Concierto de Aranjuez

)"; and the last movement "recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar."

In her autobiography, Victoria eventually declared that it was both an evocation of the happy days of their honeymoon and a response to Rodrigo's devastation at the miscarriage of their first pregnancy.

[4] 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 United States premiere was given by Rey de la Torre on 19 November 1959, with the Cleveland Orchestra conducted by Robert Shaw.

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.

An off-tonic trill in the guitar creates the first seeds of tension in the piece; they grow and take hold, but relax back to the melody periodically.

[14] Jazz musician Miles Davis reinterpreted the second movement of the work on his album Sketches of Spain (1960), in the company of arranger Gil Evans.

"[15] Columbia, the label that released Sketches of Spain, had not asked the composer for permission to record or adapt his music, and Rodrigo did not learn of the recording until after its release in 1960, when the blind jazz pianist Tete Montoliu, who claimed to have been the first person in Spain to own a copy of the album, played it for the maestro and his family.

[16] Aside from the fact that he, as the composer, had not been asked for permission, “which he considered a violation of moral rights," Rodrigo also tried to block the jazz and pop recordings from being released, before realizing, "In the end, the composer resigned himself to accept the fact that the pop versions reached a far greater public than that of classical music concertgoers, and led to much wider recognition of the original classical concerto for guitar and orchestra, Concierto de Aranjuez.

"[17] In fact, "Rodrigo changed his mind and came to accept the subsequent jazz recordings of his music in part because the legal terms of use were resolved (Ediciones Joaquín Rodrigo now owns the Gil Evans arrangement), but also in part because these versions, far from obliterating the original guitar concerto, have helped disseminate it.

"[18] The composer's wife, Victoria Kamhi, was very harsh in her memoir, however, referring to the Miles Davis recording as "an act of piracy.

"[19] She described how Rodrigo attempted to sue the SGAE in February 1967 in the Palace of Justice for authorizing the transcription of the Concierto for trumpet and jazz, which Davis recorded, but, "we lost the case, for the judge's opinion was that, since Miles Davis' record had granted authors' rights to Joaquín, he had no redress against the SGAE.