Schubert's last sonatas

Franz Schubert's last three piano sonatas, D 958, 959 and 960, are the composer's last major compositions for the piano. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39. Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.

One of the reasons for the long period of neglect of Schubert's piano sonatas seems to be their dismissal as structurally and dramatically inferior to the sonatas of Beethoven. In fact, the last sonatas contain distinct allusions and similarities to works by Beethoven, a composer Schubert venerated. However, musicological analysis has shown that they maintain a mature, individual style. Schubert's last sonatas are now praised for that mature style, manifested in unique features such as a cyclical formal and tonal design, chamber music textures, and a rare depth of emotional expression.

The three sonatas are cyclically interconnected by diverse structural, harmonic and melodic elements tying together all movements in each sonata, as well as all three sonatas together; consequently, they are often regarded as a trilogy. They also contain specific allusions and similarities to other Schubert compositions, such as his Winterreise song cycle; these connections point to turbulent emotions expressed in the sonatas, often understood as highly personal and autobiographical. Indeed, some researchers have suggested specific psychological narratives for the sonatas, based on historical evidence concerning the composer's life.

The last year of Schubert's life was marked by growing public acclaim for the composer's works, but also by the gradual deterioration of his health. On March 26, 1828, together with other musicians in Vienna, Schubert gave a public concert of his own works, which was a great success and earned him a considerable profit. In addition, two new German publishers took an interest in his works, leading to a short period of financial well-being. However, by the time the summer months arrived, Schubert was again short of money and had to cancel some journeys he had previously planned.

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