tilntut:

Yv!!!vy

*l
,a!!v!.
M1t0i[r,r
Y*::v!

IncludesprintedsoloPart
andtwo compact discscontaining
eomple tereferencePerformance
'tiuratgbmpanimentminusYOU.
Alsoincludes-200loslowtemPo
practiceaccomPaniments!

Mtutu@

Vsnot
@."u-tu/d,*"
, l.ot/*Ap"*
 JoaquinRodrigo
deAranJue
Concierto
paraguitarray orquesta
Guitarra/ Gitarre/Gurtar

ED 7242-01 sct|(Im
 JoaquinRodrigo

ConciertodeAranjuez
pataguitarruyorquesta
ftir Gitarreund Orchester/ for Guitar andOrchestra
Nueva edici6ndigitadapor
mit Fingersatzvon / New edition with fingeringby
Neuausgabe
Angel Romero

Guitarra
ED 7242-01
rsMNM-001-0758s-s

scIl0l-f
Mainz . London. Madrid ' New York. Paris. Tokyo. Toronto
O 1959 by JoaquinRodrigo,Madrid . Printedin Cermany
A Regino Sainz de la Maza
Guitarra A Regino Sainz de la Maza
Das widenechtliche KopieEtr von Noted ist gesetzlich
verboten und kdn privat- utrd strafrechtlich verfolgt werdetr
Unautho.ised copying ofmusic is forbidden by lat,
and may lesult itr cdminal or civil action.

Conciertode Aranjvez
Digitadopor paraguitarray orquesta
AngelRomero
(1984)
Aflegro con spirito ( J. = e+)
I JoaquinRodrigo
u--------------------!

@*D Rasgueado-

> -

@ 1959by Joaquin Rodrigo, Madrid Dep6sito Legal: M- 3871- 1979

Sole agents and worldwide distributors - except spain - Schott Music GmbH & Co. KG, Mainz

ED 7242
 tr
JJJ

. # i
LlJ
 I m o l m
a m -;-r l-z-l
n l f'r
rl
- t r J .-1di'fi
JlJtzl I
,3Ao
I
^1,)4-
7 T
n
t = :v!- l - _

'a:\ 12
tv
cr esc.

- 9
ot + t 7, F _ _ _ _ . . 2 1
Y V u p

tr
II

a2tfe I
I p*f

m i IV-'---------------iilI IV
'l+
2
J , .!a! 7 T ' p.b
m

p i p m

u * t i
J

;,-t;l-rlip
p p
Arm.
2 i -

- , l T z l s-i
@qi.
r | 4.a_

m 1 m m i

-l
 v--------------l

ul E i.' f#&ot:?,,e
 tl6 tr*

,v

,A
I
m l
Em i i m
@ @ ,9
(,t ) 4 4
r1 O z
q
V--,
Z r

t rr '@41, 'ltt u
@u -

o 232
I r -o

:==:---z

p
stacc,
cnf

l-:--t1
 in,,\Lbhhi{trWz

III-'---------------------luII'-"-t
r r l

rx----- -----
VIII IX
m
,i . r @
2

o
p>

I::J
frrl
V------------- -----------------------'l
l m

,uzLLbh\Lelt
"f

m i
2 t

rilr.'<*lr)1r l r 9 t r e@

t t q - = - - - - n

-.........{........?-
@............... -8 ..-.....i
Adagio (rt = c+)
vII----------------------"r II"'---""

tnf cantabile

Ir------r

l-*o@
' J 3 J e- - 7- @ @;.- - - - - - :.- - - - .- i
-
10

nf ben marcato il canto

,7r7ut "l'rT
3 A r_=
@--------------- ---i

'r 'r
tTF }F
i i m i m i m
 ll

E
a 'lJ 'yj 'l 3
Att #-
,r "r '7'7 ''7 =
I J L I
f
-

z 49"u31

3 3

"g
<-Z-:'. <Z): :Z:\
4T1i #@
p f@
 ttl
:I r ' r ' l m i S m i

l m l m l m
 l3

v---------t

p p p

accel.

