战争交响曲用英语

贝多芬一:作品类型 作品名 原名 作品编号 创作时间 调式交响曲 第一交响曲 Symphonie No.1 Op.21 1794--1796 C大调交响曲 第二交响曲 Symphonie No.2 Op.36 1801-1802.10 D大调交响曲 第三交响曲 (英雄) Symphonie No.3 OP.55 1803-1804 降E大调交响曲 第四交响曲 Symphonie No.4 Op.60 1806.10 降B大调交响曲 第五交响曲 (命运) Symphonie No.5 Op.67 1804-1808 C小调交响曲 第六交响曲 (田园) Symphonie No.6 Op.68 1807---1808 F大调交响曲 第七交响曲 Symphonie No.7 Op.92 1811-1812.6 A大调交响曲 第八交响曲 Symphonie No.8 Op.93 1811-1812.10 F大调交响曲 第九交响曲 (合唱) Symphonie No.9 Op.125 1824.2 D小调交响曲 第十交响曲 Symphonie No.10 遗稿交响曲 战争交响曲 Wellingtons Sieg Op.91 1813 D大调序曲 莱奥诺拉 Leonore Overtures No.1-1805 No.2-1805 No.3-1806 No.4-1814序曲 艾格蒙特 Egmond 1809序曲 科里奥兰 Coriolanus Overture Op.93 1807 C大调舞剧 普罗米修斯的生民 The Creatures of Prometheus Op.43 1800-1801序曲 斯蒂芬国王 King Stephen Op.112 1811序曲 向大厦献礼 The Consecration of the house Op.124 1822 C大调骑士芭蕾音乐 Musik Zu einem Ritterballett WoO.1 1790-1791序曲 命名日庆典序曲 Ouverture “Namensfeier” Op.115 1814 C大调雅典的废墟 The ruins of Athens Op.113舞曲 12首小步舞曲 12Menuette WoO.7 1795舞曲 12首德国舞曲 12 Dertsche Tanze WoO.8 1795舞曲 12首对舞曲 12 Kontratanze WoO.14 1800-1802舞曲 6首兰德勒舞曲 6 Landlerische Tanze WoO.15 1802 D大调舞曲 11首维也纳舞曲 11 Wienertanze WoO.17 1818-1820舞曲 庆贺小步舞曲 Grarulations Menuett WoO.3 1822进行曲 为乐队而作的进行曲(6首) Marsh for Orchetra WoO.18-22,24,29 1809-1810协奏曲 第一钢琴协奏曲 Pinao Concertos No.1 Op.15 1796 C大调协奏曲 第二钢琴协奏曲 Pinao Concertos No.2 Op.19 1794-1795 降B大调协奏曲 第三钢琴协奏曲 Pinao Concertos No.3 Op.37 1800 C小调协奏曲 第四钢琴协奏曲 Pinao Concertos No.4 Op.58 1805-1806 G大调协奏曲 第五钢琴协奏曲 Pinao Concertos No.5 Op.78 降E大调协奏曲 第六钢琴协奏曲 Pinao Concertos in D Op.61 1807协奏曲 钢琴协奏曲 Pinao Concertos in E flat WoO.4 1784回旋曲 钢琴与乐队的降B大调回旋曲 Rondo for Pinao and Orchestra in B flat WoO.6 1795幻想曲 合唱幻想曲 Fantasie fur Klavier,Chor Und Orchester Op.80 1808 C小调协奏曲 为小提琴,大提琴,钢琴三重奏 Triple Concerto for vilin Cello and Piano Op.56 1803-1804 C大调贝多芬作品集全套介绍（二）二:作品类型 作品名 原名 作品编号 创作时间 调式协奏曲 小提琴协奏曲 Violin Concerto Op.61 1806 D大调浪漫曲 浪漫曲两首 2 Romances Op.40 1802-1803 C大调小夜曲 小夜曲两首 2 Sereenades Op.8,Op.25 1796-11797 D大调重奏 管乐8重奏 Wind Octet Op.103 1792 G小调重奏 管乐7重奏 Wind Septet Op.20 1796-1800 降E大调重奏 管乐6重奏 Wind Sextet Op.71 1796-1797 降E大调重奏 管乐6重奏 Wind Sextet Op.81b 1794-1795 降E大调重奏 管乐5重奏 Wind quintet Op.16 1796-1797重奏 弦乐5重奏 (3首) String quintets O.p4.29. C大调重奏 第一号弦乐4重奏 Steing quartet No.1 Op.18.1 1799.6 F大调重奏 第二号弦乐4重奏 Steing quartet No.2 Op.18.2 G大调重奏 第三号弦乐4重奏 Steing quartet No.3 Op.18.3 D大调重奏 第四号弦乐4重奏 Steing quartet No.4 Op.18.4 1795 C小调重奏 第五号弦乐4重奏 Steing quartet No.5 Op.18.5 A大调重奏 第六号弦乐4重奏 Steing quartet No.6 Op.18.6 降B大调重奏 第七号弦乐4重奏 Steing quartet No.7 Op.59.1 1806 F大调重奏 第八号弦乐4重奏 Steing quartet No.8 Op.59.2 1806 E小调重奏 第九号弦乐4重奏 Steing quartet No.9 Op.59.3 1806 C大调重奏 第十号弦乐4重奏 Steing quartet No.10 Op.74 1809 降E大调重奏 第十一号弦乐4重奏 Steing quartet No.11 Op.95 1810 F小调重奏 第十二号弦乐4重奏 Steing quartet No.12 Op.127 1823 降E大调重奏 第十三号弦乐4重奏 Steing quartet No.13 Op.130 1825 降B大调重奏 第十四号弦乐4重奏 Steing quartet No.14 Op.131 1826 升C小调重奏 第十五号弦乐4重奏 Steing quartet No.15 Op. A小调重奏 第十六号弦乐4重奏 Steing quartet No.16 Op.135 1826.10 F大调大赋格曲 Grosse Fugue in B flat Op.133 降B大调重奏 弦乐4重奏 String quartet in F Hess 34 1801-1802 F大调重奏 钢琴4重奏 Piano qiartets WoO.36 1785重奏 第一号弦乐3重奏 String