Invocación: Connecting the Classical Guitar Tradition to Chopin
It is now almost a decade since I recorded Invocación, an album based on the idea that the Spanish composer Francisco Tárrega (1852–1909) was deeply influenced by the music of Frederic Chopin. Produced by David Frost, Invocación has proven successful — chosen as Album of the Week by both Classic FM in London and WQXR in New York, and played on radio stations throughout the world. It has now been rereleased by my own label with updated sound and new cover art. I welcome any thoughts and inquiries at info@mattiasguitar.com.
Tárrega is recognized today as a founding composer for the modern classical guitar. His steady use of guitars made by Antonio de Torres (1817–1892, Spanish) helped standardize the design and sound qualities of the instrument we know today and his pupils carried forth his ambitious ideas about its possibilities.
So what was this young Spaniard doing writing mazurkas, a regional Polish dance popularized by Chopin?
Tárrega made transcriptions of works by Bach, Mendelssohn, Schumann and Wagner. But what makes his Chopin transcriptions stand out are their effect on his original work. Tárrega adopted several of Chopin’s compositional formats, not only mazurkas, but preludes and waltzes, too. And he wrote pieces that weren’t called nocturnes, but that function like nocturnes.
Among Tárrega’s pupils were Emilio Pujol (1886–1980) and Miguel Llobet (1878–1938); Barcelona served as common ground. The city was home for many years to Tárrega and Pujol, and it was the place of birth for Llobet. Llobet made arrangements of Catalan traditionals, which show another facet of Tárrega’s cultural framework. The arrangements are sparse and exposed, and allow the guitar to sing. By contrast, the original music of Pujol is rhythmic and dance-like.
Produced by David Frost
Liner Notes: Mattias Schulstad
Editor, Liner Notes: Tim Page
Recording engineer: Silas Brown
Editing: David Frost, Charlie Post, Silas Brown
Mixing and mastering: Silas Brown
Photography: Mats Bäcker
Image Design: White Label Productions Ltd.
Liner Notes, Swedish Translation: Stefan Jacobsson Schulstad
Assistant engineers: Andy Ryder, Doron Schachter
Recording dates (Tárrega & Chopin): June 2 and 4, 2010
Recording date (Pujol & Llobet): February 3, 2012
Recording location: American Academy of Arts and Letters, New York, NY, United States of America
Guitar: “Erik”, Ignacio Fleta e hijos, № 577, Barcelona 1971
Strings: Albert Augustine: Regal trebles; Blue basses
℗ 2012, 2020 The copyright in this sound recording is owned by Mattias Schulstad.
© 2012, 2020 Mattias Schulstad. https://mattiasguitar.com/
Track List
CATALAN TRADITIONAL
Arranged by Miguel Llobet (Barcelona, Spain 1878–1938, Barcelona, Spain)
- El Testament d’Amelia
Poc à poc
Character: Broken heart
Duration: 02:13
Key: D minor
Composer: Catalan traditional
Arranger: Llobet
Historic period: Medieval/Late Romantic
Country: Spain
Form: Folk Song (A-B-A-B-B)
Instrumentation: guitar (classical)
First published (arrangement): 1900
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 № 8 for piano.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
2. Capricho Árabe
Serenata para guitarra
‘Al eminente maestro D. Tomás Breton’
Andantino
Character: Drama, Lament, Hope, Joy, Loss
Duration: 05:46
Key: D minor
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Serenade [Nocturne], Tragedy (A-B-C-A)
Instrumentation: guitar (classical)
Year composed: 1892
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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
3. Recuerdos de la Alhambra
‘hommage à l’eminént artiste Alfred Cottin.’
Andante
Character: Nostalgia
Duration: 04:56
Key: A minor/A major
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Étude [Nocturne], A-A-B-B-A-C
Instrumentation: guitar (classical)
Year composed: 1896
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).
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
4. Nocturne Op.9 № 2
Composés et dediés à Madame Camille Pleyel
Andante
Character: Romance
Duration: 04:12
Key: E major (originally in E flat)
Composer: Chopin
Arranger: Francisco Tárrega, Mattias Schulstad
Historic period: Romantic
Country: Poland, France, Spain, Sweden
Form: Nocturne (A-A-B-A-B-A-C)
Instrumentation: guitar (classical)
First published: 1832
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 № 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 № 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.
EMILIO PUJOL
(1886, Lleida, Spain — 1980, Barcelona, Spain)
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
Character: Drama, Tango, Mischief
Duration: 02:35; 03:23; 04:46
Key: A minor, A major, D major
Composer: Pujol
Historic period: Late Romantic
Country: Spain
Form: Overture, Tango, Guajira
Instrumentation: guitar (classical)
First published: 1926
Pujol’s Trois Marceaux 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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
8. Prelude ‘Endecha’
Andante Cantabile
Character: Grief, dejection, acceptance
Duration: 01:20
Key: D minor
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Prelude (A-B)
Instrumentation: guitar (classical)
First published: Unknown
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.)
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
24 Preludes, Op.28
9. Prelude Op.28 № 15 ‘Raindrop’
Sostenuto
Character: Lyricism, drama
Duration: 05:22
Key: A (originally in D flat)
Composer: Chopin
Arranger: Francisco Tárrega, Mattias Schulstad
Historic period: Romantic
Country: Poland, France, Spain, Sweden
Form: Prelude (A-B-A-B)
Instrumentation: guitar (classical)
First published: ca 1839
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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
10. Prelude ‘Lágrima’
Character: Homesickness, joy, grief
Duration: 02:01
Key: E major
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Prelude (A-B-A)
Instrumentation: guitar (classical)
First published: ca 1920
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.
