| Catalog | Composition | Date |
|---|---|---|
| Opus 1, No. 1 | Piano Trio No. 1 in E♭ Major | 1794–95 |
| Opus 1, No. 2 | Piano Trio No. 2 in G Major | 1794–95 |
| Opus 1, No. 3 | Piano Trio No. 3 in C Minor | 1794–95 |
| Opus 2, No. 1 | Piano Sonata No. 1 in F Minor | 1795 |
| Opus 2, No. 2 | Piano Sonata No. 2 in A Major | 1795 |
| Opus 2, No. 3 | Piano Sonata No. 3 in C Major | 1795 |
| Opus 3 | String Trio in E♭ Major | 1795? |
| Opus 4 | String Quintet in E♭ Major | 1795 |
| Opus 5, No. 1 | Cello Sonata No. 1 in F Major | 1796 |
| Opus 5, No. 2 | Cello Sonata No. 2 in G Minor | 1796 |
| Opus 6 | Sonata in D for Piano Four Hands | 1796–97 |
| Opus 7 | Piano Sonata No. 4 in E♭ Major | 1796–97 |
| Opus 8 | Serenade in D for String Trio | 1796–97 |
| Opus 9, No. 1 | String Trio No. 3 in G Major | 1797–98 |
| Opus 9, No. 2 | String Trio No. 4 in D Major | 1797–98 |
| Opus 9, No. 3 | String Trio No. 5 in C Minor | 1797–98 |
| Opus 10, No. 1 | Piano Sonata No. 5 in C Minor | 1798 |
| Opus 10, No. 2 | Piano Sonata No. 6 in F Major | 1798 |
| Opus 10, No. 3 | Piano Sonata No. 7 in D Major | 1798 |
| Opus 11 | Piano Trio No. 4 in B♭ Major | 1797–98 |
| Opus 12, No. 1 | Violin Sonata No. 1 in D Major | 1797–98 |
| Opus 12, No. 2 | Violin Sonata No. 2 in A Major | 1797–98 |
| Opus 12, No. 3 | Violin Sonata No. 3 in E♭ Major | 1797–98 |
| Opus 13 | Piano Sonata No. 8 “Pathétique” in C Minor | 1798? |
| Opus 14, No. 1 | Piano Sonata No. 9 in E Major | 1798 |
| Opus 14, No. 2 | Piano Sonata No. 10 in G Major | 1798 |
| Opus 15 | Piano Concerto No. 1 in C Major | 1795–1800 |
| Opus 16 | Quartet in E♭ for Piano and Strings | 1796? |
| Opus 16 | Quintet in E♭ for Piano and Woodwinds | 1796 |
| Opus 17 | Sonata in F Major for Horn and Piano | 1800 |
| Opus 18, No. 1 | String Quartet No. 1 in F Major | 1799–1800 |
| Opus 18, No. 2 | String Quartet No. 2 in G Major | 1799–1800 |
| Opus 18, No. 3 | String Quartet No. 3 in D Major | 1799–1800 |
| Opus 18, No. 4 | String Quartet No. 4 in C Minor | 1799–1800 |
| Opus 18, No. 5 | String Quartet No. 5 in A Major | 1799–1800 |
| Opus 18, No. 6 | String Quartet No. 6 in B♭ Major | 1800 |
| Opus 19 | Piano Concerto No. 2 in B♭ Major | 1795–98 |
| Opus 20 | Septet in E♭ Major | 1799 |
| Opus 21 | Symphony No. 1 in C Major | 1800 |
| Opus 22 | Piano Sonata No. 11 in B♭ Major | 1800 |
| Opus 23 | Violin Sonata No. 4 in A Minor | 1800 |
| Opus 24 | Violin Sonata No. 5 in F Major “Spring” | 1800–01 |
| Opus 25 | Serenade for Flute, Violin, and Viola in D Major | 1801 |
| Opus 26 | Piano Sonata No. 12 “Funeral March” in A♭ Major | 1801 |
| Opus 27, No. 1 | Piano Sonata No. 13 in E♭ Major | 1801 |
| Opus 27, No. 2 | Piano Sonata No. 14 “Moonlight” in C♯ Minor | 1801 |
| Opus 28 | Piano Sonata No. 15 “Pastoral” in D Major | 1801 |
| Opus 29 | String Quintet in C Major | 1801 |
| Opus 30, No. 1 | Violin Sonata No. 6 in A Major | 1802 |
| Opus 30, No. 2 | Violin Sonata No. 7 in C Minor | 1802 |
| Opus 30, No. 3 | Violin Sonata No. 8 in G Major | 1802 |
| Opus 31, No. 1 | Piano Sonata No. 16 in G Major | 1802 |
| Opus 31, No. 2 | Piano Sonata No. 17 “Tempest” in D Minor | 1802 |
| Opus 31, No. 3 | Piano Sonata No. 18 “The Hunt” in E♭ Major | 1802 |
| Opus 32 | “An die Hoffnung” | 1805 |
| Opus 33 | Bagatelles for Piano | 1801–2 |
| Opus 34 | Variations on an Original Theme in F Major | 1802 |
| Opus 35 | Variations and Fugue on a Theme from “Prometheus” | 1802 |
| Opus 36 | Symphony No. 2 in D Major | 1801–02 |
| Opus 36 | Symphony No. 2 Transcribed for Piano Trio | 1805 |
| Opus 37 | Piano Concerto No. 3 in C Minor | 1800–03 |
| Opus 38 | Trio for Clarinet, Cello, and Piano in E♭ Major | 1802–03 |
| Opus 39 | Two Preludes for Piano or Organ | 1789? |
| Opus 40 | Romance No. 1 in G Major for Violin and Orchestra | c. 1801 |
| Opus 41 | Serenade for Flute and Piano in D Major | 1803 |
| Opus 42 | Notturno for Viola and Piano in D Major | 1803 |
| Opus 43 | The Creatures of Prometheus | 1801 |
| Opus 44 | Variations on “Ja, ich muss mich” from Dittersdorf’s “Das rote Käppchen” for Piano Trio | 1792 |
| Opus 45 | 3 Marches for Piano Four-Hands | 1803 |
| Opus 46 | “Adelaide” | 1794–95 |
| Opus 47 | Violin Sonata No. 9 “Kreutzer” in A Major | 1803 |
| Opus 48 | Gellert Lieder | 1801–02 |
| Opus 49, No. 1 | Piano Sonata No. 19 in G Minor | 1797 |
| Opus 49, No. 2 | Piano Sonata No. 20 in G Major | 1795–96 |
| Opus 50 | Romance in F Major for Violin and Orchestra | 1798 |
