World-renowned guitarist William Carter presents an appealing collection of works by Spanish guitar virtuoso and composer Fernando Sor, a much-anticipated follow-up to his acclaimed Early Works recording of 2010 (named Gramophone Editor’s Choice).
Sor’s late works demonstrate highly elaborate structures and technique which tested even the finest students and pushed the boundaries of the instrument.
This second collection showcases some of Sor’s most commercially popular works with as much appeal for listeners today as for the original cosmopolitan audiences.
William Carter employs a performance practice endorsed by Sor himself - playing with the finger tips, creating an intimate and unforgettable sound.
A founding-member of the famous Palladian Ensemble, Carter has a deserved reputation as one of the finest classical guitarists with critically acclaimed performances as an orchestral player, chamber musician and soloist.
William Carter is a member of The Academy of Ancient Music, The English Concert and Palladians and is well known as a regular performer at Early Music Festivals. His passion for the baroque guitar enthuses his playing with a freshness and vitality, coupled with faultless technique.
Three Études, Op. 29: No. 23 In G Major - Allegro
Three Études, Op. 29: No. 13 In Bb Major - Andante Lento
Three Études, Op. 29: No. 17 In C Major - Allegro Moderato
Morceau De Concert, Op. 54 - Andante Largo
Morceau De Concert, Op. 54 - Theme Varie
Morceau De Concert, Op. 54 - Allegro
Lecon, Op. 31, No. 16 - Moderato
Mazurka, Op. 43, No. 4
Waltz, Op. 32, No. 2
Le Calme, Caprice Pour Guitar Seul, Op. 50 - Andante
Three Études: Op. 60, No. 22 - Allegro Moderato
Three Études: Op. 35, No. 17 - Moderato
Three Études: Op. 35, No. 22 - Allegretto
Lecon, Op. 31, No. 23 - Mouvement De Priere Religieuse
25th June 2011
“His mastery of the idiom is such that we only notice the music’s salon-like gentleness and intimacy, not the dextrous technique required to make it so.”
The Independent on Sunday
10th July 2011
“Played on the fingertips, Carter's gracefully shaped recital takes its title from the Opus 50 Caprice pour guitar seul, an idyll pitched on the cusp of Romanticism.”
“Carter always combines an improvisational exuberance with an intense inwardness that is even more pronounced on this disc...one has the impression that one is hearing Sor's true voice, in autumnal raiment, for the first time, the sublime economy and nascent romanticism of the writing growing in significance thanks to the delicate colours afforded by this guitar's lighter construction...My disc of the year so far.”
Click on any of the works listed above for alternative recordings.