During the course of the nineteenth century, national tendencies evolved in the area of music in many Europen countries. Examples of this are the national operas by Smetana, Mussorgsky, and Tchaikovsky, which are substantially informed by folksong-like melodies, regional dance rhythms, and local color in scene and plot. In Spain, the composer and musicologist Felipe Pedrell (1851-1922) was greatly active in the treatment and inclusion of Iberian folk music and traditional Spanish song material in art music. Although his compositions are today largely forgotten, he nevertheless laid the cornerstone for an independent development in Spanish music. All renowned composers who were important for the concept of the Spanish national school were Pedrell's pupils, including Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), and Manuel de Falla (1876-1948). However, they also received an important part of their artistic inspiration and training in Paris, and through their acquaintance with Maurice Ravel and Claude Debussy were likewise influenced by contemporary French music. Since the beginning of the century, the French capital was a magnet for many Spanish authors, painters, and musicians. Therefore, both elements - the folklore partly influenced by the centuries-long Moorish dominion over Andalusia and French impressionistic music - belonged to the significant characteristics of the Spanish national school. The compositions selected for this recording also let these influences be clearly recognized. Maximilian Mangold is regarded "as one of today's artistically most interesting German guitarists" (Fono Forum). Mangold has an extraordinarily extensive repertoire that is also documented on twenty-two recordings that have been enthusiastically acclaimed by critics and praised as reference recordings.