Ludwig van Beethoven: works. Beethoven's piano sonatas Beethoven's works list of titles
The genre of the sonata in the work of L. Beethoven occupies a very important place. His classical form undergoes evolution and is transformed into a romantic one. His early opuses can be called the heritage of the Viennese classics Haydn and Mozart, but music is completely unrecognizable in mature works.
The images of Beethoven's sonatas over time completely move away from external problems into subjective experiences, internal dialogues of a person with himself.
Many believe that the novelty of Beethoven's music is connected with the program, that is, endowing each work with a specific image or plot. Some of his sonatas do have titles. However, it was the author who gave only one name: Sonata No. 26 has a small remark as an epigraph - “Lebe wohl”. Each of the parts also has a romantic name: "Farewell", "Parting", "Meeting".
The rest of the sonatas were titled already in the process of recognition and with the growth of their popularity. These names were invented by friends, publishers, just fans of creativity. Each corresponded to the mood and associations that arose when immersed in this music.
The plot as such is absent in Beethoven's sonata cycles, but the author could sometimes create dramatic tension subordinated to one semantic idea so obviously, he conveyed the word so vividly with the help of phrasing and agogics that the plots suggested themselves. But he himself thought more philosophically than plotly.
Sonata No. 8 "Pathetic"
One of the early compositions - Sonata No. 8, is called "Pathetic". The name "Great pathetic" was given to it by Beethoven himself, but it was not indicated in the manuscript. This work was a kind of result of his early creativity. Here, courageous heroic-dramatic images clearly manifested themselves. The 28-year-old composer, who was already beginning to feel hearing problems and perceived everything in tragic colors, involuntarily began to treat life philosophically. The bright theatrical music of the sonata, especially its first movement, became the subject of discussion and controversy no less than the opera premiere.
The novelty of the music also consisted in sharp contrasts, clashes and struggle between the parties, and at the same time their penetration into each other and the creation of unity and purposefulness of development. The name fully justifies itself, especially since the end marks a challenge to fate.
Sonata No. 14 "Lunar"
Full of lyrical beauty, beloved by many work " Moonlight Sonata", was written during the tragic period of Beethoven's life: the collapse of hopes for a happy future with his beloved and the first manifestations of an inexorable illness. This is truly the composer's confession and his most penetrating work. Sonata No. 14 received its beautiful name from Ludwig Relshtab, famous critic. This happened after Beethoven's death.
In search of new ideas for the sonata cycle, Beethoven deviates from the traditional compositional scheme and comes to the fantasy sonata form. Breaking the boundaries of the classical form, Beethoven thus challenges the canons that fetter his work and life.
Sonata No. 15 "Pastoral"
Sonata No. 15 was called by the author "Grand Sonata", but the publisher from Hamburg A. Kranz gave it a different name - "Pastoral". Under it, it is not very widely known, but it fully corresponds to the character and mood of the music. Pastel pacifying colors, lyrical and restrained melancholic images of the work tell us about the harmonious state in which Beethoven was at the time of its writing. The author himself was very fond of this sonata and often played it.
Sonata No. 21 "Aurora"
Sonata No. 21, which is called "Aurora", was written in the same years as the composer's greatest achievement - the Heroic Symphony. The goddess of the morning dawn became the muse for this composition. Images of awakening nature and lyrical motifs symbolize his spiritual rebirth, optimistic mood and a surge of strength. This is one of the rare works of Beethoven, where there is joy, life-affirming power and light. Romain Rolland called this work "White Sonata". Folklore motifs and the rhythm of folk dance also testify to the closeness of this music to nature.
Sonata No. 23 "Appassionata"
The name "Appassionata" for sonata No. 23 was also given not by the author, but by the publisher Kranz. Beethoven himself had in mind the idea of human courage and heroism, the predominance of reason and will, embodied in Shakespeare's The Tempest. The name coming from the word "passion" is very appropriate in relation to figurative system this music. This work absorbed all the dramatic power and heroic pressure that had accumulated in the composer's soul. The sonata is full of rebellious spirit, ideas of resistance and stubborn struggle. That perfect symphony, which was revealed in the Heroic Symphony, is brilliantly embodied in this sonata.
Sonata No. 26 "Farewell, Parting, Return"
Sonata No. 26, as already mentioned, is the only truly programmatic work in the cycle. His structure "Farewell, Separation, Return" is like a life cycle, where after separation, lovers meet again. The sonata was dedicated to the departure of Archduke Rudolph, the composer's friend and student, from Vienna. Almost all of Beethoven's friends left with him.
Sonata No. 29 "Hammerklavier"
One of the last in the cycle, Sonata No. 29, is called the Hammerklavier. This music was written for a new hammer action instrument created at that time. For some reason, this name was fixed only for the 29th sonata, although the Hammerklavier note appears in the manuscripts of all his later sonatas.
("With Funeral March")
- No. 1: Sonata No. 13 Es-dur "Sonata quasi una fantasia"
- No. 2: Sonata No. 14 Cis-moll "Sonata quasi una fantasia" ("Moonlight")
- No. 2: Sonata No. 17 in D-moll ("The Tempest")
- No. 3: Sonata No. 18 Es-dur ("The Hunt")
Even for Haydn and Mozart, the piano sonata genre did not mean so much and did not turn into either a creative laboratory or a kind of diary of intimate impressions and experiences. The uniqueness of Beethoven's sonatas is partly due to the fact that, trying to equate this previously purely chamber genre with a symphony, a concerto and even a musical drama, the composer almost never performed them in open concerts. piano sonatas remained for him a deeply personal genre, addressed not to abstract humanity, but to an imaginary circle of friends and like-minded people. However, each of us has the right to enter this circle, bringing something new and unique to the perception of Beethoven's sonatas.
