Schubert's Last Three Piano Sonatas

Author(s): ALFRED BRENDEL

Source: RSA Journal, Vol. 137, No. 5395 (June 1989), pp. 401-411
Published by: Royal Society for the Encouragement of Arts, Manufactures and Commerce
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PROCEEDINGS

EDWARD
Schubert's

BOYLE
Last

MEMORIAL
Three

ALFRED

Piano

LECTURE
Sonatas

BRENDEL
Pianist

Delivered to the Society on Wednesday 30 November 1988,

with Bernard Levin, Author and Journalist,
in the Chair

THECHAIRMAN:
EdwardBoylewasoneofthemost
remarkable
ofmodern
notleastbecause
times,
politicians
hischaracter
andqualityweresuchthatitmightbe
theleastlikelyprofession
forhimto embrace,
thought
and
beingas hewasa manwhoeschewed
partisanship
andfollowed
ofa scrupulous
stridency
alwaysthedictates
conscience
andan instinct
inall hisactions.
forfairness
He beganhispolitical
careerveryyoung.Whenhe was
first
electedto Parliament
he was,at twenty-seven,
the
babyoftheHouse.He madehismarkearlyandhis
wasswift.
He wasa cabinet
minister
before
he
progress
wasforty,
as Minister
ofEducation,
anditwasin that
office
thathefoundhispolitical
vocation.
Hisown
wasprodigious
initsbreadth
anditsdepth,
and
learning
hedevotednotonlyhisministerial
in
but
a
sense
position
hiswholelifeto thecultivation,
inanysoilwhichwould
receive
theseeds,ofwisdom,
and
knowledge
understanding.
I wasa parliamentary
muchof
journalist
throughout
hiscareer
himandhisspeeches
andI remember
well.His
airofeternal
youth(I recallhiswrists
alwaysusedto stick
faroutfromhiscuffs
likeBillyBunter)
wasbeliedbythe
and
of
his
based
cogency clarity
arguments, as they
wereuponthemostmeticulous
invariably
preparation;
butmorethanthat,hisquietly
his
nature,
eloquent
withsomething
like
speaking
styleandhisavoidance
horror
ofthemoreuncharitable
partofpolitics
brought
anairoftolerant
andcivilized
discourse
intoan arenanot

widelyfamedforit.Thoughat onetimehe wasspoken

PrimeMinister,
hedidnotlastthe
ofseriously
as a future
to be out
course;I am surethathewasrelieved
political
when
he
a peerage
ofthefractitious
accepted
hurly-burly
oftheUniversity
ofLeeds,
andbecameVice-Chancellor
an
so greatanduplifting
heexerted
on whichinstitution
in
who
are
a
those
thatI am assured
influence
position
by
stillliveson there.
to knowthathisspirit
of
inhisname,undertheauspices
The Trustestablished
recital
is to be given,hasas its
whichthisevening's
lecture
and
ofeducation,
learning
leadingobjecttheadvancement
aimsthatis to
ofthoseadmirable
music,anditis thethird
EdwardBoylewasprofoundly
be promoted
tonight.
to the
inmusic,fromthemostfamiliar
knowledgeable
of
mostesoteric,
anditwasplainthatforhimthenoblest
to be enjoyedbuta
theartswasnotsomething
merely
innermost
nature.
Otherthanhis
vitalpartofmankind's
there
Christian),
(hewasa devoutandcommitted
religion
to him
moreimportant
couldhavebeenveryfewthings
that
hislife.It is therefore
fitting
particularly
throughout
is to be
Lecture
thisevening's
EdwardBoyleMemorial
of
recital
on thesubject
givenin theformofa lecture
LastThreePianoSonatasbyoneofthegreatest
Schubert's
musicians
ofour,or ofany,era.To exploresuchworks
ledbysucha guideis something
bywhichEdwardBoyle
and
It is ourpleasure
wouldhavebeendeeplystirred.
ofmanandmusic
nowto heartheconjunction
privilege
Alfred
Brendel.
Ladiesandgentleman,
at itsveryhighest.

Schubert'slastthreesonatasshouldnot be takenas a
finalmessage.As faras we know,theywerecomposed
in thebriefperiodbetweenMay and September1828.
The faircopy was made just a few weeks before
Schubertdied of typoidfever,hisconstitution
having
beenweakenedby syphilis
and by a burstof productieven by Schubert'sstandards,
in thelast
vity,frantic

yearof hislife.Sincethedeathof hismotherhe may

havehadto cope withthegrowingpresenceofdeathin
himself.Yet it seems to me that Schuberthad no
whenhe
thathisown deathwas imminent
intimation
hislastsonatas,and mostprobablyalso his
finished
majorQuintet,in theautumnof 1828.
Schubert'sstylein hisfinalyearis not,in anysense,
401

1989
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JUNE
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PROCEEDINGS

thekindoflatestylethatI canperceivein lateMozart.

can be identified
in thefirst
a newserenity
Admittedly
two movementsof Schubert's flatSonata,in the
ofthe
Adagioofthe minorandintheslowmovement
a
mode
less
if
we
bear
in
surprising
StringQuintet;
of the
mindtheMass in E Flat,a majorachievement
sameperiod,whichhasleftitsmarkon theinstrumentalworkscomposedduringthosehecticmonthsas itin
turnhasbeenmarkedbytheexpressionism
ofhisHeine
liketheone thatconcludesthe
songs.Piagaiharmonies
Gloriaand Et Incarnatus
Estof theMass can be found
notonlyat theendofsomesonatamovements,
butalso
at the heartof the A major Sonata'sopeningtheme
which,in its firstdraft,had been conceivedwithout
thoseenergetic
left-hand
leapsin themannerof choral
other
themes
of Schubert'ssonata
writing.Many
are
based
on
or
contain
trilogy
piagai harmoniesas
well.
The openingofthe flatSonataalso belongsin this
sacredsphere.Schubertofferssolemnintrospection,
whileMozart'sPiano ConcertoK595 in thesamekey
seemsto suggest,in itsdeceptivesimplicity,
a second
childhood.But thereis some commonground.The
twoworksresemble
eachotherinthevocalcharacter
of
theirmelodies,in the undemonstrative
calm with
whichtheyunfoldandin themelancholy
thatpervades
them.
To find flatthemereappearing
in the remote
regionof minor,as happensat thebeginningof the
of Mozart'sK595, is to be remindedof
development
Schubert'spassionforchromaticneighbouring
keys.
Schuberthimself,
in his flatSonata,bringsoffan
harmonicprojectionof a verydifferent
unforgettable
kind: at the end of the developmenthe quotes,
, hismainthemein thebasickeyof flatpianississimo
andyetwe experience
it,as partoftheD minorsphere,
fromtheutmostdistance.When a fewlineslaterthe
themeis restated
in itsinitialguise,our standpoint
has
Now
the
in
its
theme,
changedcompletely.
gentle
hasmovedso closethatwe mightsaywe feltit
serenity,
insideourselves.
To my knowledge, Artur Schnabel and Eduard
Erdmannwerethefirstpianiststo playSchubert'slast
threesonatasin one evening.Afterone of my own
of this wonderful,if strenuous,properformances
gramme,a Viennesenewspaperpronouncedthateven
if I, as someonewho had turnedhisback on Vienna,
wantedtodenythefact,I musthave'experienced'
these

