$:q

Fu, l'
d
L'
d-..,.i,f
C;n
[-
E.- ''
i ' u{ ,fl-i1'H d*
'r:-,+o? a-*,1

ARDTJO

CONTEI\TS
Introduction Page
4
1. F, Sor: Study in C, op. 6 no. g.
2. W.A. Mozart: Contredanse
9
11
3. \f.A. Mozart Polonaise
IA

4. J. Haydn: Minuet and Allegro

I2
5. Anon.: Little Dance
13

6. L.v. Beethoven: 1i
Allegretto
7. L.v. BeethoVefl: German Dance
77
8. F. Carulli: Aliegro
1C)

9. M. Giuliani: Polonaise Concertata

21
10" \)7,A. Mozart: Andante (from pianc; Concerro no. 21
23
11. W.A. Mozart: r\.40 /) 27
Rondo Aiia Turca (from piano Sonara
12. F. Carulli K. 331) ?1
J!
Duo in G
13. F. Sor: Duo in A. op. 55
2-7
-t
./

14. F. Sor: Divertis'sement for Two Guitars. op.6z

4/
)O
Performance advice
71
II
 -I

THE CTASSTCAL PERIOD (L75O - 1830)

Classicism was concerned with the virtues of clariqv and proportion and as such can be seen as a
reaction to the opulence and excessive ornamentation of the Baroque era. The transitional period
befween the Baroque and Classical periods is known as the Rococo.

Vienna emerged as the centre for the new ideas which flourished in music in the 177O's.It was
also the home of Haydn, Mozart and Beethoven. These three composers developed and expanded
the larger musical forms such as the sonata, the symphony and the set of variations.

These years also witnessed the growth of new ideas regarding freedom and independence, both of
the individual and of the nation. Revolutionary movements in France and North America led to the
overthrow of aristocratic and colonial povrers. Beettroven was one of the first cornposers to write
music not specifically commissioned by wealthy patrons.

The harpsichord was gradually replaced by the pianoforte, opening up a wider rarrge of dynamic
expression for the perfomer.

In the following extract from a letter to his father Leopold, M'ozart describes the musical aesthetic
_ of the Classical period:

"But passions, io ftratter lsow uiolent, sltould neuer be expressed in sucb a Laay as to arouse dis-
gust, nor sbould tbe rnusic offind tlse ea6 euen tuben descNbing the m.ost dramcr.tic situation. It
should alutays be pleasing to tbe listeneq tbat is to say: It'must neuer stop being mwsic|'

-- /!.,
THE CL{SSICAL GUTTARAND ITS COMPOSERS
The Classicai period is often described as the guitar's goiden era. A great deal of guitar music was
pubiished, largely to meet the demands of the many amateur performers of the time . Guitar tuition
was said to be one of the essentials of a young lady's education.

One of the period's most proiific composers was Mauro Giulia.ni (178I-1829). He lived. for a
time in Vienna and had over 15O of his compositions published. Giuliani was also an accomplished
violinist and is said to have taken part in the first performance of Beethoven's 7th symphony.

But it was Paris that becam€ the centre of guitar playing. Among many guitarists who lived and
worked in the ciry were the Italians Matteo Carca.ssi (1792-1853), Ferdinando Canttlli (1770-
1842) and the Spaniards Dionisio Aguado (17541549) arnd.Fermamdo Sor (I778-LB3D. Carcassi
and Carulli were both guitar virtuosi and gave frequent performances in private salons and at other
small venues.

Sor is known as "the Beethoven of the guitar", largely due to the significance his Nlethode
Guitar
tutor), his small guitar studies and his larger solo compositions had for the instrument"s develop-
ment. Musically however he is more ciosely related to Haydn. Among his other works the ballet
"Cendrillon" 'was the most popular and was performed over 100 times in Paris. Sor ravelled on
concert tours to England, Germany and Russia, and was received with acclaim everywhere he
played.

T,vpical for his compositions is a clear sense of structure, his musical forms building on Classical
values. The music is idiomatic (i.e. ideally suited for the instrument) and never empry or superflci-
al. Even his most virtuosic works have depth and contrast.

Sor's friend and compatriot Aguado was a dynamic and inventive composer. His music is virnrosic
with characteristic passages of rapid scales and arpeggios. Aguado also built a special g-uitar stand,
the "tripodion", to support the instrurn€nt, thereby allowing the performer greater freedom.

Sor's guitar duet <Les Deux Amis> (The Two Friends), op. 41,is dedicated to Aguado. In variation
form, it is constructed as a musical contest between rwo talented rivals. Audiences must ha,re mar-
velled at the virtuosiry of these lwo Spanish friends when they performed this showpiece .
From "Les Deux Amis"

Yln. 3.
 Dionisio Aguado
with his
iripodion

Aguado was also a pioneer of the correct notation of guitar music. A passage would be
written this way:

But should be written this way (to give an accurate notation of note-vatues):

affi i-Eri------i;;-' :::--

 t
h-=
#-:--4
.b:

%",,

Fernando Sor

THE IhTSTRUMEI{]
Tn
IIIrhis
Uus neriod the fiv. e-cor:rse guitar went out of fashioa for good. Both in the home and for most
orher purposes it was replaced by the guitar with six single strings we are familiar with today. This
developmenr may be explained both by the improvements in string quality and the instrument's
volume of sound, and by the desire to meet the Classical period's demands for clarify and puriry.

