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.
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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.
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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.
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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.
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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.
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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
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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
3.5.2 Conductor’s Guide: (mm.220-243) ...... 62
Chapter 4 Analysis of Concierto de Aranjuez: Movement 1 ...... 64
Theoretical Analysis and Conductor’s Guide ...... 65
4.1 Part 1: m.1 to ⑤-1 (mm.1-25) ...... 65
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4.1.1 Theoretical Analysis: m.1 to ①-1 (mm.1-7)...... 65
4.1.2 Conductor’s Guide: m.1 to ③-1 (mm.1-16) ...... 66
4.1.3 Theoretical Analysis: ③ to ⑤-1 (mm.17-25) ...... 69
4.1.4 Conductor’s Guide: ③ to ⑤-1 (mm.17-25) ...... 70
4.2 Part 2: ⑤ to ⑪+3 (mm.57-83) ...... 71
4.2.1 Theoretical Analysis: ⑤ to ⑦+3 (mm.26-36) ...... 71
4.2.2 Conductor’s Guide: ⑤ to ⑦+3 (mm.26-36) ...... 71
4.2.3 Theoretical Analysis: ⑦+4 to ⑩-1 (mm.37- 56) ...... 73
4.2.4 Conductor’s Guide: ⑦+4 to ⑩-1 (mm.37- 56) ...... 74
4.2.5 Theoretical Analysis: ⑩ to ⑪+3 (mm.57-83) ...... 75
4.2.6 Conductor’s Guide: ⑩ to ⑪+3 (mm.57-83) ...... 77
4.3 Part 3: ⑪+4 to the end (mm.84-101) ...... 79
4.3.1 Theoretical Analysis: ⑪+4 to the end (mm.84-101) ...... 79
4.3.2 Conductor’s Guide: ⑪+4 to the end (mm.84-101) ...... 79
Chapter 5 Analysis of Concierto de Aranjuez: Movement 3 ...... 83
Theoretical Analysis and Conductor’s Guide ...... 84
5.1 Introduction: m.1 to ① (mm.1-40) ...... 84
5.1.1 Theoretical Analysis: m.1 to ① (mm.1-40) ...... 84
5.1.2 Conductor’s Guide: m.1 to ① (mm.1-40) ...... 84
5.2 Section 1: ①+2 to ⑤-1 (mm.41-97) ...... 86
5.2.1 Theoretical Analysis: ①+2 to ⑤-1 (mm.41-97) ...... 86
5.2.2 Conductor’s Guide: ①+2 to ⑤-1 (mm.41-97) ...... 86
5.3 Section 2: ⑤ to ⑩ (mm.98-161) ...... 87
5.3.1 Theoretical Analysis: ⑤ to ⑩ (mm.98-161) ...... 87
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5.3.2 Conductor’s Guide: ⑤ to ⑩ (mm.98-161) ...... 89
5.4 Section 3: ⑩+2 to ⑮-1 (mm.162-229) ...... 90
5.4.1 Theoretical Analysis: ⑩+1 to ⑮-1 (mm.162-229) ...... 90
5.4.2 Conductor’s Guide: ⑩+2 to ⑮-1 (mm.162-229) ...... 91
5.5 Section 4: ⑮-1 to ㉑-1 (mm.230-290) ...... 92
5.5.1 Theoretical Analysis: ⑮-1 to ㉑-1 (mm.230-290)...... 92
5.5.2 Conductor’s Guide: ⑮-1 to ㉑-1 (mm.230-290) ...... 93
5.6 Section 5 and Codetta: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321) ...... 95
5.6.1 Theoretical Analysis: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321) ...... 95
5.6.2 Conductor’s Guide: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321) ...... 95
Chapter 6 Useful Tips for Conducting Guitar Concertos ...... 97
6.1 Tips Associated with Musical Expression and Technique ...... 97
6.1.1 Establishing Dynamic Levels ...... 97
6.1.2 Relative Dynamic and Fingerings...... 97
6.1.3 Understanding the Rest Stroke and the Free Stroke ...... 98
6.2 Tips Assoiciated with Amplification ...... 99
6.2.1 Sound Reinforcement System ...... 99
6.2.2 Microphone Types by Transducer ...... 100
6.2.3 Microphone Types by Polar Patterns ...... 104
6.2.4 Microphone Setting ...... 107
Chapter 7 Conclusion ...... 109
Bibliography ...... 113
Appendix ...... 117
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List of Tables
Table Page
Table 3.1 Structure of the movement 1…………………………………………………………..45
Table 4.1 Structure of the movement 2…………………………………………………………..64
Table 5.1 Structure of the movement 3…………………………………………………………..83
Table 6.1 Comparison of Transducer Designs………………………………………………...... 104
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List of Examples
Example Page
Example 3.1 Mvt I, Pedal tone of the bass, mm 4-6………………..…………………………….47
Example 3.2 Mvt I, Woodwinds entrance , mm.19-22……………………………………………48
Example 3.3 Mvt I, Important anacrusis, mm 23-25…………………………………………..…49
Example 3.4 Mvt I, Entrance of the strings, mm.27-31………………………………………….50
Example 3.5 Mvt I, First theme by the oboe and first violins, mm 45-53……………………….51
Example 3.6 Mvt I, First theme entrance and bass pizzicato, mm 41-45…………………………51
Example 3.7 Mvt I, 3.7 Mvt I, French horns, mm 53- 56…………………………………………52
Example 3.8 Mvt I, Viola, cello and bass, mm 57-61………………………………………….…52
Example 3.9 Mvt I, French horn 1, mm 72-76…………………………………………………....54
Example 3.10 Mvt I , Second theme by the guitar, mm 83-87……………………………………54
Example 3.11 Mvt I, Guitar and bassoon I, mm 82-85……………………………………………55
Example 3.12 Mvt I, Guitar’s scale, mm 109-113………………………………………………..55
Example 3.13 Mvt I, Cello solo, mm 117-119…………………………………………………...56
Example 3.14 Mvt I, Guitar solo, mm 126-128…………………………………………………..56
Example 3.15 Mvt I, Tutti, mm 146-148…………………………………………………………58
Example 3.16 Mvt I, Tutti, mm 156-159………………………………………………………....59
Example 3.17 Mvt I, Strings, mm 79-81, 95-96, 184-186………………………………………...60
Example 3.18 Mvt I, Guitar solo, mm 216-219…………………………………………………...61
Example 3.19 Mvt I, Guitar solo, mm 232-234…………………………………………………..62
Example 3.20 Mvt I, Bassoon I and trumpet I, mm 236-239……………………………………...63
Example 3.21 Mvt I, Guitar solo and bassoon I, mm 242-243……………………………………63
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Example 4.1 Mvt II, Main theme by English Horn mm.1- 4 ……………………………………66
Example 4.2 Mvt II, Main theme mm.5-8………………………………………………………...67
Example 4.3 Mvt II, Guitar solo mm.9-12………………………………………………………..68
Example 4.4 Mvt II, Thematic motive mm.13-16………………………………………………..68
Example 4.5 Mvt II, Thematic motive mm.21-23………………………………………………...69
Example 4.6 Mvt II, Guitar solo ③, mm.17-18………………………………………………….70
Example 4.7 Mvt II, Thematic motive mm.24-26……………………………………………...…71
Example 4.8 Mvt II, Guitar solo part mm.27-29……………………………………………….…72
Example 4.9 Mvt II, Erratum in the cello part, mm.31-33………………………………………..72
Example 4.10 Mvt II, First guitar cadenza mm.37-39……………………………………………73
Example 4.11 Mvt II, First guitar cadenza mm.45-47……………………………………………74
Example 4.12 Mvt II, First guitar cadenza mm.52-53…………………………………………….75
Example 4.13 Mvt II, Second guitar cadenza cadenza mm.57-58….……………………………76
Example 4.14 Mvt II, Second guitar cadenza cadenza mm.65-68………………………………..76
Example 4.15 Mvt II, Second part of the second cadenza mm.69-76…………………………....77
Example 4.16 Mvt II, Second part of the second cadenza mm.77-80…………………………….78
Example 4.17 Mvt II, Second part of the second cadenza mm.83………………………………..78
Example 4.18 Mvt II, Tutti, mm.62-64…………………………………………………………...80
Example 4.19 Mvt II, Tutti, mm.92-94..………………………………………………………….81
Example 4.20 Mvt II, Tutti, mm.99-101………………………………………………………….82
Example 5.1 Mvt III, Intro, m.1………………………………………………………………...... 84
Example 5.2 Mvt III, Guitar solo, mm.1-8……………………………………………………….85
Example 5.3 Mvt III, Orchestra’s tutti, mm. 20-29………………………………………………85
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Example 5.4 Mvt III, Flute solo, mm. 45-49……………………………………………………...86
Example 5.5 Mvt III, Guitar solo, mm.65-69………………..……………………………………87
Example 5.6 Mvt III, Pirulero theme by guitar, mm. 69-73.…………………………………….87
Example 5.7 Mvt III, Guitar solo, mm.96-103………………………..………………………….88
Example 5.8 Mvt III, Pirulero theme by guitar,mm.104-108………...………………………….88
Example 5.9 Mvt III, Guitar’s arpeggio, mm.139-146…………………………………………..89
Example 5.10 Mvt III, Guitar’s arpeggio, mm.156-160………………………………………....90
Example 5.11 Mvt III, Guitar’s arpeggios and scales, mm.179-182 & mm. 203-206……...…….91
Example 5.12 Mvt III, Orchestra’s fanfare-like theme, mm.240-244..…………………………..92
Example 5.13 Mvt III, Guitar’s short cadenza, mm.280-288…………………………………….93
Example 5.14 Mvt III, Guitar’s scale, mm. 288-291.…………………………………………….94
Example 5.15 Mvt III, Ending of the piece, mm. 297-312……………………………………….95
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List of Figures
Figure Page
Figure 3.1 Important themes of the first movement …………………………………………….44
Figure 3.2 Excerpt of Anton Pirulero……………………………………………………………46
Figure 3.3 Hemiola in 6/8……………………………………………………….………………..50
Figure 4.1 Important themes…………………………………………………….………………..64
Figure 6.1 Diagram of a dynamic moving coil…………………………………………………..101
Figure 6.2 Diagram of a ribbon transducer……………………………………………………..102
Figure 6.3 Diagram of a condenser transducer…………………………………………………103
Figure 6.4 Omnidirectional polar pattern microphone…………………………………………..105
Figure 6.5 Bi-directional polar pattern microphone……………………………………………..105
Figure 6.6 Cardioid polar pattern microphone……………………………………………….…106
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List of Appendix
Letters of Permission………...……………………………………………………………….117
xvi 1
Chapter 1
The first chapter will introduce the purpose of this research, research questions, methodologies, and a brief history of the guitar. 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.
Introduction
1.1 Purpose and Objective of the Research
The purpose of my research is to provide practical information about the rehearsing and performance of classical guitar concertos for conductors by analyzing Joaquín Rodrigo’s Concierto de Aranjuez. The prominence of the classical guitar in the 20th century led many composers such as Heitor Villa-Lobos (1887-1959), Mario Castelnuovo - Tedesco (1895-1968), and Joaquín
Rodrigo (1901-1999) to write concertos for this instrument.1 After witnessing the success of these guitar concertos, many contemporary composers have now begun writing guitar concertos. 2
However, despite the prominence of the classical guitar in the 20th century, the complexity of classical guitar technique, its unique timbre and the sound balance between the guitar and orchestra have always been critical issues for conductors.3 While looking for resources related to the guitar
1 Heitor Villa-Lobos, Guitar Concerto W501(1951), Mario Castelnuovo – Tedesco, Guitar Concerto No. 1 in D major, Op. 99 (1939), Joaquín Rodrigo, Fantasía para un gentilhombre (1954) 2 Some examples: Malcolm Arnold (1921-2006), Guitar Concerto Op.67 (1959); André Previn (b.1929), Concerto for Guitar (1971); Leo Brouwer (b.1939), Concerto de Toronto (1987); Tan Dun(b.1957), Concerto for Guitar and Orchestra (Yi2) (1996). 3 David Itkin, Conducting Concerti: A Technical and Interpretive Guide (Denton, Texas: University of North Texas Press, 2014):383.
2 and the orchestra, I have noticed that there is very limited literature on this subject. Most of the information obtainable is from the point of view of the guitarist, and there is a paucity of material from the conductor’s perspective. This lack of resources about the guitar concerto motivates me to write a dissertation which can provide a guide for non-guitar playing conductors in particular, who want to conduct guitar concertos effectively. To achieve this, I will undertake a performance analysis of one of the best-known guitar concertos, Concierto de Aranjuez by Joaquín Rodrigo.
Joaquín Rodrigo composed six concertos for guitar(s), and among them, Concierto de
Aranjuez (1939), dedicated to Spanish guitarist Regino Sáinz de la Maza (1896-1981), is considered his most successful work.4 Since its premiere in 1940, Concierto de Aranjuez has become an emblem of the guitar concerto and has been performed worldwide. I have selected
Rodrigo’s Concierto de Aranjuez for my research since its intricacy provides a wide range of tasks for conductors to learn about guitar concertos. For example, there are many Spanish folkloric elements such as flamenco-style rhythms and melodies in the score. Furthermore, the solo part includes unconventional harmonies and fingerings which expand the technical capacity of the guitarist. In my dissertation, I will analyze the problematic issues such as the sound balance and non-idiomatic passages of Concierto de Aranjuez so that conductors of this piece can have solid rehearsal techniques and performance outcomes.
4 Concierto de Aranjuez (1939), Fantasía para un gentilhombre (1954), Concierto madrigal for two guitars (1966), Concierto Andaluz for four guitars (1967), Concierto para una fiesta (1982) and Rincones de España (1990).
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1.2 Research Questions
My research questions consist of a main question and four sub-questions which enable the reader to understand general characteristics of the guitar concerto and the specific characters of
Concierto de Aranjuez.
Main Question: What are the problematic issues of Concierto de Aranjuez in general?
a) What are the issues of style and orchestration in the score which demand
conductors’ specific sensitivity and intervention?
b) What are the issues of style and technique in the solo part which demand
conductors’ specific sensitivity and intervention?
c) What are the important rehearsal considerations for conductors in the
preparation of guitar concerto performances?
d) What are the general issues in Concierto de Aranjuez that could be applied to
the performance of other guitar concertos?
1.3 Research Design and Methodologies
My research design consists of three steps: theoretical analysis; practical analysis; investigation of written historical resources. From these data, I will construct a conductor’s guide to performing Concierto de Aranjuez. Guitar researcher Graham Wade’s book, Joaquín Rodrigo and the Concierto de Aranjuez provides a brief structural and harmonic analysis of each movement of the concerto.5 The overall structure of my theoretical analysis methodology will refer to Wade’s stylistic and harmonic analysis, but will give further information from the conductor’s perspective
5 Graham Wade, Joaquín Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985):71.
4 based on a phrase-by-phrase guide. Suggestions about errata and inconsistencies in the score and parts of Concierto de Aranjuez will be presented in this part as well.6 Marimbist Robert Brudvig's dissertation about Anders Koppel’s marimba concertos suggests effective solutions for the problematic performance issues from a performer’s perspective.7 For example, Brudvig points out articulation inconsistencies between the woodwinds and the solo marimba in the score and suggests adding slurs in order to achieve musical coherence.8 I will apply Brudvig’s methodology to correct the errors and inconsistencies in Concierto de Aranjuez and explain the particular nature of the guitar so that the conductor can make musical adjustments to unify the solo guitar and orchestra. One of the most common problematic issues of the guitar concerto is the sound balance between the guitar and orchestra. My research will provide various methods of maintaining a good sound balance by understanding the nature of each instrument and the texture of the orchestration.
(For example, appropriate bowing and bow distribution suggestions to the string instruments and relative dynamic range suggestions to the wind and brass instruments.) In his book, Conducting
Concerti, conductor David Itkin analyses forty-three concertos from the conductor’s perspective and provides a good guideline to address my research questions a), c) and d).9 Itkin analyses concertos not only from the conductor’s perspective but also from the soloist’s viewpoint.10 He suggests various technical aspects of conducting in terms of the dynamic, tempo and beat patterns.
My methodology will refer to Itkin’s rehearsal techniques, but expand them further to create a
6 Clinton F. Nieweg, Stuart S. Serio, and Jennifer A. Johnson, "Scores & Parts: Joaquin Rodrigo’s Concierto De Aranjuez for Guitar and Orchestra," Journal of the Conductors Guild 24/1-2 (2003):68-69, accessed August 20, 2018, doi:https://cog.memberclicks.net/assets/JOURNALS/Volume24[1].pdf. 7 Robert Ian Brudvig, "A Performer’s Guide to the Concerto for Marimba and Orchestra and “P.S. to a Concerto” by Anders Koppel" (D.M.A., The University of Arizona, 2002). http://myaccess.library.utoronto.ca/login?url=https://search-proques- com.myaccess.library.utoronto.ca/docview/304802276?accountid=14771. 8 Ibid., 50. 9 Itkin, Conducting Concerti, 2014. 10 Cellist Carter Brey, pianist Mischa Dichter, violinist Robert McDuffie gave feedback based on their rehearsal and concert experience to Itkin.
5 complete conductor’s guide to Concierto de Aranjuez. In addition to the analysis of orchestration and rehearsal techniques, my research will present an analysis of the unidiomatic solo guitar passages of Concierto de Aranjuez, which gives an answer to the research question b), and suggest some considerations for the conductor.
1.4 Contribution of this Research
Before becoming a conductor, my undergraduate major was in classical guitar performance. While playing chamber music and guitar concertos, I noticed that conductors and guitarists often did not communicate well, due to a lack of knowledge and experience between guitar and orchestra. To write a dissertation on the guitar concerto provides a unique opportunity for me, a conductor and guitarist. My musical background and experience related to guitar and orchestra will greatly help me to produce a practical guide for conductors and guitarists. My dissertation will be a starting point for research on this guitar concerto from the conductor’s perspective, and a guideline for managing the problematic issues which arise while rehearsing guitar concertos in general.
Background Information for the Research
2.1 History of the Classical Guitar
Plucked stringed instruments have a very long historical background. The first guitar-like instrument appears on a 1400 BC archaeological object from the city gates of the new Hittite settlement at Alaca Höyük. (in present day Turkey) From 1400BC to 1800AD, various plucked stringed instruments evolved in the Middle East, Asia, and the Far East.11 Guitar-like instruments
11 Maurice J. Summerfield, The Classical Guitar: Its Evolution, Players and Personalities since 1800, 5th ed. (WI: Ashley Mark Pub. Co; Hal Leonard, 2002).
6 were developed in Europe as well. Lute and vihuela were well-known plucked instruments through the Renaissance and Baroque era. The theorbo – a continuo body plucked instrument covers the low range of an ensemble- was an especially important part of the orchestra. However, due to the decline of basso continuo, the plucked stringed instruments disappeared from the opera orchestra in the Classical era.
