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The Piano Works of Joaquín Rod
The Piano Works of Joaquín Rod
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TABLE OF CONTENTS
LIST OF MUSICAL EXAM PLES...................................................................10
LIST OF FIGURES.............................................................................................13
ABSTRACT.........................................................................................................14
1. BIOGRAPHICAL SKETCH........................................................................ 15
Early Years................................................................................................ 15
Victoria Kamhi.........................................................................................24
Paris........................................................................................................... 59
Impressionism........................................................................................... 60
Neoclassicism........................................................................................... 61
Nationalism..........................................................................................63
Atonality.............................................................................................. 64
TABLE OF CONTENTS-Continued
Jazz.............................................................................................................. 65
Paul Dukas..................................................................................................65
Compositional Process..............................................................................68
French Influences...............................................................................71
Prelude .........................................................................................73
Sicilienne............................................................................................ 79
Bourree................................................................................................87
M inue..................................................................................................89
Rigaudon............................................................................................. 93
Tonality..............................................................................................100
Melodic Treatment...........................................................................103
TABLE OF CONTENTS-Continued
Rhythm.............................................................................................. 113
Felipe Pedrell...........................................................................................119
Byzantine chant.................................................................................123
TABLE OF CONTENTS-Continued
Serenata espanola.....................................................................................144
Sonata en R e ......................................................................................167
6. CONCLUSION............................................................................................179
Discography............................................................................................ 202
LIST OF FIGURES
ABSTRACT
This document represents the investigative research on the solo piano music
sketch o f the composer precedes a general overview o f his twenty-three solo piano
works. Discussion of musical trends that influenced Rodrigo provides a context for
early piano works, Suite para piano o f 1923 and the Preiudio al gallo mananero of
techniques into his own style. Although Rodrigo alludes to Spanish nationalistic
ideas in his music prior to 1931. his predominate musical language is more
the Serenata espafiola o f 1931 where the use o f Spanish folklore becomes more
espafiola o f 1931 and his Sonatas de Castilla, con toccata o f 1950 demonstrate not
only Rodrigo’s mature language and fully developed pianistic style, but most
appreciate the similarities and contrasts between the traditional uses offolklorismo
1. BIOGRAPHICAL SKETCH
Early Years
In 1901 on November 22nd, the date Spain annually honors Saint Cecilia,
prophetic coincidence that this baby would be bom on this particular day, for
Joaquin Rodrigo would grow to become one o f Spain’s most beloved musicians
He was bom into a large family. His parents. Vicente and Juana, had
nine other children. Four children belonged to Vicente and his first wife. Six
other children were bom to Vicente and Juana. Joaquin was the youngest.2
smoked a lot and liked to drink alcoholic beverages. A man o f few words, he
communicate her feelings. She was devout in her spirituality and enjoyed all
The Rodrigo family was wealthy. Vicente had inherited farming land
and was also a successful businessman.7 But wealth doesn’t always secure
happiness, and this family would encounter its fair share of life’s ups and
downs.
The first real tragedy o f Joaquin Rodrigo’s life occurred in 1904, when
attempts to restore and correct his vision through several operations— he was
completely blind.9
biographers,10 his daughter,11 his friends,12 and even the composer himself13
have adduced that indeed his blindness may have led him to his music career.
become a musician in the same way that most decide to devote their lives to
music: Music finds and chooses her children. For example, it was a family story
that "as a little boy, Joaquin would lose track o f time, listening to the concerts at
the city's performance center, called the Lira Saguntina, which was a few meters
from his house, and someone would have to go and fetch him.” 14 Rodrigo often
much so, that it was through listening to Verdi’s music that he became
determined to make music his true vocation.15 Was Joaquin Rodrigo a victim?
From these and similar anecdotes about Rodrigo, one might conclude that, in a
sense, he was: neither to diphtheria nor his loss o f sight, but to music, Spain, and
the destiny he believed he had to fulfill. Rodrigo scholar Colin Cooper states in
his article Joaquin Rodrigo: (1901-1999), “Rodrigo’s sole desire was to fulfill
his destiny, which was to compose his music in the country he knew and loved
best: Spain.” 16
conservatory from a very young age, Rodrigo began his music education at the
composition with Francisco Antich and audited general music classes with
Eduardo Lopez Chavarri and Enrique Goma. Chavarri and Goma, famed music
teachers and performers in this area, mentored Rodrigo and encouraged him to
pursue his dream o f becoming a composer. Although he also studied the violin,
By the year 1923, the young Rodrigo had composed six pieces: Dos
esbozos (Two Outlines) for solo violin; Suite para piano: Ave Maria, for a
cappella choir based on four notes; Canqoneta (Little Song) for violin and string
orchestra; Juglares (Minstrels), an orchestral work; and for solo piano, Berceuse
new composer, especially when one considers the many challenges that faced
Rodrigo.
Rodrigo's formal training began late and was limited. Although he did
take private composition lessons and attended general music courses, Rodrigo
teachers Chavarri and Goma, Rodrigo still had to acquire enough skill in order
This process significantly affected his compositional process. The first step was
to recall his accumulated musical ideas that he developed at the piano, and to
type them by means o f the maquinita. This produced a copy o f his ideas in
Braille format. Next, he waited for the transcriber (trained in both Braille and
written music notation) to transcribe the Braille notation into written music
notation. The third and most laborious step o f the process was editing the
always be his wife Victoria Kamhi) would listen to the pianist playing the
who was sitting next to Rodrigo, taking editing notes, while the pianist played
transcription, correction, and editing was doubly difficult without the sight that
Throughout his diligent pursuit o f his artistic goals, Joaquin thought that
his family withheld emotional support. In fact, Rodrigo believed that his father
thought the pursuit o f any profession unnecessary for his blind son, although this
reaction from Rodrigo's father may have been a result o f a misguided, protective
love.23 For example, in 1924 Rodrigo achieved major recognition when his
Valencia. Unsupportive o f his career choice, his parents did not attend the
concert.24
bathes the spirit of this young artist in a light, perhaps one that
we don’t see.25
o f many Spanish musicians at this time and traveled to Paris for further study.26
Rodrigo did not travel alone. Inasmuch as his parents resisted Rodrigo’s desire
to pursue his music career, they must have known he was determined. His
father hired a secretary for Rodrigo,27 Rafael Ibanez, who became Rodrigo’s
spoke French and a little German and was not only Rodrigo’s trusted confidante,
•)g
but was also honored and viewed as an “older brother” by Rodrigo.'
After securing a home with the Valencian painter Franciso Povo and
his family, Rodrigo began searching for a teacher. Initially, Rodrigo wanted to
study with Maurice Ravel, but Ravel was not offering lessons. After attending
Bluebeard), Rodrigo left the small theater knowing he would study with
It was during these six years in Paris that Rodrigo developed his
compositional style. His style was unique; however, Rodrigo himself admits to
several influences.31
The city o f Paris itself was inspirational and influential to artists, literary
scholars, and musicians alike during the first half o f the Twentieth century.32
The work of the impressionist school artists such as Moreas, Manet, and
Debussy had been the transition in the fine arts from the Romantic Era to the
Contemporary E ra/3 However, while influencing the works o f artists who were
creating new masterpieces in the late 1920s and early 1930s, composers like
Stravinsky and Satie were already trying new innovations— different from
Paul Dukas, a mentor who was known to have a special fondness for his Spanish
became lifetime friends, communicating throughout their lives, until Falla died
By 1927, Rodrigo had added to his collection o f pieces. The three pieces
(Prelude o f the Morning Rooster, 1926), both for solo piano, and the song May
Parisian public was being introduced to his music, and his developing
budding career. He met and cemented a friendship with guitarist Emilio Pujol,
which led to the rearranging o f his solo piano piece Zarabanda lejana for solo
repertoire.38
Honor from the Ministry o f Education o f France. The awards ceremony was
music for the Parisian intellectuals and academic society. Included on the
concert were works o f Falla’s student Ernesto Halffter, and the three pieces
para clavecin (Concerto for Harpsichord). The concert was well received.39
more than just this one occasion. It was through Falla that Rodrigo initially met
Max Eschig, the editor who would publish many o f Rodrigo’s early pieces.40
The young composer seemed to be establishing himself and his music, and yet,
he had doubts.
for solo piano. Based on Southern Spanish (Andalucian) folk rhythms and
melodies. Rodrigo knew that this was not the type o f music he was meant to
compose. It was music that was a result o f a forced process rather than an
Rodrigo— an inspired voice that was also Spanish, but not restricted to the
different aural depiction o f the composer's native land and distinct from the
composition:
Victoria Kamhi
It was also during these Paris years when Joaquin Rodrigo met Victoria
Kamhi, who would become his lifelong love. O f Turkish decent, her
throughout all o f Turkey.44 In her book, Hand in Hand with Joaquin Rodrigo:
My Life at the Maestro's Side, Victoria Kamhi describes her childhood and
English, and Spanish, had a sharp interest in literature, and became an excellent
pianist. Her family’s frequent business trips and visits to health spas kept the
months, which made practicing the piano difficult at times. The family
eventually set up residence in Paris, and Mile. Kamhi attended the Paris
Conservatory', studying piano with Professor Lazare Levy. She received a music
teaching diploma after five years o f study but was unsuccessful in achieving
Kamhi held a variety o f jobs— many of them in the field o f social work. She
the combination o f her education, piano skills, and the fact that she lived in Paris
which brought the two o f them together. The story is told that one o f her
friends, Alexander Demetriade, who was also a student of Paul Dukas, visited
the Kamhi household one day to ask a favor. The year was 1928. Demetriade
had a friend, Joaquin Rodrigo, who had sent an orchestral score to the conductor
o f the Wiesbaden Orchestra. Rodrigo had written several letters in French and
Spanish, asking for the score’s return, but without success. Both men thought a
letter in German would be more effective, but neither spoke German. Therefore
Demetriade appealed to Victoria for her help. Out o f curiosity, she asked the
identity o f the student needing this letter, and Demetriade told her it was an
with the name, as she had received an issue o f the music journal Le Monde
Musical, which contained several pages o f Rodrigo’s solo piano piece Preludio
And so. the difficult courting process began. Mile. Kamhi attended the
• • • 48
Paris premieres o f Rodrigo’s pieces, and she also studied his piano works.
They saw each other frequently and their relationship grew with each passing
year. Summer holidays separated the couple— he, returning to Valencia, and
The extended, collective family declared bankruptcy and her father struggled in
Paris to support his immediate family, consisting o f his wife and two daughters:
Victoria, the eldest, and Mathilde. It would be natural that Victoria’s father was
concerned about the relationship growing between his daughter and Rodrigo.49
One can only imagine the feelings o f frustration these two young people
Joaquin's, approved o f the young composer's career choice. However, that same
learning of their relationship, his parents were very happy for him, and should
he propose marriage, both would be welcome to stay with the family in Spain.
Upon his return to Paris Joaquin arrived at the Kamhi house, full of hope, to
formally ask for their daughter's hand in marriage. O f the exchange between
performing and teaching career. The following summer her sister Mathilde
stayed with a friend o f the family in Barcelona and took the opportunity to visit
Rodrigo in Valencia. She reported that Joaquin was completely miserable and
They could bear their separation no longer. Against her parents’ wishes.
Victoria left for Spain in November, and stayed with the Rodrigo family until
their wedding day. January 19,1933. The following day, the couple left for
Madrid where they would begin their new lives together. His secretary, Rafael
apartment in the active city and attended concerts. They enjoyed small trips to
neighboring attractions such as El Escorial, the vast 16,h century monastery and
palace built by King Philip II on the outskirts o f Madrid, and the beautiful
Baroque gardens at the Palace o f Aranjuez, built in the 1380s and 57 kilometers
south of Madrid. They decided that Madrid and the surrounding vicinity was
In April, they received news that Joaquin's mother was gravely ill. They
immediately returned to Valencia to be with her. By the time they arrived, she
was out o f immediate danger, although still weak, and lived an additional
nineteen years. However, the couple was not able to return to their beloved
Madrid, for the family decided it was time to inform Joaquin and Victoria that
the Rodrigo family had lost its fortune. The family fortune had been decreasing
for some time, and now, they were bankrupt. The entire Rodrigo family had to
appalled by the living conditions— so many people living in one house, with
barely any food in the pantry, and no money available for spending. As
Estivella to try and help her daughter and son-in-law figure out a financial
solution and to also be a comfort for Victoria, who felt anxious, worried, and
somewhat responsible for what would happen to this family in such dire
conditions:
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29
Six months passed. Victoria found comfort in practicing the piano, and
Joaquin, in composing. He wrote many songs during that time, including the
Cantica de la Esposa (The Bride's Song), based on a text by St. John. He also
composed his beautiful symphonic tone poem Per La Jlor del Lliri Blau (The
months as a period when Rodrigo was diligently immersed in his work, enclosed
within his studies, and channeled his feelings o f profound sadness and nostalgia
The business o f Victoria’s father improved, and he was able to buy her a
train ticket to Madrid, realizing that the couple should not be separated any
offered in Madrid to musicians and painters every two years. Sponsored by the
Academia de Bellas Artes (Academy o f Fine Arts) o f Madrid, it was called the
scholarship began as the two visited important academic figures, asking for their
support.58 Rodrigo also wrote a letter to Manuel De Falla, describing his and
Victoria's situation and their desperate need for assistance. Falla immediately
sent a telegram to Rodrigo and also sent an urgent letter to the director o f the
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30
scholarship to Joaquin Rodrigo. The couple left for Paris on March 1, 1935.59
de Lassus at the Sorbonne, the famous university in Paris; and a few classes
Musique.60
Paul Dukas died that year, on May 17,1935. As a tribute to his great
mentor. Rodrigo began his Serenata de adios, or Farewell Serenade, for solo
Parisian journal Le Monde Musical (The Music World) and the Valencian
musicians from all over the world participated in the festivals and the Rodrigos
were able to attend all o f the operas, concerts, and theatrical productions.62 In
and the song cycle Triptic de Mosen Cinco (The Three Books by Five
Clergymen).63
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31
provided adequate financial support. They were always able to either find a
the Sorbonne and in Zurich. This lecture on the vihuela, a stringed instrument
similar to the guitar that was popular in the 16th and 17th centuries in Europe,
marked the 400Ih anniversary o f the first book written on the instrument. The
book, El Maestro (The Teacher), was written by Luis Milan, and in 1536 was
In the summer o f 1936, both the young Rodrigos and Victoria’s parents
family that uprisings in Spain had begun. This was the beginning o f the Spanish
Civil War— a terrible and bloody war that would last from 1936 to 1939.
