Chapter X (6)

For Pianoforte, B-flat major, No. 2, Op. 19--I, 136, 144, 177,
184, 185, 188, 208, 217, 222, 224, 225, 226, 272, 275, 286,
287, 290, 299; II, 39; III, 50, 279.
(See RONDO IN B-FLAT.)

For Pianoforte, in C minor, No. 3, Op. 37--I, 270, 277, 364;
II, 6, 7, 30, 32, 37, 39, 42, 131.

For Pianoforte, in G major, No. 4, Op. 58--II, 56, 66, 67, 68,
73, 74, 101, 110, 131, 134.

For Pianoforte, in E-flat major, No. 5, Op. 73--II, 133, 147,
149, 150, 159, 160, 192, 199, 209, 215, 216.

For Pianoforte, Violin and Violoncello, Op. 56--II, 40, 56,
73, 80, 113, 117.

Romance for Violin, in G, Op. 40--II, 20, 25, 26; III, 59.

Romance for Violin, in F, Op. 50--I, 140; II, 25, 26, 55; III, 59.

Rondo for Pianoforte, in B-flat, completed by Czerny--I, 223.

Sketches for Pianoforte Concerto in D--II, 328.

(c) CHORAL WORKS AND PIECES FOR SOLI AND CHORUS

Abschiedsgesang, for Men’s Voices--II, 303.

“Ah, perfido! spergiuro,” Scena for Soprano and Orchestra,
Op. 65--I, 143, 206, 209; II, 6, 56, 129.

Birthday Cantata for Archduke Rudolph--III, 25.

Bundeslied, for Soprano and Orch.--III, 64, 141.

Cantata on the Death of Cressener (Youthful)--I, 65.

Cantata on the Death of Joseph II--I, 130.

Cantata on the Elevation of Leopold II--I, 130, 131.

“Christus am Ölberg,” Oratorio, Op. 85--I, 143, 289, 364; II, 2;
first performance of, 5 _et seq._;
criticism of, 8, 35; 45, 52, 74, 156, 199, 204, 210, 246, 250,
309, 310, 327; III, 50, 174, 189, 208.

“Der glorreiche Augenblick,” Cantata, Op. 136--II, 294, 299, 300,
303, 305, 313, 318, 333, 339, 352.

“Egmont,” incidental music for, Op. 84--Commission for, II, 153, 166;
composition and first performance of, 171, 181, 192, 194, 197, 198;
209, 214, 216, 224, 238, 268; III, 75.

Elegiac Song, for four Voices and Strings, composed in memory of
Baroness Pasqualati, Op. 118--II, 288, 303; III, 58.

“Es ist vollbracht,” Chorus for “Die Ehrenpforten”--II, 317, 328.

Fantasia for Pianoforte, Chorus and Orchestra, Op. 80--I, 203;
II, 90, 127, 129 _et seq._; 131, 133, 136, 160, 166, 192, 199;
dedication of, 207; 209, 369, 388; III, 177.

“Fidelio,” Opera, Op. 72--I, 145, 230, 263, 320; II, 19, 20, 35, 40;
composition of, 41; 45 _et seq._;
first performance, 49 _et seq._;
criticisms, 52;
first revision of, 53, 55, 56;
repetition and revision, 57 _et seq._;
overtures, “Fidelio” and “Leonore” Nos. 1, 2 and 3, 58 _et seq._;
60, 110, 111, 278, 279;
Röckel’s account of the withdrawal of, 63;
Salieri’s advice asked and rejected, 64;
Milder-Hauptmann and the great scena, 64;
Cherubini’s opinion, 63, 64;
offered to Berlin, 64;
Pf. score offered to Breitkopf and Härtel, 66;
sketches for, 73, 100;
in Prague, 110;
revival in 1814, 263 _et seq._; 268, 273 _et seq._; 280;
publication as “Leonore,” 285 _et seq._;
Pf. score by Moscheles pirated, 283; 284, 285;
“Abscheulicher,” 285; 286, 293, 296, 303, 305, 307, 311, 313, 318,
330, 350, 351, 352, 353, 381; III, 82 _et seq._; 117;
in Dresden, 129 _et seq._; 139, 202, 288.

“Germania, wie stehst Du jetzt,” Chorus--II, 269, 277, 279, 302,
303, 317.

“Ihr weisen Gründer,” Chorus--II, 288, 292, 303.

“Leonore Prohaska,” incidental music for--II, 298, 303.

“Lob auf den Dicken,” jest on Schuppanzigh--I, 238.

Mass in C major, Op. 86--II, 107 _et seq._; 108, 112, 127, 142;
performed at Troppau, 208; 223, 238, 310; III, 103.

