Music History

October 2026

Beethoven’s Three Periods

Early · 1782–1802
Neidl, after Stainhauser, 1801.

Middle · 1803–1812
Mähler, 1804–1805. Wien Museum.

Late · 1813–1827
Stieler, 1820. Beethoven-Haus Bonn.

Historical context

Beethoven kept using sonata form, variation and counterpoint. What changed was the way these resources worked together.

The three periods help us compare tendencies. They are historical labels, with overlapping boundaries. An early work can already sound bold; a late work can still sound clear and simple.

Learning from Haydn and Mozart

Beethoven first visited Vienna in 1787, hoping to study with Mozart. Their meeting is not documented. He returned to Bonn during his mother’s serious illness; she died that July.

After meeting Haydn in Bonn, Beethoven moved to Vienna in November 1792. Haydn taught him composition and counterpoint in 1793 and introduced him to patrons. When Haydn left for London in January 1794, Beethoven continued counterpoint with Albrechtsberger. He later studied vocal writing with Salieri.

Mozart remained a musical model. Beethoven studied and copied his works, learning how themes, harmony and instrumental dialogue could shape a movement.

Beethoven-Haus chronology · Studies in Vienna

Early

Clear forms become more dramatic.

Middle

Small ideas shape larger musical processes.

Late

Old techniques enter new relationships.

Compositions by period and genre

The inner ring shows periods; the outer ring shows instrumentation and vocal music. Grey retains uncertain dates. Select a period, then a category to open its chronological list of works.

About 750 compositions. The catalogue runs to op. 138 and WoO 228 (Werke ohne Opuszahl: works without opus numbers), with unfinished works listed separately. These numbers identify works or groups: op. 18 contains six quartets.

765 counted items, not movements. This chart counts a sonata, symphony or variation cycle once; separately numbered pieces in collections count individually. It also includes catalogued fragments. Thus 765 is this inventory’s total, not an exact total of complete works. Beethoven-Haus · Catalogue

Catalogue, counting method and complete inventory

All 765 units in the expanded Beethoven-Haus inventory form the denominator (100%). This replaces the sample of 90 works. All 407 distinct work records in the archive’s title index were checked; six doubtful or spurious records are excluded. Collections of separate songs, sonatas, quartets, bagatelles and dances are expanded into individual pieces. A multi-movement work, a song cycle or a continuous variation cycle counts once. Separately catalogued arrangements and fragments count separately. The CSV provides the source record and dating text for every unit.

Early: 1782–1802, including Bonn. Middle: 1803–1812. Late: 1813–1827. Dates follow the first realization or completion rather than publication; later revisions do not normally change the period. Unknown dates and unresolved ranges crossing 1812–1813 remain unassigned. The grey area is a dating category, not a fourth stylistic period.

“Vocal and sacred” includes secular songs, canons, cantatas, operas and sacred works. Thus both imperial cantatas of 1790, WoO 87 and WoO 88, are included. Orchestral works with a vocal finale, such as the Ninth Symphony, stay in the orchestral category; each unit has one category. Keyboard includes piano, four hands, organ and mechanical instruments. Folk-song arrangements belong to vocal music.

The denominator is an explicit catalogue count, not an absolute count of every surviving note: isolated sketchbook jottings, copies of other composers and duplicate aliases are not additional compositions. New attributions and counting conventions can change totals. These percentages measure numbers of catalogue units, not duration, size or artistic importance.

Beethoven-Haus: complete work-title index · Catalogue overview · Download the complete inventory (CSV)

