Schubert's last sonatas

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of a musical conflict from which all the ensuing music will derive. The first movement, beginning and ending in the sonata's home key, confronts this key with a contrasting tonality or tonal stratum. This dichotomous tonal design is also manifested in both third and final movements, whose openings are variants of the first movement's opening. Moreover, the contrasting tonality becomes the main key of the second movement, thus increasing the harmonic tension in the middle of the sonata, while projecting the first movement's tonal design (home key – contrasting tonality – home key) on the sonata as a whole. In the first half of each sonata, the musical material in the contrasting tonality is presented in sharp conflict with the material in the home key – in each appearance boldly detached from its surroundings. However, in the third movements and especially in the finales, this contrasting tonal realm is gradually integrated into its environment, bringing a sense of unity and resolution to the tonal conflict which was presented at the beginning of the sonata. Fisk goes further to interpret the dramatic musical scheme manifested in the tonal design of the sonatas, as the basis of a unique psychological narrative (

2358:, who unraveled this unique borrowing of a Beethovenian structure in Schubert's A major Sonata, has also referred to Schubert's departure from the former's style in this instance: "Schubert moves with great ease within the form which Beethoven created. He has, however, considerably loosened what held it together, and stretched its ligaments unmercifully... the correspondence of part to whole has been considerably altered by Schubert, and explains why his large movements often seem so long, since they are being produced with forms originally intended for shorter pieces. Some of the excitement naturally goes out of these forms when they are so extended, but this is even a condition of the unforced melodic flow of Schubert's music". Rosen adds, however, that "with the finale of the A major Sonata Schubert produced a work that is unquestionably greater than its model". 1650:, were also modified. In the opening movement of the A major Sonata, the transition was originally written a fourth higher; as it appears, only after figuring out the recapitulation, did Schubert decide to transpose the transition in the exposition in accordance with the recapitulation's harmonic scheme, thus creating the more Classical type transition that establishes V of V, found in no other opening movement in late Schubert. In the analogous place in the finale of the same sonata, Schubert started writing the transition but eventually discarded it and started again, once he realized he was still in the tonic, rather than establishing the dominant. These examples demonstrate the weakening of the tonic-dominant axis in Schubert's harmonic thinking and his general "aversion to the dominant". 2304:

Schubert's borrowing from Beethoven, "he evokes the memory of Beethoven and the classical style, but is no docile follower", as Alfred Brendel points out. "On the contrary, his familiarity with Beethoven's works taught him to be different... Schubert relates to Beethoven, he reacts to him, but he follows him hardly at all. Similarities of motif, texture or formal pattern never obscure Schubert's own voice. Models are concealed, transformed, surpassed". A good example of Schubert's departure from Beethoven's line can be found in his most overt quotation of Beethoven – the opening of the Sonata in C minor. Once Schubert's theme has reached A

2450:; the orchestral unison texture, abundant in the preceding sonatas, has disappeared. The harmonic language has also changed: more distant key relationships are explored, longer modulatory excursions, more major/minor shifts of mode, and more chromatic and diverse harmonic progressions and modulations, using elements such as the diminished seventh chord. In general, the last sonatas seem to enact a return to an earlier, more individual and intimate Schubertian style, here combined with the compositional craftsmanship of Schubert's later works. 1689:. Moreover, each of the sonatas contains a complex network of inner harmonic and motivic connections linking together all movements, and passages from one movement often reappear, usually transformed, in later movements. Most of these connections are too subtle to be detected during casual listening. In some cases, however, Schubert quotes a theme or passage from an earlier movement with little alteration, inserting it in structurally significant locations, creating an immediately audible allusion. Such explicit connections are related to the 1370: 1284: 1212: 1097: 987: 923: 803: 680: 2200: 2533:

the recapitulation with little alteration. This has led some musicians to omit the exposition repeat when performing these movements. In the last two sonatas, however, unlike other movements, the first ending of the exposition contains several additional bars of music, leading back to the movement's opening. When performing the movement without the repeat, the music in these bars is totally omitted from the performance, as it does not appear in the second ending. Furthermore, in the B

1995:(A Winter's Journey) song cycle. Numerous connections between different songs from the cycle and the sonatas, especially the C minor Sonata, have been mentioned. For example: in the C minor Sonata, the first movement's development section recalls the songs "Erstarrung" and "Der Lindenbaum"; the second movement and the finale recall the songs "Das Wirtshaus", "Gefror'ne Tränen", "Gute Nacht", "Auf dem Flusse", "Der Wegweiser", and "Einsamkeit". These allusions to 2191:); this is usually ascribed to the relaxed, meditative character which dominates the two opening movements. Death scenes are also associated, somewhat more explicitly, with the more tragic C minor Sonata; Charles Fisk, for example, mentions ghosts and a 'dance of death', in the outer movements. However, when judging from a biographical point of view, the notion that Schubert felt his imminent death at the time of composing the last sonatas is questionable. 1892: 2066: 2433:. During the following decades, the sonatas, and especially the final trilogy, received growing attention, and by the end of the century, came to be regarded as essential members of the classical piano repertoire, frequently appearing on concert programs, studio recordings, and musicological writings. Some late twentieth century scholars have even argued that Schubert's last sonatas should rank together with Beethoven's most mature sonatas. 2156:

deepened in the ensuing slow movements. Once these contrasts are resolved at the finale, by intensive musical integration and the gradual transition from one tonality to the next, a sense of reconciliation, of acceptance and homecoming, is invoked. Fisk's hypothetical narrative is grounded on the basis of the ample cyclic connections within the sonatas and their unique tonal design, as well as their musical similarities to songs such as

2519: 1701: 1136: 719: 360: 169: 20: 311:, and in a conventionally related key (relative major, subdominant, and parallel minor respectively). They are based on their sonata's first movements, with a similar tonal scheme and/or motivic reference. The B section of each piece features tonalities serving important dramatic functions in previous movements. Each features animated, playful figurations for the right hand and abrupt changes in register. 941: 5790: 1301: 89:, Schubert gave a public concert of his own works, which was a great success and earned him a considerable profit. In addition, two new German publishers took an interest in his works, leading to a short period of financial well-being. However, by the time the summer months arrived, Schubert was again short of money and had to cancel some journeys he had previously planned. 753:(E) for the second theme, even preparing the latter tonality with its own V – the only first movement to do so in the mature Schubert. Despite this traditional approach, both exposition themes are built in an innovative ternary form, and in each resulting 'B' section a highly chromatic development-like section based on the exposition's second phrase modulates through the 1387: 2442:

within expositions, and the lengthening of the development section proper. Texturally, the orchestral grandeur of the middle-period sonatas gives way to a more intimate writing that resembles a string ensemble. New textures appear in the last sonatas – scale-like melodic elements, free counterpoint, free fantasia, and simple accompanimental patterns such as

2172:– My Dream). Fisk suggests that the sonatas convey Schubert's own feelings of loneliness and alienation; by their striving towards musical and tonal integration, the writing of these works offered Schubert a release from his emotional distress, particularly deepened after finishing the composition of the lonely, depressive and hopeless songs of 1005: 1229: 1114: 2385:

from page to page as if without end, never in doubt as to how to continue, always musical and singable, interrupted here and there by stirrings of some vehemence which, however, are rapidly stilled". Schumann's criticism seems to fit the general negative attitude maintained towards these works during the nineteenth century.

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Beethoven's sonatas), such a program may prove exhausting to some listeners. One of the solutions to this problem is to shorten the program by omitting repeats, mainly those of the opening movements' expositions (however, this practice is highly disputed, as noted above). The pioneers of the Schubert sonata performance,

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neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.

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Several key issues are routinely raised by musicians and music scholars, when discussing the performance of Schubert's compositions for piano. These discussions also concern the last piano sonatas. For most of these issues, no general agreement has been reached; for example, to what extent should the

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A striking feature of many of these alleged borrowings from Beethoven is that they retain, in their borrowed state, the same structural position they had in Beethoven's original design – they appear in the same movements, at the same structural points. However, despite all this evidence in support of

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Harmonic manipulations of this kind create a sense of standstill, of arrest of time and motion; they often suggest a feeling of detachment, of entering a new dimension, independent of the preceding material, such as the realm of dreams and memories (if the preceding material is conceived as reality);

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Besides the internal references that they often make to earlier passages within them, Schubert's last sonatas contain distinct allusions and resemblances to some of his previous works, mostly earlier piano works, as well as many of his songs. Important similarities also exist between certain passages

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The contrasting strata are: in the C minor Sonata – A-flat major–D-flat major; in the A major Sonata – C major–F major, complemented in the slow movement with an additional tonal stratum – F-sharp minor–C-sharp minor; in the B-flat major sonata – G-flat major–D-flat major/F-sharp minor–C-sharp minor

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Some Schubert performers tend to play the entire trilogy of the last sonatas in a single recital, thereby stressing their interrelatedness, and suggesting that they form a single, complete cycle. However, since each of these sonatas is rather long (as compared, for instance, with most of Mozart's or

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The issue of repeat signs has been debated particularly in the context of the opening movements of the two last sonatas. Here, as in many of Schubert's sonata form movements, a repeat sign is written for an exceedingly long exposition, while the material of the exposition is repeated a third time in

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As mentioned above, Schubert's last sonatas have long been historically neglected, dismissed as inferior in style to Beethoven's piano sonatas. However, the negative view has changed during the late twentieth century, and today these works are usually praised for their conveying of an idiosyncratic,

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Sonatas), or self-assertion (in the C minor Sonata). Discrete tonalities or tonal strata, appearing in complete musical segregation from one another at the beginning of each sonata, suggest contrasting psychological states, such as reality and dream, home and exile, etc.; these conflicts are further

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In contrast to the previous sonatas, here the development section elaborates on several different themes from the exposition. It reaches a dramatic climax in D minor, in which the first theme is presented, fluctuating between D minor and the home key, in a manner similar to the parallel passage from

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minor a grace-note melody identical in contour to a figure from the theme of the Andantino (2–1–7–1–3–1), before modulating back to the movement's tonic. C major returns in the concluding A section, this time more tonally integrated into its A-major surroundings, by modulatory sequences. The ternary

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minor, in ABA form. The A section presents a sparse, lamenting, poignant melody, full of sighing gestures (portrayed by descending seconds). This theme, despite its vastly different character, references the opening bars of the Allegro, an aforementioned source of much of the sonata's material – the

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Charles Fisk, also a pianist and music scholar, has described another cyclic element in Schubert's last sonatas – a unifying tonal design, which follows a similar, basic dramatic scheme in each of the three works. According to Fisk, each sonata presents, at its very beginning, the generative kernel

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minor at points of structural significance. The appearance of these keys throughout the different sonatas is noteworthy as a binding harmonic geography across the trilogy, especially since many of such tonal intrusions would make little sense within the harmonic context of each individual sonata on

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version of itself in the parallel major. This third theme is highly similar in rhythm and melodic contour as well as left-hand pattern to the tarantella of the C minor sonata, which may not be a coincidence when considering the overall high level of cyclic connection between the sonatas. This theme

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The finale has the same structure as that of the previous sonata. Many elements of this movement imply large-scale resolution of harmonic and thematic conflicts established earlier in this and even the two previous sonatas. The main rondo theme opens with an 'empty' octave on G, which resolves to C

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of 1817. Charles Fisk has pointed out that this theme would make musical sense as a response subsequent to the questioning leading tone that closes the Allegro's opening fanfare; in this capacity the Rondo's lyricism is the dramatically delayed final goal of the sonata. The second thematic group is

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with a new theme, derived from the last bars of the exposition. Later on, additional material from the exposition is developed, gradually building up towards a climax. The recapitulation is also written in three keys; the first theme is drastically shortened, and this time the second theme veers to

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The sonatas have been performed and recorded by numerous pianists. Many, especially the devoted Schubert performers, have recorded the entire sonata trilogy (and often all of Schubert's sonatas or his entire piano repertoire altogether). Others have sufficed with only one or two of the sonatas. Of

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in 1838, upon their publication. He seems to have been largely disappointed by the sonatas, criticizing their "much greater simplicity of invention" and Schubert's "voluntary renunciation of shining novelty, where he usually sets himself such high standards", and claiming the sonatas "ripple along

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minor – "the most tonally remote inner movement in Schubert's mature instrumental works in sonata form". In the main section, a somber melody is presented over a relentless rocking rhythm in a texture swimming in pedal. The central section is written in A major and presents a choral melody over an

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collection (D. 957 and D. 965A), among others. The final sonata was completed on September 26, and two days later, Schubert played from the sonata trilogy at an evening gathering in Vienna. In a letter to Probst (one of his publishers), dated October 2, 1828, Schubert mentioned the sonatas amongst

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appeared. At this stage he moved from the Vienna home of his friend Franz von Schober to his brother Ferdinand's house in the suburbs, following the advice of his doctor; unfortunately, this may have actually worsened his condition. However, up until the last weeks of his life in November 1828, he

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Schubert's piano sonatas seem to have been mostly neglected during the entire nineteenth century, often dismissed for being too long, lacking in formal coherence, being un-pianistic, etc. However, references to the last sonatas can be found among two nineteenth-century Romantic composers who took

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Extramusical connotations of this kind have sometimes been used as a basis for the construction of a psychological or biographical narrative, attempting to interpret the musical program behind Schubert's last sonatas. Charles Fisk has suggested that the sonatas portray a protagonist going through

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and repeated chords, in the tonally remote or oscillating passages; and the allusion to previously stated material, which appeared earlier in the piece, in tonally detached passages. Schubert's frequent use of similar harmonic, textural and cyclical devices in his settings of poems depicting such

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The A section of the scherzo uses a playful leaping rolled chord figure that is rhythmically and harmonically reminiscent of the opening bars of the sonata. The B section is dominated by the juxtaposition of two distant tonal realms. It commences in C major for a rollicking theme that is abruptly

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major, ABABA form. Nostalgic in its traditional Classical character (one of the few instrumental Adagios Schubert wrote), the opening theme of this movement is an elegant, touching melody that eventually undergoes remarkable tonal and cadential treatment, undermining the peaceful setting. Charles

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The finale is in moderate or fast tempo and in sonata or rondo-sonata form. The themes of the finales are characterized by long passages of melody accompanied by relentless flowing rhythms. The exposition has no repeat written in. The development section is more ordinary in style than that of the

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Schubert's last sonatas mark a distinct change of compositional style from his earlier piano sonatas, with several important differences. The typical movement length has increased, due to the use of long, lyrical, fully rounded-off, ternary-form themes, the insertion of development-like passages

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In the coda, the main theme returns fragmented, with full bar pauses, which lead each time to unexpected changes of key. This is followed by an agitated Presto section, based on the final bars of the main theme, and the sonata concludes with a bold evocation of its very opening measures, with an

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up, further cementing the importance of the ascending minor second in the sonata as a whole. The focal plagal progression returns transformed at the end of the movement, with even subtler chromatic coloration and more distant modulations, touching on C major, before the piece finally ends in the

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Certain features of Schubert's last sonatas have been mentioned as unique among his entire output, or even that of his period. Here one can mention the profound level of cyclic integration (especially the cancrizans which "parenthesize" the A major Sonata); fantasia-like writing with a harmonic

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minor, which closely recalls a parallel passage at the climax of the preceding movement. This is followed in the scherzo by a dance theme whose melody is derived from the Andantino's opening melody. This unique moment is one of the most explicit, audible cyclic references in the sonata trilogy.

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Schubert's three last sonatas have many structural features in common. D. 958 can be considered the odd one of the group, with several differences from the remarkably similar structure of D. 959 and D. 960. First, it is in a minor key, and this is the primary departure that determines its other

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Tonal detachment of passages or complete movements from their home-key surroundings. These passages are often introduced by sudden, "magical" harmonic shifts that closely juxtapose the home key (or a closely related key such as the dominant) with the new, distant tonality. Two examples of this

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In addition to the differences mentioned above, numerous other, local modifications of the structure, harmony or texture were applied to the original material. In these modifications, certain uniquely 'daring' original progressions were occasionally toned down, whereas in other places, the new

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A thorough study of the emendations that Schubert edited into the final versions, in comparison with his sketches, reveals many insights. "Examination of Schubert's sketches for the sonatas reveals him as highly self-critical; moreover, it shows that the 'heavenly lengths' of the sonatas were

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song cycle; these connections point to turbulent emotions expressed in the sonatas, often understood as highly personal and autobiographical. Indeed, some researchers have suggested specific psychological narratives for the sonatas, based on historical evidence concerning the composer's life.

