Analysis of Beethovens Waldstein Piano Sonata Op. 53, No.

21, Movement I

Broderick Lemke
MUSI 268 Analysis Final Project
April 21, 2016
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Macro Analysis
Section Measures Major Tonal Areas*

Exposition mm. 1-86 CM, Cm, Em, EM, Am

Theme A mm. 1-21 CM, BM, Cm, Dm
Transition mm. 21-34 Em
Theme B mm. 35-49 EM
Transition mm. 50-61 EM
Theme C (closing) mm. 62-85 EM, Am, Em, CM
Theme A Transition mm. 86-87 First Ending CM

Development mm. 86-155 FM, Gm, Fm, Cm, CM

Theme A material mm. 86-103 FM, Gm, Cm
Descending 5ths Sequence and mm. 104-117 BM, AM, Fm, FM
transition
Sequencing towards the mm. 118-130 BM, EM, Bm
familiar key
Sequencing materials used in mm. 130-140 Cm
C minor
Retransition in the Dominant mm. 140-155 GM, CM
Key

Recapitulation mm. 156-302 CM, Cm, GM, Am

Theme A mm. 156-182 CM, BM, Cm, DM, EM,

GM, Am
Transition mm. 183-195 Am, AM
Theme B mm. 196-210 AM, CM
Transition mm. 211-222 CM
Theme C mm. 223-248 CM, Fm, FM
Theme A Material mm. 249-259 DM, BM, Cm
Transition mm. 260-284 Cm, CM
Theme B Material mm. 284-294 CM
Theme A Material mm. 295-302 CM

*For the larger sections the key areas that are non-transitional and play a significant tonal role
are notated, however in the smaller sections any keys that are utilized are notated without
consideration to their significance to the over-all structure.
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I. History of Beethoven and the Waldstein Sonata

Ludwig Von Beethoven is arguably one of the most well-known composers today. His

works are performed in concert halls around the world, and his advancements in music ushered

in the Romantic era. His Waldstein piano sonata is a work from his middle period, and to

understand the technique and his approach to the composition, it is necessary to take an account

of Beethovens life until this point.

Beethoven was born in Bonn, Germany in 1770 and was immediately surrounded by

ideals of the Enlightenment as he grew up.1 These ideals promoted the education of all people,

not just the elite members of society. Beethoven began his education in Bonn, which included a

large amount of musical study promoted by his father. While in Bonn, Beethoven received the

support of many patrons, including Count Ferdinand Ernst Gabriel Waldstein, whom is said to

have purchased a piano to keep at his local estate just to hear Beethoven play music.2 Count

Waldstein saw large potential in Beethoven and even commissioned works in secret from

Beethoven including Musik zu einem Ritterballet, WoO 01.3 Count Waldsteins persistence and

belief in Beethoven allowed his work to blossom and flourish, creating the support to explore

and experiment in his music that would lead to his fame today.4 While Beethovens early

compositions were written largely for piano, his primary instrument, he soon began to explore

new genres, especially after a visit from Franz Joseph Haydn, one of the top composers at the

time. Impressed by his music, Haydn invited a young Beethoven to Vienna to further his

1
J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western
Music (New York: W. W. Norton & Company, 2014), 564.
2
John N. Burk, The Life and Works of Beethoven (New York: Random House, 1943, 32-
33.
3
Ibid., 24.
4
Burk, The Life and Works of Beethoven, 34.
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studies.5 Count Waldstein urged Beethoven to take Haydn up on his offer, and Beethoven

eventually agreed. On the evening of his departure, October 29, 1792, Count Waldstein wrote to

him the following:6

Dear Beethoven. You are going to Vienna in fulfillment of your long-frustrated

wishes. The Genius of Mozart is mourning and weeping over the death of her
pupil. She has found a refuge but no occupation with the inexhaustible Haydn;
through him she wishes to form a union with another. With the help of assiduous
labor you shall receive Mozarts spirit from Haydns hands.

