• Entrata. Allegro
• Tempo ordinatio d'un Menuetto
• Allegro molto
• Andante con Variazioni
• Allegro scherzando e vivace
• Adagio
• Allegro vivace e disinvolto

In 1803, Franz X. Kleinheinz arranged the Serenade, Op. 25, for flute/violin and piano, which Beethoven checked and approved. This was printed in December, 1803, by Hoffmeister & Kühnel in Leipzig as Beethoven's Op. 41.

In the late eighteenth century, the term serenade was not necessarily associated with a piece played in the evening and directed toward a lover. Serenades were still, however, written for particular occasions and often performed outdoors, although even these characteristics did not always apply. In Vienna it became common to compose such works for very small ensembles. Beethoven's Serenade for flute, violin & viola in D major, Op. 25, as well as its transcription by Kleinheinz, follows the pattern of Mozart's great serenades in that it opens and closes with fast movements that enclose at least one slow movement mixed with minuets. The forces, however, are reduced and the structure of the work is much smaller in scale.

In Kleinheinz's transcription, the original viola part is almost completely absorbed into the piano part, which adds a certain rhythmic impetus. The piano shares melodic material with the flute (or violin), creating a contrast between percussive and sustaining instruments missing from the Op. 25 Serenade. (John Palmer)