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
24 Preludes, Op.28
11. Prelude Op.28 № 20
Largo
Character: Drama, lyricism
Duration: 01:33
Key: C sharp minor (originally in C minor)
Composer: Chopin
Arranger: Francisco Tárrega
Historic period: Late Romantic
Country: Poland, France, Spain
Form: Prelude (A-B-B)
Instrumentation: guitar (classical)
First published: ca 1839
Prelude Op.28 № 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.
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
12. Prelude Op.28 № 6
Lento assai
Character: Grief
Duration: 01:54
Key: G sharp minor (originally in B minor)
Composer: Chopin
Arranger: Francisco Tárrega
Historic period: Late Romantic
Country: Poland, France, Spain
Form: Prelude (A-B-A)
Instrumentation: guitar (classical)
First published: ca 1839
In the words of George Sand, Chopin’s Prelude Op.28 № 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.
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
13. Prelude Op.28 № 7
Andantino
Character: Elegance, Mazurka, lightness
Duration: 00:47
Key: D major (originally in A major)
Composer: Chopin
Arranger: Francisco Tárrega, Mattias Schulstad
Historic period: Late Romantic
Country: Poland, France, Spain, Sweden
Form: Prelude (A-B-A)
Instrumentation: guitar (classical)
First published: ca 1839
Prelude Op.28 № 6 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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
14. Prelude № 18 in D
Andantino
Character: Lightness, elegance, reflection
Duration: 01:17
Key: D major
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Prelude (A-A)
Instrumentation: guitar (classical)
First published: ca 1924
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 № 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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
15. Prelude № 2
‘A mi queridisimo discipulo Miguel Llobet.’
Character: Reflection
Duration: 02:00
Key: A minor
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Prelude (A-A-B)
Instrumentation: guitar (classical)
First published: 1902
Tárrega’s prelude № 2 is his most harmonically adventurous prelude, and perhaps his most Chopinesque. It is dedicated to his pupil Miguel Llobet.
CATALAN TRADITIONAL
Arranged by Miguel Llobet (Barcelona, Spain 1878–1938, Barcelona, Spain)
16. Cançó del Lladre
Character: Nostalgia
Duration: 02:09
Key: D major
Composer: Catalan traditional
Arranger: Miguel Llobet
Historic period: Late Romantic
Country: Spain
Form: Traditional (A-A-B)
Instrumentation: guitar (classical)
First published: Unknown
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 № 14 for piano.
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
17. Mazurka № 22, Op.33 № 1
Mesto
Character: Melancholy, hope
Duration: 01:37
Key: F-sharp minor (originally in G-sharp minor)
Composer: Chopin
Arranger: Francisco Tárrega
Historic period: Late Romantic
Country: Poland, France, Spain
Form: Mazurka (A-B-C-A)
Instrumentation: guitar (classical)
First published: 1838
Chopin’s mazurka Op.33 № 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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
18. Mazurka ‘Adelita’
Lento
Character: Sadness and joy
Duration: 01:34
Key: E minor
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Mazurka (A-B-A)
Instrumentation: guitar (classical)
First published: ca 1900
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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
19. Mazurka in G
’A mi querido amigo el eminente oculista Dr. Dn. Santiago Albitos’
Character: Charming
Duration: 02:38
Key: G major
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Mazurka (A-B-A)
Instrumentation: guitar (classical)
First published: Unknown
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.
FRANCISCO TÁRREGA
(1852, Villareal, Spain — 1909, Barcelona, Spain)
20. Mazurka ‘Sueño’
Character: Lively, thoughtful
Duration: 01:21
Key: C major
Composer: Tárrega
Historic period: Late Romantic
Country: Spain
Form: Mazurka (A-B-A)
Instrumentation: guitar (classical)
First published: Unknown
Sueño (Dream) is Tárrega’s most lively mazurka. Its opening is closely modeled on Chopin’s Mazurka Op.7 №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.
FRÉDÉRIC CHOPIN
(1810, Warsaw, Poland — 1849, Paris, France)
21. Mazurka № 25, Op.33 № 4
Mesto
Character: Majestic, somber, rustic, lively
Duration: 05:58
Key: D minor (originally in B minor)
Composer: Chopin
Arranger: Francisco Tárrega, Mattias Schulstad
Historic period: Late Romantic
Country: Poland, France, Spain, Sweden
Form: Mazurka (A-B-A-B-C-A)
Instrumentation: guitar (classical)
First published: 1838
Chopin’s Mazurka Op.33 № 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.
CATALAN TRADITIONAL
Arranged by Miguel Llobet (Barcelona, Spain 1878–1938, Barcelona, Spain)/Mattias Schulstad (b. 1984, Stockholm, Sweden)
22. El Noi de la Mare
Character: Bliss
Duration: 02:34
Key: D major
Composer: Catalan traditional
Arranger: Miguel Llobet, Mattias Schulstad
Historic period: Late Romantic
Country: Spain
Form: Christmas carol, Lullaby (A-B-A-B-A-B-C)
Instrumentation: guitar (classical)
First published: Unknown
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 № 3 for piano.
