tracing tárrega’s preludes for guitar

The University of Akron

From the SelectedWorks of David Procházka

March 1, 2016

Tracing Tárrega’s Preludes for Guitar.David Procházka, The University of Akron

Available at: https://works.bepress.com/david-prochazka/4/

http://www.uakron.edu/

https://works.bepress.com/david-prochazka/

https://works.bepress.com/david-prochazka/4/

3/1/16 -- 1

TRACING TÁRREGA’S PRELUDES FOR GUITAR AN INVESTIGATION PREPARED BY DAVID PROCHÁZKA

FOR THE 2016 ANNUAL CONFERENCE OF THE MUSIC OCLC USERS GROUP

Hi there. First, I’d like to say ‘thanks’ for coming to the last session of the day. I know it’s

often tempting to cut out early.

I’d like to tell you a little about what to expect from this session. I’m not presenting a

polished paper documenting research that’s been completed. Instead, I’m describing an

investigation I’ve undertaken over the past several years, and where the research has taken

me so far. We’ll end with a discussion about where to go next. All righty? Let’s dig in.

Francisco Tárrega was a Spanish guitarist and composer. He was born in 1852 and died in

1909. In addition to extensive concertizing in Europe, he taught guitar privately.

His compositional output was chiefly for solo guitar. In addition to approximately 100

original works for this medium, he produced roughly 120 transcriptions for solo guitar and

guitar duet. These arrangements were chiefly of 19th century repertoire, including composers

as diverse as Chopin, Mendelssohn, and Gottschalk. His music reflects a nationalistic style; a

Spanish influence is evidenced in his own compositions, much as you might hear in the

piano music of Albéniz and Granados.

Tárrega is considered by many to have led the revival of the guitar as a solo instrument in

the last quarter of the 19th century, and—through his teaching—to have had a major impact

on 20th century guitar playing. It was common for him to dash off manuscript copies of

short compositions and give them to students and friends. Because of this, numerous of his

3/1/16 -- 2

small-scale works are represented in multiple versions in his own hand, and it’s not

uncommon for the manuscripts to lack titles. These factors have helped generate some

controversy as to what exactly constitutes his body of work. There are no less than 5

editions that claim to include his complete original works, though the actual content varies

widely. Several of these editions also include his many transcriptions.

Tárrega’s shorter pieces are very popular as ‘stocking stuffers’; they’re often used to fill out

recordings of longer works. This practice is especially common with his preludes.

Recitalists frequently choose three to five of them to include on a recording. Because The

University of Akron has a very strong program in guitar performance, I have always

attempted to uniquely identify and provide access to each work on such recordings. That’s

really the genesis of this investigation: trying to determine the best way to identify Tárrega’s

preludes.

Let me provide a bit of history. During his life, nine preludes were published at different

times by different publishers; they were numbered one through nine. That’s very

straightforward. Flash forward to 1961: Universal Edition published his “Sämtliche

Präludien” (or “Complete Preludes”), edited by Karl Scheit. The edition included fifteen

preludes. Curiously, not even all of the original nine preludes were included, though no

explanation is offered for the omission.

Let’s look at the complete editions of Tárrega’s music. In 1968, Ricordi of Buenos Aires

published a 4-volume set of Tárrega’s music, edited by G. Bianqui Piñero, which included 30

works identified as preludes.

3/1/16 -- 3

In 1971-1978, Bèrben published another 4-volume set of Tárrega’s music, edited by Mario

Gangi and Carlo Carfagna, which included 39 preludes.

In 1991-1993, Soneto Ediciones Musicales issued a 5-volume collection of Tárrega’s music,

edited by Melchor Rodríguez, in which the number of preludes fell to 35.

Also in the 1990s, Chanterelle published a 2-volume edition of Tárrega’s music. However, it

only reprinted previously published scores, so it’s not relevant to this investigation.

In 2008, Productions d’OZ issued a single volume, which is identified as Tárrega’s complete

original works; it contains 67 compositions. Michel Beauchamp was the editor, and the

preludes here number only 24.

In almost every one of these editions, the numbering of the original 9 preludes was replaced

with a more comprehensive numbering conceived by the editor.

Another work has particular significance for identifying Tárrega’s output; that is a biography

by Wolf Moser, which was originally published in 1996. It included a thematic catalog of

Tárrega’s original compositions with comprehensive numbering; this was followed by a

numbered list of his arrangements, which lacked incipits.

