A

mi querido amigo el notable aficionado Dr. D. Severino Garcia

¡Sueño!
Trémolo (Estudio)


  
Eingerichtet von Stefan Apke Francisco Tárrega (1852 – 1909)


 3       I  
Moderato

 4          42             

VII
Introducción

        
4 4



      
3 3 3


2 2 2 2
5 2 2 2 1 1 3 3
3 3 3
1 2 1 1 1
2

 IX
5

     
    4    
p

         
             
VII

  
II

   
6

    
4 2 4 4 4 4

 
3 4 2 3 3 3
2 2 2 2 2 3 3 3 2


3 3 2 2 2 2
1 1 1 1 1

X  
5

     VII      
         
       
      
      
   
11 II II 4
4 2

  
3 4 3
4 4 4

      
4 4 4 2 3 3
1 4 1 1 1
2 2 2 2 3
2

  
1 3 3 3
2 3
1 1

  I     1.   2.  
   4        
               
          
     
16 2

      
4
3 3
4 4 4 4 3 4 4


2 3 1 1
2 2 2 1
2 2 4 1 3 1
1 2 2
3 2

            

  
a tempo

 
Allegretto

    
21

 
a m i a m i
4 4 4 4 4 4 4 4 4 2
4 1
3 3
1 1 2
p

       
molto rit. p sim.

        
 
25 4 4
2

  
3 2 3
3 1
2 4 1 2
3
5
4

  
                  

2
2
28 3 3
1 1 1 1 2


3 2 1 3 1 1
3 3 3 3 1 1
2 2

© Stefan Apke, Vlotho an der Weser, 5. April 2019

   
         
  
    
  

 
31
2
2 2 2 2
2 3 2 3 3 2 3 3
3 3
1 1 1 1

                
         
 
34


3 2
2 2 2 2 2
3 1
1 1 1 1 1 1

      
   
poco rall.

        
37

   
2
2 2 3 1 3


2 3 3 3
1 1 1
2 2

  
2

          
         
40


3 1 1

2 2

             
          
43

   
4 4 4
4 4
2
1 1 1
1 1
3

            
           
46

     

4 4 4 4 4
4 4 4
2
1 1 1 1 1
3 1 1 3 1
3

            
            

49

   
4 4 4 4
4 4 4

1 1 1 1
1 3 1 1
3 3
2

     
6

  

 
   
         

52

 
4 4
4 4 4 4
4
1 1
1 1 1 1
3 4
1
5 2
6

         
   
     
55

    
4 4 4 4
3 4 3 4 1 0
2 3 3 2


3 1

2
  
            
     
 
58


4 4

  
2 2 4 4 2 2 4
3 3 1 0 0 3
2


1 1

   
6 6

         
VII


V

     
 
61

 poco cresc. 
4 4


4 4
4
4 1
3 2 2
1
2

     
    

       
 

  a tempo  

4 4
64 4 4

 
2 4
1 1 4 4
1 1 3 3
3 3
1
3

 y molto legato

     
          
  
67

  
4 2 2
4 4 3 4 4
3 3 3 3 1 3
2 2 2 2
3 3 3 3

dim.

       
          
70

       
2 2 2
3 3


3 2 1 1
4 1
2 2 2
1


4

    
cresc.

       
          
I


73

    
2 2 4

3 1 3 1 1

      
a tempo

        
       
76

        
3 3 3 4 4 3 4
1
2 2 2 2 2
1 1

            
         
  
79

    
4 4 4
4 4 4 4
4 2
1 1 1
1 1 1 3 3
2 3 1

  
5

             
 
82 II

        
 
4
2 4 2 1 3
3 1
1 2
3 3

3
             
        
 
85

      
4 4 4 4 4 4 4
4 3

   
3 2 2 1 1

   
1 2 3
1

            
  

4 4 4
88

   
4 4 4
4 1 4 1
1 1 1


1
1 1

           
             
 
4 4
91 4 3 2 2 2
3 3 3
1 1 3

      
            
  
94

 
2 4 4

 
2 2
3 3 3 3 2 0 1 1
3 3 3
3
2 2

      
       
1. II 2. II

    
97

     
3
2 2
3

   
0

       
          
100

    
4
2
4
3 1
2
0

          
       

103 II

    
2 2
4
3 1
2

   

0

            
   
IX

  
V

  
106 4
2 2

2 2 3

            


   
XIV

        
    
4 4


109 II

0     3
4

rit. - - - - e - - - - perdendosi - - - - - - - - - - - - - - 

4
 Anmerkungen / Remarks
Francisco Tárregas ¡Sueño! klingt ganz hervorragend, wenn man das Stück gemäß dem Wortsinne (Traum)
bedächtig spielt. Hierfür gibt es etliche gelungene Audioaufnahmen als Beispiele.

Aber Tárregas ¡Sueño! ist auch als Lehrstück (Estudio) gedacht. Wer nun versucht den Tremolo-Teil allegretto
zu spielen, wie es vorgesehen ist, der wird sehr schnell die Schwierigkeiten des Stückes entdecken.

Dass dies tatsächlich möglich ist, hatte der spanische Gitarrist Narciso Yepes (1927-1997) gezeigt. Sein
Tremolo-Spiel war hinsichtlich Schnelligkeit und Präzision unübertrefflich gewesen.

… … …
’ ’ ’

Francisco Tárrega’s ¡Sueño! sounds very beautiful when it is played in a calm way according to the meaning
of the literal sense (dream). There are several successful audio recordings available.

But Tárregas ¡Sueño! is also meant as a didactic play (Estudio). Who tries to play the tremolo-part allegretto as it
was indicated, will immediately discover the difficulty of the piece.

The spanish guitarist Narciso Yepes (1927-1997) did show that is is possible to play it that way. His tremolo
playing was unsurpassable concerning rapidness and precision.