FROM ALBUM NOTES by Leonardo de Marchi:
The ductile sound of the guitar has long been a cause of fascination, captivating audiences, interpreters and composers alike. Already Fernando Sor (1778-1839), in his Methode pour la guitare, had emphasized how, with proper technique, the guitar could faithfully evoke the timbre and modes of attack of many instruments in the orchestra. In the early twentieth century, as the impressionist trends came to be established also in music, the guitar stood out not so much, or not only, because of its innate ability to reproduce the sounds of other instruments, rather for the sombre poetic fullness of its sound, imbued with a sense of mystery and magic: it is no wonder that Federico García Lorca (1898-1936) was inspired to declare in his Poema de la siguiriya gitana, that «La guitarra hace llorar a los sueños».
Regardless of the aesthetic orientations of the individual pieces of the repertoire, it is undeniable that the direct contact between the finger and the string, which is the true reason for the guitar’s richness of tone, establishes a direct relationship between the instrument and the interpreter. […] (Translation by Alessandro Tanzi)