pieces while I was residentin Schubert'scity.How

theMass in E flat
Schubert's
sonatas,his'Winterreise',
in Vienna
or theStringQuintetcouldbe 'experienced'
thesedays was not disclosed.Not thatSchuberthad
ever been the kind of regional musician that a
likeBusonichoseto see in him.Thereis
cosmopolitan
no shortageof elementsin his musicthatcame from
ofhiscity.We detectperhapsa
outsidetheboundaries
Hungarianflavourin the finaleof the flatSonata,
Bohemiandances(polkaand sousedsk)in thethirdof
in the
hisposthumous
pianopiecesandevena tarantella
macabrefinaleof the minorSonata (thatanyway
relatesin spiritmuchlessto Schubert's
painterfriends
of
than
to
the
black
fantasies
or
Schwind
Kupelwieser
who
also
died
in
1828).
Goya,
What is a 'Viennesecomposer'?(BesidesSchubert,
the Viennesepaper mentionedMahler and Alban
Berg.) Is thissomebodywhomtheViennesepunished
because he did not compose like JohannStraussmusic had to be
somebodywhose uncomfortable
to the Viennesebelatedly,and with a
administered
great deal of effort?In a letterof 1827 Schubert
Viennaas follows:'It is admitdescribesMetternich's
but
makes
rather
tedly
big,
up foritbybeingdevoidof
sensiblewordsand,
true
cordiality,
openness, thought,
inparticular,
deeds.'Eventoday,Viennamight
spirited
be the rightplace to teachmusicianswhat a Strauss
waltzwasabout.Butto claimthatthereeverexisted,or
stillexists,a VienneseSchuberttraditionis wishful
thinking.Who, apartfromBrahms,the NorthGerman, took any interestin Schubert'sinstrumental
musicin nineteenth
centuryVienna?(The Schubert
- Schumann,Mendelssohn,Liszt, Anton
enthusiasts
Rubinstein,Dvok and George Grove- were all
occasionalguestsfromabroad.)How manyofthegreat
Schubertsingersor conductors
fromSchuoriginated
bert'shometownorhomecountry?
Where,untilfairly
were
the
Viennese
recently,
pianistswho mighthave
For Sauer,Rosenthal
Schubert's
sonatas?
championed
or Godowsky,thesewere of no consequence.Their
tookplaceintheBerlinofthe1920sthanksto
discovery
Schnabeland Erdmann.Schnabeldid indeedstudyin
Vienna,but even if he had been advisedto look at
Schubert's
unexploredsonatas,histeacherLeschetizky
would hardlyhave told him how theyought to be
Schnabel'senormousinfluence
as
played.Significantly,
a teacherdid not permeateViennaat all.
Thesedays,Viennadoesnotprovideanymoreclues
about Schubertthanany othercity.Admittedly
the

402

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SCHUBERT'SLASTTHREEPIANOSONATAS

panoramafromtheBelvederehashardlychangedsince
Schubert'stime.But do people stilllive in one-room
father
withhisfamilyapartmentsas did Schubert's
and give birthto theirchildrenin a smallalcove that
Do grown-upsstillplayblind
also servesas a kitchen?
to thecensor?
submitted
man'sbuff?Are manuscripts
or
a
Is thecountry
governedby parliament byitssecret
Is
their
popularand suburbanmusic,whichso
police?
a
stilla musicalpresenceor,rather,
charmedSchubert,
beautiful
relicfrom'bettertimes'?Even theViennese
claimthatViennaremainsVienna turnsout to be a
delusionof theViennese.
deathit tookelevenyearsforhislast
AfterSchubert's
sonatasto appearin print.
JohannNepomukHummel,
Schubert'spupil and a leading pianist,had been
Schubert'sintendeddedicatee.FollowingHummel's
deathin 1837,thepublisherchoseSchumann,who in
hisperiodicalNeueZeitschrift
frMusikhad so warmly
praisedSchubert'sE flatPiano Trio, his D minor
QuartetandthePianoSonatasinA minor(Opus 42),D
the last sonatas
major and G major. Regrettably,
in
them 'a much
him.
He
criticized
disappointed
'the
outof
of
invention'
and
spinning
simplicity
greater
certaingeneralmusicalideas wherehe usuallyinterweaved new threadsfrom period to period'. If
of
concentration
Schumannwantedto hintat a greater
musicalmaterial
andtheusethatismadeofit(if,thatis,
we interpret
the word 'Einfalt'as unity),we could
agreeand, unlikeSchumann,acclaimit as a benefit.
Alas, he also tells us about Schubert's'voluntary
of shiningnovelty,where he usually
renunciation
to himself.. . As if there
such
highstandards
applies
couldbe no end',saysSchumann,'no doubtas to how
to continue,alwaysmusicaland singable,thesepieces
hereand
ripplealong frompage to page, interrupted
ofsomevehemencewhich,however,
therebystirrings
are quicklycalmed.'
It is to be hopedthatSchumannin lateryearscame
to knowthepiecesbetterand to regrethisstatements.
Not evenfromSchumannwillI acceptthatSchubert's
ofsome
sonatas'ripplealong'.The occasional'stirrings
to grandly
vehemence'amount, not infrequently,
if not, as in the minor
dramaticdevelopments,
As for
ofwholemovements.
Sonata,to theimpetuosity
of novelty',the middle
the 'voluntaryrenunciation
sectionof the A major Sonata's second movement
as a striking
Even
aloneshouldsuffice
counter-example.
of
the
must
count
this
irrational
today, eruption
among
themostdaringand terrifying
pagesin all music.
1989
RSA
JUNE
JOURNAL.

