Fernando Sor - Early Guitar Works (William Carter)

Information

Composer: Fernando Sor

1. Three Minuets, Op. 11: No. 6 in A major
2. Three Minuets, Op. 11: No. 7 in A minor
3. Three Minuets, Op. 11: No. 8 in A major
4. Air: 'Oh Cara armonia' from Mozart's Opera 'Il Flauto Magico'
5. Menuet in C minor, Op. 24 No. 1
6. Menuet in C major, Op. 5 No. 3
7. Andante Largo, Op. 5 No. 3
8. Two Minuets, Op. 11: No. 5 in D major
9. Two Minuets, Op. 11: No. 4 in D major
10. Studios for the Spanish Guitar, Op. 6: No. 2 in A major
11. Studios for the Spanish Guitar, Op. 6: No. 8 in C major
12. Studios for the Spanish Guitar, Op. 6: No. 9 in D minor
13. Studios for the Spanish Guitar, Op. 6: No. 11 in E minor
14. Studios for the Spanish Guitar, Op. 6: No.12 in A major
15. Grand Solo, Op. 14
16. Menuet in G major, Op. 3

William Carter, guitar
Date: 2010
Label: Linn Records
https://www.linnrecords.com/recording-fernando-sor-early-works

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Review

Apart from the immaculate recording and the stylishness and technical address of the playing – these features are outstanding in themselves – this release opens up another remarkable vista or aural sound picture. This concerns the use of the finger tip, not the nail, in playing the guitar. As William Carter’s booklet note makes clear – it’s quite a quixotic note, fun to read and elucidatory in many ways – playing exclusively with the nail is something that has happened only within the last century. Previously there was selective use of the nail and tip. Sor ‘was a tip player’ and in a primer he wrote advised that ‘never in my life have I heard a guitarist whose playing was supportable if he played with the nails. The nails can produce but very few gradations in the quality of the sound…’

Now, Carter is not indulging in a polemic in this disc. He cites Sor’s comments not to belittle other players – in fact, on the contrary, he is hugely generous to Segovia and Bream, whose recordings of Sor’s music he knows intimately. His approach however honours Sor’s own precepts and performance practices without prescribing others. I find his approach admirable, and admirably expressed.

The difference in character between these two approaches is palpable. Carter’s use of Tony Johnson’s 2006 guitar, which is patterned after nineteenth century models, and the use of the finger tip, imparts a wholly different sound to these works from one that we have become used to. It is more lyrical, it’s softer, variegated, intimate, and less rhetorical than conventional performances.

In the cases of the Grand Solo Op.14 and the Menuet in G major one finds consistently that the suppler, salon orientation of the music is richly promoted by the use of the tip, avoiding the more metallic sense of projection of the nail. The character of the music is thereby subtly altered, and what can seem to be technical flourish in less sensitive hands is here played with a remarkable sense of affectionate plurality. The mellifluous, flowing lyricism of the A minor Op.11 Minuet is a delight, whilst the famous Op.9 Variations on a theme of Mozart is especially challenging, charming and persuasive evidence of the sense of colour that can be evoked by tip playing. He chooses well programmatically, contrasting the passionate expression of the Menuet in C minor, Op.24 No.1, with the more emollient charms of the salon-leaning elegance of the brief Menuet in C major, Op.5 No.3. I was especially struck by the pliancy of expression of the Andante Largo, Op.5 No.3 where control of its more stately elements co-exists with a refined colouristic palette. He plays a selection of the Studios for the Spanish Guitar, Op.6 and though these studies may seem didactic, they are in fact beautifully written examples of his art, not least No.8, a stretto study that is played with limpid grace. Even at his most demanding, as he is in the 12th study, Carter manages to disguise Sor’s crippling difficulties through remarkable dexterity.

As far as one is aware this is the first such ‘tip’ recording devoted wholly to Sor’s works. I found it enchanting, gorgeously coloured, deeply musical and wholly convincing.

-- Jonathan Woolf, MusicWeb International

More reviews:
https://www.ft.com/content/b9bd79b4-0ae7-11df-8a26-00144feabdc0
https://www.independent.co.uk/arts-entertainment/classical/reviews/album-fernando-sor-early-works-william-carter-linn-1899298.html
https://www.amazon.co.uk/Fernando-Sor-Early-Wiliam-Carter/dp/B00345IOHY

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Fernando Sor (baptized 14 February 1778 – died 10 July 1839) was a Spanish classical guitarist and composer. While he is best known for his guitar compositions, he also composed music for a wide range of genres, including opera, orchestra, string quartet, piano, voice, and ballet. Sor's contemporaries considered him to be the best guitarist in the world, and his works for guitar have been widely played and reprinted since his death. His works for guitar range from pieces for beginning players to advanced players. One of Sor's most popular compositions is his Introduction and Variations on a Theme by Mozart, Op. 9.
https://en.wikipedia.org/wiki/Fernando_Sor

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William Carter is an American lutenist and guitarist who was born in Florida. He earned both his Bachelor and Master of Music degrees as a classical guitarist with Bruce Holzman from Florida State University, then studied the lute with Nigel North in London. Carter quickly established himself as one of the leading players on old instruments. He now lives in London, and performs and records frequently as a member of The Palladian Ensemble, The Academy of Ancient Music and The English Concert. Carter is also Professor of Baroque Studies and Lute at the Guildhall School of Music and Drama.
https://www.bach-cantatas.com/Bio/Carter-William.htm

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