Alex Thesis

The Influence of Neoclassicism in Selected
Guitar Works by Joaqun Rodrigo:

Implications for Performance
Alexandra Velasco-Svoboda
Submitted in partial fulfilment

of the requirements of the degree of
Master of Music Performance (by Research)
April 2017
Melbourne Conservatorium of Music
University of Melbourne
This is to certify that
(i) the thesis comprises only my original work, except where indicated in the
preface,
(ii) due acknowledgement has been made in the text to all other material used,
(iii) the thesis is approximately 12,000 words in length, exclusive of tables,
musical examples, and bibliographies.
Signature:
Name in full Alexandra Mari Velasco-Svoboda
Date: 23 April 2017
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ACKNOWLEDGEMENTS
My sincere thanks to Ken Murray for supervising me for this thesis and
inspiring me to undertake research into Spanish music. Your help as an instrumental
teacher and an academic supervisor has been invaluable throughout my tertiary
education.
I am deeply grateful for the help Michael Christoforidis and Javier Surez-
Pajares have provided me throughout 2015 in my research for this thesis. Finally, Id
like to thank Michael Christoforidis and Linda Kouvaras for marking my thesis and
providing me with suggestions to improve it. These suggestions have been invaluable
and have allowed me to create this finalised edition.
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CONTENTS
Introduction 1
1. Neoclassicism and Spanish Music 8
Spanish music in the nineteenth century 8
Spanish musical nationalism 8
Beginnings of neoclassicism in France: late nineteenth and 10

early twentieth century context
Neoclassicism in Spanish music: Manuel de Falla and the 14

influence of Igor Stravinsky
2. Joaqun Rodrigo and the Early Modern Guitar in Spain 17
Joaqun Rodrigo: his early career and the growing 17

interest in the guitar
Spains Golden Age: historical allusions in significant 19

neoclassical works
Pioneers in the development of the classical guitar: 21

Barrios, Llobet, Segovia, Sainz de la Maza, and Pujol
3. Rodrigos Neoclassicism on the Guitar 23

Zarabanda Lejana (1926): Rodrigos first solo guitar piece 23
i) Discussion of stylistic elements with reference to 24
neoclassical trends
ii) Analysis of selected passages and sections 26
iii) Implications for performance 31
Fantasa para un Gentilhombre (1954): The revival of 35

neoclassicism as a restorative movement after the
Spanish Civil War
i) Discussion of stylistic elements with reference to 36
neoromantic trends
ii) Analysis of selected passages and sections 38
iii) Implications for performance 40
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Conclusion 43
Bibliography 45
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MUSICAL EXAMPLES
Example 1a. Maurice Ravel, Forlane theme from Le Tombeau 13

de Couperin (1914-1917), m. 1-8 violins.
Example 1b. Ravel, Menuet theme from Le Tombeau de 13

Couperin (1914-1917), m. 1-8 oboe.
Example 1c. Ravel, Rigaudon theme from Le Tombeau de 13

Couperin (1914-1917), m. 1-8 two clarinets in B flat.
Example 2a. Joaqun Rodrigo, Zarabanda Lejana (1926), m. 3-4 25
Example 2b. Manuel de Falla, Lento theme mvt. II in Harpsichord 26

Concerto (1926).
Example 3a. Rodrigo, Zarabanda Lejana (1926), m. 51. 28
Example 3b. Rodrigo, Zarabanda Lejana (1926), m. 28. 28
Example 4a. Rodrigo, Zarabanda Lejana (1926), m. 50-59. 29
Example 4b. Rodrigo, Zarabanda Lejana (1926), m. 33-41. 30
Example 5b. Rodrigo, Zarabanda Lejana (1926), m. 44. 31
Example 6b. Rodrigo, Zarabanda Lejana (1926), m. 29-31. 33
Example 6c. Rodrigo, Zarabanda Lejana (1926), m. 58. 33
Example 6d. Rodrigo, Zarabanda Lejana (1926), m. 72. 33
Example 7. Rodrigo, Danza de las Hachas mvt. III in Fantasa 39
para un Gentilhombre (1954), no. 12.
Example 8. Rodrigo, Espaoleta y Fanfare de la Caballera de 39

Npoles mvt. II in Fantasa para un Gentilhombre
(1954), no. 9.
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Example 9. Rodrigo, Canario mvt. IV in Fantasa para un 40
Gentilhombre (1954), no. 16.
Example 10. Rodrigo, Villano y Ricercare mvt. I in Fantasa 40

para un Gentilhombre (1954).
Example 11. Rodrigo, Espaoleta y Fanfare de la Caballera de 41

Npoles mvt. II in Fantasa para un Gentilhombre
(1954), no. 10.
Example 12. Rodrigo, Villano y Ricercare mvt. I in Fantasa 41

para un Gentilhombre (1954).
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LIST OF FIGURES
Figure 1. Rodrigo, Zarabanda Lejana structure. 27-28
Figure 2. Rodrigo, Fantasa para un Gentilhombre comparison 37

of Gaspar Sanz source material
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INTRODUCTION
Throughout much of the nineteenth century, Spain was considered part of the
exotic orient. Recognised for its influences by its Moorish past and the continual
presence of its ostracised ethnic groups like the gypsies,1 Spain came to be the
romanticised ideal that many Western writers, artists, and musicians both idolised and
patronised.2 This was prevalent throughout the USA and greater Europe, but was
particularly reflected in the relationship between the Spanish and French. The
literature of Chateaubriand, Gautier, and Merime, and the art of Gros, Gericault, and
Delacroix attest to Frances fascination for their exotic neighbour.3 In music, this can
be seen in compositions such as Symphonie Espagnole (1874) for violin and orchestra
by duoard Lalo (1823-1892). By the time Georges Bizets Carmen was premiered in
1875, these romanticised constructs were a strong undercurrent in French and Spanish
musical life. On an international level, Carmen came to represent authentic Spanish
music.4
This instilled a desire in some Spanish composers to create music that would
be elevated to the concert sphere and distanced from clich. This desire was also
influenced by the response to the domination of Germanic Romantic repertoire in
European concert halls throughout much of the nineteenth century. French composers
had already begun to seek the creation of a truly French art-music by looking to their
rich, pre-Romantic traditions. This was largely in response to the Franco-Prussian war
and growing political tensions with newly-formed Germany.
The culmination of works now understood as neoclassical had its foundations

laid in the nationalistic movements of France that came to affect Spain. Manuel de
Falla (1876-1946) was a key figure in developing Spanish neoclassicism, greatly
influenced by French composers at the turn of the nineteenth century and the work of
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1
Gypsies in Spain were the most easily exoticised, but other ethnic minorities such as the Jews,
Greeks, Ukrainians, and Cossacks resided in Spain and Europe. Jos F. Colmeiro, Exorcising
Exoticism: Carmen and the Construction of Oriental Spain, in Comparative Literature 54, no. 2
(2002): 127-144.
2
Colmeiro, Exorcising Exoticism, 130. Edward Said defined Orientalism as a Western style for
dominating, restructuring, and having authority over the Orient. Edward Said, Orientalism (New
York: Pantheon, 1978), 3. For more information on Orientalism, see Said, Orientalism.
3
Ken Murray, Spanish Music and its Representations in London (1878-1930): From the Exotic to the
Modern, (PhD diss., University of Melbourne, 2013), 6.
4
For more information on Carmen and Orientalism in Spanish music, see James Parikilas, How Spain
got a Soul, in Jonathan Bellman, ed. The Exotic in Western Music (Boston: Northeast University
Press, 1998), 137-193.
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Igor Stravinsky (1882-1971). Fallas work in the initial decades of the twentieth
century impacted several generations of composers who sought to establish their own
cultivated musical language.
This thesis will focus on Joaqun Rodrigo (1901-1999), a Spanish pianist and
composer who belonged to the generation influenced by Fallas neoclassicism.
Rodrigo composed songs, orchestral works, solo works and chamber music, but his
output is particularly numerous for the guitar; an instrument that saw a revival in the
early decades of the twentieth century.5 The guitar came to represent the perfect
neoclassical instrument with its linking of the folkloric and the cultivated. It was also
desired for its ancestral connections to Spains Siglo do Oro (Golden Age). Rodrigos
guitar works were commissioned and played by prominent guitarists such as Andrs
Segovia, Regino Sainz de la Maza, and Emilio Pujol. Through their work, Rodrigo
quickly established himself as a significant composer of the instrument in the decades
after his first work, the Zarabanda Lejana of 1926.
The main period under examination in this thesis is from the late nineteenth
century through to the mid twentieth century. For much of this period, Spanish
composers sought to break away from the countrys image as part of the exotic
Orient, and to write music to stand alongside that of other modern European nations.
This desire aligned with the growing sentiments of the French artistic circles to break
away from Germanic Romanticism in the same period at the end of the nineteenth
century.
In this thesis I have examined the context in which Rodrigo composed for the
guitar, focusing on two pieces: one from the beginning of his career, Zarabanda
(1926), and the other a mid-period work, Fantasa para un Gentilhombre (1954). This
context includes the establishment of the neoclassical movement in France at the turn
of the nineteenth century, the influence of Igor Stravinsky and Manuel de Falla, and
the rise of the modern guitar in Spain. The history of the modern guitar is a recurring
theme, with links frequently being made to Rodrigos work.
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5
Rodrigo composed over forty guitar works (solo, orchestral, and chamber) during his career.
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Methodology
The methodology for this thesis is based predominantly on the examination

and analysis of the chosen works composed by Rodrigo. I have evaluated a range of
sources for these works, including various publications and arrangements. Principal
sources for this dissertation have been scores and recordings. Secondary sources for
this study such as historical texts (books, journal articles, and dissertations) and
biographies have provided the contextual and background information for my
research.
The primary sources I have surveyed reflect an interesting disparity in

interpretations of Rodrigos music, and indeed music of other composers of the
neoclassical period. Early recordings had greater use of rubato and tone colour and an
overall freer interpretation when compared to the rhythmically straighter, more
stringent recordings towards the end of the twentieth century. This highlights the
influence of late-nineteenth-century Romantic performance traditions in the
performance practice of many early-twentieth-century guitarists. I have consulted
various publications and arrangements of the score for Zarabanda Lejana and found
substantial differences between Rodrigos original manuscript of Zarabanda Lejana
and the two later published editions.
The discussion of these recordings and scores has been largely informed by
the historical texts regarding the neoclassical movement in the first few decades of the
twentieth century. I have consulted texts that examine Manuel de Falla, the modern
guitar and its ancestors, and the impact of the Spanish Civil War on Spanish
composers such as Rodrigo. This thesis does not provide a detailed discussion of
Orientalism or the impact of the Spanish Civil War on changes in Spanish musical
aesthetics.
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Literature review
Research has largely neglected the context in which Rodrigo was composing
in the mid-twentieth century, in contrast to the substantial amount of scholarly
literature that has been devoted to neoclassicism, French musicians at the fin-de-
sicle, and Spanish music and musicians in the same period.
For an understanding of the French engagement with Spanish music in the

nineteenth century the article by Jose F. Colmeiro Exorcising Exoticism: Carmen and
the Construction of Oriental Spain, published in Comparative Literature is
particularly informative. This article provides a discussion of the discourse of
orientalism and French relations with Spain in the nineteenth century. Looking at the
cyclical influences between the two countries, this article cites the novella and opera
Carmen as the case study. It proved to be helpful in my understanding of Spains
musical and cultural life and the development of Spanish musical nationalism.
Isaac Albniz and Enrique Granados, both of whom were important Spanish
nationalist composers in the late nineteenth century, have extensive literature
dedicated to them. Gilbert Chases The Music of Spain proved to be helpful in gaining
some biographical insight on both of these composers.6 When placing these
composers in a pre-Spanish neoclassical context, Otto Mayer-Serras article Fallas
Musical Nationalism from The Musical Quarterly provided some interesting insight.7
Walter Aaron Clarks writings are invaluable sources for any discussion of Spanish
composers from this period,8 particularly his two books Isaac Albniz: A Portrait of a
Romantic and Enrique Granados: Poet of the Piano for readers who want to know
more about Albniz and Granados.9
Neoclassicism overall has a substantial amount of literature devoted to it.

