| WoO |
SubWoO |
Midi |
Mp3 |
Title |
Composition Dates |
Dedicatee |
Notes |
| 1 |
|
|
|
Ballet Music: "Ritterballet", music
for a ballet of knights |
1790 - 1791 |
|
originally thought to have been by Count Waldstein;
piano arrangement is Hess 89 |
| 2 |
1 |
 |
 |
Triumphal March for Orchestra in C major: "Tarpeja" |
1813 |
|
Christoph Kuffner’s drama |
| 2 |
2 |
|
|
Entr’acte in D major: "Tarpeja"
(now thought to be from the opening of Act II
from Leonore 1805) |
1813 |
|
|
| 3 |
|
|
|
Minuet for Orchestra in E flat major: "Gratulations
- Menuett" |
1822 |
Karl Holz |
dedication by publisher, but written as a tribute
to Karl Hensler as part of a serenade |
| 4 |
|
|
|
Concerto for Piano & Orchestra in E flat
major; authorship: reconstruction |
1784 |
|
Only the piano part, with orchestral cues, survives;
reconstruction by Willy Hess |
| 5 |
|
|
|
Concerto for Violin & Orchestra in C major:
fragment of first movement; three completions
made; authorship: unfinished |
1790 - 1792 |
Gerhard von Breuning |
|
| 6 |
|
|
|
Rondo for Piano & Orchestra in B flat major:
fragment, completed by Carl Czerny |
1793 |
|
this was probably the original finale to the
Piano Concerto #2 Opus 19 |
| 7 |
1 |
|
|
Minuet for Orchestra in D major: #1 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
2 |
|
|
Minuet for Orchestra in B flat major: #2 of
12 Minuets for Orchestra; piano version is Hess
101 |
1795 |
|
|
| 7 |
3 |
|
|
Minuet for Orchestra in G major: #3 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
4 |
|
|
Minuet for Orchestra in E flat major: #4 of
12 Minuets for Orchestra; piano version is Hess
101 |
1795 |
|
|
| 7 |
5 |
|
|
Minuet for Orchestra in C major: #5 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
6 |
|
|
Minuet for Orchestra in A major: #6 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
7 |
|
|
Minuet for Orchestra in D major: #7 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
8 |
|
|
Minuet for Orchestra in B flat major: #8 of
12 Minuets for Orchestra; piano version is Hess
101 |
1795 |
|
|
| 7 |
9 |
|
|
Minuet for Orchestra in G major: #9 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
10 |
|
|
Minuet for Orchestra in E flat major: #10 of
12 Minuets for Orchestra; piano version is Hess
101 |
1795 |
|
|
| 7 |
11 |
|
|
Minuet for Orchestra in C major: #11 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 7 |
12 |
|
|
Minuet for Orchestra in F major: #12 of 12 Minuets
for Orchestra; piano version is Hess 101 |
1795 |
|
|
| 8 |
1 |
|
|
Dance for Orchestra in C major: #1 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
2 |
|
|
Dance for Orchestra in A major: #2 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
3 |
|
|
Dance for Orchestra in F major: #3 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
4 |
|
|
Dance for Orchestra in B flat major: #4 of 12
German Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
5 |
|
|
Dance for Orchestra in E flat major: #5 of 12
German Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
6 |
|
|
Dance for Orchestra in G major: #6 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
7 |
|
|
Dance for Orchestra in C major: #7 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
8 |
|
|
Dance for Orchestra in A major: #8 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
9 |
|
|
Dance for Orchestra in F major: #9 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
10 |
|
|
Dance for Orchestra in D major: #10 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
11 |
|
|
Dance for Orchestra in G major: #11 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 8 |
12 |
|
|
Dance for Orchestra in C major: #12 of 12 German
Dances |
1795 |
|
piano version is Hess 100 |
| 9 |
1 |
|
|
Minuet for Violins & Cello in E flat major:
#1 of 6 Minuets |
1795 |
|
|
| 9 |
2 |
|
|
Minuet for Violins & Cello in G major: #2
of 6 Minuets |
1795 |
|
|
| 9 |
3 |
|
|
Minuet for Violins & Cello in C major: #3
of 6 Minuets |
1795 |
|
|
| 9 |
4 |
|
|
Minuet for Violins & Cello in F major: #4
of 6 Minuets |
1795 |
|
|
| 9 |
5 |
|
|
Minuet for Violin & Cello in D major: #5
of 6 Minuets |
1795 |
|
|
| 9 |
6 |
|
|
Minuet for Violins & Cello in G major: #6
of 6 Minuets |
1795 |
|
|
| 10 |
1 |
|
|
Minuet for Orchestra in C major: #1 of 6 minuets;
surviving piano version |
1795 |
|
|
| 10 |
2 |
|
|
Minuet for Orchestra in G major: #2 of 6 minuets;
surviving piano version |
1795 |
|
|
| 10 |
3 |
|
|
Minuet for Orchestra in E flat major: #3 of
6 minuets; surviving piano version |
1795 |
|
|
| 10 |
4 |
|
|
Minuet for Orchestra in B flat major: #4 of
6 minuets; surviving piano version |
1795 |
|
|
| 10 |
5 |
|
|
Minuet for Orchestra in D major: #5 of 6 minuets;
surviving piano version |
1795 |
|
|
| 10 |
6 |
|
|
Minuet for Orchestra in C major: #6 of 6 minuets;
surviving piano version |
1795 |
|
|
| 11 |
|
|
|
7 Ländler for Violins & Cello in D
major: surviving piano version |
1799 |
|
|
| 12 |
|
|
|
12 Minuets for Orchestra; authorship: not certain |
1799 |
|
written by Beethoven’s brother Carl, possibly
with Ludwig’s help |
| 13 |
1 |
|
|
Dance for Orchestra in D major: #1 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
2 |
|
|
Dance for Orchestra in B flat major: #2 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
3 |
|
|
Dance for Orchestra in G major: #3 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
4 |
|
|
Dance for Orchestra in D major: #4 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
5 |
|
|
Dance for Orchestra in F major: #5 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
6 |
|
|
Dance for Orchestra in B flat major: #6 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
7 |
|
|
Dance for Orchestra in D major: #7 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
8 |
|
|
Dance for Orchestra in G major: #8 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
9 |
|
|
Dance for Orchestra in E flat major: #9 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
10 |
|
|
Dance for Orchestra in C major: #10 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
11 |
|
|
Dance for Orchestra in A major: #11 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 13 |
12 |
|
|
Dance for Orchestra in D major: #12 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
| 14 |
1 |
|
|
Contredanse for Small Orchestra in C major:
#1 of 12 Contredanses |
1791 - 1802 |
|
piano version is Hess 102 |
| 14 |
2 |
|
|
Contredanse for Small Orchestra in A major:
#2 of 12 Contredanses |
1801 - 1802 |
|
piano version is Hess 102 |
| 14 |
3 |
|
|
Contredanse for Small Orchestra in D major:
#3 of 12 Contredanses |
1795 - 1802 |
|
|
| 14 |
4 |
|
|
Contredanse for Small Orchestra in B flat major:
#4 of 12 Contredanses |
1795 - 1802 |
|
piano version is Hess 102 |
| 14 |
5 |
|
|
Contredanse for Small Orchestra in E flat major:
#5 of 12 Contredanses |
1791 - 1802 |
|
piano version is Hess 102 |
| 14 |
6 |
|
|
Contredanse for Small Orchestra in C major:
#6 of 12 Contredanses |
1795 - 1802 |
|
|
| 14 |
7 |
|
|
Contredanse for Small Orchestra in E flat major:
#7 of 12 Contredanses |
1800 - 1802 |
|
theme from "Die Geschöpfe des Promethues"
Opus 43 used later in the "Eroica" Opus
55; piano version is Hess 102 |
| 14 |
8 |
|
|
Contredanse for Small Orchestra in C major:
#8 of 12 Contredanses |
1791 - 1802 |
|
piano version is Hess 102 |
| 14 |
9 |
|
|
Contredanse for Small Orchestra in A major:
#9 of 12 Contredanses |
1801 - 1802 |
|
piano version is Hess 102 |
| 14 |
10 |
|
|
Contredanse for Small Orchestra in C major:
#10 of 12 Contredanses |
1801 - 1802 |
|
piano version is Hess 102 |
| 14 |
11 |
|
|
Contredanse for Small Orchestra in G major:
#11 of 12 Contredanses |
1800 - 1802 |
|
theme from "Die Geschöpfe des Promethues"
Opus 43; piano version is Hess 102 |
| 14 |
12 |
|
|
Contredanse for Small Orchestra in E flat major:
#12 of 12 Contredanses |
1791 - 1802 |
|
|
| 15 |
1 |
|
|
Dance for Violins & Bass in D major: #1
of 6 ländlerische Tänze |
1802 |
|
|
| 15 |
1 |
|
|
Dance for Piano in D major: #1 of 6 ländlerische
Tänze, piano version |
1802 |
|
|
| 15 |
2 |
|
|
Dance for Violins & Bass in D major: #2
of 6 ländlerische Tänze |
