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# Beethoven Music Research Center www.lvbeethoven.org

Beethoven Music Research Center - Centro Ricerche Musicali Beethoveniane www.lvbeethoven.org

## Sitemaps

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## Posts

- [Kafka Sketchbook – Part 7: Beethoven’s Extended and Fully Defined Works (Pages 209–235)](https://www.lvbeethoven.org/skizzenbuch-kafka-07/) - Overview of Part 7 of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Opus 087 – Trio in C Major for Two Oboes and English Horn](https://www.lvbeethoven.org/opus087/) - Beethoven’s Trio in C Major for two oboes and English horn, Op. 87—composed around 1794–1795 and published by Artaria in Vienna in April 1806—survives in an autograph preserved in Berlin, titled “Terzetto da L. v. Beethoven.” Although the work was later reassigned to Op. 87 for cataloguing reasons, early editions and arrangements often appeared without an opus number or under Op. 29. The trio reflects Beethoven’s early Viennese style, possibly inspired by performances of similar works by the Teimer brothers, and circulated widely in arrangements for string trio and for piano and violin. With no surviving sketches, dating relies on paper studies and early testimonies. Op. 87 stands as one of Beethoven’s rare compositions featuring the English horn and reveals his youthful mastery of wind writing.
- [Biamonti 235 – Sketch in G major (Landsberg 7, Page 84)](https://www.lvbeethoven.org/biamonti235/) - Sketch in G major from Landsberg 7, possibly linked to No. 5 of the ballet The Creatures of Prometheus; single‑staff fragment with instrumentation note at the top.
- [Biamonti 419 – March (Sketch) from the Fidelio Sketchbook (Page 205)](https://www.lvbeethoven.org/biamonti419/) - Fragmentary march from the Fidelio Sketchbook, page 205 staves 3–4; cited by Nottebohm, with a four‑bar repeated phrase and an eight‑bar continuation in Beethoven’s rapid sketch hand.
- [Anhang 02 – Six String Quartets](https://www.lvbeethoven.org/anhang_02/) - Catalogue entry for Anhang 02: the six string quartets attributed to Beethoven. Includes classification, sources, historical context, and editorial notes.
- [The Publishers of Beethoven – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/publishers_ai/) - AI‑generated portraits of the patrons, aristocrats, and benefactors who supported Beethoven’s career, illuminating the social and cultural network behind his artistic life.
- [Beethoven’s Faces and Emotions – AI Gallery | Beethoven](https://www.lvbeethoven.org/gallery_of_protagonists_ai/) - An AI‑generated gallery bringing to life the faces of scholars, musicians, friends, and family who shaped Beethoven’s world. A visual journey blending biography, art, and memory to rediscover the people who preserved his legacy.
- [WoO 022 – Ecossaise in D Major for Military Orchestra](https://www.lvbeethoven.org/woo022/) - Ecossaise for military orchestra composed in Baden in 1810; autograph privately held. Sketched alongside songs Op. 83 and Egmont, first published in the 1888 GA.
- [Biamonti 811 – Notes for a Three‑Part Canon](https://www.lvbeethoven.org/biamonti811/) - Three‑part canon from the De Roda Sketchbook, folio 40v; includes original sketches, audio, Denini’s philological reconstruction, and Holsbergen’s free interpretation
- [Biamonti 630 – Sketches for an Opera (Bacchus?)](https://www.lvbeethoven.org/biamonti630/) - Operatic sketches from page 52 of the Scheide Sketchbook, possibly for Bacchus or Romulus; Beethoven notes unresolved dissonances, pastoral treatment, and a “Volkgesang” chorus
- [Biamonti 189 – “Muss ein lieber Vater wohnen” (Song Fragment)](https://www.lvbeethoven.org/biamonti189/) - Fragment of a setting of Schiller’s “Ode to Joy”, from the first Grasnick notebook, showing an early diatonic melody later echoed in Beethoven’s mature works.
- [Opus 043 – The Creatures of Prometheus, ballet by Salvatore Viganò (1801)](https://www.lvbeethoven.org/opus043/) - A complete scholarly overview of Beethoven’s Opus 43 – The Creatures of Prometheus, the 1801 ballet created with choreographer Salvatore Viganò. Includes historical context, sources, performance history, musical analysis, and catalogue references.
- [WoO 042 – Six Allemandes for Piano and Violin](https://www.lvbeethoven.org/woo042/) - Six Allemandes composed in Prague in 1796 for the Thun family; original manuscript lost. First edition by Maisch in Vienna in July 1814.
- [Biamonti 810 – Sketches Possibly Intended for the Oratorio “The Victory of the Cross”](https://www.lvbeethoven.org/biamonti810/) - Sketches from the lost De Roda notebook, possibly for the Oratorio “The Victory of the Cross”; include Beethoven’s annotations on instrumentation and dramatic scenes
- [Biamonti 664 – March in E-flat Major (Sketch)](https://www.lvbeethoven.org/biamonti664/) - Short sketch of a march in E-flat major found at the beginning of an 1816 notebook; described by Nottebohm, who provides the surviving excerpt
- [Biamonti 291 – Andante for Symphony (Kessler Sketchbook, Folio 8v)](https://www.lvbeethoven.org/biamonti291/) - Sixteen‑bar Andante for symphony from the Kessler Sketchbook: solo horns answered by full orchestra. Misread by Biamonti; correctly placed on five lines of Folio 8v.
- [Biamonti 229 – Thematic Idea in F Major (Landsberg 7)](https://www.lvbeethoven.org/biamonti229/) - Sixteen‑bar thematic idea in F major from Landsberg 7, with a related F‑minor fragment; possibly early material for the Violin Sonata Op. 24, first movement.
- [Hess Anhang 48–50, 53–56 – A Cappella Songs on Metastasio Texts (Copied by Beethoven)](https://www.lvbeethoven.org/hessanhang48-49-50-53-54-55-56/) - Nine a cappella pieces on Metastasio texts (Hess Anhang 48–50, 53–56), composed by Carl Doblhof‑Dier and copied by Beethoven for study, as clarified by modern scholarship.
- [Biamonti 759 – Beginning of a Recitative with string accompaniment](https://www.lvbeethoven.org/biamonti759/) - Beginning of an accompanied recitative from Notebook III; preserved in Artaria 201. Includes Beethoven’s note “Recitativo accompagnato nemlich nach dem Takt” and links to a planned Mass
- [Opus 004 – Quintet in E flat major for 2 violins, 2 violas and cello](https://www.lvbeethoven.org/opus004/) - Beethoven’s Quintet in E-flat Major Op. 4: revised from the early Octet, structure, sources, and historical context in the critical C.R.M.B. catalogue.,
- [WoO 225 - (Hess 303) "Grossen Dank" , Canon (sketch) for Archduke Rudolf](https://www.lvbeethoven.org/woo225/) - Sketch for the canon “Grossen Dank” composed July 1823 for Archduke Rudolf. Survives only in Landsberg 8; first published by Nottebohm from Ninth Symphony drafts.
- [Biamonti 747 – Fragment, Early November 1822](https://www.lvbeethoven.org/biamonti747/) - Short musical fragment dated to early November 1822, preserved among Beethoven’s late sketches and reflecting his working materials from the period
- [Biamonti 742 – Sketches for the overture “Die Weihe des Hauses” Opus 124](https://www.lvbeethoven.org/biamonti742/) - Early sketches for the overture “Die Weihe des Hauses” Op. 124; Nottebohm traces an abandoned version with a different main section before Beethoven adopted the final Allegro theme
- [Biamonti 746 – Unused Sketches for the Ninth Symphony Op. 125 (Summer–Autumn 1822)](https://www.lvbeethoven.org/biamonti746/) - Unused Ninth Symphony sketches from summer–autumn 1822; Nottebohm notes a “third piece” analogous to the Second Symphony Scherzo trio, following earlier 1817–1818 materials
- [Hess Anhang 51–52 – A Cappella Duets on Metastasio Texts by Alexander Cornet](https://www.lvbeethoven.org/hessanhang51-52/) - A cappella duets on Metastasio texts (Hess Anhang 51–52), composed by Alexander Cornet and copied by Beethoven for study, long misattributed until corrected by Nottebohm.
- [Biamonti 154 – Piece in Rondo Form in C Major (Sketch)](https://www.lvbeethoven.org/biamonti154/) - #post_excerptSketch for a rondo in C major for piano and cello, linked by Nottebohm to early materials before the Trio op. 11. From the British Museum, Kafka Miscellany.
- [Biamonti 770 – “Alle Lande loben ihren Gott” - Sketch](https://www.lvbeethoven.org/biamonti770/) - Canon sketch on the text “Alle Lande loben ihren Gott,” preserved in a conversation notebook; includes Beethoven’s bass clef, cut time, full text and Schindler’s remarks
- [Biamonti 686 – Sketches for the Second Movement of the Ninth Symphony](https://www.lvbeethoven.org/biamonti686/) - Early sketches for the Molto vivace of the Ninth Symphony, late 1817–early 1818; Nottebohm notes rhythmic cells, metric ambiguity and ideas foreshadowing the final scherzo
- [Hess 300 – Canon sketch “Liebe mich, werter Weissenbach”](https://www.lvbeethoven.org/hess300/) - Sketch for the canon “Liebe mich, werter Weissenbach,” found in the Taschenbuch BH 107 among Missa Solemnis drafts and dated to late 1819.
- [WoO 033 – Five Pieces for Flute Clock or Mechanical Instrument](https://www.lvbeethoven.org/woo033/) - Five pieces for mechanical instrument, composed 1795–1799; sources include Grasnick 23 and Artaria 186. First editions appeared between 1902 and 1963.
- [Biamonti 359 – Rondo Sketch in F Major from the Wielhorsky Sketchbook (Page 113)](https://www.lvbeethoven.org/biamonti359/) - Eight‑bar Rondo in F major from the Wielhorsky Sketchbook, page 113; 4/4 time, ending within the first two lines. Cited by Fishman and Nohl, with an undecipherable note after the title.
- [The Neukomm Collection Acquired by the Beethoven Music Research Center in February 2025](https://www.lvbeethoven.org/la_raccolta_neukomm/) - Detailed presentation of the Neukomm Collection: 10 of 14 early‑1800s volumes containing first printed editions of Beethoven’s works, acquired in 2025 by the BMRC.
- [Biamonti 764 – “Edel Hülfreich sey der Mensch”, sketch of a canon](https://www.lvbeethoven.org/biamonti764/) - Canon sketch titled “Edel Hülfreich sey der Mensch,” on Notebook III page 127; a brief contrapuntal study reflecting Beethoven’s interest in moral aphorisms
- [Biamonti 61 – Two sketches for the Finales of the Trios Op. 1 Nos. 1 and 3](https://www.lvbeethoven.org/biamonti061/) - Beethoven’s Biamonti 61: two early sketches for the Finales of the Op. 1 Trios, preserved in the Kafka collection and reported by Shedlock in 1892.
- [Biamonti 727 – “Es sind nur Steine” (Fragment)](https://www.lvbeethoven.org/biamonti727/) - Humorous fragment from late May–early June 1820, written in a conversation book; a wordplay on publisher Steiner. Includes modern reinterpretation correcting earlier readings
- [Biamonti 639 – Symphony in E-flat major](https://www.lvbeethoven.org/biamonti639/) - Entry for a projected Symphony in E-flat major; Biamonti cites Nottebohm II, 348, but no musical sketch survives on page 106 of the Scheide materials
- [Biamonti 582 – Sketch for a String Quartet](https://www.lvbeethoven.org/biamonti582/) - Sketch for a string quartet, from a Paris Conservatoire sheet also containing ideas for the “Namensfeier” Overture and “Es ist vollbracht”, autumn 1814
- [Hess 322 – “Gott allein ist unser Herr, er allein” in E‑flat major](https://www.lvbeethoven.org/hess322/) - Four‑bar canon in E‑flat major from 1818, preserved in autograph A 45 and published in facsimile by Johnson, Tyson, and Winter.
- [Hess 323 – “Leb wohl, schöne Abendsonne” (Canon in C major)](https://www.lvbeethoven.org/hess323/) - Two‑bar canon in C major from 1818, preserved in autograph A 45 and published in facsimile by Johnson, Tyson, and Winter.
- [Anhang 01 – Symphony in C major, known as ‘Jena Symphony’](https://www.lvbeethoven.org/anhang_01/) - Catalogue entry for Anhang 01: the Symphony in C major, known as the “Jena Symphony”. Includes classification, sources, historical context, and editorial notes.
- [Biamonti 491 – “Freudvoll und leidvoll”, Lied Sketches for Two Voices and Piano](https://www.lvbeethoven.org/biamonti491/) - Three unused F‑major sketches for Goethe’s “Freudvoll und leidvoll,” found in Landsberg 5 pages 88–89; melodic drafts for two voices with piano accompaniment.
- [Biamonti 380 – “Zur Erde sank die Ruh’ vom Himmel nieder” – Song Fragment](https://www.lvbeethoven.org/biamonti380/) - Four‑bar song fragment from the Eroica Sketchbook, page 1 staff 2: the opening of an unfinished Lied on “Zur Erde sank die Ruh’ vom Himmel nieder,” with variant readings in the final bar.
- [Biamonti 103 – Sketch for the Rondo for Piano and Orchestra in B‑flat major (WoO 6)](https://www.lvbeethoven.org/biamonti103/) - Sketch for the central Andante of the Rondo in B‑flat major, WoO 6, cited by Nottebohm and preserved in the British Museum’s Kafka Miscellany. Fragment corresponding to later bars of the concerto Rondo.
- [Hess Anhang 43–44 – Three Andante for Voice and Piano (from Opp. 25, 26 and WoO 77)](https://www.lvbeethoven.org/hessanhang43-44/) - Three Andante for voice and piano (Hess Anhang 43–44), derived from Beethoven’s Opp. 25, 26 and WoO 77, published in early 19th‑century Viennese journals and listed by Lenz.
- [Hess Anhang 41–42 – Vocal Adaptations from Beethoven’s Serenade Op. 8](https://www.lvbeethoven.org/hessanhang41-42/) - Two vocal adaptations from Beethoven’s Serenade Op. 8 (Hess Anhang 41–42), published in the journal Drey Lieder around 1825 and listed by Wilhelm von Lenz.
- [Biamonti 113 – Rondo for Piano in C minor (Sketch)](https://www.lvbeethoven.org/biamonti113/) - ByGraziano Denini. Sketch for a Rondo in C minor from the Kafka Miscellany, linked to Sonata Op. 49 No. 1 and possibly to the Pathetique and the Piano Concerto Op. 37. Includes markings such as “Rondo”, “Concerto”, “Presto”, “Tutti” and “Violin”, showing early concerto‑style writing.
- [Hess 063 – Piano Setting of Schubart’s “Kaplied” (Fingered for Wegeler)](https://www.lvbeethoven.org/hess063/) - Beethoven’s piano setting of Schubart’s “Kaplied” (Hess 63), fingered for Wegeler and preserved in the Koblenz autograph, with audio by Emanuele Stracchi.
- [Biamonti 482 – Song Sketches from the Landsberg 5 Notebook](https://www.lvbeethoven.org/biamonti482/) - Song sketches from the Landsberg 5 notebook, described by Nottebohm on p. 267; melodic fragments with text, including the difficult-to-read “Soll ichs dem Irrthum danken.”
- [Biamonti 256 – Minuet and Trio in D-flat Major (Landsberg 7, Page 180, Line 7)](https://www.lvbeethoven.org/biamonti256/) - Minuet and Trio in D-flat major from Landsberg 7: five-bar Trio marked “ligato,” rapidly written; linked to sketches for the Piano Sonata Op. 26 on adjacent pages.
- [Biamonti 176 – “Nähe des Geliebten – Ich denke dein” (Sketch for Voice and Piano)](https://www.lvbeethoven.org/biamonti176/) - Sketches for Goethe’s “Nähe des Geliebten”, an unfinished Lied for voice and piano whose first‑stanza theme became the basis of the Variations WoO 74.
- [Biamonti 008 – Second Movement for the Trio, Hess 48 - Unv.9](https://www.lvbeethoven.org/biamonti008/) - Short 13‑bar piano movement linked to the Trio Hess 48, preserved in the Kafka Miscellanea. A concise early sketch revealing Beethoven’s formative chamber style.
- [Biamonti 337 – Sketch for the Third‑Movement Rondo of the Piano Concerto in C Minor, Op. 37](https://www.lvbeethoven.org/biamonti337/) - Thirty‑two‑bar Rondo sketch for Beethoven’s Piano Concerto in C minor Op. 37 from the Kafka Miscellanea: solo–tutti alternation, C‑minor/C‑major contrast, and early thematic variants.
- [Anhang 09 - Nine German Dances for piano four hands.](https://www.lvbeethoven.org/anhang_09/) - Catalogue entry for Anhang 09: nine German dances for piano four hands attributed to Beethoven. Includes sources, stylistic notes, attribution history, and editorial commentary.
- [Biamonti 401 – Aria‑Like Sketch in F‑Sharp Minor (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti401/) - Aria‑like sketch in F‑sharp minor from the Eroica Sketchbook, page 166 lines 1–5; three connected drafts noted by Nottebohm, with a possible da capo linking the first and third.
- [Hess 052 Sonata “number 15” in C major, for piano (if extant, lost)](https://www.lvbeethoven.org/hess052/) - Hess 052 refers to a lost piano sonata in C major attributed to Beethoven and mentioned only in Anton Gräffer’s 1828 catalogue. Thayer reproduced the incipit and noted Sonnleithner’s doubts about its existence, as no copy was ever found in Mollo’s printed catalogue. Possibly composed around 1801, the sonata remains undocumented and may have been a minor or early work later withdrawn or misattributed. Its authenticity and content are entirely uncertain.
- [WoO 032 – Duet in E‑flat major for Viola and Cello (“mit zwei obligaten Augengläsern”)](https://www.lvbeethoven.org/woo032/) - Duet in E‑flat major for viola and cello, composed 1795–1798; autograph in the Kafka Sketchbook. Movements published separately by Stein, Haas and Hess.
- [Hess 311 – “Grasmücke (Fauvette)”: spurious song attributed to Beethoven](https://www.lvbeethoven.org/hess311/) - Song long misattributed to Beethoven; actually a children’s poem by Hoffmann von Fallersleben set to a Silesian folk tune, traced by Michel Rouch.
- [Hess 305 – “Geschlagen ist der Feind”, 8‑bar sketch in D major](https://www.lvbeethoven.org/hess305/) - Eight‑bar canon sketch in D major from the Battle Symphony materials, preserved in the Bodmer collection and linked to early choral‑finale ideas.
- [WoO 99 No. 15 – “Silvio amante disperato”: Beethoven’s Lost Italian A Cappella Quartet](https://www.lvbeethoven.org/woo099-15/) - Scholarly overview of Beethoven’s WoO 99 No. 15 “Silvio amante disperato”, a lost Italian a cappella quartet based on Metastasio’s Cantata XXVII. Includes Thayer’s catalogue data, the full poetic text, and references to related settings such as Porpora’s cantatas.
- [Biamonti 684 – Fragment of a Fugue](https://www.lvbeethoven.org/biamonti684/) - Prelude of 37 measures followed by an Allegro introducing a fugue interrupted after four bars; the theme later reappears in the Scherzo of the Ninth Symphony
- [Biamonti 795 – Sketches for a Third Mass in C-sharp Minor](https://www.lvbeethoven.org/biamonti795/) - Sketches connected to Beethoven’s projected Third Mass in C-sharp minor, reported by Nottebohm and linked to notes in conversation notebooks and earlier Mass-related ideas
- [Biamonti 516 – “Das Mädchen aus der Fremde”, Lied for Voice, Piano, and Clarinet](https://www.lvbeethoven.org/biamonti516/) - Unfinished Lied “Das Mädchen aus der Fremde,” spring 1810, for voice, piano, and clarinet; Schiller text, preserved in the Bodmer collection at the Beethoven-Haus.
- [Anhang 11 - "Alexandermarsch" in F major for piano](https://www.lvbeethoven.org/anhang_11/) - Catalogue entry for Anhang 11: the “Alexandermarsch” in F major for piano attributed to Beethoven. Includes sources, stylistic notes, attribution history, and editorial commentary.
- [Anhang 12 - "Pariser Einzugsmarsch", (reduction for piano)](https://www.lvbeethoven.org/anhang_12/) - Catalogue entry for Anhang 12: the “Pariser Einzugsmarsch” in a piano reduction attributed to Beethoven. Includes sources, stylistic notes, attribution history, and editorial commentary.
- [Biamonti 586 – Sketch for a Sonata](https://www.lvbeethoven.org/biamonti586/) - Sketch for a sonata, from a notebook also containing ideas for Der glorreiche Augenblick, Des Kriegers Abschied, Alla Polacca, Merkenstein, and Kurz ist der Schmerz, 1814
- [Biamonti 633 – Sketches for “Sehnsucht”: Die stille Nacht](https://www.lvbeethoven.org/biamonti633/) - Sketches for Reissig’s poem “Die stille Nacht”, source of Beethoven’s Lied later published as WoO 146; pages 60–65 show varied melodic and harmonic experiments
- [Biamonti 361 – Two Piano Fragments (Wielhorsky, Pages 126 & 128)](https://www.lvbeethoven.org/biamonti361/) - Two piano fragments from the Wielhorsky Sketchbook: page 126 line 11 (final bars) and page 128 line 12, both noted by Fishman. Short ideas from Beethoven’s 1803 studies.
- [Biamonti 356 – Piano Fragment (Wielhorsky)](https://www.lvbeethoven.org/biamonti356/) - Short piano fragment from the Wielhorsky Sketchbook, page 104 line 16; two-bar idea dated March 1803 and noted by Fishman as part of Beethoven’s early studies in the book.
- [WoO 200 - "O Hoffnung!", Theme for Variation for Archduke Rudolf](https://www.lvbeethoven.org/woo200/) - Theme for variation on “O Hoffnung!”, composed for Archduke Rudolf around 1815. First published in 1888; preserved in the Gesellschaft der Musikfreunde, Vienna.
- [Biamonti 355 – Three Sketches for Op. 85 (Wielhorsky)](https://www.lvbeethoven.org/biamonti355/) - Three sketches from the Wielhorsky Sketchbook, pages 90–91, possibly linked to the Recitative and opening Aria of the oratorio Op. 85; cited by Fishman on pages 98–99.
- [Treatise on Harmony and Composition – Introduction](https://www.lvbeethoven.org/articles-treatise-on-harmony-and-composition-introduction/) - Introduction to Beethoven’s Treatise on Harmony and Composition, its historical context, sources, and the evolution of Seyfried’s and Rossi’s editions.
- [Biamonti 414 – Sketches for Marzelline’s Aria “O wär ich schon mit dir vereint”](https://www.lvbeethoven.org/biamonti414/) - Sketches for Marzelline’s aria “O wär ich schon mit dir vereint,” from the Eroica and Fidelio sketchbooks; varied drafts noted by Nottebohm, including early C‑major versions and two complete attempts.
- [Franz Liszt’s Transcriptions of Beethoven’s Symphonies: History, Publication, and Performance Legacy](https://www.lvbeethoven.org/liszt-beethoven-symphony-transcriptions/) - A detailed study of Franz Liszt’s piano transcriptions of Beethoven’s symphonies, their creation, revisions, publication history, and performance legacy.
- [Kafka Sketchbook – Part 6: Beethoven’s Extended and Fully Defined Works (Pages 185–208)](https://www.lvbeethoven.org/skizzenbuch-kafka-06/) - Overview of Part 6 of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Sul rapporto tra Beethoven e la politica - Carlo Bianchi](https://www.lvbeethoven.org/sul_rapporto_tra_beethoven_e_la_politica/) - An in-depth exploration of Beethoven’s complex relationship with politics, from the Napoleonic era to the Congress of Vienna, through modern musicological perspectives.
- [Prokof’ev rilegge la forma classica. L’Andante Caloroso della Sonata n. 7 - Carlo Bianchi](https://www.lvbeethoven.org/l_andante_caloroso_della_sonata_n7_carlo_bianchi/) - A detailed analytical study of Prokofiev’s Andante Caloroso from the Seventh Piano Sonata, exploring form, harmony, sketches, and Beethovenian influences.
- [Entwickelnde Variation nell’Intermezzo op. 117 n. 2 di Johannes Brahms - Carlo Bianchi](https://www.lvbeethoven.org/brahms_carlo_bianchi/) - An in-depth study of Brahms’s Intermezzo op.117 no.2 and the role of developing variation in its form, harmony, and late-Romantic poetics.
- [Articoli - Brahms’ Intermezzo op. 117 no. 2 Neumic Signs and Places of Indeterminacy Carlo Bianchi](https://www.lvbeethoven.org/brahms_intermezzo_op117_carlo_bianchi/) - A study of “L’Orfeo Moderno,” a Beethoven-inspired vocal collection for four male voices, its origins, editions, and historical context.
- [Opus 048 – Six Songs of Gellert for Voice and Piano](https://www.lvbeethoven.org/opus048/) - Beethoven’s Six Songs of Gellert, Op. 48, composed in 1802 and published by Breitkopf & Härtel in 1803, set Christian Fürchtegott Gellert’s moral and religious poems in a cycle of expressive simplicity and spiritual depth. Drawing on the composer’s early Lied style and marked by a sober, hymn-like character, the collection reflects Beethoven’s introspective period during the Heiligenstadt crisis.
- [Biamonti 624 – Prosody Study on a Text by Homer](https://www.lvbeethoven.org/biamonti624/) - Prosody study on a Homeric text, from page 49 of the manuscript; hexameter setting of a verse from Iliad Book 23, likely inspired by Voss’s German translation, 1815
- [Research Becomes Art – Women Composers of Beethoven’s Time, Part 4: Marie Kiéné Bigot de Morogues](https://www.lvbeethoven.org/women-composers-beethoven-era-bigot/) - A portrait of Marie Kiéné Bigot de Morogues, brilliant pianist and composer, exploring her life, artistry, and her remarkable connections with Beethoven.
- [Research Becomes Art – Women Composers of Beethoven’s Time, Part 3: Marianna Martines](https://www.lvbeethoven.org/women-composers-beethoven-era-martines/) - A full portrait of Marianna Martines, Vienna’s most prolific woman composer, her life, education, fame, and lasting influence on classical music.
- [Antonio Salieri and His School of Singing: Method, Principles, and Historical Context](https://www.lvbeethoven.org/antonio-salieri-school-of-singing/) - A detailed study of Antonio Salieri’s 1816 “School of Singing,” its pedagogical principles, vocal method, canons, and influence on Beethoven and early 19th‑century Vienna.
- [Michel Rouch – Ludwig van Beethoven the Elder: Complete Genealogy (1500–1773)](https://www.lvbeethoven.org/michel-rouch-ludwig-van-beethoven-the-elder-complete/) - Michel Rouch’s comprehensive genealogy of the van Beethoven family from 1500 to 1773, with detailed archival research and ten illustrated PDF chapters.
- [Articles - Beyond the Kreutzer Sonata: Three Narrations for Violin and Piano by Carlo Bianchi](https://www.lvbeethoven.org/beyond_the_kreutzer_sonata/) - An in‑depth essay by Carlo Bianchi exploring narrative strategies in Brahms, Ravel and Beethoven’s violin–piano sonatas, from symbolism to motivic storytelling.
- [Giuseppe Buonamici – Passages from Beethoven’s Piano Works Arranged as “Daily Studies”](https://www.lvbeethoven.org/giuseppe-buonamici-beethoven-piano-daily-studies/) - Biographical profile of Giuseppe Buonamici and his didactic “Daily Studies” drawn from Beethoven’s piano works, with historical notes and recorded examples.
- [Beethoven’s Studies in Thoroughbass – Köhler Edition, Part I Chapter 1](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-1/) - Overview of Köhler’s 1880 edition of Beethoven’s studies in thoroughbass, counterpoint and composition, with biography and the opening chapter on intervals.
- [In Search of a Lost Composition by Beethoven: The Equale in A‑LId‑49](https://www.lvbeethoven.org/woo30-4_manuscript_bernhard_rainer/) - Scholarly study by Bernhard Rainer examining the rediscovered Equale in A‑LId‑49 and its possible connection to Beethoven’s presumed fourth equale. Includes analysis of the Linz manuscript, Glöggl’s role, handwriting comparisons, archival context, and the relationship to the autograph of WoO 30.
- [The First Record of Beethoven’s Sketches (Columbia L 1934, 1927)](https://www.lvbeethoven.org/beethoven-first-sketches-disc-1927/) - Historical study of the first-ever recording of Beethoven’s sketches, issued by Columbia in 1927 for the centenary of the composer’s death. The article explores the context of the Light Blue Label release L 1934, the probable involvement of Sir Donald Tovey, the role of Nottebohm’s research, and the significance of early attempts to document Beethoven’s creative process.
- [WoO 99 No. 1 – “Bei labbri che amore”: Beethoven’s Duet from Metastasio’s "La gelosia"](https://www.lvbeethoven.org/woo099-01/) - Scholarly presentation of Beethoven’s WoO 99 No. 1 “Bei labbri che amore”, a duet for soprano and tenor based on Metastasio’s cantata La gelosia. Includes both manuscript versions from Artaria 166a, catalogue references (Hess 211, Biamonti 58), and analysis of Salieri’s corrections and textual variants.
- [WoO 99 No. 14 – “Già la notte s’avvicina”: Beethoven’s Late Italian A Cappella Trio](https://www.lvbeethoven.org/woo099-14/) - Scholarly overview of Beethoven’s WoO 99 No. 14 “Già la notte s’avvicina”, preserved in the Berlin Mus. Ms. 1248 manuscript. Includes context on the lost originals, the Thayer catalogue listing, Metastasio’s text, and Willy Hess’s assessment of the Trio as one of Beethoven’s latest exercises during his studies with Salieri.
- [WoO 99 No. 13 – “Quella cetra ah pur sei”: Beethoven’s Studies, Trio and Two Quartets](https://www.lvbeethoven.org/woo099-13/) - Scholarly presentation of Beethoven’s WoO 99 No. 13 “Quella cetra ah pur sei”, including the three soprano studies from Vienna manuscript A69 and the harmonised Trio and two Quartets preserved in the Berlin Artaria 166 manuscript. Features analysis of melodic variants, text accentuation, sinalefe markings, and comparisons between Beethoven’s, Ronge’s and Hess’s readings.
- [WoO 99 No. 12 – “Salvo tu vuoi lo sposo?”: Beethoven’s Early Italian Song and Its Three Versions](https://www.lvbeethoven.org/woo099-12/) - Scholarly presentation of Beethoven’s WoO 99 No. 12 “Salvo tu vuoi lo sposo?”, preserved in the Berlin Artaria 166a manuscript and in the Vienna A69 source. Includes analysis of the solo soprano version, the three A69 drafts, issues of Italian text accentuation, and Salieri’s likely pedagogical influence on Beethoven’s syllabification.
- [WoO 99 No. 11 – “Fra tutte le pene”: Beethoven’s Duet and Trio Versions with Salieri’s Revisions](https://www.lvbeethoven.org/woo099-11/) - Scholarly presentation of Beethoven’s WoO 99 No. 11 “Fra tutte le pene”, including both the duet and trio versions preserved in the Berlin Artaria 166a manuscript. Features catalogue references (Hess 208, 209, 225), comparisons of the two working stages, Salieri’s pencil corrections, Beethoven’s rewritten sections, and textual–musical variants across all surviving sources.
- [WoO 99 No. 10 – “Nei campi e nelle selve”: Beethoven’s Two Versions and Their Evolution](https://www.lvbeethoven.org/woo099-10/) - Scholarly presentation of Beethoven’s WoO 99 No. 10 “Nei campi e nelle selve”, preserved in the Berlin Artaria 166a manuscript. Includes analysis of the two versions (Hess 217 and Hess 220), Beethoven’s revisions, Salieri’s possible influence, and the structural and expressive differences between Version A and Version B.
- [WoO 99 No. 9 – “Per te d’amico aprile”: Beethoven’s Two Versions and Salieri’s Revisions](https://www.lvbeethoven.org/woo099-09/) - Critical notes on Beethoven’s WoO 99 No. 9 “Per te d’amico aprile”, preserved in the Berlin Artaria 166a manuscript. Includes analysis of the two versions, Beethoven’s deleted and rewritten bars, Salieri’s interventions, the problematic contralto reading in bar 6, and Beethoven’s marginal note on vocal vowels.
- [WoO 99 No. 8 – “Scrivo in te l’amato nome”: Beethoven’s Duet from Metastasio’s Il nome](https://www.lvbeethoven.org/woo099-08/) - Scholarly presentation of Beethoven’s WoO 99 No. 8 “Scrivo in te l’amato nome”, a duet for soprano and tenor based on Metastasio’s cantata Il nome. Includes manuscript sources from Artaria 166a, catalogue references (Hess 215, Thayer 17), and notes on Beethoven’s autograph corrections prior to Salieri’s review.
- [WoO 99 No. 7 – “Chi mai di questo core”: Beethoven’s Trio from Metastasio’s Il ritorno](https://www.lvbeethoven.org/woo099-07/) - Scholarly presentation of Beethoven’s WoO 99 No. 7 “Chi mai di questo core”, a trio for soprano, tenor and bass based on Metastasio’s Il ritorno. Includes manuscript sources from Artaria 166a, catalogue references (Hess 214, Biamonti 202), and detailed notes on Beethoven’s and Salieri’s corrections, variants, and revisions.
- [WoO 99 - Canti italiani a cappella - Giura il nocchier](https://www.lvbeethoven.org/woo099-05/) - Scholarly edition of Beethoven’s WoO 99 No. 5 “Giura il nocchier”, featuring Metastasio’s text, the Berlin Artaria 166 manuscript, Hess’s analytical notes, and the three surviving versions (trio and quartets). Includes historical context, manuscript variants, and curated musical examples by Graziano Denini and Pierre‑Jean Chenevez.
- [WoO 99 – Italian A Cappella Songs: “Ah rammenta”](https://www.lvbeethoven.org/woo099-06/) - Scholarly presentation of Beethoven’s WoO 99 No. 6 “Ah rammenta”, preserved in the Nydahl Collection in Stockholm, with a detailed description of the manuscript, Metastasio’s text, and Beethoven’s sketch. The page also features the artistic project “Research Becomes Art – A New Life for the Unknown Works of Ludwig van Beethoven”, interpreted by Arieh Max Sacke (Tenor I), Benjamin Gabbay (Tenor II), and Evan Tanovich (Bass).
- [WoO 099 - Italian Songs "a cappella"](https://www.lvbeethoven.org/woo099/) - Collection of 26 Italian a cappella songs on Metastasio texts, composed during Beethoven’s studies with Salieri and preserved mainly in the Artaria 166 manuscripts.
- [WoO 99 No. 2 – “Ma tu tremi, o mio tesoro”: Beethoven’s Italian Trio from Metastasio’s "La tempesta"](https://www.lvbeethoven.org/woo099-02/) - Scholarly presentation of Beethoven’s WoO 99 No. 2 “Ma tu tremi, o mio tesoro”, a trio for soprano, contralto and tenor based on Metastasio’s cantata *La tempesta*. Includes catalogue references (Hess 212, Thayer 5), historical context, and details on the song’s composition around 1792–1794.
- [WoO 99 No. 3 – “E pur fra le tempeste”: Beethoven’s Tenor Melody and Its Manuscript Sources](https://www.lvbeethoven.org/woo099-03/)
- [WoO 99 No. 4 – “Sei il mio ben”: Beethoven’s Italian Duet and Its Manuscript Sources](https://www.lvbeethoven.org/woo099-04/) - Scholarly presentation of Beethoven’s WoO 99 No. 4 “Sei il mio ben”, including Metastasio’s text, the Artaria 166 manuscripts, Hess’s discoveries, and the multiple surviving versions from preliminary sketches to the final form with Salieri’s corrections. Features curated musical examples and historical commentary.
- [Artaria 166b: Detailed Analysis of the 20 Italian Songs with Randhartinger’s Piano Accompaniments](https://www.lvbeethoven.org/artaria-166b-italian-songs-analysis/) - Analytical overview of the 20 Italian songs contained in the Artaria 166b manuscript, comparing Beethoven’s, Cornet’s and Doblhof-Dier’s original versions with Randhartinger’s piano accompaniments, highlighting musical variants, corrections, and divergences from Artaria 166a.
- [A new period copy of the letter of 20 December 1824 from Charles Neate to Beethoven](https://www.lvbeethoven.org/charles-neate-letter-to-beethoven-1824/) - Presentation of a newly identified period copy of Charles Neate’s letter to Beethoven dated 20 December 1824, offering historical insights into their relationship and the context of Beethoven’s late years, curated by the Beethoven Music Research Center.
- [Luigi Bellofatto at the Richard Burton Conference in Vienna (2023): Thayer, Burton and Beethoven Connections](https://www.lvbeethoven.org/luigi-bellofatto-richard-burton-conference-vienna-2023/) - Report by Luigi Bellofatto on his participation in the Richard Burton Conference in Vienna (2023), exploring the historical connection between Richard F. Burton and Beethoven’s biographer A.W. Thayer, with insights into Viennese Beethoven sites and archival research.
- [Spurious 004 O Maria, piena di grazia (Ave Maria)](https://www.lvbeethoven.org/spu004/)
- [Blumenlese für Klavierliebhaber (1783): Complete Index of Works – Second Part](https://www.lvbeethoven.org/blumenlese-1783/) - Complete index of the 1783 Blumenlese für Klavierliebhaber, featuring Lieder and keyboard works by Sterkel, Christmann, Pleyel, Vogler, Wanhal and other 18th‑century composers, with editorial contributions by Luigi Bellofatto and revised, digitised music by Graziano Denini.
- [Blumenlese für Klavierliebhaber (1782): Complete Index of Works – First Part](https://www.lvbeethoven.org/blumenlese-1782/) - Detailed index of the 1782 Blumenlese für Klavierliebhaber, featuring weekly selections of Lieder and keyboard pieces by Schmittbaur, Rosetti, Möller, Christmann, Koehler and others, curated with revised and digitised music by Graziano Denini and editorial work by Luigi Bellofatto.
- [Blumenlese and Neue Blumenlese (1782–1787): Historical Introduction and Beethoven’s Early Works](https://www.lvbeethoven.org/blumenlese-neue-blumenlese-introduction/) - Comprehensive introduction to the Blumenlese and Neue Blumenlese collections (1782–1787), their historical context, composers, and the first printed works of the young Beethoven, with editorial contributions by Luigi Bellofatto and music digitised by Graziano Denini.
- [Hess Anhang 65 – Karfreitagskantate after Seyfried, from Beethoven’s Equali WoO 30](https://www.lvbeethoven.org/hess-anhang-65/) - Karfreitagskantate (Hess Anhang 65), an anonymous orchestration of Seyfried’s choral setting derived from Beethoven’s Equali WoO 30, documented by Albert in 1912.
- [Opus 46 – “Adelaïde, Einsam wandelt dein Freund”, Cantata for Voice and Piano (Manuscript)](https://www.lvbeethoven.org/opus046_manuscript/) - Detailed presentation of Beethoven’s Opus 46 “Adelaïde, Einsam wandelt dein Freund”, a cantata for voice and piano based on Matthisson’s poem, with historical context, manuscript description, early editions by Simrock, and the associated waltz attributed to Carl August Hartung.
- [Fourteen Settings of Schiller’s “Ode to Joy” (ca. 1799) – Dalberg, Reichardt, Zelter and Others](https://www.lvbeethoven.org/ode_an_die_freude/) - A rare 1799 anthology featuring fourteen musical settings of Schiller’s “Ode to Joy,” with works by Dalberg, Reichardt, Zelter, Christmann, Schulz, Rellstab, Seidel, Willing, Hurka, and anonymous composers, published in Hamburg by Johann August Böhme.
- [Leopold Kozeluch: La ritrovata figlia di Ottone II Ballet Opera 39](https://www.lvbeethoven.org/kozeluch-la-ritrovata-figlia-di-ottone-ii-balletto-opus-39/) - Presentation of Leopold Kozeluch’s ballet “La ritrovata figlia di Ottone II”, Opus 39, with Beethoven’s comments, historical context, manuscript sources, and comparative materials.
- [Anhang 08 – Three Pieces for Four‑Hand Piano](https://www.lvbeethoven.org/anhang_08/) - Catalogue entry for Anhang 08: three pieces for four‑hand piano attributed to Beethoven. Includes sources, stylistic notes, attribution history, and editorial commentary.
- [Paola Perrucci at the G.B. Martini Conservatory in Bologna – Beethoven and the Harp](https://www.lvbeethoven.org/beethoven_unknown_works_harp_paola_perrucci/) - Overview of Paola Perrucci’s lecture and performance at the G.B. Martini Conservatory in Bologna, exploring Beethoven’s relationship with the harp, historical sources, and the evolution of harp writing in his works. A scholarly event combining performance, research, and historical insight.
- [Biamonti 043 – Mein Mutter fragt mich immer: Trinkst Du? (Lied Sketch)](https://www.lvbeethoven.org/biamonti043/) - Sketch of a humorous Lied on Goeckingk’s poem, with melody, corrections, and partial keyboard writing. Sparse harmony, brief instrumental section, and typical early vocal style.
- [Biamonti 821 – Other Unused Sketches (February–August 1825)](https://www.lvbeethoven.org/biamonti821/) - Overview of Beethoven’s Biamonti 821 sketches from February–August 1825, preserved in the De Roda Sketchbook. These unused fragments, possibly linked to early ideas for the finale of the String Quartet in B-flat major Op.130, reveal thematic and structural experimentation during the work’s conception.
- [Giovanni Mura — Beethoven’s Pastoral Symphony No. 6 and Its (Alleged) Connections to Croatian Folk Music](https://www.lvbeethoven.org/articles-themes-symphonies-mura/) - An analytical essay by Dr. Giovanni Mura examining the debated claims of Croatian and other folk influences on Beethoven’s Pastoral Symphony No. 6, tracing their origins in 19th‑century scholarship and assessing their historical and musical plausibility.
- [Biamonti 669 - Sketch for the song "Resignation" for four voices, early 1817](https://www.lvbeethoven.org/biamonti669/) - Scholarly overview of Beethoven’s Biamonti 669 sketch for the four‑voice song “Resignation,” preserved in Autograph 11‑1, with contextual notes on Nottebohm’s reports, the Grasnick materials, and the song’s early 1817 genesis.
- [The Beethoven Manuscripts of the Paris Conservatory Library – By Max Unger](https://www.lvbeethoven.org/max_unger_paris/) - A scholarly presentation of Max Unger’s 1935 survey of Beethoven manuscripts in the Paris Conservatory Library, expanded with historical notes, contextual documents, and research insights by Luigi Domenico Bellofatto.
- [Articles – The Catalogues of the Works of Ludwig van Beethoven – By Luigi Bellofatto](https://www.lvbeethoven.org/beethoven-works-catalogues-bellofatto/) - A historical–bibliographical survey of the major catalogues of Beethoven’s works, from early 19th‑century thematic lists to modern scholarly reference editions, presented through Luigi Bellofatto’s detailed research.
- [Biamonti 465 – Piano Sketch from the Grasnick Notebook No. 3](https://www.lvbeethoven.org/biamonti465/) - Scholarly overview of Beethoven’s Biamonti 465 sketch from the Grasnick Notebook No. 3, sheet 21r, including Dagmar Weise’s transcription, motivic links to the Op. 80 Fantasia, and editorial notes on harmonic interpretation.
- [Articles - Editors and Editions](https://www.lvbeethoven.org/articles-editions-publishers/) - A curated section presenting rare and unobtainable scores from our collection, including first editions, variants, transcriptions, and paraphrases, with contextual notes on publishers and sources across Beethoven’s repertoire.
- [Site Essays: Articles and Essays on Concerts, Events, and World Premieres](https://www.lvbeethoven.org/site-activities-articles-on-concerts/) - A curated collection of essays and articles on concerts, events, and world premieres, written by contributors supporting Beethovenian research across the Beethoven Music Research Center.
- [Articles – The First Performance of the Ninth Symphony in Japan by Beniamino Cuomo](https://www.lvbeethoven.org/ninth-symphony-japan-beniamino-cuomo/) - Historical account of the first Japanese performance of Beethoven’s Ninth Symphony, given in 1918 by German POWs at the Bandō camp, exploring its cultural legacy and enduring impact.
- [Biamonti 310 - Instrumental Scherzo (sketch)](https://www.lvbeethoven.org/biamonti310/) - Beethoven’s Biamonti 310: an instrumental scherzo sketch from around 1801, preserved in the Paris Conservatoire, with notes by Max Unger and critical context.
- [Hess 315/316 Fugue for Piano and Quintet (lost)](https://www.lvbeethoven.org/hess315_316/) - Beethoven’s lost works Hess 315 and 316: a piano fugue and a quintet known only through catalog references, with context and critical notes from the C.R.M.B. catalogue.
- [Hess Anhang 62 - Canon chromatique (Chromatic Canon ).](https://www.lvbeethoven.org/hess-anhang-62/) - Beethoven’s Hess Anhang 62: chromatic canon from the Seyfried Studies, linked to his 1809 theoretical work, with sources, context, and critical notes from the C.R.M.B. catalogue.
- [WoO 158/28 (Hess 133) Two Austrian folk songs: Das Liebe Käzchen](https://www.lvbeethoven.org/woo158-28/) - Beethoven’s WoO 158/28 “Das liebe Kätzchen”: Austrian folk song for voice and keyboard, sources, manuscript history, and critical notes from the C.R.M.B. catalogue.
- [WoO 158/29 (Hess 134) Der Knabe auf dem Berge](https://www.lvbeethoven.org/woo158-29/) - Beethoven’s WoO 158/29 “Der Knabe auf dem Berge”: Austrian folk song sent to Simrock in 1820, sources, context, manuscript, and critical notes from the C.R.M.B. catalogue.,
- [WoO 138 - "Der Jüngling in der Fremde": "Der Frühling entbluhet" - Lied for Voice and Piano](https://www.lvbeethoven.org/woo138/) - Beethoven’s WoO 138 “Der Jüngling in der Fremde”: a lyrical song for voice and piano, sources, context, manuscript, and critical notes from the C.R.M.B. catalogue.,
- [WoO 085 – Waltz in D Major for Piano](https://www.lvbeethoven.org/woo085/) - Waltz in D major for piano, published in the New Year and Carnival collection “Seyd uns zum zweytenmal willkommen!” and preserved in the Bodmer manuscript.
- [Hess 263 – “Te solo adoro”. Canon for 2 Voices in E-flat Major, 8 Measures, Unpublished](https://www.lvbeethoven.org/hess263/) - Short two-voice canon in E-flat major, preserved as an unpublished sketch on page 8 of the Ninth Symphony trombone part. Related to WoO 186 and Hess 264, with connections to Soliva and Beethoven’s late contrapuntal style.
- [The Eight LPs on Beethoven’s Sketchbooks – Denis Matthews](https://www.lvbeethoven.org/eight-lps-beethoven-sketchbooks-denis-matthews/) - Profile of Denis Matthews and presentation of the eight LP discourses on Beethoven’s sketchbooks, with insights into Symphonies No. 8 and 9 and Nottebohm’s documented sources.
- [Hess 244 – Two triple fugues for four voices.](https://www.lvbeethoven.org/hess244-2/) - Beethoven’s two triple fugues for four voices from the Albrechtsberger studies, preserved in Vienna, with original drafts, corrections, and thematic work by teacher and student.
- [WoO 052 – Bagatelle in C Minor for Piano](https://www.lvbeethoven.org/woo052-2/) - Historical and manuscript overview of Beethoven’s Bagatelle WoO 52 in C minor, originally linked to the Sonata Op.10 No.1 and later revised during the preparation of Op.119.
- [Beethoven’s Transcriptions and Studies on the Works of Wolfgang Amadeus Mozart (1756–1791)](https://www.lvbeethoven.org/abs11-2/) - Overview of Beethoven’s transcriptions and studies on Mozart’s works, including quartets, operas, symphonies, and keyboard pieces, with manuscript sources and dates.
- [Beethoven’s Faces and Emotions: AI‑Generated Video Gallery of Post‑Beethoven Composers](https://www.lvbeethoven.org/later_musicians_ai/) - AI‑generated video gallery bringing to life portraits of post‑Beethoven composers who honored his legacy through tributes, stylistic echoes, and visionary reinterpretations.
- [Historical Scores by Other Musicians – Collection of Works by Beethoven’s Contemporaries at the C.R.M.B.](https://www.lvbeethoven.org/partiture_del_crm_di_altri_coeve_beethoven/) - A curated collection of historical scores by Beethoven’s contemporaries, preserved at the Beethoven Music Research Center, including works by Kozeluch, Hummel, Labarre, Mayseder, Mozart, Pixis and others.
- [Scores Available at the Beethoven Music Research Center – Collection of Unusual and Particularly Interesting Scores (1840 to the Present)](https://www.lvbeethoven.org/partiture_del_crm-inusuali/) - A curated selection of unusual and particularly interesting scores from 1840 to today, preserved and studied at the Beethoven Music Research Center.
- [Scores Available at the Beethoven Music Research Center](https://www.lvbeethoven.org/partiture_del_crm/) - First editions, rare prints, and study materials from the Beethoven Music Research Center. A growing digital archive of early sources and historical scores.
- [Beethoven Scholars and Biographers – AI Portrait Gallery](https://www.lvbeethoven.org/gallery_of_protagonists_the_scholars/) - AI‑generated portrait gallery of leading Beethoven scholars and biographers, bringing archival photos to life and honoring their contribution to Beethoven research.
- [Valzer “Beethofen” – Spurious Beethoven (Moravská Zemská Knihovna, RKPMus‑0622.826)](https://www.lvbeethoven.org/valzer_beethofen/) - Valzer "Beethofen" Valzer “Beethofen” from the Moravská Zemská Knihovna manuscript RKPMus‑0622.826; preserved in the Brno library’s historical music holdings and featured in C.R.M.B. recordings.
- [Hector’s Farewell – Franz Xaver Kleinheinz on a Poem by Friedrich Schiller (Op.10)](https://www.lvbeethoven.org/hektors_abschied/) - Kleinheinz’s Op.10 setting of Schiller’s “Hektor’s Abschied,” often linked to Beethoven through a Prague manuscript; poem from Schiller’s Robbers with Homeric themes of love and fate.
- [Der Lenz verblüht – Cantata for Bass Voice with Quintet Accompaniment (Spurious Beethoven)](https://www.lvbeethoven.org/lenz/) - Cantata in E-flat major for bass and quintet, linked to Beethoven but possibly by Count Karl Wilhelm von Haugwitz; sources from Náměšť and the Moravian Museum studied since 1961.
- [“Austria – Ye Neighbors and Friends of Jesus” – Spurious Beethoven Hymn (Charles Wesley Jr.)](https://www.lvbeethoven.org/spu029/) - Hymn for voice and piano or organ long attributed to Beethoven but likely by Charles Wesley Jr.; devotional text and melody linked to Methodist tradition and 18th‑century English hymnody.
- [A Collection of Psalms & Hymns for Parish Churches – Spurious Beethoven Attributions](https://www.lvbeethoven.org/spurious_psalms_hymns/) - Early‑19th‑century Anglican collection by Nathaniel Cooke with 73 hymns, chants and psalm settings; later editions added works attributed to Haydn, Handel, Mozart and Beethoven.
- [Selected Pieces for the Pianoforte by Beethoven, Clementi, Dussek, Eberl and Steibelt](https://www.lvbeethoven.org/pieces_choisies/) - Six-volume Hofmeister anthology of easy piano pieces by Beethoven, Clementi, Dussek, Eberl and Steibelt; early 19th‑century editions with notable Berlin and Artaria provenance.
- [Douze Entr’Actes Drawn from Beethoven’s Works – Nicolas Baldenecker](https://www.lvbeethoven.org/douze_entr_actes/) - Twelve Entr’actes arranged by Nicolas Baldenecker from Beethoven’s piano and chamber works; Op.8, Op.10, Op.14, Op.1, Op.45, Op.24, Op.33 and Anh.14, with historical notes and recordings.
- [Diverses Pièces en Quatuor for Two Violins, Viola and Cello (Simrock Edition)](https://www.lvbeethoven.org/diverses_pieces_en_quatuor/) - Simrock’s early‑19th‑century quartet arrangements of Beethoven piano works: nine movements drawn from sonatas, bagatelles, Op.34 variations and Prometheus, published c.1822.
- [Beethoven – 36 Bagatelles for Piano Four Hands (Carl Geissler)](https://www.lvbeethoven.org/articoli-beethoven-36-bagatellen-kleinere-klavierstucke-carl-geissler/) - Thirty‑six piano‑four‑hands bagatelles by Carl Geissler, freely drawn from Beethoven’s themes; a 19th‑century salon collection mixing faithful transcriptions and creative reworkings.
- [Biamonti 849 - Instrumental sketch from March 1827](https://www.lvbeethoven.org/biamonti849/) - Instrumental sketch from March 1827 in Autograph 10; cited by Nottebohm and linked to Schindler’s note describing Beethoven’s last written bars, ten to twelve days before his death
- [Biamonti 839 – March for Duport](https://www.lvbeethoven.org/biamonti839/) - Sixteen‑bar march from Autograph 9, linked to Beethoven’s 1824 circle at the Kärntnertor; a simple melodic line likely drafted for Louis‑Antoine Duport, with speculative harmonizations
- [Biamonti 837 – Sketch for a “Veni, Creator Spiritus”](https://www.lvbeethoven.org/biamonti837/) - Sketch for a “Veni, Creator Spiritus” from Autograph Sketchbook 9 fol.71; early vocal idea noted by Nottebohm, showing thematic convergence with Mahler’s Eighth Symphony
- [Biamonti 835 – Theme Originally Intended for the Finale of the String Quartet Op.131](https://www.lvbeethoven.org/biamonti835/) - Theme for the original finale of Beethoven’s Quartet Op.131 from Autograph 9 folio 27; early pencil draft showing no resemblance to the printed version, per Nottebohm
- [Biamonti 813 – Sketches for the First Movement of the String Quartet Op.130](https://www.lvbeethoven.org/biamonti813/) - Four sketches from the De Roda Sketchbook for the opening of Beethoven’s Quartet Op.130; fragments on folios 4r and 6r showing different pencils, ideas and annotations
- [Biamonti 822 – Modulation Exercises for Karl](https://www.lvbeethoven.org/biamonti822/) - Two modulation exercises from the De Roda Sketchbook, written during Beethoven’s 1825 harmony lessons to Karl; chromatic progressions, enharmonic shifts and cadence enrichment
- [Biamonti 820 – Various Unused Sketches](https://www.lvbeethoven.org/biamonti820/) - Unused sketches from the De Roda Sketchbook, early ideas for the penultimate movement of the String Quartet Op.130; thematic motifs not used in the final Cavatina
- [Biamonti 819 – Adagio in F-sharp Major, Extensively Developed](https://www.lvbeethoven.org/biamonti819/) - Biamonti 818, Andante preliminary version, String Quartet Op.130, De Roda Sketchbook, folios 26r 27r 28r, long melody sketch, mysterious sketch, zum 3te Quartette, Denini, Beethoven,
- [Biamonti 818 – Further Sketches Possibly Related to a Preliminary Version of the Andante from the String Quartet Op.130](https://www.lvbeethoven.org/biamonti818/) - Additional Andante‑related sketches from the De Roda Sketchbook, folios 26–28; four pencil fragments with broad melodies, mysterious ideas and “zum 3te Quartette”
- [Biamonti 817 – Sketches for a Preliminary Version of the Andante from the String Quartet Op.130](https://www.lvbeethoven.org/biamonti817/) - Four preliminary Andante sketches from the De Roda Sketchbook, folio 25r; fluid keys and metres, early melodic ideas later shaped into the Quartet Op.130
- [Biamonti 816 – 29 Bars for a Movement in Barcarolle Style](https://www.lvbeethoven.org/biamonti816/) - Twenty‑nine bars in barcarolle style from the De Roda Sketchbook, folio 48; G‑minor draft with pen doodles and the added word “Gut”, plus piano and quartet realizations
- [Biamonti 815 – Adagio in B-flat Major for the String Quartet Op.130](https://www.lvbeethoven.org/biamonti815/) - Adagio in B-flat major linked to early ideas for the Quartet Op.130; De Roda Sketchbook fragments labelled “Adagio in E with mute” and “First part in C minor”
- [Biamonti 814 – Two Sketches Probably Intended for the Second Movement of the String Quartet Op.130](https://www.lvbeethoven.org/biamonti814/) - Two sketches from the De Roda Sketchbook for the Quartet Op.130, folio 21v; thematic phrases in 4/4 with Denini’s analysis of stems, phrasing and possible continuations
- [Biamonti 812 – Sketches for the Andante of the String Quartet Op.132](https://www.lvbeethoven.org/biamonti812/) - Sketches for the Andante of Beethoven’s Quartet Op.132 from the De Roda Sketchbook; thematic ideas, fugato attempts, tempo‑marked fragments and variant readings
- [Biamonti 801 – Sketches for the String Quartet Op.127](https://www.lvbeethoven.org/biamonti801/) - Sketches for Beethoven’s String Quartet Op.127, written in 1824 and preserved in the Koch Collection; thematic ideas and structural experiments preceding the final version
- [Biamonti 800 – Two Choral Sketches](https://www.lvbeethoven.org/biamonti800/) - Two choral sketches from Autograph 11/2 folio 5r; one unfigured, one with figuration. Linked to Op.127 sketches and showing Beethoven’s revisions marked “Vi=” and “=de”
- [Biamonti 799 – Figuration in 5/4](https://www.lvbeethoven.org/biamonti799/) - Sketch in 5/4 cited by Nottebohm; two figurations on two staves from Autograph 11/2 fol.19r, with crossings‑out and possible canonic entries suggested by annotations
- [Biamonti 798 – Sonata for Piano Four Hands (Fragments)](https://www.lvbeethoven.org/biamonti798/) - Fragment for a piano four‑hands sonata on folio 9v of the Berlin sketchbook; two measures with upbeat, marked “4 Hände in 8va”, with a brief viola line on staff five
- [Biamonti 797 – Adagio in E Major for String Quartet](https://www.lvbeethoven.org/biamonti797/) - Short Adagio in E major for string quartet, preserved in the Koch Collection; conceived as an introduction to the finale of the Quartet Op.127 but ultimately unused
- [Biamonti 796 – About Five Pages Communicated by Nottebohm](https://www.lvbeethoven.org/biamonti796/) - Five pages of sketches reported by Nottebohm, from a notebook largely devoted to the String Quartet Op.127; written after the opening of the first movement
- [Biamonti 783 – Unused Sketches for the Bagatelles Op. 126](https://www.lvbeethoven.org/biamonti783/) - #post_excerptUnused sketches linked to the Bagatelles Op.126, preserved in the 1823 sketchbook; difficult pencil drafts transcribed by Nottebohm and showing Beethoven’s search for material
- [Biamonti 779c – Other Unused Sketches for the Ninth Symphony Op.125](https://www.lvbeethoven.org/biamonti779c/) - Unused sketches for Beethoven’s Ninth Symphony, including ideas for an instrumental introduction to the choral Finale with headings such as “Finale: Von der Freude”
- [Biamonti 779b – Other Unused Sketches for the Ninth Symphony Op.125](https://www.lvbeethoven.org/biamonti779b/) - Unused sketches for Beethoven’s Ninth Symphony, including a choral‑finale draft with the text “Ihr stürzt nieder Millionen ahnest du den Schöpfer welt!”
- [Biamonti 779a – Other Unused Sketches for the Ninth Symphony Op.125](https://www.lvbeethoven.org/biamonti779a/) - Unused sketches for Beethoven’s Ninth Symphony, continuing material related to Biamonti 686 and 746; includes a continuation of the third‑movement second theme
- [Biamonti 771 – Sketch for a Third Mass in C-sharp minor](https://www.lvbeethoven.org/biamonti771/) - Sketch for a projected Third Mass in C-sharp minor, preserved in a conversation notebook; linked to Beethoven’s note on a new Mass with winds and organ and related materials
- [Biamonti 763 – Note on Metric Notation](https://www.lvbeethoven.org/biamonti763/) - Two notes on metric notation from Notebook III, Artaria 201: a “Päon” and an “Anapäst”, with Beethoven indicating their metrical patterns on staves 5–6 of page 125
- [Biamonti 762 – Flüchtigkeit der Zeit (Sketch for Gleim’s Song)](https://www.lvbeethoven.org/biamonti762/) - Sketches for Gleim’s poem “Flüchtigkeit der Zeit,” preserved in Notebook III and Artaria 201; includes vocal and instrumental drafts and the corrected title “Vorsatz”
- [Biamonti 761 – Note for an Overture](https://www.lvbeethoven.org/biamonti761/) - Short overture note from Notebook III, preserved in Artaria 201; written in fine ink on page 175 with an octave‑lower sign indicating intended doubling
- [Biamonti 758 – Sketch “2te St” (Second Sonata). Adagio](https://www.lvbeethoven.org/biamonti758/) - Adagio sketch for a “Second Sonata” on Notebook II page 76; F‑minor draft for a coda, linked to the preceding first‑movement sketch and to other unused materials
- [Biamonti 757 – Sketch “2te St” (Second Sonata). Allegro con brio](https://www.lvbeethoven.org/biamonti757/) - Sketch labeled “2te Sonate” and “Allegro con brio” on Notebook II page 75; part of a group of unused sonata-movement drafts noted by Nottebohm
- [Biamonti 756 – Sketch for a Sonata Movement](https://www.lvbeethoven.org/biamonti756/) - Sketch on Notebook II page 63, linked to Mozart’s Lacrymosa and possibly to Missa Solemnis; includes corrections, cancellations and a related “third piece” presto
- [Biamonti 755 – Fugue Sketches, Including One “for Harpsichord or Organ”](https://www.lvbeethoven.org/biamonti755/) - Fugal sketches from Notebook II (Artaria 197), 1819–1822; includes a “fugue for harpsichord or organ” and unused materials alongside drafts for major late works
- [Biamonti 754 – Unused sketch in C-sharp minor](https://www.lvbeethoven.org/biamonti754/) - Unused sketch in C-sharp minor from Notebook II, linked by Nottebohm to an early idea for the Sonata Op. 109; marked “adagio molto sentimento moltissimo espressione”
- [Biamonti 753 – Fragment of a Scottish Folk Song in B-flat Major](https://www.lvbeethoven.org/biamonti753/) - Seven-bar fragment from the coda of the Scottish folk song “Mark yonder pomp of costly fashion,” sketched in Notebook II (Artaria 197) between 1819 and 1822
- [Biamonti 741 – Sketches for the Piano Sonata in C minor, Op. 111](https://www.lvbeethoven.org/biamonti741/) - Sketches for Beethoven’s Piano Sonata Op. 111, drawn from the 1819–1822 sketchbooks; early fugal treatment, development of the Maestoso, and evolution of the Arietta theme
- [Biamonti 738 – Fragments from March 1822 (Illegible Sketches)](https://www.lvbeethoven.org/biamonti738/) - Faded and partly illegible pencil fragments from a March 1822 conversation book; trembling handwriting and uncertain notation across ILTE pages 788 and 792
- [Biamonti 732 – Dance‑Like Piece in E‑flat Major (Sketch)](https://www.lvbeethoven.org/biamonti732/) - Sketch for a dance‑like piece in E‑flat major, possibly an Ecossaise; 22 bars plus a faint related sketch. Manuscript from the Paris Conservatory collection
- [Biamonti 726 – Melody Written in the First Half of May 1820](https://www.lvbeethoven.org/biamonti726/) - Melody noted in a conversation book in early May 1820; linked to Oliva’s receipts and possibly to a lost Mödling dance. Later inspired modern reconstructions
- [Biamonti 723 – Wordless Canon (Sketch)](https://www.lvbeethoven.org/biamonti723/) - Wordless canon from Conversation Book No. 8, mid-March 1820; related to the middle phrase of Abendlied WoO 150 and singable as a two‑voice or mirror canon
- [Biamonti 720 – Fragment in G Major](https://www.lvbeethoven.org/biamonti720/) - Fragment in G major from the pocket sketchbook of winter 1819–1820, linked to Missa solemnis sketches; nearly complete melody with Da Capo, heavily faded
- [Biamonti 713 – Fragment for Countess Erdödy](https://www.lvbeethoven.org/biamonti713/) - Musical fragment added to Beethoven’s letter to Countess Erdödy on 19 December 1819, later expanded into the New Year canon “Glück zum neuen Jahr” WoO 176
- [Biamonti 704 – Fugue Theme](https://www.lvbeethoven.org/biamonti704/) - Fugue theme conceived for the Finale of the Hammerklavier Sonata, found among unused sketches in the Op. 106 sketchbook from 1817–1819
- [Biamonti 703 – Presto in B-flat Minor](https://www.lvbeethoven.org/biamonti703/) - Presto sketch in B-flat minor from the Op. 106 materials, closely related to Biamonti 702 and likely conceived for the second part of the Hammerklavier Scherzo
- [Biamonti 702 – Fragment in B-flat Minor](https://www.lvbeethoven.org/biamonti702/) - Completed fragment with Beethoven’s note about placing a Moderato rondo and a fugue in B-flat minor at the end; linked to the second part of the Op. 106 Scherzo
- [Biamonti 701 – Intermezzo (Sketch)](https://www.lvbeethoven.org/biamonti701/) - Sketch labeled “Zwischensatz oder Abschnitt” in the Op. 106 sketchbook, an unused intermezzo or transitional passage conceived between 1817 and 1819
- [Biamonti 700 – Sketch for a Fugue in F-sharp Major](https://www.lvbeethoven.org/biamonti700/) - Sketch for a fugue in F-sharp major from the Op. 106 sketchbook; Beethoven notes “Fugirt” and a possible shift to B minor among unused ideas from 1817–1819
- [Biamonti 699 – End of a Minuet](https://www.lvbeethoven.org/biamonti699/) - Sketchbook note reading “First Minuet, End” with a related “Adagio in F-sharp minor or…”, found in the Op. 106 materials among unused ideas from 1817–1819
- [Biamonti 698 – Sketch for a cantata for Archduke Rudolph of Austria: “Viva Rudolphus”](https://www.lvbeethoven.org/biamonti698/) - Sketch for an unfinished cantata for Archduke Rudolph; Beethoven notes later expansion for four-part chorus. The second theme was reused in the Sonata Op. 106
- [Biamonti 697 – Fugue in B-flat Minor (Four-Bar Sketch)](https://www.lvbeethoven.org/biamonti697-2/) - Four-bar sketch for a fugue in B-flat minor from the Op. 106 sketchbook, dated 1817–1819; cited by Nottebohm among unused ideas preserved in the Hammerklavier materials
- [Biamonti 687 – Unspecified Notes from February–March 1818](https://www.lvbeethoven.org/biamonti687/) - Unspecified notes from the February–March 1818 conversation notebook; faint pencil sketches on the cover pages, possibly Dorian studies linked to the Kyrie of the Missa Solemnis
- [Biamonti 677 – “Zum Bade, zum Bade vom Blumengestade” (Badelied), Sketch](https://www.lvbeethoven.org/biamonti677/) - Sketch for Matthisson’s Badelied “Zum Bade, zum Bade vom Blumengestade,” cited by Nottebohm from the lost Boldrini sketchbook; includes metrical markings without full notation
- [Biamonti 676 – Fragment at the End of a Letter to Nanette Streicher](https://www.lvbeethoven.org/biamonti676/) - Fragment added to Beethoven’s letter to Nanette Streicher of 25 September 1817; preserved only through copies cited by Thayer–Riemann and Anderson
- [Biamonti 672 – Fragment at the End of a Letter to Steiner](https://www.lvbeethoven.org/biamonti672/) - Fragment written at the end of a letter to publisher Steiner, preserved in the Bodmer Collection; context involves gifts, legal disputes, and Beethoven’s humorous military titles
- [Biamonti 645 – Beginnings of Various Scottish and Irish Folk Songs](https://www.lvbeethoven.org/biamonti645/) - Beginnings of Scottish and Irish folk songs from the Paris Conservatoire manuscript; Beethoven numbers 25 incipits with variant orderings and partially erased pencil drafts
- [Biamonti 666 – Fragment Attached to a Letter to Steiner](https://www.lvbeethoven.org/biamonti666/) - Fragment written at the end of a letter to publisher Steiner; preserved in Vienna, on Welhartitz paper used by Beethoven in late 1816, with legal‑style parody text
- [Biamonti 659 – Symphony No. 8 in F major, Op. 93: Current Finale of the First Movement](https://www.lvbeethoven.org/biamonti659/) - Note on the revised finale of the first movement of Beethoven’s Eighth Symphony; the original 1814 version was shorter, and the current ending was composed later
- [Biamonti 657 – Sketch with the Annotation “Christ ist Erstanden Variationen”](https://www.lvbeethoven.org/biamonti657/) - Sketch for the Easter hymn “Christ ist Erstanden”, found among Op. 101 materials; Nottebohm links its form to ideas later used in the Quartet Op. 132
- [Biamonti 644 – Sonata for Piano and Violin (Sketches)](https://www.lvbeethoven.org/biamonti644/) - Sketches for a piano and violin sonata from a loose sheet of the Koch collection: a piano motif to F4 and varied slow‑movement ideas in F or F‑sharp major, noted by Kinsky
- [Biamonti 640 – Sonata in E major (for piano?)](https://www.lvbeethoven.org/biamonti640/) - Entry for a projected Sonata in E major; Biamonti cites page 106 and Nottebohm II, 348, but no musical sketch survives in the Scheide materials
- [Biamonti 638 – Exercises for Piano](https://www.lvbeethoven.org/biamonti638/) - Piano exercises from page 93 of the Scheide Sketchbook, labelled “Scales for the student”; Beethoven adds instructions on reversing hand motion and coordinated ascent and descent
- [Biamonti 636 – Sonata in A major, Op. 101: Original Ideas for the Fourth Movement](https://www.lvbeethoven.org/biamonti636/) - Two incomplete sketches for the fourth movement of the Sonata in A major, Op. 101, from pages 77 and 79 of the Scheide Sketchbook, discussed by Nottebohm
- [Biamonti 635 – Sonata in A major for piano, Opus 101: original ideas for the third movement](https://www.lvbeethoven.org/biamonti635/) - Original ideas for the third movement of the Sonata in A major, Op. 101; Beethoven’s “3tes Stück poco allegretto” sketch from the Scheide Sketchbook, misassigned by Biamonti
- [Biamonti 634 – Sketch in F Minor, Possibly for an Unfinished Trio](https://www.lvbeethoven.org/biamonti634/) - Sketch in F minor from page 67 of the Scheide Sketchbook; marked “als deutscher vom letzten Stück” and later recopied near the unfinished Piano Trio in F minor
- [Biamonti 632 – “Die Zufriedenheit”, Sketch for the Song by J. M. Miller](https://www.lvbeethoven.org/biamonti632/) - Sketch for Miller’s poem “Die Zufriedenheit”, found on page 58 of the Scheide Sketchbook; five‑staff draft linked by Nottebohm to the Lied “Was frag ich nach Geld und Gut”
- [Biamonti 631 – Sketches of Instrumental Compositions](https://www.lvbeethoven.org/biamonti631/) - Five instrumental sketches from page 40 of the Scheide Sketchbook: fragments in A major, C major, and B minor, including contrapuntal studies and left-hand arpeggio work
- [Biamonti 629 – Sketches for a Symphony](https://www.lvbeethoven.org/biamonti629/) - Symphonic sketches from page 51 of the Scheide Sketchbook: a 2/2 march, a 12‑bar B-flat major draft, and a 6‑bar D‑major fragment with Irish-song character, 1815
- [Biamonti 628 – Note for a March Passage](https://www.lvbeethoven.org/biamonti628/) - Short note for a march passage from page 51 of the Scheide Sketchbook; positioned between symphonic ideas and thematic hints later linked to the Ninth Symphony, 1815
- [Biamonti 627 – Three Musical Sketches: Two in B-flat Major, One in D-Major](https://www.lvbeethoven.org/biamonti627/) - Three sketches from page 51 of the Scheide Sketchbook: two in B-flat major and one in D major; cited by Nottebohm and linked by Denini to early symphonic ideas, 1815
- [Biamonti 626 – Sonata (for piano?) in D-flat major](https://www.lvbeethoven.org/biamonti626/) - Sketch for a sonata in D-flat major from page 50 of the 1815 sketchbook; brief opening measures suggesting a piano exposition, noted by Nottebohm without citation
- [Biamonti 625 – Sketch for “Gesang der Geister über den Wassern” (Goethe)](https://www.lvbeethoven.org/biamonti625/) - Prosody sketch for Goethe’s “Gesang der Geister über den Wassern”, from page 49; three melodic fragments with disputed readings noted by Denini and Nottebohm, 1815
- [Biamonti 621 - Allemande and “Terzo Pezzo”](https://www.lvbeethoven.org/biamonti621/) - Two fragments from page 43 of the Scheide Sketchbook: an incomplete Allemande in C major and a brief “Terzo pezzo” in D major, both cited by Nottebohm, 1815
- [Biamonti 623 – Draft of an Alternate Version of No. 11 from the 25 Schottische Lieder, Op. 108](https://www.lvbeethoven.org/biamonti623/) - Alternate draft of Op. 108 No. 11 from page 48 of the sketchbook; instrumental intro, vocal section, and second-part sketch, linked to “Oh! Thou art the lad of my heart, Willy”, 1815
- [Biamonti 622 – Pastorale in C major](https://www.lvbeethoven.org/biamonti622/) - Pastorale in C major from page 47 of the Scheide Sketchbook; brief 3/8 sketch with flowing melodic line and rustic character, transcribed by Denini, 1815
- [Biamonti 620 – Double Fugue in D major (incipit)](https://www.lvbeethoven.org/biamonti620/) - Incipit of a double fugue in D major, from page 41 of the 1815 sketchbook; nine measures with inverted thematic entries and the heading “Doppelfügue”, noted by Nottebohm
- [Biamonti 619 – Two Fugato Passages, Probably Copied](https://www.lvbeethoven.org/biamonti619/) - Two fugato passages, probably copied, from page 39 of the Scheide Sketchbook; five‑voice and three‑staff drafts noted by Nottebohm, likely in B minor and D major, 1815
- [Biamonti 618 – “Ehre sind Dir”, Vocal Fragment (Incipit)](https://www.lvbeethoven.org/biamonti618/) - Vocal fragment with the twice-written incipit “Ehre sind Dir”, from the Scheide Sketchbook page 37, lines 3–4; cited by Nottebohm in Zweite Beethoveniana, 1815
- [Biamonti 617 – Symphony in D major](https://www.lvbeethoven.org/biamonti617/) - Sketch for a symphony labeled “Sinfonia”, from page 33 of the 1815 sketchbook; two surviving measures, torn page, possible link to a Lied, noted by Nottebohm
- [Biamonti 616 – Beginning of a Double Fugue in A minor](https://www.lvbeethoven.org/biamonti616/) - Beginning of a double fugue in A minor, from the Scheide Sketchbook page 9; cited by Nottebohm in Zweite Beethoveniana as one of the most prominent sketches, 1815
- [Biamonti 608 – Fugue Sketches](https://www.lvbeethoven.org/biamonti608/) - Fugue sketches from the Mendelssohn-Stiftung 1 pocket sketchbook; six themes in various keys, in pencil and ink, with Beethoven’s annotation “Bei allen Fugen Piano e Forte”, 1815
- [Biamonti 607 – Alla Polacca in E-flat Major](https://www.lvbeethoven.org/biamonti607/) - Sketch for an Alla Polacca in E-flat major, from Mendelssohn-Stiftung 1 page 55; single surviving bar in 3/4 time with Beethoven’s annotation, Feb–Aug 1815
- [Biamonti 606 – Andante in B Minor for Pizzicato Basses with a Trio in B Major](https://www.lvbeethoven.org/biamonti606/) - Sketch for an Andante in B minor for pizzicato basses with a Trio in B major for clarinets and horns, from Mendelssohn-Stiftung 1 pages 40–41, Feb–Aug 1815
- [Biamonti 605 – Sketch for a Sonata in C Minor](https://www.lvbeethoven.org/biamonti605/) - Sketch for a sonata in C minor, from the Mendelssohn-Stiftung 1 pocket sketchbook, page 43; two-bar pencil draft amid studies for Op. 102 No. 2, Feb–Aug 1815
- [Biamonti 604 – Double Counterpoint Exercises](https://www.lvbeethoven.org/biamonti604/) - Double counterpoint exercises from the Mendelssohn-Stiftung 1 pocket sketchbook, pages 27–28; pencil and ink studies with Beethoven’s annotation, Feb–Aug 1815
- [Biamonti 603 – March Fragment with Horn in G](https://www.lvbeethoven.org/biamonti603/) - Fragment of a march with horn in G, from the Mendelssohn-Stiftung 1 pocket sketchbook, page 25; instrumental trials and corrected chord, Feb–Aug 1815
- [Biamonti 602 – Sketch for the “Sonata Pastorale” for Piano and Cello](https://www.lvbeethoven.org/biamonti602/) - Sketch for the “Sonata Pastorale” for piano and cello, from the Mendelssohn-Stiftung 1 pocket sketchbook, page 24; pencil draft later reinforced in ink, Feb–Aug 1815
- [Biamonti 601 – Sketch for a Symphony in B Minor](https://www.lvbeethoven.org/biamonti601/) - Sketch for a symphony in B minor, from the Mendelssohn-Stiftung 1 pocket sketchbook, page 23; pencil draft later reinforced in ink, February–August 1815
- [Biamonti 600 – Sketches for the Canon “Das Schweigen”](https://www.lvbeethoven.org/biamonti600/) - Unused sketches for the canon “Das Schweigen”, from the Mendelssohn-Stiftung 1 pocket sketchbook; two fragments on pages 22 and 26, February–August 1815
- [Biamonti 592 – Sketches for a Vocal Work](https://www.lvbeethoven.org/biamonti592/) - Sketches for a vocal work, from Paris Conservatoire manuscript ms. 58a; pocket-format sheets with ideas linked to Fidelio and the Missa Solemnis, 1814–1823
- [Biamonti 591 – Closing of a Folk Song for Voice and Piano](https://www.lvbeethoven.org/biamonti591/) - Closing of a folk song for voice and piano, from a Paris Conservatoire manuscript; 9 bars in G minor, 4/4 time, remainder unknown, 1814
- [Biamonti 577 – Sketch for the Final Movement of the Piano Sonata Op. 90](https://www.lvbeethoven.org/biamonti577/) - Sketch for the final movement of the Piano Sonata Op. 90, from a manuscript cited by Nottebohm; thematic ideas and structural trials, June–mid August 1814
- [Biamonti 575 – Sketches for a Second Movement of a Symphony](https://www.lvbeethoven.org/biamonti575/) - Sketches for a second movement of a symphony, from a Paris Conservatoire manuscript; thematic ideas and structural trials, mid‑1814
- [Biamonti 552 – Two Unused Sketches for “Meeresstille und Glückliche Fahrt”](https://www.lvbeethoven.org/biamonti552/) - Two unused sketches for “Meeresstille und Glückliche Fahrt”, from a four-page Paris Conservatoire manuscript; noted by Unger, March 1813
- [Biamonti 549 – Fragment of the Finale of the Sonata in G Major Op. 96](https://www.lvbeethoven.org/biamonti549/) - Fragment of the Finale of Beethoven’s Sonata Op. 96, Autumn–Winter 1812; two-page advanced sketch with melodic break at bar 32 and a piano fugato beginning at bar 33.
