|
Biamonti |
Same As |
Midi |
Mp3 |
Name |
Composition Dates |
Notes |
|
Bia. 400
| |
|
|
Fugue Subject for Unknown: in a Kyrie; authorship:
unfinished |
1803 |
|
|
Bia. 401
| |
|
|
Piece for Unknown |
1803 |
the theme is similar to Haydn’s "The
Seasons" |
|
Bia. 402
| |
|
|
Fragment for Unknown: beginning of an Agnus
Dei; authorship: unfinished |
1803 |
|
|
Bia. 403
| |
|
|
Sketch in D minor: for a symphony; authorship:
unfinished |
1803 |
|
|
Bia. 404
| |
|
|
Sketch for Unknown: for the melody for a Zapfenstreich;
authorship: unfinished |
1803 |
|
|
Bia. 405
| |
|
|
Sketch for Piano: for the melody; authorship:
unfinished |
1803 |
|
|
Bia. 406 |
Op. 55, Grove 55 |
 |
|
Symphony No. 3 in E flat major: "Eroica" |
1803 |
dedicated to Prince Ferdinand Lobkowitz; Napoleon
Bonaparte was originally intended as dedicatee;
finale uses theme from "Die Geschöpfe
des Prometheus" Opus 43 |
|
Bia. 407
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
unused vocal & instrumental sketches from
the Wittgenstein manuscript; authorship: unfinished |
1804 |
|
|
Bia. 408 |
WoO 56 |
|
|
Bagatelle No. 5 for Piano in C major: Allegretto |
1803 - 1822 |
numbered "5" by Beethoven for a projected
collection of Bagatelles in 1822 |
|
Bia. 409 |
WoO 57, Grove 170 |
|
|
Andante for Piano in F major: "Andante
favori" |
1803 - 1804 |
originally intended as the slow movement for
the "Waldstein" Piano Sonata Opus 53;
Hess Anhang 10 is version for string quartet (Beethoven’s
authorship uncertain) |
|
Bia. 410 |
Op. 56, Grove 56 |
|
|
Concerto for Piano, Violin, Cello & Orchestra
in C major: "Tripelkonzert" (Triple
Concerto) |
1804 - 1805 |
dedicated to Archduke Rudolph of Austria |
|
Bia. 411 |
Op. 53, Grove 53 |
|
|
Piano Sonata No. 21 in C major: "Waldstein-Sonate";
"Aurora" |
1803 - 1804 |
dedicated to Count Ferdinand von Waldstein;
the "Andante favori" WoO 57 was originally
intended to be this work’s slow movement |
|
Bia. 412 |
Op. 54, Grove 54 |
|
|
Piano Sonata No. 22 in F major |
1804 |
|
|
Bia. 413 |
Hess 111 |
|
|
Duet: "Nur hurtig fort, nur frisch gegraben" |
1805 |
early version before 1805 version of "Leonore",
Opus 72 |
|
Bia. 414 |
Hess 121 |
|
|
Aria in C major: Marcellina’s aria "O
wär ich schon mit dir vereint" |
1806 |
prepared for 1806 version of "Leonore"
Opus 72 |
|
Bia. 415 |
Hess 122 |
|
|
Aria in C minor: Marcellina’s aria "O
wär ich schon mit dir vereint" |
1807 |
prepared for 1806 version of "Leonore",
Opus 72 |
|
Bia. 416 |
WoO 130, Grove 256 |
|
|
Song in C minor: "Gedenke mein"; "Gedenke
mein, ich denke dein" |
1804 - 1820 |
written for Prince Nikolas Borissovich Galitzin;
words: Anonymous
|
|
Bia. 417
| |
|
|
2 Sketches for Piano in F minor; authorship:
unfinished |
1804 |
sketch for the "Appassionata" Sonata
Opus 57 |
|
Bia. 418 |
WoO 74, Grove 160 |
|
|
6 Variations for Piano Four Hands in D major:
on "Ich denke dein" |
1799 - 1803 |
dedicated to Therese Brunsvik & Countess
Josephine Deym (née Brunsvik); Beethoven
wrote the theme to the opening stanza of Goethe’s
poem; the song (Biamonti 177) and the variations
(Biamonti 418) are all part of the same work,
but usually performed & recorded separately |
|
Bia. 419
| |
|
|
Sketch for Unknown: for a march; authorship:
unfinished |
1804 |
|
|
Bia. 420 |
Op. 57, Grove 57 |
|
|
Piano Sonata No. 23 in F minor: "Appassionata" |
1804 - 1805 |
dedicated to Count Anatol Brunsvik |
|
Bia. 421 |
Op. 32, Grove 32 |
|
|
Song: "An die Hoffnung"; from Tiedge’s
"Urania"; "Die du so gern in heilgen
Nächten feierst" (1st setting) |
1804 - 1805 |
dedicated to Countess Josephine Deym (née
Brunsvik); words: Christoph August Tiedge; 2nd
setiing is Opus 94 |
|
Bia. 422 |
Op. 138, Grove 138 |
|
|
Overture in C major: "Leonore I" |
1807 |
|
|
Bia. 423 |
Op. 72, Grove 72 |
|
|
Overture: "Leonore II" ; written for
1805 version of "Leonore"; Grove 72a |
1804 - 1805 |
|
|
Bia. 423 |
Op. 72, Hess 109, Grove 72 |
|
|
Opera: "Leonore, oder Der Triumph der ehelichen
Liebe" (Leonore, or The Triumph of Married
Love); 1805 version of "Fidelio" with
overture "Leonore II" |
1804 - 1805 |
Libretto: Joseph Sonnleithner after Jean-Nicolas
Bouilly; Hess originally had access to only the
piano reduction; the complete score has since
been found |
|
Bia. 424 |
WoO 58 #1, Grove 175 |
|
|
Cadenza for Piano in D minor: for Mozart’s
piano concerto in d minor K 466 1st mvmt |
1809 |
written for Ferdinand Ries |
|
Bia. 424 |
WoO 58 #2, Grove 175 |
|
|
Cadenza for Piano & Orchestra in D minor:
for Mozart’s piano concerto in d minor K
466 3rd mvmt |
1809 |
written for Ferdinand Ries |
|
Bia. 425 |
Op. 36, Grove 36 |
|
|
Piano Trio in D major: after the Symphony No.
2 in D |
1805 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 426
| |
|
|
Fragment for Unknown: for a Quartet; authorship:
unfinished |
1805 |
|
|
Bia. 427 |
Op. 72, Hess 110, Grove 72 |
|
|
Opera: "Leonore, oder Der Triumph der ehelichen
Liebe" (Leonore, or The Triumph of Married
Love); 1806 version of "Fidelio" with
overture "Leonore III" |
1805 - 1806 |
Libretto: Joseph Sonnleithner, revised by Stephan
von Breuning; Hess originally had access to only
the piano reduction; the complete score has since
been found |
|
Bia. 427 |
Op. 72 #1, Grove 72 |
|
|
Overture: "Leonore III", Opus 72a;
written for 1806 version of "Leonore";
Grove 72b |
1805 - 1806 |
|
|
Bia. 428 |
WoO 132, Grove 238 |
|
|
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 |
|
Bia. 429 |
Op. 60, Grove 60 |
|
|
Symphony No. 4 in B flat major |
1806 |
dedicated to Count Franz von Oppersdorff |
|
Bia. 430 |
WoO 80, Grove 191 |
|
|
32 Variations for Piano in C minor: on an original
theme |
1806 |
|
|
Bia. 431 |
Op. 58, Grove 58 |
|
|
Concerto No. 4 for Piano & Orchestra in
G major |
1804 - 1807 |
dedicated to Archduke Rudolph of Austria; also
arranged for piano & string quintet same Opus
# |
|
Bia. 431 |
Op. 58, Grove 58 |
|
|
Concerto No. 4 for Piano & String Quintet
in G major; authorship: reconstruction |
1804 - 1807 |
dedicated to Archduke Rudolph of Austria; also arranged for piano &
string quintet same Opus #; Biamonti 509 has the usually recorded cadenzas;
other cadenzas are Hess 81 (1st movement) and Hess 82 - 83 (Rondo) |
|
Bia. 432 |
Op. 61, Grove 61 |
|
|
Concerto for Violin & Orchestra in D major |
1806 |
dedicated to Stephan von Breuning; also arranged
as a piano concerto (same Opus) |
|
Bia. 433
| |
|
|
Sketch for Unknown: sketches for Matthisson’s
song, "Wunsch: noch einmal"; authorship:
unfinished |
1804 - 1806 |
|
|
Bia. 434
| |
|
|
Sketch for Unknown: for a minuet; authorship:
unfinished |
1805 - 1806 |
|
|
Bia. 435
| |
|
|
Sketch for String Quartet; authorship: unfinished |
1805 - 1806 |
unused sketches for the first & third movements
of Opus 59 #3, "Rasumowsky" #3 |
|
Bia. 436 |
Op. 59 #1, Grove 59 |
|
|
String Quartet No. 7 in F major: "Rasumowsky-Quartett"
(Razumovsky) #1 |
1806 |
dedicated to Count Andreas Kirillovich Razumovsky |
|
Bia. 436 |
Op. 59 #2, Grove 59 |
|
|
String Quartet No. 8 in E minor: "Rasumowsky-Quartett"
(Razumovsky) #2 |
1806 |
dedicated to Count Andreas Kirillovich Razumovsky |
|
Bia. 436 |
Op. 59 #3, Grove 59 |
|
|
String Quartet No. 9 in C major: "Rasumowsky-Quartett"
(Razumovsky) #3 |
1806 |
dedicated to Count Andreas Kirillovich Razumovsky |
|
Bia. 437 |
WoO 83 |
|
|
6 Ecossaises for Piano in E flat major |
1806 |
|
|
Bia. 438 |
Op. 62, Grove 62 |
|
|
Overture: "Coriolan" |
1807 |
dedicated to Heinrich Collin; words by H J Collin |
|
Bia. 439 |
Op. 86, Grove 86 |
|
|
Mass in C major |
1807 |
dedicated to Prince Ferdinand Kinsky; also published
as 3 hymns with German text |
|
Bia. 440 |
WoO 29 |
|
|
March for Clarinets, Horns & Bassoons in
B flat major: "Grenadiermarsch" |
1797 - 1798 |
Hess 87 is piano arrangement; also see Hess
107 |
|
Bia. 441 |
Op. 61, Grove 61 |
|
|
Concerto for Piano & Orchestra in D major |
1807 |
dedicated to Julie von Breuning (née Vering); after the Violin Concerto
(same Opus); four new "cadenzas" composed - the two of Biamonti
511 (given in Kinsky-Halm) & Biamonti 512 (Hess 84 & 85); all 4
can be, and usually are, played in one performance |
|
Bia. 442 |
WoO 133, Grove 239 |
|
|
Song in A flat major: "In questa tomba
oscura", Arietta (In this dark Tomb) |
1806 - 1807 |
words: Giuseppe Carpani |
|
Bia. 443 |
Op. 67, Grove 67 |
|
|
Symphony No. 5 in C minor |
1803 - 1808 |
dedicated to Prince Lobkowitz and Count Rasumovsky |
|
Bia. 444 |
Op. 69, Grove 69 |
|
|
Sonata No. 3 for Piano & Cello in A major |
1807 - 1808 |
dedicated to Baron Ignaz von Gleichenstein;
"between tears & lamentation" -
LvB |
|
Bia. 445
| |
|
|
Sketch for Unknown: sketches for an improvisation;
authorship: unfinished |
1807 - 1808 |
|
|
Bia. 446 |
WoO 134 #1, Grove 241 |
|
|
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 |
|
Bia. 446 |
WoO 134 #2, Grove 241 |
|
|
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 |
|
Bia. 446 |
WoO 134 #3, Grove 241 |
|
|
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 |
|
Bia. 446 |
WoO 134 #4, Grove 241 |
|
|
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 |
|
Bia. 447
| |
|
|
Passage for Piano; authorship: unfinished |
1808 |
|
|
Bia. 448
| |
|
|
Sketch for Piano: probably for piano; authorship:
unfinished |
1808 |
|
|
Bia. 449
| |
|
|
Sketch for Piano & Orchestra in F major;
authorship: unfinished |
1808 |
sketch for the "Choral Fantasy" Opus
80 |
|
Bia. 450
| |
|
|
Fragment for Unknown: for piano? |
1808 |
|
|
Bia. 451
| |
|
|
Sketch for Unknown: for piano?; authorship:
unfinished |
1808 |
|
|
Bia. 452
| |
|
|
Fragment for Unknown: for piano?; authorship:
unfinished |
1808 |
|
|
Bia. 453 |
Op. 68, Grove 68 |
|
|
Symphony No. 6 in F major: "Pastorale"
(Pastoral) |
1807 - 1808 |
dedicated to Prince Lobkowitz and Count Rasumovsky |
|
Bia. 454
| |
|
|
Overture: to the planned opera "Macbeth";
authorship: unfinished |
1810 |
based on Beethoven’s sketches |
|
Bia. 455 |
Op. 70 #1, Grove 70 |
|
|
Piano Trio in D major: "Geister-Trio"
(Ghost) |
1808 |
dedicated to Countess Anna Marie Erdödy |
|
Bia. 455 |
Op. 70 #2, Grove 70 |
|
|
Piano Trio in E flat major |
1808 |
dedicated to Countess Anna Marie Erdödy |
|
Bia. 456
| |
|
|
Sketch; authorship: unfinished |
1808 |
4 sketches for an instrumental introduction
for the "Choral Fantasy", Opus 80 |
|
Bia. 457
| |
|
|
Sketch; authorship: unfinished |
1808 |
sketch for a March, perhaps for the "Choral
Fantasy" Opus 80 |
|
Bia. 458
| |
|
|
Sketch for Unknown in B minor; authorship: unfinished |
1808 |
for the "Choral Fantasy" Opus 80,
marked "Erste Fantasie" |
|
Bia. 459
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 460
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 461
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 462
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 463
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 464
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 465
| |
|
|
Sketch for Piano: concluding formula; authorship:
