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Partitions Guitare Guitare et Quatuor à Cordes Anonymous
Anonymous: "The Creation" after F. J. Haydn for Guitar & Strings

"The Creation" after F. J. Haydn for Guitar & Strings

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Compositeur : AnonymousAnonymous
Instrumentation :

Guitare et Quatuor à Cordes

Genre :


Arrangeur :
Editeur :
 AnonymousMagatagan, Mike (1960 - )
Tonalité :La majeur
Date :ca. 1830
Droit d'auteur :Public Domain
Fernando Sor (1778 - 1839) was probably the most well known guitarist in what is sometimes called "The First Golden Age of the Guitar". Every where he played, the guitar's popularity spread. Although he wrote many other types of works for different mediums including piano solos, opera, and ballet, Sor is best remembered for his guitar studies and works, which have been the basis of so many guitarist's learning of the classical guitar

In 1830, Fernando Sor was 52 years old. He had just published his Method for the Guitar, his hit ballet, Cendrillon, was in production in Paris and he had decided to settle there, leaving the exhausting life of a touring virtuoso in favour of a calmer existence, devoted to private teaching and composition. In this last decade of his life he produced some of his most magical works for the guitar and it’s largely to these neglected miniatures that this recording is devoted. Guitarists today are ambitious to rival the piano and violin, and while their efforts are heroic, and often musically fascinating, it has to be acknowledged that an instrument sounded by plucking fingers, whose basic range is lower than a viola will, by its very nature always excel more naturally in the realm of the intimate. Although Sor wrote some very successful larger pieces for the guitar, he seems to have been happiest creating small perfect miniatures and it strikes me that criticising these works for a lack of ambition (as some guitarists have done) is to misunderstand their essence. We might, with equal justice, make similar criticisms of a snowflake or a wildflower.

In addition to his activities as a teacher and composer, Sor also appeared in public occasionally as a soloist with musicians such as the tenor Garcia (Rossini’s original Barber of Seville), Berlioz and Liszt (who pioneered the first solo recitals from around 1840, just after Sor’s death). One of his performances in 1833 holds a special interest for me. It was a ‘Concert Historique’ devoted to music of the 17th century, organised by the eminent musicologist and critic F. J. Fetis who wrote: ‘The famous guitarist Sor had been patient enough to make a special study of the lute … Franchomme played the bass viol, and I, the harpsichord.’ There is also a persistent rumour that Sor gave a concert or two with Frédéric Chopin during these years but I haven’t been able to verify this from any 19th century source. It wouldn’t be surprising though if it turned out that they had known one another; they were moving in the same circles at the same time and Sor composed several mazurkas (one of which is included on this recording) which are very obviously intended as complements to his younger colleague.

With the sort of respect accorded to Sor by his musical peers and the triumph of his ballet music with the general public (Cendrillon was in repertory at the Paris Opera for several years and had been used to open the Bolshoi Theatre in Moscow), one might expect him to have been universally successful as a guitar teacher and composer but alas, his music was seemingly often too complex for amateurs (ironic, in view of his present neglect for exactly the opposite reason). He quotes a dissatisfied customer with some bitterness in the guitar method of 1830: ‘You give us church music and counterpoint. Give us guitar music … speak to us in the language we understand …’ Scattered through the late opus numbers are a series of increasingly simple works for amateurs with sarcastic titles which tell their own story.

Sor’s final years were not happy ones: although he had material security, the death of his wife and only daughter as well as his own health (he seems to have died of cancer) meant that his end was rather tragic.

Source: Wikipedia (

Although originally created for Guitar and Voices (SATB), I created this Arrangement of the Creation after Haydn for Classical Guitar & Strings (2 Violins, Viola & Cello).
Source / Web :MuseScore
Ajoutée par magataganm le 2017-11-25

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Cette partition est associée à la collection de magataganm :
Viola Arrangements

Liste des partitions :
› "Joy to the World" for String Quartet
› 'Élégie' for Viola & Harp - Alto et Harpe
› "Élégie" from "6 Études pour la Main Gauche" for String Quartet
› "3 Chants Sacrés" for Viola & Piano
› "Ach bleib bei uns, Herr Jesu Christ" for Viola
› "Albinoni's Adagio" for Viola & Harp - Alto et Harpe
› "Album leaf" from Lyric Pieces for String Quartet
› "Album" for String Quartet
› "All They That See Him Laugh Him to Scorn" for Horn & Strings
› "All Through the Night" for Violin, Viola & Harp

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