List of compositions by Ludwig van Beethoven
Adapted from Wikipedia · Discoverer experience
Ludwig van Beethoven was a famous composer who created 722 pieces of music over his lifetime. He began writing music when he was just eleven years old in Bonn and kept composing until he passed away in Vienna in 1827. His works include many types of music, such as symphonies, piano sonatas, concertos, string quartets, and an opera.
Beethoven's music links the Classical and Romantic periods. He wrote in styles similar to Wolfgang Amadeus Mozart and his teacher Joseph Haydn, but also started new ideas that inspired later composers like Hector Berlioz and Franz Liszt. His career is often split into three periods: Early, Middle, and Late. In the Middle period, he wrote powerful works like the Eroica Symphony, Fifth Symphony, and Appassionata Sonata. In his Late period, he created deeply expressive pieces such as his late string quartets and the Ninth Symphony.
Beethoven's compositions are organized in different ways. The most common way is by opus number, with 172 works having these numbers. Other works without opus numbers have WoO, Hess, or Biamonti numbers. For example, the famous piece Für Elise is known as the Bagatelle in A minor, WoO 59. His works are also often called by their number in a specific type, like String Quartet No. 14 or the Opus 131 String Quartet.
List of works by genre
Beethoven wrote many pieces of music over his life. His works include symphonies, concertos, and pieces for small groups of instruments, as well as music for piano and voice.
Beethoven wrote nine symphonies and nine concertos. He also wrote other music for orchestras, like overtures and music for plays. Seven of his concertos are very famous: one for violin, five for piano, and one that uses violin, piano, and cello. He also wrote an early piano concerto and a version of the Violin Concerto arranged for piano.
Beethoven wrote 16 pieces for string quartets and many other types of chamber music. This includes music for groups of strings, music with piano, and music with wind instruments.
Besides his famous 32 piano sonatas, Beethoven also wrote many short pieces for piano, including over twenty sets of variations and more than thirty bagatelles. One of his most well-known short piano pieces is "Für Elise".
Beethoven wrote music for voices as well. Although he only finished one opera, he created many other vocal works. These include two large church services called Masses, music for choirs with orchestras, songs for solo voices with orchestra, and many other songs.
| No. | Title, key | Composition; first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| Op. 21 | Symphony No. 1 in C major | 1799–2 April 1800 | p: Leipzig 1801 | Baron Gottfried van Swieten | i/1 | i/1 |
| Op. 36 | Symphony No. 2 in D major | 1801–5 April 1803 | p: Vienna, 1804; for piano, violin, cello: Vienna, 1805 | Prince Karl von Lichnowsky | i/2 | i/1 |
| Op. 55 | Symphony No. 3 "Eroica" in E♭ major | 1803–7 April 1805 | p: Vienna, 1806 | Prince Franz Joseph von Lobkowitz | i/3 | i/2 |
| Op. 60 | Symphony No. 4 in B♭ major | 1806–March 1807 | p: Vienna, 1808 | Count Franz von Oppersdorff | i/4 | i/2 |
| Op. 67 | Symphony No. 5 "Fate" in C minor | 1807–22 December 1808 | p: Leipzig, 1809 | Prince Lobkowitz and Count Andreas Razumovsky | i/5 | i/3 |
| Op. 68 | Symphony No. 6 "Pastoral" in F major | 1808–22 December 1808 | p: Leipzig, 1809 | Prince Lobkowitz and Count Razumovsky | i/6 | i/3 |
| Op. 92 | Symphony No. 7 in A major | 1811–8 December 1813 | s, p: Vienna, 1816 | Count Moritz von Fries | i/7 | |
| Op. 93 | Symphony No. 8 in F major | 1812–27 February 1814 | s, p: Vienna, 1817 | shortened version of end of 1st movt, HS iv | i/8 | |
| Op. 125 | Symphony No. 9 "Choral" in D minor | 1822–7 May 1824 | s, p: Mainz, 1826 | Frederick William III of Prussia | i/9 | i/5 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 4 | Piano Concerto No. 0 in E♭ major | 1784 | s: GA | survives only in pf score (with orch cues in solo part) | xxv/310 | iii/5 |
| WoO 5 | Violin Concerto in C major, (fragment) | 1790–1792 | Vienna, 1879 | part of 1st movt only; 1st edn ded. Gerhard von Breuning | HS iii | |
| Hess 12 | Oboe Concerto in F major, (lost) | 1792–1793? | sent to Bonn from Vienna in late 1793; a few sketches survive | |||
| Op. 19 | Piano Concerto No. 2 in B♭ major | begun c. 1787, rev. 1790–1801 | p: Leipzig, 1801 | Carl Nicklas von Nickelsberg; score frag. rejected from early version, HS iii | ix/66 | iii/2 |
| cadenza for first movement | 1809 | GA | ix/70a | vii/7 | ||
| Op. 15 | Piano Concerto No. 1 in C major | 18 December 1795 rev. 1800 | p: Vienna, 1801 | Princess Barbara Odescalchi (née Countess von Keglevics) | ix/65 | iii/2 |
| 3 cadenzas for first movement | 1809 | GA | ix/70a | vii/7 | ||
| Op. 37 | Piano Concerto No. 3 in C minor | 1800–5 April 1803? | p: Vienna, 1804 | Prince Louis Ferdinand of Prussia | ix/67 | iii/2 |
| cadenza for first movement | 1809 | GA | ix/70a | vii/7 | ||
| Op. 56 | Triple Concerto for Violin, Cello, and Piano in C major | 1804–May 1808 | p: Vienna, 1807 | Prince Lobkowitz | ix/70 | iii/1 |
| Op. 58 | Piano Concerto No. 4 in G major | 1804–22 December 1808 | p: Vienna, 1808 | Archduke Rudolph of Austria | ix/68 | iii/3 |
| 2 cadenzas for first movement, cadenza for finale | 1809? | GA | ix/70a | vii/7 | ||
| cadenza for first movement, 2 cadenzas for finale (Hess 81, 82, 83) | 1809? | NA | HSx | vii/7 | ||
| Op. 61 | Violin Concerto in D major | 23 December 1806 | p: Vienna, 1808; London, 1810 | Stephan von Breuning | iv/29; HSx | iii/4 |
| Op. 61a | Beethoven's arrangement of Opus 61 for Piano in D major | 1807 | p: Vienna, 1808; London, 1810 | Julie von Breuning | ix/73 (solo part) | iii/5 |
| Cadenza for first movement, cadenza for finale | 1809? | GA | ix/70a | vii/7 | ||
| 2 cadenzas for finale (Hess 84–85) | 1809? | NA | HSx | vii/7 | ||
| Op. 73 | Piano Concerto No. 5 "Emperor" in E♭ major | 1809–28 November 1811 | p: London, 1810; Leipzig, 1811 | Archduke Rudolph | ix/69 | iii/3 |
| Hess 15 | Piano Concerto No. 6 in D major, (fragment) | 1814–1815 | unfinished (performing version completed by Nicholas Cook) |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| Hess 13 | Romance Cantabile | 1786? | Wiesbaden, 1952 | intended as slow movement of larger work | HS iii | |
| WoO 6 | Rondo for Piano and Orchestra in B♭ major | 1793 | p: Vienna, 1829 | orig. finale of op.19; solo part completed by Carl Czerny for 1st ed. | ix/72; HS iii | iii/5 |
| Op. 50 | Romance for Violin and Orchestra No. 2 in F major | c. 1798–November 1798? | p: Vienna, 1805 | iv/31 | iii/4 | |
| Op. 40 | Romance for Violin and Orchestra No. 1 in G major | 1801–1802 | p: Leipzig, 1803 | iv/30 | iii/4 | |
| Hess 11 | Romance for Violin and Orchestra No. 3, (lost) | 1816 | reported by W. Altmann in Preface to the Steiner edition of 1816 of the Violin Concerts | |||
| Op. 80 | Choral Fantasy in C minor | 22 December 1808, rev. 1809 | p: London, 1810; Leipzig, 1811 | Maximilian Joseph, King of Bavaria; | HS xix/71 | x/2 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 1 | "Ritterballet" in D major | 1790–Bonn, 6 March 1791 | pf: Leipzig and Winterthur, 1872; s: GA | xxv/286; HS viii | ii/2 | |
| Op. 43 | "The Creatures of Prometheus" | 1800–Burgtheater, Vienna, 28 March 1801 | for pf: Vienna, 1801; p: Leipzig, 1804 [ov. only]; s: GA | Princess Christiane von Lichnowsky | ii/11; HX viii | ii/2 |
| Op. 62 | "Coriolan" Overture in C minor | March 1807 | p: Vienna, 1808 | Heinrich Joseph von Collin | iii/18 | ii/1 |
| Op. 138 | "Leonore" Overture No. 1 in C major | 1807–7 February 1828 | s, p: Vienna, 1838 | iii/19 | ix/1 | |