unfinished |
1808 |
|
|
Bia. 466
| |
|
|
Fragment for Piano; authorship: unfinished |
1808 |
|
|
Bia. 467
| |
|
|
Fragment for Piano; authorship: unfinished |
1808 |
|
|
Bia. 468
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
|
|
Bia. 469
| |
|
|
Fragment for Piano; authorship: unfinished |
1808 |
|
|
Bia. 470
| |
|
|
Sketch for Piano; authorship: unfinished |
1808 |
pianistic figure |
|
Bia. 471
| |
|
|
Fragment for Piano; authorship: unfinished |
1808 |
|
|
Bia. 472
| |
|
|
Fragment for Piano in D minor; authorship: unfinished |
1808 |
|
|
Bia. 473
| |
|
|
Sketch for Solo Voice(s) & Instrument(s);
authorship: unfinished |
1808 |
|
|
Bia. 474
| |
|
|
Sketch for Unknown; authorship: unfinished |
1808 |
bass line |
|
Bia. 475
| |
|
|
Sketch for Unknown: "Lasst uns Frohich
sein"; authorship: unfinished |
1808 |
sketch for perhaps a Canon or a Song |
|
Bia. 476
| |
|
|
Sketch for Piano & Orchestra |
1809 |
sketch for the last movement of Piano Concerto
#5, Opus 73 |
|
Bia. 477
| |
|
|
Sketch for Unknown: "Wehrmanns Lied"
(song of the soldier) "Osterreich über
alles"; authorship: unfinished |
1809 |
words: Collin |
|
Bia. 478
| |
|
|
Sketch for Unknown: sketch for a Song "Jubelgesang
auf die Schlacht"; authorship: unfinished |
1809 |
|
|
Bia. 479
| |
|
|
Sketch for Piano; authorship: unfinished |
1809 |
perhaps for piano |
|
Bia. 480
| |
|
|
2 Sketches for Piano; authorship: unfinished |
1809 |
perhaps for piano |
|
Bia. 481
| |
|
|
Fragment for Unknown: "Dissonirende Vorhalte";
authorship: unfinished |
1809 |
|
|
Bia. 482
| |
|
|
Sketch for Unknown; authorship: unfinished |
1809 |
unused sketches for Songs |
|
Bia. 483
| |
|
|
Sketch: sketch for an Overture "Die Änlichkeit";
authorship: unfinished |
1809 |
|
|
Bia. 484
| |
|
|
Sketch for String Quartet |
1809 |
unused sketch for the Finale of String Quartet
#10 Opus 74 |
|
Bia. 485 |
Op. 74, Grove 74 |
|
|
String Quartet No. 10 in E flat major: "Harfenquartett"
(Harp) |
1809 |
dedicated to Prince Ferdinand Lobkowitz |
|
Bia. 486 |
Op. 80, Grove 80 |
|
|
Fantasia for Piano, Chorus & Orchestra in
C minor: "Chorfantasie" (Choral Fantasy) |
1808 - 1809 |
dedicated to King Maximilian Joseph of Bavaria;
words: Christoph Kuffner? |
|
Bia. 487
| |
|
|
Fragment for Piano & Orchestra; authorship:
unfinished |
1809 |
beginning of a Concerto, unused |
|
Bia. 488
| |
|
|
Fragment for Unknown: "Ausweichungsformel"
(modulation formula) |
1809 |
|
|
Bia. 489
| |
|
|
Sketch for String Quintet: in homage to Bach;
authorship: unfinished |
1809 |
|
|
Bia. 490
| |
|
|
Sketch for Unknown: for a concert piece; authorship:
unfinished |
1809 |
|
|
Bia. 491
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
unused sketch for "Freudvoll und Leidvoll"
for 2 voices & piano; authorship: unfinished |
1809 |
has no relation to "Egmont" Opus 84 |
|
Bia. 492 |
Op. 77, Grove 77 |
|
|
Fantasia for Piano in G minor |
1809 |
dedicated to Count Anatol Brunsvik |
|
Bia. 493 |
Op. 78, Grove 78 |
|
|
Piano Sonata No. 24 in F sharp major: "À
Thérèse" |
1809 |
dedicated to Therese Brunsvik |
|
Bia. 494 |
Op. 76, Grove 76 |
|
|
6 Variations for Piano in D major: on a original
theme |
1809 |
dedicated to Franz Oliva; used again for "The
Ruins of Athens" Opus 113 |
|
Bia. 495 |
Op. 79, Grove 79 |
|
|
Piano Sonata No. 25 in G major |
1809 |
|
|
Bia. 496 |
WoO 136, Grove 240 |
|
|
Song in D major: "Andenken" (Memories);
"Ich denke dein" |
1808 |
words: Friedrich von Matthisson |
|
Bia. 497 |
WoO 138, Grove 244 |
|
|
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 |
|
Bia. 498 |
WoO 137, Grove 242 |
|
|
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 # |
|
Bia. 499 |
Op. 73, Grove 73 |
|
|
Concerto No. 5 for Piano & Orchestra in
E flat major: "Emperor" |
1808 - 1809 |
dedicated to Archduke Rudolph of Austria |
|
Bia. 500 |
WoO 139, Grove 243 |
|
|
Song in D major: "Der Liebende"; "Welch
ein wunderbares Leben" |
1809 |
words: Christian Ludwig Reissig |
|
Bia. 501 |
WoO 18, Hess 6, Grove 145 |
|
|
March for Wind Band in F major: "Marsch
für die bohmische Landwehr" |
1809 - 1810 |
dedicated to Archduke Anton; written for a ‘carrousel’;
contains Turkish elements in the orchestration;
version without Trio; WoO 18 also includes Hess
7 & 99, Hess Anhang 2, and Biamonti 519 #1 |
|
Bia. 502 |
Op. 75 #1, Grove 75 |
|
|
Song: "Mignon" "Kennst du das
Land" |
1809 |
dedicated to Princess Caroline Kinsky; words:
Goethe |
|
Bia. 502 |
Op. 75 #2, Grove 75 |
|
|
Song: "Neue Liebe, neues Leben" (New
love, new life); "Herz, mein Herz, was soll
das geben?" (2nd setting) |
1809 |
dedicated to Princess Caroline Kinsky; words:
Goethe; 1st setting is WoO 127 |
|
Bia. 502 |
Op. 75 #3, Grove 75 |
|
|
Song: "Aus Goethes Faust" (Mephisto’s
Song of the Flea); "Es war einmal ein König" |
1809 |
dedicated to Princess Caroline Kinsky; words:
Goethe; originally drafted c. 1792-3 |
|
Bia. 502 |
Op. 75 #4, Grove 75 |
|
|
Song: "Gretels Warnung"; "Mit
Liebesblick und Spiel" |
1809 |
dedicated to Princess Caroline Kinsky; words:
G A von Halem |
|
Bia. 502 |
Op. 75 #5, Grove 75 |
|
|
Song: "An den fernen Geliebten"; "Einst
wohnten süsse Ruh’" |
1809 |
dedicated to Princess Caroline Kinsky; words:
C L Reissig |
|
Bia. 502 |
Op. 75 #6, Grove 75 |
|
|
Song: "Der Zufriedene" (The Contented
Man); "Zwar schuf das Glück hienieden" |
1809 |
dedicated to Princess Caroline Kinsky; words:
Christian Ludwig Reissig |
|
Bia. 503 |
WoO 135, Grove 255 |
|
|
Song in C minor: "Die laute Klage";
"Turteltaube, du klagtest so laut" |
1814 - 1815 |
words: Johann Gottfried Herder |
|
Bia. 504 |
WoO 18, Hess 99, Grove 145 |
|
|
March for Piano in F major: "Marsch für
die bohmische Landwehr" |
1809 - 1810 |
version for piano; WoO 18 also includes Hess
6 & 7, Hess Anhang 2 and Biamonti 519 #1 |
|
Bia. 505
| |
|
|
Sketch for Piano: unused; authorship: unfinished |
1809 |
|
|
Bia. 506 |
Grove 175 |
|
|
3 Cadenzas for Piano |
1809 |
for Piano Concerto #1 Opus 15; these are the usually recorded 1st movement
cadenzas |
|
Bia. 507 |
Grove 175 |
|
|
Cadenza for Piano |
1809 |
for Piano Concerto #2 Opus 19; this is the usually recorded cadenza |
|
Bia. 508 |
Grove 175 |
|
|
Cadenza for Piano |
1809 |
for Piano Concerto #3 Opus 37; this is the usually recorded cadenza |
|
Bia. 509 |
Grove 175 |
|
|
Cadenza for Piano |
1809 |
for Piano Concerto #4 Opus 58; these are the usually recorded cadenzas
- #1 and #2 are for the 1st movement, #3 for the 3rd |
|
Bia. 510 |
Hess 81, Grove 175 |
|
|
Cadenza for Piano |
1807 |
for Piano Concerto #4, Opus 58 (first movement
) |
|
Bia. 510 |
Hess 82, Grove 175 |
|
|
Cadenza for Piano |
1807 |
cadenza "sensa misura" for the Rondo
of Piano Concerto #4, Opus 58 |
|
Bia. 510 |
Hess 83, Grove 175 |
|
|
Cadenza for Piano |
1807 |
very brief cadenza to the Rondo of Piano Concerto
#4, Opus 58 |
|
Bia. 511 |
Grove 175 |
|
|
2 Cadenzas for Piano |
1809 |
for Piano Concerto version of Violin Concerto Opus 61 (1st movement, and
transition from 2nd to 3rd) |
|
Bia. 512 |
Hess 84, Grove 175 |
|
| Rondo for Piano | |
solo passage for the Rondo of the piano version
of the Violin Concerto, Opus 61, begins at measure
92 |
|
Bia. 512 |
Hess 85, Grove 175 |
|
| Cadenza for Piano | |
new cadenza for the Rondo of the piano version
of the Violin Concerto, Opus 61, begins at measure
279 |
|
Bia. 513 |
Op. 82 #1, Grove 82 |
|
|
Arietta: "Hoffnung"; "Dimmi,
ben mio, che m’ami" |
1809 - 1810 |
words: Anonymous |
|
Bia. 513 |
Op. 82 #2, Grove 82 |
|
|
Arietta: "Liebes-Klage"; "T’intendo,
si, mio cor" |
1809 - 1810 |
words: Pietro Metastasio |
|
Bia. 513 |
Op. 82 #3, Grove 82 |
|
|
Arietta: "L’amante impatiente (Stille
Frage)", Arietta buffa; "Che fa il mio
bene?" |
1809 - 1810 |
words: Pietro Metastasio |
|
Bia. 513 |
Op. 82 #4, Grove 82 |
|
|
Arietta: "L’amante impatiente (Liebesungeduld)",
Arietta assai seriosa; "Che fa il mio bene?" |
1809 - 1810 |
words: Pietro Metastasio |
|
Bia. 513 |
Op. 82 #5, Grove 82 |
|
|
Duet: "Lebensgenuß"; "Odi
l’aura che dolce sospira" |
1809 - 1810 |
words: Pietro Metastasio |
|
Bia. 514 |
Op. 81 #1, Grove 81 |
|
|
Piano Sonata No. 26 in E flat major: "Les
Adieux"; "Das Lebewohl, Abwesenheit
und Wiedersehen", Opus 81a |
1809 - 1810 |
dedicated to Archduke Rudolph of Austria |
|
Bia. 515 |
WoO 59, Grove 173 |
|
|
Bagatelle for Piano in A minor: "Für
Elise" |
1808 - 1810 |
dedicated to Therese Malfatti; autograph missing,
but "Elise" probably denotes Therese
Malfatti |
|
Bia. 516
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
for Schiller’s "Das Madchen aus dem
Fremde" for voice, piano & clarinet;
authorship: unfinished |
1810 |
|
|
Bia. 517 |
WoO 19, Hess 8, Grove 145 |
|
|
March for Wind Band in F major: "Zapfenstreich
No. 3" |
1810 |
dedicated to Archduke Anton; written for a ‘carrousel’;
contains Turkish elements in the orchestration;
Hess 9 is version with Trio; Biamonti 519 #2 (the
GA version) has no Trio, no Turkish elements;
Beethoven added the trio in F minor c. 1822; WoO
19 includes both Hess 8 & 9 & Biamonti
519 #2 |
|
Bia. 518 |
Op. 84, Grove 84 |
|
|
Overture in F minor: "Egmont", Incidental
Music to Goethe’s Tragedy |
1809 - 1810 |
|
|
Bia. 518 |
Op. 84, Grove 84 |
|
|
Incidental Music for Solo Voice(s) & Orchestra:
"Egmont", Incidental Music to Goethe’s
Tragedy |
1809 - 1810 |
|
|
Bia. 519 |
WoO 18, Grove 145 |
|
|
March for Wind Band in F major: "Marsch
für die bohmische Landwehr" |
1809 - 1810 |
dedicated to Archduke Anton; (the GA version)
is without the Trio or the Turkish orchestration
elements; WoO 18 also includes Hess 6, 7 &
99, and Hess Anhang 2 |
|
Bia. 519 |
WoO 19, Grove 145 |
|
|
March for Wind Band in F major |
1809 - 1810 |
dedicated to Archduke Anton; (the GA version)
has no Trio, no Turkish elements, Hess 8 is version
with Turkish elements; Hess 9 is version with
Turkish elements and the Trio that Beethoven added
c. 1822; WoO 19 includes both Hess 8 & 9 &
Biamonti 519 #2 |
|
Bia. 520 |
WoO 21 |
|
|
Polonaise for Wind Band in D major |
1810 |
|
|
Bia. 521 |
WoO 22 |
|
|
Ecossaise for Wind Band in D major |
1809 - 1810 |
|
|
Bia. 522
| |
|
|
Sketch for Unknown in C minor: for a fugue;
authorship: unfinished |
1810 |
|
|
Bia. 523
| |
|
|
Sketch for Solo Voice(s): for the melody for
Schiller’s "In einem Thal bei Armen
Hirten"; authorship: unfinished |
1810 |
|
|
Bia. 524 |
Op. 95, Grove 95 |
|
|
String Quartet No. 11 in F minor: "Quartetto
serioso" |
1810 - 1811 |
dedicated to Nikolaus Zmeskall |
|
Bia. 525 |
WoO 20 |
|
|
March & Trio for Wind Band in C major: "Zapfenstreich"
(The Tattoo) |
1809 - 1822 |
Beethoven added a trio in F major c. 1822 |
|
Bia. 526 |
WoO 131, Hess 148 |
|
|
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 |
|
Bia. 527 |
Hess 149 |
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketches for a Song "Rastlose Liebe";
authorship: unfinished |
1796 - 1810 |
words: Goethe |
|
Bia. 528 |
WoO 161, Grove 218 |
|
|
3-part Canon in C major: "Ewig dein!"
