|
Hess |
Midi |
Mp3 |
Same As |
Name |
Composition Dates |
Dedicatee |
Notes |
|
Hess 1 |
 |
 |
|
Fragment in F major |
1812 |
|
original ending to first movement of Symphony
No. 8, Opus 93 |
|
Hess 2 |
|
|
WoO 12 |
12 Minuets for Orchestra; authorship: not certain |
1799 |
|
written by Beethoven’s brother Carl, possibley
with Ludwig’s help |
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #1 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #2 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #3 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #4 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #5 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #6 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #7 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #8 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #9 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #10 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #11 of 12
Ecossaises |
|
|
|
|
Hess 3 |
|
|
|
Ecossaise for Piano: or orchestra; #12 of 12
Ecossaises |
|
|
|
|
Hess 4 |
|
|
WoO 23 |
Ecossaise for Wind Band in G major; authorship:
reconstruction |
1810 |
|
lost; known only in Czerny’s piano arrangement |
|
Hess 5 |
|
|
WoO 13 #1 |
Dance for Orchestra in D major: #1 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #2 |
Dance for Orchestra in B flat major: #2 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #3 |
Dance for Orchestra in G major: #3 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #4 |
Dance for Orchestra in D major: #4 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #5 |
Dance for Orchestra in F major: #5 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #6 |
Dance for Orchestra in B flat major: #6 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #7 |
Dance for Orchestra in D major: #7 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #8 |
Dance for Orchestra in G major: #8 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #9 |
Dance for Orchestra in E flat major: #9 of 12
German Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #10 |
Dance for Orchestra in C major: #10 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #11 |
Dance for Orchestra in A major: #11 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 5 |
|
|
WoO 13 #12 |
Dance for Orchestra in D major: #12 of 12 German
Dances; surviving piano version |
1792 - 1797 |
|
|
|
Hess 6 |
|
|
|
March for Wind Band in F major: "York’scher
March für die bohmische Landwehr" (Yorck
March) |
1809 - 1810 |
Archduke Anton |
version of WoO 18 without trio; Hess 99 is piano
version; Beethoven added a trio in B flat c. 1822;
published in 1819 without his knowledge and falsely
ascribed to Count Yorck von Wartenburg’s
reserve corps |
|
Hess 7 |
|
|
WoO 18 |
March & Trio for Wind Band in F major: "York’scher
March für die bohmische Landwehr" (Yorck
March) |
1809 - 1810 |
Archduke Anton |
Hess 99 is piano version; Hess 6 is version
without trio; Beethoven added a trio in B flat
c. 1822; published in 1819 without his knowledge
and falsely ascribed to Count Yorck von Wartenburg’s
reserve corps |
|
Hess 8 |
|
|
|
March for Wind Band in F major |
1810 |
Archduke Anton |
version of WoO 19 without trio; written for
a ‘carrousel’; Beethoven added a trio
in F minor c. 1822 |
|
Hess 9 |
|
|
WoO 19 |
March & Trio for Wind Band in F major |
1810 |
Archduke Anton |
written for a ‘carrousel’; Hess 8
is version without trio; Beethoven added a trio
in F minor c. 1822 |
|
Hess 10 |
|
|
WoO 5 |
Fragment for Violin & Orchestra in C major;
authorship: unfinished |
1790 - 1792 |
Gerhard von Breuning |
fragment of first movement of a Concerto; three
completions made |
|
Hess 11 |
|
|
|
Romance No. 3 for Violin & Orchestra |
1816 |
|
|
|
Hess 12 |
|
|
|
Concerto for Oboe & Orchestra in F major:
fragments |
1790 - 1793 |
|
lost, but sketch remains |
|
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 |
|
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 |
|
Hess 15 |
|
|
|
Fragment for Piano & Orchestra in D major;
authorship: unfinished |
1814 - 1815 |
|
fragment for a Piano Concerto #6 |
|
Hess 16 |
|
|
|
Fantasia for Piano, Chorus & Orchestra |
1808 |
|
original introduction to the "Chorfantasie"
(Choral Fantasy) Opus 80 |
|
Hess 17 |
|
|
WoO 26 |
Duo for Flutes in G major: Allegro and Minuet |
1792 |
J.M. Degenhart |
|
|
Hess 18 |
|
|
WoO 28 |
