ZARALI HALİL SÖYLER TÜRKÜLERİNİN MÜZİKAL YAPISI ÜZERİNE BİR İNCELEME

Abstract

The arpeggione sonata, with its unique position, has entered the short-lived history of the arpeggione, which emerged as a result of the experimental work of instrument makers in the period in which it was written. This sonata is among the last great classical composer Franz Schubert's- late chamber music is one of the essential works in the cello and viola repertoire. As a design of Johann Stauffer in 1823, this instrument attracted the attention of Schubert's friend, guitarist Vincenz Schuster and In 1824, had asked the composer to write a piece for this instrument. While it seemed that no common decision could be made regarding the instrument's name, Schubert had used the terms arpeggione and pianoforte on the manuscript, and Schuster premiered the sonata. Due to the limited interest in arpeggio, the instrument has quickly erased from the memory of society, and the sonata could have only came to light 47 years after the composer's death. In the 20th century, interest in the work was renewed and but cello transcription was preferred. The other ensued transcriptions for strings and wind instruments had followed. The composers and musicians of the 21st century have responded to their renewed interest in arpeggione while composing over 40 works for the instrument. At the same time, it is inevitable that the arrangements of the Arpeggione sonata for the arpeggione and other instruments will be carried into the future and will be part of the history of music, never to be lost again yet it has been observed that had not spawned a phenomenon that can be called the resurrection of arpeggione.