(Forever thine!) |
1811 |
|
|
Bia. 529 |
Hess 93 |
|
|
Song in A major: "Freudvoll und Leidvoll" |
1810 |
simplified setting of song from "Egmont"
Opus 84, for voice and piano, also see Hess 94
& Hess 95 |
|
Bia. 529 |
Hess 94 |
|
|
Song in G major: "Freudvoll und Leidvoll" |
1810 |
song from "Egmont" Opus 84, for piano;
also see Hess 93 & Hess 95 |
|
Bia. 529 |
Hess 95 |
|
|
Song in F major: "Freudvoll und Leidvoll" |
1810 |
song from "Egmont" Opus 84, for piano;
also see Hess 93 & Hess 94 |
|
Bia. 530 |
Hess 142 |
|
|
Song: "Wonne der Wehmut" |
1810 |
earlier version of Opus 83 #1 |
|
Bia. 531 |
Op. 83 #1, Grove 83 |
|
|
Song: "Wonne der Wehmut" (The joy
of melancholy); "Trocknet nicht, Tränen
der ewigen Liebe!" |
1810 |
dedicated to Princess Caroline Kinsky; words:
Goethe |
|
Bia. 531 |
Op. 83 #2, Grove 83 |
|
|
Song: "Sensucht" (Yearning); "Was
zieht mir das Herz so?" |
1810 |
dedicated to Princess Caroline Kinsky; words:
Goethe |
|
Bia. 531 |
Op. 83 #3, Grove 83 |
|
|
Song: "Mit einem gemalten Band" (With
a painted ribbon); "Kleine Blumen, kleine
Blätter streuen wir mit leichter Hand" |
1810 |
dedicated to Princess Caroline Kinsky |
|
Bia. 532 |
WoO 23, Hess 4 |
|
|
Ecossaise for Wind Band in G major; authorship:
reconstruction |
1810 |
lost; known only in Czerny’s piano arrangement |
|
Bia. 533 |
WoO 155 #1, Grove 226 |
|
|
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 |
|
Bia. 533 |
WoO 155 #2, Grove 226 |
|
|
Folksong Setting: "The Monks of Bangor’s
March", "When the heathen trumpet’s
clang"; #2 of 26 Welsh songs |
1810 |
words: Sir Walter Scott |
|
Bia. 533 |
WoO 155 #3, Grove 226 |
|
|
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
|
|
Bia. 533 |
WoO 155 #4, Grove 226 |
|
|
Folksong Setting: "Love without Hope",
"Her features speak the warmest heart";
#4 of 26 Welsh songs |
1810 |
words: John Richardson |
|
Bia. 533 |
WoO 155 #5, Grove 226 |
|
|
Folksong Setting: "The Golden Robe",
"A golden robe my Love shall wear";
#5 of 26 Welsh songs |
1810 |
words: Anne Hunter |
|
Bia. 533 |
WoO 155 #6, Grove 226 |
|
|
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 |
|
Bia. 533 |
WoO 155 #7, Grove 226 |
|
|
Folksong Setting: "O let the night my blushes
hide"; #7 of 26 Welsh songs |
1810 |
words: William Smyth |
|
Bia. 533 |
WoO 155 #8, Grove 226 |
|
|
Folksong Setting: "Farewell, thou noisy
town"; #8 of 26 Welsh songs |
1810 |
words: William Smyth |
|
Bia. 533 |
WoO 155 #9, Grove 226 |
|
|
Folksong Setting: "To the Aeolian Harp",
"Harp of the winds"; #9 of 26 Welsh
songs |
1810 |
words: Anne Hunter |
|
Bia. 533 |
WoO 155 #10, Grove 226 |
|
|
Folksong Setting: "Ned Pugh’s Farewell",
"To leave my dear girl, my country, and friends";
#10 of 26 Welsh songs |
1810 |
words: Anne Hunter |
|
Bia. 533 |
WoO 155 #11, Grove 226 |
|
|
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 |
|
Bia. 533 |
WoO 155 #12, Grove 226 |
|
|
Folksong Setting: "Waken, lords and ladies
gay"; #12 of 26 Welsh songs |
1810 |
words: Sir Walter Scott |
|
Bia. 533 |
WoO 155 #13, Grove 226 |
|
|
Folksong Setting: "Helpless Woman",
"How cruel are the parents"; #13 of
26 Welsh songs |
1810 |
words: Robert Burns |
|
Bia. 533 |
WoO 155 #14, Grove 226 |
|
|
Folksong Setting: "The Dream", "Last
night worn with anguish"; #14 of 26 Welsh
songs |
1810 |
words: David ap Gwillim |
|
Bia. 533 |
WoO 155 #16, Grove 226 |
|
|
Folksong Setting: "The Damsels of Cardigan",
"Fair Tivy"; #16 of 26 Welsh songs |
1810 |
words: W Jones |
|
Bia. 533 |
WoO 155 #17, Grove 226 |
|
|
Folksong Setting: "The Dairy House",
"A spreading hawthorn shades the seat";
#17 of 26 Welsh songs |
1810 |
words: Anne Hunter |
|
Bia. 533 |
WoO 155 #18, Grove 226 |
|
|
Folksong Setting: "Sweet Richard",
"Yes, thou art chang’d since first we
met"; #18 of 26 Welsh songs |
1810 |
words: Opie |
|
Bia. 533 |
WoO 155 #19, Grove 226 |
|
|
Folksong Setting: "The Vale of Clwyd",
"Think not I’ll leave"; #19 of
26 Welsh songs |
1810 |
words: Opie |
|
Bia. 533 |
WoO 155 #20, Grove 226 |
|
|
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 |
|
Bia. 533 |
WoO 155 #21, Grove 226 |
|
|
Folksong Setting: "Cupid’s Kindness",
"Dear brother"; #21 of 26 Welsh songs |
1810 |
words: William Smyth; Hess 190 is completed
draft of piano version |
|
Bia. 533 |
WoO 155 #22, Grove 226 |
|
|
Folksong Setting: "Constancy", "Tho’
cruel fate should bid us part"; #22 of 26
Welsh songs |
1810 |
words: Robert Burns |
|
Bia. 533 |
WoO 155 #23, Grove 226 |
|
|
Folksong Setting: "The Old Strain",
"My pleasant home beside the Dee!";
#23 of 26 Welsh songs |
1810 |
words: William Smyth |
|
Bia. 533 |
WoO 155 #24, Grove 226 |
|
|
Folksong Setting: "Three Hundred Pounds",
"In yonder snug cottage"; #24 of 26
Welsh songs |
1810 |
words: Richard Litwyd |
|
Bia. 533 |
WoO 155 #26, Grove 226 |
|
|
Folksong Setting: "Good Night", "Ere
yet we slumber seek"; #26 of 26 Welsh songs |
1810 |
words: W R Spencer |
|
Bia. 534 |
Hess 204 |
|
|
Folksong Setting: "O let the night my blushes
hide" (Welsh) |
1809 |
original version of WoO 155 #7 |
|
Bia. 534 |
Hess 205 |
|
|
Folksong Setting: "The Dream" (Welsh) |
1810 |
another version of WoO 155 #14; Biamonti 286 is the coda, instrumental
parts only |
|
Bia. 534 |
Hess 206 |
|
|
Folksong Setting: "To the Blackbird"
(Welsh) "Sweet warbler of a strain divine" |
1810 |
words: David ap Gwillim; original setting of
WoO 155 #20 |
|
Bia. 535
| |
|
|
Sketch for Unknown; authorship: unfinished |
1810 |
sketch for a Bagatelle |
|
Bia. 536 |
Op. 97, Grove 97 |
|
|
Piano Trio in B flat major: "Erzherzogs-Trio"
(Archduke) |
1810 - 1815 |
dedicated to Archduke Rudolph of Austria |
|
Bia. 537
| |
|
|
Sketch; authorship: unfinished |
1811 |
|
|
Bia. 538 |
Op. 117, Grove 117 |
|
|
Overture in E flat major: "König Stephan"
(King Stephen) |
1811 |
|
|
Bia. 538 |
Op. 117, Grove 117 |
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): music to Kotzebue’s festival
play "König Stephan oder Ungarns erster
Wohhtäter" (King Stephen or Hungary’s
First Benefactor) |
1811 |
|
|
Bia. 539 |
Op. 113, Hess 118, Grove 113 |
|
|
Overture: "Die Ruinen von Athen" (The
Ruins of Athens) |
1811 |
music to Kotzebue’s festival play; Hess
118 includes Opus 124, Opus 114, WoO 98, and parts
of Opus 113 |
|
Bia. 539 |
Op. 113, Grove 113 |
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): for Kotzebue’s "Die Ruinen
von Athen" (The Ruins of Athens) |
1811 |
|
|
Bia. 540 |
WoO 140 #1, Grove 247 |
|
|
Song: "An die Geliebte"; "O daß
ich dir vom stillen Auge" (1st setting) |
1811 |
words: Johann Ludwig Stoll |
|
Bia. 540 |
WoO 140 #2, Grove 247 |
|
|
Song: "An die Geliebte"; "O daß
ich dir vom stillen Auge" (2nd setting) |
1814 |
words: Johann Ludwig Stoll |
|
Bia. 541 |
WoO 155 #15, Grove 226 |
|
|
Folksong Setting: "When mortals all to
rest retire" (English); #15 of 26 Welsh songs |
1813 |
words: William Smyth |
|
Bia. 542 |
WoO 39, Grove 154 |
|
|
Allegretto for Piano Trio in B flat major |
1812 |
dedicated to Maximiliane Brentano; "for
my little friend Maxe. Brentano to encourage her
in piano playing" - LvB |
|
Bia. 543
| |
|
|
Sketch; authorship: unfinished |
1811 - 1812 |
sketch for the finale of the Seventh Symphony
Opus 92 |
|
Bia. 544 |
Op. 92, Grove 92 |
|
|
Symphony No. 7 in A major |
1811 - 1812 |
dedicated to Count Moritz von Fries; arrangements
for piano (2 & 4 hands) and two pianos dedicated
to Elisabeth Alexiewna, Empress of Russia |
|
Bia. 545
| |
|
|
Sketch for Piano & Orchestra in G major:
for a Polonaise; authorship: unfinished |
1812 |
|
|
Bia. 546
| |
|
|
Sketch; authorship: unfinished |
1812 |
sketch for an introduction to the Eighth Symphony
Opus 93 |
|
Bia. 547
| |
|
|
Symphony No. 8 in F major |
1812 |
entire symphony with the original ending of
Hess 1 |
|
Bia. 548 |
WoO 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 |
|
Bia. 548 |
WoO 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 |
|
Bia. 548 |
WoO 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 |
|
Bia. 549
| |
|
|
Fragment for Piano & Violin; authorship:
unfinished |
1812 |
fragment of the finale to the Violin Sonata
Opus 96 |
|
Bia. 550 |
Op. 96, Grove 96 |
|
|
Sonata No. 10 for Piano & Violin in G major |
1812 |
dedicated to Archduke Rudolph of Austria |
|
Bia. 551 |
Hess 67 |
|
|
2 German Dances for Piano: in F major and F
minor |
1811 |
|
|
Bia. 552
| |
|
|
Sketch for Unknown: 2 unused sketches; authorship:
unfinished |
1813 |
|
|
Bia. 553 |
WoO 2 #1, Hess 117, Grove
143 |
|
|
Triumphal March for Orchestra in C major: "Tarpeja" |
1813 |
Christoph Kuffner’s drama |
|
Bia. 554 |
WoO 2 #2, Hess 117 |
|
|
Entr’acte in D major: "Tarpeja" |
1813 |
now thought to be from the opening of Act II
from "Leonore" 1805 |
|
Bia. 555 |
WoO 141 |
|
|
Song in C major: "Der Gesang der Nachtigall";
"Höre, die Nachtigall singt" |
1813 |
words: Johann Gottfried Herder |
|
Bia. 556 |
Hess 305 |
|
|
Sketch for Instrument(s) in D major: sketch
for a Canon "Geschlagen ist der Feind"
(the enemy has been beaten); authorship: unfinished |
1813 |
found amidst the sketches for "Wellington’s
Victory", opus 91 |
|
Bia. 557 |
Hess 108 |
|
|
Piece for Panharmonikon: "Wellingtons Sieg,
oder die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1813 |
original version of Opus 91, second part ("Siegessymphonie") |
|
Bia. 558 |
WoO 142, Grove 248 |
|
|
Song in E minor: "Der Bardengeist";
"Dort auf dem hohen Felsen sang" |
1813 |
words: Franz Rudolph Hermann |
|
Bia. 559 |
WoO 163, Grove 206 |
|
|
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 |
|
Bia. 560 |
Op. 91, Grove 91 |
|
|
Battle Symphony: "Wellingtons Sieg, oder
die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1813 |
dedicated to Prince Regent (later King) George
IV of England; originally written for panharmonikon,
Hess 108; Hess 97 is arrangement for piano &
2 cannons |
|
Bia. 561 |
WoO 152 #1, Grove 223 |
|
|
Folksong Setting: "The Return to Ulster",
"Once again, but how chang’d";
#1 of 25 Irish songs |
1810 |
words: Sir Walter Scott |
|
Bia. 561 |
WoO 152 #2, Grove 223 |
|
|
Folksong Setting: "Sweet Power of Song!";
#2 of 25 Irish songs |
1810 |
words: Joanna Baillie |
|
Bia. 561 |
WoO 152 #3, Grove 223 |
|
|
Folksong Setting: "Once more I hail thee";
#3 of 25 Irish songs |
1810 |
words: Robert Burns |
|
Bia. 561 |
WoO 152 #4, Grove 223 |
|
|
Folksong Setting: "The morning air plays
on my face"; #4 of 25 Irish songs |
1810 |
words: Joanna Baillie |
|
Bia. 561 |
WoO 152 #5, Grove 223 |
|
|
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 |
|
Bia. 561 |
WoO 152 #6, Grove 223 |
|
|
Folksong Setting: "What shall I do to shew
how much I love her?"; #6 of 25 Irish songs |
1810 |
words: Anonymous |
|
Bia. 561 |
WoO 152 #7, Grove 223 |
|
|
Folksong Setting: "His boat comes on the
sunny tide"; #7 of 25 Irish songs |
1810 |
words: Joanna Baillie |
|
Bia. 561 |
WoO 152 #8, Grove 223 |
|
|
Folksong Setting: "Come draw we round a
cheerful ring"; #8 of 25 Irish songs |
1810 |
words: Joanna Baillie |
|
Bia. 561 |
WoO 152 #9, Grove 223 |
|
|
Folksong Setting: "The Soldier’s Dream",
"Our bugles sung truce"; #9 of 25 Irish
songs |
1810 |
words: Thomas Campbell |
|
Bia. 561 |
WoO 152 #10, Grove 223 |
|
|
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 |
|
Bia. 561 |
WoO 152 #11, Grove 223 |
|
|
Folksong Setting: "Thou emblem of faith"
(Upon returning a ring); #11 of 25 Irish songs |
1812 |
words: J P Curran |
|
Bia. 561 |
WoO 152 #12, Grove 223 |
|
|
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 |
|
Bia. 561 |
WoO 152 #13, Grove 223 |
|
|
Folksong Setting: "Musing on the roaring
ocean"; #13 of 25 Irish songs |
1812 |
words: Robert Burns |
|
Bia. 561 |
WoO 152 #14, Grove 223 |
|
|
Folksong Setting: "Dermot and Shelah",
"O who sits so sadly"; #14 of 25 Irish
songs |
1810 |
words: T Toms |
|
Bia. 561 |
WoO 152 #15, Grove 223 |
|
|
Folksong Setting: "Let brainspinning swains";
#15 of 25 Irish songs |
1810 |
words: Alexander Boswell |
|
Bia. 561 |
WoO 152 #16, Grove 223 |
|
|
Folksong Setting: "Hide not thy anguish";
#16 of 25 Irish songs |
1810 |
words: William Smyth |
|
Bia. 561 |
WoO 152 #17, Grove 223 |
|
|
Folksong Setting: "In vain to this desert
my fate I deplore"; #17 of 25 Irish songs |
1810 |
words: Anne Grant & Robert Burns |
|
Bia. 561 |
WoO 152 #18, Grove 223 |
|
|
Folksong Setting: "They bid me slight my
Dermot dear"; #18 of 25 Irish songs |
1810 |
words: William Smyth |
|
Bia. 561 |
WoO 152 #19, Grove 223 |
|
|
Folksong Setting: "Wife, Children and Friends",
"When the blackletter’d list to the
gods"; #19 of 25 Irish songs |
1812 |
words: W R Spencer |
|
Bia. 561 |
WoO 152 #20, Grove 223 |
|
|
Folksong Setting: "Farewell bliss and farewell
Nancy"; #20 of 25 Irish songs |
1810 |
words: Anne Grant & Robert Burns |
|
Bia. 561 |
WoO 152 #21, Grove 223 |
|
|
Folksong Setting: "Morning a cruel turmoiler
is"; #21 of 25 Irish songs |
1812 |
words: Alexander Boswell |
|
Bia. 561 |
WoO 152 #22, Grove 223 |
|
|
Folksong Setting: "From Garyone, my happy
home", air: "Garyone"; #22 of 25
Irish songs |
1812 |
words: T Toms; original setting of WoO 154 #7 |
|
Bia. 561 |
WoO 152 #23, Grove 223 |
|
|
Folksong Setting: "A wand’ring gypsey,
Sirs, am I"; #23 of 25 Irish songs |
1810 |
words: Dr Wolcot |
|
Bia. 561 |
WoO 152 #24, Grove 223 |
|
|
Folksong Setting: "The Traugh Welcome",
"Shall a son of O’Donnell be cheerless
and cold"; #24 of 25 Irish songs |
1812 |
words: Anonymous |
|
Bia. 561 |
WoO 152 #25, Grove 223 |
|
|
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 |
|
Bia. 562 |
Hess 192 |
|
|
Folksong Setting: "On the massacre of Glencoe"
(Irish) "O! tell me, harper" |
1813 |
words: Sir Walter Scott; replacement setting
for WoO 152 #5 |
|
Bia. 562 |
Hess 193 |
|
|
Folksong Setting: "Farewell bliss and farewell
Nancy" (Irish) |
1810 |
early version of codas to WoO 152 #20 |
|
Bia. 563 |
WoO 153 #1, Grove 224 |
|
|
Folksong Setting: "When eve’s last
rays in twilight die"; #1 of 20 Irish songs |
1810 |
words: David Thomson |
|
Bia. 563 |
WoO 153 #2, Grove 224 |
|
|
Folksong Setting: "No riches from his scanty
store"; #2 of 20 Irish songs |
1810 |
words: Williams |
|
Bia. 563 |