Trio No.1 Op.3 1796 降E大调重奏 第二号弦乐3重奏 String trio No.2 Op.8 1796-1797 D大调重奏 第三号弦乐3重奏 String trio No.3 Op.9..1 1796-1798 G 大调重奏 第四号弦乐3重奏 String trio No.4 Op.9.2 1796-1798 D大调重奏 第五号弦乐3重奏 String trio No.5 Op.9.3 1796-1798 C小调重奏 第一钢琴3重奏 Piano trio No.1 Op.1.1 1792 降E大调重奏 第二钢琴3重奏 Piano trio No.2 Op.1.2 1793-1794 G大调重奏 第三钢琴3重奏 Piano trio No.3 Op.1.3 1793-1794 C小调重奏 第四钢琴3重奏 Piano trio No.4 Op.11 1798 降B大调重奏 第五钢琴3重奏 Piano trio No.5 Op.70.1 1808 D大调重奏 第六钢琴3重奏 Piano trio No.6 Op.70.2 1808 降E大调重奏 第七钢琴3重奏(大公) Piano trio No.7 Op.97 1811 降B大调重奏 第八钢琴3重奏 Piano trio No.8 WoD.39 降B打调重奏 第九钢琴3重奏 Piano trio No.9 WoD.38 1790-1791 降E大调重奏 第十钢琴3重奏 Piano trio in E flat No.10 Op.44 1792 降E大调重奏 第十一钢琴3重奏 Piano trio in G No.11 Op.121a 1803 G小调重奏 第十二钢琴3重奏 Piano trio in E flat No.12 Op.38 1802-1803 降E大调重奏 钢琴3重奏 Piano trio No.D D大调重奏 木管3重奏 Woodwind trio in C Op.87 1794 C大调重奏 3重奏 Trio in G WoD.37 1790 G大调重奏 2重奏 String duo in E flat WoD.32 1795-1798 降E大调奏鸣曲 圆号奏鸣曲 Horn Sonata in F Op.17 1800 F大调主题与变奏 6首 6 Tema Con Variazioni Op.重奏 长笛2重奏 Flute duo in G WoD.26 1792 G大调重奏 木管2重奏 3 Woodwind duos WoD.27 1792 C大调变奏曲 根据歌剧<唐璜>主题的变奏曲 12 Variationen uber das Thema “La ci darem la mano” aus der Oper “Don Giovanni” Von W.A.Mozart WoD.28 1797变奏曲 根据<费加罗的婚礼>主题的变奏曲 12 Variationen uber das Thema “Se Vuol ballare,Signor contino” aus der Oper “Le nozze di Figaro” Von W.A.Mozart WoD.40 1792-1793 F大调奏鸣曲 第一大提琴奏鸣曲 Cello Sonata No.1 Op.5.1 1796-1797 F大调奏鸣曲 第二大提琴奏鸣曲 Cello Sonata No.2 Op.5.2 G小调奏鸣曲 第三大提琴奏鸣曲 Cello Sonata No.3 Op.69 1808 A大调奏鸣曲 第四大提琴奏鸣曲 Cello Sonata No.4 Op.102.1 1815 G大调奏鸣曲 第五大提琴奏鸣曲 Cello Sonata No.5 Op.102.2 1815 D大调变奏曲 为大提琴和钢琴而作的变奏曲 Variationens for Cello and Piano G大调变奏曲 根据<马卡布的犹大>主题的变奏曲 12 Variationen uber das Thema “See the Conquering hero”aus “Judas Maccabeus” Von G. F. Handel WoD.45 1796 G大调贝多芬作品集全套介绍（三）三:作品类型 作品名 原名 作品编号 创作时间 调式变奏曲 根据<魔笛>主题的变奏曲7段 7 Variationen uber das Thema “Bei Mannern,Selche Liebe Fuhln” aus der Oper “Zauberflote” Von W .A .Mozart WoD.46 1801 降E大调变奏曲 根据<魔笛>主题的变奏曲12段 12 Variationen uber das Thema “Ein Madchen oder Weibchen” aus der Oper “Zauberflote” Von W.A.Mozart Op.66 1796 F大调奏鸣曲 第1号小提琴奏鸣曲 Violin Sonata No.1 Op.12.1 1795 D大调奏鸣曲 第2号小提琴奏鸣曲 Violin Sonata No.1 Op.12.2 1795 A大调奏鸣曲 第3号小提琴奏鸣曲 Violin Sonata No.1 Op.12.3 1795 降E大调奏鸣曲 第4号小提琴奏鸣曲 Violin Sonata No.1 Op.23 1800 A小调奏鸣曲 第5号小提琴奏鸣曲(春天) Violin Sonata No.1 Op.24 1800 F大调奏鸣曲 第6号小提琴奏鸣曲 Violin Sonata No.1 Op.30.1 1802 A大调奏鸣曲 第7号小提琴奏鸣曲 Violin Sonata No.1 Op.30.2 C小调奏鸣曲 第8号小提琴奏鸣曲 Violin Sonata No.1 Op.30.3 G大调奏鸣曲 第9号小提琴奏鸣曲(克莱采) Violin Sonata No.1 Op.47 1803 A大调奏鸣曲 第10号小提琴奏鸣曲 Violin Sonata No.1 Op.96 1811-1812 G大调奏鸣曲 第1号钢琴奏鸣曲 Piano Sonata No.1 Op.2.1 1795 F小调奏鸣曲 第2号钢琴奏鸣曲 Piano Sonata No.2 Op.2.2 1795 A大调奏鸣曲 第3号钢琴奏鸣曲 Piano Sonata No.3 Op.2.3 1795 C小调奏鸣曲 第4号钢琴奏鸣曲 Piano Sonata No.4 Op.7 1796-1797 E大调奏鸣曲 第5号钢琴奏鸣曲 Piano Sonata No.5 Op.10.1 1796-1798 C小调奏鸣曲 第6号钢琴奏鸣曲 Piano Sonata No.6 Op.10.2 F大调奏鸣曲 第7号钢琴奏鸣曲 Piano Sonata No.7 Op.10.3 D大调奏鸣曲 第8号钢琴奏鸣曲(悲怆) Piano Sonata No.8 Op.13 1798-1799 C小调奏鸣曲 第9号钢琴奏鸣曲 Piano Sonata No.9 Op.14.1 1798-1799 E大调奏鸣曲 第10号钢琴奏鸣曲 Piano Sonata No.10 Op.14.2 G大调奏鸣曲 第11号钢琴奏鸣曲 Piano Sonata