Talk:Piano Sonata in E minor, D 566 (Schubert)

Rondo
I've added mention of this as it is played e.g. on the complete sonatas set by Georges Pludermacher. It is also listed as a fourth movement in the table of sonatas in the piano works page. Probably needs a more in depth discussion in the article if someone can source it.--Peter cohen (talk) 14:56, 28 July 2009 (UTC)

Meaningless sentence
"Harald Krebs has noted the use of Charles Fisk's "search for thematic identity" in his discussion of the sonata's opening theme." This sounds like Schubert was using Fisk's method. For the life of me I can't figure out what this is supposed to mean. I'm gonna remove it unless someone objects. — Preceding unsigned comment added by 208.90.213.242 (talk) 21:39, 18 October 2012 (UTC)

Move discussion in progress
There is a move discussion in progress on Talk:Wiegenlied, D. 498 (Schubert) which affects this page. Please participate on that page and not in this talk page section. Thank you. —RMCD bot 21:30, 15 September 2014 (UTC)

The contents of the sonata
Not just the rondo, but sometimes also the scherzo is not considered to be part of the sonata, as Brian Newbould notes in Schubert, the Music and the Man. Also, just my OR, but I personally find it rather redundant to include the rondo finale: it shares the key (E major), time signature (2/4), and tempo (Allegretto) with the second movement! And both movements begin with a melody that makes a lot of use of dactylic rhythm! (Yes, that rhythm is quite common in Schubert, but combined with all these other similarities it evokes in me a feeling of redundancy.) Double sharp (talk) 12:58, 28 September 2014 (UTC)
 * In fact AGA Series X gives only one movement for this sonata. Its second movement was only published in 1907. The questionable third only in 1928 (Newbould is not the only source expressing reservations on whether it belongs to the same sonata). Nonetheless these three movements all share the same D number. For the fourth movement: D 506 is frequently published as 4th movement along the three D 566 movements (e.g. Badura-Skoda for Henle). Yes, all this is part of the history of the sonata (movements) and should be elaborated in the article. Feel free to proceed.
 * some useful links to the online version of the 1978 Deutsch catalogue: D 506 - D 566 (if they are of any help: in German; indeed the catalogue suggests the 566-506 link too)
 * Don't add OR to the article though, or omit for OR reasons disregarding the reliable sources, there's enough to describe the nuances of probability based on what is given in the sources, e.g. downloads available from this Henle page contain the Badura-Skoda info; an online PDF of Litschauer's introduction to the NSE edition can be found by copying this (including quotation marks) in your search engine: "By that time, besides the fantasies, he had" --Francis Schonken (talk) 13:55, 28 September 2014 (UTC)
 * Oh, don't worry, I have no intention to add my OR to the article. I'll go give these a read. Double sharp (talk) 03:35, 29 September 2014 (UTC)
 * Apparently this is not just my OR! From Michael Louis Benson's treatise (p. 9): "If [D. 566 is] performed as a four-movement work, there are two Allegrettos in E Major (movements II and IV, D. 506) with similar opening thematic material and musical moods. If performed as a two-movement work, then how does the performer account for the third movement Scherzo in A-Flat Major? Is the Scherzo a part of the sonata? Does the performer include this Scherzo in A-Flat Major movement as the finale of an E Minor/Major sonata?" He also notes that a two-movement D. 566 would be similar to Beethoven's Op. 90. Double sharp (talk) 11:17, 11 October 2014 (UTC)
 * Excellent, don't feel shy to add that info to the article. --Francis Schonken (talk) 11:30, 11 October 2014 (UTC)