If there is a representative work of the guitar accompanied by orchestra, this is undoubtedly the Concierto de Aranjuez, by Joaquín Rodrigo. Since its premiere in Barcelona in 1940, classical guitarists have included it in their repertoire (with the notable exception of Andrés Segovia), being by far the most performed concerto for guitar and orchestra throughout history.

Fifty years after its premiere, the brilliant Paco de Lucía decided to play it, thus opening the way for flamenco guitarists to also incorporate this work into their repertoire, a path that has been followed by some other flamenco guitarists, although the characteristics of the score mean that it is not within the reach of everyone.

Alejandro Hurtado, a guitarist who is well acquainted with both flamenco and classical styles, offers us a new and refreshing version of this marvelous piece. While remaining faithful to the score written by Rodrigo, he contributes his personal criteria in terms of phrasing, dynamics and sonority, giving a new life to this almost centenary score.

Among the most outstanding places where he has performed it are the Teatro Real and the Auditorio Nacional de Madrid, as well as the Gran Teatro de Córdoba, obtaining without exception a warm response from an audience enthusiastic about his interpretation.


Bacarisse, a Spanish composer who went into exile in Paris in 1939, composed in the French city in 1957 his "Concertino for guitar and orchestra", which would eventually become his best known work.

Of the three movements it consists of, the second, "Romanza", is the one that has become the most popular, and is usually performed separately from the rest of the concerto. It is a music full of melancholy, nostalgia and trembling.

Considered by many as one of the most beautiful works in the repertoire of classical music, it is inspired by the feelings inspired in the author by the remoteness of his native country, to which he could not return. Its beauty and expressive force could evoke in any person the memory of past and happy times, which can no longer be relived.

The guitar in this movement goes from having the melodic protagonism, presenting the themes, to being an instrument that accompanies the orchestra, through a series of arpeggiated chords. Only a sensitivity and technique like that of Alejandro Hurtado can extract all its beauty from this music and transmit to the public the feelings it inspires.


The four movements of this concert (fandangos, seguiriyas, alegrías and bulerías) are an orchestration made in 1961 by Federico Moreno Torroba, based on four of the themes that maestro Sabicas had recorded in his album "Flamenco Puro". The curious thing about this concert is that it was never played by Sabicas, but rather the orchestral parts composed by Moreno Torroba and recorded by the Orquesta de Conciertos de Madrid (conducted by the composer himself) were mixed in the studio with fragments from Sabicas' album "Flamenco puro".

Moreno Torroba, well known for his zarzuelas, but also with an extensive work for classical guitar, including concertos with orchestra, leaves us in this work a masterful use of his orchestral skills. Despite the artificiality of the composition, the guitar and orchestra are enhanced, leaving us one of the most interesting pieces for flamenco guitar and orchestra, being the first in this genre.

In this music, Alejandro Hurtado shows us his most flamenco side. With his spectacular mastery of technique, he solves all the complications presented by the works of one of the greatest virtuosos of the flamenco concert guitar. But in addition, he shows us once again his deep knowledge of the resources of the old masters of flamenco, respecting the musical style of the pieces interpreted, always under his personal style.
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