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The interpretation of appoggiaturas or grace-notes in Classical and early Romantic music is much discussed and contested. This article concerns the appoggiatura in the music of Fernando Sor (1778-1839), a guitarist whose career unfolded in several countries, above all in France, where almost all his known guitar music was published. Although none of this music survives in autograph manuscripts, there are ample autographs of Sor's compositions for voice, piano or orchestra to examine his musical handwriting in general and the notation of appoggiaturas specifically. Notwithstanding inaccuracies and inconsistencies, the notation indicates that the written length of the appoggiatura is often a useful pointer to its approximate duration in performance. It also shows that Sor seems to have envisaged long appoggiaturas in far more situations than commonly considered today. This practice is supported by descriptions in a great number of method books, both for the guitar and other instruments, published in France during the early decades of the 19th century. [ABSTRACT FROM AUTHOR]

The article profiles Spanish guitar musician Fernando Sor. Topics discussed include a brief personal background information of Sor including his early musical career in France and Russia, and the various musical compositions of Sor such as "Arietts" for voice and piano, his ballet composition entitled "Cendrillon" and the opera "Gil Blas." The romantic relationship between Sor and ballerina Félicité Hullin is also presented.