1802 |
|
|
| 15 |
2 |
|
|
Dance for Piano in D major: #2 of 6 ländlerische
Tänze, piano version |
1802 |
|
|
| 15 |
3 |
|
|
Dance for Violins & Bass in D major: #3
of 6 ländlerische Tänze |
1802 |
|
|
| 15 |
3 |
|
|
Dance for Piano in D major: #3 of 6 ländlerische
Tänze, piano version |
1802 |
|
|
| 15 |
4 |
|
|
Dance for Violins & Bass in D minor: #4
of 6 ländlerische Tänze |
1802 |
|
|
| 15 |
4 |
|
|
Dance for Piano in D minor: #4 of 6 ländlerische
Tänze, piano version |
1802 |
|
|
| 15 |
5 |
|
|
Dance for Violins & Bass in D major: #5
of 6 ländlerische Tänze |
1802 |
|
|
| 15 |
5 |
|
|
Dance for Piano in D major: #5 of 6 ländlerische
Tänze, piano version |
1802 |
|
|
| 15 |
6 |
|
|
Dance for Violins & Bass in D major: #6
of 6 ländlerische Tänze |
1802 |
|
|
| 15 |
6 |
|
|
Dance for Piano in D major: #6 of 6 ländlerische
Tänze, piano version |
1802 |
|
|
| 16 |
|
|
|
12 Ecossaises for Piano; authorship: fraudulent |
|
|
|
| 17 |
1 |
|
|
Waltz for Instrument(s) in E flat major: #1
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
2 |
|
|
Minuet for Instrument(s) in B flat major: #2
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
3 |
|
|
Waltz for Instrument(s) in B flat major: #3
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
4 |
|
|
Minuet for Instrument(s) in E flat major: #4
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
5 |
|
|
Minuet for Instrument(s) in E flat major: #5
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
6 |
|
|
Ländler for Instrument(s) in E flat major:
#6 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
7 |
|
|
Minuet for Instrument(s) in B flat major: #7
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
8 |
|
|
Ländler for Instrument(s) in B flat major:
#8 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
9 |
|
|
Minuet for Instrument(s) in G major: #9 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
10 |
|
|
Waltz for Instrument(s) in D major: #10 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
| 17 |
11 |
|
|
Waltz for Instrument(s) in D major: #11 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
| 18 |
|
|
|
March & Trio for Wind Band in F major: "York’scher
(Yorkscher) March für die bohmische Landwehr" |
1809 - 1810 |
Archduke Anton |
Hess 99 is piano version; Beethoven added a
trio in B flat c. 1822 |
| 19 |
|
|
|
March & Trio for Wind Band in F major |
1810 |
Archduke Anton |
written for a ‘carrousel’; Beethoven
added a trio in F minor c. 1822 |
| 20 |
|
|
|
March & Trio for Wind Band in C major: "Zapfenstreich"
(The Tattoo) |
1809 - 1822 |
|
Beethoven added a trio in F major c. 1822 |
| 21 |
|
|
|
Polonaise for Wind Band in D major |
1810 |
|
|
| 22 |
|
|
|
Ecossaise for Wind Band in D major |
1809 - 1810 |
|
|
| 23 |
|
|
|
Ecossaise for Wind Band in G major; authorship:
reconstruction |
1810 |
|
lost; known only in Czerny’s piano arrangement |
| 24 |
|
|
|
March for Wind Band in D major |
1816 |
|
|
| 25 |
|
|
|
Rondino for Oboes, Clarinets, Horns & Bassoons
in E flat major |
1792 - 1793 |
|
intended at one time as finale to the Octet
Opus 103 |
| 26 |
|
|
|
Duo for Flutes in G major: Allegro and Minuet |
1792 |
J. M. Degenhart |
|
| 27 |
1 |
|
|
Duo No. 1 for Clarinet & Bassoon in C major;
authorship: doubtful |
|
|
orig for clarinet & bassoon; repub 1815
with violin/ cello version; accpted as authentic
in Kinsky, 1955, but listed as ‘probably
spurious’ in Kerman, 1983 |
| 27 |
2 |
|
|
Duo No. 2 for Clarinet & Bassoon in F major;
authorship: doubtful |
|
|
orig for clarinet & bassoon; repub 1815
with violin/ cello version; accpted as authentic
in Kinsky, 1955, but listed as ‘probably
spurious’ in Kerman, 1983 |
| 27 |
3 |
|
|
Duo No. 3 for Clarinet & Bassoon in B flat
major; authorship: doubtful |
|
|
orig for clarinet & bassoon; repub 1815
with violin/ cello version; accpted as authentic
in Kinsky, 1955, but listed as ‘probably
spurious’ in Kerman, 1983 |
| 28 |
|
|
|
Variations for Oboes & English Horn in C
major: on "Là ci darem la mano"
from Mozart’s opera "Don Giovanni" |
1795 |
|
possibly associated originally with the Trio
Opus 87 |
| 29 |
|
|
|
March for Clarinets, Horns & Bassoons in
B flat major: "Grenadiermarsch" |
1797 - 1798 |
|
also see Hess 107 |
| 30 |
1 |
|
|
Equali for Trombones in D minor |
1812 |
written for Franz Xaver Glöggl |
there is also a version for 4 men’s voices;
these were played at Beethoven’s funeral |
| 30 |
2 |
|
|
Equali for Trombones in D major |
1812 |
written for Franz Xaver Glöggl |
there is also a version for 4 men’s voices;
these were played at Beethoven’s funeral |
| 30 |
3 |
|
|
Equali for Trombones in B flat major |
1812 |
written for Franz Xaver Glöggl |
there is also a version for 4 men’s voices;
these were played at Beethoven’s funeral |
| 31 |
|
|
|
Fugue for Organ in D major |
1783 |
|
|
| 32 |
|
|
|
Duo for Viola & Cello in E flat major: "mit
zwei obligaten Augengläsern" (with 2
obbligato eyeglasses) |
1796 - 1797 |
written for Nikolaus Zmeskall |
the second movement is fragmentary |
| 33 |
1 |
|
|
Piece for Musical Clock in F major: or for flute;
Adagio assai; #1 of 5 pieces |
1799 |
|
|
| 33 |
2 |
|
|
Piece for Musical Clock in G major: or for flute;
Scherzo-Allegro; #2 of 5 pieces |
1799 - 1800 |
|
|
| 33 |
3 |
|
|
Piece for Musical Clock in G major: or for flute;
Allegro; #3 of 5 pieces |
1799 |
|
|
| 33 |
4 |
|
|
Piece for Musical Clock in C major: or for flute;
Allegro non piu molto; #4 of 5 pieces |
1794 |
|
|
| 33 |
5 |
|
|
Piece for Musical Clock in C major: or for flute;
Minuet-Allegretto; #5 of 5 pieces |
1794 |
|
|
| 34 |
|
|
|
Duo for Violins in A major: for Alexandre Boucher |
1822 |
Alexandre Boucher |
|
| 35 |
|
|
|
Canon in A major: for 2 violins or for 2 cellos;
for Samson de Boer |
1825 |
written for Samson de Boer |
not for Otto de Boer as some sources claim |
| 36 |
1 |
|
|
Piano Quartet in E flat major |
1785 |
|
the theme of the Allegro corresponds to a sketch
for an early unfinished symphony (Hess 298) |
| 36 |
2 |
|
|
Piano Quartet in D major |
1785 |
|
|
| 36 |
3 |
|
|
Piano Quartet in C major |
1785 |
|
some of this used in Piano Sonatas Opus 2 #1
and Opus 2 #3 |
| 37 |
|
|
|
Trio for Piano, Flute & Bassoon in G major |
1786 |
|
|
| 38 |
|
|
|
Piano Trio No. 8 in E flat major |
1785 - 1791 |
|
may have been originally intended for Opus 1 |
| 39 |
|
|
|
Allegretto for Piano Trio in B flat major |
1812 |
Maximiliane Brentano |
"for my little friend Maxe. Brentano to
encourage her in piano playing" - LvB |
| 40 |
|
|
|
12 Variations for Piano & Violin in F major:
on the theme "Se vuol ballare" from
Mozart’s opera "The Marriage of Figaro" |
1792 - 1793 |
Eleonore von Breuning |
|
| 41 |
|
|
|
Rondo for Piano & Violin in G major |
1793 - 1794 |
|
|
| 42 |
|
|
|
6 German Dances for Piano & Violin: Allemandes
in F, D, F, A, D, G |
1796 |
the two Countesses Thun |
|
| 43 |
1 |
|
|
Sonatina for Mandolin & Harpsichord in C
minor: (WoO 43a) |
1796 |
written for Countess Josephine de Clary |
|
| 43 |
2 |
|
|
Adagio for Mandolin & Harpsichord in E flat
major: (WoO 43b) |
1796 |
Countess Josephine de Clary |
Hess 44 is a slightly variant version |
| 44 |
1 |
|
|
Sonatina for Mandolin & Harpsichord in C
major: (WoO 44a) |
1796 |
written for Countess Josephine de Clary |
|
| 44 |
2 |
|
|
Andante con Variazioni for Mandolin & Harpsichord
in D major: (WoO 44b) |
1796 |
Countess Josephine de Clary |
|
| 45 |
|
|
|
12 Variations for Piano & Cello in G major:
on "See the conquering hero comes" fm
Handel’s oratorio "Judas Maccabaeus" |
1796 |
Princess Christiane Lichnowsky (née Thun) |
|
| 46 |
|
|
|
7 Variations for Piano & Cello in E flat
major: on the duet "Bei Männern, welche
Liebe fühlen" from Mozart’s "Zauberflöte" |
1801 |
Count Johann Georg Browne |
|
| 47 |
1 |
|
|
Piano Sonata in E flat major: "Kurfürstensonate"
(Electoral) #1 |
1783 |
Archbishop Maximilian Friedrich of Cologne |
|
| 47 |
2 |
|
|
Piano Sonata in F minor: "Kurfürstensonate"
(Electoral) #2 |
1783 |
Archbishop Maximilian Friedrich of Cologne |
|
| 47 |
3 |
|
|
Piano Sonata in D major: "Kurfürstensonate"
(Electoral) #3 |
1783 |
Archbishop Maximilian Friedrich of Cologne |
