Sor is known today for his guitar music, but until now almost no songs by him have been published in a modern edition. Yet, he composed many different kinds of songs: Spanish patriotic songs, English theatre songs, Italian arietts, French romances, and — these Spanish seguidillas. Above all we owe to Sor some boleros which are veritable jewels. Ledhuy and H. Bertini Paris, This article is reproduced in facsimile at the end of the present edition.
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Sor is known today for his guitar music, but until now almost no songs by him have been published in a modern edition. Yet, he composed many different kinds of songs: Spanish patriotic songs, English theatre songs, Italian arietts, French romances, and — these Spanish seguidillas.
Above all we owe to Sor some boleros which are veritable jewels. Ledhuy and H. Bertini Paris, This article is reproduced in facsimile at the end of the present edition. In it, Sor begins by explaining how seguidillas are related to the bolero. A seguidilla is a type of poem, which may be set to music. If it is set in such a way as to suit the dance known as the bolero, it is called a seguidilla bolera or seguidillas boleras or simply, in the musical sources, boleras or voleras.
This is the terminology used in Spain before the French invasion of , and it is the terminology used in this edition. It is principally a later usage rather than the original one. Sor sets out the history of the dance, the bolero. The first seguidillas that were danced to, he says, were Seguidillas Manchegas i. The dance was named, after him, the bolero.
The next step says Sor was the rehabilitation of the dance, in about , by a dancer named Requejo. He is said to have come from Murcia. This was the form of the bolero that was in vogue when the French invaded in But the professional dancers had fled, and those who remained and danced for the invader added gipsy steps to it.
The French added some of their own; and the bolero that conquered Europe was unrecognizable. This coincides exactly with the statement above, that after about seguidillas boleras became very popular in Spain while at the same time becoming dissociated from the dance, and very probably this is the stage to which most of the songs in this edition belong.
They are related to the dance yet independent of it. They can hardly date from before about , when Sor as a young man of nineteen was just beginning his career as a composer in Barcelona; and except for no. It was an age in which, despite the strong influence of Italian music, the native popular tradition was vigorous and respected.
The text of a seguidilla usually had seven lines, and sometimes only four. The first four were called the copla, and the last three the estribillo. A strict metrical form was observed in which the lines always had alternately seven and five syllables.
The rhyme scheme, however, was looser than the metre: the second and fourth lines had to rhyme together, and the fifth and seventh, but either rhyme or assonance would do, and the other lines might or might not rhyme together.
Here is an example from this edition, no.
FERNANDO SOR SEGUIDILLAS BOLERAS PDF
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Fernando Sor: Seguidillas Boleras
Sor: Seguidillas, Introduction by Brian Jeffery