General Introduction

The last piano sonata bequeathed by Schubert. Schubert conceived this work as the third piece in a set of three sonatas to be published as "Grand Sonatas," composing D 958, D 959, and D 960 in parallel. Recent research suggests that Schubert began drafting the C minor Sonata D 958 in May 1828, and produced drafts of the A major Sonata D 959 and the B-flat major Sonata D 960 in July and August of the same year. It is believed that the fair copies of all three works were made together in September of that year. In a letter dated October 2, 1828, in which Schubert offered this set of three sonatas to the Leipzig publisher Probst, he expressed his desire to dedicate the collection to Johann Nepomuk Hummel. This is interesting in that Schubert chose a virtuoso pianist who was also a renowned composer at the time as the dedicatee; however, the sonata set was eventually published posthumously by Diabelli in Vienna in April 1839, and contrary to Schubert's wishes, it was dedicated to Robert Schumann.

In this set of three sonatas, Schubert directly confronted the legacy of Beethoven, who had passed away the previous year. This is clearly demonstrated by the numerous connections that have been drawn between this sonata set and Beethoven's works to date. To cite famous examples, the first movement of the C minor Sonata has been noted for its relationship with Beethoven's Variations in C minor (WoO 80), and the fourth movement of the A major Sonata with the final movement of Beethoven's Piano Sonata No. 16 (Op. 31-3). Regarding the B-flat major Sonata, the fourth movement has been noted for its relationship with the substituted final movement of Beethoven's String Quartet No. 13 in B-flat major (Op. 130). Thus, it is undeniable that all of these "Grand Sonatas," unlike his earlier fragments, were composed with a significant awareness of Beethoven.

Indeed, there is no doubt that Beethoven was a significant goal for Schubert. For instance, Spaun, one of his friends, later recalled Schubert lamenting, "What more can one do after Beethoven?" Furthermore, in a letter, Schubert mentioned Beethoven's concert of his own works in May 1824, expressing his desire to hold a similar concert himself. This wish was realized in March 1828.

In light of these facts, it is understandable that Schubert composed this sonata set with Beethoven in mind. However, this by no means implies that Schubert merely imitated Beethoven. As will be shown in the subsequent musical analysis, Schubert assimilated Beethoven's legacy in his own way, clearly establishing the direction of his own music. Generally, if Beethoven's music aimed for a singular path "from struggle to triumph" through its logic and developmental nature, Schubert's music preferred stasis over development, characterized by illuminating the same subject from various angles. In this work too, while using Beethoven as an inspirational foundation, Schubert's typical characteristic of spinning out melodies associatively and variationally, rather than through developmental motivic work, is evident throughout. Furthermore, the fact that the themes of all movements are fundamentally composed of beautiful melodies flowing in stepwise motion also offers a glimpse into Schubert's essence as the "King of Lied."

Movement-by-movement analysis

First Movement: Molto moderato, B-flat major, 4/4 time

The exposition of this movement, written in sonata form, features themes in three keys, which has been called a "major contribution" to the history of sonata form. At the outset, a lyrical first theme is played in B-flat major. This theme concludes with a half cadence, and a softly played low trill adds an ominous nuance (m. 8). Following this, the theme's confirmation closes with a perfect cadence, and the theme then appears in G-flat major, supported by a new sixteenth-note accompaniment figure (m. 20). The theme returns in the tonic, supported by a triplet accompaniment, and following a transitional section, the second theme is presented in F-sharp minor (m. 48). Without enharmonic reinterpretation, the second theme would be written in G-flat minor, indicating a mediant relationship to the tonic. The second theme consists of two parts: the first part has a triplet accompaniment in the inner voice, with the outer voice carrying the melody. In the second part, the left hand provides an accompaniment of sixteenth-note arpeggios, while the right hand carries the melody. In this latter part, through further enharmonic reinterpretation, the expectation of F major builds from measure 70 (F major second inversion triad and F major dominant chord). Prepared by these, the third theme is presented in F major at measure 80. The codetta continues in F major (m. 99), and the exposition concludes.

Thus, in the exposition of this movement, the first theme in B-flat major is followed by the second theme in F-sharp minor (mediant key) and the third theme in F major (dominant key). A typical sonata form can be dialectically interpreted as creating tonal tension by presenting two themes a fifth apart (thesis and antithesis), which is then sublated (synthesis) when both themes return in the tonic in the recapitulation. In contrast, in this work, a theme in a mediant key is inserted between the tonic and dominant regions, thereby relaxing the tension that would typically be aimed for in the exposition. This clearly demonstrates Schubert's compositional philosophy, which emphasizes transitions and shifts, differing from Beethoven's construction of pieces based on ingrained tension.

The development section opens with the first theme appearing in C-sharp minor, and the third theme undergoes successive modulations through sequences from A major. A new theme introduced in D-flat major at measure 151 also modulates through sequences. When the low trill appears at measure 186, fragments of the first theme's melody emerge, foreshadowing the recapitulation. Then, led by the characteristic trill, the recapitulation begins at measure 216.

Two points regarding tonality are particularly noteworthy in the recapitulation.

• First, the section that deviated to G-flat major in the middle of the first theme in the exposition modulates from G-flat major through F-sharp minor to A major (three sharps) in the recapitulation.
• Second, while the first and third themes return in the tonic, the second theme is recapitulated in B minor (two sharps).

