Beethoven Ludwig van, *16 or 17 (baptised) December 1770 Bonn, †26 March 1827 Vienna, German composer. Surname and house of Flemish origin (Brabant). Beethoven’s grandfather, Ludwig van Beethoven (†1773), came from Mechelen, was a bassist, then bandmaster of the court band in Bonn; father, Johann van Beethoven (ca. 1740–1792), was a tenor in the Bonn court band; he married Maria Magdalena Keverich (1746–87). Ludwig was the second of their 7 children. The Beethoven family survived in the line of Beethoven’s nephew, Karl (1806–58), son of Kaspar Anton Karl (1774–1815) and Joanna Reiss, who had 4 daughters and a son Ludwig; he had a son, Karl Julius Maria, who died in Vienna in 1917. Initially, Ludwig van Beethoven learned music from his father and on 16 March 1778, he performed at his concert in Cologne. He then took music lessons from relatives and friends of Beethoven’s family; he learned to play keyboard instruments with the court organist G. van den Eeden and T.F. Pfeiffer, violin playing – with F.G. Rovantini, later still playing the organ with the Franciscan monk W. Koch and the organist Zensen from Münster. In October 1779 he was admitted to systematic music studies by Ch.G. Neefe, director of opera performances and singspiels in the theatre in Bonn, and from 1782 also a court organist. Neefe trained Beethoven in keyboard playing, composition and general bass. His studies were interrupted in 1781 by Beethoven’s trip to Rotterdam with his mother. The following year, Beethoven replaced his teacher on the organ, and from 1783 he often took over his harpsichord accompaniment in the court orchestra; from 1784 he received a salary of 150 florins (per year) as a court musician. Neefe introduced him to the world of music by J.S. Bach, C.Ph.E. Bach, Händel, and through his service at the court, Beethoven learned about religious works by Pergolesi, Caldara, Holzbauer, Haydn, symphonies and chamber music by Mannheim and Vienna composers, as well as Italian and French stage music and German singspiel. After attending the tirocinium (1781), he completed his general education privately, as his profession as a court musician prevented him from studying systematically. In April 1787 he went to Vienna to study with Mozart, but after two weeks he had to return due to his mother’s serious illness. Passing through Augsburg, he visited J.A. Stein and improvised on his pianos. Shortly after his mother’s death (17 June 1787), Beethoven took on the responsibility of supporting the family. In the von Breuning house, where he gave music lessons, he found the atmosphere of a family home and spiritual care. He was friends with the Breunings’ son Stephan, daughter Eleonora and her husband Dr. F.G. Wegeler until the end of his life. On 14 May 1789, he enrolled in philosophy at the University of Cologne. His worldview was to some extent influenced by the lectures of E. Schneider, a professor of Greek literature, an ardent supporter of the slogans of the French Revolution, and the author of poems imbued with the spirit of freedom. Beethoven’s favourite reading material included ancient writers, including Plutarch, also works by Klopstock, Goethe and Schiller. During the Bonn period, sketches of a composition for Schiller’s Ode to Joy were created, which many years later found a place in the finale of the Ninth Symphony. After his father was released from court service (20 November 1789), Beethoven received half of his salary to raise his younger brothers and was not only an organist, but also a court violist. In December 1790, he met Haydn at the Bonn court and, according to Wegeler, presented him with one of his cantatas. In the autumn of 1791, he travelled with members of the court band to Mergentheim and Aschaffenburg, where he amazed E.X. Sterkel with his playing and compositions. In addition to occasional cantatas and music for Ritterballett, composed for Count Waldstein, he wrote piano music (sonatas, Concerto in E-flat major), chamber music (3 piano quartets) and songs. Beethoven’s first published work was the Variations in C minor on the theme of Dressler’s march, published in Mannheim by Götz in 1782, then in 1783–84 the songs Schilderung eines Mädchens, An einen Säugling, as well as 3 “Kurfürstensonaten” and 2 rondos (C major, A major) were released.
Beethoven went to Vienna on 2 or 3 November 1792, to study with Haydn; he left Bonn forever. Haydn meticulously revised Beethoven’s compositions, which discouraged the young composer. From August 1793 to May 1794 he studied with J. Schenk according to Gradus ad Parnassum by J.J. Fux, while also studying counterpoint with J.G. Albrechtsberger and vocal composition with A. Salieri. On 29 March 1795, he performed for the first time publicly at the Burgtheater with his piano concerto (B flat major?), and two days later with Mozart’s Piano Concerto in D minor at a benefit concert for Mozart’s widow. In May 1795, three trios Op. 1 were published and Beethoven’s contract with the Artaria publishing house dates from that time. The following year, three piano sonatas Op. 2 were released, dedicated to Haydn, performed at one of the morning concerts at Prince K. Lichnowski’s, to whom Beethoven later dedicated, among others, Pathetic Sonata. In the first half of 1796, he travelled to Nuremberg, Prague, Dresden and Berlin, where he played at the Prussian royal court and the Singakademie. There he also wrote for P. Duport and performed with him 2 cello sonatas Op. 5. In Berlin, he encountered English pianos with greater volume and sound capacity than the Vienna instruments of Walter and Streicher, which he owned. They inspired him to consult with Streicher on improvements in the construction of pianos. In November 1796 Beethoven was also in Bratislava. The political events of this period found expression in his works. In 1796, the work Abschiedsgesang an Wiens Bürger was written in connection with Napoleon’s Italian campaign, and in April 1797 – Kriegslied der Österreicher. In 1798, Beethoven went again to Prague, where he performed at two public concerts and a concert in Count Clary’s salons. From the beginning of his stay in Vienna, Beethoven became known as an excellent pianist and improviser. He surprised listeners with his wealth of musical ideas, expressive playing, and strong dynamic contrasts. In addition to official concerts, Beethoven competed with various pianists in the art of improvisation, including: in Vienna with J. Jelinek, J. Wölfl, D. Steibelt and in Berlin (1796) with F.H. Himmel. Beethoven’s meetings with the count family of Brunsvik date back to 1799, which turned into a long-lasting, cordial friendship, especially with Franz, Therese and Josephine Brunsvik. He also had friendly ties with Countess Giulietta Guicciardi, to whom he dedicated the Sonata in C sharp minor (Moonlight), with A. Reicha, F. Ries, C. Amenda, N. Zmeškal, then with Prince Lobkowitz, with Princes K. and M. Lichnowsky, Archduke Rudolf, brother of Emperor Francis, also with I. von Gleichenstein, W.J. Mähler, who painted four portraits of Beethoven, with Father Vogler and with G. Thomson, later a publisher of Scottish songs.
The year 1800 saw the performance of Beethoven’s first great orchestral work, Symphony No. 1 in C major, which took place on 2 April at the end of the concert at the Hofburgtheater. Also, quartets Op. 18 were performed in 1800 by the I. Schuppanzigh quartet at the composer’s home and E.A. Forster. Already around 1794–96, Beethoven noticed the first signs of ear disease, which gradually worsened over time. He expressed his despair, but at the same time his great strength of will and creation, which he showed most fully in a letter to his brothers, the so-called Heiligenstadt Testament from 6 and 10 October 1802. Despite moments of breakdown, in 1802 he worked intensively on Symphony No. 2 in D major, which was performed on 5 April 1803 at the academy in the An der Wien theatre, together with the Piano Concerto in C minor and the 1st version of the oratorio Christ on the Mount of Olives. At that time, he also wrote many piano sonatas (up to Op. 31), violin sonatas (up to Op. 47) and many cycles of piano variations. In 1803, Beethoven received a piano with an increased scale (up to c4) from Érard’s company, which resulted in the expansion of the sound scale in later sonatas and concertos. In the summer of 1803 and at the beginning of 1804, he was mainly occupied with composing Eroica, performed in December 1804 by Prince Lobkowitz (first public performance on 7 April 1805). On 20 November 1805, the opera Fidelio (Leonore) was performed, but it failed after three performances, which prompted Beethoven to make changes. He shortened the work to two acts, added the overture Leonore No. 3 and in this version he performed the opera for the second time on 29 March 1806, only to take it off the stage again after a few performances. From the spring of 1807, he began composing a Mass in C major commissioned by Prince Esterházy, which was performed on 13 September 1807 in the castle chapel in Eisenstadt. He spent the summer months, among others, in Hetzendorf, Baden, Ober-Döbling, in the Brunsvik castles in Martonvásár and Korompa (now Dolná Krupá in Slovakia), and in the autumn of 1806, he stayed in the castle of Prince Lichnowsky in Hradec near Opava in Silesia. He also visited Count Franz von Oppersdorff in Głogówek, to whom he dedicated his Fourth Symphony. At the beginning of 1807, he applied for the position of composer at the Vienna court, but probably received no response. At the end of October 1808, an offer from the King of Westphalia, Jérôme Bonaparte, came from Kassel to appoint Beethoven to the court. But the annuity of 4,000 guilders proposed by Archduke Rudolf, Prince E.J. Lobkowitz and Count F. Kinski kept Beethoven in Vienna and the contract was signed on 1 March 1809.
The years 1804–10 were the period of the greatest flowering of Beethoven’s creative powers. The two greatest piano sonatas, “Waldstein” and “Appassionata,” as well as the Sonata in E flat major (Les Adieux), the Piano Concerto in G major and E flat major, the Violin Concerto in D major, the string quartets Op. 59 dedicated to Count Razumowski and Quartet in F minor, Op. 95, two piano trios Op. 70, music to Goethe’s Egmont, the Coriolan overture and symphonies from No. 3 to No. 6 (the 5th and 6th Symphonies performed together with the Fantasy for piano, chorus and orchestra Op. 80, and the Piano Concerto in G major, presented for the first time publicly at the An der Wien theatre on 22 December 1808). Beethoven also began to publish his works not only with many Vienna publishers, such as Cappi & Diabelli, Steiner, Mollo, Traeg, Mechetti, Kunst- und Industriekontor, but also with B & H in Leipzig, Schlesinger in Berlin, Simrock in Bonn and finally in the last period of his life with Schott in Mainz.
During this time, Beethoven’s circle of friends grew significantly, he met Teresa Malfatti, Maria Erdödy, the singer Amalia Sebald and Bettina Brentano, the intermediary in establishing acquaintance with Goethe, with whom he met in 1812 in Teplice, Karlovy Vary and Františkovy Lazne. In the autumn of 1812, he spent a few weeks with brother Johann, a pharmacist in Linz. Probably from 1812 comes the letter “to the immortal beloved” written by Beethoven in Cieplice on 6 and 7 July, the addressee of which was believed to be Therese or Josephine Brunsvik, or G. Guicciardi et al. The latest research also points to Dorothea Ertmann.
The premiere of the 7th Symphony and the Wellingtons Symphony Sieg oder die Schlacht bei Vittoria on 8 December 1813 at the Universal Saal, in which, among others, Hummel, Mayseder, Moscheles and Salieri took part, again marked the beginning of Beethoven’s period of concert successes. After Treitschke reworked the Fidelio libretto and Beethoven composed a new Fidelio overture, the opera was performed on 3 and 25 May 1814 at the Kärntnertortheater, achieving great success. The culmination of Beethoven’s great performances was the academy on 29 November 1814 in the Redoubt Hall, where the empresses of Austria and Russia, the King of Prussia and princes – participants of the Congress of Vienna were present. On 25 January 1815, Beethoven played in public for the last time at a court concert to celebrate the birthday of the Russian empress. In December 1815 he became an honorary citizen of Vienna. Beethoven received Broadwood’s coveted English piano with a C1–c4 scale in early 1818; it inspired the composer’s last great piano works. At the end of his life, C. Graf also gave him a piano with a significantly increased sound volume thanks to quadruple string tension and a scale increased to f4.
Meanwhile, Beethoven’s problems were increasing and his health was deteriorating. The devaluation of money, which significantly reduced Beethoven’s pension, and the care of the family of his brother Karl, a bank official in Vienna, severely strained the composer’s finances. This crisis was alleviated by Beethoven’s new contract with Prince Lobkowitz and Count Kinsky in 1815. After the death of his brother Karl in November 1815, Beethoven took care of his nephew Karl, supervised his education and sued his mother until 1820 for custody rights. Beethoven’s deafness became more and more troublesome, even though he consulted many doctors and was surrounded by the warmth of his friends, including Nanette Streicher, F. Oliva, K. Holz and others In 1818, Mälzel prepared special devices for him – ear tubes. However, from 1815 the composer had to communicate with his surroundings in writing. There are 137 so-called Beethoven’s conversation notebooks from a total number of 400, which S. Breuning received from Beethoven’s inheritance and gave to Beethoven’s friend – A. Schindler. Financial and family worries (his nephew Karl tried to commit suicide in 1826) and a devastating illness plagued Beethoven in the last years of his life. But it was a period of huge creative outburst; The last piano sonatas were composed at that time, from Op. 101 to 111, Variations in C major on Diabelli’s waltz, the last string quartets, and finally the monumental Ninth Symphony and Missa Solemnis. The three movements of this mass (Kyrie, Credo, Agnus Del) were performed together with the Ninth Symphony at the great academy in the Hoftheater next to the Kärntnertor on 7 May 1824 and received enthusiastically (the entire Mass was performed in St. Petersburg on 18 April 1824). The “Allgemeine Theater-Zeitung” of 11 May 1824 reported that the “tremendous works” were met with “the deepest appreciation” and “the most lively attention.” Beethoven also intended to write the opera Melusine based on Grillparzer, but the project did not come to fruition.
Although Beethoven felt increasingly worse, in the autumn of 1826 he stayed for several weeks with his nephew Karl at the estate of his brother Johann in Gneixendorf. On his way back on 2 December 1826, he caught a cold and contracted pneumonia. On 3 January 1827, he wrote his last will. He died on 26 March 1827 in the evening during a storm. Beethoven’s death mask was made by J. Danhauser. The composer was buried on 29 March at the Währinger cemetery. The speech at Beethoven’s grave, written by Grillparzer, was delivered by actor H. Anschütz. Beethoven’s ashes were moved on 21 June 1888 to the Central Cemetery in Vienna.
Traditionally, Beethoven’s work is divided into three periods: 1st – until 1802, 2nd – 1802–15, and 3rd – from 1815. However, taking into account the specificity of genres practised by Beethoven in particular periods and the development of his formal and sound concepts, a boundary between the first and the second period can be moved to 1800. Until 1800, Beethoven focused on the genres of piano music and chamber music without the piano, trying different sets of instruments before performing a large orchestral form – the symphony. In the second period, which was characterised by increased creative forces, maturity, and crystallisation of an individual style, Beethoven’s interests expanded primarily to symphonic music, which in turn influenced other genres, especially piano and chamber music. Recently, despite a significant reduction in the number of works, Beethoven continued the genres developed earlier, but developed a new arrangement of form and texture.
The years of his stay in Bonn up to 1792 should be separated from the first period because Beethoven’s youthful achievements cannot be considered unimportant works, although Beethoven published his works only from the 3 trios Op. 1 created in Vienna. Beethoven’s sketches show that the concept of many works had already emerged in Bonn; he used numerous themes and types of figuration from “Kurfürstenonaten” and piano quartets in literal or modified form in later works, especially in the first Vienna period. Apart from the Octet in E-flat major Op. 103 for wind instruments, occasional cantatas and music for Ritterballett (WoO 1), the most important genre in Beethoven’s interests in the Bonn period was piano music. It remained the basis for all of Beethoven’s work. Both in solo piano music and in chamber music with piano, there is an obvious overlap in the technical means of harpsichord and piano music in the Bonn period, as well as the intersection of various stylistic influences – Italian music, works by C.Ph.E. Bach, Haydn, Mozart and the Mannheim school. Beethoven composed his youthful compositions for various keyboard instruments. When the clavichord and harpsichord were replaced by the piano, double and triple markings for keyboard instruments were often used, and in publishing practice, they continued after 1800. Starting with 9 variations on Dressler’s march (WoO 63) from 1782 for harpsichord, “Kurfürstensonaten” (WoO 47) – for clavichord, through 24 variations on the Venni amore arietta (WoO 65) in the 1st version from 1791, published in Mannheim “pour clavier ou pianoforte,” 2 preludes for piano or organ from 1789 (published in 1803 as Op. 39), 6 easy variations on Swiss songs for piano or harp (WoO 64) from around 1790, Beethoven uses the double markings “pour le clavecin ou pianoforte” in the sonatas Op. 13, 26, 27, even though they have a specifically piano-like texture. Already in the 9 variations on Dressler’s march, certain features typical of Beethoven’s style are visible: the key of C minor, which appears in the Pathetique Sonata, Op. 13 and the last Sonata in C minor, Op. 111, as well as in the 5th Symphony, marching rhythms used by Beethoven often in sonatas and symphonies as well as in masses and oratorios, and finally the technique of variations, which Beethoven mastered in his work. In addition to ornamental and figurative variations, already in Bonn, he practised the type of characteristic variations, primarily in the cycle on the theme Venni amore, to which he gave a more virtuoso form and tense drama (in Adagio) before publishing these variations in Vienna in 1802. Beethoven played a leading role in piano and also in chamber music. In the Bonn period, like Mozart, he took up the piano quartet genre, to which he did not return in his later work. These quartets show attempts to make individual instruments independent, mainly using the variational technique (Andante from the Quartet in E-flat major, WoO 36 No. 1), without, however, undermining the dominance of the piano.
Solo songs with piano accompaniment are also relatively richly represented in Beethoven’s early works. Particular mention should be made of the song Klage (WoO 113) from 1790, which announces the mature style of Beethoven’s vocal lyricism in its mood, instrumental setting and articulation. Later, Beethoven practised two types of songs: lyrical songs and arias (e.g. Adelaide based on the sonata form), also for voice with orchestra (scene and aria Ah, perfido! Op. 65), striving for simplicity and plastic fragmentation (An die Hoffnung Op. 94) and adapting the accompaniment to the content and character of the text. Beethoven’s most beautiful and atmospheric songs include Mignon Op. 75 No. 1 to the words of Goethe (Znaszli ten kraj) from 1809 and Resignation (WoO 149) from the last period of his work to the words of Count P. von Haugwitz.
