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Franz Schubert Sonata in A Minor "Per Arpeggione" 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. Special thanks to Werner Icking of GMD for his encouragement, and to Jean-Pierre Coulon for his critiques and suggestions. Fred Nachbaur, December 1998