Over the last half-century, a critical tradition of examining scores, autographs, annotations, and the historical record has changed, sometimes subtly, on occasion dramatically, the way the sonata form is viewed. It has led to changes in how works are edited; for example, the phrasing of Beethoven's piano works has undergone a shift to longer and longer phrases that are not always in step with the cadences and other formal markers of the sections of the underlying form. Comparing the recordings of Schnabel, from the beginning of modern recording, with those of Barenboim and then Pratt shows a distinct shift in how the structure of the sonata form is presented to the listener over time.