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The development proper is based on a scalar variation of the second theme heard at the end of the exposition. Here, in contrast to the striking modulatory excursions nested in the exposition, the tonal plan is static, shifting constantly between C major and B major (later B minor). After the

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958, 959 and 960, are his last major compositions for solo piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert's piano sonatas, they were mostly

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collection), composed during the period of the sketching of the last sonatas, also portray a deep sense of alienation and bear important similarities with specific moments in the sonatas. These include the songs "Der Atlas" (which recalls the opening of the C minor Sonata), "Ihr Bild" (the

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Robert Winter, "Paper Studies and the Future of Schubert Research", pp. 252–3; M. J. E. Brown, "Drafting the Masterpiece", pp. 21–28; Richard Kramer, "Posthumous Schubert"; Alfred Brendel, "Schubert's Last Sonatas", p. 78; M. J. E. Brown, "Towards an Edition of the Pianoforte Sonatas", p.

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arpeggios punctuated by light chords outlining a chromatic ascent. These highly contrasting phrases provide the motivic material for much of the sonata. The second theme is a lyrical melody written in four-part harmony. The exposition follows standard classical practice by modulating from

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Another important cyclic element in the A major Sonata is the subtle similarities and connections that exist between each movement's ending and the following movement's opening; the connection between the opening and ending of the sonata as a whole, is even bolder: the sonata ends in a

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But perhaps the best example of Schubert's departure from the style of his idol is the finale of the A major Sonata. Although starting from themes of equal length, Schubert's movement is much longer than Beethoven's. The added length comes from the episodes within the rondo structure:

1915:, in accordance with the cyclical scheme of the sonata. Another allusion to an earlier piano work appears in the middle of the sonata's slow movement: after the climax in the middle section of the Andantino, appears a passage (bars 147–158) that closely recalls bars 35–39 from the 218:

However, these differences are relative and are significant only in comparison to the extreme similarity of D. 959 and D. 960. Those two are similar to the extent that they can be considered variations on an identical compositional template, having no major structural differences.

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personal Schubertian style, indeed quite different from Beethoven's, but holding its own virtues. In this mature style, the Classical perception of harmony and tonality, and the treatment of musical structure, are radically altered, generating a new, distinct type of sonata form.

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Numerous additional, less obvious similarities to works by Beethoven have been frequently mentioned in the literature. In these cases, the question of whether or not Schubert had actually borrowed his ideas from Beethoven is open to musicological debate. Here are some examples:

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Schubert's mature music often manipulates the listener's sense of time and forward movement. Passages creating such an effect appear frequently in the last sonatas, mainly in the first and second movements. Two harmonic devices are employed in the sonatas to create this effect:

1300: 939: 2571:, taking the opening movement at an extremely slow pace, similar tempo interpretations for this movement have been frequent. However, the majority of Schubert scholars tend to dismiss such an interpretation, arguing instead for a more flowing pace, a measured allegro. 2341:

Schubert's second theme (the B section of the rondo) indulges in a long harmonic and melodic excursion, going through the keys of the subdominant and flat submediant. Beethoven's more traditional short and simple theme merely consists of alternating tonic and dominant

940: 256:(in minor mode works). However, as often with Schubert, the harmonic scheme of the exposition involves additional, intermediate tonalities, which may be quite remote from the tonic-dominant axis and sometimes imbue certain expository passages with the character of a 1386: 1302: 297:

The second movement is slow, in a key different from the tonic, and in ABA (ternary) or ABABA form. The main sections (A and B) are contrasted in key and character, A is slow and meditative; B is more intense and animated. The movement begins and ends slowly and

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analysis has shown that they maintain a mature, individual style. The last sonatas are now praised for that mature style, manifested in unique features such as a cyclical formal and tonal design, chamber music textures, and a rare depth of emotional expression.

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a second-beat bass note 'echo' after the downbeat on A, creating an audible rhythmic affinity; additionally, the quiet close of the A theme features the fanfare's characteristic pattern of stepwise thirds in the middle voices enclosed between tonic octaves.

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struggle throughout all its four movements. Similarly, the key of A major strikingly ushers into D958's slow movement and in D960's first movement's recapitulation, second movement's middle section and briefly in the third movement; whilst the sonority of

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The emotional effect of these passages is often further enhanced by textural and/or cyclical devices, such as a sudden shift of musical texture, concomitant with the shift in tonality; the use of mechanically repetitive accompanimental patterns, such as

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a fourth up. The coda is based on the exposition's first theme. It is composed of two parts, the first quiet and attenuated, creating a sense of expectation, the second animated, dissipating the final tension in decisive, agitated motion and ending with

1497:-F resolution of the theme. After finally reaching this dominant preparation for the final time, the movement closes with an exceedingly triumphant and affirming presto section that totally resolves all dramatic conflicts in the sonata and the series. 1228: 1113: 1388: 996: 819: 1004: 2420:

The negative attitude towards Schubert's piano sonatas persisted well into the twentieth century. Only around the centennial of Schubert's death did these works begin to receive serious attention and critical acclaim, with the writings of

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on the dominant, a sudden, mysterious harmonic shift introduces the remote key of C major. This eventually turns into E major, and proceeds as before. The coda shifts to the tonic major but is still haunted by glimpses of the minor mode.

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in general is emphasized by its quotation in a climax of the finale's exposition. This diversion of the main theme's expected cadence leads to the haunted atmosphere of the B section, which is full of chromatic modulations and startling

1230: 1443:. The second theme, in ternary form, is written in the traditional key of the dominant, with a central section in D major; it consists of an extended, characteristically Schubertian stepwise melody played over an uninterrupted flow of 1115: 1536:. In the sketches, passages from different movements (or even different sonatas) sometimes appear on the same leaf; such evidence suggests that the last two sonatas were composed in parallel, at least in part. Furthermore, in the B 791:. This choice is not arbitrary – it is a final statement of the chromatically based ascending minor second motive that pervaded the movement, a motive that will be reversed into a descending minor second in the following movement. 757:, only to return to the tonic. This novel structure creates a sense of harmonic movement without actually committing to a thematic modulation, and is one of the techniques Schubert uses to achieve a sense of scale in the movement. 768:

The recapitulation is traditional – staying in the tonic, and emphasizing the tonic minor and the flat submediant (F major) as subdominant tonalities. The coda restates the first theme, this time in a much more 'hesitant' manner,

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without the melody, providing a pause in the motion. This is especially noticeable in the Adagio, minuet and finale of the C minor Sonata, the middle section of the Andantino in the A major Sonata, and the first movement of the

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major sonata, could hardly be explained as close tonal relationships; their presence is rendered consistent by their systematic reappearance throughout the trilogy. The same applies to the abrupt juxtapositions of C major and

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Schubert composed his three last sonatas in close succession. He intended to publish them together as a set, as evident by the sonatas' titles. In support of this view that the sonatas are a single unity, pianist and scholar

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has found profound musical links between the sonatas. He has argued that the sonatas complement each other in their contrasting characters and demonstrated that the entire sonata trilogy is based on the same basic group of

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Sonata, and praised his performance. In Brahms's works dating from the early 1860s, a clear Schubertian influence can be observed, in features such as closed lyrical themes, distant harmonic relationships, and use of the

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Sonata, bars 19–20 and 116–17. The tonalities depicted in these two transitions represent, according to Charles Fisk, three distinct tonal strata, conveying contrasting moods, which dominate the entire sonata (these are:

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has described the omission of the repeat in these two movements as "the amputation of a limb". Brendel, on the other hand, considers the additional bars as unimportant and prefers to omit the repeats; with regard to the

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with one tragic, minor-key work, and two major-key works; both were created during an astoundingly short period of time; and both creating a culmination of the composer's lifetime achievement in their respective genres.

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The development section opens with an abrupt turn into a new tonal area. A new theme, based on a melodic fragment from the second thematic group of the exposition, is presented in this section over recurrent rhythmic

2623:. These editions have, however, occasionally received some criticism for the wrong interpretation or notation of Schubert's intentions, on issues such as deciphering the correct pitches from the manuscript, notating 2557:, which is of special relevance in Schubert's major instrumental works, particularly in the opening movements. Schubert often notated his opening movements with moderate tempo indications, the extreme case being the 328:

The recapitulation closely resembles the exposition, with the minimal harmonic changes needed to end the section in the tonic: the first theme returns in a shortened version; the second theme returns unaltered, only

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Kramer, "Posthumous Schubert"; Brendel, "Schubert's Last Sonatas", p. 78; M. J. E. Brown, "Towards an Edition of the Pianoforte Sonatas", p. 215. The exact publication year (1838 or 1839) varies among the sources

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major interlude – an evasion of the opening material's harmonic goal, the main generative thematic material for the entire sonata will arise. In this way, what had initially appeared to be a mere note-to-note

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Sonata bear striking similarities in their main sections: both employ the same unique textural layout, in which two-three voices sing long notes in the middle register, accompanied by the contrasted, short

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The last year of Schubert's life was marked by growing public acclaim for the composer's works, but also by the gradual deterioration of his health. On March 26, 1828, together with other musicians in

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Sonata), and without it (in the A major Sonata); and the creation of tonal stasis by oscillating between two contrasting tonalities (in the development sections of the opening movements of the A and B

4233:, p. 143; Howat, "Architecture as Drama in Late Schubert", pp. 187–8; Howat, "What Do We Perform?", p. 16; Schiff, "Schubert's Piano Sonatas", pp. 195–6. For a different opinion, see Newbould, 1934:

of 1822. The harmonic scheme inherent in each of Schubert's last sonatas, according to Charles Fisk, of a tonal conflict gradually resolved through musical integration, finds its precedent in the

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The compositional process of the last sonatas can be studied owing to the almost complete survival of their manuscripts. According to these, the sonatas were written in two stages – a preliminary

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See Brendel, "Schubert's Piano Sonatas, 1822–1828", pp. 71–73; Schiff, "Schubert's Piano Sonatas", pp. 195–6; Howat, "What Do We Perform?", p. 16; Howat, "Reading between the Lines"; Montgomery,

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major, which finally becomes established in a climactic reference to the Adagio's characteristic plagal cadence. The second theme, proceeding with the enharmonic parallel minor of this cadence (C

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minor scale without any modulatory preparation, in a striking cyclic reference to the climax of the preceding movement's middle section. Following this outburst, the B section quietly ends in C

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In the coda, the main theme is fragmented in a manner also similar to the finale of the previous sonata; in a highly chromatic and unstable progression, the octave on G here descends through G

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András Schiff, "Schubert's Piano Sonatas", p. 191. For examples of the negative attitude towards Schubert's sonatas, see Arnold Whittall, "The Sonata Crisis: Schubert in 1828"; Ludwig Misch,

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Sonata's opening movement, the new theme first presented in this section, undergoes a transformation (in bars 159–160) to become an almost literal quotation of the song's piano introduction.

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The development section is highly chromatic and is texturally and melodically distinct from the exposition. The recapitulation is once again traditional, staying in the tonic and stressing

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of the third sonata the date September 26. As compared to the sketches, the final versions are written much more neatly and orderly, with full notation and greater care for small details.

2550:

sonata, he further claims that the transitional bars are too unconnected to the rest of the movement, and believes that their omission actually contributes to the coherence of the piece.

765:

has the unconventional role of only shifting to the major mode to prepare the recapitulation, rather than fully preparing the tonic key (which in this case has already been established).

2310:– the highest note in Beethoven's theme – instead of the original, witty cadence in the tonic, Schubert's theme continues to ascend to higher pitches, culminating fortissimo on another A 5195: 1989:

Another composition from the song genre, also mentioned by Fisk and others as intimately related to the last sonatas and also depicting a feeling of wandering and homelessness, is the

4198:

Brendel, "Schubert's Last Sonatas", pp. 80–84; Schiff, "Schubert's Piano Sonatas", p. 197; Walter Frisch and Alfred Brendel, "'Schubert's Last Sonatas': An Exchange"; Edward T. Cone,

2637:) is the most famous and most often recorded. The following is an incomplete list of pianists who have made notable commercial recordings of the sonata trilogy, in full or in part: 2219:

musical and structural ideas from the works of Beethoven, to combine them into his own compositions. There are two outstanding examples for this practice in the last piano sonatas:

5226: 5073: 2388:

Brahms's attitude towards the last sonatas was different. Brahms found special interest in Schubert's piano sonatas, and expressed his wish to "study them in depth". In her diary,

605:

minor), further develops the cadence in its alternation of tonic and subdominant tonalities. After a series of modulations, the exposition ends in the traditional relative major, E

2289:; in the latter case, both passages are similarly modified in the recapitulations. The opening of the sonata's finale, in turn, recalls the opening of the finale from Beethoven's 104:

Schubert probably began sketching the sonatas sometime around the spring months of 1828; the final versions were written in September. These months also saw the appearance of the

4995:

Drei grosse Sonaten fur das Pianoforte, D958, D959 und D960 (Frühe Fassungen). Faksimile nach den Autographen in der Wiener Stadt- und Landesbibliothek, Nachwort von Ernst Hilmar

156:(like Schubert himself). However, by the time the sonatas were published in 1839, Hummel was dead, and Diabelli, the new publisher, decided to dedicate them instead to composer 2885:: Gert Hecher (Joseph Brodmann, Vienna, c. 1810), Gerrit Zitterbart (Nannette Streicher und Sohn, 1829), Ayako Ito (Chris Clarke, 2000, after Conrad Graf, 1826), Kikuko Ogura ( 5820: 870:

chords. The chromaticism, triplet emphasis, and modulatory patterns of this section are all reminiscent of the developments nested within the Allegro's exposition. After the C

5604: 3292:

The sketches are held in the City Library of Vienna; the final versions are in a private collection (M. J. E. Brown, "Towards an Edition of the Pianoforte Sonatas", p. 215).

5497: 5142: 5119: 1976:

minor stratum portray a sense of alienation, of wandering and homelessness, according to Fisk. The allusion to the song "Der Wanderer" becomes fully explicit when, in the

96:

since 1822–23, and suffered from weakness, headaches and dizziness. However, he seems to have led a relatively normal life until September 1828, when new symptoms such as

510:

tonic, the theme now weakened and given an illusory quality due to the evasion of cadences, free modulation, and tendency toward digression into troubled minor passages.

2539:

sonata, these added bars contain strikingly novel material, which does not appear anywhere else in the piece, and is radically different from the second ending. Pianist

1470:

The development section, based entirely on the rhythmic pattern of the main rondo theme, is characterised by juxtaposed eighth notes and triplets, reaching a climax on C

395:

major, established by a rushing downward scale initiated by the final achievement of this key in the ascending voice of the minor theme. The exposition shifts from the

444:, the lowered second degree – in the first theme). The coda returns to the material of the development section but with stable tonality, dying out in a dark series of 5594: 46:

One of the reasons for the long period of neglect of Schubert's piano sonatas seems to be their dismissal as structurally and dramatically inferior to the sonatas of

1545:

The final versions of the sonatas convey the impression of a single unit and were likely notated in close succession during September 1828. The sonatas were labeled

975:

form trio in D major uses hand crossing to add melodic accompaniment to the chordal theme, and is rhythmically and harmonically based on the opening of the Allegro.

2057:

rhythm, convey an atmosphere of complete stillness, of arrest of all motion and time. String quintet textures also appear elsewhere, throughout the sonata trilogy.

