# List of compositions by Ludwig van Beethoven

The list of compositions of Ludwig van Beethoven consists of 722 works written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only eleven years old and still in Bonn, until his last work just before his death in Vienna in 1827. Beethoven composed works in all the main genres of classical music, including symphonies, concertos, string quartets, piano sonatas and opera. His compositions range from solo works to those requiring a large orchestra and chorus.
Beethoven straddled both the Classical and Romantic periods, working in genres associated with Wolfgang Amadeus Mozart and his teacher Joseph Haydn, such as the piano concerto, string quartet and symphony, while on the other hand providing the groundwork for other Romantic composers, such as Hector Berlioz and Franz Liszt, with programmatic works such as his Pastoral Symphony and Piano Sonata "Les Adieux". Beethoven's work is typically divided into three periods: the "Early" period, where he composed in the "Viennese" style; the "Middle" or "Heroic" period, where his work is characterised by struggle and heroism, such as in the Eroica Symphony, the Fifth Symphony, the Appassionata Sonata and in his sole opera Fidelio; and the "Late" period, marked by intense personal expression and an emotional and intellectual profundity. Although his output greatly diminished in his later years, this period saw the composition of masterpieces such as the late string quartets, the final five piano sonatas, the Diabelli Variations, the Missa Solemnis and the Ninth Symphony.
Beethoven's works are classified by both genre and various numbering systems. The best-known numbering system for Beethoven's works is that by opus number, assigned by Beethoven's publishers during his lifetime. Only 172 of Beethoven's works have opus numbers, divided among 138 opus numbers. Many works that were unpublished or published without opus numbers have been assigned one of "WoO" (Werke ohne Opuszahl—works without opus number), Hess or Biamonti numbers. For example, the short piano piece "Für Elise" is more fully known as the "Bagatelle in A minor, WoO 59 ('Für Elise')". Some works are also commonly referred to by their nicknames, such as the Kreutzer Violin Sonata, or the Archduke Piano Trio.
Works are also often identified by their number within their genre. For example, the 14th string quartet, published as Opus 131, may be referenced either as "String Quartet No. 14" or "the Opus 131 String Quartet". The listings below include all of these relevant identifiers. While other catalogues of Beethoven's works exist, the numbers here represent the most commonly used.

## List of works by genre

Beethoven's works are published in several editions, the first of these was Ludwig van Beethovens Werke: Vollständige kritisch durchgesehene überall berechtigte Ausgabe published between 1862 and 1865 with a supplemental volume in 1888 by Breitkopf & Härtel, commonly known as the "Beethoven Gesamtausgabe" [GA]. While this was a landmark achievement at the time, the limitations of this edition soon became apparent. Between 1959 and 1971 Willy Hess prepared a supplemental edition, Beethoven: Sämtliche Werke: Supplemente zur Gesamtausgabe, [HS] containing works that were not in the Gesamtausgabe.
Since 1961 the Beethoven Archive has been publishing a new scholarly–critical Complete Edition of Beethoven's works, Beethoven: Werke: neue Ausgabe sämtlicher Werke [NA]. However, only 42 of the projected 56 volumes have been published so far. As this edition has not been published in full there are works without an NA designation.
Legend for publications – p: parts s: full score vs: vocal score

### Orchestral music

Beethoven wrote nine symphonies, nine concertos, and a variety of other orchestral music, ranging from overtures and incidental music for theatrical productions to other miscellaneous "occasional" works, written for a particular occasion. Of the concertos, seven are widely known (one violin concerto, five piano concertos, and one triple concerto for violin, piano, and cello); the other two are an early piano concerto (WoO 4) and an arrangement of the Violin Concerto for piano and orchestra (Opus 61a).

#### Symphonies

| No. | Title, key | Composition; first performance | Publication | Dedication, remarks | GA | NA |
| Op. 21 | Symphony No. 1 in C major | 1799–2 April 1800 | p: Leipzig 1801 | Baron Gottfried van Swieten | i/1 | i/1 |
| Op. 36 | Symphony No. 2 in D major | 1801–5 April 1803 | p: Vienna, 1804; for piano, violin, cello: Vienna, 1805 | Prince Karl von Lichnowsky | i/2 | i/1 |
| Op. 55 | Symphony No. 3 "Eroica" in E♭ major | 1803–7 April 1805 | p: Vienna, 1806 | Prince Franz Joseph von Lobkowitz | i/3 | i/2 |
| Op. 60 | Symphony No. 4 in B♭ major | 1806–March 1807 | p: Vienna, 1808 | Count Franz von Oppersdorff | i/4 | i/2 |
| Op. 67 | Symphony No. 5 "Fate" in C minor | 1807– 22 December 1808 | p: Leipzig, 1809 | Prince Lobkowitz and Count Andreas Razumovsky | i/5 | i/3 |
| Op. 68 | Symphony No. 6 "Pastoral" in F major | 1808–22 December 1808 | p: Leipzig, 1809 | Prince Lobkowitz and Count Razumovsky | i/6 | i/3 |
| Op. 92 | Symphony No. 7 in A major | 1811–8 December 1813 | s, p: Vienna, 1816 | Count Moritz von Fries | i/7 | |
| Op. 93 | Symphony No. 8 in F major | 1812–27 February 1814 | s, p: Vienna, 1817 | shortened version of end of 1st movt, HS iv | i/8 | |
| Op. 125 | Symphony No. 9 "Choral" in D minor | 1822–7 May 1824 | s, p: Mainz, 1826 | Frederick William III of Prussia | i/9 | i/5 |
Beethoven is believed to have intended to write a Tenth Symphony in the last year of his life; a performing version of possible sketches was assembled by Barry Cooper.

#### Concertos

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 4 | Piano Concerto No. 0 in E♭ major | 1784 | s: GA | survives only in pf score (with orch cues in solo part) | xxv/310 | iii/5 |
| WoO 5 | Violin Concerto in C major, (fragment) | 1790–1792 | Vienna, 1879 | part of 1st movt only; 1st edn ded. Gerhard von Breuning | HS iii | |
| Hess 12 | Oboe Concerto in F major, (lost) | 1792–1793? | | sent to Bonn from Vienna in late 1793; a few sketches survive | | |
| Op. 19 | Piano Concerto No. 2 in B♭ major | begun c. 1788, rev. 1794–1829 | p: Leipzig, 1801 | Carl Nicklas von Nickelsberg; score frag. rejected from early version, HS iii | ix/66 | iii/2 |
| | cadenza for first movement | 1809 | GA | | ix/70a | vii/7 |
| Op. 15 | Piano Concerto No. 1 in C major | 18 December 1795 rev. 1800 | p: Vienna, 1801 | Princess Barbara Odescalchi (née Countess von Keglevics) | ix/65 | iii/2 |
| | 3 cadenzas for first movement | 1809 | GA | | ix/70a | vii/7 |
| Op. 37 | Piano Concerto No. 3 in C minor | 1800–5 April 1803? | p: Vienna, 1804 | Prince Louis Ferdinand of Prussia | ix/67 | iii/2 |
| | cadenza for first movement | 1809 | GA | | ix/70a | vii/7 |
| Op. 56 | Triple Concerto for Violin, Cello, and Piano in C major | 1804–May 1808 | p: Vienna, 1807 | Prince Lobkowitz | ix/70 | iii/1 |
| Op. 58 | Piano Concerto No. 4 in G major | 1804–22 December 1808 | p: Vienna, 1808 | Archduke Rudolph of Austria | ix/68 | iii/3 |
| | 2 cadenzas for first movement, cadenza for finale | 1809? | GA | | ix/70a | vii/7 |
| | cadenza for first movement, 2 cadenzas for finale (Hess 81, 82, 83) | 1809? | NA | | HSx | vii/7 |
| Op. 61 | Violin Concerto in D major | 23 December 1806 | p: Vienna, 1808; London, 1810 | Stephan von Breuning | iv/29; HSx | iii/4 |
| Op. 61a | Beethoven's arrangement of Opus 61 for Piano in D major | 1807 | p: Vienna, 1808; London, 1810 | Julie von Breuning | ix/73 (solo part) | iii/5 |
| | Cadenza for first movement, cadenza for finale | 1809? | GA | | ix/70a | vii/7 |
| | 2 cadenzas for finale (Hess 84–85) | 1809? | NA | | HSx | vii/7 |
| Op. 73 | Piano Concerto No. 5 "Emperor" in E♭ major | 1809–28 November 1811 | p: London, 1810; Leipzig, 1811 | Archduke Rudolph | ix/69 | iii/3 |
| Hess 15 | Piano Concerto No. 6 in D major, (fragment) | 1814–1815 | | unfinished (performing version completed by Nicholas Cook) | | |

#### Other works for soloist and orchestra

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| Hess 13 | Romance Cantabile | 1786? | Wiesbaden, 1952 | intended as slow movement of larger work | HS iii | |
| WoO 6 | Rondo for Piano and Orchestra in B♭ major | 1793 | p: Vienna, 1829 | orig. finale of op.19; solo part completed by Carl Czerny for 1st ed. | ix/72; HS iii | iii/5 |
| Op. 50 | Romance for Violin and Orchestra No. 2 in F major | c. 1798–November 1798? | p: Vienna, 1805 | | iv/31 | iii/4 |
| Op. 40 | Romance for Violin and Orchestra No. 1 in G major | 1801–1802 | p: Leipzig, 1803 | | iv/30 | iii/4 |
| Hess 11 | Romance for Violin and Orchestra No. 3, (lost) | 1816 | | reported by W. Altmann in Preface to the Steiner edition of 1816 of the Violin Concerts | | |
| Op. 80 | Choral Fantasy in C minor | 22 December 1808, rev. 1809 | p: London, 1810; Leipzig, 1811 | Maximilian Joseph, King of Bavaria; | HS xix/71 | x/2 |

#### Overtures and incidental music

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 1 | "Ritterballet" in D major | 1790–Bonn, 6 March 1791 | pf: Leipzig and Winterthur, 1872; s: GA | | xxv/286; HS viii | ii/2 |
| Op. 43 | "The Creatures of Prometheus" | 1800–Burgtheater, Vienna, 28 March 1801 | for pf: Vienna, 1801; p: Leipzig, 1804 [ov. only]; s: GA | Princess Christiane von Lichnowsky | ii/11; HX viii | ii/2 |
| Op. 62 | "Coriolan" Overture in C minor | March 1807 | p: Vienna, 1808 | Heinrich Joseph von Collin | iii/18 | ii/1 |
| Op. 138 | "Leonore" Overture No. 1 in C major | 1807–7 February 1828 | s, p: Vienna, 1838 | | iii/19 | ix/1 |
| Op. 72a | "Leonore" Overture No. 2 in C major | 1804–Theater an der Wien, Vienna, 20 November 1805 | s: HS | | HS ii. xi–xiii | ix/1 |
| Op. 72b | "Leonore" Overture No. 3 in C major | 1805–Theater an der Wien, 29 March 1806 | s: HS | | HS xi–xiii | ix/1 |
| Op. 84 | "Egmont" in F minor | 1809–15 June 1810 | p: Leipzig, 1810 [ov.], Leipzig, 1812 [remainder]; vs: Leipzig, 1812 [without ov.]; s: Leipzig, 1831 | | ii/12, iii/27; HS v (no.4) | ix/7 |
| Op. 113 | "The Ruins of Athens" (Die Ruinen von Athen) in G major | 1811–10 February 1812 | s: Vienna, 1823 [ov. only], Vienna, 1846 [complete], | ded. (by publisher) König Friedrich Wilhelm IV of Prussia | xx/207, iii/28 | x/8 |
| Op. 117 | "King Stephen" (König Stephan) in Eb major | 1811–10 February 1812 | s: Vienna, 1826 [ov. only], GA [complete] | | xx/207b, iii/23 | ix/8 |
| WoO 2a | Triumphal March, for Tarpeja in C major | 26 March 1813 | p: Vienna, 1840; s: GA | | ii/14 | ix/7 |
| WoO 2b | Introduction to Act 2 of Leonore, 1805 version | 1805, discarded | | s: Mainz, 1938 | | HS iv |
| Op. 91 | Wellington's Victory "Battle Symphony" | 8 December 1813 | s, p: Vienna, 1816; for pf: London and Vienna, 1816 | Prince Regent of England (later King George IV) | ii/10; HS viii (for pf) | ii/1 |
| Op. 115 | "Zur Namensfeier" (Feastday) in C major | 1814–25 December 1815 | s, p: Vienna, 1825 | Prince Antoni Radziwiłł | iii/22 | ii/1 |
| WoO 96 | Leonore Prohaska | 1815 | s: GA | | xxv/272 | ix/7 |
| Op. 114 | March and Chorus for "The Consecration of the House" | 1822 | | | | |
| Op. 124 | "The Consecration of the House" (Die Weihe des Hauses) in C | Josefstadt-Theater, 3 October 1822 | s: Mainz, 1825 | Prince Nikolay Golitsïn | iii/24 | ii/1 |
| WoO 98 | Wo sich die Pulse, chorus for "The Consecration of the House" | 1822 | s:GA | | xxv/266 | ix/8 |
| WoO 3 | Gratulations-Minuet in E♭ | 3 November 1822 | p: Vienna, 1832 | written for Carl Friedrich Hensler, ded. (by publisher) Karl Holz | ii/13 | ii/3 |

### Chamber music

Beethoven wrote 16 string quartets and numerous other forms of chamber music, including piano trios, string trios, and sonatas for violin and cello with piano, as well as works with wind instruments.

#### Chamber music for strings
##### String quartets

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| Op. 18/3 | String Quartet No. 3 in D major | 1798–1799 | Vienna, 1801 | Prince Lobkowitz | vi/39 | vi/3 |
| Op. 18/1 | String Quartet No. 1 in F major | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/37 | vi/3 |
| Op. 18/2 | String Quartet No. 2 in G major | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/38 | vi/3 |
| Op. 18/5 | String Quartet No. 5 in A major | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/41 | vi/3 |
| Op. 18/4 | String Quartet No. 4 in C minor | 1799 | Vienna, 1801 | Prince Lobkowitz | vi/40 | vi/3 |
| Op. 18/6 | String Quartet No. 6 in B♭ major | 1800 | Vienna, 1801 | Prince Lobkowitz | vi/42 | vi/3 |
| Op. 59/1 | String Quartet No. 7 "Razumovsky" in F major | 1806 | Vienna, 1808 | Count Razumovsky | vi/43 | vi/4 |
| Op. 59/2 | String Quartet No. 8 "Razumovsky" in E minor | 1806 | Vienna, 1808 | Count Razumovsky | vi/44 | vi/4 |
| Op. 59/3 | String Quartet No. 9 "Razumovsky" C major | 1806 | Vienna, 1808 | Count Razumovsky | vi/45 | vi/4 |
| Op. 74 | String Quartet No. 10 "Harp" in E♭ major | 1809 | London and Leipzig, 1810 | Prince Lobkowitz | vi/46 | vi/4 |
| Op. 95 | String Quartet No. 11 "Serioso" (Serious) in F minor | 1810–11 May 1814 | Vienna, 1816 | Nikolaus Zmeskall von Domanovecz | vi/47 | vi/4 |
| Op. 127 | String Quartet No. 12 in E♭ major | 1824–6 March 1825 | Mainz, 1826 | Prince Golitsïn | vi/48 | vi/5 |
| Op. 132 | String Quartet No. 15 in A minor | 6 November 1825 | Paris and Berlin, 1826 | Prince Golitsïn | vi/51 | vi/5 |
| Op. 130 | String Quartet No. 13 in B♭ major | 1825–22 April 1827 (with new finale) | Vienna, 1827 | Prince Golitsïn | vi/49 | vi/5 |
| Op. 133 | Große Fuge in B♭ major | 1825–21 March 1826 | Vienna, 1827 | Archduke Rudolph; original ending of Op. 130 | vi/53 | vi/5 |
| Op. 131 | String Quartet No. 14 in C♯ minor | 1825–1826 | Mainz, 1827 | Baron Joseph von Stutterheim | vi/50 | vi/5 |
| Op. 135 | String Quartet No. 16 in F major | 1826–23 March 1828 | Berlin and Paris, 1827 | Johann Wolfmayer | vi/52 | vi/5 |

