Fantasía sonata No. 4 op. 27

It is well known that guitar literature does not participate in the most significant trends of musical romanticism. It is enough to approach the works of Schubert or Schumann to realize the multiple aspects close to the guitar language that their music possesses and that hardly found expression through our instrument. My interest in delving into the possibilities of the romantic language applied to the guitar is motivated by the desire to develop elements of that aesthetic based on instrumental formulas of their own.

The 24 Romantic Fantasies written in all major and minor tones, which I have published previously, have allowed me to discover new technical-expressive aspects in our instrumental literature, speeding up the modulating processes and dealing with practically unexplored tonalities. Now, with these first Sonata Fantasies, I develop new ideas under the same stylistic concept but structuring them according to more complex forms. The qualification of Fantasy with which I accompany the name of Sonata, besides indicating its formal independence from the classic sonata, serves to establish a difference with those that, within my production, I call simply Sonatas and that are written in a language of very different characteristics.