The body and string length (mensur) of 19th century guitars were relativeiy small. On the larger
modern instrument certain fingerings in the music of the period ar€ therefore difficult to execute .

The period's most famous luthiers were Ren6 Lacote in Paris, who worked together with compo-
sers like Carulli and Sor, and the Italians Yincenzo and George Louis Panormo, father and son, who
were based in London.

It is interesting to read the comments of music critic FJ. F€tis after a concert given by Sor in 1828:

oOn January 16tb I beard some ucr.riations played brilliantly by M. Woetz and. a guitar solo per-
formed by M. Sor Tbis piece, infour parts/uoices almost tbrougbout, had clear and elegant bar-
nxony and seemed dfficult to play. But it xuas a pity tbat tbe instrument's sound u)asn't fuller.
In my opinion Sor bas neglected tbis uital aspect of an instrument tlsat in itself bas too uteak a
sound.,

Today there are many performers who have speci altzed,in interpreting the music of the guitar's
ogoldeq erar. Their gramophone recordings have brought to life again the period's style of perfor-
mance and the instrument's characteristic, intimate sound.
 SYMBOLS
LEFT AND zuGHT HAND

PIMA is the abreviation for the Spanish names for the fingers
P =PULGAR
I = INDICE
M = MEDIO
A = ANUIAR

O = open string

@ @@ etc. - indicates the strings

I,[,III etc - indicates the positions (The ffet whefe the 1st finger is piaced)

C - means caPo or barrb

2/6-4/6-5/6 C - indicates the number of strings stopped with 1st finger

- Broken chord or arpeggio (usually starting from the bass)

- Keep the finger on the string, iust release the pressure while shifting

- legato or slur. (The B and the G# is pla)'ed with the left hand)
 STUDYII{ C
Fernando Sor
( r778- t Bsg)
@
3 l4j

a)

4 0 4
I 2 4
Arrr ttt

dr 0
0r 0 2
3 032

@ I 3.-3
,-(s
rt
16\

4+
@

a)

Ar
I

i 'L' r r0 30 0
I
3 0i|

10 2 o-2
r i_rr r
4 -t
-')
;'o',
z@
o
-)
3 1 4 -4 .1
-l

r.l

I
') 2 0
', t, 1.
n o
1,,'

r f
0

CTESC.

11
Arlr - .1.

I
020
:ll
I ) 0

4 -t ' r 4 -4 3 r
Copyright @ by Wamer,zChappell Music Noflay A./S, Oslo
 02

?l
I

/a\
\a)
1
a
-2 -t--

ur

l
A-. + 2 l 0 4 2 I

rrr ri
4_ rl ?i
:l
T
2
r
4

3 I
lo2

a)

n'I '1
4 024 02
--T

?U
lt0
'-J
r

"efu
o.,,r r . _ , ."1
 COhITREDAI\SE
Wolfgang .Amadeus Mozart
(17s6-t791)

f | (Pl

Fine
* :\

f p

a
r *J

D.C.al Fine

Copvrig.lit O bv Wrmcf/Chappcil Music N()nvay A/S, Osk)

 POLONIAISE
Wo lfgang A madeus M ozart
(17s6-1791)
-l 4
t2 lra 2 3
42 -i-24 I
I_
U-' . 3
^l
ol
mp
2'
I

aa 4 lr
^
3

il cr , ,.1 r_attt -, I

fo!-tt**P-F-

ol

CI CI
I
4 t2
nt4A€-4 r/t a 4 I

Ii
3 ).|frrr, rr?ut--

(:opyright O by wamer/chappcil Music Nonva),A,/S, Ost()

.hd"

"ffi
IU
1')
--.---;---il ,r"*..---::
 MIN{JET
Joseph Haydn
(1732-t809)

,3

r-4
'0

VIl
Jlr
t#* *
, a
v
, a
J-
r -3-
-

mf 4F

4
2

p
n4
t0 rft'ol

lsl

v@
3 _3II
o
|-J-J.'-.-'.'.1

rr^, -+
4
0
_-1
jt
li
---t
'f^Pi -tr-

'ri3l -t
-3-,l
Atl
ln 4
*l 0
'l IIJ ).

", T

(i)pyright O bv !/umcr/ChrppcU Music Noruay A/s, Oslo

 ALLEGRO
Joseph Havdn
( t732-1 809)