- [Biamonti 546 – Sketch for an unused introduction to the Eighth Symphony](https://www.lvbeethoven.org/biamonti546/) - Unused introductory sketch for Beethoven’s Eighth Symphony from the Petter Sketchbook page 70; eleven-bar draft noted by Thayer, with disputed bar count and arpeggio details.
- [Biamonti 545 – Sketch for a Polacca in G major](https://www.lvbeethoven.org/biamonti545/) - Sketch for a Polacca in G major from the Petter Sketchbook, August–September 1812; ten-bar draft for piano and orchestra, preserved in Bonn as manuscript Mh 59.
- [Biamonti 543 – Unused Sketch for the Finale of the Seventh Symphony](https://www.lvbeethoven.org/biamonti543/) - Unused sketch for the Finale of Beethoven’s Seventh Symphony, from the Petter Sketchbook page 9 staff 11; two related fragments described by Nottebohm.
- [Biamonti 537 – Sketches for an Orchestral Work](https://www.lvbeethoven.org/biamonti537/) - Sketches for an orchestral work on the single-sheet manuscript ms. 91, Paris Conservatoire; linked to materials for King Stephen Op. 117 and dated August–September 1811.
- [Biamonti 535 – Preliminary Sketch for the Bagatelles Op. 126](https://www.lvbeethoven.org/biamonti535/) - Four-page manuscript for the early version of Beethoven’s Bagatelles Op. 126, Paris ms. 69; ink draft with pencil corrections, dated ca. 1810 by Unger.
- [Biamonti 523 – “In einem Thal bei armen Hirten”, Lied Sketch](https://www.lvbeethoven.org/biamonti523-2/) - Sketch for Schiller’s “In einem Thal bei armen Hirten,” found with drafts for the Scottish song in D major and Goethe’s “Sehnsucht,” dating from summer 1810.
- [Biamonti 522 – Fugue Fragment among the Sketches for the Trio in B-flat Major Op. 97](https://www.lvbeethoven.org/biamonti522/) - Fugue fragment from the sketchbook for Beethoven’s Trio Op. 97: an undeveloped subject in B-flat major, likely a contrapuntal study dating from early 1810.
- [Biamonti 505 – Sketches for the Bagatelle Op. 119 No. 6](https://www.lvbeethoven.org/biamonti505/) - Sketches for Beethoven’s Bagatelle Op. 119 No. 6, preserved in Paris as ms. 58d; pencil drafts on a 20‑staff sheet also containing Gloria and Dona nobis pacem ideas.
- [Biamonti 490 – Study for the Final Cadenza of a Piano Concerto in G Minor](https://www.lvbeethoven.org/biamonti490/) - Sketch from Landsberg 5 page 76, staves 9–12: Beethoven’s study for the final cadenza of a first movement in G minor, with arpeggios and cadential formulas.
- [Biamonti 489 – Quintet in Homage to Bach (Sketch)](https://www.lvbeethoven.org/biamonti489/) - Three D‑major sketches from Landsberg 5 page 75 for a fugue or fugato, linked by Nottebohm to Beethoven’s planned “Quintet in Homage to Bach,” later abandoned.
- [Biamonti 488 – Modulation Formula (Sketch)](https://www.lvbeethoven.org/biamonti488/) - Modulation formula in D major from the Landsberg 5 notebook, page 75; a brief harmonic sketch exploring pivot chords and chromatic voice‑leading across keys.
- [Biamonti 487 – Beginning of a Concerto for Piano and Orchestra in D Minor (Unused Sketch)](https://www.lvbeethoven.org/biamonti487/) - Unused beginning of a concerto in D minor from the Landsberg 5 notebook, page 69; arpeggiated cadenza-like opening and an eight-bar march theme described by Nottebohm.
- [Biamonti 486 – Unused Vocal Sketches for the Choral Fantasy Op. 80](https://www.lvbeethoven.org/biamonti486/) - Unused vocal sketches for Beethoven’s Choral Fantasy Op. 80, including the words “Hort ihr wohl!” and the note “Hier erst die Singstimmen,” found in the Grasnick 3 sketchbook.
- [Biamonti 484 – Unused Sketch for the Finale of the String Quartet in E-flat Major, Op. 74](https://www.lvbeethoven.org/biamonti484/) - Unused sketch for the finale of Beethoven’s String Quartet Op. 74, from Landsberg 5 page 91; a four‑bar E‑flat major theme marked “Variationen” and “Moder:” cited by Nottebohm.
- [Biamonti 483 – Overture “Die Ähnlichkeit”, Unused Sketch (Landsberg 5)](https://www.lvbeethoven.org/biamonti483/) - Unused sketch for the overture “Die Ähnlichkeit” from the Landsberg 5 notebook, page 63 staves 2–4; cited by Nottebohm with Beethoven’s cryptic performance note.
- [Biamonti 481 – “Dissonirende Vorhälte” (Dissonant Suspensions), Two-Bar Sketch](https://www.lvbeethoven.org/biamonti481/) - Two-bar sketch titled “Dissonirende Vorhälte” from the Landsberg 5 notebook, page 54 staves 11–12; a rare 1809 example of Beethoven’s dissonant suspensions.
- [Biamonti 480 – Sketches from the Landsberg 5 Notebook](https://www.lvbeethoven.org/biamonti480/) - Two sketches from the Landsberg 5 notebook, cited by Nottebohm on p. 265: a C‑major idea in 2/4 and a C‑minor fragment in 3/4, linked to Beethoven’s 1809 work.
- [Biamonti 479 – Two Sketches for the Sonata in E-flat Major Op. 81a](https://www.lvbeethoven.org/biamonti479/) - Two Spring 1809 sketches from the Landsberg 5 notebook, staves 1–5 on page 46; Nottebohm links them to the first movement of Beethoven’s Sonata Op. 81a.
- [Biamonti 478 – “Jubelgesang auf die Schlacht” (Song of Joy for the Battle), Sketch](https://www.lvbeethoven.org/biamonti478/) - Sketch titled “Jubelgesang auf die Schlacht” from the Landsberg 5 notebook; arpeggiated D‑major fanfare marked “Angriff” and “Sieg,” reported by Nottebohm in 1887.
- [Biamonti 476 – Unused Sketch for the Finale of the Piano Concerto in E-flat Major, Op. 73](https://www.lvbeethoven.org/biamonti476/) - Unused sketch for the finale of Beethoven’s Piano Concerto in E-flat major Op. 73, two bars in 3/4 from early 1809, cited by Kinsky from a dispersed Heyer Museum manuscript.
- [Biamonti 475 – “Lasst uns fröhlich sein” (Let Us Be Cheerful), Sketch for a Canon](https://www.lvbeethoven.org/biamonti475/) - Sketch for a canon titled “Lasst uns fröhlich sein,” known only from Nottebohm’s transcription; a brief 1808 fragment showing Beethoven’s playful contrapuntal writing.
- [Biamonti 474 – Fragment for Piano (Bass Line) from the Grasnick 3 Sketchbook](https://www.lvbeethoven.org/biamonti474/) - Bass‑line fragment from the Grasnick 3 sketchbook, folio 15r line 4; barely legible sketch that Dagmar Weise links to Beethoven’s Fantasy for Piano, Chorus and Orchestra Op. 80.
- [Biamonti 473 – Fragment for Voice and Piano (Grasnick 3)](https://www.lvbeethoven.org/biamonti473/) - Fragment for voice and piano from the Grasnick 3 sketchbook, sheet 11r lines 4–5; a brief vocal idea with arpeggiated accompaniment, classified as an unknown work.
- [Biamonti 472 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti472/) - Piano sketch from the Grasnick 3 notebook, sheet 38v lines 2–3; an unknown fragment classified by Dagmar Weise as “unbekannt,” with no surviving facsimile.
- [Biamonti 471 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti471/) - Piano sketch from the Grasnick 3 notebook, sheet 38v lines 1–2; a rapid arpeggio with hand‑crossing, possibly conceived as an opening idea for the Piano Concerto Op. 73.
- [Biamonti 470 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti470/) - Piano sketch from the Grasnick 3 notebook, sheet 38v lines 1–2; a rapid arpeggio figure with hand‑crossing, possibly intended for the opening of the Piano Concerto Op. 73.
- [Biamonti 469 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti469/) - Piano sketch from the Grasnick 3 notebook, sheet 37v lines 9–10; classified by Dagmar Weise as “unbekannt,” an unattributed fragment lacking a surviving facsimile.
- [Biamonti 468 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti468/) - Piano sketch from the Grasnick 3 notebook, sheet 37r lines 8–9; a brief 3/4 fragment noted by Dagmar Weise and linked to Beethoven’s late‑1808 work on the Choral Fantasy.
- [Biamonti 467 – Piano Sketch in C Major (Grasnick 3)](https://www.lvbeethoven.org/biamonti467/) - Piano sketch in C major from the Grasnick 3 notebook, sheet 30r lines 1–2; Dagmar Weise notes thematic affinities with Beethoven’s Choral Fantasy Op. 80 in this late‑1808 fragment.
- [Biamonti 466 – Piano Sketch in C Major (Grasnick 3)](https://www.lvbeethoven.org/biamonti466/) - Piano sketch in C major from the Grasnick 3 notebook, sheet 29r lines 1–2; Dagmar Weise notes thematic links to the Choral Fantasy Op. 80 in this late‑1808 fragment.
- [Biamonti 464 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti464/) - Piano sketch from the Grasnick 3 notebook, sheet 18r lines 1–2; a brief fragment without clear key, which Dagmar Weise associates with the Choral Fantasy Op. 80.
- [Biamonti 463 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti463/) - Piano sketch from the Grasnick 3 notebook, sheet 17r lines 1–2; a brief, enigmatic fragment that Dagmar Weise links to Beethoven’s work on the Choral Fantasy Op. 80.
- [Biamonti 462 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti462/) - Piano sketch from the Grasnick 3 notebook, sheet 16r lines 1–2; a concise fragment without key signature, which Dagmar Weise links to the Choral Fantasy Op. 80.
- [Biamonti 460 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti460/) - Piano sketch from the Grasnick 3 notebook, sheet 11r lines 1–2; a 6/8 fragment possibly in C major, tentatively linked by Dagmar Weise to the Choral Fantasy Op. 80.
- [Biamonti 461 – Piano Sketch (Grasnick 3)](https://www.lvbeethoven.org/biamonti461/) - Piano sketch from the Grasnick 3 notebook, sheet 15r lines 1–2; a brief, enigmatic fragment that Dagmar Weise links to Beethoven’s work on the Choral Fantasy Op. 80.
- [Biamonti 459 – Piano Sketch in D Minor (Grasnick 3 Sketchbook)](https://www.lvbeethoven.org/biamonti459/) - Piano sketch in D minor from the Grasnick 3 sketchbook, sheet 2r lines 1–2; marked “tutt”, suggesting an orchestral context, from Beethoven’s late‑1808 notes.
- [Biamonti 458 – “Erste Fantasie” in B Minor (Grasnick 3 Sketchbook)](https://www.lvbeethoven.org/biamonti458/) - Sketch titled “Erste Fantasie” in B minor from the Grasnick 3 sketchbook; a brief, rhythmically ambiguous fragment from late 1808, possibly related to Biamonti 468.
- [Biamonti 457 – Funeral March for Requiem (Sketch, Grasnick 3)](https://www.lvbeethoven.org/biamonti457/) - Sketch for a funeral march from the Grasnick 3 sketchbook, late 1808; Beethoven notes that the march could be used in a Requiem, hinting at an unrealized sacred project.
- [Biamonti 456 – Sketches for the Choral Fantasy, Op. 80 (Grasnick 3)](https://www.lvbeethoven.org/biamonti456-2/) - Four sketches for the Choral Fantasy Op. 80 from the Grasnick 3 sketchbook, with annotations showing Beethoven’s evolving ideas for the introduction and early structural plans.
- [Biamonti 450 – Fragment from Early 1808 (Pastoral Sketchbook)](https://www.lvbeethoven.org/biamonti450/) - Fragment from early 1808 in the Pastoral Sketchbook, folio 38r; linked to sketches for the Pastoral Symphony and the Piano Trios Op. 70, showing Beethoven’s layered revisions.
- [Biamonti 452 – Fragment, Possibly for Piano (Pastoral Sketchbook)](https://www.lvbeethoven.org/biamonti452/) - Fragment from the Pastoral Sketchbook, folio 50r lines 1–2; noted by Weise for its stains and a possible diminuendo mark, with no commentary by Biamonti.
- [Biamonti 451 – Fragment in D Minor (Pastoral Sketchbook)](https://www.lvbeethoven.org/biamonti451/) - Four‑bar D‑minor fragment from the Pastoral Sketchbook, folio 49r; described by Weise and earlier scholars, showing an arpeggiated idea with both hands in unison despite notational imperfections.
- [Biamonti 449 – Concerto Fragment in F Minor for Piano and Orchestra (Pastoral Sketchbook)](https://www.lvbeethoven.org/biamonti449/) - Fragment for a piano concerto in F minor from the Pastoral Sketchbook, folio 39r; linked to Op. 70 No. 2 sketches and an unknown D‑minor theme, newly identified in 2024.
- [Biamonti 448 – Sketch, Probably for Piano (Pastoral Symphony Sketchbook)](https://www.lvbeethoven.org/biamonti448/) - Piano sketch from the Pastoral Symphony sketchbook, folio 28v lines 1–2; an uncommented fragment noted by Weise, with harmonies suggesting a possible D‑minor context.
- [Biamonti 447 – Piano Passage (Pastoral Symphony Sketchbook)](https://www.lvbeethoven.org/biamonti447/) - Virtuosic piano passage from the Pastoral Symphony sketchbook, folio 17r lines 1–2; three scale figures in E major for left hand, right hand, and both in octaves.
- [Biamonti 445 – Notes for an Improvisation (Sketch Sheets from the Heyer Museum)](https://www.lvbeethoven.org/biamonti445/) - Sketch sheets for a planned public improvisation, linked to Op. 77 and dated 1807–1808; Kinsky’s transcription shows themes, fugue drafts, soliloquies, and notes on performance practice.
- [Biamonti 443 – Sketches for the Symphony No. 5 in C Minor, Op. 67](https://www.lvbeethoven.org/biamonti443/) - Sketches for Beethoven’s Symphony No. 5 in C minor, Op. 67, spanning 1804–1807; Nottebohm documents motivic experiments, structural alternatives, and bold harmonic ideas later discarded.
- [Biamonti 435 – Unused Sketches for the First and Third Movements of the Quartet Op. 59 No. 3](https://www.lvbeethoven.org/biamonti435/) - Unused sketches for the first and third movements of Beethoven’s Quartet Op. 59 No. 3, included in two sketch leaves documented by Nottebohm.
- [Biamonti 434 – Minuet (Unused Sketch), Possibly Intended for the Quartet Op. 59 No. 2](https://www.lvbeethoven.org/biamonti434/) - Unused Minuet sketch, likely intended for Beethoven’s Quartet Op. 59 No. 2; preserved among sheets bound with the Fidelio sketches and reproduced by Nottebohm.
- [Biamonti 433 – “Wunsch”: “Noch einmal” (Unfinished Sketches for Matthisson’s Song)](https://www.lvbeethoven.org/biamonti433/) - Unfinished sketches for Matthisson’s “Wunsch” (“Noch einmal”), attempted twice by Beethoven around 1804 and 1806; noted by Nottebohm and linked to Fidelio and Op. 59 No. 2 sketch materials.
- [Biamonti 426 – Quartet Fragment (Study on Haydn’s Symphony No. 99, Finale)](https://www.lvbeethoven.org/biamonti426/) - Twenty‑two autograph bars for string quartet from Paris ms. 44, a study‑transcription of Haydn’s Symphony No. 99 finale (mm. 140–160); described by Unger and linked to Beethoven’s contrapuntal practice.
- [Biamonti 425 – Trio in D Major for Piano, Violin, and Cello (from the Second Symphony, Op. 36)](https://www.lvbeethoven.org/biamonti425/) - Trio in D major for piano, violin, and cello derived from Beethoven’s Second Symphony Op. 36; published in 1806 and long debated as either Beethoven’s own arrangement or Ries’s work revised by him.
- [Biamonti 423 – Sketches for Fidelio, Op. 72 (Eroica and Fidelio Notebooks)](https://www.lvbeethoven.org/biamonti423/) - Sketches for Beethoven’s opera Fidelio from the Eroica and Fidelio notebooks; early drafts for the first five numbers and later sketches for Act I’s close and the whole of Act II, described by Nottebohm.
- [Biamonti 417 – Sonata in F Minor Op. 57 “Appassionata”: Three Unused Sketches](https://www.lvbeethoven.org/biamonti417/) - Three unused sketches for Beethoven’s Sonata Op. 57 from the Fidelio Sketchbook; Nottebohm’s two examples are actually three drafts, including a fugato study and the rejected “Ultimo pezzo” for the Finale.
- [Biamonti 407 – Unused Vocal and Instrumental Sketches (Wittgenstein Collection)](https://www.lvbeethoven.org/biamonti407-2/) - Unused vocal and instrumental sketches from the Wittgenstein family collection, noted by Unger: duet, trio, instrumental and piano pieces, plus Fidelio and Magic Flute fragments.
- [Biamonti 405 – Sketch of a Piano Piece in G Major (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti405/) - Sketch of a piano piece in G major from the Eroica Sketchbook, page 177 lines 13–14; noted by Nottebohm, with differing readings by Wade and by Lockwood–Gosman.
- [Biamonti 404 – Sketch for a “Zapfenstreich” (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti404/) - Sketch for a “Zapfenstreich” from the Eroica Sketchbook, page 177 lines 17–18; noted by Nottebohm, linked to military retreat music with simple structure and percussive sonorities.
- [Biamonti 403 – Symphony in D Minor (Sketch) from the Eroica Sketchbook](https://www.lvbeethoven.org/biamonti403/) - Two‑bar sketch for a Symphony in D minor from the Eroica Sketchbook, page 177 lines 8–9; arpeggios over repeated D in the bass, cited by Nottebohm without musical reproduction.
- [Biamonti 402 – Beginning of an “Agnus Dei” (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti402/) - Sketch for the beginning of an “Agnus Dei” from the Eroica Sketchbook, page 166 lines 9–15; noted by Nottebohm, with a slow introduction and an Allegro suggesting a possible fugato.
- [Biamonti 400 – Theme for a Fugue in a Kyrie (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti400/) - Theme for a fugue in a Kyrie from the Eroica Sketchbook, page 159 lines 13–14; noted by Nottebohm, with ambiguous clef and no key signature, prompting alternative soprano‑clef readings.
- [Biamonti 399 – “Lustige Symphonies” (Cheerful Symphony), circa 1803.](https://www.lvbeethoven.org/biamonti399/) - Sketch titled “Lustige Symphonies” from the Eroica Sketchbook, page 159 lines 11–12; cited by Nottebohm and Wade, who notes an incorrect 4/4 reading instead of 2/2.
- [Biamonti 397 – Fugato for Strings and Winds with the Note “Could End with a March” (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti397/) - Fugato sketch from the Eroica Sketchbook, page 158 lines 8–11, noted by Nottebohm with Beethoven’s remark “could end with a march”; tonal reading varies between C minor/E-flat and C major.
- [Biamonti 395 – Fantasia “Un poco adagio” (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti395/) - Sketch of a Fantasia “un poco adagio” in D minor from the Eroica Sketchbook, page 155 lines 8–9; cited by Nottebohm, with Beethoven’s note “Si continua sempre molto semplice”.
- [Biamonti 394 – Three Contredanses (Sketches) in D Major (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti394/) - Three contredanse sketches in D major from the Eroica Sketchbook, page 145 lines 5–10; simple 2/4 dances with upbeat, numbered drafts noted by Nottebohm.
- [Biamonti 393 – “Im Frühlingsschatten fand ich Sie” Lied sketch](https://www.lvbeethoven.org/biamonti393/) - Sketch for Klopstock’s Lied Das Rosenband from the Eroica Sketchbook, page 145 lines 1–2; five-bar draft with intro, likely in D major and 3/4, noted by Nottebohm.
- [Biamonti 392 – Original Rondo Theme for the Piano Sonata Op. 53 (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti392/) - Original Rondo theme for Beethoven’s Piano Sonata Op. 53 from the Eroica Sketchbook, page 125 lines 1–6; noted by Nottebohm, showing shifts between 3/4 and 3/8 and implied D‑flat major accidentals.
- [Biamonti 391 – Beginning of a Quartet “for Four Voices” (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti391/) - Beginning of a quartet “for four voices” from the Eroica Sketchbook, page 120 lines 2–5; cited by Nottebohm, linked by Wade to Vestas Feuer, with marginal notes “Sklave Junius” and “Wir liebe uns zu.”
- [Biamonti 389 – Beginning of a Piece for Violas, Cellos, Horn or Double Bass (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti389/) - Opening of a piece for violas, cellos, horn or double bass from the Eroica Sketchbook, page 118 line 8; cited by Nottebohm and linked by Wade to early ideas for the Pastoral Symphony.
- [Biamonti 386 – Opening of a Sonata for Piano “with Cello” (Eroica Sketchbook)](https://www.lvbeethoven.org/biamonti386/) - Two‑bar opening of a projected sonata for piano “with cello” from the Eroica Sketchbook, page 117; cited by Nottebohm and discussed by Wade for its context and attribution.
- [Biamonti 383 – Piano Exercises and Scale Studies](https://www.lvbeethoven.org/biamonti383/) - A group of piano exercises from the Eroica Sketchbook: page 93 (first exercise), page 107 (scale studies in tenths), and page 165 (B‑flat7 arpeggio), noted by Nottebohm.
- [Biamonti 382 – Beginning of a String Quartet (Eroica Sketchbook, Page 59)](https://www.lvbeethoven.org/biamonti382/) - Opening of an unfinished string quartet from the Eroica Sketchbook, page 59; noted by Nottebohm and discussed by Lockwood and Gosman for its unusual pencilled symbols and compositional method.
- [Biamonti 381 – March Sketches in C, B-flat and D Major](https://www.lvbeethoven.org/biamonti381/) - A set of march sketches from the Eroica Sketchbook: three in C major, one in B‑flat, and one in D major, linked to Beethoven’s work on the Funeral March of the Eroica Symphony.
- [Biamonti 365 – Sixteen‑Bar Fragment in A Minor and C Major (Wielhorsky)](https://www.lvbeethoven.org/biamonti365/) - Sixteen‑bar sketch from the Wielhorsky Sketchbook, page 172 lines 1–4: two 8‑bar sections with repeats, A minor then C major. Linked by Fishman to the Appassionata rather than the Kreutzer.
- [Biamonti 364 – Three Accompaniment Figures (Wielhorsky)](https://www.lvbeethoven.org/biamonti364/) - Three accompaniment figures from the Wielhorsky Sketchbook, page 162, among sketches for the oratorio Op. 85; ambiguous clef suggests E‑minor/E‑major or G‑major harmony.
- [Biamonti 362 – Rhythmic Figure Linked to the Jesus–Seraph Duet (Wielhorsky)](https://www.lvbeethoven.org/biamonti362/) - Rhythmic figure from the Wielhorsky Sketchbook, page 137 lines 15–16; possibly tied to the unused Jesus–Seraph duet from Christ on the Mount of Olives, noted by Fishman.
- [Biamonti 360 – Short Finale in G Major (Wielhorsky, Page 119)](https://www.lvbeethoven.org/biamonti360/) - Short finale in G major from the Wielhorsky Sketchbook, page 119 line 1; a study built on diminished‑seventh cadences with resolution, preserved at the Glinka Museum in Moscow.
- [Biamonti 358 – Fugato and Virtuosic Fragment (Wielhorsky)](https://www.lvbeethoven.org/biamonti358/) - Fugato in C major from the Wielhorsky Sketchbook, page 109: 17 bars in 2/4 with upbeat, followed by a 12‑bar virtuosic passage in sixteenth‑note double thirds, possibly an ending.
- [Biamonti 357 – Three Piano Fragments (Wielhorsky)](https://www.lvbeethoven.org/biamonti357/) - Three fragmentary piano sketches from the Wielhorsky Sketchbook, page 105 lines 1–7: cadenzas or virtuosic studies in arpeggios, including E‑arpeggios and crossed‑hand writing.
- [Biamonti 347 – Piano Exercises “Omnibus Tonos” (Wielhorsky Sketchbook)](https://www.lvbeethoven.org/biamonti347/) - Exercises on C‑arpeggios from the Wielhorsky Sketchbook, page 86: major, minor, minor‑subdominant and diminished forms, plus contrary‑motion studies and two chordal progressions.
- [Biamonti 349 – Three Piano Fragments (Wielhorsky)](https://www.lvbeethoven.org/biamonti349/) - Three study fragments from the Wielhorsky Sketchbook, page 87: A‑minor triplet passage, a C‑minor/F‑major hand‑crossing study, and a C‑minor melody with repeated‑note accompaniment.
- [Biamonti 348 – Three Piano Fragments (Wielhorsky)](https://www.lvbeethoven.org/biamonti348/) - Three piano fragments from the Wielhorsky Sketchbook, page 86 lines 8–10: an octave‑spaced arpeggio, a melodic passage in thirds, and a final exercise in thirds.
- [Biamonti 346 – “Fuga Antique” in C Major (Wielhorsky Sketchbook, Page 54)](https://www.lvbeethoven.org/biamonti346/) - Fifteen‑bar four‑voice fugue from the Wielhorsky Sketchbook, followed by an eight‑bar Schluss; Beethoven labels it “Fuga Antique” in C major despite its A‑minor opening gesture.
- [Biamonti 345 – Fugue Theme in C Major (Wielhorsky Sketchbook, Page 47, Line 2)](https://www.lvbeethoven.org/biamonti345/) - Eight‑bar fugue theme in C major from the Wielhorsky Sketchbook, page 47 line 2; identified by Fishman through the frieze marking “Fuga” above the staff and linked to early contrapuntal studies.
- [Biamonti 344 – Two‑Voice Canon Passage (Wielhorsky Sketchbook, Page 46, Lines 4–5)](https://www.lvbeethoven.org/biamonti344/) - Three‑bar two‑voice canon at the octave from the Wielhorsky Sketchbook, C major, sixteenth‑note motion; possibly an abandoned introduction to the duet “Nei giorni tuoi felici” WoO 93.
- [Biamonti 343 – Bar for Piano (Wielhorsky Sketchbook, Page 46, Lines 2–3)](https://www.lvbeethoven.org/biamonti343/) - Short C‑minor piano bar from the Wielhorsky Sketchbook, page 46 lines 2–3; unrelated to the duet “Nei giorni tuoi felici” WoO 93 despite proximity, noted by Fishman.
- [Biamonti 333 – Sketches and Fragments Possibly Linked to the “Eroica” (Wielhorsky Sketchbook, Page 44)](https://www.lvbeethoven.org/biamonti333/) - Five sketches on page 44 of the Wielhorsky Sketchbook, long associated with early Eroica ideas; include Adagio, Minuetto serioso, 3/4 and 6/8 fragments, and disputed transcriptions.
- [Biamonti 332 – Pianistic Fragment (Cadential Passage?) from the Wielhorsky Sketchbook](https://www.lvbeethoven.org/biamonti332/) - Pianistic fragment from the Wielhorsky Sketchbook, page 44: rapid alternating‑hand arpeggio linked to nearby Op. 35 sketches and followed by materials later catalogued as Biamonti 333.
- [Biamonti 323 – Piece with the Character of a Final Cadence (Wielhorsky Sketchbook, Page 28)](https://www.lvbeethoven.org/biamonti323/) - Short cadence‑like fragment from the Wielhorsky Sketchbook, page 28, lines 3–4; identified by Fishman as part of a larger lost composition and noted by Biamonti for its conclusory style.
- [Biamonti 322 – Small Piano Piece in C Minor (Wielhorsky Sketchbook)](https://www.lvbeethoven.org/biamonti322/) - Short C‑minor piano piece from the Wielhorsky Sketchbook, thematically linked to the “Alla marcia” scene in Christus am Ölberge; cited by Fishman and Wielhorsky sources.
- [Biamonti 321 – Fragment Preceded by the Word “Oder” (Wielhorsky Sketchbook, Page 21)](https://www.lvbeethoven.org/biamonti321/) - Fragment marked “Oder” in the Wielhorsky Sketchbook, page 21: once thought an alternative for Op. 34 Variation IV, but its 6/8 meter and character contradict the Minuet in 3/4.
- [Biamonti 320 – Three Fragments for Piano (Wielhorsky Sketchbook)](https://www.lvbeethoven.org/biamonti320/) - Three piano fragments from the Wielhorsky Sketchbook: a virtuosic concerto‑style cadenza, a C‑major scale exercise, and a short cadential passage, all identified by Fishman.
- [Biamonti 319 – Finale – Presto for Piano (Kessler Sketchbook, Folio 83r)](https://www.lvbeethoven.org/biamonti319/) - Four‑bar “Finale Presto molto” from the Kessler Sketchbook, tied to Beethoven’s work on the Prometheus theme for the Op. 35 Variations; includes a related cadential fragment on folio 82v.
- [Biamonti 318 – Sonata Seconda (Sketch), Kessler Sketchbook, Folios 95r–95v](https://www.lvbeethoven.org/biamonti318/) - Two fragments titled “Sonata 2da” in the Kessler Sketchbook: 19‑ and 13‑bar sections tied to the first movement of Op. 31 No. 1, with echoes of Op. 31 No. 2 noted by Nottebohm.
- [Biamonti 317 – Sketch for Piano (Kessler Sketchbook, Folio 68r)](https://www.lvbeethoven.org/biamonti317/) - Piano sketch from the Kessler Sketchbook, linked to Op. 31 No. 2: 8+8 bars with repeats, alternating “senza sordini” and “con sordini,” pedal use and fingering noted by Nottebohm.
- [Biamonti 316 – Pieces in Dance Form (Kessler Sketchbook, Folios 44–45)](https://www.lvbeethoven.org/biamonti316/) - Extensive series of dance‑form sketches in 3/4 from the Kessler Sketchbook, linked to the genesis of the Six Ländler WoO 15; includes variants, corrections and Brandenburg readings.
- [Biamonti 313 – Sketch Possibly Related to the Finale of the Piano Sonata Op. 31 No. 3](https://www.lvbeethoven.org/biamonti313/) - Fifteen‑bar sketch in E‑flat major from the Wielhorsky Sketchbook, with a pencil note “op. 31 n. 1 finale”; small hurried script and modulatory second section suggest sonata‑finale ideas.
- [Biamonti 312 – Piece for Piano in the Manner of a Dance (Sketch)](https://www.lvbeethoven.org/biamonti312/) - Twelve‑bar dance‑like piano sketch from the Wielhorsky Sketchbook: right hand nearly complete, left hand stops at bar 8; includes imitation in bars 5–6 and low‑register writing.
- [Biamonti 292 – March with Variations (Kessler Sketchbook, Folio 15v)](https://www.lvbeethoven.org/biamonti292/) - March with Variations from the Kessler Sketchbook: 8‑bar march with repeat, triplet section and reprise. Nottebohm and Biamonti misread its extent; full span lies on folio 15v.
- [Biamonti 290 – Sketches for Two Minuets (Nine Dances), Kessler Sketchbook](https://www.lvbeethoven.org/biamonti290/) - Sketches for two Minuets in the Kessler Sketchbook, Autumn 1801; Nottebohm cites orchestral intent and Redoute context, while Brandenburg identifies nine related dances.
- [Biamonti 284 – Allegro in A-flat Major and A Major (Schm. XX)](https://www.lvbeethoven.org/biamonti284/) - Allegro from Schm. XX in BH 114: early Vienna sketch (1793–94) later revised in 1822; tonal reading in D♭ major with modulation to A♭, linked to Beethoven’s planned Peters Bagatelles.
- [Biamonti 281 – Sketch in E Major (Schm. XVII)](https://www.lvbeethoven.org/biamonti281/) - E‑major sketch from Schm. XVII in BH 114, viewed by Schmitz as an early thematic idea for a possible string‑quartet Andante; preserved on page 3, staves 15–16.
- [Biamonti 280 – Passage in B Major (Schm. XVI)](https://www.lvbeethoven.org/biamonti280/) - Passage in B major from Schm. XVI (BH 114), viewed by Schmitz as an experiment in sound effects; unclear key signature and anomalous accidentals noted in manuscript.
- [Biamonti 279 – Allegro (Schm. XV)](https://www.lvbeethoven.org/biamonti279/) - Allegro from Schm. XV in BH 114: an opening “curtain‑raiser” with Beethoven’s characteristic rhythmic shift that momentarily unsettles the meter, noted by Schmitz in 1924.
- [Biamonti 278 – Succession of Chords (Schm. XIV)](https://www.lvbeethoven.org/biamonti278/) - Chordal study from Schm. XIV in BH 144, between the Presto in G major and an Allegro in C; analysed by Schmitz as a purely chordal effect, with two possible readings.
- [Biamonti 277 – Presto in G Major, 19 Measures (Schm. XIII)](https://www.lvbeethoven.org/biamonti277/) - Presto in G major from Schm. XIII (BH 114), a crossed‑hands scale study with variants and corrections; analysed by Schmitz and linked to Op. 51 No. 2 and Op. 18 No. 6.
- [Biamonti 276 – Studies for Two Melodies in C Major and G Major (Schm. XII)](https://www.lvbeethoven.org/biamonti276/) - Studies for two melodies in C and G major from Schm. XII (BH 114): variants, corrections and Lied‑like ideas showing Beethoven’s melodic refinement and motivic reworking.
- [Biamonti 274 – Andante in F Major (Schm. X), Possibly for String Quartet](https://www.lvbeethoven.org/biamonti274/) - Andante in F major from Schm. X in BH 114, marked “4 Stimmig”; Schmitz viewed this and Fragment XVII as early thematic ideas for a possible string‑quartet Andante.
- [Biamonti 273 – Fragment in F Major for Piano (Schm. IX, BH 114)](https://www.lvbeethoven.org/biamonti273/) - F‑major piano fragment from Schm. IX, on the second page of BH 114; part of the sketches 266–285 published by Schmitz, who left no commentary on this specific piece.
- [Biamonti 272 – Andante in B-flat Major for Piano (Schm. VII, BH 114)](https://www.lvbeethoven.org/biamonti272/) - Andante in B-flat major from Schm. VII, on the first bifolio of BH 114; early Viennese sketch around 1800, noted by Schmitz as too rudimentary to determine its function.
- [Biamonti 271 – Fragment for Piano, Schm. VI (BH 114)](https://www.lvbeethoven.org/biamonti271/) - Piano fragment from Schm. VI in BH 114: experiment in sound effects with descending dominant sevenths resolving to tonic; analysed by Schmitz as part of the BH114 bifolio.
- [Biamonti 270 – Fragment (Possibly for Piano), Schm. V](https://www.lvbeethoven.org/biamonti270/) - Fragment from Schm. V in BH 114, studied by Schmitz as an experiment in sound effects; descending sevenths suggest G minor resolving to E major, dated around 1793–1800.
- [Biamonti 269 – Andante molto in E-flat Major (Possibly for Piano), Schm. IV, 6 Measures](https://www.lvbeethoven.org/biamonti269/) - Six‑bar Andante molto in E-flat major from Schm. IV, preserved in BH 114; studied by Schmitz, who notes its melodic transitions. Includes details on slurs, trill, and notation.
- [Biamonti 268 – Fragment in A-flat Major (Perhaps for Piano), Schm. III, Bars 3](https://www.lvbeethoven.org/biamonti268/) - A-flat major fragment from Schm. III, bars 3, with Beethoven’s note “here the effect of horns must be produced”; preserved in BH 114 and discussed by Schmitz as a sound experiment.
- [Biamonti 265 – Unused Piano Sketches from Gallica ms. 84 (Paris Conservatoire)](https://www.lvbeethoven.org/biamonti265/) - Unused piano sketches from Gallica ms. 84: A‑major study, an F‑major idea recalling a folk tune, and a pencil draft whose arpeggio anticipates “Für Elise” WoO 59.
- [Biamonti 264 – Sketch of an Unknown Piano Piece in A Major (Gallica ms. 84)](https://www.lvbeethoven.org/biamonti264/) - Sketch of an unknown piano piece in A major from Gallica ms. 84, formerly in the Malherbe Collection; ink for six bars then pencil, described by Unger as “middle period”.
- [Biamonti 261 – Lied “Ich sah sie heut, o Liebe!” (Completed Melodic Sketch)](https://www.lvbeethoven.org/biamonti261/) - Complete 8‑bar melodic sketch in G major from Miscellanea Kafka 39r; cited by Nottebohm and linked to early song drafts around 1800, with unknown poet and first stanza only.
- [Biamonti 260 – “Meine Ruh ist Hin”, Song Sketch after Goethe’s Faust](https://www.lvbeethoven.org/biamonti260/) - Melodic sketch for Margarete’s “Meine Ruh ist hin” from Goethe’s Faust, circa 1800; cited by Nottebohm in Zweite Beethoveniana, page 575, as an early song draft.
- [Biamonti 259 – Minnelied: Der Holdseligen sonder Wank sing ich frölichen Minnesang](https://www.lvbeethoven.org/biamonti259-2/) - Melody sketch for Voss’s Minnelied, ca. 1800: two versions, one crossed out; linked to manuscript A64 and Nottebohm’s and Mandyczewski’s transcriptions, titled “Leichte Lieder”.
- [Biamonti 258 – Minuet and Trio in A-flat Major (Landsberg 7, Page 183, Lines 5–8)](https://www.lvbeethoven.org/biamonti258/) - Trio in A-flat major from Landsberg 7, likely the first abandoned study for the Trio linked to the Minuet on the same page; related to early ideas for Bagatelle Op. 33 No. 7.
- [Biamonti 257 – Sketches for a Piano Trio: Coda in B-flat Major and Andante in B-flat Minor (Landsberg 7, Page 181)](https://www.lvbeethoven.org/biamonti257/) - Forty‑eight bars for a Piano Trio from Landsberg 7: Coda in B-flat major and an Andante in B-flat minor, sombre and nearly complete, closing with fermata and double bar.
- [Biamonti 255 – An Instrumental Scene (Landsberg 7, Page 134)](https://www.lvbeethoven.org/biamonti255/) - Large F‑minor sketch from Landsberg 7, defined by Beethoven as “an instrumental scene”; linked to Op. 26 Funeral March and early work on the Second Symphony.
- [Biamonti 254 – Two Thematic Sketches in B-flat and C Major (Landsberg 7)](https://www.lvbeethoven.org/biamonti254/) - Two thematic sketches from Landsberg 7: a 12-bar idea in B-flat major (2/2) and a 6-bar sketch in C major (6/8), both classed “unknown” by Mikulicz.
- [Biamonti 253a & 253b – Incise and Fragment in E-flat Major (Landsberg 7)](https://www.lvbeethoven.org/biamonti253a/) - Two E-flat major sketches from Landsberg 7: a 12-bar Allegro “Incise” in 6/8 and a 3-bar Fragment in 3/4, both linked to Hess 74 (now WoO 216 No. 2) and classed “unknown”.
- [Biamonti 252 – Minuet and Trio in D Major (Landsberg 7, Page 65, Lines 1–5)](https://www.lvbeethoven.org/biamonti252/) - Minuet and Trio in D major from Landsberg 7, linked to Op. 18 No. 1 and recalling Handel; Trio built on a repeated motif, possibly for a dance cycle with 228 and 249.
- [Biamonti 251 – Fragment in C Major (Landsberg 7, Page 63)](https://www.lvbeethoven.org/biamonti251/) - Sixteen‑bar fragment in C major from Landsberg 7, linked to Hess 73 (now WoO 216 No. 1); nearly complete except for the final bass bars, classified “unknown” by Mikulicz.
- [Biamonti 250 – Fugue Fragments from Landsberg 7 (Pages 60–62)](https://www.lvbeethoven.org/biamonti250/) - Fugue fragments from Landsberg 7, pages 60–62: theme akin to Biamonti 50; Beethoven develops a fugue while working on Opp. 24, 26, 36 and Prometheus Op. 43.
- [Biamonti 249 – Minuet and Trio in D Major (Landsberg 7, Page 48, Lines 1–5)](https://www.lvbeethoven.org/biamonti249/) - Minuet and Trio in D major from Landsberg 7, linked to early ideas for the Second Symphony; mostly on one staff, marked only “M”, and deemed “unknown” by Mikulicz.
- [Biamonti 248 – Sketches in B-flat Major (Landsberg 7, Pages 35 and 37)](https://www.lvbeethoven.org/biamonti248/) - Sketches in B-flat major from Landsberg 7: two drafts of 8 and 6 bars, a third tied to the Op. 24 Rondo, and further fragments on page 37; all labeled “unknown” by Mikulicz.
- [Biamonti 247 – Fragment in B-flat Major (Landsberg 7, Page 165, Lines 3–5)](https://www.lvbeethoven.org/biamonti247/) - Fragment in B-flat major from Landsberg 7, page 165, lines 3–5; described by Mikulicz as “unknown,” with no identifiable link to any other Beethoven work.
- [Biamonti 246 – Fragment in B-flat Major (Landsberg 7, Page 156, Lines 7–8)](https://www.lvbeethoven.org/biamonti246/) - Fragment in B-flat major from Landsberg 7, written in pencil; deemed “unknown” by Mikulicz, who suggests it may be an initial idea for No. 15 of Prometheus Op. 43.
- [Biamonti 245 – Fragment in E-flat Major (Landsberg 7)](https://www.lvbeethoven.org/biamonti245/) - Fragment in E-flat major from Landsberg 7, page 151: four bars possibly conceived as a discarded slow introduction to the Finale of The Creatures of Prometheus, Op. 43.
- [Biamonti 244 – Fragment in E-flat Major to B-flat Major (Landsberg 7, 1800)](https://www.lvbeethoven.org/biamonti244/) - Fragment from Landsberg 7, page 151: 6–18 bars moving from E-flat to B-flat major, possibly continuing the previous folio and linked by Mikulicz to Prometheus Op. 43.
- [Biamonti 243 – Fragment in B-flat Major and B-flat Minor (Landsberg 7)](https://www.lvbeethoven.org/biamonti243/) - Fragment from Landsberg 7 (1800): 8 bars in B-flat major followed by 6 in B-flat minor, written in thin script; classified by Mikulicz as “unknown”.
- [Biamonti 242 – Fragments, Possibly Piano Studies in C minor (Landsberg 7)](https://www.lvbeethoven.org/biamonti242/) - Two C‑minor fragments from Landsberg 7 (23 bars, 1800): one in 4/4, one in 2/4, perhaps studies or finale ideas for piano; not linked to any known Beethoven work.
- [Biamonti 241 – Fragment in C minor (Landsberg 7, pp. 129–130)](https://www.lvbeethoven.org/biamonti241/) - Fragment in C minor from Landsberg 7, pages 129–130 (22 bars), classified by Mikulicz as “unknown,” with possible additional material noted but not confirmed.
- [Biamonti 240 – Fragments in D minor and G minor/major (Landsberg 7)](https://www.lvbeethoven.org/biamonti240/) - Three fragments from Landsberg 7 (measures 7–20): “Prometheus weeps” in D minor, a “Sinfonia” in C major, and a longer G‑minor/major idea linked to Op. 43.
- [Biamonti 239 – Two Sketches (G major, C major) and a Draft in G major, Landsberg 7](https://www.lvbeethoven.org/biamonti239/) - Two sketches in G and C major and a 22‑bar draft from Landsberg 7, mostly “unknown” per Mikulicz; only the draft is tentatively linked to the Piano Sonata Op. 27 No. 1.
- [Biamonti 238 – Presto in F major (Landsberg 7, Page 97, Lines 1–4)](https://www.lvbeethoven.org/biamonti238-2/) - Presto in F major from Landsberg 7, page 97: four lines in pale ink with bold “presto”; fugato‑like opening in 3/8 shifting to 6/8, noted by Mikulicz.
- [Biamonti 237 – Three Fragments in B-flat Major; the Third Entitled “Les Graces”](https://www.lvbeethoven.org/biamonti237/) - Three fragments from Landsberg 7, two in B-flat and a third titled “Les Graces,” possibly linked to No. 6 of the ballet The Creatures of Prometheus (Op. 43).
- [Biamonti 236 – Sketch in G major (Landsberg 7, Page 85)](https://www.lvbeethoven.org/biamonti236/) - Sketch in G major from Landsberg 7, page 85, possibly linked to Number 5 of The Creatures of Prometheus; brief fragment with upbeat and instrumentation note.
- [Biamonti 234 – Rondo: Trio in D major (Landsberg 7, Page 170)](https://www.lvbeethoven.org/biamonti234/) - Trio in D major from Landsberg 7, written in ink with elegant handwriting; linked by Mikulicz to Op. 24 but possibly an independent idea Beethoven noted for later use.
- [Biamonti 233 – Three Fragments: D major, Minuet in A-flat, D-flat major](https://www.lvbeethoven.org/biamonti233/) - Three fragments from Landsberg 7: a canon-like idea, a complete Minuet in A-flat, and a D-flat arpeggiated sketch possibly linked to early material for Sonata Op. 24.
- [Biamonti 232 – Andante in D minor (Landsberg 7, Page 32, Staves 1–4)](https://www.lvbeethoven.org/biamonti232/) - Andante in D minor from Landsberg 7, page 32: four staves with octave melody, tied opening D, and continuous arpeggiated accompaniment noted by Mikulicz.
- [Biamonti 231 – Andantino con sordini in D major and C major (Landsberg 7)](https://www.lvbeethoven.org/biamonti231/) - Two fragments from Landsberg 7: an Andantino con sordini in D major and a C‑major 3/4 passage with repeated 8‑bar groups and ostinato bass; classified as “unknown”.
- [Biamonti 230 – Two Fragments in F Major and D Major (Landsberg 7)](https://www.lvbeethoven.org/biamonti230/) - Two fragments in F and D major from Landsberg 7 (1800): an oscillating F‑major idea linked to Sonata Op. 24, and a D‑major fragment with chromatic contrary motion.
- [Biamonti 228 – Minuet with Trio in B-flat Major](https://www.lvbeethoven.org/biamonti228/) - Minuet with Trio in B-flat major from Landsberg 7 (1800), likely for orchestra, with “Tutti” and “contrabbassi”; linked to Dragonetti and early dance-cycle ideas.
- [Biamonti 227 – Thematic Idea in F Major (Landsberg 7)](https://www.lvbeethoven.org/biamonti227/) - Thematic idea in F major from Landsberg 7, identified by Mikulicz and tentatively linked to the first movement of the Violin Sonata Op. 24, though unused in the final work.
- [Biamonti 226 – Presto (Sketch for a Sonata)](https://www.lvbeethoven.org/biamonti226/) - Sketch for a Presto sonata movement from Landsberg 7, linked to early material for the Sonata Op. 23, showing two repeated sections and Beethoven’s rapid, fragmentary notation.
- [Biamonti 225 – Unused Sketches for the Middle Movement of Quartet Op. 18 No. 2](https://www.lvbeethoven.org/biamonti225/) - Unused sketches for the original slow movement of Quartet Op. 18 No. 2, reconstructed by Barry Cooper from surviving 74 bars, revealing Beethoven’s first 1799 conception.
- [Biamonti 224 – Unused Sketches Possibly Related to Quartets in E-flat and B-flat Major](https://www.lvbeethoven.org/biamonti224/) - Unused sketches once linked to quartets in E-flat and B-flat major, now reinterpreted as early material for the Quartet Op. 127, preserved in the Gallica MS 64 sheet.
- [Biamonti 223 – Allegro in B-flat Major (Sketch)](https://www.lvbeethoven.org/biamonti223/) - Sketch for an Allegro in B-flat major, linked by Nottebohm to the original finale of Quartet Op. 18 No. 6, preserved in Autograph 19e and studied by Richard Kramer.
- [Biamonti 222 – Presto, Rondo (Sketch of 16/8 Bars)](https://www.lvbeethoven.org/biamonti222/) - Sketch of a Presto Rondo in 16/8 bars from Landsberg 7, linked to page 65 of the notebook and discussed by Mikulicz, showing Beethoven’s early thematic design.
- [Biamonti 221 – Four Sketches in D minor for String Quartet](https://www.lvbeethoven.org/biamonti221/) - Four sketches in D minor for string quartet from the Landsberg 7 notebook, linked to the final part of the second movement of Quartet Op. 18 No. 1, reproduced by Mikulicz.
- [Biamonti 212 – Fragment of a Sonata Movement (Kafka Miscellany)](https://www.lvbeethoven.org/biamonti212/) - Fragment of a sonata movement from the Kafka Miscellany, cited by Shedlock and linked to the Bonn period, showing early thematic ideas related to Biamonti 211.
- [Biamonti 211 – Fragment Related to the “Moonlight” Sonata (Kafka Miscellany)](https://www.lvbeethoven.org/biamonti211/) - Fragment from the Kafka Miscellany, cited by Shedlock and linked to the Bonn period, whose final bars recall the first movement of the Piano Sonata Op. 27 No. 2.
- [Biamonti 210 – Beginning of an Unused Sonata Movement (Sketch)](https://www.lvbeethoven.org/biamonti210/) - Beginning of an unused sonata movement from the Kafka Miscellany, cited by Shedlock and linked by Nottebohm to the Bonn period. Fragment preserved on folio 47r.
- [Biamonti 207 – March and Rondo (Unused Sketches for the Piano Sonata Op. 22)](https://www.lvbeethoven.org/biamonti207/) - Unused sketches for a March and a Rondo linked to the Piano Sonata Op. 22, from a Paris Conservatory sheet, showing early thematic ideas later abandoned.
- [Biamonti 196 – First Sketch for the Minuet of the Septet Op. 20 (Unused)](https://www.lvbeethoven.org/biamonti196/) - First unused sketch for the minuet of the Septet Op. 20, from Grasnick Notebook II, showing an early theme related to the second movement of Sonata Op. 49 No. 2.
- [Biamonti 195 – “Les derniers soupirs” (Sketch for the Adagio of Quartet Op. 18 No. 1)](https://www.lvbeethoven.org/biamonti195/) - Sketch for the ending of the Adagio of Quartet Op. 18 No. 1, from the Grasnick 2 notebook, showing Beethoven’s fragmented “Larmoyante” descent and final expressive gesture.
- [Biamonti 194 – “Komm mit, o Schöne” (Sketch for Goethe’s Wechsellied zum Tanze)](https://www.lvbeethoven.org/biamonti194/) - Sketch of Goethe’s “Wechsellied zum Tanze”, from the Grasnick 2 notebook, showing Beethoven’s nearly complete melodic draft for this playful invitation to dance.
- [Biamonti 193 – Sketches for the Quartet Op. 18 No. 3](https://www.lvbeethoven.org/biamonti193/) - Three sketches for the Quartet Op. 18 No. 3 from the Grasnick notebooks, cited by Nottebohm and showing Beethoven’s early ideas for the work’s structure and themes.
- [Biamonti 192 – Sketches of Songs with French and English Text](https://www.lvbeethoven.org/biamonti192/) - Sketches of songs with English and French texts in the Grasnick 1 notebook, including “Plaisir d’aimer” and several unidentified drafts from 1798–1799.
- [Biamonti 191 – Intermezzo for the Sonata in C minor Op. 10 No. 1 (Sketch)](https://www.lvbeethoven.org/biamonti191/) - Sketch for an Intermezzo intended for the Sonata in C minor Op. 10 No. 1, found in the first Grasnick notebook and noted by Nottebohm as an early abandoned idea.
- [Biamonti 190 – “Meine Lebenszeit verstreicht” (Song Sketch)](https://www.lvbeethoven.org/biamonti190/) - Early sketch of Gellert’s “Vom Tode”, unrelated to the final Op. 48 setting, preserved in the first Grasnick notebook and showing Beethoven’s initial harmonic plan.
- [Biamonti 188 – Sketch for the Beginning of the Quartet Op. 18 No. 2](https://www.lvbeethoven.org/biamonti188/) - Sketch for the opening of the Quartet Op. 18 No. 2, preserved in the first Grasnick notebook and quoted more fully by Mersmann, showing Beethoven’s early thematic idea.
- [Biamonti 187 – Sketch for the Finale of the Quartet Op. 18 No. 3](https://www.lvbeethoven.org/biamonti187/) - Sketch for an early version of the finale theme of the Quartet Op. 18 No. 3, from the Grasnick Notebook No. 1, showing Beethoven’s first conception of the movement.
- [Biamonti 172 – Beginning of a Pastorale for Piano (Sketch)](https://www.lvbeethoven.org/biamonti172/) - Sketch for the beginning of a pastorale for piano, linked to manuscripts at the Bibliothèque Nationale de France and associated with early materials for Op. 12 No. 2.
- [Biamonti 155 – Piece in Sonata Form in C Minor (Sketch)](https://www.lvbeethoven.org/biamonti155/) - Riedizione della pagina. Sketch in sonata form in C minor of uncertain instrumentation, linked by Nottebohm to early drafts and related to material later used in the Septet Op. 20.
- [Biamonti 170 – Sketches of the Opening Bars of the Andante from Sonatina Op. 49 No. 1](https://www.lvbeethoven.org/biamonti170/) - Riedizione della pagina. Sketches of the opening bars of the Andante from Sonatina Op. 49 No. 1, written in fair copy and later abandoned. From the British Museum, Kafka Miscellany.
- [Biamonti 140 – Song Without Words (Sketch)](https://www.lvbeethoven.org/biamonti140/) - Sketch for an unidentified Song Without Words from 1797, preserved in the British Museum’s Kafka Miscellany. Nottebohm cites the note “Since the song is sung only once each year…”, suggesting an occasional or possibly masonic context.
- [Biamonti 104 – Unused Sketches for the Piano Sonata in E major Op. 14 No. 1](https://www.lvbeethoven.org/biamonti104/) - Three unused sketches for Beethoven’s Piano Sonata in E major Op. 14 No. 1, preserved in the British Museum’s Kafka notebook and described by Nottebohm. Early ideas for the development, Scherzo trio, and Rondo finale.
- [Biamonti 099 – Two Allegrettos for Piano (Original Sketches)](https://www.lvbeethoven.org/biamonti099/) - Two Allegretto sketches in A major from the Wegeler 3 bifolio, linked to the 1909 Liepmannssohn catalogue. Distinct rhythmic settings showing Beethoven’s early pianistic ideas.
- [Biamonti 100 – Finale of a Prelude in D minor for String Quartet](https://www.lvbeethoven.org/biamonti100/) - Fifteen‑bar finale of a prelude in D minor for string quartet from the Bodmer Collection, linked to Beethoven’s studies with Albrechtsberger. Misnumbered in earlier catalogues and clarified through Hess and Green.
- [Biamonti 096 – Adagio and Allegro for Piano (Unused Sketches)](https://www.lvbeethoven.org/biamonti096/) - Sketches for an Adagio and Allegro for piano, cited in the 1909 Liepmannssohn catalogue and linked to the Wegeler Collection. Early unused ideas including a Rondo and sonata material.
- [Biamonti 077 – Der Freie Mann: Wer ist ein freier Mann? (Lied Sketch)](https://www.lvbeethoven.org/biamonti077/) - Sketches for the Lied “Wer ist ein freier Mann?”, linked to Bonn‑period sources and early Viennese autographs. Vocal and choral writing showing evolving thematic and masonic influences.
- [Biamonti 098 – Piano Notes for an Unfinished Sonata in E‑flat major](https://www.lvbeethoven.org/biamonti098/) - Sketches for an unfinished piano sonata in E‑flat major from the Wegeler bifolio, linked to “Die Liebe” and other fragments. Detailed incipit with missing repetitions and chromatic scale.
- [Biamonti 097 – Notes for a Rondo for Piano Concerto (Unused)](https://www.lvbeethoven.org/biamonti097/) - Sketch for a Rondo in E‑flat for an unrealized piano concerto, from the Wegeler Collection. Triplet‑based virtuoso idea, with oboe cue, tutti marking, and early tonal ambiguity.
- [Biamonti 095 – Unused Piano Sketches](https://www.lvbeethoven.org/biamonti095/) - Unused piano sketches from a Paris Conservatory sheet, linked to Viennese paper types and related to Kafka and Fischhof materials. Early fragments in B‑flat major and other ideas.
- [Biamonti 071 – Contrappunto all’ottava (Counterpoint in Octaves)](https://www.lvbeethoven.org/biamonti071/) - Contrapuntal sketch in octaves from the Paris Conservatory manuscript, linked to Beethoven’s studies with Albrechtsberger. A brief canon exercise showing early imitative technique.
- [Biamonti 070 – Instrumental Piece in C major (Two Melodic Fragments)](https://www.lvbeethoven.org/biamonti070/) - Two four‑bar melodic fragments in C major from Manuscript 61, preserved with sketches for WoO 209 and Contrappunto all’ottava. Early material linked to the Paris Conservatory collection.
- [Biamonti 069 – Drei kleine Nachahmungssätze (Three Canonic Imitation Pieces)](https://www.lvbeethoven.org/biamonti069/) - Three short canonic imitation pieces from the Kafka Skizzenbuch, likely from Beethoven’s studies with Albrechtsberger. Light contrapuntal sketches preserved on sheets 140v and 148r.
- [Biamonti 068 – Three Fugues (Sketches)](https://www.lvbeethoven.org/biamonti068/) - Three fugue sketches from the Kafka Miscellany, linked to Beethoven’s studies with Albrechtsberger. Triple‑time subjects showing early contrapuntal experimentation.
- [Biamonti 055 – Adagio in D major for a planned Piano Concerto in A major](https://www.lvbeethoven.org/biamonti055/) - Sketches and notes for an Adagio intended for a piano concerto in A major, with 50 bars preserved through Shedlock and later reconstructions. Early orchestral–piano conception.
- [Biamonti 053 – Bagatelle in C major (Completed Sketch)](https://www.lvbeethoven.org/biamonti053/) - Completed sketch of a Bagatelle in C major, preserved with WoO 211 and “Traute Henriette”. Two-part structure with reprise, from a Beethovenhaus double-sheet of sketches.
- [Biamonti 050 – “Die Schwester der Schicksal – Nacht und Träume” (Lied Sketch)](https://www.lvbeethoven.org/biamonti050/) - Unfinished Lied sketch on Herder’s “Nacht und Träume”, found among sketches for the Waldstein Variations. A rare fragment revealing Beethoven’s early song conception.
- [Biamonti 048 – Anglaise for Piano (Melodically Completed Sketch)](https://www.lvbeethoven.org/biamonti048/) - Melodically completed Anglaise sketch in G major from the Kafka Skizzenbuch, linked to Hess’s notes. Two-part 8‑bar sections with refrain, preserved on folio 153r.
- [Biamonti 016 – Copy of a Cello Part from an Unknown Work (by Beethoven?)](https://www.lvbeethoven.org/biamonti016/) - Fair‑copy cello part likely written by Beethoven, linked to the Cantata WoO 87. Clear notation, G‑major setting, with accompaniment, counterpoint, and a high-register trilled ending.
- [Biamonti 015 – “Der Arme Componist” Unfinished sketch of humorous singing.](https://www.lvbeethoven.org/biamonti015/) - Unfinished humorous Lied sketch in A minor, with vocal line doubled by piano and linked to the Wittgenstein collection. A brief 10‑bar fragment showing Beethoven’s early song style.
- [WoO 228b - (Hess 285) "Tobias", musical joke](https://www.lvbeethoven.org/woo228b/) - Musical joke in E‑flat major, 11‑bar sketch from the Bodmer Collection. Probably 1824; linked to Op.127 sketches. First discussed by Schünemann in 1935.
- [WoO 228a - "Ah Tobias", musical joke](https://www.lvbeethoven.org/woo228a/) - Musical joke for Tobias Haslinger, composed in 1825. Two‑bar puzzle from a letter; correct reading clarified by Unheard Beethoven with solution in F minor.
- [WoO 227 - (Hess 277) "Esel aller Esel", Canon for two voices with ostinato voice](https://www.lvbeethoven.org/woo227/) - Humorous canon in D major for two voices with ostinato “hi‑ha”, composed in 1826 in the Kullak Sketchbook. First edition in SBG V (1962).
- [WoO 226 - (Hess 260) "Fettluemerl, Bankert haben triumphirt", sketch of Canon](https://www.lvbeethoven.org/woo226/) - Sketch for a humorous canon from Beethoven’s 1823 household book. Text and rhythm survive; music heavily faded. First examined by Schünemann in 1937.
- [WoO 224 – “Cacatum non est pictum”, Canon in B-flat major (three voices)](https://www.lvbeethoven.org/woo224/) - Three‑voice canon in B-flat major composed c.1820. Autograph in British Library Add. 29997. First edition 2000; playful sketch on a text by Bürger with Rossini reference.
- [WoO 223 - "Thut auf", two-part canon for voice in C major](https://www.lvbeethoven.org/woo223/) - Two‑part canon in C major composed Aug–Sep 1820 in Vienna. From the Artaria 195 sketchbook; first edition in 2003 in Kinderman’s critical publication.
- [WoO 222 – (Hess 275 and Hess 328) Piece in A‑flat major for two voices](https://www.lvbeethoven.org/woo222/) - Two‑voice canon from the “Eroica” sketchbook (Landsberg 6), miscatalogued as Hess 275/328. A‑flat major; brief contrapuntal study revived in the “Research Becomes Art” project.
- [WoO 219 – (Hess 68) Little Waltz (Ländler) in C Minor for Piano.](https://www.lvbeethoven.org/woo219/) - Little Waltz in C minor composed Feb–Mar 1803. From the Wielhorsky Notebook; first published in Hess SBG IX (1965). Linked to Op.85 and Op.37 sketches.
- [WoO 218 - (previously Biamonti 74) Minuet in C major for piano](https://www.lvbeethoven.org/woo218/) - Minuet in C major composed in 1793–95; autograph in Landsberg 7. First edition 1927; later in Hess SBG IX (1965). Linked to early Op.19 sketches.
- [WoO 217 - (Biamonti 66) Minuet in F major for piano](https://www.lvbeethoven.org/woo217/) - Minuet in F major composed c.1794 in early Vienna. Autograph in private hands; first edition Henle 1957. Linked to Op.19 sketches and Landsberg materials.
- [WoO 216 – Two Bagatelles in C Major and E-flat Major for Piano (Hess 73 - Hess 74)](https://www.lvbeethoven.org/woo216/) - Two early bagatelles from Landsberg Notebook 7, dated c.1800–1801. Published in Hess SBG IX (1965). Autograph from the Landsberg collection, Berlin.
- [WoO 215 – (Hess 64) Fugue in C major for piano or organ](https://www.lvbeethoven.org/woo215/) - Three‑voice fugue in C major composed c.1794–95 during Beethoven’s studies with Albrechtsberger. First published in 1955; autograph in the Kafka Miscellanea.
- [WoO 213 – Four Bagatelles for Piano (D♭ major, G major, A major, A major)](https://www.lvbeethoven.org/woo213/) - Four piano bagatelles composed in 1793 and lightly revised in 1822 for Peters. From BH 114; first partial edition in 1991, full scholarly reconstruction in 2026.
- [WoO 221 – (Hess 276) “Herr Graf, ich komme zu fragen, wie Sie sich befinden”](https://www.lvbeethoven.org/woo221/) - Three‑voice canon in C major composed c.1797 for Nikolaus Zmeskall. Autograph in the Bodmer Collection; full text solved by Rudolf Klein in 1970.
- [WoO 220 - (Hess 123) "Kriegslied für die zum keiligen Krieg verbundeten deutschen Heere" (lost)](https://www.lvbeethoven.org/woo220/) - Lost war song for voices and orchestra, composed 1813–14 on a text by Zacharias Werner. Cited by Beethoven in BGA 712; mentioned by Unger and Thayer.
- [WoO 214 – (previously Hess 69) Allegretto in C minor for piano](https://www.lvbeethoven.org/woo214/) - Allegretto in C minor composed c.1794–97 and revised in 1822 for a planned bagatelle set. Autograph incomplete; first edition in 1965 within the SBG.
- [WoO 212 – (Hess 61) Anglaise in D major for Piano](https://www.lvbeethoven.org/woo212/) - Anglaise in D major composed in 1793–94; autograph in BH 114 (SBH 631). First published by Schmitz in 1924; later in Hess SBG IX (1965). Linked to WoO 81 and WoO 213.
- [WoO 211 – Andante in C major for piano (previously Biamonti 52)](https://www.lvbeethoven.org/woo211/) - Andante in C major composed 1790–92 in Bonn; manuscript in Vienna. First edition 1957 (Henle). Linked to Bonn sketches including “An Henrietten”.
- [WoO 210 – String Quartet in B minor “Pencarrow Quartet” (Allegretto)](https://www.lvbeethoven.org/woo210/) - Allegretto for string quartet composed for Richard Ford on 28 Nov 1817. Rediscovered in 1999 at Pencarrow House; first edition published in 2001.
- [WoO 208 – (Hess 19) Quintet in E‑flat major for oboe, three horns and bassoon](https://www.lvbeethoven.org/woo208/) - WoO 208 (Già Hess 19) Quintetto (incompiuto) in mi bemolle maggiore per oboe, tre corni e fagotto Unfinished wind quintet from 1792–93, likely revised in Vienna. Survives as a fragment; completed by Zellner in 1862 and published by Hess in 1954 and SBG 1963.
- [WoO 209 - (Hess 33 / Hess 88) Minuet in A flat major for string quartet](https://www.lvbeethoven.org/woo209/) - Minuet in A‑flat major for string quartet, composed in Bonn c.1790–92. Survives in two sources (Hess 33, Hess 88); first published in 1905 and 1952.
- [WoO 205 – Jokes and Notes on Letters (Musikalische Scherze)](https://www.lvbeethoven.org/woo205/) - Collection of musical jokes written in letters between 1798 and 1826: Zmeskall, Lichnowsky, Haslinger, Streicher, Treitschke, Archduke Rudolf. First editions 1832–1908.
- [WoO 207 – (Hess 13) Cantabile Romance (unfinished) in E minor](https://www.lvbeethoven.org/woo207/) - Unfinished Cantabile Romance in E minor (1792–93) for harpsichord, flute and bassoon with small orchestra. Autograph in the Kafka Sketchbook; completed by Hess in 1952.
- [WoO 206 – (Hess 12) Concerto in F major for Oboe and Orchestra](https://www.lvbeethoven.org/woo206/) - Lost oboe concerto composed in Bonn c.1792–93 and sent by Haydn to Elector Maximilian Franz. Only incipits and sketches survive; several modern reconstructions exist.
- [WoO 204 - "Holz geigt die Quartette...", musical joke](https://www.lvbeethoven.org/woo204/) - Musical joke on Karl Holz’s quartet playing, noted 26 Sept 1825 in a conversation book. First printed in 1908; canon solutions later identified by Holsbergen.
- [WoO 203 - "Das Schöne zu dem Guten", Canon](https://www.lvbeethoven.org/woo203/) - Canon for Ludwig Rellstab, written 3 May 1825 during Beethoven’s convalescence. Published by Rellstab in 1854; sketch in the De Roda Skizzenbuch.
- [WoO 202 - "Das Schöne zum Guten", Albumblatt](https://www.lvbeethoven.org/woo202/) - WoO 202 Das Schöne zum Guten, (Il bello per buono), musical joke – due battute su lettera Albumblatt for Marie Pachler, written in Vöslau on 27 September 1823. Text by Matthisson; first published posthumously in Thayer’s 1865 Chronological Index.
- [WoO 201 – “Ich bin bereit… Amen!”, Musikalischer Scherz](https://www.lvbeethoven.org/woo201/) - WoO 201 Ich bin bereit! – Amen Zwei Notenscherze (C-dur) nach eigenen Texten Musikalischer Scherz and start of a double fugue, written after 19 May 1818 in a letter to Vinzenz Hauschka. First published in Thayer’s 1865 index.
- [WoO 199 - "Ich bin der Herr von 'zu'", eight playful bars](https://www.lvbeethoven.org/woo199/) - Humorous eight‑bar scherzo for Archduke Rudolph, autumn 1814. First published by Nohl in 1867; sketches preserved in Berlin among Op.136 materials.
- [WoO 198 - "Wir irren allesamt", Canon](https://www.lvbeethoven.org/woo198/) - Five‑voice canon sent to Karl Holz with the Op.134 autograph, early Sept 1826. First published in 1949; autograph in the Peabody Library, Baltimore.
- [WoO 197 - "Da ist das Werk", Canon](https://www.lvbeethoven.org/woo197/) - Five‑voice canon sent to Karl Holz with the Op.134 autograph, early Sept 1826. First published in 1949; autograph in the Peabody Library, Baltimore.
- [WoO 195 - "Freud’ dich des Lebens", Two-part canon](https://www.lvbeethoven.org/woo195/) - Two‑part canon for Theodor Molt, composed 16 December 1825. Text by Usteri; first published in 1888 from Nottebohm’s copy. Manuscript lost.
- [WoO 194 - "Si non per portas, per muros", Canon](https://www.lvbeethoven.org/woo194/) - Rätselkanon composed for Maurice Schlesinger on 26 Sept 1825 in Vienna. First published by Nohl in 1865; autograph likely lost in WWII.
- [WoO 193 - "Ars longa, vita brevis" , Canon (third version)](https://www.lvbeethoven.org/woo193/) - Third canon on “Ars longa, vita brevis”, composed circa 1825. Autograph in the Heinemann Collection, New York; first published in 1927 and later by Hess.
