Ludwig van Beethoven's WoO - Dominique PRÉVOT

Beethoven's music without Opus number - WoO

There are 205 works without opus numbers (WoO: Werke ohne Opuszahl - Work without Opus number). Many were published during his lifetime, but he did not deem them worthy to have an opus number and thus be included in his catalogue.

This catalog has first been realised by Georg Kinsky and Hans Halm (Das Werk Beethovens), in 1955.

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WoO	SubWoO	Title	Composition Dates	Dedicatee	Notes
1		Ballet Music: "Ritterballet", music for a ballet of knights	1790 - 1791		originally thought to have been by Count Waldstein; piano arrangement is Hess 89
2	1	Triumphal March for Orchestra in C major: "Tarpeja"	1813		Christoph Kuffner’s drama
2	2	Entr’acte in D major: "Tarpeja" (now thought to be from the opening of Act II from Leonore 1805)	1813
3		Minuet for Orchestra in E flat major: "Gratulations - Menuett"	1822	Karl Holz	dedication by publisher, but written as a tribute to Karl Hensler as part of a serenade
4		Concerto for Piano & Orchestra in E flat major; authorship: reconstruction	1784		Only the piano part, with orchestral cues, survives; reconstruction by Willy Hess
5		Concerto for Violin & Orchestra in C major: fragment of first movement; three completions made; authorship: unfinished	1790 - 1792	Gerhard von Breuning
6		Rondo for Piano & Orchestra in B flat major: fragment, completed by Carl Czerny	1793		this was probably the original finale to the Piano Concerto #2 Opus 19
7	1	Minuet for Orchestra in D major: #1 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	2	Minuet for Orchestra in B flat major: #2 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	3	Minuet for Orchestra in G major: #3 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	4	Minuet for Orchestra in E flat major: #4 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	5	Minuet for Orchestra in C major: #5 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	6	Minuet for Orchestra in A major: #6 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	7	Minuet for Orchestra in D major: #7 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	8	Minuet for Orchestra in B flat major: #8 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	9	Minuet for Orchestra in G major: #9 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	10	Minuet for Orchestra in E flat major: #10 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	11	Minuet for Orchestra in C major: #11 of 12 Minuets for Orchestra; piano version is Hess 101	1795
7	12	Minuet for Orchestra in F major: #12 of 12 Minuets for Orchestra; piano version is Hess 101	1795
8	1	Dance for Orchestra in C major: #1 of 12 German Dances	1795		piano version is Hess 100
8	2	Dance for Orchestra in A major: #2 of 12 German Dances	1795		piano version is Hess 100
8	3	Dance for Orchestra in F major: #3 of 12 German Dances	1795		piano version is Hess 100
8	4	Dance for Orchestra in B flat major: #4 of 12 German Dances	1795		piano version is Hess 100
8	5	Dance for Orchestra in E flat major: #5 of 12 German Dances	1795		piano version is Hess 100
8	6	Dance for Orchestra in G major: #6 of 12 German Dances	1795		piano version is Hess 100
8	7	Dance for Orchestra in C major: #7 of 12 German Dances	1795		piano version is Hess 100
8	8	Dance for Orchestra in A major: #8 of 12 German Dances	1795		piano version is Hess 100
8	9	Dance for Orchestra in F major: #9 of 12 German Dances	1795		piano version is Hess 100
8	10	Dance for Orchestra in D major: #10 of 12 German Dances	1795		piano version is Hess 100
8	11	Dance for Orchestra in G major: #11 of 12 German Dances	1795		piano version is Hess 100
8	12	Dance for Orchestra in C major: #12 of 12 German Dances	1795		piano version is Hess 100
9	1	Minuet for Violins & Cello in E flat major: #1 of 6 Minuets	1795
9	2	Minuet for Violins & Cello in G major: #2 of 6 Minuets	1795
9	3	Minuet for Violins & Cello in C major: #3 of 6 Minuets	1795
9	4	Minuet for Violins & Cello in F major: #4 of 6 Minuets	1795
9	5	Minuet for Violin & Cello in D major: #5 of 6 Minuets	1795
9	6	Minuet for Violins & Cello in G major: #6 of 6 Minuets	1795
10	1	Minuet for Orchestra in C major: #1 of 6 minuets; surviving piano version	1795
10	2	Minuet for Orchestra in G major: #2 of 6 minuets; surviving piano version	1795
10	3	Minuet for Orchestra in E flat major: #3 of 6 minuets; surviving piano version	1795
10	4	Minuet for Orchestra in B flat major: #4 of 6 minuets; surviving piano version	1795
10	5	Minuet for Orchestra in D major: #5 of 6 minuets; surviving piano version	1795
10	6	Minuet for Orchestra in C major: #6 of 6 minuets; surviving piano version	1795
11		7 Ländler for Violins & Cello in D major: surviving piano version	1799
12		12 Minuets for Orchestra; authorship: not certain	1799		written by Beethoven’s brother Carl, possibly with Ludwig’s help
13	1	Dance for Orchestra in D major: #1 of 12 German Dances; surviving piano version	1792 - 1797
13	2	Dance for Orchestra in B flat major: #2 of 12 German Dances; surviving piano version	1792 - 1797
13	3	Dance for Orchestra in G major: #3 of 12 German Dances; surviving piano version	1792 - 1797
13	4	Dance for Orchestra in D major: #4 of 12 German Dances; surviving piano version	1792 - 1797
13	5	Dance for Orchestra in F major: #5 of 12 German Dances; surviving piano version	1792 - 1797
13	6	Dance for Orchestra in B flat major: #6 of 12 German Dances; surviving piano version	1792 - 1797
13	7	Dance for Orchestra in D major: #7 of 12 German Dances; surviving piano version	1792 - 1797
13	8	Dance for Orchestra in G major: #8 of 12 German Dances; surviving piano version	1792 - 1797
13	9	Dance for Orchestra in E flat major: #9 of 12 German Dances; surviving piano version	1792 - 1797
13	10	Dance for Orchestra in C major: #10 of 12 German Dances; surviving piano version	1792 - 1797
13	11	Dance for Orchestra in A major: #11 of 12 German Dances; surviving piano version	1792 - 1797
13	12	Dance for Orchestra in D major: #12 of 12 German Dances; surviving piano version	1792 - 1797
14	1	Contredanse for Small Orchestra in C major: #1 of 12 Contredanses	1791 - 1802		piano version is Hess 102
14	2	Contredanse for Small Orchestra in A major: #2 of 12 Contredanses	1801 - 1802		piano version is Hess 102
14	3	Contredanse for Small Orchestra in D major: #3 of 12 Contredanses	1795 - 1802
14	4	Contredanse for Small Orchestra in B flat major: #4 of 12 Contredanses	1795 - 1802		piano version is Hess 102
14	5	Contredanse for Small Orchestra in E flat major: #5 of 12 Contredanses	1791 - 1802		piano version is Hess 102
14	6	Contredanse for Small Orchestra in C major: #6 of 12 Contredanses	1795 - 1802
14	7	Contredanse for Small Orchestra in E flat major: #7 of 12 Contredanses	1800 - 1802		theme from "Die Geschöpfe des Promethues" Opus 43 used later in the "Eroica" Opus 55; piano version is Hess 102
14	8	Contredanse for Small Orchestra in C major: #8 of 12 Contredanses	1791 - 1802		piano version is Hess 102
14	9	Contredanse for Small Orchestra in A major: #9 of 12 Contredanses	1801 - 1802		piano version is Hess 102
14	10	Contredanse for Small Orchestra in C major: #10 of 12 Contredanses	1801 - 1802		piano version is Hess 102
14	11	Contredanse for Small Orchestra in G major: #11 of 12 Contredanses	1800 - 1802		theme from "Die Geschöpfe des Promethues" Opus 43; piano version is Hess 102
14	12	Contredanse for Small Orchestra in E flat major: #12 of 12 Contredanses	1791 - 1802
15	1	Dance for Violins & Bass in D major: #1 of 6 ländlerische Tänze	1802
15	1	Dance for Piano in D major: #1 of 6 ländlerische Tänze, piano version	1802
15	2	Dance for Violins & Bass in D major: #2 of 6 ländlerische Tänze	1802
15	2	Dance for Piano in D major: #2 of 6 ländlerische Tänze, piano version	1802
15	3	Dance for Violins & Bass in D major: #3 of 6 ländlerische Tänze	1802
15	3	Dance for Piano in D major: #3 of 6 ländlerische Tänze, piano version	1802
15	4	Dance for Violins & Bass in D minor: #4 of 6 ländlerische Tänze	1802
15	4	Dance for Piano in D minor: #4 of 6 ländlerische Tänze, piano version	1802
15	5	Dance for Violins & Bass in D major: #5 of 6 ländlerische Tänze	1802
15	5	Dance for Piano in D major: #5 of 6 ländlerische Tänze, piano version	1802
15	6	Dance for Violins & Bass in D major: #6 of 6 ländlerische Tänze	1802
15	6	Dance for Piano in D major: #6 of 6 ländlerische Tänze, piano version	1802
