This sonata is one of two incomplete sonatas dating from 1818. Both appear to be in three movements, with in each case the outer movements being incomplete to some extent, and the inner slow movements complete or nearly so. At this point Franz Schubert felt that Beethoven had been leading music in the wrong direction, a conviction he would later abandon. Schubert’s music appearing at this time represents a development arising from Haydn, Mozart and perhaps others, independent from Beethoven’s and somewhat different in character. Particularly nearly all of it was intended for performances at house concerts as romantically depicted by Gustav Klimt, and its somewhat modest and delicate textures and forms would be appropriate there. Nonetheless there is plenty of imagination and much emotion in his music in this period, the middle period of his short but incredibly productive life. The first and third movements, the incomplete ones, are no. 613 in the catalog compiled by Otto Erich Deutsch, and are in C major. Each one breaks off at the beginning of the recapitulation, as is also true of at least five other incomplete sonata movements, and I have completed them using a certain amount of imagination of my own in an attempt to recreate somthing of the impression he would have liked to create. The ornate and ambitious middle movement in E major is complete, and is no. 612 in the Deutsch catalog. It is interesting that both outer movements feature E major as an important subsidiary key; in the first movement, the recapitulation begins in E major, and in the finale the B theme of the exposition also begins in E major. In the recapitulations, completed by me for the Schubert anniversary in 1978, I use similar abrupt harmonic changes to those used by Schubert, but not the same ones. A particular challenge was moving the treatment of the recapitulated A theme in the first movement from E major to the subdominant of F major, one of his favorite places to be at the beginning of a recapitulation. However, even after attaining that goal, I introduce a bit of further variation. The endings of the outer movements follow my rule of Schubert completions: one outer movement must end loudly, and the other softly. Schubert himself does not always follow that rule, but it is a wise course for completers. The other sonata of the 1818 pair, D. 625/505 in F minor, is given below.
Sonata No 10