Moser identified 37 preludes. I compared these to the 39 preludes included in the Bèrben

edition. Strangely, only 27 of the works identified as preludes in the Bèrben edition were

also identified as preludes in Moser’s thematic catalog. Some works were unique either to

Moser or to Bèrben; other works were identified as etudes in one source and as preludes in

the other. Obviously, there was quite a bit of disagreement between these two sources;

3/1/16 -- 4

nonetheless, their coverage of Tárrega’s compositions was the most extensive I’d seen thus

far in my investigating.

There are additional complicating factors tied to the thematic listing in Moser’s biography.

The original 1996 edition was in German. Moser revised the biography for a Spanish

translation which has had two editions: 2007 and 2009. The numbering of the works

changes between the original 1996 edition and the 2009 edition.

While investigating Beauchamp’s edition of 2008 a couple weeks ago, I became aware of

another thematic index of Tárrega’s preludes, studies, and exercises. It’s included in Classical

Guitar Music in Print, which was edited by Mijndert Jape and published by Musicdata, Inc. in

1989. The thematic index runs 25 pages, followed by 10 pages of critical commentary.

Let’s change our focus for a minute and look at the authority records for Tárrega’s preludes;

these are reproduced at the end of the handout. If you flip to the last page of the handout,

you’ll see that there are currently three relevant authority records. The first authority record,

which represents all of the preludes, cites a 1984 edition containing 20 preludes (Venti

preludi). This edition of preludes was edited by Ruggero Chiesa, and is included in the table

that makes up most of the handout. The same authority record also cites the 1961

“Sämtliche Präludien” which consists of only 15 works; for reasons I’ve already mentioned,

this edition is not included in the table.

Below that, the 2nd authority record is for an individual prelude. If you look at how the

access point is constructed, you’ll see that the punctuation and structure indicate that there is

a single work or set which contains all of Tárrega’s numbered preludes and that this is

3/1/16 -- 5

number 2 in that set. Keep in mind that even the 9 preludes issued during Tárrega’s lifetime

were published at several different times, by different publishers. So, the notion that there is

a single work or even collection of preludes is not really supported by the evidence.

To the right of the 2nd example, I’ve included the 3rd authority record—the one for

selections—for the sake of being complete. It doesn’t really have an impact on this

investigation. That’s all our authority file has to contribute.

Realizing that the authority records didn’t really adequately give guidance on constructing

access points for these works, I went in search of other ways to accomplish that. In an

attempt to compare sources and make some sense out of this body of work, I began

preparing the table which covers pages 1-7 of the handout. I attempted to draw together

every numbered work which at least one editor or author had identified as a prelude by

Tárrega. I know the incipits are small; hopefully they’re large enough to be legible.

At one point, I considered trying to distinguish the preludes by key. When I realized key

wouldn’t be sufficient, I thought of adding the meter; the second column in the table proves

why that would not be a useful means of distinguishing these works: for example, there are

seven preludes in A major, which are ¾ time. All the same, this is useful information for

tracking purposes, so I retained it in the table.

I need to explain the numbering you see in the table. The cells in the columns for

Gangi/Carfagna, Chiera, Piñero, and Rodríguez each start with the number they assigned to

a particular prelude. If an editor identified a work as something other than a prelude, that’s

reflected in the cell.

3/1/16 -- 6

As you look down the third column, you see the numbering used in the Bèrben edition

prepared by Gangi and Carfagna. If you slip to page 7 of the handout, you’ll see works whi,

in this edition, are identified as ‘studi’. An early idea of mine was to use the numbering of

the preludes from this edition as the device to distinguish the preludes because it contains

more preludes than any other source. However, even though this edition is complete, it

lacks a comprehensive numbering that would facilitate identifying those works which appear

under different titles.

The following column documents the numbering used in the original German edition of

Moser’s biography, which includes almost as many preludes. One appeal of this numbering

is that it is independent of title; preludes, etudes, and other works all share a single,

comprehensive numbering scheme. If you look at the 3rd entry—a prelude in A major, in

triple meter—you’ll see that a work which Gangi and Carfagna identified as a prelude is

identified as an etude by Moser and other editors.

The next column documents the numbering used in the 2009 Spanish edition of Moser’s

biography. Note the changes in numbering between the two editions. Also look at the next-

to-last last entry on the first page, another composition in A major; you’ll note that while it

was numbered 95 and called a prelude in the 1st edition, in the latest edition, it is numbered

32 and is now called an etude.

I included a column for Chiesa’s edition for two reasons. Firstly, it is cited in the authority

record for the complete preludes. Secondly, it includes a different beginning to one of the

preludes, as noted in the two rows bracketed in red toward the bottom of page 2.

3/1/16 -- 7

Throughout the table, I’ve used rows surrounded by red brackets to tie together versions of

a single work or highly related works that some consider multiple versions of a single work.

