Schubert's Homecoming

Bibliographic Data

ID4409127
AuthorsNicholas Marston (0000-0001-5046-5920, University of Oxford, corresponding author)
Year2000
Volume125
Issue2
Pages248-270
Publication date2000-01-01
Open AccessYes
TypeARTICLE
VenueJournal of the Royal Musical Association (JOURNAL)
Journal identifiersISSN: 0269-0403 • E-ISSN: 1471-6933
PublisherCambridge University Press (PUBLISHER • US)
DOI10.1093/jrma/125.2.248
OpenAlexW1969149798
LanguageEN
Citations received8
References cited2

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

Art · Art history · Homecoming · Literature · Piano · Piano sonata · Tonic (physiology) · Uncanny · Visual arts · Diverse Musicological Studies · Historical Influence and Diplomacy · History · Musicology and Musical Analysis · Psychology

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