Joaquin, together with Victoria, found himself in exile, away from Spain, like
financial award, and they wondered once again how to support themselves.
They decided to stay in Germany, while contemplating their next move, while
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Soon, the Rodrigos were living at the Institute o f the Blind in Zurich, and
remained there until January 1938.67 They made close friends, attended
Pieces for Piano: Women Riding in a Carriage, Fandango o f the Country Inn,
The Prayer o f the Princess o f Castile, and Valencian Dance).68 Although they
were in exile and did not have the funds for traveling, they were safe and for the
In 1938, when Victoria became very ill, the Rodrigos returned to Paris to
stay with the Kamhi family. Rodrigo was able to give several concerts, recitals
of his works for piano, which brought in sufficient funds to the household. That
Santander, Spain, and it was there that the couple met many musicians and
scholars from the University o f Madrid. They also spent many days on the
beautiful beaches.70 At the close o f the Santander courses, on the way back to
Paris, the couple stopped to visit friends Regino Sainz de la Maza, guitarist, and
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33
recitals, writing music for film, and arranging compositions o f Albeniz and Falla
for orchestra. Victoria learned that she was pregnant, but miscarried at seven
months. She and Joaquin were devastated. While Victoria regained her strength
in the hospital, a close friend, Amalia Carrasco, served as housekeeper and cook
In the spring o f 1939, with the end o f the Spanish Civil War, the
Rodrigos were told the Conde de Cartagena funding would be paid to them once
they returned to Spain. He was offered two jobs: one proposed by Manuel De
the other as musical advisor for the Radio Nacional de Espana in Madrid.
Rodrigo chose the job that would allow him and Victoria to reside in their
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34
beloved city o f Madrid. They arrived in Spain two days before the outbreak of
Spanish National Organization for the Blind, ONCE, named him Chairman of
Art and Publicity, a position he held until 1978. He remained active and loyal to
this organization and their agenda until he died.75 Rodrigo also served as an
other responsibilities, he also worked as a music critic for the newspaper Pueblo
(City).76
Rodrigo was making enough money for the couple to rent an apartment
near Retiro Park, located in the center o f Madrid. Victoria, who was again
expecting, was confined to bed during the last two months o f her pregnancy. It
was 1940, and the couple was finally settled, surrounded by many friends, all o f
whom were eagerly awaiting two important events: The premiere of the
77
the baby, due around the beginning o f the new year.
under the baton o f Cesar Mendoza Lassalle. The soloist, guitarist Regino Sainz
de la Maza, "played the concerto exquisitely with agile and incisive fingers, and
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35
7ft
the audience applauded the new work with enormous enthusiasm." The
Aranjuez seems well earned, considering the challenges the Rodrigos had
overcome. Music critics awarded the piece their highest praises, and the piece's
popularity grew with time. It has been recorded innumerable times and
ftn
performed by many o f the greatest guitarists o f modem times. This single
composition earned more royalties than any other piece o f music in the twentieth
century until 1998.81 There are several versions o f the concerto, including a
R7
version for harp, recorded by the famous harpist Nicanor Zabaleta, an
arrangement called "Sketches o f Spain" made by the trumpeter Miles Davis, and
ftT
another arrangement for jazz piano simply called "Spain" by Chick Corea.
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36
About two and a half months after the premiere o f the Concierto de
Aranjuez, on January 27,1941, Victoria gave birth to a beautiful baby girl with
blue eyes. They gave her the name Cecilia, because Joaquin had been bom on
the day o f Saint Cecilia, Patroness o f Music.86 Cecilia developed a deep love for
the fine arts. She learned to play the piano, but her strongest inclination was
toward dance. In her book Hand In Hand, Victoria recounts story after story
about the travels and adventures o f her daughter and the relationship between
the three immediate family members. Cecilia possessed a strong and delightful
personality and grew up amidst many o f Spain's most famous artists. After
completing her dance studies at the Royal Ballet School in London,87 she
married Spanish violinist Augustin Leon Ara88 and now is the director o f the
Rodrigo's violin music90 and Cecilia has given several interviews and worked
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37
for four hands at the piano that became a staple o f Victoria's and Joaquin's duet
repertoire.92
successful composer, and having the comforts o f his home, wife and daughter in
it won the 1942 National Award for Music, the Concierto Heroico, for piano
and orchestra, did not receive wide public acclaim. Nevertheless, the world
success. The famous Spanish pianist Alicia De Larrocha has performed the
work.93 In 1944 came another concerto, this one for violin and orchestra. It was
entitled Concierto de Estio (Concerto o f Summer) and was based on the two
Other works followed: Capriccio for solo violin, Cuatro madrigales amatorios
(Four Love Songs), and his symphonic poem, Ausencias de Didcines (Longing
In 1947. Joaquin Rodrigo was the first person to be named the Manuel
until 1976.96 Other numerous awards from music organizations and even from
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38
the King o f Spain, Juan Carlos, were bestowed upon him—signs o f gratitude
given to the man who devoted his life to music.97 For a complete listing o f these
Rodrigo's and often times, other composers' pieces, lectures on various topics of
whenever necessary (this included recital music as well as playing examples for
the lectures), translating for Rodrigo in his interviews, and in being his
companion, sharing all o f these fulfilling moments with their many friends, new
and old.98
The collaboration continued in 1954, when Victoria wrote the story for
Joaquin's ballet entitled Pavana Real (The Royal Dance).99 She based the plot
on the autobiography o f the great vihuelist Luis de Milan and his life as a royal
After the success of the Concierto de Aranjuez, it did not take long for
musicians to request new works from Rodrigo. Four o f Rodrigo's most famous
(Fantasy for a Gentleman, 1958) for guitar and orchestra, dedicated to and
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39
and the Concierto como un Divertimento (The Divertimento Concerto, 1982) for
didactic and concert repertoire for voice, guitar, and piano. Suzanne Rhodes
Rodrigo's pieces:
The Rodrigos spent their last years in their Madrid home, surrounded by
music, family, and friends. Victoria died in her sleep on July 21,1997. Joaquin
died o f natural causes on July 6,1999. Their story is one full o f love and
devotion, for each other and for music. The musical world mourned the loss of
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40
Spain and music, his strongest devotion was dedicated to his daughter and wife.
As the year 2001 marks the 100th anniversary o f Joaquin Rodrigo's birth, Cecilia
Rodrigo, her family, Rodrigo scholars, the Spanish Government, and members
o f the music world are currently preparing and will be giving concerts, lectures,
and papers to celebrate the life o f this distinguished and prominent twentieth
century artist.
ENDNOTES
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4i
4 Ibid., 18-19.
5 Ibid., 18.
6 Ibid. T rans, by D ena Kay Jones.
7 Ibid.
8 Ibid., 19. Trans, by Dena Kay Jones.
9 A ntonio Iglesias, ed., Escritos de Joaquin Rodrigo (M adrid: Editorial Alpuerto, 1999), 31.
10 V aya Pla, Joaquin Rodrigo, 20.
11 Z igler, “Joaquin Rodrigo: A C om poser,” 2.
12 Iglesias, Escritos, 21.
13 Ibid., 28.
14 V ictoria Kam hi de Rodrigo, Hand in Hand with Joaquin Rodrigo: My Life at the Maestro's
Side, trans. by Ellen W ilkerson (Pittsburgh: Latin A m erican Literary Review Press, 1992). 15.
15 V aya Pla, Joaquin Rodrigo, 25.
16 Colin C ooper, “Joaquin Rodrigo: (1901-1999).” Classical Guitar 17:2 (August 1999): 19.
17 V aya Pla, Joaquin Rodrigo, 25.
18 Ibid., 26.
19 Ibid., 28.
20 Ibid., 26.
21 Cassell's Spanish Dictionary (1978), s.v. “m aquina:” and Tracy Terrel, M agdalena Andrade,
Jeanne Egasse, and Elias M iguel Mufioz, Dos Mundos: A Communicative Approach (New York:
R andom H ouse, Inc., 1986), s.v. “dim inutives.”
~ Iglesias, ed., Escritos, 31-32.
23 V aya Pla. Joaquin Rodrigo, 26.
24 Ibid., 29.
25 Ibid.. 30-31. Trans, by Dena Kay Jones.
26 "In M em oriam : Joaquin Rodrigo," Musical Times 140 (A utum n 1999): 6.
27 Kamhi, Hand in Hand, 66.
28 V aya Pla, Joaquin Rodrigo, 27.
29 Iglesias, ed., Escritos , 97.
30 V aya Pla, Joaquin Rodrigo, 33.
31 Iglesias, ed., Escritos, 21.
32 G lenn W atkins. Soundings: Music in the Twentieth Century (London: Schirmer Books, 1995),
pg. 308-309.
f Ibid., 64-65.
j4 Iglesias. ed., Escritos, 99.
35 Kamhi. Hand in Hand, 66.
36 V ava Pla, Joaquin Rodrigo, 37.
37 Ibid., 33.
38 Ibid., 36.
39 Ibid.. 37.
40 Ibid.
41 Ibid.. 38. T rans, by D ena Kay Jones.
42 Ibid., 38-39.
4j Ibid.. 39. Trans, by D ena Kay Jones.
44 Kamhi. Hand in Hand, 78.
45 Ibid., 43.
46 Ibid.. 71.
47 Ibid.. 61.
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42
48 Ibid., 63.
49 Ibid., 46.
50 Ibid., 73.
51 Ibid., 75.
52 Ibid., 78.
53 Ibid., 79.
54 Ibid., 80.
55 Ibid.
* Ibid., 81.
57 Ibid., 82 and V aya Pla, Joaquin Rodrigo, 48.
58 Kamhi, Hand in Hand, 82-83
39 Ibid., 83-84.
60 Ibid., 87.
61 V aya Pla, Joaquin Rodrigo, 50.
62 Kamhi, Hand in Hand, 88.
63 Suzanne Rhodes Draayer, A Singer's Guide to the songs o f Joaquin Rodrigo (London:
Scarecrow Press, 1999), 16.
64 Kamhi. Hand in Hand, 91.
65 Ibid.. 56.
66 Ibid., 93.
67 Ibid., 93-97.
68 Ibid., 98.
69 Ibid., 97.
70 Ibid., 103.
71 Ibid., 105.
72 Ibid.
73 Ibid., 109.
74 D raayer, A Singer's Guide, 17.
75 K am hi, Hand in Hand, 111.
76 Ibid., 112.
77 Ibid., 112.
78 Ibid., 113.
79 Ibid.
80 Ibid., 112-116.
81 Zigler, “ Joaquin Rodrigo: A Com poser," 2.
82 K am hi, Hand in Hand, 114.
83 Zigler, “Joaquin Rodrigo: A Com poser," 2.
84 Kamhi, Hand and Hand, 114.
85 Zigler, “Joaquin Rodrigo: A Com poser," 2.
85 Ibid.
87 Kamhi, Hand in Hand, 194.
88 Ibid., 199.
89 Zigler, "Joaquin Rodrigo: A Com poser," 2.
90 Ibid.
91 C ecilia Rodrigo, "My Father," Classical Guitar 15 (M ay 1997) 18-23: and Larry Newcomb,
"Joaquin Rodrigo and Spanish N ationalism ." (M .M . diss.. University o f Florida, 1995).
92 D raayer. A Singer's Guide, 18.
93 Kamhi, Hand in Hand, 126.
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94 Ibid., 127.
95 Ibid., 140.
96 Draaver, The Singer's Guide, 5.
97 Ib id .'
98 Ibid., 18-19.
" I b id ., 18.
100 Kamhi, Hand in Hand, 158.
101 Ibid., 163-164.
102 Ibid., 173-174.
103 Ibid., 255-256
1W Ibid., 285.
105 Draayer, A Singer's Guide, 6.
106 Ibid., 7.
107 For one such exam ple, see "Rodrigo Rem em bered," Guitar Review 117 (Sum m er 1999): 4-7.
108 Robert A ntccki, The Joaquin Rodrigo Website, 1999-2000:
http://w w w .com posers,net/roh/rodrigo/biography.htm .
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For 64 years, from 1923 to 1987, Rodrigo used the solo piano as a
vehicle for the transmission o f his special musical ideas. Scholars and pianists
will find that these piano solos, though perhaps more obscure than those of
Albeniz, Granados, and Falla, are, nevertheless, fruitful for study and
basic musical language unites all o f Rodrigo’s piano pieces, diversity o f content,
length, and specific stylistic choices yield a flexible and varied musical
Although most English language studies focus on Rodrigo’s works for guitar,
violin, and voice, a number cite his piano works when investigating specific
characteristics o f his music. Perhaps this is because Rodrigo wrote his music for
all instruments sitting at the piano and, therefore, one cannot ignore the piano's
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His piano works are treated in a limited manner in the Spanish book
Joaquin Rodrigo (su obra para piano): piano a cuatro manos, dos pianos y
Rodrigo's complete piano works (solo and four hands, two pianos, and piano and
orchestra). Although Iglesias does give summaries o f the specific pieces, these
the date of composition, dedication, time signature, key signature, and level of
pianistic difficulty.
