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write ten years later in Gastein: the same G major
in both cases and the same melodic outline B-E-D
over repeated chords. But in this youthful sonata
the theme is quicker and an octave higher, like the
voice of a boy compared to that of a man. The second
section of the Trio, however, is altogether different
in conception: instead of the invocation to the
almighty that we find in the Gastein Sonata we
have a journey through dreamlike, sensuous visions
– like a cello solo below high strings or wind instruments,
a premonition of the Wagnerian world…
What a surprise! – This Sonata is considered to be
incomplete because it lacks a fourth movement in
the home key of E Major. But what could really follow?
Perhaps Schubert was himself aware that with
its three movements this Sonata was well and truly
finished, just like the Sonata in B flat major, D
557, which ends in the dominant key – not to mention
the famous Unfinished Symphony.
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Sonata no. 2 in C major, D 279/346
September 1815
First edition 1888
Old edition complete
There is no reason to doubt the chronology
of the Deutsch Catalogue, according to which
Schubert composed more than 100 works during
the seven months which followed the Sonata in
E major – a veritable “explosion” of creativity.
As we might expect, this state of continuous
creativity is reflected in the greater maturity of this
second sonata which Schubert modestly called
“Sonata i”.
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The greatest difference between the first two
works involves the mastery and conception of the
first movement. Here the themes have become
more personal and the language has gained at the
same time subtlety and virtuosity. This Sonata begins
with great strength on a virile unison theme,
which after a short respite is repeated with added
counterpoint – “Mozart, and even better”, one is
tempted to say – in a dynamic progression that
rises from piano to fortissimo. The transition, which
is striking for its harmonic “modernism”, leads to
a second subject which is gentle and imbued with
great charm. The second entry of this theme appears
in the low register as if played by the “cello”: this is
a very Schubertian idea but one which had its models
in Mozart (e.g. the Sonatas K 309 and 533). The
virtuoso conception of the conclusion is unusual in
Schubert: we think on the one hand of the Waldstein
Sonata of Beethoven but on the other hand it looks
forward to the “Viennese” and typically Schubertian
gaiety of the Overture to Rosamunde. Up to this
point, the exposition proceeds in a quite classical
manner, apart from the dissonances in the transition
section. The development which then begins
immerses us suddenly into harmonic and psychological
chaos. What follows in the course of the next
minute or so breaks with all the classical norms, and
yet the thematic and rythmic fundamentals remain
quite solid so that the unity of the movement is safeguarded
– a little Schubertian miracle. This combination
of chromaticisms, free dissonances and
mediant key relationships (modulations to keys a
third apart) represent an evolutionary leap forward
of at least 70 years, anticipating the boldest connec-