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Beethoven death mask.

 

Ludwig van Beethoven (IPA: [English ˈlʊdvɪg væn ˈbeɪt.həʊvən; German ˈluːtvɪç fan ˈbeːt.hoːfn]), (baptized December 17, 1770[1] – March 26, 1827) was a German composer. He is regarded as one of the greatest composers in the history of music, and was a crucial figure in the transitional period between the Classical and Romantic eras in Western classical music. His music and his reputation inspired — and in many cases intimidated — ensuing generations of composers, musicians, and audiences.

While primarily known today as a composer, Beethoven was also a celebrated pianist. Born in Bonn, Germany, he moved to Vienna, Austria, in his early twenties and settled there, studying with Joseph Haydn and quickly gaining a reputation as a virtuoso pianist. Despite gradual hearing loss beginning in his twenties, Beethoven continued to produce notable masterpieces throughout his life, even when he was totally deaf. Beethoven was also one of the first composers to work freelance — arranging subscription concerts, selling his compositions to publishers, and gaining financial support from a number of wealthy patrons — rather than seek out permanent employment by the church or by an aristocratic court.

 

Picture: Beethoven at Age 13 

Beethoven was born in Bonn, Germany in 1770, to Johann van Beethoven (1740–1792), one of a line of musicians of Flemish ancestry, and Maria Magdalena Keverich (1744–1787), whose father had been overseer of the kitchen at Ehrenbreitstein. Beethoven was one of seven children born to them, of whom only Beethoven and two younger brothers would survive infancy. Beethoven was baptized on December 17, 1770. Although his birthdate is not known for certain, his family (and later, his teacher Johann Georg Albrechtsberger) celebrated his birthday on December 16. Beethoven’s first music teacher was his father, a tenor in the service of the Electoral court at Bonn, who was reportedly a harsh and unpredictable instructor. Johann later engaged a friend, Tobias Pfeiffer, to preside over his training, and it is said Johann and his friend would at times come home late from a night of drinking to pull young Ludwig out of bed to practice until morning. Beethoven’s talent was recognized at a very early age, and by 1778 he was studying the organ, violin and viola in addition to the piano. His most important teacher in Bonn was Christian Gottlob Neefe[3], who was the Court’s Organist. Neefe helped Beethoven publish his first work: a keyboard variation. In 1787, the young Beethoven travelled to Vienna for the first time, where he played for Wolfgang Amadeus Mozart[4], who said that Beethoven would soon astonish the world. After his mother was diagnosed with tuberculosis, Beethoven was forced to return home. Beethoven’s mother died on July 17, 1787, when Beethoven was 16.[5] Due to his father’s worsening alcohol addiction, Beethoven was responsible for raising his two younger brothers. Beethoven moved to Vienna in 1792, where he studied for a time with Joseph Haydn, though he had wanted to study with Mozart, who had died the previous year. Beethoven received additional instruction from Johann Georg Albrechtsberger (Vienna’s pre-eminent counterpoint instructor) and Antonio Salieri. By 1793, Beethoven established a reputation in Vienna as a piano virtuoso. His first works with opus numbers, a set of three piano trios, appeared in 1795. He settled into the career pattern he would follow for the remainder of his life: rather than working for the church or a noble court (as most composers before him had done), he supported himself through a combination of annual stipends or single gifts from members of the aristocracy; income from subscription concerts, concerts, and lessons; and proceeds from sales of his works.

Orchestral music

Beethoven may be most famous for his nine symphonies. He also wrote several concertos, mostly for his own performance, as well as other orchestral music, principally overtures and incidental music for theatrical productions, and works to mark various occasions.

Symphonies

* Opus 21: Symphony No. 1 in C major (composed 1799-1800, premiered 1800)
* Opus 36: Symphony No. 2 in D major (composed 1801-02, premiered 1803)
* Opus 55: Symphony No. 3 in E-flat major (”Eroica”) (composed 1802-04, premiered 1805)
* Opus 60: Symphony No. 4 in B-flat major (composed 1806, premiered 1807)
* Opus 67: Symphony No. 5 in C minor (composed 1804-08, premiered 1808)
* Opus 68: Symphony No. 6 in F major (”Pastoral”) (composed 1803-07, premiered 1808)
* Opus 92: Symphony No. 7 in A major (composed 1811-12, premiered 1813)
* Opus 93: Symphony No. 8 in F major (composed 1811-12, premiered 1814)
* Opus 125: Symphony No. 9 in D minor (”Choral”) (composed 1817-24, premiered 1824)

What was once believed by some to be an early Symphony by Beethoven, the “Jena” Symphony in C major, is now thought to be by Friedrich Witt.

