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| Illustrations | |
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| Preface | |
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| Prologue. Youth, Maturity, Old Age: Three Letters | |
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| 1787: The Death of Beethoven's Mother | |
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| 1812: Letter to a Child | |
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| 1826: The Old Child | |
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| Life and Works | |
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| The Early Years 1770-1792 | |
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| Beginnings | |
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| Bonn as a Musical Center | |
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| Bach from the Hands of Neefe | |
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| Kant, Schiller, and the Enlightenment | |
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| Max Franz and the Mozart Legacy | |
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| Family, Friends, and Patrons | |
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| To Vienna in Search of Mozart | |
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| The Last Years in Bonn | |
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| Waldstein's Prophecy | |
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| Music of the Bonn Years | |
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| Early Keyboard Music | |
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| "This passage has been stolen from Mozart" | |
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| Composing and Sketching | |
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| Cantatas for Two Emperors | |
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| The First Maturity 1792-1802 | |
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| The First Years in Vienna | |
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| The Political Atmosphere | |
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| Vienna as a Musical Center | |
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| Confronting the Viennese Aristocracy | |
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| Haydn | |
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| Playing for an Elector and a King | |
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| Entering the Publishing World | |
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| Music of the First Vienna Years | |
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| Revising Earlier Works | |
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| Chamber Music and Piano Sonatas | |
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| Years of Crisis | |
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| Deafness | |
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| The Heiligenstadt Testament | |
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| Music for and with Piano | |
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| The "New Way" and the Early Sketchbooks | |
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| A Laboratory of Invention: More Piano Sonatas | |
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| From Convention to Originality: Piano Variations | |
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| New Violin Sonatas | |
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| The Earlier Piano Concertos | |
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| Music for Orchestra and the First Quartets | |
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| The First Symphony and the Prometheus Ballet | |
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| The French Dimension and Military Music | |
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| The Second Symphony | |
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| Opus 18: "I have now learned how to write string quartets" | |
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| The First Maturity: An Overview | |
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| The Second Maturity 1802-1812 | |
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| Beethoven in the New Age | |
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| Napoleon and Self-Made Greatness | |
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| Beethoven and His Milieu | |
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| Relations with Women | |
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| New Symphonic Ideals | |
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| The Heroic and the Beautiful | |
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| The Third Symphony (Eroica) | |
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| The Fourth Symphony | |
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| The Fifth and Sixth ("Pastoral") Symphonies | |
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| The Seventh and Eighth Symphonies | |
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| The Mature Concertos | |
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| The New Symphonie concertante: The Triple Concerto | |
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| The Fourth Piano Concerto | |
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| The Violin Concerto | |
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| The "Emperor" Concerto | |
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| Music for the Stage | |
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| The Opera Leonore and Its Overtures | |
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| The Coriolanus Overture | |
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| Incidental Music for Goethe's Egmont | |
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| Vocal Music | |
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| Oratorio and Mass | |
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| The Songs | |
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| Beethoven at the Keyboard | |
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| Improvising and Composing at the Piano | |
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| Pianos | |
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| The "Waldstein" and "Appassionata" Sonatas | |
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| Piano Sonatas Opp. 79-81a | |
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| Lyrical and Monumental Chamber Music | |
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| String Quartets | |
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| The "Razumovsky" Quartets | |
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| The "Harp" Quartet and the "Quartetto Serioso" | |
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| The Final Maturity 1813-1827 | |
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| The "Fallow" Years | |
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| The Congress of Vienna | |
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| Lighter Works | |
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| Celebrating Wellington's Victory | |
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| Fidelio | |
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| New Sonatas | |
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| An die ferne Geliebte | |
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| Emergence of the Late Style | |
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| Beethoven's Inner and Outer Worlds | |
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| Isolation and Deafness | |
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| The Guardianship Struggle | |
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| "The human brain ... is not a salable commodity" | |
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| The Final Projects | |
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| Bringing the Past into the Present | |
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| The Third Maturity | |
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| Beethoven's Knowledge of Bach and Handel | |
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| Late Piano Music | |
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| The Hammerklavier Sonata, Opus 106 | |
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| Piano Sonatas Opp. 109-111 | |
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| The "Diabelli" Variations | |
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| The Late Bagatelles | |
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| The Celestial and the Human | |
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| The Missa solemnis | |
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| The Ninth Symphony | |
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| The Political Background of the Ninth | |
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| Changing Views of the Ninth | |
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| Composing the Ninth | |
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| The Character of the Ninth | |
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| Timeless Music: The Last Quartets | |
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| Introduction | |
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| Opus 127 | |
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| Opus 132 | |
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| Opus 130 and the Grand Fugue | |
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| Opus 131 | |
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| Opus 135 | |
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| Final Thoughts | |
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| Notes | |
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| Chronology | |
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| Bibliography | |
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| Classified Index of Beethoven's Works | |
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| Index of Beethoven's Works by Opus Number | |
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| General Index | |