| Opus 51, No. 1 | Rondo in C for Piano | c. 1796–97 |
| Opus 51, No. 2 | Rondo in G for Piano | c. 1798 |
| Opus 52, No. 1 | “Urians Reise um die Welt” | before 1793 |
| Opus 52, No. 2 | “Feuerfarb’” | c. 1792, rev. 1803 |
| Opus 52, No. 3 | “Das Liedchen von der Ruhe” | c. 1793, rev. 1795 |
| Opus 52, No. 4 | “Maigesang” | c. 1795 |
| Opus 52, No. 5 | “Mollys Abschied” | c. 1795 |
| Opus 52, No. 6 | “Die Liebe” | c. 1790 |
| Opus 52, No. 7 | “Marmotte” | c. 1790–92 |
| Opus 52, No. 8 | “Das Blümchen Wunderhold” | c. 1795 |
| Opus 53 | Piano Sonata No. 21 “Waldstein” in C Major | 1803–04 |
| Opus 54 | Piano Sonata No. 22 in F Major | 1804 |
| Opus 55 | Symphony No. 3 “Eroica” in E♭ Major | 1803–04 |
| Opus 56 | Triple Concerto in C Major | 1804 |
| Opus 57 | Piano Sonata No. 23 “Appassionata” in F Minor | 1804–6 |
| Opus 58 | Piano Concerto No. 4 in G Major | 1806 |
| Opus 59, No. 1 | String Quartet No. 7 “Razumovsky” in F Major | 1806 |
| Opus 59, No. 2 | String Quartet No. 8 “Razumovsky” in E Minor | 1806 |
| Opus 59, No. 3 | String Quartet No. 9 “Razumovsky” in C Major | 1806 |
| Opus 60 | Symphony No. 4 in B♭ Major | 1806 |
| Opus 61 | Violin Concerto in D Major | 1806 |
| Opus 61a | Piano Concerto in D Major | 1807 |
| Opus 62 | Coriolan Overture | 1807 |
| Opus 63 | Piano Trio Arrangement of Opus 4 | 1806 |
| Opus 64 | Cello Sonata Arrangement of Opus 3 | 1807 |
| Opus 65 | “Ah! Perfido” for soprano and orchestra | 1796 |
| Opus 66 | Variations on “Ein Mädchen oder Weibchen” from Mozart’s “The Magic Flute” | 1796 |
| Opus 67 | Symphony No. 5 in C Minor | 1807–08 |
| Opus 68 | Symphony No. 6 “Pastoral” in F Major | 1808 |
| Opus 69 | Cello Sonata No. 3 in A Major | 1807–08 |
| Opus 70, No. 1 | Piano Trio No. 5 “Ghost” in D Major | 1808 |
| Opus 70, No. 2 | Piano Trio No. 6 in E♭ Major | 1808 |
| Opus 71 | Sextet in E♭ for 2 clarinets, 2 bassoons, and 2 horns | 1796? |
| Opus 72 | Fidelio | 1814 |
| Opus 72 | Fidelio Overture | 1814 |
| Opus 72 | Leonore 1805 | 1804–05 |
| Opus 72 | Leonore 1806 | rev. 1806 |
| Opus 72a | Leonore Overture No. 2 | 1805 |
| Opus 72b | Leonore Overture No. 3 | 1806 |
| Opus 73 | Piano Concerto No. 5 “Emperor” in E♭ Major | 1809 |
| Opus 74 | String Quartet No. 10 “Harp” in E♭ Major | 1809 |
| Opus 75, No. 1 | “Kennst du das Land” / “Mignon” | 1809 |
| Opus 75, No. 2 | “Neue Liebe, neues Leben” | 1809 |
| Opus 75, No. 3 | “Aus Goethes Faust” / “Flohlied” | 1809 |
| Opus 75, No. 4 | “Gretels Warnung” | 1809 |
| Opus 75, No. 5 | “An den fernen Geliebten” | 1809 |
| Opus 75, No. 6 | “Der Zufriedene” | 1809 |
| Opus 76 | 6 Variations for Piano in D Major | 1809 |
| Opus 77 | Fantasy for Piano in G Minor | 1809 |
| Opus 78 | Piano Sonata No. 24 “à Thérèse” in F♯ Major | 1809 |
| Opus 79 | Piano Sonata No. 25 in G Major | 1809 |
| Opus 80 | Choral Fantasy in C Major | 1808 |
| Opus 81a | Piano Sonata No. 26 “Les Adieux” in E♭ Major | 1809 |
| Opus 81a, mm 1 | Das Lebewohl for Piano | 1809 |
| Opus 81b | Sextet in E♭ Major for 2 Horns, 2 Violins, Viola, and Cello | 1795 |
| Opus 82, No. 1 | “Hoffnung” / “Dimmi, ben mio, che m’ami” | 1809 |
| Opus 82, No. 2 | “Liebes-Klage” / “T’intendo sì, mio cor” | 1809 |
| Opus 82, No. 3 | “L’amante impatiente” / “Stille Frage” – Arietta buffa | 1809 |
| Opus 82, No. 4 | “L’amante impatiente” / “Liebes-Ungeduld” – Arietta assai seriosa | 1809 |
| Opus 82, No. 5 | “Lebens-Genuss” / “Odi l’aura che dolce sospira” | 1809 |
| Opus 83, No. 1 | “Wonne der Wehmut” | 1810 |
| Opus 83, No. 2 | “Sehnsucht” | 1810 |
| Opus 83, No. 3 | “Mit einem gemalten Band” | 1810 |
| Opus 84 | Egmont Overture and Incidental Music | 1810 |
| Opus 85 | Christ on the Mount of Olives | 1803–04 |
| Opus 86 | Mass in C Major | 1807 |
| Opus 87 | Trio for Two Oboes and English Horn | 1795? |
| Opus 88 | “Lebensglück” | 1803 |
| Opus 88 | “Vita Felice” | 1803 |
| Opus 89 | Polonaise in C Major for Piano | 1814 |
| Opus 90 | Piano Sonata No. 27 in E Minor | 1814 |
| Opus 91 | Wellington’s Victory | 1813 |
| Opus 92 | Symphony No. 7 in A Major | 1812 |
| Opus 93 | Symphony No. 8 in F Major | 1812 |
| Opus 94 | “An die Hoffnung” | 1813–15 |
| Opus 95 | String Quartet No. 11 “Serioso” in F Minor | 1810 |
| Opus 96 | Violin Sonata No. 10 in G Major | 1812 |
| Opus 97 | Piano Trio No. 7 “Archduke” in B♭ Major | 1811 |
| Opus 98 | “An die ferne Geliebte” | 1816 |
| Opus 99 | “Der Mann von Wort” | 1816 |
