|
Biamonti |
Same As |
Midi |
Mp3 |
Name |
Composition Dates |
Notes |
|
Bia. 1 |
WoO 63, Grove 176 |
 |
|
9 Variations for Piano in C minor:
on a march by Ernst Christoph Dressler |
1782 |
dedicated to Countess Wolf-Metternich |
|
Bia. 2 |
WoO 47 #1, Grove 161 |
|
|
Piano Sonata in E flat major: "Kurfürstensonate"
(Electoral) #1 |
1783 |
dedicated to Archbishop Maximilian
Friedrich of Cologne |
|
Bia. 2 |
WoO 47 #2, Grove 161 |
|
|
Piano Sonata in F minor: "Kurfürstensonate"
(Electoral) #2 |
1783 |
dedicated to Archbishop Maximilian
Friedrich of Cologne |
|
Bia. 2 |
WoO 47 #3, Grove 161 |
|
|
Piano Sonata in D major: "Kurfürstensonate"
(Electoral) #3 |
1783 |
dedicated to Archbishop Maximilian
Friedrich of Cologne |
|
Bia. 3 |
Hess 46 |
|
|
Sonata for Piano & Violin in
A major; authorship: unfinished |
1790 - 1792 |
fragments |
|
Bia. 4 |
WoO 48, Hess 51 |
|
|
Rondo for Piano in C major |
1783 |
|
|
Bia. 5 |
WoO 49, Grove 164 |
|
|
Rondo for Piano in A major |
1783 |
|
|
Bia. 6 |
WoO 31 |
|
|
Fugue for Organ in D major |
1783 |
|
|
Bia. 7 |
WoO 107, Grove 229 |
|
|
Song: "Schilderung eines Mädchens";
"Schildern, willst du Freund, soll ich dir
Elisen?" |
1782 |
words: Anonymous |
|
Bia. 8 |
Hess 48 |
|
 |
Allegretto for Piano Trio in E flat
major |
1790 - 1792 |
|
|
Bia. 9 |
WoO 108, Grove 230 |
|
|
Song in A major: "An einen
Säugling"; "Noch weisst du nicht,
wes Kind du bist" |
1783 |
words: Johann von Döring |
|
Bia. 10 |
WoO 4 |
|
|
Concerto for Piano & Orchestra
in E flat major; authorship: reconstruction |
1784 |
Only the piano part, with orchestral
cues, survives; reconstruction by Willy Hess |
|
Bia. 11 |
Hess 298 |
|
|
Sketch in C minor: sketch for a
movement of a Symphony; authorship: unfinished |
1791 - 1793 |
theme used in the Piano Quartet
WoO 36 #1 |
|
Bia. 12 |
WoO 36 #1, Grove 152 |
|
|
Piano Quartet in E flat major |
1785 |
the theme of the Allegro corresponds
to a sketch for an early unfinished symphony (Hess
298) |
|
Bia. 12 |
WoO 36 #2, Grove 152 |
|
|
Piano Quartet in D major |
1785 |
|
|
Bia. 12 |
WoO 36 #3, Grove 152 |
|
|
Piano Quartet in C major |
1785 |
some of this used in Piano Sonatas
Opus 2 #1 and Opus 2 #3 |
|
Bia. 13 |
WoO 109 |
|
|
Song in C major: "Trinklied
(beim Abschied zu singen)"; "Erhebt
das Glas mit froher Hand" |
1791 - 1792 |
words: Anonymous |
|
Bia. 14 |
WoO 110 |
|
|
Song in F minor: "Elegie auf
den Tod eines Pudels"; "Stirb immerhin,
es welken ja so viele der Freuden" |
1790 |
words: Anonymous |
|
Bia. 15 |
|
|
|
Song: "Der Arme Componist"
(The Poor Composer) |
1788 - 1791 |
|
|
Bia. 16 |
|
|
|
Unknown Part for Cello; authorship:
probable |
|
cello part to the Lost Cadenza for
the Leopold Cantata WoO 88 |
|
Bia. 17 |
WoO 87, Grove 196 |
|
|
Cantata: "Trauerkantate auf
den Tod Joseph II" (on the Death of Joseph
II) |
1790 |
words: S. A. Averdonk |
|
Bia. 18 |
WoO 88, Grove 196 |
|
|
Cantata: "Kantate auf die Erhebung
Leopold II zur Kaiserwürde" (on the
Elevation of Leopold II to the Imperial Dignity) |
1790 |
words: S. A. Averdonk |
|
Bia. 19 |
WoO 37 |
|
|
Trio for Piano, Flute & Bassoon
in G major |
1786 - 1790 |
probably written for the Von Westerholt-Gysenberg
family |
|
Bia. 20 |
Hess 63 |
|
|
Piece for Piano: arrangement of
Chr.F.D.Schubart's "Kaplied" by Beethoven |
1789 |
|
|
Bia. 21 |
WoO 50, Hess 53 |
|
|
2 Sonata Movements for Piano in
F major |
1790 - 1792 |
dedicated to Franz Wegeler |
|
Bia. 22 |
WoO 111, Hess 126 |
|
|
Song in G major: "Punschlied";
"Wer nicht, wenn warm von Hand zu Hand" |
1791 - 1792 |
words: Anonymous |
|
Bia. 23 |
WoO 113 |
|
|
Song in E major: "Klage";
"Dein Silver schien durch Eichengrün" |
1790 |
words: Ludwig Hölty |
|
Bia. 24 |
Hess 55 |
|
|
Variations for Piano: on "Venni,
Amore" by Vincenzo Righini (first version) |
1790 - 1791 |
Recent discovery of the original
edition of 1791 shows it to be identical in almost
every respect to that of 1802 (WoO 65), and not
an earlier version after all, making this reference
superfluous. |
|
Bia. 25 |
WoO 64, Grove 183 |
|
|
6 Variations for Piano or Harp in
F major: on a Swiss air |
1790 - 1792 |
|
|
Bia. 26 |
WoO 54 |
|
|
Piece for Piano in C major: "Lustig
- traurig" (Merry - Sad) in C & c |
1802 |
|
|
Bia. 27 |
WoO 112, Hess 128 |
|
|
Song in G major: "An Laura";
"Freud’ umblühe dich auf allen
Wegen" |
1792 |
words: Friedrich von Matthisson;
Hess Anhang 21 is piano version (Beethoven’s
authorship doubtful) |
|
Bia. 28 |
WoO 89 |
|
|
Aria in F major: "Prüfung
des Küssens"; for bass & orchestra
"Meine weise Mutter spricht" |
1790 - 1792 |
words: Anonymous |
|
Bia. 28 |
WoO 90 |
|
|
Aria in D major: "Mit Mädeln
sich vertragen"; for bass & orchestra |
1790 - 1792 |
words: from Goethe’s Singspiel
"Claudine von Villa Bella" |
|
Bia. 29 |
WoO 1, Grove 149 |
|
|
Ballet Music: "Ritterballet",
music for a ballet of knights |
1790 - 1791 |
originally thought to have been
by Count Waldstein; piano arrangement is Hess
89 |
|
Bia. 30 |
Hess 89 |
|
|
Ballet Music for Piano: "Ritterballet" |
1791 |
"Ritterballet", WoO 1,
arranged for piano by Beethoven |
|
Bia. 31 |
WoO 38, Grove 153 |
|
|
Piano Trio in E flat major |
1785 - 1791 |
may have been originally intended
for Opus 1 |
|
Bia. 32 |
WoO 26, Hess 17 |
|
|
Duo for Flutes in G major: Allegro
and Minuet |
1792 |
dedicated to J.M. Degenhart |
|
Bia. 33 |
WoO 5, Hess 10, Grove 148 |
|
|
Fragment for Violin & Orchestra
in C major |
1790 - 1792 |
dedicated to Gerhard von Breuning;
fragment of first movement of a Concerto; originally
complete, but remainder lost; three completions
made |
|
Bia. 34 |
Op. 52 #1, Grove 52 |
|
|
Song: "Urians Reise um die
Welt"; "Wenn jemand eine Reise tut" |
1785 - 1793 |
words: Matthias Claudius; most of
the songs were written in the 1790s, but they
were probably revised shortly before publication |
|
Bia. 34 |
Op. 52 #2, Grove 52 |
|
|
Song: "Feuerfarb’";
"Ich weiß eine Farbe" |
1785 - 1793 |
words: Sophie Mereau; most of the
songs were written in the 1790s, but they were
probably revised shortly before publication |
|
Bia. 34 |
Op. 52 #3, Grove 52 |
|
|
Song: "Das Liedchen von der
Ruhe" (The Song of Rest); "Im Arm der
Liebe ruht sich’s wohl" |
1785 - 1793 |
words: Ueltzen; most of the songs
were written in the 1790s, but they were probably
revised shortly before publication |
|
Bia. 34 |
Op. 52 #4, Grove 52 |
|
|
Song: "Maigesang (Mailied)"
(Maysong); "Wie herrlich leuchtet mir dir
Natur"
|
1785 - 1793 |
words: Goethe; most of the songs
were written in the 1790s, but they were probably
revised shortly before publication; uses the theme
of WoO 91 #1 |
|
Bia. 34 |
Op. 52 #5, Grove 52 |
|
|
Song: "Mollys Abschied";
"Lebe wohl, du Mann" |
1785 - 1793 |
words: G A Bürger; most of
the songs were written in the 1790s, but they
were probably revised shortly before publication |
|
Bia. 34 |
Op. 52 #6, Grove 52 |
|
|
Song: "Die Liebe" (Love);
"Ohne Liebe lebe wer da kann" |
1785 - 1793 |
words: Lessing; most of the songs
were written in the 1790s, but they were probably
revised shortly before publication |
|
Bia. 34 |
Op. 52 #7, Grove 52 |
|
|
Song: "Marmotte"; "Ich
komme schon durch manches Land" |
1785 - 1793 |
words: Goethe; most of the songs
were written in the 1790s, but they were probably
revised shortly before publication |
|
Bia. 34 |
Op. 52 #8, Grove 52 |
|
|
Song: "Das Blümchen Wunderhold";
"Es blüht ein Blümchen irgendwo" |
1785 - 1793 |
words: Bürger; most of the
songs were written in the 1790s, but they were
probably revised shortly before publication |
|
Bia. 35 |
WoO 67, Grove 159 |
|
|
8 Variations for Piano Four Hands
in C major: on a theme by Count Ferdinand von
Waldstein |
1792 |
|
|
Bia. 36 |
WoO 51, Grove 162 |
|
|
Easy Piano Sonata in C major |
1791 - 1798 |
dedicated to 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 |
|
Bia. 37 |
WoO 66, Grove 178 |
|
|
13 Variations for Piano in A major:
on Dittersdorf’s arietta "Es war einmal
ein alter Mann" from "Das rote Käppchen" |
1792 |
|
|
Bia. 38 |
WoO 114 |
|
|
Song in E major: "Ein Selbstgespräch";
"Ich, der mit flatterndem Sinn" |
1793 |
words: J.W.L. Gleim |
|
Bia. 39 |
WoO 27 #1, Grove
147 |
|
|
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 |
|
Bia. 39 |
WoO 27 #2, Grove 147 |
|
|
Duo No. 2 for Clarinet & Bassoon
in F major; authorship: doubtful |
|
orig for clarinet & bassoon;
repub 1815 with violin/ cello version; accepted
as authentic in Kinsky, 1955, but listed as ‘probably
spurious’ in Kerman, 1983 |
|
Bia. 39 |
WoO 27 #3, Grove 147 |
|
|
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 |
|
Bia. 40 |
WoO 25, Grove 146 |
|
|
Rondino for Oboes, Clarinets, Horns
& Bassoons in E flat major |
1792 - 1793 |
intended at one time as finale to
the Octet Opus 103 |
|
Bia. 41 |
Op. 103, Grove 103 |
|
|
Octet for Oboes, Clarinets, Horns
& Bassoons in E flat major |
1792 - 1793 |
revised in 1796 as the String Quintet
Opus 4 |
|
Bia. 42 |
Hess 25 |
|
|
String Trio |
1793 |
possibly original finale to Trio
Opus 3 |
|
Bia. 43 |
|
|
|
Song: "Meine Mutter fragt mich
immer: trinkst du?"; authorship: unfinished |
1792 |
|
|
Bia. 44 |
WoO 116 #1, Hess 129 |
|
|
Song in C minor: "Que le temps
me dure" 1st version |
1793 |
words: Jean Jacques Rousseau; not
fully notated |
|
Bia. 44 |
WoO 116 #2, Hess 130 |
|
|
Song in C major: "Que le temps
me dure" 2nd version |
1793 |
words: Jean Jacques Rousseau; not
fully notated |
|
Bia. 45 |
WoO 115 |
|
|
Song in D major: "An Minna";
"Nur bei dir, an deinem Herzen" |
1792 |
words: Anonymous |
|
Bia. 46 |
WoO 40, Grove 156 |
|
|
12 Variations for Piano & Violin
in F major: on the theme "Se vuol ballare"
from Mozart’s opera "The Marriage of
Figaro" |
1792 - 1793 |
dedicated to Eleonore von Breuning |
|
Bia. 47 |
Hess 58 |
|
|
Exercise for Piano in B flat major |
1800 |
|
|
Bia. 47 |
Hess 59 |
|
|
Exercise for Piano in C major |
1792 - 1800 |
|
|
Bia. 48 |
|
|
|
Anglaise for Piano in G minor |
1792 |
|
|
Bia. 49 |
Hess 12 |
|
|
Concerto for Oboe & Orchestra
in F major: fragments |
