Long Island University, Post

Nationalism in the Guitar Music of Early Twentieth Century Spanish Composers: Manuel De Falla,

Joaquin Turina, and Federico Moreno Torroba

A Masters Thesis Submitted to

The Faculty of the Department of Music

In Candidacy for the Degree of

Master of Arts

School of the Performing Arts

By

Vincent Anthony Muscarella

Brookville, New York

December 2018
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I.Introduction

For centuries, composers wrote music intended to please the tastes of monarchs, the ruling class,

and the churches who employed them. Composers wrote cantatas, masses, dance suites, garden music,

and more for religious services, royal events, and the pleasure of the upper class. Later on, during the

early 19th century, political independence movements began to liberate composers from the ruling class

and allowed them to start composing music in a nationalistic style to reflect their renewed spirit of

freedom and pride in their heritage. Nationalism in classical music often describes music that makes use

of folk styles, mythology, indigenous rhythms and melodies, traditional scales, modes, and harmonies to

create a sound authentic to the composers country of origin. The nationalistic style reflects the culture,

lifestyle, and pedestrian sounds of the composer's native region. Composers such as Weber in Germany,

with nationalistic operas such as ​"Der Freischutz,"​ displayed a type of nationalism that would eventually

take hold in other nations. Jean Sibelius in Finland, Frederic Chopin in Poland, Nikolai Rimsky Korsakov

in Russia, and others began to reject the traditions set by Italy, France, and Germany in search of their

nationalist sound.

This thesis will explore nationalism as it pertains to Spanish composers of the early twentieth

century. Specifically, this paper will discuss composers who wrote for the guitar during a time when the

instrument was gaining notoriety in the concert hall. These composers include Manuel De Falla, Joaquin

Turina, and Federico Moreno Torroba whom all wrote twentieth-century masterpieces for the guitar.

Pieces from each composer will be analyzed structurally and harmonically in order to understand what

musical elements create a nationalist sound in their guitar music. Biographical information and career

highlights will be provided to give context surrounding the composition of pieces such as De Falla's

Homenaje a Debussy​, Turina’s ​Homenaje a Tarrega​, and Torroba’s ​Sonatina​. The detailed information
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regarding Andalusia and the flamenco tradition will present itself in order to provide background

knowledge on the musical techniques used by Spanish composers and guitarists.

Spain is often overlooked during significant periods of classical music such as the Classical and

Romantic eras. During these times, composers such as Mozart, Beethoven, Brahms, Verdi, and others

from Germany, Austria, and Italy dominated the musical sphere and filled the concert halls with their

symphonies, operas, and chamber music. During the Renaissance and early Baroque period, there were

many successful Spanish composers such as Francisco de la Torre, Luis de Milan, Diego Ortiz, Jose

Marin, and Gaspar Sanz. During these periods, Spanish composers traveled to other nations and wrote

songs and pieces in countries such as Italy, France, and Germany. The music of Spain at this time was
1
far-reaching and widely influential. During the Renaissance period composers in Spain such as Milan

wrote many pieces for the vihuela which include the now famous ​Pavanes​. The vihuela is an early

ancestor of the modern guitar and has 12 paired strings like its relative, the lute. The vihuela was popular

in Spanish secular music which is described in a treatise on the vihuela by Milan. During the Baroque era

composers such as Sanz wrote music for the Baroque guitar including his famous piece ​Canarios.​ The

Baroque guitar is a five course (sets of strings) instrument which shares many characteristics with the

vihuela and Renaissance guitar. The instrument was played in many countries such as France and Italy but

used heavily in Spain where the plucked instruments were popular. It is not until the late Romantic to the

early 20th century that we see Spain become a leading force in the creation of new and exciting classical

music that utilizes the nationalistic style. With composers such as Albeniz, Granados, Turina, De Falla,

and Tarrega, nationalistic Spanish music took on a significant role in the realm of classical composition.

When we consider Spain's national identity and character the guitar must be acknowledged

as an undeniable and paramount part of the nations artistic, cultural, and musical histories. In the region of

1
John H. Baron, “Secular Spanish Solo Song in Non-Spanish Sources, 1599-1640.” Journal of the
American Musicological Society, vol. 30, no. 1, 1977, pp. 20–42.
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Spain known as Andalusia, the guitar is and has always been a part of everyday life, integrating social

gathering, dance, painting, and singing. Andalusia is located in the southern part of Spain that includes

provinces such as Cadiz, Seville, Cordoba, and Granada. Andalusia is famous for its people's vibrant and

colorful lifestyles where the guitar and its music contributes to the rich culture of the region. The two

most important figures of the 20th-century guitar to have come out of Andalusia are Andres Segovia and

Miguel Llobet; both were students of the legendary Romantic guitarist/composer Francisco Tarrega.

These two guitarists were virtuoso players who knew each other well and had an excellent professional

relationship built on the idea of making the guitar a respected concert instrument in the 20th century.

Andalusia owes many of its cultural, artistic, and architectural achievements to its Moorish roots.

The Moors were Muslim travelers from North Africa and the Middle East who made their way to the

southern region of Spain during the 8th century and ruled until the 15th century. Part of the Moorish

legacy is the building of the Alhambra Palace in Granada. The Alhambra served as a home to the royal

class and as a military fortress during times of war. The Alhambra is built high above the entire city of

Granada so that invaders and enemies could be spotted from far away. Well known 19th-century guitarist

Francisco Tarrega composed his piece ​Recuerdos de la Alhambra ​(Memories of the Alhambra) based on

the architectural masterpiece. The use of constant tremolo in the piece symbolizes the great water

fountains found in the courtyard of the palace. The Oud is the first ancestor of the guitar which was

created in the Middle East and was brought to Spain by the Moors. The Moors helped in the development

of the guitar in Spain through the introduction of the Oud which led to the creation of more sophisticated

plucked stringed instruments. The music of the Middle East and North Africa introduced exotic modes

and rhythms to Spain which became the precursor for the flamenco tradition. Flamenco music uses modes

with intervals such as the augmented second and syncopated rhythms familiar in indigenous Moorish
2
music which came to define the Spanish tradition.

2
Robina Lambert and Fiona Flores Watson, “The Moors in Andalucia - 8th to 15th Centuries”,
History - Spain’s Moorish History, accessed November 9, 2018,
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Before the guitar began to make a name for itself as a concert instrument in the 20th century, there

were guitarist/composers in Europe during the late classical and early Romantic eras who helped define

the capabilities and boundaries of the instrument. These guitarists wrote studies, lengthy showpieces,

variations based on melodies by famous composers, and methods of learning the instrument. In Italy there

were guitarists such as Mauro Giuliani and Ferdinando Carulli, in Spain there was Fernando Sor and

Dionisio Aguado, and from Austria was Johann Kasper Mertz to name a few. These guitarists played

guitars with 6 or more courses of strings and used guitars of a smaller size than we are used to today.