##### Other chamber music for strings

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 209 (Hess 33) | Minuet for String Quartet in A♭ major | 1790–1792 | HS | | HS vi | KB vi/4 |
| Op. 3 | String Trio No. 1 in E♭ major | before 1794? | Vienna, 1796 | | vii/54 | vi/6 |
| Op. 4 | String Quintet in E♭ major | 1795 | Vienna, 1796 | thoroughly recomposed version of Octet Op. 103 | v/36 | vi/2 |
| WoO 32 | Duo for Viola and Cello, "mit zwei obligaten Augengläsern" ("with two obbligato eyeglasses") | 1796–1797 | 1st movt: Leipzig, 1912; minuet: Frankfurt, London and New York, 1952 | probably written for Zmeskall von Domanovecz | HS vi | vi/6 |
| Op. 8 | Serenade for string trio, (String Trio No. 2) in D major | 1796–1797 | Vienna, 1797 | | vii/58 | vi/6 |
| Op. 9/1 | String Trio No. 3 in G major | 1797–1798 | Vienna, 1798 | Count Johann Georg von Browne | vii/55 | vi/6 |
| Op. 9/2 | String Trio No. 4 in D major | 1797–1798 | Vienna, 1798 | Count Johann Georg von Browne | vii/56 | vi/6 |
| Op. 9/3 | String Trio No. 5 in C minor | 1797–1798 | Vienna, 1798 | Count Johann Georg von Browne | vii/57 | vi/6 |
| Op. 29 | String Quintet in C major "Storm" | 1801 | Leipzig, 1802 | Count Fries | v/34 | vi/2 |
| Hess 34 | String Quartet in F major | 1801–1802 | Vienna, 1802 | Baroness Josefine von Braun; arrangement of Piano Sonata No. 9 | HS vi | vi/3 |
| Op. 104 | String Quintet in C minor | 1817-10 December 1818 | Vienna and London, 1819 | arr. of Piano Trio Op. 1/3; arr. corrected by Beethoven, but largely the work of Kaufmann | v/36a | vi/2 |
| Hess 40 | Prelude for string quintet in D minor | 1817 | SMz, xcv (1955) | | HS vi | vi/2 |
| Op. 137 | Fugue for String Quintet in D major | November 1817 | Vienna, 1827 | | v/35 | vi/2 |
| WoO 34 | Duet for two violins in A major | April 29 1822 | T. von Frimmel: Ludwig van Beethoven (Berlin, 1901) | Alexandre Boucher | HS vi | |
| WoO 35 | Canon for two violins in A major | August 1825 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | Otto de Boer | HS vi | |
| Hess 41 | String Quintet in C major | 1826–1827 | Vienna, 1838 | survives only in piano transcription, WoO 62, last published piece. | HS viii | |

#### Chamber music with piano
##### Solo instrument and piano

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| Hess 46 | Violin Sonata in A major, (fragments) | c. 1790–1792 | HS | authenticity no longer in doubt | HS ix | |
| Anh. 4 | Flute Sonata in B♭ major | c. 1790–1792? | Leipzig, 1906 | Manuscript copy found among Beethoven's papers after his death, authenticity not certain | HS ix | |
| WoO 40 | Variations for violin and piano on Se vuol ballare from Mozart's The Marriage of Figaro in F major | 1792–1793 | Vienna, 1793 | Eleonore von Breuning | xii/103 | v/2 |
| WoO 41 | Rondo for Violin and Piano in G major | 1793–1794 | Bonn, 1808 | | xii/102 | v/2 |
| WoO 43a | Sonatina for mandolin and piano in C minor | 1796 | Grove1 ("Mandoline") | probably written for Countess Josephine de Clary | xxv/295 | v/4 |
| WoO 43b | Adagio for mandolin and piano in E♭ major | 1796 | GA | probably for Countess de Clary | xxv/296 | v/4 |
| WoO 44a | Sonatina for mandolin and piano in C major | 1796 | Der Merker, iii (1912) | probably for Countess de Clary | HS ix | v/4 |
| WoO 44b | Andante and Variations for mandolin and piano in D major | 1796 | Sudetendeutsches Musikarchiv (1940), no.1 | probably for Countess de Clary | HS ix | v/4 |
| Op. 5/1 | Cello Sonata No. 1 in F major | 1796 | Vienna, 1797 | Friedrich Wilhelm II of Prussia | xiii/105 | v/3 |
| Op. 5/2 | Cello Sonata No. 2 in G minor | 1796 | Vienna, 1797 | Friedrich Wilhelm II of Prussia | xiii/106 | v/3 |
| WoO 45 | Variations for cello and piano on "See the counquering hero comes" from Handel's Judas Maccabaeus in G major | 1796 | Vienna, 1797 | Princess Christiane von Lichnowsky | xiii/110 | v/3 |
| Op. 66 | Variations for cello and piano on "Ein Mädchen oder Weibchen" from Mozart's The Magic Flute in F major | 1796? | Vienna, 1798 | | xiii/111 | v/3 |
| Op. 12/1 | Violin Sonata No. 1 in D major | 1798 | Vienna, 1799 | Antonio Salieri | xii/92 | v/1 |
| Op. 12/2 | Violin Sonata No. 2 in A major | 1798 | Vienna, 1799 | Antonio Salieri | xii/93 | v/1 |
| Op. 12/3 | Violin Sonata No. 3 in E♭ major | 1798 | Vienna, 1799 | Antonio Salieri | xii/94 | v/1 |
| Op. 17 | Horn Sonata in F major | 18 April 1800 | Vienna, 1801 | Baroness Josefine von Braun | xiv/112 | v/4 |
| Op. 23 | Violin Sonata No. 4 in A minor | 1800 | Vienna, 1801 | Count Fries | xii/95 | v/1 |
| Op. 24 | Violin Sonata No. 5 in F major, "Spring" | 1800–1801 | Vienna, 1801 | Count Fries | xii/96 | v/1 |
| WoO 46 | Variations for cello and piano on "Bei Männern, welche Liebe fühlen" from Mozart's The Magic Flute in E♭ major | 1801 | Vienna, 1802 | Count von Browne | xiii/111a | v/3 |
| Op. 30/1 | Violin Sonata No. 6 in A major | 1801–1802 | Vienna, 1803 | Alexander I, Tsar of Russia | xii/97 | v/2 |
| Op. 30/2 | Violin Sonata No. 7 in C minor | 1801–1802 | Vienna, 1803 | Alexander I, Tsar of Russia | xii/98 | v/2 |
| Op. 30/3 | Violin Sonata No. 8 in G major | 1801–1802 | Vienna, 1803 | Alexander I, Tsar of Russia | xii/99 | v/2 |
| Op. 47 | Violin Sonata No. 9 in A major, "Kreutzer" | 1802–24 May 1803 | Bonn and London, 1805 | written for George P. Bridgetower, ded. Rodolphe Kreutzer | xii/100 | v/2 |
| Op. 41 | Serenade for flute (or violin) and piano in D major | 1803 | Leipzig, 1803 | arr. of Serenade op.25; arr. approved and corrected by Beethoven but largely the work of someone else | HS ix | |
| Op. 42 | Notturno for Viola and Piano in D major | 1803 | Leipzig, 1804 | arr. of Serenade op.8; arr. approved and corrected by Beethoven but largely the work of someone else | HS ix | |
| Op. 69 | Cello Sonata No. 3 in A major | 1807 | Leipzig, 1809 | Baron Ignaz von Gleichenstein | xiii/107 | v/3 |
| Op. 96 | Violin Sonata No. 10 in G major | 29 December 1812 Vienna, probably rev. 1814–1815 | Vienna and London, 1816 | written for Pierre Rode, ded. Archduke Rudolph | xii/101 | v/2 |
| Op. 102/1 | Cello Sonata No. 4 in C major | 1815 | Bonn, 1817 | Countess Marie Erdödy | xiii/108 | v/3 |
| Op. 102/2 | Cello Sonata No. 5 in D major | 1815 | Bonn, 1817 | Countess Erdödy | xiii/109 | v/3 |
| Op. 105 | Six National Airs with Variations for flute (or violin) and piano in G major | 1818–1819 | London, Edinburgh and Vienna, 1819 | | xiv/113–114 | v/4 |
| Op. 107 | Ten National Airs with Variations for flute (or violin) and piano in A minor | 1818–1819 | London and Edinburgh, 1819 [nos. 2, 6, 7]; Bonn and Cologne, 1820 [complete] | | xiv/115–119 | v/4 |

##### Piano trios

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 38 | Piano Trio in E♭ major | 1791? | Frankfurt, 1830 | | xi/86 | iv/3 |
| Hess 48 | Allegretto in E♭ major | 1791? | Frankfurt, 1830 | | xi/86 | iv/3 |
| Op. 1/1 | Piano Trio No. 1 in E♭ major | probably 1794-1795 | Vienna, 1795 | Prince Lichnowsky | xi/79 | |
| Op. 1/2 | Piano Trio No. 2 in G major | 1794–1795 | Vienna, 1795 | Prince Lichnowsky | xi/80 | |
| Op. 1/3 | Piano Trio No. 3, C minor | 1794–95 | Vienna, 1795 | Prince Lichnowsky | xi/81 | |
| Op. 11 | Piano Trio No. 4 in B♭ major (Gassenhauer) (additional version for clarinet, violoncello, and piano) | 1797 | Vienna, 1798 | Countess Maria Wilhelmine von Thun | xi/89 | |
| Op. 44 | Variations on an original theme in E♭ major | 1792 | Leipzig, 1804 | | xi/88 | iv/3 |
| Op. 121a | Variations on Wenzel Müller's "Ich bin der Schneider Kakadu", "Kakadu Variations" in G major | 1803? rev. 1816 | Vienna and London, 1824 | | xi/87 | iv/3 |
| Op. 70/1 | Piano Trio No. 5 in D major "Ghost" | 1808 | Leipzig, 1809 | Countess Erdödy | xi/82 | |
| Op. 70/2 | Piano Trio No. 6 in E♭ major | 1808 | Leipzig, 1809 | Countess Erdödy | xi/83 | |
| Op. 97 | Piano Trio No. 7 in Bb major, "Archduke" | 1810–11 April 1814 | Vienna and London, 1816 | Archduke Rudolph | xi/84 | |
| Op. 38 | Piano Trio in E♭ major (additional version for clarinet, violoncello, and piano) | 1802–1803 | Vienna, 1805 | Professor Johann Adam Schmidt; arr. of Septet Op. 20 | xi/91 | iv/3 |
| WoO 39 | Allegretto for piano trio in B♭ major | June 1812 | Frankfurt, 1830 | Maximiliane Brentano | xi/85 | iv/3 |

##### Other chamber music with piano

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 36/1 | Piano Quartet No. 1 in E♭ major | 1785 | Vienna, 1828 | | x/75 | iv/1 |
| WoO 36/2 | Piano Quartet No. 2 in D major | 1785 | Vienna, 1828 | | x/76 | iv/1 |
| WoO 36/3 | Piano Quartet No. 3 in C major | 1785 | Vienna, 1828 | | x/77 | iv/1 |
| WoO 37 | Trio for piano, flute and bassoon in G major | 1786 | GA | | xxv/294 | iv/3 |
| Op. 16 | Quintet for piano and winds in E♭ major | 1796-6 April 1797 | Vienna, 1801 | Prince Joseph zu Schwarzenberg | x/74 | iv/1 |
| Op. 16b | Piano Quartet in E♭ major/minor | unknown | Vienna, 1801 | arr. of Op. 16; authenticity affirmed in Wegeler and Ries (D1838) | x/78 | iv/1 |
| Op. 11 | Trio for clarinet (or violin), cello and piano, ("Gassenhauer") (version with violin instead of clarinet is considered Piano Trio No. 4) in B♭ major | 1797 | Vienna, 1798 | Countess Maria Wilhelmine von Thun | xi/89 | |
| Op. 38 | Trio for clarinet (or violin), cello and piano in E♭ major | 1802–1803 | Vienna, 1805 | Professor Johann Adam Schmidt; arr. of Septet Op. 20 | xi/91 | iv/3 |

#### Chamber music for winds

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 26 | Allegro and Minuet for two flutes in G major | August 1792 | A.W. Thayer: Ludwig van Beethovens Leben, ed. H. Deiters, ii (Berlin, 1901) | J.M. Degenhart | HS vii | vi/1 |
| Op. 103 | Octet for oboes, clarinets, horns, and bassoons in E♭ major | before November 1792 | Vienna, 1830 | | viii/59 | vi/1 |
| WoO 25 | Rondino for oboes, clarinets, horns and bassoons in E♭ major | 1793 | Vienna, 1830 | intended as finale to Op. 103 | viii/60 | vi/1 |
| Hess 19 | Quintet for oboe, 3 horns and bassoon in E♭ major, (fragment) | 1793? | Mainz, 1954 | In 1862, Leopold Zellner completed a performing version from the fragments. In 1954, Willy Hess edited this and Schott published it. | HS vii | vi/1 |
| Op. 87 | Trio for two oboes and English horn in C major | 1794 | Vienna, 1806 | | viii/63 | vi/1 |
| WoO 28 | Variations for two oboes and English horn on "Là ci darem la mano" from Mozart's opera Don Giovanni in C major | 1795 | Leipzig, 1914 | | HS vii | vi/1 |
| Op. 81b | Sextet for Horns and String Quartet in E♭ major | 1795 | Bonn, 1810 | | v/33 | vi/1 |
| Op. 71 | Sextet for clarinets, horns and bassoons in E♭ major | 1796 | Leipzig, 1810 | | viii/61 | vi/1 |
| Op. 20 | Septet in E♭ major | 2 April 1800 | Leipzig, 1802 | Empress Maria Theresa | v/32 | vi/1 |
| Op. 25 | Serenade for flute, violin and viola in D major | 1801 | Vienna, 1802 | | viii/62 | vi/1 |
| WoO 30 | Three Equali for 4 trombones in D minor | November 1812 | GA | transcr. for 4 male voices by Ignaz von Seyfried perf. at Beethoven's funeral, pubd Vienna, 1827 | xxv/293 | vi/1 |

### Solo piano music

In addition to the 32 celebrated sonatas, Beethoven's work for solo piano includes many one-movement pieces, more than twenty sets of variations, most unpublished in his lifetime or published without opus number, and over thirty bagatelles, including the well-known "Für Elise".

