"To Count Moritz Lichnowski,—"Duplicity I despise. Visit me no more. There will be no concert."Beethoven."
"To Count Moritz Lichnowski,—
"Duplicity I despise. Visit me no more. There will be no concert.
"Beethoven."
"To Herr Schuppanzigh,—"Come no more to see me. I shall give no concert."Beethoven."
"To Herr Schuppanzigh,—
"Come no more to see me. I shall give no concert.
"Beethoven."
"To Herr Schindler,—"Do not come to me until I send for you. No concert."Beethoven."
"To Herr Schindler,—
"Do not come to me until I send for you. No concert.
"Beethoven."
This did not in the least deter them, however, from doing what they believed necessary for his benefit: the concert took place, and was the scene of a triumph such as few have experienced. The glorious Jupiter Symphony seemed to act upon theimmense mass of human beings that thronged the building in every part, like ambrosial nectar; they became intoxicated with delight, and when the refrain was caught up by the choir, "Seid umschlungen Millionen!" a shout of exuberant joy rent the air, completely drowning the singers and instruments. But there stood the master in the midst, his face turned towards the orchestra, absorbed and sunk within himself as usual,—he heard nothing, saw nothing. Fräulein Unger, the soprano, turned him gently round, and then what a sight met his astonished gaze,—a multitude transported with joy! Almost all were standing, and the greater number melted to tears, now for the first time realizing fully the extent of Beethoven's calamity.—Probably in all that great assembly the master himself was the most unmoved. Simply bowing in response to the ovation, he left the theatre gloomy and despondent, and took his homeward way in silence.
Verily, he, like a Greater, knew what was in man. In eight days from this eventful epoch he was completely forgotten; a second concert proved an utter failure, and Rossini's star was again in the ascendant. Nor did the flighty Viennese public cast another thought upon our Beethoven until the news of his death came upon them like the shock of an earthquake, and they hastened, when it was too late, to repair the past.
But if it was painful to meet with ingratitude from the public, how much harder must it have been for the master to endure the same from one nearly related to him! We have said that he adopted his brother'sorphan child. This nephew, also a Carl Beethoven, was at his father's death about eight years of age, and a boy of great talent and promise. The four succeeding years, during which the lawsuit dragged its weary length, were extremely detrimental to him, as he seems to have been tossed about from one person to another—now with his mother, and again with his uncle—in a manner very prejudicial to any good moral development. Events showed him only too plainly the character of his mother, but nature—stronger still—urged him to take her part in the contest so far as he dared; and, incited by her evil counsels, he soon began secretly to despise his uncle's authority, and openly to follow a path he had laid down for himself,—the path of self-will and sensual indulgence. Expelled from the University where he was attending the Philosophical Course, his more than father received the repentant prodigal with open arms, and placed him in the Polytechnic School to study for a mercantile career, that he might be under the supervision of Herr Reisser, Vice-President of the Institute, and co-guardian with himself over Carl. In the summer of 1825 the composer wrote no fewer than twenty-nine letters to his erring nephew, every one of which exhibits his character in the most beautiful light. They breathe the cry of a David, "Oh! Absalom! my son! my son!"—but it is a living Absalom who has to be lamented, and the most energetic appeals, the most loving remonstrances are invoked to move that stony heart. In vain,—Carl went from bad to worse, and in 1826 the master was compelled to give up the habit which had been hisonly solace for years—that of spending the summer in the country—and to remain in Vienna to watch over the young man. Matters soon came to a crisis,—Carl, urged to pass an examination which he had long neglected, attempted, in a fit of despair, to put an end to his own life. Here the law stepped in, and after he had been treated in an asylum where his spiritual as well as his bodily condition was cared for, the miserable youth was restored to his no less wretched uncle, with orders to quit Vienna within four-and-twenty hours. Beethoven's old friend, Stephan Breuning, exerted himself to procure a cadetship for the lad, and he was at length permitted to join the regiment of the Baron von Stutterheim, to whom the composer gratefully dedicated one of his last quartets. Pending this arrangement the unhappy uncle and nephew took refuge at Gneixendorf, the estate of Johann v. Beethoven, who had offered them a temporary asylum. A few days here, however, were enough for the composer; irritated by the unjust reproaches and low taunts of his brother, he determined at once to return to Vienna, taking his nephew with him. It was a raw, cold, miserable day in December; Johann refused to lend his close carriage to him to whom he owed all his prosperity, and Beethoven was obliged to perform a long journey in an open conveyance, with no shelter from the keen wind and pitiless rain. His health, which had long been failing, sank under this exposure, and he arrived in Vienna with a severe attack of inflammation of the lungs, which ultimately caused his death.
