The fair copy of the B flat major Sonata was completed by Schubert in September 1828, when he had about two months to live. His fight to the death released a flood of new energy. The beginning of the sonata shows that he has come home to himself, to the lyrical and tuneful Schubert. As in the Wandererfantasie, Schubert develops his music round a melodic and rhythmic core. The theme sets out to convey a happiness shattered by a gloomy bass trill. The trill is like a magic spell, leaving a great question mark above the music. Schubert uses the first movement to describe his life as a wanderer, quoting the start of the piano accompaniment from his song The Wanderer almost note for note in the middle section. He has a revelation to make, too. At the close of the movement he confesses what the theme is about. The passage twelve bars before the end of the movement is identical with the line »venite adoremus« from the well-known Christmas hymn "Adeste fideles" (O come, let us adore him). Words and music were well-known in Schubert's time. It really seems as if Schubert, foreseeing the approaching end of his life's long journey, was subconsciously turning to the Creator, to God. He seeks to pray. "Venite adoremus," he says, "let us adore him", meaning the infant Jesus, Son of God. And yet in the same breath he casts doubt on this statement. The mysterious bass trill growls from the depths of the abyss and keeps him from approaching the Almighty.