann Georg Browne |
|
|
|
10 |
1 |
Piano Sonata No. 5 in C minor: also see WoO
52, WoO 53 and Hess 69 |
|
|
1795 - 1797 |
Countess Anna Margarete Browne |
|
|
|
10 |
2 |
Piano Sonata No. 6 in F major |
|
|
1796 - 1797 |
Countess Anna Margarete Browne |
|
|
|
10 |
3 |
Piano Sonata No. 7 in D major |
|
|
1797 - 1798 |
Countess Anna Margarete Browne |
|
|
|
11 |
|
Trio for Piano, Clarinet or Violin, & Cello
in B flat major |
|
|
1797 - 1798 |
Countess Maria Wilhelmine
von Thun |
|
|
|
12 |
1 |
Sonata No. 1 for Piano & Violin in D major |
|
|
1797 - 1798 |
Antonio Salieri |
|
|
|
12 |
2 |
Sonata No. 2 for Piano & Violin in A major |
|
|
1797 - 1798 |
Antonio Salieri |
|
|
|
12 |
3 |
Sonata No. 3 for Piano & Violin in E flat
major |
|
|
1797 - 1798 |
Antonio Salieri |
|
|
|
13 |
|
Piano Sonata No. 8 in C minor: "Pathétique" |
|
|
1797 - 1798 |
Prince Karl Lichnowsky |
|
|
|
14 |
1 |
Piano Sonata No. 9 in E major: also arranged
for String Quartet Hess 34 |
|
|
1798 - 1799 |
Baroness Josephine von Braun |
|
|
|
14 |
2 |
Piano Sonata No. 10 in G major |
|
|
1799 |
Baroness Josephine von Braun |
|
|
|
15 |
|
Concerto No. 1 for Piano & Orchestra in
C major |
|
|
1795 - 1800 |
Princess Barbara Odescalchi
(neé Keglevics) |
|
|
|
16 |
|
Quintet for Piano, Oboe, Clarinet, Horn &
Bassoon in E flat major |
|
|
1796 - 1797 |
Prince Joseph Johann zu Schwarzenberg |
also arranged for piano quartet, Biamonti 131 |
|
|
16 |
|
Piano Quartet in E flat major |
|
|
1796 - 1797 |
Prince Joseph Johann zu Schwarzenberg |
also arranged for piano, oboe, clarinet, horn
& bassoon, Biamonti 130 |
|
|
17 |
|
Sonata for Piano & French Horn in F major |
|
|
1800 |
Baroness Josephine von Braun |
written with optional cello part |
|
|
18 |
1 |
String Quartet No. 1 in F major: Hess 32 is
an early version |
|
|
1798 - 1800 |
Prince Ferdinand Lobkowitz |
2nd mvmt: scene in burial vault of Romeo &
Juliet |
|
|
18 |
2 |
String Quartet No. 2 in G major: "Compliments
Quartet" |
|
|
1798 - 1800 |
Prince Ferdinand Lobkowitz |
|
|
|
18 |
3 |
String Quartet No. 3 in D major |
|
|
1798 - 1800 |
Prince Ferdinand Lobkowitz |
earliest of op 18 |
|
|
18 |
4 |
String Quartet No. 4 in C minor |
|
|
1798 - 1800 |
Prince Ferdinand Lobkowitz |
|
|
|
18 |
5 |
String Quartet No. 5 in A major |
|
|
1798 - 1800 |
Prince Ferdinand Lobkowitz |
|
|
|
18 |
6 |
String Quartet No. 6 in B flat major |
|
|
1798 - 1800 |
Prince Ferdinand Lobkowitz |
|
|
|
19 |
|
Concerto No. 2 for Piano & Orchestra in
B flat major |
|
|
1788 - 1801 |
Carl Nicklas Edler von Nickelsberg |
|
|
|
20 |
|
Septet for Clarinet, Bassoon, Horn, Violin,
Viola, Cello, Bass in E flat major: also arranged
for piano trio Opus 38 |
|
|
1799 |
Empress Maria Theresia of
Austria |
the theme of the Menuetto was taken from the
Piano Sonatta in G Opus 49 #2 |
|
|
21 |
|
Symphony No. 1 in C major |
|
|
1799 - 1800 |
Baron Gottfried van Swieten |
|
|
|
22 |
|
Piano Sonata No. 11 in B flat major |
|
|
1800 |
Count Johann Georg Browne |
|
|
|
23 |
|
Sonata No. 4 for Piano & Violin in A minor |
|
|
1800 - 1801 |
Count Moritz von Fries |
|
|
|
24 |
|
Sonata No. 5 for Piano & Violin in F major:
"Frühlings - Sonate" (Spring) |
|
|
1800 - 1801 |
Count Moritz von Fries |
|
|
|
25 |
|
Serenade for Flute, Violin & Viola in D
major: (transcribed later for Flute & Piano
Opus 41) |
|
|
1801 |
|
|
|
|
26 |
|
Piano Sonata No. 12 in A flat major: "Funeral
March"; third movement arranged for "Leonore Prohaska"
WoO 96 |
|
|
1800 - 1801 |
Prince Karl Lichnowsky |
|
|
|
27 |
1 |
Piano Sonata No. 13 in E flat major: "Sonata
quasi una Fantasia" |
|
|
1801 |
Princess von Leichtenstein |
|
|
|
27 |
2 |
Piano Sonata No. 14 in C sharp minor: "Mondschein-Sonate"
(Moonlight); "Sonata quasi una Fantasia" |
|
|
1800 - 1801 |
Countess Giulietta Guicciardi |
named by Ludwig Rellstab |
|
|
28 |
|
Piano Sonata No. 15 in D major: "Pastorale" |
|
|
1801 |
Joseph Sonnenfels |
|
|
|
29 |
|
String Quintet in C major |
|
|
1801 |
Count Moritz von Fries |
|
|
|
30 |
1 |
Sonata No. 6 for Piano & Violin in A major |
|
|
1801 - 1802 |
Czar Alexander I of Russia |
|
|
|
30 |
2 |
Sonata No. 7 for Piano & Violin in C minor |
|
|
1801 - 1802 |
Czar Alexander I of Russia |
|
|
|
30 |
3 |
Sonata No. 8 for Piano & Violin in G major |
|
|
1801 - 1802 |
Czar Alexander I of Russia |
|
|
|
31 |
1 |
Piano Sonata No. 16 in G major |
|
|
1802 |
|
|
|
|
31 |
2 |
Piano Sonata No. 17 in D minor: "Sturm-Sonate"
(Tempest) |
|
|
1802 |
|
|
|
|
31 |
3 |
Piano Sonata No. 18 in E flat major |
|
|
1802 |
|
|
|
|
32 |
|
Song: "An die Hoffnung"; from Tiedge’s
"Urania"; "Die du so gern in heilgen Nächten