Joaquin Rodrigo is another source that complements this chapter.4 All o f the
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The early piano works o f Joaquin Rodrigo have one thing in common:
they are short. The pieces from 1923 to 1930, except for the Suite para piano,
take less than five minutes to perform.5 These short pieces generally follow the
works. For example, Rodrigo's early piano works include a suite, a prelude, two
one nationalistic Spanish piece during this early period, the Cancion y danza,
composer was only twenty-two years old. These include the Berceuse
d'automne (Autumn's Lullaby) and the Suite para piano (Suite for piano). The
otherwise ordinary tonal environment. The Suite para piano contains five
movements, some that are more simplistic in their musical content and others
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In 1925, Rodrigo composed the Cancion y dariza (Song and dance). The
form is ABA, the A section representing the song, and the B section
this piece. The work features challenging flourishes o f scale figures. Rodrigo
morning rooster and his counterpart, the hen. One of his most difficult works
lejana, Rodrigo utilized the higher registers o f the piano, creating a charming
and haunting atmosphere. Rodrigo arranged this work for solo guitar and for
orchestra. Years later, Rodrigo chose the orchestral version for performance at
Victoria Kamhi's funeral services.7 Like the Zarabanda lejana, the Pastorale
features the upper registers o f the piano, this time aiming for an introspective
quality. The form is ABA, and in the B section o f the work, Rodrigo presents a
musical representation o f the cuckoo's call, a sound that is found in many o f his
works and which seems to have fascinated him. The more difficult o f the three.
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the Bagatela, is a fast, dance-like work with many complex rhythms, harmonic
color tones, whole tone scales, and tricky left hand figurations.
printemps is light and playful. Two years later, in 1930, Rodrigo composed a
work based on the letters o f Victoria Kamhi's name. Air de ballet sur le nom
d'une jeune fille (Ballet Air based on the name o f a young girl). In this graceful
studies, he had met the woman he would soon marry, and he had developed a
these early pieces reflect his developing life, personality, and musical profession
and showcase Spanish folkloric elements. Although Rodrigo had included some
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earlier piano pieces, they were not as pronounced as in the music written after
portrays Southern Spain, or the region known as Andalucia, for the first time in
his piano works. Rodrigo develops the main theme—a fiery melody with gypsy
flavor in its complex rhythms and fast tempo— by composing rapid harmonic
changes. The contrasting B section o f this ABA form serenade reminds one of
Debussy's "La serenade interrompue" from his Preludes, Book I, in that the main
To show his respect for his revered mentor and friend, Paul Dukas,
(Good-bye Song, Homage to Dukas). A calm, yet tragic pattern for the left
hand serves as the underlying layer o f restlessness, although the tempo o f the
piece is fairly steady throughout. The wistful melody for the right hand, shifting
From 1936 to 1938, Rodrigo composed the first multi-movement set for
piano o f his mature period, Cuatro Piezas para piano. The four movements
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fast-fast-slow-fast design. The first two dances represent Andalucia while the
example of the jo ta valenciana, one o f the most popular dances found in this
region. The slow, dramatic third movement, with its serious, mournful
sentiment and dissonant outburst its close, is the dramatic climax o f the whole
set. All four movements fall within the same intermediate to advanced level of
have been the inspiration for his next published work, Cinco Piezas del Siglo
X V I (Five Pieces from the 16th century). Rodrigo borrows melodies composed
by Spanish musicians from the 16th century, Antonio Cabezon, Luis de Milan.
and true to the style and harmonic language o f the Renaissance period. One
does not hear the harmonic language that Rodrigo had strongly developed by the
date of these compositions, 1937. These works may have been Rodrigo's way o f
model for himself, and then composing within this style, using borrowed.
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closing the set. The variations and fantasy are the most complex pieces in this
group.
Espinos called Danzas Viejas, Rodrigo chose three poems to set to music:
"Rustica" (Rustic Dance), Danza de las tres doncellas" (The Dance o f Three
movement, that frequently changes registers on the piano. The "Danza de las
tempo, reminds one o f guitar strumming with its challenging 16th note
figuration. The articulated touches of this movement are complex, and the F-
sharp major key signature also poses as a challenge to the pianist. The "Serrana"
Albeniz o f the same name, which made a profound impression on Rodrigo. The
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which introduces a new melody with a difficult left hand accompaniment, and a
figures in the middle o f the phrases. The end o f the piece represents the clock
tower o f Bermeja with its five strikes o f the tower bell. Similar in style to the
During the years 1946 to 1952. Rodrigo worked on a set o f pieces called
de Chanquetes (The Meat Vendor) portrays the hustle and bustle of the market
the vendor's cries, beckoning his customers to buy his fine meat. The second
image o f Andalucia is one that is not as well known. In the Crepusculo sobre el
depicts the Guadalquivir river. In the three sections o f the piece, the A section,
followed by the B section, and then a joining o f the two, Rodrigo incorporates
romantic harmonies and parallel thirds in the melodies. The next o f the set,
Seguidillas del Diablo (The Devil's Dance) follows the model o f a typical
Andalucian seguidillas (fast dance from Andalucia). The beginning is fast and
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hand. The A section returns, even faster and more energetic, and ends the piece.
Not all o f Rodrigo's works are for the advanced pianist. In 1948,
Cecilia, who learned them all and actually gave their premiere. These delightful
pieces advance in difficulty through the set and are based upon Spanish folklore
found throughout all o f Spain. The first, "Maria de los Reyes" (Princess Maria)
pattern in C major. The second, "A la jota" (Dancing the jota), is ajota
introduces the idea o f form, through a brief, slow, contrasting B section. This
work is also in C major. The third piece "Cancion del Hada Rubia" (The Song
o f the Blonde Fairy), teaches imitation in unison. This piece is slower and also
in C major. Next follows the "Cancion del Hada Morena" (Song o f the Dark-
overall tempo encourages the student to energize the dance found in this piece,
the bulerias (a fast dance found in Andalucia). "El Negrito Pepo" (The little
black boy named Pepo) is the first piece to stray from C major. It is written in D
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major, but the c-sharp is never played. The left hand plays a constant pattern,
while the right hand plays a simple folk-like melody. The last movement.
a popular Spanish Christmas carol and is similar in style to a Hanon piano study.
The two hands must be independent o f each other, especially when the
most advanced piano pieces. The Cinco Sonatas de Castilla con Toccata (Five
Castillian Sonatas with Toccata) o f 1950 is the longest of the piano works, other
than his concerto. They also are extremely complex, as Rodrigo takes the
Sonata form used by composers Domenico Scarlatti and Antonio Soler and
piece for piano. This, the shortest o f Rodrigo's piano works from his mature
(Dance o f the Poppy Flower) is a tricky piano miniature with fast dance
rhythms, quick turns and other ornamentation, irregular phrase structure, and
advanced pianist.
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Afternoon in the Park), Rodrigo juxtaposes major and minor harmonies out of
Guadalquivir River. The left hand plays a steady ostinato, the shifting and dark
harmonies creating an unsettled atmosphere, while the right hand plays chords
with color tones. In the middle section, Rodrigo introduces quartal harmonies
and a happy, child-like melody, that is still surrounded by the murky sounds of
strikingly dramatic. Brilliant and full o f life, the Spanish melody sings over
guitar, and rapid changes o f meter and harmony. The right hand writing is full
o f florid passage work while the left hand includes many octaves.
Rodrigo's final piece for piano, written in 1987, is reflective. Its title,
the composer's nostalgia, for there is great yearning in this piece. Could he have
been reminiscing about his own life? He incorporates a calm serenity through
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Preludio al gallo mahanero is one o f the most difficult, even though it falls
within his early period. The Serenata Espahola shows striking nationalistic
his more usual preference for dissonance in his Cinco Piezas del Siglo XVI, and
the works that comprise the pedagogical Album de Cecilia written for his
daughter are also unlike any other o f his piano pieces. All o f these works, in
my opinion, are o f pianistic and musical merit and worthy o f incorporation into
ENDNOTES
1 Suzanne R. Draayer, "Joaquin Rodrigo and his Doce Canciones Espaholas and Cantos de amory de
guerraJournal o f Singing—The Official Journal of the Motional Association of Teachers o f Singing
52 (March/April 1995): 5-17; Laura Jean Klugherz, "A Performer's Analysis o f Three Violin Works
for Violin and Piano by Contemporary Spanish Composers," (D.M.A. diss.. University o f Texas at
Austin. May 1981); and Larry Newcomb, "Joaquin Rodrigo and Spanish Nationalism." (M.M. diss..
University o f Florida, 1995).
2 Antonio \g\csias. Joaquin Rodrigo (su obrapara piano): piano a cuatro manos, dospianosy piano
y orquestra (Madrid: Alpuerto. 1995).
J Margaret Ward. "Joaquin Rodrigo's Piano Music," Clavier 33 (January 1994): 22-29.
4 Joaquin Rodrigo. The Complete Piano Works of Joaquin Rodrigo. Gregory Allen, piano with Anton
Nel. piano. Port Washington, NY: Bridge Records. 9027A/B. 2CDs. 1993
5 H owever, the individual m ovem ents o f the Suite para piano are also short. In total tim e, the
five m ovem ents o f the Suite last approxim ately nine and a h a lf m inutes.
6 Rodrigo. Joaquin. Cancion y danza. Madrid: Ediciones Joaquin Rodrigo. 1997.
7 Robert Antecki. The Joaquin Rodrigo Website. 1999-2000:
http://wwwcomnosers.net/roh/rodrigo/biogrophv.htm.
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primarily because o f his prolific musical output and the contributions to public
music appreciation that he and his wife, Victoria Kamhi, made through their
lecturing activities. He studied music in one o f the most active musical cities o f
Europe, lived during (and was indirectly affected by) three wars, and witnessed
developing interest in music date from his teenage years. Since his family was
wealthy, they possessed two valuable tools that assisted Rodrigo in learning
music: the record player and the player piano. A player piano was an instrument
that, in addition to being played as a normal piano, could also play music by
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itself when a specific type o f musical roll was inserted into the instrument. In
recordings o f Bizet and Verdi, listening to the arias from Les pecheurs de perles
(The Pearl Fishers) or "Ave Maria" from Otello.10 It is interesting to note that
Rodrigo's first musical listening experiences were with opera. One o f Rodrigo's
idolized.11 However, he recalled, "I was not able to bear the music of
Beethoven, and going back to study Bach did not completely seduce me. Today
compositions of the day. Through the music journal "La Revue Musicale" (The
Musical Review) he became familiar with new works which were being
published in Paris.13 Also at this time, Spain was a popular and stylish
destination for concertizing artists in the traveling musical circuit, and Rodrigo
Petrouchka in live performances, not long after the premieres o f these works in
Paris. What Rodrigo was not able to hear in live concerts, he absorbed through
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piano rolls— the means available for musical journals to sell reproductions o f
When Rodrigo reached Paris in 1933, he was already acquainted with the
Paris
was the Parisian artistic environment. At the end o f the nineteenth century, Paris
was a magnet that drew intellectuals and artists from all over the world.
Experimentation and breaking old traditions were the trends for the creation of
music, dance, literature, and art.15 In his book, Spain: A Musician's Journey
Through Space and Time, Walter Starkie addresses the question o f why early
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However, the fact that Rodrigo developed his unique personal style during his
six years residence seems more than coincidental. All o f these aspects—the
environment, the time (the early twentieth century), the people with whom
Rodrigo worked and associated, and the musical and social events that
development as a composer.
Impressionism
Considering the time and place o f Rodrigo's teenage years, one must
musical style. Impressionism is a term first used in the late nineteenth century
by critics describing the paintings o f French artists such as Monet, Cezanne, and
innovative uses o f light and color. Outlines o f forms were often obscured, and
at times, perceptions o f the work differed, according to the distance between the
light and color carried over into the French musical camp:
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and defining their own musical languages, later used some o f these techniques.
Some o f these techniques include the use o f modes (for examples, whole tone
scales, octatonic scales, church modes, and linear modality in melody), coloristic
harmonies (chords built on the interval o f a perfect 4lh and its inversion, a
perfect 5th), bitonal chord clusters, rhythmic ambiguity, and a basic reordering of
Ift
musical principles which created a new music language.
Neoclassicism
simultaneously with the tragic events o f the First World War. Afraid o f
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One o f the most influential neoclassicists living in Paris was the Russian
Rodrigo's comer of the world. From the time o f her Paris debut in 1900, she
promoted the music o f Bach in her concerts and lectures throughout Europe.
The public was intrigued by the fact that she performed on a harpsichord instead
para clavicembalo (Concerto for Harpsichord) was published in 1928 and many
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years later, Rodrigo also wrote a solo piece for harpsichord entitled Preludio y
Landowska was not the only one in Paris promoting early music.
Debussy and Satie both composed Sarabandes, based on French Baroque dance
neoclassicism.
neoclassicists is simply in the terminology. Rodrigo finds fault with the term
that Spanish composers never left the classics for they were bom into a classic
tradition.23
Nationalism
At the end o f the nineteenth century and the beginning o f the twentieth
varied, served as the building blocks from which composers then developed
their own compositions. During Rodrigo's early years, Debussy, Ravel, and
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Stravinsky used folk materials in their compositions. Also during this time Bela
Bartok and Zoltan Kodaly gathered and recorded folk songs throughout Eastern
Europe for use in their own pieces. Other twentieth century' nationalist
Williams (England) and Manuel De Falla (Spain). Rodrigo was most familiar
with the works o f Bartok and Falla. Nationalistic material in Rodrigo's work is
Atonality
Rodrigo knew o f the atonal and serialist music o f the Second Viennese
his early works, but like Rodrigo, Hindemith did not have much enthusiasm for
including compositions based on jazz, parody, and satire, but by the mid-1920s,
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performed in Paris, Rodrigo would later state: "I reveled in all o f Hindemith's
transcendence, and today, I believe that he is the grandest figure o f our time."25
his brief experiments left a lasting mark in his musical language: a preference
for melodic and harmonic dissonance, especially that o f bitonality. Because this
level o f dissonance had gained acceptance in Paris and other places in Europe,
Rodrigo may have felt comfortable incorporating these types o f sounds into his
own style.
