FERNANDO SOR The Complete Studies for Guitar Newly engraved from early editions Historical Notes by Matanya Ophee Playing Suggestions & Commentary by Richard Savino CHANTERELLE 491FERNANDO SOR The Complete Studies for Guitar Newly engraved from early editions Historical Notes by Matanya Ophee Playing Suggestions & Commentaries by Richard Savino 491 Chanterelle i us on the Web at http://www.chanterelle.com E-mail us at chanterelle@t-online.deFernando Sor (1778-1839) Portnall any Ope roeacaty tnd poles ‘On the provenance of the Sor Portr: ‘The pcre dept shove paps, on ofthe ot wy now portato itis onpst One can fd ion many manele, exo cover, cnc Popa ‘hire Yet ver i cual known sat hs teas he pcre was reed So Exearwilinges xcept sae essing eens fe composer may ‘den inland acon and ton ay sobre evens Accord oe it ‘litany graphy Sr (Fea Lan 1977) ere lyre Kr ‘ops tis engin, one ah he Bri Livy hs ce Nase tee copier, now inthe cllion af Matas Ope A se ekaminaton of he dng ‘eval resting srs shout Ont op ght coer of engin eng ors writen pe ela prt de Mr A. Metso aMe Atet (On te uk of te egies pec nsigton ‘Aprs avian lSipacved Sor (1834 / Pate commanor le center de ‘er (839) allatfacston ahr 2 Spt (94) oe heap a et pour 21 so porta (original ns Veer ‘Theft inscrisin is Feat eet. Aine Nelson ws Sas main pub ai stu 24 whe compat vedi hee in win ni ih Pas ts eee fe Me Ale whom Messner ow eg ‘The dee at chopper no sxoneaied Sor and Feit ain So 0 Rasa at ala ber Meck el hve both an who wa recent of engin. Te importa pit hee, howe. sth ft tht he dar oth apa om er a ‘Gepubser Atome Melson, Whi ares no ay af roving eater ins rod ‘hance ht the ptr, dm by Goshen and ibn! by Borer athe Engine ‘iboprptie pti wr, rs publ by Neb Is, ie woul pve spe -Apmeaty Me Aer, whee be may hve be, orbs eee mat ve dpsed ‘Bec sone pit Evel ade away othe ck ofa Peco, se fans toot oa pn pdae sling i wae slog tebe er rn ‘ras ought by Ane Vrerin 8 for Pree gan ely eet pam i om Vrs wow gue iti 98 fon De ey Matanya Opbes Colbs Feteany 1996 5: Cut tres enon fiir of eg of Mine Verdier ellen aden af he Sar logan Soar ape, 1950),CONTENTS Read Me First Introduction ‘Twelve Studies, opus 6 (Nos 1-12) Douze Etudes, opus 29 (Nos 13-24) ‘Vingt Quatre Lecons Progressives, opus 31 ‘Vingt Quatre Exercices Trés Faciles, opus 35 Vingt Quatre Petites Piéces Progressives, opus 44 Introduction a ’Etude de la Guitare, opus 60 Excerpts and Exercises from the Method . Playing Suggestions Commentary ‘Appendix: 1. The Coste, Segovia & Sainz de la Maza editions, numbering etc. . Il, Suggested Grading . IIL. Aguado on expression IV. Thematic Index “This edition rst published 1996 by Chanterelle Verlag 97 ethics eed by conti i019 Mein Meme ‘sein soln axl mt nde Cop. (Catalogue Number ECH 491 32 62 93 136 155 167 173 185 186 187 188FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR READ ME FIRST In this edition the studies are presented in the chronological order in which they were originally published. See the section on Suggested Grading (page 186). . Each study has been engraved from the source which in the opinion of the editor is closest to the composer. . The notation in the source editions has been followed faithfully, inconsisten- cies in barring and stemming have been regularised; but without changing the value or musical function of any notes. All slurs have been retained (see note 7 below). ‘Variations between the various editions used and consulted are listed in the Commentary (page 173). For clarity we have restricted this section to note content; articulation is not covered. The versions chosen for this edition are indicated with an asterisk (*). All original texts and fingerings have been retained, but with obvious errors silently corrected. The original fingering is always set in roman in the music text. . All fingering in italics is editorial. Dotted slurs and items in square brackets are also editorial. Precautionary accidentals have been added sparingly in round brackets. All the foregoing are editorial and are not in the source editions. . Appoggiaturas are notated in this edition without slurs and not as they appear in the source editions, where some have slurs to the main note and others not. Today’s players will most probably choose to use slurs in most, if not all, cases. Catalogue No, ECH 491 ISBN 9044-199. ISMN'M-2047.0000-4 Distiouted by Chanterelle Verlag, Postfach 103909, D-69029 Heidelberg ‘This publication is available in good masie shops worldwide Tncase of dificult please write tothe publishers ‘This edition frst published 1996 by Chanterelle Verlag revised and repented 1997 © 1996 & 1997 by Michael Macmesken ‘This cdion contains new and original material ands strictly Copyright. "No par‘ of this publication may be copied, reproduced, sol, stored in aretieval device, broadcast or transmited in any way or by any means without the express prior pemmisson in writing ofthe publishers, ‘Photocopying this edition is legal and may resulta Tegal action. Music engraving by Jan de Kloe Cover design by Eva Maria Brandstiter “The cet of the portrait of Sor onthe cover and the portat on page 2of this edition ‘are reproduced by kind permission of Matanya Opec “Manufactured in the United Kingdom by Hobbs The Printers Lid, Totion, Hants CHANTERELLE]INTRODUCTION 5 INTRODUCTION by Matanya Ophee Historical Background The earliest collection of didactic pieces by Fernando Sor, the 12 Studies op. 6, was first published in London in 1815. The lastone, the/ntroduction to the Study of the Guitarop. 