Fernando Sor: Gitarrenwerke
Gitarrenwerke
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Label: Naxos, DDD, 95
- Bestellnummer: 7932115
- Erscheinungstermin: 6.12.1996
- Serie: Naxos Guitar Series
Weitere Ausgaben von Gitarrenwerke
In den ersten Jahren des 19. Jahrhunderts wurde Paris zum Zentrum der Gitarrenwelt; die meisten der weltbesten Gitarristen ließen sich dort nieder, angezogen von den Veranstaltungsorten der Stadt, ihren Verlegern, ihren wohlhabenden und enthusiastischen Amateurmusikern sowie ihrem modischen Ruf. Fernando Sor (1778-1839) ließ sich etwa 1827 dort nieder, am Ende einer europäischen Odyssee, die ein Jahrzehnt zuvor in seiner Heimat Spanien begonnen hatte, gefolgt von einem postnapoleonischen Exil nach Paris, einem längeren Aufenthalt in London und einem gefeierten Besuch in Russland. Zurück in Paris nahmen an Sor's Hauptwettbewerb mehrere gebürtige Franzosen und eine Reihe von Italienern teil, darunter der Neapolitaner Ferdinando Carulli (1770-1841), der bereits 1808 dazu beigetragen hatte, die französische Gitarrenmanie zu verdrängen, und der immer noch eine beträchtliche Anhängerschaft hatte; der Piemonteser Francesco Molino (1768-1874), der ebenfalls auf der Geige und mit höfischen Verbindungen erfolgreich war, und der Florentiner Matteo Carcassi (1792-1853), später Autor der vielleicht berühmtesten Gitarrenmethode, die je geschrieben wurde. Die Rivalität unter diesen Profis wird nur leicht übertrieben durch eine humorvolle Illustration in Charles de Marescots Büchlein La Guitaromanie, in der eine Schlacht zwischen "Carulistes" und "Molinistes" dargestellt wird, die sich mit ihren Gitarren schlagen.
In the first years of the nineteenth century, Paris became the centre of the guitar world; most of the worlds best guitarists settled there, drawn by the city's venues, its publishers, its wealthy and enthusiastic dilettantes, as well as its fashionable reputation. Fernando Sor (1778-1839) settled there in about 1827 at the end of along European odyssey which had begun a decade earlier in his native Spain, followed by post-Napoleonic exile to Paris, an extended stay in London, and a celebrated visit to Russia. Back in Paris, Sor's principal competition included several native Frenchmen and a number of Italians, including the Neapolitan Ferdinando Carulli (1770-1841), who had helped fire the French guitaromanie as early as 1808 and who still had a considerable following; the Piedmontese Francesco Molino (1768-1874), also accomplished on the violin and with court connections, and the Florentine Matteo Carcassi (1792-1853), later the author of perhaps the most famous guitar method ever written. The rivalry among these professionals is only slightly exaggerated by a humorous illustration in Charles de Marescot's little book, La Guitaromanie, depicting a pitched battle between 'Carulistes' and 'Molinistes' clubbing each other with their guitars.
Product Information
In the first years of the nineteenth century, Paris became the centre of the guitar world; most of the worlds best guitarists settled there, drawn by the city's venues, its publishers, its wealthy and enthusiastic dilettantes, as well as its fashionable reputation. Fernando Sor (1778-1839) settled there in about 1827 at the end of along European odyssey which had begun a decade earlier in his native Spain, followed by post-Napoleonic exile to Paris, an extended stay in London, and a celebrated visit to Russia. Back in Paris, Sor's principal competition included several native Frenchmen and a number of Italians, including the Neapolitan Ferdinando Carulli (1770-1841), who had helped fire the French guitaromanie as early as 1808 and who still had a considerable following; the Piedmontese Francesco Molino (1768-1874), also accomplished on the violin and with court connections, and the Florentine Matteo Carcassi (1792-1853), later the author of perhaps the most famous guitar method ever written. The rivalry among these professionals is only slightly exaggerated by a humorous illustration in Charles de Marescot's little book, La Guitaromanie, depicting a pitched battle between 'Carulistes' and 'Molinistes' clubbing each other with their guitars.
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Introduction and Variations on Que ne suis-je la fougere!, Op. 26
- 2 Introduction and Variations on Gentil Housard, Op. 27
- 3 Variations for Guitar on Marlborough s'en va-t-en-guerre, Op. 28: Introduction and Variations on Malbroug, Op. 28
- 4 12 Studies, Op. 29: No. 13 in B major
- 5 12 Studies, Op. 29: No. 14 in F major
- 6 12 Studies, Op. 29: No. 15 in A major
- 7 12 Studies, Op. 29: No. 16 in A major
- 8 12 Studies, Op. 29: No. 17 in C major
- 9 12 Studies, Op. 29: No. 18 in E minor
- 10 12 Studies, Op. 29: No. 19 in E major
- 11 12 Studies, Op. 29: No. 20 in D major
- 12 12 Studies, Op. 29: No. 21 in D major
- 13 12 Studies, Op. 29: No. 22 E flat major
- 14 12 Studies, Op. 29: No. 23 in G major
- 15 12 Studies, Op. 29: No. 24 in E minor
- 16 Fantasia No. 7, Op. 30: Introduction, Theme and Variations
- 17 Fantasia No. 7, Op. 30: Allegretto
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