ew the Minuets of Nos. 2 and 3 are the most
attractive portions of these sonatas; we catch in them glimpses of
that freshness and romantic beauty which characterise Schubert's later
productions.
In moments of strong inspiration, Schubert worked wonders, yet the
lack of regular and severe study often makes itself felt. Though
colouring may enhance counterpoint, it will not serve as a substitute
for it. Then there is, at times, monotony of rhythm; and this, to a
great extent, was the result of little practice in the art "of
combining melodies."
While on the subject of Schubert's failings, we may as well complete
the catalogue. In the later sonatas we meet with diffuseness; and
sometimes a stroke of genius is followed by music which, at any rate
for Schubert, is commonplace. It seems presumption to weigh the
composer in critical balances, and to find him wanting; but he stands
here side by side with Beethoven, and the contrast between the two men
forces itself on our notice. Both were richly endowed by nature. By
training, and the power of self-criticism which the latter brings with
it, Beethoven was able to make the most of his gifts; Schubert, on the
other hand, by the very lavish display which he sometimes made,
actually weakened them. There is no page of musical history more
touching than the one which records how the composer, after having
written wonderful songs, grand symphonies, and other works too
numerous to mention, made arrangements to study with S. Sechter, one
of the most eminent theorists of the day. The composer paid the latter
a visit on the 4th November 1828; but within a fortnight, Schubert was
no longer in the land of the living. When too late, he seems to have
made the discovery which, perhaps, his very wealth of inspiration had
hidden from him up to that moment, namely, that discipline strengthens
genius. One may point out faults in Schubert's art-works, yet his
melodies and harmonies are so bewitching, his music altogether so full
of spontaneity and inspiration, that for the time being one is
spellbound. Schumann was fairly right when he described Schubert's
lengths as "heavenly."
Three more sonatas were produced in the year 1817, the first in the
unusual key of B major; and here we find a marked advance in
conception and execution. It opens with an Allegro, the total effect
of which, however, is not satisfactory; the principal theme has
dramatic power, and what follows has lyrical charm, but
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