Ludwig van Beethoven

1770 Bonn Germany - 1827 Vienna Austria

Ludwig van Beethoven Biography

Ludwig van Beethoven best work

The last of Beethoven's nine symphonies, composed between 1822 and 1824, is undoubtedly his best-known work. And many critics and musicologists consider it a masterpiece of Western classical music and one of the supreme achievements in the entire history of music.
The Ninth Symphony was the first example of a major composer including vocal parts in a symphony. The final movement, the fourth, of the symphony features four vocal soloists and a chorus in the parallel key of modulated D major, commonly known as the “Ode to Joy.”

Works of Ludwig van Beethoven

• Piano Trio No. 1 in E flat major Op. 1/1 [1792-1793]
  Dedicated to Prince Carl Lichnowsky
• Piano Trio No. 2 in G Major Op. 1/2 [1792-1794]
  Dedicated to Prince Carl Lichnowsky
• Piano Trio No. 3 in C minor: later arranged for string quintet as Opus 104 Op. 1/3 [1792-1794]
  Dedicated to Prince Carl Lichnowsky
• Piano Sonata No. 1 in F minor: the second movement uses material from the WoO Piano Quartet 36 Number 3 Op. 2/1 [1793-1795]
  Dedicated to Franz Joseph Haydn
• Piano Sonata No. 2 in A major Op. 2/2 [1794-1795]
  Dedicated to Franz Joseph Haydn
• Piano Sonata No. 3 in C major: the first movement uses material from the WoO 36 Piano Quartet Number 3 Op. 2/3 [1794-1795]
  Dedicated to Franz Joseph Haydn
• String Trio in E flat major: There is an incomplete arrangement for piano trio listed as Hess 47; Hess 25 may also be an older version of the finale of this trio. Op. 3 [1792-1796]
  Dedicated to Countess Anna Margarete Browne
• String Quintet in E flat major: later it was the Octet Opus 103 Op. 4 [1795]
• Cello Sonata No. 1 in F major Op. 5/1 [1796]
  Dedicated to Frederick William II of Prussia
• Cello Sonata No. 2 in G minor Op. 5/2 [1796]
  Dedicated to Frederick William II of Prussia
• Piano sonata for four hands in D major Op. 6 [1796-1797]
• Piano Sonata No. 4 in E flat major Op. 7 [1796-1797]
  Dedicated to Countess Barbara von Keglevics
• Serenade for string trio in D major (later arranged for piano and viola as Opus 42) Op. 8 [1796-1797]
• String Trio in C Minor Op. 9/3 [1797-1798]
  Dedicated to Count Johann Georg Browne
• String Trio in D Major Op. 9/2 [1797-1798]
  Dedicated to Count Johann Georg Browne
• String trio in G major: Hess 28 is the second trio for the scherzo Op. 9/1 [1797-1798]
  Dedicated to Count Johann Georg Browne
• Piano Sonata No. 5 in C minor: see also WoO 52, WoO 53 and Hess 69 Op. 10/1 [1795-1797]
  Dedicated to Countess Anna Margarete Browne
• Piano Sonata No. 6 in F major Op. 10/2 [1796-1797]
  Dedicated to Countess Anna Margarete Browne
• Piano Sonata No. 7 in D major Op. 10/3 [1797-1798]
  Dedicated to Countess Anna Margarete Browne
• Trio for piano, clarinet or violin and cello in B flat major: Gassenhauer Op. 11 [1797-1798]
  Dedicated to Countess Maria Wilhelmine von Thun
• Violin Sonata No. 1 in D major Op. 12/1 [1797-1798]
  Dedicated to Antonio Salieri
• Violin Sonata No. 2 in A major Op. 12/2 [1797-1798]
  Dedicated to Antonio Salieri
• Violin Sonata No. 3 in E flat major Op. 12/3 [1797-1798]
  Dedicated to Antonio Salieri
• Piano Sonata No. 8 in C minor: Pathétique Op. 13 [1797-1798]
  Dedicated to Prince Carl Lichnowsky
• Piano Sonata No. 9 in E major: Also arranged for Hess String Quartet 34 Op. 14/1 [1798-1799]
  Dedicated to Baroness Josephine von Braun
• Piano Sonata No. 10 in G major Op. 14/2 [1799]
  Dedicated to Baroness Josephine von Braun
• Piano Concerto No. 1 in C Major Op. 15 [1795-1800]
  Dedicated to Princess Barbara Odescalchi (née Keglevics)
• Piano Quartet in E flat major Op. 16 [1796-1797]
  Dedicated to Prince Joseph Johann zu Schwarzenberg
  Also arranged for piano, oboe, clarinet, horn and bassoon, Biamonti 130
• Quintet for piano, oboe, clarinet, horn and bassoon in E flat major Op. 16 [1796-1797]
  Dedicated to Prince Joseph Johann zu Schwarzenberg
  Also arranged for piano quartet, Biamonti 131
• Sonata for piano and horn in F major Op. 17 [1800]
  Dedicated to Baroness Josephine von Braun
  Written with an optional cello part
• String Quartet No. 1 in F major: Hess 32 is an earlier version Op. 18/1 [1798-1800]
  Dedicated to Prince Ferdinand Lobkowitz
  Second movement: Tomb scene in Romeo and Juliet
• String Quartet No. 2 in G Major: Bow Quartet Op. 18/2 [1798-1800]
  Dedicated to Prince Ferdinand Lobkowitz
• String Quartet No. 3 in D Major Op. 18/3 [1798-1800]
  Dedicated to Prince Ferdinand Lobkowitz
  The earliest of the op. 18
• String Quartet No. 4 in C minor Op. 18/4 [1798-1800]
  Dedicated to Prince Ferdinand Lobkowitz
• String Quartet No. 5 in A Major Op. 18/5 [1798-1800]
  Dedicated to Prince Ferdinand Lobkowitz
• String Quartet No. 6 in B flat major Op. 18/6 [1798-1800]
  Dedicated to Prince Ferdinand Lobkowitz
• Piano Concerto No. 2 in B flat major Op. 19 [1788-1801]
  Dedicated to Carl Nicklas Edler von Nickelsberg
• Septet in E flat major for clarinet, bassoon, French horn, violin, viola, cello and double bass. Also arranged for piano trio Opus 38. Op. 20 [1799]
  Dedicated to Empress Maria Theresa of Austria
  The Menuetto theme was taken from the Piano Sonata in G Opus 49 No. 2
• Symphony No. 1 in C major Op. 21 [1799-1800]
  Dedicated to Baron Gottfried van Swieten
• Piano Sonata No. 11 in B flat major Op. 22 [1800]
  Dedicated to Count Johann Georg Browne
• Violin Sonata No. 4 in A minor Op. 23 [1800-1801]
  Dedicated to Count Moritz von Fries
• Violin Sonata No. 5 in F major: Frühlings-Sonate ("Spring") Op. 24 [1800-1801]
  Dedicated to Count Moritz von Fries
• Serenade for flute, violin and viola in D major (later transcribed for flute and piano: Opus 41) Op. 25 [1801]
• Piano Sonata No. 12 in A flat major: Funeral March; the third movement, arranged for Leonore Prohaska WoO 96 Op. 26 [1800-1801]
  Dedicated to Prince Carl Lichnowsky
• Piano Sonata No. 14 in C-sharp minor: Mondschein-Sonate ("Moonlight") Op. 27/2 [1800-1801]
  Dedicated to Countess Giulietta Guicciardi
  The name was given by Ludwig Rellstab
• Piano Sonata No. 13 in E flat major: Sonata quasi a fantasy Op. 27/1 [1801]
  Dedicated to Princess von Leichtenstein
• Piano Sonata No. 15 in D major: Pastorale Op. 28 [1801]
  Dedicated to Joseph Sonnenfels
• String quintet in C major Op. 29 [1801]
  Dedicated to Count Moritz von Fries
• Violin Sonata No. 6 in A major Op. 30/1 [1801-1802]
  Dedicated to Tsar Alexander I of Russia
• Violin Sonata No. 7 in C minor Op. 30/2 [1801-1802]
  Dedicated to Tsar Alexander I of Russia
• Violin Sonata No. 8 in G major Op. 30/3 [1801-1802]
  Dedicated to Tsar Alexander I of Russia
• Piano Sonata No. 16 in G major Op. 31/1 [1802]
• Piano Sonata No. 17 in D minor: Der Sturm ("The Tempest") Op. 31/2 [1802]
• Piano Sonata No. 18 in E flat major Op. 31/3 [1802]
• Song: An die Hoffnung ("To Hope") (first arrangement; second is Opus 94 Op. 32 [1804-1805]
  Dedicated to Countess Josephine Deym (née Brunsvik)
  Text: from the work Urania by August Tiedge
• Bagatelle for piano in A flat major: Presto; number 7 of 7 trifles Op. 33/7 [1801-1802]
• Bagatelle for piano in A major: Andante; number 4 of 7 trifles Op. 33/4 [1801-1802]
• Bagatelle for piano in C major: Allegro ma non troppo; number 5 of 7 trifles Op. 33/5 [1801-1802]
• Bagatelle for piano in C major: Scherzo; number 2 of 7 trifles Op. 33/2 [1801-1802]
• Bagatelle for piano in D major: Allegretto quasi andante; number 6 of 7 trifles Op. 33/6 [1801-1802]
• Bagatelle for piano in E flat major: Andante grazioso quasi allegretto; number 1 of 7 trifles Op. 33/1 [1801-1802]
• Bagatelle for piano in F major: Allegretto; number 3 of 7 trifles Op. 33/3 [1801-1802]
• 6 piano variations in F major on an original theme Op. 34 [1802]
  Dedicated to Princess Barbara Odescalchi (née Keglevics)
• 15 variations with piano fugue in E flat major: Eroica-Variationen Op. 35 [1802]
  Dedicated to Prince Carl Lichnowsky
  On a theme from the ballet Die Geschöpfe des Prometheus ("The Creatures of Prometheus"), op. 43
• Symphony No. 2 in D major Op. 36 [1801-1802]
  Dedicated to Prince Carl Lichnowsky
  Also arranged for piano trio in D major
• Piano Concerto No. 3 in C minor Op. 37 [1800-1803]
  Dedicated to Prince Louis Ferdinand of Prussia
  Also see Gardi #5
• Trio for piano, clarinet or violin, and cello in E flat major Op. 38 [1802-1803]
  Dedicated to Johann A. Schmidt
  Taken from the Opus 20 septet
• Prelude for piano or organ in C major through the 12 major keys Op. 39/1 [1789]
• Prelude for piano or organ in C major: through the 12 major keys Op. 39/2 [1789]
• Violin Romance No. 1 in G major Op. 40 [1800-1802]
• Serenade for piano and flute in D major: taken from the Serenade Op. 25; arranged by Franz Xaver Kleinheinz Op. 41 [1803]
  Beethoven corrected and approved the arrangement
• Nocturne for piano and viola in D major: taken from Opus 8; arranged by Franz Xaver Kleinheinz Op. 42 [1803-1804]
  Beethoven corrected and approved the arrangement
• Music for ballet and overture: Die Geschöpfe des Prometheus (The Creatures of Prometheus); also arranged for piano as Hess 90 Op. 43 [1800-1801]
  Dedicated to Princess Christiane Lichnowsky (née Thun)
  Choreography and libretto of the ballet by Salvatore Viganò
• 14 Variations for piano trio in E flat major: on a theme from Dittersdorf's Das rote Käppchen ("Little Red Riding Hood") Op. 44 [1792]
  The sketch is from 1792; date of composition is unknown
• Four-hand piano march in C major Op. 45/1 [1803]
  Dedicated to Princess Maria Esterházy
• Four-hand piano march in D major Op. 45/3 [1803]
  Dedicated to Princess Maria Esterházy
• Four-hand piano march in E flat major Op. 45/2 [1803]
  Dedicated to Princess Maria Esterházy
• Song: Adelaide Op. 46 [1794-1795]
  Dedicated to Friedrich von Matthisson
  Matthison Poem
• Violin Sonata No. 9 in A major: Kreutzer-Sonate Op. 47 [1802-1803]
  Dedicated to Rodolphe Kreutzer
  It had originally been dedicated to George Bridgetower
• Song: Bitten ("Prayer") Op. 48/1 [1801-1802]
  Dedicated to Count Johann Georg Browne
  Text: Christian Fürchtegott Gellert
• Song: Bußlied ("Song of Repentance") Op. 48/6 [1801-1802]
  Dedicated to Count Johann Georg Browne
  Text: Christian Fürchtegott Gellert
• Song: Die Ehre Gottes aus der Natur ("The glory of God in nature") Op. 48/4 [1801-1802]
  Dedicated to Count Johann Georg Browne
  Text: Christian Fürchtegott Gellert
• Song: Die Liebe des Nächsten ("Love of Neighbor") Op. 48/2 [1801-1802]
  Dedicated to Count Johann Georg Browne
  Text: Christian Fürchtegott Gellert
• Song: Gottes Macht und Vorsehung ("Power and Providence of God") Op. 48/5 [1801-1802]
  Dedicated to Count Johann Georg Browne
  Text: Christian Fürchtegott Gellert
• Song: Vom Tode (“Of Death”) Op. 48/3 [1801-1802]
  Dedicated to Count Johann Georg Browne
  Text: Christian Fürchtegott Gellert
• Piano Sonata No. 20 in G major (sonatina) Op. 49/2 [1795-1796]
• Piano Sonata No. 19 in G minor (sonatina) Op. 49/1 [1797]
• Violin Romanza No. 2 in F major Op. 50 [1798]
• Rondo for piano in C major Op. 51/1 [1796-1797]
• Rondo for piano in G major Op. 51/2 [1798]
  Dedicated to Countess Henriette Lichnowsky
• Song: Das Blümchen Wunderhold Op. 52/8 [1785-1793]
  Text: Bürger. Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Das Liedchen von der Ruhe ("The Little Song of Rest") Op. 52/3 [1785-1793]
  Text: Ueltzen (1759-1808). Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Die Liebe ("Love") Op. 52/6 [1785-1793]
  Text: Lessing. Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Feuerfarb' Op. 52/2 [1785-1793]
  Text: Sophie Mereau. Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Maigesang (Mailied) (“May Song”) Op. 52/4 [1785-1793]
  Text: Goethe. Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Marmotte Op. 52/7 [1785-1793]
  Text: Goethe. Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Mollys Abschied Op. 52/5 [1785-1793]
  Text: Bürger. Most of the songs were written in the 1790s, but were probably revised before publication.
• Song: Urians Reise um die Welt Op. 52/1 [1785-1793]
  Text: Matthias Claudius. Most of the songs were written in the 1790s, but were probably revised before publication.
• Piano Sonata No. 21 in C major: Waldstein-Sonate, also known as Aurora. The Andante favori WoO 57 was originally written to be the slow movement of this sonata Op. 53 [1803-1804]
  Dedicated to Count Ferdinand von Waldstein.