16		12 Ecossaises for Piano; authorship: fraudulent
17	1	Waltz for Instrument(s) in E flat major: #1 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	2	Minuet for Instrument(s) in B flat major: #2 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	3	Waltz for Instrument(s) in B flat major: #3 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	4	Minuet for Instrument(s) in E flat major: #4 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	5	Minuet for Instrument(s) in E flat major: #5 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	6	Ländler for Instrument(s) in E flat major: #6 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	7	Minuet for Instrument(s) in B flat major: #7 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	8	Ländler for Instrument(s) in B flat major: #8 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	9	Minuet for Instrument(s) in G major: #9 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	10	Waltz for Instrument(s) in D major: #10 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
17	11	Waltz for Instrument(s) in D major: #11 of 11 Mödlinger Tänze for 7 String & Wind Instruments; authorship: probably spurious	1819
18		March & Trio for Wind Band in F major: "York’scher (Yorkscher) March für die bohmische Landwehr"	1809 - 1810	Archduke Anton	Hess 99 is piano version; Beethoven added a trio in B flat c. 1822
19		March & Trio for Wind Band in F major	1810	Archduke Anton	written for a ‘carrousel’; Beethoven added a trio in F minor c. 1822
20		March & Trio for Wind Band in C major: "Zapfenstreich" (The Tattoo)	1809 - 1822		Beethoven added a trio in F major c. 1822
21		Polonaise for Wind Band in D major	1810
22		Ecossaise for Wind Band in D major	1809 - 1810
23		Ecossaise for Wind Band in G major; authorship: reconstruction	1810		lost; known only in Czerny’s piano arrangement
24		March for Wind Band in D major	1816
25		Rondino for Oboes, Clarinets, Horns & Bassoons in E flat major	1792 - 1793		intended at one time as finale to the Octet Opus 103
26		Duo for Flutes in G major: Allegro and Minuet	1792	J. M. Degenhart
27	1	Duo No. 1 for Clarinet & Bassoon in C major; authorship: doubtful			orig for clarinet & bassoon; repub 1815 with violin/ cello version; accpted as authentic in Kinsky, 1955, but listed as ‘probably spurious’ in Kerman, 1983
27	2	Duo No. 2 for Clarinet & Bassoon in F major; authorship: doubtful			orig for clarinet & bassoon; repub 1815 with violin/ cello version; accpted as authentic in Kinsky, 1955, but listed as ‘probably spurious’ in Kerman, 1983
27	3	Duo No. 3 for Clarinet & Bassoon in B flat major; authorship: doubtful			orig for clarinet & bassoon; repub 1815 with violin/ cello version; accpted as authentic in Kinsky, 1955, but listed as ‘probably spurious’ in Kerman, 1983
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
29		March for Clarinets, Horns & Bassoons in B flat major: "Grenadiermarsch"	1797 - 1798		also see Hess 107
30	1	Equali for Trombones in D minor	1812	written for Franz Xaver Glöggl	there is also a version for 4 men’s voices; these were played at Beethoven’s funeral
30	2	Equali for Trombones in D major	1812	written for Franz Xaver Glöggl	there is also a version for 4 men’s voices; these were played at Beethoven’s funeral
30	3	Equali for Trombones in B flat major	1812	written for Franz Xaver Glöggl	there is also a version for 4 men’s voices; these were played at Beethoven’s funeral
31		Fugue for Organ in D major	1783
32		Duo for Viola & Cello in E flat major: "mit zwei obligaten Augengläsern" (with 2 obbligato eyeglasses)	1796 - 1797	written for Nikolaus Zmeskall	the second movement is fragmentary
33	1	Piece for Musical Clock in F major: or for flute; Adagio assai; #1 of 5 pieces	1799
33	2	Piece for Musical Clock in G major: or for flute; Scherzo-Allegro; #2 of 5 pieces	1799 - 1800
33	3	Piece for Musical Clock in G major: or for flute; Allegro; #3 of 5 pieces	1799
33	4	Piece for Musical Clock in C major: or for flute; Allegro non piu molto; #4 of 5 pieces	1794
33	5	Piece for Musical Clock in C major: or for flute; Minuet-Allegretto; #5 of 5 pieces	1794
34		Duo for Violins in A major: for Alexandre Boucher	1822	Alexandre Boucher
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
36	1	Piano Quartet in E flat major	1785		the theme of the Allegro corresponds to a sketch for an early unfinished symphony (Hess 298)
36	2	Piano Quartet in D major	1785
36	3	Piano Quartet in C major	1785		some of this used in Piano Sonatas Opus 2 #1 and Opus 2 #3
37		Trio for Piano, Flute & Bassoon in G major	1786
38		Piano Trio No. 8 in E flat major	1785 - 1791		may have been originally intended for Opus 1
39		Allegretto for Piano Trio in B flat major	1812	Maximiliane Brentano	"for my little friend Maxe. Brentano to encourage her in piano playing" - LvB
40		12 Variations for Piano & Violin in F major: on the theme "Se vuol ballare" from Mozart’s opera "The Marriage of Figaro"	1792 - 1793	Eleonore von Breuning
41		Rondo for Piano & Violin in G major	1793 - 1794
42		6 German Dances for Piano & Violin: Allemandes in F, D, F, A, D, G	1796	the two Countesses Thun
43	1	Sonatina for Mandolin & Harpsichord in C minor: (WoO 43a)	1796	written for Countess Josephine de Clary
43	2	Adagio for Mandolin & Harpsichord in E flat major: (WoO 43b)	1796	Countess Josephine de Clary	Hess 44 is a slightly variant version
44	1	Sonatina for Mandolin & Harpsichord in C major: (WoO 44a)	1796	written for Countess Josephine de Clary
44	2	Andante con Variazioni for Mandolin & Harpsichord in D major: (WoO 44b)	1796	Countess Josephine de Clary
45		12 Variations for Piano & Cello in G major: on "See the conquering hero comes" fm Handel’s oratorio "Judas Maccabaeus"	1796	Princess Christiane Lichnowsky (née Thun)
46		7 Variations for Piano & Cello in E flat major: on the duet "Bei Männern, welche Liebe fühlen" from Mozart’s "Zauberflöte"	1801	Count Johann Georg Browne
47	1	Piano Sonata in E flat major: "Kurfürstensonate" (Electoral) #1	1783	Archbishop Maximilian Friedrich of Cologne
47	2	Piano Sonata in F minor: "Kurfürstensonate" (Electoral) #2	1783	Archbishop Maximilian Friedrich of Cologne
47	3	Piano Sonata in D major: "Kurfürstensonate" (Electoral) #3	1783	Archbishop Maximilian Friedrich of Cologne
48		Rondo for Piano in C major	1783
49		Rondo for Piano in A major	1783
50		2 Sonata Movements for Piano in F major	1790 - 1792	Franz Wegeler
51		Easy Piano Sonata in C major	1791 - 1798	Eleonore von Breuning	first edition completed by Ries, since small parts of the first two movements and the whole of the last movement are lost
52		Bagatelle for Piano in C minor: presto	1795 - 1822		originally intended for the Piano Sonata Opus 10 #1
53		Allegretto for Piano in C minor	1796 - 1797		perhaps originally intended for the Piano Sonata Opus 10 #1
54		Piece for Piano in C major: "Lustig - traurig" (Merry - Sad) in C & c	1802
55		Prelude for Piano in F minor	1803
56		Bagatelle for Piano in C major: Allegretto	1803 - 1822
57		Andante for Piano in F major: "Andante favori"	1803 - 1804		originally intended as the slow movement for the Piano Sonata Opus 53
58	1	Cadenza for Piano in D minor: for Mozart’s piano concerto in d minor K 466 1st mvmt	1809	written for Ferdinand Ries
58	2	Cadenza for Piano & Orchestra in D minor: for Mozart’s piano concerto in d minor K 466 3rd mvmt	1809	written for Ferdinand Ries
59		Bagatelle for Piano in A minor: "Für Elise"	1810	Therese Malfatti	autograph missing, but "Elise" probably denotes Therese Malfatti
60		Bagatelle for Piano in B flat major: "Zeimlich lebhaft" (A little lively)	1818	Marie Szymanowska
61		Allegretto for Piano in B minor	1821	Ferdinand Piringer
61	1	Bagatelle for Piano in G minor: called WoO 61a	1825	Sarah Burney Page
62		String Quintet in C major: "Letzter musikalischer Gedanke" (last musical thought); authorship: unfinished at death	1826		exists only in transcription for piano
63		9 Variations for Piano in C minor: on a march by Ernst Christoph Dressler	1782	Countess Wolf-Metternich
64		6 Variations for Piano or Harp in F major: on a Swiss air	1790 - 1792
65		24 Variations for Piano in D major: on Vincenzo Righini’s arietta "Venni Amore"	1790 - 1791	Countess Hatzfeld	Originally thought to exist only in a revised version of 1802, the recent discovery of the original edition shows the variations reached their final state as early as 1791, rendering the Hess number (55) of the “earlier version” superfluous.