32 sonatas cover almost the entire creative path of the master. He began working on the first three sonatas (opus 2) dedicated to Joseph Haydn in 1793, shortly after moving from Bonn to Vienna, and completed the last two in 1822. And if some themes from very early compositions (three quartets of 1785), the later ones have points of contact with the Solemn Mass (1823), which Beethoven considered his greatest creation.
The first group of sonatas (Nos. 1-11), created between 1793 and 1800, is extremely heterogeneous. The leaders here are “grand sonatas” (as the composer himself designated them), which are not inferior in size to symphonies, but in difficulty exceed almost everything written for the piano at that time. These are the four-part cycles opus 2 (Nos. 1-3), opus 7 (No. 4), opus 10 No. 3 (No. 7), opus 22 (No. 11). Beethoven, who won laurels in the 1790s best pianist Vienna, declared himself as the only worthy heir of the deceased Mozart and the aging Haydn. Hence - the boldly polemical and at the same time life-affirming spirit of most of the early sonatas, the courageous virtuosity of which clearly went beyond the capabilities of the then Viennese pianos with their clear, but not strong sound. However, in Beethoven's early sonatas, the depth and penetration of the slow parts is also amazing. “Already at the age of 28 I was forced to become a philosopher,” complained later Beethoven, recalling how his deafness began, at first imperceptible to others, but coloring the artist's worldview in tragic tones. The author's title of the only program sonata of these years (“Pathetic”, No. 8) speaks for itself.
At the same time, Beethoven created elegant miniatures (two light sonatas opus 49, nos. 19 and 20), designed for girlish or ladies' performance. Akin to them, although far from being so simple, are the lovely sonata No. 6 (opus 10 No. 2), and the sonatas Nos. 9 and 10 (opus 14), radiating spring freshness. Subsequently, this line continued in sonatas No. 24 (opus 78) and No. 25 (opus 79), written in 1809.
After the militantly exemplary Sonata No. 11, Beethoven declared: “I am dissatisfied with my previous works, I want to embark on a new path.” In the sonatas of 1801-1802 (Nos. 12-18), this intention was brilliantly realized. The idea of a sonata-symphony was replaced by the idea of a sonata-fantasy. The two sonatas opus 27 (Nos. 13 and 14) are expressly marked "quasi una fantasia". However, this designation could be prefixed to other sonatas of this period. It is as if Beethoven is trying to prove that the sonata is more of an original concept than a frozen form, and it is quite possible for a cycle that opens with variations and includes, instead of the traditional slow movement, the strict “Funeral March for the Death of a Hero” (No. 12) - or, conversely, the cycle of sonata No. 14, at the beginning of which a piercing confessional Adagio sounds, which evoked in the romantic poet Ludwig Relshtab the image of a night lake illuminated moonlight(hence the non-author's name “Moonlight Sonata”). Completely devoid of drama, Sonata No. 13 is no less experimental: it is a divertissement of almost kaleidoscopically changing images. On the other hand, Sonata No. 17, with its tragic monologues, dialogues and wordless recitatives, is close to opera or drama. According to Anton Schindler, Beethoven associated the content of this sonata (as well as the Appassionata) with Shakespeare's The Tempest, but refused to give any explanation.
Even the more traditional sonatas of this period are unusual. Thus, the four-movement sonata No. 15 no longer claims to be related to the symphony and is rather sustained in gentle watercolor tones (it is not by chance that the name “Pastoral” was assigned to it). Beethoven greatly valued this sonata and, according to his student Ferdinand Ries, was especially willing to play the restrained melancholy Andante.
The culminating period of Beethoven's work is considered to be the years 1802-1812, and the few sonatas of these years also belong to the pinnacle of the master's achievements. Such, for example, was created in 1803-1804, in parallel with the Heroic Symphony, sonata No. 21 (opus 53), which is sometimes called “Aurora” (after the goddess of the morning dawn). It is curious that initially between the first movement and the finale there was placed a beautiful, but extremely extended Andante, which Beethoven, after mature reflection, published as a separate piece (Andante favori - that is, “The Beloved Andante”, WoO 57). The composer replaced it with a short gloomy intermezzo, connecting the bright “daytime” images of the first movement with the gradually brightening colors of the finale.
The complete opposite of this radiant sonata is Sonata No. 23 (opus 57) written in 1804-1805, which received the name “Appassionata” from the publishers. This is a composition of great tragic power, in which the pounding “motif of fate”, which was later used in the Fifth Symphony, plays an important role.
Sonata No. 26 (opus 81-a), created in 1809, is the only one of 32 that has a detailed author's program. Its three parts are entitled "Farewell - Parting - Return" and look like autobiographical novel, telling about parting, longing and a new date for lovers. However, according to the author's note, the sonata was written "on the departure of His Imperial Highness the Archduke Rudolf" - a student and patron of Beethoven, who on May 4, 1809, was forced to hastily evacuate Vienna with the imperial family: the city was doomed to siege, shelling and occupation by troops Napoleon. In addition to the Archduke, almost all of Beethoven's close friends and girlfriends left Vienna at that time. Perhaps among them was the true heroine of this novel in sounds.
The two-part sonata opus 90 (No. 27), written in 1814, dedicated to Count Moritz Lichnowsky, who had the courage to fall in love with opera singer and join her unequal marriage. According to Schindler, Beethoven defined the character of the confused first movement as “a struggle between the heart and reason”, and the second compared the gentle, almost Schubertian music with “the conversation of lovers”.
