Yisrael van Handel wrote: ↑
Sun Jun 11, 2017 9:00 pm
... Tarrega has a way of creating beautiful music from a few notes.
In fact, Yisrael, although commonly attributed to Tárrega, there are doubts that this Study in E Minor was indeed created by him. It does not come in any recent or ancient edition of Tárrega's work, but it does appear as Exercise Nº 17 in the Método Completo para Violão
from the Brasilian author Oswaldo Soares (I have a pdf copy, if you are interested), himself a student of Josefina Robledo, who was a disciple of Francisco Tárrega. For more information about this subject, see please this the of Mark Clifton-Gaultier below.
Mark Clifton-Gaultier wrote: ↑
Mon Nov 21, 2016 10:39 am
Jorge Oliveira wrote:Any comments?
Many of Tárrega's works have come down to us through his students - some are mistakenly attributed to him such as the "Fantasia on la Traviata" which was in fact composed by Arcas - there are several other instances.
This particular "study" was transmitted through the Brazilian guitarist Oswaldo Soares who nevertheless does not actually attribute it to Tárrega himself. Soares was a student of Josefina Robledo and she a student of Tárrega - thus, even if there is a supposed connection, we receive it at third hand.
The work appears in Soares' book in which he attempts to establish a methodology based on Tárrega's technique - this of course comes to him
second hand through the aforementioned Ms. Robledo. Here Soares usually mentions the author of each piece or étude by name - e.g. Sor, Carulli and indeed Tárrega - the study in question has no such designation suggesting to me that it may actually have been written by Soares. I have tried for several years to find a source which stems directly from Tárrega ... without success.
I first came across the piece in a collection of studies edited by Isaias Savio together with the "Study in C" (also found in Soares' book and similarly not attributed to any author). Savio is of course also Brazilian - he makes no mention of why he thinks the studies are by Tárrega (why should he?) but it seems likely that he gleaned both from the work of Soares.
For myself - I see and hear nothing which makes me sure that either of these two studies (Em and C) are indeed by Tárrega. As far as I have been able to find out there are no manuscript versions of either of them.
To answer your question - the version in the tablature file is not original having been simplified to avoid the second position barré.
to include the link to the post
of Mark Clifton-Gaultier above...
Last edited by Jorge Oliveira on Thu Nov 02, 2017 8:21 pm, edited 1 time in total.
1972 - Kuniharu Nobe #8, 658/51, Spr, RW B&S, Tokio, JP
1979 - Ryoji Matsuoka No.40, 650/51, Ced, RW B&S, JP
1987 - Aria A558, 650/51, Ced, lam RW B&S, Nagoya, JP
2014 - Hermanos Camps Master Nº 3, 650/52, CA Ced, MG RW B&S, Banyoles, ES