2.1.1 Classical Era: First Golden Age of the Classical Guitar
The golden age of the classical guitar as a solo instrument began around 1775 in Spain and Italy. 12 Composers such as Fernando Sor (1778-1839), Ferdinando Carulli (1770-1841),
Mauro Giuliani (1781-1829), and Dionisio Aguado (1784-1849) flourished in the golden age of the classical guitar by composing, performing their own works, and publishing guitar method books.13 Besides the solo repertoire, some guitar composers such as B. Vidal (d. 1800), Antoine de L’Hoyer (1768-1852), and Charles Doisy (?- 1807) composed guitar concertos between 1793 and 1804.14 However, their concertos have only string quartet accompaniment. Many scholars agree that Giuliani's Concerto for Guitar and orchestra in A Op.30 (1808), which has double woodwind instruments, two horns and strings, is one of the first complete guitar concertos ever written.15
12 Ibid., 14-15. 13 Ibid. 14 Stanley Yates, Three Early Guitar Concertos (the Earliest-Known Guitar Concerto and Two Others) from Late Eighteenth/Early Nineteenth-Century Paris: Vidal, Doisy and Doisy-Viotti. 2010 https://static1.squarespace.com/static/59496d68579fb39a74a36d25/t/597637243a0411571e179e0c/1500919589685 /Three_Early_Guitar_Concertos.pdf 15 Roger West Hudson, "The Orchestration of the Guitar Concerto: A Comparison of the Concerto in A Major, Op. 30, by Mauro Giuliani and the Concierto Del Sol by Manuel Ponce." (M. Mus. Georgia State University, 1992).
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2.1.2 Romantic Era: Decline of the Guitar
The golden age of the classical guitar declined from the middle of the 19th century due to the simultaneous development of orchestral and keyboard instruments.16 The development of these instruments also led to the formation of the modern orchestra. John Spitzer and Neal Zaslaw argue that plucked stringed players in opera orchestras disappeared by the 18th century because of their small volume. Meanwhile larger theatres were being constructed, and instruments that could produce a larger volume were required.17 In the Romantic era, none of the well-known composers, such as Beethoven and Brahms, wrote concertos or major works for this instrument. However,
Niccolò Paganini (1782-1840), who was a devoted guitarist himself, composed many solo guitar pieces, duets for violin and guitar, and fifteen guitar quartets, which consist of guitar, violin, viola and cello.18
In 19th-century opera literature, plucked instruments reappeared as instruments used solely for accompaniment. Composers such as Hector Berlioz (1803-1869), Gioachino Rossini
(1792-1868), and Carl Maria von Weber (1786-1826) employed the classical guitar in their operas, although its role was limited to accompanying arias or establishing a folkloric atmosphere.19 The
Spanish guitarist and composer Francisco Tárrega (1854-1909) contributed to the expansion of the guitar repertoire by composing new pieces. He also transcribed other instrumental works by J.S
Bach, W. A. Mozart, L. v. Beethoven, F. Schubert and others for the guitar. 20 A significant
16 Summerfield, 14. 17 John Spitzer, Neal Zaslaw. 2004. The birth of the orchestra: history of an institution, 1650-1815 (Oxford: Oxford University Press):149. 18 For example, Paganini composed 37 Sonatas for guitar M.S 84, and Sonata Concertata in A major for Guitar and Violin, Op. 61 which has a lot of melodic passages played by guitar. He also composed works for mandolin and guitar such as Serenata per Rovene in E minor M.S 14 and Serenata in G minor M.S 16. 19 Mark C. Stanek, "Guitar in the Opera Literature: A Study of the Instrument's use in Opera during the 19th and 20th Centuries" (D.A thesis, Ball State University, 2004) 20 Summerfield, 17.
8 development in guitar construction also enabled Tárrega to expand the repertoire and techniques of the classical guitar. Please see section 2.3.1 for a discussion of guitar construction.
2.1.3 The 20th and 21st Century: The Second Golden Age of the Classical Guitar
In the 20th century, the status of the guitar as a classical instrument rose dramatically, due to the efforts of many prominent guitarists and composers. Emilio Pujol (1886-1980) and Miguel
Llobet (1878-1938), students of Tárrega, made tours to Europe and to America to promote classical guitar music. Andrés Segovia (1893-1987) contributed greatly, expanding the guitar repertoire by performing commissioned works and arranging masterworks that were originally written for other instruments.21 As a result, in the Second Golden Age of the guitar, its use as a solo instrument attracted the attention of many composers. Mainstream symphonic composers such as Manuel de
Falla (1876–1946), Darius Milhaud (1892–1974), Benjamin Britten (1913-1976), and William
Walton (1902-1983) composed works for solo guitar. 22 In the 21st century, many renowned guitarists such as Julian Bream (b.1933), John Williams (b. 1941), Manuel Baruecco (b.1952),
Pepe Romero (b.1944), Angel Romero (b.1946), and David Russell (b.1953) have elevated the status of the classical guitar by having performed repertoire from the Renaissance to the modern era.
2.2 Joaquín Rodrigo and Concierto de Aranjuez
Joaquín Rodrigo (1901-1999) was one of the most famous Spanish composers in the 20th century. He was born in Sagunto, Spain, in 1901. He lost his eyesight at the age of three due to diphtheria, which took many children’s lives in Sagunto. 23 In 1906, His family moved from
21 Summerfield, 17. 22 Manuel de Falla, Pour le tombeau de Claude Debussy, Darius Milhaud, Ségoviana, Op. 366 (1957), Benjamin Britten, Nocturnal after John Dowland, op. 70 (1999), William Walton, Five Bagatelles for Guitar (1971) 23 Graham Wade, Joaquín Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985): 13.
9
Sagunto to Valencia where Rodrigo could receive special education for the blind. By the age of eight, Rodrigo had begun to study solfege, violin and piano, which was his main instrument.24
At the age of sixteen, Rodrigo started studying harmony and composition with Francisco
Antich, Enrique Gomá and Eduardo López Chavarri at the Conservatoire in Valencia, and premiered his first orchestral work, Juglares (1923), in Valencia and Madrid in 1924. In 1927,
Rodrigo moved to Paris to further his studies, following in the footsteps of earlier Spanish composers such as Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), Manuel de Falla
(1876-1946), and Joaquín Turina (1882-1949). Rodrigo studied composition with Paul Dukas
(1865-1935) at École Normale de Musique for five years and became famous as pianist and composer.25 In Paris, he became acquainted with many artists such as Manuel de Falla, Maurice
Ravel (1875-1937), Igor Stravinsky (1882-1971), and Andres Segovia to whom he dedicated
Fantasía para un Gentilhombre, a piece for guitar and orchestra. While in Paris, Rodrigo attended many concerts to broaden his musical experience.26
In 1929, Rodrigo met a Turkish pianist Victoria Kamhi (1905-1997) and married her in
1932 in Valencia. After the marriage, she helped Rodrigo for her entire life by performing his piano works, editing his compositions, writing texts for his vocal music pieces.27 Rodrigo settled down in Valencia with Kamhi in 1933 and concentrated on composing music. His first piece for large orchestra, Per la flor del lliri blau (1934) received the Círculo de Bellas Artes Prize. In 1935, with help from Falla, Rodrigo received the Conde de Cartagena Scholarship which enabled him to study musicology at Sorbonne and Conservatoire de Musique de Paris with Kahmi. In this period,
24 Newcomb B. Lawrence, “The Six Works For Guitar (or Guitars) and Orchestra by Joaquín Rodrigo.”(DMA diss., University of Florida, 1998). 25 Juanjo Luna, "Biography," Web Joaquin Rodrigo, accessed January 03, 2019, https://www.joaquin- rodrigo.com/index.php/en/biografia/10-autor/biografia/13-biografia-corta. 26 Wade, 14-15. 27 Newcomb, 20.
10 the couple gained strong theoretical knowledge which covers from the Renaissance to the opera literature.28
The outbreak of the Spanish Civil war in 1936 ended their studies, and they experienced three difficult years as refugees in France and Germany. On September 3, 1939, the Rodrigos finally returned to Madrid, which became their permanent residence, since the position of Musical
Advisor for the Radio Nacional de España was offered by Antonio Tovar (1911-1985), a renowned philologist.29 Settling in Madrid enabled Rodrigo to give the premiere of Concierto de Aranjuez, which was composed in Paris in early 1939. On November 9, 1940, the concerto was premiered in
Barcelona by guitarist Regino Sáinz de la Maza and the Barcelona Philharmonic Orchestra. After the premiere, the audience and critics and greatly praised the concerto. The beautiful main theme of the second movement is still beloved world-wide, and has been arranged countless times for other instruments such as trumpet and violin.30
2.3 The Guitar; Development and Extension of its Capacities
Sound projection of the guitar always has been a crucial issue, especially in concerto performances. Two important factors have a critical impact on the sound of the guitar: the construction of the guitar and the use of the amplification.
28 Juanjo Luna, "Biography," Web Joaquin Rodrigo. 29 Newcomb, 22. 30 For example, trumpeter Miles Davis (1926-1991),Maurice André (1933-2012), and violinist David Garret (b.1980) made arrangements of the second movement of Concierto de Aranjuez.
11
2.3.1 History of Guitar Construction
Despite the decline of the classical guitar in the 19th century, a revolution in its construction occurred in Spain. Spanish luthier, Antonio de Torres Jurado (1817-1892), who is often called the Stradivari of the guitar, constructed the modern model of this instrument. Torres increased the length of the string to sixty-five centimetres in order to strengthen the sound projection.31 His diagonal struts and the doming of the soundboard also enhanced the tone quality and the sound projection. His new guitar enabled composers such as Tárrega to establish a standard guitar technique and posture. His method of construction was recognized and developed by luthiers such as Manuel Ramirez (1866-1916) and Hermann Hauser (1882-1952).32 The innovation has continued into the 21st century. Many luthiers have tried to change the construction of the top of the guitar to produce a sound that is louder and more rich. German guitar maker Matthias
Dammann’s (b.1957) “double top” guitar and Austrailian luthier Greg Smallman’s (b.1947)
“lattice-braced guitar” have been widely used by many guitarists. The enhancement of the sound projection led to the classical guitar becoming a distinguished solo instrument and a concerto instrument by the 20th century.
2.3.2 Use of Amplification
There is no concrete evidence that Rodrigo intended that the solo guitar part of Concierto de Aranjuez be amplified. However, it is important to note that the orchestration of Concierto de
Aranjuez is very transparent and Rodrigo drastically reduces the number of instruments when the
31 Wade, 71. 32 José L Romanillos. Antonio De Torres: Guitar Maker - His Life and Work (Shaftesbury, Dorset: Element Books, 1990):48-58.
12 guitar solo is being played. An anecdote from the day before the premiere of Concierto de Aranjuez supports the statement above:
On the eve of the premiere, Joaquín Rodrigo and the guitarist Regino Sáinz de la Maza were travelling to Barcelona on the night train, together in a sleeping car. In the middle of the night Regino woke the Maestro with these words: “I am obsessed by an idea that is keeping me awake. What if tomorrow at the concert you can’t hear the guitar?” As a result of that question, neither of the two slept that night. Fortunately his fears were unjustified, the guitar was clearly heard and the audience applauded enthusiastically at the end of the work.33
David Itkin explains the use of amplification from a conductor’s perspective. He points out that advances in technology – amplifying the original guitar sound without distortion – and the construction of big concert halls result in the frequent use of amplification in the 21st century.
My research will be based on the guitar concerto with the use of the amplification and will provide an in-depth discussion about the amplification in Chapter 6.
33 Joaquín Rodrigo. “Anecdotes on Concierto de Aranjuez.” Joaquín Rodrigo. Accessed November 6, 2018. https://www.joaquin-rodrigo.com/index.php/en/concierto-de-aranjuez-2/anecdotas
13
Chapter 2
Literature Review
A Conductor’s Guide to Joaquín Rodrigo’s Concierto de Aranjuez
Introduction
Classical guitar concerto repertoire has evolved both technically and musically from the
Classical era through the twenty-first century. From the chamber-sized piece such as Mauro
Giuliani’s Concerto for Guitar in A major op.30 to the full symphony orchestra sized work such as Leo Brouwer’s Concerto de Toronto, many composers have composed concertos for the instrument. However, there are only a few resources that explain this non-orchestral instrument’s character as a concerto instrument and most of them explain the guitar’s function in a general way.
As a result, many conductors have only minimal knowledge of the guitar when they rehearse and perform guitar concertos.34 Despite this lack of resources, there is some literature which serves to provide background for the current study.
The objective of the Literature Review
The objective of this literature review is to gather dispersed resources related to the classical guitar and to categorize them in order to have a more clear direction for my dissertation,
A Conductor’s Guide to Joaquín Rodrigo’s Concierto de Aranjuez.
Most of the symphony composers in the Classical and the Romantic era did not consider
34 David Itkin, Conducting Concerti, 2014.
14 the guitar as an orchestral instrument or a concerto instrument.35 Therefore, we need to explore resources related to the guitar and the orchestra to extract information which supports and contextualizes my research. This will be particularly important for non-guitar playing conductors who want to conduct guitar concertos in an efficient way.
This literature review will cover the following subjects:
1. Resources related to Concierto de Aranjuez
2. Resources related to the guitar in the orchestral and opera literature
3. Resources related to the guitar method and technique
4. Resources related to the concertos for guitar and other instruments
5. Resources related to the conductor
Resources related to Concierto de Aranjuez
Guitarist and composer Graham Wade’s book, Joaquín Rodrigo and the Concierto de
Aranjuez introduces the musical background history of Concierto de Aranjuez and provides a brief structural and harmonic analysis of each movement.36 At the end of the book, Wade provides
Rodrigo’s comments on Concierto de Aranjuez, which explain his musical intention for his concerto. Guitarist John David Quijano Rodriguez made an arrangement of Concierto de Aranjuez for solo guitar and two accompanying guitars and conducted a short analysis of the original concerto. 37 His analysis includes information about the folkloric elements in Concierto de
35 Maurice J. Summerfield, The Classical Guitar: Its Evolution, Players and Personalities since 1800, 5th ed, 2002. 36 Graham Wade, Joaquín Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985). 37 John David Quijano Rodriguez,“Análisis y adaptación del Concierto de Aranjuez para guitarra solista y dos guitarras acompañantes.” (BA thesis, Colombia Pontificia Universidad Javeriana, 2013). https://repository.javeriana.edu.co/handle/10554/11717
15
Aranjuez, which enables the reader to gain a deep understanding of the concerto.
Conductor David Itkin’s book, Conducting Concerti provides an analysis of Rodrigo’s
Concierto de Aranjuez.38 Itkin presents an anecdote with the famous guitarist Angel Romero while rehearsing the second movement of this concerto. The author admits that he did not realize that his clear pizzicato gesture - which could work with other instruments such as violin or piano – ruined the style of the concerto until Angel Romero mentioned it to him. Below is a part of the anecdote.
He was very kind and gentlemanly, and said, “stop trying so hard… you keep the beat and just let me play. OK?” I had “accompanied” him so well that I had ruined the piece. In this kind of music, of which there is not a great deal in our standard repertoire, the goal is to establish a framework upon which the soloist can appear to improvise. The result of my attempt to vigilantly “accompany him” in this passage was a pizzicato bass line that, instead of creating an even, pulsing framework, sounded like someone in the early stage of a heart attack.39
Itkin gives suggestions about beating, tempo changes, and missing dynamics. Particularly, he stresses the special articulations about Concierto de Aranjuez since there are gaps of expression such as staccato and spiccato between the guitar and the orchestral instruments. He gives an insight suggestion to the readers as follows.
This is not a piece for emotionally stand-offish, and each new sonic and expressive element that the composer presents should be executed with complete commitment: staccato must be extremely staccato, spiccato is flamboyantly spiccato, trills and accents played with unabashed bravura, etc.40
Itkin did not include detailed analyses of each important passage regarding the sound balance and bowing issues. Since he is not a guitarist, there is no information about idiomatic and unidiomatic passages of Concierto de Aranjuez. The six-page analysis is not sufficient to understand the entire concerto both musically and technically; however, his multiple perspectives
38 Itkin, Conducting Concerti, 2014. 39 Ibid., 383. 40 Ibid., 381.
16 are good resources for guitar and orchestra-related research.
Beside the analysis of Concierto de Aranjuez, Itkin’s book provides useful tips for conducting concertos by presenting important passages from forty-two concerti mostly for piano, violin, cello and other instruments. Itkin analyses concertos not only from the conductor’s perspective but also from the soloist’s viewpoint. 41 His book contains not only the technical aspects of conducting, but also considerable practical advice, such as the relationship between conductors and soloists, studying solo parts, orchestras, and soloist coordination.42
Guitarist Lawrence B. Newcomb’s dissertation about Rodrigo’s six concertos for guitar(s) includes an analysis of Concierto de Aranjuez.43 Newcomb selects twelve representative examples from the concerto and gives a harmonic and stylistic analysis which supports and enriches Wade's analysis.44 Newcomb’s analysis is very theoretical and it does not provide practical and technical suggestions. However, his dissertation includes many anecdotes about Rodrigo and the concerto allowing the reader to understand the backgroud history of the piece.
Orchestra repertoire proofreader Clinton F. Nieweg and her colleagues, made a list of errata of Concierto de Aranjuez.45 They classified thirty-four errata from the parts and score into three categories: critical; necessary; questionable, and suggest corrections. Guitarist Silviu Ciulei wrote a dissertation about flamenco guitar techniques in the music of Rodrigo.46 Ciulei’s research
41 Cellist Carter Brey, pianist Mischa Dichter, violinist Robert McDuffie gave feedback based on their rehearsal and concert experience to Itkin. 42 Ibid., 1. 43 Newcomb, 1998. 44 Ibid., 48. 45 Clinton F. Nieweg, Stuart S. Serio, and Jennifer A. Johnson, 68-69, 2003. 46 Silviu Octavian Ciulei, “Flamenco Guitar Techniques in the Music of Joaquin Rodrigo” D.M. diss., Florida State University, 2013 (Tallahassee, Florida: Florida State University, 2013), accessed November 22, 2018, https://fsu.digital.flvc.org/islandora/object/fsu:183685.
17 gives useful tips from the perspective of a flamenco guitarist to the classical guitarist by providing examples from Rodrigo’s guitar works. For example, Ciulei points out that many classical guitarists neglect the percussive effect of rasgueado47 when they perform Spanish music and emphasizes the importance of the vivid rhythm in the guitar works of Rodrigo.
