Albeniz on the guitar is neither a new nor an inappropriate concept, ever since Albeniz himself set the seal of approval on Tarrega's arrangements of his works, guitarists have declared open season on his piano music, but, since it is only in recent years that they have embraced the notion of 'integrality'—and some pieces are much harder to play than others, they have continued to pick on the softer targets. The whole of Albeniz's Suite espanala has been transferred to one or more guitars, but to the best of my knowledge it has been recorded in its entirety by only one other guitarist, the German Michael Troster (Harmonia Mundi). Whilst Troster adheres to the original order, Barrueco changes it considerably, but only in one item ''Cuba'' do they differ significantly in tempo—both sound comfortable, but Barrueco is Cuban by birth and may be closer to the 'truth'! To arrange something is one thing, to play it as freely as the music requires may be quite another; had Albeniz heard Barrueco, one of the cleanest technicians and aristocratically poised interpreters of such music the guitar has, he might truly have believed that it sounds 'better' (or, allowing for over-enthusiasm, 'just as good') on the guitar. Pianists, no less than guitarists, might learn from this recording.
What would on an LP have been the 'B side' is another 'integral', all five of Turina's works for the guitar. Like Albeniz's piano music they are a 'celebration' of Spain, but written for the guitar—and with the benefit of Segovia's assistance—rather than with it in the subconscious. All have been recorded many times, but Barrueco's playing of them sets the benchmark at which others will have to aim for a long time to come. The superb recording does full justice to every nuance of Barrueco's gorgeous tone, just one facet of his mastery.'