60, was ‘composed in 1837, just two years before the composer's death.' Together with the other collections contained in the present volume the 12 Studies op. 29, the 24 Lessons op. 31, the 24 Exercises op. 35 and the Twenty-four litle pieces to serve as lessons for beginners op. 44, this material so rich in the wisdom and compassion of a great teacher has enjoyed the respect and admiration of generations of guitar teachers and their students. The didactic pieces written and published by ‘Fernando Sor throughout his entire creative life have re- ‘mained in print for well-nigh a century and a halfnow. In spite of the appearance of more recent developments in guitar literature, these pieces have demonstrated a resilience of purpose seldom seen in guitar music of the early nineteenth century. Indeed, this was, and will remain so, the mainstay of ‘guitar pedagogy. Some of these collections were published during the compos- cr’s life time in secondary and tertiary editions in several European countries. Over the intervening years they have been reissued many times in one form or another, sometimes even without mention of the composer's name. There were ‘many editions also published in this century, the main one being the famous collection of 20 studies published by Andrés Segovia in 1945. The great majority of guitarists ofthe last SO years or so have come to know the music of Sor through, recordings and concert performances by Segovia, as well as ‘through this one slender volume. To this day, his collection enjoys the acceptance of a large body of guitar practitioners. In recent years we have seen a growing scepticism in a blind acceptance of Segovia’s interpretative editorial practices. Hi edition, we are often told, is not “what the composer wrote”. Unfortunately, there are no extant autograph manuscripts of the Sor Studies and wé cannot really tell what the composer wrote. All we have available to us are the many editions of these collections, published during the composer's life time, often by himself, and later by his students and admirers. ‘Taking the first editions as a guide for what the composer wrote, or perhaps meant to write, is not always a reliable procedure. We have no idea what interventions were thrown into these editions by their publishers or engravers. In later life, Femando Sor took direct responsibility for publishing his ‘own music. Before he broke offhis business relationship with the publisher Meissonnier in 1828, Sor may not have had direct control of the final printed image of his music. It is ‘unwise to assign authoritative importance to the graphic mage of these editions without some corroborative evidence. Fortunately, we do have a rather substantive tome of verbal discussions of the music, particularly those of a didactic nature, by the composer himself. In 1830, within four years of his return to Paris in 1826, Fernando Sor published his own guitar method. As a volume of pedagogical discussions, the book is able to throw a great deal of light on the composer-educator’s philosophy. When used in conjunction with the musical matter contained in the studies, the pedagogical purpose of each ofthe various pieces, supposedly becomes crystal clear. Would it that this were so, ‘The difficulty lies in the fact that regardless of its title, the guitar method by Fernando Sor is not a guitar method in the traditional sense of the word. It is rather a manifesto, an attempt to codify pedagogical theory in relation to applied technique by throwing about ideas in a hotchpotch of fanciful ‘exaggerations and obvious contradictions. Itis often difficult to understand from this book what exactly Sor’s ideas were about the guitar and its technique. His idea of what a method should be is expressed by himself in no uncertain terms: ‘Méthode. Traité des principes raisonnés sur lesquels sont fondées les rigles qui doivent guider les opérations, Method. A treatise of logical principles on which the rules that should guide the operations are based. (My translation Mo. In other words, according to Sor, his Method does not neces- sarily contain instructions or rules for practical operations. It is enough that it expresses the author's philosophical princi- ples. Actual musical instruction is to take place, he seems to insinuate, in othercontexts. Perhaps the most realistic descrip- tion of the true nature of Sor’s book is contained in a mid- nineteenth century version of it, edited and published by his pupil Napoléon Coste. In the Introduction, Coste says: There are three biographies of Femsndo Sor curently in print, Brian Jeffery, Fernando Sor, Composer and Guitarist, London, Tecla Eitions, 1977, reprinted essentially unchanged in 1994, Ais: Welf Moser, Fer indo Sor Versuch einer Autobiographie und gitarriaische Schrift. Cologne, Gitare & Lante Verlag, 1984. Algo: Berard Pris, Fernando ‘Sor, Une Guitare 8 Orde du Romantiome, Pars, Auber, 1989. All three ‘books seems ta Be based on the same material, mast the writings of Sor himselE Many questions about Sor’ personal biography stil remain ‘unanswered, 2 Méthode pour La Guitare / par / Fernando Sor. Pris, 1830. Facsimile edition by MinkolT Reprint, Geneva 1981. Tt should be noted that the ‘MinkofTedition sa hybrid oftwo different editions. etext is indeed that ofthe 1830Parisedion. Theillustatonsand the music examples though, ae taken from the 1832 N, Simrock bi-lingual Fench/German edition. All quotations ffom this book are taken from the French orginal. The English version tanslated by Armold Merrick s much better known toy Unfortunately, itcontains several i-transations and distortions of Sor ‘original intentions, (CHANTERELLE 4916 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR Depuis Robert de Visée, peu d'artstes se distinguérent dans ce genre de composition. Aussi lorsque Sor parutprés dedeuexsidcles plus tard, causa--il une vive sensation dans le monde musical! étonna et ravit par le charme et la ‘nowweauté de ses créations qui resteront comme des