INDEX OF BEETHOVEN’S WORKS BY OPUS NUMBER
Boldface page numbers indicate the principal discussion of each work; italic numbers indicate a musical example.
Op. 1: Piano Trios, 96, 99–101, 176, 305
material from WoO 36 piano quartets, 60–61
publication of, 88
reviews of, 177
No. 1 in E-flat Major, 94, 100, 507n1
No. 2 in G Major, 100, 173, 177, 502n18
No. 3 in C Minor, 100–101, 106, 173, 224, 536n16
arranged for quintet, 91
Haydn’s criticism of, 85
Op. 2: Piano Sonatas, 97–99
form of, 132
material from WoO 36 piano quartets, 60–62, 94, 95
No. 1 in F Minor, 61–62, 94, 97–98, 173, 327, 536n16
No. 2 in A Major, 55, 88, 98, 502n18
No. 3 in C Major, 61, 98–99, 232, 508n30
Op. 3: String Trio in E-flat Major, 95–96, 105
Op. 4: String Quintet in C Minor, 91, 95
Op. 5: Cello Sonatas, 88, 101–3, 176
No. 1 in F Major, 102
No. 2 in G Minor, 102–3, 109, 132, 544n15
Op. 7: Piano Sonata in E-flat Major, 105–6, 502n18, 544n16
Op. 8: Serenade, 109
Op. 9: String Trios, 101, 109–10
No. 2 in D Major, 136
No. 3 in C Minor, 96, 105, 109–10, 173
Op. 10: Piano Sonatas, 106–8
No. 1 in C Minor, 106–7, 454, 536n16
No. 2 in F Major, 107, 396, 509n30
No. 3 in D Major, 107–8, 121, 136, 174
Op. 11: Clarinet Trio in B-flat Major, 108, 178
Op. 12: Violin Sonatas, 103–5, 176, 178
Op. 13: Piano Sonata in C Minor, “Pathétique,” 130–31, 162, 173, 222, 248, 454
Op. 14: Piano Sonatas, 130, 131–32
No. 1 in E Major, 127, 322
arranged as quartet, 131
No. 2 in G Major, 241
Op. 15: Piano Concerto No. 1 in C Major, 144–46, 148, 174, 176, 242
cadenza for, 127
dedication of, 106
sketches for, 127
tempos in, 502n18, 508n19
Op. 16: Quintet for Piano and Winds in E-flat Major, 108–9, 176, 544n15
Op. 18: String Quartets, 125, 127, 132, 159–68, 176, 313, 445
No. 1 in F Major, 162–65
opening of, 99, 297
rhythm in, 232
sketches for, 110, 128, 160
slow movement, 107, 108, 121, 174
No. 2 in G Major, 165, 241, 311
No. 3 in D Major, 103–4, 165–66
sketches for, 127
No. 4 in C Minor, 130, 162, 224
No. 5 in A Major, 59, 133, 166
No. 6 in B-flat Major, 166–68
La Malinconia, 16, 108, 121, 131, 135, 167–68, 482
relationships with Op. 22 piano sonata, 133
Scherzo, 216
Op. 19: Piano Concerto No. 2 in B-flat Major, 94, 144–45, 174, 176
sketches for, 127
Op. 20: Septet in E-flat Major, 147, 148, 176, 511n7, 544n16
sketches for, 127
Op. 21: Symphony No. 1 in C Major, 125, 147–49, 176, 189, 494n7, 507n1
Op. 22: Piano Sonata in B-flat Major, 109, 130, 132–33, 136, 535n6
Op. 23: Violin Sonata in A Minor, 133, 142
Op. 24: Violin Sonata in F Major, “Spring,” 142–43, 166, 485
Op. 26: Piano Sonata in A-flat Major, 121, 130, 132, 133–34, 136, 209
Op. 27: Piano Sonatas, 130, 134–35, 136
No. 1 in E-flat Major, 134–35, 396
form of, 132–33, 221, 343–44, 379
opening of, 242
No. 2 in C-sharp Minor, “Moonlight,” 134–35, 174, 385, 469
dedication of, 115, 197
form of, 133, 221, 379, 471
opening of, 242
Op. 28: Piano Sonata in D Major, 130, 132, 135–36, 396, 544n15
Op. 30: Violin Sonatas, 142, 143, 222, 389, 454, 462, 544n15
Op. 31: Piano Sonatas, 124, 130, 137–40, 144, 204
No. 1 in G Major, 137–38, 143, 379
No. 2 in D Minor, “Tempest,” 138–39, 174, 253, 385–86, 427, 454, 502n18
form of, 379
opening of, 242
recitative writing in, 243
No. 3 in E-flat Major, 139, 174, 241, 477, 544n15
