David Fhima

Schubert, Piano Sonata D958, ii

Form of the A section:
The form of this section is pretty standard according to Caplins theory of Classical
form. Its more or less a compound period. The compound antecedent is a standard
8 measures, beginning with a 4 measure antecedent (ended with a HC), followed by
a continuation, where it appears to end with a PAC, however it is really a
reinterpreted HC because the material immediately reverts back to the home key of
Ab major. The compound consequent is a bit different. It begins with the
antecedent, however, it has a plagal cadence on the subdominant of Ab instead of a
HC. This is followed by a cadential progression that ends in a PAC, however, the
material continues by repeating the contrasting idea material of the antecedent
which gave us the plagal cadence. Finally, the cadential idea returns and there is a
true PAC. It ends with a lead-in found in the bass voice that allows the piece to
modulate into the B section (Db minor).
Relationships between B sections:
There are 2 instances of the B section in this movement. The second instance is
very similar to the first B section, however, there are some differences to be found.
The first B theme is extended by about double. The CBI is repeated twice before the
continuation finally arrives. This allows Schubert to modulate from D minor through
a series of keys, and finally land on F minor at the second B theme. The relationship
between the keys is also interesting to notice. In the first B section, Schubert goes
from Db- to E minor (or major). In the second B section, everything is a step up
(modulates from D minor to F minor/major). Furthermore, in each repetition, the
voices exchange the melody. There is also the sixteenth note triplet figure that
persists throughout the theme that is not originally present in the first B section.
The remaining material mirrors the first B section, however, it is extended by 1
measure to achieve a modulation back to the home key and successfully return to
the A section.
[Modulations indicated on score]
Enharmonic Shifts:
m.22: The i chord in Db minor is enharmonically reinterpreted as a vi chord in E+
to permit the modulation. (Sharpward shift)
m.44: The [iv] of IV chord is respelled as a vi chord in A major. This allows the
repetition of the plagal cadence in the new key. This ultimately leads to a PAC in A
major in the following bars. (Sharpward shift)
m.92: The written Ab at the end of this measure is acting as a G# (the leading tone
of A minor). Its written as an A flat because the next bar is back in the home key. It
allows for a seamless modulation and its simpler for the performer because they
wont get confused if they see a G# followed by an Ab (the same note). (Flatward
shift)

m.106: Same thing as m.44.

m.108: The cadential V chord in A+ is reinterpreted as a German augmented sixth
chord in Ab major, which is a strong predominant that leads into the final cadential
progression of the movement.
Other Observations:
I found it interesting how Schubert always delays perfect authentic cadences with
plagal cadences in the A section. Furthermore, when he finally reaches a PAC, he
repeats the process with another plagal cadence. These occur several times
throughout the movement. Im not certain as to whether or not theres a theoretical
purpose to this, if he was delaying the cadences on purpose, or if he simply
appreciated the chromatic coloration that those plagal cadences provided.
The contrast between the A and B sections were quite dramatic and worked to great
effect. The B sections modulated constantly through seemingly sequential
progressions, and this was dramatized further by the intense texture that is
completely absent in the A sections.