1790 - 1793 |
lost, but sketch remains |
|
Bia. 50 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s)
in D Major: for a Song "Die Schwester der
Schicksal - Nacht und Träume"; authorship:
unfinished |
1792 - 1793 |
|
|
Bia. 51 |
Hess 151 |
|
|
Sketch for Solo Voice(s) & Instrument(s)
in D Major: sketch for a Song "Traute Henriette";
authorship: unfinished |
1792 - 1793 |
words: Anonymous |
|
Bia. 52 |
|
|
|
Andante for Piano in C major |
1794 |
|
|
Bia. 53 |
|
|
|
Sketch for Instrument(s) in A Major:
for a Bagatelle; authorship: unfinished |
1792 - 1793 |
|
|
Bia. 54 |
Hess 13 |
|
|
Romance for Piano, Flute, Bassoon
& Orchestra in E minor; authorship: reconstruction |
1786 |
completed by Willy Hess; fragment
for the slow movement of a larger work, possibly
for WoO 37, but more probably for a piece since
lost |
|
Bia. 55 |
|
|
|
Sketch for Piano & Orchestra
in D Major: intended for a Piano Concerto in A
major; authorship: unfinished |
1792 - 1793 |
|
|
Bia. 56 |
Hess 233 |
|
|
Exercise for Instrument(s): in Composition
for Haydn |
1792 - 1793 |
Same as Hess 233? |
|
Bia. 57 |
WoO 41, Grove 155 |
|
|
Rondo for Piano & Violin in
G major |
1793 - 1794 |
|
|
Bia. 58 |
WoO 99 #1, Hess 211 |
|
|
Duet in B flat major: "Bei
labbri, che Amore" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate La gelosia" |
|
Bia. 59 |
WoO 99 #5.2, Hess 227 |
|
|
Trio for Solo Voice(s) in C major:
"Giura il nocchier" (WoO 99/5b), 2 of
2 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Le gelosia" |
|
Bia. 60 |
WoO 99 #6, Hess 212 |
|
|
Trio for Solo Voice(s) in G major:
"Ma tu tremi, o mio tesoro" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate La tempesta" |
|
Bia. 61 #1 |
|
|
|
Sketch for Piano Trio in E Flat
Major; authorship: unfinished |
1793 - 1794 |
sketch for last movement of Piano
Trio, Opus 1 #1 |
|
Bia. 61 #2 |
|
|
|
Sketch for Piano Trio in C Minor;
authorship: unfinished |
1793 - 1794 |
sketch for last movement of Piano
Trio, Opus 1 #3 |
|
Bia. 62 |
Op. 1 #1, Grove 1 |
|
|
Piano Trio No. 1 in E flat major |
1792 - 1793 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 62 |
Op. 1 #2, Grove 1 |
|
|
Piano Trio No. 2 in G major |
1792 - 1794 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 62 |
Op. 1 #3, Grove 1 |
|
|
Piano Trio No. 3 in C minor |
1792 - 1794 |
dedicated to Prince Karl Lichnowsky;
later arranged for string quintet as Opus 104 |
|
Bia. 63 |
Op. 87, Grove 87 |
|
|
Trio for Oboes & English Horn
in C major |
1794 - 1795 |
|
|
Bia. 64 |
Hess 33 |
|
|
Minuet for String Quartet in A flat
major |
1790 - 1792 |
piano version is Hess 88 |
|
Bia. 65 |
Hess 88 |
|
|
Minuet for Piano in A flat major |
1790 - 1792 |
minuet in A flat for string quartet,
Hess 33, arranged for piano by Beethoven; a "Mineur"
exists for the piano version that does not for
the quartet |
|
Bia. 66 |
|
|
|
Minuet for Piano in F major |
1794 |
|
|
Bia. 67 |
Hess 64 |
|
|
3-part Fugue for Piano in C major |
1794 - 1795 |
|
|
Bia. 68 |
|
|
|
3 Fugue Subjects for Study |
1794 |
|
|
Bia. 69 |
|
|
|
3 Small Sketches for Study |
1794 |
Biamonti describes them as "canons",
Hess as "imitation movements" |
|
Bia. 70 |
|
|
|
Sketch for Instrument(s) in C Major;
authorship: unfinished |
1794 |
|
|
Bia. 71 |
|
|
|
Sketch for Instrument(s): of Contrapuntal
Exercise at the Octave; authorship: unfinished |
1794 |
|
|
Bia. 72 |
Op. 81 #2, Grove 81 |
|
|
Sextet for Horns, Violins, Viola
& Cello in E flat major: called Opus 81b |
1795 |
|
|
Bia. 73 |
|
|
|
Sketch in C Major: for a Symphony;
authorship: unfinished |
1794 - 1795 |
|
|
Bia. 74 |
|
|
|
Minuet for Piano in C major |
1795 |
|
|
Bia. 75 |
Hess 14 |
|
|
Fragment No. 2 for Piano & Orchestra
in B flat major; authorship: unfinished |
1794 - 1795 |
fragment of first movement first
version of the Piano Concerto #2 Opus 19 |
|
Bia. 76 |
Hess 78 |
|
|
Cadenza for Piano in C major |
1809 |
written for Anna Fröhlich;
for Piano Concerto #1, Opus 15 (second movement);
lost |
|
Bia. 76 |
Hess 79 |
|
|
Cadenza for Piano; authorship: unfinished |
1792 - 1796 |
sketches and fragments for cadenza
to first version of Piano Concerto #2, Opus 19 |
|
Bia. 77 |
WoO 117, Grove 233 |
|
|
Song in C major: "Der freie
Mann"; "Wer ist ein freier Mann?";
with unison chorus |
1792 - 1794 |
words: G.C. Pfeffel |
|
Bia. 78 |
WoO 120 |
|
|
Song in F major: "Man strebt,
die Flamme zu verhehlen" |
1800 - 1802 |
written for Frau von Weissenthurn;
words: Anonymous |
|
Bia. 79 |
WoO 118, Grove 254 |
|
|
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 |
|
Bia. 80 |
Hess 29 |
|
|
Prelude & Fugue for Violins
& Cello in E minor |
1794 - 1795 |
written during the studies with
Albrechtsberger |
|
Bia. 80 |
Hess 30 |
|
|
Prelude & Fugue for String Quartet
in F major |
1794 - 1795 |
written during the studies with
Albrechtsberger; also one of the exercises of
Hess 240 |
|
Bia. 80 |
Hess 31 |
|
|
Prelude & Fugue for String Quartet
in C major |
1794 - 1795 |
written during the studies with
Albrechtsberger |
|
Bia. 80 |
Hess 234 |
|
|
125 Exercises for Study: strict
counterpoint (2, 3 & 4 part) |
1794 - 1795 |
written for Albrechtsberger |
|
Bia. 80 |
Hess 235 |
|
|
26 Exercises for Study: free counterpoint
(2, 3 & 4 part) |
1794 - 1795 |
written for Albrechtsberger |
|
Bia. 80 |
Hess 236 #1 |
|
|
2-part Simple Fugue for Study in
D minor: strict; #1 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #2 |
|
|
2-part Simple Fugue for Study: strict;
in E phrygian; #2 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #3 |
|
|
2-part Simple Fugue for Study in
F major: strict; #3 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #4 |
|
|
2-part Simple Fugue for Study in
B flat major: strict; #4 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #5 |
|
|
2-part Simple Fugue for Study in
D minor: strict; #5 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #6 |
|
|
2-part Simple Fugue for Study in
E minor: strict; #6 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #7 |
|
|
2-part Simple Fugue for Study in
F major: strict; #7 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #8 |
|
|
2-part Simple Fugue for Study in
B flat major: strict; #8 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #9 |
|
|
2-part Simple Fugue for Study in
C major: strict; #9 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #10 |
|
|
2-part Simple Fugue for Study in
E minor: strict; #10 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #11 |
|
|
2-part Simple Fugue for Study in
F major: strict; #11 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 236 #12 |
|
|
2-part Simple Fugue for Study in
G major: strict; #12 of 18 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 237 #1 |
|
|
3-part Simple Fugue for Study in
G major: (strict); #1 of 7 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 237 #2 |
|
|
3-part Simple Fugue for Study in
F major: (strict); #2 of 7 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 237 #3 |
|
|
3-part Simple Fugue for Study in
E minor: (strict); #3 of 7 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 237 #4 |
|
|
3-part Simple Fugue for Study in
D minor: (strict); #4 of 7 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 237 #5 |
|
|
3-part Simple Fugue for Study in
B flat major: (strict); #5 of 7 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 238 #1 |
|
|
4-part Simple Fugue for Study in
E minor: (strict); #1 of 9 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 238 #2 |
|
|
4-part Simple Fugue for Study in
D minor: (strict); #2 of 9 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 238 #3 |
|
|
4-part Simple Fugue for Study in
C major: (strict); #3 of 9 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 238 #4 |
|
|
4-part Simple Fugue for Study in
A minor: (strict); #4 of 9 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 238 #5 |
|
|
4-part Simple Fugue for Study in
B flat major: (strict); #5 of 9 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 238 #6 |
|
|
4-part Simple Fugue for Study in
A minor: (strict); #6 of 9 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 239 #1 |
|
|
4-part Chorale Fugue for Study in
F major: #1 of 3 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 239 #2 |
|
|
4-part Chorale Fugue for Study in
D minor: #2 of 3 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 239 #3 |
|
|
4-part Chorale Fugue for Study in
G major: #3 of 3 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 240 |
|
|
4 Exercises for Study: double counterpoint
of the octave (2-voice) |
1794 - 1795 |
one fugue is separately cataloged
as Hess 30 |
|
Bia. 80 |
Hess 241 |
|
|
24 Exercises for Study: double counterpoint
of the octave and a third |
1794 - 1795 |
|
|
Bia. 80 |
Hess 242 |
|
|
6 Exercises for Study: double counterpoint
of the octave plus a fifth |
1794 - 1795 |
|
|
Bia. 80 |
Hess 243 #1 |
|
|
4-part Double Fugue for Study in
C major: #1 of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
Bia. 80 |
Hess 243 #2 |
|
|
4-part Double Fugue for Study in
F major: #2 of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
Bia. 80 |
Hess 243 #3 |
|
|
4-part Double Fugue for Study in
C major: #3 of 5 fugues in double counterpoint |
1794 - 1795 |
part of Prelude & Fugue for
String Quartet, Hess 31 |
|
Bia. 80 |
Hess 243 #4 |
|
|
4-part Double Fugue for Study in
C major: #4 of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
Bia. 80 |
Hess 243 #5 |
|
|
4-part Double Fugue for Study in
D minor: #5 of 5 fugues in double counterpoint |
1794 - 1795 |
|
|
Bia. 80 |
Hess 244 #1 |
|
|
4-part Triple Fugue for Study in
D minor: #1 of 2 fugues |
1794 - 1795 |
|
|
Bia. 80 |
Hess 244 #2 |
|
|
4-part Triple Fugue for Study in
F major: #2 of 2 fugues |
1794 - 1795 |
|
|
Bia. 81 |
Hess 246 |
|
|
4-part Double Fugue for Chorus in
F major: "Kyrie eleison"; authorship:
unfinished |
1794 - 1795 |
|
|
Bia. 82 |
Hess 245 |
|
|
Fragment for String Quartet in D
minor; authorship: unfinished |