;
v-l i m li P

p tP'lpa;imi
p
*2

d i'

rn
mf nf' f-
0 6) m

L_
t,'"
Y1 ? 43
uzx o @
@
rffi ^ffi
,] l I * -2 H-12

pi imPrP

pmprp
p

f
_l * I I

Copyright O bv Vamer/ChaPpell Music Novly A/S, Oslo

,- :.,.-.- :l-4-'---,
 rI
!
i

LITTLE DAI{CE it
{l
1l

li
Anon- t
t
r

t
4 I
l0
2
,l
Q)i))
a)
Itr
p
f r a'
I

*
I

0: Io?o
I
C)
l+, J

o
T a
) l
(' ;.
I r
I

) ,
+t
r

mfiP 'mf
3 I : I .l lo 2t2ol2

:ili
v./

pIrri- t - "| la
pl 2

2 | 2 0 2 0lr I 0 3 2

Copyright O by Warner/Chappell Music Nomay A,rS. Oslo

 ---+-.-F
-ru

U' OO
I
lpl f I D.c."t Fir,*

ffi 1.6
 ALLEGRETTO
Ludtvig van Beelhoven
(t770-1827)

lo2, +

pim iml iami m&6i

t)
I
\
l,

?' l;.
ll
I

II
IX i + llvn
120
-; ?- l-+
E if) j

U2 Ctl
02 0r20 2tl

a) *_____.f
t
l
;.
i
,3
0

-2
A$t ,zir\ 2t302 I
40021{)

iI
I

2t013- L2* or-z 212030 lo 23 o

(i)pyri$ht O bv Wamcr/(:hippell Music Norya!, A/S. ()sl()

 il-
3

V VU
I
3

"l

-t
t\
;t\ T
t)
'/ V
3 .l

U2 CV

0
 GERM{AI{ DAI{CE
Ludwig van Beethoven
Con moto
ui i ( 1770- t 827)
.1 a l--\s 3 4j 0

?imam
p lmlmi m
J

mf I I III
4 4 4
I
-l
a7.
I
L

e' &
rI
lr

III
I I
1
4

f:
3

ilI
e
I

,t^
&'
I
I

I
j
+-J
+J ,4i--.'t4 0-.

e
I

l4 3
p 2

c
.t
I
I ilI 2
J vi ,^\
\4
0 2
r rl ,ll_l I
I

Copyright O by Wrnrcr/Chappell ltusic Nonya_v A/S, Osl()

 I
3 -j ? ql

,
p
+
I
2 3
2

) 0 2 r
I
I
3
?

ovli4 lz
@
rt4t4ro2

obj c
o*f
')a
AID+l-
iit t1 0ll
I
4
0
I

I
0

o v
I
r .0
l 3
 ALLEGRO
Fernando Carulli
( 1770-t841 )
a mrm
2r0 2t

€> g
f _
ml
3
3
I
20 I
rr2g 4

a)
f p

am
1. "3
J
I --1 2otz:l 2
2
3t 3

a)
e €>

s2l3l J 2t 3 I 3 2t 3 2

.J - -fi{L-J ,J -\T -J .J - -\e -J

43 t4 410 3l

11r
4
-)
a) lt

22
3 4 'l 4r1 4
n341 3
r2 32+

321

Copyright @ by Warner/Chappell Music Norway A/S, Oslo

 U2CI-
I

-t
a)
.l
.1 I
/t

l
3

Ferdinando Carulli
 ii
ii
POLOI{AIS E C ONCERTI{|A
it
Mauro Giuliani ti
(t78r -r829)
t/2crx il

ti

l;'

ii
t;

I
I
tt
t!

i
J

I
H
lr
3 I
I:
@
i 43rl I
t*

I
F

I
t

li
t!
t:
tl

li
li-

- --l -r
-iTTT JJTT -i-rL- J ;
lrl lttlt I I
I

@ .
.1 r
1t4 "l

IX. @+:--.) ,
rrr it
;- I ti

(;opvriliht O by Wuncr/(ihappcll Music Nonvil.v,\,/S, ()slo

 11','o
fl/
i I r il r
il'i l1

L- L
lltr
^l
Ur .1
JJ ot
+

a, :tt- l ) I t)
rrc 7
I
c

h
I

a u l{ rx lll ll l-l rr l-l t x 0l 3

1

---
I
T 1

r/2 CIX
+?,2 @ +-r
\1) l -+^J ';-
2 I
4
^t
){L
I

-- -ol

1
t-

i-l'f f
I
r
t4
Trio @ rx /a\ 2
/,"
3
1J
J-
*-a I

r
-1
*J -)
_J
- J

ir
 I
3
I
o
2

{
3
2
1 IJ
tJt
e-
e-l
2

--+

AJ
I
+ i

0 r ri
2 0g : -' ^ r) 2
3
011 3, 1J 3

AIT I

- ---- -l I -l

*- t)
r I

j
t'
2

I 4 -4 -4 -4 -4 -4

@-l ?

I
) I/2 CII

2
3

il]
It 4-1 -l -4
-+
i
I
rr
-+ 2-
ti
4
J
tr>)
llt
j t-
I r t
)

A,)l
+t
lJ lc V #l Tl$j
| l-/-;al
i
-a'
,7
It.l
Ilr
t- -
) lJ lr
4 ---- t. \n 40
=.r =
I -l -l -l
@ 3 -3
 /a\
\€)
l2 1t
* 2 t 1,,r- dl
=
))

