8/15/2019 Joaquin Rodrigo Notes http://slidepdf.com/reader/full/joaquin-rodrigo-notes 1/32 JOAQUIN RODRIGO (1902-1999) -Born in Valencia, Spain, 1902 -Contracted diphtheria at 3 yrs and lost eye sight -Did not play guitar even though composed many works for guitar, which constitute a substantial part of the guitar repertory. Rodrigo played piano and violin and studied under composer and folklore expert, Eduardo Lopez. -In 1927, studied music in Paris for 5 years. Was taught by Paul Dukas and influenced by Manuel De Falla. -Married Victoria Kamhir, Istanbul born pianist who became his copyist, in 1933. -Whilst back home he received a scholarship, which enabled him to resume studies in Paris and travel through parts of Europe. Returned to Madrid in 1939. 1940 – 1 st performance of Concierto Aranjuez. Concerto became famous instantly and Rodrigo received accolades re same. Its title refers to the royal and ancient palace, Aranjuez, situated between Madrid and Toledo, where Rodrigo and his wife spent their honeymoon. Concerto was written in 1939, whilst Rodrigo still in Paris. During this time - Spanish Civil War (1936-39). As a result, Francisco Franco became leader and repressed many creative artists if they did not conform to his idea of a Spanish unity or to the restrictions he placed upon their creative output. He banned the performances of folk music, which was identified with particular towns. The famous poet and writer, Garcia Lorca, was executed under his dictatorship. Concierto Aranjuez-Nationalist flavour mixed with strong Classical elements. Exemplifies Rodrigo’s neocasticismo. (Term refers to the inclusion of Spanish folk elements in music along with the inclusion of classical/Baroque/Renaissance music elements.) The concerto demonstrates Dukas’ influence on Rodrigo-esp. with the precision Rodrigo demonstrates with his orchestration. Paul Dukas – composer and master orchestrator who had a flair for rhythmic vitality. Other works- includes many guitar works, vocal and other instrumental works. He wrote four other guitar concertos. Fantasia Para un Gentilhombre (1954)gained much popularity and demonstrates Rodrigo’s interest in musicology and in the vihuela composers of the sixteenth century. In this concerto, he quotes music from Baroque composer, Gaspar Sanz.
- Contracted diphtheria at 3 yrs and lost eye sight
-
Did not play guitar even though composed many works for guitar, which constitute asubstantial part of the guitar repertory. Rodrigo played piano and violin and studied under
composer and folklore expert, Eduardo Lopez.
- In 1927, studied music in Paris for 5 years. Was taught by Paul Dukas and influenced by
Manuel De Falla.- Married Victoria Kamhir, Istanbul born pianist who became his copyist, in 1933.
-
Whilst back home he received a scholarship, which enabled him to resume studies in Parisand travel through parts of Europe. Returned to Madrid in 1939.
1940 – 1st performance of Concierto Aranjuez. Concerto became famous instantly andRodrigo received accolades re same. Its title refers to the royal and ancient palace, Aranjuez,
situated between Madrid and Toledo, where Rodrigo and his wife spent their honeymoon.
Concerto was written in 1939, whilst Rodrigo still in Paris.During this time - Spanish Civil War (1936-39). As a result, Francisco Franco became leader and
repressed many creative artists if they did not conform to his idea of a Spanish unity or to therestrictions he placed upon their creative output. He banned the performances of folk music,which was identified with particular towns. The famous poet and writer, Garcia Lorca, was
executed under his dictatorship.
Concierto Aranjuez-Nationalist flavour mixed with strong Classical elements. Exemplifies
Rodrigo’s neocasticismo. (Term refers to the inclusion of Spanish folk elements in music along
with the inclusion of classical/Baroque/Renaissance music elements.)
The concerto demonstrates Dukas’ influence on Rodrigo-esp. with the precision Rodrigo
demonstrates with his orchestration.Paul Dukas – composer and master orchestrator who had a flair for rhythmic vitality.
