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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 punktierteBögen stammen vom Herausgeber.

Infolge der unterschiedlichen Tonlagen der Instru-mente erklingt das ganze Werk auf der Flöte (oderVioline) 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 (BibliothéqueNationale Paris). The original phrasings and dynamicindications have been maintained. In obvious parallelparts they have been added where they were not in-serted in the autograph. All signs in brackets anddotted ties have been inserted by the editor.

Due to the different pitches of the instruments, thewhole opus sounds an octave higher if played on theflute (or violin) than it does if played on the arpeggione(or cello). In the arrangement for flute, the followingchanges of the original tex have been made:

i) Oktavierungen(1. oder 2. höhere oder 1. tiefere Oktave)

i) Transposition in another octave(first or second higher or lower)

1. Satz / 1st MovementTakt/Bar 30-32 resp. 148-150, 59-61 resp. 176-180, 119-121

2. Satz / 2nd MovementTakt/Bar 34-47, 63-68

3. Satz / 3rd MovementTakt/Bar 89-92, 111-112, 312-313, 314-319

2) Auflösung von Doppelgriff-Akkorden durchArpeggien oder Oktav-Vorschläge

2) Disintegration of double-stop octaves byarpeggios or appogiaturas

1. Satz / 1st MovementTakt/Bar 71-72, 145-146, 204-205

3. Satz / 3rd MovementTakt/Bar 405-406

Allegro moderato5

Franz Schubert

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