feierst" (1st setting); 2nd setting is Opus 94 |
|
|
1804 - 1805 |
Countess Josephine Deym (née
Brunsvik) |
words: Tiedge |
|
|
33 |
1 |
Bagatelle for Piano in E flat major: Andante
grazioso quasi allegretto; #1 of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
33 |
2 |
Bagatelle for Piano in C major: Scherzo; #2
of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
33 |
3 |
Bagatelle for Piano in F major: Allegretto;
#3 of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
33 |
4 |
Bagatelle for Piano in A major: Andante; #4
of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
33 |
5 |
Bagatelle for Piano in C major: Allegro ma non
troppo; #5 of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
33 |
6 |
Bagatelle for Piano in D major: Allegretto quasi
andante; #6 of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
33 |
7 |
Bagatelle for Piano in A flat major: Presto;
#7 of 7 Bagatelles |
|
|
1801 - 1802 |
|
|
|
|
34 |
|
6 Variations for Piano in F major: on an original
theme |
|
|
1802 |
Princess Barbara Odescalchi
(neé Keglevics) |
|
|
|
35 |
|
15 Variations with Fugue for Piano in E flat
major: "Eroica-Variationen"; on a theme from the
ballet "Die Geschopfe des Prometheus" |
|
|
1802 |
Prince Karl Lichnowsky |
|
 |
|
36 |
|
Symphony No. 2 in D major |
|
|
1801 - 1802 |
Prince Karl Lichnowsky |
Also: Piano Trio in D major: after the Symphony No. 2 in D |
|
|
37 |
|
Concerto No. 3 for Piano & Orchestra in
C minor |
.
|
|
1800 - 1803 |
Prince Louis Ferdinand of
Prussia |
also see Gardi 5 |
|
|
38 |
|
Trio for Piano, Clarinet or Violin, & Cello
in E flat major: after the Septet Opus 20 |
|
|
1802 - 1803 |
Johann A. Schmidt |
|
|
|
39 |
1 |
Prelude for Piano or Organ in C major: through
the 12 major keys |
|
|
1789 |
|
|
|
|
39 |
2 |
Prelude for Piano or Organ in C major: through
the 12 major keys |
|
|
1789 |
|
|
|
|
40 |
|
Romance No. 1 for Violin & Orchestra in
G major |
|
|
1800 - 1802 |
|
|
|
|
41 |
|
Serenade for Piano & Flute in D major: after
the Serenade Opus 25; arranged by Franz Xaver
Kleinheinz |
|
|
1803 |
|
Beethoven corrected & approved the arrangement |
|
|
42 |
|
Notturno for Piano & Viola in D major: after
Opus 8; arranged by Franz Xaver Kleinheinz |
|
|
1803 - 1804 |
|
|
|
|
43 |
|
Ballet Music and overture: "Die Geschöpfe des Prometheus"
(The Creatures of Prometheus); also arranged for
piano Hess 90 |
.
|
|
1800 - 1801 |
Princess Christiane Lichnowsky
(née Thun) |
ballet by Salvatore Viganò |
|
|
44 |
|
14 Variations for Piano Trio in E flat major:
on a theme from Dittersdorf’s "Das rote Käppchen" |
|
|
1792 |
|
sketched in 1792; date of composition unknown |
|
|
45 |
1 |
March for Piano Duet in C major |
|
|
1803 |
Princess Maria Esterházy |
|
|
|
45 |
2 |
March for Piano Duet in E flat major |
|
|
1803 |
Princess Maria Esterházy |
|
|
|
45 |
3 |
March for Piano Duet in D major |
|
|
1803 |
Princess Maria Esterházy |
|
|
|
46 |
|
Song: "Adelaide"; "Einsam wandelt dein Freund" |
|
|
1794 - 1795 |
Friedrich von Matthisson |
poem by Matthison |
|
|
47 |
|
Sonata No. 9 for Piano & Violin in A major:
"Kreutzer - Sonate" |
|
|
1802 - 1803 |
Rodolphe Kreutzer |
original dedicatee was George Bridgetower |
|
|
48 |
1 |
Song: "Bitten" (Prayer); "Gott, deine Güte
reicht so weit" |
|
|
1801 - 1802 |
Count Johann Georg Browne |
words: Christian Fürchtegott Gellert |
|
|
48 |
2 |
Song: "Die Liebe des Nächsten" (Love of
my neighbor); "So jemand spricht: Ich liebe Gott!" |
|
|
1801 - 1802 |
Count Johann Georg Browne |
words: Christian Fürchtegott Gellert |
|
|
48 |
3 |
Song: "Vom Tode" (Of Death); "Meine Lebenszeit
verstreicht" |
|
|
1801 - 1802 |
Count Johann Georg Browne |
words: Christian Fürchtegott Gellert |
|
|
48 |
4 |
Song: "Die Ehre Gottes aus der Natur" (God’s
Glory told in Nature); "Die Himmel rühmen
des Ewigen Ehre" |
|
|
1801 - 1802 |
Count Johann Georg Browne |
words: Christian Fürchtegott Gellert |
|
|
48 |
5 |
Song: "Gottes Macht und Vorsehung" (God’s
Might and Providence); "Gott ist mein Leid!" |
|
|
1801 - 1802 |
Count Johann Georg Browne |
words: Christian Fürchtegott Gellert |
|
|
48 |
6 |
Song: "Bußlied" (Song of Repentance); "An
dir allein, an dir hab ich gesündigt" |
|
|
1801 - 1802 |
Count Johann Georg Browne |
words: Christian Fürchtegott Gellert |
|
|
49 |
1 |
Easy Piano Sonata No. 19 in G minor |
|
|
1797 |
|
|
|
|
49 |
2 |
Easy Piano Sonata No. 20 in G major |
|
|
1795 - 1796 |
|
|
|
|
50 |
|
Romance No. 2 for Violin & Orchestra in
F major |
|
|
1798 |
|
|
|
|
51 |
1 |
Rondo for Piano in C major |
|
|
1796 - 1797 |
|
|
|
|
51 |
2 |
Rondo for Piano in G major |
|
|
1798 |