Catalogue	Work / counted unit	Date	Category	Period
WoO 66	13 Variations on the arietta "Es war einmal ein alter Mann" from the comic opera "Das rote Käppchen" by Karl Ditters von Dittersdorf for piano (A major) WoO 66	1792	Keyboard	Early
op. 44	14 Variations on "Ja, ich muss mich von ihr scheiden" from Karl Ditters von Dittersdorf's opera "Das rote Käppchen" for piano, violin and violoncello (E-flat major) op. 44	1792	Chamber	Early
op. 35	15 Variations with fugue for piano (E-flat major) op. 35	1802	Keyboard	Early
WoO 156/1	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 1	1810	Vocal	Middle
WoO 156/2	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 2	1815	Vocal	Late
WoO 156/3	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 3	1815	Vocal	Late
WoO 156/4	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 4	1815	Vocal	Late
WoO 156/5	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 5	1817	Vocal	Late
WoO 156/6	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 6	1817	Vocal	Late
WoO 156/7	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 7	1817	Vocal	Late
WoO 156/8	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 8	1818	Vocal	Late
WoO 156/9	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 9	1818	Vocal	Late
WoO 156/10	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 10	1818	Vocal	Late
WoO 156/11	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 11	1818	Vocal	Late
WoO 156/12	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 12	1818	Vocal	Late
WoO 156/13	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 13	1818	Vocal	Late
WoO 156/14	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 14	1818	Vocal	Late
WoO 156/15	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 15	1818	Vocal	Late
WoO 156/16	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 16	1819	Vocal	Late
WoO 156/17	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 17	1819	Vocal	Late
WoO 156/18	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 18	1819	Vocal	Late
WoO 156/19	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 19	1819	Vocal	Late
WoO 156/20	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 20	1820	Vocal	Late
WoO 156/21	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 21	1820	Vocal	Late
WoO 156/22	22 Scottish Songs for one or three voices, violin, violoncello and piano WoO 156 — item 22	1820	Vocal	Late
WoO 65	24 Variations on the arietta "Venni Amore" by Vincenzo Righini for piano (D major) WoO 65	1790	Keyboard	Early
op. 108/1	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 1	1817	Vocal	Late
op. 108/2	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 2	1818	Vocal	Late
op. 108/3	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 3	1817	Vocal	Late
op. 108/4	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 4	1817	Vocal	Late
op. 108/5	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 5	1815	Vocal	Late
op. 108/6	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 6	1815	Vocal	Late
op. 108/7	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 7	1815	Vocal	Late
op. 108/8	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 8	1816	Vocal	Late
op. 108/9	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 9	1817	Vocal	Late
op. 108/10	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 10	1815	Vocal	Late
op. 108/11	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 11	1815	Vocal	Late
op. 108/12	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 12	1816	Vocal	Late
op. 108/13	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 13	1817	Vocal	Late
op. 108/14	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 14	1816	Vocal	Late
op. 108/15	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 15	1816	Vocal	Late
op. 108/16	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 16	1816	Vocal	Late
op. 108/17	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 17	1817	Vocal	Late
op. 108/18	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 18	1818	Vocal	Late
op. 108/19	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 19	1815	Vocal	Late
op. 108/20	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 20	1810	Vocal	Middle
op. 108/21	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 21	1817	Vocal	Late
op. 108/22	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 22	1817	Vocal	Late
op. 108/23	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 23	1818	Vocal	Late
op. 108/24	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 24	1815	Vocal	Late
op. 108/25	25 Scottish Songs for voice, violin, violoncello and piano op. 108 — item 25	1817	Vocal	Late
WoO 155/1	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 1	1810	Vocal	Middle
WoO 155/2	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 2	1810	Vocal	Middle
WoO 155/3	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 3	1810	Vocal	Middle
WoO 155/4	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 4	1810	Vocal	Middle
WoO 155/5	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 5	1810	Vocal	Middle
WoO 155/6	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 6	1810	Vocal	Middle
WoO 155/7	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 7	1810	Vocal	Middle
WoO 155/8	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 8	1810	Vocal	Middle
WoO 155/9	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 9	1810	Vocal	Middle
WoO 155/10	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 10	1810	Vocal	Middle
WoO 155/11	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 11	1810	Vocal	Middle
WoO 155/12	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 12	1810	Vocal	Middle
WoO 155/13	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 13	1810	Vocal	Middle
WoO 155/14	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 14	1810	Vocal	Middle
WoO 155/15	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 15	1813	Vocal	Late
WoO 155/16	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 16	1810	Vocal	Middle
WoO 155/17	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 17	1810	Vocal	Middle
WoO 155/18	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 18	1810	Vocal	Middle
WoO 155/19	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 19	1810	Vocal	Middle
WoO 155/20	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 20	1810	Vocal	Middle
WoO 155/21	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 21	1810	Vocal	Middle
WoO 155/22	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 22	1810	Vocal	Middle
WoO 155/23	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 23	1810	Vocal	Middle
WoO 155/24	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 24	1810	Vocal	Middle
WoO 155/25	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 25	1815	Vocal	Late
WoO 155/26	26 Welsh Songs for one or two voices, violin, violoncello and piano WoO 155 — item 26	1810	Vocal	Middle
WoO 158/1	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 1	1817	Vocal	Late
WoO 158/2	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 2	1816	Vocal	Late
WoO 158/3	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 3	1816	Vocal	Late
WoO 158/4	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 4	1816	Vocal	Late
WoO 158/5	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 5	1816	Vocal	Late
WoO 158/6	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 6	1816	Vocal	Late
WoO 158/7	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 7	1816	Vocal	Late
WoO 158/8	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 8	1816	Vocal	Late
WoO 158/9	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 9	1816	Vocal	Late
WoO 158/10	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 10	1816	Vocal	Late
WoO 158/11	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 11	1816	Vocal	Late
WoO 158/12	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 12	1816	Vocal	Late
WoO 158/13	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 13	1816	Vocal	Late
WoO 158/14	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 14	1816	Vocal	Late
WoO 158/15	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 15	1816	Vocal	Late
WoO 158/16	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 16	1816	Vocal	Late
WoO 158/17	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 17	1816	Vocal	Late
WoO 158/18	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 18	1816	Vocal	Late
WoO 158/19	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 19	1816	Vocal	Late
WoO 158/20	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 20	1816	Vocal	Late
WoO 158/21	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 21	1816	Vocal	Late
WoO 158/22	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 22	1816	Vocal	Late
WoO 158/23	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 23	1816	Vocal	Late
WoO 158/24	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 24	1816	Vocal	Late
WoO 158/25	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 25	1816	Vocal	Late
WoO 158/26	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 26	1817	Vocal	Late
WoO 158/27	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 27	1816	Vocal	Late
WoO 158/28	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 28	1820	Vocal	Late
WoO 158/29	29 Songs of various nations for one, two or three voices, violin, violoncello and piano WoO 158 — item 29	1820	Vocal	Late
WoO 80	32 Variations on an original theme for piano (C minor) WoO 80	1806	Keyboard	Middle
op. 120	33 Variations on a waltz by Anton Diabelli for piano (C major) op. 120	1823	Keyboard	Late
WoO 152/1	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 1	1810	Vocal	Middle
WoO 152/2	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 2	1810	Vocal	Middle
WoO 152/3	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 3	1810	Vocal	Middle
WoO 152/4	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 4	1810	Vocal	Middle
WoO 152/5	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 5	1810	Vocal	Middle
WoO 152/6	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 6	1810	Vocal	Middle
WoO 152/7	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 7	1810	Vocal	Middle
WoO 152/8	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 8	1810	Vocal	Middle
WoO 152/9	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 9	1810	Vocal	Middle
WoO 152/10	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 10	1812	Vocal	Middle
WoO 152/11	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 11	1812	Vocal	Middle
WoO 152/12	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 12	1810	Vocal	Middle
WoO 152/13	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 13	1812	Vocal	Middle
WoO 152/14	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 14	1810	Vocal	Middle
WoO 152/15	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 15	1810	Vocal	Middle
WoO 152/16	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 16	1810	Vocal	Middle
WoO 152/17	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 17	1810	Vocal	Middle
WoO 152/18	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 18	1810	Vocal	Middle
WoO 152/19	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 19	1812	Vocal	Middle
WoO 152/20	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 20	1810	Vocal	Middle
WoO 152/21	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 21	1812	Vocal	Middle
WoO 152/22	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 22	1812	Vocal	Middle