• Piano Sonata No. 22 in F major Op. 54 [1804]
• Symphony No. 3 in E flat major: Eroica ("Heroic") Op. 55 [1803]
  Dedicated to Prince Ferdinand Lobkowitz
  It was originally dedicated to Napoleon Bonaparte. The finale uses the theme from Die Geschöpfe des Prometheus (Opus 43)
• Concerto for piano, violin, cello and orchestra in C major Tripelkonzert ("Triple Concerto") Op. 56 [1804-1805]
  Dedicated to Archduke Rudolph of Austria
• Piano Sonata No. 23 in F minor: Appassionata Op. 57 [1804-1805]
  Dedicated to Count Franz Anatol Brunswik
• Piano Concerto No. 4 in G Major Op. 58 [1804-1807]
  Dedicated to Archduke Rudolph of Austria
• String Quartet No. 7 in F Major: Rasumowsky-Quartett No. 1 Op. 59/1 [1806]
  Dedicated to Count Andreas Kirillovich Razumovsky
• String Quartet No. 8 in E minor: Rasumowsky-Quartett No. 2 Op. 59/2 [1806]
  Dedicated to Count Andreas Kirillovich Razumovsky
• String Quartet No. 9 in C Major: Rasumowsky-Quartett No. 3 Op. 59/3 [1806]
  Dedicated to Count Andreas Kirillovich Razumovsky
• Symphony No. 4 in B flat major Op. 60 [1806]
  Dedicated to Count Franz von Oppersdorff
• Violin Concerto in D major: also arranged as a piano concerto (same Opus) Op. 61 [1806]
  Dedicated to Stephan von Breuning
• Piano concerto in D major: adaptation of the violin concerto also op. 61 Op. 61 [1807]
  Dedicated to Julie von Breuning (née Vering), wife of Stephan von Breuning
  New cadenzas for the first and third movements
• Coriolanus Overture Op. 62 [1807]
  Dedicated to Heinrich Joseph von Collin
  Text by H.J. Collin
• Piano Trio in E flat major: arrangement of the Opus 4 string quintet, performed by someone possibly without knowledge of Beethoven Op. 63
• Sonata for piano and cello in E flat major: arrangement of the string trio Opus 3; arrangement possibly unknown to Beethoven Op. 64
• Scene and Aria: Ah perfido! for soprano with orchestra Op. 65 [1796]
  Text: Pietro Metastasio (Scene); anonymous (Aria)
• 12 variations for piano and cello in F major on Ein Mädchen oder Weibchen from Wolfgang Amadeus Mozart's opera Die Zauberflöte Op. 66 [1796]
• Symphony No. 5 in C minor Op. 67 [1803-1808]
  Dedicated to Prince Lobkowitz and Count Rasumovsky
• Symphony No. 6 in F major: Pastorale ("Pastoral") Op. 68 [1807-1808]
  Dedicated to Prince Lobkowitz and Count Rasumovsky
• Cello Sonata No. 3 in A major Op. 69 [1807-1808]
  Dedicated to Baron Ignaz von Gleichenstein
  In the dedication, Beethoven wrote in Latin the words: Inter lacrimas et luctum ("Between tears and lamentations"), alluding to war.1​
• Piano Trio in D Major: Geister-Trio ("Phantom Trio") Op. 70/1 [1808]
  Dedicated to Countess Anna Marie Erdödy
• Piano trio in E flat major Op. 70/2 [1808]
  Dedicated to Countess Anna Marie Erdödy
• Sextet for clarinets, horns and bassoons in E flat major Op. 71 [1792-1796]
• Opera: Leonore, oder Der Triumph der ehelichen Liebe ("Leonore, or: The Triumph of Marital Love"); 1805 version of Fidelio with the Leonore II overture Op. 72 [1804-1805]
  Libretto: Joseph Sonnleithner, based on the work of Jean Nicolas Bouilly
• Overture: Leonore II; written for Leonore's 1805 version Op. 72 [1804-1805]
• Opera: Leonore, oder Der Triumph der ehelichen Liebe ("Leonore, or: The Triumph of Marital Love"); 1806 version of Fidelio with the Leonore III overture Op. 72 [1805-1806]
  Libretto: Joseph Sonnleithner, edited by Stephan von Breuning
• Overture: Leonore III, also called Opus 72a; written for Leonore's 1806 version Op. 72/1 [1805-1806]
• Opera: Fidelio, opera in two acts, with the overture Fidelio Op. 72 [1814]
  Libretto: Joseph Sonnleithner and Georg Friedrich Treitschke
• Overture: Fidelio, also called Opus 72b Op. 72/2 [1814]
• Piano Concerto No. 5 in E flat major: Emperor Op. 73 [1808-1809]
  Dedicated to Archduke Rudolph of Austria
• String Quartet No. 10 in E flat major: Harfenquartett ("Harp Quartet") Op. 74 [1809]
  Dedicated to Prince Ferdinand Lobkowitz
• Song: An den fernen Geliebten Op. 75/5 [1809]
  Dedicated to Princess Caroline Kinsky
  Text: Christian Ludwig Reissig
• Song: Aus Goethes Faust (Flea Song, by Mephistopheles) Op. 75/3 [1809]
  Dedicated to Princess Caroline Kinsky
  Text: Goethe; started c. 1792-1793
• Song: Der Zufriedene ("The Satisfied Man") Op. 75/6 [1809]
  Dedicated to Princess Caroline Kinsky
  Text: Christian Ludwig Reissig
• Song: Gretels Warnung Op. 75/4 [1809]
  Dedicated to Princess Caroline Kinsky
  Text: G.A. von Halem
• Song: Mignon Op. 75/1 [1809]
  Dedicated to Princess Caroline Kinsky
  Text: Goethe
• Song: Neue Liebe, neues Leben ("New love, new life") (2nd version). Op. 75/2 [1809]
  Dedicated to Princess Caroline Kinsky
  Text: Goethe. The first version of this song is WoO 127
• 6 variations for piano in D major Op. 76 [1809]
  Dedicated to Franz Oliva
  Variations on an original theme, used again in The Ruins of Athens (Opus 113)
• Fantasy for piano in G minor Op. 77 [1809]
  Dedicated to Count Franz Anatol Brunsvik
• Piano Sonata No. 24 in F sharp major Op. 78 [1809]
  Dedicated to Therese Brunsvik
• Piano Sonata No. 25 in G major Op. 79 [1809]
• Fantasy for piano, choir and orchestra in C minor: Chorfantasie ("Choral Fantasy") Op. 80 [1808-1809]
  Dedicated to King Maximilian Joseph of Bavaria
  Text: Christoph Kuffner, or, according to some, Beethoven himself
• Sextet for horns, violins, viola and cello in E flat major Op. 81/2 [1795]
  Also called Opus 81b
• Piano Sonata No. 26 in E flat major: Les Adieux (Das Lebewohl, Abwesenheit und Wiedersehen) Op. 81/1 [1809-1810]
  Dedicated to Archduke Rudolph of Austria
  Also called Opus 81a
• Arietta assai serious: L'amante impatiente: «Liebesungeduld» (German version), «Che fa il mio bene?» (in Italian) Op. 82/4 [1809-1810]
  Text: Pietro Metastasio
• Arietta buffa: L'amante impatiente: “Stille Frage” (German version), “Che fa il mio bene?” (in Italian) Op. 82/3 [1809-1810]
  Text: Pietro Metastasio
• Arietta: Hoffnung (German version) or Dimmi, ben mio, che m'ami (in Italian) Op. 82/1 [1809-1810]
  Text: anonymous. Op. 82 is known collectively as Vier Arietten und ein Duett.
• Arietta: Liebes-Klage (German version), T'intendo, si, mio ​​cor (in Italian) Op. 82/2 [1809-1810]
  Text: Pietro Metastasio
• Duet: Lebensgenuß or Schnell, verblühen (German version), Odi l'aura che dolce sospira (in Italian) Op. 82/5 [1809-1810]
  Text: Pietro Metastasio
• Song: Mit einem gemalten Band ("With a colorful ribbon") Op. 83/3 [1810]
  Dedicated to Princess Caroline Kinsky
  Text: Goethe
• Song: Sensucht ("Longing") Op. 83/2 [1810]
  Dedicated to Princess Caroline Kinsky
  Text: Goethe
• Song: Wonne der Wehmut ("The Joy of Melancholy") Op. 83/1 [1810]
  Dedicated to Princess Caroline Kinsky
  Text: Johann Wolfgang von Goethe
• Incidental music for solo voices and orchestra: Egmont, tragedy by Goethe Op. 84 [1809-1810]
  Text: Goethe
• Overture in F minor: Egmont, incidental music for Goethe's tragedy Op. 84 [1809-1810]
• Oratorio: Christus am Ölberge ("Christ on the Mount of Olives") Op. 85 [1803-1804]
  Written in 14 days; text by Franz Xaver Huber
• Mass in C major Op. 86 [1807]
  Dedicated to Prince Ferdinand Kinsky
• Trio for oboes and English horn in C major Op. 87 [1794-1795]
• Song: Vita felice: Beato quei che fido amor (Italian version), German version: Das Glück der Freundschaft ("The happiness of friendship") or Lebensglück ("The happiness of living") Op. 88 [1803]
  Text: anonymous; trans. German: Ch.A. Tiedge
• Polonaise for piano in C major Op. 89 [1814]
  Dedicated to Empress Elisabeth Alexiewna of Russia
• Piano Sonata No. 27 in E minor Op. 90 [1814]
  Dedicated to Count Moritz Lichnowsky
• Wellingtons Sieg, oder die Schlacht bei Vittoria ("Wellington's Victory at the Battle of Vitoria"), also known (in English-speaking media) as Battle Symphony ("Battle Symphony") Op. 91 [1813]
  Dedicated to Prince Regent (later King) George IV of England
  Work originally written for panharmonic, Hess 108 (second part only)
• Symphony No. 7 in A major Op. 92 [1811-1812]
  Dedicated to Count Moritz von Fries
  There are also some arrangements for piano for two and four hands and two pianos, dedicated to the Empress of Russia
• Symphony No. 8 in F major Op. 93 [1812]
• Song: An die Hoffnung ("To Hope") Op. 94 [1813-1815]
  Text: Ch.A. Tiedge, from his work Urania.
• String Quartet No. 11 in F minor: Quartetto serioso Op. 95 [1810-1811]
  Dedicated to Nikolaus Zmeskall
• Violin Sonata No. 10 in G major Op. 96 [1812]
  Dedicated to Archduke Rudolph of Austria
• Piano Trio in B flat major: Erzherzog-Trio ("Archduke Trio") Op. 97 [1810-1815]
  Dedicated to Archduke Rudolph of Austria
• Song cycle: An die ferne Geliebte ("To the Far Beloved"), No. 1: Auf dem Hügel sitz' ich, spähend Op. 98/1 [1816]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: Alois Jeitteles
• Song cycle: An die ferne Geliebte, No. 2: Wo die Bergen so blau Op. 98/2 [1816]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: A. Jeitteles
• Song cycle: An die ferne Geliebte, No. 3: Leichte Segler in den Höhen Op. 98/3 [1816]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: A. Jeitteles
• Song cycle: An die ferne Geliebte, No. 4: Diese Wolken in den Höhen Op. 98/4 [1816]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: A. Jeitteles
• Song cycle: An die ferne Geliebte, No. 5: Es kehret der Maien, es blühet die Au Op. 98/5 [1816]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: A. Jeitteles
• Song cycle: An die ferne Geliebte, No. 6: Nimm sie hin denn, diese Lieder Op. 98/6 [1816]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: A. Jeitteles
• Song: Der Mann von Wort ("The Man of His Word") Op. 99 [1816]
  Text: Friedrich August Kleinschmidt
• Song: Merkenstein, duet (2nd version) Op. 100 [1815]
  Text by Johann Baptist Rupprecht. 1st version is WoO 144
• Piano Sonata No. 28 in A major Op. 101 [1816]
  Dedicated to Baroness Dorothea von Ertmann
• Cello Sonata No. 4 in C major Op. 102/1 [1815]
  Dedicated to Countess Anna Marie Erdödy
• Cello Sonata No. 5 in D major Op. 102/2 [1815]
  Dedicated to Countess Anna Marie Erdödy
• Octet for oboes, clarinets, horns and bassoons in E flat major Op. 103 [1792-1793]
  Revised in 1796 as String Quintet Opus 4
• String quintet in C minor Op. 104 [1817]
  Arrangement of Piano Trio Opus 1 No. 3, by Kaufman, corrected by Beethoven
• Variations for Piano and Flute or Violin, No. 1: Theme and Variations in G Major on Welsh Air The Cottage Maid Op. 105/1 [1818]
  Folk song arranged: WoO 155 Number 3
• Variations for piano and flute or violin, No. 2: Theme and variations in C minor, on a Scottish air (Von edlem Geschlecht war Shinkin, sometimes also written Shenkin). Op. 105/2 [1818]
• Variations for Piano and Flute or Violin, No. 4: Theme and Variations in E flat major on an Irish air (The Last Rose). Op. 105/4 [1818]
  Traditional Song Arranged: Sad and Luckless was the Season, WoO 153, No. 6
• Variations for Piano and Flute or Violin, No. 5: Theme and Variations in E flat major on an Irish air (Chiling O'Guiry) Op. 105/5 [1818]
  Traditional Song Arranged: WoO 154 No. 6
• Variations for Piano and Flute or Violin, No. 6: Theme and Variations in D Major: On an Irish Air (Paddy Whack). Op. 105/6 [1818]
  Traditional song. arranged English Bulls; or, The Irishman in London, WoO 152 Number 12
• Variations for Piano and Flute or Violin, No. 3: Theme and Variations in C Major on an Austrian Air (A Schüsserl und a Reindel ist all mein Kuchelg'schirr) Op. 105/3 [1819]
• Piano Sonata No. 29 in B flat major: Hammerklavier-Sonate Op. 106 [1816-1818]
  Dedicated to Archduke Rudolph of Austria
  Beethoven: «Here is a sonata that will give pianists a lot to do when it is performed, fifty years from now!»[citation needed]
• Variations for piano and flute or violin in D major: theme and 4 variations on a Scottish air (O, Mary at thy window be) Op. 107/8 [1818]
  Arrangement of the traditional song also used in Op. 108, no. 17
• Variations for piano and flute or violin in E flat major: theme and 4 variations on a Tyrolean air (l bin a Tiroler Bua) Op. 107/1 [1818]
  An arrangement of the same traditional song is found in WoO 158a, no. 5
• Variations for piano and flute or violin in E flat major: theme and 5 variations on a Scottish air (Oh, Thou art the lad of my heart) Op. 107/9 [1818]
  Arrangement of the traditional song also used in Op. 108, no. 11
• Variations for piano and flute or violin in F major: Theme and 3 variations on a Tyrolean air (A Madel, ja a Madel) Op. 107/5 [1818]
  Arrangement of the traditional song also used in WoO 158a, no. 6
• Variations for piano and flute or violin in F major: theme and 4 variations on a Scottish air (Bonnie laddie, Highland laddie) Op. 107/2 [1818]
  Arrangement of the same traditional song used in Op. 108, no. 7
• Variations for piano and flute or violin in F major: theme and 4 variations on an Irish air (St. Patrick's Day) Op. 107/4 [1818]
  Arrangement of the traditional song also used in WoO 154 no. 4
• Variations for piano and flute or violin in G minor: theme and 5 variations on a Scottish air (The Highland Watch) Op. 107/10 [1818]
  Arrangement of the same traditional song used in Op. 108, no. 22
• Variations for piano and flute or violin in A minor: theme and 6 variations on a Russian air (Schöne Minka) Op. 107/7 [1819]
  Arrangement of the traditional song also used in WoO 158a, no. 16
• Variations for piano and flute or violin in E flat major: theme and 4 variations on a Welsh air (Merch Megan, Peggy's Daughter) Op. 107/6 [1819]
  Arrangement of the traditional song also used in WoO 155, no. 11
• Variations for piano and flute or violin in G major: theme and 5 variations on a Russian air Op. 107/3 [1819]
• Arrangement of the traditional Scottish song Faithfu' Johnie Op. 108/20 [1813]
  Text: Anne Grant. This is the 2nd version of the song; the 1st is Hess 203
• Arrangement of the traditional Scottish song Again, my lyre, yet once again Op. 108/24 [1815]
  Text: William Smyth
• Arrangement of the traditional Scottish song Bonnie laddie, Highland laddie Op. 108/7 [1815]
  Text: James Hogg
• Arrangement of the traditional Scottish song O swiftly glides the bonny boat Op. 108/19 [1815]
  Text: Joanna Baillie
• Arrangement of the traditional Scottish song O! thou art the side of my heart, Willy Op. 108/11 [1815]
  Text: William Smyth. Variations on this air: Op. 107, no. 9
• Arrangement of the traditional Scottish song Sympathy Op. 108/10 [1815]
  Text: William Smyth
• Arrangement of the traditional Scottish song The sweetest lad was Jamie Op. 108/5 [1815]
  Text: William Smyth
• Arrangement of the traditional Scottish song: Dim, dim is my eye Op. 108/6 [1815]
  Text: William Brown
• Arrangement of the traditional Scottish song Could this ill world have been contriv'd Op. 108/16 [1816]
  Text: James Hogg
• Arrangement of the traditional Scottish song O, had my fate been join'd with thine Op. 108/12 [1816]
  Text: Lord Byron
• Arrangement of the traditional Scottish song The lovely lass of Inverness Op. 108/8 [1816]
  Text: Robert Burns
• Arrangement of the traditional Scottish song: O cruel was my father Op. 108/15 [1816]
  Text: Alexander Ballantyne
• Traditional song arrangement: O, how can I be blithe and glad Op. 108/14 [1816]
  Text: Robert Burns
• Arrangement of the traditional English song Come fill, fill, my good fellow! Op. 108/13 [1817]
  Text: William Smyth
• Arrangement of the traditional Scottish song Behold, my Love Op. 108/9 [1817]
  Text: Robert Burns
• Arrangement of the traditional Scottish song Jeanie's Distress Op. 108/21 [1817]
  Text: William Smyth
• Arrangement of the traditional Scottish song Music, Love and Wine Op. 108/1 [1817]
  Dedicated to Prince Anton Heinrich Radziwill
  Text: William Smyth. The dedication to Prince Radziwill extends to all the pieces of Op. 108, entitled 25 schottische Lieder mit Begleitung von Pianoforte, Violine und Violoncello ("25 Scottish songs with piano, violin and cello accompaniment").