Countess Henriette Lichnowsky |
|
|
|
52 |
1 |
Song: "Urians Reise um die Welt"; "Wenn jemand
eine Reise tut" |
|
|
1785 - 1793 |
|
words: Matthias Claudius; most of the songs
were written in the 1790s, but they were probably
revised shortly before publication |
|
|
52 |
2 |
Song: "Feuerfarb’"; "Ich weiß eine
Farbe" |
|
|
1785 - 1793 |
|
words: Sophie Mereau; most of the songs were
written in the 1790s, but they were probably revised
shortly before publication |
|
|
52 |
3 |
Song: "Das Liedchen von der Ruhe" (The Song
of Rest); "Im Arm der Liebe ruht sich’s wohl" |
|
|
1785 - 1793 |
|
words: Ueltzen; most of the songs were written
in the 1790s, but they were probably revised shortly
before publication |
|
|
52 |
4 |
Song: "Maigesang (Mailied)" (Maysong); "Wie
herrlich leuchtet mir dir Natur"
|
|
|
1785 - 1793 |
|
words: Goethe; most of the songs were written
in the 1790s, but they were probably revised shortly
before publication |
|
|
52 |
5 |
Song: "Mollys Abschied"; "Lebe wohl, du Mann" |
|
|
1785 - 1793 |
|
words: G A Bürger; most of the songs were
written in the 1790s, but they were probably revised
shortly before publication |
|
|
52 |
6 |
Song: "Die Liebe" (Love); "Ohne Liebe lebe wer
da kann" |
|
|
1785 - 1793 |
|
words: Lessing; most of the songs were written
in the 1790s, but they were probably revised shortly
before publication |
|
|
52 |
7 |
Song: "Marmotte"; "Ich komme schon durch manches
Land" |
|
|
1785 - 1793 |
|
words: Goethe; most of the songs were written
in the 1790s, but they were probably revised shortly
before publication |
|
|
52 |
8 |
Song: "Das Blümchen Wunderhold"; "Es blüht
ein Blümchen irgendwo" |
|
|
1785 - 1793 |
|
words: Bürger; most of the songs were written
in the 1790s, but they were probably revised shortly
before publication |
|
|
53 |
|
Piano Sonata No. 21 in C major: "Waldstein-Sonate";
"Aurora"; the "Andante favori" WoO 57 was originally
intended to be this work’s slow movement |
|
|
1803 - 1804 |
Count Ferdinand von Waldstein |
|
|
|
54 |
|
Piano Sonata No. 22 in F major |
|
|
1804 |
|
|
|
|
55 |
|
Symphony No. 3 in E flat major: "Eroica" |
|
|
1803 |
Prince Ferdinand Lobkowitz |
Napoleon Bonaparte was originally intended as
dedicatee; finale uses theme from "Die Geschöpfe
des Prometheus" Opus 43 |
|
|
56 |
|
Concerto for Piano, Violin, Cello & Orchestra
in C major: "Tripelkonzert" (Triple Concerto) |
.
|
|
1804 - 1805 |
Archduke Rudolph of Austria |
|
|
|
57 |
|
Piano Sonata No. 23 in F minor: "Appassionata" |
|
|
1804 - 1805 |
Count Anatol Brunsvik |
|
|
|
58 |
|
Concerto No. 4 for Piano & Orchestra in
G major |
|
|
1804 - 1807 |
Archduke Rudolph of Austria |
|
|
|
59 |
1 |
String Quartet No. 7 in F major: "Rasumowsky-Quartett"
(Razumovsky) #1 |
|
|
1806 |
Count Andreas Kirillovich
Razumovsky |
|
|
|
59 |
2 |
String Quartet No. 8 in E minor: "Rasumowsky-Quartett"
(Razumovsky) #2 |
|
|
1806 |
Count Andreas Kirillovich
Razumovsky |
|
|
|
59 |
3 |
String Quartet No. 9 in C major: "Rasumowsky-Quartett"
(Razumovsky) #3 |
|
|
1806 |
Count Andreas Kirillovich
Razumovsky |
|
|
|
60 |
|
Symphony No. 4 in B flat major |
|
|
1806 |
Count Franz von Oppersdorff |
|
|
|
61 |
|
Concerto for Violin & Orchestra in D major:
also arranged as a piano concerto (same Opus) |
|
|
1806 |
Stephan von Breuning |
|
|
|
61 |
|
Concerto for Piano & Orchestra in D major:
after the Violin Concerto (same Opus) |
|
|
1807 |
Julie von Breuning (née
Vering) |
new cadenzas composed for the 1st & 3rd
movements |
|
|
62 |
|
Overture: "Coriolan" |
|
|
1807 |
Heinrich Collin |
words by H J Collin |
|
|
63 |
|
Piano Trio in E flat major: after the string
quintet Opus 4; arranged by someone else, possibly
without Beethoven’s knowledge |
|
|
|
|
|
|
|
64 |
|
Sonata for Piano & Cello in E flat major:
after the string trio Opus 3; ; arranged by someone
else, possibly without Beethoven’s knowledge,
but some authorities believe it is probably genuine |
|
|
|
|
|
|
|
65 |
|
Scene & Aria: "Ah! Perfido"; for soprano
with orchestra |
|
|
1796 |
|
words: Pietro Metastasio (Scene); Anon. (Aria) |
|
|
66 |
|
12 Variations for Piano & Cello in F major:
on "Ein Mädchen oder Weibchen" from Mozart’s
"Zauberflöte" |
|
|
1796 |
|
|
|
|
67 |
|
Symphony No. 5 in C minor |
|
|
1803 - 1808 |
Prince Lobkowitz and Count
Rasumovsky |
|
|
|
68 |
|
Symphony No. 6 in F major: "Pastorale" (Pastoral) |
|
|
1807 - 1808 |
Prince Lobkowitz and Count
Rasumovsky |
|
|
|
69 |
|
Sonata No. 3 for Piano & Cello in A major |
|
|
1807 - 1808 |
Baron Ignaz von Gleichenstein |
"between tears & lamentation" - LvB |
|
|
70 |
1 |
Piano Trio in D major: "Geister-Trio" (Ghost) |
.
