Ludwig van Beethoven works: Biamonti's catalogue 1/2

Ludwig van Beethoven: Biamonti's list...

Professor Giovanni Biamonti

Giovanni Biamonti was a scholar and musicologist from Piedmont. He lived and traveled between Turin and Rome; contributor to the "Italian Musical Revue", he published numerous articles on Beethoven with Antonio Bruers in the '40s and '50s .

Following the Crocianenne technique (from Benedetto Croce, Italian philosopher of the early 20th century) he adhered with enthusiasm to the new cataloguing system of Georg Kinsky. Professor Biamonti died in the '70s.

Armando Orlandi

Beethoven's music - The Biamonti catalogue

The Biamonti catalogue was completed in the summer of 1968, published by the ILTA (Industria Libraria Tipografica Editrice) of Turin, in a box set containing three volumes: the catalogue of works by Biamonti (Catalogo cronologico e tematico di tutte le opere di Beethoven, comprese quelle inedite e gli abbozzi non utilizzati), Beethoven's letters by Emilie Anderson and the conversation notebooks by G. Schunemann.

This work is an unrivalled example of cataloguing. In the footsteps of Kinsky-Halm and of Willy Hess, Biamonti presents the complete works of Beethoven, published and unpublished, even those in fragments, the sketches, outlines and musical signs - excluding the sketches which refer to published works.

Then, Biamonti catalogued 849 works, classed by date: From 1782 (WoO 63 - Dressler Variationen) until March 1827 (Biamonti 849, last bars written by Beethoven).

For each work, the information displayed is: the dates of creation, the editions, and the references to other catalogues. Concerning the sketches, Biamonti used the studies made by Nottebhom, Nohl, De Rodé and Sheldlock.

With the catalogue created by Bruers, Biamonti's catalogue is the greatest contribution of the Italian culture to the study and knowledge of Beethoven.

40 years after its unique publication, this book is very up-to-date, although there have been some recent discoveries that Biamonti could not know about.

For each midi files that will be created, we will try to give you as much information as possible: title, description, dates and more. Sometimes, on sketches, Beethoven did not write the key nor the instrument...

Sorry if you find inaccuracies. Your suggestions, corrections and comments are welcome.

Dominique and I hope that you will appreciate this work...

Armando Orlandi

This picture indicates that you can listen to the midi file of the work. Just click on it...

Many thanks to the great Beethoven lovers Annie Moss Moore, Armando Orlandi and Cristina Barbieri
who prepared this catalogue and shared it with me.

