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Fernando Sor

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Oxford Grove Music Encyclopedia:

(Joseph) Fernando (Macari) Sor

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(b Barcelona, bap. 14 Feb 1778; d Paris, 10 July 1839). Spanish composer and guitarist. After leaving Spain he lived in Paris (1813-15 and from 1826) and London (1815-26) and visited Russia (1823). He was a famous concert performer and wrote over 60 guitar works (sonatas, studies, variations etc) and an important method (1830). His guitar music is notable for its part-writing. He was also admired for his songs and eight ballets (1821-8); other works include an opera (1797) and chamber and keyboard pieces.


Gale Encyclopedia of Biography:

Fernando Sor

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Spanish musician Fernando Sor (1778 - 1839), perhaps more than anyone else, took the guitar from being an instrument of Spanish minstrels and Italian serenaders to being a classical instrument. He has been given only brief mention in standard music histories, but a resurgence of interest in guitar music and in the music of Spain has seen his reputation on the rise. As a young composer he wrote various kinds of music: operas, ballets, songs in addition to guitar music, and he performed on various instruments over his long concert career.

"Everyone knows that M. Sor has extended the domain of the guitar, and that he has guided that instrument to its natural destination in making it an instrument of harmony," ran a review of a new Fernando Sor composition in the Revue Musicale in 1833 or 1834, probably written by the French music scholar F.J. Fétis (and quoted by Brian Jeffery). "A profound musician, gifted with much taste and with the necessary perseverance . . . M. Sor has written for the guitar as no one had written before him." The idea of nationalism in music was still decades in the future during the years of Sor's compositional activity, and his guitar pieces do not sound particularly Spanish today. They fall into a broad category of classical music that followed the graceful examples of Wolfgang Amadeus Mozart and Franz Joseph Haydn rather than pursuing the tumultuous innovations of Ludwig van Beethoven. Yet there is, perhaps, a connection to Spain in Sor's music. Sor was an exile, forced from Spain by actions on the grand stage of world events. Yet the older he became, the more strongly he focused on the guitar, an instrument associated primarily with Spain. Perhaps, as he saw his chances of ever returning to his homeland recede to nil, he began to focus on the most distinctively Spanish part of his musical output.

Came to Music Very Early

Sor was born in 1778 in Barcelona and baptized on February 14 of that year. He was a native of Catalonia, a region of the Iberian peninsula that was part of Spain but also a distinct dialect and a strong cultural identity of its own. The guitar was an instrument especially identified with Catalonia. Sor's father played the guitar and also enjoyed another form of major importance in the late eighteenth century: Italian opera. Sor picked up his father's guitar, mastered in quickly, and also sang, wrote songs and instrumental arrangements, played the violin, and even made up his own system of musical notation. Sor's middle - class family had planned on a military career for their son, but it was clear that his musical gifts required nurturing, and he was sent to study music at the Abbey (monastery) of Montserrat. There he encountered music by Haydn and other masters from beyond Spain.

When he was 17 or 18, Sor assumed a post as a lieutenant in the Spanish army. As an officer from a prosperous family, however, he had plenty of time to compose music - at least at first. In 1796 or 1797 he found in the library of a Barcelona theater administrator an unused libretto for an opera on an ancient Greek theme and decided to set it to music. The fully competent Italian opera that resulted ran for 15 performances at the Barcelona Opera and attracted wide notice for its youthful composer. Sor wrote other vocal works and a few lengthy guitar sonatas, visited the Spanish capital of Madrid twice, and attracted as a patron the Duchess of Alba, who had commissioned a number of paintings from Spain's top artist, Francisco Goya. Between about 1804 and 1808 he held an administrative post in Spain's Andalusia region.

Life Overturned by Invasion

Sor's promising career in Spain was interrupted by the invasion of troops from Napoleonic France in 1808. At first Spaniards resisted the foreign incursion, and a number of patriotic songs by Sor date from this period; one of them, the "Himno de la Victoria," was apparently actually sung during a Spanish victory at Madrid. Sor himself saw military action, but also found time to compose romantic songs, called seguidillas, of a lighter nature. This uniquely Spanish part of his output has not been deeply investigated by musical scholars.

