Piano Sonata No. 21 (Beethoven)

The Piano Sonata No. 21 (Op. 53 ) is a two-movement sonata by Ludwig van Beethoven. It is dedicated to his friend and patron Count Waldstein. Beethoven sketched in December 1803 just before the start of work on the opera Fidelio. In August 1804 he offered it with the Sonatas Op 54 and Op 57 at the Leipzig publisher Breitkopf & Härtel.

Construction

Strictly in the sonata form, crystal clear in sound and structure, are both sets of orchestral sonority. More than any other Beethoven sonatas bears the Waldstein Sonata features a piano concerto without orchestra.

1st Set

The topic is introduced by a throbbing C major triad with quavers in the bass position and followed by an " echo " in the treble, builds on the great tension and dynamics of the sentence. With semiquaver octaves instead of the input swab the theme is repeated. About a figurative B major passage it is the quiet theme in the upper mediant E major, dolce e molto legato. After repeated exposure the implementation begins in the subdominant F major. The witty play with the opening motif is followed by a long-range modulation from C major over F major, B major, E flat minor, F sharp major, B minor and C minor to the dominant G major. The broken Triolenakkorde anticipate the second set. The Dominantsepte between bass and treble are clustered in one clock to the recapitulation in the tonic, pianissimo to fortissimo of. The second half of the eight bars turns into dark D minor, which is mitigated by the ganztaktigen fermatas on As and B at once again comes up and takes over the swelling in E major for orchestral theme in A major. Once again, returns the beating input motif in D flat major back after a modest cadence dolce also the theme in the tonic.

Second sentence

Beethoven a middle movement had originally envisaged. Since he does not fit entirely into the outer movements in the tone and before the long final movement threatened the balance of the sonata, Beethoven published it as a separate Andante Favori ( WoO 57); formal initiation of the second movement of the sonata -allegro form comes but close. After the symphonic first movement, he is the " breakpoint " of the sonata. In F major, the subdominant of the radiant C major, and consistently kept quiet, he is a " muted colors match figures of dissolved chord ". The rhythm and the onset at the end of thirty-second notes in the bass foreshadow what follows. After the turn into the dominant G major attacca subito follows the Rondo.

Gentle grace is above the start of the concert set, which can be set according to tone and length without further addition to the first sentence of the fourth piano concerto. The turned-over left hand plays the cantabile theme, while the right is the internal momentum. The pedal keeps the pedal points C and G and transmits through the serene game with tonic and dominant. For shining splendor, the topic on the right hand trills unfolds, while the left scales has to deal with in thirty-second notes. This theme development follows a defiant, nachgeschlagenes theme in the parallel key of A minor with sixteenth-note triplets in the bass. The Revolt of the C minor intermediate part - broken chords right and sixteenth pedalisierte fundamental tones left - comes in magnificent double octaves of the issue to rest. After the repetition of the two-part first, the rondo theme leads into the grand cadenza with incessant semiquaver triplets in both hands. Prestissimo in Allabreve, but quiet and easy begins the coda. With their Oktavläufen and polyphonic trills she also provides virtuoso still very high hurdles. The slightest exertion or even you destroy the whole work.