Chanterelle Verlag FERNANDO SOR INTRODUCTION AND VARIATIONS ON A THEME OF Mozart FROM THE MAGic FLUTE Opus 9 (OrHeE / DE Kor) Gurtar Sono CH 5101ition specially printed forthe International Guitar Competition “Michele Pitta” Premio “Gites di Aleszandvia” 2010 FERNANDO SOR Introduction and Variations on a Theme of Mozart from the Magic Flute Opus 9 Historical Notes by Matanya Ophee Edited by Jan de Kloe Commentaries and additional notes by Jan de Kloe and Michael Macmeeken ‘This Edition isan offorint from: Fernando Sor ‘The Complete Works for Guitar Volume 2 “Themes with Variations, Sonatas de Fantasies ‘Chanterelle Verlag Heidelberg, 2010 Onder Now BCH 492 BCH 5101INTRODUCTION B by Matanya Ophee Op. 9 The favorite Air Oh Cara armonia from Mozart's Opera ll Flauto Magico Sor’s variations on a theme by Mozart is without doubt the his best known piece, having enjoyed literally thousands of recordings and concert performances. It stands to reason that this popularity was boosted considerably by Andrés Scgovia’s inclusion of it in his repertoire, practically from his debut as a performer. The theme used by Sor is suppos- edly from the Finale chorus to Act I of the opera Die Zauberflote (The Magic Flute, KV 620), first performed in Vienna in 1791. It is sung there by Monostatos and his slaves to the words of: Das klinget so herrlich, Das klinget so schén! Larala la la Jarala! Nic hab ich so etwas gehért und gesehn! Larala la la Jarala! accompanied on the glockenspiel by the famous Bells theme. In fact, the theme as used by Sor bears little resemblance to the original Mozart theme, a point that made it very difficult for guitar researchers to find it in Mozart’s opera. As David Buch pointed out, the source for Sor’s elaboration of the tune, was a tune made popular by the singer An gelica Catalani called O Dolce Contento and used in the operas La Virtuosa in Puntiglio, a London 1808 production of Fioravanti’s opera I Virtuosi ambulanti, and Paisiello’s La ‘frascatana, Buch also points out that Sor used another theme in this work. The opening Introduction contains a quote from the Mozart opera, which would suggest that Sor had ‘access to the original score.! 1. David Buch Tie likely sources for Sors variations on a theme of Mozart, Op. 9, in Gsse, Estudio. Sobre Fernando Son 353.08 also: Matanya Opbee, “Rondo Allegro by F. Molin.” Soundéoard vol 9, no. 1, Spring 1982): 789. (Case Nasbee: ECH 5101 ISMN: MCOBE7-S1D1 EAN!979-02017 51013 Distibted exclusively by Chanterele Verlag ‘wrevchanterellecom “Thien rt publish 2009 by Chanersle Verlag (© Copytoh 2009 by Michael Macmecken, Chanterelle Verlag “Tie se Docs few and oiaal mata ands rc Cope [Noa of maybe copied eeultd, dupiozed or sored i renewal device Pease donot hotocop, san or make digit es ofthis music Port of So Geta page 1) repent by Kind permission of Mays pee Visit us on the Web at http:/www.chanterelle.com E-mail us at chanterelle@chanterelle.comam IATIO ON GRBIAD Vg ‘CP Menits - = SPY ei } CBER S avert De) Meee) >) as Vbpen« Cs Me E Chote oo C “=~ @ AGAIRA “ARO NIA ) GEIS A, a is 4E PEDINAXDO | Bow “m, © PS Soe Nowwelle aeol augmentée par ( Autew PPARIS, au Magasin te Sucique de AMEESSOVMIER Borkersrt Mantnarice (46) [Tee ttle page of the source edition published by Meissonnier, Paris. c.1826]4 “FERNANDO SOR Introduction et Variations sur un Theme de Mozart Op.9 Fernando Sor Andante largo CHANTERELLE S101Introduction and Variations on a Theme of Mozart from the Magic Flute, Opus 9 5 Andante moderato ThemeMineur CHANTERELLESIONIntroduction and Variations on a Theme of