Concierto de Aranjuez Fantasía para un gentilhombre Concierto madrigal SLAVA & LEONARD GRIGORYAN

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1 Concierto de Aranjuez Fantasía para un gentilhombre Concierto madrigal SLAVA & LEONARD GRIGORYAN THE QUEENSLAND ORCHESTRA BRETT KELLY

Joaquín Rodrigo 1901-1999 Concierto de Aranjuez [22 52] 1 Allegro con spirito 5 49 2 Adagio 11 28 Solo cor anglais: Alexa Murray 3 Allegro gentile 5 22 Slava Grigoryan guitar Fantasía para un

2 Joaquín Rodrigo Concierto de Aranjuez [22 52] 1 Allegro con spirito Adagio Solo cor anglais: Alexa Murray 3 Allegro gentile 5 22 Slava Grigoryan guitar Fantasía para un gentilhombre [22 30] 4 Villano y ricercare (Adagietto Andante moderato) Españoleta e fanfare de la caballería de Nápoles (Adagio Allegretto Tempo de españoleta) Danza de las hachas (Allegro con brio) Canario (Allegro ma non troppo) 7 13 Leonard Grigoryan guitar Concierto madrigal [33 31] 8 Fanfarre (Allegro marziale) Madrigal (Andante nostalgico) Entrada (Allegro vivace) 2 14! Pastorcico, tú que vienes, Pastorcico tú que vas (Allegro vivace) 1 Girardilla (Presto) 1 38 Pastoral (Allegretto) 3 29 $ Fandango (Molto ritmico) 2 15 % Arietta (Andante nostalgico) 6 28 ^ Zapateado (Allegro vivace) 5 53 & Caccia a la española (Allegro vivace Andante nostalgico) 4 58 Slava and Leonard Grigoryan guitars Total Playing Time The Queensland Orchestra Brett Kelly conductor 2 3

It is unlikely that when Joaquín Rodrigo composed his Concierto de Aranjuez he envisaged it would one day be transcribed for flugelhorn solo with brass band accompaniment and used in a smashhit movie

3 It is unlikely that when Joaquín Rodrigo composed his Concierto de Aranjuez he envisaged it would one day be transcribed for flugelhorn solo with brass band accompaniment and used in a smashhit movie (Brassed Off). Nor would he have expected it to form the basis of an array of popular and jazz classics, or even television advertisements! The Concierto de Aranjuez is arguably one of classical music s most famous concertos and definitely the most universally popular work ever composed for guitar. The work was composed in Paris in 1939 during a particularly bleak period in Spanish history the civil war was barely over and the Second World War had barely begun. Rodrigo dedicated the concerto to the Spanish guitarist Regino Sainz de la Maza, who gave the first performance in Madrid in Despite his fame as the composer of that concerto, Rodrigo s oeuvre comprises over 60 vocal and choral works, including major song cycles, as well as a vast number of other instrumental works. Rodrigo was born in Sagunto (Valencia) in As a result of an epidemic of diphtheria, he lost his eyesight completely at about the age of three. For some, such a sensory deprivation may have precluded many creative pursuits; it simply made Rodrigo more determined to excel at music. His first compositions date from about He wrote in braille and then dictated his scores afterwards to a copyist. His wife, the pianist Victoria Kamhi, whom he married in 1933, was his copyist and most important musical collaborator until her death in Rodrigo wrote distinguished music in many genres, but as Rodrigo s daughter Cecilia once commented: The music [my father] wrote for guitar is so famous that it overshadowed everything else. It is not fair, but then life is not fair it happened to Ravel and his Bolero and to Bernstein with West Side Story. The Concierto de Aranjuez shows Rodrigo to be a member of the group of Spanish composers of the generation following Falla, who followed the lead of that composer s later works in recovering for contemporary music some of the old traditions of Spanish music, notably in the Baroque and Rococo styles. In the case of the Concierto de Aranjuez, Rodrigo was particularly inspired by the spirit of the palace which gives his concerto its name, and the music which was played there in the 18th century, but its references transcend that, and comment on the essence of Spanishness in music, as the composer explains: Throughout the veins of Spanish music, a profound rhythmic beat seems to be diffused by a strange phantasmagoric, colossal and multiform instrument an instrument idealised in the fiery imagination of Albéniz, Granados, Falla and Turina. It is an imaginary instrument that might be said to possess the wings of the harp, the heart of the grand piano and the soul of the guitar It would be unjust to expect strong sonorities from this Concierto; they would falsify its essence and distort an instrument made for subtle ambiguities. Its strength is to be found in its very lightness and in the intensity of its contrasts. The Concierto de Aranjuez is meant to sound like the hidden breeze that stirs the treetops in the parks, and it should be only as strong as a butterfly and as dainty as a veronica. [Veronica is the name given in Spain to a particularly deft pass in bullfighting, named after the veil with which St Veronica is said to have wiped Christ s brow as he carried his cross.] The Concierto de Aranjuez is in three movements. The first has the character of a folk dance. Its dominating force is rhythm, with the patterns of shifting accentuation giving it piquancy. Rodrigo referred to these syncopations as insistent rhythmic surges. The melody darts between flamenco idioms (one of which, a cello solo, recalls a saeta, or arrow of song ) and modern harmonies. The haunting and bittersweet slow movement (familiar to some as the 1960s pop song Aranjuez mon amour) is the epitome of eloquent appeal. Music of profound tenderness, vulnerability and depth of feeling, it is Rodrigo s prayer for the recovery of his wife, who had just given birth to a stillborn baby; many years later, she described it as an evocation of the happy days of our honeymoon, when we walked in the park at Aranjuez. The Adagio is launched by a flourish of B minor chords in the solo part. What follows is a mournful dialogue between the guitar and orchestral soloists, especially the plangent cor anglais. A spirited rococo-flavoured court dance, the third movement is similar in feel to the first movement. Once again, shifting rhythmic impulses dapple the orchestral texture. Despite the lilting simplicity of this movement, the soloist is required to negotiate almost the entire range of the guitar s possibilities. The stylish and discreet scoring of the concerto guarantees that a feeling of airiness prevails. Rodrigo described the Concierto as being a curious mixture of the passion of the flamenco and the restraint of the Baroque. : In his tribute to Joaquín Rodrigo on his 90th birthday, Pepe Romero dubbed Spain s most famous composer the great guitarist. I do not know, he continued, whether this is a result of his not being a guitar player or in spite of it During his life Rodrigo was responsible for expanding the technical and expressive horizons of the guitar, but he waited 15 years before following the Concierto de Aranjuez with another 4 5

