Beethoven and the Waldstein Sonata

Bia 411 Waldstein Sonata No.21 in C, Op.53 (Dedicated to Count Ferdinand

Waldstein 1803-04)

https://youtu.be/J3l18HTo5rY

Waldstein was the first major patron of Ludwig in Bonn. Thanks to him, Ludwig
departed twice from Bonn to Vienna. First reason for to travelling to Vienna was to take
lessons by Mozart, what never happend, second reason for to go to Vienna was to take
lessons byt Haydn. I can tell you, Waldstein had ensured that Ludwig could go to take
lessons with Haydn and give him papers who makes introduction with the higher class
easier. His documents gave Ludwig the easy entrance to Lichnowsky and other nobility.

The return to Bonn was no longer possible after a while, because of the French army
who occupied the city. So the plans to go back on the court of Bonn must completely
change. Yet Ludwig has always remained grateful and never forget what Ferdinand
ment to him in and after Bonn. He dedicated the next sonata to Count Ferdinand of
Waldstein, you can say its a very big thank you to his musical patron.

There is one thing I do have to tell before we can start analyse this work. Ludwig gets
before he began this sonata, (and it was right after the Eroica symphony), a new piano
as a present. This piano has more possibilities than the pianos before. What means if
you had an older piano at your disposal, you could not play the sonata.

1. Allegro Con Brio 11:28

The sonata is written in the new heroic spirit and there is no turning back. Though there
are plenty of different ways that he could achieve this. This first theme starts with a lot
of movement, as far as I can count 13 to 14 sustained chords in the bass. Then there is a
recurrence.

The first theme:

• Phrase a) Long motif in repeating chords (0:00/2:27), which builds up the tension,
and ends in a different key (rest). Phrase ends in a pattern of five notes. Each phrase a
step lower.

• Phrase a') Repeating phrase a in a different key (0:07/2:34).

• Phrase b) Provides the way back to the main key (0:14/2:40).

• Repetition first theme: Phrase a) (0:24/2:50), Phrase a') (0:30/2:56) and Phrase b)
(0:37/3:04).

Modulation Bridge is a reflection of the declining group of five notes which starts in
minor and finish in major (0:51/3:17).

Second theme begins with a motif of five descending notes you also heard at the end of
the phrases of the first theme. Lyrical theme begins (0:58/3:24) and continues in eighth
notes on the other hand (1:12/3:40). Then there is a passage that leads to the
transformation Cadence (1:25/3:52).

The cadence consists of two parts, the first part to be played in eighth notes (1:38/4: 4)
ending in a very complex piece of sixteenth notes. The second part is a lot quieter
(2:04/4:30).

The development consists of two main parts. The first part consists of the first theme
(5:01) and the second part is based on the Cadence (5:39).

Recaputilationt:
• First theme: a (6:47), a "(6:53), b (7:00), but then there is a pause, the last piece b
(7:11) and then a pause, followed by the last part ( 7:17), Repetition first theme: a (7:22),
a' (7:28) and b (7:38).

• Transformation Bridge (7:51).

• Second theme: 1. (7:58), repetition 1. (8:13) and 2 (8:26).

• Cadence: (8:44).

Coda begins with the first theme in a wrong key and the music must do his best to come
out in the right key (9:31) with two open cadences (10: 25/10: 30). The second theme
(10:35) and the first theme (11:07).

2: Introduzione: Adagio Molto.

The original second part was an andante which Ludwig found too long and he thought it
did not fit into the story. This movement he has not thrown away. He called the
movement 'Andante Favori'. Instead he made a small introduction for the next
movement and made the Rondo appearance possible. It is a piece in three parts and it
will take no longer than four minutes. This movement is dominated by jagged rhythms,
sounds formal, and it also sounds like a question that only at the end of this section is
answered. The first part is slow and gentle. The second part is richer in scope and is
mainly played in the low register of the piano. The final third part is the dissonant part
that grows to a climax and ends in an open cadence.

Then Ludwig writes for the pianist, attaca subito, we know that the third part Rondo is
directly played after this introduction.

3. Rondo: Allegretto Moderato, Prestissimo

Theme consists of three phrases it is in the treble and the last third phrase is in
fortissimo and a trill. The schedule for this part consists of the following parts A B A B C
A and Coda.

• Rondo theme A: Phrase , second phrase and Phrase 3.

• Contrast theme B:sounds depressed and dance-like, with orchestral sounding

dynamics.

• Rondo theme A: Phrase, second phrase and Phrase.

• Contrast theme C: Also dance like part but now sounds like a reflection of the Rondo
theme. Rondo theme seems to be starting now but the devellopment goes through many
arpeggios.

• Rondo theme A: But now played slightly different phrase. First crescendo then
diminuendo played and phrase 2 played crescendo.

• Contrast theme B ': Varied theme B.

• Coda: This part is now played in prestissimo (very fast). Trills, double trills, octave,
tone color and a lot of things that has never been heard before. The Coda with his whole
circus we will not occure in his oeuvre again. There follows a long sustained trill with
Rondo theme and ends with a Cadence.

This piece requires such high technical demands on the pianist that this can only be
played by the best professionals. The General Musikalische Zeitung states that "Where
the Opus 1 (1795) piano trios are powerful and moving, instead of the later piano works
that are too large, abrupt and dark. Enormously difficult work without the slightest
beauty in return". Ludwig didn't responded but felt mistreated to the bone and was very
offended. He wrote his publisher Breitkopf und Härtel that it was time that the critics
were brought up not knowing what they were talking about. Ludwig also found that the
critics break young composers. He found that they judge with their ignorance and
causes much damage to young composers.