• Arrangement of the traditional Scottish song O Mary, at thy window be Op. 108/17 [1817]
  Text: Robert Burns
• Arrangement of the traditional Scottish song O sweet were the hours Op. 108/3 [1817]
  Text: William Smyth
• Arrangement of the traditional Scottish song Sally in our Alley Op. 108/25 [1817]
  Text: Henry Carey
• Arrangement of the traditional Scottish song The Highland Watch Op. 108/22 [1817]
  Text: James Hogg
• Arrangement of the traditional Scottish song: The Maid of Isla Op. 108/4 [1817]
  Text: Sir Walter Scott
• Arrangement of the traditional Scottish song Enchantress, farewell Op. 108/18 [1818]
  Text: Sir Walter Scott
• Arrangement of the traditional Scottish song Sunset Op. 108/2 [1818]
  Text: Sir Walter Scott
• Arrangement of the traditional Scottish song The Shepherd's Song Op. 108/23 [1818]
  Text: Joanna Baillie
• Piano Sonata No. 30 in E major Op. 109 [1820]
  Dedicated to Maximiliane Brentano
• Piano Sonata No. 31 in A flat major Op. 110 [1821-1822]
• Piano Sonata No. 32 in C minor Op. 111 [1821-1822]
  Dedicated to Archduke Rudolph of Austria
  The English edition was dedicated to Antonie Brentano
• Cantata for mixed choir with orchestral accompaniment Meeresstille und glückliche Fahrt Op. 112 [1814-1815]
  Dedicated to Johann Wolfgang von Goethe
  Text: Goethe; Beethoven sent the work to Goethe in 1822
• Music for Kotzebue's Die Ruinen von Athen for orchestra, choir and solo voices Op. 113 [1811]
  Music written for Kotzebue's piece for the opening party of the Pesth theater in 1812.
• Overture: Die Ruinen von Athen ("The Ruins of Athens") Op. 113 [1811]
  Music written for the piece by August von Kotzebue on the occasion of a celebration. Separate publication of the overture of the work listed below.
• March for orchestra and choir for Die Weihe des Hauses by Carl Meisl Op. 114 [1822]
  Adaptation of No. 6 of Die Ruinen von Athen, see Opus 113
• Overture in C major: Zur Namensfeier Op. 115 [1814-1815]
  Dedicated to Prince Anton Heinrich Radziwill
• Trio for solo voices and orchestra: Tremate, empi, tremate; for soprano, tenor, and bass with orchestra Op. 116 [1802-1814]
  Text: Bettoni (after Beethoven). Authorship is doubtful; some attribute the text to Giovanni de Gamerra
• Music for Kotzebue König's work Stephan oder Ungarns erster Wohhtäter ("King Stephen, or the First Benefactor of Hungary"), for orchestra, choir and solo voices Op. 117 [1811]
  Text: Kotzebue
• Overture in E flat major: König Stephan Op. 117 [1811]
  Separate edition (1826) of the overture to the work listed below
• Small cantata for solo voices and instruments: Elegischer Gesang ("Elegiac Song); for 4 voices, with string quintet or piano Op. 118 [1814]
  Dedicated to Baron Johann Baptist von Pasqualati
  Text: Ignaz Franz von Castelli? Or perhaps Pasqualati himself. Work written to commemorate the third anniversary of the death of the wife of the baron, an appreciated friend of Beethoven
• Bagatelle for piano in A major: Allegramente Op. 119/10 [1820-1821]
• Bagatelle for piano in A major: Vivace moderato Op. 119/9 [1820-1821]
• Bagatelle for piano in B flat major: Andante, ma non troppo Op. 119/11 [1820-1821]
• Bagatelle for piano in C major: Allegro, ma non troppo Op. 119/7 [1820-1821]
• Bagatelle for piano in C major: Moderato cantabile Op. 119/8 [1820-1821]
• Bagatelle for piano in A major: Andante cantabile Op. 119/4 [1820-1822]
  See comment to Op. 119, no. 1
• Bagatelle for piano in C major: Andante con moto Op. 119/2 [1820-1822]
  See comment to Op. 119, no. 1
• Bagatelle for piano in C minor: Risoluto Op. 119/5 [1820-1822]
  See comment to Op. 119, no. 1
• Bagatelle for piano in D major: A l'Allemande Op. 119/3 [1820-1822]
  See comment to Op. 119, no. 1
• Bagatelle for piano in G major: Andante-Allegretto Op. 119/6 [1820-1822]
• Bagatelle for piano in G minor: Allegretto Op. 119/1 [1820-1822]
  The sketch of some pieces of op. 119 dates back to 1800-1804 or before.2​
• 33 Variations for piano in C major on a waltz by Anton Diabelli Op. 120 [1819-1823]
  Dedicated to Antonie Brentano
• 10 Variations for piano, violin and cello trio in G major, on "Ich bin der Schneider Kakadu" by Wenzel Müller Op. 121/1 [1803-1816]
  Known as Opus 121a
• Opferlied song, for soloist, choir and orchestra Op. 121/2 [1822-1824]
  Text by Friedrich von Matthison. Work known as Opus 121b. There are two other versions of: 1822 and 1824, with different scores; in total, five arrangements over thirty years. See also WoO 126 and Hess 91
• Song: Bundeslied for two solo voices, choir and wind instruments Op. 122 [1822-1824]
  Text: Goethe. Hess 92 is a version accompanied by piano
• Missa Solemnis in D major Op. 123 [1819-1823]
  Dedicated to Archduke Rudolph of Austria
• Overture in C major: Die Weihe des Hauses ("The Consecration of the House") Op. 124 [1822]
  Dedicated to Prince Nikolaus Borissovich Galitzin
• Symphony No. 9 in D minor: Choral ("Choral") Op. 125 [1817-1824]
  Dedicated to Frederick William III of Prussia
  Text (IV movement): An die Freude, by Friedrich Schiller
• Piano Bagatelle No. 1 in G major: Andante con moto Op. 126/1 [1824]
  Dedicated to Nikolaus Johann van Beethoven
  Op. 126: Six Bagatelles for Piano
• Piano Bagatelle No. 2 in G minor: Allegro Op. 126/2 [1824]
• Piano Bagatelle No. 3 in E flat major: Andante Op. 126/3 [1824]
• Piano Bagatelle No. 4 in B minor: Presto Op. 126/4 [1824]
• Piano Bagatelle No. 5 in G major: Quasi allegretto Op. 126/5 [1824]
• Piano Bagatelle No. 6 in E flat major: Presto-andante Op. 126/6 [1824]
• String Quartet No. 12 in E flat major Op. 127 [1822-1825]
  Dedicated to Prince Nikolaus Borissovich Galitzin
• Arietta: Der Kuß ("The Kiss") Op. 128 [1798-1822]
  Text: Christian Felix Weiße.
• Rondo a capriccio for piano in G major: Die Wut über den velaren Groschen ("Rage at having lost a coin") Op. 129 [1795]
  Completed by an unknown author, probably Anton Diabelli
• String Quartet No. 13 in B flat major. Op. 130 [1825-1826]
  Dedicated to Prince Nikolaus Borissovich Galitzin
  Quartet originally written with the Grosse Fugue (opus 133) as the finale
• String Quartet No. 13 in B-flat Major with Alternate Ending Op. 130 [1825-1826]
  Dedicated to Prince Nikolaus Borissovich Galitzin
  This finale was the last work composed by Beethoven before he died.
• String Quartet No. 14 in C-Sharp Minor Op. 131 [1825-1826]
  Dedicated to Baron Joseph von Stutterheim
• String Quartet No. 15 in A minor Op. 132 [1823-1825]
  Dedicated to Prince Nikolaus Borissovich Galitzin
  The III mov. It is described in Beethoven's autograph as "Song of gratitude to the divinity of a convalescent, in Lydian mode."3
• Fugue for String Quartet in B flat major: Große Fuge ("Great Fugue") Op. 133 [1825-1826]
  Dedicated to Archduke Rudolph of Austria
  Originally composed as a finale of Op. 130, later separated as an independent work
• Piano fugue for four hands Op. 134 [1826]
  Dedicated to Archduke Rudolph of Austria
  Version of Opus 133
• String Quartet No. 16 in F major Op. 135 [1826]
  Dedicated to Johann Nepomuk Wolfmayer
  Motto of the IV movement: «Der schwer gefaßte Entschluß. Muß es sein? – It is muß sein!» ("The decision made with difficulty. Does it have to be? It has to be!").4​
• Cantata for four solo voices, choir and orchestra: Der glorreiche Augenblick ("The Glorious Moment") Op. 136 [1814]
  Text: Aloys Weissenbach
• Fugue for string quintet in D major Op. 137 [1817]
• Overture I in C major for the opera Leonore Op. 138 [1807]
• Grenadiermarsch march for musical clock, in F major (1798, adaptation of WoO 29) H 107
• Wellington's Victory, piece for panharmonic (1813; original version of the second part of Opus 91) H 108
• Romanza No. 3 for violin and orchestra H 11 [1816]
  Lost.
• Vesta's Feuer (1803; unfinished opera, to a libretto by Emanuel Schikaneder) H 115
• Music for Die Weihe des Hauses (1822, variants of Opus 113) H 118
• Concerto for oboe and orchestra in F major (lost; 1792-1793) H 12 [1792-1793]
• Romanza in E minor for piano, flute, bassoon and orchestra (fragment, 1786) H 13 [1786]
• Austrian folk song Das liebe Kätzchen (1820) H 133 [1820]
• Austrian folk song Der Knabe auf dem Berge (1820) H 134 [1820]
• Song "Ich wiege dich in meinem Arm" (1795; lost) H 137 [1795]
• Song "Minnesold von Burger, in Tönen an Amenda ausbezahlt" (1798-1799; lost) H 139
• Song "An die Freude" (1793-1799; about Schiller's poem; lost work, although two brief sketches remain) H 143
• Piano Concerto No. 6 in D major (incomplet) H 15 [1814-1815]
• Popular songs of diverse origin H 152–207
• Quintet for oboe, three horns and bassoon in E flat major (fragment) H 19 [1793-1796]
• Italian part songs H 208–232
• Counterpoint exercises H 233–246
• Four canons H 274–277
• Movement in A flat major for string trio (1797; 2nd trio for the scherzo from Op. 9, no. 1) H 28 [1797]
• Prelude and fugue for two violins and cello in E minor H 29 [1794-1795]
• Adagio for three horns in F major H 297 [1815]
• Prelude and fugue for string quartet, in F major H 30 [1794-1795]
• Two canons H 300 - 301 [1819-1820]
• Prelude and fugue for string quartet, in C major H 31 [1794-1795]
• String Quartet in F major (1799, first version of Opus 18 No. 1). H 32 [1799]
• Minuet for string quartet in A flat major H 33 [1790-1792]
• String quartet in F major (1801-1802, adaptation of piano sonata no. 9, from Opus 14 no. 1). H 34
• Fugue for string quartet in B minor (fragment, 1817, adaptation of fugue No. 24 from the first book of Bach's The Well-Tempered Clavier). H 35
• Fugue for string quartet (1798, adaptation of Handel's Solomon Overture) H 36
• Fugue for String Quintet in B minor (1801-1802, adaptation of Fugue No. 24 from the first book of Bach's The Well-Tempered Clavier) H 38
• String Quintet in F major (lost work; its existence is known from posthumous writings) H 39
• Movement from a string quintet in D minor (1817, unfinished) H 40 [1817]
• Sonata for piano and violin in A major (1790-1792, fragments) H 46
• Allegretto for piano trio in E flat major (1790-1792) H 48
• Fugue for three voices for piano in C major (1794-1795) H 64
• Small piano concerto finale in C major (1820-1821, adaptation for solo piano of the piano concerto No. 3, Opus 37) H 65
• Allegretto in C minor (arr. WoO 53) H 66
• Ländler for piano in C minor (1803) H 68 [1803]
• Allegretto for piano in C minor H 69 [1794]
• Grenadiermarsch piano march (1797-1798; piano adaptation of the march for six wind instruments WoO 29) H 87 [1797-1798]
• Piano minuet in A flat major (1790-1792, piano adaptation of the Hess minuet for string quartet 33) H 88 [1790-1792]
• Ballet music for piano Ritterballet (1791; piano arrangement of WoO 1) H 89 [1791]
• Ballet music for piano The Creatures of Prometheus (1801; piano arrangement of Opus 43) H 90
• Opferlied Song (1824-1825; arrangement for piano, solo voice and chorus, from Opus 121b) H 91
• Bundeslied Song (1824-1825; adaptation of Opus 122 for two voices, choir and piano) H 92
• Song in G major "Freudvoll und leidvoll" (1810; piano accompaniment for Egmont's song from Opus 84) H 93
• Piano piece: Wellingtons Sieg, oder die Schlacht bei Vitoria (1816; piano arrangement of Opus 91 Wellington's Victory) H 97
• Piano march in F major Yorck'scher Marsch (1809-1810, arrangement of WoO 18) H 99
• Musik zu einem Ritterballet ("Music for a Gentleman's Ballet"). WoO 1 [1790-1791]
  It was originally thought that Count Waldstein had written it. The piano arrangement is Hess 89
• Minuet for Orchestra No. 1, in C major WoO 10/1 [1795]
  The joint title of WoO 10 is Sechs Menuette für Orchester. However, only a piano version survives.