Giuliani wrote pieces reminiscent of the famous opera of the time such as his virtuoso piece ​Rossiniane

which includes themes from Rossini operas. Guitarists such as Mertz wrote pieces that reflected the

virtuosic piano music of composers such as Chopin and his ​Etudes​ for piano. Without the innovation and

ingenuity of these early guitar composers, the guitar would never have reached a place where eventually it

would be accepted in the concert hall.

The importance of the guitar in Andalusia and the two guitarists mentioned earlier (Segovia and

Llobet) has to do with the creation of new music written and transcribed for the instrument. Segovia was

an indispensable figure in the direction of this new music due to his overwhelming output of

transcriptions and small compositions for the guitar. Llobet was also a composer of original guitar music

and a transcriber of old favorites. These two guitarists brought worldwide attention to an instrument that

was previously used as a traditional folk instrument in the culture of Andalusian Spain. Because of

Segovia and Llobet, the guitar began to be featured in major concert halls and venues in different

countries, continents, and cities. The guitar had finally become an essential instrument in the world of art

music. The only piece of the puzzle missing was to have non-guitarists compose original music for the

instrument to catapult it into the high artistic elite of the classical world.

http://www.andalucia.com/history/spainsmoorishhistory.htm.
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Segovia and Llobet were the impetus for some of the most significant collaborations in the

history of Spanish guitar music. The 20th-century Spanish composers that would eventually bring the

guitar to new levels of exposure were De Falla, Turina, and Torroba. It was Llobet that assisted De Falla

in the composition and editing of the ​Homenaje a Debussy​, a piece that has become one of the most

popular and performed pieces in classical guitar literature. Although written for and edited by Llobet, the

piece was first presented by Emilio Pujol in Paris on December 2nd, 1922. Segovia had previous thoughts

of asking De Falla and Turina to compose for the guitar with himself acting as a "...guide through the

labyrinth of the guitar's technique.." but it was not until years later when he would achieve his goal.

II.Manuel De Falla

Manuel De Falla was born November 23rd, 1876 in Cadiz and died on November 14th, 1946.

De Falla had a long and illustrious career as a composer who embraced different musical styles such as

Impressionism, Neoclassicism, and Spanish Nationalism. De Falla lived through many hardships in his

native country such as the Spanish American War and the Spanish Civil War. Throughout his life, De

Falla remained a devout Catholic which influenced his composing, personal life, and political leanings.

De Falla flourished with his studies at the Escuela Nacional de Musica y Delamacion in Madrid with his

piano teacher Jose Trago, who was a descendant of the Chopin school of piano technique. Throughout his

career as a composer, De Falla found friendship in contemporaries such as Stravinsky and Debussy. These

friendships and working relationships influenced the different periods and styles of composition that De
3
Falla would explore throughout his career.

3
​Carol A. Hess, ​Sacred Passions: The Life and Music of Manuel De Falla​ (New York: Oxford University
Press, 2005), 9-20.
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De Falla composed pieces for many different mediums that were successes around Europe

and the United States. Among the most famous pieces that De Falla composed were his opera ​La Vida

Breve​ (The Short Life) and his ballets ​El Amor Brujo​ (The Love Wizard)​ ​and​ El Sombrero con Tres Picos

(The Three-Cornered Hat)​.​ De Falla also composed popular orchestral music such as ​Noches en Los

Jardines de Espana ​(Nights in Spanish Gardens) for orchestra and piano and his concerto for harpsichord

(in the Neoclassical style of Stravinsky). Being a pianist, De Falla composed many pieces for the

keyboard such as ​Fantasia Betica a​ nd ​Piezas Españolas para Piano (​ Spanish Pieces for Piano)​. O
​ ne of

De Falla’s most performed and loved pieces is his ​Siete Canciones Populares Españolas ​(Seven Popular

Spanish Songs) for voice and piano which has been transcribed and presented on many different
4
instrumental combinations.

​Homenaje a Debussy​ made its first appearance in a special issue of the French publication ​La

Revue Musicale i​ n 1920. The piece was written as a tribute to De Falla's good friend and mentor Claude

Debussy. De Falla believed in the potential of the guitar and intended to further the cause of the

instrument by composing his Homenaje for the instrument. De Falla was first approached by the ​Revue​ to

write an essay dedicated to his good friend, but the composer came back instead with a musical offering

which he saw to be more appropriate for the occasion.

La Revue Musicale ​was an esteemed musical journal that was published once a month in Paris

and read by composers, historians, ordinary folk, and music appreciators from all walks of life. Historian

Henry Prunieres founded the journal with the mission of spreading intellectual musical knowledge and

furthering the cause of the Parisian cultural legacy. The ​Revues​ articles ranged from topics of

performance, pedagogy, music history, aesthetics, and repertory. Twelve-tone music, jazz, and music

technology were all topics that were deemed necessary for discussion at the time by the ​Revue ​and its

editors. The publication prided itself on being at the forefront of new musical innovations, styles, and

4
J.B. Trend, ​Manuel De Falla and Spanish Music​, (New York: Alfred A. Knopf, 1929), 57-100.
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contemporary composers who were becoming well known at the time. Articles were written by and about

composers such as Stravinsky, Debussy, Dukas, Satie, and Hindemith, at the same time, giving equal

attention to early music and essential composers of past eras. The ​Revue ​at times featured compositions

written for specific topics like that of De Falla's ​Homenaje a Debussy​ for the particular issue dedicated to
5
the life and works of Debussy.

Debussy was a leading figure in the Impressionist movement of the early Twentieth Century.

Debussy was also a big advocate of "exoticism" in music. Exoticism is the use of indigenous scales,

modes, melodies, rhythms, and harmonies to replicate sounds of foreign lands and cultures. Along with

the music of Asia and American jazz, Debussy used this method of composing with Spanish music,

borrowing the native rhythms, folk melodies, and harmonies of the Spanish composers. This style of

composing can be seen in pieces such as "​La Puerta del Vino”​ and ​“Soiree Dans Grenade” f​ or piano by

Debussy. Both of these pieces make use of the habanera rhythm which is a staple of both traditional and

modern

Spanish music.

