Piano Sonata No. 21, Op. 53 "Waldstein" (1804)

Piano Sonata No. 21 in C Major, Op. 53


This sonata is called "Waldstein" because it was dedicated to Beethoven's friend and patron, Count Waldstein.  It is considered on of the three best sonatas in Beethoven's middle period (No. 23 "Appassionata" and No. 26a "Les Adieux" being the other two).  It has a recurring tension between darkness and light. It ends in light, therefore expresses the Heroic.

The final movement has a pleasant theme in C major.  Beethoven, using a rondo form, alternates between it and another theme in C minor several times (there are also other key changes).    

Notice how the Waldstein ruminates through various levels of dark and light, tension and calm,  how often this occurs, and how Beethoven uses changes in volume and speed and pianistic effects (arpeggios, trills) to produce the emotions.   


(What is a rondo?  -  In rondo form, a principal theme (sometimes called the "refrain") alternates with one or more contrasting themes, generally called "episodes," but also occasionally referred to as "digressions" or "couplets."   Possible patterns in the Classical period include: ABA, ABACA, or ABACABA)


Third movement detail:

The rondo begins with a pianissimo (very quiet) melody played with crossed hands that soon returns fortissimo, over daringly fast scales in the left hand and a continuous trill on the dominant in the right, as described above.  The second theme, a series of broken chords in triplets, is soon interrupted by a turbulent section in A minor that foreshadows the central episode.

The music returns to C major and the sweet theme is repeated, followed by a series of staccato octaves in C minor that mark the start of the central episode, one of the few cases where such a melodic change is seen.  Soon the octaves are accompanied by swirling triplets in the left and then the right hand.  The music grows more tense and eventually reaches a cadence in C minor.  The next section brings back the opening theme in chords and further develops it: it appears in A♭ major(bars 221–224), then F minor (225–228) and then D♭ major (229–232); it is fragmented into shorter phrases (233–238) and then transits into a quiet section with major 7th arpeggios, returning after much drama to the C major theme played fortissimo.

The second theme reappears, followed by another characteristic long line of beautiful dance-like music.  Another series of fortissimo chords announces a short, delicate pianissimo section: the movement seems to die away but then unexpectedly segues into a prestissimo coda that plays with the various themes of the movement, ending in a triumphant rush of grandeur.