Última adquisición de la Fundación Victoria y Joaquín Rodrigo

2746 2745Copia manuscrita de la partitura del Concierto de Aranjuez, para guitarra y orquesta, años 1940. Adquirida en subasta pública en Francia el 28 de marzo, 2014, procedente del archivo personal del duo de guitarra, Ida Presti y Alexandre Lagoya.
El estreno de Concierto de Aranjuez en Francia corrió a cargo de Ida Presti el 16 septiembre de 1948.

Copia manuscrita de la partitura de En los trigales, para guitarra, hacia 1938. Adquirida en la misma subasta, procedente del archivo personal del duo de guitarra Ida Presti y Alexandre Lagoya.

Cantos de amor y de guerra premiered 46 years ago

cantosamorguerraorquestaThis week, marking the 46th anniversary of their premiere on March 15, 1968 by the soprano Ana Higueras and the Orchestra of Spanish Radio and Television conducted by Odón Alonso, Cantos de amor y de guerrafor voice and orchestra, will be performed in Madrid’s Teatro Monumental by the soprano Raquel Lojendio, accompanied by the Orchestra of Spanish Radio and Televisión, conducted by Manuel Galduf, on March 27th and 28, 2014.  

The composer, Joaquín Rodrigo, wrote the following about his Cantos de amor y de guerra:

“This collection of five songs was composed at the request of the Orchestra of Spanish Radio and Televisión.  They form a cycle  inspired in the “romances” or ballads on themes of love or the wars fought againt the Moors over border conflicts. 

The music, as well as the texts, were adapted by Victoria Kamhi, and are taken from the 16th century Cancioneros (Songbooks).  Most of the music of these “romances” has been slightly modified,  with the exception of the fourth one, Sobre Baza estaba el rey, which is entirely original.  

The composer has tried to preserve the atmosphere of these romances “with a backdrop of simple harmonies and restrained orchestration. The strings, for example, intevene in only two of them: Paseábase el rey moro and ¡A las armas moriscotes!.  The third one, ¡Ay luna que reluces!, is for flute and voice; and the fourth, Sobre Baza estaba el rey, as mentioned, has harp, flute, oboe, horn and trumpet accompaniment while the last one, Pastorcico, tú que has vuelto, takes only brass and percussion.

These limited harmonic as well as instrumental resources are employed in order to specially highlight the melody in the “romances” and contribute to the peculiar atmosphere of that music which used either a vihuela or very reduced ensembles as accompaniment. However, the harmony is different, as well as the general concept of this music which is markedly austere.“

By Joaquín Rodrigo

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