| Op. 72a | "Leonore" Overture No. 2 in C major | 1804–Theater an der Wien, Vienna, 20 November 1805 | s: HS | HS ii. xi–xiii | ix/1 | |
| Op. 72b | "Leonore" Overture No. 3 in C major | 1805–Theater an der Wien, 29 March 1806 | s: HS | HS xi–xiii | ix/1 | |
| Op. 84 | "Egmont" in F minor | 1809–15 June 1810 | p: Leipzig, 1810 [ov.], Leipzig, 1812 [remainder]; vs: Leipzig, 1812 [without ov.]; s: Leipzig, 1831 | ii/12, iii/27; HS v (no.4) | ix/7 | |
| Op. 113 | "The Ruins of Athens" (Die Ruinen von Athen) in G major | 1811–10 February 1812 | s: Vienna, 1823 [ov. only], Vienna, 1846 [complete], | ded. (by publisher) König Friedrich Wilhelm IV of Prussia | xx/207, iii/28 | x/8 |
| Op. 117 | "King Stephen" (König Stephan) in Eb major | 1811–10 February 1812 | s: Vienna, 1826 [ov. only], GA [complete] | xx/207b, iii/23 | ix/8 | |
| WoO 2a | Triumphal March, for Tarpeja in C major | 26 March 1813 | p: Vienna, 1840; s: GA | ii/14 | ix/7 | |
| WoO 2b | Introduction to Act 2 of Leonore, 1805 version | 1805, discarded | s: Mainz, 1938 | HS iv | ||
| Op. 91 | Wellington's Victory "Battle Symphony" | 8 December 1813 | s, p: Vienna, 1816; for pf: London and Vienna, 1816 | Prince Regent of England (later King George IV) | ii/10; HS viii (for pf) | ii/1 |
| Op. 115 | "Zur Namensfeier" (Feastday) in C major | 1814–25 December 1815 | s, p: Vienna, 1825 | Prince Antoni Radziwiłł | iii/22 | ii/1 |
| WoO 96 | Leonore Prohaska | 1815 | s: GA | xxv/272 | ix/7 | |
| Op. 114 | March and Chorus for "The Consecration of the House" | 1822 | ||||
| Op. 124 | "The Consecration of the House" (Die Weihe des Hauses) in C | Josefstadt-Theater, 3 October 1822 | s: Mainz, 1825 | Prince Nikolay Golitsïn | iii/24 | ii/1 |
| WoO 98 | Wo sich die Pulse, chorus for "The Consecration of the House" | 1822 | s:GA | xxv/266 | ix/8 | |
| WoO 3 | Gratulations-Minuet in E♭ | 3 November 1822 | p: Vienna, 1832 | written for Carl Friedrich Hensler, ded. (by publisher) Karl Holz | ii/13 | ii/3 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 209 (Hess 33) | Minuet for String Quartet in A♭ major | 1790–1792 | HS | HS vi | KB vi/4 | |
| Op. 18/3 | String Quartet No. 3 in D major | 1798–1799 | Vienna, 1801 | Prince Lobkowitz | vi/39 | vi/3 |
| Op. 18/1 | String Quartet No. 1 in F major | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/37 | vi/3 |
| Op. 18/2 | String Quartet No. 2 in G major | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/38 | vi/3 |
| Op. 18/5 | String Quartet No. 5 in A major | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/41 | vi/3 |
| Op. 18/4 | String Quartet No. 4 in C minor | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/40 | vi/3 |
| Op. 18/6 | String Quartet No. 6 in B♭ major | 1800 | Vienna, 1801 | Prince Lobkowitz | vi/42 | vi/3 |
| Hess 34 | String Quartet in F major | 1801–1802 | Vienna, 1802 | Baroness Josefine von Braun; arrangement of Piano Sonata No. 9 | HS vi | vi/3 |
| Op. 59/1 | String Quartet No. 7 "Razumovsky" in F major | 1806 | Vienna, 1808 | Count Razumovsky | vi/43 | vi/4 |
| Op. 59/2 | String Quartet No. 8 "Razumovsky" in E minor | 1806 | Vienna, 1808 | Count Razumovsky | vi/44 | vi/4 |
| Op. 59/3 | String Quartet No. 9 "Razumovsky" C major | 1806 | Vienna, 1808 | Count Razumovsky | vi/45 | vi/4 |
| Op. 74 | String Quartet No. 10 "Harp" in E♭ major | 1809 | London and Leipzig, 1810 | Prince Lobkowitz | vi/46 | vi/4 |
| Op. 95 | String Quartet No. 11 "Serioso" (Serious) in F minor | 1810–11 May 1814 | Vienna, 1816 | Nikolaus Zmeskall von Domanovecz | vi/47 | vi/4 |
| Op. 127 | String Quartet No. 12 in E♭ major | 1824–6 March 1825 | Mainz, 1826 | Prince Golitsïn | vi/48 | vi/5 |
| Op. 132 | String Quartet No. 15 in A minor | 6 November 1825 | Paris and Berlin, 1826 | Prince Golitsïn | vi/51 | vi/5 |
| Op. 130 | String Quartet No. 13 in B♭ major | 1825–22 April 1827 (with new finale) | Vienna, 1827 | Prince Golitsïn | vi/49 | vi/5 |
| Op. 133 | Große Fuge in B♭ major | 1825–21 March 1826 | Vienna, 1827 | Archduke Rudolph; original ending of Op. 130 | vi/53 | vi/5 |
| Op. 131 | String Quartet No. 14 in C♯ minor | 1825–1826 | Mainz, 1827 | Baron Joseph von Stutterheim | vi/50 | vi/5 |
| Op. 135 | String Quartet No. 16 in F major | 1826–23 March 1828 | Berlin and Paris, 1827 | Johann Wolfmayer | vi/52 | vi/5 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| Op. 3 | String Trio No. 1 in E♭ major | before 1794? | Vienna, 1796 | vii/54 | vi/6 | |
| Op. 4 | String Quintet in E♭ major | 1795 | Vienna, 1796 | thoroughly recomposed version of Octet Op. 103 | v/36 | vi/2 |
| WoO 32 | Duo for Viola and Cello, "mit zwei obligaten Augengläsern" ("with two obbligato eyeglasses") | 1796–1797 | 1st movt: Leipzig, 1912; minuet: Frankfurt, London and New York, 1952 | probably written for Zmeskall von Domanovecz | HS vi | vi/6 |
| Op. 8 | Serenade for string trio, (String Trio No. 2) in D major | 1796–1797 | Vienna, 1797 | vii/58 | vi/6 | |
| Op. 9/1 | String Trio No. 3 in G major | 1797–1798 | Vienna, 1798 | Count Johann Georg von Browne | vii/55 | vi/6 |
| Op. 9/2 | String Trio No. 4 in D major | 1797–1798 | Vienna, 1798 | Count Johann Georg von Browne | vii/56 | vi/6 |
| Op. 9/3 | String Trio No. 5 in C minor | 1797–1798 | Vienna, 1798 | Count Johann Georg von Browne | vii/57 | vi/6 |
| Op. 29 | String Quintet in C major "Storm" | 1801 | Leipzig, 1802 | Count Fries | v/34 | vi/2 |
| Op. 104 | String Quintet in C minor | 1817-10 December 1818 | Vienna and London, 1819 | arr. of Piano Trio Op. 1/3; arr. corrected by Beethoven, but largely the work of Kaufmann | v/36a | vi/2 |
| Hess 40 | Prelude for string quintet in D minor | 1817 | SMz, xcv (1955) | HS vi | vi/2 | |
| Op. 137 | Fugue for String Quintet in D major | November 1817 | Vienna, 1827 | v/35 | vi/2 | |
| WoO 34 | Duet for two violins in A major | April 29, 1822 | T. von Frimmel: Ludwig van Beethoven (Berlin, 1901) | Alexandre Boucher | HS vi | |
| WoO 35 | Canon for two violins in A major | August 1825 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | Otto de Boer | HS vi | |
| Hess 41 | String Quintet in C major | 1826–1827 | Vienna, 1838 | survives only in piano transcription, WoO 62, last published piece. | HS viii |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| Hess 46 | Violin Sonata in A major, (fragments) | c. 1790–1792 | HS | authenticity no longer in doubt | HS ix | |
| Anh. 4 | Flute Sonata in B♭ major | c. 1790–1792? | Leipzig, 1906 | Manuscript copy found among Beethoven's papers after his death, authenticity not certain | HS ix | |
| WoO 40 | Variations for violin and piano on Se vuol ballare from Mozart's The Marriage of Figaro in F major | 1792–1793 | Vienna, 1793 | Eleonore von Breuning | xii/103 | v/2 |
| WoO 41 | Rondo for Violin and Piano in G major | 1793–1794 | Bonn, 1808 | xii/102 | v/2 | |
| WoO 43a | Sonatina for mandolin and piano in C minor | 1796 | Grove1 ("Mandoline") | probably written for Countess Josephine de Clary | xxv/295 | v/4 |
| WoO 43b | Adagio for mandolin and piano in E♭ major | 1796 | GA | probably for Countess de Clary | xxv/296 | v/4 |
| WoO 44a | Sonatina for mandolin and piano in C major | 1796 | Der Merker, iii (1912) | probably for Countess de Clary | HS ix | v/4 |
| WoO 44b | Andante and Variations for mandolin and piano in D major | 1796 | Sudetendeutsches Musikarchiv (1940), no.1 | probably for Countess de Clary | HS ix | v/4 |
| Op. 5/1 | Cello Sonata No. 1 in F major | 1796 | Vienna, 1797 | Friedrich Wilhelm II of Prussia | xiii/105 | v/3 |
| Op. 5/2 | Cello Sonata No. 2 in G minor | 1796 | Vienna, 1797 | Friedrich Wilhelm II of Prussia | xiii/106 | v/3 |
| WoO 45 | Variations for cello and piano on "See the counquering hero comes" from Handel's Judas Maccabaeus in G major | 1796 | Vienna, 1797 | Princess Christiane von Lichnowsky | xiii/110 | v/3 |
