This article lists compositions by Anton Reicha. At present there exists no definitive catalogue of the composer's works, and his music, for the most part, has yet to be studied by scholars. Two principal work lists exist: one by Olga Šotolová in her book Antonín Rejcha: A Biography and Thematic Catalogue and another by Peter Eliot Stone in his article for the Grove Dictionary of Music and Musicians. The former list contains a number of errors; these were corrected by Stone in his list. The present article contains two overlapping lists derived from Stone, several editions of Reicha's music and a number of library catalogues listed in the References and Notes section. The first list presents only works that were published and assigned opus numbers by Reicha's publishers. These numbers, as is usual, follow the order in which the works were published, rather than the order in which they were composed. The second list is organized by genre. Compositions are sorted chronologically; those with composition and publication dates unknown are listed last. Not included in either lists are works currently considered lost, fragments, and works for which details other than title are unknown. Dates of publication and/or composition are given in parentheses where known.

A double bass concerto is a notated musical composition, usually in three parts or movements (see concerto), for a solo double bass accompanied by an orchestra. Bass concertos typically require an advanced level of technique, as they often use very high-register passages, harmonics, challenging scale and arpeggio lines and difficult bowing techniques. Music students typically play bass concerti with the orchestral part played by a pianist who reads from an orchestral reduction (the orchestra parts arranged for piano).

The list of compositions of Ludwig van Beethoven consists of 722 works written over forty-five years, from his earliest work in 1782 (variations for piano on a march by Ernst Christoph Dressler) when he was only eleven years old and still in Bonn, until his last work just before his death in Vienna in 1827. Beethoven composed works in all the main genres of classical music, including symphonies, concertos, string quartets, piano sonatas and opera. His compositions range from solo works to those requiring a large orchestra and chorus. Beethoven straddled both the Classical and Romantic periods, working in genres associated with Wolfgang Amadeus Mozart and his teacher Joseph Haydn, such as the piano concerto, string quartet and symphony, while on the other hand providing the groundwork for other Romantic composers, such as Hector Berlioz and Franz Liszt, with programmatic works such as his Pastoral Symphony and Piano Sonata "Les Adieux". Beethoven's work is typically divided into three periods: the "Early" period, where he composed in the "Viennese" style; the "Middle" or "Heroic" period, where his work is characterised by struggle and heroism, such as in the Eroica Symphony, the Fifth Symphony, the Appassionata Sonata and in his sole opera Fidelio; and the "Late" period, marked by intense personal expression and an emotional and intellectual profundity. Although his output greatly diminished in his later years, this period saw the composition of masterpieces such as the late string quartets, the final five piano sonatas, the Diabelli Variations, the Missa Solemnis and the Ninth Symphony. Beethoven's works are classified by both genre and various numbering systems. The best-known numbering system for Beethoven's works is that by opus number, assigned by Beethoven's publishers during his lifetime. Only 172 of Beethoven's works have opus numbers, divided among 138 opus numbers. Many works that were unpublished or published without opus numbers have been assigned one of "WoO" (Werke ohne Opuszahl—works without opus number), Hess or Biamonti numbers. For example, the short piano piece "Für Elise" is more fully known as the "Bagatelle in A minor, WoO 59 ('Für Elise')". Some works are also commonly referred to by their nicknames, such as the Kreutzer Violin Sonata, or the Archduke Piano Trio. Works are also often identified by their number within their genre. For example, the 14th string quartet, published as Opus 131, may be referenced either as "String Quartet No. 14" or "the Opus 131 String Quartet". The listings below include all of these relevant identifiers. While other catalogues of Beethoven's works exist, the numbers here represent the most commonly used.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

The double bass, also known as the upright bass, the acoustic bass, the bull fiddle, the Bass Fiddle, the string bass, or simply the bass, is the largest and lowest-pitched chordophone in the modern symphony orchestra (excluding rare additions such as the octobass). It has four or five strings, and its construction is in between that of the gamba (viol) and the violin family. The bass is a standard member of the orchestra's string section, along with violins, violas, and cellos, as well as the concert band, and is featured in concertos, solo, and chamber music in Western classical music. The bass is used in a range of other genres, such as jazz, blues, rock and roll, rockabilly, country music, bluegrass, tango, folk music and certain types of film and video game soundtracks. The instrument's exact lineage is still a matter of some debate, with scholars divided on whether the bass is derived from the viol or the violin family. Being a transposing instrument, the bass is typically notated one octave higher than tuned to avoid excessive ledger lines below the staff. The double bass is the only modern bowed string instrument that is tuned in fourths (like a bass guitar, viol, or the lowest-sounding four strings of a standard guitar), rather than fifths, with strings usually tuned to E1, A1, D2 and G2. The double bass is played with a bow (arco), or by plucking the strings (pizzicato), or by slapping the strings for certain rock and roll and rockabilly styles, or via a variety of extended techniques. In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm. Classical music and jazz use the natural sound produced acoustically by the instrument, as does traditional bluegrass. In funk, blues, reggae, and related genres, the double bass is often amplified.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

Carl Ditters von Dittersdorf (2 November 1739 – 24 October 1799) was an Austrian composer and violinist. He was a friend of both Haydn and Mozart. His best-known works include the German singspiel Doktor und Apotheker and a number of programmatic symphonies based on Ovid's Metamorphoses.

While most symphonies have a number, many symphonies are known by their (nick)name. This article lists symphonies that are numbered and have an additional nickname, and symphonies that are primarily known by their name and/or key. Also various compositions that contain "symphony" or "sinfonia" in their name are included, whether or not strictly speaking they adhere to the format of a classical symphony. Sinfonia concertante is a different genre, and works of that genre are not included here, unless for those named works that are usually known as a symphony.