Op. 32: “An die Hoffnung,” 278–79, 526n35
Op. 33: Bagatelles, 395–96
Op. 34: Six Variations on an Original Theme for piano, 106, 140–41, 174, 204, 292, 394
Op. 35: “Prometheus” Variations, 130, 141–42, 151, 174, 204–5, 292, 394, 438, 542n71
Op. 36: Symphony No. 2 in D Major, 18, 130, 156–59, 174, 204
Piano Concerto No. 1 and, 145
premiere of, 144, 189
reviews of, 177–78
Op. 37: Piano Concerto No. 3 in C Minor, 144–45, 174–75, 204, 502n18
dating of, 507n30
premiere of, 238
Op. 40: Romance for Violin and Orchestra, 245–46
Op. 41: Serenade for Piano and Flute in D Major, 90–91
Op. 42: Nocturne for Piano and Viola in D Major, 90–91
Op. 43: Prometheus ballet, 141, 149–51, 213, 507n1
Op. 45: Three Marches, 109, 336
Op. 46: “Adelaide,” 158, 193, 231, 277
Op. 47: Violin Sonata, “Kreutzer,” 130, 143–44, 233, 244
finale, 462
first version, 142
form of, 379, 453
publication of, 30, 359
sketches, 543n11
virtuosity of, 295
Op. 48: Gellert Lieder, 109, 277
Op. 49: Piano Sonatas, 87, 336–37
Op. 50: Romance for Violin and Orchestra, 245–46
Op. 51, No. 2: Rondo in G Major for Piano, 127
Op. 52: Eight Songs, 277–78
Op. 53: Piano Sonata in C Major, “Waldstein,” Op. 53, 99, 292–95, 467, 483
dedication of, 45, 186
first movement, 137
opening of, 242
proportions of, 379
rejected Andante favori, 462
reviews of, 177
Op. 54: Piano Sonata in F Major, 196, 292, 295–96, 467, 483
Op. 55: Symphony No. 3 in E-flat Major, Eroica, 59, 124–25, 204–14, 446, 508n19, 544n16
composition of, 255, 512n21
dedication to Lobkowitz, 195, 211
dynamics in, 518n38
finale, 141, 151, 205, 438, 542n71
instrumentation of, 215
key scheme in, 398
length of, 206, 378, 379
manuscript copy, 185
Marcia funebre, 121, 134, 208–9, 250, 266, 488
Napoleon’s association with, 184–87, 210–12, 248
philosophical views in, 421
registral strategy in, 319
Op. 56: Triple Concerto, 195, 238–41, 454, 502n18
Op. 57: Piano Sonata in F Minor, “Appassionata,” Op. 57, 292, 296–98, 327, 488
opening of, 242
reviews of, 177
Op. 58: Piano Concerto No. 4 in G Major, 218, 241–45, 322
dedication of, 301
finale, 103, 386
instrumentation of, 249
piano writing, 243–44
premiere of, 192, 241
sketches for, 518n35
Op. 59: String Quartets, “Razumovsky,” 218, 262, 312–25, 443
contemporary reviews of, 317
dedication to Razumovsky, 195
pizzicato writing, 326–27
reception of, 444–45
Russian melodies in, 317–18
as a set, 316–18, 424, 444
No. 1 in F Major, 262, 318–22
Adagio, 107, 250, 273, 327
autograph, 315–16, 319, 320, 321, 527n44
length of, 308, 378, 379
movement order, 304, 430
pizzicato writing, 309
spatial dimensions in, 318–19, 447
No. 2 in E Minor, 322–23
autograph, 316
finale, 369
slow movement, 273, 432
No. 3 in C Major, 324–25
autograph, 316
introduction, 295, 544n17
Mozart’s influence on, 59–60
Op. 60: Symphony No. 4 in B-flat Major, 164, 214–17, 262
dedication of, 164
instrumentation of, 215
Op. 61: Violin Concerto in D Major, 245–48, 262
autograph, 246
piano version, 154, 246–47, 286
slow movement, 158, 273
Op. 62: Coriolanus Overture, 149, 194, 209, 218, 262–66, 508n19
autograph of, 265–66
funeral march in, 149
Op. 63: Trio for Piano, Violin, and Cello in E-flat Major (arrangement of Op. 4), 91
Op. 64: Cello Sonata in E-flat Major (arrangement of Op. 3), 91
Op. 65: Ah, perfido, 87