| Opus 100 | “Merkenstein” for duet | 1814 |
| Opus 101 | Piano Sonata No. 28 in A Major | 1816 |
| Opus 102, No. 1 | Cello Sonata No. 4 in C Major | 1815 |
| Opus 102, No. 2 | Cello Sonata No. 5 in D Major | 1815 |
| Opus 103 | Wind Octet | 1792–93? |
| Opus 104 | String Quintet in C Minor Arrangement of Opus 1, No. 3 | 1817 |
| Opus 105 | 6 National Airs with Variations | 1818–19 |
| Opus 106 | Piano Sonata No. 29 “Hammerklavier” in B♭ Major | 1818 |
| Opus 107 | 10 National Airs with Variations | 1818–19 |
| Opus 108, No. 1 | Setting of “Music, Love and Wine” CFS XII/6 | 1817 |
| Opus 108, No. 2 | Setting of “Sunset” CFS XIII/2 | 1818 |
| Opus 108, No. 3 | Setting of “Oh Sweet were the Hours” CFS XII/2 | 1817 |
| Opus 108, No. 5 | Setting of “The Sweetest Lad was Jamie,” CFS VI/13 | 1814–15 |
| Opus 108, No. 6 | Setting of “Dim, dim is my eye.” CFS VI/11 | 1814–15 |
| Opus 108, No. 7 | Setting of “Bonny Laddie, Highland Laddie,” CFS VI/12 | 1814–15 |
| Opus 108, No. 8 | Setting of “The Lovely Lass of Inverness” CFS VIII/4 | 1816 |
| Opus 108, No. 9 | Setting of “Behold, my Love, how Green the Groves” CFS XII/9 | 1817 |
| Opus 108, No. 11 | Setting of “Oh! thou art the Lad of my Heart,” CFS VII/3 | 1815 |
| Opus 108, No. 13 | Setting of “Come fill, fill, my Good Fellow” CFS XII/5 | 1817 |
| Opus 108, No. 16 | Setting of “Could this Ill World have been contriv’d” CFS VIII/2 | 1816 |
| Opus 108, No. 17 | Setting of “O Mary, at thy Window be” CFS XII/3 | 1817 |
| Opus 108, No. 18 | Setting of “Enchantress, Farewell” CFS XIII/3 | 1818 |
| Opus 108, No. 19 | Setting of “O swiftly glides the Bonny Boat,” CFS VI/15 | 1814–15 |
| Opus 108, No. 20 | Setting of “Faithfu’ Johnie” CFS IV/4 | 1812–13 |
| Opus 108, No. 22 | Setting of “The Highland Watch” CFS X/7 | 1816–17 |
| Opus 108, No. 23 | Setting of “The Shepherd’s Song” CFS XIII/1 | 1818 |
| Opus 108, No. 24 | Setting of “Again, my Lyre, yet once again,” CFS VI/10 | 1814–15 |
| Opus 108, No. 25 | Setting of “Sally in our Alley” CFS X/3 | 1816–17 |
| Opus 109 | Piano Sonata No. 30 in E Major | 1820 |
| Opus 110 | Piano Sonata No. 31 in A♭ Major | 1821–2 |
| Opus 111 | Piano Sonata No. 32 in C Minor | 1822 |
| Opus 112 | Calm Sea and Prosperous Voyage | 1814–15 |
| Opus 113 | The Ruins of Athens | 1811 |
| Opus 114 | The Consecration of the House: March and Chorus | 1822 |
| Opus 115 | Namensfeier Overture in C Major | 1814–15 |
| Opus 116 | “Tremate, empi, tremate” for Soprano, Tenor, Bass and Orchestra | 1802 |
| Opus 117 | King Stephen | 1811 |
| Opus 118 | Elegischer Gesang for Voices and String Quartet | 1814 |
| Opus 119 | 11 Bagatelles for Piano | 1820–22 |
| Opus 120 | Diabelli Variations | 1823 |
| Opus 121a | Variations on “Ich bin der Schneider Kakadu” | c. 1816 |
| Opus 121b, v.1 | “Opferlied” for Voices and Chamber Orchestra | 1822 |
| Opus 121b, v.2 | “Opferlied” for Voices and Chamber Orchestra | 1824 |
| Opus 122 | “Bundeslied” for Voices and Chamber Orchestra | 1823–24 |
| Opus 123 | Missa Solemnis | 1822 |
| Opus 124 | The Consecration of the House: Overture | 1822 |
| Opus 125 | Symphony No. 9 in D Minor | 1824 |
| Opus 126 | 6 Bagatelles | 1824 |
| Opus 127 | String Quartet No. 12 in E♭ Major | 1824–25 |
| Opus 128 | “Der Kuss” | 1822 |
| Opus 129 | Rondo in G Major “Rage Over a Lost Penny” | 1795 |
| Opus 130, v. 1 | String Quartet No. 13 in B♭ Major | 1825 |
| Opus 130, v. 2 | String Quartet No. 13 in B♭ Major | 1826 |
| Opus 131 | String Quartet No. 14 in C♯ Minor | 1826 |
| Opus 132 | String Quartet No. 15 in A Minor | 1825 |
| Opus 133 | Grosse Fuge in B♭ Major | 1825 |
| Opus 134 | Grosse Fuge in B♭ Major for Piano Four-Hands | 1826 |
| Opus 135 | String Quartet No. 16 in F Major | 1826 |
| Opus 136 | Der glorreiche Augenblick | 1814 |
| Opus 137 | Fugue in D Major for String Quintet | 1817 |
| Opus 138 | Leonore Overture No. 1 | 1807 |
| Catalog | Composition | Date |
|---|---|---|
| WoO 1 | Music for a “Ritterballet” | 1790–91 |
| WoO 2a | Triumph March for *Tarpeja* | 1813 |
| WoO 3 | Gratulations-Menuett | 1822 |
| WoO 4 | Piano Concerto No. 0 | 1784 |
| WoO 5 | Violin Concerto Fragment | c. 1790–92 |
| WoO 6 | Rondo for Piano and Orchestra | 1793–94 |
| WoO 7 | 12 Minuets for Orchestra | 1795 |
| WoO 8 | 12 German Dances for Orchestra | 1795 |
| WoO 8 | 12 German Dances for Piano | 1795 |
| WoO 9 | 6 Minuets for Two Violins and Cello | c. 1795 |
| WoO 10 | 6 Minuets for Piano | 1795 |
