The Critical Examination of Francisco Tarrega’s Transcription on Isaac Albeniz’s Sevilla

Albeniz’s music, deeply rooted in Spanish folk traditions in the form of flamenco and cante jondo, requires a nuanced understanding of cultural and historical contexts for effective transcription. Tarrega, leveraging his proficiency in both piano and guitar, employs specific techniques to maintain the original’s essence while adapting it to the guitar’s idiomatic characteristics. However, the lack of comprehensive study on the critical examination of Tarrega’s transcription of Albeniz’s Sevilla poses a significant problem in understanding the intricacies and implications of the adaptation of classical guitar to original piano work. The present article presented on three pivotal areas: stylistic of compositional aspects, the distinction attributes of the piano and classical guitar, and a critical examination of Tarrega’s transcription of Albeniz’s Sevilla. The findings of this study not only shed light on the compositional brilliance of Albeniz and the ingenuity of Tarrega’s transcription but also contribute to the broader discourse on the art of transcription and arrangement in classical music. The study bridges theoretical debates with practical insights, offering a nuanced understanding of the interplay between composition, instrument-specific characteristics, and the creative technical aspects of classical guitar musical transcription.