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sor thesis fernando



  • sor thesis fernando
  • The Spanish Guitar
  • Statistics
  • Sor Etudes. Issue Date: Jul Publisher: University of Sydney the Catalonian guitarist and composer Fernando Sor (–) also composed Appears in Collections: Sydney Digital Theses (University of Sydney Access only ). Essay #1 FERNANDO SOR - MASTER COMPOSER FOR GUITAR? Essay #2 ON "PERIOD" GUITARS AND 19TH CENTURY GUITAR MUSIC Essay #3 WHAT. Nov 27, Guitar Sonatas of Fernando Sor and Mauro Giuliani. Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Dr.

    sor thesis fernando

    His miniatures are also very much in the Romantic time-period and style. Yet, despite his choice and freedom of forms, Sor often but certainly not always seemed to have a certain harmonic nostalgia for Haydn and Mozart, both of whom he expressed great admiration for. The best way that I can describe Sor is that the best of his music has the sublime simplicity of late classicism and the lyric spontaneity, exquisiteness, freedom and majestic grandeur of early romanticism.

    Indeed, one could divide the 19 th century into two schools of compositional thought - the "avant-garde" school of Berlioz, Liszt, Wagner and Mahler and the reaction to this "avant-garde" or the more conservative and "looking back" school of Mendelsohn, Schumann, and Brahms. I view Sor as something of a pre-Mendelsohn member of this second group.

    Are all Sor's works unequivocal masterpieces? No, but I believe that many are and the rest are eminently worth studying, playing and hearing. How many of the acknowledged great masters can be characterized as writing only unequivocal masterpieces?

    In my mind, one thing for certain is that Sor had one of the finest lyric gifts of all composers. And was Sor's concept of harmony truly conservative? Perhaps, but I think not. I feel that he was merely trying to write effectively for the guitar. We must remember that the guitar especially the small 19th century instrument was incapable of the dynamic range and thunderous sounds of the piano and symphony orchestra.

    Indeed the increased modulation and color of 19th century "Romantic" harmony seems to be directly related to the increased dynamic range of 19th century piano and symphonic music. Perhaps Sor felt that it simply was not practical to write for the guitar in the same harmonic manner as those contemporary masters of the piano and orchestra.

    Therefore it is my theory that as the 19th century wore on, the intimate, small-voiced guitar became completely misaligned with these musical tendencies and goals. And it went totally out of fashion and became temporarily obsolete largely for these reasons. Of course all these factors make one ask the question: 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 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 can be so sure that the Sor interpretations of great past artists such as Segovia were anachronistic and lacked authenticity and yet 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, etc.

    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.

    In my own case, I readily admit that my approach to Sor is highly instinctive and personal. And it may very well have little to do with authenticity. But then I feel that achieving authenticity - especially in Sor - is something that today is not even remotely possible.

    I simply desire to get the last drop of expression from the barren and inexplicit scores that we presently have of Sor's music. At this point I should like to return to my original question. Is Sor a great master from his era. My personal belief is - yes, his music has great spiritual qualities and value. But you, the listener cannot decide this without hearing some kind of quality performances of it. Unfortunately, due to the unusual history of the guitar, much of the best of his music is that which is the least heard.

    And the music that is known is often heard in questionable performances. Therefore, I fervently hope that with these recordings of his solo guitar music, we can at least begin the process of a greater general understanding and appreciation of Sor's very individual contribution to the guitar and the entire art of music.

    This period also saw the addition of a sixth course, and instruments became wider, making internal bracing all the more necessary. The earliest guitar with fan bracing is thought to have been made in Seville by Francesco Sanguino in From the beginning of the nineteenth century, the six double-course guitar, with pairs of unison strings, began to give ground to those with six strings.

    There was a fascination with Spanish guitar music throughout the nineteenth century and a growing demand for these instruments to be used in concert halls. Works by Sor, Paganini, and Berlioz were transforming the amateur image of the guitar into an object of musical finesse.

    Martin in New York, in Martin was well trained in the Viennese school of guitar making, but in America it soon became evident that he would have to accommodate the demand for Spanish-style guitars. By the end of the s, Martin was advertising his ability to manufacture Spanish guitars, instruments that he also actively imported into the country.

    Many small alterations took place in the first half of the nineteenth century, all leading up to what can be described as the concert guitar , exemplified in the work of Antonio de Torres. Workshops introduced raised fingerboards, bridges with saddles, and new designs for the soundboard.

    Torres, whose work began in the s, standardized many of these features and produced instruments that received speedy recognition for their merits. His instruments were praised for their tone, and his designs for fan bracing were quickly taken up by other guitar makers. An instrument by Pedro Fuentes Its lightweight construction, with the back and sides made of cypress and wooden friction tuners, is well adapted for flamenco music, where the player usually holds the instrument up without support from the left leg.

    In the s, he encountered the German guitar maker Hermann Hauser, about whom he observed:. Romanillos , p. Hauser later approached Segovia and presented him with a guitar The twentieth century has seen innovation of a different kind; guitar makers did not face the same design problems as they did a century before.

    It was the task of nineteenth-century guitar makers to produce a concert instrument capable of filling a large room with sound; this was achieved by Torres, and his designs remain the benchmark to this day. A guitar by Ignacio Fleta Whereas Torres and his predecessors are noted for their daring innovation, makers since have chiefly concerned themselves with minor adjustments in the internal barring structure and in the materials used.

    Spanish guitar makers today by necessity have to be educated in the innovations of these grand masters. Guitar music. Notes Published on demand. Thesis Ph. View online Borrow Buy. Set up My libraries How do I set up "My libraries"? These 2 locations in All: The University of Melbourne Library. University of Sydney Library.

    Open to the public ; This single location in New South Wales: This single location in Victoria: Open to the public Thesis English Show 0 more libraries

    The Spanish Guitar

    Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi: a thesis submitted to Massey University. Oct 9, Fernando Sor, perhaps the most prominent guitar composers of the This dissertation is part of the collection entitled: UNT Theses and. In February Fernando Sor revealed his guitar works to be the product of a “ system”, which he explained in his Méthode pour la Guitare in , also.




    Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi: a thesis submitted to Massey University.

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