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-Contempory, Spanish Concertoes

Joaquin Rodrigo
Concerto d'Aranjuez

-Allegro
-Adagio
-Allegro gentile
The Concierto de Aranjuez was composed in Paris during the winter of 1939, and finally finished a short time later in Madrid. Premièred the following year, it was an unprecedented success in the annals of Spanish music. The critics received the work with unstinting enthusiasm. The date of its first performance has come to be an important landmark in the history of Spanish music. "In effect,' said one music critic, "it is impossible to find another Spanish work with such exciting picturesque qualities and formal perfection. For the first time in the history of our music the picturesque and the classical are fused, reciprocally mitigating and enlivening each other.
Joaquin Rodrigo
Fantaisia para un gentilhombre
The "Fantasia para un gentilhombre" was written in 1954 at the suggestion of Andrès Segovia, to whom it is dedicated and who gave the first performance in March 1958 in San Francisco. The thematic material for the work is largely borrowed from Gaspar Sanz, the seventeenth-century guitarist to Philip, IV. The years between the reigns of Philip Ill and Philip IV saw a great change in musical taste; it was greatly influenced by popular trends and became rather vulgarised. The works which Sanz wrote, some of which were published in 1697, reflect the trends of the time. Yet, as a guitarist, he managed to raise the instrument again to the level of nobility which it had forfeited with the change in taste. The pieces are on the whole short, simple, and easy-going, and the relatively insignificant musical content would be completely debased unless handled with great delicacy. This Rodrigo has done, and has fully achieved his stated intention: "My aim was that, if Gaspar Sanz were to hear my work, he would exclaim, 'That is not exactly me, but I can find myself in it'. "
Joaquin Rodrigo
Fantaisia para un fiesta
This work arose from an idea by the American patrons of the arts, Mr. and Mrs. William E. McKay, who wanted to celebrate the social debut of her two daughters in a very special cultured way. The structure follows concerto form. The first movement is in sonata form with two themes, the first of which has a very, very Valencian flavour. This, however, does not extend to the rest of the work. There are two cadenzas in the concerto, one in the first movement and the other in the second. The finale is extremely cheerful and very dynamic. It is a kind of sonata rondo with three themes which are very high-spirited. The guitar part is extraordinarily difficult; in contrast, the orchestration of the work as a whole is transparent, pointing up and supporting the themes and always accompanying the guitar very discreetly.
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Web Page dedicated to Joaquin Rodrigo
Rodrigo offiicial web site

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See down other link on Rodrigo -Contempory, Spanish Concertoes Joaquin Rodrigo Concerto d'Aranjuez -Allegro -Adagio -Allegro gentile The Concierto de Aranjuez was composed in Paris during the winter of 1939, and finally finished a short time later in Madrid. Premièred the following year, it was an unprecedented success in the annals of Spanish music. The critics received the work with unstinting enthusiasm. The date of its first performance has come to be an important landmark in the history of Spanish music. "In effect,' said one music critic, "it is impossible to find another Spanish work with such exciting picturesque qualities and formal perfection. For the first time in the history of our music the picturesque and the classical are fused, reciprocally mitigating and enlivening each other. Joaquin Rodrigo Fantaisia para un gentilhombre The "Fantasia para un gentilhombre" was written in 1954 at the suggestion of Andrès Segovia, to whom it is dedicated and who gave the first performance in March 1958 in San Francisco. The thematic material for the work is largely borrowed from Gaspar Sanz, the seventeenth-century guitarist to Philip, IV. The years between the reigns of Philip Ill and Philip IV saw a great change in musical taste; it was greatly influenced by popular trends and became rather vulgarised. The works which Sanz wrote, some of which were published in 1697, reflect the trends of the time. Yet, as a guitarist, he managed to raise the instrument again to the level of nobility which it had forfeited with the change in taste. The pieces are on the whole short, simple, and easy-going, and the relatively insignificant musical content would be completely debased unless handled with great delicacy. This Rodrigo has done, and has fully achieved his stated intention: "My aim was that, if Gaspar Sanz were to hear my work, he would exclaim, 'That is not exactly me, but I can find myself in it'. " Joaquin Rodrigo Fantaisia para un fiesta This work arose from an idea by the American patrons of the arts, Mr. and Mrs. William E. McKay, who wanted to celebrate the social debut of her two daughters in a very special cultured way. The structure follows concerto form. The first movement is in sonata form with two themes, the first of which has a very, very Valencian flavour. This, however, does not extend to the rest of the work. There are two cadenzas in the concerto, one in the first movement and the other in the second. The finale is extremely cheerful and very dynamic. It is a kind of sonata rondo with three themes which are very high-spirited. The guitar part is extraordinarily difficult; in contrast, the orchestration of the work as a whole is transparent, pointing up and supporting the themes and always accompanying the guitar very discreetly. Other link Web Page dedicated to Joaquin Rodrigo Rodrigo offiicial web site
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