No.11 Op.22 1800 降B大调奏鸣曲 第12号钢琴奏鸣曲 Piano Sonata No.12 Op.26 1800-1801 降A大调奏鸣曲 第13号钢琴奏鸣曲 Piano Sonata No.13 Op.27.1 1800-1801 降E大调奏鸣曲 第14号钢琴奏鸣曲(月光) Piano Sonata No.14 Op.27.2 1801 升C小调奏鸣曲 第15号钢琴奏鸣曲(田园) Piano Sonata No.15 Op.28 1801 D大调奏鸣曲 第16号钢琴奏鸣曲 Piano Sonata No.16 Op.31.1 1801-1802 G大调奏鸣曲 第17号钢琴奏鸣曲(暴风雨) Piano Sonata No.17 Op.31.2 D小调奏鸣曲 第18号钢琴奏鸣曲 Piano Sonata No.18 Op.31.3 降E大调奏鸣曲 第19号钢琴奏鸣曲 Piano Sonata No.19 Op.49.1 1805 G大调奏鸣曲 第20号钢琴奏鸣曲 Piano Sonata No.20 Op.49.2 G大调奏鸣曲 第21号钢琴奏鸣曲(华尔斯坦) Piano Sonata No.21 Op.53 1803-1804 C大调奏鸣曲 第22号钢琴奏鸣曲 Piano Sonata No.22 Op.54 1804 F大调奏鸣曲 第23号钢琴奏鸣曲(热情) Piano Sonata No.23 Op.57 1804-1806 F小调奏鸣曲 第24号钢琴奏鸣曲 Piano Sonata No.24 Op.78 1809 升F大调奏鸣曲 第25号钢琴奏鸣曲(杜鹃) Piano Sonata No.25 Op.79 1809 G大调奏鸣曲 第26号钢琴奏鸣曲(告别) Piano Sonata No.26 Op.81a 1809 降E大调奏鸣曲 第27号钢琴奏鸣曲 Piano Sonata No.27 Op.90 1814 E小调奏鸣曲 第28号钢琴奏鸣曲 Piano Sonata No.28 Op. A大调奏鸣曲 第29号钢琴奏鸣曲(钢琴) Piano Sonata No.29 Op. 降B大调奏鸣曲 第30号钢琴奏鸣曲 Piano Sonata No.30 Op.109 1818 E大调奏鸣曲 第31号钢琴奏鸣曲 Piano Sonata No.31 Op.110 1821 降A大调奏鸣曲 第32号钢琴奏鸣曲 Piano Sonata No.32 Op. E小调奏鸣曲 为选帝候而作的奏鸣曲 Kurfursten Sonates WoD.47 1782-1783 降E大调变奏曲 英雄变奏曲 Eroica Variations Op.35 降E大调变奏曲 狄亚贝里变奏曲 Diabelli Variations Op.120 1823 C大调变奏曲 32段变奏曲 32 Variations on an Original Theme in C minor WoD.80 1806-1807 C小调变奏曲 为钢琴而作的变奏曲(14首) Variationen for Piano变奏曲 根据德莱斯勒的进行曲主题的变奏曲9首 9 Variationen uber einen Marsch Von E. C. Dressler WoD.63 1781 C小调变奏曲 根据李基尼抒情小调主题的变奏曲24首 24 Variationen uber die Ariette “Venni amore” Von V. Righini WoD.65 1790 D大调变奏曲 根据迪塔斯多夫抒情小调主题的变奏曲13首 13 Variationen uber die Ariette “Es War einmal ein alter Mann” aus dem Singspiel “Das rote Kappchen” Von K. D. Von Dittersdorf WoD.66 1792 A大调变奏曲 根据海贝尔舞剧主题的变奏曲12首 12 Variationen uber das Thema “Menuett a la Vigano” aus dem Ballett “le nozze disturbate” Von J.Haibel WoD.68 C大调变奏曲 根据拜谢罗歌剧主题的变奏曲6首 6 Variationen uber das Duett “Nel cor piu non mi sento” aus der Oper “La molinara” Von G.Paisiello WoD.70 1788变奏曲 根据拜谢罗歌剧主题的变奏曲9首 9 Variationen uber das Thema “L’amor Contadino”ais der Oper “Lamolinara”Von G.Paisiello WoD.69 1795 A大调变奏曲 根据伍拉尼兹基舞剧主题的变奏曲12首 12 Variationen uber das Thema “Russischen Tanz” aus dem Ballett “Das Waldmadchen” Von P. Wranitzky WoD.71 1796 A大调变奏曲 根据格莱特里歌剧主题的变奏曲8首 8 Variationen uber das Thema “Une fievre brulant” aus der Oper “Richard Coeur de Lion” Von A.M.Gretry WoD.72 1796-1797 C大调变奏曲 根据萨列里歌剧主题的变奏曲10首 10 Variationen uber das Thema “La stessa, la atessissima” aus der Oper “Falstaff” Von A.Salieli WoD.73 1799 降B大调变奏曲 根据维特歌剧主题的变奏曲7首 7 Variationen uber das Quartett “Kind, Willst du ruterbrochene Opferfest” Von, P.Winter WoD.75 1799 F大调变奏曲 根据苏斯麦耶尔歌剧主题的变奏曲6(8)首 6(8) Variationen uber das Tarzett “Tandeln und Scherzen” aus der Oper “Soliman Li order die drei Sultaninen” Von F. X. Sussmayr WoD76 1799 F大调变奏曲 根据自己创作主题的变奏曲6首 6 Leichte Variationen Uber ein eigenes Thema WoD.77 1800 G大调变奏曲 根据<神佑吾皇>主题的变奏曲7首 7 Variationen uber “God Save the King” WoD.78 1803 C大调贝多芬作品集全套介绍（四）四:作品类型 作品名 原名 作品编号 创作时间 调式变奏曲 根据<保卫大不列颠>主题的变奏曲5首 5 Variationen uber “Rule Britania” WoD.79 1803 D大调3变奏曲 根据主题而创作的变奏曲32首 32 Variationen uber ein eigenes Thema WoD.80 1806 C小调小品 小品7首 Sieben Bagatellen Op.33 1803小品 新小品11首 Elf neue Bagatelle Op.