Arpeggione Sonata, D.821 (Schubert, Franz)
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Performances
Recordings
I. Allegro moderato
*#75657 - 16.07MB - 9:08 - (13) - - !N/!N/!N - 8462x⇩
Hans Goldstein (Cello)
Clinton Adams, piano
Pandora Records/Al Goldstein Archive
Creative Commons Attribution Non-commercial Share Alike 3.0 [tag/del]
Performed March 2007
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Synthesized/MIDI
For Viola and Piano (Nachbaur)
MIDI performance
*#208405 - 0.11MB - ? - (3) - - !N/!N/!N - 536x⇩
Synthesized MIDI
Fred Nachbaur
Creative Commons Attribution Non-commercial Share Alike 3.0 [tag/del]
These file(s) are part of the Werner Icking Music Collection.
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Sheet Music
Scores and Parts
Complete score (Color)
*#257727 - 18.57MB, 34 pp. - (0) - V/V/V - 4174x⇩
Complete Score (B/W)
*#79304 - 2.62MB, 26 pp. - (24) - V/V/V - 15245x⇩
Manuscript, November 1824.
Source: Bibliothèque nationale de France, département Musique, MS-304
Die Echtheit dieses Autographs bestätigt E. Mandyczewski Wien, 22. februar 1898" et note sur l'instrument : "Arpeggione, Guitarre-Violoncell, 1823 von Stauffer in Wien gebaut, hatte sechs Saiten und klang eine Octave tiefer als geschrieben.
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Complete Score
*#16600 - 1.22MB, 20 pp. - (35) - V/V/V - 26345x⇩
PDF scanned by Aldona Jones
Aldona Jones (2008/4/9)
Ignaz Brüll (1846-1907)
Franz Schubert's Werke, Serie VIII, No.8
Leipzig: Breitkopf & Härtel, 1884-1897. Plate F.S. 60
New York: Edwin F. Kalmus, n.d.(after 1933). Study Score No.1038
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Arrangements and Transcriptions
Complete
For Viola and Piano (Nachbaur)
Complete score
*#116775 - 2.08MB, 32 pp. - (0) - !N/!N/!N - 3933x⇩
Piano part
*#116777 - 1.16MB, 17 pp. - (0) - !N/!N/!N - 2701x⇩
Viola part
*#116776 - 0.89MB, 12 pp. - (18) - !N/!N/!N - 9194x⇩
Viola part
*#55560 - 0.89MB, 12 (10) pp. - (0) - !N/!N/!N - 8233x⇩
Fred Nachbaur
Creative Commons Attribution Non-commercial Share Alike 3.0 [tag/del]
Special thanks to Werner Icking of GMD for his encouragement, and to Jean-Pierre Coulon for his critiques and suggestions.
These file(s) are part of the Werner Icking Music Collection.
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For Cello and Piano (Mandozzi)
Cello part
*#259160 - 0.34MB, 10 pp. - (1) - !N/!N/!N - 2485x⇩
Winterthur: Orfeo Mandozzi
Creative Commons Attribution 3.0 [tag/del]
Score without page turns
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For Cello and Piano (Mulder)
Arpeggione and Piano score
*#69570 - 4.86MB, 23 pp. - (14) - V/V/V - 8152x⇩
Cello part
*#69571 - 1.58MB, 7 pp. - (0) - V/V/C - 11887x⇩
Jan Mulder (1861-fl.1915)
Leipzig: Breitkopf & Härtel, n.d.(ca.1905). Plate V.A. 2418.
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I. Allegro moderato
For Trumpet and Piano (Lichtmann)
Piano Score, Trumpet part
*#36368 - 0.83MB, 18 pp. - (3) - !N/!N/!N - 2612x⇩
PDF typeset by arranger
homerdundas (2009/8/4)
Hartford: Jay Lichtmann
Creative Commons Attribution 3.0 [tag/del]
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II. Adagio
For Viola and Piano (Klengel)
Piano score, Viola part
*#252595 - 0.31MB, 4 pp. - (1) - V/V/V - 1175x⇩
PDF scanned by Schalltrichter
Schalltrichter (2012/9/28)
Paul Klengel (1854–1935)
Klassische Stücke für Viola mit Klavierbegleitung, Vol.3
Leipzig: C.F. Peters, n.d. Plate 10741.