| WoO 10, No. 2 | Minuet in G | 1795 |
| WoO 11 | 7 Ländler for Piano | 1799 |
| WoO 12 | 12 Minuets for Orchestra | 1799 |
| WoO 13 | 12 German Dances | c. 1792–97 |
| WoO 14 | 12 Contradances for Orchestra | c. 1791–1801 |
| WoO 15 | 6 Ländler for Two Violins and Bass | 1802 |
| WoO 16 | 12 Écossaises for Piano | c. 1806 |
| WoO 17 | 11 Mödling Dances | 1819? |
| WoO 18 | March in F Major for Military Band | 1809–10 |
| WoO 19 | March in F Major for Military Band | 1810 |
| WoO 20 | March in C Major for Military Band | c. 1810? |
| WoO 21 | Polonaise in D Major for Military Band | 1810 |
| WoO 22 | Ecossaise in D Major for Military Band | 1810 |
| WoO 23 | Ecossaise in G Major for Military Band | c. 1810 |
| WoO 24 | March in D Major for Military Band | 1816 |
| WoO 25 | Rondo in E♭ for Wind Octet | 1793? |
| WoO 26 | Duo for 2 Flutes | 1792 |
| WoO 27, No. 1 | Duo for Clarinet and Bassoon in C Major | 1792? |
| WoO 27, No. 2 | Duo for Clarinet and Bassoon in F Major | 1792? |
| WoO 27, No. 3 | Duo for Clarinet and Bassoon in B♭ | 1792? |
| WoO 28 | Variations on “Là ci darem la mano” for Two Oboes and English Horn | 1795? |
| WoO 29 | March in B♭ Major | 1797–98 |
| WoO 30 | 3 Equali for Four Trombones | 1812 |
| WoO 31 | Fugue in D for Organ | 1783 |
| WoO 32 | Duet for Two Obbligato Eyeglasses | 1796–97 |
| WoO 33 | 5 Pieces for a Flute Clock | 1799 |
| WoO 34 | Duet for Two Violins | 1822 |
| WoO 35 | Canon in A Major for Two Instruments | 1825 |
| WoO 36, No. 1 | Piano Quartet in E♭ Major | 1785 |
| WoO 36, No. 2 | Piano Quartet in D Major | 1785 |
| WoO 36, No. 3 | Piano Quartet in C Major | 1785 |
| WoO 37 | Trio in G for Piano, Flute & Bassoon | 1786? |
| WoO 38 | Piano Trio in E♭ Major | 1791? |
| WoO 39 | Allegretto for Piano Trio in B♭ Major | 1812 |
| WoO 40 | Variations on “Se vuol ballare" for Violin and Piano | 1792–93 |
| WoO 41 | Rondo in G for Violin and Piano | 1793–94 |
| WoO 42 | 6 German Dances for Violin and Piano | 1796 |
| WoO 43a | Sonatina in C Minor for Mandolin and Harpsichord | 1796 |
| WoO 43b | Adagio in E♭ for Mandolin and Harpsichord | 1796 |
| WoO 44a | Sonatina in C Major for Mandolin and Harpsichord | 1796 |
| WoO 44b | Andante with Variations in D Major for Mandolin and Harpsichord | 1796 |
| WoO 45 | Variations on “See the Conqu’ring Hero” from Handel’s “Judas Maccabaeus” | 1796 |
| WoO 46 | Variations on Mozart’s “Bei Männern” for Cello and Piano | 1801 |
| WoO 47, No. 1 | Piano Sonata in E♭ Major | 1783 |
| WoO 47, No. 2 | Piano Sonata in F Minor | 1783 |
| WoO 47, No. 3 | Piano Sonata in D Major | 1783 |
| WoO 48 | Rondo in C Major | 1783 |
| WoO 49 | Rondo in A Major | 1783 |
| WoO 50 | Sonatina for Piano in F Major | 1792? |
| WoO 51 | Two Movements for Orphica | 1797? |
| WoO 52 | Presto in C Minor for Piano | c. 1795 |
| WoO 53 | Allegretto in C Minor | 1796–97 |
| WoO 54 | Bagatelle “Lustig-Traurig” | 1802? |
| WoO 55 | Prelude for Piano in F Minor | 1786–87? |
| WoO 56 | Allegretto in C Major | 1803 |
| WoO 57 | Andante Favori in F Major | 1803 |
| WoO 58 | Cadenzas for Mozart’s Piano Concerto No. 20 in D Minor, K. 466 | c. 1809 |
| WoO 59 | Bagatelle “Für Elise” in A Minor | 1810? |
| WoO 60 | Bagatelle in B♭ Major | 1818 |
| WoO 61 | Allegretto in B Minor | 1821 |
| WoO 61a | Allegretto quasi andante in G Minor | 1825 |
| WoO 62 | String Quintet in C Major arr. for Piano | 1826–7 |
| WoO 63 | Variations on a March by Dressler | 1782 |
| WoO 64 | Variations on a Swiss Air for Harp or Piano | 1792? |
| WoO 65 | Variations on “Venni amore” by Righini | 1790–91 |
| WoO 66 | Variations on “Es war einmal” from Dittersdorf’s “Das rote Käppchen” | 1792 |
| WoO 67 | Variations on a Theme by Count Waldstein for Piano Four Hands | 1792? |
| WoO 68 | Variations on “Menuett à la Viganò” from Haibel’s “Le nozze disturbate” | 1795 |
| WoO 69 | Variations on “Quant’ è più bello” from Paisiello’s “La molinara” | 1795 |
| WoO 70 | Variations on “Nel cor più non mi sento” from Paisiello’s “La molinara” | 1795 |
| WoO 71 | Variations on a Russian Dance from Wranitzky’s “Das Waldmädchen” | 1796–97 |
| WoO 72 | Variations on “Une frèvre brûlante” from Grétry’s “Richard Coeur de Lion” | 1795 |
| WoO 73 | Variations on “La stessa, la stessissima” from Salieri’s “Falstaff” | 1799 |
| WoO 74 | “Ich denke dein” with Variations for Four Hands | 1799 |
| WoO 75 | Variations on “Kind, willst du ruhig schlafen” from Winter’s “Das unterbrochene Opferfest” | 1799 |