| Op. 66 | Variations for cello and piano on "Ein Mädchen oder Weibchen" from Mozart's The Magic Flute in F major | 1796? | Vienna, 1798 | xiii/111 | v/3 | |
| Op. 12/1 | Violin Sonata No. 1 in D major | 1798 | Vienna, 1799 | Antonio Salieri | xii/92 | v/1 |
| Op. 12/2 | Violin Sonata No. 2 in A major | 1798 | Vienna, 1799 | Antonio Salieri | xii/93 | v/1 |
| Op. 12/3 | Violin Sonata No. 3 in E♭ major | 1798 | Vienna, 1799 | Antonio Salieri | xii/94 | v/1 |
| Op. 17 | Horn Sonata in F major | 18 April 1800 | Vienna, 1801 | Baroness Josefine von Braun | xiv/112 | v/4 |
| Op. 23 | Violin Sonata No. 4 in A minor | 1800 | Vienna, 1801 | Count Fries | xii/95 | v/1 |
| Op. 24 | Violin Sonata No. 5 in F major, "Spring" | 1800–1801 | Vienna, 1801 | Count Fries | xii/96 | v/1 |
| WoO 46 | Variations for cello and piano on "Bei Männern, welche Liebe fühlen" from Mozart's The Magic Flute in E♭ major | 1801 | Vienna, 1802 | Count von Browne | xiii/111a | v/3 |
| Op. 30/1 | Violin Sonata No. 6 in A major | 1801–1802 | Vienna, 1803 | Alexander I, Tsar of Russia | xii/97 | v/2 |
| Op. 30/2 | Violin Sonata No. 7 in C minor | 1801–1802 | Vienna, 1803 | Alexander I, Tsar of Russia | xii/98 | v/2 |
| Op. 30/3 | Violin Sonata No. 8 in G major | 1801–1802 | Vienna, 1803 | Alexander I, Tsar of Russia | xii/99 | v/2 |
| Op. 47 | Violin Sonata No. 9 in A major, "Kreutzer" | 1802–24 May 1803 | Bonn and London, 1805 | written for George P. Bridgetower, ded. Rodolphe Kreutzer | xii/100 | v/2 |
| Op. 41 | Serenade for flute (or violin) and piano in D major | 1803 | Leipzig, 1803 | arr. of Serenade op.25; arr. approved and corrected by Beethoven but largely the work of someone else | HS ix | |
| Op. 42 | Notturno for Viola and Piano in D major | 1803 | Leipzig, 1804 | arr. of Serenade op.8; arr. approved and corrected by Beethoven but largely the work of someone else | HS ix | |
| Op. 69 | Cello Sonata No. 3 in A major | 1807 | Leipzig, 1809 | Baron Ignaz von Gleichenstein | xiii/107 | v/3 |
| Op. 96 | Violin Sonata No. 10 in G major | 29 December 1812 Vienna, probably rev. 1814–1815 | Vienna and London, 1816 | written for Pierre Rode, ded. Archduke Rudolph | xii/101 | v/2 |
| Op. 102/1 | Cello Sonata No. 4 in C major | 1815 | Bonn, 1817 | Countess Marie Erdődy | xiii/108 | v/3 |
| Op. 102/2 | Cello Sonata No. 5 in D major | 1815 | Bonn, 1817 | Countess Erdődy | xiii/109 | v/3 |
| Op. 105 | Six National Airs with Variations for flute (or violin) and piano in G major | 1818–1819 | London, Edinburgh and Vienna, 1819 | xiv/113–114 | v/4 | |
| Op. 107 | Ten National Airs with Variations for flute (or violin) and piano in A minor | 1818–1819 | London and Edinburgh, 1819 [nos. 2, 6, 7]; Bonn and Cologne, 1820 [complete] | xiv/115–119 | v/4 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 38 | Piano Trio in E♭ major | 1791? | Frankfurt, 1830 | xi/86 | iv/3 | |
| Hess 48 | Allegretto in E♭ major | 1791? | Frankfurt, 1830 | xi/86 | iv/3 | |
| Op. 1/1 | Piano Trio No. 1 in E♭ major | probably 1794-1795 | Vienna, 1795 | Prince Lichnowsky | xi/79 | |
| Op. 1/2 | Piano Trio No. 2 in G major | 1794–1795 | Vienna, 1795 | Prince Lichnowsky | xi/80 | |
| Op. 1/3 | Piano Trio No. 3, C minor | 1794–95 | Vienna, 1795 | Prince Lichnowsky | xi/81 | |
| Op. 11 | Piano Trio No. 4 in B♭ major (Gassenhauer) (additional version for clarinet, violoncello, and piano) | 1797 | Vienna, 1798 | Countess Maria Wilhelmine von Thun | xi/89 | |
| Op. 44 | Variations on an original theme in E♭ major | 1792 | Leipzig, 1804 | xi/88 | iv/3 | |
| Op. 121a | Variations on Wenzel Müller's "Ich bin der Schneider Kakadu", "Kakadu Variations" in G major | 1803? rev. 1816 | Vienna and London, 1824 | xi/87 | iv/3 | |
| Op. 70/1 | Piano Trio No. 5 in D major "Ghost" | 1808 | Leipzig, 1809 | Countess Erdődy | xi/82 | |
| Op. 70/2 | Piano Trio No. 6 in E♭ major | 1808 | Leipzig, 1809 | Countess Erdődy | xi/83 | |
| Op. 97 | Piano Trio No. 7 in Bb major, "Archduke" | 1810–11 April 1814 | Vienna and London, 1816 | Archduke Rudolph | xi/84 | |
| Op. 38 | Piano Trio in E♭ major (additional version for clarinet, violoncello, and piano) | 1802–1803 | Vienna, 1805 | Professor Johann Adam Schmidt; arr. of Septet Op. 20 | xi/91 | iv/3 |
| WoO 39 | Allegretto for piano trio in B♭ major | June 1812 | Frankfurt, 1830 | Maximiliane Brentano | xi/85 | iv/3 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 36/1 | Piano Quartet No. 1 in E♭ major | 1785 | Vienna, 1828 | x/75 | iv/1 | |
| WoO 36/2 | Piano Quartet No. 2 in D major | 1785 | Vienna, 1828 | x/76 | iv/1 | |
| WoO 36/3 | Piano Quartet No. 3 in C major | 1785 | Vienna, 1828 | x/77 | iv/1 | |
| WoO 37 | Trio for piano, flute and bassoon in G major | 1786 | GA | xxv/294 | iv/3 | |
| Op. 16 | Quintet for piano and winds in E♭ major | 1796-6 April 1797 | Vienna, 1801 | Prince Joseph zu Schwarzenberg | x/74 | iv/1 |
| Op. 16b | Piano Quartet in E♭ major/minor | unknown | Vienna, 1801 | arr. of Op. 16; authenticity affirmed in Wegeler and Ries (D1838) | x/78 | iv/1 |
| Op. 11 | Trio for clarinet (or violin), cello and piano, ("Gassenhauer") (version with violin instead of clarinet is considered Piano Trio No. 4) in B♭ major | 1797 | Vienna, 1798 | Countess Maria Wilhelmine von Thun | xi/89 | |
| Op. 38 | Trio for clarinet (or violin), cello and piano in E♭ major | 1802–1803 | Vienna, 1805 | Professor Johann Adam Schmidt; arr. of Septet Op. 20 | xi/91 | iv/3 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 26 | Allegro and Minuet for two flutes in G major | August 1792 | A.W. Thayer: Ludwig van Beethovens Leben, ed. H. Deiters, ii (Berlin, 1901) | J.M. Degenhart | HS vii | vi/1 |
| Op. 103 | Octet for oboes, clarinets, horns, and bassoons in E♭ major | before November 1792 | Vienna, 1830 | viii/59 | vi/1 | |
| WoO 25 | Rondino for oboes, clarinets, horns and bassoons in E♭ major | 1793 | Vienna, 1830 | intended as finale to Op. 103 | viii/60 | vi/1 |
| Hess 19 | Quintet for oboe, 3 horns and bassoon in E♭ major, (fragment) | 1793? | Mainz, 1954 | In 1862, Leopold Zellner completed a performing version from the fragments. In 1954, Willy Hess edited this and Schott published it. | HS vii | vi/1 |
| Op. 87 | Trio for two oboes and English horn in C major | 1794 | Vienna, 1806 | viii/63 | vi/1 | |
| WoO 28 | Variations for two oboes and English horn on "Là ci darem la mano" from Mozart's opera Don Giovanni in C major | 1795 | Leipzig, 1914 | HS vii | vi/1 | |
| Op. 81b | Sextet for Horns and String Quartet in E♭ major | 1795 | Bonn, 1810 | v/33 | vi/1 | |
| Op. 71 | Sextet for clarinets, horns and bassoons in E♭ major | 1796 | Leipzig, 1810 | viii/61 | vi/1 | |
| Op. 20 | Septet in E♭ major | 2 April 1800 | Leipzig, 1802 | Empress Maria Theresa | v/32 | vi/1 |
| Op. 25 | Serenade for flute, violin and viola in D major | 1801 | Vienna, 1802 | viii/62 | vi/1 | |
| WoO 30 | Three Equali for 4 trombones in D minor | November 1812 | GA | transcr. for 4 male voices by Ignaz von Seyfried perf. at Beethoven's funeral, pubd Vienna, 1827 | xxv/293 | vi/1 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 47/1 | Three early Kurfürstensonatas, No. 1 in E♭ major | 1782-1783 | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/156 | |
| WoO 47/2 | Three early Kurfürstensonatas, No. 2 in F minor | 1782-1783 | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/157 | |
| WoO 47/3 | Three early Kurfürstensonatas, No. 3 in D major | 1782-1783 | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/158 | |
| WoO 50 | Piano Sonatina in F major | c. 1790–1792 | Munich and Duisburg, 1950 | Franz Gerhard Wegeler; facs. pubd in L. Schmidt: Beethoven-Briefe (Berlin, 1909) | HS ix | |
