Three Minuets, Op. 11 
1 	No. 6 In A Major: Andante Maestoso 	2:25
2 	No. 7 In A Minor: Andante 	2:05
3 	No. 8 In A Major: Andante Con Moto 	2:45

4 	Air: Oh Cara Armonia	9:29
5 	Menuet In C Minor, Op. 24/1 	2:58
6 	Menuet In C Major, Op. 5/3 	1:30
7 	Andante Largo, Op. 5/3 	7:46

Two Minuets, Op. 11 
8 	No. 5 In D major: Andante Maestoso 	2:14
9 	No. 4 In D major: Andante Con Moto 	3:08

From 'Studies For The Spanish Guitar', Op. 6 
10 	No. 2 In A major: Andante Allegro 	1:29
11 	No. 8 In C major: Andantino 	1:16
12 	No.9 In D Minor: Andante Allegro 	3:13
13 	No.11 In E Minor: Allegro Moderato 	3:07
14 	No.12 In A Major: Andante 	4:44

15 	Grand Solo, Op. 14: Andante, Allegro 	10:50
16 	Menuet In G major, Op. 3 	2:34

William Carter - guitar

Guitar fans will be intrigued by Fernando Sor: Early Works, the third solo album from the world-renowned guitarist, William Carter. This recording presents a unique performance of a delightful collection of early works by the Spanish guitar virtuoso and composer, Fernando Sor.

Fernando Sor: Early Works sees Carter explore the performance practice the composer employed - using his finger pads rather than finger nails - and offers the premiere recording of Sor's music played in this style. Sor's works are often played using the nails as this enables louder and faster finger work which delivers a more 'virtuosic' performance. William comments: 'Recording Sor's solo guitar music without fingernails was at first a fairly daunting prospect - probably why it hasn't been attempted until now. The sensation of playing without fingernails has been compared to trying to eat steak without teeth. My first attempts didn't go too well, but with a bit of time and perseverance I found a key: precision of attack and a clear mental idea of the sound required, rather than strength.'

In this recording the use of finger pads allows more dynamic contrast thus allowing the tune to really sing: the sound is softer and more subtle. 'I really like the warmer vocal quality that fingertips give' states Carter 'and this was evidently important to Sor as well - he likened the sound of fingernails to that of the harpsichord, and fingertips to that of the piano.' ---linnrecords.com

Among the guitarist-composers of the Classical and early Romanticperiods – Carulli, Carcassi, Giuliani, Aguardo and others – Spaniard FernandoSor (1778-1839) was perhaps the most gifted compositionally. Best known in hisday for his vocal and ballet music, he also wrote numerous fine miniatures andmore extended works for solo and duo guitar, many of which are still in therepertoire.

Here, period-instrument specialist William Carter, whose disks of the Baroque guitar music of Francesco Corbetta and Santiago de Murcia are models of their kind, turns his attention to the early solo works of Sor via a guitar built by Tony Johnson after various 19th-century instruments. And while there are other recordings available of Sor’s music on period instruments, such as those by José Miguel Moreno and Agustín Maruri, this is a first in that Carter also plays, as did Sor, with the flesh of the fingertips rather than the nails.

The use of an instrument which is lighter and smaller than a modern classical instrument and the fingertips of the right hand results in a delicate yet surprisingly broad range of tones and colours that perfectly evokes the period-instrument sound world in a chamber or orchestral context. This, combined with Carter’s refined musicianship and trademark dynamic shading shows the selection of Sor’s minuets, the famous Variations on a Theme by Mozart, the beautiful Mozartian Andante largo, some of the better-know studies from Op 6 and the masterful Grand Solo to be so much more than merely well carfted salon music. Superb. ---William Yeoman, The Gramophone

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1 Fantasie pour guitare seule - I. Andante largo 		2:01 		
2 Fantasie pour guitare seule - II. Andantino 		4:10 		
3 Fantasie pour guitare seule - III. Allegretto vivace 		5:25 		
4 Fantasie Villageouise, Op.52 - I. Andantino 		3:56 		
5 Fantasie Villageouise, Op.52 - II. Danse: Allegretto - Priere 		7:26 		
6 Morceau de Concert, Op.54 -I. Introduction: Andante largo - Theme And  Variations	12:48 	
7 Morceau de Concert, Op.54 -II. Allegro 		4:04 		
8 Souvenirs d'une Soirée à Berlin, Op.56 - I. Andante – Allegretto Mouvement de valse	10:51 	
9 Six Valses et un Galop, Op.57 - I. Valse No.1 		1:41 		
10 Six Valses et un Galop, Op.57 - II. Valse No.2 		2:02 		
11 Six Valses et un Galop, Op.57 - III. Valse No.3 		1:48 		
12 Six Valses et un Galop, Op.57 - IV. Valse No.4 		2:03 		
13 Six Valses et un Galop, Op.57 - V. Valse No.5 		2:19 		
14 Six Valses et un Galop, Op.57 - VI. Valse No.6 		4:15 		
15 Six Valses et un Galop, Op.57 - VII. Galop 		2:04 	