| WoO 76 | Variations on “Tändeln und Scherzen” from Süssmayr’s “Soliman II” | 1799 |
| WoO 77 | Variations for Piano in G Major | 1800 |
| WoO 78 | Variations on “God Save the King” | 1803 |
| WoO 79 | Variations on “Rule Britannia” | 1803 |
| WoO 80 | 32 Variations on an Original Theme | 1806 |
| WoO 81 | Allemande in A for Piano | 1793 |
| WoO 82 | Minuet in E♭ Major | 1785? |
| WoO 83 | 6 Écossaises for Piano | c. 1806 |
| WoO 84 | Waltz in E♭ Major for Piano | 1824 |
| WoO 85 | Waltz in D Major for Piano | 1825 |
| WoO 86 | Écossaise in E♭ Major for Piano | 1825 |
| WoO 87 | Cantata on the Death of Joseph II | 1790 |
| WoO 88 | Cantata on the Accession of Leopold II | 1790 |
| WoO 89 | “Prüfung des Küssens” | 1790–92 |
| WoO 90 | “Mit Mädeln sich vertragen” | 1790–92 |
| WoO 91, No. 1 | “O welch’ ein Leben!” | c. 1795 |
| WoO 91, No. 2 | “Soll ein Schuh nicht drücken” | c. 1795 |
| WoO 92 | “Primo Amore” for Soprano and Orchestra | 1790–92 |
| WoO 92a | “No, non turbarti” for Soprano and Strings | 1802 |
| WoO 93 | “Nei giorni tuoi felici” for Soprano, Tenor, and Orchestra | 1802 |
| WoO 94 | Germania Chorus from “Die gute Nachricht” | 1814 |
| WoO 95 | Chorus for the Allied Princes | 1814 |
| WoO 96 | Leonore Prohaska Incidental Music | 1815 |
| WoO 97 | Es ist Vollbracht Chorus from “Die Ehrenpforten” | 1815 |
| WoO 98 | The Consecration of the House: “Wo sich die Pulse” | 1822 |
| WoO 99 | Italian Part-Songs | c. 1801–1802 |
| WoO 100 | “Lob auf den Dicken” for Three Voices & Chorus | 1801 |
| WoO 101 | “Graf, Graf, liebster Graf” for Unaccompanied Voices | 1802 |
| WoO 102 | “Abschiedsgesang” for Two Tenors and Bass | 1814 |
| WoO 103 | Cantata “Un lieto brindisi” for four voices and piano | 1814 |
| WoO 104 | Song of the Monks | 1817 |
| WoO 105 | Wedding Song | 1819 |
| WoO 106 | Birthday Cantata for Prince Lobkowitz | 1823 |
| WoO 107 | “Schilderung eines Mädchens” | 1783 |
| WoO 108 | “An einen Säugling” | 1784 |
| WoO 109 | “Erhebt das Glas mit froher Hand” | 1790? |
| WoO 110 | “Elegie auf den Tod eines Pudels” | 1792? |
| WoO 111 | “Punschlied” | 1790–92? |
| WoO 112 | “An Laura” | 1792? |
| WoO 113 | “Klage” | 1790? |
| WoO 114 | “Selbstgespräch” | 1792? |
| WoO 115 | “An Minna” | 1792? |
| WoO 116 | “Que le temps me dure” | 1793 |
| WoO 117 | “Der freie Mann” | 1792–94 |
| WoO 118 | “Seufzer eines Ungeliebten” / “Gegenliebe” | 1794–95 |
| WoO 119 | “O care selve” | 1794 |
| WoO 120 | “Man Strebt, die Flamme zu Verhehlen” | 1800 |
| WoO 121 | “Abschiedsgesang an Wiens Bürger” | 1796 |
| WoO 122 | “Kriegslied der Öesterreicher” | 1797 |
| WoO 123 | “Ich liebe Dich” | c. 1795 |
| WoO 124 | “La Partenza” | c. 1795–96 |
| WoO 125 | “La Tiranna” | 1798 |
| WoO 126 | “Opferlied” | 1798 |
| WoO 127 | “Neue Liebe, Neues Leben” | 1798–99 |
| WoO 128 | “Romance” / “Plaisir d’aimer” | 1798–99 |
| WoO 129 | “Der Wachtelschlag” | 1803 |
| WoO 130 | “Gedenke mein!” | 1820 |
| WoO 131 | “Erlkönig” | 1796 |
| WoO 132 | “Als die Geliebte sich Trennen Wollte” | 1806 |
| WoO 133 | “In Questa Tomba Oscura” | 1807 |
| WoO 134 | “Sehnsucht” | 1807–08 |
| WoO 135 | “Die laute Klage” | c. 1815? |
| WoO 136 | “Andenken” | 1805 |
| WoO 137 | “Lied aus der Ferne” | 1809 |
| WoO 138 | “Der Jüngling in der Fremde” | 1809 |
| WoO 139 | “Der Liebende” | 1809 |
| WoO 140, v. 1 | “An die Geliebte” | 1811 |
| WoO 140, v. 2 | “An die Geliebte” | 1811 |
| WoO 140, v. 3 | “An die Geliebte” | 1814 |
| WoO 141 | “Der Gesang der Nachtigall” | 1813 |
| WoO 142 | “Der Bardengeist” | 1813 |
| WoO 143 | “Des Kriegers Abscheid” | 1814 |
| WoO 144 | “Merkenstein” | 1814 |
| WoO 145 | “Das Geheimnis” | 1815 |
| WoO 146 | “Sehnsucht” | 1816 |
| WoO 147 | “Ruf vom Berge” | 1816 |
| WoO 148 | “So oder so” | 1817 |
| WoO 149 | “Resignation” | 1817 |
| WoO 150 | “Abendlied unterm gestirnten Himmel” | 1820 |
| WoO 151 | Canon “Der edle Mensch” | 1823 |
| WoO 152, No. 1 | Setting of “The Return to Ulster” CFS II/8 | 1810 |
| WoO 152, No. 2 | Setting of “Sweet Power of Song” CFS I/39 | 1809–10 |
| WoO 152, No. 3 | Setting of “Once more I hail thee” CFS I/35 | 1809–10 |
| WoO 152, No. 4 | Setting of “The Morning Air plays on my Face” CFS I/38 | 1809–10 |
| WoO 152, No. 5 | Setting of “On the Massacre of Glencoe” CFS I/28 | 1809–10 |
| WoO 152, No. 8 | Setting of “Come draw we Round a Cheerful Ring” CFS II/7 | 1810 |
| WoO 152, No. 9 | Setting of “The Soldier’s Dream” CFS I/31 | 1809–10 |
