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Pyruvate dehydrogenase complex
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Pyruvate dehydrogenase complex (PDC) is a complex of three enzymes that converts pyruvate into acetyl-CoA by a process called pyruvate decarboxylation. Acetyl-CoA may then be used in the citric acid cycle to carry out cellular respiration, and this complex links the glycolysis metabolic pathway to the citric acid cycle. Pyruvate decarboxylation is also known as the "pyruvate dehydrogenase reaction" because it also involves the oxidation of pyruvate.
This multi-enzyme complex is related structurally and functionally to the oxoglutarate dehydrogenase and branched-chain oxo-acid dehydrogenase multi-enzyme complexes.
Contents
[hide]
1 Reaction
2 Structure
2.1 Pyruvate dehydrogenase (E1)
2.2 Dihydrolipoyl transacetylase (E2)
2.3 Dihydrolipoyl dehydrogenase (E3)
3 Structural differences between species
3.1 Gram-negative bacteria
3.2 Gram-positive bacteria and eukaryotes
4 Regulation
5 Localization of pyruvate decarboxylation
6 Clinical relevance
7 See also
8 References
9 External links
9.1 3D structures
Reaction[edit]
The reaction catalysed by pyruvate dehydrogenase complex is:
pyruvate pyruvate dehydrogenase complex acetyl CoA
CoA-SH + NAD+ CO2 + NADH + H+
Structure[edit]
Enzymes
Abbrev.
Cofactors
# subunits prokaryotes
# subunits eukaryotes
pyruvate dehydrogenase
(EC 1.2.4.1) E1 TPP (thiamine pyrophosphate) 24 30
dihydrolipoyl transacetylase
(EC 2.3.1.12) E2 lipoate
coenzyme A 24 60
dihydrolipoyl dehydrogenase
(EC 1.8.1.4) E3 FAD
NAD+ 12 12
PDC Mechanism with pyruvate (R=H)
Pyruvate dehydrogenase (E1)[edit]
Initially, pyruvate and thiamine pyrophosphate (TPP or vitamin B1) are bound by pyruvate dehydrogenase subunits. The thiazolium ring of TPP is in a zwitterionic form, and the anionic C2 carbon performs a nucleophilic attack on the C2 (ketone) carbonyl of pyruvate. The resulting hemithioacetal undergoes decarboxylation to produce an acyl anion equivalent (see cyanohydrin or aldehyde-dithiane umpolung chemistry, as well as benzoin condensation). This anion attacks S1 of an oxidized lipoate species that is attached to a lysine residue. In a ring-opening SN2-like mechanism, S2 is displaced as a sulfide or sulfhydryl moiety. Subsequent collapse of the tetrahedral hemithioacetal ejects thiazole, releasing the TPP cofactor and generating a thioacetate on S1 of lipoate. The E1-catalyzed process is the rate-limiting step of the whole pyruvate dehydrogenase complex.
Dihydrolipoyl transacetylase (E2)[edit]
At this point, the lipoate-thioester functionality is translocated into the dihydrolipoyl transacetylase (E2) active site, where a transacylation reaction transfers the acetyl from the "swinging arm" of lipoyl to the thiol of coenzyme A. This produces acetyl-CoA, which is released from the enzyme complex and subsequently enters the citric acid cycle. E2 can also be known as lipoamide reductase-transacetylase.
Dihydrolipoyl dehydrogenase (E3)[edit]
The dihydrolipoate, still bound to a lysine residue of the complex, then migrates to the dihydrolipoyl dehydrogenase (E3) active site where it undergoes a flavin-mediated oxidation, identical in chemistry to disulfide isomerase. First, FAD oxidizes dihydrolipoate back to its lipoate resting state, producing FADH2. Then, a NAD+ cofactor oxidizes FADH2 back to its FAD resting state, producing NADH.
Structural differences between species[edit]
PDC is a large complex composed of multiple copies of 3 or 4 subunits depending on species.
