Fernando Sor Op 16 Fantasia (Theme by Paisiello)

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from: OP. 16, FANTASY NO. 5 OR INTRODUCTION AND VARIATIONS ON A THEME BY PAISIELLO – publ. 1819
Sor Op 16 Fantasia (Theme by Paisiello) played by Lawrence Johnson.
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ANNOTATION:
While Sor’s variations on Les Folias (see annotation on Op. 15a) are miniature, his variations on the equally famous (at least at that time) theme by Giovanni Paisiello (1740-1816) are monumental. Many early 19th century composers, including Beethoven, varied this theme, but none with the magnificent grandeur of Sor. Indeed this work may very well be Sor’s finest masterpiece. It is at once a work of classic perfection and deep romantic expression. It opens with an Andante Largo, the first three chords of which prepare us for a work of huge proportions (at least for guitar). This movement proceeds through various permutations and then “introduces” the theme (from the opera The Miller's Wife). I feel that this movement is one of the more profound things to flow from Sor’s pen. We are then taken through nine variations on the theme which build with great inspiration and inexorable logic. Within these variations, he uses all the resources and colors of the guitar to the fullest. One variation (#4), features chords interspersed with delicate harmonics, another soaring variation (#7), features tremolo (a la Sor - it is different from the later tremolo of Regondi, Tarrega or Barrios). Of special note are the dramatic and chromatic third variation, the fifth variation in parallel sixths with its continuous motion and drive, and the eighth variation with a single line throughout. Ironically there is an indication in the earliest published edition to play this entire variation with the left hand alone and there are similar directions for a section of the Op. 59 Fantasia. Besides working on this left-hand-alone technique myself, I have listened to performances by other guitarists of both Op. 16 and Op. 59 using this left-hand-alone technique and have found it completely unsatisfying, therefore I feel that in neither case does it make much musical sense to follow these instructions and I play these passages using both hands in the standard manner. (One wonders, were these Sor’s instructions? - unfortunately we have no manuscripts which might answer this question, and if they were Sor’s instructions, how did he produce a satisfying musical effect with this technique?)
I believe this work to be one of the finest masterpieces of guitar literature and music of the highest order. Unfortunately it is practically unknown and unplayed today. For those skeptics who still believe that Sor was incapable of producing great and inspired masterpieces, I suggest that they listen to and study this magnificent music.
LAWRENCE JOHNSON