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.

Even before I started studying at the SKH Opera, I was already contemplating what would happen afterwards. So it all started with the idea that I'd like to apply to an Opera Studio after graduation. I realised that the largest market for opera studies is in German-speaking countries, where I could continue to develop my talent and simultaneously earn money working in my profession. For example, in the Opera Studio, an Opera provides a monthly salary. So when I applied to the university, I had to submit the so-called document "Independent project". I didn't write much, so I'd like to quote it here: “The idea for my project consists of organising and performing a few concerts of German classical music in Scandinavia. In order to best prepare for that event, I would first like to build my vocal technique at a high level. This is my main goal. In the next coming year I would like to work on German musical literature but one of the biggest dreams is to prepare a role of Papageno from The Magic Flute.”As you can see, the goal was focused on potential future work and earnings. I was mostinterested in improving my vocal technique and working on the German repertoire. Even though German was never my favorite language and I avoided it as much as I could, I decided that during this year, I'd focus on the German repertoire while also honing my technique. It's worth mentioning - I usually and almost always sang in Slavic or Latin languages, and my favourite language in the opera world is Italian. But why the role of Papageno and the opera “The Magic Flute”? While browsing through the opera repertoire currently in production in the German language, I noticed that “The Magic Flute” was one of the most frequently performed, so I thought it could be a fascinating adventure. While perusing the opera score, I found a character for myself: Papageno5, a role not too low, not too high in the vocal tessitura, a role for a baritone voice. Even though I usually sang bass-baritone roles, I decided to take up the challenge of preparing the baritone part.