WORKS BY BEETHOVEN COMPOSED BETWEEN 1810 AND 1827 — CHRONOLOGICAL LISTThe criterion used is the actual year of…

WORKS BY BEETHOVEN COMPOSED BETWEEN 1810 AND 1827 — CHRONOLOGICAL LISTThe criterion used is the actual year of composition or completion, not the year of publication. When a work spans several years, I indicate the corresponding interval. Works with opus numbers, the principal WoO —Werke ohne Opuszahl—, canons, minor pieces and relevant projects are included. In the large collections of folk songs, each collection is presented as a unit so as not to turn the catalogue into hundreds of individual entries.1810Op. 75 — Six Lieder for voice and piano — 1809–1810.

Op. 81a — Piano Sonata No. 26 in E-flat major, “Les Adieux / The Farewells” — 1809–1810.

Op. 83 — Three Lieder on texts by Goethe — 1810.

Op. 84 — Egmont, incidental music for the tragedy by Johann Wolfgang von Goethe — 1809–1810.

Op. 95 — String Quartet No. 11 in F minor, “Serioso” — 1810.

WoO 18–20 — Marches for military band — around 1809–1810.

WoO 21 — Polonaise for band in D major.

WoO 22 — Écossaise for band in D major.

WoO 23 — Écossaise for band in G major.

WoO 59 — Bagatelle in A minor “Für Elise”, first known version, dated 27 April 1810.

WoO 161 — Ewig dein, canon.

Unv 16 — Project for an Overture to Macbeth, incomplete.

Unv 22–23 — Sketches for Rastlose Liebe and Heidenröslein, on Goethe.1811Op. 97 — Piano Trio No. 7 in B-flat major, “Archduke” — 1810–1811.

Op. 113 — Die Ruinen von Athen / The Ruins of Athens, incidental music on a text by August von Kotzebue.

Op. 117 — König Stephan / King Stephen, incidental and choral music.

WoO 140a–b — An die Geliebte, different versions.During this year, materials also begin to take shape that would lead to the Seventh and Eighth Symphonies.1812Op. 92 — Symphony No. 7 in A major — 1811–1812.

Op. 93 — Symphony No. 8 in F major — 1812.

Op. 96 — Violin Sonata No. 10 in G major — 1812.

WoO 30 — Three Equali for four trombones, written in Linz.

WoO 39 — Allegretto for piano trio in B-flat major, dated 26 June 1812.

WoO 152 — 25 Irish Songs — prepared mainly between 1810 and 1812.

WoO 162 — Canon Ta ta ta....This is the year of Teplitz, of the letter to the “Immortal Beloved” of 6–7 July, of the meeting with Goethe and of the completion of the Eighth in the context of his stays in Bohemia and Linz.1813Op. 91 — Wellingtons Sieg oder die Schlacht bei Vittoria / Wellington’s Victory or The Battle of Vitoria.

WoO 2 — Incidental music for Tarpeja.

WoO 141 — Der Gesang der Nachtigall.

WoO 142 — Der Bardengeist.

WoO 153 — 20 Irish Songs.

WoO 154 — 12 Irish Songs.

WoO 163 — Kurz ist der Schmerz, canon.On 8 December 1813, the Seventh Symphony is premiered together with Wellington’s Victory.1814Op. 72 — Fidelio, third and definitive version.

Op. 89 — Polonaise for piano in C major.

Op. 90 — Piano Sonata No. 27 in E minor.

Op. 118 — Elegischer Gesang / Elegiac Song, for chorus and strings.

Op. 136 — Der glorreiche Augenblick / The Glorious Moment, cantata.

WoO 94 — Germania, aria with chorus and orchestra.

WoO 95 — Die verbündeten Fürsten.

WoO 102 — Abschiedsgesang.

WoO 103 — Un lieto brindisi.

WoO 143 — Des Kriegers Abschied.

WoO 144 — Merkenstein, first version.