Gram-negative bacteria[edit]
In Gram-negative bacteria, e.g. Escherichia coli, PDC consists of a central cubic core made up from 24 molecules of dihydrolipoyl transacetylase (E2). Up to 24 copies of pyruvate dehydrogenase (E1) and 12 molecules of dihydrolipoyl dehydrogenase (E3) bind to the outside of the E2 core.[1]
Gram-positive bacteria and eukaryotes[edit]
In contrast, in Gram-positive bacteria (e.g. Bacillus stearothermophilus) and eukaryotes the central PDC core contains 60 E2 molecules arranged into an icosahedron.
Eukaryotes also contain 12 copies of an additional core protein, E3 binding protein (E3BP). The exact location of E3BP is not completely clear. Cryo-electron microscopy has established that E3BP binds to each of the icosahedral faces in yeast.[2] However, it has been suggested that it replaces an equivalent number of E2 molecules in the bovine PDC core.
Up to 60 E1 or E3 molecules can associate with the E2 core from Gram-positive bacteria - binding is mutually exclusive. In eukaryotes E1 is specifically bound by E2, while E3 associates with E3BP. It is thought that up to 30 E1 and 6 E3 enzymes are present, although the exact number of molecules can vary in vivo and often reflects the metabolic requirements of the tissue in question.
Regulation[edit]
Pyruvate dehydrogenase is inhibited when one or more of the three following ratios are increased: ATP/ADP, NADH/NAD+ and acetyl-CoA/CoA.
In eukaryotes PDC is tightly regulated by its own specific pyruvate dehydrogenase kinase (PDK) and pyruvate dehydrogenase phosphatase (PDP), deactivating and activating it respectively.
PDK phosphorylates three specific serine residues on E1 with different affinities. Phosphorylation of any one of them renders E1 (and in consequence the entire complex) inactive.
Dephosphorylation of E1 by PDP reinstates complex activity.
Products of the reaction act as allosteric inhibitors of the PDC, because they activate PDK. Substrates in turn inhibit PDK, and thus, reactivating PDC.
During starvation, PDK increases in amount in most tissues, including skeletal muscle, via increased gene transcription. Under the same conditions, the amount of PDP decreases. The resulting inhibition of PDC prevents muscle and other tissues from catabolizing glucose and gluconeogenesis precursors. Metabolism shifts toward fat utilization, while muscle protein breakdown to supply gluconeogenesis precursors is minimized, and available glucose is spared for use by the brain.
Calcium ion has a role in regulation of PDC in muscle tissue, because it activates PDP, stimulating glycolysis on its release into the cytosol - during muscle contraction.
Localization of pyruvate decarboxylation[edit]
In eukaryotic cells the pyruvate decarboxylation occurs inside the mitochondria, after transport of the substrate, pyruvate, from the cytosol. The transport of pyruvate into the mitochondria is via the transport protein pyruvate translocase. Pyruvate translocase transports pyruvate in a symport fashion with a proton, and hence is active, consuming energy.
Upon entry to the mitochondria, the pyruvate is decarboxylated, producing acetyl CoA. This irreversible reaction traps the acetyl CoA within the mitochondria (the acetyl-CoA can only be transported out of the mitochondrial matrix under conditions of high oxaloacetate via the citrate shuttle, a TCA intermediate that is normally sparse). The carbon dioxide produced by this reaction is nonpolar and small, and can diffuse out of the mitochondria and out of the cell.
In prokaryotes, which have no mitochondria, this reaction is either carried out in the cytosol, or not at all.