| WoO 152, No. 11 | Setting of “Thou Emblem of Faith” CFS III/2 | 1811–12 |
| WoO 152, No. 12 | Setting of “English Bulls; or, The Irishman in London” CFS I/36 | 1809–10 |
| WoO 152, No. 13 | Setting of “Musing on the Roaring Ocean” CFS III/3 | 1811–12 |
| WoO 152, No. 14 | Setting of “Dermot and Shelah” CFS I/29 | 1809–10 |
| WoO 152, No. 15 | Setting of “Let Brain-spinning Swains” CFS II/10 | 1810 |
| WoO 152, No. 17 | Setting of “In Vain to this Desart” CFS I/27 | 1809–10 |
| WoO 152, No. 18 | Setting of “They bid me Slight my Dermot Dear” CFS I/32 | 1809–10 |
| WoO 152, No. 19 | Setting of “Wife, Children and Friends” CFS III/9 | 1811–12 |
| WoO 152, No. 20 | Setting of “Farewell Bliss and Farewell Nancy” CFS II/6 | 1810 |
| WoO 152, No. 21 | Setting of “Morning a Cruel Turmoiler is” CFS III/6 | 1811–12 |
| WoO 152, No. 22 | Setting of “From Garyone, my Happy Home” CFS III/7 | 1811–12 |
| WoO 152, No. 23 | Setting of “The Wand'ring Gypsy” CFS II/3 | 1810 |
| WoO 152, No. 25 | Setting of “Oh Harp of Erin” CFS III/4 | 1811–12 |
| WoO 153, No. 4 | Setting of “Since Greybeards inform us that Youth will decay” CFS I/40 | 1809–10 |
| WoO 153, No. 7 | Setting of “O soothe me, my Lyre” CFS V/15 | 1812–13 |
| WoO 153, No. 9 | Setting of “The Kiss, Dear Maid, thy Lip has left” CFS V/5 | 1812–13 |
| WoO 153, No. 14 | Setting of “Paddy O’Rafferty, Merry and Vigorous” CFS I/42 | 1809–10 |
| WoO 153, No. 16 | Setting of “O might I but my Patrick love” CFS V/3 | 1812–13 |
| WoO 153, No. 20 | Setting of “Thy Ship must sail, my Henry Dear” CFS V/2 | 1812–13 |
| WoO 154, No. 1 | Setting of “The Elfin Fairies” CFS V/10 | 1812–13 |
| WoO 154, No. 3 | Setting of “The Farewell Song” CFS V/11 | 1812–13 |
| WoO 154, No. 4 | Setting of “The Pulse of an Irishman” CFS V/12 | 1812–13 |
| WoO 154, No. 5 | Setting of “Oh! who, my Dear Dermot” CFS V/14 | 1812–13 |
| WoO 154, No. 7 | Setting of “From Garyone, my Happy Home” CFS IV/8 | 1812–13 |
| WoO 154, No. 9 | Setting of “Oh! would I were but that Sweet Linnet” CFS IV/9 | 1812–13 |
| WoO 154, No. 11 | Setting of “The Soldier in a Foreign Land” CFS V/8 | 1812–13 |
| WoO 154, No. 12 | Setting of “He promis’d me at Parting” CFS V/7 | 1812–13 |
| WoO 155, No. 1 | Setting of “Sion, the son of Evan” CFS I/23 | 1809–10 |
| WoO 155, No. 8 | Setting of “Farewell, thou Noisy Town,” CFS I/11 | 1809–10 |
| WoO 155, No. 9 | Setting of “To the Aeolian Harp” CFS I/22 | 1809–10 |
| WoO 155, No. 14 | Setting of “The Dream,” CFS I/6 | 1809–10 |
| WoO 155, No. 15 | Setting of “When Mortals all to Rest retire” CFS V/21 | 1813 |
| WoO 155, No. 17 | Setting of “The Dairy House,” CFS I/8 | 1809–10 |
| WoO 155, No. 19 | Setting of “The Vale of Clwyd,” CFS I/18 | 1809–10 |
| WoO 155, No. 21 | Setting of “Cupid’s Kindness” CFS I/20 | 1809–10 |
| WoO 155, No. 22 | Setting of “Constancy,” CFS I/16 | 1809–10 |
| WoO 155, No. 25 | Setting of “The Parting Kiss,” CFS VI/8 | 1814–15 |
| WoO 156, No. 8 | Setting of “Womankind” CFS XIV/3 | 1818 |
| WoO 156, No. 9 | Setting of “Lochnagar” CFS XIV/1 | 1818 |
| WoO 156, No. 11 | Setting of “Auld Lang Syne” CFS XIV/4 | 1818 |
| WoO 157, No. 4 | Setting of “O sanctissima” CFS XII/11 | 1817 |
| WoO 157, No. 10 | Setting of “Sir Johnie Cope” CFS XII/10 | 1817 |
| WoO 158a, No 17 | Setting of “Vaggvisa” CFS XI/1 | 1816–17 |
| WoO 158a, No. 2 | Setting of “Horch auf, mein Liebchen” CFS IX/11 | 1816 |
| WoO 158a, No. 7 | Setting of “Wer solche Buema afipackt” CFS XI/2 | 1816–17 |
| WoO 158a, No. 11 | Setting of “Yo no queiero embarcarme” CVS IX/9 | 1816 |
| WoO 158a, No. 12 | Setting of “Seus lindos alhos” CFS IX/10 | 1816 |
| WoO 158a, No. 14 | Setting of “Akh, rečen’ki, rečen’ki” CFS IX/2 | 1816 |
| WoO 158a, No. 16 | Setting of “Schöne Minka, ich muss scheiden” CFS VIII/6 | 1816 |
| WoO 158a, No. 19 | Setting of “Una paloma blanca” CFS IX/5 | 1816 |
| WoO 158a, No. 21 | Setting of “Tiranilla Española” CFS IX/7 | 1816 |
| WoO 158b, No. 6 | Setting of “O Mary ye’s be Clad in Silk,” CFS VI/7 | 1814–15 |
| WoO 159 | Canon “Im Arm der Liebe ruht sich’s wohl” | 1795 |
| WoO 160, No. 1 | Canon for 3 voices | 1795 |
| WoO 160, No. 2 | Canon in 4 voices | 1795 |
| WoO 161 | Canon “Ewig dein” | 1811 |
| WoO 162 | Canon “Ta ta ta” / “An Mälzel” | attr. 1812 |
| WoO 163 | Canon “Kurz ist der Schmerz” | 1813 |
| WoO 164 | Canon “Freundschaft ist die Quelle” | 1814 |
| WoO 165 | Canon “Glück zum neuen Jahr” | 1815 |