1794 |
fragment of a Fugue; Biamonti 82
& 100 are duplicates |
|
Bia. 83 |
WoO 159, Grove 204 |
|
|
3-part Canon in F major: "Im
Arm der Liebe ruht sich’s wohl" |
1795 |
counterpoint study for Albrechtsberger |
|
Bia. 84 |
WoO 99 #8, Grove 231 |
|
|
Song in G major: "O care selve",
with unison chorus |
1794 - 1795 |
words: Pietro Metastasio; also published
separately - WoO 119 |
|
Bia. 84 |
WoO 119, Grove 231 |
|
|
Song in G major: "O care selve",
with unison chorus |
1794 - 1795 |
words: Pietro Metastasio; also part
of WoO 99 (#8) |
|
Bia. 85 |
WoO 160 #1, Hess 247 |
|
|
3-part Canon in G major: for Three
Unison Voices (Allegretto) without Text |
1795 |
counterpoint study for Albrechtsberger |
|
Bia. 86 |
WoO 160 #2, Hess 248 |
|
|
4-part Canon: for Four Unison Voices
(Moderato) without Text |
1795 |
counterpoint study for Albrechtsberger |
|
Bia. 87 |
Op. 2 #1, Grove 2 |
|
|
Piano Sonata No. 1 in F minor |
1793 - 1795 |
dedicated to Franz Joseph Haydn;
second movement uses material from the Piano Quartet
WoO 36 #3 |
|
Bia. 87 |
Op. 2 #2, Grove 2 |
|
|
Piano Sonata No. 2 in A major |
1794 - 1795 |
dedicated to Franz Joseph Haydn |
|
Bia. 87 |
Op. 2 #3, Grove 2 |
|
|
Piano Sonata No. 3 in C major |
1794 - 1795 |
dedicated to Franz Joseph Haydn;
first movement uses material from the Piano Quartet
WoO 36 #3 |
|
Bia. 88 |
WoO 7 #1, Grove 139 |
|
|
Minuet for Orchestra in D major:
#1 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #2, Grove 139 |
|
|
Minuet for Orchestra in B flat major:
#2 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #3, Grove 139 |
|
|
Minuet for Orchestra in G major:
#3 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #4, Grove 139 |
|
|
Minuet for Orchestra in E flat major:
#4 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #5, Grove 139 |
|
|
Minuet for Orchestra in C major:
#5 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #6, Grove 139 |
|
|
Minuet for Orchestra in A major:
#6 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #7, Grove 139 |
|
|
Minuet for Orchestra in D major:
#7 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #8, Grove 139 |
|
|
Minuet for Orchestra in B flat major:
#8 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #9, Grove 139 |
|
|
Minuet for Orchestra in G major:
#9 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #10, Grove 139 |
|
|
Minuet for Orchestra in E flat major:
#10 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #11, Grove 139 |
|
|
Minuet for Orchestra in C major:
#11 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 88 |
WoO 7 #12, Grove 139 |
|
|
Minuet for Orchestra in F major:
#12 of 12 Minuets for Orchestra |
1795 |
piano version is Hess 101 |
|
Bia. 89 |
WoO 8 #1, Grove 140 |
|
|
Dance for Orchestra in C major:
#1 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #2, Grove 140 |
|
|
Dance for Orchestra in A major:
#2 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #3, Grove 140 |
|
|
Dance for Orchestra in F major:
#3 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #4, Grove 140 |
|
|
Dance for Orchestra in B flat major:
#4 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #5, Grove 140 |
|
|
Dance for Orchestra in E flat major:
#5 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #6, Grove 140 |
|
|
Dance for Orchestra in G major:
#6 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #7, Grove 140 |
|
|
Dance for Orchestra in C major:
#7 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #8, Grove 140 |
|
|
Dance for Orchestra in A major:
#8 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #9, Grove 140 |
|
|
Dance for Orchestra in F major:
#9 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #10, Grove 140 |
|
|
Dance for Orchestra in D major:
#10 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #11, Grove 140 |
|
|
Dance for Orchestra in G major:
#11 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 89 |
WoO 8 #12, Grove 140 |
|
|
Dance for Orchestra in C major:
#12 of 12 German Dances |
1795 |
piano version is Hess 100 |
|
Bia. 90 |
WoO 69, Grove 179 |
|
|
9 Variations for Piano in A major:
on Giovanni Paisello’s air "Quant’
è più bello" from "La Molinara" |
1795 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 91 |
WoO 70, Grove 180 |
|
|
6 Variations for Piano in G major:
on the duet "Nel cor più non mi sento"
from Giovanni Paisello’s opera "La Molinara" |
1795 |
|
|
Bia. 92 |
Hess 101 |
|
|
12 Minuets for Piano |
1795 |
minuets for orchestra WoO 7, for
piano |
|
Bia. 93 |
Hess 100 |
|
|
12 German Dances for Piano |
1795 |
dances for orchestra WoO 8, for
piano |
|
Bia. 94 |
WoO 68, Grove 181 |
|
|
12 Variations for Piano in C major:
on the "Menuett à la Viganò"
from Jakob Haibel’s ballet "Le nozze
disturbate" |
1795 |
|
|
Bia. 95 |
|
|
|
Sketch for Piano; authorship: unfinished |
1795 |
|
|
Bia. 96 |
|
|
|
Sketch for Piano: for an Adagio
and Allegro; authorship: unfinished |
1795 |
lost |
|
Bia. 97 |
|
|
|
Sketch for Piano in E Flat Major:
for a Rondo; authorship: unfinished |
1795 |
lost |
|
Bia. 98 |
|
|
|
Sketch for Piano in E Flat Major:
for a Sonata; authorship: unfinished |
1795 |
lost |
|
Bia. 99 |
|
|
|
Sketch for Piano: for an Allegretto;
authorship: unfinished |
1795 |
lost |
|
Bia. 100 |
Hess 245 |
|
|
Fragment for String Quartet in D
Minor: fragment of Finale for Prelude ; authorship:
unfinished |
1795 |
fragment of Finale for Prelude;
Biamonti 82 & 100 are duplicates |
|
Bia. 101 |
WoO 9 #1, Hess 26 |
|
|
Minuet for Violins & Cello in
E flat major: #1 of 6 Minuets |
1795 |
|
|
Bia. 101 |
WoO 9 #2, Hess 26 |
|
|
Minuet for Violins & Cello in
G major: #2 of 6 Minuets |
1795 |
|
|
Bia. 101 |
WoO 9 #3, Hess 26 |
|
|
Minuet for Violins & Cello in
C major: #3 of 6 Minuets |
1795 |
|
|
Bia. 101 |
WoO 9 #4, Hess 26 |
|
|
Minuet for Violins & Cello in
F major: #4 of 6 Minuets |
1795 |
|
|
Bia. 101 |
WoO 9 #5, Hess 26 |
|
|
Minuet for Violin & Cello in
D major: #5 of 6 Minuets |
1795 |
|
|
Bia. 101 |
WoO 9 #6, Hess 26 |
|
|
Minuet for Violins & Cello in
G major: #6 of 6 Minuets |
1795 |
|
|
Bia. 102 |
WoO 10 #1, Grove 167 |
|
|
Minuet for Orchestra in C major:
#1 of 6 minuets; surviving piano version |
1795 |
|
|
Bia. 102 |
WoO 10 #2, Grove 167 |
|
|
Minuet for Orchestra in G major:
#2 of 6 minuets; surviving piano version |
1795 |
|
|
Bia. 102 |
WoO 10 #3, Grove 167 |
|
|
Minuet for Orchestra in E flat major:
#3 of 6 minuets; surviving piano version |
1795 |
|
|
Bia. 102 |
WoO 10 #4, Grove 167 |
|
|
Minuet for Orchestra in B flat major:
#4 of 6 minuets; surviving piano version |
1795 |
|
|
Bia. 102 |
WoO 10 #5, Grove 167 |
|
|
Minuet for Orchestra in D major:
#5 of 6 minuets; surviving piano version |
1795 |
|
|
Bia. 102 |
WoO 10 #6, Grove 167 |
|
|
Minuet for Orchestra in C major:
#6 of 6 minuets; surviving piano version |
1795 |
|
|
Bia. 103 |
WoO 6, Grove 151 |
|
|
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 |
|
Bia. 104 |
|
|
|
Sketch for Piano; authorship: unfinished |
1795 |
sketch for Piano Sonata #9, Opus
14 #1 |
|
Bia. 105 |
Op. 3, Grove 3 |
|
|
String Trio in E flat major |
1794 |
an incomplete piano trio arrangement
exists as Hess 47; also Hess 25 may be an earlier
version of the finale |
|
Bia. 106 |
Op. 5 #1, Grove 5 |
|
|
Sonata No. 1 for Piano & Cello
in F major |
1796 |
dedicated to King Friedrich Wilhelm
II of Prussia |
|
Bia. 106 |
Op. 5 #2, Grove 5 |
|
|
Sonata No. 2 for Piano & Cello
in G minor |
1796 |
dedicated to King Friedrich Wilhelm
II of Prussia |
|
Bia. 107 |
WoO 71, Grove 182 |
|
|
12 Variations for Piano in A major:
on a Russian dance from Paul Wranitsky’s
ballet "Das Waldmädchen" |
1796 - 1797 |
dedicated to Countess Anna Margarete
Browne |
|
Bia. 108 |
WoO 121 |
|
|
Song in G major: "Abschiedsgesang
an Wiens Bürger"; "Keine Klage
soll erschallen" |
1796 |
dedicated to Major von Kövesdy;
words: Josef von Friedelberg |
|
Bia. 109 |
WoO 99 #7.1, Hess 217 |
|
|
Quartet for Solo Voice(s) in C major:
"Nei campi e nelle selve" (WoO 99/7a),
1 of 2 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate XXVII" |
|
Bia. 110 |
WoO 99 #7.2, Hess 220 |
|
|
Quartet for Solo Voice(s) in C major:
"Nei campi e nelle selve" (WoO 99/7b),
2 of 2 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate XXVII" |
|
Bia. 111 |
Op. 46, Grove 46 |
|
|
Song: "Adelaide"; "Einsam
wandelt dein Freund" |
1794 - 1795 |
dedicated to Friedrich von Matthisson;
poem by Matthison |
|
Bia. 112 |
WoO 42, Grove 171 |
|
|
6 German Dances for Piano &
Violin: Allemandes in F, D, F, A, D, G |
1796 |
dedicated to the two Countesses
Thun |
|
Bia. 113 |
|
|
|
Sketch for Piano in C Minor: for
a Rondo; authorship: unfinished |
1795 - 1796 |
|
|
Bia. 114 |
Op. 25, Grove 25 |
|
|
Serenade for Flute, Violin &
Viola in D major |
1801 |
transcribed later for Flute &
Piano Opus 41 |
|
Bia. 115 |
Op. 4, Grove 4 |
|
|
String Quintet in E flat major |
1795 |
after the Octet Opus 103 |
|
Bia. 116 |
Op. 65, Grove 65 |
|
|
Scene & Aria: "Ah! Perfido";
for soprano w/ orchestra |
1796 |
words: Pietro Metastasio (Scene);
Anon. (Aria) |
|
Bia. 117 |
Hess 145 |
|
|
Song in E major: "Opferlied"
(Sacrificial Song); "Die Flamme lodert" |
1796 |
words: Friedrich von Matthisson;
earlier version of WoO 126; 5 arrangements over
30 yrs; also see Opus 121b & Hess 91 |
|
Bia. 118 |
Op. 71, Grove 71 |
|
|
Sextet for Clarinets, Horns &
Bassoons in E flat major |
1792 - 1796 |
|
|
Bia. 119 |
WoO 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 |
|
Bia. 119 |
WoO 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 |
|
Bia. 120 |
Op. 49 #2, Grove 49 |
|
|
Easy Piano Sonata No. 20 in G major |
1795 - 1796 |
|
|
Bia. 121 |
WoO 43 #1, Grove 150 |
|
|
Sonatina for Mandolin & Harpsichord
in C minor: called WoO 43a |
1796 |
written for Countess Josephine de
Clary |
|
Bia. 122 |
WoO 43 #2, Grove 150 |
|
|
Adagio for Mandolin & Harpsichord
in E flat major: called WoO 43b |
1796 |
dedicated to Countess Josephine
de Clary; Hess 44 is a slightly variant version |