\n
0
0 12 2
3
.r.,1,
^[Il

i ;t
t t r i
T
I

+il
a t
e Ir J!I
lcc ri
l rl I

-?
1l
I
c l.i i lr
I \-l',
\
i
l
lili
\ rrCrtfi'Fine
D.C.al
 Ai{DAi{TE
(Jrom Piano Concerto no.2l K.467)
Wolfgang Amadeus Mozart
( r7s6-179t )
IV
@ 0

u v
p
0
I

, r-3-- t--3- rg---1 6-31 r-3-----:r-3-r r 3 ri-3r ^

T-J---ll
-........_a-
v't
-a- "
tt v I

A ll +i r- Fi.]-t l- Ft- F'l i..Fr

-a-
-'l

i'r, 1v 1i
VII
3

3
I

t tL d -3 - 1-31 r-3-
13- r-3-r 6-31 r-3-r;-31
E
r-3---r r 3r --3-= r-3-
-

r
2
r U
I
?
i r P
I

VI
\4 +
I (h 1
1
a

u ll
mfo
1 0
-l 3
;*31 1-31 r--3--'r r-3---r r3--r r-3-r r-3-r p--31
nl.
3-t r3-- r-3-r
-3l-
-r
. -il - -i-'l - -l . -T'l
?
i
;
I
r f
O
@ tr

13-r3r
I CII
3 . a v e
-a- t-J- -.l f-J---l T-J--^iv
l I l
-e- -J*----r-=l -e- -a-
-o

*#tu
Copvright O bv Wilmcrlchappell Music Nonva], A/S, Oslo

27
 2
Cry I
O^ e
t
tul

r
4

3l 7 L3J
rg,
4

_a-
_e_
tvt
p- 3 1 ;- 31 r-3--r
I
-3--r

|-o--.1f*J_]l-9---l t_2_ s tl _e r-3 p-3--l r-3

d f-z or r t T t 't- firllt,,I2

3tt
r- t-

4
"Ir
3 -l
4 a) ry *--. t*t'
1,,3 dt
^ 1 ++ e- ' ,:-t -' ) 3 2

o\
v
@
T;-l CII
lJl
ll> CI] 7
CII ;_.31 1-3-1 r-3r r-3--r 4

{, r ot fli ,I Itr 0 z 1r I
r 0
*
f
3
a
't 4
3 r 4
3
I

I ,,----_------ 5-3--i-3-- o----''i

r, I l* hr_ --.,-------\
-r---_l

4
 .-..-2
> _4_ CII
tvll vl
_e-
I u lt
-a-

2 :' r 'r r I '; \l'-'

2
7
;-3---1 r-3--r lil
1--,"+=*-3-r r-3*r
il
4
ill
lil
Ili
CII CII iri
_e_ _2
-e_ r-3--r r3-r 1-31 r-3---r r-3--r r3 tetl r3 r p-3---i
H
r.{

til
tii
t3 lii
i,.ir
0 li
I J
H
L:,'(
rl
I't
it
I$
Aa I -ir
i:.
0 -1-4
_e_ 14,
t::
.lvl- lwt
-?
r-3-r r-3-r ,-3-r r-3- ;-3---1 -o-lr I
-3- -3-
"l 'j
iT
i:f
t:

ii
IJ
l.l

li
iij
l'j
fi
i1
!":
i:
ii:l
l$
tj
lrl
-l l.i
2
ii
ii
a l1
p a tempo
t:it
irl
i;i
i,l
i-4

_e_ v _e_e _a_

fi
' -_3-r r-3--r 6-3;
I v tt tt tt Ir
I -::' -a_
ii
- li
ii
t lj
? li
li
ii
ir

ii

l
.)

3-r r-3-r r-3-r r-3-r r-3-r p-31 r-3- ;-3-1 r-3--r s-31 r-3---r r-3--r
FrF E
-
;+s-f'--3 " -
-
-
-
-q

( Y
6
i Y
UI

I r

nf
r3----r 13- r3-
r_3_--] r--31 r 3-r r-3- -3- -3- -3- -3-
-3-

4-4
?n? f- b--o )
f- t:t - r
+
a) I

1A\
\:t/ P
J
CII 1
I l_
-3-r3- -3- i- o-- _ _i_--3--
v ^ _e_
I v 3^ r3rrJr-14
^dll nrT - r'r-"1
t--a_l
r-
I'
-J---ltr-Jlf-J--]
I
:
-l

I ^ IL3J
ltzClX
-41
r3r 4
e
z

t) 2 l4

pp
A,.rl+ 2-2
tlitllllJll
1-) fr2-2r-.L
-31-a- 6-31 )-.il
-e-
'
o t-3r
fr,-
tlllllll4--a
3-
\.

iof I 4f 3-4 I 0 o - 1;1F,1i1 t

i'v^'v'i' 7
 RGI\IDG ALLA TURCA
(from Piano Sonata K.33I )
Wolfgang Amadeus Mozart
{ r7s6-179 I )
r-1 /
,/^\ 42 a
Lt, -3 l-

d4t fl-

P V
0
a
I f,

@ @
+ 3 ril
v
e

e,

All
_44
a @

-
tl-'4
o

@ T
I

mla

:.-. 40
01
-l I -.-.-r 4 ?

V€)

.) l--J J
J
f
I
-

F (t\ _ ,-a\
\,
- /A\
0 \, .g
42t
V)
'1 -l "
d-4 rE i--.

