ABSTRACT
This chapter raises some issues which may add a dimension to our thinking about Schubert's sonata movements, and especially the tonal planning therein. They arise particularly from a study of a repertory somewhat neglected in latter-day criticism and analysis, the composer's sizeable legacy of dance music. It begins with two observations, one a received wisdom, the other a statement waiting to be made, but perhaps not yet made. The chapter offers two visual reminders, one diagrammatic and one musical: Although it shows sonata form as having no repeat of its second section, that second repeat does survive in high Classical sonata form, for example in the finale of Mozart's 'Jupiter' Symphony, where the development-recapitulation cycle is to be heard twice on the composer's instructions. Within the binary frame there are two self-repeating sections, the first closing to the dominant, the second to the tonic a micro-transition.