Op. 67: Symphony No. 5 in C Minor, 163, 219–24, 467, 483, 488, 508n19
autograph score, 217
composition of, 218
Coriolanus Overture and, 265
dedication of, 195
dramatic plan of, 122, 438
Egmont Overture and, 267
instrumentation of, 218–19
opening of, 428
premiere of, 218, 241
Scherzo, 62, 323, 518n35
slow movement, 431–32, 454
Op. 68: Symphony No. 6 in F Major, “Pastoral,” 224–30, 303, 327, 467, 483
composition of, 218
dedication of, 195
instrumentation of, 218–19
mode in, 227, 380
pastoral elements in, 136
premiere of, 218, 241
Scherzo, 477
sketches for, 518n35
Op. 69: Cello Sonata in A Major, 92, 144, 240, 303–5, 547n62
dedication of, 194
form of, 295, 379, 430
Op. 70: Piano Trios, 92, 240, 304, 305–8
No. 1 in D Major, “Ghost,” 136, 236, 305–6, 467
form of, 249
slow movement, 250, 253, 427, 502n18
No. 2 in E-flat Major, 131, 306–8, 326, 446, 467, 544n17
Op. 71: Wind Sextet, 87, 337, 544n15
Op. 72: Fidelio (also Leonore), 255–61, 337, 341–42, 343, 363
Beethoven’s statement on, 340–41
Christus am Ölberge and, 270–71
dramatic plan of, 122, 258–60
dungeon scene, 224, 259–60, 321, 325, 327, 389, 488
first-act quartet, 335
heroes of, 209–10, 258
Joseph cantata and, 65, 270
Leonore (first version), 218, 255–57
Leonore (second version), 218, 257
libretto of, 255, 258
military march in, 154, 246–47
Overtures: Fidelio, 261, 341
Overtures: Leonore No. 2, 218, 261, 325
Overtures: Leonore No. 3, 218, 257, 261, 295, 325
parallels to Egmont, 266
second-act trio, 245
Op. 73: Piano Concerto No. 5 in E-flat Major, “Emperor,” 154, 248–51, 325, 544n16
cadenza, 250
dedication of, 301
premiere of, 145, 192
Op. 74: String Quartet in E-flat Major, 325–27, 446, 544n16
dedication of, 195
finale, 386, 449
pizzicato writing, 309, 326–27
Op. 75: Six Songs, 231, 278
Op. 76: Six Variations on a Turkish March, 287
Op. 77: Piano Fantasy, 221, 286–87
Op. 78: Piano Sonata in F-sharp Major, 299, 358–59, 446, 467, 525n19, 544n17
Op. 79: Piano Sonata in G Major, 241, 299, 358–59
Op. 80: Choral Fantasy, 286, 424
dedication of, 195–96
premiere of, 221, 241
Op. 81a: Piano Sonata in E-flat Major, “Lebewohl,” 63, 302–3, 325, 336, 386
biographical context of, 299
dedication of, 186, 407, 411
publication of, 30, 92
sketches, 539n21
Op. 81b: Wind Sextet, 337
Op. 83: Three Songs, 231
Op. 84: Egmont music
incidental music, 149, 230, 266–68
Overture, 266–68, 328, 508n19
piano arrangement of, 92
Op. 85: Christus am Ölberge, 210, 269–71, 497n16
premiere of, 144–45, 189
publication of, 91
Op. 86: Mass in C, 269, 271–73, 402, 405
premiere of, 241
Op. 87: Trio for two oboes and English horn, 337
Op. 89: Polonaise in C Major, 335
Op. 90: Piano Sonata in E Minor, 224, 337, 342–43, 347, 369, 446, 468
Op. 91: Wellingtons Sieg, 153, 186, 337–40, 347, 520n8
Op. 92: Symphony No. 7 in A Major, 230, 231–34, 386, 467, 483
composition of, 308
premiere of, 339, 520n8
publication of, 337
rhythm in, 232–33
slow movement, 205
Op. 93: Symphony No. 8 in F Major, 200, 230, 234–37, 296, 467, 483
autograph, 235
instrumentation, 234
lack of dedication, 196
Op. 94: “An die Hoffnung,” 278–79, 337
Op. 95: String Quartet in F Minor, 158, 299, 325, 327–29, 488
dedication of, 194
finale, 248, 369
first movement, 336, 428
publication of, 308, 337
Op. 96: Violin Sonata in G Major, 144, 241, 310–11, 336, 379, 446
