Giuliani: Guitar Concerto No. 1
1. Guitar Concerto No. 1 in A major, Op. 30 (versions for guitar & orch; gt. & string quartet): Allegro maestoso 
2. Guitar Concerto No. 1 in A major, Op. 30 (versions for guitar & orch; gt. & string quartet): Andantino (Siciliano) 
3. Guitar Concerto No. 1 in A major, Op. 30 (versions for guitar & orch; gt. & string quartet): Polonaise (Allegretto) 	

Rodrigo: Concerto Madrigal
4. Concierto madrigal for 2 guitars & orchestra: Fanfarre (Allegro marziale) 
5. Concierto madrigal for 2 guitars & orchestra: Madrigal (Andante nostalgico) 	
6. Concierto madrigal for 2 guitars & orchestra: Entrada (Allegro vivace) 
7. Concierto madrigal for 2 guitars & orchestra: Pastorcito, to que vienes, pastorcito, tu que vas (Allegro vivace) 	
8. Concierto madrigal for 2 guitars & orchestra: Girardilla (Presto) 
9. Concierto madrigal for 2 guitars & orchestra: Pastoral (Allegro) 
10. Concierto madrigal for 2 guitars & orchestra: Fandango 	
11. Concierto madrigal for 2 guitars & orchestra: Arieta (Andante nostalgico) 	
12. Concierto madrigal for 2 guitars & orchestra: Zapateado (Allegro vivace) 	
13. Concierto madrigal for 2 guitars & orchestra: Caccia a la española (Allegro vivace-Andante nostalgico)

Pepe Romero – guitar
Angel Romero – guitar

Academy of St. Martin-in-the-Fields
Neville Marriner – conductor

This is the second RQR (Remastered Quadro Recording) I own. Just got it in the mail from Amazon today. I wonder why it has taken so long for the general public to be able to fully enjoy these master tapes. These were recordings made by Philips back in the day of quadraphonic and have now been unbelievably well remastered by a company called Polyhymnia to multi-channel Super Audio CD. These are not the quadraphonic recordings that gave a bad name to the format because they would have the instruments in the four corners with you in the middle of the ensemble. The rear channels of these recordings contain hall reverberation only. The immersion in the recording space is just fantastic, as is the image and balance of the guitars, harp and orchestra. Not a bit of brittle in the sound of the guitars which is usually captured too close or enhanced in the treble beyond recognition. Just lush, maybe slightly more distant, laid-back, pure Spanish guitar sound. My reference is the concert hall. I don't seek a "studio sound". I appreciate the real thing more than the better-than-real, on-steroids sound; so if that's you, maybe listen to it first. Polyhymnia did not force a remix to 5.1 channels. They kept it in the original 4.0 intended by the original producer. When one hears these recordings, one wonders what in the world have recording companies been doing in the past thirty five years... Why aren't all music catalogs made of this quality?

Anyway. The renditions are musically very satisfying and the works are pretty well-known. You can't go wrong on these interpretations. The last Rodrigo piece, Sones en la Giralda, has quite a "modern", (read 20th-century) flavor, utilizing really adventurous harmonies and textures (compared to Rodrigo's other, more well-known pieces). Very tastefully treated though. Just one of those discs that I intend to listen to over and over again. If you have a multi-channel rig, do yourself a favor: Buy this SACD, set the volume loud, as it would be in a real concert hall - not louder but not softer - dim the lights down, send the kids to the park, breathe deep and press play. After about an hour you'll know what I mean. --- Tonskimojster "ClassicalTech", amazon.com

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01. Concierto de Aranjuez (for Guitar and Orchestra) : I. Allegro con spirito 
02. II. Adagio   
03. III. Allegro gentile   
04. Fantasia para un Gentilhombre (for Guitar and Small Orchestra): I. Villano y Ricercare   
05. II. Espańoleta Y Fanfare De La Caballeria De Napoles    
06. III. Danza de las hachas   
07.  IV. Canarios   
08. Canconeta (for Violin and String Orquesta)     
09. Invocation and Dance (for Guitar) : I. Moderato    
10. II. Allegro Moderato : Polo    
11. Trois Petites Pieces (for Guitar) : Ya se van los pastores  
12. Por Caminos de Santiago  
13. Pequeńa Sevillana   

Pepe Romero : Guitar
Augustin Leon Ara : Violin
Christine Pendrill : English-Horn
Academy of St Martin in the Fields
Sir Neville Marriner : Conductor

Recorded : Watford Town Hall, London, July 1992.