| Op. 2/1 | Piano Sonata No. 1 in F minor | 1793–1795 | Vienna, 1796 | Joseph Haydn | xvi/124 | vii/2 |
| Op. 2/2 | Piano Sonata No. 2 in A major | 1794–1795 | Vienna, 1796 | Joseph Haydn | xvi/125 | vii/2 |
| Op. 2/3 | Piano Sonata No. 3 in C major | 1794–1795 | Vienna, 1796 | Joseph Haydn | xvi/126 | vii/2 |
| Op. 49/1 | Piano Sonata No. 19 in G minor | 1797 | Vienna, 1805 | xvi/142 | vii/3 | |
| Op. 49/2 | Piano Sonata No. 20 in G major | 1795–1796 | Vienna, 1805 | xvi/143 | vii/3 | |
| Op. 7 | Piano Sonata No. 4 "Grand Sonata" in E♭ major | 1797–1798 | Vienna, 1798 | Countess Barbara von Keglevics | xvi/127 | vii/2 |
| Op. 10/1 | Piano Sonata No. 5 in C minor "Little Pathétique" | 1795–1797 | Vienna, 1798 | Countess Anna Margaret von Browne | xvi/128 | vii/2 |
| Op. 10/2 | Piano Sonata No. 6 in F major | 1796–1797 | Vienna, 1798 | Countess von Browne | xvi/129 | vii/2 |
| Op. 10/3 | Piano Sonata No. 7 in D major | 1797–1798 | Vienna, 1798 | Countess von Browne | xvi/130 | vii/2 |
| WoO 51 | Piano Sonata in C major, (fragment) | 1797–1798 | Frankfurt, 1830 | Eleonore von Breuning; completed by Ferdinand Ries | xvi/159 | |
| Op. 13 | Piano Sonata No. 8 "Pathétique" in C minor | 1797–1798 | Vienna, 1799 | Prince Lichnowsky | xvi/131 | vii/2 |
| Op. 14/1 | Piano Sonata No. 9 in E major | 1798 | Vienna, 1799 | Baroness Josefine von Braun | xvi/132 | vii/2 |
| Op. 14/2 | Piano Sonata No. 10 in G major | 1799 | Vienna, 1799 | Baroness Josefine von Braun | xvi/133 | vii/2 |
| Op. 22 | Piano Sonata No. 11 in B♭ major | 1800 | Leipzig, 1802 | Count von Braun | xvi/134 | vii/2 |
| Op. 26 | Piano Sonata No. 12 in A♭ major | 1800–1801 | Vienna, 1802 | Prince Lichnowsky | xvi/135 | vii/2 |
| Op. 27/1 | Piano Sonata No. 13 "Quasi una fantasia" in E♭ major | 1801 | Vienna, 1802 | Princess Josephine von Liechtenstein | xvi/136 | vii/3 |
| Op. 27/2 | Piano Sonata No. 14 "Moonlight" in C♯ minor | 1801 | Vienna, 1802 | Countess Giulietta Guicciardi | xvi/137 | vii/3 |
| Op. 28 | Piano Sonata No. 15 "Pastoral" in D major | 1801 | Vienna, 1802 | Joseph von Sonnenfels | xvi/138 | vii/3 |
| Op. 31/1 | Piano Sonata No. 16 in G major | 1802 | Zürich, 1803 | xvi/139 | vii/3 | |
| Op. 31/2 | Piano Sonata No. 17 in D minor, "Tempest" | 1802 | Zürich, 1803 | xvi/140 | vii/3 | |
| Op. 31/3 | Piano Sonata No. 18 ("The Hunt"), E♭ | 1802 | Zürich and London, 1804 | xvi/141 | vii/3 | |
| Op. 53 | Piano Sonata No. 21 ("Waldstein"), C | 1803–04 | Vienna, 1805 | Count Ferdinand von Waldstein | xvi/144 | vii/3 |
| Op. 54 | Piano Sonata No. 22, F | 1804 | Vienna, 1806 | xvi/145 | vii/3 | |
| Op. 57 | Piano Sonata No. 23 ("Appassionata"), F minor | 1804–05 | Vienna, 1807 | Count Franz von Brunsvik | xvi/146 | vii/3 |
| Op. 78 | Piano Sonata No. 24 ("À Thérèse"), F♯ | 1809 | Leipzig and London, 1810 | Countess Therese von Brunsvik | xvi/147 | |
| Op. 79 | Piano Sonata No. 25, G | 1809 | Leipzig and London, 1810 | xvi/148 | ||
| Op. 81a | Piano Sonata No. 26 ("Les Adieux"), E♭ | 1809–10 | Leipzig and London, 1811 | Archduke Rudolph | xvi/149 | |
| Op. 90 | Piano Sonata No. 27, E minor | 1814 | Vienna, 1815 | Count Moritz Lichnowsky | xvi/150 | |
| Op. 101 | Piano Sonata No. 28, A | 1816 | Vienna, 1817 | Baroness Dorothea Ertmann | xvi/151 | |
| Op. 106 | Piano Sonata No. 29 ("Hammerklavier"), B♭ | 1817–18 | Vienna and London, 1819 | Archduke Rudolph | xvi/152 | |
| Op. 109 | Piano Sonata No. 30, E | 1820 | Berlin, 1821 | Maximiliane Brentano | xvi/153 | |
| Op. 110 | Piano Sonata No. 31, A♭ | 1821–22 | Paris, Berlin, Vienna, 1822; London 1823 | xvi/154 | ||
| Op. 111 | Piano Sonata No. 32, C minor | 1821–22 | Paris, Berlin, Vienna and London, 1823 | Archduke Rudolph; London edn ded. Antonie Brentano | xvi/155 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 63 | Nine variations on a march by Ernst Christoph Dressler in C minor | 1782 | Mannheim, 1782–83 | Countess Felice von Wolf-Metternich; First published composition | xvii/166 | vii/5 |
| WoO 65 | Twenty-four variations on Vincenzo Righini's aria "Vieni amore", D | c. 1790–91 | Mainz, 1791; Vienna, 1802 | Countess Maria Anna Hortensia von Hatzfeld | xvii/178 | vii/5 |
| WoO 66 | Thirteen variations on the aria "Es war einmal ein alter Mann" from Carl Ditters von Dittersdorf's opera Das rote Käppchen, A | 1792 | Bonn, 1793 | xvii/175 | vii/5 | |
| WoO 64 | Six variations on a Swiss song for piano or harp, F | c. 1790–92 | Bonn, ?1798 | xvii/177 | vii/5 | |
| WoO 68 | Twelve variations on the "Menuet a la Viganò" from Jakob Haibel's ballet Le nozze disturbate, C | 1795 | Vienna, 1796 | xvii/169 | vii/5 | |
| WoO 69 | Nine variations on "Quant'è più bello" from Giovanni Paisiello's opera La Molinara, A | 1795 | Vienna, 1795 | Prince Lichnowsky | xvii/167 | vii/5 |
| WoO 70 | Six variations on "Nel cor più non mi sento" from Giovanni Paisiello's opera La Molinara, G | 1795 | Vienna, 1796 | xvii/168 | vii/5 | |
| WoO 72 | Eight variations on "Une fièvre brûlante" from André Grétry's opera Richard Cœur-de-Lion, C | ?1795 | Vienna, 1798 | xvii/171 | vii/5 | |
| WoO 71 | Twelve variations on the Russian dance from Paul Wranitzky's ballet Das Waldmädchen, A | 1796–97 | Vienna, 1797 | Countess von Browne | xvii/170 | vii/5 |
| WoO 73 | Ten variations on "La stessa, la stessissima" from Antonio Salieri's opera Falstaff, B♭ | 1799 | Vienna, 1799 | Countess von Keglevics | xvii/172 | vii/5 |
| WoO 76 | Eight variations on "Tändeln und scherzen" from Franz Xaver Süssmayr's opera Soliman II, F | 1799 | Vienna, 1799 | Countess von Browne | xvii/174 | vii/5 |
| WoO 75 | Seven variations on "Kind, willst du ruhig schlafen" from Peter Winter's opera Das unterbrochene Opferfest, F | 1799 | Vienna, 1799 | xvii/173 | vii/5 | |
| WoO 77 | Six easy variations on an original theme, G | 1800 | Vienna, 1800 | xvii/176 | vii/5 | |
| Op. 34 | Six variations on an original theme, F | 1802 | Leipzig, 1803 | Princess Odescalchi | xvii/162 | vii/5 |
| Op. 35 | Fifteen variations and a fugue on an original theme, ("Eroica Variations") E♭ | 1802 | Leipzig, 1803 | Count Moritz Lichnowsky | xvii/163 | vii/5 |
| WoO 78 | Seven variations on "God Save the King", C | 1802–03 | Vienna, 1804 | xvii/179 | vii/5 | |
| WoO 79 | Five variations on "Rule, Britannia!", D | 1803 | Vienna, 1804 | xvii/180 | vii/5 | |
| WoO 80 | Thirty-two variations on an original theme, C minor | 1806 | Vienna, 1807 | xvii/181 | vii/5 | |
| Op. 76 | Six variations on an original theme (the Turkish March from The Ruins of Athens), D | 1809 | Leipzig and London, 1810 | Franz Oliva | xvii/164 | vii/5 |
| Op. 120 | Thirty-three variations on a waltz by Diabelli ("Diabelli Variations"), C | 1819–23 | Vienna, 1823 | Antonie Brentano | xvii/165 | vii/5 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA |
|---|---|---|---|---|---|
| WoO 48 | Rondo, C | 1783 | H.P. Bossler: Blumenlese für Klavierliebhaber, ii (Speyer, 1783) | HS ix | |
| WoO 49 | Rondo, A | ?1783 | H.P. Bossler: Neue Blumenlese für Klavierliebhaber, ii (Speyer, 1784) | xviii/196 | |
| Op. 39 | Two preludes through all twelve major keys for piano or organ | ?1789 | Leipzig, 1803 | xviii/184 | |
| WoO 81 | Allemande, A | c. 1793, rev. 1822 | GA | xxv/307 | |
| Op. 129 | Rondo a capriccio ("Rage Over a Lost Penny"), G | 1795 | Vienna, 1828 | autograph completed by unknown ed. (probably Diabelli), 1828 | xviii/191 |
| Hess 64 | Fugue, C | 1795 | MT, xcvi (1955) | HS ix | |
| WoO 52 | Presto (Bagatelle), C minor | c. 1795, rev. 1798 and 1822 | GA | Originally intended for Sonata Op.10/1 | xxv/297/1 |
| WoO 53 | Allegretto (Bagatelle), C minor | 1796–97 | GA | Originally intended for Sonata Op.10/1 | xxv/299 |
| Hess 69 | Allegretto, C minor | c. 1795–96, rev. 1822 | HS | probably orig. intended for Sonata op.10/1 | HS ix |
