¹ Sharpe, A.P., The Story of the Spanish Guitar, 3rd ed. (London: Clifford Essex Music, 1963): 10 Google Scholar.

² For a discussion of the history behind the quartet, see Van Hoorickx, Reinhard, ‘Schubert’s Guitar Quartet’, Revue Belge de Musicologie/Belgisch Tijdschrift Voor Muziekwetenschap 31 (1977): 111–135 CrossRefGoogle Scholar.

³ Indeed, as Alice Hanson shows in her Musical Life in Biedermeier Vienna (London: Cambridge University Press, 1985), the guitar was a typical part of such salons.

⁴ For representative discussions see Geiringer, Karl, ‘Schubert’s Arpeggione Sonata and the “Super Arpeggio”’, The Musical Quarterly 64 (1979): 513–523 CrossRefGoogle Scholar and Black, Leo, ‘Schubert’s Ugly Duckling’, The Musical Times 138, no. 1857 (1997): 4–11 Google Scholar.

⁵ These songs were included in Schubert, Franz, Sixteen Songs with Guitar Accompaniment, ed. Thomas F. Heck (Boston, MA: Tecla Editions, 1980)Google Scholar. For a discussion of questions related to performing Schubert’s songs with guitar accompaniment see Heck, Thomas F., ‘Schubert Lieder with Guitar … Permissible?’ The Soundboard 3, no. 4 (November 1976): 10 Google Scholar.

⁶ Mertz’s strategies in arranging the songs are discussed in some detail by Simon Wynberg in his introduction to the modern edition of the arrangements. See Mertz, Johann Kaspar, Six Schubert Songs Arranged for Solo Guitar by Mertz, vol. 7 of Guitar Works, ed. Simon Wynberg (Heidelberg: Chanterelle Verlag, 1985)Google Scholar.