![]() Until asked to perform and interpret Concierto de Aranjuez in 1991, the Spanish flamenco guitarist Paco de Lucía was not proficient at reading musical notation, and José María Gallardo Del Rey advised and directed him musically. Charo has played the Concerto in concert and in an album. Each time Julian Bream used a different combination of orchestra and conductor. Four of those recordings appeared on record albums and one was recorded on film for the final segment of the film series ¡Guitarra! A Musical Journey Through Spain. Due to his extremely lengthy recording career, Julian Bream had ample room to record Joaquín Rodrigo's "Concierto de Aranjuez" five times. William Yeoman provides a discographical survey of recordings of the concerto in Gramophone magazine. Although Ida Presti gave the French premiere of the Concierto de Aranjuez in 1948, the first female classical guitarist to record the concerto was Renata Tarragó (1958 or 1959) – who played with fingertips rather than fingernails – accompanied by the Orquesta de Conciertos de Madrid, conducted by Odón Alonso. Narciso Yepes then made two early recordings of the Aranjuez, both also with Argenta – one in mono with the Madrid Chamber Orchestra (released between 19), and the second in stereo with the Orquesta Nacional de España (recorded in 1957 and released in 1959). This recording was inducted into the Latin Grammy Hall of Fame. The concerto was recorded for the first time in either 1947 or 1948 by guitarist Regino Sainz de la Maza with the Orquesta Nacional de España, conducted by Ataúlfo Argenta, on 78 rpm records. ![]() As it repeats several times, the tonic chord's uppermost note gets higher, starting with the third, then using the fifth, the tonic, and the fifth again.Īudio playback is not supported in your browser. The theme is made of tonic, supertonic, and dominant chords and features a flamenco-like hemiola rhythm. The first movement's 40-measure introduction begins with the solo guitar strumming a three-measure theme in 6/8. Along with the solo guitar, it is scored for an orchestra consisting of two flutes (one doubling on piccolo), two oboes (one doubling on cor anglais), two clarinets in B ♭, two bassoons, two horns in F, two trumpets in C, and strings. The first and last movements are in D major, while the famous middle movement is in B minor. This concerto is in three movements, Allegro con spirito, Adagio and Allegro gentile. The United States premiere was given by Rey de la Torre on 19 November 1959, with the Cleveland Orchestra conducted by Robert Shaw. On 11 December 1940, the concerto received its first performance in Madrid, at the Teatro Español de Madrid conducted by Jesús Arámbarri, with the same soloist. It was performed by guitarist Regino Sainz de la Maza with the Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle. The premiere of the Concierto de Aranjuez was held on 9 November 1940 at the Palau de la Música Catalana, in Barcelona. ( September 2022) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This section possibly contains original research. He did not play the guitar, yet he still managed to capture and project the role of the guitar in Spanish music. Rodrigo, nearly blind since age three, was a pianist. Rodrigo dedicated the Concierto de Aranjuez to Regino Sainz de la Maza. In her autobiography, Victoria eventually declared that it was both an evocation of the happy days of their honeymoon and a response to Rodrigo's devastation at the miscarriage of their first pregnancy. Rodrigo and his wife Victoria stayed silent for many years about the inspiration for the second movement, and thus the popular belief grew that it was inspired by the bombing of Guernica in 1937. ![]() interrupting its relentless pace" the second movement "represents a dialogue between classical guitar and solo instruments ( cor anglais, bassoon, oboe, horn etc.)" and the last movement "recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar." He described the concerto itself as capturing "the fragrance of magnolias, the singing of birds, and the gushing of fountains" in the gardens of Aranjuez. The work attempts to transport the listener to another place and time through the evocation of the sounds of nature.Īccording to the composer, the first movement is "animated by a rhythmic spirit and vigour without either of the two themes. The Concierto de Aranjuez was inspired by the gardens at the Royal Palace of Aranjuez, the spring resort palace and gardens built by Philip II in the last half of the 16th century and rebuilt in the middle of the 18th century by Ferdinand VI.
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