Relating to French composers, writers refer to neoclassicism as their move away from
Germanic Romanticism. It is mostly in relation to aspects of their evolving
compositional language, as seen in French Music since Berlioz compiled by Langham
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6
Gilbert Chase, The Music of Spain (New York: Dover Publications 1959).
7
Otto Mayer-Serra, Fallas Musical Nationalism, in The Musical Quarterly 29, no. 1 (1943): 1-17.
8
Walter Aaron Clark, Federico Moreno Torroba: A Musical Life in Three Acts (New York: Oxford
University Press, 2013).
9
For information on Albniz see Walter Aaron Clark, Isaac Albniz: A Portrait of a Romantic
(Oxford: Oxford University Press, 1999). For information on Granados, see Walter Aaron Clark,
Enrique Granados: Poet of the Piano (New York: Oxford University Press, 2011).
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Smith and Potters and Myers Ravel.10 Scott Messings book Neoclassicism: The
Stravinsky/Schoenberg Polemic remains a significant resource for the neoclassical
movement, discussing its beginnings in France at length in the first chapter.11 While
French neoclassicism is discussed in books on Debussy and Ravel, less is written
about the important nexus between French and Spanish music.
There is a bulk of existing literature surrounding Manuel de Falla and

neoclassicism in Spain. Significant scholarly resources include the work of Michael
Christoforidis, Carol Hess, and Ken Murray. In this thesis, I used several of
Christoforidis articles, such as Manuel de Falla, Debussy and La vida breve, from
Musicology Australia, which proved to be extremely useful in helping me to gain an
understanding of Fallas neoclassical works.12 Carol Hess book Manuel de Falla and
Modernism in Spain: 1898-1936 is cited substantially in relation to Spanish
neoclassicism and Falla throughout this dissertation.13 Hess discusses each of Fallas
neoclassical works in the period, covering critical and public reception of his
compositional evolution. She also cites Christoforidis substantially, pointing readers
into the direction of his PhD dissertation Aspects of the Creative Process in Manuel
de Fallas El Retablo Maese Pedro and Concerto, which delves into the source
material Falla used for his neoclassical works.14 This proved to be very helpful in
making connections with Rodrigos neoclassical works and the source material he
used. Ken Murrays PhD dissertation Spanish Music and its Representations in
London also cites Christoforidis work and draws connections to neoclassicism in
Spain, its reception in greater Europe, and the evolution of the modern guitar as a folk
icon to a neoclassical instrument.15
Connected with this, James Tyler has covered the modern guitar and its
ancestors in great depth in his book The Early Guitar: A History and Handbook.
Tylers literature summarises the modern guitars ancestors in Spain, and assisted in
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10
Richard Langham Smith and Caroline Potter, ed., French Music since Berlioz (Ashgate, 2006). See
also: Rollo H. Myers, Ravel, Life and Works (Westport, Conn.: Greenwood Press, 1973).
11
Scott Messing, Neoclassicism in Music: From the Genesis of the Concept through the
Schoenberg/Stravinsky Polemic (Ann Arbor, Mich.: UMI Research Press, 1988).
12
Michael Christoforidis, Manuel de Falla, Debussy and La vida breve, in Musicology Australia 18,
no. 1 (1995): 3-12.
13
Carol Hess, Manuel de Falla and Modernism in Spain, 1898-1936 (Chicago: University of Chicago
Press, 2001).
14
Michael Christoforidis, Aspects of the Creative Process in Manuel de Fallas El Retablo Maese
Pedro and Concerto, (PhD diss., University of Melbourne, 1997).
15
Ken Murray, Spanish Music and its Representations in London.
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developing the contextual information I discuss in chapter two of the dissertation.16
Christoforidis and Piquers article Cubism, neoclassicism, and the revival of the
Spanish guitar in the early 20th century from Roseta allowed me to link Tylers
literature with Fallas neoclassicism and was invaluable for my discussion of
Rodrigos contemporaries and the guitarists active at the time.17 As mentioned above,
Aaron Clarks book Federico Moreno Torroba: A Musical Life in Three Acts also
assisted in my discussion of Rodrigos contemporaries and the musical trends of the
period.
I am not fluent in Spanish and therefore did not have access to much of the
literature in Spanish dedicated to Rodrigo. In my research for this dissertation, I
discovered that there is little written on Rodrigo in English, outside the world of
guitar books and magazines. While a substantial amount has been written in English
on Manuel de Falla and his contribution to Spanish music in the twentieth century and
his relationship with Stravinskys neoclassicism, comparatively little has been written
in English about Rodrigo and his importance to Spanish music. What largely exists
are segments in chapters about Spanish music devoted to him, as seen in literature like
Toms Marcos Spanish Music in the Twentieth Century, in which he discusses the
importance of Rodrigos compositional style as a movement away from modernist
neoclassicism to a restorative aesthetic following the devastating Spanish Civil War.18
The most prolific author writing on Rodrigo in English is the guitarist Graham
Wade. He specialises in the modern Spanish guitar, Rodrigo, and Segovia, but he does
little to discuss issues surrounding Rodrigos compositional evolution in his books
Joaquin Rodrigo: a life in music: travelling to Aranjuez 1901-1939 and Joaquin
Rodrigo and the Concierto de Aranjuez.19 Superficially delving into neoclassicism
and the impact of Fallas legacy on Rodrigos compositional development, Wade
provides some information by discussing the material without delving into contextual
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16
James Tyler, The Early Guitar: A History and Handbook (London: Music Dept., Oxford University
Press, 1980).
17
Michael Christoforidis and Ruth Piquer Sanclemente, Cubism, neoclassicism, and the Revival of the
Spanish Guitar in the Early 20th Century, in Roseta: Revista de la Sociedad Espaola de la Guitarra 6,
no. 6, (2011).
18
Toms Marco, Spanish Music in the Twentieth Century (Cambridge: Harvard University Press,
1993).
19
Graham Wade, Joaqun Rodrigo: A life in Music: Travelling to Aranjuez (Leeds: GRM Publications,
2006). See also Graham Wade, Joaqun Rodrigo and the Concierto de Aranjuez (Leeds: Mayflower
Enterprises, 1985).
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information. Wade focuses solely on the solo guitar music of Rodrigo in his book
Distant Sarabandes: The Solo Guitar Music of Joaqun Rodrigo.20
There is an important body of work in Spanish on Rodrigo by musicologist

Javier Surez-Pajares. While I have been unable to translate his work, I made contact
with him during and after my trip to Spain in June 2015 regarding certain aspects of
my thesis and sources to consult for further information. Surez-Pajares provided me
with the original manuscript of Rodrigos Zarabanda Lejana, which proved to be
extremely helpful and will be discussed in my analysis. I was directed to consult a
90th anniversary book of Rodrigos life, which featured English translations of a
selection of articles by prominent Spanish musicologists, guitarists, and composers.
These articles discussed Rodrigos life, his contemporaries, and his neoclassical
works prior to the Civil War.21
There is little scholarly research that exists in English in relation to Rodrigos

life in Francoist Spain (1939-75) following the Spanish Civil War. Hess 1995 article
Manuel de Fallas The Three-Cornered Hat and the Right-Wing Press in Pre-Civil
War Spain and Christoforidis 2001 article Igor Stravinsky, Spanish Catholicism, and
Generalsimo Franco were invaluable resources for the discussion that takes place in
the third chapter regarding Rodrigos Concierto de Aranjuez and Fantasa para un
Gentilhombre.22 Both writers highlight the effect of the Spanish Civil War and the
role neoclassicism played in the subsequent period. These works assisted me in
developing my arguments regarding the discussion of Rodrigos stylistic choices and
how they were affected by the political climate. I would like to further develop these
arguments in future research to contribute to the limited information existing on the
stylistic shift of many neoclassical composers under various right-wing governments
in the mid-twentieth century.
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20
Graham Wade, Distant Sarabandes: The Solo Guitar Music of Joaqun Rodrigo (Leeds: GRM
Publications, 1996).
21
Enrique Rubio, ed. Memoria del homenaje internacional a Joaqun Rodrigo realizado durante
losaos 1991-1992: 90 Aniversario Joaqun Rodrigo (Madrid:SGAE, 1993).
22
Carol Hess, Manuel de Fallas Three-Cornered Hat and the Right-Wing Press in Pre-Civil War
Spain, in Journal of Musicological Research 15, no. 1-2 (1995): 55-84. See also: Michael
Christoforidis, Igor Stravinsky, Spanish Catholicism and Generalsimo Franco in Context 22 (2001).
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CHAPTER 1:
Neoclassicism and Spanish Music
Spanish music in the nineteenth century
Throughout the nineteenth century, international audiences turned to concepts

established by non-Spanish composers such as Bizet, Debussy, Ravel, Chabrier, Lalo,
Rimsky-Korsakov, and Glinka to gain an understanding of what Spanish music was.23
Much of Spains musical life throughout the nineteenth century was affected by a
combination of the local response to these international perceptions, 24 the folkloric
that eventually became popularised,25 and the work of composers looking to create an
authentic Spanish art-music. These idealised Spanish idioms begun to be
philosophically and aesthetically challenged by Spanish composers in the late
nineteenth century.
Spanish musical nationalism
As the popularised and the appropriated flourished locally in the second half
and towards the end of the nineteenth century, the need for Spanish composers to
develop their own national aesthetic in cultivated art grew imperative.26 The
uncertainty that existed in Spanish artistic circles gave Felipe Pedrell (1841-1922),
musicologist and composer, the desire to create a Spanish musical art with a truly
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23!Hess, Falla and Modernism, 1.!
24
For a detailed discussion on exoticism and Spanish music, see James Parakilas chapter, How Spain
Got a Soul, in, Bellman, ed. The Exotic in Western Music, 137-193. For a detailed discussion on
Englands reception of Spanish music in the period discussed, see Murray, Spanish Music and its
Representations in London.
25
Zarzuela, a Spanish operetta, dominated musical life in Madrid in the second half of the nineteenth
century. The Spanish writers drew their plots from French romantic plays, and composers drew musical
idioms from Italian opera. The popularity of zarzuela with Spains general population during this
period in Spain was unprecedented; Ricardo de la Vegas music in La cancion de la Lola (1880) found
itself pouring out of barrel organs and bar pianos all over Madrid, with authorities considering banning
it. This became the main avenue in which composers would have their music heard in a local context.
Concurrent to the boom in popularity of zarzuela, the granting of citizenships to gypsies by Carlos the
Third in 1783 meant that throughout the nineteenth century, they were able to engage and develop their
cultural activities without fear of persecution. Their music, which largely consisted of songs about their
hardships and dreams of a better life, became popular in local taverns. By 1860, cante flamenco
became highly popular, and other folkloric genres from Andalusia became known as musica
aflamencada. For a discussion of zarzuela in nineteenth century Spain see Christopher Webber, The
Zarzuela Companion (Lanham, Md.: Scarecrow Press, 2002), 3-5. For more information on flamenco
see Israel J. Katz, Flamenco, in Grove Music Online. Oxford Music Online. Oxford University Press,
accessed August 20, 2015,
www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/09780.
26
Hess, Falla and Modernism, 15.
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national identity.27 Pedrell was a thorough researcher who placed the details of the
Spanish musical tradition within reach of living Spanish composers who held
particular contempt towards the romantic zarzuela. While his work is not necessarily
reflected in his compositional output (many of his music dramas were modelled after
Wagnerian operas, particularly Tannhauser),28 it was his theories on the fusion
between the cultivated and the popular that paved the way for future composers to
develop his idea of an authentic, national musical identity he himself could not
realise. 29 Isaac Albniz (1860-1909) and Enrique Granados (1867-1916), both
composition students of Pedrell, took the initial steps in the late nineteenth century to
artistically realise his theories.30 It was through their efforts that these two composers
produced a large body of works that placed modern Spanish instrumental music in the
view of other European composers of high status.31
Albniz, influenced by Pedrell to consider exploring a nationalist direction in his

