Audiovisuals

Documentary films on the life and works of Joaquín Rodrigo:

2432 · A fondo. Joaquín Rodrigo. (RTVE, 1968).
· Grandes músicos. Joaquín Rodrigo. (RTVE, 1985).
· Shadows & light. A film tribute to Rodrigo. (Rhombus Media, Canada, 1992).
· El siglo de Joaquín Rodrigo. (Ed. Planeta, 2001).
· La mitad invisible (RTVE, 2012).
· Los imprescindibles. Includes El siglo de Joaquín Rodrigo. (RTVE, 2012).
· Alle falde del Kilimangiaro. Madrid. (RAI TRE, 2013).



Feature films that include synchronization of the second movement:

El-diablo-se-lleva-a-los-muertos-10076-C  El diablo se lleva a los muertos.

Italy, 1974.

Brassed off  Brassed off (Tocando el viento).

UK/USA, 1996.

 Finding Forrester Finding Forrester.

USA, 2001.

School of Rock  School of Rock.

USA/Germany ,2003.

Innocence  Ghost in the shell: Innocence.

Japan, 2004.

Life aquatic  Life aquatic with Steve Zissou.

USA, 2004.

 amalia Amália.
Based on the life of Amalia Rodrigues.

Portugal, 2008.

Robocop  Robocop (USA, 2014).



Television series:

Homicidio  Homicide (1997). Derrick  My name is Derrick.  Digimon adventure Digimon adventure.
Popular Japanese comic series.
 Mad men Madmen (2007) (2011).  los soprano The Sopranos (2001) (2006). Nip Tuck Nip / Tuck (2004).
· Blast II. Show with music and acrobats.
· Shan Cothi. S4C (Welsh TV) (2008).
   


 Advertising:

 Chrysler Granada  Honda Rafaga Toyota Corolla Loewe Aire
 Chrysler Granada Honda Rafaga (1998)   Toyota Corolla (2007) Aire Loewe (2012)  Brandy Domecq

CDs featuring the work for company publicity:
· Polish newspaper 'Gazetga Wyborczej'.
· Tour España: 'Aranjuez, cultural landscape Patrimony of Humanity'
, 2001.

Short films:
· DVD La tierra de las mil orquestas, on the youth orchestras of Venezuela.
· DVD on the german poet Thomas Brasch.
· Short film on Joaquín Rodrigo and the city of Madrid for the Italian TV series 'Alle falde del Kilimanjiaro
'.

In all International Guitar Competitions and some for harp, the compulsory work is Concierto de Aranjuez.

Historical recordings

First world recorging on slate record: 1948. Orquesta Nacional de España, under conductor Ataúlfo Argenta. Soloist: Regino Sainz de la Maza. Columbia R6 16068.

First world recording of the first pop version on LP:
1960. Concierto de Aranjuez. Album: Sketches from Spain. Miles Davis and Gil Evans. Legacy Recordings, Columbia Legacy, Columbia Records.

All the guitar soloist in the world perform Concierto de Aranjuez.

Brief selecction of eminent conductors
who have conducted performances of Concierto de Aranjuez:

· César Mendoza Lasalle   · Ataúlfo Argenta   · Eugène Ormandi   · Leopold Stokowski
             
· Malcolm Sargent   · Charles Groves   · Ricardo Mutti   · Charles Dutoit 
             
· Rafael Frühbeck de Burgos    · Daniel Barenboim   · Neville Marriner    · André Previn 
             
· Jesús López Cobos   · Simon Rattle   · Gustavo Dudamel   · Antonio García Navarro
             
· Edmon Colomer   · Joji Hattori   · Enrique Bátiz   · George Octors
             
· Claudio Simone   · Laurence Foster   · Miguel Ángel Gómez Martínez   · Kazuhiro Koizumi
             
· Norbert Kraft   · Louis Fremaux    · Victor Pablo    · Josep Pons 
             
· Ryan McAdams   · Lorin Maazel   · Karel Mark Chichon   · Michael Francis
             
· Yannicak Nézt-Séguin   · Josep Caballé   · Juanjo Mena   · Carlos Kalmar
             
· Guillermo García Calvo   · Jaime Martín   · Jean Jacques Kantorrow   · Pablo González
             
· Carlos Domínguez Nieto   · Alondra de la Parra   · Daniel Boico   · Hans Graf
             
· Nir Kabaretti   · Lorenzo Ramos   · Christian Vázquez   · Wing-Sie
             
· Odón Alonso   · Enrique García Asensio   · Pedro Halffter    


Selected recordings of Concierto de Aranjuez

Compiled by Graham Wade

This is a selection of recordings of the Concierto de Aranjuez from 1940s to 2014.

