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Originally appearing in Volume V03, Page 651 of the 1911 Encyclopedia Britannica.
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ANNOTATED See also:

LIST OF See also:BEETHOVEN'S See also:WORKS Up to 1823 we give in most cases the See also:dates of publication, the date of See also:composition being generally from one to three years earlier. Beethoven seldom had less than a dozen projects in See also:hand at once, and their immediate See also:chronology is inextricable; whereas publication generally means final revision. This list is purposely incompletein See also:order that unimportant works may not distract See also:attention, even when they are See also:late and on a large See also:scale. See also:Sonata = See also:Pianoforte sonata. See also:Violin or See also:violoncello sonata =for pianoforte, V. or Vc. Pianoforte trio = Pfte., V., Vc. Pianoforte quartet = Pfte., V., See also:viola and Vc. See also:String trio = V., Va., Vc. String quartet =VV., Va. and Vc. Pianoforte or violin See also:concerto = Concerto with See also:orchestra. 1785. 3 pfte. quartets, of which the third contains important material for the sonatas, op.

2, Nos. i and 3. (See also:

Thayer's attribution of the masterly bagatelles, op. 33, published 1803, to this See also:period can only be rationalized by some similar rough first See also:idea.) 24 See also:variations on an See also:air by Righini (published 18o1). A very remarkable See also:work, anticipating See also:Schumann's Papillons in its humorous See also:close. It was Beethoven's See also:chief See also:early tourde-force in pianoforte playing. 3 pfte. trios, op. 1 (Eb, G, C See also:minor). 3 pfte. sonatas, op. 2 (F minor, A and C, dedicated to See also:Haydn). String trio, op. 3, 2 violoncello sonatas, op. 5, F and G mi., sonata, op.

7, Eb. 3 string trios, op. 9; G, D, C mi., 3 sonatas, op. to (C mi. F, D). Trio for pfte., See also:

clarinet and violoncello in Bb,op. 11. 3 violin sonatas (D, A, Eb), op. 12. Pfte. sonata (Pathetique not Beethoven's See also:title) C mi., op. 13, 2 pfte. sonatas, op. 14, E, G (the first arranged by the composer as a string quartet in F). 18o1.

Pianoforte concertos, op. 15 in C, op. 19 in Bb (the latter composed first). Quintet for pianoforte and See also:

wind See also:instruments, op. 16 (also arranged, with new details, as quartet for pianoforte and strings), composed 1797. 6 string quartets, op. 18 (F, G, D, C mi., A, Bb). 1st See also:symphony (C), op. 21. 2 violin sonatas, A mi., op. 23; F ma., op. 24 (made into two See also:opus-See also:numbers by an See also:accident in the format of the volumes).

1802. Pianoforte See also:

score of the See also:Prometheus See also:ballet, op. 24 (ousted by the F ma. violin sonata, and reissued as op. 43). Sonata in Bb, op. 22. Sonata in Ab, op. 26 (with the funeral See also:march). 2 sonatas (" quasi See also:fantasia "), op. 27, Eb, C#mi. Sonata in D, op. 28 (Pastorale not Beethoven's title).

String quintet in C, .off. 29. 1803. 3 violin sonatas, op. 30 (A, C mi., G). 3 sonatas, op. 31, G, D mi., Eb (the last appearing in 1804). Variations, op. 34. 15 variations and See also:

fugue on theme from Prometheus, op. 35. 1804. and symphony (D), op.

36 (1802). 3rd pfte. concerto (C mi.), op. 37 (1800). 1805. The " See also:

Kreutzer " sonata, op. 47, for pfte. and violin (A) (See also:finale at first intended for op. 30, No. I). " Waldstein " sonata for pfte., op. 53 (C). First version of See also:opera Leonore in three acts (with See also:overture " No. 2 ").

18o6. Sonata in F, op. 54. Eroica Symphony, No. 3. op. 55 (Eb), written in 1804 in See also:

honour of See also:Napoleon See also:Bonaparte. It was just finished when See also:news arrived that Napoleon had made himself See also:emperor, and Beethoven was with difficulty restrained from destroying the score. It is still the longest extant perfect See also:design in instrumental See also:music. The finale glorifies the material (and much of the See also:form) of the variations, op. 35. The See also:scherzo is the first full-sized example of Beethoven's See also:special type. Leonore reproduced in two acts with overture No.

3. 32 variations in C mi. (no opus-number, but a very important work on the lines of a modernized See also:

chaconne). 1807. Triple concerto (pfte., V. and Vc.), op. 56, chiefly interesting as a study for the true concerto-form which had given Beethoven difficulty. Sonata, op. 57 (F mi., Appassionata not Beethoven's title). New overture, Leonore, " No. 1," composed for projected performance of the opera at See also:Prague (posthumously published as op. 138). 18o8.

4th pfte. concerto, op. 58 (G). 3 string quartets, op. 59, F, E mi., C (dedicated to See also:

Count Rasoumovsky, in compliment to whom See also:Russian tunes appear in the finale of No. I and the scherzo of No. 2). Overture to See also:Coriolanus, op. 62. 1809. 4th symphony, op. 6o (Bb). Violin concerto (D), op.