• Minuet for Orchestra No. 2, in G major WoO 10/2 [1795]
  See WoO 10, #1
• Minuet for Orchestra No. 3, in E flat major WoO 10/3 [1795]
  See WoO 10, #1
• Minuet for Orchestra No. 4, in B flat major WoO 10/4 [1795]
  See WoO 10, #1
• Minuet for Orchestra No. 5, in D major WoO 10/5 [1795]
  See WoO 10, #1
• Minuet for Orchestra No. 6, in C major WoO 10/6 [1795]
  See WoO 10, #1
• Musical joke for three solo voices and choir, in G major, Lob auf den Dicken WoO 100 [1801]
  Dedicated to Ignaz Schuppanzigh
  Text: Beethoven. The poem (which begins: Schuppanzigh ist ein Lump, Lump, Lump..., "Schuppanzigh is a rascal, rascal, rascal...") is a joke directed at his friend the violinist Ignaz Schuppanzigh.
• Musical joke in E flat major Graf, Graf, liebster Graf... WoO 101 [1802]
  Dedicated to Nikolaus Zmeskall von Domanovecz
  Text: Beethoven. The score was originally included in a letter (autumn 1802) to his friend N. Zmeskall; the text rhymes Graf ("count") with Schaf ("sheep").
• Song: Abschiedsgesang ("Farewell Song") for tenor and two basses a cappella WoO 102 [1814]
  Dedicated to Leopold Weiss
  Text: Joseph von Seyfried
• Small cantata for four solo voices (soprano, two tenors and bass) with piano accompaniment in B flat major: A lieto brindisi WoO 103 [1814]
  Dedicated to Giovanni Malfatti
  Text: Clemente Bondi. Written for the birthday of the doctor Giovanni Malfatti.
• Song “Gesang der Mönche” (“Song of the Monks”) from Schiller Wilhelm Tell, for two tenors and bass a cappella WoO 104 [1817]
  Text: from William Tell by Friedrich von Schiller
• Hochzeitslied Song ("Wedding Song") for tenor, choir and piano WoO 105 [1819]
  Dedicated to Anna Giannatasio del Rio
  Text: Anton Joseph Stein. Song written for the wedding of Leopold Schmerling and Anna Giannatasio del Río. There is a version in C major and another in A major; unison version of Hess 124.
• Cantata Lobkowitz-Kantate for soprano, choir and piano WoO 106 [1823]
  Dedicated to Prince Ferdinand Lobkowitz
  Text: Beethoven; written for Prince Lobkowitz's birthday.
• Song: Schilderung eines Mädchens WoO 107 [1782]
  Text: unknown author
• Song in A major: An einen Säugling WoO 108 [1783]
  Text: Johann von Döhring
• Song in C major: Trinklied (beim Abschied zu singen) (“Drinking song, to sing goodbye”) WoO 109 [1791-1792]
  Text: unknown author
• Sieben ländlerische Tänze ("Seven Tyrolean Dances"), in D major, presumably for two violins and cello WoO 11 [1799]
  Preserved only in piano version
• Song in F minor Elegie auf den Tod eines Pudels ("Elegy for the Death of a Spaniel") WoO 110 [1790]
  Text: unknown author
• Song in G major: Punschlied, for unison choir WoO 111 [1791-1792]
  Text: unknown author
• Song in G major: An Laura WoO 112 [1792]
  Text: Friedrich von Matthisson
• Song in E major: Klage ("Lament") WoO 113 [1790]
  Text: Ludwig Hölty
• Song in E major: Ein Selbstgespräch ("Monologue") WoO 114 [1793]
  Text: Johann Wilhelm Ludwig Gleim
• Song in D major: An Minna WoO 115 [1792]
  Text: Author unknown
• Song in C major: Que le temps me dura WoO 116 [1793]
  Text: Jean-Jacques Rousseau. There are two versions of the score, both incomplete
• Song with unison chorus, in C major: Der freie Mann ("The Free Man") WoO 117 [1792-1794]
  Text: Gottlieb Konrad Pfeffel
• Songs Seufzer eines Ungeliebten and Gegenliebe WoO 118 [1794-1795]
  Text: Gottfried August Bürger. The Gegenliebe melody was later used in the choral fantasy Opus 80
• Song in G major: O care selve, with unison chorus. WoO 119 [1794-1795]
  Text by Pietro Metastasio, also used in WoO 99, #8
• Twelve minuets for orchestra WoO 12 [1799]
  Dubious authorship. The work was written by Beethoven's brother Karl, possibly with the help of Ludwig.
• Song Man strebt, die Flamme zu verhehlen in F major WoO 120 [1800-1802]
  Dedicated to Johanna Franul von Weissenthurn
  Text: unknown author
• Song Abschiedsgesang an Wiens Bürger in G major WoO 121 [1796]
  Dedicated to Major (Oberstwachtmeister) von Kövesdy
  Text: Josef von Friedelberg
• Song Kriegslied der Osterreicher, in C major, with unison chorus WoO 122 [1797]
  Text: Josef von Friedelberg
• Song Zärtliche Liebe ("Tender Love") in G major WoO 123 [1795]
  Text: Karl Friedrich Herrosee
• Song La partenza (Der Abschied), in A major WoO 124 [1795]
  Text: Pietro Metastasio
• Song La tiranna in E flat major WoO 125 [1798-1799]
  Text: unknown author; Beethoven used William Wennington's English translation
• Song Opferlied ("Song of Offering") in E major WoO 126 [1794-1795]
  Text: Friedrich von Matthisson. The piece is an early version of Opus 121b
• Song Neue Liebe, neues Leben ("New love, new life") in C major WoO 127 [1798-1799]
  Text: Goethe. First version of the song; the second and definitive is Opus 75 no. 2
• Plaisir d'aimer song in G major WoO 128 [1798-1799]
  Text: anonymous
• Song in F major: Der Wachtelschlag ("The song of the quail") WoO 129 [1803]
  Dedicated to Count Johann Georg Browne
  Text: Samuel Friedrich Sauter
• German Dance for Orchestra No. 1 in D Major WoO 13/1 [1792-1797]
  The twelve pieces of WoO 13 bear the joint title of Twelve German Dances for Orchestra. They are preserved only in the piano version
• German Dance for Orchestra No. 10 in C Major WoO 13/10 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 11 in A Major WoO 13/11 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 12 in D Major WoO 13/12 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 2 in B flat major WoO 13/2 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 3 in G Major WoO 13/3 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 4 in D major WoO 13/4 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 5 in F Major WoO 13/5 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 6 in B flat major WoO 13/6 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 7 in D Major WoO 13/7 [1792-1797]
  See WoO 13, #1
• German Dance for Orchestra No. 9 in E flat major WoO 13/9 [1792-1797]
  See WoO 13, #1
• German Dance No. 8 for Orchestra in G Major WoO 13/8 [1792-1797]
  See WoO 13, #1
• Song in C minor: Gedenke mein WoO 130 [1804-1820]
  Dedicated to Prince Nikolas Borissovich Galitzin
  Text: anonymous
• Erlkönig Recitative, for solo voices and instruments, in D minor WoO 131 [1794-1796]
  Text: Goethe. Unfinished piece.
• Song in E flat major: Als die Geliebte sich trennen wollte, also known as Empfindungen bei Lydiens Untreue WoO 132 [1806]
  German text by Stephan von Breuning, based on a French text by Hoffmann (it is the second "Romanza" of the operetta Le secret by Jean Pierre Solié).8​
• Arietta in A flat major: In this dark tomba WoO 133 [1806-1807]
  Text: Giuseppe Carpani
• Sehnsucht Song in G minor: 2nd version (Poco andante) WoO 134/2 [1807-1808]
  See WoO 134, #1.
• Sehnsucht Song in G minor: 3rd version (Poco adagio) WoO 134/3 [1807-1808]
  See WoO 134, #1.
• Sehnsucht Song in G minor: 4th version (Assai adagio) WoO 134/4 [1807-1808]
  See WoO 134, #1.
• Song Sehnsucht ("Longing") in G minor: 1st version (Andante poco agitato) WoO 134/1 [1807-1808]
  Text: Goethe. WoO 134 contains four variants on the same poem. In the right margin of the first page of the manuscript, Beethoven wrote: "N.B.: I did not have time to produce a good one, so there are several attempts."9​
• Song in C minor: Die laute Klage WoO 135 [1814-1815]
  Text: Johann Gottfried Herder
• Song in D minor: Andenken ("Memories") WoO 136 [1808]
  Text: Friedrich von Matthisson
• Song in B flat major: Gesang aus der Ferne ("Song from afar") WoO 137 [1809]
  Second version of the song; The first one does not have a catalog number. Text: Christian Ludwig Reissig
• Song in B flat major: Der Jüngling in der Fremde WoO 138 [1809]
  Text: Christian Ludwig Reissig; the music was originally written for the text of WoO 137.
• Song in D major: Der Liebende ("The End of Love") WoO 139 [1809]
  Text: Christian Ludwig Reissig
• Contradanza for Orchestra No. 1 in C Major WoO 14/1 [1791-1802]
  The twelve pieces of WoO 14 bear the joint title of Twelve Contradanzas for Orchestra. The piano version of no. 1-2, 4-5, 7-10, 12 is Hess 102
• Contradanza for Orchestra No. 12 in E flat major WoO 14/12 [1791-1802]
  See WoO 14, no. 1
• Contradanza for Orchestra No. 5 in E flat major WoO 14/5 [1791-1802]
  See WoO 14, no. 1
• Contradanza for Orchestra No. 8 in C Major WoO 14/8 [1791-1802]
  See WoO 14, no. 1
• Contradanza for Orchestra No. 3 in D major WoO 14/3 [1795-1802]
  See WoO 14, no. 1
• Contradanza for Orchestra No. 4 in B flat major WoO 14/4 [1795-1802]
  See WoO 14, no. 1
• Contradanza for orchestra No. 6 in C major WoO 14/6 [1795-1802]
  See WoO 14, no. 1
• Contradanza for Orchestra No. 11 in G Major WoO 14/11 [1800-1802]
  See WoO 14, no. 1. Theme from Die Geschöpfe des Prometheus Opus 43.
• Contradanza for Orchestra No. 7 in E flat major WoO 14/7 [1800-1802]
  See WoO 14, no. 1. Theme from Die Geschöpfe des Prometheus Opus 43, later used in the Eroica Opus 55
• Contradanza for Orchestra No. 10 in C Major WoO 14/10 [1801-1802]
  See WoO 14, no. 1
• Contradanza for Orchestra No. 2 in A major WoO 14/2 [1801-1802]
  See WoO 14, no. 1
• Contradanza for orchestra No. 9 in A major WoO 14/9 [1801-1802]
  See WoO 14, no. 1
• Song: An die Geliebte ("To the Beloved") WoO 140/1 [1811]
  Text: Johann Ludwig Stoll. First version of the song.
• Song: An die Geliebte WoO 140/2 [1814]
  Text: Johann Ludwig Stoll. Second version of the song.
• Song in C major: Der Gesang der Nachtigall WoO 141 [1813]
  Text: Johann Gottfried Herder
• Song in E minor: Der Bardengeist WoO 142 [1813]
  Text: Franz Rodolfo Hermann
• Song in E flat major: Des Kriegers Abschied WoO 143 [1814]
  Text: Christian Ludwig Reissig
• Song in E flat major: Merkenstein WoO 144 [1814]
  Text: Johann Baptist Rupprecht. First version of the song; the second is Opus 100.
• Song in G major: Das Geheimnis (Liebe und Wahrheit) WoO 145 [1815]
  Text: Ignaz Heinrich Carl von Wessenberg
• Song in E major: Sehnsucht WoO 146 [1816]
  Text: Christian Ludwig Reissig
• Song in A major: Ruf vom Berge WoO 147 [1816]
  Text: Georg Friedrich Treitschke
• Song in F major: So oder so WoO 148 [1817]
  Text:: Carl Lappe
• Song in D major: Resignation WoO 149 [1817]
  Text: Count Paul von Haugwitz
• Tyrolean Dance for Two Violins and Double Bass No. 1 in D Major WoO 15/1 [1802]
  The six pieces of WoO 15 bear the joint title of Sechs ländlerische Tänze für zwei Violinen und Baß ("Six Tyrolean Dances for Two Violins and Bass"). There is a piano version of all six.
• Tyrolean Dance for Two Violins and Double Bass No. 2 in D Major WoO 15/2 [1802]
  See WoO 15, No. 1
• Tyrolean dance for two violins and double bass No. 3 in D major WoO 15/3 [1802]
  See WoO 15, No. 1
• Tyrolean dance for two violins and double bass No. 4 in D minor WoO 15/4 [1802]
  See WoO 15, No. 1
• Tyrolean dance for two violins and double bass No. 5 in D major WoO 15/5 [1802]
  See WoO 15, No. 1
• Tyrolean dance for two violins and double bass No. 6 in D major WoO 15/6 [1802]
  See WoO 15, No. 1
• Song in E major: Abendlied unter'm gestirnten Himmel ("Evening song under the starry sky") WoO 150 [1820]
  Dedicated to Dr. Anton Braunhofer
  Text: Heinrich Goeble; It could be considered the last song completed.
• Song in G major: Der edle Mensch sei hülfreich und gut WoO 151 [1823]
  Dedicated to Baroness Cäcilie von Eskeles
  Text: Goethe
• Arrangement of the Irish folk song Come drew we round a cheerful ring WoO 152/8 [1810]
  Text: Joanna Baillie. See WoO 152, #1.
• Arrangement of the Irish folk song Dermot and Shelah WoO 152/14 [1810]
  Text: T. Toms. See WoO 152, #1.
• Arrangement of the Irish folk song English Bulls, or The Irishman in London WoO 152/12 [1810]
  Text: Anonymous, variations on this tune in Paddy Whack Op 105 No. 6. See WoO 152, No. 1.
• Arrangement of the Irish folk song Farewell bliss and farewell Nancy WoO 152/20 [1810]
  Text: Anne Grant and Robert Burns. See WoO 152, #1.
