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end in dissipation: before the final slowing down
on a diminuendo, the opening theme returns in all
its serenity, but this time sinking an octave lower
than at the beginning. The passionate explosion
of the storm has left its traces. But serene joy is
gradually imposed, although tinged with a shade
of nostalgia: an example of the kind of musical
psychology that is only found with the greatest
masters. Poetic significance is imposed on the musical
style and structure at the same time.
it is in the brilliant finale that really joy finally
emerges, in an E flat major which is perhaps to be
understood as the last response to the sombre E
flat minor of the Andante’s middle section. Lack of
space prevents us from describing the numerous
jewels of this last movement, like the waltz at the
end of the exposition and recapitulation, which
begins in exuberance and peters out in reverie.
∆
Sonata no. 6 in E minor, D 566/506
composed in June 1817
How is it that this charming and polished
Sonata, which is moreover relatively easy to play,
should have remained almost unknown to this
day? We seek it in vain in the current editions
of Schubert’s Sonatas. its fate is typical of many
of Schubert’s works: shortly after his death, the
last movement became separated from the rest by
chance (for the first Sonatas, Schubert composed
the movements separately on separate sheets or
unbound sheaves of paper. it appeared quite soon,
under the number Opus 145, Adagio and Rondo,
preceded by an arrangement, disfigured and much
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abbreviated by the editor of the Adagio, D 605,
which was part of the Sonata in F minor.
The three other movements became, with the
rest of the posthumous collection, the property
of Schubert’s brother, Ferdinand; he sold them
in 1842 to the Leipzig publisher, K.F. Whistling,
who never published them. Long thought to be
lost, they reappeared as late as 1903, when Erich
Prieger acquired them; but he published only the
Allegretto in 1907. it was only in 1928, a hundred
years after the composer’s death, that the magazine
“Die Musik” published the Scherzo. And the
autographed manuscripts have disappeared again
since that time, along with the manuscript of the
Rondo. Fortunately, as well as the aforementioned
first edition (probably falsified by the publisher),
there survives a contemporary copy of Schubert’s
in the Gesellschaft der Musikfreunde Wien, bearing
the title “Sonata Rondo”, which is enough to
prove that this was not an independent piece but
really a movement from a sonata. The only surviving
autograph is a copy of the first movement
alone, with the title “Sonata i” in Schubert’s own
hand – although this in fact represents at least the
sixth sonata that he had written. This tendency
to call each new work the first sonata was typical
of Schubert’s self-critical attitude, which we
will find over and over again subsequently. Apart
from the stylistic connections, there are other
indications that tend to show that the Rondo is
really the last movement of this Sonata. For example,
there exists a sketch for this Rondo written
down by Schubert on the reverse leaf of the psalm
Lebenslied of December 1816. As my commentary