As soon as they arrived at home, Carl was charged instantly to procure a physician for his uncle, one Dr. Wawruch; but this loving nephew's whole thoughts were for his old companions and his old haunts. He went to play billiards, entrusting his commission to the tender mercies of a servant of the establishment, who, in his turn, let the affair pass entirely from his memory until two days after, when he happened to be taken ill himself, and to be carriedby chanceto the same hospital in which the doctor practised. At the sight of the physician his instructions flashed upon his memory, and he besought him to go at once to the great Beethoven. Horror-struck, Dr. Wawruch, who was an enthusiastic admirer of the composer, hastened to his house and found him lying in the most precarious state, completely alone and neglected. His unwearied efforts so far succeeded that Beethoven rallied for a time, when his first care was—to appoint his worthless nephew sole heir to all his effects! Soon symptoms of dropsy showed themselves, he had to be tapped four times, and it became evident that the master spirit would soon leave its earthly tabernacle for a better and more enduring habitation. He was always resigned and patient, remarking, with a smile, when a painful operation was being performed, "Better water from my body than from my pen!"
The Philharmonic Society sent him a magnificent edition of Handel, and the greatest pleasure of his last days consisted in going through the works of his favourite composer.
His illness, however, lasted some time; in the meanwhile he was making nothing, and his small resources began to fail him. The money he had recently made by his works he had added to the fund which he sacredly kept for his nephew, and which no persuasion could induce him to touch; he had been disappointed in a sum owing to him by the Russian dilettante, Prince Galitzin; and in great distress the question arose, what was he to do? to whom could he turn? He bethought him of the offer made by the Philharmonic Society in London to give a concert for his benefit, and after much hesitation, finally applied to them, through Moscheles and Sir George Smart, for the fulfilment of the promise. His countrymen have never been able to forgive Beethoven for this step, especially as it was found after his death that he had left about £1,200; but this, as we said before, he looked upon as his nephew's property, and would not appropriate any of it to his own use—therefore, what was he to do?Forsaken by the whole world in Vienna, was he to starve? The society rejoiced in the opportunity of showing the gratitude of England to him who has placed the whole human race under an eternal obligation, and immediately despatched £100 to Vienna, with the intimation that if this were not sufficient more would be forthcoming.
Alas! more was not required; a few days after the gift arrived the great musician breathed his last. We leave the description of the closing scene to Schindler:—
"When I went to him on the morning of the 24th of March, 1827, I found him with distorted face, and so weak that only by the greatest effort could he utter a few words. In a short time the physician entered, and, after looking at him in silence, whispered to me that Beethoven was advancing with rapid steps towards dissolution. As we had fortunately provided for the signing of the will some days previously, there remained to us butoneardent wish—that of proving to the world that he died as a true Christian. The physician, therefore, wrote a few lines, begging him in the name of all his friends to allow the holy sacrament to be administered to him, upon which he answered calmly and collectedly, 'I will.' The physician then left, that I might arrange for this; and Beethoven said to me, 'I beg you to write to Schott, and send him the document, he will require it; write to him in my name, I am too weak; and tell him that I beg him earnestly to send the wine he promised. If you have time to-day, write also to England.' The pastor came about twelve o'clock, and the holy office was performed with the greatest solemnity.
"Beethoven himself now began to believe in his approaching end; for hardly had the clergyman gone than he exclaimed, 'Plaudite amici, comedia finita est; have I not always said that it would come thus?' He then begged me again not to forget Schott, and to thank the Philharmonic Society once more for their gift, adding that the society had cheered his last days, and that even on the verge ofthe grave he thanked them and the whole English nation. At this moment the servant of Herr von Breuning entered with the little case of wine sent by Schott. I placed two bottles of Rudesheimer on the table by his side; he looked at them and said, 'What a pity!—too late!' These were his last words. In a few moments he fell into an agony so intense that he could no longer articulate. Towards evening he lost consciousness, and became delirious. This lasted till the evening of the 25th, when visible signs of death already showed themselves. Notwithstanding, he lingered till the evening of the 26th, when his spirit took flight, while without a violent storm of thunder and lightning seemed to reflect his death struggle in Nature herself—his best friend."
The last agonies of the master were soothed by butonefriendly touch, that of Anselm Hüttenbrenner from Gratz, who had hurried into Vienna to press the loved hand once more. He was borne to his last resting-place by an immense concourse, exceeding twenty thousand; composers, poets, authors, artists, surrounded his coffin with lighted torches, while the choristers sang to one of his own melodies the words of Grillparzer:—
"Du, dem nie im Leben,Ruhestätt ward, und Heerd und Haus,Ruhe nun im stillenGrabe, nun im Tode aus,"—
Thou, who ne'er in life hadst resting-place, nor hearth, nor home—rest thee now in the quiet grave—in death. Amen.
FOOTNOTES:[32]Of those last interviews between the two great composers, Dr. Ferdinand Hiller, the veteran composer and probably the last link between the "classical" period and our own, has published an interesting account. He was at the time a pupil of Hummel, whom he accompanied to Beethoven's residence. His description of the Master in his helplessness is most touching.
[32]Of those last interviews between the two great composers, Dr. Ferdinand Hiller, the veteran composer and probably the last link between the "classical" period and our own, has published an interesting account. He was at the time a pupil of Hummel, whom he accompanied to Beethoven's residence. His description of the Master in his helplessness is most touching.
