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Moray Welsh looks at the cello version of the first movement, whose successful execution requires boundless musicality, lyricism and technical finesse

From Schubert Arpeggione Sonata in A minor D821. Urtext edition, version for violoncello, paperbound with marked and unmarked string parts. Editor Wolf-Dieter Seiffert; pf fingering Klaus Schilde, vc fingering Reiner Ginzel. Order no. HN 611, ISMN 979-0-2018-0611-2, €16.50. Printed with permission of G. Henle Verlag, Munich © 1995

The arpeggione is the Cinderella of the stringed instrument family. Fortunately the glass slipper it left behind, in the form of Schubert’s Arpeggione Sonata, has remained a rare gem in the repertoire of cellists and viola players alike, both of whom are eager to claim it as their own. Indeed, the greater range and sonority of the cello and viola do more justice to the song-like character of the sublime music that Schubert in 1824 so willingly penned for this ‘test-tube’ instrument, as a commission from his arpeggione virtuoso friend Vincenz Schuster.

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About The Strad

In a French-themed issue, the Ébène Quartet discuss their huge Beethoven project and we examine the early violins of J.B. Vuillaume. There’s a look at Michel Colichon and Nicolas Lupot, and Jean-Luc Ponty gives his Sentimental Work. Plus a Masterclass on Schubert’s Arpeggione Sonata.