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 |
|
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 |
|
Hess 20 |
|
|
WoO 17 #1 |
Waltz for Instrument(s) in E flat major: #1
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #2 |
Minuet for Instrument(s) in B flat major: #2
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #3 |
Waltz for Instrument(s) in B flat major: #3
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #4 |
Minuet for Instrument(s) in E flat major: #4
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #5 |
Minuet for Instrument(s) in E flat major: #5
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #6 |
Ländler for Instrument(s) in E flat major:
#6 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #7 |
Minuet for Instrument(s) in B flat major: #7
of 11 Mödlinger Tänze for 7 String &
Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #8 |
Ländler for Instrument(s) in B flat major:
#8 of 11 Mödlinger Tänze for 7 String
& Wind Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #9 |
Minuet for Instrument(s) in G major: #9 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #10 |
Waltz for Instrument(s) in D major: #10 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 20 |
|
|
WoO 17 #11 |
Waltz for Instrument(s) in D major: #11 of 11
Mödlinger Tänze for 7 String & Wind
Instruments; authorship: probably spurious |
1819 |
|
|
|
Hess 21 |
|
|
|
Andante con Variazioni for Wind Band; authorship:
not certain |
1802 |
|
arrangement of Septet Opus 20 for 11-piece Military
Band (fragments); Beethoven’s involvement
with arrangement uncertain |
|
Hess 22 |
|
|
|
Duo for Viola & Cello in E flat major: "mit
zwei obligaten Augengläsern" (with 2
obbligato eyeglasses) |
1796 - 1797 |
written for Nikolaus Zmeskall |
1st movement of WoO 32; Hess 22, 23 & 24
together make up WoO 32 |
|
Hess 23 |
|
|
|
Minuet for Viola & Cello in E flat major:
"mit zwei obligaten Augengläsern"
(with 2 obbligato eyeglasses), 3rd movement |
1796 - 1797 |
written for Nikolaus Zmeskall |
Hess 22, 23 & 24 together make up WoO 32 |
|
Hess 24 |
|
|
|
Fragment for Viola & Cello |
1796 |
written for Nikolaus Zmeskall |
fragment of 2nd (slow) movement of "mit
zwei obligaten Augengläsern" (with 2
obbligato eyeglasses) WoO 32; Hess 22, 23 &
24 together make up WoO 32 |
|
Hess 25 |
|
|
|
String Trio |
1793 |
|
possibly original finale to Trio Opus 3 |
|
Hess 26 |
|
|
WoO 9 #1 |
Minuet for Violins & Cello in E flat major:
#1 of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #2 |
Minuet for Violins & Cello in G major: #2
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #3 |
Minuet for Violins & Cello in C major: #3
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #4 |
Minuet for Violins & Cello in F major: #4
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #5 |
Minuet for Violin & Cello in D major: #5
of 6 Minuets |
1795 |
|
|
|
Hess 26 |
|
|
WoO 9 #6 |
Minuet for Violins & Cello in G major: #6
of 6 Minuets |
1795 |
|
|
|
Hess 27 |
|
|
WoO 11 |
7 Ländler for Violins & Cello in D
major: surviving piano version |
1799 |
|
|
|
Hess 28 |
|
|
|
String Trio |
1797 |
|
2nd trio to the Scherzo for Opus 9 #1 |
|
Hess 29 |
|
|
|
Prelude & Fugue for Violins & Cello
in E minor |
1794 - 1795 |
|
written during the studies with Albrechtsberger |
|
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 |
|
Hess 31 |
|
|
|
Prelude & Fugue for String Quartet in C
major |
1794 - 1795 |
|
written during the studies with Albrechtsberger |
|
Hess 32 |
|
|
|
String Quartet in F major |
1799 |
Karl Amenda |
first version of the Quartet Opus 18 #1 |
|
Hess 33 |
|
|
|
Minuet for String Quartet in A flat major |
1790 - 1792 |
|
piano version is Hess 88 |
|
Hess 34 |
|
|
|
String Quartet in F major |
1801 - 1802 |
Baroness Josephine von Braun |
after the Piano Sonata #9, Opus 14 #1 |
|
Hess 35 |
|
|
|
Fragment for String Quartet in B minor; authorship:
reconstruction |
1817 |
|
fragment of fugue #24 from Well-Tempered Clavier
(Book One) by J S Bach, arranged for string quartet
by Beethoven |
|
Hess 36 |
|
|
|
Fugue for String Quartet: from Handel’s
"Solomon" overture, arranged for string
quartet by Beethoven |
1798 |
|
|
|
Hess 37 |
|
|
|
Fugue for Piano Four Hands in C minor: by W
A Mozart, KV 426, as revised by Beethoven |
|
|
Biamonti Appendix I #7 is version for orchestra |
|
Hess 38 |
|
|
|
Fugue for String Quintet in B flat minor |
1801 - 1802 |