|
| 48 |
|
|
|
Rondo for Piano in C major |
1783 |
|
|
| 49 |
|
|
|
Rondo for Piano in A major |
1783 |
|
|
| 50 |
|
|
|
2 Sonata Movements for Piano in F major |
1790 - 1792 |
Franz Wegeler |
|
| 51 |
|
|
|
Easy Piano Sonata in C major |
1791 - 1798 |
Eleonore von Breuning |
first edition completed by Ries, since small
parts of the first two movements and the whole
of the last movement are lost |
| 52 |
|
|
|
Bagatelle for Piano in C minor: presto |
1795 - 1822 |
|
originally intended for the Piano Sonata Opus
10 #1 |
| 53 |
|
|
|
Allegretto for Piano in C minor |
1796 - 1797 |
|
perhaps originally intended for the Piano Sonata
Opus 10 #1 |
| 54 |
|
|
|
Piece for Piano in C major: "Lustig - traurig"
(Merry - Sad) in C & c |
1802 |
|
|
| 55 |
|
|
|
Prelude for Piano in F minor |
1803 |
|
|
| 56 |
|
|
|
Bagatelle for Piano in C major: Allegretto |
1803 - 1822 |
|
|
| 57 |
|
|
|
Andante for Piano in F major: "Andante
favori" |
1803 - 1804 |
|
originally intended as the slow movement for
the Piano Sonata Opus 53 |
| 58 |
1 |
|
|
Cadenza for Piano in D minor: for Mozart’s
piano concerto in d minor K 466 1st mvmt |
1809 |
written for Ferdinand Ries |
|
| 58 |
2 |
|
|
Cadenza for Piano & Orchestra in D minor:
for Mozart’s piano concerto in d minor K
466 3rd mvmt |
1809 |
written for Ferdinand Ries |
|
| 59 |
|
|
|
Bagatelle for Piano in A minor: "Für
Elise" |
1810 |
Therese Malfatti |
autograph missing, but "Elise" probably
denotes Therese Malfatti |
| 60 |
|
|
|
Bagatelle for Piano in B flat major: "Zeimlich
lebhaft" (A little lively) |
1818 |
Marie Szymanowska |
|
| 61 |
|
|
|
Allegretto for Piano in B minor |
1821 |
Ferdinand Piringer |
|
| 61 |
1 |
|
|
Bagatelle for Piano in G minor: called WoO 61a |
1825 |
Sarah Burney Page |
|
| 62 |
|
|
|
String Quintet in C major: "Letzter musikalischer
Gedanke" (last musical thought); authorship:
unfinished at death |
1826 |
|
exists only in transcription for piano |
| 63 |
|
|
|
9 Variations for Piano in C minor: on a march
by Ernst Christoph Dressler |
1782 |
Countess Wolf-Metternich |
|
| 64 |
|
|
|
6 Variations for Piano or Harp in F major: on
a Swiss air |
1790 - 1792 |
|
|
| 65 |
|
|
|
24 Variations for Piano in D major: on Vincenzo
Righini’s arietta "Venni Amore" |
1790 - 1791 |
Countess Hatzfeld |
Originally thought to exist only in a revised
version of 1802, the recent discovery of the original
edition shows the variations reached their final
state as early as 1791, rendering the Hess number
(55) of the “earlier version” superfluous. |
| 66 |
|
|
|
13 Variations for Piano in A major: on Dittersdorf’s
arietta "Es war einmal ein alter Mann"
from "Das rote Käppchen" |
1792 |
|
|
| 67 |
|
|
|
8 Variations for Piano Four Hands in C major:
on a theme by Count Ferdinand von Waldstein |
1792 |
|
|
| 68 |
|
|
|
12 Variations for Piano in C major: on the "Menuett
à la Viganò" from Jakob Haibel’s
ballet "Le nozze disturbate" |
1795 |
|
|
| 69 |
|
|
|
9 Variations for Piano in A major: on Giovanni
Paisello’s air "Quant’ è più
bello" from "La Molinara" |
1795 |
Prince Karl Lichnowsky |
|
| 70 |
|
|
|
6 Variations for Piano in G major: on the duet
"Nel cor più non mi sento" from
Giovanni Paisello’s opera "La Molinara" |
1795 |
|
|
| 71 |
|
|
|
12 Variations for Piano in A major: on a Russian
dance from Paul Wranitsky’s ballet "Das
Waldmädchen" |
1796 - 1797 |
Countess Anna Margarete Browne |
|
| 72 |
|
|
|
8 Variations for Piano in C major: on the Romance
"Une fièvre brûlante" from
Grétry’s opera "Richard Cœur
de Lion" |
1795 - 1798 |
|
|
| 73 |
|
|
|
10 Variations for Piano in B major: on Salieri’s
duet "La stessa la stessissima" from
"Falstaff" |
1799 |
Countess Barbara von Keglevics |
|
| 74 |
|
|
|
Song: "Ich denke dein", "Ich
denke dein, wenn mir der Sonne Schimmer" |
1799 - 1803 |
Therese Brunsvik & Countess Josephine Deym
(née Brunsvik) |
Beethoven wrote the theme to the opening stanza
of Goethe’s poem |
| 74 |
|
|
|
6 Variations for Piano Four Hands in D major:
on "Ich denke dein" |
1799 - 1803 |
Therese Brunsvik & Countess Josephine Deym
(née Brunsvik) |
Beethoven wrote the theme to the opening stanza
of Goethe’s poem |
| 75 |
|
|
|
7 Variations for Piano in F major: on the Quartet
"Kind, willst du ruhig schlafen?" from
Peter Winter’s opera "Das unterbrochene
Opferfest" |
1792 - 1799 |
|
|
| 76 |
|
|
|
8 Variations for Piano in F major: on the Trio
"Tändeln und Scherzen" from Franz
Xaver Süssmayr’s opera "Soliman
II" |
1799 |
Countess Anna Margarete Browne |
|
| 77 |
|
|
|
6 Easy Variations for Piano in G major: on an
original theme |
1800 |
|
|
| 78 |
|
|
|
7 Variations for Piano in C major: on the English
folk song "God Save the King" |
1802 - 1803 |
|
folk song setting: WoO 157 #1; theme used again
in "Wellingtons Sieg" Opus 91 |
| 79 |
|
|
|
5 Variations for Piano in D major: on the English
song "Rule Britannia" from Arne’s
"Alfred" |
1803 |
|
theme used again in "Wellingtons Sieg"
Opus 91 |
| 80 |
|
|
|
32 Variations for Piano in C minor: on an original
theme |
1806 |
|
|
| 81 |
|
|
|
Allemande for Piano in A major |
1793 - 1822 |
|
|
| 82 |
|
|
|
Minuet for Piano in E flat major |
1803 |
|
|
| 83 |
|
|
|
6 Ecossaises for Piano in E flat major |
1806 |
|
|
| 84 |
|
|
|
Waltz for Piano in E flat major |
1824 |
Friedrich Demmer |
dedicated by publisher |
| 85 |
|
|
|
Waltz for Piano in D major |
1825 |
Duchess Sophie of Austria |
dedication by the publisher |
| 86 |
|
|
|
Ecossaise for Piano in E flat major |
1825 |
Duchess Sophie of Austria |
dedication by the publisher |
| 87 |
|
|
|
Cantata: "Trauerkantate auf den Tod Joseph
II" (on the Death of Joseph II) |
1790 |
|
words: S. A. Averdonk |
| 88 |
|
|
|
Cantata: "Kantate auf die Erhebung Leopold
II zur Kaiserwürde" (on the Elevation
of Leopold II to the Imperial Dignity) |
1790 |
|
words: S. A. Averdonk |
| 89 |
|
|
|
Aria in F major: "Prüfung des Küssens";
for bass & orchestra "Meine weise Mutter
spricht" |
1790 - 1792 |
|
words: Anonymous |
| 90 |
|
|
|
Aria in D major: "Mit Mädeln sich
vertragen"; for bass & orchestra |
1790 - 1792 |
|
words: from Goethe’s Singspiel "Claudine
von Villa Bella" |
| 91 |
1 |
|
|
Aria in F major: "O welch ein Leben!";
for tenor & orchestra for Umlauf’s Singspiel
"Die schöne Schusterin" (The Beautiful
Shoemaker’s Wife)
|
1795 |
|
words: Marquis de Ferrieres; the theme was also
used in "Maigesang" Opus 52 #4 |
| 91 |
2 |
|
|
Aria in B flat major: "Soll ein Schuh nicht
drücken?"; for soprano & orchestra
for Umlauf’s Singspiel "Die schöne
Schusterin" (The Beautiful Shoemaker’s
Wife)
|
1795 |
|
words: Marquis de Ferrieres |
| 92 |
|
|
|
Scene & Aria in A major: "Primo amore";
for soprano w/ orchestra |
1791 - 1792 |
|
words: Anonymous |
| 92 |
1 |
|
|
Scene & Aria: "No, non turbarti";
for soprano w/ string orchestra (WoO 92a) |
1802 |
|
words: Pietro Metastasio |
| 93 |
|
|
|
Duo for Solo Voice(s) & Orchestra: "Ne’
giorni tuoi felici"; for soprano & tenor
w/ orchestra |
1802 |
|
words: Pietro Metastasio |
| 94 |
|
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s) in B flat major: "Germania",
finale for Trietschke’s Singspiel "Die
gute Nachricht" (The Good News) |
1814 |
|
|
| 95 |
|
|
|
Chorus for Orchestra & Chorus in A major:
"Chor auf die verbündeten Fürsten"
(Chorus for the Allied Princes) "Ihr weisen
Gründer" |
1814 |
|
words: Carl Bernard |
| 96 |
|
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): "Leonore Prohaska" |
1815 |
|
Funeral march is orchestration of Piano Sonata
No. 12 Opus 26, made at author’s (Friedrich
Duncker) express wish |
| 97 |
|
|
|
Chorus for Orchestra, Chorus & Solo Voice(s)
in D major: "Es ist vollbracht" (It
is fulfilled), final chorus from Treitschke’s
Singspiel "Die Ehrenpforten" (The Triumphal
Arches) |
1815 |
|
|
| 98 |
|
|
|
Chorus for Orchestra, Chorus & Solo Voice(s):
"Wo sich die Pulse jugendlich jagen"
chorus with soprano solo for the festive play
"Die Weihe des Hauses" |
1822 |
|
see Opus 124 |
| 99 |
1 |
|
|
Duet: "Bei labbri, che Amore" |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
2 |
|
|
Trio for Solo Voice(s): "Chi mai di questo
core" |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
3.1 |