小品 小品6首 Sechs Bagatellens Op.126 1823回旋曲 为钢琴而作的回旋曲 Rondes for Piano 1797 C;G大调幻想曲 幻想曲 Fantasia in G Minor Op.77 1809 G小调前奏曲 前奏曲 Prelude in F minor WoD.55 1803 F小调行板 可爱的行板 Andante favori WoD.57行板 庄严的行板 Andante maestoso WoD.62 1826 C大调舞曲 为钢琴而作的舞曲 Piano dances WoD81 1800奏鸣曲 联弹用奏鸣曲 Piano Sonata in D Op.6 1796-1797 D大调进行曲 联弹用大进行曲3首 3 Marsche Op.45 1802-1803变奏曲 根据华德斯坦主题的变奏曲8首 8 Variationen uber ein Thema des Grafen Von Waldstein WoD.67 1791-1792变奏曲 根据歌曲而作的变奏曲6首 Lied “Ich denke dein” mit 6 Variationen WoD.74 1799-1804神剧 基督在橄榄山上 Oratorium “Christus am olberg” Op.85 1803 降E小调弥撒曲 庄严大弥撒 Missa Solemnis Op. D大调弥撒曲 弥撒曲 Mass in C Op.86 1807 C大调清唱剧 <平静的海和幸福的航行> Kantate “Meeresstille und gluckliche Fahrt” Op. D大调合唱曲 合唱曲13首 Choral Works Op.121b歌剧 费德里奥 Fidelio Op.72 1802-1805重唱 二重唱,三重唱,四重唱 Deets & Trio and Quartets Op.116歌曲 歌曲 Lieder民歌 英国民歌编曲(160首以上) Volksliedbearbeitungen民歌 苏格兰民歌25首 25 Scottich Songs Op.民歌 爱尔兰民歌25首 25 Irish Songs WoD.民歌 爱尔兰民歌20首 20 Irish Songs WoD.民歌 爱尔兰民歌12首 12 Irish Songs WoD.民歌 威尔士民歌26首 26 Welsh Songs WoD.民歌 苏格兰民歌12首 12 Scottish Songs WoD.民歌 各国民歌12首 12 Songs of various nationality WoD. 民歌 各国民歌集36首 Songs of various nationality WoD.巴赫：《平均律钢琴曲集》(The Well-Tempered Clavier)、《赋格的艺术》(The Art of Fugue)、《勃兰登堡协奏曲》(brandenburg Concertos)6首、《小提琴协奏曲》两首、《无伴奏小提琴奏鸣曲与组曲》6首、《无伴奏大提琴奏鸣曲与组曲》6首、《法国组曲》、《英国组曲》、《农民康塔塔》(Peasant Cantata)、《咖啡康塔塔》(Coffee Cantata)、《马太受难乐》(Matthauspassion)1，圆舞曲(华尔兹) （Waltzes）肖邦著名的圆舞曲，相信小朋友一定听过！这些圆舞曲是肖邦在维也纳时，运用维也纳华尔滋三拍的节奏，加上优美的曲调与抒情性，同时也发辉高度的钢琴技巧，因此肖邦的圆舞曲适合聆赏与演奏，比较不适合跳舞喔！◎第1号圆舞曲降E大调Op. 18◎第3号华丽圆舞曲a小调Op. 34-1◎第6号圆舞曲降D大调「小狗」Op. 64-1小狗圆舞曲是描述乔治桑的小狗追逐自己的尾巴的一首曲子，因为曲子很短，因此也被称为「小圆舞曲」(Minute)◎第7号圆舞曲升c小调Op. 64-2◎第8号圆舞曲降A大调Op. 64-3◎第9号圆舞曲降A大调Op. 69-1◎第10号圆舞曲b小调Op. 69-2◎第14号圆舞曲e小调Op.Posth2，钢琴协奏曲(Piano Concertos)肖邦不太喜欢管弦乐器，所以他的钢琴协奏曲（以钢琴为主，管弦乐搭配的曲子）也只有两首而已。第二号协奏曲的第二乐章就是写给初恋情人的优美「情书」，大家可以听听看唷！◎第2号钢琴协奏曲f小调Op.21第一乐章◎第2号钢琴协奏曲f小调Op.21第二乐章◎第2号钢琴协奏曲f小调Op.21第三乐章3，夜曲(Nocturnes)夜曲是英钢琴师兼作曲家菲尔德首创的曲式，以优美的旋律为主。肖邦受他的影响，第一首夜曲也已旋律为主，但后来的夜曲则加上更丰富的内容，不单是优美的旋律而已，所以是肖邦独特风格的夜曲。◎第1号夜曲降b小调Op.9-1◎第2号夜曲降E大调Op.9-24，练习曲(Etudes)学钢琴的人，一定会弹到肖邦的练习曲！这些曲子运用了高度的钢琴技巧，包括快速的八度音程、还有三或六度的连续平行等等。不过这些练习曲并不只是教学用的，而是同时兼具艺术性，演奏者必须兼顾技巧、节奏、旋律、和声还有音乐的情绪表现，所以还是很到受乐迷的喜爱。◎第3号练习曲E大调「离别」 Op.10-3这首练习曲是肖邦离开波兰前往巴黎时的创作，离开祖国与思念故乡的感情都表露无遗。◎第5号练习曲降G小调「黑键」Black Key Op10No.5◎第12号练习曲c小调「革命」Revolutionary Op.10-12这首是肖邦在听到波兰遭俄国攻占时所创作的曲子。5，前奏曲(Preludes) Op.28作品28的二十四首前奏曲集是肖邦晚年为了筹措疗养的旅费而创作的曲子。◎第4号前奏曲e小调「窒息」Suffocation◎第11号前奏曲B大调「蜻蜓」Dragon Fly◎第15号前奏曲降D大调「雨滴」Raindrop◎这首前奏曲左手规律的节奏像雨滴的声音，因此得名。◎第23号前奏曲F大调「快乐之船」Pleasure Boat◎第24号前奏曲降D大调「暴风雨」The Storm6，波兰舞曲(Polonaises)波兰舞曲是以宫廷为中心，华丽而壮大的民族舞曲。肖邦七岁时就创作了两首波兰舞曲（G小调与降B大调），而后来的创作不但有舞曲，还有波兰语的诗喔！◎第三号波兰舞曲A大调「军队」MilitaryOp.40-1象征波兰旗士精神的宏伟。◎第六号波兰舞曲降A大调「英雄」HeroicOp.537，马祖卡舞曲(Mazurkas)马祖卡舞曲是波兰东普鲁士与俄国之间一带，属于农民的民族舞曲，热爱祖国的肖邦创作了55首马祖卡舞曲，将思乡的情感转化为丰富的旋律。第五号马祖卡舞曲降B大调Op.7-18，奏鸣曲(Sonatas)肖邦不喜欢被固定的奏鸣曲曲式所拘束，所以他的创作当中只有二首奏鸣曲而已。其中第二号的第三乐章的「送葬」进行曲，是西方葬礼中的送葬曲。◎第二号奏鸣曲降b小调Op.35第三乐章「送葬」（Marche Funebre）9，其他名曲以下曲子也是肖邦的名曲：◎幻想即兴曲升c小调Fantaisie-ImpromptuOp.66◎船歌升F大调BarcarolleOp.60◎第4号叙事曲f小调BalladeOp.52-4◎幻想曲(非即兴幻想曲)