|
Bia. 123 |
Hess 44 |
|
|
Adagio ma non troppo for Mandolin
& Harpsichord in E flat major |
|
later revision of WoO 43b |
|
Bia. 124 |
WoO 44 #1, Hess 43 |
|
|
Sonatina for Mandolin & Harpsichord
in C major: called WoO 44a |
1796 |
written for Countess Josephine de
Clary |
|
Bia. 125 |
WoO 44 #2, Hess 45 |
|
|
Andante con Variazioni for Mandolin
& Harpsichord in D major: called WoO 44b |
1796 |
dedicated to Countess Josephine
de Clary |
|
Bia. 126 |
WoO 45, Grove 157 |
|
|
12 Variations for Piano & Cello
in G major: on "See the conquering hero comes"
fm Handel’s oratorio "Judas Maccabaeus" |
1796 |
dedicated to Princess Christiane
Lichnowsky (née Thun) |
|
Bia. 127 |
WoO 99 #9, Hess 216 |
|
|
Trio for Solo Voice(s) in E flat
major: "Per te d’amico aprile" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate Il nome" |
|
Bia. 128 |
WoO 99 #11, Hess 215 |
|
|
Duet in D major: "Scrivo in
te" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate Il nome" |
|
Bia. 129 |
Hess 19 |
|
|
Fragment for Horns, Oboe & Bassoon
in E flat major: fragment of a Quintet; authorship:
reconstruction |
1793 - 1796 |
completed by Leopold Alexander Zellner
in 1862 |
|
Bia. 130 |
Op. 16, Grove 16 |
|
|
Quintet for Piano, Oboe, Clarinet,
Horn & Bassoon in E flat major |
1796 - 1797 |
dedicated to Prince Joseph Johann
zu Schwarzenberg; also arranged for piano quartet,
Biamonti 131 |
|
Bia. 131 |
Op. 16, Grove 16 |
|
|
Piano Quartet in E flat major |
1796 - 1797 |
dedicated to Prince Joseph Johann
zu Schwarzenberg; also arranged for piano, oboe,
clarinet, horn & bassoon, Biamonti 130 |
|
Bia. 132 |
WoO 122, Grove 232 |
|
|
Song in C major: "Kriegslied
der Osterreicher"; "Ein grosses deutches
Volk sind wir" (with unison chorus) |
1797 |
words: Josef von Friedelberg |
|
Bia. 133 |
Op. 51 #1, Grove 51 |
|
|
Rondo for Piano in C major |
1796 - 1797 |
|
|
Bia. 134 |
Op. 6, Grove 6 |
|
|
Sonata for Piano Four Hands in D
major |
1796 - 1797 |
|
|
Bia. 135 |
Op. 8, Grove 8 |
|
|
Serenade for String Trio in D major |
1796 - 1797 |
arranged later for piano & viola
Opus 42 |
|
Bia. 136 |
Op. 7, Grove 7 |
|
|
Piano Sonata No. 4 in E flat major |
1796 - 1797 |
dedicated to Countess Barbara von
Keglevics |
|
Bia. 137 |
WoO 28, Hess 18 |
|
|
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 |
|
Bia. 138 |
WoO 72, Grove 184 |
|
|
8 Variations for Piano in C major:
on the Romance "Une fièvre brûlante"
from Grétry’s opera "Richard Cœur
de Lion" |
1795 - 1798 |
|
|
Bia. 139 |
WoO 52 |
|
|
Bagatelle No. 10 for Piano in C
minor: presto |
1795 - 1822 |
originally intended for the Piano
Sonata #5 Opus 10 #1; numbered "10"
by Beethoven for a projected collection of Bagatelles
in 1822 |
|
Bia. 140 |
|
|
|
Sketch for Instrument(s) in C Major:
for a Song without Text; authorship: unfinished |
1797 |
|
|
Bia. 141 |
Hess 228 |
|
|
Duet in C major: "Salvo tu
vuoi lo sposo?" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; most likely done
at the same time as the WoO 99 works |
|
Bia. 142 |
WoO 99 #3.1 |
|
|
Duet: "Fra tutte le pene"
(WoO 99/3a), 1 of 3 settings |
1796 - 1797 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; before Salieri’s
corrections (Hess 208 incorporates the corrections) |
|
Bia. 143 |
WoO 99 #3.1, Hess 208 |
|
|
Duet: "Fra tutte le pene"
(WoO 99/3a), 1 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; incorporating
Salieri’s corrections (Biamonti 142 is before
the corrections) |
|
Bia. 144 |
WoO 99 #3.2, Hess 225 |
|
|
Trio for Solo Voice(s) in E flat
major: "Fra tutte le pene" (WoO 99/3b),
2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; before Salieri’s
corrections (Hess 209 incorporates the corrections) |
|
Bia. 145 |
WoO 99 #3.2, Hess 209 |
|
|
Trio for Solo Voice(s): "Fra
tutte le pene" (WoO 99/3b), 2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; incorporating
Salieri’s corrections (Hess 225 is before
the corrections) |
|
Bia. 146 |
WoO 99 #3.3, Hess 224 |
|
|
Quartet for Solo Voice(s): "Fra
tutte le pene" (WoO 99/3c), 3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; before Salieri’s
corrections (Hess 210 incorporates the corrections) |
|
Bia. 147 |
WoO 99 #3.3, Hess 210 |
|
|
Quartet for Solo Voice(s): "Fra
tutte le pene" (WoO 99/3c), 3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Zenobia"; incorporating
Salieri’s corrections (Hess 224 is before
the corrections) |
|
Bia. 148 |
WoO 99 #10.2, Hess 218 |
|
|
Trio for Solo Voice(s) in A major:
"Quella cetra ah pur tu sei" (WoO 99/10b),
2 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio |
|
Bia. 149 |
WoO 99 #10.1, Hess 213 |
|
|
Quartet for Solo Voice(s) in G major:
"Quella cetra ah pur tu sei" (WoO 99/10a),
1 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio |
|
Bia. 150 |
WoO 99 #10.3, Hess 219 |
|
|
Quartet for Solo Voice(s) in F major:
"Quella cetra ah pur tu sei" (WoO 99/10c),
3 of 3 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio |
|
Bia. 151 |
Hess 276 |
|
|
3-part Canon: "Herr Graf, ich
komme zu fragen" |
1797 |
|
|
Bia. 152 |
Hess 69 |
|
|
Allegretto for Piano in C minor |
1795 - 1796 |
perhaps originally intended for
the Piano Sonata #5 Opus 10 #1; revised 1822;
Jos van der Zanden cal;s it Bagatelle #9 from
the group Beethoven planned in 1822 |
|
Bia. 153 |
Op. 9 #1, Grove 9 |
|
|
String Trio in G major |
1797 - 1798 |
dedicated to Count Johann Georg
Browne; Hess 28 is a second Trio for the Scherzo |
|
Bia. 153 |
Op. 9 #2, Grove 9 |
|
|
String Trio in D major |
1797 - 1798 |
dedicated to Count Johann Georg
Browne |
|
Bia. 153 |
Op. 9 #3, Grove 9 |
|
|
String Trio in C minor |
1797 - 1798 |
dedicated to Count Johann Georg
Browne |
|
Bia. 154 |
|
|
|
Sketch for Piano & Cello in
C Major: for a Rondo; authorship: unfinished |
1798 |
|
|
Bia. 155 |
|
|
|
Sketch for Instrument(s) in C Minor:
for a Sonata ; authorship: unfinished |
1798 |
|
|
Bia. 156 |
Op. 11, Grove 11 |
|
|
Trio for Piano, Clarinet or Violin,
& Cello in B flat major: "Gassenhauer
Trio" |
1797 - 1798 |
dedicated to Countess Maria Wilhelmine
von Thun |
|
Bia. 157 |
Op. 10 #1, Grove 10 |
|
|
Piano Sonata No. 5 in C minor |
1795 - 1797 |
dedicated to Countess Anna Margarete
Browne; also see WoO 52, WoO 53 and Hess 69 |
|
Bia. 157 |
Op. 10 #2, Grove 10 |
|
|
Piano Sonata No. 6 in F major |
1796 - 1797 |
dedicated to Countess Anna Margarete
Browne |
|
Bia. 157 |
Op. 10 #3, Grove 10 |
|
|
Piano Sonata No. 7 in D major |
1797 - 1798 |
dedicated to Countess Anna Margarete
Browne |
|
Bia. 158 |
WoO 53 |
|
|
Allegretto for Piano in C minor |
1796 - 1797 |
perhaps originally intended for
the Piano Sonata #5, Opus 10 #1; another version
is Hess 66 |
|
Bia. 159 |
Hess 66 |
|
|
Allegretto for Piano in C minor |
1796 - 1797 |
second setting of WoO 53; may also
have been intended for the Piano Sonata #5 Opus
10 #1 |
|
Bia. 160 |
Op. 66, Grove 66 |
|
|
12 Variations for Piano & Cello
in F major: on "Ein Mädchen oder Weibchen"
fm Mozart’s "Zauberflöte" |
1796 |
|
|
Bia. 161 |
WoO 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 (Hess 23) is fragmentary; Hess
22, 23 & 24 together make up WoO 32 |
|
Bia. 161 |
Hess 22 |
|
|
Duo for Viola & Cello in E flat
major: "mit zwei obligaten Augengläsern"
(with 2 obbligato eyeglasses) |
1796 - 1797 |
written for Nikolaus Zmeskall; 1st
movement of WoO 32; Hess 22, 23 & 24 together
make up WoO 32 |
|
Bia. 161 |
Hess 23 |
|
|
Minuet for Viola & Cello in
E flat major: "mit zwei obligaten Augengläsern"
(with 2 obbligato eyeglasses), 3rd movement |
1796 - 1797 |
written for Nikolaus Zmeskall; Hess
22, 23 & 24 together make up WoO 32 |
|
Bia. 161 |
Hess 24 |
|
|
Fragment for Viola & Cello |
1796 |
written for Nikolaus Zmeskall; fragment
of 2nd (slow) movement of "mit zwei obligaten
Augengläsern" (with 2 obbligato eyeglasses)
WoO 32; Hess 22, 23 & 24 together make up
WoO 32 |
|
Bia. 162 |
Op. 129, Grove 129 |
|
|
Rondo A Capriccio for Piano in G
major: "Die Wut über den verloren Groschen"
(Rage over a Lost Penny); completed by an unknown
editor (probably Diabelli); authorship: unfinished |
1795 |
|
|
Bia. 163 |
WoO 11, Hess 27, Grove 168 |
|
|
7 Ländler for Violins &
Cello in D major: surviving piano version |
1799 |
|
|
Bia. 164 |
WoO 124, Grove 236 |
|
|
Song in A major: "La partenza"
(Der Abschied); "Ecco quel fiero istante!" |
1795 |
words: Pietro Metastasio |
|
Bia. 165 |
Op. 12 #1, Grove 12 |
|
|
Sonata No. 1 for Piano & Violin
in D major |
1797 - 1798 |
dedicated to Antonio Salieri |
|
Bia. 165 |
Op. 12 #2, Grove 12 |
|
|
Sonata No. 2 for Piano & Violin
in A major |
1797 - 1798 |
dedicated to Antonio Salieri |
|
Bia. 165 |
Op. 12 #3, Grove 12 |
|
|
Sonata No. 3 for Piano & Violin
in E flat major |
1797 - 1798 |
dedicated to Antonio Salieri |
|
Bia. 166 |
Op. 19, Grove 19 |
|
|
Concerto No. 2 for Piano & Orchestra
in B flat major |
1788 - 1801 |
dedicated to Carl Nicklas Edler
von Nickelsberg; Biamonti 507 is the usually recorded
cadenza; WoO 6 was probably the original finale;
Hess 14 is a fragment of the 1st movement of the
first version; Hess 79 contains sketches and fragments
for a cadenza for the first version |
|
Bia. 167 |
Op. 15, Grove 15 |
|
|
Concerto No. 1 for Piano & Orchestra
in C major |
1795 - 1800 |
dedicated to Princess Barbara Odescalchi
(neé Keglevics); Biamonti 506 has the three
usually recorded 1st movement cadenzas; there
is no separate catalog number for the brief 3rd
movement cadenza; Hess 76 contains sketches &
fragments for a cadenza; Hess 77 and 78 are cadenzas
now lost; there is also an uncatalogued cadenza
found in 1983 |
|
Bia. 168 |
Hess 76 |
|
|
Cadenza for Piano in C major; authorship:
unfinished |
1795 - 1799 |
fragments & sketches for a cadenza
to Piano Concerto #1, Opus 15 |
|
Bia. 169 |
Hess 147 |
|
|
Song: "Der Kuss" |
1798 |
first version of Opus 128 |
|
Bia. 170 |
Op. 49 #1, Grove 49 |
|
|
Easy Piano Sonata No. 19 in G minor |
1797 |
|
|
Bia. 171 |
WoO 205 #1, Hess 286 |
|
|
Musical greetings for Solo Voice(s)