WoO 153 #3, Grove 224 |
|
|
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 |
|
Bia. 563 |
WoO 153 #4, Grove 224 |
|
|
Folksong Setting: "Since greybeards inform
us that youth will decay"; #4 of 20 Irish
songs |
1810 |
words: T Toms |
|
Bia. 563 |
WoO 153 #5, Grove 224 |
|
|
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 |
|
Bia. 563 |
WoO 153 #7, Grove 224 |
|
|
Folksong Setting: "O soothe me, my lyre";
#7 of 20 Irish songs |
1813 |
words: William Smyth |
|
Bia. 563 |
WoO 153 #8, Grove 224 |
|
|
Folksong Setting: "Norah of Balamagairy",
"Farewell mirth and hilarity"; #8 of
20 Irish songs |
1812 - 1813 |
words: Alexander Boswell |
|
Bia. 563 |
WoO 153 #9, Grove 224 |
|
|
Folksong Setting: "The kiss, dear maid,
thy lip has left"; #9 of 20 Irish songs |
1813 |
words: Lord Byron |
|
Bia. 563 |
WoO 153 #10, Grove 224 |
|
|
Folksong Setting: "Oh, thou hapless soldier";
#10 of 20 Irish songs |
1810 |
words: William Smyth |
|
Bia. 563 |
WoO 153 #11, Grove 224 |
|
|
Folksong Setting: "When far from the home";
#11 of 20 Irish songs |
1813 |
words: David Thomson; Hess 195 is another setting |
|
Bia. 563 |
WoO 153 #12, Grove 224 |
|
|
Folksong Setting: "I’ll praise the
saints with early song"; #12 of 20 Irish
songs |
1813 |
words: William Smyth; replacement setting for
Hess 196 |
|
Bia. 563 |
WoO 153 #14, Grove 224 |
|
|
Folksong Setting: "Paddy O’Rafferty";
#14 of 20 Irish songs |
1810 |
words: Alexander Boswell |
|
Bia. 563 |
WoO 153 #15, Grove 224 |
|
|
Folksong Setting: "‘Tis but in vain,
for nothing thrives"; #15 of 20 Irish songs |
1813 |
words: William Smyth; replacement setting for
Hess 197 |
|
Bia. 563 |
WoO 153 #16, Grove 224 |
|
|
Folksong Setting: "O might I but my Patrick
love!" (English); #16 of 20 Irish songs |
1813 |
words: William Smyth |
|
Bia. 563 |
WoO 153 #17, Grove 224 |
|
|
Folksong Setting: "Come, Darby dear! easy,
be easy"; #17 of 20 Irish songs |
1813 |
words: William Smyth |
|
Bia. 563 |
WoO 153 #18, Grove 224 |
|
|
Folksong Setting: "No more, my Mary, I
sigh for splendour"; #18 of 20 Irish songs |
1813 |
words: William Smyth |
|
Bia. 563 |
WoO 153 #19, Grove 224 |
|
|
Folksong Setting: "Judy, lovely, matchless
creature"; #19 of 20 Irish songs |
1813 |
words: Alexander Boswell |
|
Bia. 563 |
WoO 153 #20, Grove 224 |
|
|
Folksong Setting: "Thy ship must sail,
my Henry dear"; #20 of 20 Irish songs |
1813 |
words: William Smyth |
|
Bia. 564 |
Hess 194 |
|
|
Folksong Setting: "I dream’d I lay
where flow’rs were springing" (Irish) |
1810 |
words: Robert Burns; original setting of WoO
153 #5 |
|
Bia. 564 |
Hess 195 |
|
|
Folksong Setting: "When far from the home"
(Irish) |
1813 |
words: David Thomson; alternative setting for
WoO 153 #11 |
|
Bia. 564 |
Hess 196 |
|
|
Folksong Setting: "I’ll praise the
saints with early song" (Irish) |
1810 |
words: William Smyth; original setting of WoO
153 #12 |
|
Bia. 564 |
Hess 197 |
|
|
Folksong Setting: "‘Tis but in vain,
for nothing thrives" (Irish) |
1810 |
words: William Smyth; original setting of WoO
153 #15 |
|
Bia. 565 |
WoO 154 #1, Grove 225 |
|
|
Folksong Setting: "The Elfin Fairies",
"We fairy elves in secret dells", air:
"Planxty Kelly"; #1 of 12 Irish songs |
1813 |
words: David Thomson |
|
Bia. 565 |
WoO 154 #2, Grove 225 |
|
|
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 |
|
Bia. 565 |
WoO 154 #3, Grove 225 |
|
|
Folksong Setting: "The Farewell Song",
"O Erin", air: "The old woman";
#3 of 12 Irish songs |
1813 |
words: William Smyth |
|
Bia. 565 |
WoO 154 #4, Grove 225 |
|
|
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} |
|
Bia. 565 |
WoO 154 #5, Grove 225 |
|
|
Folksong Setting: "O who, my dear Dermot",
air: "Crooghan a Venee"; #5 of 12 Irish
songs |
1813 |
words: William Smyth |
|
Bia. 565 |
WoO 154 #6, Grove 225 |
|
|
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 |
|
Bia. 565 |
WoO 154 #7, Grove 225 |
|
|
Folksong Setting: "From Garyone, my happy
home", air: "Garyone"; #7 of 12
Irish songs |
1813 |
words: T Toms; replacement setting for WoO 152
#22 |
|
Bia. 565 |
WoO 154 #8, Grove 225 |
|
|
Folksong Setting: "Save me from the grave
and wise", air: "Nora Creina";
#8 of 12 Irish songs |
1813 |
words: William Symth
|
|
Bia. 565 |
WoO 154 #9, Grove 225 |
|
|
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 |
|
Bia. 565 |
WoO 154 #10, Grove 225 |
|
|
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 |
|
Bia. 565 |
WoO 154 #11, Grove 225 |
|
|
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 |
|
Bia. 565 |
WoO 154 #12, Grove 225 |
|
|
Folksong Setting: "He promis’d me
at parting", air: "Killeavy"; #12
of 12 Irish songs |
1813 |
words: William Smyth |
|
Bia. 566 |
Hess 198 |
|
|
Folksong Setting: "O would I were but that
sweet linnet!"; air: "The pretty girl
milking the cows" (Irish) |
1812 |
words: William Smyth; original setting of WoO
154 #9 |
|
Bia. 567 |
Op. 116, Grove 116 |
|
|
Trio for Solo Voice(s) & Orchestra: "Tremate,
empi, tremate"; for soprano, tenor, &
bass w/ orchestra |
1802 - 1814 |
words: Bettoni? Giovanni de Gamerra? |
|
Bia. 568 |
WoO 94, Grove 193 |
|
|
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 |
|
|
Bia. 569 |
Hess 113 |
|
|
Aria: Marcellina’s aria "O wär
ich schon mit dir vereint" |
1814 |
1814 version, with an abbreviated ending |
|
Bia. 570 |
Op. 72, Grove 72 |
|
|
Opera: "Fidelio", Opera in 2 Acts
,with overture "Fidelio" |
1814 |
Libretto: Joseph Sonnleithner & Georg Friedrich
Treitschke |
|
Bia. 570 |
Op. 72 #2, Grove 72 |
|
|
Overture: "Fidelio", Opus 72b, Grove
72c |
1814 |
|
|
Bia. 571 |
Hess 123 |
|
|
Song |
1813 - 1814 |
words: Zacharias Werner |
|
Bia. 572 |
Hess 317 |
|
|
Cantata: "Europens Befreyungsstunde" |
1814 |
|
|
Bia. 573 |
WoO 102 |
|
|
Song: "Abschiedsgesang" (Song of Farewell)
for tenor & 2 basses "Die Stunde schlägt" |
1814 |
written for Leopold Weiss; words: Joseph von
Seyfried |
|
Bia. 574 |
WoO 103, Hess 127 |
|
|
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 |
|
Bia. 575
| |
|
|
Sketch: for a second movement for a symphony;
authorship: unfinished |
1814 |
|
|
Bia. 576 |
Op. 118, Grove 118 |
|
|
Choral Part-Song for Solo Voice(s) & Instrument(s):
"Elegischer Gesang" (Elegiac Song);
for 4 Voices w/ String Qrt or Piano |
1814 |
dedicated to Baron Johann Baptist von Pasqualati;
words: Ignaz Franz von Castelli?; written to commemorate
the third anniversary of the death of Pasqualati’s
wife |
|
Bia. 577
| |
|
|
Sketch for Piano; authorship: unfinished |
1814 |
probably for the last movement of Piano Sonata
#27 Opus 90 |
|
Bia. 578 |
Op. 90, Grove 90 |
|
|
Piano Sonata No. 27 in E minor |
1814 |
dedicated to Count Moritz Lichnowsky |
|
Bia. 579 |
WoO 164 |
|
|
3-part Canon in C major: "Freundschaft
ist die Quelle wahrer Glückseligkeit"
(Friendship is the source of true bliss) |
1814 |
|
|
Bia. 580 |
WoO 205 #2, Hess 287 |
|
|
Musical greetings for Solo Voice(s): "Allein,
allein, allein, jedoch. Silentium!!" (WoO
205b), #2 of 10 musical greetings |
1814 |
written for Count Moritz Lichnowsky; Letter
498 |
|
Bia. 581 |
Op. 136, Grove 136 |
|
|
Cantata: "Der glorreiche Augenblick"
(The Glorious Moment) |
1814 |
words: Aloys Weissenbach |
|
Bia. 582
| |
|
|
Sketch for String Quartet; authorship: unfinished |
1814 |
|
|
Bia. 583 |
WoO 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 |
|
Bia. 584 |
Hess 97 |
|
|
Piece for Piano: "Wellingtons Sieg, oder
die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1816 |
Opus 91 set for piano and two cannons |
|
Bia. 585 |
WoO 199, Hess 281 |
|
|
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 |
|
Bia. 586
| |
|
|
Sketch for Unknown: for a sonata; authorship:
unfinished |
1814 |
|
|
Bia. 587 |
WoO 144 |
|
|
Song in E flat major: "Merkenstein"
(1st setting) |
1814 |
words: J B Rupprecht; 2nd setting is Opus 100 |
|
Bia. 588 |
Op. 89, Grove 89 |
|
|
Polonaise for Piano in C major |
1814 |
dedicated to Empress Elisabeth Alexiewna of
Russia |
|
Bia. 589 |
WoO 143, Grove 245 |
|
|
Song in E flat major: "Des Kriegers Abschied";
"Ich zieh’ ins Feld von Lieb’entbrannt" |
1814 |
words: Christian Ludwig Reissig |
|
Bia. 590 |
WoO 155 #25, Grove 226 |
|
|
Folksong Setting: "The Parting Kiss",
"Laura, thy sighs must now no more";
#25 of 26 Welsh songs |
1815 |
words: William Smyth |
|
Bia. 591 |
Hess 191 |
|
|
Folksong Setting in G minor: "The Vale
of Clwyd" (Welsh) "Think not I’ll
leave" |
1810 |
early version of WoO 155 #19, for voice &
piano |
|
Bia. 592
| |
|
|
Sketch for Unknown: fragments for a Lyric Opera;
authorship: unfinished |
1814 |
|
|
Bia. 593 |
WoO 165, Grove 220 |
|
|
4-part Canon: "Glück zum neuen Jahr!"
(1st setting) |
1815 |
written for Baron Johann Baptist von Pasqualati;
other setting is WoO 176 |
|
Bia. 594 |
WoO 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 |
|
Bia. 595 |
WoO 96, Grove 202 |
|
|
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 |
|
Bia. 596 |
Op. 100, Grove 100 |
|
|
Song: "Merkenstein"; duo (2nd setting) |
1815 |
words: J B Rupprecht; 1st setting is WoO 144 |
|
Bia. 597 |
Op. 115, Grove 115 |
|
|
Overture in C major: "Zur Namensfeier"
(Name-Day) |
1814 - 1815 |
dedicated to Prince Anton Heinrich Radziwill |
|
Bia. 598 |
WoO 97, Grove 194 |
|
|
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 |
|
|
Bia. 599 |
Op. 102 #1, Grove 102 |
|
|
Sonata No. 4 for Piano & Cello in C major |
1815 |
dedicated to Countess Anna Marie Erdödy |
|
Bia. 599 |
Op. 102 #2, Grove 102 |
|
|
Sonata No. 5 for Piano & Cello in D major |
1815 |
dedicated to Countess Anna Marie Erdödy |
|
Bia. 600
| |
|
|
Sketch for Solo Voice(s): Das Schweigen, "Lerne
lerne Schweigen", sketches for the canon
Biamonti 649; authorship: unfinished |
1815 |
|
|
Bia. 601
| |
|
|
Sketch: for a symphony in B minor; authorship:
unfinished |
1815 |
|
|
Bia. 602
| |
|
|
Sketch for Piano & Cello: foa a Pastoral
Sonata; authorship: unfinished |
1815 |
|
|
Bia. 603
| |
|
|
Sketch for Unknown: for a March with "horns
in G"; authorship: unfinished |
1815 |
|
|
Bia. 604
| |
|
|
Exercise for Instrument(s): counterpoint exercises |
1815 |
|
|
Bia. 605
| |
|
|
Sketch for Unknown in C minor: for a Sonata;
authorship: unfinished |
1815 |
|
|
Bia. 606
| |
|
|
Andante for Instrument(s) in B minor; authorship:
unfinished |
1815 |
Andante "for pizzicati basses" with
a Trio in B major with "clarinets" perhaps
for the Symphony Biamonti 601 |
|
Bia. 607
| |
|
|
Sketch for Unknown in E flat major: for a Polonaise,
perhaps for orchestra; authorship: unfinished |
1815 |
|
|
Bia. 608
| |
|
|
Sketch for Unknown: of a fugue subject; authorship:
unfinished |
1815 |
|
|
Bia. 609 |
Op. 112, Grove 112 |
|
|
Cantata: "Meeresstille & glückliche
Fahrt" (Calm Sea & Prosperous Voyage) |
1814 - 1815 |
dedicated to Johann Wolfgang von Goethe; words:
Goethe; sent to Goethe in 1822 |
|
Bia. 610 |
WoO 167, Hess 249, Grove 207 |
|
|
3-part Canon in C major: "Brauchle, Linke" |
1815 |
|
|
Bia. 611 |
Op. 94, Grove 94 |
|
|
Song: "An die Hoffnung" (To Hope);
from Tiedge’s "Urania" "Ob
ein Gott sei?/Die du so gern" (2nd setting) |
1813 - 1815 |
words: Christoph August Tiedge; 1st setting
is Opus 32 |
|
Bia. 612 |
WoO 157 #1, Grove 228 |
|
|
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 |
|
Bia. 612 |
WoO 157 #2, Grove 228 |
|
|
Folksong Setting: "The Soldier", "Then,
Soldier! come" (Irish); #2 of 12 assorted
folk songs |
1815 |
words: William Smyth |
|
Bia. 612 |
WoO 157 #3, Grove 228 |
|
|
Folksong Setting: "Charlie is my darling"
(Scottish); #3 of 12 assorted folk songs |
1819 |
|
|
Bia. 612 |
WoO 157 #4, Grove 228 |
|
|
Folksong Setting: "O sanctissima"
(Sicilian); #4 of 12 assorted folk songs |
1817 |
|
|
Bia. 612 |
WoO 157 #5, Grove 228 |
|
|
Folksong Setting: "The Miller of Dee",
"There was a jolly miller once" (English);
#5 of 12 assorted folk songs |
1819 |
|
|
Bia. 612 |
WoO 157 #6, Grove 228 |
|
|
Folksong Setting: "A health to the brave"
(Irish); #6 of 12 assorted folk songs |
1815 |
words: John Dovaston |
|
Bia. 612 |
WoO 157 #7, Grove 228 |
|
|
Folksong Setting: "Robin Adair", "Since
all thy vows, false maid" (Irish); #7 of
12 assorted folk songs |
1815 |
words: Anonymous |
|
Bia. 612 |
WoO 157 #8, Grove 228 |
|
|
Folksong Setting: "By the side of the Shannon"
(Irish); #8 of 12 assorted folk songs |
1815 |
words: William Smith |
|
Bia. 612 |
WoO 157 #9, Grove 228 |
|
|
Folksong Setting: "Highlander’s Lament",
"My Harry was a gallant gay" (Scottish);
#9 of 12 assorted folk songs |
1820 |
words: Robert Burns |
|
Bia. 612 |
WoO 157 #10, Grove 228 |
|
|
Folksong Setting: "Sir Johnnie Cope"
(Scottish); #10 of 12 assorted folk songs |
1817 |
old Jacobite song |
|
Bia. 612 |
WoO 157 #11, Grove 228 |
|
|
Folksong Setting: "The Wandering Minstrel",
"I am bow’d down" (Irish); #11
of 12 assorted folk songs |
1815 |
words: William Smyth |
|
Bia. 612 |
WoO 157 #12, Grove 228 |
|
|
Folksong Setting: "La gondoletta",
"La biondina in gondoletta" (Venetian);
#12 of 12 assorted folk songs |
1816 |
|
|
Bia. 613 |
WoO 153 #6, Grove 224 |
|
|
Folksong Setting: "Sad and luckless was
the season"; #6 of 20 Irish songs |
1815 |
words: William Smyth; variations on this air:
WoO 153 #6 |
|
Bia. 614 |
WoO 153 #13, Grove 224 |
|
|
Folksong Setting: ‘"Tis sunshine at
last"; #13 of 20 Irish songs |
1815 |
words: William Smyth; Hess 178 is duet setting |
|
Bia. 615 |
Hess 178 |
|
|
Folksong Setting: ‘"Tis sunshine at
last" (Irish) |
1815 |
duet setting of WoO 153 #13 |
|
Bia. 616
| |
|
|
Sketch for Unknown in A minor: beginning of
a double fugue; authorship: unfinished |
1815 |
|
|
Bia. 617
| |
|
|
Sketch in D major: for a symphony; authorship:
unfinished |
1815 |
|
|
Bia. 618
| |
|
|
Fragment for Solo Voice(s): "Ehre sei dir";
authorship: unfinished |
1815 |
|
|
Bia. 619
| |
|
|
Passage for Unknown: 2 fugal passages; authorship:
unfinished |
1815 |
|
|
Bia. 620
| |
|
|
Sketch for Unknown in D major: beginning of
a double fugue; authorship: unfinished |
1815 |
|
|
Bia. 621
| |
|
|
Allemande for Piano: and "third piece"
perhaps for piano; authorship: unfinished |
1815 |
|
|
Bia. 622
| |
|
|
Pastorella for Piano in C major |
1815 |
|
|
Bia. 623
| |
|
