Reviews and comments

“I would like to take the opportunity to congratulate you on your contribution to the world of the guitar. The entire community of guitarists -and musicians in general- is enormously indebted to the wonderful work you do.” (Javier Jáuregui, Spanish guitarist)


“Those are excellent boxes that you use to ship. It’s very rare to see a box at my door without a good ding or dented corner. I was curious as to why your box didn’t have any such mark, until I opened it – the box walls are so thick you sort of have to pry it open!  That’s a good box.” (a customer, August 2005).


“Thank you for the wonderful editions of music you publish!” (a customer, March 2003)


“I am already a proud owner of the TECLA 101 Sor publication which I purchased over five years ago. It has proved to be an invaluable aid in my learning of classical guitar. I am equally impressed by the quality of TECLA 105 [Giuliani Complete Studies] and look forward to enjoying the works therein.”


On the Sor Complete Studies, TECLA 101: “After thirty years of playing the Segovia edition (not every day) your edition has shed a totally different light on these pieces.” (a guitarist, Chris Dowle, December 2002)


“By the way I am most impressed with your publishing company and its commitment to the guitar. I do own a Sor publication of yours, The Complete Studies, Tecla 101. I find it of impeccable quality and great enjoyment.” (a customer, July 2002)


“Seventeen of the most delightful songs imaginable” (Soundboard Summer 2001, on English Romantic Songs and Ballads


“My teacher says your editions are the ONLY editions.” (A guitarist, February 2002)


“Just a note to say how useful the new re-engraved edition of Sor’s complete works [The New Complete Works for Guitar]  is proving. Until I started using it, I hadn’t realised how much the sheer difficulty of deciphering some sections of the Sor facsimile editions was contributing to the overall awkwardness of performing some of the more elaborate pieces (unless I was prepared to invest a great deal of time in memorising them). Preparing the editions must have taken a huge effort, but it’s much appreciated by me.” (Paul Sparks, June 2002)


“Yesterday I (a student of guitar, from Zurich/Switzerland) bought volume 1 of FERNANDO SOR, The New Complete Works for Guitar (Op. 1-11). It’s just the best Sor-edition!!!! Thank you, Brian Jeffery, thank you, Tecla!!” (a customer, November 1998)


“I just received the Fernando Sors NEW Complete Works for Guitar. Congratulations for this wonderful work.” (a customer in the USA)


“I wanted to let you know that I am very impressed with the material.  I have never seen a Tecla edition before receiving my order, but now that I have, I can’t wait to get more editions from your company. Thanks again and keep up the excellent work.” (A customer in the USA, November 2001)


“Just want to thank you for sending my order promptly. I really like the quality of your sheet music. It is very legible on good quality paper. Your selections are also excellent. Tecla is on my favorites list on my computer, and I’m sure to keep making purchases of selected music on a regular basis. I really appreciate your excellent service! Thank you so very much!” (A customer in Texas, June 2001)


“What a beautiful Page !!!! This Web Page is really great, I enjoy too much playing on my guitar the Fernando Sor´s work. He has beautiful melodies. I am really amazed, and thankful.” (a customer, May 2002)


“My husband has a couple of your books and raves about them constantly–serious addict.” (May 2001)


“This is a fine publication: attractive but unknown music is presented with all the information that one needs”  (Early Music Review, February 2000, on Seguidillas Book 2).


“The superb Tecla editions” (John Williams, 1997).


“This is a very fine book” (Soundboard, Spring 1997, on Tecla 101, Sor: The Complete Studies, Lessons, and Exercises for guitar).


“My students are over the moon” (a guitar teacher, on Sor: Complete Studies).


“I think this book is fantastic” (a guitarist in South America, on Tecla 101, October 1999)


“I recently borrowed this book from my local library and was so impressed that I have now decided to buy it”


“A big thank you for the Sor Complete Studies, Lessons, and Exercises. It’s a wonderful book and I’m very pleased with it” (guitarists on Tecla 101)


“Your wonderful book on Sor” (a reader in Israel, 1998, on Fernando Sor, Composer and Guitarist)


“I heard this piece (Duettino facile for flute or violin and guitar, op. 77 by Mauro Giuliani) on QXR, our classical radio station in NYC and I loved it. I had never heard the guitar and flute played together. Thought it was beautiful.
My daughter’s piano teacher plays classical guitar and improvised a piano concerto for flute and piano to include the guitar at the last recital. I’m going to tell him about this piece.
Thanks for your wonderful web site. It is very informative!” (March 2000) (a customer)


“I want to congratulate you for your work, very important for the “world of guitar”, because I think that when a guitarist wants to play Sor, Tarrega, Giuliani, Carcassi, etc.. he wants to have the original literature in his hands, and you made it possible with these fac-similes. I hope you continue this wonderful work. Thank you.” (a customer in Brazil, September 2000)


More…
[A guitarist, May 2001, on the re-engraved Tecla edition of Giuliani’s Sonata op. 15, and on the new re-engraved Tecla edition of Sor’s duets:]


“I received my order today and I am delighted with the editions. Thank you!


Having studied the Giuliani Opus 15 I can appreciate the quality of the urtext edition. It is a true joy to read from this score, as I now only have 1 page turn, which occurs at the best possible location in the piece. Also, the score is faithful to the original 1808 edition which saved me many, many hours of work given the urtext readability. In my master class studies with Douglas James, he pointed out the many errors and re-writes in the modern edition I was using. The 1808 version has many subtle yet critical differences in dynamics, markings, slurs, etc., which have made me completely rethink the interpretation, phrasing, and fingerings. Even the opening melody line is corrupted in a later edition’s error in the tie marking, which has been carried forward to countless modern editions and copies. Just shows once again the value of a primary source. Playing on an 1830 period instrument replica, it is a welcome change to play uncorrupted period music.

I also wish to compliment you on the high quality of the Sor duet new edition. The type face is crisp, well-defined, and clear, possibly the best I have seen in a printed edition. These editions bring all the benefits of reading from a 19th-century period facsimile score, without the eye strain caused by 19th century sub-par printing technology, fading, and hand-written scores. The part scores in particular are excellent for individual practice and especially performance situations where page turns are problematic. Anyone playing Sor’s duets, or guitar duets in general, should put these editions on their must-have list.

There are those of us out there who genuinely appreciate your work, in making available complete works of uncorrupted music from primary sources, that otherwise would not be available except to a handful of academics with access to obscure library sources. I would not hesitate to recommend the Tecla editions wholeheartedly.”