Mozart from the Magic Flute, Opus 9 5:3 £3 + am Sos Fi oyddad 3 F iy Pitt mosso 5 7 CHANTERELLESI01CHANTERELLE S101Theme of Mozart from the Magic Flute, Opus 9 CHANTERELLE SiOAbout This Edition Publishing History “There were a east four eitions of Sor’s Opus 9 published during the composer’ etme: ‘<2 1820 Royal Harmonic Institution, London 1* edition [RHIL] 2 1821. Mcissonnicr [M] = 1826 Meissonnier Edition Revised and augmented by the author [MR] & 1830 Leiprig, au Bureau de Musique de Peters/ Mayence chez B. Schott Fils [BMP] “The first Meissonnicr edition is truncated, lacking the 1* and last (5) variations ofthe I ediion. The introduction is one bar shorter and the order of ‘e surviving variations has been changed. Parts of the music text have been simplified and itis hard to believe that this version had Sor’s pprova ‘Presumably these changes were intended to widen the market forthe work by making it shorter easier to play. The Leipvig Peters edition is almost ‘Meaticl tothe 1" Meissonnier edition and has appeared to have been copied from it The 2"! revised Meissonnier edition is very similar tothe English ‘Feaition, and the claimed "Nouvelle Fltion augments par "Auteur" does not seem apt even if tsa new edition, ‘Because of Sors close relationship to Meissonnier we have chosen this editon as our source forthe engraving of the present eon, However many -smbiguites inthe intended anculation particularly in the notation of surs and the ral duration of notes remain. This choice is fully in keeping with out ‘Bouse policy of tending to rely an later editions than earicr ones, but only i the participation of the Composer can be established or reasonably safely ‘sssomed inthe publishing process. ‘Cesiosly, M and LBMP indicate many slurs lacking in RHI and MR, and ther inclusion makes the notation more consistent. The lack of slurs in the ‘former editions is probably due to an assumption thatthe player does not need to be informed each and every time a suri to be employed bul instead {given general bu incomplete periodic indications Editorial Practice “This newly engraved edition was prepared from MR. Variants and corrections are shown inthe Critical Commentary, which although not claimed to be ‘complete is intended to cover the more prominent differences. Since these editions were published, a host of leading guitarists, such as Manji, Llobet, ‘Sesovia and Sainz cela Maza have played and in some cases republished these works, In this process many changes made by them haye been quickly ‘easily adopted and assumed to be in the original text, In the Commentary to the present eto we now give you the chance to examine some of ‘e various possiblities side by side with whar 19" century guitarists were given enabling you to select which version to adopt. ‘The modem variants ‘=: cresting and range from the personal whims of the personalities involved to altemative and sometimes sensible solutions for passages that are “ssclesriy notated inthe souree edition. Their presentation does not necessarily mean thal these changes have our recommendation or even approval: that “decision we consider should be best eft the player. To keep the musical text as clear and unchittered as possible we have chosen one variant which we ‘ceesider mos suitable, This choice should not necessarily be taken as the only or even the best solution; that is quite often a matter of taste snd opinion, ‘We strongly suggest that in dealing with variants the player makes a considered choice according to his or her own criteria “The references to the two medern editions