66		13 Variations for Piano in A major: on Dittersdorf’s arietta "Es war einmal ein alter Mann" from "Das rote Käppchen"	1792
67		8 Variations for Piano Four Hands in C major: on a theme by Count Ferdinand von Waldstein	1792
68		12 Variations for Piano in C major: on the "Menuett à la Viganò" from Jakob Haibel’s ballet "Le nozze disturbate"	1795
69		9 Variations for Piano in A major: on Giovanni Paisello’s air "Quant’ è più bello" from "La Molinara"	1795	Prince Karl Lichnowsky
70		6 Variations for Piano in G major: on the duet "Nel cor più non mi sento" from Giovanni Paisello’s opera "La Molinara"	1795
71		12 Variations for Piano in A major: on a Russian dance from Paul Wranitsky’s ballet "Das Waldmädchen"	1796 - 1797	Countess Anna Margarete Browne
72		8 Variations for Piano in C major: on the Romance "Une fièvre brûlante" from Grétry’s opera "Richard Cœur de Lion"	1795 - 1798
73		10 Variations for Piano in B major: on Salieri’s duet "La stessa la stessissima" from "Falstaff"	1799	Countess Barbara von Keglevics
74		Song: "Ich denke dein", "Ich denke dein, wenn mir der Sonne Schimmer"	1799 - 1803	Therese Brunsvik & Countess Josephine Deym (née Brunsvik)	Beethoven wrote the theme to the opening stanza of Goethe’s poem
74		6 Variations for Piano Four Hands in D major: on "Ich denke dein"	1799 - 1803	Therese Brunsvik & Countess Josephine Deym (née Brunsvik)	Beethoven wrote the theme to the opening stanza of Goethe’s poem
75		7 Variations for Piano in F major: on the Quartet "Kind, willst du ruhig schlafen?" from Peter Winter’s opera "Das unterbrochene Opferfest"	1792 - 1799
76		8 Variations for Piano in F major: on the Trio "Tändeln und Scherzen" from Franz Xaver Süssmayr’s opera "Soliman II"	1799	Countess Anna Margarete Browne
77		6 Easy Variations for Piano in G major: on an original theme	1800
78		7 Variations for Piano in C major: on the English folk song "God Save the King"	1802 - 1803		folk song setting: WoO 157 #1; theme used again in "Wellingtons Sieg" Opus 91
79		5 Variations for Piano in D major: on the English song "Rule Britannia" from Arne’s "Alfred"	1803		theme used again in "Wellingtons Sieg" Opus 91
80		32 Variations for Piano in C minor: on an original theme	1806
81		Allemande for Piano in A major	1793 - 1822
82		Minuet for Piano in E flat major	1803
83		6 Ecossaises for Piano in E flat major	1806
84		Waltz for Piano in E flat major	1824	Friedrich Demmer	dedicated by publisher
85		Waltz for Piano in D major	1825	Duchess Sophie of Austria	dedication by the publisher
86		Ecossaise for Piano in E flat major	1825	Duchess Sophie of Austria	dedication by the publisher
87		Cantata: "Trauerkantate auf den Tod Joseph II" (on the Death of Joseph II)	1790		words: S. A. Averdonk
88		Cantata: "Kantate auf die Erhebung Leopold II zur Kaiserwürde" (on the Elevation of Leopold II to the Imperial Dignity)	1790		words: S. A. Averdonk
89		Aria in F major: "Prüfung des Küssens"; for bass & orchestra "Meine weise Mutter spricht"	1790 - 1792		words: Anonymous
90		Aria in D major: "Mit Mädeln sich vertragen"; for bass & orchestra	1790 - 1792		words: from Goethe’s Singspiel "Claudine von Villa Bella"
91	1	Aria in F major: "O welch ein Leben!"; for tenor & orchestra for Umlauf’s Singspiel "Die schöne Schusterin" (The Beautiful Shoemaker’s Wife)	1795		words: Marquis de Ferrieres; the theme was also used in "Maigesang" Opus 52 #4
91	2	Aria in B flat major: "Soll ein Schuh nicht drücken?"; for soprano & orchestra for Umlauf’s Singspiel "Die schöne Schusterin" (The Beautiful Shoemaker’s Wife)	1795		words: Marquis de Ferrieres
92		Scene & Aria in A major: "Primo amore"; for soprano w/ orchestra	1791 - 1792		words: Anonymous
92	1	Scene & Aria: "No, non turbarti"; for soprano w/ string orchestra (WoO 92a)	1802		words: Pietro Metastasio
93		Duo for Solo Voice(s) & Orchestra: "Ne’ giorni tuoi felici"; for soprano & tenor w/ orchestra	1802		words: Pietro Metastasio
94		Music for a drama for Orchestra, Chorus & Solo Voice(s) in B flat major: "Germania", finale for Trietschke’s Singspiel "Die gute Nachricht" (The Good News)	1814
95		Chorus for Orchestra & Chorus in A major: "Chor auf die verbündeten Fürsten" (Chorus for the Allied Princes) "Ihr weisen Gründer"	1814		words: Carl Bernard
96		Music for a drama for Orchestra, Chorus & Solo Voice(s): "Leonore Prohaska"	1815		Funeral march is orchestration of Piano Sonata No. 12 Opus 26, made at author’s (Friedrich Duncker) express wish
97		Chorus for Orchestra, Chorus & Solo Voice(s) in D major: "Es ist vollbracht" (It is fulfilled), final chorus from Treitschke’s Singspiel "Die Ehrenpforten" (The Triumphal Arches)	1815
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		see Opus 124
99	1	Duet: "Bei labbri, che Amore"	1801 - 1803	written for Antonio Salieri
99	2	Trio for Solo Voice(s): "Chi mai di questo core"	1801 - 1803	written for Antonio Salieri
99	3.1	Duet: "Fra tutte le pene" (WoO 99/3a) 1 of 3 settings	1801 - 1803	written for Antonio Salieri
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
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
99	4.1	Quartet for Solo Voice(s): "Già la notte s’avvicina" (WoO 99/4a) 1 of 2 settings	1801 - 1803	written for Antonio Salieri
99	4.2	Trio for Solo Voice(s): "Già la notte s’avvicina" (WoO 99/4b) 2 of 2 settings	1801 - 1803	written for Antonio Salieri
99	5.1	Quartet for Solo Voice(s): "Giura il nocchier" (WoO 99/5a) 1 of 2 settings	1801 - 1803	written for Antonio Salieri
99	5.2	Trio for Solo Voice(s): "Giura il nocchier" (WoO 99/5b) 2 of 2 settings	1801 - 1803	written for Antonio Salieri
99	6	Trio for Solo Voice(s): "Ma tu tremi"	1801 - 1803	written for Antonio Salieri
99	7.1	Quartet for Solo Voice(s): "Nei campi e nelle selve" (WoO 99/7a) 1 of 2 settings	1801 - 1803	written for Antonio Salieri
99	7.2	Quartet for Solo Voice(s): "Nei campi e nelle selve" (WoO 99/7b) 2 of 2 settings	1801 - 1803	written for Antonio Salieri
99	8	Song in G major: "O care selve", with unison chorus	1794 - 1795		words: Pietro Metastasio - also published separately as WoO 119
99	9	Trio for Solo Voice(s): "Per te d’amico aprile"	1801 - 1803	written for Antonio Salieri
99	10.1	Quartet for Solo Voice(s): "Quella cetra ah pur tu sei" (WoO 99/10a) 1 of 3 settings	1801 - 1803	written for Antonio Salieri
99	10.2	Trio for Solo Voice(s): "Quella cetra ah pur tu sei" (WoO 99/10b) 2 of 3 settings	1801 - 1803	written for Antonio Salieri