42

Copyright (0 by Wmrr/Chappc.tl Music NoMay A/S, Oslo

 ri
il:
x

-, -+
.) I-+ 2t l-J t' t l: - - --l --t
*
2) r
-Tl
qf, fi-J t_ I

ryL)1.
V
@
)- a€) alrl
-.1 | i

,)Cr.J-caol-, * +? X + -*t^ ,tr

2t -1- | E

iF
it
,= at
tl
i
l

II2 TI
I

lj??!
Ltil
l-.1 L--l
VII E @ @ vu@

i mi m

4a
0\t II
 m '"lnim
i o_=--

VI @@ vrr@
2_4 I I

a)-i*+,
-+-+ --t ,

O Jr

p 4
-
0
A s 1+ 201 4 310 \ \

Pipipipi

1)r +J VII @ Vi
4
g , 34 + 2
2
i--

om mlml
ry
l3
4

- l-
0
1
2t
0 uiv u
A * -t /.-'1 -a-, 3 '-4
-
ri\___,,
\:!/
r
 f if
l*i
t- '',;i
lii 0
*4
2

4
-4 I. r{ -l
I
3r t

o ti t-l oCtt
llrl
jil
rfrl
I | ?
I

lI2 TT
4 4
ll-40 -
aC
Ar+l;)? ?+' "t
I
-l
a
t
l

D.C.a x

non arpegSn

*ffi
 * 1/2X

tamimi
II1
r@
I

ri"-r
r-J L_i U,
II
l-J
t,
lt
I/2IX 1 VII
3
2

a.i - -;
VII I
43
;52

L_l
l./2IX
 i7
L_l
vq
axi I V

{,
6'
II 4
I

N t1 \
^$.l+
+**t ,uut t???
TT
lttt ttll tlll
t-.,t t-.,1 {tt
L_J I-J

t+
lt
r_j" r
*afu 3/r
--
 DUO IN G
(op3a)

I Fernando Carulli
( 1770-1841 )

0[r r
fr
3 02 I

.Tl
:l I I

3a I

r 7l *ftn cvn
4--l I 3 I 2

T/2 CTI

-i-l-r \ z | 4 I lv
4fJJ tl',

Copyright O b), Wamer/Chappell Music Nosay A,/5, Oslo

 U2 C\/r
@
-VI 4

4fi4"JrJ )I) I 4il+ JrJ J I J I4+t)

- a
.

4
0

"tr nf
I
4

#tu
38
 i
I
I
f
I

I12 CYII

#,
I )\44
+
u
lv 32
41

d
I
i

04
04 7-
_2
ivt
--J--
-

;--3-1 J I 2
"- I v J--r
r-
-a_

_e_
r- 3---r r- 3---r

-tvt

ul
-3-
-l

*4fu 39
 4-
c resc.
32 0 4
_e_
J20i ",-;*r. -J--]
1_3_; Tt ) l-..] __- r_3

7l c

-3l ffiJ ll *r-3-- ,-3 0

0+tz
r-6=-___r i__.._.-6___i r_--6___r

-1 c),at\€/
"tr
I
 ru

0 I

,D
'III il
1
42

@ 34t
im im am
/-
"l
fi 1

FI

PP
l/2v

42 @
:-{
lit*t-nrt ^i
I I
J-;-+
42
j-)-- rJt-*-:
24 i-r--1-
.tlJt

a) c
a
: )

k,h 'k -- =rl.-

f
,PP
r
apmrm

I t4
200'

Jl1
I tt l
r

, F* ?*e?

2l 4 I

2t ,O'21 XU
3 t 3
4

f
I
a-
L
f- I

fpim Rasg.
 il
?
-3

VII
i
G
i.rl
). ,J.J- l4

"n _-ll
I

a)ilf) r_i
JII
frr)
re 0
4

l 112 Crl

^ t -
+ ..' ' ,
12 1l 3

,ffi= !--!h ffi-ffi

-=-

? ---

I -r r

' l_l Z 0 I

Mfu 43
tC
rl **
LI
lt
a

GT
t1i
l* i r-r

l-l ;1 3
2to-2-2t

tt+
tt
tt

VII
2
1

Rondo D.C.al Fine

44
 it\----2it
.ll4r

f
20

T 'J
I
I

I
1l
I

4
@
L

a)
t3
F
t
t
V
V

@ I
rr
Al+
JI
2

pF*+l+P+ t 3 i+-++tE
"+
I -l
4

,*fi,L ,#'#
w
0
1I?YTI

r
(4) /e\
4 1..-
L U)
L{/
I
0

I/2 CITI

Rondo D.C.al Fine

 DUO {I{A
(from op. 55)

Andante
I Fernando Sor
( r77B- r Bse)
V
r+l I t^
? r z-2 3 4 2

ol
@

t/2 ctr 4?l

0
AIJ+I ) 2
l\." t-.
-l 4

?.P
l---------,-/l 3
YI/(r tq
)lT
-t, ri
/ \]
.\4
4-
/Fi\
o
.J u + I' 4 12
.._:,
+ I ?

a)
?'
It''\
? I

40 -l 4
31 32
A,uii,
1
2 f.t 3 J
t\ ri\

r
@
r\ n
/ /--\ J
2

a) h-
T
I

CII
n$++ l\\ l\L J I I

))
tt
r I
. e
I

42
13 12--3-

e'f tl

0 4 0
-*JJ- J
,t""*''- 6 3
I

^ L 1 -t r'1
3
\

';r Ir-
7t
l

Copyright @ by Wamer/Chappe[ Music Noryay A./S, Oslo

 t 2 t'1 l
I

t,

2 0
t/2 cil -t

a*r (t (r -_-r
0
3
l\ 40 3
I r ll I I lz
I

?
t) rT
3
:
!

