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Fernando Sor Second Sonata Ior Guitar (op.

15b)
Stanley Yates 2001
I. Text
I . Meissonnier corrected version
III. Alternative realizations
IV. Castro version
Sor op. 15 1cxt Pagc 1 of 6
Fernando Sor - Second Sonata Ior Guitar (op. 15b)
August 2001
2001 Stanley Yates.
This article (and online edition) is based largely on discussion contained in my extended essay dealing with all oI Sor's sonatas "Sor's Guitar Sonatas:
Form and Style" written Ior the Sor Studics project, a Iorthcoming, multi-volume collection oI scholarly articles, edited by Luis Gasser, to be published
by the Instituto Complutense de Ciencias Musicales a the Universidad Complutense, Madrid.
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Though Fernando Sor is widely recognized as the principal guitar composer oI the classic -romantic period, his catalogue is
relatively modest in terms oI large-scale works Ior the guitar - a result, at least partly, oI the considerable energies he
expended on vocal music and the grander genres oI opera and ballet combined, no doubt, with the demands oI his publishers
Ior markctablc items oI guitar music. Consequently, Sor's output oI sonatas the principal compositional genre Ior
instrumentalists oI the time was sporadic and totaled only Iour named works (along with a Iantasia in sonata Iorm).
Nevertheless, these works, which span Sor's compositional career, are ambitious compositions which allow us a glimpse oI
their composer at two very diIIerent stages oI his development.
The op. 15 sonata a single-movement work Ialling at the beginning oI Sor's career, and his most modest eIIort in the genre
is a lively, attractive work, and one Irom which springs, with a little digging on the part oI the interpreter, the excitement
oI the Italian opera overture.
In this article, I discuss the early publications oI Sor's second sonata, and their implications Ior a modern edition; Sor's
compositional and stylistic models; a conjectural date oI composition; and perIormance a nd interpretation Ior the modern
guitarist.
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Although multiple editions oI this work published during Sor's liIetime survive, two essentially distinct versions emerge: a
presumably early version published as 'Sonata seconda by the Spanish expatriot Salvador Castro de Gistau in Paris between
c. 1802 and 1814;
1
and a revised version, Iirst published by Antoine Meissonnier as 'Sonate at sometime between c.1816
and 1821,
2
also in Paris. A transitional version (apparently unknown to modern scholars) also survives; it appeared in a
'Collection de Morceaux Choisis des Meilleurs Autuers Espagnoles et Italians pour Guitarre ou Lyre, Redigee par un
Espagnol as 'Sonata di Sor, in Paris sometime between c.1814 and 1821 (publisher unknown).
Since we know nothing oI Sor's involvement with Castro, nor do we know anything about the authority oI his editions oI
Sor's music. Early guitar works oI Sor's circulated in Spain in a variety oI manuscript copies, some oI which have survived to
the present day but none oI which appear to be autographs (one such manuscript oI the work, titled "Allegro," is presently
archived at the monastery in Montserrat). The work could thereIore quite easily have been published without Sor's
involvement (especially since Sorwas still in Spain when the Castro edition appeared, in Paris).
We can be more conIident oI the authority oI the revised version published by Meissonnier, since the composer, no longer in
Spain, provided this publisher with numerous works, both old and newly composed. Nevertheless, the Iirst appearance oI the
Meissonnier revised version contained many errors and the piece was re -issued during the same period (c.1816-1821) and
with the same plate number (110) in a corrected version. Although the Iirst pa ge oI each are identical, the remaining pages
were re-engraved and corrected. Sor presumably played a role in these corrections, and this second Meissonnier version may
be regarded as the most reliable source. This same corrected edition was published agai n by Meissonnier, in partnership with
Heugal, Irom the same plates, sometime aIter c.1839.
A Iurther edition published during Sor`s liIetime appeared in Germany, issued by Simrock around 1824 -5 (plate no. 2310); it
is in this edition we Iirst encounter the erroneous designation oI the work as 'op. 15 which in turn has led to the work
being cataloged as "opus 15b" by modern scholars. UnIortunately, the Simrock edition was derived Irom the Iirst, error -
ridden version oI Meissonnier, though the German edi tors did attempt to correct some oI the more obvious errors.
The work was also likely published in Spain in a relatively early version which hasn't survived: in October and November oI
1806 the Ga:ctta dc Barcclona advertised Ior sale in Madrid a "Gran SinIonia" and 'una sonata, both Ior solo guitar by Sor.