99	10.3	Quartet for Solo Voice(s): "Quella cetra ah pur tu sei" (WoO 99/10c) 3 of 3 settings	1801 - 1803	written for Antonio Salieri
99	11	Duet: "Scrivo in te"	1801 - 1803	written for Antonio Salieri
99	12	Quartet for Solo Voice(s) in C major: "Silvio, amante disperato"	1801 - 1802	written for Antonio Salieri
100		Joke in G major: "Lob auf den Dicken" "Schuppanzigh ist ein Lump"	1801	written for Ignaz Schuppanzigh	words: Beethoven?
101		Joke in E flat major: "Graf, liebster Graf, liebstes Schaf"	1802	written for Nikolaus Zmeskall	words: Beethoven
102		Song: "Abschiedsgesang" (Song of Farewell) for tenor & 2 basses "Die Stunde schlägt"	1814	written for Leopold Weiss	words: Joseph von Seyfried
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
104		Song: "Gesang der Mönche" (Song of the Monks) from Schiller’s "William Tell"; "Rasch tritt der Tod den Menchen an"	1817		words: Friedrich von Schiller
105		Song in C 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
105		Song in A major: "Hochzeitslied" unison version of Hess 124	1819	written for Anna Giannatasio del Rio	words: Anton Joseph Stein; written for the marriage of Leopold Schmerling & Anna Giannatasio del Rio
106		Cantata: "Lobkowitz-Kantate" for soprano, chorus & piano	1823	written for Prince Ferdinand Lobkowitz	words: Beethoven?; written for Prince Lobkowitz’ birthday
107		Song: "Schilderung eines Mädchens"; "Schildern, willst du Freund, soll ich dir Elisen?"	1782		words: Anonymous
108		Song in A major: "An einen Säugling"; "Noch weisst du nicht, wes Kind du bist"	1783		words: Johann von Döring
109		Song in C major: "Trinklied (beim Abschied zu singen)"; "Erhebt das Glas mit froher Hand"	1791 - 1792		words: Anonymous
110		Song in F minor: "Elegie auf den Tod eines Pudels"; "Stirb immerhin, es welken ja so viele der Freuden"	1790		words: Anonymous
111		Song in G major: "Punschlied"; "Wer nicht, wenn warm von Hand zu Hand"	1791 - 1792		words: Anonymous
112		Song in G major: "An Laura"; "Freud’ umblühe dich auf allen Wegen"	1792		words: Friedrich von Matthisson
113		Song in E major: "Klage"; "Dein Silver schien durch Eichengrün"	1790		words: Ludwig Hölty
114		Song in E major: "Ein Selbstgespräch"; "Ich, der mit flatterndem Sinn"	1793		words: J.W.L. Gleim
115		Song in D major: "An Minna"; "Nur bei dir, an deinem Herzen"	1792		words: Anonymous
116		Song in C minor: "Que le temps me dure" 1st version	1793		words: Jean Jacques Rousseau; not fully notated
116		Song in C major: "Que le temps me dure" 2nd version	1793		words: Jean Jacques Rousseau; not fully notated
117		Song in C major: "Der freie Mann"; "Wer ist ein freier Mann?"; with unison chorus	1792 - 1794		words: G.C. Pfeffel
118		Song: "Seufzer eines Ungeliebten"; "Hast du nicht Liebe zugemessen", and "Gegenliebe"; "Wüsst’ ich, wüsst’ ich"	1794 - 1795		words: GA Bürger; the melody of "Gegenliebe" was later used in the Choral Fantasy Opus 80
119		Song in G major: "O care selve", with unison chorus	1794 - 1795		words: Pietro Metastasio; also part of WoO 99 (#8)
120		Song in F major: "Man strebt, die Flamme zu verhehlen"	1800 - 1802	written for Frau von Weissenthurn	words: Anonymous
121		Song in G major: "Abschiedsgesang an Wiens Bürger"; "Keine Klage soll erschallen"	1796	Major von Kövesdy	words: Josef von Friedelberg
122		Song in C major: "Kriegslied der Osterreicher"; "Ein grosses deutches Volk sind wir" (with unison chorus)	1797		words: Josef von Friedelberg
123		Song in G major: "Zärtliche Liebe" (Tender Love); "Ich liebe dich, so wie du mich"	1795		words: Karl Friedrich Herrosee
124		Song in A major: "La partenza" (Der Abschied); "Ecco quel fiero istante!"	1795		words: Pietro Metastasio
125		Song in E flat major: "La tiranna", Canzonetta; "Ah grief to think!"	1798 - 1799		English words: William Wennington
126		Song in E major: "Opferlied" (Sacrificial Song); "Die Flamme lodert"	1794 - 1795		words: Friedrich von Matthisson; earlier version of Opus 121b
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
128		Song in G major: "Plaisir d’aimer" "Plaisir d’aimer besoin d’une âme tendre"	1798 - 1799		words: Anonymous
129		Song in F major: "Der Wachtelschlag" (The Quail’s Call) "Ach, wie schalt’s dorten so lieblich hervor"	1803	written for Count Johann Georg Browne	words: Samuel Friedrich Sauter
130		Song in C minor: "Gedenke mein"; "Gedenke mein, ich denke dein"	1804 - 1820	written for Prince Nikolas Borissovich Galitzin	words: Anonymous
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
132		Song in E flat major: "Als die Geliebte sich trennen wollte"; "Der Hoffnung letzter Schimmer sinkt dahin"	1806		also published with the title "Empfindungen bei Lydiens Untreue"; words: Stephan von Breuning, based on French text by Hoffmann
133		Song in A flat major: "In questa tomba oscura", Arietta (In this dark Tomb)	1806 - 1807		words: Giuseppe Carpani
134	1	Song in G minor: "Sehnsucht"; "Nur wer die Sehnsucht kennt" (1st setting)	1807 - 1808		words: Goethe; "NB: I did not have enough time to produce a good one, so here are several attempts" - LvB
134	2	Song in G minor: "Sehnsucht"; "Nur wer die Sehnsucht kennt" (2nd setting)	1807 - 1808		words: Goethe; "NB: I did not have enough time to produce a good one, so here are several attempts" - LvB
134	3	Song in E flat major: "Sehnsucht"; "Nur wer die Sehnsucht kennt" (3rd setting)	1807 - 1808		words: Goethe; "NB: I did not have enough time to produce a good one, so here are several attempts" - LvB
134	4	Song in G minor: "Sehnsucht"; "Nur wer die Sehnsucht kennt" (4th setting)	1807 - 1808		words: Goethe; "NB: I did not have enough time to produce a good one, so here are several attempts" - LvB
135		Song in C minor: "Die laute Klage"; "Turteltaube, du klagtest so laut"	1814 - 1815		words: Johann Gottfried Herder
136		Song in D major: "Andenken" (Memories); "Ich denke dein"	1808		words: Friedrich von Matthisson
137		Song in B flat major: "Gesang aus der Ferne" (Song from far away); "Als mir noch die Träne" (2nd setting)	1809		words: Christian Ludwig Reissig; other setting has no catalog #
138		Song in B flat major: "Der Jüngling in der Fremde"; "Der Früling entblühet dem Schoß der Natur"	1809		words: Christian Ludwig Reissig; the music was originally written for the text of WoO 137
139		Song in D major: "Der Liebende"; "Welch ein wunderbares Leben"	1809		words: Christian Ludwig Reissig
140	1	Song: "An die Geliebte"; "O daß ich dir vom stillen Auge" (1st setting)	1811		words: Johann Ludwig Stoll
