The first movement in the song opens with orchestra-like theme with incisive rhythm and progressive chords. This is followed in the second movement. This second movement is a melancholy element of the three sonatas. The opening theme is derived from a Schubert’s song ‘Pilgerweise’ (D.789). The text of the song describes the inner world of a Pilgrim. The second movement of D959 and the song D 789 are both in the same key and emotion.
They have the same intensified and incredulous middle section. They are a contrast and climax. The third movement can be regarded as the transformation from the opening of the first movement. The bright opening in a major and the animated staccato chords are dispersed right away the somber sonorities of the second movement. The trio in this movement imitates the conversation between two instruments. This is full of waltz and airy lighthearted feeling. The fourth movement is in actuality influenced by Beethoven. This is seen throughout the sonata. It has the same structure as the Rondo of Beethoven Sonata Op.31 no.1. Several virtuosic bars in the finale remind audiences of the opening movement, generating cyclical unity for the sonata.
The order of this program however is not arranged according to the conventional chronological ruling because Haydn sonata and Schubert sonata are both sonata forms. When they are put together there is overt pressure on the audience. In order to give the audience a feeling of refreshment there has been usage of two short atonal studies. This will function as the intervals in recital as they are inserted between these two sonatas. Subsequent to this action the audience gains a chance to enjoy the music and get ready for the following length Schubert sonata. It is to allow the audience to experience the different emotions that are to be epitomized in the event structure. The individual works by Haydn, Schubert and Leighton has been probed in detail in the following.