Track Listing

1. El testament d’Amelia
Poc à poc

El testament d’Amelia (Amelia’s Testament) tells the story of a princess who loses her lover to her own mother, and dies of a broken heart. The story stems from the 14th century.

Llobet’s arrangement for the guitar is simple and brilliant: every note plays a big role, and allows the guitar to sing. A notable arrangement, subsequent to Llobet’s, is by Frederic Mompou (1893–1987), in his Canço i dansa No. 8 for piano.

2. Capricho árabe
Serenata para guitarra
‘Al eminente maestro D. Tomás Breton’
Andantino

Capricho árabe (Arabian Caprice – Serenade for Guitar) fits the general story of Romeo and Juliet. A dramatic introduction sets the stage for a lyrical and tonal dramatic tragedy. Its main theme is a lament in the realms of longing and loss, which is answered by a hopeful and nourishing second theme. The third theme resolves the piece into joy. Alas, this is followed by the sudden return of the first theme, which brings the piece to tragic end. 

Capricho árabe is one of Tárrega’s greatest works, and a nocturne in all but name.

3. Recuerdos de la Alhambra
‘hommage à l’eminént artiste Alfred Cottin.’
Andante 

Recuerdos de la Alhambra (Memories of the Alhambra) by Tárrega is imagined to invoke the fountains of the Alhambra, in Granada, Spain. The piece is known for its tremolo technique, which consists of quickly repeated notes, thought to represent the gushing of water. 

Recuerdos de la Alhambra was my first ‘big piece.’ When I was 13 years old, it was assigned to me by my teacher Erik Möllerström to study over the summer vacation. Overwhelmed with happiness, I played it tirelessly and it’s stayed with me ever since. Its original title was Á la Alhambra (Invocación).

4. Nocturne Op.9 No.2
Composés et dédiés à Madame Camille Pleyel
Andante

I fell in love with Chopin's nocturnes through the recordings of Artur Rubinstein. Years later, when I encountered Tárrega’s transcription of the Nocturne Op.9 No.2, it was hard to resist. Tárrega often played this piece second to last in his recitals, and its influence can be felt particularly in Capricho Árabe and Recuerdos de la Alhambra.

The Op.9 No.2 embodies values such as simplicity, clarity and contrast, without ever being dull or sentimental. It’s instantly recognizable. Tárrega’s transcription features reduced texture and increased ornamentation; I have adjusted it to more closely adhere to Chopin’s original score.

According to Chopin’s pupil Wilhelm von Lenz, Chopin wanted its accompaniment to sound “like a chorus of guitars” accompanying a tenor.

5-7. Trois morceaux espagnols
I. Tonadilla (Manola de Lavapies)
Allegretto con grazia/Vif et gracieux
II. Tango
Mouvement de Tango
III. Guajira
Rythmique et animé 

Pujol’s Trois morceaux espagnols (Three Spanish Pieces) is in my view a comedy, telling the story of two people: first meeting, in the light but dramatic Tonadilla, where the soprano assertively introduces herself, followed by the tenor's response.

In the Tango, our couple is now better acquainted. The tenor’s interest seems to be returned, until the soprano suddenly withdraws: taken aback, he scolds her, and there is a great squabble. He realizes his mistake and settles for a lie, at which point the first theme returns, but in D major. She sees right through it, and starts to scream. His explanations are in vain, and great awkwardness ensues: when the first theme returns in its original A major, the spark is gone and the piece tapers away.

Our soprano and tenor must have made up somehow, because in the final Guajira, they appear to me as a settled, bickering couple, constantly interrupting each other. In spite of drama, grief and sudden fits of anger, they seem to be having a fine old time. Of course, I have no idea if this is what Pujol had in mind, but we do know that the Tango was dedicated to his wife.

8. Prelude ‘Endecha’
Andante Cantabile 

Tárrega’s mournful prelude Endecha (Dirge) can be heard almost as an opera aria by Donizetti: pure bel canto. It has a spacious quality that gives ample opportunity for the guitar to sing and reverberate with the room.

It is a typical Tárrega miniature: the piece is set at a slow pace, consists of few notes, and is just over a minute long. (It is often coupled with Oremus, a transcribed excerpt of the “Phantasietanz” from Schumann's Albumblätter Op.124; they have been published both as separate pieces and as one. In this context, I chose to only include Endecha.)

24 Preludes, Op.28
9. Prelude Op.28 No.15 ‘Raindrop’
Sostenuto 

Tárrega’s transcription of Chopin’s ‘Raindrop’ prelude is a good example of the transcriber’s dilemma: to balance medium and message. As is often the case with piano-to-guitar transcriptions, any potential benefit typically comes at the cost of changed key and reduced texture, both of which can be highly problematic. Since Chopin’s choice of key appears to favor pianistic color of sound rather than symbolic value, I don’t find this very problematic in this instance. The reduced texture could be more so. Generally, the reason to reduce texture is to increase playability. And Tárrega’s original transcription is indeed heavily reduced in terms of texture. But reducing texture may also mean both poorer harmonic language and voice leading – music that is watered-down. To counter this aspect, I have reinstated original notes, to the extent of my abilities. And the recording format, as well as the extraordinary aid of producer David Frost, did allow for more idealistic choices than would the live format.