Your True Friend

Waldstein

This letter shows the faith that Count Waldstein had in Beethoven as a musician and composer,

which helped to propel Beethoven forward in his emerging music career.

In his second period of composition, Beethovens work began to evolve drastically,

producing works such as Symphony No. 3 (Eroica). This piece showcases much of the

experimentation that Beethoven was beginning to undertake within his music. The exploration

was well accepted, as Beethoven had already begun to gather popularity and an audience eager to

consume his music, which allowed him to explore without fear of a lack of audience members.7

His works began to take on an emotional influence, one that could perhaps be due to his loss in

hearing. Starting in 1798, Beethoven struggled with hearing loss, eventually going completely

deaf by 1818, which caused him extreme frustration and embarrassment. He discussed his

5
Ibid., 564.
6
Ibid.
7
Burkholder, A History of Western Music, 596.
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feelings in the Heiligenstadt Document in written language, but his emotions also began to make

their way into his music as a way to share his emotions.8

The Waldstein sonata, dedicated to his former patron, was written in the same year as

the Eroica symphony,9 and many of the earliest sketches of the material for the sonata are

present in his sketchbook for the symphony.10 The Waldstein sonata has several tonal

developments beyond a traditional sonata of the time, which is a direct result of both his musical

exploration and changing emotions. Even the key of C major can be seen as an emotional choice,

as Beethoven seems to use this key in other works when attempting to cast the feeling of

triumph, most famously used in his famous Symphony No. 5.11

8
Ibid., 570.
9
Joseph Schmidt-Gorg, and Hans Schmidt, eds. Ludwig Van Beethoven (New York:
Praeger, 1970), 24.
10
Barry Cooper, The Evolution of the First Movement of Beethoven's 'waldstein'
Sonata, Music & Letters 58 (2). Oxford University Press, 171.
11
Paul Bekker, Beethoven (New York: AMS Press, 1971), 119.
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II. Notation Used In the Analysis.

In order to convey important information, several forms of notation were used in the

analysis of the score, and this serves as a guide to this notation. All visual examples are recreated

from the score of Beethovens Op. 53 Movement I. However, the main information to be stressed

is the graphic notation applied to these examples. All measure numbers in the score, as well as

all examples featured in this written analysis, are written in the German style. Thus, measure

numbers are written at the end of the measure the number belongs to.

The original key of C major is notated to the left of the analysis, and remaining keys are

notated before a set of brackets in the case of modulation. In this written analysis, keys are

discussed with a capital letter signifying the tonic note of the key followed by an uppercase or

lowercase letter m, which differentiates between major (M) and minor (m). In the score

analysis, minor keys are notated with a lowercase letter signifying the key and an m with a

horizontal line over it. This is to prevent confusion based on the curvature of the m in the

handwriting. Figure 1 shows an example of this, where in measure 8 the key modulates to C

minor, notated by a bracket and the lowercase c and the m with the horizontal line above it.

Figure 1. A demonstration of notation in minor keys.

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If a section features a sequence through a number of keys by the use of a notable pattern,

it will be shown with the repeated material being placed within a bracket (Fig. 2). Each section

of the repeated material will receive similar brackets, and they will be joined together using

equal signs, showing that they are the same material transposed up or down the same amount.

The transposition will be shown beneath the equal sign with an up or down arrow signifying

direction and a number signifying distance between sequences.

Figure 2. A demonstration of sequencing notation going up a second between sequences.

Once a key has been established, roman numerals are used to notate the chord qualities.

Applied chords (secondary dominants) are notated as V/ii, which can be read as the dominant V

chord in the key of ii. Neapolitan chords are notated as N6 and Italian and German augmented

sixth chords are notated as It+6 and Gr+6. In measure 260 (Fig. 3), the notation vii(CT)/V can

be read as the leading tone seventh common tone chord of five. This chord will be discussed later

in the written analysis.

