La obra para violín de Joaquín Rodrigo
(Español/English) Wednesday, February 1, 2012
Si bien es cierto que Joaquín Rodrigo es mundialmente conocido por su Concierto de Aranjuez para guitarra y orquesta, no lo es menos el hecho de que tenga otras muchísimas obras de tanta calidad o más.
En toda la música para violín de Joaquín Rodrigo se encuentran los rasgos más característicos de su personalidad en general y de su obra en particular: brillantez, “Luminosidad”, y melancolía, y desde luego, grandes dificultades técnicas.
Joaquín Rodrigo’s works for violin
While it is true that Joaquín Rodrigo is known throughout the world for his Concierto de Aranjuez for guitar and orchestra, it is no less true that he has many other works of similar or greater quality.
Rodrigo played the piano. It is fair to say that he was a virtuoso pianist and he composed for that instrument, in addition to his Concierto para piano con orquesta, various works such as Preludio al Gallo Mañanero, Sonada de Adiós, in tribute to his maestro Paul Dukas, and, above all in my opinion, the Sonatas de Castilla con Toccata a modo de pregón. Among his vocal works, there are also some true gems such as Cántico de la esposa, which the composer considered to be his best work, his Villancicos, Cuatro madrigales amatorios and on and on, with a catalogue of more than 70 works. I would like to speak about his violin works. The violin was an instrument that he especially loved and learned to play at the outset of his studies of music. He used to tell me jokingly that he got as far as playing Beethoven’s Sonata Kreutzer.
The first work in his catalogue was precisely for violin and piano, Dos esbozos (Two sketches), subtitled “La enamorada junto al pequeño surtidor” (Young girl in love next to the small fountain), and “Pequeña Ronda” (Small round). In this short work there are clear signs of what will later be definitive of Joaquín Rodrigo: his exquisite sense of melody and that sparkle of humour which will shine later in his Sonata pimpante for violin and piano.
Later he wrote a small jewel in miniature: his Cançoneta for violin and string orchestra. A melody and a violin solo which consists of no more than 6 or 7 notes tenderly surrounded by part of the orchestra which serves to enhance and adds color to the violin solo. A short “masterpiece” 4 minutes long: brilliant.
There is another work, Rumaniana, which he wrote for his exam for the Royal Conservatory of Madrid on a theme of “Hora” provided by his wife Vicky. It bears the unmistakable Rodrigo stamp although it is really a circumstantial piece.
His Capriccio for solo violin, written in tribute to Sarasate, is extremely difficult to perform, but very inspired and scored, in my opinion, in a way that contributes greatly to the technique of the violin.
The Concierto de Estío for violin and orchestra is an extraordinary work. He told me he wrote the first movement thinking of Vivaldi, a composer he esteemed highly. Afterwards, there is one of his famous “Adagios” on a precious theme, with a ‘Siciliana’ rhythm and variations which he mixes with themes from the first and second movements in a masterly way that concludes with its “diabolical” cadence that is very suited to the violin and brilliant, coming back to the initial theme that is full of melancholy. The third movement, one sole theme full of devilish pranks in which he seemed to delight, awakens great enthusiasm in the public – something I have experienced in many of my performances. What a sense of humour and what high spirits characterized this great Maestro! I asked my father-in-law (Joaquín Rodrigo) to write a Sonata for me to conclude his recital; something of a very virtuoso nature and brilliant. And did he write one! La Sonata“pimpante”, increasingly performed throughout the world, is precisely what its title evokes: inspired, joyful, charming. I have only found two words which for me express the meaning of “pimpante”: In English, sparkling, and in French, perhaps “pétillante”. He also dedicated to me his Siete canciones valencianas, based on themes from the Valencian Cancionero, with many contrasts among them.
In all of Joaquín Rodrigo’s violin music we find the most characteristic traits of his personality in general and of his works in particular: brilliant radiance and melancholy, and of course great technical difficulty.