#### Piano sonatas

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 47/1 | Three early Kurfürstensonatas, No. 1 in E♭ major | 1782-1783 | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/156 | |
| WoO 47/2 | Three early Kurfürstensonatas, No. 2 in F minor | 1782-1783 | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/157 | |
| WoO 47/3 | Three early Kurfürstensonatas, No. 3 in D major | 1782-1783 | Speyer, 1783 | Archbishop Maximilian Friedrich, Elector of Cologne | xvi/158 | |
| WoO 50 | Piano Sonata in F major | c. 1790–1792 | Munich and Duisburg, 1950 | Franz Gerhard Wegeler; facs. pubd in L. Schmidt: Beethoven-Briefe (Berlin, 1909) | HS ix | |
| Op. 2/1 | Piano Sonata No. 1 in F minor | 1793–1795 | Vienna, 1796 | Joseph Haydn | xvi/124 | vii/2 |
| Op. 2/2 | Piano Sonata No. 2 in A major | 1794–1795 | Vienna, 1796 | Joseph Haydn | xvi/125 | vii/2 |
| Op. 2/3 | Piano Sonata No. 3 in C major | 1794–1795 | Vienna, 1796 | Joseph Haydn | xvi/126 | vii/2 |
| Op. 49/1 | Piano Sonata No. 19 in G minor | 1797 | Vienna, 1805 | | xvi/142 | vii/3 |
| Op. 49/2 | Piano Sonata No. 20 in G major | 1795–1796 | Vienna, 1805 | | xvi/143 | vii/3 |
| Op. 7 | Piano Sonata No. 4 "Grand Sonata" in E♭ major | 1797–1798 | Vienna, 1798 | Countess Barbara von Keglevics | xvi/127 | vii/2 |
| Op. 10/1 | Piano Sonata No. 5 in C minor "Little Pathétique" | 1795–1797 | Vienna, 1798 | Countess Anna Margaret von Browne | xvi/128 | vii/2 |
| Op. 10/2 | Piano Sonata No. 6 in F major | 1796–1797 | Vienna, 1798 | Countess von Browne | xvi/129 | vii/2 |
| Op. 10/3 | Piano Sonata No. 7 in D major | 1797–1798 | Vienna, 1798 | Countess von Browne | xvi/130 | vii/2 |
| WoO 51 | Piano Sonata in C major, (fragment) | 1797–1798 | Frankfurt, 1830 | Eleonore von Breuning; completed by Ferdinand Ries | xvi/159 | |
| Op. 13 | Piano Sonata No. 8 "Pathétique" in C minor | 1797–1798 | Vienna, 1799 | Prince Lichnowsky | xvi/131 | vii/2 |
| Op. 14/1 | Piano Sonata No. 9 in E major | 1798 | Vienna, 1799 | Baroness Josefine von Braun | xvi/132 | vii/2 |
| Op. 14/2 | Piano Sonata No. 10 in G major | 1799 | Vienna, 1799 | Baroness Josefine von Braun | xvi/133 | vii/2 |
| Op. 22 | Piano Sonata No. 11 in B♭ major | 1800 | Leipzig, 1802 | Count von Braun | xvi/134 | vii/2 |
| Op. 26 | Piano Sonata No. 12 in A♭ major | 1800–1801 | Vienna, 1802 | Prince Lichnowsky | xvi/135 | vii/2 |
| Op. 27/1 | Piano Sonata No. 13 "Quasi una fantasia" in E♭ major | 1801 | Vienna, 1802 | Princess Josephine von Liechtenstein | xvi/136 | vii/3 |
| Op. 27/2 | Piano Sonata No. 14 "Moonlight" in C♯ minor | 1801 | Vienna, 1802 | Countess Giulietta Guicciardi | xvi/137 | vii/3 |
| Op. 28 | Piano Sonata No. 15 "Pastoral" in D major | 1801 | Vienna, 1802 | Joseph von Sonnenfels | xvi/138 | vii/3 |
| Op. 31/1 | Piano Sonata No. 16 in G major | 1802 | Zürich, 1803 | | xvi/139 | vii/3 |
| Op. 31/2 | Piano Sonata No. 17 in D minor, "Tempest" | 1802 | Zürich, 1803 | | xvi/140 | vii/3 |
| Op. 31/3 | Piano Sonata No. 18 ("The Hunt"), E♭ | 1802 | Zürich and London, 1804 | | xvi/141 | vii/3 |
| Op. 53 | Piano Sonata No. 21 ("Waldstein"), C | 1803–04 | Vienna, 1805 | Count Ferdinand von Waldstein | xvi/144 | vii/3 |
| Op. 54 | Piano Sonata No. 22, F | 1804 | Vienna, 1806 | | xvi/145 | vii/3 |
| Op. 57 | Piano Sonata No. 23 ("Appassionata"), F minor | 1804–05 | Vienna, 1807 | Count Franz von Brunsvik | xvi/146 | vii/3 |
| Op. 78 | Piano Sonata No. 24 ("À Thérèse"), F♯ | 1809 | Leipzig and London, 1810 | Countess Therese von Brunsvik | xvi/147 | |
| Op. 79 | Piano Sonata No. 25, G | 1809 | Leipzig and London, 1810 | | xvi/148 | |
| Op. 81a | Piano Sonata No. 26 ("Les Adieux"), E♭ | 1809–10 | Leipzig and London, 1811 | Archduke Rudolph | xvi/149 | |
| Op. 90 | Piano Sonata No. 27, E minor | 1814 | Vienna, 1815 | Count Moritz Lichnowsky | xvi/150 | |
| Op. 101 | Piano Sonata No. 28, A | 1816 | Vienna, 1817 | Baroness Dorothea Ertmann | xvi/151 | |
| Op. 106 | Piano Sonata No. 29 ("Hammerklavier"), B♭ | 1817–18 | Vienna and London, 1819 | Archduke Rudolph | xvi/152 | |
| Op. 109 | Piano Sonata No. 30, E | 1820 | Berlin, 1821 | Maximiliane Brentano | xvi/153 | |
| Op. 110 | Piano Sonata No. 31, A♭ | 1821–22 | Paris, Berlin, Vienna, 1822; London 1823 | | xvi/154 | |
| Op. 111 | Piano Sonata No. 32, C minor | 1821–22 | Paris, Berlin, Vienna and London, 1823 | Archduke Rudolph; London edn ded. Antonie Brentano | xvi/155 | |

#### Piano variations

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 63 | Nine variations on a march by Ernst Christoph Dressler in C minor | 1782 | Mannheim, 1782–83 | Countess Felice von Wolf-Metternich; First published composition | xvii/166 | vii/5 |
| WoO 65 | Twenty-four variations on Vincenzo Righini's aria "Vieni amore", D | c. 1790–91 | Mainz, 1791; Vienna, 1802 | Countess Maria Anna Hortensia von Hatzfeld | xvii/178 | vii/5 |
| WoO 66 | Thirteen variations on the aria "Es war einmal ein alter Mann" from Carl Ditters von Dittersdorf's opera Das rote Käppchen, A | 1792 | Bonn, 1793 | | xvii/175 | vii/5 |
| WoO 64 | Six variations on a Swiss song for piano or harp, F | c. 1790–92 | Bonn, ?1798 | | xvii/177 | vii/5 |
| WoO 68 | Twelve variations on the "Menuet a la Viganò" from Jakob Haibel's ballet Le nozze disturbate, C | 1795 | Vienna, 1796 | | xvii/169 | vii/5 |
| WoO 69 | Nine variations on "Quant'è più bello" from Giovanni Paisiello's opera La Molinara, A | 1795 | Vienna, 1795 | Prince Lichnowsky | xvii/167 | vii/5 |
| WoO 70 | Six variations on "Nel cor più non mi sento" from Giovanni Paisiello's opera La Molinara, G | 1795 | Vienna, 1796 | | xvii/168 | vii/5 |
| WoO 72 | Eight variations on "Une fièvre brûlante" from André Grétry's opera Richard Cœur-de-Lion, C | ?1795 | Vienna, 1798 | | xvii/171 | vii/5 |
| WoO 71 | Twelve variations on the Russian dance from Paul Wranitzky's ballet Das Waldmädchen, A | 1796–97 | Vienna, 1797 | Countess von Browne | xvii/170 | vii/5 |
| WoO 73 | Ten variations on "La stessa, la stessissima" from Antonio Salieri's opera Falstaff, B♭ | 1799 | Vienna, 1799 | Countess von Keglevics | xvii/172 | vii/5 |
| WoO 76 | Eight variations on "Tändeln und scherzen" from Franz Xaver Süssmayr's opera Soliman II, F | 1799 | Vienna, 1799 | Countess von Browne | xvii/174 | vii/5 |
| WoO 75 | Seven variations on "Kind, willst du ruhig schlafen" from Peter Winter's opera Das unterbrochene Opferfest, F | 1799 | Vienna, 1799 | | xvii/173 | vii/5 |
| WoO 77 | Six easy variations on an original theme, G | 1800 | Vienna, 1800 | | xvii/176 | vii/5 |
| Op. 34 | Six variations on an original theme, F | 1802 | Leipzig, 1803 | Princess Odescalchi | xvii/162 | vii/5 |
| Op. 35 | Fifteen variations and a fugue on an original theme, ("Eroica Variations") E♭ | 1802 | Leipzig, 1803 | Count Moritz Lichnowsky | xvii/163 | vii/5 |
| WoO 78 | Seven variations on "God Save the King", C | 1802–03 | Vienna, 1804 | | xvii/179 | vii/5 |
| WoO 79 | Five variations on "Rule, Britannia!", D | 1803 | Vienna, 1804 | | xvii/180 | vii/5 |
| WoO 80 | Thirty-two variations on an original theme, C minor | 1806 | Vienna, 1807 | | xvii/181 | vii/5 |
| Op. 76 | Six variations on an original theme (the Turkish March from The Ruins of Athens), D | 1809 | Leipzig and London, 1810 | Franz Oliva | xvii/164 | vii/5 |
| Op. 120 | Thirty-three variations on a waltz by Diabelli ("Diabelli Variations"), C | 1819–23 | Vienna, 1823 | Antonie Brentano | xvii/165 | vii/5 |

#### Shorter piano pieces

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA |
| WoO 48 | Rondo, C | 1783 | H.P. Bossler: Blumenlese für Klavierliebhaber, ii (Speyer, 1783) | | HS ix |
| WoO 49 | Rondo, A | ?1783 | H.P. Bossler: Neue Blumenlese für Klavierliebhaber, ii (Speyer, 1784) | | xviii/196 |
| Op. 39 | Two preludes through all twelve major keys for piano or organ | ?1789 | Leipzig, 1803 | | xviii/184 |
| WoO 81 | Allemande, A | c. 1793, rev. 1822 | GA | | xxv/307 |
| Op. 129 | Rondo a capriccio ("Rage Over a Lost Penny"), G | 1795 | Vienna, 1828 | autograph completed by unknown ed. (probably Diabelli), 1828 | xviii/191 |
| Hess 64 | Fugue, C | 1795 | MT, xcvi (1955) | | HS ix |
| WoO 52 | Presto (Bagatelle), C minor | c. 1795, rev. 1798 and 1822 | GA | Originally intended for Sonata Op.10/1 | xxv/297/1 |
| WoO 53 | Allegretto (Bagatelle), C minor | 1796–97 | GA | Originally intended for Sonata Op.10/1 | xxv/299 |
| Hess 69 | Allegretto, C minor | c. 1795–96, rev. 1822 | HS | probably orig. intended for Sonata op.10/1 | HS ix |
| Op. 51/1 | Rondos, C, | c. 1796–97 | London and Leipzig, 1810 | Prince Lobkowitz | vi/46 |
| Op. 51/2 | Rondos, G | c. 1798 | Vienna, 1802 | Countess Henriette Lichnowsky | xviii/186 |
| Op. 33 | Seven Bagatelles | 1801–02 | Vienna and London, 1803 | | xviii/183 |
| WoO 54 | Lustig-Traurig (Bagatelle), C | ?1802 | GA | | xxv/300 |
| WoO 55 | Prelude, F minor | c. 1803 | Vienna, 1805 | | xviii/195 |
| WoO 56 | Allegretto (Bagatelle), C | 1803, rev. 1822 | GA | Originally intended for sonata Op. 53 | xxv/297/2 |
| WoO 57 | Andante ("Andante favori"), F | 1803 | Vienna, 1805 | Originally intended for sonata Op. 53 | xviii/192 |
| WoO 82 | Minuet, E♭ | c. 1803 | Vienna, 1805 | | xviii/193 |
| Op. 77 | Fantasia, G minor | 1809 | Leipzig and London, 1810 | Count Franz von Brunsvik | xviii/187 |
| WoO 59 | Für Elise (Bagatelle), A minor | 1808–10 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | | xxv/298 |
| Op. 89 | Polonaise, C | 1814 | Vienna, 1815 | Empress Elisabeth Alexeyerna of Russia | xviii/188 |
| WoO 60 | Bagatelle, B♭ | 1818 | Berliner allgemeine musikalische Zeitung, i (1824) | | xxv/301 |
| Hess 65 | "Concert Finale", C | 1820–21 | in F. Starke, ed.: Wiener Piano-Forte-Schule, iii (Vienna, 1821) | arr. of coda to finale of Piano Concerto No. 3 | HS ix |
| WoO 61 | Allegretto, B minor | 1821 | Robitschek: Deutscher Kunst- und Musikzeitung (15 March 1893) | Ferdinand Piringer | HS ix |
| Op. 119 | Eleven Bagatelles | 1820–2 | nos. 7–11 in F. Starke, ed.: Wiener Piano-Forte-Schule, iii (Vienna, 1821); all 11, London, 1823 | | xviii/189 |
| Op. 126 | Six Bagatelles | 1824 | Mainz, 1825 | | xviii/190 |
| WoO 84 | Waltz, E♭ | 1824 | Vienna, 1824 | Friedrich Demmer (publisher's ded.) | xxv/303 |
| WoO 61a | Allegretto quasi andante, G minor | 1825 | NZM, cxvii (1956) | Sarah Burney Payne | HS ix |
| WoO 85 | Waltz, D | 1825 | Vienna, 1825 | Duchess Sophie of Austria (publisher's ded.) | xxv/304 |
| WoO 86 | Ecossaise, E♭ | 1825 | Vienna, 1825 | Duchess Sophie of Austria (publisher's ded.) | xxv/305 |

#### Piano four hands

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 67 | Eight Variations on a Theme by Count Waldstein, C | ?1792 | Bonn, 1794 | | xv/122 | vii/1 |
| Op. 6 | Sonata for Piano, Four Hands, D | 1796–97 | Vienna, 1797 | | xv/120 | vii/1 |
| WoO 74 | Six Variations on Beethoven's "Ich denke dein", D | 1799, 1803 | Vienna, 1805 | Countess Therese von Brunsvik and Josephine Deym (née Brunsvik) | xv/123 | vii/1 |
| Op. 45 | Three marches | 1803 | Vienna, 1804 | Princess Maria Esterházy | xv/121 | vii/1 |
| Op. 134 | Fugue for Piano, four hands, B♭ | 1826 | Vienna, 1827 | Archduke Rudolph; arr. of Große Fuge Op. 133 | HS viii | vii/1 |

### Vocal music

While he completed only one opera, Beethoven wrote vocal music throughout his life, including two Mass settings, other works for chorus and orchestra (in addition to the Ninth Symphony), arias, duets, art songs (lieder), and true song cycles.