The main work in Vienna’s first period of work was a sonata. This form dominated almost all of Beethoven’s music at that time. The sonata cycle until 1800 appeared primarily in solo piano music (14 sonatas), in music for piano and cello (2 sonatas, Op. 5), for piano and violin (3 sonatas, Op. 12), and in piano trios (Op. 1, 11, WoO 38), Quintet in E flat major Op. 16, in the piano concertos Op. 15 and 19 and in music for strings and wind instruments (string trios Op. 3, 9, trio for 2 oboes and English horn Op. 87, sextets Op. 71, 81b). Beethoven also continued the form of variations for piano (5 cycles), for piano and violin (WoO 40), for piano and cello (WoO 45, op. 66) and for wind instruments (WoO 28). Therefore, the most important trend remained piano music, which he also practised as an active pianist. Beethoven took over the basic formal patterns from his predecessors but filled them with new means. Although he owed much to Haydn in the way he developed themes, in the influence of sonata form on the rondo and slow movements of the cycle, from the first sonatas Op. 2, his new approach to thematic work and textural problems of piano music is visible, striving for a singing legato (slow movements from Op. 7 and 13), increasing dynamic contrasts and developing virtuoso means that brought the sonata closer to the concerto (Op. 2 No. 3). A breakthrough work in terms of texture is the Sonata Pathétique, Op. 13 with its dramatic Grave and strong harmonic and dynamic tensions. On the one hand, the principle of strong textural oppositions led to the breaking of the uniformity of the sonata form and the introduction of the Sonata Op. 14 No. 1 in the first movement of a new theme in the development, as later in the first part of the Eroica; on the other hand, the unification of the texture in the finales most often brought them closer to the type of perpetuum mobile of a Passacaglia character (finale of the Sonata in F major Op. 10 No. 2) or figurative shapes were created reminiscent of Schubert, in which the flow of the melody became looser (trios from the Scherzo from the Sonata in C major Op. 2, No. 3, and the Minuet from the Sonata in D major Op. 10, No. 3).
An expression of a turn in Beethoven’s music and the beginning of the second period of his work was the introduction of the symphonic form in 1800. In 1800–14 (except for the Ninth Symphony, Missa Solemnis from the last period of his work), almost all of Beethoven’s orchestral music was composed: 8 symphonies, concert overtures, opera Fidelio with 4 overtures, oratorio Christus am Ölberge, piano concertos (No. 3, 4, 5), Triple Concerto in C major Op. 56 for piano, violin and cello, Fantasy in C minor Op. 80 for piano, choir and orchestra, Violin Concerto in D major Op. 61 and its piano transcription. The first two symphonies show the influence of Haydn and Mozart but already have distinct individual features. A more closed form is the Second Symphony with a singing introduction, an expressive Larghetto and a scherzo instead of a minuet, which became a permanent part of the symphony. In the Eroica, the wealth of themes and the art of transforming them, the development of all the coefficients of the sonata form, especially the development in which the actual theme appears opposite to the cello theme that begins the symphony, the horns introducing the reprise and leading the theme in the Scherzo trio constitute a breakthrough in the development of Beethoven’s symphonic form. In the Fourth Symphony, figurations and ornaments gain importance in the modifications of the theme. The 5th Symphony is an expression of the integration of cyclical form and great thematic concentration. The theme of “fate,” as Beethoven was to describe it, pervades the entire symphony, and the marching rhythms and extremely dynamic finale recall the atmosphere of the Great French Revolution. Symphony No. 6 (“Pastoral”) refers to program pieces in their expression of admiration for nature, illustrations of the sounds of birds, storms, etc. It is expanded into 5 movements with the following titles: Awakening of Cheerful Feelings on Arrival in the Countryside, Scene by the Brook, Merry Gathering of Country Folk, Thunder, Storm, and The Shepherd’s Song. Cheerful and thankful feelings after the storm, but adheres to the strict rules of the classical form. The program works include, above all, Wellington’s Victory or The Battle of Vittoria Op. 91 from 1813, using enlarged sheet metal, percussion and cannon shots. The 7th and 8th Symphonies are filled with accents of a cheerful folk mood, joyful dance excitement, but also deeper reflection (the funeral march in the Allegretto from the 7th Symphony). Masterful proficiency in large form, expanding the volume of the orchestra’s sound by expanding its composition and extremely plastic manipulation of sound contrasts constitute Beethoven’s innovation in the field of symphonic music.
Influenced by the development of orchestral texture, Beethoven sought to symphonise other instrumental and vocal-instrumental genres. This was especially visible in the piano concertos. From the Third Concerto in C minor Beethoven began to activate the orchestra, especially in terms of development, and in the last concertos and the Triple Concerto, he sometimes treated the piano as one of the orchestra’s voices, one of the orchestra’s colour factors. The improvisational and virtuoso element was subordinated to the symphonic concept, the signature cadence became an integral part of the coda (Concerto in E flat major), and the piano “intruded” into the orchestral exposition (from the Concerto in G major). In this way, Beethoven outlined the line of development of the symphonic concert – opposite to the brilliant style.
Signs of symphonising can also be seen in solo piano music. Beethoven increased the volume and density of the sound scale and enriched the palette of dynamic shades while developing his playing technique, which allowed him to obtain orchestral-type timbres (“Appassionata”) on the piano. These aspirations were supported to some extent by technical improvements and the expansion of the piano scale in the upper register in Streicher’s and Erard’s instruments. Sonatas Op. 31 marked a change in style, which Beethoven himself called “a new way” at the end of 1802. Beethoven incorporated ornamental structures into the melody and introduced recitative (Sonata in D minor Op. 31, No. 2), which was adopted by Romantic composers. On the one hand, he limited the number of sonata movements to 2 (Op. 54, 78), on the other hand, the elements of the sonata form grew to sizes never seen before (“Waldstein,” “Appassionata”). The arrangement of movements in the cycle was also different – e.g. a sonata-allegro in the finale instead of the first movement (Sonata in C sharp minor Op. 27 No. 2), a sonata cycle without sonata form at all (Op. 26), without a slow movement, but with a scherzo and a minuet (Op. 31, No. 3), or with an introduction to the finale instead of the slow movement (Op. 53), or with a minuet as the first movement of the cycle (Op. 54). In addition to independent variation cycles, such as 32 variations in C minor (WoO 80), 15 variations in E flat major, Op. 35 with an alla fuga finale, the form of variations also played a significant role in the sonata cycle. It was used in piano sonatas (Op. 26, 57), violin sonatas (Op. 30 No. 1, Op. 47), in 3rd and 5th symphonies, in the String Quartet Op. 74, then also in the sonatas Op. 109, 111 and in the Ninth Symphony. A significant deepening of the means of expression can be observed in the virtuoso “Kreutzer” Sonata Op. 47 for piano and violin, equal in terms of texture to Beethoven’s greatest piano sonatas, also in trios Op. 70 and 97 and in string quartets, which became an important part of his compositional legacy, a means of personal, subjective expression. In the quartets Op. 18, Beethoven was partly based on the models of Haydn and E.A. Förster, but in the quartets Op. 59, dedicated to Prince Razumovsky, showed the world of his sound imagination – thematic development from the smallest motifs, the introduction of strict polyphonic forms (Op. 59 No. 3) and Russian folk elements.
In the middle period of his career, Beethoven’s only opera was written – Fidelio, despite many plans and rehearsals for the themes: The Fire of Vesta (the first scene has survived), Faust, Macbeth, Attila, Romulus, Brutus, the return of Ulysses, and the above-mentioned Melusine by Grillparzer. The Fidelio theme itself, as well as, to some extent, the overtures (Leonore Nos, 1–3, Fidelio), Rocca’s and Pizarro’s songs, indicate connections with the French music of the revolutionary period and partly with the German singspiel. The text is a German adaptation (by J. Sonnleithner and F. Treitschke) Léonore, ou L’amour conjugal by J.N. Bouilly, with music composed by P. Gaveaux. It is a genre of revolutionary French opera of the “miraculous rescue” type drama (Rettungsoper). However, the whole thing bears typical Beethoven features, his concept of an integral form, united by a reminiscent motif (Erinnerungsmotiv), a symphonic treatment of the orchestra and deeply ethical beliefs that elevate the finale to the rank of an oratorio. Christ on the Mount of Olives – the only oratorio Beethoven wrote – refers to the style of the late Neapolitan school.
In the last period of his career (after 1815), Beethoven’s attention was drawn to the string quartet, although the composer remained faithful to piano music, and in the field of vocal-instrumental music he created his greatest works – the Ninth Symphony and Missa Solemnis. Beethoven went far beyond the scale of individual string instruments previously used in chamber music, reaching the upper register of the violin to e4, the viola to the two-note octave, and the cello to the three-note octave, he showed a wealth of articulatory means (pizzicato, playing on a specific string, sul ponticello) and dynamic, bringing out new sound colours from the homogeneous sound of the quartet. He broke with the rule of four parts in the quartets Op. 132 (5 parts), Op. 130 (6 parts), reaching the Op. 131 into 7 parts, which originate from the introductory theme of the Adagio. In the last quartets, there were also strong references to tradition – stylised chorale and recitatives in the Streichquartette, Molto adagio from the quartet Op. 132 and the grouting technique used on a wider scale (Op. 127, 131, 132), which in the quartet-fugue Op. 133 culminated in the masterful use of various rhythmic transformations of the same theme. Beethoven created a type of quartet texture that was taken up and developed only by 20th-century composers.
The tendency to use elaborate polyphonic means (rake, inversion in augmentation, double diminution) was also manifested in the piano sonatas Op. 101, 106, 110, cello sonatas Op. 102 and in 33 piano variations in C major on the theme of Diabelli’s waltz. They represent the peak of Beethoven’s art of variation thanks to the accumulation of various technical tricks, the emancipation of texture and the liberation of the colour values of harmonics. Beethoven also transferred the principle of instrumental variation to the song cycle An die ferne Geliebte, Op. 98.
Two directions were visible in Beethoven’s piano sonatas during this period: 1. continuation of the tendency to expand the form, 2. miniaturisation of the form and serial arrangement of parts, and both directions intersected with each other. Thus, next to the song parts, there were fugues of colossal size (Sonata in A major, Op. 101) or the process of miniaturisation was carried out by interlacing sections with different textures within one movement (1st movement from Op. 109). At the same time, mastery of the entire extended scale of the instrument (C1–f4), presentation of the sound values of the extreme registers, subtle colour tricks, such as murmur trill effects, attempts at the vibration of the piano sound (Op. 110), nuances of timbre using the left pedal (una corda, poco a poco due e allora tutte le corde) and the use of performance markings in German (klagender Gesang, ermattet klagend), which are expressive and programmatic comments on the piece – all this proves that the stylistic turn in Beethoven’s work after 1815 is visible not only in the macro form but also in the smallest sound details and that his inspirations looked far into the future.
Beethoven’s vocal and instrumental works are crowned with the Missa solemnis. This work planned for the enthronement of Archduke Rudolf as archbishop in Olomouc and completed three years later (1824), technically and formally goes beyond the framework of the liturgy. The countless sketches for Missa Solemnis show how deeply Beethoven delved into the text, and how the threads of content crystallised into a symphonic idea. In his last symphony, Beethoven created the type of vocal-instrumental symphony to which Mendelssohn, Berlioz, Liszt and Mahler alluded. In addition to expanding the instrumentation (through the use of a piccolo flute, contrabassoon, 4 horns, 3 trombones, a large drum, cymbals and a triangle), which had already appeared in earlier orchestral works (including the 3rd and 5th Symphonies), he introduced a choir and soloists in the final cantata to the text of Ode to Joy by F. Schiller. The Ninth Symphony with its synthetic finale (quotes of the themes of the previous movements, separated by cello and double bass recitatives before the Ode to Joy) became the fullest expression of the organic unity of Beethoven’s works, the individual art of forming a theme and its transformations in the sound space shaped by the capabilities of the performing apparatus. Stravinsky said: “Beethoven’s monumental creations arose from the art of using the sound of instruments.”
Beethoven created at the turn of two centuries, two eras – classicism and romanticism. His worldview and aesthetic attitude were shaped by the humanistic tendencies of the Enlightenment and classicism (heroism, brotherhood), the period of “storm and stress” (subjectivism, a sentimental way of considering nature) and the ideas of the Great French Revolution. Shrouded in the legend of romanticism and the “tragedy” of his fate, Beethoven was, above all, an exponent of the ideals of classicism in his affirmation of life, ethical attitude and active attitude towards reality, which “distinguishes him from the speculative mysticism and passive nature of the romantics” (W. Nagel). The slogans of the universal brotherhood of the 9th Symphony, the theme of Fidelio, and the way of arranging the songs of various nations fit into the universalism of the 18th century. Also, the programmatic and illustrative accents in Beethoven’s music are not a manifestation of the romantic concept of the “synthesis of arts,” but rather of the idyllic and “increased emotionality” of the 1770s heralding romanticism – “mehr Ausdruck der Empfindung als Malerei” writes Beethoven in the subtitle of the Pastoral Symphony. However, he was deeply imbued with the ideas of the period of “storm and stress,” the ideas of freedom, which distinguished him from the classics, from Haydn and Mozart. Beethoven was constantly looking for new means of expression in music that exploded the classical form. The composer’s autographs and notes show an extremely dynamic creative process, striving for perfect mastery of sound matter, reflecting the enormous wealth of musical ideas. Beethoven “made a far-reaching synthesis of form and expressive transformation of technical means” (J. Chomiński), hence the compositional techniques he developed became the starting point for the development of instrumental music in the 19th century, directly influencing the Romantics, and in the second half of the 19th century, on classicizing trend.
Writers and musicians of the 19th century looked for romantic features, especially in Beethoven’s personality, but they also drew from the wealth of inspiration contained in his art. Schubert adopts the great form of the symphony (Symphony No. 7 in C major), although in Ländler’s minuets he resembles Haydn; Mendelssohn also refers to Beethoven in the First Symphony and Lobgesang. Through his poetry, Schumann stands between Beethoven and the programmatic music of Berlioz and Liszt; takes up, like Liszt, Beethoven’s concept of symphonising the texture of the piano. In Symphonie Fantastique, Berlioz refers to Beethoven in terms of form but infuses his work with a new, subjective expression. A clear turn to Beethoven can be seen in Brahms, especially in the First Symphony and in the piano concertos; later, echoes of Beethoven’s work are visible in Bruckner (the finale of the Fifth Symphony).
The lyricism is characteristic of the Romantics, while Beethoven’s works, although he also tried to express himself in lyrical miniatures-bagatelles, are saturated with dialectical-dramatic expression both in the tectonics of the classical sonata form (which reaches back to songs) and in the principles of sound shaping.
The capture by Beethoven’s contemporaries of the uniqueness of his music and his genius was the starting point for the search for the content of poetic images that lie at the basis of Beethoven’s music. This point of view can be found, among others, in the memoirs of Czerny, Ries, and Schindler, as well as in the writings of Schumann, Lenz, Marx, Nohl, and partly Berlioz. On the other hand, his music began to be interpreted as an expression of the ideas of freedom, humanism, and love (at the beginning of the 20th century, this trend was taken up by, among others, Bekker, Heuss), Beethoven also began to be recognised as a philosopher (Wagner), and his work (the Ninth Symphony) as a reflection of the universe. The motif of Beethoven’s suffering and heroic strength (R. Rolland) was strongly emphasised in French literature. The influence of the republican and socialist movements led to the recognition of Beethoven’s music as the artistic embodiment of the ideals of the French Revolution (G. Pioch, C. Mauclair, the late R. Rolland, E. Herriot) and finally to the religious apotheosis of Beethoven as the comforter of humanity. All these directions of interpretation can be reduced to one concept – the romantic image of Beethoven, initiated by E.T.A. Hoffmann and B. Brentano, a concept that culminated in the search for the basis of the uniqueness of Beethoven’s art in his incurable disease (including A. Ułybyszew). A period of historical and philological research brought critical biographies and studies of his work. Works on his compositional sketches provided a new insight into Beethoven’s creative process. The stylistic, formal and aesthetic research of Riemann, Schenker, and the phenomenological studies of Mersmann and Cassirer began. An attempt to reconcile these directions of research with the psychologizing concepts of Kretschmar’s hermeneutics was made by Schering, who translated Beethoven’s works as music written to poems of world literature.
Beethoven’s work is still understood today as a perfect and powerful union of deeply human content with the shape of music. However, while admiration for the technical values of Beethoven’s music has led to a significant expansion and deepening of research on formal and technical matters, the issues of the content of his music are still burdened by concepts inherited from the tradition of the 19th century, which have grown into Beethoven’s music, such as “titanic struggle,” “strive and drive,” “suffering,” “hope” (H.H. Eggebrecht). The publication of all preserved conversation notebooks, a collective edition of sketches, letters, notes and iconographic sources will allow us to present Beethoven – the creator and his work – in a new, more complete way.
Literature:
Catalogues of works:
Thematisches Verzeichnis der im Druck erschienenen Werke von Ludwig van Beethoven, Leipzig 1851, 2nd edition 1868 G. Nottebohm, new edition (together with: E. Kastner Bibliotheca Beethoveniana…), Leipzig 1913, 1925, reprint 1968, Wiesbaden 1969; A.W. Thayer Chronologisches Verzeichnis der Werke Ludwig van Beethovens, Berlin 1865; W. Hess Beethovens Werke und ihre Gesamtausgabe, „Schweizerisches Jahrbuch für Musikwissenschaft”, V, Aarau 1931; B. Biamonti Catalogo cronologico di tutte le musiche di Beethoven, vol. 1 (1791–1800), Rome 1951; G. Kinsky, H. Halm Das Werk Beethovens. Thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen, Munich 1955; W. Hess Verzeichnis der nicht in Gesamtausgabe veröffentlichten Werke Ludwig van Beethovens, Wiesbaden 1957; G. Biamonti Catalogo cronologico e tematico delle opere di Beethoven, Turin 1968.