mode- lesde science et du got. Les succes de ce grand artiste ne lemirent point a I'abride la crtique envieuse. Les tracas- series qu'il eutd essuyer de la part d ignorantsconfréres {qu ne le comprenaiont pas, lui aigyirent lesprt et ce ful sous ees ficheuses impressions qu'il écrvit le texte de sa “Méthode dans leque il paraissait bien plus préoccupé de repousser les attaques dont il eroyait étre objet et de rendre guerré pour guerre, que de développer ces précep- tes etde es mettre i la portée de tous. Ce défaut grave au point de vue de 'enseignement a été sent parle judicieux aditer qui remet au jour Vocusre de Sor* SinceRobertde Visée, few artists distinguished themselves inthiskind ofcomposition. Also, when Sor appeared nearly two centuries later, he caused a lively commotion in the musical world, He astonished and enraptured by the charm and the novelty of his creations which will stay as models of science and taste, The successes of this great artist have not sheltered him from envious criticism. The bickering to ‘hich he was subjected by ignorant colleagues who did not ‘understand him, soured his spirit. It was under these trou- ‘blesome impressions that he wrote the text of his Method in which he seemed much more preoccupied in repulsing the attacks of which he believed himselft0 be the object and of returning war for war, than of developing his precepts and ‘ofpputting them atthereach ofall. This serious fault from the point of view of teaching was felt by the discriminating editor [Coste] who brought back to light the work of Sor. (My translation - MO.) This is the opinion of a disciple, a friend and an admirer to whom Sor dedicated one of his major works, his op. 63, Souvenir de Russie for two guitars. His views are expressed with sorrow and understanding, He is certainly not hostile to Sor and to his memory. When viewed in this light we are ina better position to appreciate the extreme pain under which the Sor Method was written, and perhaps guess at some of the reasons for the exaggerations and contradictions contained therein. Sor begins his narrative by stating that his purpose istodiscuss his own personal technique and the reasons which brought him to adopt t. Right from the very beginning he uses a quasi combative argumentation, which, in several important tech cal points, has caused readers and scholars to assign to him ideas that he may have tried to promote in his book, however surreptitiously, but which, on a closer examination of the historical record, is liable to be distrusted as a true represen- tation of Sor’s performance practice. A good example of this premise isa statement by Sor that he prefers to use only three fingers of the right hand because the annular is too weak and, besides, it does not lie in the proper alignment with the other three. Hiis argument is accompanied “Napoleon Coste, Méthode de Gultare par Ferdinand Sor. Pats, Schoneberger, 1851 (Lesure), pn. 1726. Copy in the Rischel & Birkel Smith Collection, Royal Library of Copenbagen. Reprinted by Lemoine. BHO. Copy’ of the repeat in the eolleston of Matanys Oph. by a geometric drawing of the flat hand and the alignment of its fingers in that position. The argument appears convincing, except that it is based on the faulty notion that the fingers remain in that alignment even when the hand is curved into a playing position above the strings. It may well have remained soin Sor’s own hand, but human anatomy, a subject dear to his heart, allows for an infinite variety in hand construction between individuals. In any case, the argument is usually taken out of context to mean that Sor never used the annular ‘There are many pieces in Sor’s vast output that can be played with only three fingers and indeed are meant to be so played. On the other hand, there are many other pieces that simply cannot be performed without the annular. In fact, the penulti- ‘mate chapter in the book is devoted to the R.H. annular and use. Init, Sor describes the conditions that require the use of that finger and explains the modifications in hand positions, which he is forced to make in order to accommodate the annular. Another issue in which Sor is less than candid, is the matter of R.H. fingering for scales. He says: Quant & la main droite, je n'ai jamais visé & faire des gammes détachées, ni avec une grand vitesse, parce que J'ai cru que la guitare ne pourrait jamais me rendre d'une ‘maniére satsfasante les traits de violon, tandis qu'en ‘proftantde a facilté quelle présente pour lier lessons, je ‘pourraisimiter un peu miews ls traits de chant. ‘As for the right hand, Ihave never aimed to play detached [plucked] scales, nor with a great speed, because I have believed that the guitar could never offer me in a satisfac~ tory manner the features of the violin, while in taking advantage ofthe facility that it presents in tying the sounds, T could better imitate features of singing. (My translation - MO.) ‘And then Sor provides a musical example (Ex. 29 - see page 156 in the present edition) which depicts a scale passage in legato, with a lengthy verbal rationalisation of his preference for legato scales against scales played détaché, a term used in reference to rapid R.H. alternation in m.im.i, and similar patterns. To close the discussion, Sor says: Sie lecteur désire apprendre a détacher avec vitesse les ‘notes d'un trait dexécution, je ne puis mieux faire que de lerenvoyerdla Méthodede M. Aguado, qu, excellent dans ce genred exécution est dans le cas étabir les régles les plus réfléches et les mie caleulées la-dessus Ifthe eader wishes to lear to pluck the notes ofa passage ‘ith speed, I cannot do beter than send him tothe Method ‘of Mr. Aguado, who excels inthismanner ofexecution, and in which he esiablished the most