• Arrangement of the Irish folk song Hide not thy WoO 152/16 [1810]
  Text: William Smyth. See WoO 152, #1.
• Arrangement of the Irish folk song His boat comes on the sunny tide WoO 152/7 [1810]
  Text: Joanna Baillie. See WoO 152, #1.
• Arrangement of the Irish folk song In vain to this desert my fate I deplore WoO 152/17 [1810]
  Text: Anne Grant and Robert Burns. See WoO 152, #1.
• Arrangement of the Irish folk song Let brainspinning swains WoO 152/15 [1810]
  Text: Alexander Boswell. See WoO 152, #1.
• Arrangement of the Irish folk song On the massacre of Glencoe WoO 152/5 [1810]
  Text: Sir Walter Scott; original version of Hess 192. See WoO 152, no. 1.
• Arrangement of the Irish folk song Once more I hail thee WoO 152/3 [1810]
  Text: Robert Burns. See WoO 152, #1.
• Arrangement of the Irish folk song Sweet power of song! WoO 152/2 [1810]
  Text: Joanna Baillie. See WoO 152, #1.
• Arrangement of the Irish folk song The morning air plays on my face WoO 152/4 [1810]
  Text: Joanna Baillie. See WoO 152, #1.
• Arrangement of the Irish folk song The return to Ulster WoO 152/1 [1810]
  Text: Sir Walter Scott. The twenty-five pieces of WoO 152 bear the joint title of 25 Irische Lieder ("25 Irish Songs").
• Arrangement of the Irish folk song The soldier's dream WoO 152/9 [1810]
  Text: Thomas Campbell. See WoO 152, #1.
• Arrangement of the Irish folk song The wand'ring gypsy WoO 152/23 [1810]
  Text: Dr. Wolcot. See WoO 152, #1.
• Arrangement of the Irish folk song They bid me slight my Dermot dear WoO 152/18 [1810]
  Text: William Smyth. See WoO 152, #1.
• Arrangement of the popular Irish song What shall I do to shew how much I love her? WoO 152/6 [1810]
  Text: Anonymous. See WoO 152, #1.
• Arrangement of the Irish folk song From Garyone, my happy home WoO 152/22 [1812]
  Text: T. Toms; original version of WoO 154 #7. See WoO 152, #1.
• Arrangement of the Irish folk song Morning a cruel turmoiler is WoO 152/21 [1812]
  Text: Alexander Boswell. See WoO 152, #1.
• Arrangement of the Irish folk song Musing on the roaring ocean WoO 152/13 [1812]
  Text: Robert Burns. See WoO 152, #1.
• Arrangement of the Irish folk song O harp of Erin WoO 152/25 [1812]
  Text: David Thomson; original version before WoO 154, #2. See WoO 152, #1.
• Arrangement of the Irish folk song The deserter WoO 152/10 [1812]
  Text: John Philpot Curran. See WoO 152, #1.
• Arrangement of the Irish folk song The Traugh welcome WoO 152/24 [1812]
  Text: Anonymous. See WoO 152, #1.
• Arrangement of the Irish folk song Thou emblem of faith WoO 152/11 [1812]
  Text: J.P. Curran. See WoO 152, #1.
• Arrangement of the Irish folk song Wife, children and friends WoO 152/19 [1812]
  Text: William Robert Spencer. See WoO 152, #1.
• Arrangement of Irish folk song: Oh, thou hapless soldier WoO 153/10 [1810]
  Text: William Smyth. See WoO 153, #1.
• Arrangement of the Irish folk song No riches from his scanty store WoO 153/2 [1810]
  Text: Williams. See WoO 153, #1.
• Arrangement of the Irish folk song Since greybeards inform us that youth will decay WoO 153/4 [1810]
  Text: T. Toms. See WoO 153, #1.
• Arrangement of the Irish folk song The British light dragoons, or The Plain of Badajos WoO 153/3 [1810]
  Text: Sir Walter Scott. See WoO 153, #1.
• Arrangement of the Irish folk song When eve's last rays in twilight die WoO 153/1 [1810]
  Text: David Thomson. The twenty pieces of WoO 153 bear the joint title of 20 Irische Lieder ("Twenty Irish Songs").
• Irish Folk Song Arrangement: Paddy O'Rafferty WoO 153/14 [1810]
  Text: Alexander Boswell. See WoO 153, #1.
• Arrangement of the Irish folk song Norah of Balamagairy WoO 153/8 [1812-1813]
  Text: Alexander Boswell. See WoO 153, #1.
• Arrangement of Irish folk song: No more, my Mary, I sigh for splendor WoO 153/18 [1813]
  Text: William Smyth. See WoO 153, #1.
• Arrangement of Irish folk song: Thy ship must sail, my Henry dear WoO 153/20 [1813]
  Text: William Smyth. See WoO 153, #1.
• Arrangement of the Irish folk song I dream'd I lay where flow'rs were springing WoO 153/5 [1813]
  Text: Robert Burns; version that replaces that of Hess 194. See WoO 153, no. 1.
• Arrangement of the Irish folk song I'll praise the saints with early song WoO 153/12 [1813]
  Text: William Smyth; this version replaces Hess 196. See WoO 153, no. 1.
• Arrangement of the Irish folk song O might I but my Patrick love! WoO 153/16 [1813]
  Text: William Smyth. See WoO 153, #1.
• Arrangement of the Irish folk song O soothe me, my lyre WoO 153/7 [1813]
  Text: William Smyth. See WoO 153, #1.
• Arrangement of the Irish folk song The kiss, dear maid, thy lip has left WoO 153/9 [1813]
  Text: Lord Byron. See WoO 153, #1.
• Arrangement of the Irish folk song When far from the home of our youth we have rang'd WoO 153/11 [1813]
  Text: David Thomson; Hess 195 is another version of the same song. See WoO 153, #1.
• Arrangement of the Irish folk song: 'Tis but in vain, for nothing thrives WoO 153/15 [1813]
  Text: William Smyth; version replacing Hess 197. See WoO 153, no. 1.
• Irish Folk Song Arrangement: Come, Darby dear! easy, be easy WoO 153/17 [1813]
  Text: William Smyth. See WoO 153, #1.
• Irish Folk Song Arrangement: Judy, lovely, matchless creature WoO 153/19 [1813]
  Text: Alexander Boswell. See WoO 153, #1.
• Arrangement of Irish folk song: ‘Tis sunshine at last WoO 153/13 [1815]
  Text: William Smyth. See WoO 153, #1.
• Arrangement of the Irish folk song Sad and luckless was the season WoO 153/6 [1815]
  Text: William Smyth. Opus 105, No. 4 consists of variations on this melody, also known as The last rose of summer. See WoO 153, #1.
• Arrangement of Irish folk song: From Garyone, my happy home WoO 154/7 [1813]
  Text: T Toms; version that replaces that of WoO 152 no. 22. See WoO 154, no. 1.
• Arrangement of Irish folk song: Put round the bright wine (air: Chiling O'Guiry) WoO 154/6 [1813]
  Text: William Smyth; variations on this melody: Op 105 no. 5. See WoO 154, no. 1.
• Arrangement of Irish folk song: Save me from the grave and wise (air: Nora Creina). WoO 154/8 [1813]
  Text: William Symth. See WoO 154, #1.
• Arrangement of Irish folk song: The Elfin fairies (air: Planxty Kelly). WoO 154/1 [1813]
  Text: David Thomson. The twelve pieces of WoO 154 bear the joint title of 12 Irische Lieder ("Twelve Irish Songs").
• Arrangement of Irish folk song: The farewell song (air: The old woman) WoO 154/3 [1813]
  Text: William Smyth. See WoO 154, #1.
• Arrangement of the Irish folk song: The soldier in a foreign land (air: The brown maid) WoO 154/11 [1813]
  Text: Joanna Baillie; another version is that of Hess 199. See WoO 154, no. 1.
• Irish Folk Song Arrangement: He promis'd me at parting WoO 154/12 [1813]
  Text: William Smyth. See WoO 154, #1.
• Irish Folk Song Arrangement: O harp of Erin WoO 154/2 [1813]
  Text: David Thomson; version that replaces that of WoO 152 no. 25. See WoO 154, no. 1.
• Irish Folk Song Arrangement: O who, my dear Dermot (Air: Crooghan a Venee) WoO 154/5 [1813]
  Text: William Smyth. See WoO 154, #1.
• Irish Folk Song Arrangement: O would I were but that sweet linnet! (air: The pretty girl milking the cows) WoO 154/9 [1813]
  Text: William Smyth; version that replaces that of Hess 198. See WoO 154, no. 1.
• Irish Folk Song Arrangement: The hero may perish WoO 154/10 [1813]
  Text: William Smyth; another version is WoO 156 No. 8. See WoO 154, No. 1.
• Irish Folk Song Arrangement: The pulse of an Irishman ever beats quicker WoO 154/4 [1813]
  Text: Alexander Boswell. See WoO 154, #1.
• Arrangement of the Welsh folk song Cupid's Kindness WoO 155/21 [1810]
  Text: William Smyth. See WoO 155, #1.
• Arrangement of the Welsh folk song Farewell, thou noisy town WoO 155/8 [1810]
  Text: William Smyth. See WoO 155, #1.
• Arrangement of the Welsh folk song Helpless woman WoO 155/13 [1810]
  Text: Robert Burns. See WoO 155, #1.
• Arrangement of the Welsh folk song Love without hope WoO 155/4 [1810]
  Text: John Richardson. See WoO 155, #1.
• Arrangement of the Welsh folk song Ned Pugh's farewell WoO 155/10 [1810]
  Text: Anne Hunter. See WoO 155, #1.
• Arrangement of the Welsh folk song O let the night my blushes hide WoO 155/7 [1810]
  Text: William Smyth. See WoO 155, #1.
• Arrangement of the Welsh folk song Sweet Richard WoO 155/18 [1810]
  Text: Amelia Alderson Opie. See WoO 155, #1.
• Arrangement of the Welsh folk song The cottage maid WoO 155/3 [1810]
  Text: William Smyth; variations on this melody: Op 105 no. 1. See WoO 155, no. 1.
• Arrangement of the Welsh folk song The fair maid of Mona WoO 155/6 [1810]
  Text: William Smyth. See WoO 155, #1.
• Arrangement of the Welsh folk song The golden robe WoO 155/5 [1810]
  Text: Anne Hunter. See WoO 155, #1.
• Arrangement of the Welsh folk song The old strain WoO 155/23 [1810]
  Text: William Smyth. See WoO 155, #1.
• Arrangement of the Welsh folk song The vale of Clwyd WoO 155/19 [1810]
  Text: A.A. Opie. See WoO 155, #1.
• Arrangement of the Welsh folk song Three Hundred Pounds WoO 155/24 [1810]
  Text: Richard Litwyd. See WoO 155, #1.
• Arrangement of the Welsh folk song To the Aeolian harp WoO 155/9 [1810]
  Text: Anne Hunter. See WoO 155, #1.
• Arrangement of Welsh folk song Merch Megan, or Peggy's Daughter WoO 155/11 [1810]
  Text: Anne Hunter; variations on this melody: Op 107 no. 6. See WoO 155, no. 1.
• Arrangement of Welsh folk song: Good night WoO 155/26 [1810]
  Text: William Robert Spencer. See WoO 155, #1.
• Arrangement of Welsh folk song: The dairy house WoO 155/17 [1810]
  Text: Anne Hunter. See WoO 155, #1.
• Arrangement of Welsh folk song: The damsels of Cardigan WoO 155/16 [1810]
  Text: W. Jones. See WoO 155, #1.
• Arrangement of Welsh folk song: The dream WoO 155/14 [1810]
  Text: Dafydd ap Gwillym. See WoO 155, #1.
• Arrangement of Welsh folk song: The monks of Bangor's march WoO 155/2 [1810]
  Text: Sir Walter Scott. See WoO 155, #1.
• Welsh folk song arrangement: Chase of the wolf WoO 155/1 [1810]
  Text: Anne Grant. The 26 pieces of WoO 155 bear the joint title of 26 Walisische Lieder ("26 Welsh Songs").
• Welsh Folk Song Arrangement: Constancy WoO 155/22 [1810]
  Text: Robert Burns. See WoO 155, #1.
• Welsh folk song arrangement: Waken, lords and ladies gay WoO 155/12 [1810]
  Text: Sir Walter Scott. See WoO 155, #1.
• Arrangement of Welsh folk song: To the blackbird WoO 155/20 [1813]
  Text: Dafydd ap Gwillym; version that replaces Hess 206. See WoO 155, no. 1.
• Arrangement of Welsh folk song: When mortals all to rest retire WoO 155/15 [1813]
  Text: William Smyth. See WoO 155, #1.
• Arrangement of Welsh folk song: The parting kiss WoO 155/25 [1815]
  Text: William Smyth. See WoO 155, #1.
• Scottish Folk Song Arrangement: Highland Harry WoO 156/6 [1815]
  Text: Robert Burns. See WoO 156, #1.
• Arrangement of the Scottish folk song Cease your funning, force or cunning WoO 156/5 [1817]
  Text: Anonymous in the Beethoven manuscript and first editions. It is not actually a Scottish song, but a song derived from the opera The Beggar's Opera by John Gay.10 See WoO 156, no. 1.
• Arrangement of the Scottish folk song Auld lang syne WoO 156/11 [1818]
  Text: Robert Burns. See WoO 156, #1.
• Arrangement of the Scottish folk song Duncan Gray WoO 156/2 [1818]
  Text: Robert Burns. See WoO 156, #1.
• Arrangement of the Scottish folk song Lochnagar WoO 156/9 [1818]
  Text: Lord Byron. See WoO 156, #1.
• Arrangement of the Scottish folk song The Quaker's Wife WoO 156/12 [1818]
  Text: Mrs. Hunter. See WoO 156, #1.
• Arrangement of the Scottish folk song Womankind WoO 156/8 [1818]
  Another version of the song is WoO 154 #10. See WoO 156, #1.
• Arrangement of the Scottish folk song Ye shepherds of this pleasant vale WoO 156/4 [1818]
  Text: William Hamilton (1704-1754). See WoO 156, #1.
• Scottish Folk Song Arrangement: Polly Stewart WoO 156/7 [1818]
  Text: Robert Burns. See WoO 156, #1.
• Arrangement of Scottish folk song Glencoe WoO 156/10 [1819]
  Text: Sir Walter Scott. See WoO 156, #1.
• Arrangement of the Scottish folk song Up! quit thy bower late wears the hour WoO 156/3 [1819]
  Text: Joanna Baillie. See WoO 156, #1.
• Scottish Folk Song Arrangement: The banner of Buccleuch WoO 156/1 [1819]
  Text: Sir Walter Scott. The twelve pieces of WoO 156 bear the joint title of Zwölf Schottische Lieder ("Twelve Scottish Songs").
• Arrangement of the Irish folk song A health to the brave WoO 157/6 [1815]
  Text: John Dovaston. See WoO 157, #1.
• Arrangement of the Irish folk song By the side of the Shannon WoO 157/8 [1815]
  Text: William Smith. See WoO 157, #1.
• Arrangement of the Irish folk song Robin Adair WoO 157/7 [1815]
  Text: Anonymous. See WoO 157, #1.
