tilntut:
Yv!!!vy ,a!!v!.
M1t0i[r,r
Y*::v!
*l
IncludesprintedsoloPart discscontaining andtwo compact tereference eomple Performance 'tiuratgbmpanimentminusYOU. slowtemPo Alsoincludes-200lo accomPaniments! practice
Mtutu@
Vsnot @."u-tu/d,*" , l.ot/*Ap"*
JoaquinRodrigo
deAranJue Concierto paraguitarray orquesta Guitarra/ Gitarre/Gurtar
ED 7242-01
sct|(Im
JoaquinRodrigo
ConciertodeAranjuez pataguitarruyorquesta ftir Gitarreund Orchester/ for Guitar andOrchestra Nueva edici6ndigitadapor Neuausgabe mit Fingersatzvon / New edition with fingeringby Angel Romero
Guitarra ED 7242-01 rsMNM-001-0758s-s
scIl0l-f Mainz . London. Madrid ' New York. Paris. Tokyo. Toronto O 1959 by JoaquinRodrigo,Madrid . Printedin Cermany
A Regino Sainz de la Maza
Guitarra
A Regino Sainz de la Maza
Das widenechtliche KopieEtr von Noted ist gesetzlich verboten und kdn privat- utrd strafrechtlich verfolgt werdetr Unautho.ised copying ofmusic is forbidden by lat, and may lesult itr cdminal or civil action.
Conciertode Aranjvez Digitadopor AngelRomero (1984)
@*D
paraguitarray orquesta Aflegro con spirito ( J. = e+)
I
JoaquinRodrigo u--------------------!
Rasgueado-
> -
@ 1959by Joaquin Rodrigo, Madrid
Dep6sito Legal: M- 3871- 1979
Sole agents and worldwide distributors - except spain - Schott Music GmbH & Co. KG, Mainz
ED 7242
tr
JJJ
. # i LlJ
a
n l f'r rl
m
I
m
7 T n
o
l
- t r J .-1di'fi JlJtzl
t
:v!-
=
m
-;-r l-z-l ^1,)4-
I I
,3Ao l - _
'a:\
12
tv
cr esc.
ot Y
- 9 + t
7,
V
_ _ _ _ . . 2 1
F u
p
tr II
I
a2tfe
I
m
'l+ 2
p
i
I p*f
i
J , .!a! 7 T '
IV-'---------------iilI m
p.b
p m
u
J
* t
i
;,-t;l-rlip p
p
IV
Arm.
2 i -
@
@qi. - , l T z l s-i r
m 1 -l
m
m i
| 4.a_
v--------------l
ul E i.'
f#&ot:?,,e
tl6
tr*
,v I ,A (,t ) V--,
4
m l q
Z r
Em
i
i m
@ @ r1 O z
4
,9 t rr @u
o 232 I
'@41, -
r -o
:==:---z
p stacc,
l-:--t1
'ltt
cnf
u
in,,\Lbhhi{trWz
III-'---------------------luII'-"-t r
rx-----
----VIII IX
m
,i . r @ 2
o
p> frrl
I::J
-----------------------'l
V------------l
m
,uzLLbh\Lelt
"f
2 t
m
i
rilr.'<*lr)1r t
t
q
-
l
=
-
-
r 9 t
-
-
r
n
-.........{........?-8 ..-.....i @...............
e@
r
l
Adagio (rt = c+)
vII----------------------"r II"'---""
tnf cantabile
Ir------r
l-*o@
'
J
3
J -
e- - 7- @
@;.- - - - - - :.- - - - .- i
10
nf
ben marcato il canto
,7r7ut "l'rT
A r_=
3 @--------------- ---i
'r 'r
tTF
}F
i
i
m
i
m
i m
ll
E
a
'lJ
'l 3
'yj
#-
Att
,r
"r
'7'7 ''7 = I
-
J
L
f
I
z 49"u31 3
3
"g <-Z-:'.
:Z:\
4T1i p
#@ f@
ttl
l
m
l
m
l
:I r ' r ' l m i S m i
m
l3
v---------t
p p p
accel. pmi
:
pmi
r
3
sigue-
3
a
pp leggiero
8""'-"""'l
Ep
-a
leggiero
t4
I\r-'-'----
a i p
cresc. poco a poco
.
l
a m i p ' p i m a m i a m p i a m p i
semprecresc.
l5
piil tranquillo
o8'-'-,,-i_;a": & t?
F J_
@
Arm.