The last five sonatas (Nos. 28-32) belong to late period Beethoven's work, marked by the mystery of content, unusual forms and extreme complexity musical language. These very different sonatas are also united by the fact that almost all of them, except for No. 28 (opus 101), written in 1816, were composed based on the virtuosic and expressive possibilities of a new type of piano - a six-octave concert grand piano of the English company Broadwood, received by Beethoven a gift from this firm in 1818. The rich sonic potential of this instrument was most fully revealed in the grandiose sonata opus 106 (No. 29), which Hans von Bülow compared with the Heroic Symphony. For some reason, the name Hammerklavier (“Hammer Piano Sonata”) was assigned to it, although this designation is on the title pages of all later sonatas.
In most of them, the idea of a fantasy sonata with a freely arranged cycle and whimsical alternation of themes takes on a new breath. This evokes associations with the music of the romantics (Schumann, Chopin, Wagner, Brahms, and even Prokofiev and Scriabin are heard every now and then) ... But Beethoven remains true to himself: his forms are always impeccably built, and the concepts reflect his inherent positive worldview. The romantic ideas of disillusionment, restlessness and discord with the outside world that spread in the 1820s remained alien to him, although their echoes can be heard in the music of the mournful Adagio from Sonata No. 29 and the suffering Arioso dolente from Sonata No. 31. And yet, despite the tragedies and catastrophes experienced, the ideals of goodness and light remain unshakable for Beethoven, and the mind and will help the spirit to triumph over suffering and earthly vanity. “Jesus and Socrates were my models,” Beethoven wrote in 1820. The “hero” of the later sonatas is no longer a victorious warrior, but rather a creator and philosopher, whose weapons are all-pervading intuition and all-encompassing thought. It is not for nothing that two of the sonatas (Nos. 29 and 31) end with fugues demonstrating the power of the creative intellect, while the other two (Nos. and ) end with contemplative variations, representing, as it were, a model of the universe in miniature.
The great pianist Maria Veniaminovna Yudina called Beethoven's 32 sonatas "The New Testament" piano music (“Old Testament” was Bach’s Well-Tempered Clavier for her). Indeed, they look far into the future, not at all denying the 18th century that gave birth to them. And therefore, each new performance of this gigantic cycle becomes an event in modern culture.
(Larisa Kirillina. Text of the booklet for the cycle of concerts by T.A. Alikhanov (Moscow Conservatory, 2004))
Fire of Vesta (Vestas Feuer, libretto by E. Schikaneder, 1st scene, 1803)
Fidelio (libretto by I. Sonleitner and G. F. Treitschke based on the plot of the play "Leonora, or Conjugal Love" by Bouilly, 1st edition under the title Leonora, op. 72, 1803-05, staged under the title Fidelio, or Conjugal Love, Fidelio , oder die eheliche Liebe, 1805, Theater an der Wien, Vienna, 2nd edition, with the addition of Leonor's Overture No. 3, op.72, 1806, staged 1806, ibid; 3rd edition, op.72, 1814 , delivered 1814, Court National Opera theatre, Vienna)
ballets
music for the Knight's Ballet (Musik zum Ritterballett, 8 numbers, WoO 1, 1790-91)
Creations of Prometheus (Die Geschopfe des Prometheus, scripted by S. Viganò, op. 43, 1800-01, staged 1801, Court National Opera House, Vienna)
for choir and soloists with orchestra
oratorio Christ on the Mount of Olives (Christus am Olberge, words by F.C. Huber, op. 85, 1802-03)
Mass in C major (op. 86, 1807)
Solemn Mass (Missa Solemnis, D-dur, op.123, 1819-23)
cantatas
On the death of Joseph II (Kantate auf den Tod Kaiser Josephs II., words by S. A. Averdonk, WoO 87, 1790)
On entering the reign of Leopold II (Auf die Erhebung Leopolds II zur Kaiserwurde, words by S. A. Averdonk, WoO 88, 1790)
Glorious moment (Der glorreiche Augenblick, words by A. Weissenbach, op. 136, 1814), Sea stillness and happy sailing (Meeresstille und gluckliche Fahrt, words by J. W. Goethe, op. 112, 1814-1815)
arias
The temptation of a kiss (Prufung des Kussens, WoO 89, circa 1790), Laughing with girls (Mit MadeIn sich vertragen, words by J. W. Goethe. WoO 90, circa 1790), two arias to the Singspiel-The Beautiful Shoemaker (Die schone Schueterin, WoO 91, 1796);
scenes and arias