Other works- includes many guitar works, vocal and other instrumental works. He wrote four
other guitar concertos. Fantasia Para un Gentilhombre (1954) gained much popularity and
demonstrates Rodrigo’s interest in musicology and in the vihuela composers of the sixteenth
century. In this concerto, he quotes music from Baroque composer, Gaspar Sanz.
Rodrigo composed the Concierto Aranjuez whilst still in Paris in 1939.
From 1936 to 1939 the Spanish Civil War was taking place in Spain, which resulted in anew heterogeneous government led by Francisco Franco. Several executions and killings
took place during these years. Franco tried to form one ideal…one nation…and
suppressed the performing of any folk music that was particular to one town or state.
Franco was an autocratic leader with nationalist ideals who despised communism. Hisreign suppressed the creativity in many artists and he executed the famous poet, Garcia
Lorca, despite pleadings from Manuel de Falla at the time. The civil war caused Rodrigo
to lose his Paris scholarship. This, along with a lack of enough work in Paris, prompted
his return to Madrid in 1939.
•
STYLE OF THE WORK-Spanish Neoclassicism and neocasticismo
2nd half of 15th century – music thrived as cante flamenco (flamenco song) for gypsies in
Andalusia.
1783-Carlos III 2nd grants citizenship to gypsies without persecution and flamenco becomes
popular again. Flamenco based mainly on songs about dreams of a better life and becamevery popular by 1860. Along with other Spanish folk music and song from Andalusia and
other Spanish regions, this music became known as musica aflamencada (gypsified music)
-
This flamenco music was performed by professional and amateur musicians, which includedaccompanied and unaccompanied singers, guitarists and pianists.
-
By 3rd quarter of the 19th century, many Spanish composers who felt a claim to them wereusing many of these folkloristic characteristics.
- During this time, Spanish composers were also incorporating other aspects of their richmusical culture and were important in the development of Spanish music and musicology.
Composers were beginning to study sixteenth century Spanish music, which was to affect
their own composition output.
CASTICISMO (=A love for cultivating a purity of culture and language, free of foreign
influence) – A Mm developed in early 20th century by group of musicians, including Manuel
De Falla. In music this implies a return to authentic traditional values and ethnic roots.
- Casticismo mm represented Spanish neoclassicism for Spanish composers of the early
20th century. It was very similar to French neoclassicism and hence the French becamethe model for Spanish composers.
-
Manuel de Falla, who was strong in his use of casticismo, studied in France andbefriended Debussy and Ravel. He influenced many Spanish composers, including
Rodrigo.
After the Spanish Civil War (1936-39) casticismo was very much seen as a restoration
movement. Composers were looking for something new to inject in the neo classicist style
Spain had developed. Many composers admired the culture of the eighteenth century
• Rodrigo draws on elements of the Fandango dance in the first movement. This is a
lively folk and flamenco couple dance, which was originally notated in 6/8 time, but later
in 3/8 or 3/4. Guitar and castanets or hand clapping traditionally accompanied it. Thefandango usually has an instrumental introduction followed by variations. Similarly, in
the first movement of the Concierto Aranjuez, the guitar enters with the opening theme
(Example 1). This does not conform to the classical concerto conventions in which the
orchestra usually plays before the solo instrument enters.The fandango style can also be noted in the coda section where all the instruments,
including the brass, combine to culminate in a rhythmically spirited and lively manner.
Dominating force of this movement is rhythm. Based on traditional folk dance, the
performer cannot afford to deviate from the rhythmic driving force so integral to the
music.
In performing the concerto, a guitarist would be wise to have some aural familiarity withSpanish folk music or flamenco. Replacing a rasguedo strum with a more contemporary
strum would certainly take from the composer’s intention for the music.
CONTEMPORARY CONVENTIONS
Amplification or not???
• Although orchestrated for small orchestra and avoiding the use of rich textures so as not
to impinge on the guitar’s sonorities, realistically, today’s instruments are louder. It is
true this can also be said for the classical guitar. However, the performing spaces are alsolarger with the acoustics often not being sympathetic to the guitar’s natural sound. Being
larger, they can often fit more people. All these considerations should be addressed when
performing the concerto to obtain the best result possible. There is no point performing itif the guitar can barely be heard over the orchestra. Similarly, the orchestra should not
sacrifice the integrity of the music by playing so softly that the subtleties of the musical
whispers are not heard.