Guitarist Ricardo Saeb’s dissertation provides an analysis of the cadenzas of Concierto de Aranjuez.48 Saeb provides specific information about the cadenzas in the second movement of
Concierto de Aranjuez. For example, he states that the melodies of Concierto de Aranjuez have a strong connection with the Andalusian tradition. The author briefly introduces the historical background of the second movement’s main theme as follows. “The popular main theme of the
Adagio is strongly associated with the saeta, which is an improvisatory melody sung during the religious processions in celebration of Easter in the south of Spain.” 49 He also mentions the specific notation in the second movement.
Saeb states that Rodrigo used the double-staff notation to clarify the contrapuntal context of the cadenza. He points out that the double-staff notation also appeared before Concierto de
Aranjuez. During the time of Mauro Giuliani (1881-1929), composers experimented the double- staff notation for the guitar.50 However, it disappeared and the single-staff notation has become a standard notation for the guitar. After Concierto de Aranjuez, the use of double-staff notation has again become more common in the guitar literature. Composers such as Benjamin Britten (1913-
1976), William Walton (1902-1983), and Toru Takemitsu (1930-1996) used this notation to clarify
47 A special right hand strumming technique often used in flamenco style performances. 48 Carlos Ricardo Saeb Valenzuela, Noemí Lugo, and Dieter Hennings-Yeoma, “The Cadenzas of the first Modern Guitar Concertos” (DMA., diss., Lexington: University of Kentucky, 2017) http://uknowledge.uky.edu/music_etds/77/. 49 Ibid., 24. 50 Ibid., 28.
18 the counterpoint in their guitar works. 51 Saeb briefly analyses Phrygian and Locrian mode melodies in the cadenza by providing an intervallic material, and gives explanations about the right-hand arpeggios, which are helpful guides for non-guitar playing conductor.
Reflection
The resources related to Concierto de Aranjuez offer a basic framework for my research paper. The overall structure of my theoretical analysis methodology will refer to Graham Wade’s stylistic and harmonic analysis, but will give further information from a perspective of the conductor based on a phrase-by-phrase guide. David Itkin suggests various technical aspects of conducting in terms of the dynamic, tempo and beat patterns. My methodology will refer to Itkin’s rehearsal techniques, but expand them further to create a complete conductor’s guide to Concierto de Aranjuez. Ciulei and Saeb’s dissertations give information about flamenco techniques in
Concierto de Aranjuez which can be a helpful resource to non-guitar playing conductors.
Resources related to the guitar and the orchestral and opera literature
There are a few resources which bond the guitar and orchestral and opera literature. Jerald
Dallman wrote a dissertation about the guitaristic influence in Berlioz’s orchestral works.52 In his dissertation, Dallman presumes that Berlioz used the guitar to write his orchestral composition by presenting an analysis of Mephistopheles’ Serenade from The Eight Scenes of Faust.
51 Ibid. 52 Paul Jerald Dallman, "Influence and use of the Guitar in the Music of Hector Berlioz" College Park, MD. thesis, University of Maryland, 1972.
19
Mephistopheles’ Serenade consists of only the tenor solo (Mephistopheles) and the guitar accompaniment, but Berlioz incorporated the entire work in a huge piece of music for four solo voices, full seven-part chorus, a children's chorus and orchestra, La Damnation de Faust. While arranging the original piece, Berlioz changed the guitar accompaniment passage of the Serenade to a full orchestra accompaniment. Berlioz kept the original rhythm and the character of the guitar accompaniment by imitating guitar’s plucked sound with strings’ pizzicato. The key of the original piece is in E major, and Mephistopheles is tenor role, but the later one is in B major, and uses a bass voice. He gave a precise indication to the second violin and viola; “Arpeggiate by sliding the thumb over the four strings.”53 This is Berlioz’s typical guitar technique imitation that has concrete evidence. Regarding the key change, it seems that Berlioz selected B major to fit the bass singer’s vocal range. B major is a very uncommon tonality for the guitar since the guitar would have to sacrifice three open strings.(A, D, G strings) Dallman also shows passages that are thought to have been influenced by the guitar and explain the reason by providing evidence. For example, in terms of the string technique, Berlioz asks the violinists to play pizzicatos by using the thumb, index, major, and ring finger to execute sixteenth notes passages. Dallman states that this multiple finger pizzicato technique is very similar to the arpeggio and tremolo technique of the guitar. 54 As
Dallman states, Berlioz is an important figure who represents a connection between guitar and the symphonic music world. Even though he did not compose a guitar concerto, which was not a trend at that time, many of his compositions seem to be inspired by guitar techniques.55
Guitarist and conductor Mark Stanek wrote a dissertation about the use of guitar in the
53 “Arpège en glissant le pouce sur les 4 cordes” 54 Dallman, 123. 55 Ibid.,130.
20 opera literature in the 19th century.56 He mentioned that his first intention was to write a dissertation about the use of classical guitar in the orchestral literature, but the lack of resources led him to switch his focus to the use of guitar in the operatic repertoire.57 Stanek analyzed the use of the guitar in the 19th-century operas from a perspective of the guitarist and conductor. He selected ten operas from the Romantic era and analyzed them from three perspectives: the guitar in relation to the libretto; the guitar in relation to the orchestra; the technical aspects of the guitar part. Stanek points out unbalanced dynamic indications and unidiomatic guitar passages from the selected repertoire and suggests solutions. For example, Cavatina from the first act of Rossini’s The Barber of Seville, after a chord of tutti in fortissimo, the guitar arpeggiates groups of sixteenth notes in pianissimo.58 Stanek says that the guitar should be played louder than piano in order to balance with the orchestra’s sound. He also mentions that the guitarist sometimes would need to edit or even omit notes so the passages could be played.59 Stanek’s research enables us to understand the composer’s understanding level about the guitar. The most positive point for this research is that this dissertation opens the door to explore the use of the guitar as a part of the orchestra.
Hector Berlioz’s Treatise on Instrumentation is one of the most significant resources about guitar technique written by an orchestral music composer.60 Berlioz was well aware of classical guitar’s technical functions and its nature as a solo instrument and an accompaniment instrument.
In his treatise, Berlioz shows the guitar's open string notes and its notation, which is one octave
56 Mark C. Stanek, "Guitar in the Opera Literature: A Study of the Instrument's use in Opera during the 19th and 20th Centuries" (D.A., Ball State University), 2004. 57 Ibid., 1. 58 Other versions show different dynamic indications. Castil-Blaze edition shows the tutti in forte and guitar in piano, and Ricordi 1920 version shows the tutti in fortissimo and the guitar in piano. Ibid., 10. 59 Ibid., 59. 60 Hector Berlioz, Richard Strauss, and Theodore Front Treatise on Instrumentation (New York: Dover Publications, 2013).
21 higher than the sounding pitch. He introduces the tonalities that are easily played on the guitar, for example, the keys that include the guitar's bass open strings (E, A, D). We can also get a glimpse of the music scene in his lifetime from this chapter. He criticizes composers who write guitar passages of excessive difficulty, or those that have little music effect or weak sonority. There is another interesting fact about the guitar strings in his days. He says “the lower three strings are made of silver wire; the other three of catgut.” These days, the three bass guitar strings are made of a core of fine nylon covered by copper wire or silver-plated copper. The three treble strings are made of nylon. The development of the guitar string material has improved the sound projection and sustain of the guitar and made the tuning more stable. Guitar has very complex fingerings and some unnoticeable limitations for those who do not know its nature. Berlioz states that
It is almost impossible to write well for the guitar without being able to play the instrument. However, the majority of composers who employ it do not possess an accurate knowledge of it.61
His explanation covers not only basic knowledge like the range of the classical guitar, arpeggio styles and chord progresses but also each technique’s challenge and effectiveness caused by the instrument’s nature. Berlioz also suggests that composers learn guitar techniques by studying works of guitarists such as Zanni de Ferranti, Huerta and Sor. The guitar chapter of his treatise includes fundamental information and suggestion about guitar; however, in the original version, there is no excerpt from musical works. Later, Richard Strauss, in his modernization of the Berlioz treatise, added an excerpt from Verdi’s opera “Otello” (no. 54, Act 2) that has a guitar accompaniment part. Strauss briefly introduces how a guitar could be used with other orchestral instruments in an opera by showing an orchestral score part.62 The tonality of the passage in
61 Berlioz, Strauss, Front, 145. 62 Berlioz, Strauss, Front, 148-150.
22
“Othello” is E major, which is one of the easiest keys for guitar since E major allows the guitar to use two open strings in E. In this passage, all the string instruments and the four-voice choir play pianissimo. Woodwinds and French horns play harmonic background in piano in quarter and whole note. There is no dynamic mark for guitar and mandolin. This might suggest that the plucked instruments be played in forte in order to make a good sound balance. Verdi did not compose a single guitar piece in his life, but we can see that he was very well aware of the guitar’s character and its function and he was able to combine this plucked instrument successfully into the complex orchestral instrumentation.
Berlioz himself employed classical guitar in his operas such as Benvenuto Cellini (1837) and Béatrice et Bénédict (1862), but unfortunately, he never gave his use of the guitar in his opera repertoire as an example of instrumentation. I consider Berlioz’s treatise (1844) as an initiation for the guitar to the orchestral or operatic literature. Even though the introduction of the guitar part in his treatise is not very long, his precise explanation about guitar techniques still gives an excellent example for composers who want to compose pieces for guitar. It is very rare to find an orchestration or an instrumentation method book that explains guitar’s function better than
Berlioz’s treatise.
American composer and conductor Samuel Adler devotes only one page of explanation about the guitar in his orchestration book.63 His book introduces rudimentary information about guitar; its open strings and range with a six-bar passage of Stravinsky’s Tango.64 The passage is very odd since the guitar part is written in the concert pitch. This is not a good example of a traditional example of the guitar notation. However, it gives a list of repertoire from the Romantic
63 Samuel Adler, The Study of Orchestration. 3rd ed. (New York: W.W. Norton, 2002). 64 “Tango” (1941) is an orchestral version of his piano solo piece with the same title, composed in 1940.
23 to the Modern era that has significant guitar passages. Even though the list is not annotated, I believe this list is a worthy example of the use of the guitar, especially for contemporary pieces.
Reflection
Resources related to the guitar and the orchestral and opera literature show the use of the guitar as an accompaniment instrument and an auxiliary instrument for composition. Studying
Berlioz-related resources illuminated a connection between the guitar and the orchestra. Dallman’s dissertation does not directly support for my research, but Berlioz’s composition techniques in his dissertation show how the guitar influenced his orchestral works. Dallman's work has become a good indicator of how research on the relationship between symphony composers and the guitar has developed until now. Berlioz’s Treatise gives more explanation about the use of the guitar in the opera literature. If the resources in the 19th century give a historical background of the development of the guitar technique, the information in the 20th and 21st century gives us the advice which can be applied for the practical situation. Stanek’s dissertation enables us to understand the function of the guitar in the 19th opera, by providing information about the guitar setting and the use of the microphone in the 21st century.
Resources related to guitar method and technique
Guitarist Pablo Jose Gomez Cano explains how the guitar techniques are interconnected with various musical, social, and geographical issues.65 This thesis also clarifies the different cultural and geographical origins of the techniques. In Chapter 2, the author classifies guitar
65 Pablo Jose Gomez Cano, "Modern Guitar Techniques; a View of History, Convergence of Musical Traditions and Contemporary Works (A Guide for Composers and Guitarists)." DMA diss., University of California, 2016. ProQuest (10030082).
24 techniques into four categories; the Flamenco, Latin American, Asian techniques, and American popular music. The author precisely explains the difference between Spanish rasgueado and Latin
American rasgueado by describing the right-hand movements and providing example passages.
The author also states how the contemporary composers, such as Berio adopted this technique into his work Sequenza.66 Cano discovers the potential adaptation of the Asian techniques to expand the technical expressions of the guitar. He states;
The Asian techniques work with the same basics but with a wider variety of possibilities. They are more complex and embedded in a more profound and structural context. We find microtonal bendings, melodies created through bending the strings, three-step bendings, and various combinations with different types of vibrato (through different shapes of bending).67
Cano provides practical information related to guitar performance through his research. His dissertation will be a good resource for composers, guitarists, and even for conductors. Cano’s explanation about contemporary guitar techniques that continue to evolve makes a good comparison with the techniques from the resources written by Berlioz and Sor. He intends to offer practical information about guitar technique to guitarists and composers who want to perform or compose contemporary guitar music.
Hector Quine’s book about guitar technique points out some important issues people often ignore.68 Quine states that the relaxation observed from a skilled performer does not mean that he or she is completely relaxed. He states that there are three conditions to become an effective and relaxed state.69
66 Ibid., 21. 67 Ibid., 31. 68 Hector Quine, Guitar Technique: Intermediate to Advanced (Oxford: Oxford University Press, 2000). 69 Ibid., 5.
25
1. Control of the muscles which have to work independently from those which do not
2. Reserves of strength in excess of that which is needed to perform the task
3. Economy of movement
Another important subject from his book is the finger action. He argues that the plucking action is comprised of three movements: descend; pause; ascend. However, the author states that the striking action broadens the possibility of producing more rich expressions such as legato and sostenuto since the action needs only one preparation.70 Tone production is also discussed in his book. The classical guitar’s tone color is soft and subtle. Thus conductors and orchestra musicians have a tendency of missing or ignoring its delicate articulation and phrasing.
Quine provides the process of tone production by explaining the difference between apoyando71 and tirando,72 and he stresses the importance of combining the physiological and the tonal aspect to produce the best sound.73 His explanation of tone production will enable conductors to have a concrete concept about the classical guitar sound production. Quine’s book includes
Stephen Dodgson’s writing tips for the guitar as an appendix. Stephen Dodgson was not a guitarist; however, he learned to compose works for guitar by making a left-hand fingerboard combination chart. Dodgson points out common mistakes which can be committed by the unexperienced non- guitarist composer and provides some helpful advice. For example, he suggests that novice benefit the guitar resonance with the open string rather than employing too many notes.74 The appendix by Dodgson would be a good resource for non-guitarist composer or conductor to understand the
70 Ibid., 16. 71 A right-hand guitar technique. After plucking the string, the finger stays on the next string. 72 A right-hand guitar technique. After plucking the string, the finger stays in the air. 73 Ibid., 19, 27. 74 Ibid., 89-91.
26 function of the guitar.
Guitarist and composer Abel Carlevaro (1916-2001) wrote a method book which gives a new insight into the guitar technique.75 Carlevaro explains many technical aspects such as posture and angle of both hands, expressing his philosophy “maximum effects with minimum efforts.” He emphasizes the importance of the relaxation while making a left-hand shift. He suggests that the guitarist make the perpendicular lift while moving the left hand in order to relax the tension.
Guitarist Douglas Niedt mentions that Carlevaro’s left-hand lifting eliminates the friction noise from the low three strings.76
American guitarist Aaron Shearer’s guitar method book, Learning the Classic Guitar, provides information regarding the technical accuracy, strength, speed and endurance.77 In this book, Shearer suggests that the guitar students use Aim- Directed Movement (ADM) when they are practicing and performing. ADM is a method of getting rid of confusion and error by understanding where and how to move before executing the hand movements. The author also devotes a large amount of time to explanation to nail shaping and tone production by providing various types of the right-hand fingernails and shaping methods. At the end of the book, Shearer adds information about Repetitive Strain Injury (RSI) which can arise from repetitive bio- mechanically flawed movement. He explains the primary symptom of RSI and how to overcome it. He also provides exercises to avoid shoulder pain which is an ongoing challenge to guitarists.
Scott Tennant’s exercise book Pumping Nylon gives useful and practical information and
75 Abel Carlevaro, School of Guitar: Exposition of Instrumental Theory (Escuela De La Guitarra), trans. Jihad Azkoul and Bartolome Diaz (London: Boosey and Hawkes, 1984). 76 Douglas Niedt, "More Than You Ever Wanted to Know About: GUIDE FINGERS," Douglas Niedt, Guitarist |Classical Guitar Lessons and Technique, , accessed November 05, 2018, https://douglasniedt.com/. 77 Aaron Shearer and Tom Poore, Learning the Classic Guitar (Pacific, MO: Mel Bay Publications, 1990).
27 guidelines to the reader.78 Tenant reduces the use of professional terminology so that readers can easily understand the content. The author provides Do’s and Don’ts lists with sketches of the correct and incorrect positions in order to avoid unnecessary conflicts when readers are applying his methods to their practice. Tennant’s finger independent exercises are efficient and helpful for guitarists who want to achieve a high level of technique.
Reflection
Cano’s dissertation classifies guitar technique geographically and gives a good explanation of the specialized guitar techniques that can be helpful for conductors. Quine suggests the effective guitar writing skills for non-guitarist composers. These resources expand the possibility of guitar writing from the idiomatic methods to extended techniques. Fernández and Quine’s resources show how the approach to the guitar techniques has changed compared with the old school which mostly depended on the personal experiences. Carlevaro’s method book provides a wide range of technical issues of the classical guitar with images; however, the context is too professional for those who do not have a basic knowledge about the classical guitar. Tennant’s guitar method book simplifies essential technical information about the guitar. Shearer’s book provides crucial and practical information about the accuracy of the hand movement and velocity of the guitar scale exercise so that the conductor can understand the instrument’s capacity as a concerto instrument.
Resources related to the concertos for guitar and other instruments
Composing a concerto for guitar has been always a challenging task for non-guitarist composers. Journalist and critic Lesley Valdes explains the challenge of composing guitar
78 Scott Tennant and Nathaniel Gunod, Pumping Nylon: A Guide to Classical Guitarists Technique Handbook (Van Nuys: Alfred, 1995).
28 concertos by giving several anecdotes to the reader.79 According to her article, in the 1960s, Aaron
Copland was asked to compose a piece for guitar and orchestra. However, Copland refused the commission because of his limited knowledge of the guitar. Valdes also notes that Spanish composer, Hallfter, had a difficult time composing a guitar concerto. He was not a guitarist, so corrections from a guitarist made the work possible. Narciso Yepes made some changes and recorded it; however, the composer was not satisfied with the result and did not allow the piece to be performed until Andres Segovia suggested that Eliot Fisk revise it in 1985.80 In a telephone interview with Valdes, Fisk points out some critical and problematic issues when a non-guitarist composer creates a guitar concerto. Firstly, some succession of chords were unplayable since the chords are too thick. Another point is that composers often believe that adding many notes in a chord would give more volume for guitar, but it often softens the guitar’s sound due to the complexity of fingerings.81
Since the 1990’s performers and researchers have written guitar concerto-related dissertations which can be a guideline for composing concertos for guitar. For example, Guitarist
Roger Hudson selected the Concerto in A Major, op.30 by Mauro Giuliani (1781-1829) and the
Concierto del Sur by Manuel Ponce to conduct a comparative analysis. 82 M. Giuliani was a virtuoso guitarist influenced by the conventions of the early nineteenth century Vienna. On the other hand, M. Ponce was a Mexican non-guitarist composer influenced by the stylistic freedom
79 Lesley Valdes, "A Guitar Concerto's Special Problems," New York Times (1923-Current File)1987. http://myaccess.library.utoronto.ca/login?url=https://search-proquest- com.myaccess.library.utoronto.ca/docview/110815675?accountid=14771. 80 Ibid. 81 Ibid. 82 Roger West Hudson, The Orchestration of the Guitar Concerto : A Comparison of the Concerto in A Major, Op. 30, by Mauro Giuliani and the Concierto Del Sol by Manuel Ponce, 1992).