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Figure 3. A demonstration of the vii (CT)/V Chord

The notation in Fig. 4 stems from figured bass. It is used in the place of a I6/4 chord that

leads into the dominant of that key, otherwise known as a cadential 6/4 chord. The I6/4 chord is

recognized by the six and four next to the V. The movement of each voice (traditionally the sixth

down to the fifth and the fourth to the third) is then shown at the point the chord change. An

eight will be shown with the six and the four when an octave is used to approach the seventh.

This notation is used no matter which voice the movement happens in. If a -7 is added in the

analysis here or any other location it is used to signify that a seventh was added to the chord. If it

is used in the cadential 6/4 that symbolizes a lack of direct preparation of the seventh by the use

of the octave or the sixth.

Figure 4. A demonstration of the cadential 6/4 notation.

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Finally, in mm. 242-244 Beethoven tonicizes the V chord of F major (Fig. 5). This

tonicization does not resolve immediately and makes use of a cadential six four. The harmony of

the cadential 6/4 is noted by the bracket beneath showing that its role in the key of the dominant

although it does not resolve there initially.

Figure 5. A demonstration of tonicization notation

Any other time that parenthesis are used around a chord in the analysis it is simply a continuation

of the previous chord, rewritten for the sake of readability.

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III. Thematic Considerations

The Beethovens Waldstein Piano Sonata follows a traditional sonata form closely with

several atypical variations. This piece has its first theme in the traditional tonic key of the piece,

C major. The tempo of the movement is marked as Allegro con brio12, which translates from

Italian to with vigor, or vibrantly. This first theme is presented with a constant pattern of

eighth notes in the left hand of the piano, which keeps the music moving forward at all times and

promotes the vigorous style of the music. The theme itself is made up of two main motives

which are sequenced through several keys. The initial theme is stated in C major before moving

down a whole step to B major. The motives and variations upon them are used briefly in C

minor with a half cadence on a G in three octaves in measure 13. This serves as a pivot to the

parallel key of C major where an embellished version of the original four bars is presented, with

the melodic motive moved up an octave. Beethoven utilizes the same harmonic progression

through this section in various keys (I--V4/2 / V--V6) to tie the material together along with his

motivic development. At measure 18, rather than going down the whole step, he modulates up a

whole step to the key of D minor. Again it is the use of motivic material and the same harmonic

progression connects this section to the first theme. This time when he uses the i--V4/2 / V

transition it moves to the minor v6 chord instead of the dominant V6 chord that concluded this

four bar phrase previously. This creates harmonic interest and provides new material which helps

to move towards a transition into the second theme.

Con Brio, Collins English Dictionary - Complete & Unabridged 10th Edition,
12

HarperCollins Publishers, (accessed: April 28, 2016), http://www.dictionary.com/browse/con-

brio.
 10

The transition begins with a modulation to E minor which is emphasized by the Italian

augmented sixth chord in measure 22, which then leads to a sequence of cadential 6/4 chords and

V-i resolutions. This use of an authentic resolution leads to a stability in the key of E minor,

which helps to use it as a pivot key between C major and E major. Normally the distance

between these two keys would be difficult to navigate smoothly. By moving to a key only one

sharp away from C major through the transition, and then moving to the parallel key of E major

this transition becomes much smoother. The transition through E minor ends on a half cadence

on an A major chord, which pivots to the key of E major and sets up the second theme which

begins in measure 35.

The second theme contains two segments: one that is slower, extending from measure 35

through 41, and a faster section using a compound subdivision of the beats from measures 42

through 49. Both of these sections contrast the first theme, not only in key area but in a complete

style change. Where the first theme has a constant rhythmic drive through eighth notes in the

bass, the first part of theme two utilizes longer note durations with a rhythmic pulse beneath.