|
|
Duet: "Fra tutte le pene" (WoO 99/3a)
1 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
3.2 |
|
|
Trio for Solo Voice(s): "Fra tutte le pene"
(WoO 99/3b); 2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
3.3 |
|
|
Quartet for Solo Voice(s): "Fra tutte le
pene" (WoO 99/3c) 3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
4.1 |
|
|
Quartet for Solo Voice(s): "Già la
notte s’avvicina" (WoO 99/4a) 1 of 2
settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
4.2 |
|
|
Trio for Solo Voice(s): "Già la notte
s’avvicina" (WoO 99/4b) 2 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
5.1 |
|
|
Quartet for Solo Voice(s): "Giura il nocchier"
(WoO 99/5a) 1 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
5.2 |
|
|
Trio for Solo Voice(s): "Giura il nocchier"
(WoO 99/5b) 2 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
6 |
|
|
Trio for Solo Voice(s): "Ma tu tremi" |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
7.1 |
|
|
Quartet for Solo Voice(s): "Nei campi e
nelle selve" (WoO 99/7a) 1 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
7.2 |
|
|
Quartet for Solo Voice(s): "Nei campi e
nelle selve" (WoO 99/7b) 2 of 2 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
8 |
|
|
Song in G major: "O care selve", with
unison chorus |
1794 - 1795 |
|
words: Pietro Metastasio - also published separately
as WoO 119 |
| 99 |
9 |
|
|
Trio for Solo Voice(s): "Per te d’amico
aprile" |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
10.1 |
|
|
Quartet for Solo Voice(s): "Quella cetra
ah pur tu sei" (WoO 99/10a) 1 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
10.2 |
|
|
Trio for Solo Voice(s): "Quella cetra ah
pur tu sei" (WoO 99/10b) 2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
10.3 |
|
|
Quartet for Solo Voice(s): "Quella cetra
ah pur tu sei" (WoO 99/10c) 3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
11 |
|
|
Duet: "Scrivo in te" |
1801 - 1803 |
written for Antonio Salieri |
|
| 99 |
12 |
|
|
Quartet for Solo Voice(s) in C major: "Silvio,
amante disperato" |
1801 - 1802 |
written for Antonio Salieri |
|
| 100 |
|
|
|
Joke in G major: "Lob auf den Dicken"
"Schuppanzigh ist ein Lump" |
1801 |
written for Ignaz Schuppanzigh |
words: Beethoven? |
| 101 |
|
|
|
Joke in E flat major: "Graf, liebster Graf,
liebstes Schaf" |
1802 |
written for Nikolaus Zmeskall |
words: Beethoven |
| 102 |
|
|
|
Song: "Abschiedsgesang" (Song of Farewell)
for tenor & 2 basses "Die Stunde schlägt" |
1814 |
written for Leopold Weiss |
words: Joseph von Seyfried |
| 103 |
|
|
|
Cantata in B flat major: "Un lieto brindisi:
Cantata campestre" for 4 voices & piano
acc "Johannisfeier begehn wir heute" |
1814 |
written for Giovanni Malfatti |
words: Clementi Bondi |
| 104 |
|
|
|
Song: "Gesang der Mönche" (Song
of the Monks) from Schiller’s "William
Tell"; "Rasch tritt der Tod den Menchen
an" |
1817 |
|
words: Friedrich von Schiller |
| 105 |
|
|
|
Song in C major: "Hochzeitslied" for
bass, chorus & piano "Auf Freunde, singt
dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio del Rio |
words: Anton Joseph Stein; written for the marriage
of Leopold Schmerling & Anna Giannatasio del
Rio |
| 105 |
|
|
|
Song in A major: "Hochzeitslied" unison
version of Hess 124 |
1819 |
written for Anna Giannatasio del Rio |
words: Anton Joseph Stein; written for the marriage
of Leopold Schmerling & Anna Giannatasio del
Rio |
| 106 |
|
|
|
Cantata: "Lobkowitz-Kantate" for soprano,
chorus & piano |
1823 |
written for Prince Ferdinand Lobkowitz |
words: Beethoven?; written for Prince Lobkowitz’
birthday |
| 107 |
|
|
|
Song: "Schilderung eines Mädchens";
"Schildern, willst du Freund, soll ich dir
Elisen?" |
1782 |
|
words: Anonymous |
| 108 |
|
|
|
Song in A major: "An einen Säugling";
"Noch weisst du nicht, wes Kind du bist" |
1783 |
|
words: Johann von Döring |
| 109 |
|
|
|
Song in C major: "Trinklied (beim Abschied
zu singen)"; "Erhebt das Glas mit froher
Hand" |
1791 - 1792 |
|
words: Anonymous |
| 110 |
|
|
|
Song in F minor: "Elegie auf den Tod eines
Pudels"; "Stirb immerhin, es welken
ja so viele der Freuden" |
1790 |
|
words: Anonymous |
| 111 |
|
|
|
Song in G major: "Punschlied"; "Wer
nicht, wenn warm von Hand zu Hand" |
1791 - 1792 |
|
words: Anonymous |
| 112 |
|
|
|
Song in G major: "An Laura"; "Freud’
umblühe dich auf allen Wegen" |
1792 |
|
words: Friedrich von Matthisson |
| 113 |
|
|
|
Song in E major: "Klage"; "Dein
Silver schien durch Eichengrün" |
1790 |
|
words: Ludwig Hölty |
| 114 |
|
|
|
Song in E major: "Ein Selbstgespräch";
"Ich, der mit flatterndem Sinn" |
1793 |
|
words: J.W.L. Gleim |
| 115 |
|
|
|
Song in D major: "An Minna"; "Nur
bei dir, an deinem Herzen" |
1792 |
|
words: Anonymous |
| 116 |
|
|
|
Song in C minor: "Que le temps me dure"
1st version |
1793 |
|
words: Jean Jacques Rousseau; not fully notated |
| 116 |
|
|
|
Song in C major: "Que le temps me dure"
2nd version |
1793 |
|
words: Jean Jacques Rousseau; not fully notated |
| 117 |
|
|
|
Song in C major: "Der freie Mann";
"Wer ist ein freier Mann?"; with unison
chorus |
1792 - 1794 |
|
words: G.C. Pfeffel |
| 118 |
|
|
|
Song: "Seufzer eines Ungeliebten";
"Hast du nicht Liebe zugemessen", and
"Gegenliebe"; "Wüsst’
ich, wüsst’ ich" |
1794 - 1795 |
|
words: GA Bürger; the melody of "Gegenliebe"
was later used in the Choral Fantasy Opus 80 |
| 119 |
|
|
|
Song in G major: "O care selve", with
unison chorus |
1794 - 1795 |
|
words: Pietro Metastasio; also part of WoO 99
(#8) |
| 120 |
|
|
|
Song in F major: "Man strebt, die Flamme
zu verhehlen" |
1800 - 1802 |
written for Frau von Weissenthurn |
words: Anonymous |
| 121 |
|
|
|
Song in G major: "Abschiedsgesang an Wiens
Bürger"; "Keine Klage soll erschallen" |
1796 |
Major von Kövesdy |
words: Josef von Friedelberg |
| 122 |
|
|
|
Song in C major: "Kriegslied der Osterreicher";
"Ein grosses deutches Volk sind wir"
(with unison chorus) |
1797 |
|
words: Josef von Friedelberg |
| 123 |
|
|
|
Song in G major: "Zärtliche Liebe"
(Tender Love); "Ich liebe dich, so wie du
mich" |
1795 |
|
words: Karl Friedrich Herrosee |
| 124 |
|
|
|
Song in A major: "La partenza" (Der
Abschied); "Ecco quel fiero istante!" |
1795 |
|
words: Pietro Metastasio |
| 125 |
|
|
|
Song in E flat major: "La tiranna",
Canzonetta; "Ah grief to think!" |
1798 - 1799 |
|
English words: William Wennington |
| 126 |
|
|
|
Song in E major: "Opferlied" (Sacrificial
Song); "Die Flamme lodert" |
1794 - 1795 |
|
words: Friedrich von Matthisson; earlier version
of Opus 121b |
| 127 |
|
|
|
Song in C major: "Neue Liebe, neues Leben"
(New love, new life); "Herz, mein Herz, was
soll das geben?" (1st setting) |
1798 - 1799 |
|
Words: Goethe; 2nd setting is Opus 75 #2 |
| 128 |
|
|
|
Song in G major: "Plaisir d’aimer"
"Plaisir d’aimer besoin d’une âme
tendre" |
1798 - 1799 |
|
words: Anonymous |
| 129 |
|
|
|
Song in F major: "Der Wachtelschlag"
(The Quail’s Call) "Ach, wie schalt’s
dorten so lieblich hervor" |
1803 |
written for Count Johann Georg Browne |
words: Samuel Friedrich Sauter |
| 130 |
|
|
|
Song in C minor: "Gedenke mein"; "Gedenke
mein, ich denke dein" |
1804 - 1820 |
written for Prince Nikolas Borissovich Galitzin |
words: Anonymous
|
| 131 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s)
in D minor: "Erlkönig" "Wer
reitet so spat durch Nacht und Wind?"; authorship:
unfinished |
1794 - 1796 |
|
words: Goethe |
| 132 |
|
|
|
Song in E flat major: "Als die Geliebte
sich trennen wollte"; "Der Hoffnung
letzter Schimmer sinkt dahin" |
1806 |
|
also published with the title "Empfindungen
bei Lydiens Untreue"; words: Stephan von
Breuning, based on French text by Hoffmann |
| 133 |
|
|
|
Song in A flat major: "In questa tomba
oscura", Arietta (In this dark Tomb) |
1806 - 1807 |
|
words: Giuseppe Carpani |
| 134 |
1 |
|
|
Song in G minor: "Sehnsucht"; "Nur
wer die Sehnsucht kennt" (1st setting) |
1807 - 1808 |
|
words: Goethe; "NB: I did not have enough
time to produce a good one, so here are several
attempts" - LvB |
| 134 |
2 |
|
|
Song in G minor: "Sehnsucht"; "Nur
wer die Sehnsucht kennt" (2nd setting) |
1807 - 1808 |
|
words: Goethe; "NB: I did not have enough
