Among the works of the happy summer of 1825 is the luminous Sonata in D major Op. 53 D 850, written whilst the composer was staying in the spa town of Bad Gastein.
On the wave of the editorial success achieved with the Sonata Op. 42 also the Op. 53 had a publisher, a great publisher, Artaria, that seemed to open to Schubert a prospect that ... was closed immediately.
The Sonata Op. 53 is dedicated to Carl Maria von Bocklet, a well-known violinist and pianist in Vienna and very close to Schubert.
While the Sonata Opera 42 perhaps reﬂects the characteristics of the pianist Schubert, the Op. 53 could reﬂect the characteristics of the pianist von Bocklet.
In the ﬁrst movement, in fact, there are traces of virtuosity with two hands and in the Scherzo games of sound masses that are not frequent in Schubert.
In reality, it does not seem improbable that Schubert, in search of success, would take care of a taste for brilliant virtuosity that was rapidly spreading between 1820 and 1830 and that even von Bocklet personiﬁed.
And certainly the ﬁrst and third movements, extrovert and enthralling, contrast with the enchanting intimacy of the second movement (one of Schubert's most beautiful) and with the subtle humor of the ﬁnale.
The overall result is that of a great popular kermesse, but its contrasting characteristics have inﬂuenced the luck of the sonata.
The critical success was not renewed; the same Schumann, great admirer of Schubert, expressed some years later some reserve, and also in the twentieth century, in full Schubert-Renaissance, the Sonata Op. 53 was taken in consideration only by few interpreters.