- [WoO 191 - "Kühl nicht Lau", Canon](https://www.lvbeethoven.org/woo191/) - Canon for Friedrich Kuhlau, composed on 2 September 1825 in Baden. Built on B‑A‑C‑H; first published in 1852 by Seyfried. Sketch and copies survive.
- [WoO 196 – “Es muss sein!”, scherzo or idea for a canon](https://www.lvbeethoven.org/woo196/) - Humorous canon or scherzo linked to the Dembscher anecdote, composed July–August 1826. First printed in 1844; later editions by Thayer, M.A.F., and Hess.
- [WoO 190 - "Ich war hier, Doktor, ich war hier!", Canon](https://www.lvbeethoven.org/woo190/) - Canon for Dr. Braunhofer, written 4 June 1825 in Baden. First printed in 1957; autograph from the Henrici auction, later owned by Agathe von Philipp.
- [WoO 189 - "Doktor sperrt das Tor dem Tod", Canon](https://www.lvbeethoven.org/woo189/) - Canon for Dr. Braunhofer, written in early May 1825 during Beethoven’s illness. First published in 1865; autograph preserved in Vienna.
- [WoO 188 - "Gott ist eine feste Burg", Canon](https://www.lvbeethoven.org/woo188/) - Canon for Reinhold von Düsterlohe, written 12 January 1825. Based on the Credo of the Missa solemnis. First published in 1908; autograph lost.
- [WoO 192 - "Ars longa, vita brevis", Canon (second version)](https://www.lvbeethoven.org/woo192/) - Second canon on “Ars longa, vita brevis”, composed for Sir George Smart on 16 Sept 1825 in Baden. First published in 1865; autograph in the British Library.
- [WoO 187 – “Schwenke dich ohne Schwänke!”, Canon](https://www.lvbeethoven.org/woo187/) - Canon for Carl Schwencke, written 17 November 1824 in Vienna. First published in 1825 in Schott’s Caecilia; autograph lost, Sonnleithner copy preserved.
- [WoO 186 - "Te solo adoro", Canon](https://www.lvbeethoven.org/woo186/) - Canon per Soliva, 2 giugno 1824. Canon for Carlo Evasio Soliva, written 2 June 1824. Text from Metastasio. First published in 1888; autograph preserved in Krakow.
- [WoO 185 - "Edel sei der Mensch", Canon](https://www.lvbeethoven.org/woo185/) - Six‑voice canon on Goethe’s “Das Göttliche”, written 6 May 1823 for Louis Schlösser. First published in June 1823; autograph in the Bodmer Collection.
- [WoO 184 – “Falstafferel, lass’ dich sehen!”, Canon](https://www.lvbeethoven.org/woo184/) - Canon for Ignaz Schuppanzigh, composed 26 April 1823. First published in 1903; autograph in the Geigy‑Hagenbach collection, Basel.
- [WoO 183 - "Bester Herr Graf, Sie sind ein Schaf", Canon](https://www.lvbeethoven.org/woo183/) - Canon for Count Moritz Lichnowsky, likely written 20 February 1823. First printed in 1844; autograph in Berlin. Four‑voice unison canon with satirical text.
- [WoO 182 - "O Tobias!", Canon](https://www.lvbeethoven.org/woo182/) - ByGraziano Denini. Canon for Tobias Haslinger, composed in early September 1821 and sent with a letter on 10 September. First published in 1863; autograph preserved in Bonn.
- [WoO 181 – Three Canons: “Gedenket heute an Baden”, “Gehabt euch wohl”, “Tugend ist kein leerer Name”](https://www.lvbeethoven.org/woo181/) - -WoO 181a Gedenket Heute an Baden (Ricordatevi oggi di Baden), Canon; -WoO 181b Gehabt euch Wohl (Statevi bene), Canon; -WoO 181c Tugend ist kein leer Name (Virtù non è un nome vano), Canon Three canons from the Missa solemnis sketchbook, composed 1819–1822. Autographs in Artaria 205; first editions 1888 and 1937. Late contrapuntal miniatures.
- [WoO 180 - "Hofmann, Hofmann", Canon](https://www.lvbeethoven.org/woo180/) - Ricognizione ByGraziano Denini. Canon composed mid‑March 1820, inspired by a wordplay on E.T.A. Hoffmann. First published in 1825 in Schott’s Caecilia; autograph in Taschenbuch BH 107.
- [WoO 178 - "Signor Abate!", Canon](https://www.lvbeethoven.org/woo178/) - Comic canon for Abbot Stadler, composed around 1815–1820; first published posthumously in 1863 in the AGA. Autograph lost.
- [WoO 179 – “Seiner Kaiserlichen Hoheit… Alles Gute”, Canon](https://www.lvbeethoven.org/woo179/) - New Year canon for Archduke Rudolph, written on 1 January 1820. First published by Nohl in 1865; autograph preserved at the Gesellschaft der Musikfreunde.
- [WoO 177 - "Bester Magistrat" Canon for men’s voices, with cello or double bass](https://www.lvbeethoven.org/woo177/) - Humorous canon for men’s voices with bass accompaniment, composed c.1818–1820. Linked to the Karl guardianship dispute; autograph in the Bodmer Collection.
- [WoO 176 - "Glück, Glück zum neuen Jahr!", Canon](https://www.lvbeethoven.org/woo176/) - New Year canon for Countess Erdödy, dated 31 December 1819. Autograph in the BnF, Paris. First published in the GA, No. 256/6 (Series 23).
- [WoO 175 – “Sanct Petrus war ein Fels! Bernardus war ein Sanct?”, ideas for a canon](https://www.lvbeethoven.org/woo175/) - Two enigmatic canons for Peters and Bernard, drafted late 1819. Known from a letter; first published in 1865. Autograph lost; sketches linked to the Missa solemnis.
- [WoO 173 - "Hol'euch der Teufel!", enigmatic canon](https://www.lvbeethoven.org/woo173/) - Enigmatic canon for Steiner, composed in summer 1819 at Mödling. First published posthumously in 1865 by Thayer; autograph lost, multiple solutions proposed.
- [WoO 174 - "Glaube und hoffe!", principle of a canon](https://www.lvbeethoven.org/woo174/) - Canonic principle for Maurice Schlesinger, written on 21 September 1819. First published posthumously in 1865 by Nohl; autograph in the Wittgenstein collection.
- [WoO 171 - "Glück fehl' dir... niemalen", Canon](https://www.lvbeethoven.org/woo171/) - Canon for Nanni Giannatasio del Rio, composed in 1817. First published by Frimmel in 1888; autograph lost, source from Pessiak‑Schmerling family tradition.
- [WoO 170 - "Ars longa, vita brevis", Canon (first version)](https://www.lvbeethoven.org/woo170/) - Canon for Hummel, composed 4 April 1816 (possibly 1815). First published in 1867 by Nohl; later in Hess’s Supplemente zur GA (1962). Text from Hippocrates.
- [WoO 169 - "Ich küsse Sie", Canon](https://www.lvbeethoven.org/woo169/) - Canon for Anna Milder‑Hauptmann, enclosed with Beethoven’s letter of 6 January 1816. First published in 1853; autograph preserved in Berlin.
- [WoO 168 – Two Canons: “Das Schweigen” – “Das Reden”](https://www.lvbeethoven.org/woo168/) - Two canons composed 1815–1816 for Charles Neate. “Das Schweigen” first published in 1817; “Das Reden” appeared posthumously in 1864. Texts from Herder after Saadi.
- [WoO 167 – Brauchle–Linke, Canon in C major](https://www.lvbeethoven.org/woo167/) - Canon for F. S. Brauchle and J. Linke, likely from summer 1815. First published posthumously in 1865 by Thayer; autograph preserved in Landsberg 3.
- [WoO 166 – “Kurz ist der Schmerz”, Canon for Three Voices](https://www.lvbeethoven.org/woo166/) - Canon for Louis Spohr, composed on 3 March 1815. Autograph in the Zweig Collection, British Library. Sketches in Mendelssohn 6, Krakow.
- [WoO 165 - "Glück zum neuen Jahr", Canon](https://www.lvbeethoven.org/woo165/) - New Year canon for Baron Pasqualati, written on 1 January 1815 and published in May 1816 by J. Riedl in Vienna and Pest. Autograph lost.
- [WoO 164 - "Freundschaft ist die Quelle wahrer Glückseligkeit", Canon](https://www.lvbeethoven.org/woo164/) - Canon composed on 20 September 1814 in the Brühl near Mödling; first published posthumously in 1888 in the AGA. Autograph in the Bodmer Collection.
- [WoO 163 – “Kurz ist der Schmerz”, Canon for Three Voices](https://www.lvbeethoven.org/woo163/) - Canon on Schiller’s text, composed on 23 November 1813 for Johann Friedrich Naue. First published in 1828 with a facsimile of the autograph.
- [WoO 162 - "Ta ta ta lieber Mälzel", Canon](https://www.lvbeethoven.org/woo162/) - Canon attributed to Beethoven, long linked to Mälzel and the Eighth Symphony. Published in 1844; modern research considers it an apocryphon by Anton Schindler.
- [WoO 161 – “Ewig dein”, Canon for Three Voices](https://www.lvbeethoven.org/woo161/) - Canon “Ewig dein”, composed c.1810. Autograph in the Bodmer Collection, Beethoven‑Haus. First published in 1863 by Pohl in the Allgemeine Musik‑Zeitung.
- [WoO 160 – Two Canons Without Words (G major & C major)](https://www.lvbeethoven.org/woo160/) - Two canons without words composed in early 1795 during Beethoven’s studies with Albrechtsberger. First published posthumously in 1832 by Seyfried.
- [WoO 159 – Im Arm der Liebe ruht, canon for three voices](https://www.lvbeethoven.org/woo159/) - Canon on Ueltzen’s poem, composed around early 1795 during Beethoven’s studies with Albrechtsberger. First published posthumously in 1832 by Seyfried.
- [WoO 172 - "Ich bitt' dich", Canon](https://www.lvbeethoven.org/woo172/) - Humorous canon for Hauschka, c.1818. First published in 1888 in the AGA. Text likely by Beethoven; built on ascending and descending E‑flat major scales.
- [WoO 158, Twenty-nine Lieder Verschiedener Völker for one or more voices, piano, violin, and cello,](https://www.lvbeethoven.org/woo158/) - Pagina introduttiva con tabella Twenty‑nine songs of various nations, composed 1816–1820. Mostly unpublished in Beethoven’s lifetime; first editions appeared between 1860 and 1971.
- [WoO 156 Twenty-two Schottische Lieder for voice, piano, violin, and cello](https://www.lvbeethoven.org/woo156/) - Twenty‑two Scottish songs arranged 1810–1820 for Thomson. Published between 1822 and 1971, with many first editions posthumous. Includes trios and alternative versions.
- [WoO 155 Twenty-sex Walisische Lieder for voice, piano, violin, and cello](https://www.lvbeethoven.org/woo155/) - Twenty‑six Welsh songs arranged 1810–1815 for Thomson’s Select Collection. Published in May 1817 in London and Edinburgh. Includes revised versions and lost shipments.
- [WoO 153 Twenty (30 – 59 ) Irish Songs for voice, piano, violin, and cello](https://www.lvbeethoven.org/woo153/) - Thirty Irish songs arranged 1810–1815 for Thomson’s Select Collection. Published in May 1816 in London and Edinburgh. Includes multiple revised and alternative versions.
- [WoO 151 - "Der edle Mensch sei hulfreich und gut", Lied for voice and piano](https://www.lvbeethoven.org/woo151/) - Album leaf on Goethe’s “Der edle Mensch sei hülfreich und gut,” composed on 20 January 1823 for Marie von Eskeles. First published posthumously in 1900.
- [WoO 157 Four Englische Lieder for voice, piano, violin, and cello](https://www.lvbeethoven.org/woo157/) - Four English songs arranged 1816–1819 for Thomson. No. 4 published in 1825; nos. 2–3 in 1839; no. 1 first issued in 1971. Includes trios and alternative versions.
- [WoO 154 Four (60 – 63 ) Irish Songs for voice, piano, violin, and cello](https://www.lvbeethoven.org/woo154/) - Beethoven, WoO 154, Irish Songs, Lament for Owen Roe O’Neill, Adieu my lov’d harp, Castle O’Neill, Robin Adair, George Thomson, 1810, 1812, 1813, 1815, Folk Song Arrangements, Voice Piano Violin Cello, BGA Correspondence, Peters 1860, Ewer & Co. 1860, SBG 1971, NGA XI/2, AGA/SBG, Fries Bank, Lost Shipments, Archduke Rudolf Copy
- [WoO 152 Twenty-nine (1 – 29) Irische Lieder for voice, piano, violin and cello](https://www.lvbeethoven.org/woo152/) - Twenty‑nine Irish songs arranged 1810–1813 for Thomson’s Select Collection. Published in March 1814 in London and Edinburgh; revised editions followed in 1814–1815.
- [WoO 150 - "Abendlied unterm gestirnten Himmel", Lied for Voice nd Piano](https://www.lvbeethoven.org/woo150/) - Lied on Loeben’s poem (H. Goeble), composed in March 1820 and published on 28 March 1820 in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode.
- [WoO 147 - "Ruf vom Berge", Lied for voice and piano](https://www.lvbeethoven.org/woo147/) - Lied on Treitschke’s poem, composed in 1816 and published in June 1817 by Wallishauser as a musical appendix to Treitschke’s Poems. Autograph lost.
- [WoO 146 - "Sehnsucht", Lied for voice and piano](https://www.lvbeethoven.org/woo146/) - Lied on Reissig’s poem, composed in late 1815 or early 1816. Published by Artaria in June 1816. Autograph in Berlin; sketches in the Miller notebook of the Koch collection.
- [WoO 144 - "Merkenstein", Lied for Voice and Piano (first version)](https://www.lvbeethoven.org/woo144/) - First version of the Merkenstein Lied, composed on 22 December 1814 on Rupprecht’s poem. Published as a musical appendix to the Viennese almanac Selam for 1816.
- [WoO 149 - "Resignation", Lied for voice and piano](https://www.lvbeethoven.org/woo149/) - Lied on Haugwitz’s poem, composed 1814–17 and published on 31 March 1818 in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode. Autograph lost.
- [WoO 148 - "So oder so", Lied for voice and piano](https://www.lvbeethoven.org/woo148/) - Lied on Karl Lappe’s poem, composed in early 1817. First published on 15 February 1817 in the Wiener Moden‑Zeitung; Simrock issued a separate edition the same year.
- [WoO 141 - "Der Gesang der Nachtigall", Lied for Voice and Piano](https://www.lvbeethoven.org/woo141/) - Lied on Herder’s poem, composed on 3 June 1813. First published posthumously in 1888 (AGA 277). Autograph preserved in the Deutsche Staatsbibliothek, Berlin.
- [WoO 145 - "Das Geheimnis", Lied for voice and piano](https://www.lvbeethoven.org/woo145/) - Lied on Wessenberg’s poem, composed in 1815. First published in 1816 in the Wiener Moden‑Zeitung and later by Simrock in Bonn and Cologne in December 1816.
- [WoO 143 - "Des Kriegers Abschied", Lied for Voice and Piano](https://www.lvbeethoven.org/woo143/) - Lied on Reissig’s poem, composed in late 1814. Published by Mechetti in June 1815 within a collection of six settings. Sketches preserved in the “Mendelssohn 6” notebook.
- [WoO 142 - "Der Bardengeist", Lied for Voice and Piano](https://www.lvbeethoven.org/woo142/) - Lied on Franz Rudolf Hermann’s poem, composed on 3 November 1813 and published that same year as a musical appendix to the Wiener Musen‑Almanach. Autograph lost.
- [WoO 137 - "Lied aus der Ferne", Song for Voice and Piano](https://www.lvbeethoven.org/woo137/) - Lied on a poem by Christian Ludwig Reissig, composed in 1809. First published in 1810 by Breitkopf & Härtel, Artaria, and Clementi. Autograph preserved in the British Museum.
- [WoO 140 – “An die Geliebte”, song for voice and piano](https://www.lvbeethoven.org/woo140/) - Three versions of Beethoven’s setting of Stoll’s poem, composed in 1811. First published in 1814 and 1816; earlier versions issued posthumously in 1826 and 1836.
- [WoO 139 - "Der Liebende", Lied for Voice and Piano](https://www.lvbeethoven.org/woo139/) - Lied on a poem by Christian Ludwig Reissig, composed in 1809. Published in 1810 by Breitkopf & Härtel and Clementi. Autograph in Berlin; sketches in the British Museum.
- [WoO 135 - "Die laute Klage": "Turteltaube, du klagest so laut" Lied for Voice and Piano](https://www.lvbeethoven.org/woo135/) - Lied on a poem by Johann Gottfried Herder, sketched in 1814 and revised in 1814–15. First published posthumously by Diabelli in April 1837; two autograph copies survive.
- [WoO 136 - "Andenken": "Ich denke dein", Lied for Voice e Piano](https://www.lvbeethoven.org/woo136/) - Lied on Matthisson’s poem, composed around 1808 and published in 1810 by Breitkopf & Härtel. A presumed earlier version from 1804–05 is lost; autograph also missing.
- [WoO 134 - "Sehnsucht": "Nur wer die Sehnsucht kennt", Lied for Voice and Piano](https://www.lvbeethoven.org/woo134/) - Four settings of Goethe’s “Nur wer die Sehnsucht kennt,” composed 1807–08. First version published in Prometheus (1808); complete edition issued by the Kunst- und Industrie-Comptoir in 1810.
- [WoO 133 - "In questa tomba oscura", arietta for voice and piano](https://www.lvbeethoven.org/woo133/) - Arietta on Giuseppe Carpani’s poem, composed in 1807 for the famous Viennese collection of 63 settings. Published privately by Mollo in 1808 and dedicated to Prince Lobkowitz.
- [WoO 132 - "Als die Geliebte sich trennen wollte", Lied for voice and piano](https://www.lvbeethoven.org/woo132/) - Lied on a text by Stephan von Breuning, composed around mid‑1806. First published in the AMZ in 1809; later revised versions derive from Breuning family manuscripts.
- [WoO 121 – Abschiedsgesang an Wiens Bürger, Lied for voice, choir and piano](https://www.lvbeethoven.org/woo121/) - Patriotic farewell song on a poem by Josef Friedeiberg, composed in 1796 for the Viennese Volunteer Corps. First published by Artaria in November 1796.
- [WoO 131 – Erlkönig, (Lied Sketch) for Voice and Piano](https://www.lvbeethoven.org/woo131/) - Unfinished setting of Goethe’s “Erlkönig,” sketched between 1800 and 1810. Two surviving manuscripts; first completed editions by Becker (1897) and Zöllner (1898).
- [WoO 130 - "Gedenke mein!" Lied for voice and piano](https://www.lvbeethoven.org/woo130/) - Lied on an anonymous text, sketched and likely completed in 1820. Delivered to Archduke Rudolf on 11 September 1820; first published posthumously by Haslinger in 1844.
- [WoO 129 - "Der Wachtelschlag", Lied for voice and piano](https://www.lvbeethoven.org/woo129/) - Lied on a poem by Samuel Friedrich Sauter, composed in 1803 for Count Browne. Published in early 1804 by the Kunst- und Industrie-Comptoir in Vienna.
- [WoO 128 – “Plaisir d’aimer” for Voice and Piano (Sketch)](https://www.lvbeethoven.org/woo128/) - Sketch of a romance for voice and piano on an anonymous French text. Drafted around 1798–99; first reconstruction published by Chantavoine in 1902.
- [WoO 127 – Neue Liebe, neues Leben, for Voice and Piano (First Version of Op. 75 No. 2)](https://www.lvbeethoven.org/woo127/) - First version of Beethoven’s setting of Goethe’s poem. Sketched in 1798–99; first published by Simrock in 1808 without authorization. Basis for the later Op. 75 No. 2.
- [WoO 126 – Opferlied: “Die Flamme lodert” for Voice and Piano (Second Version)](https://www.lvbeethoven.org/woo126/) - Second version of Beethoven’s Opferlied on a poem by Matthisson. Revised around 1798; first published by Simrock in 1808. Autograph lost, sketches in the Grasnick notebook.
- [WoO 125 - "La Tiranna": "Ah grief to Think!", Lied for Voice and Piano](https://www.lvbeethoven.org/woo125/) - Canzonetta on an English poem by William Wennington, composed in 1798. Published in London by Broderip & Wilkinson in 1799; original autograph lost.
- [WoO 124 - La partenza, Song (Canzonetta) for Voice and Piano](https://www.lvbeethoven.org/woo124/) - Canzonetta on a text by Metastasio. Probably composed in 1795; published by Traeg in 1803. Autograph lost, but an early revised copy survives in Vienna.
- [WoO 123 - "Zärtliche Liebe": "Ich liebe dich" for Voice and Piano](https://www.lvbeethoven.org/woo123/) - Lied on a poem by Karl Friedrich Herrosee. Probably composed in 1795; published by Traeg in 1803. Autograph preserves only three of the poem’s ten stanzas.
- [WoO 122 – Kriegslied der Österreicher for Voice (with Unison Choral Refrain) and Piano](https://www.lvbeethoven.org/woo122/) - Patriotic war song on a poem by Josef Friedeiberg, composed in early April 1797 during the French threat to Vienna. First published by Artaria on 14 April 1797.
- [WoO 120 - Man strebt die Flamme zu verhehlen, song for voice and piano](https://www.lvbeethoven.org/woo120/) - Lied on a text by Johanna Franul von Weißenthurn, likely composed around 1800 as an interlude for her comedy Das Nachspiel. First published posthumously in 1888.
- [WoO 119 – O care selve, Canzonetta for Unison Choir with Solo response and Piano](https://www.lvbeethoven.org/woo119/) - Canzonetta for unison choir with solo response and piano on a text by Metastasio. Composed around 1794–95; first published posthumously in the 1888 Supplement to the GA.
- [WoO 117 Der freie Mann, Lied for Choir in unison, Voice and Piano](https://www.lvbeethoven.org/woo117/) - Song for unison choir, solo voice and piano on a poem by Pfeffel. Two autograph versions survive; published by Simrock in 1808. Includes related sketches.
- [WoO 118 – Seufzer einer umgeliebten und gegenliebe Song for voice and piano](https://www.lvbeethoven.org/woo118/) - Song after two poems by Bürger, combined by Beethoven into a single aria-like form. Sketched in 1794–95 and first published posthumously by Diabelli in 1837.
- [WoO 116 – Que le temps me dure for Voice and Piano (Two Sketches in C minor and C major)](https://www.lvbeethoven.org/woo116/) - Two vocal sketches after a poem by Rousseau, not fully developed by Beethoven. Written in early 1793 and first published posthumously in 1902 and 1935.
- [WoO 115 – An Minna: Nur bei dir... song for voice and piano](https://www.lvbeethoven.org/woo115/) - Lied based on an unknown poet. Sketched between 1790–1792 and later reconstructed by Sonnleithner; first published posthumously in the AGA edition of 1888.
- [WoO 114 – Selbstgespracht: "Ich, der mit flatterndem Sinn..." Lied for voice and piano](https://www.lvbeethoven.org/woo114/) - Lied on a poem by Johann Wilhelm Ludwig Gleim. Sketched in Bonn in 1792 and completed in Vienna; first published posthumously in the AGA edition of 1888.
- [WoO 108 – An einen Säugling: “Noch weisst du nicht”, Lied for Voice and Piano](https://www.lvbeethoven.org/woo108/) - Lied composed in 1783/84 and published by Boßler in 1784. Text by Johann von Döring; four stanzas survive, though only the first appears in the printed score.
- [WoO 113 – Klage: "Dein Silber schien" Song for voice and piano](https://www.lvbeethoven.org/woo113/) - Lied on a poem by Ludwig Hölty. Two versions from 1790; sketches and copies survive. First published posthumously in the AGA edition of 1888.
- [WoO 112 – An Laura Lied for Voice and Piano](https://www.lvbeethoven.org/woo112/) - Lied on a poem by Matthisson. Composed around 1792 in Bonn; autograph lost in 1960. First published in 1916 from the Heyer Collection.
- [WoO 111 - "Punschlied" Lied for Solo Voice, with Unison Choir and Piano](https://www.lvbeethoven.org/woo111/) - Drinking song for solo voice, unison choir and piano. Text by an unknown poet; seven stanzas existed, though only the first survives in Beethoven’s transcription.
- [WoO 110 – Elegie auf den Tod eines Pudels for Voice and Piano](https://www.lvbeethoven.org/woo110/) - Elegy for voice and piano on the death of a beloved dog. Text by an unknown poet; music alternating mourning and consolation. First published posthumously in 1888.
- [WoO 109 – Trinklied for Solo Voice, Unison Choir and Piano](https://www.lvbeethoven.org/woo109/) - Drinking song for solo voice, unison choir and piano. Composed in Bonn around 1791/92; text by an unknown author. First published posthumously in 1888.
- [WoO 107 – Schilderung eines Mädchens: Lied for Voice and Piano](https://www.lvbeethoven.org/woo107/) - Early Lied by the eleven‑year‑old Beethoven, published by Boßler in 1783. Two stanzas survive; original manuscript lost. Text by an unknown poet.
- [WoO 106 - "Lobkowitz-Kantate": "Es lebe, unser teurer Fürst!" For soprano, choir, with piano](https://www.lvbeethoven.org/woo106/)
- [WoO 105 – “Hochzeitslied” for solo voice, chorus and piano](https://www.lvbeethoven.org/woo105/) - Wedding song for solo voice, chorus and piano on a text by A. J. Stein; composed for Nanni Giannatasio del Rio’s wedding in 1819 and preserved in two versions.
- [WoO 104 – “Gesang der Mönche” for three male voices a cappella](https://www.lvbeethoven.org/woo104/) - A cappella trio for two tenors and bass on Schiller’s Wilhelm Tell; written in 1817 for Kandler and in memory of Beethoven’s friend Wenzel Krumpholz.
- [WoO 103 – "Un lieto brindisi", cantata for four voices soprano, two tenors, bass and piano](https://www.lvbeethoven.org/woo103/) - Short cantata for soprano, two tenors, bass, and piano on a text by Clemente Bondi; composed for Dr. Malfatti’s name day in June 1814 and preserved in a Berlin copy.
- [WoO 102 – “Abschiedsgesang” for three men’s voices a cappella](https://www.lvbeethoven.org/woo102/) - Farewell song for two tenors and bass on a poem by Joseph von Seyfried; composed in Vienna in 1814 and preserved in the Paris Conservatory manuscript.
- [WoO 101 - "Graf, Graf, liebster Graf, bestes Schaf" musical joke](https://www.lvbeethoven.org/woo101/) - Musical joke for three voices, likely written for Zmeskall in 1802; preserved through letters and first published in 1865 in Thayer’s chronological index.
- [WoO 100 – “Lob auf den Dicken”, musical scherzo for male voices](https://www.lvbeethoven.org/woo100/) - Musical scherzo for tenor, two basses, and male choir, written for Ignaz Schuppanzigh; preserved in the Beethoven-Haus manuscript and first published posthumously.
- [WoO 098 – “Wo sich die Pulse, Chorus for Soprano and orchestra](https://www.lvbeethoven.org/woo098/) - Chorus and soprano solo from Beethoven’s incidental music for Meisl’s “Die Weihe des Hauses” (1822), with full instrumentation, context, and manuscript sources.
- [WoO 097 - "Es ist vollbracht!" for bass, choir and orchestra](https://www.lvbeethoven.org/woo097/) - Final chorus for bass, choir, and orchestra from Treitschke’s Singspiel “Die Ehrenpforten”; composed for the 1815 celebrations and preserved in Berlin and Vienna sources.
- [WoO 93 – “Nei giorni tuoi felici”, Duet for soprano, tenor, and orchestra](https://www.lvbeethoven.org/woo093/) - Duet for soprano, tenor, and orchestra on a Metastasio text from L’Olimpiade; preserved in Tübingen and published posthumously by Hess with completed passages.
- [WoO 096 - "Leonore Prohaska", Music for soloists, chorus, and orchestra for the drama by Dunker.](https://www.lvbeethoven.org/woo096/) - Incidental music for Duncker’s drama “Leonore Prohaska”, including chorus, romance, melodrama, and the orchestral transcription of the funeral march from Op. 26.
- [WoO 095 - "Chor auf die verbündeten Fürsten": for Choir and Orchestra](https://www.lvbeethoven.org/woo095/) - Chorus for choir and orchestra composed for the Congress of Vienna; preserved in the Vienna Gesellschaft der Musikfreunde and published posthumously in the GA.
- [WoO 94 – “Germanias Wiedergeburt”, Chorus for bass, choir, and orchestra](https://www.lvbeethoven.org/woo094/) - Final chorus from Treitschke’s Singspiel “Die gute Nachricht”, for bass, choir, and orchestra; a patriotic work celebrating the Allied victory and published in 1814.
- [WoO 092a – No, non turbarti, Scena and aria for soprano and string orchestra](https://www.lvbeethoven.org/woo092a/) - Scene and aria for soprano and string orchestra on a Metastasio text; composed as an exercise under Salieri and preserved in the Berlin autograph with corrections.
- [WoO 92 – “Primo amore, piacere del ciel”, Scene and Aria for soprano and orchestra](https://www.lvbeethoven.org/woo092/) - Scene and aria for soprano and orchestra on a text by von Halem; composed in Bonn and preserved in a revised copy in the Berlin Staatsbibliothek.
- [WoO 91 – Two Arias for the Singspiel “Die schöne Schusterin” by Umlauf, for voice and orchestra](https://www.lvbeethoven.org/woo091/) - Two arias for Umlauf’s Singspiel “Die schöne Schusterin”, for tenor and soprano with orchestra; based on older material and preserved through GA sources.
- [WoO 089 – WoO 90 - Two Arias for Bass and Orchestra](https://www.lvbeethoven.org/woo089_090/) - Comic aria for bass and orchestra on a text by K. E. K. Schmidt, written for Joseph Lux and preserved in the Berlin Staatsbibliothek; published posthumously in the GA. Aria for bass and orchestra on a Goethe text from Claudine von Villa Bella, written for Joseph Lux and preserved in Berlin; published posthumously in the GA.
- [WoO 88 – Cantata on the Elevation of Leopold II to the Imperial Throne for soloists, choir and orchestra](https://www.lvbeethoven.org/woo088/) - Cantata for soloists, choir and orchestra on a text by Averdonk, celebrating the elevation of Leopold II; rediscovered in 1884 and published in the GA.
- [WoO 87 – Cantata on the Death of Emperor Joseph II for soloists, choir and orchestra](https://www.lvbeethoven.org/woo087/) - Funeral cantata for soloists, choir and orchestra on a text by Averdonk; Beethoven’s most ambitious early work, later linked to themes and ideas of Fidelio.
- [WoO 086 – Ecossaise in E-flat major for piano](https://www.lvbeethoven.org/woo086/) - Ecossaise in E‑flat major for piano, published in the Carnival collection “Ernst und Tandeley” and preserved in Müller’s autograph folder with Beethoven’s dated manuscript.
- [WoO 83 – Six Ecossaises in E‑flat major for piano](https://www.lvbeethoven.org/woo083/) - Six Ecossaises in E‑flat major for piano, composed around 1806 and published posthumously in 1888 from a Nottebohm copy after L. von Sonnleithner.
- [WoO 084 – Waltz in E‑flat major for piano](https://www.lvbeethoven.org/woo084/) - Waltz in E‑flat major for piano, published in the New Year collection Musikalisches Angebinde and preserved in the Bodmer manuscript at the Beethoven‑Haus.
- [WoO 082 - Minuet in E-flat major for piano](https://www.lvbeethoven.org/woo082/) - Minuet in E‑flat major for piano, composed around 1803 and published in Vienna in January 1805; long misdated to Beethoven’s youth due to a misleading annotation.
- [WoO 081 - Allemande in A major for piano](https://www.lvbeethoven.org/woo081/) - Allemande in A major composed in 1793 and revised in 1822; published posthumously in 1888 in the GA Supplement Series from a Beethoven‑Haus manuscript.
- [WoO 080 - 32 Variations in C minor for piano on an original theme](https://www.lvbeethoven.org/woo080/) - Thirty‑two variations in C minor on an original theme, composed in autumn 1806 and published in Vienna in April 1807; a monumental passacaglia‑like cycle.
- [WoO 079 - 5 Variations in D major for piano on the theme of "Rule Britannia"](https://www.lvbeethoven.org/woo079/) - Five variations in D major on “Rule Britannia”, composed in mid‑1803 and sketched in the Eroica sketchbook; first published in Vienna in June 1804.
- [WoO 078 - Seven Variations in C Major for Piano on the Theme of "God Save the King"](https://www.lvbeethoven.org/woo078/) - Seven variations in C major on “God Save the King”, composed in mid‑1803 and linked to the Landsberg 6 sketches; first published in Vienna the same year.
- [WoO 077 – 6 Variations in G major on an Original Theme](https://www.lvbeethoven.org/woo077new/) - Six variations in G major on an original theme, composed in 1800 and first published by Traeg in Vienna in December 1800; sketches linked to Op. 18 No. 2.
- [WoO 076 – Eight Variations in F Major for Piano on the Trio “Tändeln und Scherzen”](https://www.lvbeethoven.org/woo076/) - Eight variations in F major on Süssmayr’s trio “Tändeln und Scherzen” from Soliman II, composed in autumn 1799 and first published by Hoffmeister in December 1799.
- [WoO 075 – Seven Variations in F Major for Piano on “Kind, willst du ruhig schlafen”](https://www.lvbeethoven.org/woo075/) - Seven variations in F major on Winter’s quartet “Kind, willst du ruhig schlafen”, composed in 1799 and first published by Mollo in Vienna in December 1799.
- [WoO 074 – 6 Variations in D major on “Ich denke dein” for Voice and Piano Four Hands](https://www.lvbeethoven.org/woo074/) - Six variations in D major on Goethe’s “Ich denke dein”, composed 1799–1803 for voice and piano four hands; first published in Vienna in January 1805.
- [WoO 073 – 10 Variations in B‑flat major on “La stessa, la stessissima” from "Falstaff" by Salieri](https://www.lvbeethoven.org/woo073/) - Riedizione della pagina. Ten variations in B‑flat major on Salieri’s duet “La stessa, la stessissima”, composed in early 1799 and first published by Artaria in Vienna in February 1799.
- [WoO 071 Twelve Variations in A major on Russian dance from “Das Waldmädchen” by Paul Wranitzky](https://www.lvbeethoven.org/woo071/) - Twelve variations in A major on a Russian dance from Wranitzky’s ballet “Das Waldmädchen”, composed 1796–97 and first published by Artaria in April 1797.
- [WoO 069 - 9 Variations in A Major for Piano on “Quant’è bello L’amor contadino”](https://www.lvbeethoven.org/woo069/) - Nine variations in A major on Paisiello’s “Quant’è bello l’amor contadino”, composed in 1795 and first published by Traeg in Vienna in December 1795.
- [WoO 072 – Eight Variations in C Major for Piano on “Une fièvre brûlante” from Richard Coeur de Lion by Grétry](https://www.lvbeethoven.org/woo072/) - Eight variations in C major on Grétry’s “Une fièvre brûlante”, composed 1795–96 and first published by Traeg in Vienna in November 1798.
- [WoO 070 - 6 Variations in G major for piano on "Nel cor più non mi sento" from Paisiello's "Bella Molinara"](https://www.lvbeethoven.org/woo070/) - Six variations in G major on Paisiello’s “Nel cor più non mi sento”, composed in 1795 and first published by Traeg in Vienna in March 1796.
- [WoO 068 – 12 Variations in C major on the “Minuetto alla Viganò”](https://www.lvbeethoven.org/woo068/) - Riedizione della pagina. Twelve variations in C major on Haibel’s “Minuetto alla Viganò”, composed in 1795 and first published by Artaria in Vienna in February 1796.
- [WoO 067 - Eight variations in C major, for piano four hands on a theme by Count Waldstein](https://www.lvbeethoven.org/woo067/) - Eight variations in C major for piano four hands, composed 1790–92 on a theme by Count Waldstein; first published by Simrock in Bonn in 1794.
- [WoO 066 – 13 Variations in A major on “Es war einmal ein alter Mann”](https://www.lvbeethoven.org/woo066/) - Riedizione della pagina. Thirteen variations in A major on Dittersdorf’s aria “Es war einmal ein alter Mann”, composed in 1792 and first published by Simrock in Bonn in 1793.
- [WoO 065 - 24 Variations in D major on the theme "Venni amore" by Righini](https://www.lvbeethoven.org/woo065/) - Twenty‑four variations in D major on Righini’s “Venni amore”, composed in 1791 and published by Götz (1791) and Traeg (1802); dedicated to Countess Hatzfeld.
- [WoO 064 - 6 Variations in F major on a Swiss theme for piano or harp](https://www.lvbeethoven.org/woo064/) - Paola Perrucci, arpa. Six variations in F major on the Swiss song “Es batt e’ Buur e’ Tochterli”, composed 1790–92 and published by Simrock in Bonn in 1798.
- [WoO 063 - 9 Variations in C minor for piano on a march by Ernst Christoph Dressler](https://www.lvbeethoven.org/woo063/) - Nine variations in C minor composed in 1782 and published by Götz in Mannheim; dedicated to Countess Wolff‑Metternich.
- [WoO 062 – Fragment and Sketches of a Quintet in C major for Strings](https://www.lvbeethoven.org/woo062/) - Fragment and sketches of an unfinished string quintet from late 1826; known only through Diabelli’s 1838 piano reductions and surviving scattered sketches.
- [WoO 061 Allegretto for piano in B minor for Ferdinand Piringer](https://www.lvbeethoven.org/woo061/) - Allegretto in B minor dated 18 February 1821, written in Ferdinand Piringer’s family book; first published posthumously in 1893 by Robitschek.
- [WoO 061a – Piano Piece (Bagatelle) in G minor for Sarah Burney Payne](https://www.lvbeethoven.org/woo061a/) - Short piano piece in G minor written in Baden on 27 September 1825 for Sarah Burney Payne; first published in 1956 from the original autograph.
- [WoO 057 – Andante in F major “Andante favori” for Piano](https://www.lvbeethoven.org/woo057/) - Andante in F major (“Andante favori”), composed 1803–04 and first published in 1805; originally intended as the second movement of the Sonata op.53.
- [WoO 060 – Piano Piece in B‑flat major](https://www.lvbeethoven.org/woo060/) - Piano piece in B‑flat major dated 14 August 1818; linked to Marie Szymanowska’s album. First published in 1824 in the Berliner allgemeine musikalische Zeitung.
- [WoO 059 – Bagatelle in A minor “Für Elise”](https://www.lvbeethoven.org/woo059/) - Bagatelle in A minor dated 27 April 1810; published by Ludwig Nohl in 1867 from a now‑lost autograph linked to Therese Malfatti.
- [WoO 058 – Two Cadenzas for Mozart’s Piano Concerto in D minor K.466](https://www.lvbeethoven.org/woo058/) - Two cadenzas for Mozart’s K.466, likely composed in 1809 for Archduke Rudolph; first published in 1836 and 1864 from the original manuscripts.
- [WoO 056 – Bagatelle No. 5 in C Major for Piano](https://www.lvbeethoven.org/woo056/) - Beethoven, WoO 055, Prelude in F minor, piano or organ, 1787–1803, Bach influence, Neefe, Ries letters, Simrock 1803, Kunst- und Industrie-Comptoir 1805, KH 55, Biamonti 374, GA 195, lost autograph, early keyboard works, musicology
- [WoO 055 – Prelude in F Minor for Piano (or Organ)](https://www.lvbeethoven.org/woo055/) - Prelude in F minor composed between 1787 and 1803; revised in 1803 and first published by the Vienna Kunst- und Industrie-Comptoir in January 1805.
- [WoO 054 - Lustig - traurig Klavierstück in C major and C minor for Piano](https://www.lvbeethoven.org/woo054/) - Two contrasting 3/8 piano pieces (“Lustig” and “Traurig”), likely composed in 1790; autograph in Berlin and first published in the 1888 GA Supplement.
- [WoO 053 – Allegretto in C Minor for Piano](https://www.lvbeethoven.org/woo053/) - Allegretto in C minor composed 1796–98, likely intended as an intermezzo for the Op.10/1 Sonata; first published in the 1888 GA Supplement.
- [WoO 049 - Rondo in A major for piano](https://www.lvbeethoven.org/woo049/) - Beethoven, WoO 048, Rondo in C major, 1782–1783 Bonn, Bossler Blumenlese, Speyer 1783, WoO 49, WoO 107, Thayer, Friedlaender, Gustav Lange, Junker 1791, early piano works, musicology
- [WoO 052 – Bagatelle in C Minor for Piano](https://www.lvbeethoven.org/woo052/) - Bagatelle in C minor derived from early sketches for the op.10/1 Intermezzo; composed 1795–97 and first published in the 1888 GA Supplement.
- [WoO 051 – Sonata in C major for Piano (Allegro – Adagio)](https://www.lvbeethoven.org/woo051/) - Piano sonata composed 1791–92 and sent to Eleonore Breuning in 1796; Adagio completed by Ries. First published posthumously by Dunst in Frankfurt in 1830.
- [WoO 050 – Two Movements of a Sonatina in F major for Piano](https://www.lvbeethoven.org/woo050/) - Two movements of a piano sonatina composed 1788–90; preserved in a shared manuscript with the Kaplied. First issued in facsimile in 1909 and later in GA Supplement 1965.
- [WoO 048 - Rondo in C major for Piano](https://www.lvbeethoven.org/woo048/) - Rondo in C major composed in Bonn in 1782–83; first published anonymously in Bossler’s Blumenlese in 1783. Authenticity later confirmed by 19th‑century scholars.
- [WoO 047 – Three Piano Sonatas in E‑flat, F minor and D major](https://www.lvbeethoven.org/woo047/) - Three early piano sonatas composed in Bonn in 1782–83 and dedicated to Elector Maximilian Friedrich; first published by Bossler in Speyer in autumn 1783.
- [WoO 046 – Seven Variations in E‑flat major for Piano and Cello on “Bei Männern, welche Liebe fühlen”](https://www.lvbeethoven.org/woo046/) - Seven variations on Mozart’s “Bei Männern,” composed in Vienna in late 1801 and first published by Mollo on 1 January 1802; autograph preserved in Bonn.
- [WoO 045 – Twelve Variations in G major for Piano and Cello on Handel’s Judas Maccabaeus](https://www.lvbeethoven.org/woo045/) - Twelve variations on “See the conqu’ring hero comes,” composed in 1796 and first published by Artaria in Vienna in 1797; autograph preserved in Vienna.
- [WoO 044b – Andante with Variations in D major for Mandolin and Piano](https://www.lvbeethoven.org/woo044b/) - Andante with variations for mandolin and piano composed in Prague in 1796; autographs in the Kafka and Clam‑Gallas archives. First published posthumously in 1940.
- [WoO 044a – Sonatina (Allegro/Sonatensatz) in C major for Mandolin and Piano](https://www.lvbeethoven.org/woo044a/) - Sonatina in C major for mandolin and piano composed in Prague in 1796; sources include the Fischhof and Kafka manuscripts. First published by Arthur Chitz in 1912.
- [WoO 043b – Adagio in E‑flat major for Mandolin and Piano](https://www.lvbeethoven.org/woo043b/) - Adagio in E‑flat major for mandolin and piano composed in Prague in 1796; preserved in Berlin and Prague autographs. First published in the 1888 GA.
- [WoO 043a – Adagio in C minor for Mandolin and Piano](https://www.lvbeethoven.org/woo043a/) - Adagio in C minor for mandolin and piano composed in Prague in 1796; autograph in the Kafka collection. First published in 1880 in Grove’s Dictionary.
- [WoO 041 – Rondo in G major for Piano with Violin Obbligato](https://www.lvbeethoven.org/woo041/) - Rondo in G major composed 1790–92; autograph lost. Sent to Eleonore von Breuning in 1792 and first published by Simrock in Bonn in early 1808.
- [WoO 040 – Twelve Variations in F major on “Se vuol ballare” for Piano and Violin](https://www.lvbeethoven.org/woo040/) - Twelve variations on Mozart’s “Se vuol ballare,” composed 1792–93 and dedicated to Eleonore von Breuning; first published by Artaria in Vienna in July 1793.
- [WoO 039 – Trio in B-flat major in one movement for piano, violin, and cello](https://www.lvbeethoven.org/woo039/) - One‑movement trio composed in Vienna on 26 June 1812 for Maximiliane Brentano; autograph in Bonn. First published posthumously by Dunst in Frankfurt in 1830.
- [WoO 038 - Trio in E-flat major for Piano, Violin and Cello](https://www.lvbeethoven.org/woo038/) - Trio in E‑flat major composed around 1790–91 in Bonn; first published posthumously by Dunst in 1830. Once linked to the Op. 1 set and confirmed authentic by early witnesses.
- [WoO 037 - Trio in G major for Harpsichord, Flute and Bassoon](https://www.lvbeethoven.org/woo037/) - Trio for harpsichord, flute and bassoon composed in Bonn in 1786; autograph Grasnick 31. First published posthumously in the 1888 GA; authenticity confirmed by later research.
- [WoO 036 – Three Quartets in E‑flat, D and C major for Piano, Violin, Viola and Cello](https://www.lvbeethoven.org/woo036/) - Three youthful quartets dated 1785; autograph in Berlin. First published by Artaria in 1828. Themes later reused in the op. 2 sonatas and early symphonic sketches.
- [WoO 035 – Canon in A major for Two Cellos (for Samson de Boer)](https://www.lvbeethoven.org/woo035/) - Eight‑bar canon composed in Baden on 3 August 1825 for Samson de Boer; autograph in the Warburg collection. First published posthumously in Nohl’s 1867 edition.
- [WoO 034 – Little Piece in A major for Two Violins (for Alexandre‑Jean Boucher)](https://www.lvbeethoven.org/woo034/) - Seven‑bar piece for two violins written on 29 April 1822 for Alexandre‑Jean Boucher; autograph in Paris. First published in facsimile in 1898.
- [WoO 031 Two-part Fugue in D major for organ (fortepiano)](https://www.lvbeethoven.org/woo031/) - Two‑part fugue composed in Bonn around 1783–84; autograph Artaria 124. Long thought a copy, identified as autograph in 1978. First published in the 1888 GA.
- [WoO 030 – Three Equali for Four Trombones](https://www.lvbeethoven.org/woo030/) - Three Equali for four trombones composed in Linz on 2 November 1812; autograph in Berlin. Later arranged for male choir and performed at Beethoven’s funeral.
- [WoO 027 – Three Duets in C, F and B‑flat major for Clarinet and Bassoon](https://www.lvbeethoven.org/woo027/) - Three duets for clarinet and bassoon, likely composed around 1799; early editions by Leduc and André. Authorship debated, with stylistic differences among the pieces.
- [WoO 026 – Duet in G major (Allegro and Minuet) for two Flutes](https://www.lvbeethoven.org/woo026/) - Duet for two flutes composed in Bonn in 1792 for J. M. Degenhardt; autograph in Berlin. First published posthumously in 1901 in Thayer–Riemann’s biography.
- [WoO 029 – March in B‑flat major for Two Clarinets, Two Horns and Two Bassoons](https://www.lvbeethoven.org/woo029/) - March in B‑flat major composed in 1797–1798; autograph and piano version preserved in Berlin. First published posthumously in the 1888 GA; linked to the Fischhof sketches.
- [WoO 028 – Eight Variations in C major on “Là ci darem la mano” for 2 Oboes and English Horn](https://www.lvbeethoven.org/woo028/) - Eight variations on Mozart’s “Là ci darem la mano,” composed around 1795–1797; autograph in Berlin. Linked to the Fischhof sketches and first published in 1914.
- [WoO 025 – Rondino in E‑flat major for Wind Octet](https://www.lvbeethoven.org/woo025/) - Rondino for wind octet composed in 1792 for Elector Maximilian Franz; autograph in Bonn. Published posthumously by Diabelli in 1830 with multiple surviving versions.
- [WoO 024 – March in D Major for Military Band](https://www.lvbeethoven.org/woo024/) - Military march composed in 1816; autograph in Berlin. Expanded for Peters in 1822–23 and first published posthumously in the 1864 GA. Rich scoring for large wind ensemble.
- [WoO 023 – Ecossaise in G major for Piano (after a lost wind original)](https://www.lvbeethoven.org/woo023/) - Ecossaise likely composed around 1810 and first played by Harmoniemusik; original wind score lost. Czerny’s piano version published in 1834 from Sonnleithner’s copy.
- [WoO 021 – Polonaise in D major for Military Orchestra](https://www.lvbeethoven.org/woo021/) - Polonaise for military orchestra composed in Baden in 1810; autograph preserved in Paris. Sketched alongside Egmont and first published posthumously in the 1888 GA.
- [WoO 020 – March in C major for military band](https://www.lvbeethoven.org/woo020/) - Military march in C major, composed around 1809–1810 and later offered to Peters in 1822–23; autograph lost, first published posthumously in the 1888 GA.
- [WoO 018–019 – Two Marches in F major for Military Orchestra](https://www.lvbeethoven.org/woo018_019/) - Two F‑major military marches composed 1809–1810 and later revised with Trios in 1822–23; multiple versions survive across Vienna, Berlin and Tübingen archives.
- [WoO 017 - "Mödlinger Tänze" for 7 or 8 string and wind instruments](https://www.lvbeethoven.org/woo017/) - Eleven dances for small ensemble published by Riemann in 1907 as Beethoven’s; manuscript lost and attribution rejected since Kojima’s 1977 study.
- [WoO 016b – Twelve Waltzes for Small Orchestra](https://www.lvbeethoven.org/woo016b/) - Twelve waltzes published by Werckmeister in 1806; orchestral parts survive in the Haslinger‑Rudolphinische Sammlung. Themes derived from Beethoven’s own works.
- [WoO 016a – Twelve Scottish Dances for Orchestra (Piano Reduction)](https://www.lvbeethoven.org/woo016a/) - Twelve Scottish Dances published by Werckmeister in 1806; orchestral parts lost. Surviving piano reduction shows themes adapted from Beethoven works by a third-party arranger.
- [WoO 015 – Six Ländlers for Two Violins and Bass (Piano Version)](https://www.lvbeethoven.org/woo015/) - Six Ländlers composed in summer 1802 and published by Artaria; original score lost. Survives in parts and piano version, with extensive sketches in the Kessler Sketchbook.
- [WoO 014 – Twelve Contredanses for Two Violins and Bass (with optional winds)](https://www.lvbeethoven.org/woo014/) - Twelve contredanses composed around 1800–1801; Mollo published them in 1802. Autograph shows a different order, with several dances linked to Prometheus and the Eroica theme.
- [WoO 013 – Twelve German Dances for Orchestra (Piano Reduction)](https://www.lvbeethoven.org/woo013/) - Twelve German Dances from around 1800, surviving only in a Berlin piano reduction; first published by Deutsch in 1929 and later edited by Fischer, Schünemann and Hess.
- [WoO 012 – Twelve Minuets for Orchestra](https://www.lvbeethoven.org/woo012-2/) - Riduzione per pianforte: 1903. Paris, Heugel & C Antonietta Cappelli, pianoforte. Twelve orchestral minuets from 1799, surviving only in copyist parts found by Perger; early editions misattributed them to Beethoven, now linked to Kaspar Karl.
- [WoO 011 – Seven Ländlerische Tänze for Two Violins and Bass (Piano Version)](https://www.lvbeethoven.org/woo011/) - Seven short Ländler composed 1796–1799, surviving only in the 1799 Artaria piano version; sketches confirm an original lost scoring for two violins and bass.
- [WoO 010 – Six Minuets for Piano or Two Violins and Bass](https://www.lvbeethoven.org/woo010/) - Six minuets published by Artaria in 1796, likely derived from a lost orchestral set; surviving only in a piano version and later arranged for orchestra.
- [WoO 009 – Six Minuets for Two Violins and Bass](https://www.lvbeethoven.org/woo009/) - Six minuets for two violins and bass, likely from the late 1790s; manuscript lost, surviving in a Berlin copy. Authorship supported by style and a Beethoven pencil note.
- [WoO 008 – Twelve German Dances for Orchestra](https://www.lvbeethoven.org/woo008/) - Twelve German Dances composed in 1795 for Vienna’s artists’ masquerade; manuscript lost, surviving in a Berlin score with varied orchestration for each dance.
- [WoO 007 – Twelve Minuets for Orchestra](https://www.lvbeethoven.org/woo007/) - Twelve orchestral minuets composed for the 1795 Vienna artists’ masquerade ball; manuscript lost, surviving in a revised Berlin copy and first published in the GA.
- [WoO 006 – Rondo in B‑flat major for Piano and Orchestra](https://www.lvbeethoven.org/woo006/) - B‑flat piano‑and‑orchestra rondo published by Diabelli in 1829; autograph found in 1898. Czerny added cadenzas, later clarified by Mandyczewsky and Hess.
- [WoO 005 – First Unfinished Movement of a Violin Concerto in C major](https://www.lvbeethoven.org/woo005/) - Unfinished C‑major violin concerto movement (259 bars, 1790–1792); preserved in Vienna and later completed by Hellmesberger, Manén, Fischer, and Diem Tigani.
- [WoO 004 – Concerto in E‑flat major for Piano and Orchestra (1784)](https://www.lvbeethoven.org/woo004/) - Early 1784 E‑flat piano concerto surviving only in a non‑autograph piano copy; reconstructed by Willy Hess and later revised by Roberto Diem Tigani.
- [WoO 003 – “Gratulations-Menuet” in E‑flat major for Orchestra](https://www.lvbeethoven.org/woo003/) - E‑flat orchestral minuet composed in late 1822 for Hensler’s name‑day serenade; first published by Artaria in 1832 and later in full score in the GA.
- [WoO 002b – Introduction to Act II (“Introduzione del II atto”) in D major](https://www.lvbeethoven.org/woo002b/) - Short D‑major introduction titled “Introduzione del II atto,” once linked to Tarpeia but now often associated with Fidelio; surviving autograph heavily corrected.
- [WoO 002a – Triumphal March for Kuffner’s tragedy “Tarpeia”](https://www.lvbeethoven.org/woo002a/) - C‑major triumphal march composed for Kuffner’s tragedy Tarpeia, premiered in Vienna in March 1813; published by Haslinger in 1840 and later in the GA.
- [WoO 001 - Musik zu einem Ritterballet for Orchestra](https://www.lvbeethoven.org/woo001/) - Orchestral music for Count Waldstein’s 1791 Ritterballet, eight movements in D major; early Bonn work with complex manuscript history and later misattributions.
- [Hess 335 – Second Exercise for Archduke Rudolph (Lost?)](https://www.lvbeethoven.org/hess335/) - Beethoven’s lost 1820 exercise for Archduke Rudolph, linked by Czerny to “Gedenke mein” WoO 130; debated by Thayer, Cooper, and Croll.
- [Hess 334 – Allegro in A major (Grasnick 2 Sketchbook)](https://www.lvbeethoven.org/hess334/) - Sixteen‑bar Allegro in A major from the Grasnick 2 Sketchbook, published in the 1846 Beethoven Album; a concise, energetic fragment with marked staccato and sf accents.
- [Hess 333 – Minuet–Scherzo in A major (Grasnick 2 Sketchbook)](https://www.lvbeethoven.org/hess333/) - Ten‑bar Minuet–Scherzo in A major from the Grasnick 2 Sketchbook, published in the 1846 Beethoven Album; a fragment built on a repeating two‑bar cell.
- [Hess 332 – “Pastorella” in D major (Grasnick 2 Sketchbook)](https://www.lvbeethoven.org/hess332/) - Short D‑major “Pastorella” from the Grasnick 2 Sketchbook (c. 1801), linked to Beethoven’s Op. 18 period and preserved in the 1846 Beethoven Album.
- [Hess 331 – Minuet in B‑flat major (with Trio) from the Grasnick 2 Sketchbook](https://www.lvbeethoven.org/hess331/) - Sixteen‑bar B‑flat minuet from the Grasnick 2 Sketchbook, published in the 1846 Beethoven Album, with an 8+4‑bar Trio noted by Virneisel and Zimmer.
- [Hess 330 – March-like movement in C minor (Eroica Sketchbook)](https://www.lvbeethoven.org/hess330/) - March-like C‑minor draft from the Eroica Sketchbook (1803), two 10‑bar attempts with parallel structure; cited by Nottebohm and discussed by Green and Holsbergen.
- [Hess 329 – Beginning of a polyphonic composition “Tibi gratulor”](https://www.lvbeethoven.org/hess329/) - Five‑bar polyphonic sketch in C major from the Eroica Sketchbook, setting a Cicero letter excerpt; cited briefly by Nottebohm.
- [Hess 327 – Two small melodies in A minor (Eroica Sketchbook)](https://www.lvbeethoven.org/hess327/) - Two short A‑minor melodies from the Eroica Sketchbook (1803), folk‑like in character and noted by Nottebohm among Beethoven’s opera sketches.
- [Hess 326 – Short piece in the style of a four‑voice fugue in C major](https://www.lvbeethoven.org/hess326/) - Incomplete four‑voice fugue from the Wielhorsky Sketchbook (1803), with a 17‑bar exposition, abrupt ending, and a reconstructed middle section by Holsbergen.
- [Hess 325 – Piece in D major (harmonic study from the Wielhorsky Sketchbook)](https://www.lvbeethoven.org/hess325/) - Seventeen‑bar harmonic study from the 1803 Wielhorsky Sketchbook, exploring augmented triads, chromatic bass motion, and tonal ambiguity between D major and B minor.
- [Hess 324 – Melody in C minor with piano accompaniment](https://www.lvbeethoven.org/hess324/) - Eight‑bar C‑minor sketch from the Wielhorsky Sketchbook (1802), with hurried notation and characteristic rhythmic and accidental ambiguities.
- [Hess 321 – Small instrumental melody in B‑flat major (12‑bar sketch)](https://www.lvbeethoven.org/hess321/) - Twelve‑bar instrumental melody from the Kafka Sketchbook, pre‑1800; noted by Nottebohm for a rhythmic slip in the final measures.
- [Hess 320 – Andante in G major for string quartet (from an unfinished quintet)](https://www.lvbeethoven.org/hess320/) - Andante in G major cited by Cobbett as drawn from sketches of an unfinished quintet, likely before 1815; its identity remains unresolved.
- [Hess 318–319 – Two unidentified string quintets](https://www.lvbeethoven.org/hess318_319/) - Two unidentified string quintets cited by Cobbett and in Beethoven’s 1805 letter to Artaria; their identity and survival remain uncertain.
- [Hess 314 – Funeral cantata for George Cressener (lost)](https://www.lvbeethoven.org/hess314/) - Lost funeral cantata allegedly composed in Bonn in 1781 for the death of English envoy George Cressener; known only from a doubtful 19th‑century account.
- [Hess 312 – “Singen ist des Lebens Freude” (Canon for four voices)](https://www.lvbeethoven.org/hess312/) - Four‑voice canon linked to Fischer’s Der Liederbote, pairing Beethoven’s WoO 160/2 with later lyrics; first printed by Seyfried in 1832.
- [Hess 310 – Prelude for organ in C major (spurious; after Op. 39)](https://www.lvbeethoven.org/hess310/) - Organ prelude once attributed to Beethoven, actually a revised excerpt from Op. 39 published by Paul Homeyer around 1900 in Kleine Praeludien.
- [Hess 308/309 – Two canons allegedly written for Friedrich Kuhlau](https://www.lvbeethoven.org/hess308_309/) - Two canons said to be written for Kuhlau, known only from an 1837 anecdote reported by Lenz and lacking any surviving manuscript evidence.
- [Hess 306 – “Wie Silber”, lost or possibly nonexistent canon](https://www.lvbeethoven.org/hess306/) - Lost or possibly nonexistent canon linked to the Giannatasio del Rio family, cited by Leitzmann and Misch and possibly identical with WoO 168.
- [Hess 304 – “Ich blase das Fagott”, sketch for a humorous canon](https://www.lvbeethoven.org/hess304/) - Humorous canon sketch from Artaria 205, published by Schünemann in 1937; text and music are fragmentary, with later reconstruction by Holsbergen.
- [Hess 302 – Sketch on “Uns geht es kannibalisch wohl als wie fünfhundert Säuen”](https://www.lvbeethoven.org/hess302/) - Five‑bar sketch on Goethe’s Faust verse, preserved in Berlin Autograph 9; long debated as a possible canon with multiple scholarly reconstructions.
- [Hess 301 – Sketch of the canon “Es ist kein Wahn” for Friedrich Wähner](https://www.lvbeethoven.org/hess301/) - Fragmentary canon sketch for Friedrich Wähner from the 1819–20 sketchbook, published by Schmidt-Görg and noted for its linguistic wordplay.
- [Hess 299 – Musical scherzo on the words “Bester Magistrat” (sketch)](https://www.lvbeethoven.org/hess299/) - Sketch for a humorous musical scherzo on the words “Bester Magistrat,” preserved in the Wielhorsky Sketchbook and first published by Hess.
- [Hess 297 – Adagio in E‑flat major for three horns](https://www.lvbeethoven.org/hess297/) - Ten‑bar Adagio for three horns from the Artaria Sketchbook 153, first printed in 1938 and later revised by Hess, with notable pedagogical features.
- [Hess 296 – Short violin cadenza for Léon de Saint Lubin (lost)](https://www.lvbeethoven.org/hess296/) - Lost short violin cadenza Beethoven wrote for Léon de Saint Lubin in 1822, once held in Vienna and missing since a 1948 inventory.
- [Hess 274 – Canon for 2 voices in G major, copy after Johann Mattheson](https://www.lvbeethoven.org/hess274/) - Two‑voice canon in G major copied by Beethoven from Mattheson’s treatise, preserved in the Wielhorsky Sketchbook and later misattributed to him.
- [Hess 245 – Fugue in D minor for string quartet (fragment)](https://www.lvbeethoven.org/hess245/) - Fragment of a D‑minor fugue for string quartet from Beethoven’s studies with Albrechtsberger, preserved in Bonn manuscripts and noted by Nottebohm.
- [Hess 264 – “Te solo adoro”, canon for two voices in E‑flat major (8 bars)](https://www.lvbeethoven.org/hess264/) - Canon in E‑flat major from sketches in the Ninth Symphony trombone part, preserved in the Bodmer Collection and published by Hess in 1962.
- [Hess 254 – “Hol dich der Teufel!” Canon fragment in G major for Ignaz Schuppanzigh](https://www.lvbeethoven.org/hess254/) - Humorous G‑major canon fragment for Schuppanzigh, preserved in Bonn manuscripts and first published in 1930 with later scholarly commentary.
- [Hess 246 – Double fugue in F major on “Kyrie” and “Christe” (fragment)](https://www.lvbeethoven.org/hess246/) - Fragment of a double fugue on “Kyrie” and “Christe,” likely from Beethoven’s studies with Albrechtsberger, preserved in the Bonn Bodmer Collection.
- [Hess 244 – Two triple fugues for four voices](https://www.lvbeethoven.org/hess244/) - Two four‑voice triple fugues linked to Albrechtsberger’s teaching, preserved in Viennese manuscripts and documented by Nottebohm and Ronge.
- [Hess 243 – Six double fugue exercises for four voices](https://www.lvbeethoven.org/hess243/) - Six double fugue exercises for four voices, linked to Albrechtsberger’s themes and preserved in Viennese manuscripts documented by Nottebohm and Ronge.
- [Hess 242 – Exercises in double counterpoint at the twelfth](https://www.lvbeethoven.org/hess242/) - Beethoven’s exercises in double counterpoint at the twelfth, preserved in Viennese manuscripts and documented by Nottebohm, Seyfried and Ronge.
- [Hess 241 – 24 exercises in double counterpoint at the tenth](https://www.lvbeethoven.org/hess241/) - Beethoven’s 24 exercises in double counterpoint at the tenth, preserved in Viennese manuscripts and documented by Nottebohm and Ronge.
- [Hess 240 – Double counterpoint in octaves with Albrechtsberger](https://www.lvbeethoven.org/hess240/) - Beethoven’s studies in double counterpoint in octaves under Albrechtsberger, preserved in Viennese manuscripts and documented by Nottebohm and Ronge.
- [Hess 239 – Fugues on 30 themes given by Albrechtsberger](https://www.lvbeethoven.org/hess239/) - Three fugues on Albrechtsberger’s 30 themes, preserved in Viennese manuscripts and documented by Nottebohm, Ronge and Seyfried.
- [Hess 238 – Nine fugues on 30 themes given by Albrechtsberger](https://www.lvbeethoven.org/hess238/) - Nine fugues on Albrechtsberger’s 30 themes, preserved in Viennese manuscripts and documented by Nottebohm, Seyfried and Ronge.
- [Hess 237 – Fugues on 30 themes given by Albrechtsberger](https://www.lvbeethoven.org/hess237/) - Beethoven’s fugues on 30 themes assigned by Albrechtsberger, preserved in Viennese manuscripts and documented by Nottebohm and Ronge.
- [Hess 236 – Two‑part fugues on 30 themes given by Albrechtsberger](https://www.lvbeethoven.org/hess236/) - Beethoven’s two‑part fugues on 30 themes assigned by Albrechtsberger, preserved in Viennese manuscripts and documented by Nottebohm and Ronge.
- [Hess 235 – 26 counterpoint exercises on a single cantus firmus](https://www.lvbeethoven.org/hess235/) - A set of 26 counterpoint exercises on one cantus firmus, documented by Nottebohm and Seyfried, showing Beethoven’s study of free and strict styles.
- [Hess 234 – About 125 counterpoint exercises in the rigorous style](https://www.lvbeethoven.org/hess234/) - A large set of Beethoven’s strict-style counterpoint exercises, preserved in Viennese manuscripts and documented by Ronge, Nottebohm and Seyfried.
- [Hess 233 – Counterpoint and composition exercises with Haydn (1792–1793)](https://www.lvbeethoven.org/hess233/) - A comprehensive collection of Beethoven’s counterpoint and composition exercises studied under Joseph Haydn during his early Viennese years. The page outlines manuscript sources, later editions, Nottebohm’s classifications, and the pedagogical context of these foundational studies.
- [Hess 229 – Languisco e moro, melodic motif for soprano and bass (1802–1803)](https://www.lvbeethoven.org/hess229/) - Melodic motif and brief contrapuntal study linked to Beethoven’s work around 1802–1803, preserved in the Wielhorsky Sketchbook. The page outlines manuscript sources, vocal scoring, and the uncertain textual attribution.
- [Hess 196 – From the Twenty Irish Folksongs, No. 12.](https://www.lvbeethoven.org/hess196new/) - Beethoven’s arrangement from the cycle “Irish Folk Songs”. Critical notes, sources, historical context, and research materials for studying Hess 196.
- [Hess 196 – From the 20 Irish Folk Songs, No. 12, Early Version](https://www.lvbeethoven.org/hess196/) - Hess 196 – Beethoven’s early 1810 version of the Irish folksong “I’ll Praise the Saints,” preserved in Autograph 29 III and Copy 29 IV; first draft later replaced by WoO 153 No. 12.
- [Hess 195 – From the 20 Irish Folk Songs, No. 11.](https://www.lvbeethoven.org/hess195/) - Hess 195 – Beethoven’s alternative setting of the Irish folksong “When Far from the Home,” composed in February 1813 and sent to Thomson alongside the other version of WoO 153 No. 11.
- [Hess Catalogue – Beethoven Works Outside the Official Numbering](https://www.lvbeethoven.org/hess/) - Explore the Hess catalogue: authentic Beethoven works outside the official numbering, including fragments, alternative versions, and rediscovered compositions.
- [Hess 207 – “Bolero a due,” a Spanish Folk Song (Early Version of WoO 158)](https://www.lvbeethoven.org/hess207/) - Hess 207 – Beethoven’s early version of the Spanish “Bolero a due,” linked to WoO 158 Group 1; reconstructed from two autograph halves reunited in Bonn, with Schindler’s annotations and complex provenance.
- [Hess 206 – From the 26 Welsh Folk Songs, No. 20 (“To the Blackbird”), Early Version](https://www.lvbeethoven.org/hess206/) - Hess 206 – Beethoven’s early 1810 version of the Welsh folksong “To the Blackbird,” preserved in Copy 29 IV and in Autograph Artaria 187 from bar 18 onward; precursor to WoO 155 No. 20.
- [Hess 205 – From the 26 Welsh Folk Songs, No. 14 (Finale Fragment for Piano Trio)](https://www.lvbeethoven.org/hess205/) - BHess 205 – Beethoven’s finale fragment for an unknown elaboration of the Welsh folksong No. 14, preserved in Paris Conservatoire Ms. 102; later identified as an abandoned coda of WoO 155 No. 14 and published in SBG XIV.
- [Hess 204 – From the 26 Welsh Folk Songs, no. 11. Autograph: Artaria 187.](https://www.lvbeethoven.org/hess204/) - Beethoven Hess 203, 25 Scottish Folk Songs, Faithfu’ Johnie, Anne Grant text, early version July 1810, Op. 108 No. 20 precursor, Copy 29 IV fols. 96v–99r, Bonn copy S.186–190, Hess XIV p.XIX, Beethoven folk song variants, Research Becomes Art
- [Hess 203 – From the 25 Scottish Folk Songs, No. 20.](https://www.lvbeethoven.org/hess203/) - Hess 202 – Beethoven’s early version of the Scottish folksong Op. 108 No. 11, preserved in Autograph 29 II and Copies 29 I and 29 V; essentially identical to the published version but in F major.
- [Hess 202 – From the 25 Scottish Folk Songs, No. 11.](https://www.lvbeethoven.org/hess202/) - Hess 202 – Beethoven’s early version of the Scottish folksong Op. 108 No. 11, preserved in Autograph 29 II and Copies 29 I and 29 V; essentially identical to the published version but in F major.
- [Hess 201 -  From the 25 Scottish Folksongs, No. 7.](https://www.lvbeethoven.org/hess201/) - Hess 201 – Beethoven’s two early violin-part versions for the Scottish song “Bonnie Laddie, Highland Laddie,” preserved in Autograph 29 V and preceding the final Op. 108 No. 7 string writing.
- [Hess 200 – From the 25 Scottish Folk Songs, No. 4.](https://www.lvbeethoven.org/hess200/) - Hess 200 – Beethoven’s early string-part versions for the Scottish song “The Maid of Isla,” preceding Op. 108 No. 4; preserved in Copies 29 I and 29 V and noted by Schindler and Zimmer.
- [Hess 199 – From the 12 Irish Folk Songs, No. 11.](https://www.lvbeethoven.org/hess199/) - Hess 199 – Beethoven’s autograph version of the Irish folksong WoO 154 No. 11, preserved in Artaria 190; it differs only slightly from the published edition and was later removed from the Hess catalogue.
- [Hess 198 – From the 12 Irish Folk Songs, No. 9.](https://www.lvbeethoven.org/hess198/) - Hess 198 – Beethoven’s first version of the Irish folksong “Oh, Would I Were,” preserved in Paris Conservatoire Ms. 24 No. 2 and replaced by WoO 154 No. 9; composed in February 1812.
- [Hess 197 – From the 20 Irish Folk Songs, no. 15.](https://www.lvbeethoven.org/hess197/) - Hess 197 – Beethoven’s early 1810 version of the Irish folksong “’Tis but in Vain,” replaced by WoO 153 No. 15; preserved in Copy 29 IV and noted for its simpler texture and brighter piano writing.
- [Hess 194 – From the 20 Irish Folk Songs, No. 5](https://www.lvbeethoven.org/hess194/) - Hess 194 – Beethoven’s early version of the Irish folksong “I Dream’d I Lay Where the Flowers Were,” preserved in Paris Conservatoire Ms. 24 No. 6 and superseded by WoO 153 No. 5 (July 1810).
- [Hess 193 – From the 25 Irish Folk Songs, No. 20 (Abandoned Coda)](https://www.lvbeethoven.org/hess193/) - Hess 193 – Beethoven’s abandoned coda for the Irish folksong WoO 152 No. 20 “I Farewell Bliss,” preserved in Artaria 187 and published by Hess in SBG XIV (1971).
- [Hess 191 – Finale of an Unknown Piece for Voice and Piano; 9 Bars in G minor](https://www.lvbeethoven.org/hess191/) - Hess 191 – Beethoven’s complete melody of the Welsh folk song “The Vale of Clwyd,” preserved in Berlin Autograph 29 I and published by Hess in SBG 14/56, though with several alterations.
- [Hess 192 – From the 20 Irish Folk Songs, No. 5 (“On the Massacre of Glencoe”)](https://www.lvbeethoven.org/hess192/) - Hess 192 – Beethoven’s replacement version of the Irish folksong WoO 152 No. 5 “On the Massacre of Glencoe,” copied from manuscript 29/IV (pp. 126r–127v) with Walter Scott’s full poetic text.
- [Hess 190 – Unknown Irish Song; Piano Arrangement](https://www.lvbeethoven.org/hess190/) - Hess 190 – Beethoven’s mysterious Irish song in F major, later removed from the Hess catalogue; preserved in SBB Aut. 29 I, fol. 13, and linked to WoO 155/21 through Schindler’s attribution.
- [Hess 147 – Der Kuss, Op. 128, First Version (Fragment – Paris Bibliothèque Nationale de France)](https://www.lvbeethoven.org/hess147/) - Hess 147 – Beethoven’s first version of Der Kuss, Op. 128 (1798), surviving as a fragment cited by Nottebohm and described by Max Unger from the former Paris Conservatoire manuscript Beethoven Ms. 33.
- [Hess 146 – Opferlied; Second Version on a Text by Friedrich von Matthisson](https://www.lvbeethoven.org/hess146/) - Hess 146 – Beethoven’s second version of Opferlied on Matthisson’s text, preserved in the Berlin autograph (Mus. ms. autogr. Beethoven 7) and published in SBG V (1962) as an early Lied variant.
- [Hess 145 – Opferlied; First Original Version on a Text by Friedrich von Matthisson](https://www.lvbeethoven.org/hess145/) - Hess 145 – Beethoven’s first original version of Opferlied on Matthisson’s text, once in the lost Grasnick 8 autograph and sketched in the Kafka Sketchbook (1793–1794), later published in full in SBG V (1962).
- [Hess 144 – Feuerfarb’, first version of Op. 52 No. 2](https://www.lvbeethoven.org/hess144/) - Hess 144 – Beethoven’s first version of Feuerfarb’, preserved in Autograph 11 (GdM Vienna). The draft reveals two early stages before the final Op. 52 No. 2, with the accompaniment entirely rewritten.