Ludwig van Beethoven

Ludwig van Beethoven,he is not only good at playing the piano and conducting a concert, but also a famous composer. His works have a rare originality, emotional depth, and expressive power and he was known for his nine symphonies, piano concertos, sonatas, and string quartets.

He started to learn the music when he was a boy and fallowed his farther. As the saying goes, interest is the best teacher. By 1795 he had earned a name for himself as a pianist of great fantasy and verve, admired in particular for his brilliant improvisations.

Unfortunately, around the year 1798 Beethoven noticed that he was suffering from a hearing disorder. But he didn’t give up what he liked. He continued to produce notable masterpieces throughout his life, even when his deafness was almost total. Although the great man has gone, his soul will live in his music and last forever.

译文：

贝多芬路德维希·凡·贝多芬，他不仅擅长弹钢琴和指挥音乐会，而且是一位著名的作曲家。他的作品具有罕见的独创性、情感的深度和表达能力，他以他的九部交响曲、钢琴协奏曲、奏鸣曲和弦乐四重奏而闻名。当他还是个孩子的时候，他就开始学习音乐，并把他的父亲休了下来。

俗话说，兴趣是最好的老师。到1795年，他已经为自己赢得了一个伟大的幻想和神韵的钢琴家的名字，特别是钦佩他出色的即兴演奏。

不幸的是，大约在1798年，贝多芬发现自己患有听力障碍。但是他没有放弃他喜欢的。在他的一生中，即使他的耳朵几乎全聋了，他仍然不断创作着著名的杰作。虽然这位伟人已经去世了，但他的灵魂仍将活在他的音乐中，并将永存。

扩展资料：

主要作品：

贝多芬的一生创作体裁广泛，数量众多。在器乐领域，包括9部交响曲、11首管弦乐曲和戏剧配乐、5首钢琴协奏曲、1首小提琴协奏曲、16首弦乐四重奏和其他形式的重奏曲、32首钢琴奏鸣曲以及小提琴、大提琴奏鸣曲、变奏曲等。

在声乐领域，涉及歌剧、清唱剧、弥撒、康塔塔、合唱幻想曲和大量的艺术歌曲，声乐领域的代表作品包括歌剧《费德里奥》、《D大调弥撒》、声乐套曲《致远方的爱人》等

人物经历：

早年经历

1770年12月16日，路德维希·凡·贝多芬出生于德国波恩。1775年左右，4岁的贝多芬被父亲逼着学习钢琴、小提琴，其父愚蠢地想用强制性手段将他培养成莫扎特式的神童。

1778年，8岁的贝多芬师从宫廷老管风琴师H·伊登学习音乐基础理论及管风琴，同年8月26日第一次登台演出。

1781年，11岁的贝多芬辍学，进入波恩剧院乐队当小乐师，有机会师从选帝侯宫廷管风琴师、指挥家和作曲家克里斯蒂安·戈特洛布·聂弗，聂弗是位启蒙运动的参与者，对贝多芬一生影响很大。

1783年，13岁的贝多芬担任宫廷乐队的古钢琴独奏与伴奏，但无薪俸；同年根据德雷斯勒的进行曲改编为《钢琴变奏曲》（woO63），这是他正式发表的第一首作品，由德国音乐出版家J·M·格茨予以出版。

1785年至1786年，贝多芬转向弗兰兹·安东·里斯学习小提琴，完成《三首钢琴奏鸣曲》（woO36）。

1787年春天，贝多芬第一次访问维也纳，见到31岁的莫扎特，其弹奏技术受到莫扎特的赞赏；同年结识比自己大9岁的华尔斯坦伯爵，他是贝多芬在艺术事业与经济上的重要支持者。

1790年，作曲家海顿去伦敦途经波恩，贝多芬结识海顿；同年受委托完成了两部清唱剧：《为约瑟夫二世逝世所作的悼念清唱剧》（woO87），这也是贝多芬第一部与政治沾上边的作品；以及《为利奥波德二世登基而作的清唱剧》（woO88）。

1792年11月，22岁的贝多芬在海顿等人的鼓励支持下离开故乡，开始拜海顿为师学习作曲，定居于维也纳。

维也纳初期

1793年，贝多芬改向莫扎特挚友，作曲家与教师J·B·申克学习对位法及音乐理论 [1]  。1794年，开始师从圣斯蒂芬大教堂阿尔布莱兹贝格学习对位法，向宫廷音乐总监安东尼奥·萨列里免费学习作曲；由于海顿忙于作第二次赴英演出的创作准备，师生两人性格不同又有音乐思想上的分歧，贝多芬向海顿的学习终于1794年中止。

1796年8月，在《维也纳杂志》上发表了贝多芬赠送给海顿的三首钢琴奏鸣曲（Op.2）；同年开始出现耳聋现象。

1796至1797年创作完成《C大调第一钢琴协奏曲》（Op.15），并于1798年在捷克布拉格首演。1799年，霍夫敏斯托于年底将贝多芬的《c小调第八（悲怆）钢琴奏鸣曲》（Op.13）予以出版。

1800年4月，《第一交响曲》（Op.21）、《降E大调七重奏》（Op.20）在维也纳皇家宫廷音乐会首演 [1]  。

1801年，创作完成《升c小调第十四（月光）钢琴奏鸣曲》（Op.27 no.2），题献给朱丽塔·吉米尔茨伯爵夫人；同年还完成了《弦乐五重奏》（Op.29）、《弦乐四重奏》（Op.18）。

1802年，到海利根施塔特度夏，贝多芬已完全听不见声音，同年10月初给自己的兄弟写下著名的《海利根施塔特遗嘱》；经过激烈的思想斗争完成《第二交响曲》，并重返维也纳。