After a time, some Spaniards began to see Napoleon as preferable to the corrupt Spanish monarchy under which they had lived. Sor was one of these so - called afrancescados (Frenchified ones), who worked with the French in hopes of generating a more progressive system of Spanish government. Sor served as a police commissioner in the sherry - producing city of Jerez for more than two years, and seems not to have written much music during this unsettled period. When the tide began to turn against Napoleon, the French withdrew from Spain, and in 1812 Sor left Spain for Paris. He made the right decision, for many of his comrades who did not leave were arrested by the new Spanish King Fernando VII.

In Paris, Sor was an unknown foreigner in the midst of a tradition - bound local operatic scene that stretched back for a century and a half. There are gaps in the historical record of Sor's activities between 1813 and 1815; he seems to have been married, although the name of his wife is not known, and a daughter named Catherine or Julia was born during this time. What is certain is that Sor was frustrated by the lack of musical opportunities available to him, and left Paris in 1815 to try his luck in London, England.

In London Sor found support from a network of Spanish exiles, and his fortunes began to improve. He gave concerts, sometimes on the guitar and sometimes as a singer, and he began to make friends among the English aristocracy and to perform in their spacious manor houses. His best - known compositions of his London years were short songs called arietts, written in Italian. A review in the Repository of Arts quoted by Brian Jeffery stated that "Mr. Sor's vocal compositions have gained such favor among the higher order of musical dilettanti, that a new set of arietts, from his pen, causes almost as much sensation, as the publication of a new novel by the author of Waverley." A list of the dedicatees of Sor's works revealed names that constituted the cream of London society.

Popularized Guitar in England

The arietts were vocal works, but Sor also began producing a large amount of guitar music during this period. The guitar had been little known in England until the early nineteenth century, but Sor seemed to have almost single - handedly created a market for guitar music and then filled the demand. His most famous work, and one that remained in the established repertory of classical music after his death, was his set of Variations on a Theme of Mozart, published as Opus Nine in 1821. Sor also increasingly often became a featured guitarist at concerts.

He also wrote ballet music, winning acclaim for a ballet called Cendrillon. Partly because dance at the time had no system of notation like that for music, ballet music of the early nineteenth century is mostly little known, and Sor's ballets are rarely if ever performed today. This sphere of his activity did prove to have important personal consequences for Sor, however. It led to his acquaintance with the young French Félicité Hullin, who was perhaps 20 years younger than Sor. They became romantically involved, and in 1823, when Hullin won a place as the prima ballerina of the Moscow Ballet in Russia, Sor went with her.

The trip to Russia involved a grand tour of Europe, with Sor giving concerts all the way. There were extended stops in Paris, Berlin, and Warsaw. In the German capital, Sor made the acquaintance of the publisher Simrock, who had issued many of Beethoven's works and now agreed to publish a series of 21 of Sor's guitar works. After arriving in Russia, Sor remained there until 1826 or 1827, publishing a host of new works for the guitar. Sor himself also experienced success in the Russian ballet world; three of his ballets were staged in Moscow. By this time, however, he was writing mostly for the guitar, and he tended to compose original material rather than reworking his own earlier material or composing variations on well - known tunes.

Some of his new works matched the intricacy of his Variations on a Theme of Mozart and other showpieces he had composed to show off his own skills. But as he began to deal more frequently with music publishers, Sor faced a problem: outside of Spain and Italy, the guitar was still a novelty in much of Europe, and there were few players who could handle his more difficult works. Sometimes he complained that this dearth of good guitarists hamstrung his compositional imagination, but after he and Hullin returned to Western Europe in 1826 or 1827, settling in Paris, he began to take more constructive action by setting down in print the knowledge gained from a lifetime of guitar teaching.

Wrote Guitar Textbook

Sor's Méthode pour la guitare (Guitar Method) was written in the late 1820s and published in 1830. It is still regarded as one of the greatest works ever written on guitar technique, and Sor followed it up with a host of pieces for guitar students in the 1830s. The pieces at the highest levels (often titled Etudes or Leçons) have doubled as concert showpieces for classical guitarists ever since. Between 1828 and 1839 he also wrote 12 guitar duets, a form he had not previously cultivated. All these works expanded the vocabulary of the guitar substantially.

