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

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Review

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

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Fernando Sor (baptized 14 February 1778 – 10 July 1839) was a Catalan Romantic guitarist, composer and teacher. Trained at Montserrat's choir school, he wrote his first opera in 1797 and later worked under the French administration after Spain's defeat by Napoleon. Sor lived in Paris and London, composing prolifically and publishing influential works. His Méthode pour la guitar (1830) became a foundational study text. Though forgotten after his death, Sor's music was revived in the 20th century, and he is now celebrated for his guitar compositions, such as the Grand Sonata, Op. 22 and the Variations, Op. 9.

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Born in Florida, William Carter trained as a modern guitarist at Florida State University before shifting his focus to early plucked instruments. After guidance from Pat O'Brien, he studied lute in London with Nigel North and soon became a prominent performer on historical instruments. He toured widely across Europe, Asia and the Americas, performing as a soloist, chamber musician and orchestral player, notably with the Palladian Ensemble and as principal lutenist for the Academy of Ancient Music and The English Concert. A dedicated teacher, he is Professor of Baroque Studies and Lute at Guildhall School in London.

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