Sonata Published Dedicated to

Op. 2 No. 1 (F minor) 1796.  Haydn.
  " No. 2 (A) " "
  " No. 3 (C) " "
Op. 7 (E flat) 1797.  Countess Babette Keglevics. 
Op. 10 No. 1 (C minor) 1798.  Countess Browne.
  " No. 2 (F) " "
  " No. 3 (D) " "
Op. 13 (C minor, “Sonate
               Pathetique”) 1799.  Prince Charles Lichnowsky. 
Op. 14 No. 1 (E) " Baroness Braun.
  " No. 2 (G) " "
Op. 22 (B flat) 1802.  Count Browne. 
Op. 26 (A flat) " Prince Charles Lichnowsky. 
Op. 27 No. 1 (E flat) " Princess Liechtenstein.
  " No. 2 (C sharp minor) " Countess Giulietta Guicciardi. 
Op. 28 (D) " Joseph de Sonnenfels. 
Op. 31 No. 1 (G) 1803.
  " No. 2 (D minor) "
  " No. 3 (E flat) 1804. 
Op. 49 No. 1 (G minor) 1805.
  " No. 2 (G) "
Op. 53 (C) " Count Waldstein. 
Op. 54 (F) 1806. 
Op. 57 (F minor) 1807.  Count Brunswick. 
Op. 78 (F sharp) 1810.  Countess Theresa of Brunswick. 
Op. 79 (G) "
Op. 81A (E flat; “Das Lebewohl,
             die Abwesenheit,
             das Wiedersehn”) 1811.  Archduke Rudolph. 
Op. 90 (E minor) 1815.  Count Moritz Lichnowsky. 
Op. 101 (A) 1817.  Baroness Dorothea Ertmann. 
Op. 106 (B flat) 1819.  Archduke Rudolph. 
Op. 109 (E) 1821.  Maximiliane Brentano. 
Op. 110 (A flat) 1822. 
Op. 111 (C minor) 1823.  Archduke Rudolph.

The autograph of the last sonata does not bear any dedication, but, from a letter of Beethoven (1st June, 1823) to the Archduke, it is evident that it was intended for the latter.[96]

The fanciful name of “Moonlight” to Op. 27 (No. 2), the appropriate publisher’s title of Op. 57, and the poetical superscriptions of Op. 81A, have, without doubt, helped those sonatas towards their popularity.  It does not always happen that the most popular works of a man are his best; but these in question justly rank among Beethoven’s finest productions.  The last five sonatas are wonderful tone-poems; yet, with the exception, perhaps, of Op. 110, in A flat, as regards perfection of form and unity of conception, not one equals Op. 27 (No. 2), Op. 31 (No. 2), and Op. 57.  Apart from any aesthetic considerations, the digital difficulties of the last five sonatas prevent their becoming common property.  The brilliant technique of Op. 53 has proved a special attraction to pianists, and it has therefore become widely known.  With this one sonata Beethoven proved his superiority, even in the matter of virtuosity, over the best pianists of his day.