The death of Sor's daughter in 1837 hit him hard, as did the failure of a petition he sent to the Spanish throne asking that he be permitted to return home to Catalonia to live out his final years. (His letter was never answered). Instead, Sor made a living mostly as a teacher in Paris at the end of his life. He suffered for several years from a throat ailment and died in Paris on July 10, 1839.

Sor's reputation lived on for some years after his death. Long articles on his life and music appeared in several French music encyclopedias, and in 1910 a street was named after him in his native Barcelona. In the modernist - inclined early twentieth century, much of his music was forgotten, but a resurgence of interest in the classical guitar later in the century led to its rediscovery. Although his music did not have the flamenco accents associated with nationalist Spanish guitar music, guitarists found that it was unfailingly attractive and technically unsurpassed.

The modern master of the guitar, Andrés Segovia, issued 20 of Sor's etudes in a 1945 edition that remains widely available, and younger guitarists such as Christopher Parkening also recorded Sor's works. His output from beyond the realm of the guitar began to find performances as well, but there remained much to be discovered from this musician who came from outside the main path of classical music's historical march, but found a lifetime of acclaim in the great capitals of Europe.

Books

Dictionary of Hispanic Biography, Gale, 1996.

Jeffery, Brian, Fernando Sor: Composer and Guitarist, second edition, Tecla Editions, 1994.

Online

"Fernando Sor," All Music Guide,http://www.allmusic.com (January 10, 2005).

AMG AllMusic Guide to Classical Music :

Fernando Sor

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Fernando Sor
  • Genres: Chamber Music, Miscellaneous Music

Biography

Fernando Sor (1778-1839) was one of the leading musical figures in Spain and France during the transition between the Classical and the Romantic periods. He was admired in his time as a virtuoso guitarist and as the composer of the once popular but now long forgotten ballets, Cendrillon and Hassan et la calife, which took him on travels from London to Moscow. His Méthode pour la guitare was widely praised, and his career as a teacher won him lasting respect. Of his surviving works, more than 100 guitar pieces have become an important part of the repertoire. ~ Blair Sanderson, Rovi
Wikipedia on Answers.com:

Fernando Sor

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Fernando Sor
A monotone image of Fernando Sor playing the guitar
A lithographed painting of Fernando Sor, c.1825
Born Baptized 14 February 1778 (date of birth unknown)
Barcelona, Spain
Died 10 July 1839(1839-07-10) (aged 61)
Paris, France
Nationality Spanish
Occupation Composer, guitarist

Josep Ferran Sorts i Muntades (baptized 14 February 1778 – died 10 July 1839) was a Spanish classical guitarist and composer. While he is best known for his guitar compositions, he also composed music for a wide range of genres, including opera, orchestra, string quartet, piano, voice, and ballet. His ballet score Cendrillon (Cinderella) received over one hundred performances. Sor’s works for guitar range from pieces for beginning players to advanced players such as Variations on a Theme of Mozart.

Sor gave concerts throughout Europe, including in England, Paris, Berlin, and Warsaw. Before the early 19th century, the guitar was little-known in England. Sor seems to have created a market for himself there and then met the demand.[1] Sor’s contemporaries considered him to be the best guitarist in the world,[2] and his works for guitar have been widely played and reprinted since his death.[1]

As Sor's works were published in various countries, his name was translated, leading to variations in the spelling. Variations have included Joseph Fernando Macari Sors, Fernando Sor, Ferran Sor, Ferdinand Sor, and Ferdinando Sor.[2][3][4][5][6][7][8]

Contents

Biography

An oil painting depicting two men, dressed in 19th century attire, gathered around a table. The man on the right is playing the guitar.
Musician and his Family, French oil painting (Bibliothèque Marmottan, Boulogne-Billancourt, Paris)

Spain

Born in Barcelona to a fairly well-off family, Sor was descended from a long line of career soldiers, and intended to continue that legacy, but was distracted from this when his father introduced him to Italian opera. He fell in love with music and abandoned his military career goals. Along with opera, Sor's father also introduced him to the guitar, which, at the time, was little more than an instrument played in taverns, thought to be inferior to orchestral instruments.[9]

At a young age, Sor’s parents were wary of giving his musical abilities too much special attention, because his father was afraid that it would distract from his Latin studies. Therefore, the very young Sor (less than 11 years old) began to write songs to words in Latin to impress his parents. He even invented his own system for notating music, as he had not yet received formal training.