| Sketch for Solo Voice(s) & Instrument(s);
authorship: unfinished | |
sketch for an alternate version of the folk
song arrangement "O, thou art the lad of
my heart, Willy" Opus 108 #11 |
|
Bia. 624
| |
|
|
Etude for Unknown: study of prosody on a text
of Homer |
1815 |
|
|
Bia. 625
| |
|
|
Sketch for Solo Voice(s): for the melody for
Goethe’s "Song from the Spirits above
the Waters"; authorship: unfinished |
1815 |
words: Goethe |
|
Bia. 626
| |
|
|
Sketch for Piano in D flat major: for a sonata;
authorship: unfinished |
1815 |
|
|
Bia. 627
| |
|
|
3 Sketches for Unknown: two in B flat major,
one in D major; authorship: unfinished |
1815 |
|
|
Bia. 628
| |
|
|
Sketch for Unknown: for the rhythm for a march;
authorship: unfinished |
1815 |
|
|
Bia. 629
| |
|
|
Sketch; authorship: unfinished |
1815 |
sketches for a Symphony, some reference the
Ninth Symphony Opus 125 |
|
Bia. 630
| |
|
|
Sketch for Solo Voice(s) & Orchestra: sketches
for a Lyric Opera, perhaps for "Bacchus";
authorship: unfinished |
1815 |
|
|
Bia. 631
| |
|
|
Sketch for Instrument(s): sketches & melodic
drafts for instrumental compositions; authorship:
unfinished |
1815 |
|
|
Bia. 632
| |
|
|
Song: "Die Zufrieddenheit" ; authorship:
unfinished |
1815 |
|
|
Bia. 633
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketches for Reissig’s "Sehnsucht";
authorship: unfinished |
1815 |
|
|
Bia. 634
| |
|
|
German Dance for Piano Trio in F minor: "for
the last movement"; authorship: unfinished |
1815 |
|
|
Bia. 635
| |
|
|
Sketch for Piano in A major; authorship: unfinished |
1815 |
original sketch for Piano Sonata #28 Opus 101
third movement |
|
Bia. 636
| |
|
|
Sketch for Piano in A major; authorship: unfinished |
1815 |
original sketch for Piano Sonata #28 Opus 101
fourth movement |
|
Bia. 637
| |
|
|
Sketch for Piano Trio in F minor: sketches for
the first & last movements of a Trio; authorship:
unfinished |
1815 |
|
|
Bia. 638
| |
|
|
Exercise for Piano: scale exercises |
1815 |
|
|
Bia. 639
| |
|
|
Sketch in E flat major: sketches for a symphony;
authorship: unfinished |
1815 |
|
|
Bia. 640
| |
|
|
Sketch for Piano in E major: for a Sonata; authorship:
unfinished |
1815 |
|
|
Bia. 641 |
Hess 15 |
|
|
Fragment for Piano & Orchestra in D major;
authorship: unfinished |
1814 - 1815 |
fragment for a Piano Concerto #6 |
|
Bia. 642 |
WoO 145, Grove 250 |
|
|
Song in G major: "Das Geheimnis (Liebe
and Wahrheit)"; "Wo blüht das Blümchen,
das nie verblüht?" |
1815 |
words: Ignaz HC von Wessenberg |
|
Bia. 643 |
Hess 297 |
|
|
Adagio for Horns in F major |
1815 |
occurs within a series of studies in instrumentation |
|
Bia. 644
| |
|
|
Sketch for Piano & Violin: sketches for
a Sonata; authorship: unfinished |
1815 |
|
|
Bia. 645
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
manuscript with various Scottish & Irish folk
songs; authorship: unfinished |
1815 |
|
|
Bia. 646 |
WoO 162, Grove 205 |
|
|
4-part Canon in B flat major: "Ta ta ta,
lieber Mälzel"; authorship: spurious |
1812 |
apparently written by Anton Schindler |
|
Bia. 647 |
WoO 169, Hess 250 |
|
|
2-part Riddle Canon in C major: "Ich küße
Sie, drücke Sie an mein Herz" |
1816 |
written for Anna Milder-Hauptmann |
|
Bia. 648 |
WoO 146, Grove 246 |
|
|
Song in E major: "Sehnsucht" (Longing);
"Die stille Nacht umdunkelt" |
1816 |
words: Christian Ludwig Reissig |
|
Bia. 649 |
WoO 168 #1, Grove 208 |
|
|
3-part Riddle Canon in F major: "Das Schweigen",
"Lerne Schweigen, o Freund" |
1816 |
written for Charles Neate; words: Johann Gottfried
Herder |
|
Bia. 650 |
WoO 168 #2, Grove 209 |
|
|
3-part Canon in F major: "Das Reden",
"Rede, wenn’s um einen Freund dir gilt" |
1816 |
written for Charles Neate |
|
Bia. 651 |
WoO 170, Hess 251 |
|
|
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 |
|
Bia. 652 |
Op. 98 #1, Grove 98 |
|
|
Song Cycle: "An die ferne Geliebte"
(To the Distant Beloved), #1 of 6: "Auf dem
Hügel sitz’ ich, spähend" |
1816 |
dedicated to Prince Ferdinand Lobkowitz; words:
A. Jeitteles |
|
Bia. 652 |
Op. 98 #2, Grove 98 |
|
|
Song Cycle: "An die ferne Geliebte"
(To the Distant Beloved), #2 of 6: "Wo die
Bergen so blau" |
1816 |
dedicated to Prince Ferdinand Lobkowitz; words:
A. Jeitteles |
|
Bia. 652 |
Op. 98 #3, Grove 98 |
|
|
Song Cycle: "An die ferne Geliebte"
(To the Distant Beloved), #3 of 6: "Leichte
Segler in den Höhen" |
1816 |
dedicated to Prince Ferdinand Lobkowitz; words:
A. Jeitteles |
|
Bia. 652 |
Op. 98 #4, Grove 98 |
|
|
Song Cycle: "An die ferne Geliebte"
(To the Distant Beloved), #4 of 6: "Diese
Wolken in den Höhen" |
1816 |
dedicated to Prince Ferdinand Lobkowitz; words:
A. Jeitteles |
|
Bia. 652 |
Op. 98 #5, Grove 98 |
|
|
Song Cycle: "An die ferne Geliebte"
(To the Distant Beloved), #5 of 6: "Es kehret
der Maien, es blühet die Au" |
1816 |
dedicated to Prince Ferdinand Lobkowitz; words:
A. Jeitteles |
|
Bia. 652 |
Op. 98 #6, Grove 98 |
|
|
Song Cycle: "An die ferne Geliebte"
(To the Distant Beloved), #6 of 6: "Nimm
sie hin denn, diese Lieder" |
1816 |
dedicated to Prince Ferdinand Lobkowitz; words:
A. Jeitteles |
|
Bia. 653 |
WoO 24, Grove 144 |
|
|
March for Wind Band in D major |
1816 |
|
|
Bia. 654 |
Op. 121 #1, Grove 121 |
|
|
10 Variations for Piano Trio in G major: on
Wenzel Müller’s song "Ich bin der
Schneider Kakadu" (I’m Cockatoo, the
Tailor) from "Die Schwestern von Prag",
Opus 121a |
1803 - 1816 |
|
|
Bia. 655 |
Op. 99, Grove 99 |
|
|
Song: "Der Mann von Wort" (The Man
of his Word); "Du sagtest, Freund" |
1816 |
words: F A Kleinschmid |
|
Bia. 656 |
Op. 101, Grove 101 |
|
|
Piano Sonata No. 28 in A major |
1816 |
dedicated to Baroness Dorothea von Ertmann |
|
Bia. 657
| |
|
|
Sketch for Unknown: "Christ ist erstanden";
perhaps for an oratorio; authorship: unfinished |
1815 |
|
|
Bia. 658 |
WoO 147, Grove 249 |
|
|
Song in A major: "Ruf vom Berge";
"Wenn ich ein Vöglein wär" |
1816 |
words: Georg Friedrich Treitschke |
|
Bia. 659 |
Op. 93, Grove 93 |
|
|
Symphony No. 8 in F major |
1812 |
dedicated to (none) |
|
Bia. 660 |
Op. 108 #1, Grove 108 |
|
|
Folksong Setting: "Music, Love and Wine";
"O let me music hear, night and day!";
#1 of 25 Scottish songs |
1817 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #2, Grove 108 |
|
|
Folksong Setting: "Sunset"; "The
sun upon the Weirdlaw Hill"; #2 of 25 Scottish
songs |
1818 |
words: Sir Walter Scott |
|
Bia. 660 |
Op. 108 #3, Grove 108 |
|
|
Folksong Setting: "O sweet were the hours";
#3 of 25 Scottish songs |
1817 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #4, Grove 108 |
|
|
Folksong Setting: "The Maid of Isla";
"O maid of Isla from yon cliff" ; #4
of 25 Scottish songs |
1817 |
words: Sir Walter Scott |
|
Bia. 660 |
Op. 108 #5, Grove 108 |
|
|
Folksong Setting: "The sweetest lad was
Jamie"; #5 of 25 Scottish songs |
1815 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #6, Grove 108 |
|
|
Folksong Setting: "Dim, dim is my eye";
#6 of 25 Scottish songs |
1815 |
words: William Brown |
|
Bia. 660 |
Op. 108 #7, Grove 108 |
|
|
Folksong Setting: "Bonnie Laddie, Highland
Laddie"; "Where got ye that siller moon";
#7 of 25 Scottish songs |
1815 |
words: James Hogg |
|
Bia. 660 |
Op. 108 #8, Grove 108 |
|
|
Folksong Setting: "The lovely lass of Inverness";
#8 of 25 Scottish songs |
1816 |
words: Robert Burns |
|
Bia. 660 |
Op. 108 #9, Grove 108 |
|
|
Folksong Setting: "Behold, my Love";
"Behold my Love how green the groves";
#9 of 25 Scottish songs |
1817 |
words: Robert Burns |
|
Bia. 660 |
Op. 108 #10, Grove 108 |
|
|
Folksong Setting: "Sympathy"; "Why,
Julia, say, that pensive mien?"; #10 of 25
Scottish songs |
1815 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #11, Grove 108 |
|
|
Folksong Setting: "O! thou art the lad
of my heart, Willy"; #11 of 25 Scottish songs |
1815 |
words: William Smyth; variations on this air:
Op 107 #9 |
|
Bia. 660 |
Op. 108 #12, Grove 108 |
|
|
Folksong Setting: "O, had my fate been
join’d with thine"; #12 of 25 Scottish
songs |
1816 |
words: Lord Byron |
|
Bia. 660 |
Op. 108 #13, Grove 108 |
|
|
Folksong Setting: "Come fill, fill, my
good fellow!"; #13 of 25 Scottish songs |
1817 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #14, Grove 108 |
|
|
Folksong Setting: "O, how can I be blithe
and glad"; #14 of 25 Scottish songs |
1816 |
words: Robert Burns |
|
Bia. 660 |
Op. 108 #15, Grove 108 |
|
|
Folksong Setting: "O cruel was my father";
#15 of 25 Scottish songs |
1816 |
words: Alexander Ballantyne |
|
Bia. 660 |
Op. 108 #16, Grove 108 |
|
|
Folksong Setting: "Could this ill world
have been contriv’d"; #16 of 25 Scottish
songs |
1816 |
words: James Hogg |
|
Bia. 660 |
Op. 108 #17, Grove 108 |
|
|
Folksong Setting: "O Mary, at thy window
be"; #17 of 25 Scottish songs |
1817 |
words: Robert Burns |
|
Bia. 660 |
Op. 108 #18, Grove 108 |
|
|
Folksong Setting: "Enchantress, farewell";
#18 of 25 Scottish songs |
1818 |
words: Sir Walter Scott |
|
Bia. 660 |
Op. 108 #19, Grove 108 |
|
|
Folksong Setting: "O swiftly glides the
bonny boat"; #19 of 25 Scottish songs |
1815 |
words: Joanna Baillie |
|
Bia. 660 |
Op. 108 #20, Grove 108 |
|
|
Folksong Setting: "Faithfu’ Johnie"
"When will you come again"; #20 of 25
Scottish songs |
1813 |
words: Anne Grant; replacement setting for Hess
203 |
|
Bia. 660 |
Op. 108 #21, Grove 108 |
|
|
Folksong Setting: "Jeanie’s Distress";
"By William late offended"; #21 of 25
Scottish songs |
1817 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #22, Grove 108 |
|
|
Folksong Setting: "The Highland Watch";
"Old Scotia, wake thy mountain strain";
#22 of 25 Scottish songs |
1817 |
words: James Hogg |
|
Bia. 660 |
Op. 108 #23, Grove 108 |
|
|
Folksong Setting: "The Shepherd’s
Song"; "The gowan glitters on the sward";
#23 of 25 Scottish songs |
1818 |
words: Joanna Baillie |
|
Bia. 660 |
Op. 108 #24, Grove 108 |
|
|
Folksong Setting: "Again, my Lyre, yet
once again"; #24 of 25 Scottish songs |
1815 |
words: William Smyth |
|
Bia. 660 |
Op. 108 #25, Grove 108 |
|
|
Folksong Setting: "Sally in our Alley";
"Of all the girls that are so smart";
#25 of 25 Scottish songs |
1817 |
words: Henry Carey |
|
Bia. 661 |
Hess 200 |
|
|
Folksong Setting: "The Maid of Isla"
(Scottish) |
1816 |
earlier version of Opus 108 #4 |
|
Bia. 661 |
Hess 201 |
|
|
Folksong Setting: "Bonnie Laddie, Highland
Laddie" (Scottish) |
1816 - 1818 |
other version of violin part of Opus 108 #7 |
|
Bia. 661 |
Hess 202 |
|
|
Folksong Setting: "O! thou art the lad
of my heart, Willy" (Scottish) |
1815 |
first version of Opus 108 #11 |
|
Bia. 661 |
Hess 203 |
|
|
Folksong Setting: "Faithfu’ Johnie"
(Scottish) "When will you come again" |
1810 |
words: Anne Grant; original setting of Opus
108 #20 |
|
Bia. 662 |
Hess 96 |
|
|
Fragment for Piano; authorship: unfinished |
1813 |
fragment of Symphony #7, Opus 92, for piano
- first 46 measures of first movement |
|
Bia. 663 |
WoO 158 #2, Hess 172 |
|
|
Folksong Setting: "Horch auf, mein Liebchen"
(German) WoO 158a; #2 of 23 continental folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #3, Hess 173 |
|
|
Folksong Setting: "Wegen meiner blieb d’Fräula"
(German) WoO 158a; #3 of 23 continental folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #4, Hess 174 |
|
|
Folksong Setting: "Wann i in der Früh
aufsteh" (Tyrolean) WoO 158a; #4 of 23 continental
folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #5, Hess 182 |
|
|
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 |
|
Bia. 663 |
WoO 158 #6, Hess 183 |
|
|
Folksong Setting: "A Madel, ja a Madel"
(Tyrolean) WoO 158a; #6 of 23 continental folk
songs |
1816 |
variations on this air: Op 107 #5 |
|
Bia. 663 |
WoO 158 #9, Hess 184 |
|
|
Folksong Setting: "Oj, oj upilem sie w
karczmie" (Polish) WoO 158a; #9 of 23 continental
folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #10, Hess
185 |
|
|
Folksong Setting: "Poszla baba po popiol"
(Polish) WoO 158a; #10 of 23 continental folk
songs |
1816 |
|
|
Bia. 663 |
WoO 158 #11, Hess 158 |
|
|
Folksong Setting: "Yo no quiero embarcarme"
(Iberian) WoO 158a; #11 of 23 continental folk
songs |
1816 |
|
|
Bia. 663 |
WoO 158 #12, Hess 159 |
|
|
Folksong Setting: "Seus lindos olhos"
(Portuguese) WoO 158a; #12 of 23 continental folk
songs |
1816 |
|
|
Bia. 663 |
WoO 158 #13, Hess 160 |
|
|
Folksong Setting: "Vo lesocke komarockov
mnogo urodilos" (Im Walde sind viele Mücklein
geboren) (Russian) WoO 158a; #13 of 23 continental
folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #14, Hess 161 |
|
|
Folksong Setting: "Akh, recen’ki,
recen’ki" (Ach Bächlein, Bächlein,
kühle Wasser) (Russian) WoO 158a; #14 of
23 continental folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #15, Hess 162 |
|
|
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 |
|
|
Bia. 663 |
WoO 158 #18, Hess 171 |
|
|
Folksong Setting: "An ä Bergli bin
i gesässe" (Swiss) WoO 158a; #18 of
23 continental folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #19, Hess 163 |
|
|
Folksong Setting: "Una paloma blanca"
(Spanish Bolero a Solo) WoO 158a; #19 of 23 continental
folk songs |
1816 |
original and different coda |
|
Bia. 663 |
WoO 158 #20, Hess 164 |
|
|
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 |
|
Bia. 663 |
WoO 158 #21, Hess 165 |
|
|
Folksong Setting: "Tiranilla Española"
(Spanish); "La tiranna se embarca" WoO
158a; #21 of 23 continental folk songs |
1816 |
|
|
Bia. 663 |
WoO 158 #23, Hess 181 |
|
|
Folksong Setting: "Da brava, Catina"
(Venetian) WoO 158a; #23 of 23 continental folk
songs |
1816 |
|
|
Bia. 664
| |
|
|
Sketch for Unknown in E flat major: for a march;
authorship: unfinished |
1815 |
|
|
Bia. 665 |
Hess 11 |
|
|
Romance No. 3 for Violin & Orchestra |
1816 |
lost |
|
Bia. 666
| |
|
|
Fragment for Unknown: in a letter to Steiner |
1816 |
|
|
Bia. 667 |
WoO 158 #1, Hess 152 |
|
|
Folksong Setting in A major: "Adieu, my
lov’d harp" (Irish) WoO 158b; #1 of
7 British folk songs |
1813 |
words: Moore |
|
Bia. 667 |
WoO 158 #2, Hess 153 |
|
|
Folksong Setting in E flat major: "Castle
O’Neill" (Irish), without words, WoO
158b; #2 of 7 British folk songs |
1813 |
|
|
Bia. 667 |
WoO 158 #3, Hess 154 |
|
|
Folksong Setting in F major: "Oh ono chri!"