Beethoven is believed to have intended to write a Tenth Symphony in the last year of his life; a performing version of possible sketches was assembled by Barry Cooper.

Concertos

* Opus 15: Piano Concerto No. 1 in C major (1796-97)
* Opus 19: Piano Concerto No. 2 in B-flat major (1798)
* Opus 37: Piano Concerto No. 3 in C minor (1803)
* Opus 56: Triple Concerto for violin, cello, and piano in C major (1805)
* Opus 58: Piano Concerto No. 4 in G major (1807)
* Opus 61: Violin Concerto in D major (1806)
* Opus 61a: Beethoven’s arrangement of Opus 61 for piano, sometimes called Piano Concerto No. 6
* Opus 73: Piano Concerto No. 5 in E-flat major (”Emperor”) (1809)

Other works for soloist and orchestra

* Opus 40: Romance for Violin and Orchestra No. 1 in G major (1802)
* Opus 50: Romance for Violin and Orchestra No. 2 in F major (1798)
* Opus 80: “Choral Fantasy” (Fantasia in C minor for piano, chorus, and orchestra) (1808)

Overtures and occasional music

* Opus 43: The Creatures of Prometheus, overture and ballet music (1801)
* Opus 62: Coriolan Overture (1807)
* Overtures composed for Beethoven’s opera Fidelio:
o Opus 72: Fidelio Overture (1814)
o Opus 72a: Leonore Overture “No. 2″ (1805)
o Opus 72b: Leonore Overture “No. 3″ (1806)
o Opus 138: Leonore Overture “No. 1″ (1807)
* Opus 84: Egmont, overture and incidental Music (1810)
* Opus 91: Wellington’s Victory (”Battle Symphony”) (1813)
* Opus 113: Die Ruinen von Athen (The ruins of Athens), overture and incidental music (1811)
* Opus 117: König Stephan (King Stephen), overture and incidental music (1811)
* Opus 115: Zur Namensfeier Overture (Feastday) (1815)
* Opus 124: Die Weihe des Hauses Overture (Consecration of the House) (1822)

Chamber music

Beethoven’s string quartets are nearly as famous as his symphonies. He also wrote chamber music for several other types of ensembles, including piano trios, string trios, and sonatas for violin and cello with piano, as well as works with wind instruments.

String quartets

Early

* Opus 18: Six String Quartets
o No. 1: String Quartet No. 1 in F major (1799)
o No. 2: String Quartet No. 2 in G major (1800)
o No. 3: String Quartet No. 3 in D major (1798)
o No. 4: String Quartet No. 4 in C minor (1801)
o No. 5: String Quartet No. 5 in A major (1801)
o No. 6: String Quartet No. 6 in B-flat major (1801)

Middle

* Opus 59: Three String Quartets (”Rasumovsky”) (1806)
o No. 1: String Quartet No. 7 in F major
o No. 2: String Quartet No. 8 in E minor
o No. 3: String Quartet No. 9 in C major
* Opus 74: String Quartet No. 10 in E-flat major (”Harp”) (1809)
* Opus 95: String Quartet No. 11 in F minor (”Serioso”) (1810)

Late

Main article: String Quartets Nos. 12 - 16 and Grosse Fuge, Opus 127, 130 - 135 (Beethoven)

* Opus 127: String Quartet No. 12 in E-flat major (1825)
* Opus 130: String Quartet No. 13 in B-flat major (1825)
* Opus 131: String Quartet No. 14 in C-sharp minor (1826)
* Opus 132: String Quartet No. 15 in A minor (1825)
* Opus 133: Große Fuge in B-flat major — originally finale of Opus 130 (1824-1825)
o Opus 134: Beethoven’s arrangement of the Große Fuge, Opus 133, for piano duet (four-hands) (1826)
* Opus 135: String Quartet No. 16 in F major (1826)

