75:
33:
96:. The opera was first performed in Vienna, 1791, and in German, while the first performances in Italian took place in 1794, so Sor could have feasibly written the piece any time since then. However, it is more likely that he was inspired to write the piece when the first major production was premiered in England in May 1819, when Sor was in the area.
555:
107:. It is the theme played near the end of act 1 as Papageno charms the slaves of Sarastro with his magic chimes. The theme is called “Das klinget so herrlich”, in Italian either translating to "O dolce concento", "O dolce armonia", or, as Sor chose to use, "O cara armonia". This last translation was also used in the vocal score of
82:
This piece embodies
Fernando Sor's best characteristics as a composer, requiring great technique. It is a relatively frequently performed piece that serves as a “testing ground for every aspiring guitarist” As Brian Jeffrey, author of the largest Sor biography to date, wrote of this piece and Op. 7,
65:
The title page of the first edition reads “As performed by the author, at the
Nobilities’ Concerts.” The French edition was published by Meissonnier, dated roughly in the same period, and had one less variation, no coda, and some differing notes. It is thought that this version could have been a
114:
Sor's theme differs somewhat from Mozart's original, as may be seen in the comparison above/right. The time and key signatures of the originals have been changed and repeats deleted to better make the comparison. None of the bars (measures) are exactly the same but most only differ slightly.
311:
532:
124:
600:
595:
365:
318:
66:
simplification of the original work. However, in 1826 or 27, Meissonnier brought out another version, this one identical to the London first edition.
590:
407:
99:
The theme and the variations are based on one that was used in numerous composer's arrangements, some being by the flutist Drouet, by
519:
575:
400:
266:
247:
358:
511:
474:
458:
450:
394:
17:
585:
545:
329:
493:
206:
57:'s most famous works for guitar. It was first published in London in 1821 and dedicated to Sor's brother Carlos.
351:
414:
374:
559:
527:
343:
87:, “no space is wasted and the music devotes itself not to 'guitaristic' effects but only to itself”.
580:
466:
252:
223:
Wolf Moser (November 2007). "Fernando Sor: The Life and Works of a
Reluctant Guitarist, Part One".
379:
92:
333:
146:
104:
270:
74:
569:
432:
294:
154:
54:
337:
50:
323:
100:
32:
297:“Two Likely Sources for Sor’s variations on a theme by Mozart, op. 9”,
73:
31:
347:
18:
Introduction and
Variations on a Theme by Mozart (Sor)
543:
504:
485:
442:
424:
387:
239:"Das klinget so herrlich, das klinget so schön!" (
90:The work is based on a melody from Mozart's opera
125:List of variations on a theme by another composer
533:Introduction and Variations on a Theme by Mozart
313:Introduction and Variations on a Theme by Mozart
46:Introduction and Variations on a Theme by Mozart
170:, Julian Bream edition, vol. 27, New York 1993
111:published in Birchall, London in around 1813.
359:
8:
227:. Vol. 26, no. 3. pp. 20–26.
366:
352:
344:
319:International Music Score Library Project
267:"Fernando Sor's Mozart Variations, Op. 9"
142:
140:
550:
136:
78:Comparison of Mozart's and Sor's themes
415:Der Hölle Rache kocht in meinem Herzen
151:Music of Spain: The Classical Heritage
202:
200:
186:
184:
182:
180:
178:
176:
7:
601:Music dedicated to family or friends
192:Fernando Sor: Composer and Guitarist
596:Composer tributes (classical music)
40:, Op. 9, published in Paris in 1821
25:
408:Dies Bildnis ist bezaubernd schön
553:
401:O zittre nicht, mein lieber Sohn
27:1821 composition by Fernando Sor
157:edition, vol. 24, New York 1993
38:Variations on a Theme of Mozart
166:John Duarte, liner notes from
1:
211:John Williams: Guitar Recital
591:Compositions by Fernando Sor
617:
225:Classical Guitar Magazine
168:Music of Spain: Guitarra
36:Original cover of Sor's
576:Compositions for guitar
375:Wolfgang Amadeus Mozart
528:Mozart and Freemasonry
315:, Op. 9 (Fernando Sor)
79:
41:
301:52, Winter 1983: 6–9.