PERSONAL INTERPRETATIONS OF EXCERPTS
•
Rasguedo - Where and how often?
Whilst limiting oneself to the notation on the manuscript, a guitarist may use his/her
artistic license to add to the Spanish style of the work. As well as performing the opening
with a rasguedo attack, the same attack, when played much more quickly, may be used toembellish a single chord. This technique serves to enhance the Spanish flavour of the
music. In the comparisons of the two performances, we will see how and where thedifferent guitarists inject this embellishment.
•
Guitar runs – rest stroke or free stroke?
A decision guitarists often need to make. Stylistically, flamenco music and most
traditional Spanish folk music are played by guitarists with rest stroke. This gives the
sound a much deeper tone.
• Does the tempo matter?
Of the concerto Rodrigo stated –
“The first movement (allegro con Spirito) is animated by a rhythmic spirit and vigour
without either of the two themes contained within it interrupting its relentless pace.”
(Henning N., Rodrigo Concierto de Aranjuez for guitar and orchestra, Ed. Eulenberg No.
- The melody is usually confined to the limits of an octave in all three themes and is
predominantly based on thirds with the use of repetition and neighbouring tones. Itgracefully appears throughout the movement and although Rodrigo may often use
dissonances in his harmonies, his melodies remain tonally expressive. (Example 5)
In 6/8 time, the opening theme appears in a clear compound duple meter in the first barthen transits into a simple triple meter in the next bar. The use of these rhythmichemiolas is not foreign to Spanish folk music. Rodrigo referred to them as “insistent
rhythmic surges”. (See example 1) These hemiolas can also be observed between the
orchestral instruments, playing against one another. The first instance of this is at bars 19
to 22, between the guitar and bassoon parts. (See example 6)
- Features virtuosic guitar semiquaver runs, which carry the music through varioustonal centres. Intermittent demisemiquaver flurries from the strings and woodwind can
also be heard.
- Thematic material juggled between various instruments of the orchestra heard with
flurries of notes and insistent rhythmic feature of opening theme. (CD-3:00-3:26)(Example 7)
- Semiquaver triplets – often used by the guitar to link semiquaver runs. These groups of3 notes are a form of tremolo technique, which is associated with Spanish guitar
- Descending runs are often used when Rodrigo links sections, themes or even, at times,phrases (See Ex. 5)
- Before the recapitulation section at bar 166 (reh.# 16), in order to accommodate adescending flurry of 11 notes played by seven parts of the orchestra in an intense climax,
Rodrigo changes the meter of the bar to 9/8. This is the only instance of a compound
• Harmonic progression of opening theme – I-ii-V-I over a pedal D note in bass part.
Demonstrative of simple Classical tonalities.• 2nd & 3rd themes do not stray far from these tonalities (See Ex. 5 for 2nd theme)
• Development Section – Begins in A minor before dominant key, A major is established
with rhythmic figure being played by string section. Guitar’s quick semiquavers lead us
through various keys in this section.
•
The dominant of the relative minor key, B minor, is briefly visited at rehearsal number 6
but quickly returns to D major at the introduction of the third theme, five bars after, witha ii-V-I progression. During this harmonic deviation, Rodrigo plays on harmonic
dissonance to cheekily colour the sonorities, disguising an F# maj chord (See example 3).
• At bar 97 Rodrigo repeats the 3rd theme in F major before making his way, via other
keys, to the dominant of D major. This is in preparation for the 2nd part of the movement.
•
Development Section –Reh. # 10- key signature change. No sharps/flats helps toestablish A minor for 11 bars before establishing the dominant key, A major.
Through semiquavers played on the guitar, the music travels through various keys.
During this time various orchestral instruments play thematic material at any one time
(Example 2)• Bar 150 - B minor is visited after an intense strumming episode on a B major chord. The
changes in harmony along with the different instrumental quotes of thematic material
take us through an imaginary journey of places once visited. The home key, D major, is
not firmly established again until bar 166 (reh. # 16).
