amade wrote: ↑
Thu Jul 04, 2019 3:02 pm
Maybe start by asking what Tárrega indicated as the limits of the tempo in the two primary sources. He wrote Andantino or Andante in 3/4. So the pulse is the quarter note, although like most romantic music, it is "felt in one." It looks like several guitarists on the comparative list are playing it slower than Tárrega indicated. a bit closer to lento than andante (walking tempo). Yepes seems at the upper limit but he is not too fast for an Andante. Maybe he was just a fast walker ...
The only autographed manuscript I've seen says 'Andantino' - which could have meant slower than Andante to Tarrega (or not - the word should have meant slower than andante and does in the violin literature, but has been (mis)interpreted also as slightly faster than andante, probably originally by non-Italians, so this persists now.)
While some list Andantino as a range from high 70s up to 108, we have to keep in mind that whatever the tempo, it has to be slower than moderato (and allegretto; and much more so than allegro). With that in mind I don't think it is plausible that the intended tempo was anything faster than 90-92 (equivalent to 180-184 per pami group) and likely as a bit slower than that. Also, musically, the tempo has to be slow enough to allow the ornamentations to be discerned and appreciated. Of course, the tempo has to be also fast enough for the tremolo to work well. All in all, probably not likely to have meant slower than 72 (144/pami) or faster than 90-92 (180-184/pami).
I personally find that 160-168 seems the ideal tempo to let the piece shine in every way. If I have a gun to my head and be forced to choose a single number, I'd probably say 168/pami, which would be MM84 marking.
You do not have the required permissions to view the files attached to this post.