Sonata for Piano and Arpeggione A minor D 821 (Op. Posth.) Viola and Piano 舒伯特 奏鳴曲鋼琴 中提琴(含鋼琴伴奏) 亨乐版

好心辦壞事（自由引用庫爾特-圖霍爾斯基的話）：琶音這種類似大弓吉他的混合樂器從未得到音樂家們的認可。如果不是弗朗茨-舒伯特（Franz Schubert）為它創作了 A 小調奏鳴曲，這種樂器工程學上的奇葩肯定早已被人遺忘。這首三樂章的作品如今已成為真正的不朽之作，但同時也帶來了作為Urtext的問題，因為如果不對文本進行一些干預，原始的琶音部分就無法用最接近其音色的樂器--顯然是中提琴或大提琴--來演奏。G. Henle Verlag 解決了這一難題，一方面將 Urtext 中的琶音部分置於原鋼琴部分（樂譜）之上，另一方面在所附的樂器部分中明確指出了幾個必要的八度轉換。出版商不可能為其他樂器，如小提琴（迪亞貝利的遺作初版中收錄了小提琴）、長笛或其他高旋律樂器進行轉寫，因為這些樂器與舒伯特心目中的音色相去甚遠。充其量，低音提琴聲部可能還能奏效"

作曲家: Franz Schubert
校訂者: Wolf-Dieter Seiffert
樂器: Piano; Viola
出版社: Henle Urtext Edition
原文簡介:
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.