time to produce a good one, so here are several
attempts" - LvB |
| 134 |
3 |
|
|
Song in E flat major: "Sehnsucht";
"Nur wer die Sehnsucht kennt" (3rd setting) |
1807 - 1808 |
|
words: Goethe; "NB: I did not have enough
time to produce a good one, so here are several
attempts" - LvB |
| 134 |
4 |
|
|
Song in G minor: "Sehnsucht"; "Nur
wer die Sehnsucht kennt" (4th setting) |
1807 - 1808 |
|
words: Goethe; "NB: I did not have enough
time to produce a good one, so here are several
attempts" - LvB |
| 135 |
|
|
|
Song in C minor: "Die laute Klage";
"Turteltaube, du klagtest so laut" |
1814 - 1815 |
|
words: Johann Gottfried Herder |
| 136 |
|
|
|
Song in D major: "Andenken" (Memories);
"Ich denke dein" |
1808 |
|
words: Friedrich von Matthisson |
| 137 |
|
|
|
Song in B flat major: "Gesang aus der Ferne"
(Song from far away); "Als mir noch die Träne"
(2nd setting) |
1809 |
|
words: Christian Ludwig Reissig; other setting
has no catalog # |
| 138 |
|
|
|
Song in B flat major: "Der Jüngling
in der Fremde"; "Der Früling entblühet
dem Schoß der Natur" |
1809 |
|
words: Christian Ludwig Reissig; the music was
originally written for the text of WoO 137 |
| 139 |
|
|
|
Song in D major: "Der Liebende"; "Welch
ein wunderbares Leben" |
1809 |
|
words: Christian Ludwig Reissig |
| 140 |
1 |
|
|
Song: "An die Geliebte"; "O daß
ich dir vom stillen Auge" (1st setting) |
1811 |
|
words: Johann Ludwig Stoll |
| 140 |
2 |
|
|
Song: "An die Geliebte"; "O daß
ich dir vom stillen Auge" (2nd setting) |
1814 |
|
words: Johann Ludwig Stoll |
| 141 |
|
|
|
Song in C major: "Der Gesang der Nachtigall";
"Höre, die Nachtigall singt" |
1813 |
|
words: Johann Gottfried Herder |
| 142 |
|
|
|
Song in E minor: "Der Bardengeist";
"Dort auf dem hohen Felsen sang" |
1813 |
|
words: Franz Rudolph Hermann |
| 143 |
|
|
|
Song in E flat major: "Des Kriegers Abschied";
"Ich zieh’ ins Feld von Lieb’entbrannt" |
1814 |
|
words: Christian Ludwig Reissig |
| 144 |
|
|
|
Song in E flat major: "Merkenstein"
(1st setting) |
1814 |
|
words: J B Rupprecht; 2nd setting is Opus 100 |
| 145 |
|
|
|
Song in G major: "Das Geheimnis (Liebe
and Wahrheit)"; "Wo blüht das Blümchen,
das nie verblüht?" |
1815 |
|
words: Ignaz HC von Wessenberg |
| 146 |
|
|
|
Song in E major: "Sehnsucht" (Longing);
"Die stille Nacht umdunkelt" |
1816 |
|
words: Christian Ludwig Reissig |
| 147 |
|
|
|
Song in A major: "Ruf vom Berge";
"Wenn ich ein Vöglein wär" |
1816 |
|
words: Georg Friedrich Treitschke |
| 148 |
|
|
|
Song in F major: "So oder so"; "Nord
oder Süd!" |
1817 |
|
words: Carl Lappe |
| 149 |
|
|
|
Song in D major: "Resignation"; "Lisch
aus, mein Licht!" |
1817 |
|
words: Paul von Haugwitz |
| 150 |
|
|
|
Song in E major: "Abendlied unter’m
gestirnten Himmel" (Evening Song beneath
the Starry Sky); "Wenn die Sonne nieder sinket" |
1820 |
|
words: Heinrich Goeble; could be considered
last complete song written |
| 151 |
|
|
|
Song in G major: "Der edle Mensch sei hülfreich
und gut" |
1823 |
written for Baroness Cäcilie von Eskeles |
words: Goethe |
| 152 |
1 |
|
|
Folksong Setting: "The Return to Ulster",
"Once again, but how chang’d";
#1 of 25 Irish songs |
1810 |
|
words: Sir Walter Scott |
| 152 |
2 |
|
|
Folksong Setting: "Sweet Power of Song!";
#2 of 25 Irish songs |
1810 |
|
words: Joanna Baillie |
| 152 |
3 |
|
|
Folksong Setting: "Once more I hail thee";
#3 of 25 Irish songs |
1810 |
|
words: Robert Burns |
| 152 |
4 |
|
|
Folksong Setting: "The morning air plays
on my face"; #4 of 25 Irish songs |
1810 |
|
words: Joanna Baillie |
| 152 |
5 |
|
|
Folksong Setting: "On the massacre of Glencoe",
"O! tell me, harper"; #5 of 25 Irish
songs |
1810 |
|
words: Sir Walter Scott; original setting of
Hess 192 |
| 152 |
6 |
|
|
Folksong Setting: "What shall I do to shew
how much I love her?"; #6 of 25 Irish songs |
1810 |
|
words: Anonymous |
| 152 |
7 |
|
|
Folksong Setting: "His boat comes on the
sunny tide"; #7 of 25 Irish songs |
1810 |
|
words: Joanna Baillie |
| 152 |
8 |
|
|
Folksong Setting: "Come draw we round a
cheerful ring"; #8 of 25 Irish songs |
1810 |
|
words: Joanna Baillie |
| 152 |
9 |
|
|
Folksong Setting: "The Soldier’s Dream",
"Our bugles sung truce"; #9 of 25 Irish
songs |
1810 |
|
words: Thomas Campbell |
| 152 |
10 |
|
|
Folksong Setting: "The Deserter" (The
evening previous to his execution), "If sadly
thinking and spirits sinking"; #10 of 25
Irish songs |
1812 |
|
words: J P Curran |
| 152 |
11 |
|
|
Folksong Setting: "Thou emblem of faith"
(Upon returning a ring); #11 of 25 Irish songs |
1812 |
|
words: J P Curran |
| 152 |
12 |
|
|
Folksong Setting: "English Bulls, or The
Irishman in London", "Och! have you
not heard, Pat"; #12 of 25 Irish songs |
1810 |
|
words: Anonymous; variations on this air "Paddy
Whack" Op 105 #6 |
| 152 |
13 |
|
|
Folksong Setting: "Musing on the roaring
ocean"; #13 of 25 Irish songs |
1812 |
|
words: Robert Burns |
| 152 |
14 |
|
|
Folksong Setting: "Dermot and Shelah",
"O who sits so sadly"; #14 of 25 Irish
songs |
1810 |
|
words: T Toms |
| 152 |
15 |
|
|
Folksong Setting: "Let brainspinning swains";
#15 of 25 Irish songs |
1810 |
|
words: Alexander Boswell |
| 152 |
16 |
|
|
Folksong Setting: "Hide not thy anguish";
#16 of 25 Irish songs |
1810 |
|
words: William Smyth |
| 152 |
17 |
|
|
Folksong Setting: "In vain to this desert
my fate I deplore"; #17 of 25 Irish songs |
1810 |
|
words: Anne Grant & Robert Burns |
| 152 |
18 |
|
|
Folksong Setting: "They bid me slight my
Dermot dear"; #18 of 25 Irish songs |
1810 |
|
words: William Smyth |
| 152 |
19 |
|
|
Folksong Setting: "Wife, Children and Friends",
"When the blackletter’d list to the
gods"; #19 of 25 Irish songs |
1812 |
|
words: W R Spencer |
| 152 |
20 |
|
|
Folksong Setting: "Farewell bliss and farewell
Nancy"; #20 of 25 Irish songs |
1810 |
|
words: Anne Grant & Robert Burns |
| 152 |
21 |
|
|
Folksong Setting: "Morning a cruel turmoiler
is"; #21 of 25 Irish songs |
1812 |
|
words: Alexander Boswell |
| 152 |
22 |
|
|
Folksong Setting: "From Garyone, my happy
home", air: "Garyone"; #22 of 25
Irish songs |
1812 |
|
words: T Toms; original setting of WoO 154 #7 |
| 152 |
23 |
|
|
Folksong Setting: "A wand’ring gypsey,
Sirs, am I"; #23 of 25 Irish songs |
1810 |
|
words: Dr Wolcot |
| 152 |
24 |
|
|
Folksong Setting: "The Traugh Welcome",
"Shall a son of O’Donnell be cheerless
and cold"; #24 of 25 Irish songs |
1812 |
|
words: Anonymous |
| 152 |
25 |
|
|
Folksong Setting: "O harp of Erin",
"O harp of Erin thou art now laid low";
air: "I once had a true love"; #25 of
25 Irish songs |
1812 |
|
words: David Thomson; original setting for WoO
154 #2 |
| 153 |
1 |
|
|
Folksong Setting: "When eve’s last
rays in twilight die"; #1 of 20 Irish songs |
1810 |
|
words: David Thomson |
| 153 |
2 |
|
|
Folksong Setting: "No riches from his scanty
store"; #2 of 20 Irish songs |
1810 |
|
words: Williams |
| 153 |
3 |
|
|
Folksong Setting: "The British Light Dragoons,
or The Plain of Badajos", "’Twas
a Marechal of France"; #3 of 20 Irish songs |
1810 |
|
words: Sir Walter Scott |
| 153 |
4 |
|
|
Folksong Setting: "Since greybeards inform
us that youth will decay"; #4 of 20 Irish
songs |
1810 |
|
words: T Toms |
| 153 |
5 |
|
|
Folksong Setting: "I dream’d I lay
where flow’rs were springing"; #5 of
20 Irish songs |
1813 |
|
words: Robert Burns; replacement setting for
Hess 194 |
| 153 |
6 |
|
|
Folksong Setting: "Sad and luckless was
the season"; #6 of 20 Irish songs |
1815 |
|
words: William Smyth; variations on this air:
WoO 153 #6 |
| 153 |
7 |
|
|
Folksong Setting: "O soothe me, my lyre";
#7 of 20 Irish songs |
1813 |
|
words: William Smyth |
| 153 |
8 |
|
|
Folksong Setting: "Norah of Balamagairy",
"Farewell mirth and hilarity"; #8 of
20 Irish songs |
1812 - 1813 |
|
words: Alexander Boswell |
| 153 |
9 |
|
|
Folksong Setting: "The kiss, dear maid,
thy lip has left"; #9 of 20 Irish songs |
1813 |
|
words: Lord Byron |
| 153 |
10 |
|
|
Folksong Setting: "Oh, thou hapless soldier";
#10 of 20 Irish songs |
1810 |
|
words: William Smyth |
| 153 |
11 |
|
|
Folksong Setting: "When far from the home";
#11 of 20 Irish songs |
1813 |
|
words: David Thomson; Hess 195 is another setting |
