ABSTRACT
This chapter brings together various observations about some of the movements already discussed, in order to draw out new ideas about the nature and use of threefold procedures in Schubert's instrumental music, setting these in context. The unusually sustained opening of the G major Sonata, D 894, first movement proceeds, like D 664-i, in leisurely lyrical fashion, here taken to greater lengths. The b' material sets up an antithesis almost as if another character in the drama responds to the outburst of a', in plaintive or even pleading fashion. This extremely attractive device has claims to be considered a Schubertian fingerprint' in those of his instrumental movements that are influenced by dance. By its nature and origins the device cannot be unique to Schubert. Playfulness is associated with threefold construction to more overtly witty effect in some of Schubert's sonata finales.
