Introduction and Variations on a Theme by Mozart

Introduction and Variations on a Theme by Mozart, Op. 9, is one of Fernando Sor's most famous works for guitar.[1][2][3]: 53, 70 [4][5] It was first published in London in 1821 and dedicated to Sor's brother Carlos.[3]: 45 

Editions

The title page of the first edition includes the line Exécutées par l'Auteur au Concert donné à l'Ecole Rle de Musique [As performed by the author, at the Royal School of Music]. The French edition was published by Antoine Meissonnier, dated roughly in the same period, and had four instead of the original five variations, no coda, and some differing notes.[6] It is thought that this version could have been a simplification of the original work. However, in 1826 or 1827, Meissonnier brought out another version, this one identical to the London first edition.[3]: 70–71 

Composition

This piece embodies Fernando Sor's best characteristics as a composer, requiring great technique.[4] It is a frequently performed piece that serves as a "testing ground for every aspiring guitarist"[1] As Brian Jeffrey, author of the largest Sor biography to date, wrote of this piece and Op. 7, the Folies d'Espagne,[a] "no space is wasted and the music devotes itself not to 'guitaristic' effects but only to itself".[3]: 41 

The work is based on a melody from Mozart's opera The Magic Flute. 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.[3]: 71 

The theme and the variations are based on one that was used in numerous composer's arrangements, some being by the flutist Drouet, by Henri Herz, and by Mikhail Glinka. 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",[7][8] 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 The Magic Flute published in Birchall, London in around 1813.[3]: 71 

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.

See also

Notes and references

Notes

  1. ^ Jeffrey's opus numbering which he draws from Meissonnier; normally: Op. 7 is 'Fantasy No. 2', and 'Folies d'Espagne' is Op. 15a.

References

  1. ^ a b John Duarte, liner notes from Music of Spain: The Classical Heritage, Julian Bream edition, vol. 24, New York 1993
  2. ^ John Duarte, liner notes from Music of Spain: Guitarra, Julian Bream edition, vol. 27, New York 1993
  3. ^ a b c d e f Jeffrey, Brian (1977). Fernando Sor: Composer and Guitarist (1st ed.). London, England: Tecla. ISBN 978-0950224145. Retrieved 26 November 2025 – via Internet Archive.
  4. ^ a b John Williams, liner notes from John Williams: Guitar Recital, London 1972
  5. ^ Wolf Moser (November 2007). "Fernando Sor: The Life and Works of a Reluctant Guitarist, Part One". Classical Guitar Magazine. Vol. 26, no. 3. pp. 20–26.
  6. ^ "Introduction and Variations on a Theme of Mozart Op. 9" by Stephen Kenyon, jacaranda-music.com
  7. ^ "Das klinget so herrlich, das klinget so schön!" (Die Zauberflöte); bar 301: Score in the Neue Mozart-Ausgabe
  8. ^ Arthur J. Ness. "Fernando Sor's Mozart Variations, Op. 9". Archived from the original on 9 October 2012. Retrieved 19 December 2009.

Further reading

  • Buch, David J. "Two Likely Sources for Sor's Variations on a Theme by Mozart, Op. 9", Guitar Review 52, Winter 1983: 6–9.
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