L'Encouragement - Universal Edition
L'Encouragement - Universal Edition
L'Encouragement - Universal Edition
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6<br />
Thème<br />
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UE 34 491
Var. I<br />
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Var. II<br />
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UE 34 491
2<br />
Cantabile<br />
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L’Encouragement<br />
Op. 34<br />
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Gitarre 1<br />
Fernando Sor<br />
(1778 –1839)<br />
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p<br />
© Copyright 2013 by <strong>Universal</strong> <strong>Edition</strong> A.G., Wien <strong>Universal</strong> <strong>Edition</strong> UE 34 491
2<br />
7<br />
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Cantabile<br />
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L’Encouragement<br />
Op. 34<br />
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© Copyright 2013 by <strong>Universal</strong> <strong>Edition</strong> A.G., Wien <strong>Universal</strong> <strong>Edition</strong> UE 34 491<br />
<br />
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<br />
Gitarre 2<br />
Fernando Sor<br />
(1778 –1839)
Vorwort<br />
Wenn ich eine Schule schreibe, so soll sie nur die Regeln<br />
enthalten, welche Nachdenken und Erfahrung mich<br />
zur Bildung meines Spiels fest zu setzen nöthigten und<br />
wenn gewisse Lehren in Wiederspruch sind mit dem<br />
bisheriger Gebrauch der Guitarristen, die in blinder Unterwerfung<br />
und gläubiger Ehrfurcht vor ihren Meistern<br />
deren Grundsätze befolgten, ohne sie zu prüfen, so würden<br />
sie mir mit Unrecht einen Geist des Widerspruchs<br />
beimessen. Ich habe keine Regel angenommen, ohne ihre<br />
Gründe zu erwägen; ich bestimme nichts auf Glauben<br />
oder aus Laune, sondern gehe nur den Weg an, den ich<br />
ging um der Guitarre die Erfolge abzugewinnen, welchen<br />
ich den Beifall auch derjenigen verdanke, die am<br />
schwierigsten zu befriedigen und zu bestechen sind, der<br />
Harmonisten. Ich zweifle, dass meine Compositionen<br />
für dieses Instrument nach anderen Grundsätzen gespielt<br />
werden können; ich schreibe also nur für diejenigen,<br />
welche es für fast unmöglich halten dahin zu<br />
gelangen, und daher gutmüthig genug sind mich für eine<br />
Wundererscheinung anzusehen, da ich doch nicht mehr<br />
Mittel als ein Anderer besitze: die Tonkunst, das Nachdenken<br />
und der Vorzug, den ich seinen Ergebnissen vor<br />
scheinbaren Schwierigkeiten einräume, das ist mein ganzes<br />
Geheimnis.<br />
L’Encouragement gehört mit Souvenir de<br />
Russie, Les deux amis und der Fantaisie op. 54 zu<br />
den anspruchsvollsten Duokompositionen seiner<br />
Zeit. Als Vorlage für diese Ausgabe diente<br />
überwiegend die überarbeitete Fassung von<br />
Napoleon Coste (1805–1883). In dieser sind<br />
die beiden Instrumente durch häufige Stimmwechsel<br />
nahezu gleichberechtigt und meines<br />
Erachtens auch musikalisch eindrucksvoller als<br />
in der früheren Fassung von Fernando Sor. Die<br />
Fingersatzvorschläge entstanden nach den Vorgaben<br />
des Komponisten und Arrangeurs und<br />
wurden nach historischen Quellen ergänzt.<br />
Es empfiehlt sich ein völliger Verzicht auf den<br />
Apoyando-Anschlag zugunsten recht flüssiger<br />
Tempi und einer schlanken und eleganten Tongebung.<br />
Olaf Van Gonnissen, März 2013<br />
Mit diesen Worten beginnt die Einleitung der<br />
Méthode pour la Guitare von Fernando Sor. Dieser<br />
Text ist vor allem hinsichtlich seiner kompositorischen<br />
Intentionen aufschlussreich und soll als<br />
Hilfe für eine schlüssige Interpretation dienen.
Preface<br />
In writing a method, I would be understood to speak<br />
of that only which my reflections and experience have<br />
made me establish to regulate my own play. If certain<br />
precepts in contradiction to the practice heretofore adopted<br />
by guitarists who, through blind submission, and a<br />
religious respect for their masters, have followed their<br />
maxims without examining the foundation of them, it<br />
would be wrong to suppose in me a spirit of opposition.<br />
I have exalted no maxim into a principle, till after a<br />
due consideration of the motives for so doing; I establish<br />
nothing by authority nor by caprice and I merely indicate<br />
the route which I have followed in order to produce results<br />
from the guitar which have obtained for me approbation<br />
of harmonists, people the most difficult to satisfy and<br />
to dazzle in regard to music. I do not believe that my<br />
compositions for this instrument can be executed on<br />
different principles; I write therefore only for those who,<br />
believing the execution to be almost unattainable, have<br />
the goodness to consider me as a phenomenon whilst I<br />
possess no greater means than another person. Music,<br />
reasoning, and the preference which I give in general to<br />
results before a display of difficulty, constitute my whole<br />
secret.<br />
The preface to Méthode pour la Guitare by<br />
Fernando Sor begins with these words. They<br />
are instructive, especially with regard to his<br />
compositional intentions, and they serve as a<br />
guide to considered performance.<br />
L’Encouragement is, along with Souvenir de<br />
Russie, Les deux amis and the Fantaisie Op. 54,<br />
amongst the most demanding compositions for<br />
guitar duo of its day. The principal source of<br />
this edition is the edited version by Napoleon<br />
Coste (1805–1883). In it the voices of the two<br />
instruments alternate so frequently that they are<br />
effectively equals and, in my opinion, it is also<br />
more musically impressive than Fernando Sor’s<br />
earlier version. The suggested fingerings are<br />
based on those of the composer and arranger and<br />
have been complemented by historical sources. It<br />
is advisable to refrain from using Apoyando as so<br />
doing will help you achieve more flowing tempi<br />
and produce a refined and elegant tone.<br />
Olaf Van Gonnissen, March 2013