Beethoven, Ludwig van 1770 - 1827
Author: Numaguchi, Takashi
Last updated：January 1, 2010
Author: Numaguchi, Takashi
Beethoven's style is often divided into three periods. Currently, with the advancement of research into his works from the Bonn period, it has become common to consider a four-period division, adding the "Bonn period" to the "Early," "Middle," and "Late" periods. The relationship between an artist's biography and their creative output is a complex issue that cannot be easily resolved, but it is natural that creation forms the premise for attention to be drawn to an artist. If the focus is on an artist's "activity" rather than their "life" in the sense of daily existence, then it is acceptable to some extent to categorize the biography according to the image of their style.
1. Beethoven's Life
1-1. Bonn Period (1770 - 1792)
Born in Bonn, Germany in 1770 (baptized on December 17). His grandfather, also named Ludwig, served as Kapellmeister at the court of the Elector of Cologne, who resided in Bonn, and his father, Johann, was a tenor singer at the same court. Johann had seven children with Maria Magdalena Keverich, whom he married in 1767; the second child, the eldest of the three who survived to adulthood, was the composer Ludwig van Beethoven. The other two were Caspar Carl (1774-1815) and Nikolaus Johann (1776-1848), both of whom later moved to Vienna, where their elder brother resided.
From an early age, he received musical instruction from his father and, at just seven years old, gave a public concert as a keyboard player. Eventually, he began studying with Christian Gottlob Neefe, who moved to Bonn in 1779, and when his teacher was appointed court organist, Beethoven was promoted to assistant. In 1782, his first published work, Nine Variations on a March by Dressler for keyboard, WoO 63, was published. In a magazine article from 1783 contributed by Neefe, Beethoven was introduced as "a talent of the most promising future," receiving the highest praise that if his talent continued to develop smoothly, he would "undoubtedly become a second Wolfgang Amadeus Mozart." This article also revealed that Beethoven had received instruction in J.S. Bach's The Well-Tempered Clavier. Around the same time, three piano sonatas, WoO 47, considered important early works, were also published.
In the spring of 1787, Beethoven had the opportunity to travel to Vienna, but due to his mother's worsening illness, he had to return to Bonn, staying in Vienna for only two weeks. While concrete evidence regarding his contact with Mozart at this time is scarce, it is believed that he at least encountered Mozart's playing. Following his mother's death in July of the same year, Beethoven, at a young age, took on the role of head of the household in place of his alcoholic father. However, despite the heavy responsibilities at home, the last four years of his Bonn period were musically fulfilling. He gained experience not only as a keyboardist but also as a violist in the court chapel and theater orchestra. Through these activities, he deepened his friendships with excellent musicians and, through his associations with progressive aristocrats and participation in reading circles, cultivated Enlightenment ideas and sympathy for the French Revolution. It was during this period that two cantatas, Cantata on the Death of Emperor Joseph II, WoO 87, and Cantata on the Accession of Emperor Leopold II, were composed.
1-2. Early Vienna Period (1793 - 1802)
The impetus for his second trip to Vienna was J. Haydn's stopover in Bonn in July 1792, on his way back from his first London journey. Haydn, having encountered one of the aforementioned cantatas, highly praised it and agreed to accept Beethoven as a pupil. His departure was set for early November of the same year, and by the second week of that month, he arrived in Vienna, which would become his second home. Beethoven never returned to his hometown of Bonn, which was later occupied by Napoleon's forces.
The core of his studies in Vienna was counterpoint, which forms the foundation of compositional technique. However, Beethoven was not satisfied with Haydn's instruction alone; he simultaneously received guidance from Johann Schenk, and after Haydn departed for his second London journey, he studied with Johann Georg Albrechtsberger, the most renowned master of counterpoint in Vienna and Kapellmeister of St. Stephen's Cathedral. Later, he also learned Italian-style vocal composition from Imperial Kapellmeister Antonio Salieri.
As can be easily imagined from the fact that Elector Maximilian Franz of Bonn, who sent Beethoven to Vienna, was the youngest child of Maria Theresa and uncle to the Holy Roman Emperor Franz II at the time, Beethoven was known among the aristocracy from his arrival in Vienna. He quickly established relationships with Vienna's aristocratic circles, who had a particular fondness for music. Although his salary from Bonn was discontinued in March 1794, Beethoven received patronage from many aristocrats from the very beginning of his Vienna period until his final years, becoming the first great composer to live most of his life as a free artist without a fixed position. However, while financial support was indispensable, he yearned for complete spiritual independence, leading to a constantly contradictory attitude and state of mind towards the aristocracy.