[32]Of those last interviews between the two great composers, Dr. Ferdinand Hiller, the veteran composer and probably the last link between the "classical" period and our own, has published an interesting account. He was at the time a pupil of Hummel, whom he accompanied to Beethoven's residence. His description of the Master in his helplessness is most touching.
From Domenico Scarlatti down to Frederic Chopin a succession of cembalists, clavecinists, and pianists rich in talent, art, and genius, have created a series of select works, the counterpart of which, in number, variety, and lasting fame, can probably be displayed by no other branch of musical literature. Two collections, however, take precedence of all this wealth of tone-poetry; these are the Fugues and Preludes (the "Wohl-temperirte Clavier") of Johann Sebastian Bach, and the Sonatas of Ludwig van Beethoven. Both works have been so much discussed, have been analyzed in so many different ways, have had such multifarious constructions put upon them, have been praised and extolled from so many different standpoints, that the conviction must be impressed upon every observer—they are inexhaustible. This is really the case—they are an ever-flowing spring of study for the composer and the pianist, and of enjoyment for the educated hearer. At present, however, we have only to do with the Sonatas of Beethoven, and must therefore direct our attention to them.
Most of the German composers have become great at the pianoforte. They learned to command the technicalitiesof this compendium of sound, song, harmony, and polyphony, and it became to them a voice, a second tongue, a part of themselves. Upon it they could express every whispering musical emotion, and lend words, we may even say, to every passing mood which stirred their sensitive souls; the utterances which Bach, Mozart, and Beethoven confided to their pianoforte in lonely hours may have surpassed in beauty (if not in perfection of form) what they committed to writing. In no other master, however, does this familiar intercourse between the tone-poet and his instrument present itself to our minds with such wondrous clearness as in Beethoven. In his mighty symphonies he speaks to the crowd like an ideal world's orator, raising them to the highest emotions of purified humanity; in his quartets he strives to impart to each instrument an almost dramatic individuality; but in his Pianoforte Sonatas he speaks to himself; or, if you will, to the instrument, as to his dearest friend. He relates his most secret joys and sorrows, his longing and his love, his hope and his despair. An entire, full, real, inner human life is revealed to us—sound, energetic (kernig), manly. Whether he gives himself up to passionate outpourings or to melancholy laments, whether he jests, plays, dreams, laughs, or weeps; he continues always simple and true. We find no straining after effect, no oddity, no coquettishness, no sentimentality; the greatest depth of thought appears unadorned and unpretentious. There are a few great men who can express the noblest sentiments without a wish that they should be heard, and who yet have no cause to dread listeners for the most trifling thing that they have uttered; and such is Beethoven in his Pianoforte Sonatas.
We frequently encounter the impression that Beethoven, in contradistinction to the other loftiest tone-poets, isspecially the singer of melancholy and sorrow—of the most intense, passionate soul-suffering. Nothing can be less true. Certainly he depicted the night side of the human mind as no one had done before him. But when we view his compositions as a whole, there speaks to us out of them all—even the last, so deeply furrowed—a predominating vigorous cheerfulness, a sympathetic joy, a loving meditativeness, an earnest, resolute, fresh life. How often he sinks into blissful dreams, or gives himself up to childlike merriment! A mature man, yet seized at times by the extravagance of youth, while the battle of life makes him earnest, sometimes gloomy, but never faint-hearted or misanthropic (weltschmerzlich). "He was aman, take him for all in all;" we have not looked upon his like.
The special application of what has been said to the separate Sonatas would lead to nothing. Although it is indisputable that the emotions and frames of mind portrayed in them are almost infinite in compass, yet it would be proportionally difficult to express the same with regard to each single piece in words, the very definiteness of which would conclusively prove their inadequacy to the task. It is no empty phrase, however often it may have been repeated, that Music begins where Language ends,—of course with the proviso that the former content herself with the sovereignty in the domain assigned to her. How many tone-poems should we be compelled to characterize by words not only analogous to each other, but having the very same purport, even though a Goethe's wealth of language were at our command! and what a dissimilarity in the tone-forms would notwithstanding be apparent even to the most uninitiated listener!
Far more important than the invention of characteristic expressions is it, for those who would devote themselves tothe study of Beethoven's pianoforte sonatas, to get a clear idea of them inoutlineas well as indetail. The comprehension of them is facilitated by this, with the natural result of a higher intellectual enjoyment. Is it not elevating to see how the most daring fancy, after having been nourished by deep thought, becomes the willing, submissive subject of the all-regulating mind? Beethoven never lost the reins, even in what seem the wildest flights of his genius: his Pegasus may spring up into highest space—he is able to direct and guide it.
No earnest, conscientious teacher should neglect to explain to those entrusted to him the essential nature of the laws which for centuries, by a kind of natural necessity, have developed themselves in the forms of instrumental music. They are so simple that their principal features may be made clear to the most childish comprehension, and every step in advance will bring with it a deeper insight. That Beethoven, in the closest relation to his great predecessors, submitted to these laws, makes his appearance doubly great: he did not come to destroy, but to fulfil the law.