Biamonti	Same As	Name	Composition Dates	Notes
Bia. 1	WoO 63, Grove 176	9 Variations for Piano in C minor: on a march by Ernst Christoph Dressler	1782	dedicated to Countess Wolf-Metternich
Bia. 2	WoO 47 #1, Grove 161	Piano Sonata in E flat major: "Kurfürstensonate" (Electoral) #1	1783	dedicated to Archbishop Maximilian Friedrich of Cologne
Bia. 2	WoO 47 #2, Grove 161	Piano Sonata in F minor: "Kurfürstensonate" (Electoral) #2	1783	dedicated to Archbishop Maximilian Friedrich of Cologne
Bia. 2	WoO 47 #3, Grove 161	Piano Sonata in D major: "Kurfürstensonate" (Electoral) #3	1783	dedicated to Archbishop Maximilian Friedrich of Cologne
Bia. 3	Hess 46	Sonata for Piano & Violin in A major; authorship: unfinished	1790 - 1792	fragments
Bia. 4	WoO 48, Hess 51	Rondo for Piano in C major	1783
Bia. 5	WoO 49, Grove 164	Rondo for Piano in A major	1783
Bia. 6	WoO 31	Fugue for Organ in D major	1783
Bia. 7	WoO 107, Grove 229	Song: "Schilderung eines Mädchens"; "Schildern, willst du Freund, soll ich dir Elisen?"	1782	words: Anonymous
Bia. 8	Hess 48	Allegretto for Piano Trio in E flat major	1790 - 1792
Bia. 9	WoO 108, Grove 230	Song in A major: "An einen Säugling"; "Noch weisst du nicht, wes Kind du bist"	1783	words: Johann von Döring
Bia. 10	WoO 4	Concerto for Piano & Orchestra in E flat major; authorship: reconstruction	1784	Only the piano part, with orchestral cues, survives; reconstruction by Willy Hess
Bia. 11	Hess 298	Sketch in C minor: sketch for a movement of a Symphony; authorship: unfinished	1791 - 1793	theme used in the Piano Quartet WoO 36 #1
Bia. 12	WoO 36 #1, Grove 152	Piano Quartet in E flat major	1785	the theme of the Allegro corresponds to a sketch for an early unfinished symphony (Hess 298)
Bia. 12	WoO 36 #2, Grove 152	Piano Quartet in D major	1785
Bia. 12	WoO 36 #3, Grove 152	Piano Quartet in C major	1785	some of this used in Piano Sonatas Opus 2 #1 and Opus 2 #3
Bia. 13	WoO 109	Song in C major: "Trinklied (beim Abschied zu singen)"; "Erhebt das Glas mit froher Hand"	1791 - 1792	words: Anonymous
Bia. 14	WoO 110	Song in F minor: "Elegie auf den Tod eines Pudels"; "Stirb immerhin, es welken ja so viele der Freuden"	1790	words: Anonymous
Bia. 15		Song: "Der Arme Componist" (The Poor Composer)	1788 - 1791
Bia. 16		Unknown Part for Cello; authorship: probable		cello part to the Lost Cadenza for the Leopold Cantata WoO 88
Bia. 17	WoO 87, Grove 196	Cantata: "Trauerkantate auf den Tod Joseph II" (on the Death of Joseph II)	1790	words: S. A. Averdonk
Bia. 18	WoO 88, Grove 196	Cantata: "Kantate auf die Erhebung Leopold II zur Kaiserwürde" (on the Elevation of Leopold II to the Imperial Dignity)	1790	words: S. A. Averdonk
Bia. 19	WoO 37	Trio for Piano, Flute & Bassoon in G major	1786 - 1790	probably written for the Von Westerholt-Gysenberg family
Bia. 20	Hess 63	Piece for Piano: arrangement of Chr.F.D.Schubart's "Kaplied" by Beethoven	1789
Bia. 21	WoO 50, Hess 53	2 Sonata Movements for Piano in F major	1790 - 1792	dedicated to Franz Wegeler
Bia. 22	WoO 111, Hess 126	Song in G major: "Punschlied"; "Wer nicht, wenn warm von Hand zu Hand"	1791 - 1792	words: Anonymous
Bia. 23	WoO 113	Song in E major: "Klage"; "Dein Silver schien durch Eichengrün"	1790	words: Ludwig Hölty
Bia. 24	Hess 55	Variations for Piano: on "Venni, Amore" by Vincenzo Righini (first version)	1790 - 1791	Recent discovery of the original edition of 1791 shows it to be identical in almost every respect to that of 1802 (WoO 65), and not an earlier version after all, making this reference superfluous.
Bia. 25	WoO 64, Grove 183	6 Variations for Piano or Harp in F major: on a Swiss air	1790 - 1792
Bia. 26	WoO 54	Piece for Piano in C major: "Lustig - traurig" (Merry - Sad) in C & c	1802
Bia. 27	WoO 112, Hess 128	Song in G major: "An Laura"; "Freud’ umblühe dich auf allen Wegen"	1792	words: Friedrich von Matthisson; Hess Anhang 21 is piano version (Beethoven’s authorship doubtful)
Bia. 28	WoO 89	Aria in F major: "Prüfung des Küssens"; for bass & orchestra "Meine weise Mutter spricht"	1790 - 1792	words: Anonymous
Bia. 28	WoO 90	Aria in D major: "Mit Mädeln sich vertragen"; for bass & orchestra	1790 - 1792	words: from Goethe’s Singspiel "Claudine von Villa Bella"
Bia. 29	WoO 1, Grove 149	Ballet Music: "Ritterballet", music for a ballet of knights	1790 - 1791	originally thought to have been by Count Waldstein; piano arrangement is Hess 89
Bia. 30	Hess 89	Ballet Music for Piano: "Ritterballet"	1791	"Ritterballet", WoO 1, arranged for piano by Beethoven
Bia. 31	WoO 38, Grove 153	Piano Trio in E flat major	1785 - 1791	may have been originally intended for Opus 1
Bia. 32	WoO 26, Hess 17	Duo for Flutes in G major: Allegro and Minuet	1792	dedicated to J.M. Degenhart