WoO 152/23	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 23	1810	Vocal	Middle
WoO 152/24	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 24	1812	Vocal	Middle
WoO 152/25	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 25	1812	Vocal	Middle
WoO 152/26	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 26	1810	Vocal	Middle
WoO 152/27	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 27	1810	Vocal	Middle
WoO 152/28	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 28	1810	Vocal	Middle
WoO 152/29	63 Irish Songs, part 1 (nos. 1-29) for one or two voices, violin, violoncello and piano WoO 152 — item 29	1810	Vocal	Middle
WoO 153/30	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 1	1810	Vocal	Middle
WoO 153/31	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 2	Uncertain	Vocal	Unassigned
WoO 153/32	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 3	1815	Vocal	Late
WoO 153/33	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 4	Uncertain	Vocal	Unassigned
WoO 153/34	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 5	1815	Vocal	Late
WoO 153/35	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 6	Uncertain	Vocal	Unassigned
WoO 153/36	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 7	Uncertain	Vocal	Unassigned
WoO 153/37	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 8	1815	Vocal	Late
WoO 153/38	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 9	1810	Vocal	Middle
WoO 153/39	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 10	Uncertain	Vocal	Unassigned
WoO 153/40	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 11	Uncertain	Vocal	Unassigned
WoO 153/41	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 12	1810	Vocal	Middle
WoO 153/42	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 13	Uncertain	Vocal	Unassigned
WoO 153/43	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 14	1815	Vocal	Late
WoO 153/44	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 15	1815	Vocal	Late
WoO 153/45	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 16	Uncertain	Vocal	Unassigned
WoO 153/46	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 17	Uncertain	Vocal	Unassigned
WoO 153/47	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 18	1810	Vocal	Middle
WoO 153/48	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 19	1812	Vocal	Middle
WoO 153/49	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 20	1810	Vocal	Middle
WoO 153/50	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 21	Uncertain	Vocal	Unassigned
WoO 153/51	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 22	1815	Vocal	Late
WoO 153/52	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 23	Uncertain	Vocal	Unassigned
WoO 153/53	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 24	Uncertain	Vocal	Unassigned
WoO 153/54	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 25	Uncertain	Vocal	Unassigned
WoO 153/55	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 26	Uncertain	Vocal	Unassigned
WoO 153/56	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 27	Uncertain	Vocal	Unassigned
WoO 153/57	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 28	Uncertain	Vocal	Unassigned
WoO 153/58	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 29	Uncertain	Vocal	Unassigned
WoO 153/59	63 Irish songs, part 2 (nos. 30-59) for one, two or three voices, violin, violoncello and piano WoO 153 — item 30	Uncertain	Vocal	Unassigned
WoO 154/60	63 Irish Songs, part 3 (nos. 60-63) for one or three voices, violin, violoncello and piano WoO 154 — item 1	1810	Vocal	Middle
WoO 154/61	63 Irish Songs, part 3 (nos. 60-63) for one or three voices, violin, violoncello and piano WoO 154 — item 2	Uncertain	Vocal	Unassigned
WoO 154/62	63 Irish Songs, part 3 (nos. 60-63) for one or three voices, violin, violoncello and piano WoO 154 — item 3	Uncertain	Vocal	Unassigned
WoO 154/63	63 Irish Songs, part 3 (nos. 60-63) for one or three voices, violin, violoncello and piano WoO 154 — item 4	1815	Vocal	Late
WoO 150	"Abendlied unterm gestirnten Himmel", song for voice and piano WoO 150	1820	Vocal	Late
WoO 121	"Abschiedsgesang an Wiens Bürger", song for voice and piano WoO 121	1796	Vocal	Early
WoO 102	"Abschiedsgesang", song for two tenors and bass WoO 102	1814	Vocal	Late
WoO 43b	Adagio for mandolin and harpsichord or piano (E-flat major) WoO 43b	1796	Chamber	Early
op. 46	"Adelaide", song for voice and piano op. 46	1796	Vocal	Early
op. 65	"Ah perfido!", scene and aria for soprano and orchestra op. 65	1796	Vocal	Early
WoO 228a	"Ah Tobias", musical joke WoO 228a	1825	Vocal	Late
op. 129	Alla ingharese quasi un Capriccio for piano (G major) op. 129	1795	Keyboard	Early
WoO 210	Allegretto for 2 violins, viola and cello (B minor) WoO 210	1817	Chamber	Late
WoO 53	Allegretto for piano (C minor) WoO 53	1796	Keyboard	Early
Unv 9	Allegretto for violin, cello and piano (E-flat major) Unv 9	1790	Chamber	Early
WoO 205b	"Allein, allein", musical joke WoO 205b	1814	Vocal	Late
WoO 132	"Als die Geliebte sich trenne wollte", song for voice and piano WoO 132	1806	Vocal	Middle
op. 98	"An die ferne Geliebte", song cycle after Alois Jeitteles for voice and piano op. 98	1816	Vocal	Late
WoO 140	"An die Geliebte", song for voice and piano WoO 140	1811	Vocal	Middle
op. 32	"An die Hoffnung", song for voice and piano op. 32	1805	Vocal	Middle
op. 94	"An die Hoffnung", song for voice and piano op. 94	1815	Vocal	Late
WoO 108	"An einen Säugling", song for voice and piano WoO 108	1783	Vocal	Early
Unv 21	"An Henrietten", song for voice and piano Unv 21	1790	Vocal	Early
WoO 112	"An Laura", song for voice and piano WoO 112	1792	Vocal	Early
WoO 115	"An Minna", song for voice and piano WoO 115	1790	Vocal	Early
WoO 211	Andante for piano (C minor) WoO 211	1790	Keyboard	Early
WoO 57	Andante for piano (F major) WoO 57	1803	Keyboard	Middle
WoO 136	"Andenken", song for voice and piano WoO 136	1808	Vocal	Middle
WoO 212	Anglaise for piano (D major) WoO 212	1793	Keyboard	Early
WoO 91/1	Two Arias to be inserted into the Singspiel "Die schöne Schusterin" by Ignaz Umlauf for tenor (soprano) and orchestra WoO 91 — item 1	1795	Vocal	Early
WoO 91/2	Two Arias to be inserted into the Singspiel "Die schöne Schusterin" by Ignaz Umlauf for tenor (soprano) and orchestra WoO 91 — item 2	1795	Vocal	Early
op. 82/1	Four Ariettas and a Duet for voices and piano op. 82 — item 1	1809	Vocal	Middle
op. 82/2	Four Ariettas and a Duet for voices and piano op. 82 — item 2	1809	Vocal	Middle
op. 82/3	Four Ariettas and a Duet for voices and piano op. 82 — item 3	1809	Vocal	Middle
op. 82/4	Four Ariettas and a Duet for voices and piano op. 82 — item 4	1809	Vocal	Middle
op. 82/5	Four Ariettas and a Duet for voices and piano op. 82 — item 5	1809	Vocal	Middle
WoO 170	"Ars longa, vita brevis", puzzle canon WoO 170	1815	Vocal	Late
WoO 192	"Ars longa, vita brevis", puzzle canon WoO 192	1825	Vocal	Late
WoO 193	"Ars longa, vita brevis", puzzle canon WoO 193	Uncertain	Vocal	Unassigned
WoO 105	"Auf, Freunde, singt dem Gott der Ehen", wedding song for voice, chorus and piano WoO 105	1819	Vocal	Late
WoO 81	Bagatelle (Allemande) for piano (A major) WoO 81	1793	Keyboard	Early
WoO 59	Bagatelle for piano (A minor) WoO 59	1810	Keyboard	Middle
WoO 56	Bagatelle for piano (C major) WoO 56	1803	Keyboard	Middle
WoO 214	Bagatelle for piano (C minor) WoO 214	1794	Keyboard	Early
WoO 52	Bagatelle for piano (C minor) WoO 52	1795	Keyboard	Early
WoO 216/1	Two Bagatelles for piano (C major, E-flat major) WoO 216 — item 1	1800	Keyboard	Early
WoO 216/2	Two Bagatelles for piano (C major, E-flat major) WoO 216 — item 2	1800	Keyboard	Early
WoO 213/1	Four Bagatelles for piano (D-flat, G, A, A major) WoO 213 — item 1	1793	Keyboard	Early
WoO 213/2	Four Bagatelles for piano (D-flat, G, A, A major) WoO 213 — item 2	1793	Keyboard	Early
WoO 213/3	Four Bagatelles for piano (D-flat, G, A, A major) WoO 213 — item 3	1793	Keyboard	Early
WoO 213/4	Four Bagatelles for piano (D-flat, G, A, A major) WoO 213 — item 4	1793	Keyboard	Early
op. 119/1	Eleven Bagatelles for piano op. 119 — item 1	1820	Keyboard	Late
op. 119/2	Eleven Bagatelles for piano op. 119 — item 2	1820	Keyboard	Late
op. 119/3	Eleven Bagatelles for piano op. 119 — item 3	1820	Keyboard	Late
op. 119/4	Eleven Bagatelles for piano op. 119 — item 4	1820	Keyboard	Late
op. 119/5	Eleven Bagatelles for piano op. 119 — item 5	1820	Keyboard	Late
op. 119/6	Eleven Bagatelles for piano op. 119 — item 6	1820	Keyboard	Late
op. 119/7	Eleven Bagatelles for piano op. 119 — item 7	1820	Keyboard	Late
op. 119/8	Eleven Bagatelles for piano op. 119 — item 8	1820	Keyboard	Late
op. 119/9	Eleven Bagatelles for piano op. 119 — item 9	1820	Keyboard	Late
op. 119/10	Eleven Bagatelles for piano op. 119 — item 10	1820	Keyboard	Late
op. 119/11	Eleven Bagatelles for piano op. 119 — item 11	1820	Keyboard	Late
op. 126/1	Six Bagatelles for piano op. 126 — item 1	1824	Keyboard	Late
op. 126/2	Six Bagatelles for piano op. 126 — item 2	1824	Keyboard	Late
op. 126/3	Six Bagatelles for piano op. 126 — item 3	1824	Keyboard	Late
op. 126/4	Six Bagatelles for piano op. 126 — item 4	1824	Keyboard	Late
op. 126/5	Six Bagatelles for piano op. 126 — item 5	1824	Keyboard	Late
op. 126/6	Six Bagatelles for piano op. 126 — item 6	1824	Keyboard	Late
op. 33/1	Seven Bagatelles for piano op. 33 — item 1	1802	Keyboard	Early
op. 33/2	Seven Bagatelles for piano op. 33 — item 2	1802	Keyboard	Early
op. 33/3	Seven Bagatelles for piano op. 33 — item 3	1802	Keyboard	Early
op. 33/4	Seven Bagatelles for piano op. 33 — item 4	1802	Keyboard	Early
op. 33/5	Seven Bagatelles for piano op. 33 — item 5	1802	Keyboard	Early
op. 33/6	Seven Bagatelles for piano op. 33 — item 6	1802	Keyboard	Early
op. 33/7	Seven Bagatelles for piano op. 33 — item 7	1802	Keyboard	Early
WoO 205a	"Baron, Baron", musical joke WoO 205a	1798	Vocal	Early
WoO 183	"Bester Herr Graf, Sie sind ein Schaf!", four-voice canon WoO 183	1823	Vocal	Late
WoO 177	"Bester Magistrat, Ihr friert!", musical joke for deap voice and one instrument WoO 177	1818	Vocal	Late
WoO 205i	"Bester Tobias", musical joke WoO 205i	1826	Vocal	Late
WoO 167	"Brauchle, Linke", three-voice canonWoO 167	1815	Vocal	Late
op. 122	"Bundeslied" for 2 solo voices, chorus, 2 clarinets, 2 bassoons and 2 horns op. 122	1824	Vocal	Late
WoO 224	"Cacatum non est pictum", three-voice canon WoO 224	1820	Vocal	Late
WoO 58/1	Two Cadenzas for Mozart's piano concerto K. 466 WoO 58 — item 1	1809	Keyboard	Middle
WoO 58/2	Two Cadenzas for Mozart's piano concerto K. 466 WoO 58 — item 2	1809	Keyboard	Middle
op. 112	"Calm Sea and Prosperous Voyage" for chorus and orchestra op. 112	1815	Vocal	Late
WoO 222	Canon (A-flat major) WoO 222	1803	Vocal	Middle
WoO 35	Canon for two violoncelli (A major) WoO 35	1825	Vocal	Late
WoO 103	"Cantata campestre", cantata for soprano, two tenors, bass and piano WoO 103	1814	Vocal	Late
Unv 19	Cantata for 4 voices and piano (B-flat major) Unv 19	1790	Vocal	Early
WoO 87	Cantata on the Death of emperor Joseph II, for solo voices, chorus and orchestra WoO 87	1790	Vocal	Early
WoO 88	Cantata on the Elevation of Emperor Leopold II, for solo voices, chorus and orchestra WoO 88	1790	Vocal	Early
WoO157/1	Four English Songs for one or three voices, violin, violoncello and piano WoO157 — item 1	1816	Vocal	Late
WoO157/2	Four English Songs for one or three voices, violin, violoncello and piano WoO157 — item 2	1816	Vocal	Late