Clinical relevance[edit]
Pyruvate dehydrogenase deficiency can result from mutations in any of the enzymes or cofactors. Its primary clinical finding is lactic acidosis.[3]
See also[edit]
Pyruvate dehydrogenase deficiency
References[edit]
Jump up ^ Izard T, Aevarsson A, Allen MD, Westphal AH, Perham RN, de Kok A, Hol WG (1999). "Principles of quasi-equivalence and Euclidean geometry govern the assembly of cubic and dodecahedral cores of pyruvate dehydrogenase complexes". Proc. Natl. Acad. Sci. USA. 96 (4): 1240–1245. PMC 15447  . PMID 9990008. doi:10.1073/pnas.96.4.1240. [1]
Jump up ^ Stoops, J.K., Cheng, R.H., Yazdi, M.A., Maeng, C.Y., Schroeter, J.P., Klueppelberg, U., Kolodziej, S.J., Baker, T.S., Reed, L.J. (1997) On the unique structural organization of the Saccharomyces cerevisiae pyruvate dehydrogenase complex. J. Biol. Chem. 272, 5757-5764.
Jump up ^ "Pyruvate dehydrogenase deficiency". Genetics Home Reference. Retrieved March 17, 2013.
External links[edit]
http://www.dentistry.leeds.ac.uk/biochem/MBWeb/mb1/part2/krebs.htm#animat1 - animation of the general mechanism of the PDC (link on upper right) at University of Leeds
Pyruvate Dehydrogenase Complex at the US National Library of Medicine Medical Subject Headings (MeSH)
3D structures[edit]
Zhou, H.; McCarthy, B.; O'Connor, M.; Reed, J.; Stoops, K. (Dec 2001). "The remarkable structural and functional organization of the eukaryotic pyruvate dehydrogenase complexes" (Free full text). Proceedings of the National Academy of Sciences of the United States of America. 98 (26): 14802–14807. Bibcode:2001PNAS...9814802Z. ISSN 0027-8424. PMC 64939  . PMID 11752427. doi:10.1073/pnas.011597698. , bovine kidney pyruvate dehydrogenase complex
Yu, X.; Hiromasa, Y.; Tsen, H.; Stoops, K.; Roche, E.; Zhou, H. (Jan 2008). "Structures of the Human Pyruvate Dehydrogenase Complex Cores: A Highly Conserved Catalytic Center with Flexible N-Terminal Domains". Structure. 16 (1): 104–114. ISSN 0969-2126. PMID 18184588. doi:10.1016/j.str.2007.10.024. , human full-length and truncated E2 (tE2) cores of PDC, expressed in E. coli
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Concierto de Aranjuez
From Wikipedia, the free encyclopedia
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For other uses, see Concierto de Aranjuez (disambiguation).
Monument devoted to Joaquín Rodrigo's Concierto in the city of Aranjuez
Adagio from the Concierto de Aranjuez
Performance in 2012 by Luis Manuel Molina and the Chamber Orchestra "Eternal Music" conducted by Guido Lopez Gavilan (6:04)
Problems playing this file? See media help.
The Concierto de Aranjuez is a guitar concerto by the Spanish composer Joaquín Rodrigo. Written in 1939, it is by far Rodrigo's best-known work, and its success established his reputation as one of the most significant Spanish composers of the 20th century.
Contents
1 Inspiration
1.1 Political context
1.2 Composition
1.3 Premiere
2 Structure
2.1 First movement
2.2 Second movement
2.3 Third movement
3 Interpretations
4 Rodrigo's title of nobility
5 References
5.1 Other sources
6 External links
6.1 Audio
Inspiration[edit]
Royal Palace of Aranjuez
The Concierto de Aranjuez was inspired by the gardens at Palacio Real de Aranjuez, the spring resort palace and gardens built by Philip II in the last half of the 16th century and rebuilt in the middle of the 18th century by Ferdinand VI. The work attempts to transport the listener to another place and time through the evocation of the sounds of nature.
According to the composer, the first movement is "animated by a rhythmic spirit and vigour without either of the two themes... interrupting its relentless pace"; the second movement "represents a dialogue between guitar and solo instruments (cor anglais, bassoon, oboe, horn etc.)"; and the last movement "recalls a courtly dance in which the combination of double and triple time maintains a taut tempo right to the closing bar." He described the concerto itself as capturing "the fragrance of magnolias, the singing of birds, and the gushing of fountains" in the gardens of Aranjuez.
