F. Schubert: Arpeggione - New Transcription for Viola and Piano
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- Опубліковано 17 лип 2024
- Hartmut Lindemann - Viola
Diana Baker - Piano
Franz Schubert: Sonate für Arpeggione
00:00 - Allegro Moderato
12:06 - Adagio
15:41 - Allegretto
Recorded in 2012 at the Konzerthaus Detmold
Recording Producer: Ephraim Hahn
Recording Engineer: Benjamin Reichert
The Arpeggione was invented by Johann Georg Stauffer in Vienna in 1823. At approximately the same time an identical instrument was produced in the workshop of the violin maker Peter Teufelsdorfer in Budapest. Both Arpeggione instruments were also known as: 'Guitar-Violoncello', 'Guitarre d'amour', 'Bogen-Guitarre' and 'Sentimental-Guitarre'.
The instrument had 6 strings and 24 metal frets. It had no protruding edges and a flat back. It was tuned like the guitar (E-A-d-g-b-e ́) and possessed a range of five octaves. Unlike the guitar it had an arched belly. The string stop was similar to that of the cello. With a gamba-like sound, this hybrid instrument enjoyed only a decade of popularity. Examples can be found in the Musical Instrument Museums in Berlin and Leipzig.
A single significant composition for the Arpeggione, the Sonata in A minor D821 by Franz Schubert, was written in November 1824. It was commissioned by Vincent Schuster, the author of the only tutor for the Arpeggione (1825).
Schubert's work was not published until 1871, by which time the Arpeggione had become obsolete. Consequently, we know the sonata only in arrangements for cello, viola and, less frequently, for the violin.
Regarding the performance practice of this piece, I should here remark that I consider historical recordings to be documents of musical history. A first recording on 78 r.p.m. gramophone records was made in 1929 by Gaspar Cassadó and the Hallé Orchestra under Hamilton Harty. This was a trumped up paraphrase for cello and orchestra. An exemplary performance of the original was released in 1937 by Emanuel Feuermann and Gerald Moore.
A minor is a particularly grateful key for the guitar. Schubert's choice of A minor was therefore appropriate for the Arpeggione. In my view, however, this key does not take into consideration the virtuoso demands and challenges made by this work upon the violist. My search for a suitable key for a more effective adaptation for the viola led me to G minor.
Because the use of the thumb position, so liberating for cellists when playing in the higher positions, is not available to the violist, the tessitura in most editions for viola has been drastically and, sometimes, insensitively altered; a solution which leads to unsatisfactory results. It was with Schubert's approval that his Lieder were soon transposed into keys suitable for voices of different registers. In deciding upon the key of G minor, I am doing no more than upholding this tradition. The resultant ideal conditions for the violist parallel those of the original key for the Arpeggione. Most of the difficult passage work can now be more easily executed.
The Adagio, for reasons of sonority, I have transposed a seventh higher. In the key of D-Major the natural resonance of the viola is displayed to best advantage.
In this G minor version the open strings of the viola assume the same role as did those of the Arpeggione in the original A minor. This surely accords with the aims of authentic performance practice. Incidentally, since the world-wide introduction of equal temperament tuning, the idiosyncrasies of the individual keys are much attenuated. It is, therefore, no longer of significance whether a work sounds in A or in G minor.
To benefit fully from the advantages of a transposition into G minor I have included, in the viola part, suggestions for such technical aspects of a performance as fingering and bowing. In the piano part, easily identifiable between brackets, can be found dynamic markings which differ from those
of the Urtext. These represent the fruits of my many years of experience playing this sonata in public. I recommend those who study this work to make themselves acquainted with the facsimile of Schubert's score.
Professor Hartmut Lindemann, Cologne, February 2011.
The scores of this version are awaylable in public domain:
Solo part: hahnklang.de/score/Schubert%2...
Piano part: hahnklang.de/score/Schubert%2...
I have always felt that the Viola was the best modern instrument for this sonata, and this upload confirms that opinion
I've listened to this and it's growing on me. At first I thought it was weird to change the key down to G-minor, but now I can see why it makes sense technically. The playing is very good. I love that crazy-high D-flat in measure 61. That is awesome-- it made me smile-- it sounds so exuberant.
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🇦🇷
C
I am a violinist and jokes aside, this piece just makes the Viola sound so much nicer
I just love this recording of Hartmut and Diana's , the simplicity of the piano accompaniment allowing the viola's true sound to phase in and out appeals to me.
P.S. I love the way the written music is shown with the audio in this video-- it's really helpful. Thank you.
This is the playing of a great artist - it is fascinating to hear how Lindemann's playing has evolved over the years. A decade earlier his playing of this work offered much by way of the sensual, but here the sensibilities are more restrained, classical, but in some ways more deeply felt.
