Here are the complete detailed notes to all the pieces in Volume 8, taken from Volume 8.



All Sor’s known duets for two guitars are in this edition, in score in volumes 8 and 9, with all the Guitar 1 parts presented also in volume 10 and all the Guitar 2 parts in volume 11.

It is a special moment to see all of them available at last in a modern edition.  I published them in the form of reprints of the original editions in the nine-volume facsimile edition of Sor’s Complete Works for Guitar, but some of the early editions reproduced there were faded and hard to read and they were only in parts, not score.  Now all the duets are available here, re-engraved and in both parts and score, and with some editorial problems resolved which previously must have caused some headaches to performers.      

All Sor’s known guitar duets date from late in his life (except the Bolero a Duo which is a special case).  It was not until 1828, when he was fifty years old, that the first of them, L’Encouragement, appeared.  He was living in Paris at that time, and all the other duets were published in that city between 1828 and his death in 1839.  They are of two distinct kinds: compositions at a high level, and works which appear to be for relative beginners.

Three duets stand at the highest level of his achieve­ment:

-       Les Deux Amis (op. 41), written for performance by Sor and that other virtuoso guitarist of the time, Aguado.  It includes passages which Sor says in his method he conceived specially with Aguado’s particular way of playing fast running passages in mind.

-            Fantaisie (op. 54 bis), which has as one of its movements the tremendous Allegro dans le genre espagnol, using rasgueado and characteristic Spanish rhythms and harmonies.

-            Souvenir de Russie (op. 63), eloquent and fine, Sor’s last work.

 The other nine duets show every sign of having been written for relative beginners, and three (opp. 34, 53 and 55) are even expressly didactic.  They are:

-            L’Encouragement (op. 34).

-            Divertissement (op. 38)

-           Six Valses (op. 39)

-          Six Valses (op. 44 bis)

-            Divertissement militaire (op. 49)

-          Le premier pas vers moi (op. 53)

-       Trois duos (op. 55)

-       Trois petits divertissements (op. 61)

-            Divertissement (op. 62)


The Bolero a Duo is a special case, and I have advanced the hypothesis that it may not be simply an instrumental duet for two guitars, but rather an accompaniment, for two guitars, to a so far unidentified bolero by Sor for two voices.  See the notes to it in this edition.




This piece was first published in Paris in about 1828, with the full title of L’Encouragement, Fantaisie à deux Guitares … dédiée à une de ses Elèves (L’Encouragement, fantasy for two guitars, dedicated to one of his lady pupils).  The present edition scrupulously respects the structure of that original edition, in which, as can be seen in the Tecla facsimile edition volumes 8 and 9, Sor wrote one part (“Guitare première”) which most of the time has only a single line of music and is clearly marked on every page “L’ÉLÈVE” (“The pupil”), and a second part (“Guitare seconde”) which consists mostly of chords and is clearly marked, again on every page, “LE MAÎTRE” (“The teacher”).  There is fingering by Sor.  In other words, this is a didactic piece, designed for beginners on the guitar to play together with their teacher.  The dedication to a lady pupil confirms this.  The beauty of the melodies encourages the pupil, while at the same time the piece is designed to fulfil technical aims, and the teacher’s part steadily sustains the rhythm of the piece throughout. 

Many modern editions do not give this original form.  Instead, they republish the piece in a fundamentally disguised form which appears to have originated in an edition first published by Napoléon Coste, probably in the 1870s.  What Coste did was to change the parts round, altering the piece from its original version in which one part has nearly always a single line and the other mostly chords, to a new version in which the two players continually exchange the single-line part and the chordal part.  That disguised form has been republished in many modern editions, but without the name of Coste and without any indication that it is an arrangement in which the structure has been greatly altered.  This includes the recent Japanese edition published by Gendai Guitar, where it appears to have happened because the Gendai edition may have used as its source not the original edition which Sor himself published, but rather a later edition in which perhaps these changes had already been made.

It is fine if any players wish to use Coste’s version, and it certainly distributes the interest of the piece between the two players, but it is only an arrangement and does not conform to Sor’s own original intentions as reproduced here in this present edition.



Published in 1829-30.




Published in 1829-30.  These six waltzes are arrangements of waltzes by Mohor, Sor, Mohor, Steibelt, Mozart, and Mohor respectively.  Nos. 5 and 6 correspond to nos. 2 and 3 respectively of a publication of Sor’s for piano duet which appeared in London in about 1820 entitled Three Waltzes (by different Authors) Composed originally for a Full Band.  Nos. 1 and 4 correspond to nos. 1 and 3 respectively of A Second Set of Waltzes, Composed for a Full Band.  See Fernando Sor, Composer and Guitarist, page 172, for more details.