成熟时期

1803年，神剧《基督在橄榄山》、《A大调克鲁采小提琴奏鸣曲》首演；同年完成《第三钢琴协奏曲》。

1805年4月，《第三（英雄）交响曲》首演，贝多芬亲自担任指挥，此作是贝多芬进入创作成熟时期的重要标志；同年11月20日，歌剧《费德里奥》在维也纳皇家剧院首演。

1806年，创作完成《拉兹莫夫斯基弦乐四重奏》、《第四钢琴协奏曲》、《第四交响曲》，以及小提琴协奏曲。

1808年12月，《第六（田园）交响曲》在维也纳剧院举行了首演。1809年，《科里奥兰序曲》、《第五（命运）交响曲》、《C大调弥撒》相继问世。

1810年11月，《第五钢琴协奏曲》在莱比锡首演并取得了巨大成功，同时贝多芬因耳聋已与许多亲友疏远。

1812年，创作完成《第七交响曲》与《第八交响曲》；翌年夏天创作完成《战争交响曲》。

创作晚期

1814年2月—3月，《第七交响曲》、《战争交响曲》相继再度上演，成为维也纳狂热事件。

1824至1825年，首次公演《第九交响曲》及其合唱；1825年3月，创作完成《庄严弥撒曲》。

1826年，《降B大调弦乐四重奏》完成并公演，歌剧《费德里奥》最后版本予以发行。

1827年，伦敦爱乐乐团赠予贝多芬100英镑，邀请他为乐团谱写《第十交响曲》，未及完成，贝多芬于同年3月26日与世长辞，终年57岁。

参考资料来源：百度百科-路德维希·凡·贝多芬

音乐家贝多芬路德维希·凡·贝多芬 (Ludwig van Beethoven, 1770.12.17.-1827.3.26.)一七九二年，二十二岁的路德维希·凡·贝多芬从波恩来到维也纳，一直到他一八二七年逝世，他就从未离开过这座对音乐家特别有吸引力的城市。贝多芬的绝大部分作品是在这里创作的。他的九部交响曲全都在维也纳举行了首演式。一八零五年，他唯一的一部歌剧创作《费德里奥》也在维也纳的国家歌剧院举行了首演。贝多芬被后人认为是有史以来最伟大的交响曲作家。他的《英雄交响曲》充满了激情。他的第九部交响曲取材於德国诗人席勒的《欢乐颂》，如今已经成为欧盟的盟歌。辉煌的创作并不能掩饰贝多芬多难的一生。一八零二年，贝多芬由於逐渐丧失听力，悲愤之余，写下了一封可能是给他兄弟的遗嘱。激情满腔的禀性迫使他频繁地搬家。他在维也纳市区北部有温泉的地方留下了几十处居所。但是温泉最终还是无法挽救他的失聪，一八一九年，贝多芬的听力彻底丧失了。一八二七年，人们在Waehringer Friedhof 魏林格墓地为他举行了隆重的葬礼。一八八八年，贝多芬的遗骨被安放到维也纳中央陵园。造访音乐家贝多芬贝多芬晚年频繁迁居，虽然留下了众多的故居，但是很多故居未能作为展览馆向游客开放。贝多芬当年喜欢居住在名叫海里根施塔特(Heiligenstadt)的地方，离市区很远，在市区的正北方。一八零二年，贝多芬居住这个城区，在这里创作了他第二部交响曲。同年十月，贝多芬在这里写下了《海里根施塔特遗嘱》，这是一封他写给两个兄弟的信，这封信并未寄出，如今仍然完好地被保存在这里。贝多芬的这处遗址如今被称作为「海里根施塔特遗嘱屋」，周二至周日向游客开放。地址：Probusgasse 6, 1190 Wien帕斯克瓦尔蒂楼房(Paqualitihaus)是贝多芬居住时间较长的一处住所。一八零四年至一八一五年间，贝多芬虽然数次离开这个居所，但是最后却又返回到此地。楼房的主人帕斯克瓦尔蒂是贝多芬的好朋友，每次贝多芬出走，他都吩咐佣人不要出租贝多芬的房间，因为“他总是会回来的”。在这里，贝多芬经历了创作的鼎盛期，他的第四、五、六部交响曲，第四钢琴协奏曲和歌剧《费德里奥》都是在这里创作的。地址：Moelkerbastei 8, 1010 Wien一八二七年，贝多芬去世时，众多的朋友和崇拜者前来吊唁。贝多芬被安葬在魏林格墓地(Waehringer Friedhof)。文学巨匠格里尔帕策曾经在悼词中说 “贝多芬把他的一切献给了众人，从他们那里却一无所获，於是他就远离了众人。”能够让贝多芬瞑目九泉的是，舒伯特一八二八年也被安葬在此，与他相伴。人们为了纪念舒伯特这位年轻的天才音乐家，在魏林格墓地的旁边修建了一座舒伯特花园(Schubertpark)。如今，这座魏林格大街上的舒伯特花园是众多游客流连的地方。地址：W ringer Stra呈, 1180 Wien一八八八年，两位音乐大师的棺木被一起移到中央陵园。如今，贝多芬被埋葬在中央陵园名人墓地32A的第29号墓穴中。地址：Zentralfriedhof, Simmeringer Hauptstra呈 234, 1110 Wien一八八零年，崇拜贝多芬的人们还为其建造了一座纪念碑。从此，这个地方更名为贝多芬广场。贝多芬塑像的周围围绕著九个小天使，象徵音乐大师不朽的九部交响曲。地址：Beethovenplatz, 1010 Wien参考资料：

