My Rhapsody on a Spanish Theme grew out of my love of the great Romantic pianist-composers, from Chopin and Liszt up to Rachmaninoff. How I would love to be able to play their music on the guitar! While this is unfortunately a ridiculous dream on many different levels, the idea of composing a guitar concerto in the general language and style of these composers nonetheless began to take shape in my mind, not as an act of kitsch, but rather simply from a sincere desire to write and play a Romantic concerto for guitar (one which, despite its title, is not based on folkloristic elements as most of the well-known guitar concerti are, but rather using the language of the Germanic/Russian tradition). Instead of a proper concerto, the model I had in mind was of a more flexible form--a mixture of variations and traditional concerto form.
The "Spanish theme" of the title is the famous Spanish Romance--probably the most well-known piece for classical guitar. It is a beguilingly simple little tune in even note values, presented first in E minor then in modified form in E major. The melody's simplicity made it well suited to use as the basis for my Rhapsody; it is adaptable to a variety of harmonisations, and its essential motivic features (repeated notes and short scalar figures) are very basic and recognisable.
The work is in three movements. After a brief introduction, the Spanish Romance theme is presented, followed by a variation. A transition by pizzicato strings leads to the allegro theme that makes up most of the work's first movement. This theme is derived from motivic features of the Romance melody, preserving the four repeated notes but altering the original's descending three-note scale into a sequence of descending four-note scale patterns.
The second movement transforms the beginning of the minor theme into the major for an extended melody, first presented by the solo guitar and then developed by the orchestra.
The Allegro scherzando that begins the third movement combines the descending four-note scale with the Romance's three-note scale motif (now rising instead of falling). After this rondo-like section, a solo guitar interlude creates a transition back to a reprise of the Romance tune. The piece then ends with a brief variation which combines the first movement E minor allegro theme and material from the third movement opening, culminating in a presto coda.
Throughout, the roles of the guitar and orchestra are not so much combative (as in many traditional concerti) as they are complimentary, which is just as well since for reasons of volume and sonic frequency the guitar is simply not capable of competing with the orchestra in anything like the way that the piano or violin can.
The Rhapsody on a Spanish Theme is dedicated to a brilliant guitarist and longtime friend, Denis Azabagic, in appreciation of his encouragement and invaluable musical insights and suggestions over the course of the work's composition.
Rhapsody on a Spanish Theme for solo guitar and orchestra
duration: 23'
(solo guitar, 2-2-2-2, 2-2, strings)
[also available in a version for chamber orchestra (reduced strings and single winds)
*** (If you're interested in performing this work, please email me for info on score, guitar part and orchestral parts!)***
The world premier of Alan Thomas' Rhapsody on a Spanish Theme for Solo Guitar and Orchestra proved to be very popular with both the players and audience alike. Alan Thomas indicated that he set out to write a piece based on the powerful romantic style of composers such as Rachmaninov and it is a tribute to his ability as a musician that he was completely successful in his aim.
The resulting work was full of swirling luscious harmonies underpinning broad melodies. It also seemed to include a solo guitar part of great technical difficulty which Alan Thomas sailed through with consummate ease. Certainly worthy of further performances.....Roger Swann's internet review of the premiere