From these brief comments on Rodrigo’s violin and piano music you may guess what kind of relationship I had with the Maestro. I can not deny it. My infinite admiration and affection for this universal figure in the world of music are as sincere as they are real.
Si bien es cierto que Joaquín Rodrigo es mundialmente conocido por su Concierto de Aranjuez para guitarra y orquesta, no lo es menos el hecho de que tenga otras muchísimas obras de tanta calidad o más.
Joaquín Rodrigo tocaba el piano. Podría decirse que era un virtuoso de este instrumento para el que escribió, además de su Concierto con orquesta, varias obras como el Preludio al Gallo Mañanero, Sonada de Adiós, en homenaje a su maestro Paul Dukas o sobre todo, para mí, las Sonatas de Castilla con Toccata a modo de pregón.
Igualmente en la música vocal hay auténticas joyas como el Cántico de la esposa, obra que según el propio autor era la mejor, sus Villancicos, los Cuatro Madrigales amatorios y así hasta un catálogo de más de 70 obras.
Pero yo quisiera hablar un poco de su obra violinística. El violín era un instrumento que él quería muy especialmente y que tocó al inicio de sus estudios musicales. Solía decirme en broma que había llegado a tocar la Sonata Kreutzer de Beethoven.
Su primera obra catalogada fue precisamente par violín y piano, Dos esbozos, con subtítulos “La enamorada junto al pequeño surtidor” y “Pequeña Ronda”. En esta pequeña obra se adivina ya lo que va a definir a Joaquín Rodrigo más tarde: su exquisito sentido de la melodía y ese humor chispeante, brillante, que encontraremos en su Sonata pimpante para violín y piano.
Más tarde escribió una pequeña joya en miniatura: su Cançoneta para violín y orquesta de cuerda. Una melodía o solo de violín que no consta de más de 6 o 7 notas que son arropadas con una parte de la orquesta que pone en valor y ambienta ese solo de violín. Una pequeña ‘gran’ obra de 4 minutos: genial.
Hay otra obra, Rumaniana, que escribió para su examen del Real Conservatorio de Madrid con un tema de “Hora” que le proporcionó su esposa Vicky. Lleva el sello ‘Joaquín Rodrigo’ pero es verdaderamente una obra de circunstancia.
El “Capriccio” para violín solo, escrito en homenaje a Sarasate, es de una gran dificultad violínistica, pero lleno de inspiración y con una escritura que, yo diría, aporta mucho a la técnica de este instrumento.
El Concierto de Estío para violín y orquesta es una obra extraordinaria. Un primer movimiento que él me decía había escrito pensando en Vivaldi, autor que él apreciaba mucho. Después, uno de sus famosos “Adagios” con un precioso tema, con ritmo de Siciliana y unas variaciones que llega a mezclar con los temas del primer y segundo movimientos de una manera magistral para terminar con su cadencia “diabólica” pero muy violínistica y brillante para volver al tema inicial lleno de melancolía. El tercer movimiento, un tema único lleno de diabluras con el que parecía deleitarse, despierta -lo puedo asegurar desde mi experiencia de intérprete en numerosísimas ocasiones- el entusiasmo del público. ¡Qué gran sentido del humor y qué alegría tenía este gran Maestro!
Yo le pedí a mi suegro (Joaquín Rodrigo) que me escribiese una Sonata para cerrar su recital, muy virtuosa y brillante y ¡vaya si la escribió! La Sonata“pimpante”; cada vez más tocada en el mundo entero, es lo que su título evoca: brillante, alegre, salerosa. Solamente he encontrado dos palabras que para mi recogen el mismo signficado que la palabra ‘pimpante’: “En inglés, Sparking” y en francés, quizá “pétillante”.
También escribió para mí Siete canciones valencianas, basadas en temas del Cancionero valenciano y con muchos contrastes entre ellas.
Estos breves comentarios a la música para violín y piano de Rodrigo quizá dejen entrever mi relación con el Maestro. No lo puedo negar. Mi admiración y cariño infinitos hacia esta figura universal de la Música son tan sinceros como reales.