'As if therecould be no end' - Schubert's'lengths'

which,two yearslaterwhenwritingabouttheGreat
major Symphony,Schumanncame to considerheaprincipal
venly,weredeemedbymanytobe Schubert's
feltobligedto makecuts
weakness.EvenMendelssohn
inLeipzig,
whenhe conductedthe majorSymphony
and thepianistHaroldBauer,at thebeginningof this
century,producedan abridgedversionof the flat
Sonata.
Meanwhile, acquaintancewith Brucknerianand
ofwide
haseasedtheperception
Mahleriandimensions
musicalspaces.Seenin sucha context,Schubertalmost
seemslikea modelof economy.A changeof aesthetic
areproduced,
appetitehasoccurred:concertmarathons
six-hour
the
Berlin
television
Hamlet,
serials,
huge
while
in
slow
and
motion,
neo-expressionist
whispered
painterssavage theiroversizedcanvases.Art should
be unreasonmix thedisparate,
forgetitsconstraints,
able, want more than it can do and do more than
anybodycan want.Boundlessis beautiful.(The novel,
on the otherhand, which once presentedan entire
world,has shrunkintotheprivateand fragmentary.)
Where Schubert'smusicused to appeartoo long,
suddenlyit cannotbe long enough.Whilesomeolder
pianistsplaythefirstmovementof the flatSonatain
an almostnervousalia breve
, two beatsto a bar,it is
nowadaysin extremecasesplayedin eight,withthe
repeatedexpositionsthrownin for good measure,
makingfora movementlongerthanthe sum of the
Schubertrightly,
ones.IfI understand
threeremaining
calls for neither
his tempo indicationmoltomoderato
term
Schubertused
or
a
Moderato
,
mssig
approach.
moreoftenthanothercomposers,seemsto implythe
would
moltomoderato
calmflowof a measuredallegro-,
then correspondto a none too draggingallegretto.
in the flat
Schubert's
avoidanceofthewordallegretto
ofhisImpromptus
Sonataor thefirst
maybe explained
not
signifies
bythefactthat,likelargoorgrave,allegretto
In
a
certain
character.
but
a
certain
only
speed
accordancewithitsamiablesound,theword hintsat
gracefultrippingor strolling.(Moreover,Schubert's
ofhissonatas
forthefirst
movements
tempoindications
relateto theirbeginning.With the exceptionof the
stableallegrogiustoof his A minorSonata,theinitial
tempoof all thesemovementsbecomesmoreflowing
or moremeasuredin thecourseof theexposition.)
On the questionof repeats,I shouldlike to quote
froman articleby AntonnDvok writtenin 1894
which has so far gone unnoticedin the Schubert
and
one of themostaffectionate
literature.
Altogether
403

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PROCEEDINGS

sensiblestatements
aboutSchubert,
it offers
a number
of criticalinsights
thatappearalmostmodern.Dvok
sharedtheview thatSchubertat timesdid not know
whento stop,buthe saysabouthissymphonies:
'Ifthe
of
I
are
a
course
which
repeats omitted,
thoroughly
approve,and whichindeedis now generally
adopted,
theyare not too long.' Dvok loved Schubertand
knewtheclassicalmasters.
To accusehimof thoughtinmatters
lessness
orincompetence
offormwouldbe as
as to accuse Brahms,of whom Edwin
inappropriate
Fischerreportedthe following: 'How composers
themselves
sometimes
feelaboutrepeatsis illuminated
tolda youngmusicianwho
what
Brahms
by
Johannes
showedsurprise
in
a
conductedby
when,
performance
Brahms,theexpositionof theSecondSymphonywas
not repeated."Formerly,"explainedBrahms,"when
the piece was new to the audiencethe repeatwas
workis so wellknownthatI can
necessary.
Today the
'
go on withoutit."
is neither
to 'improve*
Schubert
norto
My intention
abolishrepeatsonce and forall. What Dvok suggested thatSchubertis not too long,providedhe is
- seemsto be
notmadelongerthannecessary
particuin
valid
the
case
of
some
sonata expositions.
larly
Repeat marksmust not be taken as ordersto be
automatically
obeyed,as iftherepeatablesectionwere
written
out by thecomposer.Beforedecidinghow to
proceed,one shouldaskoneselfa numberofquestions:
Does a repeatwithina work or a movementappear
or harmful?
desirable,
necessary,
possible,questionable
Is the repeatin questiona concessionto the oldfashionedlistenerwho, conditionedby pre-classical
danceform,expectedto be ledbackfromthedominant
to the tonic,a concessionthereforesimilarto the
inclusionoftheminuetwithinthesymphony
or sonata
as an areaofreposeforsluggishears?How extensive
is
theexpositionofa sonatamovementand how tersely,
orgenerously,
isitsmusiclaidout?How similarintheir
featuresare expositionand recapitulation?
Are the
themeswithin a movementdistinctlydifferent
in
character,as generallyin Beethoven,or intimately
as sometimes
in Schubert?
Do thefirsttwo
connected,
movementspresent,as in Beethoven'sallegroand
areas of
, a markedcontrast,or neighbouring
adagio
as
often
in
Schubert's
moderato
and
andante
?
tempo,
What are the consequencesof a repeat for the
ofall movements
withinthewholework?
equilibrium
On all these counts,some of Schubert'ssonata
movementsseem to me to plead againsta repeat.