Bia. 33	WoO 5, Hess 10, Grove 148	Fragment for Violin & Orchestra in C major	1790 - 1792	dedicated to Gerhard von Breuning; fragment of first movement of a Concerto; originally complete, but remainder lost; three completions made
Bia. 34	Op. 52 #1, Grove 52	Song: "Urians Reise um die Welt"; "Wenn jemand eine Reise tut"	1785 - 1793	words: Matthias Claudius; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 34	Op. 52 #2, Grove 52	Song: "Feuerfarb’"; "Ich weiß eine Farbe"	1785 - 1793	words: Sophie Mereau; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 34	Op. 52 #3, Grove 52	Song: "Das Liedchen von der Ruhe" (The Song of Rest); "Im Arm der Liebe ruht sich’s wohl"	1785 - 1793	words: Ueltzen; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 34	Op. 52 #4, Grove 52	Song: "Maigesang (Mailied)" (Maysong); "Wie herrlich leuchtet mir dir Natur"	1785 - 1793	words: Goethe; most of the songs were written in the 1790s, but they were probably revised shortly before publication; uses the theme of WoO 91 #1
Bia. 34	Op. 52 #5, Grove 52	Song: "Mollys Abschied"; "Lebe wohl, du Mann"	1785 - 1793	words: G A Bürger; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 34	Op. 52 #6, Grove 52	Song: "Die Liebe" (Love); "Ohne Liebe lebe wer da kann"	1785 - 1793	words: Lessing; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 34	Op. 52 #7, Grove 52	Song: "Marmotte"; "Ich komme schon durch manches Land"	1785 - 1793	words: Goethe; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 34	Op. 52 #8, Grove 52	Song: "Das Blümchen Wunderhold"; "Es blüht ein Blümchen irgendwo"	1785 - 1793	words: Bürger; most of the songs were written in the 1790s, but they were probably revised shortly before publication
Bia. 35	WoO 67, Grove 159	8 Variations for Piano Four Hands in C major: on a theme by Count Ferdinand von Waldstein	1792
Bia. 36	WoO 51, Grove 162	Easy Piano Sonata in C major	1791 - 1798	dedicated to Eleonore von Breuning; first edition completed by Ries, since small parts of the first two movements and the whole of the last movement are lost
Bia. 37	WoO 66, Grove 178	13 Variations for Piano in A major: on Dittersdorf’s arietta "Es war einmal ein alter Mann" from "Das rote Käppchen"	1792
Bia. 38	WoO 114	Song in E major: "Ein Selbstgespräch"; "Ich, der mit flatterndem Sinn"	1793	words: J.W.L. Gleim
Bia. 39	WoO 27 #1, Grove 147	Duo No. 1 for Clarinet & Bassoon in C major; authorship: doubtful		orig for clarinet & bassoon; repub 1815 with violin/ cello version; accpted as authentic in Kinsky, 1955, but listed as ‘probably spurious’ in Kerman, 1983
Bia. 39	WoO 27 #2, Grove 147	Duo No. 2 for Clarinet & Bassoon in F major; authorship: doubtful		orig for clarinet & bassoon; repub 1815 with violin/ cello version; accepted as authentic in Kinsky, 1955, but listed as ‘probably spurious’ in Kerman, 1983
Bia. 39	WoO 27 #3, Grove 147	Duo No. 3 for Clarinet & Bassoon in B flat major; authorship: doubtful		orig for clarinet & bassoon; repub 1815 with violin/ cello version; accpted as authentic in Kinsky, 1955, but listed as ‘probably spurious’ in Kerman, 1983
Bia. 40	WoO 25, Grove 146	Rondino for Oboes, Clarinets, Horns & Bassoons in E flat major	1792 - 1793	intended at one time as finale to the Octet Opus 103
Bia. 41	Op. 103, Grove 103	Octet for Oboes, Clarinets, Horns & Bassoons in E flat major	1792 - 1793	revised in 1796 as the String Quintet Opus 4
Bia. 42	Hess 25	String Trio	1793	possibly original finale to Trio Opus 3
Bia. 43		Song: "Meine Mutter fragt mich immer: trinkst du?"; authorship: unfinished	1792
Bia. 44	WoO 116 #1, Hess 129	Song in C minor: "Que le temps me dure" 1st version	1793	words: Jean Jacques Rousseau; not fully notated
Bia. 44	WoO 116 #2, Hess 130	Song in C major: "Que le temps me dure" 2nd version	1793	words: Jean Jacques Rousseau; not fully notated
Bia. 45	WoO 115	Song in D major: "An Minna"; "Nur bei dir, an deinem Herzen"	1792	words: Anonymous
Bia. 46	WoO 40, Grove 156	12 Variations for Piano & Violin in F major: on the theme "Se vuol ballare" from Mozart’s opera "The Marriage of Figaro"	1792 - 1793	dedicated to Eleonore von Breuning
Bia. 47	Hess 58	Exercise for Piano in B flat major	1800
Bia. 47	Hess 59	Exercise for Piano in C major	1792 - 1800
Bia. 48		Anglaise for Piano in G minor	1792
Bia. 49	Hess 12	Concerto for Oboe & Orchestra in F major: fragments	1790 - 1793	lost, but sketch remains
Bia. 50		Sketch for Solo Voice(s) & Instrument(s) in D Major: for a Song "Die Schwester der Schicksal - Nacht und Träume"; authorship: unfinished	1792 - 1793
Bia. 51	Hess 151	Sketch for Solo Voice(s) & Instrument(s) in D Major: sketch for a Song "Traute Henriette"; authorship: unfinished	1792 - 1793	words: Anonymous
Bia. 52		Andante for Piano in C major	1794
Bia. 53		Sketch for Instrument(s) in A Major: for a Bagatelle; authorship: unfinished	1792 - 1793