3
The "Gran SinIonia" would appear to be Sor's Sonata prima (as it was called in the Castro edition), also known as Gran Solo,
Sor op. 15 1cxt Pagc 2 of 6
op. 14 (as published by Meissonnier): a manuscript copy oI the piece title d "Gran SinIonia" is housed at the monastery in
Montserrat. It is thereIore reasonable to guess that the "Sonata seconda" (Sonata, op. 15) and the work advertised as "una
sonata" are one and the same. Additionally, it seems unlikely that a Iurther sonata b y Sor existed, since Meissonnier assigned
the majority oI the Iirst 20 opus numbers to Sor's back-catalogue beIore concentrating on newly-composed works (when the
back-catalogue had presumably been exhausted). Surely, neither Sor nor his Parisian publisher would have leIt a major earlier
work unpublished.
The surviving sources oI the work, along with their principal diIIerences, are as Iollows:
Manuscript: Monastery oI Montserrat. Titled 'Allegro an apparently early version oI the piece in an unknown hand.
Source A: Castro (Paris, c.1802-14) (plate no. 47)
'Sonata seconda pour la guitare, composee par Fernando Sor, in Salvador Castro`s periodical, Journal dc Musiquc
Etrangcrc pour la Guitarc ou ('Journal oI Foreign Music Ior the Guitar or Lyre). Judging by the plate number (47), Castro
may have published this work bcforc he published the Sonata prima (plate no. 50). This version contains several extra
measures not Iound in any later versions, along with numerous small diIIerences in the detail oI cho rd voicing,
ornamentation, and notated texture (oI which it is the most polyphonically -complete representation oI all sources).
Source B: Anon (Paris, c.1814-18) (plate no. 81)
'Collection de Morceaux Choisis des Meilleurs Autuers Espagnoles et Italians p our Guitarre ou Lyre, Redigee par un
Espagnol, as 'Sonata di Sor, published between c.1814 and 1821 (publisher unknown). This version is marked
'Allegretto, like the Castro version, has the same coda, and contains several pitch diIIerences otherwise Iou nd only in the
Castro version. It does not have the extra material oI Castro, nor the same ornaments or beaming, and has much in common
with the presumably later Meissonnier versions. It is signiIicantly close to the these versions as to suggest that Sor may have
supplied the manuscript himselI. Certainly, the revisions present are more oI a compositional nature than oI an editorial one.
Source C: Meissonnier (Paris, c.1816-21) (plate no. 110)
Although Sor almost certainly provided the manuscript Ior this edition, numerous errors Iound their way into print, including
the omission oI the Iinal coda. It is interesting to note that the notation oI this version (and all subsequent ones) is actually
less polyphonic than the Castro version. The tempo now appearsas 'Allegro moderato, as it does in all subsequent versions.
Source D: Meissonnier (Paris, c. 1816-21) (plate no. 110, but with pages 2-3 newly engraved)
This version corrects virtually all oI the errors Iound in source C, and reinstates the coda (thoug h a slightly diIIerent one than
that given in Castro or source B).
Source E: Meissonnier-Heugal (Paris, aIter 1839) (plate no. H. & C. 110)
An exact reprinting oI the corrected Meissonnier version, source D, Irom the same plates.
Source F: Simrock (Bonnand Cologne: c.1824-5) (plate no. 2310)
Based on the Iirst Meissonnier version (Meissonnier sold many oI Sor`s pieces to this publisher), with an editorial attempt to
correct a Iew oI the more obvious errors.
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Two versions oI the piece are presented here: the presumably early Castro (source A) edition and the corrected Meissonnier
version (source D). The latter, however, may be regarded as the more deIinitive version oI the piece, since it can only have
been inIormed by a corrected manuscript provided by the composer. It is not recommended that players mix together in
perIormance passages Irom what are essentially two quite diIIerent versions oI the piece. Some oI the notational clarity oI the
Castro edition has been applied to the Meissonnier edition (and indicated) however, principally in the separation and
realization oI durations and rests in the lower voice (otherwise these are oIten indeterminate, sharing a stem with an inner
voice -- see the development section, Ior example). Small diIIerences (principally with Source B), which might appropriately
inIorm a modern perIormance oI the piece are provided as Iootnotes to both versions. Though none oI the early editions
contains a single dynamic indication, a Iew obvious markings have been supplied editorially (see ,QWHUSUHWDWLRQ DQG
3HUIRUPDQFH, below).