29 of the 20th century and the folk music of his homeland. 83 Thus, a comparison of these two concertos enables the reader to understand the stylistic difference and the historical evolution.
Hudson’s analytical intention is to uncover both positive and negative points of composing for guitar and orchestra. He provides a biographical sketch of each composer and analyzes both concertos in terms of the texture, timber, range, register, articulation, and dynamics. At the end of the research, Hudson added an appendix that explains the guitar’s special techniques for the reader.
His case study will be a good example for my dissertation in terms of the analysis of the compositional structure.
Gregory Engstrom’s dissertation is an analysis of Concerto pour Guitare et petit orchestra by Heitor Villa-Lobos.84 Engstrom analyses each movement of the concerto in terms of melodic, rhythmic, harmonic and tonal perspective. Engstrom’s research provides a good reference to scholars who want to study Villa-Lobos' guitar concerto. At the end of his dissertation, he summarizes Villa Lobos’ composition style and opens the door to further research. Engstrom states that Villa Lobos had several methods to make the guitar sound audible. Firstly, Villa Lobos lowered the dynamic level of the orchestra several steps below the guitar and never employed tutti when the guitar is playing. Secondly, he employed maximum two counter melodies while the guitar is playing and place the orchestra’s sound below or above the guitar in order not to compete against each other. Finally, Villa Lobos employed a soft pedal point throughout the movements to provide an effective accompaniment for guitar which enables the audience to listen to the subtle
83 Hudson, foreword. 84 Gregory Engstrom, "Part 1. Concerto for Guitar and Orchestra (an Original Composition). Part 2. an Analysis of the Concerto for Guitar and Small Orchestra by Heitor Villa-Lobos" (Ph.D., Kent State University), . http://myaccess.library.utoronto.ca/login?url=https://search-proquest- com.myaccess.library.utoronto.ca/docview/304628062?accountid=14771.
30 dynamic changes of the guitar.85
Guitarist Wann-Dar Tan introduces Lawrence Weiner’s guitar concerto and presents an analytical model for approaching contemporary guitar concertos.86 The author introduces Weiner's guitar solo works composed before the concerto and explains how the composer successfully implemented multiple layers into the guitar score by showing passages from the pieces. Tan states that the concerto repertoire needs fewer multiple layers of the melody or harmony for the guitar part compared with the solo works since the orchestra often plays contrapuntal textures and accompaniment parts when the solo guitar is playing. 87 However, being capable of realizing multiple layers on the guitar is a huge advantage while composing a guitar concerto. Tan talks about how traditional techniques such as rasgueado have affected Weiner’s guitar concerto by giving a comparison with Rodrigo's Concierto de Aranjuez.88 The research gives a good example of editing a guitar concerto as well. The author states, “The main criterion in editing is to preserve and convey the composer’s intention as clearly as possible.”89 He categorizes the edition subject into six fields; 1.Tempo change, 2. Octave transposition, 3. Note or chord omission, 4. Chord re- voicing, 5. Technical substitution, 6. Notation. This dissertation also provides a debate about the use of amplification for the guitar concerto. Tan says that the composer agreed to use amplification so the guitar could project its sound against the thick orchestration of his concerto.
Guitarist Vieira’s thesis provides guidelines for non-guitarist composers wishing to write for
85 Ibid., 140. 86 Wann-Dar Tan, Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis, ed. Thomas Johnson, D.M.A. ed. (United States -- Texas: University of North Texas, 2005). 87 Tan, 37. 88 Ibid. 89 Tan, 46.
31 guitar.90 The author states that the collaboration between composers and performers nowadays has become more horizontal than the Romantic era and the composer-performer relationship has become a more important subject.91 His thesis discusses the problematic issues when composers are not capable of playing the instrument for which they are composing. He asks non-guitarist composers to create guitar works by receiving feedback from guitarists. Vieira analyses the problematic issues occurring during the process and observes how composers and performers interact with one another.
Exploring resources related to concertos for other instruments will expand the scope of my research, since each instrumentalist focuses on resolving performance issues by explaining the unique character of their instrument. For instance, wind instrument performers’ research often focuses on breathing, which can be easily neglected in the research of stringed instrumentalists.
Marimbist Brudvig wrote a dissertation about Danish composer, Anders Koppel’s Concerto for
Marimba and Orchestra (1995) and solo marimba work P.S. to a concerto (1995).92 His research focuses on providing guidelines which are helpful to resolve the problematic performance issues in the concerto. The author, himself a marimbist, introduces passage with multiple problems and provides suggestions so the performer could execute the challenging passages with effective efforts.
For example, the author advises how to execute a fast high-register passage in triplets at fortissimo.93 Brudvig mentions that playing successive triplets at a fast tempo is a challenge for
90 Márlou Peruzzolo Vieira, "The Collaborative Process from the Performer's Perspective: A Case Study of Non- Guitarist Composers" (Ph.D., Universidade de Aveiro, 2017). 91 Ibid., 3. 92 Robert Ian Brudvig, "A Performer’s Guide to the Concerto for Marimba and Orchestra and “P.S. to a Concerto” by Anders Koppel" (D.M.A., The University of Arizona, 2002). http://myaccess.library.utoronto.ca/login?url=https://search-proquest- com.myaccess.library.utoronto.ca/docview/304802276?accountid=14771. 93 Brudvig, 45.
32 marimba players. He suggests that the player group the four-measure pattern in two measure phrases and articulate only the essential notes in order to clearly execute the passage. Brudvig also emphasises the importance of the coordination with the orchestra in terms of the tempo. He suggested that the performer could make a slight tempo change in order to keep the flow of the music.94 The dissertation also discusses the unification of articulations between the solo instrument and the orchestra.95 Brudvig points out some articulation discrepancies between the woodwinds and the solo marimba and suggests to add slurs in order to unify the articulation. His research is a good resource that explains how the orchestra and solo instrument could be analysed from a bird’s eye view perspective.
Flautist Whitter provides a useful performance guide of Ellen Taaffe Zwilich’s Flute
Concerto. 96 Ellen Taaffe Zwilich (b.1939) is an American composer whose works are internationally performed. Whitter’s dissertation consists of four chapters; biographical information of the composer, an analysis of the piece, a performance guide and the style of the concerto. The second chapter analyses the concerto in terms of melody, form, rhythm, harmony, and sound. This is a very traditional analytical style which is found in other dissertations or research papers. However, in the third chapter, the performance guide, provides a very practical and necessary insight for performers. Whitter provides a measure-by-measure guide for each movement only a flute expert could give. The most significant part of this dissertation is the appendix B. The appendix indicates the important passages and gives advice regarding breathing, tone, dynamics, tempo, articulation, fingerings and other notable information that is not classified
94 Ibid. 95 Ibid., 50. 96 Marcia Kay Whitter, "The Ellen Zwilich Flute Concerto from a Performer's Perspective: Analysis, Performance Guide, Composer, and Style.”(D.M.A., diss,. University of Oregon, 1995).
33 into the previous six categories. Even though Whitter’s research is not directly related to the guitar concerto, her measure-by-measure analytic methodology is very helpful to the development of a well-organized research structure.
Trumpeter James Meyer Lind analyzes two trumpet concertos by Anthony Plog from a performer’s perspective.97 The first four chapters of Lind's research provide general information such as the composer’s bio, histological information and the thematic organization of the concerto.
However, in the fifth chapter, the author gives general recommendations that help the performer to practice or perform the pieces. Lind sorts Plog’s compositional characters into three categories;
1. the use of chromaticism, 2. the use of complex rhythms and mixed meter; and 3. thematic ideas and motivic ideas related to the opening theme. 98 Based on this characteristic approach, the research provides practical suggestions for each different case. Lind points out challenging passages of the concertos and gives helpful advice such as using a metronome and marking upbeats and downbeats on the score. Although this study is about the trumpet concertos, it presents many useful tools that can be applied to the analysis and execution of guitar concertos from a performer’s or conductor’s perspective. For example, Lind explains the technical difficulties of the trumpet by showing passages and provides suggestions which can clean up the challenges from the perspective of the trumpeter. He includes interviews with the composer and a few soloists, so the reader can view the composition from various points of view. However, there is no comparison with the orchestra part. Therefore, it is difficult to analyze the whole by looking at the combination of the orchestra and the solo instrument.
97 James Meyer Lind, "The Trumpet Concertos of Anthony Plog: A Performer's Guide" (D.M.A., diss,. University of North Texas, 2012), . http://myaccess.library.utoronto.ca/login?url=https://search-proquest- com.myaccess.library.utoronto.ca/docview/1335280280?accountid=14771. 98 Lind, 41.
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Harpist Rachel Green’s dissertation about Alberto Ginastera's Harp Concerto, Op. 25 includes a lot of guitar-related information.99 In her dissertation, Green states that Ginastera used guitar techniques such as rasgueado, tambura and percussion skills in his harp concerto to make an Argentine folk music atmosphere. For example, he used the open string sound of the guitar (E-
A-D-G-B-E) at the opening of the cadenza. This open string chord also appears in his only guitar composition, Sonata for guitar, Op.47. Green states that Ginastera imitated rasgueado of the guitar by playing fast glissando in this concerto. She mentions that Spanish harpist and composer Carlos
Salzedo’s used a similar technique called “Gushing Chords,” but Ginastera asked the harpist to use fingernails to make the sound more like the guitar.100
Harpist Phuttaraksa Amnirdratana’s dissertation about Reinhold Glière's Concerto for Harp and Orchestra, op.74 gives another good example of a performer’s guide. 101 Amnirdratana effectively classifies the theoretical analysis and the performance guide so that the readers can apply the information to the real situation. Her dissertation is comprised of an introduction which includes a brief development of the harp, a biography of the composer, Reinhold Glière, the history of the concerto, and musical analysis and performance guide of each movement. In her dissertation,
Amnirdratana compares three different editions to mainly discuss the pedal issues. She points out some errors in the harp parts, and the rest of the differences are mostly related to the musical
99 Rachel Kay Green, “Alberto Ginastera's Harp Concerto, Op. 25: A Synthesis of Argentine Nationalism and Neo-Expressionism.” (DMA diss., University of Arizona, 2017). http://myaccess.library.utoronto.ca/login?url=https://search.proquest.com/docview/1947046253?accountid=14771 100 Ibid., 22, 24. 101 Phuttaraksa Amnirdratana, "Reinhold Gliere's Concerto for Harp and Orchestra in E-flat major op.74: An analysis and performance guide." (DMA diss., University of Miami, 2012). (Order No. 3549379). Available from ProQuest Dissertations & Theses Global. (1283387481). Retrieved from http://myaccess.library.utoronto.ca/login?url=https://search.proquest.com/docview/1283387481?accountid=14771
35 interpretations. However, here again, there is no discussion related to the orchestra parts and score.
Reflection
Concerto-related resources can be classified into theoretical information and practical information. Most guitar concerto resources focus on analysing theoretical aspects such as the structure, harmony, style and the texture. For example, Hudson’s dissertation focuses on comparing two different guitar concertos mainly in terms of the orchestration. 102 Engstrom’s dissertation about Villa-Lobos’ Concerto pour Guitare et petit orchestra shows a more precise analysis than Hudson’s research in terms of melodic, rhythmic, harmonic and tonal perspective.
Engstrom also mentions the balance of the volume between the guitar and the orchestra; however, he does not provide a concrete way to balance the volume of the guitar and the orchestra. Boyd's dissertation shows some interesting points such as the introduction and explanation of the use of the distinctive percussion instruments; however, his research is mostly an array of historical facts about Torroba’s guitar concertos. Tan and Vieira’s research treats more useful subjects for my research project. Tan provides a good example of editing challenging passages of the concerto such as omissions, octave changes so the concerto can be performed more efficiently. 103
Interestingly, many helpful suggestions were found in the concerto literature for other instrument.
Brudvig provides advice from his experience as a marimbist by explaining the charactristics of the marimba which conductors might not know about. He also emphasizes the importance of shaping motives to unify the marimba solo and the orchestra.104 Brudvig always keeps an eye on the orchestral score to create a good balance as a whole. Whitter’s well-organized
102 Hudson, The Orchestration of the Guitar Concerto, 1992. 103 Tan, 45-51. 104 Brudvig, 141.
36 performance guide is a useful tip for writing a conductor’s guide. Lind also suggests practical advice such as using a metronome while practising difficult passages and syncopations to the trumpet soloist but not having information about the orchestra lessens the value for my research model. Harpists Rachel Green and Phuttaraksa Amnirdratana’s dissertations about the harp concerto will expand the scope of my research regarding methodology. Green’s research provides the relationship between the harp and guitar in terms of the musical subject and historical background. Amnirdratana’s dissertation gives more idea about the organization of the content.
Her explanation and organization of the content are very clear and direct so even the reader is not an expert of the harp could understand the content.
Resources related to the conductor
In his book, The orchestral conductor: the theory of his art, Berlioz sharply criticizes conductors who commit common mistakes such as having passion without a musical idea on the podium, giving inappropriate tempi to the ensemble, and demonstrating unclear conducting skills during rehearsals and concerts.105 He clearly explains not only the technical aspects of conducting such as beating complicated rhythms and treating fermatas, but also psychological aspects such as inspiring the orchestra musically. In this book, Berlioz analyses each instrument’s tendency and problematic issues based on his musical experience. He also emphasizes the unity of the sound that is a result of the well-organized rehearsal and performance by a well-trained conductor.
Richard Wagner gives his philosophy about conducting through his book Wagner on
Conducting. 106 He compared the performance of the Beethoven’s Symphony No. 9 by the
Gewandhaus Orchestra and the Orchestra of the Paris conservatoire and emphasized the
105 Hector Berlioz, The Orchestral Conductor; Theory of His Art (New York: C. Fischer, 1902). 106 Richard Wagner, Wagner on Conducting, ed. Edward Dannreuther (New York: Dover Publications, 1989).
37 importance of singing the melody. He criticized the interpretation of the Gewandhaus Orchestra and later, in 1839, he had a chance to attend a rehearsal of the Orchestra of the Conservatoire in
Paris rehearsing Beethoven’s Symphony no.9. He states that
The scales fell from my eyes; I came to understand the value of correct execution and the secret of a good performance. The orchestra had learnt to look for Beethoven’s melody in every bar – that melody which the worthy Leipzig had failed to discover; and the orchestra sang that melody. This was the secret.107
Wagner highly praised the performance of the Orchestra of the Conservatoire in Paris since the orchestra played the challenging melody line as written. He emphasized the importance of eliminating frustrating irregularities caused by bow and string changes in order to shape the melody line. Wagner argues that sustaining tone with equal power is the foundation of all expression. On the other hand, he claims that the string players should assimilate the full toned piano of the best woodwind instrument and try to copy the human voice.108 Wagner is famed for his thick orchestration and rich harmony, but his book shows how he was sensitive about singing the melody and the quality of the sound. Sustaining tone with equal power might be a trend of the expression in the 19th century in Germany or his personal perspective of the sound. However, I believe that a natural decay of the sound is the basis of the expression since holding a note with equal power needs more intentional efforts and used for special occasions. Wagner was not a great pianist, but had a vast knowledge of the orchestral instruments. It is interesting to compare Berlioz and Wagner since their musical background has many points of commonality. Both of them were composers, critics and conductors. They stress the importance of a good tempo which enables the orchestra to express the composer’s musical intention and clear technical executions such as
107 Ibid., 15. 108 Ibid., 32-33.
38 dealing with fermatas and articulations.
Conductor Felix Weingartner presents a balanced opinion on the authority of a conductor and the intention of the original composer through his book, On Conducting.109 In his book, he points out two important roles of a conductor; being capable of making a fine balance of the orchestra itself and realizing the composer’s intention such as choosing a right tempo, articulation, and rubato while performing a piece. He highly praised Hans von Bülow’s musical ability of making a well-balanced orchestra which was hard to find in German conductors at that time.
However, Weingartner criticizes Bülow’s tempo rubato and sudden tempo changes in Beethoven’s
Symphony no.9 and Bizet’s Carmen which ruined the original intention of the composers.110
Weingartner classifies his thought about the tempo and rhythm as follows.
I would here insert a rule, the observance of which I hold to be indispensable for a right apprehension of the limits of the tempo: No slow tempo must be so slow that the melody of the piece is not yet recognisable, and no fast tempo so fast that the melody is no longer recognisable. The rhythmic distortions to which I have referred were in no way justified by any marks of the composer, but always originated with the conductor.111
Weingartner claims not only the importance of respecting the intention of the composer by executing an appropriate tempo and articulation but also being capable of understanding the meaning behind the notes.112 Even though his book does not have direct information on concertos, his balanced philosophy about conducting and the description of the musical scene in Germany and France book enable the reader to understand the historical context of conducting.
Conductor and composer Jerry Donald Kracht provides a guide for some stylistic performance problems by selecting orchestral pieces from the Baroque, Romantic and the Modern
109 Felix Weingartner, On Conducting, ed. Ernest Newman (London: Breitkopf & Hartel, 1906). 110 Ibid., 20-24. 111 Ibid., 28-29. 112 Ibid., 43
39 era.113 The research selected Handel’s Concerto Grosso No.11 Op.6, Webern’s Five Pieces for
Orchestra Op.10, Schumann’s Symphony no.4 D minor Op.120 for the examples and gives a precise analysis of each piece. The first chapter analyses Handel’s Concerto Grosso and mainly discusses Baroque interpretations such as notations, trills, accidentals, and various dotted rhythms which have little connection with the guitar-related subject. The second chapter discusses interesting subjects about Webern’s Five Pieces for Orchestra. In this chapter, Kracht explains mental subdivision, which helps the conductor maintain a steady tempo. An example of the mental subdivision is to think the sixteenth note while conducting a very slow passage in quarter pulse.114
This work includes the guitar and other non-standard orchestral instruments such as harmonium, celesta, and mandolin which give extra tone colors to the orchestration.
Kracht does not mention each instrument’s character, but he does have some helpful resources and ideas for my research. For example, the author talks about the dynamic level of this piece which ranges from pppp to fff. The author gives a practical suggestion to make a good dynamic range as follows.
