Franz Schubert’ last piano sonata, D. 960 in Bb Major by was written in 1828 (published in 1839), shortly after Beethoven’s death -- he died in 1827. According to Robert Winter, Beethoven was the most influential composer for Franz Schubert. Schubert’s sonatas, in particular, were modeled on Beethoven’s in terms of form and structure. This last sonata is one of Schubert’s popular sonatas, and is often performed. It also has been frequently criticized because of the unusual aspects of its sonata form. Winter has described the last sonata as, “suffused by the composer’s characteristic melancholy, mingled with a feeling of contemplative ecstasy. The stepwise elegiac opening alternates with disembodied trills in the bass, leading to remote keys, notably f# minor, before the exposition is over.” This paper will discuss the following aspects of the first movement -- the form, the key schemes, and the development of themes.
Table of Contents
I. Introduction
II. Contents
A. Biography
B. Sonata form
C. Analysis
1) Structure
2) Tonality
III. Conclusion
Research Objectives and Themes
This paper explores the structural and harmonic complexities of the first movement of Franz Schubert’s last piano sonata, D. 960, examining the composer's unique interpretation of traditional sonata form and his innovative approach to thematic development.
- The influence of Beethoven on Schubert’s sonata structures.
- Detailed structural breakdown of the sonata form elements in D. 960.
- Analysis of Schubert’s non-traditional tonal and key schemes.
- Thematic transformation techniques employed throughout the movement.
- Practical performance implications and the role of lyrical projection.
Excerpt from the Book
B. Sonata form
Charles Rosen states that Haydn contributed to a new instrumental genre and Mozart made a contribution to develop it. The sonata became a larger scale design with the generation of Hummel, Beethoven and Schubert.
The traditional sonata form in the classical period contains an exposition, development and recapitulation. Usually, an exposition presents a main theme in tonic and a secondary theme in the dominant area; the two are connected by a transition. In larger sonatas, there is a closing theme area to finish an exposition. A development usually transforms the themes from an exposition, and its key scheme is unpredictable. A retransitional section emphasizes the dominant chord in order to make a clear return to the tonic. A recapitulation uses the exposition’s themes, all in tonic. The design of the recapitulation is similar to the exposition except that the secondary theme is in the tonic as well. There is often a coda to complete a sonata form.
Radcliffe says that “the last three sonatas can be regarded as a group, and it is possible to trace a kind of emotional pattern running through it: the first, stormy and somber, the second expressing a variety of moods ending with flowing lyricism, and the third serene and contemplative.”
Summary of Chapters
I. Introduction: This chapter contextualizes the composition of D. 960 within Schubert's career and outlines the analytical focus on form and thematic development.
II. Contents: This section provides biographical details on Schubert and reviews the foundational definitions of sonata form.
A. Biography: A concise overview of Schubert’s musical upbringing, his early education, and the circumstances surrounding his late works.
B. Sonata form: Examines the theoretical framework of classical sonata form and its evolution through the works of Schubert.
C. Analysis: Investigates the specific structural and tonal characteristics of the first movement of D. 960, including the departure from traditional key transitions.
1) Structure: A granular analysis of the exposition, development, and recapitulation phases within the first movement.
2) Tonality: Discusses Schubert’s deliberate use of remote keys and unusual harmonic modulations to create emotional breadth.
III. Conclusion: Summarizes Schubert’s status as a transitional figure in the history of the sonata and highlights the importance of the performer's approach to the work.
Keywords
Franz Schubert, D. 960, Sonata Form, Thematic Development, Tonality, Exposition, Development, Recapitulation, Modulation, Music Analysis, Piano Sonata, Musical Structure, Romantic Era, Lyrical Themes, Harmonic Progression
Frequently Asked Questions
What is the core subject of this research paper?
The paper examines the first movement of Franz Schubert’s last piano sonata, D. 960, focusing on its structural and tonal deviations from traditional classical sonata form.
What are the primary themes discussed in the work?
The study covers the influence of Beethoven, the specific structural components of the sonata (exposition, development, recapitulation), the use of remote keys, and thematic transformation.
What is the main research objective?
The goal is to analyze how Schubert maintained a traditional structural framework while simultaneously pushing the boundaries of tonal and thematic development in his late works.
Which methodology is applied in the analysis?
The authors employ formal musical analysis, tracing the thematic and tonal progression through specific measures and referencing musicological theories regarding Schubert’s style.
What topics are covered in the main body?
The main body investigates the biographical context of the piece, the traditional sonata model, structural breakdowns of themes, and detailed harmonic analysis of the exposition and development.
Which keywords define this paper?
Key terms include Schubert, D. 960, Sonata Form, Thematic Development, Tonality, and Harmonic Progression.
How does Schubert's tonal approach in D. 960 differ from traditional forms?
Schubert frequently utilizes remote keys (such as F# minor and Gb Major) for expressive purposes rather than merely for building dramatic tension, often prioritizing the "journey" of the music over traditional tonal logic.
What role does thematic transformation play in this sonata?
Thematic transformation is essential to the movement; the primary themes are presented in various guises (inverted, reversed, transposed) to sustain interest and expressive depth across the different sections.
What is the significance of the long trill in the first movement?
The long trill is identified as an unusual, "disembodied" feature that departs from the tonal norms of the time and serves as a vital structural pivot point within the movement.
Why is the role of the performer emphasized in the conclusion?
The authors conclude that because the sonata relies on subtle nuances like long rests and trills, its success depends entirely on the performer's ability to project the specific emotional and lyrical demands of the score.
- Citar trabajo
- Associate Professor, Dr. Yeo (Autor), Dr. Kim (Autor), Dr. Hashim (Autor), Dr. Ying (Autor), 2009, Thematic Development of Schubert’s Last Piano Sonata, D. 960 (First movement), Múnich, GRIN Verlag, https://www.grin.com/document/141339