Piñero’s complete edition of 1968 is also included here, in part because it identifies a work as

a prelude that Moser considers to be an arrangement and that Gangi & Carfagna consider to

be an etude. For this, see the last musical incipit, which is on the 7th page.

The next column documents preludes in a widely-held edition of Tárrega’s complete works

from 1991, edited by Melchor Rodríguez. This edition has been the source for at least one

recording of the ‘compete preludes’.

The next column reflects the newest ‘complete’ edition, edited by Michel Beauchamp, and

published in 2008. Beauchamp provided new numbering for the preludes; he also included

an additional comprehensive numbering scheme encompassing all of the works in this

edition. Unfortunately, Beauchamp made the decision to exclude what he identified as

‘transcriptions, sketches, and exercises’; this accounts for the fact that Beauchamp includes

only 67 original compositions while most other editors and authors identify roughly 100

original works by Tárrega. An additional limitation is that the numbering scheme

Beauchamp developed to identify all the works in the edition does not appear with the music

itself; it only appears with the commentary that precedes the music and in a table appearing

after the music which compares the numbering used in three different catalogs.

As I mentioned, Beauchamp referred to thematic catalog by Mijndert Jape that’s hidden in a

much larger work. It turns out to be a real gem! I’ll talk about it more momentarily.

3/1/16 -- 8

If you turn to the last two pages of the handout, you’ll see that I’ve given full citations for

each of these works. I’ve also indicated what sorts of holdings there are among U.S.

libraries. You’ll see that copies of the various editions of Moser’s biographies are quite

scarce in this country. In fact, I’ve tried unsuccessfully to acquire a copy of the original

German edition for our library for the past 8 years. I’m now trying to get a copy of the 2009

Spanish edition. The Gangi/Carfagna edition is the most widely held version of the

complete works with more than 80 holdings in the U.S. Also note that Jape’s Classical Guitar

Music in Print is held by roughly 300 libraries in the States.

Over the years, I’ve experimented with various ways to uniquely identify these works. I’d

temporarily settled on adding Moser’s numbering as a qualifier at the end of access points,

but I have serious concerns about this approach for several reasons:

1. The editions of Moser’s biography are VERY difficult to acquire;

2. The numbering of works changes between editions;

3. Moser’s numbering doesn’t coincide with what appears on the original 9 numbered

preludes published during Tárrega’s lifetime;

4. And there is at least one case where Moser has seriously misconstrued published

versions of the preludes, as evidenced by the 6 rows bracketed in red at the bottom

of page 6 of the handout.

At the end of the handout, I’ve included two examples of access points that incorporate

Moser numbering from the 1st edition. The first example includes key and Moser’s

numbering; the second is a modified version of the access point reflected in the 2nd authority

3/1/16 -- 9

record; the construction is awkward, but this particular prelude is frequently recorded, and I

felt a need to qualify the authorized access point to reflect which “prelude no. 2” is actually

present.

So, where does that leave us?

Though I just discovered Jape’s thematic index, it looks like a very promising candidate. It

has much more critical apparatus than any other source, and is very widely held. The only

negative I can think of is that it does not include all of Tárrega’s compositions. However,

most of the rest of his works have distinctive titles and should not be in need of

distinguishing qualifiers. Jape does not explain the reasons for categorizing works as

preludes, etudes, or exercises; I’m not sure if a problem might lie there-in or not.

Well, that’s what I have, after working with this repertoire for more than 10 years and

pondering how best to provide access to it. Thanks for listening. Now, it’s time to open up

the floor for discussion, questions, ideas, etc.

TRACING TÁRREGA’S PRELUDES FOR GUITAR – COMPILED BY DAVID PROCHÁZKA FOR THE 2016 ANNUAL CONFERENCE OF THE MUSIC OCLC USERS GROUP INCIPIT

<51?> Key & Meter

Gangi-Carfagna (©1971) <39>

Moser (©1996 : German)

<37>

Moser (©2009 : Nueva edición Española)

<37>

Chiesa (©1984)

<20>

Piñero (©1968)

<30>

Rodríguez (dep. leg. 1991) <35>

Beauchamp (©2008)

<24>

Jape (1989)

<25/26>

A minor 2/4

1 “Andantino”

87 “Preludio [en La menor / a] . [Pujol: ‘Impromptu original’] … B.A.”

86 “Preludio [en La menor] . [Pujol: ‘Impromptu original’] … B.A.”