dedication of, 301
publication of, 308, 337, 359
Op. 97: Piano Trio in B-flat Major, “Archduke,” 240, 308–10
autograph, 528n65
dedication of, 301
Hammerklavier Sonata and, 379–80
movement order, 430
pizzicato writing, 327
publication of, 337, 359
slow movement, 250, 432
Op. 98: An die ferne Geliebte, 274, 337, 343, 344–46, 347, 363, 533n26
autograph, 345, 531n26
dedication of, 195
Op. 100: “Merkenstein,” 91, 126
Op. 101: Piano Sonata in A Major, 221, 337, 346–48, 377, 429, 453–54
autograph, 531n26
fugue in, 221
march in, 154
Op. 102: Cello Sonatas, 30, 279, 337, 343–44, 347
No. 1 in C Major, 221, 311, 343–44, 428–29
autograph, 531n26
No. 2 in D Major, 143, 343–44
autograph, 531n26
fugue in, 369, 462
Op. 103: Wind Octet, 91, 93–94, 95
Op. 104: String Quintet in C Minor, 91
Op. 106: Piano Sonata in B-flat Major, Hammerklavier, 347, 377–84, 502n18
dedication of, 301, 363
descending-third chains in, 380
fugue in, 369, 382–83, 462, 475
length of, 368, 378–79
Missa solemnis and, 408
movement order, 430
publication of, 89, 359, 361, 383–84
sketches, 378
slow movement, 296, 454
Op. 107: Variations for Flute and Piano, 370
Op. 109: Piano Sonata in E Major, 363–64, 384–87, 390, 536n16
autograph of, 387
Op. 110: Piano Sonata in A-flat Major, 328, 363–64, 385, 387–88, 390
fugue in, 370, 394, 462
movement order, 430
Scherzo, 477
Op. 111: Piano Sonata in C Minor, 224, 296, 363–64, 385, 388–91, 447
dedication of, 301
form of, 388–89
fugue in, 370
Op. 112: Calm Sea and Prosperous Voyage, 340
Op. 113: Ruins of Athens incidental music, 230, 308
Op. 115: Namensfeier Overture, 511n7, 534n15
Op. 117: King Stephen incidental music, 230, 282, 308
Op. 119: Bagatelles, 311, 385, 396–97, 398
Op. 120: “Diabelli” Variations, 288, 363, 391, 393–95, 449
dedication of, 186
fugue in, 186
Op. 121a: “Kakadu” Variations, 311, 337, 359
Op. 123: Missa solemnis, 277, 363, 366, 385, 400–411, 426
Agnus dei, 410–11
autograph of, 406–7, 410
Credo, 408–9
dedication of, 301, 302
fugue in, 270
harmony in, 447
inscriptions of, 270, 406–7, 481
Kyrie, 408
melodic invention in, 368
publication of, 359
Sanctus, 409–10
Op. 124: Consecration of the House Overture, 364, 376, 385, 426
fugue in, 370
Op. 125: Symphony No. 9 in D Minor, 363, 411–40
changing views of, 417–24, 438–40
composition of, 424–27
dramatic plan of, 122, 438
first movement, 206–8, 233, 427–30, 447, 488
fourth movement, 205, 224, 433–40, 481
instrumental recitatives in, 16, 138, 482
march in, 154
“Ode to Joy,” 37, 38, 65, 383, 411–13, 419, 422–24, 433, 435–38
vocal writing, 260
fugues in, 370
instrumental finale considered, 462
length of, 368
melodic invention in, 368
philosophical views in, 421–23
political background of, 413–17
premiere of, 352–53, 425–26
second movement, 430–31, 477
sketches for, 274–75, 433, 457
third movement, 431–32, 454
Op. 126: Bagatelles, 311, 397–99, 452
Op. 127: String Quartet in E-flat Major, 364, 446–52
Beethoven at rehearsal of, 352, 452
composition of, 441–44
first movement, 131, 446–49
fourth movement, 451–52
key scheme in, 398
melodic invention in, 368
movement plan, 446
second movement, 449–50, 486
third movement, 450–51
Op. 128: “Der Kuss,” 127, 337
Op. 130: String Quartet in B-flat Major, 365, 458–68
Beethoven at rehearsal of, 545n35