Bia. 54	Hess 13	Romance for Piano, Flute, Bassoon & Orchestra in E minor; authorship: reconstruction	1786	completed by Willy Hess; fragment for the slow movement of a larger work, possibly for WoO 37, but more probably for a piece since lost
Bia. 55		Sketch for Piano & Orchestra in D Major: intended for a Piano Concerto in A major; authorship: unfinished	1792 - 1793
Bia. 56	Hess 233	Exercise for Instrument(s): in Composition for Haydn	1792 - 1793	Same as Hess 233?
Bia. 57	WoO 41, Grove 155	Rondo for Piano & Violin in G major	1793 - 1794
Bia. 58	WoO 99 #1, Hess 211	Duet in B flat major: "Bei labbri, che Amore"	1801 - 1803	written for Antonio Salieri; words: Metastasio: "Cantate La gelosia"
Bia. 59	WoO 99 #5.2, Hess 227	Trio for Solo Voice(s) in C major: "Giura il nocchier" (WoO 99/5b), 2 of 2 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio "Le gelosia"
Bia. 60	WoO 99 #6, Hess 212	Trio for Solo Voice(s) in G major: "Ma tu tremi, o mio tesoro"	1801 - 1803	written for Antonio Salieri; words: Metastasio: "Cantate La tempesta"
Bia. 61 #1		Sketch for Piano Trio in E Flat Major; authorship: unfinished	1793 - 1794	sketch for last movement of Piano Trio, Opus 1 #1
Bia. 61 #2		Sketch for Piano Trio in C Minor; authorship: unfinished	1793 - 1794	sketch for last movement of Piano Trio, Opus 1 #3
Bia. 62	Op. 1 #1, Grove 1	Piano Trio No. 1 in E flat major	1792 - 1793	dedicated to Prince Karl Lichnowsky
Bia. 62	Op. 1 #2, Grove 1	Piano Trio No. 2 in G major	1792 - 1794	dedicated to Prince Karl Lichnowsky
Bia. 62	Op. 1 #3, Grove 1	Piano Trio No. 3 in C minor	1792 - 1794	dedicated to Prince Karl Lichnowsky; later arranged for string quintet as Opus 104
Bia. 63	Op. 87, Grove 87	Trio for Oboes & English Horn in C major	1794 - 1795
Bia. 64	Hess 33	Minuet for String Quartet in A flat major	1790 - 1792	piano version is Hess 88
Bia. 65	Hess 88	Minuet for Piano in A flat major	1790 - 1792	minuet in A flat for string quartet, Hess 33, arranged for piano by Beethoven; a "Mineur" exists for the piano version that does not for the quartet
Bia. 66		Minuet for Piano in F major	1794
Bia. 67	Hess 64	3-part Fugue for Piano in C major	1794 - 1795
Bia. 68		3 Fugue Subjects for Study	1794
Bia. 69		3 Small Sketches for Study	1794	Biamonti describes them as "canons", Hess as "imitation movements"
Bia. 70		Sketch for Instrument(s) in C Major; authorship: unfinished	1794
Bia. 71		Sketch for Instrument(s): of Contrapuntal Exercise at the Octave; authorship: unfinished	1794
Bia. 72	Op. 81 #2, Grove 81	Sextet for Horns, Violins, Viola & Cello in E flat major: called Opus 81b	1795
Bia. 73		Sketch in C Major: for a Symphony; authorship: unfinished	1794 - 1795
Bia. 74		Minuet for Piano in C major	1795
Bia. 75	Hess 14	Fragment No. 2 for Piano & Orchestra in B flat major; authorship: unfinished	1794 - 1795	fragment of first movement first version of the Piano Concerto #2 Opus 19
Bia. 76	Hess 78	Cadenza for Piano in C major	1809	written for Anna Fröhlich; for Piano Concerto #1, Opus 15 (second movement); lost
Bia. 76	Hess 79	Cadenza for Piano; authorship: unfinished	1792 - 1796	sketches and fragments for cadenza to first version of Piano Concerto #2, Opus 19
Bia. 77	WoO 117, Grove 233	Song in C major: "Der freie Mann"; "Wer ist ein freier Mann?"; with unison chorus	1792 - 1794	words: G.C. Pfeffel
Bia. 78	WoO 120	Song in F major: "Man strebt, die Flamme zu verhehlen"	1800 - 1802	written for Frau von Weissenthurn; words: Anonymous
Bia. 79	WoO 118, Grove 254	Song: "Seufzer eines Ungeliebten"; "Hast du nicht Liebe zugemessen", and "Gegenliebe"; "Wüsst’ ich, wüsst’ ich"	1794 - 1795	words: GA Bürger; the melody of "Gegenliebe" was later used in the Choral Fantasy Opus 80
Bia. 80	Hess 29	Prelude & Fugue for Violins & Cello in E minor	1794 - 1795	written during the studies with Albrechtsberger
Bia. 80	Hess 30	Prelude & Fugue for String Quartet in F major	1794 - 1795	written during the studies with Albrechtsberger; also one of the exercises of Hess 240
Bia. 80	Hess 31	Prelude & Fugue for String Quartet in C major	1794 - 1795	written during the studies with Albrechtsberger
Bia. 80	Hess 234	125 Exercises for Study: strict counterpoint (2, 3 & 4 part)	1794 - 1795	written for Albrechtsberger
Bia. 80	Hess 235	26 Exercises for Study: free counterpoint (2, 3 & 4 part)	1794 - 1795	written for Albrechtsberger
