A performance edition with critical commentary on Joaquin Rodrigo’s “Invocación y Danza”



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

A performance edition with critical commentary on Joaquin Rodrigo’s “Invocacion y Danza”



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