Musical Overview: Beethoven Sonata No. 21 "Waldstein" FULL Sonata
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- Опубліковано 24 сер 2024
- In this video lecture, I discuss and do my own analysis of the Beethoven Waldstein Sonata. I try to highlight what I think is important on a superficial level rather than "fishing" like what one would expect from a university course. I hope this lecture can shed some new insights on this wonderful piece of music.
Scores and recording can be found here:
imslp.org/wiki/...)
Thanks for this excellent analysis! You really took the time to both glance over the big picture as well as the “crucial minutiae”. As a diploma pianist with outstanding abilities in music theory and over a dozen years of experience (I’d hate to brag, but still), I can tell a good reading of a piece when I see it.
I share your view that the Waldstein is one of the greatest pieces of music ever put to paper, period. It’s uplifting, energizing, and utterly awe-inspiring. The genius of Beethoven speaks for itself. In fact, I play this sonata myself, and let me tell you that it’s an immensely rewarding experience (though very demanding indeed)!
If anything, there are two “critiques” or “suggestions” I’d like to make. It may simply be a matter of opinion, but let me share a few of my views.
First, the “uninventive” or “unimaginative” development in the first movement. While I agree that the bulk of the musical interest lies elsewhere, the relative uneventfulness of this section is key to establishing a succinct focus in the rather dense material. It’s a matter of “foreground” and “background”, really. If Beethoven had chosen to write this section just as “busy” as he’d done in the main sections, this crucial contrast would be lost and the listener overwhelmed.
Second, your (highly understandable) disgust at the self-important and pretentious description of the third movement’s opening. It always bothers me when these publishers feel as if they have the monopoly on the composer’s true intention, on how something “ought” to be played and why it has been written the way it is. This toxic cultural “elitism” can come across as incredibly condescending. I once saw an edition of the op. 111 sonata DEMEANING performers who couldn’t do those awkwardly complex triple trills in the second movement (no joke about the existence of this score, I was absolutely appalled when I saw those comments). Such attitudes (prominent in many quarters) have been a major factor surrounding the decline of serious art music in the Western world over the past century.
That being said, I do think we need to look quite a bit beyond just the technical side of things when discovering the true essence of a certain piece of music. Beethoven may not have been a god, as you put it, but neither is being human a state of pure logic devoid of emotion. In this sense, let me say that the long sustained pedal, aside from prolonging harmony, also serves to “muddle” the sound. Why? A major element of this sonata is its contrast: light vs. dark, ambiguity vs. clarity, high vs. low. After the dark, ponderous, and low-register introductory second movement, this “blurred” effect conveys a sense of “lightness” GRADUALLY coming into view. It’s no wonder that this sonata is also known as “Aurora”, a name evoking dawn, in some quarters. The effect does come across as rather ethereal and...I hesitate to say “transcendental”, but this emotional aspect is what contributes a large part to the music’s immediate appeal.
Still, I think you’ve made a great analysis here! Hats off to you for spending over two hours dissecting this wonderful piece; how many of us devote ourselves with such dedication?
Great analysis. Thanks so much for putting it all together. Really useful to understand some of the workings of the great composer and get a better sense for the overall form. I look forward to getting into your other analysis of his works.
If possible, a little more harmonic context on how he approaches the modulations (and breaks conversions (modulating in recap)) would be greatly appreciated (even if it’s borrowed from another analysis) as they are often a bit daunting to work out.
Thanks again - highly useful and enjoyable!
This is a great analysis and is also super hilarious and entertaining. Thanks!
Great analysis.Looking forward to the Hammerklavier !
I love that you try not to keep this too high brow. You throw in curse words all the time and it makes me appreciate this so much more because it feels like I just sat down with you with the score on a table and we’re pencilling through it together
Shouldn´t mm 4-6 be in F major like IV/IV V42/IV I/IV instead of Bb major
Just discovered your channel. In my area, they have scheduled performances of all 32 sonatas ( for free!). Can you tell me the difference between decresc and dim? More than anything I just think Beethoven loved playing the piano and his music is fun to play. His use of repetition is so cool - it’s like he’s saying “this sounds good, so I’ll do it over and over”.
Looking forward to more of your analysis - thanks
What a privilege to hear all 32 sonatas for FREE! Decresc and dim are synonymous - - they mean the same thing. Beethoven's use of repetition goes way beyond just sounding good - - for him, it was about the development of a motif or about how much mileage one can squeeze from the smallest unit of music. Beethoven is more of an architect building on previous material rather than a painter who juxtaposes colors. Also keep in mind that the repetition you are hearing (assuming you are referring to the 3rd movement) is due to the nature of the rondo form. If you're interested about Beethoven, I'd consider picking up Maynard Solomon's Beethoven biography
Great analysis, even though we do not share the same opinions in some places. This is also a personnal favorite of mine. Which program are you using for PDF editing?
Thanks! Oh gosh, this was so long ago...probably some Windows PDF editor. I use Edge *cringe* because it allows PDF markups