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Sor's op. 15 sonata is a single-movement work modeled aIter the Italian opera overture oI the 1780s and 90s. The style was
most widely represented at the time by such Iigures as Spontini, Paisiello and, above all, Cimarosa -- composers whose music
Sor op. 15 1cxt Pagc 3 of 6
Sor almost certainly heard during his involvement with the Barcelona opera house (in 1797, the nineteen year -old Sor had his
opera 1clcmaco produced there). In common with Sor's early style, the stylistic Ieatures oI the Italian overture (at the time
termed "sinIonia") is characterized by very direct, non-developmental Iorms in which sections are deIined by clear points oI
arrival (rather than seamlessly connected). Theopening typically consists oI a short head-motive Iollowed by an immediate
launch into a lively Iirst theme consisting oI parallel -thirds (in the violins) supported by a repeated-note bass; compare the
opening measures oI both Sor's Sonata prima and Sonata scconda (opp 14 and 15b):
Both Iollow an identical scheme oI a short assertive opening "head motive," Iollowed by parallel "string" thirds over
repeated-note bass (trommclbass), Iollowed by dialog texture.
Phrase groupings in the Italian overture style, in common with Sor's style in the early sonatas, are symmetrical and periodic
with literal repetition oI phrases and periods as the principal means oI developing sections. Transitions are highly rhythmic,
and are usually built on one or more commonly-used motives. In Sor's op. 15 sonata, we Iind prominent use oI two such
operatic motives. The Iirst is a Iigure ubiquitous to the overture since its earliest days (Pergolesi's overture to S. Guglicmo,
Naples, 1731, Ior example, is based almost entirely upon it):
Sor uses this Iigure at each transition, in both codas, and to announce the "development" section.
The second Iigure is somewhat hidden in, Ior Sor, uncharacteristically imprecise notation:
This motiI is one oI the most-used cliches oI the Italian opera overture, Iorm the early overtures oI such Neapolitan
composers as Lampugnani to those oI Paisiello and Cimarosa, and beyond. The Iigure is also Iound in many symphonies oI
the time, including some oI Boccherini's, and is a particular Ieature oIPleyel's style, appearing with great Irequency in his
transitions (it is also used oIten by Mozart, though not by Haydn). (The relevance oI all this will become clear in due course)
The Iigure is notated unambiguously in both Sor's Sonata prima (Gran solo, op. 14) and Grand sonatc, op. 22, by the way.
A Iurther Ieature oI the overture Iirst transition (i.e., the rhythmic passage that "loosens" the tonic key and moves to the
secondary theme area) is that it doesn't actually modulate but proceeds on static harmony - dominant becomes tonic (rare in
the high-classical symphony and other highly-developed sonata Iorms); the new dominant is reached, but is not reinIorced by
it`s own dominant. The relatively weak arrival at the secondary area allows Ior the extens ion oI the secondary theme group:
the Iirst theme oI the secondary key-area is Iollowed with a more emphatic second transition that does now create a well -
marked arrival on the new dominant; this is especially the plan used by Cimarosa in his longer overtu res, and is employed by
Sor in all three early sonatas (opp. 14, 15b and 22).
Sor op. 15 1cxt Pagc 4 of 6
In the Cimarosa overture style this transition is Iollowed by a second thematic statement in the new key, usually deIined
rhythmically rather than melodically. In the Sonata scconda, this second theme is similarly deIined by its rhythmic level and
texture, as is conIirmed when the material is restated in the recapitulation with only vague pitch resemblance:
The development section oI the Italian overture typically begins witha striking, "gratuitous" modulation, Iunctioning as an
area oI contrasting tonality rather than as a place to develop previously heard material. Compare the opening development
keys in Sor's early sonatas: in op. 14 the dominant A-major moves to a startling Db-major; in op. 15b we move Irom G-major
to the very odd Bb-major; and in op. 22 we move Irom G-major to Eb-ma (actually a standard "operatic" modulation to the
dominant-Neapolitan key).
Sor's early sonatas are not without their peculiarities Ieatures that suggest an ambitious and intuitive young composer not
yet Iully in control oI his Iorms. In op. 15, the theme that Iollows the Iirst thematic period re -cadences on the tonic (at m.22)
beIore moving oII again to the dominant, having the curious eIIe ct oI neither closing the Iirst theme nor moving away Irom
it. The core development key the lowered-seventh is very unusual. This tonality is entirely unrelated to the large-scale
harmonic structure oI the movement, not Iunctioning (in the customary ma nner) as a dominant to the relative-major oI the
tonic-minor, nor as any kind oI Neaplolitan dominant (i.e., bII to V or V / V). Sor does not resolve this tonality (as, Ior
example, bII oI V / V / V in the large scale tonic), but instead moves to the super tonic (the large-scale tonic minor) and a
tonic-minor prolongation oI the large-scale dominant.