This gives the listener time to process what came before and leads to the delicate style of the

second half of the theme, where a steady pulse is established once more. The steady pulse comes

in the melody, this time featuring a constant moving melodic line in the upper voice, but the

triplet beat divisions are slurred together, making them a connected phrase as opposed to a

rhythmic force. Harmonically, the second theme begins in the key of E major at measure 35 and

stays there throughout the theme. The harmonic structure of the first part of the second theme is

later used throughout the second half beneath the triplet patterns in the melody. This harmonic

pattern features a unique secondary dominant that does not follow traditional rules. In beat four

of measure 35 there is a C minor (vi) chord in root position, moving to a G major minor
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seventh chord. The G major chord should function as the secondary dominant of the vi chord

(V7 / vi), however it resolves to an A major (IV) chord in the second half of measure 36

(Example 1). This resolution is not typical of a secondary dominant chord and it is not a delayed

resolution as it does not return to the vi chord before the next cadence. Instead this movement to

the IV chord appears to serve as a deceptive resolution in the key of C minor. If analyzed in the

key of C minor these chords would serve as a i--V7--VI cadence, which is a standard deceptive

resolution from a V7 chord. This deceptive resolution lacks the return to the proper tonic key

after traveling through the predominant and dominant functions in that key; however, it

emphasizes the relationship of thirds, which is a theme throughout the piece and will be

discussed later. The second theme continues with this harmonic structure being utilized in the

bass, and comes to a close just before the pedal B in measure 50.

Example 1. Measures 35-36.

The pedal B signals a change in the music, creating a strong emphasis as a dominant

functionality that moves into a chain of V-I cadences starting in measure 54. The texture changes

from a homophonic texture to a homorhythmic texture in which notes are placed one against

each other, outlining the chords that they form through arpeggios. In measure 58 the subdivision

of beats changes from the compound feel of the triplets to a simple feel with the sixteenth notes.

This serves as a transition into the closing theme, and continues in the homorhythmic texture.
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Because the note value decreases in the section, it gives the illusion of speeding up. This creates

a drive towards the closing theme.

The closing theme begins in measure 62 with the introduction of eighth notes in the bass

voice that outline the A major chord. As with most closing themes in sonatas, the material

presented in this section is highly virtuosic and has many sixteenth notes with eighth notes

punching through the texture rhythmically. This section takes the form of a large cadential 6/4 in

the key of E major, which is typical of cadenzas in concertos. During the cadenza, a performer is

often playing virtuosic material over the first half of a cadential 6/4, which is similar to what the

piano is doing. This quasi cadenza serves as a way to bring the energy in the exposition to a

maximum and then relax for a bit as the piece transitions to the material in A minor at 74. This

new motive is used to transition between the closing of the final theme and the return of the first

theme. Despite its transitional use it still serves as a final thought to the first half of the closing

theme. The motive introduced in the second half of measure 76 through 77 initially appears to

tonicize the minor five of A minor which is E minor. Normally, this would be a tonicization of a

dominant chord, but because it is in a minor key, without the leading tone the v chord is minor. It

moves to the dominant V7, but by looking ahead to measure 80 there is a return to the key of E

minor. This temporary tonicization is hidden by the resolution to the major V and is a

foreshadowing of the key change to come. Once in E minor the transition to C major in measure

84 is smooth because of their close relation, rather than jumping from E major directly to C

major if there had been no modulation within the closing theme. Upon returning to the key of C

major, the first ending has a repeat of the opening two measures which creates a smooth

transition to the top of the repeated exposition section.

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When taking the second ending there is an immediate modulation to F major which

begins the development section of the sonata. The development sections uses motivic material

borrowed from other sections, such as in the transition from the first four measures, where

material from the closing theme is used before moving to material from the first theme,

following the I--V4/2 / V--V6 progression. After the initial statement to remind the listener of

where the material is coming from, the piece modulates to G minor in measure 93, and

Beethoven begins using the first motive and second motive of the first theme in succession with

each other, changing keys to C minor in measure 99.