WoO 164 — Freundschaft ist die Quelle, canon.On 27 February 1814, the Eighth Symphony is premiered, and on 23 May the definitive version of Fidelio.1815Op. 94 — An die Hoffnung, second version.

Op. 100 — Merkenstein, second version.

Op. 102 No. 1 — Cello Sonata No. 4 in C major.

Op. 102 No. 2 — Cello Sonata No. 5 in D major.

Op. 112 — Meeresstille und glückliche Fahrt / Calm Sea and Prosperous Voyage, on Goethe — 1814–1815.

Op. 115 — Overture Zur Namensfeier.

WoO 96 — Music for Leonore Prohaska.

WoO 97 — Es ist vollbracht.

WoO 145 — Das Geheimnis.

WoO 155 — 26 Welsh Songs.

WoO 165–168 — Various canons.

Unv 6 / Hess 15 — Project for Piano Concerto No. 6 in D major, incomplete.

Unv 10 — Sketches for a piano trio in F minor.

Unv 17–18 — Unfinished vocal and patriotic projects.1816Op. 98 — An die ferne Geliebte / To the Distant Beloved, cycle of six songs.

Op. 99 — Der Mann von Wort.

Op. 101 — Piano Sonata No. 28 in A major.

WoO 24 — March for band.

WoO 146 — Sehnsucht.

WoO 147 — Ruf vom Berge.

WoO 158a — Collection of continental folk songs.

WoO 169–170 — Canons.An die ferne Geliebte possesses particular historical importance as one of the first great Lied cycles conceived as a genuine continuous unity.1817Op. 104 — String Quintet in C minor, arrangement of Piano Trio Op. 1 No. 3.

Op. 108 — 25 Scottish Songs — collection prepared approximately between 1815 and 1817.

Op. 137 — Fugue for string quintet in D major.

WoO 104 — Gesang der Mönche.

WoO 148 — So oder so.

WoO 149 — Resignation.

WoO 157 — 12 Folk Songs.

WoO 158b–c — Different groups of folk songs.

WoO 171 — Canon.

WoO 210 — Fragment of a quartet movement in B minor.

Unv 7 — Fragmentary movement for string quintet in D minor.At the end of this year Beethoven begins one of the decisive works of his late style:Op. 106 — “Hammerklavier” Sonata — begun in November–December 1817.1818Op. 106 — Intensive work on Piano Sonata No. 29 “Hammerklavier”.

WoO 60 — Bagatelle for piano in B-flat major.

WoO 156 — 12 Scottish Songs — 1817–1818.

WoO 172 — Ich bitt' dich, canon.

WoO 201 — Beginning of a vocal double fugue, Ich bin bereit! Amen.Beethoven’s deafness is now so severe that he begins systematically to use the conversation books, fundamental for reconstructing his final years.1819Op. 105 — Six varied themes for piano, with optional melodic instrument.

Op. 106 — Piano Sonata No. 29 in B-flat major, “Hammerklavier” — completed in 1819.

Op. 107 — Ten varied themes for piano, with optional flute or violin.

Op. 120 — Diabelli Variations, first period of composition.

Op. 123 — Missa solemnis in D major, seriously begun in April 1819.

WoO 105 — Hochzeitslied, different versions.

WoO 174–176 — Various canons.

WoO 218 — Minuet for piano in C major, approximately 1819–1820.The Hammerklavier unequivocally marks the entry into Beethoven’s late style.1820Op. 109 — Piano Sonata No. 30 in E major.

Op. 123 — Intensive work on the Missa solemnis continues.

WoO 150 — Abendlied unterm gestirnten Himmel.

WoO 177–181 — Various canons and small vocal pieces.Op. 109 inaugurates the final trilogy of piano sonatas.1821Op. 110 — Piano Sonata No. 31 in A-flat major, autograph completed on 25 December 1821.

Op. 111 — Beginning and development of Piano Sonata No. 32 in C minor.

