Introduction & Allegro, Op. 14
Fernando Sor, 1778-1839
When first published, c.1810, this work by Fernando Sor (1778-1839) was entitled, "Sonata Prima pour la Guitare." It first appeared in the Journal de Musique Etrangère pour la Guitare ou Lyre, edited by Castro. In fact, many of Sor's early works first appeared in this Paris "foreign music" journal. Salvador Castro de Gistau, editor of the journal, was originally from Madrid, Spain and his introduction of the first editions of Sor's guitar works into Parisian musical circles greatly assisted his countryman's career.
A second edition was printed in 1822 by the publishing house Chez Meissonnier. The work was re-titled, Grand Solo Pour La Guitare..., and this simplified version (made easier by either the publisher or the composer for commercial reasons) was dedicated to the "Amateurs ." Another version of op. 14, entitled, Gran Solo de Sor, was prepared by Dionisio Aguado (1784-1849) a close friend to Sor and one of the leading Spanish guitarists at this time. As in the earlier works of Beethoven, Haydn, and others, the printed editions did not indicate accurately the intentions of these composers. This is especially true in the area of dynamics, articulation and other subtle nuances. The first as well as the second edition of Sor's op.14 is sparsely annotated. Aguado's friendly relationship to Sor certainly provided the opportunity to see, maybe even hear Sor play this work giving him the knowledge and experience to make a more accurate edition. Sor dedicated two guitar duets to him and on many ocassions the two "Maestros" performed guitar duo concerts featuring these duets as well as other works.
The arrangement by Aguado seems to be the preferred choice by todays concert artists and for sound musical reasons. Aguado states in his preface that the changes and notations he has made will give an understanding of certain orchestral effects that can be executed on the guitar. And in the score he calls for certain techniques such as "muffled" sounds as well as notes on where to place the right hand - above or below the soundhole for dry or sweet sounds, etc. Unfortunately, we do not know if Sor had performed his work in this manner. It is possible that he did. Anyway, this version is technically more demanding.
The opening Introduction, in D minor, begins with a somber Andante in 6/8 meter. At the end of each six note motive is heard two muffled (apagado is used in the Aguado edition) chords punctuating the phrase ending. Midway point of this 25 measure introduction a repeated note "A" (peddle point) is established to prepare the dominant harmony for the Allegro movement. The Allegro opens with a percussive 1/8th and two 1/16th note measure which prepares a theme in thirds. This becomes ornamented on the repeat and gives way to modulatory material which sets up the second theme. This paired woodwind like theme is indicated, "bien sostenido el canto" ["sustain well the melody"]. Following the second theme is transitional material heading for the developmental section. At this point (à la Beethoven) Sor prepares a bold yet, remote modulation into the key of Ab. The modulation is quick and abrupt and moves on to more figural writing developing the themes he established at the beginning of the Allegro movement. The rest of the movement proceeds in a quasi-sonata allegro form and ends with an extended codetta utilizing certain rhythmic figures gained from the developmental section. These figures drive the work to a forceful ending.
Ron Purcell,
- International Guitar Research Archive,
- California State University, Northridge
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