Classics from their premieres, Rodrigo's Concierto de Aranjuez and Fantasia para un gentilhombre have had many superlative recordings over the years, from Segovia to Bream and Williams, and this 1994 recording by Pepe Romero can stand with all but the very best of them. Romero's agile technique, alert rhythms, and full, ringing tone make him an ideal performer of this music, bringing out Rodrigo's sprightly tempos and singing melodies with effortless beauty and grace. Accompanied by the always elegant Neville Marriner leading the ever polished Academy of St. Martin-in-the-Fields, these performances have wonderful lightness without sacrificing the soulful depths of the Concierto's central Adagio. Also included here are three less well-known works by Rodrigo: his short but stylish Cançoneta for violin and string orchestra played by violinist Augustín Leon Ara, plus two works for solo guitar played by Romero: the slyly sensual Invocation et danse and the lovely and evocative Trois petites pièces. The performances are captured in clean, bright sound that will please fans of the works. ---James Leonard, Rovi

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Cuatro Madrigales amatorios
1.No. 1. Con que la lavare
2.No. 2. Vos me matasteis
3.No. 3. De donde venis, amore
4.No. 4. De los alamos vengo, madre          play

Cantos de amor y de guerra,
5.No. 1. Paseabase el rey moro
6.No. 2. A las armas moriscotes!
7.No. 3. Ay, luna que reluces!
8.No. 4. Sobre Baza estaba el Rey
9.No. 5. Pastorcico, tu que has vuelto

Triptic de Mossen Cinto (Jacinto Verdaguer)
10.I. L'harpa sagrada
11.II. Lo violi de Sant Francesc
12.III. Sant Francesc i la cigala

13.Romance del Comendador de Ocana (Lope de Vega)

Cuatre cancons en llengua catalana
14.No. 1. Canco del Teuladi (Teodoro Lloreante)
15.No. 2. Canticel (Josep Carner)              play
16.No. 3. L'inquietut primaveral de la donzella (JosepMassó i Vientós)
17.No. 4. Brollador gentil (Joan Guasch)

Rosaliana (Rosalía de Castro)
18.I. Cantart' ei, Galicia
19.II. Por que
20.III. Adios rios, adios fontes
21.IV. Vamos bebendo!

22.Cantico de la esposa (San Juan de La Cruz)


Raquel Lojendio - soprano
Orquestra Sinfônica de Astúrias
Maximilano Valdés - director

Joaquín Rodrigo wrote more than two hundred compositions, creating a prolific variety of orchestral pieces, songs and instrumental music. Less well known, however, are various works for soprano and orchestra. This recording presents some of the finest examples of Rodrigo’ s songs, illustrating the wide range of Spanish poetry he set to music. The composer considered Cántico de la esposa (Song of the Bride) as his best vocal work. Here the melodic line recalls the glories of the Golden Age of 16th century Spanish song, while the imaginative orchestration locates the work specifically in the 20th century. Tríptic de Mossèn Cinto (Triptych of Mossèn Cinto) displays many of Rodrigo’s musical characteristics, including exquisite matching of word to note, swift but subtle changes of mood, and his love of the emotive power of the voice.

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Concierto De Aranjuez For Guitar And Orchestra
1. 1. Allegro Con Spirito	6:09	
2. 2. Adagio	11:16	
3. 3. Allegro Gentile	5:15	

Fantasía Para Un Gentilhombre For Guitar And Small Orchestra
4. 1. Villano y Ricercare (Adagietto - Andante Moderato)	4:56	
5. 2. Españoleta Y Fanfare De La Caballería De Nápoles (Adagio - Allegretto Molto Ritmico)	9:40
6. 3. Danza De Las Hachas (Allegro Con Brio)	2:07
7. 4. Canario (Allegro Ma Non Troppo)	4:58

Narciso Yepes – guitar
English Chamber Orchestra
Philharmonia Orchestra
Luis A. Garcia Navarro – conductor

Joaquin Rodrigo's Concierto de Aranjuez and Fantasia Para Un Gentilhombre are my two favorite guitar-and-orchestra compositions, and this 1990 Deutsche Gramophon recording presents them in all their lush musical glory. Performed by guitarist Narciso Yerpes, the London Philharmonia Orchestra and the English Chamber Orchestra (both under the baton of conductor Garcia Navarro), these two works are among the best known classical pieces to come from Spain.

The concierto's first movement, Allegro Con Spirito, lives up to its description with its spirited beginning, which is unusual as it begins with the solo instrument instead of the orchestra. The movement's performance is handled in almost equal parts by Yerpes on guitar and the London Philharmonia, musically evoking zest and vigor.