- [Hess 143 – An die Freude, song for voice and piano (?)](https://www.lvbeethoven.org/hess143/) - Hess 143 – Beethoven’s lost setting of Schiller’s An die Freude, referenced in 1793 and again in 1803, with sketches from 1798–99 suggesting the possible existence of two early versions.
- [Hess 142 – Wonne der Wehmut, First Version of Op. 83 No. 1](https://www.lvbeethoven.org/hess142/) - Hess 142 – Beethoven’s 1810 first version of Wonne der Wehmut, preserved in the Goethe and Schiller Archive, differing from the final Op. 83 No. 1 in instrumental details.
- [Hess 141 – Bußlied; alternative version of Op. 48 no. 6](https://www.lvbeethoven.org/hess141/) - Hess 141 – Beethoven’s 1803 alternative version of Bußlied, Op. 48 No. 6, preserved in the Bodmer autograph (SBH 536) and published in Supplemente zur GA V (1962).
- [Hess 140 – “Dimmi, ben mio, che m’ami”; a later version of Op. 82 no. 1.](https://www.lvbeethoven.org/hess140/) - Hess 140 – Beethoven’s later version of “Dimmi, ben mio, che m’ami,” described by Max Unger (1938) and preserved in the Paris Conservatoire autograph, differing mainly in the accompaniment.
- [Hess 139 – “Minnesold von Bürger, in Tönen an Amenda ausbezahlt von Beethoven”](https://www.lvbeethoven.org/hess139/) - Hess 139 – Beethoven’s lost Lied “Minnesold,” likely composed around 1798 on a poem by Gottfried A. Bürger and sent to Karl Amenda, whose son forwarded the autograph in 1852.
- [Hess 137 – “Ich wiege dich in meinem Arm”, Lost Lied for Voice and Piano](https://www.lvbeethoven.org/hess137/) - Hess 137 – Beethoven’s lost Lied “Ich wiege dich in meinem Arm,” known only from an 1822 price list and rediscovered in 2013 through text and sketch identification by Zimmer and Holsbergen.
- [Hess 136 – “Herz, mein Herz, was soll das geben?”, a song on the text of Goethe’s Neue Liebe, neues Leben.](https://www.lvbeethoven.org/hess136/) - Hess 136 – Beethoven’s 1798–1799 early setting of Goethe’s “Herz, mein Herz, was soll das geben?”, first published by Simrock in 1808 and later in SBG V (1962).
- [Hess 122 – First version, in C minor, of the same aria as in the previous number.](https://www.lvbeethoven.org/hess122/) - Hess 122 – Beethoven’s first C‑minor version of Marzelline’s aria, published by Hess in 1956 and SBG II (1960), an autonomous concert aria unrelated to any Fidelio version.
- [Hess 121 – Marzelline’s Aria “O wär ich schon mit dir vereint”, in C major, First Absolute Version](https://www.lvbeethoven.org/hess121/) - Hess 121 – Beethoven’s earliest version of Marzelline’s aria “O wär ich schon mit dir vereint,” preserved in Autograph 26 and published in SBG II (1960) with the original German text.
- [Hess 118 – Die Weihe des Hauses: Overture and Incidental Music (1822)](https://www.lvbeethoven.org/hess118/) - Hess 118 – Beethoven’s 1822 incidental music for Die Weihe des Hauses, reworking The Ruins of Athens with new numbers and revisions for the reopening of Vienna’s Josephstadt Theatre.
- [Hess 117 – Music for Christoph Kuffner’s Tragedy “Tarpeja”](https://www.lvbeethoven.org/hess117/) - Hess 117 – Beethoven’s surviving music for Kuffner’s tragedy Tarpeja, including the Triumphal March WoO 2a and the debated “Introduction to the Second Act,” long misattributed and reassessed by modern scholarship.
- [Hess 116 – Vocal Part of the Ritterballet](https://www.lvbeethoven.org/hess116/) - Hess 116 – Fragmentary evidence of lost vocal numbers from Beethoven’s Ritterballet, including a Minnelied and a couplet reported by Riemann and Speyer, though no manuscript survives.
- [Hess 114 - Dresden addition to the second finale of the 1814 version of Fidelio.](https://www.lvbeethoven.org/hess114/) - Hess 114 – Beethoven’s restored nine-bar addition for the 1823 Dresden performances of Fidelio, reintroducing Fernando’s recitative cut from the 1814 version and preserved in the Dresden copy.
- [Hess 113 – Marzelline’s Aria, with the shortened 1814 finale.](https://www.lvbeethoven.org/hess113/) - Hess 113 – Beethoven’s 1814 revision of Marzelline’s aria, preserved in Autograph 26 (Berlin), featuring a radically shortened finale later published by Hess in SBG XIII (1970).
- [Hess 110 – Fidelio (Leonora), Second Version in Two Acts, Op. 72/2 (1806)](https://www.lvbeethoven.org/hess110/) - Hess 110 – Beethoven’s 1806 second version of Fidelio (Leonora), revised with Breuning and Collin, premiered at the Theater an der Wien and preserved through Berlin and Leipzig sources.
- [Hess 112 – Rocco’s Aria (1806 Version)](https://www.lvbeethoven.org/hess112/) - Hess 112 – Beethoven’s 1806 version of Rocco’s aria, preserved in Autograph 26 (Berlin), with revised text by Breuning and orchestral changes compared to the 1805 version.
- [Hess 111 – Duet “Nur hurtig fort, nur frisch gegraben” (First Draft)](https://www.lvbeethoven.org/hess111/) - Hess 111 – Beethoven’s discarded first draft of the duet “Nur hurtig fort, nur frisch gegraben,” preserved in Autograph 6 (Berlin) and published posthumously in SBG XII (1967).
- [Hess 109 Fidelio (Leonora), opera in three acts (first version) op. 72/1](https://www.lvbeethoven.org/hess109/) - Beethoven Hess 108, Wellington’s Victory Op. 91, Schlacht bei Vittoria, Mälzel Panharmonicon, 1816 piano version, Leipzig manuscript, S.A. Steiner Vienna, Beethoven battle music, patriotic works, Research Becomes Art
- [Hess 108 – Wellington’s Victory, Op. 91: Piano Version (1816)](https://www.lvbeethoven.org/hess108/) - Riedizione della pagina. Hess 108 – Beethoven’s piano version of Wellington’s Victory, Op. 91, from the orchestral score associated with Mälzel’s Panharmonicon.
- [Hess 107 – March in F major for mechanical clock: “Grenadiermarsch”](https://www.lvbeethoven.org/hess107/) - Hess 107 – Beethoven’s “Grenadiermarsch” for mechanical clock, reconstructed from Flötenuhr roll No. 7 and published by Kinsky (1927) and later by Hess in Supplemente VII (1963).
- [Hess 102 – Nine Contredanses for Piano (1800–1802)](https://www.lvbeethoven.org/hess102/) - Antonietta Cappelli, pianoforte. Hess 102 – Beethoven’s piano reductions of nine Contredanses from WoO 14, based on the Artaria 140 manuscript and partly published by Mollo in 1802; the complete set appeared in Hess’s SBG VIII (1964).
- [Hess 101 – Twelve Minuets for Piano (1795)](https://www.lvbeethoven.org/hess101/) - Riedizione della pagina. Hess 101 – Beethoven’s 1795 piano version of the Twelve Minuets WoO 7, published by Artaria and later included in SBG VIII, offering the composer’s own keyboard adaptation of the orchestral originals.
- [Hess 100 – Twelve German Dances for Piano (1795)](https://www.lvbeethoven.org/hess100/) - Riedizione della pagina. Hess 100 – Beethoven’s 1795 piano version of the Twelve German Dances WoO 8, published by Artaria and later included in SBG VIII, offering the composer’s own keyboard adaptation of the orchestral originals.
- [Hess 099 – March in F Major for Piano – ca. 1809](https://www.lvbeethoven.org/hess099/) - Hess 99 – Beethoven’s ca. 1809 two‑hand piano transcription of the March WoO 18, preserved in the Paris Conservatory manuscript and published by Reinecke and later in SBG VIII (1964).
- [Hess 98 – Scherzo for Piano (Unfinished), from the Trio Op. 1 No. 2](https://www.lvbeethoven.org/hess098/) - Hess 98 – Beethoven’s unfinished solo‑piano version of the Scherzo from the Trio Op. 1 No. 2, preserved in the Kafka Sketchbook and published by Hess in SBG VIII (1964).
- [Hess 97 – Wellington’s Victory or The Battle of Vitoria, Op. 91, Piano Version with Two Cannons](https://www.lvbeethoven.org/hess097/) - Hess 97 – Beethoven’s 1816 piano adaptation of Wellington’s Victory, Op. 91, originally linked to Maelzel’s panharmonicon and inspired by the 1813 Battle of Vitoria, with full historical and musical context.
- [Hess 96 – Piano Transcription of the Opening 46 Measures of Symphony No. 7, Op. 92](https://www.lvbeethoven.org/hess096/) - Hess 96 – Beethoven’s unpublished piano transcription of the first 46 bars of Symphony No. 7, Op. 92, preserved in the Paris Conservatory autograph and first fully edited by Mark Zimmer.
- [Hess 95 – Piano Version in F Major of Clärchen’s Lied No. 4 from Egmont, Op. 84](https://www.lvbeethoven.org/hess095/) - Hess 95 – An F‑major piano transcription of Clärchen’s Lied No. 4 from Beethoven’s Egmont, preserved in the incomplete Berlin autograph; omitted by Hess but later published in Henle’s 1990 edition.
- [Hess 94 – Piano Version in G Major of Clärchen’s Lied No. 4 from Egmont, Op. 84 (1810)](https://www.lvbeethoven.org/hess094/) - Hess 94 – A G‑major piano version of Clärchen’s Lied No. 4 from Beethoven’s Egmont, preserved in the incomplete Berlin autograph; omitted by Hess but later published in Henle’s 1990 edition.
- [Hess 093 – Simplified Piano Version in A Major of “Freudvoll”](https://www.lvbeethoven.org/hess093/) - Hess 93 – Simplified piano transcription of “Freudvoll und Leidvoll” from Egmont, preserved in the dispersed Koch collection and published by Max Unger and Willy Hess.
- [Hess 92 – Bundeslied Op. 122, Arrangement for Soloists, Three-Part Choir, and Piano](https://www.lvbeethoven.org/hess092/) - Hess 92 – Beethoven’s authenticated 1825 piano reduction of the Bundeslied Op. 122, arranged for soloists and three-part choir, preserved in Berlin and published by Schott and later in SBG V.
- [Hess 91 – Opferlied Op. 121b, Piano-Vocal Reduction (1825)](https://www.lvbeethoven.org/hess091/) - Hess 91 – Beethoven’s 1825 piano‑vocal reduction of Opferlied Op. 121b, based on the final orchestral version and preserved in the Berlin autograph, formerly in the Petter and Landsberg collections.
- [Hess 90 – Piano Reduction of the Ballet Die Geschöpfe des Prometheus, Op. 43](https://www.lvbeethoven.org/hess090/) - Hess 90 – Beethoven’s 1801 piano reduction of the ballet Die Geschöpfe des Prometheus, attributed by Czerny and preserved in the Beethoven-Haus (SBH 747), with full publication history.
- [Hess 089 – Musik zur ein Ritterballet, piano reduction](https://www.lvbeethoven.org/hess089/) - Hess 89 – Beethoven’s 1790–1791 piano reduction of the Ritterballett, preserved in the Beethoven-Haus, with complex publication history, lost vocal parts, and multiple facsimile sources.
- [Hess 87 – March for Six Wind Instruments, Piano Transcription (WoO 29)](https://www.lvbeethoven.org/hess087/) - Hess 87 – Beethoven’s piano transcription of the March WoO 29, preserved in the Grasnick 25 autograph, with two parallel versions (87A and 87B) revealing distinct pianistic treatments.
- [Hess 85 – Alternate Cadenza for the Rondo of the Piano Version of the Violin Concerto Op. 61](https://www.lvbeethoven.org/hess085/) - Hess 85 – A 15‑bar alternate cadenza for the Rondo of Beethoven’s 1806 piano version of the Violin Concerto Op. 61, preserved in the Berlin “Fischhof” autograph and published in SBG X.
- [Hess 84 – Cadential Passage for the Rondo of the Piano Version of the Violin Concerto Op. 61](https://www.lvbeethoven.org/hess084/) - Hess 84 – A cadential passage for the second soloist entry in the Rondo of Beethoven’s 1806 piano version of the Violin Concerto Op. 61, preserved in the Bodmer Collection as SBH 547.
- [Hess 83 – Six-Bar Cadenza for the Rondo of the Piano Concerto No. 4 in G Major, Op. 58](https://www.lvbeethoven.org/hess083/) - Hess 83 – A brief six‑bar 1809 cadenza for the Rondo of Beethoven’s Op. 58, preserved in the Bodmer Collection (Mh 18, now SBH 542) and published in SBG X and NGA VII.
- [Hess 82 – Unmeasured cadential passage for the Rondo of the Piano Concerto No. 4 in G major, Op. 58.](https://www.lvbeethoven.org/hess082/) - Hess 82 – An unmeasured cadential passage for the Rondo of Beethoven’s Op. 58, composed around 1809 and preserved in the Bodmer Collection as SBH 541.
- [Hess 081 - Cadenza for the first movement of the Piano Concerto No. 4 in G major](https://www.lvbeethoven.org/hess081/) - Hess 81 – A 12‑bar 1809 cadenza for Beethoven’s Piano Concerto No. 4, preserved in the Bodmer Collection (SBH 540) and published in SBG X and NGA VII.
- [Hess 080 - Cadenza for the first movement of the Piano Concerto in C minor Opus 37](https://www.lvbeethoven.org/hess080/) - Hess 80 – A 145‑bar cadenza for Beethoven’s Op. 37, long attributed to Beethoven but identified by Hess and Biamonti as a work of Sigismund Thalberg, with provenance still debated.
- [Hess 79 – Unknown Cadenza for the Early Version of the Piano Concerto in B-flat Major, Op. 19](https://www.lvbeethoven.org/hess079/) - Hess 79 – An early cadenza for Beethoven’s Op. 19, preserved through sketches in the Kafka Sketchbook and Paris sources, revealing the evolving structure of the young composer’s concerto style.
- [Hess 077 - Hess 078 - Two Cadenzas for Beethoven’s Piano Concerto in C Major, Op. 15](https://www.lvbeethoven.org/hess077_078/) - Hess 77 – A circa‑1790 sketch for a first‑movement cadenza to Beethoven’s Op. 15, blending Mozartian elegance with early Beethovenian assertiveness and emerging improvisatory style.
- [Hess 076 – Sketch of an Unknown Cadenza for the Piano Concerto in C Major, Op. 15](https://www.lvbeethoven.org/hess076/) - Hess 76 – An incomplete sketch for an unknown cadenza to Beethoven’s Piano Concerto in C major, Op. 15, revealing exploratory ideas and early approaches to virtuosic cadential writing.
- [Hess 072 – Theme with the Beginning of a Variation for Piano (Eroica Sketchbook)](https://www.lvbeethoven.org/hess072/) - Hess 72 – A theme with the opening of a piano variation from the 1803 Eroica sketchbook, revealing Beethoven’s early ideas and later editorial history from Hess to modern editions.
- [Hess 071 – Molto Adagio in G Major (Eroica Sketchbook Fragment)](https://www.lvbeethoven.org/hess071/) - Hess 71 – An eleven‑bar Molto adagio fragment in G major from the Eroica sketchbook, showing Beethoven’s interrupted ternary design and the circle‑X sign indicating continuation.
- [Hess 070 – Adagio in G Major (Eroica Sketchbook Fragment)](https://www.lvbeethoven.org/hess070/) - Hess 70 – A seven-bar Adagio fragment in G major from the Eroica sketchbook, offering a brief glimpse into Beethoven’s 1803 creative process and related vocal sketches.
- [Hess 067 – Sketches for Two German Dances in F Major and F Minor for Piano](https://www.lvbeethoven.org/hess067/) - Hess 067 preserves two virtually performable sketches for German Dances in F major and F minor, composed around 1811–1812 and transmitted in the Bodmer Collection (SBH 639, SV 106). First published by Willy Hess in Supplemente zur Gesamtausgabe, Vol. IX (1965), the pieces appear in the “large Petter sketchbook” (Mh 59). According to A. Willem Holsbergen, the indication “Nr. 1 D.C.” at the end of the F minor dance shows that the two sketches form a single ternary structure, with the second dance functioning as a trio. Editorial repeat signs and a “seconda volta” were later added to clarify the intended form. The dances have been interpreted by Antonietta Cappelli within the project “Research Becomes Art.”
- [Hess 066 – Second Version of the Allegretto in C Minor, WoO 53 (for Piano)](https://www.lvbeethoven.org/hess066/) - Hess 066 presents Beethoven’s second version of the Allegretto in C minor, WoO 53, preserved in the Grasnick 25 manuscript in Berlin. Unpublished in the composer’s lifetime, this 164‑bar autograph—issued by Willy Hess in SBG IX (1965)—differs notably from the familiar WoO 53, especially in the trio’s second phrase and the coda. According to A. Willem Holsbergen, the D‑natural at bar 26 is likely an error for D‑flat, matching the parallel passage at bar 116. The musical materials on this page are curated by Antonietta Cappelli as part of the “Research Becomes Art” project.
- [Hess 065 – Small Concert Finale for Piano in C Major (1820)](https://www.lvbeethoven.org/hess065/) - Hess 065 is Beethoven’s Small Concert Finale in C major, a virtuosic piano reduction of the Presto from the finale of the Piano Concerto No. 3, Op. 37. Composed in 1820 for Friedrich Starke’s Wiener Pianoforte-Schule (Part III, 1821), the piece later appeared in publications by Frimmel (1917), the Accademia Nazionale di Santa Cecilia (1951–52), and Willy Hess (1965). This concise yet brilliant adaptation reveals Beethoven’s ability to translate orchestral textures into pianistic writing and forms part of the “Research Becomes Art” project curated by pianist Antonietta Cappelli.
- [Hess 060 - Sketch for Piano in A major](https://www.lvbeethoven.org/hess060/) - Hess 060 is a playable piano sketch in A major preserved in the Beethoven-Haus Bonn (SBH 631, SV 88), located in the manuscript BH 114 immediately after the Allemande WoO 81. Also listed as Biamonti 267, the piece belongs to the Vienna Papers pre‑Grasnick 1 and is linked—through format, watermark, and ruling—to the Kafka Sketchbook and the Miscellanea Fishhof. Faithfully transcribed by Arnold Schmitz, the sketch features Beethoven’s annotation “cal‑lando” at the close and displays small notational peculiarities, such as the missing repetitions at measure 6. It appears alongside WoO 81, WoO 212, WoO 213, Bagatelles Hess 60, Biamonti 269 and 277, and numerous related sketches.
- [Hess 059 – Piano Exercise in C Major (circa 1782–1793)](https://www.lvbeethoven.org/hess059/) - Hess 059 is an early piano exercise by Beethoven, discussed by Gustav Nottebohm and broadly dated between 1782 and 1793. The short study, preserved with annotations such as “Zur Übung der Faust,” reflects Beethoven’s pedagogical focus on wrist flexibility, hand cohesion, and strict legato—traits that bridge his Bonn training and the emerging virtuosity of his early Vienna years. Later included by Willy Hess in the 1965 Supplemente, the exercise forms part of Beethoven’s evolving technical vocabulary and has been revived in performance through the “Research Becomes Art” project by pianist Antonietta Cappelli.
- [Hess 058 – Two Piano Exercises and a Klavierübung in B‑Flat Major (circa 1790–1800)](https://www.lvbeethoven.org/hess058/) - Hess 058 gathers two early piano exercises by Beethoven—described by Nottebohm and dated broadly between 1782 and 1793—and a more developed Klavierübung in B‑flat major, composed around 1790–1800. The first exercise bears the annotation “Zur Uebung der Faust,” while the second reads “Die Hand so sehr möglich zusammen gehalten” and “Auf das strengste Ligato.” The Klavierübung, preserved among sketches for larger works and published by Nottebohm and later by Hess, may represent the beginning of a theme with variations. Recent scholarship by A. Willem Holsbergen has identified additional material, and the pieces have been revived in performance by pianist Antonietta Cappelli as part of the “Research Becomes Art” project.
- [Hess 057 – Bagatelle in C Major for Piano (Fragment, 1824)](https://www.lvbeethoven.org/hess057/) - Hess 057 is a fragmentary Bagatelle in C major for piano, composed around May–June 1824 and preserved in the Gesellschaft der Musikfreunde in Vienna (A 50). First noted by Nottebohm and later included by Willy Hess in the 1965 Supplemente, the 33‑bar sketch reflects Beethoven’s late style and is closely related to the creative process behind the Six Bagatelles Op. 126. Recent scholarship and performances, including those by Antonietta Cappelli, highlight its expressive coherence and significance within Beethoven’s final piano works.
- [WoO 65 - 24 Variations in D major on the theme “Venni amore” by Righini – a enigma solved](https://www.lvbeethoven.org/hess055/) - Hess 055 identifies the original 1791 edition of Beethoven’s 24 Variations in D major on “Venni amore” by Vincenzo Righini, long believed lost until a copy was rediscovered in 1984 in The Hague. Published by Schott of Mainz and dedicated to Countess Hatzfeld, this edition proves that the later Traeg print of 1802 is not a revised version but a simple reissue. The work, composed in Bonn in 1790–91, reveals Beethoven’s early command of variation technique and his encounter with the graceful performance
- [Hess 054 - Variations on the theme "Freudvoll und leidvoll" by Karl Amenda.](https://www.lvbeethoven.org/hess054/) - Hess 054 refers to a set of variations on the theme “Freudvoll und leidvoll” reportedly composed by Beethoven at the request of his friend Karl Amenda. Known only through an anecdotal manuscript transmitted within the Amenda family and cited by Thayer, the work has never been located and may never have been written down beyond the single sheet mentioned by Deiters. No musical text survives, and the composition remains entirely lost.
- [Hess 047 – Arrangement for Piano, Violin, and Cello of the String Trio Op. 3 in E‑Flat Major (Fragment)](https://www.lvbeethoven.org/hess047/) - Hess 047 preserves Beethoven’s unfinished arrangement for piano, violin, and cello of the String Trio Op. 3 in E‑flat major. The autograph—now at the Beethoven‑Haus Bonn (SBH 713)—contains a complete first movement and 43 measures of the Andante, revealing Beethoven’s renewed interest in the Op. 3 material around 1806–1808, the same period as the Sonata Op. 64. First published by Wilhelm Altmann in 1920 and later in Hess’s Supplemente (1965), the work offers rare insight into Beethoven’s transcription practice and the evolution of the Serenade’s thematic material.
- [Hess 044 - Adagio ma non troppo, for the same ensemble (mandolin and harpsichord).](https://www.lvbeethoven.org/hess044/) - Hess 044 presents Beethoven’s Adagio ma non troppo for mandolin and harpsichord, first published in 1938 by O. Bahlmann and later reissued by Karl Michael Komma in 1940. Closely related to WoO 43b, this version corresponds to the definitive text included in the Gesamtausgabe (Series 25, No. 296). The work belongs to Beethoven’s small but significant group of mandolin compositions, discussed extensively by Alexander Buchner in the Beethoven Jahrbuch (1957/58).
- [Hess 039 Quintet in F major for strings (if existing, not available)](https://www.lvbeethoven.org/hess039/) - Hess 039 refers to a lost String Quintet in F major attributed to Beethoven and mentioned only by Wilhelm von Lenz, who claimed the composer gifted the manuscript to Prince Nikolai Galitzin in 1826. No score or contemporary documentation survives, and the work remains unverified. Later scholarship, including Martin Staehelin’s study of Beethoven’s late chamber projects, has explored the possibility of an unfinished quintet from the final years, but its existence and content remain entirely speculative.
- [Hess 038 – Transcription of Bach’s B‑Flat Minor Fugue (WTK I No. 22) for Two Violins, Viola, and Two Cellos](https://www.lvbeethoven.org/hess038/) - Hess 038 presents Beethoven’s transcription of Bach’s five‑voice Fugue in B‑flat minor from the Well‑Tempered Clavier I, arranged between 1801 and 1802 for two violins, viola, and two cellos. Preserved in the Berlin autograph Grasnick 14, the version expands Bach’s dense keyboard texture into a richly resonant string ensemble, revealing Beethoven’s deep study of contrapuntal technique during the early 1800s. First published in facsimile by Willy Hess in 1953, the transcription stands among Beethoven’s most substantial engagements with Bach’s fugues.
- [Hess 037 – Transcription of Mozart’s Fugue for Two Pianos K. 426 (Copy by Beethoven; Misattributed as String Quartet Version)](https://www.lvbeethoven.org/hess037/) - Hess 037 preserves Beethoven’s copy of Mozart’s Fugue in C minor for two pianos K. 426, long misidentified as a transcription for string quartet due to a reference by Otto Jahn. The manuscript—split between the Beethoven-Haus Bonn and the Robert Owen Lehman Collection in New York—reveals 36 small discrepancies from Mozart’s original, ranging from pen slips to subtle improvements. Although once linked to Mozart’s string version K. 546, the source is now recognized as Beethoven’s study copy, possibly made while working on his own fugue projects around 1801–1817.
- [Hess 036 Transcription of a Händel Fugue for String Quartet](https://www.lvbeethoven.org/hess036/) - Hess 036 presents Beethoven’s transcription of the fugue from the Allegro moderato section of Handel’s Overture to Solomon HWV 67, arranged for string quartet and preserved in the autograph Grasnick 13 in Berlin. Likely composed between 1801 and 1817, the transcription omits the original oboe parts and introduces subtle rhythmic and contrapuntal adjustments. First reproduced in 1959 and later edited by Willy Hess, it offers insight into Beethoven’s engagement with Handel’s counterpoint and his evolving approach to linear texture.
- [Hess 035 – Transcription of Bach’s B‑Minor Fugue (WTK I No. 24) for String Quartet (Fragment)](https://www.lvbeethoven.org/hess035/) - Hess 035 preserves Beethoven’s fragmentary transcription of Bach’s B‑minor Fugue from the Well‑Tempered Clavier I (measures 1–20 and 28–32), written on a single autograph leaf held by the Gesellschaft der Musikfreunde in Vienna. Long considered a hasty working copy, the manuscript shows numerous clef inconsistencies and small contrapuntal adjustments. Scholarly debate places its composition between late 1801 and 1817, with the dating informed by sketches on the same leaf related to Beethoven’s unfinished fugue for string quintet (Artaria 185a).
- [Hess 034 – String Quartet in F Major after the Piano Sonata Op. 14 No. 1 (1801–1802)](https://www.lvbeethoven.org/hess034/) - Hess 034 is Beethoven’s own transcription of the Piano Sonata in E major Op. 14 No. 1, reworked as a String Quartet in F major between 1801 and spring 1802 and dedicated to Baroness Josephine von Braun. First issued in parts by the Bureau d’arts et d’industrie in 1802, the work reflects Beethoven’s careful adaptation of pianistic writing to the expressive possibilities of a quartet, enriching textures, reshaping passages, and adjusting the key to suit string resonance. Later editions by Altmann and Hess further document its complex editorial history.
- [Hess 032 – String Quartet in F Major (First Version of Op. 18 No. 1, 1799)](https://www.lvbeethoven.org/hess032/) - Hess 032 presents the first version of Beethoven’s String Quartet in F major, later revised and published as Op. 18 No. 1. Dedicated to Karl Amenda and completed in June 1799, the autograph—preserved at the Beethoven-Haus Bonn—reveals Beethoven’s early conception of the quartet before substantial revisions made by 1801. First published in 1922 by Hans Wedig, this version offers invaluable insight into Beethoven’s evolving chamber style and his engagement with the Viennese quartet tradition shaped by Förster, Haydn, and Mozart.
- [Hess 031 – Prelude and Fugue in C Major for Two Violins, Viola, and Cello](https://www.lvbeethoven.org/hess031/) - Hess 031 presents Beethoven’s Prelude and Fugue in C major for string quartet, composed during his studies with Johann Georg Albrechsberger. The autograph, preserved at the Gesellschaft der Musikfreunde in Vienna, was first reproduced by Nottebohm and later published in full by Willy Hess in Nagels Musik-Archiv No. 186 (1955) and in the Supplemente zur Gesamtausgabe (1963). Earlier editions by Seyfried altered Beethoven’s text, whereas Nottebohm’s and Hess’s versions adhere closely to the original variants and developmental stages.
- [Hess 030 – Prelude and Fugue in F Major for Two Violins, Viola, and Cello](https://www.lvbeethoven.org/hess030/) - Hess 030 presents Beethoven’s Prelude and Fugue in F major for string quartet, composed around 1794–1795 during his studies with Johann Georg Albrechsberger. Originally conceived as keyboard imitation exercises and later transcribed for strings, the work reveals Beethoven’s early mastery of contrapuntal writing. The autograph is preserved at the Gesellschaft der Musikfreunde in Vienna, and the first modern edition appeared in Nagels Musik-Archiv No. 187 (1955), later reissued in Hess’s Supplemente zur Gesamtausgabe (1963).
- [Hess 029 – Prelude and Fugue in E Minor for Two Violins and Cello (circa 1795)](https://www.lvbeethoven.org/hess029/) - Hess 029 presents Beethoven’s Prelude and Fugue in E minor for two violins and cello, composed around 1795 during his studies with Johann Georg Albrechsberger. The autograph, preserved at the Gesellschaft der Musikfreunde in Vienna, includes corrections attributed to Antonio Salieri and contains the opening of the Fugue, though the projected Presto ending is lost. First published in Nagels Musik-Archiv (1955) and later in Hess’s Supplemente zur Gesamtausgabe (1963), the work derives from imitation movements originally conceived for keyboard and reworked by Beethoven for this trio setting.
- [Hess 028 Second Trio for the Scherzo of the String Trio in G major op. 9 no. 1](https://www.lvbeethoven.org/hess028/) - Hess 028 preserves Beethoven’s second Trio for the Scherzo of the String Trio in G major Op. 9 No. 1, composed between 1798 and 1800. First published by Arnold Schmitz in 1924 and later included by Willy Hess in the Supplemente zur Gesamtausgabe, the autograph—held at the Beethoven-Haus—reveals an alternative A-flat major Trio likely intended for a specific performance, replacing the reprise of the original Scherzo section.
- [Hess 025 Trio in E-flat Major for Violin, Viola, and Cello, Op. 3 (First Version)](https://www.lvbeethoven.org/hess025/) - Hess 025 refers to an early version of Beethoven’s Trio in E-flat major, later published in 1796 as Op. 3. Mentioned by William Gardiner and linked to Abbot Dobbeler’s departure from Bonn, the work survives through partial manuscripts in Washington and Paris. These sources, together with historical accounts and later transcriptions, illuminate the Trio’s complex genesis between Bonn and Beethoven’s early Viennese years.
- [Hess 021 – Fragment of an Arrangement for Nine or Ten Instruments of the “Andante con Variazioni” from the Septet Op. 20](https://www.lvbeethoven.org/hess021/) - Hess 021 preserves two surviving fragments of an early arrangement of Beethoven’s “Andante con Variazioni” from the Septet Op. 20, transmitted through sources once owned by Napoleon III, Charles F. Tretbar, and Henry Ford. Studied by Holde, MacArdle, and later corrected by Schwager, the material reflects an attempt—possibly by Beethoven or by Bernhard Crusell—to adapt the Septet for a military-style wind ensemble of nine to eleven instruments, offering rare insight into the early dissemination and transformation of this celebrated work.
- [Hess 016 – Original string introduction part for the Choral Fantasy Opus 80](https://www.lvbeethoven.org/hess016/) - Hess 016 preserves Beethoven’s original string introduction for the Choral Fantasy Op. 80, consisting of violin, viola, and double bass parts later omitted in favor of the piano-only prelude. The surviving manuscripts—held in Darmstadt, Frankfurt, and Bonn—reveal an early orchestral conception for the work’s opening and illuminate the complex genesis of the Fantasy between its 1808 premiere and the 1809 revision.
- [Hess 14 – Concerto in B-flat major for piano and orchestra, Opus 19](https://www.lvbeethoven.org/hess014/) - Beethoven Hess 011, lost Beethoven works, Beethoven violin romance, Altmann Eulenburg edition, Steiner correspondence 1816, Beethoven price list 1822, WoO 5 fragments, Beethoven unidentified compositions, Beethoven violin and orchestra works
- [Hess 11 – Romance for Violin (and Orchestra?) 1816. Unidentified](https://www.lvbeethoven.org/hess011/) - Hess 011 refers to a lost Romance for violin and orchestra mentioned by Altmann in the preface to the Eulenburg edition of Beethoven’s Violin Concerto. Allegedly offered to the publisher Steiner in 1816, the work is known only through documentary traces, including Beethoven’s own price list later dated to 1822. Scholars such as Prieger and Tyson have linked the reference to an unidentified slow movement, possibly related to the early Violin Concerto WoO 5.
- [Hess 8 and 9 – Hess 8 WoO 19 March for Military Music (First version)](https://www.lvbeethoven.org/hess008/) - Hess 008 preserves the earliest surviving version of Beethoven’s March in F major, originally titled “Marsch für die böhmische Landwehr” and later associated with Zapfenstreich No. 3. This first form, without trio, survives in autographs held in Vienna and documents the initial stage of a work later revised as WoO 19.
- [Hess 6 and 7 – March in F major for military band, Marsch für die böhmische Landwehr](https://www.lvbeethoven.org/hess006/) - Hess 006 preserves the earliest version of Beethoven’s March in F major for the Bohemian Militia, composed in 1809. This first form, lacking the later trio, survives in autographs held in Berlin and Vienna and represents the initial stage of a work later revised as WoO 18 and further expanded in Hess 7.
- [Hess 001 – Symphony No. 8 in F major, Op. 93 (Early Version with Variant Ending)](https://www.lvbeethoven.org/hess001/) - Hess 001 preserves an early version of Beethoven’s Symphony No. 8 in F major, Op. 93, featuring alternative final bars for the first movement. This variant, transmitted through early sources and later catalogued by Willy Hess, offers insight into Beethoven’s evolving orchestral thought during the symphony’s 1812 genesis.
- [Opus 136 – “Der glorreiche Augenblick”, Cantata for Soloists, Choir, and Orchestra](https://www.lvbeethoven.org/opus136/) - Composed between early October and mid‑November 1814 for the Congress of Vienna, Beethoven’s Opus 136 is his most extensive occasional work. Set to a text by Aloys Weissenbach and later adapted by Rochlitz, the cantata’s complex genesis, symbolic characters, and rich performance and publication history illuminate Beethoven’s engagement with the political and ceremonial culture of his time.
- [Opus 138 – “Fidelio (Leonora)”: Overture No. 1 in C Major](https://www.lvbeethoven.org/opus138/) - Composed around mid‑1805 and published posthumously by Haslinger in 1838, Beethoven’s Opus 138 is the earliest of the four overtures written for his opera Leonora/Fidelio. Long misunderstood in chronology, the work’s lost autograph, surviving revised copy, early performances, and complex publication history illuminate Beethoven’s evolving approach to the opera’s dramatic architecture.
- [Opus 137 – Fugue in D Major for Two Violins, Two Violas, and Cello](https://www.lvbeethoven.org/opus137/) - Composed in Vienna and dated 28 November 1817, Beethoven’s Opus 137 is a concise fugue for string quintet later published posthumously by Haslinger in 1827. Its lively Allegretto theme, surviving autographs, and links to the projected complete edition reveal the composer’s renewed engagement with classical forms in his mature years.
- [Opus 131 – String Quartet in C-sharp Minor](https://www.lvbeethoven.org/opus131/) - Composed between late 1825 and mid-1826 and dedicated to Baron Joseph von Stutterheim, Beethoven’s Opus 131 unfolds in seven uninterrupted movements. Its intricate fugue, expansive variation cycle, dramatic contrasts, and rich manuscript and publication history reveal one of the most visionary achievements of the late quartets.
- [Opus 135 – String Quartet in F Major](https://www.lvbeethoven.org/opus135/) - Composed between July and October 1826 and dedicated to Johann Nepomuk Wolfmayer, Beethoven’s Opus 135 is his final completed work. Its four-movement design—culminating in the enigmatic motto “Muss es sein? Es muss sein!”—emerges from a rich manuscript tradition, complex genesis, and a publication history involving Schlesinger’s 1827 editions in Berlin and Paris.
- [Opus 134 – Piano Four-Hand Reduction of the Great Fugue in B-flat Major, Op. 133](https://www.lvbeethoven.org/opus134/) - Composed in Vienna between August and early September 1826, Beethoven’s Opus 134 is his own piano four-hand transcription of the Great Fugue. Created after rejecting Anton Halm’s earlier arrangement, the work reflects a complex genesis, a rediscovered autograph, and a publication history centered on Artaria’s 1827 edition dedicated to Archduke Rudolph.
- [Opus 133 – “Grosse Fuge” in B-flat Major for String Quartet](https://www.lvbeethoven.org/opus133/) - Composed in 1825 as the original finale of the Quartet Op. 130 and published separately by Artaria in 1827 with a dedication to Archduke Rudolph, Beethoven’s Opus 133 stands as one of his most radical achievements. Its overture-like introduction, double fugue structure, complex manuscript tradition, and turbulent editorial history reveal a work where freedom and rigorous craft collide in a monumental synthesis.
- [Opus 132 - String Quartet in A minor](https://www.lvbeethoven.org/opus132/) - Composed between late 1824 and July 1825 and dedicated to Prince Nikolaus Galitzin, Beethoven’s Opus 132 stands among the most profound achievements of the late quartets. Its seven-part architecture—culminating in the “Heiliger Dankgesang” in the Lydian mode—emerges from a rich manuscript tradition, complex genesis, and a performance and publication history that illuminate the spiritual and structural depth of the work.
- [Opus 128 – “Der Kuss”: “Ich war bei Chloen ganz allein” Lied for Voice and Piano](https://www.lvbeethoven.org/opus128/) - Opus 128 Der Kuss (Il bacio): Ich war bei Chloen ganz allein (Ero solo soletto con Cloe) Lied per voce e pianoforte Composed in December 1822 and published by Schott in 1825, Beethoven’s Opus 128 refines a Lied whose melodic roots reach back to sketches from 1798. Set to Christian Felix Weisse’s playful text, the ariette reveals a witty interplay between poetic narrative and musical gesture, supported by a rich and complex publication history.
- [Opus 127 – String Quartet in E-flat Major](https://www.lvbeethoven.org/opus127/) - Composed between 1822 and 1825 and dedicated to Prince Nikolaus Galitzin, Beethoven’s Opus 127 inaugurates the cycle of the late quartets. Its authoritative Maestoso, expansive variation movement, vivid Scherzando, and radiant finale reveal a work shaped by complex manuscript traditions, evolving commissions, and a rich performance and publication history.
- [Opus 129 – Rondo a Capriccio in G Major “Alla ingharese, quasi un Capriccio” for piano](https://www.lvbeethoven.org/opus129/) - Composed around 1794–1795 and published posthumously in 1828, Beethoven’s Opus 129 reveals the youthful energy of a Rondo shaped by Hungarian style and later editorial interventions. The rediscovered autograph clarifies its original form, title, and chronology, illuminating the complex transmission history behind this celebrated capriccio.
- [Opus 130 - String Quartet in B-flat major](https://www.lvbeethoven.org/opus130/) - Composed between 1825 and 1826 for Prince Galitzin, Beethoven’s Opus 130 stands as one of the most expansive and multifaceted of the late quartets. Its six-movement architecture—culminating originally in the monumental “Grosse Fuge”—reveals a synthesis of lyrical introspection, contrapuntal mastery, and bold structural innovation, supported by a rich and complex manuscript and publication history.
- [Opus 126 - Six Bagattelle for Piano](https://www.lvbeethoven.org/opus126/) - Composed between late 1823 and early 1824, Beethoven’s Opus 126 forms a unified “cycle of little pieces” conceived as an organic sequence rather than a compilation. Its concise gestures, abrupt contrasts, and refined late-style writing—supported by rich sketch material and a complex publication history—reveal a set the composer considered among his finest.
- [Opus 123 – “Missa solemnis” for Soloists, Choir, Orchestra, and Organ](https://www.lvbeethoven.org/opus123/) - Composed between 1819 and 1823 and dedicated to Archduke Rudolf, Beethoven’s Opus 123 stands as one of his most monumental achievements. Its vast liturgical architecture, complex manuscript history, and profound spiritual intent—summarized in the composer’s inscription “Von Herzen—möge es wieder zu Herzen gehen”—reveal a work conceived on an unprecedented expressive and structural scale.
- [Opus 122 – “Bundeslied” for Soloists, Four-Part Choir, and Orchestra](https://www.lvbeethoven.org/opus122/) - Revised between 1824 and early 1825, Beethoven’s Opus 122 sets Goethe’s “Bundeslied” in a jubilant choral design for three soloists and four-part choir with winds and strings. Its refrain-like structure, manuscript history, and links to earlier versions illuminate the composer’s evolving approach to communal and ceremonial vocal writing.
- [Opus 121b – “Opferlied”: Song for Soprano, Chorus, and Orchestra (Fourth Version)](https://www.lvbeethoven.org/opus121b/) - Revised in late 1824 and published by Schott in 1825, Beethoven’s Opus 121b presents the final and most refined version of the “Opferlied,” set to Matthisson’s celebrated text. Its expanded orchestration, antiphonal dialogue between soprano and chorus, and rich publication and transmission history illuminate Beethoven’s evolving approach to ceremonial vocal writing.
- [Opus 120 – Thirty-three Variations in C Major on a Waltz by Diabelli](https://www.lvbeethoven.org/opus120/) - Composed between 1819 and 1823, Beethoven’s Opus 120 transforms Diabelli’s modest waltz into one of the most monumental variation cycles in piano literature. Through thirty-three sharply characterized tableaux—ranging from parody to fugue, solemnity to exuberance—the work reveals an unparalleled exploration of form, texture, and expressive depth.
- [Opus 125 – Symphony No. 9 in D minor “Choral”](https://www.lvbeethoven.org/opus125/) - Composed between 1822 and 1824 and crowned by Schiller’s “Ode to Joy,” Beethoven’s Opus 125 stands as a monumental synthesis of symphonic architecture and vocal expression. Its vast manuscript tradition, complex genesis, and unprecedented choral finale reveal the composer’s pursuit of a universal ideal of brotherhood and exaltation.
- [Opus 124 – Overture “Die Weihe des Hauses” in C Major](https://www.lvbeethoven.org/opus124/) - Riedizione della pagina. Composed in 1822 for the reopening of the Josephstadt Theatre and dedicated to Prince Galitzin, Beethoven’s Opus 124 fuses Handelian grandeur with festive ceremonial writing. Its solemn Maestoso and expansive fugal Allegro reflect both the work’s complex genesis and its role in celebrating national artistic identity.
- [Opus 121a – Ten Variations in G Major for Piano, Violin, and Cello on “Ich bin der Schneider Kakadu”](https://www.lvbeethoven.org/opus121a/) - Beethoven’s Opus 121a, composed between the early 1800s and 1816 and published in 1824, transforms Wenzel Müller’s popular stage tune into a sophisticated cycle for piano trio. Its solemn introduction, contrasting character variations, and concluding fugue reveal a work shaped by early inspiration, later revision, and a complex transmission history.
- [Opus 119 – Eleven Bagatelles for Piano](https://www.lvbeethoven.org/opus119/) - Composed across several decades and finalized between 1820 and 1822, Beethoven’s Opus 119 unites early keyboard miniatures with later, more experimental pieces. These eleven Bagatelles reveal a spectrum of styles—from youthful sketches to mature, refined character pieces—reflecting the composer’s evolving pianistic language and complex publication history.
- [Opus 118 – Elegiac Song “Sanft wie du lebtest” for Four Voices and String Quartet](https://www.lvbeethoven.org/opus118/) - ’ Opus 118 is part of the “Research Becomes Art” project. Una nuova vita per le opere sconosciute di Ludwig van Beethoven: Un’ esplorazione artistica a cura del quartetto Hadimova. Voci soliste: Soprano: Valeria Attianese. Contralto: Annamaria Napolitano. Tenore: Armando Valentino. Baritono: Sergio Valentino. Direttore Maestro Vincenzo Caruso. Si ringrazia Beniamino Cuomo per il gentile interessamento. Composed in 1814 and dedicated to Baron Pasqualati in memory of his wife, Beethoven’s Opus 118 is an intimate elegiac song for four voices with string quartet. Its tender E‑major setting, rooted in personal loss and refined through later publication history, reveals the composer’s rare exploration of choral lyricism and commemorative expression.
- [Opus 117 – “König Stephan”, Incidental Music for the Opening of the Pest Theater](https://www.lvbeethoven.org/opus117/) - Composed in 1811 for the inauguration of the Pest Theater, Beethoven’s Opus 117 blends ceremonial grandeur with patriotic symbolism. Its overture and choral movements reflect the composer’s architectural approach to festive occasional music.
- [Opus 116 – “Tremate, empi, tremate”, Terzetto for Soprano, Tenor, Bass, and Orchestra](https://www.lvbeethoven.org/opus116/) - Composed between 1802 and 1814, Beethoven’s Opus 116 is a dramatic terzetto shaped through multiple revisions and tied to the Viennese Akademie of 1814. Its three-part structure and theatrical intensity reflect both early sketches and later refinements preserved in manuscript tradition.
- [Opus 066 – Twelve Variations in F Major for Piano and Cello on “Ein Mädchen oder Weibchen”](https://www.lvbeethoven.org/opus066/) - Beethoven’s Twelve Variations in F Major, Op. 66—composed in 1796–1798 and published in Vienna by Traeg in September 1798—are based on the aria “Ein Mädchen oder Weibchen” from Mozart’s The Magic Flute. With sketches preserved in the Kafka Miscellany and no surviving autograph, the work showcases Beethoven’s early variation style, from playful legato writing to expressive minor‑key episodes that foreshadow the Eroica period. A popular publication in its time, Op. 66 reflects both Beethoven’s admiration for Mozart and the vibrant Viennese tradition of operatic variations.
- [Opus 115 – Overture in C Major “Zur Namensfeier”](https://www.lvbeethoven.org/opus115/) - Beethoven’s Overture in C Major “Zur Namensfeier”, Op. 115—sketched from 1809 and completed in March 1815—was published by Steiner in April 1825 with a dedication to Prince Radziwill. The autograph, dated “am ersten Weinmonath 1814”, is preserved in Vienna. Initially conceived as an occasional overture, the work evolved over several revisions, including early attempts to incorporate material related to Schiller’s “An die Freude”.
- [Opus 114 – March with Chorus in E-flat Major from “Die Ruinen von Athen”](https://www.lvbeethoven.org/opus114/) - Beethoven’s March with Chorus in E-flat Major, Op. 114—originally No. 6 from “Die Ruinen von Athen” (1811)—was revised around 1822 and published by Steiner in 1826. The added choral section, absent from both Kotzebue’s and Meisl’s texts, is of unknown authorship. Intended for separate publication and later linked to “Die Weihe des Hauses”, the work underwent significant editorial disputes before release.
- [Opus 113 – “The Ruins of Athens”, Overture and Incidental Music](https://www.lvbeethoven.org/opus113/) - Beethoven’s “The Ruins of Athens”, Op. 113—composed in 1811 for the inauguration of the new German theatre in Pest on a libretto by Kotzebue—was published by Steiner in 1823, with the complete score issued by Artaria in 1846. The autograph is preserved in Berlin, with extensive sketches in the British Museum. Its overture, Turkish March and choral scenes form a vivid theatrical allegory celebrating Pest as a renewed Athens.
- [Opus 112 – “Meeresstille und glückliche Fahrt” for Choir and Orchestra](https://www.lvbeethoven.org/opus112/) - Beethoven’s “Meeresstille und glückliche Fahrt”, Op. 112—composed between late 1814 and mid‑1815 on Goethe’s paired poems and dedicated to him—was published by Steiner in 1822. The autograph is lost, with sketches preserved in the Bodmer collection. Its two contrasting sections, the solemn “Meeresstille” and the animated “Glückliche Fahrt”, translate Goethe’s imagery into expressive choral‑orchestral writing.
- [Opus 111 – Piano Sonata in C Minor](https://www.lvbeethoven.org/opus111/) - Riedizione della pagina: Opus 111 Sonata in do minore per pianoforte Beethoven’s Piano Sonata in C Minor, Op. 111—composed between late 1821 and early 1822 and dedicated to Archduke Rudolph—was published by Schlesinger in 1822. The first movement survives in two autographs, while the second exists only in a fair copy. Its two‑movement design contrasts a dramatic Maestoso–Allegro with the transcendent Arietta and variations, a summit of Beethoven’s late style.
- [Opus 110 – Piano Sonata in A-flat Major](https://www.lvbeethoven.org/opus110/) - Beethoven’s Piano Sonata in A-flat Major, Op. 110—composed between late 1821 and early 1822 and published by Schlesinger in 1822—survives in an autograph held in Berlin. Sketches appear among those for the Missa solemnis. Its three-part structure culminates in the Arioso and fugue, a dramatic arc of suffering, renewal and transcendence characteristic of Beethoven’s late style.
- [Opus 109 – Piano Sonata in E Major](https://www.lvbeethoven.org/opus109/) - Beethoven’s Piano Sonata in E Major, Op. 109—composed in 1819–1820 and dedicated to Maximiliane Brentano—was published by Schlesinger in 1821. The autograph is preserved in Washington, with sketches linked to the Missa solemnis notebooks. Its three‑movement design unites fantasy, contrapuntal writing and a visionary theme‑and‑variations finale.
- [Opus 108 - 25 "Schottische Lieder" for one or more voices, piano, violin, and cello](https://www.lvbeethoven.org/opus108/) - Pagina introduttiva dell' Opus 108 Schottische Lieder (Canzoni scozzesi) (25) per una o più voci, pianoforte, violino e violoncello Beethoven’s 25 Scottish Songs, Op. 108—composed between 1810 and 1818 for George Thomson—were published in London and Edinburgh in August 1818. The manuscripts are dispersed across Berlin, Wildegg and St. Petersburg. Built on traditional Scottish airs, the collection reflects Beethoven’s refined approach to folk‑song arrangement and his long, complex collaboration with Thomson.
- [Opus 107 – Ten Varied Themes for Piano with Optional Flute or Violin](https://www.lvbeethoven.org/opus107/) - Beethoven’s Ten Varied Themes, Op. 107—composed between 1818 and early 1819 for George Thomson—were published in London in July 1819 and in a complete German edition by Simrock in 1820. The surviving manuscripts are divided between the British Museum and the Beethovenhaus. Each piece is based on a folk melody—Scottish, Irish, Welsh, Tyrolean or Russian—reflecting Beethoven’s refined approach to domestic music-making.
- [Opus 106 – Piano Sonata in B-flat Major “Hammerklavier”](https://www.lvbeethoven.org/opus106/) - Beethoven’s “Hammerklavier” Sonata, Op. 106—composed between late 1817 and March 1819 and dedicated to Archduke Rudolph—was published by Artaria in September 1819, with a parallel London edition soon after. The autograph is lost, but extensive sketches survive. One of Beethoven’s most monumental works, it unites classical architecture with visionary scale, culminating in the vast fugue of the finale.
- [Opus 105 – Six Varied Themes for Piano with Optional Flute or Violin](https://www.lvbeethoven.org/opus105/) - Beethoven’s Six Varied Themes, Op. 105—composed between 1817 and early 1819 for George Thomson—were published in London and Edinburgh in mid‑1819, followed by a Viennese edition by Artaria. The autograph is preserved at the British Museum. Based on Scottish, Irish, Welsh and Austrian airs, the set reflects Beethoven’s lighter, accessible style for domestic music‑making.
- [Opus 104 – Quintet in C Minor for Two Violins, Two Violas and Cello](https://www.lvbeethoven.org/opus104/) - Beethoven’s Quintet in C Minor, Op. 104—completed on 14 August 1817 and published by Artaria in 1819—is his own reworking of the Piano Trio Op. 1 No. 3. The surviving manuscript shows extensive revision, possibly over an earlier arrangement by Kaufmann. First performed in Vienna in December 1818, the quintet transforms the trio into a fully realized five‑part texture with significant structural and expressive alterations.
- [Opus 103 – Octet in E-flat Major for Winds](https://www.lvbeethoven.org/opus103/) - Beethoven’s Octet in E-flat Major, Op. 103—composed in Bonn in 1792 and revised in Vienna in 1793—was published posthumously by Artaria in 1830. The autograph, preserved in Berlin, reflects early influences and possible supervision by Haydn. Originally written for the Elector’s wind ensemble, the work was later reworked as the String Quintet Op. 4.
- [Opus 102 – Two Sonatas in C Major and D Major for Piano and Cello](https://www.lvbeethoven.org/opus102/) - Riedizione della pagina. Beethoven’s two Cello Sonatas, Op. 102—composed in summer 1815 for Countess Erdödy and cellist Joseph Linke—were published by Simrock in 1817. The autographs, preserved in Berlin, show a new, concise and experimental style marking Beethoven’s transition toward his late period. Both sonatas blend structural freedom, expressive intensity, and contrapuntal writing, culminating in fugue‑finales of striking originality.
- [Opus 101 - Sonata in A major for Piano](https://www.lvbeethoven.org/opus101/) - Beethoven’s Piano Sonata in A Major, Op. 101—composed in 1815–1816 and dedicated to Baroness Dorothea von Ertmann—was published by Steiner in January 1817. The autograph is preserved in Berlin, with sketches in the Scheide and Landsberg 10 notebooks. Its four movements mark the beginning of Beethoven’s late style, blending contrapuntal writing, expressive intimacy, and a visionary finale.
- [Opus 100 - "Merkenstein", Lied for two voices and piano](https://www.lvbeethoven.org/opus100/) - Beethoven’s “Merkenstein”, Op. 100—composed in late 1814 or spring 1815 on a poem by Johann Baptist Rupprecht—was published by Steiner in September 1816. The autograph is lost, with sketches noted by Nottebohm. Developed after an earlier single‑voice version (WoO 144), the two‑voice setting repeats the same simple, folk‑like music across six stanzas.
- [Opus 099 - "Der Mann von Wort" for voice and piano](https://www.lvbeethoven.org/opus099/) - Beethoven’s Lied “Der Mann von Wort”, Op. 99—composed in spring 1816 on a poem by Friedrich A. Kleinschmid—was published by Steiner in November 1816. The autograph is preserved in the Bodmer collection, with sketches in the Miller notebook. Six stanzas are set to the same simple motif, introduced with Beethoven’s instruction on dynamic nuance.
- [Opus 098 – “An die ferne Geliebte” (Liederkreis) for Voice and Piano](https://www.lvbeethoven.org/opus098/) - Beethoven’s “An die ferne Geliebte”, Op. 98—composed in April 1816 and dedicated to Prince Lobkowitz—was published by Steiner in October 1816. The autograph is preserved in Bonn, with sketches in the Miller notebook. Setting Alois Jeitteles’s poem cycle, it forms Beethoven’s only true song cycle, six linked Lieder conceived as an organic whole. Early corrections to the first edition were made by Beethoven himself.
- [Opus 097 – “Archduke” Trio in B-flat Major for Piano, Violin and Cello](https://www.lvbeethoven.org/opus097/) - Beethoven’s “Archduke” Trio, Op. 97—composed between 1810 and March 1811 and dedicated to Archduke Rudolph—was published by Steiner in 1816. The autograph is preserved in Berlin, with sketches from 1810. Its expansive Allegro, luminous variations in the Andante, and brilliant rondo-finale mark one of Beethoven’s most mature and lyrical chamber works.
- [Opus 096 - Sonata in G major for piano and violin](https://www.lvbeethoven.org/opus096/) - Beethoven’s Sonata in G Major for Piano and Violin, Op. 96—composed between autumn and December 1812 and dedicated to Archduke Rudolph—was first performed on 29 December 1812 by Rudolph and the French violinist Pierre Rode. Published by Steiner in Vienna in July 1816, with a parallel London edition by Birchall later that year, the work survives in an autograph preserved at the Pierpont Morgan Library. Sketches for the later movements appear at the end of the Petter sketchbook, while none are known for the first movement. Written with Rode’s restrained style in mind, the sonata departs from the brilliance of earlier works and has often been described as pastoral in character. Its four movements—an idyllic Allegro moderato, an expressive Adagio, a rustic Scherzo with lyrical Trio, and a humorous variation‑finale on a theme from Hiller’s operetta—reflect a refined, intimate, and imaginative late‑middle‑period style. The finale’s genesis, complicated by Rode’s preferences, is documented in Beethoven’s correspondence with Archduke Rudolph. The Viennese and London editions differ only slightly, likely due to corrections Beethoven made to Steiner’s proofs after sending the engraving model to Birchall.
- [Opus 095 – String Quartet in F Minor “Serioso”](https://www.lvbeethoven.org/opus095/) - Beethoven’s String Quartet in F Minor, Op. 95—composed in Vienna in the summer and autumn of 1810 and dedicated to Nikolaus Zmeskall von Domanovecz—was published in parts by Steiner in December 1816. The autograph, preserved in the Austrian National Library, has been variously dated: while Brandenburg and Tyson proposed 1814 as the likely date of the surviving manuscript, Seow‑Chin P. Ong argues that it is the original 1810 score. Sketches contemporaneous with Egmont and the “Archduke” Trio are noted by Nottebohm. Marked “Quartetto serioso” in the manuscript, the work is among Beethoven’s most concentrated and austere creations, characterized by compressed thematic writing, stark contrasts, and a dramatic economy of means. The four movements—Allegro con brio, Allegretto ma non troppo, Allegro assai vivace ma serioso, and a Finale beginning with a Larghetto espressivo—unfold with restless intensity, culminating in a surprising, luminous Allegro in F major. Early performances are uncertain, though Schindler attributes one to the Schuppanzigh Quartet in 1814. The first edition required extensive corrections, many of which Beethoven demanded personally. Op. 95 stands as a pivotal, experimental work foreshadowing the radical language of the late quartets.
- [Opus 094 – “An die Hoffnung”, Lied for Voice and Piano](https://www.lvbeethoven.org/opus094/) - Beethoven’s “An die Hoffnung”, Op. 94—dedicated to Princess Caroline Kinsky and composed around spring 1815—was published in Vienna by Steiner in April 1816. The autograph is preserved at Harvard University, with sketches noted by Nottebohm. Revisiting verses from Tiedge’s Urania already set in Op. 32, Beethoven reshapes the poem into a more dramatic and philosophical meditation on doubt, hope, and spiritual affirmation. The Lied opens with a forceful recitative on “Ob ein Gott sei?”, followed by a through‑composed setting of the three stanzas previously treated in 1802, now entirely reimagined with new melodies, tonal shifts, and expressive contrasts. Early performances in 1816—by Franz Wild and by the Giannattasio del Rio sisters—attest to the work’s immediate impact. Op. 94 stands as Beethoven’s most expansive and introspective Lied, blending recitative, lyricism, and moral exhortation into a unified poetic vision.
- [Opus 093 - Symphony No. 8 in F major](https://www.lvbeethoven.org/opus093/) - Beethoven’s Symphony No. 8 in F Major, Op. 93—composed between the summer and October 1812 and published by Steiner in Vienna around Easter 1817—survives in an autograph preserved in Berlin, with sketches in the Petter sketchbook alongside those for the Seventh Symphony. First performed on 27 February 1814 at Beethoven’s Academy in the Great Redoutensaal, the symphony was initially received with less enthusiasm than its predecessor, though later recognized for its originality and wit. The work features an Allegretto scherzando inspired by metronomic rhythmic play, a Minuet recalling earlier symphonic traditions, and a Finale rich in caricatural gestures and sudden dynamic contrasts. Multiple compositional stages of the first movement’s ending survive, including the intermediate version Hess 1. Early editions were prepared by Steiner, with metronome markings later published in the Allgemeine musikalische Zeitung. Op. 93 stands as a compact yet inventive symphony, blending classical homage with Beethoven’s characteristic rhythmic vitality and humor.
- [Opus 092 – Symphony No. 7 in A major](https://www.lvbeethoven.org/opus092/) - Riedizione della pagina: Opus 92 Sinfonia n. 7 in la maggiore Beethoven’s Symphony No. 7 in A Major, Op. 92—composed between autumn 1811 and June 1812 and dedicated to Count Moritz von Fries—was published by Steiner in Vienna in 1816. The autograph is preserved in Berlin, with sketches in the Petter notebook alongside material for the Eighth Symphony. Premiered on 8 December 1813 at a charity concert organized by Maelzel, the symphony was immediately acclaimed, especially the Allegretto, which had to be repeated. Described by Wagner as “the apotheosis of dance,” the work elevates rhythm to the core of its expressive language, from the expansive Poco sostenuto–Vivace to the solemn Allegretto, the exuberant Presto, and the orgiastic final Allegro con brio. Early editions underwent extensive corrections supervised by Beethoven, who criticized the initial engraving for numerous errors. Op. 92 stands as one of Beethoven’s most radiant and rhythmically driven symphonic achievements.
- [Opus 091 – “Wellington’s Victory, or the Battle of Vitoria” for Orchestra](https://www.lvbeethoven.org/opus091/) - Beethoven’s “Wellington’s Victory, or the Battle of Vitoria”, Op. 91—composed in 1813 and dedicated to the Prince Regent of England—was first conceived for Johann Nepomuk Maelzel’s mechanical instrument, the Panharmonicon, before being expanded into a full orchestral work. Published by Steiner in Vienna in 1816, the piece survives in an autograph preserved in Berlin, with sketches noted by Thayer–Riemann. Structured in two continuous sections—Battle and Victory Symphony—the work employs opposing orchestras, patriotic tunes (“Rule, Britannia!”, “Marlborough s’en va-t-en guerre”, and “God Save the King”), and detailed performance instructions for spatial layout, percussion effects, and simulated cannon fire. Premiered in December 1813 alongside the Seventh Symphony, Op. 91 became one of Beethoven’s most celebrated public successes, despite later disputes with Maelzel over performance rights.
- [Opus 090 - Sonata in E minor for Piano](https://www.lvbeethoven.org/opus090/) - Beethoven’s Piano Sonata in E Minor, Op. 90—composed between June and August 1814 and dedicated to Count Moritz von Lichnowsky—was published in Vienna by Steiner in 1815. The autograph, used as the engraving model, circulated between Archduke Rudolph and the publisher during the correction process, resulting in two identifiable phases of the first edition. Sketches follow those for the final version of Fidelio, and early commentary by Schindler links the sonata to a supposed love story of Lichnowsky, though this anecdote is contradicted by the Conversation Books. The first movement’s organic unity, derived in part from a Bagatelle theme, contrasts with the serene rondo of the second movement, whose melody recalls a Bonn song associated with Jeannette d’Honrath. Op. 90 marks a pivotal moment in Beethoven’s transition toward his late style.
- [Opus 089 - Polonaise in C major for piano](https://www.lvbeethoven.org/opus089/) - Beethoven’s Polonaise in C Major, Op. 89—composed in December 1814 and dedicated to Empress Elisabeth Alexeievna of Russia—was published in Vienna by Mechetti in February 1815. Although the autograph is lost, sketches survive in the Mendelssohn 6 sketchbook, alongside drafts for the cantata Op. 136. Suggested by Beethoven’s friend Dr. Andrea Bertolini, the work blends brilliance, martial character, and expressive lyricism, echoing earlier examples in the Serenade Op. 8 and the Triple Concerto Op. 56. Created as a tribute to the Empress, who had generously supported Beethoven’s 1814 Academy, the Polonaise reflects both courtly ceremonial style and Beethoven’s improvisatory inspiration.
- [Opus 088 – “Das Glück der Freundschaft”, Lied for Voice and Piano](https://www.lvbeethoven.org/opus088/) - Beethoven’s Lied “Das Glück der Freundschaft”, Op. 88—composed in Vienna in the spring and summer of 1803 and first published by Loeschenkohl in October 1803—survives without its autograph, though an important sketch appears in the Eroica sketchbook. Reprinted the same year in Leipzig by Hoffmeister & Kühnel under the title “Lebensglück,” the song sets an anonymous German text later altered by publishers, prompting Ferdinand Ries to send Beethoven’s approved version to Simrock. Originally issued as a commemorative piece for St Teresa’s name day and printed on sunflower‑shaped green paper, Op. 88 reflects Beethoven’s early Viennese song style and his collaboration with contemporary publishers. The melody, simple and graceful, was compared by early commentators to “Ich liebe dich,” though considered less substantial.
- [Opus 086 – Mass in C Major for Soloists, Choir and Orchestra](https://www.lvbeethoven.org/opus086/) - Beethoven’s Mass in C Major, Op. 86—composed mainly in 1807 for Prince Nikolaus Esterházy and later dedicated to Prince Ferdinand Kinsky—was first performed in Eisenstadt on 13 September 1807 and published by Breitkopf & Härtel in 1812. With autographs surviving only for the Kyrie and Gloria, and sketches preserved in Paris, the Mass marks Beethoven’s first large-scale sacred work. Its vivid treatment of the liturgical text, dramatic contrasts, expressive choral writing, and early experiments in color and structure anticipate the Missa solemnis. Despite mixed early reactions, Op. 86 stands today as a deeply personal and innovative contribution to the sacred repertoire.
- [Opus 085 – “Christ on the Mount of Olives”, Oratorio for Soloists, Choir and Orchestra](https://www.lvbeethoven.org/opus085/) - Beethoven’s oratorio “Christ on the Mount of Olives”, Op. 85—composed rapidly in March 1803 and premiered at the Theater an der Wien on 5 April 1803—was published in 1811 by Breitkopf & Härtel. With an autograph partly original and partly revised, preserved in Berlin, and sketches in the Wielhorsky and Eroica notebooks, the work reflects Beethoven’s dramatic, operatic approach to sacred narrative. Despite the composer’s later reservations about the libretto by Franz Xaver Huber, the oratorio enjoyed wide success during Beethoven’s lifetime, with numerous performances across German-speaking Europe. Its expressive introduction, fervent arias, vivid choruses, and triumphant final fugato reveal Beethoven’s early mastery of large-scale vocal writing.
- [Opus 084 – “Egmont”, Incidental Music for Goethe’s Tragedy](https://www.lvbeethoven.org/opus084/) - Beethoven’s incidental music for Goethe’s tragedy Egmont, Op. 84—composed between October 1809 and mid‑June 1810—was first performed complete at the Burgtheater in Vienna on 15 June 1810. Published in separate parts by Breitkopf & Härtel between 1810 and 1812, the work includes the celebrated Overture, two songs for Clärchen, four entr’actes, a melodrama, the Death of Clärchen, and the triumphant Victory Symphony. With manuscripts preserved in Berlin and Wildegg and sketches documented by Kinsky and Nottebohm, Op. 84 stands as one of Beethoven’s most powerful dramatic creations, blending political resonance, theatrical immediacy, and symphonic depth.
- [Opus 083 – Three Songs for Voice and Piano on Texts by Goethe](https://www.lvbeethoven.org/opus083/) - Beethoven’s Three Songs, Op. 83—composed in Vienna during the spring and summer of 1810 and dedicated to Princess Kinsky—were published by Breitkopf & Härtel in Leipzig around November 1811. The autograph, dated 1810, is preserved at the Paris Conservatoire, while additional manuscripts and sketches appear in Landsberg 11 and in the Library of Congress. Setting poems by Johann Wolfgang von Goethe, the cycle includes “Wonne der Wehmut,” “Sehnsucht,” and “Mit einem gemalten Band,” each reflecting Beethoven’s nuanced response to Goethe’s lyricism. Early accounts describe Beethoven performing Nos. 1 and 2 for Bettina von Arnim in May 1810. Op. 83 stands as a refined example of Beethoven’s middle‑period Lied style.
- [Opus 082 – Four Ariettes and a Duet for Voice and Piano](https://www.lvbeethoven.org/opus082/) - Beethoven’s Four Ariettes and a Duet, Op. 82—composed in Vienna in 1809 and published in early 1811 by Clementi in London and by Breitkopf & Härtel in Leipzig—set Italian texts by Pietro Metastasio (Nos. 2–5) and an anonymous poet (No. 1). With an autograph of No. 4 dated 1809 and sketches likely from the same period, the collection reflects Beethoven’s engagement with Italian vocal style during his collaboration with Muzio Clementi. The English editions show greater editorial refinement, while the Leipzig printing remains closer to the autograph sources. These works reveal Beethoven’s lyrical, melodramatic, and comic writing for the voice at the height of his middle period.
- [Opus 081b – Sextet in E-flat Major for Two Horns, Two Violins, Viola and Cello](https://www.lvbeethoven.org/opus081b/) - Beethoven’s Sextet in E-flat Major, Op. 81b—composed around 1794–1795 and published by Simrock in Bonn in 1810—survives without its original autograph, though a revised copy is preserved in the Beethovenhaus (Bodmer Collection). Sketches identified by Nottebohm appear alongside drafts for “Seufzer eines Ungeliebten.” The two horns play a prominent expressive role in the Allegro and Adagio, while the Rondo recalls the character of the Septet’s Scherzo. Early arrangements for string quintet and piano trio circulated shortly after publication, reflecting the work’s popularity in Beethoven’s early Viennese years.
- [Opus 081a – Sonata in B-flat Major for Piano (“Les Adieux”)](https://www.lvbeethoven.org/opus081a/) - Beethoven’s Piano Sonata in B-flat Major, Op. 81a—known as “Les Adieux”—was composed between 1809 and 1810 and dedicated to Archduke Rudolf. Published by Breitkopf & Härtel in 1811, the sonata reflects the political turmoil of Napoleon’s occupation of Vienna. Its three movements, titled “Lebewohl,” “Abwesenheit,” and “Wiedersehen,” form a narrative arc of farewell, absence, and joyful reunion. With an autograph preserved in Berlin and sketches in the Landsberg 6 manuscript, Op. 81a stands as one of Beethoven’s most personal and programmatic piano works.
- [Opus 080 – Choral Fantasy in C Minor for Piano, Chorus and Orchestra](https://www.lvbeethoven.org/opus080/) - Beethoven’s Choral Fantasy in C Minor, Op. 80—composed in December 1808 and completed in 1809—was first performed at the Theater an der Wien with the composer at the piano. Dedicated to King Maximilian Joseph of Bavaria and published by Breitkopf & Härtel in 1811, the work combines an improvisatory piano introduction, orchestral variations on the 1794–95 song “Gegenliebe,” and a concluding choral section with text by Christoph Kuffner. With sketches preserved at the Beethoven-Haus and a complex genesis tied to the legendary 1808 Akademie, Op. 80 stands as a precursor to the Ninth Symphony in its fusion of instrumental and vocal forces.
- [Opus 079 – Sonata in G Major for Piano (“Sonatina”)](https://www.lvbeethoven.org/opus079/) - Beethoven’s Sonata in G Major, Op. 79—composed in 1809 and published in 1810 by Clementi in London and by Breitkopf & Härtel in Leipzig—survives in a fair-copy autograph preserved in the Bodmer Collection. Early sketches, including one titled “Sonata facile, in C major,” appear in the Landsberg 5 manuscript. Known for its light, Allemande‑like Presto alla tedesca, a lyrical Andante espressivo, and a simple Rondo derived from Beethoven’s 1790–91 Ritterballett, the work reflects Beethoven’s concise, playful middle‑period style and the publication agreements with Muzio Clementi.
- [Opus 078 – Piano Sonata in F-sharp Major](https://www.lvbeethoven.org/opus078/) - Beethoven’s Piano Sonata in F-sharp Major, Op. 78—composed in 1809 and dedicated to Therese Brunsvik—was published in 1810 by Clementi in London and by Breitkopf & Härtel in Leipzig. With the autograph preserved in the Bodmer Collection and no surviving sketches, the sonata reveals an intimate, lyrical character that Beethoven himself valued highly. Its brief Adagio introduction leads into a tender Allegro ma non troppo, followed by a concise and spirited Allegro vivace. Often overshadowed by more dramatic works, Op. 78 stands as a refined, inward masterpiece of Beethoven’s middle period.
- [Opus 077 - Fantasia in G minor for piano](https://www.lvbeethoven.org/opus077/) - Beethoven’s Fantasia in G Minor, Op. 77—composed in 1809 and dedicated to Count Franz Brunsvik—was published in 1810 by Clementi in London and by Breitkopf & Härtel in Leipzig. With the autograph preserved in the Beethovenhaus and sketches described by Nottebohm, the work opens with an improvisatory sequence of contrasting ideas before settling into a B‑major theme followed by seven brilliant variations. Written alongside the Piano Sonata Op. 78, the Fantasia reflects Beethoven’s spontaneous keyboard style, his fascination with variation technique, and the vibrant publication network linking Vienna, London, and Leipzig.
- [Opus 076 – Six Variations in D Major for Piano on an Original Theme](https://www.lvbeethoven.org/opus076/) - Beethoven’s Six Variations in D Major, Op. 76—composed in 1809 and dedicated to Franz Oliva—were published in 1810 by Breitkopf & Härtel in Leipzig and by Clementi in London. Though the autograph is lost, sketches survive in the Landsberg 5 manuscript. The theme, later reused in the Turkish March from The Ruins of Athens, inspires variations ranging from ornamental brilliance to pastoral lyricism, with hints of “Turkish” color and a Presto finale that briefly recalls the Hammerklavier Sonata. Op. 76 stands as a refined example of Beethoven’s middle‑period variation craft.
- [Opus 075 – Six Lieder (Sechs Gesänge) for Voice and Piano](https://www.lvbeethoven.org/opus075/) - Beethoven’s Six Lieder, Op. 75—composed mainly in 1809 and dedicated to Princess Kinsky—were published in 1810 by Clementi in London and by Breitkopf & Härtel in Leipzig. Drawing on texts by Goethe, Halem, and Christian Ludwig Reissig, the set includes revised versions of earlier songs and reflects Beethoven’s renewed engagement with German poetry. With manuscripts dispersed across Bonn, Berlin, and private collections, Op. 75 reveals Beethoven’s evolving song style, from lyrical simplicity to dramatic characterization, within the vibrant publishing context of early 19th‑century Vienna.
- [Opus 074 – Quartet in E-flat Major for 2 Violins, Viola and Cello (“Harp Quartet”)](https://www.lvbeethoven.org/opus074/) - Beethoven’s String Quartet in E-flat Major, Op. 74—composed in 1809 and dedicated to Prince Lobkowitz—was published in 1810 by Clementi & Co. in London and by Breitkopf & Härtel in Leipzig. With an autograph preserved in Berlin and sketches spanning February to October 1809, the quartet is renowned for its extensive pizzicato arpeggios, which earned it the nickname “Harp Quartet.” Combining a reflective introduction, a serene yet energetic Allegro, a lyrical Adagio, a dramatic Presto with a fierce Trio, and a set of elegant variations, Op. 74 stands as a masterful synthesis of craftsmanship, expressive depth, and Beethoven’s mature quartet style.
