This is a translation of Luis Briso de Montiano's announcement of Tárrega's newly-discovered 'Serenata Española'. This piece, in the key of E minor, consists of an introduction and a serenata, which is in the style of a barcarole.
(See: http://guitarra.artepulsado.com/foros/s ... .php?24170
). There is not yet incontrovertible proof that this piece is indeed by Tárrega, but the attribution to Tárrega on the manuscript seems plausible for a number of reasons. One can see the facsimiles on the website and hear a mp3 of the piece performed by Jesús Saiz Heudo.
Here is my rough translation of the text of the announcement:
In March 1902 Manuela Vázquez-Barros, a 17-year-old guitarist, visited her hometown of Seville. She had spent most of her life in Argentina. She left for Europe in April 1900. After visiting Paris and Nice, she visited Malaga in October 1901, and she would go to Rome in early 1902. But the time in Italy was not too long because in February of that year he had already arrived in Seville. She was staying at the "Hotel de Madrid" in this Andalusian city, where she, her mother and one of her brothers would spend the winter. I do not know Manuela's social contacts, nor her musical or specifically guitar [activity], but all of them must have been important and varied due to their social position. 'Manolita', as she was known in those years, was the daughter of Paula Florido and Toledo, a wealthy Argentine lady, widowed at that time but who already maintained, in that year of 1902, correspondence with who would be her fourth husband, the businessman, editor, bibliophile expert and indefatigable collector José Lázaro Galdiano.
During her stay in Seville in March 1902 Manolita accessed a source that we do not know (but necessarily had to be handwritten, because there is not even the slightest trace of a source with that content) and made a copy whose cover page reads: «Serenata Española.- / Dedicada a D.n P. Aguilera / por su autor D.n Fran.co Tárrega.-» It is an oblong manuscript composed of three unbound and nested bifolios. Eight of the pages are used to copy the music and a ninth is the cover, leaving the remaining three unused.
This work, of which we had no information so far, is part of a small collection of manuscripts, barely forty pieces, which is known as the "Manuela Vázquez-Barros" collection of the Lázaro Galdiano library. For the study of these manuscripts, the Lázaro Galdiano Foundation, FSP and the More Hispano Cultural Association have recently signed a collaboration agreement that will be presented on the 7th of this month at 7:00 pm at the Lazaro Galdiano Museum in Madrid.
The new work of Tárrega will appear soon in a modern edition with a substantial critical apparatus by Jesús Saiz Huedo. (When it is accessible we will give the news here.) A catalog of the collection, expected to be published shortly, has also been made. In that catalog and referring to this Serenata Española by Tárrega I write: A highly virtuosic work for solo guitar with an 18-bar introduction that gives way to the "Serenade." It includes slides, trills, harmonics, a short passage marked "Vivo" with a final tremolo. Until now, no other source for this work is known, neither handwritten nor printed. Some authors show that a «Spanish Fantasy» is among the pieces performed by Francisco Tárrega in his concerts but attribute this name to another work very frequently performed by guitarists, known as «Gran Jota».
The dedicatee, Pedro Aguilera, was a guitarist, very likely a native of Almería, who was born around the 1860s because in 1881 he was mentioned, after one of his performances, as the "young guitarist Mr. Pedro Aguilera Morales "(1). He was a disciple of Juan Robles Yáñez (2) who, in turn, had been a disciple of Julián Arcas (3). Aguilera performed with his teacher, at least, between November 1882 and October 1884, mainly in Almerian theaters such as the Café Suizo and the Principal and Calderón theaters (4). In July 1885, he performed at the Círculo Mercantil de Sevilla, in a three-part concert without the participation of other musicians (5). Throughout his artistic career, although his repertory included some pieces of popular or Andalusian character, it will be mainly composed by works by authors such as Julián Arcas (Fantasy on motifs of La Traviata, Fantasy on heterogeneous motifs, Fantasy on opera motifs) El Pirata '), José Brocá (German Fantasy), Louis Moreau Gottschalk (Studies and Trémolo) and even Fernando Sor (Andante and Polka) or transcriptions of works by Bach or Beethoven (6). Aguilera performed in various Andalusian locations at least until the mid-1890s (7), dates in which he was already residing in Seville as an employee of the Ibarra shipping company, a position he held until his death that took place in that city, "As a result of rapid illness" on May 4, 1910 (8). His obituaries, which mention him as "favorite disciple" of Francisco Tárrega, indicate that he left three children (Adolfo, Federico and Julio). Below is a fragment (start of the Introduction and beginning of the Serenade).
(1) La Crónica Meridional, diario almeriense, 2 de marzo de 1881.
(2) La Crónica Meridional, 16 de noviembre de 1882.
(3) SEVILLANO MIRALLES, Antonio: Almería por tarantas. Cafés cantantes y artistas de la tierra. Almería: Instituto de Estudios Almerienses, 1996, p. 102.
(4) La Crónica Meridional, días 16, 17 y 19 de noviembre de 1882; 9 y 22 de febrero de 1883; 13 de agosto y 17 y 23 de octubre de 1884.
(5) La Crónica Meridional, 28 de julio de 1885.
(6) La Crónica Meridional, 28 de julio de 1885 y 28 de julio de 1888; El Radical, diario republicano, 16 de octubre de 1907.
(7) La Crónica Meridional, 29 de septiembre de 1899.
(8) El Liberal, 5 y 8 de mayo de 1910; La Crónica Meridional, 7 de mayo de 1910.