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A (E major) → B (C major) → A (F major) → C (D minor) → A (E major) Schubert also composes brief transitions at the ends of each episode—that between the B section and the medial A section features a small amount of the B section's material in F major (the medial A section's key), while that between the C section and the final A ...
D 154, Piano Sonata in E major (1815, fragment; similarity with the first movement of the Piano Sonata in E major, D 157) I. Allegro (fragment) D 157, Piano Sonata in E major (1815, unfinished – first three movements are extant) I. Allegro ma non troppo II. Andante III. Menuetto. Allegro vivace – Trio
Key / incipit incipit mostly for songs [6] (linking to lyrics and their translation, for instance at The LiederNet Archive, when available), [7] other compositions by key, except for Schubert's stage works: type of composition in brackets. 8 Date (presumed) date of composition, or, for copies and arrangements, date of Schubert's autograph.
[2] 21 sonatas — numbering of Schubert's piano sonatas as most encountered on recordings etc., for instance on the Schubert page at Classical Archives. Also IMSLP follows this numbering for their page names of Schubert's piano sonatas. Wiener Urtext Edition follows the same numbering, except that Op. 122 is No. 8, the ensuing D. 571, 575, 613 ...
The finale of the A major Sonata, uses as its main theme, a transformation of an earlier theme from the second movement of the Piano Sonata in A minor, D. 537. Schubert introduced some changes to the original melody, which make it conform better with the sonata's basic motifs, in accordance with the cyclical scheme of the sonata. [50]
The compositions for violin and piano D 384, 385 and 408 were named Sonata in Schubert's autographs. [ 5 ] [ 6 ] They were named Sonatina when published posthumously as Op. 137 in 1836. [ 7 ] Since these works are modest in size—rather to be compared to Mozart's violin sonatas than to Beethoven's —the "Sonatina" diminutive stuck to them.
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