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A Conductor's Guide to Joaquín Rodrigo's Concierto De Aranjuez

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A Conductor's Guide to Joaquín Rodrigo's Concierto De Aranjuez A Conductor’s Guide to Joaquín Rodrigo’s Concierto de Aranjuez by Youngjoon (François) Koh A Dissertation submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Youngjoon (François) Koh 2020 A Conductor’s Guide to Joaquín Rodrigo’s Concerto de Aranjuez Youngjoon (François) Koh Doctor of Musical Arts Faculty of Music University of Toronto 2020 Abstract This dissertation provides an analysis of Concierto de Aranjuez (1939) by Joaquín Rodrigo (1901-1995). Chapter 1 will introduce the purpose of this research, research questions, methodologies, and a brief history of the guitar. The main research question is how to resolve problematic issues of Concierto de Aranjuez in general, and the dissertation provides solutions in terms of technical and musical issues. This chapter also discusses the technological development of the classical guitar and amplification issues in the concerto context. At the end of the chapter, a short biography of Rodrigo and the historical background of Concierto de Aranjuez will be provided. Chapter 2 is a literature review of resources concerning guitar method, literature related to the guitar and orchestra, analysis of guitar concertos, and materials concerning guitar concertos. The third, fourth and fifth chapters will consist of the theoretical analysis and practical analysis of each movement of Concierto de Aranjuez. Theoretical analysis will include: structural analysis; study of the solo guitar part; orchestration; texture; folkloric elements; suggestions about errata and missing dynamics. Conductor’s guide will include: sound balance; beat patterns; bowings and bow distribution; problematic issues that concern the conductor, soloist and orchestra; conductor- soloist relationship and orchestra-soloist coordination. Chapter 6 will provide useful tips for conducting guitar concerti in general and information about the amplification and microphones. ii The concluding chapter will summarize the essential information for conductors and soloists presented in previous chapters. The expected outcomes will be classified into two categories, conductor’s guide to Concierto de Aranjuez and conductor’s guide to the guitar concerto in general. This chapter will also suggest a potential direction for future research concerning the guitar concerto. iii Acknowledgments My dissertation project would not have been possible without the support, inspiration, and encouragement of following professors. I would like to give my deepest appreciation to them. Dr. Gillian MacKay, her positive energy and rich musical experience as performer and conductor enabled me to continue and to complete this project. Dr. Jeffrey McFadden, during the project, he supported me by advising guitar-related resources and performing Concierto de Aranjuez with the University of Toronto Symphony Orchestra. Dr. Uri Mayer, he has given me precious advice regarding orchestra-related information since my first year of DMA studies. He also has been a role model for me as conductor and educator. Dr. Elliot Frank, and Dr. Jeffrey Reynolds, they provided me insight opinions and practical suggestions at the defense. Dr. John Stowe, his advice about the dissertation writing immensely helped me to shape my dissertation. I also would like to thank to following people who supported me in various ways. Ms. Carolyne Kane, and Schott Music Corp who kindly allowed me to use the excerpts of Concierto de Aranjuez for my dissertation. iv My father, mother, who have encouraged me to finish my studies from the other side of the country. I also thank my maternal grandmother, who loved me so much and supported my studies in France financially. Finally, I would like to express my appreciation to a special person in my life. My lovely wife Sophia Eunseon Cho. Her endless support and inspiration enabled me to complete a master’s degree in orchestral conducting at McGill University and a doctoral degree at the University of Toronto. Without her, I would not have achieved this long project. v Dedication This dissertation is dedicated to my grandfather Jaewoo Koh who was a victim of the Bodo League Massacre and my great-uncle Jaekoon Koh, a victim of Battle of Kunsan during the Korean War. vi Table of Contents Acknowledgments ........................................................................................................................ iv Dedication ..................................................................................................................................... vi Table of Contents ........................................................................................................................ vii List of Tables ................................................................................................................................ xi List of Examples .......................................................................................................................... xii List of Figures ...............................................................................................................................xv List of Appendix ......................................................................................................................... xvi Chapter 1 ........................................................................................................................................1 Introduction ...............................................................................................................................1 1.1 Purpose and Objective of the Research ...........................................................................1 1.2 Research Questions ............................................................................................................3 1.3 Research Design and Methodologies ................................................................................3 1.4 Contribution of this Research ...........................................................................................5 Background Information for the Research ............................................................................5 2.1 History of the Classical Guitar .........................................................................................5 2.1.1 Classical Era: First Golden Age of the Classical Guitar ....................................6 2.1.2 Romantic Era: Decline of the Guitar ...................................................................7 2.1.3 The 20th and 21st Century: The Second Golden Age of the Classical Guitar ......................................................................................................................8 2.2 Joaquín Rodrigo and Concierto de Aranjuez ...................................................................8 2.3 The Guitar; Development and Extension of its Capacities ..........................................10 2.3.1 History of Guitar Construction ..........................................................................11 2.3.2 Use of Amplification ............................................................................................11 Chapter 2 Literature Review ......................................................................................................13 Chapter 3 Analysis of Concierto de Aranjuez: Movement 1 .....................................................44 vii Theoretical Analysis and Conductor’s Guide ......................................................................46 3.1 Introduction: m.1 to ②-1 (mm.1-43)..............................................................................46 3.1.1 Theoretical Analysis: m.1 to ②-1 (mm.1-25) ....................................................46 3.1.2 Conductor’s guide: m.1 to ②-1 (mm.1-25) ........................................................47 3.1.3 Theoretical Analysis: ① to ② (mm.26-43) ........................................................49 3.1.4 Conductor’s Guide: ① to ② (mm.26-43) ..........................................................49 3.2 Exposition (mm. 44-114) ..................................................................................................50 3.2.1 Theoretical Analysis: ② to ④ -1 (m.44-60) .......................................................50 3.2.2 Conductor’s Guide: ② to ④-1 (mm.44-60) .......................................................51 3.2.3 Theoretical Analysis: ④ to ⑥+4 (mm.61-82) ....................................................53 3.2.4 Conductor’s Guide: ④ to 4a⑥+4 (mm.61-82) ..................................................53 3.2.5 Theoretical Analysis: 5a⑥ to 1b⑩ (mm. 83-114) .............................................54 3.3 Development: ⑩ to ⑯-1 (mm.115-165) .........................................................................56 3.3.1 Theoretical Analysis: ⑩ to ⑯-1 (mm.115-165) ................................................56 3.3.2 Conductor’s Guide: ⑩ to ⑯-1 (mm.115-165) ..................................................57 3.4 Recapitulation: ⑯ to ㉒-1(mm.166-219) .......................................................................59 3.4.1 Theoretical Analysis: ⑯ to ㉒-1 (mm.166-219) ................................................59 3.4.2 Conductor’s Guide: ⑯ to ㉒-1 (mm.166-219) ..................................................60 3.5 Coda: ㉒ to the End (mm.220-243) .................................................................................61 3.5.1 Theoretical Analysis: (mm.220-243)...................................................................61
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