Autographs, sketches (editions, critical studies):
Ludwig van Beethovens Studien im Generalbass, Kontrapunkt und in der Kompositionslehre, ed. J. Ritter von Seyfried, Vienna 1832, 2nd edition Hamburg 1853, ed. H.H. Pierson, reprint 2nd edition Hildesheim 1967; G. Nottebohm Beethoveniana Leipzig 1872, reprint added to Ludwig van Beethovens Studien im Generalbass…, Hildesheim 1967; publication of both collections in Beethoveniana. Skizzenbücher, ed. P.H. Lang, New York 1970; G. Nottebohm Zweite Beethoveniana, ed. E. Mandyczewski, Leipzig 1887, reprint New York 1970, new edition Beethoveniana and Zweite Beethoveniana, Leipzig 1925; G. Nottebohm Beethovens Studien I, Leipzig 1873; Th. Frimmel Neue Beethoveniana, Vienna 1888; G. Adler Verzeichnis der musikalischen Autographen von Ludwig van Beethoven… im Besitze von A. Artaria Vienna 1890 (since 1901, the autograph collection has been in the Staatsbibliothek in Berlin); A.Ch. Kalischer Die Beethoven-Autographen der Königlichen Bibliothek zu Berlin, „Monatshefte für Musikgeschichte” XXVII–XXVIII, 1895–96; Th. Frimmel Beethoven-Studien, 2 vol., Munich 1905–06; G. Nottebohm Zwei Skizzenbücher von Beethoven aus den Jahren 1801 bis 1803, published by P. Mies, Leipzig 1924, reprint Wiesbaden 1970; P. Mies Die Bedeutung der Skizzen Beethovens, Leipzig 1925, English edition London 1929, reprint New York 1969; M. Unger Beethovens Handschrift, Bonn 1926; Ludwig van Beethoven, ein Notierungsbuch aus dem Besitze der Preussischen Staatsbibliothek zu Berlin, published by K.L. Mikulicz, Leipzig 1927; J. Schmidt-Görg Katalog der Handschriften des Beethoven-Hauses und Beethoven-Archivs, Bonn 1935; M. Unger Die Beethoven-Handschriften der Pariser Konservatoriumsbibliothek, Neues „Beethoven Jahrbuch” VI, Braunschweig 1935; M. Unger Eine Schweizer Beethoven-Sammlung, catalogue, Zurich 1939; L. Misch Beethoven’s Studies, University Oklahoma 1953; P. Mies Textkritische Untersuchungen bei Beethoven, Bonn 1957; H. Unverricht Die Eigenschriften und Originalausgaben von Werken Beethovens in ihrer Bedeutung für die moderne Textkritik, Kassel 1960; N.L. Fiszman Awtografy Ludwiga wan Beethovena w chraniliszczach SSSR, „Sowietskaja Muzyka” XXIV, 1960, German edition w „Beiträge zur Musikwissenschaft” III, 1961; B. Schwarz Beethoveniana in Soviet Russia, „The Musical Quarterly” XLVII, 1961; F. Victor Beethoven Der Mensch in seiner Handschrift, Frankfurt am Main 1961; Beethoven Kniga eskizow za 1802–03, 3 vol., published by N.L. Fiszman, Moscow 1962 (facsimile, transcription, critical study); B. Schwarz More Beethoveniana in Soviet Russia, “The Musical Quarterly” XLIX, 1963; B. van der Linde Die unorthographische Notation in Beethovens Klaviersonaten und Streichquartetten, Vienna 1963; A. Tyson The Authentic English Editions of Beethoven, «All Soul Studies» I, London 1963; H. Schmidt Verzeichnis der Skizzen Beethovens, „Beethoven Jahrbuch” VI, 1965–68, published in 1969; J. Kerman Beethoven Sketchbook in the British Museum,
“Proceedings of the Royal Musical Association” XCIII, 1966/67; N.L. Fiszman Beiträge zur Beethoveniana, “Beiträge zur Musikwissenschaft” IX, 1967; L. Misch Neue Beethoven-Studien und andere Themen, Bonn 1967; E. Barlitz Die Beethoven-Sammlung in der Musikabteilung der Deutschen Staatsbibliothek, catalogue, Berlin 1970; P.J. Willetts Beethoven and England. An Account of Sources in the British Museum, London 1970; Beethoven, Autograph Miscellany from circa 1786–1799. British Museum. Additional Manuscript 29801 fol. 39–162 (The „Kafka Sketch-book”), 2 vol., ed. J. Kerman, London 1970 (facsimile, transcription); L. Lockwood On Beethoven’s Sketches and Autographs. Some Problems of Definition and Interpretation, „Acta Musicologica” XLII, 1970; H. Unverricht Das Urtextproblem im Werk Ludwig van Beethovens, „Slovenská hudba” XIV, 1970; A. Fecker Die Beethoven-Handschriften des Kestner-Museums in Hannover, „Österreichische Musikzeitung” XXVI, 1971; W. Hess Beethovens Studien, Bonn 1972; N.L. Fiszman Iz istorii sowietskoj betchoweniany. Sbomik statiej i fragmientow iz rabot, Moscow 1972; H. Goldschmidt, C. Brenneis Aspekte der gegenwärtigen Beethoven-Forschung, „Beiträge zur Musikwissenschaft” XVIII, 1976, no. 1.
Documentation:
Beiträge zur Beethoven-Bibliographie. Studien und Materialien zum Werkverzeichnis von Kinsky-Halm, ed. K. Dorfmüller, Munich 1978; Ludwig van Beethoven Alle vertonten und musikalisch bearbeiteten Texte, published by K. Schürmann, Münster 1980.
Ein Skizzenbuch zu den Diabelli-Variationen und zur Missa Solemnis, 2 vol., edited by J. Schmidt-Görg, Bonn 1968–72; Kesslersches Skizzenbuch, facsimile of Ludwig van Beethoven’s autograph, Munich 1976, facsimile and transcript, edited by S. Brandenburg, Bonn 1978; The Beethoven Sketchbooks. History, Reconstruction, Inventory, edited by D. Johnson, A. Tyson, R. Winter, Oxford 1985.
Ludwig van Beethovens Konversationshefte, 10 vol., ed. K.-H. Köhler, G. Herre and D. Beck, Leipzig 1968–93; Das Heiligenstädter Testament Ludwig van Beethoven, published by Wiener Beethoven-Gesellschaft, Vienna 1976.
Ludwig van Beethoven. Der Briefwechsel mit dem Verlag Schott, published by Beethovenhaus in Bonn, Munich 1985; Ludwig van Beethoven Briefe über Kunst, Liebe und Freundschaft, published by V. Karbusicky, Fribourg 1992.
Ludwig van Beethoven 1770–1827, exhibition catalogue (IX–X 1977) of collections of Staatsbibliothek in Munich, edited by K. Dortmüller, H. Hell, R. Münster, collab. F.-G. Kaltwasser, Tutzing 1977; Katalog der Sammlung A. von Hoboken in der Musiksammlung der Österreichischen Nationalbibliothek, Tutzing 1982; Mythos Beethoven, exhibition catalogue, edited by R. Cadenbach, Laaber 1986; Ludwig van Beethoven. Die Werke im Spiegel seiner Zeit. Gesammelte Konzertberichte und Rezensionen bis 1830, ed. S. Kunze, collab. Th. Schmid, A. Traub, G. Burkhard, Laaber 1987.
Lists, notes:
Briefe Beethovens, published by L. Nohl, Stuttgart 1865; Neue Briefe Beethovens, published by L. Nohl, Stuttgart 1867; Piśma Ludwig wan Beethovena, published by W.D. Korganow, Petersburg 1904; Beethoven im eigenen Wort, published by F. Kerst, Berlin 1904, 2nd edition 1905, English edition New York 1905, reprint 1964; Beethovens sämtliche Briefe, 5 vol., published by A.Ch. Kalischer, Berlin 1906–08, new edition Th. Frimmel, 3 vol., 1909–11, English edition J.S. Shedlock, 2 vol., London, 2nd edition 1926; Ludwig van Beethovens sämtliche Briefe und Aufzeichnungen, 5 vol., published by F. Prelinger, Leipzig 1907–11; Ludwig van Beethovens sämtliche Briefe. Nebst einer Auswahl von Briefen an Beethoven, published by E. Kastner, Leipzig 1911, 2nd edition 1923, published by J. Kapp; M. Unger Ludwig van Beethoven und seine Verleger S.A. Steiner und Tobias Haslinger in Wien, Adolf Martin Schlesinger in Berlin, ihr Verkehr und Briefwechsel. Mit vielen ungedruckten Briefen und anderen Schriftstücken, Berlin 1921; Ludwig van Beethovens Konversationshefte, 1st part, published by W. Nohl, Munich 1923–24; Beethoven Letters in America, published by O.G. Sonneck, New York 1927 (facsimile and comments); Beethoven Ludwig van Listy wybrane, translation from German and edition by W. Fabry, Warsaw 1927; Beethovens Konversationshefte, published by G. Schünemann, 3 vol., Berlin 1941–43, Italian edition Turin 1968; J.G. Prod’homme Les cahiers de conoersation de Beethoven1819–27, Paris 1946; Beethoven: Letters. Journals and Conversations, published by M. Hamburger, London 1951; New Beethoven Letters, published by D.W. MacArdle and L. Misch, Norman (Oklahoma) 1957; 13 unbekannte Briefe an J. Gräfin Deym, published by J. Schmidt-Görg, Bonn 1957, French edition “Perspectives européennes des sciences humaines” June 1970; Beethoven élete leveleiben (‘Beethoven’s life in his lists’), published by S. Jemnitz, Budapest 1960; The Letters of Beethoven, 3 vol., translation and edition by E. Anderson, London 1961, selection of letter Selected Letters of Beethoven, London 1967, Italian edition Turin 1968; Ludwig van Beethovens Konversationshefte, vol. 4 (issue 38–48), vol. 5 (issue 49–60), vol. 1 (issue 1–10), vol. 6 (issue 61–76), vol. 2 (issue 11–22), ed. K.-H. Köhler, G. Herre, D. Beck, in collaboration with (vol. 4), P. Pötschner (vol. 5), G. Brosche (vol. 1), H. Schöne (vol. 6), G. Brosche (vol. 2), Leipzig 1968, 1970, 1972, 1974, 1976; Piśma Beethovena 1787–1811, published by N.L. Fiszman, Moskwa 1970; Beethoven Ludwig van Listy o umĕni, lásce a přátelství, Prague 1971.
Bibliographies:
A.W. Thayer Ein kritischer Beitrag zur Beethoven-Literatur, Berlin 1877; E. Kastner Bibliotheca Beethoveniana. Versuch einer Beethoven-Bibliographie, enthaltend alle vom Jahre 1827 bis 1913 erschienenen Werke über den grossen Tondichter (together with: Thematisches Verzeichnis…, published by G. Nottebohm), Leipzig 1913, 2nd edition 1925 completed by Th. Frimmel, reprint 1968, Wiesbaden 1969; A. Sandberger Ausgewählte Aufsatze zur Musikgeschichte. Forschungen, Studien und Kritiken zu Beethoven und zur Beethoven-Literatur, 2 vol., Munich 1924; Ph. Losch Beethoven-Literatur (includes years 1914–36), Neues „Beethoven Jahrbuch” I–V, VII, Augsburg and Braunschweig 1924–37; V. Carus Beethoven-Literatur (1937–38), „Neues Beethoven Jahrbuch” IX, Braunschweig 1939; E.A. Ballin Beethoven-Schrifttum 1939–52, “Beethoven Jahrbuch” I 1953/54, Bonn 1954; W. Virneisel Beethoven-Schrifttum (includes years 1953–66), „Beethoven Jahrbuch” II 1955–56, III 1957–58, V 1961–64, VI 1965–68, Bonn 1956–69; K. Sakka Beethoven-Literatur in japanischer Sprache von 1915 bis März 1956, „Beethoven Jahrbuch” II 1955–56, Bonn 1956; Z. Lissa Beethoven w polskim piśmiennictwie, „Beethoven Jahrbuch” III 1957–58, Bonn 1959; B.O. Bächler Beethoven-Bücher in spanischer Sprache von 1884 bis 1958, Beethjb IV 1959–60, Bonn 1962; B. Deane The Present State of Beethoven Studies, Studies in Music I, 1967; E. Schenk Zur Beethoven-Forschung der letzten zehn Jahre, „Arta Musicologica” XLII 1970; M.K. Černy Beethoven v české hudebni literatuře, „Opus Musicum” 1970, nos. 9–10; D. Idaszak Beethoven w polskim piśmiennictwie muzycznym, „Muzyk” 1970, no. 4/59.
Yearbooks, almanacs, jubilee books:
„Beethoven Jahrbuch”, ed. Th. Frimmel, 2 vol., Munich 1908–09; „Beethoven-Forschung”, ed. Th. Frimmel, Vienna (issues 1–4), Mödling (issues 5–10), 1911–25; «Veröffentlichungen des Beethoven-Hauses in Bonn», ed. L. Schiedermair, 10 issue, Bonn 1920–34; „Neues Beethoven Jahrbuch”, ed. A. Sandberger, 10 issue, Augsburg and Braunschweig 1924–42; Th. Frimmel Beethoven-Handbuch, 2 vol., Leipzig 1926, reprint Hildesheim 1968; Beethoven-Zentenarfeier Wien 26–31 March 1927. Festbericht vorgelegt vom Executivkomitee der Feier, Vienna 1927; Beethoven und die Gegenwart, festschrift L. Schiedermair, ed. A. Schmitz, Berlin 1937; „Beethoven Jahrbuch” 2nd series, ed. P. Mies and J. Schmidt-Görg; «Veröffendichungen des Beethoven-Hauses in Bonn», 2nd series, od 1954; P. Nettl Beethoven Encyclopedia, New York 1956, published by (new as Beethoven Handbook, New York 1967; Colloqium amicorum, festschrift J. Schmidt-Görg, ed. S. Kross and H. Schmidt (many articles about Beethoven), Bonn 1967; Beethoven im Mittelpunkt. Beiträge und Anmerkungen. Internationales Beethoven-Fest Bonn 1970, festschrift, ed. G. Schroers, Bonn 1970; Feiem zum 200. Jahrestag der Geburt Ludwig van Beethovens in der ČSSR. Tagungsbericht des II. Internationalen Musikologischen Symposiums, Pieštany-Moravany 1970, ed. L. Ballová, Bratislava 1970; Bicentenaire de Beethoven, Paris 1970; Beethoven-Studien. Festgabe der österreichischen Akademie der Wissenschaften zum 200. Geburtstag von Ludwig van Beethoven, ed. E. Schenk, Vienna 1970; Beethoven-Almanach 1970, ed. E. Tittel, Vienna 1970; Beethoven’70, ed. M. Wildschütz, Frankfurt am Main 1970; Ludwig van Beethoven 1770–1970, Bonn 1970 (also in English); Die Beethoven-Ehrung der Deutschen Demokratischen Republik 1970, Berlin 1971; Bericht über den intemationalen Beethoven-Kongress 10–12 Dezember 1970 in Berlin, ed. H.A. Brockhaus and K. Niemann, Berlin 1971; Beethoven-Symposion Wien 1970. Bericht, ed. E. Schenk, Vienna 1971; Ludwig wan Beethoven Albom, ed. T. Sokołow, Moscow 1971; Beethovenowska Sesja Naukowa 14–15 December 1970, „Zeszyt Naukowy” no. 3 Academy of Music in Wrocław, 1971.
Publikacje specjalne:
Ludwig van Beethoven 1770–1827, materials on the occasion of the 150th anniversary of Ludwig van Beethoven’s death, ed. H.G. Hoke, Berlin 1977; Bericht über den Internationalen Beethoven-Kongress 20 bis 23 III 1977 in Berlin, ed. H. Goldschmidt, K.H. Köhler, K. Niemann, Leipzig 1978; Beethoven 1977. Beiträge der Beethoven-Woche 1977, ed. F. Döhl, Zurich 1979; Beethoven Performers and Critics, materials from the international Beethoven congress in Detroit 1977, ed. R. Winter and B. Carr, Detroit 1980; Beiträge zu Beethovens Kammermusik, materials from symposium in Bonn 1984, ed. S. Brandenburg and H. Loos, Munich 1987; Beethovens Klaviertrios, material from symposium in Munich 1990, ed. R. Bockholdt and P. Weber-Bockholdt, Munich 1992.
«Beethoven-Studies», ed. A. Tyson, vol. 1 New York 1973, vol. 2 Oxford 1977, vol. 3 Cambridge 1982; «Forum» I, ed. Ch. Reynolds, London 1992; «Münchener Beethoven Studien», ed. J. Fischer, Munich 1992.
Zu Beethoven, 3 vol., ed. H. Goldschmidt, Leipzig, vol. 1: Aufsätze und Annotationen 1979, vol. 2: Aufsätze und Dokumente 1984, vol. 3 with G. Knepler, 1988; Beethoven und die Nachwelt. Materialien zur Wirkungsgeschichte Beethovens, ed. H. Loos, Bonn 1986.
Special issues of magazines dedicated to the 200th anniversary of Beethoven’s birth:
“Muzyka” 1970 no. 4 (includes: J.M. Chomiński Beethoven 1770–1970, I. Poniatowska Rozwój faktury fortepianowej Beethovena, Z. Lissa Faktura fortepianowa Beethovena a Chopina, A. Chodkowski Problem kody w formie sonatowej Beethovena, K. Wilkowska-Chomińska Beethoven i Goethe, D. Idaszak Beethoven w polskim piśmiennictwie muzycznym), “Beiträge zur Musikwissenschaft”. XII 1970, issues 3–4; „Journal of the American Musicological Society” XXIII 1970, no. 3; “The Musical Quarterly” LVI 1970, no. 4; “Österreichische Musikzeitschrift” XXV 1970, issues 12; “The Musical Times” CXI 1970, no. 12; “Muzica” XX 1970, no. 12; “Musik und Gesellschaft” XXI 1971, issue 2.
Monographs of life and works:
A separate series of Polish editions consists of annual Beethoven conferences during the Easter Beethoven Festivals, under the artistic direction of E. Penderecka. Conferences have been organized by the Academy of Music in Krakow since 1997, initially in Krakow, and since 2004 in Warsaw. A volume of materials covering three conferences is published every three years. The first edition has two volumes – in Polish and in German translation (2000), the second – also two volumes: in Polish and the second in French, German and English (2003). Further single-volume volumes from III to VIII in German and English (2006, 2009, 2012, 2015, 2018, 2021). Editorial board: M. Tomaszewski and M. Chrenkoff (volumes VII and VIII – M. Chrenkoff). Selected problem articles:
Beethoven. Studia i interpretacje, including: M. Tomaszewski Głos w dyskusji: Beethoven w Polsce w XX wieku, also: Beethoven. Struktura i ekspresja, also: Beethoven i europejski ruch romantyczny; M. Piotrowska Beethoven i naczelne idee ery klasycyzmu, also: Beethoven a idee Viktora Hugo; I. Poniatowska Szkice do problemu recepcji Beethovena w Polsce w XIX wieku, also: Fortepiany Beethovena. Poszukiwanie nowych środków ekspresji, także: Idee fakturalne i formalne w ostatnich kwartetach smyczkowych Beethovena; K.W. Niemöller Późna twórczość Beethovena w recepcji romantyków niemieckich.
Beethoven 2. Studia i interpretacje, including: I. Poniatowska „Między cierpieniem a przezwyciężeniem”, czyli Beethoven w ujęciu Witolda Hulewicza (also in German); M. Henninger-Vial Berlioz et Beethoven ou l’admiration créatrice au royaume des Grandes Symphonies; R. S. Hatten The Troping of Topics in the Symphony from Beethoven to Mahler; E. Tarasti Methaphors of Nature and organicism in Music : A «Biosemiotic» Approach; H. Loos Das Beethoven Jahr 1970.