Mass in D major, Op. 123 (_Missa Solemnis_)--I, 320; II, 398, 411,
414;
III, 15, 21, 22, 37;
B. gets advance on, 39, 41, 42;
negotiations with Simrock, 44 _et seq._; 48, 51 _et seq._; 71,
72, 86;
history of the composition, subscription and publication,
89 _et seq._; 105;
sold to Diabelli, 107;
contract cancelled, 108;
additional numbers to, 116, 151, 162;
first performance, 164 _et seq._; 169, 174;
publication of, 177 _et seq._;
offered to Probst, 178;
sold to Schott, 177, 180;
dedication, 212, 226;
metronomic marks for, 296.

Sketches for a Mass in C-sharp minor--III, 63, 116, 117, 141.

“Meeresstille und glückliche Fahrt,” Cantata, Op. 112--II, 300,
310, 327, 328.

“Mit Mädeln sich vertragen,” Song with Orchestra. (See SONGS.)

“Mount of Olives, The.” (See “CHRISTUS AM ÖLBERG.”)

“Opferlied,” for Soprano, Chorus and Orchestra, Op. 121b--I, 203,
275, 364; III, 64.

“Praise of Music, The” and “Preis der Tonkunst.” (See “DER GLORREICHE
AUGENBLICK.”)

“Primo Amore,” Song with Orch.--III, 58.

“Prüfung des Küssens.” (See SONGS.)

“Rasch tritt der Tod,” Chorus of Monks from Schiller’s
“William Tell”--II, 365, 368, 388.

“Ruinen von Athen” (“The Ruins of Athens”), incidental music
for, Op. 113--II, 161, 201, 207, 208, 209, 213, 214, 216,
246, 249, 262, 264, 278, 311, 313, 316, 334; III, 57, 70,
71, 79, 80;
B.’s “Little opera,” 118; 189.

Airs from “Die schöne Schusterin”--I, 204, 224.

“Tremate, empj, tremate,” Terzetto with Orch., Op. 116--I, 365;
II, 6, 267, 302, 313; III, 169.

Un lieto Brindisi, for four Voices and Pf.--II, 280, 302.

“Weihe des Hauses, Die,” incidental music for;
Overture, Op. 124--II, 26; III, 57, 79, 80, 81, 89, 111, 146,
162, 165, 226;
“Wo sich die Pulse,” Chorus, III, 72, 80.

~Canons and Rounds~: “Alles Gute, alles Schöne,” III, 25;
“Ars longa” (for Hummel), II, 338;
“Airs longa” (for Smart), III, 211;
“Bester Graf,” III, 115;
“Das Schöne zu dem Guten,” III, 140, 202;
“Doktor, sperrt das Thor,” III, 200;
“Edel sei der Mensch,” III, 110, 126;
“Freu’ dich des Lebens,” III, 211;
“Gedenkt heute an Baden,” III, 90;
“Gehabt euch wohl,” III, 90;
“Glaube und hoffe,” III, 23;
“Glück fehl Dir,” II, 363;
“Glück zum neuen Jahre,” II, 328, 356; III, 21, 22;
“Grossen Dank,” III, 131;
“Hier ist das Werk,” III, 246;
“Hol’ euch der Teufel,” III, 22;
“Hoffmann, sei ja kein Hōfmann,” III, 35, 190;
“Kühl, nicht lau,” III, 204;
“Kurz ist der Schmerz” (for Naue), II, 259;
“Kurz ist der Schmerz” (for Spohr), II, 303;
“Lerne schweigen, O Freund,” II, 328, 333, 389;
“Muss es sein?”, III, 224, 244;
“O Tobias,” III, 43, 90;
“Rede, rede,” II, 328, 333;
“Sankt Petrus war ein Fels,” III, 32;
“Schwenke dich,” III, 182, 190;
“Signor Abbate,” III, 236;
“Ta, ta, ta, lieber Mälzel,” II, 234 _et seq._;
“Te solo adoro,” III, 143;
“Tugend is kein leerer Name,” III, 90.

(d) INSTRUMENTAL DUOS, TRIOS, QUARTETS, etc.

“Duet mit zwei Augengläsern,” for Viola and Violoncello--I, 205.

Duo for Clarinet and Bassoon--I, 205.

Duo, Arrangement of Trio Op. 3 for Pf. and Violoncello,
Op. 64--II, 113.

Duo for two Flutes--I, 134.

Polonaise from Serenade in D, arranged for two Violins--II, 113;
the same arranged for Violin and Guitar--II, 113.

Trios (Three) for Pf., Violin and Violoncello in E-flat, G,
and C minor, Op. 1--I, 130, 132, 137, 144, 145, 160,
175, 180, 185, 186, 208, 271; II, 326, 374, 388; III, 23, 40.

Trio for Violin, Viola and Violoncello, in E-flat, Op. 3--I,
134, 135, 145, 180, 187, 200, 204, 206, 221.

Trio in D (Serenade) for Violin, Viola and Violoncello, Op. 8--I,
202, 208; II, 113.

Trios (Three) for Violin, Viola and Violoncello, in G major,
D major and C minor, Op. 9--I, 209, 221, 225, 271; II, 77.