10. Prelude ‘Lágrima’

Lágrima (Tear, or Teardrop) was first improvised by Tárrega during a moment of homesickness on a trip to London, when a group of friends encouraged him to express his feelings through the guitar. It captures shifting degrees of grief and joy, sometimes at once. Together with Adelita, it is often among the first ‘real pieces’ a young guitarist learns to play.

24 Preludes, Op.28
11. Prelude Op.28 No.20
Largo 

Prelude Op.28 No.20 carries forth a solemn melody embedded in the steady progression of dense quarter-note chords, reminiscent of a chorale. It contrasts dramatic and lyrical qualities, and strongly influenced Tárrega in terms of the miniature format and succinct tonal language.

12. Prelude Op.28 No.6
Lento assai  

In the words of George Sand, Chopin’s Prelude Op.28 No.6 “precipitates the soul into frightful depression.” It was performed at Chopin’s funeral, at the Church of the Madeleine, in Paris. It is written similarly to the way Heitor Villa-Lobos often perceived the guitar; as a cello with guitar accompaniment.

13. Prelude Op.28 No.7
Andantino  

Prelude Op.28 No.7 is an intimate work, and is inspired by the rhythmic structure of the mazurka. It has a delicate quality, which is aligned with the dynamic microcosm of the classical guitar.

14. Prelude No.18 in D
Andantino 

The preludes of Tárrega range from the masterful Lágrima to those serving more as exercises, perhaps for the specific need of a specific pupil at a specific time. His Prelude No.18 in D didn’t at first to appear to me to be of much musical substance. But its simplicity, dignity and grace captured my imagination, and I added a repeat.

15. Prelude No.2
‘A mi queridisimo discipulo Miguel Llobet.’ 

Tárrega’s Prelude No.2 is his most harmonically adventurous prelude, and perhaps his most Chopinesque. It is dedicated to his pupil Miguel Llobet. 

16. Cançó del lladre

Cançó del lladre (Song of the Thief) tells the story of a man who has grown up to become a thief, and nostalgically says farewell to his innocent youth. It has been sung by vocalists from different genres and performed in various instrumental settings. A notable arrangement, subsequent to Llobet’s, is by Frederic Mompou (1893-1987), in his Canço i dansa no.14 for piano.

17. Mazurka No.22, Op.33 No.1
Mesto 

Chopin’s mazurka Op.33 No.1 is a gem if there ever was one. In the time span of about a minute and a half, Chopin captures an array of characters that are as recognizable and profound, as they are fleeting and hard to describe.

18. Mazurka ‘Adelita’ 
Lento

Adelita is a classic Tárrega miniature. Its mazurka form and straightforward, graceful character shifts between sadness and joy. Like Lágrima, its few notes contain a great deal of music, which makes it as alluring to play as it is difficult to master.

As a boy, learning Adelita was an important part of my discovering the classical guitar and classical music.

19. Mazurka in G
’A mi querido amigo el eminente oculista Dr. Dn. Santiago Albitos’

From early childhood, Tárrega suffered from an inflammation of the eyes, and was nearly blind throughout his life. The Mazurka in G was dedicated to his eye doctor. It is perhaps Tárrega’s most Chopinesque composition, and in my opinion one of his best works. Its melodies might not be memorable, but they are charming and human, and stand the test of time.

When I discovered Artur Rubinstein's recordings of Chopin's mazurkas, I would play them over and over again in the evenings. I was thrilled to connect such high levels of music – and music making – with pieces I was working on, few more so than Tárrega’s remarkable Mazurka in G.

20. Mazurka ‘Sueño’

Sueño (Dream) is Tárrega’s most lively mazurka. Its opening is closely modeled on Chopin’s Mazurka Op.7 No.1, while its middle section sounds more like original Tárrega.

The key of C major, which doesn’t resonate so easily on the guitar, is rare for Tárrega, but allows the middle section to fall into its lyrical relative A minor, a more comfortable, resonant key.

21. Mazurka No.25, Op.33 No.4
Mesto

Chopin’s Mazurka Op.33 No.4 is one of his longest mazurkas, and shifts between a somber majesty and rustic liveliness. Melodic ornamentation in the form of trills, common to the baroque keyboard tradition, play an important part throughout.

22. El noi de la mare

El noi de la mare (The Mother's Child) is a Christmas carol depicting which gifts to present to the newly born baby Jesus. The song is a staple of the Catalan world, and has been sung by vocalists from different genres and performed in various instrumental arrangements.

This version’s origin is unclear, though it is believed to be by Llobet. I have made small adjustments to its form, harmony and voice-leading, as well as to its final chord. A notable arrangement, subsequent to Llobet’s, is by Frederic Mompou (1893–1987), in his Canço i dansa no.3 for piano.