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Zur Edition und Bearbeitung
Dieser Ausgabe liegt das Autograph zugrunde (Biblio-
théque Nationale Paris). Die originalen Phrasierungs-
und Dynamikbezeichnungen sind durchwegs beibe-
halten. Bei eindeutigen Parallelstellen wurden sie,
sofern sie im Autograph fehlen, entsprechend er-
gänzt. In Klammern gesetzte Zeichen und punktierte
Bögen stammen vom Herausgeber.
Infolge der unterschiedlichen Tonlagen der Instru-
mente erklingt das ganze Werk auf der Flöte (oder
Violine) eine Oktave höher als auf dem . Arpeggione
(oder) Cello). Bei der Bearbeitung für Flöte wurden zu-
dem folgende Veränderungen am Originaltext vorge-
nommen:
Annotations to Edition and Arrangement
This edition is based on the autograph (Bibliothéque
Nationale Paris). The original phrasings and dynamic
indications have been maintained. In obvious parallel
parts they have been added where they were not in-
serted in the autograph. All signs in brackets and
dotted ties have been inserted by the editor.
Due to the different pitches of the instruments, the
whole opus sounds an octave higher if played on the
flute (or violin) than it does if played on the arpeggione
(or cello). In the arrangement for flute, the following
changes of the original tex have been made:

i) Oktavierungen i) Transposition in another octave

(1. oder 2. höhere oder 1. tiefere Oktave) (first or second higher or lower)

1. Satz / 1st Movement

Takt/Bar 30-32 resp. 148-150, 59-61 resp. 176-180, 119-121

2. Satz / 2nd Movement

Takt/Bar 34-47, 63-68

3. Satz / 3rd Movement

Takt/Bar 89-92, 111-112, 312-313, 314-319

2) Auflösung von Doppelgriff-Akkorden durch 2) Disintegration of double-stop octaves by

Arpeggien oder Oktav-Vorschläge arpeggios or appogiaturas

1. Satz / 1st Movement

Takt/Bar 71-72, 145-146, 204-205

3. Satz / 3rd Movement

Takt/Bar 405-406
 Flöte I

Sonate a-moll "Arpeggione" /

bearbeitet für Flöte und Klavier von Peter-Lukas Graf

Allegro moderato Franz Schubert

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