| 153 |
12 |
|
|
Folksong Setting: "I’ll praise the
saints with early song"; #12 of 20 Irish
songs |
1813 |
|
words: William Smyth; replacement setting for
Hess 196 |
| 153 |
13 |
|
|
Folksong Setting: ‘"Tis sunshine at
last"; #13 of 20 Irish songs |
1815 |
|
words: William Smyth |
| 153 |
14 |
|
|
Folksong Setting: "Paddy O’Rafferty";
#14 of 20 Irish songs |
1810 |
|
words: Alexander Boswell |
| 153 |
15 |
|
|
Folksong Setting: "‘Tis but in vain,
for nothing thrives"; #15 of 20 Irish songs |
1813 |
|
words: William Smyth; replacement setting for
Hess 197 |
| 153 |
16 |
|
|
Folksong Setting: "O might I but my Patrick
love!" (English); #16 of 20 Irish songs |
1813 |
|
words: William Smyth |
| 153 |
17 |
|
|
Folksong Setting: "Come, Darby dear! easy,
be easy"; #17 of 20 Irish songs |
1813 |
|
words: William Smyth |
| 153 |
18 |
|
|
Folksong Setting: "No more, my Mary, I
sigh for splendour"; #18 of 20 Irish songs |
1813 |
|
words: William Smyth |
| 153 |
19 |
|
|
Folksong Setting: "Judy, lovely, matchless
creature"; #19 of 20 Irish songs |
1813 |
|
words: Alexander Boswell |
| 153 |
20 |
|
|
Folksong Setting: "Thy ship must sail,
my Henry dear"; #20 of 20 Irish songs |
1813 |
|
words: William Smyth |
| 154 |
1 |
|
|
Folksong Setting: "The Elfin Fairies",
"We fairy elves in secret dells", air:
"Planxty Kelly"; #1 of 12 Irish songs |
1813 |
|
words: David Thomson |
| 154 |
2 |
|
|
Folksong Setting: "O harp of Erin",
"O harp of Erin thou art now laid low",
air: "I once had a true love"; #2 of
12 Irish songs |
1813 |
|
words: David Thomson; replacement setting for
WoO 152 #25 |
| 154 |
3 |
|
|
Folksong Setting: "The Farewell Song",
"O Erin", air: "The old woman";
#3 of 12 Irish songs |
1813 |
|
words: William Smyth |
| 154 |
4 |
|
|
Folksong Setting: "The pulse of a Irishman",
air: "St Patrick’s Day"; #4 of
12 Irish songs |
1813 |
|
words: Alexander Boswell; {like Let Brainspinning
Swains} |
| 154 |
5 |
|
|
Folksong Setting: "O who, my dear Dermot",
air: "Crooghan a Venee"; #5 of 12 Irish
songs |
1813 |
|
words: William Smyth |
| 154 |
6 |
|
|
Folksong Setting: "Put round the bright
wine", air: "Chiling O’Guiry";
#6 of 12 Irish songs |
1813 |
|
words: William Smyth; variations on this air:
Op 105 #5 |
| 154 |
7 |
|
|
Folksong Setting: "From Garyone, my happy
home", air: "Garyone"; #7 of 12
Irish songs |
1813 |
|
words: T Toms; replacement setting for WoO 152
#22 |
| 154 |
8 |
|
|
Folksong Setting: "Save me from the grave
and wise", air: "Nora Creina";
#8 of 12 Irish songs |
1813 |
|
words: William Symth
|
| 154 |
9 |
|
|
Folksong Setting: "O would I were but that
sweet linnet!", air: "The pretty girl
milking the cows"; #9 of 12 Irish songs |
1813 |
|
words: William Smyth; replacement setting for
Hess 198 |
| 154 |
10 |
|
|
Folksong Setting: "The hero may perish",
air: "The fox’s sleep"; #10 of
12 Irish songs |
1813 |
|
words: William Smyth; another setting - WoO
156 #8 |
| 154 |
11 |
|
|
Folksong Setting: "The Soldier in a Foreign
Land", "The piper who sat on his low
mossy seat", air: "The Brown Maid";
#11 of 12 Irish songs |
1813 |
|
words: Joanna Baillie; another version is Hess
199 |
| 154 |
12 |
|
|
Folksong Setting: "He promis’d me
at parting", air: "Killeavy"; #12
of 12 Irish songs |
1813 |
|
words: William Smyth |
| 155 |
1 |
|
|
Folksong Setting: "Chase of the Wolf"
or "Sion, the Son of Evan", "Hear
the shouts of Evan’s son"; #1 of 26
Welsh songs |
1810 |
|
words: Anne Grant |
| 155 |
2 |
|
|
Folksong Setting: "The Monks of Bangor’s
March", "When the heathen trumpet’s
clang"; #2 of 26 Welsh songs |
1810 |
|
words: Sir Walter Scott |
| 155 |
3 |
|
|
Folksong Setting: "The Cottage Maid",
"I envy not the splendour fine"; #3
of 26 Welsh songs |
1810 |
|
words: William Smyth; variations on this air:
Op 105 #1
|
| 155 |
4 |
|
|
Folksong Setting: "Love without Hope",
"Her features speak the warmest heart";
#4 of 26 Welsh songs |
1810 |
|
words: John Richardson |
| 155 |
5 |
|
|
Folksong Setting: "The Golden Robe",
"A golden robe my Love shall wear";
#5 of 26 Welsh songs |
1810 |
|
words: Anne Hunter |
| 155 |
6 |
|
|
Folksong Setting: "The Fair Maid of Mona",
"How, my love, could hapless doubts o’ertake
thee"; #6 of 26 Welsh songs |
1810 |
|
words: William Smyth |
| 155 |
7 |
|
|
Folksong Setting: "O let the night my blushes
hide"; #7 of 26 Welsh songs |
1810 |
|
words: William Smyth |
| 155 |
8 |
|
|
Folksong Setting: "Farewell, thou noisy
town"; #8 of 26 Welsh songs |
1810 |
|
words: William Smyth |
| 155 |
9 |
|
|
Folksong Setting: "To the Aeolian Harp",
"Harp of the winds"; #9 of 26 Welsh
songs |
1810 |
|
words: Anne Hunter |
| 155 |
10 |
|
|
Folksong Setting: "Ned Pugh’s Farewell",
"To leave my dear girl, my country, and friends";
#10 of 26 Welsh songs |
1810 |
|
words: Anne Hunter |
| 155 |
11 |
|
|
Folksong Setting: "Merch Megan, or Peggy’s
Daughter"1 "In the white cot where Peggy
dwells"; #11 of 26 Welsh songs |
1810 |
|
words: Anne Hunter; variations on this air:
Op 107 #6 |
| 155 |
12 |
|
|
Folksong Setting: "Waken, lords and ladies
gay"; #12 of 26 Welsh songs |
1810 |
|
words: Sir Walter Scott |
| 155 |
13 |
|
|
Folksong Setting: "Helpless Woman",
"How cruel are the parents"; #13 of
26 Welsh songs |
1810 |
|
words: Robert Burns |
| 155 |
14 |
|
|
Folksong Setting: "The Dream", "Last
night worn with anguish"; #14 of 26 Welsh
songs |
1810 |
|
words: David ap Gwillim |
| 155 |
15 |
|
|
Folksong Setting: "When mortals all to
rest retire" (English); #15 of 26 Welsh songs |
1813 |
|
words: William Smyth |
| 155 |
16 |
|
|
Folksong Setting: "The Damsels of Cardigan",
"Fair Tivy"; #16 of 26 Welsh songs |
1810 |
|
words: W Jones |
| 155 |
17 |
|
|
Folksong Setting: "The Dairy House",
"A spreading hawthorn shades the seat";
#17 of 26 Welsh songs |
1810 |
|
words: Anne Hunter |
| 155 |
18 |
|
|
Folksong Setting: "Sweet Richard",
"Yes, thou art chang’d since first we
met"; #18 of 26 Welsh songs |
1810 |
|
words: Opie |
| 155 |
19 |
|
|
Folksong Setting: "The Vale of Clwyd",
"Think not I’ll leave"; #19 of
26 Welsh songs |
1810 |
|
words: Opie |
| 155 |
20 |
|
|
Folksong Setting: "To the Blackbird",
"Sweet warbler of a strain divine";
#20 of 26 Welsh songs |
1813 |
|
words: David ap Gwillim; replacement setting
of Hess 206 |
| 155 |
21 |
|
|
Folksong Setting: "Cupid’s Kindness",
"Dear brother"; #21 of 26 Welsh songs |
1810 |
|
words: William Smyth |
| 155 |
22 |
|
|
Folksong Setting: "Constancy", "Tho’
cruel fate should bid us part"; #22 of 26
Welsh songs |
1810 |
|
words: Robert Burns |
| 155 |
23 |
|
|
Folksong Setting: "The Old Strain",
"My pleasant home beside the Dee!";
#23 of 26 Welsh songs |
1810 |
|
words: William Smyth |
| 155 |
24 |
|
|
Folksong Setting: "Three Hundred Pounds",
"In yonder snug cottage"; #24 of 26
Welsh songs |
1810 |
|
words: Richard Litwyd |
| 155 |
25 |
|
|
Folksong Setting: "The Parting Kiss",
"Laura, thy sighs must now no more";
#25 of 26 Welsh songs |
1815 |
|
words: William Smyth |
| 155 |
26 |
|
|
Folksong Setting: "Good Night", "Ere
yet we slumber seek"; #26 of 26 Welsh songs |
1810 |
|
words: W R Spencer |
| 156 |
1 |
|
|
Folksong Setting: "The Banner of Buccleuch",
"From the brown crest of Newark"; #1
of 12 Scottish songs |
1819 |
|
words: Sir Walter Scott |
| 156 |
2 |
|
|
Folksong Setting: "Duncan Gray", "Duncan
Gray came here to woo"; #2 of 12 Scottish
songs |
1818 |
|
words: Robert Burns |
| 156 |
3 |
|
|
Folksong Setting: "Up! quit thy bower";
#3 of 12 Scottish songs |
1819 |
|
words: Joanna Baillie |
| 156 |
4 |
|
|
Folksong Setting: "Ye shepherds of this
pleasant vale"; #4 of 12 Scottish songs |
1818 |
|
words: William Hamilton |
| 156 |
5 |
|
|
Folksong Setting: "Cease your funning";
#5 of 12 Scottish songs |
1817 |
|
Words: Gay; not Scottish, derived from "The
Beggar’s Opera" |
| 156 |
6 |
|
|
Folksong Setting: "Highland Harry",
"My Harry was a gallant gay"; #6 of
12 Scottish songs |
1815 |
|
words: Robert Burns |
| 156 |
7 |
|
|
Folksong Setting: "Polly Stewart",
"O lovely Polly Stewart"; #7 of 12 Scottish
songs |
1818 |
|
words: Robert Burns |
| 156 |
8 |
|
|
Folksong Setting: "Womankind", "The
hero may perish his country to save"; #8
