Liner notes: Miguel Llobet Solés (1878 Barcelona - 1938 Barcelona), a student of the Francisco Tarrega, the renowned "father of the modern school of guitar," was perhaps the first twentieth century guitarist to concertize extensively throughout Europe and the Americas. Consisting of very few original compositions for guitar, Llobet's publications number roughly 100 works of mostly transcriptions and arrangements. Of these published works, his arrangements of Catalan folk songs quickly became popular during his lifetime and have remained the most admired portion of his opus. Through these ballads, Llobet explores many of the expressive qualities of the guitar. Harmonics are employed to greater degree than ever before and campanella chord voicings clearly show Tarrega's approach to the fretboard and compositional influence. The judicious use of extended and chromatic harmonies demonstrate the enchanting effect of Impressionism on Llobet's approach but never cloud the simple beauty and coherence of the folk melodies. Eduardo Sainz de la Maza (1903 Burgos - 1982 Barcelona) studied with both Miguel Llobet and Daniel Fortea (also a student of Francisco Tarrega). Younger brother to the more renowned concert guitarist Regino Sainz de la Maza, Eduardo was dedicated teacher and composer. Like Miguel Llobet, Eduardo Sainz de la Maza was influenced by Impressionism and Spanish nationalism. Platero y Yo Suite is among the most outstanding of his compositions. Each intimately lyrical piece depicts a single vignette of the same title from Juan Ramón Jiménez's book-length set of evocative poetic portraits Platero y Yo. Each account depicts a different facet of the narrator's life and intimate bond with his small donkey, both a symbol of the nobility of rural Spanish life and a vehicle of a multihued fabric of emotional depth. Andrew Winner Cincinnati, Autumn 2010.