For Guitar. Composed by Fernando Sor. Edited by Riccardo Del Prete; Lucio Matarazzo. Paperback (Soft Cover). Lucio Matarazzo Collection. Classical. Score. Ut Orpheus #CH 332. Published by Ut Orpheus (UT.CH-332).
ISBN 9790215326507. 9 x 12 inches.
In the making of this publication we followed the three original editions Milhouse, Meissonnier and Simrock, printed when the composer was still alive. We have made comparisons between them and we have analysed them in the light of the other posthumous editions. Every detail has been considered respecting the available historical evidences, with the purpose of defining the way in which Sor actually considered these pieces. Notwithstanding historical practice has been an important reference in the search of different solutions, our choices have always been guided by the search of a balance between the misprints, omissions and the actual wish of the composer in each one of the many versions. Our actual purpose has been, for this reason, to provide the reader (even though with the due doubts which only Sor could have clarified) with a clear and intelligible text for the today’s training of the guitarist, who, necessarily, has to pit him/herself with Sor, composer and teacher.
For Guitar. Composed by Fernando Sor. Edited by Riccardo Del Prete; Lucio Matarazzo. Paperback (Soft Cover). Lucio Matarazzo Collection. Classical. Score. Ut Orpheus #CH 332. Published by Ut Orpheus (UT.CH-332).
ISBN 9790215326507. 9 x 12 inches.
In the making of this publication we followed the three original editions Milhouse, Meissonnier and Simrock, printed when the composer was still alive. We have made comparisons between them and we have analysed them in the light of the other posthumous editions. Every detail has been considered respecting the available historical evidences, with the purpose of defining the way in which Sor actually considered these pieces. Notwithstanding historical practice has been an important reference in the search of different solutions, our choices have always been guided by the search of a balance between the misprints, omissions and the actual wish of the composer in each one of the many versions. Our actual purpose has been, for this reason, to provide the reader (even though with the due doubts which only Sor could have clarified) with a clear and intelligible text for the today’s training of the guitarist, who, necessarily, has to pit him/herself with Sor, composer and teacher.
Preview: 24 Studies Op. 6 and Op. 29
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