We’ll look at Beethoven’s Triple Concerto for violin, cello and piano soloists and orchestra), Op. 56.

We’ll look at Beethoven’s great “Eroica” Symphony, No. 3 in E-flat Major, Op. 55.

We’ll look at the famous Waldstein Sonata in C Major, Op. 53, and the Sonata No. 22 in F Major, Op. 54.

We’ll look at some of Beethoven’s early lieder (art songs) including the collection from Op. 52, the Gellert Lieder of Op. 48, and the song “Adelaide.”

In the two Romances for Violin and Orchestra, Op. 40 in G Major and Op. 50 in F Major, we encounter not the innovative Beethoven, but rather the creator of graceful and attractive works designed to please performer and audience alike.

We’ll focus on Beethoven’s “Kreutzer” Sonata for Violin and Piano, with a little bit of the backstory concerning two well-known violinists of the day—George Augustus Bridgetower and Rodolphe Kreutzer, along with one great 19th century Russian author—Leo Tolstoy.

We’ll look at Beethoven’s Piano Concerto No. 3, Op. 37.

We’ll look at Beethoven’s only oratorio, “Christ on the Mount of Olives.”

We’ll talk about Beethoven’s Symphony No. 2 in D Major, Op. 36.

We’ll focus on Beethoven’s “Eroica” or “Prometheus” Variations, Op. 35, but also take a quick look at three of the bagatelles from Op. 33.