music, helped to bring Spanish Romanticism to the forefront by mixing his interests
in French and German musical trends with Spanish folkloric elements.32 Albniz was
moved by the excitement of the flamenco cante jondo, evoked in such pieces as the
Suite Espaola (1886) and the Tango (1890), both of which give impressions of the
guitars plucked accompaniment, dissonances, and southern Spains folkloric
melodies. However, his most well-known work, Iberia (1905-08), is a testament to his
compositional interests and the influence of French harmonic colouring.33
Granados was also moved by Pedrells desire to compose in the nationalist

vein. His Goyescas (1911) is a result of his attempt to musically express scenes and
characters as sketched and painted by Spaniard Francisco Goya (1746-1828).
Granados, although not remaining entirely apathetic to Andalusian folklorism, was
profoundly Romantic, and gained inspiration from Madrids historical and folkloric
traditions.34
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27
Mayer-Serra, Fallas Musical Nationalism, 2.
28
J.B Trend, Manuel de Falla and Spanish Music (New York: Alfred Knopf, 1934), 4.
29
Mayer-Serra, Fallas Musical Nationalism, 2.
30
Ibid., 2-3.
31
Chase, The Music of Spain, 150.
32
Jos Antonio Donis, The Musicologist Behind the Composer: The Impact of Historical Studies upon
the Creative Life in Joaqun Rodrigos Guitar Compositions, (Masters diss., Florida State University,
2005), 39.
33
Chase, Music of Spain, 152-156.
34
Chase, Music of Spain, 161.
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Both composers strengthened the connection between the French and the
Spanish, having placed cultivated nationalistic music onto the map of the Romantic
movement. Their work served as a foundation for many of the innovative composers
of the twentieth century, particularly Manuel de Falla.
Beginnings of neoclassicism: late-nineteenth-and early twentieth-century -

French context
Throughout much of the nineteenth century, Germanic Romanticism was the

dominant repertoire in European concert halls. As well as it being very difficult for
Spanish composers to achieve success in their native country, French composers too
were challenged locally.35 The belief instilled in many young composers in France
was that dramatic, large-scale orchestral music was the true measure of ones talent.36
Particularly influential at the time was Richard Wagner (1813-1883), whose
innovation hugely influenced composers throughout greater Europe. Mahler, Strauss,
and Schoenberg, and non-Germanic Composers such as Verdi and Liszt were utilising
Wagners leitmotive and extended harmony in their compositions.37 Wagnerism was a
dominant model for many French composers, including a younger Camille Saint-
Sans (1835-1921), Emmanuel Chabrier (1841-1894), Ernest Chausson (1855-1899),
Paul Dukas (1865-1935), Vincent dIndy (1851-1931), and Claude Debussy (1862-
1918).
It was only during the years prior to the twentieth century, or the fin de sicle,
that the pessimism regarding their lack of what they believed to be a truly French
musical identity overtook the predominant Wagnerism as a compositional model in
French artistic circles. This, combined with their humiliating defeat in the Franco-
Prussian war of 1871, proved to be fertile ground for the resurgence of French
national pride.38 The term neoclassicism was initially pejorative, attributed to
Germanic composers whom the French believed lacked innovation in composition.39
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35
Over half of the total performances in Paris concert halls were accounted to Beethoven, Mozart,
Mendelssohn, Haydn and Weber in the years immediately preceding 1870. Langham Smith and Potter,
ed., French Music Since Berlioz, 1.
36
Ibid.
37
Donis, The Musicologist Behind the Composer,10.
38
Scott Messing, Polemic as History: the case of neoclassicism, in The Journal of Musicology, 9, no.
4 (1991), 482.
39
French composers and critics had begun to antagonistically critique Germanic composers, with
Romain Rolland stating that Brahmss neoclassicism is ravaged by a pedantry which has become the
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During this time, various French schools of composition began to emerge.
Claude Debussy (1862-1918) and Vincent dIndy (1851-1931) became important
figures in exploring the possibilities of a distinctly French sound. Debussys
compositional language, which was initially influenced by Wagnerism, began to
(imply) a rejection of the recent musical past and a revolutionary desire to abandon
the inherited forms and rules governing musical tradition, as stated by Donnellon.40
This briefly posited Debussy as the alternative to dIndy, who valued tradition and
looking to pre-Romantic French sources for inspiration.
The pioneering work of dIndy represented the aim of Schola Cantorum, an

institution founded in 1894 to train young composers in the neglected areas of
counterpoint, analysis, and music history.41 Although the practice of hosting music
history classes were already established by 1871, the popularity of early music tuition
did not become commonplace until after 1900. With dIndy as the director of the
Schola, its teachings led to the culmination of un nouveau classicisme (a new
classicism). 42 This emphasised observing past musical traditions to explore what it
meant to have an authentically French compositional language and valued aesthetic
elements such as clarity, simplicity, austerity, sobriety, and precision.43
The first appearances of un nouveau classicisme surfaced in new compositions

in the form of references to pre-nineteenth century traditions. French composers
began incorporating titles in their musical works such as dans le style ancien (in the
ancient style), which appeared after the Franco-Prussian war. Camille Saint-Sans
(1835-1921) was the first prolific composer to start alluding to dance idioms, metres,
tempi, form and even melodic content as used by past composers.44 Institutions such
as the Schola frequently held small performances with French composers of the pre-
Romantic era being featured.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
plague of German art, Vincent dIndy attacking the oppressive tonal clumsiness so frequent in the
works of Brahms and the German neoclassicists, and Jean Marnold making fun of the lamentable
agony [of contemporary German music as] rattling along in Brahmsian neoclassic chloroform. See
Messing, Polemic as History, 483.
40
Langham Smith and Potter, French Music since Berlioz, 10.
41
Ibid., 9.
42
Messing, Neoclassicism in Music, 18-19.
43
44
Donis, The Musicologist Behind the Composer, 15.
! 11!
Debussy, whose nationalist inclinations were heightened at the turn of the
century, became deeply attracted to Frances rich musical tradition.45 There was a
clear development in his compositional style during this period, evolving into one that
was sympathetic towards the revival of interest in musicology. This can be seen in his
admiration for Baroque composer Jean-Philipe Rameau (1683-1764) whose opera Les
ftes de Polymnie he edited and even dedicated one of his movements from Images
(1905) to, entitled Hommage Rameau.46 Debussy avidly attended concerts that the
Schola held at the turn of the century.47 Maurice Ravel, ten years Debussys junior,
was also a huge supporter of these concerts.48 Regarding Baroque composer Franois
Couperin (1668-1733) highly, he composed the homage Le Tombeau de Couperin
(1914-1917), which contained movements all modelled on Baroque dances, such as
forlane, menuet, and rigaudon. All contain the phrase structures, metres, and rhythmic
and harmonic elements typical of the Baroque forms.49
The following excerpts (EX. 1) from Le Tombeau de Couperin illustrates how

the themes of each movement have a distinct connection to the dances.50
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
45
Messing, Neoclassicism in Music, 49.
46
47
Ibid., 41.
48
Ravel is often lumped into the Impressionist category along with Debussy, although neither felt the
term accurately described their music. Their similarities only extend as far as their desires to protect
French music against what they felt were the dangers of Wagnerian influences at the turn of the
century. As Rollo H. Meyers states, the classicism of Ravels form alone was in marked contrast with
Debussys much more fluid construction, and whereas the former made a point of stressing the clarity
of his formal design, the latter was especially anxious that his music should sound like an
improvisation. Myers, Ravel, Life and Works, 97.
49
Ravel has stated that the homage implied is in fact to French music of the eighteenth century more
than it is to Couperin. Messing, Neoclassicism in Music, 51 (Taken from Ravels Esquisses
Autobiographique La Revue Musicale, Dec 1938, 17).
50!For more information on the forlane see Meredith Ellis Little, Forlana, in Grove Music Online.
Oxford Music Online. Oxford University Press, accessed March 28, 2017,
www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/09980. For more
information on the minuet see Meredith Ellis Little, Minuet, in Grove Music Online. Oxford Music
Online. Oxford University Press, accessed March 28, 2017,
www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/18751. For more
information on the rigaudon see Meredith Ellis Little, Rigaudon, in Grove Music Online. Oxford
Music Online. Oxford University Press, accessed March 28, 2017,
www.oxfordmusiconline.com.ezp.lib.unimelb.edu.au/subscriber/article/grove/music/23459. !
!!
! 12!
EX 1A Forlane theme, m. 1-8 violins.51
EX 1B Menuet theme, m. 1-8 oboe.52
EX 1C Rigaudon theme m. 1 8, two clarinets in B flat.53
The growing political tensions between Germany and France at the turn of the
century fuelled the nationalist feelings of many important French composers prior to
World War I. A number of French composers, working in a variety of ways, explored
the possibilities of an authentically French sound, which paralleled the work of
Spaniards Pedrell, Albniz, and Granados at the end of the nineteenth century. The
aesthetics that came to be valued opposed the use of large-scale orchestras and the
formlessness and dramaticism of Germanic Romanticism, and included clarity,
simplicity, and precision. Behind these varied stylistic languages, the growing
sentiment which idealised the pre-Romantic French history prevailed, with
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
51
Maurice Ravel. Le Tombeau de Couperin, mini score (Paris: Durand, 1919), 18.
52
!Ibid., 35.!
53
Ibid., 46. !
! 13!
distinguished composers such as Saint-Sans and dIndy, and later Debussy and
Ravel, sharing this common ground aesthetically and philosophically.
Neoclassicism in Spanish music: Manuel de Falla and the influence of Stravinsky
As the traits of un nouveau classicisme became more valued by the French,

the term neoclassicism started to shift from its original pejorative meaning to one
that was descriptive and consolidated itself after World War I.54 It was first used in
the paradigmatic term that is understood today in 1923 by critic Boris de Schloezer
and it was prescribed to Stravinskys Symphonies dinstruments vent (1920),
composed for woodwind and brass instruments, dedicated to the memory of
Debussy.55 While Symphonies contained neoclassical elements, it is commonly
believed that Stravinskys Octet (1923) was the first truly neoclassical piece in the
term as understood at present. The Octet was famed for its unusual combination of
instruments,56 dry sonorities, and adoption of Classical period forms. Stravinsky
aligned his political and aesthetic sentiments with that of the French, lamenting the
dominant form of Germanic Romanticism and seeking to develop an aesthetic
removed from it.57 This aesthetic respected reduced orchestration, exploration of
unconventional timbre combinations, objectivity, and simplicity.
Falla began his career in 1896 Madrid exploring the possibilities that existed
in Spanish orchestral music and building on Granados and Albnizs work. Like
Pedrell, he was deeply disappointed with the limitations of Spanish musical life,
relying on zarzuela prior to studying in France to generate income during the early
years of his career in Madrid.58 His two-act opera La Vida Breve (1904) and one-act
ballet El Amor Brujo (1914) drew upon existing idioms such as evoking the
Andalusian flamenco guitar and including popularised rhythms and harmonies.59 His
exposure to the music of Debussy and other French composers during his years
studying in Paris (1907-1914) was of the utmost importance to his compositional
development. Debussy encouraged Falla in his work and brought works such as his
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
54
55
Hess, Manuel de Falla, 102.
56
Instruments used were flute, clarinet in B and A, two bassoons, trumpet in C and A, tenor and bass
trombone.
57
Hess, Manuel de Falla, 170-171.
58
Ibid., 22-31.
59
Messing, Polemic as History, 482. For a detailed discussion on La vida breve, see Christoforidis,
Manuel de Falla, Debussy, and La vida breve. For a discussion on both La vida breve and El amor
brujo, see Hess, Falla and Modernism, 45-78.
! 14!
Cuatro Piezas Espaolas (1906-1909) to the attention of various publishers.60 Carol
Hess argues that Debussys role in Fallas composition process is hard to quantify,
however, it is clear that he influenced Falla compositionally in works such as Trois
Mlodies and Noches en los Jardines de Espaa (1909-1915).61
Falla continued to evolve and his direction ultimately followed that of