Agustín León Ara
Violinista, Maestro y miembro numerario de la Real Academia de Bellas Artes de San Fernando de Madrid.
Joaquín Rodrigo’s works for violin
While it is true that Joaquín Rodrigo is known throughout the world for his Concierto de Aranjuez for guitar and orchestra, it is no less true that he has many other works of similar or greater quality.
Rodrigo played the piano. It is fair to say that he was a virtuoso pianist and he composed for that instrument, in addition to his Concierto para piano con orquesta, various works such as Preludio al Gallo Mañanero, Sonada de Adiós, in tribute to his maestro Paul Dukas, and, above all in my opinion, the Sonatas de Castilla con Toccata a modo de pregón. Among his vocal works, there are also some true gems such as Cántico de la esposa, which the composer considered to be his best work, his Villancicos, Cuatro madrigales amatorios and on and on, with a catalogue of more than 70 works. I would like to speak about his violin works. The violin was an instrument that he especially loved and learned to play at the outset of his studies of music. He used to tell me jokingly that he got as far as playing Beethoven’s Sonata Kreutzer.
The first work in his catalogue was precisely for violin and piano, Dos esbozos (Two sketches), subtitled “La enamorada junto al pequeño surtidor” (Young girl in love next to the small fountain), and “Pequeña Ronda” (Small round). In this short work there are clear signs of what will later be definitive of Joaquín Rodrigo: his exquisite sense of melody and that sparkle of humour which will shine later in his Sonata pimpante for violin and piano.
Later he wrote a small jewel in miniature: his Cançoneta for violin and string orchestra. A melody and a violin solo which consists of no more than 6 or 7 notes tenderly surrounded by part of the orchestra which serves to enhance and adds color to the violin solo. A short “masterpiece” 4 minutes long: brilliant.
There is another work, Rumaniana, which he wrote for his exam for the Royal Conservatory of Madrid on a theme of “Hora” provided by his wife Vicky. It bears the unmistakable Rodrigo stamp although it is really a circumstantial piece.
His Capriccio for solo violin, written in tribute to Sarasate, is extremely difficult to perform, but very inspired and scored, in my opinion, in a way that contributes greatly to the technique of the violin.
The Concierto de Estío for violin and orchestra is an extraordinary work. He told me he wrote the first movement thinking of Vivaldi, a composer he esteemed highly. Afterwards, there is one of his famous “Adagios” on a precious theme, with a ‘Siciliana’ rhythm and variations which he mixes with themes from the first and second movements in a masterly way that concludes with its “diabolical” cadence that is very suited to the violin and brilliant, coming back to the initial theme that is full of melancholy. The third movement, one sole theme full of devilish pranks in which he seemed to delight, awakens great enthusiasm in the public – something I have experienced in many of my performances. What a sense of humour and what high spirits characterized this great Maestro! I asked my father-in-law (Joaquín Rodrigo) to write a Sonata for me to conclude his recital; something of a very virtuoso nature and brilliant. And did he write one! La Sonata“pimpante”, increasingly performed throughout the world, is precisely what its title evokes: inspired, joyful, charming. I have only found two words which for me express the meaning of “pimpante”: In English, sparkling, and in French, perhaps “pétillante”. He also dedicated to me his Siete canciones valencianas, based on themes from the Valencian Cancionero, with many contrasts among them.
In all of Joaquín Rodrigo’s violin music we find the most characteristic traits of his personality in general and of his works in particular: brilliant radiance and melancholy, and of course great technical difficulty.
From these brief comments on Rodrigo’s violin and piano music you may guess what kind of relationship I had with the Maestro. I can not deny it. My infinite admiration and affection for this universal figure in the world of music are as sincere as they are real.
Agustin León Ara
Violinist, Professor and full member of the San Fernando Royal Academy of Fine Arts, in Madrid.
Translation by Katherine Zegarra
Translation by Katherine Zegarra
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