The Life of Ludwig van Beethoven, Volume III

by Alexander Wheelock Thayer

Index to Compositions

(a) WORKS FOR ORCHESTRA ALONE

Symphonies:

No. 1, C major, Op. 21—Date of composition, I, 227, 266, 267, 272, 277, 282, 286, 290; II, 6, 39, 42;
arranged as Pf. Quintet, I, 228.
No. 2, D major, Op. 36—I, 140, 354, 364, 365, 371; II, 6, 39, 42, 73, 112, 113;
arranged as Pf. Trio, II, 40;
arranged as Quintet, II, 113.
No. 3, E-flat major, Op. 55 (“Eroica”)—I, 212; II, 14, 20, 24 et seq.; 33, 40;
first public performances of, 42 et seq.; 66, 67;
publication of, 77, 112, 116, 149, 369; III, 50;
arranged for Pf. Quartet, II, 113.
No. 4, B-flat major, Op. 60—II, 68, 73, 76, 101, 112, 116, 122, 123, 162, 166, 371.
No. 5, C minor, Op. 67—I, 307; II, 73, 76, 107, 109, 113, 123, 126, 127, 129, 132, 141, 162, 166, 186;
correction of error in Scherzo of, 192; 216, 250, 334, 348, 369, 379; III, 50.
No. 6, F major, Op. 68 (“Pastoral”)—I, 349, 354; II, 73, 110, 119, 120;
country musicians parodied in Scherzo, 121, 122; 127, 131, 141, 162, 166, 209, 316; III, 14, 50.
No. 7, A major, Op. 92—II, 151, 152, 166, 216;
melody of the Trio, 216; 237, 257;
Allegretto repeated at the first performance, 258; 267, 299, 311, 312, 313, 318, 319, 324, 325, 334, 337, 339, 340, 347, 348, 350, 352, 353, 356, 357, 367; III, 14, 37, 50, 144, 302.
No. 8, F major, Op. 93—II, 152, 166, 232;
the Allegretto and the canon on Mälzel, 234 et seq.; 237, 240, 267, 268, 311, 312, 313, 318, 357, 388; III, 144.
No. 9, D minor, Op. 125 (with vocal solos and chorus)—I, xi;
trombone parts, II, 7; 73, 90, 133, 152, 378, 411, 414; III, 15, 22, 87, 95;
and the Philharmonic Society of London, 110 (see “London Philharmonic Society” under Beethoven, Ludwig v.); 128, 132;
composition, first performance, repetition, 144 et seq.;
origin of the theme of the Scherzo, 145;
B.’s doubts concerning the finale, 152, 153;
address to B. by his friends, 153 et seq.;
a conspiracy to further the performance, 158, 159;
trouble about orchestra leader, 157, 160;
the solo singers, 162, 164;
rehearsals, 163;
programme of the concert, 164;
incidents of the first performance, 165 et seq.;
financial failure and B.’s disappointment, 167;
B. upbraids his friends and dines alone, 167;
the second performance, 168 et seq.; 170;
offer of score to Schott, 177;
offer to Probst, 178;
performed at Aix-la-Chapelle, 188;
Smart gets tempi from B., 208, 209;
the recitatives, 209, 226;
dedication, 231 et seq.;
metronome marks, 244, 292;
the autograph manuscript, 266.
“Wellington’s Victory, or The Battle of Victoria,” Op. 91—II, 251 et seq.; 262 et seq.; 259, 267, 268, 271, 272, 283, 290, 299, 309, 310, 311, 312, 313, 318, 319, 324, 325, 335, 339, 340, 353, 356; III, 113, 208, 211.
“Jena”—I, 211.
Sketches for uncompleted symphonies—A “Tenth,” II, 414; III, 221 et seq.;
in B minor, II, 310, 328;
in C minor, I, 210.

Overtures, Ballets, Marches, Dances, etc.:

Overture, “Coriolan,” Op. 62—II, 101, 102, 105, 112, 117, 124, 127, 133, 172, 209, 216, 268, 284.
Overture in C, Op. 124, “Consecration of the House.” (See Weihe des Hauses, under (c) Choral Works, etc.)
Overture to “Fidelio.” (See “Fidelio.”)
Overtures, “Leonore,” Nos. 1, 2 and 3. (See “Fidelio.”)
Overture in C, Op. 115—II, 292, 296, 302, 303, 311, 312, 313, 316, 327, 334, 335, 413; III, 50.
Overture to “König Stephan” (“King Stephen”), Op. 117—II, 208, 209, 213, 214, 218, 246, 313, 316, 334, 413; III, 57, 70, 72.
“Ritter-Ballet”—I, 108, 111, 117, 133, 142.
Ballet, “Die Geschöpfe des Prometheus” (“The Men of Prometheus”), Op. 43—I, 280;
history of, 283 et seq.; 290, 304, 364, 370; II, 5, 39, 52, 102, 112, 216, 356; III, 14.
Dances for the Ridotto Room—I, 188, 192, 202, 210, 211, 289.
Contradances and “Ländrische”—I, 289, 364, 365.
Écossaises (Twelve) for Strings with Wind ad lib.—II, 113.
Écossaise for Military Band—II, 194.
“Gratulatory Minuet”—III, 64, 80, 82, 89.
Polonaise for Military Band—II, 194.
Waltzes for Strings with Wind ad lib.—II, 113.
Waltzes, for a Country Band—III, 22.
Military March, in D—II, 356; III, 142.
Military Marches, in F—II, 160, 162, 195; III, 64, 141.
Funeral March for “Leonore Prohaska,” arranged from the Sonata Op. 26—II, 298, 299; III, 312.
Rondino for Wind-instruments—I, 134.
Triumphal March, for Küffner’s “Tarpeja”—II, 245, 250, 259; III, 58.
Equale for Three Trombones—II, 237;
arranged for voices and sung at B.’s funeral, III, 311.

