sal wrote: ↑
Wed Oct 11, 2017 3:38 am
Twenty Sor studies-Segovia. Many of the pieces have no dynamics, except hairpins. Some have a dynamic mark only at the beginning of the piece.....
Those are all editorial, e.g. Segovia not Sor.
I'd say there are a couple of things going on here. Firstly, the happenstance of owning particular scores. An urtext complete Sor studies has precisely zero dynamics, most contemporary renaissance and baroque books the same. Many perhaps most contemporary compositions will have markings.
Secondly, I'd widen the question to that of articulation and phrase markings. Your wind parts are probably liberally supplied with both, phrases perhaps coinciding with breathing places, staccato, staccatissimo, tenuto, accent etc; and yet they will be far rarer in your guitar collection; without looking I can think of 8 staccato marks in the complete Sor studies, and its a question whether they mean staccato at all.
Its all part of the thing that historically composers and players have behaved as if the guitar is an instrument apart, that works differently and is subject to different musical values, to the mainstream wind, vocal, string, and keyboard instruments. And that includes composers like Sor who were competent in at least some of the latter departments, and even though some, like Sor, actually did their best to compose and teach according to the kinds of values that pertain in that bigger world.