Ludwig van Beethoven (baptized December 17, 1770 – March 26, 1827) was a German composer of classical music, who lived predominantly in Vienna, Austria. Beethoven is widely regarded as one of history's supreme composers, and he produced notable works even after losing his hearing. He was one of the greatest figures in the transitional period between the Classical and Romantic eras in music. His reputation has inspired — and in many cases intimidated — composers, musicians, and audiences who were to come after him.Among his most widely-recognized works are his Third, Fifth, Sixth and Ninth symphonies (the latter containing the "Ode to Joy"); Piano Concerto No. 5 ("Emperor"); a Violin Concerto; the Pathétique, Moonlight, Appassionata, and Hammerklavier piano sonatas; and the bagatelle Für Elise .Contents[hide] * 1 Life and work * 2 Musical style and innovations * 3 Personal beliefs and their musical influence * 4 Beethoven the Romantic? * 5 See also * 6 Media o 6.1 Piano solo o 6.2 Orchestral o 6.3 Chamber * 7 References * 8 External linksLife and work For more details on this topic, see Life and work of Ludwig van Beethoven.Beethoven was born at 515 Bongasse, Bonn, Germany, to Johann van Beethoven (1740–1792); and Magdalena Keverich van Beethoven (1744–1787) in 1770. Many reference works show 16 December as Beethoven's date of birth, since he was baptized on 17 December and children at that time were generally baptized the day after their birth.Beethoven's first music teacher was his father, a musician in the Electoral court at Bonn and an alcoholic who beat him and unsuccessfully attempted to exhibit him as a child prodigy like Mozart. However, others soon noticed Beethoven's talent. In 1787 young Beethoven went to Vienna for the first time. While in Vienna he played songs for Mozart. Mozart was very impressed with Beethoven's performance. He was given instruction and employment by Christian Gottlob Neefe, as well as financial sponsorship by the Prince-Elector. Beethoven's mother died when he was 17, and for several years he was responsible for raising his two younger brothers.Beethoven moved to Vienna in 1792, where he intended to study with Joseph Haydn. Haydn didn't like Beethoven's unorthodox music ideas so he terminated his lessons. Beethoven quickly established a reputation as a piano virtuoso, and more slowly, as a composer. He settled into the career pattern he would follow for the remainder of his life: rather than working for the church or a noble court (as most composers before him had done), he was a freelancer, supporting himself with public performances, sales of his works and stipends from members of the aristocracy who recognized his ability.Beethoven 1820 portraitEnlargeBeethoven 1820 portraitBeethoven's career as a composer is usually divided into Early, Middle, and Late periods.In the Early period, he is seen as emulating his great predecessors Haydn and Mozart while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first two piano concertos, and the first twenty piano sonatas, including the famous Pathétique and Moonlight.The Middle period began shortly after Beethoven's personal crisis centering around deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (Nos. 3–8), the last three piano concertos, triple concerto and his only violin concerto, five string quartets (Nos. 7–11), the next seven piano sonatas including the Waldstein, and Appassionata, and his only opera, Fidelio.Beethoven's Late period began around 1816 and lasted until Beethoven died in 1827. The Late works are greatly admired for and characterized by their intellectual depth, intense and highly personal expression, and experimentation with forms (for example, the Quartet in C Sharp Minor has seven movements, while most famously his Ninth Symphony adds choral forces to the orchestra in the last movement). This period includes the Missa Solemnis, the last five string quartets and the last five piano sonatas.Considering the depth and extent of Beethoven's artistic explorations, as well as the composer's success in making himself comprehensible to the widest possible audience, the Austrian-born British musician and writer Hans Keller pronounced Beethoven "humanity's greatest mind altogether".Beethoven's personal life was troubled. Around age 28, he started to become deaf, which led him to contemplate suicide (see the 1802 Heiligenstadt Testament). He was attracted to unattainable (married or aristocratic) women, whom he idealized; he never married. Some scholars believe his period of low productivity from about 1812 to 1816 was caused by depression resulting from Beethoven's realization that he would never marry.Beethoven quarrelled, often bitterly, with his relatives and others (including a painful and public custody battle over his nephew Karl); he frequently treated other people badly. He moved often and had strange personal habits, such as wearing filthy clothing even as he washed compulsively. He often had financial troubles.Many listeners perceive an echo of Beethoven's life in his music, which often depicts struggle followed by triumph. This description is often applied to Beethoven's creation of masterpieces in the face of his severe personal difficulties.Beethoven was often in poor health, especially after his mid-20s, when he began to suffer from serious stomach pains. In 1826 his health took a drastic turn for the worse. His death the following year was attributed to liver disease, but modern research on a lock of Beethoven's hair taken at the time of his death, and a few pieces of his skull [1] shows that lead poisoning could well have contributed to his ill-health and ultimately to his death (the levels of lead were more than 100 times higher than levels found in most people today). The source of the lead poisoning may have been fish from the heavily polluted Danube River and lead compounds used to sweeten wines. It is unlikely that lead poisoning was the cause of his deafness, which several researchers think was caused by an autoimmune disorder such as systemic lupus erythematosus. The hair analysis did not detect mercury, which is consistent with the view that Beethoven did not have syphilis (syphilis was treated with mercury compounds at the time). The absence of drug metabolites suggests Beethoven avoided opiate painkillers.His last musical sketches belong to the composition of a string quintet in C Major [2]. Beethoven died in 1827, after a long illness, in the midst of a fierce thunderstorm, and legend has it that the dying man shook his fists in defiance of the heavens. He is buried in the Zentralfriedhof (Central Cemetery) in Vienna, along with many other notable composers.Musical style and innovations Main article: Beethoven's musical style and innovationsBeethoven is viewed as one of the most important transitional figures between the Classical and Romantic eras of musical history. As far as musical form is concerned, he built on the principles of sonata form and motivic development that he had inherited from Haydn and Mozart, but greatly extended them, writing longer and more ambitious movements. But Beethoven also radically redefined the symphony, transforming it from the rigidly structured four-ordered-movements form of Haydn's era to a fairly open ended form that could sustain as many movements as necessary, and of whatever form as necessary to give the work cohesion.See also History of sonata form and Romantic music.Personal beliefs and their musical influenceBeethoven was much taken by the ideals of the Enlightenment and by the growing Romanticism in Europe. He initially dedicated his third symphony, the Eroica (Italian for "heroic"), to Napoleon in the belief that the general would sustain the democratic and republican ideals of the French Revolution, but in 1804 tore out the title page upon which he had written a dedication to Napoleon, as Napoleon's imperial ambitions became clear, renamed the symphony as the "Sinfonia Eroica, composta per festeggiare il Sovvenire di un grand Uomo", or in English, "composed to celebrate the memory of a great man". The fourth movement of his Ninth Symphony features an elaborate choral setting of Schiller's Ode An die Freude ("Ode To Joy"), an optimistic hymn championing the brotherhood of humanity.Scholars disagree on Beethoven's religious beliefs and the role they played in his work. For discussion, see Beethoven's religious beliefs.Beethoven the Romantic?A continuing controversy surrounding Beethoven is whether he was a Romantic or a Classical composer. As documented elsewhere, since the meanings of the word "Romantic" and the definition of the period "Romanticism" both vary by discipline, Beethoven's inclusion as a member of that movement or period must be looked at in context.If we consider the Romantic movement as an aesthetic epoch in literature and the arts generally, Beethoven sits squarely in the first half along with literary Romantics such as the German poets Goethe and Schiller (whose texts both he and the much more straightforwardly Romantic Franz Schubert drew on for songs) and the English poet Percy Shelley. He was also called a Romantic by contemporaries such as Spohr and E.T.A. Hoffman. He is often considered the composer of the first Song Cycle and was influenced by Romantic folk idioms, for example in his use of the work of Robert Burns. He set dozens of such poems (and arranged folk melodies) for voice, piano, and violin.If on the other hand we consider the context of musicology, where Romantic music is dated later; the matter is one of considerably greater debate. For some experts, Beethoven is not a Romantic, and his being one is a myth; for others he stands as a transitional figure, or an immediate precursor to Romanticism, the "inventor" of the Romantic period; for others he is the prototypical, or even archetypal, Romantic composer, complete with myth of heroic genius and individuality. The marker buoy of Romanticism has been pushed back and forth several times by scholarship, and it remains a subject of intense debate, in no small part because Beethoven is seen as a seminal figure. To those for whom the Enlightenment represents the basis of Modernity, he must therefore be unequivocally a Classicist, while for those who see the Romantic sensibility as a key to later aesthetics (including the aesthetics of our own time), he must be a Romantic. Between these two extremes there are, of course, innumerable gradations.Beethoven's grave in the Zentralfriedhof, Vienna.EnlargeBeethoven's grave in the Zentralfriedhof, Vienna.Listening to Beethoven's music yields another possible scholarly analysis: there is definitely an evolution in style from Beethoven's earliest compositions to his later works. The young Beethoven can be seen toiling to conform to the aesthetic models of his contemporaries: he wants to write music that is acceptable in the society of his days. Later, there is much more iconoclasm in his approach, like adding a chorus to a symphony, where a symphony had until then only been a purely instrumental genre. This means that the question changes from whether Beethoven was a classicist or a romantic, to: where is the pivotal moment that Beethoven tilted from dominant classicism to dominant romanticism?. Most scholars seem to concur: the presentation of the 5th and 6th symphonies in a single concert in 1808 is probably closest to that pivotal point. In the 5th symphony, he let a short pounding motto theme run through all movements of the composition (unheard of until then). Then the 6th symphony was the first example of a symphony composed as "program music" (what in Romanticism became standard practice), and it broke up the traditional arrangement of a symphony in four movements. Yet, after that, Beethoven still wrote his very "Classical" 8th symphony and some innocent-sounding chamber music for the English market. However, by the end of the first decade of the 19th century, Beethoven the romantic was without a doubt primary.In contrast, Carl Dahlhaus argues that the evolution of Beethoven's style actually takes him past Romanticism to a place where he was separate from the music of his contemporaries. Dahlhaus points out that our understanding of Beethoven as a Romantic composer derives largely from Beethoven's early middle period, which contains the Symphony No. 3 and Symphony No. 5. Beethoven's impact on other Romantic composers, however, is taken largely from works between Ops. 74 and 97, of the second half of the so-called middle period. Dahlhaus argues that the tradition of Romantic music is essentially a tradition of Schubertian music, and that Beethoven's influence on Schubert is largely taken from Ops. 74 to 97. By the time Beethoven reaches the late period, he is such an individual as to be best understood as no longer belonging to the same genre as his Romantic contemporaries.Piano solo# Moonlight Sonata (file info) * Piano Sonata No. 14 in C-sharp minor, 1st movement# Pathetique Sonata (file info) * Piano Sonata No. 8 in C minor, 1st & 2nd movements# Opus 111, movement 1 (file info) * Piano Sonata No. 32 in C minor, 1st movement# Opus 111, movement 2 (file info) * Piano Sonata No. 32 in C minor, 2nd movement# Laendler in C Minor (file info) * Hess 68Orchestral# Symphony 5, movement 1 (file info) * From Symphony no. 5# Symphony 5, movement 2 (file info) * From Symphony no. 5# Symphony 5, movement 3 (file info) * From Symphony no. 5# Symphony 5, movement 4 (file info) * From Symphony no. 5# Opus 62 (file info) * Overture - Coriolan# Piano Concerto 4, movement 1 (file info) * Piano Concerto No. 4 in G major, 1st movement# Piano Concerto 4, movement 2 and 3 (file info) * Piano Concerto No. 4 in G major, 2nd and 3rd movementChamber# Komm' o Hoffnung (file info) * The Komm' o Hoffnung aria from Fidelio, performed by Alice Guszalewicz# Opus 30, movement 1 (file info) * Violin Sonata No. 6 in A major, 1st movement# Opus 30, movement 2 (file info) * Violin Sonata No. 6 in A major, 2nd movement# Opus 30, movement 3 (file info) * Violin Sonata No. 6 in A major, 3rd movement# Opus 47, movement 1 (file info) * Violin Sonata No. 9 in A major "Kreutzer", 1st movement# Opus 47, movement 2 (file info) * Violin Sonata No. 9 in A major "Kreutzer", 2nd movement# Opus 47, movement 3 (file info) * Violin Sonata No. 9 in A major "Kreutzer", 3rd movement# Fugue in B Flat Minor, arranged for String Quintet (file info) * From Well-Tempered Clavier (Book One) by Johann Sebastian Bach, Hess 38