The second movement, the well-known Adagio, also starts out with Yerpes on the guitar. The soloist mimics a harp accompaniment that underscores the introduction of the famous melody by the English horns. The movement is reflective and features a musical exchange between Yerpes and the Philharmonia, and comes to a beautiful and passionate conclusion.

The third movement, the nearly five-minute long Allegro gentile, is based on an old Spanish song ("De los alamos vengo"), which Rodrigo turns into a theme-and-variations piece, played with a joyful grace that lives up fully to its descriptive title. Listening to this movement brings back memories of strolling along the banks of the Guadalquivir River or through Seville's Plaza de Espana on a warm late-summer afternoon. The second work, Fantasia Para Un Gentilhombre, consists of five movements (Villany y Ricercar, Espanoleta, Fanfare De La Caballeria De Apoles, Danza De Las Hachas, and Canario), and was composed 15 years after the Concierto de Aranjuez for the master of classical guitar, Andres Segovia. Once again, Rodrigo dipped into Spain's musical heritage and based his themes on songs from the late 17th Century by Gaspar Sanz. Performed here by the wonderful English Chamber Orchestra (which also was teamed with guitarist John Williams and conductor Charles Grove in another recording), the Fantasia is a beautiful collage of musical styles that are firmly Iberian in tone and origin.

The Deutsche Gramophon recording is crystal clear, and both orchestras under Navarro's baton perform the music with the mixture of exuberance and reflection most listeners will associate with these two great works. --- Alex Diaz-Granados, amazon.com

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1. Allegro con spirito
2. Adagio
3. Allegro gentile

  (Guitar)
Montreal Symphony Orchestra
Charles Dutoit (conductor)

Rodrigo's Concierto de Aranjuez is performed and recorded more than all the other guitar concertos put together, and the outer movements are full of Spanish warmth and color, framing a central adagio that builds in intensity like a poignant prayer. This recording is justly famous for "Bonell's imaginative account of the solo part" and "an exceptionally clear, atmospheric recording". ---hbdirect.com

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1. Concierto De Aranjuez-Allegro Con Spirit (5:42) 
2. Concierto De Aranjuez-Adagio (11:30) 
3. Concierto De Aranjuez-Allegro Gentile (5:20) 
4. Iberia-Triana (4:56) 
5. Iberia-El Albaicin (7:25)
6. Iberia-El Puerto (3:43)

Paco de Lucia, Jose Maria Banderas, Juan Manuel Canizares (guitar);
Orquesta De Cadaques
Edmon Colomer – director

"Concierto de Aranjuez" recorded live at Bulevar de la Casa de la Cultura de Torrelodones, Spain. 
"Iberia" recorded at Cinearte, Spain.

Spanish classical music had always aroused profound interest in Paco de Lucía. First came the album Lorca (1967), the records of Andalusian and Iberoamerican classics (65-69), afterwards came his magnificent work with Falla (1968) and from 1991 we must add this Concierto de Aranjuez and three pieces from the ‘Suite Iberia’ by Albeniz. His pledge here is clear: to offer out of the most profound respect a new perspective on the Classical Spanish canon, in Flamenco. The traditional and incomprehensible separation between classical Spanish music and Flamenco becomes here one of his most important challenges. The result is a revelation. One of the dreams of every guitarist, classical or Flamenco, is to play the most popular piece in Spanish music, that is, the concerto for guitar and orchestra written by Joaquin Rodrigo under the title ‘Concierto de Aranjuez’. The duration of the concerto is not enough for an album, so Paco recorded three pieces, arranged by Juan Manuel Cañizares, taken from the “the high point of universal piano literature” (Messaien), that is ‘Suite Iberia’ by Isaac Albeniz to go with it. 12 pieces dedicated in the main to Andalusia from which were selected (in the opinion of the guitarists) the most easily-adaptable to the Flamenco melos (melody).

With the help of the Sociedad Estatal Quinto Centenario he was able to reunite the orchestra of Cadaqués, under the baton of Edmond Colomer, and made the dream come true —a Flamenco guitarist playing Rodrigo’s concerto. As shown on the cover of the album, the composer sat beside the interpreter and this brings to the music a new state, unheard in other versions. The beat of the Flamenco guitar, the confident and unmistakeable toque of Paco de Lucía gives a new face to this music. Which versions are best is a question of taste, but without doubt this is one of the most original and well-made, above all in the dynamic and the articulation.

Paco’s versions grant the music a totally renewed and essential rhythmical character, even if to some it is too much. The challenge was more than passed: if only classical Spanish music were interpreted more often from a Flamenco perspective, surely much of the canon would benefit from the experiment. His own words sum up the idea: “I play the concert as it is on the score, but I have never heard it played with rhythm and that’s where I do my interpretation.” ---pacodelucia.org

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