93960 sor complete fantasiasfor guitar booklet

Sor

Fernando

Complete Fantasias for Guitar

Stefano Palamidessi

3CD

Fernando Sor

Complete Fantasias for Guitar CD1

67’51 Fantasia n. 1 in C minor (dedicated to Ignaz Pleyel) op. 7 18’38 1. Largo non tanto 2. Andante with variations Fantasia n. 2 in A major op. 4 * 6’00 3. Andante Largo 4. Rondo Allegretto Fantasia n. 3 in F major op. 10 * 14’12 5. Andante Largo 6. Andante Cantabile with variations

Fantasia n. 4 in C major (dedicated to Frederic Kalkbrenner) op. 12 16’32 7. Larghetto Cantabile 8. Andante con Moto with variations Sérénade in E major op. 37 12’29 9. Andante Cantabile 10. Andantino 11. Allegretto 12. Allegretto

CD2

Fantasia in D major on a Schottish theme op. 40 8’56 8. Introduction, Andante Moderato 9. Tema with variations Fantasia in A major “Souvenir d’Amitié (dedicated to Jules Regondi) op. 46 8’12 10. Andante Moderao 11. Andantino 12. Allegretto La Calme, Caprice in E major op. 50 11’09 13. Andante

72’38 Fantasia n. 5 in C major (on “Nel cor più non mi sento” of Paisiello) op. 16 24’43 1. Andante Largo 2. Andantino Cantabile with variations Fantasia n. 6 “Les Adieux!” in E minor op. 21 (dedicated to Francesco Vaccari) * 6’02 3. Andante Largo 4. Un poco mosso Fantasia n. 7 in E minor (dedicated to Denis Aguado) op. 30 * 13’36 5. Introduction, Lentement 6. Allegretto with variations, Lentement 7. Allegretto

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Stefano Palamidessi, guitar

Stefano Palamidessi, guitar

CD3

Fantasia Villageoise in A minor (dedicated to Denis Aguado) op. 52 1. Andantino 2. Appel, Danse Allegro 3. Prière Morceau de concert in D major op. 54 4. Introduction, Andante Largo 5. Andante with variations 6. Allegro Fantasia “Souvenirs d’une Soirée à Berlin” in D major op. 56 7. Andante 8. Allegro, Mouvement de Valse Fantasia in A minor op. 58 9. Introduction, Andante Largo 10. Andante 11. Mouvement de Valse

72’16 11’13

15’28

Fantasia in D minor op. postuma 11’34 12. Introduction, Andante Largo 13. Andantino 14. Allegretto Vivace Fantasia Elegiaca in E minor op. 59 15’35 15. Introduction, Andante Largo 16. Marche Funébre, Andante Moderato Stefano Palamidessi, guitar

9’50 8’36

Fernando Sor (1778-1839) deepens in his own studies at the historical monastery of Montserrat his knowledge of the vocal and instrumental polyphonic heritage of the previous centuries.

While studying counterpoint, harmony, singing and organ, Sor practises the repertory of composers such as Gabrieli, Vecchi, Willaert, Frescobaldi, Sweelinck, thus assimilating the stylistic development of the organ Fantasy to the point of the extreme consequences in the Bachian art. In his home country Spain, Sor plays all the important productions for pizzicato (“plucked”) string instruments – in the first place la vihuela , which specific use had

* Recorded from 15th to 17th of March 2009 at Castello di S.Polo in Rosso - Chianti Officina della Musica

generated new and more stylized polyphonic models – : therefore the works of composers such as Mudarra, de Fuenllana, Milan and de Narvaez have equally contributed to the education of Sor. This respect for the great polyphonic tradition will influence on one hand Fernando Sor’s entire work; while on the other hand he is fascinated by the music of Haydn and Mozart, from whom he picks up the formal models and the stylistic elements of classicism. Moreover, his illuminated and open-minded personality, combined with some events in his private life, first bring him to France in 1813 and then, in 3

the following years, throughout the whole of Europe and Russia. In these years Sor gets a strong impulse from the new pre-romantic and romantic movement and he manages to get to know all the great pianists of that time, for whom he shows a great deal of consideration.

In this variegated context Sor dedicates a series of important compositions to the guitar; 4 Sonatas, 8 varied Themes and 15 Fantasies.

These last ones, ordered by number or by date (from the first years of 1800 to his death in 1839), are the most representative works for his musical evolution. We find in them – though refined – polyphonic citations with a more confident of harmony, the stylistic decorum of classicism and moments of romantic withdrawal; all of this in a constant elaboration of idiomatic guitar notation. Sor starts to look for a specific sound and succeeds in becoming and intimist alternative for the unbridled piano literature he deeply admires. From a more strict and formal point of view, the Fantasies of Sor converge into the tendency of the developing concert phenomenon which is inherent to the first half of the nineteenth century, we can refer to great coeval virtuosos such as Kalkbrenner, Bertini, Field and Thalberg. The Fantasies, on original Themes or even more frequently on given Themes (opera arias or popular tunes), give – through the principle of variations – a maximum prominence to not only the technical-expressive abilities of the instrument but also to the skill of the interpreter-composer.

