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  • Fernando Sor's Evolution as a Performer and Composeras Reflected in the Revisions of the Grande Sonate, Op. 22

    Item Type text; Electronic Dissertation

    Authors Rosvoll, Lars

    Publisher The University of Arizona.

    Rights Copyright is held by the author. Digital access to this materialis made possible by the University Libraries, University of Arizona.Further transmission, reproduction or presentation (such aspublic display or performance) of protected items is prohibitedexcept with permission of the author.

    Download date 18/04/2018 08:14:26

    Link to Item http://hdl.handle.net/10150/268374

    http://hdl.handle.net/10150/268374

  • FERNANDO SORS EVOLUTION AS A PERFORMER AND COMPOSER AS REFLECTED IN THE REVISIONS OF THE GRANDE SONATE, OP. 22

    by

    Lars Rosvoll

    A Document Submitted to the Faculty of the

    SCHOOL OF MUSIC

    In Partial Fulfillment of the Requirements For the Degree of

    DOCTOR OF MUSICAL ARTS

    In the Graduate College

    THE UNIVERSITY OF ARIZONA

    2012

  • 2

    THE UNIVERSITY OF ARIZONA

    GRADUATE COLLEGE

    As members of the Document Committee, we certify that we have read the document prepared by Lars Rosvoll entitled Fernando Sors Evolution as a Performer and Composer as Reflected in the Revisions of the Grande Sonate, op. 22 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ___________________________________________________________Date: 11/12/12 Thomas Patterson ____________________________________________________________Date: 11/12/12 Carol McLaughlin ____________________________________________________________Date: 11/12/12 Boyd Pomeroy Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. Document Director: ____________________________________________Date:11/12/12 Thomas Patterson

  • 3

    STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Lars Rosvoll

  • 4

    ACKNOWLEDGEMENTS

    I have been fortunate in being able to work at the School of Music at the

    University of Arizona. It is a very special place and its inspiring atmosphere created by

    faculty and students has left a profound impression on me.

    There are many people to thank. First, I would like to thank my advisor, Thomas

    Patterson, for his guidance and the extraordinary support he has given me during my

    years at the School of Music. I also want to acknowledge and extend my heartfelt

    gratitude to the members of my committee: Carrol McLaughlin, Boyd Pomeroy, Pamela

    Decker, and Mark Votapek, for their encouragement and guidance. Thank you all.

    I would also like to say a warm thank you to the following people:

    Mans ter Hulden, for general suggestions, editing, as well as teaching me some

    of the finer points of 9-ball pool.

    Julia Pernet, for editing and for providing me with formatting tips and

    proofreading.

    My friends and colleagues at the University of Arizona, for discussions and

    inspiration, and most importantly, for being friends.

    Fulbright and the Norway-America Association, for their financial support.

    And finally, and most especially, my family and friends, whose support

    has made the completion of this document possible.

  • 5

    TABLE OF CONTENTS

    LIST OF TABLES ...............................................................................................................7

    LIST OF FIGURES .............................................................................................................8

    LIST OF MUSICAL EXAMPLES ......................................................................................9

    ABSTRACT .......................................................................................................................12

    CHAPTER I. INTRODUCTION AND SCOPE OF STUDY ...........................................13

    CHAPTER II. THE GUITAR IN LATE EIGHTEENTH CENTURY SPAIN .................22

    CHAPTER III. EARLY LIFE OF FERNANDO SOR......................................................28

    A. Montserrat 1789/90circa 1795 ........................................................................29

    B. Military School circa 1795circa 1799 .............................................................32

    C. First Visit to Madrid circa 1798circa 1802 .....................................................36

    D. Barcelona circa 1802circa 1804 ......................................................................37

    E. Second Visit to Madrid 18041808 ...................................................................38

    F. Peninsular War 18081813 ................................................................................39

    CHAPTER IV. SORS EARLY WORKS FOR THE GUITAR .......................................42

    A. Short Pieces .......................................................................................................43

    B. Theme and Variations .......................................................................................47

    C. Sonatas ..............................................................................................................54

  • 6

    TABLE OF CONTENTS Continued

    CHAPTER V. NOTATION ...............................................................................................66

    A. The Development of Staff Notation for the Guitar ...........................................66

    B. The Guitar as a Miniature Orchestra .................................................................78

    1. Horn ..............................................................................................................80

    2. Trumpet .........................................................................................................83

    3. Oboe ..............................................................................................................86

    4. Harp ...............................................................................................................87

    5. Flute ..............................................................................................................91

    CHAPTER VI. SORS REVISIONS OF THE EL MRITO MANUSCRIPT .................93

    CHAPTER VII. CONCLUSION .....................................................................................118

    APPENDIX A: GLOSSARY OF TERMS AND ABBREVIATIONS ...........................120

    REFERENCES ................................................................................................................122

  • 7

    LIST OF TABLES

    Table 2.1. Approximate measurements of the early six-string guitar and the five-course guitar ............................................................................................ 24 Table 4.1. Structural outline of Sors Sonate, op. 15(b) ............................................................... 56 Table 4.2. Structural outline of Sors Grande Sonate, op. 22, I, Allegro ....................................... 63 Table 6.1. Outline of main differences between Grande Sonate, op. 22 and El Mrito, I, Allegro ...................................................................................................................... 94 Table 6.2. Outline of main differences between Grande Sonate, op. 22 and El Mrito, II, Andante ................................................................................................................. 103 Table 6.3. Outline of main differences between Grande Sonate, op. 22 and El Mrito, III, Minuetto & Trio ................................................................................................... 109 Table 6.4. Outline of main differences between Grande Sonate, op. 22 and El Mrito, IV, Rondo ................................................................................................................... 113

  • 8

    LIST OF FIGURES

    Figure 5.1. Sors left finger placement for trumpet-imitation ....................................................... 83

    Figure 5.2. Sors figure of how to pluck a string with the index finger ........................................ 89

  • 9

    LIST OF MUSICAL EXAMPLES

    Musical example 2.1. Gaspar Sanz, Canarios, mm. 15 ............................................................... 27

    Musical example 4.1. Sor, Minuet, op. 11, no. 5 ........................................................................... 45

    Musical example 4.2. Sor, Fantaisie, Largo, mm. 14 ...................