WoO157/3	Four English Songs for one or three voices, violin, violoncello and piano WoO157 — item 3	1816	Vocal	Late
WoO157/4	Four English Songs for one or three voices, violin, violoncello and piano WoO157 — item 4	1819	Vocal	Late
op. 85	"Christ on the Mount of Olives", oratorio for three solo voices, chorus and orchestra op. 85	1803	Vocal	Middle
Unv 5	Concertante for violin, cello, piano and orchestra (D major) Unv 5	1802	Orchestra	Early
op. 61; op. 61	Concerto after the violin concerto op. 61 for piano and orchestra (D major) op. 61	1807	Orchestra	Middle
WoO 206	Concerto for oboe and orchestra (F major) WoO 206	1792	Orchestra	Early
WoO 4	Concerto for piano and orchestra (E-flat major) WoO 4	1784	Orchestra	Early
WoO 5	Concerto for violin and orchestra (C major), fragment WoO 5	1790	Orchestra	Early
op. 61	Concerto for violin and orchestra (D major) op. 61	1806	Orchestra	Middle
op. 56	Concerto for violin, cello and piano (C major) op. 56	1804	Chamber	Middle
op. 15	Concerto no. 1 for piano and orchestra (C major) op. 15	1795	Orchestra	Early
op. 19	Concerto no. 2 for piano and orchestra (B-flat major) op. 19	1795	Orchestra	Early
op. 37	Concerto no. 3 for piano and orchestra (C minor) op. 37	1803	Orchestra	Middle
op. 58	Concerto no. 4 for piano and orchestra (G major) op. 58	1806	Orchestra	Middle
op. 73	Concerto no. 5 for piano and orchestra (E-flat major) op. 73	1810	Orchestra	Middle
Unv 6	Concerto no. 6 for piano and orchestra (D major) Unv 6	1815	Orchestra	Late
WoO 14/1	Twelve Contredances for orchestra WoO 14 — item 1	1791	Orchestra	Early
WoO 14/2	Twelve Contredances for orchestra WoO 14 — item 2	1791	Orchestra	Early
WoO 14/3	Twelve Contredances for orchestra WoO 14 — item 3	1791	Orchestra	Early
WoO 14/4	Twelve Contredances for orchestra WoO 14 — item 4	1791	Orchestra	Early
WoO 14/5	Twelve Contredances for orchestra WoO 14 — item 5	1791	Orchestra	Early
WoO 14/6	Twelve Contredances for orchestra WoO 14 — item 6	1791	Orchestra	Early
WoO 14/7	Twelve Contredances for orchestra WoO 14 — item 7	1791	Orchestra	Early
WoO 14/8	Twelve Contredances for orchestra WoO 14 — item 8	1791	Orchestra	Early
WoO 14/9	Twelve Contredances for orchestra WoO 14 — item 9	1791	Orchestra	Early
WoO 14/10	Twelve Contredances for orchestra WoO 14 — item 10	1791	Orchestra	Early
WoO 14/11	Twelve Contredances for orchestra WoO 14 — item 11	1791	Orchestra	Early
WoO 14/12	Twelve Contredances for orchestra WoO 14 — item 12	1791	Orchestra	Early
WoO 197	"Da ist das Werk", five-voice canon WoO 197	1826	Vocal	Late
WoO 145	"Das Geheimnis", song for voice and piano WoO 145	1815	Vocal	Late
op. 88	"Das Glück der Freundschaft", song for voice an d piano op. 88	1803	Vocal	Middle
WoO 203	"Das Schöne zu dem Guten", two-voice canon WoO 203	1825	Vocal	Late
WoO 202	"Das Schöne zum Guten", album leaf WoO 202	1823	Vocal	Late
WoO 168	"Das Schweigen - Das Reden", puzzle canon and three-voice canon WoO 168	1815	Vocal	Late
WoO 142	"Der Bardengeist", song for voice and piano WoO 142	1813	Vocal	Late
WoO 151	"Der edle Mensch sei hilfreich und gut", song for voice and piano WoO 151	1823	Vocal	Late
WoO 117	"Der freie Mann", song for voice, unison chorus and piano WoO 117	1792	Vocal	Early
WoO 141	"Der Gesang der Nachtigall", song for voice and piano WoO 141	1813	Vocal	Late
WoO 138	"Der Jüngling in der Fremde", song for voice and piano WoO 138	1809	Vocal	Middle
op. 128	"Der Kuss", arietta for voice and piano op. 128	1822	Vocal	Late
WoO 139	"Der Liebende", song for voice and piano WoO 139	1809	Vocal	Middle
op. 99	"Der Mann von Wort", song for voice and piano op. 99	1816	Vocal	Late
WoO 129	"Der Wachtelschlag", song for voice and piano WoO 129	1803	Vocal	Middle
WoO 143	"Des Kriegers Abschied", song for voice and piano WoO 143	1814	Vocal	Late
WoO 135	"Die laute Klage", song for voice and piano WoO 135	1815	Vocal	Late
WoO 189	"Doktor sperrt das Tor dem Tod", four-voice canon WoO 189	1825	Vocal	Late
WoO 109	"Drinking Song (to be Sung at Parting)", song for unison chorus and piano WoO 109	1791	Vocal	Early
WoO 26	Duo for two flutes (G major) WoO 26	1792	Chamber	Early
WoO 32	Duo for viola and violoncello (E-flat major) WoO 32	1796	Chamber	Early
Unv 8	Duo for violin and cello (E-flat major) Unv 8	1792	Chamber	Early
WoO 27/1	Three Duos for clarinet and bassoon (C, F, B-flat major) WoO 27 — item 1	1800	Chamber	Early
WoO 27/2	Three Duos for clarinet and bassoon (C, F, B-flat major) WoO 27 — item 2	1800	Chamber	Early
WoO 27/3	Three Duos for clarinet and bassoon (C, F, B-flat major) WoO 27 — item 3	1800	Chamber	Early
WoO 22	Ecossaise for military band (D major) WoO 22	1810	Orchestra	Middle
WoO 23	Ecossaise for military band (G major) WoO 23	1810	Orchestra	Middle
WoO 86	Ecossaise for piano (E-flat major) WoO 86	1825	Keyboard	Late
WoO 83/1	Six Ecossaises for piano (E-flat major) WoO 83 — item 1	Uncertain	Keyboard	Unassigned
WoO 83/2	Six Ecossaises for piano (E-flat major) WoO 83 — item 2	Uncertain	Keyboard	Unassigned
WoO 83/3	Six Ecossaises for piano (E-flat major) WoO 83 — item 3	Uncertain	Keyboard	Unassigned
WoO 83/4	Six Ecossaises for piano (E-flat major) WoO 83 — item 4	Uncertain	Keyboard	Unassigned
WoO 83/5	Six Ecossaises for piano (E-flat major) WoO 83 — item 5	Uncertain	Keyboard	Unassigned
WoO 83/6	Six Ecossaises for piano (E-flat major) WoO 83 — item 6	Uncertain	Keyboard	Unassigned
WoO 185	"Edel sei der Mensch, hilfreich und gut", six-voice canon WoO 185	1823	Vocal	Late
op. 52/1	Eight Songs of various poets for voice and piano op. 52 — item 1	1792	Vocal	Early
op. 52/2	Eight Songs of various poets for voice and piano op. 52 — item 2	1792	Vocal	Early
op. 52/3	Eight Songs of various poets for voice and piano op. 52 — item 3	1793	Vocal	Early
op. 52/4	Eight Songs of various poets for voice and piano op. 52 — item 4	1795	Vocal	Early
op. 52/5	Eight Songs of various poets for voice and piano op. 52 — item 5	Uncertain	Vocal	Unassigned
op. 52/6	Eight Songs of various poets for voice and piano op. 52 — item 6	1792	Vocal	Early
op. 52/7	Eight Songs of various poets for voice and piano op. 52 — item 7	Uncertain	Vocal	Unassigned
op. 52/8	Eight Songs of various poets for voice and piano op. 52 — item 8	Uncertain	Vocal	Unassigned
WoO 67	Eight Variations on a theme by Count Ferdinand von Waldstein for piano four-hands (C major) WoO 67	1790	Keyboard	Early
WoO 28	Eight Variations on "La ci darem la mano" from the opera "Don Giovanni" by Wolfgang Amadeus Mozart for 2 oboes and english horn (C major) WoO 28	1795	Chamber	Early
WoO 72	Eight Variations on the theme "Mich brennt ein heißes Fieber" from the opera "Richard Löwenherz" by André Ernest Modeste Grétry for piano (C major) WoO 72	1796	Keyboard	Early
WoO 76	Eight Variations on the trio "Tändeln und scherzen" from the Singspiel "Soliman II" by Franz Xaver Süssmayr for piano (F major) WoO 76	1799	Keyboard	Early
WoO 114	"Ein Selbstgespräch", song for voice and piano WoO 114	1792	Vocal	Early
op. 118	Elegiac Hymn for chorus and strings op. 118	1814	Vocal	Late
WoO 110	"Elegy on the Death of a Poodle", song for voice and piano WoO 110	1806	Vocal	Middle
WoO 30/1	Three Equals for 4 trombones (d minor, D, B-flat major) WoO 30 — item 1	1812	Chamber	Middle
WoO 30/2	Three Equals for 4 trombones (d minor, D, B-flat major) WoO 30 — item 2	1812	Chamber	Middle
WoO 30/3	Three Equals for 4 trombones (d minor, D, B-flat major) WoO 30 — item 3	1812	Chamber	Middle
WoO 205e	"Erfüllung", musical joke WoO 205e	1819	Vocal	Late
WoO 131	"Erlkönig", song for voice and piano WoO 131	1793	Vocal	Early
WoO 92	"Erste Liebe, Himmelslust" ("Primo amore, piacer del ciel"), scene and aria for soprano and orchestra WoO 92	1791	Vocal	Early
WoO 205k	"Erster aller Tobiasse", musical joke WoO 205k	1826	Vocal	Late
WoO 106	"Es lebe unser teurer Fürst", cantata for voice, chorus and piano WoO 106	1822	Vocal	Late
WoO 196	"Es muss sein!", four-voice canon WoO 196	1826	Vocal	Late
WoO 227	"Esel aller Esel", three-voice canon WoO 227	1826	Vocal	Late
Unv 17	"Europens Befreiungsstunde", cantata Unv 17	1814	Vocal	Late
WoO 161	"Ewig dein", three-voice canon WoO 161	Uncertain	Vocal	Unassigned
WoO 184	"Falstafferel, lass' dich sehen!", five-voice canon WoO 184	1823	Vocal	Late
op. 77	Fantasy for piano (B major, beginning in G minor) op. 77	1809	Keyboard	Middle
Unv 12	Fantasy for piano (D major/minor) Unv 12	1793	Keyboard	Early
op. 80	Fantasy for piano, chorus and orchestra (C minor) op. 80	1808	Vocal	Middle
op. 27/1	Two Sonatas for piano (E-flat major, C-sharp minor) op. 27 — item 1	1801	Keyboard	Early
op. 27/2	Two Sonatas for piano (E-flat major, C-sharp minor) op. 27 — item 2	1801	Keyboard	Early
WoO 226	"Fettlümmel, Bankert haben triumphiert", three-voice canon WoO 226	1823	Vocal	Late
op. 72	"Fidelio", opera in two (originally three) acts, including "Leonore"-Overtures nos. 2-3 op. 72	1805	Orchestra	Middle
WoO 79	Five Variations on the theme "Rule Britannia" for piano (D major) WoO 79	1803	Keyboard	Middle
WoO 195	"Freu’ dich des Lebens", two-voice canon WoO 195	1825	Vocal	Late
WoO 164	"Freundschaft ist die Quelle wahrer Glückseligkeit" , three-voice canon WoO 163	1814	Vocal	Late
op. 133; op. 134	Fugue after the string quartet op. 133 for piano four-hands (B-flat major) op. 134	1826	Keyboard	Late
op. 137	Fugue for 2 violins, 2 violas and violoncello (D major) op. 137	1817	Chamber	Late
op. 133	Fugue for 2 violins, viola and violoncello (B-flat major) op. 133	1825	Chamber	Late
WoO 130	"Gedenke mein", song for voice and piano WoO 130	1820	Vocal	Late
WoO 181/1	"Gedenket heute an Baden!", "Gehabt euch wohl", "Tugend ist kein leerer Name", three four- and three-voice canons WoO 181 — item 1	1822	Vocal	Late
WoO 181/2	"Gedenket heute an Baden!", "Gehabt euch wohl", "Tugend ist kein leerer Name", three four- and three-voice canons WoO 181 — item 2	1822	Vocal	Late
WoO 181/3	"Gedenket heute an Baden!", "Gehabt euch wohl", "Tugend ist kein leerer Name", three four- and three-voice canons WoO 181 — item 3	1822	Vocal	Late
WoO 13/1	Twelve German Dances for orchestra WoO 13 — item 1	1793	Orchestra	Early
WoO 13/2	Twelve German Dances for orchestra WoO 13 — item 2	1793	Orchestra	Early
WoO 13/3	Twelve German Dances for orchestra WoO 13 — item 3	1793	Orchestra	Early
WoO 13/4	Twelve German Dances for orchestra WoO 13 — item 4	1793	Orchestra	Early
WoO 13/5	Twelve German Dances for orchestra WoO 13 — item 5	1793	Orchestra	Early
WoO 13/6	Twelve German Dances for orchestra WoO 13 — item 6	1793	Orchestra	Early
WoO 13/7	Twelve German Dances for orchestra WoO 13 — item 7	1793	Orchestra	Early
WoO 13/8	Twelve German Dances for orchestra WoO 13 — item 8	1793	Orchestra	Early
WoO 13/9	Twelve German Dances for orchestra WoO 13 — item 9	1793	Orchestra	Early
WoO 13/10	Twelve German Dances for orchestra WoO 13 — item 10	1793	Orchestra	Early
WoO 13/11	Twelve German Dances for orchestra WoO 13 — item 11	1793	Orchestra	Early
WoO 13/12	Twelve German Dances for orchestra WoO 13 — item 12	1793	Orchestra	Early
WoO 8/1	Twelve German Dances for orchestra WoO 8 — item 1	1795	Orchestra	Early
WoO 8/2	Twelve German Dances for orchestra WoO 8 — item 2	1795	Orchestra	Early
WoO 8/3	Twelve German Dances for orchestra WoO 8 — item 3	1795	Orchestra	Early
WoO 8/4	Twelve German Dances for orchestra WoO 8 — item 4	1795	Orchestra	Early
WoO 8/5	Twelve German Dances for orchestra WoO 8 — item 5	1795	Orchestra	Early
WoO 8/6	Twelve German Dances for orchestra WoO 8 — item 6	1795	Orchestra	Early