Jazz
music, which seemed carefree and adventuresome. The relief provided by such
American jazz, blues, and ragtime music into their compositions,26 but Rodrigo
adopted it in only a most limited way. Although he employed the blues scale in
one small section o f his Suite Para Piano o f 1923, it is the only example of
Paul Dukas
lectures, and numerous interviews given by Rodrigo. These writings are the
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testimonies o f Rodrigo's views and opinions o f his own and others' music and
de mis recuerdos (Memories o f musicians), Rodrigo recalls the time with his
enlightened Rodrigo on the disguised scenarios that often take place between
Rodrigo received two weekly lessons, each lasting two hours, with
Dukas. The first hour was devoted to correcting Rodrigo's compositions. The
second hour was devoted to musical analysis. Seated together at the piano, they
and operas, amongst other music. Rodrigo stated that this second hour was
music.
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musical style, for many o f these observations might just as easily be said about
elements that create a distinctive and unique personal sound. Dukas conducted
this search. It appears that Rodrigo conducted this search as well. Indeed.
we have seen in the quote above, other similarities between Dukas' music and
lyricism.
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Rodrigo was quite possibly in his role as a true mentor. Dukas was a person
who worked closely with a student who he thought exhibited great talent. He
believed in his new disciple and, through his satirical wit, encouraged Rodrigo
to believe in himself. Federico Sopena, friend o f Rodrigo and writer o f the first
Compositional Process
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After rendering the score in standard notation, the corrections and changes took
additional time and energy. Rodrigo was able to rely on his wife, who worked
diligently to help him produce the written scores. However, they were not
married until 1933, when Rodrigo had already been composing for ten years.
main reasons why Rodrigo's piano pieces, and specifically his early piano
early works are one movement character pieces, such as his Berceuse d'automne
and two minutes, respectively. The Pastorale (1926) and the Bagatela (1926)
are both under two minutes in duration. The longest work Rodrigo composed
for the piano prior to his marriage is his Suite para piano (1923), which takes
just under ten minutes to perform and contains five separate movements, with
This is not to say that Rodrigo's early piano works are lacking in musical
merit or integrity. On the contrary, Rodrigo's writing for the piano is concise,
packed with details and complex ideas, beautifully expressive, and ingeniously
created and constructed. However, after 1933, Rodrigo’s pieces are longer,
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process. These more extended works suggest that he had reached a new level of
Rodrigo did make notes on his Braille typewriter, his process for internalizing
and realizing music was not visual, but through tactile and auditor}' perceptions.
Eventually, his ideas would appear in standard written notation, but the means in
getting to that end, Victoria Kamhi believed, made his music even that much
more genuine.32
evident in his preference for forms from the eighteenth and nineteenth century
keyboard repertoire; for example, Rodrigo's early piano works include a suite,
elements in his early piano works include subtle Spanish and French melodic,
notes— drawn from the traditions o f these two countries. It is in Rodrigo's early
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works that one hears his most extensive use o f biting dissonance. Rodrigo's
harmonies merely for effect, and the dissonance between certain intervals,
especially that o f a 2nd and a 7th. All o f these fantastic chromatic and dissonant
melodies. His early works are short, yet dynamic, concentrated studies in
pianistic color that demonstrate a great variety o f timbres and musical effects.
development, for several compositional techniques found in his Suite para piano
appear again in later works. One o f his earliest compositions, the Suite para
piano was written in Valencia. Spain in 1923. The twenty-year-old was studying
composition with Antich and also attending general music education classes of
Chavarri and Goma. Through the information Rodrigo received from these
was familiar with the elegant and intellectual music from the French Baroque
Era,33 and the French suite w as the springboard for the creation o f this
neoclassical piece.
French Influences
The main influence on this work is the form, which is derived from
French Baroque dance. Similar to Baroque suites, where series o f dances would
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reinforcing their connection to French music from the past. Like many of the
early French Baroque dance suites, Rodrigo's Suite para piano musically
portrays the quaint and nostalgic air associated with the music o f France.
However, even though the forms o f the piece mirror the original Baroque
dances, these pieces contain Rodrigo's own creative flair and deviate from any
structure. Although subtle, each movement possesses its own peculiar and
idea:
close representation o f it, is heard at the close o f the movement. The writing is
concise and neatly unified, yet allows each movement its own specific
particularities.
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Prelude
B Coda, is consistent with many French Baroque suites, in that the material of
the B section contrasts with that o f the A section, and the Coda serves as a
summary to the whole work. Keyboard preludes from the French Baroque
period frequently employ fast passages along with scalar arpeggiated patterns, as
However, a glance at the key signature quickly suggests that this piece
the A section embraces two key areas. In this bitonal treatment, the right hand
plays in E minor while the left hand plays in E-flat minor (See Example 2
below). The bitonality sustains tonal ambiguity. Not only does he evade a clear
tonal center, but Rodrigo also takes a unique approach to rhythm in this
definite, strict pulse in the opening measures o f the "Prelude," the placement of
bar lines and downbeats is aurally ambiguous. Use o f the highest registers of
the piano, in conjunction with bitonality and displaced rhythm, gives the
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musical idea that unifies the entire piece. In the "Prelude" this idea is modified,
Ex. 3a, Suite Para Piano Ex. 3b, Suite para piano, "Prelude," m. 1
The bitonal and offset rhythmic elements o f this "Prelude" recur in both
similar and varying ways in other Rodrigo pieces. The minor and major 2nd
relationship between the two hands is a common stylistic element in many piano
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fragment. The melodic fragment is a simple idea, repeated three times in half
notes are built from the two representative whole tone scales and fashioned into
arpeggiated fragments:
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transition (m. 41) into the return o f the opening material (A section), now
reduced and altered. This brief return serves as a reminiscent whispering o f the
opening material.
Toco
30.
This time, the melodic fragment is heard only two times. The
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PoconcaoiMMo
W
Ex. 7 ,Swi/e parapiano, "Prelude,” mm. 50-56
The Coda o f the piece reemphasizes the bitonality o f the work and also
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Performance Considerations
the ethereal qualities as light and dream-like as possible, while insisting upon
clarity in the attacks and duration o f the pitches. Because o f a quick pulse with
fast surface rhythms in a bright range o f the instrument, the A sections o f the
piece present the challenge o f maintaining a soft sound "con delicateiza e molto
Because the pitches are offset by a sixteenth note, the hands are likely to
strike the pitches at the same time. In order to combat this tendency, the pianist
might slightly detach the individual notes, relying on the damper pedal to give
the illusion o f molto legato. Because these sections are explorations of color
rather than melodically developing sections, the use o f the damper pedal should
The B sections call for careful attention to voicing, the top notes ringing
out above the light accompaniment divided between the hands. Some o f the
stagnant—a held note, for example. Rodrigo wrote chromatically altered pitches
for the accompaniment, bringing it to life on its own merit, whenever the
melody is not dominating the music. Giving the accompaniment its own
identity and direction while not overpowering the melody seems to be an artistic
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need to clarify one o f the main ideas o f the "Prelude," the opposition between E-
natural and E-flat. One might consider beginning slightly under tempo, slightly
exaggerating the forte dynamic, emphasizing the top E-natural and E-flat, and
bringing the three closing aspects directly into focus from the beginning o f the
Coda. These purposeful adjustments at the beginning o f the coda will cause the
planned or executed within a logical framework or else the closing figure may
Sicilienne
The second movement o f Rodrigo's Suite para piano is actually the first
follows the French Baroque model by incorporating this "Sicilienne" into his
collection o f dance pieces. Rodrigo also keeps the formal structure of a typical
dance movement from the Baroque Era. The movement is set in a basic
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80
The tonal centers are clearly E minor and G major in this slow, sweet
After this short, introductory statement, the lyrical tune o f the piece starts.
Beginning in measure two, the melody is based upon the top melodic fragment
Melodic fragment from the second B section (top voice in the R.H.) of the "Prelude":
bo_ ly t
Ex. 10a, Suite para piano, "Prelude," mm. 19-22, top voice
grF i &fr~E
I
9 1 * rT *
Ex. 10b, Suite para piano, "Sicilienne," m. 2
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Combined, measures two and three complete the first musical phrase, all
concisely taken from either the principal musical idea or previously stated
followed by a new tw o-bar melodic idea. This two-measure phrase also uses
the same intervals o f 2nds and a 5,h as its neighboring phrase and is also repeated
in a higher register for a change o f pianistic timbre. The first half o f the piece
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beginning in measures 10 and 11, is based again mainly on the melodic fragment
from the B section o f the "Prelude." The tonal center is now G major as
opposed to the initial E minor key. A new falling scale pattern emerges in
This leads into a two measure repetition o f measures 10 and 11, however, now it
statement o f the 2nd half o f the "Sicilienne," returning to E minor. This material
in the second half is eleven measures long and after a repeat, the dance ends.
step-wise motion are heard before the primary note, emphasizing the main beats
o f the measure.
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83
grace notes have now become groups o f grace notes in thirds. Rodrigo varies
the grace note groups, either placing one group o f grace notes before the primary
beat, or two groups o f grace notes, again moving in step-wise motion, before the
primary beat:
poeorit
to _________
PP
ll"l "f ! JT 3
-*S-
2nds and 7ths serve as color tones in chordal passages. Rodrigo also uses
many quartal harmonies. For example, in measure 6, the basic harmonic quartal
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84
The open, thin sound o f the fifth warmed by the dissonant 2nd sound became a
above the G root is heard simultaneously with the chromatically altered minor
pocoriL
The initial B-flat holds a dominant position in the measure, sounding on the first
beat. However, within the same measure, Rodrigo challenges that minor
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85
sonority by placing a B-natural in the left hand, followed by the accented pitches
This small section is reminiscent o f American blues, for the third and
seventh steps o f the scale are lowered. Whether influenced by American blues
does not employ the flat third or seventh scale degrees in this manner in any
Performance Considerations
reach in this Suite para piano. One such case occurs between measures 2 and 3.
notes. The figure is a descending passage, split between the hands. Meanwhile,
the top fingers o f the right hand play the melody, and the left hand plays the
harmonic chord on the downbeat, before taking over the accompaniment figure.
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86
All o f this fits quite nicely in the hand until there is a directional change
in the inner voice pattern between measures 2 and 3. The left hand is playing
the inner voice in measure 2, weight and hand moving downward, playing the
pitches c and b, and suddenly the voice jumps upward to the pitch E-natural,
while underneath, all other fingers play a compact chord. One solution for small
hands that cannot reach the chord and the top voice a ninth above is to simply
roll the chord. Treating the left hand in this manner between these two measures
may be an appropriate solution, because rolling the chord before the downbeat
and voicing o f the top E-natural is similar to the placement o f the grace notes
found in measure 2.
Rodrigo composes two short phrases and calls for a tempo change, in a
relatively short time span. The first phrase is found in measures 12 and 13.
a cctL
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87
The same occurs in measures 16 and 17, however, the effect is different as
te c tL
dtKemmtnte
The pianist might consider a rather sudden and pronounced tempo change,
particularly in the first case where the forte dynamic is indicated (m. 12). This
Bourree
inverted modification:
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The "Bourree" follows a form similar to that o f the "Sicilienne," except that the
first half o f the dance is not repeated. Tonal centers are E major, C-sharp minor,
and C-sharp major. The melodic content, although differing in tonal centers and
In the first half, the accompaniment figures in the left hand add 2r,ds for
In measures 11 through 15, Rodrigo's use o f the 2nds in the left hand
creates new chord cluster harmonies, which carry over into the second half of
the Bourree. The two halves would be equal in length (fourteen measures each),
very end o f the work, he writes one measure o f chromatically altered harmonies,
wtobo rit.
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89
Performance Considerations
innocence. This piece calls for many tonal contrasts, as sometimes the melody
The accompaniment either contrasts with the melody or molds itself into a
similar consistency.
color tone while the accompaniment figure consists o f awkwardly jumping 2nds.
By voicing the melody as clearly as possible while using the damper pedal as
indicated to sustain the half notes, one can bring this section into focus and
guide the listener in hearing all the differing layers Rodrigo has produced for an
Minue
In this movement. Rodrigo stays fairly true to the Baroque minuet form.
The dance is in triple meter, and each half is equal; sixteen measures each. The
halves are repeated. The first half is in E minor and the second half is in E
major.
It is in this simple minuet that Rodrigo gives the listener the principal
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90
around the main pitches o f the principal musical idea. This four-bar phrase is
flowing thirds, moving in step-wise motion, for the left hand. The first phrase
note, which is the A-natural on beat three. This phrase is repeated an octave
f=F\
1
[ f 4* — ^ £=4 = M
F F
f e . l = f e ' F = 3 = 3 = 3 = = fc = t= E E
-
*» ( n c 1 1 ■ 11 >■+—1
11 II x.
i f — FH 1 I *_|f fr=■■T^ lF % = = \
m.
mmmm 1^; —
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91
The second half o f the "Minue’' is contrasting to the first half. The key
and Rodrigo's distinctive musical language is now more prominent than in the
first half. The melodic range increases, expanding from the four-note range in
the first half to encompass over two octaves from measures 17 to 24. The
third, and in measures 18 and 19, Rodrigo writes ninths, as opposed to seconds.
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92
beginning o f this half, and in the first half s dynamic level o f piano. The
repetition o f this phrase adds major sevenths to the "pick-up" notes in the right
hand melody, beat three. These harmonies create the closing phrase, which
Performance Considerations
measures 18 and 19. The major 9lhs are impossible for a small hand to play
exuberant o f the whole movement. One possible solution is to place the bottom
note directly on the beat and to play the second note as a grace note, yet giving it
equal weight so that both pitches are heard. This dotted rhythmic treatment may
be continued through measure 20 even though the interval range between the
two notes becomes smaller and the hand can play the two pitches at the same
throughout the passage. The damper pedal should fall with the downbeat and
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93
Rigaudon
This is the most complex movement in the Suite. It is the longest, the most
The form o f the piece is: A B Coda. Both sections are in B minor.
