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one argument goes against this theory: and that<br />
is the state of manuscript, a working score with<br />
many corrections. That is why i rather believe that<br />
it was the Sonata in E flat major (D 568)<br />
which had been envisaged for publication as number<br />
iii. Who else but a publisher who was thinking<br />
that a sonata with a key signature of three flats<br />
would sell more easily than one with five flats,<br />
could have persuaded Schubert to transpose the<br />
Sonata D 567 originally written in D flat major?<br />
The corrections introduced to the version in E flat<br />
major when compared to the original version also<br />
suggest a revision made by the composer himself<br />
a few years later. Finally this Sonata was published<br />
as opus 122 relatively soon after Schubert’s death,<br />
probably without his brother enjoying the rights<br />
that he should have inherited.<br />
∆<br />
The three last sonatas<br />
We cannot help noticing certain analogies between<br />
the development of the last three symphonies<br />
of Mozart (composed in 1788) and that of the<br />
last three sonatas for piano of Schubert (dating<br />
from September 1828). Written without any apparent<br />
external reason, and within an extremely short<br />
space of time, these two triptyches both represent<br />
in their particular genres, the apotheosis of their<br />
art. They each include one work in a minor key and<br />
two in a major key, brought together by an implicit<br />
cyclical relationship. Naturally there are differences<br />
between them: the end of the Jupiter radiates with<br />
Apollonian joy, whi<strong>le</strong> the last Sonata is fil<strong>le</strong>d with<br />
54<br />
serenity and nostalgia, as if Schubert felt a foreboding<br />
that he only had a few weeks to life.<br />
in his critical study of the last three Sonatas,<br />
Schumann, despite his usual intuitive clairvoyance,<br />
committed a grave error of judgment, which<br />
has since been repeated without justification. He<br />
felt a certain diminution in Schubert’s creative faculties<br />
due to illness. But there can be no question<br />
here of a weakening in his power of composition,<br />
rather a deliberate departure into unexplored territory,<br />
scaring to peaks where icy winds blow. This<br />
new expressive domain serves to explain, here and<br />
there, a certain savage ruggedness and the evocation<br />
of an icy landscape, a hundred mi<strong>le</strong>s away in<br />
fact from the flowery orchards of his youth.<br />
∆<br />
Sonata no. 18 in C minor, D 958<br />
“it is by my instinct for music and my suffering<br />
that my works exist: those works born of my suffering<br />
alone seem to bring <strong>le</strong>ss joy to the world”<br />
(extract from Schubert’s Dairy of 1824 which has<br />
since disappeared).<br />
“Engraved by suffering and instinct”. Few of<br />
the works mentioned like this in Schubert’s Diary<br />
justify the description as much as the Sonata in<br />
C minor. And as Schubert so rightly said, tragic<br />
works of this nature enjoy at first encounter <strong>le</strong>ss<br />
success than more serene works. Still today in the<br />
eyes of most peop<strong>le</strong> Schubert is first and foremost<br />
the creator of p<strong>le</strong>asant melodies. However the<br />
“tragic” Schubert, to whom we are indebted for<br />
the most profound and beautiful musical expression,<br />
is all the same now gradually beginning to