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Franz Schubert's last three piano sonatas, 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.〔Robert Winter, "Paper Studies and the Future of Schubert Research", pp. 252–3; M. J. E. Brown, "Drafting the Masterpiece", pp. 21–28; Richard Kramer, "Posthumous Schubert"; Alfred Brendel, "Schubert's Last Sonatas", p. 78; M. J. E. Brown, "Towards an Edition of the Pianoforte Sonatas", p. 215.〕 Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century.〔András Schiff, "Schubert's Piano Sonatas", p. 191; Eva Badura-Skoda, "The Piano Works of Schubert", pp. 97–8.〕 By the late 20th century, however, public and critical opinion had changed, and Schubert's last sonatas are now considered amongst the most important of the composer's mature masterpieces. They are part of the core piano repertoire, appearing regularly on concert programs and recordings.〔Eva Badura-Skoda, "The Piano Works of Schubert", pp. 97–8, 130.〕 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.〔Schiff, "Schubert's Piano Sonatas", p. 191.〕 In fact, the last sonatas contain distinct allusions and similarities to works by Beethoven, a composer Schubert venerated.〔Charles Fisk, "Returning Cycles", p. 203; Edward T. Cone, "Schubert's Beethoven"; Charles Rosen, ''The Classical Style'', pp. 456–8.〕 However, musicological analysis has shown that they maintain a mature, individual style. Schubert's last sonatas are now praised for their mature style, manifested in unique features such as a cyclical formal and tonal design, chamber music textures, and a rare depth of emotional expression.〔Brendel, "Schubert's Last Sonatas", pp. 133–5; Fisk, ''Returning Cycles'', pp. 274–6.〕 The three sonatas are cyclically interconnected by diverse structural, harmonic and melodic elements tying together all movements in each sonata,〔Martin Chusid, "Cyclicism in Schubert's Piano Sonata in A major"; Charles Rosen, ''Sonata forms'', p. 394.〕 as well as all three sonatas together;〔Brendel, "Schubert's Last Sonatas", pp. 99–127, 139–141; Fisk, ''Returning Cycles'', p. 1.〕 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.〔Fisk, ''Returning Cycles'', pp. 50–53, 180–203; Fisk, "Schubert Recollects Himself".〕 Indeed, some researchers have suggested specific psychological narratives for the sonatas, based on historical evidence concerning the composer's life.〔Fisk, ''Returning Cycles'', pp. 203, 235–6, 267, 273–4; Fisk, "What Schubert's Last Sonata Might Hold"; Peter Pesic, "Schubert's Dream".〕 ==Historical background== 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.〔Elizabeth Norman McKay, ''Franz Schubert: A Biography'', pp. 291–318; Peggy Woodford, ''Schubert'', pp. 136–148.〕 Schubert had been struggling with syphilis since 1822–23, and suffered from weakness, headaches and dizziness. However, he seems to have led a relatively normal life until September 1828, when new symptoms such as effusions of blood appeared. At this stage he moved from the Vienna home of his friend Franz von Schober to his brother Ferdinand's house in the suburbs, following the advice of his doctor; unfortunately, this may have actually worsened his condition. However, up until the last weeks of his life in November 1828, he continued to compose an extraordinary amount of music, including such masterpieces as the three last sonatas.〔McKay, pp. 291–318; Peter Gilroy Bevan, "Adversity: Schubert's Illnesses and Their Background", pp. 257–9; Woodford, pp. 136–148.〕 Schubert probably began sketching the sonatas sometime around the spring months of 1828; the final versions were written in September. These months also saw the appearance of the Three Piano Pieces, D. 946, the Mass in E-flat major, D. 950, the String Quintet, D. 956, and the songs published posthumously as the ''Schwanengesang'' collection, among others.〔Woodford, ''Schubert'', pp. 144–5.〕 The final sonata was completed on September 26, and two days later, Schubert played from the sonata trilogy at an evening gathering in Vienna.〔M. J. E. Brown, "Drafting the Masterpiece", p. 27〕 In a letter to Probst (one of his publishers), dated October 2, 1828, Schubert mentioned the sonatas amongst other works he had recently completed and wished to publish.〔Deutsch, ''Franz Schubert's Letters and Other Writings'', pp. 141–2.〕 However, Probst was not interested in the sonatas,〔McKay, p. 307.〕 and by November 19, Schubert was dead. In the following year Schubert's brother Ferdinand sold the sonatas' autographs to another publisher, Anton Diabelli, who would only publish them about ten years later, in 1838 or 1839.〔Kramer, "Posthumous Schubert"; Brendel, "Schubert's Last Sonatas", p. 78; M. J. E. Brown, "Towards an Edition of the Pianoforte Sonatas", p. 215. The exact publication year (1838 or 1839) varies among the sources mentioned.〕 Schubert had intended the sonatas to be dedicated to Johann Nepomuk Hummel, whom he greatly admired. Hummel was a leading pianist, a pupil of Mozart, and a pioneering composer of the Romantic style (like Schubert himself).〔See Schubert's previously mentioned letter to Probst, in Deutsch, ''Schubert's Letters'', pp. 141–2.〕 However, by the time the sonatas were published in 1839, Hummel was dead, and Diabelli, the new publisher, decided to dedicate them instead to composer Robert Schumann, who had praised many of Schubert's works in his critical writings. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Schubert's last sonatas」の詳細全文を読む スポンサード リンク
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