| Op. 51/1 | Rondos, C, | c. 1796–97 | London and Leipzig, 1810 | Prince Lobkowitz | vi/46 |
| Op. 51/2 | Rondos, G | c. 1798 | Vienna, 1802 | Countess Henriette Lichnowsky | xviii/186 |
| Op. 33 | Seven Bagatelles | 1801–02 | Vienna and London, 1803 | xviii/183 | |
| WoO 54 | Lustig-Traurig (Bagatelle), C | ?1802 | GA | xxv/300 | |
| WoO 55 | Prelude, F minor | c. 1803 | Vienna, 1805 | xviii/195 | |
| WoO 56 | Allegretto (Bagatelle), C | 1803, rev. 1822 | GA | Originally intended for sonata Op. 53 | xxv/297/2 |
| WoO 57 | Andante ("Andante favori"), F | 1803 | Vienna, 1805 | Originally intended for sonata Op. 53 | xviii/192 |
| WoO 82 | Minuet, E♭ | c. 1803 | Vienna, 1805 | xviii/193 | |
| Op. 77 | Fantasia, G minor | 1809 | Leipzig and London, 1810 | Count Franz von Brunsvik | xviii/187 |
| WoO 59 | Für Elise (Bagatelle), A minor | 1808–10 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | xxv/298 | |
| Op. 89 | Polonaise, C | 1814 | Vienna, 1815 | Empress Elisabeth Alexeyerna of Russia | xviii/188 |
| WoO 60 | Ziemlich lebhaft (Bagatelle), B♭ | 1818 | Berliner allgemeine musikalische Zeitung, i (1824) | xxv/301 | |
| Hess 65 | "Concert Finale", C | 1820–21 | in F. Starke, ed.: Wiener Piano-Forte-Schule, iii (Vienna, 1821) | arr. of coda to finale of Piano Concerto No. 3 | HS ix |
| WoO 61 | Allegretto, B minor | 1821 | Robitschek: Deutscher Kunst- und Musikzeitung (15 March 1893) | Ferdinand Piringer | HS ix |
| Op. 119 | Eleven Bagatelles | 1820–2 | nos. 7–11 in F. Starke, ed.: Wiener Piano-Forte-Schule, iii (Vienna, 1821); all 11, London, 1823 | xviii/189 | |
| Op. 126 | Six Bagatelles | 1824 | Mainz, 1825 | xviii/190 | |
| WoO 84 | Waltz, E♭ | 1824 | Vienna, 1824 | Friedrich Demmer (publisher's ded.) | xxv/303 |
| WoO 61a | Allegretto quasi andante, G minor | 1825 | NZM, cxvii (1956) | Sarah Burney Payne | HS ix |
| WoO 85 | Waltz, D | 1825 | Vienna, 1825 | Duchess Sophie of Austria (publisher's ded.) | xxv/304 |
| WoO 86 | Ecossaise, E♭ | 1825 | Vienna, 1825 | Duchess Sophie of Austria (publisher's ded.) | xxv/305 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 67 | Eight Variations on a Theme by Count Waldstein, C | ?1792 | Bonn, 1794 | xv/122 | vii/1 | |
| Op. 6 | Sonata for Piano, Four Hands, D | 1796–97 | Vienna, 1797 | xv/120 | vii/1 | |
| WoO 74 | Six Variations on Beethoven's "Ich denke dein", D | 1799, 1803 | Vienna, 1805 | Countess Therese von Brunsvik and Josephine Deym (née Brunsvik) | xv/123 | vii/1 |
| Op. 45 | Three marches | 1803 | Vienna, 1804 | Princess Maria Esterházy | xv/121 | vii/1 |
| Op. 134 | Fugue for Piano, four hands, B♭ | 1826 | Vienna, 1827 | Archduke Rudolph; arr. of Große Fuge Op. 133 | HS viii | vii/1 |
| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 91 | Two arias for Umlauf's Singspiel Die schöne Schusterin | ?1795–96 | s:GA | xxv/270 | x/3 | |
| Hess 115 | Vestas Feuer, fragment | 1803 | s: Wiesbaden, 1953 | HS xiii | ||
| Op. 72 | Fidelio | 1st version (with op.72a: Leonore Overture no. 2), 1804–05; Theater an der Wien, Vienna, 20 November 1805 | vs: Leipzig, 1905; s: HS | HS ii. xi–xiii | ||
| 2nd version (with op.72b: Leonore Overture no.3), 1805–06; Theater an der Wien, 29 March 1806 | vs: Leipzig, 1810; s: HS | HS xi–xiii | ||||
| final version (with op.72c: Fidelio Overture), 1814; Kärntnertor, Vienna, 23 May 1814 | vs: Vienna, 1814; s: Paris, 1826, Bonn, 1847 | xx/206 | ||||
| WoO 94 | Germania, finale of Die gute Nachricht (Singspiel, G.F. Treitschke) | 1814; Kärntnertor, 11 April 1814 | vs: Vienna, 1814; s: GA | xx/207d | ix/7 | |
| WoO 97 | Es ist vollbracht, finale of Die Ehrenpforten (Singspiel, Treitschke) | 1815; Kärntnertor, 15 July 1815 | vs: Vienna, 1815; s: GA | xx/207c | ix/7 | |
| Unv. 16 | Macbeth (Singspiel?) | 1808-1811 | Musikalisches Wochenblatt No. 10 1879 | Unfinished, only overture fragment Biamonti 454. |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 87 | Cantata on the Death of Emperor Joseph II | March 1790 | GA | xxv/264 | x/1 | |
| WoO 88 | Cantata on the accession of Emperor Leopold II | September–October 1790 | GA | xxv/265 | x/1 | |
| Op. 85 | Christus am Ölberge (Christ on the Mount of Olives) | 1803, rev. 1804; 5 April 1803 | Leipzig, 1811 | xix/205 | viii/1 | |
| Op. 86 | Mass in C major | 1807; 13 September 1807 | Leipzig, 1812 | Prince Ferdinand Kinsky | xix/204 | viii/2 |
| Op. 80 | Choral Fantasy, C minor | 1808, rev. 1809; 22 December 1808 | p: London, 1810; Leipzig, 1811 | Maximilian Joseph, King of Bavaria; | HS xix/71 | x/2 |
| WoO 95 | Chor auf die verbündeten Fürsten "Ihr weisen Gründer" | September 1814 | GA | for Congress of Vienna | xxv/267 | x/2 |
| Op. 136 | Der glorreiche Augenblick (The glorious moment) | 1814; 29 November 1814 | Vienna, 1837 | for Congress of Vienna | xxi/208 | x/1 |
| Op. 112 | Meeresstille und glückliche Fahrt ("Calm Sea and Prosperous Voyage") | 1814–15; 25 December 1815 | Vienna, 1822 | Johann Wolfgang von Goethe | xxi/209 | x/2 |
| Op. 123 | Missa solemnis, D | 1819–23; 7 April 1824 | Mainz, 1827 | Archduke Rudolph (orig. intended for Rudolph's installation as archbishop, 9 March 1820) | xxi/203 | viii/3 |
| Opferlied "Die Flamme lodert" | 1822; 23 December 1822 | GA | xxv/268 | |||
| Op. 121b | Opferlied, 2nd version | 1824 | Mainz, 1824 | xxii/212 | x/2 | |
| Op. 122 | Bundeslied "In allen guten Stunden" | 1823–24 | Mainz, 1825 | xxii/213 | x/2 |
| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 102 | Abschiedsgesang "Die Stunde schlägt", for male voices | 1814 | GA | Leopold Weiss; at the request of Mathias Tuscher | xxv/273 | |
| WoO 103 | Cantata campestre "Un lieto brindisi", for four voices and piano | 1814; 24 June 1814 | Jb der Literarischen Vereinigung Winterthur 1945 | Giovanni Malfatti | HS v | xii/1 |
| WoO 104 | Gesang der Mönche "Rasch tritt der Tod", from Wilhelm Tell (Schiller), for two tenors and bass | 1817 | NZM, vi (1839) | in memory of Franz Sales Kandler and Wenzel Krumpholz | xxiii/255 | |
| WoO 105 | Hochzeitslied "Auf Freunde, singt dem Gott der Ehen", for tenor (or male solo), chorus and piano | 1819 | Der Bär 1927 for tenor; London, 1858 for male solo | Anna Giannatasio del Rio | HS v | xii/1 |
| WoO 106 | Birthday Cantata for Prince Lobkowitz "Es lebe unser theurer Fürst", for soprano, chorus and piano | April 1823 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | Prince Lobkowitz | xxv/274 | xii/1 |
| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 89 | Prüfung des Küssens, aria for bass | c. 1790–92 | GA | xxv/269/1 | x/3 | |
| WoO 90 | Mit Mädeln sich vertragen, aria for bass | c. 1790–92 | GA | xxv/269/2 | x/3 | |
| WoO 92 | Primo amore, scena and aria for soprano | c. 1790–92 | GA | xxv/271 | x/3 | |
| Op. 65 | Ah! perfido, scena and aria for soprano | early 1796 | p, vs: Leipzig, 1805; s: GA; | Countess Josephine de Clary (ded. in MS, not in 1st edition; text of recitative by Pietro Metastasio from Achille in Sciro | xxii/210 | x/3 |
| WoO 92a | No, non turbarti, scena and aria for soprano | early 1802 | Wiesbaden, 1949 | HS ii | x/3 | |
| WoO 93 | Ne' giorni tuoi felici, duet for soprano and tenor | late 1802 | Leipzig, 1939 | HS ii, xiv | x/3 | |
| Op. 116 | Tremate, empi, tremate, for soprano, tenor and bass | 1802; 1814 | p, vs: Vienna, 1826; s: GA | xxii:211 | x/3 | |
| Op. 118 | Elegiac song ("Sanft wie du lebtest"), for soprano, alto, tenor, bass and string quartet | July 1814 | Vienna, 1814 | Baron Johann von Pasqualati | xxii/214 | x/2 |
| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 107 | Schilderung eines Mädchens | ?1783 | H.P. Bossler: Blumenlese für Klavierliebhaber, ii (Speyer, 1783) | xxiii/228 | xii/1 | |
| WoO 108 | An einen Säugling | ?1784 | H.P. Bossler: Neue Blumenlese für Klavierliebhaber, ii (Speyer, 1784) | xxiii/229 | xii/1 | |