;i;7-t
2! --l
II .r

->+ | 2 1l
1 o *jl.-.. I : I !r

t-,7mr --_r----
1a
0
mim
a&e
I 3
-A * $ I [ '-r 4-4A Ard.G

P T
I I

+o
;:--\ + I
 ry
i:-...--. I4
+' llt

i-
'r
t)
I
t t 'pf l =r
r I

n$t .4 -r-41 -4 \l [] \

V;
II
111
1 0l

a)

m
r
2 I

^* $ ' 2
I )

CII

imima\--,'lm
 a m
4 t2 4
t 4 3
l2

I
a)
r {
{t
ti*

@ CIIo2
210
U2 CIt
eitll I /, l'1 r\,-t
-2
I I ##4

J'Y{ 4
l'c
I
3

aJ a' ,t
?'
l-*t-
tt'
I I

tr0 2l 4/6 CTT .-i

aull I !
'-r-A

JJ-J
3

V
12rh 9rh
134 I
>r1 Harm.

a)
r :l -+
e e d'
I

J TU

Aul+ 0l 9th 7th

'aF A

1
03 r A
ta,
@
j
3e' -i.

oQ4/*r* ufb,ettrat. {.lot t 1,,*/, ca,nnof, h t/"4"* a't" uy'zy',r.et.ie./. o

%Lr*&'nf'
J
-tFl
 u

o i. ----_l;
.ili

f't--- ---f
^;m4tTl
 42
a mim 2
m
\imi

\ rrz cr

GI
4-

mimim

rl?
-
4/6 CTT

---) ai m i m
 ----"320:i
a F -
r
7
r T
I

artll 2
G
--
e C

:-\
a, =Ft- -+
+ J
a-
4t6 CtI
pi
pl
--rs t -f-TE--rq

r0 I

ffitu
55
 {
\
lt rrttsE't

lEnp. 6t .

l*1, i hitit*ooa

t f.tnLt. c*t: f,!d,ae. -Hr,'li *t.l*tilLaJ?.tif -,lii.

i ,*. ffi'L.[7. icrhrtml &*l?rlhr.l.-Vs.
 DIVERTISSEMEh{T F'OR TWO GUITARS
(op.62)
Fernando Sor
Andantino Cantabile
( 1778-r8s9)
Iv@

/']
\9
J

J a_-
I

,rj J-]-] )
a)ri
-ll I 100 :ur i-J
zo

.1 -4
n * {t, 3r
0
'l I ,t2
I

a
r
JI JII
a rcmpo
1t2 CIl
ll
23

14 I
l)?a

aJ
t21 4 I

i0 ,0
+1
n# tft F-i-- ',-aq o--r4 #tr
+1,, 2
r

'l *'
r -l
r
I

Copyright O by Wamer/Chappel Music Noffiay,{,/S, Oslo

 2t6 CVT

\F
))) !
2 4t I I 3 I I 14

r--'t1t
T.
I
TT--

t1l.+ - 3
7 t 3 -1 0 3 0
a4rl

a) 'rl
r
A I { t 2--,1 %?1.1 o

-g-i-.g-'?|
' ml m r m
2

*l
r ipmiam
*2

g ln
U^ J 4,t
t. o r I
o
a-

u
CJ
a'ai -
l--.->l o20
-

i *
l/2 cII-i-II 4 4
4 0 0
I
-l
Arl +t
I
lt I \
",
r2

Nlinor 1J
I 1l
J I -l
'1-\

f o I',,
 x VI
@@ it.-,' *, 2 1 4 4 2 2

L, - +a .).
- fft r-r ;-Tl* 4x el f
tJ 2 4t 23 I

-3
0
f
0 /-\
At I .\ I
:=-- ffitffii
a =uu^i
f
i r ; 3 2 3

.+ (,
..-;\
2fit I l5l
lr-
^

t 23f*\-^) -
5
2t- ^JI:1\
---- I
 0

0
0
I
I

T. itt
l-r.
I j'1 -r

03l3l 14 0 4 03 2

2
.4t
lr:
ab

a)
:-----'."-..j

CII
.4 .>34 0
n | -l 0 0

--'-- = -t- titttll

--t-

JJ
2/6 CYT
f-_5-_-.-_l
 4@II
2 l2 :.t
^
-t
olo

T.
I

2
r'1 r
VI
J
a I --5----

a)
o,
I
I

4lll
i
42
;.
l

1.r04.10
tffiFfr-] 01 r i i3l 14
0
13 3 2 t r )1? n
--
"i
.J

iT''i ia i ,a
-
3

'.ql), l2,
 il
Movement de Polonaise Vil I
?t1a-? 2a-^o

@
3

.r44 2 o\
I 12,t4
, \f
I
L7*? I
ti z^J rl)

