This study examines select early works for the guitar by Fernando Sor (1778-1839). The works are discussed in some detail in terms of texture, use of idiomatic techniques and form in order to obtain a better understanding of Sor's early compositional practice and early style of playing the guitar. One of the central goals of the study is to trace and analyze the various revisions Sor made to a specific work, the El Mérito (ca. 1803), before publishing it as the Grande Sonate (1825) some twenty years later, and by doing so, also to shed light on Sor's development as both composer and performer during the relatively long time span between the completion of El Mérito and the publication of the Grande Sonate.

Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. / This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

Este trabalho visa abordar conceitos estéticos, musicais e históricos (relacionados à época do Iluminismo) que envolvem as transcrições para violão \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 do compositor e violonista espanhol Fernando Sor (1778-1839), publicadas entre os anos de 1823 a 1825, em Londres, e baseadas em árias de A flauta mágica k620 (1791) de Mozart. O processo de transcrição empreendido por Fernando Sor exigiu, inclusive por necessidades históricas (aproximadamente 35 anos separam essas obras), uma mudança de concepção da escritura instrumental, pois, para Sor, tratava-se de verter a essência de um pensamento musical concebido no meio operático e apresentá-lo sob o conceito sonoro de um instrumento solo emergente, como foi o caso do violão no final do século XVIII e primeiras décadas do século XIX. Assim, do ponto de vista instrumental, elementos como textura, estilo de acompanhamento e conceito de condução de vozes, para citar apenas alguns aspectos, sofreram mudanças de concepção, resultando muitas vezes quase em uma nova composição e, até mesmo, outra percepção da forma musical, porque, acima de tudo, o elemento dramáticoliterário está ausente. / This paper aims at addressing the aesthetic, musical and historical concepts (related to the Enlightenment) that involve the guitar transcriptions \"Six Airs Choisis de l\'Opéra de Mozart: \"Il flauto magico, arrangés pour guitare\" Op. 19 by Spanish composer and guitarist Fernando Sor (1778-1839), published between the years 1823 to 1825, in London, and based in Mozart\'s Die Zauberflöte k620 (The Magic Flute). The transcription\'s process undertaken by Fernando Sor required, even for historical purposes (the compositions were created 35 years apart), a change in the concept of instrumental writing. For Sor, it was a question of translating the essence of the musical thought conceived in an operatic way and presenting it under a sonorous concept of an emerging, solo instrument as had been the case of the guitar in the late 18th century and in the first decades of the 19th century. From the instrumental perspective, therefore, elements such as texture, style of accompaniment and the voice leading concept, to name but a few, have undergone conceptual changes, often resulting almost in a new composition and even a different perception of the musical form since, above all, the elements of drama and literature are absent.

Sammanfattning Syftet med denna studie har innehållit flera aspekter. De mest centrala var att fördjupa mig i Fernando Sor och verket Mozartvariationerna. Vidare innefattade syftet att utveckla mig som gitarrist och musiker. Att skriva en såväl mångsidig som detaljerad studie och genom denna process utvecklas som interpret var ännu en aspekt. Att klargöra vilka stildrag som är wienklassiska respektive förromantiska var också ett syfte. Min tanke har varit att studien kan vara relevant för såväl gitarrister, musiker och musikintresserade. Min metod har även den innehållit flera perspektiv. Jag har övat in verket Mozartvariationerna genom repetition. För att verket skulle bli en naturlig del av mitt fria musicerande och memoreras in utantill så har jag använt mig av harmonik, visualitet, kinestik och andra komponenter. Att uppföra verket flera gånger och i den processen vara öppen för en spontan utveckling i verket var ännu en metod. Att använda inspelningsfunktionen i min mobiltelefon var också det en angreppsvinkel. Min musikteoretiska kunskap och notskrivningsprogrammet Sibelius har även varit en del av tillvägagångssättet. Klargörandet av wienklassiska respektive förromantiska stildrag var också ett perspektiv. Att ha bekantat mig med ett flertal utgåvor och ha valt vilka jag har arbetat med är en synvinkel. Lyssnandet och observerandet av tre olika inspelningar av verket har varit ett förfarande för att kunna rikta min egen tolkning av verket. Att ha sett filmen Amadeus och en inspelad version av operan Trollflöjten har breddat min förståelse och placerat verket i en logisk bakgrund. Att utveckla ett källkritiskt förhållningssätt genom att ha strävat efter att använda flera källor till biografin om Sor har varit en lärorik process. Telefonintervjun med Göran Söllscher medförde många intressanta infallsvinklar. Undersökningen av KMH:s Panormogitarr var en givande del i studien. Resultatet av mitt arbete har blivit denna studie med dess samtliga avsnitt, min inspelning av Mozartvariationerna som finns bifogad tillsammans med min studie i KMH:s bibliotek på CD-format samt min examenskonsert som hållits under våren 2015. Sammantaget har jag på samtliga punkter uppfyllt mitt syfte med dess delmål. Min metod har varit ändamålsenlig med de avsikter jag haft med mitt syfte. Resultatet har blivit det som jag har förväntat mig. Syfte, metod och resultat har därmed varit en del av den röda tråd som gått genom hela studien. Jag hoppas slutligen att den som läser denna studie uppnår vetskap och insikt om Sor, Mozartvariationerna och biämnen. Min förhoppning är att gitarrister, musiker och musikintresserade kan ha nytta av den ur flera avseenden. Genomförandet av denna studie som mitt examensarbete på KMH är bland det roligaste jag gjort inom mitt musicerande! / <p><strong>"Anhalter" - Gitarrmusik från fem epoker. Emil Daniel Scheid med gästmusiker. Examenskonsert</strong></p><p>Medmusiker: Vitor Celestino, gitarr och Alva Press, violin.</p><p>Repertoar (examenskonsert):  John Dowland (1563-1626) (renässans) - Fantasia VII;</p><p>Johann Sebastian Bach (1685-1750) (barock) - Fuga i Am (BWV 1000);</p><p>Fernando Sor (1778-1839) (wienklassicism/förromantik) - Introduktion och Variationer över ett tema av Mozart, op, 9(Paus 5-10 min);</p><p>Fernando Sor (1778-1839) (wienklassicism/förromantik) - L'Encouragement, op. 34 - duo med Vitor Celestino, gitarr;</p><p>Eduardo Sáinz de la Maza (1903-1982) (neoromantik/modernism) - Campañas del Alba ("Gryningens klockor");</p><p>Astor Piazolla (1921-1992) (modernism) - Bordel 1900 - duo med Alva Press, violin;</p><p>Extranummer: Emilio Pujol (1886-1980) (modernism) - El Abejorro ("Humlan")</p>