The danger of any list of this kind is that it can never prove entirely inclusive and quite by mischance excellent recordings can be omitted. I therefore apologise to any artists who have made commercial recordings and should have been on the list.

By its very nature such a compilation has to be continually updated and it is intended to revise the list from time to time.

   
       
 
   
  Regino Sainz de la Maza, Orquesta Nacional de España, Ataúlfo Argenta, GRG GR2001.07 (c. 1948-1949) (de 78 rpms a CD, Chanterelle 004 (2002).     Narciso Yepes, Orquesta Nacional de España, Ataúlfo Argenta, London International TWP1019 (1954), reeditado Decca BR 3083 (1961).
 
   
  Renata Tarragó, Orquesta de Concierto de Madrid, Odón Alonso, Columbia. ML 5345 (1959/60).     Julian Bream, Melos Chamber Orchestra, Colin Davis. RCA SB 6635 (1964), reeditado CBS Maestro M2YK 45610 (1989).
 
   
  Siegfried Behrend, Orquesta Filarmónica de Berlín, Reinhard Peters, DG13916/Contour Red Label 1CC7510 (1966), reeditado Belart 450 028-2 (1993 & 1999).     John Williams, Orquesta de Filadelfia, Eugène Ormandy, CBS 72439 (1966), reeditado CBS Maestro M2YK 45610 (1989).
 
   
  Alirio Díaz, Orquesta Nacional de España, Rafael Frühbeck de Burgos, EMI ASD 2363 (1967), reeditado ESD 1436481 (1987).     Ángel Romero, Orquesta Sinfónica de San Antonio, Victor Alessandro, Philips SAL3677 (1968).
 
   
  Regino Sáinz de la Maza, Orquesta Mauel de Falla, Cristóbal Halffter, RCA VICS 1322 (1968).     Ernesto Bitetti, Orquesta de Concierto de Madrid, José Buenagu, Erato EFN 18031 (1969), reeditado Hispavox S 60.157 (1978).
 
   
  Renata Tarragó, Orquesta de Concierto de Madrid, Odón Alonso, Columbia ML5345 (1969).     Narciso Yepes, Orquesta Sinfónica de RTVE, Odón Alonso, DG 411028-1 (1969), reeditado Classikon DG 439 458-2 (sin fecha).
 
   
  Turibio Santos, Le Collegium Musicum de Paris, Roland Douatte, Musicdisc 30 RC 894 (sin fecha).      Alexandre Lagoya, Orquesta Nacional de la Ópera de Montecarlo, Antonio de Almeida. Philips 73002412 (1972). 
 
   
  John Zaradin, Philomusica de Londres, Guy Barbier. CFP40012 (1972).     Manuel Cubedo, Orquesta Sinfónica de Barcelona, Rafael Ferrer. GSGC2006 (1974).
 
   
  John Williams, Orquesta de Cámara de Inglaterra, Daniel Barenboim, CBS 76369 (1974), reeditado Tellydisc Telly 3 (1982).     Julian Bream, Orquesta Monteverdi, John Elliot Gardiner, RCA ARLI-1181 (1975), reeditado RCA Victor Gold Seal GD85525 (1991) y Edición Julian Bream, RCA Victor Gold Seal 09026 616052 (1993).
 
   
  Vladimir Mikulka, Orquesta Sinfónica Praga Radio, Václav Semtácek, Panton 11 68G (1977).     Ángel Romero, Orquesta Sinfónica de Londres, André Previn, EMI ASD 3415 (1977), reeditado HMW 5 72148 2 (1997).
 
   
  Turibio Santos, Orquesta Nacional de la Ópera de Montecarlo, Claudio Scimone, Erato STU71128 (1978), reeditado Erato 0630-21819-2 (1993), Apex 8573 89243 2 (2001).     Pepe Romero, Academy of St. Martin-in-the-Fields, Neville Marriner. Philips 412171-1 (1979). 
 
   
  Kazuhito Yamashita, Orquesta Filarmónica de Tokio, Shigenobu Yamaoka, RCA RVC-2280 (1979).     Kazuhito Yamashita, Orquesta de Cámara Jean-François Paillard, Jean François Paillard, RCA 74321 21294 (grabado en 1981). 
 