in C major: "Baron, Baron, Baron" (WoO
205a), #1 of 10 musical greetings |
1798 |
written for Nikolaus Zmeskall; Letter
29 |
|
Bia. 172 |
|
|
|
Fragment for Piano: fragment of
a Pastorale; authorship: unfinished |
1798 |
|
|
Bia. 173 |
WoO 126, Grove 234 |
|
|
Song in E major: "Opferlied"
(Sacrificial Song); "Die Flamme lodert" |
1794 - 1795 |
words: Friedrich von Matthisson;
earlier version of Opus 121b; 5 arrangements over
30 yrs; also see Hess 91 & Hess 145 |
|
Bia. 174 |
WoO 125, Hess 135 |
|
|
Song in E flat major: "La tiranna",
Canzonetta; "Ah grief to think!" |
1798 - 1799 |
English words: William Wennington |
|
Bia. 175 |
WoO 73, Grove 185 |
|
|
10 Variations for Piano in B major:
on Salieri’s duet "La stessa la stessissima"
from "Falstaff" |
1799 |
dedicated to Countess Barbara von
Keglevics |
|
Bia. 176 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s)
in D Major: for a Song "Nähe des
Geliebten"; "Ich denke dein"; authorship:
unfinished |
1799 |
different setting than Biamonti
177 |
|
Bia. 177 |
WoO 74, Grove 160 |
|
|
Song: "Ich denke dein",
"Ich denke dein, wenn mir der Sonne Schimmer" |
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 & reocrded separately |
|
Bia. 178 |
Hess 32 |
|
|
String Quartet in F major |
1799 |
dedicated to Karl Amenda; first
version of the Quartet Opus 18 #1 |
|
Bia. 179 |
WoO 76, Grove 187 |
|
|
8 Variations for Piano in F major:
on the Trio "Tändeln und Scherzen"
from Franz Xaver Süssmayr’s opera "Soliman
II" |
1799 |
dedicated to Countess Anna Margarete
Browne |
|
Bia. 180 |
Op. 14 #1, Grove 14 |
|
|
Piano Sonata No. 9 in E major |
1798 - 1799 |
dedicated to Baroness Josephine
von Braun; also arranged for String Quartet Hess
34 |
|
Bia. 180 |
Op. 14 #2, Grove 14 |
|
|
Piano Sonata No. 10 in G major |
1799 |
dedicated to Baroness Josephine
von Braun |
|
Bia. 181 |
WoO 75, Grove 186 |
|
|
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 |
|
|
Bia. 182 |
WoO 12, Hess 2 |
|
|
12 Minuets for Orchestra; authorship:
not certain |
1799 |
written by Beethoven’s brother
Carl, possibley with Ludwig’s help |
|
Bia. 183 |
Hess 98 |
|
|
Scherzo for Piano; authorship: unfinished |
1794 - 1799 |
from the Piano Trio Opus 1 #2, for
piano solo |
|
Bia. 184 |
Op. 13, Grove 13 |
|
|
Piano Sonata No. 8 in C minor: "Pathétique" |
1797 - 1798 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 185 |
Hess 139 |
|
|
Song: "Minnesold von Burger,
in Tönen an Amenda ausbezahlt" |
1798 - 1799 |
Lost; words: Bürger? |
|
Bia. 186 |
WoO 127, Hess 136 |
|
|
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 |
|
Bia. 187 |
|
|
|
Sketch for String Quartet in D Major;
authorship: unfinished |
1798 - 1799 |
sketch for last movement of String
Quartet, Opus 18 #3 |
|
Bia. 188 |
|
|
|
Sketch for String Quartet in G Major;
authorship: unfinished |
1798 - 1799 |
sketch for first movement of String
Quartet, Opus 18 #2 |
|
Bia. 189 |
|
|
|
Fragment for Solo Voice(s) &
Instrument(s) in C Major: fragment of a Song "Muss
ein lieber Vater wohnen"; authorship: unfinished |
1798 - 1799 |
|
|
Bia. 190 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s):
for a Song "Meine Lebenszeit verstreicht";
authorship: unfinished |
1798 - 1799 |
|
|
Bia. 191 |
|
|
|
Sketch for Piano in C Major; authorship:
unfinished |
1798 - 1799 |
sketch for Intermezzo movement for
Piano Sonata #5, Opus 10 #1 |
|
Bia. 192 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s):
for Songs with French and English Texts; authorship:
unfinished |
1798 - 1799 |
|
|
Bia. 193 |
|
|
|
Sketch for String Quartet in C Minor;
authorship: unfinished |
1798 - 1799 |
|
|
Bia. 194 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s)
in E Flat Major: for a Song "Komm mit, O
Schöne"; authorship: unfinished |
1798 - 1799 |
|
|
Bia. 195 |
|
|
|
Sketch for String Quartet in D Minor;
authorship: unfinished |
1798 - 1799 |
sketch for end of second movement
of String Quartet, Opus 18 #1 |
|
Bia. 196 |
|
|
|
Sketch for Clarinet, Bassoon, Horn,
Violin, Viola, Cello, Bass in E Flat Major; authorship:
unfinished |
1798 - 1799 |
sketch for Minuet movement of the
Septet, Opus 20 |
|
Bia. 197 |
WoO 33 #1, Hess 103 |
|
|
Piece for Musical Clock in F major:
or for flute; Adagio assai; #1 of 5 pieces |
1799 |
|
|
Bia. 198 |
WoO 33 #2, Hess 104 |
|
|
Piece for Musical Clock in G major:
or for flute; Scherzo-Allegro; #2 of 5 pieces |
1799 - 1800 |
|
|
Bia. 199 |
WoO 33 #3, Hess 105 |
|
|
Piece for Musical Clock in G major:
or for flute; Allegro; #3 of 5 pieces |
1799 |
|
|
Bia. 200 |
WoO 33 #4, Hess 106 |
|
|
Piece for Musical Clock in C major:
or for flute; Allegro non piu molto; #4 of 5 pieces |
1794 |
|
|
Bia. 200 |
WoO 33 #5, Hess 106 |
|
|
Piece for Musical Clock in C major:
or for flute; Minuet-Allegretto; #5 of 5 pieces |
1794 |
|
|
Bia. 201 |
WoO 128, Hess 131 |
|
|
Song in G major: "Plaisir d’aimer"
"Plaisir d’aimer besoin d’une âme
tendre" |
1798 - 1799 |
words: Anonymous |
|
Bia. 202 |
WoO 99 #2, Hess 214 |
|
|
Trio for Solo Voice(s) in C major:
"Chi mai di questo core" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio: "Cantate Il ritorno" |
|
Bia. 203 |
Op. 21, Grove 21 |
|
|
Symphony No. 1 in C major |
1799 - 1800 |
dedicated to Baron Gottfried van
Swieten |
|
Bia. 204 |
Op. 20, Grove 20 |
|
|
Septet for Clarinet, Bassoon, Horn,
Violin, Viola, Cello, Bass in E flat major |
1799 |
dedicated to Empress Maria Theresia
of Austria; also arranged for piano trio Opus
38; the theme of the Menuetto was taken from the
Piano Sonata in G Opus 49 #2 |
|
Bia. 205 |
Hess 21 |
|
|
Andante con Variazioni for Wind
Band; authorship: not certain |
1802 |
arrangement of Septet Opus 20 for
11-piece Military Band (fragments); Beethoven’s
involvement with arrangement uncertain |
|
Bia. 206 |
Op. 17, Grove 17 |
|
|
Sonata for Piano & French Horn
in F major: also arranged as cello sonata |
1800 |
dedicated to Baroness Josephine
von Braun |
|
Bia. 207 |
|
|
|
Sketch for Piano; authorship: unfinished |
1800 |
sketch for March and Rondo movements
of Piano Sonata #11, Opus 22 |
|
Bia. 208 |
Op. 22, Grove 22 |
|
|
Piano Sonata No. 11 in B flat major |
1800 |
dedicated to Count Johann Georg
Browne |
|
Bia. 209 |
WoO 77, Grove 188 |
|
|
6 Easy Variations for Piano in G
major: on an original theme |
1800 |
|
|
Bia. 210 |
|
|
|
Sketch for Instrument(s) in G Major:
for a Sonata ; authorship: unfinished |
1784 - 1800 |
|
|
Bia. 211 |
|
|
|
Fragment for Piano in B Minor; authorship:
unfinished |
1784 - 1800 |
|
|
Bia. 212 |
|
|
|
Fragment for Instrument(s) in E
Flat Major; authorship: unfinished |
1784 - 1800 |
|
|
Bia. 213 |
|
|
|
Fantasia for Piano |
1793 |
in D/D minor |
|
Bia. 214 |
WoO 92 |
|
|
Scene & Aria in A major: "Primo
amore"; for soprano w/ orchestra |
1791 - 1792 |
words: Anonymous |
|
Bia. 215 |
Hess 230 |
|
|
Quartet for Solo Voice(s) in C major:
"Giura il nocchier" |
1792 - 1794 |
written for Antonio Salieri; first
version of WoO 99 #5a; words: Metastasio "Le
gelosia" |
|
Bia. 216 |
Hess 231 |
|
|
Duet in C major: "Sei mio ben" |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Cantate XXIV"; most likely
done at the same time as the WoO 99 works |
|
Bia. 217 |
Hess 232 |
|
|
Song in E flat major: "E pur
fra le tempeste"; tenor melody |
1792 - 1795 |
written for Antonio Salieri; words:
Metastasio "La tempeste"; most likely
done at the same time as the WoO 99 works |
|
Bia. 218 |
WoO 13 #1, Hess 5 |
|
|
Dance for Orchestra in D major:
#1 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #2, Hess 5 |
|
|
Dance for Orchestra in B flat major:
#2 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #3, Hess 5 |
|
|
Dance for Orchestra in G major:
#3 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #4, Hess 5 |
|
|
Dance for Orchestra in D major:
#4 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #5, Hess 5 |
|
|
Dance for Orchestra in F major:
#5 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #6, Hess 5 |
|
|
Dance for Orchestra in B flat major:
#6 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #7, Hess 5 |
|
|
Dance for Orchestra in D major:
#7 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #8, Hess 5 |
|
|
Dance for Orchestra in G major:
#8 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #9, Hess 5 |
|
|
Dance for Orchestra in E flat major:
#9 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #10, Hess 5 |
|
|
Dance for Orchestra in C major:
#10 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #11, Hess 5 |
|
|
Dance for Orchestra in A major:
#11 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 218 |
WoO 13 #12, Hess 5 |
|
|
Dance for Orchestra in D major:
#12 of 12 German Dances; surviving piano version |
1792 - 1797 |
|
|
Bia. 219 |
Hess 28 |
|
|
String Trio |
1797 |
2nd trio to the Scherzo for Opus
9 #1 |
|
Bia. 220 |
Op. 51 #2, Grove 51 |
|
|
Rondo for Piano in G major |
1798 |
dedicated to Countess Henriette
Lichnowsky |
|
Bia. 221 |
|
|
|
Sketch for String Quartet in D Minor;
authorship: unfinished |
1798 - 1800 |
sketch for second movement of String
Quartet, Opus 18 #1 |
|
Bia. 222 |
|
|
|
Sketch for Instrument(s): for a
Presto Rondo Movement; authorship: unfinished |
1798 - 1800 |
|
|
Bia. 223 |
|
|
|
Sketch for Instrument(s) in B Flat
Major: for an Allegro; authorship: unfinished |
1798 - 1800 |
|
|
Bia. 224 |
|
|
|
Sketch for Instrument(s): for Quartets
in E-flat major and B-flat major; authorship:
unfinished |
1798 - 1800 |
|
|
Bia. 225 |
Op. 18 #1, Grove 18 |
|
|
String Quartet No. 1 in F major |
1798 - 1800 |
dedicated to Prince Ferdinand Lobkowitz;
2nd mvmt: scene in burial vault of Romeo &
Juliet; Hess 32 is an early version |
|
Bia. 225 |
Op. 18 #2, Grove 18 |
|
|
String Quartet No. 2 in G major:
"Compliments Quartet" |
1798 - 1800 |
dedicated to Prince Ferdinand Lobkowitz |
|
Bia. 225 |
Op. 18 #3, Grove 18 |
|
|
String Quartet No. 3 in D major |
1798 - 1800 |
dedicated to Prince Ferdinand Lobkowitz;
earliest of op 18 |
|
Bia. 225 |
Op. 18 #4, Grove 18 |