First love (Prirno amore, WoO 92, 1795-1802), O traitor (Ah, perfido, op. 65, 1796), No, do not worry (No, non turbati, words by P. Metastasio, WoO 92a, 1801-1802 );
tercet
Tremble, impiety (Tremate, empitremate, words of Bettoni, op. 116, 1801-1802);
duet
In the days of your happiness, remember me (Nei giorni tuoi felici ricordati di me, words by P. Metastasio, WoO 93, 1802);
songs for choir and orchestra
In honor of the brightest allies (Chor auf die verbundeten Fursten, words by C. Bernard, WoO 95, 1814), Union song (Bundeslied, words by J. W. Goethe, op. 122, 1797; revised 1822-1824), chorus from a festive performance - Consecration of the house (Die Weihe des Hauses, words by K. Meisl, WoO 98, 1822), Sacrificial Song (Opferlied, words by F. Mattisson, op. 121, 1824) and others;
for symphony orchestra
9 symphonies: No. 1 (C-dur, op. 21, 1799-1800), No. 2 (D-dur, op. 36, 1800-1802), No. 3 (Es-dur, Heroic, op. 55, 1802- 1804), No. 4 (B-dur, op. 60, 1806), No. 5 (c-minor, op. 67, 1804-1808), No. 6 (F-dur, Pastoral, op. 68, 1807-1808) , No. 7 (A-dur, op. 92, 1811-1812), No. 8 (F-dur, op. 93, 1811-1812), No. 9 (d-moll, op. 125, with a final chorus to the words of the ode "To Joy" by Schiller, 1817 and 1822-1823); Wellington's Victory, or the Battle of Vittoria (Wellingtons Sieg oder die Schlacht bei Vittoria, originally written for mechanical musical instrument pangarmanicon by I. N. Meltsel, op. 91, 1813);
overtures
to the ballet Creations of Prometheus (op. 43, 1800-1801), to the tragedy Coriolanus by Collin (c-moll, op. 62, 1807), Leonora No. 1 (C-dur, op. 138, 1805), Leonora No. 2 (C-dur, op. 72, 1805), Leonora No. 3 (C-dur, op. 72, 1806), to the opera "Fidelio" (E-dur, op. 72, 1814), to the tragedy "Egmont" Goethe (f-moll, op. 84, 1809-1810), to the play "The ruins of Athens" by Kotzebue (G-dur, op. 113, 1811), to the play "King Stefan" by Kotzebue (Es-dur, op. 117, 1811); dances - 12 minuets (WoO 7, 1795), 12 German dances (WoO 8, 1795), 6 minuets (WoO 10, 1795), 12 minuets (WoO 12, 1799), 12 German dances (WoO 13, circa 1800), 12 country dances (WoO 14, 1800-1801), 12 ecossaises (WoO 16, circa 1806?), congratulatory minuet (Gratulations-Menuett, Es-dur, WoO 3, 1822);
for one instrument with orchestra
concerto for violin (C-dur, excerpt, WoO 5, 1790-1792), rondo for piano (B-dur, WoO 6, circa 1795); 5 piano concertos: No. 1 (C-dur, op. 15, 1795) -1796; revised 1798), No. 2 (B-dur, op. 19, 1st edition 1794-1795; 2nd edition 1798), No. 3 (c-minor, op. 37, 1800), No. 4 ( G-dur, op. 58, 1805-1806), No. 5 (Es-dur, op. 73, 1808-1809), violin concerto (D-dur, op. 61, 1806);
for ensemble of instruments and orchestra
Triple Concerto for piano, violin and cello (C-dur, op. 56, 1803-1804);
for brass band
4 marches (F-dur, C-dur, F-dur, D-dur, WoO 18, WoO 19, WoO 20 and WoO 24, 1809, 1809-1810, 1810-1816), polonaise (D-dur, WoO 21 , 1810), 2 ecossaises (D-dur, G-dur, WoO 22, WoO 23, 1810), etc.;
for ensemble of instruments
octet for 2 oboes, 2 clarinets, 2 horns and 2 bassoons (Es-dur, op. 103, 1792), rondo (Es-dur for the same composition, WoO 25, 1792), 11 Mödling dances (for 7 wind and string instruments, WoO 17, 1819), septet for violin, viola, cello, double bass, clarinet, horn and bassoon (Es-dur, op. 20, 1799-1800), sextet for 2 clarinets, 2 horns and 2 bassoons (Es-dur , op. 71, 1796), a sextet for string quartet and 2 horns (Es-dur, op. 81b, 1794 or early 1795), 3 string quintets (Es-dur, op. 4, reworked from an octet for wind instruments, op. 103, 1795-1796; C-dur, op.29, 1800-1801; c-minor, op.104, adapted from piano trio op.1 no.3, 1817), quintet for piano, oboe, clarinet, bassoon and horn (Es-dur, op. 16, 1794-1796); 16 string quartets: No. 1-6 (F-dur, G-dur, D-dur, c-moll, A-dur, B-dur, op. 18, 1798-1800), No. 7-9 (F-dur , e-moll, C-dur, dedicated to A. K. Razumovsky, op. 59, 1805-1806), No. 10 (Es-dur, op. 74, 1809), No. 11 (f-moll, op. 95, 1810), No. 12 (Es-dur, op. 127, 1822-1825), No. 13 (B-dur, op. 130, 1825-1826), No. 14 (cis-moll, op. 131, 1825-1826) , No. 15 (A-moll, op. 132, 1825), No. 16 (F-dur, op. 135, 1826); Large fugue for strings. quartet (B-dur, op. 133, originally intended as the final part of the quartet op. 130, 1825), 3 quartets for piano, violin, viola and cello (Es-dur, D-dur, C-dur, WoO 36, 1785), trio for piano, violin and cello (Es-dur, WoO 38, circa 1790-1791; E-dur, G-dur, c-moll, op. 1, 1793-1794; D-dur, Es-dur , op. 70, 1808; B-dur, op. 97, 1811; B-dur, WoO 39, 1812); 14 variations for piano trio (Es-dur, op. 44, 1803?), trio for piano, clarinet and cello (B-dur, op. 11, 1798), trio for piano, flute and bassoon (G-dur, WoO 37, between 1786-87 and 1790), trio for violin, viola and cello (Es-dur, op. 3, 1792; G-dur, D-dur, c-moll, op. 9, 1796-1798), serenade for the same composition (D-dur, op. 8, 1796-1797), serenade for flute, violin and viola (D-dur, op. 25, 1795-1796), trio for 2 oboes and cor anglais (C-dur , op, 87, 1794), variations for 2 oboes and an English horn on the theme of the song "Give me your hand, my life" from the opera "Don Giovanni" by Mozart (C-dur, WoO 28, 1796-1797), etc .;