- [Opus 073 – Concerto No. 5 in E-flat Major for Piano and Orchestra (“Emperor”)](https://www.lvbeethoven.org/opus073/) - Beethoven’s Piano Concerto No. 5 in E-flat Major, Op. 73—composed between 1808 and 1809 and dedicated to Archduke Rudolf—was published by Breitkopf & Härtel in 1811. With the autograph preserved in Berlin and sketches linked to the Fantasia Op. 80, the concerto opens with a groundbreaking solo cadenza and unfolds in a radiant Allegro, a lyrical Adagio un poco mosso, and a triumphant Rondo. Celebrated for its grandeur, structural mastery, and expressive clarity, Op. 73 stands as the pinnacle of Beethoven’s concertos.
- [Opus 072 – Fidelio, Opera in Two Acts for Soloists, Chorus, and Orchestra (Third Version)](https://www.lvbeethoven.org/opus072/) - Beethoven’s Fidelio, Op. 72—his only opera, presented here in its third and definitive version—was revised between February and May 1814 with a new libretto adaptation by Friedrich Treitschke. First performed at the Kärntnertor Theatre on 23 May 1814, this version features extensive musical and dramatic revisions, a newly composed overture, and refined structural balance. With manuscripts preserved in Berlin and sketches cited by Nottebohm, Fidelio stands as Beethoven’s final word in opera: a work of moral heroism, human dignity, and triumphant liberation.
- [Opus 071 – Sextet in E-flat Major for 2 Clarinets, 2 Bassoons and 2 Horns](https://www.lvbeethoven.org/opus071/) - Beethoven’s Sextet in E-flat Major, Op. 71—composed around 1796 and published in parts by Breitkopf & Härtel in April 1810—survives without its original autograph, though sketches for the later movements appear in the Kafka collection. Described by Beethoven as “one of my early works, written in a single night,” the Sextet likely draws on pre‑existing material and reflects the Harmoniemusik tradition. With prominent clarinet writing, a graceful Adagio, a lively Menuetto, and a spirited Finale, Op. 71 stands as a vivid example of Beethoven’s early wind writing and Viennese ensemble culture.
- [Opus 070 – Two Trios in D Major and E-flat Major for Piano, Violin and Cello](https://www.lvbeethoven.org/opus070/) - Beethoven’s Two Trios, Op. 70—composed in 1808 and dedicated to Countess Marie Erdödy—were published by Breitkopf & Härtel in 1809. With the autograph of the first trio now lost and the second preserved in Berlin, both works draw on sketches from the Pastoral Symphony notebook. The D‑major Trio, later nicknamed the “Ghost Trio,” features a uniquely atmospheric Largo, while the E‑flat‑major Trio offers refined craftsmanship, Croatian folk elements, and a balanced four‑movement design. Together, they form the expressive center of Beethoven’s six piano trios.
- [Opus 069 - Sonata in A major for piano and cello](https://www.lvbeethoven.org/opus069/) - Riedizione della pagina. Beethoven’s Sonata in A Major, Op. 69—composed between 1807 and early 1808 and dedicated to Baron Ignaz von Gleichenstein—was published by Breitkopf & Härtel in April 1809. With the autograph of the first movement preserved in Vienna and sketches intertwined with those of the Fifth Symphony and the Violin Concerto, the sonata stands as a landmark in Beethoven’s chamber music. Its expansive Allegro, imaginative Scherzo, lyrical Adagio cantabile, and radiant Allegro vivace reveal a balance of intimacy and symphonic breadth that defines Beethoven’s mature style.
- [Opus 068 – Symphony No. 6 in F Major (“Pastoral”)](https://www.lvbeethoven.org/opus068/) - Beethoven’s Symphony No. 6 in F Major, Op. 68—composed between 1807 and 1808 and dedicated to Prince Lobkowitz and Count Rasumowsky—was first performed at the Theater an der Wien on 22 December 1808. With an autograph preserved in the Beethovenhaus and sketches dating back several years, the “Pastoral” blends programmatic subtitles with Beethoven’s declaration that it is “more an expression of feeling than painting.” Its five movements evoke nature through lyrical themes, rustic dances, a vivid storm, and a serene hymn of thanksgiving, forming one of Beethoven’s most poetic and influential symphonic creations.
- [Opus 067 – Symphony No. 5 in C minor](https://www.lvbeethoven.org/opus067/) - Beethoven’s Symphony No. 5 in C Minor, Op. 67—composed between 1804 and early 1808 and dedicated to Prince Lobkowitz and Count Rasumowsky—was first performed at the Theater an der Wien on 22 December 1808. With sketches spanning several years, an autograph preserved in Berlin, and a publication history beginning with Breitkopf & Härtel in 1809, the symphony embodies a dramatic journey from C‑minor tension to C‑major triumph. Its iconic opening motif, extensive development, and unprecedented cyclic integration make it one of the most influential works in Western music.
- [Opus 065 – “Ah, perfido!”, Scene and Aria for Soprano and Orchestra](https://www.lvbeethoven.org/opus065/) - Beethoven’s “Ah, perfido!”, Op. 65—composed in Prague in early 1796 and first performed in Leipzig by Josepha Duschek—combines a dramatic recitative with a noble, expressive aria. With a lost autograph, surviving sketches from Vienna and Prague, and a manuscript copy dedicated to Countess Josefine von Clary-Aldringen, the work reflects Beethoven’s early vocal style, rich orchestral writing, and the tradition of the grand concert aria. Published in 1805 by Hoffmeister & Kühnel, it remains one of Beethoven’s most powerful early concert scenes.
- [Opus 064 – Sonata in E-flat Major for Piano and Cello (Transcription of the Trio Op. 3)](https://www.lvbeethoven.org/opus064/) - Beethoven’s Sonata in E-flat Major, Op. 64—an arrangement of the String Trio Op. 3, published by Artaria in Vienna in May 1807—is attributed to Franz Xaver Kleinheinz or another contemporary arranger, though likely reviewed by Beethoven. With its five-movement structure, reallocation of string lines to the piano, and a more concertante character, the work transforms the original trio into a virtuosic sonata for piano and cello, reflecting early 19th‑century Viennese transcription practices.
- [Opus 063 – Trio in E-flat Major for Piano, Violin and Cello (Arrangement of the String Quintet Op. 4)](https://www.lvbeethoven.org/opus063/) - The Trio in E-flat Major, Op. 63—an anonymous arrangement of Beethoven’s String Quintet Op. 4—was published by Artaria in Vienna in July 1806. With no surviving autograph, uncertain authorship, and a publication history shaped by editorial gaps in Beethoven’s opus numbering, the work reflects the practices of early 19th‑century Viennese publishers. Though likely not arranged by Beethoven, Op. 63 offers a rare chamber reworking of the youthful Quintet and remains a document of its era’s musical dissemination.
- [Opus 062 – Overture in C Minor to the Tragedy “Coriolanus” by H. J. von Collin](https://www.lvbeethoven.org/opus062/) - Beethoven’s Coriolan Overture, Op. 62—composed in early 1807 and dedicated to Heinrich Joseph von Collin—was first performed at Prince Lobkowitz’s palace and published in 1808 by the Bureau d’arts et d’industrie. With no surviving sketches and an autograph preserved in the Beethoven House, the overture translates Collin’s tragedy into music through its stark thematic dualism, dramatic sonata‑form architecture and powerful depiction of the hero’s inner conflict.
- [Opus 061a – Concerto in D Major for Piano and Orchestra (Transcription of the Violin Concerto, Op. 61)](https://www.lvbeethoven.org/opus061a/) - Riedizione della pagina. Beethoven’s Concerto in D Major, Op. 61a—his own transcription of the Violin Concerto, Op. 61—was created in 1807 at the request of Muzio Clementi and dedicated to Julie von Breuning. With a lost autograph, a revised copy preserved in the British Museum, and a publication history spanning Vienna and London, the work adapts the violin original for piano and orchestra with newly composed cadenzas and refined adjustments, revealing Beethoven’s craftsmanship and the concerto’s evolving reception.
- [Opus 060 - Symphony No. 4 in B flat major](https://www.lvbeethoven.org/opus060/) - Beethoven’s Symphony No. 4 in B-flat Major, Op. 60—composed in 1806 and dedicated to Count Franz von Oppersdorff—was first performed at Prince Lobkowitz’s palace in 1807. With a lost sketchbook gap, an autograph preserved in Berlin, and a genesis intertwined with the Fifth and Pastoral Symphonies, the work blends a dark, mysterious introduction with luminous vitality, revealing Beethoven’s refined orchestral craft and his unique balance of classical clarity and poetic invention.
- [Opus 061 - Concerto in D major for violin and orchestra](https://www.lvbeethoven.org/opus061/) - Riedizione della pagina. Beethoven’s Violin Concerto in D Major, Op. 61—composed in 1806 for Franz Clement and dedicated to Stephan von Breuning—was premiered at the Theater an der Wien and published in 1808. With an autograph preserved in Vienna, sketches linked to the Fifth Symphony and the Op. 69 Sonata, and later revisions to the solo part, the concerto blends lyrical expansiveness, rhythmic architecture and refined orchestral writing, standing as one of Beethoven’s most poetic and influential concertante works.
- [Opus 059 – Three Quartets in F Major, E Minor and C Major (“Rasumowsky Quartets”)](https://www.lvbeethoven.org/opus059/) - Riedizione della pagina. Beethoven’s Three Quartets, Op. 59—commissioned by and dedicated to Count Andreas Rasumowsky—were composed in 1805–1806 and published in 1808. With autographs preserved in Berlin and Bonn, sketches embedded in the Fidelio notebook, and Russian folk themes woven into the first two quartets, the set marks a decisive expansion of Beethoven’s quartet writing. Monumental in scale, expressive range and structural innovation, the Op. 59 quartets stand among the greatest achievements of Beethoven’s middle period.
- [Opus 058 – Concerto No. 4 in G Major for Piano and Orchestra](https://www.lvbeethoven.org/opus058/) - Beethoven’s Piano Concerto No. 4 in G Major, Op. 58—composed between 1805 and 1806 and dedicated to Archduke Rudolph—was first performed privately in 1807 with the composer as soloist. With sketches contemporaneous to the Fifth Symphony, a lost autograph, and a revised copy containing numerous autograph alterations, the concerto reveals Beethoven’s innovative integration of piano and orchestra, from the unprecedented solo opening to the dramatic Orpheus-like dialogue of the Andante and the luminous freedom of the Finale.
- [Opus 057 – Sonata in F Minor for Piano (“Appassionata”)](https://www.lvbeethoven.org/opus057/) - Riedizione della pagina: Opus 57 Sonata in Fa minore per pianoforte Beethoven’s Sonata in F Minor, Op. 57—later known as the “Appassionata”—was composed between 1804 and 1806 and published in Vienna in 1807. Dedicated to Count Franz von Brunsvik, the work survives in a storm‑damaged autograph and sketches from the Leonore (Fidelio) sketchbook. With its dramatic architecture, thematic intensity and legendary final movement, the sonata stands as one of Beethoven’s most powerful statements of his middle period.
- [Opus 056 – Concerto in C Major for Piano, Violin, Cello and Orchestra (“Triple Concerto”)](https://www.lvbeethoven.org/opus056/) - Beethoven’s Concerto in C Major, Op. 56—known as the “Triple Concerto”—was composed between 1803 and 1804 and dedicated to Prince Lobkowitz. With sketches in the Eroica and Fidelio notebooks, a lost autograph, and early performances involving Archduke Rudolf’s circle, the work stands out for its unique trio of soloists and its refined balance between symphonic breadth and chamber-like interplay. First published in 1807 by the Bureau d’arts et d’industrie, it remains one of Beethoven’s most distinctive concertante creations.
- [Opus 055 – Symphony No. 3 in E-flat Major (“Eroica”)](https://www.lvbeethoven.org/opus055/) - Beethoven’s Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”), composed between 1802 and 1804 and first performed privately at Prince Lobkowitz’s palace, marks a turning point in Western music. With extensive sketches in the Wielhorsky and Landsberg 6 notebooks, a lost autograph, and a dramatic history involving its original dedication to Napoleon, the symphony embodies Beethoven’s heroic ideal through unprecedented scale, innovation and expressive depth.
- [Opus 054 - Sonata in F major for Piano](https://www.lvbeethoven.org/opus054/) - Beethoven’s Sonata in F Major, Op. 54, composed in the second half of 1804 and published in Vienna in April 1806, is an unusual two‑movement work marked by contrasts of grace and mechanical energy. With sketches for the second movement preserved in the Leonore (Fidelio) sketchbook, the sonata reveals Beethoven’s experimental approach to form, texture and character during the fertile years surrounding the “Eroica” period.
- [Opus 053 – Sonata in C Major for Piano (“Waldstein” / “L’Aurore”)](https://www.lvbeethoven.org/opus053/) - Riedizione della pagina: Opus 53 Sonata in Do maggiore per pianoforte Beethoven’s Sonata in C Major, Op. 53—known as the “Waldstein” Sonata—was composed between 1803 and 1804 and published in Vienna in 1805. Dedicated to Count Ferdinand von Waldstein, the work draws on extensive sketches from the “Eroica” notebook and originally included the Andante favori as its central movement. Celebrated for its luminous character, structural innovation and virtuosic pianism, the sonata stands as a cornerstone of Beethoven’s middle period.
- [Opus 051 – Two Rondos in C Major and G Major for Piano](https://www.lvbeethoven.org/opus051/) - Beethoven’s Two Rondos, Op. 51—No. 1 in C major (1796–1797) and No. 2 in G major (1798–1800)—were published together only in 1802, despite being composed years apart. With lost autographs, early sketches linked to the Grasnick and other notebooks, and dedications involving Countess Henriette Lichnowsky and the circle of Giulietta Guicciardi, the works reveal Beethoven’s lyrical charm, evolving pianistic style, and a rich, intertwined publication history.
- [Opus 050 – Second Romance in F Major for Violin and Orchestra](https://www.lvbeethoven.org/opus050/) - Beethoven’s Second Romance in F Major, Op. 50, composed no later than autumn 1802 and published in 1805 by the Bureau d’arts et d’industrie, is an elegant and lyrical work for violin and orchestra. With no surviving sketches, an autograph now held at the Library of Congress, and a complex early performance and publication history, the Romance reveals Beethoven’s refined melodic writing and his evolving orchestral style at the turn of the century.
- [Opus 049 – Two Sonatas in G Minor and G Major for Piano](https://www.lvbeethoven.org/opus049/) - Beethoven’s Two Sonatas in G Minor and G Major, Op. 49, composed between 1795 and 1798 and published only in 1805 by the Kunst- und Industrie-Comptoir, are early works of remarkable clarity and simplicity. Preserved in partial manuscripts and sketches from the Kafka Collection, the sonatas reveal Beethoven’s pedagogical intentions, their modest scale contrasting with the composer’s more ambitious contemporaneous piano works.
- [Opus 046 – “Adelaïde”, Cantata for Voice and Piano](https://www.lvbeethoven.org/opus046/) - Beethoven’s “Adelaïde”, Op. 46, composed between 1794 and 1796 and published by Artaria in 1797, sets Friedrich von Matthisson’s celebrated poem in a four‑stanza cantata of growing expressive intensity. With early sketches linked to Beethoven’s studies with Albrechtsberger and a rich publication history involving Artaria, Hoffmeister & Kühnel, and Simrock, the work reveals the young composer’s lyrical refinement and emerging Romantic sensibility.
- [Opus 047 – Sonata in A Major for Piano and Violin (“Kreutzer”)](https://www.lvbeethoven.org/opus047/) - Beethoven’s Sonata in A Major, Op. 47—known as the “Kreutzer” Sonata—was composed in 1802–1803 and premiered with George Bridgetower before its 1805 publication by Simrock. Conceived in a highly concertante style and drawing on sketches from the Kessler, Wielhorsky and Eroica notebooks, the work stands as a landmark in Beethoven’s violin–piano writing, marked by dramatic intensity, virtuosity and a complex history of dedication and revision.
- [Opus 045 – Three Marches in C Major, E-flat Major and D Major for Piano Four Hands](https://www.lvbeethoven.org/opus045/) - Beethoven’s Three Marches, Op. 45, composed between 1802 and 1803 and dedicated to Princess Maria Esterházy, belong to the tradition of Viennese “social music” while bearing the composer’s unmistakable personal imprint. With sketches preserved in the Landsberg 6 (“Eroica”) notebook and a complex publication history involving Count Browne and the Kunst- und Industrie-Comptoir, the marches reveal Beethoven’s evolving style and his engagement with popular ceremonial genres.
- [Opus 044 – Fourteen Variations on “Ja, ich muß mich von ihr scheiden” for Piano, Violin and Cello](https://www.lvbeethoven.org/opus044/) - Beethoven’s Fourteen Variations in E-flat Major, Op. 44, composed around 1792–1800 and published by Hoffmeister & Kühnel in 1804, are based on the aria “Ja, ich muß mich von ihr scheiden” from Dittersdorf’s comic opera Das rothe Käppchen. With a lost autograph, early sketches linked to the Grasnick 2 notebook, and ties to the Prometheus period, the work reveals Beethoven’s evolving variation technique and his engagement with popular theatrical sources.
- [Opus 042 – Nocturne in D Major for Piano and Viola (from Serenade Op. 8)](https://www.lvbeethoven.org/opus042/) - Beethoven’s Nocturne in D Major, Op. 42, is an arrangement of the Serenade Op. 8 for violin, viola and cello, prepared around 1797–1803 by an unknown arranger—likely Franz Xaver Kleinheinz—and thoroughly revised by Beethoven. Published by Hoffmeister & Kühnel in 1804, the work preserves the multi‑movement charm of the original while adapting it to an intimate duo for piano and viola.
- [Opus 041 – Serenade in D Major for Piano and Flute (from Serenade Op. 25)](https://www.lvbeethoven.org/opus041/) - Beethoven’s Serenade in D Major, Op. 41, is the composer’s own arrangement for piano and flute of the earlier Serenade for flute, violin and viola, Op. 25. Prepared around the early 1800s and published in Vienna, this version preserves the multi-movement charm and conversational character of the original while adapting its chamber texture to a more intimate duo setting.
- [Opus 040 – First Romance in G Major for Violin and Orchestra](https://www.lvbeethoven.org/opus040/) - Beethoven’s First Romance in G Major, Op. 40, composed around 1800–1802 and published by Hoffmeister & Kühnel in 1803, is a serene and lyrical work for violin and orchestra. With no surviving sketches and a complex publication history, the piece reveals Beethoven’s early melodic refinement and his evolving orchestral writing at the dawn of the middle period.
- [Opus 039 – Two Preludes in the Twelve Major Keys for Piano or Organ](https://www.lvbeethoven.org/opus039/) - Beethoven’s Two Preludes in the Twelve Major Keys, Op. 39, composed between 1789 and 1803 and published by Hoffmeister & Kühnel, explore a systematic progression through all major keys following the cycle of fifths. Combining contrapuntal study, thematic development and a complex publication history, these works illuminate Beethoven’s early compositional craft and pedagogical interests.
- [Opus 038 - Trio in E flat major for piano, (clarinet), violin and cello (from the Septet op. 20)](https://www.lvbeethoven.org/opus038/) - Beethoven’s Trio in E-flat Major, Op. 38, arranged in 1802–1803 from the Septet Op. 20 and dedicated to Dr. Johann Adam Schmidt, transforms the original ensemble into a piano trio with clarinet or violin. Its intricate publication history, personal dedication, and adaptation choices reveal Beethoven’s strategic response to unauthorized arrangements and his close ties to Vienna’s musical and medical circles.
- [Opus 037 - Concerto No. 3 in C minor for piano and orchestra](https://www.lvbeethoven.org/opus037/) - Beethoven’s Piano Concerto No. 3 in C Minor, Op. 37, composed between 1800 and 1803 and premiered with the composer as soloist, marks a decisive step toward his mature concerto style. Its dramatic tonal world, extensive sketch tradition, and complex publication history reveal a work that bridges Classical models with Beethoven’s emerging heroic voice.
- [Opus 036 – Symphony No. 2 in D major](https://www.lvbeethoven.org/opus036/) - Beethoven’s Symphony No. 2 in D Major, Op. 36, composed between 1800 and autumn 1802 and dedicated to Prince Carl Lichnowsky, stands as a bold expansion of his early symphonic style. Supported by extensive sketches in the Landsberg and Kessler books, the work blends radiant energy, lyrical depth and structural innovation, culminating in a landmark premiere at the Theater an der Wien in 1803.
- [Opus 035 – Fifteen Variations and a Fugue in E-flat Major for Piano](https://www.lvbeethoven.org/opus035/) - Beethoven’s Fifteen Variations and a Fugue in E-flat Major, Op. 35—known as the “Eroica Variations”—were composed in 1802 and explore bold harmonic design, structural innovation and thematic transformation. Drawing on extensive sketches and linked to the later Symphony No. 3, the work stands as a pivotal milestone in Beethoven’s evolving variation technique.
- [Opus 034 – Six Variations on an Original Theme for Piano](https://www.lvbeethoven.org/opus034/) - Beethoven’s Six Variations on an Original Theme, Op. 34, composed in 1802 and published by Breitkopf & Härtel in 1803, explore a uniquely innovative approach in which each variation adopts a different key and character. Supported by extensive sketches in the Kessler and Wielhorsky notebooks, the work reveals Beethoven’s experimental rethinking of the variation form at the dawn of his middle period.
- [Opus 033 - Seven Bagatelles for Piano](https://www.lvbeethoven.org/opus033/) - Beethoven’s Seven Bagatelles, Op. 33, composed between 1801 and 1802, reveal a refined exploration of miniature form, expressive nuance and pianistic invention. Their rich sketch tradition, varied characters and complex publication history illuminate an early example of Beethoven’s lifelong fascination with the bagatelle as a laboratory for concise musical ideas.
- [Opus 032 - "An die Hoffnung", "Die du so gern" for Voice and Piano](https://www.lvbeethoven.org/opus032/) - Beethoven’s Lied “An die Hoffnung”, Op. 32, composed in early 1805 and published by the Kunst- und Industrie-Comptoir, sets verses from Christian A. Tiedge’s Urania. Written for Countess Josephine Deym, the song blends expressive harmonic nuance with early Romantic introspection, later revisited by Beethoven in his expanded 1815 setting of the same text.
- [Opus 031 - Three Sonate in G major, D minor and E-flat major for piano](https://www.lvbeethoven.org/opus031/) - Beethoven’s three piano sonatas Op. 31, composed in 1801–1802, mark a decisive turning point in his keyboard writing, blending formal innovation, dramatic contrast and a new expressive individuality. Their rich sketch tradition, complex publication history and sharply differentiated characters reveal a composer consciously forging a new artistic path at the dawn of his middle period.
- [Opus 030 – Three Sonatas in A Major, C Minor and G Major for Piano and Violin](https://www.lvbeethoven.org/opus030/) - Beethoven’s Opus 30, composed in 1802 and dedicated to Tsar Alexander I, comprises three sonatas that reveal a decisive evolution in his chamber writing. Their rich sketch tradition, complex publication history, and sharply contrasting expressive worlds—from lyrical serenity to dramatic intensity and folklike brilliance—mark a pivotal moment in Beethoven’s early‑middle period.
- [Opus 029 - Quintet in C major for two violins, two violas and cello](https://www.lvbeethoven.org/opus029/) - Beethoven’s Quintet in C Major, Op. 29, composed between 1800 and 1801 and dedicated to Count Moritz von Fries, stands as his only original large-scale work conceived specifically for the ensemble of two violins, two violas and cello. Its rich sketch tradition, complex publication history, and innovative four‑movement design reveal a pivotal chamber composition that blends Classical clarity with Beethoven’s emerging dramatic voice.
- [Opus 028 – Piano Sonata in D major](https://www.lvbeethoven.org/opus028/) - Beethoven’s Piano Sonata in D Major, Op. 28, composed in 1801 and dedicated to Joseph von Sonnenfels, blends pastoral lyricism with structural clarity and expressive depth. Its rich sketch tradition, complex publication history, and evocative thematic writing reveal a pivotal early‑middle period work shaped by Beethoven’s fascination with nature and evolving pianistic language.
- [Opus 027 – Two Sonatas “Quasi una Fantasia” in E-flat Major and C-sharp Minor for Piano](https://www.lvbeethoven.org/opus027/) - Beethoven’s Opus 27 pairs two innovative “quasi una fantasia” sonatas composed around 1800–1801, each exploring fluid formal design, improvisatory character, and expressive contrast. Their rich sketch tradition, complex publication history, and distinct dedications illuminate a pivotal moment in Beethoven’s evolving pianistic language at the dawn of his middle period.
- [Opus 026 – Sonata in A-flat major for piano](https://www.lvbeethoven.org/opus026/) - Beethoven’s Sonata in A-flat Major, Op. 26, composed between 1800 and 1801 and dedicated to Prince Carl Lichnowsky, departs from the traditional sonata-form opening with an innovative theme and variations. Its celebrated funeral march, rich sketch tradition, and complex publication history reveal a pivotal work that blends expressive depth with formal experimentation.
- [Opus 025 – Serenade in D major for flute, violin and viola](https://www.lvbeethoven.org/opus025/) - Beethoven’s Serenade in D Major, Op. 25, composed between 1795 and 1796 and published by Giovanni Cappi in 1802, blends early Classical charm with emerging expressive depth. Its seven‑movement design, varied instrumental writing, and complex publication and sketch history illuminate a transitional work that predates the more mature Serenade Op. 8.
- [Opus 024 - Sonata in F major for piano and violin](https://www.lvbeethoven.org/opus024/) - Beethoven’s Sonata in F Major, Op. 24, composed in 1800–1801 and dedicated to Count Moritz von Fries, blends lyrical radiance with refined structural clarity. Drawing on earlier sketches from the mid‑1790s and later revised alongside Op. 23, the work’s four‑movement design, expressive breadth, and rich manuscript tradition reveal a pivotal moment in Beethoven’s evolving chamber style.
- [Opus 023 - Sonata in A minor, for piano and violin](https://www.lvbeethoven.org/opus023/) - Beethoven’s Sonata in A Minor, Op. 23, composed in 1800–1801 and dedicated to Count Moritz von Fries, reveals a bold early exploration of dramatic contrast, motivic concentration, and expressive melancholy. Its complex genesis, shared publication history with Op. 24, and rich network of sketches illuminate a pivotal moment in Beethoven’s evolving chamber style.
- [Opus 021 – Symphony No. 1 in C Major](https://www.lvbeethoven.org/opus021/) - Beethoven’s Symphony No. 1 in C Major, Op. 21, composed in 1799–1800 and premiered at the Hofburgtheater on 2 April 1800, stands at the threshold of his symphonic voice. Blending Classical models with a bold sense of harmonic direction, orchestral color, and rhythmic vitality, the work reveals a young composer reshaping inherited forms with confidence and originality.
- [Opus 022 – Sonata in B-flat Major for Piano](https://www.lvbeethoven.org/opus022/) - Beethoven’s Piano Sonata in B-flat Major, Op. 22, composed between 1799 and 1800 and published in 1802, represents the culmination of his early sonata style. Its expansive four-movement design, rich sketch material, and confident technical writing reveal a work Beethoven himself regarded as “great,” balancing Classical clarity with an increasingly individual expressive voice.
- [Opus 020 – Septet in E-flat Major for Violin, Viola, Cello, Double Bass, Clarinet, Horn and Bassoon](https://www.lvbeethoven.org/opus020/) - Beethoven’s Septet in E-flat Major, Op. 20, composed between 1799 and 1800 and premiered at his landmark 2 April 1800 concert, blends Classical serenade traditions with emerging symphonic ambition. Its rich instrumentation, extensive sketch material, and complex publication history reveal a pivotal early masterpiece that shaped Beethoven’s public reputation.
- [Opus 019 – Piano Concerto No. 2 in B-flat Major](https://www.lvbeethoven.org/opus019/) - Beethoven’s Piano Concerto in B-flat Major, Op. 19, reveals a long and intricate evolution from its Bonn origins to the definitive 1801 edition. Through successive revisions, the work blends Classical concerto conventions with Beethoven’s emerging virtuoso style, documented by extensive sketches, early performances, and a complex publication history.
- [Opus 018 – Six String Quartets in F, G, D, C minor, A and B-flat Major](https://www.lvbeethoven.org/opus018/) - Beethoven’s Opus 18 marks his first major contribution to the string quartet genre, blending Classical models with an emerging personal voice. Composed between 1798 and 1800 and dedicated to Prince Lobkowitz, the six quartets reveal evolving structural ambition, refined motivic work, and early experiments that foreshadow Beethoven’s mature chamber style.
- [Opus 017 – Sonata in F Major for Piano and Horn (or Viola or Cello)](https://www.lvbeethoven.org/opus017/) - A 1800 chamber sonata shaped for the virtuoso Giovanni Punto, blending Beethoven’s improvisatory energy with the expressive limits and colors of the natural horn. Its historical context, performance history, and surviving sources reveal a work poised between spontaneity and emerging structural ambition.
- [Opus 016a – Quartet in E-flat major for piano, violin, viola and cello (from Op.16)](https://www.lvbeethoven.org/opus016a/) - Beethoven’s Opus 16a is the composer’s own transcription of the earlier piano–winds Quintet, adapted for piano and string trio around 1796–1797 and published in 1801. While the piano part remains essentially unchanged, the transformation of the wind writing into string textures reveals a refined rethinking of color, articulation and thematic distribution.
- [Opus 016 – Quintet in E-flat major for piano, oboe, clarinet, horn and bassoon](https://www.lvbeethoven.org/opus016/) - Composed between 1794 and 1797 and published by Mollo in 1801, Beethoven’s Opus 16 stands as a major contribution to the piano–winds repertoire. Its expansive Grave introduction, expressive Andante cantabile and lively Rondo reveal a dialogue with Mozart’s K.452 while asserting Beethoven’s own emerging voice through bold thematic treatment, coloristic writing and structural breadth.
- [Opus 015 - Concerto No.1 in C major for piano and orchestra](https://www.lvbeethoven.org/opus015/) - Composed between 1793 and 1795 and revised extensively before publication in 1801, Beethoven’s Opus 15 reveals the emergence of a more expansive and virtuosic concerto style. Its brilliant Allegro con brio, lyrical Largo, and spirited Rondo display a rich orchestral palette, early experiments in thematic transformation, and the evolving dialogue between soloist and ensemble.
- [Opus 002 – Three Piano Sonatas in F Minor, A Major and C Major](https://www.lvbeethoven.org/opus002/) - Beethoven’s Opus 2 presents three ambitious early piano sonatas in F minor, A major and C major, composed between 1794 and 1795 and dedicated to Joseph Haydn. These works reveal Beethoven’s emerging individuality, expanded sonata form, and the bold pianistic language that would define his early Viennese style.
- [Opus 006 – Piano Sonata for Four Hands in D Major](https://www.lvbeethoven.org/opus006/) - Beethoven’s Opus 6 is a concise two‑movement piano sonata for four hands, composed between 1796 and early 1797 and published by Artaria in Vienna. Though modest in scale, the work reveals early hints of Beethoven’s later dramatic style and reflects the pedagogical and social context of four‑hand piano playing in late‑18th‑century Vienna.
- [Opus 014 – Two Piano Sonatas in E major and G major](https://www.lvbeethoven.org/opus014/) - Composed around 1798–1799 and published by Mollo in 1799, Beethoven’s Opus 14 sonatas explore a more intimate and luminous keyboard idiom. Their clarity of texture, motivic economy and refined lyricism reveal a shift toward a classical poise that contrasts with the dramatic intensity of the Op. 13 “Pathétique,” marking an essential stage in the evolution of Beethoven’s early piano style.
- [Opus 007 – Piano Sonata in E‑flat Major](https://www.lvbeethoven.org/opus007/) - Beethoven’s Opus 7, the expansive “Grande Sonata” in E‑flat major, was composed between 1796 and 1797 and published by Artaria in Vienna. Dedicated to Countess Keglevich, it stands as Beethoven’s first large-scale piano-sonata masterpiece, marked by symphonic breadth, expressive contrasts, and an idyllic character that reveals a lesser-known facet of his early Viennese style.
- [Opus 005 – Two Sonatas in F Major and G Minor for Piano and Cello](https://www.lvbeethoven.org/opus005/) - Beethoven’s Opus 5 comprises two groundbreaking sonatas for piano and cello, composed in Berlin in 1796 and published by Artaria in 1797. Dedicated to Frederick William II, these works mark a turning point in the cello’s evolution, achieving unprecedented instrumental parity and showcasing Beethoven’s early mastery of large-scale sonata form.
- [Opus 013 – Sonata in C minor for piano (“Pathétique”)](https://www.lvbeethoven.org/opus013/) - Composed between 1798 and 1799 and published by Hoffmeister in Vienna, Beethoven’s Opus 13 elevates the piano sonata to a new dramatic intensity. Its Grave introduction, the lyrical Adagio cantabile, and the turbulent Rondo articulate a unified tragic principle, blending formal innovation with expressive depth that anticipates the composer’s mature style.
- [Opus 003 – Trio in E‑flat Major for Violin, Viola and Cello](https://www.lvbeethoven.org/opus003/) - Beethoven’s Opus 3 is a six‑movement trio for violin, viola and cello, composed between 1795 and 1796 and published by Artaria in Vienna. Influenced by Mozart’s Divertimento K. 563, the work blends elegance, structural breadth and early symphonic thinking, showcasing Beethoven’s search for timbral balance and expressive chamber writing.
- [Opus 012 – Three Sonatas for piano and violin in D major, A major and E-flat major](https://www.lvbeethoven.org/opus012/) - Composed between 1797 and 1798 and published by Artaria in 1798–99, Beethoven’s Opus 12 sonatas explore a new, more dialogic relationship between piano and violin. Their formal clarity, thematic inventiveness and expressive contrasts mark a decisive step in the evolution of his early chamber style, reflecting both Viennese influences and Beethoven’s growing independence from classical models.
- [Opus 010 – Three Piano Sonatas in C minor, F major and D major](https://www.lvbeethoven.org/opus010/) - Composed between 1796 and 1798, Beethoven’s Opus 10 presents three contrasting piano sonatas that mark a decisive evolution in his early keyboard style. From the dramatic C‑minor Sonata to the witty F‑major and the expansive D‑major, the set reveals experiments in form, character and motivic development that anticipate the innovations of the Op. 13 and Op. 22 periods.
- [Opus 001 – Three Piano Trios for Piano, Violin and Cello in E‑flat, G and C Minor](https://www.lvbeethoven.org/opus001/) - Beethoven’s Opus 1: three groundbreaking piano trios in E‑flat, G major and C minor, composed between 1793–1795 and dedicated to Prince Lichnowsky. A pivotal early work revealing Beethoven’s emerging individuality, structural innovation and expressive depth.
- [Opus 011 – Trio in B-flat major for piano, clarinet (or violin) and cello](https://www.lvbeethoven.org/opus011/) - Composed between late 1797 and mid‑1798, Beethoven’s Opus 11 is a chamber trio built around the celebrated “Gassenhauer” theme from Weigl’s opera L’amor marinaro. Its three movements—Allegro con brio, a lyrical Adagio, and a set of inventive variations—reveal Beethoven’s early exploration of coloristic writing for clarinet, expressive contrast, and motivic transformation.
- [Opus 009 – Three Trios in G major, D major and C minor for violin, viola and cello](https://www.lvbeethoven.org/opus009/) - Composed between 1796 and early 1798, Beethoven’s Opus 9 presents three ambitious string trios that expand the expressive and structural possibilities of the genre. From the luminous G‑major Trio to the lyrical D‑major and the dramatic C‑minor, the set reveals a decisive step toward the quartet style of the Op. 18 period.
- [Opus 008 – Serenade in D major for violin, viola and cello](https://www.lvbeethoven.org/opus008/) - A chamber Serenade of 1796–97, Opus 8 reveals Beethoven’s early mastery of sectional design, blending march, dance, and variation forms with a refined melodic imagination. Its contrasts—between Adagio, Scherzo, Minuet and Polacca—anticipate later developments in his piano and quartet writing.
- [Sketchbook for the Piano Sonata Op. 26 – Beethoven’s Early Drafts and Sources](https://www.lvbeethoven.org/skizzensonateopus26/) - A detailed presentation of Beethoven’s sketch materials for the Piano Sonata Op. 26, based on Erich Prieger’s 1895 edition and the Landsberg 7 notebook. Includes historical context, manuscript analysis, early drafts, thematic variants and references to related works composed around 1800–1801.
- [Princeton Sketches for Variations in G Major – Autograph Fragment](https://www.lvbeethoven.org/princeton/) - A scholarly presentation of Beethoven’s autograph fragment “Ben Ligato,” preserved at Princeton’s Scheide Library and traditionally labeled as sketches for variations in G minor—here correctly identified as G major. Includes manuscript analysis, editorial notes, and Emanuele Stracchi’s reconstruction of the complete set of variations.
- [Landsberg 7 – Beethoven’s Sketchbook: Unknown Fragments, Prometheus Studies and Early Sonata Ideas](https://www.lvbeethoven.org/skizzenbuch-landsberg_7/) - A comprehensive presentation of Beethoven’s Landsberg 7 sketchbook, transcribed and analyzed by K. Lothar Mikulicz. The volume contains numerous unknown fragments, studies for The Creatures of Prometheus Op. 43, early sonata ideas, contrapuntal exercises and thematic drafts, offering a detailed view of Beethoven’s evolving creative process.
- [Kullak Sketchbook – Beethoven’s Late Piano Miniature and Drafts for Op. 135](https://www.lvbeethoven.org/skizzenkullak/) - A detailed presentation of Beethoven’s Kullak Sketchbook, preserved at the Berlin State Library and containing drafts for the String Quartet Op. 135 as well as a rediscovered 32-bar piano miniature identified by Peter McCallum. Includes historical context, manuscript analysis and performance history.
- [Fischhof Miscellany – Beethoven’s Early Sketches and the Bonn‑Vienna Transition](https://www.lvbeethoven.org/abbozzi-skizzenbuch-sketchbooks-miscellanea-fischof/) - A scholarly presentation of the Fischhof Miscellany, a collection of early Beethoven sketches preserved in Berlin. The page explores Joseph Fischhof’s role as collector, the provenance of the manuscripts, and the Minuet in D minor with piano realization by Graziano Denini and orchestral reconstruction by Albert Willem Holsbergen.
- [Italian Sacred Masterpieces – Tucher’s “Kirchengesänge” Dedicated to Beethoven](https://www.lvbeethoven.org/kirchengesange/) - A scholarly presentation of Gottlieb von Tucher’s 1827 anthology “Kirchengesänge der berühmtesten älteren italienischen Meister,” dedicated to Beethoven. The article explores Tucher’s life, his role in the revival of Renaissance sacred music, his connections to Thibaut, Baini, and Santini, and the historical significance of the Artaria edition.
- [Ballet La vendetta di Venere – Musical Pastiche by Salvatore Viganò (1817)](https://www.lvbeethoven.org/articles-ballet-la-vendetta-di-venere/) - A scholarly presentation of the ballet “La vendetta di Venere” (1817), composed and directed by Salvatore Viganò with music by Rossini, Beethoven, Weigl, Umlauff, and Caraffa. Includes historical context, sources, biographical notes on Elena Viganò, and details on Ferdinando Bonazzi’s harpsichord reduction.
- [Selected Pieces from the Grand Ballet Il Conte di Essex (1818)](https://www.lvbeethoven.org/articles-vigano-conte-di-essex/) - A scholarly presentation of the ballet “Il Conte di Essex” (1818), choreographed by Gaetano Gioia with music by Lichtenthal, Haydn, Beethoven, Cherubini, and Rossini. Includes historical context, plot, sources, and selected piano reductions from the original production.
- [XXVI) Beethoven’s Transcriptions and Studies on the Works of Daniel Gottlob Türk](https://www.lvbeethoven.org/abs27/) - Beethoven’s 1818–19 transcriptions from Türk’s Kurze Anweisung zum Generalbaßspielen (ABS 27), preserved in Artaria 153 and A‑Wgm A 75, with three musical examples.
- [XII) Beethoven’s Transcriptions and Studies on the Works of Gottlieb Muffat](https://www.lvbeethoven.org/abs12/) - Beethoven’s 1804 transcriptions from Gottlieb Muffat’s Toccate (ABS 12), including Fugue No. 5 from Toccata II and the first fugue from Toccata III.
- [XI – Beethoven’s Transcriptions and Studies on W.A. Mozart](https://www.lvbeethoven.org/abs11/) - Catalogue of Beethoven’s transcriptions and studies on Mozart’s works (ABS 11), including quartets, fugues, operatic excerpts, canons, and keyboard reductions.
- [VIII) Beethoven’s Transcriptions, Variations, and Studies on the Works of G. F. Handel](https://www.lvbeethoven.org/abs08/) - Catalogue of Beethoven’s transcriptions, variations, and studies on Handel (ABS 08), including Judas Maccabaeus, Esther, Saul, Messiah, Solomon, Concerti Grossi, and keyboard suites.
- [IV) Transcriptions from Luigi Cherubini (1760 - 1842)](https://www.lvbeethoven.org/abs04/) - Beethoven’s 1804 transcription from Cherubini’s Les deux Journées (ABS 04), preserved in the Bodmer Collection and linked to the Act I trio of Fidelio.
- [II) Beethoven’s Transcriptions and Studies on the Works of Johann Sebastian Bach](https://www.lvbeethoven.org/jsbach/) - Catalogue of Beethoven’s transcriptions and studies on J. S. Bach (ABS 02), including inventions, sinfonias, fugues from both WTC books, and excerpts from major contrapuntal works.
- [I) Beethoven’s Transcriptions and Studies on Carl Philipp Emanuel Bach](https://www.lvbeethoven.org/abs01/) - Catalogue of Beethoven’s transcriptions and studies on C. P. E. Bach (ABS 01), including the Württemberg Sonatas and passages from the Litanies Wq 204.
- [Hess Anhang 64 – Schusterkanon: “Schau wie das Weiberl geht”](https://www.lvbeethoven.org/hess-anhang-64/) - Three‑voice Schusterkanon “Schau wie das Weiberl geht” (Hess Anhang 64), copied by Beethoven and linked to popular social canons, with parallels to Hering and a doubtful Mozart attribution.
- [Hess Anhang 63 – “Ein anders ist das erste Jahr”, Four‑Voice Canon in F Major](https://www.lvbeethoven.org/hess-anhang-63/) - Four‑voice canon “Ein anders ist das erste Jahr” (Hess Anhang 63), copied by Beethoven from the 1800 Allgemeine Musikalische Zeitung amid debates on the new century’s true beginning.
- [Hess Anhang 61 – Four‑Voice Canon “Ähnliches Beispiel” (after Marpurg)](https://www.lvbeethoven.org/hess-anhang-61/) - Four‑voice canon “Ähnliches Beispiel” (Hess Anhang 61), a transcription from Marpurg’s 1753–54 fugue treatise, copied by Beethoven among his contrapuntal studies of 1809.
- [Hess Anhang 60 – Four ‑ Voice Canon in C Major](https://www.lvbeethoven.org/hess-anhang-60/) - Four‑voice canon in C major (Hess Anhang 60), a short contrapuntal exercise attributed to Beethoven in early catalogues but now considered of doubtful authenticity.
- [Hess Anhang 59 – “As I Was Wandering”: Folk Song Arrangement in D Major](https://www.lvbeethoven.org/hess-anhang-59/) - Folk song arrangement in D major (Hess Anhang 59), linked to Burns’s “As I Was Wandering,” long attributed to Beethoven but possibly derived from Haydn’s earlier setting.
- [Hess Anhang 58 – “Bundeslied”, based on poetry by Goethe](https://www.lvbeethoven.org/hess-anhang-58/) - Humperdinck’s humorous “Bundeslied” on Goethe’s text (Hess Anhang 58), a parody based on Beethoven’s Septet Op. 20, later mislisted as an authentic Beethoven work.
- [Hess Anhang 57 – Dona nobis pacem, Fugato for Four Voices in C Major](https://www.lvbeethoven.org/hess-anhang-57/) - Four‑voice fugato Dona nobis pacem (Hess Anhang 57), long considered spurious until the rediscovery of Beethoven’s manuscript in Stockholm confirmed its authenticity.
- [Hess Anhang 46–47 – Vocal Adaptations from Beethoven’s Op. 88 and WoO 124](https://www.lvbeethoven.org/hessanhang46-47/) - Vocal adaptations of Beethoven’s Op. 88 and WoO 124 (Hess Anhang 46–47), listed by Lenz and later identified as arrangements with texts by Tiedge.
- [Hess Anhang 45 – “Sehnsucht nach dem Rhein” (Longing for the Rhine)](https://www.lvbeethoven.org/hessanhang45/) - Vocal adaptation of Beethoven’s Op. 75 No. 1 (Hess Anhang 45), with a new text by Princess Luise zu Wied, published in Bonn by Dunst in 1839 and listed by Lenz.
- [Hess Anhang 40 – “Aus dunklem Laub” (Trio for Male Voices from Op. 26)](https://www.lvbeethoven.org/hessanhang40/) - Trio for unaccompanied male voices based on Beethoven’s Sonata Op. 26 (Hess Anhang 40), published in Berlin in 1821 and listed by Wilhelm von Lenz among the spurious Lieder.
- [Hess Anhang 38 – Duet “Auf der Liebe Rosenbetten” in G Major (Lost Work)](https://www.lvbeethoven.org/hess-anhang-38/) - Lost duet “Auf der Liebe Rosenbetten” in G major (Hess Anhang 38), known only from Thayer’s incipit and later misattributed by Adler to Johann van Beethoven.
- [Hess Anhang 22 – Mozart KV523a: Funeral March in C Minor for Keyboard](https://www.lvbeethoven.org/hess-anhang-22/) - Funeral March in C minor for keyboard (Hess Anhang 22), attributed to Mozart as KV523a and preserved in Babette Ployer’s album, with full historical documentation.
- [Hess Anhang 21 - Bagatelle for Piano (Op. 119/12) [piano version of the Lied "An Laura"]](https://www.lvbeethoven.org/hess-anhang-21-bagatella-per-pianoforte-op-11912-versione-per-pianoforte-del-lied-an-laura/) - Bagatelle Op. 119/12 (Hess Anhang 21), an abbreviated piano version of Beethoven’s Lied “An Laura,” likely added by Diabelli in the 1826 edition.
- [Hess Anhang 17 – Two Pieces from Prometheus Op. 43](https://www.lvbeethoven.org/hess-anhang-17/) - Two arrangements from Beethoven’s ballet Die Geschöpfe des Prometheus Op. 43 (Hess Anhang 17), issued by Charles Zulehner in 1831 for violin–piano and string quartet, with uncertain provenance.
- [Hess Anhang 10 – Andante favori (WoO 57) for String Quartet](https://www.lvbeethoven.org/hess-anhang-10/) - String quartet transcription of Beethoven’s Andante favori WoO 57 (Hess Anhang 10), likely by Hoffmeister or Ries, published in Vienna around 1806 and long debated in attribution.
- [Hess Anhang 09 - Hess Anhang 9 Sonata a tre in Six Movements for Organ](https://www.lvbeethoven.org/hess-anhang-09/) - Six‑movement trio sonata attributed to Beethoven (Hess Anhang 09), largely derived from Handel and C.P.E. Bach, with only the final two movements authentically by Beethoven.
- [Hess Anhang 08 – Quintet for Flute, Violin, Two Violas and Cello (Transcription of Op. 30 No. 3)](https://www.lvbeethoven.org/hess-anhang-08/) - Doubtful transcription of Beethoven’s Sonata Op. 30 No. 3 for flute, violin, two violas and cello (Hess Anhang 08), published by Spehr in 1811 and long debated in attribution.
- [Hess Anhang 4 - Marsch in geschwinden tempo, for wind instruments](https://www.lvbeethoven.org/hess-anhang-04/) - Beethoven’s doubtful “March in Brisk Tempo” in D major (Hess Anhang 04), preserved in the Vienna City Library and featuring grand wind instrumentation with uncertain attribution.
- [Hess Anhang 03 – Unknown Transcription of the WoO 24](https://www.lvbeethoven.org/hess-anhang-03/) - Unknown transcription of Beethoven’s “Marsch zur grossen Wachtparade” WoO 24 (Hess Anhang 03), fe
- [Hess Anhang 02 – March WoO 18, Alternative Instrumentation](https://www.lvbeethoven.org/hess-anhang-02/) - Alternative instrumentation of Beethoven’s “March for the Yorck Corps” (Hess Anhang 02), derived from WoO 18 and preserved in Schlesinger’s early 19th‑century collection.
- [Unv. 23 - Sketches for a song by Goethe: Heidenröslein.](https://www.lvbeethoven.org/unv23/) - Sketches for Beethoven’s unfinished setting of Goethe’s Heidenröslein, with sources from BnF, Artaria 201, Vienna autographs, and historical commentary.
- [Unv.13 – Fragment of a Piano Sonata (Fischhof, folio 42v)](https://www.lvbeethoven.org/unv13/) - Unfinished piano sonata sketched between late 1797 and spring 1798, with a full structural plan, first‑movement drafts, and finale theme with five variations.
- [Unv.04 – Biamonti 832 – Sketches for an Overture on the Name B.A.C.H. | Beethoven Music Research Center](https://www.lvbeethoven.org/unv04/) - Sketches for Beethoven’s planned overture on the B‑A‑C‑H motif (1822–1825), with sources, chronology, manuscript references, and contextual notes on its link to the Tenth Symphony.
- [Unv.03 – Biamonti 838 – Tenth Symphony (Sketch) | Beethoven Music Research Center](https://www.lvbeethoven.org/unv03/) - Sketches for Beethoven’s planned Tenth Symphony (1822–1825), with sources, chronology, scholarly commentary, and modern reconstructions by Cooper, Prengel, and Shichida.
- [Unv. 02 – Hess 299 · Early Symphony Fragment in C major (1786)](https://www.lvbeethoven.org/unv02/) - Early symphonic fragment by Beethoven, preserved in the Kafka collection. A brief but revealing sketch showing his first attempts at large-scale orchestral writing.
- [Anhang 18 – “An Sie” / “Nachruf” (Lied for Voice & Piano)](https://www.lvbeethoven.org/anhang_18/) - Catalogue entry for Anhang 18: the Lied “An Sie” / “Nachruf” for solo voice and piano, long attributed to Beethoven but likely composed around 1844 by Carl Dames or Marianne Czegka. Includes sources, publication history, poetic context, and editorial notes from the C.R.M.B.
- [Anhang 17 - Introduction and Waltz (Klavierstück) in F major for piano](https://www.lvbeethoven.org/anhang_17/) - Catalogue entry for Anhang 17: the “Introduction and Waltz” in F major for piano, first published in 1835 in The Musical Magazine and attributed to Beethoven for commercial reasons. Includes sources, publication history, stylistic notes, and connections to motifs later used in Op. 6 and the Fifth Symphony.
- [Anhang 16 – Four Waltzes for Piano](https://www.lvbeethoven.org/anhang_16/) - Catalogue entry for Anhang 16: four waltzes for piano—Jubelwalzer, Gertruds Traumwalzer, Sonnenscheinwalzer, and Mondscheinwalzer—published posthumously under Beethoven’s name. Includes early editions, stylistic notes, thematic links to Op. 31 No. 3 and Op. 27 No. 2, and editorial context from the “Research Becomes Art” project.
- [Anhang 15 - "Glaube, Liebe und Hoffnung", Waltz in F major](https://www.lvbeethoven.org/anhang_15/) - Catalogue entry for Anhang 15: the waltz “Glaube, Liebe und Hoffnung” in F major for piano, published posthumously under various titles such as “Abschieds-Gedanken” and “Adieu to the Piano”. Includes sources, early editions, attribution issues, and artistic context within the “Research Becomes Art” project.
- [Anhang 14 - Waltzes (6) for piano](https://www.lvbeethoven.org/anhang_14/) - Catalogue entry for Anhang 14: the “Marcia funebre” in F minor for piano, long misattributed to Beethoven. Includes sources, stylistic analysis, publication history, and editorial commentary.
- [Anhang 13 - "Trauermarsch" in F minor for piano](https://www.lvbeethoven.org/anhang_13/) - Catalogue entry for Anhang 13: the “Trauermarsch” in F minor for piano, long misattributed to Beethoven and now definitively attributed to Johann Heinrich Walch. Includes sources, publication history, stylistic analysis, and ceremonial uses.
- [Anhang 10 – Eight Variations in B‑flat for Piano on “Ich hab'ein kleines Hüttchen nur"](https://www.lvbeethoven.org/anhang_10/) - Catalogue entry for Anhang 10: eight variations in B‑flat major for piano on Gleim’s “Ich hab’ ein kleines Hüttchen nur”. Includes sources, authenticity issues, thematic origins, and editorial commentary.
- [Anhang 07 - Concerto in D major for piano and orchestra (first movement)](https://www.lvbeethoven.org/anhang_07/) - Catalogue entry for Anhang 07: the first movement of the Piano Concerto in D major attributed to Beethoven. Includes sources, stylistic analysis, attribution history, and editorial commentary.
- [Anhang 05 - Two Sonatinas in G major and F major for piano](https://www.lvbeethoven.org/anhang_05/) - Catalogue entry for Anhang 05: the two sonatinas in G major and F major attributed to Beethoven. Includes sources, early editions, attribution history, stylistic notes, and editorial commentary.
- [Anhang 06 - Rondo in B flat major for piano](https://www.lvbeethoven.org/anhang_06/) - Catalogue entry for Anhang 06: the Rondo in B‑flat major for piano attributed to Beethoven. Includes sources, stylistic notes, attribution history, and editorial commentary.
- [Anhang 04 - Sonata in B flat major for piano and flute.](https://www.lvbeethoven.org/anhang_04/) - Catalogue entry for Anhang 04: the Sonata in B‑flat major for piano and flute attributed to Beethoven. Includes sources, attribution history, stylistic notes, and editorial commentary.
- [Miscellaneous Articles – C.R.M.B. Editorial Contributions](https://www.lvbeethoven.org/site-activities-articles-miscellaneous/) - Explore miscellaneous editorial articles related to Beethoven: diverse studies, insights, and research materials curated by the C.R.M.B. editorial team.
- [Commemorating Beethoven’s Mother: The 17 July Anniversary at the Alten Friedhof in Bonn](https://www.lvbeethoven.org/beethovens_mutter_04/) - A 2022 commemoration at Bonn’s Alten Friedhof honored Maria Magdalena van Beethoven, with wreath‑laying, music, and renewed cooperation between Beethoven associations.
- [Examination and Identification of the Skeleton: Anthropological Findings by F. Wagenfeil](https://www.lvbeethoven.org/beethovens_mutter_03/) - F. Wagenfeil’s anthropological analysis of the skeletons uncovered in the Bonn cemetery during the 1932 search for Beethoven’s mother’s grave.
- [Discovering Beethoven’s Mother’s Grave: Historical Background by F. Knickenberg](https://www.lvbeethoven.org/beethovens_mutter_02/) - F. Knickenberg examines the historical circumstances surrounding the 1787 death of Beethoven’s mother and the long‑standing mystery of her lost grave in Bonn.
- [Beethoven’s Mother: The Rediscovery of Her Lost Grave — Hermann Unger (1935)](https://www.lvbeethoven.org/beethovens_mutter_01/) - A 1935 article by Hermann Unger recounting the rediscovery of Beethoven’s mother’s grave in Bonn, revealing new biographical insights through archival and anatomical research.
- [Beethoven Bibliography – Spanish Books | Beethoven](https://www.lvbeethoven.org/bibliography-spanish-books/) - Spanish‑language books on Beethoven, including monographs, biographies, analytical studies, historical research, and essential reference works for Beethoven studies.
- [Beethoven Bibliography – English Books | Beethoven](https://www.lvbeethoven.org/bibliography-english-books/) - English‑language books on Beethoven, including monographs, biographies, analytical studies, historical research, and essential reference works for Beethoven scholarship.
- [Beethoven Bibliography – Complete Books available online](https://www.lvbeethoven.org/bibliography-complete-books/) - Complete bibliography of books on Beethoven, including monographs, biographies, analytical studies, and historical research in English, Italian, and Spanish.
- [Beethoven Bibliography – Studies, Sources & Research Tools | Beethoven](https://www.lvbeethoven.org/bibliography/) - Comprehensive bibliography of Beethoven studies, primary sources, critical editions, research tools, and scholarly literature in English, Italian, and Spanish.
- [Beethoven Bibliography – Italian Books (A–D) | Beethoven](https://www.lvbeethoven.org/bibliography-a-d/) - Italian books on Beethoven from A to D, including monographs, biographies, analytical studies, and historical research published in Italy.

## Pages

- [Beethoven Music Research Center – Works, Sources & Digital Scholarship](https://www.lvbeethoven.org/) - A digital research archive dedicated to Beethoven’s works, sources, catalogues, and historical documents, curated for scholars and enthusiasts.
- [Kessler Sketchbook – Beethoven’s 1802 Drafts for Piano Pieces and Orchestral Ideas](https://www.lvbeethoven.org/skizzenbuch-kessler/) - A detailed presentation of Beethoven’s Kessler Sketchbook, used in early 1802 and containing drafts for the unfinished Concertante in D major, piano sonata ideas, orchestral sketches and thematic studies. Includes scholarly insights and references to Richard Kramer’s principal analysis.
- [Ludwig van Beethoven – Six String Quartets, Anhang 2](https://www.lvbeethoven.org/arconauti-six-string-quartets-anhang-2/) - Historical overview and world premiere of Beethoven’s Six String Quartets, Anhang 2, including their complex attribution, rediscovery, and first performance in Genoa in 2010.
- [Site Map – Beethoven Music Research Center (C.R.M.B.)](https://www.lvbeethoven.org/site-map/) - Explore the complete site map of the Beethoven Music Research Center (C.R.M.B.): catalogues, research tools, articles, biographies, multimedia, and more.
- [Three Divertissements for Harp – Spurious Beethoven (Brno Náměšť A 17647)](https://www.lvbeethoven.org/spu024/) - Three Divertissements for harp, French‑titled manuscript ca.1830 from Náměšť; likely by Count Karl Wilhelm von Haugwitz despite marginal “Beethoven” notes in a foreign hand.
- [Research Becomes Art – Women Composers of Beethoven’s Time, Part 6: Augustine Renaud d’Allen](https://www.lvbeethoven.org/augustine_renaud_allen/) - A portrait of Jeanne‑Louise Dumont Farrenc, French composer and pianist, exploring her career, symphonies, teaching, and lasting impact on 19th‑century music.
- [Ask the Women Composers: An Artistic Journey Through the Lives and Works of Female Musicians in Beethoven’s Time](https://www.lvbeethoven.org/ask-the-women-composers-beethoven-era/) - An artistic exploration of the women composers active in Beethoven’s era, tracing their lives, works, challenges, and overlooked contributions to classical music.
- [X) Beethoven’s Transcription from Jean‑Paul‑Égide Martini’s Annette et Lubin](https://www.lvbeethoven.org/abs10a/) - Beethoven’s transcription of the Romance from Martini’s Annette et Lubin (ABS 10), dated 1801 and documented in AmZ with facsimiles in Kürthen and Pulkert.
- [Unv.12 – Fantasia for Piano (Sonata?) – Formerly Biamonti 213](https://www.lvbeethoven.org/unv12/) - Large unfinished piano Fantasia, possibly a three‑movement Sonata, with Allegro, Andante, and fragmentary Finale; sources, reconstructions, and scholarly commentary.
- [Beethoven’s Op. 109 Sonata: Beginnings and Discord By Gianluca Di Donato](https://www.lvbeethoven.org/opus109_gianluca_di_donato/) - A technical‑historical study of Beethoven’s Op. 109 Sonata, tracing its origins, early sketches, compositional context, and the critical reception of this pivotal late‑period work.
- [Beethoven, 250 Years of Myth. Second Part](https://www.lvbeethoven.org/beethoven-250-years-of-myth-part-2/) - An analysis of Beethoven’s reception in the later years of his life and the early posthumous period, tracing critical responses and the rise of the Romantic myth.
- [Beethoven, 250 Years of Myth – Part I: Reception During His Lifetime and Beyond](https://www.lvbeethoven.org/beethoven-250-years-of-myth-part-1/) - A critical exploration of Beethoven’s reception during his lifetime and in the decades following his death, tracing early responses and evolving interpretations.
- [Andrea Luchesi and the “Buffelmann” Letters: A Critical Reassessment](https://www.lvbeethoven.org/andrea-luchesi-buffelmann-letters/) - A scholarly analysis of the apocryphal “Buffelmann” letters attributed to Andrea Luchesi, exploring authorship, context, and historical misconceptions.
- [Quadrilles on Themes from Beethoven’s Works – For Two Performers on the Piano (Lonsdale & Mills)](https://www.lvbeethoven.org/spu036-terpsichore/) - London edition of five quadrilles on Beethoven themes for piano four hands, printed by Lonsdale & Mills; includes Pantalon, Été, Poule, Pastourelle and an incomplete Finale, with related 1869 Terpsichore versions.
- [Les Sybarites; ou, Les francs-maçons de Florence; drama lyrique en trois actes.](https://www.lvbeethoven.org/les_sybarites/)
- [In Memoriam: 1827 – Beethoven’s Funeral Monument and Early Iconography](https://www.lvbeethoven.org/articles-1827-in-memoriam-04/) - A curated selection of rare prints and photographs documenting Beethoven’s funeral monument, from early 19th‑century engravings to later historical images.
- [In Memoriam: 1827 – Alexander W. Thayer and the Schwarzspanierhaus, Beethoven’s Last Residence](https://www.lvbeethoven.org/articles-1827-in-memoriam-08/) - Alexander W. Thayer’s visits to Beethoven’s final residence, the Schwarzspanierhaus, with rare documents, eyewitness accounts, floor plans, and historical research.
- [In Memoriam: 1827 – The Exhumations of Beethoven’s Remains (1863 and 1888)](https://www.lvbeethoven.org/articles-1827-in-memoriam-06/) - Documents and rare images of Beethoven’s two exhumations in 1863 and 1888, including reports, drawings, skull photographs, and the transfer to Vienna’s Zentralfriedhof.
- [In Memoriam: 1827 – Obituaries and Funeral Orations for Ludwig van Beethoven](https://www.lvbeethoven.org/articles-1827-in-memoriam-05/) - A curated selection of contemporary obituaries and funeral orations published after Beethoven’s death, drawn from rare newspapers, journals and early sources.
- [In Memoriam: 1827 – Contemporary Photographs of the Places Linked to Beethoven’s Final Days](https://www.lvbeethoven.org/articles-1827-in-memoriam-03/) - A photographic journey through the places connected to Beethoven’s final days, including gravesites, churches and key locations, with images by Dominique Prévot.
- [In Memoriam: 1827 – Images, Drawings and Prints Relating to the Death of Ludwig van Beethoven](https://www.lvbeethoven.org/articles-1827-in-memoriam-02/) - A curated collection of rare images, drawings and prints documenting Beethoven’s final days, funeral, death mask, and early iconography from March 1827.
- [In Memoriam: 1827 – Music Written in Honour of Ludwig van Beethoven](https://www.lvbeethoven.org/articles-1827-in-memoriam-01/) - A collection of rare funeral music composed in March 1827 to honour Beethoven’s death, including works by Czerny, Castelli, Drechsler, Seyfried, and others.
- [In Memoriam: 1827 – The Final Moments of Beethoven’s Life as Recounted by Anselm Hüttenbrenner](https://www.lvbeethoven.org/articles-1827-in-memoriam-07/) - Anselm Hüttenbrenner’s eyewitness account of Beethoven’s final moments, preserved through rare letters, documents, and early biographical sources.
- [Treatise of Harmony and Composition – Part Three – Chapter 13](https://www.lvbeethoven.org/reatise-harmony-composition-part-three-chapter-13/) - Beethoven’s principles for vocal writing and recitative: voice registers, declamation, accents, cadences, and expressive rules from the Treatise of Harmony.
- [Treatise of Harmony and Composition – Part Three – Chapter 14 Appendix](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-14/) - Beethoven’s Andante for two Violins and Violoncello: a torso from the Treatise of Harmony, with audio examples and historical editorial notes.
- [Treatise of Harmony and Composition – Part Three – Chapter 11](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-11/) - Beethoven’s rules for the double fugue: counterpoint, inversions, exceptions, and transpositions from the Treatise of Harmony, Part Three, Chapter XI.
- [Treatise of Harmony and Composition – Part Three – Chapter 12](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-12/) - Beethoven’s theory of the Canon: strict imitation, species, intervallic forms, enigmatic canons, and practical rules from the Treatise of Harmony, Part Three.
- [Treatise of Harmony and Composition – Part Three – Chapter 10](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-10/) - Beethoven’s chapter on inversion: simple contrary motion, strict inversion, retrograde and contrary retrograde, based on Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 9](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-9/) - Series of examples illustrating the three species of double counterpoint—octave, tenth, and twelfth—based on Beethoven’s exercises in Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 8](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-8/) - Beethoven’s double counterpoint in the twelfth: interval schemes, rules of inversion, duodecima acuta and gravis, and practical applications from Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 7](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-7/) - Beethoven’s double counterpoint in the tenth: inversions, interval rules, Decima acuta and gravis, and compositional practice from Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 6](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-6/) - Beethoven’s double counterpoint in the octave: inversions, interval rules, restrictio, octave species, and harmonic transformation in Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 5](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-5/) - Beethoven’s choral fugue: plain‑chant, fugue‑theme, counterpoint, canto fermo distribution, solemn style, and compositional practice from Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 1](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-1/) - Introduction to imitation in Beethoven’s counterpoint studies: types, techniques, intervallic entries, and examples from Hess 29–30.
- [Treatise of Harmony and Composition – Part Three – Chapter 4](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-4/) - Beethoven’s four‑part fugue: subject, answer, tonal order, intermediate harmony, stretto, organ‑point, and final contraction according to Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 3](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-3/) - Beethoven’s three‑part fugue: subject, answer, repetitions, stretto, counterpoint, harmonic devices, cadences, and compositional technique from Seyfried’s 1853 edition.
- [Treatise of Harmony and Composition – Part Three – Chapter 2](https://www.lvbeethoven.org/treatise-harmony-composition-part-three-chapter-2/) - Beethoven’s studies on the two‑part fugue: subject, answer, tonal modifications, stretto, cadences, and contrapuntal technique from Seyfried’s 1853 edition.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 15](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-15/) - Closing remarks on free simple counterpoint, including exceptions to strict regularity, melodic treatment of diminished intervals, proper resolutions, and the pedagogical transition from strict to freer contrapuntal practice.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 14](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-14/)
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 13](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-13/) - Discussion of exceptional cases in the fourth species of four‑part strict simple counterpoint, including irregular doublings, incomplete chords, the priority of complete harmony over mechanical rule‑following, and the pedagogical value of learning when to apply or suspend contrapuntal laws.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 12](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-12/)
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 11](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-11/) - Explanation of the second species of four‑part strict simple counterpoint, including the use of semibreves to strengthen cadences, the optional omission of the third in minor‑mode closes, and the harmonic effect of the bare fifth as a plagal‑like, intentionally incomplete ending.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 10](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-10/) - Overview of the first species of four‑part strict simple counterpoint, explaining chord completeness, doubling rules, the use of the three kinds of motion, the relation between parts and the ground‑bass, the occasional necessity of hidden fifths or octaves, and the importance of natural interval placement for smooth voice leading.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 9](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-09/) - Explanation of the fifth species of three‑part simple counterpoint, covering the role of the ripieno part, melodic flow, forbidden intervals, cadence models, and the author’s reflections on exceptional licences and the expressive effect of the major‑third close in minor modes.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 8](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-08/) - Explanation of the fourth species of three‑part simple counterpoint, focusing on syncopation, the use of ligature, treatment of discords in thesis and arsis, doubling rules, organ‑point procedures, and varied harmonizations of the chorale.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 7](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-07/) - Overview of the third species of three‑part simple counterpoint, explaining the treatment of thesis and arsis, the correct use of discords, the formation of six‑four and six‑three chords, and the introduction of new harmonics when transposing the choral chant.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 6](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-06/) - Explanation of the second species of three‑part simple counterpoint, covering two‑notes‑against‑one writing, treatment of the ripieno part, placement of consonances and discords, rules for thesis and arsis, and recommended transpositions of the plain chant.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 5](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-05/) - A clear explanation of the first species of three‑part simple counterpoint, outlining rules for consonance, voice‑leading, cadences, hidden intervals, and the correct treatment of the cantus firmus across different voices.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 4](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-04/) - A detailed explanation of the Fifth Species of two‑part simple counterpoint, combining all previous species with ornamental freedom. Includes historical context, aesthetic reflections, practical rules, and examples illustrating melodic embellishment, rhythmic variety, and the evolution of contrapuntal practice.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 3](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-03/) - Detailed explanation of third-species counterpoint rules, consonances, dissonances, changing notes, and cadential formulas with the canto fermo in upper or lower parts,
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 2](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-02/) - Explanation of the five species of simple counterpoint: consonant and dissonant intervals, the rules of progression, motus rectus, contrarius and obliquus, Arsis and Thesis, and the treatment of the cantus firmus in classical harmonization.
- [Articles – Treatise of Harmony and Composition Part Two – Chapter 1](https://www.lvbeethoven.org/treatise-harmony-composition-part-two-chapter-01/) - Foundational principles of scientific composition: consonant and dissonant intervals, perfect and imperfect concords, and the three kinds of movement (motus rectus, contrarius, obliquus) that govern contrapuntal progression.
- [Articles – Treatise of Harmony and Composition Part One – Chapter 10](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-10/) - Permutations of the chord of the Thirteenth, including the form commonly known as the chord of Five‑four‑two, with examples of its harmonic function.
- [Articles – Treatise of Harmony and Composition Part One – Chapter 09](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-09/) - Anticipated harmonies and the Three‑two chord, symbolized by the oblique stroke, including its use through irregular transitive or passing notes.
- [Articles – Treatise of Harmony and Composition Part One – Chapter VII](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-07/) - Study of chords originated by the suspension of two intervals, with examples of Ninth–Seventh, Third–Seventh, and Fifth–Seventh combinations,
- [Articles – Treatise of Harmony and Composition Part One – Chapter VIII](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-08/) - Suspensions of the Seventh, Four‑three, and Second chords by means of three intervals,
- [Articles – Treatise of Harmony and Composition Part One – Chapter VI](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-06/) - Study of single‑interval suspensions in the chords of Six, Six‑four, Seventh, and Ninth, with progressive examples and explanation of delayed intervals,
- [Articles – Treatise of Harmony and Composition Part One – Chapter V](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-05/) - Overview of real and accidental discords in Beethoven’s Treatise of Harmony, with classifications, rules of preparation, and suspension types.
- [Unv.10 – Biamonti 637 – Sketches for a Trio for Violin, Cello, and Piano in F minor](https://www.lvbeethoven.org/unv10/) - Sketches for an unfinished piano trio in F minor (1815), with manuscript sources, provenance, related Scheide materials, and scholarly commentary.
- [Articles – Treatise of Harmony and Composition Part One – Chapter IV](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-04/) - Explanation of the organ-point and prolonged cadences in Beethoven’s Treatise of Harmony, with examples and harmonic analysis.
- [Articles – Treatise of Harmony and Composition Part One – Chapter III](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-03/) - Complete overview of secondary chords in Beethoven’s Treatise of Harmony, with rules, resolutions, and interval behavior.
- [Articles – Treatise on Harmony and Composition Part One – Chapter II](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-02/) - Chapter II of the Treatise on Harmony: preparation and resolution of discords, passing notes, transitus, anticipations, and united or divided accompaniment.
- [Treatise on Harmony and Composition – Part One, Chapter I](https://www.lvbeethoven.org/treatise-harmony-composition-part-one-chapter-01/) - First chapter of Part One of Beethoven’s Treatise on Harmony and Composition, presenting fundamental harmonic principles illustrated through forty progressive musical examples.
- [Beethoven Site Activities – Articles on Works | Beethoven](https://www.lvbeethoven.org/site-activities-articles-on-the-works/) - Articles on the works of Ludwig van Beethoven written by contributors, including analyses, commentaries, and insights.
- [The Requiem in D‑sharp Minor by Karel Stross Attributed to Beethoven](https://www.lvbeethoven.org/karel-stross-requiem-d-sharp-minor-attributed-to-beethoven/) - Unpublished study by Michel Rouch on the D‑sharp minor Requiem by the Bohemian composer Karel Stross, later misattributed to Beethoven. Presented with the author’s permission.
- [Listening and Reading Recommendations: Daniel Levy](https://www.lvbeethoven.org/listening-reading-recommendations-daniel-levy/) - A portrait of pianist Daniel Levy and his dialogue with Beethoven, with insights into the Ascona Music Festival and the world premiere of the Nove Minuetti Biamonti 290 in the harmonization by Graziano Denini.
- [Luigi Bellofatto – The New Musical Printing: Manifesto of a New Enterprise for Casting Music Types Exactly as Written](https://www.lvbeethoven.org/new-musical-printing-falconi/) - A study of Giacomo Falconi’s 1765 manifesto introducing a revolutionary method for printing music with cast movable types, with historical context on De Castro, Paolucci, and eighteenth‑century Venetian typography.
- [Ludwig van Beethoven – The Letter to the Immortal Beloved: A Line‑by‑Line Transcription and Italian Translation](https://www.lvbeethoven.org/beethoven-immortal-beloved-letter/) - Complete line‑by‑line transcription of Beethoven’s “Letter to the Immortal Beloved” (Teplitz, 6–7 July 1812), with Italian translation, historical context, and a new anonymous English rendering of the famous letter.
- [Luigi Bellofatto – Beethoven, Almost a Fantasy: Italian Memories for the 250th Anniversary](https://www.lvbeethoven.org/luigi-bellofatto-beethoven-almost-a-fantasy/) - Report of the 18 September 2020 conference-concert at the Fazioli Concert Hall, featuring rare Italian editions of Beethoven’s works, talks by Carlo de Incontrera, and performances by Trio Metamorphosi.