|
fugue #24 from Well-Tempered Clavier (Book One)
by J S Bach, arranged for string quintet by Beethoven |
|
Hess 39 |
|
|
|
String Quintet in F Major |
|
|
lost; known only from posthumous writings |
|
Hess 40 |
|
|
|
String Quintet in D minor: movement; authorship:
unfinished |
1817 |
|
may have been the Prelude to a Fugue, since
lost |
|
Hess 41 |
|
|
WoO 62 |
String Quintet in C major: "Letzter musikalischer
Gedanke" (last musical thought); authorship:
unfinished at death |
1826 |
|
exists only in transcription for piano |
|
Hess 42 |
|
|
WoO 34 |
Duo for Violins in A major: for Alexandre Boucher |
1822 |
Alexandre Boucher |
|
|
Hess 43 |
|
|
WoO 44 #1 |
Sonatina for Mandolin & Harpsichord in C
major: called WoO 44a |
1796 |
written for Countess Josephine
de Clary |
|
|
Hess 44 |
|
|
|
Adagio ma non troppo for Mandolin & Harpsichord
in E flat major |
|
|
later revision of WoO 43b |
|
Hess 45 |
|
|
WoO 44 #2 |
Andante con Variazioni for Mandolin & Harpsichord
in D major: called WoO 44b |
1796 |
Countess Josephine de Clary |
|
|
Hess 46 |
|
|
|
Sonata for Piano & Violin in A major; authorship:
unfinished |
1790 - 1792 |
|
fragments |
|
Hess 47 |
|
|
|
Piano Trio |
|
|
arrangement of String Trio Opus 3 (1st movement
and fragment of 2nd movement) |
|
Hess 48 |
|
|
|
Allegretto for Piano Trio in E flat major |
1790 - 1792 |
|
|
|
Hess 49 |
|
|
|
Piano Trio in E Flat Major |
1786 |
|
|
|
Hess 50 |
|
|
|
Piano Trio in B Flat Major |
1786 |
|
|
|
Hess 51 |
|
|
WoO 48 |
Rondo for Piano in C major |
1783 |
|
|
|
Hess 52 |
|
|
|
Piano Sonata in C Major |
|
|
|
|
Hess 53 |
|
|
WoO 50 |
2 Sonata Movements for Piano in F major |
1790 - 1792 |
Franz Wegeler |
|
|
Hess 54 |
|
|
|
Variations for Piano: on Amenda’s theme
"Freudvoll und Liedvoll" |
|
|
|
|
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. |
|
Hess 56 |
|
|
WoO 61 #1 |
Bagatelle for Piano in G minor: called WoO 61a |
1825 |
Sarah Burney Page |
originally thought to have been written for
a Lady Clifford |
|
Hess 57 |
|
|
|
Sketch for Piano in C major; authorship: unfinished |
1824 |
|
for a piano piece |
|
Hess 58 |
|
|
|
Exercise for Piano in B flat major |
1800 |
|
|
|
Hess 59 |
|
|
|
Exercise for Piano in C major |
1792 - 1800 |
|
|
|
Hess 60 |
|
|
|
Draft for Piano in A major; authorship: unfinished |
1793 |
|
|
|
Hess 61 |
|
|
|
Anglaise for Piano in D major |
1793 - 1800 |
|
|
|
Hess 62 |
|
|
WoO 61 |
Allegretto for Piano in B minor |
1821 |
Ferdinand Piringer |
|
|
Hess 63 |
|
|
|
Piece for Piano: arrangement of Christian Friedrich Daniel Schubart's
"Kaplied" by Beethoven |
1789 |
|
|
|
Hess 64 |
|
|
|
3-part Fugue for Piano in C major |
1794 - 1795 |
|
|
|
Hess 65 |
|
|
|
Piece for Piano in C major: Little Concert Finale |
1820 - 1821 |
|
from the 3rd Piano Concerto Opus 37, for piano
solo |
|
Hess 66 |
|
|
|
Allegretto for Piano in C minor |
1796 - 1797 |
|
second setting of WoO 53; may also have been
intended for the Piano Sonata #5 Opus 10 #1 |
|
Hess 67 |
|
|
|
2 German Dances for Piano: in F major and F
minor |
1811 |
|
|
|
Hess 68 |
|
|
|
Ländler for Piano in C minor |
1803 |
|
|
|
Hess 69 |
|
|
|
Allegretto for Piano in C minor |
1794 |
|
Jos van der Zanden, in his article in Bonner Beethoven-Studien, proved that Hess 69 dates from the year 1794. Furthermore he proved that there is no connection whatsoever with Opus 10 as usually thought. |
|
Hess 70 |
|
|
|
Adagio for Piano in G major |
1803 - 1804 |
|
|
|
Hess 71 |
|
|
|
Movement for Piano in G major: molto adagio |
1803 - 1804 |
|
|
|
Hess 72 |
|
|
|
Variations for Piano in A major: theme with
one variation |
1803 |
|
|
|
Hess 73 |
|
|
|
Bagatelle for Piano in C major |
1800 |
|
|
|
Hess 74 |
|
|
|
Bagatelle for Piano in E flat major |
1800 |
|
|
|
Hess 75 |
|
|
WoO 200 |
Piece for Piano in G major: "O Hoffnung,
du stählst die Herzen, du milderst die Schmerzen" |
1818 |
written for Archduke Rudolph
of Austria |
written as a theme for Archduke Rudolph, who
composed forty variations on it; also see Hess
335 |
|
Hess 76 |
|
|
|
Cadenza for Piano in C major; authorship: unfinished |
1795 - 1799 |
|
fragments & sketches for a cadenza to Piano
Concerto #1, Opus 15 |
|
Hess 77 |
|
|
|
Cadenza for Piano in C major |
1809 |
|
written for Anna Fröhlich; for Piano Concerto #1, Opus 15 (first
movement); lost |
|
Hess 78 |
|
|
|
Cadenza for Piano in C major |
|
|
for Piano Concerto #1, Opus 15 (third movement) |
|
