Arpeggione Sonata, D.821 (Schubert, Franz)

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Performances

Recordings

 Complete performance
#326641 - 24.35MB - 22:17 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 710x

MP3 file (audio)
Lekro (2014/5/27)

Performer Pages:

Hans Goldstein (cello)

Performers:

Unknown artist, piano

Publisher Info.:

Pandora Records/Al Goldstein Archive

Copyright:

Creative Commons Attribution-ShareAlike 4.0 [tag/del]

Misc. Notes:

Low quality audio extracted using ffmpeg, preserving the quality of the audio used in the video, found here (152.7 MB). Contains tuning in beginning.

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 I. Allegro moderato
#75657 - 16.07MB - 9:08 -  7.3/10 2 4 6 8 10 (20) - - !N/!N/!N - 12534x

MP3 file (audio)
Carolus (2010/8/19)

Performer Pages:

Hans Goldstein (Cello)

Performers:

Clinton Adams, piano

Publisher Info.:

Pandora Records/Al Goldstein Archive

Copyright:

Creative Commons Attribution Non-commercial Share Alike 3.0 [tag/del]

Misc. Notes:

Performed March 2007

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Synthesized/MIDI

For Viola and Piano (Nachbaur)

 MIDI performance
#208405 - 0.11MB - ? -  5.5/10 2 4 6 8 10 (4) - - !N/!N/!N - 1262x

MID file (audio/video)
Reccmo (2012/4/22)

Performers:

Synthesized MIDI

Publisher Info.:

Fred Nachbaur

Copyright:

Creative Commons Attribution Non-commercial Share Alike 3.0 [tag/del]

Misc. Notes:

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. -  6.3/10 2 4 6 8 10 (25) - V/V/V - 12663x

PDF scanned by F-Pn
Generoso (2012/11/6)

 Complete Score (B/W)
#79304 - 2.62MB, 26 pp. -  5.3/10 2 4 6 8 10 (27) - V/V/V - 23625x

PDF scanned by Unknown
Generoso (2010/9/20)

PMLP39828-Schubert - Arpeggione Sonata D821 (Nov 1824) for arpeggione and piano manuscript.pdf
Publisher Info.:

Manuscript, November 1824.

Copyright:

Public Domain [tag/del]

Misc. Notes:

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. -  6.3/10 2 4 6 8 10 (51) - V/V/V - 42189x

PDF scanned by Aldona Jones
Aldona Jones (2008/4/9)

SchubertD821 Arpeggione Sonata.pdf
Editor:

Ignaz Brüll (1846-1907)

Publisher Info.:

Franz Schubert's Werke, Serie VIII, No.8
Leipzig: Breitkopf & Härtel, 1884-1897. Plate F.S. 60.

Reprinted:

New York: Edwin F. Kalmus, n.d.(after 1933). Study Score No.1038

Copyright:

Public Domain [tag/del]

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Arrangements and Transcriptions

Complete

For Flute and Guitar (Liu)

 Complete score
#335799 - 1.13MB, 53 pp. -  8.5/10 2 4 6 8 10 (4) - !N/!N/!N - 229x

PDF typeset by Arranger
Ming-Jui Liu (2014/7/23)

 Flute part
#335800 - 0.88MB, 22 pp. -  9.5/10 2 4 6 8 10 (4) - !N/!N/!N - 386x

PDF typeset by Arranger
Ming-Jui Liu (2014/7/23)

 Guitar part with fingering
#335801 - 0.91MB, 27 pp. -  10.0/10 2 4 6 8 10 (3) - !N/!N/!N - 155x

PDF typeset by Arranger
Ming-Jui Liu (2014/7/23)

PMLP39828-Schubert Arpeggione Sonate for flute and guitar, arr. Ming-Jui Liu Full Score.pdf
Arranger:

Ming-Jui Liu

Publisher Info.:

Ming-Jui Liu

Copyright:

Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [tag/del]

Misc. Notes:

corrections: 1. (F)There should be a slur between A5 (beat 4, m. 30) and B5 (downbeat, m. 31) in the first movement; 2. (G)There should be a tie for the a minor chord between measure 202 and 203 in the first movement; 3. (F)There should be a "nat." mark on measure 347 in the third movement.