- [The Beethoven-Haus Concert – 7. Videos and Documents (24–27 April 2014)](https://www.lvbeethoven.org/beethoven-haus-concert-2014-videos/) - Videos from the Beethoven-Haus concert trip, including Luigi Bellofatto’s full speech, Michael Ladenburger’s introduction, and performances on the historic Graf piano in Bonn.
- [The Beethoven-Haus Concert – 6. Alter Friedhof (27 April 2014)](https://www.lvbeethoven.org/beethoven-haus-concert-2014-friedhof/) - A moving visit to Bonn’s Alter Friedhof on 27 April 2014: Schumann, Clara Wieck, Beethoven’s publishers, and the quiet Sehnsucht of this historic cemetery.
- [The Beethoven-Haus Concert – 5. Homeward Journey (27 April 2014)](https://www.lvbeethoven.org/beethoven-haus-concert-2014-home/) - The final day of the Beethoven-Haus concert trip: Bonn, Cologne, the Rhine, friendship, memories, and the return home on 27 April 2014.
- [The Beethoven-Haus Concert – 4. Visits (26 April 2014)](https://www.lvbeethoven.org/beethoven-haus-concert-2014-visits/) - A day of sightseeing after the Beethoven-Haus concert: Bonn, Aachen, Cologne, and an evening reunion steeped in Beethovenian tradition.
- [The Beethoven-Haus Concert – 3. The Concert (25 April 2014)](https://www.lvbeethoven.org/beethoven-haus-concert-2014-the-concert/) - The story of the 25 April 2014 concert at the Beethoven-Haus: preparations, emotions, performances, and audio-video materials.
- [The Beethoven-Haus Concert – 2 – Rehearsals on the Graf Fortepiano](https://www.lvbeethoven.org/beethoven-haus-concert-2014-rehearsals/) - A photographic and narrative account of the 24 April 2014 journey to Bonn and the rehearsal session on the historic Conrad Graf fortepiano at the Beethoven-Haus, marking the beginning of an exceptional musical experience.
- [The Beethoven-Haus Concert of 25 April 2014 – Anticipation and Historical Context](https://www.lvbeethoven.org/beethoven-haus-concert-2014-anticipation/) - An in-depth presentation of the 25 April 2014 concert at the Beethoven-Haus in Bonn, featuring the Biamonti 213 Fantasia, Dressler Variations, and fortepiano works from Beethoven’s Bonn period, with historical insights on Conrad Graf, Beethoven’s fortepiano, and pianist Massimo Anfossi.
- [The Masters of Ludwig van Beethoven and the Figure of Composer Andrea Lucchesi](https://www.lvbeethoven.org/beethoven-masters-and-andrea-lucchesi/) - An in‑depth study by Dr. Santi Notaro examining Beethoven’s early teachers, the role of Andrea Lucchesi, and the documented foundations of the young composer’s musical education.
- [Ignaz Xaver Ritter von Seyfried’s Dedication to Clara Wieck (1838)](https://www.lvbeethoven.org/seyfried-dedication-to-clara-wieck-1838/) - A study of Ignaz Xaver Ritter von Seyfried’s 1838 Impromptu dedicated to Clara Wieck, exploring its style, context, and historical significance.
- [Luigi Della Croce Turns 90 – 2 September 2017](https://www.lvbeethoven.org/luigi-della-croce-turns-90-2-september-2017/) - Luigi Della Croce, Musicology, Italian Musicologists, Beethoven Studies, San Giorgio Canavese, Luigi Domenico Bellofatto, Benedetta Saglietti
- [Luigi Bellofatto’s Exhibition on Alexander Wheelock Thayer at the Beethoven-Haus, Bonn (May–September 2010)](https://www.lvbeethoven.org/thayer-exhibition-luigi-bellofatto-bonn-2010/) - A detailed account of Luigi Bellofatto’s exhibition on A.W. Thayer at the Beethoven-Haus in Bonn, including preparations, events and personal reflections.
- [Luigi Bellofatto at the Beethoven Conference in Boston](https://www.lvbeethoven.org/luigi-bellofatto-beethoven-conference-boston/) - Luigi Bellofatto participates in the international Beethoven biography conference at Boston University, representing the Beethoven Music Research Center.
- [The Inauguration of the New Beethoven-Haus in Bonn, 16–17 December 2019](https://www.lvbeethoven.org/inauguration-new-beethoven-haus-bonn-2019/) - A detailed account of the inauguration of the renovated Beethoven-Haus in Bonn, with ceremonies, exhibitions and testimonies from the 250th anniversary celebrations.
- [The Beethoven Music Research Center at the Beethoven-Haus in Bonn – September–October 2021](https://www.lvbeethoven.org/crmb-at-beethoven-haus-bonn-2021/) - The Beethoven Music Research Center visits Bonn for the GfM Congress, presenting research and donating publications to the Beethoven-Archiv.
- [The Relationship Between Beethoven and Spontini – Cumulative Article](https://www.lvbeethoven.org/beethoven-and-spontini/) - A cumulative study of the relationship between Beethoven and Spontini, featuring historical accounts, testimonies and contextual sources.
- [Jäger und Sammler – 34 Years in the Service of the Beethoven-Haus: Michael Ladenburger and Luigi Bellofatto](https://www.lvbeethoven.org/jaeger-und-sammler-ladenburger-bellofatto/) - A tribute to Michael Ladenburger’s 34 years at the Beethoven-Haus, with Luigi Bellofatto’s personal recollections and shared work in Beethoven scholarship.
- [Gustav Nottebohm – Biography and Complete Beethoveniana Bibliography](https://www.lvbeethoven.org/gustav-nottebohm-biography-beethoveniana-bibliography/) - Comprehensive biography of Gustav Nottebohm and full annotated bibliography of his Beethoveniana, manuscripts, studies, and critical writings.
- [Gustav Nottebohm – Zweite Beethoveniana – Introduction to the Work](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_00/) - Introductory page to Gustav Nottebohm’s Zweite Beethoveniana, presenting the structure, sources and editorial context of the posthumous essays.
- [Gustav Nottebohm – Zweite Beethoveniana – LXV: The Piano Part to Op. 61 (Page 586)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_65/) - Nottebohm’s study of Beethoven’s piano part to Op. 61, offering insights into the composer’s orchestral thinking and reduction techniques.
- [Gustav Nottebohm – Zweite Beethoveniana – LXIV: A Draft Letter (Page 581)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_64/) - Nottebohm’s study of a draft letter by Beethoven, offering insights into the composer’s personal writing and creative context.
- [Gustav Nottebohm – Zweite Beethoveniana – LXIII: Unfinished and Abandoned Works (Page 573)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_63/) - Nottebohm’s study of Beethoven’s unfinished and abandoned works, revealing incomplete ideas and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – LXI: Early Compositions (Page 561)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_61/) - Nottebohm’s study of Beethoven’s early compositions, revealing formative ideas, stylistic beginnings and the young composer’s evolving musical language.
- [Gustav Nottebohm – Zweite Beethoveniana – LXII: Sketches for the Variations Op. 120 (Page 568)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_62/) - Nottebohm’s study of Beethoven’s sketches for the Variations Op. 120, revealing thematic transformations and insights into the composer’s late creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – LX: Drafts for Clärchen’s Songs (Page 556)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_60/) - Nottebohm’s study of Beethoven’s drafts for Clärchen’s songs, revealing vocal writing, dramatic intent and the composer’s evolving melodic ideas.
- [Gustav Nottebohm – Zweite Beethoveniana – LIX: A Sketchbook from the Year 1816 (Page 552)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_59/) - Nottebohm’s study of a Beethoven sketchbook from 1816, revealing thematic ideas, stylistic transitions and insights into the composer’s middle‑late period.
- [Gustav Nottebohm – Zweite Beethoveniana – LVIII: A Sketchbook from the Year 1824 (Page 540)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_58/) - Nottebohm’s study of a Beethoven sketchbook from 1824, revealing thematic ideas, structural planning and insights into the composer’s late creative period.
- [Gustav Nottebohm – Zweite Beethoveniana – LVII: Sketches for “Adelaide” and for Several Other Pieces (Page 535)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_57/) - Nottebohm’s study of Beethoven’s sketches for “Adelaide” and several related pieces, revealing melodic ideas, vocal writing and early stylistic development.
- [Gustav Nottebohm – Zweite Beethoveniana – LVI: Sketches for the Symphony in C Minor and Other Works (Op. 61, 69) (Page 528)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_56/) - Nottebohm’s study of Beethoven’s sketches for the C‑minor symphony and related works (Op. 61, 69), revealing thematic ideas and structural planning.
- [Gustav Nottebohm – Zweite Beethoveniana – LV: A Bagatelle in A Minor (Page 526)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_55/) - Nottebohm’s study of a Beethoven bagatelle in A minor, examining its surviving sketches, thematic ideas and insights into the composer’s concise style.
- [Gustav Nottebohm – Zweite Beethoveniana – LIV: The First Draft of the Finale of the Quartet Op. 130 (Page 524)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_54/) - Nottebohm’s study of Beethoven’s first draft for the new Finale of the Quartet Op. 130, revealing thematic ideas and the composer’s late‑style revision process.
- [Gustav Nottebohm – Zweite Beethoveniana – LIII: An Unfinished Quintet (Page 522)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_53/) - Nottebohm’s study of Beethoven’s unfinished quintet, examining surviving sketches, thematic ideas and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – LII: Metronomic Indications for the First Eleven String Quartets (Page 519)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_52/) - Nottebohm’s study of Beethoven’s metronomic indications for the first eleven string quartets, exploring tempo, performance practice and historical context.
- [Gustav Nottebohm – Zweite Beethoveniana – LI: Sketches for the Octet Op. 103 (Page 517)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_51/) - Nottebohm’s study of Beethoven’s sketches for the Octet Op. 103, revealing early ideas, instrumentation experiments and youthful creative development.
- [Gustav Nottebohm – Zweite Beethoveniana – L: Drafts for the Trio Op. 11 and for Unknown Pieces (Page 515)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_50/) - Nottebohm’s study of Beethoven’s drafts for the Trio Op. 11 and several unidentified pieces, revealing early‑mature experimentation and creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XLIX: Drafts for the Quintet Op. 16 (Page 513)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_49/) - Nottebohm’s study of Beethoven’s drafts for the Quintet Op. 16, revealing thematic ideas, structural planning and early‑mature chamber style.
- [Gustav Nottebohm – Zweite Beethoveniana – XLVIII: The Third Movement of the Sonata in E‑flat Major Op. 7 (Page 508)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_48/) - Nottebohm’s study of the third movement of Beethoven’s Sonata Op. 7, revealing structural ideas, thematic development and early stylistic maturity.
- [Gustav Nottebohm – Zweite Beethoveniana – XLVII: Another Sketchbook from the Year 1808 (Page 495)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_47/) - Nottebohm’s study of a Beethoven sketchbook from 1808, revealing thematic ideas, structural planning and insights into the composer’s middle‑period creativity.
- [Gustav Nottebohm – Zweite Beethoveniana – XLVI: Two Sketchbooks from the Years 1798 and 1799 (Page 476)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_46/) - Nottebohm’s study of two Beethoven sketchbooks (1798–1799), documenting early work on the Op. 18 quartets, Op. 19 concerto, songs and variations.
- [Gustav Nottebohm – Zweite Beethoveniana – XLV: Three Sketchbooks from the Years 1819–1822 (Page 460)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_45/) - Nottebohm’s study of three Beethoven sketchbooks (1819–1822), tracing the genesis of major works from the Missa solemnis to the late piano sonatas.
- [Gustav Nottebohm – Zweite Beethoveniana – XLIV: A Sketchbook from the Year 1804 (Page 409)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_44/) - Nottebohm’s study of Beethoven’s 1804 sketchbook, revealing thematic ideas, structural planning and insights into the composer’s early‑middle period.
- [Gustav Nottebohm – Zweite Beethoveniana – XLIII: The Music for “Die Weihe des Hauses” (Page 385)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_43/) - Nottebohm’s study of Beethoven’s music for “Die Weihe des Hauses”, exploring its ceremonial style, structure and historical context.
- [Gustav Nottebohm – Zweite Beethoveniana – XLII: Sketches for the Piano Variations on an Original Theme in G Major (Page 382)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_42/) - Nottebohm’s study of Beethoven’s sketches for the G‑major piano variations, revealing thematic invention, structural planning and creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XLI: Sketches for the Sonata Op. 22 (Page 379)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_41/) - Nottebohm’s study of Beethoven’s sketches for the Sonata Op. 22, revealing thematic ideas, structural planning and insights into the composer’s early‑mature style.
- [Gustav Nottebohm – Zweite Beethoveniana – XL: Sketches for the Pastoral Symphony (Page 369)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_40/) - Nottebohm’s study of Beethoven’s sketches for the Pastoral Symphony, revealing thematic ideas, structural planning and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXIX: A Sketch for the Final Movement of the Sonata Op. 90 (Page 366)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_39/) - Nottebohm’s study of a sketch for the final movement of Beethoven’s Sonata Op. 90, offering insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXVIII: A Book of Expenses (Page 364)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_38/) - Nottebohm’s study of Beethoven’s book of expenses, offering biographical insights into daily life, travels and practical details of the composer’s world.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXVII: Clavierspiel (Page 356)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_37/) - Nottebohm’s study of Beethoven’s approach to piano playing, examining technique, style and historical insights into his Clavierspiel.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXVI: A Sketchbook from the Year 1817 (Page 349)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_36/) - Nottebohm’s study of Beethoven’s 1817 sketchbook, tracing thematic ideas, stylistic evolution and insights into the composer’s late-period development.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXV: A Sketchbook from the Years 1815–1816 (Page 321)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_35/) - Nottebohm’s study of Beethoven’s 1815–1816 sketchbook, tracing thematic ideas, stylistic evolution and insights into the composer’s transitional period.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXIV: A Sketchbook from the Year 1815 (Page 314)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_34/) - Nottebohm’s study of Beethoven’s 1815 sketchbook, tracing thematic ideas, stylistic evolution and insights into the composer’s transitional period.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXIII: Another Sketchbook from the Year 1814 (Page 307)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_33/) - Nottebohm’s study of another Beethoven sketchbook from 1814, tracing thematic ideas, stylistic evolution and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXII: A Sketchbook from the Year 1814 (Page 293)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_32/) - Nottebohm’s study of Beethoven’s 1814 sketchbook, tracing thematic ideas, stylistic evolution and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXXI: A Sketchbook from the Year 1812 (Page 288)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_31/) - Nottebohm’s study of Beethoven’s 1812 sketchbook, tracing thematic ideas, stylistic evolution and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXX: A Sketchbook from the Year 1810 (Page 276)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_30/) - Nottebohm’s study of Beethoven’s 1810 sketchbook, tracing thematic ideas, stylistic developments and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXIX: Sketches from the Year 1809 (Page 255)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_29/) - Nottebohm’s study of Beethoven’s 1809 sketches, tracing thematic ideas, stylistic developments and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXVIII: A Sketchbook from the Year 1808 (Page 252)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_28/) - Nottebohm’s study of Beethoven’s 1808 sketchbook, tracing thematic ideas, stylistic evolution and insights into the composer’s creative process.
- [Gustav Nottebohm – Zweite Beethoveniana – XXVII: A Sketchbook from the Year 1800 (Page 230)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_27/) - Nottebohm’s study of Beethoven’s 1800 sketchbook, tracing early thematic ideas, stylistic evolution and insights into the composer’s developing voice.
- [Gustav Nottebohm – Zweite Beethoveniana – XXVI: An Unfinished Symphony (Page 228)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_26/) - Nottebohm’s study of Beethoven’s unfinished symphony, examining surviving sketches, thematic ideas and insights into the abandoned project.
- [Gustav Nottebohm – Zweite Beethoveniana – XXV: Notes for an Opera “Macbeth” (Page 225)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_25/) - Nottebohm’s study of Beethoven’s notes for a projected opera “Macbeth”, examining thematic ideas, dramatic concepts and surviving sketch materials.
- [Gustav Nottebohm – Zweite Beethoveniana – XXIV: An Unfinished Piano Concerto (Page 223)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_24/) - Nottebohm’s study of Beethoven’s unfinished piano concerto, examining surviving sketches, thematic ideas and insights into the abandoned project.
- [Gustav Nottebohm – Zweite Beethoveniana – XXIV: Sketches for the Overture “Zur Namensfeier” (Page 224)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_23/) - Nottebohm’s study of Beethoven’s sketches for the overture “Zur Namensfeier”, tracing thematic ideas, variants and insights into the work’s early conception.
- [Gustav Nottebohm – Zweite Beethoveniana – XXII: Sketches for the Second Movement of the Quartet Op. 127 (Page 210)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_22/) - Nottebohm’s study of Beethoven’s sketches for the second movement of the Quartet Op. 127, with thematic variants and insights into the work’s genesis.
- [Gustav Nottebohm – Zweite Beethoveniana – XXI: The Bagatelles Op. 126 (Page 193)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_21/) - Nottebohm’s study of Beethoven’s Bagatelles Op. 126, with notes on sources, variants and insights into the late compositional process.
- [Gustav Nottebohm – Zweite Beethoveniana – XX: Sketches for the Ninth Symphony (Page 157)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_20/) - Nottebohm’s extensive study of Beethoven’s sketches for the Ninth Symphony, tracing early ideas, thematic evolution and the work’s complex genesis.
- [Gustav Nottebohm – Zweite Beethoveniana – XIX: Sketches for the Second Mass (Page 148)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_19/) - Nottebohm’s study of Beethoven’s sketches for the Second Mass, with notes on sources, variants and insights into the work’s early conception.
- [Gustav Nottebohm – Zweite Beethoveniana – XVIII: The Bagatelles Op. 119 (Page 146)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_18/) - Nottebohm’s study of Beethoven’s Bagatelles Op. 119, with notes on sources, variants and insights into the work’s compositional evolution.
- [Gustav Nottebohm – Zweite Beethoveniana – XVII: Sketches for “Die Ruinen von Athen” (Page 138)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_17/) - Nottebohm’s study of Beethoven’s sketches for “Die Ruinen von Athen”, with notes on sources, variants and the work’s early conception.
- [Gustav Nottebohm – Zweite Beethoveniana – XVI: Sketches for the Sonata Op. 106 “Hammerklavier” (Page 123)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_16/) - Nottebohm’s study of Beethoven’s sketches for the Sonata Op. 106 “Hammerklavier”, with thematic variants, structural insights and notes on the work’s genesis.
- [Gustav Nottebohm – Zweite Beethoveniana – XV: The Song “An die Hoffnung” Op. 94 (Page 119)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_15/) - Nottebohm’s study of Beethoven’s song “An die Hoffnung” Op. 94, with notes on sources, variants and the work’s compositional background.
- [Gustav Nottebohm – Zweite Beethoveniana – XIV: Sketches for the 7th and 8th Symphonies (Page 101)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_14/) - Nottebohm’s study of Beethoven’s sketches for the 7th and 8th Symphonies, with thematic variants, structural insights and notes on the works’ genesis.
- [Gustav Nottebohm – Zweite Beethoveniana – XIII: Sketches for the Sonata Op. 81a (Page 96)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_13/) - Nottebohm’s study of Beethoven’s sketches for the Sonata Op. 81a, tracing thematic variants, structural ideas and insights into the work’s early conception.
- [Gustav Nottebohm – Zweite Beethoveniana – XII: Sketches for the Quartet Op. 74 (Page 91)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_12/) - Nottebohm’s study of Beethoven’s sketches for the Quartet Op. 74, with thematic variants, structural observations and insights into the work’s genesis.
- [Gustav Nottebohm – Zweite Beethoveniana – XI: Sketches for the Quartets Op. 59 (Page 79)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_11/) - Nottebohm’s study of Beethoven’s sketches for the Quartets Op. 59, tracing thematic variants, structural ideas and insights into the compositional process.
- [Gustav Nottebohm – Zweite Beethoveniana – X: Revisions to the Piano Concerto in G Major (Page 74)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_10/) - Nottebohm’s analysis of Beethoven’s revisions to the Piano Concerto in G Major, tracing structural changes, thematic adjustments and compositional evolution.
- [Gustav Nottebohm – Zweite Beethoveniana – IX: Sketches for the Piano Concerto in B‑Flat Major Op. 19 (Page 69)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_09/) - Nottebohm’s study of Beethoven’s sketches for the Piano Concerto in B‑Flat Major Op. 19, tracing early drafts, thematic variants and compositional evolution.
- [Gustav Nottebohm – Zweite Beethoveniana – VIII: Sketches for the Piano Concerto in C Major Op. 15 (Page 64)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_08/) - Nottebohm’s examination of Beethoven’s sketches for the Piano Concerto in C Major Op. 15, tracing early ideas, structural variants and compositional stages.
- [Gustav Nottebohm – Zweite Beethoveniana – VII: Sketches for the Final Movements of the Quartets Op. 18 Nos. 1 and 6 (Page 60)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_07/) - Nottebohm’s analysis of Beethoven’s sketches for the final movements of the Quartets Op. 18 Nos. 1 and 6, with chronological notes and related compositions.
- [Gustav Nottebohm – Zweite Beethoveniana – VI: Sketches for the Sonata Op. 14 No. 1 (Page 45)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_06/) - Nottebohm’s analysis of Beethoven’s sketches for the Sonata Op. 14 No. 1, tracing thematic variants, structural ideas and early compositional stages.
- [Gustav Nottebohm – Zweite Beethoveniana – V: Sketches for the Rondo of the Sonata Op. 13 (Page 42)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_05/) - Nottebohm’s study of Beethoven’s early sketches for the Rondo of the Sonata Op. 13, tracing origins, instrumental intentions and chronological context.
- [Gustav Nottebohm – Zweite Beethoveniana – IV: Sketches for the Sonatas Op. 10 (Page 29)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_04/) - Nottebohm’s study of Beethoven’s sketches for the Op. 10 sonatas, tracing thematic variants, structural revisions and early compositional stages.
- [Gustav Nottebohm – Zweite Beethoveniana – III: Sketches for the Trios Op. 1 Nos. 2 and 3 (Page 21)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_03/) - Nottebohm’s examination of Beethoven’s early sketches for the Trios Op. 1 Nos. 2 and 3, tracing thematic variants, structural revisions and chronological insights.
- [Gustav Nottebohm – Zweite Beethoveniana – II: Sketches for the Overture Op. 115 (Page 14)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_02/) - Nottebohm’s analysis of Beethoven’s sketches for the Overture Op. 115, tracing the four compositional stages from 1809 to 1815 and their evolution.
- [Gustav Nottebohm – Zweite Beethoveniana – I: Six Sketchbooks from 1825–1826 (Page 1)](https://www.lvbeethoven.org/gustav_nottebohm_zweite_beethoveniana_01/) - First section of Nottebohm’s Zweite Beethoveniana, examining six Beethoven sketchbooks from 1825–1826 and their insights into the late quartets.
- [Cramer’s 21 Piano Études with Beethoven’s Finger Exercises – Historical and Technical Study](https://www.lvbeethoven.org/cramer-21-etudes-beethoven-finger-exercises/) - A detailed study of Cramer’s 21 piano études annotated by Beethoven, with historical context, technical analysis, and insights into early pianistic pedagogy.
- [Christ on the Mount of Olives: First Editions and Performances in Italy](https://www.lvbeethoven.org/articles-christ_on_the_mount_of_olives/) - A comprehensive study of Beethoven’s oratorio Christ on the Mount of Olives, tracing its first Italian editions, early performances, translations, and historical reception.
- [Rosemary Brown – Music From Beyond the Grave](https://www.lvbeethoven.org/rosemary-brown-music-from-beyond-the-grave/) - A detailed account of Rosemary Brown, the British medium who claimed to receive new music from Liszt, Beethoven, Chopin and other great composers.
- [Opus: Works with opus number (1–138).](https://www.lvbeethoven.org/opus/) - Complete catalogue of Beethoven’s works with opus numbers (1–138), including links to manuscripts, sketches, editions, and analytical resources.
- [ThemeNcode PDF Viewer SC [Do not Delete]](https://www.lvbeethoven.org/themencode-pdf-viewer-sc/) - This page is used for Viewing PDF. System page used by the ThemeNcode PDF Viewer for rendering embedded PDF files on the Beethoven Music Research Center website.
- [John South Shedlock – Beethoven’s Sketch Studies and Early Music Research](https://www.lvbeethoven.org/shedlock-beethoven-sketch-studies/) - Biography of John South Shedlock and his pioneering studies on Beethoven’s sketches, including the Beethoven–Cramer Studies and major editorial work.
- [Shedlock 13 – Beethoven’s Autograph of the A‑flat Sonata Op. 26 (1895)](https://www.lvbeethoven.org/shedlock-13-1895-beethoven-op26-autograph/) - Shedlock’s 1895 study on Beethoven’s autograph of the A‑flat Sonata Op. 26, examining variants, erased notes, articulation marks and editorial discrepancies.
- [Shedlock 12 – Beethoven’s Sonatas, Diabelli Variations and Symphonic Sketches (1894)](https://www.lvbeethoven.org/shedlock-12-1894-beethoven-sonatas-diabelli-symphonies/) - Shedlock’s 1894 study on Beethoven’s sketches for early sonatas, Diabelli Variations, symphonies, Leonore overtures and the Mass in D.
- [Shedlock 11 – Beethoven’s Sketches for the Choral Symphony (1894)](https://www.lvbeethoven.org/shedlock-11-1894-beethoven-choral-symphony-sketches/) - Shedlock’s 1894 study on Beethoven’s sketches for the Ninth Symphony, revealing early ideas, thematic plans, and rare materials from Berlin sketchbooks.
- [Shedlock 10 – Beethoven, Bach, Handel and Mozart in the 1894 Sketch Studies](https://www.lvbeethoven.org/shedlock-10-1894-beethoven-bach-handel-mozart/) - Shedlock’s 1894 study on Beethoven’s admiration for Bach, Handel and Mozart, with rare sketchbook transcriptions and analytical comparisons.
- [Shedlock 08 – A Newly Identified Beethoven Sketchbook (1893)](https://www.lvbeethoven.org/shedlock-08-1893-beethoven-late-sketchbook/) - Shedlock’s 1893 study on a Beethoven sketchbook unknown to Nottebohm, featuring late quartets, canons, fugue ideas, and the evolution of Op. 130–135.
- [Shedlock 09 – Beethoven’s Pastoral Symphony Sketches and Thematic Evolution (1893)](https://www.lvbeethoven.org/shedlock-09-1893-beethoven-pastoral-sketches/) - Shedlock’s 1893 analysis of Beethoven’s Pastoral Symphony sketches, exploring thematic evolution, structural links, and the composer’s working process.
- [Shedlock 07 – The Birth of a Symphony: Beethoven’s Pastoral Sketches (1892)](https://www.lvbeethoven.org/shedlock-07-1892-beethoven-pastoral-symphony/) - Shedlock’s 1892 study on the origins of Beethoven’s Pastoral Symphony, examining sketchbooks, loose sheets, and the composer’s working methods.
- [Shedlock 06 – Beethoven’s Chamber Works and Counterpoint Studies (1892)](https://www.lvbeethoven.org/shedlock-06-1892-beethoven-chamber-counterpoint/) - Shedlock’s 1892 study of Beethoven’s chamber music sketches, Op. 5 sonatas, Op. 18 quartets, Op. 16 quintet, and early contrapuntal exercises.
- [Shedlock 05 – Beethoven’s Sketch Techniques and Thematic Transformations (1892)](https://www.lvbeethoven.org/shedlock-05-1892-beethoven-sketch-techniques/) - Shedlock’s 1892 study on Beethoven’s sketchbooks, exploring thematic variants, sequential ideas, early symphonic attempts, and the Notirungsbuch materials.
- [Shedlock 04 – Beethoven’s Pianoforte Concertos in the 1892 Sketch Studies](https://www.lvbeethoven.org/shedlock-04-1892-beethoven-pianoforte-concertos/) - Shedlock’s 1892 analysis of Beethoven’s sketches for the early pianoforte concertos, including Op. 15, Op. 19 and related Notirungsbuch sources.
- [Shedlock 03 – Beethoven’s Pianoforte Sonatas in the 1892 Sketch Studies](https://www.lvbeethoven.org/shedlock-03-1892-beethoven-pianoforte-sonatas/) - Shedlock’s 1892 analysis of Beethoven’s pianoforte sonata sketches, including Op. 49, Op. 7, Op. 10, Op. 14 and early thematic developments.
- [Shedlock 02 – Beethoven’s Sketchbooks and the Early Piano Trios (Op. 1)](https://www.lvbeethoven.org/shedlock-02-1892-beethoven-op1-sketchbooks/) - Analysis of J. S. Shedlock’s 1892 study on Beethoven’s sketches for the Op. 1 piano trios, comparing Nottebohm’s findings and the Notirungsbuch sources.
- [Beethoven at the Milan Comic Fair – A Forum Gathering and Exhibition Tribute](https://www.lvbeethoven.org/beethoven-milan-comic-fair-2015/) - A visit to the 2015 Milan Comic Fair celebrating Beethoven in comics, with reflections, friends from the forum, and a tribute to the exhibition “BAM, BAM, BAM, BAAAAM!”.
- [Diego Moccia – The Pianist Bound by a Double Thread to Beethoven](https://www.lvbeethoven.org/maria_callas_master_class/) - A portrait of pianist and actor Diego Moccia, his ties to Beethoven, and his role in the Maria Callas Master Class at Teatro Duse in Genoa.
- [James Green, Benedetta Saglietti and Luigi Bellofatto in Genoa](https://www.lvbeethoven.org/articles-green-benedetta-luigi/) - A tribute to James Green, Benedetta Saglietti and Luigi Bellofatto, featuring their publications, research, and a memorable visit to Genoa in 2014.
- [A study of Francesco Trocchia’s Recast (Kleine Fuge), based on Beethoven’s fragmented fugue from Biamonti 250 and the Landsberg 7 sketchbook.](https://www.lvbeethoven.org/trocchia-recast-kleine-fuge-biamonti-250/) - A study of Francesco Trocchia’s Recast (Kleine Fuge), based on Beethoven’s fragmented fugue from Biamonti 250 and the Landsberg 7 sketchbook.
- [Colophon – Beethoven Music Research Center (C.R.M.B.)](https://www.lvbeethoven.org/kolophon/) - Official colophon of the Beethoven Music Research Center (C.R.M.B.): credits, authors, collaborators, copyright information and site policies.
- [“Beethovenian Thoughts” by Curzio Vivarelli: An Homage to the Cyclops of Bonn, Poet of Sound](https://www.lvbeethoven.org/curzio_vivarelli/) - A refined philosophical and historical meditation on Beethoven, exploring his music, legacy, and cultural echoes through landscapes, biographies, and literary parallels.
- [Articoli: Il Manoscritto Mus.ms. 38033 - Gian Marco Orciani](https://www.lvbeethoven.org/38033-2/)
- [Kafka Sketchbook – Part 9: Beethoven’s Extended and Fully Defined Works (Pages 255–274)](https://www.lvbeethoven.org/skizzenbuch-kafka-09/) - Overview of Part 9 of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Kafka Sketchbook – Part 8: Beethoven’s Extended and Fully Defined Works (Pages 255–274)](https://www.lvbeethoven.org/skizzenbuch-kafka-08/) - Overview of Part 8 of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Kafka Sketchbook – Part 5: Beethoven’s Extended and Fully Defined Works (Pages 165–182)](https://www.lvbeethoven.org/skizzenbuch-kafka-05/) - Overview of Part 5 of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Kafka Sketchbook – Part 4: Beethoven’s Extended and Fully Defined Works (Pages 133–164)](https://www.lvbeethoven.org/skizzenbuch-kafka-04/) - Overview of Part 4 of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Kafka Sketchbook – Part 3: Beethoven’s Extended and Fully Defined Works (1786–1799)](https://www.lvbeethoven.org/skizzenbuch-kafka-03/) - Overview of the third section of Beethoven’s Kafka Sketchbook, featuring extended and fully defined autograph works from 1786–1799, based on the British Museum manuscript.
- [Kafka Sketchbook – Second Section: Beethoven’s Sketches Without Opus Numbers (1786–1799)](https://www.lvbeethoven.org/skizzenbuch-kafka-02/) - Overview of the second section of Beethoven’s Kafka Sketchbook, featuring early autograph sketches without opus numbers from 1786–1799, based on the British Museum manuscript.
- [Kafka Sketchbook – Beethoven’s Early Miscellany (1786–1799), First Section: Sketches with Opus Numbers](https://www.lvbeethoven.org/skizzenbuch-kafka-01/) - Overview of the first section of Beethoven’s Kafka Sketchbook, featuring early autograph sketches with opus numbers from 1786–1799, based on the British Museum manuscript.
- [Research Becomes Art – The Women Composers of Beethoven’s Time, Part 1: Josepha Barbara Auernhammer](https://www.lvbeethoven.org/women-composers-beethoven-era-auernhammer/) - A portrait of Josepha Barbara Auernhammer, Mozart’s pupil and virtuoso pianist, exploring her life, style, and remarkable variations on Paisiello’s theme.
- [Research Becomes Art – Women Composers of Beethoven’s Time, Part 2: Maria Anna Walburga Ignatia Mozart (Nannerl)](https://www.lvbeethoven.org/women-composers-beethoven-era-nannerl-mozart/) - A portrait of Maria Anna “Nannerl” Mozart, exploring her talent, her lost compositions, and her role in the musical world surrounding young Wolfgang.
- [Research Becomes Art – Women Composers of Beethoven’s Time, Part 5: Jeanne‑Louise Dumont Farrenc](https://www.lvbeethoven.org/women-composers-beethoven-era-farrenc/) - A portrait of Jeanne‑Louise Dumont Farrenc, French composer and pianist, exploring her career, symphonies, teaching, and lasting impact on 19th‑century music.
- [Köhler – Studies in Figured Bass, Part I, Chapter 2: Intervals (Examples 1–9)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-2/) - Second chapter of Köhler’s Studies in Figured Bass, presenting nine progressive interval examples from original sources within Beethoven’s didactic context.
- [Köhler – Studies in Figured Bass, Part I, Chapter 3: Chords with Suspended Intervals (Examples 1–25)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-3/) - Third chapter of Köhler’s Studies in Figured Bass, illustrating suspended intervals and altered chord structures through twenty-five original examples.
- [Köhler – Studies in Figured Bass, Part I, Chapter 4: Chords with Two Suspended Intervals (Examples 1–14)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-4/) - Fourth chapter of Köhler’s Studies in Figured Bass, illustrating chords with two suspended intervals through fourteen original examples from 19th‑century sources.
- [Köhler – Studies in Figured Bass, Part I, Chapter 5: The Major Seventh Chord (Examples 1–9)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-5/) - Fifth chapter of Köhler’s Studies in Figured Bass, exploring the major seventh chord and its suspended forms through nine original 19th‑century examples.
- [Köhler – Studies in Figured Bass, Part I, Chapter 6: Chords from Bass Inversion and Anticipation (Examples 1–5)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-6/) - Sixth chapter of Köhler’s Studies in Figured Bass, presenting chords formed by bass inversion and anticipation through five original 19th‑century examples.
- [Köhler – Studies in Figured Bass, Part I, Chapter 7: Ninth, Eleventh and Thirteenth Chords (Examples 1–21)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-7/) - Seventh chapter of Köhler’s Studies in Figured Bass, detailing ninth, eleventh and thirteenth chords through twenty‑one progressive examples from original sources.
- [Köhler – Studies in Figured Bass, Part I, Chapter 8: Cadences and Harmonic Progressions (Examples 1–12)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-8/) - Eighth chapter of Köhler’s Studies in Figured Bass, presenting cadences and harmonic progressions through twelve original examples from 19th‑century sources.
- [Köhler – Studies in Figured Bass, Part I, Chapter 9: Dissonances and Their Resolution (Examples 1–20)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-9/) - Ninth chapter of Köhler’s Studies in Figured Bass, explaining preparation, resolution, anticipation and passing tones through twenty original 19th‑century examples.
- [Köhler – Studies in Figured Bass, Part I, Chapter 10: Modulation and Harmonic Shift (Examples 1–18)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-10/) - Tenth chapter of Köhler’s Studies in Figured Bass, illustrating modulation and harmonic shift through eighteen progressive examples from original 19th‑century sources.
- [Köhler – Studies in Figured Bass, Part I, Chapter 11: The Organ Point (Examples 1–2)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-chapter-11/) - Eleventh chapter of Köhler’s Studies in Figured Bass, explaining the organ point and its harmonic variants through two original 19th‑century examples.
- [Köhler – Studies in Figured Bass, Part II, Chapter 1: Fundamental Principles of Figured Bass (Examples 1–12)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-1/) - First chapter of Köhler’s Part II in Studies in Figured Bass, outlining fundamental principles and twelve progressive examples from original 19th‑century sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 2: What Does “Counterpoint” Mean?](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-2/) - Second chapter of Köhler’s Part II in Studies in Figured Bass, defining counterpoint and its origins through clear explanations drawn from 19th‑century sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 3: The Five Species of Simple Counterpoint (Two‑Part Writing)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-3/) - Third chapter of Köhler’s Part II, explaining the five species of simple two‑part counterpoint with detailed rules and original 19th‑century musical examples.
- [Köhler – Studies in Figured Bass, Part II, Chapter 4: Simple Three‑Part Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-4/) - Fourth chapter of Köhler’s Part II, introducing simple three‑part counterpoint with clear rules and progressive examples from 19th‑century pedagogical sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 5: First Species of Three‑Part Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-5/) - Fifth chapter of Köhler’s Part II, presenting the rules of first‑species three‑part counterpoint with examples from 19th‑century pedagogical sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 6: Second Species of Three‑Part Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-6/) - Sixth chapter of Köhler’s Part II, explaining the rules of second‑species three‑part counterpoint with twelve detailed examples from 19th‑century sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 7: Third Species of Three‑Part Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-7/) - Seventh chapter of Köhler’s Part II, outlining the rules of third‑species three‑part counterpoint with eight examples from 19th‑century pedagogical sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 8: Fourth Species of Three‑Part Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-8/) - Eighth chapter of Köhler’s Part II, presenting the rules of fourth‑species three‑part counterpoint with detailed examples from 19th‑century pedagogical sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 9: Fifth Species of Three‑Part Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-9/) - Ninth chapter of Köhler’s Part II, presenting the rules of fifth‑species three‑part counterpoint with detailed 19th‑century examples and expressive commentary.
- [Köhler – Studies in Figured Bass, Part II, Chapter 10: Four‑Part Strict Simple Counterpoint (Examples 1–8)](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-10/) - Tenth chapter of Köhler’s Part II, presenting rules of four‑part strict simple counterpoint with eight detailed examples from 19th‑century pedagogical sources.
- [Köhler – Studies in Figured Bass, Part II, Chapter 11: Second Species of Four‑Part Strict Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-11/) - Eleventh chapter of Köhler’s Part II, outlining the rules of second‑species four‑part strict counterpoint with detailed 19th‑century musical examples.
- [Köhler – Studies in Figured Bass, Part II, Chapter 12: Third Species of Four‑Part Strict Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-12/) - Twelfth chapter of Köhler’s Part II, explaining third‑species four‑part strict counterpoint with detailed 19th‑century musical examples and stylistic guidance.
- [Köhler – Studies in Figured Bass, Part II, Chapter 13: Fourth Species of Four‑Part Strict Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-13/) - Thirteenth chapter of Köhler’s Part II, explaining fourth‑species four‑part strict counterpoint with detailed rules and 19th‑century musical examples.
- [Köhler – Studies in Figured Bass, Part II, Chapter 14: Fifth Species of Four‑Part Strict Simple Counterpoint](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-14/) - Fourteenth chapter of Köhler’s Part II, presenting fifth‑species four‑part strict counterpoint with detailed 19th‑century examples and historical commentary.
- [Köhler – Studies in Figured Bass, Part II, Chapter 15: Collection of Examples in Free Composition](https://www.lvbeethoven.org/beethoven-studies-generalbass-kohler-part-2-chapter-15/) - Fifteenth chapter of Köhler’s Part II, presenting a comprehensive collection of free‑style contrapuntal examples for two, three, and four voices.
- [Nicolas de Krufft – Sonata for Pianoforte Op. IV, Dedicated to Ludwig van Beethoven](https://www.lvbeethoven.org/nicolas-de-krufft-sonata-op-4/) - Biographical and musicological overview of Baron Nicolas de Krufft and his Sonata for Pianoforte Op. IV, composed and dedicated to Ludwig van Beethoven. Includes historical context, major works, connections to Metternich and Schubert, and the role of Krufft’s compositions within early Romanticism. Features musical examples and research from the Beethoven Music Research Center.
- [Sketches – Beethoven’s Musical Drafts and Creative Process](https://www.lvbeethoven.org/sketches/) - Explore Beethoven’s sketches: musical drafts, ideas, and working materials that reveal his creative process, with catalogue references, sources, and scholarly notes.
- [Blumenlese für Klavierliebhaber (1787): Complete Index of Works – Fifth Part](https://www.lvbeethoven.org/blumenlese-1787/) - Complete index of the 1787 Blumenlese für Klavierliebhaber, the final year of the collection, featuring Lieder and keyboard works by 18th‑century composers, with editorial contributions by Luigi Bellofatto and revised, digitised music by Graziano Denini.
- [Blumenlese für Klavierliebhaber (1785): Complete Index of Works – Fourth Part](https://www.lvbeethoven.org/blumenlese-1785/) - Complete index of the 1785 Blumenlese für Klavierliebhaber, featuring Lieder and keyboard works by 18th‑century composers, with editorial contributions by Luigi Bellofatto and revised, digitised music by Graziano Denini.
- [Blumenlese für Klavierliebhaber (1784): Complete Index of Works – Third Part](https://www.lvbeethoven.org/blumenlese-1784/) - Complete index of the 1784 Blumenlese für Klavierliebhaber, featuring Lieder and keyboard works by 18th‑century composers including Sterkel, Pleyel, Vogler, Wanhal and others, with editorial contributions by Luigi Bellofatto and revised, digitised music by Graziano Denini.
- [Authentic Beethoven in Venice | Beethoven Music Research Center](https://www.lvbeethoven.org/authentic-beethoven-in-venice/) - A scholarly overview of Beethoven’s authentic presence in Venice, featuring historical sources, documentary evidence, and curated research from the Beethoven Music Research Center
- [Gustav Nottebohm – Beethoveniana Introduction and Critical Overview](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-introduction/) - Introductory overview to Gustav Nottebohm’s Beethoveniana, outlining scope, structure, and critical revisions based on Beethoven’s manuscripts and early sources.
- [Gustav Nottebohm - Beethoveniana - XXIX -Generalbass und Compositionslehre betreffende Handschriften Beethoven’s](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-29-generalbass-seyfried/) - Gustav Nottebohm’s examination of Beethoven’s figured‑bass and composition‑teaching manuscripts, alongside J. R. von Seyfried’s instructional book, clarifying their origins, authenticity, and significance for understanding Beethoven’s pedagogical methods.
- [Gustav Nottebohm - Beethoveniana - XXVIII – Beethoven und Weissenbach. (Seite 145)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-28-beethoven-weissenbach/) - Gustav Nottebohm’s study of Beethoven’s relationship with Franz Weissenbach, examining documentary evidence, correspondence, and the historical context of their artistic and personal interactions.
- [Gustav Nottebohm - Beethoveniana - XXVII – Ein Stammbuch Beethoven’s. (Seite 138)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-27-stammbuch/) - Gustav Nottebohm’s study of an entry in Beethoven’s Stammbuch (album of friends), examining its authenticity, historical context, and the significance of the inscription within Beethoven’s personal circle.
- [Gustav Nottebohm - Beethoveniana - XXVI – Metronomische Bezeichnungen. (Seite 126)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-26-metronomic-indications/) - Gustav Nottebohm’s study of Beethoven’s metronome markings, examining their reliability, the evolution of Beethoven’s tempo indications, and discrepancies between autograph sources and early editions.
- [Gustav Nottebohm - Beethoveniana - XXV – Punkte und Striche. (Seite 107)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-25-points-strokes/) - Gustav Nottebohm’s investigation of Beethoven’s use of “points and strokes” in notation, clarifying their meaning through autograph sources, early editions, and comparative manuscript evidence.
- [Gustav Nottebohm - Beethoveniana - XXIV – cresc…. (Seite 104)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-24-cresc/) - Gustav Nottebohm’s examination of Beethoven’s ambiguous “cresc…” marking, tracing its appearance in autograph sources, early editions, and sketch materials to clarify the intended dynamic progression.
- [Gustav Nottebohm - Beethoveniana - XXIII – Skizze zu Goethe’s Erlkönig. (Seite 100)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-23-erlkoenig-sketch/) - Gustav Nottebohm’s study of Beethoven’s early sketch for Goethe’s “Erlkönig,” preserved in the archive of the Gesellschaft der Musikfreunde in Vienna and dated between 1800 and 1810, offering insight into Beethoven’s rare attempts at setting this celebrated poem.
- [Gustav Nottebohm - Beethoveniana - XXII – Ein Stück aus einer unvollendeten Oper. (Seite 82)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-22-unfinished-opera/) - Gustav Nottebohm’s study of an unfinished operatic fragment by Beethoven, preserved in autograph form, comparing its structure, characters, and musical material with the early “Leonore” and tracing its likely connection to Schikaneder’s lost opera project of 1803.
- [Gustav Nottebohm - Beethoveniana - XXI – Beethoven’s letzte Composition. (Seite 79)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-21-last-composition/) - Gustav Nottebohm’s reconstruction of Beethoven’s final compositions, examining the B‑flat Quartet Op. 130 finale, the C‑major Quintet fragment of November 1826, and the sketch-leaf evidence clarifying which work was truly Beethoven’s last.
- [Gustav Nottebohm - Beethoveniana - XX – Die Ouverture Op. 138. (Seite 60)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-20-op138-overture/) - Gustav Nottebohm, Beethoveniana, Beethoven Studies, Overture Op. 138, Leonore Overtures, Fidelio, Beethoven Sketchbooks, Manuscript Evidence, Early Performances, Musicology, Source Criticism,
- [Gustav Nottebohm - Beethoveniana - XIX – Arbeiten zum Quartett in Cis-moll (Op. 131). (Seite 54)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-19-op131-work/) - Gustav Nottebohm’s study of Beethoven’s extensive reworkings for the Quartet in C‑sharp minor Op. 131, focusing on the multiple transformations of the final variation section and the surviving sketches and drafts.
- [Gustav Nottebohm - Beethoveniana - XVIII – Der vierte Satz des grossen B-dur-Quartetts (Op. 130). (Seite 53)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-18-op130-fourth-movement/) - Gustav Nottebohm’s study of the “Alla danza tedesca” movement of Beethoven’s Quartet Op. 130, originally conceived in A major for the Quartet Op. 132, based on sketchbook evidence and Schindler’s testimony.
- [Gustav Nottebohm - Beethoveniana - XVII – Das Opferlied Op. 121. (Seite 50)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-17-op121-opferlied/) - Gustav Nottebohm’s study of Beethoven’s multiple settings of Matthisson’s “Opferlied,” tracing four compositional stages from 1794 to 1823 and examining manuscript evidence and variants.
- [Gustav Nottebohm - Beethoveniana - XVI – Eine gefälschte Stelle in den Variationen Op. 120. (Seite 47)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-16-op120-falsified-passage/) - Gustav Nottebohm’s analysis of a falsified passage in Beethoven’s Variations Op. 120, examining early editions, manuscript evidence, and the origin of the erroneous reading.
- [Gustav Nottebohm - Beethoveniana - XV – Die Bagatelle Op. 119 Nr. 12. (Seite 45)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-15-op119-12-bagatelle/) - Gustav Nottebohm’s study of Beethoven’s Bagatelle Op. 119 No. 12, tracing its posthumous addition to the set, the sketchbook evidence, and the original form as a vocal piece.
- [Gustav Nottebohm - Beethoveniana - XIV – Die Ouverture Op. 115. (Seite 37)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-14-op115-overture/) - Gustav Nottebohm’s study of Beethoven’s Overture Op. 115, tracing its origins, early performances, manuscript evidence, and the debate over the titles “Namensfeier” and “Jagdouverture.”
- [Gustav Nottebohm - Beethoveniana - XIII – Eine Stelle in der Sonate Op. 109. (Seite 35)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-13-op109-passage/) - Gustav Nottebohm’s analysis of the ornamented notes in the theme of Beethoven’s Sonata Op. 109, using sketchbook evidence to clarify their placement and intended execution.
- [Gustav Nottebohm - Beethoveniana - XII – Eine andere Stelle in der Sonate Op. 102 Nr. 2. (Seite 33)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-12-op102-2-alternate-passage/) - Gustav Nottebohm’s examination of an alternative answer to the fugue theme in Beethoven’s Sonata Op. 102 No. 2, based on sketchbook annotations and comparisons with Op. 110.
- [Gustav Nottebohm - Beethoveniana - XI – Eine Stelle in der Sonate Op. 102 Nr. 2. (Seite 31)](https://www.lvbeethoven.org/articoli-gustav_nottebohm_beethoveniana_11/) - Gustav Nottebohm’s analysis of a disputed passage in Beethoven’s Sonata Op. 102 No. 2, comparing the autograph, early editions, and the revised Artaria copy to determine the definitive reading.
- [Gustav Nottebohm - Beethoveniana - X – Die Sonate Op. 96. (Seite 26)](https://www.lvbeethoven.org/articoli-gustav_nottebohm_beethoveniana_10/) - Gustav Nottebohm’s study of Beethoven’s Sonata Op. 96, tracing its composition in late 1812, its connection with Rode’s playing style, and manuscript evidence from the sketchbooks.
- [Gustav Nottebohm - Beethoveniana - IX – Die Coda des ersten Satzes der achten Symphonie. (Seite 25)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-09-op93-coda/) - Gustav Nottebohm’s study of the original shorter ending of Beethoven’s Eighth Symphony Op. 93, examining the early timpani part, the later 1814 revision, and the reconstruction of the missing coda.
- [Gustav Nottebohm - Beethoveniana - VIII – Eine Stelle im ersten Satz der achten Symphonie (Op. 93). (Seite 23)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-08-op93-passage/) - Gustav Nottebohm’s analysis of a disputed passage in the first movement of Beethoven’s Eighth Symphony Op. 93, comparing sketchbook readings, manuscript variants, and early performance parts.
- [Gustav Nottebohm - Beethoveniana - VII – Das Tempo des zweiten Satzes der siebenten Symphonie (Op. 92). (Seite 21)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-07-op92-tempo/) - Gustav Nottebohm’s study of the tempo marking of Beethoven’s Seventh Symphony Op. 92, examining Schindler’s claims, early performance evidence, manuscript sources, and metronome indications.
- [Gustav Nottebohm - Beethoveniana - VI – Die ausgeschossenen zwei Takte im dritten Satz der C-moll-Symphonie. (Seite 17)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-06-op67-omitted-bars/) - Gustav Nottebohm’s examination of the two omitted bars in the third movement of Beethoven’s Symphony in C minor Op. 67, analyzing sources, variants, and editorial implications.
- [Gustav Nottebohm - Beethoveniana - V – Skizzen zum Pianoforte-Concert in G-dur (Op. 58) und zur Symphonie in C-moll (Op. 67). (Seite 10)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-05-op58-op67-sketches/) - Gustav Nottebohm’s study of Beethoven’s sketches for the Piano Concerto in G major Op. 58 and the Symphony in C minor Op. 67, examining thematic origins and manuscript evidence.
- [Gustav Nottebohm - Beethoveniana - IV – Die einundfünfzigste Sonate (Op. 54). (Seite 8)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-04-op54-fifty-first-sonata/) - Gustav Nottebohm’s study of Beethoven’s Sonata Op. 54, examining the historical numbering of Beethoven’s “fifty‑one sonatas” and the works included in this classification.
- [Gustav Nottebohm - Beethoveniana - III – Die Variationen Op. 44. (Seite 7)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-03-op44-variations/) - Gustav Nottebohm’s analysis of Beethoven’s Variations Op. 44, tracing their early composition, connections with the song “Feuerfarb’,” and evidence from Beethoven’s sketch materials.
- [Gustav Nottebohm - Beethoveniana - II – Zur Geschichte einer alten Ausgabe (Op. 29). (Seite 3)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-02-op29-early-edition/) - Critical study by Gustav Nottebohm on the early editions of Beethoven’s Quintet Op. 29, examining Artaria and Mollo prints, errors, corrections, and documentary evidence.
- [Our Recommendations – Beethoven Research Highlights (C.R.M.B.)](https://www.lvbeethoven.org/our-tips/) - Explore rare editions, studies, sketchbooks, and curated resources recommended by the Beethoven Music Research Center (C.R.M.B.) to deepen your understanding of the Master.
- [Gustav Nottebohm - Beethoveniana - I – Ein Satz im Septett Op. 20 und die Sonate Op. 49 Nr. 2. (Seite 1)](https://www.lvbeethoven.org/gustav-nottebohm-beethoveniana-01-septet-op20-sonata-op49/) - Critical analysis by Gustav Nottebohm comparing the main theme of Beethoven’s Septet Op. 20 with the Sonata Op. 49 No. 2, based on sketchbook evidence and early sources.
- [“Beethoven – The Piano Variations” – by Giuseppe Bruno](https://www.lvbeethoven.org/beethoven-the-piano-variations-by-giuseppe-bruno/) - Series of musical talks by Maestro Giuseppe Bruno exploring Beethoven’s piano variations, presented for the 250th anniversary of the composer’s birth and hosted by the Italian‑German Cultural Association of La Spezia with the support of the Goethe‑Institut.
- [Beethoven and the Art of Horology – Part 1: The Composer’s Watches](https://www.lvbeethoven.org/articoli-beethoven-and-the-art-of-horology-part-1/) - Part 1 of the study “Beethoven and the Art of Horology”: an in‑depth examination of the pocket watches owned by Beethoven, with historical sources, technical analysis, and archival documentation.
- [Beethoven’s Pendulum Clock – The First Modern Restoration in 2011](https://www.lvbeethoven.org/beethoven-pendulum-clock-restoration-part1/) - Detailed account of the first modern restoration of Beethoven’s pendulum clock at the Beethoven‑Haus in Bonn in 2011, with historical context, technical work, and archival documentation.
- [Beethoven’s Pendulum Clock: The Modern Restoration of a Historic Timepiece at the Beethoven‑Haus — Original Italian Source](https://www.lvbeethoven.org/beethoven-pendulum-clock-restoration-italian/) - Detailed account of the modern restoration of Beethoven’s 1810 pendulum clock at the Beethoven‑Haus in Bonn, with historical context, technical work, and archival documentation.
- [Beethoven and the Art of Horology – Part 3: Iconography and Historical Watches](https://www.lvbeethoven.org/beethoven-art-of-horology-part-3-iconography/) - Beethoven and the Art of Horology – Part 3: Iconography and Historical Watches
- [Anhang 8 – three pieces for four‑hand piano: a comparative study by Graziano Denini](https://www.lvbeethoven.org/anhang-8-three-pieces-four-hand-piano/) - Comparative study of Anhang 8: three four‑hand piano pieces attributed to Beethoven, their sources, Kozeluch’s opera, and the British Museum manuscript.
- [Around Beethoven - Fünf Lieder für Männerchor](https://www.lvbeethoven.org/mannerchor/)
- [Maintenance mode – temporary service page](https://www.lvbeethoven.org/sito-in-manutenzione/) - Technical maintenance page used when the Beethoven Music Research Center website is temporarily offline.
- [Sketches: Bifolio Beethoven‑Haus Bonn, Sammlung Wegeler, W 3 – early piano and Lied drafts](https://www.lvbeethoven.org/bifolio_wegeler_w_3/) - Bifolio W 3 from the Beethoven‑Haus Bonn with sketches for “Die Liebe” Op. 52 No. 6, “Urian’s Reise um die Welt”, piano works, and notes on technique and articulation.
- [Visitor Maps](https://www.lvbeethoven.org/visitor-maps/) - [visitor-maps] Technical utility page used to display visitor map analytics within the Beethoven Music Research Center website.
- [Transcriptions from Handel – Beethoven’s studies, copies and variations on Handel’s works](https://www.lvbeethoven.org/abs08-2/) - Beethoven’s transcriptions, copies and variations on Handel’s works, including sketches, fugues, oratorio excerpts and chamber arrangements from 1801–1827.
- [ThemeNcode PDF Viewer [Do not Delete]](https://www.lvbeethoven.org/themencode-pdf-viewer/) - This page is used for Viewing PDF. Technical utility page used for displaying embedded PDF documents within the Beethoven Music Research Center website.
- [O salutaris hostia – spurious work for choir or four solo voices (S, A, T, B)](https://www.lvbeethoven.org/spu003/) - Short choral setting of “O salutaris hostia”, attributed to Beethoven but considered spurious; composed for choir or four solo voices (S, A, T, B).
- [Sketchbook Summer 1800 – sketches for Op. 18 quartets, Op. 22 and other works](https://www.lvbeethoven.org/skizzenbuch-summer-1800/) - Sketchbook from the summer of 1800 containing Beethoven’s sketches for the string quartets Op. 18 Nos. 1, 2 and 6, the piano sonata Op. 22, and other early ideas.
- [Sketchbook HN1844 – Draft for the Lied “An Henrietten” and sketches for WoO 211](https://www.lvbeethoven.org/skizzenbuch-hn1844/) - Sketchbook HN1844 with Beethoven’s draft for the Lied “An Henrietten”, the Andante for piano WoO 211, and several unidentified instrumental sketches.
- [Beethovenian Notes – Dino Villatico, 7 October 2020](https://www.lvbeethoven.org/appunti_beethoveniani/) - Dino Villatico reflects on Beethoven’s Op. 31 No. 3, the Minuet, the legacy of the late eighteenth century, and the composer’s moral and cultural vision, exploring irony, ambiguity, and the neoclassical impulse in Beethoven’s writing.
- [Sonata Op. 101 for violin and piano, Dorothea Ertmann and the Milan Ricordi edition by Luigi Bellofatto](https://www.lvbeethoven.org/articles-opus101-violin/) - Luigi Bellofatto examines Beethoven’s Op. 101 and its rare 1820 Ricordi edition for violin and piano, alongside Dorothea Ertmann’s role in the sonata’s history and reception.
- [The Ivy Green and Beethoven’s Op. 52 No. 8: Dickens, Siefert and the American reception – Michel Rouch](https://www.lvbeethoven.org/articoli-the_ivy_green/) - Michel Rouch traces the history of Dickens’s “The Ivy Green” set to Beethoven’s Op. 52 No. 8, its adaptation by H. O. R. Siefert, and its brief American reception.
- [Sehnsuchtswalzer Anhang 14 No. 1 and its reception history – Michel Rouch](https://www.lvbeethoven.org/michel_rouch_sehnsuchtswalzer_anhang_14-1/) - Michel Rouch traces the complex history of the Sehnsuchtswalzer Anhang 14 No. 1, its misattributions, arrangements, poetic adaptations, and long reception across Europe.
- [A stolen Beethoven letter and its connection to Beethoven’s grand‑nephew Ludwig Johann van Beethoven – James F. Green](https://www.lvbeethoven.org/beethoven_grand_nephew/) - James F. Green examines the stolen Beethoven letter linked to Ludwig Johann van Beethoven, uncovering its forgery, provenance, and the history behind the case.
- [Anhang 18 – “Nachruf” or “An Sie” and the Beethoven editorial tradition – Michel Rouch](https://www.lvbeethoven.org/articoli-anhang-18/) - Scholarly study by Michel Rouch on the apocryphal Lied “Nachruf” or “An Sie” (Anhang 18), tracing its origins, editions, misattributions, and 19th‑century reception.
- [“germany” e “waltham” nelle *Sacred Melodies* di William Gardiner – Michel Rouch](https://www.lvbeethoven.org/articoli-germany_waltham/) - Extensive scholarly study by Michel Rouch on the “Germany” and “Waltham” hymn tunes derived from Beethoven’s works within William Gardiner’s Sacred Melodies, tracing their origins, adaptations, transatlantic diffusion, and complex attribution history across 19th‑century Anglican and American hymnody.
- [Piano Variations on Nel cor più non mi sento from “La Bella Molinara” by Antonietta Cappelli](https://www.lvbeethoven.org/nel-cor-piu-non-mi-sento/) - Scholarly comparative study by Antonietta Cappelli examining the piano variations on Paisiello’s “Nel cor più non mi sento” by Auernhammer, Gelinek, and Beethoven, with detailed musical analysis, historical context, and insights into Classical‑era variation technique.
- [Neglected Masterpieces: Little‑Known Music by Beethoven and Schubert by Giorgia Cozzi](https://www.lvbeethoven.org/giorgia_cozzi/) - Academic article by Giorgia Cozzi examining neglected masterpieces by Beethoven and Schubert, including the Andante favori WoO 57, the 32 Variations WoO 80, and Schubert’s unfinished Adagio D 178 and Sonata D 571, with historical context and critical reassessment.
- [Articles: Beethovenian Fragments (Landsberg 7) – A Fugue Sketch “in D minor” by Paola Rossetti](https://www.lvbeethoven.org/paola_rossetti/) - Scholarly article by Paola Rossetti examining Beethoven’s fugue sketch in D minor from the Landsberg 7 notebook, its historical context, stylistic connections to the Große Fuge Op. 133, manuscript provenance, and its role in Francesco Trocchia’s composition Recast (Kleine Fuge).
- [Articles – The Works for Mandolin and Piano by Ludwig van Beethoven](https://www.lvbeethoven.org/works_for_mandolin/) - Comprehensive scholarly article on Beethoven’s complete works for mandolin and piano, including WoO 43a, WoO 43b, WoO 44a and WoO 44b, with historical context, manuscript sources, Prague connections, and detailed research on Countess Clary and the Clam‑Gallas archive.
- [Articles – Michele Trenti – The Violin Concerto Performed on Paganini’s “Cannone”](https://www.lvbeethoven.org/articles-trenti/) - Scholarly article documenting the 1995 Genoa performance of Beethoven’s Violin Concerto Op. 61 on Paganini’s legendary “Cannone” violin, featuring conductor Michele Trenti and soloist Bin Huang, with historical context on the instrument and the artists involved.
- [Articles – Fantasy Opus 77 by Antonietta Cappelli](https://www.lvbeethoven.org/fantasy_op77_a_study_by_antonietta_cappelli/) - In-depth scholarly article by Antonietta Cappelli exploring Beethoven’s Fantasia Op. 77, its historical context, improvisatory nature, early editions, manuscript variants, and its place within the composer’s creative evolution.
- [Articles – Collection of Period Newspapers Concerning Beethoven-Related News](https://www.lvbeethoven.org/newspapers-of-beethovens-era/) - Photographic and continuously updated collection of historical newspapers featuring references to Beethoven, his works, contemporary events, and period documentation preserved in the Beethoven Music Research Center since 2016.
- [Articles - Cantate für Enthüllung der Beethoven - Monuments - Heiligenstatt - 1863](https://www.lvbeethoven.org/cantate_beethoven_monuments/) - Scholarly article on the 1863 Vienna booklet celebrating the unveiling of the Beethoven Monument in Heiligenstadt, featuring the commemorative cantata by Bauernfeld and Randhartinger, with historical context, text analysis, and biographical notes on the artists involved.
- [Articles - Beethoven and Schiller's Fiesco](https://www.lvbeethoven.org/articles-fiesco/) - A detailed scholarly article exploring Beethoven’s interest in Schiller’s tragedy *Fiesco*, examining conversation book entries, historical context, and the composer’s late search for operatic inspiration within the Sturm und Drang tradition.
- [A Collection of Psalms & Hymns – Spurious Works Attributed to Beethoven](https://www.lvbeethoven.org/spurious_psalms_hymns-2/) - A 110‑page London collection (c.1824–1827) of psalms and hymns by Handel, Haydn, Mozart, Beethoven and others, curated by J. Challenger for Spring Garden Chapel.
- [A Bibliographical Note – Sources for the Beethoven Catalogue](https://www.lvbeethoven.org/a_bibliographical_note/) - Scholarly overview of the primary sources behind the Beethoven catalogue, including major studies, sketchbooks, critical editions, and bibliographical references essential for understanding Beethoven’s works.
- [Works Divided by Musical Genre – 20 Operas](https://www.lvbeethoven.org/genres-operas/) - Scholarly overview of Beethoven’s operatic works, presented within Section XX of the Beethoven Music Research Center catalogue.
- [Studies in Music Theory, Seyfried’s Beethoven Studien, and Works for Organ – Section XIII](https://www.lvbeethoven.org/genres-harmony-studies-treatises/) - Scholarly presentation of Beethoven’s studies in music theory, Seyfried’s Beethoven Studien, and the composer’s works for organ, forming Section XIII of the Beethoven Music Research Center catalogue.
- [Beethoven and Folk Melodies – Padua, April 2022](https://www.lvbeethoven.org/articoli-beethoven_e_le_melodie_popolari/) - A musical journey through Beethoven’s folk-inspired works, performed in Padua on a Steinway & Sons grand piano by Cappelli, Zambon, Candian, Soceanu and Fattoretto.
- [Duo Fusaro–Arcuri: Complete Beethoven Works for Piano Four Hands – World Premieres and Rediscovered Manuscripts](https://www.lvbeethoven.org/duo_fusaro_arcuri_piano_4_mani/) - Overview of the inaugural concert of the Fusaro–Arcuri Piano Duo, featuring Beethoven’s complete works for piano four hands, including the world première of the “Triumphal March” WoO 2a for Kuffner’s Tarpeja and the first modern performance of the Nine German Dances Anhang 9. A program enriched with rare manuscripts, historical reconstructions, and virtuosic interpretations.
- [Articles - The Creatures of Prometheus in Genoa – Nervi Saturday, August 1, 2020](https://www.lvbeethoven.org/creatures_of_prometheus_nervi/) - Report on the national première of Beethoven’s ballet “The Creatures of Prometheus” in Genoa–Nervi on 1 August 2020, featuring choreography by Simona Bucci, costumes by Roberto Capucci, and the Orchestra of the Teatro Carlo Felice conducted by Leonardo Sini. A rare full staging of Beethoven’s only ballet.
- [Accademia Stefano Tempia – Inaugural Concert: “The Consecrated House” and “The Ruins of Athens”](https://www.lvbeethoven.org/stefanotempia_ruinen/) - Report on the inaugural concert of the Accademia Stefano Tempia in Turin, featuring Beethoven’s “The Consecrated House” and “The Ruins of Athens”, with choir and orchestra conducted by Guido Maria Guida. A rare performance of Beethoven’s 1822 incidental music, presented in November 2018 at Teatro Vittoria and the Verdi Conservatory.
- [Fantasy Biamonti 213 – World Première in Settimo Torinese (2006)](https://www.lvbeethoven.org/articles-biamonti-213-settimo-torinese/) - Account of the world première of Beethoven’s Fantasy for Piano, Biamonti 213, performed in Settimo Torinese on 9 April 2006 by pianist Massimo Anfossi, under the patronage of the A.B.F. Associazione Beethoven France. A key event in the rediscovery of Beethoven’s unknown works.
- [Christmas in Classical Vienna – An Essay by Antonietta Cappelli](https://www.lvbeethoven.org/christmas_in_classical_vienna/) - A historical overview of Christmas in Classical Vienna, exploring sacred music, liturgy, and the works of Mozart, Haydn, Beethoven, Salieri, and their contemporaries.
- [Duo Novecento in Concert at the Monastery of Santa Chiara, Genoa – 20 October 2017](https://www.lvbeethoven.org/duo-novecento-santa-chiara-genoa-2017/) - Duo Novecento performed 20th‑ and 21st‑century music at the Monastery of Santa Chiara in Genoa, featuring Rebay’s sonata with a movement inspired by a Beethovenian theme.
- [World Premiere of the Unfinished Variations Unv. 14](https://www.lvbeethoven.org/unvollendete_14_emanuele_stracchi/) - World premiere of Beethoven’s Unfinished Variations 14, reconstructed by Graziano Denini and performed by Emanuele Stracchi at Teatro Palladium on 29 December 2020.
- [Emanuele Stracchi Performed at the Beethoven‑Haus, Bonn – 11 August 2021](https://www.lvbeethoven.org/emanuele-stracchi-recital-beethovenhaus-bonn-2021/) - Emanuele Stracchi performed Beethoven’s Rondo Op.129 at the Beethoven‑Haus in Bonn after winning First Prize at the Grand Prize Virtuoso Competition 2021.
- [Beethoven’s Complete Works for Mandolin and Piano – World Premiere in Savona (6 September 2020)](https://www.lvbeethoven.org/beethoven-mandolin-works-complete/) - World premiere of Beethoven’s complete works for mandolin and piano in Savona, performed by Carlo Aonzo and Sirio Restani, including two rediscovered compositions.
- [Beethoven’s Piano Concertos at the Lerici Music Festival 2020 – Giuseppe Bruno, Piano and Conductor](https://www.lvbeethoven.org/beethoven-piano-concertos-giuseppe-bruno-lerici-music-festival-2020/) - Presentation of Beethoven’s piano concertos performed by Giuseppe Bruno at the Lerici Music Festival 2020, featuring chamber versions with saxophone quartet and string quintet.
- [Walzer moderato in C Minor for Four Horns – Attributed to Beethoven (Grimm Brothers Manuscript, Regensburg)](https://www.lvbeethoven.org/articoli-valzer9-rouch/) - Waltz in C minor for four horns from the Grimm brothers’ ca.1810 Regensburg manuscript, marked “Comp. par L. v. Beethoven”; authenticity uncertain, discussed by Michel Rouch.
- [Beethoven’s Apocryphal Waltzes – 19th‑Century American Misattributions and Tributes](https://www.lvbeethoven.org/i_valzer_apocrifi_di_beethoven/) - Collection of 19th‑century American waltzes published under Beethoven’s name; apocryphal pieces revealing transatlantic fascination, imitation, and myth‑making around his legacy.
- [Suite Montecassino – Spurious Beethoven (Montecassino Abbey Manuscript)](https://www.lvbeethoven.org/attivita-del-sito-montecassino/) - #post_contentSuite Montecassino attributed to Beethoven from a manuscript once kept at Montecassino Abbey; four short movements of uncertain origin, preserved through 20th‑century copies and testimonies.
- [Pastorella in C Major – Spurious Beethoven (Pulkert Anhang 9, Zháněl Copy 1857)](https://www.lvbeethoven.org/spu025/) - Christmas Pastorella in C major, copied by Sháněl in 1857 and attributed to “Bethoven”; Czech shepherds’ text, Moravian provenance and possible link to Father Karel Zháněl.
- [Pangelingua in C Major – Three Spurious Beethoven Attributions from Czech Sources](https://www.lvbeethoven.org/spu026/) - Three Czech Pangelingua settings long attributed to Beethoven; 1830–1840 manuscripts from Brno, Znojmo and Žďár, studied and documented by Michel Rouch with C.R.M.B. recordings.
- [Marcia de Luis van Beethofen – Spurious Beethoven March from “Eteokles & Polyneikes”](https://www.lvbeethoven.org/marcia_de_luis_beethofen/) - March long attributed to Beethoven, linked to Missolonghi manuscripts and Metten Abbey sources; later identified as a piece from Seehann and Kern’s 1879–1893 opera “Eteokles & Polyneikes.”
- [Funeral March “La notte dei Morti” – Demetrio Sollazzi (Misattributed to Beethoven)](https://www.lvbeethoven.org/notte_dei_morti/) - Funeral march copied in 1911 by Demetrio Sollazzi at the Nunziatella military school and long attributed to “M° Beetoven”; preserved through family testimony and C.R.M.B. recordings.
- [Lobgesang in C Major for Four-Part Mixed Choir – Spurious Beethoven (Breitenbach/Schulz)](https://www.lvbeethoven.org/articoli-lobgesang/) - Apocryphal Lobgesang in C major, arranged by J.H. Breitenbach and long attributed to Beethoven; derived from J.A.P. Schulz’s 1785 Athalia choruses and widely circulated in 19th‑century Germany.
- [Comic Waltz “Cuckoo and Nightingale” – Spurious Beethoven (Polyhimnia, 1828)](https://www.lvbeethoven.org/valzer_kuckuck_und_nachtigall/) - Comic Waltz “Cuckoo and Nightingale,” marked “Von B.” in Polyhimnia (1828); rare source with Decker’s 1824 Beethoven portrait, curated in the Research Becomes Art project.
- [Graduale in A – Spurious Beethoven (Ms 26th December 1829)](https://www.lvbeethoven.org/spu028/) - Graduale in A long attributed to Beethoven; manuscript dated 26 December 1829 and linked to sources by Veit Lorenz, Bühler, Schlesinger and Franz Josef Grim, edited by Michel Rouch.
- [Change, change moi Brama! – Apocryphal French Air Misattributed to Beethoven](https://www.lvbeethoven.org/articoli-change-moi-brama/) - French soprano air from Scribe and Mélesville’s 1827 vaudeville, long misattributed to Beethoven; traced to Mélesville, Jadin and the popular tune “The Bells of St Petersburg,” with vast 19th‑century reception.
- [Beethoven’s Dream – Waltz Reverie by E. Revere (1878)](https://www.lvbeethoven.org/beethovens_dream/) - Waltz Reverie “Beethoven’s Dream” by E. Revere, published in 1878 by F.O. Jones; surviving piano and guitar versions preserved at the Library of Congress in the 1870–1885 deposits.
- [Andante for Harpsichord in D Major – Spurious Beethoven (Berlin Staatsbibliothek)](https://www.lvbeethoven.org/andante_per_il_clavicembalo/) - Harpsichord Andante in D major attributed to Beethoven, preserved in Berlin Staatsbibliothek Mus.ms.1267; linked to Wilhelm Tappert and possibly Bonn or early Vienna years.
- [An Admired Air by Mozart with Variations for Pianoforte by Lewis van Beethoven](https://www.lvbeethoven.org/spu001/) - Edinburgh edition (c.1830–1845) falsely attributed to Beethoven: piano variations on the final movement of Mozart’s Clarinet Quintet K.581, curated and performed by Francesco Gussago.
- [Le Masque de Beethoven – A Grand Fantasy on Beethovenian Themes](https://www.lvbeethoven.org/spu010/) - Francis Salabert’s 1934 Grand Fantasy on Beethoven themes, weaving Leonore, Coriolan, Fifth Symphony, Pathétique, Spring Sonata, Septet and a then‑accepted spurious waltz.
- [Litaniæ Lauretanæ in E-flat Major – Based on Themes from Beethoven’s Prometheus](https://www.lvbeethoven.org/articoli-litanie-lauretane/) - Litaniæ Lauretanæ in E-flat major for choir and instruments, built entirely on themes from Beethoven’s Prometheus; four Czech manuscripts attributed to Johann Schlesinger.