Bia. 80	Hess 236 #1	2-part Simple Fugue for Study in D minor: strict; #1 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #2	2-part Simple Fugue for Study: strict; in E phrygian; #2 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #3	2-part Simple Fugue for Study in F major: strict; #3 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #4	2-part Simple Fugue for Study in B flat major: strict; #4 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #5	2-part Simple Fugue for Study in D minor: strict; #5 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #6	2-part Simple Fugue for Study in E minor: strict; #6 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #7	2-part Simple Fugue for Study in F major: strict; #7 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #8	2-part Simple Fugue for Study in B flat major: strict; #8 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #9	2-part Simple Fugue for Study in C major: strict; #9 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #10	2-part Simple Fugue for Study in E minor: strict; #10 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #11	2-part Simple Fugue for Study in F major: strict; #11 of 18 fugues	1794 - 1795
Bia. 80	Hess 236 #12	2-part Simple Fugue for Study in G major: strict; #12 of 18 fugues	1794 - 1795
Bia. 80	Hess 237 #1	3-part Simple Fugue for Study in G major: (strict); #1 of 7 fugues	1794 - 1795
Bia. 80	Hess 237 #2	3-part Simple Fugue for Study in F major: (strict); #2 of 7 fugues	1794 - 1795
Bia. 80	Hess 237 #3	3-part Simple Fugue for Study in E minor: (strict); #3 of 7 fugues	1794 - 1795
Bia. 80	Hess 237 #4	3-part Simple Fugue for Study in D minor: (strict); #4 of 7 fugues	1794 - 1795
Bia. 80	Hess 237 #5	3-part Simple Fugue for Study in B flat major: (strict); #5 of 7 fugues	1794 - 1795
Bia. 80	Hess 238 #1	4-part Simple Fugue for Study in E minor: (strict); #1 of 9 fugues	1794 - 1795
Bia. 80	Hess 238 #2	4-part Simple Fugue for Study in D minor: (strict); #2 of 9 fugues	1794 - 1795
Bia. 80	Hess 238 #3	4-part Simple Fugue for Study in C major: (strict); #3 of 9 fugues	1794 - 1795
Bia. 80	Hess 238 #4	4-part Simple Fugue for Study in A minor: (strict); #4 of 9 fugues	1794 - 1795
Bia. 80	Hess 238 #5	4-part Simple Fugue for Study in B flat major: (strict); #5 of 9 fugues	1794 - 1795
Bia. 80	Hess 238 #6	4-part Simple Fugue for Study in A minor: (strict); #6 of 9 fugues	1794 - 1795
Bia. 80	Hess 239 #1	4-part Chorale Fugue for Study in F major: #1 of 3 fugues	1794 - 1795
Bia. 80	Hess 239 #2	4-part Chorale Fugue for Study in D minor: #2 of 3 fugues	1794 - 1795
Bia. 80	Hess 239 #3	4-part Chorale Fugue for Study in G major: #3 of 3 fugues	1794 - 1795
Bia. 80	Hess 240	4 Exercises for Study: double counterpoint of the octave (2-voice)	1794 - 1795	one fugue is separately cataloged as Hess 30
Bia. 80	Hess 241	24 Exercises for Study: double counterpoint of the octave and a third	1794 - 1795
Bia. 80	Hess 242	6 Exercises for Study: double counterpoint of the octave plus a fifth	1794 - 1795
Bia. 80	Hess 243 #1	4-part Double Fugue for Study in C major: #1 of 5 fugues in double counterpoint	1794 - 1795
Bia. 80	Hess 243 #2	4-part Double Fugue for Study in F major: #2 of 5 fugues in double counterpoint	1794 - 1795
Bia. 80	Hess 243 #3	4-part Double Fugue for Study in C major: #3 of 5 fugues in double counterpoint	1794 - 1795	part of Prelude & Fugue for String Quartet, Hess 31
Bia. 80	Hess 243 #4	4-part Double Fugue for Study in C major: #4 of 5 fugues in double counterpoint	1794 - 1795
Bia. 80	Hess 243 #5	4-part Double Fugue for Study in D minor: #5 of 5 fugues in double counterpoint	1794 - 1795
Bia. 80	Hess 244 #1	4-part Triple Fugue for Study in D minor: #1 of 2 fugues	1794 - 1795
Bia. 80	Hess 244 #2	4-part Triple Fugue for Study in F major: #2 of 2 fugues	1794 - 1795
Bia. 81	Hess 246	4-part Double Fugue for Chorus in F major: "Kyrie eleison"; authorship: unfinished	1794 - 1795
Bia. 82	Hess 245	Fragment for String Quartet in D minor; authorship: unfinished	1794	fragment of a Fugue; Biamonti 82 & 100 are duplicates
Bia. 83	WoO 159, Grove 204	3-part Canon in F major: "Im Arm der Liebe ruht sich’s wohl"	1795	counterpoint study for Albrechtsberger
Bia. 84	WoO 99 #8, Grove 231	Song in G major: "O care selve", with unison chorus	1794 - 1795	words: Pietro Metastasio; also published separately - WoO 119
Bia. 84	WoO 119, Grove 231	Song in G major: "O care selve", with unison chorus	1794 - 1795	words: Pietro Metastasio; also part of WoO 99 (#8)
Bia. 85	WoO 160 #1, Hess 247	3-part Canon in G major: for Three Unison Voices (Allegretto) without Text	1795	counterpoint study for Albrechtsberger
Bia. 86	WoO 160 #2, Hess 248	4-part Canon: for Four Unison Voices (Moderato) without Text	1795	counterpoint study for Albrechtsberger
Bia. 87	Op. 2 #1, Grove 2	Piano Sonata No. 1 in F minor	1793 - 1795	dedicated to Franz Joseph Haydn; second movement uses material from the Piano Quartet WoO 36 #3
Bia. 87	Op. 2 #2, Grove 2	Piano Sonata No. 2 in A major	1794 - 1795	dedicated to Franz Joseph Haydn
Bia. 87	Op. 2 #3, Grove 2	Piano Sonata No. 3 in C major	1794 - 1795	dedicated to Franz Joseph Haydn; first movement uses material from the Piano Quartet WoO 36 #3