As a pianist, Beethoven displayed exceptional talent, particularly in improvisation, and quickly gained fame in aristocratic salons. On March 29, 1795, he made his official debut at a charity concert in the Burgtheater, and in the same year, he presented his momentous "Op. 1" with three piano trios, drawing attention as both a pianist and a composer. In February of the following year, Prince Lichnowsky, to whom this work was dedicated, accompanied Beethoven to Prague, just as he had done with Mozart seven years earlier. Subsequently, the composer traveled alone to Dresden, Leipzig, and Berlin, completing his first major concert tour while also having the opportunity to meet excellent musicians in various cities. Op. 2, published in March of the same year, consisted of three piano sonatas (No. 1, No. 2, No. 3) and was dedicated to his teacher, Haydn.
Signs of hearing impairment are believed to have appeared around 1798, and the despair caused by this led to the drafting of the "Heiligenstadt Testament" in October 1802. Beethoven kept this letter until his death, but it is thought that he likely never showed it to anyone. Although referred to as a "testament," its content is generally interpreted as a confession of his hearing impairment and related suffering, and a declaration of his resolve to overcome suicidal impulses and fulfill his destiny as an artist.
1-3. Middle Vienna Period (1803 - 1812)
During the period of crisis symbolized by the "Heiligenstadt Testament," the absence of any signs of decline in his creative power is an important factor in interpreting this document and offers an interesting perspective when considering the relationship between his life and works. In a letter written to his publisher on October 18, 1802, immediately after the "Heiligenstadt Testament," Beethoven asserted regarding the two sets of variations, Op. 34 and 35, that they were "really in a completely new manner, and each finished in a different way." His statement around the same time, "I am not very satisfied with my work up to now. From now on, I intend to take a new path," has also been conveyed in a way that suggests a connection with the three piano sonatas of Op. 31 (No. 16, No. 17, No. 18). There may be room for discussion on how to interpret the meaning of these words and how to decipher their connection to specific musical characteristics. However, it is certain that new techniques are evident in the works mentioned here, and there is no reason to doubt that Beethoven consciously employed them and communicated them verbally to others. The period of crisis simultaneously became a major turning point, and it is thought that piano solo works played no small part as a driving force within it. From this point onward, an even more vigorous creative power began to manifest.
The innovative style of this period is often called the "Heroic Style," named after the Symphony No. 3, Eroica, which can be considered its prime example. Through the fragmentation of themes and thorough motivic development, forms such as sonata form were expanded, and large-scale works with a sense of unity and a tendency towards the finale were successively created. Works such as Symphonies No. 3-6, Piano Concertos No. 3-5, the Violin Concerto, the music for Goethe's tragedy Egmont, the Coriolan Overture, and the opera Fidelio (first and second versions) all belong to this period.
The dramatic dynamism of the "Heroic Style" can also be interpreted as a reflection of the era and its ideas. In the creation of Fidelio, the influence of "rescue opera," which had been imported from Paris and gained immense popularity, is strong. In "rescue opera," the central plot revolves around "rescuing" a hero in distress, and the realism demanded by the new era lay in the characters overcoming difficulties by their own hands to achieve a happy ending. Some works were based on recent historical events, and the original story of Fidelio is also said to be based on a true story. While it is difficult to specifically point out a plot for works without a text like a libretto, it would be permissible to consider that the dramatic ideal clearly evident in Fidelio also underlies pure instrumental works such as Symphony No. 3, Eroica, and the Waldstein Piano Sonata.