Beethoven 3. Studien und Interpretationen, including: H. Krones “Barocke“ Rhetorik im Vokalwerk von Ludwig van Beethoven; H. W. Küthen Beethovens “Kunstvereinigung“. Die Fusion von Wiener Avantgarde und barocker Tradition; H. Loos Beethoven und der deutsche Nationalismus im 20. Jahrhundert; R.S. Hatten Beethoven’s Italian Trope: Modes of Stylistic Appropration; M. Gmys The Beethoven Frieze. The Ninth Symphony as Seen by Gustav Klimt, Ferruccio Busoni and Karol Szymanowski; Leszek Polony Die Sage des Geviertes und der Götterfunken. Über die herneneutischen Aspekte des musikalischen Raumes.
Beethoven 4. Studien und Interpretationen, including: C. Floros Mahler und Beethoven; M. Negrey The Polish Symphony after Beethoven; I. Poniatowska Das ikonische Bild Beethovens in der polnischen Lyrik; J. Cobb Biermann Beethovens without Literature. The Folksong Settings; T. Malecka Górecki Faces Beethoven; R. Chłopicka The Figure of Christ in the Garden of Olives Scene in Beethoen and Penderecki.
Beethoven 5. Studien und Interpretationen, including: E. Tarasti Principles of Moi and Soi in Beethoven’s Symphonism: Conventional, Organic and Existential Narrativity; P. Weber Natürlichkeit als kompositorisches Problem; M. Trzęsiok Natur als Idee und Natur als Erfahrung. Beethoven und Takemitsu; J. Cobb Biermann Masculine Music? Feminine Music? Beethoven’s Music for Two Women Charakters; M. Tomaszewski Zwischen Sehnsucht und Wehmu: Beethovens Lieder hinsichtlich ihrer lyrisxchen Kategorien.
Beethoven 6. Studien und Interpretationen, including: L. Polony The Heroic Myth in the Music of Beethoven; P. Weber Kriegsmusik bei Beethoven; M. Grajter The Key of War – The Key of Peace. Semantic Aspects of the D Major Tonality in Ludwig van Beethoven’s Musik; M. Tomaszewski Beethoven: Erhabenheit und Enthusiasmus; H. Jung Von der Sehnsucht nach Freiheit. Die Gefangenenchöre to Beethovens ‘Fidelio’ und Verdis ‘Nabucco”; M. Janicka-Słysz Beethoven – Ives: Fate Motiv and Transcendental Elements.
Beethoven 7. Studien und Interpretationen, including: H. Jung Nähe – Distanz – das „Neue“. Von Beethoven zu Brahms; E. Wójtowicz Krzysztof Meyer’s Hommage à Beethoven: String Quartet Nr 10, op. 82; M. Ladenburger Die bildende Kunst-Szene im Bonn und Wien der Beethoven Zeit; Johann Grimalt, Beethoven und Goya: Between Modernity and the Ancien Régime; K. Szymańska-Stułka Beethoven’s Relationship with Architecture – Notes on a Symphony Frozen in a Solid Mass.
Beethoven 8. Studies and Interpretations, including: I. Poniatowska 1997-2017. 20 Jahre Beethoven – Symposien der Musikakademie in Krakau, also: Deotyma – Beethovens Symphonie des Lebens; L. Xiaolong Reviving the Idyllic Idea in Contemporary China by Way of Listening to Beethoven’s’Pastoral’ Symphony; N. Holger Petersen The Musical (Sung) Image of Christ in Beethoven’s ‚Christus am Ölberge’ and the Notion of Sublime; E. Schreiber Transformationen Beethovens, Das Durchführungsprinzip nach Helmut Lachenmann.
Studies on composition and ideology:
W.F. Lenz Beethoven et ses trois styles. Analyse des sonatas de piano etc., Brussels 1854, new edition, ed. M.D. Calvocoressi, 1909; E. Elterlein Beethovens Symphonien nach ihrem idealen Gehalt mit Rücksicht auf Haydns und Mozarts Symphonien, Dresden 1854, 3rd edition 1866, English edition New York 1900; E. Elterlein Beethovens Klavier-Sonaten, Leipzig 1856, 5th edition 1895, English edition London 1898; H. Berlioz Étude critique des symphonies de Beethoven, in: Voyage musical en Allemagne et en Italie, I, Paris 1844; H. Berlioz Fidelio, opéra en trois actes de Beethoven, in: A travers chants, Paris 1862, German edition Leipzig 1864; A.B. Marx Anleitung zum Vortrag Beethovenscher Klavierwerke, Berlin 1863, 2nd edition 1902, new edition E. Schmitz, Regensburg 1912; T. Heim Beethovens Streichquartette, Leipzig 1885, 2nd edition 1910; G. Grove Beethoven and his Nine Symphonies, London 1896, 4th edition 1906, reprint of the 3rd edition from 1898, London 1962 and Gloucester (Massachusetts) 1963, Dutch edition the Hague 1903, German edition Leipzig 1906; C. Reinecke Die Beethovenschen Klavier-Sonaten, Leipzig 1896, 6th edition 1912, English edition London 1898; H. Ehrlich Die Ornamentik in Beethovens Klavier-Werken, Leipzig 1897, French and English edition Leipzig 1898; A. Colombani Le nove sinfonie di Beethoven, Turin 1897; F. Kullak Beethoven’s Piano Playing, New York 1901, reprint 1973; W. Nagel Beethoven und seine Klavier-Sonaten, 2 vol., Langensalza 1905, 2nd edition 1923–24; J.G. Prod’homme Les symphonies de Beethoven, Paris 1906, 5th edition 1949; H. Riemann Beethovens sämtliche Streichquartette, Leipzig 1911; H. Schenker Beethovens neunte Sinfonie, Vienna 1912, reprint 1969; H. Schenker Beethovens fünfte Sinfonie, Vienna 1912, 2nd edition 1925, reprint 1969; H. Gal Die Stileigentümlichkeiten des jungen Beethoven, “Studien zur Musikwissenschaft” April, 1916; H. Riemann Ludwig van Beethovens sämtliche Klavier-Solosonaten…, 3 vol., Berlin 1918–19, 4th edition 1920; H. Mersmann Beethoven. Die Synthese der Stile, Berlin 1921, 2nd edition 1922, Japanese edition Tokio 1970; G. Becking Studien zu Beethovens Personalstil, das Scherzothema, Leipzig 1921; A. Schmitz Beethovens “Zwei Prinzipe,” Berlin 1923; J.H. Wetzel Beethovens Violinsonaten I, Berlin 1924; J. de Marliave Les Quatuors de Beethoven, Paris 1925, new edition 1960, English edition London 1928, reprint New York 1961; K. Nef Die neun Sinfonien Beethovens, Leipzig 1928, reprint Wiesbaden 1970; H. Boettcher Beethoven als Liederkomponist, Augsburg 1928; R. Rolland Beethoven. Les grandés époques creatrices, 7 vol., Paris 1929–49, new edition in 1st vol. 1966, Japanese edition Tokio 1970, vol. 1: De l’Héroïque à l’Appassionata Paris 1929, 2nd edition 1950, German edition Beethovens Meisterjahre. Von der Eroica bis zur Appassionata, Leipzig 1930, Darmstadt 1951, Berlin 1952, English edition New York 1964 and Gloucester (Massachusetts) 1965, vol. 2: Goethe et Beethoven, Paris 1930, 2nd edition 1948, 3rd edition 1951, German edition (fragment) Zurich 1929, English edition New York 1931, reprint 1968 and new English edition 1973; W. Engelsmann Beethovens Kompositionspläne…, Augsburg 1931; F. Lederer Beethovens Bearbeitungen schottischer und anderer Volkslieder, Bonn 1934; A. Schering Beethoven in neuer Deutung, Leipzig 1934; A. Schering Beethoven und die Dichtung, Berlin 1936, reprint Hildesheim 1973; J.G. Prod’homme Les sonates pour piano de Beethoven, Paris 1937, 2nd edition 1950, German edition Wiesbaden 1948; J. Boyer Le “romantisme” de Beethoven…, Paris 1938; B. Szabolcsi Beethoven, Müvesz és Müalkotás két korszak hátárán (‘Beethoven, artist and his work on the border of two eras’), Budapest 1947, 3rd edition 1960; D.G. Mason The Quartets of Beethoven, New York 1947, 2nd edition 1970; J. Schmidt-Görg Missa solemnis, Bonn 1948; K.v. Fischer Die Beziehungen von Form und Motiv in Beethovens Instrumentalwerken, Strassburg 1948, Baden-Baden 2nd edition 1972; H. Eggeling Das Lagenproblem in Beethovens Klaviermusik, Cologne 1951; J.A. Kriemlow Fortiepiannyje sonaty Beethovena, Moscow 1953, 2nd edition 1970; H.R. Chase Tonality and Tonal Factors in the Piano Sonatas of Beethoven, dissertation, University Michigan 1953; S. Haraschin Koncerty fortepianowe Beethovena, Kraków 1954, 2nd edition 1964; H. Beck Studien über das Tempoproblem bei Beethoven, dissertation, Erlangen 1954; A. Schering Humor, Heldentum, Tragik bei Beethoven, Strasburg 1955; G. Scuderi Beethoven, le sonate per pianoforte, Milan 1955; M. Busch Formprinzipien der Variation bei Beethoven und Schubert, dissertation, Cologne 1955; W.F. Warch A Study of the Modulation Technique of Beethoven, dissertation, University Rochester 1955; F. Liessem Die Entwicklung der Klaviertechnik in den Sonaten der Wiener Klassiker Haydn, Mozart und Beethoven, dissertation, Innsbruck 1956; E. Fischer Ludwig van Beethovens Klaviersonaten, Wiesbaden 1956, Frankfurt am Main 1966, Italian edition Rome 1958, English edition London 1959; L. Misch Die Faktoren der Einheit in der Mehrsätzigkeit der Werke Beethovens, Bonn 1958; R. Stuber Die Klavierbegleitung im Liede von Haydn, Mozart und Beethoven, dissertation, Berno 1958; J.V. Cockshoot The Fugue in Beethovens Piano Music, London 1959; H.A. Löw Die Improvisation im Klavierwerk Ludwig van Beethovens, dissertation, Saarbrucken 1962; J. and B. Massin Les Concertos pour piano de Beethoven et leur place dans l’oeuvre, Paris 1962; W Hess Beethovens Bühnenwerke, Göttingen 1962; J.L. Soroker Skripicznyje sonaty Beethovena, ich stil i ispołnienije, Moscow 1963; C. Czerny Über den richtigen Yortrag der sämtlichen Beethovenschen Klavierwerke, ed. and comment P. Badura-Skoda, Vienna 1963; F. D’Amico La sinfonia e Beethoven, Rome 1964; J. Mahaim Beethoven. Naissance et renaissance des derniers quatuors, 2 vol., Paris 1964; A. Chodkowski Klasyczna forma sonatowa w twórczości kameralnej Ludwiga van Beethovena, dissertation, Institute of Musicology, University of Warsaw 1964 (typescript); Ph.F. Radcliffe Beethoven`s String Quartets, London 1965; J. Szigeti Beethovens Violinwerke. Hinweise für Interpreten und Hörer, Zurich 1965, Romanian edition Bucharest 1968, Italian edition 1969; H. Grundmann, P. Mies Studien zum Klavierspiel Beethovens und seiner Zeitgenossen, Bonn 1966; J. Kerman The Beethoven Quartets, New York 1967; S.E. Pawczinskij Niekotoryje nowatorskije czerty stila Beethovena, Moscow 1967; W. Karthaus Das Ereignis Beethoven, Demonstration seiner musikschöpferischen Verfahren, Berlin 1968; E. Kreft Die späten Quartette Beethovens, Bonn 1969; P. Badura-Skoda, J. Demus Die Klaviersonaten von Ludwig van Beethoven, Wiesbaden 1970; P. Mies Die Krise der Konzertkadenz bei Beethoven, Bonn 1970; J. Owczinnikow Czerty skwoznogo razwitija garmonii w fortiepiannych sonatach Beethovena, K woprosu o garmoniczeskom jedinstwie, dissertation, Moscow 1970; Ludwig wan Beethoven, estietika, tworczeskoje nasledije, ispołnitielstwo, ed. L. Raaben, A. Gozenpud, Leningrad 1970; W.W. Protopopow Princypy muzykalnoj formy Beethovena, Sonatno-simfoniczeskije cykły Op. 1–81, Moscow 1970; M. Noël Les 9 symphonies de Beethoven “Son message de vie”, Brussels 1971; M. Butor Dialogue avec 33 variations de Ludwig van Beethoven sur une valse de Diabelli, Paris 1971; H.H. Eggebrecht Beethoven und der Begriff der Klassik, “Sitzungsberichte der Österreichischen Akademie der Wissenschaften, Philosophisch-historische Klasse,” issue 271, Vienna 1971; Ch. Rosen The Classical Style: Haydn, Mozart, Beethoven, New York 1971; H.H. Eggebrecht Zur Geschichte der Beethoven-Rezeption. Beethoven 1970, Mainz 1972; I. Poniatowska Faktura fortepianowa Beethovena, Warsaw 1972; M.S. Druskin Fortiepiannyje koncerty Beethovena, Moscow 1973; L.M. Mironow Trio Beethovena dla fortiepiano, skripki i wiołonczeli. Niekotoryje woprosy ispołnienija, Moscow 1974; H. Goldschmidt Die Erscheinung Beethoven, Leipzig 1974; J. Kaiser Beethovens 32 Klaviersonaten und ihre Interpreten, Frankfurt am Main 1975; P. Badura-Skoda and J. Demus Die Klaviersonaten von Ludwig Beethoven, Wiesbaden 1970, French translation J. Malignon, Paris 1981; K. Mürins Geroj III-tej Simfonii – zawietnaja mieezta Beethoven, Riga 1970; R. Simpson Beethoven Symphonies, London 1970, 2nd edition 1978; Ludwig van Beethoven Symphony Nr 5 in C minor. An Authoritative Score, the Sketches, Historical Background, Analysis, Views and Comments, ed. E. Forbes, New York 1971; Ch. Rosen The Classical Style. Haydn, Mozart, Beethoven, New York 1971, French edition Paris 1978, German edition Kassel 1983; K. Mürins Popytka naucznogo issledowanija ideino-obraznogo sodierżanija Sonaty op. 109, Riga 1974; W. Koller Aus der Werkstatt der Wiener Klassiker. Bearbeitungen Haydns, Mozarts und Beethovens, introduction H. Hell, preface Th.G. Georgiades, Tutzing 1975; M. Kopfermann Beiträge zur musikalischen Analyse später Werke Ludwig van Beethovens, Munich 1975; K. Kropfinger Wagner und Beethoven Untersuchungen zur Beethoven Rezeption R. Wagners, Regensburg 1975; P. Loyonnet Les 32 sonates pour piano. Journal intime de Beethoven, Paris 1977; F.-J. Metzger Genèse et message de l’Ode à la joie. Final de la IXᵉ symphonie de Beethoven, Obenheim 1977; E. Paolone La grande sconosciuta „Grosse Sonate für das Hammerklavier op. 106” di Ludwig van Beethoven. Analisi storica e filologica dell’ ordine dei tempi, Cagliari 1977; P. Gülke Zur Neuausgabe der Sinfonie Nr 5 von Ludwig van Beethoven Werk und Edition, Leipzig 1978; Beethoven Das Problem der Interpretation, «Musik-Konzepte» VIII, red. H.-K. Metzger and R. Riehn, Munich 1979, 2nd edition 1985; W. Hess Beethoven Studien zu seinem Werk, Winterthur 1981; D.B. Greene Temporal Processes in Beethoven’s Music, New York 1982; A. Münster Studien zu Beethovens Diabelli-Variationen, «Veröffentlichungen des Beethoven-hauses in Bonn» new 4th series, Munich 1982; L. Hübsch Ludwig van Beethoven Rasumovsky-Quartette, Munich 1983; A. Basso Origine e ispirazione massoniche della Nona Sinfonia. Beethoven et la Philharmonie Society di Londra, «Storia della Massoneria. Testi e studi» II, Turin 1983; Ludwig van Beethoven, ed. L. Finscher, «Wege der Forschung» vol. 428, Darmstadt 1983; E. Meyer Untersuchungen zur Sonatensatzform bei Ludwig van Beethoven Die Kopfsätze der Klavier-Sonaten op. 79 und op. 110, Munich 1985; F. Scarpellini Pancrazi Il testo della Waldstein-Sonate di Beethoven e la sua fortuna editoriale, Perugia 1986; M. Zenek Die Bach-Rezeption des späten Beethoven Zum Verhältnis von Musikhistoriographie und Rezeptionsgeschichtsschreibung der „Klassik”, Wiesbaden 1986; W. Hess Das Fidelio Buch. Beethovens Oper Fidelio, ihre Geschichte und ihre drei Fassungen, Winterthur 1986; Beethoven. Analecta varia, «Musik-Konzepte» LVI, ed. H.-K. Metzger and R. Riehn, Munich 1987; P. Dinslage Studien zum Verhältnis von Harmonik, Metrik und Form in den Klaviersonaten Ludwig van Beethovens, Munich 1987; W. Kinderman Beethovens Diabelli Variations, Oxford 1987; J. Lonchampt Les quatuors à cordes de Beethoven, Paris 1987; U. Siegele Beethoven Formale Strategien der späten Quartette, «Musik-Konzepte» LXVII/LXVIII, ed. H.-K. Metzger and R. Riehn, Munich 1990; W. Drabkin Beethoven Missa solemnis, Cambridge 1991; M. Fröhlich Beethovens Appassionata Sonata, Oxford 1991; Beethovens Compositional Process, ed. W. Kinderman, London 1991; U. Schmitt Revolution im Konzertsaal. Zur Beethovens Rezeption im 19. Jahrhundert, Mainz 1992; R. Kolisch Tempo und Charakter in Beethovens Musik, «Musik-Konzepte» LXXVI–LXXVIII, ed. H.-K. Metzger and R. Riehn, Munich 1992; L. Lockwood Beethoven Studies in the Creative Process, Cambridge (Massachusetts) 1992; A. Eichhorn Beethovens Neunte Symphonie. Die Geschichte ihrer Aufführungen und Rezeption, «Kasseler Schriften zur Musik» III, Kassel 1993; P. Weber-Bockholdt Beethovens Bearbeitungen britischer Lieder, «Studien zur Musik», Munich 1994; W. Karthaus Das Ereignis Beethoven Im Spiegel der Zeiten –Zeugnisse und Erkentnisse, Über den Zeiten – Demonstration seiner Musikschöpferischen Verfahren, Berlin-Lichtenfelde 1968; M. Ladenburger Der Wiener Kongress im Spiegel der Musik, w: Beethoven zwischen Revolution und Restauration, red. H. Lühning, S. Brandenburg, Bonn 1989; S. Maynard Beethoven Essays, USA 1990; E. Tarasti Beethoven’s Waldstein and the generative cource, in: “Indiana Theory Review”, ed. R. Littlefield, vol. 12 1991; I. Bent, Plato-Beethoven: A Hermeneutics for Nineteenth Century Music, in: Music Theory in the Age of Romanticism, New York 1996; T. Sipe Beethoven: Eroica Synphony, Cambridge 1998; P. Clive Beethoven and His World: A Biographical Dictionary, New York 2001; D. B. Dennis Beethoven at large reception in literature, fine arts philosophy and politics, ed. G. Stanley, in: The Cambridge Companion to Beethoven, Cambridge 2000; H. C. Vera De “la sublime” en Kant y en La Musica de Beethoven, 2003; S. Rumph Beethoven after Napoleon. Political Romanticism in the Late Works, Los Angeles 2004; N. L. Matthew Beethoven’s political music and the Idea of the heroic style, dissertation Cornell University, 2006; D. B. Dennis Beethoven in German Politics, 1870–1989, USA 2009; A. Czartkowski Beethoven. Próba portretu duchowego, Warsaw 2010; T. Mastroianni Beethoven / Kant Time and Space, 2010; M. Dudek Topos muzyczny w mszach Ludwiga van Beethovena, „Zeszyty Naukowe KUL” 54 (2011) no. 2 (214); J. Swafford Beethoven. Anguish and Triumph, Boston 2014.
