Franz Schubert: The Fragmentary Piano Sonatas

Acknowledgements
Table of Contents
Introduction
The Aesthetic Fragment
	I. Historically Conditioned Prominence of the Fragment
	II. Typologies of the Fragment
	III. Schubert Fragments: Desideratum of a Musical Typology
	IV. Completion and the Fragment
Schubert’s Piano Sonata Fragments
	I. Schubert Fragment Typology
	II. Absence-Centred Fragmentology
The Early Piano Sonatas: 1815–1817
	I. Emergent Form
	II. The Fragmentary Sonatas: February 1815 to June 1817
D 154 and D 157
	I. Compositional History
	II. D 154 and D 157 in Connection
	III. A Change in the Elucidation of Form
	IV. A Continuous Compositional Process
	V. A Novel Unconventionality
	VI. Form in D 157/2
	VII. Cyclical Projections
	VIII. Integration of the Menuetto and Trio in a Large-Scale Cyclical Form
	IX. The First Sonatas: A Paradigm of the Sonata Principle
D 279
	I. Compositional History
	II. Innovation
	III. Early Recapitulatory Experiments
	IV. D 279/2
	V. Processes of Unification
	VI. Menuetto and Trio
	VII. A Lost Movement or an Unfinished Work
	VIII. Harmonic Experimentation
	IX. Fragmentation at a Harmonically Significant Point
D 459 and D 459A
	I. Compositional History and Sources
	II. Cyclical Fragmentation and Formal Projections in D 459
	III. D 459/2: Allegro
	IV. The Recapitulation of D 459/2
	V. Musical Justifications for the Scherzo as a Title for D 459/2
	VI. D 459A: An Unknown Sonata?
	VII. D 459A: Intrinsic Cyclical Connections
	VIII. Resonances Between E major and C major as Tonal Centres
	IX. Cyclical Interconnections and the Fünf Clavierstücke
	X. Conclusion: Musical Plausibility as a United Work
D 566
	I. Schubert’s View of Beethoven as a Composer
	II. Compositional Background and Publication History
	III. Cyclical Incompletion
	IV. Alternate Structures
	V. Interpretative Approaches to the Fragmentary
	VI. Coexistence of Structural Projections
D 567 and D 568
	I. Compositional History
	II. A Comparison
	III. Compositional Processes
	IV. Fragmentation and Incompletion in D 567
A Fruitful Crisis: 1817–1818
	I. Compositional Evolution in a Chronological Context
	II. ‘Jahre der Krise’
	III. A New Type of Sonata Fragment
D 571 and D 570
	I. Manuscripts and Fragmentation
	II. Cyclical Unity
	III. Motivic Unity Across Structural Areas in D 571
	IV. A Modality of Cyclical Fragmentation: Middle Movements
	V. Subdominant Recapitulation
	VI. Unfinished Movements and Fragment Reception
D 613
	I. Compositional History
	II. Cyclical Implications of Harmonic Structures
	III. Enervation of Form in D 613/1
	IV. Formal Functions of Mediant Relations
	V. Sources of Fragmentation in D 613
D 625
	I. Fragmentation
	II. Beethovenian Influences
	III. Consequences of Internal Fragmentation for D 625/1
	IV. Structure and Motivic Distinction in D 625/1
	V. Tripartite Exposition Forms
	VI. A Fragmentary Aesthetic in D 625
	VII. Scherzo and Trio D 625/2
	VIII. Finale D 625/3
D 655 and D 769A
	I. Compositional Background
	II. D 655
	III. D 769A
D 840
	I. A New Fragment Type
	II. D 840/4
	III. Fragmentation and Completion in D 840/3
	IV. Cyclical Cohesion: D 840/2
	V. D 840/1: An Aesthetic of the Fragmentary and Formal Completion
	VI. D 840/1: Generation of Structure
	VII. Harmonic Duality and Mediant Relations in D 840/1
	VIII. Dissociation of the Recapitulation in D 840/1
	IX. The Coda of D 840/1
Conclusion
	I. A New Sonata Form
	II. Fragments Approach the Boundaries of Form and Compositional Possibility
Appendix: Unattached Movements
Bibliography
	I. Primary Sources
	II. Secondary Sources
Index
	Persons
	List of Works (Other Composers)
	List of Works (Franz Schubert)