JBojack wrote:Probably (?) Because Sor wrote for the guitar.....like Tarrega did, and now Andrew York does.
I've always thought music written for our instrument is so much better to play.
Don't know about that... Sor wrote for the guitar, yes, but he was a well-rounded, fully trained musician (study of harmony and counterpoint, etc.) and IMO he definitely didn't write "guitar" like most guitarists composers did and still do... I bet that in his mind it was the musical (melodic, harmonic, contrapuntal, even orchestral) ideas first and then how he could adapt that to the guitar. Of course, since he was a great virtuoso, he managed to find excellent ways to adapt his musical ideas to the instrument. But he was definitely not a "guitar first" person.
If you read his method, you'll see that he was very crictical about how guitarists used to write for guitar at the time, and thought of himself as someone more serious and educated (and he was right). If I remember well he talks about transcribing orchestral accompaniment of voice music to the guitar, keeping the substance of it as much as possible. He also says he plays the double fugue from Haydn's The Creation on his guitar.
So he's definitely on a different league than Tarrega and even more Andrew York.. He still wrote for the guitar, but hey he was probably closer in his approach to the non-guitarist symphonic composers who wrote for us than to mr.York.
Cette dernière trahison m'a été également reprochée. Ce que je trouve à répondre, c'est:"merde aux conventions!"