• Arrangement of the Irish folk song The soldier WoO 157/2 [1815]
  Text: William Smyth. See WoO 157, #1.
• Arrangement of the Irish folk song The Wandering minstrel WoO 157/11 [1815]
  Text: William Smyth. See WoO 157, #1.
• Arrangement of the Venetian folk song La gondoletta WoO 157/12 [1816]
  See WoO 157, #1.
• Arrangement of the English folk song God save the King WoO 157/1 [1817]
  Text: Henry Carey; WoO 78 consists of variations on this melody. The twelve pieces of WoO 157 bear the joint title of Zwölf verschiedene Volkslieder ("Twelve Various Folk Songs").
• Arrangement of the Scottish folk song Sir Johnie Cope WoO 157/10 [1817]
  Old song of the Jacobites. See WoO 157, #1.
• Arrangement of the Sicilian folk song O sanctissima, o piissima WoO 157/4 [1817]
  See WoO 157, #1.
• Arrangement of the English folk song The Miller of Dee WoO 157/5 [1819]
  See WoO 157, #1.
• Arrangement of the Scottish folk song O Charlie is my darling WoO 157/3 [1819]
  See WoO 157, #1.
• Arrangement of the Scottish folk song Highlander's lament WoO 157/9 [1820]
  Text: Robert Burns. See WoO 157, #1.
• Arrangement ("Canzonetta veneziana") of a popular Venetian song ("Da brava, Catina, mostreve bonina...") WoO 158 a /23 [1816]
  See WoO 158a, no. 1.
• Arrangement (“Bolero a due”) of a Spanish popular song (“Like the butterfly I am”) WoO 158 a /20 [1816]
  Hess 207 is the first version of the coda. See WoO 158a, no. 1.
• Arrangement (“Bolero a solo”) of a Spanish popular song: Una paloma blanca WoO 158 a /19 [1816]
  See WoO 158a, no. 1.
• Arrangement of a German folk song ("Horch auf, mein Liebchen...") WoO 158 a /2 [1816]
  See WoO 158a, no. 1.
• Arrangement of a German folk song ("Wegen meiner blieb d'Fräula...") WoO 158 a /3 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Polish folk song ("Oj, oj upilem sie w karczmie...") WoO 158 a /9 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Polish folk song ("Poszla baba po popial...") WoO 158 a /10 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Portuguese popular song ("I don't want to embark...") WoO 158 a /11 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Portuguese popular song ("Seus lindas olhos...") WoO 158 a /12 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Russian folk song ("...Vo lesocke komarokov mnogo urodilos..."; in German: "Im Walde sind viele Mücklein geboren...") WoO 158 a /13 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Russian folk song ("Akh, recen'ki, recen'ki..."; German: "Ach Bächlein, Bächlein, kühle Wasser...") WoO 158 a /14 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Russian folk song ("Kak Posli nasi podruzki..."; German: "Unsere Mädchen gingen in den Wald...") WoO 158 a /15 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Russian folk song, "Cossack Air" ("Schöne Minka, ich muß scheiden...") WoO 158 a /16 [1816]
  Variations on this melody: Op 107 no. 7. See WoO 158 a, no. 1.
• Arrangement of a Spanish popular song: Spanish Tiranilla ("The tiranna embarks...") WoO 158 a /21 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Swiss folk song ("An ä Bergli bin i gesässe...") WoO 158 a /18 [1816]
  See WoO 158a, no. 1.
• Arrangement of a Tyrolean folk song ("A Madel, ha a Madel...") WoO 158 a /6 [1816]
  Variations on this melody: Op 107 no. 5. See WoO 158 a, no. 1.
• Arrangement of a Tyrolean folk song ("Wann i in der Früh aufsteh...") WoO 158 a /4 [1816]
  See WoO 158a, no. 1.
• Arrangement of the Tyrolean folk song Teppichkrämerlied WoO 158 a /5 [1816]
  Op 107 No. 1 consists of variations on this melody. See WoO 158a, no. 1.
• Arrangement of a Hungarian vintage folk song ("Édes kinos emlékezet") WoO 158 a /22 [1817]
  See WoO 158a, no. 1.
• Arrangement of a Swedish lullaby ("Lilla Carl, sov sött i frid!...") WoO 158 a /17 [1817]
  Text: C.M. Bellmann. See WoO 158a, no. 1.
• Arrangement of a Tyrolean folk song ("'Wer solche Buema afipackt...") WoO 158 a /7 [1817]
  See WoO 158a, no. 1.
• Arrangement of a Tyrolean folk song ("Ih mag di nit nehma, du töppeter Hecht...") WoO 158 a /8 [1817]
  See WoO 158a, no. 1.
• Arrangement of the Danish folk song Ridder Stigs Runer WoO 158 a /1 [1817]
  The pieces in WoO 158 bear the joint title of Lieder verschiedene Völker ("Songs of Various Peoples") and are subdivided into three groups, numbered 1 to 3 or as WoO 158a, 158b and 158c. A fourth section (158 d) has been added later by other compilers. Th
• Arrangement of an Irish folk song (Lament for Owen Roe O'Neill) WoO 158 b /7 [1810]
  See WoO 158 b, no. 1.
• Arrangement of an Irish folk song ("Adieu, my lov'd harp"), in A major. WoO 158 b /1 [1813]
  Text: Moore. The second section of WoO 158 (WoO 158, 2 or 158b) is titled "Britische Lieder" ("British Songs") and consists of seven pieces, none of which feature text11. For WoO 158 in general, see WoO 158a, #1.
• Arrangement of an Irish folk song ("Castle O'Neill"), in E flat major WoO 158 b /2 [1813]
  See WoO 158 b, no. 1.
• Arrangement of a Scottish folk song ("O Mary ye's be clad in silk") WoO 158 b /6 [1815]
  See WoO 158 b, no. 1.
• Arrangement of a Scottish folk song (Erin! O Erin!, "Like the bride lamp that lay..."), in G major WoO 158 b /5 [1815]
  See WoO 158 b, no. 1.
• Arrangement of a Scottish folk song ("Red gleams the sun on yon hill tap") WoO 158 b /4 [1817]
  See WoO 158 b, no. 1.
• Arrangement of a Scottish folk song (Oh ono chri!, "O was not I a weary wight") WoO 158 b /3 [1817]
  See WoO 158 b, no. 1.
• Arrangement of a (Scottish) folk song in E minor WoO 158 c /6 [1810]
  No title or text. See WoO 158 c, no. 1.
• Arrangement of a popular song (When my Hero in court appears) in E minor. WoO 158 c /1 [1817]
  Text: John Gay. See WoO 158 a, no. 1. The third section of WoO 158 (WoO 158, 3 or 158 c) is, in the Kinsky and Halm catalogue, the title "Lieder unbekannter Herkunft" ("Songs of unknown origin") and consists of six pieces without text12​.
• Arrangement of a popular song in B major ("Air de Colin", Le Devin du Village by Rousseau) WoO 158 c /2 [1817]
  Text: Jean Jacques Rousseau. See WoO 158 c, no. 1.
• Arrangement of a (Scottish) folk song in B flat major (From thee, Eliza, I must go), for three voices and piano trio WoO 158 c /5 [1818]
  Text: Robert Burns. See WoO 158 c, no. 1.
• Arrangement of a (Scottish) folk song in A major (Bonnie wee thing), for three voices and piano WoO 158 c /4 [1820]
  Text: Robert Burns. See WoO 158 c, no. 1.
• Arrangement of a (Scottish) folk song in B major (Mark yonder pomp of costly fashion) WoO 158 c /3 [1820]
  Text: Robert Burns. See WoO 158 c, no. 1.
• Arrangement of a French popular song (Air Français) in F major. WoO 158 d
  See WoO 158 a, no. 1. The fourth section of WoO 158 (WoO d) does not appear in the catalog of Kinsky and Halm13​; This is a later addition to the WoO roster.
• Canon for three voices, in F major: Im Arm der Liebe ruht sich's wohl WoO 159 [1795]
  Text: modification of the poem Liedchen von der Ruhe by Wilhelm Ueltzen (cf. Op. 52, 3). Counterpoint study for Albrechtsberger
• Twelve Scots for orchestra or piano WoO 16
  Apparently lost work, of doubtful authorship.
• Canon (Moderato) for four voices in unison, without text WoO 160/2 [1795]
  Counterpoint study for Albrechtsberger. The two pieces in WoO 160 bear the joint title Zwei Kanons ("Two Canons").
• Canon in G major (Allegretto) for three voices in unison, without text WoO 160/1 [1795]
  Counterpoint study for Albrechtsberger. The two pieces in WoO 160 bear the joint title Zwei Kanons ("Two Canons").
• Canon for three voices in C major: Ewig dein! WoO 161 [1811]
• Canon for four voices in B flat major: "Ta ta ta, lieber Mälzel..." WoO 162 [1812]
  Apocryphal authorship; the canon was apparently written by Anton Schindler on the allegretto from Beethoven's Eighth Symphony.
• Canon for three voices in F minor: Kurz ist der Schmerz, und ewig ist die Freude WoO 163 [1813]
  Dedicated to Johann Friedrich Naue
  Text: final verses of the poem Jungfrau von Orleans by Friedrich von Schiller. First version; another later one is WoO 166.
• Canon for three voices in C major: Freundschaft ist die Quelle wahrer Glückseligkeit WoO 164 [1814]
• Free canon for four voices: Glück zum neuen Jahr! WoO 165 [1815]
  Dedicated to Baron Johann Baptist von Pasqualati
  First version; another later one is WoO 176.
• Canon for three voices in F major: Kurz ist der Schmerz, und ewig ist die Freude WoO 166 [1815]
  Dedicated to Louis Spohr
  Text: Friedrich von Schiller (final verses of the poem Jungfrau von Orleans); second version; the first is WoO 163
• Canon for three voices in C major: Brauchle, Linke WoO 167 [1815]
• Canon for three voices in F major: Das Reden WoO 168/2 [1816]
  Dedicated to Charles Neate
• Riddle Canon ("Rätselkanon") for three voices in F major: Das Schweigen ("Lerne schweigen, or Freund...") WoO 168/1 [1816]
  Dedicated to Charles Neate
  Text: Johann Gottfried Herder. WoO 168 brings together two pieces, without giving them a joint title.
• Riddle Canon (Rätselkanon) for two voices in C major: Ich küße Sie, drücke Sie an mein Herz WoO 169 [1816]
  Dedicated to Anna Milder-Hauptmann
  Text by Beethoven ("I kiss you and hold you close to my heart...")
• Ländler in B flat major: Mödlinger Tänze No. 8 WoO 17/8 [1819]
  See WoO 17, no. 1
• Ländler in E flat major: Mödlinger Tänze No. 6 WoO 17/6 [1819]
  See WoO 17, no. 1
• Minuet in B flat major: Mödlinger Tänze No. 2 WoO 17/2 [1819]
  See WoO 17, no. 1
• Minuet in B flat major: Mödlinger Tänze No. 7 WoO 17/7 [1819]
  See WoO 17, no. 1
• Minuet in B flat major: Mödlinger Tänze No. 9 WoO 17/9 [1819]
  See WoO 17, no. 1
• Minuet in E flat major: Mödlinger Tänze No. 4 WoO 17/4 [1819]
  See WoO 17, no. 1
• Minuet in E flat major: Mödlinger Tänze No. 5 WoO 17/5 [1819]
  See WoO 17, no. 1
• Waltz in B flat major: Mödlinger Tänze No. 3 WoO 17/3 [1819]
  See WoO 17, no. 1
• Waltz in D major: Mödlinger Tänze No. 10 WoO 17/10 [1819]
  See WoO 17, no. 1
• Waltz in D major: Mödlinger Tänze No. 11 WoO 17/11 [1819]
  See WoO 17, no. 1
• Waltz in E flat major: Mödlinger Tänze No. 1 WoO 17/1 [1819]
  The joint title of WoO 17 is Elf Tänze für sieben Streich- und Blasinstrumente ("Eleven Dances for Seven String and Wind Instruments") or Mödlinger Tänze. The work is probably spurious
• Canon for two voices in C major: Ars longa, vita brevis WoO 170 [1816]
  Dedicated to Johann Nepomuk Hummel
  Text: Aphorism of Hippocrates, in Latin version by Seneca (de brevitate vitae). First version; two later ones are WoO 192 and WoO 193
• Canon for four voices in G major: Glück fehl' dir vor allem... WoO 171 [1795]
  Dedicated to Anna Giannatasio del Rio
  Apocryphal authorship; It was actually written by Michael Haydn
• Canon for three voices in E flat major: Ich bitt' dich, schreib' mir die Es-Scala auf WoO 172 [1818]
  Dedicated to Vincent Hauschka
  The humorous text ("I ask you, write me the scale of my...") is probably by Beethoven.
• Riddle Canon (Rätselkanon, Canon infinitus) for two voices in B flat major: Hol' euch der Teufel! B'hüt euch Gott! WoO 173 [1819]
  Dedicated to Sigmund Anton Steiner
• Canon for four voices in B flat major: Glaube und hoffe WoO 174 [1819]
  Dedicated to Moritz Schlesinger
  Kinsky and Halm (1955, p. 679) observe that the piece resembles a canon, but it is not one properly speaking.
• Riddle-canon (Rätselkanon) for four voices: Sankt Petrus war ein Fels, Bernardus war ein Sankt WoO 175 [1820]
  Dedicated to Carl Peters and Carl Bernard
  The text ("Saint Peter is a rock and Bernard is a saint") plays with the names of the recipients of the piece.
• Canon for three voices in F major: Glück, Glück zum neuen Jahr! WoO 176 [1819]
  Dedicated to Countess Anna Marie Erdödy
  Second version of the piece; the first is WoO 165.
• Canon for four basses with cello or double bass accompaniment, in E major: Bester Magistrat, Ihr friert WoO 177 [1820]
  The humorous text ("Grand magistrate, you are freezing..."), is by Beethoven.
• Canon for three voices in B flat major: Signor Abate WoO 178 [1820]
  Dedicated to Abbe Maximilian Stadler
  Humorous text, in Italian and German, by Beethoven.
• Canon for four voices, in C major: Seiner kaiserlichen Hoheit... Alles Gute, alles Schöne WoO 179 [1819]
  Dedicated to Archduke Rudolph of Austria
  Beethoven text.
• March for military music (n. 1, in F major): Marsch für die böhmische Landwehr, later called York'scher Marsch WoO 18 [1809-1810]
  Dedicated to Archduke Anton
  Hess 99 is the piano version; Beethoven added a trio in B flat around 1822
• Canon for two voices in C major: Hoffmann, sei ja kein Hofmann WoO 180 [1820]
  The text, a play on the surname Hoffmann ("Hoffmann, do not be a servant..."), perhaps arose from a dialogue about the poet and musician E.T.A. Hoffmann, although he does not properly address this14.
• Canon for four voices in C major: Gedenket heute an Baden WoO 181/1 [1820]
  WoO 181 consists of three canons ("Drei Kanons"). Beethoven text.
• Canon for three voices in C major: Gehabt euch wohl WoO 181/2 [1820]
  See WoO 181, no. 1. Text by Beethoven.