?J 42
cII
'd ,.- -N
4
2

^41+ -ta -'1

3
I

VI
Fal 1l @w
lr
2
J 12
ab
\l 34
r
2 *2X

a a -m-i L! :'
I

0 r-l
0

n * il , 3

-.l
 t .>44\9 lit
,t.lat
/-. Ll
t2 > //-\ >

a 3

ry u @ CIV
f
t/'
I 4 23 41 mm
A4 ++ -4t:
a
F4flt -1 a1
I

-€ ip
rl mim ;-]-
'omi tp
n)
2J I
.!2 >
1*-

(
l

t3
31 0" ',
0
-Jl

' I i aE**ri
m ia
dolce
Z-z
ff- p
'l -' lo 4

4{4+., I 1r i I
3 -4
I -3
- rt
*4
-j

p
 eu
I. i

'.)l
4rf
, , oh;] @v
o2oL,
r

- :\ rl-Lt

;t- .1
V ar)
v
.1,t1
2
J ]\- a
2 .1
2 4s4-
't

a,

3
a J
*32 2

^'rr
+l fl rl
t_t t_
l3
Ali
+
U
 ;->
I
2t
a-\ 4t
@O4

42

ten.

CU

t-) .30

34 t3 4
0
3 '\ c\ ,^, lol
 1/2 CVII
vII 4

.- 1-_-2 t--_/ t-Z 4 4

d 4

dolce
40 4 t-t
30
\ tr',j __ h3 3
^
iJ ++ q l) I I I I

-t -t -t
1r r r r
I
r rr
 I

t
+-

:f
1
I
!
4
 "+
Jza

I I
0 l2
3
.3
o *1 o
 *Jl
l
I

4/6 CVIil
a_,
'43 I

3u4 3 + 2,1 r02

L,! *F*a s:
a)
E t-J

I i;T r 0:'rl
ft?, fr 4
CII
n+tt, Ttfftfft fr\ /Fq rlal
rt
{+
I
I 2
I
J I
n" ; p-
r trtlt'
i-t-t-f-1-F ry,44r t.
f T-t-T-1-i-* )aa'- I I '1
e)
v .l!
poco pi
43 f
trt
|

ffi
Arl 4
-lr,t ffiffi #f ffi? l/2 crr
'\A
'')-3 |

ry ii
0+2 44
?l I II

'-.
pl m '\!
1040
-
14 I 2.4 l-

l, Y, r f
I
3

ffitu
 a-T'a
i u. t)
i

r:r\-ar"r
@IX

.:;,

!l T-
)-,
\' I

T
lT
PER.FORNTAh{CE ADVICE

4'
nDl0ll

Mont Serrat

ROMAI\iCF
ROMANCE. who loves to nod and sing.
With drowsy head and fblded wing.
Among the -sreen leaves as they shake
Far down within som shadowy lake.
To me a painted paroquet
Hath been - a most tamiliar bird -
Taught me my alphabet to say -
To lisp my very earliest word
While in the wild wood ldid lie.
A child - with a mosr knowin-u eye.

Of late, eternal Condor -years

So shake the very Heaven on high
With turnult as they thunder by,
I have no tirne ibr idle cares
Through gazing on the unquiet sky.
And when an hour with calmer win-ss
Its down upon my spirit flings -
l'hat litrle time with lyre and rhyme
To while away - fbrbidden thingsl
iVIy' heart wouid f'eel to be a crime
Unless it trembled wirh rhe strings.
E. Allen Poe
(1809 - 1849)

*ffi" 71
1. Study h C, op. 6, no. I F. Sor

Fernando Sor received his first musical education from the monks of the Montserrat abbey in Spain.
He learnt counterpoint from a Father Viola and the fruits of his studies are ciearly in evidence in
this Studv in C, originally composed for solo guitar.

Suggestedtempo: ) =76

2. and 3. Contredanse and Polonaise WA. Mozart

toIozart was a child prodigy and perfbrmed when he was only six years old at the Viennese Court
together vrith his four year older sister Anna (Nannerl). He began to compos e at avery youn g ege
and the rwo pieces Contredanse and Polonaise probably date frorn this period (ca. 1762).

The Andante marking in the (Contredanso is e{itorial.

Suggested tempi: ) = 126

Contredanse
Polonaise . = 7684
1

4. Minuet and Allegro J. Haydn

These fwo charming pieces were originally written for piano. There are few technical problems
here. The quinruplets in the Minuet are played with one right hand stroke and can be empioyed
as a little slur exercise .

Suggested tempi: Minuet ) = 96

Allegro ). = 66

5. Little Dance Anon.

This piece comes from the collection "Biederme ier Tinze" published in Germany ca. 1820 and
is specially arranged for this volume.

Suggestedtempo: ) =l3z
6. & 7. Nlegretrto and Germirn Dance L.y. Beethoven
Beethoven qzas a young man when he wrote these two pieces for piano, and they can
be said to
reflect the taste for iight music prevalent at that time. ln his later compositions, especially his
symphonies and sonatas for piano and violin, he would explore far griater depths.

One of the characteristics of the Allegretto is arpeggio figuration in the styie of Giuiiani.

Suggested tempi: Allegrerto: J = 176, pg.z ) = M4

GerrnerrDance: J =160

8. Allegro F. Carulli
Dynamics have a vital part to play in the performance of this-contrapuntal piece . In addition to
the forte and piano markings you should pay particular attention to the crescendo that ac
companies the repeated note figures at the start of the second section.

