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Equally contrasted is the last movement, a rondo
presenting a certain affinity with the last movement
of Mozart’s tragic Sonata in A minor, K 310:
a melancholy theme in 2/4, some explosive leaps, a
tender middle section in A major and an energetic,
tragic ending. But even more noticeable are naturally
the correspondances with the preceding movements.
Firstly the initial movement fills the same
sound space (E 2 -E 1 ) as the main theme of the first
movement. What is new however is the tetrachord
(E-D-C-B) which dominates the whole movement
in one form or another. This appears already with
the second energetic theme which is based on four
descending notes. The gentle middle section in A
major also begins with a tetrachord (C#-B-A-G#),
immediately followed by its inversion in longer
notes (A-B-C-D) which had already been heard in
the bass as a continuation of the energetic theme.
But this consolatory mood does not last. As in a
development it is followed, in D minor, by a contrapuntal
“confrontation” of this theme with the rondo
theme which then holds sway until the end. The last
light harmonic leap into A Major is answered by the
melancholy ending of the initial theme in A minor.
After this an almost literal repeat of the first section
ends in an hectic A major resembling a kind of forced
smile. The coda brings no relief, quite the contrary,
again the two themes are mingled in the minor
mode. As if in combat, the central theme appears
sometimes in the high register, sometimes in the
low, and it is completely broken down until all that
remains in a final accelerando is the concluding third
C-A. it is as if the furies had taken over the work.
Two abrupt ff chords close the work finally in tragedy.
48
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Sonata no. 16 in D major, Opus 53, D 850
“Gastein Sonata”
This sonata was composed in Gastein in August
1825. No other work by Schubert expresses as
much joy as this one; and although we must always
be careful in associating his work with his life, it
does seem to reflect a moment of happiness which
Schubert experienced during this holiday period.
Although the effects of sadness are not completely
absent from this Sonata, they do not here suggest
anything other than passing clouds: because of
them the landscape seems to shine all the more
brightly in the sunlight. The baths at Gastein are
situated in one of the prettiest of places in Austria,
and it is touching to see how much Schubert
loved this countryside between Salzburg and Bad-
Gastein, which he describes enthusiastically in the
famous letter addressed to his brother Ferdinand
on 12th September 1825: “We ate at midday at Mr.
Pauernfeind’s house, and when the weather that
afternoon allowed us to go out, we climbed up the
Nonnenberg, which is not very high but which nevertheless
offers one of the finest views. From the
top you can see the valley extending down behind
Salzburg. To describe the charm of that valley is
almost impossible for me. imagine a vast garden
extending over several miles, and in this garden
numerous estates and castles which appear from
the distance through the trees. Think of a river meandering
capriciously through its many twists and
turns; think of fields and meadows like so many carpets
of the finest colours, then of the many road tied