Beethoven-Rezeption im Mittel – und Osteuropa, conference materials, Leipzig 22–26 December 2014, published by Helmut Loos, ed. Klaus Koch, Gudrun Schröder Verlag, Leipzig 2015, including: K. P. Koch Versuch einer Systematisieung von Beethovens Beziehungen zum östlichen Europa; L. Vikarius Von „Beethoven und die Ungarn“ bis zum „Ungarischen Beethoven“: Zu béla Bartôks Beethoven Rezeption: Jana Lengowa, Beethoven Rezeption in Pressburgiim Zeitraum von 1833 bis 1918; M. Kokanović-Marković Zur Geschichte der Beethoven- Rezeption in Novi Sad und Belgrad im 19. Jahrghundert; F. Popa Ideologische Einflüsse auf die Beethoven-Rezeption in Rumänien; E. Zynkevych Beethoven in the concert life of Kiev; L. Kyyanowska Literarische Reflexionen über Beethovens Musik in der ukrainischer Kultur des 19./20.Jahrhunderts; I. Poniatowska Beethoven – Warschau – Chopin im 19. Jahrhundert; G. Tsmyg Wirkungen Beethovens in der weissrusischen Musikkultur. Kompositorisches Schaffen und Aufführungspraxis; M. Raku Die Beethoven-Jubiläen im Sowjetrussland der 1920er Jahre;
M. Dudek Ludwik van Beethoven. Artysta w kręgu filozofii, literatury, religii, techniki i spraw polityczno-społecznych, „Zeszyty Naukowe KUL,” 60, 2017 no. 1 (237); M. E. Bonds (Cary C. Boshamer Distinguished Professor) The Beethoven Syndrome, Oxford 2019; H. Skarżyński Powrót Beethovena, 2021.
Compositions
[WoO] = Werke ohne Opus – works not opused by Beethoven, but arranged by G. Kinsky and H. Halm (see Catalogs of Beethoven’s works) Instrumental:
for symphonic orchestra:
Symphony No. 1 in C major, Op. 21, 1800, dedication: baron G. van Swieten, premiere Vienna 2I May 1800, voice published in Vienna 1801 Hoffmeister; score published: 1809 C & S
Symphony No. 2 in D major (see: transcript for piano trio), Op. 36, 1802, dedication: prince C. von Lichnowsky, premiere Vienna 5 April 1803, voice published in 1804 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: 1808 C & S
Symphony No. 3 in E-flat major (Sinfonia eroica), Op. 55, 1803, dedication: prince F.J. von Lobkowitz, premiere Vienna 7 April 1805, voice published: 1806 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: 1809 C & S
Symphony No. 4 in B-flat major, Op. 60, 1806, dedication: count F. von Oppersdorff, premiere Vienna March 1807, voice published: 1808 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Bonn 1823 Simrock
Symphony No. 5 in C minor, Op. 67, 1808, dedication: prince F.J. von Lobkowitz and count A. von Razumowski, premiere Vienna 22 December 1808, voice published: 1809 B & H; score published: 1826 B & H; facsimile: 1942 B & H, ed. G. Schünemann
Symphony No. 6 in F major (Sinfonia pastorale), Op. 68, 1808, dedication: prince F.J. von Lobkowitz and count A. von Razumowski, premiere Vienna 22 December 1808, voice published: 1809 B & H; score published: 1826 B & H
Symphony No. 7 in A major, Op. 92, 1812, dedication: count M. von Fries, premiere Vienna 8 December 1813, score and voice published: Vienna 1816 Steiner
Symphony No. 8 in F major, Op. 93, 1812, premiere Vienna 28 February 1814, score and voice published: Vienna 1817 Steiner; 1st version of the 1st part ending: Gesamtausgabe supplement April 1961
Symphony No. 9 in D minor (finale to the text of Schiller’s Ode to Joy with the participation of 4 solo voices and a choir), Op. 125, 1824, dedication: Frederick William III pf Prussia, premiere Vienna 7 May 1824, score and voice published: Mainz 1826 Schott; facsimile: Leipzig 1924 Kistner & Siegel, reprint 1975 Peters
Wellingtons Sieg oder die Schlacht bei Vittoria, Op. 91, 1813, dedication: prince Georg English regent, premiere Vienna, 8 December 1813, score published: Vienna 1816 Steiner; 1st version of the 2nd part for panharmonicon J.N. Mälzl: Gesamtausgabe supplement April, 1961; original piano reduction from 1814 or 1816: Gesamtausgabe supplement August, 1964
Overture in C minor to tragedy Coriolan by H.J. Collin, Op. 62, 1807, dedication: H.J. von Collin, premiere Vienna, March 1807, voice published: 1808 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Bonn 1846 Simrock
Overture in C major „Zur Namensfeier” (Name Day, for Franz Joseph I’s name day), Op. 115, 1815, dedication: prince A. Radziwiłł , premiere Vienna 25 December 1815, score and voice published: Vienna 1825 Steiner
Overture in C major to play Die Weihe des Hauses (The Consecration of the House) C. Meisel, Op. 124, 1822, dedication: prince N. Golicyn, premiere Vienna 3 October 1822, score published: Mainz 1825 Schott
overtures: Leonore I-III, Die Geschöpfe des Prometheus, Egmont, Die Ruinen von Athen, König Stephan – see: scenic pieces
12 minuets, Op. [7], 1795, piano reduction publication: Vienna 1795 Artaria; score published: Gesamtausgabe series 2, no. 7/16
12 deutsche Tänze, Op. [8], 1795, piano reduction publication: Vienna 1795 Artaria; score published: Gesamtausgabe series 2, no. 8/17
6 minuets, Op. [10], before 1796, edition of presumed orchestral version lost; piano reduction: Vienna 1796 Artaria
12 minuets, Op. [12], 1799, unknown manuscript; copies partly in foreign preparations; piano reduction 1903, score published in 1906 Heugel, ed. J. Chantavoine (with text changes); original edition „Musik-Archiv” no. 183, Kassel
12 deutsche Tänze, Op. [13], before 1795, published in 1955 Nagel, ed. W. Hess, orchestra version lost; piano reduction: Vienna 1929 Strache, ed. O.E. Deutsch
12 contradances, Op. [14], published in 1800–01, voice and piano reduction of 6 contradances published in: Vienna 1802 Mollo; duplicates nos. 4, 8, 12 probably in foreign editions
12 écossaises, Op. [16], 1807, voice and piano reduction published in: Vienna 1807 Traeg (12 lost écossaises for piano or orchestra: W. Hess doesn’t identify it with WoO 16 and with edition from 1807), lost edition
12 waltzes (arrangements of scherzos from symphonies and sonatas), 1807, as above
11 Wiener Tänze (so-called „Mödlinger Tänze”), Op. [17], 1819, score published: 1907 B & H, ed. H. Riemann
Gratulations-Menuett in E-flat major (for the name day of Josephstädter Theatre’s director, C.E Henslera), Op. [3], 1822, voice published: Vienna 1832 Artaria; score published: Gesamtausgabe series 2 no. 4/13
for wind band:
March in F major no. 1 (Marsch für die Böhmische Landwehr), Op. [18], 1809 and 1822, score published: Berlin 1818/19 Schlesinger (edition as Yorck`scher Marsch); original version: „Beethoven-Jahrbuch” 1953/54, ed. W. Hess; reprint Gesamtausgabe supplement April 1961
March in C major, Op. [20], 1809–10 (?), published in Gesamtausgabe series 25, no. 25/288
March in F major no. 2 (for Archduke Anthony), Op. [19], 1810 and 1823, publication of all variants of the 2nd version: „Beethoven-Jahrbuch” 1953/54, ed. W. Hess; Gesamtausgabe supplement April 1961
Polonaise in D major, Op. [21], 1810, published in Gesamtausgabe series 25, no. 26/289
Écossaise in D major, Op. [22], 1810, published in Gesamtausgabe series 25, no. 27/290
Écossaise in G major, Op. [23], 1810, publication of transcription for piano by C. Czerny „Musikalischer Magazin” I, issue 27, page 108, no. 80
March in D major (Marsch zur grossen Wachtparade), Op. [24], 1816, piano reduction publication: Vienna 1827 Cappi & Czerny; score published: Gesamtausgabe series 2, no. 6/15
for solo instruments and orchestra:
Piano Concerto in E-flat major, Op. [4], 1784, published in Gesamtausgabe series 25, no. 47/310
Rondo in B-flat major for piano and orchestra, Op. [6], circa 1795, voice published: Vienna 1829 Diabelli, ed. C. Czerny; score published: Gesamtausgabe series 9, no. 9/72; 1st version: Gesamtausgabe supplement March 1960
Piano Concerto No. 2 in B-flat major, Op. 19, 1st version 1794/95, dedication: C.N.E. von Nickelsberg, premiere Vienna 29 March 1795 (?), fragment of a 1st part publication: Gesamtausgabe supplement March, 1960; 2nd version 1798–1801, voice published: Vienna 1801 Hoffmeister, Leipzig 1801 Bureau de Musique; score published: Frankfurt 1834 Dunst
Piano Concerto No. 1 in C major, Op. 15, 1798, dedication: duchess Barbara Odescalchi, premiere Prague 1798 (?), voice published: Vienna 1801 Mollo; score published: Vienna 1833 Haslinger
Piano Concerto No. 3 in C minor (see: Kleines Konzertfinale in C major for piano), Op. 37, 1800–02, dedication: Ludwik Ferdynand, Prussian prince, premiere Vienna 5 April 1803, voice published: 1804 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Frankfurt 1834/35 Dunst
Piano Concerto No. 4 in G major (see also cadenzas for concertos Nos. 1–4), Op. 58, 1806, dedication: archduke Rudolf, premiere Vienna March 1807, voice published: 1808 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Leipzig 1861 Peters
Piano Concerto No. 5 in E-flat major, Op. 73, 1809, dedication: archduke Rudolf, premiere Leipzig 28 November 1811, voice published: 1811 B & H; score published: 1857 B & H
Violin Concerto in C major (fragment), Op. [5], circa 1790/92, dedication: G. von Breuning, published in Vienna 1879 Schreiber, ed. J. Hellmesberger
Romance in G major for violin and orchestra, Op. 40, circa 1802 or 1798/99, voice published: Leipzig 1803 Hoffmeister; score published: Gesamtausgabe series 4, no. 2/30
Romance in F major for violin and orchestra, Op. 50, 1802 or 1798/99, voice published: 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Gesamtausgabe series 4, no. 3/31
Violin Concerto in D major, Op. 61, 1806, dedication: S. von Breuning, premiere Vienna 23 December 1806, voice published: 1808 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Leipzig 1861 Peters; 1st version: Gesamtausgabe supplement October, 1969; transcript for piano and orchestra (see also piano cadenzas for concertos), 1807, dedication: Julie von Breuning, voice published: 1808 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Oboe Concerto in F major, after 1792 (?), manuscript edition lost; incipits of the manuscript of the three movements of the concert at the Beethoven-Haus in Bonn
Romance cantabile in E minor for piano, flute and bassoon with two oboes and strings (fragment), circa 1792/93, published in 1952 B & H, ed. W. Hess
Triple Concerto in D major for piano, violin and cello, Op. 56, 1804, dedication: prince FJ. von Lobkowitz, premiere Vienna May 1801, voice published: 1807 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Frankfurt 1836 Dunst
Fantasia in C minor for piano, choir and orchestra, Op. 80, 1809, dedication: Duke Maximilian Joseph in Bavaria, premiere Vienna 22 December 1808, voice published: 1811 B & H; score published: 1849 B & H; violin voice of the orchestral introduction composed after premiere Gesamtausgabe supplement October, 1969
chamber:
Octet in E-flat major for 2 oboes, 2 clarinets, 2 horns and 2 bassoons (see: String Quintet in E-flat major Op. 4), Op. 103, 1792, voice published: Vienna 1830 Artaria; score published: Gesamtausgabe series 8, no. 1/59
Rondo (Rondino) in E-flat major for 2 oboes, 2 clarinets, 2 horns and 2 bassoons, Op. [25], 1792, edition of transcript for piano for 2 and 4 hands by C. Czerny: Vienna 1829 Diabelli; score published: Vienna 1830 Diabelli
Septet in E-flat major for violin, alto, clarinet, horn, bassoon, cello and string bass (see: Trio in E-flat major Op. 38), Op. 20, 1800, dedication: Maria Theresa, Archduchess of Austria, voice published: Vienna and Leipzig 1802 Hoffmeister
Sextet in E-flat major for 2 horns and string quartet, Op. 81b, 1794 or 1795, voice published: Bonn 1810 Simrock; score published: 1846 Simrock
Sextet in E-flat major for 2 clarinets, 2 horns and 2 bassoons, Op. 71, 1796, voice published: 1810 B & H; score published: GA series 8, no. 3/61
March in B-flat major for 2 clarinets, 2 horns and 2 bassoons, Op. [29], 1807 (?), published in Gesamtausgabe series 25, no. 29/292; original composer’s piano reduction: „Schweizerische Musikpadagogische Blatter” 1931 no. 1, ed. W. Hess
String Quintet in E-flat major (based on Octet in E-flat major Op. 103; see: Trio in E-flat major Op. 63), Op. 4, 1795/96, voice published: Vienna 1796 Artaria; score published: Offenbach am Main 1829 André
String Quintet in C major, Op. 29, 1801, dedication: count M. von Fries, voice published: 1802 B & H; score published: Berlin 1828 Schlesinger
transcript of Fugue in B-flat minor from 1st vol. Das Wohltemperierte Klavier by Bach, for 2 violins, alto and 2 cellos, 1801/2, published in „Schweizeriche Musikzeitung und Sängerblatt” October 1953
String Quintet in C minor (transcript of Piano Trio in C minor Op. 1 no. 3), Op. 104, 1817, voice published: Vienna 1819 Artaria; score: Gesamtausgabe series 5, no. 6/36a
part of String Quintet in D minor, 1817, „Schweizeriche Musikzeitung und Sängerblatt” November, 1955
Fugue in D major for string quintet, Op. 137, 1817, voice and score published in: Vienna 1827 Haslinger
String Quintet in C major (uncompleted; see: transcript for piano Klavierstück in C major, WoO 62), 1826
String Quintet in E-flat major for piano, oboe, clarinet, bassoon and horn, Op. 16, 1797 partly before 1796, dedication: prince Joseph zu Schwarzenberg, voice published: Vienna 1801 Mollo; score published: Frankfurt after 1830 Dunst
3 piano quartets: in E-flat major, in D major, in C major, op. [36], 1785, voice published: Vienna 1828 Artaria; score published: Gesamtausgabe series 10, nos. 2–4/75–77
Minuet in A-flat major for string quartet (without trio; see transcript for piano), circa 1794, published in Gesamtausgabe supplement June, 1963
Praeludium and Fugue in F major for string quartet, circa 1794–95, published in „Nagels Musik-Archiv” nos. 186–88, 1955, ed. W. Hess
Praeludium and Fugue in C major for string quartet, circa 1794–95, published in „Nagels Musik-Archiv” nos. 186–88, 1955, ed. W. Hess
6 string quartets: in F major, in G major, in D major, in C minor, in A major, in B-flat major, Op. 18, 1800, dedication: prince F.J. von Lobkowitz, voice published: Vienna 1801 Mollo; score published: Offenbach am Main 1829 André; 1st version of Quartet in F major: «Veröffentlichungen des Beethoven-Hauses» issue 2, 1922, ed. J. Wedig
String Quartet in F major (transcript of Piano Sonata in E major Op. 14 no. 1), 1802, dedication: baroness Josefine von Braun, voice published: 1802 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Leipzig 1911 Eulenburg
3 string quartets: in F major, in E minor, in C major, Op. 59, 1806, dedication: count A. Razumowski, voice published: 1808 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; score published: Offenbach am Main 1830 André
String Quartet in E-flat major, Op. 74, 1809, dedication: prince F.J. von Lobkowitz, voice published: 1810 B & H; score published: Offenbach am Main 1833 André, B & H
String Quartet in F minor, Op. 95, 1810, dedication: M. Zmeškal, voice published: Vienna 1816 Steiner; score published: Offenbach am Main 1835 André
String Quartet in E-flat major, Op. 127, 1825, dedication: prince N. Golicyn, published in Mainz 1826 Schott
String Quartet in A minor, Op. 132, 1825, dedication: prince N. Golicyn, published in Berlin and Paris 1827 Schlesinger
String Quartet in B-flat major, Op. 130, 1825, finale 1826, dedication: Fr. N. Golicyn, Vienna 1827 Artaria
Great Fugue in B-flat major (originally planes as a finale of Quartet in B-flat major Op. 130; see: transcript for piano for 4 hands, Op. 134), Op. 133, 1825, dedication: Archduke Rudolf, published in Vienna 1827 Artaria
String Quartet in C-sharp minor, Op. 131, 1826, dedication: baron J. von Stutterheim, published in Mainz 1827 Schott
String Quartet in F major, Op. 135, 1826, dedication: J. Wolfmayer, published in Berlin and Paris 1827 Schlesinger
3 equals for 4 trombones: in D minor, in D major, in B-flat major, Op. [30], 1812, Gesamtausgabe series 25, no. 30/293
Allegretto in E-flat major for piano trio, early period in Bonn, published in London 1955 Elkin, ed. J. Werner
Trio in G major for piano, flute and bassoon, Op. [37], 1790, Gesamtausgabe series 25, no. 31/294
Piano Trio in E-flat major, Op. [38], circa 1790–91, published in Frankfurt 1830 Dunst
3 piano trios: in E-flat major, in G major, in C minor (see: Strin Quintet in C minor Op. 104), Op. 1, 1794, dedication: prince C. von Lichnowsky, published in Vienna 1795 Artaria; composer edition for piano Scherzo from Trio in G major 1794–99: Gesamtausgabe supplement August, 1964
