Schubert's Last Sonatas - Structure

Structure

Schubert's three last sonatas have many structural features in common. Each sonata consists of four movements, in the following order:

1. First movement in moderate or fast tempo, and in sonata form. The exposition consists of two or three thematic and tonal areas and, as common in the Classical style, moves from tonic to dominant (in major mode works) or to the relative major (in minor mode works). However, as often with Schubert, the harmonic scheme of the exposition involves additional, intermediate tonalities, which may be quite remote from the tonic-dominant axis, and sometimes imbue certain expository passages with the character of a development section. The main themes of the exposition are often in ternary form, with their middle section digressing to a different tonality. The themes generally do not form symmetrical periods, and irregular phrase lengths are prominent. The exposition ends with a repeat sign. The development section opens with an abrupt turn into a new tonal area. A new theme, based on a melodic fragment from the second thematic group of the exposition, is presented in this section over recurrent rhythmic figuration, and then developed, undergoing successive transformations. The first thematic group returns in the recapitulation with different or additional harmonic digressions; the second group returns unaltered, only transposed a fourth up. The short coda maintains the tonic key and mainly soft dynamics, achieving a resolution of the movement's conflicts and ending pianissimo.
2. Slow second movement, in a key different from the tonic, and in A–B–A (ternary) or A–B–A–B–A form. The main sections (A and B) are contrasted in key and character, A is slow and meditative; B is more intense and animated. The movement begins and ends slowly and quietly.
3. Scherzo or minuet in the tonic, and trio in a different key. The scherzo proper is in ternary (A–B–A) form, its B section digressing to new keys – usually keys which had a prominent dramatic role in the previous movements. The trio is in binary or ternary form.
4. Finale in moderate or fast tempo, and in sonata or rondo-sonata form. The themes of the finales are characterized by long passages of melody accompanied by relentless flowing rhythms. The exposition has no repeat written in. The development section is more ordinary in style than that of the first movement, with frequent modulations, sequences, and fragmentation of the exposition's first theme (or the main theme of the rondo). The recapitulation closely resembles the exposition, with the minimal harmonic changes needed to end the section in the tonic: the first theme returns in a shortened version; the second theme returns unaltered, only transposed a fourth up. The coda is based on the exposition's first theme. It is composed of two parts, the first quiet and attenuated, creating a sense of expectation, the second animated, dissipating the final tension in decisive, agitated motion and ending with fortissimo tonic chords and octaves.