Napoleon, who was only a year and a half older than Beethoven and a complete contemporary, was for a time regarded as a beacon of hope pointing to the future of Europe. It would not be surprising if Beethoven, who dreamed of infinite progress, aspired to be the "Napoleon" of the musical world. It is well known that Napoleon's existence was connected to the creation of Symphony No. 3, Eroica, a representative work of this period. According to one testimony, upon hearing that Napoleon had become emperor, Beethoven reportedly flew into a rage, exclaiming, "He is trying to become a tyrant!" and "tore the title page of the symphony, which was titled 'Bonaparte,' in two and threw it on the floor." While this story cannot be corroborated today as no autograph manuscript survives, the title page of the extant copy bears heavily erased marks over the words "dedicated to Bonaparte," so violently erased that they tore through the paper. The story of Beethoven's rage is credible, but his feelings regarding "heroes" seem to have had complex aspects. The title page of the extant copy of the Eroica also has "written for Bonaparte" scribbled in Beethoven's own hand below his name. Furthermore, even a little later, in a letter to his publisher, he stated, "The title of this symphony is actually Bonaparte." Even as late as 1824, he is reported to have told his pupil Czerny, "I could not forgive that man before, but now my thoughts have completely changed."
Beethoven appears to have had several significant relationships with women during this period. From 1804 to 1807, it is inferred from surviving letters and other documents that he harbored passionate affection for Josephine von Deym (née Brunsvik), who was a widow with four young children. Josephine seems to have avoided an intimate relationship beyond friendship, which likely led to the breakdown of their relationship, but it is certain that the composer experienced significant emotional fluctuations. Around 1810, he is said to have proposed to Therese Malfatti, his physician's niece, but the 22-year age difference is believed to have had no small influence, and the proposal was apparently rejected. Throughout Beethoven's life, perhaps the most serious and undoubtedly the most famous romantic relationship is that with the so-called "Immortal Beloved," known from a letter dated July 1812. The letter, discovered among the composer's personal effects, does not in itself reveal the recipient, date, or place of writing, but through accumulated research, the date and location have been identified, and the currently most prominent theory suggests the recipient was Antonie Brentano.
1-4. Late Vienna Period (1813 - 1827)
Around 1813-1818, with a peak around 1815-1816, a stagnation in Beethoven's creative output can be observed. The "Letter to the Immortal Beloved" can be taken as one indicator of this. The end of the relationship would have been a significant emotional blow, and his diaries, among other sources, reveal a strong resolve to live solely for art. While the "Heiligenstadt Testament," written exactly ten years earlier, coincided with an explosion of creative power, the "Letter to the Immortal Beloved" overlaps with a period of creative stagnation. However, "stagnation" cannot always be viewed as a single phenomenon, and it would be premature to link its cause solely to a failed romance.
In February 1811, due to the Napoleonic Wars, the Austrian currency, which had been depreciating, was devalued, and the annuity paid by a consortium of three aristocrats since 1809 also significantly diminished. As a result, Beethoven found himself in a difficult financial situation and spent more time on performance activities. Amidst this, in 1813, he composed Wellington's Victory, Op. 91, also known as the "Battle Symphony," and premiered it along with works such as Symphony No. 7, completed the previous year, achieving great success. The year 1814, when Napoleon fell from power, benefited from the Congress of Vienna, becoming, in terms of praise and fame, "the best year of his life" for Beethoven. Behind the position in research that emphasizes "a decline in creative power" is an attitude that does not highly regard works such as the "Battle Symphony," Choral Piece for the Allied Sovereigns, WoO 95, or the cantata The Glorious Moment, Op. 136. However, at the time, there was an atmosphere of welcoming such works, and Beethoven's willingness to undertake them must be acknowledged directly. Incidentally, the Polonaise, Op. 89, composed at the end of 1814 and dedicated to Empress Elisabeth Alexeievna of Russia, is an unusual piano miniature for Beethoven and is positioned as the last of his occasional works related to the Congress of Vienna.
On the other hand, there was also the problem of worsening hearing loss. His performance of the Archduke Trio in May 1814 was his last public appearance as a pianist (apart from accompanying others), and by 1818, his daily conversation seems to have become impaired, leading to the use of so-called "conversation books" to aid communication. Even if he had already resigned himself to losing his hearing, it is unlikely that the actual deterioration had no psychological impact.
Furthermore, after the death of his brother Caspar Carl in November 1815, his struggle with his sister-in-law over the guardianship of his son Karl was also serious. Beethoven had a poor relationship with the widow Johanna from the outset and firmly believed she was unfit as a mother, so he strenuously sought exclusive sole guardianship. Without going into detail, it is certain that an enormous amount of time was spent on legal proceedings, drafting letters, and other procedures for approximately four and a half years until Beethoven achieved final victory in July 1820. For Beethoven, who harbored serious problems and anxieties in his human relationships, his feelings for his nephew and the struggle with his sister-in-law must have been a great psychological burden. Moreover, the six years he subsequently devoted to his nephew's education and care after the legal battle must also have been a significant impediment to his creative activities.
