Consequently, they are often regarded as a trilogy. Įach one of the three sonatas is cyclically intraconnected by diverse structural, harmonic and melodic elements tying together all movements, as well as interconnecting all three sonatas together. Schubert's last sonatas are now praised for that mature style, manifested in unique features such as a cyclical formal and tonal design, chamber music textures, and a rare depth of emotional expression. Nevertheless, musicological analysis has shown that they maintain a mature, individual style.

In fact, the last sonatas contain distinct allusions and similarities to works by Beethoven, a composer Schubert venerated.

One of the reasons for the long period of neglect of Schubert's piano sonatas seems to be their dismissal as structurally and dramatically inferior to the sonatas of Beethoven. They are part of the core piano repertoire, appearing regularly on concert programs and recordings. By the late 20th century, however, public and critical opinion had changed, and these sonatas are now considered among the most important of the composer's mature masterpieces. Like the rest of Schubert's piano sonatas, they were mostly neglected in the 19th century. They were written during the last months of his life, between the spring and autumn of 1828, but were not published until about ten years after his death, in 1838–39.

Portrait by Anton Depauly, of Schubert at the end of his lifeįranz Schubert's last three piano sonatas, D 958, 959 and 960, are his last major compositions for solo piano.

Subdominant of b flat major