Example 1. Debussy: “La Soiree dans Grenade”​ f​ rom ​Estampes,​ mm.1-4.

Spanish intervals such as the augmented 2nd and chord progressions like the use of parallel dominant 7th

chords are used by Debussy and borrowed from the Spanish idiom.

5
​Michel Duchesneau and Marie-Noëlle Lavoie, “La Revue Musicale”, Retrospective Index to Music
Periodicals, 2013, accessed April 2, 2018, www.ripm.org/?page=JournalInfo&ABB=REV.
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De Falla believed firmly in the importance of the guitar in Spanish music. De Falla saw the guitar

not as a "national legend" or part of the countries folk past, but as an instrument with the potential to

express the same feelings and emotions as more prominent instruments of classical music such as the

violin or cello. To better understand the instrument, De Falla enlisted the help of the great Paraguayan

guitarist and composer Agustin Barrios. Barrios would sit with De Falla in his bedroom while the

composer was ill and bring his guitar to help guide De Falla through the compositional process of writing

for the guitar. De Falla rejected the idea that the guitar was "...a piece of romantic stage furniture…" and
6
believed that "....it is peculiarly adapted for modern music." De Falla explains that the tuning of the

guitar strings (E, A, D, G, B, E) are more apt to the compositions of composers such as Debussy who

studied the music of Spain and adopted its harmonic schemes. De Falla saw nationalist Andalusian

guitarists as a treasure of Spanish "untutored" art and expression. The composer acknowledged the
7
guitar's capacity to create lush and sophisticated harmonic and melodic ideas.

De Falla’s ​Homenaje a Debussy i​ s essentially an elegy in habanera style composed with the

guitar's tuning of open fourths as its guiding force throughout the piece. The composition is a dedication

to De Falla's deceased friend which explains the dirge feel of the piece, and its contemplative stretched

rhythms and melodies. The tempo marking of quarter note equals 60 and the instructions of "mesto e

calmo" guide the performer to play the piece reflectively with a sense of mourning. Motives of triplets

and staccato eighth notes drive the piece forward with the groundwork of the habanera rhythm of Cuba.

The habanera rhythm is defined in Spanish and Latin music utilizing a dotted eighth note beamed to a

sixteenth, followed by two eighth notes usually in 2/4 time. One of the most famous examples of the

Habanera rhythm is from French composer George Bizet in his opera ​Carmen.​ In Bizet's opera, he writes

an aria titled "L'amour est un oiseau rebelle" which is known to most as the ​Habanera ​aria. The

6
​Trend, ​Manuel De Falla​, 38-49.
7
I​bid., 40-42.
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Afro-Cuban rhythm is used to accompany a sensual and lyrical vocal melody reminiscent of Spanish

Cante Jondo singing.

The melody and main motive notes of F to E which begin the piece and continue throughout are

played simultaneously with the lowest two open strings on the guitar which are an E and A. The sounding

of these notes together create a dark and somber tone. The primary motive is played with the habanera

rhythm and alternates with a quintuplet motive of mostly open strings which instructs the guitarist to

strum the strings from high to low with their index finger, creating a harp-like effect.

Example 2. De Falla: ​Homenaje a Debussy​, mm. 1-9.

Debussy was a great advocate of the use of the harp in his impressionist music, using it in his orchestral

works ​Prelude to the Afternoon of a Faun a​ nd in the ​Sonata for flute, viola, and harp​, which could be a

reason De Falla uses this guitar (or harp) effect in the piece. After the repetition of the central theme, a

new theme emerges forte maintaining the habanera rhythm but introducing a new modal melody which

contrasts the first theme. The new theme is played on the higher strings of the guitar as opposed to the

first theme which utilizes the guitars lower register. The second melody is guided back to the original F to

E motive through a series of triplet scales. The low open strings of E and A are still present below the

melody but an accented A note is introduced in the higher register sustained over the F, and E. Unique

harmonies are introduced starting with a bright C added 9th chord which is followed by triplet scales that

lead into a jarring chord built on stacked fourths.

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Example 3. De Falla: ​Homenaje a Debussy​, mm.17-24.

De Falla introduces an A dominant 7th chord with an F# replacing the E, raising the fifth of the

chord a whole step. The interval of an augmented 2nd between the E and the F# replaces the original half

step melody of E to F for 3 bars before returning to a series of triplet scales often found throughout the

piece. A new section labeled ​molto ritmico​ reintroduces the quintuplet harp theme alternated with a 12th

fret harmonic on the guitar to be played in strict time. De Falla is particular with his instructions in this

piece which is a common practice of 20th-century composers. An impressionistic section revolving

around the IV chord in sextuplets, reminiscent of the piano music of Debussy changes the mood of the

piece. The highest two open strings of the guitar, B and E, are alternated in sextuplet rhythm with open D

and A strings in the bass. The sextuplet theme develops with a rising and falling bass line starting on B

and rising diatonically to E before descending back down and resolving on an A. The bass notes separate

the sextuplets into groups of three creating a feeling of fast moving motion which is contrasted by the

harmonically unstable characteristic of the following section.

Example 4. De Falla: ​Homenaje a Debussy​, mm.37-42.

De Falla concludes the composition with a direct quote from Debussy's “La Soiree Dans

Grenade”​ f​ rom the ​Estampes f​ or piano which was initially inspired by the music of Spain and performers

Debussy came across at the Paris Exposition. The quote comes from m.17 of Debussy’s piano piece and is

labeled ​Tempo Giusto​ as opposed to De Falla’s instruction of ​Ma Poco Piu Calmo ​which may signify the
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fading of Debussy's life. The quote is a series of sixteenth note ascending parallel dominant 7th chords

which have a proud and intense Spanish flair.

Example 5. Debussy: “La Soiree dans Grenade” from ​Estampes,​ mm.17-22.

De Falla was under the belief that Debussy wrote Spanish music that was more authentic and "Spanish"

sounding than most actual Spanish composers. Debussy's Spanish pieces represent how individuals from

other nations view the lifestyle and landscapes of Spain, creating a Spain of the imagination which De
8
Falla embraced and supported.

