Introduction to the Study of the Guitar, Op. 60

Sor’s op. 60, the Introduction à l’étude de la guitare, was his last work for solo guitar. He says in a preface that this is an important work for beginners, because he has taken care that the pieces, though simple, shall be composed according to principles which are compatible with further progress towards the performance of more advanced music. He has not published them together with his Méthode, because he believes that the text of the Méthode is what is important, rather than the mere presence of easy pieces. (It will be remembered that he said exactly the same thing with reference to his op. 44.) Certainly this is one of the best collections of easy pieces for the guitar ever written. It was first published in Paris in about 1836-37 with the title Introduction à l’étude de la guitare en vingt cinq leçons progressives (Introduction to the study of the guitar in 25 progressive lessons). This original edition contains fingering which of course is Sor’s own. It is of the greatest value to anyone who is interested in the performance practice of the early nineteenth century. There is a preface, as follows: Cet ouvrage est, selon moi, d’une grande importance, en ce qu’il remplit deux objets ordinairement incompatibles: celui qui voulant apprendre à jouer de la guitare ne viserait qu’à l’acquisition d’un talent médiocre se trouverait l’ayant faite (au moyen de ces leçons) à peu de frais d’étude: et loin de se trouver engagé dans une route opposée à celle qu’on doit suivre pour aboutir à un grand talent, j’ai eu soin que malgré la facilité des morceaux, leur texture renfermât les principes d’exécution qui forment la base de ce qu’il peut y avoir de plus compliqué; et il serait dans le cas de continuer, s’il le voulait, sans la nécessité (malheureusement trop commune) d’être obligé de désapprendre pour chercher un autre point de départ. On trouvera, d’après cela, que cet ouvrage devrait faire partie de ma méthode: ma conscience m’a empêché d’agir ainsi. Celui qui ne désire plus que ce que cet ouvrage peut enseigner, pour ainsi dire, machinalement, n’a pas besoin d’acheter un livre aussi couteux: et au surplus, je serais tombé dans ce que je blâme; c’est à dire, dans cet usage de remplir une méthode d’exemples faciles à exécuter, qui flattent l’oreille, et qui contribuent à ce qu’on ne regarde pas le texte, qui est selon moi ce qui constitue la veritable méthode. (‘This work is, I believe, of great importance, in that it fulfils two objects which are usually incompatible. He who, wishing to learn to play the guitar, would aim only at acquiring a moderate talent, would find himself having achieved that (through these lessons) at the cost of little study. And far from finding himself embarked on a route opposite to that which one would have to follow if one wished to end by achieving an advanced talent, I have taken care that despite the easiness of the pieces, their texture should contain those principles of performance which form the basis of whatever might be most complicated; and he would be in a position to continue, if he wished, without the need (unfortunately too common) of having to unlearn in order to seek a different point of departure. One might find, following that, that this work ought to form a part of my method. However, my conscience has prevented me from doing that. He who wishes nothing more than what this work can teach as it were mechanically, does not need to purchase such an expensive book; and besides, I would have fallen into that which I disapprove of, namely into the practice of filling a method with examples which are easy to play, which flatter the ear, and which contribute to not looking at the text, which l consider is what constitutes a true method.’) In no. 14, bar 11, the F has no accidental in the original, which should mean that it is F sharp as in the key-signature. However, the careful fingering 3 on the A implies that it is an F natural (in which case the original engraver left the natural out by mistake). Sor’s Complete Studies, Lessons, and Exercises (opp. 6, 29, 31, 35, and 60, together with op. 44) are also published by Tecla in a modern re-engraved edition in one book (Tecla 101). This edition comes from the new 2019 second edition of Sor’s New Complete Works for Guitar edited by Brian Jeffery. The Introduction and Index to the entire series are here in nkoda. This new edition is copyright © by Brian Jeffery 2019. Your cooperation is requested in not making illegal copies for other people. Brian Jeffery