|
|
1808 |
Countess Anna Marie Erdödy |
|
|
|
70 |
2 |
Piano Trio in E flat major |
.
|
|
1808 |
Countess Anna Marie Erdödy |
|
|
|
71 |
|
Sextet for Clarinets, Horns & Bassoons in
E flat major |
|
|
1792 - 1796 |
|
|
|
|
72 |
|
Overture: "Leonore II" ; written for 1805 version
of "Leonore" |
|
|
1804 - 1805 |
|
|
|
|
72 |
1 |
Overture: "Leonore III", called Opus 72a; written
for 1806 version of "Leonore" |
|
|
1805 - 1806 |
|
|
|
|
72 |
2 |
Overture: "Fidelio" called Opus 72b |
|
|
1814 |
|
|
|
|
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 |
|
|
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 |
|
|
72 |
|
Opera: "Fidelio", Opera in 2 Acts,
with overture "Fidelio" |
|
|
1814 |
|
Libretto: Joseph Sonnleithner & Georg Friedrich
Treitschke (CD1) |
|
|
73 |
|
Concerto No. 5 for Piano & Orchestra in
E flat major: "Emperor" |
|
|
1808 - 1809 |
Archduke Rudolph of Austria |
|
|
|
74 |
|
String Quartet No. 10 in E flat major: "Harfenquartett"
(Harp) |
|
|
1809 |
Prince Ferdinand Lobkowitz |
|
|
|
75 |
1 |
Song: "Mignon" "Kennst du das Land" |
|
|
1809 |
Princess Caroline Kinsky |
words: Goethe |
|
|
75 |
2 |
Song: "Neue Liebe, neues Leben" (New love, new
life); "Herz, mein Herz, was soll das geben?"
(2nd setting); 1st setting is WoO 127 |
|
|
1809 |
Princess Caroline Kinsky |
words: Goethe |
|
|
75 |
3 |
Song: "Aus Goethes Faust" (Mephisto’s Song
of the Flea); "Es war einmal ein König" |
|
|
1809 |
Princess Caroline Kinsky |
words: Goethe; originally drafted c. 1792-3 |
|
|
75 |
4 |
Song: "Gretels Warnung"; "Mit Liebesblick und
Spiel" |
|
|
1809 |
Princess Caroline Kinsky |
words: G A von Halem |
|
|
75 |
5 |
Song: "An den fernen Geliebten"; "Einst wohnten
süsse Ruh’" |
|
|
1809 |
Princess Caroline Kinsky |
words: C L Reissig |
|
|
75 |
6 |
Song: "Der Zufriedene" (The Contented Man);
"Zwar schuf das Glück hienieden" |
|
|
1809 |
Princess Caroline Kinsky |
words: Christian Ludwig Reissig |
|
|
76 |
|
6 Variations for Piano in D major: on a original
theme, used again for "The Ruins of Athens" Opus
113 |
|
|
1809 |
Franz Oliva |
|
|
|
77 |
|
Fantasia for Piano in G minor |
|
|
1809 |
Count Anatol Brunsvik |
|
|
|
78 |
|
Piano Sonata No. 24 in F sharp major: "À
Thérèse" |
|
|
1809 |
Therese Brunsvik |
|
|
|
79 |
|
Piano Sonata No. 25 in G major |
|
|
1809 |
|
|
|
|
80 |
|
Fantasia for Piano, Chorus & Orchestra in
C minor: "Chorfantasie" (Choral Fantasy) |
.