The work’s original title is Six Valses and it was dedicated to Mlle Houzé, who it appears made good progress because two years later Sor dedicated to her the much more advanced work op. 54 bis.




Published in 1829-30 with the title Les deux amis, fantaisie pour deux guitares, and dedicated to Aguado, this is one of the most celebrated of Sor’s duets for two guitars, a major work on a level with the Mozart variations (op. 9) or the sonata op. 25.  The form is an introduction (andante largo), a theme with five variations, and a mazurka.

Instead of the parts being marked “Première Guitare” and “Seconde Guitare” as they are in other duets, here they are headed “Sor” and “Aguado”.  The two parts shine in alternate variations: Sor in variations 1 and 3, Aguado in variations 2 and 4; variation 5 is an opportunity for both; and in the mazurka they are equal in importance.

Sor writes in his Méthode pour la Guitare (Paris, 1830, p. 85): “Mon duo en la majeur, les Deux Amis, est de la plus grande facilité comparativement à des ouvrages d’autres auteurs qui ont la réputation d’écrire de la musique facile.  Il n’y a que la partie de M. Aguado qui ait une variation très rapide [Variation 2], mais elle est à simple corde et dans le genre le plus connu.  Ma partie est ce que j’ai fait jusqu’ici de moins compliqué; j’ai visé aux effets à moins de frais que possible” (“My duet in A major, Les Deux Amis, is extremely easy when compared to works by other composers who have the reputation of composing easy music.  There is only M. Aguado’s part which has one very fast variation [Variation 2], but it is on a single string and in a very normal style.  My own part is the least complicated music which I have written; in it I have aimed at effects with the least possible cost.”)

Readers of this preface who are in Japan may note that the edition of this piece published in Japan by Gendai Guitar does not respect the distribution of the original parts between Sor and Aguado: in particular, the all-important Variation 2, which is specifically in the style of Aguado, is there given to the part labelled Sor.  This appears to have happened because the Gendai edition may have used as its source not the original edition which Sor published himself, but rather a later edition published by Lemoine in which perhaps these changes had already been made.




Published in 1831, this is dedicated to “Mademoiselle Lira”, presumably the daughter of José de Lira, a Spaniard living in Paris and a friend of Sor.  The original title was Six valses pour deux guitares faciles et progressives et soigneusement doigtées.

In no. 5, bar 4, guitar 1, the bass A is not a harmonic in the original.  The harmonic is here added editorially.




Published about 1832. 

At the beginning of the final Allegretto is a passage marked “Trompette”.  Sor described in his method how he played passages on the guitar which imitate the trumpet, giving details of precisely where he placed his right and left hand.  See the Tecla edition of the 1832 English translation of the Method, page 16.


Published in 1832-33.  A simple work for beginners.  The original title is as follows: Le premier pas vers moi.  Petit duo pour deux guitares composé et dédié à ceux qui ayant appris à jouer de cet instrument, voyent de grandes difficultés où il n’y a que de la correction (“The first step towards me.  A small duet for two guitars, composed and dedicated to those who, having learnt to play this instrument, see great difficulties where there is only correct writing”.)

And inside is an Avertissement or preface, whose complete text is as follows:

Le but de ce petit ouvrage n’est autre que celui de faciliter le moyen de passer du système de déplacement et d’efforts continuels à celui indiqué par la nature et la construction de la main.  En suivant le doigté marqué, et en ne faisant point faire à la main d’autre mouvement que celui qu’exige le changement de note, on contractera insensiblement l’habitude de la bien placer.  Si après avoir joué la première guitare on étudie la seconde, on perdra l’habitude de tenir la moitié de la main derrière la manche, et on se servira du pouce seulement pour recevoir la pression au lieu de presser lui-même ni faire des notes que sa longueur ne lui permet nullement d’atteindre sans déplacer la main et contracter le poignet.

(“The aim of this short work is only to make it easy to move from the system of displacement and continual efforts, to that which is indicated by the nature and construction of the hand.  By following the fingering indicated, and by not making the hand make any movement other than that which is necessitated to change note, one will imperceptibly acquire the habit of placing it well.  If after playing the first guitar one then plays the second, one will lose the habit of keeping half the hand behind the neck of the guitar, and one will use the thumb only to receive pressure, instead of itself pressing and stopping notes which its length does not at all permit it to reach without displacing the hand and contracting the wrist.”)

The words on the title-page, and the preface, emphasize the value of the work for beginners, and especially the importance of using the left hand thumb only for support and never for stopping notes on the fingerboard.  The title (“The first step towards me”) means that the piece is a first step for beginners in learning to play the guitar specifically in Sor’s way.



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Copyright 2002 by Tecla Editions. Errors and omissions excepted.