The most surprising development comes when a unison run climbs into a bold declaration of an F major triad, a sound that is out of place in the home key and completely unexpected. The opening movement builds from a deceptively simple main theme, starting with a rising triad presented by both instruments together in clean octaves. 384) spans just about 13 minutes, and there are no fiendishly difficult passages, so in those regards the “sonatina” appellation fits. A sonatina typically had shorter movements and fewer technical demands, making it more marketable to amateur violinists. The three violin sonatas from this period are often called “sonatinas,” reflecting a change made by the publisher Diabelli when the works were printed posthumously. This flurry all come before Schubert reached his 20th birthday, while he was working full-time, and before the Viennese public had seen or heard a single note of his music.
Schubert’s accomplishments in the next two years must rank as the greatest growth spurt in musical history: he composed some 300 songs, plus four symphonies, three masses, five musical dramas, three string quartets, three violin sonatas and dozens of other works. Like his father and brothers, he trained as a teacher, and at 17 he began working as a teaching assistant at an elite Viennese school, while also keeping up twice-weekly composition lessons with the local Kapellmeister, Antonio Salieri. Schubert enjoyed a childhood rich with music-singing in the court choir, playing string quartets with his family and participating in the school orchestra-but he only began composing around the age of 12 or 13.
Sonatina in D major for Violin and Piano, D.
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