| WoO 110 | Elegie auf den Tod eines Pudels | ?c. 1790 | ?GA | xxv/284 | xii/1 | |
| WoO 113 | Klage | c. 1790 | GA | xxv/283 | xii/1 | |
| Hess 151 | Traute Henriette | c. 1790–1792 | ÖMz, iv (1949) | HS v | xii/1 | |
| Op. 52 | Eight Songs Urians Reise um die Welt Feuerfarb Das Liedchen von der Ruhe Maigesang Mollys Abschied Die Liebe Marmotte Das Blümchen Wunderhold | 1790–96 | Vienna, 1805 | xxiii/218 | xii/1 | |
| WoO 111 | Punschlied | c. 1791 | L. Schiedermair: Der junge Beethoven (Leipzig, 1925/R,3/1951) | HS v | xii/1 | |
| WoO 109 | Trinklied | c. 1792 | GA | xxv/282 | xii/1 | |
| WoO 112 | An Laura | c. 1792 | G. Kinsky: Musik historisches Museum von Wilhelm Heyer in Cöln: Katalog, iv (Cologne, 1916) | HS v | xii/1 | |
| WoO 114 | Selbstgespräch | c. 1792 | GA | xxv/275 | xii/1 | |
| WoO 115 | An Minna | c. 1792 | GA | xxv/280 | xii/1 | |
| WoO 117 | Der freie Mann | 1792, rev. 1794 | Bonn, 1808 | xxiii/232; HS v | xii/1 | |
| WoO 116 | Que le temps dure | xii/1 | ||||
| Hess 129 | ?early 1794 | Die Musik, i (1901–02) | 1st version of WoO 116 | HS v | ||
| Hess 130 | ?1794 | GA | 2nd version of WoO 116 | HS v | ||
| WoO 119 | O care selve | c. 1794 | GA | xxv/279 | xii/1 | |
| WoO 126 | Opferlied | 1794–95, rev. 1801–02 | Bonn, 1808 | xxiii/233; HS v | xii/1 | |
| WoO 118 | Two Songs Seufzer eines Ungeliebten Gegenliebe | 1794–95 | Vienna, 1837 | xxiii/253 | xii/1 | |
| Op. 46 | Adelaide | 1794–95 | Vienna, 1797 | Friedrich von Matthisson | xxiii/216 | xii/1 |
| WoO 123 | Zärtliche Liebe | c. 1795 | Vienna, 1803 | xxiii/249 | xii/1 | |
| WoO 124 | La partenza | c. 1795–1796 | Vienna, 1803 | xxiii/251 | xii/1 | |
| WoO 121 | Abschiedsgesang an Wiens Bürger | 1796 | Vienna, 1796 | Obrist Wachtmeister von Kövesdy | xxiii/230 | xii/1 |
| WoO 122 | Kriegslied der Österreicher | 1797 | Vienna, 1797 | xxiii/231 | xii/1 | |
| WoO 125 | La tiranna | 1798–99 | London, 1799 | ded. (by W. Wennington) Mrs Tschoffen | HS v | xii/1 |
| WoO 128 | Plaisir d'aimer | 1798–99 | Die Musik, i (1901–02) | HS v | xii/1 | |
| WoO 127 | Neue Liebe, neues Leben | 1798–99 | Bonn, 1808 | HS v | xii/1 | |
| WoO 74 | Ich denke dein | |||||
| Op. 48 | Six Songs Bitten Die Liebe des Nächsten Vom Tode Gottes Macht und Vorsehung Busslied | c. 1801 – early 1802 | Vienna, 1803 | Count von Browne | xxiii/217 | xii/1 |
| WoO 120 | Man strebt die Flamme zu verhehlen | c. 1802 | GA | Frau von Weissenthurn | xxv/278 | xii/1 |
| WoO 129 | Der Wachtelschlag | 1803 | Vienna, 1804 | Count von Browne | xxiii/234 | xii/1 |
| Op. 88 | Das Glück der Freundschaft | 1803 | Vienna, 1803 | xxiii/222 | xii/1 | |
| Op. 32 | An die Hoffnung | 1805 | Vienna, 1805 | for Josephine Deym | xxiii/215 | xii/1 |
| WoO 130 | Gedenke mein | ?1804–05, rev. 1819–20 | Vienna, 1844 | xxv/281 | xii/1 | |
| WoO 132 | Als die Geliebte sich trennen wollte | 1806 | AMZ, xii (1809–10) | xxiii/235 | xii/1 | |
| WoO 133 | In questa tomba oscura | 1806–07 | Vienna, 1808 | ded. (by publisher) Prince Lobkowitz | xxiii/252 | xii/1 |
| WoO 134 | Sehnsucht (4 settings) | 1807–08 | Vienna, 1810 | xxiii/250 | xii/1 | |
| WoO 136 | Andenken | 1805 | Leipzig and London 1810 | for Josephine Deym | xxiii/248 | xii/1 |
| WoO 137 | Lied aus der Ferne | 1809 | Leipzig and London, 1810 | xxiii/236 | xii/1 | |
| WoO 138 | Der Jüngling in der Fremde | 1809 | Vienna, 1810 | ded. (by Reissig) Archduke Rudolph | xxiii/237 | xii/1 |
| WoO 139 | Der Liebende | 1809 | Vienna and London, 1810 | ded. (by Reissig) Archduke Rudolph | xxiii/238 | xii/1 |
| Op. 75 | Six Songs Mignon Neue Liebe, neues Leben Aus Goethes Faust Gretels Warnung An den fernen Geliebten Der Zufriedene | 1809 | Leipzig and London, 1810 | Princess Caroline Kinsky | xxiii/219 | xii/1 |
| Op. 82 | Four Ariettas and a Duet Hoffnung Liebes-Klage L'amante impatiente L'amante impatiente Lebens-Genuss | ?1809 | Leipzig and London, 1811 | xxiii/220 | xii/1 | |
| Op. 83 | Three Songs Wonne der Wehmut Sehnsucht Mit einem gemalten Band | 1810 | Leipzig, 1811 | Princess Caroline Kinsky | xxiii/221 | xii/1 |
| WoO 140 | An die Geliebte (2 versions) | December 1811, rev. 1814 | 1st version: Augsburg, c. 1826; 2nd version: Friedensblätter (12 July 1814) | xxiii/243a | xii/1 | |
| WoO 141 | Der Gesang der Nachtigall | May 1813 | GA | xxv/227 | xii/1 | |
| WoO 142 | Der Bardengeist | November 1813 | Erichson: Musen-Almanach für das Jahr 1814 (Vienna, 1813–14) | xxiii/241 | xii/1 | |
| Op. 94 | An die Hoffnung | 1813–15 | Vienna, 1816 | Princess Kinsky | xxiii/223 | xii/1 |
| WoO 143 | Des Kriegers Abschied | 1814 | Vienna, 1815 | ded. (by Reissig) Caroline von Bernath | xxiii/240 | xii/1 |
| WoO 144 | Merkenstein | 1814 | Selam: ein Almanach für Freunde des Mannigfaltigen auf das Schaltjahr 1816 (Vienna, 1815–16) | xxv/276 | xii/1 | |
| Op. 100 | Merkenstein | 1814 | Vienna, 1816 | Count Joseph Karl von Dietrichstein | xxiii/226 | xii/1 |
| WoO 135 | Die laute Klage | ?c. 1815 | Vienna, 1837 | xxiii/254 | xii/1 | |
| WoO 145 | Das Geheimnis | 1815 | Wiener Zeitschrift für Kunst, Literatur, Theater und Mode, i (1816) | xxiii/245 | xii/1 | |
| WoO 146 | Sehnsucht | early 1816 | Vienna, 1816 | xxiii/239 | xii/1 | |
| Op. 98 | An die ferne Geliebte Auf dem Hügel sitz ich spähend Wo die Berge so blau Leichte Segler in den Höhen Diese Wolken in den Höhen Es kehret der Maien Nimm sie hin denn diese Lieder | 1816 | Vienna, 1816 | Prince Lobkowitz | xxiii/224 | xii/1 |
| Op. 99 | Der Mann von Wort | ?May 1816 | Vienna, 1816 | xxiii/225 | xii/1 | |
| WoO 147 | Ruf von Berge | December 1816 | Gedichte von Friedrich Treitschke (Vienna, 1817) | xxiii/242 | xii/1 | |
| WoO 148 | So oder so | 1817 | Wiener Zeitschrift für Kunst, ii (1817) | xxiii/224 | xii/1 | |
| WoO 149 | Resignation | 1817 | Wiener Zeitschrift für Kunst, iii (1818) | xxiii/246 | xii/1 | |
| WoO 150 | Abendlied unterm gestirnten Himmel | March 1820 | Wiener Zeitschrift für Kunst, v (1817) | xxiii/247 | xii/1 | |
| Op. 128 | Der Kuss | November–December 1822 | Mainz, 1825 | xxiii/227 | xii/1 | |
| WoO 151 | Der edle Mensche sei hülfreich und gut | January 1823 | G. Lange: Musikgeschichtliches (Berlin, 1900) | Baroness Cäcilie von Eskeles | HS v |
| No. | Title | Composition, first performance | Publication | GA | NA |
|---|---|---|---|---|---|
| WoO 152 | Twenty-five Irish Songs The Return to Ulster Sweet power of song Once more I hail thee The morning air plays on my face The Massacre of Glencoe What shall I do to shew how much I love her? His boat comes on the sunny tide Come draw we round a cheerful ring The Soldier's Dream The Deserter Thou emblem of faith English Bulls Musing on the roaring ocean Dermot and Shelah Let brain-spinning swains Hide not thy anguish In vain to this desert, due They bid me slight my Dermot dear Wife, Children and Friends Farewell bliss and farewell Nancy Morning a cruel turmoiler is From Garyone, my happy home A wand'ring gypsy, Sirs am I The Traugh Welcome Oh harp of Erin | 1810–12 | London and Edinburgh, 1814 | xxiv/261 | |
| WoO 153 | Twenty Irish songs When eve's last rays No riches from his scanty store The British Light Dragoons Since greybeards inform us I dream'd I lay where flow'rs were springing Sad and luckless was the season O soothe me, my lyre Norah of Balamagairy The kiss, dear maid, thy lip has left Oh! thou hapless soldier When far from the home I'll praise the Saints 'Tis sunshine at last Paddy O'Rafferty 'Tis but in vain O might I but my Patrick love Come, Darby dear No more, my Mary Judy, lovely, matchless creature Thy ship must sail | 1810–15 | London and Edinburgh, 1814 [nos. 1–4], 1816 [nos. 5–10]; GA | xxiv/262 | |