   
  Narciso Yepes, Orquesta Filarmónica, García Navarro. DG 2531 208 (1980), reeditado DG 469 190-2 (2000).     Luise Walker, Orquesta Sinfónica de Tokio, Susumi Shunsaka, Dreamlife DMLD 1-4 (sin fecha). 
 
   
  Carlos Bonell, Orquesta Sinfónica de Montreal, Charles Dutoit, Decca SXDL 7525 (1981), reeditado Decca 448 243-2 (1995).     Sharon Isbin, Orquesta Sinfónica Metropolitana de Tokio, Hideomi Kuroiwa, Denbon OX 7210 (1981).
 
   
  Alfonso Moreno, Orquesta Sinfónica de Londres, Enrique Bátiz, EMI ASD4159 (1982), reeditado EMI Seraphim 0777 767785 2 (1995).     Lubimir Brabec, Orquesta de Cámara de Praga (sin director), Panton 81 0377 (1983).
 
   
  Julian Bream, Orquesta de Cámara de Europa, John Elliot Gardiner, RCA Red Seal RL 45548 (1983), reeditado Julian Bream Edition, RCA Victor Gold Seal 09026 616112 2 (1993). También reeditado, sólo el Adagio, como Guitarra, The Guitar in Spain (LP), RCA Red Seal RL85417 (2) (1985), y RCA Victor 09026 63905 2 (2002) y completo en RCA Classics 74321-17902-2 (1994).     John Williams, Orquesta Philharmonia, Louis Frémaux, CBS D37848 (1984) 
 
   
  Norbert Kraft, Orquesta Sinfónica de Winnipeg, Kazuhiro Koimuzi, Class 7067 (1987).     Scott Tenant, Orquesta de Córdoba, Leo Brouwer (1998) GHA 126025.
 
   
  Eduardo Fernández, Orquesta de Cámara de Inglaterra, Miguel Gómez Martínez, Decca 417 199-1 (1986).     Julian Bream, Guitarra, A Musical Journey through Spain, Orquesta de Cámara de Europa, Sir Charles Groves, R.M. Arts VVD 536 (Video, 1985), reeditado R.M. Arts DVD D0067 (c. 2002)
 
   
  Ernesto Bitetti, Orquesta Filarmónica, Antoni Ros Marbá, EMI Red Line 7243 569832 2 9/EMI Classics for Pleasure 0777 8 67600 2 5 (1987).     Michael Conn, Orquesta de St John, Smith Square, John Lubbock, IMP Classics CIMP 859 (1987).
 
   
  Norbert Kraft, Orquesta Sinfónica de Winnipeg, Kazuhiro Koimuzi, Class 706 (1987). Carlos Bonell, Orquesta de Cámara de Inglaterra, Stuart Bedford, Collins Classics 1032-2, reeditado Regis RRC 1090 (grabado en 1989).     Gerald García, CSSR Filarmónica del Estado (Kosice), Peter Breiner, Naxos 8 550220 (1989).
 
   
  Zoltan Tokos, Budapest String, Bela Benfalvi, Laserlight 15 602 (1989).     Göran Söllscher, Orquesta de Cámara Orpheus (sin director), DG 429 232-2 (1990).
 
   
  Sharon Isbin, Orquesta de Cámara de Lausanne, Lawrence Foster, Virgin Classics, VC 7 91192-3 (1991).     Paco de Lucía, Orquesta de Cadaqués, Edmon Colomer. Phililps 510 310-2 (1991), Polygram Video 084 130-3 (1991).
 
   
  Julian Bream, Orquesta Sinfónica Ciudad de Birmingham, Simon Ratle, EMI Classics 0777 754661 2 6 (1993).     Norbert Kraft, Northern Chamber Orchestra, Nicholas Ward. Naxos 8.50729 (1993). Eduardo Fernández, Orquesta de Cámara de Inglaterra, Barry Wandsworth, Decca 071 152-3 (video) (1993).
 
   
  Christopher Parkening, Royal Philharmonic Orchestra, Andrew Litton, EMI Classics 0777 7 54664 2 2 (1993).     John Williams (solo el Adagio), Orquesta Sinfónica de Sevilla, José Buenagu, The Seville Concert, Sony Classical 01-053475-81 (video), también incluido en CD Sony Classical SK 53359 (1993).
 