String quintets

* Opus 29: String Quintet in C major (1801)
* Opus 104: String Quintet in C minor
* Opus 137: Fugue for String Quintet in D major

Trios

Piano trios

* Opus 1: Three Piano Trios (1795)
o Piano Trio No. 1 in E-flat major
o Piano Trio No. 2 in G major
o Piano Trio No. 3 in C minor
* Opus 11: Piano Trio No. 4 in B-flat major (”Gassenhauer”) (1797) (version with violin)
* Opus 70: Two Piano Trios (1808)
o Piano Trio No. 5 in D major, “Ghost”
o Piano Trio No. 6 in E-flat major
* Opus 97: Piano Trio No.7 in B-flat Major (”Archduke”) (1811)

String trios

* Opus 3: String Trio No. 1 in E-flat major (1794)
* Opus 9: Three String Trios (1798)
o String Trio No. 2 in G major
o String Trio No. 3 in D major
o String Trio No. 4 in C minor.

Chamber music with winds

* Opus 11: Piano Trio No. 4 in B-flat major (”Gassenhauer”) (1797) (version with clarinet)
* Opus 16: Quintet for piano and winds in E-flat major (1796)
* Opus 20: Septet for clarinet, horn, bassoon, violin, viola, cello and contrabass in E-flat major (1799)
* Opus 71: Sextet for clarinets, horns, and bassoons in E-flat major (1796)
* Opus 87: Trio for two oboes and English horn in C major (1795)
* Opus 103: Octet for oboes, clarinets, horns, and bassoons in E-flat major (1792)

Sonatas for solo instrument and piano

Violin sonatas

* Opus 12: Three Violin Sonatas (1798)
o No. 1: Violin Sonata No. 1 in D major
o No. 2: Violin Sonata No. 2 in A major
o No. 3: Violin Sonata No. 3 in E-flat major
* Opus 23: Violin Sonata No. 4 in A minor (1801)
* Opus 24: Violin Sonata No. 5 in F major (”Spring”) (1801)
* Opus 30: Three Violin Sonatas (1803)
o No. 1: Violin Sonata No. 6 in A major
o No. 2: Violin Sonata No. 7 in C minor
o No. 3: Violin Sonata No. 8 in G major
* Opus 47: Violin Sonata No. 9 in A major (”Kreutzer”) (1803)
* Opus 96: Violin Sonata No. 10 in G major (1812)

Cello sonatas

* Opus 5: Two Cello Sonatas (1796)
o Cello Sonata No. 1 in F major
o Cello Sonata No. 2 in G minor.
* Opus 69: Cello Sonata No. 3 in A major (1808)
* Opus 102: Two Cello Sonatas (1815)
o Cello Sonata No. 4 in C major
o Cello Sonata No. 5 in D major

Horn sonatas

* Opus 17: Horn Sonata in F major (1800)

Solo piano music

In addition to the 32 celebrated sonatas, Beethoven’s work for solo piano includes many one-movement pieces, notably the sets of variations, and the bagatelles.

