Sonata in A Minor "Per Arpeggione" (1824)

Transcription

1 Franz Schubert ( ) Sonata in A Minor "Per Areggione" (1824) arranged or Viola and iano Viola Part Arrangement coyright 1998 by Fred Nachbaur and Jean-Pierre Coulon All rights reserved Free (non-commercial) distribution allowed and encouraged. Rev. 2a, Jan Obtained rom the GMD Music Scores Archives

2 Franz Schubert Sonata in A Minor Per Areggione The Guitarre d amour was invented in 1821 by Johann Georg Stauer ( ). About the size o a cello, this instrument had a retted ingerboard and six strings, tuned the same as the guitar (E A D G B E). It later became known as the Areggione, because o its acility with guitar-like areggiations. Due to a number o technical roblems, the Areggione never became oular, and suered a raid obsolescence. Its guitar-shaed body made it awkward to hold, and it was diicult to lay loudly on a single string because o the low curvature imosed by its many strings. In act, the sonata resented here is robably the only signiicant work written seciically or this unusual instrument. Schubert wrote this iece in 1824, and the care taken to suit the music to the instrument is quite aarent. It can be noted that rarely are dynamics stronger than indicated, esecially in ast assages. He made good use o the instrument s areggiating abilities, and wrote the music to show o the aregionne s extensive range. The act that the music has outlived the instrument by some two centuries is a tribute to Schubert s genius or memorable melodies. It is sometimes used as a showiece by excetional cello layers, as only the most caable virtuosi can reach the imossibly high laces. Even on viola the higher ranges are diicult, and the lower registers (below oen C) are o course imossible. Nonetheless, the iece lends itsel ideally to the tonality o the viola. In this arrangement, I have relied heavily on the assistance o Jean-Pierre Coulon. The low ranges had to be re-octavised to all within the range o the viola. For the high arts, I have oted to re-octavise a ew assages to make the iece more accessible to amateur and semi-roessional layers. The octave on the A string was taken as the ractical limit. Regarding bowings - Schubert s bowings or the areggione are o course o limited use, but do give an idea o the hrasing. Since I am not mysel a violist, I have deerred to the bowings oered in the edition by Paul Doktor. Still, the layer is encouraged to take these with a grain o salt, and to work out or him- or hersel bowings and hrasing that are aroriate to one s individual style and caacities. Similarly, the dynamics indications are best taken as suggested starting oints. As imlied earlier, had the iece been written or other bowed instruments, it would have robably had a lot more m,, and markings. Temo indications in the original are sketchy, and in several laces ambiguous. The markings shown (and relected in the demo midi ile) are my own interretation, largely inluenced by a wonderul midi created by John Cowles. A note on the assage starting at bar 0, and similar assages later in the iece. The recommended way to lay this is to double-sto the C and G strings, laying the A on the G- string as a drone. This gives an interesting iddle eect and is easier than negotiating the shits i the section is layed on adjacent strings in rd osition. Secial thanks to Werner Icking o GMD or his encouragement, and to Jean-Pierre Coulon or his welcome collaboration. Fred Nachbaur, January 1999

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