Stravinskys. Visiting Spain in 1916 due to the residency of the Ballet Russes for the
season, Stravinsky held a private performance of the piano version of one-act
chamber opera-ballet Renard (1916), and Falla was in attendance.62 Commending the
piece for its reduced instrumentation, Falla expressed admiration that each
instrument (maintained) its own tonal and expressive value, and each string
instrument is used as an autonomous timbre and never in mass[creating] a web of
pure melodic lines without demanding the support of other timbres.63 His enthusiasm
for this innovative aesthetic shows in his compositional explorations from the late
1910s onwards, and marks the departure from an Andalusian-inspired language seen
in La Vida Breve and El Amor Brujo.
This compositional language begun to make its way in compositions such as

the ballet El Corregidor y la Molinera (1919) which premiered on the 23rd of January,
1920.64 Many critics considered this piece to be quintessentially Spanish, with its
synthesis of modernist stylization and Spanish tradition appealing to the general
public and critics alike.65 El Corregidor today is Fallas most popular work, with the
influence of Stravinsky apparent. This neoclassical aesthetic was further developed in
his El Retablo de Maese Pedro, commissioned in 1918 and completed in 1923.
Fervently applauded by Spanish critics, El Retablo appealed to, as Gilbert Chase
insists, a sophisticated and exceptionally cultured audience.66 El Retablo is a one-
act puppet opera and was dedicated to Miguel de Cervantes, a Spanish playwright of
the late sixteenth century. The allusions to Spains rich traditions are not only
prevalent in the dedication, but in what Falla weaves into the opera. In addition to the
protagonist being a character plucked from Cervantes book, Don Quixote, El Retablo
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
60
Hess, Manuel de Falla, 34.!
61
Hess, Manuel de Falla, 34-36
62
Ibid., 101.
63
Ibid.
64
Hess, Falla and Modernism, 130.
65
Ibid., 130-131.
66
Ibid., 206.
! 15!
incorporates eighteenth-century musical conventions, features historical plucked
instruments such as the harpsichord, and includes a broadened harmonic language
typical of the twentieth century.67
The culmination of Fallas neoclassicism took place in the Harpsichord

Concerto of 1926, dedicated to Polish harpsichordist Wanda Landowska (1879-1959),
and composed for harpsichord, flute, oboe, clarinet, violin and cello. Critics compared
Fallas Harpsichord Concerto with Stravinskys Octet for its dry sonorities, Classical
forms, and unconventional combinations of instruments. This work was considered
the epitome of European neoclassicism in its synthesis of existing material,
unsupported timbres, and motives with limited intervallic range. Of the allusions to
Spains musical tradition, Falla artfully weaves Extremaduran Renaissance composer
Juan Vsquezs material, prominently using the sixteenth-century song De los
Alamos vengo madre as source material for the Concerto.68
As seen in this chapter, the end of the nineteenth century and the initial
decades of the twentieth century saw a marked shift in attitudes toward the term
neoclassicism. The work of prominent French composers, Stravinsky, and Falla
ensured that neoclassicism developed from what was initially considered unoriginal to
one of the leading modernist aesthetics. Both composers developed neoclassicism in
such a way that it became the movement that influenced the next generation of
Spanish composers, including groups such as the Generation of 1927 and Grupo de
los Ocho in Madrid.69 Of particular importance, Fallas neoclassicism had significant
influence on Joaqun Rodrigo and the revived status of the modern guitar, which came
to be the predominant symbolic instrument of Spanish neoclassicism.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
67
Falla saturated himself in the music of the Cervantes period, particularly by that of the plucked
instruments. For a detailed discussion on this, see Christoforidis, Aspects of the Creative Process,
102-112.
68
Ibid., 236.
69
The Generation of 1927 comprised of artists, writers, poets and musicians. Grupo de los Ocho was
the group of musicians belonging to the Generation. Composers belonging to Grupo de los Ocho
include: Salvador Bacarisse (1898-1963), Julin Bautista (1901-1961), Juan Jos Mantecn (1897-
1964), Gustavo Pittaluga (1906-1975), Fernando Remacha (1898-1984), Rosa Garca Ascot (1906-
2002), Rodolfo Halffter (1900-1987), Ernesto Halffter (1905-1989). Hess, Falla and Modernism, 270.
! 16!
CHAPTER 2:
Joaqun Rodrigo and the Early Modern Guitar in Spain
The development of a distinctly Spanish neoclassical style through the works

of Manuel de Falla coincided with the rapid expansion of modern guitar repertoire.
Evocations of folk and flamenco guitar appear rather prominently in Spanish
keyboard literature, running from pre-Romantic composers such as Italian Domenico
Scarlatti (1685-1757),70 through to Albniz, Granados, and the earlier works of Falla.
The twentieth century marks the first period of time in which non-guitarist composers
like Rodrigo began to explore what the instrument had to offer in a concert setting.71
In addition to this, the modern Spanish guitar had resonances with early music and
emerging neoclassical trends in art and music.
Joaqun Rodrigo: his early career and the growing interest in the guitar
Rodrigo was born in Sagunto, 1901, in the province of Valencia on Spains

Eastern coast. He had five siblings and four half-siblings from his fathers previous
marriage. Blinded by complications caused by diphtheria when he was three years
old, Rodrigo developed an acute sensitivity to music through his exposure at an early
age, studying the piano at the age of nine. His formal music instruction began at the
Valencia Conservatoire at 16, where he studied harmony and composition with
Francisco Antich until the age of 21.72
Rodrigos first compositions date from 1923. His Juglares, premiered in 1924
by the Orquesta Sinfonica de Valencia was very well-received and gave him the
confidence to enter his Cinco Piezas Infantiles in a national composition competition
in the following year. These pieces share similarities with the childlike simplicity of
Stravinskys Trois pices faciles (1917) and Cinq pices faciles (1918).73
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
70
Scarlatti was an Italian Baroque composer and harpsichordist, who spent much of his life in the
service of the Spanish and Portuguese royal families. He is most famous for having composed an
extensive amount of keyboard sonatas. For more information on Scarlattis contribution to Spanish
music, see Jane Clark, Domenico Scarlatti and Spanish folk music, in Early Music 4, no. 1 (1976):
19-21.
71
Aaron Clark, Federico Moreno Torroba, 109.
72
For more details on Rodrigos early life, see the following text: Victoria Kamhi de Rodrigo, Hand in
Hand with Joaqun Rodrigo: My Life at the Maestros Side, trans. Ellen Wilkerson (Pittsburgh: Latin
American Literary Review Press, 1992).
73
Scott Messing states in his literature that childlike simplicity is an element of Stravinskys
neoclassical work of the 1920s. The elements Messing outlines in Stravinskys music between Le
Sacre du Printemps (1913) and Octet (1923) are simplicity, which was how French composers at the
! 17!
The two pieces that brought him fame in the early stages of his career were
Preludio al Gallo Maanero (1926) for solo piano and Zarabanda Lejana (1926) for
solo guitar (see Chapter 3). Praised to this day for their originality and modernity,74
Rodrigo moved to Paris upon their completion to study with Paul Dukas between
1927 and 1934.75 For Spanish composers to study in Paris was not uncommon; many
before and during this time had made this move, including Albniz, Granados, and
Falla whom Rodrigo met in 1928. However, while it was a necessity for these
composers to leave Spain in the early years of their career, for Rodrigos generation,
comprised of composers born sometime between 1894 and 1908, it was not.76 At the
turn of the century, Paris was a place where Spanish composers had to go in order to
find their identity.77 These younger composers were able to choose to stay in Spain or
go to France to study, building on the bourgeoning trends in cultivated music. They
moved to Paris not to find themselves, but to, as Hess states, discover musics
universal qualities.78
One such trend was the use of the modern guitar in new compositions. The
guitar, an icon of folk music, remains to this day the most popular instrument used
across all styles of popular and cultivated art music. The instruments current model,
which underwent major construction and design changes during the second half of the
nineteenth century through the efforts of luthier Antonio Torres, proved itself to be an
instrument that was adaptable in many performance contexts and a wide range of
musical styles.79 Between 1890 and 1920, touring Estudiantinas,80 flamenco
guitarists, and a plethora of ensemble and solo styles from North America carried the
instrument across the globe. During this period, the guitar simultaneously established
its role in the flourishing development of flamenco as well as in the modern school of
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
time were describing their music; youth in childrens pieces; objectivity; and cultural elitism by
alluding to or quoting from pre-nineteenth century sources. For a more detailed discussion, see
74
Enrique Franco, Joaquin Rodrigo and the Generation of 1927, in Memoria del Homenaje
Internacional a Joaqun Rodrigo realizado durante losaos 1991-1992: 90 aniversario Joaqun
Rodrigo. Edited by Enrique Rubio (Madrid: SGAE 1993), 69-78.
75
Kamhi, Hand in Hand, 61.
76
Franco, ed. Rubio, Joaqun Rodrigo and the Generation of 1927, 69.
77
Hess, Falla and Modernism, 271-272.
78
Ibid.
79
Murray, Spanish Music and its Representations in London, 218.
80
Estudiantinas were Spanish students who performed Spanish music featuring plucked string
instruments. Murray, Spanish Music and its Representations in London, 116.
! 18!
classical guitar playing.81 The latter owes itself to the efforts of Francisco Trrega
(1852-1909) and his students, including Miguel Llobet (1878-1938), who was a well-
known concert guitarist and arranger and one of the most highly paid touring
guitarists in South America pre-World War I.82
The repertoire played by Trrega and his circle comprised of nineteenth

century works for the instrument, composed Romantic salon pieces, arrangements of
Bach, nineteenth century piano music, and original works.83 Their work precipitated
the rise of the guitar in a concert setting and was pivotal in how it came to be
represented internationally. Building on their work, a surge of performers and
advocators of the instrument emerged during the first half of the twentieth century.84
Particularly important was the revival of interest in the role of the guitar as a
connection to Spains pre-Romantic past. With the neoclassical aesthetic becoming a
leading trend in modernist music, guitarists and composers influenced by Falla began
to explore Spains musical past, and in doing so, rediscovered the importance of the
guitars role in current musical trends.
Spains Golden Age: historical allusions in significant neoclassical works
The modern guitar, with its historical resonances and modern repertoire, was
the perfect neoclassical instrument. In the first decades of the twentieth century its
ancestors, particularly the vihuela de mano (or simply vihuela), the five-course
Baroque guitar, the six-course Classical guitar, and the Romantic guitar attracted
renewed attention. It is widely believed that the Spanish guitars earliest ancestor is
the vihuela. Luis Miln (c1500-c1560), to whom Rodrigo pays tribute in his
Zarabanda Lejana (1926), published the first book of vihuela music in 1536 entitled
El Maestro. This was significant for the instrument as there was little existing
literature dedicated to the vihuela prior to the books publication. In addition to
providing repertoire collected for the vihuela, El Maestro included detailed instruction
on the art of playing it.85
The five-course Baroque guitar evolved at the turn of the sixteenth century
and became widely known throughout all of Europe as the Spanish guitar. Zaragoza
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
81
Christoforidis and Piquer Sanclemente, Modernist Representations, 2.
82
Ken Murray, Manuel de Fallas Homenajes, (Honours diss., University of Melbourne, 1990), 12.
83
84
Murray, Spanish Music and its Representations in London, 138-139.
85
Tyler, The Early Guitar, 15-22.
! 19!
priest Gaspar Sanz (1640-1710) published his Instruccin de Msica Sobre la
Guitarra Espaola in 1674; a comprehensive tutorial and repertoire book for the
instrument. With its second edition published in 1675, and a third published later that
year, this book was unique in that it contained huge amounts of information on
tuning, forming chords, left and right hand technique, metre, and ornamentation.86
Michael Christoforidis work indicates that Falla saturated himself with the music of
Gaspar Sanz and other Baroque guitarists for El Retablo, with Sanzs works present in
early sketches.87 Rodrigo also pays tribute to Sanz in his Fantasa para un
Gentilhombre (1954), which will be discussed at length in Chapter 3.
The harpsichord was another plucked instrument that, along with the guitar,
saw a revival in the early decades of the twentieth century. The harpsichord has a rich
history in greater Europe and in Spain through the keyboard sonatas of Scarlatti.
Wanda Landowska, for whom Fallas El Retablo harpsichord part and the
Harpsichord Concerto were composed, was an important figure in the revival of the
harpsichord.88 Landowska was closely linked to the work of the French composers of
the early twentieth century and the Schola Cantorum in Paris where she taught.89
In these early decades of the twentieth century, Spanish composers had begun
to create connections between the modern guitar and the plucked instruments that
were commonplace in pre-Romantic Spain. Much like Debussy with Rameau and
Ravel with Couperin, younger Spanish composers like Rodrigo following in the
footsteps of Falla were deeply attracted to pre-Romantic composers and instruments.
These trends informed their development of a distinctly Spanish neoclassical
aesthetic, and the guitar was at the forefront of this movement.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
86
James Tyler, The Guitar and its Music (New York: Oxford University Press, 2002), 148-153.
87
Hess, Falla and Modernism, 209. For a detailed discussion on the sources Falla used for El Retablo,
see Christoforidis, Aspects of the Creative Process.
88
Mark Steinberg, Review: Some Observations on the Harpsichord in Twentieth Century Music,
Perspectives of New Music, 1, no. 2 (1963), 189.
89
For more information on Landowskas relationship with Schola Cantorum, see Annegret Fauser,
Creating Madame Landowska, in Women and Music: A Journal of Gender and Culture 10 (2006): 1-
23.
! 20!
Pioneers in the development of the classical guitar: Llobet, Barrios, Segovia,
Sainz de la Maza, and Pujol.
In addition to the modern guitars connections to Spains rich musical past,