#### Operas

| No. | Title | Composition, first performance | Publication | GA | NA |
| WoO 91 | Two arias for Umlauf's Singspiel Die schöne Schusterin | ?1795–96 | s:GA | xxv/270 | x/3 |
| Hess 115 | Vestas Feuer, fragment | 1803 | s: Wiesbaden, 1953 | HS xiii | |
| Op. 72 | Fidelio | 1st version (with op.72a: Leonore Overture no. 2), 1804–05; Theater an der Wien, Vienna, 20 November 1805 | vs: Leipzig, 1905; s: HS | HS ii. xi–xiii | |
| | | 2nd version (with op.72b: Leonore Overture no.3), 1805–06; Theater an der Wien, 29 March 1806 | vs: Leipzig, 1810; s: HS | HS xi–xiii | |
| | | final version (with op.72c: Fidelio Overture), 1814; Kärntnertor, Vienna, 23 May 1814 | vs: Vienna, 1814; s: Paris, 1826, Bonn, 1847 | xx/206 | |
| WoO 94 | Germania, finale of Die gute Nachricht (Singspiel, G.F. Treitschke) | 1814; Kärntnertor, 11 April 1814 | vs: Vienna, 1814; s: GA | xx/207d | ix/7 |
| WoO 97 | Es ist vollbracht, finale of Die Ehrenpforten (Singspiel, Treitschke) | 1815; Kärntnertor, 15 July 1815 | vs: Vienna, 1815; s: GA | xx/207c | ix/7 |

#### Choral works with orchestra

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 87 | Cantata on the Death of Emperor Joseph II | March 1790 | GA | | xxv/264 | x/1 |
| WoO 88 | Cantata on the accession of Emperor Leopold II | September–October 1790 | GA | | xxv/265 | x/1 |
| Op. 85 | Christus am Ölberge (Christ on the Mount of Olives) | 1803, rev. 1804; 5 April 1803 | Leipzig, 1811 | | xix/205 | viii/1 |
| Op. 86 | Mass in C major | 1807; 13 September 1807 | Leipzig, 1812 | Prince Ferdinand Kinsky | xix/204 | viii/2 |
| Op. 80 | Choral Fantasy, C minor | 1808, rev. 1809; 22 December 1808 | p: London, 1810; Leipzig, 1811 | Maximilian Joseph, King of Bavaria; | HS xix/71 | x/2 |
| WoO 95 | Chor auf die verbündeten Fürsten "Ihr weisen Gründer" | September 1814 | GA | for Congress of Vienna | xxv/267 | x/2 |
| Op. 136 | Der glorreiche Augenblick (The glorious moment) | 1814; 29 November 1814 | Vienna, 1837 | for Congress of Vienna | xxi/208 | x/1 |
| Op. 112 | Meeresstille und glückliche Fahrt ("Calm Sea and Prosperous Voyage") | 1814–15; 25 December 1815 | Vienna, 1822 | Johann Wolfgang von Goethe | xxi/209 | x/2 |
| Op. 123 | Missa solemnis, D | 1819–23; 7 April 1824 | Mainz, 1827 | Archduke Rudolph (orig. intended for Rudolph's installation as archbishop, 9 March 1820) | xxi/203 | viii/3 |
| | Opferlied "Die Flamme lodert" | 1822; 23 December 1822 | GA | | xxv/268 | |
| Op. 121b | Opferlied, 2nd version | 1824 | Mainz, 1824 | | xxii/212 | x/2 |
| Op. 122 | Bundeslied "In allen guten Stunden" | 1823–24 | Mainz, 1825 | | xxii/213 | x/2 |

#### Other choral works

| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 102 | Abschiedsgesang "Die Stunde schlägt", for male voices | 1814 | GA | Leopold Weiss; at the request of Mathias Tuscher | xxv/273 | |
| WoO 103 | Cantata campestre "Un lieto brindisi", for four voices and piano | 1814; 24 June 1814 | Jb der Literarischen Vereinigung Winterthur 1945 | Giovanni Malfatti | HS v | xii/1 |
| WoO 104 | Gesang der Mönche "Rasch tritt der Tod", from Wilhelm Tell (Schiller), for two tenors and bass | 1817 | NZM, vi (1839) | in memory of Franz Sales Kandler and Wenzel Krumpholz | xxiii/255 | |
| WoO 105 | Hochzeitslied "Auf Freunde, singt dem Gott der Ehen", for tenor (or male solo), chorus and piano | 1819 | Der Bär 1927 for tenor; London, 1858 for male solo | Anna Giannatasio del Rio | HS v | xii/1 |
| WoO 106 | Birthday Cantata for Prince Lobkowitz "Es lebe unser theurer Fürst", for soprano, chorus and piano | April 1823 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | Prince Lobkowitz | xxv/274 | xii/1 |

#### Solo voices and orchestra

| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 89 | Prüfung des Küssens, aria for bass | c. 1790–92 | GA | | xxv/269/1 | x/3 |
| WoO 90 | Mit Mädeln sich vertragen, aria for bass | c. 1790–92 | GA | | xxv/269/2 | x/3 |
| WoO 92 | Primo amore, scena and aria for soprano | c. 1790–92 | GA | | xxv/271 | x/3 |
| Op. 65 | Ah! perfido, scena and aria for soprano | early 1796 | p, vs: Leipzig, 1805; s: GA; | Countess Josephine de Clary (ded. in MS, not in 1st edition; text of recitative by Pietro Metastasio from Achille in Sciro | xxii/210 | x/3 |
| WoO 92a | No, non turbarti, scena and aria for soprano | early 1802 | Wiesbaden, 1949 | | HS ii | x/3 |
| WoO 93 | Ne' giorni tuoi felici, duet for soprano and tenor | late 1802 | Leipzig, 1939 | | HS ii, xiv | x/3 |
| Op. 116 | Tremate, empi, tremate, for soprano, tenor and bass | 1802; 1814 | p, vs: Vienna, 1826; s: GA | | xxii:211 | x/3 |
| Op. 118 | Elegiac song ("Sanft wie du lebtest"), for soprano, alto, tenor, bass and string quartet | July 1814 | Vienna, 1814 | Baron Johann von Pasqualati | xxii/214 | x/2 |

#### Songs

| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 107 | Schilderung eines Mädchens | ?1783 | H.P. Bossler: Blumenlese für Klavierliebhaber, ii (Speyer, 1783) | | xxiii/228 | xii/1 |
| WoO 108 | An einen Säugling | ?1784 | H.P. Bossler: Neue Blumenlese für Klavierliebhaber, ii (Speyer, 1784) | | xxiii/229 | xii/1 |
| WoO 110 | Elegie auf den Tod eines Pudels | ?c. 1790 | ?GA | | xxv/284 | xii/1 |
| WoO 113 | Klage | c. 1790 | GA | | xxv/283 | xii/1 |
| Hess 151 | Traute Henriette | c. 1790–1792 | ÖMz, iv (1949) | | HS v | xii/1 |
| Op. 52 | Eight Songs Urians Reise um die WeltFeuerfarbDas Liedchen von der RuheMaigesangMollys AbschiedDie LiebeMarmotteDas Blümchen Wunderhold | 1790–96 | Vienna, 1805 | | xxiii/218 | xii/1 |
| WoO 111 | Punschlied | c. 1791 | L. Schiedermair: Der junge Beethoven (Leipzig, 1925/R,3/1951) | | HS v | xii/1 |
| WoO 109 | Trinklied | c. 1792 | GA | | xxv/282 | xii/1 |
| WoO 112 | An Laura | c. 1792 | G. Kinsky: Musik historisches Museum von Wilhelm Heyer in Cöln: Katalog, iv (Cologne, 1916) | | HS v | xii/1 |
| WoO 114 | Selbstgespräch | c. 1792 | GA | | xxv/275 | xii/1 |
| WoO 115 | An Minna | c. 1792 | GA | | xxv/280 | xii/1 |
| WoO 117 | Der freie Mann | 1792, rev. 1794 | Bonn, 1808 | | xxiii/232; HS v | xii/1 |
| WoO 116 | Que le temps dure | | | | | xii/1 |
| Hess 129 | | ?early 1794 | Die Musik, i (1901–02) | 1st version of WoO 116 | HS v | |
| Hess 130 | | ?1794 | GA | 2nd version of WoO 116 | HS v | |
| WoO 119 | O care selve | c. 1794 | GA | | xxv/279 | xii/1 |
| WoO 126 | Opferlied | 1794–95, rev. 1801–02 | Bonn, 1808 | | xxiii/233; HS v | xii/1 |
| WoO 118 | Two Songs Seufzer eines UngeliebtenGegenliebe | 1794–95 | Vienna, 1837 | | xxiii/253 | xii/1 |
| Op. 46 | Adelaide | 1794–95 | Vienna, 1797 | Friedrich von Matthisson | xxiii/216 | xii/1 |
| WoO 123 | Zärtliche Liebe | c. 1795 | Vienna, 1803 | | xxiii/249 | xii/1 |
| WoO 124 | La partenza | c. 1795–1796 | Vienna, 1803 | | xxiii/251 | xii/1 |
| WoO 121 | Abschiedsgesang an Wiens Bürger | 1796 | Vienna, 1796 | Obrist Wachtmeister von Kövesdy | xxiii/230 | xii/1 |
| WoO 122 | Kriegslied der Österreicher | 1797 | Vienna, 1797 | | xxiii/231 | xii/1 |
| WoO 125 | La tiranna | 1798–99 | London, 1799 | ded. (by W. Wennington) Mrs Tschoffen | HS v | xii/1 |
| WoO 128 | Plaisir d'aimer | 1798–99 | Die Musik, i (1901–02) | | HS v | xii/1 |
| WoO 127 | Neue Liebe, neues Leben | 1798–99 | Bonn, 1808 | | HS v | xii/1 |
| WoO 74 | Ich denke dein | | | | | |
| Op. 48 | Six Songs BittenDie Liebe des NächstenVom TodeDie Himmel rühmen des Ewigen EhreGottes Macht und VorsehungBusslied | c. 1801 – early 1802 | Vienna, 1803 | Count von Browne | xxiii/217 | xii/1 |
| WoO 120 | Man strebt die Flamme zu verhehlen | c. 1802 | GA | Frau von Weissenthurn | xxv/278 | xii/1 |
| WoO 129 | Der Wachtelschlag | 1803 | Vienna, 1804 | Count von Browne | xxiii/234 | xii/1 |
| Op. 88 | Das Glück der Freundschaft | 1803 | Vienna, 1803 | | xxiii/222 | xii/1 |
| Op. 32 | An die Hoffnung | 1805 | Vienna, 1805 | for Josephine Deym | xxiii/215 | xii/1 |
| WoO 130 | Gedenke mein | ?1804–05, rev. 1819–20 | Vienna, 1844 | | xxv/281 | xii/1 |
| WoO 132 | Als die Geliebte sich trennen wollte | 1806 | AMZ, xii (1809–10) | | xxiii/235 | xii/1 |
| WoO 133 | In questa tomba oscura | 1806–07 | Vienna, 1808 | ded. (by publisher) Prince Lobkowitz | xxiii/252 | xii/1 |
| WoO 134 | Sehnsucht (4 settings) | 1807–08 | Vienna, 1810 | | xxiii/250 | xii/1 |
| WoO 136 | Andenken | 1805 | Leipzig and London 1810 | for Josephine Deym | xxiii/248 | xii/1 |
| WoO 137 | Lied aus der Ferne | 1809 | Leipzig and London, 1810 | | xxiii/236 | xii/1 |
| WoO 138 | Der Jüngling in der Fremde | 1809 | Vienna, 1810 | ded. (by Reissig) Archduke Rudolph | xxiii/237 | xii/1 |
| WoO 139 | Der Liebende | 1809 | Vienna and London, 1810 | ded. (by Reissig) Archduke Rudolph | xxiii/238 | xii/1 |
| Op. 75 | Six Songs MignonNeue Liebe, neues LebenAus Goethes FaustGretels WarnungAn den fernen GeliebtenDer Zufriedene | 1809 | Leipzig and London, 1810 | Princess Caroline Kinsky | xxiii/219 | xii/1 |
| Op. 82 | Four Ariettas and a Duet HoffnungLiebes-KlageL'amante impatienteL'amante impatienteLebens-Genuss | ?1809 | Leipzig and London, 1811 | | xxiii/220 | xii/1 |
| Op. 83 | Three Songs Wonne der WehmutSehnsuchtMit einem gemalten Band | 1810 | Leipzig, 1811 | Princess Caroline Kinsky | xxiii/221 | xii/1 |
| WoO 140 | An die Geliebte (2 versions) | December 1811, rev. 1814 | 1st version: Augsburg, c. 1826; 2nd version: Friedensblätter (12 July 1814) | | xxiii/243a | xii/1 |
| WoO 141 | Der Gesang der Nachtigall | May 1813 | GA | | xxv/227 | xii/1 |
| WoO 142 | Der Bardengeist | November 1813 | Erichson: Musen-Almanach für das Jahr 1814 (Vienna, 1813–14) | | xxiii/241 | xii/1 |
| Op. 94 | An die Hoffnung | 1813–15 | Vienna, 1816 | Princess Kinsky | xxiii/223 | xii/1 |
| WoO 143 | Des Kriegers Abschied | 1814 | Vienna, 1815 | ded. (by Reissig) Caroline von Bernath | xxiii/240 | xii/1 |
| WoO 144 | Merkenstein | 1814 | Selam: ein Almanach für Freunde des Mannigfaltigen auf das Schaltjahr 1816 (Vienna, 1815–16) | | xxv/276 | xii/1 |
| Op. 100 | Merkenstein | 1814 | Vienna, 1816 | Count Joseph Karl von Dietrichstein | xxiii/226 | xii/1 |
| WoO 135 | Die laute Klage | ?c. 1815 | Vienna, 1837 | | xxiii/254 | xii/1 |
| WoO 145 | Das Geheimnis | 1815 | Wiener Zeitschrift für Kunst, Literatur, Theater und Mode, i (1816) | | xxiii/245 | xii/1 |
| WoO 146 | Sehnsucht | early 1816 | Vienna, 1816 | | xxiii/239 | xii/1 |
| Op. 98 | An die ferne Geliebte Auf dem Hügel sitz ich spähendWo die Berge so blauLeichte Segler in den HöhenDiese Wolken in den HöhenEs kehret der MaienNimm sie hin denn diese Lieder | 1816 | Vienna, 1816 | Prince Lobkowitz | xxiii/224 | xii/1 |
| Op. 99 | Der Mann von Wort | ?May 1816 | Vienna, 1816 | | xxiii/225 | xii/1 |
| WoO 147 | Ruf von Berge | December 1816 | Gedichte von Friedrich Treitschke (Vienna, 1817) | | xxiii/242 | xii/1 |
| WoO 148 | So oder so | 1817 | Wiener Zeitschrift für Kunst, ii (1817) | | xxiii/224 | xii/1 |
| WoO 149 | Resignation | 1817 | Wiener Zeitschrift für Kunst, iii (1818) | | xxiii/246 | xii/1 |
| WoO 150 | Abendlied unterm gestirnten Himmel | March 1820 | Wiener Zeitschrift für Kunst, v (1817) | | xxiii/247 | xii/1 |
| Op. 128 | Der Kuss | November–December 1822 | Mainz, 1825 | | xxiii/227 | xii/1 |
| WoO 151 | Der edle Mensche sei hülfreich und gut | January 1823 | G. Lange: Musikgeschichtliches (Berlin, 1900) | Baroness Cäcilie von Eskeles | HS v | |