• Canon for three voices in C major: Tugend ist not reader Name WoO 181/3 [1820]
  See WoO 181, no. 1. Text by Beethoven.
• Canon for three voices in D minor: O Tobias! WoO 182 [1821]
  Dedicated to Tobias Haslinger
  Beethoven text.
• Canon for four voices in F major: Bester Herr Graf, Sie sind ein Schaf WoO 183 [1823]
  Dedicated to Count Moritz Lichnowsky
  Text (humorous) by Beethoven.
• Canon for five voices in G major: Falstafferel, lass dich sehen! WoO 184 [1823]
  Dedicated to Ignaz Schuppanzigh
  Beethoven text.
• Canon for six voices Edel sei der Mensch, hülfreich und gut WoO 185 [1823]
  Dedicated to Louis Schlosser
  Text: verses from Goethe's poem Das Göttliche. There are two versions, one in E major and another in E flat major.
• Canon for two voices in E flat major: I only adore you WoO 186 [1824]
  Dedicated to Carlo Evasio Soliva
  Text: Pietro Metastasio (from the opera La Betulia liberata). The text is the same as that used in canons Hess 263 and Hess 264
• Canon for four voices in F major: Schwenke dich ohne Schwänke! WoO 187 [1824]
  Dedicated to Carl Schwencke
  The humorous text (a play on words with the last name of the recipient of the piece) is by Beethoven.
• Canon-riddle for two voices in B flat major: Gott ist eine feste Burg WoO 188 [1825]
  Dedicated to Oberst von Düsterlohe
  Beethoven text.
• Canon for four voices in C major: Doktor, sperrt das Tor dem Tod WoO 189 [1825]
  Dedicated to The doctor Anton Braunhofer
  Text by Beethoven, for your doctor.
• March for military music (no. 2, in F major) WoO 19 [1810]
  Dedicated to Archduke Anton
  Written for a carousel; Beethoven added a trio in F minor around 1822
• Riddle-canon (Rätselkanon) for two voices in C major: Ich war hier, doktor, ich war hier WoO 190 [1825]
  Dedicated to Anton Braunhofer
  Text by Beethoven, for your doctor.
• Canon for three voices in B flat major: Kühl, nicht lau WoO 191 [1825]
  Dedicated to Friedrich Kuhlau
  The text, by Beethoven, plays with the name of the recipient, in addition to containing allusions to the Kuhlau canon B-a-c-h: the first notes of WoO 191 are B, A, C, H (that is: B flat, A, C, B B)15​.
• Canon-riddle in F major: Ars longa, vita brevis WoO 192 [1825]
  Dedicated to Sir George Smart
  Text: Aphorism of Hippocrates in Latin version by Seneca (see WoO 170); second version: the first is WoO 170 and a third is WoO 193.
• Canon-riddle in C major: Ars longa, vita brevis WoO 193 [1825]
  Text: Aphorism of Hippocrates in Latin version by Seneca (see WoO 170). Third version; the others are WoO 170 and WoO 192
• Canon-riddle in F major: Si non per portas, per walls WoO 194 [1825]
  Dedicated to Moritz Schlesinger
• Canon for two voices in A major: Freu' dich des Lebens WoO 195 [1825]
  Dedicated to Theodor Molt
  Text: from the poem Gesellschaftslied by Johann Martin Usteri.
• Canon-riddle for four tenors in F major: Es muß sein! WoO 196 [1826]
  Dedicated to Ignaz Dembscher
  Beethoven text.
• Canon for five voices in C major: Das ist das Werk, sorgt um das Geld! WoO 197 [1826]
  Dedicated to Carl Holtz
  Humorous text ("Here's the job, come the money!"), written on the occasion of the delivery of the four-hand piano version (Op. 134) of the Grosse Fuge Op. 133.
• Canon-riddle for two voices in C major: Wir irren allesamt... WoO 198 [1826]
  Dedicated to Carl Holtz
  The text ("We all make mistakes, but each one makes mistakes in a different way") comes from a canon in the manual Die Kunst des reinen Satzes in der Musik (1771) by Kirnberger16​.
• Joke in D major: Ich bin der Herr von zu, Du bist der Herr von von WoO 199 [1814]
  Dedicated to Archduke Rudolph of Austria
  Beethoven's joke directed at the archduke.
• Introduction in D major to the 2nd act of Leonore (Zwischenaktmusik, “Intermission Music”) WoO 2/2 [1805]
  Beginning of Leonore's Act II
• Triumphal march for orchestra in C major for the tragedy Tarpeja by Christoph Kuffner WoO 2/1 [1813]
  Christoph Kuffner Tragedy
• March for military music in C major: Zapfenstreich WoO 20 [1809-1822]
  Beethoven added a trio in F major around 1822
• Theme song (Liedthema) in G major: O Hoffnung! WoO 200 [1818]
  Dedicated to Archduke Rudolph of Austria
  Text from Urania, by Ch.A. Tiedge. The theme was written as an "exercise" (Aufgabe) for Archduke Rudolf, who composed forty variations on it.
• Joke in C major: Ich bin bereit! Amen WoO 201 [1818]
  Dedicated to Vincent Hauschka
  Beginning of a double fugue, with text by Beethoven. The original was included in Beethoven's letter #903.
• Musical motto (musikalisches Leitspruch) in F major: Das Schöne zum Guten! WoO 202 [1823]
  Dedicated to Marie Pachler-Koschak
  The text comes from the final verses of Matthison's Opferlied (see Op. 121b). First version of the piece; the second is WoO 203
• Musical motto (musikalisches Leitspruch) in F major: Das Schöne zum Guten! WoO 203 [1825]
  Dedicated to Ludwig Rellstab
  Second version; see WoO 202. The original was included in letter #1366 b.
• Musical joke in D minor: Holz, Holz, geigt die Quartette so... WoO 204 [1825]
  The title in the Kinsky and Halm catalog is: Musikalischer Scherz auf Carl Holz' Quartettspiel. The piece is discussed in Beethoven's conversation notebook, dated September 1825. Apocryphal authorship; It was actually written by Karl Holz
• Musical greeting for solo voices in C major: Baron, Baron, Baron WoO 205/1 [1798]
  Dedicated to Nikolaus Zmeskall
  The joint title of the ten pieces of WoO 205 is Notenscherze in Briefen. #1 was originally included in letter #29.
• Musical greeting for solo voices in C major: Allein, allein, allein, jedoch. Silence!! WoO 205/2 [1814]
  Dedicated to Count Moritz Lichnowsky
  See WoO 205, no. 1. The original was part of Beethoven's letter no. 498.
• Musical greeting for solo voices in A minor: O Adjutant WoO 205/3 [1817]
  Dedicated to Tobias Haslinger
  See WoO 205, no. 1. Original included in Beethoven's letter no. 742.
• Musical greeting for solo voices in C major: Wo? Wo?' WoO 205/4 [1817]
  Dedicated to Nanette Streicher
  See WoO 205, no. 1. The original was included in Beethoven's letter 789 or 792.
• Musical greeting for solo voices in D major: Erfüllung, Erfüllung WoO 205/5 [1819]
  Dedicated to Archduke Rudolph of Austria
  See WoO 205, no. 1. The piece was originally included in Beethoven's letter no. 948.
• Musical greeting for solo voices in F major: Scheut euch nicht WoO 205/6 [1822]
  Dedicated to George Friedrich Treitschke
  See WoO 205, #1. This piece was included in letter #1068.
• Musical greeting for solo voices in E major: Tobias! Paternostergäßler... WoO 205/7 [1824]
  Dedicated to Tobias Haslinger
  See WoO 205, no. 1. This humorous piece ("Tobias, of Paternoster Alley, musical philistine of the alehouse...") was originally included in Beethoven's letter no. 1312.
• Musical greeting for solo voices in D major: Tobias Tobias WoO 205/8 [1825]
  Dedicated to Tobias Haslinger
  See WoO 205, No. 1. Piece included in letter No. 1365.
• Musical greeting for solo voices in C major: Bester To...[bias] WoO 205/9 [1826]
  Dedicated to Tobias Haslinger
  See WoO 205, no. 1. The piece was originally included in Beethoven's letter no. 1534.
• Musical greeting for solo voices in C major: Erster aller Tobiasse WoO 205/10 [1826]
  Dedicated to Tobias Haslinger
  See WoO 205, no. 1. The original was included in Beethoven's letter no. 1536.
• Polonaise for military music in D major WoO 21 [1810]
• Scottish for military music in D major WoO 22 [1809-1810]
• Scottish for military music in G major.. WoO 23 [1810]
  Lost, known only in Carl Czerny's piano reconstruction.
• March for military music in D major WoO 24 [1816]
• Rondino for two oboes, clarinets, horns and trombones in E flat major. WoO 25 [1792-1793]
  Work originally written as the finale of the octet Opus 103
• Duo for flutes in G major: Allegro and Minuet WoO 26 [1792]
  Dedicated to J.M. Degenhart
• Duo No. 1 for clarinet and bassoon in C major WoO 27/1
  The title of WoO 27 is: Drei Duos für Klarinette und Fagott; work accepted as authentic in Kinsky and Halm (1955) and considered apocryphal in Kerman (1983)
• Duo No. 2 for clarinet and bassoon in F major WoO 27/2
  See WoO 27, no. 1
• Duo No. 3 for clarinet and bassoon in B flat major WoO 27/3
  See WoO 27, no. 1
• Variations for oboe and English horn in C major on “Là ci darem la mano” from Don Giovanni by Mozart. WoO 28 [1796-1797]
  It is possible that they were originally associated with the Opus 87 trio
• March for two clarinets, two horns and two bassoons in B flat major: Grenadiermarsch WoO 29 [1797-1798]
  See also Hess 107
• Minuet for orchestra in E flat major: Gratulations-Menuett ("Congratulations Minuet") WoO 3 [1822]
  Dedicated to Karl Holz
  Dedicated to the editor Carl Holz, but written as a tribute to Karl Hensler for his birthday, as part of a serenade.
• Equale for trombones in B flat major WoO 30/3 [1812]
  Dedicated to Franz Xaver Glöggl.
  See WoO 30, No. 1
• Equale for trombones in D major WoO 30/2 [1812]
  Dedicated to Franz Xaver Glöggl.
  See WoO 30, No. 1
• Equale for trombones in D minor WoO 30/1 [1812]
  Dedicated to Franz Xaver Glöggl
  WoO 30 is titled Drei Equale für vier Posaunen. There is also a version for 4 male voices; This was performed at Beethoven's funeral.
• Fugue for organ in D major. WoO 31 [1783]
• Duet for viola and cello in E flat major: Duett mit zwei obligaten Augengläsern ("Duet with two obbligato glasses") WoO 32 [1796-1797]
  Dedicated to Nikolaus von Zmeskall (cellist friend of his who required glasses)
  The 2nd movement is preserved only in fragments
• Five pieces for musical clock No. 5 in C major: Minuet, Allegretto WoO 33/5 [1794]
  See WoO 33, #1.
• Five pieces for musical clock, No. 4 in C major: Allegro non più molto WoO 33/4 [1794]
  See WoO 33, #1.
• Five pieces for musical clock, No. 1 in F major: Adagio assai WoO 33/1 [1799]
  The joint title of WoO 33 is Fünf Stücke für die Flötenuhr.
• Five pieces for musical clock, No. 3, in G major: Allegro WoO 33/3 [1799]
  See WoO 33, #1.
• Five pieces for musical clock, No. 2 in G major: Scherzo-allegro WoO 33/2 [1799-1800]
  See WoO 33, #1.
• Duo for violins in A major. WoO 34 [1822]
  Dedicated to Alexandre Boucher
• Canon in A major for 2 violins or 2 cellos. WoO 35 [1825]
  Dedicated to Boer Samson
  Not for Otto de Boer as some sources say (e.g. Kinsky-Halm, 1955, p. 476)
• Piano Quartet in C Major WoO 36/3 [1785]
  Includes motifs and themes that appear in the Piano Sonatas Op. 2 No. 1 and Op. 2 No. 3
• Piano Quartet in D major WoO 36/2 [1785]
• Piano Quartet in E flat major WoO 36/1 [1785]
  The theme of the Allegro corresponds to a sketch of an unfinished early symphony (Hess 298)
• Trio for piano, flute and bassoon in G major WoO 37 [1786]
• Trio for Piano, Violin and Cello No. 8 in E flat major WoO 38 [1785-1791]
  Perhaps it was originally one of the trios from Op. 1
• Trio for piano, violin and cello in B flat major: Allegretto WoO 39 [1812]
  Dedicated to Maximiliane Brentano
  Beethoven's epigraph in the autograph: "For my little friend Maxe Brentano, to encourage her to play the piano."6​
• Concerto for Piano and Orchestra in E flat major ("Piano Concerto No. 0") WoO 4 [1784]
  Of Beethoven's original composition, only the piano part is preserved, with some orchestral ideas; the rest was rebuilt by Willy Hess.
• 12 variations for piano and violin in F major on the theme “Se vuol ballare” from The Marriage of Figaro by Mozart. WoO 40 [1792-1793]
  Dedicated to Eleonore von Breuning
• Rondo for piano and violin in G major. WoO 41 [1793-1794]
• Six German dances (allemandes) for violin and piano: in F, D, F, A, B flat major, D, and G WoO 42 [1796]
  Dedicated to The two countesses Thun
• Adagio for mandolin and harpsichord in E flat major (WoO 43b) WoO 43/2 [1796]
  Dedicated to Countess Josephine of Clary
  Hess 44 is a slightly different version
• Sonatina for mandolin and harpsichord in C minor (WoO 43a) WoO 43/1 [1796]
  Dedicated to Countess Josephine of Clary
• Andante with Variazioni for mandolin and harpsichord in D major (WoO 44b) WoO 44/2 [1796]
  Dedicated to Countess Josephine of Clary
• Sonatina for mandolin and harpsichord in C major (WoO 44a) WoO 44/1 [1796]
  Dedicated to Countess Josephine of Clary
• 12 variations for piano and cello in G major on the theme "See the conquering hero come" from Handel's oratorio Judas Maccabeus WoO 45 [1796]
  Dedicated to Princess Christiane Lichnowsky (née Thun)
• 7 variations for piano and cello in E flat major on the duet “Bei Männern, welche Liebe fühlen” from Mozart's The Magic Flute. WoO 46 [1801]
  Dedicated to Count Johann Georg Browne
• Piano Sonata in E flat major: Kurfürstensonate No. 1 WoO 47/1 [1783]
  Dedicated to Maximilian Frederick von Königsegg-Rothenfels
• Piano sonata in F minor: WoO 47/2 [1783]
  Dedicated to Archbishop Maximilian Friedrich of Cologne
• Rondo for piano in C major WoO 48 [1783]
• Rondo for piano in A major WoO 49 [1783]
• Concerto for violin and orchestra in C major: fragment of the first movement. Incomplete WoO 5 [1790-1792]
  Dedicated to Gerhard von Breuning
  Three different endings were made.
• Two movements of a piano sonatina in F major WoO 50 [1790-1792]
  Dedicated to Franz Wegeler
• Easy piano sonata in C major WoO 51 [1791-1798]
  Dedicated to Eleonore von Breuning
  The first edition was completed by Ferdinand Ries, since small parts of the first two movements and the entire last movement had been lost.