A Section
staccato, jumping bass line in the left hand. Consistent with Rodrigo's pattern in
all o f the other movements, the melody begins with a treatment o f the principal
A i
uv / r
------
E £ 26a, Suite para piano Ex'. 26b, Suite, "Rjguadon," mm. 5-6
The melodic phrase is elided three times to form one long, continuous
phrase o f thirteen measures. The phrase repeats and Rodrigo adds some
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94
section leads to the "animato" climax o f the A section, where Rodrigo uses
harmonies based on whole tone intervals. The dynamic level also reaches
48, Rodrigo brings back the opening melody and accompaniment figure, with
the added second harmonies in the right hand. Again, it is thirteen measures in
B Section
the right hand and a more legato accompaniment in the left hand surround the
lasting through measure 69, Rodrigo places melodic eighth notes, accompanied
melodic idea. However, this idea is not fully audible until measure 70, when
Rodrigo w rites"molto legato" and the top voice clearly sings above all the other
pitches:
mp
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95
In measure 73, Rodrigo doubles the melody with an added voice in the
right and left hands. The use o f pitches surrounding major and minor 2nds,
creating more dissonance, carry the melody to the climax o f this section, which
is found in measure 80 and lasts until measure 88, when a fermata halts the
musical action.
At measure 89, the Coda begins. This Coda recalls material from both
sections. The character changes as it begins with the opening A section melody,
here found in E minor, in "m em mosso, " and lasting until measure 98.
In measure 99, Rodrigo recalls material from the B section, recalling the
Rodrigo ends the piece similarly to the way he began it. Bitonal flourishes
between D-sharp minor and E minor coexist in combat up the keyboard until the
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96
Performance Considerations
dissonance through the use o f 2nd\ the hand must maneuver with great facility
between white and black key. Slow practice and creating a choreography o f
creative hand positions is one way to develop this facility. Another aid may be
found in the imaginative and meticulous application o f the damper pedal. While
using the damper pedal, to blend the sonorities when necessary, the hand will
have more time for moving in and out o f the keyboard when necessary.
For example, in measure 41, the left hand must assume a rather position.
One might use the pedal to hold the half notes throughout the whole measure,
giving the hand more freedom o f movement for playing the other notes.
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97
animato
Summary
We have seen in the Suite para piano that Rodrigo was definitely
perhaps even jazz. One o f the most compelling influences in evidence in this
Suite utilizes many melodic and harmonic 2nds and many color tones added to
triadic chords. Rodrigo also repeated a lot o f the same musical material within
the same movement. As Rodrigo's style developed, so did his use of dissonance
and non-repetitive material. The analysis o f the next piano work, Preludio al
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98
Musique. It was while studying in Paris that several experiences influenced die
and Ravel, his meeting o f the great Spanish composer Manuel De Falla
and admiration o f his music. These all would influence Rodrigo's compositional
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99
images through sound are at the influential roots o f this piece— even though in
the statement quoted above he argues that his Preludio is different than those of
serious preludes also written during this time. However, it is more important to
note that like the other preludes, the Preludio al gallo maiianero is an
impressionist work. Rodrigo recalls the French Clavecin School in that, like so
morning rooster and hen through music. For example, to represent the gallo, or
rooster, Rodrigo chose intervals that are very close together and placed an
accent on the highest pitch. To complete this sort o f interruption in the bird's
portraying the sounds one hears in the feathered creatures' coop. (See Ex. 33)
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100
Rodrigo chose similar intervals to represent the gallina, the hen, but the
sound on the downbeat o f the measure. The pitches are so close together and the
grace note attack is played so quickly, that together it sounds like a chord
cluster. Again, this appropriately portrays the hen's call. The leaping interval
particular hen a seemingly more aggressive presence than the rooster's call.
Tonality
From the very beginning one can see another twentieth century
hand plays only white keys, while the left, only black keys. Thus, bitonality is
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101
p p motto legato-.
As one can see in example 3, the bitonal centers of G major (right hand)
and F-sharp major (left hand) are blended as the two hands are rhythmically
offset by a 16th note value. The constant friction between harmony and rhythm
32nd note figures in octatonic scales. Although these pitches are not arranged
perfectly to fit an octatonic scale, the juxtaposition between major and minor
2nds dominate these passages. I would also like to point out the connection to
French composers, writing similarly for the piano at this time (see example 5
below). O f this particular page o f the score, Antonio Iglesias states, "It is
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102
/m.
Iglesias refers to the sections where Rodrigo composes fast notes (16lh or
32nd) using an octatonic scale. Two examples o f this are given below.
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103
(J=J-) _ -------- **
|. g j , y
memo m on o
Melodic Treatment
piece, the emphasis is not on lyricism but rather on the representational quality
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104
changes o f pitch.
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105
Her song is also developed, but not manipulated as much as the gallo
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Ex. 42b, Preludio al gallo mananero, mm. 62-64
Transposition and Extensions
Harmonic Treatment
preludes o f the twentieth century, labeling this prelude as "...una obra mas
techniques in the Preludio: the use o f either a major and/or minor 2nd interval.
As stated earlier, the bitonal treatment flames the whole piece in a minor
2nd relationship. Yet, Rodrigo utilizes this relationship and that o f a major 2nd
interval further. He composes these 2nd intervals either in single pitches side by
side or played at the same time in a cluster. I would like to draw attention to
specific sections that use the more biting, more punzante sound. In addition,
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107
There are seven main sections to this piece (A, B, A', C, B', D, CODA),
1.50 51-55 56.70 7146 8748 89*98 99.113 114-12: 123-129 130-15! 152-end
A transition B A* transition C transition B' transition D Coda
Every section o f the piece incorporates the use o f the interval o f a 2nd.
The transitional sections are completely made up o f this biting cluster sound.
For example, the gallo mananero's first statement relies on adjacent intervals,
ifi»'t . ||i | m i f n | | | p j r f l
J . ..FJrz —pj.
w m
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108
The transition from the gallo mananero's song to the gallina's song uses
The gallina's song begins with a major 2nd grace note cluster and leads
into a lower chromatic major 2nd cluster, continuing similarly on the first beat
Like before, the gallo mananero's song (Section A') includes some 2nd
interval clusters. In the next transition, Rodrigo varies the major 2nd interval
cluster, by combining it with a note an interval o f a 3rd below the bottom note o f
the cluster.
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Ex. 46, Preludio al gallo mananero, ram. 87-88
octatonic scale-based passages, that maintain the same conflict between major
and minor 2nd intervals. Note that the pitches made important through accents
are a minor 2nd apart from each other (d, d-sharp, and e).
.ft. ^
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no
As the piece draws near the end (Section D), one can see the most
extensive use o f the 2nd interval. At measure 130, the right hand accompaniment
consists o f a major 2nd cluster on the white keys, a and b, while the left hand
uses a major 2nd cluster on the black keys g-sharp and a-sharp. The top o f the
right hand has the now recognizable melody of the gallo mananero. However, a
new birdlike voice is introduced in the lower fingers o f the left hand. Rodrigo
counterpoint is introduced through the use o f a major 2nd interval. It is not until
five measures later that the “cuckoo” song o f the left hand is heard in its more
ppcrtn
CuCxOO
tfila/o
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Ill
As the coda opens and the climax begins, the dynamic reaches fff, and
the composer notes "Papa gallo, lanza su terrible quiquiriqui" (Father rooster
Taking the 2nds even further, the drama o f the piece is heightened by a
noisy ascending glissando, the right hand on the black keys and the left hand on
g/ittando
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112
The piece finishes fjf, and the final descending figure o f major and minor
2nds spans the full length o f the keyboard. The last chord is a G major triad in
the right hand and an F-sharp major chord in the left hand— one final explosion
o f bitonality.
P n iio
ff/t
IN
*
The pervasive use of the second, not only in his principal themes, but
also in the transitional and accompaniment figures throughout the work, marks
this interval as the principal idea o f this composition. As in his Suite para
piano, this biting interval was an important element and is present in the
style.
Why did Rodrigo have such a strong preference for 2nds? First, it appears
he was familiar with the works o f Debussy, Ravel, and Stravinsky, as well as
with the works o f the Second Viennese School composers. All o f these
composers experimented with new directions in harmony: they used 2nds and 7th5
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113
addition, the seconds are easier to feel on the piano, as Rodrigo would not be
able to see the keys. The topography o f white key versus black key may have
Rhythm
use o f Spanish folklore rhythms surfaces. For example, the two melodies o f the
gallo and gallina are set.in traditional Spanish dance rhythms. In an overall
quick 6/8 time signature, the gallo's melody is similar to rhythms found in the
dance called tarantas, a folk song and dance from the region o f Almeria and
Murcia, Spain.38
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114
Even though the Spanish dance rhythms are used within the two
compositional trends popular in Paris during the early years o f the twentieth
to Spanish folkloric elements within his twentieth century music language. This
stylistic trends.40
Performance Considerations
The Preludio al gallo mananero may well be the most difficult o f all the
piano works o f Rodrigo. It is a technical challenge for most pianists, but once
hands interlock and share a common area o f the keyboard. Rodrigo never
separates the two hands farther apart than an octave, yet he utilizes every
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115
register o f the piano in this composition. The spacing and the bitonality
hand is marked legato while the top (the melody) is detached. This type of
writing, found throughout the entire work, calls for clear articulation, a facile
and sensitive use o f the damper pedal, and finger control for balance
considerations, for example, the upper voice projecting over the lower voice.
At the gallina's first entrance at measure 56, the left-hand plays complex,
rap id
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116
In measure 68, the hands cross each other in this difficult passage.
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The fast tempo, the complexity o f voicing and articulation, and the
Unique Elements
Although there are similarities between this piece and other piano pieces
Melodies are fragmented in this work in contrast with his other piano
works, where lyricism and beautiful expression o f melody prevail. While longer
than most o f his early piano works (it contains 171 continuous measures) it is
relatively short in duration, lasting between three and three and a half minutes.
One o f the most unique aspects o f this piece is the persistent use of the major
As was seen in the Preludio al gallo mananero, Rodrigo did use Spanish
national folklore elements in his own, unique way. However, in 1931, Rodrigo
made a conscious decision to deeply explore the use o f Spanish idioms in his
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118
ENDNOTES
Collin C ooper, "Joaquin Rodrigo: 1901-1999," Classical Guitar 17:2 (August 1999): 19.
2Antonio Iglesias, ed., Escritos de Joaquin Rodrigo (M adrid: Editorial Alpuerto, 1999), 20.
3 Ibid.
4 Ibid.
5 Ibid. Trans, by D ena Kay Jones.
6 Ibid.
7 Ibid.
8 Eric Salzm an, Twentieth-Century Music: An Introduction, 3rd ed. (N ew Jersey: Prentice Hall,
1988),17.
9 W alter Starkie, Spain: A Musician's Journey Through Space and Time (Geneva: Edisili. 1958),
135.
10 G lenn W atkins, Soundings: Music in the Twentieth Century (London: Schirmer Books, 1995),
65.
Ibid., 97-102.
13 Bryan R. Simms, Music o f the Twentieth Century: Style and Structure, 2nd ed. (London:
Schirm er Books, 1996), 235.
b Vicente V aya Pla, Joaquin Rodrigo: su v id a ysu obra (M adrid: Real Musical. 1977), 25.
14 W atkins, Soundings, 309.
15 Ibid., 310.
16 Iglesias. ed., Escritos, 52.
17 Iglesias, ed., Escritos, 51. Trans, by D ena Kay Jones.
18 Ibid., 21. Trans, by Dena Kay Jones.
19 W atkins. Soundings, 288.
20 Iglesias, ed., Escritos, 98. Trans, by Dena Kay Jones.
21 Ibid.
22 Ibid., 98-99. Trans, by D ena Kay Jones.
23 V aya Pla, Joaquin Rodrigo, 34. Trans, by D ena Kay Jones.
24 Iglesias, ed.. Escritos, 32. T rans, by D ena Kay Jones.
“ Ibid., 35.
26 Antonio Iglesias. Joaquin Rodrigo (su obra para piano): piano a cuatro manos, dos pianos y
piano y orquesta. 2nd ed. (M adrid: Editorial A lpuerto, 1995), 56-57.
27 Iglesias, ed.. Escritos, 209. T rans, by D ena Kay Jones.
28 Iglesias, Joaquin Rodrigo (su obra), 92.
29 Claude Debussy. Preludes fo r piano books I and 2 (New York: G . Schirmer, 1991).
30 Iglesias. ed.. Escritos, 209.
jI Linton Powell. A History o f Spanish Piano Music (Bloom ington. Indiana: Indiana University
Press. 1980), 187.
32 Ibid.
j3 For m ore information, see C hapter Four.
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119
In 1931 there was a decided shift in Rodrigo's work toward the clear
Spain's early twentieth century nationalist composers.2 Many scholars state that
he came directly from their musical heritage and was a continuing figure in the
and Manuel De Falla.3 Although Joaquin Rodrigo had inherited certain aspects
century Spanish music, he also created his own, unique style o f nationalism. To
compare and contrast Rodrigo's use o f folklore to that o f his musical forefathers,
one must begin with a look at the end o f the nineteenth century.
