Abstract
Abstract In her biography of Schubert, Elizabeth Norman McKay has claimed considerable significance for the unfinished Piano Sonata in C major (‘Reliquie’, D 840). Her views are inspired by an expansive rise and fall in the development of the first movement and in the central section of the minuet. For McKay, these approaches to and retreats from a peak suggest a ‘narrative content’. Later in her biography the descriptions of the two examples from the ‘Reliquie’ are reiterated in order to highlight comparative moments in the ‘Great’ C major Symphony. This chapter offers unexplored contexts that have potential implications for the reception of the work, for Schubert’s developments and for musical features often dismissed as surface irrelevance. This chapter will consider precedents in corresponding parts of earlier works by Schubert and other composers. Equivalent passages in the C major Symphony will reveal some proportional and harmonic correspondence to the Sonata, especially to the example from the first movement.
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