Whether in a solo or continuo context, lutenist and guitarist William Carter always combines an improvisational exuberance with an intense inwardness that is even more pronounced on this disc devoted to the late solo guitar works of the Spanish guitarist and composer Fernando Sor (1778-1839). Carter’s previous Sor disc explored the composer’s earlier works using a guitar by luthier Tony Johnson, modelled on 19th-century examples; it was also, to the best of Carter’s knowledge, the first disc of Sor’s music to be recorded using only the flesh of the fingertips, in line with Sor’s own preferences, and not using the nails, as is usual with modern players.

The present performances, which use the same instrument and means of tone production, are no less revelatory. Indeed, one has the impression that one is hearing Sor’s true voice, in autumnal raiment, for the first time, the sublime economy and nascent romanticism of the writing growing in significance thanks to the delicate colours afforded by this guitar’s lighter construction and Carter’s willingness to flesh out, as it were, Sor’s most intimate thoughts by moving centripetally rather than centrifugally.

Thus Carter causes the more artistically modest studies, such as Op 60 No 22, to shimmer with delicate orchestral hues, while filling those that recall Schumann (Op 35 No 17) or Mendelssohn (the wistful Op 31 No 23 Mouvement de prière religieuse) with as much mellow fruitfulness as he does the wonderful Morceau de concert, Op 54 and the caprice Le calme, Op 50, which he likens to a “sustained lyric meditation”.

My disc of the year so far.