WoO 8/7	Twelve German Dances for orchestra WoO 8 — item 7	1795	Orchestra	Early
WoO 8/8	Twelve German Dances for orchestra WoO 8 — item 8	1795	Orchestra	Early
WoO 8/9	Twelve German Dances for orchestra WoO 8 — item 9	1795	Orchestra	Early
WoO 8/10	Twelve German Dances for orchestra WoO 8 — item 10	1795	Orchestra	Early
WoO 8/11	Twelve German Dances for orchestra WoO 8 — item 11	1795	Orchestra	Early
WoO 8/12	Twelve German Dances for orchestra WoO 8 — item 12	1795	Orchestra	Early
WoO 42/1	Six German Dances for piano and violin (F major, D major, F major, A major, D major, G major) WoO 42 — item 1	1795	Chamber	Early
WoO 42/2	Six German Dances for piano and violin (F major, D major, F major, A major, D major, G major) WoO 42 — item 2	1795	Chamber	Early
WoO 42/3	Six German Dances for piano and violin (F major, D major, F major, A major, D major, G major) WoO 42 — item 3	1795	Chamber	Early
WoO 42/4	Six German Dances for piano and violin (F major, D major, F major, A major, D major, G major) WoO 42 — item 4	1795	Chamber	Early
WoO 42/5	Six German Dances for piano and violin (F major, D major, F major, A major, D major, G major) WoO 42 — item 5	1795	Chamber	Early
WoO 42/6	Six German Dances for piano and violin (F major, D major, F major, A major, D major, G major) WoO 42 — item 6	1795	Chamber	Early
WoO 94	"Germania", final song from Friedrich Treitschke's Singspiel "Die gute Nachricht" for bass, chorus and orchestra WoO 94	1814	Vocal	Late
WoO 137	"Gesang aus der Ferne", song for voice and piano WoO 137	1809	Vocal	Middle
WoO 104	"Gesang der Mönche", song from the play 'Wilhelm Tell' by Friedrich Schiller for three male voices WoO 104	1817	Vocal	Late
WoO 174	"Glaube und hoffe", piece for four voices WoO 174	1819	Vocal	Late
WoO 165	"Glück zum neuen Jahr!", four-voice canon WoO 165	1815	Vocal	Late
WoO 176	"Glück, Glück zum neuen Jahr!", three-voice canon WoO 176	1819	Vocal	Late
WoO 188	"Gott ist eine feste Burg", puzzle canon WoO 188	1825	Vocal	Late
WoO 101	"Graf, Graf, liebster Graf", musical joke for three voices WoO 101	1802	Vocal	Early
WoO 225	"Großen Dank für solche Gnade", canon WoO 225	1823	Vocal	Late
Unv 23	"Heideröslein", lied for voice and piano Unv 23	1796	Vocal	Early
	"Herr Graf, ich komme zu fragen", three-voice canon	1796	Vocal	Early
WoO 180	"Hoffmann, sei ja kein Hofmann", two-voice canon WoO 180	1820	Vocal	Late
WoO 173	"Hol' euch der Teufel! B'hüt' euch Gott", puzzle canon WoO 173	1819	Vocal	Late
WoO 201/1	"Ich bin bereit! - Amen", two musical jokes WoO 201 — item 1	1818	Vocal	Late
WoO 201/2	"Ich bin bereit! - Amen", two musical jokes WoO 201 — item 2	1818	Vocal	Late
WoO 199	"Ich bin der Herr von zu", musical joke WoO 199	1814	Vocal	Late
WoO 172	"Ich bitt' dich, schreib mir die Es-Scala auf", three-voice canon WoO 172	1816	Vocal	Late
WoO 169	"Ich küsse Sie", two-voice puzzle canon WoO 169	1816	Vocal	Late
WoO 190	"Ich war hier, Doktor, ich war hier", two-voice canon WoO 190	1825	Vocal	Late
WoO 95	"Ihr weisen Gründer glücklicher Staaten" for chorus and orchestra WoO 95	1814	Vocal	Late
WoO 159	"Im Arm der Liebe ruht sich's wohl", three-voice canon WoO 159	1794	Vocal	Early
WoO 133	"In questa tomba oscura", arietta for voice and piano WoO 133	1806	Vocal	Middle
op. 113	Incidental music to August von Kotzebue's "The Ruins of Athens" for soprano, baritone, bass, chorus and orchestra op. 113	1811	Vocal	Middle
op. 84	Incidental music to the tragedy "Egmont" by Johann Wolfgang von Goethe for soprano, speaker and orchestra op. 84	1810	Vocal	Middle
WoO 97	"It is finished", final song from the Singspiel "Die Ehrenpforten" by Friedrich Treitschke for bass, chorus and orchestra WoO 97	1815	Vocal	Late
WoO 113	"Klage", song for voice and piano WoO 113	1790	Vocal	Early
WoO 122	"Kriegslied der Österreicher", song for voice and piano WoO 122	1797	Vocal	Early
WoO 191	"Kühl, nicht lau", three-voice canon on B-A-C-H WoO 191	1825	Vocal	Late
WoO 163	"Kurz ist der Schmerz", three-voice canon WoO 163	1813	Vocal	Late
WoO 166	"Kurz ist der Schmerz", three-voice canon WoO 166	1815	Vocal	Late
WoO 124	"La partenza", song for voice and piano WoO 124	1795	Vocal	Early
WoO 125	"La Tiranna", song for voice and piano WoO 125	1798	Vocal	Early
Unv 20	Lamentationes Jeremiae for voice(s) and piano Unv 20	1790	Vocal	Early
WoO 11/1	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 1	1796	Chamber	Early
WoO 11/2	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 2	1796	Chamber	Early
WoO 11/3	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 3	1796	Chamber	Early
WoO 11/4	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 4	1796	Chamber	Early
WoO 11/5	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 5	1796	Chamber	Early
WoO 11/6	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 6	1796	Chamber	Early
WoO 11/7	Seven Ländler probably for 2 violins and bass (D major) WoO 11 — item 7	1796	Chamber	Early
WoO 15/1	Six Ländler probably for 2 violins and bass WoO 15 — item 1	1801	Chamber	Early
WoO 15/2	Six Ländler probably for 2 violins and bass WoO 15 — item 2	1801	Chamber	Early
WoO 15/3	Six Ländler probably for 2 violins and bass WoO 15 — item 3	1801	Chamber	Early
WoO 15/4	Six Ländler probably for 2 violins and bass WoO 15 — item 4	1801	Chamber	Early
WoO 15/5	Six Ländler probably for 2 violins and bass WoO 15 — item 5	1801	Chamber	Early
WoO 15/6	Six Ländler probably for 2 violins and bass WoO 15 — item 6	1801	Chamber	Early
WoO 100	"Lob auf den dicken Schuppanzigh", musical joke for three solo voices and male chorus WoO 100	1801	Vocal	Early
Unv 16	"Macbeth", opera Unv 16	1808	Vocal	Middle
WoO 120	"Man strebt, die Flamme zu verhehlen", song for voice and piano WoO 120	1800	Vocal	Early
op. 114	March and chorus from August von Kotzebue's "The Ruins of Athens" for chorus and orchestra (E-flat major) op. 114	1811	Vocal	Middle
WoO 29	March for 2 clarinets, 2 horns and 2 bassoons (B-flat major) WoO 29	1797	Chamber	Early
WoO 20	March for military band (C major) WoO 20	1809	Orchestra	Middle
WoO 24	March for military band (D major) WoO 24	1816	Orchestra	Late
WoO 18	March no. 1 for military band (F major) WoO 18	1809	Orchestra	Middle
WoO 19	March no. 2 for military band (F major) WoO 19	1810	Orchestra	Middle
op. 45/1	Three Marches for piano four-hands (C, E-flat, D major) op. 45 — item 1	1802	Keyboard	Early
op. 45/2	Three Marches for piano four-hands (C, E-flat, D major) op. 45 — item 2	1802	Keyboard	Early
op. 45/3	Three Marches for piano four-hands (C, E-flat, D major) op. 45 — item 3	1803	Keyboard	Middle
op. 86	Mass in C major for four solo voices, chorus and orchestra op. 86	1807	Vocal	Middle
op. 123	Mass in D major for four solo voices, chorus, orchestra and organ op. 123 (Missa solemnis)	1823	Vocal	Late
op. 100	"Merkenstein", song for two voices and piano op. 100	1815	Vocal	Late
WoO 144	"Merkenstein", song for voice and piano WoO 144	1814	Vocal	Late
WoO 209	Minuet for 2 violins, viola and cello (A-flat major) WoO 209	1790	Chamber	Early
WoO 3	Minuet for orchestra (E-flat major) WoO 3	1822	Orchestra	Late
WoO 218	Minuet for piano (C major) WoO 218	1793	Keyboard	Early
WoO 82	Minuet for piano (E-flat major) WoO 82	Uncertain	Keyboard	Unassigned
WoO 217	Minuet for piano (F major) WoO 217	1794	Keyboard	Early
WoO 9/1	Six Minuets for 2 violins and bass (E-flat, G, C, F, D, G major) WoO 9 — item 1	1799	Chamber	Early
WoO 9/2	Six Minuets for 2 violins and bass (E-flat, G, C, F, D, G major) WoO 9 — item 2	1799	Chamber	Early
WoO 9/3	Six Minuets for 2 violins and bass (E-flat, G, C, F, D, G major) WoO 9 — item 3	1799	Chamber	Early
WoO 9/4	Six Minuets for 2 violins and bass (E-flat, G, C, F, D, G major) WoO 9 — item 4	1799	Chamber	Early
WoO 9/5	Six Minuets for 2 violins and bass (E-flat, G, C, F, D, G major) WoO 9 — item 5	1799	Chamber	Early
WoO 9/6	Six Minuets for 2 violins and bass (E-flat, G, C, F, D, G major) WoO 9 — item 6	1799	Chamber	Early
WoO 7/1	Twelve Minuets for orchestra WoO 7 — item 1	1795	Orchestra	Early
WoO 7/2	Twelve Minuets for orchestra WoO 7 — item 2	1795	Orchestra	Early
WoO 7/3	Twelve Minuets for orchestra WoO 7 — item 3	1795	Orchestra	Early
WoO 7/4	Twelve Minuets for orchestra WoO 7 — item 4	1795	Orchestra	Early
WoO 7/5	Twelve Minuets for orchestra WoO 7 — item 5	1795	Orchestra	Early
WoO 7/6	Twelve Minuets for orchestra WoO 7 — item 6	1795	Orchestra	Early
WoO 7/7	Twelve Minuets for orchestra WoO 7 — item 7	1795	Orchestra	Early
WoO 7/8	Twelve Minuets for orchestra WoO 7 — item 8	1795	Orchestra	Early
WoO 7/9	Twelve Minuets for orchestra WoO 7 — item 9	1795	Orchestra	Early
WoO 7/10	Twelve Minuets for orchestra WoO 7 — item 10	1795	Orchestra	Early
WoO 7/11	Twelve Minuets for orchestra WoO 7 — item 11	1795	Orchestra	Early
WoO 7/12	Twelve Minuets for orchestra WoO 7 — item 12	1795	Orchestra	Early
WoO 10/1	Six Minuets probably for orchstra WoO 10 — item 1	1795	Orchestra	Early
WoO 10/2	Six Minuets probably for orchstra WoO 10 — item 2	1795	Orchestra	Early
WoO 10/3	Six Minuets probably for orchstra WoO 10 — item 3	1795	Orchestra	Early
WoO 10/4	Six Minuets probably for orchstra WoO 10 — item 4	1795	Orchestra	Early
WoO 10/5	Six Minuets probably for orchstra WoO 10 — item 5	1795	Orchestra	Early
WoO 10/6	Six Minuets probably for orchstra WoO 10 — item 6	1795	Orchestra	Early
WoO 90	"Mit Mädeln sich vertragen", aria for bass and orchestra WoO 90	1792	Vocal	Early
Unv 1	Movement from a symphony (C minor) Unv 1	1786	Orchestra	Early
WoO 1	Music for a Knights' ballet by Ferdinand von Waldstein for orchestra WoO 1	1790	Orchestra	Early
op. 117	Music for August von Kotzebue's festive prologue "Hungary's First Benefactors" ("King Stephen") for chorus and orchestra op. 117	1811	Vocal	Middle
op. 43	Music for the ballet "The Creatures of Prometheus" by Salvatore Viganò for orchestra op. 43	1801	Orchestra	Early
WoO 96	Music for the drama "Leonore Prohaska" by Johann Friedrich Leopold Duncker for soprano, male chorus and orchestra WoO 96	1815	Vocal	Late
WoO 93	"Ne' giorni tuoi felici", duet for soprano, tenor and orchestra WoO 93	1803	Vocal	Middle
WoO 127	"Neue Liebe, neues Leben", song for voice and piano WoO 127	1798	Vocal	Early
WoO 63	Nine Variations on a march by Ernst Christoph Dressler for piano (C minor) WoO 63	1782	Keyboard	Early
WoO 69	Nine Variations on the theme "Quant è più bello" from the opera "La molinara" by Giovanni Paisiello for piano (A major) WoO 69	1795	Keyboard	Early
WoO 92a	"No, non turbarti", scene and aria for soprano and strings WoO 92a	1801	Vocal	Early
op. 8; op. 42	Nocturne after the serenade op. 8 for piano and viola (D major) op. 42	1803	Chamber	Middle
WoO 205c	"O Adjutant", musical joke WoO 205c	1817	Vocal	Late
WoO 119	"O care selve", song for unison chorus and piano WoO 119	1794	Vocal	Early
WoO 200	"O Hoffnung", theme WoO 200 (Assignment for Archduke Rudolph)	1818	Vocal	Late
WoO 182	"O Tobias!", three-voice canon WoO 182	1821	Vocal	Late
op. 103	Octet for 2 oboes, 2 clarinets, 2 horns and 2 bassoons (E-flat major) op. 103	1792	Chamber	Early
op. 121b	"Opferlied" for soprano, chorus and orchestra op. 121b	1824	Vocal	Late
WoO 126	"Opferlied", song for voice and piano WoO 126	1794	Vocal	Early
Unv 18	"Österreich über alles" for chorus and orchestra Unv 18	1809	Vocal	Middle
op. 115	Ouverture (C major) op. 115	1815	Orchestra	Late
op. 138	Overture no. 1 to the opera "Fidelio" (C major) op. 138	1807	Orchestra	Middle
Unv 4	Overture on B-A-C-H (B-flat major) Unv 4	1825	Orchestra	Late