( 1e)
I
t6
ilI
Allegro gentile ( rl = rcq)
m
+ 1 fYo
I
todo pulgar -
7? l-J
-
7 I
t7 v---------------l
l
r I
II------t
---------i m l
m l
'F poco a poco
cresc. ponticello
fif
r r#r
(ponticello)
f,1 (ponticello)
...
nat.
l
a
18 sempre stacc, m i a m i
rr-----l x---l x'-l
a m i
4
onf
I cresc.
m i
@?, t-
3
P-simile
XI----l m i ' a 8 , 4
f
@
@
I9
3 piil cresc.
::i "l ^l @
a ,)-)
.) "y @
^).rD
p '
7 p
p_____---r
m i
@f;
m
l 41
I
4A
l
t
V,
?E.rfrEE.J ^)
'/ -
i ' @
i
p
I V
"i?
=
p p p Y p
II--,5---]'mi
m
::.
@-------------
mf (continua alternando)
@ i
I
m i m
m l
m 4,
l*g*l 2
l
@-
m
l
m
l
-*:@
rx---------------------------1
tc.?t:Zt=ett
m i 4.-f-
22 (La misma digitacion)
"'-'---'-'----'----'-----r ifrR$ r.-l\
ilt+^2Lt-t:;
cresc.wco a poco
23
w o
m
Schott Music, Mainz 45 560
JoaquinRodrigo A la busca del mds all6 para orquesta TaschenpartiturETP 1455 Cangoneta para violin y orquestade cuerdas Partitur CON 209 KlavierauszugYLB 78 Cuatre can€onsen llengua catalana paravoz y orquesta Partitur ED 8358 KlavierauszugED 7591 Cantan Bel6n Pastores para soprano,coro y orquesta Poemade Victoria Kamhi Partitur ED 8354 KlavierauszugED 7728 Cdntico de San Francisco de Asis para coro y orquesta Partitur ED 8353 Concierto andaluz * para cuatro guitarras y orquesta StudienpartiturETP8026 KlavierauszugBD 7992 Concierto como un Divertimento para violoncheloy orquesta Partitur ED 8370 Concierto de Aranjuez * para guitarra y orquesta TaschenpartiturETP 1809 KlavierauszugBD 7242 Concierto in modo galante * para violonchelo y orquesta Partitur ED 8357 KlavierauszugED 8158
Concierto madrigal para dos guitarrasy orquesta TaschenpartiturETP 1824 KlavierauszugED 7390 Concierto para una Fiesta para guitarra y orquesta Partitur ED 8352 KlavierauszugED 7289 Dos DanzasEspafrolas para orquesta Partitur ED 8359 Du6rmete, Niffo de "Villancicos y canciones de Navidad" para soprano,baritono y orquestade cdmara Poemade Victoria Kamhi Partitur ED 8360 KlavierauszugED 7596 La Espera de "Villancicosy canciones de Navidad" para sopranoy orquestade cdmara Poemade Victoria Kamhi Partitur ED 8351 Fantasiapara un gentilhombre para guitarra y orquesta TaschenpartiturETP 1823 Klavierauszug GA208 Versi6nde famesGalway para flauta y orquesta KlavierauszugED 11488 Himnos de los Ne6fitoS de Qumrdn para tres sopranos/coro de hombresy orquestade cdmara Adaptaci6npo6ticade Victoria Kamhi Partitur ED 8368
Homenaje al la Tempranica para orquesta Partitur ED 8361 Juglares (Ensayosinf6nico) para orquesta Partitur ED 8362 Mrisicapara un iardin para orquestade c6mara Partitur ED 8363 Palillos y panderetas para orquesta Partitur ED 8369 Cinco PiezasInfantiles para orquesta Partitur ED 8356 Preludio para un poema a la Alhambra para orquesta Partitur ED 8365 Rosaliana Cuatro cancionessobrepoemas de Rosaliade Castro para sopranoy orquesta Partitur ED 8367 KlavierauszugED 7719 Senanilla / Cdntico de la esposa* para sopranoy orquestade cdmara Partitur ED 8355 Triptic de Mos6n Cinto * para sopranoy orquesta Poemade JacintoVerdaguer Partitur ED 8350 T?esviejos aires de danza para orquestade cdmara Partitur ED 8364 * keine Auslieferung nach Spanien; ftir Spanien: Ediciones Joaquin Rodrigo
:fl
#sc[f(x-l''
::::,::::::?::: .'":4.;::!) l.r.....::1..-ll:
Zettgenaissische Musil(fair Gitarre Contempo raryGuitarMusic Musiquecontemporaire pourguitare
..:......:......:::,a.-..,a,1:.'":.;::''.'a)),a:a.::.:::r::,..:at:a:-