   
  Carlos Bonell. Royal Philharmonic Orchestra, Jacek Kasperyk, Tring International PLC TRP050 (1994).     Pepe Romero. Academy of St. Martin-in-the-Fields, Neville Marriner, Philips 438 016-2 (1994). 
 
   
  Alfonso Moreno, Orquesta Sinfónica del Estado de México, Enrique Bátiz, Regis RRC 1360 (grabado en 1994).     Josef Zsapka, Orquesta de Cámara de Eslovaquia, Bohdan Warchal, CLG 7107 (1994), reeditado Opus 99276/1 (sin fecha).
 
   
  Emanuele Segre, Gran Orquesta Sinfónica de Milán Giuseppe Verdi, Gianandrea Noseda, Claves CD 50-9516 (1995).      Edoardo Catemario, Orquesta de la Toscana, Enrique Bátiz. Arts 47358-2 (1996).
 
   
  Luis Orlandini, Orquesta Filarmónica de Gran Canaria, Adrian Leaper. Arte Nova 74321 51624 2 (1996).     Manuel Barrueco, Orquesta Philharmonia, Plácido Domingo. EMI 7243 5 561752 1 (1997).
 
   
  Roland Dyens, Orquesta Serenata, Alexandre Siranossian, L'Empreinte Digital ED 13074 (1997).     Alvaro Pierri, Ensemble Amati, Raymond Dessainte. Analekta FL2 3082 CD (1997).
 
   
  David Russell, Orquesta Filarmónica de Nápoles, Erich Kunzel. Telarc CD-80459 (1997).     José María Gallardo del Rey, Orquesta Nacional de España, Rafael Frühbeck de Burgos. Classic FM 75605 570342 (1998).
 
   
  Eugène Hölzer, Radio-Philharmonic Hannover des NDR, Israel Yinon. Koch Swann, NDR 3-1536-2 (1998).     William Kimberley, Orquesta Filarmónica Europea, Hymisher Greenberg. Tring International PLC SYM057 (sin fecha).
 
   
  Craig Ogden, BBC Philharmonic, Sachio Fujioka. Chandos CHAN 9604 (1998).     Scott Tennant, Orquesta de Córdoba, Leo Brouwer. GHA 126 025 (1998).
 
   
  Rafael Jiménez, Bournemouth Sinfonietta, Terence Frazor. Guild GMCD7176 (1999).     Kaori Muraji, New Japan Philharmonic, Kazufumi Yamashita. Victor VICC-60154 (2000). 
 
   
  Dale Kanavagh, Philharmonie Harad, Horst Hans Bäckert (2000).     Kaori Muraji. Contrastes: Homenaje al Maestro Rodrigo. Concierto de Aranjuez interpretado en el Palacio de Aranjuez. Orquesta Sinfónica de la Comunidad de Madrid, José Ramón Encinar. DVD Victor 578867 (2001).
 
   
  Irina Kircher, Sinfónica de Berlín, Eduardo Maturet (sin ref.) (2002).     Ricardo Gallén, Orquesta Sinfónica de Asturias, Maximiano Valdés. Naxos 8.555841 (2002).
 
   
  Marco Socías, Orquesta Ciudad de Granada, Josep Pons. Harmonia Mundi HCM 901764 (2002).     Carlos Bonell, Orquesta Sinfónica Simón Bolívar de Táchira, José Antonio Cerón Ortega (sin ref.) (2003).
 
   
  Sharon Isbin, Filarmónica de Nueva York, José Serebrier. Wagner Classics 2564 60296-2 (2004).     Eduardo Fernández, Orquesta del Ulster, Adrian Leaper. Grabado en el Ulster Hall, belfast, 13 de agosto, 2002) BBC MM255 (2005).
 
   
  Mark Ashford, Royal Philharmonic Orchestra, Nicholas Cleobury. Here Come the Classics, Vol. 16. RPO 016CD (2005).     Slava Grigoryan, Queenland Orchestra, Brett Kelly, ABC Classics, 476-8072 CD (2005).
 
   
  Carlos Pérez, Orquesta de la Comunidad de Madrid, Miguel Roa. DVD CD. Sello Autor, SAO1369 (2007).     Kaori Muraji, Orquesta Sinfónica de Galicia, Víctor Pablo Pérez. Decca 4780076 (2008).
 
   
  Shin-Ichi Fukuda, Orquesta Filarmónica de Württemberg, Norichika Iimori. Denon COGQ-25 (2008).     Karin Schaup, Orquesta Sinfónica de Tasmania, Benjamin Northey, ABC Classics 476-3627 CD (2009).
 
