Francisco Tárrega

María (Gavotte) is another famous piece by Francisco Tárrega. With this María, Tárrega deploys a range of techniques such as arrastres/glissandi, scales, arpeggios, slurs (hammer-ons and pull-offs), harmonics and pizzicato. Features such as the gavotte's lively rhythm combined with the flexible agogic and dynamics in the Romantic idiom result in a colorful, lyrical and entertaining atmosphere. Beautiful sounds of the Neapolitan sixth chords on bars (m.m.) 4, 39, and 45-46 evoke an Italian opera and/or works by Chopin.

Legend has it that "Una Lágrima (A Teardrop)" is Tarrega’s reaction to the death of his daughter “Conchita”. Returning home from a concert tour in Mallorca, Spain in December of 1891, Tarrega’s wife, Maria José Rizo, informed him that Conchita had passed on three days earlier.

Prelude No.2 was composed on 16 March 1896 in Barcelona and dedicated to Miguel Llobet. Often preludes were conceived by Francisco Tárrega for the benefit of his pupils, specifically to improve their artistic and expressive abilities. It has been said that some of the preludes were results of Tárrega's improvisation during the lessons. Legend has it that Tárrega was never tempted to play his preludes at recitals. Nonetheless, I feel that these preludes are actually the epitome of Tárrega's art.

Legend has it that the piece Adelita owes its name to Adela Aymerich, the allegedly illegitimate daughter of the King of Spain Alfonso XII. For Adelita, it seems that Tárrega seeks the inspiration in the kujawiak, a slow Polish folk dance by following the ideas of the stylized mazurka conceived by Chopin.