The same, arranged for Pf. and Strings by Ries--I, 350; II, 77.

Trio for Pf., Clarinet (or Violin) and Violoncello, in B-flat
major, Op. 11--I, 225, 244.

Trio (Serenade) for Flute, Violin and Viola, in D major.
Op. 25--I, 207, 208, 364; II, 20.

Trio for Pf., Clarinet (or Violin) and Violoncello, in E-flat,
Op. 38 (arrangement of the Septet, Op. 20)--I, 350; II, 55.

Trio for Pf., Violin and Violoncello, in E-flat, Op. 63
(arrangement of the Quintet, Op. 4, which see).

Trios (Two) for Pf., Violin and Violoncello, in D major and
E-flat, Op. 70--II, 131, 132, 141, 162; III, 207.

Trio for two Violins and Viola, in C, Op. 29 (arrangement of
the Trio for two Oboes and English Horn)--I, 206; II, 77.

Trio for two Oboes and English Horn, in C, Op. 87--I, 206;
II, 77; III, 59.

Trio for Pf., Violin and Violoncello, in B-flat, Op. 97--II,
199, 209, 219, 269, 270, 311, 312, 313, 318, 319, 325,
338, 340, 347, 350, 351, 352, 353, 357, 367; III, 136, 223.

Trios for Pf., Violin and Violoncello, arranged from the String
Quartets, Op. 18--II, 77.

Trio arranged from the Second Symphony--II, 40.

Trio for Pf., Violin and Violoncello, in E-flat (Op. posth.)--I, 136.

Trio in one Movement, for Pf., Violin and Violoncello (for Maximiliane
Brentano)--II, 221, 237; III, 136.

Trio, Adagio, Variations (on “Ich bin der Schneider Kakadu”) and
Rondo, for Pf., Violin and Violoncello, Op. 121a--III, 136.

Trio for Pf., Violin and Violoncello, in D (attributed to Mozart:
K. 52a)--I, 139.

Trio for Pf., Flute and Bassoon--I, 137.

Trio (Variations on “Là ci darem”) for two Oboes and English
Horn--I, 202, 206; III, 64.

Quartets (Six) for Strings, in F, G, D, C minor, A and B-flat,
Op. 18--I, 227, 228, 235, 272 _et seq._; 277, 279, 280,
290, 298, 307; II, 77, 89.

Quartets (Three) in F, E minor, and C, Op. 59 (“Rasoumowsky”)--II,
65, 68, 73, 75 _et seq._; 82, 97, 103, 104, 105, 133, 337.

Quartet for Strings, in E-flat, Op. 74 (“Harp”)--II, 155, 159, 160,
195, 198.

Quartet for Strings, in F minor, Op. 95--II, 172, 193, 195, 219,
311, 312, 313, 318, 339, 340, 351, 357, 364; III, 183.

Quartet for Strings, in E-flat, Op. 127--III, 140, 177, 183
_et seq._; 187, 192 _et seq._; 201, 214 _et seq._

Quartet for Strings, in B-flat, Op 130--III, 205, 214 _et seq._;
221, 222 _et seq._; 225, 237, 245.

Quartet for Strings, in C-sharp minor, Op. 131--III, 218, 225, 296,
297, 307.

Quartet for Strings, in A minor, Op. 132--III, 205, 206, 214
_et seq._; 219, 223.

Quartet for Strings, Grand Fugue (originally Finale of Op. 130)--III,
215, 223.

Quartet for Strings, in F major, Op. 135--III, 225, 237, 244, 282.

Fugue from a String Quartet in D, from a collection projected

by Haslinger--II, 389.

Quartet for Strings, arranged from Pf. Sonata Op. 14, No. 1--I, 349.

Quartets (Three) in E-flat, D and C, for Pf. and Strings, composed
in 1785--I, 88, 210.

Quartet for Strings, an arrangement of the Quintet in E-flat,
published by Artaria as Op. 75--I, 208.

Quartet in E-flat, for Pf., Violin, Viola and Violoncello,
arranged by B. from Quintet Op. 16--I, 208, 350.

Quartet (arrangement of the “Eroica” Symphony as Pf. Quartet)--II,
113.

Quintet for Strings, in E-flat, Op. 4 (an arrangement of the Octet,
Op. 103)--I, 134, 144, 187, 204.

Quintet for Pf., Oboe, Clarinet, Bassoon and Horn, in E-flat,
Op. 16--I, 200, 207, 214, 224, 290, 316, 350; II, 2, 34, 337.

Quintet for Strings, in C, Op. 29--I, 228, 293;
unauthorised publication of, 294 _et seq._; 355, 364, 368; II, 44.

Quintet for Strings, in C minor, Op. 104 (arranged from the Trio,
Op. 1, No. 3)--II, 374, 388; III, 23.

Quintet (arrangement of the First Symphony)--I, 228.

