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to the theme and to the ensuing variations, the<br />
midd<strong>le</strong> section has four instead eight bars which<br />
destroys the musical equilibrium. Already in 1958,<br />
in my artic<strong>le</strong> “Missing bars and corrupt passages<br />
in classical masterpieces” (published in the Neue<br />
Zeitschrift für Musik 1958, pp.635-42), i was ab<strong>le</strong><br />
to prove that this could not have been intentional.<br />
My reconstruction of the four missing bars (with<br />
the help of the second variation which resemb<strong>le</strong>s a<br />
dance) was printed in Hen<strong>le</strong>’s subsequent edition.<br />
in the minor key with many dissonances, the<br />
third variation is dramatic – a lament which peters<br />
out, after a “protestation” into resignation.<br />
After coming to a halt in the lowest register, like a<br />
voice of consolation the pianistic ramifications of<br />
the fourth variation in A flat Major ensue. A brief<br />
interlude of six bars then picks up the last motif of<br />
this variation, as if in a dream, passing by a modulation<br />
to the basic “c<strong>le</strong>ar” key of this movement.<br />
it is as if a gate was opening on to a springtime<br />
scene or a mountain forest in summer: the piano<br />
writing suggests horn calls – the symbol of the<br />
open air – and finally evokes a feeling of deep inner<br />
peace, of a mystical union with nature (like<br />
the song Auflösung, D 807). Schubert himself liked<br />
this movement – the only variation movement in<br />
any of his piano sonatas – and during the journey<br />
that he undertook in the summer of 1825 he<br />
wrote: “Particularly p<strong>le</strong>asing were the variations<br />
of my new Sonata for piano solo which i played<br />
alone with considerab<strong>le</strong> happiness; some peop<strong>le</strong><br />
told me that under my hands the piano keys were<br />
transformed into singing voices. if this is true i am<br />
very content, because i cannot stand that damned<br />
47 English Français Deutsch Italiano<br />
hammering which is common even among some<br />
excel<strong>le</strong>nt pianists and which delights neither the<br />
ear nor the heart…” (from a <strong>le</strong>tter to his father and<br />
mother-in-law of 25 (or 28?) July, 1825, written<br />
whi<strong>le</strong> he was in Steyer).<br />
The demonic Scherzo, which abounds in tension,<br />
takes us back at a stroke to the consistently<br />
dark mood of the first movement: it is certainly no<br />
coincidence that the opening motif of the Scherzo<br />
includes the same notes as at the beginning of the<br />
first movement, albeit in a different order A-B-<br />
C-E. However whi<strong>le</strong> the first movement gradually<br />
develops from melancholy passivity to quick<br />
march progressing in an irresistab<strong>le</strong> manner, the<br />
rhythmic energy at the beginning of the Scherzo is<br />
re<strong>le</strong>ased, after two <strong>le</strong>aps forward in the fourth bar,<br />
with a fortissimo.<br />
The main section is composed in a succinct sonata<br />
form. The motivic work using typical repetition<br />
of the notes of the initial motif is, one might<br />
say, Beethovenian. After the radiant ending in A<br />
major – one of the rare luminous moments in this<br />
Sonata, the few transitional bars <strong>le</strong>ading to the<br />
trio appear to return us with the A-C-A motif to<br />
the sadness of A minor. But to our surprise, instead<br />
of ending in A minor, these notes <strong>le</strong>ad us<br />
into F major, which includes the same notes. What<br />
follows is one of Schubert’s most enchanting pieces,<br />
a bright, airy dance in one of the gent<strong>le</strong>st vein,<br />
disturbed only in the midd<strong>le</strong> by minor key harmonies<br />
and dissonances; expressing neither sadness<br />
nor joy, the soul is <strong>le</strong>ft in “limbo”. After this dream<br />
of peace the return to the first “rending” part of<br />
the Scherzo seems like a sudden schock.