Final thoughts? Interpretation of the first movements of Beethoven's and Schubert's last three piano sonatas

Considered as the apex of the literature for piano sonatas in the classical period, \nBeethoven?s last three piano sonatas, Opp. 109, 110, 111, and Schubert?s last three \npiano sonatas, D. 958, 959, and 960, are still well appreciated by pianists and are \noften played in concert. Much has been written about these pieces but this thesis \nexamines the interpretation of the first movements of these works, by highlighting \ntheir particularities, explaining the impact of these on the interpretation, and, \ntherefore, helping the understanding of the music for the performing process. \nThese six first movements contain fascinating and striking particularities, typical to \neach composer?s style, which strongly influence their interpretation. The thesis \nidentifies the techniques that are responsible for these particularities in the music. It \ndemonstrates why Beethoven?s three first movements are concise, driven by an inner \nenergy, always moving forward, and it examines the purpose of the length in \nSchubert?s three first movements. This research also shows that all six first \nmovements possess elements of unity and coherence, and that these are reached \nthrough very different means, depending on whether it is a movement by Beethoven \nor by Schubert. \n \nIt is a special and tremendous experience to perform these sonatas. It is the role of \nthe pianist in his/her interpretation of these movements to underline and point out \ntheir particularities, as these represent the essence and hallmarks of Beethoven?s and \nSchubert?s musical discourse. This thesis gives answers inasmuch as it explains what \nperformers have to be aware of, what they have to emphasise in their interpretation, \nand why they have to emphasise it. Thereafter, it is easier to give an eloquent interpretation of these movements, where their particularities are then clearly \nunderstandable.