Finally,repeatsshould be consideredin conjunction

with the shape of a whole recitalprogramme.A
lastthreesonatasin
of Schubert's
cyclicalperformance
rulesthemout.
one eveningcertainly
Of Beethoven'srepeats,
onlya fewarenotimmediIn
consideraatelycompelling. Schubert,
psychological
tionswill oftenoverruleformalones. In music,as in
canbe an important
factor.As Bernard
eating,quantity
has
there
is themusical
out,
Jacobson wittilypointed
of
the
and
the
gourmand
equivalent
gourmet,the
gluttonand the restrained
epicure.Some musicians
seemquiteunableto stopmakingmusicunlessthayfall
criticshave emerged- andJacobson
asleep.Similarly,
withadmirablecandourcountshimself
amongthem
who cannothave enoughof a piece theylove. I side
withthegourmets.Marco Ferreri's
notoriousfilmLa
GrandeBouffe
overeatuntil
, in whicha fewgentlemen
has
not
dead,
theydrop
spoiled my appetite.True
gourmandsavoid seeingit.
Morethanotherworks,thegreatSonatasinA major
and flatmajorhaveputtheenthusiasts
forrepeatson
alert.Did notSchuberthimself
writeout a fewbarsof
whichlead back to thebeginning?
transition
To leave
out any originalmusicby Schubert,we are told,is
It wouldbe equallyunjustified
to apply
unforgiveable.
cutselsewhere.
I beg to differ.
Both expositions
end in a way that
to theirbeginnings.
doesnotpermita simplereturn
For
who incertainexternalmatters
thisreasonSchubert,
of
formand notationwas muchmoreold-fashioned
than
Beethoven,wrotedown thedisputedbars.Beethoven
intothedevelopwould doubtlesshave gone straight
ment.In his 'Appassionata',the F minorexposition
ends in A flatminor,followedby the startof the
developmentin theunexpectedkey of E major.It is
to speculateon how Beethoven,in possesintriguing
sion of Schubert'sharmonicmeans,mighthave led
back to theF minorbeginning.However,he did not
seefitto do so. Evidentlyhe was able to riseabove the
of conventionwherethemusiccalledforit.
pressure
Anotherargumentput forwardby the guardian
angels of the flat Sonata repeat emphasizesthe
bars; theyadd
amazing newnessof the transitional
somethingto thepiece thatwould otherwiseremain
unsaidand, supposedly,changethe perceptionof its
character.If therewere not so many otherfactors
of thisrepeat- the
workingagainstthe practicality
of theexposition,theliteralrecapitulation,
generosity
of all thethemesas well as of the
thelyricalcharacter

404

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SCHUBERT'SLASTTHREEPIANOSONATAS

-I
, thebalanceof themovements
followingAndante
would foronce have to be at odds with Schubert's
judgement.An irrational
explosionliketheone in the
Andante
oftheA majorSonatadoesnotcomeoutofthe
blue. It has a psychologicalbearingon the bleak
ofthemovement's
as wellas on
melancholy
beginning,
thechromatic
of
the
episodes
precedingAllegro.
inthecourseofthe flatSonata,on
Whichelements
the otherhand,would justifythe emergenceof the
transitionalbars in question? Where are they
announced?Should they be allowed to upset the
coherenceof thismovement,themotivic
magnificent
material
of whichseemsquiteunconnected
to thenew
Is the materialor atmossyncopated,
jerkyrhythm?
takenup anywherein thelater
phereof thetransition
robthe
movements?
Shoulditsiratedynamicoutburst
of
dramatic
climax
its
singularity?
development's
grand
Butmostpainfulto me is thepresentation
ofthetrillin
an eventis noisilyexposed thatelsewhere
fortissimo;
remainsremoteand mysterious.
Schubert'sfirstdraft,
brief
thetrill,aftera relatively
bytheway,stillpresents
in pianissimo.
exposition,

concealsthemostbeautiful
chaosmusichas everseen.
to
'in
workofart,chaoshasto
the
Novalis,
(According
shinethroughtheveil of order.')
Order, even if it is only an adornmentthrough
whichthechaosofemotionshines,is decisivebecauseit
makestheworkofartpossible.However,suchorderis
nevercomplete.Modernscienceseemsto havemoved
behindthe
awayfromtheideaofa rigorousmasterplan
evolutionof nature.The conceptnow is notthatofan
engineerstrictlyrealizinga design, but rather,as
who uses
suggested
byFranois
Jacob,thatofa tinkerer
the available componentsas best he can, mending,
combiningor producingmutations,purposelyor at
random.The composerproceeds'naturally'
ina similar
way. He keepsto theavailablebasic materialusually
arranges,
providedat thebeginningof a piece,he sifts,
varies,developsor comments,aided by hypothetical
workingschemeswhichleave a smallbut important
area open to chanceand whim.
Amongtheconceptsoforderwhichhavemadetheir
imprinton Schubert'ssonatasis thatof a connection
between themes,a cohesion of movements.How
verifiableis this cohesion?Many words have been
abouttheinnerunityofa cyclicalwork,relying
Not onlyin his'MomentsMusicaux'and in countless written
too
often
on interpretative
notionsratherthan on
but
also
in
a
work
like
the
A
minor
Sonata
D784,
songs,
to
Schubert
couldbe admirably
concise.(I hardlyseehim evidenceprovidedby themusicalmaterial.The first
of
all
movements
about
a
common
substance
musical
Sketches
for
his
speak
among
gourmandsanyway.)
lastsonatasshow,if one had not surmisedit already, was, to my knowledge,WalterEngelsmannin 1931.
each Beethovensonatais,
how self-critically
he proceeded.Theyalso revealthat Accordingto Engelsmann,
Schubert's'lengths'only appearobsessivewherethe 'in all itssections,movementsand themes,developed
musicis meantto expressan obsessivestateof mind. fromone singleprincipalthemeor motif.'It is hardly
Schubert
needsa lotofspaceinorderto movefreely.
In
thatEngelsmann
did notmanageto present
surprising
someofhisearliersonatas,certainideasdid notreceive convincingproofforthisambitiousthesis.
the breathing
For analyststhepipe dreamof a systemintowhich
space theydeserved.Comparedto the
sketchesfor the last sonatas,Schubert'sexpanding everything
can be crammedand by whicheverything
are
can
be
evaluated
is a temptation
thatis rarelyresisted.
interpolations particularly
convincing.
Classicalformsdefineboundaries.The space Schu- Masterpieces
nevergiveall theirsecretsaway,noteven
bertneedsin orderto movefreelyhaslittleto do with thoseof craftsmanship.
Invariablyonlya fewthreads
classical definitions.Haydn did not require such are disclosed.The word 'analysis'is, by common
held to standfora processthatdissolves
hisinclina- superstition,
amplitude,althoughhis desireto surprise,
tionto roam,hisnaivetyand hisdaringmayat times the whole into its componentparts,while in factit
towards
resembleSchubert's.(Haydn,of course,springssur- oughtto serveas a guidefromtheparticular
I
the
whole.
before
the
advent
of
twelve-tone
while
allows
himself
to
be
Schubert,
think,
Long
prises,
technique,motivicand thematiccross-references
prosurprised.)Mozart'sformgives constantproofof a
For
vided the most unequivocal hallmarksof musical
seeminglywithoutaim or constraint.
perfection
cohesion.
Beethovenformis thetriumphof orderoverchaos,a
furthermore
of
his
concord
with
whatever
has
However,whenHans Kellersoughtto unearth,in
triumph
themanifest
contrasts
ofa work,thelatentelementsof
to be 'expressed'.Schubert'sform is a matterof
their
I
asked
a
veil
of
to
that
order,
Novalis,
unity,
myselfwhethersuch elements
propriety,
barely
quote
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PROCEEDINGS

