Sor: Pièces de société, Op. 33 & Op.36, Huit petites pièces, Op. 24 Leonardo De Marchi

• Fernando Sor (1780 - 1839): 3 Pièces de société, Op. 33 No. 1 in E Minor:
• 1 Sor: 3 Pièces de société, Op. 33 No. 1 in E Minor: I. Moderato cantabile 05:17
• 2 Sor: 3 Pièces de société, Op. 33 No. 1 in E Minor: II. Allegretto 03:33
• 3 Pièces de société, Op. 33 No. 2 in G Major:
• 3 Sor: 3 Pièces de société, Op. 33 No. 2 in G Major: I. Andante 03:34
• 4 Sor: 3 Pièces de société, Op. 33 No. 2 in G Major: II. Valse 02:23
• 3 Pièces de société, Op. 33 No. 3 in D Minor:
• 5 Sor: 3 Pièces de société, Op. 33 No. 3 in D Minor: I. Sicilienne 05:41
• 6 Sor: 3 Pièces de société, Op. 33 No. 3 in D Minor: II. Marche 03:26
• 8 Petites pièces, Op. 24:
• 7 Sor: 8 Petites pièces, Op. 24: I. Menuet. Andantino lento in C Minor 02:43
• 8 Sor: 8 Petites pièces, Op. 24: II. Menuet in F Major 01:21
• 9 Sor: 8 Petites pièces, Op. 24: III. Allegretto in F Major 01:35
• 10 Sor: 8 Petites pièces, Op. 24: IV. Menuet in F Major 03:09
• 11 Sor: 8 Petites pièces, Op. 24: V. Menuet in F Major 02:18
• 12 Sor: 8 Petites pièces, Op. 24: Vi. Menuet in F Major 01:46
• 13 Sor: 8 Petites pièces, Op. 24: VII. Allegretto in F Major 01:54
• 14 Sor: 8 Petites pièces, Op. 24: VIII. Menuet in B-Flat Major 01:55
• 3 Pièces de société, Op. 36 No. 1 in A/A Minor:
• 15 Sor: 3 Pièces de société, Op. 36 No. 1 in A/A Minor: I. Tempo di minuetto moderato 04:45
• 16 Sor: 3 Pièces de société, Op. 36 No. 1 in A/A Minor: II. Allemande 03:45
• 3 Pièces de société, Op. 36 No. 2 in G Major:
• 17 Sor: 3 Pièces de société, Op. 36 No. 2 in G Major: I. Lento cantabile 05:07
• 18 Sor: 3 Pièces de société, Op. 36 No. 2 in G Major: II. Minuetto. Vivace 04:46
• 3 Pièces de société, Op. 36 No. 3 in F Major:
• 19 Sor: 3 Pièces de société, Op. 36 No. 3 in F Major: I. Andantino 04:24
• 20 Sor: 3 Pièces de société, Op. 36 No. 3 in F Major: II. Chasse. Allegretto 02:57
• Total Runtime 01:06:19

Info for Sor: Pièces de société, Op. 33 & Op.36, Huit petites pièces, Op. 24

Fernando Sor (1778–1839) was a Spanish guitarist and composer often regarded as the “Beethoven of the guitar” for the refinement and expressive range of his music. Trained in Barcelona, Sor first pursued a broader career in opera and instrumental music before turning decisively to the guitar, an instrument that, during his lifetime, was gaining recognition in concert halls and private salons alike. After political upheaval forced him into exile, Sor settled in Paris and later London, where he became one of the most respected guitarists and teachers of his era. His works display a mastery of classical form, elegance of melody, and a distinctive clarity that continues to captivate audiences and players today.

Among his many works for guitar, the Pièces de société hold a special place. Published in 1830 in Paris, this collection was conceived not only for professional musicians but also for the flourishing amateur market. The title itself—literally “pieces for society”—reflects their social function: short, charming works intended to be played in intimate gatherings, where the guitar was often a centerpiece of musical entertainment. The pieces range from graceful minuets and waltzes to lyrical romances, each showcasing Sor’s gift for combining accessible textures with subtle sophistication.

While technically approachable, the Pièces de société still embody Sor’s characteristic elegance: balanced phrasing, inventive harmonic progressions, and refined voice leading. They illustrate how Sor adapted his art to the tastes of the salon without compromising musical quality. Today, these works provide valuable insight into nineteenth-century guitar culture and remain staples in the repertoire of students and professionals alike.

Played by Leonardo De Marchi, one of the foremost guitar players of Italy.

Leonardo de Marchi, guitar

Leonardo De Marchi
De Marchi's (1989) artistic and research activity encompasses several fields: on the one hand, the traditional guitar repertoire, with a particular focus on the early nineteenth century; on the other, the dissemination of contemporary music and the expansion of literature for and with guitar. He is currently focusing in particular on the rediscovery of the ten-string guitar, presenting the experimental repertoire that, in the second half of the last century, had raised awareness of its unprecedented sonic possibilities and encouraged contemporary composers to enrich its literature.

Leonardo De Marchi studied at the conservatories of Venice (with G. Pepicelli and F. Baldissera), Novara (with G. Fichtner), and Pavia (with M. Preda), graduating with honors in 2010, 2014, and 2018, respectively. He specialized with A. Dieci and B. Giuffredi at the "G. Regondi" Academy in Milan and, in chamber music, with A. Caiello at the Accademia del Divertimento Ensemble.

His training included important encounters with C. Maccari and P. Pugliese and with pianist A. Commellato for 19th-century music, with O. Ghiglia, C. Marchione, P. Marquez, E. Casoli, and A. Tallini for 20th-century and contemporary music, and with S. Massaron for electric guitar.

He won first prize in the competitions of Mondovì (2005), Musile di Piave (as a chamber musician in 2008 and as a soloist in 2009), Piombino (2009), and Treviso (as a chamber musician in the contemporary music section, 2014). He was also the only Italian finalist in the 2010 edition of the "R. Chiesa" international guitar competition in Camogli.

He collaborates with numerous prominent artists in the Italian and European music scene, including Sauro Berti, Matteo Evangelisti, Alessandro Fagiuoli, Aleksander Gabrys, Fabrizio Paoletti, Fabio Ravasi, and Corrado Rojac.

He has recorded numerous CDs. Highlights include his recording as a member of the Cromatico Ensemble on the CD Aurelio Samorì – Contrasti sonori (Z-Best, 2017), the album Bach & Haydn for two guitars (DotGuitar, 2018, in duo with Florindo Baldissera), Enantiosemie – Contemporary Masterpieces for clarinet and guitar (Da Vinci, 2018, in duo with Sauro Berti), and Impressions. Selected guitar works by Livio Torresan (Da Vinci, 2020).

He is active as a popularizer and musicologist: he holds seminars on contemporary guitar literature for important institutions and is the author of record booklets and series of listening guides. He wrote the only literary study on Bruno Maderna's Y después for Il Fronimo and is the author of the book Nuovi orizzonti per la chitarra a dieci corde (Viator, 2019). He has edited numerous works for and with guitar, including Twenty-Four Preludes and Ricercari by Alfredo Franco (Ut Orpheus) and Dedica 2015 by Giacomo Manzoni (RAI Com).

Booklet for Sor: Pièces de société, Op. 33 & Op.36, Huit petites pièces, Op. 24