Cante jondo is the style of Spanish folk song through which De Falla extracts his main ideas

for the ​Homenaje. ​Cante jondo translates to "the deep song" in English and can be traced back to the end

of the 800-year Arab rule over Spain. The cante jondo style is influenced by Arab, East Indian, and

European Gypsy music. According to an essay on the ​Homenaje b​ y famed classical guitarist Dusan

Bogdanovic, cante jondo contains many musical characteristics that can be seen in the composition and

structure of the ​Homenaje​ by De Falla. Some of these characteristics include: "microtonal modulations of

the voice; melodic ambit rarely passing the sixth; repeated use of the same note (with upper and lower

8
Suzanne Demarquez, ​Manuel De Falla,​ (Philadelphia: Chilton Book Company, 1968), 189-190.
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appoggiaturas) as sorcery formula; ornaments, especially used in the melodic peaks, and the public cries
9
to encourage and excite the performers."

As mentioned earlier, the rhythmic makeup of the ​Homenaje​ stems from the habanera rhythm of

Cuban and West African origin. When combined with the "arpeggio motif," the habanera rhythm creates a

distinct sound that combines traditional Latin rhythms with an open sounding modern guitar technique.

The rhythmic structure of this piece is accented by the use of diminution and augmentation of the

melodies. By adding to and subtracting from the respective groupings of rhythmic and melodic materials

in the piece, De Falla creates a sense of shrinking and growing which adds to the hypnotic effect

reminiscent of the compositional style of Debussy. The melodic structure of the ​Homenaje ​can be related

to the cante jondo style through its use of modes in the piece. The modes that are utilized in this piece can

be related to the musical styles and modes of Northern Indian Raga music. De Falla modulates his modal

and melodic ideas through different keys which sets it apart from the traditional Raga sound. The fifth and

sixth strings (A and E) of the guitar are used in the central motif of the piece in their open state. These

strings are combined with the alternating of the melody notes F and E which creates a half step modal

feature and teases the harmony of a perfect fifth between the open A string and the E melody note. By

adding the half step F note above the E, there is an interruption of the perfect fifth which creates the

modal sound characteristic of the Raga and cante jondo Styles.

Professional guitarist and professor of guitar studies at Yale University, Benjamin Vedery writes

his "Reflections on Manuel De Falla's Homenaje" with analysis and commentary on the piece which has

become a standard in the guitar repertoire. Vedery writes of the harmonies used in the piece such as the

use of the C9 and A major 7th chords which are used not within their traditional function but as

independent harmonies for color, a technique perfected by Debussy in his impressionist music in the style

of Debussy. Many of the harmonies found in the piece are built off of stacking the intervals of fourths and

9
​Dusan Bogdanovic, “​Homenaje: An Analysis of Manuel De Falla’s Le Tombeau de Claude Debussy”,​
(2008), accessed March 23, 2018, http://www.academia.edu/27329935.
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fifths which creates a very open and nebulous mood that helps to define the sound of the overall work.

Exotic chords are utilized and explained by Vedery such as the chord built on a fifth, a fourth, and an

augmented fourth on top that creates an F major 7th #11 chord, again used independently from any

traditional sequence or progression. These "evocative" chords are used to create a "modal atmosphere"

reminiscent of traditional Spanish harmony. As a guitarist of the highest caliber, Vedery refers to the

unusual amount of detail written by De Falla for the performer to follow. Through the use of dynamic

markings, articulation markings, and the use of the "X" to denote the use of longer tones over melody

notes, the guitarist is presented with all the information needed to perform the piece exactly the way De
10
Falla wanted it.

World-renowned guitarist Rey de la Torre comments on the form of the ​Homenaje b​ y De Falla

and the curious combination of an elegy combined with the habanera rhythm. The sad and somber sound

of the dirge/elegy juxtaposes the usually lively habanera rhythm. De Falla refused to write a piece with a

dark tinge without adding a nationalistic form of rhythm derived from Latin and African music. De la

Torre comments on the detailed manner in which De Falla wrote the piece by adding that the composer

was not overly detailed, but most likely did not trust the interpreters of the piece to play it as it is

supposed to be played. De Falla trusted Miguel Llobet to interpret his ideas and help him with the guitar

transcription portion of the composition. De Falla would trust his fellow countryman in matters of chord

voicings, articulations, guitar effects, and interpretation. De la Torre speaks of an element of the piece

which is "national," a description supported by Llobet during the composition of the piece. The "national"

element comes from the fact that the piece was conceived by two Spaniards whose goal was to create a

piece which paid tribute to their friend Debussy but also reflected sounds and images of the composer and
11
editors country of origin.

10
Benjamin Vedery, “​Reflections on Manuel De Falla’s Homenaje”,​ (Fall 2014), Accessed March 26,
2018,http://www.benjaminverdery.com/bens-deep-thoughts/2014/11/20/reflections-on-manuel-de-fallas-homenaje.
11
​Rey De La Torre, interview by Walter Spalding, July 7, 2008, Guitarist.com.
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​III.Joaquin Turina

Joaquin Turina was born on December 9th, 1882 in the Andalusian city of Seville to an Italian

father and a Spanish mother. Turina made an impression at an early age as a child prodigy due to his

superb improvisational skills on the accordion. Turina had his first music lessons at the Santo Angel

School where he was also the accompanist for the girl's choir. The composer's first piano lessons were

given to him by Enrique Rodriguez and he obtained harmony and counterpoint lessons from ​Evaristo

García Torres. Early on in Turina's musical training, he put together a piano quintet with friends named

La Orquestina​ that played classical favorites at parties and other social gatherings. Turina was showing at

an early age that he had what it takes to easily become a highly successful musician and composer.

Turinas first bit of musical success came when he brilliantly performed ​Fantasia on Rossini’s “Moses”

on the piano​ a​ t the Piazza De Sevilla. The reviews praised Turina’s technical prowess and his ability to

work through difficult passages. Turina’s first orchestral piece was written for the Passion Brotherhood

and was performed at the church of El Salvador with a 20 piece orchestra and mixed voices. At age 15

Turina took on the huge challenge of composing an opera which he called ​La Sulamita.​ Unfortunately, the

opera that Turina was very much invested in was never performed after trying to get it premiered at the

Royal Theater of Madrid.

After arriving in Madrid in March of 1902, Turina became enamored with the Orchestra of the

Concert Society when he heard the first performance of Tchaikovsky's Fifth Symphony in a Madrid

concert hall. This experience would have a big influence on Turina's orchestral writing in the future

although the composer never produced a symphony of his own. Turina's first trip to Madrid did not turn

out the way he had hoped, failing to get his opera ​La Sulamita​ premiered in the nation's capital. Despite

this setback, Turina spent three years studying in Madrid where he met Manuel De Falla which led to a
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lifelong friendship. Turina made his Madrid premiere on March 14th, 1903 performing piano pieces and

transcriptions by Scarlatti, Beethoven, Wagner, Schumann, and performing three of his own pieces that

are now lost to the public.