DYNAMICS
•
Large variances in dynamics-from ppp to ff. Rodrigo is careful to treat the dynamics,
texture and articulation so as not to overshadow the lighter sounding guitar with theorchestral instruments.
• The guitar part’s dynamics are usually louder than the orchestral instruments
• In certain sections the instruments come together in sheer rhythmic ecstasy with loud
displays of virtuosic runs and guitar strums. This may be seen between 15 (bar 160) and16 (bar 166) (CD-3: 30-50) and even moreso at the end of the movement where its
rhythmic vitality and loud articulations conjure rhythmically spirited Spanish dances.
(Example 9) (p 34-36)•
Rodrigo was very clever in his use of texture and dynamics to create a concerto in which
the balance between the guitar and orchestra is maintained despite the fact that the guitar
• Staccato- used extensively throughout movement by all instruments. Guitarists cannot
play staccato whilst performing certain techniques, however. Guitarists in both versionsof recordings use artistic license to add or subtract detached notes.
• Predominance of short notes ensures a lighter buoyancy in the rhythm and is more
reminiscent of many Spanish folk dances. This helps the forward rhythmic drive also and
the blending with the softer guitar.• Longest held notes in the orchestral parts are held by the double bass, which holds a
pedal D note, as tied dotted minims, over the first eighteen bars while the guitar
introduces the first theme.• Detached articulation of the orchestral instruments also combines better with the guitar,
which is a plucked instrument with a natural short decay.
• Accents are often placed over notes to emphasise a three beat or two beat feel in a bar.
The opening theme, which extends over three bars, has an accent over the fourth pulse ofthe third bar quite consistently, thus emphasising the compound duple meter here. This is
a typical element of the Fandango. (See example 1).
• Accents were also used by Rodrigo to help thematic imitation. Eg.-flute and oboe parts at
rehearsal # 7 (CD-2:03-05) and 9. Although a pp dynamic is indicated here, theseinstruments have a performance instruction of ma marcato (but marked). Imitation was
used much in the Baroque period. Although this movement is largely based on the
Classical period, this feature is still indicative of the neocasticismo style so embedded in
Rodrigo’s music.• Accents – also used with Rodrigo’s harmonic dissonances (guitar –bars 79 to 82; 84 &
86) (CD-1: 47-58).
• Accents-often where orchestral instruments play trills. Use of trills clearly indicative of
Baroque and Classical styles.• Legato-From bar 2 of reh. # 13, the smooth theme played by the oboe and bassoon two
bars later, with a performance direction of espressivo, serves as a lyrical reminder of its
introduction. This smooth and lyrical line stands out as a stark contrast to the overriding
use of staccato in the movement.
TONE COLOUR– Cello and double bass enters with pizzicato. As well as altering the
articulation the quality of tone is affected. In being plucked rather than bowed, this moreclosely blends with the natural sound of the guitar and does not produce the same volume
as a bowed note. The colour also more closely complements the staccato notes of the
woodwind instruments here.
•
At rehearsal #1, the string players are to employ a bow. At this point, however, the violin,
viola and cello parts have spiccato indicated over their parts. As well as producing a
shorter note, this technique produces a lighter attack that does not result in the same depth
of sound as a normal bowed note.
• Col talone (with the heel of the bow) – is used at rehearsal number 3 with staccato.
Playing with the heel of the bow gives a deeper tone. This helps bring out the thematic
material, which formed part of the opening statement, based on detached notes andmainly 4ths, 3rds and 2nds (CD-1: 13-23).
• At rehearsal number 12 the trombone is played with a mute, which is used to help
maintain a pp dynamic.
Rodrigo’s use of tone colour throughout the movement appears to be used to enhance the lighttexture rather than to deliberately alter the timbral result. The lightness in texture aids the light
buoyant rhythms of the concerto and gives it a forward driving motion.