O that our art, the most spiritual of all, were not bound by so many and such rigorous ties to matter! O that Beethoven's sonatas were within the reach of all educated minds, like the lyrics of our great poets! But not this alone does Nature deny to our art; she withholds from the greater number of those even who are striving as musicians and as pianists the full enjoyment of these lofty works, at least in their totality. They make demands upon the executants which are not easily met. Here and there we find the necessary talent. Were it but accompanied by the indispensable earnestness and diligence!
Beethoven's pianoforte music demands (apart from theconsideration of the extraordinarily difficult works) sound and solid execution. The first conditions of this are also the rarest, viz., a powerful and yet gentle touch, with the greatest possible independence of finger. Beethoven never writes difficulties merely to win laurels for those executants who shall overcome them, but neither is he deterred by any technical inconvenience, if it be necessary to give firm and clear expression to an idea. Thus we meet, in works reckoned amongst the easiest, with passages which presuppose a pretty high degree of technical skill; and since a pure style properly demands that there shall be at least theappearanceof ease on the part of the performer,—with compositions of the intellectual depth of Beethoven's this is an indispensable qualification. Therefore it is not advisable to take or place the sonatas of our master in hands which are not educated for their reception. When that degree of progress has been attained which will insure the mastery of the technical difficulties, the enjoyment and advantage to be derived from their thorough study will be doubled, and the effort to grasp them intellectually unhindered.
The most essential figures which Beethoven employs are built upon the scale and the arpeggio. They belong, therefore, to that style which is specially designated the Clementi-Cramer school. The studies of these noble representatives of pure pianoforte playing will always be the best foundation for the performance of Beethoven's works, and the practice of them ought to accompany without intermission the study of the master. Happily, the rich productions of Beethoven's imagination offer fruits for every epoch of life and of—pianoforte-playing. We can reward the diligence of the studious child by allowing him to play the two sonatinas published after the master's death, which sound to us ratheras if they had been writtenforthanbya beginner. But we should carefully guard against giving to immature young minds pieces which, though easy in a technical point of view (and this, after all, is sometimes onlyapparent), require a power of conception and of performance far beyond the demands made upon the fingers. Who, for example, with any experience in musical life, does not remember having heard the Sonata Pathétique played with anaïvetéof style which might prove the narrowness of the boundary line between the sublime and the ridiculous? And similar misconceptions are met with every day.
We give below a list of the sonatas in the order in which they ought to be studied, arranged with a view to the demands made upon the heart and mind, as well as upon the hand and finger of the performer. It is evident, however, that this cannot be done with mathematical precision, and that individual views and capability must, after all, decide; sincedifficultyandeaseare but relative terms, and depend in each case upon other and pre-existing conditions. If, however, our attempt succeed so far as to render the selection easier to the student, and prevent his making any great mistakes, we shall not consider our trouble thrown away.
May Beethoven speedily find a home in every house—in every heart!
FOOTNOTES:[33]From an edition of the Sonatas published in Breslau.
[33]From an edition of the Sonatas published in Breslau.
[33]From an edition of the Sonatas published in Breslau.
1. Op. 49, No. 2, in G major.2. Op. 49, No. 1, in G minor.3. Op. 14, No. 2, in G major.4. Op. 14, No. 1, in E major.5. Op. 79, in G major.6. Op. 2, No. 1, in F minor.7. Op. 10, No. 1, in C minor.8. Op. 10, No. 2, in F major.9. Op. 10, No. 3, in D major.10. Op. 13, in C minor (Pathétique).11. Op. 22, in B flat major.12. Op. 28, in D major (Pastorale).13. Op. 2, No. 2, in A major.14. Op. 2, No. 3, in C major.15. Op. 78, in F sharp major.16. Op. 7, in E flat major.17. Op. 26, in A flat major.18. Op. 31, No. 3, in E flat major.19. Op. 31, No. 1, in G major.20. Op. 90, in E minor.21. Op. 54, in F major.22. Op. 27, No. 2, in C sharp minor (Moonlight).23. Op. 31, No. 2, in D minor.24. Op. 53, in C major.25. Op. 27, No. 1, in E flat major.26. Op. 81, in E flat major (Les Adieux).27. Op. 57, in F minor (Appassionata).28. Op. 110, in A flat major.29, Op. 109, in E major.30. Op. 101, in A major.31. Op. 111, in C minor.32. Op. 106, in B flat major (The Giant).
1.Three Triosfor pianoforte, violin, and violoncello, in E flat, G major, and C minor; ded. to Prince Lichnowski; composed 1791-92.
2.Three Sonatasfor piano, in F minor, A major, and C major; ded. to Joseph Haydn; pub. 1796.
3.Triofor violin, viola, and violoncello, in E flat; composed in Bonn in 1792.
4.Quintetfor two violins, two violas, and violoncello, in E flat (from the octet for wind instruments, Op. 103); pub. 1797.