Hess 79 |
|
|
|
Cadenza for Piano; authorship: unfinished |
1792 - 1796 |
|
sketches and fragments for cadenza to first
version of Piano Concerto #2, Opus 19 |
|
Hess 80 |
|
|
|
Cadenza for Piano; authorship: spurious |
|
|
for Piano Concerto #3, Opus 37 (first movement);
now known to be by (Sigismond?) Thalberg |
|
Hess 81 |
|
|
|
Cadenza for Piano |
1807 |
|
for Piano Concerto #4, Opus 58 (first movement
) |
|
Hess 82 |
|
|
|
Cadenza for Piano |
1807 |
|
cadenza "sensa misura" for the Rondo
of Piano Concerto #4, Opus 58 |
|
Hess 83 |
|
|
|
Cadenza for Piano |
1807 |
|
very brief cadenza to the Rondo of Piano Concerto
#4, Opus 58 |
|
Hess 84 |
|
|
|
Rondo for Piano |
|
|
solo passage for the Rondo of the piano version
of the Violin Concerto, Opus 61 |
|
Hess 85 |
|
|
|
Cadenza for Piano |
|
|
new cadenza for the Rondo of the piano version
of the Violin Concerto, Opus 61 |
|
Hess 86 |
|
|
Op. 134 |
Fugue for Piano Four Hands: Große Fuge
for Piano Four Hands |
1826 |
Archduke Rudolph of Austria |
after the String Quartet fugue Opus 133 |
| Hess 87 |
|
|
|
March for Piano: "Grenadiermarsch" |
1797 - 1798 |
|
March for 6 wind instruments, WoO 29, arranged
for piano by Beethoven; also see Hess 107 |
| 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 |
|
Hess 89 |
|
|
|
Ballet Music for Piano: "Ritterballet" |
1791 |
|
"Ritterballet", WoO 1, arranged for
piano by Beethoven |
|
Hess 90 |
|
|
|
Ballet Music for Piano: "Die Geschöpfe
des Prometheus" (The Creatures of Prometheus) |
1801 |
Princess Christiane Lichnowsky
(née Thun) |
Opus 43, arranged for piano by Beethoven |
|
Hess 91 |
|
|
|
Song: "Opferlied" (Sacrificial Song);
"Die Flamme lodert" |
1824 - 1825 |
|
Opus 121b set for voice, chorus and piano; 5
arrangements over 30 yrs; also see WoO 126 &
Hess 145 |
|
Hess 92 |
|
|
|
Song: "Bundeslied" (Song of Fellowship) |
1824 - 1825 |
|
words: Goethe; Opus 122 set for 2 voices, chorus
and piano |
|
Hess 93 |
|
|
|
Song in A major: "Freudvoll und Leidvoll" |
1810 |
|
simplified setting of song from "Egmont"
Opus 84, for voice and piano, also see Hess 94
& Hess 95 |
|
Hess 94 |
|
|
|
Song in G major: "Freudvoll und Leidvoll" |
1810 |
|
song from "Egmont" Opus 84, for piano;
also see Hess 93 & Hess 95 |
|
Hess 95 |
|
|
|
Song in F major: "Freudvoll und Leidvoll" |
1810 |
|
song from "Egmont" Opus 84, for piano;
also see Hess 93 & Hess 94 |
|
Hess 96 |
|
|
|
Fragment for Piano; authorship: unfinished |
1813 |
|
fragment of Symphony #7, Opus 92, for piano
- first 46 measures of first movement |
|
Hess 97 |
|
|
|
Piece for Piano: "Wellingtons Sieg, oder
die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1816 |
|
Opus 91 set for piano and two cannons |
|
Hess 98 |
|
|
|
Scherzo for Piano; authorship: unfinished |
1794 - 1799 |
|
from the Piano Trio Opus 1 #2, for piano solo |
|
Hess 99 |
|
|
|
March for Piano in F major: Military march "Yorck’cher
Marsch" "für die böhmische
landwehr" |
1809 - 1810 |
|
WoO 18 (actually Hess 6), for piano |
|
Hess 100 |
|
|
|
12 German Dances for Piano |
1795 |
|
dances for orchestra WoO 8, for piano |
|
Hess 101 |
|
|
|
12 Minuets for Piano |
1795 |
|
minuets for orchestra WoO 7, for piano |
|
Hess 102 |
|
|
|
9 Contredanses for Piano |
1791 - 1801 |
|
9 of 12 contredanses for orchestra WoO 14, for
piano (#1, 2, 4, 5, 7, 8, 9, 10 & 12) |
|
Hess 103 |
|
|
WoO 33 #1 |
Piece for Musical Clock in F major: or for flute;
Adagio assai; #1 of 5 pieces |
1799 |
|
|
|
Hess 104 |
|
|
WoO 33 #2 |
Piece for Musical Clock in G major: or for flute;
Scherzo-Allegro; #2 of 5 pieces |
1799 - 1800 |
|
|
|
Hess 105 |
|
|
WoO 33 #3 |
Piece for Musical Clock in G major: or for flute;
Allegro; #3 of 5 pieces |
1799 |
|
|
|
Hess 106 |
|
|
WoO 33 #4 |
Piece for Musical Clock in C major: or for flute;
Allegro non piu molto; #4 of 5 pieces |
1794 |
|
|
|
Hess 106 |
|
|
WoO 33 #5 |
Piece for Musical Clock in C major: or for flute;
Minuet-Allegretto; #5 of 5 pieces |
1794 |
|
|
|
Hess 107 |
|
|
|
Grenadier March for Musical Clock in F major:
"Grenadiermarsch" |
1798 |
|
WoO 29 for musical clock; consists of a 20-bar
march by Haydn, an original transition, and an
arrangement of the March WoO 29 |
|
Hess 108 |
|
|
|
Piece for Panharmonikon: "Wellingtons Sieg,
oder die Schlacht bei Vittoria" (Wellington’s
Victory, or the Battle of Vittoria) |
1813 |
|
original version of Opus 91, second part ("Siegessymphonie") |
|
Hess 109 |
|
|