#3 Describe characteristics and the role of instruments and the way instruments combine in
each excerpt
Relevant to both excerpts
• The solo instrument of this concerto- the guitar-is strongly associated with Spanish
nationalist music due to the development and popularity of flamenco music, the part it
played in Spain’s folk music and dances, and its development throughout the SpanishRenaissance and Baroque periods. Hence its importance in Rodrigo’s neocasticismo style
of writing which combines Spanish nationalist elements with its reference to
characteristics of, here, the classical period.
• Small orchestra is used in this concerto with instrumentation – piccolo, flute, oboe, Bb
clarinet, bassoon, French horn, trombone, violin, viola, cello and double bass. The small
orchestra is used because the composer was concerned that too thick a texture would
obscure the guitar’s voice. The orchestra is an essential part of the classical concerto
form.
• The opening movement is built on a series of alternations: the traditional alternation
between the solo instrument and the orchestra, a thematic alternation between thestrummed chords of the guitar and the melody introduced by the violins, and a rhythmic
alternation between a duple and triple meter in which all the instruments take a part at
different points in the music. This may be paralleled to a Fandango and other forms of
traditional Spanish dance music, with the alternations between guitar and voice, thehemiolas, and the percussive heels of the dancers and castanets also serving to help
displace the rhythm.
• Throughout the work, and especially prevalent in the second part (eg bars 138 to 149),
the orchestral instruments appear, in a juxtaposed manner, with thematic material
and derivatives of it. These may be heard swung between clarinet (bars 138 to 141),
horn (bars 141 to143); oboe (bars 143 to 147) to which part the bassoon joins (bars 145 to147); and violins which take over with the melody at bars 147 to 149. The themes appear
amongst the instruments of the orchestra, all the while being harmonically sustained by
smooth shifting harmonies and often disturbed by endless flurries of notes from the
guitar. This gives the movement an element of surprise constantly and a feeling of goingsomewhere. It also adds to the build up. (Aural eg – CD player 3:13-3:3:31)
• The guitar introduces the rhythmic motif by itself; introducing the music with a strong
element of Spanish flavour with its rasguedo chords and later, fast flamenco style runs.
• At bar 19 the guitar plays groups of detached quavers which are built on intervals of
fourths, thirds and seconds and which serve to develop the opening statement. The flutes
• Rodrigo employs a four-note semiquaver figure in the second and fourth bars of the third
theme (bars 84 & 86) in the guitar part. (Ex.3) It appears on the fourth and fifth pulses.
This figure contains dissonant semitones which are heard played together – another of
Rodrigo’s surprises. The dissonance gives a comical effect to the music here, which isfurther enhanced by the use of the bassoon playing the staccato quavers. In the next
two bars, the dissonant rhythm is imitated on a Bb note by the first violin part but with
a pp dynamic. The imitation of material between the instruments gives a sense of
cohesion, surprise and forward movement to the music.
•
Six bars before 10 (bar 115), Rodrigo writes a continuous flurry of semiquaver and
triplet semiquaver notes for the guitar to lead us into the new section. This demandingtechnique is idiomatic of the Spanish guitar and may be noted throughout much of the
next part also. The strings are used in these bars to accent, very loudly, the first beat in
these measures. Hence, the first section culminates with intensity, before the guitar
triplet semiquavers land at 10. Rodrigo commonly uses a descending flurry of notes tolink themes and sections. (See Ex. 9, guitar part, bars 215-217).
• At reh. # 10- pp dynamics again. Opening rhythmic theme now in A minor. The cello
enters in the third bar with a legato and expressive reflection of what comprised part ofthe first theme. Its mellow expression draws out these notes sonorously.
•
The flute pays a very gentle (ppp) flurry of notes over the lyrical theme of the cello,
gently enhancing its expression.
•
At 11, the dominant key is established – A major. Here, the guitar states the opening
theme in the new key before it is joined by the violin with a descending flurry of notes,
as though pre-empting what the guitar is about to embark upon. Like the traditional
Spanish folk music and flamenco, the guitar is often used to introduce material.
• The second bar of 13 alludes to the lyrical cello playing just after 10, with the oboe
playing the theme in the same vain but a semitone lower. Here, the guitar plays semiquaver runs beneath it. (Ex. 7) Previously, however, the flute was used to play the
runs above the cello part.