|
|
String Quartet No. 4 in C minor |
1798 - 1800 |
dedicated to Prince Ferdinand Lobkowitz |
|
Bia. 225 |
Op. 18 #5, Grove 18 |
|
|
String Quartet No. 5 in A major |
1798 - 1800 |
dedicated to Prince Ferdinand Lobkowitz |
|
Bia. 225 |
Op. 18 #6, Grove 18 |
|
|
String Quartet No. 6 in B flat major |
1798 - 1800 |
dedicated to Prince Ferdinand Lobkowitz |
|
Bia. 226 |
|
|
|
Sketch for Instrument(s): for a
Presto-Sonata Movement; authorship: unfinished |
1799 - 1800 |
|
|
Bia. 227 |
|
|
|
Sketch for Instrument(s) in F Major;
authorship: unfinished |
1800 |
|
|
Bia. 228 |
|
|
|
Sketch for Instrument(s) in B Flat
Major: for Minuet Movement ; authorship: unfinished |
1800 |
|
|
Bia. 229 |
|
|
|
Sketch for Instrument(s) in F Major;
authorship: unfinished |
1800 |
|
|
Bia. 230 |
|
|
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2 Fragments for Instrument(s): in
F major and D major; authorship: unfinished |
1800 |
|
|
Bia. 231 |
|
|
|
Sketch for Instrument(s): for Andantino
con Sordini in D major and F major; authorship:
unfinished |
1800 |
|
|
Bia. 232 |
|
|
|
Sketch for Instrument(s) in D Minor:
for an Andante ; authorship: unfinished |
1800 |
|
|
Bia. 233 #1 |
|
|
|
Fragment for Instrument(s) in A
Flat Major; authorship: unfinished |
1800 |
|
|
Bia. 233 #2 |
|
|
|
Sketch for Instrument(s) in A Flat
Major: for a Minuet; authorship: unfinished |
1800 |
|
|
Bia. 233 #3 |
|
|
|
Fragment for Instrument(s) in C
Major; authorship: unfinished |
1800 |
|
|
Bia. 234 |
|
|
|
Sketch for Instrument(s): for a
Rondo-Trio in F major and D major; authorship:
unfinished |
1800 |
|
|
Bia. 235 |
|
|
|
Sketch for Unknown in G major: perhaps
for #5 of the ballet "Creatures of Prometheus"
; authorship: unfinished |
1800 |
|
|
Bia. 236 |
|
|
|
Sketch for Unknown in G major: "Les
trois Graces"; authorship: unfinished |
1800 |
|
|
Bia. 237 |
|
|
|
3 Fragments for Unknown in B flat
major; authorship: unfinished |
1800 |
perhaps for #6 of the ballet "Creatures
of Prometheus" |
|
Bia. 238 |
|
|
|
Presto for Unknown in F major |
1800 |
|
|
Bia. 239 |
|
|
|
3 Sketches for Unknown: melodic
sketches in G and C and sketch in G; authorship:
unfinished |
1800 |
|
|
Bia. 240 |
|
|
|
2 Fragments for Unknown: in D minor
& G minor/ major; authorship: unfinished |
1800 |
|
|
Bia. 241 |
|
|
|
Fragment for Unknown in C minor;
authorship: unfinished |
1800 |
|
|
Bia. 242 |
|
|
|
Fragment for Unknown; authorship:
unfinished |
1800 |
|
|
Bia. 243 |
|
|
|
Fragment for Unknown: in B flat
major/ minor; authorship: unfinished |
1800 |
|
|
Bia. 244 |
|
|
|
Fragment for Unknown: in E flat
major, B flat major; authorship: unfinished |
1800 |
|
|
Bia. 245 |
|
|
|
Fragment for Unknown in E flat major;
authorship: unfinished |
1800 |
|
|
Bia. 246 |
|
|
|
Fragment for Unknown in B flat major;
authorship: unfinished |
1800 |
|
|
Bia. 247 |
|
|
|
Fragment for Unknown in B flat major;
authorship: unfinished |
1800 |
|
|
Bia. 248 |
|
|
|
Sketch for Unknown in B flat major;
authorship: unfinished |
1800 |
|
|
Bia. 249 |
|
|
|
Minuet for Orchestra in D major;
authorship: unfinished |
1800 |
|
|
Bia. 250 |
|
|
|
Fragment for Unknown in D minor:
fragment of a Fugue; authorship: unfinished |
1800 |
|
|
Bia. 251 |
Hess 73 |
|
|
Bagatelle for Piano in C major |
1800 |
|
|
Bia. 252 |
|
|
|
Minuet for Orchestra in D major;
authorship: unfinished |
1800 |
|
|
Bia. 253 |
|
|
|
Allegro for Unknown in E flat major:
and fragment |
1800 |
|
|
Bia. 254 |
|
|
|
2 Sketches for Unknown: in B flat
major and C major; authorship: unfinished |
1800 |
|
|
Bia. 255 |
|
|
|
Scene for Instrument(s) |
1800 |
|
|
Bia. 256 |
|
|
|
Trio for Unknown in D flat major |
1800 |
|
|
Bia. 257 |
|
|
|
Piano Trio in B flat major: sketch
for a coda, and an Andante in B flat minor; authorship:
unfinished |
1800 |
|
|
Bia. 258 |
|
|
|
Trio for Unknown in A flat major:
of a minuet |
1800 |
|
|
Bia. 259 |
|
|
|
Song: "Minnelied: Der Holdseligen
sonder Wank sing ich frolichen Minnesang",
sketch for the melody; authorship: unfinished |
1800 |
words: Voss |
|
Bia. 260 |
|
|
|
Song: "Meine Ruh ist hin",
from Goetthe’s "Faust", sketch
for the melody; authorship: unfinished |
1800 |
|
|
Bia. 261 |
|
|
|
Song: "Ich sah sie heut, o
Liebe!", completed sketch for the melody;
authorship: unfinished |
1800 |
|
|
Bia. 262 |
Hess 321 |
|
|
Little Instrumental Melody for Piano
& Violin in B flat major |
1800 |
|
|
Bia. 263 |
Op. 44, Grove 44 |
|
|
14 Variations for Piano Trio in
E flat major: on a theme from Dittersdorf’s
"Das rote Käppchen" |
1792 |
sketched in 1792; date of composition
unknown; possibly as a finale for the Trio Opus
1#1 |
|
Bia. 264 |
|
|
|
Sketch for Piano in A major; authorship:
unfinished |
1800 |
|
|
Bia. 265 |
|
|
|
Sketch for Piano; authorship: unfinished |
1800 |
|
|
Bia. 266 |
WoO 81 |
|
|
Allemande for Piano in A major |
1793 - 1822 |
|
|
Bia. 267 |
|
|
|
Fragment for Piano in A flat major;
authorship: unfinished |
1800 |
|
|
Bia. 268 |
|
|
|
Fragment for Piano in A major: with
effect of horns; authorship: unfinished |
1793 |
|
|
Bia. 269 |
|
|
|
Andante for Piano in E flat major:
Andante Molto |
|
|
|
Bia. 270 |
|
|
|
Fragment for Piano in F major; authorship:
unfinished |
1793 |
|
|
Bia. 271 |
|
|
|
Fragment for Piano in E flat major;
authorship: unfinished |
1793 |
|
|
Bia. 272 |
|
|
|
Andante for Piano in B flat major |
1793 |
|
|
Bia. 273 |
|
|
|
Draft for Piano in F major; authorship:
unfinished |
1793 |
|
|
Bia. 274 |
|
|
|
Andante for String Quartet in C
major |
1793 |
|
|
Bia. 275 |
|
|
|
Rondo for Piano in A major: (Bagatelle
#11) |
|
|
|
Bia. 276 |
|
|
|
3 Drafts for Piano: in C and G;
authorship: unfinished |
1793 |
|
|
Bia. 277 |
|
|
|
Presto for Piano in G major |
1793 |
|
|
Bia. 278 |
|
|
|
Fragment for Piano: succession of
chords; authorship: unfinished |
1793 |
|
|
Bia. 279 |
|
|
|
Allegro for Piano in C major |
1793 |
|
|
Bia. 280 |
|
|
|
Fragment for Piano in B major: passage;
authorship: unfinished |
1793 |
|
|
Bia. 281 |
|
|
|
Fragment for String Quartet in E
major: cue, modulating into E flat; authorship:
unfinished |
1793 |
|
|
Bia. 282 |
|
|
|
Fragment for Piano in G major: fragment
of a Finale; authorship: unfinished |
1793 |
|
|
Bia. 283 |
|
|
|
Andante for Piano in D flat major:
(Bagatelle) |
|
|
|
Bia. 284 |
|
|
|
Allegro for Piano: sections in A
Flat and A Major |
1793 |
|
|
Bia. 285 |
Hess 61 |
|
|
Anglaise for Unknown in D major |
1800 |
|
|
Bia. 286 |
Hess 205 |
|
|
Piano Trio in B flat major: conclusion
for an unknown trio |
1800 |
This is actually the coda, instrumental
parts only, of Biamonti 534 |
|
Bia. 287 |
WoO 123, Grove 235 |
|
|
Song in G major: "Zärtliche
Liebe" (Tender Love); "Ich liebe dich,
so wie du mich" |
1795 |
words: Karl Friedrich Herrosee |
|
Bia. 288 |
Op. 43, Grove 43 |
.
|
|
Ballet Music: "Die Geschöpfe
des Prometheus" (The Creatures of Prometheus) |
1800 - 1801 |
dedicated to Princess Christiane
Lichnowsky (née Thun); ballet by Salvatore
Viganò; also arranged for piano Hess 90;
Hess Anhang 17 is 2 movements arranged for violin
& piano, also for string quartet (Beethoven’s
authorship not certain) |
|
Bia. 288 |
Op. 43 #1, Grove 43 |
|
|
Overture in C major: "Die Geschöpfe
des Prometheus" (The Creatures of Prometheus) |
1800 - 1801 |
dedicated to Princess Christiane
Lichnowsky (née Thun) |
|
Bia. 289 |
Hess 90 |
|
|
Ballet Music for Piano: "Die
Geschöpfe des Prometheus" (The Creatures
of Prometheus) |
1801 |
dedicated to Princess Christiane
Lichnowsky (née Thun); Opus 43, arranged
for piano by Beethoven |
|
Bia. 290 #1 |
|
|
|
Sketch for Piano in G major: for
a Minuet (no Trio); #1 of 9 Dances for Orchestra;
authorship: unfinished |
1801 |
essentially complete in piano score;
Biamonti knew of only two of these dances |
|
Bia. 290 #2 |
|
|
|
Sketch for Piano in E flat major:
for a Minuet with Trio; #2 of 9 Dances for Orchestra;
authorship: unfinished |
1801 |
essentially complete in piano score;
Biamonti knew of only two of these dances - this
is the first |
|
Bia. 290 #3 |
|
|
|
Sketch for Piano in C major: for
a Minuet with Trio; #3 of 9 Dances for Orchestra;
authorship: unfinished |
1801 |
fairly complete in piano score;
Biamonti knew of only two of these dances |
|
Bia. 290 #4 |
|
|
|
Sketch for Piano in E flat major:
for "Tedesca 1"(no Trio); #4 of 9 Dances
for Orchestra; authorship: unfinished |
1801 |
piano score missing most of the
bass line; Biamonti knew of only two of these
dances |
|
Bia. 290 #5 |
|
|
|
Sketch for Piano in C major: for
"2da"(presumably 2d Tedesca) with
Trio; #5 of 9 Dances for Orchestra; authorship:
unfinished |
1801 |
piano score has no bass line; Biamonti
knew of only two of these dances |
|
Bia. 290 #6 |
|
|
|
Sketch for Piano in G major: for
a Minuet? (undesignated) noTrio; #6 of 9 Dances
for Orchestra; authorship: unfinished |
1801 |
piano score has only 2 measures
of bass line; Biamonti knew of only two of these
dances |
|
Bia. 290 #7 |
|
|
|
Sketch for Piano in E flat major:
for a Minuet? (undesignated); #7 of 9 Dances for
Orchestra; authorship: unfinished |
1801 |
Biamonti knew of only two of these
dances - this is the second |
|
Bia. 290 #8 |
|
|
|
Sketch for Piano in A major: for
a Minuet and Trio; #8 of 9 Dances for Orchestra;
authorship: unfinished |
1801 |
almost entirely complete; Biamonti
knew of only two of these dances |
|
Bia. 290 #9 |
|
|
|
Sketch for Piano in C major: for
a Dance (Tedesca?) no Trio; #9 of 9 Dances for
Orchestra; authorship: unfinished |
1801 |
has about half the bass line; Biamonti
knew of only two of these dances |
|
Bia. 291 |
|
|
|
Andante: for a symphony |
1801 |
|
|
Bia. 292 |
|
|
|
March for Unknown: with variations |
1801 |
|
|
Bia. 293 |
Op. 23, Grove 23 |
|
|
Sonata No. 4 for Piano & Violin
in A minor |
1800 - 1801 |
dedicated to Count Moritz von Fries |
|
Bia. 294 |
Op. 24, Grove 24 |
|
|
Sonata No. 5 for Piano & Violin
in F major: "Frühlings - Sonate"
(Spring) |
1800 - 1801 |
dedicated to Count Moritz von Fries |
|
Bia. 295 |