Ideally, the performer should probably establish in rehearsal the “barely audible” level of sound and then, proceeding from that point, add to the sound indiscernible increments until all of the required dynamic levels have been defined.115
Gunther Schuller’s book The Compleat Conductor provides information that cannot be found in resources written by guitarists or other instrumentalists.116 Schuller’s book consists of
113 Jerry Donald Kracht, "Some Stylistic Problems in the Performance of Selected Orchestral Literature from the Eighteenth, Nineteenth, and Twentieth Centuries: An Essay Together with a Comprehensive Project in Orchestral Performance" DMA thesis, The University of Iowa, 1974). 114 Ibid., 65-74. 115 Ibid., 72. 116 Gunther Schuller, The Compleat Conductor (Oxford: Oxford University Press, 1997).
40 three parts; a philosophy of conducting, a history of conducting and analyses of famous symphony works in the 19th century. He states that the performer can interpret a dynamic or articulation in various ways. For example, he points out that a p can be interpreted in different ways depending on the passage or piece.117 He gives a clear explanation of distinction by giving an example of sf.
Take sf, for example: there are many – I am tempted to say – dozens of different sf’s. As one tiny example I offer the m.128 sf in the first movement of Beethoven’s Seventh Symphony (and its parallel, m.340). This sf can be performed in many different ways, with different feelings and emphases, all of them within the realm – the species – of sf. For example, one can give this sf a very hard-hitting effect with a strong, incisive attack in the strings (if it were in the winds, with a strong, incisively tongued attack). Or, one can give this sf a deeply expressive, weighty feeling, infinitesimally delayed. Or, it can be warm, rich singing sf, as one can see Carlos Kleiber elicit from the Concertgebouw Orchestra in a film produced by German Unitel television.118
Schuller’s interpretation about articulations and dynamic will be helpful when giving precise instructions to the orchestra musicians at guitar concerto rehearsals. The conductor’s good ear often limited to listen to wrong notes, but Schuller stresses that a conductor should have seven different ears; for harmony, pitch and intonation, dynamics, rhythm and articulation, balance and orchestrational aspects and line and continuity.119 His book also gives a basic, but a very important string technique- bowing. He shows how a bowing can change the phrase by giving short passage examples. He warns of the danger of using loud, full bow playing which is commonly happening in American orchestras. 120 Making a good sound balance is a crucial point of performing or rehearsing the guitar concerto, and Schuller’s advice about the string technique will be an important part of my dissertation. In the third part, the author analyses Beethoven’s Symphony no.5 and no.7, Brahms’ Symphony no.1 and no.4, Strauss’ Till Eulenspiegel, Ravel’s Daphnis et Chloe
117 Ibid., 15. 118 Ibid., 16. 119 Ibid., 17-18. 120 Ibid., 29.
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Second Suite, Schumann’s Symphony no.2 and Tchaikovsky’s Symphony no.6 by listening to over
400 recordings. He made charts of each symphony’s important passages by comparing various conductors’ interpretations and the score. His research method gives me a possibility of analysing recordings of Concierto de Aranjuez in order to extract crucial comparisons between the score and recordings.
Erich Leinsdorf wrote a book about the relationship between the composer and his or her music and the performer – especially the conductor. The author emphases the importance of knowing the score, composer and his or her intention, musical tradition, right tempo, and the conductor’s role.121 Even though his book was not written only for the conductor, there are many aspects which could be crucial and useful for my research. For example, he points out that solo concertos should be treated as important as symphonies and overtures. He states that many soloists were surprised when they were asked to attend two rehearsals for the concert.122 As Schuller mentioned the various ways of expressing the dynamic and accent, Leinsdorf also gives an important perspective of treating folk and regional traditions in the score. He especially mentions the Spanish folk rhythm;
Spanish dances always present a problem to musicians unacquainted with national traditions, particularly if castanets are called for. Percussionists, no matter how excellent in other respects, are untrained in the playing of hand castanets. They rest the instrument on the knee, with the result that the intended effect is lost, and what emerges sounds stiff and inflexible. Spanish dance rhythms are matched in intricacy by those of many other nationalities, and the problem is not even confined to dances. Rhythms built on peculiarities of language are equally hard to transcribe. In recent times the effort of “nationalistic” composers to revive their countries’ folk music have encountered many difficulties.123
121 Erich Leinsdorf, The Composers Advocate: A Radical Orthodoxy for Musicians (London: Yale University Press, 1981). 122 Ibid., 3. 123 Ibid., 78.
42
His approach to folk music rhythms is useful to analyse and perform other folk-music related works. For example, the thematic motive at the beginning of the 1st movement of Concierto de Aranjuez consists of an eighth note followed by two sixteenth note and another eighth note. The two sixteenth notes in the middle of the motive are often executed in a shortened way.
Reflection
Richard Wagner and Felix Weingartner’s books enable us to understand the role of the conductor and musical scene in Europe in the 19th century. Especially, Weingartner wrote his book,
On Conducting after Wagner’s book, so the reader can see the development of the conductor’s role chronologically. Kraft’s idea is about resolving problematic issues in stylistic performance. His approach to the dynamic division will be helpful to organize a guitar concerto’s performance since the dynamic range of the guitar is narrower than the instruments in the orchestra. Schuller and
Leinsdorf’s books provide information that was not available in the resources written by the instrumentalists and the composer. Both of them give practical advice on the role of the conductor through a keen analysis of the score which explores the core issues of music making. Schuller mostly analyses major symphony works, not concertos; however, his methodology gives an effective guide to obtain concrete evidence for concerto-related research. (Listening to the recordings and making charts to compare them) Leinsdorf presents ideas to help analyze the folk influence of the guitar concerto. Listening to the different versions of Concierto de Aranjuez will enable to decode the influence of the folk and regional traditions in the piece. Research based on linguistic influences might be helpful to support this subject.
Conclusion
Having read five kinds of resources gives me a clear direction for my research. The three subjects, the guitar, conductor, and concertos seem to have little in common, but I have realized that it is possible to write a dissertation on a new topic that links to the existing resources while exploring these three themes. Even though my research criteria will be limited to the study of
43
Concierto de Aranjuez from a perspective of the conductor, my effort will merely be a touchstone of future research on guitar concertos in a perspective of the conductor and non-guitarist musicians.
My dissertation will be an opportunity for the guitar to participate more actively in orchestral music history.
44
Chapter 3
Analysis of Concierto de Aranjuez: Movement 1
Instrumentation
2 2 2 2 – 2 2 0 0 – strs – guitar solo (second flute covers piccolo part, and second oboe plays English horn)
First movement – Allegro con spirito
Key: D major
Time Signature: 6/8
Tempo: . = 88
Structure: Sonata form
The structure of the first movement is sonata form including an introduction, a single exposition, development, recapitulation, and a coda.
Measure numbers will indicated in a simple way by using + and – signs.124 Important themes and motives in the first movement are named as follows :
Figure 3.1 Important themes of the first movement
Opening theme: Pirulero theme:
Main theme: Second theme:
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
124 For examples, two measures before rehearsal number one will be described as ①-2, and three measures after rehearsal number 2 as ②-3.
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Table 3.1 Structure of the movement 1 M. Number Section Instrumentation mm m.1 - ②-1 Introduction 43 mm.1-②-1 Guitar’s Opening Theme, Guitar’s Pirulero Theme, gt/cb,gt/ww+low Strings’ Opening Theme strs, strs only ② to ⑩ Exposition 71 ② to ④-1 Main Theme by ob & 1st vn. tutti Pirulero Theme by Str. Opening theme motive by WW & brass ④ to ⑥+4 Ornamented Main Theme by guitar. gt/ fl, 1st vn Counter punctual section1: gt, 1st vn and horns gt+ tutti Guitar’s rasgueado & Strs accompaniment gt/ strs 5a⑥ to ⑩-1 2nd theme by Guitar / 1st bassoon gt/bsn Counter punctual section 2: gt, 1st vn ww, and horns gt/1st vn,hn,ww Guitar’s rasgueado & Strs accompaniment gt/str 2nd theme by Guitar/ 1st bassoon gt/bsn Counter punctual section 3: gt, 1st vn ww, and horns gt/1st vn,hn,ww Guitar’s rasgueado & scale / Strs accompaniment gt/strs ⑩ to ⑯-1 Development 51 ⑩ to ⑮-4 Opening theme in A minor by str strs/fl Opening theme in A Major by guitar gt/1st vn Guitar’s scale and clar solo. Horn and oboe’s countermelody gt, cl/ ww,hn,strs 3b⑮ to ⑯-1 Orchestra’s tutti with guitar’s ascending scales tutti +gt ⑯ to ㉒-1 Recapitulation 54 ⑯ to ⑱-1 Main Theme by ob & 1st vn ob+1st vn/ tutti Main Theme by Guitar gt solo Counter punctual section1: gt, 1st vn and ww gt/1st vn,ww Guitar’s rasgueado & Strs accompaniment gt/str ⑱ to ㉒-1 2nd theme by clar /gt, 1st cl/gt Counter punctual section1: gt, 1st vn and ww gt/1st vn,ww Guitar’s rasgueado & Strs accompaniment gt/ str 2nd theme by Guitar/ 1st bassoon gt/ bsn Counter punctual section 3: gt, 1st vn ww, and horns gt/1st vn,ww,hn Guitar’s rasgueado & scale / Strs accompaniment ㉒ to m.243 Coda 24 ㉒ to ㉓-1 Variation of the opening theme / Pirulero Theme tutti ㉓ to ㉔+4 Rasgueado-like tutti and guitar’s response tutti & gt solo ㉔+5-m.243 Pirulero Theme by guitar, bsn & tpt and opening theme by str gt/bsn,trp str and guitar with bsn
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Theoretical Analysis and Conductor’s Guide
Guitarist Graham Wade conducted an analysis of Concierto de Aranjuez in his book,
Joaquín Rodrigo and the Concierto de Aranjuez.125 I will follow his explanation of the structure regarding the harmony and melody development and will add analysis from the perspective of a conductor.
3.1 Introduction: m.1 to ②-1 (mm.1-43)
3.1.1 Theoretical Analysis: m.1 to ②-1 (mm.1-25)
The first movement begins with the guitar’s rasgueado accompanied by a tonic pedal- point from the double basses. The guitar solo makes a steady crescendo from pp to ff until m.13, and the woodwinds come in at m.19 by playing a part of the first thematic motive. The first bassoon emphasizes the guitar’s eighth-note staccatos by doubling the rhythm. In his dissertation,
Rodriguez states that the melody of the guitar from mm.22-24 (Example 3.3) are similar with a part of the Spanish folk song for children Anton Pirulero.126
Figure 3.2 Excerpt of Anton Pirulero
Source: John David Quijano Rodriguez, “Análisis y adaptación del Concierto de Aranjuez para guitarra solista y dos guitarras acompañantes.” (BA thesis, Colombia Pontificia Universidad Javeriana, 2013):10. https://repository.javeriana.edu.co/handle/10554/11717
125 Graham Wade, Joaquin Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower Enterprises, 1985). 126 Rodriguez, 10.
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At ①, the strings without the bass section plays the exact passage of the guitar at the introduction
(mm.1-18) which is connected to the exposition at ②.
3.1.2 Conductor’s guide: m.1 to ②-1 (mm.1-25)
The orchestration in the introduction is comprised of only the guitar solo and the pedal tone in D of the bass in octave. The sound balance is crucial since pianissimo in the guitar is not equal to pianissimo in the bass. Having two basses hold this passage in piano staggering the bowings will produce a well-balanced sound. Some conductors add a crescendo from m.10 to 13, 14 (until mf) and a decrescendo to p at m.16 in the bass part.127 However, Rodrigo did not make any dynamic change to the bass part. From the beginning, the conductor needs to mark passive downbeats for each bar and give a light ictus with breath on the second beat of m.18 to invite the woodwind tutti.
Example 3.1 Mvt I, Pedal tone of the bass, mm 4-6
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
127 Joaquin Rodrigo, Concierto de Aranjuez bass part. https://archives.nyphil.org/index.php/artifact/b5e4af7f-7bde-47c4-beaf-b8a511c58f33-0.1
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At m.19, the woodwinds come in pp, but the low register of the bassoon should be carefully executed to create a good sound balance. On the second beat of m.22, the cello and bass part have p, but there is no such dynamic indication in the score. It would be better to add p to the score here to balance the dynamics of the phrase.
Example 3.2 Mvt I, Woodwinds entrance, mm.19-22
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In order to give a clear cue to the strings on the first beat of ①, the conductor should give a clean anacrusis when the guitar plays the C# note at m.25.
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Example 3.3 Mvt I, Important anacrusis, mm 23-25
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3.1.3 Theoretical Analysis: ① to ② (mm.26-43)
The strings, with exception of the bass section, start playing the thematic rhythm with spiccato in ppp. The dynamic goes to ff at m.38 and goes back to pp at bar 41 and the strings gently bring the main theme played by the first oboe and the first violins.
3.1.4 Conductor’s Guide: ① to ② (mm.26-43)
This pianississimo at the beginning should be played on the upper part of the bow with a percussive spiccato in order to maintain a guitar-like sound with a soft dynamic, maintaining the beating pattern. It is obvious that the conductor conducts the entire passage mainly in two; however, there are many hemiolas grouped in three quarters. Inexperienced musicians often speed up these hemiola passages and make an early crescendo. (There are nine bars of crescendo from ppp to ff).
Kracht suggests that clear mental subdivision be made when conducting a piece with a steady tempo.128 Additionally, this mental subdivision can be used to maintain a constant tempo in the hemiola passages. When the conductor conducts the hemiolas such as in m.27 and m. 30, the
128 Kracht, 1974.
50 conducting pattern should be grounded in order to maintain a constant tempo, as orchestras often tend to speed up these hemiola passages. At ②, the conductor should give a cue to the bass section which has a 19- bar rest.
Figure 3. 3 Hemiola in 6/8
Example 3.4 Mvt I, Entrance of the strings, mm.27-31
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3.2 Exposition (mm. 44-114)
3.2.1 Theoretical Analysis: ② to ④ -1 (m.44-60)
At ②,(m. 44) the first oboe and first violins start playing the first theme and the second violins, the violas and the cellos play the thematic motive as accompaniment in D Major which is the tonic key of this movement. The first tutti appears at ③, (m.54) to maximize the musical tension before the entrance of the guitar solo at ④ (m. 61).
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Example 3.5 Mvt I, First theme by the oboe and first violins, mm 45-47
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3.2.2 Conductor’s Guide: ② to ④-1 (mm.44-60)
The double bass enters on the first beat of ② after 24 bars of rest. It is important to pay attention to the bass players before giving a cue. There is no dynamic indication for the bass in the score; however, according to the part, the dynamic is shown as pp. The accompaniment mm.46,
49 and 52 are better to be conducted in three to make a clear articulation and tempo. At ③, the
French horns should emphasize each note on the beat in order to shape the melody. The second beat of ③+2, the unison of the bassoons and the basses should not be overpowering in order to listen to the sound of the guitar.
Example 3.6 Mvt I, First theme entrance and bass pizzicato, mm 41-45
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52
Example 3.7 Mvt I, French horns, mm 53- 56
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The conductor should pay attention to ff in the trumpets, which is often overpowering. From the second beat of ③+2(m.55), the bassoons, basses, and guitar play the descending motive in unison.
There is no dynamic for the bass in the score; however, the bass part shows a dynamic of f. As the bassoons play the motive in ff in a very low register, if the music were to be performed as written, the bassoon and horns would be overpowered, and the audience would not be able to hear the guitar. At ④-3 (mm. 58-59), a crescendo sign is missing for the viola and cello and ④-1 (m.60), the violas and cellos should make a diminuendo from ff to pp within a bar and should make a clear sixteenth descending slurred scale which is often not clear. The conductor should give a strong and clear downbeat on the first beat of bar 60 in order to produce an impeccable unison.
Example 3.8 Mvt I, Viola, cello and bass, mm 57-61
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3.2.3 Theoretical Analysis: ④ to ⑥+4 (mm.61-82)
At ④, the guitar plays the first theme with embellishments, and the flutes and the 1st violins accompany the solo guitar in pp. At ⑤-2, (m.71) the woodwinds echo the motive of the guitar solo in f, and when the guitar plays the sixteenth note scale, the woodwinds switch the dynamic immediately to pp. At ⑥, (m.79) the strings play a four-bar accompaniment in f to prepare the entrance of the second theme played by the guitar. The first bassoon accompanies the birdsong-like second theme in the middle and low register making a beautiful colour contrast with the guitar.
3.2.4 Conductor’s Guide: ④ to 4a⑥+4 (mm.61-82)
There is a discrepancy between the score and the bass part at ④ (m.61). In the score, pp in the bass section is missing. On the second beat of ⑤, the first horn enters in mf in the score; however, this dynamic is missing in the part. We could possibly assume that the dynamics of this passage is pianissimo by observing the repeated passage at ⑦ (m.89). At m.75, the dynamic of the horns is ppp which is very challenging for the horns to produce, but necessary. While the horns are holding the tied dotted half notes, the solo guitar executes scales. In order to make the guitar sound audible, it is crucial to control the dynamic of the horns. On the second beat of ⑤, the first violins play a thirty-second scale with a quick crescendo and diminuendo in a beat and arrive pp on the first beat of the m.74. However, the first violin section often plays this passage in mf without diminuendo due to the nature of the fast ascending scale. At ⑥, the strings play trilled quarters slurred with a sixteenth note in forte. At the same time, the guitar plays dotted quarter notes. It is crucial that the strings pull back on the dynamic right after they play each note so that the orchestra and the audience can hear the guitar.
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Example 3.8 Mvt I, French horn 1, mm 72-76
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3.2.5 Theoretical Analysis: 5a⑥ to 1b⑩ (mm. 83-114)
At m.82, the second theme is played by the guitar. In the traditional sonata form, the second theme is often played in the dominant key; however, in this movement, it appears in D Major, the tonic of the movment. At ⑦, (m.89) the element from mm.73-80 reappears in a condensed version and the dominant appears at m 91 ponctuated by a bass pizzicato of A. The second theme returns in F major third measure of ⑧, (m.97) and the theme brings the passage in Db Major which transforms itself to E Major (6b⑩, m.109). The solo guitar plays a brilliant rasgueado and scale forming a bridge to the development in A minor (Example 3.10).
Example 3.9 Mvt I, Second theme by the guitar, mm 83-87
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Conductor’s Guide: ⑥+5 to ⑩-1 (mm. 83-114)
At m.85, there is a discrepancy between the score and the guitar part. The first two bass notes of the guitar should be changed from D to E. The eighth notes of the first bassoon should be played with light staccatos in order to balance the guitar solo without overpowering it.
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Example 3.10 Mvt I, Guitar and bassoon I, mm 82-85
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At ⑨, the dynamic of the first horn elevates one step higher: pp to p and ppp to pp compared with the previous passage at ⑦. At mm.110-112, each accented string eighth note section should be played staccato in order to hear each first notes of the guitar scale. At m.112, guitar soloists sometimes pull back the tempo slightly to adjust for fingering; however, the passage from the second beat of the m.113 until the end of the descending scale, the melody is played in a straightforward manner since the movements required of the left hand are natural.