Piano sonatas

* Opus 2: Three Piano Sonatas (1796)
o No. 1: Piano Sonata No. 1 in F minor
o No. 2: Piano Sonata No. 2 in A major
o No. 3: Piano Sonata No. 3 in C major
* Opus 7: Piano Sonata No. 4 in E-flat major (1797)
* Opus 10: Three Piano Sonatas (1798)
o No. 1: Piano Sonata No. 5 in C minor
o No. 2: Piano Sonata No. 6 in F major
o No. 3: Piano Sonata No. 7 in D major
* Opus 13: Piano Sonata No. 8 in C minor (”Pathétique”) (1798)
* Opus 14: Two Piano Sonatas (1799)
o No. 1: Piano Sonata No. 9 in E major
o No. 2: Piano Sonata No. 10 in G major
* Opus 22: Piano Sonata No. 11 in B-flat major (1800)
* Opus 26: Piano Sonata No. 12 in A-flat major (”Funeral March”) (1801)
* Opus 27: Two Piano Sonatas (1801)
o No. 1: Piano Sonata No. 13 in E-flat major
o No. 2: Piano Sonata No. 14 in C-sharp minor (”Moonlight”)
* Opus 28: Piano Sonata No. 15 in D major (”Pastoral”) (1801)
* Opus 31: Three Piano Sonatas (1802)
o No. 1: Piano Sonata No. 16 in G major
o No. 2: Piano Sonata No. 17 in D minor (”Tempest”)
o No. 3: Piano Sonata No. 18 in E-flat major (”The Hunt”)
* Opus 49: Two Piano Sonatas (1792)
o No. 1: Piano Sonata No. 19 in G minor
o No. 2: Piano Sonata No. 20 in G major
* Opus 53: Piano Sonata No. 21 in C major (”Waldstein”) (1803)
o WoO 57: Andante Favori - Original middle movement of the “Waldstein” sonata (1804)
* Opus 54: Piano Sonata No. 22 in F major (1804)
* Opus 57: Piano Sonata No. 23 in F minor (”Appassionata”) (1805)
* Opus 78: Piano Sonata No. 24 in F-sharp major (”A Thérèse”) (1809)
* Opus 79: Piano Sonata No. 25 in G major (”Cuckoo”) (1809)
* Opus 81a: Piano Sonata No. 26 in E-flat major (”Les adieux/Lebewohl”) (1810)
* Opus 90: Piano Sonata No. 27 in E minor (1814)
* Opus 101: Piano Sonata No. 28 in A major (1816)
* Opus 106: Piano Sonata No. 29 in B-flat major (”Hammerklavier”) (1819)
* Opus 109: Piano Sonata No. 30 in E major (1820)
* Opus 110: Piano Sonata No. 31 in A-flat major (1821)
* Opus 111: Piano Sonata No. 32 in C minor (1822)

Variations

* Opus 34: Six variations on an original theme in F major (1802)
* Opus 35: Fifteen variations and a fugue on an original theme in E-flat major (”Eroica Variations”) (1802)
* Opus 76: Six variations on an original theme in D major (1809)
* Opus 120: Thirty-three variations on a waltz by Diabelli in C major (”Diabelli Variations”) (1823)

Bagatelles

* Opus 33: Seven Bagatelles (1802)
* Opus 119: Eleven new Bagatelles (1822)
* Opus 126: Six Bagatelles (1824)
* WoO 59: Bagatelle in A minor (”Für Elise”) (c. 1810)

Vocal music

While he completed only one opera, Beethoven wrote vocal music throughout his life, including two Mass settings, other works for chorus and orchestra (in addition to the Ninth Symphony), arias, duets, art songs (lieder), and one of the first true song cycles.

Opera

* Opus 72: Fidelio (1814)

Choral

* Opus 80: Choral Fantasy for solo piano, chorus, and orchestra (1808)
* Opus 85: Christus am Ölberge (Christ on the Mount of Olives) — oratorio (1803)
* Opus 86: Mass in C major (1807)
* Opus 112: Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), for chorus and orchestra (1815)
* Opus 123: Missa Solemnis in D major (1822)

Song

* Opus 46: “Adelaide” — song (1794-1795)
* Opus 98: An die ferne Geliebte — song cycle (1816)
* Opus 108: Twenty-five Scottish Songs

Around 1796, Beethoven began to lose his hearing. He suffered a severe form of tinnitus, a “ringing” in his ears that made it hard for him to perceive and appreciate music; he would also avoid conversation. He left Vienna for a time for the small Austrian town of Heiligenstadt, where he wrote his Heiligenstadt Testament. He resolved to continue living for and through his art. Over time, his hearing loss became profound: there is a well-attested story that, at the end of the premiere of his Ninth Symphony, he had to be turned around to see the tumultuous applause of the audience; hearing nothing, he began to weep. Beethoven’s hearing loss did not affect his ability to compose music, but it made concerts — lucrative sources of income — increasingly difficult. As a result of Beethoven’s hearing loss, a unique historical record has been preserved: he kept conversation books (his friends would write in the book so that he could know what they were saying, and he would respond either verbally or in the book) discussing music and other issues, and giving an insight into his thoughts. Even today, the conversation books form the basis for investigation into how he felt his music should be performed and his relationship to art.