5.Two Sonatasfor piano and violoncello, in F major and G minor; ded. to Frederic William II. of Prussia; composed in Berlin in 1796.
6.Sonatafor piano, for four hands, in D major; pub. 1796-97.
7.Sonatafor piano, in E flat; ded. to the Countess Babette von Keglevics; pub. 1797.
8.Serenadefor violin, viola, and violoncello, in D major; pub. 1797.
9.Three Triosfor violin, viola, and violoncello, in G Major, D major, and C minor; ded. to the Count von Browne; pub. 1798.
10.Three Sonatasfor piano, in C minor, F major, and D major; ded. to the Countess von Browne; pub. 1798.
11.Triofor piano, clarionet (or V.), and violoncello, in B flat; ded. to the Countess von Thun; pub. 1798.
12.Three Sonatasfor piano and violin, in D major, A major, and E flat major; ded. to F.A. Salieri; pub. 1798-99.
13.Sonata Pathétiquefor piano, in C minor; ded. to Prince Lichnowski; pub. 1799.
14.Two Sonatasfor piano, in E major and G major; ded. to the Baroness Braun; pub. 1799.
15.First Concertofor piano and orchestra, in C major; ded. to the Princess Odescalchi,néeCountess von Keglevics; composed 1795.
16.Quintetfor piano, clarionet, oboe, bassoon, and horn, in E flat major; ded. to the Prince von Schwarzenberg; performed 1798.
17.Sonatafor piano and horn in F major; ded. to the Baroness Braun; composed 1800.
18.Six Quartetsfor two violins, viola, and violoncello, in F major, G major, D major, C minor, A major, and B flat major; ded. to Prince Lobkowitz; pub. 1800-1801.
19.Second Concertofor piano and orchestra, in B flat major; ded. to M. von Nickelsberg; composed 1798.
20.Grand Septetfor violin, viola, violoncello, horn, clarionet, bassoon, and double-bass, in E flat; performed 1800.
21.First Symphonyfor orchestra, in C major; ded. to the Baron van Swieten; performed 1800.
22.Grand Sonatafor piano, in B flat; ded. to the Count von Browne; composed 1800.
23.Sonatafor piano and violin, in A minor; ded. to Count Moritz von Fries; pub. 1801.
24.Sonatafor piano and violin, in F major; ded. to Count Moritz von Fries; pub. 1801 (originally together with Op. 23).
25.Serenadefor flute, violin, and viola, in D major; pub. 1802.
26.Sonatafor piano, in A flat; ded. to Prince Lichnowski; composed 1801.
27.Two Sonatas, quasi Fantasia, for piano, No. 1 in E flat major; ded. to the Princess Liechtenstein; No. 2 in C sharp minor; ded. to the Countess Julia Guicciardi; composed 1801 (?).
28.Sonatafor piano, in D major; ded. to M. von Sonnenfels; composed 1801.
29.Quintetfor two violins, two violas, and violoncello, in C major; ded. to Count von Fries; composed 1801.
30.Three Sonatasfor piano and violin, in A major, C minor, and G major; ded. to the Emperor Alexander I. of Russia; composed 1802.
31.Three Sonatasfor piano, in G major, D minor, and E flat major; composed 1802 (?).
32. "To Hope," words from the "Urania" of Tiedge; pub. 1805 (first setting,seeOp. 94).
33.Bagatellesfor piano; composed 1782.
34.Six Variationsfor piano, in F major, on an original theme; ded. to the Princess Odescalchi; composed in 1802 (?).
35.Fifteen Variations, with aFugue; for piano, on a theme from "Prometheus," ded. to Count Moritz Lichnowski; composed 1802.
36.Second Symphonyfor orchestra, in D major; ded. to Prince Lichnowski; composed 1802.
37.Third Concertofor piano and orchestra, in C minor; ded. to Prince Louis Ferdinand of Prussia; composed 1800.
38.Triofor piano, clarionet (or V.), and violoncello (from the Septet, Op. 20); published 1805.
39.Two Preludesthrough all the major and minor keys, for piano or organ; composed 1789.
40.Romancefor violin and orchestra, in G major; composed 1802 (?).
41.Serenadefor piano and flute (or V.), in D major (from Op. 25); pub. 1803.
42.Notturnofor piano and violoncello, in D major (from Op. 8); pub. 1804.
43.Ballet: "The Men of Prometheus;" composed 1800.
44.Fourteen Variationsfor piano, violin, and violoncello, on an original theme; composed 1802 (?).
45.Three Marchesfor piano, for four hands, in C major, E flat major, and D major; ded. to the Princess Esterhazy; composed 1802 (? 1801).
46.Adelaïde: words by Matthison; composed 1796.
47.Sonatafor piano and violin, in A major; ded. to the violinist Rudolph Kreutzer; composed 1803.
48.Six Spiritual Songs, by Gellert; pub. 1803.
49.Two Easy Sonatasfor piano, in G minor and G major; composed 1802 (?).