Quintet, Pf., Double-bass, Flute, Horns, etc. (arrangement of the
Second Symphony with Double-bass, Flute and 2 Horns,
ad lib.)--II, 113.

Sextet in E-flat, for Clarinets, Horns and Bassoons, Op. 71--I, 206,

207, 209; II, 41, 147, 195.

Sextet in E-flat, for Strings and Horns, Op. 81b--I, 207; II, 195.

Septet in E-flat, Op. 20--I, 209, 227, 266, 267;
B.’s dislike of it, 267;
origin of the theme of the variations, 267, 272, 275, 277, 278;
dedication, 278;
first performance, 278, 282, 286, 299, 350, 364; II, 29, 214, 316,
337, 381, 386;
arranged as Trio, I, 350; II, 55;
arranged as Quintet, I, 228, 350.

Octet for Wind Instruments, Op. 103 (the original of the Quintet
for Strings, Op. 4)--I, 132, 133, 134, 144, 184, 204.

Dinner Music for Wind Instruments--I, 134.

Parthia for Wind Instruments--I, 133, 144.

Rondino for Oboes, Clarinets, Horns and Bassoons, in E-flat--I, 134.

Sketches: For Trio in F minor--III, 136;
for quintets--III, 245.

(e) SONATAS, ETC., FOR PIANOFORTE AND OTHER INSTRUMENTS OBBLIGATO

Three Sonatas for Pf. and Violin, in D, A and E-flat, Op. 12--I, 162,
225, 226, 307.

Sonata for Pf. and Violin, in A minor, Op. 23--I, 289, 290, 307.

Sonata for Pf. and Violin, in F, Op. 24--I, 289, 290, 307.

Three Sonatas for Pf. and Violin, in A, C minor and G, Op. 30--I,
364, 365; II. 20, 305.

Sonata in A, for Pf. and Violin, Op. 47 (“Kreutzer”)--I, 140, 365;
II, 9, 13, 20, 21.

Sonata for Pf. and Violin, in G, Op. 96--II, 237, 312, 313, 319,
325, 347, 350, 353, 357, 367.

Notturno for Pf. and Viola (arranged from the Serenade, Op. 8),
Op. 42--I, 208.

Rondo for Pf. and Violin, in G--I, 179.

Sonata for Pf. and Violin (arrangement of Trio for Oboes and
Bassoon)--I, 206.

Six Allemandes for Pf. and Violin--II, 303.

Variations on “Se vuol ballare,” for Pf. and Violin--I, 132,
138, 176, 178, 179.

Sonata in B-flat for Pf. and Flute--I, 138.

Two Sonatas for Pf. and Violoncello, in F and G, Op. 5--I,
195, 200, 205.

Sonata for Pf. and Violoncello, in A, Op. 69--II, 112, 131,
132, 141, 150, 162, 218.

Duo for Pf. and Flute (arranged from Serenade, Op. 25, and
published as Op. 41)--I, 208; II, 20.

Six Variations on National Themes, for Pf. and Flute (or Violin),
Op. 105--II, 415, 416; III, 23.

Ten Variations on National Themes, for Pf. and Flute (or Violin),
Op. 107--II, 415, 416; III, 22.

Sonatina for Mandolin and Pf. (Cembalo)--I, 210, 236.

Two Sonatas for Pf. and Violoncello, in C and G, Op. 102--II, 316,
328, 338, 339, 340, 352, 357, 367, 389; III, 23.

Variations on “See the Conquering Hero Comes,” from “Judas
Maccabæus,” for Pf. and Violoncello--I, 202, 205.

Variations in E-flat, Op. 44, for Pf., Violin and Violoncello--I, 137.

Variations on “Bei Männern welche Liebe fühlen,” for Pf. and
Violoncello--I, 364.

Variations on “Ein Mädchen oder Weibchen,” for Pf. and
Violoncello--I, 226, 305.

Arrangement of Trio, Op. 3, for Pf. and Violoncello, Op. 64--II, 113.

Sonata for Pf. and Horn, Op. 17--I, 239, 244, 267, 274, 277,
279, 290; II, 39.

Sketches from “Pastoral” Sonata for Pf. and Violoncello--II, 310.

(f) FOR PIANOFORTE ALONE

Three Sonatas (No. 1, F minor; No. 2, A major; No. 3, C major),
Op. 2--I, 137, 144, 186, 192, 217.

Sonata in E-flat, Op. 7--I, 202, 209, 244, 318; II, 74.

Sonata in C minor, Op. 10, No. 1--I, 207, 210, 224, 226, 244.

Sonata in F major, Op. 10, No. 2--I, 224, 244; II, 76.

Sonata in D major, Op. 10, No. 3--I, 205, 224, 244.

Sonata in C minor, Op. 13 (“Pathétique”)--I, 209, 221, 225,
227, 307; II, 90.