Not included

13 “Andantino”

25 “Preludio … S.E.M. n.º 25”

42 “Prelude nᵒ 6; Preludio”

“Prelude, TI i- 24, in A minor”

D major ¾

2 “Andante sostenuto”

92 “Preludio [en Re mayor / D] . MS: 11. 2. 1894 Nizza, unv. …”

91 “Preludio [en Re mayor] . MS: 11-2-1894 Niza, ined. …”

Not included




“Prelude, TI i- 21, in D; Andante sostenuto”

A major ¾

3 “Lento”

33 “Estudio [en La mayor / A] . P. R. I., S. 122”

33 “Estudio [en La mayor] . P. R. I. pág. 122”

Not included

Not included

Not included 8 “Étude nᵒ 1; Estudio

“Study, TI ii- 42, in A; Lento”

A major 3/4

4 96 “Preludio [en La mayor / A] . P. R. I, S. 123, Nr. 3”

95 “Preludio [en La mayor] . P. R. I, pág. 123, Nᵒ 3”

Not included

21 “Allegretto”


Not included “Study, TI ii- 35, in A”

B minor 2/4

5 Not included Not included Not included

Not included

Estudio S.E.M. n.º 21 (v. 1)

Not included “Exercise, TI iii- 8”

E major C

6 105 “Preludio [en Mi mayor / E] . P. R. I, S. 124/5 Nr. 7” <Includes additional half notes in lower voice>

104 “Preludio [en Mi mayor] . P. R. I, págs. 124/5 Nᵒ 7”

Not included

24 “Presto”

Not included 13 “Étude nᵒ 6; Estudio”

“Exercise, TI iii- 30b”

A major 2/4

7 38 “Estudio [en La mayor / A] . P. R. II, S. 102” <Groups notes into sextuplets>

38 “Estudio [en La mayor] . P. R. II, pág. 102”

Not included

27 “Presto”


17 “Étude nᵒ 10; Estudio”

“Study, TI ii- 36, in A”

A major 3/4

8 97 “Preludio [en La mayor / A] . P. R. II, S. 102, Nr. 1”

96 “Preludio [en La mayor] . P. R. II, pág. 102, Nᵒ 1”

Not included

22 “Lento”



“Prelude, TI i- 20, in A”

A major 2/4

9 “Allegro”

95 “Preludio [en La mayor / A] . MS: [ -- 1fd. Nr. 95 + 99] Preludio 5. 2. 1895 Barcelona, unv. I.A. No. 58 + P. R. II, S. 108 Nr. 10 + [mit der ‘Einleitung’] SON II/19”

32 “Estudio [en La mayor] (el esquema de acordes es del Preludio Nᵒ 8) . P.R. II, pág. 104 Nᵒ 3 + B. F. 454 Nᵒ 5”

Not included

25 “Andante”


Not included “Prelude, TI i- 8b, in A; Andante”

C major 4/4

10 “Allegro”

85 “Preludio [en Do mayor, de

84 “Preludio [en Do mayor, de

16 “Andantino

26 “Andantino

22 “Preludio …

46 “Prelude nᵒ 10;

“Prelude, TI i- 15 in C;

-2-

acordes / C] MS A: *.* [April 1902], unv.; MS B: 29. 6. 1905 Barcelona . P. R. II, S. 104 Nr 4 + SON I/27 [veränderte Fassung]”

acordes] MS A: *.* [April de 1902], ined.; MS B: 29-6-1905 Barcelona . P. R. II, S. 104 Nᵒ 4 + SON I/27 [version modificada]”

mosso” ” S.E.M. n.º 22, Andante”

Preludio” Andantino”

INCIPIT KEY… GANGI… MOSER, 1996 MOSER, 2009 CHIESA PIÑERO RODRÍGUEZ BEAUCHAMP JAPE

C major 2/4


Not included

Not included Not included Not included

A minor 2/4

12 89 “Preludio [en La menor / a] . P. R. II, S. 106 Nr. 7”

88 “Preludio [en La menor] . P. R. II, pág. 106 Nᵒ 7”

Not included

17 “Presto”


Not included “Study, TI ii- 29, in A minor”

B minor C

13 94 “* Preludio [en Si menor / h] . P. R. II, S. 107 Nr. 8”

93 “* Preludio [en Si menor] . P. R. II, pág. 107 Nᵒ 8”

Not included

11 “Allº vivace”

17 “Preludio … S.E.M. n.º 17” <Notated in 6/8, with single sharp in key signature>

50 “Prelude nᵒ 13; Preludio” <Notated in 12/8>

“Prelude, TI i- 23, in B minor”

A minor C

14 106 “* Preludio (sobre una fuga de Bach) [aus BWV 1001] . I. A. No. 22 + P. R. II, S 107 Nr. 9”

105 “* Preludio (sobre una fuga de Bach) [del BWV 1001] . I. A. Nᵒ 22 + P. R. II, pág. 107 Nᵒ 9”

