Mar 15 2008
The guitar as it was understood by Tarrega
At the end of 19th century, the guitar was a little-respected instrument. At that time, the city of Barcelona was living an important cultural momentum, which is world-reconissed by its characteristic Art-Nouveau architecture.
It was in this moment that the figure of Francisco Tàrrega ( Vila-Real 1852, Barcelona 1909) appeared, arriving in Barcelona in 1886. His first teacher was a blind street musician called “El cego de la Marina”. Tàrrega himself had problems with his vision. But it seems that his main point of reference was Mr. Arcas, a follower of the teachings that, sixty years prior, were established by Dionisio Aguado.
Soon, Tárrega began to write his own pieces, which he performed himself for a small group of friends and guitar lovers. These were intimate concerts , played in private homes, in which the success lay in the pleasure of those who listened. He died before publishing a method with the principles of his school.
Thoughout his life, Tàrrega played concerts in several music halls, but it was in the intimate sessions were his guitar “laughed and cried”, as the renowed violinist Joan Manen exclaimed.
Today, around the guitar world, public and performers prefer a quick performance rather than a sensitive one. I think that, unfortunately, for most of them, technical questions are more important than musical aspects. Perhaps this does not only occur in the guitar, but in all classical music. But I am sure that it is particularly serious with the guitar. Furthermore, I think that a woman always has a particular way to express her feelings, including when she plays her guitar.
Although the times we are living in do not seem suitable for warm and intimate music, I’m sure that there is still a place for it. For all these reasons, I prefer to play in small meetings, as Tàrrega did, at his own home. Those are suitable conditions to listen to the fine music of the guitar.