work for guitar and orchestra, the Fantasía para un gentilhombre (Fantasia for a Gentleman, 1954, performed here in the edition by Andrés Segovia) inspired by the 17th-century guitarist and composer

4 work for guitar and orchestra, the Fantasía para un gentilhombre (Fantasia for a Gentleman, 1954, performed here in the edition by Andrés Segovia) inspired by the 17th-century guitarist and composer Gaspar Sanz. Gaspar Sanz was born in Calanda, Aragon. He studied in Italy and joined the priesthood before publishing, in the 1670s, a three-volume treatise on the guitar a comprehensive manual that included instructions on technique as well as popular dance tunes for guitar. With these tunes as inspiration and source material, Rodrigo s Fantasía para un gentilhombre is imbued with a courtly, Baroque character and an air of times past. Rodrigo s style is faithful to a long musical tradition, yet the Fantasía para un gentilhombre moves beyond pastiche as the old dance idioms are spun out with sensuous harmonies and colourful orchestrations. Rodrigo s hope was that if Sanz heard the work he would say, While it isn t exactly me, I can recognise myself. The first movement is a balanced pairing of the sedate Villano and a lively Ricercare in which Rodrigo works out a fugue that Sanz had left in a sketched form. The Villano (literally peasant or villain, the two being considered interchangeable) is a sung dance of Sanz s time, characterised by a simple six-chord pattern, first heard in the strumming of the guitar at the very beginning of the Fantasía. The Españoleta is the longest of the four movements, a set of increasingly virtuosic variations on the rocking theme stated at the beginning by the guitar over muted strings. The variations are interrupted by a vigorous Fanfare of the Naples Cavalry in which the guitar takes the role of military drummer with percussive strumming to accompany brilliant writing for the winds. The musical cavalry then canters off into the distance, giving way to a final return to the opening theme. In the fleeting third movement a Hatchet Dance Rodrigo deploys the instruments of the orchestra in consorts, setting up an animated exchange between strings, winds and soloist, culminating in the combined colours of flute, piccolo, oboe, bassoon, trumpet, guitar and strings. The Fantasía concludes with a cheerful and virtuosic Canario. The canary was a cheerful jig-like dance originating in the Canary Islands and introduced to Spain in the early 16th century. Its music was fast, often highly syncopated and characterised by zapateado or heel-stamping. In this movement especially Rodrigo creates a virtuosic display with a combination of the two characteristic guitar techniques rasgueado (strummed) and punteado (plucked) a reminder that Rodrigo was influential in uniting the essence of the flamenco and classical styles. : O felici occhi miei... O my eyes, how happy you are, beloved of my sun for your resemblance to the eyes that were so sweet to him; happy, yes, happy you are indeed, and I, not to calm your desire, run to see the waves, and am consumed. A strange text to attract a blind man! Yet this was the madrigal on which Rodrigo based his Concierto madrigal, reaching back beyond the Rococo and Baroque aesthetics which had inspired Aranjuez and the Fantasía, to the music of the 16th century. Rodrigo s title, however, is perhaps misleading. The concerto (which in its ten brief movements is structurally really more a suite than a concerto) does indeed take the madrigal O felici occhi miei as its starting point and inspiration, but the madrigal itself appears in less than half of the movements. It is stated clearly in the second movement, where the flute sings the melody to a lute-like accompaniment from the guitars. The flute melody is heard in movement VIII, in a triple-time version, and fleetingly in movement IX as the guitars kick off a frenetic moto perpetuo of staccato quavers; its opening motif provides the material for the swirling chase of the last movement, and the whole madrigal returns briefly in its original form to bring the Concierto to a tranquil close. The rest of the piece draws on an eclectic mix of sources, including a 15th-century villancico, 17th-century opera, Rodrigo s own Concierto de Aranjuez and, of course, his beloved flamenco. The madrigal of the title has a unifying function, but most of the work inhabits a sound world far removed from that of Jacques Arcadelt