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For Violin and Guitar (Liu)

 Complete score
#336301 - 1.13MB, 54 pp. -  8.8/10 2 4 6 8 10 (5) - !N/!N/!N - 179x

PDF typeset by Arranger
Ming-Jui Liu (2014/7/26)

 Violin part
#336302 - 0.88MB, 22 pp. -  9.6/10 2 4 6 8 10 (5) - !N/!N/!N - 294x

PDF typeset by Arranger
Ming-Jui Liu (2014/7/26)

PMLP39828-Schubert Arpeggione Sonate for violin and guitar, arr. Ming-Jui Liu Full Score.pdf
Arranger:

Ming-Jui Liu

Publisher Info.:

Ming-Jui Liu

Copyright:

Creative Commons Attribution-NonCommercial-ShareAlike 4.0 [tag/del]

Misc. Notes:

For the guitar part, please use #IMSLP335801, highly recommend.

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For Viola and Piano (Nachbaur)

 Complete score
#116775 - 2.08MB, 32 pp. -  5.1/10 2 4 6 8 10 (7) - !N/!N/!N - 7428x

PDF typeset by arrangers
Dhzanette (2011/8/31)

 Piano part
#116777 - 1.16MB, 17 pp. -  3.0/10 2 4 6 8 10 (6) - !N/!N/!N - 5171x

PDF typeset by arrangers
Dhzanette (2011/8/31)

 Viola part
#116776 - 0.89MB, 12 pp. -  5.8/10 2 4 6 8 10 (17) - !N/!N/!N - 16834x

PDF typeset by arrangers
Dhzanette (2011/8/31)

 Viola part
#55560 - 0.89MB, 12 (10) pp. -  7.2/10 2 4 6 8 10 (12) - !N/!N/!N - 12657x

PDF typeset by arrangers
Tremolo (2010/2/9)

WIMA.02c8-arpv sco.pdf
Arranger:

Fred Nachbaur

Publisher Info.:

Fred Nachbaur

Copyright:

Creative Commons Attribution Non-commercial Share Alike 3.0 [tag/del]

Misc. Notes:

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)

 Urtext Cello part
#259160 - 0.32MB, 10 pp. -  7.3/10 2 4 6 8 10 (3) - !N/!N/!N - 7355x

PDF typeset by arranger
cellofan (2012/11/18)

PMLP39828-Schubert Arpeggione Mandozzi Vc imslp.pdf
Arranger:

Orfeo Mandozzi

Publisher Info.:

Winterthur: Orfeo Mandozzi

Copyright:

Creative Commons Attribution 3.0 [tag/del]

Misc. Notes:

Urtext Score without page turns

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For Cello and Piano (Mulder)

 Arpeggione and Piano score
#69570 - 4.86MB, 23 pp. -  5.3/10 2 4 6 8 10 (17) - V/V/V - 11924x

PDF scanned by Generoso
Generoso (2010/7/1)

 Cello part
#69571 - 1.58MB, 7 pp. -  6.6/10 2 4 6 8 10 (16) - V/V/C - 18657x

PDF scanned by Generoso
Generoso (2010/7/1)

PMLP39828-Schubert - Arpeggione Sonata for Cello and Piano (Mulder) piano.pdf
Arranger:

Jan Mulder (1861-fl.1915)

Publisher Info.:

Leipzig: Breitkopf & Härtel, n.d.(ca.1905). Plate V.A. 2418.

Copyright:

Public Domain [tag/del]

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I. Allegro moderato

For Trumpet and Piano (Lichtmann)

 Piano Score, Trumpet part
#36368 - 0.83MB, 18 pp. -  6.0/10 2 4 6 8 10 (4) - !N/!N/!N - 4097x

PDF typeset by arranger
homerdundas (2009/8/4)

PMLP39828-Schubert Lichtmann Arpeggione Sonata Mvt1 Tr Pf.pdf
Arranger:

Jay Lichtmann

Publisher Info.:

Hartford: Jay Lichtmann

Copyright:

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. -  4.0/10 2 4 6 8 10 (4) - V/V/V - 2905x

PDF scanned by Schalltrichter
Schalltrichter (2012/9/28)

PMLP39828-Klass st Vol 3 Sch Arpegg009.pdf
Arranger:

Paul Klengel (1854–1935)

Publisher Info.:

Klassische Stücke für Viola mit Klavierbegleitung, Vol.3
Leipzig: C.F. Peters, n.d. Plate 10741.

Copyright:

Public Domain [tag/del]

Purchase:

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General Information

Work Title Sonata for Arpeggione and Piano, D.821
Alternative Title
Composer Schubert, Franz
Opus/Catalogue Number D.821
Key A minor
Movements/Sections 3 movements
I. Allegro moderato (A minor)
II. Adagio (E major)
III. Allegretto (A major)
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.

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