Rodrigo and his wife Victoria stayed silent for many years about the inspiration for the second movement, and thus the popular belief grew that it was inspired by the bombing of Guernica in 1937. In her autobiography, Victoria eventually declared that it was both an evocation of the happy days of their honeymoon and a response to Rodrigo's devastation at the miscarriage of their first pregnancy.[1] It was composed in 1939 in Paris.
Rodrigo dedicated the Concierto de Aranjuez to Regino Sainz de la Maza.
Rodrigo, nearly blind since age three, was a pianist.[2] He did not play the guitar, yet he still managed to capture and project the role of the guitar in Spanish music.[3]
Political context[edit]
In 1939, the Spanish Civil War had just ended, beginning (or continuing, depending on the part of Spain) the Spanish State of general Francisco Franco. A work premiered in Spain in this highly charged environment had to celebrate, or pretend to celebrate, or permit the interpretation that it was celebrating, the current political situation. The celebration of a palace and gardens of a sixteenth-century Habsburg king offered no ideological threat to the Francoist State, and was in harmony with its emerging policy of celebrating Spanish history, conservatively interpreted.[citation needed]
Composition[edit]
Composed in early 1939, in Paris, amid the tensions of the impending war, it was the first work Rodrigo wrote for guitar and orchestra. The instrumentation is unusual: rarely does the guitar face the forces of a full orchestra. Thus, the guitar is never overwhelmed.
Premiere[edit]
The premiere of the Concierto de Aranjuez was held on 9 November 1940 at the Palau de la Música Catalana, in Barcelona. It was performed by guitarist Regino Sainz de la Maza with the Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle.
On 11 December 1940 the concerto received its first performance in Madrid, at the Teatro Español de Madrid conducted by Jesús Arámbarri, with the same soloist. The United States premiere was given by Rey de la Torre on 19 November 1959, with the Cleveland Orchestra conducted by Robert Shaw.
Structure[edit]
This concerto is in three movements, Allegro con spirito, Adagio and Allegro gentile. The first and last movements are in D major, while the famous middle movement is in B minor. Along with the solo guitar, it is scored for an orchestra consisting of two flutes (one doubling on piccolo), two oboes (one doubling on cor anglais), two clarinets in B, two bassoons, two horns in F, two trumpets in C, and strings.
First movement[edit]
The first movement’s 40-measure introduction begins with the solo guitar strumming a three-measure theme in 6/8. The theme is made of tonic, supertonic, and dominant chords and features a flamenco-like hemiola rhythm. As it repeats several times, the tonic chord’s uppermost note gets higher, starting with the third, then using the fifth, the tonic, and the fifth again.
Introduction (guitar)
1st theme (1st oboe and 1st violins)
2nd theme (guitar, D major to E♭ major)
Second movement[edit]
The second movement, the best-known of the three, is marked by its slow pace and quiet melody, introduced by the cor anglais, with a soft accompaniment by the guitar and strings. A feeling of quiet regret permeates the piece. Ornamentation is added gradually to the melody in the beginning. An off-tonic trill in the guitar creates the first seeds of tension in the piece; they grow and take hold, but relax back to the melody periodically. Eventually, a climactic build-up starts. This breaks back into the main melody, molto appassionato, voiced by the strings with accompaniment from the woodwinds. The piece finally resolves to a calm arpeggio from the guitar, though it is the strings in the background rather than the guitar’s final note that resolve the piece.
Introduction (guitar, B minor)
Theme (English horn)
Third movement[edit]
The third movement is in mixed metre, alternating between 2/4 and 3/4. At the beginning of the movement, four-measure phrases containing 9 beats in total are formed from one 3/4 measure followed by three 2/4 measures. As the movement progresses, the metre becomes more irregular.