of 12 Scottish songs |
1818 |
|
another setting - WoO 154 #10 |
| 156 |
9 |
|
|
Folksong Setting: "Lochnagar", "Away
ye gay landscapes"; #9 of 12 Scottish songs |
1818 |
|
words: Lord Byron |
| 156 |
10 |
|
|
Folksong Setting: "Glencoe", "O
tell us, Harper"; #10 of 12 Scottish songs |
1819 |
|
words: Sir Walter Scott |
| 156 |
11 |
|
|
Folksong Setting: "Auld Lang Syne"
"Should auld acquaintance be forgot";
#11 of 12 Scottish songs |
1818 |
|
words: Robert Burns |
| 156 |
12 |
|
|
Folksong Setting: "The Quaker’s Wife",
"Dark was the morn and black the sea";
#12 of 12 Scottish songs |
1818 |
|
words: Mr. Hunter |
| 157 |
1 |
|
|
Folksong Setting: "God Save the King",
"God save our Lord the King" (English);
#1 of 12 assorted folk songs |
1817 |
|
words: Henry Carey; variations on this air:
WoO 78 |
| 157 |
2 |
|
|
Folksong Setting: "The Soldier", "Then,
Soldier! come" (Irish); #2 of 12 assorted
folk songs |
1815 |
|
words: William Smyth |
| 157 |
3 |
|
|
Folksong Setting: "Charlie is my darling"
(Scottish); #3 of 12 assorted folk songs |
1819 |
|
|
| 157 |
4 |
|
|
Folksong Setting: "O sanctissima"
(Sicilian); #4 of 12 assorted folk songs |
1817 |
|
|
| 157 |
5 |
|
|
Folksong Setting: "The Miller of Dee",
"There was a jolly miller once" (English);
#5 of 12 assorted folk songs |
1819 |
|
|
| 157 |
6 |
|
|
Folksong Setting: "A health to the brave"
(Irish); #6 of 12 assorted folk songs |
1815 |
|
words: John Dovaston |
| 157 |
7 |
|
|
Folksong Setting: "Robin Adair", "Since
all thy vows, false maid" (Irish); #7 of
12 assorted folk songs |
1815 |
|
words: Anonymous |
| 157 |
8 |
|
|
Folksong Setting: "By the side of the Shannon"
(Irish); #8 of 12 assorted folk songs |
1815 |
|
words: William Smith |
| 157 |
9 |
|
|
Folksong Setting: "Highlander’s Lament",
"My Harry was a gallant gay" (Scottish);
#9 of 12 assorted folk songs |
1820 |
|
words: Robert Burns |
| 157 |
10 |
|
|
Folksong Setting: "Sir Johnnie Cope"
(Scottish); #10 of 12 assorted folk songs |
1817 |
|
old Jacobite song |
| 157 |
11 |
|
|
Folksong Setting: "The Wandering Minstrel",
"I am bow’d down" (Irish); #11
of 12 assorted folk songs |
1815 |
|
words: William Smyth |
| 157 |
12 |
|
|
Folksong Setting: "La gondoletta",
"La biondina in gondoletta" (Venetian);
#12 of 12 assorted folk songs |
1816 |
|
|
| 158 |
1 |
|
|
Folksong Setting: "Ridder Stigs Runer"
(Danish) WoO 158a; #1 of 23 continental folk songs |
1817 |
|
|
| 158 |
2 |
|
|
Folksong Setting: "Horch auf, mein Liebchen"
(German) WoO 158a; #2 of 23 continental folk songs |
1816 |
|
|
| 158 |
3 |
|
|
Folksong Setting: "Wegen meiner blieb d’Fräula"
(German) WoO 158a; #3 of 23 continental folk songs |
1816 |
|
|
| 158 |
4 |
|
|
Folksong Setting: "Wann i in der Früh
aufsteh" (Tyrolean) WoO 158a; #4 of 23 continental
folk songs |
1816 |
|
|
| 158 |
5 |
|
|
Folksong Setting: "Teppichkrämer-Lied";
"I bin a Tyroler Bua" (Tyrolean) WoO
158a; #5 of 23 continental folk songs |
1816 |
|
variations on this air: Op 107 #1 |
| 158 |
6 |
|
|
Folksong Setting: "A Madel, ja a Madel"
(Tyrolean) WoO 158a; #6 of 23 continental folk
songs |
1816 |
|
variations on this air: Op 107 #5 |
| 158 |
7 |
|
|
Folksong Setting: "Wer solche Buema afipackt"
(Tyrolean) WoO 158a; #7 of 23 continental folk
songs |
1817 |
|
|
| 158 |
8 |
|
|
Folksong Setting: "Ih mag di nit nehma,
du töppeter Hecht" (Tyrolean) WoO 158a;
#8 of 23 continental folk songs |
1817 |
|
|
| 158 |
9 |
|
|
Folksong Setting: "Oj, oj upilem sie w
karczmie" (Polish) WoO 158a; #9 of 23 continental
folk songs |
1816 |
|
|
| 158 |
10 |
|
|
Folksong Setting: "Poszla baba po popiol"
(Polish) WoO 158a; #10 of 23 continental folk
songs |
1816 |
|
|
| 158 |
11 |
|
|
Folksong Setting: "Yo no quiero embarcarme"
(Iberian) WoO 158a; #11 of 23 continental folk
songs |
1816 |
|
|
| 158 |
12 |
|
|
Folksong Setting: "Seus lindos olhos"
(Portuguese) WoO 158a; #12 of 23 continental folk
songs |
1816 |
|
|
| 158 |
13 |
|
|
Folksong Setting: "Vo lesocke komarockov
mnogo urodilos" (Im Walde sind viele Mücklein
geboren) (Russian) WoO 158a; #13 of 23 continental
folk songs |
1816 |
|
|
| 158 |
14 |
|
|
Folksong Setting: "Akh, recen’ki,
recen’ki" (Ach Bächlein, Bächlein,
kühle Wasser) (Russian) WoO 158a; #14 of
23 continental folk songs |
1816 |
|
|
| 158 |
15 |
|
|
Folksong Setting: "Kak Posli nasi podruzki"
(As They Went) (Unsere Mädchen gingen in
den Wald) (Russian) WoO 158a; #15 of 23 continental
folk songs |
1816 |
|
|
| 158 |
16 |
|
|
Folksong Setting: "Schöne Minka, ich
muß scheiden" (Ukrainian-Cossack) WoO
158a; #16 of 23 continental folk songs |
1816 |
|
variations on this air: Op 107 #7 |
| 158 |
17 |
|
|
Folksong Setting: "Lilla Carl", Vaggvisa
(Swedish lullaby) WoO 158a; #17 of 23 continental
folk songs |
1817 |
|
words: C M Bellmann |
| 158 |
18 |
|
|
Folksong Setting: "An ä Bergli bin
i gesässe" (Swiss) WoO 158a; #18 of
23 continental folk songs |
1816 |
|
|
| 158 |
19 |
|
|
Folksong Setting: "Una paloma blanca"
(Spanish Bolero a Solo) WoO 158a; #19 of 23 continental
folk songs |
1816 |
|
|
| 158 |
20 |
|
|
Folksong Setting: "Como la mariposa soy"
(Spanish Bolero a due) WoO 158a; #20 of 23 continental
folk songs |
1816 |
|
Hess 207 is the first version of the coda |
| 158 |
21 |
|
|
Folksong Setting: "Tiranilla Española"
(Spanish); "La tiranna se embarca" WoO
158a; #21 of 23 continental folk songs |
1816 |
|
|
| 158 |
22 |
|
|
Folksong Setting: "Édes kinos emlékezet",
"Magyar Szüretötö Enek"
(Hungarian grape harvest song) WoO 158a; #22 of
23 continental folk songs |
1817 |
|
|
| 158 |
23 |
|
|
Folksong Setting: "Da brava, Catina"
(Venetian) WoO 158a; #23 of 23 continental folk
songs |
1816 |
|
|
| 158 |
1 |
|
|
Folksong Setting in A major: "Adieu, my
lov’d harp" (Irish) WoO 158b; #1 of
7 British folk songs |
1813 |
|
words: Moore |
| 158 |
2 |
|
|
Folksong Setting in E flat major: "Castle
O’Neill" (Irish), without words, WoO
158b; #2 of 7 British folk songs |
1813 |
|
|
| 158 |
3 |
|
|
Folksong Setting: "Oh ono chri!" (Scottish)
"O was not I a weary wight" WoO 158b;
#3 of 7 British folk songs |
1817 |
|
|
| 158 |
4 |
|
|
Folksong Setting: "Red gleams the sun on
yon hill tap" (Scottish) WoO 158b; #4 of
7 British folk songs |
1817 |
|
|
| 158 |
5 |
|
|
Folksong Setting in G major: "Erin! O Erin!"
(Scottish-Irish) "Like the bride lamp that
lay" WoO 158b; #5 of 7 British folk songs |
1815 |
|
|
| 158 |
6 |
|
|
Folksong Setting: "O Mary ye’s be
clad in silk" (Scottish) WoO 158b; #6 of
7 British folk songs |
1815 |
|
|
| 158 |
7 |
|
|
Folksong Setting: "Lament for Owen Roe
O’Neill" (Irish) without words, WoO
158b; #7 of 7 British folk songs |
1810 |
|
|
| 158 |
1 |
|
|
Folksong Setting in E minor: "When my Hero
in court appears" WoO 158c; #1 of 6 assorted
folk songs |
1817 |
|
words: John Gay |
| 158 |
2 |
|
|
Folksong Setting in B major: "Air de Colin"
from Rousseau’s "Le Devin du Village";
"Non, non, Colette n’est point trompeuse"
WoO 158c; #2 of 6 assorted folk songs |
1817 |
|
words: Rousseau |
| 158 |
3 |
|
|
Folksong Setting in B major: "Mark yonder
pomp of costly fashion" (Scottish) WoO 158c;
#3 of 6 assorted folk songs |
1820 |
|
words: Robert Burns |
| 158 |
4 |
|
|
Folksong Setting in A major: "Bonnie wee
thing" (Scottish) for 3 voices and piano
WoO 158c; #4 of 6 assorted folk songs |
1820 |
|
words: Robert Burns |
| 158 |
5 |
|
|
Folksong Setting in B flat major: "From
thee, Eliza, I must go" (Scottish) for 3
voices and piano trio WoO 158c; #5 of 6 assorted
folk songs |
1818 |
|
words: Robert Burns |
| 158 |
6 |
|
|
Folksong Setting in E minor: Untitled (Scottish)
without words, WoO 158c; #6 of 6 assorted folk
songs |
1810 |
|
|
| 158 |
|
|
|
Folksong Setting in F major: "Air Français"
(French) WoO 158d |
|
|
|
| 159 |
|
|
|
3-part Canon in F major: "Im Arm der Liebe
ruht sich’s wohl" |
1795 |
|
counterpoint study for Albrechtsberger |
| 160 |
1 |
|
|
3-part Canon in G major: for Three Unison Voices
(Allegretto) without Text |
1795 |
|
counterpoint study for Albrechtsberger |
| 160 |
2 |
|
|
4-part Canon: for Four Unison Voices (Moderato)
without Text |
1795 |
|
counterpoint study for Albrechtsberger |
| 161 |
|
|
|
3-part Canon in C major: "Ewig dein!"