WoO 14 #1, Grove 141 |
|
|
Contredanse for Small Orchestra
in C major: #1 of 12 Contredanses |
1791 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #2, Grove 141 |
|
|
Contredanse for Small Orchestra
in A major: #2 of 12 Contredanses |
1801 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #3, Grove 141 |
|
|
Contredanse for Small Orchestra
in D major: #3 of 12 Contredanses |
1795 - 1802 |
|
|
Bia. 295 |
WoO 14 #4, Grove 141 |
|
|
Contredanse for Small Orchestra
in B flat major: #4 of 12 Contredanses |
1795 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #5, Grove 141 |
|
|
Contredanse for Small Orchestra
in E flat major: #5 of 12 Contredanses |
1791 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #6, Grove 141 |
|
|
Contredanse for Small Orchestra
in C major: #6 of 12 Contredanses |
1795 - 1802 |
|
|
Bia. 295 |
WoO 14 #7, Grove 141 |
|
|
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 |
|
Bia. 295 |
WoO 14 #8, Grove 141 |
|
|
Contredanse for Small Orchestra
in C major: #8 of 12 Contredanses |
1791 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #9, Grove 141 |
|
|
Contredanse for Small Orchestra
in A major: #9 of 12 Contredanses |
1801 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #10, Grove 141 |
|
|
Contredanse for Small Orchestra
in C major: #10 of 12 Contredanses |
1801 - 1802 |
piano version is Hess 102 |
|
Bia. 295 |
WoO 14 #11, Grove 141 |
|
|
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 |
|
Bia. 295 |
WoO 14 #12, Grove 141 |
|
|
Contredanse for Small Orchestra
in E flat major: #12 of 12 Contredanses |
1791 - 1802 |
|
|
Bia. 296 |
Op. 26, Grove 26 |
|
|
Piano Sonata No. 12 in A flat major:
"Funeral March" |
1800 - 1801 |
dedicated to Prince Karl Lichnowsky;
third movement arranged for "Leonore Prohaska"
WoO 96 |
|
Bia. 297 |
Op. 27 #1, Grove 27 |
|
|
Piano Sonata No. 13 in E flat major:
"Sonata quasi una Fantasia" |
1801 |
dedicated to Princess von Leichtenstein |
|
Bia. 297 |
Op. 27 #2, Grove 27 |
|
|
Piano Sonata No. 14 in C sharp minor:
"Mondschein-Sonate" (Moonlight); "Sonata
quasi una Fantasia" |
1800 - 1801 |
dedicated to Countess Giulietta
Guicciardi; named by Ludwig Rellstab |
|
Bia. 298 |
Op. 29, Grove 29 |
|
|
String Quintet in C major |
1801 |
dedicated to Count Moritz von Fries |
|
Bia. 299 |
WoO 65, Grove 177 |
|
|
24 Variations for Piano in D major:
on Vincenzo Righini’s arietta "Venni
Amore" |
1790 - 1791 |
dedicated to 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. |
|
Bia. 300 |
WoO 46, Grove 158 |
|
|
7 Variations for Piano & Cello
in E flat major: on the duet "Bei Männern,
welche Liebe fühlen" from Mozart’s
"Zauberflöte" |
1801 |
dedicated to Count Johann Georg
Browne |
|
Bia. 301 |
Hess 254 |
|
|
Canon in G major: "Hol dich
der Teufel" (May the devil get you); authorship:
unfinished |
1801 |
fragment; see WoO 173 |
|
Bia. 302 |
Op. 28, Grove 28 |
|
|
Piano Sonata No. 15 in D major:
"Pastorale" |
1801 |
dedicated to Joseph Sonnenfels |
|
Bia. 303 |
WoO 100, Hess 278 |
|
|
Joke in G major: "Lob auf den
Dicken" "Schuppanzigh ist ein Lump"
for tenor & 2 basses & chorus |
1801 |
written for Ignaz Schuppanzigh;
words: Beethoven? |
|
Bia. 304 |
WoO 92 #1, Hess 119 |
|
|
Scene & Aria: "No, non
turbarti"; for soprano w/ string orchestra,
WoO 92a |
1802 |
words: Pietro Metastasio: "Cantata
la tempesta" |
|
Bia. 305 |
Hess 277 |
|
|
2-part Canon in F major: "Esel
aller Esel, hi ha"; 2-part canon w/ free
additional part |
1826 |
|
|
Bia. 306 |
Hess 331 |
|
|
Minuet for Piano in B flat major;
authorship: unfinished |
1799 |
|
|
Bia. 307 |
Hess 332 |
|
|
Pastorella for String Quartet in
D major |
1799 |
|
|
Bia. 308 |
Hess 333 |
|
|
Minuet-Scherzo for String Quartet
in A major |
1799 |
|
|
Bia. 309 |
Hess 334 |
|
|
Draft for String Quartet in A major:
of a Presto (Allegro); authorship: unfinished |
1799 |
|
|
Bia. 310 |
|
|
|
Sketch for Instrument(s): for a
scherzo; authorship: unfinished |
1801 |
|
|
Bia. 311 |
|
|
|
Trio for Solo Voice(s) & Orchestra:
"Tremate, empi, tremate"; for soprano,
tenor, & bass w/ orchestra |
1802 |
same as Opus 116 (Biamonti 567);
words: Bettoni? Giovanni de Gamerra? As Opus 116
is from 1802 and was published in 1814, Biamonti
thought that there could be a difference between
the first and second versions. In fact, only the
second version came to us. |
|
Bia. 312 |
|
|
|
Sketch for Piano: in the manner
of a dance; authorship: unfinished |
1802 |
|
|
Bia. 313 |
|
|
|
Sketch for Piano; authorship: unfinished |
1802 |
sketch for the finale of the Piano
Sonata #18, Opus 31 #3 |
|
Bia. 314 |
Hess 102 |
|
|
9 Contredanses for Piano |
1791 - 1801 |
9 of 12 contredanses for orchestra
WoO 14, for piano (#1, 2, 4, 5, 7, 8, 9, 10 &
12) |
|
Bia. 315 |
Hess 34 |
|
|
String Quartet in F major |
1801 - 1802 |
dedicated to Baroness Josephine
von Braun; after the Piano Sonata #9, Opus 14
#1 |
|
Bia. 316 |
|
|
|
Piece for Unknown: in the form of
a dance |
1802 |
|
|
Bia. 317 |
|
|
|
Sketch for Piano; authorship: unfinished |
1802 |
|
|
Bia. 318 |
|
|
|
Sketch for Piano; authorship: unfinished |
1802 |
“Second Sonata” written
on the manuscript |
|
Bia. 319 |
|
|
|
Finale for Piano: theme with finale
character, with free development; authorship:
unfinished |
1802 |
may be for the "Eroica-Variationen"
Opus 35 |
|
Bia. 320 |
|
|
|
3 Fragments for Piano: without indication
of tonality; authorship: unfinished |
1802 |
|
|
Bia. 321 |
|
|
|
Fragment for Instrument(s): without
indication of tonality; authorship: unfinished |
1802 |
|
|
Bia. 322 |
|
|
|
Piece for Piano in C minor |
1802 |
|
|
Bia. 323 |
|
|
|
Piece for Piano: similar to a cadenza,
without indication of tonality |
1802 |
|
|
Bia. 324 |
WoO 15 #1, Grove 169 |
|
|
Dance for Violins & Bass in
D major: #1 of 6 ländlerische Tänze |
1802 |
|
|
Bia. 324 |
WoO 15 #2, Grove 169 |
|
|
Dance for Violins & Bass in
D major: #2 of 6 ländlerische Tänze |
1802 |
|
|
Bia. 324 |
WoO 15 #3, Grove 169 |
|
|
Dance for Violins & Bass in
D major: #3 of 6 ländlerische Tänze |
1802 |
|
|
Bia. 324 |
WoO 15 #4, Grove 169 |
|
|
Dance for Violins & Bass in
D minor: #4 of 6 ländlerische Tänze |
1802 |
|
|
Bia. 324 |
WoO 15 #5, Grove 169 |
|
|
Dance for Violins & Bass in
D major: #5 of 6 ländlerische Tänze |
1802 |
|
|
Bia. 324 |
WoO 15 #6, Grove 169 |
|
|
Dance for Violins & Bass in
D major: #6 of 6 ländlerische Tänze |
1802 |
|
|
Bia. 325 |
WoO 15 #1 |
|
|
Dance for Piano in D major: #1 of
6 ländlerische Tänze, piano version |
1802 |
|
|
Bia. 325 |
WoO 15 #2 |
|
|
Dance for Piano in D major: #2 of
6 ländlerische Tänze, piano version |
1802 |
|
|
Bia. 325 |
WoO 15 #3 |
|
|
Dance for Piano in D major: #3 of
6 ländlerische Tänze, piano version |
1802 |
|
|
Bia. 325 |
WoO 15 #4 |
|
|
Dance for Piano in D minor: #4 of
6 ländlerische Tänze, piano version |
1802 |
|
|
Bia. 325 |
WoO 15 #5 |
|
|
Dance for Piano in D major: #5 of
6 ländlerische Tänze, piano version |
1802 |
|
|
Bia. 325 |
WoO 15 #6 |
|
|
Dance for Piano in D major: #6 of
6 ländlerische Tänze, piano version |
1802 |
|
|
Bia. 326 |
Op. 36, Grove 36 |
|
|
Symphony No. 2 in D major |
1801 - 1802 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 327 |
Op. 34, Grove 34 |
|
|
6 Variations for Piano in F major:
on an original theme |
1802 |
dedicated to Princess Barbara Odescalchi
(neé Keglevics) |
|
Bia. 328 |
Op. 35, Grove 35 |
|
|
15 Variations with Fugue for Piano
in E flat major: "Eroica-Variationen";
on a theme from the ballet "Die Geschopfe
des Prometheus" |
1802 |
dedicated to Prince Karl Lichnowsky |
|
Bia. 329 |
Op. 40, Grove 40 |
|
|
Romance No. 1 for Violin & Orchestra
in G major |
1800 - 1802 |
|
|
Bia. 330 |
Op. 50, Grove 50 |
|
|
Romance No. 2 for Violin & Orchestra
in F major |
1798 |
|
|
Bia. 331 |
WoO 101, Hess 279, Grove 200 |
|
|
Joke in E flat major: "Graf,
liebster Graf, liebstes Schaf" for 3 voices |
1802 |
written for Nikolaus Zmeskall; words:
Beethoven |
|
Bia. 332 |
|
|
|
Fragment for Unknown: cadential
rhythm without indication of tonality; authorship:
unfinished |
1802 |
|
|
Bia. 333 |
|
|
|
Sketch for Unknown: sketches &
fragments from the Wielhorsky sketchbook; authorship:
unfinished |
1802 |
|
|
Bia. 334 |
Op. 33 #1, Grove 33 |
|
|
Bagatelle for Piano in E flat major:
Andante grazioso quasi allegretto; #1 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 334 |
Op. 33 #2, Grove 33 |
|
|
Bagatelle for Piano in C major:
Scherzo; #2 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 334 |
Op. 33 #3, Grove 33 |
|
|
Bagatelle for Piano in F major:
Allegretto; #3 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 334 |
Op. 33 #4, Grove 33 |
|
|
Bagatelle for Piano in A major:
Andante; #4 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 334 |
Op. 33 #5, Grove 33 |
|
|
Bagatelle for Piano in C major:
Allegro ma non troppo; #5 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 334 |
Op. 33 #6, Grove 33 |
|
|
Bagatelle for Piano in D major:
Allegretto quasi andante; #6 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 334 |
Op. 33 #7, Grove 33 |
|
|
Bagatelle for Piano in A flat major:
Presto; #7 of 7 Bagatelles |
1801 - 1802 |
|
|
Bia. 335 |
WoO 99 #12, Hess 226 |
|
|
Quartet for Solo Voice(s): "Silvio,
amante disperato" |
1801 - 1802 |
written for Antonio Salieri; words:
Metastasio "Cantate XXVII" |
|
Bia. 336 |
WoO 99 #5.1, Hess 221 |
|
|
Quartet for Solo Voice(s) in B flat
major: "Giura il nocchier" (WoO 99/5a),
1 of 2 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "Le gelosia" |
|
Bia. 337 |
Op. 37, Grove 37 |
|
|
Concerto No. 3 for Piano & Orchestra
in C minor |
1800 - 1803 |
dedicated to Prince Louis Ferdinand
of Prussia; Biamonti 508 is the usually recorded
1st movement cadenza; there is no separate catalog
number for the brief 3rd movement cadenza; Hess
80, another cadenza for the 1st mvmt, is now known
to be spurious; an uncatalogued cadenza for the
1st movement that may be by Beethoven was found
in the Melk Abbey in 1989; Biamonti 353 is a sketch
