Beethoven’s Piano Sonata No. 21 in C major, Op. 53

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Exposition: This is a lively sonata on a much lighter theme than many of the composer’s works. It begins with a very fast movement that roughly reminds one of a chase, perhaps a hunt, or a train journey. It is played at different timing by different artists, but none are done slowly. This sonata:

The first theme – 0:00

This movement begins with a very quick main melody which is punctuated by a counterpoint trill on the upper keys, which repeats on a different set of notes and then the counterpoint repeats, terminates in a flowery round of notes going up and down in a couple of circles, like a small bird or a butterfly flying, and ends with a group of four single chords at what sounds like fifths intervals down the piano. It then moves into a second melody created from circles of notes up and down the piano and finally a set of steps up on the right hand with the left echoing. It terminates is a very lyrical section that transitions to the next theme. The almost hurried main theme is in surprising contrast to the light trilling notes of the counterpoint and flowery rich phrases of the round of notes that precedes the ending group of falling chords.

The second theme – 0:58

This short almost exciting section which builds upon the lyrical entrance and flows lightly with the right hand doubling the rhythm set by the left until it culminates in a set of rising and falling arpeggios that end on a repeated upper note and move into a set of chords struck in thirds going up and down the keyboard. The tempo gets progressively faster and louder until it drops into the quieter transition melody (2:07) that sets up the next variation on the first theme. This lighter lyrical melody is blended with a second more flowing melody with twice the notes that almost dances around the main melody and become more prominent, since it is more noticeable. It is almost like a butterfly pair as they fly together encircling each other in the air.

The first theme – 2:30

The first theme is repeated completely with a variation on the second melody and also on the punctuating fifths until it flows into the second theme (3:26), which is also repeated. Different additional melodies are blended with this reprise of the first and second themes. This also ends upon the bird-like repeated note until it reaches a strong intensity and then the closing theme is again a slower transition (4:35) to the next phrase, using a repeated melody line on several different beginning notes in a pattern of four harmonious beginning notes which would form a chord if played together.

Development – 4:59

The main theme is repeated again in a different variation which leaves out whole phrases and makes this section very quick. The lyrical second theme is also truncated which turns it into a different melody entirely that is repeated at different places and intensified in both tempo and volume. This section ends in a new melody composed of sets of three rising and three falling notes repeated until it once more finishes with the flowery melody that travels up and down the piano in waves almost like a cascading waterfall. The short transition is a very different set of notes travelling up the piano and ending again in the flowery section

The Recapitulation

Al of the several melodies that make up the overall theme are repeated in more variations: First theme – 6:55; Second theme – 8:06; Closing theme – 9:16 The last time the main beginning theme is repeated is it almost angry, very loud and punctuated, ending in a strong set of arpeggios and finally moving into the quieter melody then ending in just part of the first theme plus very strong closing chords.

This entire sonata sounds much like the composer was thinking about a fox hunt or something like it, as the melodies make on think of moving very quickly through a pastoral scene with birds and butterflies, streams and running animals. Even with the almost dark main theme, it is uplifting and bright.

Identifying Forms

This seems to be a concerto with the piano as the main instrument contrasted with the entire orchestra, mostly strings, but there are winds there also, which may make it a concerto grosso, except that it is very skilled, and not simply a simple conversation among the instruments. The horns even take the fore at times as do other instruments in solo.
This seems to be a baroque string quartet playing a rondo. I thought it was a canon, but the same melody is simply repeated by the different instruments, underscored by the cell sounds more like a rondo. Since it is played out of context, it is difficult to decide between these two.
This I was sure was a canon, even though it is played by different instrument groups. However, since it explores different variations on the melody, and I am not really sure of the difference, it is probably a rondo.
I think this is part of a larger work, perhaps a fugue, since it is only one theme. It is primarily violin and horns, almost in conversation.
I think this is a trumpet concerto. It seems that it is only the horn and the full orchestra in contrast.
This is a baroque violin solo concerto punctuated by a ritornello on other stringed instruments.
This is a rondo on strings, probably the last part of a violin or string concerto, rather baroque in style, but very rich.
This piano piece is a canon with what sounds like two voices, both piano.

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Beethoven’s Piano Sonata No. 21 in C major, Op. 53

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