thought-out and the best calculated rules about it (My translation - MO.) Animportant observation mustbe made here: the only method by Aguado available in the French capital in 1830, must have been the 1826 Méthode Complete translated into French by Francois de Fossa. Itis not likely that Sor would have directed his French readers to the Spanish versions of this book, even if they were available, In that book, Aguado expresses the notion that scale passages should be performed in an ia... alteration. Can we then assume that Sor approved of ia.i.a fingering for scales? Probably not! In a simplified version of (CHANTERELLE491INTRODUCTION i theBseuela published c. 1834, (op. 6) Aguado providesa first- hand testimony on the matter. This testimony was perhaps based on observations and discussions with Sorhimself, made ‘while living and working in close proximity in Paris. Pour exécuter les gammes je préfererais V'ndex et le ‘médiuesal'index et annulaire commejele pratiquais adis. ‘Monexpériencem'a prowvé que les raisons de Mr. Sor pour cette préference sont décisives ‘To execute scales I prefer the index and medium fingers [Em.im.]to the index and annular [aa] fingering I used to practise before. My experience proved to me that Mr. Sor's reasons for this preference are decisive. (My translation - MO.) ‘This is a testimonial by his friend Aguado. Ittells us how Sor actually played scales, in effect, repudiating Sor’s own pro- nouncements as made in his Method. It has also long been. assumed that most scale passages in Sor’s music should be played as legato as possible. The legato-in-scales was one of the majoraspects ofthe teachings of the Russian masters ofthe seven string guitar such as Andrei Sychra, Mikhail Vyssotsky and Semion Aksionov. As much as Sor speaks highly of this, type of scale playing, and while he might have picked up the idea from the Russians, there is little evidence of it be found inhis published music. The apparent attempt to promote an idea must then be viewed with a certain degree of scrutiny. Other aspects of Sor’stechnique suchas the restriction of R.H. fingers top,, i. and m., cannot be accepted as general maxims butrather considered in the context ofhisactual compositions. The rationale for the present selection Publishers and editors, traditionally, have had differing crite- ria in determining which compositions or collections of pieces from the entire output of Femando Sor properly belong in an anthology destined for use in the teaching process. Asamatter of definition, we have to agree that each and every piece written by Sor can be said to have had a didactic purpose, whether the composer himself so described it in his titles, or inhis various writings, or not. Of course, the use of the entire output of Sor inthe formation of guitarists isa practice we can only applaud and encourage. Asa firstundertaking in present- ing this entire output in a usable format, the selection for the present volume is limited to those collections to which a reference has been made by Sorin his Method. We also chose those collections that containa reference to the didactic nature in their titles, or in the prefaces attached by the composer to their first editions. Inhis Method, Fernando Sor defines the nature of his various didactic collections which were published prior to 1830. He Exereiees, Morceau de musique dont chacin a pou but de nous rendre faniliére Vapplication des regles. Les fexercices sont la pratique des théories éablies par a ‘méthode (que je considére la partie speculative), comme Temploi de équerre pour éleverune erpendiculairen'est ‘que le résultat de la démonsiration de cette figure: Exercises, Pieces of music, each having as an objective to ‘make us familiar with the application oftherules. Exercises are the practice of theories established by the method (which I consider the speculative part), as the use of the square for raising a perpendicular is the result of a certain geometrical demonstration. (Translation by Arnold Merrick.) Legons. Morceaux de musique dont chacun ne doit pas avoir pour but l'exercice d'une seule régle, mais aussi celles employées dans les legons précédentes, et méme d'initierI’écolier dans quelques exceptions. Lessons, Pieves of music, where each does not need to have for its object the exercise ofa singlerule, but also [may deal ‘with] the rules employed in the lessons preceding, and even ‘the initiating ofthe student in some exceptions. (My trans- lation - MO.)* Etudes. Exercices des exceptions et des régles dont 'appli- cation présente plus de difficultés. ‘Studies. Exercises on exceptions, and on rules offering difficulties in their application. (Translation by Arnold Merrick.) In his preface to his edition of the 24 Exercises, op. 35,’ Sor insinuates that the reason for writing this collection was the observation made by others that the previous work, the 24 Lessons, op. 31, were not presented in a gradual progressive ‘manner, an observation he later repeated in the Method itself, This time, he assures his prospective readers, the material is carefully graduated and deals with the same problems ad- dressed in the 24 Lessons. Moreover, it is designed to provide the facility needed foraccompaniment and will better prepare the student to approach the 24 Lessons. Inthe last paragraph of that preface, Sor makes a pre-publication pitch forhis as yet not published Method: Thefiqureusedby Sorisa simple geometri construction which provesthat line drawn from point M, the conjunction of wo citles whose centreslie ‘idstane fom pot C (he pont of equal division of the ine AB) will formarightangle between ines MCand AB. Therelevance of the drawing anit lopictothe argument bout the nature of exercises, seems obtuseon First reading. Its