140	2	Song: "An die Geliebte"; "O daß ich dir vom stillen Auge" (2nd setting)	1814		words: Johann Ludwig Stoll
141		Song in C major: "Der Gesang der Nachtigall"; "Höre, die Nachtigall singt"	1813		words: Johann Gottfried Herder
142		Song in E minor: "Der Bardengeist"; "Dort auf dem hohen Felsen sang"	1813		words: Franz Rudolph Hermann
143		Song in E flat major: "Des Kriegers Abschied"; "Ich zieh’ ins Feld von Lieb’entbrannt"	1814		words: Christian Ludwig Reissig
144		Song in E flat major: "Merkenstein" (1st setting)	1814		words: J B Rupprecht; 2nd setting is Opus 100
145		Song in G major: "Das Geheimnis (Liebe and Wahrheit)"; "Wo blüht das Blümchen, das nie verblüht?"	1815		words: Ignaz HC von Wessenberg
146		Song in E major: "Sehnsucht" (Longing); "Die stille Nacht umdunkelt"	1816		words: Christian Ludwig Reissig
147		Song in A major: "Ruf vom Berge"; "Wenn ich ein Vöglein wär"	1816		words: Georg Friedrich Treitschke
148		Song in F major: "So oder so"; "Nord oder Süd!"	1817		words: Carl Lappe
149		Song in D major: "Resignation"; "Lisch aus, mein Licht!"	1817		words: Paul von Haugwitz
150		Song in E major: "Abendlied unter’m gestirnten Himmel" (Evening Song beneath the Starry Sky); "Wenn die Sonne nieder sinket"	1820		words: Heinrich Goeble; could be considered last complete song written
151		Song in G major: "Der edle Mensch sei hülfreich und gut"	1823	written for Baroness Cäcilie von Eskeles	words: Goethe
152	1	Folksong Setting: "The Return to Ulster", "Once again, but how chang’d"; #1 of 25 Irish songs	1810		words: Sir Walter Scott
152	2	Folksong Setting: "Sweet Power of Song!"; #2 of 25 Irish songs	1810		words: Joanna Baillie
152	3	Folksong Setting: "Once more I hail thee"; #3 of 25 Irish songs	1810		words: Robert Burns
152	4	Folksong Setting: "The morning air plays on my face"; #4 of 25 Irish songs	1810		words: Joanna Baillie
152	5	Folksong Setting: "On the massacre of Glencoe", "O! tell me, harper"; #5 of 25 Irish songs	1810		words: Sir Walter Scott; original setting of Hess 192
152	6	Folksong Setting: "What shall I do to shew how much I love her?"; #6 of 25 Irish songs	1810		words: Anonymous
152	7	Folksong Setting: "His boat comes on the sunny tide"; #7 of 25 Irish songs	1810		words: Joanna Baillie
152	8	Folksong Setting: "Come draw we round a cheerful ring"; #8 of 25 Irish songs	1810		words: Joanna Baillie
152	9	Folksong Setting: "The Soldier’s Dream", "Our bugles sung truce"; #9 of 25 Irish songs	1810		words: Thomas Campbell
152	10	Folksong Setting: "The Deserter" (The evening previous to his execution), "If sadly thinking and spirits sinking"; #10 of 25 Irish songs	1812		words: J P Curran
152	11	Folksong Setting: "Thou emblem of faith" (Upon returning a ring); #11 of 25 Irish songs	1812		words: J P Curran
152	12	Folksong Setting: "English Bulls, or The Irishman in London", "Och! have you not heard, Pat"; #12 of 25 Irish songs	1810		words: Anonymous; variations on this air "Paddy Whack" Op 105 #6
152	13	Folksong Setting: "Musing on the roaring ocean"; #13 of 25 Irish songs	1812		words: Robert Burns
152	14	Folksong Setting: "Dermot and Shelah", "O who sits so sadly"; #14 of 25 Irish songs	1810		words: T Toms
152	15	Folksong Setting: "Let brainspinning swains"; #15 of 25 Irish songs	1810		words: Alexander Boswell
152	16	Folksong Setting: "Hide not thy anguish"; #16 of 25 Irish songs	1810		words: William Smyth
152	17	Folksong Setting: "In vain to this desert my fate I deplore"; #17 of 25 Irish songs	1810		words: Anne Grant & Robert Burns
152	18	Folksong Setting: "They bid me slight my Dermot dear"; #18 of 25 Irish songs	1810		words: William Smyth
152	19	Folksong Setting: "Wife, Children and Friends", "When the blackletter’d list to the gods"; #19 of 25 Irish songs	1812		words: W R Spencer
152	20	Folksong Setting: "Farewell bliss and farewell Nancy"; #20 of 25 Irish songs	1810		words: Anne Grant & Robert Burns
152	21	Folksong Setting: "Morning a cruel turmoiler is"; #21 of 25 Irish songs	1812		words: Alexander Boswell
152	22	Folksong Setting: "From Garyone, my happy home", air: "Garyone"; #22 of 25 Irish songs	1812		words: T Toms; original setting of WoO 154 #7
152	23	Folksong Setting: "A wand’ring gypsey, Sirs, am I"; #23 of 25 Irish songs	1810		words: Dr Wolcot
152	24	Folksong Setting: "The Traugh Welcome", "Shall a son of O’Donnell be cheerless and cold"; #24 of 25 Irish songs	1812		words: Anonymous
152	25	Folksong Setting: "O harp of Erin", "O harp of Erin thou art now laid low"; air: "I once had a true love"; #25 of 25 Irish songs	1812		words: David Thomson; original setting for WoO 154 #2
153	1	Folksong Setting: "When eve’s last rays in twilight die"; #1 of 20 Irish songs	1810		words: David Thomson
153	2	Folksong Setting: "No riches from his scanty store"; #2 of 20 Irish songs	1810		words: Williams
153	3	Folksong Setting: "The British Light Dragoons, or The Plain of Badajos", "’Twas a Marechal of France"; #3 of 20 Irish songs	1810		words: Sir Walter Scott
153	4	Folksong Setting: "Since greybeards inform us that youth will decay"; #4 of 20 Irish songs	1810		words: T Toms
153	5	Folksong Setting: "I dream’d I lay where flow’rs were springing"; #5 of 20 Irish songs	1813		words: Robert Burns; replacement setting for Hess 194
153	6	Folksong Setting: "Sad and luckless was the season"; #6 of 20 Irish songs	1815		words: William Smyth; variations on this air: WoO 153 #6
153	7	Folksong Setting: "O soothe me, my lyre"; #7 of 20 Irish songs	1813		words: William Smyth
153	8	Folksong Setting: "Norah of Balamagairy", "Farewell mirth and hilarity"; #8 of 20 Irish songs	1812 - 1813		words: Alexander Boswell
153	9	Folksong Setting: "The kiss, dear maid, thy lip has left"; #9 of 20 Irish songs	1813		words: Lord Byron
153	10	Folksong Setting: "Oh, thou hapless soldier"; #10 of 20 Irish songs	1810		words: William Smyth
153	11	Folksong Setting: "When far from the home"; #11 of 20 Irish songs	1813		words: David Thomson; Hess 195 is another setting
153	12	Folksong Setting: "I’ll praise the saints with early song"; #12 of 20 Irish songs	1813		words: William Smyth; replacement setting for Hess 196
153	13	Folksong Setting: ‘"Tis sunshine at last"; #13 of 20 Irish songs	1815		words: William Smyth
153	14	Folksong Setting: "Paddy O’Rafferty"; #14 of 20 Irish songs	1810		words: Alexander Boswell
153	15	Folksong Setting: "‘Tis but in vain, for nothing thrives"; #15 of 20 Irish songs	1813		words: William Smyth; replacement setting for Hess 197