ensembles for two instruments
for piano and violin: 10 sonatas - No. 1, 2, 3 (D-dur, A-dur, Es-dur, op. 12, 1797-1798), No. 4 (a-moll, op. 23, 1800-1801 ), No. 5 (F-dur, op. 24, 1800-1801), No. 6, 7, 8 (A-dur, c-moll, G-dur, op. 30, 1801-1802), No. 9 (A -dur, Kreutzerova, op. 47, 1802-1803), No. 10 (G-dur, op. 96, 1812); 12 variations on a theme from Mozart's Marriage of Figaro (F-dur, WoO 40, 1792-1793), rondo (G-dur, WoO 41, 1792), 6 German dances (WoO 42, 1795 or 1796); for piano and cello - 5 sonatas: No. 1, 2 (F-dur, g-moll, op. 5, 1796), No. 3 (A-dur, op. 69, 1807-1808), No. 4 and 5 (C-dur , D-dur, op. 102, 1815); 12 variations on a theme from the opera " magical flute Mozart (F-dur, op. 66, circa 1798), 12 variations on a theme from the oratorio "Judas Maccabee" by Handel (G-dur, WoO 45, 1796), 7 variations (Es-dur, on a theme from the opera "Magic flute" by Mozart (Es-dur, WoO 46, 1801) and others; for piano and horn-sonata (F-dur, op. 17, 1800); duet for 2 flutes (G-dur, WoO 26, 1792), duet for viola and cello (Es-dur, WoO 32, around 1795-1798), 3 duets for clarinet and bassoon (C-dur, F-dur, B-dur, WoO 27, until 1792), etc.;
for piano 2 hands
sonatas:
3 piano sonatas (Es-dur, f-moll, D-dur, the so-called Kurfurstensonaten, WoO 47, 1782-1783), Easy sonata (excerpt, C-dur, WoO 51, 1791-1792), 2 private sonatas ( F-dur, WoO 50, 1788-1790);
32 piano sonatas
No. 1, 2, 3 (f-moll, A-dur, C-dur, op. 2, 1795), No. 4 (Es-dur, op. 7, 1796-1797), No. 5, 6, 7 (c -moll, F-dur, D-dur, op. 10, 1796-1798), No. 8 (c-moll. Pathetique, op. 13, 1798-1799), No. 9 and 10 (E-dur, G-dur , op. 14, 1798-1799), No. 11 (B-dur, op. 22, 1799-1800), No. 12 (As-dur, op. 26, 1800-1801), No. 13 (Es-dur, " Sonata quasi una Fantasia", op. 27 No. 1, 1800-1801), No. 14 (cis-moll, "Sonata quasi una Fantasia", the so-called "Lunar", op. 27 No. 2, 1801), No. 15 (D -dur, so-called "Pastoral", op. 28, 1801), No. 16, 17 and 18 (G-dur, d-moll, Es-dur, op. 31, 1801-1803), No. 19 and 20 (g-minor, G-dur, op. 49, 1795-1796, completed in 1798), No. 21 (C-dur, the so-called "Aurora", op. 53, 1803-1804), No. 22 (F-dur , op. 54, 1804), No. 23 (f-moll, "Appassionata", op. 57, 1804-1805), No. 24 (Fis-dur, op. 78, 1809), No. 25 (G-dur, op 79, 1809), No. 26 (Es-dur, op. 81-a, 1809-1810), No. 27 (e-moll, op. 90, 1814), No. 28 (A-dur, op. 101, 1816 ), No. 29 (B-dur, op. 106, 1817-1818), No. 30 (E-dur, op. 109, 1820), No. 31 (As-dur, op. 110, 1821), No. 32 (c -moll, op. 111, 1821-1822);
variations for piano:
9 variations on a march by E. K. Dresler (c-moll, WoO 63, 1782), 6 light variations on a Swiss song (F-dur, WoO 64, c. (D-dur, WoO 65, 1790), 12 variations on a minuet from Geibel's "La Nozze disturbato" (C-dur, WoO 68, 1795), 13 variations on an arietta "Es war einmal ein alter Mann" from a singspiel "Little Red Riding Hood" ("Das rote Karrchen" by Dittersdorf, A-dur, As-dur, WoO 66, 1792), 9 variations on a theme from the opera "The Miller's Woman" ("La Molinara", G. Paisiello, A-dur, WoO 69, 1795), 6 variations on a duet theme from the same opera (G-dur, WoO 70, 1795), 12 variations on a Russian dance theme from the ballet "The Forest Girl" ("Das Waldmadchen" by P. Vranitsky, A-dur, WoO 71, 1796), 8 variations on a theme from the opera "Richard the Lionheart" by Gretry (C-dur, WoO 72, 1796-1797), 10 variations on a theme from the opera "Falstaff" by A. Salieri (B-dur, WoO 73 , 1799), 6 variations on own theme(G-dur, WoO 77, 1800), 6 variations (F-dur, op. 34, 1802), 15 variations with fugue on a theme from the ballet "The Works of Prometheus" (Es-dur, op. 35, 1802), 7 variations on the theme of the English song "God save the King" (C-dur. WoO 78, 1803), 5 variations on the theme of the English song "Rule Britannia" (D-dur, WoO 79, 1803), 32 variations on an own theme (c -moll, WoO 80, 1806), 33 variations on a waltz by A. Diabelli (C-dur, op. 120, 1819-1823), 6 variations for piano or with flute or violin accompaniment on the themes of 5 Scottish and one Austrian folk songs (op. 105, 1817-1818), 10 variations on the themes of 2 Tyrolean, 6 Scottish, Ukrainian and Russian folk songs (op. 107, 1817-1818), etc.;