pmi pmi sigue-

: r 3 3

pp
leggiero

8""'-"""'l

-a
Ep

leggiero
t4

I\r-'-'----

a i p

cresc. poco a poco . l

a m i p ' p i m a m i
a m p i a m p i

semprecresc.
 l5

piil tranquillo

o8'-'-,,-i_;a":
&
t?
F
J_
Arm. I
@ ( 1e)
t6
ilI
Allegro gentile ( rl = rcq)
m
+
1

fYo I
7
I

todo pulgar - -

7?
l-J
 t7

v---------------l

r I l

---------i
II-------
t l
m l m l a

'F
cresc. - poco a poco
ponticello

fif r r#r
(ponticello)

f,1
(ponticello) ... nat.
18
sempre stacc,
rr-----l x---l x'-l m i a m i a m i
4

onf

I
cresc.

m i
@?,

t- 3
P-simile

XI----l
m i ' a
8 , 4

f @ @
 I9

3
piil cresc.
 ::i "l ^l
@ 7 p p
p_____---r p '

i m
a
.) "y ,)-) 41
l 4A
l t

@ I
V,
m i

^).rD @f; ?E.rfrEE.J ^)

'/ -
"i? =
I
i ' @ V Y
p
p p p
 II--,5---]'mi m
::.

@-------------
mf
(continua alternando)
@ i I

m i m

m l m
m i
4,
l*g*l 2 4.-f-

l m l m l tc.?t:Zt=ett

@- -*:@

rx---------------------------1
22
(La misma digitacion)
---'----'-----r
"'-'---'-'--
ifrR$
r.-l\

ilt+^2Lt-t:;

cresc.wco a poco
 23

m
w o

Schott Music, Mainz 45 560

JoaquinRodrigo
A la busca del mds all6
para orquesta
TaschenpartiturETP 1455
Cangoneta
para violin y orquestade
cuerdas
Partitur CON 209
KlavierauszugYLB 78
Cuatre can€onsen llengua
catalana
paravoz y orquesta
Partitur ED 8358
KlavierauszugED 7591
Cantan Bel6n Pastores
para soprano,coro y orquesta
Poemade Victoria Kamhi
Partitur ED 8354
KlavierauszugED 7728
Cdntico de San Francisco
de Asis
para coro y orquesta
Partitur ED 8353
Concierto andaluz *
para cuatro guitarras
y orquesta
StudienpartiturETP8026
KlavierauszugBD 7992
Concierto como un
Divertimento
para violoncheloy orquesta
Partitur ED 8370
Concierto de Aranjuez *
para guitarra y orquesta
TaschenpartiturETP 1809
KlavierauszugBD 7242
Concierto in modo galante *
para violonchelo y orquesta
Partitur ED 8357
KlavierauszugED 8158
:fl
#sc[f(x-l''
Concierto madrigal
para dos guitarrasy orquesta
TaschenpartiturETP 1824
KlavierauszugED 7390
Concierto para una Fiesta
para guitarra y orquesta
Partitur ED 8352
KlavierauszugED 7289
Dos DanzasEspafrolas
para orquesta
Partitur ED 8359
Du6rmete, Niffo
de "Villancicos y canciones
de Navidad"
para soprano,baritono
y orquestade cdmara
Poemade Victoria Kamhi
Partitur ED 8360
KlavierauszugED 7596
La Espera
de "Villancicosy canciones
de Navidad"
para sopranoy orquestade
cdmara
Poemade Victoria Kamhi
Partitur ED 8351
Fantasiapara un
gentilhombre
para guitarra y orquesta
TaschenpartiturETP 1823
Klavierauszug GA208
Versi6nde famesGalway para
flauta y orquesta
KlavierauszugED 11488
Himnos de los Ne6fitoS
de Qumrdn
para tres sopranos/coro de
hombresy orquestade cdmara
Adaptaci6npo6ticade Victoria
Kamhi
Partitur ED 8368
Homenaje al la Tempranica
para orquesta
Partitur ED 8361
Juglares
(Ensayosinf6nico)
para orquesta
Partitur ED 8362
Mrisicapara un iardin
para orquestade c6mara
Partitur ED 8363
Palillos y panderetas
para orquesta
Partitur ED 8369
Cinco PiezasInfantiles
para orquesta
Partitur ED 8356
Preludio para un poema
a la Alhambra
para orquesta
Partitur ED 8365
Rosaliana
Cuatro cancionessobrepoe-
mas de Rosaliade Castro
para sopranoy orquesta
Partitur ED 8367
KlavierauszugED 7719
Senanilla / Cdntico de la
esposa*
para sopranoy orquestade
cdmara
Partitur ED 8355
Triptic de Mos6n Cinto *
para sopranoy orquesta
Poemade JacintoVerdaguer
Partitur ED 8350
T?esviejos aires de danza
para orquestade cdmara
Partitur ED 8364
* keine Auslieferung nach Spanien;
ftir Spanien: Ediciones Joaquin Rodrigo
 Zettgenaissische
Musil(fair Gitarre
::::,::::::?::: ContemporaryGuitarMusic
.'":4.;::!)
l.r.....::1..-ll:

Musiquecontemporaire
..:......:......:::,a.-..,a,1:.'":.;::''.'a)),a:a.::.:::r::,..:at:a:-
pourguitare
Gitarre solo Hans Werner Henze Andr6s Segovia
Guitar solo D r e iM i r c h e n b i l d e r E s t u d i os i n l u z
cA 480 cA 179
Guitare seule RoyalWinter Music Estudios
2 sonaten cA 178
lsaac Alb6niz cA 467/473
Reginald Smith-Brindle
(Leyenda)
Asturias Peter Hoch DanzaPagana
CJA445 Parabeln ED11453
Granada CJA469 EtruscanPreludes
a u sS u i t eE s p a f r o lNao . ' 1 ED11458
cA 434 Felix Horetzl<y
Fantasie(Eti.ide),op. 14 Fuegofatuo
Sevilla ED11454
CA 478
a u sS u i t eE s p a f r o Nl ao . 3
Four Poemsof GarciaLorca
CA433 Barna Kovits E D1 ' 1 3 6 8
Tango, op. 155/2 Minutenstiicke
GA 413 El Polifemode Oro
cA 154
ED11846
TorreBermeja Antonio Lauro
( S e r e n a toap, . 9 2 / 1 2 ) sonata No. 4 ,,LaBrev6" Fred Harz
Suite E D1 1 4 2 4
CA 447 H o m e n a j e J o h nD u a r t e
Aphorismen
Z a m b r ag r a n a d i n a CA483 Bruno Szordikowski ED7080
dA 446 5timmungsbilder Hans Werner Henze
Miroslav Miletii E D7 1 2 8 Minette
Augustin Barrios Mangor6 l(roatischeSuite
'18ConcertPieces Alecandre Tansman CA538
CA 437
Band1/2 Cavatine Paul Hindemith
E D1 2 3 7 0 / 1 Frederico Moreno-Torroba CA165 Rondo
Air de la Mancha DanzaPomposa
Gustavo Becerra-5chmidt CA 457
CA 235 cA 206
lll. Sonata Burgalesa Gerhard Maasz
cA 497 Mazurka
CA 113 Z e h nl e i c h t e5 t i i c k e
dA 116
Frank Michael Beyer Nocturno CA 431
Canzonetta CA103 Michael Tippett
Fritz Pilsl
cA 468 Pidcescaract6ristiques T h e B l u eG u i t a r
S i e b e nD u o s
HefI 1/2 ED1221a
Cesar Bresgen E D7 1 2 7
cA 133/4 Joaquin Turina
Malinconia Reginald Smith-Brindle
cA 238 Preludio F a n d a g u i l l oo,p . 3 6
Chaconne and Interludes
C A1 1 4 CA 1O2
L6o Brouwer ED11431
Serenataburlesca HommageA Tiirrega,op. 69
TresApuntes T h e P i l l a r so f l ( a r n a k
CA 115 cA 136
cA 426 E D1 1 4 3 2
S u i t ec a s t e l l a n a Miniaturas
Canticum CA 104 cA 496
cA 424 Rifaga, op. 53