significance may li in private or public arguments Sor Inuy havehd with his colleagues with which We ae hot conversant today. Ta his English translation, Amold Merrick solved the dlerama by simply making an obscure reference to the denwing without duplicating i ‘© Ammold Merrick translates this passage thus: Lessons, pecesofmsic. each having forts object not the exercise ofa single rule ut also ofthe rales ‘employe in the lessons preceding. and even the initiating ofthe learner in Some exceptions. While this endition isin mpeceable English, it doesnot provisely render the same sense ofthe rina text. This was one ofthe eatest compositions published by Sor himself and istributed by Pacin. It wa listed in the Bllographle de la France cooing to elfen. in September 182, slmostayearandabalfbefore the publication ofthe thodein 1830, Se page 93 ofthe present publication, ‘CHANTERELLE 4918 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR (Ces exerciees seront trés utiles surtout aux personnes qui étudieront d'aprés la méthode que je suis sur le point de ‘Publier, car mon but principal a été de mettre en pratique a théorie qu'elle renferme. ‘These exercises will be very useful to persons who shall study according to the method which I am about to publish, as my principal purpose has been to put to practice the principles contained therein. (My translation - MO.) This text tells us that Fernando Sor had formulated the principal theories expounded upon in the Method. For all we now, the book may have been written already by 1828 and in the process of being prepared for publication. It also tells us that by this time Sor was convinced of the wisdom of present- {ng the student with technical difficulties ina carefully gradu- ated manner. Ifthe exercises infact are apractical rendition of a given theory or rule, Sor has not seen it fit to identify precisely in each exercise the theoretical rule to which it is relevant. Obviously, it would have been confusing to readers in 1828, since the theoretical text was not yet available. Conversely, the Method itself does not contain any direct reference to the practical application of any of its theories in these Exercises. While the 24 Studies and 24 Lessons are repeatedly mentioned in the Method right from its very begin- ning, the 24 Exercises are mentioned then briefly at the end of the book, and repeat the assertion that they were meant to presenta simpler and more graduated version of the Lessons: Hence, we cannot determine which theoretical principle is given to which practical illustration in each of the Exercises. The best we can make of Sor’s definitions of the different character of exercises, lessons and studies is that he simply meant that each of the categories represent another degree in ‘an ascending scale of technical difficulty For thisreason, although the present book of teaching material by Sor is arranged in a chronological sequence of opus numbers or dates of publication, the editor's suggested grad- ing list may be consulted to form a picture of a gradual exposition of the technical level of each of the collections and the individual pieces in them. It is obvious from several statements made by Sor that the material was meant to be studied in the sequence in which it was presented by the ‘composer and that each of the pieces, in the 24 Studies op. 6 & op. 29 t least, is based on the piece that precedes it and on the one that follows. The wise and compassionate teacher, needlessto say, will find that different sequences of study may ‘work better with particular students. About this edition ‘The present new Urtext edition of Sor’s didactic pieces takes different approach to that taken by other, even quite recent, editions. In preparing the material for publication, we strove to maintain a close adherence to the composer's own state~ ‘ments regarding the pieces as. they appear in his various writings. At the same time, each individual reference was evaluated against other available historical evidence to deter- ‘mine the extent to which it truly represents Sor’s applied technique, the way he actually performed these pieces him- self. Another important issue we had to consider was that as ‘much as historically informed performance practice has been of great benefit to performing musicians, we must be aware that the purpose of these pieces is to help in the formation of ‘oday’s beginner, intermediate and advanced guitarists. What- ever theirimpact may have been on Sor’s students in the early nineteenth century, we must consider the impact they have today, on our students, The general formative preparation they offer is not only applicable to playing the concert level larger works by the same composer, but also to the entire repertoire of the classical guitar as it is practised today, and as it will be practised in the future. Hence, their usefulness must not be handicapped by an imperceptive attachment to a false understanding of the composer’s intentions, The Coste Connection AAs stated before, the material used in preparing this edition consists of the original editions, correlated with statements made by the composer and with apoint-by-point evaluation of the veracity of these statements. Besides the various testimo- nies by Aguado regarding his friend Sor, we have a powerful direct testimony by one of Sor’s last and most important students, the French guitarist Napoléon Coste (1805-1883). Coste added a supplement to his 1851 edition of the Sor ‘method, containing 26 pieces by Sor, arranged in four books. Coste’s ttle to the set is worded as follows: 26 Etudes pour la guitare / par Ferdinand Sor, Revues, classées, et doigiées d'aprés les traditions de I'auteur par N. Coste. 