   
  Xuefei Yang. Orquesta Sinfónica de Barcelona y Nacional de Cataluña, Eiji Oue. EMI Classics 50999 6 98361 2 1 (2010).     Charles Ramírez. Orquesta de Cámara de Europa, Douglas Boyd, Signum Classics SIGCD244 (2011).
 
   
  Juan Manuel Cañizares, Filarmónica de Berlín, Sir Simon Rattle. DVD Teatro Real, Madrid, 2058398 (grabado 1 de mayo, 2011).     Ángel Romero, Orquesta Filarmónica de Israel, Ryan Mc Adams (2012).
 
   
  Milos Karadaglic, Orquesta Filarmónica de Londres, Yannick Nézet-Ségun (2014).     Orbet Davis & Mark Ingram. Chicago Jazz Philharmonic (2014) 
 
   
  Krzysztaf Meisinguer. Prague Philharmonia (2014).     Joaquín Clerch. HSO Hispanian Symphony Orchestra. Enrique García Asensio (2014).
 
   
  Miguel Trápaga. Real Pilharmonía de Galicia. Oliver Díaz (2016).     Pablo Villegas. Orquesta Nacional de España. Juanjo Mena (2016).
 
   
         
         

Published editions of the Concierto de Aranjuez

First edition: 1949.

Published by the composer, on the initiative of D. Luis de Urquijo, Marqués de Bolarque who created the Association of Joaquín Rodrigo's Friends with the purpose of financing the first edition of Concierto de Aranjuez. Copyright by Joaquín Rodrigo, 1949.

edautor1949 ..... edautorguitarra1957firmada  ..... edautorguitarra1957  ..... edautorbolsillo1959 

Cover page of the first edition, 1949. 

First page with the composer's signature.

Cover page of the composer's edition, solo guitar, 1957.

Cover page orchestra pocket score, 1957.

 


Copyright in 1949 and all subsequent editions belong to the composer.
Copyright date in the US: 1957.



Later editions:

edeulenburg ..... edschottguitarrama ..... edmodernaorq ..... edmodernaguit

Eulenburg edition, cover page orchestra, 1984.

Ed. Schott. Solo guitar score, 1979.

Cover page orchestra pocket score, EJR, 1993.

Solo guitar edition, fingering by Ángel Romero. EJR, 1997.

 

Editions of the second movement: 

enaranjuezcontuamor ...... aranjuezmonamourcp  .....
aranjuezmpcg .....  aranjuezmpg  ..... aranjuezmpp

En Aranjuez con tu amor. Voice and piano. Spanish lyrics by Alfredo García Segura. EJR, 1968.

Aranjuez, mon amour. Voice and piano. French lyrics by Guy Bontempelli. EJR, 1968.

Aranjuez, ma pensée. Voice and guitar. French lyrics by Victoria Kamhi. EJR, 1988.

Aranjuez, ma pensée. Guitar. EJR, 1988.


Aranjuez, ma pensée. Piano. EJR, 1988.



Publications

Primera edición

La primera edición del Concierto de Aranjuez data de 1949. Fue impulsada por D. Luis de Urquijo, Marqués de Bolarque, quien creó la Asociación de Amigos de Joaquín Rodrigo con el fin de costearla. El copyright, del autor, es de 1949.

edautor1949 ..... edautorguitarra1957firmada  ..... edautorguitarra1957  ..... edautorbolsillo1959 

Portada de la primera edición del autor, partitura de orquesta, 1949. 

Primera página de la partitura de orquesta, firmada por el compositor.

Portada de la edición del autor, partitura para guitarra sola, 1957.

Portada de la edición de bolsillo, 1957.

 


El copyright de 1949 y de todas las ediciones sucesivas pertenece al autor.
Fecha del copyright en Estados Unidos: 1957.



Ediciones actualmente en el mercado

En 1984 apareció la edición de guitarra y orquesta de la prestigiosa firma Eulenburg. La edición moderna, publicada por Ediciones Joaquín Rodrigo, comenzó con la edición de la partitura de orquesta de 1993. Por último, en 1997 se publicó la partitura para guitarra sola, digitada por Ángel Romero.

edeulenburg ..... edschottguitarrama ..... edmodernaorq ..... edmodernaguit

Edición Eulenburg para guitarra y orquesta, 1984.

Ed. Schott. Partitura para guitarra, 1979.

