Franc�sco T�rrega (1852 ? 1909) � il fondatore della Scuola Chitarristica Spagnola, la solache pu� vantare pi� di 150 anni distoria e un unico filo conduttore.

Partitodall?opera di Fernando Sor (1778 ?1839) e di Dionisio Aguado (1784 ?1849), T�rrega ampli� e affin� la tecnica, arricchendo la chitarra classica dinuovi mezzi espressivi e di repertorio. Tali innovazioni sono giunte fino ainostri giorni grazie ai suoi numerosi discepoli diretti, tra cui Miguel Llobet, Daniel Fortea e PascualRoch e indiretti: Andr�s Segovia,Regino ed Eduardo Sainz de la Maza, AlirioD�az, Pasqualino Garzia e molti altri.

Emilio Pujol (1886 ? 1980), che studi� con T�rrega durante gliultimi 7 anni di vita di quest?ultimo, raccolse l?eredit� del Maestro in un monumentalemetodo, in 4 volumi, di inestimabile valore: la Escuela Razonada de la Guitarra,basada en los principios de la t�cnica de T�rrega, con una prefazione di Manuel De Falla, portando a termine ci� che perT�rrega rest� un sogno e che la morte prematura non gli permise neanche diiniziare.

Il Capricho�rabe, scritto nel1899, � forse la composizione pi� celebrata di T�rrega, dopo Recuerdosde la Alhambra.

In questarevisione ho tenuto presente la versione pubblicata in Spagna dall?editore UnionMusical Espa�ola e le biografie pi� importanti scritte su T�rrega:EmilioPujol: T�rrega (Edizioni: L?empreinte m�lodique), Wolf Moser: Francisco T�rrega yla guitarra en Espa�a entre 1830 y 1960 (Edizioni: Piles) e Adri�nRius Espin�s: Francisco T�rrega, una biograf�adocumental (Edizioni:Orphenica Lyra).

Alla luce di taliletture, ho ritenuto opportuno segnare le dinamiche e omettere alcuniabbellimenti e glissati. Lo stesso T�rrega, infatti, pare ebbe dei ripensamentia riguardo. Ho mantenuto, pertanto, quelli nelle ripetizioni, tagliando glialtri. Ho aggiunto e cambiato alcune diteggiature di entrambe le mani, considerandol?evoluzione della chitarra classica anche dal punto di vista della costruzione,nonch� la tecnica flamenca. Infine, l?idea nell?Introduzione, di eseguire laseconda scala discendente, interamente con la sola mano sinistra, �, invece,totalmente mia.

Bojano, 29Settembre 2020.

Flavio Sala.

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Song List: Ain't Gonna Get No Supper Here Tonight Altamont Angelina Baker (aka Angeline the Baker) Antelope Gap Arkansas Traveler Avalon Quickstep And The Cat Came Back Barlow Knife (John Salyer) Barlow Knife (Song) Banjo Tramp Been To The East, Been To The West Big Eyed Rabbit Big John McNeil Big Scioto Bill Cheatam Billy In The Low Ground Black Eyed Suzianna (aka Susiana) Black Cat in a Briar Patch Black Hills Waltz Black Jack GroveBlackbird Says to the CrowBoatman Bob Tailed Mule Booth Shot Lincoln Bowl-a-Rama Breaking Up Christmas Briar Picker Brown Broken Down Gambler Buck Mountain Buffalo Gals (KY version in G) Buffalo Gals (Common version in G) Buffalo Gals (in A) Buckin' Dun ull at the Wagon Camp Chase Camp Meeting on the 4th of July Candy Girl Chase the Squirrel Chattanooga Cincinnati Hornpipe Cherokee Shuffle (in A) Cherokee Shuffle (in D) Chinese Breakdown Climbing the Golden Stairs Chinquapin Hunting (in A) Chinquapin Hunting (in D � Stamper) Coast Is Clear Cluck Old Hen Colored Aristocracy Cookhouse Joe Crow Little Rooster Crook Brothers Breakdown Crow Creek Cuffy Cuckoo's Nest in D Cuckoo's Nest in A (aka Richmond) Dance All Night with a Bottle in My Hand Devil Eat the Groundhog Dinah Doctor, Doctor Dogs in the Dishes Double File Dry And Dusty Drunken Hiccups Ducks on the Mill Pond Dubuque Duck River Ducks in the pond Duke of Kent's Waltz Mr. Fishar's Hornpipe (aka Fisher's Hornpipe) Durang's Hornpipe Dusty Miller Ebenezer

ISBN 9781609743536. In compiling this landmark sourcebook, Finnish guitarists Hannu Annala and Heiki Matlik consulted more than 70 music texts as well as dozens of composer resumes acquired from the musical information centers of several countries. During the writing process, which lasted for more than three years, they received additional information from many modern composers, including Leo Brouwer and Reginald Smith Brindle among others. In addition, several internationally renowned performing guitarists provided valuable information; these include Magnus Andersson (Sweden), Remi Boucher (Canada), Margarita Escarpa (Spain), Aleksander Frauchi (Russia) and David Tanenbaum (USA) among others.The authors' aim was to write a well-structured book with separate chapters for each instrument, such as the Renaissance and Baroque guitar, the Renaissance and Baroque lute, the vihuela, etc. This unique structure enables the reader to easily discover which composers wrote for a certain instrument during any given period. In addition to the composers one would expect to find in such a comprehensive listing, the book documents several historical and modern composers for whom little previous information has been available. The book's list of more than 400 guitar and lute concertos dating from the Baroque era to the present day is a totally unprecedented. Short introductions regarding guitar and lute-like instruments as well as their basic histories are provided at the beginning of the book. The authors hope that the Handbook of Guitar and Lute Composers will serve as a practical guide for both amateurs and professionals, encouraging further study of the history of these instruments and expanding the repertoire heard on today's concert stage.