“Waldstein”: Analysis of the First Movement Allegro Con Brio of L. Beethoven’s Sonata in C-Major For Piano Solo op. 53

“Waldstein” (1804) belongs to the middle period of the Ludwig van Beethoven’s compositions. Op. 53 is the first sonata to focus on the extensive finale movement more than on the sonata allegro; also, is the first one in line of compositions where the middle slow movement is inseparable from the finale. The energetic first movement, sonata allegro of op. 53 is organized by motivic elements rather than by the melodic development. The brief Grundgestalt, the basic shape of the piece constructs all the subjects or themes and their variations, the bridge, all connecting elements, and the coda of the composition. It appears in repeated and variated forms in different keys and note values.

The registers in this movement are extremely low on the keyboard and never exceed F of the third octave. The timbral effect of the piece is created by contrasting registers of themes: 1^st theme always emerges from the depths of the piano bases, the second theme sings in the range of human voice and is melodic, and the closing subject has high scale runs in the right hand.