Partitura para guitarra y orquesta, Ediciones Joaquín Rodrigo, 1993.

Partitura para guitarra sola, Ediciones Joaquín Rodrigo, 1997.

 

Versiones del segundo movimiento publicadas por Ediciones Joaquín Rodrigo:

enaranjuezcontuamor ...... aranjuezmonamourcp  .....
aranjuezmpcg .....  aranjuezmpg  ..... aranjuezmpp

En Aranjuez con tu amor . Voz y piano. Letra en español de Alfredo García Segura. EJR, 1968.

Aranjuez, mon amour . Voz y piano. Letra en francés de Guy Bontempelli. EJR, 1968.

Aranjuez, ma pensée . Voz y guitarra. Letra en francés de Victoria Kamhi. EJR, 1988.

Aranjuez, ma pensée . Guitarra. EJR, 1988.


Aranjuez, ma pensée . Piano. EJR, 1988.



Anecdotes on Concierto de Aranjuez

The first anecdote related to this work took place a few hours before the world premiere:


November 1940. 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.



March 3-15, 1986. Rodrigo Festival held in London. Queen Elizabeth Hall and the Purcell Room at London’s Festival Hall were the scene of seven concerts which were completely sold out, and included on the program 13 symphonic works and 29 chamber and voice works. Great soloists were the performers: Angel and Pepe Romero, Joaquín Achúcarro, Agustín León, Ara, Patricia Rozario, Julián Lloyd Weber, Iejuan Jones, among others, accompanied by the Bournemouth Sinfonietta, conducted by Raymond Calcraft. London vibrated with the music of the Spanish composer and there was advertising everywhere. The subway was plastered with posters showing the photo of the composer.

One morning Cecilia Rodrigo was walking down the stairs of the metro stop in Picadilly and heard in the distance the melody of Concierto de Aranjuez which came rumbling into a great roar. Suddenly she encountered a young violinist who was playing the Adagio of the Concierto, accompanied by a powerful synthesizer, which sounded like a large symphonic orchestra. Travellers hurried by, dropping a few coins in a box, and Cecilia stood quite still before the violinist who continued to play, becoming somewhat nervous seeing that Cecilia was staring at him. When he finished, this was their conversation:

Cecilia: Hello, what are you playing?
Violinist: Well, it is my own composition.
Cecilia: Really? It seems so familiar to me...
Violinist: Well, it is based on Rodrigo...
Cecilia: Ah...Joaquín Rodrigo is my father and you are playing the Adagio of the famous Concierto de Aranjuez. Here you have 2 pounds, but...next time you will pay royalties to the composer...

The young violinist, with a shocked expression, quickly gathered his coins, his violin and the rest of his things and ran off in a hurry...



April 5, 1994. The Maestro was 93 years old. Teatro Monumental, Madrid. Special concert. Orchestra City of Málaga, conductor Olav Calleya. On the program: Concierto de Aranjuez, with soloist Ángel Romero.

Given his advanced age, the composer decided at the last minute to attend the concert. At the box office there were only a few remaining seats high up under the roof of the theater and they purchased three tickets, one for him, one for his daughter Cecilia and one for Cecilia, his granddaughter. They arrived at the scheduled time and people rapidly began to recognize the Maestro as he entered, since he was very popular and venerated.

Slowly they climbed the stairs to the last row on the third floor and sat in their seats. The news of where he was seated spread quickly and a few minutes before the concert began a loud voice shouted “Maestro Rodrigo is up under the roof!” A huge uproar followed. A few minutes later the manager of the Orchestra appeared to welcome the composer and propose that he come down to the ground floor seating area. To everyone’s amazement, the Maestro didn’t want to move, arguing that after climbing so many stairs, he wasn’t going to budge until the end of the concert. When Concierto de Aranjuez was finished, a spectacular ovation was heard from all parts of the Teatro Monumental, but the warmest applause came from those sitting near him under the roof, proud and honoured to have shared that section with the composer. 

Premieres

The world premiere.

The world premiere of Concierto de Aranjuez took place on November 9th, 1940 in the Palau de la Música Catalana in Barcelona by the Philharmonic Orchestra of Barcelona under conductor César Mendoza Lasalle, with guitar soloist, Regino Sainz de la Maza, to whom it is dedicated.

0193 0194 XavierMontsalvatge056
Program of the premiere of Concierto de Aranjuez, November 9th, 1940 at the Palau de la Música, Barcelona. Press review of the premiere in Destino, written by Xavier Montsalvatge. (Click here to read the article).
 
