Nr. 10 until Nr. 15. CD III

 Nr. 10.

"Capricho Catalan". Isaac Albeniz. În fact composed for piano but as
most classical guitar involved people know, even the most celebrate
piece in guitar repertoire is from his hand: "Asturias". Capricho Catalan
is another masterpiece from his hand though probably less known.
Played with dropped D in this rendition. A warning may be given: There 
are several transcriptions of this piece around so you might find other
renditions that differ a lot from this one. Played on the Domenico Fischetti
as at that time that guitar had a special charm for me. Though not that big
in volume it reacts well in a recording process to my opinion. There
are indeed several ways to judge a guitar: From the players position,
from the audience (projection) In an acoustically "rich" environment and
in a recording process. Not even talking about the different styles a guitar
is suited or not suited for.

Nr. 11.

"Canción del Fuego Fatuo". I heard this composition from Manuel de Falla

for the first time in Granada. In the garden of the house where Manuel de 

Falla lived for a certain time. It is situated quite near the top of the mountain

on which the Alhambra has been built. The garden gives a stunning view over

Granada, especially by the fall of the night. And Javier Riba hearing play this

composition made that moment perfect. Everyone playing guitar would have 

been inspired to study that piece immediately afterwards!  Played on the 

Antonio Duran Ferrer from 1974. As Antonio lost an arm quite early in his 

career, some other luthiers also worked for him. I showed this guitar to 

Manuel Moreno Rodrigues and he immediately recognized it as being his 

work. "How is the guitar doing" was the next question from him. "In a very 

good condition". was my answer. With a very lucky smile he answered me.

Nr. 12.

"Amelia". trad. Arrangement Miguel Llobet. Being quite an older song I

decided to play this one on an Eladio Molina guitar from round 1870. That

is my eldest Spanish guitar that has been built to nowadays dimensions.

and though this guitar was in a poor condition I decided to have it restored

to make it playable again. I suspect the soundboard to be from a more recent

date but who did it, I do not know. Sides and back of this guitar are built

out of the in those times quite commonly used Brasilian rosewood. There

are hardly any guitars known that have survived to these days. I only

found another one on the site of Finefretted Instruments in the USA. They

are not willing to exchange any information around these guitars which is

a pity as it would explain a lot more. Eladio Molina won several prizes with

his guitars and inspired a lot of luthiers in Malaga after him. When you ever

visit Malaga, take the opportunity to visit the Flamenco guitar museum 

(near the Harbour) there. The entrance is 1 Euro!

Nr. 13.

"Sons de Carrilhoes" a composition from Pernambuco (Joao Teixeiro Guimaraes)

but transcribed and in fact a bit "recomposed" by Cardoso. This version is much 

more provocative than the original composition. And why not: Both versions

may exist alongside each other. At some points Cardoso uses all variations he

can imagine which to my opinion makes it a bit restless in a negative way. So

I felt invited to make a version a bit more modest here and there. Played on the 

Mass Hirade Model 15 (Takamine workshop) from 1984. This guitar has been 

provided with a spruce top but it must have been the influence of Masaru Kohno

to have a kind of Cashew nut colored varnish put on the soundboard, quite similar

to the guitars of Kohno, Sakurai, Orozco and Tama of that time. (Eighties)

Nr. 14. 

"Se Ela Perguntar" Dilermando Reiss. A very subtle composition where a

player can add so much feelings into. There is enough "space" for everyone

performing that. You can play it slowly but also at a more moderate tempo.

The Thomas Prisloe from 2008 seemed to be very suitable for that one!

That guitar can sound delicate and overwhelming at the same time. The 

story around this guitar is a bit comical as a Guitar store announced their

example as being quite special and only built in 2008. The real story I

heard later from a good friend of Mr. Prisloe and finally Mr. Prisloe himself:

"I'm ordering the PAVAN guitars from Spain and some examples came

with damage to the soundboard so I decided to built for those ones a top

by myself. The label should confirm that: Soundboard built by Thomas 

Prisloe". About 13 or 14 of these guitars Mr. Prisloe saved from the garbage

can. The soundboard is, as you may know, the heart of a guitar! He signed

it about 3 times!

Nr. 15.

"Registro". Antonio Lauro, a composer I particularly like as it is not matching

any "mainstream" music. Registro in fact is a part of some compositions Lauro

made but its is a piece that sounds quite exciting. As it is written with the guitar 

in mind it is easier to play than it sounds.... Played on the Antonio Duran 1974 

guitar that I already used for composition nr. 11. A remark has been made as 

though it is a fresh sounding instrument you have to do your utmost best to have 

it sound a bit "thicker". Maybe personal of course and that differs from piece 

to piece is my experience. And in fact these are the characteristics of spruce

topped instruments. Sound even varies from day to day depending on weather

circumstances such as humidity.