Pedrells theories on the fusion between the cultivated and the popular became
influential in the guitars revived status. Fallas early twentieth-century works such as
La Vida Breve (1904), El Amor Brujo (1914), and Siete Canciones Populares
Espaoles (1914) are prime examples of the reconciliation of nationalism, with
influences from folkloric and popular music, with modern music aesthetics.90
Falla was also closely connected to the Spanish guitar. His move to Granada
in 1920 was facilitated by the Granadine guitarist and composer Angel Barrios (1882-
1964) with whom he spent numerous nights playing music in his home.91 It was
during these meetings that Falla workshopped his only solo guitar work Homenaje
Pour le Tombeau de Claude Debussy (1920) with Barrios, composed for Miguel
Llobet. Always treating the guitar very seriously, Falla believed that it was an
instrument of the past with a very rich tradition which was peculiarly suited to
modern music due to its tuning in fourths, with a third in the middle.92 The guitars
timbre resembled the purity and clarity of pre-Romantic instruments, such as the
harpsichord and vihuela, and evoked the musical idioms prevalent of these periods.
This cemented its role of bridging the cultivated and the popular, as well as the past
and the present.93
The programs presented by guitarists in this period also reflected the trend of
looking to the past in order to establish an identity in the present. Andrs Segovia
(1893-1987), who included arrangements of Bach in his repertoire, began surpassing
any previous guitarist in popularity. The international success of his performances
coincided with the wake of Fallas stylistic shift as seen in El retablo and The
Harpsichord Concerto.94 A key figure in the dissemination of the guitars
bourgeoning repertoire, Segovias commissions allowed the guitar to develop a
position in a cultivated setting internationally through his frequent and popular tours.
Segovia commissioned the first work composed by non-guitarist Federico Moreno
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
90
91
Trend, Manuel de Falla and Spanish Music, 39.
92
Ibid.
93
94
Ibid., 6.
! 21!
Torroba (1891-1982). Torrobas Suite Castellana (1920), followed closely by Fallas
Homenaje for Llobet, was innovative in its evocation of folk and flamenco guitar on
the instrument itself. This approach was adopted by other Spanish composers, most
notably Joaqun Turina (1882-1949) and Rodrigo.95
Similarly, guitarists such as Regino Sainz de la Maza (1896-1981) had

developed friendships with many young composers, including Rodrigo, of whom
Zarabanda Lejana (and later his Concierto de Aranjuez of 1939) was dedicated. A
key guitarist for members of the Generation of 1927 and Grupo de los Ocho, Sainz de
la Maza was also the dedicatee of Julian Bautistas Preludio y Danza (1928) and
Gustavo Pittalugas Homenaje a Matteo Albeniz (1930). Rodrigos Zarabanda Lejana
was edited and published by Emilio Pujol (1886-1980), whose work predominantly
involved arranging and publishing vihuela and Baroque guitar works for the modern
guitar.96
As discussed in this chapter, the beginnings of Rodrigos compositional career

coincided with the flowering of Spanish neoclassicism, and a revival of interest in the
guitar and other historical plucked instruments. The modern guitar, developed in the
second half of the nineteenth century, came to represent a bridge between the
cultivated and the popular, and the past and present. For many of the composers of
Rodrigos generation, the guitar was an instrument that was quintessentially Spanish,
and created links between the present and Spains rich musical past.
Falla led the way with his Homenaje, which inspired younger composers to
explore the possibilities of writing for the guitar. Torroba, Turina, Bautista, Pittaluga,
and Rodrigo all wrote significant solo compositions for the guitar during this period.
These composers worked closely with guitarists such as Llobet, Segovia, Sainz de la
Maza, and Pujol in order to gain a deeper understanding of the possibilities and the
limitations of the instrument.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
95
Aaron Clark, Federico Moreno Torroba, 110-112.
96
For Pujols publications, see Bibliothque de Musique Ancienne et Moderne pour Guitare by French
publisher Max Eschig.
! 22!
CHAPTER 3:
Rodrigos Neoclassicism on the Guitar
Zarabanda Lejana: Rodrigos first solo guitar piece
Composed as a tribute to the Renaissance vihuelist Luis Miln, the aesthetics

of Zarabanda Lejana (1926) combines modern musical elements with historical
allusions. Although Miln composed no sarabandes, Rodrigos linking of the pre-
Romantic dance, a Spanish composer from the Siglo do Oro, and on an instrument
vastly considered to be a modern link to the past is a reflection on the neoclassical
trends that preoccupied Spanish composers during the 1920s.
The trend of guitarists looking to expand the instruments repertoire directly

affected Rodrigos compositional development. Zarabanda underwent a series of
arrangements and revisions under various performers and for various instruments. It
was composed initially for guitarist Regino Sainz de la Maza who premiered it on the
guitar in 1928,97 but it wasnt published for the guitar until years after its realisation.
Its piano arrangement was the first to be published in 1930 with a premier
performance in Paris on the piano by Joaqun Nin Culmell.98 It then underwent an
orchestral arrangement that was published in 1932 with an additional piece attached
to it, entitled Zarabanda Lejana y Villancico, with its first performance in March
1931, in Paris conducted by Jane Evrard.99 Zarabanda Lejana was finally edited and
published for guitar under Pujols Bibliothque de Musique Ancienne et Moderne
pour Guitare by French publishing company Editions Max Eschig in 1934, with the
French title Sarabande Lointaine.
Pujol met Rodrigo in the same year of the Zarabandas genesis.100 He was one
of the first guitarists to have performed Fallas Homenaje a Debussy composed for
Miguel Llobet.101 His interest in Rodrigos guitar work is therefore unsurprising. As
the resurrection of interest in Bach and pre-Romantic music was intimately linked to
Fallas neoclassicism of the 1920s, Pujols musicological efforts aligned with the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
97
Yolanda Acker and Oscar Espla, Ernesto Halffter: A Study of the Years 1905-46), Revista de
Musicologia 17, no. 1 (1994), 106.
98
Ibid.
99
Zarabanda Lejana y Villancico (1927-30), accessed August 20, 2015, http://www.joaquin-
rodrigo.com.
100
Murray, Spanish Music and its Representations in London, 232.
101
Murray, Manuel de Fallas Homenajes, 14.
! 23!
trends of the time. His work in uncovering, editing, and publishing these pre-
Romantic works for the modern guitar allowed a range of pieces to be rediscovered
and made accessible to guitarists. Pujol encouraged Rodrigo to write for the guitar
and had significant influence on the later repertoire he wrote for the instrument.102
The work of Sainz de la Maza, Llobet and Pujol had implications for Segovia,
whose career and reputation as the most prominent Spanish guitarist on the
international stage was just beginning to take shape in the 1920s. Segovia met
Rodrigo in Paris in 1929 and although Zarabanda was not composed for him, he was
the first to record it in 1954.103 Sainz de la Maza, to whom the Zarabanda was
dedicated, also became the dedicatee of Rodrigos famous Concierto de Aranjuez
(1939). Fantasa (1954), the other work to be discussed, was a partial tribute to
Segovia.104
i) Discussion of stylistic elements with reference to neoclassical trends
The process of re-arrangement that Zarabanda went through was common,

especially for guitar works in this period. Fallas Homenaje (1920) first appeared as
the guitar piece seen in La Revue Musicale.105 It was published as a piano piece by
Chester in 1921, and later published in 1926 for solo guitar by Chester, edited by
Miguel Llobet. Homenaje was finally arranged and presented in the orchestral
Homenajes suite, first performed in 1939 and published posthumously in 1953.106
This trend can also be seen in Bautistas arrangement of Preludio y Danza, composed
in 1928 for Regino Sainz de la Maza and published by Unin Musical Espaola in
1933. Its piano arrangement was published in 1935.107
Typical of neoclassical works of the late nineteenth and early twentieth

century, Rodrigo incorporates pre-Romantic elements into Zarabanda Lejana.
Regarding the choice of form and the title, earliest literary references to the sarabande
originate from Latin America in 1539. Despite it now being associated with
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
102
Wade, Distant Sarabandes, 9-11.
103
Brunswick AXTL 1069. Wade, Distant Sarabandes, 11.
104
A survey of the literature indicates speculation that the dedication of Zarabanda Lejana and
particularly the Concierto de Aranjuez to Sainz de la Maza displeased Segovia. This may be linked to
Rodrigos decision to dedicate Fantasa para un Gentilhombre (1954) to him, with Segovia being the
titular gentilhombre. Wade, Distant Sarabandes, 22-23.
105
Supplement 2, La Revue Musicale, Paris: 1920.
106
Murray, Manuel de Fallas Homenajes, 14.
107
Preludio y Danza, accessed September 15, 2015, http://www.julianbautista.com.ar.
! 24!
characteristics of solemnity, and processional seriousness,108 it was banned in Spain in
1583 for its crudeness.109 The dance was often accompanied with the guitar, castanets,
and potentially a range of other percussive instruments, as well as by a text with a
refrain. The characterization of an intense, serious affect, set in a slow triple meter,
had begun to appear in the mid to late Baroque period in France and Germany and
became characteristic features of the sarabande in this period. Spanish Baroque
guitarists Gaspar Sanz and Lucas Ruiz de Ribayaz wrote zarabandas for the guitar.110
At this early point in his compositional career, Rodrigo had limited