op. 124	Overture to "The Consecration of the House" (C major) by Carl Meisl op. 124	1822	Orchestra	Late
op. 62	Overture to the tragedy "Coriolan" by Heinrich Joseph von Collin (C minor) op. 62	1807	Orchestra	Middle
WoO 61	Piece for piano (B minor) WoO 61	1821	Keyboard	Late
WoO 60	Piece for piano (B-flat major) WoO 60	1818	Keyboard	Late
WoO 54	Piece for piano (C major/minor) WoO 54	Uncertain	Keyboard	Unassigned
WoO 61a	Piece for piano (G minor) WoO 61a	1825	Keyboard	Late
WoO 34	Piece for two violins (A major) WoO 34	1822	Chamber	Late
WoO 33a/1	Three Pieces for mechanical clock (F major, G major, G major) WoO 33a — item 1	1799	Keyboard	Early
WoO 33a/2	Three Pieces for mechanical clock (F major, G major, G major) WoO 33a — item 2	1799	Keyboard	Early
WoO 33a/3	Three Pieces for mechanical clock (F major, G major, G major) WoO 33a — item 3	1799	Keyboard	Early
WoO 51/1	Two Pieces for piano (orphica) (C, F major) WoO 51 — item 1	1798	Keyboard	Early
WoO 51/2	Two Pieces for piano (orphica) (C, F major) WoO 51 — item 2	1798	Keyboard	Early
WoO 33b/1	Two Pieces, intrumentation unknown (C major, C major) WoO 33b — item 1	1795	Other	Early
WoO 33b/2	Two Pieces, intrumentation unknown (C major, C major) WoO 33b — item 2	1795	Other	Early
WoO 128	"Plaisir d'aimer", song for voice and piano WoO 128	1798	Vocal	Early
WoO 21	Polonaise for military band (D major) WoO 21	1810	Orchestra	Middle
op. 89	Polonaise for piano (C major) op. 89	1814	Keyboard	Late
WoO 99/1	Polyphonic Italian songs WoO 99 — item 1	1801	Vocal	Early
WoO 99/2	Polyphonic Italian songs WoO 99 — item 2	1801	Vocal	Early
WoO 99/3	Polyphonic Italian songs WoO 99 — item 3	1801	Vocal	Early
WoO 99/4	Polyphonic Italian songs WoO 99 — item 4	1801	Vocal	Early
WoO 99/5	Polyphonic Italian songs WoO 99 — item 5	1801	Vocal	Early
WoO 99/6	Polyphonic Italian songs WoO 99 — item 6	1801	Vocal	Early
WoO 99/7	Polyphonic Italian songs WoO 99 — item 7	1801	Vocal	Early
WoO 99/8	Polyphonic Italian songs WoO 99 — item 8	1801	Vocal	Early
WoO 99/9	Polyphonic Italian songs WoO 99 — item 9	1801	Vocal	Early
WoO 99/10	Polyphonic Italian songs WoO 99 — item 10	1801	Vocal	Early
WoO 99/11	Polyphonic Italian songs WoO 99 — item 11	1801	Vocal	Early
WoO 99/12	Polyphonic Italian songs WoO 99 — item 12	1801	Vocal	Early
WoO 99/13	Polyphonic Italian songs WoO 99 — item 13	1801	Vocal	Early
WoO 99/14	Polyphonic Italian songs WoO 99 — item 14	1801	Vocal	Early
WoO 99/15	Polyphonic Italian songs WoO 99 — item 15	1801	Vocal	Early
WoO 55	Prelude for piano (F minor) WoO 55	1803	Keyboard	Middle
op. 39/1	Two Preludes through all major keys, for piano or organ op. 39 — item 1	1789	Keyboard	Early
op. 39/2	Two Preludes through all major keys, for piano or organ op. 39 — item 2	1789	Keyboard	Early
WoO 89	"Prüfung des Küssens", aria for bass and orchestra WoO 89	1791	Vocal	Early
WoO 111	"Punschlied", song for unison chorus and piano WoO 111	1791	Vocal	Early
op. 132	Quartet for 2 violins, viola and violoncello (A minor) op. 132	1825	Chamber	Late
op. 130	Quartet for 2 violins, viola and violoncello (B-flat major) op. 130	1825	Chamber	Late
op. 131	Quartet for 2 violins, viola and violoncello (C-sharp minor) op. 131	1826	Chamber	Late
op. 127	Quartet for 2 violins, viola and violoncello (E-flat major) op. 127	1825	Chamber	Late
op. 74	Quartet for 2 violins, viola and violoncello (E-flat major) op. 74	1809	Chamber	Middle
op. 135	Quartet for 2 violins, viola and violoncello (F major) op. 135	1826	Chamber	Late
op. 95	Quartet for 2 violins, viola and violoncello (F minor) op. 95	1810	Chamber	Middle
op. 18/1	Six Quartets for 2 violins, viola and violoncello (F, G, D major, C minor, A, B-flat major) op. 18 — item 1	1798	Chamber	Early
op. 18/2	Six Quartets for 2 violins, viola and violoncello (F, G, D major, C minor, A, B-flat major) op. 18 — item 2	1798	Chamber	Early
op. 18/3	Six Quartets for 2 violins, viola and violoncello (F, G, D major, C minor, A, B-flat major) op. 18 — item 3	1798	Chamber	Early
op. 18/4	Six Quartets for 2 violins, viola and violoncello (F, G, D major, C minor, A, B-flat major) op. 18 — item 4	1798	Chamber	Early
op. 18/5	Six Quartets for 2 violins, viola and violoncello (F, G, D major, C minor, A, B-flat major) op. 18 — item 5	1798	Chamber	Early
op. 18/6	Six Quartets for 2 violins, viola and violoncello (F, G, D major, C minor, A, B-flat major) op. 18 — item 6	1798	Chamber	Early
WoO 36/1	Three Quartets for piano, violin, viola and violoncello (E-flat, D, C major) WoO 36 — item 1	1785	Chamber	Early
WoO 36/2	Three Quartets for piano, violin, viola and violoncello (E-flat, D, C major) WoO 36 — item 2	1785	Chamber	Early
WoO 36/3	Three Quartets for piano, violin, viola and violoncello (E-flat, D, C major) WoO 36 — item 3	1785	Chamber	Early
WoO 116	"Que le temps me dure", song for voice and piano (C minor/major) WoO 116	1793	Vocal	Early
op. 103; op. 4	Quintet after the wind octet op. 103 for 2 violins, 2 violas and violoncello (E-flat major) op. 4	1795	Chamber	Early
op. 29	Quintet for 2 violins, 2 violas and violoncello (C major) op. 29	1801	Chamber	Early
op. 104	Quintet for 2 violins, 2 violas and violoncello (C minor) op. 104	1817	Chamber	Late
WoO 208	Quintet for oboe, 3 horns and bassoon (E-flat major) WoO 208	1792	Chamber	Early
op. 16	Quintet for piano, oboe, clarinet, bassoon and horn (E-flat major) op. 16	1796	Chamber	Early
WoO 62	Quintet for two violins, two violas and violoncello (C major) WoO 62	1826	Chamber	Late
Unv 7	Quintet movement for 2 violins, 2 violas and cello (D minor) Unv 7	1817	Chamber	Late
Unv 22	"Rastlose Liebe", song for voice and piano (E-flat major) Unv 22	1796	Vocal	Early
WoO 149	"Resignation", song for voice and piano WoO 149	1814	Vocal	Late
WoO 207	Romance cantabile for flute, bassoon, piano and orchestra (E minor) WoO 207	1786	Orchestra	Early
op. 50	Romance for violin and orchestra (F major) op. 50	1798	Orchestra	Early
op. 40	Romance for violin and orchestra (G major) op. 40	1800	Orchestra	Early
WoO 25	Rondo for 2 oboes, 2 clarinets, 2 horns and 2 bassoons (E-flat major) WoO 25	1793	Chamber	Early
WoO 49	Rondo for piano (A major) WoO 49	1783	Keyboard	Early
WoO 48	Rondo for piano (C major) WoO 48	1783	Keyboard	Early
WoO 6	Rondo for piano and orchestra (B-flat major) WoO 6	1793	Orchestra	Early
WoO 41	Rondo for piano and violin (G major) WoO 41	1790	Chamber	Early
op. 51/1	Two Rondos for piano (C, G major) op. 51 — item 1	1796	Keyboard	Early
op. 51/2	Two Rondos for piano (C, G major) op. 51 — item 2	1796	Keyboard	Early
WoO 147	"Ruf vom Berge", song for voice and piano WoO 147	1816	Vocal	Late
WoO 175/1	"Sankt Petrus war ein Fels? - Bernardus war ein Sankt?", two puzzle canons WoO 175 — item 1	1819	Vocal	Late
WoO 175/2	"Sankt Petrus war ein Fels? - Bernardus war ein Sankt?", two puzzle canons WoO 175 — item 2	1819	Vocal	Late
WoO 205f	"Scheut euch nicht", musical joke WoO 205f	1818	Vocal	Late
WoO 107	"Schilderung eines Mädchens", song for voice and piano WoO 107	1782	Vocal	Early
WoO 187	"Schwenke dich ohne Schwänke!", four-voice canon WoO 187	1824	Vocal	Late
WoO 134	"Sehnsucht", song for voice and piano WoO 134	1808	Vocal	Middle
WoO 146	"Sehnsucht", song for voice and piano WoO 146	1815	Vocal	Late
WoO 179/1	"Seiner kaiserlichen Hoheit! - Alles Gute, alles Schöne", piece for four voices and canon WoO 179 — item 1	1820	Vocal	Late
WoO 179/2	"Seiner kaiserlichen Hoheit! - Alles Gute, alles Schöne", piece for four voices and canon WoO 179 — item 2	1820	Vocal	Late
op. 20	Septet for violin, viola, cello, double bass, clarinet, horn and bassoon (E-flat major) op. 20	1799	Vocal	Early
op. 25; op. 41	Serenade after the serenade op. 25 for piano and flute (D major) op. 41	1803	Chamber	Middle
op. 25	Serenade for flute, violin and viola (D major) op. 25	1801	Chamber	Early
op. 8	Serenade for violin, viola and violoncello (D major) op. 8	1796	Chamber	Early
WoO 118/1	"Seufzer eines Ungeliebten (mit: Gegenliebe)", songs for voice and piano WoO 118 — item 1	1794	Vocal	Early
WoO 118/2	"Seufzer eines Ungeliebten (mit: Gegenliebe)", songs for voice and piano WoO 118 — item 2	1794	Vocal	Early
WoO 75	Seven Variations on the quartet "Kind, willst du ruhig schlafen" from the opera "Das unterbrochene Opferfest" by Peter von Winter for piano (F major) WoO 75	1799	Keyboard	Early
WoO 46	Seven Variations on the theme "Bei Männern, welche Liebe Fühlen" from the opera "Magic Flute" by Wolfgang Amadeus Mozart for piano and violoncello (E-flat major) WoO 46	1801	Chamber	Early
WoO 78	Seven Variations on the theme "God Save the King" for piano (C major) WoO 78	1803	Keyboard	Middle
op. 71	Sextet for 2 clarinets, 2 horns and 2 bassoons (E-flat major) op. 71	1796	Chamber	Early
op. 81b	Sextet for 2 violins, viola, violoncello and 2 horns (E-flat major) op. 81b	1794	Chamber	Early
WoO 194	"Si non per portas", puzzle canon WoO 194	1825	Vocal	Late
WoO 178	"Signor Abate!", three-voice canon WoO 178	Uncertain	Vocal	Unassigned
op. 48/1	Six Songs for voice and piano op. 48 — item 1	1798	Vocal	Early
op. 48/2	Six Songs for voice and piano op. 48 — item 2	1798	Vocal	Early
op. 48/3	Six Songs for voice and piano op. 48 — item 3	1798	Vocal	Early
op. 48/4	Six Songs for voice and piano op. 48 — item 4	1798	Vocal	Early
op. 48/5	Six Songs for voice and piano op. 48 — item 5	1798	Vocal	Early
op. 48/6	Six Songs for voice and piano op. 48 — item 6	1798	Vocal	Early
op. 75/1	Six Songs for voice and piano op. 75 — item 1	1809	Vocal	Middle
op. 75/2	Six Songs for voice and piano op. 75 — item 2	1809	Vocal	Middle
op. 75/3	Six Songs for voice and piano op. 75 — item 3	1809	Vocal	Middle
op. 75/4	Six Songs for voice and piano op. 75 — item 4	1809	Vocal	Middle
op. 75/5	Six Songs for voice and piano op. 75 — item 5	1809	Vocal	Middle
op. 75/6	Six Songs for voice and piano op. 75 — item 6	1809	Vocal	Middle
WoO 64	Six Varations on a Swiss song for piano or harp (F major) WoO 64	1790	Keyboard	Early
op. 76	Six Variations for piano (D major) op. 76	1809	Keyboard	Middle
op. 34	Six Variations on an original theme for piano (F major) op. 34	1802	Keyboard	Early
WoO 77	Six Variations on an original theme for piano (G major) WoO 77	1800	Keyboard	Early
op. 105/1	Six Variations on folk songs for piano and flute or violin ad libitum op. 105 — item 1	1818	Chamber	Late
op. 105/2	Six Variations on folk songs for piano and flute or violin ad libitum op. 105 — item 2	1818	Chamber	Late
op. 105/3	Six Variations on folk songs for piano and flute or violin ad libitum op. 105 — item 3	1818	Chamber	Late
op. 105/4	Six Variations on folk songs for piano and flute or violin ad libitum op. 105 — item 4	1818	Chamber	Late
op. 105/5	Six Variations on folk songs for piano and flute or violin ad libitum op. 105 — item 5	1818	Chamber	Late
op. 105/6	Six Variations on folk songs for piano and flute or violin ad libitum op. 105 — item 6	1818	Chamber	Late
WoO 70	Six Variations on the Duet "Nel cor più non mi sento" from the opera "La molinara" by Giovanni Paisiello for piano (G major) WoO 70	1795	Keyboard	Early
WoO 74	Six Variations on the lied "Ich denke dein" by Goethe for two voices unisono and piano for-hands (D major) WoO 74	1799	Keyboard	Early
WoO 148	"So oder so", song for voice and piano WoO 148	1817	Vocal	Late
op. 3; op. 64	Sonata after the trio op. 3 for piano and violoncello (E-flat major) op. 64	1807	Chamber	Middle
op. 101	Sonata for piano (A major) op. 101	1816	Keyboard	Late
op. 110	Sonata for piano (A-flat major) op. 110	1821	Keyboard	Late
op. 26	Sonata for piano (A-flat major) op. 26	1800	Keyboard	Early