《the Serenade》 《Minuet》 《Rondo Alla Turca》 《Destiny》 《Symphonie No.9》注：命运交响曲的英文写法,还有他的其他曲目的英文(附中文)第一交响曲 Symphonie No.1 Op.21 1794--1796 C大调 交响曲 第二交响曲 Symphonie No.2 Op.36 1801-1802.10 D大调 交响曲 第三交响曲 (英雄) Symphonie No.3 OP.55 1803-1804 降E大调 交响曲 第四交响曲 Symphonie No.4 Op.60 1806.10 降B大调 交响曲 第五交响曲 (命运) Symphonie No.5 Op.67 1804-1808 C小调 交响曲 第六交响曲 (田园) Symphonie No.6 Op.68 1807---1808 F大调 交响曲 第七交响曲 Symphonie No.7 Op.92 1811-1812.6 A大调 交响曲 第八交响曲 Symphonie No.8 Op.93 1811-1812.10 F大调 交响曲 第九交响曲 (合唱) Symphonie No.9 Op.125 1824.2 D小调 交响曲 第十交响曲 Symphonie No.10 遗稿 交响曲 战争交响曲 Wellingtons Sieg Op.91 1813 D大调 序曲 莱奥诺拉 Leonore Overtures No.1-1805 No.2-1805 No.3-1806 No.4-1814 序曲 艾格蒙特 Egmond 1809 序曲 科里奥兰 Coriolanus Overture Op.93 1807 C大调 舞剧 普罗米修斯的生民 The Creatures of Prometheus Op.43 1800-1801 序曲 斯蒂芬国王 King Stephen Op.112 1811 序曲 向大厦献礼 The Consecration of the house Op.124 1822 C大调 骑士芭蕾音乐 Musik Zu einem Ritterballett WoO.1 1790-1791 序曲 命名日庆典序曲 Ouverture “Namensfeier” Op.115 1814 C大调 雅典的废墟 The ruins of Athens Op.113 舞曲 12首小步舞曲 12Menuette WoO.7 1795 舞曲 12首德国舞曲 12 Dertsche Tanze WoO.8 1795 舞曲 12首对舞曲 12 Kontratanze WoO.14 1800-1802 舞曲 6首兰德勒舞曲 6 Landlerische Tanze WoO.15 1802 D大调 舞曲 11首维也纳舞曲 11 Wienertanze WoO.17 1818-1820 舞曲 庆贺小步舞曲 Grarulations Menuett WoO.3 1822 进行曲 为乐队而作的进行曲(6首) Marsh for Orchetra WoO.18-22,24,29 1809-1810 协奏曲 第一钢琴协奏曲 Pinao Concertos No.1 Op.15 1796 C大调 协奏曲 第二钢琴协奏曲 Pinao Concertos No.2 Op.19 1794-1795 降B大调 协奏曲 第三钢琴协奏曲 Pinao Concertos No.3 Op.37 1800 C小调 协奏曲 第四钢琴协奏曲 Pinao Concertos No.4 Op.58 1805-1806 G大调 协奏曲 第五钢琴协奏曲 Pinao Concertos No.5 Op.78 降E大调 协奏曲 第六钢琴协奏曲 Pinao Concertos in D Op.61 1807 协奏曲 钢琴协奏曲 Pinao Concertos in E flat WoO.4 1784 回旋曲 钢琴与乐队的降B大调回旋曲 Rondo for Pinao and Orchestra in B flat WoO.6 1795 幻想曲 合唱幻想曲 Fantasie fur Klavier,Chor Und Orchester Op.80 1808 C小调 协奏曲 为小提琴,大提琴,钢琴三重奏 Triple Concerto for vilin Cello and Piano Op.56 1803

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