baguettes for piano:
7 bagatelles (op. 33, 1782-1802), 11 bagatelles (op. 119, 1800-1804 and 1820-1822), 6 bagatelles (op. 126, 1823-1824);
rondo for piano:
C-dur (WoO 48, 1783), A-dur (WoO 49,1783), C-dur (op. 51, no. 1, 1796-1797), G-dur (op. 51 no. 2, 1798-1800) , rondo-capriccio- Rage over a lost penny (Die Wut uber den verlorenen Groschen, G-dur, op. 129, between 1795 and 1798), Andante (F-dur, WoO 57, 1803-1804), etc. pieces for piano;
for piano four hands
sonata (D-dur, op. 6, 1796-1797), 3 marches (op. 45, 1802, 1803), 8 variations on a theme by F. Waldstein (WoO 67, 1791-1792), song with 6 variations on a poem " You are everything in your thoughts" Goethe ("Ich denke dein", D-dur, WoO 74, 1799 and 1803-1804), and others;
for organ
fugue (D-dur, WoO 31, 1783), 2 preludes (op. 39, 1789);
for voice and piano
songs, including: My days are drawn (Que le temps me dure, lyrics by J. J. Rousseau, WoO 116, 1792-1793), 8 songs (op. 52, until 1796, among them: May song - Mailied, lyrics by J. W. Goethe; Farewell to Molly - Mollys Аb-schied, lyrics by G. A. Burger; Love - Die Liebe, lyrics by G. E. Lessing; Groundhog-Marmotte, lyrics by J. V. Goethe; Miracle Flower -Das Blumchen Wunderhold, lyrics by G. A. Burger), 4 ariettas and a duet (nos. 2-5, lyrics by P. Metastasio, op. 82, 1790-1809), Adelaide (lyrics by F. Mattisson, op. 46, 1795-1796), 6 songs per op. X. F. Gellert (op. 48, 1803), Thirst for a date (Sehnsucht, lyrics by J. W. Goethe, WoO 134, 1807-1808), 6 songs (op. 75, no. 3-4-up to 1800, no. No. 1, 2, 5, 6 - 1809, among them: on the lyrics by J. V. Goethe - Song of the Mignon - Mignon, New love, new life-Neue Liebe, neues Leben, Song about a flea-from Goethe -), To a distant beloved (An die ferne Geliebte, a cycle of 6 songs on lyrics by A. Eiteles, op. 98, 1816), An honest man (Der Mann von Wort, F. A. Kleinshmid, op. 99, 1816), etc.; for voice and voices with choir and piano - Free Man (Der freie Mann, lyrics by G. Pfeffel, WoO 117, 1st version 1791-1792, revised 1795), Punch song (Punsch-lied, WoO 111, circa 1790 ), O dear groves, o priceless freedom (O care salve, o felice liberta saga, lyrics by P. Metastasio, WoO 119, 1795), and others; for choir and unaccompanied voices, including 24 duets, tercet and quartet in Italian. texts, prim. P. Metastasio (WoO 99, 1793-1802), song of monks from Schiller's drama (WoO 104, 1817), over 40 canons (WoO 159-198); arr. nar. songs-26 Welsh Nar. songs (WoO 155, no. 15-1812, no. 25-1814, others-1810), 12 Irish nar. songs (WoO 154, 1810-1813), 25 Irish bunks. songs (WoO 152, 1810-1813), 20 Irish bunks. songs (WoO 153, nos. 6-13 in 1814-1815, others in 1810-1813), 25 sc. nar. songs (op. 108, 1817-1818), 12 sct. nar. songs (WoO 156, 1817-1818), 12 songs different peoples(WoO 157, 1814-1815), 24 songs of different nations, including 3 Russian -, Ukrainian - (WoO 158, collection compiled in 1815-1816); music for drama performances - Goethe (overture and 9 numbers, op. 84, 1809-1810, version 1810, National Court Opera House, Vienna), Kotzebue (overture and 8 numbers, op. 113, 1811, version 1812 at the opening of the German. theater in Pest), Kotzebue (overture and 9 numbers, op. 117, 1811, version 1812, Josefstadttheater, Vienna), Kufner (WoO 2a, 1813, WoO 2c, 1813), etc.
A. INSTRUMENTAL MUSIC
I. Symphonic works
1. Symphonies: 1st - in C major op. 21; 2nd - D major op. 36; 3rd ("Heroic") - E flat major op. 55; 4th - B flat major op. 60; 5th - C minor op. 67; 6th ("Pastoral") - F major op. 68; 7th - in A major op. 92; 8th - F major op. 93; 9th ("Choral") - D minor op. 125.
2. Overtures: "Prometheus" (from op. 43); "Coriolanus" op. 62; "Leonora I" op. 138; "Leonora II" op. 72a; "Leonora III" op. 72a; Fidelio (Leonora IV) op. 72b; "Egmont" (from op. 84); "The ruins of Athens" (from op. 113); "King Stephen" (from on. 114); "Birthday" op. 115; "The Consecration of the House" op. 124.
3. Music for the stage: "Knight's ballet"; "The Works of Prometheus" op. 43, ballet; Egmont, music for Goethe's drama op. 84; "The ruins of Athens", music for the play Kotzebue op. 113; "King Stephen", music for the play Kotzebue op. 117; "Triumphal March" to Kuffner's drama "Tarpeya".