Trio in B-flat major for piano, harpsichord and cello, Op. 11, 1798, dedication: Countess Maria W. von Thun published in Vienna 1798 Mollo
14 Variations in E-flat major for piano trio, Op. 44, 1800 (?), published in Leipzig 1804 Hoffmeister
Trio in E-flat major for piano, harpsichord or violin and cello (transcript of Septet in E-flat major Op. 20), Op. 38, 1803, dedication: prof. J.A. Schmidt, published in Bonn 1805 Simrock; 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
transcript of Symphony No. 2 in D major Op. 36 for piano trio, 1805, 1806 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Piano Trio in E-flat major (transcript of String Quintet in E-flat major Op. 4), Op. 63, published in Vienna 1806 Artaria (unauthorized transcription)
2 piano trios: in D major (so-called “Geistertrio”) and in E-flat major, Op. 70, 1808, dedication: Countess Marie Erdödy, published in 1809 B & H
Piano Trio in B-flat major (so-called “Erzherzogtrio”), Op. 97, 1811, dedication: Archduke Rudolf, published in Vienna 1816 Steiner
Piano Trio in B-flat major (1st part), Op. [39], 1812, dedication: M. Brentano, published in Frankfurt 1830 Dunst
Variations in G major on song Ich bin der Schneider Kakadu by W. Müller, for piano trio, Op. 121a, before 1816, published in Vienna 1824 Steiner
String Trio in E-flat major (see: Sonata in E-flat major for piano and cello, Op. 64), Op. 3, 1792, voice published: Vienna 1796 Artaria; score published: Mannheim 1848 Heckel; 1st version of finale: Gesamtausgabe supplement June 1963; 1st part and fragment of 2nd part prepared for piano trio 1800–17, based on composer’s instructions: Gesamtausgabe supplement September 1965
Praeludium and Fugue in E minor for two violins and cello, circa 1794–95, published in „Nagels Musik-Archiv” nos. 186–88, 1955, ed. W. Hess
6 minuets for 2 violins and cello (for string orchestra?), Op. [9], circa 1795, published in Mainz 1933 Schott, ed. G. Kinsky
Serenade in D major for violin, alto and cello (see Notturno in D major for piano and alto, Op. 42), Op. 8, circa 1796–97, voice published: 1797 Artaria; score published: Mannheim 1848 Heckel
3 string trios: in G major, in D major, in C minor, Op. 9, 1798, dedication: count J.G. von Browne, voice published: Vienna 1798 Traeg; score published: Mannheim 1848 Heckel; 2nd trio to Scherzo from Trio in G major: «Veröffentlichungen des Beethoven-Hauses» issue 3, 1924, ed. A. Schmitz
7 landlerische Tänze probably for 2 violins and cello (for string orchestra?), Op. [11], 1798, transcript for piano: Vienna 1799 Artaria
6 ländlerische Tänze for 2 violins and bass (for string orchestra?), Op. [15], 1802, voice published: Vienna 1802 Artaria; score published: Gesamtausgabe series 25, no. 28/291
Serenade in D major for flute, violin and alto (see: Serenade in D major for piano and flute, Op. 41), Op. 25, 1796, voice published: Vienna 1802 Cappi; score published: Mannheim 1848 Heckel
Trio in C major for 2 oboes and English horn, Op. 87, 1794, published in Vienna 1806 Artaria
Variations in C major on the aria Là ci darem la mano from Mozart’s opera Don Juan, for 2 oboes and English horn, Op. [28], circa 1796–97, published in 1914 B & H, ed. F. Stein
3 duos for clarinet and bassoon: in C major, in F major, in B-flat major, Op. [27], before 1792, voice published: Paris circa 1810–15 Lefort, Offenbach am Main 1830 André; score published: Gesamtausgabe series 8, no. 6/64
Duo in G major for 2 flutes (Allegro and Menuet), for J.M. Degenhart, Op. [26], 1792, published in A.W. Thayer Ludvig van Beethovens Leben vol. 1, supplement, Berlin 2nd published in 1901; voices: 1902 B & H, ed. A.G. Kurth
Duo in E-flat major for alto and cello (“Duett mit zwei obligaten Augengläsern”), Op. [32], circa 1795, 1st part: Leipzig 1912 Peters, ed. F. Stein; 2nd part (fragments): “Musica” September 1953, ed. W. Hess; 3rd part: London 1952 Peters-Hinrichsen, ed. K. Haas; whole: Gesamtausgabe supplement June, 1963
Sonatina in C minor and Adagio in E-flat major for mandolin and harpsichord, Op. [43], 1796, published in Sonatina: “Grove’s Dictionary of Music and Musicians”, vol. 2, 1st published in 1880; Adagio: Gesamtausgabe series 25, no. 33/296; 2nd version: „Sudetendeutsches Musikarchiv” 1940, no. 2, ed. K.M. Komma
Sonatina in C major and Andante con variazioni in D major for mandolin and harpsichord, Op. [44], 1796, dedication Sonatinas: Countess Josephine Clary, published in Sonatina: “Der Merker” No. 3, issue 12, June, 1912 supplement, ed. A. Chitz; Andante: „Sudetendeutsches Musikarchiv” 1940, no. 1, ed. K.M. Komma
Kleines Stück in A major for 2 violins, Op. [34], 1822, dedication: A.J. Boucher, published in facsimile: “Revue Internationale de musique” 1 March 1898; T.v. Frimmel Ludwig van Beethoven, Berlin 1901
Kleines Stück in A major, canon, probably for 2 violins, op. [35], 1825, dedication: O. de Boer, published in L. Nohl Neue Briefe Beethovens, Stuttgart 1867, no. 290
for solo instruments and piano:
Rondo in G major for violin and piano, Op. [41], circa 1793, published in Bonn 1808 Simrock
12 variations in F major on aria Se vuo ballare from Mozart’s opera The Marriage of Figaro, for violin and piano, Op. [40], 1793, dedication: Eleonore von Breuning, published in Vienna 1793 Artaria
6 deutsche Tänze (Allemandes) for violin and piano, Op. [42], 1795 or 1796, published in Vienna 1814 Maisch
3 violin sonatas: in D major, in A major, in E-flat major, Op. 12, circa 1797/98, dedication: A. Salieri, published in Vienna 1799 Artaria
Violin Sonata in A minor, Op. 23, 1800/01, dedication: count M. von Fries, published in Vienna 1801 Mollo
Violin Sonata in F major, Op. 24, 1800/01, dedication: count M. von Fries, published in Vienna 1801 Mollo
3 violin sonatas: in A major, in C minor, in G major, Op. 30, 1802, dedication: emperor Alexander I, published in 1803 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Violin Sonata in A major (so-called „Kreutzer”), 1803, 3rd part: 1802, dedication: R. Kreutzer, published in Bonn and Paris 1805 Simrock
Violin Sonata in G major, Op. 96, 1812, dedication: Archduke Rudolf, published in Vienna 1816 Steiner
Nocturne in D major for alto and piano (transcript Serenade in D major Op. 8 for violin, alto and cello), Op. 42, published in Leipzig 1804 Hoffmeister (foreign edition, authorised)
2 cello sonatas: in F major, in G minor (for P. Duport), Op. 5, 1796, dedication: Fryderyk Wilhelm, King of Prussia, Vienna 1797 Artaria
12 variations in G-dur on theme from oratory Judas Maccabeus by Händel, for cello and piano, op. [45], 1796, dedication: prince Christiane von Lichnowsky, published in Vienna 1797 Artaria
12 variations in F major on aria Ein Mädchen oder Weibchen from Mozart’s opera The Magic Flute for cello and piano, Op. 66, circa 1798, published in Vienna 1798 Traeg
7 variations in E-flat major on aria Bei Männern, welche Liebe fühlen from Mozart’s opera The Magic Flute for cello and piano, Op. [46], 1801, dedication: count J.G. von Browne, published in Vienna 1802 Mollo
Cello Sonata in E-flat major (transcript of String Trio in E-flat major Op. 3), Op. 64, published in Vienna 1807 Artaria (nonauthorised transcript)
Cello Sonata in A major Op. 69, 1808, dedication: baron I. von Gleichenstein, published in 1809 B & H; facsimile 1st part: „The Musie Forum” No. 2, supplement 1970, ed. L. Lockwood
2 cello sonatas: in C major, in D major Op. 102, 1815, dedication: Countess Marie von Erdödy, published in Bonn 1817 Simrock
Serenade in D major for flute and piano (transcript of Serenade in D major Op. 25, for flute, violin and alto), Op. 41, published in Leipzig 1803 Hoffmeister (foreign edition, authorised)
Sonata in F major for horn and piano Op. 17, 1800, dedication: baroness Josefine von Braun, published in Vienna 1801 Mollo
piano:
3 sonatas (so-called „Kurfürstensonaten”) in E-flat major, in F minor, in D major, Op. [47], 1783, dedication: Archbishop Maximilian Friedrich, Elector of Cologne, published in Spira 1783 Bossler
2 parts of Sonatina in F major, Op. [50], circa 1788–90, dedication: F.G. Wegeler, published in facsimile: supplement no. 4 in Beethoven Briefe an N. Simrock, E.G. Wegeler…, Berlin 1909, ed. L. Schmidt
Sonatina in C major (fragment), Op. [51], 1792, dedication: Eleonor von Breuning, published in Frankfurt 1830 Dunst
3 sonatas: in F minor, in A major, in C major Op. 2, 1795, dedication: J. Haydn, published in Vienna 1796 Artaria
Sonatina in G major, Op. 49 No. 2, 1796, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Sonata in E-flat major Op. 7, 1797, dedication: Countess Babette (Barbara) von Keglevich, published in Vienna 1797 Artaria
3 sonatas: in C minor, in F major, in D major, Op. 10, 1798, dedication: Countess Anna M. von Browne, published in Vienna 1798 Eder
Sonatina in G minor, Op. 49 No. 1, 1798, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Sonata in C minor (Sonate pathétique), Op. 13, 1799, dedication: prince C. von Lichnowsky, published in Vienna 1799 Eder
2 sonatas: in E major, in G major (see: transcript of Sonata in E major for string quartet), Op. 14, 1799, dedication: baroness Josefine von Braun, published in Vienna 1799 Mollo
Sonata in B-flat major, Op. 22, 1800, dedication: count J.G. von Browne, published in Vienna 1802 Hoffmeister
Sonata in A-flat major, Op. 26, 1801, dedication: prince C. von Lichnowsky, published in Vienna 1802 Cappi; facsimile: Bonn 1893, ed. E. Prieger
Sonata in E-flat major “quasi una fantasia”, Op. 27 No. 1, 1801, dedication: Duchess Josephine von Liechtenstein, published in Vienna 1802 Cappi
Sonata in C-sharp minor „quasi una fantasia” (so-called “Moonlight”), Op. 27 No. 2, 1801, dedication: Countess Giulietta Guicciardi, published in Vienna 1802 Cappi; facsimile: Vienna 1921 „Universal Edition”, ed. H. Schenker
Sonata in D major, Op. 28, 1801, dedication: J.E. von Sonnenfels, published in Vienna 1802 Cappi
3 sonatas: in G major, in D minor, in E-flat major Op. 31, 1802, published in Zurich 1803 and1804 Nägeli
Sonata in C major (so-called “Waldstein”), op. 53, 1804, dedication: count F. Waldstein, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; facsimile: Bonn 1955
Sonata in F major, Op. 54, 1804, published in 1806 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Sonata in F minor (so-called “Appassionata”), Op. 57, 1805, dedication: count F. von Brunsvik, published in 1807 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; facsimile: Paris 1927 (?), Leipzig 1970
Sonata in F-sharp minor, Op. 78, 1809, dedication: Countess Therese von Brunsvik, published in 1810 B & H; facsimile: Munich 1923
Sonata in G major, Op. 79, 1809
Sonata in E-flat major (parts: Das Lebewohl, Abwesenheit, das Wiedersehn – Les adieux, L’absence, Le retour), Op. 81a, dedication: Archduke Rudolf, published in 1810 B & H, 1811 B & H
Sonata in E minor, Op. 90, 1814, dedication: count M. von Lichnowsky, published in Vienna 1815 Steiner
Sonata in A major, Op. 101, 1816, dedication: baroness Dorothea Ertmann, published in Vienna 1817 Steiner
Sonata in B-flat major (Grosse Sonate für das Hammerklavier), Op. 106, 1818, dedication: Archduke Rudolf, published in Vienna 1819 Artaria, 1819 B & H, Berlin 1819 Schlesinger
Sonata in E major, Op. 109, 1820, dedication: M. Brentano, published in Berlin 1821 Schlesinger; facsimile: New York 1965, ed. O. Jonas
Sonata in A-flat major remake of the last part Op. 110, 1821, published in Paris and Berlin 1822 Schlesinger; Vienna 1822 Steiner, Artaria, Mechetti, Cappi & Diabelli, London 1822 Boosey, Chappel, Clementi; facsimile: Stuttgart 1967, ed. K.K. Komma
Sonata in C minor, Op. 111, 1822, dedication: Archduke Rudolf, published in Paris and Berlin 1822 Schlesinger; Vienna 1822 Steiner, Artaria, Sauer; London 1822 Boosey, Chappel, Clementi; facsimile: Munich 1921, Leipzig 1952, New York 1969, ed. E. Simon
Kleines Konzertfinale in C major (edition of codes of the 3rd part of Piano Concerto in C minor Op. 37), 1820, published in F. Starke Wiener Piano-Forte-Schule, 3rd volume, no. 24, p. 62, Vienna 1821
9 variation in C minor on E.Ch. Dressler’s March Op. [63], 1782, dedication: Countess Felice von Wolf-Metternich, published in Mannheim 1782 Götz
6 easy variations in F major on Swiss songs for piano and harp, Op. [64], circa 1790, published in Bonn circa 1798 Simrock
24 variations in D major on arietta Venni amore by V. Righini, Op. [65], 1st version, 1790, published in Mannheim 1791 Götz (lost edition), 2nd version, 1802, published in Vienna 1802 Traeg
13 variations in A major on aria Es war einmal ein alter Mann from singspiel Das rote Käppchen by Dittersdorf, Op. [66], 1792, published in Bonn 1793 Simrock
12 variations in C major on minuet “à la Vigano” from ballet Le nozze disturbate by J. Haibel, Op. [68], 1795, published in Vienna 1796 Artaria
9 variations in A major on aria Quant’e più bello from the opera La molinara by Paisiell, Op. [69], 1795, dedication: prince C. von Lichnowsky, published in Vienna 1795 Traeg
6 variations in G major on aria Nel cor più non mi sento from the opera La molinara by Paisiell, Op. [70], 1795, Vienna 1796 Traeg
12 variations in A major on Russian dance from the ballet Das Waldmädchen by E. Wranitzky, Op. [71], 1796, dedication: Countess Anna M. von Browne, published in Vienna 1797 Artaria
8 variations in C major on aria Une fièvre brûlante from the opera Richard the Lionheart by Grétry, Op. [72], 1797, published in Vienna 1798 Traeg
10 variations in B-flat major on duo La stessa, la stessima from the opera Falstaff by Salieri, Op. [73], 1799, dedication: Countess Babette (Barbara) von Keglevich, published in Vienna 1799 Artaria
7 variations in F major on quartet Kind, willst du ruhig schlafen from the opera Das unterbrochene Opferfest by P. Winter, Op. [75], 1799, published in Vienna 1799 Mollo
6 (or 8) variations in F major on tercet Tändeln und Scherzen from the opera Soliman II by F.X. Süssmayr, Op. [76], 1799, dedication: Countess Anna M. von Browne, published in Vienna 1799 Eder
6 easy variations in G major on own theme, Op. [77], 1800, published in Vienna 1800 Traeg
6 variations in F major, Op. 34, 1802, dedication: Duchess Barbara Odescalchi, published in 1803 B & H
15 variations in E-flat major (with fugue), Op. 35, 1802, dedication: count M. von Lichnowsky, published in 1803 B & H
7 variations in C major on song God save the King, Op. [78], published in 1804 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
5 variations in D major on song Rule Britannia, Op. [79], 1803, published in 1804 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Theme with variations in A major, 1803, published in Gesamtausgabe supplement no. 9, 1965
32 variations in C minor on own theme, Op. [80], circa 1806, published in 1807 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
6 variations in D major, Op. 76, 1809, dedication: F. Oliva, published in 1810 B & H
Theme in G major O Hoffnung to variations for Archduke Rudolph, Op. [200], 1818, published in Vienna 1819 Steiner «Museum für Klaviermusik» issue 7
33 variations in C major on A. Diabelli’s waltz, Op. 120, 1823, dedication: Antonie Brentano, published in Vienna 1823 Cappi & Diabelli
6 themes with variations accompanied by ad libitum of flute or violin, Op. 105, 1818, published in London 1819 Preston, Edinburgh 1819 Thomson, Vienna 1819 Artaria
10 themes with variations z accompanied by ad libitum of flute or violin, Op. 107, 1818, London 1819 Preston, Edinburgh 1819 Thomson, Bonn 1820 Simrock
Rondo in C major, Op. [48], 1783, published in Spira 1783 Bossler in: Blumenlese für Klavierliebhaber, part 2
Rondo in A major, Op. [49], 1783, published in Spira 1784 Bossler in: Neue Blumenlese für Klavierliebhaber part 1
Minuet in E-flat major, Op. [82], 1783 (?),1803 (?), published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
2 preludes through all major keys for piano or organ, Op. 39, 1789, published in Leipzig 1803 Hoffmeister
Klavierstück “Lustig-traurig” in C major, in C minor, Op. [54], 1790, 1798 (?), Gesamtausgabe series 25, no. 37/300
Menuet in F major, early years in Vienna, published in: Urtextausgabe der Bagatellen Beethoven, ed. O. von Irmer, Munich 1957 Henle