Theme (guitar, B major)
Interpretations[edit]
The concerto was recorded for the first time in either 1947 or 1948 by guitarist Regino Sainz de la Maza with the Orquesta Nacional de España, conducted by Ataúlfo Argenta, on 78 rpm records.[4] This recording was inducted into the Latin Grammy Hall of Fame.[5] Narciso Yepes then made two early recordings of the Aranjuez, both also with Argenta[6] - one in mono with the Madrid Chamber Orchestra (released between 1953 and 1955),[7] and the second in stereo with the Orquesta Nacional de España (recorded in 1957 and released in 1959).[8] Although Ida Presti gave the French premiere of the Concierto de Aranjuez in 1948,[9] the first female guitarist to record the concerto was Renata Tarragó (1958 or 1959) - who played with fingertips rather than fingernails - accompanied by the Orquesta de Conciertos de Madrid, conducted by Odón Alonso. William Yeoman provides an interesting discographical survey of recordings of the concerto in Gramophone magazine.[10]
Until asked to perform and interpret Concierto de Aranjuez in 1991, the Spanish flamenco guitarist Paco de Lucía was not proficient at reading musical notation, and José María Gallardo Del Rey advised and directed him musically. De Lucía claimed in Paco de Lucía-Light and Shade: A Portrait that he gave greater emphasis to rhythmical accuracy in his interpretation of the Concierto at the expense of the perfect tone preferred by classical guitarists.[11] Composer Joaquín Rodrigo later declared that no one had ever played his composition in such a brilliant manner[citation needed].
At the request of Nicanor Zabaleta, Rodrigo transcribed the Concierto for harp and orchestra in 1974.[12]
A number of musicians have since reinterpreted the work, usually the second movement, perhaps most famously jazz musician Miles Davis in the company of arranger Gil Evans. On the album Sketches of Spain (1960), Davis says: "That melody is so strong that the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets."[13]
Deep Purple played "The Orange Juice Song" (David Coverdale and Jon Lord) on the sessions of the 1975 Come Taste the Band album, which is based around the famous second movement. It appears on the collection Days May Come and Days May Go.
Pre-eminent classical guitarist John Williams has recorded the Concierto numerous times, including on his cd and video THE SEVILLE CONCERT (1993; expanded 2003).
Violinist Ikuko Kawai's version, "Aranjuez", is an upbeat, faster update to the work.
Clarinettist Jean-Christian Michel's transcription of "Aranjuez" has sold some 1,500,000 copies.[14]
Guitarist Buckethead covered "Sketches of Spain" on his album Electric Tears as a tribute to Miles Davis.
Guitarist Uli Jon Roth's version "Air De Aranjuez" can be found on his album Transcendental Sky Guitar.
Bassist Buster Williams performs a solo bass transcription of the second movement of Concierto de Aranjuez on his album Griot Liberté (2006).
The jazz pianist Chick Corea used the beginning of the second movement as an introduction to his composition "Spain". Al Jarreau used the same intro in his arrangement of "Spain" as a vocalese.
A version of the Concierto, influenced by Davis's rendition, was performed by Jim Hall on his 1975 album, Concierto. Hall and his team perform Adagio interspersed with solo improvisations (the track runs over 19 minutes).
Jazz saxophonist Tom Scott performed the second movement on his 1985 release One night – One Day. This is the 2nd movement in entirety
The piece also featured in the film Brassed Off, with Ewan McGregor, and was played by the Grimethorpe Colliery Band.[15] In that film, it is sometimes referred to as the 'Concierto d'Orangejuice.' This is a familiar name in the brass band community (although it is often shortened to 'Orange Juice'); the arrangement they refer to was created by Kevin Bolton.
The Modern Jazz Quartet has several recordings of the Concierto, one with Laurindo Almeida, another on the Last Concert CD and In Memoriam CD. Jim Roberts of Orlando, FL, has two recordings, one with his trio and another with his Saxtet, both very listenable arrangements.
A version entitled "Rodrigo's Guitar Concerto de Aranjuez (Theme from 2nd movement)" was released by the Shadows in 1979.
A version of the Adagio was released as a single entitled "Rodrigo's Guitar Concerto" by Geoff Love, (under the name of Manuel & the Music of the Mountains) in 1976. This reached No. 3 in the British singles chart.
