General Introduction

This is Schubert's second piano sonata, composed in September 1815. The autograph manuscript is marked "Sonate I," suggesting that Schubert regarded this work as his first substantial piano sonata.

Although the autograph manuscript concludes with the third movement, some scholars hypothesize that Schubert composed a fourth movement. Opinions among researchers vary, with Allegretto in C major, D 346, and Rondo in C major, D 309A, being proposed as candidates for the fourth movement. While Allegretto D 346 was composed in 1816, Rondo D 309A is dated October 16, 1815, in the autograph, making the latter more consistent in terms of composition date. However, only the first six measures of this Rondo are written, and they are all crossed out, so the truth remains unknown. Furthermore, it is also possible that Schubert conceived both as potential finales for this work.

Movement 1: Allegro moderato, C major, 4/4 time

Written in sonata form. Similar to Piano Sonata No. 1, D 157, an attempt to modulate to a remote key is evident already in the exposition. The first theme is presented majestically in unison in C major. After being affirmed with different accompanying textures, it proceeds through a half cadence (m. 23) that seems to turn towards A minor, leading to a B major triad (m. 37) that anticipates E minor. From there, it abruptly shifts to a D major triad, introducing the second theme in G major (m. 45). As the texture changes, flat keys such as B-flat major and E-flat major appear, and the parallel minor, G minor, also emerges, but the movement concludes in G major with the final cadence.

The development section showcases continuous attempts at modulating harmonic changes. It begins in C-sharp minor, passes through G minor and E-flat minor, and modulates freely to F major/F minor.

From measure 118, the opening theme is recapitulated in the subdominant, F major. The concept of beginning the recapitulation with the first theme in the subdominant and returning to the tonic with the second theme is already seen in Mozart's Piano Sonata in C major, K. 545. This movement concludes with a grand finale in C major.

The virtuosic writing in this movement also suggests the influence of Clementi, who swept across Europe and significantly developed piano music.

Movement 2: Andante, F major, 3/4 time

This movement adopts an ABA' ternary form. The A section itself is divided into three parts, with a modulating middle section framed by an 8-measure theme. The B section (mm. 26-51) opens in a contrasting forte D minor. The B section is dominated by the sixteenth-note rhythm that characterized the middle part of the A section.

When the main section returns at measure 52, the melody appears varied. Here, the melody is ornamented by the sixteenth-note rhythm that characterized the middle sections (both within the A section and the overall middle section of the movement), achieving a kind of integration between the opening melody and the middle section.

Movement 3: Menuetto: Allegro vivace, A minor, 3/4 time

This movement is written with a texture that can be interpreted either as a minuet in triple meter or as a scherzo, counted as one beat per measure at a slightly faster tempo.

The main section adopts an ABA' ternary form. The 16-measure A section begins with an 8-measure theme presentation, followed by a 4-measure hemiola, and then a 4-measure half-cadence, exhibiting a classical structure. In the B section, after voice exchange and modulation paraphrasing the A section, the A section returns with tonal deviations and closes in the tonic.

In contrast to the forte and incisive minor-key main section, the Trio begins quietly in the parallel major. While the main section and Trio have contrasting characters, they are constructed using the same rhythmic material, not only in the quarter-note accompaniment but also in the eighth-note and quarter-note melodies.

An alternative version of this movement exists (D 277A). Although this autograph manuscript does not indicate a composition date and features a different Trio in F major, it is considered part of the compositional process for this movement.