(b) INSTRUMENTAL SOLOS WITH ORCHESTRA

Concertos, etc.:

Allegro con brio, for Violin, in C, completed by Hellmesberger—I, 136.
For Violin, in D major, Op. 61—II, 76, 103, 104, 112, 134, 162, 166;
arranged for Pianoforte—I, 350; II, 103, 104, 112, 134.
For Pianoforte, in E-flat (Youthful)—I, 75.
For Pianoforte, in D major (Youthful)—I, 136.
For Pianoforte, in C, No. 1, Op. 15—I, 137, 177, 185, 217, 222, 224, 244, 272, 287, 289; II, 39, 90.
For Pianoforte, B-flat major, No. 2, Op. 19—I, 136, 144, 177, 184, 185, 188, 208, 217, 222, 224, 225, 226, 272, 275, 286, 287, 290, 299; II, 39; III, 50, 279.
(See Rondo in B-flat.)
For Pianoforte, in C minor, No. 3, Op. 37—I, 270, 277, 364; II, 6, 7, 30, 32, 37, 39, 42, 131.
For Pianoforte, in G major, No. 4, Op. 58—II, 56, 66, 67, 68, 73, 74, 101, 110, 131, 134.
For Pianoforte, in E-flat major, No. 5, Op. 73—II, 133, 147, 149, 150, 159, 160, 192, 199, 209, 215, 216.
For Pianoforte, Violin and Violoncello, Op. 56—II, 40, 56, 73, 80, 113, 117.
Romance for Violin, in G, Op. 40—II, 20, 25, 26; III, 59.
Romance for Violin, in F, Op. 50—I, 140; II, 25, 26, 55; III, 59.
Rondo for Pianoforte, in B-flat, completed by Czerny—I, 223.
Sketches for Pianoforte Concerto in D—II, 328.