The stating of thematic material by different instruments is a common device used
by Rodrigo. He does not assign any one instrument solely to any one particular
theme. This gives the movement a sense of blend, surprise, musical interest and a
forward urge.
• 5th bar of reh. # 14 - the texture is thicker; f marking for all the instruments with many of
them playing demisemiquaver notes, adding to the intensity of the music. Guitar here
strums chords strongly on beat. The brass instruments combine with it to further add
strength.
• The intensity continues to increase into reh. # 15 by the use of the accented trills on the
violins, the higher tessitura of the flute, piccolo and oboe and the use of fff, 5 bars later, for all instruments.
• The last demisemiquaver run, before the recapitulation at 16, combines the flute,
piccolo, oboe, clarinet, violin one, two and viola in a fff flurry of eleven descending
notes which land on a D note. Here, the recapitulation begins in D major, with the violin
and oboe stating thematic material from the beginning of the movement in aproclamatory manner.
• The coda enters at 22 with a thick texture (all the orchestra instruments are playing) and
with a ff dynamic. The higher range of the flute and piccolo are used and there issubstantial repetition in the main melody, which is played by all the woodwind
instruments in unison. The rhythmic intensity here is reminiscent of the strong rhythmic
elements of the Fandango, with the movement concluding with a grand finale sound (Ex.9, from bar 217).
•
The guitar enters at 24 strumming a D chord very loudly and imitating the rhythm
presented in the previous bars by the other instruments. The repetition here is reminiscentof a Beethoven style coda.
•
Eight bars before the end, the guitar plays the staccato quaver figure from the opening
statement. It is accompanied by a similar figure in the bassoon and trombone parts
where it is thrown between them as though in some form of dialogue. The texture hassuddenly become thinner and all three instruments are playing softly.
•
The piece quietly ends with the guitar stating the opening theme . The bassoon
accompanies the guitar as it lightly plays the last four notes … a form of repose afterthe energetic display of the preceding material. (Example 10)
Throughout the work the pulsating rhythm continues, elegantly combining withinstruments playing themes and runs. Even when melodies unfold with various
instruments, the woodwinds may always feel the underlying rhythmic pulse – at times,
Introduction of third theme, (bar 83), Romero plays the 3 rd pulse as a strummed chord and
sustains it over the 4th pulse, leaving out the bass A note which would otherwise be here.
This gives the bar a simple triple feel rather than a compound duple feel. In so doing, thepart blends more closely with the bassoon accompaniment here, which has a simple triple
feel.
• At the end of some phrases, certainly leading into new sections, Romero may hold ontothe note, which he lands on after a run. Instead of making it a short note as is indicated on
the music, he lets it ring through the bar, which creates an overlapping effect with the
new phrase introduced by the orchestra Ex.-bar 26, reh. # 1. (CD-0:36-40).
•
Romero more consistently articulates his notes to make them short, thereby combining
more closely with the orchestral instruments that share the same material. Example-
upbeat to bar 70 – 75, (CD-1:37-42). Here the guitar combines more closely with the
oboe, clarinet and bassoon, which have interspersed short quavers similar to the guitarpart.
• In general, orchestra in Romero version seems louder and more strident, adding to the
exciting Spanish dance feel of the movement. The orchestra in excerpt 2 seems moreconstrained. Although this could also be due to audio compression techniques used in a
studio.
# Describe characteristics of excerpts from works selected, including excerpts that have
meaning or contribute to expressiveness
CHARACTERISTICS that have meaning and contribute to expressiveness
-
Many excerpts from the 1st movement clearly display Rodrigo’s style of neocasticismo;-
- The first movement of the concerto is based on the classical concerto form – sonata form
- His use of classical concerto elements can be reflected in -
-
his choice of simple tonalities and predominantly conventional modulations which adhere tothe sonata form;
-
virtuosic runs;
- smooth and lyrical melodic lines;
- use of trills;
- use of orchestra to accompany the guitar;
-
balanced solo and tutti passages;
-
each movement is titled with its tempo indication.