#### Folksongs

| No. | Title | Composition, first performance | Publication | GA | NA |
| WoO 152 | Twenty-five Irish Songs The Return to UlsterSweet power of songOnce more I hail theeThe morning air plays on my faceThe Massacre of GlencoeWhat shall I do to shew how much I love her?His boat comes on the sunny tideCome draw we round a cheerful ringThe Soldier's DreamThe DeserterThou emblem of faithEnglish BullsMusing on the roaring oceanDermot and ShelahLet brain-spinning swainsHide not thy anguishIn vain to this desert, dueThey bid me slight my Dermot dearWife, Children and FriendsFarewell bliss and farewell NancyMorning a cruel turmoiler isFrom Garyone, my happy homeA wand'ring gypsy, Sirs am IThe Traugh WelcomeOh harp of Erin | 1810–12 | London and Edinburgh, 1814 | xxiv/261 | |
| WoO 153 | Twenty Irish songs When eve's last raysNo riches from his scanty storeThe British Light DragoonsSince greybeards inform usI dream'd I lay where flow'rs were springingSad and luckless was the seasonO soothe me, my lyreNorah of BalamagairyThe kiss, dear maid, thy lip has leftOh! thou hapless soldierWhen far from the homeI'll praise the Saints'Tis sunshine at lastPaddy O'Rafferty'Tis but in vainO might I but my Patrick loveCome, Darby dearNo more, my MaryJudy, lovely, matchless creatureThy ship must sail | 1810–15 | London and Edinburgh, 1814 [nos. 1–4], 1816 [nos. 5–10]; GA | xxiv/262 | |
| WoO 154 | Twelve Irish songs The Elfin FairiesOh harp of ErinThe Farewell SongThe pulse of an IrishmanOh! who, my dear DermotPut round the bright wineFrom Garyone, my happy homeSave me from the grave and wiseOh! would I were but that sweet linnetThe hero may perishThe Soldier in a Foreign LandHe promised me at parting | 1812–13 | (London and Edinburgh, 1816 [without nos. 2 and 7]); GA | xxiv/258 | |
| WoO 155 | Twenty-six Welsh songs Sion, the son of EvanThe Monks of Bangor's MarchThe Cottage MaidLove without HopeA golden robe my love shall wearThe fair Maid of MonaOh let the night my blushes hideFarewell, thou noisy townTo the Aeolian HarpNed Pugh's FarewellMerch MeganWaken lords and ladies gayHelpless WomanThe DreamWhen mortals all to rest retireThe Damsels of CardiganThe Dairy HouseSweet RichardThe Vale of ClwydTo the BlackbirdCupid's KindnessConstancyThe Old StrainThree Hundred PoundsThe Parting KissGood Night | 1809 | London and Edinburgh, 1817 | xxiii/219 | xi/1 |
| Op. 108 | Twenty-five Scottish Songs Music, Love and WineSunsetOh! sweet were the hoursThe Maid of IslaThe sweetest lad was JamieDim, dim is my eyeBonnie laddie, highland ladddieThe lovely lass of InvernessBehond my love how green the grovesSympathyOh! thou art the ladOh, had my fateCome fill, fill, my good fellowO, how can I be blitheO cruel was my fatherCould this ill worldO Mary, at thy windowEnchantress, farewellO swiftly glides the bonny boatFaithfu' JohnieJeannie's DistressThe Highland WatchThe Shepherd's SongAgain my lyreSally in our Alley | 1815–18 | London and Edinburgh, 1818 | xxiv/257 | xi/1 |
| WoO 156 | Twelve Scottish songs The Banner of BuccleuchDuncan GrayUp! Quit thy bowerYe shepherds of this pleasant valeCease your funningHighland HarryPolly StewartWomankindLochnagarGlencoeAuld lang syneThe Quaker's Wife | 1815–19 | London and Edinburgh, 1822 [no.1], 1824–25 [nos. 2–4, 8, 9, 12], 1839 [nos. 5–6], 1841 [nos. 7, 10, 11); GA | xxiv/260 | xi/1 |
| WoO 157 | Twelve songs of various nationalities God Save the KingThe SoldierO Charlie is my darlingO sanctissimaThe Miller of the DeeA health to the braveSince all thy vows, false maidBy the side of the ShannonHighlander's LamentSir Johnie CopeThe wandering minstrelLa gondoletta | 1815–20 | London and Edinburgh, 1816 [nos. 2, 6, 8, 11], 1822 [no. 3], 1824–25 [no. 5], 1839 [no. 1]); GA | xxiv/259 | xi/1, xi/3 |
| WoO 158a | Twenty-three songs of various nationality Ridder Stig tjener i Kongens GaardHorch auf, mein LiebchenWegen meiner bleib d'FräulaWann i in der Früh aufstehI bin a Tyroler BuaA Madel, ja a MadelWer solche Buema afipacktIh mag di nitOj upiłem sie w karczmiePoszła baba po popiółYo no quiero embarcarmeSeus lindos olhosIm Walde sind viele Mücklein geborenAch Bächlein, Bächlein, kühle WasserUnsere Mädchen gingen in den WaldSchöne Minka, ich muss scheidenLilla Carl, sov sött i fridAn ä Bergli bin i gesässeUna paloma blancaComo la mariposaLa tirana se embarcaÉdes kinos emlékezetDa brava | 1816–17 | Die Musik, ii (1902–03) [no. 19], J. Schmidt-Görg: Unbekannte Manuskripte zu Beethovens weltlicher und geistlicher Gesangsmusik (Bonn, 1928) [no. 17], complete (Leipzig, 1943) | HS xiv | xi/3 |
| WoO 158b | Seven British songs Adieu my lov'd harpCastle O'NeillOh was not I a weary wightRed gleams the sunErin! oh, Erin!O Mary ye's be clad in silkLament for Owen Roe O'Neill | 1813–17 | | HS xiv | xi/1, xi/3 |
| WoO 158c | Six songs of various nationality When my hero in court appearsNon, non, Collette n'est point trompeuseMark yonder pomp of costly fashionBonnie wee thingFrom thee, Eliza, I must goText unidentified | 1817–20 | | HS xiv | xi/1, xi/3 |
| Hess 168 | Air français | 1817 | | HS xiv | xi/3 |
| Hess 133–134 | Two Austrian folksongs Das liebe KätzchenDer Knabe auf dem Berge | 1820 | Niederrheinische Musikzeitung, xiii (1865) | | xi/3 |

### Wind band

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 29 | March for clarinets, horns and bassoons, B♭ | 1797–98 | GA | | xxv/292 | vi/1 |
| WoO 18 | March No. 1 for Military Band Yorckscher Marsch, F | 1809, rev. 1810 | pf red.: Prague, ?1809; s: Berlin, 1818–19 | Archduke Anton of Austria (on autograph) | xxv/287/1; HS iv; HS Viii (pf) | ii/4 |
| | Trio to WoO 18, B♭ | c. 1822 | HS | | HS iv | ii/4 |
| WoO 19 | March No 2. for Military Band, F | 1810 | pf red.: Vienna, 1810 | Archduke Anton of Austria (on autograph) | xxv/287/2; HS iv | ii/4 |
| | Trio to WoO 19, f | c. 1822 | HS | | HS iv | ii/4 |
| WoO 20 | March for Military Band, C | c. 1810 | GA | | xxv/288; HS iv | ii/4 |
| | Trio to WoO 20, F | c. 1822 | | | xxv/288 | ii/4 |
| WoO 21 | Polonaise for Military Band, D | 1810 | GA | | xxv/289 | ii/4 |
| WoO 22 | Ecossaise for Military Band, D | 1810 | GA | | xxv/290 | ii/4 |
| WoO 23 | Ecossaise for Military Band, G | c. 1810 | pf red. in Czerny's Musikalisches Pfennig-Magazin, i (Vienna, 1834) | only a piano arrangement by Carl Czerny is extant | xxv/306 (pf) | ii/4 |
| WoO 24 | March for Military Band, D | 1816 | pf red.: Vienna, 1827 | | ii/15 | ii/4 |

### Collections of dances

| No. | Title | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 7 | Twelve Minuets for orchestra | 1795 | Vienna, 1795 | | ii/16 | ii/3 |
| WoO 8 | Twelve German Dances for orchestra | 1795 | Vienna, 1795 | | ii/17 | ii/3 |
| WoO 9 | Six minuets for two violins and double bass | ?before 1795 | Mainz, 1933 | authenticity not fully confirmed | HS vi | ii/3 |
| WoO 10 | Six Minuets for piano | 1795 | Vienna, 1796 | orchestral version probably existed | xviii/194 | |
| WoO 42 | Six German Dances for violin and piano | 1796 | Vienna, 1814 | | xxv/308 | v/2 |
| WoO 11 | Seven Ländler for piano | 1799 | Vienna, 1799 | version for two violins and cello probably existed | xviii/198 | |
| WoO 13 | Twelve German Dances for piano | c. 1792–97 | Vienna, Prague and Leipzig, 1929 | orchestral version probably existed | HS viii | |
| WoO 14 | Twelve Contredanses for orchestra | c. 1791–1801 | p: Vienna, 1802; s: GA | | ii/17a | ii/3 |
| WoO 15 | Six Ländler for two violins and double bass | 1802 | Vienna, 1802; s: GA | | xxv/291 | ii/3 |
| WoO 83 | Six Ecossaises for piano | c. 1806 | Vienna, 1807; GA | | xxv/302 | |
| WoO 17 | Eleven "Mödlinger Tänze" for flutes, clarinets, horns, violins and double bass | 1819 | Leipzig, 1907 | probably spurious | HS vii | |

### Canons and musical jokes

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 159 | Im Arm der Liebe, F | c. 1795 | I. von Seyfried: Ludwig van Beethovens Studien im Generalbass (Vienna, 1832) | Contrapuntal study for Albrechtsberger | xxiii/256/1 | xiii/1 |
| WoO 160/1 | O Care selve | c. 1795 | Seyfried (1832) | Contrapuntal study for Albrechtsberger | HS v | xiii/1 |
| WoO 160/2 | Canon, C | c. 1795 | Seyfried (1832) | Contrapuntal study for Albrechtsberger | HS v | xiii/1 |
| | Canon | 1796–97 | J. Kerman, ed.: Ludwig van Beethoven: Autograph Miscellany from circa 1786 to 1799 (London, 1970) | | | |
| Hess 276 | Herr Graf, ich komme zu fragen | ?1797 | HS | | HS v | |
| WoO 100 | Schuppanzigh ist ein Lump | 1801 | Grove1 | for Ignaz Schuppanzigh | HS v | |
| WoO 101 | Graf, Graf, Graf, Graf | 1802 | A.W. Thayer: Chronologisches Vezeichniss der Werke Ludwig van Beethoven (Berlin, 1865) | for Nikolaus Zmeskall | HS v | |
| Hess 274 | Canon, G | 1803 | N. Fishman: Kniga ėskizov Bėtkhoven za 1802–1806 godï (Moscow, 1962) | | HS ix | |
| Hess 229 | Languisco e moro | 1803 | Fishman (1962) | | HS xiv | |
| Hess 275 | Canon, A♭ | 1803 | HS | | HS | |
| WoO 162 | Ta ta ta...lieber Mälzel | | | spurious: apparently written by Anton Schindler | HS vii | |
| WoO 161 | Ewig dein, C | ?c. 1811 | AMZ, new series, i (1863) | | xxiii/256/14 | |
| WoO 163 | Kurz ist der Schmerz, F minor | November 1813 | NZM, xi (1841), | for Friedrich Naue | xxiii/256/3a | |
| WoO 199 | Ich bin der Herr von zu, D | 1814 | | for Archduke Rudolph | | |
| WoO 164 | Freundschaft ist die Quelle, C | Sept 1814 | GA | | xxv/285/2 | |
| WoO 165 | Glück zum neuen Jahr, E♭ | January 1815 | Vienna, 1816 | for Baron von Pasqualati | xxiii/256/16 | |
| WoO 166 | Kurz ist der Schmerz, F | March 1815 | GA | for Louis Spohr | xxiii/256/3b | |
| WoO 167 | Brauchle, Linke, C | c. 1815 | Thayer, 1865 | for Johann Xaver Brauchle and Joseph Linke | HS v | |
| WoO 168/1 | Lerne schweigen, F minor | January 1816 | Wiener allgemeine musikalische Zeitung, i (1816) | for Charles Neate | xxiii/256/5 | |
| WoO 168/2 | Rede, rede, F | January 1816 | GA | for Charles Neate | xxiii/256/4 | |
| WoO 169 | Ich küsse Sie, C | January 1816 | Die Jahrenszeien, xii/3 (1853) | for Anna Milder-Hauptmann | HS v | |
| WoO 170 | Ars longa, vita brevis, C | April 1816 | L. Nohl: Neue Briefe Beethovens (Stuttgart, 1867) | for Johann Nepomuk Hummel | HS v | |
| WoO 171 | Glück fehl' dir vor allem, G | 1817 | T. von Frimmel: Neue Beethoveniana (Vienna, 1888) | for Anna Giannatasio del Rio | HS v | |
| WoO 172 | Ich bitt' dich schrreib' mir die Es-Scala auf, E♭ | ?c. 1818 | GA | for Vincenz Hauschka | xxiii/256/15 | |
| WoO 201 | Ich bin bereit! Amen, C | 1818 | | for Vincenz Hauschka | | |
| WoO 173 | Hol'euch der Teufel!, B♭ | sum. 1819 | Thayer (1865) | for Sigmund Anton Steiner | HS v | |
| WoO 174 | Glaube und hoffe | Sept 1819 | L. Nohl: Briefe Beethovens (Stuttgart 1865) | for Maurice Schlesinger | xxv/285/3 | |
| WoO 176 | Glück zum neuen Jahr!, F | December 1819 | GA | for Countess Erdödy | xxiii/256/6 | |
| WoO 179 | Alles Gute! alles Schöne, C | December 1819 | Nohl (1865) | for Archduke Rudolph | xxiii/256/7 | |
| Hess 300 | Liebe mich, werter Weissenbach | ? January 1820 | J. Schmidt-Görg, ed.: Drei Skizzenbücher zur Missa Solemnis, i (Bonn, 1952) | for Aloys Weissenbach | | |
| Hess 301 | Wähner ... es sei kein Wahn | ? January 1820 | J. Schmidt-Görg, ed.: Drei Skizzenbücher zur Missa Solemnis, i (Bonn, 1952) | Friedrich Wähner | | |
| WoO 175 | Sankt Petrus war ein Fels; Bernardus war ein Sankt | ? January 1820 | Thayer (1865) | for Carl Peters and Carl Bernard | HS v | |
| WoO 180 | Hoffman, sei ja kein Hofmann, C | March 1820 | Caecilia, i (1825) | | xxiii/256/8 | |
| WoO 177 | Bester Magistrat, Ihr friert, E | c. 1820 | D. MacArdle and L. Misch: New Beethoven Letters (Norman, OK, 1957) | | HS v | |
| WoO 178 | Signor Abate, B♭ | ?c. 1820 | GA | for the Abbé Maximilian Stadler | xxiii/256/13 | |
| WoO 181/1 | Gedenket heute an Baden, C | c. 1820 | GA | | xxv/285/4 | |
| WoO 181/2 | Gehabt euch wohl, C | c. 1820 | Festschrift Arnold Scherings (Berlin, 1937) | | HS v | |
| WoO 181/3 | Tugent ist kein leerer Name | c. 1820 | | | HS v | |
| WoO 182 | O Tobias, d | Sept 1821 | AMZ, new series, i (1863) | for Tobias Haslinger | xxiii/256/9 | |
| WoO 183 | Berster Herr Graf, Sie sind ein Schaf!, F | February 1823 | Mf, vii (1954) | for Count Moritz Lichnowsky | HS v | |
| WoO 184 | Falstafferel, lass' dich sehen!, G | April 1823 | Die Musik, ii (1902–03) | for Schuppanzigh | HS v | |
| WoO 185 | Edel sei der Mensch, E | ? May 1823 | Wiener Zeitschrift für Kunst, viii (1823) | for Louis Schlösser | xxiii/256/10 | |
| Hess 263 | Te solo adoro | ?1824 | HS | for Carlos Evasio Soliva | HS v | |
| Hess 264 | Te solo adoro | ?1824 | HS | for Carlos Evasio Soliva | HS v | |
| WoO 186 | Te solo adoro | June 1824 | GA | for Carlos Evasio Soliva | xxv/285/1 | |
| WoO 187 | Schwenke dich ohne Schwänke!, F | November 1824 | Caecilia, i/7 (1825) | for Carl Schwänke | xxiii/256/11 | |
| WoO 188 | Gott ist eine fest Burg, B♭ | January 1825 | F. Prelinger: Beethovens sämtliche Briefe, iv (Vienna, 1909) | for Oberst von Düsterlohe | HS v | |
| WoO 203 | Das Schöne zu dem Guten | 1825 | L. Rellstab: Garten und Wald, iv (Leipzig, 1854) | for Ludwig Rellstab | HS v | |
| WoO 189 | Doktor, sperrt das Tor dem Tod, C | May 1825 | Nohl (1865) | for Anton Braunhofer | HS v | |
| WoO 190 | Ich war hier, Doktor, C | June 1825 | ?HS | for Anton Braunhofer | HS v | |
| WoO 191 | Kühl, nicht lau, B♭ | Sept 1825 | Seyfried (1832) | for Friedrich Kuhlau | xxiii/256/12 | |
| WoO 192 | Ars longa, vita brevis, F | Sept 1825 | Thayer (1865) | for Sir George Smart | HS v | |
| WoO 194 | Si non per portas, per muros, F | Sept 1825 | Marx (1859), ii | for Maurice Schlesinger | xxiii/256/17 | |
| WoO 195 | Freu' dich des Lebens, C | December 1825 | GA | for Theodor Molt | xxv/285/5 | |
| WoO 193 | Ars longa, vita brevis, C | ?c. 1825 | facsimile in auction catalogue no. 120 of Henrici (Berlin, 1927) | | HS v | |
| | Bester Magistrat | ?April 1826 | unpublished, appears in the sketchbook 'Autograph 24' | | | |
| WoO 196 | Es muss sein, F | ?July 1826 | A.W. Thayer: Ludwig van Beethovens Leben, ed. H. Riemann, v (Leipzig, 1908) | for "Hofkriegsagent" Dembscher | HS v | |
| Hess 277 | Esel aller Esel | ?Sept 1826 | HS | | HS v | |
| WoO 197 | Da ist das Werk, C | Sept 1826 | Zürich, 1949 | for Holz | HS v | |
| WoO 198 | Wir irren allesamt | December 1826 | Nohl (1865) | for Holz | HS v | |

