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Todas las partituras de las obras de Joaquín Rodrigo. / All the scores of Joaquín Rodrigo’s works.
Las grabaciones más significativas, por los mejores intérpretes. / The most significant recordings, by the best performers.
Biografías y monografías en varios idiomas, por los autores más destacados. / Biographies and monographic works in various languages, by outstanding authors.
Las mejores grabaciones de las obras de Rodrigo, ahora a la venta por descarga. / The best recordings of Rodrigo’s works, now for sale by download.

Joaquín Rodrigo in the world, today

Religious music: Himnos de los neófitos de Qumrán
himnosneofitosorquesta  Himnos de los neófitos de Qumrán (Texts from the Dead Sea Scrolls, adapted by Victoria Kamhi). Commissioned for the 4th Week of Religious Music in Cuenca, premiered on Holy Thursday, April 15, 1965, in the Church of San Miguel, Cuenca, performed by Ana María Higueras, Alicia de la Victoria and María Orán with the Tomás Luis de Victoria Chamber Choir and the Philharmonic Orchestra of Madrid, conducted by Odón Alonso.  

Nine years later, Joaquín Rodrigo returned to the texts and added two more sections for a definitive version which was premiered on March 25, 1975, in the 9th Week of Religious Music in Cuenca by Ana María Higueras, Ana María Leoz, and Ifigenia Sánchez with the RTVE Men’s Choir and the Agrupación Española de Cámara, again conducted by Odón Alonso.  

Joaquín Rodrigo wrote about Himnos de los neófitos de Qumrán:

“The score of this work is written for three sopranos, men’s choir and string orchestra without violins, two flutes, celesta, vibraphone and some percussion instruments.  The treatment of the orchestra is extremely sober, reduced to the bare minimum in verses highly charged with symbolism...I can affirm that my humble music is no more than that:  almost franciscan humility before the beauty of the Psalm of the Neophytes of Qumrán.”



In composer you will find information on the life of Joaquín Rodrigo, including his biography, photos, prizes and honours received.


la inspiracinIn Works there is complete information on Joaquín Rodrigo's entire production, classified according to the type of composition and containing a short musical fragment of each work.


Joaquin Rodrigo and Victoria Kamhi playing the piano four hands

In the archive there are thousands of documents related to Joaquín Rodrigo, including photographs, CDs,press articles, comments, programs.


Última adquisición de la Fundación Victoria y Joaquín Rodrigo

2746 2745Copia manuscrita de la partitura del Concierto de Aranjuez, para guitarra y orquesta, años 1940. Adquirida en subasta pública en Francia el 28 de marzo, 2014, procedente del archivo personal del duo de guitarra, Ida Presti y Alexandre Lagoya.
El estreno de Concierto de Aranjuez en Francia corrió a cargo de Ida Presti el 16 septiembre de 1948.

Copia manuscrita de la partitura de En los trigales, para guitarra, hacia 1938. Adquirida en la misma subasta, procedente del archivo personal del duo de guitarra Ida Presti y Alexandre Lagoya.

Cantos de amor y de guerra premiered 46 years ago

cantosamorguerraorquestaThis week, marking the 46th anniversary of their premiere on March 15, 1968 by the soprano Ana Higueras and the Orchestra of Spanish Radio and Television conducted by Odón Alonso, Cantos de amor y de guerrafor voice and orchestra, will be performed in Madrid’s Teatro Monumental by the soprano Raquel Lojendio, accompanied by the Orchestra of Spanish Radio and Televisión, conducted by Manuel Galduf, on March 27th and 28, 2014.  

The composer, Joaquín Rodrigo, wrote the following about his Cantos de amor y de guerra:

“This collection of five songs was composed at the request of the Orchestra of Spanish Radio and Televisión.  They form a cycle  inspired in the “romances” or ballads on themes of love or the wars fought againt the Moors over border conflicts. 

The music, as well as the texts, were adapted by Victoria Kamhi, and are taken from the 16th century Cancioneros (Songbooks).  Most of the music of these “romances” has been slightly modified,  with the exception of the fourth one, Sobre Baza estaba el rey, which is entirely original.  

The composer has tried to preserve the atmosphere of these romances “with a backdrop of simple harmonies and restrained orchestration. The strings, for example, intevene in only two of them: Paseábase el rey moro and ¡A las armas moriscotes!.  The third one, ¡Ay luna que reluces!, is for flute and voice; and the fourth, Sobre Baza estaba el rey, as mentioned, has harp, flute, oboe, horn and trumpet accompaniment while the last one, Pastorcico, tú que has vuelto, takes only brass and percussion.

These limited harmonic as well as instrumental resources are employed in order to specially highlight the melody in the “romances” and contribute to the peculiar atmosphere of that music which used either a vihuela or very reduced ensembles as accompaniment. However, the harmony is different, as well as the general concept of this music which is markedly austere.“

By Joaquín Rodrigo

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