s plaintive love song. The Concierto opens with an almost defiant call to attention. The model is the toccata from the opening of Monteverdi s opera Orfeo (1607), but the grandly ceremonial quality of the original is transformed into a jaunty, perhaps warlike marching tune (the tempo marking is Allegro marziale) by the constant thrumming of one or both guitars on every beat of the bar, with pizzicato strings obsessively repeating the same chord. After this, the delicate chamber music textures of the madrigal have a special poignancy. Rodrigo s setting begins with the guitars alone, in an exact imitation of Diego Ortiz s intabulation for vihuela (a Spanish plucked-string instrument related to the lute) of Arcadelt s 1539 madrigal. (Is it more than coincidence that the man who published this work, in Seville in 1554, was Miguel de Fuenllana, a musician blind from birth?) The melody, carried mostly by the flute, is Arcadelt s; the counterpoint grounded in the Renaissance but with Rodrigo s distinctively gentle dissonances. The third movement Entrada is a variation on the madrigal theme, whose melodic contour provides the material for an animated conversation as fragments of the theme are tossed from guitar to guitar and around the 6 7

5 whole ensemble, especially the winds. Entradas, as the name suggests, were traditionally entrance pieces, but in mid-16th century Spain the description had also come to indicate a polyphonic piece in which the various voices entered one after another. For the fourth movement, Rodrigo turned to the villancico, a medieval dance form which by the mid 16th century, set to sacred texts in the vernacular, had become part of the liturgy of the church on feast days. (In modern Spanish, the word refers to a Christmas carol.) Pastorcico, tú que vienes, Pastorcico, tú que vas ( Little shepherd, you come and go ) becomes the subject of a dialogue between the guitars and the woodwinds (with trumpet); in movement V, it turns into a wild Andalusian Girardilla or spinning dance. Bell-like tones of guitar harmonics with piccolo and flute colour the quietly rocking Pastoral, with the violas rhythmic ostinato giving a gentle impetus to each bar. This could be a measured courtly dance until two fragments from the opening fanfare burst in. But calm is quicky restored, and the movement ends as it began. The following Fandango positively struts with flamenco pride; a haunting Arietta, marked Andante nostalgico, reintroduces the madrigal melody, over a constant stream of cascading semiquavers. Emphatic accents perfectly match the heel-stamping of the Zapateado, movement IX. The final movement is a Caccia or chase, in which the first guitar takes the lead, with the second guitar rushing after; there is a brief quote from the Concierto de Aranjuez before the pristine timbres of the madrigal return. The Concierto madrigal was created at the request of the husband and wife duo Ida Presti and Alexandre Lagoya, who planned to give the premiere in Munich in Presti s sudden and untimely death she was only 42 made this impossible, and the work had to wait until 1970 for its first performance, in the Hollywood Bowl with Angel and Pepe Romero. Hilary Shrubb / Yvonne Frindle / Natalie Shea Slava Grigoryan Slava Grigoryan was born in 1976 in Kazakhstan and immigrated with his family to Australia in As a major prizewinner at the Tokyo International Classical Guitar Competition, he has performed around the world, including appearances in the UK at the Brighton International Festival, Guitar Festival of Great Britain, Harrogate International Arts Festival, Newbury Festival and the Wirral International Guitar Festival, and at the Dresden Musikfestspiel, the Darwin International Guitar Festival, the GFA (Guitar Foundation of America) Festival in La Jolla, California, the Al Bustan Festival in Beirut, the New Zealand Arts Festival and the Sydney Festival. He has appeared with many of the world s leading orchestras, including the London Philharmonic Orchestra, BBC Concert Orchestra, Melbourne and Sydney Symphony Orchestras, Northern Sinfonia, Israel Symphony Orchestra, Dresden Radio Orchestra and, more recently, the Klagenfurt Symphony Orchestra in Austria and the Hallé Orchestra in Manchester, UK. In 1998 Slava Grigoryan was named Young Australian of the Year for the Arts and in September 2000 he appeared as soloist with the Australian Chamber Orchestra as part of the Sydney Olympic Arts Festival. Recent 8 9