 

Beethoven’s personal life was troubled. His encroaching deafness led him to contemplate suicide (documented in his Heiligenstadt Testament). He was attracted to “unattainable” women (married or aristocratic), and he never married. His only love affair with an identified woman began in 1805 with Josephine von Brunswick, young widow of the Graf von Deym. It is believed the relationship ended by 1807 due both to his own indecisiveness and the disapproval of Josephine’s aristocratic family.

In 1812, Beethoven wrote a long love letter to a woman he identified only as “Immortal Beloved”. Several candidates have been suggested, but the identity of the woman to whom the letter was written has never been proven. (The 1994 film Immortal Beloved was based on this.)

Beethoven quarreled, often bitterly, with his relatives and others (including a painful and public custody battle over his nephew Karl). He frequently treated other people badly, and was believed to suffer from bipolar disorder. Nonetheless, he had a close and devoted circle of friends all his life, all of whom are thought to have been attracted by his reputed strength of personality. Towards the end of life, Beethoven’s friends competed in assisting him cope with illness and his deafness.

Sources show he indulged in a particular disdain for authority, and for those superior to him in social rank. He would cease to perform at the piano if the audience chattered among themselves and did not give him their attention, while at soirées, he refused to perform if suddenly called upon to do so without any warning from his hosts in advance. Eventually, after many confrontations, the Archduke Rudolph found himself compelled to give orders that the usual rules of court etiquette did not apply to Beethoven.

Beethoven was attracted to the ideals of the Enlightenment and by the growing Romanticism in Europe. He initially dedicated his third symphony, the Eroica (Italian for “heroic”), to Napoleon in the belief that the general would sustain the democratic and republican ideals of the French Revolution. But in 1804, when Napoleon’s imperial ambitions became clear, Beethoven crossed out Napoleon’s name on the title page. He renamed the symphony “Sinfonia Eroica, composta per festeggiare il sovvenire di un grand Uomo” (”Heroic Symphony, composed to celebrate the memory of a great man”). The fourth movement of his Ninth Symphony features an elaborate choral setting of Schiller’s Ode An die Freude (”Ode to Joy”), an optimistic hymn championing the brotherhood of humanity. Since 1972, an orchestral version of the fourth movement has been the official anthem of the European Union.

Scholars disagree on Beethoven’s religious beliefs and the role they played in his work. For discussion, see Ludwig van Beethoven’s religious beliefs. It has been asserted, but not proven, that Beethoven was a Freemason

Beethoven’s compositional career is usually divided into Early, Middle, and Late periods.

In the Early period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous “Pathétique” and “Moonlight” sonatas.

The Middle period began shortly after Beethoven’s personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle-period works include six symphonies (Nos. 3–8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (Nos. 7–11), the next seven piano sonatas (including the “Waldstein” and the “Appassionata”), and Beethoven’s only opera, Fidelio.

Beethoven’s Late period began around 1816. The Late-period works are characterized by intellectual depth; intense, highly personal expression; and formal innovation (for example, the String Quartet, Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the “Missa Solemnis”, the last five string quartets, and the last five piano sonatas.

