Until well until the twentieth century Schubert´s (1797-1828) piano music had to fight against prejudices, the performance history of his sonatas being arbitrarily reduced to include merely a few individual movements characterised as small popular pieces. Their expression is too banal, their spirit too insipid, it was said- but above all, their pianistic demands were too insignificant. Schubert´s language in his sonatas is that of a lyric poet, a language of introversion. Its few outbursts always originate in the emotions, not in a narcissistic inclination toward virtuoso display. In its entirely song-like diction a story is told nothing is discussed here, and certainly not contentiously argued. In this, the mature works hardly differ from the youthful strokes of genius.