Sonata in E major, Op. 14, No. 1--I, 225, 226, 244;
arranged as a String Quartet, 349, 364.

Sonata in G major, Op. 14, No. 2--I, 225, 244.

Sonata in B-flat, Op. 22--I, 277, 279, 282, 286, 299, 364.

Sonata in A-flat major, Op. 26--I, 289, 290;
story of the Funeral March, 291;
published, 364;
the Funeral March orchestrated by B., II, 298; 299; III, 312.

Sonata quasi una Fantasia, in E-flat, Op. 27, No. 1--I, 244,
280, 289, 291, 364.

Sonata quasi una Fantasia, in C-sharp minor, Op. 27, No. 2--I,
244, 289, 291, 292, 293;
dedication of, 322;
B.’s opinion of, 322; 338, 339;
published, 364.

Sonata in D major, Op. 28 (“Pastoral”)--I, 289, 292.

Sonata in G major, Op. 31, No. 1--I, 364, 365; II, 20.

Sonata in D minor, Op. 31, No. 2--I, 364, 365;
origin of the Finale, 368; II, 20.

Sonata in E-flat, Op. 31, No. 3--II, 40.

Two Sonatas, No. 1 in G minor, No. 2 in G major, Op. 49--I,
206, 209, 225, 278; II, 55.

Sonata in C major, Op. 53 (“Waldstein”)--I, 103, 140; II, 31,
37, 40, 55, 77.
(See ANDANTE FAVORI.)

Sonata in F major, Op. 54--II, 31, 40, 56, 76.

Sonata in F minor, Op. 57 (“Appassionata”)--I, 140; II, 31, 40,
73, 77, 113, 335.

Sonata in F-sharp major, Op. 78--B.’s opinion of, I, 292; 323,
336, 338; II, 148, 154, 160, 161;
dedication, 195.

Sonatina in G major, Op. 79--II, 148, 160, 161;
publication of, 195.

Sonata in E-flat, Op. 81a (“Les Adieux, l’Absence et le Retour”)--II,
143, 146, 148, 159, 160, 161, 192, 199, 200, 207, 210, 219.

Sonata in E minor, Op. 90--II, 288, 291, 303, 328.

Sonata in A major, Op. 101 (“für Hammerklavier”)--II, 328, 338,
356, 364, 365, 389, 412.

Sonata in B-flat, Op. 106--II, 376, 378, 382, 388, 389, 396, 411,
412, 413, 414, 415; III, 23, 145.

Sonata in E major, Op. 109--III, 48, 49, 90.

Sonata in A-flat, Op. 110--III, 48, 49, 90.

Sonata in C minor, Op. 111--III, 48, 49, 55, 72, 90.

Three Sonatas dedicated to Maximilian Friedrich--I, 72.

Sonata (Unfinished) sent to Eleonore von Breuning--I, 139, 140, 179.

Sonata for Pf. four hands, in D, Op. 6--I, 200, 209.

Gavotte, Marcia lugubre et Rondo, for Pf. four hands (attributed to
Mozart)--I, 139.

Grand Fugue for Pf. four hands, arranged from the Finale of the
Quartet Op. 130--III, 223, 224.

Andante favori, in F (see SONATA, Op. 53)--II, 31, 40, 77.

Allegretto in C minor (B. and H. Supplement, XXV, No. 299)--I, 210.

Bagatelles, in general--I, 261; III, 57, 62.

Bagatelles (Seven), Op. 33--I, 71, 140, 361, 362, 364, 371; II, 20.

Bagatelles, Op. 119--I, 365, 371; III, 48, 86.

Bagatelles (Six), Op. 126--III, 57, 64, 142 _et seq._

Bagatelles (B. and H. Supplement, XXV, 295)--I, 210.

“Beethoven’s letzter Gedanke” (“Dernière Pensée musicale”)--II, 415.

Écossaise in E-flat--III, 216.

Écossaises (Twelve)--II, 113; III, 216.

Fantasia, Op. 77--I, 293; II, 91, 148, 154, 160, 161, 195.

Ländler (Six)--I, 364, 365. (Also for Orchestra.)

Contradances (Six)--I, 289, 364. (Also for Orchestra.)

Marches, Three Grand, for four hands, in C, E-flat and D,
Op. 45--I, 350, 356; II, 40.

Minuet in E-flat--II, 56.

Polonaise in C, Op. 89--II, 152, 305, 328.

Preludes (Two) through all the Major Keys, for Pianoforte or
Organ, Op. 39--I, 138, 371; II, 20.

Prelude in F minor--I, 138; II, 55.

Rondos (Two) in C and G, Op. 51--I, 202, 244, 275, 277, 322, 364;
dedicated, 370.

Rondo Allegretto--I, 75.

Rondo a Capriccio (“Die Wuth über den verlornen Groschen”),
Op. 129--III, 143, 246.

Rondo in C (Youthful, anonymous)--I, 72, 140.

