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Guitar Concerto No.2 "Mudéjar" - Antón García Abríl

Madrid Symphony Orchestra conducted by Antón García Abril. Gabriel Estarellas as the soloist. I - Moderato - Allegro non troppo: 0:00 II - Andante: 7:45 III - Allegro: 17:41 García Abril's Guitar Concerto No.2 was composed in 1985, commissioned by the General Directorate of Music and Theater with occasion of the celebration of the International Year of Music. It was premiered on February 19 of1986 in Baracaldo (Vizcaya), performed by the Bilbao Symphony Orchestra conducted by Enrique García Asensio with guitarist Ernesto Bitetti. It follows the model established by Joaquín Rodrigo best represented in his famous "Aranjuez Concerto" of 1939. The piece is written in an accessible neorromantic language, deeply rooted in the Spanish traditions which is not surprising, considering the Spanish Guitar is seen as the national instrument. The title "Mudéjar" refers to the muslim population who decided to remain in Spain when the christian kingdoms started to reconquer the lands of the caliphate and taifas, culminating with the conquest of Granada in 1492. These muslims were initially allowed to live in segregated neighbourhoods maintaining their religion, language, customs (conditions greatly varied in each different region). However, the increasing pressure on these minorities to either convert to christianism or to abandon the kingdoms led to a series of revolts on the XIII century onwards. By 1502, they were forced to convert or leave Spain in a similar vein with the jews. The impossibility to integrate mudéjares (renamed as "moriscos") led to their forced expulsion in 1609. A highly distinctive mudejar art appeared and flourished between the XII-XVII centuries, which combined elements from christian and islamic arts and techniques. It isn't a unitary artistic style, but has peculiar characteristics in each region, among which the Toledo, Leonese, Aragonese and Andalusian Mudejar stand out. From the Iberian Peninsula, it also travelled to Spanish America. Despite the name, it wasn't exclusive to mudejars, but also practised by many other Spanish artists of different backgrounds. In the XIX century, this style became widely popular and began to be imitated by historicist artists and architects. Anton García Abril, who was born in Teruel, always appreciated the city's mudejar architecture. The first movement begins with a slow introduction dominated by solo guitar, introducing motives and ideas further elaborated later on. The strings enter (the entire piece is scored for string orchestra) and support the soloist. As the tempo accelerates, these melodic cells and motives begin to be transformed and developed in a highly poetic manner. Dialogues, as in the previous guitar concerto, are the main dynamic between soloist and ensemble. A lively and rhythmic coda ends the movement brilliantly. The second movement opens with a deeply lyrical and expressive theme presented by the soloist over sustained strings, anchored on the Spanish music tradition. It is unfolded again in a series of dialogues that leads us to a lyrical second theme. A cadenza for the soloist then begins in the central section, more concerned on expressive nuances than just pure virtuosity. The theme is recapitulated as the strings reappear, leading us to an expressive climax. The opening theme is intimately repeated by the soloist. A gentle coda ends the movement. The third movement begins with a rhythmic and animated theme on strings, greatly influenced by the zapateado, a folkloric dance from Andalusia. Again it is unravelled in a series of dialogues in which the material gradually transforms. A brief, more placid section brings some contrast before the main theme is developed again. A vigorous coda ends the whole work in high spirits. Picture: "Hall of the Ambassadors, Alhambra, Granada" (1909) by the Spanish painter Joaquín Sorolla. Musical analysis written by myself. Unfortunately, the score is not freely available.