The composer had known for about two years that he was losing his hearing, but he was far from complete deafness. The crisper tones of the new instrument were much more appealing to him than his old Walter piano. Reiterated, starting from a slightly lower register, the theme seems less energetic, but the effect is deceptive. This second subject, in E major, introduces a moment of tranquillity, but calm quickly dissipates, moving toward a brilliant, triumphant finish with the underlying rhythmic intensity of the main theme. The development section begins with a darker cast to the main theme, which then goes off into a new direction.
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Performed by Michael Hawley. Courtesy of Musopen Problems playing these files? See media help. Allegretto moderato — Prestissimo The first and last movements of the sonata are the most substantial, each taking about 11 minutes to perform.
Allegro con brio[ edit ] The first movement is in sonata form : it has a repeated exposition with two subject groups , a development section, a recapitulation and a coda. After a half cadence to the dominant G major , the opening phrase returns again but this time in a tremolo variation. Modulation to the mediant for the second subject area is another feature shared by this sonata and the Sonata No. For the recapitulation , Beethoven transposes the second subject into A major , quickly changing into A minor and then back to C major for the coda.
Adagio molto[ edit ] Performed by Michael Hawley. Courtesy of Musopen Problems playing this file? The Introduzione is a short Adagio in 6 8 time that serves as an introduction to the third movement. This replaced an earlier, longer middle movement, later published as the Andante favori , WoO The music gradually gets more agitated before calming down to segue into the rondo.
Allegretto moderato — Prestissimo[ edit ] Performed by Michael Hawley. The rondo begins with a pianissimo 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, a tactic repeated in larger works like the Emperor Piano Concerto. 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 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 virtuosic prestissimo coda that plays with the various themes of the movement, ending in a triumphant rush of grandeur.
Beethoven - Piano Sonata No.21 in C major, Op.53 (Waldstein) sheet music for Piano
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Beethoven: Sonata 21 (Waldstein) Op. 53 in C Major