shouldbe latent.Are therenot manifest

necessarily
of
musical
unitythatare widelyoverlooked?I
proofs
am not,ofcourse,referring
to suchexceedingly
audible
of the'Wanderer'Fantasy,
onesas thedottedrhythm
Berlioz'sidefixeor thosetransformations
of Lisztand
Csar Franckwhichleave thenotesof a themeeasily
recognizablewhile its characterchanges.(In Liszt's
great minor Sonata, the backgroundof motivic
relationsin Beethoven'smanneris a greatdeal more
thantheevidentturningof Mephistointo
interesting
Gretchen.)A hiddenconnection,says Heraclitus,is
thanan obviousone (.Fragments
, 54). It is the
stronger
more subtlemotiviccoherencethatin the long run
leavesthedeepermark,providedthata certainmeasure
of musicalcommonsense,a firmgroundof verifiable
facts,is not abandoned.
In Beethoven's'Appassionata',
thefirst
tenbarscontain
themotivicmaterialofthewholework.Not all works
assemproceedwithsuchrigour.Some are playfully
bledarounda principal
as
in
Beethoven's
idea,
Opus 10
No. 3. Other worksgo back to a numberof basic
formulasat randomor developnew materialas they
proceed.

as well.
Groups of works can be interdependent
Beethoven'slastthreesonatas,Opp. 109,110and 111,
forinstance,make use of the area of the sixthas a
combination
of thirdplusfourth.Whilethecompositionof theseworkswas spreadout over threeyears,
anotherfamoustrilogy,
thatofMozart'sfinalsymphoseems
to
have
been
nies,
completedin a matterof
months.In thisrespect,
andintheirmusicalmagnitude,
thesesymphonies
presenta case comparableto Schubert'slastsonatas.The questionarises:what happens
when a great composercreatesa seriesof works
sidebyside?Certainly
theirvariouscharacters
virtually
willbe strictly
defined.But whatabouttheirthematicmotivicmaterial?
Is itgoingto be rigorously
specified,
or will therebe give and take?What I findin both
Mozart and Schubertis a freelycommunicating
commonproperty
of motivic,thematic
and harmonic
elements.It lendsSchubert'soriginaltitles- SonataI,
SonataII, SonataIII - a significance
well beyondthat
ofaccidental
orcommercial
We
juxtaposition
viability.
encountera familyof pieces.
Schubert's
sonatatrilogy
isprovidedwithmostofits
tone
and
tone areasby thefirst
significant sequences
bars
of
the

minor
Sonata
eighteen
(see Example1).

1.
hxample
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SCHUBERT'SLASTTHREEPIANOSONATAS

Likea big ruggedquarry,thisthemecontainsbuilding

materialfor futureuse. I shouldonly mentiontwo
whichareoffar-reaching
The first
figures
consequence.
is locatedwithinthe compassof a minorsixth,the
second withinthe diminishedfifth.The five initial
notesof the'sixth*
formulaarerelatedin retrograde
to
the'fifth'formula.Both formulasare stressedwithin
the themeby beingrepeatedand varied.In all three
sonatasthe'fifth'formulaprovesto have thegreatest
ratherthanof literal
impact.It is an impactof variants
an
of
quotation, impact something
happeningwithina
certaintonearea ratherthanof a fixedtonesequence
reappearing.

of
Andante
ofthe flatSonata.In itsmelodicsuccession
theme
sonata's
it
is
close
to
the
sixths,
(see
opening
Example2). Yet,thereis thekeyofA major,andthere
whichmakesit
draftin thirds,
is theversionofthefirst
sound verymuch like the openingof the A major
that
Sonata.Obviouslyit was thedegreeof similarity
thetheme.
made Schubertreformulate
The versionin thedraft,as well as thefirstpurely
chordalversionof the A major Sonata'sbeginning,
shouldopenourearsto anothercrucialfactorcommon
to the threeworks:the sequenceof thirds,or if we
in
whichisinherent
changethevoicesaround,ofsixths,
latent.
or
modified
if
at
times
all
themes,
nearly

2.
Example
theuseofmotifs
isnottiedto certainkeys.
Generally
Thereare, however,some specialcaseswheremotifs
appearin fixedpositions.An A major-Fsharpposition
tonepositions
whichcrossthe
isoneofthesepermanent
borderlines
of sonatas.Anotherpermanent
positionis
one thatappearsat theverybeginningof the minor
Sonata,wherea successionof chromaticnotesstarts
with the note E (see Example 1, a'). It is a strange
coincidence,if nothingelse, that in all threefirst
movements
chromatic
developments
begintheirascent
on thenoteE.
One of the most fascinatinglinks between the
sonatasis the beginningof the middlesectionof the

3.
Example
are
ofmusicalmaterial
As in Beethoven,transgressions
tone
and
tone
areas
tone
of
those
sequences,
mainly
motifshas,in
of rhythmic
positions.The significance
407