Danzacaracteristicapara el ,,Quitate Manuel M. Ponce
CJA128 Gitarre und Orchester
de la Acera" Trescancionespopularesmexicanas
G A1 1 1 S o n a t i n ao, p . 6 1 Guitar and Orchestra
cA 422 dA 132
E l o g i od e l a D a n z a Estudio Guitare et orchestre
dA 425 cA 131 Alfred Uhl
Cuatro Piezaspara Guitarra Sonataclassica Ausziigefi.ircitarre und l(lavier
La Espiraleterna S c o r e sf o r G u i t a ra n d P i a n o
cA 423 CA 519 dA 164
12 P r 6 l u d e s R6ductionspour guitare et piano
Mario Castelnuovo-Tedesco Peteris Vasl<s
CA 340 D i e s o n a t ed e r E i n s a m l < e i t
R o n d oe - M o l l , o p . 1 / 2 9 S o n a t al l l Cesar Bresgen
dA 168 dA 526 l(ammerkonzert
C A1 1 0
Sonata Friedrich Wanek cA 226
( O m a g g i ao B o c c h e r i n i ) 5 o n a t am e r i d i o n a l
CA 151 Z e h nE s s a y s Mario Castelnuoyo-Tedesco
CA 149 dA 1438 1 . C o n c e r t oi n D , o p . 9 9
S o n a t ar o m e n t i c a
S u i t e ,o p . 1 3 3 ( H o m m a g ie S c h u b e r t ) Friedrich Zehm cA 166
CA169 CA 123 M u s i c an o t t u r n a 2. Concertoin C, op. '150
T o n a d i l l a u f d e n N a m e nA n d r 6 s Valse dA 476 CA 240
Setovia,op.'170/5 CA 153 S e c h sP r a e l u d i e u
nn d F u g e n 5 6 r 6 n a d eo, p , 1 1 8
aA 191 CA 486 CA167
V a r i a t i o n s u r , , F o l i ad e E s p a n a "
Variationsi traversles siAcles et Fugue
C A1 3 7 Manfred Kelkel
G A1 3 5 Zagreberl<onzert,op. 19
Miguel Angel Cherubito Hermann Reutter 2 Gitarren E D6 4 9 8
S u i t eP o p u l a A
r rgentina
cA 618
A b e n d a n g e l uusn d B o l e r o - F a n d a n g o 2 Guitars Joaquin Rodrigo
cA 502
Petr Eben CincoCaprichossobre Cervantes
z Guitares Conciertode Aranjuez
E D7 2 4 2
Tabulaturanova G A4 8 7 ConciertoDarauna Fiesta
cA 501 Fantasiestaicke aus op. 28 lsaac Alb6niz E D7 2 8 9
cA 500 Tango,op.'165/2
Paul Fetler CA 405 Fantasiapara un gentilhombre
F o u rM o v e m e n s D i e P a s s i o ni n 9 I n v e n t i o n e no, p . 2 5 cA 208
cA 428 CA488 Claude Debussy
Children'C s orner