Lebanese female singer Fairuz has also used the music of the second movement on one of her songs "Le Bairut" (To Beirut). Also the Egyptian born Greek singer Demis Roussos used the same music for his song "Follow Me". In 1967, the French singer Richard Anthony brought out a single named "Aranjuez mon amour", with lyrics by Guy Bontempelli.
The Israeli singer Rita also sang a song on her second album that contained the melody of the second movement. The song was titled "Concierto de Aranjuez" or "The Rainbow Song" (Shir Hakeshet), and appeared on her 1988 album Yamey Ha-Tom.
Led Zeppelin's keyboardist/bassist John Paul Jones incorporated parts of the music during an improvisation section of their song "No Quarter" on their 1977 tour.
Electronic musician and composer Isao Tomita performed a version on his 1978 album Kosmos (Space Fantasy).
André Rieu performed the piece accompanied by the church bells of Maastricht in a performance available on the DVD Songs From My Heart.
Egyptian-Italian singer Dalida had a song entitled "Aranjuez La Tua Voce" which employed parts of the melody from the second movement. Her frequent collaborator Nana Mouskouri recorded a German language vocal version "Aranjuez die Tag Vergelht" with Harry Belafonte's instrumentalists.
An arrangement of this piece is played by Takanori Arisawa a few times in a popular children's Japanese animation series, Digimon Adventure.
Singer Summer Watson included a version called "Aranjuez, ma pensée" on her self-titled 2002 debut album Summer.
Japanese Jazz-Fusion drummer Akira Jimbo (better known as a former drummer for groups such as Casiopea and Jimsaku) recorded an arrangement of this tune on the album Jimbo de Cover, which, as implied, is an album containing only his covers of other people's songs.
The Limited Edition Drum and Bugle Corps (1988-1992) used the opening portion of the Adagio movement, dubbed "Spain," as a warm-up piece.
The world famous flamenco guitarist Paco de Lucia performed and recorded Concerto de Aranjuez in 1992. The performance was highly praised by Rodrigo.
Kimiko Itoh created a vocal/blues arrangement entitled "Follow Me" (a reprise of a song originally interpreted by Demis Roussos in 1982) for Ghost in the Shell 2: Innocence.
Herb Alpert's 1979 album Rise contains a track, "Aranjuez (mon amour)" (6:42) on Side 2.
The Cuban classic guitar player Leo Brouwer made a jazz style interpretation of the Concierto with the group Irakere.
Jazz harpist Dorothy Ashby included the composition in her 1984 album Concierto de Aranjuez.
Croatian guitar player Petar Čulić.
Carlos Santana arranged En Aranjuez Con Tu Amor [16]
Rodrigo's title of nobility[edit]
On 30 December 1991, Rodrigo was raised to the Spanish nobility by King Juan Carlos I with the title of Marqués de los Jardines de Aranjuez (English: Marquess of the Gardens of Aranjuez).[17]
References[edit]
Jump up ^ Rodrigo, Victoria Kamhi de (1 March 1992). "Hand in hand with Joaquín Rodrigo: my life at the maestro's side". Latin American Literary Review Press. Retrieved 23 December 2017 – via Google Books.
Jump up ^ Annala, Hannu; Heiki Mätlik (2008). Handbook of Guitar and Lute Composers. Mel Bay Publications. p. 123. ISBN 978-0-7866-5844-2.
Jump up ^ "Joaquín Rodrigo: A Life". Classicfm.com. Retrieved 23 December 2017.
Jump up ^ Michael Macmeeken. "Liner notes for CD,'Concierto de Aranjuez: The Premier Recording.'". Incidentally, Macmeeken gives the date of the premiere of the Aranjuez, by Sainz de la Maza in Barcelona, as Oct. 9, 1940.
Jump up ^ "Latin Grammy Hall of Fame - 2001". Latin Academy of Recording Arts & Sciences. Retrieved 17 October 2014.
