![]() The Mazurka in G has a Chopinesque delicacy with its melodic inspiration distributed democratically throughout the strings whereas the Capricho arabe wears its Moorish inheritance lightly in its dance rhythms. ![]() The Preludio No.2 is a tremendously difficult piece in which to keep the melody line uppermost but Segovia, needless to say, never fails to ensure that it’s audible and flowing. One of the most remarkable features of Marieta, which is a Mazurka, is the sheer sonority and vibrato-rich sense of projection in his lower strings. When we reach Tárrega’s own compositions we encounter Mazurkas and Preludes of enviable variety. It’s effectively an arpeggio study and displays the Segovia’s evenness and incision. Things begin however with Alard’s Op.19 Study for violin in this transcription by Tárrega. "Ponce and Tárrega consume the lion’s share of disc space on this volume and do so with works perfectly attuned to Segovia’s incomparable virtuosity and colouristic finesse.
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