Schubert Sonata in A minor for Arpeggione and Piano, D. 821

Franz Schubert was born at Vienna on 31 January 1797 and died in Vienna on 19 November 1828.  The Sonata in A minor for arpeggione and piano was written in November of 1824 for Vincenz Schuster but was not published until 1871, when it was released by Anton Diabelli.  The instructional manual on playing the arpeggione, written by Schuster, was also published at that time.  Transcriptions of the sonata exist for many instruments (by the time of the sonata’s publication the instrument was already in decline and transcriptions ensured the work’s survival), including the cello, flute and string bass.  The transcription for viola being performed today was prepared by W. D. Seiffert.‍

The arpeggione, invented in 1823, is one of those historical curiosities that would be absent in the consciousness of even the most seasoned musician had it not been for the composition of Schubert’s masterfully written sonata for the instrument.  The arpeggione is often described as either bowed guitar or a guitar violoncello; it had frets and the tuning of the strings is like a guitar’s (E-A-d-g-b-e’).  It was held and played  like a cello or bass viol.  According to Grove Music Online, “[t]he arpeggione’s soulful, almost speechlike upper register was clearly in the forefront of Schubert’s mind when he composed this idiosyncratic work.”

This sonata was written in what some call an “autumnal” period in Schubert’s compositional output.  The composer was suffering from the late stages of syphilis and the disease (as well as the treatment for it) limited his composition.  Schubert was returning from his second visit to Hungary and letters to his friends upon his return to Vienna imply that the composer was feeling happy and at peace.  In 1823 Schubert experienced a resurgence of creative energy and subsequently wrote incidental music to the play Rosamunde and the piano sonata D 784.  In early 1824 he wrote the String Quartet No. 13 in A minor, D 804 (also subtitled Rosamunde).  The sonata exhibits many similarities with both the D 784 and D 804 works, including the exploration of A-minor/A-major chromatic mediant relationships as well as treatment of thematic development.  

The first movement is in sonata form and features lilting themes in the Viennese mood.  The second movement features a songlike Adagio that is reminiscent of Schubert’s compositions for voice.  The movement goes attacca into the third movement, a rondo which also explores contrasting themes of a very Viennese character.

-Program notes by Dr. Daniel Doña