Gracias Miguel. La soprano canta y estoy tocando la reducción de piano que queda como la Rossiniana de Giuliani. Recuerdo cuando tu la tocabas creo que la n 1, delante de mi en clase en Madrid y a la zurda. Fuerte abrazo. JM Dapena.
capaz que somos primos, esta música la escuchaba mi madre Maria Concepción Dapena su papa se llamaba Manuel como vos, murió en Colombia yo no entiendo de música pero esto me parece maravilloso, mi madre vino de España a Argentina. soy pintora y muralista pero común. Tu eres maravilloso! gracias
Hola! Genial!!!!! felicitaciones! consulta, tendrás la partitura para guitarra y tenor? La estoy buscando y no la encuentro. Mi mail es violonchelo5@yahoo.com. Gracias!
Aldo, te envío a tu email enlace a las dos publicaciones que hay hasta el momento por si las quieres comprar son las de Konrad Ragossnig y Jaume Torrent.
Thanks Jesse. I like your videos with Michelle Coder. Please, send me and email to jose@manueldapena.com to enter in touch. Thanks again for your comment.
Rodrigo lived in Spain during the Franco years ….. (1939 - 1975) …..Missing the Segovia boost for the Aranjuez, being 6 months late behind the Castelnuovo-Tedesco concerto…...(it didn’t set up for Segovia anyway)…...many, including Segovia spent time outside the country. Rodrigo, legally blind, stayed in Spain, riding the popularity of his famous composition and as a symbol of Spanish artistic sympathies and “freedoms”. By 1950, Rodrigo was looking to expand his artistic and financial foundations. Segovia is living/hanging with South American songster/musicologist Olga Coelho in New York. She is a cutie, and is the princess of the “Segovia technique”…….Joaquin and wife decides to target Coelho/Segovia with a few transcriptions to temp a dialogue over matters about Andres still not having preformed his Concerto I’d guess..(never did)…….. this is background…. One of the complexities of transcribing “songs” from piano to guitar, especially in Rodrigo’s case, is the gender representation expressed in the song text. Especially concerning issues surrounding “Spanish traditions” and there moral implications. (Example) En Jerez de la Frontera………...Song text has a Narrator, young pretty millers wife, and wealthy masculine Land Owner. The piano accompaniment beautifully supports all three is a very full and rich style, reminiscent of Grandos or Albeniz. Rodrigo for political, moral (wife) and technical issues surrounding what Julian Bream describes as “expressive operability”…. Is targeting who? 1) What a young lady can play and sing??? 2) Creating a very “feminine” melodic and rhythmic architecture to obfuscate the issues surrounding the vulnerability of her position as wife, to a subservient husband, working for a traditional “macho” patron??? Staying well with in the previews of the conservative Catholic and Franco (influences)??? 3) Little in this composition expresses possible motivations for a Narrator even as “storyteller” as it does in Adela…… Bottom line……. Rodrigo chose 1) and 2)…...stripping his macho and rhythmic motif for a very feminine figure in the upper range…targeting a woman singer, and drawing the attentions of Segovia possibly…… The result is what I would term, a terrible transcription for all the wrong reasons. Or at the very least, exposing the vulnerabilities of a composer under duress from all sides. I watched Elliot Fisk play this with Juliana Baird…..and he gestured at it conclusion, an embarrassment for those that expected more from a Rodrigo composition. Manuel Barrueco and Placido Domingo do what most men do..played if very fast..to get it over with, and possibly get to a meeting with the Millers wife…… The solution? A new transcription…..taking advantage of advances in all considerations of modern society….. including the Millers wife finessing her way out of an awkward position…..by flirting with this man, this tradition, as she stalls for time….. protecting the esteem of all…...and lets face it, the guitar players are all superior technically in 2020……...especially the girls… JV
