Leonore reproduced in two acts with overture No. 3. 32 variations in C mi. (no opus-number, but a very important work on the lines of a modernized chaconne).
1807. Triple concerto (pfte., V. and Vc.), op. 56, chiefly interesting as a study for the true concerto-form which had given Beethoven difficulty. Sonata, op. 57 (F mi., Appassionata, not Beethoven’s title). New overture, Leonore, “No. 1,” composed for projected performance of the opera at Prague (posthumously published as op. 138).
1808. 4th pfte. concerto, op. 58 (G). 3 string quartets, op. 59, F, E mi., C (dedicated to Count Rasoumovsky, in compliment to whom Russian tunes appear in the finale of No. 1 and the scherzo of No. 2). Overture to Coriolanus, op. 62.
1809. 4th symphony, op. 60 (B♭). Violin concerto (D), op. 61 (also arranged by the composer for pianoforte). 5th symphony, op. 67 (C mi.) (1806), the first in which trombones appear. 6th symphony (Pastorale), op. 68; violoncello sonata, op. 69 (A). 2 pianoforte trios, op. 70 (D, E♭).
1810. Pianoforte score of Leonore (2nd version) published. String quartet, op. 74 (E♭, called “Harp” because of pizzicato passages in first movement). Fantasia, op. 77, interesting as consisting of a long and capricious series of dramatic beginnings and breakings off of themes, as if in search for a firm idea, which is at last found and developed as a set of variations. This scheme thus foreshadows the choral finale of the 9th symphony even more significantly than the Choral Fantasia.
Sonata, op. 78, F♯ (extremely terse and subtle, and a great favourite with Beethoven, who preferred it to the C♯ mi.).
1811. 5th pfte. concerto, op. 73, E♭ (The Emperor not Beethoven’s title). Fantasia for pfte., orchestra and chorus, op. 80. Sonata, op. 81a (Les Adieux, l’absence, et le retour), first movement written when the archduke Rudolph had to leave Vienna (4th May 1809), and the rest on his return on the 30th of January 1810. It was an anxious time both for Beethoven and his excellent royal friend, for whom he had great affection. (Battle of Wagram, 6th July 1809.) (We may here note that op. 81b is an unimportant and very early sextet.) The overture to Egmont, op. 84; Christus am Oelberge (the Mount of Olives), op. 85, oratorio (probably composed between 1800 and its first performance in 1803).
1812. The rest of the Egmont music, op. 84. 1st mass, op. 87 (C) (first performance, 1807).
1814. Final version of Leonore, performed as Fidelio with great alterations, skilful revision of the libretto, very important new material in the music and a new overture.