5632: 1451:(5–8–7–6–6–5–(5–4–4–3)) of the remarkable C-major modulation in the final A section of the second movement, implying further connotations of conflict resolution. 1326:

proper cadences not in the tonic or dominant but in the subdominant. The second, B part, continues to modulate by ascending fourths, until it reaches the key of D

1267:

major, the sonata's home key. The main section returns with a variant of the original accompanying rhythm. This time, the tonal scheme is more unusual: after a

2511:

be used, how to combine triplets with dotted rhythms, whether to allow tempo fluctuations within the course of a single movement, and whether to observe each

1627:

Some of the major cyclic elements in the sonatas were only added in the final version. This includes the final bars of the A major Sonata, which consist of a

5186: 773:

and with further allusions to subdominant tonalities. The movement ends with serene arpeggios; however, for the penultimate chord, Schubert chose a striking

518:

The third movement is somber, quite distinct from the typical atmosphere of dance movements. It is relatively conservative in its key scheme, moving to the

187:

set in the major. Its opening Allegro is considerably more concise than those of the other two sonatas and does not make use of the expansive time-dilating

1584:

The most frequent modification is expansion of the original material. The expansions frequently repeat preceding measures or consist of rests or left-hand

2136:

some tonally detached passages may convey a feeling of an alienated, inhospitable environment, an exile (if the preceding material is conceived as home).

1928:

One important, unique work for solo piano written by Schubert stands apart from his sonatas yet is closely related to them in its concept and style: the

593:, a recurrent element in Schubert's style. The first theme shifts from C minor to C major – another Schubertian feature, and contains many allusions to D 2125:

Creation of tonal stasis by rapid oscillation between two contrasting tonalities. Such a device appears in the development sections of the A major and B

1542:

Sonata, Schubert sketched the finale before completing the first movement, unlike his usual practice, in which finales were conceived at a later stage.

536:. The second A section is a transformation of the first, interrupted every four bars by a silent bar, creating a mysterious atmosphere. The trio is in A 5505: 3305:, pp. 230–1, 258; Robert Winter, "Paper Studies and the Future of Schubert Research", pp. 252–3; M. J. E. Brown, "Drafting the Masterpiece", pp. 21–28. 129:

other works he had recently completed and wished to publish. However, Probst was not interested in the sonatas, and by November 19, Schubert was dead.

5533: 5524: 5215: 1174:

minor at the start of the second theme. After a colorful harmonic excursion, the third tonal area arrives in the traditional dominant key (F major).

2254:

in the A major Sonata, bars 200–206 from the end of the development section in the finale recall bars 51–55 from the first movement of Beethoven's

2333:

of Beethoven has eventually given way to a radically different continuation, one which invokes Schubert's own, idiosyncratic compositional style.

5765: 5666: 5387: 5339: 183:

differences from its companions. Accordingly, the major/minor scheme is alternated, with main material being minor, and digressions and the slow

3987:

Robert Schumann, "Schubert's Grand Duo and Three Last Sonatas"; the translation cited here appears in Brendel, "Schubert's Last Sonatas", p. 78.

1895:

The finale of the A major Sonata uses as its main theme, a transformation and transposition of an earlier theme from the second movement of the

585:

style and is characterised by a relentless galloping rhythm calling on demanding pianistic effects with frequent hand-crossing and leaps across

5324: 5309: 5274: 4915: 640:, and then reintroduces the first theme, restoring most of the music omitted from its reprise. This last passage is characterized by sweeping 5756: 195:

passages that so strongly characterize the other two opening movements. Furthermore, its slow movement follows an ABABA form instead of the

50:. In fact, the last sonatas contain distinct allusions and similarities to works by Beethoven, a composer Schubert venerated. Nevertheless, 1871:(major or minor) prominently infiltrates the very final cadence of D959's first movement and the recapitulation of D958's fourth movement. 226:

and tonal relationships to weave musical-narrative ideas through the work. Each sonata consists of four movements, in the following order:

4289: 3723:, pp. 360–4; Rosen, "Schubert's Inflections of Classical Form", pp. 90–92; Rosen, "Schubert and the Example of Mozart", pp. 19–20; Fisk, 2567:

piano sonata. The latter movement in particular, has been interpreted in vastly different speeds. Ever since the famous performances by

5691: 5410: 4317: 5453: 5444: 5435: 5427: 5418: 5401: 5372: 5363: 5354: 5294: 5265: 5252: 5243: 5234: 5179: 5088: 5039: 1033: 469:

digression in the beginning of the Allegro. The unorthodox, chromatic harmonic structure of this movement is generated from a short

5810: 5551: 4632: 3740:, pp. 13–17, 237, 247; Rosen, "Schubert's Inflections of Classical Form", pp. 97–98; Burnham, "Schubert and the Sound of Memory". 3044:

McKay, pp. 291–318; Peter Gilroy Bevan, "Adversity: Schubert's Illnesses and Their Background", pp. 257–9; Woodford, pp. 136–148.

5761: 5035: 5031: 5027: 284:

with different or additional harmonic digressions; the second group returns unaltered, only transposed a fourth up. The short

5835: 4655:

Franz Schubert's Music in Performance: Compositional Ideals, Notational Intent, Historical Realities, Pedagogical Foundations

4147:, pp. 360–4; Rosen,"Schubert's Inflections of Classical Form", pp. 90–92; Rosen, "Schubert and the Example of Mozart", p. 19. 2035:" (the opening of the A major Sonata's finale), and "Pilgerweise" (the main section of the Andantino in the A major Sonata). 1730:

As regards the harmonic connections between the sonatas, all three sonatas prominently feature the keys of C major/C minor, D

1037:

written in the traditional dominant key; however, it is very long, modulating through many different subdominant tonalities.

431:

major departure. Both themes progress somewhat in the style of variations and are structured with irregular phrase lengths.

5172: 4534: 2224: 2042:

was written in September 1828, together with the final versions of the sonatas. The slow movements of the Quintet and the B

144:, who would only publish them about ten years later, in 1838 or 1839. Schubert had intended the sonatas to be dedicated to 5619: 4754: 3345:

Roy Howat, "Architecture as Drama in Late Schubert", p. 181; Roy Howat, "What Do We Perform", pp. 15–16; Carlton, p. 243.

105: 5577: 1791:

major, are featured in the second and fourth movements, respectively); however, the insistently recurring influence of C

5674: 1066:

ascending arpeggio (essentially an inversion of the descending figure from the Allegro's second phrase), followed by a

2185:

major, is a farewell work in which Schubert faces his own death (somewhat analogous to the myths surrounding Mozart's

2290: 1964:

minor "the wanderer's key"). In these two earlier works, and likewise in the last sonatas, passages written in the C

1577:

suspend time. Rests clarify the structure, allowing breathing space, holding the breath or listening into silence".

5830: 5825: 4551:

Hatten, Robert S., "Schubert The Progressive: The Role of Resonance and Gesture in the Piano Sonata in A, D. 959",

2282: 2053:

notes of the other voices, in the lower and upper registers; in both movements, the long notes over the relentless

1916: 1565:

actually a later addition, not conceived from the start. In his subsequent corrections, Schubert elaborated on his

222:

All three sonatas, most importantly, share a common dramatic arc and make considerable and identical use of cyclic

2528:

Sonata's opening movement contains nine bars of unique material, which is not repeated elsewhere within the piece.

2215:, and that Beethoven had an immense influence on Schubert's writing, especially on his late works. Schubert often 5542: 5057: 5049: 5000:

Waldbauer, Ivan F., "Recurrent Harmonic Patterns in the First Movement of Schubert's Sonata in A major, D. 959",

2255: 2231: 1779:

minor are closely related to the main key of the A major sonata (in which also the major versions of such keys, C

1911:. Schubert introduced some changes to the original melody, which make it conform better with the sonata's basic 288:

maintains the tonic key and mainly soft dynamics, achieving a resolution of the movement's conflicts and ending

5641: 5568: 4748: 2244: 2243:

in the C minor Sonata, certain passages in the first two movements resemble parallel passages from Beethoven's

3015:, pp. 203, 235–6, 267, 273–4; Fisk, "What Schubert's Last Sonata Might Hold"; Peter Pesic, "Schubert's Dream". 101:

continued to compose an extraordinary amount of music, including such masterpieces as the three last sonatas.

5559: 4954: 3176:

Rosen, "Schubert's Inflections of Classical Form", p. 91; Rosen, "Schubert and the Example of Mozart", p. 19.

2462:(in the slow movement of the A major Sonata, middle section); exploitation of the piano's ability to produce 1908: 1896: 498: 268:, with their middle section digressing to a different tonality. The themes generally do not form symmetrical 4220:

Brendel, "Schubert's Last Sonatas", pp. 80–84; Frisch and Brendel, "'Schubert's Last Sonatas': An Exchange".

4156:

James Webster, "Schubert's Sonata Forms", part I; Rosen, "Schubert's Inflections of Classical Form"; Rosen,

2380: 2168:

song cycle; and on biographical evidence concerning Schubert's life, including a story written by Schubert (

651:

decaying to piano, following the rise and fall of the melody. On the last iteration, the melody hits triple

5731: 4790: 2404: 2278: 1888:

in the sonatas and works from other genres that were composed in parallel, during the same months in 1828.

1338:

major, a further fourth upward) – first in the major mode, then in the minor, with an enharmonic shift to F

1028:

This lyrical rondo movement consists of flowing triplet movement and endless songful melody. Its form is a

2031:". Additional songs that have been mentioned in analogy to specific passages in the last sonatas include " 1032:(A–B–A–development–A–B–A–coda). The rondo's main and opening theme is taken from the slow movement of the 463:

Fisk has pointed out that the voice leading of the first phrase, 1–7–1–2–3–4–3, is based on the initial A

39: 4975:

Montgomery, David, "Modern Schubert Interpretation in the Light of the Pedagogical Sources of his Day",

4256: 5815: 5780: 3456:, "Wandering Archetypes in Schubert's Instrumental Music", p. 219–222; Chusid, "Cyclicism"; Fisk, 2859: 2833: 1184:

instead of descending to F (as in the exposition), and the second theme enters in B minor, instead of F

1425:

asserts that this theme, beginning in the ambiguous G/Cm, functions as a resolution of the troubling G

1200:, for the third tonal area. The coda once again recalls the first theme, although only fragmentarily. 303:

The third movement is a dance (a scherzo or minuet) in the tonic, in overall ABA ternary form, with a

5095: 2039: 280:, and then developed, undergoing successive transformations. The first thematic group returns in the 119: 70:. They also contain specific allusions and similarities to other Schubert compositions, such as his 66:, as well as interconnecting all three sonatas together. Consequently, they are often regarded as a 5164: 4883:

Cohn, Richard L., "As wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert",

3249: 2223:

The opening of the Sonata in C minor is "taken almost note-for-note" from the theme of Beethoven's

1178:

the previous sonata (see above). In the recapitulation, the bass line in the first theme rises to B

788: 1846:

minor in the second and third movements of the A major sonata, and in the second movement of the B

4944:

Verzeichnis der Schubert-Handschriften in der Musiksammlung der WienerStadt- und Landesbibliothek

4186:, Brendel, Cone, Frisch and Brendel, Hatten, Howat, Montgomery, Schiff, Newman, and Shawe-Taylor 3363: 3245: 2953:

Charles Fisk, "Returning Cycles", p. 203; Edward T. Cone, "Schubert's Beethoven"; Charles Rosen,

2620: 2490: 2149:

successive stages of alienation, banishment, exile, and eventual homecoming (in the A major and B

1712:

The most manifestly cyclical work of the three sonatas is the Sonata in A major. In the sonata's

1573:'s words. In the revision, Brendel continues, "proportions are rectified, details start to tell, 1520:

The sketches were written during the spring and summer of 1828, possibly even earlier. The inner

149: 2230:

The structure of the finale of the Sonata in A major is borrowed from the finale of Beethoven's

876:

minor climax (according to Fisk, a key of great importance in the cycle due to its relation to "

5794: 4927:

Schuberts letzte drei Klaviersonaten: Entehungsgeschichte, Entwurf und Reinschrift, Werkanalyse

3024: 2408: 1529: 1165: 1053: 784: 281: 4669: 4588: 4515: 4479: 4455:

Schubert's Working Methods: An Autograph Study with Particular Reference to the Piano Sonatas

4446: 2837: 1716:, a joyous passage in C major is suddenly interrupted by a fierce downward rushing scale in C 1191: 888:

outbursts emphasizing an ascending minor second leads to a serene phrase in the major mode (C

774: 330: 322: 145: 109: 5045: 4229:

Brendel, "Schubert's Last Sonatas", pp. 79–80; Clive Brown, "Schubert's Tempo Conventions";

2607:

Several highly acclaimed editions of Schubert's last sonatas are available, namely those of

425:, greatly contrasts with the first, though its melodic contour is prefigured in the sudden A 4780: 4572:

Howat, Roy, "Reading between the Lines of Tempo and Rhythm in the B-flat Sonata, D960", in

4508:

Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas

3217:

Returning Cycles: Contexts for the Interpretation of Schubert's Impromptus and Last Sonatas

2809: 2732: 2674: 2627:, discriminating between accent and decrescendo markings, and reconstructing missing bars. 2596: 2422: 2400: 2212: 1727:

of its opening, a framing device which is probably unprecedented in the sonata literature.

1476:

major, from which the bass descends in chromatic modulation eventually to G in an extended

590: 47: 2069:

Two sudden, swift changes of tonality, texture, and mood, in the opening movement of the B

1852:

major sonata, which in both cases are reminiscent echoes of the C minor sonata in its C–D

532:

major, referencing the departure to this key in the opening of the Allegro with the added

8: 4546:

A Statistical Analysis of Some Style Elements in the Solo Piano Sonatas of Franz Schubert

3440:, p. 1; Martin Chusid, "Cyclicism in Schubert's Piano Sonata in A major"; Charles Rosen, 3406: 2706: 1977: 1657:

in the finale of the A major Sonata, and the middle section in the slow movement of the B

1654: 1467:

evolves into a rhythmic segue that leads seamlessly back to the main theme of the rondo.

257: 241: 192: 4968:

Mies, Paul, "Die Entwurfe Franz Schuberts zu den letzten drei Klaviersonaten von 1828",

2785: 2028: 5002: 4894: 4885: 4872: 4804: 4795: 4678: 4623: 4607: 4486: 4383: 4322: 4294: 2863: 2793: 2724: 2717: 2678: 2670: 2568: 2145:

emotional states, only strengthens the suggestion of these psychological connotations.

1938:. Moreover, a tonal stratum which plays a unique role throughout the sonata trilogy – C 1724: 1705: 1635:

at the end of the slow movement of the same work, which anticipates the opening of the

1628: 1585: 1071: 1046:

minor with a climax characterized by a tension-building ambiguity between E major and C

904: 519: 505:

In the second appearance of the A and B sections, almost the entire music is shifted a

386: 277: 237: 188: 133: 62:

intraconnected by diverse structural, harmonic and melodic elements tying together all

4560:

Untersuchungen zur Entwicklung der Sontenform in der Instrumentalmusik Franz Schuberts

3368:

Untersuchungen zur Entwicklung der Sontenform in der Instrumentalmusik Franz Schuberts

5714: 4949: 4763: 4595: 4366: 4361: 4285: 3668: 3638:, cited in Joseph Kerman, "A Romantic Detail in Schubert's "Schwanengesang"", p. 46; 3453: 2845: 2817: 2797: 2773: 2744: 2616: 2583:, are known to have played the entire trilogy in one evening; more recently, so have 2459: 2216: 2204: 1164:

major in the central section of the main theme, and, after a return to the tonic, an

1029: 762: 470: 422: 272:, and irregular phrase lengths are prominent. The exposition ends with a repeat sign. 212: 3710:, pp. 13–17, 237, 247; Rosen, "Schubert's Inflections of Classical Form", pp. 97–98. 3158:

James Webster, "Schubert's Sonata Forms and Brahms's First Maturity", part I, p. 24.

385:

in the sonata as a whole. The most salient feature of the first theme is the sudden

5513: 5053: 4830: 4826: 4527: 4513:

Fisk, Charles, "Schubert Recollects Himself: the Piano Sonata in C minor, D. 958",

4395: 4375: 3228: 2849: 2789: 2713: 2690: 2650: 2642: 2588: 2277:

Sonata, the opening theme of the first movement recalls the opening of Beethoven's

2187: 1930: 1683: 1647: 1521: 1345: 857: 754: 750: 627:

minor, the result being that the closing section appears in the traditional tonic.