Bia. 88	WoO 7 #1, Grove 139	Minuet for Orchestra in D major: #1 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #2, Grove 139	Minuet for Orchestra in B flat major: #2 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #3, Grove 139	Minuet for Orchestra in G major: #3 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #4, Grove 139	Minuet for Orchestra in E flat major: #4 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #5, Grove 139	Minuet for Orchestra in C major: #5 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #6, Grove 139	Minuet for Orchestra in A major: #6 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #7, Grove 139	Minuet for Orchestra in D major: #7 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #8, Grove 139	Minuet for Orchestra in B flat major: #8 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #9, Grove 139	Minuet for Orchestra in G major: #9 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #10, Grove 139	Minuet for Orchestra in E flat major: #10 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #11, Grove 139	Minuet for Orchestra in C major: #11 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 88	WoO 7 #12, Grove 139	Minuet for Orchestra in F major: #12 of 12 Minuets for Orchestra	1795	piano version is Hess 101
Bia. 89	WoO 8 #1, Grove 140	Dance for Orchestra in C major: #1 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #2, Grove 140	Dance for Orchestra in A major: #2 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #3, Grove 140	Dance for Orchestra in F major: #3 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #4, Grove 140	Dance for Orchestra in B flat major: #4 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #5, Grove 140	Dance for Orchestra in E flat major: #5 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #6, Grove 140	Dance for Orchestra in G major: #6 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #7, Grove 140	Dance for Orchestra in C major: #7 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #8, Grove 140	Dance for Orchestra in A major: #8 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #9, Grove 140	Dance for Orchestra in F major: #9 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #10, Grove 140	Dance for Orchestra in D major: #10 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #11, Grove 140	Dance for Orchestra in G major: #11 of 12 German Dances	1795	piano version is Hess 100
Bia. 89	WoO 8 #12, Grove 140	Dance for Orchestra in C major: #12 of 12 German Dances	1795	piano version is Hess 100
Bia. 90	WoO 69, Grove 179	9 Variations for Piano in A major: on Giovanni Paisello’s air "Quant’ è più bello" from "La Molinara"	1795	dedicated to Prince Karl Lichnowsky
Bia. 91	WoO 70, Grove 180	6 Variations for Piano in G major: on the duet "Nel cor più non mi sento" from Giovanni Paisello’s opera "La Molinara"	1795
Bia. 92	Hess 101	12 Minuets for Piano	1795	minuets for orchestra WoO 7, for piano
Bia. 93	Hess 100	12 German Dances for Piano	1795	dances for orchestra WoO 8, for piano
Bia. 94	WoO 68, Grove 181	12 Variations for Piano in C major: on the "Menuett à la Viganò" from Jakob Haibel’s ballet "Le nozze disturbate"	1795
Bia. 95		Sketch for Piano; authorship: unfinished	1795
Bia. 96		Sketch for Piano: for an Adagio and Allegro; authorship: unfinished	1795	lost
Bia. 97		Sketch for Piano in E Flat Major: for a Rondo; authorship: unfinished	1795	lost
Bia. 98		Sketch for Piano in E Flat Major: for a Sonata; authorship: unfinished	1795	lost
Bia. 99		Sketch for Piano: for an Allegretto; authorship: unfinished	1795	lost
Bia. 100	Hess 245	Fragment for String Quartet in D Minor: fragment of Finale for Prelude ; authorship: unfinished	1795	fragment of Finale for Prelude; Biamonti 82 & 100 are duplicates
Bia. 101	WoO 9 #1, Hess 26	Minuet for Violins & Cello in E flat major: #1 of 6 Minuets	1795
Bia. 101	WoO 9 #2, Hess 26	Minuet for Violins & Cello in G major: #2 of 6 Minuets	1795
Bia. 101	WoO 9 #3, Hess 26	Minuet for Violins & Cello in C major: #3 of 6 Minuets	1795
Bia. 101	WoO 9 #4, Hess 26	Minuet for Violins & Cello in F major: #4 of 6 Minuets	1795
Bia. 101	WoO 9 #5, Hess 26	Minuet for Violin & Cello in D major: #5 of 6 Minuets	1795
Bia. 101	WoO 9 #6, Hess 26	Minuet for Violins & Cello in G major: #6 of 6 Minuets	1795
Bia. 102	WoO 10 #1, Grove 167	Minuet for Orchestra in C major: #1 of 6 minuets; surviving piano version	1795
Bia. 102	WoO 10 #2, Grove 167	Minuet for Orchestra in G major: #2 of 6 minuets; surviving piano version	1795
Bia. 102	WoO 10 #3, Grove 167	Minuet for Orchestra in E flat major: #3 of 6 minuets; surviving piano version	1795