Measure 104 continues to utilize the material from the first theme through a sequence of

descending fifths starting on the Ab in the upper voice. Beethoven takes this sequence through

the circle of fifths (A--D--G--C--F--B--E--A--D--G--C), and the pattern is only broken

twice when going from the C to the F and from G to C where both are descending diminish

fifths. The move from C to F allows for the sequence to repeat itself later on, while the G to C

is used to break out of the sequence. To accentuate the break from the sequence, the C in

repeated in the upper voice several times. The sequence passes through the keys of B major and

A major to get to F minor. The ability to notate this sequence as a set of modulations is the

reason it is notated in this format rather than using a traditional sequence notation. This

sequential transition adds to the lack of tonal consistency and center in the development.

After the sequence ends a short transition between the next section which begins working

back towards a familiar key. This transition begins in measure 111 where the bass voices upper

and lower parts move down chromatically. This, along with the upper voice, creates a deceptive

resolution on the third beat of the measure (vi chord) (Ex. 2), which then goes to a predominant
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Italian augmented sixth chord, and then resolves in an authentic cadence (V--i). This deceptive

cadence divides up the eight measures in F major, which continues the precedent set before and

of having some harmonic movement (normally modulation) every four bars. This continues until

arriving in C minor in measure 130. This is achieved by using a compound division of the beats

which hints back towards the second theme of the exposition which utilizes compound

subdivisions, along with a consistent pattern ending in the building of a full chord in the bass

while the top voice plays arpeggiated forms of the harmony. This harmonic support in the bass

also hints back to the second half of the second theme where the bass continued with the

harmony and melody that had been established with a melody applied on top. Once the piece

arrives in C minor at measure 130, the large scale harmonic motion slows. The piece remains in

C minor, although it makes use of very similar melodic and harmonic patterns and construction.

Example 2. Measures 111-112

The final section of the development is from measure 140 through 155. This section

changes the tonality to G major, even though at first glance it appears to remain in the key of C

minor or, alternatively, move to C major. For example, from measure 142 through 144 (Ex. 3)

the bass moves between what could be considered a C chord without a third in second inversion

in measure 142, followed by a passage that outlines a G chord. This pattern is then repeated

several times, which could lead to the assumption that multiple cadential 6/4 chords are leading
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the piece somewhere. However, because of the lack of a third in the C chord, which creates tonal

ambiguity and the use of the F in measure 143 and the rest of the section, This section has

modulated to G major and serves as a long retransition towards the recapitulation in the key of

the dominant of the first themes key, C major. This is strengthened by the fact that when the F is

introduced in measure 152, it changes the G major chord to a G major-minor seventh chord that

wants to resolve to C major (the original key) and does so in measure 156, ushering in the

recapitulation.

Example 3. Measures 142-144 13

The recapitulation starts in a similar manner to the exposition, beginning in C major

before moving down a whole step to B major, and then up to C minor. This presentation of the

first theme, however, differs in measure 168, where instead of the arpeggio from the measure

before finishing on a G which served previously as the dominant of C major and a transition

between the two keys, the arpeggio ends on an A. Because the A is followed by a D major

chord, which would be an authentic cadence in the key of D, and the previous iteration of this

content was an authentic cadence in the key afterwards, the piece modulates to D major in

13
In the analysis, the bass note in measure 143 is missing a ledger line that would show the
correct pitch of G1. This is an error concluded from observing other versions of the score. This
has been corrected in example 3.
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measure 168. This logic is used again when the arpeggio in measure 169 ends on a B in measure

170. Because the next chord is E major, it modulates to the key of E major on the B of

measure 170.There is then a brief transition through E major, and two measures in G major,

before landing in C major. The first themes main motivic material is ornamented just as it was

in the exposition before a modulation takes the piece to the key of A minor in measure 178. The

piece transitions while in A minor, eventually leading to a scalar passage in measure 192, similar

to the one in the exposition leading to the second theme. The piece modulates to the parallel key

of A major in measure 195, and the second theme begins in this tonality. This differs from the

original presentation of the theme where the piece transitioned from E minor to E major. In the

recapitulation the second theme normally appears in the original key, and as in measure 199

where the second theme is indeed presented in C major. The second theme is brought to a

conclusion in measure 211 with the pedal G in the bass, similar to the ending of the second

theme in the exposition.