Great performance, I love it!
The viola is a 16.3333 inch viola (16 1/3). No wonder why it sounds so resonant and beautiful.....
Mine is a 17. It sounds more like a small cello haha
that’s one BIG BOY
I will from now on refer to violas as big boys
michael incorvaia same 😂
Wonderful transcription!
Pensive and splendid and mysterious ！ 🍎
Congratulations Hartmut! Beautiful playing, and thanks for the edition...all your secret fingerings there😁😁
12:15 Haha, this is so over the top it's beautiful. Like an anthem of a long dead nation.
Was für eine wundervolle Interpretation der Arpeggione Sonate! Der dieser Sonate innewohnende Widerspruch, - große, tiefe Gefühle einerseits, Gassenhauer andererseits -, weiß Hartmut Lindemann, begleitet durch eine großartige Diana Baker, in ein großes Ganzes einzubinden. Hartmut Lindemann spielt die Sonate wie aus einem Guss, er bringt ein Epos zum Klingen, das von irdischem Vergehen, vom Wandern sowie vom Suchen und Finden neuer Wege zum Licht erzählt.
Dabei ist Lindemanns subtile Interpretation unglaublich farb- und nuancenreich. Um nur einige Beispiele zu nennen: unfassbare Portamenti, mal zart und anrührend, mal brillant und auftrumpfend; ein sotto voce, das einem den Atem nimmt und gleichzeitig süchtig macht (Reprise und Coda, 1. Satz); eine Helligkeit und ein Strahlen, das einen unwillkürlich die Augen schließen lässt, dabei so milde und rein (Thema 2. Satz). Unmittelbar danach erschütterndes C-Saitenspiel; ein im wahrsten Sinne des Wortes himmlischer Ländler, wie er auf dieser Erde noch nicht getanzt worden ist (3. Satz).
Alles klingt dabei so selbstverständlich, dass die Lindemannsche Virtuosität nahezu in den Hintergrund gedrängt wird. Das Violaspiel von Hartmut Lindemann ist wie von einer anderen Welt. Aus einer Welt, in der das, was wir heute als Tempo bezeichnen noch Zeit hieß und in der Sehnsucht noch nicht mit Gier verwechselt wurde.
Thomas Loos
The piano sound is gorgeous!And the balance is also excellent. all in all this is a most consistently musically intelligent There were tiny moments when I felt that the line just seemed to droop for a nanno second and there were also moments when the piano growled a little too aggressively for my taste. But overall, a loving and lovely performance.Well done!.
TheSmoshmy hat
Mara
Mariachi Varna
I am considering dedicating time to learn this version.
Such beauty! Hey, have any of you seen the video on UA-cam of this sonata played on double bass? Quite amazing.
Little Kiwi Love the double bass version, it brings out the sonata's melancholy vein.
no cabe duda que es na gran obra de schubert sin importar la tonalidad en la que este Am o Gm es igual de hermosa.
wow...
How about the Brahms Eb op 120? Wouldn't it work better in D?
melody
💕
Tansposing the whole sonata one tone lower makes perfect sense to benefit from open strings. However it does not make the piece significanly easier to play. Furthermore, there are lot of details here and there that I don't like: adding trills, adding octavas, playing in the higer range without necessity... Sometimes it looks like Harmut Lindemann aims at displaying his own virtuosity at the expense of the intimate and unassuming character of this sonata.
Patrick Loiseleur I think the large range is in the original. It's true that this Sonata is intimate and unassuming, but it has a great range. It's not the arranger, it's Schubert.
I was only able to find the score to the first movement from the link. Are the full score/part available as a pdf? I would really love to learn this transcription.
Please refer to the video description for an updated download link where the entire Sonata is available now.
I wanted a score of that sonata, does anyone know where I can get it
We apologize, the links to the Uni Münster where the Score was originally available were dead. As it is still Hartmut's wish to make them available in public domain please refer to the video description for an updated download link.
07:00
1:48 - 3:10, 6:31 - 12:06, 17:10 - 18:50, 22:30 - 25:16
22:30
Hi. Is this published?
Yes. Available thru any Music score. Or go to International Music.com. or Virtual Sheet Music.
How come in bar 12 it says to play an open string on the G that's impossible to play as on open string
What do you mean? YOu just use the open g string.
Emma Axelson sorry I meant bar 13
The Gaming Prophecy it probably means to use a harmonic.
Emma Axelson oh ok thanks
3:09 to 4:30
3 movemnt?
Why G minor?
+David A Bojanowski Técnicamente es más fácil interpretarlo en la viola, debido a su afinación, es lo mismo con el Contrabajo
Bruh
Very bad