Felipe Pedrell
activity in the late 1800s. Involved in numerous prior political crises, Spain's
difficulties accumulated, and in 1898, Spain lost its last Western Hemisphere
lands, which would be only the beginning o f the political turmoil that would
disassemble Spanish society. It was the beginning o f the twentieth century, and
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120
School o f music with the publication in 1891 o f a pamphlet called Por Nuestra
Musica (For Our Music) in order to explain his ideas on Spanish music and win
respect from other European countries. Pedrell's principles were rooted in his
history— using original Spanish music and folklore from prior centuries as a
and presenting Spanish folklore were not as scientific as other composers who
were doing the same thing, such as Bartok and Kodaly in Hungary. Pedrell's
rhythms in his compositional style in order to symbolize Spain. His efforts were
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121
Its very flaws, its 'modal' fanaticism, prove that his intentions
were those o f a 'creator,' not o f a folklorist-archivist.5
not need to rediscover folklore music; the traditions o f this music were alive and
well in Spain. These musical traditions also were notable for their local
and rhythms throughout Spain, keeping the original melodies in their modal and
musicians had added to the melodies throughout history. The Cancionero shows
musicians in both the folklore and classical settings from the 13lh to the I7lh
centuries.
the completion of his archival collections, was that this historic material would
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122
became a representation and combination o f the past and the present musical
elements into his musical compositions. However, his pieces never received
Rodrigo.
and established in Europe from 1850 and thereafter. Examples o f this "Spanish
espagnole. However, traces o f this stylized music can be found as far back as in
the seventeenth century.6 Glimpses o f this style can be found in the musical
compositions o f Juan del Encina, a major Spanish composer from the fifteenth
century.7 The music that projects the "Spanish idiom," however, is mainly a
created as a reaction to the dominance of Italian opera and song and were
performed by singers who were bom and raised in Southern Spain, a region
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123
called Andaluda. This type o f Spanish song was included in comic operas,
continue to make their way into the works o f Felipe Pedrell in the twentieth
century.
How did this stylized Spanish music evolve? There were three events
that have been o f considerable importance in the history of Spanish music: the
gypsies in Spain.8
Byzantine chant
tonality and completely acceptable to the ear. There often was an absence o f
strict meter in the melodic line, which frequently modulated away from its tonal
center.9
When the Moors invaded Spain in 711, dominating most o f the country
until the twelfth century, their culture permeated Spain. Stylistic influence is in
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124
architecture and the Spanish language itself. The Arabic culture favored
extravagant use o f decoration. "The original rhythms and melodies were buried
this tendency toward profuse ornamentation is seen in every form o f art, whether
undoubtedly goes back to the time o f the Moors."10 Rhythm and combinations
Muslim music, and this influence can be found in the complicated rhythms
There are other elements found in Spanish music deriving from neither
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125
which are not uniform. The singer raises or lowers the voice due to expression
in the text. This leads to a scale that utilizes fixed and altered tones— the
common practice being that three pitches are fixed and the other four pitches are
altered by intonation variables. Some o f the pitches are used for the attack o f a
melody, while others are used for the resolution of a melodic phrase. The voice
increments o f pitch between two notes, either close or far apart. The melodic
line rarely exceeds the interval o f a sixth, but may include innumerable,
"Sometimes this repeatedness destroys all metrical feeling and gives the
impression that it is a piece o f prose which is being sung, when in reality the text
is in verse."13 Indeed, this music is highly ornamented, but there are regulations
accompanying musicians and audience members, as often they are known to cry
out, "Ole!, Ole!" as a means to incite the cantadores and tocadores, the singers
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126
countries.14 Flamenco is the musical form that has developed from cante jondo
and rhythms like martinetes, cam s, siguiriyas, gitanos, and soleares are
distinguished through the varying dance steps. Other forms of flamenco, yet
bulerias.15
there are also numerous traditional, folkloric music and dance forms throughout
all o f Spain. Each region o f Spain has its own unique, traditional customs,
including food, dance, music, and events. In addition to Spain being a large,
Prior to the unification under King Ferdinand and Queen Isabel, aristocratic
families and provincial landlords ruled the geographically disparate regions. All
o f these factors gave Spain its rich and varied regional and cultural conventions.
the Zotzico, from the Basque region, the Sardana, from the Catalonian
Mediterranean coast, the Jot a Aragonesa, from the central region o f Aragon, the
Jota Valenciana, from the heavily Moor-influenced Valencia region, and the
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127
contemplating the "Spanish Idiom:" the guitar. The important role o f the
early Spanish musical traditions during the Renaissance era with the vihuela,
predecessor to the guitar. The Spanish guitar tradition followed and has
continued for centuries at an extremely demanding and high level. Spain and
her people love the guitar, and it has become a deeply rooted symbol o f Spanish
music and culture.17 Manuel De Falla stated, "The guitar as popularly used in
Spain represents two distinct musical effects: that o f the rhythm, which is
apparent and immediately perceptible, and that o f the harmony."18 The apparent
and immediately perceptible rhythm is that o f the actual strumming and the
different articulation patterns. The harmonies employed by the guitar are those
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128
Spain, Isaac Albeniz, a child prodigy at the piano, gave his first public concert at
the age of four. At age nine he ran away from home and experienced many
adventures in South America, the United States, and throughout Europe. After
also studied for two years with pianist/composer Franz Liszt, performed
concerts, and then married his student Rosina Jordana in 1883. It was in the
same year that he met Felipe Pedrell. Pedrell gave Albeniz a new awareness of
compositional techniques into his musical language. Most o f his works were
compositions for the piano and were small, salon style pieces. However, during
the last three years o f his life, he composed one o f the most important Spanish
nationalistic works in all o f Spain's musical history, his masterwork, the suite
called Iberia. This suite is composed o f twelve pieces, each named after a
perceptions o f the music found throughout the country. His writing style has
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129
There are two significant qualities in Albeniz' Iberia that must be mentioned:
performer. It is possible that in these factors one sees the influence o f L iszt.20
age. At the age o f sixteen he was studying composition with Felipe Pedrell, who
was teaching the young student his philosophies on nationalism. From 1887 to
1889 he studied piano at the Paris Conservatory. Back in Spain, he had intended
to make his career as a solo pianist, premiering his own compositions on his
wrote pieces in all genres, including zarzuelas, vocal music, chamber music,
piano works, and orchestral works. Granados died in a tragic accident. After
the United States premiere o f one o f his operas, he and his wife were both on the
steamer the Sussex, crossing the English Channel, when it was hit by a torpedo
from a German submarine attack. Granados was able to secure his life by
making it onto a life raft but abandoned that security to try and rescue his wife.
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130
music by writing the famous suite Goyescas, a set of six piano pieces, each
Francisco Goya. It received the Paris Legion of Honor award, and the Paris
Opera commissioned him to write an opera based on his piano music. Granados'
style has been described as a mix of Chopinesque and Spanish influences. His
music tended to portray images of urban Spain, rather than gypsy Spain. "What
small, salon pieces that showcase the Andalusian style, but the majority of his
that Granados' piano works demand a highly developed keyboard facility, "very
much akin to the brilliant ornate side of the technique needed for Chopin's
music."23 There is also a layering of many voices, weaving between the two
hands.
the spiritual father o f Spanish contemporary m usic24 Manuel De Falla was bom
in the southern Spanish City o f Cadiz. His mother, an excellent pianist, first
introduced music to her son. In Madrid, he met and studied composition with
Pedrell in 1896, and from there, went on to study at the Paris Conservatory from
1907 to 1914. Falla was Pedrell's most successful pupil and expanded on
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131
his contemporary composing style. Falla was heavily influenced, as were other
Falla had friendships included French composers Claude Debussy and Maurice
Ravel, painter Claude Monet, and literary figure Paul Milliet. Due to the
compose— his musical language often being based on gypsy music and southern
and ballets, vocal works, piano and other keyboard works, and instrumental and
orchestral works. Although his works did not receive much acclaim during his
lifetime, he is now one o f the best known artists o f Spain. Due to the Spanish
Civil War, in which one o f his best friends, poet Federico Garcia Lorca was
areas o f the country. One movement, Cubana, is named after folklore dance and
music found in the country o f Cuba, which at one time was a colony o f Spain.
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132
Falla possessed a real talent for combining Andalucian folklore elements with
espanoles (Seven Popular Spanish Songs) for voice and piano, Falla, in some
cases, kept the folklore melody exactly the same as in the original. In others,
"Nana" and "Cancion", for example, he altered the original melody, and in two
o f the songs, "Jota" and "Polo," he created his own melodies in the style o f folk
melody.25 However, the real genius lies in the piano accompaniments Falla
forms and melodic line are clear, and rhythmic pulses are punctuated.
All o f these composers influenced not only Rodrigo's work, but also
represented several regions o f Spain through their nationalistic music, the image
that received the most attention as being "truly Spanish" was the musical
scene.
After Spain had lost its last Western Hemisphere lands to the United
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133
with France participated in the protectorate Moroccan wars. Spain endured the
empowered political party in 1931, and the political and social unrest that led to
Spain's Civil War, initiated on July 18,1936. Upon the conclusion of the
Spanish Civil War in 1939, the Second World War began, and the Franco
which emerged before the Spanish Civil War.27 Most o f the members o f the
group were staunch republicans and had to flee the country when the Republican
Part}' was defeated in 1931. Although Spanish composers, now from various
parts o f the world, were still creating musical works, the nationalistic
compositional lineage was broken. With the Spanish Civil War, political and
standstill.
It was with the Generation de 1927 that social and political ideologies
collided. Composers were living in various other countries, and they were
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composers began searching for new compositional techniques. They did not
composers did not completely dismiss nationalistic ideas in their music, but
were aware o f the dangers in not transcending what had been the custom for the
story o f where he placed himself and his music within the social and political
turmoil in Spain's history is told through his own personal use o f nationalistic
Joaquin Rodrigo
music? How did these perceptions develop? Second, Rodrigo resisted some of
those perceptions. Why did Rodrigo struggle with his opinions and philosophy
individual voice with which to express his nationalistic ideas. How did the
His early perceptions may have taken shape under the influence o f his
teacher Eduardo Lopez Chavarri, when he began his formal musical education at
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135
composition, not only those o f Spaniards such as Manuel De Falla, but also of
French composers like Debussy and Ravel. The circumstances o f having been
perceptions about the nature o f Spanish music. As we will see, Joaquin Rodrigo
primarily thought it was Southern Andalucian folk music that was being
From a very young age, Joaquin Rodrigo seemed interested in the fresh,
trends in composition. From some o f Rodrigo’s own statements, one senses that
perhaps his desire to align himself with the avant garde kept him from allowing
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136
political statements. The Spanish Civil War was, socially and politically, a
turbulent time in Spain's history. Rodrigo experienced the war only indirectly
for he was outside o f Spain when the war began, and did not return to Spain
until after the war. Contrary to common misconceptions, Rodrigo was not
involved in Spanish politics. As his daughter Cecilia Rodrigo has stated, "He has
always said that an artist should not be involved in politics, though many are:
and that artistic work should always be independent o f whatever political ideas
among Spanish composers, Rodrigo also stated that the composers o f his
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137
(Destiny), gives great insight into Rodrigo’s strong feelings about nationalism.
Rodrigo did not want to limit the resources o f Spanish music to the Andalucian
representation. Actually, when looking at his piano pieces, distinct stages and
composition. There are other pieces, in conjunction with his most famous work,
the Concerto de Aranjuez, that are heavily influenced by the “Spanish idiom”
described in the beginning o f this chapter. His later works, in general, showcase
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138
harmonic language.
Rodrigo’s piano music certainly does not have the exact same Spanish
have any musical traits that are exactly the same. However, one may argue that
addition to the use o f a more complex harmonic language) than that o f his
rhythmic patterns are similar to the vocal and dance patterns found in cante
jondo and flamenco. Also, both pieces utilize harmonic changes between major
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Examples influenced bv Cante Jondo:
From Pieces espagnoles, Falla From Serenata espahola, Rodrigo
tV . A ndaluza
m m
Vln rywi « « •
c U fa s*
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Ex. 3b, Serenata espafiola, mm. 5-12
Iberia. However, there are other pieces that portray a different Spanish image.
For example, from the Castillian Sonatas, Sonata #2 in F-sharp minor portrays a
r-r
ttf
e x
i t
*» ■
‘‘■i
11
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141
o f the six little pieces depicts a different Spanish folklore dance or story. In his
edition called The Rodrigo Collection: Ten Piano Works by Joaquin Rodrigo,
Rodrigo's inspiration for each o f the m ovem ents/3 From popular dance music,
including a Sevillana (folk dance and music from Sevilla) and a Jota (folk dance
and music from Aragon) to Spanish folk tales from Andaluda, and to nationally
Serenata espahola, one may argue that his music reached a higher level of
artistry. The piano works became longer and overall, more challenging, both
rich complexity to his later works. Rodrigo did not look back to repeat or
further investigate some o f the early compositional trends that pushed traditional
harmony— pieces like his Preludio del gallo mahanero, a piece that, at that time,
might have been viewed as avant garde. His later works are always grounded to
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142
"Rodrigo"isms.
ENDNOTES
1 V icente V aya Pla, Joaquin Rodrigo (M adrid: Real M usical, 1977), 38.
2 F or one such com parison see:
"In M em oriam : Joaquin Rodrigo," Musical Times 140 (A utum n 1999): 6.
3 For one such statem ent see:
W alter Starkie, Spain: A Musician's Journey Through Space and Time (Geneva: Edisili, 1958),
135.
4 Linton E. Powell, A History o f Spanish Piano Music (Bloom ington, Indiana: Indiana
U niversity Press, 1980), 47.
5 M anuel De Falla, On Music and Musicians, trans. by D avid Urman and J.M . Thom son, intro,
by Federico Sopeiia (London: Marion Goyars, Ltd., 1979), 50.
6 J.B . T rend, Manuel De Falla and Spanish Music (New York: Alfred A. Knopf, 1929), 15.
7 Ibid., 16.
8 Ibid., 20.
9 Ibid., 20-21.
10 Ibid., 29-30.
" I b id ., 22.
13 Ibid.
13 Ibid., 25.
14 Ibid.
15 Larry N ew com b, "Joaquin Rodrigo and Spanish N ationalism ," (M .M . diss.. U niversity o f
Florida, 1995), 89. For farther information about these specific dance rhythms, see Linton E.
Powell, A History o f Spanish Piano Music (B loom ington, Indiana: Indiana U niversity Press,
1980).
15 N ew com b, “Joaquin Rodrigo and Spanish N ationalism ," 88.
17 Ibid., 35.
18 T rend, Manuel De Falla, 31-32.
19 Pow ell, A History’ o f Spanish Piano Music, 82.
20 T om as M arco, Spanish Music in the Twentieth Century, trans. by Cola Franzen (Cambridge.
M assachusetts: H arvard U niversity Press), 6.