When he reached the age of 11 or 12, the leader of the Barcelona Cathedral took attention to him as a young talent. In a very unfortunate stroke of fate, however, not long after Sor was enrolled in the school his father died, leaving his mother without the funds to continue Sor’s education at the Cathedral. However, at around the same time, the new abbot of Montserrat, Joseph Arredondo, heard of his talent as well, and provided funds for him to attend the “Escolanía” (Choir School) at the famous monastery in Montserrat. Sor reveals in writings, mainly from the last ten years of his life, that he was greatly attached to this place, and had fond, nostalgic memories of his childhood there. Unfortunately, his mother began to see that Sor was becoming greatly distracted from his “chosen” path in the military or administration, and following the advice of friends took him out of the monastery and placed him in military school for four years. It was not a terrible turn of events, as he had much free time to play and compose music in the army as well.[4][10]

In 1808, when Napoleon Bonaparte invaded Spain, Sor began to write nationalistic music for the guitar, often accompanied by patriotic lyrics. Sor was even part of traveling military bands that would play protest music on the streets. He was also promoted to captain in Córdoba and may have fought battles against the French at this time. After the defeat of the Spanish army, however, Sor accepted an administrative post in the occupying government. Here he was to be officially labeled an afrancesado along with the other Spaniards who abandoned their defense of Spain to embrace the French Revolutionary ideas. After the Spanish repelled the French in 1813, Sor and the other afrancesados left Spain for fear of retribution. He went to Paris, and never returned to his home country again.[4]

Paris, London, and Moscow

Having completely abandoned his family’s ideal of a military or administrative post, Sor could finally give music a serious try in France. He gained renown at first as a virtuosic guitarist and composer for the instrument. When he attempted composing for operas, however, he was rejected by the French as a composer. His Op. 7 was a large and strange piece, strangely notated in three clefs, and no guitarist at the time could play it. Since France was no longer supportive of his music, Sor decided to try his talents elsewhere.

In 1815, he went to London, England, to attempt to build a stronger music career there. Again, he started to gain considerable fame as a guitarist, and even gave guitar and voice lessons. Since ballet in London was a more popular genre than opera, Sor decided to try his hand at this new area of music. He began to have considerable success this time, especially with his ballet Cendrillon, the most successful of his works in its own day.[4]

By 1823, once he had acquired a level of fame in London, Sor again wandered away, this time with the ballerina Fèlicitè Hullen to Moscow in her quest to become a prima ballerina. Not much is known about his time in Russia, however, though much has been exaggerated about his romantic and professional life there.[11] After three years in Moscow, he traveled around Europe giving concerts, getting into music circles everywhere he went.[4]

In 1827, due partly to his advancing age, he settled down and decided to live out the rest of his life in Paris. It was during this retirement that he composed the majority of his guitar works. He had to comply with the demands of the public, though, and most guitarists wanted simple, nice-sounding pieces to practice that didn't require any special technical ability. It was in these last ten or so years of his life that his writings reveal his bitterness towards his career for the instrument. For example, Op, 43 is entitled Mes Ennuis (“My Annoyances”), and six of his ballets are dedicated to “whoever wants them.” These and other caustic remarks did not help his sales in the least. The foreword to Op.45 goes even further than sarcasm: “Let’s see if that’s that. Six short and easy pieces in stages which aim to lead to what has generally been agreed are difficulties. Composed and dedicated to the person with the least patience, by Fernando Sor. Opus 45.”[12]

His last work was a mass in honor of his daughter, who died in 1837. Her death sent the already sickly Sor into serious depression, and he died in 1839, of tongue and throat cancer.[4][9]

Quotations

François-Joseph Fétis has called him "le Beethoven de la guitare"[citation needed], though he has also remarked the Sor had failed to produce a good tone[citation needed] on one occasion.[13]

"The creative worth of Sor's guitar sonatas is high. The ideas, which grow out of the instrument yet stand up well enough apart from it, are fresh and distinctive. The harmony is skillful and surprisingly varied, with bold key changes and with rich modulations in the development sections. The texture is naturally of interest too, with the melody shifted from top to bottom, to middle, and frequent contrapuntal bits added. Among the extended forms, the first Allegro movements still show considerable flexibility in the application of 'sonata form', especially in the larger number of ideas introduced and recalled. For that matter, the style still goes back to that of Joseph Haydn and Mozart, especially in the first movement of Op. 22, which has all the neatness of syntax and accompaniment to be found in a classic symphony, and its third and fourth movements, which could nicely pass as a Minuet and Rondo by Haydn."