Andante in C major, early years in Vienna, published in: Urtextausgabe der Bagatellen Beethoven, ed. O. von Irmer, Munich 1957 Henle
2 piano exercises: in B-flat major, in C major, early years in Vienna, published in G. Nottebohm Zweite Beethoveniana, Leipzig 1887, p. 361–62
Fugue in C major, 3-voice, circa 1794, published in “The Musical Times” No. 2, 1955, p. 76–79, ed. A.E.F. Dickinson
Minuet in A major (original transcript for string quartet), circa 1794, published in Gesamtausgabe supplement August 1964
3 small imitative parts, circa 1794, published in “The Musical Times” November 1892, p. 651, ed. J.S. Shedlock
Minuet in C major, circa 1794/95, published in Gesamtausgabe supplement IX, 1965
Rondo a capriccio in G major “Die Wut über den verlorenen Groschen”, Op. 129, circa 1795–98, published in Vienna 1828 Diabelli
Allegretto in C major, Op. [53], 1796–98, published in Gesamtausgabe series 25, no. 36/299; 2nd version: Gesamtausgabe supplement 1965
Bagatelle in C minor, Op. [52], 1797, published in Gesamtausgabe series 25, no. 34/297
Rondo in C major, Op. 51 no. 1, 1797, published in Vienna 1797 Artaria
Allegretto in C minor, circa 1797, published in Gesamtausgabe supplement 1965
Rondo in G major, Op. 51 no. 2, 1800, published in Vienna 1802 Artaria
2 bagatelles: in C major, in E-flat major, circa 1800, published in Gesamtausgabe supplement No. 9 1965
Allemande in A major, Op. [81], circa 1800, published in Gesamtausgabe series 25, no. 44/307
Anglaise in D major, circa 1800, published in Gesamtausgabe supplement IX, 1965
Canon in G major, 2-voice, 1802, published in Beethoven Kniga eskizow…, ed. N.L. Fiszman, Moscow 1962, p.97
7 bagatelles, Op. 33, 1802, published in 1803 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Kanon in A-flat major, 2-voice, 1803, published in Gesamtausgabe supplement 1965
Praeludium in F minor (remake of an earlier composition), Op. [55], 1803, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Minuet in E-flat major, Op. [82], 1803, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Landler in C minor, 1803, published in Gesamtausgabe supplement IX, 1965
Bagatelle in C major, Op. [56], 1804, Gesamtausgabe series 25, no. 34/297
Andante in F major (Andante favori, primarily as the 2nd part of Sonata in C major Op. 53), op. [57], 1804, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
6 écossaises in E-flat major, op. [83], 1806 (?), published in Vienna 1807 Traeg in: 12 Ecossaisen (lost edition); Gesamtausgabe series 25, no. 39/302
Fantasia in B major (beginning in G minor), Op. 77, 1809, dedication: count F. von Brunsvik, published in 1810 B & H
Klavierstück in A minor “für Elise” bagatelle, Op. [59], 1810, published in L. Nohl Neue Briefe Beethovens, Leipzig 1867, no. 33, p. 28–33
2 deutsche (Tänze), 1811/12, Gesamtausgabe supplement XI, 1965
Polonaise in C major, Op. 89, 1814, dedication: Elżbieta Aleksiejewna, Russian Empress, published in Vienna 1815 Mechetti
Klavierstück in B-flat major, Op. [60], 1818, dedication: Maria Szymanowska (?), published in supplement do “Berliner allgemeine musikalische Zeitung” No. 1, no. 49, 8 XII 1824; published separately: Berlin 1840 Schlesinger
11 bagatelles, Op. 119, nos. 1–6 1822, nos. 7–11 1820 (partly earlier), published in nos. 1–6: Paris 1823 Schlesinger, London 1823 Clementi, Vienna 1824 Sauer; nos. 7–11: F. Starke Wiener Piano-Forte-Schule, 3rd chap., nos. 28–32, p. 71, Vienna 1821
Allegretto in B minor, Op. [61], 1821, dedication: F. Piringer, published in A. Robitschek “Deutsche Kunst-und Musikzeitung” no. 6, 15 March 1893, p. 66, ed. T. Frimmel
Bagatelle in C major, 1823/24, published in Gesamtausgabe supplement 1965
6 bagatelles, Op. 126, 1824, published in Mainz 1825 Schott
Waltz in E-flat major, Op. [84], 1824, published in Musikalisches Angebinde zum neuen Jahre. Eine Sammlung 40 neuer Walzer…, ed. C.F. Muller, Vienna 1824
Waltz in D major, Op. [85], 1825, published in Seyd uns… fünfzig neue Walzer, ed. C.F. Muller, Vienna 1825 Sauer
Klavierstück in G minor, bagatelle, Op. [61a], 1825, dedication: Sarah Burney Payne, published in: Urtextausgabe der Bagatellen Beethoven, ed. O. von Irmer, Munich 1957 Henie
Écossaise in E-flat major, Op. [86], 1825, published in Ernst und Tändeley, eine Sammlung verschiedener Gesellschafttänze…, ed. C.F. Muller, Vienna 1825 Sauer
Klavierstück in C major “Letzter musikalischer Gedanke” (transcript for piano for 2 and 4 hands of the unfinished String Quintet in C major), Op. [62], published in Vienna 1838 Diabelli (transcript by A. Diabelli)
Cadences to Piano Concerto in D minor by Mozart, Op. [58], 1805 or 1808/9, published in cadences to the 1st part: supplement do “Wiener Zeitschrift für Kunst, Literatur, Theater und Mode” no. 10, 23 January 1836; published in cadences to the 3rd part: Gesamtausgabe series 9, vol. 2, p. 138
cadences to piano concertos No. 1–4 – and to the transcript of Violin Concerto in D major for piano with orchestra, 1809, published in Gesamtausgabe series 9, no. 70a and 3 cadences to Piano Concerto in G major and 2 cadences to rondo from piano transcript of Violin Concerto in D major: Gesamtausgabe supplement no. 10, 1969
for piano for 4 hands:
Sonata in D major, Op. 6, 1797, published in Vienna 1797 Artaria
8 variations in C major on Count von Waldstein, Op. [67], 1792, published in Bonn 1794 Simrock
6 variations in D major on song Ich denke dein by Goethe, Op. [74], dedication: Countess Josephine Deym, nee Brunsvik and Therese Brunsvik, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna, nos. 1, 2, 5, 6 – 1799, nos. 3, 4 – 1802/03
3 Marches: in C major, in E-flat major, in D major, Op. 45, 1802 and 1803, dedication: Duchess Maria Esterházy, published in 1804 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Transcript of Fugue Op. 133 for string quartet, Op. 134, 1826, dedication: Archduke Rudolf, published in Vienna 1827 Artaria
for other solo instruments:
Fugue in D major for organ, 2-voice, op. [31], 1783, published in Gesamtausgabe series 25, no. 46/309
5 Stücke for “Flötenuhr”, Op. [33], 1799, published partly earlier; whole: Gesamtausgabe supplement no. 7, 1963
Grenadiermarsch in F major for “Flötenuhr”, 1807–12, published in G. Kinsky Beethoven Almanach der deutschen Musikbücherei auf das Jahr 1927, Regensburg 1927, p. 330–332
vocal:
Italian polyphonic singing (Mehrstimmige italienische Gesänge), Op. [99], text P. Metastasio, no. 14 (?), published in Gesamtausgabe supplement 1959: 1. E pur fra le tempeste for tenor, text from cantata La tempesta, 1792–94, 2. Sei mio ben, duo in C major for soprano and tenor, text from cantata XXIV, circa 1792–94, 3. Ma tu tremi, tercet in G major for soprano alto and tenor (see: aria for soprano and string orchestra WoO 92a), text from cantata La tempesta, circa 1792–94, 4. Bei labbri, che Amore, duo in E-flat major for soprano and tenor, text from cantata La gelosia, 1793–94, 5. Scrivo in te, duo in D major for soprano and tenor, text from cantata Il nome, circa 1795–96, 6. Per te d’amico aprile, tercet in E-flat major for soprano, alto and bass, text from cantata Il nome, circa 1795–96, 7. Nei campi e nelle selve, quartet in C major for soprano, alto, tenor and bass (2 versions), text from cantata XXVII, circa 1795–96, 8. Salvo tu vuoi lo sposo, duo in C major for soprano and tenor, text from opera Zenobia, 9. Fra tutte le pene, various versions: duo in F major for tenor and bass; tercet in E-flat major for soprano, alto and tenor (2 versions); quartet in B-flat major for soprano, alto, tenor and bass (2 versions), text from opera Zenobia, circa 1796–97, 10. Quella cetra ah pur tu sei, 3 versions: quartet in G major for soprano, alto, tenor and bass, quartet in F major for soprano, alto, tenor and bass, tercet in A major for soprano, tenor and bass, text from: Cantata per giorno natalizio di Maria Teresa, circa 1796–97, 11. Chi mai di questo core, tercet in C major for soprano, tenor and bass, text from cantata Il ritorno, circa 1799, 12. Giura il nocchier, 3 versions: quartet in C major for soprano, alto, tenor and bass, 1792–94, quartet in B-flat major for soprano, alto, tenor and bass, circa 1800–02, tercet in C major for soprano, alto and bass, circa 1800–02, text from cantata La gelosia, 13. Già la notte s’avvicina, 2 wersje: kwartet B-dur for soprano, alt, tenor and bas, tercet in C major for alto, tenor and bass, text from La pesca, circa 1802, 14. Languisco e moro per te, mio ben, ch`adoro, duo, 1802–03, 15. Silvio amante disperato, quartet in A minor for soprano, alto, tenor and bass, text from cantata XXVII, 15. O care selve (see: songs for voice, choir and piano WoO 119), text from opera Olimpiade
Also: canons, music jokes
vocal-instrumental:
songs for voice and piano:
Schilderung eines Mädchens, Op. [107], 1783, published in Blumenlese für Klavierliebhaber, part 2, Spira 1783 Bossler
An einen Säugling, Op. [108], text J. von Döhring, 1783, published in Neue Blumenlese für Klavierliebhaber, part 2, Spira 1784 Bossler
Elegie auf den Tod eines Pudels, Op. [110], circa 1787, published in (?) Gesamtausgabe series 25, no. 21/284
An Laura, Op. [112], text F. von Matthisson, circa 1790, published in Heyer-Katalog IV, Leipzig 1916, score example p. 3–5, ed. G. Kinsky
Klage, Op. [113], text L. Hölty 1790, published in Gesamtausgabe series 25, no. 20/283
8 Lieder, Op. 52, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna, 1. Urians Reise um die Welt, text M. Claudius, 1785 (?), 2. Feuerfarb, text Sophie Mereau, 1792, published in 1st version: „Musik im Unterricht” no. 46 1, November 1955, p. 338, 339, ed. W. Hess; 2nd version: 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna, 3. Das Liedchen von der Ruhe, text H.W.F. Ueltzen, before 1795, 4. Mailied (Maigesang), text J.W. Goethe, before 1796, 5. Mollys Abschied, text G.A. Bürger, (?) 1790–92, 6. Die Liebe, text G.E. Lessing, (?) 1790–92, 7. Marmotte, text J.W. Goethe, 1790–92, 8. Das Blümchen Wunderhold, text G.A. Bürger, (?) 1790–92
Selbstgespräch, Op. [114], text J.W.L. Gleim, 1792, published in Gesamtausgabe series 2 5, no. 12/275
An Minna, Op. [115], 1792/93, published in Gesamtausgabe series 25, no. 17/280
Que le temps me dure, chanson, Op. [116], text J.J. Rousseau, 1792–93, published in 1st version (in C minor): “Die Musik”, I, issue 12, March 1902, p. 1078, ed. J. Chantavoine; 1st and 2nd version (in C major): “Zeitschrift für Musik” CII, issue 11, November 1935, p. 1200–03, ed. M. Unger
Seufzer eines Ungeliebten i Gegenliebe, double song, Op. [118], text G.A. Bürger, 1794/95, published in Vienna 1837 Diabelli
Man strebt die Flamme zu verhehlen (for von Weissenthurn), Op. [120], circa 1795, published in Gesamtausgabe series 25, no. 15/278
Adelaide, Op. 46, text F. Matthisson, published in 1795/96, Vienna 1797 Artaria
4 ariettas and duo with Italian text prepared to publication, Op. 82, text nos. 2–5: P. Metastasio, 1795/96, 1809, published in 1811 B & H with German texts Ch. Schreibra; 2nd version no. 1: „Zeitschrift für Musik” CV, issue 2, 1958, p. 153–56; versions before July 1811: Gesamtausgabe supplement V, 1962, 1. Hoffnung “Dimmi, ben mio”, 2. Liebes-Klage “T`intendo, si mio cor”, 3. Arietta buffa. L`amante impatiente, 4. Arietta assai seriosa. L`amante impatiente, 5. Lebens-Genuss “Odi l’aura, che dolce sospira”, duo
Abschiedsgesang an Wiens Bürger, Pp. [121], text Friedelberg, 1796, published in Vienna 1796 Artaria
Kriegslied der Österreicher, Pp. [122], text Friedelberg, 1797, published in Vienna 1797 Artaria
Zärtliche Liebe, Op. [123], text K.F. Herresee, circa 1797, published in Vienna 1803 Traeg, no. 1 in: 2 Lieder
Opferlied (see edition for soprano, choir and orchestra Op. 121 b), op. [126], text F. Matthisson, 1796 and 1798, published in Bonn 1808 Simrock; no. 2 in: 3 deutsche Lieder, 1st version: Gesamtausgabe supplement V, 1962
La Tiranna, canzonetta, Op. [125]text (English text in: W. Wennington), circa 1798, published in London po 1800 Broderip (with English text)
La partenza, canzonetta, Op. [124], text P. Metastasio Canzonetta V, 1797/98, published in Vienna 1803 Traeg, no. 2 in: 2 Lieder
Neue Liebe, neues Leben (2nd version – see Op. 75), Op. [127], text J.W Goethe, 1798/99, published in Bonn 1808 Simrock; no. 1 in: 3 deutsche Lieder
Plaisir d`aimer, chanson, op. [128], 1799, published in “Die Musik” I, issue 12, March 1902, p. 1079–82, ed. J. Chantavoine
6 Lieder (dedication: Count J.G. von Browne), Op. 48 Ch.F. Gellert, 1802, published in Vienna 1803 Artaria; ending of the 1st version Busslied: Gesamtausgabe supplement V, 1962, 1. Bitten, 2. Die Liebe des Nächsten, 3. Vom Tode, 4. Die Ehre Gottes aus der Natur, 5. Gottes Macht und Vorsehung 6. Busslied
Der Wachtelschlag, Op. [129], text S.F. Sauer, 1803, published in 1804 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Das Glück der Freundschaft, Op. 88, 1803, published in Vienna 1803 Löschenkehl
Gedenke mein, Op. [130], 1804, published in Vienna 1844 Haslinger
An die Hoffnung (other version – see: Op. 94), op. 32, text Ch.A. Tiedge, 1805, published in 1805 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna
Ais die Geliebte sich trennen wollte lub Empfindungen bei Lydiens Untreue, Op. [132], text from French version E.T.A. Hoffmanna edition by S. von Breuning, 1806, published in supplement no. 2 to „Allgemeine Muzikzeitung” XII, no. 8, 22 November 1809
In questa tomba oscura, arietta, Op. [133], text G. Carpani, 1807, published in: In questa tomba oscura (as no. 63), Vienna 1808 Mollo
Sehnsucht (4 versions), Op. [134], text J.W. Goethe, 1807–08, published in 1810 Kunst und Industrie Kontor (Bureau des Arts et d’Industrie, Contor della Arte d’Industrion), Vienna; facsimile: Bonn 1970, ed. P. Mies
Die laute Klage, Op. [135], text J.G. Herder, 1809 (?), published in Vienna 1837 Diabelli
Andenken, Op. [136], text F. von Matthisson, 1809, published in 1810 B&H
Lied aus der Ferne, Op. [137], text Ch.L. Reissig, 1809, published in 1810 B & H; 1st version: Gesamtausgabe supplement no. 5, 1962
Der Jüngling in der Fremde, op. [138], text Ch.L. Reissig, 1809, published in Vienna 1810 Artaria
Der Liebende, op. [139], text Ch.L. Reissig,1809, published in Vienna 1810 Artaria
sketch of ballad Erlkönig, Op. [131], text J.W. Goethe, before 1800 and 1800–10, published in Leipzig 1897 Schuberth, edition by R. Becker
6 Gesänge (dedication: Duchess Caroline Kinsky), Op. 75, published in 1810 B & H, 1. Mignon, text J.W. Goethe, 1809, 2. Neue Liebe, neues Leben, text J.W. Goethe, 1st version – see WoO 127, before 1800, 2nd version 1809, 3. Aus Goethes „Faust”, text J.W. Goethe, before 1800, 4. Gretels Warnung, text G.A. von Halem, circa 1798, 5. An den fernen Geliebten, text Ch.L. Reissig, 1809, 6. Der Zufriedene, text Ch.L. Reissig, 1809
3 Gesänge (dedication: Duchess Caroline Kinsky), Op. 83, text J.W. Goethe, 1810, published in1811 B & H, 1. Wonne der Wehmut, published in 1st version: Gesamtausgabe supplement no. 5, 1962, 2. Sehnsucht, 3. Mit einem gemalten Band
An die Geliebte (2 versions), Op. [140], text J.L. Stell, 1811, published in 1st version: after 1825 Gombart; 2nd version: supplement to “Friedensblätter”, Vienna 12 July 1814; published separately: 1817 Simrock
Der Gesang der Nachtigall, Op. [141], text J.G. Herder, 1813, published in Gesamtausgabe series 25, no. 14/277
Der Bardengeist, Op. [142], text F.R. Hermann, 1813, published in supplement do “Musen-Almanach für das Jahr 1814”, Vienna 1814 Gerold, ed. J. Erichson
Des Kriegers Abschied, Op. [143], text Ch.L. Reissig, 1814, published in Ch.L. Reissig Sechs deutsche Gedichte, Vienna 1815 Mechetti
Merkenstein (see version for 2 voices, Op. 100), Op. [144], text J.B. Rupprecht, 1814, published in supplement do “Selam. Ein Almanach… 1816”, Vienna 1815 Strauss, ed. J.F. Castelli
An die Hoffnung (dedication: Duchess Caroline Kinsky; other version – see: Op. 32), Op. 94, text Ch.A. Tiedge, 1815, published in Vienna 1816 Steiner
Das Geheimnis (Liebe und Wahrheit), Op. [145], text I.H.C. von Wessenberg, 1815, published in supplement do “Wiener Modezeitung und Zeitschrift für Kunst, schöne Literatur und Theater” 1816, issue 9, p. 76; published separately: Bonn 1817 Simrock
Sehnsucht, Op. [146], text Ch.L. Reissig, 1815/16, published in Drey deutsche Gedichte für das Piano-Forte aus Reissig’s Blümchen der Einsamkeit… (no. 1), Vienna 1816 Artaria
