Composers : Fernando Sor |
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| No. | Song Name | No.of pages | Transcription by | MIDI |
| 1 | Adagio Op19 No6 | 2 | Dirk Meineke | |
| 2 | Allegretto | 1 | ||
| 3 | Allegretto Op19 No2 | 1 | Dirk Meineke | |
| 4 | Allegretto Op45 | 1 | ||
| 5 | Allegretto Scherzoso Op8 No4 | 2 | ||
| 6 | Andante | 2 | ||
| 7 | Andante | 2 | Liona Boyd | |
| 8 | Andante Largo Op5 No5 | 2 | ||
| 9 | Andante Op44 No16 | 1 | ||
| 10 | Andantino Op13 | 2 | ||
| 11 | Andantino Op19 No3 | 2 | Dirk Meineke | |
| 12 | Andantino Op32 No1 | 1 | ||
| 13 | Etude (26 studies) | 49 | Eythor Thorlakssohn | |
| 14 | Etude 09 | 3 | Dirk Meineke | |
| 15 | Etude 18 | 2 | ||
| 16 | Etude en Mi bemol | 1 | ||
| 17 | Etude I Op06 en la majeur | 1 | Jean Francois Delcamp | |
| 18 | Etude I Op06 en re majeur | 2 | Jean Francois Delcamp | |
| 19 | Etude No02 | 2 | Liona Boyd | |
| 20 | Etude No04 | 2 | Regino Sainz de la Maza | |
| 21 | Etude No06 | 1 | Regino Sainz de la Maza | |
| 22 | Etude No07 | 2 | Liona Boyd | |
| 23 | Etude No11 | 1 | Regino Sainz de la Maza | |
| 24 | Etude No15 | 3 | Regino Sainz de la Maza | |
| 25 | Etude No17 | 2 | Regino Sainz de la Maza | |
| 26 | Etude No17 | 2 | Liona Boyd | |
| 27 | Etude Op05 No01 | 1 | ||
| 28 | Etude Op06 No01 | 3 | Dirk Meineke | |
| 29 | Etude Op06 No02 | 1 | ||
| 30 | Etude Op06 No03 | 2 | Dirk Meineke | |
| 31 | Etude Op06 No06 | 3 | Dirk Meineke | |
| 32 | Etude Op06 No07 | 2 | ||
| 33 | Etude Op06 No08 en do majeur (C Major) | 2 | Jean Francois Delcamp | |
| 34 | Etude Op06 No09 | 3 | ||
| 35 | Etude Op06 No11 | 4 | Dirk Meineke | |
| 36 | Etude Op06 No12 en la majeur | 3 | Jean Francois Delcamp | |
| 37 | Etude Op29 No01 | 3 | ||
| 38 | Etude Op29 No03 | 2 | ||
| 39 | Etude Op29 No05 | 3 | ||
| 40 | Etude Op29 No07 | 1 | ||
| 41 | Etude Op29 No11 | 3 | ||
| 42 | Etude Op29 No23 | 3 | Dirk Meineke | |
| 43 | Etude Op31 (12 studies) | 15 | Eythor Thorlakssohn | |
| 44 | Etude Op31 (24 studies) | 2 | Jean Francois Delcamp | |
| 45 | Etude Op31 No01 | 1 | ||
| 46 | Etude Op31 No02 | 1 | ||
| 47 | Etude Op31 No03 | 1 | ||
| 48 | Etude Op31 No05 | 2 | ||
| 49 | Etude Op31 No06 | 1 | Dirk Meineke | |
| 50 | Etude Op31 No06 (Accordi e Arpeggi) 2 guitars | 2 | Miguel Abloniz | |
| 51 | Etude Op31 No08 | 1 | ||
| 52 | Etude Op31 No10 | 1 | ||
| 53 | Etude Op31 No11 | 1 | ||
| 54 | Etude Op31 No12 | 3 | ||
| 55 | Etude Op31 No14 | 1 | ||
| 56 | Etude Op31 No15 | 1 | ||
| 57 | Etude Op31 No16 | 1 | ||
| 58 | Etude Op31 No18 | 1 | ||
| 59 | Etude Op31 No19 | 2 | Dirk Meineke | |
| 60 | Etude Op31 No20 | 2 | ||
| 61 | Etude Op31 No21 | 2 | Dirk Meineke | |
| 62 | Etude Op31 No22 | 1 | ||
| 63 | Etude Op31 No23 | 1 | ||
| 64 | Etude Op31 No24 | 2 | ||
| 65 | Etude Op35 (12 studies) | 19 | Eythor Thorlakssohn | |
| 66 | Etude Op35 No03 | 1 | ||
| 67 | Etude Op35 No04 | 1 | ||
| 68 | Etude Op35 No05 | 1 | ||
| 69 | Etude Op35 No08 | 1 | ||
| 70 | Etude Op35 No09 | 1 | ||
| 71 | Etude Op35 No10 | 2 | Dirk Meineke | |
| 72 | Etude Op35 No11 | 1 | ||
| 73 | Etude Op35 No12 | 1 | ||
| 74 | Etude Op35 No13 | 2 | Jean Francois Delcamp | |
| 75 | Etude Op35 No14 | 1 | ||
| 76 | Etude Op35 No15 | 1 | ||
| 77 | Etude Op35 No16 | 2 | Dirk Meineke | |
| 78 | Etude Op35 No17 | 2 | Dirk Meineke | |
| 79 | Etude Op35 No18 | 1 | ||
| 80 | Etude Op35 No19 | 1 | ||
| 81 | Etude Op35 No21 | 1 | ||
| 82 | Etude Op35 No22 | 2 | Jean Francois Delcamp | |
| 83 | Etude Op35 No23 | 1 | ||
| 84 | Etude Op35 No27 | 2 | Jean Francois Delcamp | |
| 85 | Etude Op60 (12 studies) | 21 | Eythor Thorlakssohn | |
| 86 | Etude Op60 No01 | 1 | Dirk Meineke | |
| 87 | Etude Op60 No04 | 1 | Dirk Meineke | |
