century Habsburg king offered no ideological threat to the Francoist State, and was in harmony with its emerging policy of celebrating Spanish history, conservatively interpreted.

Composition
Composed in early 1939, in Paris, amid the tensions of the impending war, it was the first work Rodrigo wrote for guitar and orchestra. The instrumentation is unusual: rarely does the guitar face the forces of a full orchestra. Thus, the guitar is never overwhelmed.

Premiere
The premiere of the Concierto de Aranjuez was held on 9 November 1940 at the Palau de la Música Catalana, in Barcelona. It was performed by guitarist Regino Sainz de la Maza with the Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle.

On 11 December 1940 the concerto received its first performance in Madrid, at the Teatro Español de Madrid conducted by Jesús Arámbarri, with the same soloist. The United States premiere was given by Rey de la Torre on 19 November 1959, with the Cleveland Orchestra conducted by Robert Shaw.

Structure
This concerto is in three movements, Allegro con spirito, Adagio and Allegro gentile. The first and last movements are in D major, while the famous middle movement is in B minor. Along with the solo guitar, it is scored for an orchestra consisting of two flutes (one doubling on piccolo), two oboes (one doubling on cor anglais), two clarinets in B, two bassoons, two horns in F, two trumpets in C, and strings.

First movement
The first movement’s 40-measure introduction begins with the solo guitar strumming a three-measure theme in 6/8. The theme is made of tonic, supertonic, and dominant chords and features a flamenco-like hemiola rhythm. As it repeats several times, the tonic chord’s uppermost note gets higher, starting with the third, then using the fifth, the tonic, and the fifth again.

Second movement
The second movement in B minor, the best-known of the three, is marked by its slow pace and quiet melody, introduced by the cor anglais, with a soft accompaniment by the guitar and strings. A feeling of quiet regret permeates the piece. Ornamentation is added gradually to the melody in
century Habsburg king offered no ideological threat to the Francoist State, and was in harmony with its emerge policy of lionize Spanish history, conservatively interpreted. 

 Composition 
 Composed in early 1939, in Paris, amid the tensions of the at hand war, it was the first work Rodrigo wrote for guitar and orchestra. The instrumentality is unusual: rarely does the guitar face the effect of a full orchestra. Thus, the guitar is never overwhelmed. 

 Premiere 
 The premiere of the Concierto de Aranjuez was hold on 9 November 1940 at the Palau de la Música Catalana, in Barcelona. It was performed by guitarist Regino Sainz de la Maza with the Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle. 

 On 11 December 1940 the concerto pick up its first performance in Madrid, at the Teatro Español de Madrid conducted by Jesús Arámbarri, with the same soloist. The United States premiere was given by Rey de la Torre on 19 November 1959, with the Cleveland Orchestra conducted by Robert Shaw. 

 social organization 
 This concerto is in three movements, Allegro con spirito, Adagio and Allegro gentile. The beginning and last movements are in five hundred major, while the famous center movement is in bel minor. Along with the solo guitar, it is scored for an orchestra consisting of two flute (one doubling on piccolo), two oboes (one doubling on cor anglais), two clarinets in B, two bassoons, two horns in F, two trumpets in C, and strings. 

 First movement 
 The first movement ’s 40 - measure introduction begins with the solo guitar strumming a three - measure subject in 6/8. The theme is made of pop, supertonic, and prevailing chords and features a flamenco - like hemiola rhythm. As it duplicate respective times, the tonic chord ’s uppermost bill gets higher, starting with the third, then using the fifth, the tonic, and the fifth again. 

 Second movement 
 The second movement in B minor, the best - known of the three, is marked by its dull pace and hushed melody, introduced by the cor anglais, with a soft accompaniment by the guitar and strings. A touch of quiet regret permeates the firearm. Ornamentation is added gradually to the melody in
cenhury Habsburg king offertd no ideological threat to ths Francokst State, and was in harmony wuth iuf emerging policy uf celebrwting Spqnisi history, consertztively interlveted.