Not included

Not included

21 “Preludio (Sobre un fragment de J. S. Bach … S.E.M. n.º 21”

Not included “Prelude, TI i- 14, in A minor”

…

…

A major 2/4

Not included, but see Moser 95 above

94 “Preludio [en La mayor] . MS: [ = Nᵒ 95 + 99] Preludio 5-2-1895 Barcelona, ined. I. A. Nᵒ 58 + P. R. II, pág. 108 Nᵒ 10 + [con la ‘Introducción’] SON II/19”

20 In 2 sections: “Andante,” “Allegro” – see also Gangi 15

Estudio S.E.M. n.ᵒ 19 (v. 2) [First section begins differently and is notated in eighth notes over quarter notes]

Not included “Study, TI ii- 4a”

A major C

15

29 “Presto”

27 “Étude nᵒ 20; Estudio en arpegios”

“Study, TI ii- 4b, in A”

E major 6/8

16 <includes another version as Trascrizione 37, Chopin’s op. 28, no. 11>

Not included as new work; 171? <doesn’t include incipit>

Not included as new work; 170? <doesn’t include incipit>

Not included

Not included


-3-


A major 2/4


Not included


E major C

18 “Andante”

103 “Preludio [en Mi mayor / E] MS: 7. 2. 1900 Algier, unv., . T.C. (1980)”

102 “Preludio [en Mi mayor] MS: 7-2-1900 Argel, ined., . T.C. (1980)”


12 “Andante sontenuto”

15 “Preludio … S.E.M. n.º 15, Andante sostenuto”


“Prelude, TI i- 22, in E; Andante sostenuto”

A minor 6/8

19 “Allegro moderato”

86 “Preludio [en La menor / a] . I. A. No. 19”

85 “Preludio [en La menor] . I. A. Nᵒ 19”

13 “Allegro moderato”

14 “Andante”


45 “Prelude nᵒ 9; Preludio número 12”


G major 3/4

20 “Scherzando”

16 “Estudio [en Sol mayor / G] . [Pujol: Scherzo-Estudio de ligados / Llobet-Abschrift: ‘Estudio’ im 3/8 Takt) . P. R. II, S. 105 Nr. 5 + B. F. 478 Nr. 11 (1966)”

16 “Estudio [en Sol mayor] . [Pujol: Scherzo-Estudio de ligados / COpiea de Llobet: ‘Estudio’ en compás de 3/8) . P. R. II, pág. 105 Nᵒ 5 + B. F. 478 Nᵒ 11 (1966)”

14 “Andantino”

16 “Andantino”

28 “Preludio … S.E.M. n.º 28, Scherzo”


“Prelude, TI i- 19, in E minor [sic]; Andantino”

D major 2/4

21 90 “Preludio [en Re mayor / D] . I. A. No. 15”

89 “Preludio [en Re mayor] . I. A. Nᵒ 15” <in 6/8>

6 “Andantino”

10 “Andantino”


40 “Prelude nᵒ 4; Preludio número 10” <in 6/8>

“Prelude, TI i- 10, in D”

D major 2/4

22 91 “Preludio [en Re mayor / D] . I. A. No. 15”

90 “Preludio [en Re mayor] . I. A. Nᵒ 15”

9 “Andante lento”

15 “Lento”

18 “Preludio … S.E.M. n.º 18, Andantino”


“Prelude, TI i- 11, in D”

A major C

23 23 “* Estudio [en La mayor / A] . B. F. 454 Nr. 4”

23 “* Estudio [en La mayor] . B. F. 454 Nᵒ4”

Not included

Not included



“Study, TI ii- 2a, in A” “Study, TI ii- 4b, in A”

D major 2/4

24 22 “Estudio [en Re mayor / D] . P. R. I, S. 125”

22 “Estudio [en Re mayor / D] . P. R. I, pág. 125”

12 “Allegretto”

20 “Allegretto”


Not included “Study, TI ii- 32, in D”

A major 2/4


Not included


Not included “Exercise, TI iii- 33” <2nd version>

-4-


A major 3/4

26 36 “Estudio [en La mayor / A] . B. F. 541 Nr. 16”

36 “Estudio [en La mayor] . B. F. 541 Nᵒ 16”

Not included

Not included


Not included “Study, TI ii- 34, in A”

D minor 2/4

27 “I, Moderato”

76 “Preludio No. 1 . A. y T. 358bis (1902) + ECH 1001”

75 “Preludio Nᵒ 1 . A. y T. 358bis (1902) + ECH 1001”

8 “Moderato”

1 “Moderato”

1 “Preludio número 1 … Moderato”


“Prelude, TI i- 1, in D minor; Moderato”