|
|
1808 - 1809 |
King Maximilian Joseph of
Bavaria |
words: Christoph Kuffner? |
|
|
81 |
1 |
Piano Sonata No. 26 in E flat major: "Les Adieux";
"Das Lebewohl, Abwesenheit und Wiedersehen"; called
Opus 81a |
|
|
1809 - 1810 |
Archduke Rudolph of Austria |
|
|
|
81 |
2 |
Sextet for Horns, Violins, Viola & Cello
in E flat major: called Opus 81b |
|
|
1795 |
|
|
|
|
82 |
1 |
Arietta: "Hoffnung"; "Dimmi, ben mio, che m’ami" |
|
|
1809 - 1810 |
|
words: Anonymous |
|
|
82 |
2 |
Arietta: "Liebes-Klage"; "T’intendo, si,
mio cor" |
|
|
1809 - 1810 |
|
words: Pietro Metastasio |
|
|
82 |
3 |
Arietta: "L’amante impatiente (Stille Frage)",
Arietta buffa; "Che fa il mio bene?" |
|
|
1809 - 1810 |
|
words: Pietro Metastasio |
|
|
82 |
4 |
Arietta: "L’amante impatiente (Liebesungeduld)",
Arietta assai seriosa; "Che fa il mio bene?" |
|
|
1809 - 1810 |
|
words: Pietro Metastasio |
|
|
82 |
5 |
Duet: "Lebensgenuß"; "Odi l’aura che
dolce sospira" |
|
|
1809 - 1810 |
|
words: Pietro Metastasio |
|
|
83 |
1 |
Song: "Wonne der Wehmut" (The joy of melancholy);
"Trocknet nicht, Tränen der ewigen Liebe!" |
|
|
1810 |
Princess Caroline Kinsky |
words: Goethe |
|
|
83 |
2 |
Song: "Sensucht" (Yearning); "Was zieht mir
das Herz so?" |
|
|
1810 |
Princess Caroline Kinsky |
words: Goethe |
|
|
83 |
3 |
Song: "Mit einem gemalten Band" (With a painted
ribbon); "Kleine Blumen, kleine Blätter streuen
wir mit leichter Hand" |
|
|
1810 |
Princess Caroline Kinsky |
|
|
|
84 |
|
Overture in F minor: "Egmont", Incidental Music
to Goethe’s Tragedy |
|
|
1809 - 1810 |
|
|
|
|
84 |
|
Incidental Music for Solo Voice(s) & Orchestra:
"Egmont", Incidental Music to Goethe’s Tragedy |
|
|
1809 - 1810 |
|
|
|
|
85 |
|
Oratorio: "Christus am Ölberge" (Christ
on the Mount of Olives) |
|
|
1803 - 1804 |
|
written in 14 days; words: Franz Xaver Huber |
|
|
86 |
|
Mass in C major |
|
|
1807 |
Prince Ferdinand Kinsky |
|
|
|
87 |
|
Trio for Oboes & English Horn in C major |
|
|
1794 - 1795 |
|
|
|
|
88 |
|
Song: "Vita felice", "Das Gluck der Freundschaft
(Lebensglück)" (The Joy of Friendship) "Der
lebt ein Leben wonniglich" |
|
|
1803 |
|
from Loschenkohl |
|
|
89 |
|
Polonaise for Piano in C major |
|
|
1814 |
Empress Elisabeth Alexiewna
of Russia |
|
|
|
90 |
|
Piano Sonata No. 27 in E minor |
|
|
1814 |
Count Moritz Lichnowsky |
|
|
|
91 |
|
Battle Symphony: "Wellingtons Sieg, oder die
Schlacht bei Vittoria" (Wellington’s Victory,
or the Battle of Vittoria); originally written
for panharmonikon, Hess 108 |
|
|
1813 |
Prince Regent (later King)
George IV of England |
|
|
|
92 |
|
Symphony No. 7 in A major |
|
|
1811 - 1812 |
Count Moritz von Fries |
arrangements for piano (2 & 4 hands) and
two pianos dedicated to Elisabeth Alexiewna, Empress
of Russia |
|
|
93 |
|
Symphony No. 8 in F major |
|
|
1812 |
(none) |
|
|
|
94 |
|
Song: "An die Hoffnung" (To Hope); from Tiedge’s
"Urania" (Ob ein Gott sei?/Die du so gern) (2nd
setting); 1st setting is Opus 32 |
.
|
|
1813 - 1815 |
|
words: Tiedge |
|
|
95 |
|
String Quartet No. 11 in F minor: "Quartetto
serioso" |
|
|
1810 - 1811 |
Nikolaus Zmeskall |
|
|
|
96 |
|
Sonata No. 10 for Piano & Violin in G major |
|
|
1812 |
Archduke Rudolph of Austria |
|
|
|
97 |
|
Piano Trio in B flat major: "Erzherzogs-Trio"
(Archduke) |
|
|
1810 - 1815 |
Archduke Rudolph of Austria |
|
|
|
98 |
1 |
Song Cycle: "An die ferne Geliebte" (To the
Distant Beloved), #1 of 6: "Auf dem Hügel
sitz’ ich, spähend" |
|
|
1816 |
Prince Ferdinand Lobkowitz |
words: A. Jeitteles |
|
|
98 |
2 |
Song Cycle: "An die ferne Geliebte" (To the
Distant Beloved), #2 of 6: "Wo die Bergen so blau" |
|
|
1816 |
Prince Ferdinand Lobkowitz |
words: A. Jeitteles |
|
|
98 |
3 |
Song Cycle: "An die ferne Geliebte" (To the
Distant Beloved), #3 of 6: "Leichte Segler in
den Höhen" |
|
|
1816 |
Prince Ferdinand Lobkowitz |
words: A. Jeitteles |
|
|
98 |
4 |
Song Cycle: "An die ferne Geliebte" (To the
Distant Beloved), #4 of 6: "Diese Wolken in den
Höhen" |
|
|
1816 |
Prince Ferdinand Lobkowitz |
words: A. Jeitteles |
|
|
98 |
5 |
Song Cycle: "An die ferne Geliebte" (To the
Distant Beloved), #5 of 6: "Es kehret der Maien,
es blühet die Au" |
|
|
1816 |
Prince Ferdinand Lobkowitz |
words: A. Jeitteles |
|
|
98 |
6 |
Song Cycle: "An die ferne Geliebte" (To the
Distant Beloved), #6 of 6: "Nimm sie hin denn,
diese Lieder" |
|
|
1816 |
Prince Ferdinand Lobkowitz |
words: A. Jeitteles |
|
|
99 |
|
Song: "Der Mann von Wort" (The Man of his Word);
"Du sagtest, Freund" |
|
|
1816 |
|
words: F A Kleinschmid |
|
|
100 |
|
Song: "Merkenstein"; duo (2nd setting); 1st
setting is WoO 144 |
|
|
1815 |
|
from J B Rupprecht |
|
|
101 |
|
Piano Sonata No. 28 in A major |
|
|
1816 |
Baroness Dorothea von Ertmann |
|
|
|
102 |
1 |
Sonata No. 4 for Piano & Cello in C major |
|
|
1815 |
Countess Anna Marie Erdödy |
|
|
|
102 |
2 |
Sonata No. 5 for Piano & Cello in D major |
|
|
1815 |
Countess Anna Marie Erdödy |
|
|
|
103 |
|
Octet for Oboes, Clarinets, Horns & Bassoons
in E flat major: revised in 1796 as the String
Quintet Opus 4 |
|
|
1792 - 1793 |
|
|
|
|
104 |
|
String Quintet in C minor: after the Piano Trio
Opus 1 #3 |
|
|
1817 |
|
