Ascoltare Newsletter #2

Six strings, One orchestra: The "Spanish" guitar

Good morning or good evening. Whether the sun is out or the moon is up, you can begin this “session”. Grab yourself a cup of coffee or tea and dive in!

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The guitar is a miniature orchestra in itself

- Ludwig van Beethoven

The classical guitar. Perhaps the most underappreciated instrument in the history of music, yet one of the most delicate and unique ones.

Even though its predecessor, the lute and the baroque guitar, managed to dominate a big part of the pre-classical era, the nylon string “Spanish” guitar was only alive for 100-150 years, only to be replaced by the electric guitar and the chord strumming trope.

But some people argue that we’re still in the early phases of its conception. It is regarded as an “incomplete” instrument with a limited repertoire, that saw an expansion in the late 19th and early 20th century.

People are always surprised when they hear a piece played on it. The soft timbre, combined with its aggressive polyphony can produce a completely different sound compared to what we’re used to.

The classical guitar possesses the linearity of a string instrument and the contrapuntal qualities of the piano. You can play everything on it if you have the skill.

The Spanish masters saved the classical guitar.

They reinvented the instrument and went beyond what we thought was possible. This post is dedicated to them.

Francisco Tarrega

He is considered the father of the guitar as we know it today and his influence can still be heard in the stage of many modern guitar performances.

(Also, the Nokia tune theme is Tarrega’s Gran Vals)

Recuerdos de la Alhambra

“Memories of Alhambra”, a fortress complex in Granada.

Notice the continuous flow of one note, using the tremolo technique. A unique trope, only possible on the classical guitar, creating the sense of a duet. It usually requires longer nails and complete control of the instrument so the sound is crisp.

In this piece, it represents the flow of water inside the palace.

Capricho Arabe

An Arabic caprice. A disregard for form.

Truly romantic and created to take advantage of every element of the guitar, it’s a discordant piece that creates harmony out of chaos.

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Isaac Albeniz

Even though Albeniz was a pianist, he admitted that every piece he has composed sounds better on the classical guitar.

Using traditional themes and the musical narrative of flamenco and Andalusian guitar, he pushed the limits of the instrument.

Asturias (Leyenda)

A powerful piece, borrowing a granaina falseta and elevating it to a unique melody.

It’s imposing in nature, it demands your attention.

(If you want to check out a more “native” arrangement, check this transcription by Segovia if you can hear pass the low quality. It’s worth it.)

You can also hear Asturias at the beginning of the “Spanish Caravan” by the Doors.

Sevilla

Part of the Suite Espanola, Sevilla is one of the 12 cities Albeniz dedicated his composition to.

A Sevillanas dance, the contrasting dynamic of bass and melody is ever-present, especially in the first few bars of the intro that’s repeated.

You can listen to the whole suite here.

(The previous piece, Asturias, was not meant to be part of it, hence named simply “Leyenda” or legend. It was added posthumously)

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Joaquín Rodrigo

Even though a pianist, Rodrigo understood the classical guitar and was able to support it with an accompanied orchestration that didn’t stifle it, much like during the classical era of the 19th century,

Concierto de Aranjuez

The famous second movement established Rodrigo as one of the most famous Spanish composers of the 20th century.

The melody is shared between the English horn and the classical guitar. Sweet, bitter, sad, and beautiful it is a celebration of nature. Composed under the shadow of an impending war, its purpose is to transport the listener to the gardens of the Palacio Real de Aranjuez.

Fantasía para un gentilhombre

Composed after the request of Segovia, hence the title “Fantasy for a gentleman”.

This particular piece is responsible for my carpal tunnel syndrome (08:32 onwards…) but it was worth it.

Using every method, trope, theme, and narrative from traditional Spanish music, dances, and romantic era guitar music he creates a masterpiece.

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CODA

I hope you enjoyed listening and reading this week’s issue of Ascoltare.

This newsletter has turned out to be very enjoyable to write and study for. It has rekindled my desire to write more music and revisit old pieces that I have forgot or chose to forget.

Thank you.

P.S- You can find the previous issues of Ascoltare here:

The Bach Review

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