The Invocacidn y Danza of Joaqiua Rodrigo is one of the established masterpieces for the guitar in the twentieth century. It is widely considered to be among Rodrigo’s finest compositions for guitar. This study discusses problems in the execution of the work and attempts to present ways in which to overcome these problems. It also presents a comparison and modlHcation of existing editions of Invocacidn y Danza and explains the complicated gestation of the work. This complex history has raised problems for modem interpreters of the work. It is not clear how and why some decisions were arrived at in the various versions in print
I present here a new performance edition with a critical commentary on Rodrigo’s work. My new edition is largely based on previous editions by: 1) Graciano Tarrago, (which was the first printed edition in 1962), 2) Alirio Diaz (1973) and 3) Pepe Romero (1993). I have attempted to respect the musical content of Rodrigo’s work while at the same time rendering it more accessible to modem guitarists. This edition presents solutions to awkward passages not solved in previous editions. In order to better understand this work. I have examined both the stylistic influences that shaped die compositional language of Rodrigo and his use of Spanish folklore, specifically the flamenco tradition.
Many of my editorial decisions emerge from an understanding of the influence of flamenco on this work. Understanding this flamenco influence reveals much about Rodrigo’s musical intent and guides modem performers’ interpretations of this masterpiece.
Jorge L. Pastrana http://hdl.handle.net/10150/289794