| 88 | Etude Op60 No05 | 2 | Dirk Meineke | |
| 89 | Etude Op60 No06 | 1 | Dirk Meineke | |
| 90 | Etude Op60 No07 | 1 | Dirk Meineke | |
| 91 | Etude Op60 No08 | 1 | Dirk Meineke | |
| 92 | Etude Op60 No09 | 1 | Dirk Meineke | |
| 93 | Etude Op60 No10 | 1 | Dirk Meineke | |
| 94 | Etude Op60 No11 | 1 | Dirk Meineke | |
| 95 | Etude Op60 No12 | 1 | ||
| 96 | Etude Op60 No13 | 1 | ||
| 97 | Etude Op60 No14 | 1 | Dirk Meineke | |
| 98 | Etude Op60 No15 | 1 | Dirk Meineke | |
| 99 | Etude Op60 No16 | 2 | Dirk Meineke | |
| 100 | Etude Op60 No17 | 1 | Dirk Meineke | |
| 101 | Etude Op60 No19 | 1 | Dirk Meineke | |
| 102 | Etude Op60 No20 | 2 | Dirk Meineke | |
| 103 | Etude Op60 No21 | 2 | Dirk Meineke | |
| 104 | Etude Op60 No22 | 2 | Dirk Meineke | |
| 105 | Etude Op60 No23 | 1 | Dirk Meineke | |
| 106 | Etude Op60 No24 | 1 | ||
| 107 | Etude Op60 No25 | 1 | Dirk Meineke | |
| 108 | Fantasia Op04 No2 | 4 | Brian Jeffery | |
| 109 | Fantasy Op07 | 3 | ||
| 110 | Fantasy Op21 No6 La Despedida | 7 | Eythor Thorlakssohn | |
| 111 | Gallop Op32 No6 | 1 | ||
| 112 | Gallop Op57 | 1 | Dirk Meineke | |
| 113 | Grand Solo | 9 | ||
| 114 | Hunting Piece | 1 | Dirk Meineke | |
| 115 | La Romanesca (Fifteenth Century Dance) | 1 | Daniel Fortea | |
| 116 | Le Premier Pas Vers Moi Op53 (Two Guitars) | 8 | ||
| 117 | Marche Religieuse Op19 No1 | 1 | Dirk Meineke | |
| 118 | Meditacion | 2 | ||
| 119 | Menuet Op02 No4 | 1 | Eythor Thorlakssohn | |
| 120 | Menuet Op08 No1 | 1 | Eythor Thorlakssohn | |
| 121 | Menuet Op11 No1 | 1 | Eythor Thorlakssohn | |
| 122 | Menuet Op11 No3 | 2 | Eythor Thorlakssohn | |
| 123 | Menuet Op11 No5 | 1 | Eythor Thorlakssohn | |
| 124 | Menuet Op11 No6 | 2 | Eythor Thorlakssohn | |
| 125 | Menuet Op11 No7 | 1 | Eythor Thorlakssohn | |
| 126 | Menuet Op13 No1 | 1 | Eythor Thorlakssohn | |
| 127 | Menuet Op22 | 2 | Eythor Thorlakssohn | |
| 128 | Menuet Op23 No5 | 1 | Eythor Thorlakssohn | |
| 129 | Menuet Op24 No6 | 1 | Eythor Thorlakssohn | |
| 130 | Menuet Op25 | 2 | Eythor Thorlakssohn | |
| 131 | Menuetto Op22 | 1 | ||
| 132 | Menuetto Op25 | 1 | ||
| 133 | Metodo Completo Gitar | 37 | Eythor Thorlakssohn | |
| 134 | Minuet | 2 | ||
| 135 | Minuet in C Minor | 1 | ||
| 136 | Minuet Op11 No1 en sol mayor | 1 | ||
| 137 | Minuet Op11 No2 en sol menor | 1 | ||
| 138 | Minuet Op11 No3 en sol mayor | 2 | ||
| 139 | Minuet Op11 No5 en re mayor | 1 | ||
| 140 | Minuet Op11 No6 en la mayor | 1 | ||
| 141 | Minuet Op11 No7 en la menor | 1 | ||
| 142 | Minuet Op22 | 2 | ||
| 143 | Minuetto Op35 No20 | 2 | ||
| 144 | Rondo Op22 | 5 | ||
| 145 | Second Set of Divertimenti Op2 : Andantino | 1 | Hector Quine | |
| 146 | Second Set of Divertimenti Op2 : Minuet | 1 | Hector Quine | |
| 147 | Second Set of Divertimenti Op2 : Minuet & Waltz | 1 | Hector Quine | |
| 148 | Second Set of Divertimenti Op2 : Siciliana | 2 | Hector Quine | |
| 149 | Second Set of Divertimenti Op2 : Waltz | 1 | Hector Quine | |
| 150 | Sonata | 6 | ||
| 151 | Sonata Op15 | 6 | Eythor Thorlakssohn | |
| 152 | Studio Da Concerto Op6 No11 | 3 | Miguel Abloniz | |
| 153 | Study in B Minor | 1 | Stefan Schyga | |
| 154 | Study in C | 1 | ||
| 155 | Study in C | 2 | ||
| 156 | Study in E | 4 | ||
| 157 | Study in G for Guitar | 1 | ||
| 158 | Thema aus Fantasie No07 | 1 | Dirk Meineke | |
| 159 | Thema Mit Variationen Op16 | 2 | Dirk Meineke | |
| 160 | Third Set Of Divertimenti Op08 : Allegretto Scherzoso | 1 | Hector Quine | |
| 161 | Third Set Of Divertimenti Op08 : March | 1 | Hector Quine | |
| 162 | Third Set Of Divertimenti Op08 : Minuet & Waltz | 1 | Hector Quine | |
| 163 | Variations Die Zauberflote Mozart | 4 | Andres Segovia | |