A minor 3/4

28 “II, Andante”

77 “Preludio No. 2 . MS: 16. 6. 1896 Barcelona, unv. . A. y T. 358 + ECH 1001”

76 “Preludio Nᵒ 2 . MS: 16-6-1896 Barcelona, ined. . A. y T. 358 + ECH 1001”

3 “Andante mosso”

2 “Andante”

2 “Preludio número 2”



G major 3/8

29 “III, Allegretto”

78 “Preludio No. 3 . A. y T. 392 (1902) + ECH 1001”

77 “Preludio Nᵒ 3 . A. y T. 392 (1902) + ECH 1001”

4 “Allegretto”

3 “Allegretto”

3 “Preludio Nº 3. … Allegretto”


“Prelude, TI i- 3, in G; Allegretto”

E major 3/8

30 “IV, Allegro”

79 “Preludio No. 4 . MS A: ¡A mi Padre! Preludio Patético 9. 3. 1895 Valencia, unv.; MS B: ¡A mi padre! Preludio 1895 Barcelona, unv., A. y T. 392 (1903) + ECH 1001”

78 “Preludio Nᵒ 4 . MS A: ¡A mi Padre! Preludio Patético 9-3-1895 Valencia, ined.; MS B: ¡A mi padre! Preludio 25-10-1895 Barcelona, A. y T. 392 (1903) + ECH 1001”

17 “Allegro”

4 “Allegro”

4 “Preludio Nº 4. … Allegro”


“Prelude, TI i- 4, in E; Allegro”

E major 3/4

31 “V, Andante sostenuto”

80 “Preludio No. 5 . MS: Preludio ¡ Una visión en la Torre del Diablo! 16. 4. 1900 Algier, unv. . A. y T. 392 + ECH 1001”

79 “Preludio Nᵒ 5 . MS: Preludio ¡ Una visión en la Torre del Diablo! 16-4-1900 Argel, ined. . A. y T. 392 + ECH 1001”



5 “Preludio Nº 5 … Andte sostenuto.”


“Prelude, TI i- 5, in E; Andante sostenuto”

B minor 2/4

32 “VI, Moderato”

81 “Preludio 6º [1901] . V Ll. y B. 1053 No. 11 (1907) + ECH 1001”

80 “Preludio 6º [1901] . V Ll. y B. 1053 Nᵒ 11 (1907) + ECH 1001”

19 “Moderato”

6 “Moderato”

6 “Preludio 6º”


“Prelude, TI i- 6, in B minor”

A major 2/4

33 “VII, Andante”

82 “Preludio 7º [1901] . MS: *.*, unv. V. Ll. y B 1054 No. 12 + ECH 1001”

81 “Preludio 7º [1901] . MS: *.*, ined. V. Ll. y B 1054 Nᵒ 12 + ECH 1001”

18 “Andante”

7 “Andante”

7 “Preludio 7.o”



-5-


A major 2/4

34 “VIII, Allegretto”

83 “Preludio No. 8 . V. Ll. y B 1104 No. 15 + ECH 1001”

82 “Preludio Nᵒ 8 . V. Ll. y B 1104 Nᵒ 15 + ECH 1001”

2 “Allegretto”

8 “Allegretto”

8 “Dos Preludios … Nº 8.”


“Prelude, TI i- 8a, in A; Allegretto”

A major 2/4

35 “IX, Allegretto”

84 “Preludio No. 9 . V. Ll. Y B 1102 No. 15 + ECH 1001”

83 “Preludio Nᵒ 9 . V. Ll. Y B 1102 Nᵒ 15 + ECH 1001”

7 “Allegretto”

9 “Allegretto”

9 “[Dos Preludios] … Nº 9.”



E major 3/4

36 “Lágrima, Andante”

63 “Lágrima, Preludio . O. H. (1914) + I. A. No. 2 + P. R. III, S. 14 (Nr. 2) + RyF”

63 “Lágrima, Preludio . O. H. (1914) + I. A. Nᵒ 2 + P. R. III, pág. 14 (Nᵒ 2) + RyF”

5 “Lágrima, Andante”

18 “LAGRIMA, Andante lento”

20 “Preludio (Una lagrima) … S.E.M. n.º 20”

60 “Prelude nᵒ 24; Lágrima”

“Prelude, TI i- 17, in E; ‘Lagrima’; Andante”

D minor 2/4

37 “Endecha, Andante”

8 “Endecha, Preludio . I. A. No. 17”

8 “Endecha, Preludio . I. A. Nᵒ 17”

11 “Endecha, Andante”

19 “ENDECHA, Andante”

34 “Preludio (Endecha) … S.E.M. n.º 34, Andante cantabile”