(c) CHORAL WORKS AND PIECES FOR SOLI AND CHORUS

Abschiedsgesang, for Men’s Voices—II, 303.
“Ah, perfido! spergiuro,” Scena for Soprano and Orchestra, Op. 65—I, 143, 206, 209; II, 6, 56, 129.
Birthday Cantata for Archduke Rudolph—III, 25.
Bundeslied, for Soprano and Orch.—III, 64, 141.
Cantata on the Death of Cressener (Youthful)—I, 65.
Cantata on the Death of Joseph II—I, 130.
Cantata on the Elevation of Leopold II—I, 130, 131.
“Christus am Ölberg,” Oratorio, Op. 85—I, 143, 289, 364; II, 2;
first performance of, 5 et seq.;
criticism of, 8, 35; 45, 52, 74, 156, 199, 204, 210, 246, 250, 309, 310, 327; III, 50, 174, 189, 208.
“Der glorreiche Augenblick,” Cantata, Op. 136—II, 294, 299, 300, 303, 305, 313, 318, 333, 339, 352.
“Egmont,” incidental music for, Op. 84—Commission for, II, 153, 166;
composition and first performance of, 171, 181, 192, 194, 197, 198; 209, 214, 216, 224, 238, 268; III, 75.
Elegiac Song, for four Voices and Strings, composed in memory of Baroness Pasqualati, Op. 118—II, 288, 303; III, 58.
“Es ist vollbracht,” Chorus for “Die Ehrenpforten”—II, 317, 328.
Fantasia for Pianoforte, Chorus and Orchestra, Op. 80—I, 203; II, 90, 127, 129 et seq.; 131, 133, 136, 160, 166, 192, 199;
dedication of, 207; 209, 369, 388; III, 177.
“Fidelio,” Opera, Op. 72—I, 145, 230, 263, 320; II, 19, 20, 35, 40;
composition of, 41; 45 et seq.;
first performance, 49 et seq.;
criticisms, 52;
first revision of, 53, 55, 56;
repetition and revision, 57 et seq.;
overtures, “Fidelio” and “Leonore” Nos. 1, 2 and 3, 58 et seq.; 60, 110, 111, 278, 279;
Röckel’s account of the withdrawal of, 63;
Salieri’s advice asked and rejected, 64;
Milder-Hauptmann and the great scena, 64;
Cherubini’s opinion, 63, 64;
offered to Berlin, 64;
Pf. score offered to Breitkopf and Härtel, 66;
sketches for, 73, 100;
in Prague, 110;
revival in 1814, 263 et seq.; 268, 273 et seq.; 280;
publication as “Leonore,” 285 et seq.;
Pf. score by Moscheles pirated, 283; 284, 285;
“Abscheulicher,” 285; 286, 293, 296, 303, 305, 307, 311, 313, 318, 330, 350, 351, 352, 353, 381; III, 82 et seq.; 117;
in Dresden, 129 et seq.; 139, 202, 288.
“Germania, wie stehst Du jetzt,” Chorus—II, 269, 277, 279, 302, 303, 317.
“Ihr weisen Gründer,” Chorus—II, 288, 292, 303.
“Leonore Prohaska,” incidental music for—II, 298, 303.
“Lob auf den Dicken,” jest on Schuppanzigh—I, 238.
Mass in C major, Op. 86—II, 107 et seq.; 108, 112, 127, 142;
performed at Troppau, 208; 223, 238, 310; III, 103.
Mass in D major, Op. 123 (Missa Solemnis)—I, 320; II, 398, 411, 414; III, 15, 21, 22, 37;
B. gets advance on, 39, 41, 42;
negotiations with Simrock, 44 et seq.; 48, 51 et seq.; 71, 72, 86;
history of the composition, subscription and publication, 89 et seq.; 105;
sold to Diabelli, 107;
contract cancelled, 108;
additional numbers to, 116, 151, 162;
first performance, 164 et seq.; 169, 174;
publication of, 177 et seq.;
offered to Probst, 178;
sold to Schott, 177, 180;
dedication, 212, 226;
metronomic marks for, 296.
Sketches for a Mass in C-sharp minor—III, 63, 116, 117, 141.
“Meeresstille und glückliche Fahrt,” Cantata, Op. 112—II, 300, 310, 327, 328.
“Mit Mädeln sich vertragen,” Song with Orchestra. (See Songs.)
“Mount of Olives, The.” (See “Christus am Ölberg.”)
“Opferlied,” for Soprano, Chorus and Orchestra, Op. 121b—I, 203, 275, 364; III, 64.
“Praise of Music, The” and “Preis der Tonkunst.” (See “Der glorreiche Augenblick.”)
“Primo Amore,” Song with Orch.—III, 58.
“Prüfung des Küssens.” (See Songs.)
“Rasch tritt der Tod,” Chorus of Monks from Schiller’s “William Tell”—II, 365, 368, 388.
“Ruinen von Athen” (“The Ruins of Athens”), incidental music for, Op. 113—II, 161, 201, 207, 208, 209, 213, 214, 216, 246, 249, 262, 264, 278, 311, 313, 316, 334; III, 57, 70, 71, 79, 80;
B.’s “Little opera,” 118; 189.
Airs from “Die schöne Schusterin”—I, 204, 224.
“Tremate, empj, tremate,” Terzetto with Orch., Op. 116—I, 365; II, 6, 267, 302, 313; III, 169.
Un lieto Brindisi, for four Voices and Pf.—II, 280, 302.
“Weihe des Hauses, Die,” incidental music for;
Overture, Op. 124—II, 26; III, 57, 79, 80, 81, 89, 111, 146, 162, 165, 226;
“Wo sich die Pulse,” Chorus, III, 72, 80.
Canons and Rounds: “Alles Gute, alles Schöne,” III, 25;
“Ars longa” (for Hummel), II, 338;
“Airs longa” (for Smart), III, 211;
“Bester Graf,” III, 115;
“Das Schöne zu dem Guten,” III, 140, 202;
“Doktor, sperrt das Thor,” III, 200;
“Edel sei der Mensch,” III, 110, 126;
“Freu’ dich des Lebens,” III, 211;
“Gedenkt heute an Baden,” III, 90;
“Gehabt euch wohl,” III, 90;
“Glaube und hoffe,” III, 23;
“Glück fehl Dir,” II, 363;
“Glück zum neuen Jahre,” II, 328, 356; III, 21, 22;
“Grossen Dank,” III, 131;
“Hier ist das Werk,” III, 246;
“Hol’ euch der Teufel,” III, 22;
“Hoffmann, sei ja kein Hōfmann,” III, 35, 190;
“Kühl, nicht lau,” III, 204;
“Kurz ist der Schmerz” (for Naue), II, 259;
“Kurz ist der Schmerz” (for Spohr), II, 303;
“Lerne schweigen, O Freund,” II, 328, 333, 389;
“Muss es sein?”, III, 224, 244;
“O Tobias,” III, 43, 90;
“Rede, rede,” II, 328, 333;
“Sankt Petrus war ein Fels,” III, 32;
“Schwenke dich,” III, 182, 190;
“Signor Abbate,” III, 236;
“Ta, ta, ta, lieber Mälzel,” II, 234 et seq.;
“Te solo adoro,” III, 143;
“Tugend is kein leerer Name,” III, 90.