Even focusing solely on musical aspects, the factors contributing to "stagnation" can be discussed. New signs began to emerge around 1809, clearly visible in works such as the Piano Sonata Op. 78. A cantabile quality appeared in the main themes of sonata form, making thematic fragmentation and thorough motivic development difficult, and the overall scale became notably smaller. The previous work in the same genre was Appassionata, Op. 57, from four years prior. The significant difference in character between the two, and the relatively long "gap" of four years in piano sonata composition, can be interpreted as indicating that, on the one hand, Beethoven had quickly explored the possibilities of one style to its limits in the medium of the piano, which he could handle most freely, and on the other hand, he had begun to seek new possibilities even while that style is still ongoing. In piano sonatas, there is another four-year "gap" after Op. 81a, but in 1814, when he was busy composing occasional works, he composed Op. 90, which is completely different in character from such works, and in 1816, when his creative output significantly decreased, he still left Op. 101. These facts, along with the two Cello Sonatas Op. 102 and the song cycle An die ferne Geliebte composed around the same time, hold extremely important meaning for considering the stylistic transition over this long period. The Piano Sonata Op. 106, commonly known as the "Hammerklavier," begun in the autumn of 1817, is a monumental work that broke existing frameworks in every sense, and it can be said that it paved the way for a series of late works.
Subsequently, works such as the Missa Solemnis, the three piano sonatas (No. 30, No. 31, No. 32), the Diabelli Variations, the "Ninth" Symphony, and the five late string quartets were composed. The late style from around 1817 onwards is characterized by the direct collision of seemingly contradictory elements—traditional elements and innovation, large scale and small scale, complexity and simplicity, strictness and lyricism—without mediating elements. This extreme contrast is one reason why late works are described as "abstruse" or "esoteric."
From around 1821, he suffered from liver disease, ophthalmia, pneumonia, and colitis, among other ailments, and was mostly bedridden for his last few months, closing his life on March 26, 1827, at the age of 56 years and three months. His funeral was attended by a crowd of 10,000 people, becoming a social event.
2. About the Works
Opus Numbers
A series of numbers assigned to a composer's various works is called an opus number. It is usually indicated by the Latin word "opus" (meaning "work") or its abbreviation "op." Originally, these numbers were assigned by publishers when scores were published, and in an era when the same work was often released by multiple publishers, different numbers could be assigned to the same work. Beethoven is considered the first composer to consistently keep opus numbers under his own control. He assigned numbers only to works he deemed important and emphasized the continuity of the numbering. It remains true that opus numbers are based on publication, and some works, such as the two piano sonatas Op. 49 (No. 19, No. 20), have higher opus numbers because their publication date was later, even if their composition date was earlier. Incidentally, Beethoven's own numbering management was not perfect, and Op. 41, 42, 63, and 64 include arrangements of Beethoven's works by third parties.
Works that Beethoven did not consider particularly important even if published, or works that were not published during his lifetime, do not have opus numbers. These works are organized with the abbreviation "WoO," which stands for "Werke ohne Opuszahl" (Works without Opus Number). The entire collection is first broadly divided into instrumental and vocal works, with each category arranged in order from larger to smaller ensembles; vocal works begin with "WoO 87." Beethoven's catalog of works, known as "Kinsky-Halm" after its two compilers, lists 138 works with opus numbers, 205 works without opus numbers, and 18 spurious or doubtful works.
In contrast to "Kinsky-Halm," which essentially covered information on works included in the "Old Complete Edition," a Catalog of Works Not Included in the Old Complete Edition was compiled, also named after its compiler as the "Hess Catalog." However, since "Kinsky-Halm" also includes information that became known after the publication of the "Old Complete Edition," the "Hess Catalog" contains much information already revealed in "Kinsky-Halm." Works assigned a catalog number with the term "Hess" are generally only listed in the "Hess Catalog," but in cases where significant information has been added in the "Hess Catalog" for works already organized as "WoO," both "WoO" and "Hess" may be listed together. Furthermore, the "Hess Catalog" also includes works that are only mentioned in some sources, with their whereabouts entirely unknown.