Example 3.11 Mvt I, Guitar’s scale, mm 109-113
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3.3 Development: ⑩ to ⑯-1 (mm.115-165)
3.3.1 Theoretical Analysis: ⑩ to ⑯-1 (mm.115-165)
The upper strings play the opening motive in the introduction in A minor in pp, and the cello solo plays a minorized main theme. The first flute decorates this passage with a sixteenth descending scale in the low register, and the cello solo and the strings bring the guitar in A major at ⑪ (m.126).
Example 3.12 Mvt I, Cello solo, mm 117-119
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The guitar solo plays the thematic motive in rasgueado and suddenly changes the key into
A minor and starts executing a brilliant scale.
Example 3.13 Mvt I, Guitar solo, mm 126-128
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In the middle of the scale, ⑫+5 (m.138), the first clarinet comes in with a lyrical countermelody while the first flute and piccolo are executing the thematic motive. Graham Wade states that the melody of the clarinet comes from a typical Spanish folk music tune. 129 At ⑬
(m.143), the solo guitar strums rasgueado in Ab major and on the second beat of the bar, the first
129 Wade, 31.
57 oboe intervenes by singing the first theme in A major. Two bars later, the first bassoon doubles the melody of the oboe, and ⑭-5 (m.147), the A major turns into B major with the solo guitar’s strumming. At ⑭-2 (m.150), the guitar plays the thematic motive in B minor, and the woodwinds and trumpets punctuate the chord in eighth notes to strengthen the accent of the guitar scale. ⑮-4
(m.156), the guitar and the orchestra start playing a descending scale in tutti from f to fff and move on to the recapitulation.
3.3.2 Conductor’s Guide: ⑩ to ⑯-1 (mm.115-165)
The passage from mm.115-125 is very often overpowering. The strings play the thematic motive in pp, and the melody of the flute is ppp. The cello solo’s dynamic is only p with espressivo; however, most cellists play this passage in mf to f. It is rare that one can hear the harmonics of the guitar at m.119, m.122, and m.124. Observing the printed dynamics will ensure the coherent dynamic progress. The real forte passage begins at m.156. Thus, it is important to keep the dynamics as written from mm. 114-125. At ⑪, the conductor should encourage the cello soloist to hold the full value of the dotted half note since other string sections play only an eighth note on the first beat. At m.129, the dynamic of the guitar is mf, but in reality, the soloist often plays this passage more than f so that the guitar sound can be heard. The tutti in f at m.134 and m.136 should be played in light and short staccato in order to punctuate the guitar solo without overshadowing the melody of the guitar.
At m.138, the first clarinet plays a countermelody starting with an anacrusis. The melody is lyrical, but the clarinet should play it in a straightforward manner since there is no rubato in the scale played by the guitar. The conductor needs to give a clear cue to the bass section which has been inactive for 25 bars. The orchestra should keep pp until m.147 except for the second beat of the first violin at m.147. At m.149, even though there is no diminuendo, the strings should make
58 an immediate diminuendo after playing the first note in order to allow the low register of the guitar melody to be audible.
Example 3.14 Mvt I, Tutti, mm 146-148
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At m.156,158, and 160, the clarinets, bassoons, horns, and trumpets do not have diminuendos. However, it appears that adding diminuendos for these instruments enhances the homogeneity of the orchestra’s dynamics. At m.162, the bassoons, horns, and trumpets have a diminuendo mark which is reasonable. At m.217, the guitar has to make a huge shift to play an ascending scale, so there might be a slight tempo change here. However, from the second beat of the m.218, the tempo of the scale becomes stable since the left hand movements become idiomatic once again.
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Example 3.15 Mvt I, Tutti, mm 156-159
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3.4 Recapitulation: ⑯ to ㉒-1(mm.166-219)
3.4.1 Theoretical Analysis: ⑯ to ㉒-1 (mm.166-219)
At ⑯ (m.166), the recapitulation starts with a shortened first theme in D Major, played by the first violins and oboes. The guitar solo enters on the second beat of m.172 (⑰-5) and plays the first theme, half-transformed into a sixteenth-note scale. After a bridge, at ⑱, the second theme reappears in D major, but the first clarinet plays the melody, and the guitar accompanies the theme with arpeggiated-eighth notes. The guitar retakes the second theme at ⑳ (m.202) in Eb major and
60 the following section repeats as in the exposition. However, the scale passage reappears in the dominant of D major (V) before moving on to the Coda.
3.4.2 Conductor’s Guide: ⑯ to ㉒-1 (mm.166-219)
At the exposition, the first oboe and first violins play the main theme in f, but at the recapitulation, the two oboes and first violins play the theme in ff. The second violins, violas, and cellos should use separate bows to produce more volume. At mm. 178-179, the countermelody is played by the flutes instead of the first violins. The dynamic in m. 179 should stay in pp. Four bars before ⑱ (mm.184-186), there are some inconsistencies in the string parts. This string passage appears at ⑥, ⑧ and ⑳-2. The passages at ⑧ and ⑳-2, only those who have moving notes play trills, but the passages at ⑥, the viola’s tied notes have trills, and four bars before ⑱ (m.184 and m.186), the second violin’s first tied notes have trills. My suggestion is to make trills only on the moving notes in order to achieve a homogeneity of articulation.
Example 3.16 Mvt I, Strings, mm 79-81, 95-96, 184-186
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At m.188, the first clarinet takes the second theme in D major. The clarinet should imitate the articulation of the guitar at the exposition by executing clear staccatos. At m.202, the first bassoon
61 should accompany the second theme played by the guitar carefully since its register is very low.
At m.217, the guitarist is required to make a huge shift in order to begin playing an ascending scale so there might be a slight tempo change in this bar. However, the tempo of the guitar is fixed on the second beat of the m.218 since the left-hand movement becomes idiomatic. The conductor should listen to each of the first notes of the sixteenth triplets in order to give a clear down beat at
㉒.
Example 3.17 Mvt I, Guitar solo, mm 216-219
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3.5 Coda: ㉒ to the End (mm.220-243)
3.5.1 Theoretical Analysis: (mm.220-243)
The Coda starts at ㉒ with a tutti of the orchestra in ff in D Major. The beginning of the
Coda consists of the motive of the first theme played by woodwinds (except bassoons) and the eighth-note motive of the guitar solo from m.19, played by strings and bassoons. At ㉓, the orchestra repeats a very rhythmical rasgueado-style motive four times, and the guitar solo retakes
62 the motive and plays it alone in fortissimo. At ㉔+5, (m.236) the guitar solo plays the motive at m.19, which is similar to the passage from Anton Pirulero with an echoic accompaniment by the bassoon and trumpet for four bars. At m.240, the strings without the bass play softly the first two bars of the thematic motive and the guitar responds to it by playing the remaining two bars of the thematic motive with a simple accompaniment by the first bassoon. The last chord of the guitar solo wraps up the first movement with a pizzicato of the cello and bass.
Example 3.18 Mvt I, Guitar solo, mm 232-234
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3.5.2 Conductor’s Guide: (mm.220-243)
At m.220, the strings play the eighth notes in molto staccato. Having this passage all down bow will make a natural separation between the notes and maximize the staccato effect. The first trumpet plays a high “A” which is the highest note in this piece. The first trumpet should make an immediate diminuendo after playing the A each time. At mm.226-227, despite the difficulty, the first trumpet should play the six “A’s” in mfp so that the audience can hear each sixteenth note by the woodwinds and horns. At m.236, the first bassoon and the trumpet should interlock and keep moving forward in order to avoid a potential delay.
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Example 3.19 Mvt I, Bassoon I and trumpet I, mm 236-239
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On the second beat of m.242, the solo guitar often decreases the tempo slightly. Thus, the conductor should be mindful of this potential issue by attending the balance of the guitar and the accompaniment.
Example 3.20 Mvt I, Guitar solo and bassoon I, mm 242-243
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
The orchestra score and the guitar solo part of the first movement have a lot of flamenco- style elements such as hemiolas and rasgueado-like tuttis. Therefore, making clear articulations, accents, and rhythms will enhance its Spanish traditional style of music.
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Chapter 4
Analysis of Concierto de Aranjuez: Movement 1
Second movement – Adagio Key: B minor Tempo: Adagio Time Signature: 4/4 Structure: Three-part form
The structure of the second movement is a three-part form with lyrical themes. There are two cadenzas of the guitar.
Figure 4.1 Important themes
Main theme: Second theme:
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
Table 4.1 Structure of the movement 2
M. Number Section Instrumentation mm m.1 to 1b⑤-1 Part 1 25 m.1 to ①+5 main theme by E. horn / guitar (B minor) E.H/ gt 6 ornamented main theme by guitar/ strs (B minor) gt/ strs ② to ④-1 main theme by E. horn / guitar (G Major)) E.H/gt 10 ornamented main theme by guitar/ strs (G Major) gt/ strs ④ to ⑤-1 motivic theme 1 by strs & motivic theme 2 by E.H strs,ww+E.H 9 ⑤ to ⑪+3 Part 2 58 ⑤ to ⑦+3 2nd theme by guitar with strings accom+ E.H solo (E Major) gt/strs,bsns+hns 11 2nd theme by guitar with strings accom+ E.H solo (D minor) gt/strs,bsns+hns 2nd theme in triplet with a bridge to the cadenza gt/tutti ⑦+4 to ⑩-1 Cadenza 1 20 ⑦+4 to ⑩-1 guitar’s cadenza in E minor ob solo, guitar’s scale ob solo, guitar’s scale ww & brass’ triplet passage ⑩ to ⑪+3 Cadenza 2 27 ⑩ to ⑪+3 guitar’s cadenza
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part 1: cadenza with a pedal of G# part 2: cadenza with a pedal of D# and groups of arpeggios part3: guitar’s rasgueado with strings’ pizzicati of G#
⑪+4 to m.101 Part 3 18 ⑪+4 to m.101 main theme by orchestra’s tutti (F# minor) guitar’s counter punctual melody from the 2nd theme bassoon and E. horn’s motivic theme Guitar’s arpeggio and a Picardy cadence in B Major
Theoretical Analysis and Conductor’s Guide
4.1 Part 1: m.1 to ⑤-1 (mm.1-25)
4.1.1 Theoretical Analysis: m.1 to ①-1 (mm.1-7)
The guitar’s arpeggio opens the second movement and at the second bar, the English horn starts singing the famous lyrical solo, which has been arranged for many different instruments.
Each time the English horn carries the five-measure main theme, the guitar solo follows it.
Wade explains about the theme as follows:
This melody evokes the atmosphere of the saeta; literally, an arrow, the saeta is the flamenco-like arrow of song which bursts from the people spontaneously during the religious procession in Holy week; it is improvisational and pierces the celebrational clamour with its plaintive lament.130
At ①, the guitar solo develops the English horn theme by adding ornamentations and trills.
The first horn comes in the fourth beat of m.10 to emphasize the cadence of the first dialogue between the English horn and the guitar. At ②, the English horn plays the theme in G Major in mezzo forte, and there are more dynamic changes compared with the solo at m.2. The string section’s accompaniment is pianississimo; however, the solo melody has more expression compared with the previous passages.
130 Wade, 34.
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4.1.2 Conductor’s Guide: m.1 to ③-1 (mm.1-16)
The conductor should remember that the soloist needs to retune the guitar, which was tuned in scordatura for the first movement. The slow arpeggio of the guitar starts from the sixth string to the first string, so the conductor should coordinate his or her arm movement with the soloist’s right-hand movement.
Example 4.1, Mvt II, Main theme by English Horn mm.1- 4
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
From ①, a slight subdivision of the pattern is required for the conductor in order to establish a stable pulse for the pizzicati of the bass section.
67
Example 4.2, Mvt II, Main theme mm.5-8
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
The pizzicati of the bass provide the frame of the pulse for the guitar solo, but they should be played lighter and softly, to avoid imposing the solo guitar a vertical rhythmic sense on the soloist. The grace notes should always be played before the beat and the main notes on the beat in order to line up with the pizzicati of the bass.
At the first beat of m.9, the score suggests that solo guitar play four notes simultaneously; however, in practice, the notes are often played in arpeggio to produce a lyrical effect. The length of rubato on the first beat depends on the musical taste of the soloist; however, the conductor should consider the treatment of grace notes before rehearsal. At mm. 10-11, the conductor should pay attention to the f# and b of the low strings, and the countermelody of the first horn since they could overwhelm the middle register of the guitar solo. At ②, the cello and the bass sections switch from pizzicato to arco, so the conductor should pay attention to the volume change.
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Example 4.3, Mvt II, Guitar solo mm.9-12
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
The theme appears second time, played by the English horn in G Major with more dynamic changes, while the accompaniment of the guitar has no particular technical difficulty.
Example 4.4, Mvt II, Thematic motive mm.13-16
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4.1.3 Theoretical Analysis: ③ to ⑤-1 (mm.17-25)
At ③, the guitar responds to the English horn solo with ornamentations, and the first bassoon comes in ④-1 in F# Major, the dominant of B minor, to conclude the second dialogue between the English horn and the guitar. At ④, the tonality becomes B minor and the strings play a modified thematic melody from the main theme of the second movement and the woodwinds’ response brings the music to the next section. At ⑤-1, the English horn plays a melody, while the strings and the guitar play an accompaniment in F#7 chord, the V7 of B Major.
Example 4.5, Mvt II, Thematic motive mm.21-23
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70
4.1.4 Conductor’s Guide: ③ to ⑤-1 (mm.17-25)
At ③, the conductor should listen to the first chord of the solo guitar carefully since it requires a huge left hand stretch for the soloist. The guitarist’s first finger stays on the third fret of the sixth string, and the fourth finger should reach the seventh fret of the first string. In practice, the low G cannot be sustained as written, so the soloist often plays a rubato on the bass note to give a strong harmonic accent to make the melody more lyrical.
Example 4.6, Mvt II, Guitar solo ③, mm.17-18
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
At ⑤-1, the conductor should be mindful of the last arpeggio of the soloist since the solo should make a huge leap from the second fret to the fourteenth fret of the guitar to play a short cadenza in B Major.
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Example 4.7, Mvt II, Thematic motive mm.24-26
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
4.2 Part 2: ⑤ to ⑪+3 (mm.57-83)
4.2.1 Theoretical Analysis: ⑤ to ⑦+3 (mm.26-36)
starts with a new theme played by the guitar. The melody is in B Major inviting the solo guitar to an E Major cadence at m.28. However, the new theme modulates to A7 chord, the dominant of D major and brings the oboe and strings to play a motive of the main theme at ⑥ in
D7, and the modulation brings the melody into G minor ⑦-1, and the first cadenza of the guitar starts in E minor.
4.2.2 Conductor’s Guide: ⑤ to ⑦+3 (mm.26-36)
At ⑤, the strings’ slurred staccato should be played almost legato to cover the short decay of the guitar solo. The conductor should watch the soloist playing the last four thirty-second notes at the end of each cadenza from ⑤ to ⑥. It is recommended that the conductor synchronizes his or her upbeat with the last four notes of the solo guitar to invite the entrance of the horns and bassoons at m.28.
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Example 4.8, Mvt II, Guitar solo part mm.27-29
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
At ⑥, the conductor should be aware of the entrance of muted trumpets which is their first appearance in this movement. At ⑥+3, there is an erratum on the second beat of the cello part. The tied D in eighth note should be corrected as a tied sixteenth with a sixteenth rest.
Example 4.9, Mvt II, Erratum in the cello part, mm.31-33
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4.2.3 Theoretical Analysis: ⑦+4 to ⑩-1 (mm.37- 56)
The guitar solo plays a cadenza starting in E minor. Rodrigo used the double staff notation to clarify the melody and the accompaniment. E minor is one of the richest keys for the classical guitar since its tonic chord contains four open strings including the sixth open string E. Wade states that this solo is a combination of the saeta-like melodic line with a harmonic accompaniment in arpeggio.131
Example 4.10, Mvt II, First guitar cadenza mm.37-39
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
After the first part of the cadenza, the first oboe follows the guitar by playing a saeta-like melody on the third beat of ⑧. After the oboe’s solo, the guitar plays a scale consisting of the triplets and 64th notes. This passage repeats once more a whole tone below compared with the first part. On the third beat of ⑨, the passage which consists of the sixteenth triplets brings the guitar to the second cadenza.
131 Wade, 35.
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4.2.4 Conductor’s Guide: ⑦+4 to ⑩-1 (mm.37- 56)
⑧-1, the conductor should make eye contact with the first oboist and the upper string sections, and mentally following the tempo of the soloist in order to make a smooth connection into the last arpeggio of the guitar and the entrance of the first oboe.
Example 4.11, Mvt II, First guitar cadenza mm.45-47
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
The conductor should give a very clear preparation of the anacrusises of ⑧+3 and ⑨-1 to the soloist, the cello, and the bass section so that they can start together. As the anacrusis of ⑥, each grace note at the end of the phrase of the guitar should be well synchronized with the orchestra.
The transition at ⑨ is one of the most delicate passages in this concerto for the conductor. The conductor should connect with the second horn, the flutes and the first oboe. Especially, the oboist needs to have a clear click since it starts a half beat later than the second flute and the second horn.
75
Example 4.12, Mvt II, First guitar cadenza mm.52-53
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
4.2.5 Theoretical Analysis: ⑩ to ⑪+3 (mm.57-83)
The second cadenza is longer and more virtuosic than the previous cadenza and consists of three parts. At ⑩, the key changes from B minor to C# minor. At the first part, the main saeta- like theme appears with a pedal of G# note, and the part is wrapped up with a recitative-like motive from the main saeta-like theme.
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Example 4.13, Mvt II, Second guitar cadenza mm.57-58
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
There is a short transition which consists of two arpeggios in A Major. The second part of the second cadenza starts with a melody which is supported by a D# pedal.
Example 4.14, Mvt II, Second guitar cadenza mm.65-68
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
The melody transforms into groups of arpeggios which contain the main notes on the upper parts. The third part of the cadenza starts at ⑪, with a strong G# pizzicato of the strings and the guitar solo follows it with a rasgueado in thirty-second notes in fff. This pattern repeats three times, and a tutti of the orchestra in F# minor opens part 3.
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4.2.6 Conductor’s Guide: ⑩ to ⑪+3 (mm.57-83)
The conductor needs to follow the cadenza from the second part of the second cadenza, align the beat with the first double-quintuplet arpeggio and count the beat by listening to each one of the highest notes of the arpeggios.
Example 4.15, Mvt II, Second part of the second cadenza mm.69-76
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
From m.77, the guitar solo empasizes the first note of each arpeggio with an accent. When the guitar plays the last arpeggio, the conductor should take a slight breath before giving a cue for the string section’s G# pizzicato so the solo can have time to move his or her left hand to a very high position at ⑪.
