Logo XX Aniversario
On the occasion of celebrating the 20th anniversary of Joaquín Rodrigo’s the death in 2019, we offer a dossier which contains extensive information related to the composer and the present day role of his music worldwide. It includes suggestions for potential commemorative projects, and a detailed description of the work carried out by the Victoria and Joaquín Rodrigo Foundation for the promotion of the composer and his wife, as well as for the protection and projection of his music.

AEDEM exige protección para el ecosistema musical

AEDEM exige proteccion para el ecosistema musical recortado

Más de 90 nombres clave de la industria de la música nacional e internacional asistieron a la XVIIª edición de los cursos AEDEM de formación para editores. La lista de ponentes incluyó a Jules Parker, Director of Publisher and Songwriter relations at Spotify; Victoria Campoamor, Head of Publisher and Society Partnerships (EMEA) para Google Play y YouTube; Janine Lorente, Subdirectora de SGAE; Ger Hatton, Asesora de IMPF Independent Music Publishers Forum, Bruselas; Axel Minaire of G+ Bruselas; Jane Dyball, CEO de la Music Publishers Association UK y Luis Mendo, vicepresidente de AIE.

Durante los tres días que duró el evento se trataron temas como el entorno digital, las iniciativas legales en España así como en el resto de Europa y sobre la influencia de Spotify, Google Play y YouTube en el trabajo de los autores y editores de música. También se discutió sobre la piratería en la música en base a las nuevas cifras del estudio realizado por la Oficina de Propiedad Intelectual de la Unión Europea (EUIPO), publicado el pasado 24 de mayo. Según el informe, 9.1 millones de euros en ventas se perdieron en la industria musical en España debido a la piratería en 2014, convirtiendo a España en el país con mayor índice de piratería de la Unión Europea.

El domingo 26 de junio de 2016 se celebrarán las elecciones generales en España. En vistas a las próximas elecciones y al informe de la EUIPO, AEDEM pide a los Ministros del futuro gobierno que asuman la responsabilidad de reforzar la legislación y hacer cumplir las leyes para proteger los derechos de los autores, compositores y editores, y a todos aquellos agentes del ecosistema musical que están sufriendo graves pérdidas. “Estas cifras ponen de manifiesto no solo el hecho de que España ocupa el ingrato primer puesto como país con el mayor índice de piratería en la Unión Europea, sino también lo difícil que es no solo el crecimiento del sector creativo sino su propia supervivencia. Esto tiene que cambiar”, concluyó Teresa Alfonso, Presidenta de la Junta Directiva de AEDEM.

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First press review of Concierto de Aranjuez, by Xavier Montsalvatge

A work by Joaquín Rodrigo heard for the first time.


...The innovation lies not only in the dialogue between the vihuela and the orchestra, unprecedented to date, but in something more. The scoring for the guitar -according to Regino- is also technically unprecedented, in the same way that the beauty, the construction and the musical procedures of this smalll gem are unheard of, at least since the creation of Manuel de Falla's Concierto para clavicémbalo y orquesta.

Rodrigo's workd shows primarily... great personality of composition. It is really comforting to listen in this case to Spanish music that is free of any influence, even that which emanates from our own land, without in any way trying to break the strong ties linking it to our most profound tradition... On the contrary, we are in presence of music which, like Falla as previously mentioned, brings a luminous solution to the problem of expressing national identity in the art of sounds. No one can deny in Rodrigo's works the existence of a diffuse southern radiance and an ancestral force that is Spanish to the core, projected outwards towards European music and much more effective than that of many works of apparently national seasoning but with narrow foundations, provincial or even local perspectives. And no one can find limitations in the language employed in this music, which is rich and novel in a universally intelligible manner.

The first movement of the Concierto is the one most stepped in the essence of the land. The pronounced rhythm of bulerias, written without the slightest departure from the strictly academic form, sirves as background. The central part is a delightful andante, with an austere theme in the classical manner in which the guitar and the English horn compete in sweet emulation.

This is one of the most blessed passages in the work. The last part returns to lively rhythm and flavourful popular cadences, coming to a perfect conclusion for the Concierto, which on a whole is small in dimensions, but as well proportioned and perfect as a small neoclassical palace.

Extract from the first press review of Concierto de Aranjuez,
Published in Destino, signed by Xavier Montsalvatge, December 1940.



Para cualquier uso del Concierto de Aranjuez en su version original o en cualquier otra version
(sincronizaciones, licencias online, alquiler de materiales, compra de partituras, etc), dirigirse a:

For any use of Concierto de Aranjuez in its original version or any other version
(synchronization license, online license, rental material, purchase
 of scores, etc.) please contact:

Ediciones Joaquín Rodrigo
Tel : + 34 91 555 27 28
This email address is being protected from spambots. You need JavaScript enabled to view it.

Persona de contacto: Cecilia León

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