Ideally, we could consider - why not? - a part of double bass. Liszt Ständchen Piano Transcriptions After Schubert Khatia Buniatishvili (with sheet music in our Library) Ständchen (known in English by its first line Hark, hark, the lark or Serenade), D 889, is a lied for solo voice and piano by Franz Schubert, composed in July 1826 in the then village of Währing. It was out of the question for us to consider another part - the violin for example (as in the Diabelli edition published after the composer's death), the flute or any other melodic instrument with a sharp range - because all these alternatives are deviate too much from the stamp representations that Schubert could have. Henle thus solves the dilemma: on the one hand, the original arpeggione part is superimposed on the original piano part (score), on the other, in the separate part attached to the score the rare essential octave changes are clearly indicated. But it also poses a problem for Urtext, because without certain interventions in the text, the original arpeggione part could not be performed on the instrument closest to the timbre, namely the viola or the cello. And this work in three movements is truly immortal. His output consists of over six hundred secular vocal works, seven complete symphonies, sacred music, operas, incidental music and a large body of chamber and piano music. Schubert died at 31 but was extremely prolific during his lifetime. Choeur:Stndchen : A.Kirchschlager / Ch A.Schoenberg / A. Franz Peter Schubert (1797 1828) was an Austrian composer. This organological curiosity would certainly have long since been forgotten in the most total oblivion if precisely Franz Schubert had not composed his sonata in A minor for this instrument. Schubert - Choeur:Stndchen : A.Kirchschlager / Ch A.Schoenberg / A.Schiff / Erwin Ortner. A good intention is never good enough (according to Kurt Tucholsky): the Arpeggione, this kind of hybrid - a large guitar rubbed by a bow - has never succeeded in imposing itself on musicians.
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