haunts one like a sad dream; and the development section, long, though not monotonous, is full of it. Without sacrificing his individuality, Schubert has here caught something of Beethoven's peculiar method of treating a theme,--that is, of evolving new phrases from its various sections. The coda, again, has penetrating power, and the fierce concluding phrase sounds like the passionate resistance of a proud artist to the stern degrees of fate. The tender melody and delicate variations of the Andante, the bold Scherzo, with its soft Trio, and the energetic Finale are all exceedingly interesting; yet they do not affect us like the first movement, in which lies not only the majesty, but the mystery of genius. The sonata in D has a vigorous opening Allegro,--a long, lovely, slow movement,--a crisp Scherzo, but a peculiar Finale, one which Schumann qualifies as comical (possirlich). The sonata in G contains some of the composer's most charming, characteristic music. The opening _moderato e cantabile_ is a tone-poem of touching pathos. The sad principal theme is supported by such soft, tender harmonies, that its very sadness charms. In the development section it assumes a different character. Melancholy gives place to passion, at times fierce; then calm returns. The coda is one of the most fascinating ever penned by Schubert. The slow movement and Menuetto form worthy companions; but with the Finale the composer breaks the spell. Schumann says: "Keep away from it; it has no imagination, no enigma to solve."