We have been talking about the difficulty of each of the pieces of Sor's Opus 60. In this post
, Steve Langham
presents an exhaustive list of Mauro Giuliani and Fernando Sor studies, ordered by degree of difficulty - 1 to 5.
I did some manipulation of this list so as to extract the specific information regarding the 25 pieces of Sor's Opus 60 and put it in the following table:
Looking at this table, no wonder everybody is complaining about the #16 - it is the first time one encounters a grade 4 piece
. However, for me, as I did not have, yet, developed reasonable sight reading skills, perhaps one extra factor one should take in consideration is how easy it is to memorize a particular piece so as to dispense the use of the score. That depends on the structure of the piece, of course - existence or not or repeated phrases or even whole sections - and, how shall I say it?, how easy its tune stays in our ear. Therefore the #5, for instance, is easy (grade 2) in part because it's a lovely melody (BTW, if you want to play this particular piece at a brisk pace, as you should, then the difficulty increases considerably). This just to say that I'm finding more difficult to learn the #17 than the #16 when I was studying it. The #16 is a beautiful melody that easily goes into your ears, and also has lots of repeated phrases, making it more easily to memorize. Looking at the table again, I do not understand why it classifies the #12 as being grade 3. The tune is beautiful indeed, it's a pleasure to play it, but the counterpoints in it are not easy at all. I would classify it as grade 4
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1972 - Kuniharu Nobe #8, 658/51, Spr, RW B&S, Tokio, JPN (under repair)
1979 - Ryoji Matsuoka No.40
1987 - Aria A558, 650/51, Ced, lam RW B&S, Nagoya, JPN
2014 - Hermanos Camps Master Nº 3, 650/52, CAN Ced, MDG RW B&S, Banyoles, ESP