(d) INSTRUMENTAL DUOS, TRIOS, QUARTETS, etc.

“Duet mit zwei Augengläsern,” for Viola and Violoncello—I, 205.
Duo for Clarinet and Bassoon—I, 205.
Duo, Arrangement of Trio Op. 3 for Pf. and Violoncello, Op. 64—II, 113.
Duo for two Flutes—I, 134.
Polonaise from Serenade in D, arranged for two Violins—II, 113;
the same arranged for Violin and Guitar—II, 113.
Trios (Three) for Pf., Violin and Violoncello in E-flat, G, and C minor, Op. 1—I, 130, 132, 137, 144, 145, 160, 175, 180, 185, 186, 208, 271; II, 326, 374, 388; III, 23, 40.
Trio for Violin, Viola and Violoncello, in E-flat, Op. 3—I, 134, 135, 145, 180, 187, 200, 204, 206, 221.
Trio in D (Serenade) for Violin, Viola and Violoncello, Op. 8—I, 202, 208; II, 113.
Trios (Three) for Violin, Viola and Violoncello, in G major, D major and C minor, Op. 9—I, 209, 221, 225, 271; II, 77.
The same, arranged for Pf. and Strings by Ries—I, 350; II, 77.
Trio for Pf., Clarinet (or Violin) and Violoncello, in B-flat major, Op. 11—I, 225, 244.
Trio (Serenade) for Flute, Violin and Viola, in D major. Op. 25—I, 207, 208, 364; II, 20.
Trio for Pf., Clarinet (or Violin) and Violoncello, in E-flat, Op. 38 (arrangement of the Septet, Op. 20)—I, 350; II, 55.
Trio for Pf., Violin and Violoncello, in E-flat, Op. 63 (arrangement of the Quintet, Op. 4, which see).
Trios (Two) for Pf., Violin and Violoncello, in D major and E-flat, Op. 70—II, 131, 132, 141, 162; III, 207.
Trio for two Violins and Viola, in C, Op. 29 (arrangement of the Trio for two Oboes and English Horn)—I, 206; II, 77.
Trio for two Oboes and English Horn, in C, Op. 87—I, 206; II, 77; III, 59.
Trio for Pf., Violin and Violoncello, in B-flat, Op. 97—II, 199, 209, 219, 269, 270, 311, 312, 313, 318, 319, 325, 338, 340, 347, 350, 351, 352, 353, 357, 367; III, 136, 223.
Trios for Pf., Violin and Violoncello, arranged from the String Quartets, Op. 18—II, 77.
Trio arranged from the Second Symphony—II, 40.
Trio for Pf., Violin and Violoncello, in E-flat (Op. posth.)—I, 136.
Trio in one Movement, for Pf., Violin and Violoncello (for Maximiliane Brentano)—II, 221, 237; III, 136.
Trio, Adagio, Variations (on “Ich bin der Schneider Kakadu”) and Rondo, for Pf., Violin and Violoncello, Op. 121a—III, 136.
Trio for Pf., Violin and Violoncello, in D (attributed to Mozart: K. 52a)—I, 139.
Trio for Pf., Flute and Bassoon—I, 137.
Trio (Variations on “Là ci darem”) for two Oboes and English Horn—I, 202, 206; III, 64.
Quartets (Six) for Strings, in F, G, D, C minor, A and B-flat, Op. 18—I, 227, 228, 235, 272 et seq.; 277, 279, 280, 290, 298, 307; II, 77, 89.
Quartets (Three) in F, E minor, and C, Op. 59 (“Rasoumowsky”)—II, 65, 68, 73, 75 et seq.; 82, 97, 103, 104, 105, 133, 337.
Quartet for Strings, in E-flat, Op. 74 (“Harp”)—II, 155, 159, 160, 195, 198.
Quartet for Strings, in F minor, Op. 95—II, 172, 193, 195, 219, 311, 312, 313, 318, 339, 340, 351, 357, 364; III, 183.
Quartet for Strings, in E-flat, Op. 127—III, 140, 177, 183 et seq.; 187, 192 et seq.; 201, 214 et seq.
Quartet for Strings, in B-flat, Op 130—III, 205, 214 et seq.; 221, 222 et seq.; 225, 237, 245.
Quartet for Strings, in C-sharp minor, Op. 131—III, 218, 225, 296, 297, 307.
Quartet for Strings, in A minor, Op. 132—III, 205, 206, 214 et seq.; 219, 223.
Quartet for Strings, Grand Fugue (originally Finale of Op. 130)—III, 215, 223.
Quartet for Strings, in F major, Op. 135—III, 225, 237, 244, 282.
Fugue from a String Quartet in D, from a collection projected by Haslinger—II, 389.
Quartet for Strings, arranged from Pf. Sonata Op. 14, No. 1—I, 349.
Quartets (Three) in E-flat, D and C, for Pf. and Strings, composed in 1785—I, 88, 210.
Quartet for Strings, an arrangement of the Quintet in E-flat, published by Artaria as Op. 75—I, 208.
Quartet in E-flat, for Pf., Violin, Viola and Violoncello, arranged by B. from Quintet Op. 16—I, 208, 350.
Quartet (arrangement of the “Eroica” Symphony as Pf. Quartet)—II, 113.
Quintet for Strings, in E-flat, Op. 4 (an arrangement of the Octet, Op. 103)—I, 134, 144, 187, 204.
Quintet for Pf., Oboe, Clarinet, Bassoon and Horn, in E-flat, Op. 16—I, 200, 207, 214, 224, 290, 316, 350; II, 2, 34, 337.
Quintet for Strings, in C, Op. 29—I, 228, 293;
unauthorised publication of, 294 et seq.; 355, 364, 368; II, 44.
Quintet for Strings, in C minor, Op. 104 (arranged from the Trio, Op. 1, No. 3)—II, 374, 388; III, 23.
Quintet (arrangement of the First Symphony)—I, 228.
Quintet, Pf., Double-bass, Flute, Horns, etc. (arrangement of the Second Symphony with Double-bass, Flute and 2 Horns, ad lib.)—II, 113.
Sextet in E-flat, for Clarinets, Horns and Bassoons, Op. 71—I, 206, 207, 209; II, 41, 147, 195.
Sextet in E-flat, for Strings and Horns, Op. 81b—I, 207; II, 195.
Septet in E-flat, Op. 20—I, 209, 227, 266, 267;
B.’s dislike of it, 267;
origin of the theme of the variations, 267, 272, 275, 277, 278;
dedication, 278;
first performance, 278, 282, 286, 299, 350, 364; II, 29, 214, 316, 337, 381, 386;
arranged as Trio, I, 350; II, 55;
arranged as Quintet, I, 228, 350.
Octet for Wind Instruments, Op. 103 (the original of the Quintet for Strings, Op. 4)—I, 132, 133, 134, 144, 184, 204.
Dinner Music for Wind Instruments—I, 134.
Parthia for Wind Instruments—I, 133, 144.
Rondino for Oboes, Clarinets, Horns and Bassoons, in E-flat—I, 134.
Sketches: For Trio in F minor—III, 136;
for quintets—III, 245.