Bia. 102	WoO 10 #4, Grove 167	Minuet for Orchestra in B flat major: #4 of 6 minuets; surviving piano version	1795
Bia. 102	WoO 10 #5, Grove 167	Minuet for Orchestra in D major: #5 of 6 minuets; surviving piano version	1795
Bia. 102	WoO 10 #6, Grove 167	Minuet for Orchestra in C major: #6 of 6 minuets; surviving piano version	1795
Bia. 103	WoO 6, Grove 151	Rondo for Piano & Orchestra in B flat major: fragment, completed by Carl Czerny	1793	this was probably the original finale to the Piano Concerto #2 Opus 19
Bia. 104		Sketch for Piano; authorship: unfinished	1795	sketch for Piano Sonata #9, Opus 14 #1
Bia. 105	Op. 3, Grove 3	String Trio in E flat major	1794	an incomplete piano trio arrangement exists as Hess 47; also Hess 25 may be an earlier version of the finale
Bia. 106	Op. 5 #1, Grove 5	Sonata No. 1 for Piano & Cello in F major	1796	dedicated to King Friedrich Wilhelm II of Prussia
Bia. 106	Op. 5 #2, Grove 5	Sonata No. 2 for Piano & Cello in G minor	1796	dedicated to King Friedrich Wilhelm II of Prussia
Bia. 107	WoO 71, Grove 182	12 Variations for Piano in A major: on a Russian dance from Paul Wranitsky’s ballet "Das Waldmädchen"	1796 - 1797	dedicated to Countess Anna Margarete Browne
Bia. 108	WoO 121	Song in G major: "Abschiedsgesang an Wiens Bürger"; "Keine Klage soll erschallen"	1796	dedicated to Major von Kövesdy; words: Josef von Friedelberg
Bia. 109	WoO 99 #7.1, Hess 217	Quartet for Solo Voice(s) in C major: "Nei campi e nelle selve" (WoO 99/7a), 1 of 2 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio: "Cantate XXVII"
Bia. 110	WoO 99 #7.2, Hess 220	Quartet for Solo Voice(s) in C major: "Nei campi e nelle selve" (WoO 99/7b), 2 of 2 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio: "Cantate XXVII"
Bia. 111	Op. 46, Grove 46	Song: "Adelaide"; "Einsam wandelt dein Freund"	1794 - 1795	dedicated to Friedrich von Matthisson; poem by Matthison
Bia. 112	WoO 42, Grove 171	6 German Dances for Piano & Violin: Allemandes in F, D, F, A, D, G	1796	dedicated to the two Countesses Thun
Bia. 113		Sketch for Piano in C Minor: for a Rondo; authorship: unfinished	1795 - 1796
Bia. 114	Op. 25, Grove 25	Serenade for Flute, Violin & Viola in D major	1801	transcribed later for Flute & Piano Opus 41
Bia. 115	Op. 4, Grove 4	String Quintet in E flat major	1795	after the Octet Opus 103
Bia. 116	Op. 65, Grove 65	Scene & Aria: "Ah! Perfido"; for soprano w/ orchestra	1796	words: Pietro Metastasio (Scene); Anon. (Aria)
Bia. 117	Hess 145	Song in E major: "Opferlied" (Sacrificial Song); "Die Flamme lodert"	1796	words: Friedrich von Matthisson; earlier version of WoO 126; 5 arrangements over 30 yrs; also see Opus 121b & Hess 91
Bia. 118	Op. 71, Grove 71	Sextet for Clarinets, Horns & Bassoons in E flat major	1792 - 1796
Bia. 119	WoO 91 #1	Aria in F major: "O welch ein Leben!"; for tenor & orchestra for Umlauf’s Singspiel "Die schöne Schusterin" (The Beautiful Shoemaker’s Wife)	1795	words: Marquis de Ferrieres; the theme was also used in "Maigesang" Opus 52 #4
Bia. 119	WoO 91 #2	Aria in B flat major: "Soll ein Schuh nicht drücken?"; for soprano & orchestra for Umlauf’s Singspiel "Die schöne Schusterin" (The Beautiful Shoemaker’s Wife)	1795	words: Marquis de Ferrieres
Bia. 120	Op. 49 #2, Grove 49	Easy Piano Sonata No. 20 in G major	1795 - 1796
Bia. 121	WoO 43 #1, Grove 150	Sonatina for Mandolin & Harpsichord in C minor: called WoO 43a	1796	written for Countess Josephine de Clary
Bia. 122	WoO 43 #2, Grove 150	Adagio for Mandolin & Harpsichord in E flat major: called WoO 43b	1796	dedicated to Countess Josephine de Clary; Hess 44 is a slightly variant version
Bia. 123	Hess 44	Adagio ma non troppo for Mandolin & Harpsichord in E flat major		later revision of WoO 43b
Bia. 124	WoO 44 #1, Hess 43	Sonatina for Mandolin & Harpsichord in C major: called WoO 44a	1796	written for Countess Josephine de Clary
Bia. 125	WoO 44 #2, Hess 45	Andante con Variazioni for Mandolin & Harpsichord in D major: called WoO 44b	1796	dedicated to Countess Josephine de Clary
Bia. 126	WoO 45, Grove 157	12 Variations for Piano & Cello in G major: on "See the conquering hero comes" fm Handel’s oratorio "Judas Maccabaeus"	1796	dedicated to Princess Christiane Lichnowsky (née Thun)
Bia. 127	WoO 99 #9, Hess 216	Trio for Solo Voice(s) in E flat major: "Per te d’amico aprile"	1801 - 1803	written for Antonio Salieri; words: Metastasio: "Cantate Il nome"
Bia. 128	WoO 99 #11, Hess 215	Duet in D major: "Scrivo in te"	1801 - 1803	written for Antonio Salieri; words: Metastasio: "Cantate Il nome"
Bia. 129	Hess 19	Fragment for Horns, Oboe & Bassoon in E flat major: fragment of a Quintet; authorship: reconstruction	1793 - 1796	completed by Leopold Alexander Zellner in 1862