- [Hymn to the Night and Hymn to the Creator – Choral Works after Beethoven](https://www.lvbeethoven.org/inno-al-creatore/) - Two choral hymns derived from Beethoven’s Appassionata and WoO 77 Light Variations; SATB settings with optional keyboard or organ, with texts by G.B. Niccolini.
- [First Set of Beethoven’s Celebrated Waltzes – Piano Arrangement by W. Penson](https://www.lvbeethoven.org/first_sett_waltzes/) - Early Edinburgh edition of Beethoven’s celebrated waltzes, arranged for piano by W. Penson and performed by the Band of the Theatre Royal; includes three recorded waltzes.
- [Clara or “The Last Waltz” – Introduction, Theme and Brilliant Finale (Boston Edition)](https://www.lvbeethoven.org/clara_last_waltz/) - Nineteenth‑century American edition of Clara or “The Last Waltz,” an apocryphal piece linked to the aria “Change, change moi Brama!” with reviews, variants and Grobe’s brilliant finale.
- [Chants Chrétiens – “The Lord Is My Song” (Psalm CXVIII v.14)](https://www.lvbeethoven.org/chants_chretiens/) - Sixth edition of Chants Chrétiens (1851), featuring seven hymns based on Beethoven’s motifs from Christ on the Mount of Olives and the Septet, arranged for SATB voices.
- [Beethoven Collection of Sacred Music – Spurious Attributions](https://www.lvbeethoven.org/collection_of_sacred_music/) - Nineteenth‑century New York collection of psalms, hymns and chants attributed to Beethoven, Haydn, Mozart and others; harmonized for four voices with organ by E. Ives Jr., W. Alpers and H.C. Timm.
- [Air à la Bourée après Beethoven, for Organ (Jules de Sivrai / Frederic Archer)](https://www.lvbeethoven.org/spu021/) - Organ transcription by Frederic Archer of Jules de Sivrai’s Air à la Bourée après Beethoven; a late‑19th‑century reworking linked to Jane Roeckel’s pseudonymous output.
- [Beethoven – 15 Waltzes for Piano (Arrangement by Eric von Kuhlstrom)](https://www.lvbeethoven.org/articoli-15_valzer_kuhstorm_/) - Fifteen waltzes attributed to Beethoven, arranged by Eric von Kuhlstrom; free reworkings of earlier dances, including material from Prometheus and later editions and recordings.
- [Around Beethoven – Related and Associated Musical Works](https://www.lvbeethoven.org/around-beethoven/) - EParaphrases, fantasies, variations, transcriptions and adaptations inspired by Beethoven’s works; 48 entries spanning piano, choir, chamber and orchestral reworkings.
- [Biamonti Catalogue – Chronological List of Beethoven’s Works](https://www.lvbeethoven.org/biamonti/) - Biamonti List – Chronological and critical catalogue of all Beethoven’s works, fragments, and sketches, based on Giovanni Biamonti (I.L.T.E., 1968). Annotated digital edition curated by the Beethoven Music Research Center.
- [Biamonti Added Note II 49 – Sanctus for Four Voices and Organ](https://www.lvbeethoven.org/biamontina49/) - Sanctus for four voices and organ from a 1809 notebook; Nottebohm cites four bars. Found in Landsberg 5, pages 53–54. First part nearly complete, second unfinished.
- [Biamonti Added Note II 64 – Trio in G Major for Three Flutes](https://www.lvbeethoven.org/biamontina64/) - Trio in G major for three flutes, an early and possibly unauthenticated work; three movements—Allegro, brief Andante in D, and spirited Rondo Allegretto.
- [Sketch Leaf from Beethoven’s 1825 Autograph Notebook](https://www.lvbeethoven.org/skizzenderoda/) - A detailed presentation of a sketch leaf from Beethoven’s 1825 autograph notebook, featuring musical drafts, thematic ideas and notational fragments that illuminate the composer’s late creative process.
- [Inaudito Beethoven – Concert Review and Critical Perspectives](https://www.lvbeethoven.org/articoli-inaudito/) - A critical review of the 2013 Cantù concert featuring rare Beethoven works, reconstructions, and first modern performances, including WoO 5 and the Macbeth Overture.
- [Articles - Mozart's Bastian and Bastiana in Genoa Prà](https://www.lvbeethoven.org/bastiano_bastiana_pra/) - A review of the 2020 open‑air performance of Mozart’s Bastian and Bastiana in Genoa Prà, featuring an innovative staging and an exceptional cast.
- [Opus 052 – Eight Songs for Voice and Piano](https://www.lvbeethoven.org/opus052/) - Beethoven’s Eight Songs, Op. 52—composed between the Bonn years (1790–1792) and the mid‑1790s, and published in Vienna in June 1805—set poems by Claudius, Mereau, Ueltzen, Goethe, Bürger and Lessing. With mostly lost autographs, early sketches spanning Bonn and Vienna, and a complex genesis involving multiple projected collections, the set reveals Beethoven’s early Lied style, blending simplicity, charm and expressive clarity.
- [Jack Werner – The Beethoven Sketchbook: Miniatures for Piano](https://www.lvbeethoven.org/articoli-werner/) - An overview of Jack Werner’s mid‑1960s project “The Beethoven Sketchbook,” presenting piano miniatures derived from Beethoven’s sketches. Featuring performances by Antonietta Cappelli and her students, the article explores sources such as the Kafka, Kessler and Landsberg sketchbooks and their pedagogical value.
- [Arnold Schmitz – Beethoven’s Unknown Sketches and Drafts (1924 Study)](https://www.lvbeethoven.org/articoli-arnold_schmitz_beethoven_unbekannte_skizzen_und_entwurfe/) - Complete transcription of Arnold Schmitz’s 1924 study “Beethoven. Unbekannte Skizzen und Entwürfe,” including commentary, historical context, and analysis of previously unknown sketches and drafts. A foundational resource for understanding Beethoven’s manuscripts, chronology and creative process.
- [Sketch Leaf for the String Quartet Op. 18 No. 2 – Summer 1800 (Kramer Edition)](https://www.lvbeethoven.org/skizzenquartop18nr2/) - A complete transcription of Beethoven’s newly discovered sketch leaf for the String Quartet Op. 18 No. 2, dated to the summer of 1800. Edited and commented by Richard Kramer, with provenance traced to the discovery by Claudie Micault-Verhaeghe.
- [Kafka Sketchbook – Beethoven’s Early Miscellany (1786–1799) from the British Library](https://www.lvbeethoven.org/skizzenbuch-kafka/) - A comprehensive presentation of Beethoven’s “Kafka Sketchbook,” the large miscellany preserved at the British Library (Add. MS 29801). Edited by Joseph Kerman, the collection contains early sketches from 1786–1799, studied by Nottebohm and later scholars, offering essential insights into Beethoven’s formative creative process.
- [Grasnick 14 – Beethoven’s 1801 Sketchbook: Bach Transcription and Bagatelle Drafts](https://www.lvbeethoven.org/grasnick14/) - A detailed presentation of Beethoven’s sketchbook Grasnick 14 (1801–1802), containing his transcription of Bach’s B-flat minor fugue from the Well-Tempered Clavier and early sketches for the Bagatelles Op. 33 Nos. 5 and 7. Includes provenance, manuscript analysis, and comparison with Bach’s original.
- [Grasnick 1 – Beethoven’s 1798–1799 Sketchbook from the Grasnick Collection](https://www.lvbeethoven.org/grasnick_1/) - A detailed presentation of Beethoven’s sketchbook Grasnick 1 (1798–1799) from the Friedrich August Grasnick Collection. The page explores the collector’s biography, the provenance of the manuscripts, the condition of the sketchbook, and its significance for understanding Beethoven’s early creative process.
- [Beethoven Haus BH 117V - SV91 Minuet in D Major “Proesto”](https://www.lvbeethoven.org/bh117v_sv91/) - A scholarly presentation of the Minuet in D major “Proesto,” reconstructed by William Denny and Joseph Kerman from Beethoven’s Bonn-era sketches (BH 117V / SV 91). The article explores the manuscript sources, stylistic context, and the editors’ realization of this early orchestral minuet.
- [Artaria 206 – Beethoven’s Sketchbook for the Late Piano Sonatas and the Missa solemnis](https://www.lvbeethoven.org/skizzenbuch-artaria-206/) - A detailed presentation of Beethoven’s sketchbook Artaria 206, containing drafts for the late piano sonatas and the Missa solemnis. The collection offers valuable insights into Beethoven’s creative process through piano fragments, contrapuntal studies and thematic explorations.
- [Artaria 197 – Beethoven’s 1821 Sketchbook: Piano Pieces, Sonata Drafts and Fugue Studies](https://www.lvbeethoven.org/skizzenbuch-artaria-197/) - A detailed presentation of Beethoven’s 1821 sketchbook Artaria 197, edited by William Drabkin. The collection includes piano fragments, sonata drafts, fugue studies, symphonic ideas, and sketches for sacred works, offering a unique insight into Beethoven’s creative process during this period.
- [Artaria 195 – Beethoven’s Sketchbook for the Missa solemnis and Piano Sonata Op. 109](https://www.lvbeethoven.org/skizzenbuch-artaria195/) - A detailed presentation of Beethoven’s sketchbook Artaria 195, containing drafts for the Missa solemnis and the Piano Sonata Op. 109. Edited and commented by William Kinderman, the collection includes numerous piano fragments, contrapuntal studies, vocal sketches, and parallels with Paris manuscripts.
- [Collection of Sketches, Single Sheets and Reconstructions](https://www.lvbeethoven.org/abbozzi_vari/) - A curated collection of Beethoven’s sketches, single sheets and modern reconstructions, including rare fragments, newly identified materials, and scholarly insights by Barry Cooper and other specialists. An essential resource for studying Beethoven’s creative process.
- [Beethoven‑Album (1846) – A Commemorative Book of International Tributes](https://www.lvbeethoven.org/articoli-beethoven-album-1846/) - A scholarly presentation of the 1846 “Beethoven‑Album,” a rare commemorative volume published by Hallberger with contributions from artists and music lovers across Europe. Created after the inauguration of the Beethoven Monument in Bonn, the book includes essays, musical tributes, rare pieces by Mozart and Meyerbeer, and contributions from Liszt, the Milanollo sisters, Spontini, and many others.
- [Erste Beethoven Album – Ten Brilliant Piano Pieces for the Beethoven Monument](https://www.lvbeethoven.org/articoli-erste-beethoven-album/) - A scholarly presentation of the 1842 “Erste Beethoven Album,” published by P. Mechetti to support the Beethoven Monument in Bonn. Featuring piano works by Chopin, Liszt, Mendelssohn, Czerny, Döhler, Henselt, Kalkbrenner, Moscheles, Taubert and Thalberg, the article explores the album’s history, distribution, iconography, and its place in Beethoven’s nineteenth‑century reception.
- [Archduke Rudolph – Forty Variations on a Theme by Beethoven, WoO 200 “O Hoffnung”](https://www.lvbeethoven.org/arciduca_rodolfo_40_variazioni/) - A scholarly presentation of Archduke Rudolph’s Forty Variations on Beethoven’s theme “O Hoffnung,” WoO 200. The article explores Rudolph’s life, his close relationship with Beethoven, the surviving manuscripts with Beethoven’s corrections, the 1819 Steiner edition, and the work’s place within the Archduke’s broader compositional output.
- [Conrad Berg – Grand Trio for Piano, Violin and Cello, Op. 11 (Dedicated to Beethoven)](https://www.lvbeethoven.org/berg_trio/) - A scholarly presentation of Conrad Berg’s Grand Trio for Piano, Violin and Cello, Op. 11, dedicated to Beethoven and published by Steiner & Co. in 1816. The article explores Berg’s life, his meeting with Beethoven through Peter Joseph Simrock, the historical reception of the trios, and surviving sources and reviews.
- [Handel – Theme with 62 Variations (HWV 442), Dedicated to Beethoven](https://www.lvbeethoven.org/haendel_variazioni_beethoven/) - A scholarly presentation of Handel’s Theme with 62 Variations (HWV 442), published by Nikolaus Simrock and dedicated to Beethoven. The article explores the 1733 London collection, the structure of the chaconne, its links to Purcell and Bach, and Simrock’s historical role as Beethoven’s friend and publisher.
- [Nicolas de Krufft – Sonata Op. IV Dedicated to Beethoven](https://www.lvbeethoven.org/articoli_krufft/) - A scholarly presentation of Nicolas de Krufft’s Sonata Op. IV, composed and dedicated to Beethoven in 1803. The article explores Krufft’s life, his connection to Beethoven, the historical publication, surviving manuscripts, and performances by Sebastiano Mazzoleni, with references to other works dedicated to Beethoven.
- [Ballet Gundeberga – Historical Pantomime by Gaetano Gioja (1815)](https://www.lvbeethoven.org/articles-ballet-gundeberga/) - A scholarly presentation of the historical pantomime ballet “Gundeberga,” composed and staged by Gaetano Gioja in 1815. Featuring music by Beethoven, Rossini, Gallenberg and others, the article explores sources, manuscripts, performance history, and the dramatic narrative drawn from Lombard legend.
- [Ballet Didone – Heroic Choreodrama by Salvatore and Giulio Viganò](https://www.lvbeethoven.org/articles-ballet-didone/) - A scholarly presentation of the heroic ballet “Didone,” begun by Salvatore Viganò and completed by his brother Giulio. Featuring music by Cherubini, Rossini, Meyerbeer, Beethoven and others, the work blends choreodrama, neoclassical staging, and a detailed narrative drawn from the legend of Dido and Aeneas.
- [Ballet “Gli Ussiti” – Musical Pastiche by Salvatore Viganò](https://www.lvbeethoven.org/articles-ballet-gli-ussiti/) - A scholarly presentation of the ballet “Gli Ussiti,” a musical pastiche by Salvatore Viganò with contributions by Beethoven, Brambilla, and Generali. Includes historical context, sources, biographical notes, and analysis of the Dance and Waltz from the original production.
- [Beethoven and Viganò a Partnership: “Raccolta di varj e migliori pezzi di musica"](https://www.lvbeethoven.org/articles-vigano-varj-pezzi-di-musica/) - A scholarly presentation of the neoclassical collaboration between Beethoven and Salvatore Viganò, focusing on the “Raccolta di varj e migliori pezzi di musica per Forte Piano del Ballo Prometeo.” Includes historical context, sources, musical analysis, and research materials.
- [Ballet La Vestale – Choreodrama and Musical Pastiche by Salvatore Viganò (1818)](https://www.lvbeethoven.org/articles-ballet-la-vestale/) - A scholarly overview of Salvatore Viganò’s ballet “La Vestale,” a neoclassical choreodrama premiered at La Scala in 1818, featuring music by Beethoven, Rossini, Spontini, Mozart, and others. Includes historical context, sources, plot summary, and research materials.
- [XXV) Beethoven’s Transcriptions from Sulzer’s Allgemeine Theorie der schönen Künste](https://www.lvbeethoven.org/abs26/) - Beethoven’s 1802–1804 transcriptions from Sulzer’s Allgemeine Theorie der schönen Künste (ABS 26), focusing on Schulz’s article on recitative with examples from Graun.
- [XXIV) Beethoven’s Transcriptions and Notes on Conrad Schilling’s Horn Treatise](https://www.lvbeethoven.org/abs24/) - Beethoven’s 1809–10 notes and transcriptions from Conrad Schilling’s horn treatise (ABS 24), preserved in Artaria 153 and linked to Hess 297 for three horns.
- [XXIII) Beethoven and Johann Mattheson: Context and Theoretical Background](https://www.lvbeethoven.org/abs23/) - Overview of Johann Mattheson’s life and writings (ABS 23), providing essential context for the theoretical environment surrounding Beethoven’s early studies.
- [XXII) Beethoven’s Transcriptions and Studies on the Works of Friedrich Wilhelm Marpurg](https://www.lvbeethoven.org/abs22/) - Beethoven’s transcriptions from Marpurg’s Abhandlung von der Fuge (ABS 22), copied in 1814–15 and linked to Bach’s WTC and the Viennese contrapuntal tradition.
- [XIX) Beethoven’s Transcriptions and Studies on the Works of Johann Philipp Kirnberger](https://www.lvbeethoven.org/abs25/) - Beethoven’s transcriptions and studies from Kirnberger (ABS 25), including extracts from the Grundsätze, the Kunst des reinen Satzes, and the 1808 Gedanken.
- [XX) Beethoven’s Transcriptions and Studies on the Works of Johann Joseph Fux](https://www.lvbeethoven.org/abs21/) - Beethoven’s studies and transcriptions from Johann Joseph Fux (ABS 21), centered on the Gradus ad Parnassum, the cornerstone of Viennese contrapuntal training.
- [XIX) Beethoven’s Transcription of the Canon “Ein anders ist’s” from ‘Fr. aus Wien’](https://www.lvbeethoven.org/abs20/) - Beethoven’s 1802 transcription of the canon “Ein anders ist’s” from ‘Fr. aus Wien’ (ABS 20), preserved in A‑Wgm A34 and published in AmZ in 1800.
- [XVIII) Beethoven’s Transcriptions from Philipp Dornaus](https://www.lvbeethoven.org/abs19/) - Beethoven’s transcriptions from Philipp Dornaus (ABS 19), a Viennese natural‑horn virtuoso whose works—including a concerto for two horns—were studied by Beethoven.
- [XVIII) Beethoven’s Transcriptions and Studies on the Works of J. G. Albrechtsberger](https://www.lvbeethoven.org/abs18/) - Beethoven’s studies and transcriptions from Albrechtsberger (ABS 18), reflecting his intensive training in harmony and counterpoint after arriving in Vienna in 1792.
- [XVI) Beethoven’s Studies on the Writings of Carl Philipp Emanuel Bach](https://www.lvbeethoven.org/abs016/) - Beethoven’s studies on C. P. E. Bach’s theoretical writings (ABS 16), especially the Versuch, a cornerstone of his keyboard technique and expressive style.
- [XV) Beethoven’s Transcriptions from Antonio Salieri’s Les Danaïdes](https://www.lvbeethoven.org/abs014/) - Beethoven’s transcriptions from Salieri’s Les Danaïdes (ABS 14), copied between 1802–1805 and linked to his operatic studies with Salieri and the genesis of Fidelio.
- [XIII) Beethoven’s Transcriptions and Studies on the Works of Giovanni Pierluigi da Palestrina](https://www.lvbeethoven.org/abs13/) - Beethoven’s late transcriptions from Palestrina (ABS 13), including the Magnificat in Tertii toni and the motet Pueri Hebraeorum, copied between 1819 and early 1826.
- [IX) Beethoven’s Transcriptions and Studies on the Works of Joseph Haydn](https://www.lvbeethoven.org/abs09/) - Catalogue of Beethoven’s transcriptions and studies on Haydn (ABS 09), including quartets Hob. III:31 and 35, Symphony No. 99, and the Schöpfungsmesse Gloria.
- [VII) TBeethoven’s Transcription from André‑Ernest‑Modeste Grétry](https://www.lvbeethoven.org/abs07/) - Beethoven’s transcription of an unidentified aria by Grétry (ABS 07), likely from Zémire et Azor, documented in the 1920 Vienna exhibition and linked to Max Friedlaender.
- [III) Beethoven’s Transcriptions and Studies on the Works of Wilhelm Friedemann Bach](https://www.lvbeethoven.org/abs03/) - Catalogue of Beethoven’s transcriptions and studies on Wilhelm Friedemann Bach (ABS 03), including excerpts from Die Kunst des reinen Satzes and the Landsberg Sketchbooks.
- [Unv.21 – Hess 151 – Traute Henriette, Sketch of a Song for Voice and Piano](https://www.lvbeethoven.org/unv21/) - Early Beethoven song sketch from 1792–1793, based on Hölty’s poem An Henrietten, with manuscript history, editorial sources, and scholarly commentary.
- [Unv.20 – The “Lamentations of Jeremiah”](https://www.lvbeethoven.org/unv20/) - Figured‑bass studies for the Lamentations of Jeremiah, sketched in Bonn around 1790–1792, with manuscript context, liturgical background, and scholarly analysis.
- [Unv.22 – Hess 149 – Rastlose Liebe, Sketch of a Song for Voice and Piano](https://www.lvbeethoven.org/unv22/) - Sketches for Beethoven’s setting of Goethe’s Rastlose Liebe (1796), with manuscript sources, early publications, dating, and detailed scholarly commentary.
- [Unv.19 – Cantata in B major for Four Voices and Piano (Fischhof & Kafka Sketches)](https://www.lvbeethoven.org/unv19/) - Cantata in B major sketched between 1790–1792, with three surviving sheets from the Fischhof and Kafka collections, textual fragments, and manuscript sources.
- [Unv. 18 - Östrerreich über alles, song for choir and orchestra](https://www.lvbeethoven.org/unv18/) - Patriotic choral song sketched in March–April 1809 to Collin’s text, linked to the Fifth Coalition, with manuscript sources, historical context, and commentary.
- [Unv.17 – Hess 317 – “Europens Befreyungsstunde” (Cantata, Existence Doubtful)](https://www.lvbeethoven.org/unv17/) - Sketches for the lost cantata Europens Befreyungsstunde (1814), with Bernard’s libretto, manuscript sources in Berlin, Paris, Bonn, and historical context.
- [Unv.16 – Overture “Macbeth” Fragment (Previously Biamonti 454)](https://www.lvbeethoven.org/unv16/) - Fragmentary sketches for Beethoven’s unfinished Macbeth Overture (1808–1811), linked to Collin’s libretto, with manuscript sources, context, and scholarly commentary.
- [Unv.15 – Hess 115 – Vestas Feuer, First Scene of an Opera by Schikaneder](https://www.lvbeethoven.org/unv15/) - Fragment of Beethoven’s 1803 opera project Vestas Feuer, with manuscript history, Schikaneder’s libretto, context, and detailed scholarly commentary.
- [Unv.14 – Fragment of Piano Variations (Fischhof, folios 25–26 verso)](https://www.lvbeethoven.org/unv14/) - Unfinished piano variations sketched in 1794–1795, with theme, eight variations, coda, manuscript sources, and a detailed reconstruction by Graziano Denini.
- [Unv.11 - Hess 46 Sonata in A major for piano and violin (fragments)](https://www.lvbeethoven.org/unv11/) - Fragmentary Sonata in A major for piano and violin (1790–1791), with surviving Allegro, Adagio, and Rondo sections, manuscript details, provenance, and scholarly commentary.
- [Unv.09 – Hess 48 – Allegretto in E‑flat major for Piano, Violin, and Cello (Kafka Sketchbook, 1790–1792)](https://www.lvbeethoven.org/unv09/) - Unfinished Allegretto in E‑flat major (1790–1792) from the Kafka Sketchbook, with surviving minuet, fragmentary trio, manuscript details, provenance, and scholarly commentary.
- [Unv.08 – Duet in E‑flat for Violin and Cello (Kafka Sketchbook, 1792)](https://www.lvbeethoven.org/unv08/) - Unfinished duet in E‑flat for violin and cello from the Kafka Sketchbook (1792), with manuscript details, provenance, related sketches, and scholarly commentary.
- [Unv. 7 – Hess 40 – Prelude to a Fugue in D minor for 2 Violins, 2 Violas, and Cello](https://www.lvbeethoven.org/unv07/) - Unfinished Prelude and Fugue in D minor (1817) for string quintet, with sketches, lost manuscript sources, provenance, and scholarly commentary by Hess and Nottebohm.
- [Unv.06 Hess 15 - Concerto in D major for piano and orchestra (Sketch)](https://www.lvbeethoven.org/unv06/) - Unfinished Piano Concerto in D major (1815), with sketches, autograph sources, provenance, and scholarly commentary by Cook, Lockwood, and Nottebohm.
- [Unv.05 – Fragment of a “Concertante” in C major (c. 1802) | Beethoven Music Research Center](https://www.lvbeethoven.org/unv05/) - Fragment of Beethoven’s early Concertante in C major (c.1802), with sketches from the “Kessler” notebook, Artaria 183 score pages, sources, chronology, and scholarly commentary.
- [Unv. 01 – Hess 298 · Symphony in C minor · Sketch of the First Movement (1785–1786)](https://www.lvbeethoven.org/unv01/) - Early symphonic sketch by Beethoven, 111 bars preserved in the Kafka collection. A rare fragment revealing thematic ideas later echoed in the Fifth Symphony.
- [Anhang 03 – Trio in D Major for Piano, Violin, and Cello](https://www.lvbeethoven.org/articoli-anhang-3/) - Catalogue entry for Anhang 03: the Trio in D major for piano, violin, and cello. Includes sources, missing sections, attribution history, premiere details, and editorial notes.
- [The Spirit of Beethoven’s Ninth in the Hands of Ballista and Canino - Benedetta Saglietti](https://www.lvbeethoven.org/beethoven_ninth_liszt_transcription_ballista_canino/) - A reflection on Liszt’s two‑piano transcription of Beethoven’s Ninth, as performed by Ballista and Canino, exploring structure, expression, and sonic imagination.
- [Focus on… Benedetta Saglietti: Music Historian, Iconography Specialist, and Contributor to the C.R.M.B.](https://www.lvbeethoven.org/benedetta_saglietti/) - A profile of music historian and iconography specialist Benedetta Saglietti, her research on Beethoven, her publications, translations, and media work.
- [Articles: Hermann Junker’s Portrait of Beethoven Composing at the Piano, Owned by the C.R.M.B.](https://www.lvbeethoven.org/hermann_junker/) - A study of Hermann Junker’s 1869 portrait of Beethoven composing at the piano, now part of the C.R.M.B. collection, with biographical notes on the artist.
- [Luigi Domenico Bellofatto – Memorabilia of the C.R.M.B.: Rare Objects and Historical Mementos from Beethoven’s Birthplace](https://www.lvbeethoven.org/crmb-memorabilia/) - A selection of rare memorabilia from the C.R.M.B., including artifacts from Beethoven’s birthplace in Bonn: bricks, wood fragments, early prints, and funeral notices.
- [Beethoven and the Art of Horology: Iconographic Documentation of the Watches Discussed in the Previous Studies](https://www.lvbeethoven.org/articoli-beethoven-and-the-art-of-horology-part-3/) - Iconographic appendix to the study of Beethoven’s watches, featuring photographs of the timepieces discussed in the previous research articles.
- [Beethoven’s Watches: Supplementary Research](https://www.lvbeethoven.org/articoli-beethoven-and-the-art-of-horology-part-2/) - Addenda and corrigenda to the study of Beethoven’s watches, expanding the research by Armando Orlandi and Luigi Bellofatto in Neue Beethoven Studien Vol. 11.
- [Beethoven: The Intimate Side of a Lonely and Tormented Genius — Review by Concetta De Mauro](https://www.lvbeethoven.org/concetta_de_mauro_beethoven/) - A review by Concetta De Mauro of Ludwig van Beethoven – Autobiografia di un genio, exploring the composer’s letters, inner struggles, and human complexity.
- [Alois Kolb (1875–1942) and the Beethoven Lithograph Cycle (1909–1910)](https://www.lvbeethoven.org/articles-alois-kolb/) - A study of Alois Kolb’s 1909–1910 Beethoven lithograph cycle, exploring the artist’s life, engraving mastery, and symbolic approach to graphic art.
- [Accademia Ducale – A Leading Italian Centre for Classical Music, Training, and Cultural Innovation](https://www.lvbeethoven.org/articles_accademia_ducale/) - An overview of the Accademia Ducale – Centre for Musical Studies, its mission, educational programs, international partnerships, and cultural activities in Basilicata and abroad.
- [Beethoven’s Only Uncle: Johann Peter Keverich (1734–1807) in a Study by James F. Green](https://www.lvbeethoven.org/johann_peter_keverich/) - A scholarly article by James F. Green exploring the life of Johann Peter Keverich, Beethoven’s only uncle, through archival evidence and historical context.
- [Willy Hess: The Scholar Who Rediscovered Many Lost Works by Beethoven](https://www.lvbeethoven.org/willy_hess_allemand/) - A biographical portrait of Swiss musicologist Willy Hess, whose research led to the rediscovery of numerous Beethoven manuscripts and shaped modern Beethoven scholarship.
- [The Enigma of Minona von Stackelberg: Was She the Illegitimate Daughter of Ludwig van Beethoven?](https://www.lvbeethoven.org/articles-minona/) - A historical inquiry into Minona von Stackelberg and the enduring hypothesis that she may have been Beethoven’s illegitimate daughter, based on archival clues and biographical evidence.
- [Antonio Bruers: Erudition, Mystery, and the Intellectual Crossroads of a Restless Century](https://www.lvbeethoven.org/articles_antonio_bruers/) - A biographical profile of Antonio Bruers, exploring his literary, philosophical, musical, and metapsychic pursuits within the cultural tensions of twentieth‑century Italy.
- [Francesco Jerace – The Statue in Naples Conservatory San Pietro a Majella](https://www.lvbeethoven.org/articles-jerace-beethoven-majella/) - Article on the Beethoven statue by Francesco Jerace (1853–1937), preserved in the atrium of the San Pietro a Majella Conservatory of Naples, with an overview of the sculptor’s life and works.
- [Pasquale Romanelli and Prince Oddone – “Young Beethoven” Statue | Beethoven](https://www.lvbeethoven.org/articles-romanelli-young-beethoven/) - Biographical overview of sculptor Pasquale Romanelli and Prince Oddone of Savoy, focusing on Romanelli’s “Young Beethoven” statue preserved at the GAM in Genoa–Nervi.
- [La Redoute in Godesberg – Beethoven’s Time Par Miriam Allemand](https://www.lvbeethoven.org/la_redoute_godsberg/) - Historical overview of La Redoute in Godesberg during Beethoven’s time, exploring its cultural role, origins, and connections to the young composer.
- [Articles - The Beethovenian Places in Vienna, Austria](https://www.lvbeethoven.org/articles-beethovenian-places-vienna/) - A guided exploration of the Beethovenian places in Vienna, the city where the composer lived from 1792 until his death in 1827, accompanied by Luigi Bellofatto.
- [Articles - Beethovenian Places in Prague, Czech Republic (July 2014)](https://www.lvbeethoven.org/articles-beethovenian-places-prague/) - A survey of the Beethovenian places in Prague, exploring locations connected to the composer’s visits, performances, and historical presence in the Czech capital.
- [The Music Kiosk of Rapallo and the Frescoes by Prof. Giovanni Grifo](https://www.lvbeethoven.org/music_kiosk_rapallo/) - History of the Music Kiosk of Rapallo and the frescoes by Giovanni Grifo, featuring portraits of major composers including Beethoven, Verdi, Mozart, and others.
- [Essential Books for Beethoven Study and Research | Beethoven](https://www.lvbeethoven.org/core-bibliography/) - A curated selection of essential books for studying Beethoven, including foundational biographies, analytical studies, historical research, and key reference works.
- [Beethoven Bibliography – Gesamtausgabe (Complete Edition) | Beethoven](https://www.lvbeethoven.org/bibliography-gesamtausgabe/) - The Beethoven Gesamtausgabe (1862–1865, 1888–1890): the first complete edition of Beethoven’s works, with volumes, editors, publication history, and bibliographic references.
- [Beethoven Bibliography – Italian Books (U–Z) | Beethoven](https://www.lvbeethoven.org/bibliography-u-z/) - Italian books on Beethoven from U to Z, including monographs, biographies, analytical studies, and historical research published in Italy
- [Beethoven Bibliography – Italian Books (Q–T) | Beethoven](https://www.lvbeethoven.org/bibliography-q-t/) - Italian books on Beethoven from Q to T, including monographs, biographies, analytical studies, and historical research published in Italy.
- [Beethoven Bibliography – Italian Books (M–P) | Beethoven](https://www.lvbeethoven.org/bibliography-m-p/) - Italian books on Beethoven from M to P, including monographs, biographies, analytical studies, and historical research published in Italy.
- [Beethoven Bibliography – Italian Books (I–L) | Beethoven](https://www.lvbeethoven.org/bibliography-i-l/) - Italian books on Beethoven from I to L, including monographs, biographies, analytical studies, and historical research published in Italy.
- [Beethoven Bibliography – Italian Books (E–H) | Beethoven](https://www.lvbeethoven.org/bibliography-e-h/) - Italian books on Beethoven from E to H, including monographs, biographies, analytical studies, and historical research published in Italy.
- [Multimedia Library – Essays on the Works of Ludwig van Beethoven | Beethoven](https://www.lvbeethoven.org/multimedia-library/) - A multimedia library of essays and studies on Beethoven’s works, offering full texts, musical examples, and audio excerpts, continuing a research tradition begun in the late 19th century.
- [Beethoven’s Stage Music – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-stage-music/) - Catalogue of Beethoven’s stage music, including incidental music, melodramas, and theatrical works, with references to Section V of the critical edition.
- [Beethoven’s Italian A Cappella Songs – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-italian-a-cappella-songs/) - Catalogue of Beethoven’s Italian a cappella songs, including the 25 three‑voice settings and related vocal works, with references to Section IX of the critical edition.
- [Beethoven’s Harmoniemusik – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-harmoniemusiken/) - Catalogue of Beethoven’s Harmoniemusiken, including works for wind ensemble and related arrangements, with references to Section II, Tome 4 of the critical edition.
- [Beethoven’s Canons and Vocal Ensembles – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-canons-musical-jockes/) - Catalogue of Beethoven’s folk song arrangements, including Scottish, Irish, Welsh, and other national melodies, with references to Section X, Tomes 1–3 of the critical edition.
- [Beethoven’s Folk Songs – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-folk-songs/) - Catalogue of Beethoven’s folk song arrangements, including Scottish, Irish, Welsh, and other national melodies, with references to Section X, Tomes 1–3 of the critical edition.
- [Beethoven’s Songs with Piano – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-lieder/) - Catalogue of Beethoven’s songs with piano, including early Lieder, mature cycles, and occasional vocal works, with references to Section IX, Tomes 2–3 of the critical edition.
- [Beethoven’s Songs with Orchestra – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-cantatas/) - Catalogue of Beethoven’s songs with orchestra, including concert arias, scena and aria, and occasional vocal works, with references to Section IX, Tome 1 of the critical edition.
- [Beethoven’s Masses and Oratorios – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-sacred-music/) - Catalogue of Beethoven’s masses and oratorios, including the Mass in C and the Missa solemnis, with references to Section VIII, Tomes 1–2 of the critical edition.
- [Beethoven’s Bagatelles and Other Piano Pieces – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-klavierstucke/) - Catalogue of Beethoven’s bagatelles and other piano pieces, including early works, mature collections, and occasional compositions, with references to Section VII, Tome 6 of the critical edition.
- [Beethoven’s Piano Variations – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-piano-variations/) - Catalogue of Beethoven’s piano variations, including early sets, mature works, and pedagogical pieces, with references to Section VII, Tome 5 of the critical edition.
- [Beethoven’s Piano Sonatas – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-piano-sonatas/) - Catalogue of Beethoven’s piano sonatas, from early works to the late masterpieces, with references to Section VII, Tomes 2–4 of the critical edition.
- [Beethoven’s Music for Piano Four Hands – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-piano-four-hands/) - Catalogue of Beethoven’s music for piano four hands, including early works and pedagogical pieces, with references to Section VII, Tome 1 of the critical edition.
- [Beethoven’s Duets and Trios for Strings – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-duets-trios/) - Catalogue of Beethoven’s duets and trios for strings, including early chamber works and occasional compositions, with references to Section VI, Tome 6 of the critical edition.
- [Beethoven’s String Quartets – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-quartets/) - Catalogue of Beethoven’s string quartets, from early works to the late masterpieces, with references to Section VI, Tomes 3–5 of the critical edition.
- [Beethoven’s String Quintets – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-quintets/) - Catalogue of Beethoven’s string quintets, including early chamber works and mature compositions, with references to Section VI, Tome 2 of the critical edition.
- [Beethoven’s Miscellany of Chamber Music – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-miscellanea/) - Catalogue of Beethoven’s miscellaneous chamber works, including rare ensembles, occasional pieces, and unique formations, with references to Section VI, Tome 1 of the critical edition.
- [Beethoven’s Music for One Instrument and Piano – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-instrument-and-piano/) - Catalogue of Beethoven’s works for one instrument and piano, including chamber pieces for clarinet, horn, flute, and other instruments, with references to Section V, Tome 4 of the critical edition.
- [Beethoven’s Sonatas and Variations for Cello and Piano – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-cello-piano/) - Catalogue of Beethoven’s sonatas and variations for cello and piano, including early works and mature masterpieces, with references to Section V, Tome 3 of the critical edition.
- [Beethoven’s Sonatas and Variations for Violin and Piano – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-violin-piano/) - Catalogue of Beethoven’s sonatas and variations for violin and piano, including early and mature works, with references to Section V, Tomes 1–2 of the critical edition.
- [Beethoven’s Trios for Piano, Violin and Cello – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-piano-string-trios/) - Catalogue of Beethoven’s trios for piano, violin and cello, including early and mature chamber works, with references to Section IV, Tomes 2–3 of the critical edition.
- [Beethoven’s Piano Quartets and Quintets – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-piano-quartets-quintets/) - Catalogue of Beethoven’s piano quartets and quintets, including early chamber works and mature compositions, with references to Section IV, Tome 1 of the critical edition.
- [Beethoven’s Works for Orchestra – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-orchestral-works/) - Catalogue of Beethoven’s works for orchestra, including overtures, orchestral pieces, and occasional works, with references to Section II, Tomes 1–2 of the critical edition.
- [Beethoven’s Concertos for Solo Instrument and Orchestra – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-concertos/) - Catalogue of Beethoven’s concertos for solo instrument and orchestra, including piano, violin, and other concertante works, with references to Section III, Tomes 1–5 of the critical edition.
- [Beethoven’s Dances and Minuets for Orchestra – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/genres-orchestral-dances/) - Catalogue of Beethoven’s orchestral dances and minuets, including German dances, contredanses, and minuets, with references to Section II, Tome 3 of the critical edition.
- [Beethoven’s Symphonies – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/genres-symphonies/) - Overview of Beethoven’s symphonies, with complete catalogue entries, opus numbers, thematic groups, and references to Section I, Tomes 1–5 of the critical edition.
- [Biography-20 The Last Days of Beethoven – Final Illness and Legacy](https://www.lvbeethoven.org/biography20/) - A detailed account of Beethoven’s final days, exploring his last illness, the testimonies of those around him, and the enduring legacy shaped in the closing chapter of his life.
- [Biogrphy -19 The houses of Beethoven – Places of Life and Creation](https://www.lvbeethoven.org/biography19/) - A journey through the houses and residences where Beethoven lived and worked, tracing the spaces that shaped his daily life, creative process, and artistic evolution.
- [Biography -18 Beethoven legacy in the history of music](https://www.lvbeethoven.org/biography18/) - A study of Beethoven’s place in the history of music, examining his transformative impact, his role between Classicism and Romanticism, and the enduring legacy of his innovations.
- [Biography -17 The Romantic Legend of Beethoven Myth Reception](https://www.lvbeethoven.org/biography17/) - An exploration of the Romantic-era myth of Beethoven, tracing how poets, critics, and later generations transformed the composer into a symbol of genius, struggle, and artistic heroism.
- [Biography - 08 Beethoven and Religion – Spiritual Beliefs and Inner Faith](https://www.lvbeethoven.org/biography08/) - An exploration of Beethoven’s religious and spiritual outlook, tracing his personal beliefs, moral ideals, and the role of faith in shaping his artistic and inner life.
- [Biography - 07 Political and Social Ideas – The Idea of Freedom](https://www.lvbeethoven.org/biography07/) - An examination of Beethoven’s political and social ideals, exploring his lifelong commitment to freedom, human dignity, and the Enlightenment values that shaped his artistic vision.
- [Biography-06 Beethoven’s Writings, Documents, and the Heiligenstadt Testament](https://www.lvbeethoven.org/biography06/) - An exploration of Beethoven’s letters, personal documents, and the Heiligenstadt Testament, offering insight into his inner struggles, artistic vision, and human resilience.
- [Biography-05 Friends, Patrons, and Women in Beethoven’s Life](https://www.lvbeethoven.org/biography05/) - A portrait of the people who shaped Beethoven’s world: friends, patrons, and the women who influenced his personal life, artistic growth, and emotional landscape.
- [Biography-12 Eary19th‑Century Music Criticism of Beethoven’s Compositions.](https://www.lvbeethoven.org/biography12/) - An overview of early nineteenth‑century critical responses to Beethoven’s works, tracing how contemporary reviewers interpreted, praised, or challenged his revolutionary musical language.
- [Biography-11 Judgments on Beethoven by Other Musicians. Contemporary Opinions](https://www.lvbeethoven.org/biography11/) - A collection of opinions on Beethoven expressed by fellow musicians, revealing how contemporaries and later artists perceived his genius, personality, and revolutionary impact.
- [Biography -10 Beethoven’s Opinions on Other Musicians. Judgments and Reflections](https://www.lvbeethoven.org/biography10/) - A collection of Beethoven’s views on fellow musicians, revealing his judgments, influences, rivalries, and the artistic standards that shaped his musical world.
- [Biography-09 Beethoven as pianist, conductor, pedagogue, and composer](https://www.lvbeethoven.org/biography09/) - An exploration of Beethoven as both performer and creator, examining his musicianship, compositional craft, and the artistic evolution that shaped his revolutionary voice.
- [Biography-16 Biographies and Biographers of Beethoven – Historical Overview](https://www.lvbeethoven.org/biography16/) - A survey of the major biographies of Beethoven and the scholars who shaped his narrative, tracing the evolution of Beethoven studies from early accounts to modern research.
- [Biography-15 The Publishers of Beethoven – Early Editions and Editorial History](https://www.lvbeethoven.org/biography15/) - An overview of the publishers who shaped Beethoven’s editorial legacy, from early editions to key figures who preserved and disseminated his works across Europe.
- [Biography-14 Beethoven’s Loves – Affections, Passions, and Intimate Bonds](https://www.lvbeethoven.org/biography14/) - A study of Beethoven’s emotional world: his loves, friendships, and intimate relationships, revealing the human complexities behind the composer’s creative genius.
- [Biography-13 Beethoven as Seen by His Listeners – Contemporary Impressions](https://www.lvbeethoven.org/biography13/) - A portrait of Beethoven through the eyes of his contemporaries: testimonies, impressions, and firsthand accounts revealing the composer’s presence, character, and impact.
- [Biography -04 Character, Personality, Studies, and Culture of Beethoven](https://www.lvbeethoven.org/biography04/) - An in‑depth look at Beethoven’s character, temperament, education, and cultural background, revealing the intellectual and personal forces that shaped his artistic identity.
- [Biography 03 Beethoven’s birth, early youth, and formative adolescence](https://www.lvbeethoven.org/biography03/) - An exploration of Beethoven’s early years: his birth in Bonn, childhood influences, family environment, and the formative experiences that shaped his emerging musical identity.
- [Breviary 02 The Life of Beethoven: A Chronological Breviary](https://www.lvbeethoven.org/biography02/) - A detailed chronology of Beethoven’s life, aligned with the major historical, cultural, and political events that shaped his world and influenced his creative evolution.
- [Breviary 01 - Beethovenian Breviary – Preface by Carlo Alberto Pagni](https://www.lvbeethoven.org/biography01/) - In this preface, Carlo Alberto Pagni introduces his Beethovenian Breviary, reflecting on a lifetime of study, curiosity, and admiration for the Master of Bonn.
- [Beethoven's Breviary - Ludwig van Beethoven – Biography, Life & Historical Context](https://www.lvbeethoven.org/biography00/) - Beethoven Biography – Acknowledgments to Carlo Alberto Pagni. A structured biography of Ludwig van Beethoven, tracing his life, works, and historical reception through documents, early press sources, and primary materials.
- [Articles on People – Figures Connected to Beethoven](https://www.lvbeethoven.org/site-activities-articles-on-people/) - Explore editorial articles on people connected to Beethoven: historical figures, collaborators, and contemporaries, curated by the C.R.M.B. editorial team.
- [Articles on Places – Beethoven Locations and Historical Sites](https://www.lvbeethoven.org/site-activities-articles-on-places/) - Explore editorial articles on places connected to Beethoven: historical sites, locations of interest, and contextual studies curated by the C.R.M.B. team.
- [Articles on Music – C.R.M.B. Editorial Studies and Insights](https://www.lvbeethoven.org/site-activities-articles-on-music/) - Explore editorial articles on music: analytical studies, thematic insights, and research materials curated by the C.R.M.B. as part of its ongoing activities.
- [Articles on Beethoven’s Life – C.R.M.B. Editorial Insights](https://www.lvbeethoven.org/site-activities-articles-on-life/) - Explore editorial articles on Beethoven’s life: biographical studies, historical insights, and research materials curated by the C.R.M.B. editorial team.
- [Articles on Beethoven‑Related Events – C.R.M.B. Activities](https://www.lvbeethoven.org/site-activities-articles-on-events/) - Explore articles on Beethoven‑related events: cultural initiatives, celebrations, conferences, and historical insights curated by the C.R.M.B. editorial team.
- [Dedications to Beethoven – Works by Other Musicians](https://www.lvbeethoven.org/dedications-to-beethoven-by-other-musicians-article-by-friederike-grigat-widmungen-an-beethoven/) - Explore musical works dedicated to Beethoven by other musicians, with historical notes, catalogue references, and Friederike Grigat’s scholarly article.
- [Spurious Works – Misattributed and Non‑Authentic Beethoven Pieces](https://www.lvbeethoven.org/spurious-works/) - Explore Beethoven’s spurious works: misattributed, doubtful, and non‑authentic pieces historically linked to his name, with sources and catalogue references.
- [Transcriptions by Other Musicians – Beethoven Adaptations](https://www.lvbeethoven.org/transcriptions-by-other-musicians/) - Explore transcriptions, arrangements, and adaptations of Beethoven’s works created by other musicians, with catalogue references, sources, and scholarly notes.
- [Unfinished Works – Beethoven’s Unvollendete Werke Catalogue](https://www.lvbeethoven.org/unvollendete-werke/) - Explore Beethoven’s unfinished works: fragments, sketches, and incomplete compositions preserved in the Unvollendete Werke catalogue, with sources and notes.
- [Hess Anhang – Spurious and Doubtful Beethoven Works](https://www.lvbeethoven.org/hess-anhang/) - Explore the Hess Anhang: spurious, doubtful, and misattributed works linked to Beethoven, with catalogue numbers, sources, and scholarly annotations.
- [Anhang – Spurious and Doubtful Works of Beethoven](https://www.lvbeethoven.org/anhang/) - Explore the Anhang: spurious, doubtful, and misattributed works associated with Beethoven, with catalogue references, sources, and scholarly notes.
- [Contact Us – Beethoven Music Research Center (C.R.M.B.)](https://www.lvbeethoven.org/contact/) - Get in touch with the Beethoven Music Research Center (C.R.M.B.) for research inquiries, collaborations, publications, and access to Beethoven-related resources.
- [Site Activities – Beethoven Research Projects (C.R.M.B.)](https://www.lvbeethoven.org/site-activities/) - Discover the activities of the Beethoven Music Research Center (C.R.M.B.): cataloguing, digital restoration, scholarly research, publications, and artistic collaborations.
- [Beethoven Works by Genre – Complete Thematic Index](https://www.lvbeethoven.org/works-divided-by-genre/) - Browse Beethoven’s works divided by genre: symphonies, chamber music, piano works, vocal compositions, and more, with catalogue references and sources.
- [Our Partners – Beethoven Research Collaborations (C.R.M.B.)](https://www.lvbeethoven.org/we-collaborate-with/) - Discover the organizations collaborating with the Beethoven Music Research Center (C.R.M.B.): archives, festivals, academies, and international Beethoven institutions.
- [Publications – Beethoven Research Editions & Studies (C.R.M.B.)](https://www.lvbeethoven.org/publications/) - Explore publications edited by the Beethoven Music Research Center (C.R.M.B.): critical editions, scholarly essays, Thayer studies, and research on Beethoven’s works.
- [Catalogues Page interesting concordance table of catalogues of Ludwig van Beethoven's works](https://www.lvbeethoven.org/catalogue-cross-reference/) - Explore the comprehensive cross‑reference table comparing major Beethoven catalogues, including Kinsky/Halm, Biamonti, Hess, and others, with dates and sources.
- [Our Mission – Beethoven Music Research Center (C.R.M.B.)](https://www.lvbeethoven.org/our-mission/) - Discover the mission of the Beethoven Music Research Center (C.R.M.B.): preserving, cataloguing, and expanding access to Beethoven’s complete works and scholarly research.
- [News from the Beethoven Music Research Center (C.R.M.B.)](https://www.lvbeethoven.org/news-from-crmb/) - Discover the latest research updates, sketches, analyses, and editorial insights from the Beethoven Music Research Center (C.R.M.B.).
- [Beethoven’s Works – Catalogues, Sketches, and Historical Sources](https://www.lvbeethoven.org/the-works/) - Explore Beethoven’s complete works, sketches, and catalogues in a curated digital archive with scholarly commentary and historical sources.
- [Beethoven’s Works without Opus (WoO) – Catalogue & Sources](https://www.lvbeethoven.org/woo/) - Explore Beethoven’s Works without Opus (WoO) in a curated digital catalogue with scholarly notes and historical sources.
- [About Us – Beethoven Music Research Center](https://www.lvbeethoven.org/about-us/) - About the Beethoven Music Research Center, a digital archive dedicated to Beethoven’s works, sources, and scholarly research.
- [Articles – The Young Beethoven Through the Eyes of His Contemporaries: A Compendium of Reports up to 1800. By Luigi Bellofatto](https://www.lvbeethoven.org/young-beethoven-contemporaries-1783-1800/) - A comprehensive survey of every known eighteenth‑century newspaper, journal, almanac, and dictionary reference to the young Ludwig van Beethoven. From Bonn to Vienna, from Neefe’s early praise to the first reviews in the Allgemeine musikalische Zeitung, this article reconstructs Beethoven’s rise as composer, pianist, and prodigy through the voices of his contemporaries.
- [Beethoven and Italy, Part I – Andrea Luchesi and the Bonn Years](https://www.lvbeethoven.org/beethoven_and_italy_part_1_luchesi_bonn/) - A scholarly exploration of Beethoven’s early years in Bonn under Andrea Luchesi, examining Italian influences, the Blumenlese publications, and the historical erasure of Luchesi’s role in the composer’s formation.

## ALB Custom Elements

- [Galleria Orizzontale11](https://www.lvbeethoven.org/?alb_elements=galleria-orizzontale11)
- [AccordionHess](https://www.lvbeethoven.org/?alb_elements=accordionhess)
- [Blocco di testo libri articoli](https://www.lvbeethoven.org/?alb_elements=blocco-di-testo-libri-articoli)

## Categories

- [Senza categoria](https://www.lvbeethoven.org/category/senza-categoria/)
- [Opere](https://www.lvbeethoven.org/category/opere/)
- [01-Opus](https://www.lvbeethoven.org/category/opere/opere-01-opus/)
- [02-WoO](https://www.lvbeethoven.org/category/opere/opere-02-woo/)
- [03-WoO Anhang](https://www.lvbeethoven.org/category/opere/opere-03-woo-anhang/)
- [04-Hess](https://www.lvbeethoven.org/category/opere/opere-04-hess/)
- [05-Hess Anhang](https://www.lvbeethoven.org/category/opere/opere-05-hess-anhang/)
- [06-Biamonti](https://www.lvbeethoven.org/category/opere/opere-06-biamonti/)
- [Menu](https://www.lvbeethoven.org/category/menu/)
- [00-Slider](https://www.lvbeethoven.org/category/menu/menu-00-slider/)
- [01-Il CRM](https://www.lvbeethoven.org/category/menu/menu-01-il-crm/)
- [02-Opere (da fare)](https://www.lvbeethoven.org/category/menu/menu-02-opere-da-fare/)
- [02-Opere](https://www.lvbeethoven.org/category/menu/menu-02-opere/)
- [Da finire (Armando)](https://www.lvbeethoven.org/category/da-finire-armando/)
- [00-Home e altro](https://www.lvbeethoven.org/category/menu/menu-00-home-e-altro/)

## Tags

- [Opus](https://www.lvbeethoven.org/tag/opus/)
- [Beethoven](https://www.lvbeethoven.org/tag/beethoven/)
- [Recitative](https://www.lvbeethoven.org/tag/recitative/)
- [sketch](https://www.lvbeethoven.org/tag/sketch/)
- [Denini](https://www.lvbeethoven.org/tag/denini/)
- [Biamonti](https://www.lvbeethoven.org/tag/biamonti/)
- [young Beethoven](https://www.lvbeethoven.org/tag/young-beethoven/)
- [Beethoven early years](https://www.lvbeethoven.org/tag/beethoven-early-years/)
- [Beethoven 1780s](https://www.lvbeethoven.org/tag/beethoven-1780s/)
- [Beethoven reviews](https://www.lvbeethoven.org/tag/beethoven-reviews/)
- [Beethoven contemporaries](https://www.lvbeethoven.org/tag/beethoven-contemporaries/)
- [Beethoven 1790s](https://www.lvbeethoven.org/tag/beethoven-1790s/)
- [Neefe Beethoven](https://www.lvbeethoven.org/tag/neefe-beethoven/)
- [Beethoven historical sources](https://www.lvbeethoven.org/tag/beethoven-historical-sources/)
- [Beethoven Vienna](https://www.lvbeethoven.org/tag/beethoven-vienna/)
- [Allgemeine musikalische Zeitung Beethoven](https://www.lvbeethoven.org/tag/allgemeine-musikalische-zeitung-beethoven/)
- [Beethoven Bonn](https://www.lvbeethoven.org/tag/beethoven-bonn/)
- [eighteenth‑century music press](https://www.lvbeethoven.org/tag/eighteenth-century-music-press/)
- [Beethoven Op. 2](https://www.lvbeethoven.org/tag/beethoven-op-2/)
- [Beethoven early compositions](https://www.lvbeethoven.org/tag/beethoven-early-compositions/)
- [Beethoven Op. 13](https://www.lvbeethoven.org/tag/beethoven-op-13/)
- [Beethoven Op. 1](https://www.lvbeethoven.org/tag/beethoven-op-1/)
- [Beethoven WoO works](https://www.lvbeethoven.org/tag/beethoven-woo-works/)
- [Hess](https://www.lvbeethoven.org/tag/hess/)
- [An AI‑generated gallery exploring the faces](https://www.lvbeethoven.org/tag/an-ai-generated-gallery-exploring-the-faces/)
- [Beethoven’s Faces and Emotions – AI‑Generated Gallery | Beethoven](https://www.lvbeethoven.org/tag/beethovens-faces-and-emotions-ai-generated-gallery-beethoven/)
- [and figures who shaped Beethoven’s world](https://www.lvbeethoven.org/tag/and-figures-who-shaped-beethovens-world/)
- [bringing scholars](https://www.lvbeethoven.org/tag/bringing-scholars/)
- [emotions](https://www.lvbeethoven.org/tag/emotions/)
- [family](https://www.lvbeethoven.org/tag/family/)
- [musicians](https://www.lvbeethoven.org/tag/musicians/)
- [Beethoven Scholars and Biographers – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/beethoven-scholars-and-biographers-ai-portrait-gallery-beethoven/)
- [AI‑generated portraits of the scholars](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-the-scholars/)
- [biographers](https://www.lvbeethoven.org/tag/biographers/)
- [and researchers who shaped Beethoven studies](https://www.lvbeethoven.org/tag/and-researchers-who-shaped-beethoven-studies/)
- [Beethoven’s Family and Relatives – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/beethovens-family-and-relatives-ai-portrait-gallery-beethoven/)
- [offering a visual exploration of the people who shaped his early life](https://www.lvbeethoven.org/tag/offering-a-visual-exploration-of-the-people-who-shaped-his-early-life/)
- [AI‑generated portraits of Beethoven’s family and relatives](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-beethovens-family-and-relatives/)
- [personal history](https://www.lvbeethoven.org/tag/personal-history/)
- [and benefactors who supported Beethoven’s career](https://www.lvbeethoven.org/tag/and-benefactors-who-supported-beethovens-career/)
- [AI‑generated portraits of the patrons](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-the-patrons/)
- [aristocrats](https://www.lvbeethoven.org/tag/aristocrats/)
- [Beethoven’s Patrons and Aristocrats – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/beethovens-patrons-and-aristocrats-ai-portrait-gallery-beethoven/)
- [Musicians and Performers in Beethoven’s Circle – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/musicians-and-performers-in-beethovens-circle-ai-portrait-gallery-beethoven/)
- [AI‑generated portraits of the musicians](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-the-musicians/)
- [performers](https://www.lvbeethoven.org/tag/performers/)
- [and interpreters who collaborated with Beethoven](https://www.lvbeethoven.org/tag/and-interpreters-who-collaborated-with-beethoven/)
- [patrons](https://www.lvbeethoven.org/tag/patrons/)
- [AI‑generated portraits of the women who influenced Beethoven’s personal and artistic life](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-the-women-who-influenced-beethovens-personal-and-artistic-life/)
- [offering a visual exploration of friendships](https://www.lvbeethoven.org/tag/offering-a-visual-exploration-of-friendships/)
- [Women in Beethoven’s Life – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/women-in-beethovens-life-ai-portrait-gallery-beethoven/)
- [muses](https://www.lvbeethoven.org/tag/muses/)
- [poets](https://www.lvbeethoven.org/tag/poets/)
- [and intellectuals connected to Beethoven](https://www.lvbeethoven.org/tag/and-intellectuals-connected-to-beethoven/)
- [AI‑generated portraits of the writers](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-the-writers/)
- [Writers and Intellectuals in Beethoven’s World – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/writers-and-intellectuals-in-beethovens-world-ai-portrait-gallery-beethoven/)
- [and visual creators connected to Beethoven](https://www.lvbeethoven.org/tag/and-visual-creators-connected-to-beethoven/)
- [AI‑generated portraits of the artists](https://www.lvbeethoven.org/tag/ai-generated-portraits-of-the-artists/)
- [painters](https://www.lvbeethoven.org/tag/painters/)
- [Artists and Painters in Beethoven’s World – AI Portrait Gallery | Beethoven](https://www.lvbeethoven.org/tag/artists-and-painters-in-beethovens-world-ai-portrait-gallery-beethoven/)
- [aesthetics](https://www.lvbeethoven.org/tag/aesthetics/)
- [illustrating the imagery](https://www.lvbeethoven.org/tag/illustrating-the-imagery/)
- [with complete catalogue entries](https://www.lvbeethoven.org/tag/with-complete-catalogue-entries/)
- [and references to Section I](https://www.lvbeethoven.org/tag/and-references-to-section-i/)
- [opus numbers](https://www.lvbeethoven.org/tag/opus-numbers/)
- [Overview of Beethoven’s symphonies](https://www.lvbeethoven.org/tag/overview-of-beethovens-symphonies/)
- [Beethoven’s Symphonies – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-symphonies-complete-catalogue-by-genre-beethoven/)
- [thematic groups](https://www.lvbeethoven.org/tag/thematic-groups/)
- [eethoven’s Works for Orchestra – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/eethovens-works-for-orchestra-complete-catalogue-by-genre-beethoven/)
- [and occasional works](https://www.lvbeethoven.org/tag/and-occasional-works/)
- [orchestral pieces](https://www.lvbeethoven.org/tag/orchestral-pieces/)
- [with references to Section II](https://www.lvbeethoven.org/tag/with-references-to-section-ii/)
- [Catalogue of Beethoven’s works for orchestra](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-works-for-orchestra/)
- [including overtures](https://www.lvbeethoven.org/tag/including-overtures/)
- [including German dances](https://www.lvbeethoven.org/tag/including-german-dances/)
- [Catalogue of Beethoven’s orchestral dances and minuets](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-orchestral-dances-and-minuets/)
- [contredanses](https://www.lvbeethoven.org/tag/contredanses/)
- [eethoven’s Dances and Minuets for Orchestra – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/eethovens-dances-and-minuets-for-orchestra-complete-catalogue-beethoven/)
- [and minuets](https://www.lvbeethoven.org/tag/and-minuets/)
- [Beethoven’s Harmoniemusiken – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-harmoniemusiken-complete-catalogue-by-genre-beethoven/)
- [including works for wind ensemble and related arrangements](https://www.lvbeethoven.org/tag/including-works-for-wind-ensemble-and-related-arrangements/)
- [Catalogue of Beethoven’s Harmoniemusiken](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-harmoniemusiken/)
- [Catalogue of Beethoven’s concertos for solo instrument and orchestra](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-concertos-for-solo-instrument-and-orchestra/)
- [including piano](https://www.lvbeethoven.org/tag/including-piano/)
- [Beethoven’s Concertos for Solo Instrument and Orchestra – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/beethovens-concertos-for-solo-instrument-and-orchestra-complete-catalogue-beethoven/)
- [and other concertante works](https://www.lvbeethoven.org/tag/and-other-concertante-works/)
- [violin](https://www.lvbeethoven.org/tag/violin/)
- [with references to Section III](https://www.lvbeethoven.org/tag/with-references-to-section-iii/)
- [Catalogue of Beethoven’s piano quartets and quintets](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-piano-quartets-and-quintets/)
- [with references to Section IV](https://www.lvbeethoven.org/tag/with-references-to-section-iv/)
- [Beethoven’s Piano Quartets and Quintets – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-piano-quartets-and-quintets-complete-catalogue-by-genre-beethoven/)
- [including early chamber works and mature compositions](https://www.lvbeethoven.org/tag/including-early-chamber-works-and-mature-compositions/)
- [Catalogue of Beethoven’s trios for piano](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-trios-for-piano/)
- [Beethoven’s Trios for Piano](https://www.lvbeethoven.org/tag/beethovens-trios-for-piano/)
- [Violin and Cello – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/violin-and-cello-complete-catalogue-beethoven/)
- [including early and mature chamber works](https://www.lvbeethoven.org/tag/including-early-and-mature-chamber-works/)
- [violin and cello](https://www.lvbeethoven.org/tag/violin-and-cello/)
- [Catalogue of Beethoven’s sonatas and variations for violin and piano](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-sonatas-and-variations-for-violin-and-piano/)
- [with references to Section V](https://www.lvbeethoven.org/tag/with-references-to-section-v/)
- [Beethoven’s Sonatas and Variations for Violin and Piano – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/beethovens-sonatas-and-variations-for-violin-and-piano-complete-catalogue-beethoven/)
- [including early and mature works](https://www.lvbeethoven.org/tag/including-early-and-mature-works/)
- [Catalogue of Beethoven’s sonatas and variations for cello and piano](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-sonatas-and-variations-for-cello-and-piano/)
- [including early works and mature masterpieces](https://www.lvbeethoven.org/tag/including-early-works-and-mature-masterpieces/)
- [Beethoven’s Sonatas and Variations for Cello and Piano – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/beethovens-sonatas-and-variations-for-cello-and-piano-complete-catalogue-beethoven/)
- [including chamber pieces for clarinet](https://www.lvbeethoven.org/tag/including-chamber-pieces-for-clarinet/)
- [Catalogue of Beethoven’s works for one instrument and piano](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-works-for-one-instrument-and-piano/)
- [Beethoven’s Music for One Instrument and Piano – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/beethovens-music-for-one-instrument-and-piano-complete-catalogue-beethoven/)
- [horn](https://www.lvbeethoven.org/tag/horn/)
- [and other instruments](https://www.lvbeethoven.org/tag/and-other-instruments/)
- [flute](https://www.lvbeethoven.org/tag/flute/)
- [Beethoven’s Miscellany of Chamber Music – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-miscellany-of-chamber-music-complete-catalogue-by-genre-beethoven/)
- [including rare ensembles](https://www.lvbeethoven.org/tag/including-rare-ensembles/)
- [Catalogue of Beethoven’s miscellaneous chamber works](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-miscellaneous-chamber-works/)
- [with references to Section VI](https://www.lvbeethoven.org/tag/with-references-to-section-vi/)
- [occasional pieces](https://www.lvbeethoven.org/tag/occasional-pieces/)
- [and unique formations](https://www.lvbeethoven.org/tag/and-unique-formations/)
- [Catalogue of Beethoven’s string quintets](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-string-quintets/)
- [Beethoven’s String Quintets – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-string-quintets-complete-catalogue-by-genre-beethoven/)
- [Catalogue of Beethoven’s string quartets](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-string-quartets/)
- [Beethoven’s String Quartets – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-string-quartets-complete-catalogue-by-genre-beethoven/)
- [from early works to the late masterpieces](https://www.lvbeethoven.org/tag/from-early-works-to-the-late-masterpieces/)
- [including early chamber works and occasional compositions](https://www.lvbeethoven.org/tag/including-early-chamber-works-and-occasional-compositions/)
- [Catalogue of Beethoven’s duets and trios for strings](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-duets-and-trios-for-strings/)
- [Beethoven’s Duets and Trios for Strings – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-duets-and-trios-for-strings-complete-catalogue-by-genre-beethoven/)
- [Catalogue of Beethoven’s music for piano four hands](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-music-for-piano-four-hands/)
- [including early works and pedagogical pieces](https://www.lvbeethoven.org/tag/including-early-works-and-pedagogical-pieces/)
- [Beethoven’s Music for Piano Four Hands – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-music-for-piano-four-hands-complete-catalogue-by-genre-beethoven/)
- [with references to Section VII](https://www.lvbeethoven.org/tag/with-references-to-section-vii/)
- [Catalogue of Beethoven’s piano sonatas](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-piano-sonatas/)
- [Beethoven’s Piano Sonatas – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-piano-sonatas-complete-catalogue-by-genre-beethoven/)