(e) SONATAS, ETC., FOR PIANOFORTE AND OTHER INSTRUMENTS OBBLIGATO

Three Sonatas for Pf. and Violin, in D, A and E-flat, Op. 12—I, 162, 225, 226, 307.
Sonata for Pf. and Violin, in A minor, Op. 23—I, 289, 290, 307.
Sonata for Pf. and Violin, in F, Op. 24—I, 289, 290, 307.
Three Sonatas for Pf. and Violin, in A, C minor and G, Op. 30—I, 364, 365; II. 20, 305.
Sonata in A, for Pf. and Violin, Op. 47 (“Kreutzer”)—I, 140, 365; II, 9, 13, 20, 21.
Sonata for Pf. and Violin, in G, Op. 96—II, 237, 312, 313, 319, 325, 347, 350, 353, 357, 367.
Notturno for Pf. and Viola (arranged from the Serenade, Op. 8), Op. 42—I, 208.
Rondo for Pf. and Violin, in G—I, 179.
Sonata for Pf. and Violin (arrangement of Trio for Oboes and Bassoon)—I, 206.
Six Allemandes for Pf. and Violin—II, 303.
Variations on “Se vuol ballare,” for Pf. and Violin—I, 132, 138, 176, 178, 179.
Sonata in B-flat for Pf. and Flute—I, 138.
Two Sonatas for Pf. and Violoncello, in F and G, Op. 5—I, 195, 200, 205.
Sonata for Pf. and Violoncello, in A, Op. 69—II, 112, 131, 132, 141, 150, 162, 218.
Duo for Pf. and Flute (arranged from Serenade, Op. 25, and published as Op. 41)—I, 208; II, 20.
Six Variations on National Themes, for Pf. and Flute (or Violin), Op. 105—II, 415, 416; III, 23.
Ten Variations on National Themes, for Pf. and Flute (or Violin), Op. 107—II, 415, 416; III, 22.
Sonatina for Mandolin and Pf. (Cembalo)—I, 210, 236.
Two Sonatas for Pf. and Violoncello, in C and G, Op. 102—II, 316, 328, 338, 339, 340, 352, 357, 367, 389; III, 23.
Variations on “See the Conquering Hero Comes,” from “Judas Maccabæus,” for Pf. and Violoncello—I, 202, 205.
Variations in E-flat, Op. 44, for Pf., Violin and Violoncello—I, 137.
Variations on “Bei Männern welche Liebe fühlen,” for Pf. and Violoncello—I, 364.
Variations on “Ein Mädchen oder Weibchen,” for Pf. and Violoncello—I, 226, 305.
Arrangement of Trio, Op. 3, for Pf. and Violoncello, Op. 64—II, 113.
Sonata for Pf. and Horn, Op. 17—I, 239, 244, 267, 274, 277, 279, 290; II, 39.
Sketches from “Pastoral” Sonata for Pf. and Violoncello—II, 310.