understanding of the technical limitations and possibilities of the guitar. This can be
seen in the amount of revisions in Pujols publication of Zarabanda and the
difficulties guitarists still face in performing this edition of the piece. Introduced with
a single melody on A, the onset emphasises the rhythmic movement of the stately
Baroque sarabande, followed by an instantly recognisable tonality as the melody
enters on appoggiaturas atop a D major chord, seen in example 2A, measures 3 and 4.
Much like the limited melodic range in the second movement of Fallas Harpsichord
Concerto, the melody centres on few notes and is repeated throughout the piece (see
ex. 2B, measure 1 of section 1).111
EX. 2A: m. 3-4 (Pujols edition) of Zarabanda Lejana112
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
108
Louis Horst, Pre-Classic Dance Forms (New York: Kamin Dance Publishers, 1960), 45-48.
109
Richard Hudson and Meredith Ellis Little, Sarabande, Grove Music Online. Oxford Music Online.
Oxford University Press, accessed August 28, 2015.
110
Ibid.
111
One motive of the Lento movement is intervallically related to Pange lingua, canonically used in
octaves throughout the movement. Another motive is intervallically related to plainchant, seen in its
stepwise motion. Carol Hess, Sacred Passions: The Life and Music of Manuel de Falla (New York:
Oxford University Press, 2005), 160-161.
112
!Joaqun Rodrigo, ed. Emilio Pujol. Zarabanda Lejana, Guitar score (Paris: M. Eschig, 1934), 1.!
! 25!
EX. 2B: mvt. II, s. 1 of Harpsichord Concerto simplified motif.113
This is also comparable to the limited melodic range in some styles of Spanish
folk music such as cante hondo, in which there is often repetition of the same note
accompanied by an appoggiatura from above or below, the range rarely exceeding the
compass of a sixth.114 Additionally, Rodrigo evokes distance while maintaining its
unique and modern impression, seen by the modern harmonies composed over the
rhythmic framework of a sarabande. There is limited use of functional harmony and
each major or minor chord contains added notes and semi-tone clashes, as do many
dominant 7 chords scattered throughout.
Translated into English as distant sarabande, this short piece immediately

evokes a dignified Baroque dance as well as distance in both the historical allusions
and in use of dynamics. This links with Stravinskys characterization of the
instrument as one that does not sound little: it sounds from afar.115
ii) Analysis of selected passages or sections
A Baroque sarabande generally begins on the downbeat and has an emphasis

on the second beat of the bar. It usually ends on the second beat and is often divided
into two parts of eight and twelve measures.116 Rodrigos Zarabandas overall form is
in two even parts consisting of the D major (49 measures) and D minor (44 measures)
sections. The phrases within these sections can be cleanly divided into two varying
ones: the first of ten bars after the opening rhythm on A and the second of eight which
contains a slight two-bar modulation to the subdominant (G major) at its beginning.
The D minor section can also be divided into two varying phrases, the first consisting
of ten measures and the second of seven as seen in the table below:
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113
Manuel de Falla. Concerto per clavicembalo, flauto, oboe, clarinetto, violino e violoncello, mini
score (Paris: M. Eschig, c1928), 17.
114
Trend, Manuel de Falla and Spanish Music, 23-24.
115
Wade, Distant Sarabandes, 11.
116
Louis Horst, Pre-Classic Dance Forms, 45-48.
! 26!
Figure 1.
Section Measures Phrase
D major 13 Opening rhythm on A
D major 4 13 (10 bars) Phrase One: Rit. at end
D major 14 23 (10 bars) Phrase One: slight

variation of Phrase One by
use of harmonics. Minor
difference in bar 17 18
compared to bar 7 and 8.
Rit. at end. Tempo at start.
D major (modulation to G 24 31 (8 bars) Phrase Two: slight

major) modulation into
subdominant (G major)
before plagal cadence
reinforcement between
bars 29 31). Tempo at
start.
D major 32 41 (10 bars) Phrase One: Rit. at end,

NO Tempo at start.
D major 42 49 (8 bars) Phrase Two exact replica
D minor 50 59 (10 bars) Phrase Three: Rall. at end
D minor 60 69 (10 bars) Phrase Three exact

replica
D minor 70 76 (7 bars) Phrase Four
D minor 77 86 (10 bars) Phrase Three exact

replica
! 27!
D minor 87 93 (7 bars) Phrase Four slight
variation; addition of Rall.
towards end of phrase and
a harmonic before end of
the cadence in bar 92.
As the structure and the phrases of the piece is simple with little variation,
much of the focus is directed towards the simplicity of the melody and the weight of
the harmony. Performers need to be wary of the symmetry and simplicity of the
structure. Trying to force or manipulate phrasing with excessive rubato may lead to a
distortion of the composers intentions.
A comparison of Rodrigos original manuscript and Pujols edition indicates

that extensive editing was necessary in order for Zarabanda to be realised on the
guitar. Rodrigo was a pianist and much of his writing for guitar, particularly in his
early years of writing for the instrument, needed to be adapted in consultation with a
performer. Some of the editing had implications for Rodrigos intended harmonies.
Voicings were often changed or thinned out for the guitar, however, in some cases
Pujol added to Rodrigos harmony (see ex. 3A where a D major chord that is changed
in Bar 51 to a Dadd9). In some cases, Pujol had to omit notes from Rodrigos
harmonies in order to make them playable for the guitarist. This can be seen in
measure 28, in which Pujol removes an F from the original chord (see ex. 3B).
EX. 3A: m. 51 (Pujols edition). EX. 3B: m. 28 (Pujols edition).
Pujol117 Rodrigo118 Pujol119 Rodrigo120
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
117
Rodrigo, ed. Pujol. Zarabanda Lejana, 2.
! 28!
Some of the editing maintains the harmony but changes the voicings. Pujol
spreads out the voices and includes wider intervals so as to include as much of the
guitars natural resonance as possible. In some cases, Rodrigo originally wrote
impossible voicings and stretches for the guitarist, for example during the D minor
modulation at the halfway point of the piece, measure 50 (see example 4A). The
original manuscript shows that most chords have to be played as barre chords, as seen
in measure 33 of ex. 4B. Pujol has edited his edition to allow the guitarist to play a
repetitive C minor chord in a more idiomatic way.121
EX. 4A: Pujols edition of Zarabanda Lejana, m. 50-59.122
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
118
Joaqun Rodrigos original manuscript was provided to me through email by Rodrigo musicologist
Javier Surez-Pajares on September 17, 2015.
119
120
Rodrigos original manuscript provided by Surez-Pajares on September 17, 2015.
121
Although Pujols version indicates that you do have to hold barre chords, the way he fingered the
chord structures allows guitarists to remove the barre chords. Perhaps he was simply indicating the
position in which to play the chord, and this was an editorial error.
122
Rodrigo, ed. Pujol. Zarabanda Lejana, 2-3.
! 29!
EX. 4B: Rodrigos original manuscript of Zarabanda Lejana, m. 33-41.123
Pujols removal of notes in Rodrigos harmonies involves the repositioning of

certain notes an octave lower or substituting some notes for others in order to have as
many open strings as possible. This, in addition to making the piece easier for the
guitarist, also allows the instruments natural resonances to be exploited. While
Rodrigos original manuscript includes the switching of a 3/8 metre to 3/4 and back
between measures 50-59, the 5/8 rallentando measure in 58 was an addition in Pujols
edition. This change subtly affects the phrasing of this passage.
Two commonly used editions of this piece exist; one edited by Pujol (1934)
and the other by guitarist Pepe Romero (1993). Pepe Romero and his family were
close friends and collaborators with Rodrigo.124 Both editions are quite similar, with
only a few exceptions. Some of these changes Romero has made in digitation appear
to be a publishing mistake as they are rather arbitrary. In measures 25 and 43,
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
123
Rodrigos original manuscript provided by Surez-Pajares on September 17, 2015.
124
Clark is currently completing the manuscript of a new book, Los Romero: The Saga of an
Andalusian Family of Guitarists. See Walter Aaron Clark, accessed November 24, 2015,
https://music.ucr.edu/faculty/.
! 30!
Romeros version includes some disparity with these measures that are exact replicas.
Measure 43 includes the use of the second finger instead of keeping it barred down as
it appears in measure 25. In measures 26 and 44, Romeros version again contains
disparity; both are exactly the same, yet measure 44 has the same fingering as in
Pujols version, with the second finger on the C instead of the third in measure 26
(see excerpt 5A and 5B). These latter measures (25, 26, 43, and 44) could potentially
be a publishing mistake, and it is recommended that the performer maintains
consistency by using one set of fingerings as in Pujols edition.
EX. 5A: Romeros edition, m. 26.125 EX. 5B: Romeros edition, m. 44.126
Other changes in digitation that Romero has made address some of the
difficult stretches and shifts. In measures 9, 19 and 37, Pujols edition includes a
fourth finger on the A on the 4th string, whereas in Romeros version the stretch is
from the first finger on the A on the 3rd string. In measures 71 and 87 Romeros
version uses the second, third and fourth fingers to play F, D, and B on strings 2, 3,
and 4. Pujols edition uses the second, fourth, and an open B instead of a 4th string B,
ustilising more of the natural resonance of the guitar.
iii) Implications for performance
One of the main challenges for the guitarist in this piece is maintaining a
legato line when there are so many chords and position changes. This makes it
difficult to convey the intimacy and subtlety of expression inherent in the piece.
Challenging areas in which maintaining legato and resonance and navigating difficult
chordal spreads in both the left and right hands would be in the 5/8 bars in measures
58, 68, and 85 (see excerpts 2A and 2B). This irregular metre, combined with the
largest chordal spread in the right hand throughout the piece, a cadance, and a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
125
Joaqun Rodrigo, ed. Pepe Romero. Zarabanda Lejana, guitar score (Madrid : Ediciones Joaqun
Rodrigo, 1993), 2.
126
Ibid., 3.
! 31!
rallentando means that performers will need to take careful consideration of Rodrigos
intention. Specifically labelled 5/8, performers need to ensure that they do not
unintentionally transform the bar into a 6/8 metre with a hemiola rhythm due to the
placement of the rallentando. In order to effectively execute this combination of the
modern (irregular time meter) and the traditional (ensuring the maintenance of a
stately cadence), performers will need to carefully consider the melodic reinforcement
of the F note, which appears twice before the cadence, and finally sees that the section
rests there.
It is in the phrase markings on the score of both Pujol and later Romeros
version that the Baroque sarabande affect is highlighted the importance of the long
phrases is indicated by a slowing of tempo towards the ends of each phrase as marked
in the table above. It is in the chord voicings where Rodrigos lack of experience in
writing for the instrument and its limitations is revealed. The delicate nature of these
phrases built on simple melodies and coloured by modern harmonies is clearly
marked throughout the score by various indications: ritardando, tenuto,
rallentando, and the return to tempo which displays itself at the ends and
beginnings of most phrases. It is not easy to obtain these subtleties of line and
dynamic on the guitar and the performer must ensure that Rodrigos markings are
observed and the chord changes are achieved with maximum possible legato. Creating
sensible fingerings may help in achieving this aim. For example, the performer might
utilise the third finger on the F (instead of second as recommended by Pujol and
Romero), fourth finger on the third string D, and an open B in order to maintain as
balanced a hand as possible. This use of an open second string not only allows
performers to take breaks between difficult stretches, but also explores the natural
resonance and sonority of the guitar that was admired so greatly by Falla and so
carefully considered in his Homenaje.127 It is important for performers to find
moments like this as frequently as possible in Zarabanda Lejana.
Both of these editions show that some editing needs to be undertaken; while
each note and its place on the guitar is attainable by the guitarist, many of these
chords are made up of five or more notes that cannot be played unless the guitarist
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
127
Michael Christoforidis, Manuel de Fallas Homage to Debussy and the Guitar, in Journal of Music
Research 3 (1992): 3.
! 32!
rolls the chord, employs chicito (fifth finger) or leaves out notes. Examples of this can
be seen in the following measures:
EX. 6A:128 EX. 6B:129
m. 28 containing a Bb add 6 add raised m. 29-31 containing five-note
4 and a five-note A dominant 7: D major tonic chord:
EX. 6C:130 EX. 6D:131
m. 58 containing an Eb Major m. 72 containing an E dominant

6 chord resolving to F major 7 add 6 chord:
Careful consideration must be given to how to play these chords as the