inthe Critical Commentary, neither of which contain the Intaduetion, ar as follows: |B Schott, Mainz, 1931 Femando Sor: Variationen dber "Das klinget so herlich” aus der Oper "Die Zauberfle von W. A. Moat op. 9, fingering by Andrés Segovia, edition no. GA 130 [SEGOVIA] UME, Madd, 1965 \ariaciones sobre un tema de "la Mauta migica® de W. A. Morar, F Sors Op. 9(UME, Madrid 1965), revised and fingered by Regino Sainz de la Mara edition no, 20846 [RSDLM] Peformance Suggestions Introduction Bus13-14 This isa wichy passage to finger ere sone solution o———_. 1 Oa ees fae 5 Bar 15 ‘Both slurs in ba 15, shown as in the Meissonnier revised eultion, are presumably phrasing slurs and not indications of aiculation: as such we have ommited them from our edition. Bar 16-19 “The passage withthe harmonies could maybe best be played as follows: a, aera xt CHANTERELLE'SI0¢Introduction and Variations on a Theme of Mozart from the Magic Flute, Opus 9 un ‘Theme “The following two extracts demonstrate cifferen approaches to nolaing let hand slurs: first a ‘shorthand’ approach in MR and in the second example ‘more defiled approach in the simplified version ofthis work published by LBMP.It would not be unreasonable to argue tha the publisher and possibly {ven Sor himself would have chosen to deliberately show the right hand slurs i fll. This approach conforms more o present day fingering practice and wwe have incorporate this cur edition by way of dotted slurs. [Meissonnier, 2nd revised edition) GUITARE, Andante_moderato. mos By -o-: A FAS THEMA. ? vt v “Pour In 2° fin. =| [Peters, Leipig) Andantino. esSEGOVIA ee ee Ba, 2 : _—=s 7 rT —ee InLBMP the firsttwo notes of the theme are ina pick-up bar inthe thome, asopposed toin the lastbarof ke Introduction | par ip.| $m A is editorial in MR. Both ofthese solitons are comet : Fi Bart Mt Theme cS — ‘See the reference to slurring in the Peformance Notes BarL1 on fis editorial mm it Barl4 SEGOVIA, RSDLM RSDLM. _ + Bar 15 MR 2” iat ye, MR Variation 1 iS Variation 2 (Mineur) a CHANTERELLESIOLIntroduction and Variations on a Theme of Mozart from the Magic Flute, Opus 9 13 1» Bario MR “Te dub dot in MR an abuser which we her el aa ed Bar 14 MR RspLM Bar wn RsDLM Bale L = 4 Ee ard SEGOVIA eee Variation 3 ge fT Bar RSDLM ‘ Pa ges a Bar? 7 MR 3 RSDLM Bar!0 a SEGOVIA, RSDLM Barl2 aR Variation 4 Bar MR SEGOVIA RSDLM Bar 12 MR RSDLM Variation 5 Bar MR SEGOVIA, RSDLM Bard MR RSDLM SEGOVIA GUNTERELLE stot “This particular variant was given by RSDLM ie lass and isnot i the UME edition‘Schule Game ten eCH7I6 (MONTES /kaRcHER Gtareninwo Geran “heSong Book eeniaith Guitzr ev; ftomora Son Bok eGraioe Guitar 2 “ie tmembl ook fora Gat Repeoite Ho reiaten MURO fan Antonio Save Ustartor Eee SAGRERAS jlo. iasoerones deat 13 reat Lean 46 Tes spe renee TECHNIQUE ETC, CARLEVARO Abel (eso Nostra TOSor Stes th al cn) ran Crlevaro Masterclass: Sisracone ive Carle Masterclass: Siete 5 Pets, Chives Now ii Carles Masterclass: Vilrtoes fds iain FERNANDEZ do Technepe, Mecham sai IZNAOLA Ricardo Kaharlops The Pato Vaso roid GUITAR STUDIES CARCASSI Matew Z5ltsks on 6470 Book ony) FerUPOaCD tookscD) CCARLEVARO Abel 20 Memes Vol fonsiana coste Pees de Core 09.38 fone FERRANTIM.A, Zani de Seber 9.50 Pony LAURO Antonio ‘Eten meacones fon [GNATTAU Radames ost reer Cone Sais tarzan SOR Fernando Compl es in Utext ransr ‘DIDACTIC. ‘REPERTOIRE ‘Soles [MURO Juan Antonio Base reese Basic Pens Vel rca Sola Abus roque Book Solos rash Clasical teak of Slo TA) Gian Mek Ties- Complete Solo Now! 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