153	16	Folksong Setting: "O might I but my Patrick love!" (English); #16 of 20 Irish songs	1813		words: William Smyth
153	17	Folksong Setting: "Come, Darby dear! easy, be easy"; #17 of 20 Irish songs	1813		words: William Smyth
153	18	Folksong Setting: "No more, my Mary, I sigh for splendour"; #18 of 20 Irish songs	1813		words: William Smyth
153	19	Folksong Setting: "Judy, lovely, matchless creature"; #19 of 20 Irish songs	1813		words: Alexander Boswell
153	20	Folksong Setting: "Thy ship must sail, my Henry dear"; #20 of 20 Irish songs	1813		words: William Smyth
154	1	Folksong Setting: "The Elfin Fairies", "We fairy elves in secret dells", air: "Planxty Kelly"; #1 of 12 Irish songs	1813		words: David Thomson
154	2	Folksong Setting: "O harp of Erin", "O harp of Erin thou art now laid low", air: "I once had a true love"; #2 of 12 Irish songs	1813		words: David Thomson; replacement setting for WoO 152 #25
154	3	Folksong Setting: "The Farewell Song", "O Erin", air: "The old woman"; #3 of 12 Irish songs	1813		words: William Smyth
154	4	Folksong Setting: "The pulse of a Irishman", air: "St Patrick’s Day"; #4 of 12 Irish songs	1813		words: Alexander Boswell; {like Let Brainspinning Swains}
154	5	Folksong Setting: "O who, my dear Dermot", air: "Crooghan a Venee"; #5 of 12 Irish songs	1813		words: William Smyth
154	6	Folksong Setting: "Put round the bright wine", air: "Chiling O’Guiry"; #6 of 12 Irish songs	1813		words: William Smyth; variations on this air: Op 105 #5
154	7	Folksong Setting: "From Garyone, my happy home", air: "Garyone"; #7 of 12 Irish songs	1813		words: T Toms; replacement setting for WoO 152 #22
154	8	Folksong Setting: "Save me from the grave and wise", air: "Nora Creina"; #8 of 12 Irish songs	1813		words: William Symth
154	9	Folksong Setting: "O would I were but that sweet linnet!", air: "The pretty girl milking the cows"; #9 of 12 Irish songs	1813		words: William Smyth; replacement setting for Hess 198
154	10	Folksong Setting: "The hero may perish", air: "The fox’s sleep"; #10 of 12 Irish songs	1813		words: William Smyth; another setting - WoO 156 #8
154	11	Folksong Setting: "The Soldier in a Foreign Land", "The piper who sat on his low mossy seat", air: "The Brown Maid"; #11 of 12 Irish songs	1813		words: Joanna Baillie; another version is Hess 199
154	12	Folksong Setting: "He promis’d me at parting", air: "Killeavy"; #12 of 12 Irish songs	1813		words: William Smyth
155	1	Folksong Setting: "Chase of the Wolf" or "Sion, the Son of Evan", "Hear the shouts of Evan’s son"; #1 of 26 Welsh songs	1810		words: Anne Grant
155	2	Folksong Setting: "The Monks of Bangor’s March", "When the heathen trumpet’s clang"; #2 of 26 Welsh songs	1810		words: Sir Walter Scott
155	3	Folksong Setting: "The Cottage Maid", "I envy not the splendour fine"; #3 of 26 Welsh songs	1810		words: William Smyth; variations on this air: Op 105 #1
155	4	Folksong Setting: "Love without Hope", "Her features speak the warmest heart"; #4 of 26 Welsh songs	1810		words: John Richardson
155	5	Folksong Setting: "The Golden Robe", "A golden robe my Love shall wear"; #5 of 26 Welsh songs	1810		words: Anne Hunter
155	6	Folksong Setting: "The Fair Maid of Mona", "How, my love, could hapless doubts o’ertake thee"; #6 of 26 Welsh songs	1810		words: William Smyth
155	7	Folksong Setting: "O let the night my blushes hide"; #7 of 26 Welsh songs	1810		words: William Smyth
155	8	Folksong Setting: "Farewell, thou noisy town"; #8 of 26 Welsh songs	1810		words: William Smyth
155	9	Folksong Setting: "To the Aeolian Harp", "Harp of the winds"; #9 of 26 Welsh songs	1810		words: Anne Hunter
155	10	Folksong Setting: "Ned Pugh’s Farewell", "To leave my dear girl, my country, and friends"; #10 of 26 Welsh songs	1810		words: Anne Hunter
155	11	Folksong Setting: "Merch Megan, or Peggy’s Daughter"1 "In the white cot where Peggy dwells"; #11 of 26 Welsh songs	1810		words: Anne Hunter; variations on this air: Op 107 #6
155	12	Folksong Setting: "Waken, lords and ladies gay"; #12 of 26 Welsh songs	1810		words: Sir Walter Scott
155	13	Folksong Setting: "Helpless Woman", "How cruel are the parents"; #13 of 26 Welsh songs	1810		words: Robert Burns
155	14	Folksong Setting: "The Dream", "Last night worn with anguish"; #14 of 26 Welsh songs	1810		words: David ap Gwillim
155	15	Folksong Setting: "When mortals all to rest retire" (English); #15 of 26 Welsh songs	1813		words: William Smyth
155	16	Folksong Setting: "The Damsels of Cardigan", "Fair Tivy"; #16 of 26 Welsh songs	1810		words: W Jones
155	17	Folksong Setting: "The Dairy House", "A spreading hawthorn shades the seat"; #17 of 26 Welsh songs	1810		words: Anne Hunter
155	18	Folksong Setting: "Sweet Richard", "Yes, thou art chang’d since first we met"; #18 of 26 Welsh songs	1810		words: Opie
155	19	Folksong Setting: "The Vale of Clwyd", "Think not I’ll leave"; #19 of 26 Welsh songs	1810		words: Opie
155	20	Folksong Setting: "To the Blackbird", "Sweet warbler of a strain divine"; #20 of 26 Welsh songs	1813		words: David ap Gwillim; replacement setting of Hess 206
155	21	Folksong Setting: "Cupid’s Kindness", "Dear brother"; #21 of 26 Welsh songs	1810		words: William Smyth
155	22	Folksong Setting: "Constancy", "Tho’ cruel fate should bid us part"; #22 of 26 Welsh songs	1810		words: Robert Burns
155	23	Folksong Setting: "The Old Strain", "My pleasant home beside the Dee!"; #23 of 26 Welsh songs	1810		words: William Smyth
155	24	Folksong Setting: "Three Hundred Pounds", "In yonder snug cottage"; #24 of 26 Welsh songs	1810		words: Richard Litwyd
155	25	Folksong Setting: "The Parting Kiss", "Laura, thy sighs must now no more"; #25 of 26 Welsh songs	1815		words: William Smyth
155	26	Folksong Setting: "Good Night", "Ere yet we slumber seek"; #26 of 26 Welsh songs	1810		words: W R Spencer
156	1	Folksong Setting: "The Banner of Buccleuch", "From the brown crest of Newark"; #1 of 12 Scottish songs	1819		words: Sir Walter Scott
156	2	Folksong Setting: "Duncan Gray", "Duncan Gray came here to woo"; #2 of 12 Scottish songs	1818		words: Robert Burns
156	3	Folksong Setting: "Up! quit thy bower"; #3 of 12 Scottish songs	1819		words: Joanna Baillie
156	4	Folksong Setting: "Ye shepherds of this pleasant vale"; #4 of 12 Scottish songs	1818		words: William Hamilton
156	5	Folksong Setting: "Cease your funning"; #5 of 12 Scottish songs	1817		Words: Gay; not Scottish, derived from "The Beggar’s Opera"
156	6	Folksong Setting: "Highland Harry", "My Harry was a gallant gay"; #6 of 12 Scottish songs	1815		words: Robert Burns