39 “Prelude nᵒ 3; Endecha”

“Prelude, TI i- 16, D minor; ‘Endecha’”

D minor 2/4

38 “Oremus, Lento”

72 “Oremus . [nach R. Schumann op. 124 Nr. 5] I. A. No. 17 + B. A. [veränderte, vierstimmige Fassung]”

71 “Oremus . [según el op. 124 Nᵒ 5 de R. Schumann] I. A. Nᵒ 17 + B. A. [version modificada a 4 voces]”

10 “Oremus, Lento”

30 “OREMUS”

35 “Preludio (Oremus) … S.E.M. n.º 35, Lento religioso”

Not included; considered an arrangement

“Prelude, TI i- 18, in D minor; ‘Oremus’”

B minor 2/4

39 “Preludio su un tema di F. Mendelssohn, Moderato”

107 “Preludio sobre un fragmento de Mendelssohn [n. d. Ouvertüre Die Hebriden op. 26 (Fingalshöhle)] . MS Vicente Tárregas (?), das der Autor mit Fingersätzen versehen, unterschrieben und datiert hat: Fragmento de Mendelssohn en forma de Preludio 24. 12. 1899 Barcelona, unv. . I. A. No. 36 + RyF”

106 “Preludio sobre un fragmento de Mendelssohn [según la oberture de Las Hébridas op. 26 (La gruta de Fingal)] . MS de Vicente Tárrega (?), al que el autor proveyó de digitaciones, firmó y fechó: Fragmento de Mendelssohn en forma de Preludio 24-12-1899 Barcelona, ined. . I. A. Nᵒ 36 + RyF”

Not included

“Estudio sobre un tema de Mendelssohn” (v. 4)

14 “Preludio (Sobre un fragment de Mendelssohn … S.E.M. n.º 14, Allegro”

Not included “Study, TI ii- 16a, in B minor”

A minor 2/4

Not included 88 “Preludio [en La menor / a] . unv.”

87 “Preludio [en La menor] . ined.”

Not included

Not included

Not included 43 “Prelude nᵒ 7; Preludio”

Not included

-6-


D major C

Not included 93 “Preludio [en Re mayor / D] . SON III/29

92 “Preludio [en Re mayor] . SON III/29

Not included

Not included

29 “Preludio (Inédito) … S.E.M. n.º 29”

Not included Not included

A minor?3/4

Not included 98 “Preludio [en La mayor / A] . MS: Preludio por Tárrega 4. 3. 1900 Algier, unv., . unv.”

Not included

Not included


A major? 3/4

97 “Preludio [en La menor] . MS: Preludio por Tárrega 4-3-1900 Argel, ined., . ined.”

A major 2/4

Not included ZW7 “Preludio [en La mayor / A] . veröff.”

ZW7 “Preludio [en La mayor] . publ.”

Not included

Not included

Not included 56 “Prelude nᵒ 20; Preludio” <in 6/8; starts on 2nd beat>


A major 4/4

99 “Preludio [en La mayor / A] . SON III/19”

Not included

Not included

Not included

A major 4/4

98 “Preludio [en La mayor] . SON III/19”

A major 4/4


A major C

Studio 10

E major C

46 “Estudio [en Mi mayor] . B. A. 9508 pág. 15”

“Study, TI ii- 33, in E”

E major 2/4

46 “Estudio [en Mi mayor / E] . B. A. 9508 S. 15”


-7-


A major 4/4

Not included 100 “Preludio [en La mayor / A] . [Abschrift Josefina Robledos, der ein Original-MS vorlag], unv.”

99 “Preludio [en La mayor] . [Copia de Josefina Robledos, que disponía de un manuscript original], ined.”

Not included

Not included

Not included 55 “Prelude nᵒ 19; Preludio”

Not included

A major 3/4

Not included 101 “Preludio [en La mayor / A] . SON III/31”

100 “Preludio [en La mayor] . SON III/31”

Not included

Not included


A major 3/4


F# minor 2/4

Not included 102 “Preludio [en Fa sostenido menor / fis] SON III/10” <Despite key signature, in F# minor>

101 “Preludio [en Fa sostenido menor] SON III/10” <Key signature is correct (3 sharps)>

Not included

Not included

10 “Preludio (Inédito) … S.E.M. n.º 10, Andantino” <Key signature is correct (3 sharps)>


Not included

E major 2/4

Not included 104 “Preludio [en Mi mayor / E] . SON III/16”

103 “Preludio [en Mi mayor] . SON III/16”

Not included

Not included



E major 2/4

Studio 8 47 “Estudio [en Mi mayor / E] . B. A. 11343 Nr. 4”

