Stefano Palamidessi - Sor: Complete Fantasias for Guitar (2011)
BAND/ARTIST: Stefano Palamidessi
- Title: Sor: Complete Fantasias for Guitar
- Year Of Release: 2011
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:37:32
- Total Size: 324 mb
- WebSite: Album Preview
Tracklist
01. Fantasia No. 1 in C Minor, Op. 7
02. Fantasia No. 2 in A Major, Op. 4
03. Fantasia No. 3 in F Major, Op. 10
04. Fantasia No. 4 in C Major, Op. 12
05. Sérénade in E Major, Op. 37
06. Fantasia No. 5 in C Major, Op. 16
07. Fantasia No. 6 in E Minor, Op. 21. "Les adieux!"
08. Fantasia No. 7 in E Minor, Op. 30
09. Fantasia on a Schottish Theme in D Major, Op. 40
10. Fantasia in A Major, Op. 46. "Souvenir d'amitié"
11. Caprice in E Major, Op. 50. "La Calme"
12. Fantasia villageoise in A Minor, Op. 52
13. Morceau de concert in D Major, Op. 54
14. Fantasia in D Major, Op. 56, "Souvenirs d'une soirée à Berlin"
15. Fantasia in A Minor, Op. 58
16. Fantasia in D Minor, Op. Posth.
17. Fantasia elegiaca in E Minor, Op. 59
Fernando Sor (1778-1839) deepens in his own studies at the historical monastery of Montserrat his knowledge of the vocal and instrumental polyphonic heritage of the previous centuries. While studying counterpoint, harmony, singing and organ, Sor practises the repertory of composers such as Gabrieli, Vecchi, Willaert, Frescobaldi, Sweelinck, thus assimilating the stylistic development of the organ Fantasy to the point of the extreme consequences in the Bachian art. In his home country Spain, Sor plays all the important productions for pizzicato (“plucked”) string instruments – in the first place la vihuela , which specific use had generated new and more stylized polyphonic models – : therefore the works of composers such as Mudarra, de Fuenllana, Milan and de Narvaez have equally contributed to the education of Sor.
From a more strict and formal point of view, the Fantasies of Sor converge into the tendency of the developing concert phenomenon which is inherent to the first half of the nineteenth century, we can refer to great coeval virtuosos such as Kalkbrenner, Bertini, Field and Thalberg.
The Fantasies, on original Themes or even more frequently on given Themes (opera arias or popular tunes), give – through the principle of variations – a maximum prominence to not only the technical-expressive abilities of the instrument but also to the skill of the interpreter-composer. According to the tradition in the eighteenth century, the Fantasy generically takes a tripartite form; the core of Variations is preceded by a slow introduction and followed by a Finale, which is often a waltz or another dance of a brilliant nature. Though in line with these principles, Fernando Sor, who was characterised as a intimist personality, gives the best of himself in the introductive sections: they form the expressive heart of his compositions: through them he highlights his instrumental and tone colour expertise. Some of his Fantasies have a more romantic character or a programmatic intention; they move away from this structure, which results in a greater liberty specifically set out for expressive purposes.
01. Fantasia No. 1 in C Minor, Op. 7
02. Fantasia No. 2 in A Major, Op. 4
03. Fantasia No. 3 in F Major, Op. 10
04. Fantasia No. 4 in C Major, Op. 12
05. Sérénade in E Major, Op. 37
06. Fantasia No. 5 in C Major, Op. 16
07. Fantasia No. 6 in E Minor, Op. 21. "Les adieux!"
08. Fantasia No. 7 in E Minor, Op. 30
09. Fantasia on a Schottish Theme in D Major, Op. 40
10. Fantasia in A Major, Op. 46. "Souvenir d'amitié"
11. Caprice in E Major, Op. 50. "La Calme"
12. Fantasia villageoise in A Minor, Op. 52
13. Morceau de concert in D Major, Op. 54
14. Fantasia in D Major, Op. 56, "Souvenirs d'une soirée à Berlin"
15. Fantasia in A Minor, Op. 58
16. Fantasia in D Minor, Op. Posth.
17. Fantasia elegiaca in E Minor, Op. 59
Fernando Sor (1778-1839) deepens in his own studies at the historical monastery of Montserrat his knowledge of the vocal and instrumental polyphonic heritage of the previous centuries. While studying counterpoint, harmony, singing and organ, Sor practises the repertory of composers such as Gabrieli, Vecchi, Willaert, Frescobaldi, Sweelinck, thus assimilating the stylistic development of the organ Fantasy to the point of the extreme consequences in the Bachian art. In his home country Spain, Sor plays all the important productions for pizzicato (“plucked”) string instruments – in the first place la vihuela , which specific use had generated new and more stylized polyphonic models – : therefore the works of composers such as Mudarra, de Fuenllana, Milan and de Narvaez have equally contributed to the education of Sor.
From a more strict and formal point of view, the Fantasies of Sor converge into the tendency of the developing concert phenomenon which is inherent to the first half of the nineteenth century, we can refer to great coeval virtuosos such as Kalkbrenner, Bertini, Field and Thalberg.
The Fantasies, on original Themes or even more frequently on given Themes (opera arias or popular tunes), give – through the principle of variations – a maximum prominence to not only the technical-expressive abilities of the instrument but also to the skill of the interpreter-composer. According to the tradition in the eighteenth century, the Fantasy generically takes a tripartite form; the core of Variations is preceded by a slow introduction and followed by a Finale, which is often a waltz or another dance of a brilliant nature. Though in line with these principles, Fernando Sor, who was characterised as a intimist personality, gives the best of himself in the introductive sections: they form the expressive heart of his compositions: through them he highlights his instrumental and tone colour expertise. Some of his Fantasies have a more romantic character or a programmatic intention; they move away from this structure, which results in a greater liberty specifically set out for expressive purposes.
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