Jump up ^ "The Spanish Legacy of Ataúlfo Argenta".
Jump up ^ The World's Encyclopaedia of Recorded Music, Supplement III [Jan. 1953-Dec. 1955].
Jump up ^ "Narciso Yepes and the Concierto de Aranjuez".
Jump up ^ John W. Duarte, "Presti, Ida," in Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians (2001).
Jump up ^ William Yeoman. "Rodrigo's Concierto de Aranjuez: which recording is best?". Gramophone.co.uk. Retrieved 23 December 2017.
Jump up ^ Concierto de Aranjuez on the official Website of Paco de Lucia Archived 25 January 2013 at the Wayback Machine.
Jump up ^ Ann Griffiths, "Zabaleta, Nicanor," in Stanley Sadie (ed.), The New Grove Dictionary of Music and Musicians (2001).
Jump up ^ Shaw, Robert (2008). Hand Made, Hand Played: The Art & Craft of Contemporary Guitar. Sterling Publishing Company, Inc. p. 30. ISBN 978-1-57990-787-7.
Jump up ^ CIDD, France-soir May 2009
Jump up ^ Mayer, Geoff (2003). Guide to British Cinema. Greenwodd Publishing Group. p. 40. ISBN 978-0-313-30307-4.
Jump up ^ Santana Brothers, Track 4
Jump up ^ "Otras disposiciones" (PDF). Boe.es. 31 December 1991. Retrieved 23 December 2017.
Other sources[edit]
Preface to the Ernst Eulenburg edition of the work, EE6785
Duarte, John W., (1997). Liner notes. Rodrigo Concierto de Aranjuez, etc. CD. EMI Classics 7243 5 56175 2 1.
Haldeman, Philip. "Rodrigo: Concierto de Aranjuez; Fantasia para un Gentilhombre". American Record Guide. March–April 1998: pp. 182–183.
Wade, Graham (1985). Joaquín Rodrigo and the Concierto de Aranjuez. New York: Mayflower. ISBN 0-946896-15-1
Graham Wade: The Truth About Rodrigo’s ‘Concierto de Aranjuez’. Classical Guitar, 2015-07-15
External links[edit]
Wikimedia Commons has media related to Concierto de Aranjuez.
Joaquin Rodrigo website
Barbara Heninger's program notes
Press release of SGAE about the preference of the Japanese to the Concierto de Aranjuez (SPANISH)
Commentary on the Third Movement and an Examination of the Meaning of the Concerto – by Robert Antecki
Angelo Gilardino of the Andrés Segovia Foundation of Spain explains about Rodrigo and Segovia
Rodrigo's Concierto de Aranjuez for Guitar, BBC Radio 4 (audio, 30 mins)
Rodrigo’s Concierto de Aranjuez: which recording is best? at gramophone.co.uk (article about the concerto and its various recordings)
El concierto de Aranjuez' de Joaquín Rodrigo at rtve.es (video, Spanish, 30 mins)
Audio[edit]
Video of Adagio by Xuefei Yang (11.1 MB)
Concierto de Aranjuez Synthesizer remake by Phonic Hearing
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Joaquín Rodrigo
Compositions
Concierto heroico (1935–43)
Concierto de Aranjuez (1939)
Concierto serenata (1952)
Fantasía para un gentilhombre (1954)
Concierto Andaluz (1967)
Sonata a la Española (1969)
Concierto pastoral (1977–78)
Concierto como un divertimento (1982)
Related articles
Blind musicians
Musical nationalism
Category:Compositions by Joaquín Rodrigo
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WorldCat Identities
BNE: XX3385542
GND: 300131283
LCCN: n87834153
VIAF: 185515566
Retrieved from "https://en.wikipedia.org/w/index.php?title=Concierto_de_Aranjuez&oldid=857226769"
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Israeli people

values: Concierto de Aranjuez (Dorothy Ashby album)

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values: كونشيرتو دي آرانخويث – Arabic

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