Matthews 1

Devin Matthews
Dr. Davis
Orchestral Literature
15 December 2014
A Brief History of the Guitar Concerto

The history of the concerto for guitar begins less than a century ago. The first guitar

concerto to be performed was the Italian composer Mario Castelnuovo-Tedesco’s Guitar

Concerto No. 1 in D major, Op. 99, premiered by Spanish guitarist Andrés Segovia in October

1939. The primary reason for the comparatively late advent of guitar concerto is the

instrument’s own recent birth as a solo instrument. Although the guitar is, undeniably, an

instrument with ancient roots, the classical guitar’s modern history began during the mid-

nineteenth century with Spanish composer, performer, and pedagogue Francisco Tárrega (1852-

1909). Following Tárrega’s initial popularization of the instrument and contributions to its

repertoire, the guitar continued to gain popularity throughout the twentieth century.

Andrés Segovia (1893-1987) was another key figure in standardizing the classical guitar

as a solo instrument around the world and was tremendously important in the development of the

guitar concerto. Segovia not only premiered some of the most iconic guitar concerti in the

repertoire (several of which were dedicated to him), but he worked closely with the composers—

many of whom were not guitarists—during the compositional process. The collaboration

between composer and performer is a key relationship in the development of the guitar concerto.

Today there are a wealth of concerti for the classical guitar, the most widely known and loved

being the Concierto de Aranjuez by Joaquín Rodrigo (1901-1999). This paper will examine

three of the greatest concerti for guitar: Concierto de Aranjuez, Concerto No. 1 by Mario
 Matthews 2

Castelnuovo-Tedesco, and the Concierto del sur by Mexican composer Manuel Ponce (1882-

1948).

As a musical form, the concerto has its roots in the Baroque era, representing the “climax

of instrumental music” of the age.1 By the eighteenth century, the concerto was one of three types

of instrumental music: the solo concerto (soloist with orchestra), the concerto grosso (multiple soloists

with orchestra), or the orchestral concerto or ripieno (undivided orchestra). Of the three, the concerto

grosso was the earliest predecessor; however, it was the solo concerto which became the most popular

and which developed into the modern concerto.2

The Venetian composer Antonio Vivaldi (1678-1741) was central to the development of the

concerto, with about two-thirds of his concerti written for solo instruments.3 Vivaldi’s concerti are quite

consistently in the three-movement, fast-slow-fast format which had become standard and likely

descended from the Italian opera overture, which shared this design.4 Although the violin was the most

frequent solo instrument in Vivaldi’s concerti, his Lute Concerto in D Major, RV 93 has become a staple

of today’s classical guitar concerto repertoire. The work is in three movements, Allegro, Largo, and

Allegro, and features many simplistic arpeggio figures which transfer easily to the guitar. This concerto

is likely the most important pre-modern work for guitar and orchestra, and is frequently performed today.

The Italian composers Alessandro Stradella (c. 1643-1682) and Arcangelo Corelli (1653-1713)

were very important composers of concerti grossi during the seventeenth century; other important

composers of Baroque concerti were Giuseppe Torelli, Tomaso Albinoni, George Frideric Handel, and

Johann Sebastian Bach. Although many of Bach’s lute works are very frequently played on the guitar

today, he did not write concerti for the lute. Classical composers of concerti included Mozart, Haydn, and

Beethoven—but again, these composers did not write any concerti that are generally played by classical

1
Michael Thomas Roeder, A History of the Concerto. (Portland: Amadeus Press,1994), 23.
2
Ibid.
3
Ibid, 46.
4
Ibid, 38.
 Matthews 3

guitarists today. By the Romantic era the guitar had gained prominence as a solo instrument. during this

period composers like Chopin and Brahms, Tchaikovsky and Rachmaninoff composed a wealth of

concerti for many different instruments. It was not until the twentieth century, however, that the first

concerto specifically for the guitar would be written.

During the years 1938-1939, two of the twentieth century’s most important composers for the

guitar each composed a concerto for the instrument: Spanish composer Joaquín Rodrigo and Italian

composer Mario Castelnuovo-Tedesco. The latter composer’s concerto was performed first, in October

of 1939, in Montevideo, Uruguay. It was performed by Andrés Segovia, to whom it was dedicated.