(Scottish) "O was not I a weary wight"
WoO 158b; #3 of 7 British folk songs |
1817 |
|
|
Bia. 667 |
WoO 158 #4, Hess 155 |
|
|
Folksong Setting: "Red gleams the sun on
yon hill tap" (Scottish) WoO 158b; #4 of
7 British folk songs |
1817 |
|
|
Bia. 667 |
WoO 158 #5, Hess 157 |
|
|
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 |
|
|
Bia. 667 |
WoO 158 #6, Hess 170 |
|
|
Folksong Setting in A minor: "O Mary ye’s
be clad in silk" (Scottish) WoO 158b; #6
of 7 British folk songs |
1815 |
|
|
Bia. 667 |
WoO 158 #7, Hess 180 |
|
|
Folksong Setting in G minor: "Lament for
Owen Roe O’Neill" (Irish) without words,
WoO 158b; #7 of 7 British folk songs |
1810 |
|
|
Bia. 667 |
WoO 158 #1, Hess 166 |
|
|
Folksong Setting in E minor: "When my Hero
in court appears" WoO 158c; #1 of 6 assorted
folk songs |
1817 |
words: John Gay |
|
Bia. 667 |
WoO 158 #2, Hess 167 |
|
|
Folksong Setting in B flat major: "Air
de Colin" from Rousseau’s "Le Devin
du Village"; "Non, non, Colette n’est
point trompeuse" WoO 158c; #2 of 6 assorted
folk songs |
1817 |
words: Rousseau |
|
Bia. 667 |
WoO 158 #3, Hess 169 |
|
|
Folksong Setting in B major: "Mark yonder
pomp of costly fashion" (Scottish) WoO 158c;
#3 of 6 assorted folk songs |
1820 |
words: Robert Burns |
|
Bia. 667 |
WoO 158 #4, Hess 175 |
|
|
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 |
|
Bia. 667 |
WoO 158 #5, Hess 176 |
|
|
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 |
|
Bia. 667 |
WoO 158 #6, Hess 179 |
|
|
Folksong Setting in E minor: Untitled (Scottish)
without words, WoO 158c; #6 of 6 assorted folk
songs |
1810 |
|
|
Bia. 668 |
Hess 47 |
|
| Piano Trio | |
arrangement of String Trio Opus 3 (1st movement
and fragment of 2nd movement) |
|
Bia. 669
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
for the song "Resignation" for 4 voices;
authorship: unfinished |
1817 |
|
|
Bia. 670 |
WoO 148, Grove 251 |
|
|
Song in F major: "So oder so"; "Nord
oder Süd!" |
1817 |
words: Carl Lappe |
|
Bia. 671 |
WoO 205 #3, Hess 288 |
|
|
Musical greetings for Solo Voice(s): "O
Adjutant" (WoO 205c), #3 of 10 musical greetings |
1817 |
written for Tobias Haslinger; Letter 742 |
|
Bia. 672
| |
|
|
Fragment for Unknown |
1817 |
in a letter to Steiner |
|
Bia. 673 |
WoO 104, Grove 197 |
|
|
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 |
|
Bia. 674 |
WoO 205 #4, Hess 289 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Wo? Wo?" (WoO 205d), #4 of 10 musical
greetings |
1817 |
written for Nanette Streicher; Letter 789 or
792 |
|
Bia. 675 |
Op. 104, Grove 104 |
|
|
String Quintet in C minor; authorship: arranged
by another |
1817 |
after the Piano Trio Opus 1 #3; arranged by
Kaufman; arrangement corrected by Beethoven |
|
Bia. 676
| |
|
|
Fragment for Unknown |
1817 |
in a letter to Nanette Streicher |
|
Bia. 677
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
for Matthisson’s "Badlied"; authorship:
unfinished |
1817 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 678 |
Op. 137, Grove 137 |
|
|
Fugue for String Quintet in D major |
1817 |
|
|
Bia. 679 |
WoO 149, Grove 252 |
|
|
Song in D major: "Resignation"; "Lisch
aus, mein Licht!" |
1817 |
words: Paul von Haugwitz |
|
Bia. 680 |
Hess 36 |
|
|
Fugue for String Quartet: from Handel’s
"Solomon" overture, arranged for string
quartet by Beethoven |
1798 |
|
|
Bia. 681 |
Hess 138 |
|
|
Song: "Odorata - o Nice" |
1815 - 1817 |
|
|
Bia. 682 |
Hess 137 |
|
|
Song: "Ich wiege dich in meinem Arm" |
1795 |
lost; title incorrectly given by Hess as "Schwinge
dich in meinen Dom"; author unknown |
|
Bia. 683 |
WoO 171, Hess 252 |
|
|
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 |
|
Bia. 684 |
Hess 40 |
|
|
String Quintet in D minor: movement; authorship:
unfinished |
1817 |
may have been the Prelude to a Fugue, since
lost |
|
Bia. 685 |
Hess 35 |
|
|
Fragment for String Quartet in B minor; authorship:
reconstruction |
1817 |
fragment of fugue #24 from Well-Tempered Clavier
(Book One) by J S Bach, arranged for string quartet
by Beethoven |
|
Bia. 686
| |
|
|
Sketch |
1817 - 1818 |
sketches for the Ninth Symphony Opus 125, second
movement; also see Biamonti 746 & 779 |
|
Bia. 687
| |
|
|
Sketch for Unknown: sketches found in the Conversation
Book of Feb/ March 1818; authorship: unfinished |
1818 |
|
|
Bia. 688 |
WoO 200, Hess 75, Grove 198 |
|
|
Piece for Piano in G major: "O Hoffnung,
du stählst die Herzen, du milderst die Schmerzen" |
1818 |
written for Archduke Rudolph of Austria; written
as a theme for Archduke Rudolph, who composed
forty variations on it; also see Hess 335 |
|
Bia. 689 |
WoO 201, Hess 282 |
|
|
Joke in C major: "Ich bin bereit! Amen"
(I am ready), beginning of a double fugue |
1818 |
written for Vincent Hauschka; Letter 903 |
|
Bia. 690 |
WoO 60, Grove 172 |
|
|
Bagatelle for Piano in B flat major: "Zeimlich
lebhaft" (A little lively) |
1818 |
dedicated to Marie Szymanowska |
|
Bia. 691 |
WoO 156 #1, Grove 227 |
|
|
Folksong Setting: "The Banner of Buccleuch",
"From the brown crest of Newark"; #1
of 12 Scottish songs |
1819 |
words: Sir Walter Scott |
|
Bia. 691 |
WoO 156 #2, Grove 227 |
|
|
Folksong Setting: "Duncan Gray", "Duncan
Gray came here to woo"; #2 of 12 Scottish
songs |
1818 |
words: Robert Burns |
|
Bia. 691 |
WoO 156 #3, Grove 227 |
|
|
Folksong Setting: "Up! quit thy bower";
#3 of 12 Scottish songs |
1819 |
words: Joanna Baillie |
|
Bia. 691 |
WoO 156 #4, Grove 227 |
|
|
Folksong Setting: "Ye shepherds of this
pleasant vale"; #4 of 12 Scottish songs |
1818 |
words: William Hamilton |
|
Bia. 691 |
WoO 156 #5, Grove 227 |
|
|
Folksong Setting: "Cease your funning";
#5 of 12 Scottish songs |
1817 |
Words: Gay; not Scottish, derived from "The
Beggar’s Opera" |
|
Bia. 691 |
WoO 156 #6, Grove 227 |
|
|
Folksong Setting: "Highland Harry",
"My Harry was a gallant gay"; #6 of
12 Scottish songs |
1815 |
words: Robert Burns |
|
Bia. 691 |
WoO 156 #7, Grove 227 |
|
|
Folksong Setting: "Polly Stewart",
"O lovely Polly Stewart"; #7 of 12 Scottish
songs |
1818 |
words: Robert Burns |
|
Bia. 691 |
WoO 156 #8, Grove 227 |
|
|
Folksong Setting: "Womankind", "The
hero may perish his country to save"; #8
of 12 Scottish songs |
1818 |
another setting - WoO 154 #10 |
|
Bia. 691 |
WoO 156 #9, Grove 227 |
|
|
Folksong Setting: "Lochnagar", "Away
ye gay landscapes"; #9 of 12 Scottish songs |
1818 |
words: Lord Byron |
|
Bia. 691 |
WoO 156 #10, Grove 227 |
|
|
Folksong Setting: "Glencoe", "O
tell us, Harper"; #10 of 12 Scottish songs |
1819 |
words: Sir Walter Scott |
|
Bia. 691 |
WoO 156 #11, Grove 227 |
|
|
Folksong Setting: "Auld Lang Syne"
"Should auld acquaintance be forgot";
#11 of 12 Scottish songs |
1818 |
words: Robert Burns |
|
Bia. 691 |
WoO 156 #12, Grove 227 |
|
|
Folksong Setting: "The Quaker’s Wife",
"Dark was the morn and black the sea";
#12 of 12 Scottish songs |
1818 |
words: Mr. Hunter |
|
Bia. 692 |
WoO 158 #1, Hess 156 |
|
|
Folksong Setting: "Ridder Stigs Runer"
(Danish) "Ridder nah’n dem Konigsschloss"WoO
158a; #1 of 23 continental folk songs |
1817 |
|
|
Bia. 692 |
WoO 158 #7, Hess 187 |
|
|
Folksong Setting: "Wer solche Buema afipackt"
(Tyrolean) WoO 158a; #7 of 23 continental folk
songs |
1817 |
|
|
Bia. 692 |
WoO 158 #8, Hess 189 |
|
|
Folksong Setting: "Ih mag di nit nehma,
du töppeter Hecht" (Tyrolean) WoO 158a;
#8 of 23 continental folk songs |
1817 |
|
|
Bia. 692 |
WoO 158 #16, Hess 177 |
|
|
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 |
|
Bia. 692 |
WoO 158 #17, Hess 186 |
|
|
Folksong Setting: "Lilla Carl", Vaggvisa
(Swedish lullaby) WoO 158a; #17 of 23 continental
folk songs |
1817 |
words: C M Bellmann |
|
Bia. 692 |
WoO 158 #22, Hess 188 |
|
|
Folksong Setting: "Édes kinos emlékezet",
"Magyar Szüretötö Enek"
(Hungarian grape harvest song) WoO 158a; #22 of
23 continental folk songs |
1817 |
|
|
Bia. 693 |
Op. 105 #1, Grove 105 |
|
|
Variations for Piano & Flute or Violin in
G major: on a Welsh air "The Cottage Maid";
#1 of 6 Themes & Variations |
1818 |
folk song setting: WoO 155 #3 |
|
Bia. 693 |
Op. 105 #2, Grove 105 |
|
|
Variations for Piano & Flute or Violin in
C minor: on a Scottish air "Von edlem Geschlecht
war Shinken"; #2 of 6 Themes & Variations |
1818 |
|
|
Bia. 693 |
Op. 105 #3, Grove 105 |
|
|
Variations for Piano & Flute or Violin in
C major: on an Austrian air "A Schüssel
und a reindel ist all mein Kuchelg’schirr";
#3 of 6 Themes & Variations |
1819 |
|
|
Bia. 693 |
Op. 105 #4, Grove 105 |
|
|
Variations for Piano & Flute or Violin in
E flat major: on an Irish air "The Last Rose
of Summer"; #4 of 6 Themes & Variations |
1818 |
folk song setting: "Sad & Luckless
was the Season", WoO 153 #6 |
|
Bia. 693 |
Op. 105 #5, Grove 105 |
|
|
Variations for Piano & Flute or Violin in
E flat major: on an Irish air "Chiling O’Guiry":
#5 of 6 Themes & Variations |
1818 |
folk song setting: WoO 154 #6 |
|
Bia. 693 |
Op. 105 #6, Grove 105 |
|
|
Variations for Piano & Flute or Violin in
D major: on an Irish air "Paddy Whack";
#6 of 6 Themes & Variations |
1818 |
folk song setting: "English Bulls; or,
The Irishman in London", WoO 152 #12 |
|
Bia. 694 |
Op. 107 #1, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
E flat major: theme & 4 variations on a Tyrolian
air "l bin a Tiroler Bua"; #1 of 10
Themes & Variations |
1818 |
folk song setting: WoO 158a #5 |
|
Bia. 694 |
Op. 107 #2, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
F major: theme & 4 variations on a Scottish
air "Bonnie Laddie, Highland Laddie";
#2 of 10 Themes & Variations |
1818 |
folk song setting: Op 108 #7 |
|
Bia. 694 |
Op. 107 #3, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
G major: theme & 5 variations on a Russian
air; #3 of 10 Themes & Variations |
1819 |
|
|
Bia. 694 |
Op. 107 #4, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
F major: theme & 4 variations on an Irish
air "St Patrick’s Day"; #4 of 10
Themes & Variations |
1818 |
folk song setting: WoO 154 #4 |
|
Bia. 694 |
Op. 107 #5, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
F major: theme & 3 variations on a Tyrolian
air "A Madel, ja a Madel": #5 of 10
Themes & Variations |
1818 |
folk song setting: WoO 158a #6 |
|
Bia. 694 |
Op. 107 #6, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
E flat major: theme & 4 variations on a Welsh
air "Merch Megan", "Peggy’s
Daughter": #6 of 10 Themes & Variations |
1819 |
folk song setting: WoO 155 #11 |
|
Bia. 694 |
Op. 107 #7, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
A minor: theme & 6 variations on a Russian
air "Schöne Minka"; #7 of 10 Themes
& Variations |
1819 |
folk song setting: WoO 158a #16 |
|
Bia. 694 |
Op. 107 #8, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
D major: theme & 4 variations on a Scottish
air "O, Mary at thy window be"; #8 of
10 Themes & Variations |
1818 |
folk song setting: Op 108 #17 |
|
Bia. 694 |
Op. 107 #9, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
E flat major: theme & 5 variations on a Scottish
air "Oh, Thou art the Lad of my Heart";
#9 of 10 Themes & Variations |
1818 |
folk song setting: Op 108 #11 |
|
Bia. 694 |
Op. 107 #10, Grove 107 |
|
|
Variations for Piano & Flute or Violin in
G minor: theme & 5 variations on a Scottish
air "The Highland Watch"; #10 of 10
Themes & Variations |
1818 |
folk song setting: Op 108 #22 |
|
Bia. 695 |
WoO 172, Grove 219 |
|
|
3-part Canon in E flat major: "Ich bitt’
dich, schreib’ mir die Es-Scala auf" |
1818 |
written for Vincent Hauschka |
|
Bia. 696 |
WoO 105, Hess 124 |
|
|
Song in A major: "Hochzeitslied" for
bass, chorus & piano "Auf Freunde, singt
dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio del Rio; words:
Anton Joseph Stein; written for the marriage of
Leopold Schmerling & Anna Giannatasio del
Rio; unison version of Hess 125 (same WoO #) |
|
Bia. 696 |
WoO 105, Hess 125 |
|
|
Song in C major: "Hochzeitslied" "Auf
Freunde, singt dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio del Rio; words:
Anton Joseph Stein; written for the marriage of
Leopold Schmerling & Anna Giannatasio del
Rio; unison version of Hess 124 (same WoO #) |
|
Bia. 697
| |
|
|
Sketch for Unknown in B flat minor: for a fugue;
authorship: unfinished |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 698
| |
|
|
Sketch for Unknown: sketch for a Cantata "Viva
Rudolphus"; authorship: unfinished |
1817 - 1819 |
in honor of the Archduke; lost, except for quotation by Nottebohm in his
article on the Boldrini sketchbook, since vanished |
|
Bia. 699
| |
|
|
Minuet for Unknown |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 700
| |
|
|
Fugue for Unknown in F sharp major |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 701
| |
|
|
Sketch for Unknown: sketch for an Intermezzo;
authorship: unfinished |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 702
| |
|
|
Sketch for Unknown in B flat minor; authorship:
unfinished |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 703
| |
|
|
Presto for Unknown in B flat minor; authorship:
unfinished |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 704
| |
|
|
Fugue Subject for Unknown; authorship: unfinished |
1817 - 1819 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 705 |
Hess 322 |
|
|
Melody for Solo Voice(s) in E flat major: "Gott
allein ist unser Herr, er allein" |
1818 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 706 |
Hess 323 |
|
|
Melody for Solo Voice(s) in C major: "Leb
wohl, schöne Abendsonne" |
1818 |
lost, except for quotation by Nottebohm in his article on the Boldrini
sketchbook, since vanished |
|
Bia. 707
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketch for a Song "Heidenroslein"; authorship:
unfinished |
1817 - 1819 |
words: Goethe; other sketches are Hess 150 and Biamonti 760; lost, except
for quotation by Nottebohm in his article on the Boldrini sketchbook, since
vanished |
|
Bia. 708 |
Op. 106, Grove 106 |
|
|
Piano Sonata No. 29 in B flat major: "Hammerklavier-Sonate" |
1816 - 1818 |
dedicated to Archduke Rudolph of Austria; "Here
is something that will give pianists some hard
work when it is played fifty years from now!"