1. Overview of Piano Sonatas
The 32 numbered piano sonatas constitute a core repertoire within Western art music. In addition, there are several piano sonatas composed during the Bonn period.
Through Beethoven's works, the piano sonata was given a scale and artistic weight comparable to that of the symphony. Compared to the piano sonatas of Mozart and Haydn, one can observe a change in the meaning this genre held for both society and the composer himself. Furthermore, it is important that, apart from his Bonn period works, he consistently composed for the piano without considering the clavichord or harpsichord. The piano underwent dramatic development precisely during Beethoven's lifetime. He composed reflecting the capabilities of the most advanced instruments of his time, and the expansion of the instrument's range and volume is believed to be reflected in his works.
For Beethoven, the piano sonata seems to have been the most accessible and highly important medium, convenient for conducting various experiments in compositional technique. The second work published during the Bonn period was the three piano sonatas WoO 47, nicknamed the "Elector Sonatas" due to their dedication to Elector Maximilian Franz, and the second work published with an opus number was also three piano sonatas, Op. 2, dedicated to his teacher Haydn. Both can be regarded as works that condensed the highest level of compositional skill he possessed at the time. Furthermore, since piano sonatas cover almost the entirety of Beethoven's creative periods, they serve as important clues for observing stylistic changes.
2. Overview of Piano Variations
From Nine Variations on a March by Dressler from the Bonn period, which was his first published work, to the late Diabelli Variations, Beethoven's piano variations number 22 in total, including two works for four hands (WoO 67, 74). A series of variations based on popular melodies were largely linked to improvisation and were a widely favored genre at the time. It is natural that the majority of these works are concentrated in the early Vienna period, when Beethoven was active as a pianist.
A major turning point is marked by Op. 34 and 35, both variations based on his own themes, where Beethoven assigned opus numbers to variations for the first time. A significant feature of the former is that the keys of each variation shift by a descending third, and bold changes are also applied to tempo and meter. The framework of "ornamental variation," which essentially only involves decorating and transforming the theme, is fundamentally expanded with this work. Op. 35 is a famous work nicknamed the "Eroica Variations" because it shares the same theme as the fourth movement of Symphony No. 3, Eroica, but it was composed before the symphony. The technique of separating the theme from its bass and freely varying both as themes boldly breaks new ground. With the Diabelli Variations, it can be said that a completely new genre of variations was established. As the deliberately German title "Veränderungen" (transformations) suggests, the technique, which undoubtedly transcends conventional variation methods, focuses on the individual attributes of the theme and expands, develops, and unfolds them freely, truly deserving the name "character variations."
3. Overview of Other Piano Solo Works
Beethoven's short pieces, including dances, comprise what appear to be studies and arrangements of other compositions; while not all of them are outstanding works in themselves, there are famous pieces such as Für Elise, WoO 59. The Fantasia Op. 77 is a work that is thought to have originated from an improvisation at a concert on December 22, 1808, and can be seen as offering a glimpse into the improvisational genius of Beethoven, who was renowned for his improvisations. The Six Bagatelles, Op. 126, composed around the time he began work on his last five string quartets, are noteworthy as they exhibit characteristics of his late style.
4. Works for Four Hands
Works for two pianos include the composer's own arrangement of the Grosse Fuge, Op. 133 (Op. 134), as well as the Sonata Op. 6, which is thought to be for educational purposes, and three Marches, Op. 45, written around the time of Symphony No. 3, Eroica. For piano duet, there are only two sets of variations, both without opus numbers; WoO 67 is a work rich in both scale and technical demands.
5. Overview of Chamber Music with Piano
Chamber music for wind instruments with piano, like other small-ensemble music including wind instruments, was fundamentally occasional music for entertainment, in accordance with the conventions of the time. Apart from the three Piano Quartets WoO 36 (36-1, 36-2, 36-3) written during the Bonn period, Beethoven's chamber works written for string instruments and keyboard are duos with violin or cello, or trios with violin and cello.