Gitarre solo Guitar solo Guitare seule lsaac Alb6niz (Leyenda) Asturias CJA445 Granada a u sS u i t eE s p a f r o lNao . ' 1 cA 434 Sevilla a u sS u i t eE s p a f r o N l ao . 3 CA433 Tango, op. 155/2 cA 154 TorreBermeja ( S e r e n a toap, . 9 2 / 1 2 ) CA 447 Z a m b r ag r a n a d i n a dA 446 Augustin Barrios Mangor6 '18ConcertPieces Band1/2 E D1 2 3 7 0 / 1 Gustavo Becerra-5chmidt lll. Sonata cA 497 Frank Michael Beyer Canzonetta cA 468 Cesar Bresgen Malinconia cA 238 L6o Brouwer TresApuntes cA 426 Canticum cA 424 Danzacaracteristicapara el ,,Quitate de la Acera" cA 422 E l o g i od e l a D a n z a dA 425 La Espiraleterna cA 423 Mario Castelnuovo-Tedesco R o n d oe - M o l l , o p . 1 / 2 9 dA 168 Sonata ( O m a g g i ao B o c c h e r i n i ) CA 149 S u i t e ,o p . 1 3 3 CA169 T o n a d i l l a u f d e n N a m e nA n d r 6 s Setovia,op.'170/5 aA 191 Variationsi traversles siAcles C A1 3 7 Miguel Angel Cherubito S u i t eP o p u l a A r rgentina cA 618 Petr Eben Tabulaturanova cA 501 Paul Fetler F o u rM o v e m e n s cA 428 F i v eP i e c e s CA 99 Jean Frangaix Serenata cA 495
lsMNM-001-07585-5
Hans Werner Henze D r e iM i r c h e n b i l d e r cA 480 RoyalWinter Music 2 sonaten cA 467/473 Peter Hoch Parabeln CJA469 Felix Horetzl
llililtilililltilr|]|ilill
9 il790001il075855r1
Andr6s Segovia E s t u d i os i n l u z cA 179 Estudios cA 178 Reginald Smith-Brindle DanzaPagana ED11453 EtruscanPreludes ED11458 Fuegofatuo ED11454 Four Poemsof GarciaLorca E D1 ' 1 3 6 8 El Polifemode Oro ED11846 sonata No. 4 ,,LaBrev6" E D1 1 4 2 4 Bruno Szordikowski 5timmungsbilder E D7 1 2 8
Minette CA538
Alecandre Tansman Cavatine CA165 DanzaPomposa cA 206 Mazurka dA 116
Paul Hindemith Rondo CA 457 Gerhard Maasz Z e h nl e i c h t e5 t i i c k e CA 431
Michael Tippett T h e B l u eG u i t a r ED1221a
Fritz Pilsl S i e b e nD u o s E D7 1 2 7
Joaquin Turina F a n d a g u i l l oo,p . 3 6 CA 1O2 HommageA Tiirrega,op. 69 cA 136 Miniaturas cA 496 Rifaga, op. 53 CJA128 S o n a t i n ao, p . 6 1 dA 132
Reginald Smith-Brindle Chaconne and Interludes ED11431 T h e P i l l a r so f l ( a r n a k E D1 1 4 3 2
Gitarre und Orchester Guitar and Orchestra Guitare et orchestre
Alfred Uhl Sonataclassica dA 164 Peteris Vasl
2 Gitarren 2 Guitars z Guitares lsaac Alb6niz Tango,op.'165/2 CA 405 Claude Debussy Children'C s orner CA 491 D a n s eb o h 6 m i e n n e dA 460 3 Pr6ludes cA 522
Fred Harz Aphorismen ED7080 Hans Werner Henze
Ausziigefi.ircitarre und l(lavier S c o r e sf o r G u i t a ra n d P i a n o R6ductionspour guitare et piano Cesar Bresgen l(ammerkonzert cA 226 Mario Castelnuoyo-Tedesco 1 . C o n c e r t oi n D , o p . 9 9 cA 166 2. Concertoin C, op. '150 CA 240 5 6 r 6 n a d eo, p , 1 1 8 CA167 Manfred Kelkel Zagreberl
I
o scllo'l-
www.schott-music.co
D I S T R I E U T EIDI I H O R T HA H D S O I J T H AI1ERICN E X C L U S I V E LIYY
FPllilil]lll lllil
HALLEOHR C O N P O R N T I
49000480
Eilil Zj9Fgil?E,48;FI
DEAnaNJuEz EuCoNcrERTq ELEBRATED Spanish composer Joaquin Rodrigo was born 22 November l90l in Sagunto,Spain, At the age of 3 he was blinded by a bout wirh diphtheria, but he perseveredin spite of this handicapand showeda strong gift for music,embarkingon a careerwhich would ultimately span eight decades.At the age of 23 he was awardedthe NationalPrize in Spain for his Cincopiegs infantilesandbeginto gain a reputation asa notablecomposer.He wasprivileged to becomefriendly with Manuel de Falla, and also to study in Paris with Paul Dukas. Hanging on tenuously in self-exileduring the lean years of the Spanish Civil War, he and his wife lived in Germany, Austria, Switzerland, and France, but for the most part in Paris. With that war's end, and at the invitation of Manuel de Falla, who promised a teaching position to the haplesscomposer, Rodrigo and his wife arrived back in Spain on the eve of the Second World'War with preciouslittle: someold clothes,a few personalbelongings, and a manuscripr the Conciertode Aranjuel. The idea for writing a concerrofor guitar and orchestra was suggestedby the Marqu6s de Bolarque and the guitarist Regino S6inz de 7a Maza in San Sebastianin 1938.While Rodrigo intentionally madeno "program" for the music,there is certainly inspiration, both from the associationsof the physicallocality of Aranjuezrandalso dueto eventsin