(f) FOR PIANOFORTE ALONE

Three Sonatas (No. 1, F minor; No. 2, A major; No. 3, C major), Op. 2—I, 137, 144, 186, 192, 217.
Sonata in E-flat, Op. 7—I, 202, 209, 244, 318; II, 74.
Sonata in C minor, Op. 10, No. 1—I, 207, 210, 224, 226, 244.
Sonata in F major, Op. 10, No. 2—I, 224, 244; II, 76.
Sonata in D major, Op. 10, No. 3—I, 205, 224, 244.
Sonata in C minor, Op. 13 (“Pathétique”)—I, 209, 221, 225, 227, 307; II, 90.
Sonata in E major, Op. 14, No. 1—I, 225, 226, 244;
arranged as a String Quartet, 349, 364.
Sonata in G major, Op. 14, No. 2—I, 225, 244.
Sonata in B-flat, Op. 22—I, 277, 279, 282, 286, 299, 364.
Sonata in A-flat major, Op. 26—I, 289, 290;
story of the Funeral March, 291;
published, 364;
the Funeral March orchestrated by B., II, 298; 299; III, 312.
Sonata quasi una Fantasia, in E-flat, Op. 27, No. 1—I, 244, 280, 289, 291, 364.
Sonata quasi una Fantasia, in C-sharp minor, Op. 27, No. 2—I, 244, 289, 291, 292, 293;
dedication of, 322;
B.’s opinion of, 322; 338, 339;
published, 364.
Sonata in D major, Op. 28 (“Pastoral”)—I, 289, 292.
Sonata in G major, Op. 31, No. 1—I, 364, 365; II, 20.
Sonata in D minor, Op. 31, No. 2—I, 364, 365;
origin of the Finale, 368; II, 20.
Sonata in E-flat, Op. 31, No. 3—II, 40.
Two Sonatas, No. 1 in G minor, No. 2 in G major, Op. 49—I, 206, 209, 225, 278; II, 55.
Sonata in C major, Op. 53 (“Waldstein”)—I, 103, 140; II, 31, 37, 40, 55, 77.
(See Andante favori.)
Sonata in F major, Op. 54—II, 31, 40, 56, 76.
Sonata in F minor, Op. 57 (“Appassionata”)—I, 140; II, 31, 40, 73, 77, 113, 335.
Sonata in F-sharp major, Op. 78—B.’s opinion of, I, 292; 323, 336, 338; II, 148, 154, 160, 161;
dedication, 195.
Sonatina in G major, Op. 79—II, 148, 160, 161;
publication of, 195.
Sonata in E-flat, Op. 81a (“Les Adieux, l’Absence et le Retour”)—II, 143, 146, 148, 159, 160, 161, 192, 199, 200, 207, 210, 219.
Sonata in E minor, Op. 90—II, 288, 291, 303, 328.
Sonata in A major, Op. 101 (“für Hammerklavier”)—II, 328, 338, 356, 364, 365, 389, 412.
Sonata in B-flat, Op. 106—II, 376, 378, 382, 388, 389, 396, 411, 412, 413, 414, 415; III, 23, 145.
Sonata in E major, Op. 109—III, 48, 49, 90.
Sonata in A-flat, Op. 110—III, 48, 49, 90.
Sonata in C minor, Op. 111—III, 48, 49, 55, 72, 90.
Three Sonatas dedicated to Maximilian Friedrich—I, 72.
Sonata (Unfinished) sent to Eleonore von Breuning—I, 139, 140, 179.
Sonata for Pf. four hands, in D, Op. 6—I, 200, 209.
Gavotte, Marcia lugubre et Rondo, for Pf. four hands (attributed to Mozart)—I, 139.
Grand Fugue for Pf. four hands, arranged from the Finale of the Quartet Op. 130—III, 223, 224.
Andante favori, in F (see Sonata, Op. 53)—II, 31, 40, 77.
Allegretto in C minor (B. and H. Supplement, XXV, No. 299)—I, 210.
Bagatelles, in general—I, 261; III, 57, 62.
Bagatelles (Seven), Op. 33—I, 71, 140, 361, 362, 364, 371; II, 20.
Bagatelles, Op. 119—I, 365, 371; III, 48, 86.
Bagatelles (Six), Op. 126—III, 57, 64, 142 et seq.
