The coda vanishes rather than ends, and we are left with the impression of having penetrated something of nature’s deepest secrets. The ineffable charm of its second theme, with dotted rhythms in the bass line and a dominant pedal construction, is magnified by the 16th-note variation that immediately follows. The dramatic power of its development section, reaching the fortississimo dynamic ( fff), is unique in the composer’s output for piano. The placid majesty of its first movement, whose opening chords resonate like waves upon calm water, is unequalled except for the very last sonata, D.
894, dated 1826, is the last one Schubert composed before producing, in 1828, his ultimate trilogy and testament to the sonata genre. Although rarely performed because of its fragmentary nature, its exquisite, inspiring quality alone is an excellent reason for bringing it continually to light. It is also a fact that publishers often made a habit of issuing such works in separate movements. 8 was left incomplete: the composer interrupted its writing at the beginning of the single movement’s re-exposition. Like sonatas 2, 6, 10, and 11, Schubert’s Sonata No. As for the finale, its opening bravura theme leads to a more melodic motif before expiring over a sequence of repeated pianissimo chords of fearsome difficulty. The “Andante” is shaped as a Romance, superimposing long tenor-range melodies with a pearl-style accompaniment in the right hand. The “Scherzo,” whose trio section already foreshadows the prosody of Schumann’s Carnaval, draws on Austrian folk rhythms. The first movement is a kind of Ballade, beginning with a lengthy lamentation that evolves, nevertheless, into a brighter thematic group in the piano’s high register. The Sonata in F-sharp minor, D.571 is the fifth in this cycle of six highly experimental works that carry the seeds of burgeoning Romanticism. That was all Schubert needed to inspire him to compose six sonatas in a single year – 1817 – by far his most productive period in this respect.
He settled in with his friend Schober, who came from a wealthier home, where several good pianos were housed. Franz Schubert left the family home at the age of 20, tired of having to teach in order to provide for household expenses and eager to gain his independence and the freedom to compose without constraint.
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