Zarabanda relies on rich harmony that may be disguised if all of these chords are
rolled or strummed. Key ways to achieve this would be, as the digitation of Pepe
Romeros edition suggests, to play the two lowest notes of these chords with the
pulgar (thumb) to give the illusion of it being played all at once. An alternative to this
would be to employ the use of the chicito, but this would mean that many of the
melody notes typically played by the annular (ring finger) may lose depth and fullness
if the guitarist is not accustomed to using this finger. My preference is of the former
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
128
129
Ibid., 2.
130
Ibid., 2.
131
Ibid., 3.
! 33!
option, but players will have to ensure that the heaviness that could come with this
technique is monitored at all times.
Another consideration is the spread of the chords in the right hand. While
easily transferable to the piano, these dense harmonies are limited in its positioning on
the guitar; guitarists will find that they will have to spread the fingers quite
unnaturally in order to ensure that these notes provide an ample foundation upon
which the melodies sit. Examples of this can be seen quite consistently throughout the
entire piece. It therefore might be required of the performer to move some notes down
or up an octave in order to maintain musical fluidity that might be hindered by non-
idiosyncratic compositional elements.
Many recordings of instrumentalists performing prominently in the early

decades of the twentieth century, such as violinist Fritz Kreisler (1875-1962), violinist
Jascha Heiftez (1901-1987), and Spanish cellist Pablo Casals (1876-1973),
demonstrate the influence of nineteenth century performance approaches. A more
modern approach was taken by other instrumentalists such as renowned Spanish
pianist Ricardo Vies (1875-1943), who adopted a style based on close attention to
details of rhythm and nuance in the score.132 Segovias 1954 recording of Zarabanda
Lejana is in line with the more expressive romantic tradition of interpretation. Later
recordings of Zarabanda Lejana, particularly by Manuel Barruecos version in
1997,133 utilise far less freedom and tonal contrast. Use of ponticello (playing close to
the bridge of the guitar for a bright sound) and sul tasto (playing over the fretboard for
a warm sound) is used rather extensively in Segovias recording in comparison with
more recent recordings such as Barruecos. Current performers should consider these
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
132
Ricardo Vies was a Catalan pianist who was a leader in premiering new music between 1900 and
1930. He is considered a key proponent of piano works of his French, Spanish, Russian and South
American contemporaries. An ardent advocator of contemporary music, Vies played works that many
of his contemporaries did not attempt. He premiered Debussys Estampes in 1904 and Ravels first
piano works, including the Menuet antique, Pavane pour une infante dfunte. (With the pavane a dance
popular in the courts of Spain during the sixteenth and seventeenth centuries, links can be made in this
piece to Milan and Spains siglo do oro.) Ernesto Halffter composed Llanto por Ricardo Vies for him
and pianist Joaqun Nin Culmell, who gave the first performance of the piano arrangement of
Zarabanda Lejana in 1931, was his student. Other composers Vies premiered works for in Paris
include Albniz, Balakirev, Borodin, Castelnuovo-Tedesco, Chausson, Debussy, Dukas, Falla, Faur,
Glazunov, Granados, Lalo, Mussorgsky, Poulenc, Ravel, Rimsky-Korsakov, Rodrigo, Satie,
Tailleferre, and Turina. David Korevaar and Laurie J. Sampsel, The Ricardo Vies Piano Music
Collection at the University of Colorado at Boulder in Notes 61, no. 2 (2004): 361-364.
133
Warner Classics, 56175, 1997.
! 34!
different approaches and decide what approach they would like to adopt when
performing Zarabanda Lejana.
Fantasa para un Gentilhombre: The revival of neoclassicism as a restorative

movement after the Spanish Civil War
With a twelve-year gap between Zarabanda Lejana (1926) and Rodrigos next
solo guitar piece En Los Trigales (1938), it is apparent that his writing style and
knowledge of the guitars capabilities had evolved. Although his 1939 composition
Concierto de Aranjuez catapulted Rodrigo to huge critical acclaim and remains one of
the most played concerti of the twentieth century, Rodrigo then took a fifteen-year
gap before composing another concerto for the solo guitar. In the interim he focused
on solo guitar pieces and wrote Tiento Antiguo (1942), Tres Villancicos (1952), and
Bajando de la Meseta (1953); as well as composing concertos for other instruments
such as the Concierto Heroico for piano and orchestra (1942), Concierto de Esto for
violin and orchestra (1943), Concierto in Modo Elegante for violoncello and orchestra
(1949), and Concierto Serenata for harp and orchestra (1952).
The political and cultural climate in 1954 was still recovering from the
devastating Spanish Civil War that took place in the 1930s, with Francoist Spain well
established by this point. During this period, much of Europe was operating under
right-wing political systems. Neoclassicism had begun to assume the role of a
dehumanised and archaic aesthetic, which was seen to be a direct opposition to the
countrys Fascist and religious state.134 Falla and Stravinsky, renowned for their
religion, were in the states favour; the Right-wing press highlighting the intense
religious affect of their compositions of the 1920s despite the initial association with
the archaic.135 Rodrigo came to be one of the few leading figures in composition after
the Spanish Civil war. There was a clear shift in aesthetics in his works; one that
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
134
Many of the younger composers belonging to the Generation of 1927 and Grupo de Ocho were
involved in the cultural programs of the Left-wing governments of the Second Republic of the 1930s.
These composers were either exiled from the country or left and never returned. Eva Moreda-
Rodrguez, Early Music in Francoist Spain: Higini Angls and the Exiles, in Music and Letters 96,
no. 2 (2015): 209-227.
135
By the mid-1930s, Stravinsky had explicitly linked his aesthetics and political views to his religious
beliefs. His anti-Communist remarks meant that critics writing in the Right-wing press emphasised the
intense genuineness of his objective Religious expression. Christoforidis, Igor Stravinsky, Spanish
Catholicism and Generalsimo Franco, 63-64.
! 35!
moved from a modernist neoclassicism to the neoromanticism which influenced many
successful composers immediately following the Civil War.136
i) Stylistic elements with reference to neoromantic trends
The Fantasa para un Gentilhombre (1954) is a work composed for Andrs

Segovia and is suggestive of neoclassicism, alluding once again to pre-Romantic
music, Baroque guitar works, dance styles, and composers. While Rodrigos
Zarabanda Lejana (1926) was a tribute to vihuelist Luis Miln, in Fantasa Rodrigo
chose to tribute Baroque guitarist Gaspar Sanz. Rodrigos use of Sanzs material is in
stark contrast to the way he referenced Miln, and indeed in the way Falla used
Sanzs material. Rather than making allusions to Sanz, Rodrigo heavily relies on his
material and develops his melodies and harmonic movements in a way that remains
quite true to the source. In many ways, this use of material removes the piece from
neoclassicism and is reminiscent of neoromantic trends. This is seen in the stylistic
shift in the music of composers who combined elements of neoclassicism with a more
romantic approach to orchestration and harmony such as Italian composers Ottorino
Respighi (1879-1936) and Ildebrando Pizzetti (1880-1968).137 In Spain there was a
gradual decline of interest in the modern neoclassical aesthetic after the Spanish Civil
War and Rodrigos Fantasa is evocative of restorative sentiments that may have been
influenced by the constrictions of Francoist Spain.138
The work consists of four movements that are based on six of Sanzs works,
taken from his three-volume Instruccin de msica sobre la guitarra Espaola (1674,
1675, 1697). The six compositions of Sanz Rodrigo draws on are Villanos, Fuga 1
por primer tono al ayre Espanola Espanoleta, La Cavallera de Npoles con dos
Clarines, Danza de las Hachas, and Canarios. The following table indicates where
Sanzs material placed in each movement of the Fantasa:
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136
Eva Moreda-Rodriguez, A Catholic, a Patriot, a Good Modernist: Manuel de Falla and the
Francoist Musical Press, in Hispanic Research Journal 14, no. 3 (June 2013), 224.
137
Respighis music was free of nineteenth century mannerisms; sensitive to objective music. Towards
the middle of the twentieth century, a number of significant composers including Respighi, Pizzetti,
and Riccardo Zandonai (1883-1944) were forced to modify their creative position due to political
pressure. These composers signed a document which proclaimed opposition towards objective music.
Gnter Berghaus, ed. Fascism and Theatre: Comparative Studies on the Aesthetics and Politics of
Performance in Europe, 1925-1945 (Providence: Berghahn Books, 1996), 271.
138
Moreda-Rodriguez, A Catholic, a Patriot, a Good Modernist, 221.
! 36!
Figure 2.
Movement Rodrigos Fantasa para un Gaspar Sanzs works

Gentilhombre
1 Villano Villanos, Book 2, page 6
1 Ricercare Fuga 1 por primer tonoal ayre

Espanola, Book 1, page 16
2 Espaoleta Espaoleta, Book 2, page 5
2 Fanfare de la Caballera de Npoles La Cavallera de Npoles con

dos Clarines, Book 2, page 12
3 Danza de las Hachas Danza de las Hachas, Book 2,

page 3
4 Canario Canarios, Book 1, page 8
La Cavallera de Npoles con dos clarines translates to the cavalry of

Naples with two trumpets, referring to a fanfare. Danza de Las Hachas represents
an aristocratic dance performed at monarchical events and theatrical presentations.
The hacha (torch) was passed around from person to person so that everyone was
able to share dance partners equally.139 Canarios is an instrumental composition that
is danced by performing with powerful and snappy movements of the feet. It is in
four-measure phrases, and is set to an improvisatory and varied feel, with performers
freely repeating and contrasting phrases on the spot.140 Rodrigo did not place the
material from Sanzs six pieces in the same key, as in a Baroque suite.141 Instead he
kept true to Sanzs tonalities, combining contrasting dances in each movement.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
139
Frank Koonce, The Baroque Guitar in Spain and the New World (Mel Bay Publications: Frank
Koonce Series, 2006), 29.
140
Ibid.
141
David Fuller, Suite. in Grove Music Online. Oxford Music Online, accessed November 27, 2015,
! 37!
ii) Analysis of selected passages or sections
Fantasa para un Gentilhombres first movement Villano y Ricercar begins in

the key of A major (like that of Sanzs Villanos), yet moves consistently throughout
the piece in a D major tonality, as indicated by the numerous G indications. As the
movement progresses to the Ricercare, it takes on an A minor tonality before
modulating to D minor and enjoying a harmonic movement from the new tonic to the
subdominant, before finally cadencing on the tonic major. The second movement,
Espaoleta y Fanfare de la Caballera de Npoles begins in A minor, just like Sanzs
Espaoletas. Likewise, the second part of the second movement, built on Sanzs La
Cavallera de Npoles con dos clarines, is also established in a D major tonality; the
third movement, Danza de Las Hachas, is in F major; and the fourth movement,
Canario, is in D Major. It can be seen here that Rodrigo use of the source material in
his concerto remains strictly connected Sanz, which provides Rodrigo with an
established harmonic and melodic framework to vary, contrast, and build upon.
The version edited by Andrs Segovia is the only available published

edition.142 Receiving outstanding acclaim worldwide, initially the Fantasa was seen
to be on par with the Concierto de Aranjuez, and requests were made for the piece to
be arranged for different instruments.143 The edition is far more guitaristic and easily
realisable on the guitar when compared to Zarabanda Lejana of thirty years earlier,
and even more idiomatic than Concierto de Aranjuez. The guitarist would find that
the concerto sits very easily under their fingers, with frequent use of open strings, and
the dialogue between the orchestral and virtuosic passages allowing the guitarist to
rest.
The opening, with the guitarist gently strumming the chords, sits on very
familiar chords to a folk guitarist. While there is use of barre chords interspersed
throughout the concerto, they are all tonal in nature, and act as the harmonic backbone
of the orchestral melody. Rather than having to reach for some difficult stretches as
seen in Zarabanda, chords like F major, C major, D minor etc. are frequently used
(see ex. 7).
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
142
Joaqun Rodrigo, ed. Andrs Segovia. Fantasa para un Gentilhombre, reduction for piano and
guitar score (London: Schott, 1964).
143
Donis, The Musicologist behind the Composer, 75. There is a flute and orchestra arrangement
performed by James Galway in 1978.
! 38!
EX. 7: Opening chord progression in Danza de las Hachas, mvt. III, no. 12.144
Of particular note would be the virtuosic, scale-like passages. The second

movement, Espaoleta y Fanfare de la Caballera de Npoles, contains a section in
which the movements initial theme is varied. In this section, the guitarist is moving
through many passing notes based on the Espaoletas melodic structure, yet
Segovias edition explores the instruments natural resonances with the inclusion of
many open notes and string crossings; a technique that is unique to the guitar and seen
in many modern guitar transcriptions of Baroque guitar music, as in example 8.
EX. 8: Espaoleta y Fanfare de la Caballera de Npoles, mvt. II, no. 9 with

included left hand fingerings.145
The most difficult scale passages are in the final movement, in which the
guitarist spans three octaves in a five-measure semiquaver run, seen in excerpt 9.
However, the key and the possibility of using some open strings make the passage
playable with practice.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
144
Joaqun Rodrigo, ed. Andrs Segovia. Fantasa para un Gentilhombre, reduction for piano and
guitar score (London: Schott, 1964), 6.
145
Ibid., 4.
! 39!
EX. 9: Canario, mvt. IV, no.16.146
iii) Implications for performance
Melodically and harmonically, Rodrigo remains very faithful to Sanzs

original transcriptions. The melody alternates between the soloist and the orchestra.
When the orchestra plays the melody, the guitarist can play the chords in one of three
ways: to pluck, strum as a percussive rasgueado using x a m and i,147 or to strum
using a sweeping motion with the thumb (p)/roll the chord using p i m and a. The
markings in Segovias edition indicates appropriate places to strum, but does not
designate when to use a sweeping motion and when to use rasgueado.
In Villano y Ricercar, guitarists would opt to use the sweeping strum motion
with the thumb in order to create a full and present tone. As the movement is rather
slow to moderate in tempo, guitarists want to aim to create as resonant a sound as
possible, and a percussive rasgueado can be used. One such place could be between
measures 26-28:
EX. 10: Villano y Ricercar, mvt. I, m. 26-28.148
This slow strumming is contrasted with the second movements Fanfare de la