Segovia, who was friends with the composer, encouraged him to write a concerto for guitar when

he visited the Castelnuovo-Tedesco family in Florence during Christmas of 1938. The composer, who

was of a Jewish background and had been persecuted under the Mussolini regime, sought to move with

his family from Italy. However, because of the tense political climate and travelling complications, he

had not yet been able to do so. Touched by Segovia’s friendship and words of encouragement,

Castelnuovo-Tedesco began work immediately on the concerto for guitar and orchestra: “Castelnuovo-

Tedesco wrote the first movement of the concerto in one sitting, and together they revised it. Segovia,

satisfied, left for Uruguay, where he was living at the time. In January 1939 Castelnuovo-Tedesco

finished the other two movements of the guitar concerto and sent them to Segovia.”5

The concerto is in the typical three movement format; the first, Allegretto, is a tribute to

Boccherini. The movement is in sonata form, with the orchestra presenting the main subject before the

guitar enters. The thematic material is punctuated by the use of the interval of a perfect fourth, the

interval between the open strings of the guitar. The second movement, Andantino alla romanza,

represents the composer’s farewell to Tuscany, and features the juxtaposition of 4/4 and 3/2 time

signatures. The movement is based heavily on canonic imitation, which is a frequent device in

5
Alfredo Escande, Don Andres and Paquita: the life of Segovia in Montevideo. (Milwaukee: Amadeus Press, 2012),
180-181.
 Matthews 4

Castelnuovo-Tedesco’s works. The final movement of the work, Ritmico e cavalleresco (rhythmically

and in a knightly fashion), brings the concerto to a triumphant close: “A brilliant cadenza points the

movement in the direction of a joyous conclusion, and with it that of a gracious, lyrical and luculent work,

in which the deft scoring ensures that the small orchestra never covers the small voice of the guitar.”6

A review of the premier of the Castelnuovo-Tedesco concerto in the Montevideo press described

the magnitude of the event, saying it was “a work awaited with great interest by our public because the

guitar has incorporated for the first time with the entire orchestra… Castelnuovo-Tedesco has composed a

modern, original, and inspired work that gives natural prominence to the guitar…”7 Although it was

written during a period of his life filled with tremendous upheaval and strife due to the political situation

in Italy and his emigration to the United States, Castelnuovo-Tedesco said of his concerto: “Strangely

enough, although it was written at the most tragic period of my life, it is one of my most serene

compositions.”8

Also composed during 1939, the Concierto de Aranjuez by Rodrigo is one of the most iconic

pieces for the guitar ever written, perhaps even the “most successful concerto written for any instrument

in this century.”9 It is so popular, in fact, that it has been arranged for many different combinations of

instruments and voice by both the original composer and others. Named after the Royal Palace of

Aranjuez, near Madrid, the work reflects Rodrigo’s fascination with Spanish heritage and folk music.

The work was dedicated to the Spanish guitarist Regino Sainz de la Maza, by whom it was premiered in

1940. The first movement of the piece, Allegro con spirito, is in the expected sonata form, opening with

the guitar strumming lively chords. The strumming becomes accompaniment as the violins carry the

melody. The movement features hemiola prominently, moving between 3/4 and 6/8 times, and is quite

technically demanding on the soloist, with many fast scale passages.

6
John W. Duarte, 1993, par. 6-8,
http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.550729&catNum=550729&filetype=About%20th
is%20Recording&language=English#
7
Escande, 192-193.
8
Duarte, par. 5.
9
Ibid, par. 1.
 Matthews 5

The lyric, moving Adagio is by far the most well-known movement of the Aranjuez concerto.

Opening with the guitar gently strumming tonic B minor chords (the second movement is in the relative

minor of the home key, D major), the movement features the interplay of the guitar and the cor anglais;

the melody is played first by the cor anglais, which takes on the role of a singer, and then is repeated and

embellished by the guitar. The Adagio features two cadenzas for the soloist and comes to a dramatic

climax, ending on a Picardy third. The final movement, Allegro gentile, is dancelike and spirited (again

featuring juxtaposed time signatures of 2/4 and 3/4), and brings the work to a joyous and peaceful close.