| WoO 166 | Canon “Kurz ist der Schmerz” | 1815 |
| WoO 167 | Canon “Brauchle, Linke” | c. 1815 |
| WoO 168 | Canon “Das Schweigen” and “Das Reden” | 1816 |
| WoO 169 | Canon “Ich küsse sie” | 1816 |
| WoO 170 | Canon “Ars longa, vita brevis” | 1816 |
| WoO 171 | Canon “Glück fehl’ dir” | 1817 |
| WoO 172 | Canon “Ich bitt’ dich” | c. 1818 |
| WoO 173 | Canon “Hol’ euch der Teufel” | 1819 |
| WoO 174 | Canon “Glaube und Hoffe” | 1819 |
| WoO 175 | Canon “Sankt Petrus” | 1820 |
| WoO 176 | Canon “Glück zum neuen Jahr” | 1819 |
| WoO 177 | Canon “Bester Magistrat” | c. 1820 |
| WoO 178 | Canon “Signor Abate!” | c. 1820? |
| WoO 179 | Canon “Seiner kaiserlichen Hoheit” | 1819 |
| WoO 180 | Canon “Hoffmann, sei ja ein Hofmann” | 1820 |
| WoO 181, No. 1 | Canon “Gedenket heute an Baden” | 1822 |
| WoO 181, No. 2 | Canon “Gehabt euch wohl” | 1822 |
| WoO 181, No. 3 | Canon “Tugend is kein leerer Name” | 1822 |
| WoO 182 | Canon “O Tobias” | 1821 |
| WoO 183 | Canon “Bester Herr Graf” | 1823 |
| WoO 184 | Canon “Falstafferel, lass’ dich sehen” | 1823 |
| WoO 185 | Canon “Edel sei der Mensch” | 1823 |
| WoO 186 | Canon “Te solo adoro” | 1824 |
| WoO 187 | Canon “Schwenke dich” | 1824 |
| WoO 188 | Canon “Gott ist eine feste Burg” | 1825 |
| WoO 189 | Canon “Doktor sperrt das Tor” | 1825 |
| WoO 190 | Canon “Ich war hier, Doktor” | 1825 |
| WoO 191 | Canon “Kühl, nicht lau” | 1825 |
| WoO 192 | Canon “Ars longa, vita brevis” | 1825 |
| WoO 193 | Canon “Ars longa, vita brevis” | c. 1825? |
| WoO 194 | Canon “Si non per portas” | 1825 |
| WoO 195 | Canon “Freu’ dich des Lebens” | 1825 |
| WoO 196 | Canon “Es muss sein” | 1826 |
| WoO 197 | Canon “Da ist das Werk” | 1826 |
| WoO 198 | Canon “Wir irren allesamt” | 1826 |
| WoO 199 | Canon “Ich bin der Herr von zu, Du bist der Herr von von” | 1814 |
| WoO 199 | Musical joke “Ich bin der Herr von zu, Du bist der Herr von von” | 1814 |
| WoO 200 | “O Hoffnung” theme for Archduke Rudolph | 1818 |
| WoO 201 | Canon “Ich bin bereit” | 1818 |
| WoO 202 | Canon “Das Schöne zum Guten” | 1823 |
| WoO 203 | Canon “Das Schöne zu dem Guten” | 1825 |
| WoO 204 | Canon “Holz geigt die Quartette so” | 1825 |
| WoO 221 | Canon “Herr Graf, ich komme zu fragen” | 1797? |
| WoO 227 | Canon “Esel aller Esel” | 1826 |
| Catalog | Composition | Date |
|---|---|---|
| Hess 30 | Prelude and Fugue in F Major | 1794–95 |
| Hess 31 | Prelude and Fugue in C Major | 1794–95 |
| Hess 34 | String Quartet in F Major | 1801–2 |
| Hess 40 | Prelude and Fragment of Fugue in D Minor for String Quintet | 1817 |
| Hess 115 | Vestas Feuer, Scene 1 | 1803 |
| Hess 118 | The Consecration of the House | 1822 |
| Hess 297 | Adagio for in A♭ Major for 3 Horns | 1815 |
| Catalog | Composition | Date |
|---|---|---|
| CFS I/6 | Setting of “The Dream,” (WoO 155, No. 14) | 1809–10 |
| CFS I/8 | Setting of “The Dairy House,” (WoO 155, No. 17) | 1809–10 |
| CFS I/11 | Setting of “Farewell, thou Noisy Town,” (WoO 155, No. 8) | 1809–10 |
| CFS I/16 | Setting of “Constancy,” (WoO 155, No. 22) | 1809–10 |
| CFS I/18 | Setting of “The Vale of Clwyd,” (WoO 155, No. 19) | 1809–10 |
| CFS I/20 | Setting of “Cupid’s Kindness” (WoO 155, No. 21) | 1809–10 |
| CFS I/22 | Setting of “To the Aeolian Harp” (WoO 155, No. 9) | 1809–10 |
| CFS I/23 | Setting of “Sion, the son of Evan” (WoO 155, No. 1) | 1809–10 |
| CFS I/27 | Setting of “In Vain to this Desart” (WoO 152, No. 17) | 1809–10 |
| CFS I/28 | Setting of “On the Massacre of Glencoe” (WoO 152, No. 5) | 1809–10 |
| CFS I/29 | Setting of “Dermot and Shelah” (WoO 152, No. 14) | 1809–10 |
| CFS I/31 | Setting of “The Soldier’s Dream” (WoO 152, No. 9) | 1809–10 |
| CFS I/32 | Setting of “They bid me Slight my Dermot Dear” (WoO 152, No. 18) | 1809–10 |
| CFS I/35 | Setting of “Once more I hail thee” (WoO 152, No. 3) | 1809–10 |
| CFS I/36 | Setting of “English Bulls; or, The Irishman in London” (WoO 152, No. 12) | 1809–10 |
| CFS I/38 | Setting of “The Morning Air plays on my Face” (WoO 152, No. 4) | 1809–10 |
| CFS I/39 | Setting of “Sweet Power of Song” (WoO 152, No. 2) | 1809–10 |
| CFS I/40 | Setting of “Since Greybeards inform us that Youth will decay” (WoO 153, No. 4) | 1809–10 |
| CFS I/42 | Setting of “Paddy O’Rafferty, Merry and Vigorous” (WoO 153, No. 14) | 1809–10 |
| CFS II/3 | Setting of “The Wand'ring Gypsy” (WoO 152, No. 23) | 1810 |
| CFS II/6 | Setting of “Farewell Bliss and Farewell Nancy” (WoO 152, No. 20) | 1810 |