586: 415:

minor), all in accordance with Classical practice. This second theme, a hymn-like E

318: 249: 184: 63: 4730: 2867: 2694: 2540: 1332:

major. In this key, a new theme is presented, emphasizing the local subdominant (G

860:-like character, with extremely harsh modulations and sonorities, culminating in C 4920: 4811: 4770: 4740: 4496: 2979:

Martin Chusid, "Cyclicism in Schubert's Piano Sonata in A major"; Charles Rosen,

2757: 2612: 2372: 2368: 1448: 741: 734: 157: 4901: 4733:, "Schubert's Piano Sonatas: Thoughts about Interpretation and Performance", in 2281:, whereas bars 34–39 recall bars 166–169 from the first movement of Beethoven's 740:

ascent in thirds in the middle voices, followed immediately by quiet descending

5205: 5077: 5012:, "Observations on the Scherzo of Schubert's B-flat major Sonata, Op. posth.", 4860: 4802:

Webster, James, "Schubert's Sonata Form and Brahms's First Maturity", part II,

4467: 4406: 3254: 2829: 2801: 2736: 2702: 2698: 2686: 2662: 2654: 2592: 2584: 2580: 2576: 2430: 2426: 2389: 2004: 1809:

major) throughout the C minor sonata, and the even more pervasive presence of D

1694: 1678: 1570: 1506: 1422: 737: 555: 474: 406: 269: 253: 153: 141: 124: 31: 4932: 3232: 2870:(Franz Brodmann, Vienna, c. 1820), John Khouri (Joseph Böhm, Vienna, c. 1828). 2608: 2032: 5804: 4692: 4605:

Kinderman, William, "Wandering Archetypes in Schubert's Instrumental Music",

4460:

Chusid, Martin, "Cyclicism in Schubert's Piano Sonata in A major (D. 959) ",

2805: 2781: 2777: 2765: 2740: 2658: 2646: 2508: 2467: 2355: 2199: 1912: 1904: 1686: 1643: 1603: 1566: 1155: 901: 746: 396: 372: 261: 245: 223: 24: 2761: 1606:

indications, mainly in the opening movements: D.958/I was originally marked

1149:

This movement employs a three-key exposition. The first theme introduces a G

5009: 4262: 2813: 2769: 2666: 2443: 2158: 2060: 1955: 1533: 1268: 1251: 908: 877: 382: 304: 285: 265: 176: 97: 35: 2493:'s last symphonies, as unique compositional achievements: both consist of 1580:

The major emendations in the final versions can be summarized as follows:

1052:

minor and a greatly prolonged evasion of a cadence. This leads to a false

4909: 4667:

Newman, William S., "Freedom of Tempo in Schubert's Instrumental Music",

4437:

Brown, Maurice J. E., "Towards an Edition of the Pianoforte Sonatas", in

4052:

Brendel, "Schubert's Piano Sonatas, 1822–1828", p. 66; David Montgomery,

2886: 2841: 2728: 2512: 2164: 1991: 1690: 1525: 1455: 1444: 1349: 1344:

minor. This harmonic excursion eventually leads, through A major and a B

914: 731: 533: 435: 308: 233: 208: 72: 59: 4876: 4821:

Winter, Robert, "Paper Studies and the Future of Schubert Research", in

240:

consists of two or three thematic and tonal areas and, as common in the

5705: 2330: 2065: 1907:, a transformation of an earlier theme from the second movement of the 1891: 1612: 1478: 1406: 1314: 1242: 1127: 1040:

The development section, in contrast, culminates in a long passage in C

1020: 953: 881: 833: 710: 637: 582: 51: 19: 4958:, ed. Cristopher H. Gibbs (Cambridge University Press, 1997), 155–173. 4387: 1454:

After an abrupt end to the second theme and a pregnant pause, a minor

1275: 4005:

James Webster, "Schubert's Sonata Forms", part II, pp. 52, 61, 65–68.

2682: 2050: 761:

development theme is finally stated in the tonic minor, the dramatic

160:, who had praised many of Schubert's works in his critical writings. 137: 5194: 4720:, ed. Cristopher H. Gibbs (Cambridge University Press, 1998), 72–98. 4586:

Kerman, Joseph, "A Romantic Detail in Schubert's "Schwanengesang"",

2518: 148:, whom he greatly admired. Hummel was a leading pianist, a pupil of 4379: 4121:, pp. 102–3; Brendel, "Schubert's Piano Sonatas, 1822–1828", p. 65. 3374:, p. 300n; James Webster, "Schubert's Sonata Forms", part I, p. 24. 2890: 2463: 2447: 2141: 2054: 1700: 1632: 1190:

minor. The rest of the exposition is repeated without alterations,

641: 506: 196: 93: 3865:, p. 288; Cone, "Schubert's Beethoven", pp. 782–7; Charles Rosen, 3107:

See Schubert's previously mentioned letter to Probst, in Deutsch,

1135: 900:

minor) back to the A section, here somewhat transformed, with new

718: 359: 4845:

Major/Minor Relationships in Schubert's Late Piano Sonatas (1828)

4711:

Schubert the Progressive: History, Performance Practice, Analysis

4574:

Schubert the Progressive: History, Performance Practice, Analysis

3396:, p. 300n; Webster, "Schubert's Sonata Forms", part I, pp. 22–24. 3122:

Major/Minor Relationships in Schubert's Late Piano Sonatas (1828)

2926: 2624: 2494: 2378:

Schumann, the last sonatas' dedicatee, reviewed the works in his

1713: 1636: 1574: 1323: 849: 730:, heavily textured chordal fanfare emphasizing a low A pedal and 630:

The coda begins with a long anticipatory passage which stresses A

523: 445: 325:

of the exposition's first theme (or the main theme of the rondo).

200: 168: 67: 4793:, "Schubert's Sonata Form and Brahms's First Maturity", part I, 4602:, ed. Walter Frisch (University of Nebraska Press, 1986), 65–83. 2367:

serious interest in Schubert's music and were influenced by it:

1704:

The opening and closing bars of the Sonata in A major. Note the

1358:

minor, the first presentation of the tonic minor in the sonata.

483:), chromatically colored with its own minor subdominant chord (G 4716:

Rosen, Charles, "Schubert's Inflections of Classical Form", in

4398:(1990). "The Piano Works of Schubert". In R. Larry Todd (ed.). 2234:, as evident through numerous parallels in structural features. 656: 645: 204: 86: 4583:, ed. John Rink (Cambridge: Cambridge University Press, 1995). 4441:, ed. Maurice J. E. Brown (St. Martin's Press, 1966), 197–216. 4411:

Music Sounded Out: Essays, Lectures, Interviews, Afterthoughts

2207:

the theme of Beethoven's 32 Variations written in the same key

3822:

Alfred Brendel, "Schubert's Last Sonatas", p. 72; John Reed,

2554: 2455: 2211:

It is well acknowledged that Schubert was a great admirer of

1599: 1558: 1557:, respectively, and Schubert wrote at the bottom of the last 1158:

that anticipates the following harmonic events – a shift to G

4963:

Die Klaviersonaten Franz Schuberts: Form, Gattung, Aesthetik

4952:, "Schubert's Piano Music: Probing the Human Condition", in 4522:

Fisk, Charles, "What Schubert's Last Sonata Might Hold", in

2876:

Sonata in A: Stanley Hoogland (Joseph Böhm, Vienna, c. 1822)

2345:

Schubert's development section ends with a long passage in C

1431:

trill presented in the very beginning of the sonata, using G

1395: 1348:, back to the tonic and the opening section. The trio is in 1062:

major, which then modulates to begin again in the home key.

473:

that appears towards the end of the A section, leading to a

381:– this will be the first instance of a remarkable degree of 4706:(Cambridge, Massachusetts: Harvard University Press, 1995). 4416:

Brendel, Alfred, "Schubert's Piano Sonatas, 1822–1828", in

3791: 3167:

Charles Rosen, "Schubert and the Example of Mozart", p. 19.

199:

of the other two sonatas. Its third movement, instead of a

4021: 2999:, pp. 50–53, 180–203; Fisk, "Schubert Recollects Himself". 5061: 4709:

Rosen, Charles, "Schubert and the Example of Mozart", in

4565:

Howat, Roy, "Architecture as Drama in Late Schubert", in

4018:, p. 97; Schiff, "Schubert's Piano Sonatas", p. 191. 1653:

Two passages in the sonatas were radically modified: the

1569:

and expanded them, giving them more 'musical space'", in

3427:

Brendel, "Schubert's Last Sonatas", pp. 99–123, 139–141.

2061:

Extramusical connotations and suggestions of a narrative

1528:

movements were only sketched up to the beginning of the

548:

major colored by its own minor sixth and modulating to G

3215:

Krebs, Harald (Autumn 2003). "Review of Charles Fisk's

1882: 1462:, elaborating and modulating before sublimating into a 1194:

a fourth up, meaning that it returns to the home key, B

522:

and back to the tonic. In the B section, a sequence of

232:

The first movement is in moderate or fast tempo and in

4965:(Basel, London, New York: Bärenreiter, 1992) (German). 4134:, p. 21; Robert S. Hatten, "Schubert The Progressive". 3926:

Brendel, "Schubert's Last Sonatas", 1991, pp. 137–138.

3848:

Edward T. Cone, "Schubert's Beethoven", p. 780; Fisk,

3697:

Brendel, "Schubert's Piano Sonatas, 1822–1828", p. 66.

3436:

Brendel, "Schubert's Last Sonatas", pp. 99–127; Fisk,

2411:, contain specific features that resemble Schubert's B 1999:

retain the alienated, lonely atmosphere of its songs.

933:

III. Scherzo: Allegro vivace – Trio: Un poco più lento

915:

III. Scherzo: Allegro vivace – Trio: Un poco più lento

5821:

Compositions by Franz Schubert published posthumously

5778: 4434:, ed. Maurice J. E. Brown (St. Martin's Press, 1966). 4430:

Brown, Maurice J. E., "Drafting the Masterpiece", in

2966:

Brendel, "Schubert's Last Sonatas", pp. 133–5; Fisk,

2848:(fortepianos by Conrad Graf and J. M. Schweighofer), 2361: 2316:, an octave higher, tonicized as a downward rushing A 1361: 911:

that prefigure the opening of the following Scherzo.

4863:(June 1989). "Schubert's Last Three Piano Sonatas". 4743:, "Schubert's Grand Duo and Three Last Sonatas", in 4444:

Burnham, Scott, "Schubert and the Sound of Memory",

3659:, pp. 287–8; Cone, "Schubert's Beethoven", p. 786-7. 3246:"Schubert's Cry from the Beyond – The Trill of Doom" 3007: 3005: 2602: 2553:

Another performance issue pertains to the choice of

1524:

were sketched up to the final bar, while the outer,

655:

at the zenith of its register and then plunges four

542:

major, ternary form, with a B section beginning in E

5478: 5156: 5133: 5110: 4892:Cone, Edward T., "Schubert's Unfinished Business", 4318:"Paul Lewis Plays Schubert at White Light Festival" 3996:

Webster, "Schubert's Sonata Forms", part II, p. 57.

3909:Cone, "Schubert's Beethoven", pp. 780–2; Einstein, 3775:

See Maynard Solomon, "Franz Schubert's 'My Dream'".

3671:, "Wandering Archetypes", p. 216–8; Einstein, 2919:András Schiff, "Schubert's Piano Sonatas", p. 191; 1903:The finale of the A major Sonata, uses as its main 1642:Classical-type sonata-form transitions, going from 1294:

III. Scherzo: Allegro vivace con delicatezza – Trio

1276:

III. Scherzo: Allegro vivace con delicatezza – Trio

489:

minor). The importance of this progression and of D

4823:Schubert Studies: Problems of Style and Chronology 3749:Kinderman, "Schubert's Tragic Perspective"; Fisk, 2489:Schubert's last sonatas are sometimes compared to 1671: 4423:Brown, Clive, "Schubert's Tempo Conventions", in 3753:, pp. 41–44; Fisk, "Schubert Recollects Himself". 3066:M. J. E. Brown, "Drafting the Masterpiece", p. 27 3002: 2991: 2989: 978: 894:major), which in turn leads (as the dominant of F 5802: 4847:(PhD diss., Bar-Ilan University, 1996) (Hebrew). 4745:Schumann on Music: A Selection from the Writings 4364:(1963). "Schubert as Written and as Performed". 4290:"Mitsuko Uchida Plays Schubert at Carnegie Hall" 3891:Brendel, "Schubert's Last Sonatas", pp. 119–120. 2179:It is often suggested that the Last Sonata, in B 663:. An emphatic cadence then concludes the piece. 513: 375:of this passage outlines a chromatic ascent to A 4929:(Baden-Baden: Valentin Koerner, 1985) (German). 3336:Carlton, p. 265; Kramer, "Posthumous Schubert". 3270:Fisk, "What Schubert's Last Sonata Might Hold". 3184: 3182: 1693:, one of the musical forms associated with the 1261:animated accompaniment; it later touches upon B 526:is interrupted by a dramatic interpolation in A 5470: 5462: 5152: 5148: 5129: 5125: 5106: 5102: 4737:, ed. Brian Newbould (Ashgate, 1998), 191–208. 4569:, ed. Brian Newbould (Ashgate, 1998), 166–190. 3882:, p. 180; Fisk, "Schubert Recollects Himself". 2986: 2351:minor, with no parallel in Beethoven's finale. 1668:version was even bolder than its predecessor. 367:The opening is dramatic, with a fully voiced, 122:, and the songs published posthumously as the 5757:Sonatas, duos and fantasies by Franz Schubert 5180: 4912:, (Stuttgart: Philipp Reclam, 1991) (German). 3145: 3143: 2116:procedure, from the opening movement of the B 1077: 644:with violent dynamic contrasts – a series of 4630:Marston, Nicholas, "Schubert's Homecoming", 4541:36, No. 4 (1989). Retrieved 5 December 2008. 4457:(PhD diss., University of Pittsburgh, 1981). 4394: 4360: 4230: 4183: 4170: 4027: 4015: 3797: 3639: 3622: 3179: 2932: 2920: 1954:as well as the song on which it was based, " 666: 349: 4491:Franz Schubert's Letters and Other Writings 4211:Schiff, "Schubert's Piano Sonatas", p. 197. 4169:Brendel, "Schubert's Last Sonatas", p. 96; 3327:Brendel, "Schubert's Last Sonatas", p. 129. 3077:Franz Schubert's Letters and Other Writings 2944:Schiff, "Schubert's Piano Sonatas", p. 191. 2522:The first ending of the exposition in the B 856:The middle section is of an improvisatory, 317:first movement, with frequent modulations, 5187: 5173: 4761:, "Schubert as Written and as Performed", 4413:(Farrar, Straus and Giroux, 1991), 72–141. 4246:Brendel, "Schubert's Last Sonatas", p. 76. 3952:, pp. 456–8; Cone, "Schubert's Beethoven". 3140: 1447:. This second theme uses the same melodic 1415:minor, subsequently interpreted as ii in B 848:Andantino's first measure shares with the 203:, is a slightly less lively, more subdued 132:In the following year, Schubert's brother 5506:Variation No. 38 on a waltz by Diabelli, 5040:International Music Score Library Project 4997:(Tutzing: Hans Schneider, 1987) (German). 4814:, "The Sonata Crisis: Schubert in 1828", 4600:Schubert: Critical and Analytical Studies 4562:(Tutzing: Hans Schneider, 1994) (German). 4477:Cone, Edward T., "Schubert's Beethoven", 4284: 2862:after Conrad Graf, 1819), Jan Vermeulen ( 1458:chordal theme in F-minor suddenly enters 1070:full statement of the opening fanfare in 907:. The final bars of the movement feature 4986:, "Exchanging Schubert for schillings", 4633:Journal of the Royal Musical Association 4621:Kramer, Richard, "Posthumous Schubert", 4576:, ed. Brian Newbould (Ashgate), 117–137. 4535:"'Schubert's Last Sonatas': An Exchange" 2517: 2198: 2194: 2064: 1890: 1699: 1513:) and a full, mature final version (the 1500: 1203: 1134: 717: 358: 167: 80: 18: 4859: 4664:(University of California Press, 1999). 4618:(1927; rpt. Hildesheim, 1976) (German). 4616:Franz Schubert in seinen Klaviersonaten 3636:Franz Schubert in seinen Klaviersonaten 2454:daring looking forward to the style of 2203:The opening bars of the C minor Sonata 5803: 5762:List of compositions by Franz Schubert 4598:, "Schubert's Tragic Perspective", in 4579:Howat, Roy, "What Do We Perform?", in 4548:(PhD diss., Indiana University, 1965). 4315: 2021:major conflict at the opening of the B 2002:Several of Schubert's last songs (the 1437:to resolve to F major as dominant of B 5168: 4713:, ed. Brian Newbould (Ashgate), 1–20. 4427:, ed. Brian Newbould (Ashgate, 1998). 4345:Franz Schubert's Music in Performance 4054:Franz Schubert's Music in Performance 3214: 2501: 1616:time; D.959/II was originally marked 4533:Frisch, Walter, and Alfred Brendel, 4472:Musical Form and Musical Performance 4200:Musical Form and Musical Performance 3409:, "Drafting the Masterpiece", p. 27. 3149:Fisk, "Schubert Recollects Himself". 1883:Allusions to other works by Schubert 1620:; and D.960/I was originally marked 1088: 661:poco a poco diminuendo al pianissimo 27:, of Schubert at the end of his life 4955:The Cambridge Companion to Schubert 4833:(Cambridge University Press, 1982). 4718:The Cambridge Companion to Schubert 4316:Woolfe, Zachary (22 October 2012). 2392:mentioned Brahms's playing of the B 1767:its own. For example, the keys of C 962:interrupted by a downward-rushing C 614:The development section begins in C 152:, and a pioneering composer of the 13: 4852: 4676:Pesic, Peter, "Schubert's dream", 4643:(New York: Clarendon Press, 1997). 4418:Musical Thoughts and Afterthoughts 3486:Brendel, "Schubert's Last Sonatas" 2873:Sonata in C minor: Aurelia Vişovan 2362:Reception, criticism and influence 1950:minor, is also precedented in the 1380:IV. Allegro ma non troppo – Presto 1368: 1362:IV. Allegro ma non troppo – Presto 1282: 1210: 1095: 985: 921: 801: 678: 92:Schubert had been struggling with 14: 5847: 5692:Sonata in A major "(Grand) Duo", 5021: 4773:, "Franz Schubert's 'My Dream'", 4727:, revised edition (Norton, 1988). 3900:Marston, "Schubert's Homecoming". 2631:the three sonatas, the last (in B 2603:Available editions and recordings 2425:, and the public performances of 659:in a descending arpeggio, marked 405:major), touching midway upon its 58:Each one of the three sonatas is 5788: 5715:Sonata in A minor "Arpeggione", 4946:(Kassel, 1978), 98–100 (German). 4689:(London: Faber and Faber, 1978). 4409:, "Schubert's Last Sonatas", in 4337: 4309: 4278: 4249: 4240: 4223: 4214: 4205: 4192: 4176: 1491:to F, in an extension of the G-G 1405:Problems playing this file? See 1384: 1313:Problems playing this file? See 1298: 1241:Problems playing this file? See 1226: 1126:Problems playing this file? See 1111: 1019:Problems playing this file? See 1001: 952:Problems playing this file? See 937: 832:Problems playing this file? See 817: 794: 722:Opening of the Sonata in A major 709:Problems playing this file? See 694: 363:Opening of the Sonata in C minor 252:(in major-mode works) or to the 5811:Piano sonatas by Franz Schubert 5633:Sonata in C major "Grand Duo", 5058:Isabella Stewart Gardner Museum 4662:Schubert: The Music and the Man 4493:(New York: Vienna House, 1974). 4163: 4150: 4137: 4124: 4111: 4094: 4081: 4072: 4059: 4046: 4033: 4008: 3999: 3990: 3981: 3968: 3955: 3942: 3929: 3920: 3903: 3894: 3885: 3872: 3855: 3842: 3829: 3816: 3803: 3778: 3769: 3756: 3743: 3730: 3713: 3700: 3691: 3678: 3662: 3649: 3628: 3611: 3598: 3585: 3572: 3559: 3554:Schubert: The Music and the Man 3542: 3529: 3516: 3503: 3489: 3480: 3463: 3447: 3430: 3421: 3412: 3399: 3386: 3377: 3357: 3348: 3339: 3330: 3321: 3308: 3295: 3286: 3273: 3264: 3239: 3208: 3195: 3170: 3161: 3152: 3127: 3114: 3101: 3091: 3082: 3069: 3060: 3047: 3038: 3031:, pp. 291–318; Peggy Woodford, 3018: 2122:Sonata, are shown on the right. 1909:Piano Sonata in A minor, D. 537 1897:Piano Sonata in A minor, D. 537 1672:Unifying elements and cyclicism 671: 264:of the exposition are often in 5578:3 Impromptus "Klavierstücke", 4970:Beiträge zur Musikwissenschaft 4767:104, No. 1447 (1963), 626–628. 4400:Nineteenth-Century Piano Music 2973: 2960: 2947: 2938: 2913: 2903: 2470:(in the slow movement of the B 997:IV. Rondo: Allegretto – Presto 979:IV. Rondo: Allegretto – Presto 783:II, instead of the more usual 561: 344: 207:. Finally, the finale is in a 16:Compositions by Franz Schubert 1: 4937:Franz Schubert und seine Zeit 4353: 4014:Donald F. Tovey, "Tonality"; 3863:Schubert – A Musical Portrait 3766:, pp. 203, 235–6, 267, 273–4. 2176:, during the preceding year. 1482:to return to the main theme. 514:III. Menuetto: Allegro – Trio 451: 354: 5836:Compositions in B-flat major 4539:The New York Review of Books 4501:Schubert: A Musical Portrait 4402:. Schirmer. pp. 97–126. 3911:Schubert: A Musical Portrait 3657:Schubert: A Musical Portrait 1610:; D.959/I was originally in 1250:This movement is written in 1011:All performed by Paul Pitman 566:This movement is written in 163: 7: 5143:23 Sonatas numbering system 5120:21 Sonatas numbering system 5044:Performances of sonatas in 4641:Franz Schubert: A Biography 4636:125, No. 2 (2000), 248–270. 4581:The Practice of Performance 4257:"Maurizio Pollini – review" 4087:Hanna, pp. 81–2; Einstein, 3686:Franz Schubert: A Biography 3405:Carlton, pp. 248–9, 255–6; 3392:Hinrichsen, cited in Fisk, 3029:Franz Schubert: A Biography 2824:Recordings on fortepianos: 2251:), written in the same key. 2232:Piano Sonata, Op. 31, No. 1 2131:sonatas, opening movements. 841:The second movement is in F 456:The second movement is in A 10: 5852: 4990:26, No. 3 (1998), 533–535. 4979:25, No. 1 (1997), 100–118. 4889:22, No. 3 (1999), 213–232. 4699:(New York, 1971), 456–458. 4682:23, No. 2 (1999), 136–144. 4673:61, No. 4 (1975), 528–545. 4627:14, No. 2 (1990), 197–216. 4611:21, No. 2 (1997), 208–222. 4558:Hinrichsen, Hans-Joachim, 4519:84, No. 4 (2000), 635–654. 4474:(New York: Norton), 52–54. 4450:84, No. 4 (2000), 655–663. 3642:, pp. 131–134; Fisk, 3552:, p. 225; Brian Newbould, 3316:Schubert's Working Methods 3303:Schubert's Working Methods 2403:. Two of these works, the 2381:Neue Zeitschrift für Musik 2245:Piano Sonata No. 8, Op. 13 1833:minor all throughout the B 1139:Opening of the sonata in B 106:Three Piano Pieces, D. 946 5751: 5726: 5704: 5665: 5654: 5593: 5525:34 Valses Sentimentales, 5496: 5225: 5214: 5140: 5117: 5098:, Series 10 (15 sonatas) 5093: 5085: 5070: 4972:2 (1960), 52–68 (German). 4898:7, No. 3 (1984), 222–232. 4787:9, No. 4 (1928), 341–363. 4639:McKay, Elizabeth Norman, 4503:(New York: Oxford, 1951). 4453:Carlton, Stephen Edward, 3233:10.1525/mts.2003.25.2.388 2436: 2027:Sonata), "Am Meer", and " 1958:" (of 1816) (Fisk calls C 789:diminished seventh chords 726:The sonata begins with a 667:Sonata in A major, D. 959 477:in the subdominant key (D 350:Sonata in C minor, D. 958 338:tonic chords and octaves. 5089:Sonata in G major D. 894 5006:12, No. 1 (1988), 64–73. 4939:(Laaber, 1991) (German). 4592:48, No. 1 (1962), 36–49. 3913:, p. 287; Ludwig Misch, 3835:See, for example, Fisk, 2897: 2322:major scale. From this A 2225:32 Variations in C minor 1631:of its opening; and the 1254:, and is in the key of C 399:to the relative major (E 5831:Compositions in A major 5826:Compositions in C minor 5552:Allegretto in C minor, 5074:Piano sonatas (2 hands) 4908:, ed. Walther Dürr and 4799:2, No. 1 (1978), 18–35. 4704:The Romantic Generation 4132:The Romantic Generation 3364:Hans-Joachim Hinrichsen 3260:(subscription required) 2828:Entire sonata trilogy: 2641:Entire sonata trilogy: 2621:Oxford University Press 2446:, repeated chords, and 884:section with startling 5048:by Seymour Lipkin and 4840:(Omnibus Press, 1984). 4119:A Statistical Analysis 4067:A Statistical Analysis 4041:A Statistical Analysis 3354:Carlton, pp. 244, 250. 3025:Elizabeth Norman McKay 2935:, pp. 97–98, 130. 2657:(several recordings), 2529: 2208: 2107: 1900: 1803:major (enharmonic of C 1709: 1708:relationship in pitch. 