50.Romancefor violin and orchestra, in F major; composed in 1802 (?).
51.Two Rondosfor piano: No. 1 in C major; pub. 1798 (?); No. 2 in G major: ded. to the Countess Henriette von Lichnowski; pub. 1802.
52.Eight Songs: words by Claudius, Sophie von Mereau, Bürger, Goethe, and Lessing; partly composed in Bonn before 1792.
53.Grand Sonatafor piano, in C major; ded. to Count Waldstein; composed in 1803 (?).
54.Sonatafor piano, in F major; composed 1803 (?).
55.Third Symphony(Eroica) for orchestra, in E flat; ded. to Prince Lobkowitz; composed 1803-4.
56.Triple Concertofor piano, violin, and violoncello, with orchestra, in C major; composed 1804-5.
57.Grand Sonatafor piano, in F minor; ded. to the Count von Brunswick; composed 1804.
58.Fourth Concertofor piano and orchestra, in G major; ded. to the Archduke Rudolph; composed 1806 (?).
59.Three Quartetsfor two violins, viola, and violoncello, in F major, E minor, and C major; ded. to Prince Rasoumowski; composed 1806.
60.Fourth Symphonyfor orchestra, in B flat; ded. to Count Oppersdorf; composed 1806.
61.Concertofor violin and orchestra, in D major; ded. to Stephan von Breuning; composed 1806.
62.Overture: "Coriolanus," in C minor; ded. to the dramatist Heinrich von Collin; composed 1807.
63.Sonatafor piano, violin, and violoncello (from the Octet, Op. 103); pub. 1807.
64.Sonatafor piano, violin, and violoncello (from the Trio, Op. 3); pub. 1807.
65.Scena and Aria: "Ah, perfido!" for soprano voice and orchestra; ded. to the Countess Clari; composed 1796.
66.Twelve Variationsfor piano and violoncello, in F major, on the theme, "Ein Mädchen oder Weibchen," from Mozart's "Zauberflöte;" pub. 1798.
67.Fifth Symphonyfor orchestra, in C minor; ded. to Prince Lobkowitz and Count Rasoumowski; composed 1808 (?).
68.Sixth Symphony(Pastorale) for orchestra, in F major; ded. to Prince Lobkowitz and Count Rasoumowski; composed 1808 (?).
69.Sonatafor piano and violoncello, in A major; ded. to Baron von Gleichenstein; pub. 1809.
70.Two Triosfor piano, violin, and violoncello, in D major and E flat major; ded. to the Countess Marie Erdödy; composed 1808.
71.Sextetfor two clarionets, two flutes, and two bassoons; performed 1804-5.
72. "Fidelio" ("Leonora"), opera in two acts; composed 1804-5.
73.Fifth Concertofor piano and orchestra, in E flat; ded. to the Archduke Rudolph; composed 1809.
74.Quartet(tenth) for two violins, viola, and violoncello, in E flat; ded. to Prince Lobkowitz; composed 1809.
75.Six Songs: words by Goethe and Reissig; ded. to the Princess Kinsky; composed 1810.
76.Variationsfor piano, in D major, on an original (?) theme, afterwards employed as the "Turkish March" in the "Ruins of Athens;" ded. to his friend Oliva; pub. 1810.
77.Fantasiafor piano, in G minor; ded. to the Count von Brunswick; composed 1809.
78.Sonatafor piano, in F sharp major; ded. to the Countess von Brunswick; composed 1809.
79.Sonatinafor piano, in G major; pub. 1810.
80.Fantasiafor piano, orchestra, and chorus, in C minor; words—"Schmeichelnd hold und lieblich klingen"—by Kuffner; ded. to Maximilian Joseph of Bavaria; performed 1808.
81a.Sonatafor piano—"Les Adieux,"—in E flat; ded. to the Archduke Rudolph; composed 1809.
81b.Sextetfor two violins, viola, violoncello, and two horns (obbligato), in E flat; pub. 1810.
82.Four Ariettasand aDuet, with pianoforte accompaniment; words of Nos. 2, 3, and 5 by Metastasio; pub. 1811.
83.Three Songs; words by Goethe; ded. to the Princess Kinsky; composed 1810.
84.Overture and incidental Music to "Egmont;"composed 1809-10.
85. "The Mount of Olives," an oratorio; text by Franz Xaver Huber; composed 1800 (?).
86.First Mass, for four voices and orchestra, in C major; ded. to Prince Esterhazy; composed 1807.
87.Triofor wind instruments, in C major; performed 1797.
88. "Das Glück der Freundschaft," for voice and piano; pub. 1803.
89.Polonaisefor piano, in C major; ded. to the Empress Elisabetha Alexiewna, of Russia; composed 1814.
90.Sonatafor piano, in E minor; ded. to Count Moritz Lichnowski; composed 1814.
91. "The Battle of Vittoria," for orchestra; ded. to the Prince Regent of England; composed 1813.
92.Seventh Symphonyfor orchestra, in A major; ded. to Count Fries; composed 1812.