engagements have included Symphony in the Domain with the Sydney Symphony, Slava and Friends at Carnivale in Sydney, concerts with the Royal Scottish National Orchestra, Australian String Quartet,

6 engagements have included Symphony in the Domain with the Sydney Symphony, Slava and Friends at Carnivale in Sydney, concerts with the Royal Scottish National Orchestra, Australian String Quartet, New Zealand Symphony Orchestra, Australian Youth Orchestra, Tasmanian, Melbourne and West Australian Symphony Orchestras and Orchestra Victoria, and appearances at the City of London Festival and the Queensland Biennial of Music. He has toured Australia extensively, with his brother Leonard, with pianist Simon Tedeschi and with Saffire The Australian Guitar Quartet, and performed in Japan with baritone José Carbó. In 2001 Slava Grigoryan received the MO award for Instrumentalist of the Year. His touring schedule continues in 2005 and 2006 with concerts in the United Arab Emirates, South Africa, New Zealand, the USA, the UK and Europe. His debut classical album for ABC Classics Sonatas and Fantasies was released in March 2002 and was awarded Best Classical Album at the 2002 ARIA Awards saw the release of two new albums on the ABC Classics label: Play (with Leonard Grigoryan) and Saffire The Australian Guitar Quartet, which went on to win the 2003 Best Classical Album ARIA. His recent release Brazil (with flautist Jane Rutter) went straight to No. 1 on the ARIA classical charts. Leonard Grigoryan Leonard Grigoryan was born in 1985 and began studying the guitar with his father at the age of four. He started performing publicly at the age of eight and had great success in national competitions and eisteddfods. Having always played with his brother Slava, the duo was an inevitable part of their careers. In 1999 they began performing together regularly and have since toured the country many times. In 2001, Leonard Grigoryan was the only guest artist on Slava s ARIA Award-winning album Sonatas and Fantasies. The following year they released their first duo album, Play, which was also nominated for an ARIA. Leonard Grigoryan has appeared at many festivals including the Darwin International Guitar Festival, Iserlohn International Guitar Festival, Melbourne Festival, Brisbane Festival, WOMADelaide, Huntington Festival and the Frankston International Guitar Festival. He regularly tours nationally for Musica Viva and has performed in Africa, Europe, America and Asia. Leonard Grigoryan has also appeared regularly on television and radio. He has been a soloist with the Melbourne and Queensland Symphony Orchestras, the Academy of Melbourne, and the Melbourne Musicians chamber orchestra. He regularly collaborates with artists such as Luke Howard, Ben Robertson, Darryn Farrugia, Al Slavik, Joseph Tawadros, Jane Rutter and Jeremy Alsop. Leonard Grigoryan has always dedicated himself to both the classical and jazz genres and is also an active arranger and composer. In 2005 he joined the ARIA Award-winning group Saffire The Australian Guitar Quartet

Brett Kelly Brett Kelly studied at the Newcastle campus of the NSW Conservatorium of Music, graduating in 1979 with both teaching and performing diplomas, his instrument being the trombone.