* Opus 1: Three Piano Trios (1795)
o Piano Trio No. 1 in E-flat major
o Piano Trio No. 2 in G major
o Piano Trio No. 3 in C minor
* Opus 2: Three Piano Sonatas (1796)
o Piano Sonata No. 1 in F minor
o Piano Sonata No. 2 in A major
o Piano Sonata No. 3 in C major.
* Opus 3: String Trio No. 1 in E-flat major (1794)
* Opus 4: String Quintet (1795)
* Opus 5: Two Cello Sonatas (1796)
o Cello Sonata No. 1 in F major
o Cello Sonata No. 2 in G minor.
* Opus 6: Piano Sonata for four hands (1797)
* Opus 7: Piano Sonata No. 4 in E-flat major (1797)
* Opus 8: Serenade for string trio in D major (1797)
* Opus 9: Three String Trios (1798)
o String Trio No. 2 in G major
o String Trio No. 3 in D major
o String Trio No. 4 in C minor.
* Opus 10: Three Piano Sonatas (1798)
o Piano Sonata No. 5 in C minor
o Piano Sonata No. 6 in F major
o Piano Sonata No. 7 in D major
* Opus 11: Piano Trio No. 4 in B-flat major (”Gassenhauer”) (1797) (*for clarinet (or violin), cello (sometimes bassoon), and piano)
* Opus 12: Three Violin Sonatas (1798)
o Violin Sonata No. 1 in D major
o Violin Sonata No. 2 in A major
o Violin Sonata No. 3 in E-flat major
* Opus 13: Piano Sonata No. 8 in C minor (”Pathetique”) (1799)
* Opus 14: Two Piano Sonatas (1799)
o Piano Sonata No. 9 in E major
o Piano Sonata No. 10 in G major.
* Opus 15: Piano Concerto No. 1 in C major.
* Opus 16: Quintet for Piano and Winds (1796)
* Opus 17: Horn Sonata in F major (1800)
* Opus 18: Six String Quartets (1800)
o String Quartet No. 1 in F major
o String Quartet No. 2 in G major
o String Quartet No. 3 in D major
o String Quartet No. 4 in C minor
o String Quartet No. 5 in A major
o String Quartet No. 6 in B-flat major
* Opus 19: Piano Concerto No. 2 in B-flat major (1795)
* Opus 20: Septet in E-flat major (1799)
* Opus 21: Symphony No. 1 in C major (1800)
* Opus 22: Piano Sonata No. 11 in B-flat major (1800)
* Opus 23: Violin Sonata No. 4 in A minor (1801)
* Opus 24: Violin Sonata No. 5 in F major, “Spring” (1801)
* Opus 25: Serenade for Flute, Violin and Viola in D major (1801)
* Opus 26: Piano Sonata No. 12 in A-flat major (1801)
* Opus 27: Two Piano Sonatas (1801)
o Piano Sonata No. 13 in E-flat major
o Piano Sonata No. 14 in C-sharp minor (”Moonlight”)
* Opus 28: Piano Sonata No. 15 in D major (1801)
* Opus 29: String Quintet in C major (1801)
* Opus 30: Three Violin Sonatas (1803)
o Violin Sonata No. 6 in A major
o Violin Sonata No. 7 in C minor
o Violin Sonata No. 8 in G major
* Opus 31: Three Piano Sonatas (1802)
o Piano Sonata No. 16 in G major
o Piano Sonata No. 17 in D minor (”Tempest”)
o Piano Sonata No. 18 in E-flat major (”Hunt”)
* Opus 32: Song - An die Hoffnung (1805)
* Opus 33: Seven Bagatelles for piano (1802)
* Opus 34: Six variations on an original theme for piano in F major (1802)
* Opus 35: Fifteen variations and a fugue for piano on an original theme in E-flat major (”Eroica Variations”) (1802)
* Opus 36: Symphony No. 2 in D major (1803)
* Opus 37: Piano Concerto No. 3 in C minor (1803)
* Opus 38: Piano Trio No. 8 (Arrangement of the Septet, Opus 20) (1803)
* Opus 39: Two Preludes through all twelve major keys for piano (1789)
* Opus 40: Romance for Violin and Orchestra No. 1 in G major (1802)
* Opus 41: Serenade for Piano and Flute or Violin in D major (1803)
* Opus 42: Notturno for Viola and Piano in D major (1803)
* Opus 43: The Creatures of Prometheus, overture and ballet music (1801)