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PROCEEDINGS

comparisonwithSchubert'sprecedingsonatas,dimithan
nished.Rhythmic
varietyis now moreimportant
unity.
rhythmic
Whilethebasicsupplyoftonesequencesandtoneareas
reachesthemajorityofthemesin thethreesonatas,the
ofeachoftheseworksand eachmovementis
character
clearlysetapart.Besidesthegentleandsolemn,thereis
the
a disturbing
and menacingside thatdistinguishes
characterof Schubert'slate music. The classicist
to the trilogyis sometimesundermined
contribution
called into
anxieties,
exploded by nightmares,
by
questionby despair.
theheatofcombat
It is notpassions,thunderstorms,
or the vehemenceof heroicexertionthatare then
musicallyexposedin the mannerof Beethoven,but
assaultson themindby feverand delusion.I do not
intendto connectsuchstatesof mindto therealityof
Schubert'sillness,somethingFritz Lehner's recent
did
Schubert
serieson television
fictional
unfortunately
to feelthat,in certain
not avoid. Is it not sufficient
momentsof thismusic,demonsseemto descendon a
to strangle
creature
it,orto chaseitwithoutmercy?Itis
this
obsessional
qualityof the minorfinale
precisely
that makes the movementconvincingin a good
performance.
Until recentlySchubert'smacabreside has largely
or reducedto whatwas seenas
beenignored,repressed
of the
itsepitome,the'Erl King'. Hereis a description
minorfinaleby WalterDahms,a Germanbiograthecoquetpherof Schubertin 1912: 'Light-winged,
It
offers
tish6/8 themeflutters
plentyof
upwards.
for
extensive
seek
and
and
for
hide
gossip.'
opportunity
AccordingtoHansKoitzschin 1927,the minorfinale
reveals 'simple technicalincompetence'and offers
As forthe
sound-motion'.
'hardlymorethanrhythmic
himself
asks
Mr
Koitzsch
A majorSonata'sAndantino
,
middle
of
its
whether'thestrangely
eruptivecaprices'
sectionmaynot be 'partiallyartificial'.
LatelyArthur
s mainsectionas a
Godei has describedthisAndantino'
'peacefulbarcarolle'and the minorfinaleas 'moderate' and devoidof any 'manicdimension'.
On theotherhand,thecomposerDieterSchnebel
finaleofthe
detectsinthecomparatively
lighthearted
thatpetersout - ominouspresenflatSonata'strength
tation of impendingdeath. For the time being,'
Schnebelsays,jolly musicdoes notseemto workany
more- maybe nevermore'.Accordingto Schnebel,
a 'hiddendiminuendo
thewholemovementrepresents
',

containing'musicalsymbolswhichanticipateMahler
in the hammerstrokesof his Sixth'. In the first
movementof the flatSonata,whereDahms made
momentousmaintheme,and 'genial
out a 'flowering,
seesthe'documentofa disintegratSchnebel
lyricism',
ing life'.
to quarrelwitha manofsuch
I feellittleinclination
but thereis no way out. Is it
intelligence,
stimulating
Schubertmighthave been
that
to
impossible imagine
able, even as a sick man, to convey in his music
emotionsofwell-being,
euphoria,
teasing,excitement,
a happinessconjuredup by his imagination,if not
groundedin fact,thatwouldtryto easewhathe called
his 'dismalawarenessof a miserablereality'?Is it not
likelythata depressivecomposer,insteadof letting
sinkdeeperintodespair,wouldtakeadvantage
himself
out of
of theactof composingas a leverto lifthimself
to conceivethat,withthehelpof
Is itfrivolous
inertia?
his creativeurge,even a syphilitic
mighthave some
notionsa few monthsbeforehe dies?
lighthearted
Where once Schubertwas labelled as genial and
he has recentlybeen made out to be
sentimental,
of
The protagonist
desolateand relentlessly
depressive.
'Lilac Time' wreaksbelatedvengeance,whiletheaura
of whathad been termedas 'Schubert'slastcompositions'adds a shiverof awe. In the A major Sonata's
finale Schubertsounds happily transported.It its
scherzoI hearlaughterand see hatsbeingthrowninto
the air. The so-called'optimistic'episodesin the
minor finale,on the other hand, turn out to be
insinuationsof the Erl
chimeras,will-o'-the-wisps,
King.
of Schubertoftenshow him idealized,as if
Portraits
to
enoughto matchthe
trying producea faceharmless
soundsof 'Rosamunde'.A more realisticSchubertis
by theportraitof 1826 (withoutglasses)at
presented
andparticuderMusikfreunde,
theViennaGesellschaft
at
copiesofwhicharepreserved
larlyby thelife-mask,
in Philadelphiaand at theVienna
theCurtisInstitute
Conservatory.This mask, evidentlysuppressedby
hasat lastbeendulynoticedthanks
Schubert'sfriends,
of Eva Badura-Skoda.(I agreewithher
to theefforts
assumptionthatthiscan hardlybe Schubert'sdeathbeendescribed.)
mask,whichis how it has previously
What we see is not a 'Biedermeierface' at all, but
energetic
powerful,sensuous,robustand propulsively
features,more akin to those of Beethoventhan to
or Nestroy's.
Grillparzer's
1989
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SCHUBERT'SLASTTHREEPIANOSONATAS

of worldsfacesitsdarkestcounterpart.
it thebrightest
whichluminously
Betweenmovements
bringtogether
certitudeand adventurousflightof fancy,sweetness
and chromatic
witand abandon,stillness
and mystery,
Andantino
is
the
there
spellingout the most
uproar,
acute emotional disturbance.The firstmovement
maintains
a precariousbalancebetweenimprovization
and construction,
operatingwithchangingdegreesof
its
weight,varying narrativepace and disclosingthe
highlyunusualdesignof itsformonlywithhindsight.
The coda quotes the movement'sinitialidea in a
different
light,notwithtimpanistrokesof confidence
but in a whisper,not in public but in secret.Artur
Schnabelseemsto have been the firstpianistto have
giventhissonataitsdue.Eventoday,his1937recording
of an exhilarating
thefreshness
transmits
discovery.
Seekersaftercomfortingmusicalbeauty will be
takenaback by the minorSonata. Predominantly
sombre,passionateand icy,it may well be the most
and, behindits classicistfaade,
unsensual,uninviting
wrote.
Schubert
sonata
mostneurotic
In the
Schuberthelpedto carryBeethoven'scoffin.
of
Beethoven
the
he
evokes
memory
followingyear
and theclassicalstylewithoutbeinga docilefollower;
withBeethoven'sworks
rather,Schubert'sfamiliarity
Dvok noticed that
different.
be
him
to
taught
Schubertfromthe outsethad littlein commonwith
Beethoven,except'in thevigourand melodiousflow
of hisbasses',alreadyfoundin theearlysymphonies.
The fixedidea that Schuberttriedto model his
even
in
in