26 studies for the guitar by Ferdinand Sor, revised, ordered and fingered according to the traditions ofthe author by N. Coste, In choosing this particular wording, Coste is telling us in fact that each and every change made by him to these pieces was based on information hereceived directly from his teacher, the composer, Femando Sor. Thisisa firsthand testimony directly relating toSor’s activity asa teacher and his use, inthe privacy of his teacher's studio, of printed material of his own compositions. As pointed out by Erik Stenstadvold,*the Coste compilation must have been the major source for the variant readings of Sor’s original text as they appear in the famous edition of 20Sor Studies by Andrés Segovia. Inhisarticle, Mr. Stenstadvold takes the view that these changes were made by Coste, as indeed they were. Even though he quotes the same wording to the Coste text as printed above, Mr. Stenstadvold does not allow for the evident likelihood that these changes ‘were made by Coste, because his teacher might have changed his own view of the works. In our view, itis unwise to always take first editions as a final authority for musical texts, Bik Stenstdvold, Caste's Conributione 10 the “20 Staies by Sor, Soundboard X12, 1984, p. 136. ‘CHANTERELLEINTRODUCTION 9 Particularly when such editions did not enjoy the full participation of the composer in the publishing process, as ‘must have been the case at least with opp.6, 29 and 31. The intimate relationship between teacher and student, working throughout aseries of studies, isa perfect environment for the teacher to point out misprints, change fingering, change, add ordeleteaccidentals, rewrite the polyphony and other changes ‘we have all observed our own teachers apply to the printed editions they worked on with us. When the teacher is also the composer ofthe pieces in question, such alterations become a powerful historical source. Obviously, Napoléon Coste preserved the annotations made tohis copy, and22 years after the composer's death, he published them as his personal testimony. A pointby point comparison ofthe Coste-published, variants with the original editions reveals thatthe changes and ‘corrections are always based on sound musical sense, We must allow, of course, forthe possibility that mis-prints and other errors had crept into the Coste edition as well. Therefore we have tried to evaluate all of Coste’s variants and decide which ones are based on deliberate change prompted in all probability by Sor himself, and which ones are the result of typographical errors. The edition incorporates Coste’s textual variants when they seemed to the editor to be justified on musical grounds. Moreover, in the case of pieces in this book which were not used by Coste, the editor has made some changes of his own, all of which are listed in the Commentary ‘on pages 173-184 of this publication, ‘Matanya Ophee, Columbus 1996 ‘Acknowledgements ‘The publishers are indebted to Jan de Kloe, Matanya Ophee and Robert Spencer for making this edition possible. ‘Thanks are also due to: Marie-Madeleine Doherty Robert Doherty Heiner Donath Andrejs Liepins Gilly Macmeeken ‘CHANTERELLE 49110 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR TWELVE STUDIES, OPUS 6 Allegro moderato Study ¢u—_--- (© 1996 by Michael Macmecken, Chanterelle Verlag, Revised 1997 Contains new and original material and is strictly copyright ‘All rights reserved - photocopying this edition is ILLEGAL, (CHANTERELLEADETWELVE STUDIES, OPUS 6. u Andante allegro to 4 (CHANTERELLE 491BR FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR ‘CHANTERELLE 4TTWELVE STUDIES, OPUS 6 13 Allegretto v ev p pip mM ev Ame gas (CHANTERELLE 4914 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR. Andante em ¢u ————_——_, io ¢m ¢m (CHANTERELLE 91TWELVE STUDIES, OPUS 6 15 cr cu cm em perdendosi ‘CHANTERELLE 49116 FERNANDO SOR - THE COMPLETE STUDIES FUR GUITAR. Allegro (CHANTERELLE D1TWELVE STUDIES, OPUS 6 17 ¢v ¢vi— ¢ue ¢iK— ‘CHANTERELLES9118 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR Allegro (CHANTERELLE 491TWELVE STUDIES, OPUS 6 9 = = ZA ees ae as Jed, aiid —3~ p aids) dia ete, 2) did?) J'a'd'| fans] 2heg aa eu 735 ai (CHANTERELLE 49120 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR (CHANTERELLEAD1TWELVE STUDIES, OPUS 6 2 Andantino (CHANTERELLE 4912 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Andante allegro (CHANTERELLE 491TWELVE STUDIES, OPUS 6 23 ces al’ deem od. iboeyseeed al ant dime tal a) (CHANTERELLE 4914 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR Moderato to Study 10. (CHANTERELLE 9TWELVE STUDIES, OPUS 6 25 Maestoso em ¢m ¢u CHANTERELLE 49126 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR. Allegro moderato (CHANTERELLE 491TWELVE STUDIES, OPUS 6 n rallentando Pr (CHANTERELLE 91cy FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR « ene oS . oH tn a 58 air (CHANTERELLE SOLTWELVE STUDIES, OPUS 6, Ta improve layout this page conta Zor's Method 5 Spanish Guitar, ‘TRANSLATED FROM THE ORIGINAL A. MBRBICK, PRICE QXESCUENEA. /tfa xoxpox: R. COCKS AND CO,, 29, PRINCESSIREET, HANOVER-SQUARE, SPANISH GUITAR,su FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR Andante ev “ m en 1 # 4 Study 2 = Tala 3 (CHANTERELLE 491TWELVE STUDIES, OPUS 6 3 (CHANTERELLE 4912 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR TWELVE STUDIES, OPUS 29 to serve as a continuation of the first twelve studies [op.6] Andante lento cr (CHANTERELLE 491TWELVE STUDIES, OPUS 29. 