156	7	Folksong Setting: "Polly Stewart", "O lovely Polly Stewart"; #7 of 12 Scottish songs	1818		words: Robert Burns
156	8	Folksong Setting: "Womankind", "The hero may perish his country to save"; #8 of 12 Scottish songs	1818		another setting - WoO 154 #10
156	9	Folksong Setting: "Lochnagar", "Away ye gay landscapes"; #9 of 12 Scottish songs	1818		words: Lord Byron
156	10	Folksong Setting: "Glencoe", "O tell us, Harper"; #10 of 12 Scottish songs	1819		words: Sir Walter Scott
156	11	Folksong Setting: "Auld Lang Syne" "Should auld acquaintance be forgot"; #11 of 12 Scottish songs	1818		words: Robert Burns
156	12	Folksong Setting: "The Quaker’s Wife", "Dark was the morn and black the sea"; #12 of 12 Scottish songs	1818		words: Mr. Hunter
157	1	Folksong Setting: "God Save the King", "God save our Lord the King" (English); #1 of 12 assorted folk songs	1817		words: Henry Carey; variations on this air: WoO 78
157	2	Folksong Setting: "The Soldier", "Then, Soldier! come" (Irish); #2 of 12 assorted folk songs	1815		words: William Smyth
157	3	Folksong Setting: "Charlie is my darling" (Scottish); #3 of 12 assorted folk songs	1819
157	4	Folksong Setting: "O sanctissima" (Sicilian); #4 of 12 assorted folk songs	1817
157	5	Folksong Setting: "The Miller of Dee", "There was a jolly miller once" (English); #5 of 12 assorted folk songs	1819
157	6	Folksong Setting: "A health to the brave" (Irish); #6 of 12 assorted folk songs	1815		words: John Dovaston
157	7	Folksong Setting: "Robin Adair", "Since all thy vows, false maid" (Irish); #7 of 12 assorted folk songs	1815		words: Anonymous
157	8	Folksong Setting: "By the side of the Shannon" (Irish); #8 of 12 assorted folk songs	1815		words: William Smith
157	9	Folksong Setting: "Highlander’s Lament", "My Harry was a gallant gay" (Scottish); #9 of 12 assorted folk songs	1820		words: Robert Burns
157	10	Folksong Setting: "Sir Johnnie Cope" (Scottish); #10 of 12 assorted folk songs	1817		old Jacobite song
157	11	Folksong Setting: "The Wandering Minstrel", "I am bow’d down" (Irish); #11 of 12 assorted folk songs	1815		words: William Smyth
157	12	Folksong Setting: "La gondoletta", "La biondina in gondoletta" (Venetian); #12 of 12 assorted folk songs	1816
158	1	Folksong Setting: "Ridder Stigs Runer" (Danish) WoO 158a; #1 of 23 continental folk songs	1817
158	2	Folksong Setting: "Horch auf, mein Liebchen" (German) WoO 158a; #2 of 23 continental folk songs	1816
158	3	Folksong Setting: "Wegen meiner blieb d’Fräula" (German) WoO 158a; #3 of 23 continental folk songs	1816
158	4	Folksong Setting: "Wann i in der Früh aufsteh" (Tyrolean) WoO 158a; #4 of 23 continental folk songs	1816
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
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
158	7	Folksong Setting: "Wer solche Buema afipackt" (Tyrolean) WoO 158a; #7 of 23 continental folk songs	1817
158	8	Folksong Setting: "Ih mag di nit nehma, du töppeter Hecht" (Tyrolean) WoO 158a; #8 of 23 continental folk songs	1817
158	9	Folksong Setting: "Oj, oj upilem sie w karczmie" (Polish) WoO 158a; #9 of 23 continental folk songs	1816
158	10	Folksong Setting: "Poszla baba po popiol" (Polish) WoO 158a; #10 of 23 continental folk songs	1816
158	11	Folksong Setting: "Yo no quiero embarcarme" (Iberian) WoO 158a; #11 of 23 continental folk songs	1816
158	12	Folksong Setting: "Seus lindos olhos" (Portuguese) WoO 158a; #12 of 23 continental folk songs	1816
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
158	14	Folksong Setting: "Akh, recen’ki, recen’ki" (Ach Bächlein, Bächlein, kühle Wasser) (Russian) WoO 158a; #14 of 23 continental folk songs	1816
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
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
158	17	Folksong Setting: "Lilla Carl", Vaggvisa (Swedish lullaby) WoO 158a; #17 of 23 continental folk songs	1817		words: C M Bellmann
158	18	Folksong Setting: "An ä Bergli bin i gesässe" (Swiss) WoO 158a; #18 of 23 continental folk songs	1816
158	19	Folksong Setting: "Una paloma blanca" (Spanish Bolero a Solo) WoO 158a; #19 of 23 continental folk songs	1816
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
158	21	Folksong Setting: "Tiranilla Española" (Spanish); "La tiranna se embarca" WoO 158a; #21 of 23 continental folk songs	1816
158	22	Folksong Setting: "Édes kinos emlékezet", "Magyar Szüretötö Enek" (Hungarian grape harvest song) WoO 158a; #22 of 23 continental folk songs	1817
158	23	Folksong Setting: "Da brava, Catina" (Venetian) WoO 158a; #23 of 23 continental folk songs	1816
158	1	Folksong Setting in A major: "Adieu, my lov’d harp" (Irish) WoO 158b; #1 of 7 British folk songs	1813		words: Moore
158	2	Folksong Setting in E flat major: "Castle O’Neill" (Irish), without words, WoO 158b; #2 of 7 British folk songs	1813
158	3	Folksong Setting: "Oh ono chri!" (Scottish) "O was not I a weary wight" WoO 158b; #3 of 7 British folk songs	1817
158	4	Folksong Setting: "Red gleams the sun on yon hill tap" (Scottish) WoO 158b; #4 of 7 British folk songs	1817
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
158	6	Folksong Setting: "O Mary ye’s be clad in silk" (Scottish) WoO 158b; #6 of 7 British folk songs	1815
158	7	Folksong Setting: "Lament for Owen Roe O’Neill" (Irish) without words, WoO 158b; #7 of 7 British folk songs	1810
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
158	2	Folksong Setting in B 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
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
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
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
158	6	Folksong Setting in E minor: Untitled (Scottish) without words, WoO 158c; #6 of 6 assorted folk songs	1810
158		Folksong Setting in F major: "Air Français" (French) WoO 158d
159		3-part Canon in F major: "Im Arm der Liebe ruht sich’s wohl"	1795		counterpoint study for Albrechtsberger
160	1	3-part Canon in G major: for Three Unison Voices (Allegretto) without Text	1795		counterpoint study for Albrechtsberger
160	2	4-part Canon: for Four Unison Voices (Moderato) without Text	1795		counterpoint study for Albrechtsberger
161		3-part Canon in C major: "Ewig dein!" (Forever thine!)	1811
162		4-part Canon in B flat major: "Ta ta ta, lieber Mälzel"; authorship: spurious	1812		apparently written by Anton Schindler
163		3-part Canon in F minor: "Kurz ist der Schmerz, und ewig ist die Freude" (Suffering is transitory, but joy is eternal) (1st setting)	1813	written for Johann Friedrich Naue	words: Friedrich von Schiller; other setting is WoO 166