op. 106	Sonata for piano (B-flat major) op. 106	1818	Keyboard	Late
op. 22	Sonata for piano (B-flat major) op. 22	1800	Keyboard	Early
op. 53	Sonata for piano (C major) op. 53	1804	Keyboard	Middle
op. 111	Sonata for piano (C minor) op. 111	1822	Keyboard	Late
op. 13	Sonata for piano (C minor) op. 13 (Sonata patétique)	1799	Keyboard	Early
op. 28	Sonata for piano (D major) op. 28	1801	Keyboard	Early
op. 109	Sonata for piano (E major) op. 109	1820	Keyboard	Late
op. 90	Sonata for piano (E minor) op. 90	1814	Keyboard	Late
op. 7	Sonata for piano (E-flat major) op. 7	1797	Keyboard	Early
op. 81a	Sonata for piano (E-flat major) op. 81a	1809	Keyboard	Middle
Unv 13	Sonata for piano (E-flat major) Unv 13	1797	Keyboard	Early
op. 54	Sonata for piano (F major) op. 54	1804	Keyboard	Middle
op. 57	Sonata for piano (F minor) op. 57	1806	Keyboard	Middle
op. 78	Sonata for piano (F-sharp major) op. 78	1809	Keyboard	Middle
op. 79	Sonata for piano (G major) op. 79	1809	Keyboard	Middle
op. 17	Sonata for piano and horn or violoncello (F major) op. 17	1800	Chamber	Early
op. 47	Sonata for piano and violin (A major) op. 47	1803	Chamber	Middle
op. 23	Sonata for piano and violin (A minor) op. 23	1800	Chamber	Early
op. 24	Sonata for piano and violin (F major) op. 24	1800	Chamber	Early
op. 96	Sonata for piano and violin (G major) op. 96	1812	Chamber	Middle
op. 69	Sonata for piano and violoncello (A major) op. 69	1808	Chamber	Middle
op. 6	Sonata for piano four-hands (D major) op. 6	1796	Keyboard	Early
Unv 11	Sonata for violin and piano (A major) Unv 11	1790	Chamber	Early
op. 10/1	Three Sonatas for piano (C minor, F, D major) op. 10 — item 1	1798	Keyboard	Early
op. 10/2	Three Sonatas for piano (C minor, F, D major) op. 10 — item 2	1798	Keyboard	Early
op. 10/3	Three Sonatas for piano (C minor, F, D major) op. 10 — item 3	1798	Keyboard	Early
WoO 47/1	Three Sonatas for piano (E-flat major, F minor, D major) WoO 47 — item 1	1782	Keyboard	Early
WoO 47/2	Three Sonatas for piano (E-flat major, F minor, D major) WoO 47 — item 2	1782	Keyboard	Early
WoO 47/3	Three Sonatas for piano (E-flat major, F minor, D major) WoO 47 — item 3	1782	Keyboard	Early
op. 14/1	Two Sonatas for piano (E, G major) op. 14 — item 1	1798	Keyboard	Early
op. 14/2	Two Sonatas for piano (E, G major) op. 14 — item 2	1798	Keyboard	Early
op. 2/1	Three Sonatas for piano (F minor, A, C major) op. 2 — item 1	1795	Keyboard	Early
op. 2/2	Three Sonatas for piano (F minor, A, C major) op. 2 — item 2	1795	Keyboard	Early
op. 2/3	Three Sonatas for piano (F minor, A, C major) op. 2 — item 3	1795	Keyboard	Early
op. 31/1	Three Sonatas for piano (G major, D minor, E-flat major) op. 31 — item 1	1802	Keyboard	Early
op. 31/2	Three Sonatas for piano (G major, D minor, E-flat major) op. 31 — item 2	1802	Keyboard	Early
op. 31/3	Three Sonatas for piano (G major, D minor, E-flat major) op. 31 — item 3	1802	Keyboard	Early
op. 49/1	Two Sonatas for piano (G minor, G major) op. 49 — item 1	1798	Keyboard	Early
op. 49/2	Two Sonatas for piano (G minor, G major) op. 49 — item 2	1798	Keyboard	Early
op. 12/1	Three Sonatas for piano and violin (D, A, E-flat major) op. 12 — item 1	1797	Chamber	Early
op. 12/2	Three Sonatas for piano and violin (D, A, E-flat major) op. 12 — item 2	1797	Chamber	Early
op. 12/3	Three Sonatas for piano and violin (D, A, E-flat major) op. 12 — item 3	1797	Chamber	Early
op. 102/1	Two Sonatas for piano and violoncello (C , D major) op. 102 — item 1	1815	Chamber	Late
op. 102/2	Two Sonatas for piano and violoncello (C , D major) op. 102 — item 2	1815	Chamber	Late
op. 5/1	Two Sonatas for piano and violoncello (F major, G minor) op. 5 — item 1	1796	Chamber	Early
op. 5/2	Two Sonatas for piano and violoncello (F major, G minor) op. 5 — item 2	1796	Chamber	Early
op. 30/1	Three Sonatas for violin and piano (A major, C minor, G major) op. 30 — item 1	1802	Chamber	Early
op. 30/2	Three Sonatas for violin and piano (A major, C minor, G major) op. 30 — item 2	1802	Chamber	Early
op. 30/3	Three Sonatas for violin and piano (A major, C minor, G major) op. 30 — item 3	1802	Chamber	Early
WoO 43a	Sonatina for mandolin and harpsichord or piano (C minor) WoO 43a	1796	Chamber	Early
WoO 44a	Sonatina for mandolin and harpsichord or piano (C minor) WoO 44a	1796	Chamber	Early
WoO 50	Sonatina for piano (F major) WoO 50	1790	Keyboard	Early
op. 83/1	Three Songs for voice and piano op. 83 — item 1	1810	Vocal	Middle
op. 83/2	Three Songs for voice and piano op. 83 — item 2	1810	Vocal	Middle
op. 83/3	Three Songs for voice and piano op. 83 — item 3	1810	Vocal	Middle
Unv 2	Symphony no. 0 (C major) Unv 2	1794	Orchestra	Early
op. 21	Symphony no. 1 (C major) op. 21	1800	Orchestra	Early
Unv 3	Symphony no. 10 (C minor/E-flat major) Unv 3	1822	Orchestra	Late
op. 36	Symphony no. 2 (D major) op. 36	1802	Orchestra	Early
op. 55	Symphony no. 3 (E-flat major) op. 55 (Sinfonia eroica)	1804	Orchestra	Middle
op. 60	Symphony no. 4 (B-flat major) op. 60	1806	Orchestra	Middle
op. 67	Symphony no. 5 (C minor) op. 67	1808	Orchestra	Middle
op. 68	Symphony no. 6 (F major) op. 68 (Sinfonia pastorale)	1808	Orchestra	Middle
op. 92	Symphony no. 7 (A major) op. 92	1812	Orchestra	Middle
op. 93	Symphony no. 8 (F major) op. 93	1812	Orchestra	Middle
op. 125	Symphony no. 9 (D minor) op. 125	1824	Orchestra	Late
WoO 186	"Te solo adoro", puzzle canon WoO 186	1824	Vocal	Late
op. 107/1	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 1	1818	Chamber	Late
op. 107/2	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 2	1818	Chamber	Late
op. 107/3	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 3	1818	Chamber	Late
op. 107/4	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 4	1818	Chamber	Late
op. 107/5	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 5	1818	Chamber	Late
op. 107/6	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 6	1818	Chamber	Late
op. 107/7	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 7	1818	Chamber	Late
op. 107/8	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 8	1818	Chamber	Late
op. 107/9	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 9	1818	Chamber	Late
op. 107/10	Ten Variations on folk songs for piano and flute or violin ad libitum op. 107 — item 10	1818	Chamber	Late
WoO 73	Ten Variations on the duet "La stessa, la stessissima" from the opera "Falstaff" by Antonio Salieri for piano (B-flat major) WoO 73	1799	Keyboard	Early
op. 121a	Ten Variations on the song "Ich bin der Schneider Kakadu" from Wenzel Müller's "Die Schwestern von Prag" for piano, violin and violoncello (G major) op. 121a	1803	Chamber	Middle
op. 136	"The Glorious Moment", cantata for 4 solo voices, chorus and orchestra op. 136	1814	Vocal	Late
op. 59/1	Three Quartets for 2 violins, viola and violoncello (F major, E minor, C major) op. 59 — item 1	1806	Chamber	Middle
op. 59/2	Three Quartets for 2 violins, viola and violoncello (F major, E minor, C major) op. 59 — item 2	1806	Chamber	Middle
op. 59/3	Three Quartets for 2 violins, viola and violoncello (F major, E minor, C major) op. 59 — item 3	1806	Chamber	Middle
op. 1/1	Three Trios for piano, violin and violoncello (E-flat major, G major, C minor) op. 1 — item 1	1794	Chamber	Early
op. 1/2	Three Trios for piano, violin and violoncello (E-flat major, G major, C minor) op. 1 — item 2	1794	Chamber	Early
op. 1/3	Three Trios for piano, violin and violoncello (E-flat major, G major, C minor) op. 1 — item 3	1794	Chamber	Early
op. 9/1	Three Trios for violin, viola and violoncello (G, D major, C minor) op. 9 — item 1	1797	Chamber	Early
op. 9/2	Three Trios for violin, viola and violoncello (G, D major, C minor) op. 9 — item 2	1797	Chamber	Early
op. 9/3	Three Trios for violin, viola and violoncello (G, D major, C minor) op. 9 — item 3	1797	Chamber	Early
WoO 160/1	Two three- and four-voice canons WoO 160 — item 1	1794	Vocal	Early
WoO 160/2	Two three- and four-voice canons WoO 160 — item 2	1794	Vocal	Early
WoO 215	Three-voice fugue for piano (C major) WoO 215	1795	Keyboard	Early
WoO 228b	"Tobias", musical joke WoO 228b	1824	Vocal	Late
WoO 205h	"Tobias, Tobias", musical joke WoO 205h	1825	Vocal	Late
WoO 205g	"Tobias! Paternostergäßler", musical joke WoO 205g	1824	Vocal	Late
op. 116	"Tremate, empi, tremate", trio for soprano, tenor, bass and orchestra op. 116	1803	Vocal	Middle
op. 4; op. 63	Trio after the quintet op. 4 for piano, violin and violoncello (E-flat major) op. 63	1806	Chamber	Middle
op. 20; op. 38	Trio after the septett op. 20 for piano, clarinet or violin and violoncello (E-flat major) op. 38	1802	Chamber	Early
op. 87	Trio for 2 oboes and english horn (C major) op. 87	1795	Chamber	Early
op. 11	Trio for piano, clarinet or violin and violoncello (B-flat major) op. 11	1797	Chamber	Early
WoO 37	Trio for piano, flute and bassoon (G major) WoO 37	1786	Chamber	Early
op. 97	Trio for piano, violin and cello (B-flat major) op. 97	1811	Chamber	Middle
WoO 39	Trio for piano, violin and violoncello (B-flat major) WoO 39	1812	Chamber	Middle
WoO 38	Trio for piano, violin and violoncello (E-flat major) WoO 38	1790	Chamber	Early
Unv 10	Trio for violin, cello and piano (F minor) Unv 10	1816	Chamber	Late
op. 3	Trio for violin, viola and violoncello (E-flat major) op. 3	1794	Chamber	Early
op. 70/1	Two Trios for piano, violin and violoncello (D, E-flat major) op. 70 — item 1	1808	Chamber	Middle
op. 70/2	Two Trios for piano, violin and violoncello (D, E-flat major) op. 70 — item 2	1808	Chamber	Middle
WoO 2a	Triumphal March for the tragedy "Tarpeja" by Christoph Kuffner WoO 2a	1813	Orchestra	Late
WoO 223	"Tut auf", two-voice canon WoO 223	1820	Vocal	Late
WoO 45	Twelve Variations on a theme from the oratorio "Judas Maccabaeus" by Georg Friedrich Händel for piano and cello (G major) WoO 45	1796	Chamber	Early
op. 66	Twelve Variations on "Ein Mädchen oder Weibchen" from Mozart's "Magic Flute", for piano and violoncello (F major) op. 66	1796	Chamber	Early
WoO 68	Twelve Variations on "Minuet à la Vigano" from the ballet "Le nozze disturbate" by Jakob Haibel for piano (C major) WoO 68	1795	Keyboard	Early
WoO 40	Twelve Variations on the cavatina "Se vuol ballare" from the opera "Le nozze di Figaro" by Wolfgang Amadeus Mozart for piano and violin (F major) WoO 40	1793	Chamber	Early
WoO 71	Twelve Variations on the Russian dance from the ballet "Das Waldmädchen" by Paul Wranitzky and Joseph Kinsky for piano (A major) WoO 71	1796	Keyboard	Early
WoO 31	Two-voice Fugue for organ (D major) WoO 31	1783	Keyboard	Early
WoO 44b	Variations for mandolin and harpsichord or piano (D major) WoO 44b	1796	Chamber	Early
Unv 14	Variations for piano (A major) Unv 14	1794	Keyboard	Early
Unv 15	"Vestas Feuer", opera in 2 acts Unv 15	1803	Vocal	Middle
WoO 219	Waltz for piano (C minor) WoO 219	1803	Keyboard	Middle
WoO 85	Waltz for piano (D major) WoO 85	1825	Keyboard	Late
WoO 84	Waltz for piano (E-flat major) WoO 84	1824	Keyboard	Late
WoO 220	"War song for the allied forces" WoO 220	1813	Vocal	Late
op. 91	"Wellington's Victory or the Battle of Vittoria" op. 91	1813	Orchestra	Late
WoO 198	"Wir irren allesamt", musical joke WoO 198	1826	Vocal	Late
WoO 98	"Wo die Pulse sich jugendlich jagen", dance with chorus (B-flat major) for the play "The Consecration of the House" by Carl Meisl for soprano, chorus and orchestra WoO 98	1822	Vocal	Late
WoO 205d	"Wo? Wo?", musical joke WoO 205d	1817	Vocal	Late
WoO 123	"Zärtliche Liebe", song for voice and piano WoO 123	1795	Vocal	Early