Op. 72 |
Opera: "Leonore, oder Der Triumph der ehelichen
Liebe" (Leonore, or The Triumph of Married
Love); 1805 version of "Fidelio" with
overture "Leonore II" |
1804 - 1805 |
|
Libretto: Joseph Sonnleithner after Jean-Nicolas
Bouilly; Hess originally had access to only the
piano reduction; the complete score has since
been found |
|
Hess 110 |
|
|
Op. 72 |
Opera: "Leonore, oder Der Triumph der ehelichen
Liebe" (Leonore, or The Triumph of Married
Love); 1806 version of "Fidelio" with
overture "Leonore III" |
1805 - 1806 |
|
Libretto: Joseph Sonnleithner, revised by Stephan
von Breuning; Hess originally had access to only
the piano reduction; the complete score has since
been found |
|
Hess 110 #4 |
|
|
|
Trio for Solo Voice(s) & Orchestra: "Gut,
söhnchen, gut" |
1806 |
|
from 1806 version of "Leonore", Opus
72 |
|
Hess 110 #8 |
|
|
|
Recitative & Aria for Solo Voice(s) &
Orchestra: "Ach, brich noch nicht - Komm,
Hoffnung" |
1806 |
|
from 1806 version of "Leonore", Opus
72 |
|
Hess 110 #12 |
|
|
|
Finale for Solo Voice(s) & Orchestra |
1806 |
|
Finale to Act I from 1806 version of "Leonore",
Opus 72 |
|
Hess 111 |
|
|
|
Duet: "Nur hurtig fort, nur frisch gegraben" |
1805 |
|
early version before 1805 version of "Leonore",
Opus 72 |
|
Hess 112 |
|
|
|
Aria: Rocco’s Gold Aria |
1806 |
|
cut from the 1806 version of "Leonore",
Opus 72 |
|
Hess 113 |
|
|
|
Aria: Marcellina’s aria "O wär
ich schon mit dir vereint" |
1814 |
|
1814 version, with an abbreviated ending |
|
Hess 114 |
|
|
|
Recitative for Solo Voice(s) & Orchestra |
1814 |
|
for Don Fernando in the 2nd Finale for "Fidelio",
Dresden version |
|
Hess 115 |
|
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): "Vesta’s Feuer";
authorship: unfinished |
1803 |
|
fragment of first scene; words: Emanuel Schikaneder |
|
Hess 116 |
|
|
|
Fragment for Solo Voice(s): "Ritterblatt";
authorship: unfinished |
|
|
|
|
Hess 117 |
|
|
WoO 2 #1 |
Triumphal March for Orchestra in C major: "Tarpeja" |
1813 |
|
Christoph Kuffner’s drama |
|
Hess 117 |
|
|
WoO 2 #2 |
Entr’acte in D major: "Tarpeja" |
1813 |
|
now thought to be from the opening of Act II
from "Leonore" 1805 |
|
Hess 118 |
|
|
Op. 113 |
Overture: "Die Ruinen von Athen" (The
Ruins of Athens) |
1811 |
|
music to Kotzebue’s festival play; Hess
118 includes Opus 124, Opus 114, WoO 98, and parts
of Opus 113 |
|
Hess 118 |
|
|
Op. 114 |
March for Orchestra & Chorus: for "Die
Weihe des Hauses" |
1822 |
|
1822 adaptation of no. 6 from "Die Ruinen
von Athen"; see Opus 113; Hess 118 includes
Opus 124, Opus 114, WoO 98, and parts of Opus
113 |
|
Hess 118 |
|
|
Op. 124 |
Overture in C major: "Die Weihe des Hauses"
(The Consecration of the House) |
1822 |
Prince Nikolas Borissovich
Galitzin |
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Hess 118 |
|
|
WoO 98 |
Chorus for Orchestra, Chorus & Solo Voice(s):
"Wo sich die Pulse jugendlich jagen"
chorus with soprano solo for the festive play
"Die Weihe des Hauses" |
1822 |
|
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Hess 118 |
|
|
|
Music for a drama for Orchestra, Chorus &
Solo Voice(s): for Meisl’s festival play
"Die Weihe des Hauses" (The Consecration
of the House) |
1822 |
|
Hess 118 includes Opus 124, Opus 114, WoO 98,
and parts of Opus 113 |
|
Hess 119 |
|
|
WoO 92 #1 |
Scene & Aria: "No, non turbarti";
for soprano w/ string orchestra, WoO 92a |
1802 |
|
words: Pietro Metastasio: "Cantata la tempesta" |
|
Hess 120 |
|
|
WoO 93 |
Duo for Solo Voice(s) & Orchestra: "Ne’
giorni tuoi felici"; for soprano & tenor
w/ orchestra |
1802 |
|
words: Pietro Metastasio: "Olimpiade" |
|
Hess 121 |
|
|
|
Aria in C major: Marcellina’s aria "O
wär ich schon mit dir vereint" |
1806 |
|
prepared for 1806 version of "Leonore"
Opus 72 |
|
Hess 122 |
|
|
|
Aria in C minor: Marcellina’s aria "O
wär ich schon mit dir vereint" |
1807 |
|
prepared for 1806 version of "Leonore",
Opus 72 |
|
Hess 123 |
|
|
|
Song |
1813 - 1814 |
|
words: Zacharias Werner |
|
Hess 124 |
|
|
WoO 105 |
Song in A major: "Hochzeitslied" for
bass, chorus & piano "Auf Freunde, singt
dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio
del Rio |
words: Anton Joseph Stein; written for the marriage
of Leopold Schmerling & Anna Giannatasio del
Rio; unison version of Hess 125 (same WoO #) |
|
Hess 125 |
|
|
WoO 105 |
Song in C major: "Hochzeitslied" "Auf
Freunde, singt dem Gott der Ehen!" |
1819 |
written for Anna Giannatasio
