The piano, invented by Cristofori around 1700, continued to evolve from the late 18th century to the mid-19th century. Ludwig van Beethoven (1770–1827) lived precisely during this transitional period of the piano, forming friendships with instrument makers from various manufacturers, offering advice, and directly influencing the instrument's evolution. Furthermore, by engaging with the latest pianos of his time, he sometimes drew compositional inspiration directly from the instruments.

In 1803, a piano was presented to Beethoven by the Érard company. This was a modern English-style fortepiano with a range of five and a half octaves, from F1 to c4, and equipped with four foot pedals (the Viennese-style fortepianos Beethoven had used until then still had dampers operated by knee levers). Inspired by this piano, masterpieces among his middle-period piano sonatas, such as the “Waldstein” and “Appassionata”, were created.

The “Waldstein” Sonata originally featured an Andante of about 10 minutes as its second movement, but this was later replaced by a short Adagio titled “Introduzione” (the original Andante was subsequently published as an independent piece titled “Andante favori in F major,” WoO 57). The composition took place from 1803 to 1804, and it was published in 1805.[1]

First Movement

Allegro con brio, 4/4 time, C major

Sonata form. It begins with powerful, life-affirming repeated chords on the same note. An unexpected modulation to B-flat major, a major second below, creates a sensation of falling into a chasm, but it quickly returns to C minor. From measure 14, a clear, tremolo-like texture emerges, ascending a major second to D minor. The transition section further progresses a major second higher to E minor, and the chorale-like second theme is presented in E major. Although this is a major third above the first theme's key (a distant key), a skillful transition makes it feel seamless, enveloping the listener in a sense of celestial bliss. The first theme is developed, and from measure 112, layers of harmonic color blur the melodic contours; as the bass stirs like mist drifting in a valley, a sparkling cascade of notes from the right hand bursts forth, leading to the recapitulation. The recapitulation of the second theme is in A major, a minor third below the tonic, demonstrating a thorough structural design based on third relationships. The coda repeats unexpected modulations and striking sf (sforzando) accents, concluding with the third appearance of the second and first themes.

Second Movement

Introduzione. Adagio molto, 6/8 time, F major

A dreamlike introduction, as if rising from an abyss. From measure 10, a rich melody, evocative of low strings, flows forth, while contrapuntal fragments of scales, reminiscent of wind instruments, are superimposed. From measure 17, the introduction is recapitulated, but interjections appear where rests once were, as if an inner voice has spontaneously overflowed. It continues seamlessly and uninterruptedly towards the Rondo of the next movement, with light breaking through on the final G. This G, serving as the dominant, leads without interruption into the final movement.

Third Movement

Rondo. Allegretto moderato - Prestissimo, 2/4 time, C major

Rondo-sonata form. The right hand plays arpeggios like sounds flowing from a spring, while the crossing left hand sings a primal, earthy melody. The main theme section is marked to sustain the pedal for a long duration, creating a striking contrast with other sections where the pedal is not used. Transitions based on the theme's motif are also played with an ethereal sound created by the pedal, and at measure 113, the theme returns with heightened joy. It darkens to C minor, becoming the second episode, where waves of triplets intertwine, and the theme is developed heroically. After an ethereal texture of arpeggios is woven pp, the view suddenly opens, and the theme appears with a moving ff. It culminates in a joyful third episode (from measure 345), after which a mystical stillness briefly descends like a fleeting moment, leading to the coda. It concludes brilliantly, employing virtuosic techniques such as octave glissandos (on modern pianos, due to heavier keys, these may also be played as scales divided between both hands*) and trills while playing the melody. 

*Example of the author's fingering.

[1]Beethoven, Ludwig van. Klaviersonaten. Edited by Norbert Gertsch & Murray Perahia. Fingering by Perahia. München: Henle, 2012.