| CFS II/7 | Setting of “Come draw we Round a Cheerful Ring” (WoO 152, No. 8) | 1810 |
| CFS II/8 | Setting of “The Return to Ulster” (WoO 152, No. 1) | 1810 |
| CFS II/10 | Setting of “Let Brain-spinning Swains” (WoO 152, No. 15) | 1810 |
| CFS III/2 | Setting of “Thou Emblem of Faith” (WoO 152, No. 11) | 1811–12 |
| CFS III/3 | Setting of “Musing on the Roaring Ocean” (WoO 152, No. 13) | 1811–12 |
| CFS III/4 | Setting of “Oh Harp of Erin” (WoO 152, No. 25) | 1811–12 |
| CFS III/6 | Setting of “Morning a Cruel Turmoiler is” (WoO 152, No. 21) | 1811–12 |
| CFS III/7 | Setting of “From Garyone, my Happy Home” (WoO 152, No. 22) | 1811–12 |
| CFS III/9 | Setting of “Wife, Children and Friends” (WoO 152, No. 19) | 1811–12 |
| CFS IV/4 | Setting of “Faithfu’ Johnie” (Opus 108, No. 20) | 1812–13 |
| CFS IV/8 | Setting of “From Garyone, my Happy Home” (WoO 154, No. 7) | 1812–13 |
| CFS IV/9 | Setting of “Oh! would I were but that Sweet Linnet” (WoO 154, No. 9) | 1812–13 |
| CFS V/2 | Setting of “Thy Ship must sail, my Henry Dear” (WoO 153, No. 20) | 1812–13 |
| CFS V/3 | Setting of “O might I but my Patrick love” (WoO 153, No. 16) | 1812–13 |
| CFS V/5 | Setting of “The Kiss, Dear Maid, thy Lip has left” (WoO 153, No. 9) | 1812–13 |
| CFS V/7 | Setting of “He promis’d me at Parting” (WoO 154, No. 12) | 1812–13 |
| CFS V/8 | Setting of “The Soldier in a Foreign Land” (WoO 154, No. 11) | 1812–13 |
| CFS V/10 | Setting of “The Elfin Fairies” (WoO 154, No. 1) | 1812–13 |
| CFS V/11 | Setting of “The Farewell Song” (WoO 154, No. 3) | 1812–13 |
| CFS V/12 | Setting of “The Pulse of an Irishman” (WoO 154, No. 4) | 1812–13 |
| CFS V/14 | Setting of “Oh! who, my Dear Dermot” (WoO 154, No. 5) | 1812–13 |
| CFS V/15 | Setting of “O soothe me, my Lyre” (WoO 153, No. 7) | 1812–13 |
| CFS V/21 | Setting of “When Mortals all to Rest retire” (WoO 155, No. 15) | 1813 |
| CFS VI/7 | Setting of “O Mary ye’s be Clad in Silk,” (WoO 158b, No. 6) | 1814–15 |
| CFS VI/8 | Setting of “The Parting Kiss,” (WoO 155, No. 25) | 1814–15 |
| CFS VI/10 | Setting of “Again, my Lyre, yet once again,” (Opus 108, No. 24) | 1814–15 |
| CFS VI/11 | Setting of “Dim, dim is my eye.” (Opus 108, No. 6) | 1814–15 |
| CFS VI/12 | Setting of “Bonny Laddie, Highland Laddie,” (Opus 108, No. 7) | 1814–15 |
| CFS VI/13 | Setting of “The Sweetest Lad was Jamie,” (Opus 108, No. 5) | 1814–15 |
| CFS VI/15 | Setting of “O swiftly glides the Bonny Boat,” (Opus 108, No. 19) | 1814–15 |
| CFS VII/3 | Setting of “Oh! thou art the Lad of my Heart,” (Opus 108, No. 11) | 1815 |
| CFS VIII/2 | Setting of “Could this Ill World have been contriv’d” (Opus 108, No. 16) | 1816 |
| CFS VIII/4 | Setting of “The Lovely Lass of Inverness” (Opus 108, No. 8) | 1816 |
| CFS VIII/6 | Setting of “Schöne Minka, ich muss scheiden” (WoO 158a, No. 16) | 1816 |
| CFS IX/2 | Setting of “Akh, rečen’ki, rečen’ki” (WoO 158a, No. 14) | 1816 |
| CFS IX/5 | Setting of “Una paloma blanca” (WoO 158a, No. 19) | 1816 |
| CFS IX/7 | Setting of “Tiranilla Española” (WoO 158a, No. 21) | 1816 |
| CFS IX/10 | Setting of “Seus lindos alhos” (WoO 158a, No. 12) | 1816 |
| CFS IX/11 | Setting of “Horch auf, mein Liebchen” (WoO 158a, No. 2) | 1816 |
| CFS X/3 | Setting of “Sally in our Alley” (Opus 108, No. 25) | 1816–17 |
| CFS X/7 | Setting of “The Highland Watch” (Opus 108, No. 22) | 1816–17 |
| CFS XI/1 | Setting of “Vaggvisa” (WoO 158a, No 17) | 1816–17 |
| CFS XI/2 | Setting of “Wer solche Buema afipackt” (WoO 158a, No. 7) | 1816–17 |
| CFS XII/2 | Setting of “Oh Sweet were the Hours” (Opus 108, No. 3) | 1817 |
| CFS XII/3 | Setting of “O Mary, at thy Window be” (Opus 108, No. 17) | 1817 |
| CFS XII/5 | Setting of “Come fill, fill, my Good Fellow” (Opus 108, No. 13) | 1817 |
| CFS XII/6 | Setting of “Music, Love and Wine” (Opus 108, No. 1) | 1817 |
| CFS XII/9 | Setting of “Behold, my Love, how Green the Groves” (Opus 108, No. 9) | 1817 |
| CFS XII/10 | Setting of “Sir Johnie Cope” (WoO 157, No. 10) | 1817 |
| CFS XII/11 | Setting of “O sanctissima” (WoO 157, No. 4) | 1817 |
| CFS XIII/1 | Setting of “The Shepherd’s Song” (Opus 108, No. 23) | 1818 |
| CFS XIII/2 | Setting of “Sunset” (Opus 108, No. 2) | 1818 |
| CFS XIII/3 | Setting of “Enchantress, Farewell” (Opus 108, No. 18) | 1818 |
| CFS XIV/1 | Setting of “Lochnagar” (WoO 156, No. 9) | 1818 |
| CFS XIV/3 | Setting of “Womankind” (WoO 156, No. 8) | 1818 |
| CFS XIV/4 | Setting of “Auld Lang Syne” (WoO 156, No. 11) | 1818 |