arranged by Kaufman, corrected by Beethoven |
|
|
105 |
1 |
Variations for Piano & Flute or Violin in
G major: on a Welsh air "The Cottage Maid"; #1
of 6 Themes & Variations |
|
|
1818 |
|
folk song setting: WoO 155 #3 |
|
|
105 |
2 |
Variations for Piano & Flute or Violin in
C minor: on a Scottish air "Von edlem Geschlecht
war Shinken"; #2 of 6 Themes & Variations |
|
|
1818 |
|
|
|
|
105 |
3 |
Variations for Piano & Flute or Violin in
C major: on an Austrian air "A Schüssel und
a reindel ist all mein Kuchelg’schirr"; #3
of 6 Themes & Variations |
|
|
1819 |
|
|
|
|
105 |
4 |
Variations for Piano & Flute or Violin in
E flat major: on an Irish air "The Last Rose of
Summer"; #4 of 6 Themes & Variations |
|
|
1818 |
|
folk song setting: "Sad & Luckless was the
Season", WoO 153 #6 |
|
|
105 |
5 |
Variations for Piano & Flute or Violin in
E flat major: on an Irish air "Chiling O’Guiry":
#5 of 6 Themes & Variations |
|
|
1818 |
|
folk song setting: WoO 154 #6 |
|
|
105 |
6 |
Variations for Piano & Flute or Violin in
D major: on an Irish air "Paddy Whack"; #6 of
6 Themes & Variations |
|
|
1818 |
|
folk song setting: "English Bulls; or, The Irishman
in London", WoO 152 #12 |
|
|
106 |
|
Piano Sonata No. 29 in B flat major: "Hammerklavier-Sonate" |
|
|
1816 - 1818 |
Archduke Rudolph of Austria |
"Here is something that will give pianists some
hard work when it is played fifty years from now!"
- LvB |
|
|
107 |
1 |
Variations for Piano & Flute or Violin in
E flat major: theme & 4 variations on a Tyrolian
air "l bin a Tiroler Bua"; #1 of 10 Themes &
Variations |
|
|
1818 |
|
folk song setting: WoO 158a #5 |
|
|
107 |
2 |
Variations for Piano & Flute or Violin in
F major: theme & 4 variations on a Scottish
air "Bonnie Laddie, Highland Laddie"; #2 of 10
Themes & Variations |
|
|
1818 |
|
folk song setting: Op 108 #7 |
|
|
107 |
3 |
Variations for Piano & Flute or Violin in
G major: theme & 5 variations on a Russian
air; #3 of 10 Themes & Variations |
|
|
1819 |
|
|
|
|
107 |
4 |
Variations for Piano & Flute or Violin in
F major: theme & 4 variations on an Irish
air "St Patrick’s Day"; #4 of 10 Themes &
Variations |
|
|
1818 |
|
folk song setting: WoO 154 #4 |
|
|
107 |
5 |
Variations for Piano & Flute or Violin in
F major: theme & 3 variations on a Tyrolian
air "A Madel, ja a Madel": #5 of 10 Themes &
Variations |
|
|
1818 |
|
folk song setting: WoO 158a #6 |
|
|
107 |
6 |
Variations for Piano & Flute or Violin in
E flat major: theme & 4 variations on a Welsh
air "Merch Megan", "Peggy’s Daughter": #6
of 10 Themes & Variations |
|
|
1819 |
|
folk song setting: WoO 155 #11 |
|
|
107 |
7 |
Variations for Piano & Flute or Violin in
A minor: theme & 6 variations on a Russian
air "Schöne Minka"; #7 of 10 Themes &
Variations |
|
|
1819 |
|
folk song setting: WoO 158a #16 |
|
|
107 |
8 |
Variations for Piano & Flute or Violin in
D major: theme & 4 variations on a Scottish
air "O, Mary at thy window be"; #8 of 10 Themes
& Variations |
|
|
1818 |
|
folk song setting: Op 108 #17 |
|
|
107 |
9 |
Variations for Piano & Flute or Violin in
E flat major: theme & 5 variations on a Scottish
air "Oh, Thou art the Lad of my Heart"; #9 of
10 Themes & Variations |
|
|
1818 |
|
folk song setting: Op 108 #11 |
|
|
107 |
10 |
Variations for Piano & Flute or Violin in
G minor: theme & 5 variations on a Scottish
air "The Highland Watch"; #10 of 10 Themes &
Variations |
|
|
1818 |
|
folk song setting: Op 108 #22 |
|
|
108 |
1 |
Folksong Setting: "Music, Love and Wine"; "O
let me music hear, night and day!" (Scottish) |
|
|
1817 |
|
words: William Smyth |
|
|
108 |
2 |
Folksong Setting: "Sunset"; "The sun upon the
Weirdlaw Hill" (Scottish) |
|
|
1818 |
|
words: Sir Walter Scott |
|
|
108 |
3 |
Folksong Setting: "O sweet were the hours" (Scottish) |
|
|
1817 |
|
words: William Smyth |
|
|
108 |
4 |
Folksong Setting: "The Maid of Isla"; "O maid
of Isla from yon cliff" (Scottish) |
|
|
1817 |
|
words: Sir Walter Scott |
|
|
108 |
5 |
Folksong Setting: "The sweetest lad was Jamie"
(Scottish) |
|
|
1815 |
|
words: William Smyth |
|
|
108 |
6 |
Folksong Setting: "Dim, dim is my eye" (Scottish) |
|
|
1815 |
|
words: William Brown |
|
|
108 |
7 |
Folksong Setting: "Bonnie Laddie, Highland Laddie";
"Where got ye that siller moon" (Scottish) |
|
|
1815 |
|
words: James Hogg |
|
|
108 |
8 |
Folksong Setting: "The lovely lass of Inverness"
(Scottish) |
|
|
1816 |
|
words: Robert Burns |
|
|
108 |
9 |
Folksong Setting: "Behold, my Love"; "Behold
my Love how green the groves" (Scottish) |
|
|
1817 |
|
words: Robert Burns |
|
|
108 |
10 |
Folksong Setting: "Sympathy"; "Why, Julia, say,
that pensive mien?" (Scottish) |
|
|
1815 |
|
words: William Smyth |
|
|
108 |
11 |
Folksong Setting: "O! thou art the lad of my
heart, Willy" (Scottish) |
|
|
1815 |
|
words: William Smyth
variations on this air: Op 107 #9 |
|
|
108 |
12 |
Folksong Setting: "O, had my fate been join’d
with thine" (Scottish) |
|
|
1816 |
|
words: Lord Byron |
|
|
108 |
13 |
Folksong Setting: "Come fill, fill, my good
fellow!" (English) |
|
|
1817 |
|
words: William Smyth |
|
|
108 |
14 |
Folksong Setting: "O, how can I be blithe and
glad" (Scottish) |