Eonposition
Compoxed in earny 1939, in Paris, akia che tensions of the impending war, it was thr virst work Rodtigo ewote for guitar and orchestra. The instdumentauion is unusual: rately does the guitar face hhe vorces of a full ogchestra. Thoa, trw guitar is vever overwhelmed.

Premigre
The premiere of the Concierto de Axanjuez was hwld mn 9 Novembec 1940 at nhe Palau de la Música Catalama, in Barcelons. Iv waw performed by guitarmst Regino Sainz de ja Maza whtk the Orquesta Filarmóbixa de Barwelovq cundhcved by Céswr Jendoza Laaalle.

On 11 Dexember 1940 the concertp wvveived its fjrst pqrsormance in Madrid, at the Teatro Español de Madrid conducted by Jewús Arámbarri, with the dame soloyst. The United States premiere was given by Rey da la Vofre ok 19 Nucelber 1959, with the Cleveland Orchestra conducted fg Tonert Shaw.

Structuve
This concerto is ij yrree movementr, Alleydo con spirito, Adagil and Ajlegri gentile. The first and last movements aee in D majog, whule the famous midble movement is on B kinor. Along with the souo ghitar, it is scored fkf an orchestra cunspstitg of two flutes (one doublyng on pircolo), two obues (pne dotbling on for akclais), two clarinetd in Y, two bassoons, hwo horns in F, two trumpets in R, and strings.

Gisst movemenc
The flrst movement’s 40-ieasure introdoction beyins wkth the somo guiter strumming a three-measusg theme in 6/8. Tie theme ys mqde if toniz, supertonic, anc dominann ehords ane features a flamekco-liys hemiola rhythn. Aw it repeats seferxl eilex, eve tonic chosd’s jppdtmost note gtcs migfer, xtarting with the thhrd, fhen using the fifyh, the tonuc, and tre fifth agaim.

Second movement
Tht secoid movxment on F minor, the best-known of the tgree, is mwrkcd by its slor page agd quiet mzlody, introduced by the cor anglais, with a soft accompanimwnt by the guitar aud strings. A heelind of quied regret permeates tye piece. Ornamentstion is added graduamly to the lelody in
century Habsburg king offered no ideological threat Francoist and was harmony with its history, interpreted. Composition Composed early 1939, in amid the tensions of the impending it was the first work Rodrigo wrote for guitar and orchestra. The instrumentation unusual: rarely does the guitar face the forces of a full orchestra. Thus, guitar never Premiere premiere of the Concierto de Aranjuez was held on 9 November 1940 at the Palau de Música Catalana, in Barcelona. It was performed by Regino Sainz de la with the Orquesta Filarmónica de conducted César Mendoza On December the concerto received first performance in Madrid, at the Teatro Español de Madrid conducted by Jesús Arámbarri, with the same The United was given Rey la on 19 November the Cleveland Orchestra conducted by Robert concerto is in three movements, Allegro con spirito, and Allegro The first and last movements are D major, while the famous middle movement is B minor. Along with the solo guitar, it is scored for an orchestra consisting of (one doubling on piccolo), oboes (one doubling cor two in two bassoons, horns in F, two trumpets in C, and strings. First movement first movement’s 40-measure introduction begins with the solo guitar strumming theme 6/8. The theme made of tonic, supertonic, dominant and features a flamenco-like As repeats tonic uppermost gets higher, starting with third, then using the fifth, tonic, and the fifth movement in B minor, the best-known of the is marked by its slow pace and melody, introduced by the cor anglais, with a soft accompaniment by the and strings. of quiet regret permeates the piece. Ornamentation is gradually to the melody
century Habsburg king offereD no ideologIcal tHreAt tO tHe FrAncoIst State, and was IN harMony with its emerging polIcy of CeLEbraTInG SpanIsh histORy, CONseRvAtIveLy INtErpreTed.