3 CHANTERELLE 4914 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR Andante moderato ; zee (CHANTERELLE#91TWELVE STUDIES, OPUS 29 35 sli4 ets * prar2id oct ee Zh S|, Bras) setts 4 = 7 v— 7 7 7 y-¥ (CHANTERELLE 49136 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR anit) Ie 4 1 ie al ‘CHANTERELLE 491TWELVE STUDIES, OPUS 29. x” To improve layout this page contains no music. Fig. Fig. Fig. 3. Fit Musteatons from “Sox's Method fo the Spanish Gitar, translated from the original by A. Meck” London: Cocks & Co (6.1832). eprodaced by kind pemision from a copy inthe collection of Robert Spencer. (CHANTERELLE 49138 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR Andantino ‘CHANTERELLE 491TWELVE STUDIES, OPUS 29. 39 (CHANTERELLE 49140 HERNANDO SOK - THE COMPLETE STUDIES KOR GUITAR Lento assai mi pmi Study 16. ‘CHANTERELLE 491TWELVE STUDIES, OPUS 29 41 (CHANTERELLE 4912 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Allegro moderato Study 17. vu (CHANTERELLE 491TWELVE STUDIES, OPUS 29 4B (CHANTERELLE 49144 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR (CHANTERELLE 91TWELVE STUDIES, OPUS 29 To improve layout this page contains no music (CHANTERELLE S9146 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Andante i far) (CHANTERELLE 491TWELVE STUDIES, OPUS 29 7 ‘CHANTERELLE AT48 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR (CHANTERELLE 9TWELVE STUDIES, OPUS 29 49 To improve layout this page contains no music. Fig. 10. Right hond. Fig. 1, Right bond, ‘Musraton fom “Sor's Method for the Spassh Gtr, translated from the original by A. Mentick” London: Cocks & Co. (1832). Reproduced by Kind permission from copy inthe ellection of Robert Spence, ‘CHANTERELLE 49150 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Cette Etude doit Gre jouse presque piano, mais on doit atiaquer les Play this study almost plano, plucking the strings atthe point where cordes& 'endroit oles vibrations sont plus prolongées.. ‘notes wil sustain the longest [from the original edition) (CHANTERELLE 491TWELVE STUDIES, OPUS 29 ‘CHANTERELLE4912 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR “Toute cette étude est en sons harmoniques. Les numéros indiquent ‘The entire study is tobe played in harmonics, The nambers indicate te touche vis-i-vis laquelle on produia les soas. [fom the original edition) frets at which the sounds are ta be produced. Lento il doit en résulter. factual sound} ‘CHANTERELLE 491‘TWELVE STUDIES, OPUS 29 To improve layout this page contains no music. stations from "Sor's Method forthe Spasish Guitar, translated from the eriginal by A. Merck” London: Cocks & Co. (1832), "Reproduce by kind permission from a copy nthe eolecton of Rober Spencer. 3 (CHANTERELLE 9154 FERNANDO SOR: THE COMPLETE STUDIES FOR GUITAR anneal Andantino em 2 gr ¢r (CHANTERELLE ATTWELVE STUDIES, OPUS 29 55 (CHANTERELLE 91FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR Cette Gtude suppose Mécolier assez familiaisé avec Vharmonie pour Fortis study its assumed that che pupil has sufiient knowledge of «que lespositionssuecessivesdelamaingauchenel'embarrassentnullement. harmony to cope with the pitfalls of the ehanging left hand positions. The principal goal ofthis study is to train the right hand thumb to choose the Le but principal est d°habituer le pouce de la mai droite a choisir la note ‘convenable sans que la main change de place. (from the original edition) correct string without moving the hand out of position. 56 (CHANTERELLETWELVE STUDIES, OPUS 29 37 Vi 7 VE, eur wf Ig. ag. Pop) 77 74 v 7" eee Ime ulead, 7 q y 7 { dg iY em 7 pes 22 ay os ad ae a 7 qi el 74 a ex ¢u__¢vm__ ¢v tn 3g. a (CHANTERELLE 49138 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR (CHANTERELLE 9TWELVE STUDIES, OPUS 29 39 > cur (CHANTERELLE Dtoo FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR (CHANTERELLESOYTWELVE STUDIES, OPUS 29 a To improve layout this page contains no music. SOR, A potato Sr by Hyppolyt-Benjamin Adam fiom A. Ledly and H. Benin’ EnyelopiiePinoresgue dela Musique, Paris (1838) ‘reproduced by kind permission from a copy in the collection of Robert Spencer. (CHANTERELLE 492 FERNANDO SOK * THE COMPLETE STUDIES FOR GUITAR TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 BOOK 1 Cettelegonn'exige quela connaissance des notes Sonbutprincipalest The lesson only requires knowledge of the notes. Its principal gol isto habituer colierabien placer la main gauche, [fromthe original edition] get the pupil used to positioning the lft hand correctly. Andante (CHANTERELLE S91TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 Allegretto moderato (CHANTERELLE 491o FERNANDO SOR : THE COMPLETE STUDIES FOR GUITAR Andante ¢n — (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 (CHANTERELLE 4916 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR TLebutde cette legon est@’habituerle pouce a chercherlescordes qu'il The goalofthisiesson sto tain the right-hand thumb ofind thestrings doit attaqur, sans déranger la main, et & marquer les quatre temps. itisto pluck without disturbing the positon ofthe ight hand, as well sto [Grom the original edition] mark dhe four beats, (CHANTERELLE 491TWELVE STUDIES, OPUS 31 6768 FERNANDO SOR» THE COMPLETE STUDIES FOR GUITAR [D.C. al Fing] (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 Allegretto (CHANTERELLE 910 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR ‘Le but de cette legon est de facie a lisison des tierees et des sintes. The goal ofthis lesson isto improve legato when playing thirds and [fiom the original edition] six Cantal @2O0000 CCHANTERELLES915 TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31. n Moderato Lesson n. (CHANTERELLE 491R FERNANDO SUK Uitte COMPLETE STUDIBS KOR GUITAR ‘CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 ev” FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR em em (CHANTERELLE 41TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 15 BOOK 2 Andante CHANTERELLE 49116 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Andantino Lesson 4 (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 n (CHANTERELLE 