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period as the rest of the Sonata, June 1817. in style
and beauty the A major Andante fits the other three
movements like a glove; it is one of the loveliest inspirations
of Schubert’s early years, and i for one
would willingly accept far flimsier reasons than
these for its inclusion in the F sharp minor sonata
if thereby it can emerge from obscurity”. The other
movements of the Sonata were also notated on
sheets of music paper which included fragments of
earlier compositions.
The Scherzo and the Finale, copied onto a
double folio, do not appear here in the correct
order: the Finale, incomplete, is found on pages
1-3, while the complete Scherzo appears on page
4 (this is why the two movements were considered
as one in Deutsch’s classification where they
are described as “Allegro and Scherzo”, D 570,
although the former clearly shows all the typical
features of a Finale). There is a plausible reason
for this arrangement: Schubert could have taken
page 4 of these sheets of music paper as the first
(i have done this myself a number of times as an
occasional composer).
Full of gaiety, the Scherzo, which includes a
passage that anticipates Johann Strauss, would
seem to require no commentary. As for the Finale,
it is a real delight to find the motifs from the first
movement – the breaking down into triads, as
well as the note C sharp repeated three times,
no longer now elegiac in mood but set to a dance
rhythm that is vigorous and joyous. This does not
prevent the joyful Scherzo completely overcoming
the melancholy of the first movement, despite the
consolatory atmosphere of the second movement,
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which is rather like the later songs (Erlaufsee D
586 and Der Wachtelschelg D 742). An epilogue,
with the dark colours of an elegy, introduces a new
triplet rhythm which is to dominate the development
section, while the melancholy is increased
and takes on a quite moving appearance. This
movement, which has no recapitulation, has been
completed according to the same principles adopted
for the first movement. The Sonata finishes as it
began, in a mood of gentle melancholy.
∆
Sonata no. 9 in B major, opus post. 147, D 575
composed in August 1817
At the age of twenty, Schubert must have felt
well satisfied with the results of his “pianistic
spring-time” of 1817: three real masterpieces had
been born, each different from the other, but all
three marked by the unmistakable seal of a mature
personality: the Sonata in A minor, D 537 with
its tragic feeling, the Sonata in A flat major
with its naive brevity, and finally the Sonata in
E flat major expansive and relaxed, more profound
in its first version in D flat Major because of
the great sadness of the Andante in C sharp minor.
After a short pause – even Schubert needed some
rest – came the Sonata in B major, entitled
with good reason Grand Sonata in the first posthumous
edition published by Diabelli & Co. in 1846.
Here Schubert manifestly wished to conquer
and to integrate new aspects into the already rich
complex of the sonata. And he succeeded magnificently:
from the very start, full of strength, in
octaves, we are in unknown territory. While the