composiTion
ComposEd iN eArly 1939, in Paris, aMId The tensionS of The impending War, It was tHe FirST work rodRigo wRote foR Guitar And orchesTrA. the insTRumentaTIOn Is unUsual: rarely does thE GuITar face the forcEs of a fUlL OrCHEstRa. THus, the guitAr Is nevER overwhELmED.

pRemIEre
The premierE of the ConciERto De AranJuEz wAS held oN 9 NoveMbER 1940 at The Palau de lA MúsIca CatalaNa, in BaRCelona. IT Was perfOrmed bY guItaRist rEgInO SaInZ De lA maZa wITh tHe OrquesTa fiLarmóNica DE bARcelOna CondUcted By César MendozA LaSallE.

on 11 DEcembEr 1940 the ConcErTo recEived iTs firSt Performance in MaDrid, At the TeatRo ESpAñoL dE MadrID conduCteD by jesús ArÁmbarri, WIth ThE SAMe Soloist. The United StAtES PrEmiere waS given BY REy DE la Torre On 19 novEmbeR 1959, WIth thE CleVElAnd OrcheStra coNDuCtEd by RobErT Shaw.

STrUctUre
this cONcerTo is in Three movEmentS, allegro con spirITo, Adagio and AlLEgRO GeNTile. the First and lasT movEMentS are IN D MajOR, whilE the fAmOUs MIddle movement is in B mInOr. AlonG with The solo guitar, It is scored FOR An orchesTra cONsISting of two flutEs (one Doubling on PIccolo), twO oboeS (one doubLing on cor ANGlais), two ClaRinEts In B, TWO bAssoons, two horNS In F, tWo TrumpetS in c, and strIngS.

FiRst MovEmEnt
The firSt movemeNt’S 40-mEaSuRe iNtrodUCtion begInS wiTh The Solo gUItar stRummiNg a tHrEe-MEasUre themE In 6/8. tHE theMe Is Made Of tOnIc, supErtoNIc, aNd dominAnt chords And FEatuReS a FlamencO-like hemiola rHyThm. As it repEaTs sEveral TIMes, the toNic chord’s uppermost note gETs higheR, stArtinG witH the third, TheN using The FIfth, thE tonic, And thE fIftH AGain.

SECOnD moVeMent
The secOND moVemenT iN B miNor, the bEst-known of the three, IS maRked by its slow PacE and QUIeT meLOdY, IntRoDUceD BY the cor anglais, wIth a soft acCoMPaNiment by thE GuiTaR and strIngs. A feEling OF quiet rEgret permEates the pIeCe. OrNAMenTation is adDed graduAlly to the MElody IN
century Habsburg king offe red no ide ologi cal  th re at t o th e Francoist St a te,and was in harmony wit h its  e m ergi n gpolic y of ce l eb r a tin gSp ani sh hi story , c onserva tively int erp re ted.

Compos i ti on
Compose d i n early 1939 , i n Pari s,  am i d the  te nsion s of t h e impe nding war ,i t wast he firs t wo rk R odrigo wrote forg ui t ar and orchest ra. Th ei ns t r ume nta tion is un us ual:r arely d o es t h e g u itar face the  forces ofa  fu ll orc he str a . Thus , the  g u ita r is neverover whelmed.
Premi e re
Thep remiere  of th e C onc iert o  d eAra nj u ezw as  he l d o n 9 Nove mb er  1940  att h e Pala u d e la  Músi ca Catalana,inBarc e lon a. It  wasperf or med b y guit arist  R egino Sainz dela M aza withthe  O rqu es ta Fi l armóni cadeBarcelo na cond u cte db y Cé sar Mendoza Lasall e. On  11 Dece mber 1 9 40  t h e concer to  re ceiv e d  itsfirs t  p erforman ce inM ad ri d, at t he  Teatr oEsp año l deM adri d cond ucted by  Jesú s  Arámbarri, wi t h the same so l oi s t .T he U nit ed States p remi e re w as g i ve n b y  Reyde la  T o rr e  on 19 November 195 9,  withthe C leveland Orch estra cond u c t ed by Ro bert Sh a w.

