Toward the end of the seventeenth century, the guitar once more came into favor. Having six strings required more highly-developed technique. Virtuoso players inspired the public with their dazzling performances and intricate compositions. The guitar’s popularity caused a high demand for instruction books written for the new six-string guitar. Cities which led in the resurgence of guitar music included Vienna and Paris, attracting top notch guitarists such as Mauro Giuliani (1781-1829), originally from Italy, and the Spanish virtuoso Fernando Sor (1778-1839). These men led the way for the importance of a solo repertoire for the guitar with their extensive catalog of works. A guitar method that is still used today was introduced by Ferdinando Carulli (1770-1841). The landmark work, ‘Twenty-five Melodious Studies,’ composed by Matteo Carcassi (1792-1853), can still be found in the repertoire of serious guitar students.
Again the cycle of popularity turned sour yet again, though this time, the guitar was rarely played, let alone heard in concert. Fortunately, Francisco Tárrega (1852–1909), with his distinctive, romantic sound awakened the public interest once again. His reputation spread by word-of-mouth, thanks to his creative compositions, as well as his trademark sound. That sound, which gave his compositions their charm, came from his extensive knowledge of the guitar fingerboard. Before Tarrega came along, the public preferred pieces that stayed within the range of the first five frets. Ignoring these limitations, Tarrega stunned his fans with his works that used the entire range of the guitar. His school of performance and composition survives today, a testament to his innovation and creativity.