his personallife during the composition. Rodrigo later described the music as being suggestive (but without being literally evocative) of a royal court in the 18ecentury,and specificallyof the magicalauraof the gardenssurrounding the palaceat Lranjuez. During the composition of the piece, the Rodrigos had been living very modestly in Paris on the Rue St. Jacques,and despitetheir relative impoverishment they were often in the company of some of the great talents of the period: composersFedericoMompou and Joaquin Nin-Culmell, and the pianistfucardo Viffes,amongmany others who were living in the French capitol during this time. It was during this period in 1939,as Rodrigo was working on the concerto, that a great personal ttagedy was to have a great effect on its composition. The Rodrigos, who were expecting a baby at rhe rime, were devastatedwhen Mrs. Rodrigo suffered a miscarriage at seven months. This left a ffemendous void in both the eagerparents' hearts, and it was in the wake of this disasterthat Rodrigo began to remold what had already beenlargely written into the languid, sadtune that would becomethe heart of the concerto'sAdagio. But mingled with the senseof longing and sadnessis a sinewy sensual-
MMO 36i6
iry'-andextreme romanricism, and in fact Mrs. Rodrigo has statedthat this movement was originally conceived to be evocativeof their youthful love for eachother and their honeymoon strolls through the park at Aranjuez, hencethe title of the concerto. It was on 9 November 1940that the work finally received its premidre in Barcelona, with-as promised- Regino S6inzde la Mazaplaying the solo parr with the BarcelonaPhilharmonic. Its subsequentpremidre in Madrid was greeted with thunderous applauseand it immediateiybecamea national treasure.The piece, of course, went on to achieve world reno'wn, with every guitar virn-rosoperforming it, and it hasbecomethe most highly regarded and most popular guitar concerto ever written. Indeed, it is arguably the most popular concerro of any kind written in the 20th cenrury. From its initial trademark srrums,the first movemenr hasa light piguancy that, though filled with intenseSpanish flavor, belies the composer'sexposureto peculiarly French musical traditions. And it is this very French influence which, interestingly enough, helps favor the gtitar as soloist in an orchestral setting-2 light, clean line with much relianceon the upper woodwinds, which form a perfect complementto the guitar's husky strumming and pronouncedplucking. It is a unique movemenr filled with originality in orchestration, and a kind of neo-classicalfeel appropriate to its author's atrempt to evoke a long-lost time of courtly manners. After the intervening Adagio,with its wistful beaury and famous lyrical theme, the energeticthird movement is a buoyant celebrationof danceandtraditional rhythms, a veritable fantasiathat conjuresimagesin total contrast with the sentimental journey that has preceded it. It is especiallynotable for its constantly changing merersalternating throughout between 3/ 4 to 2/ 4 time. This masterpieceof 20&-centurymusicis an enduring classic,one that just grows in populariry asirs exposure increasesand new generationsare exposedto its simple brilliance. While Rodrigo vrote numerous orher symphonic works and concerti for guitar, pianq violin, cello 3ni flu1s-and though many of thesehave been critically acclaimedand have enjoyed considerablepopulariry-none has managed to strike such a deep chord as has the ConciertodeAranjuel. Rodrigo's death on 6 July 1999camein the midst of worldwide preparation for his centennialcelebration in 2001,I7hile it is sadnot to have had him present during thesefestivities,it is indeeda privilege to have had sucha talentedmasterin our companyfor suchan extraordinary length of time. -Michael Norell
Pub.No. 00383
Printed in Canada