According to the tradition in the eighteenth century, the Fantasy generically takes a tripartite form; the core of Variations is preceded by a 4

slow introduction and followed by a Finale, which is often a waltz or another dance of a brilliant nature. Though in line with these principles, Fernando Sor, who was characterised as a intimist personality, gives the best of himself in the introductive sections: they form the expressive heart of his compositions: through them he highlights his instrumental and tone colour expertise. Some of his Fantasies have a more romantic character or a programmatic intention; they move away from this structure, which results in a greater liberty specifically set out for expressive purposes.

The Fantasy in C minor op. 7 seems to be the first Fantasy composed by Sor – though it caused a later work – and it preceded his relocation from Spain to France. The first print from 1814 is typical, because Sor chooses a notation on a double staff, similar to what is used for pianoforte. He thus emphasizes the graphic need of giving clarity to the dense polyphony of the piece. The Fantasy, dedicated to the Parisian pianist and editor Ignace Pleyel, opens with an expressive introduction – Largo non tanto – that echoes Beethovian styles and that appears to be a manifesto on the possibilities of the guitar: the notation in four parts, the wideness of the register, the combination of harmonious and natural sounds: these are some of the devices the composer uses to realise his ambitious project. In the Theme and the seven Variations that follow, Sor continues to explore – based upon classicist style elements – the instrumental possibilities by introducing l’étouffé, a particular effect which dims the sound. He also uses this effect in the Coda Finale.

The Fantasy n. 2 in A major has smaller pretensions and dimensions: a brilliant and delightful Rondo follows the Andante Largo introduction.

In the Fantasy n. 3 in F major he turns to structures and dimensions similar to the first Fantasy. Sor experiments with the crosstuning of the sixth string from E to F, a highly innovative procedure in this age: by changing the series of harmonics the instrument produces new resonances which give the piece a particular colour.

Dedicated to the pianist Friedrich Kalkbenner, the Fantasy n. 4 in C major is based upon a motive that was much in vogue during that era.

The Larghetto Cantabile introduction is followed by the Theme and an ample cycle of seven Variations, with a Coda Finale.

CD 1 closes with the Sérénade in E major op.

37. The piece is in form similar to the other fantasies by Sor but is in reality not part of them. It opens with an Andante Cantabile introduction (E major, 6/8), which is connected to the following Andantino (E Minor 2/4). A suspension achieved by a grand pause introduces a new and long section (C major, 6/8), which takes us to the Allegretto (E minor, 2/4) and to the Coda Finale (E major). The Sérénade, imbued with an easy brilliance, presents a rare imitation effect of a trumpet with a mute.

The aria “Nel cor più non mi sento” by Paisiello inspired a lot of composers: even Sor does not escape its charm: he publishes Fantasy n. 5, the most extended of all his fantasies. After a long introduction Andante Largo , he introduces the Theme in C major. This Theme is followed by

a cycle of 9 Variations with a Coda Finale. In these Variations he uses all technical and tone colouring devices: ligature, repeated notes, harmonic sounds, up to a stage Variation which is realised with only the left hand.

The Fantasy n. 6 in E minor, titled “Les Adieux!” is dedicated to the violin player Francesco Vaccari and is composed in London in 1816. It is a rather small Fantasy, with a stretched and reflective introduction and an un poco mosso part that delicately closes the piece.

Still in E minor, the Fantasy op. 30 is based upon two popular Themes and has a completely different character than the preceding op. 21.

The introduction Lentement is full of pathos and preannounces the Theme of the following section: the Allegretto with 4 Variations. A reprise of the introduction leads to a new and articulated section in a 6/8 time which closes the part. The piece is dedicated to a contemporaneous guitar virtuoso and friend Denis Aguado: the lively character of the piece is also highlighted in the title page of the original edition, that is titled “7e Fantaisie et Variations Brillantes ” The Fantasy in D major op. 40 is formally made of a popular Scottish Theme, preceded by an introduction and followed by three Variations.

The lingo is simple, deprived of all emotional intensity: this becomes very plausible if one is aware of his dedication to his Scottish pupil, Mary Jane Burdett. The successive Fantasy in A major op. 46 is dedicated to the (then) child prodigy Giulio Regondy; who had already reaped successes in London for his extraordinary guitar skills.

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CD2 ends with La Calme, Capriccio in E major op. 50. The piece is programmatically conceived and the serene atmosphere that characterises the piece from the beginning is kept intact, even when its sections proceed.

The descriptive capacity of the music becomes didactic in the Fantasia Villageoise in A minor op. 52. The piece explicitly titles, after an Andantino opening, the successive sections: Appel, the call signal of the village’s inhabitants; Danse, the description of the feast; Prière, the soft collective praying preceded and interposed with imitations of the church bells. This Fantasy is also dedicated to the guitarist Denis Aguado.