Rodrigo would remain faithful to aesthetics that he liked to call 'neocasticismo, practicing tonal tradition, reflecting his fondness for classical forms and incorporating refined elements as a way of joining Spanish tradition with the present, to create a style that is immediately recognizable.

First radio performance in Paris: (1) September 16th, 1948 by the French National Radio Orchestra, under conductor Ernest Bour, with guitar soloist Ida Presti, broadcast on French radio.

First public performance in Paris: (2) March 24, 1949 by the Orchestre Jeunes Universitaires, in the Sala Pleyel, under conductor Albert Pfremmer, with Ida Presti as guitar soloist.

Grand European launch (3): May 7th, 1950, Théâtre Champs Élysées, in Paris, by the National Orchestra of Spain, under conductor Ataúlfo Argenta, with guitar soloist Julian Bream.

TheatreChampsElysees062 PrimeraaudicionpublicaenParis060 TheatreChampsElysees061
(1) (2) (3)


First performance in the United Kingdom: April 21st., 1951, by the BBC Opera Orchestra, under conductor Stanford Robinson, with guitar soloist Julian Bream.

First performance in the United States: November 19th., 1959, by the Symphonic Orchestra of Cleveland, Ohio, under conductor Robert Shaw, with the Cuban guitar soloist José Rey de la Torre.

First performance of the composer's version of Concierto de Aranjuez for harp and orchestra: August 24th., 1974, Teatro Victoria Eugenia in San Sebastián, by the National Orchestra of Spain, under conductor Rafael Frühbeck de Burgos, with harp soloist Nicanor Zabaleta.

First choreografhy: Ballet Español of Pilar López, April 12th., 1952, Teatro Barcelona, Barcelona.

 

 

En Aranjuez, con tu amor

Up to the present, when the 75 th anniversary of the premiere of the original concerto will be celebrated, the pop version of Concierto de Aranjuez, whose recognized title in Spanish is En Aranjuez con tu amor, is considered a pop classic. New versions in the most wide-ranging styles and diverse languages are constantly appearing on the market, making it a true classic.

 

The pop version of the famous melody of the second movement, Adagio.

In the decade of the nineteen sixties, in circumstances totally unrelated to the composer, whose consent was neves requested, a series of recordings of the Adagio were produced in versions quite different from the original one. The first one was most probably the historic recording by Miles Davis in 1960, in an album called Sketches of Spain, under its original title Concierto de Aranjuez on the Columbia label. In 1967, the song version appeared, under the title Aranjuez, mon amour, a creation of the French singer Richard Anthony.

These versions caused the composer great displeasure and distress as he did not agree to the transformation of his work which he considered a violation of moral rights. Joaquín Rodrigo and his wife tried to stop the recordings from being released and spreading. Bur it was useless; the more he tried to block them, the faster they spread and sales increased. In the end, the composer resigned himself to accept the fact that the pop versions reached a far greater public than that of classical music concertgoers, and led to much wider recognition of the original classical concerto for guitar and orchestra, Concierto de Aranjuez. Since that time, the concerto has become part of the universal repertoire for orchestras and guitarists, and is one of the contemporary works most performed throughout the world.

 


The French press reported the following historical anecdotes:

Paris Match (7/5/1961): 'Rodrigo formally prohibits the sale'

ELLE (1/8/1961): '...Miles Davis has made a recording based on Concierto de Aranjuez and this record is going to be prohibited... The Spanish composer who wrote it for guitar and orchestra is very unhappy to see it turned into jazz (excellent), with the trumpet replacing the guitar. You better hurry to buy or listen to it'.

'...Final reappearance of Sketches of Spain, which includes the famous Concierto de Aranjuez by the Spanish composer Joaquín Rodrigo. The record was removed from the market in France and its sale was prohibited (probably for reasons of author's rights). It is not only directed to lovers of jazz, but to all those seeking different sounds in music. In any case, here's some advice: Listen to the classical recording of this concerto (Decca nº 178999) and compare them. The majority will probably opt for the latter one. Nevertheless, it is an interesting record.'


 

 

MilesDavis EnAranjuezRichardAnthony vinetatono

In 1967, the first song version was produced and launched on the French market by Richard Anthony, under the title Aranjuez, mon amour, with lyrics in French. The song rapidly became a bestseller at the international level. Pop stars of the moment rivalled in bringing our their own version, and the theme was sung in a wide variety of languages.