78
Example 4.16, Mvt II, Second part of the second cadenza mm.77-80
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
When the solo finishes the third rasgueado, the conductor should consider the last eighth note of the guitar as the preparation beat for the orchestra tutti at ⑪+3.
Example 4.17, Mvt II, Second part of the second cadenza mm.83
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4.3 Part 3: ⑪+4 to the end (mm.84-101)
4.3.1 Theoretical Analysis: ⑪+4 to the end (mm.84-101)
At ⑪+4, the tonality changes in F# minor and an orchestral tutti opens the fifth section of the second movement. The saeta-like main theme is played by the upper string sections, and the woodwind instruments follow by echoing the melody in an antiphonal way. At ⑫, the first flute concludes the tutti of the orchestra and leads to the guitar solo, which consists of sixteenth triplets in C# minor, accompanied by the violins. At ⑬, the first bassoon plays a modified motive of the main saeta-like theme, and the English horn echoes it a perfect fourth higher. Finally, the guitar solo enters on a F# chord, the dominant of B Major, played by the strings. The solo guitar’s recitative-like melody concludes with an arpeggio in B Major chord with three notes of the harmonics.
4.3.2 Conductor’s Guide: ⑪+4 to the end (mm.84-101)
Conducting from ⑪+4 is quite straight-forward. The quarter notes and half notes should be played softer than ff while the sixteenth and the thirty-second notes are played so each motive and the moving notes can be clearly heard. It is recommended that this passage be conducted in eighth notes.
80
Example 4.18, Mvt II, Tutti, mm.62-64
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
At ⑫, the first flute melody should be heard clearly since its register is very low and the registers of the first oboe and the horns are very expressive. The end of ⑫+2 needs a little ritardando to bring in the guitar solo ⑫+3.
81
Example 4.19, Mvt II, Tutti, mm.92-94
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
The fourth beat of ⑬+2, the second clarinet plays a low F# in concert pitch and the conductor should gently invite the soloist to play the sixteenth triplet in rallentando. The conductor should follow the solo guitar’s tempo and give a cue to the bass section for a pizzicato in a low B which punctuates the tonic of B Major.
82
Example 4.20, Mvt II, Tutti, mm.99-101
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
Guitarist David Russell gives a useful tip for performing the second movement, emphasizing the importance of listening to the bass line. He says:
Specifically, I like to hear the pulse in the bass line in the slow movement, so I am able to play my rubato, while the general pulse stays constant, except for the very end of each long phrase. A large amount of Rodrigo’s music has a very strong rhythmic impetus, and I think it is important to maintain that. The second movement of the concerto offers a great variety of possibilities [for personal expression]. That means that each time we hear a different guitarist playing it, we are able to enjoy that player’s personality coming through in the music.132
132 David Russell, Xuefei Yang, and Milos Karadaglic, “Joaquín Rodrigo’s Journey to ‘Concierto de Aranjuez’,” interview by Blair Jackson, Classical Guitar, no. 378 (Summer 2015): 27.
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Chapter 5
Analysis of Concierto de Aranjuez: Movement 3
Third movement – Allegro gentile Structure: Rondo form Key: Begins in B Major and ends up in D Major Time Signature: 2/4 and 3/4 Tempo: = 164 Table 5.1 Structure of the movement 3
M. Number Section Instrumentation mm m.1 to ① Introduction 40 mm.1-20 main theme by guitar solo (B Major) Solo guitar 20 mm.21 to ① Main theme by tutti (D Major) Tutti except hns 20 ①+2 to ⑤-1 Section 1 57 guitar solo / vla+vc’s pizz, fl solo (F# Minor) 13 guitar solo / vla+vc’s pizz, fl solo (F# Minor) 16 Pirulero theme by guitar/ bsns,hns $trps x 4 16 Pirulero theme by guitar in the upper register 12 ⑤ to ⑩ Section 2 64 Dialogue between guitar and ww 8 upper Pirulero theme by guitar, guitar’s triplets 33 main theme with arpeggios by guitar (G Major – E Minor) (A2) 23 ⑩+2 to ⑮-2 Section 3 67 4-bar tutti, 10-bar guitar solo, guitar’s arpeggio’s (B Major) 24 4-bar tutti, 10-bar guitar solo, guitar’s arpeggio’s (F# Major) 23 main theme by guitar with 16th slur scale 20
⑮-1 to ㉑-1 Section 4 62 fanfare-like theme by guitar, trumpet and tutti (A Major) 19 fanfare-like theme by guitar, trumpet and tutti (B Major) 19 fanfare-like theme by guitar (D Major) 13 guitar’s arpeggios and scale 11
㉑ to ㉒-1 Section 5 19 main theme by tutti (D Major) tutti ㉒ to m.321 Codetta 12 4- bar tutti, 5-bar descending guitar scale, a simple ending with tutti, gt & strs three quarter by guitar and strings’ pizz
84
Theoretical Analysis and Conductor’s Guide
5.1 Introduction: m.1 to ① (mm.1-40)
5.1.1 Theoretical Analysis: m.1 to ① (mm.1-40)
The third movement begins with the guitar solo without accompaniment. On the score, the anacrusis of the first meause is erroneous. The two quarter-notes should be corrected as two eighth- notes.
Example 5.1, Mvt III, Intro, m.1
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
This movement consists of 2/4 and 3/4 patterns giving a rhythmic excitement. The guitar solo plays 20-measures of the solo in B Major, and the orchestra’s tutti follows by imitating the previous solo passage of the guitar in D Major, the main key of this movement. The orchestra plays exaclty the same length of the measures as the guitar solo.
5.1.2 Conductor’s Guide: m.1 to ① (mm.1-40)
The conductor follows the guitar solo by marking bars in a passive way and must give a strong down beat on the first beat of m.20 to bring the orchestra’s tutti.
The grouping of four measures, 3/4-2/4-2/4-2/4, is often observed in the third movement. For example, The measures from the beginning until ① consists of ten groups of 3/4-2/4-2/4-2/4.
( five for the solo guitar and five for the orchestra tutti.)
85
Example 5.2, Mvt III, Guitar solo, mm.1-8
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
It is recommended that the conductor analyse this pattern to memorize the structure of the movement. The four bar pattern appears eight times in the third movement. from m.1 to ①, ③ to ④-1, ⑨ to ⑩-7, ⑭ to ⑮-6, ⑮-1 to ⑰-4, ⑰ to ⑲-2, ⑲ to ⑳-6, and
㉑ to ㉒-1
The conductor should emphasize the first beat of each 3/4 measure to create linear phrasing.
Example 5.3, Mvt III, Orchestra’s tutti, mm. 20-29
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
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5.2 Section 1: ①+2 to ⑤-1 (mm.41-97)
5.2.1 Theoretical Analysis: ①+2 to ⑤-1 (mm.41-97)
The guitar solo plays the harmonized theme in D Major and brings a short flute solo in F# minor by playing an F# pedal. The guitar plays four bars of B minor solo passage and performs the harmonized theme in E Major.
Example 5.4, Mvt III, Flute solo, mm. 45-49
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
Another solo flute passage in C# minor and four bars of the solo guitar passage appears as the previous case. At ③, a bass melody of the guitar, similar to the passage at ①-7 in the first movement, appears with an accompaniment of the bassoons, trumpets and horns. The four-bar phrase repeats four times and at ④, the pattern changes 3/4-3/4-2/4-2/4-2/4 twice.
5.2.2 Conductor’s Guide: ①+2 to ⑤-1 (mm.41-97)
From ①+2, the conductor should indicate fast and clear preparations to gain the low strings’ pizzicati on time. ③-4, the fingerings of each chord of the guitar are very challenging since they are not written in an idiomatic way. The conductor should pay attention to the guitar solo if he or she makes any tempo rubato while playing the chords, especially the last chord which carries the wind and brass accompaniment at ③.
87
Example 5.5, Mvt III, Guitar solo, mm.65-69
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
From ③, for each 3/4 measure, the conductor only needs to give the same preparation as
①+1 and soft landing of the downbeat to get light and short staccato in pianissimo.
Example 5.6, Mvt III, Pirulero theme by guitar, mm. 69-73
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
5.3 Section 2: ⑤ to ⑩ (mm.98-161)
5.3.1 Theoretical Analysis: ⑤ to ⑩ (mm.98-161)
At ⑤, the guitar plays chords in C# minor in ff, and the flute and piccolo respond to it by playing the previous passage in octaves with an accompaniment of the brass. The guitar repeats the same figure of the chords, but in Db Major, the enharmonic chord of C# Major, and the woodwinds and the brass follow the guitar by playing a response in C# Major.
88
Example 5.7, Mvt III, Guitar solo, mm.96-103
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
On the anacrusis of ⑥-3, the guitar solo starts to play a variation of Pirulero theme, which appears in the first movement, on the upper melody in E Major and concludes with a B minor chord.
Example 5.8, Mvt III, Pirulero theme by guitar,mm.104-108
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
The five bars of the string hemiola bring the guitar’s virtuosic triplet passage at ⑦-5, the triplet passage repeats three times and invites a variation of the theme played by the 1st violin and the
89 guitar in G Major. At ⑨, the guitar plays brilliant arpeggios in sixteenth notes, and the first violins play the theme in pizzicato with the cello’s accompaniment. The section concludes in E Major at
⑨+2.
5.3.2 Conductor’s Guide: ⑤ to ⑩ (mm.98-161)
At ⑤, the low strings play a series of repeated pizzicato Cs. The pizzicati tend to be played legato since there are no note changes. The conductor should ask the low string players to play those notes staccato to unify the articulation of the whole orchestra. At ⑥+3, the hemiolas in the strings have a tendency to accelerate the tempo, so the conductor should lower his or her beat pattern. At ⑨, the guitar solo starts to play the arpeggiated main theme in sixteenth notes, and the first violins play the unmodified main theme in pizzicato.
Example 5.9, Mvt III, Guitar’s arpeggio, mm.139-146
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
The tempo for the guitar solo is fixed; however, the pizzicati of the first violins often tend to accelerate the tempo. Thus, the conductor should ask the first violin section to fully respect the
90 value of the eighth rests and to listen to the arpeggios of the guitar. It would be helpful for the orchestra to see how the soloist performs this passage at rehearsal. The soloist can face the orchestra so the musicians can see the hand movement of the guitarist and listen to the sound more directly.
From ⑩-6 to ⑩-1, there is a crescendo and accents on the violin passage. The conductor should calculate the level of the crescendo to build a smooth connection to the tutti of the woodwinds at ⑩ and give clear cues to the violins to produce vibrant accents.
Example 5.10, Mvt III, Guitar’s arpeggio, mm.156-160
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
5.4 Section 3: ⑩+2 to ⑮-1 (mm.162-229)
5.4.1 Theoretical Analysis: ⑩+1 to ⑮-1 (mm.162-229)
Four measures of the orchestra’s tutti in E Major introduce a nine-measure guitar solo consisting of a C Major and an A Major passage. From the anacrusis of ⑪+2, the wood winds and the violins play a short and dynamic melody while the guitar is performing a brilliant B Major arpeggio ending up with an ascending melodic E minor scale. The scale opens an A Major passage connected to the four measures of the orchestra’s tutti in B Major. This time, the tutti brings a nine-
91 measure guitar solo consisting of a G Major and an A Major passage. At the anacrusis of ⑬+2, the passage at ⑪+2 is repeated exactly the same way, but a perfect fourth lower. At the anacrusis of ⑭, the main theme reappears in A Major and it is played by the piccolo. The flute plays the theme in triplets and the guitar plays the theme with detaché and slur on the sixteenths.
5.4.2 Conductor’s Guide: ⑩+2 to ⑮-1 (mm.162-229)
The conductor follows the guitar solo from ⑩+5 by counting the beat passively and giving a strong preparation beat with a breath on the second beat of ⑪. The passage from ⑪ to ⑭ is very straight forward and does not need any tempo adjustment or rubato.
Even though there are two huge leaps at mm.180 and 204, those are idiomatic passages. The first two notes of each first arpeggio are open strings, hence the soloist has enough time to move his or her left hand after playing the scale. Some players make a little accelerando while playing the scale to add more musical tension.
Example 5.11, Mvt III, Guitar’s arpeggios and scales, mm.179-182 & mm. 203-206
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
In terms of the conducting technique, the third movement is quite straight forward.
However, the orchestra often tends to accelerate the tempo, especially when the guitar solo performs sixteenth note passages such as from ⑨ and from ⑭. The conductor needs to hold the tempo while conducting those passages. At ⑭, the conductor should unify the length of the
92 staccato of the woodwinds. The half notes of the brass should be pulled back like a bell sound to highlight the solo passage of the guitar. At ⑭-3, the conductor slightly turns right toward the cello, and the bass section to invite them to play pizzicati at ⑭-3.
5.5 Section 4: ⑮-1 to ㉑-1 (mm.230-290)
5.5.1 Theoretical Analysis: ⑮-1 to ㉑-1 (mm.230-290)
At ⑮-1, the guitar solo plays a fanfare-like passage in third and perfect fifth in A Major with a Pedal of E in the celli. A real fanfare of the muted trumpets follows the guitar solo, and at
⑯, it opens a tutti of the orchestra in G Major, which consists of the fanfare melody and a counter point melody related to the theme at ⑩. At ⑰, the fanfare-like theme is played again by the guitar; however, in B Major. As the previous passage, the muted trumpets echo the theme of the guitar. The contrapuntal tutti reappears and it carries the last fanfare-like theme of the guitar in A
Major at ⑲, the dominant chord of D Major. At ⑳, the guitar solo performs eight measure of the brilliant arpeggios in A Major chord. After a fermata on the note A, the solo plays a dramatic D
Major ascending scale leading into the Codetta.
Example 5.12, Mvt III, Orchestra’s fanfare-like theme, mm.240-244
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
93
5.5.2 Conductor’s Guide: ⑮-1 to ㉑-1 (mm.230-290)
From ⑮-1, the conductor has to remember that only the guitar solo has the accent on each first beat, but not the pedal of E in the celli. However, from ⑯-3, the conductor should give a clear accent on each first beat of the measure until ⑰-2. From ⑰, the beat pattern of the conductor is the same as the previous passage from ⑮-1 to ⑰-2. At ⑳, the conductor should give a cue to the first violin and listen to each first note of the arpeggios of the guitar.
E-F-G-A-B-C-D-E-F-G-A
Example 5.13, Mvt III, Guitar’s short cadenza, mm.280-288
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
The crescendo of the strings starts at ⑳+4; however, the string players may be tempted to make an early crescendo since the guitar solo makes the crescendo ⑳-4. After the fermata ㉑-3, the guitar solo plays a virtuosic ascending scale.
94
Example 5.14, Mvt III, Guitar’s scale, mm. 288-291
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
The first chord of the tutti at ㉑ often comes later than the guitar solo since the sound of the guitar is not loud enough and the motion of the soloist is smaller than other instrumentalists such as pianists or violinists. In some cases, the soloist accelerates the last eight sixteenth notes to dramatize the entrance of the tutti. The last eighth notes can be performed in the same position, in that case, the conductor should give the preparation beat slightly in advance in order to guarantee the tutti sound on time. In the first movement at ㉒, there is also a similar passage where the scale of the guitar and the orchestra tutti come together; however, in that case, the speed of the guitar scale cannot change since it consists of eighth triplets. Guitarist Xuefei Yang talks about the different timing of the guitar and the orchestra while performing Concierto de Aranjuez and gives some suggestions.
The orchestra actually probably has a harder time hearing you. An orchestra is like a big elephant—the conductor makes a motion and it takes a second for the sound to come out. But the guitar is such a quick instrument—you see the [conductor’s] hand come down and you might be quicker than the orchestra, so you have to take all that into account.133
133 David Russell, Xuefei Yang, and Milos Karadaglic, “Joaquín Rodrigo’s Journey to ‘Concierto de Aranjuez’,” interview by Blair Jackson, Classical Guitar, no. 378 (Summer 2015): 27.
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5.6 Section 5 and Codetta: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)
5.6.1 Theoretical Analysis: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)
At ㉑, the tutti from m.21 reappears in ff, in D Major, and the horns are added to enrich the orchestration. At ㉒, the codetta starts and the orchestration becomes lighter to invite the guitar solo at ㉒+5. The guitar solo performs a descending slur scale from ff to pp and plays three D notes in staccato with the first violins, cellos, and basses to conclude the movement.
5.6.2 Conductor’s Guide: ㉑ to ㉒-1, ㉒ to the end (mm.291-309, 310-321)
The potential acceleration of the ascending scale of the guitar right before ㉑, could provoke a rapid tempo at ㉑. Therefore, the conductor should lower the beat to hold the tempo of the orchestra. The last three pizzicati of the strings should be played in staccato to unify the articulation with the guitar solo.
Example 5.15, Mvt III, Ending of the piece, mm. 297-312
Rodrigo CONCIERTO DE ARANJUEZ, guitar solo and piano reduction Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG
96
After the performance, the conductor should invite the English horn player to give a solo bow to the audience. It looks very simple and easy; however, conductors might forget as the soloist receives the audience applause. Conductor David Itkin suggests writing a note at the end of the score or taping a note to the floor in case of conducting from memory.134
134 Itkin, 386.
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Chapter 6
Useful Tips for Conducting Guitar Concertos
Chapter six will provide rehearsal techniques and suggestions for general guitar concerto rehearsals and concerts to open further research for the guitar concerto.
6.1 Tips Associated with Musical Expression and Technique
6.1.1 Establishing Dynamic Levels
Before the first rehearsal, the conductor should have a clear idea about the dynamic level of the orchestra. Conductor Jerry Donald Kracht suggested that the performer establish the dynamics of a piece from a barely audible level to the loudest level, especially when rehearsing a piece which has a wide dynamic range.135 This is the exact opposite of the way that a guitarist practices a piece, since producing a soft sound is much easier on the guitar than producing a loud sound.
The dynamic range of Concierto de Aranjuez is as follows. ppp – pp – p – mp – mf – f – ff – fff
The softest dynamic of this concerto, ppp appears at ①, in the first movement, and the loudest dynamic, fff, comes out on the third beat of m.167, ⑯-1.
6.1.2 Relative Dynamic and Fingerings
Other issues are the relative dynamics and fingerings. The guitar has different dynamics depending on its register. The lower register’s sound has less projection than the sound of the treble
135 Kracht, 72.
98 register, and playing a note in f and strumming the six strings with rasgueado in f will produce different results. Another issue for non-guitarist conductors and composers is that the guitar sound often depends on the fingerings of the left hand and the plucking styles of the right hand. For the guitar, a chord consisting of many notes often results in weak sound, especially it is not idiomatically written. Example 6.1 shows two different types of the fingering. The first four chords include open -string notes in the middle of the harmony and request an extension of the left hand which results in weakening the dynamic. However, the last chord has three open strings, and it needs only the index of the left hand to be performed, so the resonance of the chord will be richer and louder than the previous four chords.