Adam Holzman – guitar

Spanish composer Fernando Sor (originally Sors), despite having composed prolifically for various vocal and instrumental ensembles, is remembered today chiefly as a virtuoso guitarist whose hundred-plus compositions for that instrument constitute a vital part of its concert repertory. While the exact date of Sor's birth remains unknown, he is known to have been born in Barcelona and baptized on Valentine's Day in the year 1778. Of Catalan ancestry, Sor attended the choir school at Montserrat monastery and later enrolled in Barcelona's military academy. After the production of his opera Telemaco nell'isola de Calipso in 1797 he moved to Madrid, where he served in a number of minor administrative positions and continued to compose privately. During the French invasion of 1808 Sor's military background and patriotism roused him to fight against the invaders, though by 1810 he had resigned himself to the presence of the new regime; when the French withdrew three years later Sor opted, along with countless other Spanish artists and intellectuals, to return to Paris with them.

After two years of teaching guitar and performing in various Parisian venues, Sor moved to London and remained there for eight years (1815-1823). Many of his works were published there, and his thirty-three Italian vocal ariettas (published in groups of three) made a particularly strong impact. Sor also gained fame after directing his energies toward the ballet; Cendrillon (1822) achieved the most favorable critical and public response and was successfully transplanted to Paris in 1822. When the Bolshoi theater in Moscow showed an interest in the work for the 1823 season, Sor accompanied the lead dancers to Moscow. He limited his compositional activities to music for the guitar while staying in Russia, and by the time he returned to Paris in 1826 he had several works for the instrument ready for publication and had completed much of the work on a Méthode pour la guitare, eventually published in Paris in 1830. Except for occasional trips abroad, such as a journey to London in 1828 to oversee production of a new ballet, Hassan et le calife, Sor remained in Paris, composing and teaching guitar, until his death in 1839.

Much of Sor's music that has survived (two symphonies, three string quartets and any number of smaller pieces have been lost since his death) has been abandoned by performers, but his music for the guitar lives on. Much of his reputation is based on the continued use of his Méthode by teachers and students of classical guitar. Sor's musical style derives largely from an awareness of the late eighteenth century German masters (in particular Haydn); his guitar music, with its independent voices and occasionally contrapuntal textures, shows a tendency to move away from the largely chordal textures that had been common up to that point. --- Blair Johnston, Rovi

Fernando Sor o Fernando Sors (o con su nombre catalán Ferran) (13 de febrero de 1778 – 10 de julio de 1839) fue un guitarrista y compositor español nacido en Barcelona. Se le conoce a veces como el “Beethoven de la guitarra” en España.

Nacido en el seno de una familia bastante acomodada, Sor descendía de una larga línea de soldados e intentó continuar esa tradición, pero se apartó de ella cuando su padre le introdujo en la ópera italiana. Se enamoró de la música y abandonó la carrera militar. Junto a la ópera, su padre también le orientó hacia la guitarra cuando, por entonces, era poco más que un instrumento tocado en tabernas, tenido por inferior a los instrumentos de la orquesta.

Sor estudió música en la Escolanía del Monasterio de Montserrat, próximo a Barcelona, hasta que su padre murió. Su madre no pudo seguir financiando sus estudios y lo retiró. Fue en este monasterio donde comenzó a escribir sus primeras piezas para guitarra. En 1797 tuvo lugar en Barcelona el estreno de su ópera Telémaco en la isla de Calipso.

En 1808, cuando Napoleón Bonaparte invadió España, pasó a escribir música nacionalista para la guitarra, acompañada a menudo por líricas patrióticas. Después de la derrota del ejército español, Sor aceptó un puesto administrativo en el gobierno de ocupación, bajo la monarquía de José Bonaparte. Tras la expulsión de los franceses en 1813, Sor y muchos otros artistas y aristócratas que simpatizaron con los franceses abandonaron España por miedo a las represalias. Se fue a París, y nunca volvió a su país de origen. En París hizo amistad con muchos músicos entre ellos el también guitarrista español Dionisio Aguado, colaborando estrechamente e incluso conviviendo juntos durante un tiempo. Compuso un dueto para los dos (Op.41, Les Deux Amis, los dos amigos en el que una parte está marcada «Sor» y la otra «Aguado»).

