Utwory na płycie:

• Danza Mora
• Maria
• Sonata - 1. Allegro moderato
• Sonata - 2. Minueto
• Sonata - 3. Pavana Triste
• Sonata - 4. Final
• Romance del pescador
• Canción del fuego fatuo
• Suite Castellana - 1. Fandanguillo
• Suite Castellana - 2. Arada
• Suite Castellana - 3. Danza
• Seguidilla
• Guajira
• Estudio Nr. 3 Canción Parameña
• Estudio Nr. 15 Estudio con Pajarillo
• Estudio Nr. 5 Para Laura

Tarrega:
Danza Mara
Maria

Jose:
Soanta

de Falla:
Romance del pescador
Cancion del fuego fatuo

Torroba:
Suite Castellana

Pujol:
Seguidilla
Guajira

Silva:
Estudio No. 3. Cancion Paramena
Estudio No. 15. Estudio con Pajarillo
Estudio No. 5. para Laura

The starting point for our attention here is the work of the Spanish composer, guitarist and guitar teacher Francisco Tárrega (1852-1909), whose "school" influenced numerous Spanish composers who, like Tárrega himself, saw the guitar as Spain's national instrument. The 19th century was a time when large concert halls were being constructed, something which, as the guitar began to enjoy increasing popularity, became rather problematic for guitarists, particularly as far as the acoustics were concerned. ??t was the Spanish guitar maker Antonio Torres (1817-1892) who, basing his designs on those of previous guitar makers, combined with the most up-to-date research into acoustics, developed larger instruments, something which Tárrega found vitally interesting, so much so that he developed a new playing technique. Through the evolution of his style of legato fretting and his own particular perception of the diverse timbral possibilities of the guitar, Tárrega created sounds that virtually made the instrument sing.