Rob, I am full of admiration for your performance of this piece and do love the character that the slurred notes give it.
Not being a study I am familiar with, I looked it up in my Chanterelle edition of the Sor studies. A quick read through (or, more accurately, "hack" through). showed me how difficult it is to play the slurs while maintaining the musical line and balancing the melody with the accompaniment, though that probably speaks volumes about my ability (or lack there of).
I'm curious about the slurs. Your recording (and your YouTube recording on the Lacoste copy) uses them all the way through but all the over recordings I have listened to pluck the notes. Not only do they pluck the notes but they mostly ignore the implicit dynamic relationship implied by the slur, i.e. they place the emphasis on the the beat, the second note of the slur - which makes quite a difference to the character of the piece.
The Chanterelle edition notes "Many slurs on this page are editorial".
What does the original Sor manuscript say (if there is such a thing as an original manuscript)?
(By the way, your YouTube video of a number of the Op 60 Studies on your Lacoste copy is utterly charming.)
Last edited by JohnB on Wed Apr 11, 2018 3:18 pm, edited 1 time in total.
Hermanos Conde 1968, Stephen Frith 2007 "Guijoso", Christopher Dean 2018, Ana Maria Espinosa 2014