It was in Paris where Turina learned some of his most important lessons as a composer. Turina

arrived in Paris at the end of 1905 and studied piano and composition with Moritz Moszkowski while also

studying at the famous Schola Cantorum. Turina premiered his pieces ​Poema de las estaciones ​and

Quinteto en sol menor ​in Paris at the Sala Aeolian where he had a career-changing conversation with

Isaac Albeniz and Manuel De Falla. Albeniz spoke with Turina after the performance of Turina's pieces

and made him promise he would never compose anything in the French style again. Albeniz influenced

Turina to return to his nationalist Spanish roots and return to composing music based on popular Spanish

song from Andalusia. After composing around ten more pieces in the French idiom, Turina began to

change direction and write in the colorful style of his fellow Spaniards utilizing upbeat rhythms, light and

joyful melodies, and traditional folk ideas.

Turina composed music for many different mediums throughout his career. Turina composed

works for voice such as his ​Poema en Forma de Canciones ​and ​Canto a Sevilla f​ or Soprano and

Orchestra. The vocal parts of these pieces resemble the vocalization of flamenco singers of the folk

tradition with heavy ornaments and quick vocal flourishes. Orchestral pieces include ​Danzas Fantasticas

and ​Sinfonia Sevillana,​ both of which reflect the Andalusian spirit of the composer's native city of Seville.

Turina's chamber pieces are some of his most played works to this day. Turina's string quartet, piano trios,

piano quartets, and quintets are staples in many chamber music ensembles, providing a dark and exotic

contrast to the rest of many ensembles programs. Turina was a pianist by trade which led him to compose

more pieces for the piano than any other musical medium. Turinas piano pieces are heavily Spanish in

nature and are inspired by different cities, sites, people, and traditions of his homeland. Pieces such as

Sevilla, Mujeres Espanol, a​ nd ​Jardines de Andalusia ​for piano reflect the people and places that Turina
 16

knows so well. Perhaps Turinas biggest legacy as a composer is his pieces for the guitar, his country's

national instrument. Turina composed five pieces for the guitar, all in the Andalusian style of southern

Spain with their lively rhythms, modal melodies, and lush harmonies. These guitar pieces include

Sevillana, Fandanguillo, Rafaga, Sonata, and Homenaje a Tarrega.​ Many of these pieces were composed
12
for and performed by legendary Spanish guitarist Andres Segovia.

IV.Flamenco

Joaquin Turina's music is heavily influenced by Flamenco tradition and owes its rhythms, scales,

modes, melodies, guitar techniques, and much more to the ancient folk tradition of the composer's native

Spain. The birthplace of the flamenco tradition is the southern region of Spain known as Andalusia. This

area of Spain was home to many different cultures and groups during medieval times such as the Moors,

Phoenicians, Greeks, and Visigoths. The Andalusian aesthetic was built over many years of cultural

diffusion from these peoples. Musical forms such as the fandango, cartagenera, morisca, granaina, minera,

muricana, rondena, taranta, jota, zatambeque, gayumba, and guineo came from North African, Moorish,

and Latin American roots. An example of one of these forms is the jota, a piece traditionally in triple

meter where the melody begins on the upbeat of the bar. The influence of the jota can be heard in the

music of Enrique Granados and Isaac Albeniz.

12
Alfredo Moran, “Joaquin Turina Biography”, accessed April 6, 2018
http://www.joaquinturina.com/biografia_larga.html.
 17

Example 6. Traditional ​Jota​, mm.1-16.

The beginnings of flamenco belong to the triangle of southern Andalusian cities Cadiz, Ronda, and

Seville, with the city of Jerez de la Frontera sitting at the center. The cities of Seville and Cadiz are still

the epicenters of flamenco music today and feature the flamenco forms of the soleares, siguiriyas,

bulerias, and cantes a palo seco.

During De Falla's time in Paris, the composer introduced Spanish guitar music and the

flamenco style to Debussy and Ravel. The flamenco style also spread to Russia when Rimsky-Korsakov

and Mikhail Glinka visited Cadiz and Granada during the mid-19th century. Bizet received his

inspiration for the opera ​Carmen​ from a ​polo​ by Manuel Garcia and a habanera titled ​La paloma ​from

Andalusia, having never been to the country of Spain himself. The influence of the flamenco style had

begun to spread to other major countries of classical and folk music during the mid 19th century and the

early 20th century. The art of flamenco is comprised of three equally important components. The Cante is

the song, the Baile is the dance, and the toque is the guitar. Shouts called jaleos and hand clapping called

palmas are two important features of flamenco provided by the audience to complete the sound of a

performance. De Falla was a great aficionado of the flamenco style. De Falla incorporated flamenco

features into his opera ​La Vida Breve, ​in his ballet ​Gitano,​ and his ​Fantasia Betica f​ or piano.
 18

Flamenco guitar enjoys much success because of its ability to translate dancelike rhythmic

elements and soaring melodies into its own instrumental style of music. The performer's musical instincts

and ability to improvise informs their interpretations of the traditional flamenco pieces on the guitar.

Improvisational techniques such as the use of ​falsetas a​ nd ​rasgueados a​ re traditional ways that flamenco

guitarists create their own unique sound and style.

Example 7. Falseta​ f​ rom ​Soleares,​ Traditional Notation and Tablature.

Flamenco guitar music is passed down traditionally and is taught to students by rote from their teachers.

The flamenco guitarist learns by absorbing their surroundings, hearing other guitarists, playing with other

guitarists, and experimenting with the techniques provided to them. The exchange between ​rasgueado a​ nd

punteado p​ laying is what makes up most of the guitarist's performance. ​Punteado​ is single note, melodic

playing, while ​rasgueado i​ s the strumming of chords in a rhythmic fashion. Flamenco guitar is played

with the hand as close to the bridge of the instrument as possible. By playing close to the bridge, the

guitarist obtains a sharp and bright sound that cuts through, unlike playing closer to the sound hole which

has a warmer and more gentle tone. The combination of playing with part of the nail and part of the flesh

of the finger is the correct technique of striking the string for flamenco guitar and classical guitar as well.

Proper technique involves pushing the string downward toward the sound hole before releasing the finger

back to rest on the next adjacent string. Other techniques of the flamenco guitar include ​picado ​which is a
 19

​ hich is the use of the thumb to play

three finger tremolo technique on the right hand and ​apoyando w
13
melodies and scale sections on the lower bass strings.