for a cadenza; Hess 65 is derived from this concerto;
Gardi 5 is the original version of the Rondo |
|
Bia. 338 |
Hess 38 |
|
|
Fugue for String Quintet in B flat
minor |
1801 - 1802 |
fugue #24 from Well-Tempered Clavier
(Book One) by J S Bach, arranged for string quintet
by Beethoven |
|
Bia. 339 |
Op. 31 #1, Grove 31 |
|
|
Piano Sonata No. 16 in G major |
1802 |
|
|
Bia. 339 |
Op. 31 #2, Grove 31 |
|
|
Piano Sonata No. 17 in D minor:
"Sturm-Sonate" (Tempest) |
1802 |
|
|
Bia. 339 |
Op. 31 #3, Grove 31 |
|
|
Piano Sonata No. 18 in E flat major |
1802 |
|
|
Bia. 340 |
Op. 30 #1, Grove 30 |
|
|
Sonata No. 6 for Piano & Violin
in A major |
1801 - 1802 |
dedicated to Czar Alexander I of
Russia |
|
Bia. 340 |
Op. 30 #2, Grove 30 |
|
|
Sonata No. 7 for Piano & Violin
in C minor |
1801 - 1802 |
dedicated to Czar Alexander I of
Russia |
|
Bia. 340 |
Op. 30 #3, Grove 30 |
|
|
Sonata No. 8 for Piano & Violin
in G major |
1801 - 1802 |
dedicated to Czar Alexander I of
Russia; Hess Anhang 8 is version for 5 instruments
(Beethoven’s authorship doubltful) |
|
Bia. 341 |
WoO 99 #4.1, Hess 222 |
|
|
Quartet for Solo Voice(s) in B flat
major: "Già la notte s’avvicina"
(WoO 99/4a), 1 of 2 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "La pesca" |
|
Bia. 342 |
WoO 99 #4.2, Hess 223 |
|
|
Trio for Solo Voice(s) in C major:
"Già la notte s’avvicina"
(WoO 99/4b), 2 of 2 settings |
1801 - 1803 |
written for Antonio Salieri; words:
Metastasio "La pesca" |
|
Bia. 343 |
|
|
|
Fragment for Piano: 1 bar; authorship:
unfinished |
1802 |
|
|
Bia. 344 |
|
|
|
2-part Canon: rhythm for the canon |
1803 |
|
|
Bia. 345 |
|
|
|
Fugue Subject for Piano in C major |
1803 |
|
|
Bia. 346 |
|
|
|
Fugue for Piano in C major: "Fuga
Antique" |
1803 |
|
|
Bia. 347 |
|
|
|
Passage for Piano: through all the
keys; authorship: unfinished |
1803 |
|
|
Bia. 348 |
|
|
|
3 Fragments for Piano; authorship:
unfinished |
1802 |
|
|
Bia. 349 |
|
|
|
3 Fragments for Piano; authorship:
unfinished |
1802 |
|
|
Bia. 350 |
Hess 229 |
|
|
2-part Canon: "Languisco e
moro" |
1803 |
written for Antonio Salieri; most
likely done at the same time as the WoO 99 works |
|
Bia. 351 |
Hess 274 |
|
|
2-part Canon in G major: without
text |
1803 |
|
|
Bia. 352 |
WoO 93, Hess 120 |
|
|
Duo for Solo Voice(s) & Orchestra:
"Ne’ giorni tuoi felici"; for soprano
& tenor w/ orchestra |
1802 |
words: Pietro Metastasio: "Olimpiade" |
|
Bia. 353 |
|
|
|
Sketch for Piano & Orchestra;
authorship: unfinished |
1803 |
sketch for a cadenza for the Piano
Concerto #3, Opus 37 |
|
Bia. 354 |
Hess 68 |
|
|
Ländler for Piano in C minor |
1803 |
|
|
Bia. 355 |
|
|
|
3 Sketches for Unknown; authorship:
unfinished |
1803 |
perhaps for "Christus am Ölberge"
Opus 85 |
|
Bia. 356 |
|
|
|
Fragment for Unknown; authorship:
unfinished |
1803 |
only the melodic line |
|
Bia. 357 |
|
|
|
3 Fragments for Unknown; authorship:
unfinished |
1803 |
perhaps for "Christus am Ölberge"
Opus 85 |
|
Bia. 358 |
|
|
|
Fugue Subject for Unknown |
1803 |
perhaps for "Christus am Ölberge"
Opus 85 |
|
Bia. 359 |
|
|
|
Rondo for Instrument(s): for "all
the instruments" |
1803 |
|
|
Bia. 360 |
|
|
|
Little Finale for Piano in G major:
perhaps for piano; authorship: unfinished |
1803 |
|
|
Bia. 361 |
|
|
|
2 Fragments for Unknown; authorship:
unfinished |
1803 |
|
|
Bia. 362 |
|
|
|
Sketch for Unknown; authorship:
unfinished |
1803 |
rhythm sketch, perhaps for the duet
betweem Jesus & the Seraph in "Christus
am Ölberge" Opus 85 |
|
Bia. 363 |
Op. 85, Grove 85 |
|
|
Oratorio: "Christus am Ölberge"
(Christ on the Mount of Olives) |
1803 - 1804 |
written in 14 days; words: Franz
Xaver Huber |
|
Bia. 364 |
|
|
|
Fragment for Piano; authorship:
unfinished |
1803 |
accompaniment figure, perhaps for
piano |
|
Bia. 365 |
|
|
|
2 Fragments for Piano & Violin;
authorship: unfinished |
1803 |
for the "Kreutzer - Sonate"
Opus 47, first movement |
|
Bia. 366 |
Op. 47, Grove 47 |
|
|
Sonata No. 9 for Piano & Violin
in A major: "Kreutzer - Sonate" |
1802 - 1803 |
dedicated to Rodolphe Kreutzer;
original dedicatee was George Bridgetower |
|
Bia. 367 |
Op. 48 #1, Grove 48 |
|
|
Song: "Bitten" (Prayer);
"Gott, deine Güte reicht so weit" |
1801 - 1802 |
dedicated to Count Johann Georg
Browne; words: Christian Fürchtegott Gellert |
|
Bia. 367 |
Op. 48 #2, Grove 48 |
|
|
Song: "Die Liebe des Nächsten"
(Love of my neighbor); "So jemand spricht:
Ich liebe Gott!" |
1801 - 1802 |
dedicated to Count Johann Georg
Browne; words: Christian Fürchtegott Gellert |
|
Bia. 367 |
Op. 48 #3, Grove 48 |
|
|
Song: "Vom Tode" (Of Death);
"Meine Lebenszeit verstreicht" |
1801 - 1802 |
dedicated to Count Johann Georg
Browne; words: Christian Fürchtegott Gellert |
|
Bia. 367 |
Op. 48 #4, Grove 48 |
|
|
Song: "Die Ehre Gottes aus
der Natur" (God’s Glory told in Nature);
"Die Himmel rühmen des Ewigen Ehre" |
1801 - 1802 |
dedicated to Count Johann Georg
Browne; words: Christian Fürchtegott Gellert |
|
Bia. 367 |
Op. 48 #5, Grove 48 |
|
|
Song: "Gottes Macht und Vorsehung"
(God’s Might and Providence); "Gott
ist mein Leid!" |
1801 - 1802 |
dedicated to Count Johann Georg
Browne; words: Christian Fürchtegott Gellert |
|
Bia. 367 |
Op. 48 #6, Grove 48 |
|
|
Song: "Bußlied" (Song
of Repentance); "An dir allein, an dir hab
ich gesündigt" |
1801 - 1802 |
dedicated to Count Johann Georg
Browne; words: Christian Fürchtegott Gellert |
|
Bia. 368 |
WoO 78, Grove 189 |
|
|
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 |
|
Bia. 369 |
WoO 79, Grove 190 |
|
|
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 |
|
Bia. 370 |
Op. 88, Grove 88 |
|
|
Song: "Vita felice", "Das
Gluck der Freundschaft (Lebensglück)"
(The Joy of Friendship) "Der lebt ein Leben
wonniglich" |
1803 |
from Loschenkohl |
|
Bia. 371 |
Op. 41, Hess Anhang 12, Grove
41 |
|
|
Serenade for Piano & Flute in
D major; authorship: arranged by another |
1803 |
after the Serenade Opus 25; arranged
by Franz Xaver Kleinheinz; Beethoven corrected
& approved the arrangement |
|
Bia. 372 |
Op. 42, Hess Anhang 13,
Grove 42 |
|
|
Notturno for Piano & Viola in
D major; authorship: arranged by another |
1803 - 1804 |
after the Serenade Opus 8; arranged
by Franz Xaver Kleinheinz |
|
Bia. 373 |
WoO 82, Grove 165 |
|
|
Minuet for Piano in E flat major |
1803 |
|
|
Bia. 374 |
WoO 55, Grove 166 |
|
|
Prelude for Piano in F minor |
1803 |
|
|
Bia. 375 |
Op. 39 #1, Grove 39 |
|
|
Prelude for Piano or Organ in C
major: through the 12 major keys |
1789 |
|
|
Bia. 375 |
Op. 39 #2, Grove 39 |
|
|
Prelude for Piano or Organ in C
major: through the 12 major keys |
1789 |
|
|
Bia. 376 |
Op. 38, Grove 38 |
|
|
Trio for Piano, Clarinet or Violin,
& Cello in E flat major |
1802 - 1803 |
dedicated to Johann A. Schmidt;
after the Septet Opus 20; the theme of the Menuetto
was taken from the Piano Sonata in G Opus 49 #2 |
|
Bia. 377 |
Op. 45 #1, Grove 45 |
|
|
March for Piano Four Hands in C
major |
1803 |
dedicated to Princess Maria Esterházy |
|
Bia. 377 |
Op. 45 #2, Grove 45 |
|
|
March for Piano Four Hands in E
flat major |
1803 |
dedicated to Princess Maria Esterházy |
|
Bia. 377 |
Op. 45 #3, Grove 45 |
|
|
March for Piano Four Hands in D
major |
1803 |
dedicated to Princess Maria Esterházy |
|
Bia. 378 |
WoO 129, Grove 237 |
|
|
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 |
|
Bia. 379 |
Hess 115 |
|
|
Music for a drama for Orchestra,
Chorus & Solo Voice(s): "Vesta’s
Feuer"; authorship: unfinished |
1803 |
fragment of first scene; words:
Emanuel Schikaneder |
|
Bia. 380 |
|
|
|
Song in E major: "Zur Erde
sank die Ruh’ vom Himmel Nieder" (from
heaven quiet descended upon the earth); authorship:
unfinished |
1803 |
|
|
Bia. 381 |
|
|
|
Sketch for Instrument(s): for a
march; authorship: unfinished |
1803 |
|
|
Bia. 382 |
|
|
|
String Quartet: beginning for a
string quartet; authorship: unfinished |
1803 |
|
|
Bia. 383 |
|
|
|
Exercise for Piano: exercises and
scales |
|
|
|
Bia. 384 |
Hess 327 |
|
|
2 Little Melodies for Instrument(s)
in A minor: in A minor and C major |
1803 |
|
|
Bia. 385 |
Hess 70 |
|
|
Sketch for Piano: start of an adagio;
authorship: unfinished |
1803 |
|
|
Bia. 386 |
|
|
|
Sketch for Piano & Cello: indications
of a sonata; authorship: unfinished |
1803 |
|
|
Bia. 387 |
Hess 71 |
|
|
Little Piece for Piano |
1803 |
|
|
Bia. 388 |
Hess 328 |
|
|
2-part Canon in A flat major |
1803 |
Hess 275 is a duplicate number for
the same piece; Hess withdrew this number |
|
Bia. 389 |
|
|
|
Piece for Instrument(s): beginning
of a piece for viola, cello, horn & string
bass; authorship: unfinished |
1803 |
|
|
Bia. 390 |
Hess 329 |
|
|
Sketch for Unknown: sketch for "Tibi
gratulor"; beginning of a composition for
many voices; authorship: unfinished |
1803 |
|
|
Bia. 391 |
|
|
|
Quartet for Unknown: beginning of
a quartet "per quattro voci" ; authorship:
unfinished |
1803 |
Beethoven noted: "zugleich
gut fur den letzen zug vom Pianoforte" |
|
Bia. 392 |
|
|
|
Rondo for Piano; authorship: unfinished |
1803 |
for the sonata Opus 53; different
theme from the definitive version |
|
Bia. 393 |
|
|
|
Sketch for Unknown: for Klopstock’s
song "Im Fruhlingsschatten fand ich sie";
authorship: unfinished |
1803 |
|
|
Bia. 394 |
|
|
|
Sketch for Unknown: sketches for
contradances; authorship: unfinished |
1803 |
|
|
Bia. 395 |
|
|
|
Sketch for Unknown: for a fantasia
un poco adagio with the annotation "Si continua
sempre molto semplice in questa maniera";
authorship: unfinished |
1803 |
|
|
Bia. 396 |
Hess 330 |
|
|
Piece for Unknown: in the form of
a march (complete sketch); authorship: unfinished |
|
|
|
Bia. 397 |
|
|
|
Piece for Instrument(s): for instruments
from strings to winds |
1803 |
with the annotation "Konnte
zuletz endigen mit einem Marsch" |
|
Bia. 398 |
Hess 72 |
|
|
Variations for Piano in A major:
theme with one variation |
1803 |
|
|
Bia. 399 |
|
|
|
Sketch for Unknown: for a "Lustige"
(Happy) symphony; authorship: unfinished |
1803 |
|
Professor
Giovanni Biamonti
