During the first decades of the 19th century, there was a sudden increase in the popularity of the guitar. Most of the leading composers of the time, including Weber, Rossini, Verdi, Paganini, Berlioz, and Schubert. Schubert was an avid guitarist. He took up the instrument when he was a teenager, and later enjoyed the practice of weekly visits with Mauro Giuliani, the Italian who was one of the leading guitar specialists, to make music.
Wenzel Matiegka (1773-1830) was an Austrian who was even more of a specialist in the guitar than Giuliani. All of his published works and arrangements involved the guitar, and he made a popular version with guitar of Beethoven's Trio, op 8. In 1814 Schubert discovered Matiegka's Notturno, op 21, for flute, viola, and guitar and decided to adapt it for use in one of his family's regular household music sessions. He added a cello part for his father, reworked the viola, and intended to play the guitar part. He also added a second Trio to the minuet movement, and composed a new variation in the final movement for the cello. However, he did not finish it. The speculation is that Schubert's father found the virtuosic cello variation too difficult.
The resulting work, as it stood, is exceptionally charming. Despite its unfinished state, it became a popular item for the ensemble of flute, viola, cello, and guitar, who would simply stop when they reached the end of Schubert's arrangement. In the late 20th Century guitarist-conductor JoAnn Falletta took up the quartet. Working from the Matiegka score, she followed the same procedure as Schubert, writing a new cello part (in the style established by Schubert) and reworking the viola part. ~ Joseph Stevenson, Rovi