Op. 123 — Work on the Missa solemnis continues.

WoO 61 — Allegretto for piano in B minor.

WoO 182 — O Tobias!, canon.1822Op. 111 — Piano Sonata No. 32 in C minor, completed at the beginning of 1822.

Op. 114 — March and chorus for Die Weihe des Hauses.

Op. 119 — Eleven Bagatelles, collection definitively assembled around 1820–1822 from pieces of different periods.

Op. 124 — Overture Die Weihe des Hauses / The Consecration of the House.

Op. 128 — Der Kuss / The Kiss, definitive version.

Op. 125 — Ninth Symphony, systematic work on the definitive version from 1822 onward.

Op. 123 — Work on the Missa solemnis continues.

WoO 3 — Gratulations-Menuett for orchestra.

WoO 34 — Small piece for two violins.

WoO 98 — Wo sich die Pulse, chorus.1823This is one of the crucial years of late Beethoven.Op. 120 — 33 Variations on a Waltz by Anton Diabelli, completed in 1823.

Op. 123 — Missa solemnis in D major, essentially completed in January 1823 after almost four years of work.

Op. 125 — Intensive work on the Ninth Symphony.

Op. 126 — Beginning of the Six Bagatelles for piano — 1823–1824.

WoO 106 — Cantata for Prince Lobkowitz.

WoO 151 — Der edle Mensch sei hülfreich und gut.

WoO 183–185 — Various canons.

WoO 202 — Das Schöne zu dem Guten.1824Op. 121b — Opferlied, version for soprano, chorus and orchestra — final configuration 1822–1824.

Op. 122 — Bundeslied, for soloists, chorus and instruments.

Op. 125 — Symphony No. 9 in D minor, “Choral”, definitively completed at the beginning of 1824.

Op. 126 — Six Bagatelles for piano, completed in 1824.

Op. 127 — String Quartet No. 12 in E-flat major, begun approximately in April–May 1824 and completed at the beginning of 1825.

WoO 84 — Waltz for piano in E-flat major.

WoO 186 — Te solo adoro, canon.

WoO 187 — Schwenke dich ohne Schwänke, canon.On 7 May 1824, the historic premiere of the Ninth Symphony takes place in Vienna, together with the performance of the Kyrie, Credo and Agnus Dei from the Missa solemnis.1825This year marks the true beginning of the extraordinary concentration of the late quartets.Op. 127 — String Quartet No. 12 in E-flat major, completed at the beginning of 1825.

Op. 132 — String Quartet No. 15 in A minor — composed between the beginning of 1825 and July 1825. Its spiritual centre is the Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart —“Holy Song of Thanksgiving of a Convalescent to the Deity, in the Lydian mode”—, directly related to Beethoven’s illness and recovery.

Op. 130 — String Quartet No. 13 in B-flat major — begun approximately in May 1825; the first version was completed in December 1825.

Op. 133 — Große Fuge / Great Fugue in B-flat major, originally conceived as the sixth and final movement of Op. 130; composed approximately between May and December 1825.During this period Beethoven is already completely deaf and works almost exclusively through his inner imagination and the conversation books.1826It is Beethoven’s last great creative year and one of the most extraordinary in his entire output.Op. 131 — String Quartet No. 14 in C-sharp minor — composed mainly during 1826. Its seven movements linked without interruption constitute one of the most radical structures in all his work.

Op. 130 — New finale for the Quartet in B-flat major — composed between mid-September and mid-November 1826, after the publisher Matthias Artaria proposed separating the enormous original fugue.

Op. 133 — The Große Fuge becomes an independent work.

Op. 134 — Arrangement of the Große Fuge for piano four hands, made between August and the beginning of September 1826.

Op. 135 — String Quartet No. 16 in F major, composed between the summer and October 1826; Beethoven completed the autograph parts in Gneixendorf on 30 October 1826.