Early period: 1782–1802

Classical balance becomes increasingly dramatic.

Harmony

Tonic and dominant give a clear direction. Chromatic notes can disturb that direction from within.

Form

Sonata, rondo and variation remain central. Accents, pauses and returning material gain expressive weight.

Instrumentation

Piano virtuosity and chamber dialogue are important. Instruments can exchange leading and supporting roles.

Haydn’s influence includes the close relation between theme and accompaniment: Rosen identifies this in Haydn’s op. 33 quartets. In Beethoven, accompanying figures likewise become material for development. Mozart’s influence came through studying his scores; a personal meeting is undocumented.

In the piano sonatas, phrase structure depends on harmonic direction. A dominant ending leaves a phrase open; a tonic cadence closes it. The Pathétique finale makes this distinction audible within eight bars.

Piano Sonata op. 13: cadences and phrase structure

Pathétique · III, Rondo: Allegro · initial pickup and bars 1–8 · 1798

The refrain begins with a three-eighth-note pickup. Its first four-bar phrase ends on G, the dominant. The answering phrase reaches C minor in bar 8. Similar melodic gestures acquire different functions through their cadences.

The left hand maintains a regular broken-chord pulse. Slurs and detached notes shape the melody above it; articulation and harmonic direction clarify the period together.

Pathétique finale, pickup and bars 1–8 — Initial pickup and bars 1–8; Breitkopf & Härtel, 1862. The audio stops after the tonic cadence in bar 8, before the F–G pickup to the next phrase printed at its end.

Initial pickup → tonic cadence in bar 8

Paul Pitman · source 0:00.34–0:10.60

The dominant ending in bar 4 and the tonic cadence in bar 8 distinguish the two phrases through the bass and melodic ending.

1. Which cadences distinguish bars 4 and 8 of the Pathétique finale?

Bar 4 rests on the dominant, G major: a half cadence. Bar 8 reaches C minor with C in the melody and bass: tonic closure. The two endings organise the eight-bar period.

2. How does the three-eighth-note pickup affect phrasing in bars 1–8?

It gives the first downbeat a clear destination. The answering phrase reuses the melodic shape but changes its harmonic ending. Phrase towards the cadence rather than accenting every bar equally.

3. What is the effect of the left-hand eighth rest at the start of bar 8?

The melody reaches C on the downbeat while the bass enters an eighth note later. Tonic closure is clear, but the staggered arrival lightens the cadence. Avoid anticipating or accenting the delayed bass.

4. How should the slurs and detached notes shape the opening melody?

The detached pickup separates the approach; the following slur carries a longer line. Later detached notes articulate the phrase without breaking its harmonic direction. Keep the left-hand figuration subordinate to those gestures.

Middle period: 1803–1812

A small musical idea can shape an entire movement.

Harmony

Tension can last longer and reach more distant keys. A small harmonic disturbance may have later consequences.

Form

Development and coda often expand. A short motif connects passages that sound very different.

Instrumentation

Orchestral colour gains structural force. The Eroica uses three horns; the Fifth adds piccolo, contrabassoon and trombones in its finale.

The middle period is often called “heroic” because many works have a large scale and a sense of struggle and resolution. Yet this is only one part of Beethoven’s musical world.

In the Waldstein Sonata, a repeated chord figure can serve as the theme itself. Its rhythm remains recognisable while the harmonic centre changes. Texture and harmony carry the argument together.

Altered Eroica title page — Complete Eroica title page, corrected copyist’s score, 1804. Archiv der Gesellschaft der Musikfreunde, Vienna. Reproduction: Erich Lessing. The erased dedication and the notes at the lower edge are both visible.

Piano Sonata op. 53: harmonic displacement

Waldstein · I, Allegro con brio · bars 1–8 · 1803–1804

Bars 1–4 begin in C major and move to its dominant. Bars 5–8 repeat the pattern a whole tone lower, around B-flat major and F. The repeated eighth notes remain constant while the local harmonic centre changes.

The chordal opening, marked pp, gives way to a short melodic gesture in a higher register. The pattern unites pulse, register and harmony; its identity does not depend on a long singing melody.

Waldstein first movement, bars 1–8 — Bars 1–8, from the first three systems of Beethoven Werke, Breitkopf & Härtel, 1862. Bar 5 begins with the B-flat-major chord; bar 8 occupies the final short line.

A · C-major area · bars 1–4

Michael Hawley · source 0:00.00–0:06.02

B · B-flat-major area · bars 5–8

Michael Hawley · source 0:06.02–0:11.79

The repeated rhythmic pattern connects different bass roots. The new local centre remains distinct from the work’s governing tonic.

1. What changes harmonically between bars 1–4 and 5–8 of op. 53?

The opening C-major area, followed by its dominant, is restated around B-flat major and its dominant, F. The second group lies a whole tone lower; the repeated rhythm makes the shift immediately comparable.

2. Why is B-flat in bar 5 more consequential than a passing chromatic note?

It supports a new root-position triad and a corresponding phrase, not just a melodic inflection. The same texture now establishes a different local harmonic centre.

3. How do bars 3–4 and 7–8 differ from the repeated chords before them?

A brief melodic gesture moves into a higher register while the left-hand pulse continues. The contrast emerges inside the same rhythmic texture, rather than through a separate lyrical theme.

4. How can a pianist clarify the harmonic shift while retaining pp?

Keep the repeated chords even and light, distinguish the bass roots and shape the upper gesture. The change of harmony and register supplies the contrast; an added forte would obscure Beethoven’s written dynamic.

Late period: 1813–1827

New relationships between old forms.

Harmony

Unexpected keys and abrupt changes can stand side by side. Stable harmony can also support radical changes of rhythm and texture.

Form

Fugue and variation become especially prominent. Movements may connect directly, or combine different formal ideas.

Instrumentation

The piano and quartet offer both dense counterpoint and exposed single lines. Large vocal works remain important, including the Missa solemnis and Ninth Symphony.

Complexity and simplicity coexist. A melody may be almost bare, then grow into several independent voices. The change in texture can alter our sense of movement and time.

In the Arietta of op. 111, the harmonic outline remains recognisable through increasingly transformed variations. In op. 110, the return of an inverted fugue gives a familiar technique new expressive force.

Piano Sonata op. 110: fugue and inversion

Piano Sonata op. 110 · III · first fugue and inverted return · 1821

A sorrowful arioso leads into a fugue. The arioso later returns, sounding more exhausted. The next fugue begins with the subject inverted: rising intervals become falling intervals, and falling intervals become rising intervals.

The first fugue begins in A-flat major; its inverted return begins in G major. The changed direction and new tonal setting make recognition and transformation audible together.

Original fugue subject in the bass — A · Original subject, bars 27–30: from the opening pickup to D-flat. Breitkopf & Härtel, 1862.

Inverted fugue subject in the treble — B · Inverted entry, bars 136–138: the clip stops after the subject’s A, within bar 138. Breitkopf & Härtel, 1862.

A · Original subject · A-flat major

Donald Betts · source 4:52.88–4:59.97

B · Inverted subject · G major

Donald Betts · source 10:40.68–10:47.98

The subject’s fourths and thirds remain recognisable in a different register and tonal setting. The inversion changes both contrapuntal direction and harmonic context.

Working sketches for piano sonatas op. 110 and op. 111 — Working sketches, 1821–1822. BnF, MS-51 (8). These concern movements I–II of op. 110 and movement II of op. 111; they do not show the fugue comparison.

Beethoven by Mähler, around 1815 — Mähler, around 1815. The transition to the late style was gradual; it did not begin on a single date.

Piano Sonata op. 111. Rosen observes that a high B-flat near the end of the Arietta remains perceptually active even after its sound has faded: its dissonance over F still demands resolution to A-flat. Harmonic continuity can outlast the piano’s physical sustain.

1. Which interval patterns identify the two fugue entries in op. 110?

The first subject alternates rising fourths with falling thirds. The inverted entry reverses those directions. Diatonic adjustments fit the new key, so inversion preserves the contour relation rather than every chromatic interval size.

2. What tonal problem is created by the inverted entry at bar 136?

It begins in G major, a semitone below the original A-flat tonic. A recognisable subject therefore returns outside the home key; its later recovery of A-flat becomes a structural event.

3. What changes when the fugue returns after the second arioso?

The return begins with inversion after the arioso’s exhaustion and the repeated G-major chords. Contrapuntal technique becomes part of the movement’s progression from interrupted motion to renewed continuity.

4. How should voicing differ between the original and inverted entries?

The original subject begins in the bass; the inverted entry begins in the upper voice. Give each entry a continuous line and keep subsequent voices independent. Increased intensity should not turn the counterpoint into a melody with undifferentiated accompaniment.

Comparison of the three periods

Musical feature	Early · 1782–1802	Middle · 1803–1812	Late · 1813–1827
Harmony	Clear direction, disturbed by local chromatic details	Longer tension; a detail may affect the larger design	Unexpected relationships, or a stable framework beneath complex change
Form	Inherited forms with strong contrasts	Expanded development and coda	Fugue, variation and connected movements in new combinations
Texture	Clear instrumental dialogue	Rhythm and colour help drive the structure	Dense counterpoint beside exposed simplicity
Our examples	Op. 13: dominant and tonic cadences	Op. 53: C-major and B-flat-major areas	Op. 110: the fugue subject and its inversion

The shared principle is development.

Across all three periods, Beethoven asks what a small idea can become. Harmony, rhythm, form and instrumental sound contribute to the answer.

Dudley Moore: Beethoven sonata parody

A comic exaggeration of Beethoven’s cadential gestures, repetition and delayed endings.

Sources and credits

Based on the sources below. Rosen’s ideas are paraphrased briefly; no book pages are reproduced.

History and works

Beethoven-Haus Bonn: Bonn chronology, for the first Vienna trip, the undocumented Mozart meeting and the move to study with Haydn.
Beethoven-Haus: Studies in Vienna, for lessons with Haydn, Albrechtsberger and Salieri.
Beethoven-Haus: Beethoven’s copy of Mozart’s fugue K. 426, for studying Mozart through copying.
Charles Rosen, The Classical Style, expanded edition (1997), “A New Preface”, pp. xiii–xiv: thematic accompaniment and Haydn’s op. 33. Consulted online preview; the complete book was not downloaded.
Jan Swafford, Beethoven: Anguish and Triumph (2014), background to the supplied document.
Charles Rosen, The Romantic Generation (1995), chapter 1, “Imagining the sound”: the sustained dissonance in Beethoven’s op. 111. Consulted in the supplied PDF.

Scores and audio

All listening examples are excerpts of real piano performances. No synthetic or generated audio is used. Source times are retained below; cut points are approximate to 0.1 second. The op. 13 excerpt ends within bar 8; the op. 110 excerpts isolate the subject rather than complete bars.

Paul Pitman, Pathétique finale, CC0. Initial pickup to the tonic cadence in bar 8: 0:00.34–0:10.60. Score: Beethoven Werke, Breitkopf & Härtel (1862), public domain; cropped from p. 11.
Musopen: Waldstein, movement I, recording released into the public domain; Wikimedia VRTS confirmation. Performer identified as Michael Hawley. Bars 1–4: 0:00.00–0:06.02; bars 5–8: 0:06.02–0:11.79. Score: Breitkopf & Härtel (1862), public domain; cropped from p. 1.
Donald Betts, op. 110, released into the public domain by the performer, confirmed by Wikimedia VRTS. Original subject: 4:52.88–4:59.97; inversion: 10:40.68–10:47.98. Score: Breitkopf & Härtel (1862), public domain.

Historical images

Johann Joseph Neidl, after Gandolph Ernst Stainhauser von Treuberg. Engraving published in 1801. Collection and reproduction. Historical image in the public domain; reproduction via Wikimedia Commons.
Joseph Willibrord Mähler. Beethoven holding a lyre. Wien Museum. Collection and reproduction. Historical image in the public domain; reproduction via Wikimedia Commons.
Joseph Willibrord Mähler. From his series of portraits of Viennese composers. Collection and reproduction. Historical image in the public domain; reproduction via Wikimedia Commons.
Joseph Karl Stieler. Beethoven at work. Beethoven-Haus Bonn. Collection and reproduction. Historical image in the public domain; reproduction via Wikimedia Commons.
Eroica complete title page: Gesellschaft der Musikfreunde, Vienna; faithful reproduction by Erich Lessing, reproduction source. Historical manuscript in the public domain.
Collection and reproduction. Historical image in the public domain; reproduction via Wikimedia Commons.

The academy logo is from its official website. Historical image captions and source links were retained from the illustrated document.