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Flamenco Guitar Techniques in the Music of Joaquin Rodrigo Silviu Octavian Ciulei

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Flamenco Guitar Techniques in the Music of Joaquin Rodrigo Silviu Octavian Ciulei Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Flamenco Guitar Techniques in the Music of Joaquin Rodrigo Silviu Octavian Ciulei Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FLAMENCO GUITAR TECHNIQUES IN THE MUSIC OF JOAQUIN RODRIGO By SILVIU OCTAVIAN CIULEI A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2013 Silviu Octavian Ciulei defended this treatise on March 27, 2013. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise Leo Welch University Representative Eliot Chapo Committee Member Gregory Sauer Committee Member The Graduate School has verified and approved the above-named committee, and certifies that the treatise has been approved in accordance with university requirements. ii I dedicate this treatise to my parents and brother, which have always been there for me and unconditionally supported me, and to my guitar professors which have never let me put down this instrument. iii ACKNOWLEDGEMENTS I would like to acknowledge and greatly thank Professor Bruce Holzman for his invaluable guidance and direction not only for the preparation of this treatise, but also for my overall preparation as a classical guitarist and musician in general. I will always be in debt to you. I would also like to thank Dr. Leo Welch for his continued help and advice. Many thanks go to Professor Elliot Chapo and Professor Greg Sauer for their help and support with this treatise, recitals, comprehensive exams, forms et cetera. I also would like to thank Dr. William Yelverton for his teachings and for taking me under his wing and being like a second father for me. I know I am leaving many out but you all know who you are and how much you mean for me. iv TABLE OF CONTENTS List of Musical Examples vi List of Figures vii Abstract viii 1. Introduction to the Guitar Music of Joaquin Rodrigo 1 2. Biography: Rodrigo and the Classical Guitar 3 3. Antonio Torres and The Modern Guitar 8 4. Flamenco Guitar versus Classical Guitar 11 5. The Art of Flamenco in Joaquin Rodrigo’s Guitar Works 26 6. Authentic Flamenco Guitar Techniques on the Classical Guitar 56 7. Conclusion: Powers Combine, a New Approach on the Classical Guitar 61 Appendix A 64 Bibliography 66 Biographical Sketch 68 v LIST OF MUSICAL EXAMPLES 5.1 Pequeña Sevillana 29 5.2 Un Tiempo fue Italica Famosa 30 5.3 Fandango from Tres Piezas Españolas 31 5.4 Passacaglia from Tres Piezas Españolas 33 5.5 Zapateado from Tres Piezas Españolas 35 5.6 Canario from Fantasia para un Gentilhombre 38 5.7 First movement from Concierto de Aranjuez 40 5.8 First movement from Concierto de Aranjuez bar 1-2 41 5.9 Bulerias 42 5.10 Bulerias starting with beat 12 42 5.11 Bulerias 6/8+3/4 43 5.12 First movement from Concierto de Aranjuez bar 1-2 bulerias count 43 5.13 Third movement from Sonata Giocosa 44 5.14 Third movement from Sonata Giocosa, rasgueados in A 45 5.15 Third movement from Sonata Giocosa, rasgueados in E 46 5.16 En los Trigales from Por los Campos de España 48 5.17 Entre Olivares from Por los Campos de España 49 5.18 Bajando de la Meseta from Por los Campos de España 50 5.19 En Tierras de Jerez from Por los Campos de España 51 5.20 Junto al Generalife from Por los Campos de España 53 5.21 Junto al Generalife from Por los Campos de España – tremolo section 54 5.22 Junto al Generalife from Por los Campos de España – coda 55 vi LIST OF FIGURES 3.1 Antonio Torres (1817-1892) 10 3.2 Antonio Torres - Label on a 1890 flamenco guitar 10 4.1 Blanca flamenco guitar with Spanish cypress back and sides and spruce top 12 4.2 Negra flamenco guitar with Brazilian rosewood and spruce top 12 4.3 Traditional cejilla (capo) 13 4.4 White golpeador (tapping plate) 15 4.5 Tuning pegs 16 4.6 Tuning machines 16 4.7 Flamenco guitar bridge (low) 17 4.8 Classical guitar bridge (high) 17 4.9 Flamenco guitar position and posture 18 4.10 Classical guitar position and posture 18 4.11 Rasgueado with all four fingers one at a time (inside view) 21 4.12 Rasgueado with all four fingers one at a time (outside view) 22 4.13 Picado technique 23 4.14 Alzapua thumb technique 24 4.15 Recuerdos de la Alhambra - Tremolo technique study by Francisco Tarrega 25 vii ABSTRACT This treatise is intended to examine some of Joaquin Rodrigo’s most well-known compositions for guitar from the perspective of the classical guitarist performer and pedagogue with flamenco guitar experience. This is a rare case as often a classical guitarist does not play flamenco guitar and vice versa. It is from this angle that the material is investigated. The paper