47 “Estudio [en Mi mayor] . B. A. 11343 Nᵒ 4”

Not included

Not included


Not included “Study, TI ii- 31, in E”

A minor C

Studio 16 <includes another version as Trascrizione 75, Schumann’s op. 99, no. 2 [i.e. 5]>

224 “Preludio [op. 99, Nr. 5, Schnell] . I. A. No. 22” <arrangement of work by Robert Schumann; without incipit>

223 “Preludio [op. 99, Nᵒ 5, Rápido] . I. A. No. 22” <arrangement of work by Robert Schumann; without incipit>

Not included

28 Not included Not included “Prelude, TI i- 12, in A minor”

Opere per chitarra / Tárrega ; [a cura di Mario] Gangi, [Carlo] Carfagna. – Ancona, Italia : Bèrben, ©1971-©1978. 4 volumes. Held by more than 80 U.S. libraries as of 2/1/2016.

Francisco Tárrega : Werden und Wirkung : die Gitarre in Spanien zwischen 1830 und 1960 / Wolf Moser. – [Brussels?] : Saint-Georges, ©1996. Held by 3 U.S. libraries as of 2/1/2016.

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Francisco Tárrega y la guitarra en España entre 1830 y 1960 / Wolf Moser. – Nueva edición Española, ampliada e revisada por el Autor ; traduccion, Antonion Gómez Schneekloth, Alfredo Brotons Muñoz. – Valencia, España : Piles Editorial de Música, ©2009.

Held by 2 U.S. libraries as of 2/1/2016. An earlier Spanish edition appeared under a slightly different title in 2007; no holdings in U.S. libraries as of 2/1/2016.

Venti preludi per chitarra / Francisco Tárrega ; revision di Ruggero Chiesa. – Milano : Edizioni Suvini Zerboni, ©1984. Held by more than 40 U.S. libraries as of 2/1/2016.

Composiciones origanales y studio para guitarra / Tarrega ; recopiladas y revisadas por G. Bianqui Piñero. – Buenos Aires : Ricordi, ©1968. 4 volumes. Held by ca. 5 U.S. libraries as of 2/1/2016.

Obras completes para guitarra = Guitar works / Tárrega. – Nueva edicion basada en sus manuscritos y ediciones originales = A new edition based on manuscripts and original editions / edited by Melchor Rodríguez. – Madrid, España : Soneto Ediciones Musicales, [1991-1993]. 5 volumes.

Held by more than 30 U.S. libraries as of 2/1/2016.

Intégrale des compositions pour guitar = Complete guitar works / Francisco Tárrega ; révisé par Michel Beauchamp. – Saint-Romuald, Québec, Canada : d’Oz, ©2008. Held by 3 U.S. libraries as of 2/19/2016.

Classical guitar music in print / edited by Mijndert Jape. – Philadelphia : Musicadata, Inc., 1989. (Music-in-print series ; vol. 7) Held by roughly 300 U.S. libraries as of 2/24 2016.

010 __ |a no 97082998 035 __ |a (OCoLC)oca04570199 035 __ |a (DLC)no 97082998 040 __ |a OCoLC |b eng |e rda |c OCoLC |d VtMiM-Mu |d DLC 100 1_ |a Tárrega, Francisco, |d 1852-1909. |t Preludes, |m guitar 667 __ |a Machine-derived authority record. 670 __ |a LCCN 85-751715: Tárrega, F. Venti preludi per chitarra, c1984 <edited by Ruggero Chiesa> 670 __ |a Tárrega, F. Sämtliche Präludien, c1961 <edited by Karl Scheit; Includes only 15 preludes (or 14 preludes & 1 etude if you follow Moser); includes only 7 of the original 9 preludes>

010 __ |a n 2010053913 040 __ |a DLC |b eng |c DLC 100 1_ |a Tárrega, Francisco, |d 1852-1909. |t Preludes, |m guitar. |n No. 2 670 __ |a Vannelli, Rudi. Maestro of the guitar, 1956? : |b slipcase (Tarrega, Prelude no. 2) 010 __ |a n 2015060086

040 __ |a DLC |b eng |e rda |c DLC 100 1_ |a Tárrega, Francisco, |d 1852-1909. |t Preludes, |m guitar. |k Selections 381 __ |a Selections 670 __ |a Hoppstock, T. Great preludes [SR] p2013.

-------------- Sample access points using Moser numbering:

Tárrega, Francisco, 1852-1909. Preludes, guitar, E major (Moser no. 80) Tárrega, Francisco, 1852-1909. Preludes, guitar. No. 2 (Moser no. 77)

tracing tárrega’s preludes for guitar

Documents