- LvB |
|
Bia. 709 |
WoO 205 #5, Hess 290 |
|
|
Musical greetings for Solo Voice(s) in D major:
"Erfüllung, Erfüllung" (WoO
205e), #5 of 10 musical greetings |
1819 |
written for Archduke Rudolph of Austria; Letter
948 |
|
Bia. 710 |
WoO 17 #1, Hess
20, Grove 195 |
|
|
Waltz for Instrument(s) in E flat major: #1
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #2, Hess 20, Grove
195 |
|
|
Minuet for Instrument(s) in B flat major: #2
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #3, Hess 20, Grove
195 |
|
|
Waltz for Instrument(s) in B flat major: #3
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #4, Hess 20, Grove
195 |
|
|
Minuet for Instrument(s) in E flat major: #4
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #5, Hess 20, Grove
195 |
|
|
Minuet for Instrument(s) in E flat major: #5
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #6, Hess 20, Grove
195 |
|
|
Ländler for Instrument(s) in E flat major:
#6 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #7, Hess 20, Grove
195 |
|
|
Minuet for Instrument(s) in B flat major: #7
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #8, Hess 20, Grove
195 |
|
|
Ländler for Instrument(s) in B flat major:
#8 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #9, Hess 20, Grove
195 |
|
|
Minuet for Instrument(s) in G major: #9 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #10, Hess 20, Grove
195 |
|
|
Waltz for Instrument(s) in D major: #10 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 710 |
WoO 17 #11, Hess
20, Grove 195 |
|
|
Waltz for Instrument(s) in D major: #11 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
Bia. 711 |
WoO 173, Hess 253 |
|
|
2-part Riddle Canon in B flat major: "Hol’
euch der Teufel! B’hüt euch Gott!" |
1819 |
written for Sigmund Anton Steiner |
|
Bia. 712 |
WoO 174, Grove 201 |
|
|
4-part Canon in B flat major: "Glaube und
hoffe" |
1819 |
written for Moritz Schlesinger |
|
Bia. 713
| |
|
|
Fragment for Solo Voice(s); authorship: unfinished |
1819 |
written for Countess Anna Marie Erdödy |
|
Bia. 714 |
Hess 107 |
|
|
Grenadier March for Musical Clock in F major:
"Grenadiermarsch" |
1798 |
WoO 29 for musical clock; consists of a 20-bar
march by Haydn, an original transition, and an
arrangement of the March WoO 29 |
|
Bia. 715 |
WoO 175, Hess 255 |
|
|
4-part Riddle Canon: "Sankt Petrus war
ein Fels/ Bernardus war ein Sankt" |
1820 |
written for Carl Peters & Carl Bernard |
|
Bia. 716 |
WoO 176, Grove 210 |
|
|
3-part Canon in F major: "Glück zum
neuen Jahr!" (2nd setting) |
1819 |
written for Countess Anna Marie Erdödy;
other setting is WoO 165 |
|
Bia. 717 |
WoO 179, Grove 211 |
|
|
Intro & 4-part Canon in C major: "Seiner
Kaiserlichen Hoheit...alles Gute, alles Schöne" |
1819 |
written for Archduke Rudolph of Austria |
|
Bia. 718 |
Hess 300 |
|
|
Sketch for Instrument(s): sketch for a Canon
"Liebe mich, werter Weissenbach"; authorship:
reconstruction |
1819 - 1820 |
written for Alyos Weissenbach |
|
Bia. 719 |
Hess 301 |
|
|
Sketch for Instrument(s): sketch for a Canon
"Wähner, es ist kein Wahn"; authorship:
unfinished |
1819 - 1820 |
|
|
Bia. 720
| |
|
|
Sketch for Piano in G major: perhaps for piano;
authorship: unfinished |
1820 |
|
|
Bia. 721 |
Hess 256 |
|
|
Joke in A major: "Sankt Petrus ist ein
Fels" |
1820 |
fragment - refers to WoO 175 |
|
Bia. 722 |
WoO 150, Grove 253 |
|
|
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 |
|
Bia. 723
| |
|
|
Sketch for Unknown: sketch for a Canon without
words; authorship: unfinished |
1820 |
|
|
Bia. 724 |
WoO 180, Grove 212 |
|
|
2-part Canon in C major: "Auf einen, welcher
Hoffmann geheißen"; "Hoffmann,
sei ja kein Hofmann" |
1820 |
|
|
Bia. 725 |
Hess 133 |
|
|
Song: "Das liebe Kätzchen" (Austrian);
"Unsa Kaz had Kazln g’habt" |
1820 |
|
|
Bia. 725 |
Hess 134 |
|
|
Song: "Der Knabe auf dem Berge" (Austrian);
"Duart ob’n af’m Beargerl gu gu" |
1820 |
|
|
Bia. 726
| |
|
 |
Melody for Unknown; authorship: unfinished |
1820 |
|
|
Bia. 727
| |
|
|
Fragment for Unknown: "Es sind nur Steine",
fragment, perhaps for a Canon; authorship: unfinished |
1820 |
|
|
Bia. 728 |
Hess 335 |
|
| 2 Exercises for Instrument(s): on the Song "Gedenke
Mein" | |
written for Archduke Rudolph of Austria; a homework
assignment for the Archduke Rudolf; also see WoO
200 |
|
Bia. 729 |
Op. 109, Grove 109 |
|
|
Piano Sonata No. 30 in E major |
1820 |
dedicated to Maximiliane Brentano |
|
Bia. 730 |
Hess 65 |
|
|
Piece for Piano in C major: Little Concert Finale |
1820 - 1821 |
from the 3rd Piano Concerto Opus 37, for piano
solo |
|
Bia. 731 |
Hess 150 |
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketch for a Song "Heidenröslein";
authorship: unfinished |
1793 - 1796 |
words: Goethe; other sketches are Biamonti 707
and 760 |
|
Bia. 732
| |
|
|
Sketch for Unknown: sketch for a piece in the
manner of a Dance; authorship: unfinished |
1820 |
|
|
Bia. 733 |
WoO 178, Grove 217 |
|
|
3-part Canon in B flat major: "Signor Abate" |
1820 |
written for Abbé Maximilian Stadler |
|
Bia. 734 |
WoO 177, Hess 257 |
|
|
Canon in E major: "Bester Magistrat, Ihr
friert"; canon for 4 male voices & 2
double-basses |
1820 |
|
|
Bia. 735 |
Hess 299 |
|
|
Sketch for Instrument(s) in A major: sketch
for a Canon "Bester Magistrat" ; authorship:
unfinished |
1820 |
same "Magistrat" as WoO 177 |
|
Bia. 735
| |
|
|
3-part Canon: "Bester Magistrat" |
1826 |
the "Magistrat" is the same person as WoO 177 |
|
Bia. 736 |
WoO 61, Hess 62 |
|
|
Allegretto for Piano in B minor |
1821 |
dedicated to Ferdinand Piringer |
|
Bia. 737 |
WoO 182, Grove 213 |
|
|
3-part Canon in D minor: "O Tobias!" |
1821 |
written for Tobias Haslinger |
|
Bia. 738
| |
|
|
Fragment for Unknown; authorship: unfinished |
1822 |
fairly illegible fragments found in the Conversation
Book of March 1822 |
|
Bia. 739 |
Op. 110, Grove 110 |
|
|
Piano Sonata No. 31 in A flat major |
1821 - 1822 |
|
|
Bia. 740 |
WoO 34, Hess 42 |
|
|
Duo for Violins in A major: for Alexandre Boucher |
1822 |
dedicated to Alexandre Boucher |
|
Bia. 741 |
Op. 111, Grove 111 |
|
|
Piano Sonata No. 32 in C minor |
1821 - 1822 |
dedicated to Archduke Rudolph of Austria; English
edition dedicated to Antonie Brentano |
|
Bia. 742 |
Op. 114, Hess 118, Grove 114 |
|
|
March for Orchestra & Chorus: for "Die
Weihe des Hauses" |
1822 |
1822 adaptation of no. 6 from "Die Ruinen
von Athen"; see Opus 113; Hess 118 includes
Opus 124, Opus 114, WoO 98, and parts of Opus
113 |
|
Bia. 742 |
Op. 124, Hess 118, Grove 124 |
|
|
Overture in C major: "Die Weihe des Hauses"
(The Consecration of the House) |
1822 |
dedicated to Prince Nikolas Borissovich Galitzin;
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Bia. 742 |
WoO 98, Hess 118 |
|
|
Chorus for Orchestra, Chorus & Solo Voice(s):
"Wo sich die Pulse jugendlich jagen"
chorus with soprano solo for the festive play
"Die Weihe des Hauses" |
1822 |
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Bia. 742 |
Hess 118 |
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): for Meisl’s festival play
"Die Weihe des Hauses" (The Consecration
of the House) |
1822 |
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Bia. 743 |
Hess 296 |
|
|
Little Cadenza for Instrument(s) |
1822 |
written for Léon de Saint-Lubin |
|
Bia. 744 |
WoO 3, Grove 142 |
|
|
Minuet for Orchestra in E flat major: "Gratulations
- Menuett" |
1822 |
dedicated to Karl Holz; dedication by publisher,
but written as a tribute to Karl Hensler as part
of a serenade |
|
Bia. 745 |
Op. 119 #1, Grove 119 |
|
|
Bagatelle for Piano in G minor: Allegretto;
#1 of 11 Bagatelles |
1820 - 1822 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #2, Grove 119 |
|
|
Bagatelle for Piano in C major: Andante con
moto; #2 of 11 Bagatelles |
1820 - 1822 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #3, Grove 119 |
|
|
Bagatelle for Piano in D major: A l’Allemande;
#3 of 11 Bagatelles |
1820 - 1822 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #4, Grove 119 |
|
|
Bagatelle for Piano in A major: Andante cantabile;
#4 of 11 Bagatelles |
1820 - 1822 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #5, Grove 119 |
|
|
Bagatelle for Piano in C minor: Risoluto; #5
of 11 Bagatelles |
1820 - 1822 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #6, Grove 119 |
|
|
Bagatelle for Piano in G major: Andante-Allegretto;
#6 of 11 Bagatelles |
1820 - 1822 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #7, Grove 119 |
|
|
Bagatelle for Piano in C major: Allegro, ma
non troppo; #7 of 11 Bagatelles
{Rezeichnung} |
1820 - 1821 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #8, Grove 119 |
|
|
Bagatelle for Piano in C major: Moderato cantabile;
#8 of 11 Bagatelles |
1820 - 1821 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #9, Grove 119 |
|
|
Bagatelle for Piano in A major: Vivace moderato;
#9 of 11 Bagatelles |
1820 - 1821 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #10, Grove 119 |
|
|
Bagatelle for Piano in A major: Allegramente;
#10 of 11 Bagatelles |
1820 - 1821 |
some pieces were started as early as c. 1794 |
|
Bia. 745 |
Op. 119 #11, Grove 119 |
|
|
Bagatelle for Piano in B flat major: Andante,
ma non troppo; #11 of 11 Bagatelles |
1820 - 1821 |
some pieces were started as early as c. 1794 |
|
Bia. 746
| |
|
|
Sketch |
1822 |
unused sketches for the Ninth Symphony Opus
125; also see Biamonti 686 & 779 |
|
Bia. 747
| |
|
|
Fragment for Unknown; authorship: unfinished |
1822 |
|
|
Bia. 748 |
Op. 128, Grove 128 |
|
|
Arietta: "Der Kuß" (The Kiss);
"Ich var bei Chloen ganz allein" |
1798 - 1822 |
words: C F Weiße |
|
Bia. 749 |
WoO 181 #1 |
|
|
4-part Canon in C major: "Gedenket heute
an Baden" |
1820 |
|
|
Bia. 750 |
WoO 181 #2, Hess 258 |
|
|
4-part Canon in C major: "Gehabt euch wohl" |
1820 |
|
|
Bia. 751 |
WoO 181 #3, Hess 259 |
|
|
3-part Canon in C major: "Tugend ist kein
leerer Name" |
1820 |
|
|
Bia. 752
| |
|
|
Sketch for Unknown: "Thut auf", sketch
for a Canon; authorship: unfinished |
1819 - 1822 |
|
|
Bia. 753
| |
|
|
Fragment for Unknown in B flat major |
1819 - 1822 |
fragment of a Scottish folksong |
|
Bia. 754
| |
|
|
Sketch for Unknown in C sharp minor; authorship:
unfinished |
1819 - 1822 |
perhaps for Piano Sonata #30, Opus 109 |
|
Bia. 755
| |
|
|
Sketch for Unknown; authorship: unfinished |
1819 - 1822 |
sketches for Fugues, one of them probably "for
harpsichord or organ" |
|
Bia. 756
| |
|
|
Sketch for Piano: sketch for a movement of a
Sonata; authorship: unfinished |
1819 - 1822 |
|
|
Bia. 757
| |
|
|
Sketch for Piano: "second Sonata"
allegro con brio; authorship: unfinished |
1819 - 1822 |
|
|
Bia. 758
| |
|
|
Sketch for Piano: "second Sonata"
adagio; authorship: unfinished |
1819 - 1822 |
|
|
Bia. 759
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
beginning of a Recitative with string accompaniment;
authorship: unfinished |
1818 - 1822 |
perhaps for the third Mass in C sharp minor;
also see Biamonti 795 |
|
Bia. 760
| |
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketch for a Song "Heidenroslein"; authorship:
unfinished |
1818 - 1822 |
words: Goethe; other sketches are Hess 150 and
Biamonti 707 |
|
Bia. 761
| |
|
|
Sketch: for an Overture; authorship: unfinished |
1818 - 1822 |
|
|
Bia. 762
| |
|
|
Sketch for Unknown: sketch for a Song "Fluchtigkeit
der Zeit" (Transience of Time); authorship:
unfinished |
1818 - 1822 |
words: Gleim |
|
Bia. 763
| |
|
|
Sketch for Unknown: sketch in metrical notation
"Paon und Anapest"; authorship: unfinished |
1818 - 1822 |
refers to the musical rhythms of Greek and Latin
poetry |
|
Bia. 764
| |
|
|
Sketch for Unknown: "Edel Hulfreich sey
der Mensch", sketch for a Canon; authorship:
unfinished |
1818 - 1822 |
|
|
Bia. 765 |
WoO 205 #6, Hess 291 |
|
|
Musical greetings for Solo Voice(s) in F major:
"Scheut euch nicht" (WoO 205f), #6 of
10 musical greetings |
1822 |
written for George Friedrich Treitschke; Letter
1068 |
|
Bia. 766 |
Op. 121 #2, Grove 121 |
|
|
Choral Part-Song for Orchestra, Chorus &
Solo Voice(s): "Opferlied" (Sacrificial
Song) "Die Flamme lodert", Opus 121b;
2 versions: 1822 (Biamonti 766) & 1824 (Biamonti
790), with different scorings |
1822 - 1824 |
poem by Friedrich von Matthison; 5 arrangements
over 30 yrs; also see WoO 126, Hess 91 & Hess
145 |
|
Bia. 767 |
Op. 122, Grove 122 |
|
|
Song: "Bundeslied" (Song of Fellowship)
for 2 solo voices, chorus & wind instruments |
1822 - 1824 |
words: Goethe; Hess 92 is a piano accompaniment
version; Hess Anhang 58 is a version for 2 voices
& chorus a capella (Beethoven’s authorship
not certain) |
|
Bia. 768 |
WoO 151, Hess 132 |
|
|
Song in G major: "Der edle Mensch sei hülfreich
und gut" |
1823 |
written for Baroness Cäcilie von Eskeles;
words: Goethe |
|
Bia. 769 |
WoO 183, Hess 261 |
|
|
4-part Canon in F major: "Bester Herr Graf,
Sie sind ein Schaf" |
1823 |
written for Count Moritz Lichnowsky |
|
Bia. 770
| |
|
|
Sketch for Unknown: for a Canon or a Song "Alle
Landen loben ihren Gott"; authorship: unfinished |
1823 |
|
|
Bia. 771
| |
|
|
Sketch for Unknown in C sharp minor: for a third
Mass; authorship: unfinished |
1823 |
|
|
Bia. 772 |
WoO 106, Grove 199 |
|
|
Cantata: "Lobkowitz-Kantate" for soprano,
chorus & piano |
1823 |
written for Prince Ferdinand Lobkowitz; words:
Beethoven?; written for Prince Lobkowitz’
birthday |
|
Bia. 773 |
WoO 184, Hess 262, Grove 203 |
|
|
5-part Canon in G major: "Falstafferel,
lass dich sehen!" |
1823 |
written for Ignaz Schuppanzigh |
|
Bia. 774 |
Op. 120, Grove 120 |
|
|
33 Variations for Piano in C major: on a Waltz
by Diabelli |
1819 - 1823 |
dedicated to Antonie Brentano |
|
Bia. 775 |
WoO 185, Grove 214 |
|
|
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 |
|
Bia. 776 |
Op. 123, Grove 123 |
|
|
Mass in D major: "Missa Solemnis" |
1819 - 1823 |
dedicated to Archduke Rudolph of Austria |
|
Bia. 777 |
Hess 303 |
|
|
Sketch for Instrument(s): sketch for a Canon
"Großen Dank für solche Gnade"
(Many thanks, many thanks, for such great mercy);
authorship: unfinished |
1823 |
found among the sketches for the Adagio from
the Ninth Symphony |
|
Bia. 778 |
WoO 202, Hess 283 |
|
|
Riddle Canon in F major: "Das Schöne
zum Guten!", musical motto (1st version) |
1823 |
written for Marie Pachler-Koschak; other version
is WoO 203 |
|
Bia. 779
| |
|
|
Sketch |
1823 |
unused sketches for the Ninth Symphony Opus
125; also see Biamonti 686 & 746 |
|
Bia. 780 |
WoO 18, Hess 7, Grove 145 |
|
|
March & Trio for Wind Band in F major: "Marsch
für die bohmische Landwehr"; "Zapfenstreich
No. 1" |
1809 - 1810 |
dedicated to Archduke Anton; written for a ‘carrousel’;
contains Turkish elements in the orchestration;
version with the Trio in B flat Beethoven added
c. 1822; WoO 18 also includes Hess 6 & 99,
Hess Anhang 2 and Biamonti 519 #1 |
|
Bia. 781 |
WoO 19, Hess 9, Grove 145 |
|
|
March & Trio for Wind Band in F major |
1810 |
dedicated to Archduke Anton; written for a ‘carrousel’;
contains Turkish elements in the orchestration;
Hess 8 is version without Trio; Biamonti 519 #2
(the GA version) has no Trio, no Turkish elements;
Beethoven added the trio in F minor c. 1822; WoO
19 includes both Hess 8 & 9 & Biamonti
519 #2 |
|
Bia. 782 |
Hess 114 |
|
|
Recitative for Solo Voice(s) & Orchestra |
1814 |
for Don Fernando in the 2nd Finale for "Fidelio",
Dresden version |
|
Bia. 783
| |
|
|
Sketch for Piano; authorship: unfinished |
1823 |
sketches for Preludes to the Bagatelles Opus
126 #3, 4, & 6 |
|
Bia. 784 |
Hess 57 |
|
|
Sketch for Piano in C major; authorship: unfinished |
1824 |
for a piano piece |
|
Bia. 785 |
Hess 260 |
|
|
Canon: "Fettlümerl und Bankert haben
triumphirt" (Fat-lout and bastard have triumphed) |
1823 |
|
|
Bia. 786 |
Hess 263 |
|
|
2-part Canon in E flat major: "Te solo
adoro" |
1824 |
written for Carlos Evasio Soliva; words: Pietro
Metastasio; on same text as WoO 186 and Hess 264 |
|
Bia. 786 |
Hess 264 |
|
|
2-part Canon: "Te solo adoro" |
1824 |
written for Carlos Evasio Soliva; words: Pietro
Metastasio; on same text as WoO 186 and Hess 263 |
|
Bia. 787 |
Op. 125, Grove 125 |
|
|
Symphony No. 9 in D minor: "Choral" |
1817 - 1824 |
dedicated to King Friedrich Wilhelm III of Prussia |
|
Bia. 788 |
Op. 126 #1, Grove 126 |
|
|
Bagatelle for Piano in G major: Andante con
moto; #1 of 6 Bagatelles |
1824 |
|
|
Bia. 788 |
Op. 126 #2, Grove 126 |
|
|
Bagatelle for Piano in G minor: Allegro; #2
of 6 Bagatelles |
1824 |
|
|
Bia. 788 |
Op. 126 #3, Grove 126 |
|
|
Bagatelle for Piano in E flat major: Andante;
#3 of 6 Bagatelles |
1824 |
|
|
Bia. 788 |
Op. 126 #4, Grove 126 |
|
|
Bagatelle for Piano in B minor: Presto; #4 of
6 Bagatelles |
1824 |
|
|
Bia. 788 |
Op. 126 #5, Grove 126 |
|
|
Bagatelle for Piano in G major: Quasi allegretto;
#5 of 6 Bagatelles |
1824 |
|
|
Bia. 788 |
Op. 126 #6, Grove 126 |
|
|
Bagatelle for Piano in E flat major: Presto-andante;
#6 of 6 Bagatelles |
1824 |
|
|
Bia. 789 |
WoO 186 |
|
|
2-part Canon in E flat major: "Te solo
adoro" |
1824 |
written for Carlos Evasio Soliva; words: Pietro
Metastasio; on same text as Hess 263 & Hess
264 |
|
Bia. 790 |
Op. 121 #2, Grove 121 |
|
|
Choral Part-Song for Orchestra, Chorus &
Solo Voice(s): "Opferlied" (Sacrificial
Song) "Die Flamme lodert", Opus 121b;
2 versions: 1822 (Biamonti 766) & 1824 (Biamonti
790), with different scorings |
1822 - 1824 |
poem by Friedrich von Matthison; 5 arrangements
over 30 yrs; also see WoO 126, Hess 91 & Hess
145 |
|
Bia. 791 |
WoO 205 #7, Hess 292 |
|
|
Musical greetings for Solo Voice(s) in E major:
"Tobias! Paternostergäßler. Tobias!
Paternostergäßlerischer, Bierhäuslerischer
musikalischer Philister!" (WoO 205g), #7
of 10 musical greetings |
1824 |
written for Tobias Haslinger; Letter 1312 |
|
Bia. 792 |
WoO 187, Grove 215 |
|
|
4-part Canon in F major: "Auf einen, welcher
Schwenke geheißen"; "Schwenke dich
ohne Schwänke" |
1824 |
written for Carl Schwencke |
|
Bia. 793 |
WoO 84 |
|
|
Waltz for Piano in E flat major |
1824 |
dedicated to Friedrich Demmer; dedicated by
publisher |
|
Bia. 794 |
Hess 285 |
|
|
Joke in E flat major: "Tobias" |
1825 |
written for Tobias Haslinger; found among the
sketches for the String Quartet Opus 127 |
|
Bia. 795
| |
|
|
Sketch for Solo Voice(s) & Instrument(s) |
1818 - 1822 |
other sketches for the third Mass; also see
Biamonti 759 |
|
Bia. 796
| |
|
|
Sketch for String Quartet: "La gaitée";
authorship: unfinished |
1824 |
completed sketch |
|
Bia. 797
| |
|
|
Adagio for String Quartet in E major |
1824 |
introduction for String Quartet #12 Opus 127 |
|
Bia. 798
| |
|
|
Sketch for Piano Four Hands; authorship: unfinished |
1824 |
sketch for a Sonata |
|
Bia. 799
| |
|
|
Fragment for Unknown: in 5/4; authorship: unfinished |
1824 |
|
|
Bia. 800
| |
|
|
2 Sketches for Chorus; authorship: unfinished |
1824 |
choral sketches |
|
Bia. 801
| |
|
|
3 Sketches for String Quartet; authorship: unfinished |
1824 |
sketches for String Quartet #15 Opus 132 |
|
Bia. 802 |
WoO 188, Hess 265 |
|
|
2-part Riddle Canon in B flat major: "Gott
ist eine feste Burg" |
1825 |
written for Oberst von Duterlohe |
|
Bia. 803 |
Op. 127, Grove 127 |
|
|
String Quartet No. 12 in E flat major |
1822 - 1825 |
dedicated to Prince Nikolas Borissovich Galitzin |
|
Bia. 804 |
WoO 203, Hess 272 |
|
|
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 |
|
Bia. 805 |
WoO 189, Hess 266 |
|
|
4-part Canon in C major: "Doktor, sperrt
das Tor dem Tod" |
1825 |
written for Anton Braunhofer |
|
Bia. 806 |
WoO 205 #8, Hess 293 |
|
|
Musical greetings for Solo Voice(s) in D major:
"Tobias Tobias" (WoO 205h), #8 of 10
musical greetings |
1825 |
written for Tobias Haslinger; Letter 1365 |
|
Bia. 807 |
WoO 190, Hess 267 |
|
|
2-part Canon in C major: "Ich war hier,
Doktor, ich war hier" |
1825 |
written for Anton Braunhofer |
|
Bia. 808 |
Op. 132, Grove 132 |
|
|
String Quartet No. 15 in A minor |
1823 - 1825 |
dedicated to Prince Nikolas Borissovich Galitzin |
|
Bia. 809 |
WoO 35, Hess 273, Grove 222 |
|
|
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 |
|
Bia. 810
| |
|
|
Sketch for Unknown; authorship: unfinished |
1825 |
sketches for the Oratorio "La Vittoria
della Croce" |
|
Bia. 811
| |
|
|
3-part Canon in C minor |
1825 |
|
|
Bia. 812
| |
|
|
Sketch for String Quartet; authorship: unfinished |
1825 |
sketches for the Andante of String Quartet #15
Opus 132 |
|
Bia. 813
| |
|
|
Sketch for String Quartet; authorship: unfinished |
1825 |
sketch for the first movement of String Quartet
#13 Opus 130 |
|
Bia. 814
| |
|
|
Sketch for String Quartet; authorship: unfinished |
1825 |
sketch for the second movement of String Quartet
#13 Opus 130 |
|
Bia. 815
| |
|
|
Sketch for String Quartet in E flat major; authorship:
unfinished |
1825 |
sketch for an Adagio, perhaps for the third
movement of String Quartet #13 Opus 130 |
|
Bia. 816
| |
|
|
Sketch for Unknown in G minor; authorship: unfinished |
1825 |
sketch for a movement of a Barcarole |
|
Bia. 817
| |
|
|
Sketch for String Quartet in E flat major; authorship:
unfinished |
1825 |
sketch for the Andante of String Quartet #13
Opus 130 |
|
Bia. 818
| |
|
|
Sketch for String Quartet |
1825 |
other sketches for the Andante for String Quartet
#13 Opus 130 |
|
Bia. 819
| |
|
|
Sketch for String Quartet in F sharp major:
final sketch for an Adagio; authorship: unfinished |
1825 |
intended in place of the Cavatina of String
Quartet #13 Opus 130 |
|
Bia. 820
| |
|
|
Sketch for String Quartet; authorship: unfinished |
1825 |
other sketches, perhaps for the last or penultimate
movement of String Quartet #13 Opus 130 |
|
Bia. 821
| |
|
|
Sketch for String Quartet in F sharp major;
authorship: unfinished |
1825 |
other sketches for the Finale of String Quartet
#13 Opus 130 |
|
Bia. 822
| |
|
|
Exercise for Unknown |
1825 |
exercises in modulation |
|
Bia. 823 |
WoO 191, Grove 216 |
|
|
3-part Canon in B flat major: "Kühl,
nicht lau" |
1825 |
written for Friedrich Kuhlau; on the name "Bach" |
|
Bia. 824 |
WoO 192, Hess 268 |
|
|
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 |
|
Bia. 825 |
WoO 61 #1, Hess 56 |
|
|
Bagatelle for Piano in G minor: called WoO 61a |
1825 |
dedicated to Sarah Burney Page; originally thought
to have been written for a Lady Clifford |
|
Bia. 826 |
WoO 204, Hess 284 |
|
|
Joke in D minor: "Holz, Holz, geigt die
Quartette so, als ob sie Kraut eintreten"
(Holz, Holz, you play the quartets as if you were
chopping cabbage) |
1825 |
in Conversation Book of September 1825 |
|
Bia. 827 |
WoO 194, Grove 221 |
|
|
Riddle Canon in F major: "Si non per portas,
per muros" |
1825 |
written for Moritz Schlesinger |
|
Bia. 828 |
WoO 85 |
|
|
Waltz for Piano in D major |
1825 |
dedicated to Duchess Sophie of Austria; dedication
by the publisher |
|
Bia. 829 |
WoO 86 |
|
|
Ecossaise for Piano in E flat major |
1825 |
dedicated to Duchess Sophie of Austria; dedication
by the publisher |
|
Bia. 830 |
Op. 130, Grove 130 |
|
|
String Quartet No. 13 in B flat major: String
Quartet without Große Fuge |
1825 - 1826 |
dedicated to Prince Nikolas Borissovich Galitzin;
The Alla danza tedesca was originally intended
for Opus 132 |
|
Bia. 830 |
Op. 130, Grove 130 |
|
|
String Quartet No. 13 in B flat major: String
Quartet with Große Fuge |
1825 - 1826 |
dedicated to Prince Nikolas Borissovich Galitzin |
|
Bia. 830 |
Op. 133, Grove 133 |
|
|
Fugue for String Quartet in B flat major: "Große
Fuge" (Great Fugue) |
1825 - 1826 |
dedicated to Archduke Rudolph of Austria; Sonata-fugue
separated from Op 130 |
|
Bia. 831 |
WoO 195 |
|
|
2-part Canon in A minor: "Freu dich des
Lebens" |
1825 |
written for Theodor Molt |
|
Bia. 832
| |
|
|
Sketch; authorship: unfinished |
1822 - 1825 |
sketches for an Overture on the name of Bach |
|
Bia. 833 |
WoO 193, Hess 269 |
|
|
Riddle Canon in C major: "Ars longa, vita
brevis" (third version) |
1825 |
words: Seneca; other versions are WoO 170 &
WoO 192 |
|
Bia. 834 |
WoO 196, Hess 270 |
|
|
4-part Riddle Canon in F major: "Es muß
sein!" |
1826 |
written for Ignaz Dembscher |
|
Bia. 835
| |
|
|
Sketch for String Quartet |
1825 |
original theme for the Finale of String Quartet
#14 Opus 131 |
|
Bia. 836 |
Hess 302 |
|
|
Sketch for Instrument(s): sketch for a Canon
"Uns geht es kannibalisch wohl als wie fünfhundert
Säuen"; authorship: unfinished |
1825 |
sketch is found amongst the work on the Grosse
Fuge, Opus 133 |
|
Bia. 837
| |
|
|
Sketch for Unknown; authorship: unfinished |
1825 - 1826 |
sketch for a "Veni Creator Spiritus" |
|
Bia. 838
| |
|
|
Symphony No. 10 in E flat major: part only;
authorship: unfinished at death |
1825 |
|
|
Bia. 839
| |
|
|
March for Instrument(s): a Duport |
1825 |
|
|
Bia. 840 |
Op. 131, Grove 131 |
|
|
String Quartet No. 14 in C sharp minor |
1825 - 1826 |
dedicated to Baron Joseph von Stutterheim; "stolen
& gathered together from various things here
& there" - LvB |
|
Bia. 841 |
Op. 134, Hess 86, Grove 134 |
. |
|
Fugue for Piano Four Hands: Große Fuge
for Piano Four Hands |
1826 |
dedicated to Archduke Rudolph of Austria; after
the String Quartet fugue Opus 133 |
|
Bia. 842 |
WoO 197, Hess 271 |
|
|
5-part Canon in C major: "Das ist das Werk,
sorgt um das Geld!" |
1826 |
written for Karl Holz |
|
Bia. 843 |
WoO 205 #9, Hess 294 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Bester To----(bias)" (WoO 205i), #9
of 10 musical greetings |
1826 |
written for Tobias Haslinger; Letter 1534 |
|
Bia. 844 |
WoO 205 #10, Hess 295 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Erster aller Tobiasse" (WoO 205k),
#10 of 10 musical greetings |
1826 |
written for Tobias Haslinger; Letter 1536 |
|
Bia. 845 |
Op. 135, Grove 135 |
|
|
String Quartet No. 16 in F major |
1826 |
dedicated to Johann Nepomuk Wolfmayer; "muß
es sein? es muß sein!"; the theme of
the third movement was originally associated with
the finale of Opus 131; composed w/o commission |
|
Bia. 846 |
WoO 62, Hess 41, Grove 174 |
|
|
String Quintet in C major: "Letzter musikalischer
Gedanke" (last musical thought); authorship:
unfinished at death |
1826 |
exists only in transcription for piano |
|
Bia. 847 |
Op. 130, Grove 130 |
|
|
String Quartet No. 13 in B flat major |
1825 - 1826 |
dedicated to Prince Nikolas Borissovich Galitzin;
alternate finale for String Quartet #13, Opus
130 |
|
Bia. 848 |
WoO 198, Hess 280 |
|
|
2-part Riddle Canon in C major: "Wir irren
allesamt" |
1826 |
written for Karl Holz |
|
Bia. 849 |
|
|
|
Draft for Piano: (last notes written by Beethoven);
authorship: unfinished |
1827 |
instrumental draft; piano conjectured |
Beethoven's
music - The Biamonti catalogue