- [mature works](https://www.lvbeethoven.org/tag/mature-works/)
- [Beethoven’s Piano Variations – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-piano-variations-complete-catalogue-by-genre-beethoven/)
- [Catalogue of Beethoven’s piano variations](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-piano-variations/)
- [including early sets](https://www.lvbeethoven.org/tag/including-early-sets/)
- [and pedagogical pieces](https://www.lvbeethoven.org/tag/and-pedagogical-pieces/)
- [Catalogue of Beethoven’s bagatelles and other piano pieces](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-bagatelles-and-other-piano-pieces/)
- [Beethoven’s Bagatelles and Other Piano Pieces – Complete Catalogue | Beethoven](https://www.lvbeethoven.org/tag/beethovens-bagatelles-and-other-piano-pieces-complete-catalogue-beethoven/)
- [and occasional compositions](https://www.lvbeethoven.org/tag/and-occasional-compositions/)
- [including early works](https://www.lvbeethoven.org/tag/including-early-works/)
- [mature collections](https://www.lvbeethoven.org/tag/mature-collections/)
- [Catalogue of Beethoven’s masses and oratorios](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-masses-and-oratorios/)
- [Beethoven’s Masses and Oratorios – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-masses-and-oratorios-complete-catalogue-by-genre-beethoven/)
- [including the Mass in C and the Missa solemnis](https://www.lvbeethoven.org/tag/including-the-mass-in-c-and-the-missa-solemnis/)
- [with references to Section VIII](https://www.lvbeethoven.org/tag/with-references-to-section-viii/)
- [including ceremonial compositions](https://www.lvbeethoven.org/tag/including-ceremonial-compositions/)
- [Catalogue of Beethoven’s cantatas and choral works](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-cantatas-and-choral-works/)
- [and early choral settings](https://www.lvbeethoven.org/tag/and-early-choral-settings/)
- [Beethoven’s Cantatas and Choral Works – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-cantatas-and-choral-works-complete-catalogue-by-genre-beethoven/)
- [including early Lieder](https://www.lvbeethoven.org/tag/including-early-lieder/)
- [and occasional vocal works](https://www.lvbeethoven.org/tag/and-occasional-vocal-works/)
- [mature cycles](https://www.lvbeethoven.org/tag/mature-cycles/)
- [Catalogue of Beethoven’s songs with piano](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-songs-with-piano/)
- [with references to Section IX](https://www.lvbeethoven.org/tag/with-references-to-section-ix/)
- [Beethoven’s Songs with Piano – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-songs-with-piano-complete-catalogue-by-genre-beethoven/)
- [Beethoven’s Folk Songs – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-folk-songs-complete-catalogue-by-genre-beethoven/)
- [including Scottish](https://www.lvbeethoven.org/tag/including-scottish/)
- [Catalogue of Beethoven’s folk song arrangements](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-folk-song-arrangements/)
- [and other national melodies](https://www.lvbeethoven.org/tag/and-other-national-melodies/)
- [Irish](https://www.lvbeethoven.org/tag/irish/)
- [Welsh](https://www.lvbeethoven.org/tag/welsh/)
- [with references to Section X](https://www.lvbeethoven.org/tag/with-references-to-section-x/)
- [including the 25 three‑voice settings and related vocal works](https://www.lvbeethoven.org/tag/including-the-25-three-voice-settings-and-related-vocal-works/)
- [Catalogue of Beethoven’s Italian a cappella songs](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-italian-a-cappella-songs/)
- [Beethoven’s Italian A Cappella Songs – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-italian-a-cappella-songs-complete-catalogue-by-genre-beethoven/)
- [Catalogue of Beethoven’s stage music](https://www.lvbeethoven.org/tag/catalogue-of-beethovens-stage-music/)
- [including incidental music](https://www.lvbeethoven.org/tag/including-incidental-music/)
- [Beethoven’s Stage Music – Complete Catalogue by Genre | Beethoven](https://www.lvbeethoven.org/tag/beethovens-stage-music-complete-catalogue-by-genre-beethoven/)
- [melodramas](https://www.lvbeethoven.org/tag/melodramas/)
- [and theatrical works](https://www.lvbeethoven.org/tag/and-theatrical-works/)
- [Comprehensive bibliography of Beethoven studies](https://www.lvbeethoven.org/tag/comprehensive-bibliography-of-beethoven-studies/)
- [Sources & Research Tools | Beethoven](https://www.lvbeethoven.org/tag/sources-research-tools-beethoven/)
- [Beethoven Bibliography – Studies](https://www.lvbeethoven.org/tag/beethoven-bibliography-studies/)
- [critical editions](https://www.lvbeethoven.org/tag/critical-editions/)
- [primary sources](https://www.lvbeethoven.org/tag/primary-sources/)
- [Italian](https://www.lvbeethoven.org/tag/italian/)
- [and scholarly literature in English](https://www.lvbeethoven.org/tag/and-scholarly-literature-in-english/)
- [research tools](https://www.lvbeethoven.org/tag/research-tools/)
- [Complete bibliography of books on Beethoven](https://www.lvbeethoven.org/tag/complete-bibliography-of-books-on-beethoven/)
- [Beethoven Bibliography – Complete Books | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-complete-books-beethoven/)
- [including monographs](https://www.lvbeethoven.org/tag/including-monographs/)
- [biographies](https://www.lvbeethoven.org/tag/biographies/)
- [analytical studies](https://www.lvbeethoven.org/tag/analytical-studies/)
- [and historical research in English](https://www.lvbeethoven.org/tag/and-historical-research-in-english/)
- [Essential Books for Beethoven Study and Research | Beethoven](https://www.lvbeethoven.org/tag/essential-books-for-beethoven-study-and-research-beethoven/)
- [including foundational biographies](https://www.lvbeethoven.org/tag/including-foundational-biographies/)
- [A curated selection of essential books for studying Beethoven](https://www.lvbeethoven.org/tag/a-curated-selection-of-essential-books-for-studying-beethoven/)
- [historical research](https://www.lvbeethoven.org/tag/historical-research/)
- [A multimedia library of essays and studies on Beethoven’s works](https://www.lvbeethoven.org/tag/a-multimedia-library-of-essays-and-studies-on-beethovens-works/)
- [Multimedia Library – Essays on the Works of Ludwig van Beethoven | Beethoven](https://www.lvbeethoven.org/tag/multimedia-library-essays-on-the-works-of-ludwig-van-beethoven-beethoven/)
- [and audio excerpts](https://www.lvbeethoven.org/tag/and-audio-excerpts/)
- [musical examples](https://www.lvbeethoven.org/tag/musical-examples/)
- [offering full texts](https://www.lvbeethoven.org/tag/offering-full-texts/)
- [1888–1890): the first complete edition of Beethoven’s works](https://www.lvbeethoven.org/tag/1888-1890-the-first-complete-edition-of-beethovens-works/)
- [Beethoven Bibliography – Gesamtausgabe (Complete Edition) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-gesamtausgabe-complete-edition-beethoven/)
- [with volumes](https://www.lvbeethoven.org/tag/with-volumes/)
- [The Beethoven Gesamtausgabe (1862–1865](https://www.lvbeethoven.org/tag/the-beethoven-gesamtausgabe-1862-1865/)
- [publication history](https://www.lvbeethoven.org/tag/publication-history/)
- [editors](https://www.lvbeethoven.org/tag/editors/)
- [Italian books on Beethoven from A to D](https://www.lvbeethoven.org/tag/italian-books-on-beethoven-from-a-to-d/)
- [Beethoven Bibliography – Italian Books (A–D) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-italian-books-a-d-beethoven/)
- [Beethoven Bibliography – Italian Books (E–H) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-italian-books-e-h-beethoven/)
- [Italian books on Beethoven from E to H](https://www.lvbeethoven.org/tag/italian-books-on-beethoven-from-e-to-h/)
- [Italian books on Beethoven from I to L](https://www.lvbeethoven.org/tag/italian-books-on-beethoven-from-i-to-l/)
- [Beethoven Bibliography – Italian Books (I–L) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-italian-books-i-l-beethoven/)
- [Italian books on Beethoven from M to P](https://www.lvbeethoven.org/tag/italian-books-on-beethoven-from-m-to-p/)
- [Beethoven Bibliography – Italian Books (M–P) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-italian-books-m-p-beethoven/)
- [Beethoven Bibliography – Italian Books (Q–T) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-italian-books-q-t-beethoven/)
- [Italian books on Beethoven from Q to T](https://www.lvbeethoven.org/tag/italian-books-on-beethoven-from-q-to-t/)
- [Beethoven Bibliography – Italian Books (U–Z) | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-italian-books-u-z-beethoven/)
- [Italian books on Beethoven from U to Z](https://www.lvbeethoven.org/tag/italian-books-on-beethoven-from-u-to-z/)
- [eethoven Bibliography – English Books | Beethoven](https://www.lvbeethoven.org/tag/eethoven-bibliography-english-books-beethoven/)
- [English‑language books on Beethoven](https://www.lvbeethoven.org/tag/english-language-books-on-beethoven/)
- [Spanish‑language books on Beethoven](https://www.lvbeethoven.org/tag/spanish-language-books-on-beethoven/)
- [Beethoven Bibliography – Spanish Books | Beethoven](https://www.lvbeethoven.org/tag/beethoven-bibliography-spanish-books-beethoven/)
- [Articles on Beethoven’s works](https://www.lvbeethoven.org/tag/articles-on-beethovens-works/)
- [Beethoven Site Activities – Articles on Works | Beethoven](https://www.lvbeethoven.org/tag/beethoven-site-activities-articles-on-works-beethoven/)
- [analyses](https://www.lvbeethoven.org/tag/analyses/)
- [Music Kiosk of Rapallo](https://www.lvbeethoven.org/tag/music-kiosk-of-rapallo/)
- [Giovanni Grifo](https://www.lvbeethoven.org/tag/giovanni-grifo/)
- [Beethoven in Liguria](https://www.lvbeethoven.org/tag/beethoven-in-liguria/)
- [Rapallo frescoes](https://www.lvbeethoven.org/tag/rapallo-frescoes/)
- [Belle Époque architecture](https://www.lvbeethoven.org/tag/belle-epoque-architecture/)
- [Historical places related to Beethoven](https://www.lvbeethoven.org/tag/historical-places-related-to-beethoven/)
- [Beethoven in Prague](https://www.lvbeethoven.org/tag/beethoven-in-prague/)
- [Prague Music History](https://www.lvbeethoven.org/tag/prague-music-history/)
- [Beethovenian Places](https://www.lvbeethoven.org/tag/beethovenian-places/)
- [Czech Republic and Beethoven](https://www.lvbeethoven.org/tag/czech-republic-and-beethoven/)
- [Beethoven Travels](https://www.lvbeethoven.org/tag/beethoven-travels/)
- [Vienna Music History](https://www.lvbeethoven.org/tag/vienna-music-history/)
- [Beethoven Life and Locations](https://www.lvbeethoven.org/tag/beethoven-life-and-locations/)
- [Luigi Bellofatto](https://www.lvbeethoven.org/tag/luigi-bellofatto/)
- [Historical Music Sites Beethoven in Vienna](https://www.lvbeethoven.org/tag/historical-music-sites-beethoven-in-vienna/)
- [Beethoven in Bonn](https://www.lvbeethoven.org/tag/beethoven-in-bonn/)
- [Electorate of Cologne](https://www.lvbeethoven.org/tag/electorate-of-cologne/)
- [Miriam Allemand](https://www.lvbeethoven.org/tag/miriam-allemand/)
- [La Redoute Godesberg](https://www.lvbeethoven.org/tag/la-redoute-godesberg/)
- [Maximilian Franz](https://www.lvbeethoven.org/tag/maximilian-franz/)
- [Bad Godesberg History](https://www.lvbeethoven.org/tag/bad-godesberg-history/)
- [Prince Oddone of Savoy](https://www.lvbeethoven.org/tag/prince-oddone-of-savoy/)
- [GAM Genoa Nervi](https://www.lvbeethoven.org/tag/gam-genoa-nervi/)
- [Italian Sculpture](https://www.lvbeethoven.org/tag/italian-sculpture/)
- [Pasquale Romanelli](https://www.lvbeethoven.org/tag/pasquale-romanelli/)
- [Romanelli Family](https://www.lvbeethoven.org/tag/romanelli-family/)
- [Beethoven Iconography](https://www.lvbeethoven.org/tag/beethoven-iconography/)
- [Young Beethoven Statue](https://www.lvbeethoven.org/tag/young-beethoven-statue/)
- [Francesco Jerace](https://www.lvbeethoven.org/tag/francesco-jerace/)
- [Italian Sculptors](https://www.lvbeethoven.org/tag/italian-sculptors/)
- [19th‑Century Sculpture](https://www.lvbeethoven.org/tag/19th-century-sculpture/)
- [Beethoven Statue](https://www.lvbeethoven.org/tag/beethoven-statue/)
- [Neapolitan Sculpture](https://www.lvbeethoven.org/tag/neapolitan-sculpture/)
- [San Pietro a Majella Conservatory](https://www.lvbeethoven.org/tag/san-pietro-a-majella-conservatory/)
- [Italian intellectual history](https://www.lvbeethoven.org/tag/italian-intellectual-history/)
- [Gabriele D’Annunzio](https://www.lvbeethoven.org/tag/gabriele-dannunzio/)
- [Antonio Bruers](https://www.lvbeethoven.org/tag/antonio-bruers/)
- [Twentieth‑century culture](https://www.lvbeethoven.org/tag/twentieth-century-culture/)
- [Philosophy and religion](https://www.lvbeethoven.org/tag/philosophy-and-religion/)
- [Beethoven studies](https://www.lvbeethoven.org/tag/beethoven-studies/)
- [Parapsychology](https://www.lvbeethoven.org/tag/parapsychology/)
- [Literary criticism](https://www.lvbeethoven.org/tag/literary-criticism/)
- [Metapsychics](https://www.lvbeethoven.org/tag/metapsychics/)
- [Archives and philology](https://www.lvbeethoven.org/tag/archives-and-philology/)
- [Accademia d’Italia](https://www.lvbeethoven.org/tag/accademia-ditalia/)
- [Minona von Stackelberg](https://www.lvbeethoven.org/tag/minona-von-stackelberg/)
- [Beethoven scholarship](https://www.lvbeethoven.org/tag/beethoven-scholarship/)
- [Beethoven biography](https://www.lvbeethoven.org/tag/beethoven-biography/)
- [Nineteenth‑century Vienna](https://www.lvbeethoven.org/tag/nineteenth-century-vienna/)
- [Archival research](https://www.lvbeethoven.org/tag/archival-research/)
- [Genealogy studies](https://www.lvbeethoven.org/tag/genealogy-studies/)
- [Illegitimate children](https://www.lvbeethoven.org/tag/illegitimate-children/)
- [Beethoven family](https://www.lvbeethoven.org/tag/beethoven-family/)
- [Music history](https://www.lvbeethoven.org/tag/music-history/)
- [Historical controversies](https://www.lvbeethoven.org/tag/historical-controversies/)
- [Biographical enigmas](https://www.lvbeethoven.org/tag/biographical-enigmas/)
- [Beethoven manuscripts](https://www.lvbeethoven.org/tag/beethoven-manuscripts/)
- [Willy Hess](https://www.lvbeethoven.org/tag/willy-hess/)
- [Musicology](https://www.lvbeethoven.org/tag/musicology/)
- [Swiss musicologists](https://www.lvbeethoven.org/tag/swiss-musicologists/)
- [Lost works](https://www.lvbeethoven.org/tag/lost-works/)
- [Music theory](https://www.lvbeethoven.org/tag/music-theory/)
- [Twentieth‑century music history](https://www.lvbeethoven.org/tag/twentieth-century-music-history/)
- [Rediscovered compositions](https://www.lvbeethoven.org/tag/rediscovered-compositions/)
- [James F. Green](https://www.lvbeethoven.org/tag/james-f-green/)
- [Eighteenth‑century Bonn](https://www.lvbeethoven.org/tag/eighteenth-century-bonn/)
- [Johann Peter Keverich](https://www.lvbeethoven.org/tag/johann-peter-keverich/)
- [Beethoven relatives](https://www.lvbeethoven.org/tag/beethoven-relatives/)
- [Hermann Unger](https://www.lvbeethoven.org/tag/hermann-unger/)
- [Beethoven’s mother](https://www.lvbeethoven.org/tag/beethovens-mother/)
- [Maria Magdalena Keverich](https://www.lvbeethoven.org/tag/maria-magdalena-keverich/)
- [Grave discovery](https://www.lvbeethoven.org/tag/grave-discovery/)
- [18th‑century Bonn](https://www.lvbeethoven.org/tag/18th-century-bonn/)
- [Bonn history](https://www.lvbeethoven.org/tag/bonn-history/)
- [Zeitschrift für Musik](https://www.lvbeethoven.org/tag/zeitschrift-fur-musik/)
- [F. Knickenberg](https://www.lvbeethoven.org/tag/f-knickenberg/)
- [Historical context](https://www.lvbeethoven.org/tag/historical-context/)
- [Skeleton identification](https://www.lvbeethoven.org/tag/skeleton-identification/)
- [F. Wagenfeil](https://www.lvbeethoven.org/tag/f-wagenfeil/)
- [Anthropological examination](https://www.lvbeethoven.org/tag/anthropological-examination/)
- [1932 excavation](https://www.lvbeethoven.org/tag/1932-excavation/)
- [Bonn cemetery](https://www.lvbeethoven.org/tag/bonn-cemetery/)
- [Forensic analysis](https://www.lvbeethoven.org/tag/forensic-analysis/)
- [Bürger für Beethoven](https://www.lvbeethoven.org/tag/burger-fur-beethoven/)
- [Alten Friedhof Bonn](https://www.lvbeethoven.org/tag/alten-friedhof-bonn/)
- [Memorial events](https://www.lvbeethoven.org/tag/memorial-events/)
- [Beethoven associations](https://www.lvbeethoven.org/tag/beethoven-associations/)
- [Mutter‑Beethoven‑Haus](https://www.lvbeethoven.org/tag/mutter-beethoven-haus/)
- [Anniversary commemoration](https://www.lvbeethoven.org/tag/anniversary-commemoration/)
- [Accademia Ducale](https://www.lvbeethoven.org/tag/accademia-ducale/)
- [Classical music institutions](https://www.lvbeethoven.org/tag/classical-music-institutions/)
- [Cultural organisations Italy](https://www.lvbeethoven.org/tag/cultural-organisations-italy/)
- [Musical studies](https://www.lvbeethoven.org/tag/musical-studies/)
- [Concert activity](https://www.lvbeethoven.org/tag/concert-activity/)
- [Music research](https://www.lvbeethoven.org/tag/music-research/)
- [Music education](https://www.lvbeethoven.org/tag/music-education/)
- [Basilicata music](https://www.lvbeethoven.org/tag/basilicata-music/)
- [International music partnerships](https://www.lvbeethoven.org/tag/international-music-partnerships/)
- [Graphic art](https://www.lvbeethoven.org/tag/graphic-art/)
- [Alois Kolb](https://www.lvbeethoven.org/tag/alois-kolb/)
- [Early 20th‑century art](https://www.lvbeethoven.org/tag/early-20th-century-art/)
- [Beethoven lithographs](https://www.lvbeethoven.org/tag/beethoven-lithographs/)
- [Symbolism](https://www.lvbeethoven.org/tag/symbolism/)
- [Art history](https://www.lvbeethoven.org/tag/art-history/)
- [Engraving](https://www.lvbeethoven.org/tag/engraving/)
- [German engraving](https://www.lvbeethoven.org/tag/german-engraving/)
- [Autobiografia di un genio](https://www.lvbeethoven.org/tag/autobiografia-di-un-genio/)
- [Concetta De Mauro](https://www.lvbeethoven.org/tag/concetta-de-mauro/)
- [Beethoven letters](https://www.lvbeethoven.org/tag/beethoven-letters/)
- [Beethoven review](https://www.lvbeethoven.org/tag/beethoven-review/)
- [Beethoven correspondence](https://www.lvbeethoven.org/tag/beethoven-correspondence/)
- [Beethoven psychology](https://www.lvbeethoven.org/tag/beethoven-psychology/)
- [Beethoven watches](https://www.lvbeethoven.org/tag/beethoven-watches/)
- [Beethoven memorabilia](https://www.lvbeethoven.org/tag/beethoven-memorabilia/)
- [Pocket watches](https://www.lvbeethoven.org/tag/pocket-watches/)
- [Beethoven horology](https://www.lvbeethoven.org/tag/beethoven-horology/)
- [Armando Orlandi](https://www.lvbeethoven.org/tag/armando-orlandi/)
- [Tobias Haslinger](https://www.lvbeethoven.org/tag/tobias-haslinger/)
- [A.W. Thayer](https://www.lvbeethoven.org/tag/a-w-thayer/)
- [Applied Arts Collection](https://www.lvbeethoven.org/tag/applied-arts-collection/)
- [Fitzwilliam Museum](https://www.lvbeethoven.org/tag/fitzwilliam-museum/)
- [Beethoven‑Haus Bonn](https://www.lvbeethoven.org/tag/beethoven-haus-bonn/)
- [Pendulum clock repair](https://www.lvbeethoven.org/tag/pendulum-clock-repair/)
- [Beethoven clock](https://www.lvbeethoven.org/tag/beethoven-clock/)
- [Historical restoration](https://www.lvbeethoven.org/tag/historical-restoration/)
- [Bodmer collection](https://www.lvbeethoven.org/tag/bodmer-collection/)
- [Addenda and corrigenda](https://www.lvbeethoven.org/tag/addenda-and-corrigenda/)
- [Beethoven‑Haus research](https://www.lvbeethoven.org/tag/beethoven-haus-research/)
- [Iconography](https://www.lvbeethoven.org/tag/iconography/)
- [Photographic appendix](https://www.lvbeethoven.org/tag/photographic-appendix/)
- [Horological studies](https://www.lvbeethoven.org/tag/horological-studies/)
- [Michael Ladenburger](https://www.lvbeethoven.org/tag/michael-ladenburger/)
- [Beethoven birthplace](https://www.lvbeethoven.org/tag/beethoven-birthplace/)
- [Luigi Domenico Bellofatto](https://www.lvbeethoven.org/tag/luigi-domenico-bellofatto/)
- [C.R.M.B.](https://www.lvbeethoven.org/tag/c-r-m-b/)
- [historical artifacts](https://www.lvbeethoven.org/tag/historical-artifacts/)
- [Beethoven research](https://www.lvbeethoven.org/tag/beethoven-research/)
- [rare objects](https://www.lvbeethoven.org/tag/rare-objects/)
- [Hermann Junker](https://www.lvbeethoven.org/tag/hermann-junker/)
- [Beethoven portrait](https://www.lvbeethoven.org/tag/beethoven-portrait/)
- [C.R.M.B. collection](https://www.lvbeethoven.org/tag/c-r-m-b-collection/)
- [19th‑century painting](https://www.lvbeethoven.org/tag/19th-century-painting/)
- [Munich exhibition](https://www.lvbeethoven.org/tag/munich-exhibition/)
- [Goethe cycle](https://www.lvbeethoven.org/tag/goethe-cycle/)
- [Benedetta Saglietti](https://www.lvbeethoven.org/tag/benedetta-saglietti/)
- [classical music criticism](https://www.lvbeethoven.org/tag/classical-music-criticism/)
- [Italian scholars](https://www.lvbeethoven.org/tag/italian-scholars/)
- [translations](https://www.lvbeethoven.org/tag/translations/)
- [digital strategy for music](https://www.lvbeethoven.org/tag/digital-strategy-for-music/)
- [radio interviews](https://www.lvbeethoven.org/tag/radio-interviews/)
- [academic publications](https://www.lvbeethoven.org/tag/academic-publications/)
- [Ballista Canino duo](https://www.lvbeethoven.org/tag/ballista-canino-duo/)
- [Liszt transcription](https://www.lvbeethoven.org/tag/liszt-transcription/)
- [Beethoven Ninth Symphony](https://www.lvbeethoven.org/tag/beethoven-ninth-symphony/)
- [classical music performance](https://www.lvbeethoven.org/tag/classical-music-performance/)
- [MiTo Settembre Musica](https://www.lvbeethoven.org/tag/mito-settembre-musica/)
- [piano duo](https://www.lvbeethoven.org/tag/piano-duo/)
- [Beethoven interpretation](https://www.lvbeethoven.org/tag/beethoven-interpretation/)
- [Appendix Works](https://www.lvbeethoven.org/tag/appendix-works/)
- [Beethoven Catalogue](https://www.lvbeethoven.org/tag/beethoven-catalogue/)
- [Anhang](https://www.lvbeethoven.org/tag/anhang/)
- [Symphony in C major](https://www.lvbeethoven.org/tag/symphony-in-c-major/)
- [Spurious Works](https://www.lvbeethoven.org/tag/spurious-works/)
- [Jena Symphony](https://www.lvbeethoven.org/tag/jena-symphony/)
- [Six Quartets](https://www.lvbeethoven.org/tag/six-quartets/)
- [String Quartets](https://www.lvbeethoven.org/tag/string-quartets/)
- [Doubtful Attribution](https://www.lvbeethoven.org/tag/doubtful-attribution/)
- [Piano Violin Cello Trio](https://www.lvbeethoven.org/tag/piano-violin-cello-trio/)
- [Trio in D major](https://www.lvbeethoven.org/tag/trio-in-d-major/)
- [Youth Works](https://www.lvbeethoven.org/tag/youth-works/)
- [Piano and Flute Sonata](https://www.lvbeethoven.org/tag/piano-and-flute-sonata/)
- [Sonata in B‑flat](https://www.lvbeethoven.org/tag/sonata-in-b-flat/)
- [Rondo in B‑flat](https://www.lvbeethoven.org/tag/rondo-in-b-flat/)
- [Piano Rondo](https://www.lvbeethoven.org/tag/piano-rondo/)
- [Sonatina in G major](https://www.lvbeethoven.org/tag/sonatina-in-g-major/)
- [Piano Sonatinas](https://www.lvbeethoven.org/tag/piano-sonatinas/)
- [Sonatina in F major](https://www.lvbeethoven.org/tag/sonatina-in-f-major/)
- [First Movement](https://www.lvbeethoven.org/tag/first-movement/)
- [Piano Concerto in D major](https://www.lvbeethoven.org/tag/piano-concerto-in-d-major/)
- [Piano Duet](https://www.lvbeethoven.org/tag/piano-duet/)
- [Four‑Hand Piano](https://www.lvbeethoven.org/tag/four-hand-piano/)
- [Three Pieces](https://www.lvbeethoven.org/tag/three-pieces/)
- [German Dances](https://www.lvbeethoven.org/tag/german-dances/)
- [Piano Four Hands](https://www.lvbeethoven.org/tag/piano-four-hands/)
- [Nine Dances](https://www.lvbeethoven.org/tag/nine-dances/)
- [Piano Variations](https://www.lvbeethoven.org/tag/piano-variations/)
- [B‑flat Major](https://www.lvbeethoven.org/tag/b-flat-major/)
- [Gleim Theme](https://www.lvbeethoven.org/tag/gleim-theme/)
- [Piano Piece](https://www.lvbeethoven.org/tag/piano-piece/)
- [F major](https://www.lvbeethoven.org/tag/f-major/)
- [Alexandermarsch](https://www.lvbeethoven.org/tag/alexandermarsch/)
- [Pariser Einzugsmarsch](https://www.lvbeethoven.org/tag/pariser-einzugsmarsch/)
- [Piano Reduction](https://www.lvbeethoven.org/tag/piano-reduction/)
- [March](https://www.lvbeethoven.org/tag/march/)
- [F minor](https://www.lvbeethoven.org/tag/f-minor/)
- [Funeral March](https://www.lvbeethoven.org/tag/funeral-march/)
- [Misattribution](https://www.lvbeethoven.org/tag/misattribution/)
- [Marcia funebre](https://www.lvbeethoven.org/tag/marcia-funebre/)
- [Piano Waltz](https://www.lvbeethoven.org/tag/piano-waltz/)
- [Glaube Liebe und Hoffnung](https://www.lvbeethoven.org/tag/glaube-liebe-und-hoffnung/)
- [Waltz in F major](https://www.lvbeethoven.org/tag/waltz-in-f-major/)
- [Posthumous Editions](https://www.lvbeethoven.org/tag/posthumous-editions/)
- [Traumwalzer](https://www.lvbeethoven.org/tag/traumwalzer/)
- [Jubelwalzer](https://www.lvbeethoven.org/tag/jubelwalzer/)
- [Mondscheinwalzer](https://www.lvbeethoven.org/tag/mondscheinwalzer/)
- [Sonnenscheinwalzer](https://www.lvbeethoven.org/tag/sonnenscheinwalzer/)
- [Waltzes for Piano](https://www.lvbeethoven.org/tag/waltzes-for-piano/)
- [Introduction and Waltz](https://www.lvbeethoven.org/tag/introduction-and-waltz/)
- [The Musical Magazine 1835](https://www.lvbeethoven.org/tag/the-musical-magazine-1835/)
- [Nachruf](https://www.lvbeethoven.org/tag/nachruf/)
- [An Sie](https://www.lvbeethoven.org/tag/an-sie/)
- [Romantic Poetry](https://www.lvbeethoven.org/tag/romantic-poetry/)
- [Lied for Voice and Piano](https://www.lvbeethoven.org/tag/lied-for-voice-and-piano/)
- [Carl Dames](https://www.lvbeethoven.org/tag/carl-dames/)
- [Marianne Czegka](https://www.lvbeethoven.org/tag/marianne-czegka/)
- [Symphony sketches](https://www.lvbeethoven.org/tag/symphony-sketches/)
- [Kafka Collection](https://www.lvbeethoven.org/tag/kafka-collection/)
- [Unvollendete Werke](https://www.lvbeethoven.org/tag/unvollendete-werke/)
- [Beethoven early works](https://www.lvbeethoven.org/tag/beethoven-early-works/)
- [Beethoven symphonies](https://www.lvbeethoven.org/tag/beethoven-symphonies/)
- [C minor works](https://www.lvbeethoven.org/tag/c-minor-works/)
- [Hess Catalogue](https://www.lvbeethoven.org/tag/hess-catalogue/)
- [Beethoven juvenilia](https://www.lvbeethoven.org/tag/beethoven-juvenilia/)
- [Symphony fragments](https://www.lvbeethoven.org/tag/symphony-fragments/)
- [C major works](https://www.lvbeethoven.org/tag/c-major-works/)
- [Appendix](https://www.lvbeethoven.org/tag/appendix/)
- [Opus Appendix Works](https://www.lvbeethoven.org/tag/opus-appendix-works/)
- [Monographs](https://www.lvbeethoven.org/tag/monographs/)
- [Biographies including Monographs](https://www.lvbeethoven.org/tag/biographies-including-monographs/)
- [Beethoven Biography including Monographs](https://www.lvbeethoven.org/tag/beethoven-biography-including-monographs/)
- [Sketchbooks](https://www.lvbeethoven.org/tag/sketchbooks/)
- [Landsberg 7](https://www.lvbeethoven.org/tag/landsberg-7/)
- [“Päon”](https://www.lvbeethoven.org/tag/paon/)
- [“metric notation”](https://www.lvbeethoven.org/tag/metric-notation/)
- [“Beethoven”](https://www.lvbeethoven.org/tag/beethoven-2/)
- [“Biamonti 763”](https://www.lvbeethoven.org/tag/biamonti-763/)
- [“Beethoven sketches”](https://www.lvbeethoven.org/tag/beethoven-sketches/)
- [“Artaria 201”](https://www.lvbeethoven.org/tag/artaria-201/)
- [“Staatsbibliothek Berlin”](https://www.lvbeethoven.org/tag/staatsbibliothek-berlin/)
- [“Anapäst”](https://www.lvbeethoven.org/tag/anapast/)
- [WoO 18](https://www.lvbeethoven.org/tag/woo-18/)
- [Yorck Corps March](https://www.lvbeethoven.org/tag/yorck-corps-march/)
- [Hess Anhang](https://www.lvbeethoven.org/tag/hess-anhang/)
- [Military Music](https://www.lvbeethoven.org/tag/military-music/)
- [Beethoven Arrangements](https://www.lvbeethoven.org/tag/beethoven-arrangements/)
- [Marsch zur grossen Wachtparade](https://www.lvbeethoven.org/tag/marsch-zur-grossen-wachtparade/)
- [WoO 24](https://www.lvbeethoven.org/tag/woo-24/)
- [Orchestral Transcriptions](https://www.lvbeethoven.org/tag/orchestral-transcriptions/)
- [Doubtful Works](https://www.lvbeethoven.org/tag/doubtful-works/)
- [Wind Orchestra](https://www.lvbeethoven.org/tag/wind-orchestra/)
- [D Major March](https://www.lvbeethoven.org/tag/d-major-march/)
- [Quintet](https://www.lvbeethoven.org/tag/quintet/)
- [Beethoven Transcriptions](https://www.lvbeethoven.org/tag/beethoven-transcriptions/)
- [Flute Quintet](https://www.lvbeethoven.org/tag/flute-quintet/)
- [Op. 30 No. 3](https://www.lvbeethoven.org/tag/op-30-no-3/)
- [Trio Sonata](https://www.lvbeethoven.org/tag/trio-sonata/)
- [Organ Music](https://www.lvbeethoven.org/tag/organ-music/)
- [Misattributed Works](https://www.lvbeethoven.org/tag/misattributed-works/)
- [Handel](https://www.lvbeethoven.org/tag/handel/)
- [C.P.E. Bach](https://www.lvbeethoven.org/tag/c-p-e-bach/)
- [Seyfried Studien](https://www.lvbeethoven.org/tag/seyfried-studien/)
- [Andante favori](https://www.lvbeethoven.org/tag/andante-favori/)
- [String Quartet](https://www.lvbeethoven.org/tag/string-quartet/)
- [WoO 57](https://www.lvbeethoven.org/tag/woo-57/)
- [Hoffmeister](https://www.lvbeethoven.org/tag/hoffmeister/)
- [Ferdinand Ries](https://www.lvbeethoven.org/tag/ferdinand-ries/)
- [Violin and Piano](https://www.lvbeethoven.org/tag/violin-and-piano/)
- [Prometheus Op. 43](https://www.lvbeethoven.org/tag/prometheus-op-43/)
- [Charles Zulehner](https://www.lvbeethoven.org/tag/charles-zulehner/)
- [Bagatelle Op. 119](https://www.lvbeethoven.org/tag/bagatelle-op-119/)
- [An Laura](https://www.lvbeethoven.org/tag/an-laura/)
- [Piano Music](https://www.lvbeethoven.org/tag/piano-music/)
- [Diabelli](https://www.lvbeethoven.org/tag/diabelli/)
- [Mozart KV523a](https://www.lvbeethoven.org/tag/mozart-kv523a/)
- [Autograph Album](https://www.lvbeethoven.org/tag/autograph-album/)
- [Mickley](https://www.lvbeethoven.org/tag/mickley/)
- [Babette Ployer](https://www.lvbeethoven.org/tag/babette-ployer/)
- [Thayer](https://www.lvbeethoven.org/tag/thayer/)
- [Auf der Liebe Rosenbetten](https://www.lvbeethoven.org/tag/auf-der-liebe-rosenbetten/)
- [Lost Work](https://www.lvbeethoven.org/tag/lost-work/)
- [Artaria Collection](https://www.lvbeethoven.org/tag/artaria-collection/)
- [Vocal Duet](https://www.lvbeethoven.org/tag/vocal-duet/)
- [G Major](https://www.lvbeethoven.org/tag/g-major/)
- [Thayer Catalogue](https://www.lvbeethoven.org/tag/thayer-catalogue/)
- [Johann van Beethoven](https://www.lvbeethoven.org/tag/johann-van-beethoven/)
- [Aus dunklem Laub](https://www.lvbeethoven.org/tag/aus-dunklem-laub/)
- [Male Voices](https://www.lvbeethoven.org/tag/male-voices/)
- [Op. 26](https://www.lvbeethoven.org/tag/op-26/)
- [Vocal Trio](https://www.lvbeethoven.org/tag/vocal-trio/)
- [Wilhelm von Lenz](https://www.lvbeethoven.org/tag/wilhelm-von-lenz/)
- [Lenz Catalogue](https://www.lvbeethoven.org/tag/lenz-catalogue/)
- [An mein Liebchen](https://www.lvbeethoven.org/tag/an-mein-liebchen/)
- [Serenade Op. 8](https://www.lvbeethoven.org/tag/serenade-op-8/)
- [Liebe und Wein](https://www.lvbeethoven.org/tag/liebe-und-wein/)
- [Vocal Adaptations](https://www.lvbeethoven.org/tag/vocal-adaptations/)
- [Beethoven Lieder](https://www.lvbeethoven.org/tag/beethoven-lieder/)
- [Andante](https://www.lvbeethoven.org/tag/andante/)
- [Op. 25](https://www.lvbeethoven.org/tag/op-25/)
- [Vocal Music](https://www.lvbeethoven.org/tag/vocal-music/)
- [WoO 77](https://www.lvbeethoven.org/tag/woo-77/)
- [Sehnsucht nach dem Rhein](https://www.lvbeethoven.org/tag/sehnsucht-nach-dem-rhein/)
- [Op. 75 No. 1](https://www.lvbeethoven.org/tag/op-75-no-1/)
- [Vocal Adaptation](https://www.lvbeethoven.org/tag/vocal-adaptation/)
- [Princess Luise zu Wied](https://www.lvbeethoven.org/tag/princess-luise-zu-wied/)
- [Op. 88](https://www.lvbeethoven.org/tag/op-88/)
- [Lebensglück](https://www.lvbeethoven.org/tag/lebensgluck/)
- [Abschied](https://www.lvbeethoven.org/tag/abschied/)
- [Tiedge](https://www.lvbeethoven.org/tag/tiedge/)
- [WoO 124](https://www.lvbeethoven.org/tag/woo-124/)
- [Metastasio](https://www.lvbeethoven.org/tag/metastasio/)
- [Doblhof-Dier](https://www.lvbeethoven.org/tag/doblhof-dier/)
- [Beethoven Copies](https://www.lvbeethoven.org/tag/beethoven-copies/)
- [Nottebohm](https://www.lvbeethoven.org/tag/nottebohm/)
- [A Cappella](https://www.lvbeethoven.org/tag/a-cappella/)
- [Vocal Chamber Music](https://www.lvbeethoven.org/tag/vocal-chamber-music/)
- [Dona nobis pacem](https://www.lvbeethoven.org/tag/dona-nobis-pacem/)
- [Four Voices](https://www.lvbeethoven.org/tag/four-voices/)
- [Fugato](https://www.lvbeethoven.org/tag/fugato/)
- [Early Works](https://www.lvbeethoven.org/tag/early-works/)
- [Seyfried](https://www.lvbeethoven.org/tag/seyfried/)
- [Albrechtsberger](https://www.lvbeethoven.org/tag/albrechtsberger/)
- [A Cappella Duets](https://www.lvbeethoven.org/tag/a-cappella-duets/)
- [Alexander Cornet](https://www.lvbeethoven.org/tag/alexander-cornet/)
- [Bundeslied](https://www.lvbeethoven.org/tag/bundeslied/)
- [Septet Op. 20](https://www.lvbeethoven.org/tag/septet-op-20/)
- [Goethe](https://www.lvbeethoven.org/tag/goethe/)
- [Musical Parody](https://www.lvbeethoven.org/tag/musical-parody/)
- [Engelbert Humperdinck](https://www.lvbeethoven.org/tag/engelbert-humperdinck/)
- [Max Friedländer](https://www.lvbeethoven.org/tag/max-friedlander/)
- [Folk Song](https://www.lvbeethoven.org/tag/folk-song/)
- [Robert Burns](https://www.lvbeethoven.org/tag/robert-burns/)
- [George Thomson](https://www.lvbeethoven.org/tag/george-thomson/)
- [As I Was Wandering](https://www.lvbeethoven.org/tag/as-i-was-wandering/)
- [Haydn](https://www.lvbeethoven.org/tag/haydn/)
- [Melodies of Scotland](https://www.lvbeethoven.org/tag/melodies-of-scotland/)
- [Welsh Songs](https://www.lvbeethoven.org/tag/welsh-songs/)
- [Canon](https://www.lvbeethoven.org/tag/canon/)
- [C Major](https://www.lvbeethoven.org/tag/c-major/)
- [Spurious Attribution](https://www.lvbeethoven.org/tag/spurious-attribution/)
- [Counterpoint](https://www.lvbeethoven.org/tag/counterpoint/)
- [Fugue Treatise](https://www.lvbeethoven.org/tag/fugue-treatise/)
- [Marpurg](https://www.lvbeethoven.org/tag/marpurg/)
- [Beethoven Studies 1809](https://www.lvbeethoven.org/tag/beethoven-studies-1809/)
- [Seyfried Studies](https://www.lvbeethoven.org/tag/seyfried-studies/)
- [Turn of the Century Debate](https://www.lvbeethoven.org/tag/turn-of-the-century-debate/)
- [Kessler Notebook](https://www.lvbeethoven.org/tag/kessler-notebook/)
- [Leipziger Allgemeine Musikalische Zeitung](https://www.lvbeethoven.org/tag/leipziger-allgemeine-musikalische-zeitung/)
- [Schau wie das Weiberl geht](https://www.lvbeethoven.org/tag/schau-wie-das-weiberl-geht/)
- [Schusterkanon](https://www.lvbeethoven.org/tag/schusterkanon/)
- [Conversation Books](https://www.lvbeethoven.org/tag/conversation-books/)
- [Three-Voice Canon](https://www.lvbeethoven.org/tag/three-voice-canon/)
- [Carl Gottlieb Hering](https://www.lvbeethoven.org/tag/carl-gottlieb-hering/)
- [Mozart Attribution](https://www.lvbeethoven.org/tag/mozart-attribution/)
- [Social Canons](https://www.lvbeethoven.org/tag/social-canons/)
- [Karfreitagskantate](https://www.lvbeethoven.org/tag/karfreitagskantate/)
- [Ignaz Seyfried](https://www.lvbeethoven.org/tag/ignaz-seyfried/)
- [Hermann Albert](https://www.lvbeethoven.org/tag/hermann-albert/)
- [Sacred Music](https://www.lvbeethoven.org/tag/sacred-music/)
- [Edward J. Dent](https://www.lvbeethoven.org/tag/edward-j-dent/)
- [Equali WoO 30](https://www.lvbeethoven.org/tag/equali-woo-30/)
- [Transcriptions](https://www.lvbeethoven.org/tag/transcriptions/)
- [Mozart](https://www.lvbeethoven.org/tag/mozart/)
- [ABS 11](https://www.lvbeethoven.org/tag/abs-11/)
- [Studies](https://www.lvbeethoven.org/tag/studies/)
- [Fugues](https://www.lvbeethoven.org/tag/fugues/)
- [Requiem](https://www.lvbeethoven.org/tag/requiem/)
- [Don Giovanni](https://www.lvbeethoven.org/tag/don-giovanni/)
- [Carl Philipp Emanuel Bach](https://www.lvbeethoven.org/tag/carl-philipp-emanuel-bach/)
- [Württemberg Sonatas](https://www.lvbeethoven.org/tag/wurttemberg-sonatas/)
- [ABS 01](https://www.lvbeethoven.org/tag/abs-01/)
- [Landsberg 6](https://www.lvbeethoven.org/tag/landsberg-6/)
- [Litanies](https://www.lvbeethoven.org/tag/litanies/)
- [Wq 204](https://www.lvbeethoven.org/tag/wq-204/)
- [Wq 49](https://www.lvbeethoven.org/tag/wq-49/)
- [Eroica Sketchbook](https://www.lvbeethoven.org/tag/eroica-sketchbook/)
- [Kirnberger](https://www.lvbeethoven.org/tag/kirnberger/)
- [ABS 02](https://www.lvbeethoven.org/tag/abs-02/)
- [Inventions](https://www.lvbeethoven.org/tag/inventions/)
- [Johann Sebastian Bach](https://www.lvbeethoven.org/tag/johann-sebastian-bach/)
- [Counterpoint Studies](https://www.lvbeethoven.org/tag/counterpoint-studies/)
- [Chromatic Fantasy](https://www.lvbeethoven.org/tag/chromatic-fantasy/)
- [Art of Fugue](https://www.lvbeethoven.org/tag/art-of-fugue/)
- [Well-Tempered Clavier](https://www.lvbeethoven.org/tag/well-tempered-clavier/)
- [Sinfonias](https://www.lvbeethoven.org/tag/sinfonias/)
- [Landsberg Sketchbook](https://www.lvbeethoven.org/tag/landsberg-sketchbook/)
- [Bach Family](https://www.lvbeethoven.org/tag/bach-family/)
- [Die Kunst des reinen Satzes](https://www.lvbeethoven.org/tag/die-kunst-des-reinen-satzes/)
- [ABS 03](https://www.lvbeethoven.org/tag/abs-03/)
- [Wilhelm Friedemann Bach](https://www.lvbeethoven.org/tag/wilhelm-friedemann-bach/)
- [Luigi Cherubini](https://www.lvbeethoven.org/tag/luigi-cherubini/)
- [ABS 04](https://www.lvbeethoven.org/tag/abs-04/)
- [Fidelio](https://www.lvbeethoven.org/tag/fidelio/)
- [HCB BSk 17/65a](https://www.lvbeethoven.org/tag/hcb-bsk-17-65a/)
- [Les deux Journées](https://www.lvbeethoven.org/tag/les-deux-journees/)
- [Opera Studies](https://www.lvbeethoven.org/tag/opera-studies/)
- [Vienna 1920 Exhibition](https://www.lvbeethoven.org/tag/vienna-1920-exhibition/)
- [ABS 07](https://www.lvbeethoven.org/tag/abs-07/)
- [Max Friedlaender](https://www.lvbeethoven.org/tag/max-friedlaender/)
- [André-Ernest-Modeste Grétry](https://www.lvbeethoven.org/tag/andre-ernest-modeste-gretry/)
- [Zémire et Azor](https://www.lvbeethoven.org/tag/zemire-et-azor/)
- [Opéra Comique](https://www.lvbeethoven.org/tag/opera-comique/)
- [Unidentified Aria](https://www.lvbeethoven.org/tag/unidentified-aria/)
- [ABS 08](https://www.lvbeethoven.org/tag/abs-08/)
- [Esther](https://www.lvbeethoven.org/tag/esther/)
- [Saul](https://www.lvbeethoven.org/tag/saul/)
- [Judas Maccabaeus](https://www.lvbeethoven.org/tag/judas-maccabaeus/)
- [Concerti Grossi Op. 6](https://www.lvbeethoven.org/tag/concerti-grossi-op-6/)
- [Solomon](https://www.lvbeethoven.org/tag/solomon/)
- [George Frideric Handel](https://www.lvbeethoven.org/tag/george-frideric-handel/)
- [Messiah](https://www.lvbeethoven.org/tag/messiah/)
- [Handel Variations](https://www.lvbeethoven.org/tag/handel-variations/)
- [ABS 09](https://www.lvbeethoven.org/tag/abs-09/)
- [Hob III:35](https://www.lvbeethoven.org/tag/hob-iii35/)
- [Symphony Hob I:99](https://www.lvbeethoven.org/tag/symphony-hob-i99/)
- [Schöpfungsmesse](https://www.lvbeethoven.org/tag/schopfungsmesse/)
- [Hob III:31](https://www.lvbeethoven.org/tag/hob-iii31/)
- [Joseph Haydn](https://www.lvbeethoven.org/tag/joseph-haydn/)
- [Gloria](https://www.lvbeethoven.org/tag/gloria/)
- [Biamonti 426](https://www.lvbeethoven.org/tag/biamonti-426/)
- [Annette et Lubin](https://www.lvbeethoven.org/tag/annette-et-lubin/)
- [Jean-Paul-Égide Martini](https://www.lvbeethoven.org/tag/jean-paul-egide-martini/)
- [ABS 10](https://www.lvbeethoven.org/tag/abs-10/)
- [Johann Paul Aegidius Schwarzendorf](https://www.lvbeethoven.org/tag/johann-paul-aegidius-schwarzendorf/)
- [Romance](https://www.lvbeethoven.org/tag/romance/)
- [AmZ 1801](https://www.lvbeethoven.org/tag/amz-1801/)
- [Kürthen](https://www.lvbeethoven.org/tag/kurthen/)
- [Toccata II](https://www.lvbeethoven.org/tag/toccata-ii/)
- [Gottlieb Muffat](https://www.lvbeethoven.org/tag/gottlieb-muffat/)
- [ABS 12](https://www.lvbeethoven.org/tag/abs-12/)
- [Ricercari](https://www.lvbeethoven.org/tag/ricercari/)
- [Toccata III](https://www.lvbeethoven.org/tag/toccata-iii/)
- [72 Versetl](https://www.lvbeethoven.org/tag/72-versetl/)
- [Componimenti Musicali](https://www.lvbeethoven.org/tag/componimenti-musicali/)
- [Fux School](https://www.lvbeethoven.org/tag/fux-school/)
- [ABS 13](https://www.lvbeethoven.org/tag/abs-13/)
- [Pueri Hebraeorum](https://www.lvbeethoven.org/tag/pueri-hebraeorum/)
- [Palestrina](https://www.lvbeethoven.org/tag/palestrina/)
- [Renaissance Polyphony](https://www.lvbeethoven.org/tag/renaissance-polyphony/)
- [Beethoven Late Period](https://www.lvbeethoven.org/tag/beethoven-late-period/)
- [Magnificat in Tertii Toni](https://www.lvbeethoven.org/tag/magnificat-in-tertii-toni/)
- [Hess 63](https://www.lvbeethoven.org/tag/hess-63/)
- [Sturm und Drang](https://www.lvbeethoven.org/tag/sturm-und-drang/)
- [Wegeler](https://www.lvbeethoven.org/tag/wegeler/)
- [Schubart](https://www.lvbeethoven.org/tag/schubart/)
- [Beethoven Autographs](https://www.lvbeethoven.org/tag/beethoven-autographs/)
- [Kaplied](https://www.lvbeethoven.org/tag/kaplied/)
- [Piano Setting](https://www.lvbeethoven.org/tag/piano-setting/)
- [ABS 16](https://www.lvbeethoven.org/tag/abs-16/)
- [Keyboard Technique](https://www.lvbeethoven.org/tag/keyboard-technique/)
- [Versuch](https://www.lvbeethoven.org/tag/versuch/)
- [Empfindsamer Stil](https://www.lvbeethoven.org/tag/empfindsamer-stil/)
- [Johann Georg Albrechtsberger](https://www.lvbeethoven.org/tag/johann-georg-albrechtsberger/)
- [Harmony](https://www.lvbeethoven.org/tag/harmony/)
- [ABS 18](https://www.lvbeethoven.org/tag/abs-18/)
- [Vienna 1792](https://www.lvbeethoven.org/tag/vienna-1792/)
- [ABS 19](https://www.lvbeethoven.org/tag/abs-19/)
- [Horn Concerto](https://www.lvbeethoven.org/tag/horn-concerto/)
- [Viennese Classical Era](https://www.lvbeethoven.org/tag/viennese-classical-era/)
- [Philipp Dornaus](https://www.lvbeethoven.org/tag/philipp-dornaus/)
- [Natural Horn](https://www.lvbeethoven.org/tag/natural-horn/)
- [Johann Joseph Fux](https://www.lvbeethoven.org/tag/johann-joseph-fux/)
- [ABS 21](https://www.lvbeethoven.org/tag/abs-21/)
- [Species Counterpoint](https://www.lvbeethoven.org/tag/species-counterpoint/)
- [Viennese School](https://www.lvbeethoven.org/tag/viennese-school/)
- [Gradus ad Parnassum](https://www.lvbeethoven.org/tag/gradus-ad-parnassum/)
- [Johann Philipp Kirnberger](https://www.lvbeethoven.org/tag/johann-philipp-kirnberger/)
- [Die wahren Grundsätze](https://www.lvbeethoven.org/tag/die-wahren-grundsatze/)
- [ABS 25](https://www.lvbeethoven.org/tag/abs-25/)
- [Gedanken 1808](https://www.lvbeethoven.org/tag/gedanken-1808/)
- [Artaria 153](https://www.lvbeethoven.org/tag/artaria-153/)
- [Landsberg 5](https://www.lvbeethoven.org/tag/landsberg-5/)
- [Friedrich Wilhelm Marpurg](https://www.lvbeethoven.org/tag/friedrich-wilhelm-marpurg/)
- [ABS 22](https://www.lvbeethoven.org/tag/abs-22/)
- [HCB BSk 5](https://www.lvbeethoven.org/tag/hcb-bsk-5/)
- [Abhandlung von der Fuge](https://www.lvbeethoven.org/tag/abhandlung-von-der-fuge/)
- [ABS 23](https://www.lvbeethoven.org/tag/abs-23/)
- [Johann Mattheson](https://www.lvbeethoven.org/tag/johann-mattheson/)
- [Der vollkommene Capellmeister](https://www.lvbeethoven.org/tag/der-vollkommene-capellmeister/)
- [Hamburg Opera](https://www.lvbeethoven.org/tag/hamburg-opera/)
- [Baroque Theory](https://www.lvbeethoven.org/tag/baroque-theory/)
- [Music Criticism](https://www.lvbeethoven.org/tag/music-criticism/)
- [Conrad Schilling](https://www.lvbeethoven.org/tag/conrad-schilling/)
- [ABS 24](https://www.lvbeethoven.org/tag/abs-24/)
- [Waldhorn](https://www.lvbeethoven.org/tag/waldhorn/)
- [AmZ 1805](https://www.lvbeethoven.org/tag/amz-1805/)
- [Hess 297](https://www.lvbeethoven.org/tag/hess-297/)
- [Horn Technique](https://www.lvbeethoven.org/tag/horn-technique/)
- [Johann Georg Sulzer](https://www.lvbeethoven.org/tag/johann-georg-sulzer/)
- [Allgemeine Theorie der schönen Künste](https://www.lvbeethoven.org/tag/allgemeine-theorie-der-schonen-kunste/)
- [Carl Heinrich Graun](https://www.lvbeethoven.org/tag/carl-heinrich-graun/)
- [Johann Abraham Peter Schulz](https://www.lvbeethoven.org/tag/johann-abraham-peter-schulz/)
- [ABS 26](https://www.lvbeethoven.org/tag/abs-26/)
- [Daniel Gottlob Türk](https://www.lvbeethoven.org/tag/daniel-gottlob-turk/)
- [ABS 27](https://www.lvbeethoven.org/tag/abs-27/)
- [Kurze Anweisung zum Generalbaßspielen](https://www.lvbeethoven.org/tag/kurze-anweisung-zum-generalbasspielen/)
- [Thorough Bass](https://www.lvbeethoven.org/tag/thorough-bass/)
- [A-Wgm A75](https://www.lvbeethoven.org/tag/a-wgm-a75/)
- [Beethoven Opus 43](https://www.lvbeethoven.org/tag/beethoven-opus-43/)
- [Prometheus Ballet](https://www.lvbeethoven.org/tag/prometheus-ballet/)
- [Salvatore Viganò](https://www.lvbeethoven.org/tag/salvatore-vigano/)
- [The Creatures of Prometheus](https://www.lvbeethoven.org/tag/the-creatures-of-prometheus/)
- [Beethoven Ballet Music](https://www.lvbeethoven.org/tag/beethoven-ballet-music/)
- [Vienna 1801](https://www.lvbeethoven.org/tag/vienna-1801/)
- [Lichnowsky](https://www.lvbeethoven.org/tag/lichnowsky/)
- [Maria Theresa](https://www.lvbeethoven.org/tag/maria-theresa/)
- [Beethoven Works](https://www.lvbeethoven.org/tag/beethoven-works/)
- [Classical Ballet History](https://www.lvbeethoven.org/tag/classical-ballet-history/)
- [Prometheus Overture](https://www.lvbeethoven.org/tag/prometheus-overture/)
- [Choreodrama](https://www.lvbeethoven.org/tag/choreodrama/)
- [Beethoven and Viganò](https://www.lvbeethoven.org/tag/beethoven-and-vigano/)
- [La Vestale](https://www.lvbeethoven.org/tag/la-vestale/)
- [Beethoven Ballet](https://www.lvbeethoven.org/tag/beethoven-ballet/)
- [Ballet La Scala 1818](https://www.lvbeethoven.org/tag/ballet-la-scala-1818/)
- [Musical Pastiche](https://www.lvbeethoven.org/tag/musical-pastiche/)
- [Spontini](https://www.lvbeethoven.org/tag/spontini/)
- [Rossini](https://www.lvbeethoven.org/tag/rossini/)
- [Ricordi Edition](https://www.lvbeethoven.org/tag/ricordi-edition/)
- [Ballet Analysis](https://www.lvbeethoven.org/tag/ballet-analysis/)
- [Weigl](https://www.lvbeethoven.org/tag/weigl/)
- [Lichthental](https://www.lvbeethoven.org/tag/lichthental/)
- [Raccolta di varj e migliori pezzi](https://www.lvbeethoven.org/tag/raccolta-di-varj-e-migliori-pezzi/)
- [Neoclassical Partnership](https://www.lvbeethoven.org/tag/neoclassical-partnership/)
- [Ballet Prometeo](https://www.lvbeethoven.org/tag/ballet-prometeo/)
- [Beethoven Piano Music](https://www.lvbeethoven.org/tag/beethoven-piano-music/)
- [Beethoven Sources](https://www.lvbeethoven.org/tag/beethoven-sources/)
- [Beethoven Editions](https://www.lvbeethoven.org/tag/beethoven-editions/)
- [Il Conte di Essex](https://www.lvbeethoven.org/tag/il-conte-di-essex/)
- [Essex Ballet](https://www.lvbeethoven.org/tag/essex-ballet/)
- [Gaetano Gioia](https://www.lvbeethoven.org/tag/gaetano-gioia/)
- [Franz Joseph Haydn](https://www.lvbeethoven.org/tag/franz-joseph-haydn/)
- [Pietro Lichtenthal](https://www.lvbeethoven.org/tag/pietro-lichtenthal/)
- [Ballet Music Sources](https://www.lvbeethoven.org/tag/ballet-music-sources/)
- [London 1818](https://www.lvbeethoven.org/tag/london-1818/)
- [Elizabeth I](https://www.lvbeethoven.org/tag/elizabeth-i/)
- [Hussite Ballet](https://www.lvbeethoven.org/tag/hussite-ballet/)
- [Gli Ussiti](https://www.lvbeethoven.org/tag/gli-ussiti/)
- [Pietro Generali](https://www.lvbeethoven.org/tag/pietro-generali/)
- [Paolo Brambilla](https://www.lvbeethoven.org/tag/paolo-brambilla/)
- [Hussite Movement](https://www.lvbeethoven.org/tag/hussite-movement/)
- [Beethoven Pastorale](https://www.lvbeethoven.org/tag/beethoven-pastorale/)
- [Dance and Waltz](https://www.lvbeethoven.org/tag/dance-and-waltz/)
- [Beethoven Research Center](https://www.lvbeethoven.org/tag/beethoven-research-center/)
- [Neoclassical Ballet](https://www.lvbeethoven.org/tag/neoclassical-ballet/)
- [Dido Ballet](https://www.lvbeethoven.org/tag/dido-ballet/)
- [Didone](https://www.lvbeethoven.org/tag/didone/)
- [Giulio Viganò](https://www.lvbeethoven.org/tag/giulio-vigano/)
- [Cherubini](https://www.lvbeethoven.org/tag/cherubini/)
- [Meyerbeer](https://www.lvbeethoven.org/tag/meyerbeer/)
- [Enea and Didone](https://www.lvbeethoven.org/tag/enea-and-didone/)
- [Carthage](https://www.lvbeethoven.org/tag/carthage/)
- [Gaetano Gioja](https://www.lvbeethoven.org/tag/gaetano-gioja/)
- [Gundeberga](https://www.lvbeethoven.org/tag/gundeberga/)
- [Longobard History](https://www.lvbeethoven.org/tag/longobard-history/)
- [Florence 1815](https://www.lvbeethoven.org/tag/florence-1815/)
- [Teatro della Pergola](https://www.lvbeethoven.org/tag/teatro-della-pergola/)
- [Ballet Music Research](https://www.lvbeethoven.org/tag/ballet-music-research/)
- [Gallenberg](https://www.lvbeethoven.org/tag/gallenberg/)
- [Pantomime Ballet](https://www.lvbeethoven.org/tag/pantomime-ballet/)
- [Ferdinando Bonazzi](https://www.lvbeethoven.org/tag/ferdinando-bonazzi/)
- [La vendetta di Venere](https://www.lvbeethoven.org/tag/la-vendetta-di-venere/)
- [La Scala 1817](https://www.lvbeethoven.org/tag/la-scala-1817/)
- [Harpsichord Reduction](https://www.lvbeethoven.org/tag/harpsichord-reduction/)
- [Caraffa](https://www.lvbeethoven.org/tag/caraffa/)
- [Umlauff](https://www.lvbeethoven.org/tag/umlauff/)
- [Mirra Ballet](https://www.lvbeethoven.org/tag/mirra-ballet/)
- [Elena Viganò](https://www.lvbeethoven.org/tag/elena-vigano/)
- [Krufft Sonata Op IV](https://www.lvbeethoven.org/tag/krufft-sonata-op-iv/)
- [Archduke Rudolph](https://www.lvbeethoven.org/tag/archduke-rudolph/)
- [Early Romantic Piano Music](https://www.lvbeethoven.org/tag/early-romantic-piano-music/)
- [Sonata dedicated to Beethoven](https://www.lvbeethoven.org/tag/sonata-dedicated-to-beethoven/)
- [Beethoven Dedications](https://www.lvbeethoven.org/tag/beethoven-dedications/)
- [Sebastiano Mazzoleni](https://www.lvbeethoven.org/tag/sebastiano-mazzoleni/)
- [Dorothea Ertmann](https://www.lvbeethoven.org/tag/dorothea-ertmann/)
- [Viennese Composers](https://www.lvbeethoven.org/tag/viennese-composers/)
- [Nicolas de Krufft](https://www.lvbeethoven.org/tag/nicolas-de-krufft/)
- [Beethoven Circle](https://www.lvbeethoven.org/tag/beethoven-circle/)
- [Albrechtsberger Students](https://www.lvbeethoven.org/tag/albrechtsberger-students/)
- [Bureau d’Arts et d’Industrie](https://www.lvbeethoven.org/tag/bureau-darts-et-dindustrie/)
- [Handel HWV 442](https://www.lvbeethoven.org/tag/handel-hwv-442/)
- [Theme with 62 Variations](https://www.lvbeethoven.org/tag/theme-with-62-variations/)
- [Chaconne HWV 442](https://www.lvbeethoven.org/tag/chaconne-hwv-442/)
- [Simrock Publisher](https://www.lvbeethoven.org/tag/simrock-publisher/)
- [Nikolaus Simrock](https://www.lvbeethoven.org/tag/nikolaus-simrock/)
- [Harpsichord Variations](https://www.lvbeethoven.org/tag/harpsichord-variations/)
- [Handel Suites 1733](https://www.lvbeethoven.org/tag/handel-suites-1733/)
- [Princess Amelia and Caroline](https://www.lvbeethoven.org/tag/princess-amelia-and-caroline/)
- [Goldberg Variations Connection](https://www.lvbeethoven.org/tag/goldberg-variations-connection/)
- [Purcell Bass](https://www.lvbeethoven.org/tag/purcell-bass/)
- [Trio dedicated to Beethoven](https://www.lvbeethoven.org/tag/trio-dedicated-to-beethoven/)
- [Berg Grand Trio Op 11](https://www.lvbeethoven.org/tag/berg-grand-trio-op-11/)
- [Conrad Berg](https://www.lvbeethoven.org/tag/conrad-berg/)
- [Konrad Berg](https://www.lvbeethoven.org/tag/konrad-berg/)
- [Alsatian Composers](https://www.lvbeethoven.org/tag/alsatian-composers/)
- [Early Romantic Chamber Music](https://www.lvbeethoven.org/tag/early-romantic-chamber-music/)
- [Peter Joseph Simrock](https://www.lvbeethoven.org/tag/peter-joseph-simrock/)
- [Strasbourg Musicians](https://www.lvbeethoven.org/tag/strasbourg-musicians/)
- [Steiner & Co Vienna](https://www.lvbeethoven.org/tag/steiner-co-vienna/)
- [Allgemeine musikalische Zeitung](https://www.lvbeethoven.org/tag/allgemeine-musikalische-zeitung/)
- [Forty Variations WoO 200](https://www.lvbeethoven.org/tag/forty-variations-woo-200/)
- [O Hoffnung](https://www.lvbeethoven.org/tag/o-hoffnung/)
- [Viennese Aristocracy](https://www.lvbeethoven.org/tag/viennese-aristocracy/)
- [Diabelli Variations](https://www.lvbeethoven.org/tag/diabelli-variations/)
- [Kroměříž Archive](https://www.lvbeethoven.org/tag/kromeriz-archive/)
- [Beethoven Students](https://www.lvbeethoven.org/tag/beethoven-students/)
- [Beethoven Corrections](https://www.lvbeethoven.org/tag/beethoven-corrections/)
- [Habsburg Court Music](https://www.lvbeethoven.org/tag/habsburg-court-music/)
- [Cardinal Rudolph](https://www.lvbeethoven.org/tag/cardinal-rudolph/)
- [Palestrina School](https://www.lvbeethoven.org/tag/palestrina-school/)
- [Gottlieb von Tucher](https://www.lvbeethoven.org/tag/gottlieb-von-tucher/)
- [Kirchengesänge 1827](https://www.lvbeethoven.org/tag/kirchengesange-1827/)
- [Italian Sacred Music](https://www.lvbeethoven.org/tag/italian-sacred-music/)
- [Fortunato Santini](https://www.lvbeethoven.org/tag/fortunato-santini/)
- [Early Music Revival](https://www.lvbeethoven.org/tag/early-music-revival/)
- [Artaria Vienna](https://www.lvbeethoven.org/tag/artaria-vienna/)
- [Thibaut](https://www.lvbeethoven.org/tag/thibaut/)
- [Giuseppe Baini](https://www.lvbeethoven.org/tag/giuseppe-baini/)
- [Sing-Akademie Berlin](https://www.lvbeethoven.org/tag/sing-akademie-berlin/)
- [Monument to Beethoven Bonn](https://www.lvbeethoven.org/tag/monument-to-beethoven-bonn/)
- [Chopin Op 45](https://www.lvbeethoven.org/tag/chopin-op-45/)
- [Mechetti Vienna](https://www.lvbeethoven.org/tag/mechetti-vienna/)
- [Beethoven Album 1842](https://www.lvbeethoven.org/tag/beethoven-album-1842/)
- [Erste Beethoven Album](https://www.lvbeethoven.org/tag/erste-beethoven-album/)
- [Liszt Marche funèbre](https://www.lvbeethoven.org/tag/liszt-marche-funebre/)
- [Beethoven Reception](https://www.lvbeethoven.org/tag/beethoven-reception/)
- [Henselt Op 13](https://www.lvbeethoven.org/tag/henselt-op-13/)
- [Moscheles Op 105](https://www.lvbeethoven.org/tag/moscheles-op-105/)
- [Taubert Op 54](https://www.lvbeethoven.org/tag/taubert-op-54/)
- [Biedermeier Engraving](https://www.lvbeethoven.org/tag/biedermeier-engraving/)
- [Kalkbrenner L’Echo](https://www.lvbeethoven.org/tag/kalkbrenner-lecho/)
- [Thalberg Op 41](https://www.lvbeethoven.org/tag/thalberg-op-41/)
- [Mendelssohn Variations sérieuses](https://www.lvbeethoven.org/tag/mendelssohn-variations-serieuses/)
- [Czerny Nocturne Op 647](https://www.lvbeethoven.org/tag/czerny-nocturne-op-647/)
- [Döhler Op 39](https://www.lvbeethoven.org/tag/dohler-op-39/)
- [Gustav Schilling](https://www.lvbeethoven.org/tag/gustav-schilling/)
- [Bonn Beethoven Monument](https://www.lvbeethoven.org/tag/bonn-beethoven-monument/)
- [Hallberger Stuttgart](https://www.lvbeethoven.org/tag/hallberger-stuttgart/)
- [Beethoven-Album 1846](https://www.lvbeethoven.org/tag/beethoven-album-1846/)
- [Franz Liszt](https://www.lvbeethoven.org/tag/franz-liszt/)
- [Rare Beethoven Editions](https://www.lvbeethoven.org/tag/rare-beethoven-editions/)
- [19th Century Music Publishing](https://www.lvbeethoven.org/tag/19th-century-music-publishing/)
- [Bureau Central de Musique Paris](https://www.lvbeethoven.org/tag/bureau-central-de-musique-paris/)
- [Ewer & Co London](https://www.lvbeethoven.org/tag/ewer-co-london/)
- [Milanollo Sisters](https://www.lvbeethoven.org/tag/milanollo-sisters/)
- [Ricordi Milan](https://www.lvbeethoven.org/tag/ricordi-milan/)
- [International Tributes to Beethoven](https://www.lvbeethoven.org/tag/international-tributes-to-beethoven/)
- [Beethoven Reconstructions](https://www.lvbeethoven.org/tag/beethoven-reconstructions/)
- [Beethoven Fragments](https://www.lvbeethoven.org/tag/beethoven-fragments/)
- [Single Sheets](https://www.lvbeethoven.org/tag/single-sheets/)
- [Beethoven Sketches](https://www.lvbeethoven.org/tag/beethoven-sketches-2/)
- [Beethoven Sketchbooks](https://www.lvbeethoven.org/tag/beethoven-sketchbooks/)
- [Barry Cooper](https://www.lvbeethoven.org/tag/barry-cooper/)
- [Beethoven Discoveries](https://www.lvbeethoven.org/tag/beethoven-discoveries/)
- [Beethoven Early Drafts](https://www.lvbeethoven.org/tag/beethoven-early-drafts/)
- [Artaria 195](https://www.lvbeethoven.org/tag/artaria-195/)
- [William Kinderman](https://www.lvbeethoven.org/tag/william-kinderman/)
- [Beethoven Sketchbook](https://www.lvbeethoven.org/tag/beethoven-sketchbook/)
- [Opus 109 Sketches](https://www.lvbeethoven.org/tag/opus-109-sketches/)
- [Missa solemnis Sketches](https://www.lvbeethoven.org/tag/missa-solemnis-sketches/)
- [Beethoven Piano Sketches](https://www.lvbeethoven.org/tag/beethoven-piano-sketches/)
- [Beethoven Drafts](https://www.lvbeethoven.org/tag/beethoven-drafts/)
- [Beethoven Early Versions](https://www.lvbeethoven.org/tag/beethoven-early-versions/)
- [Beethoven Sketchbook 1821](https://www.lvbeethoven.org/tag/beethoven-sketchbook-1821/)
- [Beethoven Sonata Drafts](https://www.lvbeethoven.org/tag/beethoven-sonata-drafts/)
- [Artaria 197](https://www.lvbeethoven.org/tag/artaria-197/)
- [William Drabkin](https://www.lvbeethoven.org/tag/william-drabkin/)
- [Beethoven Offertorium Sketch](https://www.lvbeethoven.org/tag/beethoven-offertorium-sketch/)
- [Beethoven Creative Process](https://www.lvbeethoven.org/tag/beethoven-creative-process/)
- [Beethoven Fugue Studies](https://www.lvbeethoven.org/tag/beethoven-fugue-studies/)
- [Biamonti 757](https://www.lvbeethoven.org/tag/biamonti-757/)
- [Biamonti 755](https://www.lvbeethoven.org/tag/biamonti-755/)
- [Artaria 206](https://www.lvbeethoven.org/tag/artaria-206/)
- [Late Piano Sonatas Sketches](https://www.lvbeethoven.org/tag/late-piano-sonatas-sketches/)
- [Beethoven Piano Studies](https://www.lvbeethoven.org/tag/beethoven-piano-studies/)
- [Missa solemnis Drafts](https://www.lvbeethoven.org/tag/missa-solemnis-drafts/)
- [Beethoven Counterpoint](https://www.lvbeethoven.org/tag/beethoven-counterpoint/)
- [SV 91](https://www.lvbeethoven.org/tag/sv-91/)
- [Beethoven Minuet Proesto](https://www.lvbeethoven.org/tag/beethoven-minuet-proesto/)
- [Joseph Kerman](https://www.lvbeethoven.org/tag/joseph-kerman/)
- [BH 117V](https://www.lvbeethoven.org/tag/bh-117v/)
- [Beethoven Bonn Sketches](https://www.lvbeethoven.org/tag/beethoven-bonn-sketches/)
- [William Denny](https://www.lvbeethoven.org/tag/william-denny/)
- [Beethoven Orchestral Minuet](https://www.lvbeethoven.org/tag/beethoven-orchestral-minuet/)
- [Kafka Sketchbook](https://www.lvbeethoven.org/tag/kafka-sketchbook/)
- [Beethoven Sketch Leaf 1825](https://www.lvbeethoven.org/tag/beethoven-sketch-leaf-1825/)
- [Beethoven Autograph Notebook](https://www.lvbeethoven.org/tag/beethoven-autograph-notebook/)
- [Late Beethoven](https://www.lvbeethoven.org/tag/late-beethoven/)
- [Fischhof Miscellany](https://www.lvbeethoven.org/tag/fischhof-miscellany/)
- [Joseph Fischhof](https://www.lvbeethoven.org/tag/joseph-fischhof/)
- [Graziano Denini](https://www.lvbeethoven.org/tag/graziano-denini/)
- [Minuet in D Minor](https://www.lvbeethoven.org/tag/minuet-in-d-minor/)
- [Beethoven Bonn Period](https://www.lvbeethoven.org/tag/beethoven-bonn-period/)
- [Albert Willem Holsbergen](https://www.lvbeethoven.org/tag/albert-willem-holsbergen/)
- [Beethoven Reconstruction](https://www.lvbeethoven.org/tag/beethoven-reconstruction/)
- [Grasnick 1](https://www.lvbeethoven.org/tag/grasnick-1/)
- [Beethoven Early Sketches](https://www.lvbeethoven.org/tag/beethoven-early-sketches/)
- [Beethoven Sketchbook 1798](https://www.lvbeethoven.org/tag/beethoven-sketchbook-1798/)
- [Friedrich August Grasnick](https://www.lvbeethoven.org/tag/friedrich-august-grasnick/)
- [Aloys Fuchs Collection](https://www.lvbeethoven.org/tag/aloys-fuchs-collection/)
- [Beethoven Bonn Vienna Transition](https://www.lvbeethoven.org/tag/beethoven-bonn-vienna-transition/)
- [Haslinger Beethoven Manuscripts](https://www.lvbeethoven.org/tag/haslinger-beethoven-manuscripts/)
- [Beethoven Sketchbook 1801](https://www.lvbeethoven.org/tag/beethoven-sketchbook-1801/)
- [Hess 38](https://www.lvbeethoven.org/tag/hess-38/)
- [Beethoven Bach Transcription](https://www.lvbeethoven.org/tag/beethoven-bach-transcription/)
- [Grasnick 14](https://www.lvbeethoven.org/tag/grasnick-14/)
- [Staatsbibliothek zu Berlin](https://www.lvbeethoven.org/tag/staatsbibliothek-zu-berlin/)
- [Bagatelle Op 33 Sketches](https://www.lvbeethoven.org/tag/bagatelle-op-33-sketches/)
- [British Library Add MS 29801](https://www.lvbeethoven.org/tag/british-library-add-ms-29801/)
- [Kafka Miscellany](https://www.lvbeethoven.org/tag/kafka-miscellany/)
- [Gustav Nottebohm](https://www.lvbeethoven.org/tag/gustav-nottebohm/)
- [Richard Kramer](https://www.lvbeethoven.org/tag/richard-kramer/)
- [Beethoven Sketchbook 1802](https://www.lvbeethoven.org/tag/beethoven-sketchbook-1802/)
- [Kessler Sketchbook](https://www.lvbeethoven.org/tag/kessler-sketchbook/)
- [Beethoven Orchestral Sketches](https://www.lvbeethoven.org/tag/beethoven-orchestral-sketches/)
- [Concertante in D Major](https://www.lvbeethoven.org/tag/concertante-in-d-major/)
- [Beethoven Piano Miniature](https://www.lvbeethoven.org/tag/beethoven-piano-miniature/)
- [Kullak Sketchbook](https://www.lvbeethoven.org/tag/kullak-sketchbook/)
- [Beethoven Late Sketches](https://www.lvbeethoven.org/tag/beethoven-late-sketches/)
- [String Quartet Op 135 Drafts](https://www.lvbeethoven.org/tag/string-quartet-op-135-drafts/)
- [Berlin State Library](https://www.lvbeethoven.org/tag/berlin-state-library/)
- [Peter McCallum](https://www.lvbeethoven.org/tag/peter-mccallum/)
- [Prometheus Op 43 Sketches](https://www.lvbeethoven.org/tag/prometheus-op-43-sketches/)
- [K. Lothar Mikulicz](https://www.lvbeethoven.org/tag/k-lothar-mikulicz/)
- [Beethoven Unknown Sketches](https://www.lvbeethoven.org/tag/beethoven-unknown-sketches/)
- [G Major Fragment](https://www.lvbeethoven.org/tag/g-major-fragment/)
- [Princeton Sketches](https://www.lvbeethoven.org/tag/princeton-sketches/)
- [Beethoven Variations](https://www.lvbeethoven.org/tag/beethoven-variations/)
- [Marcel Dupré](https://www.lvbeethoven.org/tag/marcel-dupre/)
- [Scheide Library](https://www.lvbeethoven.org/tag/scheide-library/)
- [Ben Ligato](https://www.lvbeethoven.org/tag/ben-ligato/)
- [Emanuele Stracchi](https://www.lvbeethoven.org/tag/emanuele-stracchi/)
- [Beethoven Late Piano Works](https://www.lvbeethoven.org/tag/beethoven-late-piano-works/)
- [Beethoven Sketch Leaf](https://www.lvbeethoven.org/tag/beethoven-sketch-leaf/)
- [Op 18 No 2 Sketches](https://www.lvbeethoven.org/tag/op-18-no-2-sketches/)
- [Beethoven String Quartets](https://www.lvbeethoven.org/tag/beethoven-string-quartets/)
- [Claudie Micault-Verhaeghe](https://www.lvbeethoven.org/tag/claudie-micault-verhaeghe/)
- [Piano Sonata Op 26](https://www.lvbeethoven.org/tag/piano-sonata-op-26/)
- [Beethoven Op 26 Sketches](https://www.lvbeethoven.org/tag/beethoven-op-26-sketches/)
- [Erich Prieger](https://www.lvbeethoven.org/tag/erich-prieger/)
- [Arnold Schmitz](https://www.lvbeethoven.org/tag/arnold-schmitz/)
- [Beethovenhaus Bonn](https://www.lvbeethoven.org/tag/beethovenhaus-bonn/)
- [Beethoven Entwürfe](https://www.lvbeethoven.org/tag/beethoven-entwurfe/)
- [Beethoven Chronology](https://www.lvbeethoven.org/tag/beethoven-chronology/)
- [Antonietta Cappelli](https://www.lvbeethoven.org/tag/antonietta-cappelli/)
- [Jack Werner](https://www.lvbeethoven.org/tag/jack-werner/)
- [Piano Miniatures](https://www.lvbeethoven.org/tag/piano-miniatures/)
- [Beethoven Teaching Pieces](https://www.lvbeethoven.org/tag/beethoven-teaching-pieces/)
- [Landsberg Sketches](https://www.lvbeethoven.org/tag/landsberg-sketches/)
- [Beethoven Pedagogy](https://www.lvbeethoven.org/tag/beethoven-pedagogy/)
- [early Beethoven works](https://www.lvbeethoven.org/tag/early-beethoven-works/)
- [Beethoven piano trios](https://www.lvbeethoven.org/tag/beethoven-piano-trios/)
- [Beethoven Opus 1](https://www.lvbeethoven.org/tag/beethoven-opus-1/)
- [classical music analysis](https://www.lvbeethoven.org/tag/classical-music-analysis/)
- [chamber music](https://www.lvbeethoven.org/tag/chamber-music/)
- [1795 compositions](https://www.lvbeethoven.org/tag/1795-compositions/)
- [Prince Lichnowsky](https://www.lvbeethoven.org/tag/prince-lichnowsky/)
- [Haydn dedication](https://www.lvbeethoven.org/tag/haydn-dedication/)
- [Beethoven Opus 2](https://www.lvbeethoven.org/tag/beethoven-opus-2/)
- [Beethoven piano sonatas](https://www.lvbeethoven.org/tag/beethoven-piano-sonatas/)
- [1794 compositions](https://www.lvbeethoven.org/tag/1794-compositions/)
- [classical piano repertoire](https://www.lvbeethoven.org/tag/classical-piano-repertoire/)
- [Beethoven analysis](https://www.lvbeethoven.org/tag/beethoven-analysis/)
- [Beethoven string trio](https://www.lvbeethoven.org/tag/beethoven-string-trio/)
- [Beethoven Opus 3](https://www.lvbeethoven.org/tag/beethoven-opus-3/)
- [Mozart K563](https://www.lvbeethoven.org/tag/mozart-k563/)
- [Divertimento influence](https://www.lvbeethoven.org/tag/divertimento-influence/)
- [Artaria 1796](https://www.lvbeethoven.org/tag/artaria-1796/)
- [classical chamber music](https://www.lvbeethoven.org/tag/classical-chamber-music/)
- [Mozart influence](https://www.lvbeethoven.org/tag/mozart-influence/)
- [Viennese classical style](https://www.lvbeethoven.org/tag/viennese-classical-style/)
- [1796 compositions](https://www.lvbeethoven.org/tag/1796-compositions/)
- [Frederick William II](https://www.lvbeethoven.org/tag/frederick-william-ii/)
- [piano and cello duo](https://www.lvbeethoven.org/tag/piano-and-cello-duo/)
- [Jean-Louis Duport](https://www.lvbeethoven.org/tag/jean-louis-duport/)
- [Beethoven cello sonatas](https://www.lvbeethoven.org/tag/beethoven-cello-sonatas/)
- [Beethoven Opus 5](https://www.lvbeethoven.org/tag/beethoven-opus-5/)
- [Artaria 1797](https://www.lvbeethoven.org/tag/artaria-1797/)
- [Beethoven piano sonata](https://www.lvbeethoven.org/tag/beethoven-piano-sonata/)
- [Beethoven Opus 6](https://www.lvbeethoven.org/tag/beethoven-opus-6/)
- [Beethoven Opus 7](https://www.lvbeethoven.org/tag/beethoven-opus-7/)
- [Countess Keglevich](https://www.lvbeethoven.org/tag/countess-keglevich/)
- [1797 Artaria](https://www.lvbeethoven.org/tag/1797-artaria/)
- [Grande Sonata](https://www.lvbeethoven.org/tag/grande-sonata/)
- [Serenade in D major](https://www.lvbeethoven.org/tag/serenade-in-d-major/)

## ALB Custom Element Template Categories

- [Blocco di testo](https://www.lvbeethoven.org/?alb_elements_entries=av_textblock)
- [Accordion](https://www.lvbeethoven.org/?alb_elements_entries=av_toggle_container)
- [Galleria Orizzontale](https://www.lvbeethoven.org/?alb_elements_entries=av_horizontal_gallery)