del Rio |
words: Anton Joseph Stein; written for the marriage
of Leopold Schmerling & Anna Giannatasio del
Rio; unison version of Hess 124 (same WoO #) |
|
Hess 126 |
|
|
WoO 111 |
Song in G major: "Punschlied"; "Wer
nicht, wenn warm von Hand zu Hand" |
1791 - 1792 |
|
words: Anonymous |
|
Hess 127 |
|
|
WoO 103 |
Cantata in B flat major: "Un lieto brindisi:
Cantata campestre" for 4 voices & piano
acc "Johannisfeier begehn wir heute" |
1814 |
written for Giovanni Malfatti |
words: Clementi Bondi |
|
Hess 128 |
|
|
WoO 112 |
Song in G major: "An Laura"; "Freud’
umblühe dich auf allen Wegen" |
1792 |
|
words: Friedrich von Matthisson |
|
Hess 129 |
|
|
WoO 116 #1 |
Song in C minor: "Que le temps me dure"
1st version |
1793 |
|
words: Jean Jacques Rousseau; not fully notated |
|
Hess 130 |
|
|
WoO 116 #2 |
Song in C major: "Que le temps me dure"
2nd version |
1793 |
|
words: Jean Jacques Rousseau; not fully notated |
|
Hess 131 |
|
|
WoO 128 |
Song in G major: "Plaisir d’aimer"
"Plaisir d’aimer besoin d’une âme
tendre" |
1798 - 1799 |
|
words: Anonymous |
|
Hess 132 |
|
|
WoO 151 |
Song in G major: "Der edle Mensch sei hülfreich
und gut" |
1823 |
written for Baroness Cäcilie
von Eskeles |
words: Goethe |
|
Hess 133 |
|
|
|
Song: "Das liebe Kätzchen" (Austrian);
"Unsa Kaz had Kazln g’habt" |
1820 |
|
|
|
Hess 134 |
|
|
|
Song: "Der Knabe auf dem Berge" (Austrian);
"Duart ob’n af’m Beargerl gu gu" |
1820 |
|
|
|
Hess 135 |
|
|
WoO 125 |
Song in E flat major: "La tiranna",
Canzonetta; "Ah grief to think!" |
1798 - 1799 |
|
English words: William Wennington |
|
Hess 136 |
|
|
WoO 127 |
Song in C major: "Neue Liebe, neues Leben"
(New love, new life); "Herz, mein Herz, was
soll das geben?" (1st setting) |
1798 - 1799 |
|
Words: Goethe; 2nd setting is Opus 75 #2 |
|
Hess 137 |
|
|
|
Song: "Ich wiege dich in meinem Arm" |
1795 |
|
lost; title incorrectly given by Hess as "Schwinge
dich in meinen Dom"; author unknown |
|
Hess 138 |
|
|
|
Song: "Odorata - o Nice" |
1815 - 1817 |
|
|
|
Hess 139 |
|
|
|
Song: "Minnesold von Burger, in Tönen
an Amenda ausbezahlt" |
1798 - 1799 |
|
Lost; words: Bürger? |
|
Hess 140 |
|
|
|
Song: "Dimmi, ben mio, che m’ami" |
1811 |
|
later version of Opus 82 #1 |
|
Hess 141 |
|
|
|
Song: "Bußlied" |
1803 |
|
another version of last 12 bars of Opus 48 #6 |
|
Hess 142 |
|
|
|
Song: "Wonne der Wehmut" |
1810 |
|
earlier version of Opus 83 #1 |
|
Hess 143 |
|
|
|
Song: "An die Freude" |
1793 - 1799 |
|
words: Friedrich von Schiller; lost; 2 brief
sketches survive from 1798 |
|
Hess 144 |
|
|
|
Song: "Feuerfarb’" |
1792 |
|
earlier version of Opus 52 #2 |
|
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 |
|
Hess 146 |
|
|
|
Song: "Der freie Mann" |
1792 - 1793 |
|
words: Pfeffel; another, probably earlier version
of WoO 117 |
|
Hess 147 |
|
|
|
Song: "Der Kuss" |
1798 |
|
first version of Opus 128 |
|
Hess 148 |
|
|
WoO 131 |
Sketch for Solo Voice(s) & Instrument(s)
in D minor: "Erlkönig" "Wer
reitet so spat durch Nacht und Wind?"; authorship:
unfinished |
1794 - 1796 |
|
words: Goethe |
|
Hess 149 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketches for a Song "Rastlose Liebe";
authorship: unfinished |
1796 - 1810 |
|
words: Goethe |
|
Hess 150 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s):
sketch for a Song "Heidenröslein";
authorship: unfinished |
1793 - 1796 |
|
words: Goethe |
|
Hess 151 |
|
|
|
Sketch for Solo Voice(s) & Instrument(s)
in D Major: sketch for a Song "Traute Henriette";
authorship: unfinished |
1792 - 1793 |
|
words: Anonymous |
|
Hess 152 |
|
|
WoO 158 #1 |
Folksong Setting in A major: "Adieu, my
lov’d harp" (Irish) WoO 158b; #1 of
7 British folk songs |
1813 |
|
words: Moore |
|
Hess 153 |
|
|
WoO 158 #2 |
Folksong Setting in E flat major: "Castle
O’Neill" (Irish), without words, WoO
158b; #2 of 7 British folk songs |
1813 |
|
|
|
Hess 154 |
|
|
WoO 158 #3 |
Folksong Setting in F major: "Oh ono chri!"
(Scottish) "O was not I a weary wight"
WoO 158b; #3 of 7 British folk songs |
1817 |
|
|
|
Hess 155 |
|
|
WoO 158 #4 |
Folksong Setting: "Red gleams the sun on
yon hill tap" (Scottish) WoO 158b; #4 of
7 British folk songs |
1817 |
|
|
|
Hess 156 |
|
|
WoO 158 #1 |
Folksong Setting: "Ridder Stigs Runer"
(Danish) "Ridder nah’n dem Konigsschloss"WoO
158a; #1 of 23 continental folk songs |
1817 |
|
|
|
Hess 157 |
|
|
WoO 158 #5 |
Folksong Setting in G major: "Erin! O Erin!"