Comenzó a ganar renombre entre la comunidad artística parisiense por sus habilidades para la composición y por su capacidad para tocar la guitarra, e inició ocasionales viajes a través de Europa, obteniendo considerable fama y convirtiendo la guitarra en un instrumento de concierto. Estuvo en Inglaterra en 1815 donde fue reconocido como compositor de óperas y ballets. En 1823 viajó a Rusia donde escribió y presentó exitosamente el ballet Hércules y Onfalia con motivo de la coronación del zar Nicolás I. En 1827, debido en parte a su avanzada edad, se asentó y decidió vivir el resto de su vida en París. Durante este retiro compuso muchas de sus mejores obras, entre otras una didáctica: Método para guitarra, publicado en 1830 y traducido a varios idiomas.

Su última obra fue una misa en honor de su hija, muerta en 1837. Esta muerte sumió al ya enfermo Sor en una seria depresión, y murió míseramente en 1839. ---last.fm

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1. March from Cendrillon: March (arr. of Cendrillon)	2:57
2. 6 Divertimentos, Op. 1: No. 1. Andante	1:19	
3. 6 Divertimentos, Op. 1: No. 2. Allegretto	1:50
4. 6 Divertimentos, Op. 1: No. 3. Larghetto	3:05
5. 6 Divertimentos, Op. 1: No. 4. Andante	1:28	
6. 6 Divertimentos, Op. 1: No. 5. Theme and Variations		6:06
7. 6 Divertimentos, Op. 1: No. 6. Marcia	2:39
8. 6 Divertimentos, Op. 2: No. 1. Tempo di minuetto	0:51	
9. 6 Divertimentos, Op. 2: No. 2. Waltz	1:27
10. 6 Divertimentos, Op. 2: No. 3. Andantino	3:10	
11. 6 Divertimentos, Op. 2: No. 4. Tempo di minuetto	1:25	
12. 6 Divertimentos, Op. 2: No. 5. Waltz	1:32
13. 6 Divertimentos, Op. 2: No. 6. Siciliana	7:57	
14. 6 Sets of variations, Op. 20: Theme varie	7:36
15. 6 Sets of variations, Op. 20: Minuet		2:14	
16. 5 Fantasias, Op. 4: Fantasia No. 1, Op. 4	5:03	
17. 6 Short Pieces, Op. 5: No. 1. Menuet	0:50
18. 6 Short Pieces, Op. 5: No. 2. Valse	1:17	
19. 6 Short Pieces, Op. 5: No. 3. Menuet	1:30	
20. 6 Short Pieces, Op. 5: No. 4. Allegro	3:35
21. 6 Short Pieces, Op. 5: No. 5. Andante largo	7:48
22. 6 Short Pieces, Op. 5: No. 6. -	1:22

Norbert Kraft – guitar

The Catalan composer and guitarist Fernando Sor is chiefly known for his many guitar compositions. Although originally opposed to the Napoleonic invasion of Spain, he later accepted a position under the French government. He was, in consequence, subsequently obliged to seek refuge abroad (London and Paris) but established himself as a successful performer, teacher and composer.

Sor published a quantity of music for guitar, some of it pedagogical in purpose and some of it for concert performance. His Méthode pour la guitarre, published in 1830, is among the most important books on guitar technique. ---naxos.com

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Theme & Variations op.9 From the opera "The Magic Flute" by W.A.Mozart1. Introduction
2. Theme
3. Variation I
4. Variation II
5. Variation III
6. Variation IV
7. Variation V an Coda

L'Encouragement op. 34 in E major

8. Cantabile
9. Andantino
10. Valse

11. Les Folias d' Espana op. 15a
12. No. 1 in G major (Andante)
13. No. 2 in C major
14. No. 5 in D major
15. No. 7 in A minor (Andante)
16. No.8 in A major (andante con moto)
17. Waltz op.2 No. 2
18. Galope op.2 No.5
19. Waltz op.32 No. 2

Sonata in C major op. 22[\B]
20. Allegro
21 Adagio
22. Menuetto
23. Rondo. Allegretto

Georgi Moravsky - Guitar
Jürgen Röst - Guitar
Monika Röst - Guitar
Simeon Simov - Guitar

Known as "the Beethoven of the guitar," the nineteenth-century composer Ferdinand Sor (1778–1839) is acclaimed for his many etudes, fantasies, and minuets, which form the cornerstone of the instrument's literature and systematize its technical and expressive resources.

Suitable for players at every level, this manual concisely illustrates every aspect of interpretation with text, diagrams, and music. It presents a complete review of the principles of tone production and fingering, with respect to intervals of thirds and sixths, phrasing of melody, and special problems of right-hand articulation and harmonics. Sor takes a contrarian stance in his view of accompaniment as an important and difficult art, modeled after the piano and orchestra and requiring well-constructed bass lines. In this vein, he analyzes the accompaniment of Haydn's oratorio The Creation with a complete musical excerpt. Other featured pieces include "Là ci darem a la mano" from Mozart's Don Giovanni, a romance by Cherubini, and an air by Paisiello, in addition to numerous exercises. ---amazon.com

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