Spanish composer Joaquin Rodrigo is most famous for his guitar concerto, a piece inspired by the gardens at Palacio Real de Aranjuez in Spain. Rodrigo was a pianist, not a guitarist. Regardless, this concerto is one of the canons of classical guitar literature. Even though he was blinded by diphtheria at the age of three, Rodrigo lived a rich and full life, studying in Paris and other places in Europe.

When he attempted to return to Spain in 1936 after living abroad he was prevented from doing so because of the Spanish Civil War. It was during this time that he wrote this three-movement concerto. Rodrigo is well known for his blending of Classical influence and structure with folk tradition, in a style he himself labeled “Neocasticista,” or “faithful to tradition.” In the second movement you will hear his gift for exquisite melody that has rarely been surpassed.

In talent and prowess, Sarasate was the Spanish equivalent to the famous Italian violin virtuoso Niccolo Paganini. After his first performance at the age of eight, he was hailed as a virtuoso and toured the world, playing his 1724 Stradivarius violin. His flexible left hand was legendary and the smooth, unhindered way he was able to execute difficult passages on the violin was purportedly otherworldly. Because he was a popular touring artist, he helped pique an interest in Spanish music. He arranged several opera fantasies for himself to perform, as is the case with this piece, the Carmen Fantasy, based on the opera Carmen by Bizet.

Even though Emmanuel Chabrier, a Frenchman, was not a full time composer, his España is one of the most popular Spanish orchestral works of all time. His musical gifts surfaced early as a boy in piano lessons, and as an adult his piano skills were actually compared to those of Liszt and Rubenstein. Gifted as he was, the pull of family tradition was stronger. He studied law and was later employed by the Ministry of the Interior as a clerk. Even during his clerking years, his true passion was music, and he continued to compose and foster friendships with other artists like the poet Paul Verlaine and painter Edouard Manet.

In 1880 he resigned from his government position and was finally able to devote all of his time to music. In 1882 he took his family with him on a trip to Spain. With notebook in hand, he visited many cities and absorbed the intense musical atmosphere, feverishly recording in his notebook the complex rhythms and exotic sounding folk music. España is a culmination of his experience while in Spain; the two main themes of the work are directly influenced by his absorption of the Spanish jota and malaguena.

This orchestral showpiece was first performed in 1883 as part of the Charles Lamoureaux concert series in Paris (Lanoureaux was a famous Wagner conductor), and finally gave Chabrier the recognition he both craved and deserved. His music came to have a profound effect on many composers of the early 20th Century. Even Spaniards praised the work. Manuel de Falla wrote, “…I venture to say that no Spaniard has succeeded better than Chabrier in giving us, with such authenticity and genius, the version of the jota as it is ‘shouted’ by the peasants of Aragon…” Indeed, it may have been Chabrier’s very lack of formal training that added to the authentic flavor of the music. Unhindered by set ‘rules” and pre-conceived notions, he was able to confidently work with the gifts Spanish music has to offer.

Sometimes referred to as the “Cuban Gershwin,” Lecuona left his mark as a popular song composer and as leader of a dance band known as “Lecuona’s Cuban Boys.” After his graduation from the National Conservatory in Havana, he toured Europe, Latin American, and the United States extensively. Not only was he a contemporary of Gershwin, his music is similar in that it appealed to a broad audience, bridging the popular and the “classical.”

His Malagueña was originally the sixth movement from his Suite Adalucia, composed for piano after an inspirational trip to Spain. Andalusia, the southernmost part of Spain, is deeply rooted in folklore and Spanish tradition, and is known for its dramatic mountain ranges and snow-white beaches. The malagueña is a traditional style of flamenco from that area. This piece originally became famous through sheet music sales, and since then has been arranged for orchestra, marching band, and other ensembles.

Russians have long been interested in Spanish traditions, since the two countries share many similarities in their folk music traditions. It is not surprising, then, that Rimsky-Korsakov turned to Spain for inspiration. Rimsky-Korsakov hoped his Capriccio Espanole would “glitter with dazzling orchestral color,” capturing the essence and verve of Spanish music. He wrote, “The Spanish themes, of dance character, furnished me with rich material for putting in use multiform orchestral effects. All in all, the Capriccio is undoubtedly a purely external piece, but vividly brilliant for all that.”

Falla was born in Cadiz, Andalusia, Spain, in 1876. Many Spanish composers have made their mark, but de Falla was one of the first to make an impact by translating the Spanish idiom into an orchestral language. While studying in Madrid, he attempted to write for the popular music culture and was unsuccessful. Thankfully, he met Felipe Pedrell, a Spanish composer and teacher who was the head of the Spanish Nationalistic movement in music. He was able to mentor and develop de Falla’s sensitivities, especially in regard to his own Spanish heritage. de Falla then went to Paris for seven years, where he continued to hone his skills, soaking up all Paris had to offer. Consequently, de Falla’s music matured into a mixture of Spanish rhythms, guitar-like idioms, folk references, imagery, and Impressionistic orchestration. It is during this time that he composed his two popular ballets El Amor Brujo (Love, the Magician) and El Sombrero de Tres Picos (The Three-Cornered Hat).

Love, the Magician is based on a Spanish Gypsy tale about a girl whose dead lover will not let her go. She is ready to love another but is continually interrupted by the ghost of her former love. She finally tricks the ghost by distracting him, giving her the moment she needs to exchange a kiss of true love with her new beau. In Ritual Fire Dance, the gypsy heroine dances at midnight to exorcise all evil spirits. The Fire Dance is perhaps de Falla’s most well known piece, and after a few minutes of listening you will know why. It begins mysteriously with a buzzing in the strings, followed by a dance inspired rhythm in the lower instruments. The fiery melody floats over the top, complete with the distinct folk ornamentation evocative of Oriental exoticism.

Although the Three Cornered Hat was premiered in Madrid in 1917, it achieved its true fame when performed by the famous Ballet Russe of Paris in London two years later, with costumes designed by none other than Spanish artist Pablo Picasso. Instead of a folk tale, this ballet focuses on every day life. It is about a Corregidor (who wears a three-cornered hat typical of his rank) who makes overtures to the pretty Miller’s wife. The clever wife manages to stay true to her husband and expose the crafty nature of the Corregidor. The Miller’s dance and the Neighbor’s dance are extracted from the ballet, and are frequently played as stand alone pieces.

Moszkowski was a German pianist, composer, and conductor of Polish descent. His Spanish Dances, which reflect the essence and rhythmic vitality of Spain, were composed originally for piano duet, but were later arranged for orchestra. His music was so popular that he amassed great wealth when he sold the copyrights later in life. Unfortunately, he invested his earnings entirely in German, Polish, and Russian bonds—bonds that lost value completely during World War I. As he aged, his declining popularity and destitute financial situation caused him to become an eccentric recluse.