| WoO 154 | Twelve Irish songs The Elfin Fairies Oh harp of Erin The Farewell Song The pulse of an Irishman Oh! who, my dear Dermot Put round the bright wine From Garyone, my happy home Save me from the grave and wise Oh! would I were but that sweet linnet The hero may perish The Soldier in a Foreign Land He promised me at parting | 1812–13 | (London and Edinburgh, 1816 [without nos. 2 and 7]); GA | xxiv/258 | |
| WoO 155 | Twenty-six Welsh songs Sion, the son of Evan The Monks of Bangor's March The Cottage Maid Love without Hope A golden robe my love shall wear The fair Maid of Mona Oh let the night my blushes hide Farewell, thou noisy town To the Aeolian Harp Ned Pugh's Farewell Merch Megan Waken lords and ladies gay Helpless Woman The Dream When mortals all to rest retire The Damsels of Cardigan The Dairy House Sweet Richard The Vale of Clwyd To the Blackbird Cupid's Kindness Constancy The Old Strain Three Hundred Pounds The Parting Kiss Good Night | 1809 | London and Edinburgh, 1817 | xxiii/219 | xi/1 |
| Op. 108 | Twenty-five Scottish Songs Music, Love and Wine Sunset Oh! sweet were the hours The Maid of Isla The sweetest lad was Jamie Dim, dim is my eye Bonnie laddie, highland ladddie The lovely lass of Inverness Behond my love how green the groves Sympathy Oh! thou art the lad Oh, had my fate Come fill, fill, my good fellow O, how can I be blithe O cruel was my father Could this ill world O Mary, at thy window Enchantress, farewell O swiftly glides the bonny boat Faithfu' Johnie Jeannie's Distress The Highland Watch The Shepherd's Song Again my lyre Sally in our Alley | 1815–18 | London and Edinburgh, 1818 | xxiv/257 | xi/1 |
| WoO 156 | Twelve Scottish songs The Banner of Buccleuch Duncan Gray Up! Quit thy bower Ye shepherds of this pleasant vale Cease your funning Highland Harry Polly Stewart Womankind Lochnagar Glencoe Auld lang syne The Quaker's Wife | 1815–19 | London and Edinburgh, 1822 [no.1], 1824–25 [nos. 2–4, 8, 9, 12], 1839 [nos. 5–6], 1841 [nos. 7, 10, 11); GA | xxiv/260 | xi/1 |
| WoO 157 | Twelve songs of various nationalities God Save the King The Soldier O Charlie is my darling O sanctissima The Miller of the Dee A health to the brave Since all thy vows, false maid By the side of the Shannon Highlander's Lament Sir Johnie Cope The wandering minstrel La gondoletta | 1815–20 | London and Edinburgh, 1816 [nos. 2, 6, 8, 11], 1822 [no. 3], 1824–25 [no. 5], 1839 [no. 1]); GA | xxiv/259 | xi/1, xi/3 |
| WoO 158a | Twenty-three songs of various nationalities Ridder Stig tjener i Kongens Gaard Horch auf, mein Liebchen Wegen meiner bleib d'Fräula Wann i in der Früh aufsteh I bin a Tyroler Bua A Madel, ja a Madel Wer solche Buema afipackt Ih mag di nit Oj upiłem sie w karczmie Poszła baba po popiół Yo no quiero embarcarme Seus lindos olhos Im Walde sind viele Mücklein geboren Ach Bächlein, Bächlein, kühle Wasser Unsere Mädchen gingen in den Wald Schöne Minka, ich muss scheiden Lilla Carl, sov sött i frid An ä Bergli bin i gesässe Una paloma blanca Como la mariposa La tirana se embarca Édes kinos emlékezet Da brava | 1816–17 | Die Musik, ii (1902–03) [no. 19], J. Schmidt-Görg: Unbekannte Manuskripte zu Beethovens weltlicher und geistlicher Gesangsmusik (Bonn, 1928) [no. 17], complete (Leipzig, 1943) | HS xiv | xi/3 |
| WoO 158b | Seven British songs Adieu my lov'd harp Castle O'Neill Oh was not I a weary wight Red gleams the sun Erin! oh, Erin! O Mary ye's be clad in silk | 1813–17 | HS xiv | xi/1, xi/3 | |
| WoO 158c | Six songs of various nationalities When my hero in court appears Non, non, Collette n'est point trompeuse Mark yonder pomp of costly fashion Bonnie wee thing From thee, Eliza, I must go Text unidentified | 1817–20 | HS xiv | xi/1, xi/3 | |
| Hess 168 | Air français | 1817 | HS xiv | xi/3 | |
| Hess 133–134 | Two Austrian folksongs Das liebe Kätzchen Der Knabe auf dem Berge | 1820 | Niederrheinische Musikzeitung, xiii (1865) | xi/3 |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 29 | March for clarinets, horns and bassoons, B♭ | 1797–98 | GA | xxv/292 | vi/1 | |
| WoO 18 | March No. 1 for Military Band Yorckscher Marsch, F | 1809, rev. 1810 | pf red.: Prague, ?1809; s: Berlin, 1818–19 | Archduke Anton of Austria (on autograph) | xxv/287/1; HS iv; HS Viii (pf) | ii/4 |
| Trio to WoO 18, B♭ | c. 1822 | HS | HS iv | ii/4 | ||
| WoO 19 | March No 2. for Military Band, F | 1810 | pf red.: Vienna, 1810 | Archduke Anton of Austria (on autograph) | xxv/287/2; HS iv | ii/4 |
| Trio to WoO 19, f | c. 1822 | HS | HS iv | ii/4 | ||
| WoO 20 | March for Military Band, C | c. 1810 | GA | xxv/288; HS iv | ii/4 | |
| Trio to WoO 20, F | c. 1822 | xxv/288 | ii/4 | |||
| WoO 21 | Polonaise for Military Band, D | 1810 | GA | xxv/289 | ii/4 | |
| WoO 22 | Ecossaise for Military Band, D | 1810 | GA | xxv/290 | ii/4 | |
| WoO 23 | Ecossaise for Military Band, G | c. 1810 | pf red. in Czerny's Musikalisches Pfennig-Magazin, i (Vienna, 1834) | only a piano arrangement by Carl Czerny is extant | xxv/306 (pf) | ii/4 |
| WoO 24 | March for Military Band, D | 1816 | pf red.: Vienna, 1827 | ii/15 | ii/4 |
| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 7 | Twelve Minuets for orchestra | 1795 | Vienna, 1795 | ii/16 | ii/3 | |
| WoO 8 | Twelve German Dances for orchestra | 1795 | Vienna, 1795 | ii/17 | ii/3 | |
| WoO 9 | Six minuets for two violins and double bass | ?before 1795 | Mainz, 1933 | authenticity not fully confirmed | HS vi | ii/3 |
| WoO 10 | Six Minuets for piano | 1795 | Vienna, 1796 | orchestral version probably existed | xviii/194 | |
| WoO 42 | Six German Dances for violin and piano | 1796 | Vienna, 1814 | xxv/308 | v/2 | |
| WoO 11 | Seven Ländler for piano | 1799 | Vienna, 1799 | version for two violins and cello probably existed | xviii/198 | |
| WoO 13 | Twelve German Dances for piano | c. 1792–97 | Vienna, Prague and Leipzig, 1929 | orchestral version probably existed | HS viii | |
| WoO 14 | Twelve Contredanses for orchestra | c. 1791–1801 | p: Vienna, 1802; s: GA | ii/17a | ii/3 | |
| WoO 15 | Six Ländler for two violins and double bass | 1802 | Vienna, 1802; s: GA | xxv/291 | ii/3 | |
| WoO 83 | Six Ecossaises for piano | c. 1806 | Vienna, 1807; GA | xxv/302 | ||
| WoO 17 | Eleven "Mödlinger Tänze" for flutes, clarinets, horns, violins and double bass | 1819 | Leipzig, 1907 | probably spurious | HS vii |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 159 | Im Arm der Liebe, F | c. 1795 | I. von Seyfried: Ludwig van Beethovens Studien im Generalbass (Vienna, 1832) | Contrapuntal study for Albrechtsberger | xxiii/256/1 | xiii/1 |
| WoO 160/1 | O Care selve | c. 1795 | Seyfried (1832) | Contrapuntal study for Albrechtsberger | HS v | xiii/1 |
| WoO 160/2 | Canon, C | c. 1795 | Seyfried (1832) | Contrapuntal study for Albrechtsberger | HS v | xiii/1 |
| Canon | 1796–97 | J. Kerman, ed.: Ludwig van Beethoven: Autograph Miscellany from circa 1786 to 1799 (London, 1970) | ||||
| Hess 276 | Herr Graf, ich komme zu fragen | ?1797 | HS | HS v | ||
| WoO 100 | Schuppanzigh ist ein Lump | 1801 | Grove1 | for Ignaz Schuppanzigh | HS v | |
| WoO 101 | Graf, Graf, Graf, Graf | 1802 | A.W. Thayer: Chronologisches Vezeichniss der Werke Ludwig van Beethoven (Berlin, 1865) | for Nikolaus Zmeskall | HS v | |
| Hess 274 | Canon, G | 1803 | N. Fishman: Kniga ėskizov Bėtkhoven za 1802–1806 godï (Moscow, 1962) | HS ix | ||
| Hess 229 | Languisco e moro | 1803 | Fishman (1962) | HS xiv | ||
| Hess 275 | Canon, A♭ | 1803 | HS | HS | ||
| WoO 162 | Ta ta ta...lieber Mälzel | spurious: apparently written by Anton Schindler | HS vii | |||
| WoO 161 | Ewig dein, C | ?c. 1811 | AMZ, new series, i (1863) | xxiii/256/14 | ||
| WoO 163 | Kurz ist der Schmerz, F minor | November 1813 | NZM, xi (1841), | for Friedrich Naue | xxiii/256/3a | |
