Franz Schubert - Arpeggione Sonata, D.821 (1824) {Bijlsma}

Franz Peter Schubert (31 January 1797 - 19 November 1828) was an Austrian composer of the late Classical and early Romantic eras. Despite his short lifetime, Schubert left behind a vast oeuvre, including 600 secular vocal works (mainly Lieder), seven complete symphonies, sacred music, operas, incidental music and a large body of piano and chamber music. The Piano Quintet in A major, D. 667 (Trout Quintet), the Symphony No. 8, D. 759 (Unfinished Symphony), the three last piano sonatas, D. 958-960, and his song cycles Die schöne Müllerin and Winterreise are some of his most important works.
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Arpeggione Sonata in A minor, D. 821 (November 1824)
Dedication: Vincenz Schuster, former guitarist, and probably history's only professional arpeggione player.
1. Allegro moderato (0:00)
2. Adagio (13:35)
3. Allegretto (16:50)
Anner Bijlsma, cello and Werner Genuit, forte piano
rec. 1973
Description by Blair Johnston [-]
The guitarre d'amour, or arpeggione as it came to be known, was invented sometime during 1823 or 1824 by the respected Viennese guitar maker Johann Georg Stauffer. The instrument -- a kind of enlarged guitar that could be bowed, cello-style, due to an altered fingerboard -- was by no means a success; within just a few years of its birth it had for all intents and purposes suffered extinction. To music lovers, however, this short-lived instrumental curiosity will be forever remembered as the vehicle for Franz Schubert's Sonata "per arpeggione" in A minor, D. 821 -- a work now played almost exclusively by violists and cellists, although it exists in arrangements for instruments as far afield as the euphonium.
Schubert composed the "Arpeggione" Sonata in November 1824 shortly after returning from Zseliz, where he had spent his second summer (the first one being in 1818) teaching music to the Count of Esterházy's two daughters. The three-movement Sonata must be altered somewhat if it is to be played on cello or viola: the arpeggione possessed six strings, tuned to the same pitches as a guitar's, and the resulting extended range can cause problems when the piece is transcribed; in most editions, certain portions of the piece are transposed up or down an octave from their original position to avoid the extreme registers. However, Schubert by and large avoided the kind of idiosyncratic arpeggiations that earned the original instrument its nickname, focusing instead on the same focused lyricism that drives a traditional sonata for string instrument and piano; in this way, the work readily adapts to modern performance.
The opening Allegro moderato is built around a wistful melody whose fame is such that many who have never heard or heard of the "Arpeggione" Sonata will find that they recognize the tune. A second theme proceeds in gentle gusts of sixteenth notes; the arpeggione could not play fast notes with much volume at all, and so the Sonata's quicker portions are almost always marked piano or pianissimo.
The Adagio is a rich but introverted musing on an almost hymn-like subject. Schubert places great emphasis on the Neapolitan chord -- a harmony also used to great effect in the opening movement -- during the movement's closing measures, weakening the power of the final cadence and thus inviting the soloist to improvise a brief transition into the final, multi-sectioned Allegretto.

[@RafikCezanneTV]

Schubert never fails. Thank you for the great addition! Danka!

[@Rockingbart]

Nice to see also part of the manuscript score.

[@wolfgangsell3233]

No fuckin way. I just played this for viola and you upload it lmao. Dude this song is soo good. I studied it for like 3/4 of a year and played it for KSHAA solo festival. I got a 1 (highest ranking) at districts and a 2 at state. I'm super disappointed I got a 2, all my instructors think I got scammed. I played it so well and I have a recording of me playing it on my channel if you want to see how a high schooler plays this. Thank you for all the incredible uploads Barte

[@notaire2]

Wunderschöne und detaillierte Interpretation dieser frühromantischen und perfekt komponierten Sonate im veränderlichen Tempo mit mildem doch gut phrasiertem Ton des genialen Violoncellos und klarem doch warmherzigem Klang des ebenso genialen Fortepianos. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Wunderbar vom Anfang bis zum Ende!

[@BruceWayne-po6sy]

Bylsma was the teacher of my teacher's teacher :D

[@luisdeleon9728]

the beggining remind me schuman piano concerto

[@Blackheadedgull]

Schuster, Vincenz never stopped being a guitarist and composer for his instrument.
He was a friend of Schubert in his inner circle.
He promoted the arpegionne with relative success, on the other hand the guitar brought him the income that allowed him to live.
He was therefore not a professional arpeggionist

[@user-pj3mg8qz1v]

1:27 - 1 ч. ПП
6:33 - 1 ч. Начало разработки
12:36 - 2 ч. Основная тема
16:20 - 2 ч. Кода (?)
16:51 - 3 ч. ГП
17:10 - 3 ч. ПП
18:23 - 3 ч. Новая тема в разработке

[@yuehchopin]

gut

[@ppy_yt]

Please, make a video showing the Bach's flute sonatas BWV 1034~

[@loveclassicalmusicalot]

5:34

[@ShaunakDesaiPiano]

Is it just me or does the beginning feel a little like the third movement of the Pathétique?

[@matthiasl.6551]

The intervals in the melody are similar, that's true.

[@ShaunakDesaiPiano]

@@matthiasl.6551 also the harmonic progression, at least initially.