As an anecdote, among the popular stars who performed the song was the French film actress Brigitte Bardot and a long list of famous faces including Dalida, Demis Rousos, Nana Mouskouri, Lola Flores, Amalia Rodrigues, Plácido Domingo, José Carreras, Montserrat Caballé...

The composer felt overwhelmed by the extraordinary popularity of the theme and was swamped by publishers and agents from all over the world who wanted rights to publish the pop version. The international press wrote about it and the following cartoon apeared in the Spanish press (1/12/1967).


Outsanding Pop Versions starting from the nineteen sixties:


Miles Davis
Concierto de Aranjuez. Album Sketches of Spain (1960)

Richard Anthony - Aranjuez, mon amour (1967)

Dalida
Aranjuez, la tua voce



Demis Roussos
Follow me
The Modern Jazz Quartet
With Laurindo de Almeida
Jim Hall



Amalia Rodrigues Miguel Ríos James Last and his Orchestra



The Boston Feelings Orchestra Jean Christian Michel Chick Corea, jazz version (Spain)



Al Jarreau Lola Flores
(See our YouTube Channel)

Frank Pourcel



Jean François Mauroic Massimo Ranieri
(See our YouTube Channel)
Fairuz



Manuel & The Music of the Mountains José Feliciano
(See our YouTube Channel)
Nana Mouskouri



The Swingle Singers Stevie Wonder Carlos Santana



Dyango Maurice André Paloma San Basilio



Paul Mauriat (Classic) Sarah Brightman Waldo de los Ríos



Helmut Lotti Herb Alpert The Shadows



Arielle Dombasle Il Divo & Sarah Brightman
(See our YouTube Channel)
Andrea Bocelli



Katherine Jenkins Summer Jan D. Dvorsky



The Planets Casiopea and Jimsaku (jazz) Rita



John Paul Jones (instrumental) Isao Tomita (electronic version) Leo Brouwer, Chucho Valdés y Trakere (jazz)



Chris Botty Victoria Gydov Larry Adler (armónica)



Plácido Domingo Montserrat Caballé Ana María Martínez



Carlos Núñez (gaita) James Galway (flauta) Hosu Senlendirici (clarinete)



Jake Shimabufuro (Dragón) (ukelele) Myrna Chaker (mix) Bebo Valdés y El Cigala



David Garret (violín) The Ten Tenors (Los diez tenores)
(See our YouTube Channel)
Gypsy Flamenco Masters



Samsung Chill out Sessions (flamenco) André Rieu Masafumi Akikawa



Gloria Laso La Mala  José Carreras



Fernando Lima Café del Mar Coma feat (Instrumental mix)



Sax Chill out Ikuko Kawai (violín) Baster Williams (bajo)



Manuscript and process of composition

0175bThe manuscript of Concierto de Aranjuez, as with all Joaquín Rodrigo's original manuscripts is written in the tactile system of reading and writing known as braille, created for the blind and called braille in honor of its French inventor, Louis Braille. The system was published in 1829 and in 1837 and is also adapted to musical notation.

Starting with his manuscript in braille, the composer would dictate each work subsequently to a copyist, note by note, instrument by instrument, modification by modification, and the copyist would produce a score in musical language. Afterwards, Rodrigo proceeded to make final corrections with the assistance of his wife.

For this reason, the only handwritten manuscripts of Joaquín Rodrigo's works are those written in braille.

(Photograph: Joaquín Rodrigo writing on his braille machine, 1942)


Process of composition



Prior to the premiere of Concierto de Aranjuez, Joaquín Rodrigo provided the guitarist Regino Sainz de la Maza with a handwritten copyist manuscript which the guitarist used for the premiere. This document is at present preserved in the archives of the Biblioteca Nacional in Madrid.

In 2014 something unexpected occurred. At an auction in France, another manuscript by the same copyist as the previous one came up for sale, as part of the legacy of the great French guitarists Ida Presti and Alexandre Lagoya. Most probably, since the work was still unpublished, the composer supplied another handwritten copy to Ida Presti for the premiere in Paris. The manuscript was acquired by the Victoria and Joaquín Rodrigo Foundation.

No other handwritten copies are in existence.

bnemanuscrito2Cover of the manuscript preserved at the archives of the Biblioteca Nacional in Madrid.    BNEmanuscritoFirst page of the third movement from the same manuscript. 0544Original manuscript: first page of the third movement, in braille.  
     





















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