Abstract The first movement of Schubert’s A major Sonata could be connected to Beethoven’s Sonata Op. 31 No. 2, on account of Schubert’s formal intention to mediate between improvisatory structural moments and a genuine ordering of events in sonata form. This parallelisation provides a clue to why Schubert’s final sonatas can—on the grounds of stylistic typology—be accepted as works written in a ‘late style’. In historical discussions the parameters which define the concept ‘late style’ are derived from Beethovenian models and are conceptualised as a departure from his ‘heroic style’. But in the first movement of D 959 Schubert composed precisely a departure from that model. Adorno’s dichotomy between extensive and intensive types of musical time helps to define Schubert’s specific modes of departure: the first movement of the Sonata D 959 composes a metamorphosis of the intensive into the extensive type, the realisation of which lends the movement a narrative dimension.
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