- The light textural orchestration, although appropriate to accompany the guitar, also reflects
These are the ‘neo’ components of the ‘caticismo’. The ‘caticismo’ relates to the Spanish folk
elements inherent in the music –
-
His juxtaposition of duple and triple meters is typical of many Spanish folk dances;
- His use of Spanish style rasguedo guitar strums;
- Quick semiquavers on guitar which are an inherent part of flamenco guitar music;
- Use of staccato articulation, which gives the rhythm a strong forward drive whilst making itlight and buoyant. This gives the music a dance like feel and is reminiscent of Spanish folk
dances;- Use of accents on the fourth pulse of the opening theme, in the third bar, which further
emphasises the dance like meter. (The theme occurs over three bars)
- The use of all the instruments playing together towards the end of the first movement, with a ff dynamic, emphasise the fandango dance like character of the movement with its use of
hematomas;
-
The spasmodic use of harmonic dissonance represents Rodrigo’s style of writing and reflectshis influence from the atonal stream of his European counterparts.
-
The entrance of the guitar, predominantly by itself at the beginning of the movement, alludesto flamenco, where the guitar usually introduces a song/dance. Even though Rodrigo uses
many classical concerto elements in this movement, this strays from the convention. Usually
the classical concerto begins with the orchestra. - The continuous staccato indication, especially above the rhythmic theme, gives the
movement a light continuous rhythmic movement and forward surge
-
The appearance of the melodic theme played legato instead of staccato (eggs - cello frombar 117; oboe from bar 143; bassoon from bar 145) gives a lamentful feel to the thematic
quote whilst still being accompanied by a detached rhythmic theme. This is similar to a
lamentful flamenco song, which is still accompanied by a strong sense of rhythm.
- The continuous change in metric feel - from compound duple to simple triple time, gives it astrong Spanish dance feel and a feeling of forward movement
- The descending semiquavers, which lead to a new theme, section, or even, at times, phrase,
give a sense of leading somewhere new.
3 Explain and discuss similarities and differences between excerpts from two different
38. Romero plays his last phrase quieter than Grig. and
rolls the last chord, with his thumb, allowing it to ring
slightly longer than the other version. (It is indicated as a
quaver in the music) (CD-5:10-31)
38. Grig. performs the first chord in the last phrase (bar
239) which is indicated with a pp, with a medium loud
rasguedo. He plucks the last chord so it is not drawn
out and much quieter (CD-5:23-5:45).
S I M I L A R I T I E S
Between versions 1. Angel Romero & San Antonio Symphony Orchestra and 2. Slava
Grigoryan and Queensland Symphony Orchestra.
1. Guitars enter with a strum indicative of rasguedo
2.
At bar 26, strings enter lightly, stating the theme, and build up gradually to a ff in bar 38
before immediately dropping again in bar 413.
Although orchestration includes oboe at bar 44 (rehearsal number 2) with entrance of
melodic part of theme, only the violin is heard in both versions
4. At rehearsal number 3 (bar 54) instruments enter ff, elatingly expressing part of a dance
with several components of opening theme being stated simultaneously5.
On 5th & 6th pulses of bars 71 & 72, guitar notes are played detached
6. Both guitarists perform runs with rest stroke
7. Both guitarists play semiquaver run from bars 110 to 114 by articulating every note.
Often guitarists will use slurs to make difficult runs easier.8. At bar 115 (reh. # 10-beginning of 2nd part of Mm), both versions have the string section
maintaining the springy rhythm of the opening lightly, with the cello entering with the
first melodic theme played, this time, smoothly.
9.
Both versions are observing the accents, which appear prevalently in all the instrumentalparts from bar 134 (reh. # 12) to 137. Melodic themes and derivatives, which are swung
about between all instruments, are always clearly stated and discernable.
10. Both versions culminate in an intense climax before the recapitulation with observance to
accents and dynamics.11. All instruments in both versions come together for a climactic ending with loud
dynamics, blended articulations and emphatic accents.
12.
Both guitarists gradually slow down in the second last to last bars of the Mm.
