Some instruments e.g. recorders and viols, have long been made in different sizes and at various pitches, in 'families' suited to the formation of 'whole' consorts, but it is only in this century that a sustained effort of this sort has been made on behalf of the guitar. Guitar trios and quartets now abound but, unlike the string quartet, their composition has yet to crystallize. It is not uncommon for a guitar trio to consist of three 'standard' guitars—indeed, Holland has one of great distinction, the Amsterdam Guitar Trio, but a feeling that a greater total gamut (that of the usual guitar is three-and-a-half octaves, plus harmonics) is desirable has stimulated the formation of 'unequal' trios; the Netherlands Guitar Trio have one standard guitar, the others being a fourth higher and lower in pitch.
Such trios often thrive on arrangements, the original repertory being fairly limited—a work written for a guitar trio is playable by only those of the same composition, so that, Falla's apart, the items in this recording began life as piano music. It may seem curious that three should labour to do what one (with a different instrument) was meant to do, but it is no more than happens when a composer rearranges a piece of his piano music for the orchestra, not an uncommon phenomenon—Falla even did it to his only work for the guitar. What the transition makes possible is the introduction of more variety of colour than the piano has, used either overall or in strata, and it is an important factor in presenting the music with a new face.
The music of Asendo and Halffter is better known in their own country, Spain, than outside it, but suffice it to say that it provides comfortable bedfellows for that of Falla and Albeniz, and that the whole programme is played most attractively by an ensemble that have been active long enough to have developed a high level of togetherness in all things. The recording has a warm sound and just about the right degree of acoustic space.'