Bagatelles (B. and H. Supplement, XXV, 295)—I, 210.
“Beethoven’s letzter Gedanke” (“Dernière Pensée musicale”)—II, 415.
Écossaise in E-flat—III, 216.
Écossaises (Twelve)—II, 113; III, 216.
Fantasia, Op. 77—I, 293; II, 91, 148, 154, 160, 161, 195.
Ländler (Six)—I, 364, 365. (Also for Orchestra.)
Contradances (Six)—I, 289, 364. (Also for Orchestra.)
Marches, Three Grand, for four hands, in C, E-flat and D, Op. 45—I, 350, 356; II, 40.
Minuet in E-flat—II, 56.
Polonaise in C, Op. 89—II, 152, 305, 328.
Preludes (Two) through all the Major Keys, for Pianoforte or Organ, Op. 39—I, 138, 371; II, 20.
Prelude in F minor—I, 138; II, 55.
Rondos (Two) in C and G, Op. 51—I, 202, 244, 275, 277, 322, 364;
dedicated, 370.
Rondo Allegretto—I, 75.
Rondo a Capriccio (“Die Wuth über den verlornen Groschen”), Op. 129—III, 143, 246.
Rondo in C (Youthful, anonymous)—I, 72, 140.
Variations (Six) on an Original Theme, Op. 34—I, 314, 364, 365, 370;
dedication, 368; II, 20.
Variations (Fifteen) with a Fugue, on a Theme from “Prometheus,” Op. 35—I, 364, 365, 368, 369, 370; II, 20.
Variations in D, on a Theme used afterwards in “The Ruins of Athens,” Op. 76—II, 148, 160, 161, 195.
Variations (Thirty-three) on a Waltz by Diabelli, Op. 120—III, 107, 108, 127 et seq.; 147.
Variations on a Theme by Count Waldstein, in C, for four hands—I, 139, 176, 183, 184.
Variations (Nine) on a March by Dressler, in C minor—I, 69, 70, 72.
Variations (Twenty-four) on “Venni amore,” in D—I, 7, 114, 117, 138.
Variations (Thirteen) on “Es war einmal,” by Dittersdorf—I, 139, 176, 183, 184.
Variations (Nine) on “Quant è più bello,” by Paisiello, in A—I, 187.
Variations on “Nel cor più non mi sento,” by Paisiello—I, 187, 192.
Variations on the “Minuet à la Vigano”—I, 188, 192.
Variations (Twelve) on a Russian Dance from “Das Waldmädchen”—I, 200, 209, 244.
Variations (Six easy) on a Swiss Air, for Harpsichord or Harp—I, 227.
Variations on “Une fièvre brûlante,” by Grétry—I, 226, 227, 305.
Variations (Ten) on “La Stessa, la stessissima,” by Salieri—I, 227, 244, 275.
Variations (Eight) on “Tändeln und Scherzen,” by Süssmayer—I, 227.
Variations (Nine) on “Kind, willst Du?” by Winter—I, 227, 275.
Variations (Seven) on “God save the King”—I, 140, 305, 370; II, 40.
Variations on “Rule Britannia”—I, 370; II, 40.
Variations (Thirty-two) in C minor—II, 76, 113, 117.
Variations for four hands on “Ich denke Dein”—II, 55.
Variations on a Theme from “Le Nozze disturbate.” (See “Minuet à la Vigano.”)
Variations on “Ich denke Dein”—I, 277, 279, 335, 362; II, 55, 147, 148.
Variations, très faciles, in G—I, 277, 279, 290.
Waltz in D—III, 216.
Waltzes (Twelve), also published for Strings and Wind—II. 113.
Cadenza for Mozart’s Concerto in D minor—I, 185.
Movement for a Clock—I, 76.
Two-part Organ Fugue in D—I, 71.
Sketches for Sonata, four hands—III, 141.
Sketches for a Concerto in D minor—II, 328.

