MUSIC PUBLICATIONS
GUITAR SOLOS
ROMANTIC
CHANTERELLE
 
ECH1000
Tárrega, Francisco
The Complete Early Spanish Editions (Andía)
(Andía)
GN105555
352pp
1017 g
979-02047-1000-3
Gtr
54,00
Delivery state   Available
Description
This new collected edition contains all Tárrega´s compositions which were published in early Spanish editions. They are presented as unaltered Reprints dating from 1902-c.1920. (Three titles on the AB Syllabus are in this book, which although not the recommended edition would be suitable to use). Diese neue Sammelausgabe enthält alle Kompositionen Tárregas, die in den frühen spanischen Ausgaben veröffentlicht wurden. Sie werden alle als unveränderte Neudrucke der Ausgaben zwischen 1902 und ca.1920 präsentiert.
Contents
BACH J.S.: Loure, Bourée de la sonata 2a, Fuga de la 1a, Sonata para violin
BEETHOVEN L.v.: Largo op.27, Menuet, Scherzo de la sonata op.2, Sonata op.13.
CALLEJA GOMEZ Rafael: Tango de la cadera de El Ratón
CHOPIN Frédéric: Preludios Nos.6, 7 & 20, Mazurka op.33 No.1, Preludio 15, Nocturno, HÄNDEL G.F.: Minueto
HAYDN Joseph: Menuet, Largo Assai, Andante
MOZART W.A.: Minuetto du quatuor a cordes, Minuetto
SCHUBERT Franz: Menuet de la Fantaisie op.78, Au Soir
SCHUMANN Robert: Fuga, Feuilles variées, St. Nikolás, Berceuse
TÁRREGA F.: Capricho árabe, Preludios Nos.1 & 2, La mariposa, Gran Vals, ¡Adelita!, Maria, Mazurka, ¡Sueno!, Preludios Nos. 3, 4 & 5, Rosita, ¡Marieta!, Minuetto, Preludios Nos.6 & 7, Recuerdos de la Alhambra, Estudio en forma de Minuetto, Preludios Nos.8 & 9
VALVERDE Quinito: Polka de El Pobre Valbuena
ALARD J.D.: Estudio
BEETHOVEN L.v.: Tema del Séptimo Sinfonía, Marcha fúnebre, Adagio de la sonata Claro de Luna, fragmento de la 7a Sinfonía, Andante de la sonata no.9 de piano y violín
BERLIOZ Hector: Danza de las Sílfides
BIZET Georges: Adagio de la Arlesiana, Marcha del Rey de la Arlesiana
BOLZONI: Minuet
BOITO Arrigo: Mefistófele
CHOPIN Frédéric: Preludio No.4, Preludio No.11, Vals op.34 no.2, Mazurka no.22
CRAMER J.B.: Estudio
DAMAS T.: Estudio en La
GRIEG Eduard: Staccato, Marcha funébre, El Viajero solitario
HÄNDEL G.F.: Coral
HAYDN Joseph: Minueto
HENSELT A. von: Celebre estudio
MENDELSSOHN Felix: Celebre barcarola, Romanza sin palabras número 6, Canzoneta. MEYERBEER G.: La Africana, Chôro del primer acto
PRUDENT: Improvisación, Estudio
SCHUMANN Robert: Rêverie, Fugueta, Andantino Cantabile, Romanza op.21
TÁRREGA Francisco: Danza Mora, Lágrima, Preludio, Danza odalisca, Tango Alborada, Capricho, Sueno, Mazurka, Malaguena fácil, Dos Preludios, Endecha y Oremus, Preludio, Gran Jota de Concierto, Dos Preludios sobre fragmentos de Schumann y Bach, Vals, Preludio sobre un tema de Mendelssohn, Las dos Hermanitas, Dos valses, La Cartagenera, El Columpio, Canción de Cuna, Pepita - polka, Isabel - vals, Preludio en arpégios, Carnaval de Venecia, Estudio sobre una giga de Bach, Estudio sobre un fragmento de Schumann
THALBERG Sigismond: Trémolo
YRADIER Sebastián: La paloma, habanera
WAGNER Richard: Marcha de la ópera Tannhäuser, Fragmento de la Sinfonía de Tannhäuser. WEYRAUCH: Adieu
VERDI Giuseppe: La Traviata, Tema.
Francisco Tárrega (1852-1909)
Tárrega’s role in guitar history is not easy to define. He was described in almost “saintly” terms by nearly all. Concrete details and documents are remarkably absent when it comes to substantiating his acquired legendary status and title of “Father of modern guitar technique”. He left no surviving written method but numerous nebulous testimonials to his qualities abound. Probably a pupil of Arcas, he certainly greatly enriched the repertoire and was a pioneering transcriber and a revered teacher. Agustín Barrios reputedly said of him: “without Tárrega we would not be!” After his death, his pupils promoted his name and a few myths including that he played without nails out of choice. According to Regino Sáinz de la Maza, Tárrega, towards the end of his life, would have played with nails but was unable to do this, as unfortunately they were continually breaking due to the Maestro’s poor state of health.



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