An die ferne Geliebte, (6 songs, dedication: prince F.J. Lobkowitz), Op. 98, text A. Jeitteles, 1816, published in Vienna 1816 Steiner; facsimile: Munich 1970
Der Mann von Wort, Op. 99, text F.A. Kleinschmid, 1816, published in Vienna 1816 Steiner
Ruf vom Berge, Op. [147], text F. Treitschke, 1816, published in score supplement to Gedichte von F. Treitschke, p. 21, Vienna 1817 Wallishausser
So oder so, op. [148], text C. Lappe, 1817, published in supplement do „Wiener Modezeitung…” II, 15 II 1817, s. 111; published in oddzielne: Bonn 1817 Simrock
Resignation, Op. [149], text count P. von Haugwitz, 1817, published in supplement do “Wiener Zeitschrift für Kunst, Literatur, Theater und Mode” III, no. 39, 31 March 1818, p. 316
Das liebe Kätzchen and Der Knabe auf dem Berge (Austrian folk songs), 1820, published in “Niederrheinische Musikzeitung”, 23 September 1865
Abendlied unterm gestirnten Himmel, Op. [150], text H. Goeble, 1820, published in supplement to “Wiener Zeitschrift für Kunst, Literatur, Theater und Mode”, no. 38, 28 March 1820
Der Kuss, arietta, Op. 128, text Ch.F. Weisse, 1820, published in Mainz 1825 Schott
Der edle Mensch sei hülfreich und gut (to the album of Baroness Cäcilie von Eskeles), Op. [151], text J.W. Goethe, 1823, published in G. Lange Musikgeschichtliches Berlin 1900, p. 16
Un lieto brindisi, small cantata for soprano, 2 tenors, bass and piano, Op. [103], text C. Bondi, 1814, published in “Jahrbuch der literarischen Vereinigung Winterthur” 1945, p. 247–54, ed. W. Hess
Merkenstein for 2 voices and piano (see version for voice and piano, WoO 144), Op. 100, text J.B. Rupprecht, 1815, published in Vienna 1816 Steiner
for voice and piano trio:
(editions of folk songs)
25 Irish songs, Op. [152], mostly 1810–13, published in “A Select Collection of Oryginal Irish Airs”, vol. 1, 1814
20 Irish songs (no. 8 also with choir), Op. [153], 1810–13, published in “A Select Collection of Oryginal Irish Airs”, vol. 1–2, 1814, 1816
12 Irish songs (no. 8 also with choir), Op. [154], 1810–13, published in “A Select Collection of Oryginal Irish Airs”, vol. 1–2, 1814, 1816
26 Welsh songs Op. [155], 1810, published in “A Select Collection of Oryginal Welsh Airs” 1817, no. 15: 1812, no. 25: 1814
12 various folk songs (no. 9 and 11 also with choir; no. 3 also with piano), Op. [157], 1814–15 and earlier, published in no. 2, 6, 8, 11: “A Select Collection of Oryginal Irish Airs”, vol. 2, 1816; no. 3: “The Select Melodies of Scotland”, vol. 2, 1822; no. 5: «Thomson’s Collection of the Songs of Burns», vol. 6, London 1824/25; published in German: Leipzig 1860 Peters
25 Scottish songs, from English and German (dedication: Prince A. Radziwiłł), Op. 108, 1815–16, published in “A Select Collection of Oryginal Scottish Airs”, 1818
Songs of various nations (23 songs, including 2 Polish: no. 9 Oj, upiłem się w karczmie, no. 10 Poszła baba po popiół), Op. [158], mostly 1816, published in Neues Volksliederheft, ed. G. Schünemann; 1941 B & H; Piesni raznych narodow, ed. N. Fiszman, Moscow 1959; addition: Gesamtausgabe supplement XIV 1971
12 Scottish songs, Op. [156], 1817–18, published in no. 1: “The Select Melodies of Scotland”, vol. 2, 1822; nos. 2, 3, 4, 8, 9, 12: «Thomson’s Collection of the Songs of Burns», vol. 6, 1824/25; others: Edinburgh 1839–41 Thomson
for voice and orchestra or chamber band:
Prüfung des Küssens, aria for bass and orchestra, Op. [89], circa 1790, published in Gesamtausgabe series 25, no. 6, I/269, I
Mit Mädeln sich vertragen, aria for bass and orchestra, Op. [90], text J.W. Goethe, circa 1790, published in Gesamtausgabe series 25, no. 6, II/269, II
Ah perfido! scene and aria for soprano and orchestra, op. 65, text of the 1st part: P. Metastasio, 1796, published in Leipzig 1805 Hoffmeister
2 arias to singspiel Die schöne Schusterin for tenor or soprano and orchestra, Op. [91], text I. Umlauf, 1796, published in Gesamtausgabe series 25, no. 7/270
Primo amore, scene and aria for soprano and orchestra, Op. [92], 1795–1800, published in Gesamtausgabe series 25, no. 8/271
No, non turbati, scene and aria for soprano and string orchestra (performed Bonn 22 May 1949), Op. [92a], text P. Metastasio from cantata La tempesta, 1801/02, published in Wiesbaden 1948 Bruckner, ed. W. Hess
Nei`giorni tuoi felici, duo for soprano, tenor and orchestra (performed Winterthur 10 February 1939), Op. [93], text P. Metastasio from Op. Olimpiade, 1803, published in Leipzig 1939 Eulenburg, ed. W. Hess
Tremate, empi, tremate, tercet for soprano, tenor, bass and orchestra, Op. 116, text Bettoni, 1801/2 and 1814, published in Vienna 1826 Steiner
Elegischer Gesang for 4 voices and string quartet, Op. 118, 1814, published in Vienna 1826 Haslinger
for voice, choir and piano:
Trinklied with 1-voice choir (to sing while farewell), Op. [109], circa 1787, published in Gesamtausgabe series 25 no. 19/282
Punschlied, with 1-voice choir, Op. [111], circa 1790, published in supplement to: L. Schiedermair Der junge Beethoven, Leipzig 1925, p. 425–26; Gesamtausgabe supplement V, 1962
Der freie Mann, with 1-voice choir, Op. [117], text G.C. Pfeffel, 1792–93 and 1795, published in no, 3: 3 deutsche Lieder, Bonn 1808 Simrock; primary version: “Musica” VI, 1956, ed. W. Hess;z innym tekstem jako Maurerfragen, text F.G. Wegeler, published in Bonn 1806 Simrock
O care selve, canzonetta, with 1-voice choir, Op. [119], text P. Metastasio from opera Olimpiade, 1795, published in Gesamtausgabe series 25, no. 16/279
Hochzeitslied for tenor with 4- or 1-voice choir (for Anna Giannatasio del Rio), Op. [105], text A.J. Stein, 1819, published in version in A major with 4-voice choir: London 1858 Ewer (with English text by J. Oxenford); version in C major with 1-voice choir: annual “Der Bär”, note supplement, after p. 158, 1927 B & H, ed. W. Hitzig; both versions with German text: Gesamtausgabe supplement V, 1962
Lobkowitz-Kantate for soprano with choir (for prince F. Lobkowitz’s birthday), Op. [106], text Ludwig van Beethoven, 1823, published in L. Nohl Neue Briefe Beethovens, Stuttgart 1867 no. 255, p. 221–28
for voice, choir and orchestra or chamber band:
cantata on the Death of Emperor Joseph II for soprano, bass, choir and orchestra (5 parts), Op. [87], text S.A. Averdonk, 1790, published in Gesamtausgabe series 25, no. 1/264
cantata for the Coronation of Leopold II for soprano, tenor, bass, choir and orchestra (4 parts), Op. [88], text S.A. Averdonk, 1790, published in Gesamtausgabe series 25, no. 2/265
cantata Der glorreiche Augenblick for soprano, alto, tenor, bass, choir and orchestra (6 parts), Op. 136, text A. Weissenbach, 1814, score published: Vienna 1837 Haslinger
Meerstille und glückliche Fahrt for choir and orchestra, Op. 112, text J.W. Goethe, dedication: J.W. Goethe, 1815, published in Vienna 1822 Steiner
Bundeslied for soprano, alto, 3-voice choir with 2 clarinets, 2 bassoons, 2 horns; Op. 122, text J.W. Goethe, 1823, score and voice published in: Mainz 1825 Schott; original piano reduction: Gesamtausgabe supplement V, 1962, sketch 1797
Opferlied for soprano, choir and orchestra (see version for voice and piano WoO 126), Op. 121 b, text F. Matthisson, 1824, score and voice published in: Mainz 1825 Schott; original reduction for soprano, 4-voice choir and piano: Gesamtausgabe supplement V, 1962, 2nd version: for 3 solo voices, choir and orchestra, 1822, published in Gesamtausgabe series 25, no. 5/268
oratorio Christus am Ölberge for 3 voices, choir and orchestra, Op. 85, text F.X. Huber, 1803, premiere Vienna 5 April 1803, published in score published: 1811 B & H; remake 1804
Mass in C major for 4 voices, choir and orchestra, op. 86, dedication: prince F. Kinsky, 1807, premiere Eisenstadt 13 September 1807, score published: 1812 B & H
Missa solemnis in D major for 4 voices choir, orchestra and organ, Op. 123, dedication: Archduke Rudolf, Cardinal, Archbishop of Ołomuniec, 1823, premiere Petersburg 18 April 1824; Kyrie, Credo, Agnus Dei: Vienna 7 May 1824, score and voice published in: Mainz 1827 Schott; facsimile Kyrie: Tutzing 1965, ed. W. Virneisel
scenic:
Vestas Feuer, 1st scene (libretto E. Schikaneder; sketch),1803, premiere Radio w Cologne 1954, published in Wiesbaden 1953, ed. W. Hess
Fidelio (Leonore), opera (libretto J. Sonnleithner and F. Treitschke based on Léonore ou l`amour conjugal by J.N. Bouilly), Op. 72, 1st version (3 acts), 1805, premiere Vienna 20 November 1805, piano reduction publication: 1905 B & H, ed. E. Prieger; score published: Leipzig 1908–10 Brandstetter, ed. E. Prieger, 2nd version (2 acts), 1806, premiere Vienna 29 March 1806, incomplete piano reduction publication: 1810 B & H, ed. C. Czerny, complete piano reduction publication: 1852, ed. O. Jahn; score published: Gesamtausgabe supplement XIII 1970, 3rd version (2 acts), 1814, premiere Vienna 23 May 1814, piano reduction publication: Vienna 1814 Artaria; score published: Paris 1826 Farrenc; Bonn 1847 Simrock
overture Leonore No. 1, Op. 138, 1805, score published: Vienna 1838 Haslinger
overture Leonore No. 2, Op. 72, 1805, score published: shortened version 1842 B & H; complete version 1854 B & H
overture Leonore No. 3, Op. 72, 1806, voice published: 1810 B & H; score published: 1828 B & H
overture Fidelio, Op. 72, 1814, voice published: 1822 B & H; score published: Paris 1826 Farrenc
music to Ritterballett, Op. [1], 1790/91, score published: Gesamtausgabe series 25, no. 23/286; original piano reduction: Gesamtausgabe supplement VIII, 1964
music to ballet Die Geschöpfe des Prometheus S. Viganò (dedication: Duchess Christiane Lichnowsky), Op. 43, 1801, piano reduction publication: Vienna 1801 Artaria; score published: Gesamtausgabe series 2, no. 2/11; overture: Leipzig 1804 Hoffmeister
music to tragedy Egmont by J.W. Goethe, Op. 84, 1810, voice published: 1810 (overture), 1812 (songs and interdules) B & H; score published: 1831 B & H; published of original piano reduction Freudvoll und leidvoll: Gesamtausgabe suppl. V, 1962
music to play Die Ruinen von Athen by A. von Kotzebue, Op. 113, 1811, score published: Vienna 1823 Steiner (overture), Vienna 1846 Artaria (whole)
music to play König Stephan oder Ungarns erster Wohltäter by A. von Kotzebue, Op. 117, 1811, score published: Vienna 1826 Steiner (overture); Gesamtausgabe series 20, no. 4/207 b (whole)
Triumphal march and introduction to the second act of tragedy Tarpeja by Ch. Kuffner, Op. [2a,b], 1813, published in March – piano reduction: Vienna 1813 Hoftheater; voices: Vienna 1840 Haslinger; score: Gesamtausgabe series 2 no. 5/14; published in whole – score: Mainz 1938 Schott, ed. G. Schünemann
Germania, ending song from singspiel Die gute Nachricht (text F. Treitschke) for bass, choir and orchestra, Op. [94], 1814, piano reduction publication: Vienna 1814 Hoftheater
Chor auf die verbündeten Fürsten (text C. Bernard) for choir and orchestra, op. [95], 1814, Gesamtausgabe series 25 no. 4/267
Music to drama Leonore Prohaska by F. Duncker, Op. [96], 1815, published in Gesamtausgabe series 25 no. 9/272
Es ist vollbracht, ending song from singspiel Die Ehrenpforten (text F. Treitschke) for bass, choir and orchestra, Op. [97], 1815, piano reduction: Vienna 1815 Steiner
choir Wo sich die Pulse… to play Die Weihe des Hauses C. Meisla, for soprano and orchestra, Op. [98], 1822, published in Gesamtausgabe series 25 no. 3/266
March with choir (in E-flat major) from play Die Ruinen von Athen by A.v. Kotzebue in ed. for presentation Die Weihe des Hauses, Op. 114, 1822, Vienna 1826 Steiner
Editions:
Collective (Gesamtausgabe):
Ludvig van Beethovens Werke, vollständige, kritisch durchgesehene überall berechtigte Ausgabe, 24 series, Leipzig 1862–65; series 1 – symphonies, 2 – various orchestra works, 3 – overtures, 4 – concert and 2 romances for violin and orchestra, 5 – chamber pieces for 5 or more instruments, 6 – string quartets, 7 – string trios, 8 – chamber pieces for wind instruments, 9 – pieces for piano and orchestra, 10 – piano quintets and quartets, 11 – piano trios, 12 – pieces for piano and violin, 13 – pieces for piano and cello, 14 – pieces for piano and wind instruments, 15 – pieces for piano for 4 hands, 16 – piano sonatas, 17 – piano variations, 18 – minor piano pieces, 19 – masses, oratorio, 20 – dramatic pieces, 21 – cantatas, 22 – pieces for voice and orchestra, 23 – pieces for voice and piano, 24 – folk songs; series 25, supplement, ed. E. Mandyczewski, Leipzig 1888, a) vocal instrumental pieces, b) instrumental pieces; reprint of whole by Ann Arbor Michigan 1948; further supplements 14 vol. ed. W. Hess, Wiesbaden 1959–71: I – polyphonic Italian songs without instruments, 1959, II – works with orchestra, 1960, III – pieces for solo instruments with orchestra, 1st part, 1960, IV – pieces for orchestra, 1961, V – songs with piano accompaniment, canons and musical jokes, 1962, VI – chamber music for string instruments, 1963, VII – chamber music for wind instruments, wind and string instruments and mechanical instruments, 1963, VIII – original piano reductions of own compositions, 1964, IX – piano pieces, chamber music with piano, 1965, X – pieces for solo instruments with orchestra, 2nd part, 1969, XI–XII – dramatic pieces, 2 vol., 1967, XIII – dramatic pieces, vol. 3, 1970, XIV – editions of folk songs, 1971.
Ludvig van Beethoven. Werke, new critical collected edition launched by Beethoven-Archiv w Bonn 1960 ed. by J. Schmidt-Görga, Munich from 1961: chap. 2, vol. 1 – overtures and Wellingtons Sieg… 1974, published by H.-W. Küthen, vol. 2 – ballet music, 1970, published in K. Kropfinger; chap. 3, vol. 1 – Triple Concerto in C major Op. 56, 1968, published by B. van der Linde, vol. 4 – pieces for violin and orchestra, 1973, published by S.A. Kojima; chap. 4, vol. 1 – Piano Quintet and piano quartets, 1964, published in S. Kross, vol. 3 – piano trios, 2nd part, 1965, published in F. Klugmann; chap. 5, vol. 1–2 – pieces for piano and violin, parts 1–2, 1974, published in S. Brandenburg, vol. 3 – pieces for piano and cello, 1971, published in B. van der Linde; chap. 6, vol. 2 – string quintets, 1968, published in J. Herzog, vol. 3–4 – string quartets, parts 1–2, 1962–68, published by P. Mies, vol. 6 – string trios and duos, 1965, published by E. Platen; chap. 7, vol. 1 – pieces for piano for 4 hands, 1966, published by H. Schmidt, vol 2 – piano sonatas, 1971, published by H. Schmidt, vol. 5 – variations for piano, 1961, various publishers edited by J. Schmidt-Görg, vol. 7 – cadences to piano concertos, 1967, published by J. Schmidt-Görg.
Collected edition of sketches started by the Beethoven-Haus in Bonn in 1952, «Veröffentlichungen des Beethoven-Hauses», series I: vol. 15 (originally vol. 3) – sketches to Pastoral Symphony Op. 68 and to trios Op. 70 nos. 1, 2, facsimile and transcript, 1961, published by D. Weise; vol. 19 (originally vol. 2) – sketches to Fantasia Op. 80 and other works, facsimile and transcript, 1957, published by D. Weise; vol. 33 – sketches to Variations on Diabelli’s waltz, facsimile 1968, transcript 1972, published by J. Schmidt-Görg; vol. 34 (originally without facsimile as vol. 1), 35, 36 – 3 vol. sketches to Missa solemnis, facsimile 1968, transcript 1952 and 1970, published in J. Schmidt-Görg.
Ludwig van Beethoven Werke (Gesamtausgabe) started from 1976 ed. by J. Schmidt-Görg, in 1980’ ed. M. Staehelin, present ed. S. Brandenburg and E. Hettrich; chap. 2 vol. 1 –Symphony No. 1 and No. 2, published by A. Raab, 1994, vol. 3 – Gratulationsmenuett and Tänze für Orchester, published by S.A. Kojima, 1980; chap. 3, vol. 2 and 3 – piano concertos, published by H.-W. Küthen, 1984, 1996; chap. 5, vol. 4 – pieces for piano accompanied by 1 instrument, published by A. Raab, 1993; chap. 7, vol. 3 – piano sonatas, published by H. Schmidt, 1976; chap. 10, vol. 1 – cantatas WoO 87–88 and Op. 136, published by E. Hettrich, 1996, vol. 3 – arias, duos, tercet, published by E. Hettrich, 1995; chap. 12 vol. 1 – Lieder und Gesänge mit Klavierbegleitung, published by H. Lühning, 1990; Konzert für Violine und Orchester, facsimile of manuscript 17.538 z Österreichische Nationalbibliothek, published by F. Grasgeber, preface W. Schneiderhan, Graz 1979.
