Thus, throughout Schubert’s reception history the friction between musical work and analytical method has resulted in the marginalization of both the man (as a composer of instrumental works) and his compositions (in sonata form) for over a century. As Julian Horton notes, such “perceptions of structural inadequacy invoke the authority of an ideal type, which is validated through reference to a benchmark repertory”—a repertoire from which Schubert was, for many years, conspicuously absent.

The consistent othering of Schubert’s sonata forms was due, in large part, to the rise of organicist aesthetics in the nineteenth century, combined with the championing of the sonata forms of Haydn, Mozart, and Beethoven (especially those from Beethoven’s middle period). With the crystallization of sonata form as a teleological, goal-directed, and organically unified entity, the lyrical and repetitive characteristics of Schubert’s compositions stand in stark contrast.