* Opus 44: Piano Trio No. 10 (Variations on an original theme in E-flat major) (1792)
* Opus 45: Three Marches for Piano, 4 hands (1803)
* Opus 46: Song - Adelaide (1795)
* Opus 47: Violin Sonata No. 9 in A major (”Kreutzer”) (1802)
* Opus 48: Six Songs (1802)
o “Bitten”
o “Die Liebe des Nächsten”
o “Vom Tode”
o “Die Ehre Gottes aus der Natur”
o “Gottes Macht und Vorsehung”
o “Bußlied”
* Opus 49: Two Piano Sonatas (1792)
o Piano Sonata No. 19 in G minor
o Piano Sonata No. 20 in G major.
* Opus 50: Romance for Violin and Orchestra No. 2 in F major (1798)
* Opus 51: Two Rondos for Piano (1797)
o Rondo in C major
o Rondo in G major
* Opus 52: Eight Songs (1805)
o “Urians Reise um die Welt”
o “Feuerfab”
o “Das Liedchen von der Ruhe”
o “Maigesang”
o “Mollys Abschied”
o “Die Liebe”
o “Marmotte”
o “Das Blümchen Wunderhold”
* Opus 53: Piano Sonata No. 21 in C major (”Waldstein”) (1803)
* Opus 54: Piano Sonata No. 22 in F major (1804)
* Opus 55: Symphony No. 3 in E-flat major (”Eroica”) (1805)
* Opus 56: Triple Concerto for violin, cello, and piano in C major (1805)
* Opus 57: Piano Sonata No. 23 in F minor (”Appassionata”) (1805)
* Opus 58: Piano Concerto No. 4 in G major (1807)
* Opus 59: Three String Quartets (”Rasumovsky”) (1806)
o String Quartet No. 7 in F major
o String Quartet No. 8 in E minor
o String Quartet No. 9 in C major,
* Opus 60: Symphony No. 4 in B-flat major (1807)
* Opus 61: Violin Concerto in D major (1808)
* Opus 62: Coriolan Overture (1807)
* Opus 63: Arrangement of String Quintet (Opus 4) for Piano Trio (1806)
* Opus 64: Arrangement of String Trio (Opus 3) for Piano and Cello (1807)
* Opus 65: Aria - “Ah perfido!” (1796)
* Opus 66: Variations for cello and piano on “Ein Mädchen oder Weibchen” from Mozart’s Die Zauberflote (1796)
* Opus 67: Symphony No. 5 in C minor (1808)
* Opus 68: Symphony No. 6 in F major (”Pastoral”) (1808)
* Opus 69: Cello Sonata No. 3 in A major (1808)
* Opus 70: Two Piano Trios (1808)
o Piano Trio No. 5 in D major (”Ghost”)
o Piano Trio No. 6 in E-flat major
* Opus 71: Wind sextet in E-flat (1796)
* Opus 72: Fidelio, opera (c. 1803-5; Fidelio Overture composed 1814)
* Opus 72a: Leonore (earlier version of Fidelio, with Leonore Overture No. 2) (1805)
* Opus 72b: Leonore (earlier version of Fidelio, with Leonore Overture No. 3) (1806)
* Opus 73: Piano Concerto No. 5 in E-flat major (”Emperor”) (1809)
* Opus 74: String Quartet No. 10 in E-flat major (”Harp”) (1809)
* Opus 75: Six Songs (1809)
o “Mignon”
o “Neue Liebe neues Leben”
o “Es war einmal ein König” from Goethe’s Faust
o “Gretels Warnung”
o “An die fernen Geliebten”
o “Der Zufriedene”
* Opus 76: Six variations on an original theme for piano in D major (1809)
* Opus 77: Piano Fantasia (1809)
* Opus 78: Piano Sonata No. 24 in F-sharp major (1809)
* Opus 79: Piano Sonata No. 25 in G major (1809)
* Opus 80: “Choral Fantasy” (Fantasia in C minor for piano, chorus, and orchestra) (1808)
* Opus 81a: Piano Sonata No. 26 in E-flat major (”Les Adieux”) (1809)
* Opus 81b: Sextet in E-flat major (1795)
* Opus 82: Four Ariettas and a Duet (1809)
o “Dimmi, ben mio, che m’ami”
o “T’intendo si, mio cor”
o “L’amante impaziente” (first version)
o “L’amante impatiente” (second version)
o Duet: “Odi ‘laura che dolce sospira”
* Opus 83: Three Songs (1810)
o “Wonne der Wehmut”
o “Sehnsucht”
o “Mit einem gemalten Band”
* Opus 84: Egmont, overture and incidental music (1810)
