Arrangements per se have been a part of musical life for a very long time, but what of Beethoven and, even more, Verdi and Wagner on the guitar – and why? The guitar in its present form arrived only at the end of the 18th century so it had no other access to earlier music than by arrangements. However, during the 19th century it was virtually ignored by composers who weren’t also guitarists. One of the achievements of Francisco Tárrega (1852-1909) was that of developing the art of arranging ‘other’ music for the guitar and he directed much of this work to filling the instrument’s 19th-century ‘black hole’.

Nowadays such ‘versions’ of Beethoven would not pass muster as concert material but in Tárrega’s time they would not have seemed out of place in the salon as agreeable novelties. They had – and hopefully still do have – another purpose. Paul Tortelier told me he had learned much about Beethoven symphonies by playing the four-handed piano reductions with his sister. Thus it is with Tárrega’s arrangements and guitarists. He showed good judgement in arranging only selected movements or extracts thereof. More is, of course, possible: some years ago I encountered an amateur Australian guitarist who had arranged entire symphonies of Beethoven (among other grandiose enterprises); he may have learned much in the process but even the most modest performances were mercifully out of the question! Tárrega’s potpourri of themes from La traviata was probably a big hit in the salons but it still appears in the occasional concert programme, like a bustle behind a modern dinner gown.

Timo Kohronen plays this music in the best possible way, with respect and belief in its validity – and with flawless technique and clear sound. This excellent recording will appeal to guitarists and to the curious general listener.