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General Information
| Work Title | Sonata for Arpeggione and Piano, D.821 |
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| Alternative Title |
| Composer | Schubert, Franz |
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| Opus/Catalogue Number | D.821 |
| Key | A minor |
| Movements/Sections | 3 movements
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| Year/Date of Composition | 1824 (November) |
| First Publication | 1871 |
| Dedication | Vincenz Schuster, former guitarist, and probably history's only professional arpeggione player. |
| Piece Style | Romantic |
| Instrumentation | Arpeggione and piano |
| External Links | Wikipedia article |
Misc. Comments
The Arpeggione was an instrument somewhat between a guitar and a cello invented by Staufer in 1823. It had six strings.
Commentary on Nachbaur arrangement
The "Guitarre d’amour" was invented in 1821 by Johann Georg Stauffer (1778-1853). About the size of a ‘cello, this instrument had a fretted fingerboard and six strings, tuned the same as the guitar (E A D G B E). It later became known as the "Arpeggione," because of its facility with guitar-like arpeggiations.
Due to a number of technical problems, the Arpeggione never became popular, and suffered
a rapid obsolescence. Its guitar-shaped body made it awkward to hold, and it was difficult to
play loudly on a single string because of the low curvature imposed by its many strings. In
fact, the sonata presented here is probably the only significant work written specifically for
this unusual instrument.
Schubert wrote this piece in 1824, and the care taken to suit the music to the instrument is
quite apparent. It can be noted that rarely are dynamics stronger than "p" indicated,
especially in fast passages. He made good use of the instrument’s arpeggiating abilities, and
wrote the music to show off the arpegionne’s extensive range.
The fact that the music has outlived the instrument by some two centuries is a tribute to
Schubert’s genius for memorable melodies. It is sometimes used as a showpiece by
exceptional ‘cello players, as only the most capable virtuosi can reach the impossibly high
places. Even on viola the higher ranges are difficult, and the lower registers (below C2) are
of course impossible.
Nonetheless, the piece lends itself ideally to the tonality of the viola. In this arrangement, I
have relied heavily on an arrangement by Paul Doktor. The low ranges had to be re-arranged
to fall within the range of the viola; in some cases I have deferred to Paul Doktor’s
arrangement, but in others I have retained my own, worked out in a previous (rather
incomplete) adaptation of this piece. For the high parts, I have opted to re-octavise a few
passages to make the piece more accessible to amateur and semi-professional players. The
octave on the A string was taken as the practical limit, though in a couple places the
arrangement extends slightly beyond.
Regarding bowings - Schubert’s bowings for the arpeggione are of course of limited use, but
do give an idea of the phrasing. Since I am not myself a violist, I have deferred to Paul
Doktor’s bowing indications. Still, the player is encouraged to take these with a grain of salt,
and to work out for him- or herself bowings and phrasing that are appropriate to one’s
individual style and capacities.
Similarly, the dynamics indications are best taken as suggested starting points. As implied
earlier, had the piece been written for other bowed instruments, it would have probably had a
lot more mf, f, and ff markings.
Tempo indications in the original are sketchy, and in several places ambiguous. The
markings shown (and reflected in the demo midi file) are my own interpretation, largely
influenced by a wonderful midi created by John Cowles.
- Goldstein, Hans/Performer
- Recordings
- WIMA files
- Scores from Bibliothèque nationale de France
- Manuscripts
- Brüll, Ignaz/Editor
- Works reprinted by Edwin F. Kalmus
- Pages with scores
- Pages with parts
- Nachbaur, Fred/Arranger
- Mandozzi, Orfeo/Arranger
- Lichtmann, Jay/Arranger
- Klengel, Paul/Arranger
- Scores
- Schubert, Franz
- Romantic
- Sonatas
- For arpeggione, piano
- Scores featuring the arpeggione
- Scores featuring the piano
- For 2 players
- For viola, piano (arr)
- Scores featuring the viola
- For cello, piano (arr)
- Scores featuring the cello
- For trumpet, piano (arr)
- Scores featuring the trumpet
- Pages with arrangements