looks at the classical and flamenco guitars also from a physical perspective to reveal differences between the two instruments. The final goal is to show that Rodrigo’s music for the classical guitar employs various techniques that are borrowed from the flamenco guitar tradition and to describe these techniques to the classical guitarist while looking at how these techniques would be performed by a flamenco guitarist; some of these techniques are sometimes overlooked by classical guitarists. Ultimately, this analysis sheds some light on this subject, and on the flamenco guitar tradition, its practices, and its music which inspired Rodrigo. The paper also discusses fundamentals of style found in the composer’s works, and other similar aspects that make his approach to composition, particularly for the guitar, unique. viii CHAPTER 1 INTRODUCTION TO THE GUITAR MUSIC OF JOAQUIN RODRIGO Joaquín Rodrigo’s compositions include many instrumental works, eleven concertos, over sixty songs, choral music, and theater and film music. These works total over two hundred compositions. Andrés Segovia, Gaspar Cassadó, , Nicanor Zabaleta, James Galway, Julian Lloyd Webber and the Los Romeros guitar quartet are just some of the artists that have commissioned works by him. Rodrigo once said that his Concierto de Aranjuez was about ''looking for the roots, the most traditional and authentic Spanish things. I like to be an ambassador for Spain.'' 1 Rodrigo's life, which has almost spanned the entire twentieth century, was devoted to carrying forward the contrasting forms of Spanish music, both popular and classical. An instrument always in demand in the music of Spain is the guitar. Rodrigo’s love for the guitar as Spain’s national instrument encouraged him to write extensively for it. The sensational international success of the Concierto de Aranjuez is a testimony to Rodrigo’s music and its place in twentieth century musical heritage. When performing Rodrigo’s guitar works the modern classical guitarist has to be prepared to combine a high level of technical difficulty and endurance with very complex musical aspects. This makes Rodrigo’s compositions for the guitar some of the most difficult works in the instrument’s entire repertoire. An important element in performing Rodrigo’s music is the proper study of the flamenco guitar techniques employed in the music. The 1 Joaquin Rodrigo, foreword to Music for Guitar: 19 Pieces for Guitar by Joaquin Rodrigo, by Joaquin Rodrigo. (New York, NY: Schott Music Corporation, 1995), 5. 1 thorough study of such techniques is necessary in order to convey the composer’s musical thoughts properly and stylistically accurately. Aside from Rodrigo’s two most famous works, his two concerti Concierto de Aranjuez and Fantasia Para un Gentilhombre, there are a many compositions written for solo guitar by the composer. They are all jewels of Spanish guitar music and play a major part in the modern classical guitar repertoire. Due to their strong Spanish influence, great examples of flamenco guitar techniques in Rodrigo’s music are in the works Sonata Giocosa, Junto al Generalife, Tres Piezas Espanolas,UnTiempo fue Italica Famosa and En los Trigales. Often, these are required pieces for major international guitar competitions. All of these pieces share one very important common element; they were all inspired by Rodrigo’s main source, Spanish music. 2 CHAPTER 2 BIOGRAPHY: JOAQUIN RODRIGO AND THE CLASSICAL GUITAR Joaquin Rodrigo was a Spanish nationalist composer, pedagogue and virtuoso pianist. He was born on November 22, 1901 in Sagunto, Valencia. As a child, he was blinded by diphtheria. Rodrigo himself mentioned that his blindness was what ultimately led him to his music.2 He started to study music at a very early age. By age eight he was studying under some of Spain's most well-known musicians. He studied privately as a teenager with teachers from the Conservatory in Valencia. By his early twenties Joaquin Rodrigo was an accomplished pianist and promising composer. He wrote all his works in braille, thereafter dictating them to a copyist. His first serious compositions date back to 1923 when he wrote Suite for Piano, Dos Esbozos for violin and piano, and Siciliana for cello. His first orchestral work, Juglares, had its premiere one year later in Valencia. The piece was received very well by the audience and this event helped launch the young composer into the Spanish concert halls. Also in 1924, he was awarded a prize in a national competition for his orchestral work Cinco piezas infantiles. In 1927, the young Joaquin Rodrigo, like other great Spanish nationalist composers such as Manuel de Falla, Isaac Albeniz, and Joaquin Turina, moved to Paris.
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