### Miscellaneous

| No. | Title, key | Composition, first performance | Publication | Dedication, remarks | GA | NA |
| WoO 31 | Fugue for organ, D | 1783 | GA | | xxv/309 | |
| | Various dances, kbd exercises, entered among sketches for larger works but probably not intended for publication | mostly 1790–98 | transcr. selectively in writings of G. Nottebohm: many pubd in Kerman, ed. (I(ii)1970) | | HS ix | |
| | Contrapuntal exercises prepared for Haydn and Albrechtsberger | 1793–95 | Nottebohm: Beethovens Studien (Leipzig, 1873), selective transcr. | | HS vi, xiv | xiii/1 |
| WoO 33/1 | Adagio for mechanical clock, F | 1799 | Die Musik, i (1902) | | HS vii | vi/1 |
| WoO 33/2 | Scherzo for mechanical clock, G | 1799–1800 | G. Becking Studien zu Betthovens Personalstil: das Scherzothema (Leipzig, 1921) | | HS vii | vi/1 |
| WoO 33/3 | Allegro for mechanical clock, G | ?c. 1799 | Ricordiana, iii (1957) | | HS vii | vi/1 |
| WoO 33/4 | Allegro for mechanical clock, C | ?1794 | Mainz, 1940 | | HS vii | vi/1 |
| WoO 33/5 | Allegretto for mechanical clock, C | ?1794 | Mainz, 1940 | | HS vii | vi/1 |
| Hess 107 | Grenadiermarsch for mechanical clock, F | ?c. 1798 | Beethoven-Almanach der Deutschen Musikbücherei auf das Jahr 1927 (Regensburg, 1927) | Prince Joseph Johann zu Schwarzenberg | HS vii | vi/1 |
| WoO 99 | Exercises in Italian declamation prepared for Salieri | 1801–02 | Nottebohm (1873) [selective]; HS i [complete] | | HS i | xiii/1 |
| WoO 58 | Cadenzas to first movement and finale of Mozart's Piano Concerto No. 20 (K. 466), d | ?1809 | 1st movt: Wiener Zeitschrift für Kunst... (23 January 1836); finale: GA; | written for Ferdinand Ries | ix/70a/11–12 | vii/7 |
| WoO 200 | Theme for variations by the Archduke Rudolph, with text "O Hoffnung" | 1818 | Vienna, 1819 | | | |
| | Various musical greetings, in letters and diaries | | | | | |

## List of works by Beethoven

The following is a list of Beethoven's works, sorted by Opus number, followed by works listed as WoO in the Kinsky–Halm Catalogue, and then works listed in the appendix of that catalogue, which are given "Anhang" numbers. These are followed by additional works with Hess numbers listed in the catalogue of Willy Hess that are not otherwise listed in the Kinsky–Halm Catalogue. Lastly there are works with Biamonti numbers (Bia.), from the Biamonti Catalogue, an attempt to catalogue everything that Beethoven wrote in chronological order, though there are works that were not known at the time it was compiled. Thus there is no definitive catalogue of Beethoven's works to match the Deutsch catalogue for Schubert or the Köchel catalogue for Mozart.

### Works with opus numbers

The opus numbers were assigned by publishers to Beethoven's works as they were published. The opus numbers do not include all works that were published in Beethoven's lifetime nor are they in chronological order. For instance, the Octet Op. 103 was written before November 1792, while Op. 102 and Op. 104 were written in 1815 and 1817 respectively.
* Op. 1: Three Piano Trios (1795)
** No. 1: Piano Trio No. 1 in E♭ major
** No. 2: Piano Trio No. 2 in G major
** No. 3: Piano Trio No. 3 in C minor
* Op. 2: Three Piano Sonatas (1796)
** No. 1: Piano Sonata No. 1 in F minor
** No. 2: Piano Sonata No. 2 in A major
** No. 3: Piano Sonata No. 3 in C major
* Op. 3: String Trio No. 1 in E♭ major (1794)
* Op. 4: String Quintet (Reworking of Wind Octet (Op. 103), 1795)
* Op. 5: Two Cello Sonatas (1796)
** No. 1: Cello Sonata No. 1 in F major
** No. 2: Cello Sonata No. 2 in G minor
* Op. 6: Sonata for Piano, Four Hands in D major (1797)
* Op. 7: Piano Sonata No. 4 in E♭ major (1797)
* Op. 8: String Trio No. 2 (Serenade) in D major (1797)
* Op. 9: Three String Trios (1798)
** No. 1: String Trio No. 3 in G major
** No. 2: String Trio No. 4 in D major
** No. 3: String Trio No. 5 in C minor
* Op. 10: Three Piano Sonatas (1798)
** No. 1: Piano Sonata No. 5 in C minor
** No. 2: Piano Sonata No. 6 in F major
** No. 3: Piano Sonata No. 7 in D major
* Op. 11: Piano Trio No. 4 in B♭ major ("Gassenhauer") (1797) (for clarinet (or violin), cello (sometimes bassoon), and piano)
* Op. 12: Three Violin Sonatas (1798)
** No. 1: Violin Sonata No. 1 in D major
** No. 2: Violin Sonata No. 2 in A major
** No. 3: Violin Sonata No. 3 in E♭ major
* Op. 13: Piano Sonata No. 8 in C minor ("Pathetique") (1799)
* Op. 14: Two Piano Sonatas (1799)
** No. 1: Piano Sonata No. 9 in E major (arranged for String Quartet by the composer in F major, H 34, in 1801)
** No. 2: Piano Sonata No. 10 in G major
* Op. 15: Piano Concerto No. 1 in C major (1795)
* Op. 16: Quintet for Piano and Winds (1796) (later arranged for piano quartet)
* Op. 17: Horn Sonata in F major (1800)
* Op. 18: Six String Quartets (1800)
** No. 1: String Quartet No. 1 in F major
** No. 2: String Quartet No. 2 in G major
** No. 3: String Quartet No. 3 in D major
** No. 4: String Quartet No. 4 in C minor
** No. 5: String Quartet No. 5 in A major
** No. 6: String Quartet No. 6 in B♭ major
* Op. 19: Piano Concerto No. 2 in B♭ major (1795)
* Op. 20: Septet in E♭ major (1799)
* Op. 21: Symphony No. 1 in C major (1800)
* Op. 22: Piano Sonata No. 11 in B♭ major (1800)
* Op. 23: Violin Sonata No. 4 in A minor (1801)
* Op. 24: Violin Sonata No. 5 in F major ("Spring") (1801)
* Op. 25: Serenade for Flute, Violin and Viola in D major (1801)
* Op. 26: Piano Sonata No. 12 in A♭ major (1801)
* Op. 27: Two Piano Sonatas (1801)
** No. 1: Piano Sonata No. 13 in E♭ major
** No. 2: Piano Sonata No. 14 in C♯ minor ("Moonlight")
* Op. 28: Piano Sonata No. 15 in D major ("Pastoral") (1801)
* Op. 29: String Quintet in C major (1801)
* Op. 30: Three Violin Sonatas (1802)
** No. 1: Violin Sonata No. 6 in A major
** No. 2: Violin Sonata No. 7 in C minor
** No. 3: Violin Sonata No. 8 in G major
* Op. 31: Three Piano Sonatas (1802)
** No. 1: Piano Sonata No. 16 in G major
** No. 2: Piano Sonata No. 17 in D minor ("Tempest")
** No. 3: Piano Sonata No. 18 in E♭ major ("Hunt")
* Op. 32: Song "An die Hoffnung" (1805)
* Op. 33: Seven Bagatelles for piano (1802)
* Op. 34: Six variations on an original theme for piano in F major (1802)
* Op. 35: Fifteen variations and a fugue for piano on an original theme in E♭ major ("Eroica Variations") (1802)
* Op. 36: Symphony No. 2 in D major (1802)
* Op. 37: Piano Concerto No. 3 in C minor (1800)
* Op. 38: Piano Trio in E♭ major (arrangement of the Septet, Opus 20) (1803) (for clarinet (or violin), cello, and piano)
* Op. 39: Two Preludes through all twelve major keys for piano (1789)
* Op. 40: Romance for Violin and Orchestra No. 1 in G major (1802)
* Op. 41: Serenade for Piano and Flute (or Violin) in D major (1803) (Arrangement of Op. 25 Serenade for Flute, Violin and Viola)
* Op. 42: Notturno for Viola and Piano in D major (1803) (Arrangement of Opus 8 Serenade for Violin, Viola and Cello)
* Op. 43: The Creatures of Prometheus, overture and ballet music (1801)
* Op. 44: Variations on an original theme in E♭ major for piano trio (1792)
* Op. 45: Three Marches for Piano, 4 hands (1803)
* Op. 46: Song – "Adelaide" (1795)
* Op. 47: Violin Sonata No. 9 in A major ("Kreutzer") (1803)
* Op. 48: Six Songs (1802)
* Op. 49: Two Piano Sonatas (between 1795 and 1798)
** No. 1: Piano Sonata No. 19 in G minor
** No. 2: Piano Sonata No. 20 in G major
* Op. 50: Romance for Violin and Orchestra No. 2 in F major (1798)
* Op. 51: Two Rondos for Piano (1797)
** No. 1: Rondo in C major
** No. 2: Rondo in G major
* Op. 52: Eight Songs (1804–1805)
* Op. 53: Piano Sonata No. 21 in C major ("Waldstein") (1804)
* Op. 54: Piano Sonata No. 22 in F major (1804)
* Op. 55: Symphony No. 3 in E♭ major ("Eroica") (1805)
* Op. 56: Triple Concerto for violin, cello, and piano in C major (1804–1805)
* Op. 57: Piano Sonata No. 23 in F minor ("Appassionata") (1805–1806)
* Op. 58: Piano Concerto No. 4 in G major (1805–1806)
* Op. 59: Three String Quartets ("Razumovsky") (1806)
** No. 1: String Quartet No. 7 in F major
** No. 2: String Quartet No. 8 in E minor
** No. 3: String Quartet No. 9 in C major
* Op. 60: Symphony No. 4 in B♭ major (1806)
* Op. 61: Violin Concerto in D major (1806)
* Op. 61a: Piano Transcription of Violin Concerto, Opus 61
* Op. 62: Coriolan Overture (1807)
* Op. 63: Arrangement of String Quintet (Opus 4) for Piano Trio (1806) (doubtful)
* Op. 64: Arrangement of String Trio (Opus 3) for Piano and Cello (1807) (spurious – author unknown)
* Op. 65: Aria: "Ah! perfido" (1796)
* Op. 66: 12 Variations for cello and piano in F major on "Ein Mädchen oder Weibchen" from Mozart's The Magic Flute (1796)
* Op. 67: Symphony No. 5 in C minor (1807–1808)
* Op. 68: Symphony No. 6 in F major ("Pastoral") (1807–1808)
* Op. 69: Cello Sonata No. 3 in A major (1808)
* Op. 70: Two Piano Trios (1808)
** No. 1: Piano Trio No. 5 in D major ("Ghost")
** No. 2: Piano Trio No. 6 in E♭ major
* Op. 71: Wind sextet in E♭ (1796)
* Op. 72: Fidelio, opera (c. 1803–05; Fidelio Overture composed 1814)
* Op. 72a: Leonore (earlier version of Fidelio, with Leonore Overture No. 2) (1805)
* Op. 72b: Leonore (earlier version of Fidelio, with Leonore Overture No. 3) (1806)
* Op. 73: Piano Concerto No. 5 in E♭ major ("Emperor") (1809)
* Op. 74: String Quartet No. 10 in E♭ major ("Harp") (1809)
* Op. 75: Six Songs (1809)
* Op. 76: Six variations on an original theme for piano in D major (includes the Turkish March from The Ruins of Athens) (1809)
* Op. 77: Piano Fantasia in G minor (1809)
* Op. 78: Piano Sonata No. 24 in F♯ major (1809)
* Op. 79: Piano Sonata No. 25 in G major (1809)
* Op. 80: "Choral Fantasy" (Fantasia in C minor for piano, chorus, and orchestra) (1808)
* Op. 81a: Piano Sonata No. 26 in E♭ major ("Les Adieux") (1809)
* Op. 81b: Sextet in E♭ major (1795)
* Op. 82: Four Ariettas and a Duet (1809)
* Op. 83: Three Songs (1810)
* Op. 84: Egmont, overture and incidental music (1810)
* Op. 85: Oratorio: Christus am Ölberge (Christ on the Mount of Olives) (1803)
* Op. 86: Mass in C major (1807)
* Op. 87: Trio for two Oboes and English Horn in C major (1795)
* Op. 88: Song: "Das Glück der Freundschaft" (1803)
* Op. 89: Polonaise in C major (1814)
* Op. 90: Piano Sonata No. 27 in E minor (1814)
* Op. 91: Wellington's Victory ("Battle Symphony") (1813)
* Op. 92: Symphony No. 7 in A major (1812)
* Op. 93: Symphony No. 8 in F major (1812)
* Op. 94: Song "An die Hoffnung" (1814)
* Op. 95: String Quartet No. 11 in F minor ("Serioso") (1810)
* Op. 96: Violin Sonata No. 10 in G major (1812)
* Op. 97: Piano Trio No. 7 in B♭ major ("Archduke") (1811)
* Op. 98: An die ferne Geliebte, song cycle (1816)
* Op. 99: Song "Der Mann von Wort" (1816)
* Op. 100: Song "Merkenstein" (1814, about the Merkenstein ruins)
* Op. 101: Piano Sonata No. 28 in A major (1816)
* Op. 102: Two Cello Sonatas (1815)
** No. 1: Cello Sonata No. 4 in C major
** No. 2: Cello Sonata No. 5 in D major.
* Op. 103: Octet in E♭ (1792)
* Op. 104: String Quintet (arrangement of Piano Trio No. 3, 1817)
* Op. 105: Six National Airs with Variations for Flute (or Violin) and Piano (1819)
* Op. 106: Piano Sonata No. 29 in B♭ major ("Hammerklavier") (1818)
* Op. 107: Ten National Airs with Variations for Flute (or Violin) and Piano (1820)
* Op. 108: Twenty-Five Scottish Songs (1818)
* Op. 109: Piano Sonata No. 30 in E major (1820)
* Op. 110: Piano Sonata No. 31 in A♭ major (1821)
* Op. 111: Piano Sonata No. 32 in C minor (1822)
* Op. 112: Meeresstille und glückliche Fahrt (Calm Sea and Prosperous Voyage), for chorus and orchestra (1815)
* Op. 113: Die Ruinen von Athen (The ruins of Athens), overture and incidental music (1811)
* Op. 114: March and Chorus for Die Weihe des Hauses (The Consecration of the House) from Die Ruinen von Athen (The ruins of Athens) (1822)
* Op. 115: Zur Namensfeier (Feastday), overture (1815)
* Op. 116: "Tremate, empi tremate", vocal trio with orchestra (1802)
* Op. 117: König Stephan (King Stephen), overture and incidental music (1811)
* Op. 118: "Elegischer Gesang" for four voices and string quartet (1814)
* Op. 119: Eleven new Bagatelles for piano (1822)
* Op. 120: Thirty-three variations on a waltz by Diabelli for piano in C major ("Diabelli Variations") (1823)
* Op. 121a: Kakadu Variations, for Piano Trio (Variations on "Ich bin der Schneider Kakadu") (1803)
* Op. 121b: "Opferlied" for soprano, chorus and orchestra (1822)
* Op. 122: "Bundeslied" for soprano, alto, chorus and wind instruments (1824)
* Op. 123: Missa solemnis in D major (1823)
* Op. 124: Die Weihe des Hauses (The Consecration of the House), overture and incidental music (1822)
* Op. 125: Symphony No. 9 in D minor ("Choral") (1824)
* Op. 126: Six Bagatelles for piano (1824)
* Op. 127: String Quartet No. 12 in E♭ major (1825)
* Op. 128: Song: "Der Kuss" (1822)
* Op. 129: Rondo à Capriccio for piano in G major ("Rage over a lost penny") (1795)
* Op. 130: String Quartet No. 13 in B♭ major (1825–1826)
* Op. 131: String Quartet No. 14 in C♯ minor (1826)
* Op. 132: String Quartet No. 15 in A minor (1825)
* Op. 133: Große Fuge in B♭ major for string quartet (originally finale of Opus 130) (1825)
* Op. 134: Piano arrangement (4 hands) of the Große Fuge, Opus 133 (1826)
* Op. 135: String Quartet No. 16 in F major (1826)
* Op. 136: Cantata: Der glorreiche Augenblick (1814)
* Op. 137: Fugue for String Quintet in D major (1817)
* Op. 138: Leonore, opera (earlier version of Fidelio, with Leonore Overture No. 1) (1807)

### Works with WoO numbers

The numbers and categories used below are from the Kinsky–Halm Catalogue of 1955. WoO is an abbreviation of "Werke ohne Opuszahl", German for "Works without Opus number". While some of these works were published during Beethoven's lifetime but not given opus numbers, for instance the piano variations WoO 80, others like Für Elise WoO 59 were not published until later. Unlike with opus numbers which were assigned depending on when the works were published, WoO numbers were assigned by genre.