194:, England, Tecla 1977
77:
35:
467:Magic Flute Diaries
253:Neue Mozart-Ausgabe
209:, liner notes from
149:, liner notes from
520:Works inspired by
80:
42:
586:1821 compositions
541:
540:
486:Other adaptations
16:(Redirected from
608:
558:
557:
556:
549:
368:
361:
354:
345:
326:
317:: Scores at the
282:
281:
279:
278:
269:. Archived from
265:Arthur J. Ness.
262:
256:
244:
240:
235:
229:
228:
220:
214:
204:
195:
188:
171:
164:
158:
144:
85:Folies d’Espagne
21:
616:
615:
611:
610:
609:
607:
606:
605:
566:
565:
564:
560:Classical music
554:
552:
544:
542:
537:
522:The Magic Flute
514:The Magic Flute
500:
494:The Magic Flute
481:
475:The Magic Flute
459:The Magic Flute
451:The Magic Flute
438:
420:
383:
380:The Magic Flute
372:
324:
308:
291:
289:Further reading
286:
285:
276:
274:
264:
263:
259:
242:
241:Die Zauberflöte
238:
236:
232:
222:
221:
217:
205:
198:
190:Brian Jeffrey,
189:
174:
165:
161:
145:
138:
133:
121:
109:The Magic Flute
93:The Magic Flute
72:
63:
28:
23:
22:
15:
12:
11:
5:
614:
612:
604:
603:
598:
593:
588:
583:
578:
568:
567:
563:
562:
539:
538:
536:
535:
530:
525:
517:
508:
506:
502:
501:
499:
498:
489:
487:
483:
482:
480:
479:
471:
463:
455:
446:
444:
440:
439:
437:
436:
428:
426:
422:
421:
419:
418:
411:
404:
397:
391:
389:
385:
384:
373:
371:
370:
363:
356:
348:
342:
341:
321:
307:
306:External links
304:
303:
302:
295:Buch, David J.
290:
287:
284:
283:
257:
230:
215:
196:
172:
159:
135:
134:
132:
129:
128:
127:
120:
117:
105:Mikhail Glinka
71:
68:
62:
59:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
613:
602:
599:
597:
594:
592:
589:
587:
584:
582:
579:
577:
574:
573:
571:
561:
551:
547:
534:
531:
529:
526:
524:
523:
518:
516:
515:
510:
509:
507:
503:
496:
495:
491:
490:
488:
484:
477:
476:
472:
469:
468:
464:
461:
460:
456:
453:
452:
448:
447:
445:
441:
435:
434:
433:Das Labyrinth
430:
429:
427:
423:
416:
412:
409:
405:
402:
398:
396:
393:
392:
390:
386:
382:
381:
376:
369:
364:
362:
357:
355:
350:
349:
346:
339:
335:
331:
327:
322:
320:
316:
314:
310:
309:
305:
300:
299:Guitar Review
296:
293:
292:
288:
273:on 2012-10-09
272:
268:
261:
258:
255:
254:
249:
245:
234:
231:
226:
219:
216:
213:, London 1972
212:
208:
207:John Williams
203:
201:
197:
193:
187:
185:
183:
181:
179:
177:
173:
169:
163:
160:
156:
152:
148:
143:
141:
137:
130:
126:
123:
122:
118:
116:
112:
110:
106:
102:
97:
95:
94:
88:
86:
76:
69:
67:
60:
58:
56:
53:9, is one of
52:
48:
47:
39:
34:
30:
19:
521:
513:
512:Libretto of
492:
473:
465:
457:
449:
431:
378:
312:
298:
275:. Retrieved
271:the original
260:
251:
237:
233:
224:
218:
210:
191:
167:
162:
155:Julian Bream
150:
113:
108:
98:
91:
89:
84:
81:
64:
55:Fernando Sor
45:
44:
43:
37:
29:
395:Discography
334:Ana Vidović
325:Performance
147:John Duarte
70:Composition
581:Variations
570:Categories
277:2009-12-19
243:); bar 301
131:References
101:Henri Herz
497:(musical)
103:, and by
119:See also
61:Editions
505:Related
338:Redgate
330:YouTube
250:in the
546:Portal
478:(2022)
470:(2008)
462:(2006)
454:(1975)
425:Sequel
340:guitar
443:Films
388:Music
336:on a
248:Score
83:the
377:'s
328:on
51:Op.
572::
332:,
246::
199:^
175:^
153:,
139:^
49:,
548::
417:"
413:"
410:"
406:"
403:"
399:"
367:e
360:t
353:v
280:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