|
|
1816 |
|
words: Robert Burns |
|
|
108 |
15 |
Folksong Setting: "O cruel was my father" (Scottish) |
|
|
1816 |
|
words: Alexander Ballantyne |
|
|
108 |
16 |
Folksong Setting: "Could this ill world have
been contriv’d" (Scottish) |
|
|
1816 |
|
words: James Hogg |
|
|
108 |
17 |
Folksong Setting: "O Mary, at thy window be"
(Scottish) |
|
|
1817 |
|
words: Robert Burns |
|
|
108 |
18 |
Folksong Setting: "Enchantress, farewell" (Scottish) |
|
|
1818 |
|
words: Sir Walter Scott |
|
|
108 |
19 |
Folksong Setting: "O swiftly glides the bonny
boat" (Scottish) |
|
|
1815 |
|
words: Joanna Baillie |
|
|
108 |
20 |
Folksong Setting: "Faithfu’ Johnie"; "When
will you come again" (Scottish) (2nd version);
1st version is Hess 203 |
|
|
1813 |
|
words: Anne Grant |
|
|
108 |
21 |
Folksong Setting: "Jeanie’s Distress";
"By William late offended" (Scottish) |
|
|
1817 |
|
words: William Smyth |
|
|
108 |
22 |
Folksong Setting: "The Highland Watch"; "Old
Scotia, wake thy mountain strain" (Scottish) |
|
|
1817 |
|
words: James Hogg |
|
|
108 |
23 |
Folksong Setting: "The Shepherd’s Song";
"The gowan glitters on the sward" (Scottish) |
|
|
1818 |
|
words: Joanna Baillie |
|
|
108 |
24 |
Folksong Setting: "Again, my Lyre, yet once
again" (Scottish) |
|
|
1815 |
|
words: William Smyth |
|
|
108 |
25 |
Folksong Setting: "Sally in our Alley"; "Of
all the girls that are so smart" (Scottish) |
|
|
1817 |
|
words: Henry Carey |
|
|
109 |
|
Piano Sonata No. 30 in E major |
|
|
1820 |
Maximiliane Brentano |
|
|
|
110 |
|
Piano Sonata No. 31 in A flat major |
|
|
1821 - 1822 |
|
|
|
|
111 |
|
Piano Sonata No. 32 in C minor |
|
|
1821 - 1822 |
Archduke Rudolph of Austria |
English edition dedicated to Antonie Brentano |
|
|
112 |
|
Cantata: "Meeresstille & glückliche
Fahrt" (Calm Sea & Prosperous Voyage) |
|
|
1814 - 1815 |
Johann Wolfgang von Goethe |
words: Goethe; sent to Goethe in 1822 |
|
|
113 |
|
Overture: "Die Ruinen von Athen" (The Ruins
of Athens) |
|
|
1811 |
|
music to Kotzebue’s festival play |
|
|
113 |
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): for Kotzebue’s "Die Ruinen
von Athen" (The Ruins of Athens) |
|
|
1811 |
|
|
|
|
114 |
|
March for Orchestra & Chorus: for "Die Weihe
des Hauses"; 1822 adaptation of no. 6 from "Die
Ruinen von Athen" |
|
|
1822 |
|
see Opus 113 |
|
|
115 |
|
Overture in C major: "Zur Namensfeier" (Name-Day) |
|
|
1814 - 1815 |
Prince Anton Heinrich Radziwill |
|
|
|
116 |
|
Trio for Solo Voice(s) & Orchestra: "Tremate,
empi, tremate"; for soprano, tenor, & bass
with orchestra |
|
|
1802 - 1814 |
|
words: Bettoni? Giovanni de Gamerra? |
|
|
117 |
|
Overture in E flat major: "König Stephan"
(King Stephen) |
|
|
1811 |
|
|
|
|
117 |
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): music to Kotzebue’s festival
play "König Stephan oder Ungarns erster Wohhtäter"
(King Stephen or Hungary’s First Benefactor) |
|
|
1811 |
|
|
|
|
118 |
|
Choral Part-Song for Solo Voice(s) & Instrument(s):
"Elegischer Gesang" (Elegiac Song); for 4 Voices
with String Qrt or Piano |
|
|
1814 |
Baron Johann Baptist von Pasqualati |
words: Ignaz Franz von Castelli?; written to
commemorate the third anniversary of the death
of Pasqualati’s wife |
|
|
119 |
1 |
Bagatelle for Piano in G minor: Allegretto;
#1 of 11 Bagatelles |
|
|
1820 - 1822 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
2 |
Bagatelle for Piano in C major: Andante con
moto; #2 of 11 Bagatelles |
|
|
1820 - 1822 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
3 |
Bagatelle for Piano in D major: A l’Allemande;
#3 of 11 Bagatelles |
|
|
1820 - 1822 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
4 |
Bagatelle for Piano in A major: Andante cantabile;
#4 of 11 Bagatelles |
|
|
1820 - 1822 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
5 |
Bagatelle for Piano in C minor: Risoluto; #5
of 11 Bagatelles |
|
|
1820 - 1822 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
6 |
Bagatelle for Piano in G major: Andante-Allegretto;
#6 of 11 Bagatelles |
|
|
1820 - 1822 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
7 |
Bagatelle for Piano in C major: Allegro, ma
non troppo; #7 of 11 Bagatelles
{Rezeichnung} |
|
|
1820 - 1821 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
8 |
Bagatelle for Piano in C major: Moderato cantabile;
#8 of 11 Bagatelles |
|
|
1820 - 1821 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
9 |
Bagatelle for Piano in A major: Vivace moderato;
#9 of 11 Bagatelles |
|
|
1820 - 1821 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
10 |
Bagatelle for Piano in A major: Allegramente;
#10 of 11 Bagatelles |
|
|
1820 - 1821 |
|
some pieces were started as early as c. 1794 |
|
|
119 |
11 |
Bagatelle for Piano in B flat major: Andante,
ma non troppo; #11 of 11 Bagatelles |
|
|
1820 - 1821 |
|
some pieces were started as early as c. 1794 |
|
|
120 |
|
33 Variations for Piano in C major: on a Waltz
by Diabelli |
|
|
1819 - 1823 |
Antonie Brentano |
|
|
|
121 |
1 |
10 Variations for Piano Trio in G major: on
Wenzel Müller’s song "Ich bin der Schneider
Kakadu" (I’m Cockatoo, the Tailor) from "Die
Schwestern von Prag"; called Opus 121a |
.
