There has long been a recognition of the adaptability of Granados' selected piano music to the guitar, starting with the great arrangements of La Maja de Goya and Dedicatoria by Granados' younger contemporary Miguel Llobet (1878-1938) and continuing through the 20th century with numerous arrangers' adaptations of the Doce danzas españolas. There may be some validity to the common notion that the success of these adaptations has to do with the essential "Spanish" character in the music manifesting so naturally on the guitar, the essential Spanish instrument. Of course, the guitar has a strong presence in Spanish culture but it can just as readily claim France or Italy as a homeland. Moreover and more particularly, it is the delicacy of texture in the writing that makes adaptation possible and sucessful. The original score of Valses Poéticos does not prescribe a transcendental pianism, or put the range and voicing capacities of the piano at the centre of the musical oration. The elegant reserve of the writing, along with some good luck, makes idiomatic arrangement possible and even allows for maintaining the original keys and key architecture in the present arrangement.
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