Turinas ​Homenaje a Tarrega​ represents many of the nationalistic instincts of the composer, using

flamenco dances as the titles of the two movements. These two movements are titled ​Garrotin ​and

Soleares, t​ wo contrasting dances which complement each other nicely based on their rhythms, tempos,

and tonal centers. Turina chose to dedicate this piece to the memory of one of the most influential

guitarists and composers of the late romantic period, Francisco Tarrega. Tarrega was born November

21st, 1852 in Villarreal, Spain, a Valencian community in the province of Castellon. Tarrega began his

musical studies on the piano, which explains the pianistic structure and form of many of his shorter guitar

pieces. Two examples of these miniature pieces for guitar include ​Lagrima ​and ​Adelita,​ two pieces

usually played together as a set. Both ​Lagrima a​ nd ​Adelita​ are written in AABA form, either starting in a

major key then modulating to a minor key for the B section or vice-versa. Tarrega's most famous

composition is perhaps his ​Recuerdos de la Alhambra​, a piece famous for utilizing the right-hand tremolo

technique for the entirety of the piece. The piece was inspired by the Alhambra fortress in Granada which

can be traced back to medieval Moorish monarchs. Tarrega was the guitar teacher of Llobet and Pujol,

two of the greatest guitarists of the early twentieth century. These two guitarists would go on to spread the

teachings of Tarrega to new generations of Spanish guitarists who would write the next wave of great
14
guitar music.

The first movement of Turinas ​Homenaje a Tarrega ​is written in the style of a Garrotin dance, a

style of dance associated with the flamenco style. The Garrotin dance comes from Asturian folklore, a

dance first developed by gypsies, and then later on in Barcelona. The dance is the only flamenco singing

and dancing style to be born outside of Andalusia. The Garrotin style is defined by a lively tango rhythm

13
Claus Schreiner, ​Flamenco,​ (New Jersey: Amadeus Press, 1990). 11-30, 121-135.
14
​Alastair Lewis, "The Biography of Francisco Tarrega 1852-1909", Maestros of the Guitar, 2010,
accessed March 3, 2018, http://www.maestros-of-the-guitar.com/tarrega.html.
 20

15
in a major key. Turinas piece begins with an A major rasgueado chord to establish the tonality of the

piece. The line that follows quickly brings us into a modal atmosphere reminiscent of a Phrygian sound

accenting the half step of the E to F on the second beat of the measure. The rhythmic figuration of the

opening phrase of the piece is similar to the Overture to ​Carmen​ by Bizet, which is a French opera set in

Spain. This melody is abruptly interrupted by accented parallel major chords in whole steps reflecting the

nationalistic sound of bold trumpets in a corrida de toros (running of the bulls), bringing forth the image

of bulls and the matador.

Example 8. Turina: “Garrotin” from ​Homenaje a Tarrega​, mm.1-9

​ here the player uses part of their hand to strike the guitar is used to
The guitar technique of a ​golpe w

catapult the piece into a sixteenth note run of pizzicato note. The piece returns to the beginning A major

theme which leads into a sequence of impressionistic influenced major and minor seventh chords which

could be left over from Turina's days writing in Paris.

The bass takes over the melody in the piece playing a deep and bold melody juxtaposed by

ascending parallel major chords in the second inversion. The piece reaches a cadence in A major before

being picked back up by a singing melody in the higher strings of the guitar. The melody is followed by

flourishing scale passages which culminate in forte A major chords with an interruption by open fourths

15
​Schreiner, ​Flamenco,​ 76.
 21

making use of the guitar's tuning. A section labeled ​con sentimento popular i​ ntroduces a new theme of

repeated sixteenth note C’s reminiscent of light, quick steps of the flamenco dancer and the cante jondo

style. The idea is then presented using a E half diminished chord to catapult into repeated sixteenth-note

Bb’s.

Example 9. Turina: “Garrotin” from ​Homenaje a Tarrega​, mm.34-43

A quick nine bar excursion into the key of C major builds from a piano dynamic to a double forte where a

C major chord is struck followed by an arpeggio outlining the notes of the C major triad. A fethree-bar

build up of the first three notes of a C major scale leads into the recapitulation of the main theme in A

major. Much of the same material is repeated with some variation on the repeated sixteenth note theme of

the earlier C's and Bb's. The piece concludes with a number of bars modulating to the key of D major. D

major chords are alternated with a V to I single note pattern (A - D) on the A string of the guitar. Three

ascending major chords marked sforzando lead into a fermata of silence before the three concluding D

major chords marked piano, pianissimo, and triple piano to finish the movement.

The second movement of Turinas ​Homenaje a Tarrega​ is the Soleares, a flamenco dance of

quick speed and high energy. The Soleares is often referred to as the mother of all flamenco forms

because so many others are derived from this dance. Features of the Soleares include the 12-point compas

(rhythmic structure), an Andalusian cadence, and melodic and melismatic vocal lines. The dance evolved

from a previous dance form called the Jaleo in the late 18th century and evolved through the 19th century
 22

taking on a more cante jondo character. It is believed that the Soleares comes from the word "soledad"

which means sorrow. The traditional keys for a Soleares on guitar are A Phrygian and E Phrygian
16
depending on the tempo of the dance.

Turina's Soleares movement begins with a G major arpeggio which fits nicely on the guitar

neck as a barre chord. Turina immediately introduces mode mixture by adding Eb, Bb, and Ab eighth

notes to the line that begins in the next bar. These two themes alternate for 8 bars until interrupted by a

forte G major chord that descends before moving to a modal line in the bass notes. The alternating of the

six-note G major arpeggio and the eighth notes that follow create a hemiola effect common in Spanish

music. The hemiola is similar to the main chorus section of Bernstein's ​America​ from his musical ​West

Side Story.

​ xample 10. Bernstein: “America”​ f​ rom ​West Side Story,​ Hemiola Chorus Section.
E

In Bernstein's musical, multiple Spanish and Latin techniques are used to enhance the main characters

cultural identities. A flourishing scale reminiscent of a flamenco singer sores from middle C to a high G

with the notes of what is seemingly a C harmonic minor scale in between. The theme that follows is a

16
​Schreiner, ​Flamenco,​ 77.
 23

single line melody placed on the 4th string of the guitar which provides a warm and mid-range tone for

the exotic line to live on. A countermelody in thirds follows the initial melody and leads into a

descending arpeggio followed by an ascending G major arpeggio which brings the piece to its second

resting point on a harmonic D note. The melody that was based on the 4th string of the guitar returns in

chords that contain the melody in the top notes. The chords in this section contain a g minor chord in the

highest three notes and the three lowest open strings of the guitar, E-A-D, on the bottom. Turina continues

the melody by modulating it to the key of A major and then transposes the theme to a D7 chord in order to

resolve back to G major for the first recapitulation.