Cabellera de Npoles, in which the lively nature of the piece, marked by sul
ponticello, forte, and molto ritmico, indicates a brighter tone imitating that of a
brass section in a fanfare. Many of the chords are marked with sforzando and an
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
146
Ibid., 9.
147
Rasgueado refers to a finger strumming technique commonly used in flamenco guitar music. There
are several ways to execute this technique, with many different finger patterns. It is rhythmically
precise and rapid.
148
Ibid., 1.
! 40!
accent, so guitarists would be wise to use a rasgueado technique in order to match
this percussive notation. In passages like the one shown below, guitarists will need to
be wary to not let the percussive effects completely drown the melody. For this
reason, it is recommended that the index finger is the one that follows through,
allowing the m or a finger to play any passing melodic notes.
EX. 11: Espaoleta y Fanfare de la Cabellera de Npoles, mvt II, no. 10.149
The third movement, Danza de las Hachas, is of similar nature to Fanfare.

With a fortissimo opening, guitarists would want to aim for a percussive affect, and
consider to roll the chords during the melodic parts as seen in Ex. 4.
Ornamentation is written in for Fantasa. True to the stylistic use of

ornamentation in Baroque music, Rodrigo includes these flourishes in his score, with
the ornaments and rhythm strictly notated. This gives the piece an improvisatory feel
without having the freedom this might imply.
EX. 12: Villano y Ricercare, mvt. I. Demi-semiquavers as ornamentation.150
In light of the political climate of Spain in the mid-1950s, the nature of

neoclassicism and how it was viewed had changed. No longer linked to avant-garde
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
149
Ibid., 5.
150
Ibid., 1.
! 41!
modernism, Fantasa departs from modern neoclassicism and into a style that is
perhaps closer to neoromanticism. This has implications for performers and casts
Segovias 1958 recording in a new light. The use of rubato and extensive contrasts in
tone colour featured in his performance style may be heard as faithful to the
neoromantic aesthetic implied in Rodrigos works.
! 42!
CONCLUSION
In response to what many Spanish composers considered a lack in a cultivated

musical language, a surge of nationalism took place at the end of nineteenth-century
Spain. Researcher and composer Felipe Pedrell lamented the lack of an authentic
Spanish musical language and developed theories based on his research that would
allow Spain to be placed on Europes map in cultivated art-music. His followers, most
notably Granados, Albniz and Falla, took the initial steps in realising these theories.
Concurrently, a rise in musical nationalism took place in France, which was partially
a result of growing political tensions with Germany. Different schools of composition
began to emerge with the aim of creating a musical language independent of
Germanic Romanticism. Pre-Romantic music served as models for many composers
in the burgeoning neoclassical movement and Stravinsky consolidated and expanded
aspects of this style in his works, turning the aesthetic into one of the leading
modernist styles following World War I.
Manuel de Falla, a follower of Debussy, was heavily influenced by

Stravinskys neoclassical aesthetic in the 1920s. Falla developed neoclassicism in
Spain in such a way that laid the foundations for innovation for many Spanish
composers after him. Fallas work challenged the powerful representations of what
was perceived as authentic Spanish music that had come to exist throughout the
nineteenth century. Joaqun Rodrigo and other Spanish composers of the next
generation followed Fallas path and sought to develop style of distinctly Spanish
neoclassicism further. His career coincided with the revival of the Spanish guitar; an
instrument that throughout the 1920s became to be considered the perfect neoclassical
instrument. The guitar became iconic as a synthesis of the past and the present, the
popular and the cultivated. Following the work of Falla, younger composers such as
Rodrigo had begun to compose for the guitar, including those belonging to the
Generation of 27, and Grupo de los Ocho. This was enabled by the strong support of
guitarists such as Llobet, Barrios, Sainz de la Maza, Segovia, and Pujol.
In this thesis, I have explored how the neoclassical movement prior to and
following the Spanish Civil war affects current guitarists interpretation of two of
Rodrigos solo guitar works: Zarabanda Lejana and Fantasa para un Gentilhombre.
Zarabanda Lejana is Rodrigos first solo guitar work and one of the earliest works of
! 43!
his career, and is deeply connected with the modernist neoclassicism that revived
Spain musical life in the early decades of the twentieth century. In the thesis, I discuss
implications for guitarists who intend to perform this piece through a discussion of
musical aesthetics relevant to the conception of the work and a comparison of
recordings. I also conduct an analysis of the different editions of Rodrigos score
including Rodrigos original manuscript, Pujols edition published in 1934, and
Romeros edition published in 1993. Many notable performers working in the early
decades of the twentieth century, including Segovia, applied a romantic performance
aesthetic to neoclassical works. In my thesis, I argue that performers need to be
informed about these choices and consider details of rhythm, phrasing, tone colour
and legato with care. There is also much to be learnt from studying the various
versions of this piece including the original manuscript and arrangements for piano
and orchestra. As Rodrigo was unfamiliar with the guitar at the time of writing
Zarabanda Lejana, the piece requires some editing to make it work on the guitar. I
argue that guitarists consider deviating from some recommendations in digitation in
existing editions like Pujols and Romeros and revoice chords where necessary and
embrace the use of open strings for resonance.
I also discuss Rodrigos development from modernist neoclassicism to post-

Civil War neoromanticism. Fantasa para un Gentilhombre, composed for Segovia in
1954, is representative of a different aesthetic and is indicative of Rodrigos
developed understanding of the guitar. Heavily using and developing works from
Baroque guitarist Gaspar Sanz, Fantasa is different to earlier modernist neoclassical
works such as Preludio al Gallo Maanero (1926) for solo piano and Zarabanda
Lejana (1926) for solo guitar. Many composers operating under right-wing political
parties in Europe moved away from an objective, dehumanised neoclassicism toward
a trend of composing in a neoromantic style. As Rodrigo was one of the most high
profile composers active in Francoist Spain following the Civil War, this is
particularly potent in Fantasa. This is an area ripe for further research, examining the
aesthetic changes in Spanish music from neoclassicism to neoromanticism and the
influence of politics on the work of Spanish composers such as Rodrigo in the post-
World War II era.
! 44!
BIBLIOGRAPHY
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! 45!
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! 48!
Minerva Access is the Institutional Repository of The University of Melbourne
Author/s:
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Title:
The influence of neoclassicism in selected guitar works by Joaqun Rodrigo: implications for
performance
Date:
2017
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The Influence of Neoclassicism in Selected Guitar Works by Joaqun Rodrigo: Implications
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1. Neoclassicism and Spanish Music 8

Spanish music in the nineteenth century 8

Spanish musical nationalism 8

Beginnings of neoclassicism in France: late nineteenth and 10

Neoclassicism in Spanish music: Manuel de Falla and the 14

2. Joaqun Rodrigo and the Early Modern Guitar in Spain 17

Joaqun Rodrigo: his early career and the growing 17

Spains Golden Age: historical allusions in significant 19

Pioneers in the development of the classical guitar: 21

3. Rodrigos Neoclassicism on the Guitar 23

Fantasa para un Gentilhombre (1954): The revival of 35

Example 1a. Maurice Ravel, Forlane theme from Le Tombeau 13

Example 1b. Ravel, Menuet theme from Le Tombeau de 13

Example 1c. Ravel, Rigaudon theme from Le Tombeau de 13

Example 2a. Joaqun Rodrigo, Zarabanda Lejana (1926), m. 3-4 25

Example 2b. Manuel de Falla, Lento theme mvt. II in Harpsichord 26

Example 3a. Rodrigo, Zarabanda Lejana (1926), m. 51. 28

Example 3b. Rodrigo, Zarabanda Lejana (1926), m. 28. 28

Example 4a. Rodrigo, Zarabanda Lejana (1926), m. 50-59. 29

Example 4b. Rodrigo, Zarabanda Lejana (1926), m. 33-41. 30

Example 5a. Rodrigo, Zarabanda Lejana (1926), m. 26. 31

Example 5b. Rodrigo, Zarabanda Lejana (1926), m. 44. 31

Example 6a. Rodrigo, Zarabanda Lejana (1926), m. 28. 33

Example 6b. Rodrigo, Zarabanda Lejana (1926), m. 29-31. 33

Example 6c. Rodrigo, Zarabanda Lejana (1926), m. 58. 33

Example 6d. Rodrigo, Zarabanda Lejana (1926), m. 72. 33

Example 7. Rodrigo, Danza de las Hachas mvt. III in Fantasa 39

para un Gentilhombre (1954), no. 12.

Example 8. Rodrigo, Espaoleta y Fanfare de la Caballera de 39

Example 10. Rodrigo, Villano y Ricercare mvt. I in Fantasa 40

Example 11. Rodrigo, Espaoleta y Fanfare de la Caballera de 41

Example 12. Rodrigo, Villano y Ricercare mvt. I in Fantasa 41

Figure 1. Rodrigo, Zarabanda Lejana structure. 27-28

Figure 2. Rodrigo, Fantasa para un Gentilhombre comparison 37

The culmination of works now understood as neoclassical had its foundations

The methodology for this thesis is based predominantly on the examination

The primary sources I have surveyed reflect an interesting disparity in

For an understanding of the French engagement with Spanish music in the

Neoclassicism overall has a substantial amount of literature devoted to it.

There is a bulk of existing literature surrounding Manuel de Falla and

There is an important body of work in Spanish on Rodrigo by musicologist

There is little scholarly research that exists in English in relation to Rodrigos

Neoclassicism and Spanish Music

Spanish music in the nineteenth century

Throughout the nineteenth century, international audiences turned to concepts

Spanish musical nationalism

Albniz, influenced by Pedrell to consider exploring a nationalist direction in his

Granados was also moved by Pedrells desire to compose in the nationalist

Beginnings of neoclassicism: late-nineteenth-and early twentieth-century -

Throughout much of the nineteenth century, Germanic Romanticism was the

The pioneering work of dIndy represented the aim of Schola Cantorum, an

The first appearances of un nouveau classicisme surfaced in new compositions

The following excerpts (EX. 1) from Le Tombeau de Couperin illustrates how

EX 1B Menuet theme, m. 1-8 oboe.52

EX 1C Rigaudon theme m. 1 8, two clarinets in B flat.53

Neoclassicism in Spanish music: Manuel de Falla and the influence of Stravinsky

As the traits of un nouveau classicisme became more valued by the French,

Falla continued to evolve and his direction ultimately followed that of

This compositional language begun to make its way in compositions such as