Afterwards a short transition similar to the transition between the second theme and

closing theme of the exposition is presented. Again, this transitions from a compound division of

the beat to a duple division in measure 219. The closing theme is presented in C major,

modulating several times between F minor and F major before ultimately returning to F minor. In

measure 249, the first theme is presented as it is in the first ending of the exposition, however,

this time it is in the key of D major. Using the thematic material from the first theme, the piece

modulates to B major very briefly, followed by a modulation to C minor. The piece transitions

while in the key of C minor, and in measure 261 more material from the first theme is utilized. In

the bass a rhythmically driving pattern similar to the bass in the first theme of the exposition is

used with a more grandiose line over the top of it. The harmonic progression changes from the
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first theme, but the function of the harmonies is similar. In addition to this use of material, the

modulation to C major in measure 262 brings the material to the original key, strengthening the

relationship between this material and the original presentation.

In measure 272 the sixteenth notes in the upper voices are elaborated upon, sequencing

up by seconds in the key of C major, although accidentals are added to create leading tones up

towards the root of each harmony. The remainder of the material from the end of the sequence

through measure 284 serves as an extended cadential 6/4 that transitions into the final

presentation of the second theme. The second theme is presented in C major in 284 before the

final presentation of the first theme at measure 295, thus mirroring the themes from the order

they were initially presented. The return of the first theme at the end of the piece serves to create

an energetic ending that reminds the listener of the Allegro con brio tempo and creates a sense of

finality before the codetta in the last four measures.

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IV. Tonal Considerations

Throughout the Waldstein Piano Sonata, Beethoven uses three main relationships to

create unity in his chords and key areas. The main three relations are the use of third

relationships, fifth relationships, and parallel relationships. Each of these plays an important role

and interacts with each other on both macro and micro levels. Figure 6 (on the next page) shows

a chart with key examples of these relationships.

The most obvious variation that Beethoven takes on the sonata form in this piece is

traveling to the major third (III) relationship between the first theme and the second theme rather

than having the second theme in the dominant key. This variation on the traditional sonata form

creates a fresh sound and is balanced throughout the piece through several chord progressions.

One chord progression using third relationships is the material in measures 35 and 36 shown

previously (Ex. 1). This material showcases the concept of a deceptive resolution, which

involves moving to another tonic functioning chord other than I, which leaves iii or vi, both of

which are a third away. Both of these deceptive resolutions are used several times throughout the

piece.

The second important relationship between key areas is the use of parallel keys and chords.

Beethoven uses parallel keys often, for example in the exposition the transition after the first

theme is in E minor and using the half cadence at the end of the section as a pivot chord, the

second theme is then presented in E major. This transition crosses a large gap between tonal

areas, a difference of adding four sharps; however, because the keys are parallel and use the

same root, the distance between them is minimalized. Beethoven also uses this technique in

several
 Figure 6. Macro and Detailed bubble diagrams.
19
 20

chord progressions, a clear example of which can be seen in measures 76 through 78 (Ex.4).

Beethoven introduces a tonicization of what would be the minor v chord (E minor) in A minor,

resolving it to the major V chord (E major) instead in measure 78. This parallel relationship

creates harmonic interest and tension.