6. Overview of Beethoven's Piano Concertos
There are five piano concertos; although the order of Nos. 1 and 2 is reversed due to publication order, it is known that No. 2 was begun first. In addition, there is a work from 1784 titled Concerto for Harpsichord or Fortepiano (WoO 4), but only the solo part survives completely through a manuscript copy, and the orchestral part is only partially known through a piano arrangement. Incidentally, this was his first orchestral work undertaken during the Bonn period. Furthermore, there is Op. 61, which is his own arrangement of his Violin Concerto. The Choral Fantasy, Op. 80, is also a unique work, but considering the role of the piano, it could be included here. Additionally, among orchestral works featuring the piano as soloist, there is the Triple Concerto, Op. 56.
Works(217)
Concerto (2)
concerto (10)
Konzert für Klavier und Orchester Nr.1 Op.15
Key: C-Dur Composed in: 1793 Playing time: 37 min 30 sec
Konzert für Klavier und Orchester Nr.2 Op.19
Key: B-Dur Composed in: 1786 Playing time: 29 min 30 sec
Konzert für Klavier und Orchester Nr.3 Op.37
Key: c-moll Composed in: 1796 Playing time: 36 min 00 sec
Konzert für Klavier, Violine, Violoncello und Orchester (Tripelkonzert) Op.56
Key: C-Dur Composed in: 1803 Playing time: 34 min 32 sec
Konzert für Klavier und Orchester Nr.4 Op.58
Key: G-Dur Composed in: 1805 Playing time: 36 min 00 sec
Fantasie für Klavier, Chor, und Orchester (Chorfantasie) Op.80
Key: c-moll Composed in: 1808 Playing time: 19 min 30 sec
Konzert für Klavier und Orchester Nr.5 Op.73
Key: Es-Dur Composed in: 1809 Playing time: 37 min 00 sec
Works with orchestral accompaniment (1)
Piano Solo (21)
sonata (34)
Sonate für Klavier Nr.8 "Pathetique" Op.13
Key: c-moll Composed in: 1797 Playing time: 18 min 00 sec
Sonate für Klavier Nr.13 "Sonata quasi una fantasia" Op.27-1
Key: Es-Dur Composed in: 1800 Playing time: 15 min 30 sec
Sonate für Klavier Nr.14 "Sonata quasi una fantasia"(Mondscheinsonate) Op.27-2
Key: cis-moll Composed in: 1801 Playing time: 16 min 30 sec
Sonate für Klavier Nr.23 "Appassionata" Op.57
Key: f-moll Composed in: 1804 Playing time: 22 min 00 sec
Sonate für Klavier Nr.26 "Lebewohl" Op.81a
Key: Es-Dur Composed in: 1809 Playing time: 15 min 30 sec
Sonate für Klavier Nr.29 "Hammerklavier" Op.106
Key: B-Dur Composed in: 1817 Playing time: 41 min 30 sec
rondo (4)
Rondo a capriccio "Die Wut über den verlornen Groschen" Op.129
Key: G-Dur Composed in: 1795 Playing time: 5 min 00 sec
sonatina (7)
prelude (2)
variation (22)
9 Variationen über einen Marsch von E.C.Dressler WoO 63
Composed in: 1782 Playing time: 7 min 10 sec
24 Variationen über die Ariette "Venni amore" von V.Righini WoO 65
Composed in: 1790 Playing time: 20 min 00 sec
Composed in: 1792 Playing time: 13 min 00 sec
Composed in: 1795 Playing time: 14 min 00 sec
9 Variationen über die Arie "Quant e piu bello" aus der Oper "La molinara" von G.Paisiello WoO 69
Composed in: 1795 Playing time: 5 min 10 sec
Composed in: 1795 Playing time: 5 min 00 sec
Composed in: 1796 Playing time: 11 min 00 sec
Composed in: 1796 Playing time: 6 min 50 sec
Composed in: 1799 Playing time: 10 min 30 sec
Composed in: 1799 Playing time: 9 min 10 sec
Composed in: 1799 Playing time: 11 min 00 sec
6 Leichte Variationen über ein eigenes Thema WoO 77
Key: G-Dur Composed in: 1800 Playing time: 7 min 10 sec