Variations (Six) on an Original Theme, Op. 34--I, 314, 364, 365, 370;
dedication, 368; II, 20.

Variations (Fifteen) with a Fugue, on a Theme from “Prometheus,”
Op. 35--I, 364, 365, 368, 369, 370; II, 20.

Variations in D, on a Theme used afterwards in “The Ruins of Athens,”
Op. 76--II, 148, 160, 161, 195.

Variations (Thirty-three) on a Waltz by Diabelli, Op. 120--III, 107,
108, 127 _et seq._; 147.

Variations on a Theme by Count Waldstein, in C, for four hands--I,
139, 176, 183, 184.

Variations (Nine) on a March by Dressler, in C minor--I, 69, 70, 72.

Variations (Twenty-four) on “Venni amore,” in D--I, 7, 114, 117, 138.

Variations (Thirteen) on “Es war einmal,” by Dittersdorf--I, 139, 176,
183, 184.

Variations (Nine) on “Quant è più bello,” by Paisiello, in A--I, 187.

Variations on “Nel cor più non mi sento,” by Paisiello--I, 187, 192.

Variations on the “Minuet à la Vigano”--I, 188, 192.

Variations (Twelve) on a Russian Dance from “Das Waldmädchen”--I,
200, 209, 244.

Variations (Six easy) on a Swiss Air, for Harpsichord or Harp--I, 227.

Variations on “Une fièvre brûlante,” by Grétry--I, 226, 227, 305.

Variations (Ten) on “La Stessa, la stessissima,” by Salieri--I, 227,
244, 275.

Variations (Eight) on “Tändeln und Scherzen,” by Süssmayer--I, 227.

Variations (Nine) on “Kind, willst Du?” by Winter--I, 227, 275.

Variations (Seven) on “God save the King”--I, 140, 305, 370; II, 40.

Variations on “Rule Britannia”--I, 370; II, 40.

Variations (Thirty-two) in C minor--II, 76, 113, 117.

Variations for four hands on “Ich denke Dein”--II, 55.

Variations on a Theme from “Le Nozze disturbate.” (See “MINUET
À LA VIGANO.”)

Variations on “Ich denke Dein”--I, 277, 279, 335, 362; II, 55,
147, 148.

Variations, très faciles, in G--I, 277, 279, 290.

Waltz in D--III, 216.

Waltzes (Twelve), also published for Strings and Wind--II. 113.

Cadenza for Mozart’s Concerto in D minor--I, 185.

Movement for a Clock--I, 76.

Two-part Organ Fugue in D--I, 71.

Sketches for Sonata, four hands--III, 141.

Sketches for a Concerto in D minor--II, 328.

(g) SONGS WITH PIANOFORTE ACCOMPANIMENT

Abendlied--III, 50.

Abschiedsgesang an Wiens Bürger--I, 199; II, 303.

Adelaide, Op. 46--I, 143, 202, 203, 207, 230; II, 6, 306,
338; III, 61.

Als die Geliebte sich trennen wollte--II, 72, 162.

Amante impaziente, L’--II, 160.

Andenken--II, 160, 195.

An die ferne Geliebte--II, 328, 343, 356, 357, 363; III, 32.

An die Geliebte--II, 209, 284, 303.

An die Hoffnung--II, 55, 306, 328, 338, 356; III, 20.

An einen Säugling--I, 75.

An Minna--I, 132.

Ariettes (Four) and a Duet, Italian, Op. 82--II, 160, 192, 209.

Bardengeist, Der--II, 259, 260.

Bitten--II, 20.

Blümchen Wunderhold, Das--I, 362.

Bundeslied--III, 64.

Che fa il mio bene (Buffa)--II, 209.

Che fa il mio bene (Seria)--II, 209.

Der Jüngling in der Fremde--II, 147, 148, 160, 195.

Die Trommel gerühret (See EGMONT.)

Dimmi ben mio--II, 209.

Ehre Gottes in der Natur, Die--II, 20.

Ein grosses, deutsches Volk sind wir--I, 201.

Einst wohnten (An den fernen Geliebten)--II, 148, 160, 195.

Elegie auf den Tod eines Pudels--I, 132.

Es war einmal ein König--II, 195, 363.

Feuerfarb--I, 132, 134, 137.

Freudvoll und leidvoll. (See EGMONT.)

Gedenke mein--II, 160, 195.

Gegenliebe--I, 203; II, 133.

Geheimniss, Das--II, 72, 328, 356; III, 50.

Gellert: Six Sacred Songs--“Bitten,” “Die Liebe des Nächsten,”
“Vom Tode,” “Die Ehre Gottes in der Natur,” “Gottes Macht
und Vorsehung” and “Busslied”--II, 20.

Glück der Freundschaft, Das--II, 20.

Gottes Macht--II, 20.

Gretel’s Warnung--II, 160, 195.

Herz, mein Herz--II, 191, 194, 195.