4. Dances for orchestra: 12 minuets, 12 German dances, 12 country dances. congratulatory minuet.
II. military music
Marches: D major, F major, C major; two marches for the carousel; polonaise; ecossaise.
III. Works for soloist and orchestra
1. Concertos for pianoforte: E flat major, D major (one movement); 1st concerto in C major op. 15; 2nd - B flat major op. 19; 3rd - C minor op. 37; 4th - G major op. 58; 5th - E flat major op. 73; fantasy for piano, choir and orchestra in C minor op. 80.
2. Other concertos and pieces for soloists and orchestra: violin concertos in C major (unfinished) and in D major op. 61; two romances for violin and orchestra: G major op. 40 and in F major op. 50; triple concerto for soloists ("concerters") piano, violin and cello. Rondo in B flat major for piano, with orchestra.
IV. Chamber Ensembles
1. Sonatas: for violin and pianoforte: 1st - in D major; 2nd - A major; 3rd - E flat major (three sonatas op. 12); 4th - in A minor op. 23; 5th - F major op. 24; 6th - A major; 7th - C minor; 8th - G major (three sonatas op. 30); 9th ("Kreutzer") - A major op. 47; 10th - G major op. 96. For cello and pianoforte: 1st - F major; 2nd - G minor (two sonatas op. 5); 3rd - in A major op. 60; 4th - C major; 5th - D major (two sonatas op. 102). For horn and pianoforte: sonata in F major op. 17.
2. String quartets: 1st - F major; 2nd - G major; 3rd - D major; 4th - in C minor; 5th - in A major; 6th - B flat major (six quartets op. 18); 7th - F major; 8th - E minor; 9th - in C major (three quartets by Razumovsky op. 59); 10th - E flat major op. 74 ("Harp"); 11th - F minor op. 95 ("Serious"); 12th - E flat major op. 127; 13th - B flat major op. 130; 14th - C sharp minor op. 131; 15th - in A minor op. 132; 16th - F major op. 135. Grand Fugue in B flat major op. 133.
3. Trio for strings, mixed and wind instruments. Violin, viola, cello: E flat major op. 3; C major, D major, C minor (three string trios op. 9); serenade in D major op. 8. For flute, violin, viola: serenade op. 25; trio for two oboes and cor anglais - C major op. 78.
4. F.-p. trio (piano, violin, cello): E flat major, G major, C minor (on. 1); D major, E flat major (op. 70); B flat major (op. 97); trio for pianoforte, clarinet and cello (op. 11).
5. String quintets (two violins, two violas, cello): E flat major op. 4; C major op. 29; c minor op. 104; fugue in D major op. 137.
6. Other ensembles: sextet for two clarinets, two horns, two bassoons - E flat major op. 71; march for the same composition; septet for violin, viola, cello, double bass, clarinet, horn and bassoon - E flat major op. 20; sextet for two violins, viola, cello and two horns - E flat major op. 816; octet for two oboes, two clarinets, two horns and two bassoons - E flat major op. 108; rondino for the same composition; three duets for clarinet and bassoon; three quartets ("equila") for four trombones; six rural dances ("landlers") for two violins and double bass; three f.-p. quartet (piano, violin, viola and cello) - E flat major, D major, C major; f.-p. quintet (piano, oboe, clarinet, horn, bassoon) op. 16; a number of variations and other pieces for different compositions.
v. Piano works
1. Sonatas: 6 youth sonatas: E flat major, F minor, D major, C major, C major and F major (two "small" sonatas). Viennese sonatas: 1st. - F minor; 2nd - in A major, 3rd - in C major (three sonatas op. 2); 4th - E flat major op. 7; 5th - C minor; 6th - A major; 7th - D major (three sonatas op. 10); 8th ("Pathetic") - C minor op. 13; 9th - E major; 10th - G major (two sonatas op. 14); 11th - E major op. 22; 12th (with funeral march) - A flat major op. 26; 13th - E flat major; 14th (“Lunar”) - in C sharp minor (two “fantasy sonatas” op. 27); 15th ("Pastoral") - D major op. 28; 16th - G major; 17th (with recitative) - D minor; 18th - E flat major (3 sonatas op. 31); 19th - G minor; 20th - G major (two sonatas op. 49); 21st - C major ("Aurora>) op. 53; 22nd - F major op. 54; 23rd - in F minor ("Appassionata") op. 57; 24th - F sharp major op. 78; 25th - G major op. 79; 26th - E flat major ("Farewell, parting, return") op. 81a; 27th - E minor op. 90; 28th - in A major op. 101; 29th - in B flat major ("sonata for hammer-action pianoforte" op. 106); 30th - E major op. 109; 31st - A flat major op. BY; 32nd - C minor op. 111.
For f.-p. in 4 hands: sonata in D major op. 6.
2. Variations: on Dressler's march (9); on own theme in F major (6) op. 34; with fugue in E flat major (15) op. 35; on own theme in D major (6) - op. 76; to Diabelli's waltz in C major (33) op. 120;.Vieni amore" in D major (24); “Es war einmab (13); Quant "e piu bella” in A major (9); “Nel cor piu” in G major (6); C major (12); A major (12); on a Swiss song (6) in F major; (same for harp); "Une fievre brulante" in C major (8); "La stessa" in B flat major (10); "Kind, willst du" in F major (7); "Tandeln und Scherzens" in F major (8); on your own theme in G major (6); on the English anthem in C major (7); "Rule Britanias in D major (5); on your own theme in C minor (32);" Ich hab "ein kleines Hutchen" in B flat major (8) in 4 hands; Waldstein's theme is in C major; "Ich denke Dein" in D major.