Cavatina, 368, 481, 485, 486
composition of, 441–45
finales, 365, 445, 459–68, 488 (See also under Op. 133)
finales of, 384
form of, 397–98
movement plan, 458–59
publication of, 359
Scherzo, 236, 311, 397, 477
Op. 131: String Quartet in C-sharp Minor, 365, 468–78, 488
Andante, 449, 454, 476–77
dedication of, 357
finale, 295, 478
first movement, 472–75, 485, 486, 487
formal plan of, 469–71
fugue in, 295, 473–75, 487
publication of, 359
Scherzo and Adagio, 477
second movement, 452, 475
sketches, 471
Op. 132: String Quartet in A Minor, 154, 364–65, 452–58
autograph, 458
composition of, 441–44
finale, 369, 457–58
first movement, 454–56, 467
instrumental recitatives in, 138, 457
modal shifts, 233
mode of, 367
publication of, 359
rejected allemande movement, 456, 471
second movement, 456
third movement, “Holy Song of Thanksgiving,” 16–17, 370, 403, 443, 449, 456–57, 481, 485
Op. 133: Grand Fugue in B-flat Major, 365, 368, 370, 382, 384, 443, 445, 459–65, 545–46n36
dedication of, 301
opening gesture, 452
piano four-hand arrangement, 460
publication of, 359
sketches for, 444
structure, 463–65
Op. 134: Grand Fugue four-hand arrangement, 359
Op. 135: String Quartet in F Major, 12, 365, 479–87, 488–89
autograph, 479
finale, 486–87
first movement, 484–85
formal layout, 483
inscription of, 479–83
Lento assai, 398, 449, 454, 485–86
publication of, 12
Scherzo, 485
Op. 136: Der Glorreiche Augenblick, 335, 337, 340, 347, 511n7
Op. 137: Fugue for string quintet, 363, 369
Op. 138: Leonore Overture No. 1, 261
WoO 1: “Knight’s Ballet,” 44
WoO 4: Piano Concerto in E-flat Major, 63
WoO 5: Violin Concerto in C Major, 245
WoO 14: Twelve Contradances, 141
WoO 36: Piano Quartets, 7, 55–56, 98, 223
autograph, 61
connections with Op. 1 and Op. 2, 60–62
WoO 38: Piano Trio in E-flat Major, 62
WoO 40: Variations on Mozart’s “Se vuol ballare” for violin and piano, 89, 499n22
WoO 46: Seven Variations for Piano and Cello on Mozart’s “Bei Männern,” 109
WoO 47: “Electoral” Sonatas, 55, 158
WoO 57: “Andante favori,” 293
WoO 59: “Für Elise,” 544n24
WoO 63: “Dressler” Variations, 53–55
WoO 65: “Righini” Variations, 53, 62–63, 142
WoO 73: Ten Variations for Piano on Salieri’s “La stessa la stessisima,” 128, 140
WoO 78: Seven Variations on “God Save the King,” 153
WoO 79: Five Variations on “Rule Brittania,” 153
WoO 80: Thirty-Two Variations in C Minor for Piano, 262, 287–88
WoO 85: Waltz in D Major for piano, 443
WoO 86: Ecossaise in E-flat Major for piano, 443
WoO 87: Cantata on the Death of the Emperor Joseph II, 8, 38, 48, 64–65, 186, 270, 340
WoO 88: Cantata on the Accession of the Emperor Leopold II, 48, 64–65, 186, 270, 340
WoO 91: Two arias for Umlauf’s Die Schöne Schusterin, 253
WoO 104: “Gesang der Mönche,” 505n2
WoO 107: “Schilderung eines Mädchens,” 53
WoO 108: “An einen Säugling,” 53
WoO 109: “Trinklied,” 53
WoO 110: “Elegie auf den Tod eines Pudels,” 53
WoO 126: “Opferlied,” 127
WoO 140: “An die Geliebte,” 200
WoO 146: “Sehnsucht,” 231
WoO 154, No. 8: “Nora Creina,” 231
WoO 162: Canon “Ta ta ta. . . lieber Mälzel” (spurious), 235
WoO 184: Canon “Falstafferel, lass dich sehen,” 314–15
WoO 189: Canon “Doktor, sperrt das Tor dem Tod,” 444
WoO 196: Canon “Es muss sein,” 480
Hess 12: Oboe Concerto, 94
Hess 13: “Romance cantabile,” 63, 239