#### Instrumental works: WoO 1–86
##### Orchestral works

Orchestra alone
* WoO 1: Musik zu einem Ritterballett (Music for a ballet on horseback) (1790–01)
* WoO 2a: Triumphal March for orchestra for Christoph Kuffner [de]'s tragedy Tarpeja (1813)
* WoO 2b: Introduction to Act II of Leonore (1805)
* WoO 3: "Gratulations-Menuett", minuet for orchestra (1822)
Concertante
* WoO 4: Piano Concerto No. 0 in E♭ major (solo part only with indications of orchestration) (1784)
* WoO 5: Violin Concerto movement in C major, fragment (1790–92)
* WoO 6: Rondo in B♭ major for piano and orchestra, possibly part of initial version of the Piano Concerto No. 2 (1793)
Dances
* WoO 7: Twelve minuets for orchestra (later arranged for piano, Hess 101) (1795)
* WoO 8: Twelve German Dances for orchestra (later arranged for piano, Hess 100) (1795)
* WoO 9: Six minuets for two violins and double bass (authenticity not fully confirmed) (?before 1795)
* WoO 10: Six minuets for orchestra (original version lost, only an arrangement for piano is extant) (1795)
* WoO 11: Seven Ländler for two violins and cello (original version lost, only an arrangement for piano is extant) (1799)
* WoO 12: Twelve minuets for orchestra (spurious, actually by Beethoven's brother Carl) (1799)
* WoO 13: Twelve German Dances for orchestra (original version lost, only an arrangement for piano is extant) (1792–97)
* WoO 14: Twelve contredanses for orchestra (nos. 1–2, 4–5, 7–10, 12, later arranged for piano, Hess 102) (1791–1801)
* WoO 15: Six Ländler for two violins and double bass (later arranged for piano) (1802)
* WoO 16: Twelve Écossaises for orchestra (fraudulent) (1806)
* WoO 17: Eleven "Mödlinger Tänze" for seven instruments (probably spurious) (1819)
Marches and dances for winds
* WoO 18: March for Military Band "Für die Böhmische Landwehr" ["For the Bohemian Ward"] (later arranged for piano, Hess 99) (1809)
* WoO 19: March for Military Band "Pferdemusik" ["Horse-music"] (1810)
* WoO 20: March for Military Band "Zapfenstreich" ["The Tattoo"] (1810)
* WoO 21: Polonaise for Military Band (1810)
* WoO 22: Écossaise for Military Band (1810)
* WoO 23: Écossaise for Military Band (only a piano arrangement by Carl Czerny is extant) (1810)
* WoO 24: March for Military Band (1816)

##### Chamber works

Without piano
* WoO 25: Rondo for wind octet (believed to be the original finale of the Octet, opus 103) (1792)
* WoO 26: Duo for two flutes (1792)
* WoO 27: Three duets for clarinet and bassoon (probably spurious)
* WoO 28: Variations for two oboes and English horn on "Là ci darem la mano" from Mozart's opera Don Giovanni (1795)
* WoO 29: March for Wind Sextet in B♭ (1797–98)
* WoO 30: Three Equale for four trombones (vocal arrangements of these were performed at Beethoven's funeral) (1812)
* WoO 31: Fugue for organ (1783)
* WoO 32: Duo for viola and cello, "mit zwei obligaten Augengläsern" ("with two obbligato eyeglasses") (1796–97)
* WoO 33: Five pieces for mechanical clock (1794–1800)
* WoO 34: Duet for two violins (1822)
* WoO 35: Canon for two violins (1825)
With piano
* WoO 36: Three piano quartets (1785)
* WoO 37: Trio for piano, flute, and bassoon in G major (1786)
* WoO 38: Piano Trio in E♭ major (Piano Trio No. 8) (1791)
* WoO 39: Allegretto for piano trio in B♭ major (1812)
* WoO 40: Twelve variations for piano and violin on "Se vuol ballare" from Mozart's The Marriage of Figaro (1792–93)
* WoO 41: Rondo for piano and violin in G major (1793–94)
* WoO 42: Six German Dances for violin and piano (1796)
* WoO 43a: Sonatina for mandolin and piano (1796)
* WoO 43b: Adagio for mandolin and piano (1796)
* WoO 44a: Sonatina for mandolin and piano (1796)
* WoO 44b: Andante and variations for mandolin and piano (1796)
* WoO 45: Twelve Variations for cello and piano on "See, the conqu'ring hero comes" from Handel's Judas Maccabaeus (1796)
* WoO 46: Seven Variations for cello and piano in E♭ major on "Bei Männern welche Liebe fühlen" from Mozart's The Magic Flute (1801)

##### Piano works for 2 or 4 hands

Sonatas and single-movement works
* WoO 47: Three piano sonatas (E♭ major, F minor, D major) ("Kurfürsten Sonatas") (1783)
* WoO 48: Rondo for piano in C major (1783)
* WoO 49: Rondo for piano in A major (1783)
* WoO 50: Piano Sonatina (?) in F major (1790–92, two movements)
* WoO 51: Piano Sonata in C major (1797–98, fragment) completed Ferdinand Ries, 1830
* WoO 52: Presto (Bagatelle) for piano in C minor (1795)
* WoO 53: Allegretto (Bagatelle) for piano in C minor (1796–97)
* WoO 54: Lustig-Traurig (Bagatelle) for piano in C major (1802)
* WoO 55: Prelude for piano in F minor (1803)
* WoO 56: Allegretto (Bagatelle) for piano in C major (1803)
* WoO 57: Andante favori – original middle movement from Piano Sonata No. 21 (Waldstein) (1805)
* WoO 58: Cadenzas for 1st and 3rd movements of Mozart's D minor Piano Concerto (K. 466) (1809)
* WoO 59: Poco moto (Bagatelle) for piano in A minor ("Für Elise") (c. 1810)
* WoO 60: Ziemlich lebhaft (Bagatelle) for piano in B♭ major (1818))
* WoO 61: Allegretto for piano in B minor (1821)
* WoO 61a: Allegretto quasi andante for piano in G minor (1825)
* WoO 62: String Quintet in C major [scores] (fragment, piano transcription)
Variations
* WoO 63: Nine variations for piano on a march by Ernst Christoph Dressler (1782)
* WoO 64: Six Variations on a Swiss song for piano or harp (1790–1792)
* WoO 65: Twenty-four variations for piano on Vincenzo Righini's aria "Venni Amore" (1790–1791)
* WoO 66: Thirteen variations for piano on the aria "Es war einmal ein alter Mann" from Carl Ditters von Dittersdorf's opera Das rote Käppchen (1792)
* WoO 67: Eight variations for piano four hands on a theme by Count Waldstein (1792)
* WoO 68: Twelve variations for piano on the "Menuet a la Vigano" from Jakob Haibel's ballet Le nozze disturbate (1795)
* WoO 69: Nine variations for piano on "Quant'e piu bello" from Giovanni Paisiello's opera La Molinara (1795)
* WoO 70: Six variations for piano on "Nel cor più non mi sento" from Giovanni Paisiello's opera La Molinara (1795)
* WoO 71: Twelve variations for piano on the Russian dance from Paul Wranitzky's ballet Das Waldmädchen (1796–1797)
* WoO 72: Eight variations for piano on "Une Fièvre Brûlante" from André Ernest Modeste Grétry's opera Richard Coeur-de-lion (1795)
* WoO 73: Ten variations for piano on "La stessa, la stessissima" from Antonio Salieri's opera Falstaff (1799)
* WoO 74: "Ich denke dein" – song with six variations for piano four hands (1799)
* WoO 75: Seven variations for piano on "Kind, willst du ruhig schlafen" from Peter Winter's opera Das unterbrochene Opferfest (1799)
* WoO 76: Eight variations for piano on "Tändeln und scherzen" from Franz Xaver Süssmayr's opera Soliman II (1799)
* WoO 77: Six easy variations on an original theme for piano (1800)
* WoO 78: Seven variations for piano on "God Save the King" (1802–1803)
* WoO 79: Five variations for piano on "Rule Britannia!" (1803)
* WoO 80: Thirty-two variations on an original theme in C minor for piano (1806)
Dances
* WoO 81: Allemande for piano in A major (1793)
* WoO 82: Minuet for piano in E♭ major (1803)
* WoO 83: Six Écossaises for piano in E♭ major (1806)
* WoO 84: Waltz for piano in E♭ major (1824)
* WoO 85: Waltz for piano in D major (1825)
* WoO 86: Écossaise for piano in E♭ major (1825)

#### Vocal works: WoO 87–205
##### Cantatas, choruses and arias with orchestra

* WoO 87: Cantata on the Death of Emperor Joseph II (1790)
* WoO 88: Cantata on the Accession of Emperor Leopold II (1790)
* WoO 89: Aria "Prüfung des Küssens" (1790–92)
* WoO 90: Aria "Mit Mädeln sich vertragen" (1790–92)
* WoO 91: Two arias for Die Schöne Schusterin (1795–96)
* WoO 92: Aria "Primo Amore" (1790–92)
* WoO 92a: Aria "No, non turbati" (1802)
* WoO 93: Duet "Nei giorni tuoi felici" (1802)
* WoO 94: "Germania", aria with chorus in B♭ major (1814)
* WoO 95: Chorus for the Congress of Vienna (1815)
* WoO 96: Incidental Music to Leonore Prohaska (1815)
* WoO 97: "Es ist vollbracht" for Die Ehrenpforten (1815)
* WoO 98: "Wo sich die Pulse", chorus for The Consecration of the House (1822)

##### Works for multiple voices with piano accompaniment, or unaccompanied

* WoO 99 – Polyphonic songs (Italian Part-songs)
** No. 1 Bei labbri che amore (Hess 211) (old no. 1)
** No. 2 Ma tu tremi (Hess 212) (old no. 6)
** No. 3 E pur fra le tempeste (Hess 232)
** No. 4 Sei mio ben (Hess 231)
** No. 5a Giura il nocchier (Hess 227) (old no. 5b)
** No. 5b Giura il nocchier (Hess 230)
** No. 5c Giura il nocchier (Hess 221) (old no. 5a)
** No. 6 Ah rammenta
** No. 7 Chi mai di questo core (Hess 214) (old no. 2)
** No. 8 Scrivo in te (Hess 215) (old no. 11)
** No. 9 Per te d'amico aprile (Hess 216) (old no. 9)
** No. 10a Nei campi e nelle selve (Hess 217) (old no. 7a)
** No. 10b Nei campi e nelle selve (Hess 220) (old no. 7b)
** No. 11a Fra tutte le pene (Hess 208) (old no. 3a)
** No. 11b Fra tutte le pene (Hess 225/209) (old no. 3b)
** No. 11c Fra tutte le pene (Hess 224/210) (old no. 3c)
** No. 12a Salvo tu vuoi lo sposo
** No. 12b Salvo tu vuoi lo sposo (Hess 228)
** No. 13a Quella cetra ah pur tu sei (Hess 218) (old no. 10b)
** No. 13b Quella cetra ah pur tu sei (Hess 219) (old no. 10c)
** No. 13c Quella cetra ah pur tu sei (Hess 213) (old no. 10a)
** No. 14a Gia la notte savvicina (Hess 223) (old no. 4b)
** No. 14b Gia la notte savvicina (Hess 222) (old no. 4a)
** No. 15 Silvio amante disperato (lost) (Hess 226) (old no. 12)
* WoO 100: Musical joke for three voices "Lob auf den Dicken"
* WoO 101: Musical joke for three voices and chorus "Graf, Graf, liebster Graf"
* WoO 102: Chorus for male voices "Abschiedsgesang"
* WoO 103: Cantata Un lieto Brindisi
* WoO 104: "Gesang der Mönche" from Schiller's Wilhelm Tell for three male voices
* WoO 105: Song for solo voice, chorus and piano "Hochzeitslied"
* WoO 106: Birthday Cantata for Prince Lobkowitz

##### Lieder and songs for solo voice and piano

* WoO 107–151: Forty-five songs

##### Folksong arrangements for one or more voices, with piano trio accompaniment

* WoO 152: Twenty-five Irish folksongs
* WoO 153: Twenty Irish folksongs
* WoO 154: Twelve Irish folksongs
* WoO 155: Twenty-six Welsh folksongs
* WoO 156: Twelve Scottish folksongs
* WoO 157: Twelve folksongs of various nationalities
* WoO 158a: Twenty-three continental folksongs
* WoO 158b: Seven British folksongs
* WoO 158c: Six assorted folksongs
* WoO 158d: "Air Français"

##### Vocal canons

* WoO 159–198: Forty Canons

##### Musical jokes, quips, and dedications

* WoO 199: Musical joke "Ich bin der Herr von zu"
* WoO 200: Piano Exercise "O Hoffnung!"
* WoO 201: Musical joke "Ich bin bereit!"
* WoO 202: Riddle canon "Das Schöne zu dem Guten" (first version)
* WoO 203: Riddle canon "Das Schöne zu dem Guten" (second version)
* WoO 204: Musical joke "Holz, Holz, Geigt die Quartette So" (Spurious, actually composed by Karl Holz)
* WoO 205: Ten musical quips (Kinsky's word is "Notenscherze") from Beethoven's letters

