The dark arpeggiated sonorities at the close of the Andantino are transformed into the sparkling arpeggiated chords which open the Scherzo, and a sense of levity is portrayed through staccato articulation and a lyrical dance-like figure, which is further developed in the second section. The Scherzo serves several purposes in the overall scheme and narrative of the sonata: it provides a breath of fresh air between the Andantino and the Rondo (to omit a third movement and go straight to the finale would be too ponderous for Schubert), and through its tempo, concision and directness, highlights the breadth of the finale.
The second section of the Scherzo (m 17) begins with a LH figure redolent of the rambunctious opening of the third movement of the ‘Great’ C major Symphony and rich in ‘cello and double bass resonances. The tone here is distinctly bucolic, but the pastoral mood is disturbed by “startling flashes of irritability” (Schiff): a dramatic descending scale which recalls the middle section of the previous movement, with a reference to the desolate main melody of the Andantino in the ensuing passage. For a moment it seems as if the desolation of the previous movement has returned, but the atmosphere is quickly dispersed by a chord (m 47) before the effervescent opening theme returns. In the contrasting Trio, scored in D major, Schubert re-imagines the initial theme of the first movement with a serenity redolent of choral writing or a choir of woodwind, closing with a sequence of ethereal chords.
The opening section is then reprised via the Da Capo marking. The musicologist David Montgomery makes the case for observing all the repeats during the reprise. Like many piano students, I was taught that DC repeats should be dropped, a practice Montgomery suggests developed during the late nineteenth-century and certainly when early recordings began to be made, for reasons of limited disc or piano roll space. In the case of Scherzos or Minuets, there is almost complete agreement amongst performers that the DC repeats should be omitted (I have only heard one performance of the D959 in concert where the DC repeats were observed), regarding them as “vestigial” and unnecessary in such a diminutive movement as a Scherzo. In the case of the D959’s third movement, there is a good argument for maintaining them because 1) they make the movement longer, roughly equivalent to the Andantino, and thus create a sense of structural balance between the first and final movements and the inner movements (a “golden ratio”); 2) repeating previously heard material reiterates Schubert’s unusual harmonies and musical signposts (the same argument applies to exposition repeat in the first movement).
Brendel, Alfred, ‘Schubert’s Last Sonatas’, in Music, Sense and Nonsense: Collected Essays and Lectures (London: The Robson Press, 2015)
Fisk, Charles, Returning Cycles: Contexts for the Interpretation of Schubert’s Impromptus and Last Sonatas (Berkeley, Los Angeles and London: University of California Press, 2015)
Hetenyi, G: The Terminal Illness of Franz Schubert and the Treatment of Syphilis in Vienna in the Eighteen Hundred and Twenties (Bulletin Canadien d’Histoire de Medecine, 1986 Summer;3(1):51-64.)
Montgomery, David, Franz Schubert’s Music in Performance. Compositional Ideals, Notational Intent, Historical Realities, Pedagogical Foundations (Hillsdale, NY: Pendragon Press, 2003)
Schiff, Andras, ‘Schubert’s Piano Sonatas: thoughts about interpretation and performance’, in Brian Newbould (ed.) Schubert Studies (Aldershot and Burlington: Ashgate, 1998)
A longer version of this article will appear in a future edition of The Schubertian, the journal of the Schubert Institute UK