—The sonata in the classical era (published 1963) (p. 664) by William S. Newman

"How should one perform Sor's music? I believe the answer is with considerably more freedom, expression and passion than has, for the most part, been done in the recent past. Sor, in his method of 1830 has much to say about the use of tone color on the guitar and even discusses how to imitate the various orchestral instruments. This use of color is something that is very uncommon amongst modern guitarists. Ironically Sor says very little about other aspects of expression, but other guitar methods from the era do recommend much use of portamento, arpeggiation of chords, and other expressive devices which most people today consider anachronistic and completely out of style in the interpretation of the guitar music from this very era! (It never ceases to amaze me how so many modern guitarists and musicologists [...] don't even consider the wealth of material and instruction from Sor's era which cries out that this music is meant to be expressed with such devices as dynamics, tone color, portamento, chordal arpeggiation [...]. These same modern guitarists with the conspiratorial support of supposedly enlightened musicologists will often perform this music, sometimes on a "period" guitar, and use practically none of the above-mentioned expressive devices.)"

—Fernando Sor – Master Composer For Guitar?[14]

Works

The cover of the first publication of Sor's Opus 9, it reads "Variations Brillantes sur un Air Favori de Mozart de l'Opéra: la Flûte Enchantée (O Cara Armonía) Pour Guitare Seule Exécutées par l'Auteur au Concert donné à l'Ecole Rle de Musique* et Dédiées à son Frère par Ferdinando Sor. Op. 9 Prix: 3f. Nouvelle Edition augmentée par l'Auteur. À Paris, au Magazin de Musique de A Meissonnier, Boulevard Montmartre, № 25. *l'Ecole Royale de Musique" in stylized text
The original cover of Sor's Variations on a Theme of Mozart, Op. 9, published in Paris in 1821
Opus 31 No. 1
The first piece from Sor's Opus 31, c.1828
Problems listening to this file? See media help.
See also: List of compositions by Fernando Sor

One of Sor's most popular compositions is his "Introduction and Variations on a Theme by Mozart", Op. 9. It is based on a melody "Das klinget so herrlich, das klinget so schön!"[15] from The Magic Flute, which Mozart composed in 1791.[16]

Méthode pour la Guitare

Sor's Méthode pour la Guitare was first published in Paris in 1830 and translated into English by A Merrick in 1832 under the title Method for the Spanish Guitar .

An image of the cover of Sor's Méthode pour la Guitare, the title and author's name appear in stylized text
The original cover of Sor's Méthode pour la Guitare, published in Paris in 1830.

Instructional material

Sor was a prolific and, in his time, quite popular composer—and there was a great demand for him to compose material that was approachable by less accomplished players. The resulting body of instructional studies he produced is not only noteworthy for its value to students of the guitar, but for its inherent musicality. Much of this work is organized in several opuses (in increasing order of difficulty): Opus 60 (25 lessons), Opus 44 (24 lessons), Opus 35 (24 exercises), Opus 31 (24 lessons), Opus 6 (12 studies) and Opus 29 (12 studies).

Instruments used by Sor

Sor undoubtably played guitars by Pierre René Lacôte, mentioning: "M. Lacote, a French maker, the only person who, besides his talents, has proved to me that he possesses the quality of not being inflexible to reasoning".[17]

  • Some guitars of Lacote show Sor's signature: Fernando Sor, the Catalan guitarist living in Paris has signed a number of guitars by René Lacôte – examples now survive in the Edinburgh University Collection of Historic Musical Instruments, Cat. No. 2521; and in private ownership (exhibited at the Londen Early Music Instrument Makers Exhibition, 1991). Sor also lent his name to the instruments of Louis Panormo of London. However, in neither case is the instrument known, then or now, as a "Sor model".[18]

