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Tárrega's Recuerdos de la Alhambra - a New Edition

by Stanley Yates

© 2000 by Stanley Yates


This short essay on Recuerdos de la Alhambra (ca. 1899) by Francisco Tárrega's (1852-1909) is intended to serve as a preface to my new online edition of the piece. (The edition may be downloaded by following the link at the end of this article.)

Introduction
An Early Manuscript Version
A New Edition
A Quick Note About Practicing Tremolo
Source of the Edition
Online Edition

Introduction [Top]

Before discussing Tárrega's evocative tremolo piece, Recuerdos de la Alhambra, I would like to briefly share the story of how I first came to look seriously into Tárrega's music. In the late 1980's I was invited to give a recital at the first Wirral Guitar Festival (now the Euro-Wirral International Guitar Festival). The festival organizers had obtained a two-volume, leather-bound manuscript collection of Tárrega's music, known as the "Leckie Collection" (after the Scotsman Walter Leckie, a student and patron of Tárrega), and had approached me with the idea of giving a recital of Tárrega's music based on the versions contained in the two volumes. Of course, I accepted! Working from the manuscripts was a wonderful experience. Tárrega had written out a good many of his compositions and arrangements for Leckie, along with various studies and exercises, and in very fine detail. Several, different colored, inks were in evidence, and it was obvious that the maestro had annotated the pieces during the course of Leckie's lessons with him, perhaps over a number of years. In several cases, Tárrega had written technical exercises in the page margins or on the reverse or facing pages.

I played Tárrega's famous tremolo piece Recuerdos de la Alhambra as an encore at this recital (this was one piece not included in the Leckie manuscripts).

I have always found this piece to be very beautiful, but also quite awkward! In my experience, the difficulty does not relate simply to the tremolo technique the piece employs, but just as much to the left hand fingerings indicated in published versions of the piece. Not only are many of the left-hand positions difficult in themselves, but connecting one to the next is often difficult as well (figure 1):

[Figure 1]

Like so many other players, I found it necessary to revise Tárrega's published fingerings for my own performances. ( I'll give some tips on practicing tremolo technique at the end of this article).

 

An Early Manuscript Version [Top]

More recently, I have had the opportunity to examine an early manuscript version of Tárrega's famous work which appears to be the first version of the piece (or, at the very least, an early one). The title is as follows:

"Improvisation !A Granada! Cantiga Arabe

It is dedicated to Sra. Da. Conchita G. de Jacoby, and is dated Malaga, December 8th, 1899, with further dedicatory prose at the end of the piece (my translation):

"Ya que no puedo ofrecer a V. ofrenda de mas valia en el dia de su Santo, acepte esta mi pobre nota poetica, impresion que sintió mi alma ante la grandiosa maravilla de la Alhambra de Gramada que juntos amiramos. Fran.co tarrega"

"Since I cannot offer you a present of any worth on your birthday, accept this humble poetic impression, made on my soul by the grandiose marvel of the Alhambra of Granada we both admire."

This early version of the piece includes quite a few differences from published ones, for example (figure 2):

[Figure 2]

The manuscript is unfingered, with the exception of the passage shown above, and the following spot (figure 3):

[Figure 3]

In contrast to published versions of the piece, this fingering places the tremolo on the first string. Perhaps Tárrega originally fingered the rest of the piece in this obvious manner (he didn't indicate any unusual positions in the manuscript)?

(Other differences include the tempo marking - Andantino instead of the published Andante.)

 

A New Edition [Top]

With this in mind, I though I might publish online a revised edition of Tárrega's famous piece, not as a scholarly edition but as a suggestion for a more comfortable way to perform this wonderfully evocative piece. 

I would like to bring attention to a few aspects of the left-hand fingering (please refer to the score):

1. In measure 11, I suggest finger 3 on the second-string e so as not to overburden finger 2, which has just played a ligado on the first string.

2. In measure 19 the bar covering three strings is raised so as to leave the first finger in place on the third string.

3. In measure 39 f-natural on the fourth string is played with finger 3 (instead of finger 2) in preparation for the following measure.

4. "Guide-fingers" (indicated by dashes and diagonal lines) do not necessarily remain on the string during a position change (especially on the bass strings, where a "finger-squeak" might result).

 

A Note About Practicing Tremolo [Top]

Although this is not intended as a full discussion of tremolo technique, I would at least like to provide a few ideas that may be useful for those still developing the technique.

Think of the tremolo (p-a-m-i) as comprising three units: the "compound" a-m, i and p. Use the following practice sequence to help develop the technique:

1. a-m play a compound-stoke - as a single unit - but are "staggered" so that m plays after a. This can be achieved by holding m a little further away from the string, as well as by introducing a little tension into the m finger to help time its stroke. Practice a-m alone, in short bursts.

2. Add the i finger to produce a-m + i. Practice in short bursts, alternating between a version that places a short pause between a-m and i and one that plays through.

3. Add the thumb p. Again, alternate between a version that places a pause between a-m - i and p, and one that plays through.

4. Add a second round of a-m to produce a-m - i - p - a-m. Then add i, then p and so on, until you have a tremolo!

(By the way, a-m return to the string as p plays.)

Practice the ornaments in such places as measure 11 as short bursts of p - a-m, without the left hand at first.

Although there's much more to be said about tremolo than this, I do think that practicing in this way can be helpful.

 

Source of the Edition [Top]

The new online edition presented here does not reproduce any elements of the manuscript version discussed above.

Go to the Edition

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