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-----Messaggio originale-----
Data: martedě 21 aprile 1998 9.45
Subject: West Dean 1993 [Seqovia-Rodrigo]

>About the Rodrigo concerto, I had heard a story that it was
>originally dedicated to Segovia, but that he sent it back to Rodrigo saying
>that it was not 'guitaristic'. Perhaps AG can say if this story is true or

A.G. No, this story is untrue. Joaquin Rodrigo wrote his first guitar solo
piece ("Zarabanda lejana") on 1926 as a sort of hommage "a la vihuela de
Luis de Milan", and this piece was given its first performance, two years
later (1928), by Regino Sainz de la Maza, who was since then the ambassador
of Rodrigo's guitar music. In fact, the second Rodrigo's guitar piece ("En
los trigales") was written on 1938 and again firstly performed by Regino
Sainz de la Maza (associated with "Entre olivares", written on 1956, it was
then published under the general title "Por los campos de Espana"). It was
on that year, 1938, that Rodrigo begun working at his "Concierto de
Aranjuez". As several other masterpieces of the Spanish modern music, it was
conceived in Paris, where Rodrigo was living during the Spanish Civil War.
The work was finished on 1939, dedicated from its birth to Regino Sainz de
la Maza and firstly performed by him on November 9th, 1939, at the Palau de
la Musica, Barcelona, with the Orquesta Filarmonica de Barcelona conducted
by Cesar Mendoza Lassalle.
Segovia, who had left Spain at the beginning of the Civil War on 1936, was
living at Montevideo, had no connection with Rodrigo and he did not ever
knew of the existence of the "Concierto de Aranjuez", which he heard from
Regino Sainz de la Maza on South America sometimes around 1947 (his
reactions are clearly those of a listener who never saw the score and who
depends from an audition and not from a reading: see the letter he wrote to
Ponce on July 26th, 1947, in the volume of Segovia's letters addressed to
Ponce). A connection between Rodrigo and Segovia was established only after
Segovia's return to Spain: we can fix a conventional date for this
gentlemen's agreement on 1954, the year that Rodrigo dedicated mainly to
compose for Segovia. In fact, on 1954 he wrote the set of "Tres Piezas
Espanolas" (Fandango, Passacaglia, Zapateado) for guitar solo and the
"Fantasia para un gentilhombre" for guitar and orchestra (after Gaspar Sanz'
themes) for Segovia, to whom they were dedicated. At that epoque, the
"Concierto de Aranjuez" was still covered and restrained to the domain of
Regino Sainz de la Maza. Segovia said he liked it, but not for playing.  It
would have been, shortly after, the great conductor Ataulfo Argenta to make
the fortunes of Aranjuez, but not cooperating with Regino: he called instead
on the hot seat the young Narciso Yepes, whom was taught (I have already
referred) how to perform the piece note by note. Argenta played the shapes
at the piano and the guitarist absorbed them with his skilfullness.

Historically, we can say we have a first age of Rodrigo's guitar music,
associated with the figure of Regino Sainz de la Maza: this age runs from
1926 to about 1954. Then, Rodrigo's music enters in its second age, and
spreads all the world over, thanks to Ataulfo Argenta and Narciso Yepes for
the Aranjuez and later thanks to Segovia for the Fantasia.

Aesthetically, Rodrigo's music has to be appreciated along a poetic
mainstream that runs a good deal of Spanish literature, music and paintings:
the poetic of the gardens. Specifically, Rodrigo's music, and above all
Aranjuez, make a musical parallel with the art of the Spanish painter
Joaquin Sorolla, who was a native of Valencia region like Rodrigo.

Angelo Gilardino
Composer and editor
Artistic director
of the "Andrés Segovia" Foundation of Spain
13100 Vercelli
via Failla, 7
tel. e fax * 161 255346
email <>

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