93.Eighth Symphonyfor orchestra, in F major; composed 1812.
94. "To Hope;" words from the "Urania" of Tiegde (second setting,seeOp. 32); composed 1816.
95.Quartetfor two violins, viola, and violoncello, in F minor; ded. to Secretary Zmeskall; composed 1810.
96.Sonatafor piano and violin, in G major; ded. to the Archduke Rudolph; composed 1810.
97.Triofor piano, violin, and violoncello, in B flat; ded. to the Archduke Rudolph; composed 1811.
98. "An die ferne Geliebte," aLiederkreis; words by Jeitteles; ded. to Prince Lobkowitz; composed 1816.
99. "Der Mann von Wort," for voice and piano; words by Kleinschmid; pub. 1815.
100. "Merkenstein," for one or two voices and piano; words by Rupprecht; composed 1814.
101.Sonatafor piano, in A major; ded. to the Baroness Erdmann; composed 1815.
101.Two Sonatasfor piano and violoncello, in C major and D major; ded. to the Countess Erdödy; composed 1815.
103.Octetfor wind instruments, in E flat major; composed in Bonn before 1792.
104.Quintetfor two violins, two violas, and violoncello, in C minor (from the Trio No. 3 of Op. 1); pub. 1819.
105.Six Thèmes variésfor piano, with violinad libitum; composed for George Thomson, 1818-19.
106.Sonatafor piano, in B flat; ded. to the Archduke Rudolph; composed 1818.
107.Ten Thèmes variés russes, écossais, tyroliens, for piano, with violinad libitum; composed for George Thomson, 1818-20.
108.Twenty-five Scotch Melodiesfor one or two voices and chorus (obbligato), violin, viola, and 'cello.
109.Sonatafor piano, in E major; ded. to Fräulein Brentano; composed 1821 (?).
110.Sonatafor piano, in A flat major; composed 1821.
111.Sonatafor piano, in C minor; ded. to the Archduke Rudolph; composed 1822.
112. "Meeresstille und glückliche Fahrt," for four voices and orchestra; ded. to "the Author of the Poem, the immortal Goethe;" composed 1815.
113.Overture: "The Ruins of Athens," composed 1811-12.
114.Marches and Chorusesfrom "The Ruins of Athens."
115.Overture: "Namensfeier," in C major; ded. to Prince Radziwill; composed 1814.
116.Terzettofor soprano, tenor, and bass, with orchestral accompaniment; composed 1801.
117.Overture and Choruses: "King Stephen;" performed 1812.
118.Elegy in memory of the Baroness Pasqualati: "Sanft wie du lebtest hast du vollendet;" ded. to the Baron Pasqualati; composed 1814.
119.Twelve Bagatellesfor piano; composed 1820-22.
120.Thirty-three Variationson a waltz by Diabelli; ded. to Madame Brentano; composed 1823.
121a.Adagio, Variations, and Rondo, for piano, violin, and violoncello, in G major; theme, "Ich bin der Schneider Kakadu;" pub. 1824.
121b. "Opferlied" for solo, chorus, and orchestra; words by Matthison; composed 1822.
122. "In allen guten Stunden," for solo and chorus, with two clarionets, two horns, and two bassoons, words by Goethe; composed 1822.
123.Missa Solemnisfor four voices, chorus, and orchestra, in D major; ded. to the Archduke Rudolph; composed 1818-1822.
124.Overture: "Weihe des Hauses," in C major; ded. to Prince Galitzin; composed 1822.
125.Ninth Symphony(Jupiter), with final chorus on Schiller's "Ode to Joy," for orchestra, four voices, and chorus, in D minor; ded. to Frederick William III. of Prussia; composed 1822-3.
126Six Bagatellesfor piano; composed about 1821.
127.Quartetfor two violins, viola, and violoncello, in E flat; ded. to Prince Galitzin; composed 1824.
128. "The Kiss;" Arietta for voice and piano; composed 1822.
129.Rondo capricciosoin G major.
130.Quartetfor two violins, viola, and violoncello, in B flat; ded. to Prince Galitzin; composed 1825.
131.Quartetfr two violins, viola, and violoncello, in C sharp minor; ded. to the Baron von Stutterheim; composed 1826.
132.Quartetfor two violins, viola, and violoncello, in A minor; ded. to Prince Galitzin; composed 1825.
133.Grand Fuguefor two violins, viola, and violoncello, in B flat; ded. to the Cardinal Archduke Rudolph; composed 1825.
134.Grand Fugue(Op. 133 arranged for piano for four hands).
135.Quartet(the sixteenth) for two violins, viola, and 'cello, in F major; ded. to Herrn Wolfmeier; composed 1826.
136. "Der Glorreiche Augenblick," cantata for four voices and orchestra; text by Dr. Weissenbach; ded. to Franz I., Emperor of Austria, Nicholas I., Emperor of Russia, and Frederick William III., King of Prussia; composed 1814.
137.Fuguefor two violins, two violas, and 'cello, in D major; composed 1817.
