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on the Sonata in F sharp minor explains,
Schubert, who was always short of paper, again in
June 1817 used the reverse empty side of a page of
compositions and earlier sketches. And no doubt
he would not have begun to copy out this Sonata
properly if he had not found this fragment to have
been very successful. (What a pity that he did not
copy out the other movements!)
Despite some Beethovenian reminiscences and
a fourth movement that looks forward to Chopin
(notably the First Piano Concerto, third movement),
this Sonata represents the best and purest
Schubert. its jewel is the second movement: beautiful
at the outset – we can see a relationship with
the second movement of Beethoven’s Sonata opus
90, in the same key – then more beautiful still, he
overwhelms us at the end with a celestial joy such
as only Schubert and Mozart could express.
∆
Sonata no. 7 in E flat major, opus post. 122, D 568
June 1817
immediately after the shortest, Schubert composed
the longest Sonata that he had ever written,
the one in D flat major D 567, which from all
the evidence appears to be the first draft of the
Sonata in E flat major D 568, which was
printed only after the death of Schubert, with the
Opus 122, in Vienna in 1829. The themes and the
content of the two versions are almost identical.
it is therefore wrong to consider, as is often the
case, D 567 and D 568 as two different Sonatas. (if
we were to count them in this way we should also
speak about two operas by Beethoven and more
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than twelve symphonies by Bruckner).
No doubt the transposition from D flat to E flat
was made as a concession to the publisher, who
might have been concerned that a sonata with
five flats in the key signature would sell less well
than one with only three. (For similar reasons, the
impromptu in G flat Major was arbitrarily printed
in G major after Schubert’s death). Like many others,
this work only appeared after Schubert’s death
– that was part of his tragic destiny.
in comparison with the version in D flat, the
one in E flat major presents a number of delicate
improvements, especially in the development sections
in the first and fourth movements and in
the varied recapitulation of the first movement,
which, in D 567, still repeats the opening without
any modification. The second movement remains
almost unchanged; but instead of being written
in the enharmonic version of the tonic key (C
sharp minor) as in D 567, this time it is in the
parallel key of the dominant, G minor. This represents
an improvement insofar as it prevents all
four movements having the same tonic. However,
we have a third manuscript, a still older one, for
this Andante; written in D minor and marked
Andantino, this probably represents Schubert’s first
sketch for this Sonata and constitutes at the same
time one of the curiosities in music history. in fact,
Schubert copied it (up to measure 63) on the outer
and still blank pages of a double sheet whose inner
pages contain the autograph of Beethoven’s song
Ich liebe dich, so wie du mich (WoO 123). it is possible
that Schubert believed that this was blank paper
and that he had taken it – perhaps from Steiner’s