(Scottish-Irish) "Like the bride lamp that
lay" WoO 158b; #5 of 7 British folk songs |
1815 |
|
|
|
Hess 158 |
|
|
WoO 158 #11 |
Folksong Setting: "Yo no quiero embarcarme"
(Iberian) WoO 158a; #11 of 23 continental folk
songs |
1816 |
|
|
|
Hess 159 |
|
|
WoO 158 #12 |
Folksong Setting: "Seus lindos olhos"
(Portuguese) WoO 158a; #12 of 23 continental folk
songs |
1816 |
|
|
|
Hess 160 |
|
|
WoO 158 #13 |
Folksong Setting: "Vo lesocke komarockov
mnogo urodilos" (Im Walde sind viele Mücklein
geboren) (Russian) WoO 158a; #13 of 23 continental
folk songs |
1816 |
|
|
|
Hess 161 |
|
|
WoO 158 #14 |
Folksong Setting: "Akh, recen’ki,
recen’ki" (Ach Bächlein, Bächlein,
kühle Wasser) (Russian) WoO 158a; #14 of
23 continental folk songs |
1816 |
|
|
|
Hess 162 |
|
|
WoO 158 #15 |
Folksong Setting: "Kak Posli nasi podruzki"
(As They Went) (Unsere Mädchen gingen in
den Wald) (Russian) WoO 158a; #15 of 23 continental
folk songs |
1816 |
|
|
|
Hess 163 |
|
|
WoO 158 #19 |
Folksong Setting: "Una paloma blanca"
(Spanish Bolero a Solo) WoO 158a; #19 of 23 continental
folk songs |
1816 |
|
|
|
Hess 164 |
|
|
WoO 158 #20 |
Folksong Setting: "Como la mariposa soy"
(Spanish Bolero a due) WoO 158a; #20 of 23 continental
folk songs |
1816 |
|
Hess 207 is the first version of the coda |
|
Hess 165 |
|
|
WoO 158 #21 |
Folksong Setting: "Tiranilla Española"
(Spanish); "La tiranna se embarca" WoO
158a; #21 of 23 continental folk songs |
1816 |
|
|
|
Hess 166 |
|
|
WoO 158 #1 |
Folksong Setting in E minor: "When my Hero
in court appears" WoO 158c; #1 of 6 assorted
folk songs |
1817 |
|
words: John Gay |
|
Hess 167 |
|
|
WoO 158 #2 |
Folksong Setting in B flat major: "Air
de Colin" from Rousseau’s "Le Devin
du Village"; "Non, non, Colette n’est
point trompeuse" WoO 158c; #2 of 6 assorted
folk songs |
1817 |
|
words: Rousseau |
|
Hess 168 |
|
|
WoO 158 |
Folksong Setting in F major: "Air Français"
(French) WoO 158d |
1817 |
|
no text or title |
|
Hess 169 |
|
|
WoO 158 #3 |
Folksong Setting in B major: "Mark yonder
pomp of costly fashion" (Scottish) WoO 158c;
#3 of 6 assorted folk songs |
1820 |
|
words: Robert Burns |
|
Hess 170 |
|
|
WoO 158 #6 |
Folksong Setting in A minor: "O Mary ye’s
be clad in silk" (Scottish) WoO 158b; #6
of 7 British folk songs |
1815 |
|
|
|
Hess 171 |
|
|
WoO 158 #18 |
Folksong Setting: "An ä Bergli bin
i gesässe" (Swiss) WoO 158a; #18 of
23 continental folk songs |
1816 |
|
|
|
Hess 172 |
|
|
WoO 158 #2 |
Folksong Setting: "Horch auf, mein Liebchen"
(German) WoO 158a; #2 of 23 continental folk songs |
1816 |
|
|
|
Hess 173 |
|
|
WoO 158 #3 |
Folksong Setting: "Wegen meiner blieb d’Fräula"
(German) WoO 158a; #3 of 23 continental folk songs |
1816 |
|
|
|
Hess 174 |
|
|
WoO 158 #4 |
Folksong Setting: "Wann i in der Früh
aufsteh" (Tyrolean) WoO 158a; #4 of 23 continental
folk songs |
1816 |
|
|
|
Hess 175 |
|
|
WoO 158 #4 |
Folksong Setting in A major: "Bonnie wee
thing" (Scottish) for 3 voices and piano
WoO 158c; #4 of 6 assorted folk songs |
1820 |
|
words: Robert Burns |
|
Hess 176 |
|
|
WoO 158 #5 |
Folksong Setting in B flat major: "From
thee, Eliza, I must go" (Scottish) for 3
voices and piano trio WoO 158c; #5 of 6 assorted
folk songs |
1818 |
|
words: Robert Burns |
|
Hess 177 |
|
|
WoO 158 #16 |
Folksong Setting: "Schöne Minka, ich
muß scheiden" (Ukrainian-Cossack) WoO
158a; #16 of 23 continental folk songs |
1816 |
|
variations on this air: Op 107 #7 |
|
Hess 178 |
|
|
|
Folksong Setting: ‘"Tis sunshine at
last" (Irish) |
1815 |
|
duet setting of WoO 153 #13 |
|
Hess 179 |
|
|
WoO 158 #6 |
Folksong Setting in E minor: Untitled (Scottish)
without words, WoO 158c; #6 of 6 assorted folk
songs |
1810 |
|
|
|
Hess 180 |
|
|
WoO 158 #7 |
Folksong Setting in G minor: "Lament for
Owen Roe O’Neill" (Irish) without words,
WoO 158b; #7 of 7 British folk songs |
1810 |
|
|
|
Hess 181 |
|
|
WoO 158 #23 |
Folksong Setting: "Da brava, Catina"
(Venetian) WoO 158a; #23 of 23 continental folk
songs |
1816 |
|
|
|
Hess 182 |
|
|
WoO 158 #5 |
Folksong Setting: "Teppichkrämer-Lied";
"I bin a Tyroler Bua" (Tyrolean) WoO
158a; #5 of 23 continental folk songs |
1816 |
|
variations on this air: Op 107 #1 |
|
Hess 183 |
|
|
WoO 158 #6 |
Folksong Setting: "A Madel, ja a Madel"
(Tyrolean) WoO 158a; #6 of 23 continental folk
songs |
1816 |
|
variations on this air: Op 107 #5 |
|
Hess 184 |
|
|
WoO 158 #9 |
Folksong Setting: "Oj, oj upilem sie w
karczmie" (Polish) WoO 158a; #9 of 23 continental
folk songs |
1816 |
|
|
|
Hess 185 |
|
|
WoO 158 #10 |
Folksong Setting: "Poszla baba po popiol"
(Polish) WoO 158a; #10 of 23 continental folk
songs |
1816 |
|
|
|
Hess 186 |
|
|
WoO 158 #17 |
Folksong Setting: "Lilla Carl", Vaggvisa
(Swedish lullaby) WoO 158a; #17 of 23 continental
folk songs |
1817 |
|
words: C M Bellmann |
|
Hess 187 |
|
|
WoO 158 #7 |
Folksong Setting: "Wer solche Buema afipackt"
(Tyrolean) WoO 158a; #7 of 23 continental folk
songs |
1817 |
|
|
|
Hess 188 |
|
|
WoO 158 #22 |
Folksong Setting: "Édes kinos emlékezet",
"Magyar Szüretötö Enek"
(Hungarian grape harvest song) WoO 158a; #22 of
23 continental folk songs |
1817 |
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Hess 189 |
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WoO 158 #8 |
Folksong Setting: "Ih mag di nit nehma,
du töppeter Hecht" (Tyrolean) WoO 158a;
#8 of 23 continental folk songs |
1817 |
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Hess 190 |
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Folksong Setting in F major: (Irish) |
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unknown; Hess later withdrew it from the catalog |
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Hess 190 |