1373: 1322:The first part of the 1287: 1215: 1146: 1100: 990: 926: 806: 723: 683: 364: 179: 140:to another publisher, 120:String Quintet, D. 956 28: 5642:Fantasia in F minor, 5445:D major "Gasteiner", 4904:, "Klaviermusik", in 4755:Shawe-Taylor, Desmond 4670:The Musical Quarterly 4589:The Musical Quarterly 4516:The Musical Quarterly 4480:The Musical Quarterly 4447:The Musical Quarterly 3500:, pp. 186, 197, 268). 3221:Music Theory Spectrum 2521: 2466:, both by use of the 2202: 2195:Beethoven's influence 2068: 1894: 1703: 1501:Compositional process 1372: 1286: 1222:II. Andante sostenuto 1214: 1204:II. Andante sostenuto 1138: 1099: 989: 925: 805: 721: 682: 362: 307:in either ternary or 173:Schubert at the Piano 171: 146:Johann Nepomuk Hummel 81:Historical background 22: 5543:6 Moments musicaux, 5428:C major "Reliquie", 4544:Hanna, Albert Lyle, 3684:Elizabeth N. McKay, 3318:, pp. 230–31, 262–3. 3301:Stephen E. Carlton, 2844:, Vienna, c. 1835), 2836:, Vienna, c. 1825), 2810:Vladimir Sofronitsky 2733:Christoph Eschenbach 2423:Donald Francis Tovey 2401:three-key exposition 2283:Fifth Piano Concerto 2262:minor, Op. 27, No. 2 1754:minor, A major and B 591:three-key exposition 5454:G major "Fantasy", 5016:92 (1975–6), 28–29. 4982:Montgomery, David, 4818:30 (1969), 124–129. 4785:Music & Letters 4697:The Classical Style 4653:Montgomery, David, 4487:Deutsch, Otto Erich 4483:56 (1970), 779–793. 4158:The Classical Style 3963:The Classical Style 3950:The Classical Style 3867:The Classical Style 3407:Maurice J. E. Brown 2955:The Classical Style 2852:(sonatas in A and B 2796:(four recordings), 2712:Sonata in C minor: 2707:Christian Zacharias 2405:First String Sextet 2291:String Quartet in B 1978:development section 1655:development section 371:C-minor chord. The 258:development section 5622:Marches Militaires 5534:12 Valses Nobles, 5196:Piano compositions 5036:Piano Sonata D.960 5032:Piano Sonata D.959 5028:Piano Sonata D.958 5003:19th-Century Music 4950:Kinderman, William 4895:19th-Century Music 4886:19th-Century Music 4805:19th-Century Music 4796:19th-Century Music 4777:38 (1981), 137–54. 4679:19th-Century Music 4657:(Pendragon, 2003). 4624:19th-Century Music 4608:19th-Century Music 4596:Kinderman, William 4464:104 (1978), 38–40. 4439:Essays on Schubert 4432:Essays on Schubert 4362:Badura-Skoda, Paul 4323:The New York Times 4295:The New York Times 4286:Tommasini, Anthony 4266:. 28 February 2011 3813:, pp. 187–90, 196. 3258:, 2 November 2015 3109:Schubert's Letters 2864:Nannette Streicher 2808:(two recordings), 2800:(two recordings), 2794:Sviatoslav Richter 2776:(two recordings), 2768:(two recordings), 2725:Vladimir Ashkenazy 2718:Sviatoslav Richter 2679:Alexander Lonquich 2671:Stephen Kovacevich 2569:Sviatoslav Richter 2530: 2502:Performance issues 2209: 2108: 2038:Schubert's famous 1901: 1710: 1374: 1288: 1216: 1147: 1101: 991: 927: 807: 724: 684: 520:relative major key 365: 180: 136:sold the sonatas' 98:effusions of blood 29: 5816:1828 compositions 5776: 5775: 5747: 5746: 5589: 5588: 5244:C major/A minor, 5235:E major/B major, 5163: 5162: 4993:Schubert, Franz, 4961:Krause, Andreas, 4871:(5395): 401–411. 4836:Woodford, Peggy, 4764:The Musical Times 4751:(Dover), 141–144. 4660:Newbould, Brian, 4648:Beethoven Studies 4524:Music and Meaning 4396:Badura-Skoda, Eva 4374:(1450): 873–874. 4367:The Musical Times 4288:(12 April 2012). 4231:Badura-Skoda 1990 4184:Badura-Skoda 1963 4171:Badura-Skoda 1990 4078:Hanna, pp. 108–9. 4028:Badura-Skoda 1990 4016:Badura-Skoda 1990 3976:Beethoven Studies 3939:, pp. 181–4, 203. 3915:Beethoven Studies 3861:Alfred Einstein, 3798:Badura-Skoda 1990 3669:William Kinderman 3640:Badura-Skoda 1990 3623:Badura-Skoda 1990 3473:, p. 204; Rosen, 3460:, pp. 2, 204–236. 3454:William Kinderman 3370:, cited in Fisk, 2933:Badura-Skoda 1990 2921:Badura-Skoda 1990 2846:Paul Badura-Skoda 2818:Krystian Zimerman 2798:Arthur Rubinstein 2774:Vladimir Horowitz 2745:Krystian Zimerman 2256:Piano Sonata in C 1394:All performed by 1389: 1303: 1231: 1116: 1107:I. Molto moderato 1089:I. Molto moderato 1006: 942: 822: 755:circle of fourths 699: 589:. It employs the 448:in low register. 423:four-part harmony 213:rondo-sonata form 5843: 5793: 5792: 5791: 5784: 5737: 5736: 5732:Sonatensatz in B 5667:violin and piano 5663: 5662: 5610: 5609: 5515:Wanderer Fantasy 5484: 5483: 5393: 5392: 5378: 5377: 5345: 5344: 5330: 5329: 5315: 5314: 5300: 5299: 5286: 5285: 5280: 5279: 5223: 5222: 5209: 5208: 5189: 5182: 5175: 5166: 5165: 5086:Preceded by 5068: 5067: 5054:Charlie Albright 5038:: Scores at the 4924: 4880: 4831:Peter Branscombe 4827:Eva Badura-Skoda 4816:The Music Review 4812:Whittall, Arnold 4808:3 (1979), 52–71. 4781:Tovey, Donald F. 4771:Solomon, Maynard 4741:Schumann, Robert 4735:Schubert Studies 4723:Rosen, Charles, 4702:Rosen, Charles, 4614:Költzsch, Hans, 4567:Schubert Studies 4555:7 (1993), 38–81. 4530:(1997), 179–200. 4528:Jenefer Robinson 4497:Einstein, Alfred 4425:Schubert Studies 4420:(Noonday, 1991). 4403: 4391: 4348: 4341: 4335: 4334: 4332: 4330: 4313: 4307: 4306: 4304: 4302: 4282: 4276: 4275: 4273: 4271: 4253: 4247: 4244: 4238: 4227: 4221: 4218: 4212: 4209: 4203: 4196: 4190: 4180: 4174: 4167: 4161: 4154: 4148: 4141: 4135: 4128: 4122: 4115: 4109: 4106:Returning Cycles 4104:, p. 394; Fisk, 4098: 4092: 4085: 4079: 4076: 4070: 4063: 4057: 4050: 4044: 4037: 4031: 4025: 4019: 4012: 4006: 4003: 3997: 3994: 3988: 3985: 3979: 3972: 3966: 3959: 3953: 3946: 3940: 3937:Returning Cycles 3933: 3927: 3924: 3918: 3907: 3901: 3898: 3892: 3889: 3883: 3880:Returning Cycles 3876: 3870: 3859: 3853: 3850:Returning Cycles 3846: 3840: 3837:Returning Cycles 3833: 3827: 3820: 3814: 3811:Returning Cycles 3807: 3801: 3795: 3789: 3786:Returning Cycles 3782: 3776: 3773: 3767: 3764:Returning Cycles 3760: 3754: 3751:Returning Cycles 3747: 3741: 3738:Returning Cycles 3734: 3728: 3725:Returning Cycles 3717: 3711: 3708:Returning Cycles 3704: 3698: 3695: 3689: 3682: 3676: 3666: 3660: 3653: 3647: 3644:Returning Cycles 3632: 3626: 3619:Returning Cycles 3615: 3609: 3606:Returning Cycles 3602: 3596: 3593:Returning Cycles 3589: 3583: 3582:, pp. 62–63, 80. 3580:Returning Cycles 3576: 3570: 3567:Returning Cycles 3563: 3557: 3550:Returning Cycles 3546: 3540: 3537:Returning Cycles 3533: 3527: 3524:Returning Cycles 3520: 3514: 3511:Returning Cycles 3507: 3501: 3498:Returning Cycles 3493: 3487: 3484: 3478: 3471:Returning Cycles 3467: 3461: 3458:Returning Cycles 3451: 3445: 3438:Returning Cycles 3434: 3428: 3425: 3419: 3416: 3410: 3403: 3397: 3394:Returning Cycles 3390: 3384: 3383:Carlton, p. 246. 3381: 3375: 3372:Returning Cycles 3361: 3355: 3352: 3346: 3343: 3337: 3334: 3328: 3325: 3319: 3312: 3306: 3299: 3293: 3290: 3284: 3281:Returning Cycles 3277: 3271: 3268: 3262: 3261: 3243: 3237: 3236: 3212: 3206: 3203:Returning Cycles 3199: 3193: 3190:Returning Cycles 3186: 3177: 3174: 3168: 3165: 3159: 3156: 3150: 3147: 3138: 3135:Returning Cycles 3131: 3125: 3118: 3112: 3105: 3099: 3095: 3089: 3086: 3080: 3073: 3067: 3064: 3058: 3051: 3045: 3042: 3036: 3022: 3016: 3013:Returning Cycles 3009: 3000: 2997:Returning Cycles 2993: 2984: 2977: 2971: 2968:Returning Cycles 2964: 2958: 2951: 2945: 2942: 2936: 2930: 2924: 2923:, pp. 97–98 2917: 2911: 2907: 2884: 2883: 2857: 2856: 2850:Ronald Brautigam 2790:Menahem Pressler 2786:Maria João Pires 2755: 2754: 2714:Nikolai Lugansky 2691:Maurizio Pollini 2651:Daniel Barenboim 2643:Leif Ove Andsnes 2636: 2635: 2589:Maurizio Pollini 2566: 2565: 2549: 2548: 2538: 2537: 2527: 2526: 2482:major sonatas). 2481: 2480: 2475: 2474: 2416: 2415: 2397: 2396: 2350: 2349: 2327: 2326: 2321: 2320: 2315: 2314: 2309: 2308: 2296: 2295: 2276: 2275: 2266:Moonlight Sonata 2261: 2260: 2184: 2183: 2154: 2153: 2130: 2129: 2121: 2120: 2105: 2104: 2099: 2098: 2093: 2092: 2087: 2086: 2081: 2080: 2074: 2073: 2047: 2046: 2029:Der Doppelgänger 2026: 2025: 2020: 2019: 2014: 2013: 1985: 1984: 1975: 1974: 1969: 1968: 1963: 1962: 1949: 1948: 1943: 1942: 1931:Wanderer Fantasy 1922: 1921: 1870: 1869: 1863: 1862: 1857: 1856: 1851: 1850: 1845: 1844: 1838: 1837: 1832: 1831: 1826: 1825: 1820: 1819: 1814: 1813: 1808: 1807: 1802: 1801: 1796: 1795: 1790: 1789: 1784: 1783: 1778: 1777: 1772: 1771: 1765: 1764: 1759: 1758: 1753: 1752: 1747: 1746: 1741: 1740: 1735: 1734: 1721: 1720: 1662: 1661: 1608:Allegro moderato 1594: 1593: 1541: 1540: 1496: 1495: 1490: 1489: 1475: 1474: 1442: 1441: 1436: 1435: 1430: 1429: 1420: 1419: 1391: 1390: 1371: 1357: 1356: 1346:diminished triad 1343: 1342: 1337: 1336: 1331: 1330: 1305: 1304: 1285: 1266: 1265: 1259: 1258: 1233: 1232: 1213: 1199: 1198: 1189: 1188: 1183: 1182: 1173: 1172: 1163: 1162: 1154: 1153: 1144: 1143: 1118: 1117: 1098: 1083: 1082: 1061: 1060: 1051: 1050: 1045: 1044: 1008: 1007: 988: 973: 972: 967: 966: 944: 943: 924: 899: 898: 893: 892: 875: 874: 865: 864: 846: 845: 824: 823: 804: 782: 781: 701: 700: 681: 635: 634: 626: 625: 619: 618: 610: 609: 604: 603: 598: 597: 580: 579: 578: 577: 553: 552: 547: 546: 541: 540: 531: 530: 494: 493: 488: 487: 482: 481: 468: 467: 461: 460: 443: 442: 430: 429: 421:major melody in 420: 419: 414: 413: 404: 403: 394: 393: 380: 379: 115: 114: 5851: 5850: 5846: 5845: 5844: 5842: 5841: 5840: 5801: 5800: 5799: 5795:Classical music 5789: 5787: 5779: 5777: 5772: 5771: 5743: 5734: 5733: 5722: 5700: 5657: 5650: 5607: 5606: 5596: 5585: 5492: 5481: 5480: 5390: 5389: 5375: 5374: 5342: 5341: 5327: 5326: 5312: 5311: 5301:major/E major, 5297: 5296: 5283: 5282: 5277: 5276: 5217: 5210: 5204: 5203: 5193: 5146: 5123: 5100: 5091: 5050:A major, D. 959 5046:C minor, D. 958 5024: 5019: 5014:Piano Quarterly 4942:Hilmar, Ernst, 4918: 4861:Brendel, Alfred 4855: 4853:Further reading 4850: 4843:Yardeni, Irit, 4749:Henry Pleasants 4650:(Norman, 1953). 4646:Misch, Ludwig, 4510:(Norton, 2001). 4506:Fisk, Charles, 4468:Cone, Edward T. 4462:Piano Quarterly 4407:Brendel, Alfred 4356: 4351: 4342: 4338: 4328: 4326: 4314: 4310: 4300: 4298: 4283: 4279: 4269: 4267: 4255: 4254: 4250: 4245: 4241: 4228: 4224: 4219: 4215: 4210: 4206: 4197: 4193: 4181: 4177: 4168: 4164: 4155: 4151: 4142: 4138: 4129: 4125: 4116: 4112: 4099: 4095: 4086: 4082: 4077: 4073: 4064: 4060: 4051: 4047: 4038: 4034: 4026: 4022: 4013: 4009: 4004: 4000: 3995: 3991: 3986: 3982: 3973: 3969: 3960: 3956: 3947: 3943: 3934: 3930: 3925: 3921: 3908: 3904: 3899: 3895: 3890: 3886: 3877: 3873: 3860: 3856: 3847: 3843: 3834: 3830: 3821: 3817: 3808: 3804: 3796: 3792: 3783: 3779: 3774: 3770: 3761: 3757: 3748: 3744: 3735: 3731: 3718: 3714: 3705: 3701: 3696: 3692: 3683: 3679: 3667: 3663: 3654: 3650: 3634:Hans Koltzsch, 3633: 3629: 3616: 3612: 3603: 3599: 3590: 3586: 3577: 3573: 3564: 3560: 3547: 3543: 3534: 3530: 3521: 3517: 3508: 3504: 3494: 3490: 3485: 3481: 3468: 3464: 3452: 3448: 3435: 3431: 3426: 3422: 3418:Carlton, p. 230 3417: 3413: 3404: 3400: 3391: 3387: 3382: 3378: 3362: 3358: 3353: 3349: 3344: 3340: 3335: 3331: 3326: 3322: 3313: 3309: 3300: 3296: 3291: 3287: 3278: 3274: 3269: 3265: 3259: 3244: 3240: 3213: 3209: 3200: 3196: 3187: 3180: 3175: 3171: 3166: 3162: 3157: 3153: 3148: 3141: 3132: 3128: 3119: 3115: 3106: 3102: 3096: 3092: 3087: 3083: 3074: 3070: 3065: 3061: 3052: 3048: 3043: 3039: 3023: 3019: 3010: 3003: 2994: 2987: 2978: 2974: 2965: 2961: 2952: 2948: 2943: 2939: 2931: 2927: 2918: 2914: 2908: 2904: 2900: 2881: 2880: 2854: 2853: 2758:Clifford Curzon 2752: 2751: 2633: 2632: 2605: 2563: 2562: 2546: 2545: 2535: 2534: 2524: 2523: 2504: 2478: 2477: 2472: 2471: 2439: 2413: 2412: 2394: 2393: 2364: 2347: 2346: 2324: 2323: 2318: 2317: 2312: 2311: 2306: 2305: 2293: 2292: 2279:"Archduke" Trio 2273: 2272: 2258: 2257: 2197: 2181: 2180: 2151: 2150: 2127: 2126: 2118: 2117: 2102: 2101: 2096: 2095: 2090: 2089: 2084: 2083: 2078: 2077: 2071: 2070: 2063: 2044: 2043: 2023: 2022: 2017: 2016: 2011: 2010: 1982: 1981: 1972: 1971: 1966: 1965: 1960: 1959: 1946: 1945: 1940: 1939: 1919: 1918: 1885: 1867: 1866: 1860: 1859: 1854: 1853: 1848: 1847: 1842: 1841: 1835: 1834: 1829: 1828: 1823: 1822: 1817: 1816: 1811: 1810: 1805: 1804: 1799: 1798: 1793: 1792: 1787: 1786: 1781: 1780: 1775: 1774: 1769: 1768: 1762: 