164		3-part Canon in C major: "Freundschaft ist die Quelle wahrer Glückseligkeit" (Friendship is the source of true bliss)	1814
165		4-part Canon: "Glück zum neuen Jahr!" (1st setting)	1815	written for Baron Johann Baptist von Pasqualati	other setting is WoO 176
166		3-part Canon in F major: "Kurz ist der Schmerz, und ewig ist die Freude" (Suffering is transitory, but joy is eternal) (2nd setting)	1815	written for Louis Spohr	words: Friedrich von Schiller; other setting is WoO 163
167		3-part Canon in C major: "Brauchle, Linke"	1815
168	1	3-part Riddle Canon in F major: "Das Schweigen", "Lerne Schweigen, o Freund"	1816	written for Charles Neate	words: Johann Gottfried Herder
168	2	3-part Canon in F major: "Das Reden", "Rede, wenn’s um einen Freund dir gilt"	1816	written for Charles Neate
169		2-part Riddle Canon in C major: "Ich küße Sie, drücke Sie an mein Herz"	1816	written for Anna Milder-Hauptmann
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
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
172		3-part Canon in E flat major: "Ich bitt’ dich, schreib’ mir die Es-Scala auf"	1818	written for Vincent Hauschka
173		2-part Riddle Canon in B flat major: "Hol’ euch der Teufel! B’hüt euch Gott!"	1819	written for Sigmund Anton Steiner
174		4-part Canon in B flat major: "Glaube und hoffe"	1819	written for Moritz Schlesinger
175		4-part Riddle Canon: "Sankt Petrus war ein Fels/ Bernardus war ein Sankt"	1820	written for Carl Peters & Carl Bernard
176		3-part Canon in F major: "Glück zum neuen Jahr!" (2nd setting)	1819	written for Countess Anna Marie Erdödy	other setting is WoO 165
177		Canon in E major: "Bester Magistrat, Ihr friert"; canon for 2 male voices & 2 double-basses	1820
178		3-part Canon in B flat major: "Signor Abate"	1820	written for Abbé Maximilian Stadler
179		Intro & 4-part Canon in C major: "Seiner Kaiserlichen Hoheit...alles Gute, alles Schöne"	1819	written for Archduke Rudolph of Austria
180		2-part Canon in C major: "Auf einen, welcher Hoffmann geheißen"; "Hoffmann, sei ja kein Hofmann"	1820
181	1	4-part Canon in C major: "Gedenket heute an Baden"	1820
181	2	4-part Canon in C major: "Gehabt euch wohl"	1820
181	3	3-part Canon in C major: "Tugend ist kein leerer Name"	1820
182		3-part Canon in D minor: "O Tobias!"	1821	written for Tobias Haslinger
183		4-part Canon in F major: "Bester Herr Graf, Sie sind ein Schaf"	1823	written for Count Moritz Lichnowsky
184		5-part Canon in G major: "Falstafferel, lass dich sehen!"	1823	written for Ignaz Schuppanzigh
185		6-part Canon: "Edel sei der Mensch, hülfreich und gut"	1823	written for Louis Schlösser	words: Goethe; two versions, in E major & E flat majpr
186		2-part Canon in E flat major: "Te solo adoro"	1824	written for Carlo Soliva	words: Pietro Metastasio; on same text as Hess 263 & Hess 264
187		4-part Canon in F major: "Auf einen, welcher Schwenke geheißen"; "Schwenke dich ohne Schwänke"	1824	written for Carl Schwencke
188		2-part Riddle Canon in B flat major: "Gott ist eine feste Burg"	1825	written for Oberst von Duterlohe
189		4-part Canon in C major: "Doktor, sperrt das Tor dem Tod"	1825	written for Anton Braunhofer
190		2-part Canon in C major: "Ich war hier, Doktor, ich war hier"	1825	written for Anton Braunhofer
191		3-part Canon in B flat major: "Kühl, nicht lau"	1825	written for Friedrich Kuhlau	on the name "Bach"
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
193		Riddle Canon in C major: "Ars longa, vita brevis" (third version)	1825		words: Seneca; other versions are WoO 170 & WoO 192
194		Riddle Canon in F major: "Si non per portas, per muros"	1825	written for Moritz Schlesinger
195		2-part Canon in A minor: "Freu dich des Lebens"	1825	written for Theodor Molt
196		4-part Riddle Canon in F major: "Es muß sein!"	1826	written for Ignaz Dembscher
197		5-part Canon in C major: "Das ist das Werk, sorgt um das Geld!"	1826	written for Karl Holz
198		2-part Riddle Canon in C major: "Wir irren allesamt"	1826	written for Karl Holz
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
200		Piece for Piano in G major: "O Hoffnung!"	1818	written for Archduke Rudolph of Austria	written as a theme for Archduke Rudolph, who composed forty variations on it
201		Joke in C major: "Ich bin bereit! Amen" (I am ready), beginning of a double fugue	1818	written for Vincent Hauschka	Letter 903
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
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
204		Joke in D minor: "Holz, Holz, geigt die Quartette so" (Holz, Holz, you play the quartets as if you were chopping cabbage)	1825		in Conversation Book of September 1825
205	1	Musical greetings for Solo Voice(s) in C major: "Baron, Baron, Baron", #1 of 10 musical greetings	1798	written for Nikolaus Zmeskall	Letter 29
205	2	Musical greetings for Solo Voice(s) in C major: "Allein, allein, allein, jedoch. Silentium!!", #2 of 10 musical greetings	1814	written for Count Moritz Lichnowsky	Letter 498
205	3	Musical greetings for Solo Voice(s) in A minor: "O Adjutant", #3 of 10 musical greetings	1817	written for Tobias Haslinger	Letter 742
205	4	Musical greetings for Solo Voice(s) in C major: "Wo? Wo?", #4 of 10 musical greetings	1817	written for Nanette Streicher	Letter 789 or 792
205	5	Musical greetings for Solo Voice(s) in D major: "Erfüllung, Erfüllung", #5 of 10 musical greetings	1819	written for Archduke Rudolph of Austria	Letter 948
205	6	Musical greetings for Solo Voice(s) in F major: "Scheut euch nicht", #6 of 10 musical greetings	1822	written for George Friedrich Treitschke	Letter 1068
205	7	Musical greetings for Solo Voice(s) in E major: "Tobias! Paternostergäßler. Tobias! Paternostergäßlerischer, Bierhäuslerischer musikalischer Philister!", #7 of 10 musical greetings	1824	written for Tobias Haslinger	Letter 1312
205	8	Musical greetings for Solo Voice(s) in D major: "Tobias Tobias", #8 of 10 musical greetings	1825	written for Tobias Haslinger	Letter 1365
205	9	Musical greetings for Solo Voice(s) in C major: "Bester To----(bias)", #9 of 10 musical greetings	1826	written for Tobias Haslinger	Letter 1534
205	10	Musical greetings for Solo Voice(s) in C major: "Erster aller Tobiasse", #10 of 10 musical greetings	1826	written for Tobias Haslinger	Letter 1536

Many thanks to the great Beethoven lover Annie Moss Moore who send me this list...

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