61 (also arranged by the composer for pianoforte). 5th symphony, op. 67 (C mi.) (18o6), the first in which trombones appear. 6th symphony (Pastorale), op. 68; violoncello sonata, op. 69 (A). 2 pianoforte trios, op. 70 (D, Eb). 181o. Pianoforte score of Leonore (2nd version) published. String quartet, op. 74 (Eb, called " See also:

Harp " because of See also:pizzicato passages in first See also:movement).

Fantasia, op. 77, interesting as consisting of a See also:

long and capricious See also:series of dramatic beginnings and breakings off of themes, as if in See also:search for a See also:firm idea, which is at last found and See also:developed as a set of variations. This See also:scheme thus foreshadows the choral finale of the 9th symphony even more significantly than the Choral Fantasia. Sonata, op. 78, F# (extremely terse and subtle, and a See also:great favourite with Beethoven, who preferred it to the C#mi.). 1790. 1795. 1796. 1797. 1798. 1799. 1811.

5th pfte. concerto, op. 73, Eb (The Emperor not Beethoven's title). Fantasia for pfte., orchestra and See also:

chorus, op. 80. Sonata, op. 81a (See also:Les Adieux, l'See also:absence, et le retour), first movement written when the See also:archduke See also:Rudolph had to leave See also:Vienna (4th May 1809), and the See also:rest on his return on the 30th of See also:January 181o. It was an anxious See also:time both for Beethoven and his excellent royal friend, for whom he had great See also:affection. (See also:Battle of See also:Wagram, 6th See also:July 1809.) (We may here See also:note that op. 81b is an unimportant and very early sextet.) The overture to See also:Egmont, op. 84; Christus am Oelberge (the See also:Mount of See also:Olives), op. 85, See also:oratorio (probably composed between 1800 and its first performance in 1803). 1812.

The rest of the Egmont music, op. 84. 1st See also:

mass, op. 87 (C) (first performance, 1807). 1814. Final version of Leonore, performed as Fidelio with great alterations, skilful revision of the libretto, very important new material in the music and a new overture. 1815. Sonata, op. 90 (E mi.). 1816. 7th symphony, op. 92 (A) ; 8th symphony, op.

93 (F) (Beethoven was planning a See also:

group of three of which the last was to be in D mi., which we shall find significant). String quartet, op. 95 (F mi.). Violin sonata, op. 96 (G). Piano-forte trio, op. 97 (Bb); Liederkreis, op. 98. 1817. Sonata, op. lox (the first indisputably in Beethoven's " third manner "). 2 violoncello sonatas, op. 102 (C, D, the second containing Beethoven's first See also:modern instrumental strict fugue).

1819. Arrangement for string quintet, op. 104, of C mi. trio, op. 1, No. 3 (a wonderful study in See also:

translation, comparable only to See also:Bach's arrangements and very unlike Beethoven's former essays of the See also:kind). Sonata, op. Io6 (Bb), the largest and most symphonic pianoforte work extant, surpassed in length only by Bach's See also:Goldberg variations and Beethoven's 33 variations on Diabelli's waltz. 1821. 25 Scotch songs accompanied by pfte., V. and Vc., op. 108 (the first set of a large and much neglected collection, mostly See also:posthumous, many of great See also:interest and beauty and very Beethovenish, which has shocked persons who expect sympathetic insight into folk-music to prevail over Beethoven's See also:artistic impulse). Sonata, op. 109 (E).

1822. Sonata, op. See also:

Ito (Ab). Overture, See also:Die Weihe See also:des Hauses, op. 124 (C), a magnificent See also:essay in orchestral See also:free fugue, published 1825. 1823. Sonata, op. 1,11 (C mi., the last pianoforte sonata). 33 variations on a waltz by Diabelli, who sent his waltz See also:round to fifty-one musicians in See also:Austria asking each to contribute a variation; the whole to be published for the benefit of the widows ,and orphans See also:left by the See also:war. Beethoven answered with the greatest set ever written, and it was published in a See also:separate See also:volume. Among the other fifty composers were See also:Schubert and an See also:infant See also:prodigy of eleven, See also:Franz See also:Liszt! The mass in D (Missa Solemnis), op.

123, begun in 1818 for the See also:

installation of the archduke Rudolph as See also:arch-See also:bishop of See also:Olmutz, was not finished until 1826, two years after the installation. The 9th symphony, op. 125 D mi. (see note on 7th and 8th symphonies); sketches begun 1817; project of setting See also:Schiller's Freude already in Beethoven's mind before he left See also:Bonn. 6 bagatelles, op. 126, Beethoven's last pianoforte work a very remarkable and unaccountably neglected group of carefully contrasted lyric pieces. 1824. String quartet, op. 127 (F:, published 1826). 1825. String quartet, op. 130 (Bb), with finale, op.

133 (See also:

grand fugue) ; string quartet, op. 132 (A mi., with slow movement in Lydian mode, a Heiliger Dankgesang on recovery from illness. Theme of finale first thought of as for instrumental finale to 9th symphony). 1826. String quartet, op. 131 (C#, mi.). String quartet, op. 135 (F). New finale to op. 130, Beethoven's last composition. (D. F.

End of Article: ANNOTATED LIST OF

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