Suggestedtempo: ) =lj}

9. Polonaise Con certata M. Giuliani

For his contemporaries Giuliani had almost the status of one of today's (pop stars).
Ajter his death
a group of his students published a periodical in Lon<lon called <The
Giuliania6. The following
quote is taken fom there:

nHe made the guitar sing in away that is impossible to understand for those that have not
experienced it. ,

Some small alterations to the original have been made in riris arrangement.

Suggestedtempo: J =88
10. Andante (from Piano Concerto ff. Zt in C major, K.4G7) W.A.Mozart
Mozart wrote this concerto in March 1785. The slow second movement has been popular ever
since and in our own time has been used as film music. For this arrangement for two guitars the
music has been transposed tiom F to E major.

Suggestedtempo: . =56

@ O

l_1_l Notice how the 1st. guitar in this passage repeatedlv tenses and relaxes.

tr
pmia
tr 1. Rondo Alla Turca (from piano Sonata in A major, K.33L)
'W.A. Mozart
The Austrian musicologist Ludvig Kochel devoted his career to compiling a catalogue of Mozart -s
compositions. The abbreviaton "K." and a numberafter the title of a Mozart work inclicates its place
in his catalogue.

Rondo Alla Turca is the linal movement of Nlozart-s Piano Sonata in A major (K.331) which is
regarded as on€ of his most important sonatas.

The title Alla f'urca (in the Turkish style) reflects the fact that all things exotic, foreign lnd mysticai
were fashionable in Mozart's dav.

Suggested tempo: r = 116-120

tr

If the right hand fingering in this section is too difficult, it may be performed with more
legato slurs.

*ffi 75
12. Duo in G F. Carulli
The Italian composer and guitarist Ferdinando Carulli was born in Napies in I77A. He was taught
music by a local priest and learned to ptay the cello. He probably taught himself to play the guitar
and by the rurn of the century was well known as a guitar virtuoso. He moved to paris in lg0g and
stayed there untii his death in 1841.

Carulli is thought to be the first composer who wrote concertos for guitar ancl orchestra.
His Concerto in A major, op. 140, is the most well-known.

Some 350 Carulli compositions were published. The piece in this book is selected from
Six Duets, op.34.

Suggested tempi: Largo: J = BO.

Rondo: J = 88.

[-1 A double dotted rhythm is recommended here for dramatic effect. The next bar should be
Lij performed as written, giving a nice contrasr.

Let the crescendo grow with the chromatically ascending bass line.
L3 ]

dternative flngering.
tr

Suggested variation.
tr 3-1-3
{t}

a\
\iy
13. Duo in A F. Sor
Op. 55 consists of three duos in binary fbrm set in the keys of A, G and C major. They are modera-
tely difficult. It is worth noticing the way Sor makes small variations in the repetitions.

Suggested tempi: Andante i = 88

Allegretto J. =66

Suggestecl fingering.
tr

The original slurs by Sor \,

i
t,

Frorn tbe ballet

Cen'drillon
(Cinderella)
 L4. Diyertissernent for two guit ats,, op. 62
F. Sor
The term Diverrissement is Itaiian and means
a lighrweight, entertaining piece
(i.e. a collection of diverse parrs). or a potpourri

sor's opus 62 was^P"lbabJywritten around

1836 andis one of his last compositions
hed. As we can see ffom:the work;s,.fro1t.orr., ro be publis-
Fondard' sor employs chromatic and melodic
Cr.. *g" ) it is O.Oit*O,to,,his.pupil Madame
in Paris at this time' 'whether ffi;;;;;;*a'n#", who was arso acrive
'a,.*, *.t i, not known, but the
the two co.mpor.rr-.r'.,
Romantic movemenr on Sor is clearry:eudent,in influence of rhe
,.".iui^or rri, rac#.*r."
Suggestecl cempi: Andanrino, ) = 96
:Polonaise: ) fi4
=

For the repeat the prayers can vary their

performance by exchanging parrs.
E

Norice the chromatically descending music,

tr a rypicelty Romanric idiom (see
above).

Suggested variation.

T- 3_f t'-3--l .-3--l l--31 r-3-l

Suggested variation.
tr

I o tt i, +3--J
*t -3-^
The same passage in the original score (lst.
guitar):
!_
tr

- r-1
,)!aJ )JrtJ -t Fr

1p,
::::r::_::::-:::::'-:t:-::. --1- /o
:,:,::: - --:::::::=*-::--::::i----:--f:.::-__---r--t-i_-: _____j__-.
=f:
 SlrE}{ LIJI\DESTAD
Lundestad made his olficial debut in 1974, being in fact the first ever on classical guitar in Norway.
Since then he has played nurnerous concerts in Scandinavia, Eastern Europe, South America and
England, including career highlight perfbrmances at the Vigmore Hail. foIany radio, television and
recording performances have followed these concerts. Together with fellow countryman Geir Otto
Nilsson they perforrn regularlv under the name The Norwegian Guitar Duo.

Lundestad has also distinguished himself as an accomplished teacher through his work at the Music
Conservatory in Osio, Norway. He is one of the founders of the annual Norwegian Guitar Festival at
Skjeberg High School, and has also lectured at the Royal Academy of Nlusic and Guildhall School of
Music & Drama in London.