Example 4. Measures 76-78

Beethoven combined these relationships in his exposition to travel smoothly between

two tonal areas. The pieces first and second theme are a third apart, C major and E major (I--

III); however, by using the minor iii key of E minor to travel between the two (I--iii--III--iii--I),

Beethoven is able to downplay the key relation. This technique and his commitment to the using

the patterns repeatedly throughout the piece showcases his ability to add consistency throughout

his music while also exploring new key relationships.

The final relationship, which not as common as the two previously mentioned, relates

keys by fifths. Because Beethoven chose to emphasize the third and parallel relations, he

frequently did away with the traditional fifth relations, however they still show in this work. As

is common in tonal music, there is constant movement from the I chord to the V chord and back
 21

to I as it is the fundamental progression that tonality is built upon. While this is unavoidable

there are only a few fifth relations between keys, and the most important fifth relations in tonal

areas lies in the sequences throughout the piece. The sequences in the piece often utilized

descending fifths, which allowed for easy travel though related keys.
 22

V. Other Considerations

There are two final points to note, one concerning an over-sight through this analysis and

one concerning an unusual chord, its designation and its significance in this piece.

Throughout the piece there are several examples of dominant chords with ninths above

them in addition to sevenths. One such example would be the note in the top voice in measure

95. While the chord is still a V7 chord in the key of G minor, the seventh on top of the chord has

been left out of the roman numeral analysis. As a student of music theory I do not yet have the

knowledge of the typical behavior of the 9th being added on top of the triad. I assume that these

triads function in their normal fashion with an added tone color resulting from the ninth,

however, because of my perceived lack of importance of these notes I chose to ignore them in

my analysis.

Finally, a chord that deserves some attention that was hinted at in the demonstrations of

notation is the leading tone seventh common tone applied chord in measure 259. Example 5

shows this chord along with its resolution on the first beat of measure 260. This chord is very

important, as its function and identity could change the interpretation of the harmonic function in

the final modulation of the piece as it comes to rest in C major, the home key, two measures after

the appearance of this chord until the end of the piece.

Example 5. Measures 260-261

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At this point, the piece has modulated to C minor, and is only two measures before our

final key change. It is clear on the first beat of measure 260 the chord before it resolves to a G

major chord in first inversion (V6). The question then becomes what is the chord that comes

before it? The notes building the chord are a G, B, C, and another G. If respelled using the

enharmonic of D instead of C then it would form a G diminished chord. This chord would

normally resolve upwards to A as a leading tone seventh chord. A does lay in the key of C

minor as a major VI chord. However, the chords spelling combined with the fact that it does not

resolve to the VI chord, but rather immediately resolves to the V6 chord on the downbeat of 261

leaves this an unsatisfying answer.

Instead, this chord is a leading tone chord with a minor third and augmented forth that

resolve upward to a major third and fifth above the same bass not. This is further supported by

the fact that the measure preceding this chord, as it consists of the outer two G notes repeated

while the middle voices are absent, suspending the possibility of them coming from the chord

before as non-chord tones. These notes are unstable, and without preparation, want to

immediately resolve.

Because of the qualities discussed above, this chord is referred to using the language

leading tone seventh common tone applied chord, as it a leading tone seventh triad respelled

using an enharmonic that resolves to the common tone of the bass note. The common tone in this

example is the G at the bottom of the chord. Finally this chord is an applied chord because it is

not the leading tone seventh common tone of the tonic (C minor) in this key, but rather of

another note, in this case the dominant.

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References

Bekker, Paul. Beethoven. New York: AMS Press, 1971.

Burk, John N. The Life and Works of Beethoven. New York: Random House, 1943.

Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. New
York: W. W. Norton & Company, 2014.

Con brio. Dictionary.com. Collins English Dictionary - Complete & Unabridged 10th Edition.
HarperCollins Publishers. http://www.dictionary.com/browse/con-brio (accessed: April
28, 2016).

Cooper, Barry. 1977. The Evolution of the First Movement of Beethoven's 'waldstein' Sonata.
Music & Letters 58 (2). Oxford University Press: 17091.
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