• Bagatelle for piano in C minor: Presto. WoO 52 [1795-1822]
  Originally intended for Piano Sonata No. 1 Opus 10
• Allegretto for piano in C minor WoO 53 [1796-1797]
  Perhaps originally intended for Piano Sonata No. 1 Opus 10. Another arrangement of this piece exists, listed as Hess 66
• Piano piece in C major: Lustig - traurig ("Happy-sad") in C major and minor WoO 54 [1802]
• Prelude for piano in F minor WoO 55 [1803]
• Bagatelle for piano in C major: Allegretto WoO 56 [1803-1822]
• Andante for piano in F major: ''Andante favori'' WoO 57 [1803-1804]
  Originally intended as a slow movement of the Piano Sonata Opus 53
• Piano Cadenza in D minor: for the first movement of Mozart's Piano Concerto in D minor (KV 466). WoO 58/1 [1809]
  Dedicated to Ferdinand Ries
• Piano Cadenza in D minor: for the third movement of Mozart's Piano Concerto in D minor (KV 466). WoO 58/2 [1809]
  Dedicated to Ferdinand Ries
• Bagatelle for piano in A minor: Für Elise ("For Elisa") WoO 59 [1808-1810]
  Dedicated to Therese Malfatti
  Autograph lost, but Elise was probably Therese Malfatti. The title, perhaps due to a reading error, is due to Ludwig Nohl, who discovered the manuscript.7​
• Rondo for piano and orchestra in B flat major: fragment, completed by Carl Czerny WoO 6 [1793]
  This was probably the original ending for Piano Concerto No. 2 Opus 19
• Piano Bagatelle in B flat major: Zeimlich lebhaft ("Quite lively") WoO 60 [1818]
  Dedicated to Marie Szymanowska
• Allegretto for piano in B minor WoO 61 [1821]
  Dedicated to Ferdinand Piringer
• Piano Bagatelle in G minor (WoO 61a) WoO 61/a [1825]
  Dedicated to Sarah Burney Page
  WOo 61a
• String Quintet in C major: Letzter musikalischer Gedanke ("Last Musical Thought"), unfinished WoO 62 [1826]
  Unfinished, due to Beethoven's death. It only exists in transcription for piano.
• 9 Piano Variations in C Minor: On a March by Ernst Christoph Dressler WoO 63 [1782]
  Dedicated to Countess Wolf-Metternich
  First work, published at age 11.
• 6 variations for piano or harp in F major: on a Swiss song WoO 64 [1790-1792]
• 24 variations for piano in D major: on the arietta by Vincenzo Righini Venni Amore WoO 65 [1790-1791]
  Dedicated to Countess Hatzfeld
  It was originally thought to exist only in the corrected edition of 1802; The original edition was recently discovered, which shows that the work reached its final state as early as 1791, thus making Hess 55 of the "early version" superfluous.
• 13 variations for piano in A major: on Dittersdorf's arietta “Es war einmal ein alter Mann” from Das rote Käppchen WoO 66 [1792]
• 8 variations for piano for four hands in C major: on a theme by Count Ferdinand von Waldstein WoO 67 [1792]
• 12 variations for piano in C major: on the “Menuett à la Viganò” from Jakob Haibe's ballet Le nozze disturbate WoO 68 [1795]
• 9 variations for piano in A major: on Giovanni Paisiello's theme «Quant' è più bello» by La Molinara WoO 69 [1795]
  Dedicated to Prince Carl Lichnowsky
• Minuet for Orchestra No. 11 in C Major WoO 7/11 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 12, in F major WoO 7/12 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 2 in B flat major WoO 7/2 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 3 in G Major WoO 7/3 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 4 in E flat major WoO 7/4 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 5 in C Major WoO 7/5 [1795]
  See observations to WoO 7, 1
• Minuet for orchestra No. 6 in A major WoO 7/6 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 7 in D major WoO 7/7 [1795]
  See observations to WoO 7, 1
• Minuet for Orchestra No. 9 in G Major WoO 7/9 [1795]
  See observations to WoO 7, 1
• Orchestral Minuet No. 1 in D major WoO 7/1 [1795]
  The twelve pieces of WoO 7 bear the joint title 12 Minuets for Orchestra. The piano version is Hess 101
• Orchestral Minuet No. 10 in E flat major WoO 7/10 [1795]
  See observations to WoO 7, 1
• Orchestral Minuet No. 8 in B flat major WoO 7/8 [1795]
  See observations to WoO 7, 1
• 6 variations for piano in G major: on the duet “Nel cor più non mi sento” from the opera La Molinara by Giovanni Paisiello WoO 70 [1795]
• 12 variations for piano in A major: on the Russian dance from the ballet Das Waldmädchen by Paul Wranitzky. WoO 71 [1796-1797]
  Dedicated to Countess Anna Margarete von Browne
• 8 variations for piano in C major: on the romance “Mich brennt ein heißes Fieber” (“Une fièvre brûlante”) from the opera Richard Cœur de Lion by A.E.M. Gretry. WoO 72 [1795-1798]
• 10 variations for piano in B major: on the duet "La stessa, la stessissima" from the opera Falstaff by Antonio Salieri. WoO 73 [1799]
  Dedicated to Countess Barbara von Keglevics
• Song Ich denke dein with six variations for four-hand piano WoO 74 [1799-1803]
  Dedicated to Countesses Therese Brunsvik and Josephine Deym (née Brunsvik)
  Text of Goethe's poem (from Nähe des Geliebten, 1795).
• 7 variations for piano in F major: on the quartet “Kind, willst du ruhig schlafen?” from the opera Das unterbrochene Opferfest by Peter Winter. WoO 75 [1792-1799]
• 8 variations for piano in F major: on the trio “Tändeln und scherzen” from the opera Soliman II by Franz Xaver Süssmayr. WoO 76 [1799]
  Dedicated to Countess Anna Margarete von Browne
• 6 easy piano variations in G major on an original theme. WoO 77 [1800]
• 7 Piano Variations in C Major: On the English Folk Song God Save the King WoO 78 [1802-1803]
  WoO 157 #1 is a cover of the same song. The theme was used again in Wellington's Victory (Opus 91)
• 5 variations for piano in D major: on the English song "Rule Britannia", from Alfred by Thomas Arne. WoO 79 [1803]
  Theme used again in Wellington's Victory (Opus 91).
• German Dance for Orchestra No. 1, in C major WoO 8/1 [1795]
  The twelve pieces of WoO 8 bear the general title of Twelve German Dances for Orchestra. The piano version is Hess 100
• German Dance for Orchestra No. 10, in D major WoO 8/10 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 11, in G major WoO 8/11 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 12, in C major WoO 8/12 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 2, in A major WoO 8/2 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 3, in F major WoO 8/3 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 4, in B flat major WoO 8/4 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 5, in E flat major WoO 8/5 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 6, in G major WoO 8/6 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 7, in C major WoO 8/7 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 8, in A major WoO 8/8 [1795]
  See observations to WoO 8, 1
• German Dance for Orchestra No. 9, in F major WoO 8/9 [1795]
  See observations to WoO 8, 1
• 32 variations for piano in C minor: on an original theme. WoO 80 [1806]
• Allemande for piano in A major WoO 81 [1793-1822]
• Piano minuet in E flat major. WoO 82 [1803]
• 6 Scots for piano in E flat major. WoO 83 [1806]
• Piano Waltz in E flat major. WoO 84 [1824]
  Dedicated to Friedrich Demmer
  Dedicated by the editor.
• Waltz for piano in D major. WoO 85 [1825]
  Dedicated to Duchess Sophie of Austria
  Dedicated by the editor.
• Scottish for piano in E flat major. WoO 86 [1825]
  Dedicated to Duchess Sophie of Austria
  Dedicated by the editor.
• Trauerkantate auf den Tod Kaiser Josephs II ("Cantata for the Death of Kaiser Joseph II") for soloists, chorus and orchestra WoO 87 [1790]
  Text: S.A. Avendonk
• Kantate auf die Erhebung Leopolds II. zur Kaiserwürde ("Cantata for the Ascension of Leopold II to the Imperial Dignity") for soloists, chorus and orchestra WoO 88 [1790]
  Text: S.A. Avendonk
• Aria in F major: Prüfung des Küssens for bass and orchestra WoO 89 [1790-1792]
  Text: Anonymous
• Minuet for two violins and cello No. 1 in E flat major WoO 9/1 [1795]
  The general title of WoO 9 is Sechs Menuette für zwei Violinen und Bass. Authorship not fully confirmed.
• Minuet for two violins and cello No. 2, in G major WoO 9/2 [1795]
• Minuet for two violins and cello No. 3, in C major WoO 9/3 [1795]
• Minuet for two violins and cello No. 4, in F major WoO 9/4 [1795]
• Minuet for two violins and cello No. 5, in D major WoO 9/5 [1795]
• Minuet for violins and cello No. 6, in G major WoO 9/6 [1795]
• Aria in D major: Mit Mädeln sich vertragen; for bass and orchestra WoO 90 [1790-1792]
  Text: from Goethe's Singspiel Claudine von Villa Bella (1776)
• Aria in B flat major “Soll ein Schuh nicht drücken?” for soprano and orchestra, for the singspiel Die schöne Schusterin by Ignaz Umlauf WoO 91/2 [1795]
  Text: Marquis de Ferrieres
• Aria in F major “O welch ein Leben!” for tenor and orchestra, for the singspiel Die schöne Schusterin by Ignaz Umlauf WoO 91/1 [1795]
  Text: Marquis de Ferrieres; The theme was also used in Maigesang ("May Song") Opus 52 no. 4
• Scene and aria in A major Primo amore for soprano and orchestra WoO 92 [1791-1792]
  Text: Anonymous
• Scene and aria in C major No, non turbarti for soprano and string orchestra (WoO 92a) WoO 92/a [1802]
  Text: Pietro Metastasio
• Duo for soprano, tenor and orchestra: Ne' giorni tuoi felici. WoO 93 [1802]
  Text: Pietro Metastasio
• "Germania", final song in B flat major for the singspiel Die gute Nachricht by Treitschke, for bass, choir and orchestra WoO 94 [1814]
• Choir and orchestra in A major: Chor auf die verbündeten Fürsten ("Choir for the Allied Princes") WoO 95 [1814]
  Text: Carl Bernard
• Music for Friedrich Duncker's drama Leonore Prohaska for soloists, chorus and orchestra WoO 96 [1815]
  Funeral march which is an orchestration of the piano sonata no. 12, Opus 26, performed at the express request of the author of the drama (Friedrich Duncker)
• Es ist vollbracht ("It has been accomplished"), final song of the singspiel Die Ehrenpforten ("The Triumphal Arches") by Treitschke, for bass, chorus and orchestra, in D major WoO 97 [1815]
• Choir, with soprano and orchestra, for the festive piece Die Weihe des Hauses WoO 98 [1822]
  Text by Carl Meisl. See Opus 124
• Duo for soprano and tenor Bei labbri, che Amore WoO 99/1 [1793-1794, o bie]
  Dedicated to Antonio Salieri
  Text (WoO 99, no. 1): from the cantata La gelosia by Pietro Metastasio. The twelve pieces of WoO 99 bear the joint title of Mehrstimmige italienische Gesänge ("Italian songs for several voices"); They consist of Beethoven's composition exercises carried o
• Song in G major: O care selve, with unison chorus. WoO 99/8 [1794-1795]
  See WoO 99, no. 1. Text: from Olimpiade de Metastasio. Also published separately as piano song WoO 119.
• Trio for soprano, alto and bass: Per te d'amico aprile WoO 99/9 [1795-1796]
  Dedicated to Antonio Salieri
  Text: from Il nome, by Metastasio. See WoO 99, #1.
• Trio for soprano, tenor and bass: Chi mai di questo core WoO 99/2 [1799 ca.]
  Dedicated to Antonio Salieri
  Text: from the cantata Il ritorno by Metastasio. See WoO 99, #1.
• Quartet for soprano, contralto, tenor and bass in C major: Silvio, amor disperato WoO 99/12 [1801-1802]
  Dedicated to Antonio Salieri
  See WoO 99, #1.
• Quartet for soprano, alto, tenor and bass Giura il nocchier (WoO 99/5a) WoO 99/5a [1801-1803]
  Dedicated to Antonio Salieri
  See WoO 99, no. 1. Text: from Metastasio's La gelosia. There are two versions (5a and 5b) of the piece.
• Quartet for soprano, contralto, tenor and bass Già la notte s'avvicina (WoO 99/4a) WoO 99/4a [1801-1803]
  Dedicated to Antonio Salieri
  See WoO 99, no. 1. Text: from The Fishing of Metastasio. There are two versions (4a and 4b) of the piece.
• Trio for alto, tenor and bass Già la notte s'avvicina (WoO 99/4b) WoO 99/4b [1801-1803]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #4a.
• Trio for soprano, alto and bass Giura il nocchier (WoO 99/5b) WoO 99/5b [1801-1803]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #5a.
• Trio for soprano, alto and bass Ma tu tremi WoO 99/6 [c. 1792-1794]
  Dedicated to Antonio Salieri
  Text of The Tempest of Metastasio. See WoO 99, #1.
• Duet Scrivo in te (Do I live in te?) WoO 99/11 [c. 1795-1796]
  Dedicated to Antonio Salieri
  Text: unknown author. See WoO 99, #1.
• Quartet for soprano, alto, tenor and bass Nei campi e nelle selve (WoO 99/7a) WoO 99/7a [c. 1796]
  Dedicated to Antonio Salieri
  Text: from Cantata IX by Metastasio. There are two variants of the piece (7a and 7b). See WoO 99, #1.
• Quartet for soprano, alto, tenor and bass Nei campi e nelle selve (WoO 99/7b) WoO 99/7b [c. 1796]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #7a.
• Duet for tenor and bass Fra tutte le penis (WoO 99/3a) WoO 99/3a [c. 1797]
  Dedicated to Antonio Salieri
  See WoO 99, no. 1. Of no. 3 there are three versions (3a, 3b, 3c). Text: from the opera Zenobia by Metastasio.
• Quartet for soprano, alto, tenor and bass Fra tutte le penis (WoO 99/3c) WoO 99/3c [c. 1797]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #3a.
• Quartet for soprano, alto, tenor and bass Quella cetra ah pur tu sei (WoO 99/10a) WoO 99/10a [c. 1797]
  Dedicated to Antonio Salieri
  Text: from the Cantata per il giorno natalizio di Maria Teresa de Metastasio. There are three versions (10a, 10 b, 10c) of the piece. See WoO 99, #1.
• Quartet for soprano, alto, tenor and bass Quella cetra ah pur tu sei (WoO 99/10c) WoO 99/10c [c. 1797]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #10 a.
• Trio for soprano, alto and tenor Fra tutte le penis (WoO 99/3b) WoO 99/3b [c. 1797]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #3a.
• Trio for soprano, tenor and bass Quella cetra ah pur tu sei (WoO 99/10b) WoO 99/10b [c. 1797]
  Dedicated to Antonio Salieri
  See WoO 99, #1 and #10a.

781 works of Ludwig van Beethoven