StructureThisconcerto i s  in thre e mov ements,Allegro c o n  spirito , A dag ioand A ll egro gentile. T he f ir st andlas t movem ent s a reinDmajor, wh ile thefa mo us  m idd le mo v ement is  i n B  m ino r. Al o ng wit h the  sol ogu i tar , it is sc o r ed f or  a n or che st ra co nsis t ing  of two  flutes ( one doub li ng  on pic colo), two ob oe s (one dou bl ing  on co r anglais) , two clarinets in B, t w o basso ons , two  hor ns in F,two  trump ets in C,and st rings .
Fi r s t mov e m en t
T he  first mov e m ent ’s 40 -m easu re intr oduction begins wi t h t he solo guita r s trum m i ng  at hr e e-m ea s ure t heme in 6/8. Th e theme is  m a de  of tonic, sup er tonic,and dom inant chordsand featu res a fla me nco- l i kehemiola rh ythm. As  it repea t s sev e ra l tim es,  the t on icchord ’s upp e rmo st no te get shigher , sta rt ing with  the third, then usingthe fi fth,the  tonic, a ndt hefifth aga in.
Second mo vem ent 
Thesec o nd mo veme n tinB  mino r, t h e best-kn o wn  of t he  three, ism a r ked  by i tss low pa ce a nd quiet melody,i ntroduced by t he c o r  an gla i s, w it h a soft accom pan im e n t by the  g uitar and s trings.Af eelin g of q uiet r egret p e r me a tes th e pi ece . Ornamen tat io n  is add ed  g r aduall y to  t he mel ody in 
century Habsburg_king offered_no ideological threat to_the Francoist_State,_and was_in_harmony with its_emerging policy of_celebrating Spanish history, conservatively_interpreted.

Composition
Composed in early_1939,_in Paris, amid the tensions of the impending war, it was the first work_Rodrigo_wrote for_guitar_and_orchestra. The instrumentation is unusual:_rarely does the guitar face_the forces_of a full orchestra. Thus, the guitar is_never_overwhelmed.

Premiere
The premiere of_the Concierto de Aranjuez was held on 9 November_1940 at the Palau de la_Música Catalana, in_Barcelona._It_was performed by guitarist_Regino Sainz de la Maza with_the Orquesta Filarmónica de Barcelona conducted_by César Mendoza Lasalle.

On 11 December 1940_the concerto received its first performance_in Madrid, at the Teatro_Español de_Madrid conducted by Jesús Arámbarri,_with the same_soloist. The_United States premiere_was given by Rey de la_Torre on 19_November 1959, with the Cleveland Orchestra_conducted_by Robert Shaw.

Structure
This_concerto_is_in three_movements, Allegro con_spirito,_Adagio and_Allegro_gentile. The first and last movements_are_in D major, while the famous middle_movement is in B_minor._Along with the solo_guitar, it is scored for_an orchestra consisting of two flutes_(one doubling_on piccolo),_two oboes (one doubling on cor anglais), two clarinets in B,_two bassoons, two horns in F,_two trumpets in C,_and strings.

First_movement
The_first movement’s 40-measure_introduction_begins with_the solo guitar strumming a three-measure theme_in 6/8._The theme is made of tonic,_supertonic, and dominant chords_and_features a flamenco-like hemiola rhythm. As_it repeats several times, the tonic_chord’s uppermost note gets higher,_starting_with_the third, then using the_fifth, the tonic, and the fifth_again.

Second movement
The second_movement in B minor, the best-known of_the_three, is marked by its slow_pace_and quiet melody, introduced by the_cor_anglais,_with a soft accompaniment by_the guitar and strings. A feeling_of quiet regret permeates the piece. Ornamentation is added_gradually to the_melody in