In both instances, the modulation is to a key with sharps that is neither a closely related key nor a mediant key, but rather a key far removed on the circle of fifths from the tonic (which has two flats). These two points indicate that in this work, an attempt is made to shift to keys even more distant than in the exposition, within a recapitulation that typically aims to remain in the tonic. This can also be seen as a result of Schubert's unique development of the sonata form, which was common at the time.

Second Movement: Andante sostenuto, C-sharp minor, 3/4 time

The movement broadly takes an ABA' ternary form. The theme of section A begins in C-sharp minor and modulates to E major. Upon repetition of the theme (m. 18), it begins in E major and aims for C-sharp minor. The theme of section B begins in A major, producing a warm sound due to its low register. The sixteenth-note rhythm in the accompaniment creates a contrast with the static section A. Upon repetition of the theme (m. 51), the accompaniment figure changes, and sixteenth-note triplets are added as an inner voice. At measure 59, the opening figure of section B returns, modulating from E major through D major and B-flat major back to A major, where the opening theme of section B is presented again (m. 68). This recapitulation of the B theme suddenly proceeds in the minor mode in the third measure, forming a climax (m. 72). At measure 76, the texture with triplets in the inner voice returns, modulating towards the recapitulation in the tonic.

From measure 90, the opening theme returns in the tonic, marking the recapitulation of the main section. This A' section is a varied recapitulation, notably by the addition of a low voice on the third beat. What further differentiates this recapitulation from the opening is the moment when, after the theme concludes with a half cadence, it suddenly shifts to C major (m. 103). In this movement, where a minor key with a key signature formed the basis, a major key without a key signature appears as a celestial sound. The peculiarity of this sound stems from the fact that the C major on the score is enharmonically H-sharp major (His-Dur). It transcends the circle of fifths, ascending even further. It then proceeds to E major (enharmonically D-double-sharp major), and in the coda, reaches C-sharp major (enharmonically B-double-sharp major). Thus, the tonal structure in this movement is meticulously crafted so that the A' section becomes entirely distinct from the A section.

Third Movement: Scherzo: Allegro vivace con delicatezza, B-flat major, 3/4 time

The movement takes a compound ternary form typical of a scherzo movement: Main section (ABA') – Trio section (CDC') – Da capo of the Main section. In the main section, while the outer A sections are compact in scale, the B section is expanded into two parts.

In section A of the main part, an 8-measure theme is presented twice. The first time, it is presented in the high register, remaining in the tonic B-flat major; the second time, both hands exchange roles, and it modulates to the subdominant E-flat major. Section B first inherits the texture of section A and undergoes successive modulations. Through sequences, it shifts from E-flat major to A-flat major, then to D-flat major, and at measure 33, the eighth-note accompaniment figure breaks off, and a new section begins. Here too, modulation is a primary focus; after deviating to G-flat major, it modulates through F-sharp minor to reach A major. At measure 67, at the end of section B, the texture from the beginning of the movement returns, and the main section returns (m. 69), connected to the end of section B by a slur. Here, one can observe a clever device: while broadly adopting an ABA' ternary form, the entrance of the recapitulation is not presented as such to the listener. In section A' as well, the same 8-measure theme is played twice with voice exchange, but the recapitulation concludes in B-flat major.

The Trio section is in the parallel minor, B-flat minor. Schubert's ingenuity is evident in the rhythmic feel, which avoids emphasizing the strong beat of the first measure and instead emphasizes the beginning of the second measure. As the 10-measure C section shifts from B-flat minor to D-flat major, section D begins with a G-flat major first inversion chord, leading to a half cadence in B-flat minor (m. 18). Following this, section C' appears an octave higher than the opening, with a transformed melody, and closes the Trio section in B-flat minor. Thus, even in the small-scale Trio section, creative ingenuity is evident to prevent the recapitulation from being a mere repetition.

Fourth Movement: Allegro ma non troppo, B-flat major, 2/4 time

The movement takes a rondo-sonata form, which integrates rondo form and sonata form.

This movement opens with a long G note doubled in octaves. Following this, the opening theme begins from a C minor dominant chord and modulates to B-flat major within 8 measures (a). When the theme is repeated an octave higher (a), a new motive briefly appears in E-flat major (b), and when this concludes on a G note, the opening theme returns (a). At measure 42, motive b appears again, this time shifting to A-flat major. Furthermore, motive a returns in the tonic, closing the opening section. Thus, the section up to this point is composed of the alternation of two motives, corresponding to the refrain (recurring section) in rondo form and the first theme of the exposition in sonata form.

In this movement, changes in rhythmic figures coincide with formal divisions; when a new theme is presented at measure 86, the accompaniment figure also changes to dynamic sixteenth notes accordingly. This theme corresponds to the couplet (episode) in rondo form and the second theme area in sonata form; it is initially presented in F major, but is extended into two parts because a section in F minor follows, separated by a general pause (mm. 154-155).

When the same G note as the opening resounds at measure 224, the opening theme returns in the tonic. This section, while corresponding to the rondo refrain in terms of the return of the opening theme, also serves the role of a development section in sonata form, as after the motives continue as aab, similar to the opening, a developmental section using motive b material begins (m. 256).

Signaled by the return of the opening G note at measure 312, the opening theme returns in the tonic (refrain / recapitulation first theme). It consists of the same two motives as the opening, but appears in a shortened form here. From measure 360, the couplet / second theme area returns in the tonic B-flat major. Here too, the two parts initially presented are retained, with the latter part recapitulated in B-flat minor.

Led by the octave G note resounding again at measure 490, the opening theme returns in fragments. Then, after a general pause, the movement concludes with a rushing Presto coda (B-flat major).