are not so great as those of Beethoven.  We have referred more than once to the Popular Concert catalogue, which is a very fair thermometer of public taste.  One can see how seldom the Schubert sonatas are performed in comparison with those of his great contemporary.  But to refer specially to the three last sonatas now under notice.  The one in B flat (No. 3) was played by Mr. Leonard Borwick, it is true, on the 3rd February 1894, but the previous date of performance was 16th January 1882.  No. 2, in A, was last given in 1882, and No. 1 has not been heard since 1879.

The Allegro of the C minor sonata opens with a bold theme, and an energetic transition passage leads to the dominant of the relative major key.  Of the soft second theme Schubert seems so fond, that he is loth to quit it; he repeats it in varied form, and still after that, it is heard in minor.  This unnecessarily lengthens the exposition section, which, in addition, has the repeat mark.  The development section is rather vague, but the coda is impressive:  the long descending phrase and the sad repeated minor chords at the close suggest exhaustion after fierce conflict.  The theme of the Adagio, in A flat, partly inspired by Beethoven, is noble, and full of tender, regretful feeling; the opening and close of the movement are the finest portions.  The Minuet and Trio are effective, but the final Allegro is hopelessly long, and by no means equal to the rest of the work.

The first movement of the sonata in A has a characteristic principal theme, and one in the dominant key of bewitching beauty.  The coda gives a last reminiscence of the opening theme; but its almost defiant character has vanished away; for it is now played pianissimo.  Schubert, in the importance of his codas, recalls Beethoven; each, however, made it serve a different purpose.  The latter, at any rate in his Allegro movements, gathers together his strength, as if for one last, supreme effort.  Schubert, on the other hand, seems rather as if his strength were spent, and as if he could only give a faint echo of his leading theme.  The coda of the first movement of the sonata in A minor (Op. 42) offers, however, one striking exception.  The Andantino and Scherzo of the A sonata are well-nigh perfect, but the Rondo, in spite of much that is charming, is of inferior quality and of irritating length.  The 3rd sonata, in B flat, the last of the series, the sonate-testament, as Von Lenz said of Beethoven’s Op. 111, has wonderful moments, yet it contains also lengths which even Schumann would scarcely have ventured to style “heavenly.”  We refer particularly to the first and last movements; the Andante and Scherzo are beyond criticism.

These sonatas were written as Schubert was about to enter the Valley of the Shadow of Death.  His spirit was still strong, but his flesh must have been weak.  To turn away from them on account of any imperfections, would be to lose some of Schubert’s loftiest thoughts, some of his choicest tone-painting.