1761: 1756: 1755: 1750: 1749: 1744: 1743: 1738: 1737: 1732: 1731: 1718: 1717: 1695:Romantic period 1674: 1659: 1658: 1598:Changes in the 1591: 1590: 1538: 1537: 1503: 1493: 1492: 1487: 1486: 1472: 1471: 1439: 1438: 1433: 1432: 1427: 1426: 1417: 1416: 1412: 1411: 1403: 1401: 1400: 1399: 1398: 1392: 1385: 1382: 1375: 1369: 1364: 1354: 1353: 1340: 1339: 1334: 1333: 1328: 1327: 1320: 1319: 1311: 1309: 1308: 1307: 1306: 1299: 1296: 1289: 1283: 1278: 1263: 1262: 1256: 1255: 1248: 1247: 1239: 1237: 1236: 1235: 1234: 1227: 1224: 1217: 1211: 1206: 1196: 1195: 1186: 1185: 1180: 1179: 1170: 1169: 1160: 1159: 1151: 1150: 1141: 1140: 1133: 1132: 1124: 1122: 1121: 1120: 1119: 1112: 1109: 1102: 1096: 1091: 1086: 1080: 1079: 1058: 1057: 1048: 1047: 1042: 1041: 1026: 1025: 1017: 1015: 1014: 1013: 1012: 1009: 1002: 999: 992: 986: 981: 970: 969: 964: 963: 959: 958: 950: 948: 947: 946: 945: 938: 935: 928: 922: 917: 902:accompanimental 896: 895: 890: 889: 872: 871: 862: 861: 843: 842: 839: 838: 830: 828: 827: 826: 825: 818: 815: 808: 802: 797: 779: 778: 716: 715: 707: 705: 704: 703: 702: 695: 692: 685: 679: 674: 669: 632: 631: 623: 622: 616: 615: 607: 606: 601: 600: 595: 594: 576: 571: 570: 569: 568: 567: 564: 550: 549: 544: 543: 538: 537: 528: 527: 516: 491: 490: 485: 484: 479: 478: 465: 464: 458: 457: 454: 440: 439: 427: 426: 417: 416: 411: 410: 401: 400: 391: 390: 389:digression to A 377: 376: 357: 352: 347: 342: 242:Classical style 166: 158:Robert Schumann 112: 111: 83: 17: 12: 11: 5: 5849: 5839: 5838: 5833: 5828: 5823: 5818: 5813: 5798: 5797: 5774: 5773: 5770: 5769: 5759: 5753: 5752: 5749: 5748: 5745: 5744: 5730: 5728: 5724: 5723: 5721: 5720: 5711: 5709: 5702: 5701: 5699: 5698: 5689: 5671: 5669: 5660: 5652: 5651: 5649: 5648: 5639: 5630: 5617: 5601: 5599: 5591: 5590: 5587: 5586: 5584: 5583: 5575: 5569:4 Impromptus, 5566: 5560:4 Impromptus, 5557: 5549: 5540: 5531: 5522: 5511: 5502: 5500: 5494: 5493: 5491: 5490: 5476: 5468: 5460: 5451: 5442: 5433: 5425: 5416: 5408: 5399: 5385: 5370: 5361: 5352: 5337: 5322: 5307: 5292: 5272: 5263: 5250: 5248:/277A/309A/346 5241: 5231: 5229: 5220: 5212: 5211: 5206:Franz Schubert 5192: 5191: 5184: 5177: 5169: 5161: 5160: 5138: 5137: 5115: 5114: 5092: 5087: 5083: 5082: 5078:Franz Schubert 5066: 5065: 5042: 5023: 5022:External links 5020: 5018: 5017: 5007: 4998: 4991: 4980: 4973: 4966: 4959: 4947: 4940: 4930: 4913: 4906:Franz Schubert 4899: 4890: 4881: 4856: 4854: 4851: 4849: 4848: 4841: 4834: 4819: 4809: 4800: 4791:Webster, James 4788: 4783:, "Tonality", 4778: 4775:American Imago 4768: 4752: 4738: 4731:Schiff, András 4728: 4721: 4714: 4707: 4700: 4693:Rosen, Charles 4690: 4683: 4674: 4665: 4658: 4651: 4644: 4637: 4628: 4619: 4612: 4603: 4593: 4584: 4577: 4570: 4563: 4556: 4549: 4542: 4531: 4520: 4511: 4504: 4494: 4484: 4475: 4465: 4458: 4451: 4442: 4435: 4428: 4421: 4414: 4404: 4392: 4380:10.2307/950069 4357: 4355: 4352: 4350: 4349: 4336: 4308: 4277: 4248: 4239: 4222: 4213: 4204: 4191: 4175: 4162: 4149: 4136: 4123: 4110: 4093: 4080: 4071: 4069:, pp. 110–113. 4058: 4045: 4032: 4020: 4007: 3998: 3989: 3980: 3967: 3954: 3941: 3928: 3919: 3902: 3893: 3884: 3871: 3854: 3841: 3828: 3815: 3802: 3800:, p. 134. 3790: 3777: 3768: 3755: 3742: 3729: 3727:, pp. 216–217. 3712: 3699: 3690: 3677: 3661: 3648: 3627: 3610: 3597: 3584: 3571: 3558: 3541: 3528: 3515: 3502: 3488: 3479: 3462: 3446: 3429: 3420: 3411: 3398: 3385: 3376: 3356: 3347: 3338: 3329: 3320: 3307: 3294: 3285: 3272: 3263: 3255:The New Yorker 3238: 3227:(2): 388–400. 3207: 3194: 3178: 3169: 3160: 3151: 3139: 3126: 3120:Irit Yardeni, 3113: 3100: 3090: 3088:McKay, p. 307. 3081: 3068: 3059: 3046: 3037: 3035:, pp. 136–148. 3017: 3001: 2985: 2972: 2959: 2946: 2937: 2925: 2912: 2901: 2899: 2896: 2895: 2894: 2877: 2874: 2871: 2830:Andreas Staier 2822: 2821: 2802:Artur Schnabel 2748: 2737:Artur Schnabel 2721: 2710: 2703:Mitsuko Uchida 2699:Martino Tirimo 2687:Murray Perahia 2663:Wilhelm Kempff 2655:Alfred Brendel 2604: 2601: 2593:Mitsuko Uchida 2585:Alfred Brendel 2581:Eduard Erdmann 2577:Artur Schnabel 2559:Molto moderato 2515:meticulously. 2503: 2500: 2438: 2435: 2431:Eduard Erdmann 2427:Artur Schnabel 2390:Clara Schumann 2363: 2360: 2353: 2352: 2343: 2301: 2300: 2297:major, Op. 130 2269: 2252: 2236: 2235: 2228: 2196: 2193: 2133: 2132: 2123: 2062: 2059: 2040:String Quintet 2005:Schwanengesang 1917:Impromptu in G 1884: 1881: 1679:Alfred Brendel 1673: 1670: 1665: 1664: 1651: 1640: 1625: 1596: 1571:Alfred Brendel 1530:recapitulation 1502: 1499: 1423:Alfred Brendel 1402: 1393: 1383: 1378: 1377: 1376: 1367: 1366: 1365: 1363: 1360: 1310: 1297: 1292: 1291: 1290: 1281: 1280: 1279: 1277: 1274: 1238: 1225: 1220: 1219: 1218: 1209: 1208: 1207: 1205: 1202: 1123: 1110: 1105: 1104: 1103: 1094: 1093: 1092: 1090: 1087: 1085: 1076: 1054:recapitulation 1016: 1010: 1000: 995: 994: 993: 984: 983: 982: 980: 977: 949: 936: 931: 930: 929: 920: 919: 918: 916: 913: 829: 816: 811: 810: 809: 800: 799: 798: 796: 793: 706: 693: 688: 687: 686: 677: 676: 675: 673: 670: 668: 665: 572: 563: 560: 556:parallel minor 554:major via the 515: 512: 475:plagal cadence 453: 450: 407:parallel minor 356: 353: 351: 348: 346: 343: 341: 340: 313: 300: 294: 282:recapitulation 254:relative major 228: 165: 162: 154:Romantic style 142:Anton Diabelli 125:Schwanengesang 82: 79: 34:'s last three 32:Franz Schubert 15: 9: 6: 4: 3: 2: 5848: 5837: 5834: 5832: 5829: 5827: 5824: 5822: 5819: 5817: 5814: 5812: 5809: 5808: 5806: 5796: 5786: 5785: 5782: 5767: 5763: 5760: 5758: 5755: 5754: 5750: 5742: 5741: 5729: 5725: 5719: 5718: 5713: 5712: 5710: 5707: 5703: 5697: 5695: 5690: 5688: 5686: 5682: 5678: 5673: 5672: 5670: 5668: 5664: 5661: 5659: 5653: 5647: 5645: 5640: 5638: 5636: 5631: 5629: 5627: 5623: 5618: 5616: 5614: 5603: 5602: 5600: 5598: 5592: 5582: 5581: 5576: 5574: 5572: 5567: 5565: 5563: 5558: 5556: 5555: 5550: 5548: 5546: 5541: 5539: 5537: 5532: 5530: 5528: 5523: 5521: 5520: 5516: 5512: 5510: 5509: 5504: 5503: 5501: 5499: 5495: 5489: 5488: 5477: 5475: 5474: 5469: 5467: 5466: 5461: 5459: 5457: 5452: 5450: 5448: 5443: 5441: 5439: 5434: 5432: 5431: 5426: 5424: 5422: 5417: 5415: 5414: 5409: 5407: 5405: 5400: 5398: 5397: 5386: 5384: 5382: 5371: 5369: 5367: 5362: 5360: 5358: 5353: 5351: 5349: 5338: 5336: 5334: 5323: 5321: 5319: 5308: 5306: 5304: 5293: 5291: 5290: 5273: 5271: 5269: 5264: 5262: 5260: 5256: 5255:Klavierstücke 5251: 5249: 5247: 5242: 5240: 5238: 5233: 5232: 5230: 5228: 5224: 5221: 5219: 5213: 5207: 5201: 5197: 5190: 5185: 5183: 5178: 5176: 5171: 5170: 5167: 5158: 5154: 5150: 5145: 5144: 5139: 5135: 5131: 5127: 5122: 5121: 5116: 5112: 5108: 5104: 5099: 5097: 5090: 5084: 5081: 5079: 5075: 5072: 5069: 5063: 5059: 5055: 5051: 5047: 5043: 5041: 5037: 5033: 5029: 5026: 5025: 5015: 5011: 5010:Wolff, Konrad 5008: 5005: 5004: 4999: 4996: 4992: 4989: 4985: 4981: 4978: 4974: 4971: 4967: 4964: 4960: 4957: 4956: 4951: 4948: 4945: 4941: 4938: 4934: 4931: 4928: 4922: 4917: 4916:Godel, Arthur 4914: 4911: 4907: 4903: 4902:Dürr, Walther 4900: 4897: 4896: 4891: 4888: 4887: 4882: 4878: 4874: 4870: 4866: 4862: 4858: 4857: 4846: 4842: 4839: 4835: 4832: 4828: 4824: 4820: 4817: 4813: 4810: 4807: 4806: 4801: 4798: 4797: 4792: 4789: 4786: 4782: 4779: 4776: 4772: 4769: 4766: 4765: 4760: 4756: 4753: 4750: 4746: 4742: 4739: 4736: 4732: 4729: 4726: 4722: 4719: 4715: 4712: 4708: 4705: 4701: 4698: 4694: 4691: 4688: 4684: 4681: 4680: 4675: 4672: 4671: 4666: 4663: 4659: 4656: 4652: 4649: 4645: 4642: 4638: 4635: 4634: 4629: 4626: 4625: 4620: 4617: 4613: 4610: 4609: 4604: 4601: 4597: 4594: 4591: 4590: 4585: 4582: 4578: 4575: 4571: 4568: 4564: 4561: 4557: 4554: 4550: 4547: 4543: 4540: 4536: 4532: 4529: 4525: 4521: 4518: 4517: 4512: 4509: 4505: 4502: 4498: 4495: 4492: 4488: 4485: 4482: 4481: 4476: 4473: 4469: 4466: 4463: 4459: 4456: 4452: 4449: 4448: 4443: 4440: 4436: 4433: 4429: 4426: 4422: 4419: 4415: 4412: 4408: 4405: 4401: 4397: 4393: 4389: 4385: 4381: 4377: 4373: 4369: 4368: 4363: 4359: 4358: 4346: 4340: 4325: 4324: 4319: 4312: 4297: 4296: 4291: 4287: 4281: 4265: 4264: 4258: 4252: 4243: 4236: 4232: 4226: 4217: 4208: 4201: 4195: 4189: 4185: 4179: 4173:, p. 130 4172: 4166: 4159: 4153: 4146: 4140: 4133: 4127: 4120: 4114: 4107: 4103: 4097: 4090: 4084: 4075: 4068: 4062: 4055: 4049: 4042: 4036: 4030:, p. 98. 4029: 4024: 4017: 4011: 4002: 3993: 3984: 3977: 3971: 3964: 3958: 3951: 3945: 3938: 3932: 3923: 3916: 3912: 3906: 3897: 3888: 3881: 3875: 3868: 3864: 3858: 3851: 3845: 3838: 3832: 3825: 3819: 3812: 3806: 3799: 3794: 3787: 3781: 3772: 3765: 3759: 3752: 3746: 3739: 3733: 3726: 3722: 3716: 3709: 3703: 3694: 3687: 3681: 3674: 3670: 3665: 3658: 3652: 3645: 3641: 3637: 3631: 3625:, p. 135 3624: 3620: 3614: 3607: 3601: 3594: 3588: 3581: 3575: 3568: 3562: 3555: 3551: 3545: 3538: 3532: 3525: 3519: 3512: 3506: 3499: 3492: 3483: 3476: 3472: 3466: 3459: 3455: 3450: 3443: 3439: 3433: 3424: 3415: 3408: 3402: 3395: 3389: 3380: 3373: 3369: 3365: 3360: 3351: 3342: 3333: 3324: 3317: 3311: 3304: 3298: 3289: 3282: 3276: 3267: 3257: 3256: 3251: 3247: 3242: 3234: 3230: 3226: 3222: 3218: 3211: 3204: 3198: 3191: 3185: 3183: 3173: 3164: 3155: 3146: 3144: 3136: 3130: 3123: 3117: 3110: 3104: 3094: 3085: 3078: 3072: 3063: 3056: 3050: 3041: 3034: 3030: 3026: 3021: 3014: 3008: 3006: 2998: 2992: 2990: 2982: 2976: 2969: 2963: 2956: 2950: 2941: 2934: 2929: 2922: 2916: 2906: 2902: 2892: 2888: 2878: 2875: 2872: 2869: 2868:András Schiff 2865: 2861: 2851: 2847: 2843: 2839: 2835: 2831: 2827: 2826: 2825: 2819: 2815: 2811: 2807: 2806:Rudolf Serkin 2803: 2799: 2795: 2791: 2787: 2783: 2782:Anna Malikova 2779: 2778:Evgeny Kissin 2775: 2771: 2767: 2766:Leon Fleisher 2763: 2759: 2749: 2746: 2742: 2741:Rudolf Serkin 2738: 2734: 2730: 2726: 2723:Sonata in A: 2722: 2719: 2715: 2711: 2708: 2704: 2700: 2696: 2695:András Schiff 2692: 2688: 2684: 2680: 2676: 2672: 2668: 2664: 2660: 2659:Richard Goode 2656: 2652: 2648: 2647:Claudio Arrau 2644: 2640: 2639: 2638: 2628: 2626: 2622: 2618: 2614: 2610: 2600: 2598: 2594: 2590: 2586: 2582: 2578: 2572: 2570: 2560: 2556: 2551: 2542: 2541:András Schiff 2520: 2516: 2514: 2510: 2509:sustain pedal 2499: 2496: 2492: 2487: 2483: 2469: 2468:sustain pedal 2465: 2461: 2457: 2451: 2449: 2445: 2434: 2432: 2428: 2424: 2418: 2410: 2409:Piano Quintet 2406: 2402: 2391: 2386: 2383: 2382: 2376: 2374: 2370: 2359: 2357: 2356:Charles Rosen 2344: 2340: 2339: 2338: 2334: 2332: 2298: 2288: 2284: 2280: 2270: 2267: 2263: 2253: 2250: 2246: 2242: 2241: 2240: 2233: 2229: 2226: 2222: 2221: 2220: 2218: 2214: 2206: 2201: 2192: 2190: 2189: 2177: 2175: 2171: 2167: 2166: 2161: 2160: 2146: 2143: 2137: 2124: 2114: 2113: 2112: 2067: 2058: 2056: 2052: 2041: 2036: 2034: 2030: 2007: 2006: 2000: 1998: 1994: 1993: 1987: 1979: 1957: 1953: 1937: 1933: 1932: 1926: 1924: 1923:major, D. 899 1914: 1910: 1906: 1898: 1893: 1889: 1880: 1878: 1872: 1728: 1726: 1715: 1707: 1702: 1698: 1696: 1692: 1688: 1685: 1680: 1669: 1656: 1652: 1649: 1645: 1641: 1638: 1634: 1630: 1626: 1623: 1619: 1615: 1614: 1609: 1605: 1601: 1597: 1587: 1583: 1582: 1581: 1578: 1576: 1572: 1568: 1562: 1560: 1556: 1552: 1548: 1543: 1535: 1531: 1527: 1523: 1518: 1516: 1512: 1508: 1498: 1483: 1481: 1480: 1468: 1465: 1461: 1457: 1456:dotted-rhythm 1452: 1450: 1446: 1424: 1410: 1408: 1397: 1396:Bernd Krueger 1381: 1359: 1351: 1347: 1325: 1318: 1316: 1295: 1273: 1270: 1253: 1246: 1244: 1223: 1201: 1193: 1175: 1167: 1157: 1137: 1131: 1129: 1108: 1084:major, D. 960 1075: 1073: 1069: 1063: 1055: 1038: 1035: 1034:sonata D. 537 1031: 1024: 1022: 998: 976: 957: 955: 934: 912: 910: 909:rolled chords 906: 903: 887: 883: 879: 869: 859: 854: 851: 837: 835: 814: 813:II. Andantino 795:II. Andantino 792: 790: 786: 776: 775:Italian sixth 772: 766: 764: 758: 756: 752: 748: 743: 739: 736: 733: 729: 720: 714: 712: 691: 664: 662: 658: 654: 650: 647: 643: 639: 628: 612: 592: 588: 584: 575: 559: 557: 535: 525: 521: 511: 508: 503: 501: 500: 476: 472: 449: 447: 438:tonalities (D 437: 432: 424: 408: 398: 388: 384: 374: 373:voice leading 370: 361: 339: 337: 332: 326: 324: 323:fragmentation 320: 314: 312: 310: 306: 301: 299: 295: 293: 291: 287: 283: 279: 273: 271: 267: 263: 259: 255: 251: 247: 244:, moves from 243: 239: 235: 230: 229: 227: 225: 220: 216: 214: 210: 206: 202: 198: 194: 190: 186: 178: 174: 170: 161: 159: 155: 151: 147: 143: 139: 135: 130: 127: 126: 121: 117: 116:major, D. 950 107: 102: 99: 95: 90: 88: 78: 75: 74: 69: 65: 61: 56: 53: 52:musicological 49: 44: 41: 37: 36:piano sonatas 33: 26: 25:Anton Depauly 21: 5739: 5716: 5693: 5684: 5680: 5676: 5675:Sonat(in)as 5643: 5634: 5625: 5621: 5612: 5579: 5570: 5561: 5553: 5544: 5535: 5526: 5518: 5514: 5507: 5486: 5472: 5464: 5455: 5446: 5437: 5429: 5420: 5412: 5403: 5395: 5380: 5368:/600/610/612 5365: 5356: 5347: 5332: 5317: 5302: 5288: 5267: 5258: 5254: 5245: 5236: 5155:) – No. 23 ( 5151:) – No. 22 ( 5141: 5132:) – No. 21 ( 5128:) – No. 20 ( 5118: 5109:) – No. 15 ( 5105:) – No. 14 ( 5094: 5080: 5071: 5013: 5001: 4994: 4987: 4983: 4976: 4969: 4962: 4953: 4943: 4936: 4933:Gülke, Peter 4926: 4905: 4893: 4884: 4868: 4864: 4844: 4837: 4822: 4815: 4803: 4794: 4784: 4774: 4762: 4758: 4744: 4734: 4725:Sonata Forms 4724: 4717: 4710: 4703: 4696: 4686: 4685:Reed, John, 4677: 4668: 4661: 4654: 4647: 4640: 4631: 4622: 4615: 4606: 4599: 4587: 4580: 4573: 4566: 4559: 4552: 4545: 4538: 4523: 4514: 4507: 4500: 4490: 4478: 4471: 4461: 4454: 4445: 4438: 4431: 4424: 4417: 4410: 4399: 4371: 4365: 4344: 4339: 4327:. Retrieved 4321: 4311: 4299:. Retrieved 4293: 4280: 4268:. Retrieved 4263:The Guardian 4260: 4251: 4242: 4234: 4225: 4216: 4207: 4202:, pp. 52–54. 