This post is a continuation of an analysis of Concierto de Aranjuez. Be sure to read the first post if you haven’t already, the basic differences in the arrangement are discussed there.
Rodrigo’s original from figure B
The Cor Anglais returns as the strings and Guitar supply the accompaniment. The Guitar provides the forward momentum and the strings provide a harmonic bed, with the First Violins entering later with a high counterpoint.
In Gil’s arrangement, the Flute plays the melody and is harmonised with an Alto Flute and French Horn. The largest change in this section is that Gil has introduced a counterpoint in the bassline, that rises up through the texture and eventually breaks off into accompanying chords.
The high counterpoint line is played by the Oboe and the Trombones provide the bulk of the harmony. There is little change in harmony between the versions.
The Guitar arrives with the highly ornamented melody. The Violas play crotchets and the Contrabass switches to pizzicato to add rhythmic energy.
Gil has the winds and Horns providing the chords with only the plucked Contrabass providing some forward movement. The texture here contrasts with the previous phrase as there is little counterpoint. Miles playing over the glowing winds is a beautiful sound. Note the change in Miles’ melody at the end of the phrase. He plays a long held note, as opposed to the Guitar which needs to repeat the note to keep the note sounding.
The Guitar plays the climatic end to the phrase as the strings and woodwinds take up some of the melody which leads into a modulation.
The Cellos rise out of the mist, followed by the Violins & Violas. The Flute and Oboe conclude the phrase with Horns, Bassoons and strings in support.
Gil swaps the Cellos for the Horns which are joined by the Trombones to conclude the phrase in harmony (similar to the way the main theme was harmonised with Flutes and Horns). The muted Trumpets enter in unison to provide a triumphant answer. Gil also concludes the phrase with the Flute but unlike Rodrigo, doesn’t double it with the Oboe.
Gil diverts away from Rodrigo’s version by composing some new material to lead into the next section. Gil substitutes the final Cor Anglais melody for a new two new parts. A doubled Alto Flute and Harp repeated figure and a swung Bassoon phrase.