1798. 3 string trios, op. 9; G, D, C mi., 3 sonatas, op. 10 (C mi., F, D). Trio for pfte., clarinet and violoncello in B♭, op. 11.
1799. 3 violin sonatas (D, A, E♭), op. 12. Pfte. sonata (Pathétique not Beethoven’s title) C mi., op. 13, 2 pfte. sonatas, op. 14, E, G (the first arranged by the composer as a string quartet in F).
1801. Pianoforte concertos, op. 15 in C, op. 19 in B♭ (the latter composed first). Quintet for pianoforte and wind instruments, op. 16 (also arranged, with new details, as quartet for pianoforte and strings), composed 1797. 6 string quartets, op. 18 (F, G, D, C mi., A, B♭). 1st symphony (C), op. 21. 2 violin sonatas, A mi., op. 23; F ma., op. 24 (made into two opus-numbers by an accident in the format of the volumes).
1802. Pianoforte score of the Prometheus ballet, op. 24 (ousted by the F ma. violin sonata, and reissued as op. 43). Sonata in B♭, op. 22. Sonata in A♭, op. 26 (with the funeral march). 2 sonatas (“quasi fantasia”), op. 27, E♭, C♯ mi. Sonata in D, op. 28 (Pastorale not Beethoven’s title). String quintet in C, op. 29.
1803. 3 violin sonatas, op. 30 (A, C mi., G). 3 sonatas, op. 31, G, D mi., E♭ (the last appearing in 1804).
Variations, op. 34. 15 variations and fugue on theme from Prometheus, op. 35.
1804. 2nd symphony (D), op. 36 (1802). 3rd pfte. concerto (C mi.), op. 37 (1800).
1805. The “Kreutzer” sonata, op. 47, for pfte. and violin (A) (finale at first intended for op. 30, No. 1).
“Waldstein” sonata for pfte., op. 53 (C). First version of opera Leonore in three acts (with overture “No. 2”).
1806. Sonata in F, op. 54. Eroica Symphony, No. 3, op. 55 (E♭), written in 1804 in honour of Napoleon Bonaparte. It was just finished when news arrived that Napoleon had made himself emperor, and Beethoven was with difficulty restrained from destroying the score. It is still the longest extant perfect design in instrumental music. The finale glorifies the material (and much of the form) of the variations, op. 35. The scherzo is the first full-sized example of Beethoven’s special type.