On a more positive note, Sor's early sonatas contain distinct motivic relationships between the various structural areas oI the
Iorm, as well as a very strong preIerence Ior repeated-note themes. Although melodic repeated-note motives are hardly
unique to Sor, his apparent method oI associating them, probably intuitively absorbed Irom the Italian overture, is a quite
individual characteristic oI his early sonatastyle.
Like the Iirst sonata, an anticipatory retransition "leads -in" to the recapitulation with motives adopted Irom the Iorthcoming
(Iirst) theme itselI:
First theme motive (b) appears prominently in the secondary theme area oI the exposition (mm.37and 45) and the
recapitulation (mm.142 and 150):
Sor op. 15 1cxt Pagc 5 of 6
The core development episode appears to be built on a lower -voice presentation oI the opening motive oI the piece (in the
later editions this is somewhat hidden in the uncharacteristically imprecise not ational texture):
And a second development episode relates to the second theme oI the dominant area:
We have already mentioned Sor's prominent use oI overture motives at the structural points oI this work.
When might Sor have composed this piece?Since publication dates establish only an upper limit Ior the date oI composition,
in the absence oI dated autograph manuscripts, letters, or other compelling evidence, the precise dating oI the piece remains a
matter oI conjecture. All we know Ior certain, is that it must have been written beIore 1814 the earliest veriIiable date oI
publication. But the work was surely composed much earlier than that. The likelihood oI earlier publication in Spain, as
advertised in the Ga:ctta dc Barcclona, would place the work beIore 1806, while the stylistic details outlined above would
indicate that the work could easily have been composed during the time oI Sor's assimilation oI the Italian opera overture
style that is, during his Barcelona period oI around 1796-1800 (as mentioned above, Sor's opera in the Italian style,
1clcmaco, was produced in 1797). There is one Iurther bit oI inIormation, provided by Sor himselI to Ledhuy and Bertini,
compilers oI the Encyclopcdic Pittorcsquc dc la Musiquc (Paris, 1835). In the extended and detailed article on Sor it is
mentioned that Sor did not dare to compose an overture in the style oI Haydn Ior 1clcmaco in 1797, but that he has begun a
study oI string quartets by Haydn and Pleyel beIore leaving Madrid. That is, beIore 1800.While clear elements oI Austro-
French style are Iound in Sor's op. 22 sonata (particularly those oI the Italianate Viennese composer Pleyel), no such traits are
present in the Iirst two sonatas. In other words, iI Sor composed the Iirst two sonatas aftcr his study oI Haydn and Pleyel,
neither work shows any signs oI it. It is thereIore plausible to place the two sonatas beIore 1800, written at the latest by a
student composer in his very early twenties.
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Without hearing Sor play, and without detailed evidence relating to his perIormance style, it obviously is impossible to state
anything certain about the way he intended his music to be perIormed. Taking Sor's ocuvrc as a whole, however, in addition
to certain comments Ioundin his Mcthodc, it is clear that Sor did not perIorm with a brilliant virtuosity. His playing must
surely have been light, graceIul, and tasteIul. One imagines a reIined phrasing supported by a beautiIul sound, rather than
speed supported by volume (virtuosity in the modern sense). With this in mind, and considering both the timbre and scale
Sor op. 15 1cxt Pagc 6 of 6
length oI Sor's guitars, I enjoy playing Sor's music, on a modern guitar, with a capo at the Iirst Iret (an instant Iorte piano).
This can be quite revealing, and is certainly likely to inIorm an interpretation, even iI a player intends to perIorm the piece
without the use oI a capo.
Sor rarely provided dynamics markings in his pieces; the op. 15 sonata contains none at all. While we can only guess at the
reason, it is obvious that this music is not intended to be played mc::o-fortc throughout! (Sor probably Ielt that dynamics
appropriate to the style were obvious). In the op. 15 sonata, dynamics implied by the Iorm and style are Iairly obvious, and
have been supplied editorially in my online edition. Dynamics resulting Irom natural phrasing are the prerogative oI the
perIormer.
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JeIIery, Brian. Fcrnando Sor: Composcr and Guitarist. Second edition. London: Tecla Editions, 1994.
Ledhuy, A. and H. Bertini. 'Sor in Encyclopcdic Pittorcsquc dc la Musiquc (Paris, 1835), 154-67. Facsimile reproduction in
Brian JeIIery, Sor (op. cit.), 117-30.
