Sonata for Piano and Arpeggione A minor D 821 (Op. Posth.) Viola and Piano 舒伯特 奏鸣曲钢琴 中提琴(含钢琴伴奏) 亨乐版

好心办坏事（自由引用库尔特-图霍尔斯基的话）：琶音这种类似大弓吉他的混合乐器从未得到音乐家们的认可。如果不是弗朗茨-舒伯特（Franz Schubert）为它创作了 A 小调奏鸣曲，这种乐器工程学上的奇葩肯定早已被人遗忘。这首三乐章的作品如今已成为真正的不朽之作，但同时也带来了作为Urtext的问题，因为如果不对文本进行一些干预，原始的琶音部分就无法用最接近其音色的乐器--显然是中提琴或大提琴--来演奏。G. Henle Verlag 解决了这一难题，一方面将 Urtext 中的琶音部分置于原钢琴部分（乐谱）之上，另一方面在所附的乐器部分中明确指出了几个必要的八度转换。出版商不可能为其他乐器，如小提琴（迪亚贝利的遗作初版中收录了小提琴）、长笛或其他高旋律乐器进行转写，因为这些乐器与舒伯特心目中的音色相去甚远。充其量，低音提琴声部可能还能奏效"

作曲家: Franz Schubert
校订者: Wolf-Dieter Seiffert
乐器: Piano; Viola
出版社: Henle Urtext Edition
原文简介:
Good intentions are simply not good enough (to freely paraphrase Kurt Tucholsky): the arpeggione, a kind of hybrid instrument like a large bowed guitar, never won acceptance among musicians. This curiosity of instrumental engineering would certainly have long since been consigned to oblivion had not Franz Schubert of all people composed his A minor sonata for it. This three-movement work is now truly immortal, but at the same time presents a problem as an Urtext because the original arpeggione part cannot be performed on those instruments that most closely approximate its sound – clearly the viola or violoncello – without some interventions in the text. G. Henle Verlag solves the dilemma on the one hand by setting the arpeggione Urtext part above the original piano part (score), and on the other by clearly denoting the few necessary octave shifts in the included instrumental parts. Out of the question for the publisher was a transcription for another instrument such as the violin (as was included in Diabelli's posthumous first edition), flute, or other high melodic instrument, because these are simply too far removed from the sound Schubert had in mind. At best, a contrabass part might still work.