2| Ibid., 7.
22 Pow ell, A History o f Spanish Piano Music, 83.
“ Ibid., 88.
24 John G illespie, Five Centuries o f Keyboard Music: A Historical Survey o f Music fo r
Harpsichord and Piano (Belm ont, C alifornia: W adsworth Publ. Co. 1965), 323.
25 M arco. Spanish Music in the Twentieth Century, 21.
26 A ntonio Iglesias, ed., Escritos de Joaquin Rodrigo (M adrid: Editorial Alpuerto, 1999), 21-23.
27 Ibid., 101.“
28 N ew com b, "Joaquin Rodrigo and Spanish N ationalism ," 27.
29 G ilbert Chase, Music o f Spain (N ew York: W .W . N orton & Co., 1941), 206.
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143
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144
modeled on Spanish folklore. When comparing the piano works of the early to
the mature periods, one notices immediately that his later piano works are
generally longer, more complex, and more difficult to play. There are, of
characteristics o f the later, more mature period include a greater, more extensive
use o f contrapuntal writing; fast, brilliant, and demanding passages found within
material.
Serenata espanola
The 1931 Serenata espanola is a pivotal work, for it is within this work
Rodrigo was not a novice in regard to this subject. As we saw in Chapters Three
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145
incorporation o f Spanish elements into his works after 1931. This point must be
music. On the contrary, Rodrigo used Spanish elements in his piano works prior
to 1931, but in a subtle way secondary to other elements and influences. It also
his early period to his mature period or that he leaves behind all o f the
together with a greater reliance on folk music elements from several regions o f
complexity in musical ideas, in the mere volume o f material, and in the level of
pianistic difficulty.
Rodrigo's music and the original folk melodies from Andalucia are merely a
composed completely original music, as was the case regarding all o f his piano
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146
works, with the exception o f the Cinco Piezas del Siglo X V I (See Chapter 2).
The Serenata espanola is technically challenging and requires the pianist to seek
for a wide palette o f contrasting sounds and effects from the instrument.
From the beginning o f the piece, Rodrigo sets the musical stage,
works, the Serenata begins in the middle to upper range o f the piano. The
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147
three distinct layers o f accompaniment. Directly under the beautiful and lyrical
voice written a sixth lower, in eighth notes. In the left hand, there are two ideas:
the repeated note found in the lowest voice o f the left hand and a moving eighth
Rodrigo eases into a repeated pitch section, which stems from Rodrigo's ostinato
figure in the lowest voice o f the left hand o f the initial melody’s accompaniment
phrases— and repeated pitches are characteristic of cante jondo (See Chapter
Four).
T~—
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148
Another Spanish folklore element found in music from Andalucia is the contrast
between major and minor sonorities, as seen in measures 8 and 9. This can also
be seen in the above example and will be heard throughout the Serenata
espahola.
The second theme, which is based upon the idea o f repeated pitch, is
measure 71:
In this section, the energy level heightens and the mood o f the piece
changes from one that is distant and far-away to an atmosphere o f liveliness and
emotional vigor that seems to spring alive nearby. The tempo increases, there
are accents and staccato accompaniments, and the dynamic levels are mezzo
forte, fortissimo, and forte. At the dynamic climax in measure 71, Rodrigo asks
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149
for animato playing and, although the phrase begins identically to material
previously heard in the second theme, he restates the first theme very loudly and
continues to develop both themes until the end o f this section at measure 116.
An additional, ornamental, and complex rhythmic figure, played in the left hand
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Ex. 5, Serenata espafiola, mm. 99-107
below). In this new section, one hears echos o f Rodrigo's harmony as heard in
his early piano works. For example, the left hand plays fifths and a major
however, it is a minor second in this case. This section follows the patterns of
a small 3/4 restatement o f the first theme, this time marked quasi lento and
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Ex. 7, Serenata Espafiola, ram. 129-135
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152
A fourth and final entrance o f familiar material is found in measure 187. While
it is spun out o f the repetitive rhythmic material found in the second theme, it
now has a lyrical configuration. It also makes a more insistent preference for
* * * * ? >.
sB ef f
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153
The remainder o f the piece develops the first two themes in various
combinations.
1-16 17-31 31-70 71-116 117-128 129-135 136-175 176-186 IS7-2t: 213<nd
Intro A B (A+B) C A* <A+B>* C D (A«-B)"
Performance Considerations
There are two main, underlying problems for the pianist in this work:
independence o f sound between the layers (melody versus the two or more
56), Rodrigo again writes in a style that requires finger control to define the
texture (See example 9 below). The top fingers project the melody over a
detached pattern in the lower fingers, the legato pattern in the left hand and the
in its own right, and although there is distinct melody with accompaniment
figures, consideration o f how to balance these layers may vary in subtle ways
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154
J
V .,
■
i
r
'
!
t o
Although Rodrigo does develop the thematic material in various ways, without
subtle indications given by the composer, the work may seem overly repetitive.
Rodrigo's markings are specific and illuminating and, when executed, make the
pieces. The entire set o f six movements was completed in conjunction with the
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155
Rodrigo into the Academy, the composer performed this solo piano collection.1
The work was published in 1952 and included a sketch by artist Eduardo
Vicente. The picture published on the cover o f the score is a symbol reaffirming
the supportive friendships and collaborative efforts found among Spain's fine
artists (See Appendix D). Lasting around twenty-five minutes, the set is
Stylistically, the pieces contrast greatly and yet musically, fully complement
each other, and may best reflect the composer's intentions when performed as a
set.
The framework that surrounds these pieces is the style o f late 17th and
Soler. From the beginning o f Spanish history, music has always been an
important aspect in the culture o f ruling dynasties, royal courts, and prominent
performance can be seen in the early Sonata, a bipartite form developed through
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156
the works o f Domenico Scarlatti and other Spanish contemporaries during the
Baroque Era. Although Scarlatti was not Spanish, he moved to Spain in 1729,
continuing his work as keyboard teacher o f the Queen Maria Barbara, for whom
he had been working for nearly ten years while she was the Princess o f Portugal.
He remained in Madrid, Spain, in the service o f the Queen, until his death in
1757. It was during his years in Spain that he composed the remarkable body o f
over 600 keyboard sonatas, which advanced the style o f the sonata.
contemporaries also paved the way for the development o f keyboard works in
the Classical Period. These sonatas are historically important when looking at
the development o f the instrument and its repertoire. They are the foundation
into his works, but he also wished to incorporate other important elements of
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157
Spanish cultural patrimony, such as the wealth o f its 17th and 18th century
musical heritage.
those duties. After the opening movement, five sonatas are presented, each
Scarlatti or Soler, or any o f the other many Spanish composers writing in this
Sonata style during the Baroque. The harmony is completely Rodrigo's, highly
developed and mature at this point. He uses the piano in fascinating ways to
Rodrigo begins the set with a work that consists o f three, different
(AB). This form is typical o f toccatas composed in the 17,h and 18th centuries.
melodic material.
in other piano pieces by Rodrigo. For example, he begins the "Toccata" in the
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158
upper registers o f the piano, a trait also found in many o f his early piano solos.
However, unlike most o f the other works, this movement is marked fortissimo,
opening thunderously, unlike most o f Rodrigo's pieces using the upper registers
t _n || m '
tio
Li L
PiEE±r iu " - m "tti --[t
--- 9 ' ■ ^0- ■
The Spanish elements found in the "Toccata" include the 9/8 dance
direct rhythms dominate the following B section, as the tempo changes from the
are strong and percussive, and use the pitches o f e and d-sharp.
ff
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159
The following C section continues the eighth note figure found in the B
section's left hand, but now the octave has turned into a 4th. This figure
between the hands— each hand either plays the eighth note figure or the melodic
fragment.
T^mpo P J«i
PPl
t+Uo.
n - j— - — j —
The C section o f the piece is the longest and the most developed, mainly
"Toccata."
Performance Considerations
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160
autonomy can be seen in the beginning configurations and the tonality. Rodrigo
has written the work with three sharps, but abundant accidentals may give, in the
strong beats o f one hand with weak beats o f the other, as well as other
combinations such as this, will facilitate the joining o f both hands with the
pattern is repetitive, not only within the opening four measures, but also within
the second half of the movement since the A and B sections are later repeated.
movement.
f f ligaia
JJ Ld
a*.
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161
This work follows the 18th century sonata form, complete with the
does not revert back to the initial F-sharp minor tonality, but closes the final A
tone. A keyboard ornament that requires the playing, together with the normal
example can be seen in measures 9 and 10 in this first sonata. (See example 14
below). Although Rodrigo does not indicate that the neighboring tones need to
similar to the sound one hears in the accompaniment figures of Scarlatti sonatas.
In measure 10, in the right hand, Rodrigo does mark the neighboring tone’s
Ex. 14, Sonatas de Castilla, “Sonata en fa sostenido menor (1),” mm. 9-10
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162
derived from typical Spanish guitar patterns. This figure is heard seven times,
three times in the first half o f the piece, played with the right hand, and four
m
fL-,--------- f f C'
y
*
1 -'
Although based upon the late 17th century keyboard sonata form and
replete with ornamental and repeated note figures resembling those found in the
piece with one from the Spanish Baroque period. The harmonic and rhythmic
language is clearly Rodrigo’s. For example, in measure 34, one finds the
intervals. These dissonant, though subtle, sonorities are found throughout the
entire work.
Ex. 16, Sonatas de Castilla, “Sonata en fa sostenido menor (1),” mm. 34-38
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163
Joaquin Rodrigo embraces the use o f dissonance: the intervals o f 2nds and
7lhs, in addition to the quartal harmonies that occur with frequency by the time of
major and minor scale pitches themselves. They are a major feature o f his
musical style and appear so frequently that the listener begins to perceive them
as consonant sonorities.
Performance Considerations
Most o f the work is composed o f only two voices, though both hands are
difficult passages are in three or four voices, as shown in the examples below
(see 17a and 17b). These extra voices, at the Allegro moderato tempo and with
the specific articulations indicated, make slow practice and balancing the voices
Ex. 17a, Sonatas de Castilla, “Sonata en fa sostenido menor (1),” mm. 19-20
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164
» J i j 11 1>
P°‘°-a L
j j r 1.L.n L lj i
Ex. 17b, Sonatas de Castilla, “Sonata en fa sostenido menor (1),” mm. 30-33
harmonic plane, but also from a horizontal, melodic plane as well. The work
begins with the main motive found in the upper voice o f the right hand, which
PP
r= r
Ex. 18, Sonatas de Castilla, “Sonata en fa sostenido menor (2),” mm. 1-4
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165
One notices the quartal harmonies employed by Rodrigo in the left hand, as well
the lower voice o f the right hand. Dissonance abounds in a bitonal harmonic
framework as imitative figures pass through and above each other. The
example below shows the lowest voice in the left hand and the right hand in F-
sharp minor, while the upper voices o f the left hand are set in F major.
Ex. 19, Sonatas de Castilla, “Sonata en fa sostenido menor (2),” mm. 28-32
intervals (9lhs, octaves, 7lhs, 6lhs, 5ths, 4Uls, 3rd5, and 2nds) and requires the use o f an
additional staff:
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166
mrP/Hrn'fP kfl to
m
W
Ex. 20, Sonatas de Castilla, “Sonata en fa sostenido menor (2),” mm. 40-43
After a diminuendo and a gradual shift to longer note values, the piece
A *
dim . PPP
Ex. 21, Sonatas de Castilla, “Sonata en fa sostenido menor (2),” mm. 55-57
Performance Considerations
The most challenging aspect o f this movement lies in the grandeur o f the
chords. For a small hand, the ninths with the inner voices at an interval o f a
third or a sixth are most difficult to strike simultaneously. If one can reach all of
the pitches at the same time as noted, this movement attains its goal as a somber,
steady, and slow dirge. Success can also be attained even if one cannot reach all
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167
o f the pitches at the same time, but one might consider how to attack the
incorporation o f rolled chords. For example, in measure 37, on beat two, the
right hand is required to play an interval o f a 10lh. One solution is to take the
ijX i j j q j
If the hand must roll or break the chords, in order to keep the texture o f
the piece uniform, it might be best to do so within the voicing of the different
on longer note values, since it will not interrupt the main accompaniment
Sonata en Re
The third sonata is the longest and the most difficult movement o f the
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168
Repeated Pitches:
First Theme:
Second Theme:
\ f Spr p ffr ^
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169
Contrasting Articulations
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170
p i
opening material). Although the harmonic language includes many 2nds and 7lhs,
the chords are primarily functional within the D major tonal center, and this
Performance Considerations
interpretation o f this piece. One might avoid stretching or pulling the tempo
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171
because o f the technical difficulties involved for such "involuntary" rubato way
weaken the suggestion o f the 18th century harpsichord style Rodrigo is intent on
conveying. The performer must develop strong, individual finger attacks for the
with the wrist and arm, for a sweeping legato line o f the fast 16lh note flourishes.
A tiento is, “The Iberian counterpart o f the Italian ricercar. The tiento
originated with vihuela music and was later used for organ music characterized
by imitative counterpoint.”4 In this case, the imitation is not between the two
hands, but rather within the same hand. These two voices, in an Andante tempo,
A n d iirf* . t H. i *4>)
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172
cadence at the end o f each section. The texture is similar throughout, the mood
is steadily tranquil, and the dynamics range from ppp to mf, also a characteristic
o f a vihuela
Performance Considerations
One might well contemplate the best way to realize the ornaments in this
piece. Why would Rodrigo write out the ornamentation of the five note 32nd
groups, as in measure 6, but refer to the standard notation o f the trill sign in
measure 8?
