Fantasia para un gentilhombre : Work information
- Joaquín Rodrigo ( Music, Images,)
- Performed by
- Carlos Bonell (Guitar), Royal Philharmonic Orchestra, Jacek Kaspszyk (Conductor)
- Work name
- Fantasia para un gentilhombre
- Work number
- 1954-00-00 02:00:00
- Royal Philharmonic Orchestra
- Alan Peters
- Dick Lewzey
- Recording date
In 1901 Joaquin Rodrigo was born in Sagunto in Spain on the day of St Cecilia, the patron saint of music. When he was three he lost his sight as a result of a diphtheria epidemic. He began playing music at eight, and at 16 entered the Conservatoire in Valencia to study harmony and composition. In 1927 he moved to Paris to enroll at the Ecole Normale de Musique, and made friends with musical celebrities such as Honegger and Ravel. The Spanish civil war prevented Rodrigo and his new wife and collaborator Victoria Kamhi from returning to Spain until 1939, but the following year his Concierto de Arunjez for guitar and orchestra premiered in Barcelona, bringing worldwide fame.
Rodrigo calls his recognisable style 'neocasticismo', a style whose classical forms and traditional tonality mix with original harmonies and old and new Spanish themes. After his return to Spain Rodrigo composed 11 concertos, more than 60 songs, choral and instrumental works, and music for the theatre and cinema, all bearing the imprint of his optimistic, lively personality.
As well as composing, Rodrigo was active as a critic and academic, holding varied positions including Professor of music history at Madrid University, head of music broadcasting for Spanish radio, and head of the Spanish National Organization for the Blind's artistic division. He also wrote on a wide range of musical subjects, from 16th century polyphony to Richard Strauss's symphonic poems. He died in Madrid in 1999, internationally acclaimed and awarded.
Written for the guitarist Andres Segovia in 1954, the Fantasia para un gentilhombre is based on material written by the seventeenth century Spanish composer Gaspar Sanz. In 1674 Sanz published a treatise on the guitar that included a number of short dances. Rodrigo orchestrates and expands these dance in the Fantasia, though always retaining something of the character of the original pieces.
One of Rodrigo's most frequently performed pieces, the Fantasia does some wonderful things with such simple material: following the melancholic espanoleta, for example, is a ghostly treatment of Sanz' Fanfare for the Cavalry of Naples; and the final folk dance, Canario, forms a popular and joyful conclusion to this tribute to seventeenth century courtliness.