This article studies two late works by Schumann: the Lied ‘Meine Rose’, Op. 90 No. 2 (1850), and the Fantasiestück, Op. 73 No. 1, for clarinet and piano (1849). It analyses the works in the light of nineteenth-century developments in approaches to the treatment of tonality. Both ‘Meine Rose’ and the Fantasiestück are miniatures and can thus be linked with music-making in private salons. The choice of the two works is based on musical as well as aesthetic factors. Musically, they both avoid confirming their main tonic in a firm manner, a feature that the article links with aesthetics of the time. Most importantly, the music's inability to secure a firm tonal centre can be associated with early nineteenth-century aesthetics of longing: in the same way that unsuccessful attempts to secure the tonic underlie the two Schumann works, so contemporaneous aesthetics saw human existence as being governed by unfulfilled longing. The paper argues that in ‘Meine Rose’ the Romantic ideology can be connected to transcendental qualities associated with nature, while the Fantasiestück can be associated more generally with infinity and longing. In both works, it is precisely Schumann's special treatment of the tonic, drastically departing from Classical conventions, that justifies connecting the works with these aesthetic issues.

本文研究了舒曼的两部晚期作品：歌曲“我的玫瑰”，作品。90 No. 2 (1850)，以及Fantasiestück，作品。73 No. 1，为单簧管和钢琴而作（1849）。它根据十九世纪音调处理方法的发展来分析这些作品。“Meine Rose”和“ Fantasiestück”是微型作品，因此可以与私人沙龙的音乐制作联系起来。这两部作品的选择是基于音乐和美学因素。在音乐上，他们都避免以坚定的方式确认他们的主音，这篇文章与当时的美学联系在一起。最重要的是，音乐无法确保稳定的音调中心可以与十九世纪早期的渴望美学联系起来：就像两部舒曼作品中未能成功地确保主音一样，当代美学将人类的存在视为受统治的。因未实现的渴望。该论文认为，在《我的玫瑰》中，浪漫主义意识形态可以与自然相关的超验品质联系起来，而幻想曲更普遍地可以与无限和渴望联系在一起。在这两部作品中，正是舒曼对主音的特殊处理，彻底背离了古典惯例，证明了将作品与这些美学问题联系起来的合理性。