The single note theme on the 4th string returns in its exact form, except now transposed to the

key of A. Parallel chords in thirds transition into a flurry of ascending and descending arpeggios and

modal scales mimicking the improvisational nature of the flamenco guitarist. The initial theme of the G

major arpeggio reappears for the last time except now alternating every other bar with triplet chords. The

triplet chords continue in a descending sequential pattern with the top melody notes moving up and down

in whole steps and half steps. The finale is presented in dramatic fashion​ ​with the G major arpeggio

ascending with accented bass notes G-D-G alternating with ascending triplet arpeggios causing a frantic

and almost chaotic race to the end. The final modal scale passage slithers and glides across the guitar neck

and resolves on three accented G major tonic chords concluding the piece.

V.Federico Moreno Torroba

Perhaps the most nationalistic and least apologetically Spanish composer of guitar music during

the 20th century was Federico Moreno Torroba. Torroba was born in Castile, Spain in 1891 when

Romantic composers like Brahms were composing pieces of significance. Torroba died in 1983 right

before major compositions by minimalist composers such as Philip Glass were conceived. Having lived
 24

such a long life, Torroba was able to experience a great variety of different musical styles such as

Impressionism, Serialism, Neoclassicism, and Minimalism. Along with these advancements in music,

Torroba also lived through many social and political ideologies such as Fascism, Capitalism, Socialism,

Communism, and Anarchism. As a Spanish nationalist of great pride, Torroba helped in the

administration and conducting of the ​Sociedad General de Autores de Espana a​ nd the ​Real Academia de

Bellas Artes de San Fernando. ​Spanish​ P

​ hilosopher Miguel​ d​ e Unamuno presents the idea of the Spanish

“eternal tradition” which hinges greatly on the countries colorful culture, folklore, and daily living. The

“eternal tradition” reflects the nationalistic ideology of Torroba and is apparent in his ​zarzuelas ​(Spanish

operettas) and music for the guitar.

During the time of Fascist regimes in Europe, Torroba was accused of being a composer of the

Franco regime. Francisco Franco was a Fascist leader of the Spanish military during WWII and after until

his death in 1975. Franco was supported by other Fascist leaders of the time such as Adolf Hitler in

Germany and Benito Mussolini in Italy. Famous classical guitarist Pepe Romero denounces this

accusation and explains that Torroba’s high sense of nationalism is what most likely convinced people

that Torroba was a Franco supporter. Other Spanish artists and composers of the time such as Salvador

Dali, Joaquin Turina, and Joaquin Rodrigo made peace with the Franco regime and enjoyed successful

careers under his leadership. While living in Spain, Torroba for the most part ignored Impressionism,

Expressionism, and Neoclassicism which were styles beginning to be integrated into the music of Spanish

composers. Torroba was not interested in the innovative styles of composers such as Debussy,

Schoenberg, and Stravinsky. Torroba was consumed with Spanish styles and the “eternal tradition” of his
17
country, which is part of the reason why Torroba is not as well known to this day.

The culture of nationalism in Spain that was a guiding force in the compositional style of

Torroba began with the music and writings of Felipe Pedrell, known as the “patriarch” of Spanish

17
Walter Aaron Clark and William Craig Krause, ​Federico Moreno Torroba: A Musical Life in Three Acts​,
(Madison Avenue, New York: Oxford University Press, 2013), 3-9.
 25

nationalism. Pedrell lived from 1841-1922 and wrote music based solely off of Spanish folklore and

history and ignored foreign styles in the hopes of creating a national Spanish sound. As an historian,

Pedrell gathered a collection of Spanish folk music in his four volume ​Cancionero Popular Espanol

which was the biggest collection of Spanish folk music of its time. Pedrell also wrote an essay entitled

Por Nuestra Musica​ which set standards for the composition of Spanish opera using folk songs. These

writings were influential in the composition of Torroba’s zarzuelas (operettas) which were the most

popular form of Spanish music of the time. Music of the theater was the main focus of Spanish Nationalist

music at the turn of the century. The most important and influential Spanish composers of the late

Romantic era and early 20th Century were Isaac Albeniz and Enrique Granados. The nationalist music of

these two composers inspired the next generation of composers that included De Falla, Turina, Joaquin

Rodrigo, and Torroba. While composers such as De Falla and Turina would travel to Paris to study the

music of Ravel and Debussy, or take influence from the innovative writings of Stravinsky, Torroba
18
remained in his native Spain to continue the legacies of composers Albeniz and Granados.

Torroba was the first non-guitarist composer to work with Segovia on creating music for the

guitar that would be suitable for the concert stage. It was Segovia’s mission to gather the leading Spanish

composers of the time to create a new repertoire of pieces that would give the guitar a sense of respect

and acceptance in the classical community. Other Spanish composers that would join Torroba and

Segovia in this mission were Turina and Rodrigo, as well as latin composers Heitor Villa-Lobos and

Manuel Ponce. Torroba collaborated with Segovia on dozens of pieces throughout his career and made
19
composing for the guitar a main focus of his musical life.

Torroba’s ​Suite Castellana i​ s the first piece that the composer worked on with the guidance and

editorial expertise of Segovia. This piece contains three movements: “Danza”, “Fandanguillo”, and

“Arada”. These three movements are derived from Spanish dances but are not necessarily flamenco in

18
Ibid., 24-27.
19
​Clark and Krause, ​Federico Moreno Torroba​, 40-42.
 26

character. The movement of highest Spanish significance is the “Fandanguillo”. The “Fandanguillo”

movement of the suite is to be played “tempo di Fandango” and is short in duration with a repetitive form

making it an easy piece to listen to and understand. The fandango is the precursor of the fandanguillo and

is to be played in triple-meter. This fandango style can be heard in the compositions of Domenico

Scarlatti who lived in Madrid for a number of years. The fandanguillo is a derivative of the fandango to

be played at a faster tempo with many of the same characteristics. The movement is distinctly Spanish in

every sense including rhythmically, harmonically, structurally, and melodically. Torroba incorporates the

Spanish song and dance technique of the ​copla ​(alternating between singing and dancing)​ i​ n the

fandanguillo movement while introducing the concept of the octosyllabic rhythm. The octosyllabic

rhythm is a technique that comes from the eight-syllable verses of a standard ​copla.​ Torroba composes his

instrumental phrases in this eight syllable pattern utilizing melismas, embellishments, and triplet patterns.

