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Schubert's Homecoming

Nicholas Marston
Journal of the Royal Musical Association
Vol. 125, No. 2 (2000), pp. 248-270
Published by: Taylor & Francis, Ltd. on behalf of the Royal Musical Association
Stable URL: http://www.jstor.org/stable/3250671
Page Count: 23
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Schubert's Homecoming
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Abstract

This article explores the metaphorical identification of the tonic key as 'home' in relation to the first movement of Schubert's Piano Sonata in B♭, D.960. Rejecting conventional readings whereby a 'foreign' or 'alien' element is ultimately assimilated into the 'home' sphere, it argues that in this movement Schubert succeeds in doing the reverse, rendering the tonic 'unhomely' (unheimlich; 'uncanny') at a critical moment in the recapitulation. Schubert's practice in this instance is contrasted with that of Beethoven in selected middle-period works; and Schubert's own fragmentary continuity draft for the movement, as well as songs from "Die Winterreise" and "Schwanengesang", are brought to bear on the investigation of 'home' and 'das Unheimliche'.

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