The Romantic Spanish composer Joaquin Turina (1882-1949) left a small but perfectly formed body of work for the guitar, all of which is still commonly heard and widely loved for it's unaffected melodic beauty and dancing vernacular rhythms. His harmonically questing language often seems to have more in common with the innovations of Albeniz than the comfortingly picture-postcard attractions of Rodrigos language. This is especially true of his one "abstract" work for the guitar, the Sonata Op.61, which amply fulfils Turinas ambition to break free from a strictly local style, especially in it's recitative-like Andante. From early in his career, Turina had been determined to write "European" art music as much as (if not more than) works reflecting the language, culture and landscape of his native Spain: It was not by chance that his op.1 was a piano quintet, conscientiously modeled on works he admired. That said, there are also distinctively Spanish works here, none more so than the exuberant homage to the memory of Tarrega, composer-prince of the Spanish guitar. It's a work that runs through the gamut of Romantic guitar tricks and effects in it's brief span, and receives here a virtuoso performance from the Flemish guitarist Jan Depreter. Depreter is a composer himself, and his recreative instincts can be heard to superb effect in the concentrated drama of Sevillana Op.29 and bold drama of the Fandanguillo, which without words seems to conjure a complete mise-en-scène.