In the original, the last statement of the theme is one octave higher.

Schubert

Sankey

Figure 25. A change of register.

he edition by Walter includes a brief section of notes, which provide some information about the arpeggione along with exhortations to the performer to play musically, containing interesting quotes from Casals, Toscanini, and Bernstein. According to Walter, the raison d'etre for this edition is that the "tradition" of interpreting this work has become essentially unmusical in his opinion. By offering a new edition, he hopes to aid in achieving more lyrical performances of the sonata.

Despite the aims of the editor, the most striking feature of this edition is the substitution of many of Schubert's slurs with staccato markings. Beyond taking the step of rendering some of Schubert's long slurs or phrase markings more easily playable on the double bass, Walter has completely altered the articulations to the point where little of the composer's original phrasing is left intact. In addition to these changes, Walter has also added myriad dynamic and expressive markings not found in the original.

Schubert

Walter

Figure 26. Note the substitution of articulation markings for the slur and changes to dynamic markings.

Schubert

Walter

Figure 27. A typical example of the changes from slurred to staccato phrasing.

Although Walter shows a predilection for the staccato marking, it is difficult to discern a pattern in the articulations he has chosen.

Schubert

Walter

Figure 28. Staccato articulations are added to m. 44, but dashes are substituted for staccato dots in m. 45.

Schubert

Walter

Figure 29. Slurs for dots. Accents omitted.

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