"I have always found the editions of the Op. 14 published in Sor’s time to be flawed in one way or other. It is almost as if they were pirated versions published without the composer's direct supervision. Meissonnier’s version is beautiful but simple; Castro’s is more fleshed-out but strangely unidiomatic and at times musically clumsy. I therefore resolved to make my own version to try to achieve in my own small way an effect approaching the grandeur of what Segovia had achieved in his day. You hold in your hands the result, or rather a result as it is very likely that on any given day I may make slight variations in ornamental figures etc. appropriate to the acoustic and venue where I may be performing. We are accustomed to the idea of improvising ornamentation in the baroque style. However, it seems logical that a musician of Sor’s caliber would, like his great contemporary Mozart, have been capable of, and perhaps even likely to, improvise slight variations in figuration from one performance to the next. A comparison of two versions of his Op. 3 with the much more developed piece published as Op. 12 show both the kind of slight emendation of musical detail and the revisiting of an earlier work that I feel might have been typical of Sor." Eliot Fisk