(Forever thine!) |
1811 |
|
|
| 162 |
|
|
|
4-part Canon in B flat major: "Ta ta ta,
lieber Mälzel"; authorship: spurious |
1812 |
|
apparently written by Anton Schindler |
| 163 |
|
|
|
3-part Canon in F minor: "Kurz ist der
Schmerz, und ewig ist die Freude" (Suffering
is transitory, but joy is eternal) (1st setting) |
1813 |
written for Johann Friedrich Naue |
words: Friedrich von Schiller; other setting
is WoO 166 |
| 164 |
|
|
|
3-part Canon in C major: "Freundschaft
ist die Quelle wahrer Glückseligkeit"
(Friendship is the source of true bliss) |
1814 |
|
|
| 165 |
|
|
|
4-part Canon: "Glück zum neuen Jahr!"
(1st setting) |
1815 |
written for Baron Johann Baptist von Pasqualati |
other setting is WoO 176 |
| 166 |
|
|
|
3-part Canon in F major: "Kurz ist der
Schmerz, und ewig ist die Freude" (Suffering
is transitory, but joy is eternal) (2nd setting) |
1815 |
written for Louis Spohr |
words: Friedrich von Schiller; other setting
is WoO 163 |
| 167 |
|
|
|
3-part Canon in C major: "Brauchle, Linke" |
1815 |
|
|
| 168 |
1 |
|
|
3-part Riddle Canon in F major: "Das Schweigen",
"Lerne Schweigen, o Freund" |
1816 |
written for Charles Neate |
words: Johann Gottfried Herder |
| 168 |
2 |
|
|
3-part Canon in F major: "Das Reden",
"Rede, wenn’s um einen Freund dir gilt" |
1816 |
written for Charles Neate |
|
| 169 |
|
|
|
2-part Riddle Canon in C major: "Ich küße
Sie, drücke Sie an mein Herz" |
1816 |
written for Anna Milder-Hauptmann |
|
| 170 |
|
|
|
2-part Canon in C major: "Ars longa, vita
brevis" (first version) |
1816 |
written for Johann Nepomuk Hummel |
words: Seneca; other versions are WoO 192 &
WoO 193 |
| 171 |
|
|
|
4-part Canon in G major: "Glück fehl’
dir vor allem!"; authorship: spurious |
1817 |
written for Anna Giannatasio del Rio |
actually written by Michael Haydn |
| 172 |
|
|
|
3-part Canon in E flat major: "Ich bitt’
dich, schreib’ mir die Es-Scala auf" |
1818 |
written for Vincent Hauschka |
|
| 173 |
|
|
|
2-part Riddle Canon in B flat major: "Hol’
euch der Teufel! B’hüt euch Gott!" |
1819 |
written for Sigmund Anton Steiner |
|
| 174 |
|
|
|
4-part Canon in B flat major: "Glaube und
hoffe" |
1819 |
written for Moritz Schlesinger |
|
| 175 |
|
|
|
4-part Riddle Canon: "Sankt Petrus war
ein Fels/ Bernardus war ein Sankt" |
1820 |
written for Carl Peters & Carl Bernard |
|
| 176 |
|
|
|
3-part Canon in F major: "Glück zum
neuen Jahr!" (2nd setting) |
1819 |
written for Countess Anna Marie Erdödy |
other setting is WoO 165 |
| 177 |
|
|
|
Canon in E major: "Bester Magistrat, Ihr
friert"; canon for 2 male voices & 2
double-basses |
1820 |
|
|
| 178 |
|
|
|
3-part Canon in B flat major: "Signor Abate" |
1820 |
written for Abbé Maximilian Stadler |
|
| 179 |
|
|
|
Intro & 4-part Canon in C major: "Seiner
Kaiserlichen Hoheit...alles Gute, alles Schöne" |
1819 |
written for Archduke Rudolph of Austria |
|
| 180 |
|
|
|
2-part Canon in C major: "Auf einen, welcher
Hoffmann geheißen"; "Hoffmann,
sei ja kein Hofmann" |
1820 |
|
|
| 181 |
1 |
|
|
4-part Canon in C major: "Gedenket heute
an Baden" |
1820 |
|
|
| 181 |
2 |
|
|
4-part Canon in C major: "Gehabt euch wohl" |
1820 |
|
|
| 181 |
3 |
|
|
3-part Canon in C major: "Tugend ist kein
leerer Name" |
1820 |
|
|
| 182 |
|
|
|
3-part Canon in D minor: "O Tobias!" |
1821 |
written for Tobias Haslinger |
|
| 183 |
|
|
|
4-part Canon in F major: "Bester Herr Graf,
Sie sind ein Schaf" |
1823 |
written for Count Moritz Lichnowsky |
|
| 184 |
|
|
|
5-part Canon in G major: "Falstafferel,
lass dich sehen!" |
1823 |
written for Ignaz Schuppanzigh |
|
| 185 |
|
|
|
6-part Canon: "Edel sei der Mensch, hülfreich
und gut" |
1823 |
written for Louis Schlösser |
words: Goethe; two versions, in E major &
E flat majpr |
| 186 |
|
|
|
2-part Canon in E flat major: "Te solo
adoro" |
1824 |
written for Carlo Soliva |
words: Pietro Metastasio; on same text as Hess
263 & Hess 264 |
| 187 |
|
|
|
4-part Canon in F major: "Auf einen, welcher
Schwenke geheißen"; "Schwenke dich
ohne Schwänke" |
1824 |
written for Carl Schwencke |
|
| 188 |
|
|
|
2-part Riddle Canon in B flat major: "Gott
ist eine feste Burg" |
1825 |
written for Oberst von Duterlohe |
|
| 189 |
|
|
|
4-part Canon in C major: "Doktor, sperrt
das Tor dem Tod" |
1825 |
written for Anton Braunhofer |
|
| 190 |
|
|
|
2-part Canon in C major: "Ich war hier,
Doktor, ich war hier" |
1825 |
written for Anton Braunhofer |
|
| 191 |
|
|
|
3-part Canon in B flat major: "Kühl,
nicht lau" |
1825 |
written for Friedrich Kuhlau |
on the name "Bach" |
| 192 |
|
|
|
4-part Riddle Canon in F major: "Ars longa,
vita brevis" (second version) |
1825 |
written for Sir George Smart |
words: Seneca; other versions are WoO 170 &
WoO 193 |
| 193 |
|
|
|
Riddle Canon in C major: "Ars longa, vita
brevis" (third version) |
1825 |
|
words: Seneca; other versions are WoO 170 &
WoO 192 |
| 194 |
|
|
|
Riddle Canon in F major: "Si non per portas,
per muros" |
1825 |
written for Moritz Schlesinger |
|
| 195 |
|
|
|
2-part Canon in A minor: "Freu dich des
Lebens" |
1825 |
written for Theodor Molt |
|
| 196 |
|
|
|
4-part Riddle Canon in F major: "Es muß
sein!" |
1826 |
written for Ignaz Dembscher |
|
| 197 |
|
|
|
5-part Canon in C major: "Das ist das Werk,
sorgt um das Geld!" |
1826 |
written for Karl Holz |
|
| 198 |
|
|
|
2-part Riddle Canon in C major: "Wir irren
allesamt" |
1826 |
written for Karl Holz |
|
| 199 |
|
|
|
Joke in D major: "Ich bin der Herr von
zu" (I am the man for you) |
1814 |
written for Archduke Rudolph of Austria |
joke intended for the Archduke |
| 200 |
|
|
|
Piece for Piano in G major: "O Hoffnung!" |
1818 |
written for Archduke Rudolph of Austria |
written as a theme for Archduke Rudolph, who
composed forty variations on it |
| 201 |
|
|
|
Joke in C major: "Ich bin bereit! Amen"
(I am ready), beginning of a double fugue |
1818 |
written for Vincent Hauschka |
Letter 903 |
| 202 |
|
|
|
Riddle Canon in F major: "Das Schöne
zum Guten!", musical motto (1st version) |
1823 |
written for Marie Pachler-Koschak |
other version is WoO 203 |
| 203 |
|
|
|
Riddle Canon in A major: "Das Schöne
zu dem Guten!", musical motto (2nd version) |
1825 |
written for Ludwig Rellstab |
Letter 1366b; other version is WoO 202 |
| 204 |
|
|
|
Joke in D minor: "Holz, Holz, geigt die
Quartette so" (Holz, Holz, you play the quartets
as if you were chopping cabbage) |
1825 |
|
in Conversation Book of September 1825 |
| 205 |
1 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Baron, Baron, Baron", #1 of 10 musical
greetings |
1798 |
written for Nikolaus Zmeskall |
Letter 29 |
| 205 |
2 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Allein, allein, allein, jedoch. Silentium!!",
#2 of 10 musical greetings |
1814 |
written for Count Moritz Lichnowsky |
Letter 498 |
| 205 |
3 |
|
|
Musical greetings for Solo Voice(s) in A minor:
"O Adjutant", #3 of 10 musical greetings |
1817 |
written for Tobias Haslinger |
Letter 742 |
| 205 |
4 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Wo? Wo?", #4 of 10 musical greetings |
1817 |
written for Nanette Streicher |
Letter 789 or 792 |
| 205 |
5 |
|
|
Musical greetings for Solo Voice(s) in D major:
"Erfüllung, Erfüllung", #5
of 10 musical greetings |
1819 |
written for Archduke Rudolph of Austria |
Letter 948 |
| 205 |
6 |
|
|
Musical greetings for Solo Voice(s) in F major:
"Scheut euch nicht", #6 of 10 musical
greetings |
1822 |
written for George Friedrich Treitschke |
Letter 1068 |
| 205 |
7 |
|
|
Musical greetings for Solo Voice(s) in E major:
"Tobias! Paternostergäßler. Tobias!
Paternostergäßlerischer, Bierhäuslerischer
musikalischer Philister!", #7 of 10 musical
greetings |
1824 |
written for Tobias Haslinger |
Letter 1312 |
| 205 |
8 |
|
|
Musical greetings for Solo Voice(s) in D major:
"Tobias Tobias", #8 of 10 musical greetings |
1825 |
written for Tobias Haslinger |
Letter 1365 |
| 205 |
9 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Bester To----(bias)", #9 of 10 musical
greetings |
1826 |
written for Tobias Haslinger |
Letter 1534 |
| 205 |
10 |
|
|
Musical greetings for Solo Voice(s) in C major:
"Erster aller Tobiasse", #10 of 10 musical
greetings |
1826 |
written for Tobias Haslinger |
Letter 1536 |
Beethoven's
music without Opus number - WoO