(g) SONGS WITH PIANOFORTE ACCOMPANIMENT

Abendlied—III, 50.
Abschiedsgesang an Wiens Bürger—I, 199; II, 303.
Adelaide, Op. 46—I, 143, 202, 203, 207, 230; II, 6, 306, 338; III, 61.
Als die Geliebte sich trennen wollte—II, 72, 162.
Amante impaziente, L’—II, 160.
Andenken—II, 160, 195.
An die ferne Geliebte—II, 328, 343, 356, 357, 363; III, 32.
An die Geliebte—II, 209, 284, 303.
An die Hoffnung—II, 55, 306, 328, 338, 356; III, 20.
An einen Säugling—I, 75.
An Minna—I, 132.
Ariettes (Four) and a Duet, Italian, Op. 82—II, 160, 192, 209.
Bardengeist, Der—II, 259, 260.
Bitten—II, 20.
Blümchen Wunderhold, Das—I, 362.
Bundeslied—III, 64.
Che fa il mio bene (Buffa)—II, 209.
Che fa il mio bene (Seria)—II, 209.
Der Jüngling in der Fremde—II, 147, 148, 160, 195.
Die Trommel gerühret (See Egmont.)
Dimmi ben mio—II, 209.
Ehre Gottes in der Natur, Die—II, 20.
Ein grosses, deutsches Volk sind wir—I, 201.
Einst wohnten (An den fernen Geliebten)—II, 148, 160, 195.
Elegie auf den Tod eines Pudels—I, 132.
Es war einmal ein König—II, 195, 363.
Feuerfarb—I, 132, 134, 137.
Freudvoll und leidvoll. (See Egmont.)
Gedenke mein—II, 160, 195.
Gegenliebe—I, 203; II, 133.
Geheimniss, Das—II, 72, 328, 356; III, 50.
Gellert: Six Sacred Songs—“Bitten,” “Die Liebe des Nächsten,” “Vom Tode,” “Die Ehre Gottes in der Natur,” “Gottes Macht und Vorsehung” and “Busslied”—II, 20.
Glück der Freundschaft, Das—II, 20.
Gottes Macht—II, 20.
Gretel’s Warnung—II, 160, 195.
Herz, mein Herz—II, 191, 194, 195.
Horch, wie schallt’s (“Der Wachtelschlag”)—I, 370; II, 40.
Ich denke Dein—I, 275, 277, 279, 335; II, 55, 147, 148.
Ich, der mit flatterndem Sinn—I, 132.
Ich liebe dich—II, 20.
In questa tomba—II, 111, 113, 134.
Irish Songs (for Thomson, with obbligato instruments)—II, 70, 157, 162, 194, 238, 259, 260, 303.
Kennst du das Land—II, 186, 191, 194, 195.
Klage, Die—I, 132; II, 160.
Kleine Blumen—II, 210.
Kriegers Abschied, Des—II, 303, 328.
Kuss, Der—I, 275; III, 64, 87.
La Partenza—II, 20.
Liebe des Nächsten, Die—II, 20.
Liebende, Der—II, 148, 160, 195.
Lied aus der Ferne—II, 147, 148, 160, 195.
Lisch aus, mein Licht—II, 388, 416; III, 50.
Lydiens Untreue—II, 72.
Mailied—I, 204.
Mann von Wort, Der—II, 356, 357.
Man strebt die Flamme—I, 133.
Merkenstein—II, 303, 310, 357; III, 61.
Mit einem gemalten Bande—II, 194.
Mit Liebesblick—II, 160, 195.
Mit Mädchen sich vertragen—I, 132; III, 58.
National Songs—II, 17. (See “Irish,” “Scottish” and “Welsh.”)
No, non turbate (Scena and air)—I, 364.
Nord oder Süd—II, 386, 388, 389; III, 50.
O care selve—I, 204.
Odi l’Aura (Duet)—II, 160, 209.
Opferlied—I, 203, 275, 364; III, 64, 140, 141, 189, 202.
(See Works for Chorus and Orchestra.)
O, welch’ ein Leben—I, 204. (See also “Die schöne Schusterin,” under Choral Works.)
Plaisir d’aimer—I, 228.
Prüfung des Küssens—I, 131.
Punschlied—I, 133.
Que le temps (jour) me dure—I, 228.
Ruf vom Berge—II, 356, 389.
Schilderung eines Mädchens—I, 72.
Scottish Songs (Twelve)—II, 328, 416.
Scottish Songs (Twenty-five)—II, 17, 69, 190, 203, 218, 219, 259, 260; III, 50.
Sehnsucht—II, 132, 133, 194, 195, 357.
Seufzer eines Ungeliebten—I, 202, 203, 207.
Six Songs, Op. 75—II, 192, 195.
“Soll ein Schuh nicht drücken” (from “Die schöne Schusterin”)—I, 204, 224.
Three Songs, Op. 83—II, 192, 199.
T’intendo—II, 209.
Trinklied (“Erhebt das Glas”)—I, 132, 199.
Trinklied (“Lasst das Herz uns froh erheben”)—I, 199. (See “Abschiedsgesang.”)
Trocknet nicht—II, 186, 194, 210.
Turteltaube—I, 204.
Urian’s Reise—I, 88, 132.
Wachtelschlag, Der—I, 370; II, 40.
Was ist des Maurers Ziel—I, 133.
Was zieht mir—II, 210.
Welsh Songs (with obbligato instruments)—II, 70, 157, 238, 389.
Wer ist ein freier Mann—I, 133, 204.
Zufriedene, Der—II, 148, 160, 195.
Zwar schuf das Glück—II, 148, 160, 195.
Sketches for uncompleted songs: “Erlkönig”—III, 86;
“Haidenröslein”—II, 415;
“Meine Lebenszeit verstreicht”—I, 275.

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