|
|
1803 - 1816 |
|
|
|
|
121 |
2 |
Choral Part-Song for Orchestra, Chorus &
Solo Voice(s): "Opferlied" (Sacrificial Song)
"Die Flamme lodert"; called Opus 121b; 2 versions:
1822 & 1824, with different scorings; also
see WoO 126 & Hess 91 |
.
|
|
1822 - 1824 |
|
poem by Friedrich von Matthison; 5 arrangements
over 30 yrs |
|
|
122 |
|
Song: "Bundeslied" (Song of Fellowship) for
2 solo voices, chorus & wind instruments;
Hess 92 is a piano accompaniment version |
.
|
|
1822 - 1824 |
|
words: Goethe |
|
|
123 |
|
Mass in D major: "Missa Solemnis" |
|
|
1819 - 1823 |
Archduke Rudolph of Austria |
|
|
|
124 |
|
Overture in C major: "Die Weihe des Hauses"
(The Consecration of the House) |
|
|
1822 |
Prince Nikolas Borissovich
Galitzin |
|
|
|
125 |
|
Symphony No. 9 in D minor: "Choral" |
|
|
1817 - 1824 |
King Friedrich Wilhelm III
of Prussia |
|
|
|
126 |
1 |
Bagatelle for Piano in G major: Andante con
moto; #1 of 6 Bagatelles |
|
|
1824 |
|
|
|
|
126 |
2 |
Bagatelle for Piano in G minor: Allegro; #2
of 6 Bagatelles |
|
|
1824 |
|
|
|
|
126 |
3 |
Bagatelle for Piano in E flat major: Andante;
#3 of 6 Bagatelles |
|
|
1824 |
|
|
|
|
126 |
4 |
Bagatelle for Piano in B minor: Presto; #4 of
6 Bagatelles |
|
|
1824 |
|
|
|
|
126 |
5 |
Bagatelle for Piano in G major: Quasi allegretto;
#5 of 6 Bagatelles |
|
|
1824 |
|
|
|
|
126 |
6 |
Bagatelle for Piano in E flat major: Presto-andante;
#6 of 6 Bagatelles |
|
|
1824 |
|
|
|
|
127 |
|
String Quartet No. 12 in E flat major |
|
|
1822 - 1825 |
Prince Nikolas Borissovich
Galitzin |
|
|
|
128 |
|
Arietta: "Der Kuß" (The Kiss); "Ich var
bei Chloen ganz allein" |
|
|
1798 - 1822 |
|
Words: C. F. Weiße |
|
|
129 |
|
Rondo A Capriccio for Piano in G major: "Die
Wut über den verloren Groschen" (Rage over
a Lost Penny); completed by an unknown editor
(probably Diabelli) |
|
|
1795 |
|
|
|
|
130 |
|
String Quartet No. 13 in B flat major: String
Quartet with Große Fuge |
|
|
1825 - 1826 |
Prince Nikolas Borissovich
Galitzin |
|
|
|
130 |
|
String Quartet No. 13 in B flat major: alternate
finale for String Quartet #13, Opus 130 |
|
|
1825 - 1826 |
Prince Nikolas Borissovich
Galitzin |
|
|
|
131 |
|
String Quartet No. 14 in C sharp minor |
|
|
1825 - 1826 |
Baron Joseph von Stutterheim |
"stolen & gathered together from various
things here & there" - LvB |
|
|
132 |
|
String Quartet No. 15 in A minor |
|
|
1823 - 1825 |
Prince Nikolas Borissovich
Galitzin |
|
|
|
133 |
|
Fugue for String Quartet in B flat major: "Große
Fuge" (Great Fugue) |
|
|
1825 - 1826 |
Archduke Rudolph of Austria |
Sonata-fugue separated from Op 130 |
|
|
134 |
|
Fugue for Piano Duet: Große Fuge for Piano
Four Hands, after Opus 133 |
.
|
|
1826 |
Archduke Rudolph of Austria |
|
|
|
135 |
|
String Quartet No. 16 in F major |
|
|
1826 |
Johann Nepomuk Wolfmayer |
composed w/o commission
muß es sein? es muß sein! |
|
|
136 |
|
Cantata: "Der glorreiche Augenblick" (The Glorious
Moment) |
|
|
1814 |
|
words: Aloys Weissenbach |
|
|
137 |
|
Fugue for String Quintet in D major |
|
|
1817 |
|
|
|
|
138 |
|
Overture in C major: "Leonore I" |
|
|
1807 |
|
|
|
Beethoven's
music with Opus numbers