It is even possible that the A major Waltz was originally in Ab major, as are the first thirteen numbers in D. 365; the waltz that immediately follows in D. 365 (No. 14 in Db major) displays a similarly abrupt chromatic shift (I– bVI) that is "corrected" by means of an augmented-sixth chord (the same pattern also appears on a smaller scale in No. 2, the famous Trauerwalzer).
The version here is in 16 bars, not 38; it's the "preliminary" version for improvisation cited in this post: sixteen bars and embedded in the "suite" put together for yesterday's blog entry.The embedding of this version of D779n13 in D. 365 is easily justified, as the total time elapsed is no more than 5-6 years and there is substantial overlap -- that is, the earliest versions of a number of waltzes in D. 779 are contemporary with (and chronologically prior to the publication of) D. 365. I think one can assert with confidence that these waltzes--or versions of them, at any rate--were played alongside one another in late evening sessions where Schubert played for dancing.As promised in at least one earlier entry, I will write about Kofi Agawu's views on recomposition as analysis in a subsequent post. For now, the citation is "How We Got Out of Analysis, and How to Get Back in Again." Music Analysis 23/ii-iii (2004): 267-86.
