Rafael Adame: Concierto clásico

for Guitar and orchestra.

Edited by Byron Fogo, piano reduction by Lilia Vázquez
revised by Manuel Rubio and Joel Almazán
with an introduction by Alejandro L. Madrid

Score and parts. 24+12 pp. $25.95, Presser Order number 494-02446 (EICM-34)

adame.jpgRafael Adame Gómez was born in Autlán de la Grana, Jalisco, on September 11, 1905. In 1923 he moved to Mexico City to attend the National Conservatory of Music where he studied with some of the most important Mexican musicians of that time: Julián Carrillo, Estanislao Mejía, and Gustavo Campa. On December 7, 1924, Rafael Adame became the first guitarist to graduate from the National Conservatory where he studied with Juan Belaunzarán. Adame rapidly gained the admiration and respect of his teachers and fellow students. He joined Julián Carrillo’s Grupo 13, the first group of musicians devoted to the advancement of Carrillo’s microtonal theories and appeared in concert with this group on several important occasions in 1925. In 1928 he received the second prize in cello and a special mention in composition (for his Sinfonía folclórica for symphonic band) in competitions organized by the Comisión Permanente del Primer Congreso Nacional de Música. By 1929 he had also obtained the cello and composition degrees from the National Conservatory of Music.
    rafael.jpgIn July of 1930, while a member of the Cuarteto Clásico Universitario, Rafael Adame offered two recitals at the Anfiteatro de la Escuela Nacional Preparatoria, performing on both the guitar and the cello, and offering his own compositions as well as music by other composers. In the July 19 concert Adame performed his Concierto for guitar and orchestra, with the orchestral part reduced to a piano score by himself. In the second recital, Adame performed the Mexican premiere of the Sonata mexicana of 1923 by Manuel M. Ponce. The concerto was performed again in a well publicized concert on February 5, 1933, at the Anfiteatro de la Escuela Nacional Preparatoria. The historical importance of this concerto is that it precedes the Rodrigo and Castelnuovo-Tedesco guitar concerti by nine years, thus making it the first concerto for guitar and orchestra of the twentieth century.

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