Sonata for piano No. 21 in C major, opus 53 (“Waldstein”) was written by Beethoven in 1800 - 1804 and is dedicated to Count Ferdinand von Waldstein , friend and patron of the composer. The first sketches of the work date back to 1800, and it was probably completed in 1804, the publication took place in 1805 under the name "Big Sonata". The sonata received the second name " Aurora ", characterizing the main "natural" theme of the work. The time of writing the sonata refers to the period of Beethoven’s hearing disease progression, the composer tries to avoid the company of people and increasingly turns to the theme of nature , which brings him the desired rest. This sonata can be considered a sketch for Beethoven’s “pastoral symphony”, the first echoes of which sounded in the composer's “pastoral sonata” .
| Sonata for Piano No. 21 | |
|---|---|
| Composer | Ludwig van Beethoven |
| Key | |
| The form | sonata |
| The writing | |
| Time and place of composition | 1800 - 1804 |
| First post | 1805 |
| Dedication | Count Ferdinand von Waldstein |
| Instruments | |
| the piano | |
Structure
The Beethoven piano sonata No. 21 consists of three parts: 1) Allegro con brio, 2) Adagio molto, 3) Rondo, Allegretto moderato.
The first part of the Allergo con brio sonata, C-dur, with amazing expressiveness draws natural images in front of the listener, natural themes are organically intertwined in the exposition ; in development, all this variety of sounds is accelerated, the created image is further developed; in the reprise the themes of the exposition are repeated again.
The second part of the Adagio molto sonata, F-dur, included only a very abridged fragment from the part of the work originally written by the composer , deciding that the sonata turned out to be excessively long, Beethoven left only the “introduction”. The second part thus serves as a brief link between the beginning and the grand finale of the work.
The third part of the Rondo sonata, Allegretto moderato, C-dur, is distinguished by its large size and the technique of playing the instrument complex for its time. Many critics, such as Nagel , M. Friedlander , noted pronounced folk motifs of this work [1] .