UMA SONATA DE BEETHOVEN

This sonata was composed by Beethoven in 1804 and dedicated to count Ferdinand von Waldstein, his first protector in Bonn, the one who arranged for Beethoven to study with Haydn in Vienna. That is why the sonata op. 53 is also known as the “Waldstein” sonata.

Interestingly enough, French music lovers and critics have also named the sonata “L’Aurore”, as a result of the aesthetical significations of the work: light and serenity. The movements of the sonata can be interpreted as different moments of a day. The first movement is a pleasant yet noisy and roaring day. The second movement can be interpreted as a calm night while the third movement is the ardent dawn of a new day.

The Waldstein sonata is considered to be one of the notable piano sonatas that Beethoven ever composed, maybe equaled only by the Appassionata sonata. They are both part of the works between op. 50 and op. 60 that, through their content, form and proportions represent the height of Beethoven’s creation.

Initially, the sonata had three movements, but subsequently, the composer eliminated the second part, replacing it with short introduction for the last movement.

The first movement – Allegro con Brio, contains an element of novelty for the time in which was written, namely the introduction of the B major tonality early on from the fith measure, which is surprising if we take into account the fact that the initial tonality of the sonata is C major

The second movement – Introduzione, Adagio molto/Rondo, Allegretto moderatoreplaces the F major movement that Beethoven initially intended to use. Apparently, the composer renounced at this part since it was to lengthy. He did, however, published the movement separately, as the Andante Favori, WoO 57.

The Introduzione is the perfect introduction for the Rondo, which is based on a theme of great artistic expression.

Interestingly enough, the “Andante Favori” movement was the subject of a quarrel between Beethoven and his friend Ferdinand Ries. When Beethoven played him this part, Ries was very pleased by what he had heard and memorized the piece with great ease. He then played the movement to count Lichnowsky who memorized only the beginning. When the count met Beethoven, he played him the few measures he had heard from Ries. The composer realized what Ries had done and decided to never again let Ries listen to any of his unpublished compositions.