flat
the
one
on Beethoven'sand failed,an idea current
last
sonatas
Schubert's
has,
sonatas,
Among
confused
it
call
nevertheless
could
has
One
his
castthestrongest
our century,
manya
spell.
during lifetime,
decadesofthis
all themoreso whenin thefirst
and moving,themostresignedand
themostbeautiful
listener;
balanced,tallyingmosteasilywiththe centuryit became fashionableto break away from
harmoniously
a
of
gentle,melancholicSchubert.Everything Beethoven'spathos and musical idealism. In 1927
concept
MauriceRavel explainedBeethoven'sfameas mainly
in Schubert's flat Sonata seems controlledand
fromthelegendof hislife
fromhisdeafness,
The F sharpminorthemethatso startled resulting
considered.
of his social ideas! Neoof
the
out
the
from
TheodorAdorno,farfromappearing
blue, and
magnanimity
and protestagainstthe
'Neue Sachlichkeit',
hasitsharmonicand motivicrootsin thelinesbefore, classicism,
musiccombined
instrumental
finale
are
of
'German'
the
of
dominance
andtheaggressive
precededby
episodes
to belittlenotonlyBeethoven'sbutsomeofSchubert's
the kind of silencethatanticipatesthe storm.Only
movementignorethe musicas well.
barsin thefirst
thosetransitional
- an intrusionfromthe
Arnold Schoenbergknew better.In a shorttext
countenance
newlyacquired
birthandkindly
over
ofSchubert's
forthecentenary
drafted
feverish
regionsof thetwo othersonatascarried
inLos Angeles,
Institute
no
me
seems
to
the
that
me
at
to
of
shown
froman earlierphase conception
Schoenberg
Schubert's
lessill-advisedthantheexecutionof therepeatwhich Schoenberg
'inconceivably
great
emphasizes
down to thelastdetail,nextto a crushing
thesebarsinstigate.
originality,
theone in A
Ifthe flatSonatais themostbeautiful,
figurelikeBeethoven',whichhasremainedunnoticed
has
In
and
or actuallybeendenied.No wonderthisoriginality
most
be
the
must
interesting.
astonishing
major

themusicalimageofan idealized,harmoSimilarly,
thetaste
hasfora longtimedetermined
niousSchubert
Even todayhe remainsfor
and listeners.
ofperformers
some mainlya sourceof lyrical,genial,mellow and
'A gentlemelancholy
pervadesSchuelegaicpleasures.
Does
it
Mr
Godei.
writes
bert'smusic,'
really?The crisp
enthusiasmof the Great major Symphony,the
vitalityof many scherzos,the furyof certainfinal
movements,the acute despairof 'Weiterreise',the
terrorof 'Der Doppelgnger':all these are as far
as Goya is fromSchubert's
removedfromgentleness
Viennesepainterfriends.
Kupelwieseror Schwinddid
not paint any equivalentof what Schubertcalled
'gruesomesongs'.
To be sure, Schubert,that most immediately
nextto thechillingof
offers
movingof all composers,
likethewrathandshelter
hisdancesofdeathsomething
itssirensongs
of death,itssweetnessand enticement,
the
Withthedeathofhismother,
andlureofsurrender.
have
to
of
her
seem
his
and
of
death
memory
image
merged.Buthereas well,theword'gentle'willnotdo.
extentthanthoseofBeethoven,Schubert's
To a greater
The singerwho observes
extremes.
demand
markings
of'Winterreise',
thedynamicmarkings
predominantly
downin thepianopart,willbe boundto startle
written
sound
who consideran evenlybeautiful
thoselisteners
ofLieder
anda noblyshapedphraseas thequintessence
of a
as themusicalportrait
singing,and 'Winterreise'
resignedold man.

409

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PROCEEDINGS

not been fullyappreciated,

even at a time when its
boldnessalmostceasedto be disturbing.
Schoenberg's
admirationfor Schubert's'self-respect'
is enormous:
'Close to such crushinggenius,' Schoenbergsays,
'Schubertdoesnotfeeltheneedto denyitsgreatness
in
ordersomehow to endure.What a degree of selfwhattrulyaristocratic
awarenessof one's
confidence,
own rankwhichrespectstheequal in theother!'
Schubertrelatesto Beethoven,he reactsto him,but
he followshimhardlyat all. Thereis in Schubert's
late
sonatasno directallusionto Beethovenliketheone in
Schumann's major Fantasy.Similarities
of motif,
textureor formalpatternneverobscureSchubert's
own voice. Models are concealed,tranformed,
surpassed.
Beethoven'scontribution
to thefinaleof Schubert's
greatA majorSonataremainshidden(or would have
remainedso withoutCharlesRosenand EdwardCone
pointingit out), althoughthe movementadheresto
theformalexampleof Beethoven'sfinaleof Opus 31
No. 1. Schubert's
minorSonataseemsmoreovertly
Beethovenianin its key of minor,its characterof
sombredetermination,
itssublimeAdagioreplacingthe
usualgraceful
Andante
andinthecontribution
ofsonata
formto its rondo. There are also resemblances
of
themes,as withthatof Beethoven's minorVariaoffthebeginning
tions,whichseemsto havetriggered
of Schubert's minor Sonata. However, while
Beethovenorganizeshisthemein thestringent
logicof
Schubert
allows
his
to
'foreshortening',
foreshortenings
The
character
Beethoven
is
that
of
go astray.
presents
defiancebasedon thefirmness
of musicalproportions.
Schubertpresentsan energy that is nervous and
unsettled,avoidingfourand eightbar patterns;his
pathosis steepedin fear.
The Adagioand the minuet- which is an anti-

minuetin Haydn'sfashion- revealthatthesemovementsowe more to Haydn thanto Beethoven,and

moreto thestringquartetthanto pianisticpredecessors.(The fingers
ofeverypianistwillhavenoticedthat
thefinaleincorporates
someideasthatwould be more
executed
painlessly
by the stringbow.) In spirit,
Schubert'sAdagioand Haydn'sslow movementfrom
the E flatquartetOpus 76 No. 4 sometimesseem
separatedonlyby a small,albeithighlypersonal,step.
We easilyforgetthatthe solemnadagio
, also thatof
earlierBeethoven,originatedin Haydn,and thatthe
firstof all great minorpiano sonataswas Haydn's
achievement.
Evenmoreperfunctory
arereminiscences
of Beethoven'sOpus 31 Nos. 2 and 3 in Schubert's
minorfinale,thecontrolledfrenzyof whichadoptsa
course.
novel,almostpathological,
Schubert'slast sonatasbelong together.Not that
they could not be played separately;yet, as they
illuminateone another,theyseem to be more interA
dependentthanthesonatasin Beethoven'strilogies.
thesisofmenaceanddestructive
energyin the minor
ofpositive,luminous
Sonata,followedbyan antithesis
in
the
A
is
activity
majorSonata, thenconcludedby a
of
synthesis resignedcomposurein the flat.The final
movementof the flatSonatashowsa kindof gaiety,
neitherinnocentlike thatof the'Trout' Quintet,nor
like thatof thegreatStringQuintet's
teeth-gnashing
finale.Itsterritory
is somewherebetweenJeanPaulian
humourand thewell-knownViennesesayingthatlife
is 'hopelessbut not serious'.It is comforting
to know
thatthe composerof 'Winterreise'
shouldhave been
able to make lightof his suffering
shortlybeforehis
death.Nothing,however,could reconcileus to the
cynicismof a fatethatwas to takehislifeaway at the
age of thirty-one.

