Rodrigo / Rojas-Ogayar- Guitar Works
The relationship between composers and performers has been a key element in musical creation. This is the case of the Spanish composer JoaquÃn Rodrigo (Sagunto, Valencia, 1901 - Madrid, 1999), who was acquainted with many prominent guitarists of his time (e.g. Emilio Pujol, Andrés Segovia, Narciso Yepes, Regino Sainz de la Maza, Pepe Romero, to name but a few). As a result of these interactions, one of the most internationally known solo guitar repertoires was created, thus making the guitar thoroughly accepted as a solo instrument with orchestra, with his C oncierto de Aranjuez (1939), FantasÃa para un gentilhombre (1954), and Concierto madrigal (1966) being some of the best known. These works for guitar and orchestra are the most well-known of his catalogue and JoaquÃn Rodrigo owes his fame to them. However, in this album, the protagonists are other works, which, despite being less well-known, are no less relevant and have equally exalted the Spanish guitar repertoire.
The relationship between composers and performers has been a key element in musical creation. This is the case of the Spanish composer JoaquÃn Rodrigo (Sagunto, Valencia, 1901 - Madrid, 1999), who was acquainted with many prominent guitarists of his time (e.g. Emilio Pujol, Andrés Segovia, Narciso Yepes, Regino Sainz de la Maza, Pepe Romero, to name but a few). As a result of these interactions, one of the most internationally known solo guitar repertoires was created, thus making the guitar thoroughly accepted as a solo instrument with orchestra, with his C oncierto de Aranjuez (1939), FantasÃa para un gentilhombre (1954), and Concierto madrigal (1966) being some of the best known. These works for guitar and orchestra are the most well-known of his catalogue and JoaquÃn Rodrigo owes his fame to them. However, in this album, the protagonists are other works, which, despite being less well-known, are no less relevant and have equally exalted the Spanish guitar repertoire.