Invocación y Danza - Joaquín Rodrigo скачать в хорошем качестве

Invocación y Danza - Joaquín Rodrigo

Invocación y Danza (Homenaje a Manuel de Falla) is one of my favourite pieces composed for guitar in the 20th century. Like much music from that era, the more you study it and uncover its compositional devices—such as musical quotation—the more rewarding it becomes to play. Although the 20th century is rich with equally as brilliant guitar music from an intellectual standpoint, it’s the fact that this piece is so idiomatic that really set it apart for me. The harmonic language, while unmistakably 20th century in its use of dissonance, still retains a great deal of diatonic harmony, giving listeners a memorable experience—something I don’t often find in more atonal or chromatic works (though that’s a matter of taste). I feel there’s been something of a renaissance of this piece in recent years, with the manuscript coming to light and a couple of well-written doctoral papers now available online. What I’m playing here is an attempt to stay as faithful to the manuscript as possible while maintaining playability—and I’m discovering there’s even more that can be done. I just didn’t have enough time to prepare it properly for recording! The entire Invocación movement is very haunting. It begins with the marking “distant,” in which a quote from Manuel de Falla’s El amor brujo is woven into the texture of the music—not very obvious on a first listen, but an incredible “aha” moment once you discover it. Other small quotations, and the theme of the piece itself, appear throughout this movement, emerging and disappearing in a dream-like way. As free as this movement is, there is still a very clear underlying structure: the rhythmic values of each section gradually increase until the Invocación is complete, leading us into the very rhythmic dance section. One can also hear some very flamenco like passages. In fact it was over 20 years ago in a master class with Fabio Zanon but I learned a very valuable lesson with this piece, and that is to let the basses really growl and to get gritty sometimes. The transition into the Danza is one of my favourite moments in all of guitar music. Moving from the free and stirring quality of the Invocación to the strong pulse and relatively diatonic Danza is a brilliant moment of contrast. Here, an earlier theme is developed in the tremolo sections. The piece concludes by returning to the opening Falla quotation before fading away completely—a kind of mirror image moment in the form. Anyone accustomed to hearing the Díaz version will notice a few subtle differences, including what I believe to be an typo on the first page: the infamous B-natural harmonic. Given that this is a quotation from Falla, and that the same quote appears twice at the end of the piece with identical notes, I think it’s safe to say it should be a B-flat—but this has been debated for quite some time. In fact, I recently worked with a student of Manuel Barrueco, who told me that Manuel had asked Rodrigo about this very note and unfortunately his response was “they both sound good”. Please enjoy, and thank you for watching!