138.Ouverture caractérisstique; "Leonora" No. 1, in C major.
No. 1a.Twelve Variationsfor piano and violin, in F major; Theme: "Se vuol ballare," from Mozart's "Figaro;" ded. to Eleanore von Breuning; pub. 1793.
1b.Thirteen Variationsfor piano, in A major; Theme: "Es war einmal ein alter Mann;" pub. 1794.
2.Nine Variationsfor piano, in A major; Theme: "Quant è più bello;" pub. 1796.
3a.Six Variationsfor piano; Theme: "Nel cor più non mi sento;" composed 1795.
3b.Two Minuetsfor piano, for four hands.
4.Twelve Variationsfor piano, in C major; Theme: "Menuet à la Vigano;" pub. 1796.
5a.Twelve Variationsfor piano, in A major; Theme from the ballet of the "Waldmädchen;" pub. 1797.
5b.Twelve Variationsfor piano and violoncello, in G major; Theme: "See, the Conquering Hero comes!" pub. 1804.
6.Twelve Variationsfor piano and violoncello, in F major. (SeeOp. 66.)
7.Eight Variationsfor piano in C major; Theme from Grétry's "Richard Cœur de Lion;" pub. 1798.
8.Ten Variationsfor piano in B flat major; Theme: "La stessa, la stessissima;" pub. 1799.
9.Seven Variationsfor piano, in F major; Theme: "Kind willst du ruhig schlafen;" pub. 1799.
10a.Eight Variationsfor piano, in F major; Theme: "Tändeln and Scherzen;" composed 1799.
10b.Seven Variationsfor piano and violoncello, in E flat; Theme from the "Magic Flute;" composed 1801 (?).
11.Six very easy Variationson an original Theme; composed 1801.
12.Six easy Variationsfor piano or harp, in F major; Theme: "Air suisse;" pub. 1799 (?).
13.Twenty-four Variationsfor piano, in D major, on a Theme by Righini; composed about 1790.
14-23.Wanting.
24. "Der Wachtelschlag," for voice and piano; words by Sauter; pub. 1804.
25.Seven Variationsfor piano, in C major; Theme: "God save the King;" pub. 1804.
26.Five Variations(favourite) for piano, in D major; Theme: "Rule, Britannia;" pub. 1804.
27.Six Variationsfor piano, for four hands, in D major, on an original Theme; composed 1800.
28.Minuetfor piano.
29.Preludefor piano, in F minor; pub. 1805.
30, 31.Wanting.
32. "To Hope," by Tiedge (seeOp. 94).
33, 34.Wanting.
35.Andantefor piano in F major (originally in the Sonata, Op. 53), composed 1803 (?).
36.Thirty-two Variationsfor piano, in C minor, on an original Theme; pub. 1807.
37.Wanting.
38. "Die Sehnsucht:" four Melodies for voice and piano; text by Goethe; pub. 1810.
a.Triofor piano, violin, and violoncello (in one movement), in B flat; ded. to "my little friend, Maximiliana Brentano, for her encouragement in pianoforte playing;" composed 1812.
b.Rondofor piano and violin, in G major; pub. 1800.
c.Andantefor piano, in G.
d.Sonatafor piano, in C major (incomplete); composed 1796.
e.Two easy Sonatinasfor piano, in G major and F major; composed in Bonn.
f.Three Sonatasfor piano, in E flat major, F minor, and D major; ded. to the Elector Max. Friedrich; composed at the age of eleven.
g.Rondofor piano, in A major; pub. 1784.
h.Andanteon the text: "Oh Hoffnung, du stählst die Herzen" (Ex. for the Archduke Rudolph).
i.Favourite Marchof the Emperor Alexander.
k.Eight Variationsfor piano in B flat; Theme: "Ich habe ein kleines Hüttchen nur."
l.Variationsfor piano, on a March by Dressler; composed at the age of ten.
m.Variationsfor piano, for four hands, on an original theme.
n.Variationsfor piano, for four hands, in A major.
o.Triumphal March for orchestra, in C major; performed 1813.
p.Second and Third Overtures to "Leonora"("Fidelio"), in C major.
q.Overture to "Fidelio"("Leonora" No. 4), in E major.
r.Triumphal Marchfor orchestra, in G major.
s.Three Duosfor clarionet and bassoon, in C major, F major, and B flat; composed about 1800.
t.Minuetfor piano (from the Septet, Op. 20).
u.Quintet(MS.), for two violins, two violas, and violoncello, in F major.
Twelve Contre danses.Twelve Minuets for orchestra.Six Minuets for piano.TwelveDanses Allemandesfor two violins and bass.Seven Country Dances for piano.Six Country Dances for piano.TwelveEcossaisesfor piano.SixAllemandesfor piano and violin.Twelve Waltzes with Trios for orchestra.Six Waltzes for two violins and bass.Two Minuets for piano, for four hands.Six Country Dances for piano.Two Favourite Waltzes for piano, in B flat major and E minor.