I
F i v eP i e c e s Joaquin Rodrigo
CA 99 Trespiezasespaffolas CA 491
cA 212 D a n s eb o h 6 m i e n n e

o scllo'l-
Jean Frangaix dA 460
Serenata Triptico
cA 495 cA 492 3 Pr6ludes
Un tiempo fue lt6.licafamosa cA 522
c,A 515 www.schott-music.co

D I S T R I E U T EIDI I H O R T HA H D S O I J T H
AI1ERICN
lsMNM-001-07585-5 E X C L U S I V E LIYY

llililtilililltilr|]|ilill
9 il790001il075855r1
HALLEOHR
C O N P O R N T I
49000480
FPllilil]lll
lllil
Eilil Zj9Fgil?E,48;FI
 EuCoNcrERTq
DEAnaNJuEz
ELEBRATED Spanish composer Joaquin Rodrigo was
born 22 November l90l in Sagunto,Spain, At the
age of 3 he was blinded by a bout wirh diphtheria,
but he perseveredin spite of this handicapand showeda
strong gift for music,embarkingon a careerwhich would
ultimately span eight decades.At the age of 23 he was
awardedthe NationalPrize in Spain for his Cincopiegs
infantilesandbeginto gain a reputation asa notablecom-
poser.He wasprivileged to becomefriendly with Manuel
de Falla, and also to study in Paris with Paul Dukas.
Hanging on tenuously in self-exileduring the lean
years of the Spanish Civil War, he and his wife lived
in Germany, Austria, Switzerland, and France, but for
the most part in Paris. With that war's end, and at the
invitation of Manuel de Falla, who promised a teach-
ing position to the haplesscomposer, Rodrigo and his
wife arrived back in Spain on the eve of the Second
World'War with preciouslittle: someold clothes,a few
personalbelongings, and a manuscripr the Conciertode
Aranjuel.
The idea for writing a concerrofor guitar and orches-
tra was suggestedby the Marqu6s de Bolarque and the
guitarist Regino S6inz de 7a Maza in San Sebastianin
1938.While Rodrigo intentionally madeno "program"
for the music,there is certainly inspiration, both from the
associationsof the physicallocality of Aranjuezrandalso
dueto eventsin his personallife during the composition.
Rodrigo later described the music as being suggestive
(but without being literally evocative) of a royal court
in the 18ecentury,and specificallyof the magicalauraof
the gardenssurrounding the palaceat Lranjuez.
During the composition of the piece, the Rodrigos
had been living very modestly in Paris on the Rue St.
Jacques,and despitetheir relative impoverishment they
were often in the company of some of the great talents
of the period: composersFedericoMompou and Joaquin
Nin-Culmell, and the pianistfucardo Viffes,amongmany
others who were living in the French capitol during this
time.
It was during this period in 1939,as Rodrigo was
working on the concerto, that a great personal ttag-
edy was to have a great effect on its composition. The
Rodrigos, who were expecting a baby at rhe rime, were
devastatedwhen Mrs. Rodrigo suffered a miscarriage
at seven months. This left a ffemendous void in both
the eagerparents' hearts, and it was in the wake of this
disasterthat Rodrigo began to remold what had already
beenlargely written into the languid, sadtune that would
becomethe heart of the concerto'sAdagio. But mingled
with the senseof longing and sadnessis a sinewy sensual-
MMO 36i6 Pub.No. 00383
iry'-andextreme romanricism, and in fact Mrs. Rodrigo
has statedthat this movement was originally conceived
to be evocativeof their youthful love for eachother and
their honeymoon strolls through the park at Aranjuez,
hencethe title of the concerto.
It was on 9 November 1940that the work finally
received its premidre in Barcelona, with-as prom-
ised- Regino S6inzde la Mazaplaying the solo parr with
the BarcelonaPhilharmonic. Its subsequentpremidre
in Madrid was greeted with thunderous applauseand it
immediateiybecamea national treasure.The piece, of
course, went on to achieve world reno'wn, with every
guitar virn-rosoperforming it, and it hasbecomethe most
highly regarded and most popular guitar concerto ever
written. Indeed, it is arguably the most popular concerro
of any kind written in the 20th cenrury.
From its initial trademark srrums,the first movemenr
hasa light piguancy that, though filled with intenseSpan-
ish flavor, belies the composer'sexposureto peculiarly
French musical traditions. And it is this very French
influence which, interestingly enough, helps favor the
gtitar as soloist in an orchestral setting-2 light, clean
line with much relianceon the upper woodwinds, which
form a perfect complementto the guitar's husky strum-
ming and pronouncedplucking. It is a unique movemenr
filled with originality in orchestration, and a kind of
neo-classicalfeel appropriate to its author's atrempt to
evoke a long-lost time of courtly manners.
After the intervening Adagio,with its wistful beaury
and famous lyrical theme, the energeticthird movement
is a buoyant celebrationof danceandtraditional rhythms,
a veritable fantasiathat conjuresimagesin total contrast
with the sentimental journey that has preceded it. It is
especiallynotable for its constantly changing merers-
alternating throughout between 3/ 4 to 2/ 4 time.
This masterpieceof 20&-centurymusicis an enduring
classic,one that just grows in populariry asirs exposure
increasesand new generationsare exposedto its simple
brilliance. While Rodrigo vrote numerous orher sym-
phonic works and concerti for guitar, pianq violin, cello
3ni flu1s-and though many of thesehave been criti-
cally acclaimedand have enjoyed considerablepopular-
iry-none has managed to strike such a deep chord as
has the ConciertodeAranjuel.
Rodrigo's death on 6 July 1999camein the midst of
worldwide preparation for his centennialcelebration in
2001,I7hile it is sadnot to have had him present during
thesefestivities,it is indeeda privilege to have had sucha
talentedmasterin our companyfor suchan extraordinary
length of time.
-Michael Norell
Printed in Canada