WoO 196 — “Es muss sein!”, canon for four voices, approximately 1 August 1826. This motif would later be related to the famous Muß es sein? — Es muß sein! of the finale of Op. 135.On 30 July 1826, his nephew Karl van Beethoven attempts suicide, causing one of the most serious personal crises of the composer’s final years.After provisionally resolving Karl’s situation, Beethoven moves in the autumn to the estate of his brother Johann in Gneixendorf, where he completes Op. 135.1827The year of Beethoven’s death presents a fundamental difference from the preceding ones: he no longer completes any major new work.His health had seriously deteriorated since his return from Gneixendorf to Vienna in December 1826. During January, February and March 1827 he remained ill, undergoing repeated procedures to relieve the accumulation of abdominal fluid caused by his liver disease.Even so, Beethoven continued to concern himself with his scores, editorial corrections and new projects.Op. 130 — Revision and editorial preparation of the definitive version with the new finale.

Op. 133 — Editorial preparation of the Große Fuge as an independent composition.

Op. 135 — Corrections and arrangements for publication; the quartet had been completed on 30 October 1826.Beethoven also retained sketches and unrealised projects, including ideas relating to new instrumental works and a possible Tenth Symphony. There is, however, no complete Tenth, nor any score whose reconstruction can be considered an authentically completed work by Beethoven.His last major completed composition is usually considered to be the new finale of Quartet Op. 130, written in the autumn of 1826, later even than Op. 135. The Große Fuge Op. 133, although published separately, had originally been written in 1825.Ludwig van Beethoven died in Vienna on 26 March 1827, at the age of 56.THE GREAT WORKS OF THE 1810–1827 PERIOD IN A SINGLE CHRONOLOGYTo visualise the essential evolution clearly:1810 — Op. 84 Egmont · Op. 81a Les Adieux · Op. 95 Serioso

1811 — Op. 97 Archduke Trio · Op. 113 The Ruins of Athens · Op. 117 König Stephan

1812 — Op. 92 Seventh Symphony · Op. 93 Eighth Symphony · Op. 96 Violin Sonata No. 10

1813 — Op. 91 Wellington’s Victory

1814 — Op. 72 Fidelio, definitive version · Op. 90 Piano Sonata No. 27 · Op. 136 Der glorreiche Augenblick

1815 — Op. 102 Cello Sonatas Nos. 4 and 5 · Op. 112 Meeresstille und glückliche Fahrt

1816 — Op. 98 An die ferne Geliebte · Op. 101 Piano Sonata No. 28

1817–1819 — Op. 106 Hammerklavier

1819–1823 — Op. 123 Missa solemnis

1820 — Op. 109 Piano Sonata No. 30

1821 — Op. 110 Piano Sonata No. 31

1821–1822 — Op. 111 Piano Sonata No. 32

1819–1823 — Op. 120 Diabelli Variations

1822–1824 — Op. 125 Ninth Symphony

1824–1825 — Op. 127 Quartet in E-flat major

1825 — Op. 132 Quartet in A minor

1825–1826 — Op. 130 Quartet in B-flat major

1825 — Op. 133 Große Fuge

1826 — Op. 131 Quartet in C-sharp minor

1826 — Op. 134 Große Fuge for piano four hands

1826 — Op. 135 Quartet in F major

1826 — Op. 130 new finale — Beethoven’s last major completed composition.Thus the extraordinary arc of these seventeen years can be clearly seen: from the still heroic Beethoven of Egmont, Les Adieux and the Serioso, through the Seventh, Eighth and Fidelio, to the radical transformation of the Hammerklavier and, finally, the universe of late Beethoven: Opp. 109–111, the Diabelli Variations, Missa solemnis, the Ninth Symphony and the six chamber-music monuments formed by the five late quartets and the Große Fuge. Between 1810 and 1826, Beethoven not only evolved stylistically: he profoundly transformed the very concepts of sonata, variation, symphony, Mass and string quartet.