3. Other works: Bagatelli: op. 33 (7), op. 119 (9) op. 126(6). Rondo: C major and G major (both op. 51), G major op. 129 ("Lost penny"); in A major. Dances: allemande in A major; two waltzes in E flat major and D major; two ecossaises in E flat major and G major; six ecossaises; six minuets; minuet in E-flat major; six landlers; polonaise in C major.
Miscellaneous: Fantasy in G minor op. 77; prelude in F minor; "Favorite Andante" in F major; "For Eliza" in A minor; "Fun and sad"; "The Last Musical Thought"; allegretto in C minor; leaf from Piringer's album. Cadenza to f.-p. concerts. 4 hands: three marches in C major, E flat major and D major op. 45.
VI. For mandolin
Sonatina; adagio.
B. VOCAL MUSIC (AND OPERA)
1. "Fidelio". Opera in 2 acts, op. 72. Three editions.
2. Masses: 1st - in C major op. 86; 2nd ("Solemn") - D major op. 123.
3. Choirs: “Sea silence and happy sailing” op. 112; final chorus to "The Consecration of the House"; "Wise Founders"; "Union Song" op. 122; Cantata "Glorious Moment" op. 136; "Rebirth of Germany"; "Happened"; 2 imperial cantatas.
4. Arrangements of folk songs: twenty-five Scottish op. 108; twenty-five Irish; twenty Irish; twelve Irish; twenty-six Welsh; twelve different - English, Scottish, Irish, Italian songs, etc.
5. Separate arias and ensembles: the Italian scene and the aria "Oh, traitor!" op. 65; "Sacrificial Song" op. 1216 (two editions); two arias for bass and orchestra; two arias for Umlauf's singspiel "The Beautiful Shoemaker"; aria "First Love" (Italian); "Farewell Song" for 3 male voices and etc.
6. Canons: "In the arms of love"; "Ta-ta-ta"; “Suffering for a short time” (two options); "Say Say"; "Learn to be silent"; "Happy New Year"; "Hoffman"; "Oh, Tobias!"; "The first of all Toviy"; "Brauhle ... Linke"; "Peter was a rock"; "Bernard was a saint"; "Kiss you"; "Man, be noble"; "Friendship"; "Be cheerful"; “Everyone makes mistakes, but each in his own way”; "It should be"; “Doctor, close the gate so that death does not come,” etc.
7. Songs with piano accompaniment: "To Hope" (Tidge) - two options: op. 32 and op. 94; "Adelaide" (Matisson) op. 46; six songs of Goethe op. 48; eight songs op. 52; six songs (Gellert, Galm, Reisig) op. 75; four Italian ariettas and a duet (Metastasio) op. 82; three songs (Goethe) op. 83; "The Happiness of Friendship" op. 88; "To a Distant Beloved" (Eiteles) op. 98; "An Honest Man" (Kleinschmidt) op. 99; "Merkenstein" (Ruprecht) - two versions of op. 100; The Kiss (Weisse) op. 128; about forty songs to the words of various authors without the designation of the opus.
1. "Symphony No. 5", Ludwig van Beethoven
According to legend, Beethoven (1770-1827) could not come up with an introduction to Symphony No. 5 for a long time. But when he lay down to take a nap, he heard a knock on the door, and the rhythm of this knock became an introduction to this work. Interestingly, the first notes of the symphony correspond to the number 5, or V in Morse code.
2. O Fortuna, Carl Orff
Composer Carl Orff (1895-1982) is best known for this dramatic vocal cantata. It is based on the 13th century poem "Carmina Burana". It is one of the most frequently performed classical pieces around the world.
3. Hallelujah Chorus, Georg Friedrich Handel
Georg Friedrich Handel (1685-1759) wrote the oratorio Messiah in 24 days. Many melodies, including "Hallelujah", were later borrowed from this work and began to be performed as independent works. According to legend, Handel had music in his head played by angels. The text of the oratorio is based on biblical stories, Handel reflected the life, death and resurrection of Christ.
4. Ride of the Valkyries, Richard Wagner
This composition is taken from the opera "Valkyrie", which is part of the series of operas "Ring of the Nibelungen" by Richard Wagner (1813-1883). The opera "Valkyrie" is dedicated to the daughter of the god Odin. Wagner spent 26 years composing this opera, and this is only the second part of a grandiose masterpiece of four operas.
5. Toccata and Fugue in D Minor, Johann Sebastian Bach
This is probably Bach's (1685-1750) most famous work and is often used in films during dramatic scenes.
6. Little Night Music by Wolfgang Amadeus Mozart
(1756-1791) wrote this legendary 15-minute composition in just a week. It was officially published in 1827.
7. "Ode to Joy", Ludwig van Beethoven
Another masterpiece of Beethoven was completed in 1824. This is the most famous fragment of the Symphony No. 9. The most amazing thing is that by that time Beethoven had already become deaf and. nevertheless, managed to compose such an outstanding work.
8. "Spring", Antonio Vivaldi
Antonio Vivaldi (1678-1741) - composer of the Baroque era, in 1723 he wrote four works, each of which personified one season. "Seasons" is still very popular, especially "Spring" and "Summer".
9. Pachelbel's Canon (Canon in D major), Johann Pachelbel
Johann Pachelbel (1653-1706) was a Baroque composer and is considered the most influential composer of this period. He amazed the world with his sophisticated and technical music.
10. Overture from the opera Wilhelm Tell, Gioacchino Rossini
This 12-minute composition by Gioacchino Rossini (1792-1868) is the last movement of a four-movement overture. Other parts are less well-known today, but this composition became famous due to the use of Warner Brother's Looney Tunes in Disney cartoons.
English version