15 Variationen mit einer Fuge über ein Thema aus dem Ballett "Die Geschopfe des Prometheus" Op.35
Key: Es-Dur Composed in: 1802 Playing time: 25 min 00 sec
32 Variationen über ein eigenes Thema WoO 80
Key: c-moll Composed in: 1806 Playing time: 11 min 30 sec
33 Veränderungen über einen Walzer von A.Diabelli Op.120
Composed in: 1819 Playing time: 58 min 00 sec
cadenza (1)
menuetto (2)
waltz (3)
Ländler (2)
bagatelle (8)
other dances (4)
character pieces (1)
Reduction/Arrangement (1)
Various works (10)
Piano Ensemble (6)
variation (2)
8 Variationen für 4 Händen über ein Thema des Graf von Waldstein WoO 67
Key: C-Dur Composed in: 1790 Playing time: 10 min 00 sec
Ich denke dein, Lied mit 6 Variationen für 4 Händen WoO 74
Composed in: 1799 Playing time: 5 min 30 sec
transcription (2)
Chamber Music (10)
sonata (18)
Sonate für Klavier und Violine Nr.1 Op.12-1
Key: D-Dur Composed in: 1797 Playing time: 19 min 10 sec
Sonate für Klavier und Violine Nr.2 Op.12-2
Key: A-Dur Composed in: 1797 Playing time: 17 min 00 sec
Sonate für Klavier und Violine Nr.3 Op.12-3
Key: Es-Dur Composed in: 1797 Playing time: 18 min 50 sec
Sonate für Klavier und Violine Nr.5 "Frühling" Op.24
Key: F-Dur Composed in: 1800 Playing time: 23 min 00 sec
Sonate für Klavier und Violine Nr.6 Op.30-1
Key: A-Dur Composed in: 1801 Playing time: 23 min 00 sec
Sonate für Klavier und Violine Nr.7 Op.30-2
Key: c-moll Composed in: 1801 Playing time: 26 min 50 sec
Sonate für Klavier und Violine Nr.8 Op.30-3
Key: G-Dur Composed in: 1801 Playing time: 19 min 00 sec
Sonate für Klavier und Violine Nr.9 "Kreutzer" Op.47
Key: A-Dur Composed in: 1802 Playing time: 38 min 10 sec
Sonate für Klavier und Violoncello Nr.4 Op.102-1
Key: C-Dur Composed in: 1815 Playing time: 15 min 20 sec
Sonate für Klavier und Violoncello Nr.5 Op.102-2
Key: D-Dur Composed in: 1815 Playing time: 21 min 40 sec
sonatina (2)
pieces (3)
6 variierte Themem für Pianoforte allein oder mit Flöte oder Violine Op.105
Composed in: 1818 Playing time: 19 min 30 sec
variation (7)
12 Variationen über das Thema "Se vuol ballare" aus Mozarts "Le Nozze di Figaro" WoO 40
Key: F-Dur Composed in: 1792 Playing time: 11 min 00 sec
Key: G-Dur Composed in: 1796 Playing time: 13 min 00 sec
12 Variationen über das Thema "Ein Mädchen oder Weiblichen" aus Mozarts Oper "Die Zauberflöte" Op.66
Key: F-Dur Composed in: 1796 Playing time: 10 min 00 sec
Key: Es-Dur Composed in: 1801 Playing time: 9 min 40 sec
Key: G-Dur Composed in: 1803 Playing time: 18 min 00 sec
Various works (11)
Quintett für Pianoforte, Oboe, Clarinette, Horn und Fagott Op.16
Key: Es-Dur Composed in: 1796 Playing time: 25 min 20 sec
Trio für Pianoforte, Klarinette und Violoncell Op.38
Key: Es-Dur Composed in: 1802 Playing time: 40 min 10 sec
Chamber music (7)
Trio für Pianoforte, Violine und Violoncell "Gassenhauer" Op.11
Key: B-Dur Composed in: 1797 Playing time: 22 min 10 sec
Orchestral work (6)
String quartet (17)
Streichquartett Nr.7 ''Rasumowsky Nr.1'' Op.59-1
Key: F-Dur Composed in: 1806 Playing time: 40 min 00 sec
Streichquartett Nr.8 ''Rasumowsky Nr.2'' Op.59-2
Key: e-moll Composed in: 1806 Playing time: 30 min 00 sec
Streichquartett Nr.9 ''Rasumowsky Nr.3'' Op.59-3
Key: C-Dur Composed in: 1806 Playing time: 30 min 00 sec
Lied (1)
Various works (2)
etc (3)
Vocal works (3)
Symphony (9)