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Saturday, February 1, 2020

Fernando Sor - Late Guitar Works (William Carter)


Information

Composer: Fernando Sor
  1. Three Études, Op. 29: No. 23 in G major
  2. Three Études, Op. 29: No. 13 in B flat major
  3. Three Études, Op. 29: No. 17 in C major
  4. Morceau de concert, Op. 54: I. Andante largo
  5. Morceau de concert, Op. 54: II. Theme varie
  6. Morceau de concert, Op. 54: III. Allegro
  7. Lecon, Op. 31 No. 16: Moderato
  8. Mazurka, Op. 43 No. 4
  9. Waltz, Op. 32 No. 2
  10. Le Calme, Caprice pour guitar seul, Op. 50
  11. Étude, Op. 60 No. 22
  12. Étude, Op. 35 No. 17
  13. Étude, Op. 35 No. 22
  14. Lecon, Op. 31 No. 23: Mouvement de priere religieuse

William Carter, guitar
Date: 2011
Label: Linn Records
https://www.linnrecords.com/recording-le-calme-fernando-sor-late-works

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Review

A revelatory exploration that eschews fashionable modern guitar techniques

Whether in a solo or continuo context, lutenist and guitarist William Carter always combines an improvisational exuberance with an intense inwardness that is even more pronounced on this disc devoted to the late solo guitar works of the Spanish guitarist and composer Fernando Sor (1778-1839). Carter’s previous Sor disc explored the composer’s earlier works using a guitar by luthier Tony Johnson, modelled on 19th-century examples; it was also, to the best of Carter’s knowledge, the first disc of Sor’s music to be recorded using only the flesh of the fingertips, in line with Sor’s own preferences, and not using the nails, as is usual with modern players.
The present performances, which use the same instrument and means of tone production, are no less revelatory. Indeed, one has the impression that one is hearing Sor’s true voice, in autumnal raiment, for the first time, the sublime economy and nascent romanticism of the writing growing in significance thanks to the delicate colours afforded by this guitar’s lighter construction and Carter’s willingness to flesh out, as it were, Sor’s most intimate thoughts by moving centripetally rather than centrifugally.

Thus Carter causes the more artistically modest studies, such as Op 60 No 22, to shimmer with delicate orchestral hues, while filling those that recall Schumann (Op 35 No 17) or Mendelssohn (the wistful Op 31 No 23 Mouvement de prière religieuse) with as much mellow fruitfulness as he does the wonderful Morceau de concert, Op 54 and the caprice Le calme, Op 50, which he likens to a “sustained lyric meditation”.

My disc of the year so far.

-- William Yeoman, Gramophone

More reviews:

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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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