Perhaps the answer lies in the first pitch o f the ornament. If Rodrigo had
resorted to using the standard sign for the turn (~), the performer may have
started the turn on the note above the principal note, as was the tradition in
Baroque music. However, in the written out version, Rodrigo begins the figure
on the principal note, writes the turn, and uses a step-wise motion to exit. This
same approach might be taken when performing the trill in measure 8. The
example has already been shown in measure 6, and Rodrigo does not need to
write out the trill. Notice the trill falls exactly on the third beat and, therefore,
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173
should begin on the principal note, consist o f five notes in total, and exited by
step-wise motion.
Sonata en La
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174
Rodrigo's trademark compositional tools: the intervals found in the song o f the
cuckoo.
C\
measures 20-25.
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Within the first half o f the sonata, Rodrigo repeats the main theme, this
addition o f new material to the first theme, ending in one measure o f 2/4 meter.
A hammered, imitative flourish between the hands, followed by the triplet idea
from the variant on the main theme ends the first half o f the sonata in the
■U tr v ■
*V W 3 - r l ' j ] T L iH
w
I" L f U i i ' n = ±= ±=
T v T
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176
the first theme. This short development section also exploits small
most dissonant section o f the piece occurs directly before the recapitulation:
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177
Variations o f the theme open the recapitulation, but from measures 135
to the end, the music is an exact repetition o f the material found at the close of
Performance Considerations
The canonic segments, calling for a brilliant sound, are difficult to play,
in each hand and a study regimen o f dotted rhythmic variations (for practice
purposes) as opposed to the even eighth notes as written may help the pianist to
ENDNOTES
1 A ntonio Igiesias, Joaquin Rodrigo (su obra para piano): piano a cuatro manos, dos pian osy
pian oy orquestra (M adrid: A lpuerto, 1995).
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178
2 Stanley Sadie, ed. The Grove Concise Dictionary o f Music Online. M att Boynick. Extracted
w ith perm ission. London: M acm illian Press, 1980.
http://w 3.rzberiin.m pg.de/cm p/scarlatti_d.htm l, M arch 6 ,2 0 0 1 .
J Linton Powell, A History o f Spanish Piano Music (B loom ington, Indiana: Indiana University
Press. 1980), 184.
4 Ibid., 187.
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179
6 . CONCLUSION
with the twenty-one solo piano works o f Joaquin Rodrigo due to the relative
are still not performed live within the concert halls o f the United States with the
Gregory Allen and Artur Pizzaro’s, as well as the publication The Rodrigo
pianists o f who Joaquin Rodrigo was and what pieces he composed for the
piano. This study was written in the hope o f reducing that relative sense of
unacquaintedness.
Close analysis reveals why these solo piano works are deserving of
scholarly study and performance. These reasons include: richness and depth of
the technical and timbral possibilities o f the piano; pedagogical usefulness for
pianists for building interesting and varied programs. For example, one pianist
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180
may giggle with glee when practicing the impressionistic rendering o f a rooster
found in the melody o f Rodrigo’s Preludio al gallo mafianero. His Suite para
into Rodrigo’s early works but does not dominate the harmony. One o f his
pieces composed under this light may be the perfect study o f dissonant
but as the document has stated, the main attributes to Rodrigo’s writing style
teachers as they introduce Rodrigo and his works to students, allowing both to
know more about Joaquin Rodrigo and his works for piano. It appears that due
to his blindness, the compositional process was time consuming and possibly
had an effect on both the development o f his own unique style and the
o f Victoria Kamhi and other musicians. Certainly, the short lengths o f the
earlier works appear to reflect the arduous process o f composition made yet
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181
more difficult for a sightless composer. In playing these pieces, one notices the
playing the piano, as he did perform his piano works frequently in order to
promote his career. These conjectures are based on internal musical evidence
found in the course o f my research, but future studies in the area o f music
Upon concluding this research, one must also look at the roles o f two
important people in Rodrigo's life: Paul Dukas and Victoria Kamhi. As we have
seen, the strong relationship between Dukas and Rodrigo most likely contributed
French influences found in the musical world o f Paris in the 1930s. Rodrigo
gave numerous interviews discussing his humble devotion to Paul Dukas and the
many philosophies learned from him, all words given in a most positive manner.
Pianist Victoria Kamhi, in addition to being his best friend, life partner and wife,
became a vital assistant in the promotion o f his career, accompanying him on his
standard written notation. Rodrigo himself has stated that his work would be
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182
Spanish idiom, basing the Serenata espanola o f that year on the gypsy flamenco
music found in Andalucia. Following that, Rodrigo composed his works based
elements. For example, the second sonata from the Sonatas de Castilla con
toccata is based on the music o f Spain’s Golden Era, using quartal harmonies,
Spain. Further, his Tres danzas de Espana were based on the poetry o f Victor
Espinos. Like Espinos’ poems from the collection o f Danzas viejas, Rodrigo
depicts Spain’s countryside living, yet through pastoral melodies and regional
as well as sonorities based on 4lhs and 5lhs, or quartal harmonies. Rodrigo did not
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183
When discussing the appeal o f Rodrigo’s piano works, one cannot avoid
members and pianists alike possibly can enjoy the jovial sounds produced in
works seek to excite the human spirit, which is one o f the basic, driving forces
or education.
Rodrigo's piano works range from 1923 to 1987. His life nearly
encompassed the entire twentieth century. The numerous awards and honors
given to this man are symbols o f widespread gratitude for his lifelong devotion
to the creation o f music and recognition of his artistic achievement. One of the
his works. During this centennial year o f 2001 marking the birth o f Joaquin
Rodrigo, may his name and music be heard throughout concert halls and
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184
ENDNOTES
1 H ow ever, all o f Rodrigo’s w orks can be purchased through the Spanish publishing com pany
Editorial Joaquin Rodrigo.
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185
1934:
♦ First prize from the Circulo de Bellas Artes, Valencia, for his
symphonic poem, Per la Flor del Lliri Blau
1939:
♦ Collaborator for the National Department o f Music Broadcasts for
Spanish Radio
♦ Head o f the Musical Section o f the Spanish National Organization for
the Blind
♦ Music Critic o f the newspapers Pueblo, Marca y Madrid
1942:
♦ National Music Award for Concierto Heroico
1945:
♦ Commission Alfonso X the Wise
1947:
♦ Creator and Professor o f Catedra de Musica "Manuel De Falla" at the
University o f Madrid
1948:
♦ Cervantes Award
1950:
♦ Nominated Member o f the Real Academy o f Fine Arts o f San
Fernando o f Madrid
1952:
♦ Ateneo de Madrid Prize for Villancicos y Canciones de Navidad
1953:
♦ Grand Cross o f Alfonso X the Wise
1954:
♦ Elected Vice President o f the SIMC (International Society of
Contemporary Music)
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1960:
♦ Order o f Officier des Arts et Lettres Award o f the French Government
1961:
♦ Coupe de la guitare award, 1st place, (France) for the work Invocation
y Danza
1963:
♦ Order o f Chevalier de la Legion d'Honneur of the French Government
♦ History o f Music Course at the University o f Rios Piedra (Puerto Rico)
1964:
♦ Doctor Honoris Causa, University o f Salamanca
1966:
♦ Grand Cross o f Civil Merit
♦ Gold Medal o f Merit in Work
1968:
♦ Member o f the Society o f European Culture
♦ Member of the Academy of the Latin World
♦ Member o f Honor o f the San Carlos de Valencia Academy
1975:
♦ Awarded the "Silver Spur" from the Mexican government
1976:
♦ Associate o f Honor o f the Ateneo o f Madrid
♦ President of the National Spanish Committee o f Music o f the CIM
(International Council o f Music, UNESCO)
1979:
♦ Member o f the Academie Royale des Sciences, des Lettres et des
Beaux-Arts de Belgigue, taking the place o f Benjamin Britten
1980:
♦ Gold Medal o f Merit in Fine Arts
1982:
♦ National Music Award
♦ Doctor Honoris Causa, University of South California
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187
87:
Gold Medal o f the Generalitat o f Valencia
Member o f Honor of Generalitat o f Valencia
88:
Doctor Honoris Causa, Polytechnic University of Valencia
Director o f the Real Academy o f Fine Arts of San Fernando de Madrid
989:
Gold Medal, University o f Madrid
Honorary Advisor o f the SGAE (General Society o f Authors of Spain)
Doctor Honoris Causa, University of Alicante
Doctor Honoris Causa, University of Madrid
Medal to Artistic Merit, City o f Madrid
990:
Doctor Honoris Causa, University o f Exeter
Medal o f Madrid in the gold category
991:
Awarded hereditary title o f nobility, "Marques de los Jardines de
Aranjuez" by King Juan Carlos 1.
Guerrero Foundation Prize for Spanish Music
Knight o f the Royal Order o f Santa Maria del Puig, Valencia
Silver Seal o f the city o f Valencia
992:
Awarded the order o f Felix Varela, first category, government o f Cuba
Honorary Member o f the Royal Academy of Valencia
Gold Medal o f Aranjuez to Joaquin Rodrigo and Victoria Kamhi
Honorary member of the Guitar Association, Florence
993:
Gold Medal, Spanish Council of Elders
994:
Gold Medal, Circulo de Bellas Artes, Valencia
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188
1995:
♦ Gold Medal o f the Royal Conservatory o f Music, Madrid
♦ Distinction o f Cultural Merit from Generalitat o f Valencia
♦ "Ondas" Prize for Classical Music for his entire career.
♦ The Hall o f the Cultural Center Isabel de Famesio de Aranjuez has also
been christened with the name "Sala Joaquin Rodrigo."
1996:
♦ Principe de Asturias Prize for the Arts
♦ Gold Medal o f Sagunto, Rodrigo's birthplace
♦ Great Cross o f the Orden Civil de la Solidaridad Social
♦ "Estrella" Prize o f the Community o f Madrid (Regional Government)
1997:
♦ Hall o f Chamber Music o f the Palau de la Musica de Valencia was
christened with the name "Joaquin Rodrigo."
♦ "El Punto de las A rtes," a cultural magazine o f the highest prestige in
Spain, has also celebrated in 1997 the second publication o f "Premios
Gerion," with a sculpture by Andres F. Alcantara. The recipients o f the
awards were: sculptor Jorge Otieza, architect Sainz de Oiza, painter
Antonio Saura and the composer Joaquin Rodrigo.
1998:
♦ On March 6,1998, the French government promoted the composer to
the level o f Commendateur in the order o f Arts and Letters
♦ "Best author o f classical music" in conjunction with the SGAE and the
Association o f Interpreters and Performers.
♦ "Medal o f Honor," from the International University o f Menendez
Pelavo.
1999:
♦ Gold Medal from the Festival o f Granada
♦ Best Editor o f Classical Music
ENDNOTES TO APPENDIX A
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189
A=Advanced, ^Intermediate,
and E=Easv
Kev Time A p p ro x .
Year Piece Dedication Signature Sig. Leve time
I
1923 Berceuse d'automne P.O. Ferroud atonal (2/4)+(6/8) A 3:29
1930 Air de ballet sur le nom d'une Victoria Kamhi G Major (3/4) E-t 3:11
jeune fille
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190
Cuatro Piezas
Caleseras Elvira Vifles- a minor (3/4) I-A
Soto
Fandango del vemorrillo Matilde Kamhi f minor (3/8) 1-A
Plegaria de la infanta de Emile Trepard fU minor (3/4) I-A (total
Castilla time)
Danza valenciana Javier Alfonso E Major (3/4) I-A 11:32
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191
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APPENDIX C, M AP OF SPAIN
FRANCE
.CALI CIA
CASTI LA CATALUNj
IARAGON
Y LEON
MADRID
PORTUGAL
\ V CASTILLA
BOKEMAOURAr1 LA MANCHA
'MURCIA .EARES
ATLANTIC OCEAN
ENDNOTES TO APPENDIX C
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SONATAS DE CASTILLA
JO AQU IN RODRIGO
Sonatas de Castilla
CON T O C C A T A A MODO O t P A I G C N
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194
WORKS CITED
Chase, Gilbert. La Musica de Espaha. 2nd Ed. New York: Dover Publications,
Inc., 1959.
Cooper, Colin. "Book: 'Manuel M. Ponce and the Guitar' by Corazon Otero."
Classical Guitar 15:2 (Oct. 1996): 49.
R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w itho ut perm ission.
195
Falla, Manuel de. On Music and Musicians. Trans. By David Urmana nd J.M.
Thomson. Intro, by Federico Sopeiia. London: Marion Goyars, Ltd.,
1979.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
196
"Guitarre + laute surf-Kurs fur Musiker, Folge 2" Guitarre + Laute 20:2
(March-April 1998): 35-36.
__________ . Joaquin Rodrigo (su obra para piano): piano a cuatro manos, dos
pianos y piano y orquestra. 2nd Ed., Madrid: Alpuerto, 1995.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
197
“Joaquin Rodrigo fete cette annee ses 95 ans.” Les Cahiers de la Guitare et de
la Musique 60 (October-December 1996): 25.
“Jump Street: Russell’s Rodrigo.” Acoustic Guitar 8:11:65 (May 1998): 14-16.
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
198
Livermore, Ann. A Short History o f Spanish Music. New York: Vienna House,
1972.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
199
R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w ithout perm ission.
200
Simms, Bryan R. Music o f the Twentieth Century: Style and Structure. 2nd Ed.
London: Schirmer Books, 1996.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
201
Terrell, Tracy D., Magdalena Andrade, Jeanne Egasse, Elias Miguel Munoz.
Dos Mundos: A Communicative Approach. New York: Random House,
Inc., 1986.
Trend, J.B. Manuel De Falla and Spanish Music. New York: Alfred A. Knopf,
1929.
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202
Discography
Internet Sources
Stanley Sadie, Ed. The Grove Concise Dictionary o f Music Online. Matt
Boynick. Extracted with permission. London: Macmillian Press, 1980.
http://x3.rz-berlin.mpg.de/cmp/scarlatti_d.html. March 6,2001.
R eproduced w ith perm ission o f the copyright owner. F urth er reproduction prohibited w itho ut perm ission.
The Official Joaquin Rodrigo Website, March 7,2001:
http://www.joaquin-rodrigo.com
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