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Tárrega’s Transcriptions of Chopin for Guitar, and their Influence on his own Compositions

Tárrega’s Transcriptions of Chopin for Guitar, and their Influence on his own Compositions

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An essay for the 2011 Undergraduate Awards Competition by Robert Kearns. Originally submitted for Dissertation at Trinity College, Dublin, with lecturer Daniel Shanahan in the category of Modern Cultural Studies
An essay for the 2011 Undergraduate Awards Competition by Robert Kearns. Originally submitted for Dissertation at Trinity College, Dublin, with lecturer Daniel Shanahan in the category of Modern Cultural Studies

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Published by: Undergraduate Awards on Aug 29, 2012
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05/13/2014

 
 
Tárrega’s Transcriptions of Chopinfor Guitar, and their Influence onhis own Compositions
Junior Sophister DissertationApril 2011
 
Abstract
Francisco Tárrega is considered one of the most important figures in the history of the guitar, his compositions retaining their place in the repertoire over 100 yearssince his death. These compositions mark a new style in guitar composition, differingvastly from the works of the masters of the guitar before his time.Tárrega’s musical training is discussed in a brief biography, which had asignificant role in the development of his own, unique style of guitar composition.His method of transcription for the guitar, in which he arranged works by composerssuch as Bach, Beethoven, Schumann, Schubert, and specifically Chopin, isdiscussed, as is his ability to arrange these works for the guitar in a simple, yet ofteneffective way. His transcriptions of Chopin’s Mazurka, Op.33 no.1, and Prelude, Op.28 no.7, are discussed, and the effective transfer of these pieces to the guitar, usingcomparisons between a transposed version of the piano score and the guitar arrangement.The influence of this musical education and transcriptions are discussed inChapter III. This discussion is limited specifically to the influence of Chopin,considered to have had the most significant influence on Tárrega, who composedwaltzes, polkas, and mazurkas in his own unique style, while still showing influencefrom Chopin’s use of these dance forms. The comparison is shown throughconnections between the mazurkas of both composers. Tárrega’s mazurka
 Marieta
isdiscussed, along with
Sueño
, ‘Mazurka in G’ and
 Adelita
.
 
i
Contents
 
List of Musical Examples iiIntroduction 1Chapter I: A Short Biography of Francisco Tárrega 3Chapter II: Tárrega’s Transcriptions 7Chapter III: Tárrega’s Compositions 15Conclusion 22Appendix 24Bibliography 39

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