| 164 | Variations from The Magic Flute Op9 | 7 | Eythor Thorlakssohn | |
| 165 | Variations from the Malbroug Aria Op28 | 8 | Eythor Thorlakssohn | |
| 166 | Variations on a Theme by Mozart | 6 | ||
| 167 | Variations on la Folia and Minuet | 3 | ||
| 168 | Waltz Op32 No2 | 1 | ||
| 169 | Waltzer Op23 No3 | 1 | ||
| 170 | Waltzer Op45 | 1 | ||
| 171 | Waltzes (12 pieces) | 22 | Eythor Thorlakssohn |
Fernando Sor (baptized Joseph Fernando Macari Sors or José Fernando Macarurio Sors February 14, 1778 – July 10, 1839) was a Spanish guitarist and composer, born in Barcelona. He is known sometimes as the 'Beethoven of the Guitar' in Spain.
Born to a fairly well-off family, Sor was descended from a long line of career soldiers, and intended to continue that legacy, but was distracted from this when his father introduced him to Italian opera. He fell in love with music and abandoned a military career. Along with opera, Sor's father also introduced him to the guitar, which, at the time, was little more than an instrument played in taverns, thought to be inferior to orchestral instruments.
Sor studied music at a monastery on the slopes Montserrat, a mountain near Barcelona, until his father died. His mother couldn't afford to finance continued studies and withdrew him. It was at this monastery that he began to write his first pieces of music for the guitar.
In 1808, when Napoleon Bonaparte invaded Spain, Sor began to write nationalistic music for the guitar, often accompanied by patriotic lyrics. After the defeat of the Spanish army, Sor accepted an administrative post in the occupying government. After the Spanish repelled the French in 1813, Sor and many other artists and aristocrats who had befriended the French (afrancesados) left Spain for fear of retribution. He went to Paris, and never returned to his home country again.
He began to gain renown in the Parisian art community for his skills of composition and for his ability at playing the guitar, and eventually began to tour across Europe, gaining considerable fame. In 1827, due partly to his advancing age, he settled down and decided to live out the rest of his life in Paris. It was during this retirement that he composed many of his better works.
His last work was a mass in honour of his daughter, who died in 1837. Her death sent the already sickly Sor into serious depression, and he died a miserable man in 1839. He died of tongue and throat cancer.(Cecilia Ruiz de Ríos, Nicaraguan historian).
How history has viewed Sor's style can be summed up in a quote from William Newman: "The creative worth of Sor's guitar sonatas is high. The ideas, which grow out of the instrument yet stand up well enough apart from it, are fresh and distinctive. The harmony is skillful and surprisingly varied, with bold key changes and with rich modulations in the development sections. The texture is naturally of interest too, with the melody shifted from top to bottom, to middle, and frequent contrapuntal bits added. Among the extended forms, the first Allegro movements still show considerable flexibility in the application of 'sonata form', especially in the larger number of ideas introduced and recalled. For that matter, the style still goes back to that of Haydn and Boccherini, especially in the first movement of Op. 22, which has all the neatness of syntax and accompaniment to be found in a classic symphony, and its third and fourth movements, which could nicely pass as a Minuet and Rondo by Haydn."
First published in French under the name Méthode pour la Guitare (1830) and then translated in English under the name “Method for the Spanish Guitar” in 1832.