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Draft for Piano in D major: "Cupid’s
Kindness", (Welsh) "Dear brother" |
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completed draft of piano version of WoO 155
#21 |
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Hess 191 |
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Folksong Setting in G minor: "The Vale
of Clwyd" (Welsh) "Think not I’ll
leave" |
1810 |
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early version of WoO 155 #19, for voice &
piano |
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Hess 192 |
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Folksong Setting: "On the massacre of Glencoe"
(Irish) "O! tell me, harper" |
1813 |
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words: Sir Walter Scott; replacement setting
for WoO 152 #5 |
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Hess 193 |
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Folksong Setting: "Farewell bliss and farewell
Nancy" (Irish) |
1810 |
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early version of codas to WoO 152 #20 |
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Hess 194 |
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Folksong Setting: "I dream’d I lay
where flow’rs were springing" (Irish) |
1810 |
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words: Robert Burns; original setting of WoO
153 #5 |
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Hess 195 |
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Folksong Setting: "When far from the home"
(Irish) |
1813 |
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words: David Thomson; alternative setting for
WoO 153 #11 |
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Hess 196 |
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Folksong Setting: "I’ll praise the
saints with early song" (Irish) |
1810 |
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words: William Smyth; original setting of WoO
153 #12 |
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Hess 197 |
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Folksong Setting: "‘Tis but in vain,
for nothing thrives" (Irish) |
1810 |
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words: William Smyth; original setting of WoO
153 #15 |
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Hess 198 |
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Folksong Setting: "O would I were but that
sweet linnet!"; air: "The pretty girl
milking the cows" (Irish) |
1812 |
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words: William Smyth; original setting of WoO
154 #9 |
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Hess 199 |
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Folksong Setting: "The Soldier in a Foreign
Land", "The piper who sat on his low
mossy seat", air: "The Brown Maid"
(Irish) |
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words: Joanna Baillie; other version of WoO
154 #11 |
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Hess 200 |
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Folksong Setting: "The Maid of Isla"
(Scottish) |
1816 |
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earlier version of Opus 108 #4 |
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Hess 201 |
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Folksong Setting: "Bonnie Laddie, Highland
Laddie" (Scottish) |
1816 - 1818 |
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other version of violin part of Opus 108 #7 |
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Hess 202 |
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Folksong Setting: "O! thou art the lad
of my heart, Willy" (Scottish) |
1815 |
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first version of Opus 108 #11 |
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Hess 203 |
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Folksong Setting: "Faithfu’ Johnie"
(Scottish) "When will you come again" |
1810 |
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words: Anne Grant; original setting of Opus
108 #20 |
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Hess 204 |
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Folksong Setting: "O let the night my blushes
hide" (Welsh) |
1809 |
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original version of WoO 155 #7 |
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Hess 205 |
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Folksong Setting: "The Dream" (Welsh) |
1810 |
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another version of WoO 155 #14 |
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Hess 206 |
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Folksong Setting: "To the Blackbird"
(Welsh) "Sweet warbler of a strain divine" |
1810 |
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words: David ap Gwillim; original setting of
WoO 155 #20 |
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Hess 207 |
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Folksong Setting: "Como la mariposa soy"
(Spanish Bolero a due) |
1816 |
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first version of coda to WoO 158a #20 (Hess
164) |
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Hess 208 |
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WoO 99 #3.1 |
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) |
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Hess 209 |
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WoO 99 #3.2 |
Trio for Solo Voice(s): "Fra tutte le pene"
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Beethoven's
music - The Hess catalogue