It was Francisco Tárrega, composer and guitarist, who first transcribed Bach’s music for his own instrument, offering colour, tonal variety and clarity in an exploration of counterpoint. Tristan Manoukian’s transcription of the Partita No. 2 honours the precedent in its virtuosic and expressive writing. It is possible that the Suite and the Prelude, Fugue and Allegro were originally conceived for the so-called “lute-harpsichord”, a keyboard strung with gut that sounded like a lute. Bach’s version of Vivaldi’s Violin Concerto transforms and refashions it, and the guitar transcription is perfectly suited to convey the richness of its invention. Prizewinning guitarist Judicaël Perroy is one of the most exciting talents to have emerged in years.

Manuel Ponce is considered by numerous scholars to be the founding father of modern Mexican music. He devoted himself to composing for guitar after meeting Andres Segovia in 1923. Sonatina Meridional is reminiscent and lyrical, and is his response to Segovia’s appeal for a work “of purely Spanish character.” The two versions of Theme varie et Finale are recorded for the first time together on this album. The Andante that is also featured is from a manuscript that was lost in the Spanish Civil War. His final work for guitar, Variations on a Theme of Cabezon, is also featured.