#### Added works: WoO 206–228

The 2014 revision to the Kinsky catalogue, edited by Dorfmüller, Gertsch and Ronge, assigned WoO numbers to a number of works that appear in other listings.
* WoO 206: Oboe Concerto in F major (lost; only incipits and draft of 2nd movement extant) (Hess 12)
* WoO 207: Romance cantabile for soloists and orchestra (Hess 13)
* WoO 208: Wind Quintet in E♭ (fragment) (Hess 19)
* WoO 209: Minuet in A♭ for string quartet (Hess 33, piano version Hess 88)
* WoO 210: Allegretto for string quartet in B minor (Pencarrow Quartet, Gardi 16)
* WoO 211: Andante in C major (Biamonti 52)
* WoO 212: Anglaise for piano in D major (Hess 61)
* WoO 213a: Andante (bagatelle) in D♭ major (Biamonti 283)
* WoO 213b: Finale (bagatelle) in G major (Biamonti 282)
* WoO 213c: Allegro (bagatelle) in A major (second part of the Allegro in A♭ and A, Biamonti 284)
* WoO 213d: Rondo (bagatelle) in A major (Biamonti 275)
* WoO 214: Allegretto (bagatelle) in C minor (Hess 69)
* WoO 215: Fugue in C major (Hess 64)
* WoO 216a: Bagatelle in C major for piano (Hess 73)
* WoO 216b: Bagatelle in E♭ major (Hess 74)
* WoO 217: Minuet in F major (Biamonti 66)
* WoO 218: Minuet in C major (Biamonti 74)
* WoO 219: Waltz or Ländler in C minor (Hess 68)
* WoO 220: Kriegslied für die verbündeten Heere (lost) (Hess 123)
* WoO 221: Canon, Herr Graf (Hess 276)
* WoO 222: Canon in A♭ major (Hess 275, Hess 328)
* WoO 223: Thut auf (Biamonti 752)
* WoO 224: Cacatum non est Pictum (Gardi 9)
* WoO 225: Grossen Dank für solche Gnade (Hess 303)
* WoO 226: Fettlümerl und Bankert haben triumphirt (Hess 260)
* WoO 227: Musical joke "Esel aller Esel" (Hess 277)
* WoO 228a: Musical joke "Ah, Tobias" (Gardi 14)
* WoO 228b: Musical joke "Tobias" (Hess 285)

#### Works with Anhang (Anh.) and Unvollendete (Unv.) numbers

These are works from the Appendix (Anhang in German) of Kinsky's catalog that were attributed to Beethoven at the time the catalog was compiled, but might not have been written by him. The 2014 revision to the Kinsky catalogue, edited by Dorfmüller, Gertsch and Ronge also introduced the category of Unvollendete (unfinished works), for several works that had previously appeared in other listings.
* Anh. 1: Symphony in C major ("Jena Symphony") (spurious, actually composed by Friedrich Witt)
* Anh. 2: Six string quartets (doubtful)
* Anh. 3: Piano trio in D major (spurious, actually composed by Beethoven's brother Karl)
* Anh. 4: Sonata for piano and flute in B♭ major (not certain)
* Anh. 5: Two piano sonatinas (probably spurious)
** Sonatina in G major
** Sonatina in F major
* Anh. 6: Rondo for piano in B♭ major (spurious, actually composed by Beethoven's brother Karl)
* Anh. 7: Piano concerto (Allegro) in D major (first movement) (probably by Johann Joseph Rösler)
* Anh. 8: Three pieces for piano four-hands (spurious, actually composed by Leopold Anton Koželuch)
* Anh. 9: Nine German dances for piano four-hands (probably doubtful)
* Anh. 10: Eight variations on the song "Ich hab'ein kleines Hüttchen nur" for piano in B♭ major (doubtful)
* Anh. 11: "Alexandermarsch" for Louis Duport ballet "Der blode Ritter" march for piano in F major (probably doubtful)
* Anh. 12: "Pariser Einzugsmarsch" march for piano in C major (spurious, actually composed by Johann Heinrich Walch)
* Anh. 13: Funeral march for piano in F minor (spurious, actually composed by Johann Heinrich Walch, but still popularly called "Beethoven's Funeral March" in the UK; where it is famously played during the Remembrance Sunday service at the Cenotaph)
* Anh. 14: Six piano waltzes (probably spurious)
* Anh. 15: "Glaube, Liebe, und Hoffnung" waltz for piano in F major, most known as "Adieu to the piano" (probably doubtful)
* Anh. 16: Four piano waltzes
** "Jubelwalzer" waltz for piano in C♯ major (probably doubtful)
** "Gertruds Traumwalzer" waltz for piano in B♭ major, most known as "Gertrude's Dream Waltz" (spurious, author unknown)
** "Sonnenscheinwalzer" waltz for piano in E♭ major (probably doubtful)
** "Mondscheinwalzer" waltz for piano in A♭ major (probably doubtful)
* Anh. 17: "Introduction and Waltz (Klavierstück)" waltz for piano in F major (probably doubtful)
* Anh. 18: "An Sie" or "Nachruf" song in A♭ major (Voice and Piano or Guitar) (probably doubtful)
* Unv. 1 Symphony in C minor = Hess 298
* Unv. 2 Sketches for a symphony in C (parts of which were reused for Symphony #1) = Biamonti 73
* Unv. 3 Symphony No. 10 = Biamonti 838
* Unv. 4 Sketches for a BACH Overture = Biamonti 832
* Unv. 5 Concertante in D = Gardi 3
* Unv. 6 Piano Concerto #6 in D = Hess 15
* Unv. 7 String Quintet movement in D minor = Hess 40
* Unv. 8 Duo for Violin and Cello in E-flat = Gardi 2
* Unv. 9 Allegretto in E-flat for Piano Trio = Hess 48
* Unv. 10 Piano Trio in F minor = Biamonti 637
* Unv. 11 Violin Sonata in A = Hess 46
* Unv. 12 Fantasia/Piano Sonata in D = Biamonti 213
* Unv. 13 Piano Sonata in E-flat (found at Fischhof 42v, previously uncatalogued)
* Unv. 14 Variations for Piano in A (found at Fischhof 25v through 26v, previously uncatalogued)
* Unv. 15 Opera, Vestas Feuer = Hess 115
* Unv. 16 Opera, Macbeth = Biamonti 454 (Beethoven is believed to have intended to write the opera Macbeth; a performing version of possible sketches was assembled by Albert Willem Holsbergen between 1999 and 2001. The premiere performance of the Beethoven Macbeth Overture was by the National Symphony Orchestra on September 20–22, 2001, under the direction of Leonard Slatkin).
* Unv. 17 Cantata, Europens Befreiungsstunde = Hess 317
* Unv. 18 Östreich über alles, Song for Chorus and Orchestra, Biamonti 477
* Unv. 19 Cantata for voice and piano in B-flat, (found in Fischhof f.1v, Kafka f.100r and a.66 f.1r. previously uncatalogued)
* Unv. 20 Lamentations of Jeremiah = Gardi 4
* Unv. 21 Song, "Traute Henriette" = Hess 151
* Unv. 22 Song, "Rastlose Liebe" = Hess 149
* Unv. 23 Song, "Heidenröslein" = Hess 150

### Works with Hess numbers
#### Works with Hess number

These works have numbers that were assigned by Willy Hess in his catalogue of Beethoven's works. Many of the works in the Hess catalog also have WoO or Unv. numbers; those entries are not listed here.
* Hess 1: Original ending to first movement of Symphony No. 8 (1812)
* Hess 3: Twelve Ecossaise for piano or orchestra
* Hess 11: Romance No. 3 for violin & orchestra (1816)
* Hess 14: Fragment of original version of Piano Concerto No. 2 (1794–95)
* Hess 16: Original introduction to the Choral Fantasy (1808)
* Hess 25: String Trio Opus 3 (first version) (1793)
* Hess 28: Movement in A♭ major for string trio Opus 9 No. 1 (second trio to the Scherzo) (1797)
* Hess 29–31: Preludes and Fugues for Albrechtsberger (1794–95)
* Hess 32: String Quartet in F major (first version of Opus 18 No. 1) (1799)
* Hess 34: String Quartet in F major (arrangement of Opus 14 No. 1) (1801–02)
* Hess 35: Bach fugue arranged for string quartet (fragment) (1817)
* Hess 36: Handel fugue arranged for string quartet (1798)
* Hess 37: Mozart fugue arranged for piano four hands
* Hess 38: Bach fugue arranged for string quintet (1801–02)
* Hess 39: String Quintet in F major (lost)
* Hess 40: Prelude for String Quintet (incomplete) (1817)
* Hess 44: Adagio ma non troppo for mandolin & harpsichord in E♭ major
* Hess 46: Violin Sonata in A major (fragment) (c.1790)
* Hess 47: Allegro con brio in E♭ major for piano trio (arrangement of String Trio Opus 3)
* Hess 49: Piano Trio in E♭ major (1786)
* Hess 50: Piano Trio in B♭ major (1786)
* Hess 52: Piano Sonata in C major
* Hess 54: Piano variations on Freudvoll und Liedvoll
* Hess 57: Bagatelle in C major (1824)
* Hess 58: Piano Exercise in B♭ major (1800)
* Hess 59: Piano Exercise in C (1792–1800)
* Hess 60: Draft in A for Piano (1793)
* Hess 63: Arrangement of Christian Friedrich Daniel Schubart's "Kaplied" for piano (1789)
* Hess 65: Concerto excerpt (arrangement of Opus 37) (1820–01)
* Hess 66: Allegretto in C minor (1796–97)
* Hess 67: Two German dances for piano (1811)
* Hess 69: Allegretto for piano in C minor (1794)
* Hess 70: Adagio for piano in G major (1803–04)
* Hess 71: Molto adagio for piano in G major (1803–04)
* Hess 72: Variations for piano in A major (1803)
* Hess 76–83: Cadenzas for Piano
* Hess 84: Rondo for piano
* Hess 85: Piano cadenza for Op. 61a
* Hess 87: Grenadiermarsch for piano (arrangement of WoO 29) (1797–98)
* Hess 88: Minuet for piano (arrangement of WoO 209) (1790–92)
* Hess 89: Ritterballet for piano (arrangement of WoO 1) (1791)
* Hess 90: The Creatures of Prometheus for piano (arrangement of Op. 43) (1801)
* Hess 91–95: Five Songs
* Hess 96: Fragment of Symphony No. 7 for piano (1813)
* Hess 97: Wellington's Victory for piano and two cannons (arrangement of Op. 91) (1816)
* Hess 98: Scherzo for piano (1794–99)
* Hess 99: Yorckscher Marsch (piano arrangement of WoO 18) (1809–10)
* Hess 100: Twelve German dances (piano arrangement of WoO 8) (1795)
* Hess 101: Twelve Minuets (piano arrangement of WoO 7) (1795)
* Hess 102: Nine contredanses (piano arrangement of nos. 1–2, 4–5, 7–10, 12 from Twelve contredanses for orchestra WoO 14) (1791–1801)
* Hess 107: Grenadiermarsch (musical clock arrangement of WoO 29) (1798)
* Hess 108: Wellington's Victory (panharmonicon arrangement of the second part of Opus 91) (1813)
* Hess 110–114: Parts from 'Leonore
* Hess 116: Fragment for Solo Voice(s): "Ritterblatt"
* Hess 118: Music for The Consecration of the House (from Opus 113) (1822)
* Hess 121–122: Arias from Leonore
* Hess 123–147: Songs
* Hess 152–207: Folksong settings
* Hess 208–232: Italian partsongs
* Hess 233–246: Counterpoint exercises
* Hess 254: Canon in G major: "Hol dich der Teufel" (1801)
* Hess 263–264: Two canons
* Hess 274: Canons in G major (1803)
* Hess 296: Little Cadenza for Instrument(s) (1822)
* Hess 297: Adagio for three horns (1815)
* Hess 299–305: Sketches for canons
* Hess 306–309: Four canons
* Hess 310: Prelude in C for Organ
* Hess 311–312: Two canons
* Hess 313: Song: "Te solo adoro" (1824)
* Hess 314: Funeral Cantata (1781)
* Hess 315: Fugue
* Hess 316: Quintet (1793)
* Hess 318–319: String Quintets
* Hess 320: Andante for String Quartet in G major (1815)
* Hess 321–324: Melodies
* Hess 325: Piece for piano in D major (1802)
* Hess 326: Fugue for piano in C major (1800–01)
* Hess 327: Two little melodies (1803)
* Hess 329–330: Sketches
* Hess 331: Minuet for piano in B ♭ major
* Hess 332: Pastorella for String Quartet in D major (1799)
* Hess 333: Minuet-Scherzo for String Quartet in A major (1799)
* Hess 334: Draft for String Quartet in A major (1799)
* Hess 335: Two exercises on the song "Gedenke Mein"

#### Works with Hess Anhang (Anh.) numbers

These are works included in the appendix of Hess's catalogue that might not be genuine works by Beethoven.
* Anh. 3: Marches zur großen Wachtparade (not certain)
* Anh. 4: Marsch in geschwinden tempo (not certain)
* Anh. 5: Twelve waltzes for 2 Violins and Bass, with 2 Flutes and 2 Horns ad libitum (not certain) (1807)
* Anh. 8: Quintet for Flute, Violin, 2 Violas, and Cello (not certain)
* Anh. 9: Sonata for 2 Violins and Cello (not certain)
* Anh. 10: Andante favori for string quartet (arrangement of WoO 57) (not certain)
* Anh. 17: Adagio and Andante for violin and piano (not certain)
* Anh. 21: Bagatelle "An Laura" for piano (arrangement of WoO 112) (doubtful)
* Anh. 22: Funeral March in C Minor (not certain)
* Anh. 38–56: Songs (not certain)
* Anh. 57: Fugue "Dona nobis pacem" (now thought genuine) (1795)
* Anh. 58: Bundeslied (not certain)
* Anh. 59: Folksong "As I was wandering" (not certain)
* Anh. 60: Canon in C major (probably spurious)
* Anh. 61–62: Canons (spurious)
* Anh. 63–64: Canons (not certain)
* Anh. 65: Cantata Karfreitagskantate (not certain)
* Anh. 66: Two fragments for chorus (not certain)

### Works with Biamonti numbers

The Italian musicologist Giovanni Biamonti compiled a chronological catalogue Beethoven's entire output known at the time, including sketches and fragments. While most of these works were already included in other catalogues, there were some that had been missed by earlier compilers. This list does not include works with opus, WoO or Hess numbers, nor does it include sketches.
* Bia 15: Song "Der Arme Componist" (1788–91)
* Bia 16: Cello part to the Lost Cadenza for Leopold Cantata WoO 88
* Bia 43: Song "Meine Mutter fragt mich immer: trinkst du?"
* Bia 48: Anglaise for piano for G minor (1792)
* Bia 238: Presto in F major (1800)
* Bia 249: Minuet for orchestra in D major (1800)
* Bia 252: Minuet for orchestra in D major (1800)
* Bia 269: Andante molto for piano in E♭ major
* Bia 272: Andante for piano in B♭ major (1793)
* Bia 274: Andante for String Quartet in C major (1793)
* Bia 277: Presto for piano in G major (1793)
* Bia 279: Allegro for piano in C major (1793)
* Bia 291: Andante, for a symphony (1801)
* Bia 292: March with variations (1801)
* Bia 319: Finale for piano (1802)
* Bia 322: Piece for piano in C minor (1802)
* Bia 323: Piece for piano (1802)
* Bia 346: Fuga Antique for piano in C major (1803)
* Bia 347: Passage for piano through all the keys (1803)
* Bia 359: Rondo for "all the instruments" (1803)
* Bia 380: Song "Zur Erde sank die Ruh' vom Himmel nieder" (1803)
* Bia 383: Exercise for piano
* Bia 389: Piece for viola, cello, horn and double bass (1803)
* Bia 392: Rondo for piano (1803)
* Bia 447: Passage for piano (1808)
* Bia 547: Symphony No. 8 with the original ending of Hess 1 (1812)
* Bia 606: Andante for pizzicati basses with clarinets in B minor (1815)
* Bia 621: Allemande for piano (1815)
* Bia 622: Pastorella for piano in C major (1815)
* Bia 624: Etude, study of prosody on a text of Homer (1815)
* Bia 632: Song "Die Zufrieddenheit" (1815)
* Bia 634: German dance for piano trio in F minor (1815)
* Bia 638: Exercise for piano (1815)
* Bia 797: Adagio for String Quartet in E major (1824)
* Bia 811: Canon in C minor (1825)
* Bia 849: Draft for piano (last notes written by Beethoven) (1827)
There were also several projected works by Beethoven, including the operas Alessandro, Memnons Dreiklang, and Bradamante; an oratorio on a text by Meissner, an oratorio "Die Befrieung Jerusalems", and an oratorio "Die Sündflut" with text by Hammer-Purgstall.