491B FERNANDO SOR : THE COMPLETE STUDIES FOR GUITAR Moderato ‘CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 (CHANTERELLE 9180 FERNANDO SOR « THE COMPLETE STUDIES FOR GUITAR (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 a1 To improve layout this page contains no music. bbw de Moat Gaeat Sor tthe Choe School ofthe Monastery of Montserat from A. Ledhuy and H, Brin EncycopiiePitoresque dele Musique, Pai (1838) reprodioed by kind permission from a spy in the collection of Robert Spencer. (CHANTERELLE 9182 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Te but de cette legon est P'habituer Pécolier donner au pouce de Ia The goal of this lesson is to train the pupil to altemate the right and main droite la vritable direction, en{e faisantalterneravec'index pourles thumb and the index finger with the proper movement when playing the triples eroches. [ftom the original edition} 32nd notes [demisemiquavers}. Andante © I Sere wae si 7 (*) or: pipip, or: amima (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 rea et (*) pipim or: imimi (CHANTERELLE 49184 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Cate logon peut te jouge moins viteque le mouvement indiqué,mais ‘This lesson may be played less rapidly than the indicated tempo. ayant pour but de rendte possession des accor, il est uile den presser However, as ils goal is {0 improve chord-playing, the tempo should be Je mouvement mesure qu'on la joueraavee plus de facili increased correspondingly as progress is made. [ftom the original edition) Andante allegro ‘CHANTERELLEATTWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 (CHANTERELLE 49186 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Andantino cantabile ¢m— (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31. ‘Tempo di marcia Moderato (CHANTERELLE 491Lesson HERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Mouvement de priére religieuse eu 1j— 7 (CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 Toimprove layout ths page cont Fig. 18. Mutations rom “Sox's Method fo the Spanish Gitar, translated from the riginal by A. Merck” London: Cocks & Co, (1832) Repradced by kind permission from acopy ia the calletion of Raber Spencer. CHANTERELLE S9190 FERNANDO SOR « THE COMPLETE STUDIES FOR GUITAR Allegretto moderato gu Q en en ‘CHANTERELLE 491TWENTY FOUR PROGRESSIVE LESSONS, OPUS 31 1 ig av : vr Opt ed dy pny, evn a i WII WII (CHANTERELLE 91FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR To improve layout this page contains no music. A Ponta of Sor ‘om the following publi Mati forthe Guitar by Fernando Sor Condemned, Resrites, and Ediedoy Frank Mot Harton which is added a Porrit and biographical sketch of the author, his twenty four exercises, ‘and his twenty far studies forthe guitar Robert Cacks & Co, Landon (1896) reproduced by kind permission roma copy inthe coleton of Robert Spencer ‘CHANTERELLE 491TWENTY FOUR VERY EASY EXERCISES, OPUS 35 93 TWENTY FOUR VERY EASY EXERCISES, OPUS 35 BOOK 1 AVERTISSEMENT NOTE: Pscurs personnes ont trouvé que mes ving-quatre lejons pou les Many felt that my twenty-four lessons for beginners advanced too onmeneans exigcaint des progres un peu tt rapides, et qu'elles quickly andtha hey were organised sas ohelp the student acguie great feet disposées de maniére & metre Iécolier 8 méme d'aequri un tha this arrangement was not enc to suitthose who, only trad talent: que cote dsposton Gait point calle qu convient ceux fo level ane rot being able to devote sufficient time sie visantqu'adevenird'une force médicee ctquine pouvant Joaner 10 study, would have been satisfied with being able o accompany Sec grand assiuité31'ée se contenten de pouvoirsaccompagner ct themselves ano play afew pleasant pices which ae not exaeting, The de jouer quelques morceauxagréables sans e's soient d'une grande soundness of these observations led me to compose these Exercises felt. La justesse de ces observations ma déci & composer ccs suficint to make the pupil feel atcase when accompanying himself and raves qui peuvent suffire & donner Ia foiité nécessaie pour to alsin the level to tackle the twenty four lessons should he wish ‘tecompagner et metre Mécoier en at de s'occuper des 28 legons s'il hisproficieney. These lessons will hen seem les dificult since ‘sre aupmentersontalent ces legons lu peratrontlorsmoinsdiiciles he wll already have covered the essential work of each one aig aura deja exdeuté ce qui fait le fond de chacune. “These exercises willbe very useful, particulary to those studying Ces exercices serot tis utes surtout aux personnes qui udieront according to the method which | am about to publish as my pinepal {aprile méthode que jesus surle pont de publir,carmon but principal purpose hasbeen to put nto practice the prineipls contained therein, 44: de mete en pratique la théorie qu'elle enferme. {trom the orignal eiton) (CHANTERELLE #91cy FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Andantino oP Larghetto (CHANTERELLE 491TWENTY FOUR VERY EASY EXERCISES, OPUS 35 95 (CHANTERELLE #196 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR Allegretto i No.5 ¢m me 2: frets Ses “SS (*) or: pmpi (CHANTERELLE ASTTWENTY FOUR VERY EASY EXERCISES, OPUS 35 ‘CHANTERELLE 9198 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR ‘CHANTERELLE.‘TWENTY FOUR VERY EASY EXERCISES, OPUS 35 99 (CHANTERELLE 491100 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR Allegretto i a p ‘CHANTERELLE 491TWENTY FOUR VERY EASY EXERCISES, OPUS 35 101 Andante imi eu tai CHANTERELLE 491102 FERNANDO SOR - THE COMPLETE STUDIES FOR GUITAR 1, mamin , i No. 10 (CHANTERELLE S91‘TWENTY FOUR VERY EASY EXERCISES, OPUS 35 103 Allegretto ‘CHANTERELLE491104 FERNANDO SOR THE COMPLETE STUDIES FOR GUITAR Andantino moderato (CHANTERELLE: