ABSTRACT
One might argue that the evidence of OC 65/49 posits bar 400 rather than 367 as the location of the structural tonic, given Heinrich Schenker's identification of bars 365–6 as the 'model' for the 'great final cadence' which is to ensue. Informed by what people now know of its textual history, Schenker's admission that he 'could not resist at least indicating' the bass progression of the op. 106 fugue here now reads more like a tacit admission of his ability precisely to resist indicating the -line Urlinie which had been part of his reading until at least early 1932. Schenker returned a complete set of proofs on 22 April 1927, receipt of which was acknowledged by Drei Masken Verlag three days later; but further work continued into the summer and early autumn. Schenker never published an -line Ursatz for a sonata-form movement.