A guitar of Lacote that was signed by Sor is displayed at the Metropolitan Museum of Art: 1. In his method, Sor mentions: "[...] if I wanted an instrument, I would procure it from M. Joseph Martinez of Malaga, or from M. Lacote [...]
The guitars to which I have always given the preference are those of Alonzo of Madrid, Pagès and Benediz of Cadiz, Joseph and Manuel Martinez of Malaga, or Rada, successor and scholar of the latter, and those of M. Lacote of Paris. I do not say that others do not exist; but never having tried them, I cannot decide on that which I have no knowledge." In his method, he also mentions that "J. Panormo" of London and "Mr. Schroeder of Petersburgh", made some guitars under his direction; but it is curious that he mentions them only in regard to his own guitar design ideas, which are today partly critically viewed. Guitars made according to Sor's design have not yet been located.

References

  1. ^ a b Tracie Ratiner, ed. (2005). Encyclopedia of World Biography. 25 (2nd ed.). Detroit: Gale. pp. 394–396. 
  2. ^ a b "Josep Ferran Sorts i Muntades". Enciclopèdia Catalana. http://www.enciclopedia.cat/fitxa_v2.jsp?NDCHEC=0063750. 
  3. ^ Carme Morell i Montadi (1995). El teatre de Serafí Pitarra. L'Abadia de Montserrat. http://books.google.com/books?id=1YTjZFwpMPsC&pg=PA37&lpg=PA37&dq=%22Ferran+Sorts+i+Muntades%22&source=bl. 
  4. ^ a b c d e f Fernando Sor: composer and guitarist‎ by Brian Jeffery
  5. ^ Baltasar Saldoni (1856). Reseña histórica de la escolanía ó colegio de música de la Vírgen de Montserrát. Imprenta de Repullés. http://books.google.com/books?id=HNXHp345zgkC&pg=PA59&dq=fernando+sor&lr=&as_drrb_is=b&as_minm_is=0&as_miny_is=1800&as_maxm_is=0&as_maxy_is=1900. 
  6. ^ F. J. Fétis (1810). Revue musicale. http://books.google.com/books?id=m8EPAAAAYAAJ&pg=PA24&dq=%22Ferdinand+Sor%22&as_brr=1. 
  7. ^ Recensionen: Guitarre-Schule von Ferdinand Sor. Breitkopf und Härtel. 1810. http://books.google.com/books?id=T_Y4AAAAIAAJ&pg=PA557&dq=%22Ferdinand+Sor%22. 
  8. ^ "Cover of Sor's Op. 9 Mozart-Variations". http://en.wikipedia.org/wiki/File:Sor_Mozart.png. 
  9. ^ a b Cecilia Ruiz de Ríos, Nicaraguan historian
  10. ^ Wolf Moser, “Fernando Sor: The Life and Works of a Reluctant Guitarist, Part One.” from Classical Guitar Magazine November 2007
  11. ^ Matanya Ophee, “Fernando Sor and the Russians” from Soundboard Magazine
  12. ^ Wolf Moser, “Fernando Sor: The Life and Works of a Reluctant Guitarist, Part Two.” from Classical Guitar Magazine December 2007
  13. ^ "Leonhard Schulz: Recollections of Ireland Op. 41". Guitar And Lute Issues. http://www.guitarandluteissues.com/irish.htm#FN4REF. 
  14. ^ "Fernando Sor – Master Composer For Guitar?". Lawrence Johnson. http://www.crgrecordings.com/PDF-Files/essays.PDF. 
  15. ^ Neue Mozart-Ausgabe. "Mozart: Die Zauberflöte (Partita – see p. 157; bar 301 – Monostatos und Sklaven...)". http://dme.mozarteum.at/DME/nma/scan.php?vsep=73&l=&p1=157#157. 
  16. ^ Arthur J. Ness. "Fernando Sor's Mozart Variations, Op. 9". http://mysite.verizon.net/vzepq31c/musexx/id14.html. 
  17. ^ Fernando Sor. "Méthode pour la Guitare". Tecla. http://www.tecla.com/catalog/0389.htm. 
  18. ^ Innovation and the Development of the Modern Six-String Guitar by Darryl Martin (The Galpin Society Journal, Vol. 51, (Jul. 1998)

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Oxford Grove Music Encyclopedia The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved. Read more
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