* Opus 85: Oratorio - Christus am Ölberge (Christ on the Mount of Olives) (1803)
* Opus 86: Mass in C major (1807)
* Opus 87: Trio for two Oboes and English Horn in C major (1795)
* Opus 88: Song - “Das Gluck der Freundschaft” (1803)
* Opus 89: Polonaise in C major (1814)
* Opus 90: Piano Sonata No. 27 in E minor (1814)
* Opus 91: Wellington’s Victory (”Battle Symphony”) (1813)
* Opus 92: Symphony No. 7 in A major (1813)
* Opus 93: Symphony No. 8 in F major (1814)
* Opus 94: Song - “An die Hoffnung” (1814)
* Opus 95: String Quartet No. 11 in F minor (”Serioso”) (1810)
* Opus 96: Violin Sonata No. 10 in G major (1812)
* Opus 97: Piano Trio No. 7 in B-flat major (”Archduke”) (1811)
* Opus 98: An die ferne Geliebte, song cycle (1816)
* Opus 99: Song - “Der Mann von Wort” (1816)
* Opus 100: Song - “Merkenstein” (1814)
* Opus 101: Piano Sonata No. 28 in A major (1816)
* Opus 102: Two Cello Sonatas (1815)
o Cello Sonata No. 4 in C major
o Cello Sonata No. 5 in D major.
* Opus 103: Wind octet in E-flat (1792)
* Opus 104: String Quintet (arrangement of Piano Trio No. 3, 1817)
* Opus 105: Six sets of variations for Piano and Flute (1819)
* Opus 106: Piano Sonata No. 29 in B-flat major (”Hammerklavier”) (1818)
* Opus 107: Ten sets of variations for Piano and Flute (1820)
* Opus 108: Twenty-Five Scottish Songs (1818)
* Opus 109: Piano Sonata No. 30 in E major (1822)
* Opus 110: Piano Sonata No. 31 in A-flat major (1822).
* Opus 111: Piano Sonata No. 32 in C minor (1822)
* Opus 112: Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), for chorus and orchestra (1815)
* Opus 113: Die Ruinen von Athen (The ruins of Athens), overture and incidental music (1811)
* Opus 114: Die Ruinen von Athen (The ruins of Athens), March and Chorus (1822).
* Opus 115: Zur Namensfeier (Feastday), overture (1815)
* Opus 116: “Tramte, empi tremate”, vocal trio with orchestra (1802)
* Opus 117: König Stephan (King Stephen), overture and incidental music (1811)
* Opus 118: “Elegischer Gesang” for four voices and string quartet (1814)
* Opus 119: Eleven new Bagatelles for piano (1822)
* Opus 120: Thirty-three variations on a waltz by Diabelli for piano in C major (”Diabelli Variations”) (1823)
* Opus 121: Piano Trio No. 11 (Variations on “Ich bin der Schneider Kakadu”) (1803)
* Opus 121b: “Opferlied” for soprano, chorus and orchestra (1822)
* Opus 122: “Bundeslied” for voices, chorus and wind instruments (1824)
* Opus 123: Missa Solemnis in D Major (1822)
* Opus 124: Die Weihe des Hauses (Consecration of the House), overture (1822)
* Opus 125: Symphony No. 9 in D minor (”Choral”) (1824)
* Opus 126: Six Bagatelles for piano (1824)
* Opus 127: String Quartet No. 12 in E-flat major (1825)
* Opus 128: Song - “Der Kuss” (1822)
* Opus 129: Rondo Capriccio for piano in G major (”Rage over a lost penny”) (1795)
* Opus 130: String Quartet No. 13 in B-flat major (1825)
* Opus 131: String Quartet No. 14 in C-sharp minor (1826)
* Opus 132: String Quartet No. 15 in A minor (1825)
* Opus 133: Große Fuge in B-flat major for string quartet (originally finale of Opus 130) (1826)
* Opus 134: Piano arrangement (4 hands) of the Große Fuge, Opus 133 (1826)
* Opus 135: String Quartet No. 16 in F major (1826)
* Opus 136: Cantata - Der glorreiche Augenblick (1814)
* Opus 137: Fugue for String Quintet in D major (1817)
* Opus 138: Leonore, opera (earlier version of Fidelio, with Leonore Overture No. 1) (1807)