| WoO 199 | Ich bin der Herr von zu, D | 1814 | for Archduke Rudolph | |||
| WoO 164 | Freundschaft ist die Quelle, C | Sept 1814 | GA | xxv/285/2 | ||
| WoO 165 | Glück zum neuen Jahr, E♭ | January 1815 | Vienna, 1816 | for Baron von Pasqualati | xxiii/256/16 | |
| WoO 166 | Kurz ist der Schmerz, F | March 1815 | GA | for Louis Spohr | xxiii/256/3b | |
| WoO 167 | Brauchle, Linke, C | c. 1815 | Thayer, 1865 | for Johann Xaver Brauchle and Joseph Linke | HS v | |
| WoO 168/1 | Lerne schweigen, F minor | January 1816 | Wiener allgemeine musikalische Zeitung, i (1816) | for Charles Neate | xxiii/256/5 | |
| WoO 168/2 | Rede, rede, F | January 1816 | GA | for Charles Neate | xxiii/256/4 | |
| WoO 169 | Ich küsse Sie, C | January 1816 | Die Jahrenszeien, xii/3 (1853) | for Anna Milder-Hauptmann | HS v | |
| WoO 170 | Ars longa, vita brevis, C | April 1816 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | for Johann Nepomuk Hummel | HS v | |
| WoO 171 | Glück fehl' dir vor allem, G | 1817 | T. von Frimmel: Neue Beethoveniana (Vienna, 1888) | for Anna Giannatasio del Rio | HS v | |
| WoO 172 | Ich bitt' dich schrreib' mir die Es-Scala auf, E♭ | ?c. 1818 | GA | for Vincenz Hauschka | xxiii/256/15 | |
| WoO 201 | Ich bin bereit! Amen, C | 1818 | for Vincenz Hauschka | |||
| WoO 173 | Hol'euch der Teufel!, B♭ | sum. 1819 | Thayer (1865) | for Sigmund Anton Steiner | HS v | |
| WoO 174 | Glaube und hoffe | Sept 1819 | L. Nohl: Briefe Beethovens (Stuttgart 1865) | for Maurice Schlesinger | xxv/285/3 | |
| WoO 176 | Glück zum neuen Jahr!, F | December 1819 | GA | for Countess Erdődy | xxiii/256/6 | |
| WoO 179 | Alles Gute! alles Schöne, C | December 1819 | Nohl (1865) | for Archduke Rudolph | xxiii/256/7 | |
| Hess 300 | Liebe mich, werter Weissenbach | ? January 1820 | J. Schmidt-Görg, ed.: Drei Skizzenbücher zur Missa Solemnis, i (Bonn, 1952) | for Aloys Weissenbach | ||
| Hess 301 | Wähner ... es sei kein Wahn | ? January 1820 | J. Schmidt-Görg, ed.: Drei Skizzenbücher zur Missa Solemnis, i (Bonn, 1952) | Friedrich Wähner | ||
| WoO 175 | Sankt Petrus war ein Fels; Bernardus war ein Sankt | ? January 1820 | Thayer (1865) | for Carl Peters and Carl Bernard | HS v | |
| WoO 180 | Hoffman, sei ja kein Hofmann, C | March 1820 | Caecilia, i (1825) | xxiii/256/8 | ||
| WoO 177 | Bester Magistrat, Ihr friert, E | c. 1820 | D. MacArdle and L. Misch: New Beethoven Letters (Norman, OK, 1957) | HS v | ||
| WoO 178 | Signor Abate, B♭ | ?c. 1820 | GA | for the Abbé Maximilian Stadler | xxiii/256/13 | |
| WoO 181/1 | Gedenket heute an Baden, C | c. 1820 | GA | xxv/285/4 | ||
| WoO 181/2 | Gehabt euch wohl, C | c. 1820 | Festschrift Arnold Scherings (Berlin, 1937) | HS v | ||
| WoO 181/3 | Tugent ist kein leerer Name | c. 1820 | HS v | |||
| WoO 182 | O Tobias, d | Sept 1821 | AMZ, new series, i (1863) | for Tobias Haslinger | xxiii/256/9 | |
| WoO 183 | Berster Herr Graf, Sie sind ein Schaf!, F | February 1823 | Mf, vii (1954) | for Count Moritz Lichnowsky | HS v | |
| WoO 184 | Falstafferel, lass' dich sehen!, G | April 1823 | Die Musik, ii (1902–03) | for Schuppanzigh | HS v | |
| WoO 185 | Edel sei der Mensch, E | ? May 1823 | Wiener Zeitschrift für Kunst, viii (1823) | for Louis Schlösser | xxiii/256/10 | |
| Hess 263 | Te solo adoro | ?1824 | HS | for Carlos Evasio Soliva | HS v | |
| Hess 264 | Te solo adoro | ?1824 | HS | for Carlos Evasio Soliva | HS v | |
| WoO 186 | Te solo adoro | June 1824 | GA | for Carlos Evasio Soliva | xxv/285/1 | |
| WoO 187 | Schwenke dich ohne Schwänke!, F | November 1824 | Caecilia, i/7 (1825) | for Carl Schwänke | xxiii/256/11 | |
| WoO 188 | Gott ist eine fest Burg, B♭ | January 1825 | F. Prelinger: Beethovens sämtliche Briefe, iv (Vienna, 1909) | for Oberst von Düsterlohe | HS v | |
| WoO 203 | Das Schöne zu dem Guten | 1825 | L. Rellstab: Garten und Wald, iv (Leipzig, 1854) | for Ludwig Rellstab | HS v | |
| WoO 189 | Doktor, sperrt das Tor dem Tod, C | May 1825 | Nohl (1865) | for Anton Braunhofer | HS v | |
| WoO 190 | Ich war hier, Doktor, C | June 1825 | ?HS | for Anton Braunhofer | HS v | |
| WoO 191 | Kühl, nicht lau, B♭ | Sept 1825 | Seyfried (1832) | for Friedrich Kuhlau | xxiii/256/12 | |
| WoO 192 | Ars longa, vita brevis, F | Sept 1825 | Thayer (1865) | for Sir George Smart | HS v | |
| WoO 194 | Si non per portas, per muros, F | Sept 1825 | Marx (1859), ii | for Maurice Schlesinger | xxiii/256/17 | |
| WoO 195 | Freu' dich des Lebens, C | December 1825 | GA | for Theodor Molt | xxv/285/5 | |
| WoO 193 | Ars longa, vita brevis, C | ?c. 1825 | facsimile in auction catalogue no. 120 of Henrici (Berlin, 1927) | HS v | ||
| Bester Magistrat | ?April 1826 | unpublished, appears in the sketchbook 'Autograph 24' | ||||
| WoO 196 | Es muss sein, F | ?July 1826 | A.W. Thayer: Ludwig van Beethovens Leben, ed. H. Riemann, v (Leipzig, 1908) | for "Hofkriegsagent" Dembscher | HS v | |
| Hess 277 | Esel aller Esel | ?Sept 1826 | HS | HS v | ||
| WoO 197 | Da ist das Werk, C | Sept 1826 | Zürich, 1949 | for Holz | HS v | |
| WoO 198 | Wir irren allesamt | December 1826 | Nohl (1865) | for Holz | HS v |
| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
|---|---|---|---|---|---|---|
| WoO 31 | Fugue for organ, D | 1783 | GA | xxv/309 | ||
| Various dances, kbd exercises, entered among sketches for larger works but probably not intended for publication | mostly 1790–98 | transcr. selectively in writings of G. Nottebohm: many pubd in Kerman, ed. (I(ii)1970) | HS ix | |||
| Contrapuntal exercises prepared for Haydn and Albrechtsberger | 1793–95 | Nottebohm: Beethovens Studien (Leipzig, 1873), selective transcr. | HS vi, xiv | xiii/1 | ||
| WoO 33/1 | Adagio for mechanical clock, F | 1799 | Die Musik, i (1902) | HS vii | vi/1 | |
| WoO 33/2 | Scherzo for mechanical clock, G | 1799–1800 | G. Becking Studien zu Betthovens Personalstil: das Scherzothema (Leipzig, 1921) | HS vii | vi/1 | |
| WoO 33/3 | Allegro for mechanical clock, G | ?c. 1799 | Ricordiana, iii (1957) | HS vii | vi/1 | |
| WoO 33/4 | Allegro for mechanical clock, C | ?1794 | Mainz, 1940 | HS vii | vi/1 | |
| WoO 33/5 | Allegretto for mechanical clock, C | ?1794 | Mainz, 1940 | HS vii | vi/1 | |
| Hess 107 | Grenadiermarsch for mechanical clock, F | ?c. 1798 | Beethoven-Almanach der Deutschen Musikbücherei auf das Jahr 1927 (Regensburg, 1927) | Prince Joseph Johann zu Schwarzenberg | HS vii | vi/1 |
| WoO 99 | Exercises in Italian declamation prepared for Salieri | 1801–02 | Nottebohm (1873) [selective]; HS i [complete] | HS i | xiii/1 | |
| WoO 58 | Cadenzas to first movement and finale of Mozart's Piano Concerto No. 20 (K. 466), d | ?1809 | 1st movt: Wiener Zeitschrift für Kunst... (23 January 1836); finale: GA; | written for Ferdinand Ries | ix/70a/11–12 | vii/7 |
| WoO 200 | Theme for variations by the Archduke Rudolph, with text "O Hoffnung" | 1818 | Vienna, 1819 | |||
| Various musical greetings, in letters and diaries |
List of works by Beethoven
Ludwig van Beethoven wrote 722 pieces of music over 45 years, from 1782 when he was just 11 years old, until his last work in 1827. He created music in many types, such as symphonies, concertos, string quartets, piano sonatas, and operas. His works range from simple solo pieces to large pieces for orchestra and choir.
The list of Beethoven's works is organized by different numbering systems, including Opus numbers, WoO numbers, and more. These numbers help organize his large collection of music. For example, Opus 1 includes three piano trios, and Opus 13 is the famous "Pathetique" piano sonata.
Beethoven’s music remains some of the most admired and performed in the world, showing his skill and creativity across many musical styles and forms.
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