4199: 4194: 4187: 4178: 4165: 4160:, pp. 456–8. 4157: 4152: 4145:Sonata Forms 4144: 4139: 4131: 4126: 4118: 4113: 4105: 4102:Sonata Forms 4101: 4096: 4088: 4083: 4074: 4066: 4061: 4053: 4048: 4040: 4035: 4023: 4010: 4001: 3992: 3983: 3978:, pp. 19–31. 3975: 3970: 3962: 3957: 3949: 3944: 3936: 3931: 3922: 3917:, pp. 19–31. 3914: 3910: 3905: 3896: 3887: 3879: 3874: 3869:, pp. 456–8. 3866: 3862: 3857: 3849: 3844: 3836: 3831: 3823: 3818: 3810: 3805: 3793: 3785: 3780: 3771: 3763: 3758: 3750: 3745: 3737: 3732: 3724: 3721:Sonata Forms 3720: 3715: 3707: 3702: 3693: 3688:, pp. 314–6. 3685: 3680: 3672: 3664: 3656: 3651: 3643: 3635: 3630: 3621:, pp. 78–9; 3618: 3613: 3608:, pp. 68–72. 3605: 3600: 3592: 3587: 3579: 3574: 3566: 3561: 3553: 3549: 3544: 3539:, pp. 204–5. 3536: 3531: 3526:, pp. 20–21. 3523: 3518: 3513:, pp. 271–6. 3510: 3505: 3497: 3491: 3482: 3475:Sonata Forms 3474: 3470: 3465: 3457: 3449: 3442:Sonata Forms 3441: 3437: 3432: 3423: 3414: 3401: 3393: 3388: 3379: 3371: 3367: 3359: 3350: 3341: 3332: 3323: 3315: 3310: 3302: 3297: 3288: 3283:, pp. 62–63. 3280: 3275: 3266: 3253: 3241: 3224: 3220: 3216: 3210: 3202: 3197: 3189: 3172: 3163: 3154: 3134: 3129: 3121: 3116: 3111:, pp. 141–2. 3108: 3103: 3093: 3084: 3079:, pp. 141–2. 3076: 3071: 3062: 3057:, pp. 144–5. 3054: 3049: 3040: 3032: 3028: 3020: 3012: 2996: 2981:Sonata forms 2980: 2975: 2970:, pp. 274–6. 2967: 2962: 2957:, pp. 456–8. 2954: 2949: 2940: 2928: 2915: 2905: 2860:Paul McNulty 2834:Johann Fritz 2823: 2814:Maria Yudina 2770:Clara Haskil 2667:Walter Klien 2629: 2606: 2573: 2558: 2552: 2531: 2505: 2488: 2484: 2458:and even of 2452: 2444:Alberti bass 2440: 2419: 2387: 2379: 2377: 2365: 2354: 2335: 2302: 2286: 2265: 2248: 2237: 2210: 2186: 2178: 2173: 2169: 2163: 2159:Der Wanderer 2157: 2147: 2138: 2134: 2109: 2094:major; and C 2037: 2003: 2001: 1996: 1990: 1988: 1956:Der Wanderer 1951: 1935: 1929: 1927: 1902: 1886: 1876: 1873: 1729: 1711: 1675: 1666: 1633:arpeggiation 1621: 1617: 1611: 1607: 1579: 1563: 1554: 1550: 1546: 1544: 1519: 1514: 1510: 1504: 1484: 1477: 1469: 1463: 1459: 1453: 1413: 1404: 1321: 1312: 1269:half cadence 1252:ternary form 1249: 1240: 1176: 1148: 1125: 1067: 1064: 1039: 1030:sonata-rondo 1027: 1018: 960: 951: 885: 878:Der Wanderer 867: 855: 840: 831: 770: 767: 763:retransition 759: 727: 725: 708: 660: 652: 648: 629: 613: 573: 565: 517: 504: 497: 455: 433: 383:chromaticism 368: 366: 335: 327: 315: 302: 296: 289: 274: 266:ternary form 231: 221: 217: 211:rather than 181: 177:Gustav Klimt 172: 131: 123: 103: 91: 84: 71: 57: 45: 30: 23:Portrait by 5605:Sonata in B 5413:D 769A 4988:Early Music 4977:Early Music 4919: [ 4910:Arnold Feil 4865:RSA Journal 4056:, pp. 8–10. 4043:, pp. 94–5. 3788:, pp. 3–12. 2887:Chris Maene 2879:Sonata in B 2842:Conrad Graf 2838:Tobias Koch 2750:Sonata in B 2729:Jorge Bolet 2609:Bärenreiter 2513:repeat sign 2174:Winterreise 2165:Winterreise 2082:–F major; G 2033:Im Frühling 1997:Winterreise 1992:Winterreise 1821:minor and G 1797:minor and D 1785:major and F 1773:minor and F 1691:cyclic form 1684:intervallic 1586:figurations 1532:and in the 1526:sonata-form 1511:first draft 1445:semiquavers 1350:binary form 1078:Sonata in B 866:minor with 732:duple-meter 562:IV. Allegro 534:minor sixth 471:progression 436:subdominant 345:The sonatas 309:binary form 260:. The main 234:sonata form 209:sonata form 193:development 73:Winterreise 5805:Categories 5727:piano trio 5717:D 821 5706:arpeggione 5694:D 574 5677:D 384 5644:D 940 5635:D 812 5626:D 733 5613:D 617 5597:four hands 5580:D 946 5571:D 935 5562:D 899 5554:D 915 5545:D 780 5536:D 969 5527:D 779 5519:D 760 5508:D 718 5487:D 960 5473:D 959 5465:D 958 5456:D 894 5447:D 850 5438:D 845 5430:D 840 5421:D 784 5404:D 664 5396:D 655 5381:D 625 5366:D 613 5357:D 575 5348:D 571 5333:D 568 5318:D 567 5303:D 566 5289:D 557 5268:D 537 5259:D 459 5246:D 279 5237:D 157 4354:References 3655:Einstein, 3098:mentioned. 3053:Woodford, 2762:Jörg Demus 2675:Paul Lewis 2597:Paul Lewis 2460:Schoenberg 2342:harmonies. 2331:plagiarism 2249:Pathétique 2170:Mein Traum 1725:cancrizans 1706:cancrizans 1697:in music. 1629:cancrizans 1613:alla breve 1479:diminuendo 1464:pianissimo 1460:fortissimo 1407:media help 1315:media help 1243:media help 1192:transposed 1168:shift to F 1166:enharmonic 1128:media help 1072:retrograde 1068:fortissimo 1021:media help 954:media help 905:figuration 882:recitative 868:fortissimo 834:media help 771:pianissimo 711:media help 690:I. Allegro 672:I. Allegro 649:fortissimo 638:submediant 583:tarantella 499:sforzandos 452:II. Adagio 387:modulatory 355:I. Allegro 336:fortissimo 331:transposed 290:pianissimo 278:figuration 238:exposition 189:modulatory 138:autographs 60:cyclically 5740:D 28 5708:and piano 5471:A major, 5463:C minor, 5436:A minor, 5419:A minor, 5411:E minor, 5402:A major, 5373:F minor/D 5364:C major, 5355:B major, 5295:E minor/A 5266:A minor, 5253:E major " 5218:two hands 5056:from the 4237:, p. 334. 4108:, p. 204. 4091:, p. 286. 3965:, p. 458. 3852:, p. 203. 3839:, p. 203. 3675:, p. 286. 3646:, p. 222. 3556:, p. 333. 3477:, p. 394. 3444:, p. 394. 3314:Carlton, 3250:Alex Ross 3192:, p. 218. 3137:, p. 276. 3075:Deutsch, 2983:, p. 394. 2866:, 1826), 2683:Radu Lupu 2617:Universal 2495:trilogies 2464:overtones 2213:Beethoven 2051:pizzicato 1877:see below 1522:movements 1515:fair copy 886:sforzando 642:arpeggios 587:registers 319:sequences 164:Structure 134:Ferdinand 110:Mass in E 64:movements 48:Beethoven 5766:by genre 5735:♭ 5696:, Op.162 5687:, Op.137 5646:, Op.103 5637:, Op.140 5608:♭ 5573:, Op.142 5482:♭ 5423:, Op.143 5406:, Op.120 5391:♯ 5376:♭ 5359:, Op.147 5350:/570/604 5343:♯ 5335:, Op.122 5328:♭ 5313:♭ 5298:♭ 5284:♭ 5278:♭ 5270:, Op.164 5147:No. 21 ( 5124:No. 19 ( 5101:No. 13 ( 4877:41374923 4838:Schubert 4687:Schubert 4553:Integral 4235:Schubert 4089:Schubert 3826:, p. 91. 3824:Schubert 3673:Schubert 3595:, p. 80. 3205:, p. 13. 3055:Schubert 3033:Schubert 2893:, 1836). 2891:Steinway 2882:♭ 2855:♭ 2753:♭ 2634:♭ 2564:♭ 2561:of the B 2547:♭ 2536:♭ 2525:♭ 2479:♭ 2473:♭ 2448:ostinati 2417:Sonata. 2414:♭ 2407:and the 2395:♭ 2369:Schumann 2348:♯ 2325:♭ 2319:♭ 2313:♭ 2307:♭ 2294:♭ 2274:♭ 2271:in the B 2259:♯ 2217:borrowed 2182:♭ 2162:and the 2152:♭ 2142:ostinati 2128:♭ 2119:♭ 2103:♯ 2097:♯ 2091:♭ 2085:♭ 2079:♭ 2072:♭ 2055:ostinato 2045:♭ 2024:♭ 2018:♭ 2012:♭ 1983:♭ 1980:of the B 1973:♯ 1967:♯ 1961:♯ 1947:♯ 1941:♯ 1920:♭ 1868:♭ 1861:♯ 1855:♭ 1849:♭ 1843:♯ 1836:♭ 1830:♯ 1824:♭ 1818:♯ 1812:♭ 1806:♯ 1800:♭ 1794:♯ 1788:♯ 1782:♯ 1776:♯ 1770:♯ 1763:♭ 1757:♭ 1751:♯ 1745:♭ 1742:minor, G 1739:♯ 1733:♭ 1719:♯ 1660:♭ 1648:dominant 1622:Moderato 1592:♭ 1575:fermatas 1547:Sonate I 1539:♭ 1494:♭ 1488:♭ 1473:♭ 1440:♭ 1434:♭ 1428:♭ 1418:♭ 1355:♭ 1352:and in B 1341:♯ 1335:♭ 1329:♭ 1264:♭ 1257:♯ 1197:♭ 1187:♯ 1181:♭ 1171:♯ 1161:♭ 1152:♭ 1142:♭ 1081:♭ 1059:♯ 1049:♯ 1043:♯ 971:♯ 965:♯ 897:♯ 891:♯ 873:♯ 863:♯ 858:fantasia 844:♯ 785:dominant 780:♭ 751:dominant 738:diatonic 735:stepwise 633:♭ 624:♭ 617:♭ 608:♭ 602:♯ 596:♭ 551:♭ 545:♭ 539:♭ 529:♭ 524:hemiolas 507:semitone 492:♭ 486:♭ 480:♭ 466:♭ 459:♭ 446:cadences 441:♭ 428:♭ 418:♭ 412:♭ 402:♭ 392:♭ 378:♭ 298:quietly. 250:dominant 197:ABA form 185:movement 113:♭ 94:syphilis 5738:major, 5658:sonatas 5628:, Op.51 5615:, Op.30 5611:major, 5564:, Op.90 5547:, Op.94 5538:, Op.77 5529:, Op.50 5485:major, 5458:, Op.78 5449:, Op.53 5440:, Op.42 5394:minor, 5379:major, 5346:minor, 5331:major, 5316:major, 5287:major, 5281:major/E 5227:Sonatas 5200:sonatas 4329:6 March 4143:Rosen, 4130:Rosen, 4117:Hanna, 4100:Rosen, 4065:Hanna, 4039:Hanna, 3961:Rosen, 3948:Rosen, 3719:Rosen, 3496:(Fisk, 2625:tremoli 2287:Emperor 2188:Requiem 2106:minor). 2015:major/G 1970:minor/F 1952:Fantasy 1944:minor/F 1936:Fantasy 1827:major/F 1815:major/C 1760:major/B 1748:major/F 1736:major/C 1714:scherzo 1663:Sonata. 1637:scherzo 1618:Andante 1595:Sonata. 1449:contour 1421:major. 1324:scherzo 850:fanfare 749:(A) to 742:triplet 657:octaves 581:and in 270:periods 224:motives 201:scherzo 68:trilogy 5781:Portal 5157:D. 960 5153:D. 959 5149:D. 958 5134:D. 960 5130:D. 959 5126:D. 958 5111:D. 960 5107:D. 959 5103:D. 958 5064:format 4984:et al. 4875: 4825:, ed. 4759:et al. 4747:, ed. 4526:, ed. 4388:950069 4386: 4301:11 May 4270:8 June 4188:et al. 3935:Fisk, 3878:Fisk, 3809:Fisk, 3784:Fisk, 3762:Fisk, 3736:Fisk, 3706:Fisk, 3617:Fisk, 3604:Fisk, 3591:Fisk, 3578:Fisk, 3569:, p. 3 3565:Fisk, 3548:Fisk, 3535:Fisk, 3522:Fisk, 3509:Fisk, 3469:Fisk, 3279:Fisk, 3201:Fisk, 3188:Fisk, 3133:Fisk, 3011:Fisk, 2995:Fisk, 2889:after 2858:only, 2619:, and 2595:, and 2491:Mozart 2437:Legacy 2373:Brahms 2285:, the 1913:motifs 1687:motifs 1567:themes 1507:sketch 880:"), a 646:subito 636:, the 321:, and 262:themes 236:. The 205:minuet 191:quasi- 150:Mozart 118:, the 108:, the 87:Vienna 5656:Other 5595:Piano 5498:Other 5261:/459A 5216:Piano 4923:] 4873:JSTOR 4384:JSTOR 2898:Notes 2613:Henle 2555:tempi 2456:Liszt 2264:(the 2247:(the 2205:quote 1905:theme 1644:tonic 1604:meter 1600:tempo 1559:folio 1509:(the 1156:trill 1145:major 747:tonic 728:forte 653:forte 397:tonic 369:forte 246:tonic 5683:and 5383:/505 5320:/568 5305:/506 5239:/154 5198:and 4829:and 4331:2013 4303:2012 4272:2011 4182:See 2910:215. 2579:and 2429:and 2371:and 1534:coda 1056:in F 305:trio 286:coda 5685:408 5681:385 5257:", 5202:by 5096:AGA 5076:by 5062:MP3 5060:in 5052:by 4869:137 4376:doi 4372:104 3248:by 3229:doi 3219:". 2697:, 1879:). 1646:to 1602:or 1555:III 1517:). 787:or 777:on 248:to 175:by 5807:: 5679:, 5624:, 5620:3 5517:, 5159:) 5136:) 5113:) 5034:, 5030:, 4935:, 4925:, 4921:de 4867:. 4757:, 4695:, 4537:, 4499:, 4489:, 4470:, 4382:. 4370:. 4320:. 4292:. 4259:. 3366:, 3252:, 3225:25 3223:. 3181:^ 3142:^ 3027:, 3004:^ 2988:^ 2816:, 2812:, 2804:, 2792:, 2788:, 2784:, 2780:, 2772:, 2764:, 2760:, 2756:: 2743:, 2739:, 2735:, 2731:, 2727:, 2716:, 2705:, 2701:, 2693:, 2689:, 2685:, 2681:, 2677:, 2673:, 2669:, 2665:, 2661:, 2653:, 2649:, 2645:, 2615:, 2611:, 2599:. 2591:, 2587:, 2375:. 2268:). 2100:–F 2088:–D 1925:. 1858:/C 1553:, 1551:II 1549:, 1074:. 611:. 558:. 502:. 409:(E 215:. 38:, 5783:: 5768:) 5764:( 5479:B 5388:C 5340:F 5325:E 5310:D 5275:A 5188:e 5181:t 5174:v 4879:. 4390:. 4378:: 4347:. 4333:. 4305:. 4274:. 4261:p 3235:. 3231:: 3124:. 2840:( 2832:( 2820:. 2747:. 2720:. 2709:. 2544:B 2299:. 2227:. 2076:B 2009:B 1899:. 1865:B 1840:C 1639:. 1624:. 1589:B 1409:. 1317:. 1245:. 1130:. 1023:. 956:. 836:. 713:. 621:B 574:8 292:. 40:D

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Knowledge

Schubert's last sonatas

Index