Horch, wie schallt’s (“Der Wachtelschlag”)--I, 370; II, 40.

Ich denke Dein--I, 275, 277, 279, 335; II, 55, 147, 148.

Ich, der mit flatterndem Sinn--I, 132.

Ich liebe dich--II, 20.

In questa tomba--II, 111, 113, 134.

Irish Songs (for Thomson, with obbligato instruments)--II,
70, 157, 162, 194, 238, 259, 260, 303.

Kennst du das Land--II, 186, 191, 194, 195.

Klage, Die--I, 132; II, 160.

Kleine Blumen--II, 210.

Kriegers Abschied, Des--II, 303, 328.

Kuss, Der--I, 275; III, 64, 87.

La Partenza--II, 20.

Liebe des Nächsten, Die--II, 20.

Liebende, Der--II, 148, 160, 195.

Lied aus der Ferne--II, 147, 148, 160, 195.

Lisch aus, mein Licht--II, 388, 416; III, 50.

Lydiens Untreue--II, 72.

Mailied--I, 204.

Mann von Wort, Der--II, 356, 357.

Man strebt die Flamme--I, 133.

Merkenstein--II, 303, 310, 357; III, 61.

Mit einem gemalten Bande--II, 194.

Mit Liebesblick--II, 160, 195.

Mit Mädchen sich vertragen--I, 132; III, 58.

National Songs--II, 17. (See “Irish,” “Scottish” and “Welsh.”)

No, non turbate (Scena and air)--I, 364.

Nord oder Süd--II, 386, 388, 389; III, 50.

O care selve--I, 204.

Odi l’Aura (Duet)--II, 160, 209.

Opferlied--I, 203, 275, 364; III, 64, 140, 141, 189, 202.
(See WORKS FOR CHORUS AND ORCHESTRA.)

O, welch’ ein Leben--I, 204. (See also “Die schöne Schusterin,”
under CHORAL WORKS.)

Plaisir d’aimer--I, 228.

Prüfung des Küssens--I, 131.

Punschlied--I, 133.

Que le temps (jour) me dure--I, 228.

Ruf vom Berge--II, 356, 389.

Schilderung eines Mädchens--I, 72.

Scottish Songs (Twelve)--II, 328, 416.

Scottish Songs (Twenty-five)--II, 17, 69, 190, 203, 218,
219, 259, 260; III, 50.

Sehnsucht--II, 132, 133, 194, 195, 357.

Seufzer eines Ungeliebten--I, 202, 203, 207.

Six Songs, Op. 75--II, 192, 195.

“Soll ein Schuh nicht drücken” (from “Die schöne Schusterin”)--I,
204, 224.

Three Songs, Op. 83--II, 192, 199.

T’intendo--II, 209.

Trinklied (“Erhebt das Glas”)--I, 132, 199.

Trinklied (“Lasst das Herz uns froh erheben”)--I, 199. (See
“Abschiedsgesang.”)

Trocknet nicht--II, 186, 194, 210.

Turteltaube--I, 204.

Urian’s Reise--I, 88, 132.

Wachtelschlag, Der--I, 370; II, 40.

Was ist des Maurers Ziel--I, 133.

Was zieht mir--II, 210.

Welsh Songs (with obbligato instruments)--II, 70, 157, 238, 389.

Wer ist ein freier Mann--I, 133, 204.

Zufriedene, Der--II, 148, 160, 195.

Zwar schuf das Glück--II, 148, 160, 195.

Sketches for uncompleted songs: “Erlkönig”--III, 86;
“Haidenröslein”--II, 415;
“Meine Lebenszeit verstreicht”--I, 275.

* * * * *

Transcriber's Note

Page headers in the original text have been moved above the paragraph to which they relate.

The index was printed with many punctuation errors in the index. Some have been corrected without further note, but remaining inconsistencies include the use of B. and B as abbreviations, reference to Volume numbers as I or Vol. I, and use of a semi-colon or a comma after _et seq._ Many page numbers in the index were printed out of numerical order.

The following apparent errors have also been changed:

p. 17 "fouud" changed to "found"

p. 20 (note) "aristically" changed to "artistically"

p. 20 "A[rch-]D[uke]." changed to "A[rch-]D[uke].”"

p. 42 "the the greatest" changed to "the greatest"

p. 49 (note) "“Zweit. Beeth.”, pp. 467" changed to "“Zweit. Beeth.,” pp. 467"

p. 60 "expecially" changed to "especially"

p. 76 "all right." changed to "all right.”"

p. 83 "to to Hensler" changed to "to Hensler"

p. 89 "cermony" changed to "ceremony"

p. 93 "disinteredness" changed to "disinterestedness"

p. 94 "contempories" changed to "contemporaries"

p. 99 "indentical" changed to "identical"

p. 104 "almost O" changed to "almost 0"

p. 128 "also fuming" changed to "was also fuming"

p. 144 "1915" changed to "1815"

p. 146 "Pianofortes Sonatas" changed to "Pianoforte Sonatas"

p. 148 "final chorus" changed to "final chorus)"

p. 150 "(nor this either" changed to "nor this either"

p. 161 "vexations" changed to "vexatious"

p. 196 "castrophe" changed to "catastrophe"

p. 215 "_31ème Quatuor." changed to "“_31ème Quatuor."