The nineteenth century presents a great increase in publications of guitar methods. Most authors of the time published several versions of their works. Fernando Sor, perhaps the most prominent guitar composers of the time—whose Méthode is regarded today as the most important of the period—only published one edition. However, Napoleon Coste took on the task to do a second account. The literature reviewed shows substantial existing information regarding background, type of text, tone, and contents of Sor's work, but comparisons to date are not substantial. Therefore, there is a need to compare these two texts side by side to yield a complete view of their pairing. The existing negative views of Coste's edition hinder the importance of Coste's work as reference to Segovia's publication of Sor studies, and as a clearer pedagogical application of many of Sor's concepts which are sidetracked by his response to criticism and his elaborations in matters beyond his main subject matter. I provide a comprehensive review of Sor's method, an outline and a consideration of his concepts. Then I offer a complete English translation of Coste's method which is inexistent until now. The comparison follows pointing at differences and similarities. Results show that Coste clarifies and complements many of the principles in less text and simpler language. He modifies certain others either to approach Sor's practice or to depart to a newer standard. He offers his own lessons and sections to apply Sor's concepts. Coste's text heads towards a pedagogical synthesis of Sor's method, but it is incomplete because he omits some concepts without leading the readers to consult Sor. Coste's pedagogical and practical relevance is fundamental for modern standard techniques.

Ce mémoire traite de l’influence des Lumières sur la pensée philosophique et musicale du compositeur et guitariste Fernando Sor (1778-1839). Cette influence peut être déclinée en trois thèmes, autour desquels le présent travail est structuré. Le premier thème, qui est omniprésent dans la Méthode pour la guitare de Sor (Paris, 1830), est celui de l’usage de la raison opposé à l’obéissance aveugle à une autorité. Le deuxième thème, présent lui aussi dans la Méthode, est celui de l’harmonie conçue comme une science permettant d’établir les rapports naturels qui existent entre les sons. Le troisième thème, présent quant à lui dans des chansons à caractère politique composées par Sor entre 1808 et 1832, est celui de la recherche de liberté face à l’oppression. Nous verrons dans ce mémoire que la manière dont la raison, l’harmonie et la liberté se manifestent dans les écrits et les œuvres de ce pionnier de la guitare classique est similaire à la manière dont ces trois mêmes notions sont représentées dans l’Encyclopédie de Diderot et d’Alembert, Sor faisant d’ailleurs référence à cet ouvrage emblématique du siècle des Lumières dans sa Méthode. D’autre part, nous verrons que le guitariste a aussi été influencé par les écrits de figures importantes associées au classicisme français, comme Descartes en ce qui concerne la raison et Rameau en ce qui concerne la notion de basse fondamentale (ces deux auteurs étant d’ailleurs cités dans l’Encyclopédie). En somme, ce mémoire permet de mieux définir le concept d’« influence des Lumières chez Sor » qui restait autrement plutôt flou dans la littérature secondaire publiée à ce jour. / This master’s thesis deals with the influence of the Enlightenment on the philosophical and musical thought of the composer and guitarist Fernando Sor (1778-1839). This influence can be divided into three themes, around which this project is structured. The first theme, which is omnipresent in Sor’s Méthode pour la guitare (Paris, 1830), is that of the use of reason opposed to a blind submission to authority. The second theme, also present in the Méthode, is that of harmony seen as a science that establishes the natural relationships that exist between sounds. The third theme, present in political songs composed by Sor between 1808 and 1832, is that of the struggle of freedom against tyranny. In this thesis, we will see that the way reason, harmony and freedom are conceived in Sor’s work is heavily influenced by Diderot and d’Alembert’s Encyclopédie, which is mentioned in the Méthode. On the other hand, we will see that the guitarist was also influenced by the writings of major figures associated with French classicism, such as Descartes when it comes to reason and Rameau when it comes to the notion of basse fondamentale (both of whom are mentioned in the Encyclopédie). In short, this master’s thesis helps to better understand how the Enlightenment influenced Sor, a subject that was otherwise mostly absent from the secondary literature.