DISCUSSION
THECHAIRMAN:
ThewordsofMercury
areharshafter
thesongsofApollo.I shalltherefore
usefew.Noneofus,
I think,
willeveragainbe ableto seethosethreemagic
oron
numbers,
958,959and960,ina concert
programme
a poster
fora forthcoming
evenifitis notby
recital,
Alfred
without
thesatisfaction
ofknowing
that
Brendel,
we havehada lightshoneintotheirdarkest
anddeepest
recesses
andalsointoa verygreatrangeofothermusical
as well.We areimmensely
to Alfred
subjects
grateful
Brendel
forgivingus thatto remember.
I am happyto

is notyetat an end,becausehe
saythattheillumination
waskindly
or comments
from
agreedto answerquestions
I couldbe permitted
to askthefirst.
You
you.Perhaps
haveindicated
thatyouhavea flexible
to
approach
Do youtakethesameviewofmetronome
repeats.
- Beethoven's,
I suppose,
markings
beingthemost
controversial?
THELECTURER:
Schubert
hasnone.With
Fortunately,
I tryto do mybest.I am reallyinterested
in
Beethoven,

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SCHUBERT'SLASTTHREEPIANOSONATAS

whathemight
haveintended
andwhathewantedto
It is
markis noteverything.
butthemetronome
suggest,
oneofseveral
outofwhichonehasto divine
ingredients
thepiece.Therearethenotesthemselves,
certain
musical
themusical
thedynamic
and
cohesion,
patterns,
markings
otherkindsofmarkings,
whichgiveyouan ideaofthe
character:
allofthese,
withthemetronome
together
Sometimes,
marking,
maythengivea goodresult.
themetronome
marks
aresimply
notfeasible,
however,
orgo to far.In thefirst
movement
ofthe
'Hammerklavier'
Sonata,theygo verymuchtoofar,
becauseeventhegreatest
wizardon thekeyboard
cannot
Evenat sixteen
playthemas required.
pointsless,itis still
thisis nota reasonformeto
But,ofcourse,
veryrushed.
the
movement
and
Thereis
play
slowly ponderously.
that,whenheplayedthepiecefor
Czerny's
testimony
hewanteditto go at a verygreatspeed.But
Beethoven,
there
is alsotheorchestral
rangeofcolour,thenecessary
inotherwords,the
there
aredolcepassages:
clarity,
ofthepossible.
WhatI do notbelievein is to
constraints
marks
andobeythem,no matter
takethemetronome
whathappens.
themodern
Do youthink
MRM. C. W. PATTERSON:
or
Schubert's
concert
thinking
grandpianoemphasizes
fromitinanyway?
detracts
THELECTURER:
I think
ithelpsa great
that,generally,
in thesonatas.
deal,particularly
Theyarepiecesofa very
morebyorchestral
largerangeandwere,I think,
inspired
soundsandvocalsoundsthanbythelimitations
of
fewpiecesin
contemporary
pianos.Therearerelatively
Schubert
thatI seeas typical
pianopieces.Onlyinsome
oftheMoments
Musicaux
andImpromptus
shouldthe
In all theother
pianist
imagine
pianosoundfromthestart.
heshouldimagine
otherpossibilities
of
pianoworks,
musical
sound,andthenfindtheway,inevitably
through
to suggest
themon thepiano.I think,
with
compromise,
of
themodern
there
is
a
much
piano,
biggerrange
to conveytheselatent
ofthemusic.
dynamics
possibilities

PENELOPE
THWAITES
andcomposer):
Whydo
(pianist
hadno premonition
abouthis
youthinkthatSchubert
death?
THELECTURER:
In thefirst
place,becausehemadeso
manyfuture
plans,butitwasnotjustthis.Obviously,
he noticed
thatlife
hisillness
andhisfatigue,
through
he
wouldhaveto stopat somepoint,butI do notthink
wrotethesepiecesknowing
deathwasjustoutsidethe
door.I do notgetthisimpression
fromthepieceseither;
is notenoughto
thevaledictory
noteofsomemovements
notenough
thisassumption.
Andthereis certainly
justify
in theSchubert
tojustify
theassumption.
literature
London
MRHARRY
CBE(retired
BLECH,
conductor,
to knowwhat
It wouldbe interesting
MozartPlayers):
whichhavebeenmadeduring
youfeelabouttheefforts
whichhe
worksofSchubert
thelastyearor twoto finish
Otherpeoplehave
hadputon oneside,unfinished.
them,perhaps
justfroma fewnotesheleft
completed
behind.
in
I knowofonlyonesuccessful
THELECTURER:
attempt
hasbeentakenanda pieceofmusic
musicwherea sketch
andthatis
therepertoire,
workedoutwhichhasentered
in theversion
tenth
Mahler's
byDeryck
symphony
Cooke.I do notthinkthatto do thiswithSchubert
in
as I havehinted
makesanysensewhatsoever,
because,
are
theproportions
withSchubert's
connection
sketches,
notyetright.
simply
Do youfeelthesameaboutthetenth
MRBLECH:
of
symphony Beethoven?
there.
Yes. Thereis notenoughmaterial
THELECTURER:
butI
Schubert
Therearesomelovelyunfinished
sonatas,
ones.
oneshouldplaythemanyfinished
think
witha performance
concluded
theevening
request,
Byspecial
Sonatain
Schubert's
movement
slow
the
Brendel
Mr
from
of
by
hereceived
flat,D960,forwhich
from
applause
generous
.
audience
thecapacity

411

1989
RSA
JUNE
JOURNAL,

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