Mangado Artigas, Josep Maria. La Guitarra cn Catalua, 1769-1939. London: Tecla Editions, 1998. Online supplement
'Anuncios de Obras para Guitarra de 1780 a 1789 en la Gazeta de Barcelona`at http://www.tecla.com/catalog/0375c.htm.
Stenstadvold, Erik. 'A Bibliographical Study oI Antoine Meissonnier`s Periodical s Ior Voice and Guitar, 1811-27. Notcs,
vol. 58 no. 1.
(1'127(6
1
For inIormation relating to the dating oI the various publications oI Sor's music I have relied upon Brian JeIIery, Sor (1994),
and research provided by Erik Stenstadvold (Norwegian State Academy oI Music). See Erik Stenstadvold, 'A
Bibliographical Study oI Antoine Meissonnier`s Periodicals Ior Voice and Guitar, 1811 -27. Notcs, vol. 58 no. 1.
2
This dating, which conIlicts with that oI 1817-22 given in JeIIerey (1994), is based upon inIormation provided by Erik
Stenstadvold (op. cit.), whose research into Meissonnier suggests that the publisher occupied the address Rue Montmartre
No. 182 (the address indicated on the publication) IromMay 1815 until, at the latest, April 1821.
3
The 'Gran SinIonia was advertised on November 1, 'una sonata on October 4. Mangado, La Guitarra cn Catalua, 1769-
1939, 288.
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mm. Castrn: all giace noles aie slasled, ollei souices aie
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m1O5. -naluial is lle coiiecl pilcl leie, as given in Castrn
and B. Misiead as l-flal in C and E, mis-"coiiecled" in D and
F as a naluial placed on lle following nole (d).
m11O-3. Tle iesls in lle uppei pail appeai in m111 of D only.
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6
SORScna|c, cp. 15o
m15O. See foolnole foi m142.
m154. Souice C:
mm168 & 17O. Castrn (176)
and B:
mm171-4. See "Alleinalive Readings."
mm175-6. See "Alleinalive Readings."
m161-66. Castrn (mm169-74) and souice B
piovide a claiming veision of llis passage.
See "alleinalive Readings."
SORScna|c jcp.15o]
3
ALTLRNATIVL RLADINCS
mm. 7-8 and 120-1
Mn. 12O-1 appear in aInosl idenlicaI forn in aII
sources:
Hovever, al lhe firsl appearance of lhe passage, in
lhe exposilion al nn. 7-8, aII sources vilh lhe
exceplion of Caslro give divergenl readings (lolh
vilh lhe olher versions and vilh lhe passage as il
appears al nn. 12O-1):
In Caslro (nn. 7-8 and 128-9), lhe passage appears
idenlicaIIy lolh lines (vilh lhe harnony as given
for nn. 12O-1 alove). IIayers nay vish lo choose
lelveen lhe lvo versions given in lhe correcled
Meissonnier version, al nn. 7 and 12O.
mm. 85-6
The Meissonnier versions nay le in error in lhese
neasures, vhich forn lhe firsl episode of lhe
deveIopnenl seclion. As given in Caslro (n. 93)
and source B (and Ialer in Meissonnier, al n. 89),
lhis passage conlains a proninenl reference lo lhe
opening figure of lhe piece:
mm. 160-6
Caslro (nn. 168-174) and source B provide a
charning version of lhis passage, lhe upper parls
conlinuing in lhirds:
SORScna|c jcp.15o]
4
mm. 171-4
The nolalion of lhe codella al nn. 171-4 is
anliguous in lhe correcled Meissonnier version,
The olvious concIusion is lhal sone of lhe inner
voice-parls are sinpIy nissing dols, as suggesled
vhere lhe dolling and aIignnenl of voice-parls do
nol coincide:
ly sources B and C, lolh of vhich appear as
foIIovs:
Hovever, lhe nore carefuIIy nolaled Caslro
version suggesls lhe aIignnenl is al fauIl in lhe
correcled Meissonnier version (aIso see lhe
discussion of nn. 175-6, leIov):
mm. 175-6
The finaI codella (neasures 175-6), vhich vas
onilled enlireIy in lhe firsl Meissonnier edilion
(source C), suffers siniIarIy fron an apparenl nis-
aIignnenl of voice parls:
Bolh Caslro and sources B are divergenl for lhis
passage:
Caslro (nn. 188-9O):
:
Source B (nn. 175-7):
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