A third work which is vital to the classical guitar concerto repertoire is the Concierto del

sur (concerto “of the south”), composed by Manuel Ponce in 1941. This colorful work is lush

and romantic with a twentieth century edge which is evident in its shifting modalities and

complex harmonies. The three movements are linked by recurring motives, which are

exchanged throughout the orchestra and with the soloist. It also shows the influence of Spanish

flamenco music in some of its rhythms and harmonies as well as techniques for the guitar, such

as the rasgueado method of strumming. Ponce’s colorful orchestration is well-suited to the

vibrant but softer character of the guitar; his use of strings, oboe, clarinet, bassoon, flute, and

horn does not overpower the soloist, but allows for an interesting exchange between the guitar

and members of the orchestra.

The work was dedicated to Andrés Segovia, who played the work at its premier in 1941

in Montevideo. Once more the collaboration between guitarist and composer was central to the

making of this concerto: “…evening after evening, guitarist and composer polished the facets of

this simultaneously dense and transparent work, replete with Latin American melodies and

rhythms. It was at the SODRE, on October 4, 1941, with immense and justified success.”10 The

10
Escande, 15.
 Matthews 6

composer sent his most recent work on the piece to Segovia via mail; the excerpts were quickly

learnt, adjusted if necessary, and sent back. In a letter from Segovia to Ponce written in 1940,

the guitarist said: “The continuation of the Concerto has been received, studied and learnt in the

space of a few hours. If this is not your best work, I don’t know which is! I am mad about what

I have worked so far, and I don’t know what to say to you about it except that I would not like to

die without making such delicious music known.”11

Though there are many more concerti in the repertoire of the classical guitar, the three

works discussed here are perhaps some of the greatest and most popular. Today, composers

continue to write concerti for the classical guitar and orchestra. Central to the compositional

process is the collaboration with the soloist, as frequently the composer is not familiar with the

instrument. For example, the classical guitarist Sharon Isbin has had a total of nine concerti

written for her by modern composers.12 Another example is the contemporary composer

Jonathan Leshnoff’s recent concerto dedicated to and premiered by guitarist Manuel Barrueco

with the Baltimore Symphony Orchestra; the collaboration between the composer and performer

allowed the composition to be both effective and technically feasible.13 Although the guitar is

still a comparatively new instrument and has not had a place in the orchestral world until the past

century, the guitar concerto is a musical medium which continues to grow in popularity with

guitarists, composers, and audiences alike.

11
Corazon Otero, Manuel M Ponce and the Guitar. (Westport: The Bold Strummer Ltd, 1994), 62.
12
Sharon Isbin, “Sharon Isbin: Guitarist” accessed November 23, 2014,
http://www.sharonisbin.com/biography.html
13
Tim Smith, “Baltimore Symphony to premiere Leshnoff guitar concerto composed for Manuel Barrueco” (The
Baltimore Sun) accessed November 23, 2014,
http://articles.baltimoresun.com/2014-01-06/entertainment/bs-ae-guitar-concerto-20140104_1_guitar-concerto-
jonathan-leshnoff-manuel-barrueco
 Matthews 7

Bibliography

Duarte, John W. 1993,

http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.550729&catNum=550

729&filetype=About%20this%20Recording&language=English#

Escande, Alfredo. Don Andres and Paquita: the life of Segovia in Montevideo. Milwaukee:

Amadeus Press, 2012.

Isbin, Sharon. “Sharon Isbin: Guitarist” accessed November 23, 2014,

http://www.sharonisbin.com/biography.html

Otero, Corazon. Manuel M Ponce and the Guitar. Westport: The Bold Strummer Ltd, 1994.

Roeder, Michael Thomas. A History of the Concerto. Portland: Amadeus Press, 1994.

Smith, Tim. “Baltimore Symphony to premiere Leshnoff guitar concerto composed for Manuel

Barrueco” (The Baltimore Sun) accessed November 23, 2014,

http://articles.baltimoresun.com/2014-01-06/entertainment/bs-ae-guitar-concerto-

20140104_1_guitar-concerto-jonathan-leshnoff-manuel-barrueco