Example 6.1, Mvt 3, mm. 50-54
Rodrigo CONCIERTO DE ARANJUEZ, miniature score Copyright © 1957 Joaquin Rodrigo Copyright © renewed Sole agents for the world excluding Spain: Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH All Right Reserved. Used by permission of European American Music Distributors Company, sole Canadian and U.S. agent for Schott Music GmbH & Co. KG and Ernst Eulenburg & Co. GmbH
6.1.3 Understanding the Rest Stroke and the Free Stroke
There are two traditional ways of plucking strings of the guitar: the rest stroke and the free stroke.136 The rest stroke allows the right fingers to stay on the next string after plucking a string of the guitar. This stroke produces a powerful sound projection and mainly used for executing melodic lines. On the other hand, the free stroke requires the right fingers to stay in the air after plucking the string. The fast arpeggios on the guitar often result in weak sonority since the soloist
136 Scott Tennant and Nathaniel Gunod, Pumping Nylon: A Guide to Classical Guitarists Technique Handbook (Van Nuys: Alfred, 1995):35-36.
99 executes the notes with the free stroke. For a conductor, it is crucial to meet the soloist to discuss these issues of delicate sound balance. The orchestral instruments also have different dynamic ranges; hence the conductor must first of all understand the dynamics of the guitar and then unify the dynamics of each of the orchestral instruments. For example, the sound projection and the ability of the guitar to sustain sound is shorter than the orchestral instruments. The orchestra musicians should understand these characteristics of the guitar, especially when they accompany the solo part. It is recommended that the string players control the dynamics by visualizing their bow movements in terms of the bow speed and length. The woodwind and the brass players should adjust their sound, especially when they play background harmony. There also is another way of adjusting the sound balance of the guitar and orchestra. If the soloist runs through a rehearsal by turning toward the orchestra without amplification, the musicians will benefit from listening to the delicate guitar sound with more attention and to adjust their reaction by looking at the soloist.
6.2 Tips Assoiciated with Amplification
6.2.1 Sound Reinforcement System
Amplifying the guitar sound has become more and more popular due to the construction of huge concert halls. Sound engineers Gary. D Davis and Ralph Jones classify the amplification systems into two categories: a) main sound reinforcement system, projecting the sound to the audience; b) stage monitor system, enabling performers to listen to their sound on stage.137 Since the level of the amplification for the guitar must be adjusted without distorting its original timbre, some guitarists use only the stage monitor system. Guitarist David Tanenbaum states that placing
137 Gary D. Davis and Ralph Jones, The Sound Reinforcement Handbook (Milwaukee: Hal Leonard, 1989):178.
100 monitor speakers behind the orchestra helps the musicians listen to the guitar sound. 138 In his dissertation, composer and guitarist Emiliano Pardo-Tristán supports Tenenbaum’s opinion regarding the amplification setting. Pardo-Tristán states that placing two monitor speakers behind each side of the orchestra enabled him to perform his guitar concerto Concierto Mejorana without sound balance issue.
6.2.2 Microphone Types by Transducer
Selecting an appropriate microphone is crucial to obtain the best sound quality of the guitar.
In his book Recording Orchestra and Other Classical Music Ensembles, Richard King states that microphones can be classified in various ways, such as transducer types and polar patterns.139 King explains the definition of a transducer as follows;
A transducer by definition is any device that changes energy from one state to another. In audio, microphones are used to transfer acoustic energy into electrical energy, and loudspeakers perform the same function except in the reverse direction, via a mechanical apparatus.140
There are three types of microphones in terms of the transducer type: the dynamic microphone, ribbon microphone and the condenser microphone.
a) Dynamic Microphone
The dynamic microphone consists of a moving coil attached to a magnetic diaphragm that detects sound waves.141 The sound wave touches the diaphragm, attached the moving coil, and the
138 Colin Cooper.Guitar interviews. vol. 1: the best from Classical Guitar Magazine (Pacific, MO: Mel Bay Publications 2001):96. 139 Richard King. 2016. Recording Orchestra and Other Classical Music Ensembles. (Abingdon: Taylor & Francis Group, 2016):21. 140 Ibid. 141 Ibid.,22.
101 coil sends the signal to the loudspeaker. This microphone is inexpensive and less sensitive than the condenser microphone, so the dynamic microphone is often used for the recording session or concert of the loud instruments such as electronic guitar and drum.142 This microphone does not need external electrical support, so its simple system makes the usage more commonly. The image below (Figure 6.1) shows the function of a dynamic microphone.
Figure 6.1 Diagram of a dynamic moving coil Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor & Francis Group, 2016, p.23.
142 Amer Erheim, “A Guide to Different Types of Microphones,” RTC Electronics, July 30, 2018, https://www.rtcelectronics.ca/guide-different-types-microphones/
102 b) Ribbon Microphone
The ribbon microphone is a branch of the dynamic microphone; however, instead of the moving coil, a corrugated ribbon shape element detects the vibration of the sound wave.143
Figure 6.2 Diagram of a ribbon transducer Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor & Francis Group, 2016, p.24.
This microphone is very fragile, so while installing or disassembling it, a delicate treatment is absolutely needed.
c) Condenser Microphone
A condenser microphone consists of a diaphragm and backplate connecting to a voltage source in order to polarize the two materials. This external voltage is called “phantom power” and
King offers a precise explanation about the phantom power as follows;
Phantom power: Condenser microphones are designed with a preamplifier located inside the body of the microphone. In this case an external voltage is needed to power the electronics and polarize the capsule in most cases, and this voltage is “carried” on the same cable that transmits the audio signal. It is called phantom power since it is provides a
143 King, Recording Orchestra and Other Classical Music Ensembles, 22.
103
voltage to the microphone’s preamp while remaining “transparent” to the audio signal, and it is filtered or removed at the audio input of the microphone preamplifier. A simple explanation is that it is a “steady state” or DC voltage upon which the audio signal is transmitted.144
Figure 6.3 Diagram of a condenser transducer Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor & Francis Group, 2016, p.25.
The condenser microphone is often used for classical music performance because of its high-quality sound capturing sensitivity. The table below is a comparison of transducer designs. It clearly shows that the condenser microphone is the best choice for classical music performance.
144 Ibid., 25.
104
Table 6.1 Comparison of Transducer Designs
Source: Richard King. Recording Orchestra and Other Classical Music Ensembles. Abingdon: Taylor & Francis Group, 2016, p.26.
6.2.3 Microphone Types by Polar Patterns
Polar Patterns of the Microphone
A polar pattern is a range of the space that a microphone can capture the sound. The amplification of classical music performance needs more sensitivity and finesse compared with rock concerts or general presentations; therefore, an appropriate type of polar pattern is crucial to produce a refined sound of the classical instrument. There are three different types of direction: omnidirectional; bi-directional; cardioid.
105 a) Omnidirectional Polar Pattern Microphone
The omnidirectional polar pattern microphone equally covers sound from all directions and less sensitive to wind noise than cardioids, so it is often used for outdoor recordings or concerts.145
Figure 6.4 Omnidirectional polar pattern microphone Source:Polar Patterns. Shure Europe. Accessed November 17, 2019. https://www.shure.eu/musicians/discover/educational/polar-patterns. b) Bi-Directional Polar Pattern Microphone
A bi-directional microphone, called also “figure of 8” microphone captures sounds from the front and rear of the microphone, but not the side of the microphone.
Figure 6.5 Bi-directional polar pattern microphone Source: Polar Patterns. Shure Europe. Accessed November 17, 2019. https://www.shure.eu/musicians/discover/educational/polar-patterns.
145 Ibid., 29.
106
This type of microphone has a very narrow directional range, so they are used for isolating sound resources placed side by side.146 c) Cardioid Polar Pattern Microphone
A Cardioid polar pattern microphone is also called a directional microphone since it captures the sound from a specific direction and angle. The range of the polar pattern is a heart shape; that is the reason for naming it as cardioid.147
Figure 6.6 Cardioid polar pattern microphone Source:Polar Patterns. Shure Europe. Accessed November 17, 2019. https://www.shure.eu/musicians/discover/educational/polar-patterns.
Condenser Microphone with a Cardioid Polar Pattern
For the guitar concerto performance or recording, the sound of solo guitar should be captured directly from the guitar without the sound from other instruments; therefore, a cardioid polar pattern microphone is suitable for the amplification of the guitar. In terms of the sound quality, it is obvious that the condenser microphone is the best choice since it captures a well- balanced original sound in the distance with high sensitivity. Expensive ribbon microphones also
146 Davida Rochman, “Multi-Pattern Microphones: What, Where and How?,” Shure, August 11, 2014, https://www.shure.com/en-US/performance-production/louder/multi-pattern-microphones-what-where-and-how. 147 King, Recording Orchestra and Other Classical Music Ensembles, 30.
107 provide a high-quality sound of the instruments; however, they function best at close range, which is not recommended for the guitar amplification.
In conclusion, the most suitable microphone type for the guitar concerto is a condenser microphone with a cardioid polar pattern since it provides the best sound quality and the appropriate capturing range.
6.2.4 Microphone Setting
Sam Desmet’s dissertation provides useful microphone setting tips by introducing an interview with John Williams.148 Williams is a world-renowned classical guitarist, who has played cross-over music with an amplified guitar since the 1970s and has used amplification for his recitals as well. He suggests that the microphone be directed between the soundhole and the bridge of the guitar so the microphone will perceive the sound caused by the vibration of the soundboard and air around it. 149 Michael Pettersen, the Director of Applications Engineering - Shure
Incorporated, gives practical information about placing a microphone from a perspective of the sound engineer. He writes:
A guitar radiates a different timbre in every direction and each guitar surface produces a distinct timbre. By adjusting the mic position relative to the guitar, tonal balance can be dramatically altered. A guitar is designed to sound best at a distance, i.e. two or more feet away. It is "at a distance" that the numerous sounds radiating from the guitar surfaces combine into a pleasing composite. A microphone placed "at a distance" tends to pick up a well-balanced tone quality. In contrast, a mic placed very close to the guitar tends to emphasize the surface that the microphone is near. Therefore, the sound from a closely placed mic will not be representative of the guitar as a whole.150
148 Desmet, 68. 149 Ibid.,68. 150 Michael Pettersen, “Classical Guitar Mic,” Shure, accessed October 3, 2019, https://www.shure.com/en- US/support/find-an-answer/classical-guitar-mic.
108
Pettersen also suggests that the performer adjust the position of the microphone by testing the distance.
When amplifying your guitar, you may encounter feedback. In these cases, position the mic very close to the loudest part of the guitar. Then experiment with mic choice, speaker location, and equalization to obtain your desired tonal balance and sound level. Remember that a difference of only one inch can make a tremendous difference in what the mic picks up. There is no one perfect way to mike a guitar as there is no single ideal mic to use. Like playing, it is part science and part art. Choose and place the mic to get the sound you want. Experiment and listen!151
To sum up, the conductor should have a basic knowledge about the amplification to produce the best performance. Performing with an orchestra is often rare case for guitarists; therefore, understanding the function of the amplification system and selecting an appropriate microphone will be huge assets for the conductor when he or she works on guitar concerto performing or recordings. In addition to the knowledge about the technical issues related to the amplification, the conductor should know that the soloist has the right of selecting the amplification option. This subject should be discussed before signing the contract and should be mentioned in the agreement for the performance.
151 Ibid.
109
Chapter 7
Conclusion
The objective of this dissertation was to provide practical information about Concierto de
Aranjuez for conductors. Chapter one states the purpose and objective of the research and brief information about Concierto de Aranjuez and Joaquin Rodrigo. This chapter also presents history of the guitar literature, its construction, and amplification issues. Chapter two is a literature review consists of five resources related to: Concierto de Aranjuez; guitar in the orchestral and opera literature; guitar method and technique; concertos for guitar and other instruments; conductor.
The information related to Concierto de Aranjuez includes historical background of this concerto from the perspective of a musicologist, technical and practical suggestions by a professional conductor, and analysis about flamenco techniques and cadenzas of Rodrigo’s guitar concertos. While studying this information, I discovered historical and musical background knowledge about this concerto which is useful to the conductor. The resources related to the orchestral and opera literature allow me to recognize the use of the guitar in the mainstream classical music history and how the guitar has developed its status through the years. The information about guitar method and technique explains the basic knowledge about the guitar.
Finally, the resources about concertos and conducting skills inspire me to shape the outline of my analysis by adopting methods from other performance guide-dissertation and the conducting analysis.
Chapter three, four, and five feature the analysis of each movement of Concierto de
Aranjuez. These three chapters provide the structure of the movements, guidelines about sound balance, articulations, and beat patterns. The suggestions about errata and discrepancies were presented in these Chapters. Chapter six offers perhaps the most pragmatic information for the non-guitar-playing conductor. Here, useful information is offered regarding conducting guitar
110 concertos in general, establishing dynamic levels, dealing with the issues arising from unidiomatic fingerings, and understanding different playing styles. Chapter six also offers important information about microphone styles and its characteristics so the conductor can set up an appropriate amplification system for the guitar concerto performance.
In conclusion, this dissertation provides general principals for conducting guitar concertos as follows.
1. Relative Dynamics and articulations
This dissertation provides various examples of the combination of the guitar and other instruments such as bassoon, clarinet, and trumpet. The research indicates how to harmonize the ensemble by reducing orchestral instruments’ volume or exaggerating staccato while playing with the guitar in order to produce a well-balanced sound. For example, the first bassoonist should play the eighth notes with light staccato while accompanying the guitar in the first movement. In general, the trumpet should keep its sharp staccato sound while playing rhythmic passages; however, it should be always played without being overpowering. The rasgueado-like string passage at the beginning of the first movement needs a lot of percussive effects in piano; therefore, the conductor should encourage the musicians to produce the rhythmic sound without hesitation.
2. Understanding Arpeggio Patterns and Lightning Acceleration
At the cadenza, the guitar often demonstrates its splendid arpeggios, which often are not familiar with the orchestral musicians and conductors. The guitar soloist does not need huge motions to produce the arpeggios, and the timber of the arpeggio could be perceived almost obscure to the conductor. Chapter four of this dissertation explains how to group the arpeggio patterns and to listen to the main notes by providing precise analyses. The dissertation provides
111 breathing points for the orchestra while the guitarist is shifting the left-hand position to facilitate the coordination of the solo and tutti connections.
There is another characteristic of the guitar, not stated in the score: lightning acceleration.
Guitar soloists sometimes make a very short acceleration at the end of the phrase, which introduces a tutti of the orchestra to provide a dramatic effect. Measure 25 of the first movement and one bar before rehearsal number 25 at the third movement are good examples. Like the trumpet, the guitar has a very short reaction time to produce a sound. Therefore, the conductor should predict the acceleration and give a preparation beat to the orchestra a little bit in advance.
3. Other Unknown-Characteristics of the Guitar
For many instruments, playing a lot of notes equals producing loud sounds; however, for the guitar, it often creates the opposite result due to its complicated fingerings. This dissertation gives some examples of idiomatic and unidiomatic fingerings of the guitar and provides suggestions such as adjusting the tempo, reducing the volume of the orchestra, and so on. The register of the guitar also affects the volume of the sound. This dissertation discovers some principals about dealing with the register of the guitar. The high and mid register of the guitar sound has rich overtones, and a good projection, especially for the notes played on the three upper strings in high positions. However, the low register sound has less clarity when it is played with a tutti of the orchestra. Chapter three of this research provides suggestions about the harmonization of the low register guitar sound and the tutti by adjusting the volume of the orchestra.
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Further Research
Conducting research on Concierto de Aranjuez was challenging since there are so few resources directly connected to the guitar concerto literature. Since it is a first foray into this type of research for the guitar concerto, perhaps this research will provide a template for future conducting guides to other guitar concertos. This research was only focused on analysing
Concierto de Aranjuez; however, it provides basic structure for any conductor’s guide to a guitar concerto. I hope that research such as this will embolden conductors to undertake the performance of guitar concertos more often.
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Appendix
Letters of Permission
From: Caroline Kane
Dear Mr. Koh:
This email will serve to revise and extend the term indicated in paragraph 2 of the permission agreement dated September 6, 2018 (copy attached) for an additional eight (8) months, to the following:
2. This permission is valid providing your doctoral dissertation is completed by June 1, 2020.
There will be no additional fee for this term extension.
With best wishes,
Caroline Kane
Caroline Kane
Vice President – Licensing & Administration Schott Music Corp | EAMDC
254 West 31st Street, 15th Fl New York, NY 10001 Direct: +1 212 461 6948 Fax: +1 212 810 4565 [email protected] http://www.schott-music.com http://www.eamdc.com
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From: Youngjoon Koh
Dear Ms. Kane, hope all is well with you.
I was wondering if you would be able to extend the permission period of the copyright materials.
( It ends Sep 6 2019.)
Now, I started to write the last chapter and the expected defense date will be at the beginning of December.
( Everybody is on vacation now and the external committee member should have two month reading time for my dissertation.)
In case of receiving a modification request from the committee, submitting the final dissertation and making a hard copy could be done by February.
I would like to know if you could give me a six - month extra period which ends March 6 2020.
( I'm sure that the final submission will be done before March 6, but in case.)
I would be happy to pay the fee for the extended period.
Thank you for your consideration and please let me know your thoughts.
Sincerely,
Francois Koh
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From: Caroline Kane
Dear Mr. Koh:
Thank you for your e-mail of today.
Thank you for the information that you will include excerpts from the two scores. I do not need the list of excerpts.
Attached please find the permission agreement for the use of excerpts from the two scores in your dissertation. Would you please sign and return two copies of this document to us along with your payment? I will then send you your copy of the agreement fully executed.
Please let me know if you have any questions or concerns.
With best wishes,
Caroline Kane
Caroline Kane
Vice President – Licensing & Administration Schott Music Corp | EAMDC
254 West 31st Street, 15th Fl New York, NY 10001 Direct: +1 212 461 6948 Fax: +1 212 810 4565 [email protected] http://www.schott-music.com http://www.eamdc.com
From: Caroline Kane
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Subject: RE: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material in a Doctoral Thesis
Dear Mr. Koh:
Attached please find a copy of the permission agreement fully executed. I am sending to you by mail today an original copy of the agreement fully executed.
With best wishes,
Caroline Kane
From: Youngjoon Koh Sent: September 17, 2018 1:44 PM To: Caroline Kane Subject: Re: Rodrigo CONCIERTO DE ARANJUEZ Permission to Use Copyrighted Material in a Doctoral Thesis
Dear Ms. Kane,
Thank you very much for sending me the signed agreement in PDF.
As soon as I finish my dissertation, I will send you a copy by mail.
Best regards,
Francois Koh