p. 219 "semblence" changed to "semblance"

p. 222 "Leibquartett" changed to "Liebquartett"

p. 224 "he, remarked" changed to "he remarked"

p. 224 "“Must it be?" changed to "“Must it be?”"

p. 227 "life, time" changed to "lifetime"

p. 239 "Schwarzspanierhaus" changed to "Schwarzspanierhause"

p. 252 "toward each," changed to "toward each"

p. 252 "solicituous" changed to "solicitous"

p. 259 "capable practioner" changed to "capable practitioner"

p. 272 "Schwarzpanierhaus" changed to "Schwarzspanierhaus"

p. 274 "has thought" changed to "has been thought"

p. 294 "ensured" changed to "ensued"

p. 304 "but Beetthoven" changed to "but Beethoven"

p. 305 (note) "farce is done.’" changed to "farce is done.’”"

p. 309 "Beethovens death" changed to "Beethoven’s death"

p. 310 "preserved." changed to "preserved.”"

p. 315 "‘~Alfred the Great~”" changed to "“~Alfred the Great~”"

p. 316 "42," changed to "42."

p. 316 "77 wants" changed to "77; wants"

p. 316 "to, 218," changed to "to, 218."

p. 317 "104; 190" changed to "104, 190"

p. 317 "132; 134;" changed to "132, 134;"

p. 317 "103; 191" changed to "103, 191"

p. 317 "xi; 192" changed to "xi, 192"

p. 320 "368; 362" changed to "368, 362"

p. 320 "280 286" changed to "280, 286"

p. 321 "176 Matthisson" changed to "176; Matthisson"

p. 321 "344, Magdalena" changed to "344; Magdalena"

p. 321 "Rovantini I, 64" changed to "Rovantini, I, 64"

p. 322 "_et seq._; 364;" changed to "_et seq._, 364;"

p. 322 "37; 118" changed to "37, 118"

p. 323 "200; 219" changed to "200, 219"

p. 324 "“Fidelio”; II" changed to "“Fidelio”, II"

p. 324 "_et seq._; 141." changed to "_et seq._, 141."

p. 324 "3; 36;" changed to "3, 36;"

p. 324 "asked by B to" changed to "asked by B. to"

p. 324 "I, 1 _et seq._" changed to "I, 1 _et seq._;"

p. 325 "Dedication; 88;" changed to "Dedication, 88;"

p. 326 "Singer, III: 169." changed to "Singer: III, 169."

p. 326 "court, I, 29," changed to "court: I, 29,"

p. 328 "Künstler~”" changed to "Künstler~"

p. 328 "182, 202," changed to "182, 202."

p. 328 "II, 80:" changed to "II, 80;"

p. 329 "II, 127:" changed to "II, 127;"

p. 329 "teacher, 152," changed to "teacher, 152;"

p. 329 "284, 285," changed to "284, 285;"

p. 329 "teacher, 11," changed to "teacher, 11;"

p. 330 "Oratorio by by C. P. E. Bach" changed to "Oratorio by C. P. E. Bach"

p. 332 "La finta Giardiniera”" changed to "“La finta Giardiniera”"

p. 334 "B’s visit to 89, 90;" changed to "B’s visit to, 89, 90;"

p. 334 "Mihl, 31" changed to "Mihl, I, 31"

p. 335 "I, 282," changed to "I, 282;"

p. 336 "La buona Figluola." changed to "La buona Figluola,"

p. 336 "B. plays in." changed to "B. plays in,"

p. 337 "plays the the C minor" changed to "plays the C minor"

p. 338 "Rzwuska" changed to "Rzewuska"

p. 339 "“~Seidenen Schuhe,” Die~" changed to "“~Seidenen Schuhe, Die~”"

p. 341 "III, 77, 78; III, 161," changed to "III, 77, 78, 161,"

p. 346 "Hoffmann, sei" changed to "“Hoffmann, sei"

The following possible errors have not been changed:

p. 17 The gentleman has not eaten anything yet"

p. 122 St. Wenzelaus

p. 231 the necessity off proving

p. 231 Yours sincerly

p. 343 II, 113, 144;

The following are inconsistently used:

absentmindedness and absent-mindedness

deathbed and death-bed

Haslinger and Hasslinger

hellhound and hell-hound

Lodoïska and Lodoiska

notebook and note-book

sickbed and sick-bed

sketchbooks and sketch-books

stagecoach and stage-coach

Süssmayer and Süssmayr

Theaterzeitung and Theater-Zeitung

W.W. and W. W.

Zémire and Zemire