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Full-Text Articles in Musicology
Rodrigo’S Concierto De Aranjuez Through The Writings Of Regino Sainz De La Maza, Leopoldo Neri
Rodrigo’S Concierto De Aranjuez Through The Writings Of Regino Sainz De La Maza, Leopoldo Neri
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Regino Sainz de la Maza was the guitarist who premiered Rodrigo's Concierto de Aranjuez at the Palau de la Música in Barcelona in 1940. Although musicologists have studied this musical phenomenon from different approaches, this study approaches the subject from the perspective of the performer and his musical writings, affording us new historical, aesthetic and technical data on Rodrigo's work.
Andrés Segovia And Federico Moreno Torroba’S Danza Castellana, Julio Gimeno
Andrés Segovia And Federico Moreno Torroba’S Danza Castellana, Julio Gimeno
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The guitar’s early twentieth-century repertoire is of unique importance, containing as it does the first guitar pieces by non-guitarist composers known for their symphonic, operatic and chamber music. Many of these composers wrote for the pioneering Andalusian guitarist Andrés Segovia, and among the most prolific of them was Federico Moreno Torroba. In various memoirs and interviews, Segovia identified Torroba’s miniature Danza castellana as not only the first piece written for him by a non-guitarist composer but even the first such piece by anyone, predating, in Segovia’s telling, Falla’s 1920 Homenaje. This article challenges Segovia’s claim by recounting the details …
Joaquín Rodrigo And Julian Bream: Aspects Of A Relationship, Javier Suárez-Pajares
Joaquín Rodrigo And Julian Bream: Aspects Of A Relationship, Javier Suárez-Pajares
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In light of the complex diplomatic relations between Spain and the United Kingdom in the 1950s, the deteriorating relationship between the Spanish composer Joaquín Rodrigo and the English guitarist Julian Bream describes a telling arc—from 1951, when Bream gave the British premiere of the Concierto de Aranjuez, to 1959, when he emphatically rejected the Sonata giocosa that Rodrigo had written for him. To explore Bream's negative reaction, this study considers both Rodrigo’s relation to England and Bream’s ambivalent attitude toward the Spanish guitar tradition. An epilogue examines the recordings that the guitarist subsequently made of the Concierto de Aranjuez …