Published in 1832 and enthusiastically received – even by François-Joseph Fétis, the critic of the Revue Musicale, who normally opposed the guitar – the Morceau de concert in D major op.

54 is certainly one of the most significant pieces in the form of a Fantasy. The stylistic elegance and the invention of melody, harmony and tone colour pervade the whole piece; the structure is common: an Andante largo introduction, an Andante with six Variations and, through a modulated bridge, an Allegro in the form of a Waltz.

The successive work is again a Fantasy, entitled “Souvenirs d’une Soirée à Berlin” . Sor passed through Berlin when he returned from Russia in 1823: the piece, which consists of an introduction followed by a brilliant and articulated Waltz, appears to be the souvenir of a dance evening in the German city.

The Fantasy in A minor op. 58, published in 1835, follows the model which seems to have fascinated Fernando Sor ever since his op. 46: an 6

introduction Andante Largo, a varied Andante and a Mouvement de Valse. The piece is dedicated to one of his Parisian pupils, Madame Boischevalier.

The serene inspiration also characterizes the Fantasy in D minor: posthumously published, probably composed in 1833 and dedicated to his pupil Mademoiselle Natalie Houzé. The introduction with gloomier tones in D minor leads to the exposition of a melody with a radiant character – Andantino in D majorwhich is then varied with much skill. Through a bridge, one reaches the Allegretto vivace. This is sort of a “gallop” that reminds us of the then widespread and brilliant style of Rossini.

The conclusive Fantasia Elegiaca in E minor op.59 is of another depth. The work sort of laments the death of Madame Charlotte Beslay, a renowned pianist who was associated with the greatest coeval musicians that lived in Paris, from Rossini to Chopin. The piece, the last work composed for solo guitar by Sor, is one of great emotional intensity and highlights the more romantic aspect of the composer. The form is dictated by the expressive needs and, after the exhausted introductory Andante Largo, the successive Marche Funèbre, preannounces the much more famous piece Frédéric Chopin composed in 1839, the year Fernando Sor died.

Original text by Stefano Palamidessi, translated by Kathy Vincent

Stefano Palamidessi Stefano Palamidessi studied guitar and composition and graduated summa cum laude from the “San Cecilia” conservatory of Rome.

He won more than 20 competitions for guitar, including the International Contest “Mauro Giuliani”, “Fernando Sor”, “Lagonegro” for contemporary music, “Emilio Pujol”. At the age of twenty he started his concert activities and held concerts throughout the world; not only as a soloist, but also with (an) orchestra and in collaboration with other prestigious soloists. He often plays in international concert halls and at prominent Festivals like Autunno Musicale of Como, Teatro Rendano of Cosenza, Teatro Ghione of Rome, Teatro delle Erbe of Milan, Teatro Piccinni of Bari, Auditorium Conciliazione in Rome, Fermo Festival, Wiener Festwochen, Ljubljana Festival, University of Belgrade, Conservatory of Zagreb, Palais Wittgenstein of Dusseldorf, Cordoba Guitar Festival, Tychy Guitar Festival, Bath Festival, Brno Festival, Mikulov Festival, Santo Tirso Festival, Israel Guitar Festival, Tsavta Hall of Tel Aviv, Parco della Musica in Rome, Rebecca Crown Auditorium of Jerusalem, Guitars Festivals of Berlin, Madrid, Stockolm, Liverpool, Paris, Rome, Milan, Turin, Siracusa, Parma, etc.

He has made video and audio recordings for the three networks of RAI, Telemontecarlo, Radio Vaticana and for Yugoslavian, Czech, English, French, Spanish, Polish, Dutch and Israelian broadcasting companies. As a soloist and and a member of numerous chamber music ensembles he has recorded ten CD’s for the labels Nuova

Era, Ribot Classic, EdiPan, Rivo Alto, Niccolò and Guitart Collection.

He holds master classes in Italy and abroad.

He is Professor and Chairman of Guitar in the first and second graduate courses at the Music Conservatory of Perugia.

He actively occupies himself with musical organisation by leading symphonic and chamber music seasons, festivals, competitions and exhibitions. Moreover, he is the Didactic Principal of the Civica Scuola delle Arti (the Public Art School) of Rome.

He wrote the “Study method and technical exercises for guitar” published at 1999 by Edizione Musicali Santabarbara. In January 2000 he has inaugurated a series of guitar methods “Guitart”, with a publication on the studies of Fernando Sor (analyses, indications of phrasing, articulation and fingering), and he is now about to publish his second study on guitar techniques “Guitar investigations” for the Canadian editions Les Productions d’Oz.

Guitar: Antonino Scandurra Production: SONICVIEW soundfactory Recording Engineer: Matteo de Rossi Recording Supervisor: Michele Sganga Recorded from January to May 2010 at Sonicview Studio - Rome 7

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