Bia. 130	Op. 16, Grove 16	Quintet for Piano, Oboe, Clarinet, Horn & Bassoon in E flat major	1796 - 1797	dedicated to Prince Joseph Johann zu Schwarzenberg; also arranged for piano quartet, Biamonti 131
Bia. 131	Op. 16, Grove 16	Piano Quartet in E flat major	1796 - 1797	dedicated to Prince Joseph Johann zu Schwarzenberg; also arranged for piano, oboe, clarinet, horn & bassoon, Biamonti 130
Bia. 132	WoO 122, Grove 232	Song in C major: "Kriegslied der Osterreicher"; "Ein grosses deutches Volk sind wir" (with unison chorus)	1797	words: Josef von Friedelberg
Bia. 133	Op. 51 #1, Grove 51	Rondo for Piano in C major	1796 - 1797
Bia. 134	Op. 6, Grove 6	Sonata for Piano Four Hands in D major	1796 - 1797
Bia. 135	Op. 8, Grove 8	Serenade for String Trio in D major	1796 - 1797	arranged later for piano & viola Opus 42
Bia. 136	Op. 7, Grove 7	Piano Sonata No. 4 in E flat major	1796 - 1797	dedicated to Countess Barbara von Keglevics
Bia. 137	WoO 28, Hess 18	Variations for Oboes & English Horn in C major: on "Là ci darem la mano" from Mozart’s opera "Don Giovanni"	1795	possibly associated originally with the Trio Opus 87
Bia. 138	WoO 72, Grove 184	8 Variations for Piano in C major: on the Romance "Une fièvre brûlante" from Grétry’s opera "Richard Cœur de Lion"	1795 - 1798
Bia. 139	WoO 52	Bagatelle No. 10 for Piano in C minor: presto	1795 - 1822	originally intended for the Piano Sonata #5 Opus 10 #1; numbered "10" by Beethoven for a projected collection of Bagatelles in 1822
Bia. 140		Sketch for Instrument(s) in C Major: for a Song without Text; authorship: unfinished	1797
Bia. 141	Hess 228	Duet in C major: "Salvo tu vuoi lo sposo?"	1801 - 1803	written for Antonio Salieri; words: Metastasio "Zenobia"; most likely done at the same time as the WoO 99 works
Bia. 142	WoO 99 #3.1	Duet: "Fra tutte le pene" (WoO 99/3a), 1 of 3 settings	1796 - 1797	written for Antonio Salieri; words: Metastasio "Zenobia"; before Salieri’s corrections (Hess 208 incorporates the corrections)
Bia. 143	WoO 99 #3.1, Hess 208	Duet: "Fra tutte le pene" (WoO 99/3a), 1 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio "Zenobia"; incorporating Salieri’s corrections (Biamonti 142 is before the corrections)
Bia. 144	WoO 99 #3.2, Hess 225	Trio for Solo Voice(s) in E flat major: "Fra tutte le pene" (WoO 99/3b), 2 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio "Zenobia"; before Salieri’s corrections (Hess 209 incorporates the corrections)
Bia. 145	WoO 99 #3.2, Hess 209	Trio for Solo Voice(s): "Fra tutte le pene" (WoO 99/3b), 2 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio "Zenobia"; incorporating Salieri’s corrections (Hess 225 is before the corrections)
Bia. 146	WoO 99 #3.3, Hess 224	Quartet for Solo Voice(s): "Fra tutte le pene" (WoO 99/3c), 3 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio "Zenobia"; before Salieri’s corrections (Hess 210 incorporates the corrections)
Bia. 147	WoO 99 #3.3, Hess 210	Quartet for Solo Voice(s): "Fra tutte le pene" (WoO 99/3c), 3 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio "Zenobia"; incorporating Salieri’s corrections (Hess 224 is before the corrections)
Bia. 148	WoO 99 #10.2, Hess 218	Trio for Solo Voice(s) in A major: "Quella cetra ah pur tu sei" (WoO 99/10b), 2 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio
Bia. 149	WoO 99 #10.1, Hess 213	Quartet for Solo Voice(s) in G major: "Quella cetra ah pur tu sei" (WoO 99/10a), 1 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio
Bia. 150	WoO 99 #10.3, Hess 219	Quartet for Solo Voice(s) in F major: "Quella cetra ah pur tu sei" (WoO 99/10c), 3 of 3 settings	1801 - 1803	written for Antonio Salieri; words: Metastasio
Bia. 151	Hess 276	3-part Canon: "Herr Graf, ich komme zu fragen"	1797
Bia. 152	Hess 69	Allegretto for Piano in C minor	1795 - 1796	perhaps originally intended for the Piano Sonata #5 Opus 10 #1; revised 1822; Jos van der Zanden cal;s it Bagatelle #9 from the group Beethoven planned in 1822
Bia. 153	Op. 9 #1, Grove 9	String Trio in G major	1797 - 1798	dedicated to Count Johann Georg Browne; Hess 28 is a second Trio for the Scherzo
Bia. 153	Op. 9 #2, Grove 9	String Trio in D major	1797 - 1798	dedicated to Count Johann Georg Browne
Bia. 153	Op. 9 #3, Grove 9	String Trio in C minor	1797 - 1798	dedicated to Count Johann Georg Browne
Bia. 154		Sketch for Piano & Cello in C Major: for a Rondo; authorship: unfinished	1798
Bia. 155		Sketch for Instrument(s) in C Minor: for a Sonata ; authorship: unfinished	1798
Bia. 156	Op. 11, Grove 11	Trio for Piano, Clarinet or Violin, & Cello in B flat major: "Gassenhauer Trio"	1797 - 1798	dedicated to Countess Maria Wilhelmine von Thun
Bia. 157	Op. 10 #1, Grove 10	Piano Sonata No. 5 in C minor	1795 - 1797	dedicated to Countess Anna Margarete Browne; also see WoO 52, WoO 53 and Hess 69
Bia. 157	Op. 10 #2, Grove 10