7 Brett Kelly Brett Kelly studied at the Newcastle campus of the NSW Conservatorium of Music, graduating in 1979 with both teaching and performing diplomas, his instrument being the trombone. Since then he has held positions as Principal Trombone in the Australian Youth Orchestra, the Elizabethan Trust Orchestra and the Melbourne Symphony Orchestra; he has appeared on numerous occasions as concerto soloist with the Melbourne, Queensland and Sydney Symphony Orchestras. He was NSW state winner of the ABC Instrumental and Vocal Competition in 1981 and has been a member of the contemporary music ensemble Flederman. Brett Kelly has studied conducting with Robert Rosen and during 1991 undertook advanced study at the Vienna Conservatory in Salzburg. In 1992 he was invited to take part in an international conductors masterclass organised by Netherlands Radio and directed by Hiroyuki Iwaki. He was the Artistic Director of the 1999 Castlemaine State Festival. In 1990 Brett Kelly formed The Mozart Collection, the chamber orchestra now known as the Academy of Melbourne; he remains the ensemble s Artistic Director. Brett Kelly has been regularly engaged to conduct the Symphony Australia network orchestras in subscription concerts and on regional tours; he has also appeared with the Hunter Orchestra, the contemporary ensemble ELISION, and at the Port Fairy Spring Festival, and conducted concerts and recordings with Orchestra Victoria. Among the works he has conducted are Beethoven s Fourth and Seventh Symphonies, Bernstein s On the Town, excerpts from Wagner s Die Walküre, Walton s Spitfire Prelude and Fugue, Colin Bright s Prelude to the Sinking of the Rainbow Warrior and Copland s Quiet City. In 2005 he has been engaged to conduct The Queensland Orchestra on three occasions, the West Australian Symphony Orchestra twice, has made a number of recordings and undertaken a six-concert tour with the Melbourne Symphony Orchestra and the Tasmanian Symphony Orchestra. The Queensland Orchestra Engaging with audiences of all musical tastes and interests, The Queensland Orchestra is committed to excellence, versatility and variety. Described by world-renowned violinist Nigel Kennedy as phenomenal, The Queensland Orchestra combines classical brilliance with contemporary charm. No stranger to performing alongside international and high-profile national artists, the Orchestra has recently accompanied artists including Harry Connick Jr, k.d. lang, Dionne Warwick, Andrea Bocelli, Pavarotti, Anthony Warlow and george. An orchestra of the highest 12

calibre, The Queensland Orchestra, the state s only professional symphony orchestra, also regularly attracts the talents of world-renowned conductors and musicians.

This vision is achieved through an eclectic and entertaining program of more than 70 concerts annually from great orchestral classics, new commissions and the more intimate Baroque for aficionados

8 calibre, The Queensland Orchestra, the state s only professional symphony orchestra, also regularly attracts the talents of world-renowned conductors and musicians. The Orchestra s vision is to touch the hearts and minds of Queenslanders through music. This vision is achieved through an eclectic and entertaining program of more than 70 concerts annually from great orchestral classics, new commissions and the more intimate Baroque for aficionados through to celebration Proms and cinema favourites. As part of the Orchestra s commitment to be accessible to all Queenslanders, the Orchestra tours both northern and regional Queensland. So popular have these tours become, that this year the schedule has been extended. Outside of its own program, the Orchestra is regularly involved in the state s most prestigious arts and music festivals and every year plays for seasons presented by the Australian Ballet, Opera Queensland and Queensland Ballet. The Orchestra has also received significant recognition as recording artists and in 2004 was nominated for an ARIA Award for Best Classical Album. Its extensive education program involves performances presented for pre-schoolers through to secondary school music extension students and plays to approximately 30,000 children annually. Executive Producers Robert Patterson, Lyle Chan Recording Producer, Editor and Mastering Virginia Read Recording Engineer Gary Yule Editorial and Production Manager Natalie Shea Cover and Booklet Design Imagecorp Pty Ltd Photography Ingrid Kaiser For The Queensland Orchestra Chief Executive Officer Claire Booth Acting Artistic Administrator Cassandra Stephan Orchestra Manager Katie Woods ABC Classics thanks Sterle Buchanan and Darryl Keys. Recorded 1-5 February 2005 at Studio 420, Australian Broadcasting Corporation, Ferry Road, Brisbane. In the Concierto madrigal, Slava and Leonard Grigoryan appear on the left and right side respectively of the studio image. Concierto de Aranjuez, Fantasía para un gentilhombre and Concierto madrigal published by Schott, Mainz Australian Broadcasting Corporation Australian Broadcasting Corporation. Distributed in Australia by Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. 14

HS Virtual Jazz Final Project Test Option Spring 2012 Mr. Chandler Select the BEST answer

HS Virtual Jazz Final Project Test Option Spring 2012 Mr. Chandler Select the BEST answer 1. Most consider the most essential ingredient in jazz to be A. time B. jazz "sounds" C. improvisation D. harmony