Example 11. Torroba: “Fandanguillo” from ​Suite Castellana,​ mm.1-19.

Torroba harkens back to techniques of the Spanish Baroque era and its harmonic schemes when he

presents arpeggios based on a “descending minor tetrachord of D major, C major, B minor, and A minor”
 27

20
using the low open E string of the guitar as a pedal point, a very common technique in Spanish music.

Other standard Spanish techniques used in this movement are ​falsetas​, or small solo sections for the guitar

and mode mixture featuring variations on the phrygian mode.

Torroba’s ​Sonatina i​ s a three movement work hailed by many guitarists such as Pepe Romero

and David Tanenbaum as the composer's greatest work for the guitar. The second movement of this piece

will be the focus as it has been called by many Torroba’s most attractive and beautiful melody for the

guitar. The movement is in the key of D major and uses the technique of ​scordatura​ which is the tuning

down of the low E string to a D. This allows the composer to rely on the deep sound of the open D string

throughout the piece as a pedal point or to round out passages in the tonic key of D major. The opening

melody of this piece relies heavily on the open low D string, with the tempo marking ​Andante​ the melody

is able to breathe and flow at a comfortable pace. Torroba uses ornaments and embellishments in the

opening melody such as quick and short sixteenth note runs, trills, and appoggiaturas. To add color and

variation, Torroba adds C naturals to the melody in mm.1-2. The composer is able to create a theme that

is both lyrical and memorable, displaying a vulnerable and sentimental side to Torroba’s writing.

Example 12. Torroba: “Movement 2”​ f​ rom ​Sonatina,​ mm.1-4.

20
Clark and Krause, ​Federico Moreno Torroba​, 109.
 28

Torroba employs the use of ternary AABA structure in this movement which is common in middle

movements of both sonatas and opera arias. With the AABA structure of the second movement and the

sonata form of the first movement, Torroba displays an understanding of early structural techniques from

the Classical and Baroque eras. The upper register of the guitar is utilized often and harmonics are plenty

to be seen throughout the piece. Torroba’s increased use of harmonics, alternate tunings, and chordal and

scalar passages in the upper register suggests the composer became more comfortable with the instrument

as he wrote more music for the guitar.

Torroba’s ​Piezas Caracteristicas i​ s perhaps the composer's most involved and intricate work for

the guitar. The Piece is written in six movements which are all related thematically to the final movement,

“Panorama”. The final movement is written in a cyclic style used in music of the late 19th and early 20th

centuries such as in the ​Sonatina ​by Ravel. The piece runs for a total of approximately twelve minutes in

length making it a significant work for the guitar. Although Torroba did not take inspiration from many of

the leading foreign composers of the day, there is an undeniable sense of impressionism within these

movements. This impressionistic influence most likely comes from Torroba’s appreciation for the music

of Maurice Ravel, who along with Debussy revolutionized the impressionist style. Many of the

movements are short, descriptive pieces which are related to different aspects of Spanish culture and life.

“Los Mayos” is based off of Castilian folk songs referencing the coming of the month of May. “Albada”

is a ballade that features a man singing to his love. “Oliveras” is a movement that depicts the olive

orchards of the southern Spain mountain side. “Melodia” is based on the technique of the guitar tremolo

made famous in Tarrega’s ​Recuerdos de la Alhambra. ​The most developed of these six movements is the

“Panorama”, written in impressionist, neoclassicist, and folk styles. Torroba opens his “Panorama” with a

direct quote from his “Preambulo” movement which opens the piece. “Oliveras” and “Los Mayos” are

then presented in new keys such as a minor and E major and are used as transitional material for the only

fugue that Torroba ever wrote for the guitar. Torroba avoids functional harmony throughout the piece,
 29

ignoring standard V-I cadences like the impressionist music of Claude Debussy. The Phrygian mode is

suggested in the repeated use of the dominant to flat-VI chord, keeping a Spanish flavor to the sound of

the piece. Shades of Ravel, Chopin, Albeniz, and Liszt are apparent in this composition. These musical

influences on Torroba helped shape his individualistic voice on the guitar and broaden the sound palate
21
for an instrument that was evolving at a fast rate during the early 20th century.

VI.Conclusion

Nationalism is a word that has taken on many connotations throughout history, some positive and

others negative. Fascist dictators such as Benito Mussolini, Adolf Hitler, and Francisco Franco used the

term nationalism to justify their oppressive dictatorships in their respective nations of Italy, Germany, and

Spain. This form of nationalism inspired an unhealthy pride in these leaders which led to war, famine,

revolts, and destruction throughout Europe. In recent times, President of the United States Donald Trump

has used the word nationalist to describe himself receiving mixed global reactions. In the case of Spanish

composers De Falla, Turina, and Torroba, nationalism represented an embrace of native culture, art,

music, folklore, literature, and lifestyle. These Spanish composers focused their nationalism on advancing

their countries musical and artistic identities with their compositions for stage, orchestra, chamber

ensembles, ballet, opera, and most importantly for the guitar.

The 20th century embrace of the guitar by Spanish composers represented a new form of

nationalism based around the countries national instrument. The significance of composers Falla, Turina,

and Torroba’s guitar music changed the course of Spanish music by paving the way for other non guitarist

21
​Clark and Krause,​ Federico Moreno Torroba​, 108-116.
 30

composers to write for the instrument. With the help of the nation's leading figures in guitar performance,

Segovia and Llobet, Spanish composers were able to translate their nations musical and folk ideas onto an

instrument that was at one time somewhat foreign to the Spanish composers themselves. A renaissance of

guitar music was in full swing during a time of turmoil which included the Spanish Civil War, Spanish

American War, and World War I. The increase in the composition for the guitar reflected a new direction

in Spanish music that was a reaction to what seemed to be the destruction of Spanish values in the time of

war. To this day pieces like ​Homenaje a Debussy, Homenaje a Tarrega, ​and ​Sonatina for Guitar​ are

staples in the guitar repertoire, having been recorded by famous guitarists such as John Williams, Julian

Bream, Benjamin Vedrey, David Russell, and Ana Vidovic. The legacy of the early 20th century guitar

composers of Spain and their nationalist style revolutionized the writing style of modern Spanish

composers. These composers created a national musical identity for Spain that was lacking in the global

sphere of classical music but was always present in the lives and culture of the countries native people.
 31

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