We got an email from Vicente Carillo (besides making his own guitars, he is the luthier behind the Tomatito line of flamencos), and he was very excited that Cañizares had just performed the ‘Aranjuez’ at the Teatro Real in Madrid with the Berlin Philharmonic conducted by Simon Rattle, playing one of Vicente’s guitars. As he put it, a luthier really couldn’t ask for much more. Cañizares (Juan Manuel Cañizares, but everyone just calls him Cañizares) is an amazing flamenco player who toured with Paco de Lucía for years and lately has been nurturing his classical side. He’s kind of an out-there flamenco player (in the best possible way), so for me it’s interesting to hear him go in this direction. Great videos.

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39 Responses to “Cañizares – Aranjuez”

  1. Lawrence Tendler says:

    The concierto de aranjuez is not a flamenco piece ,this Canizares guy has just butchered this music. Flamenco guitarists should stay away from the Aranjuez.

    • Jerzy Skoryna says:

      Music is a universal expretion of the soul and should not be limited or meant to be excluded from anyone. Cheers!!

    • cuchares says:

      You want to write Pepe Romero and tell him the bad news.Segovia’s first teacher was a flamenco guitarist so the story goes.Probably too late for that aside.

    • cuchares says:

      His butchery is non discriminatory.He rapes flamenco w/ equal aplomb.

  2. Lawrence Tendler says:

    John Mclaughlin meets Rodrigo . This version is truly horrible ,trying to jazz up the Aranjuez is so wrong.

  3. Lawrence Tendler says:

    Canizares guitar sounds great though.

  4. Lawrence Tendler says:

    I hope John Williams procures a proper guitar by Vicente Carillo and retires his australian piece of junk .

  5. Lawrence Tendler says:

    I have never tried a guitar by Vicente Carillo in person but he seems to be an excellent guitar maker and somewhat under-rated. His guitars are the spanish guitars at their best.

  6. Lawrence Tendler says:

    The aranjuez is an elegant classical piece evoking royalty ,it is definitely not flamenco nor jazz . Canizares has plenty of fingers and technical facility but his approach to the Aranjuez is vulgar ,I am sorry to say .The Aranjuez is very very difficult ,much more than it appears and even most classical guitarists or more correctly very few classical guitarists get it right ,even the big names.

  7. Lawrence Tendler says:

    Ditto for Paco De Lucia who should stick to doing what he does best and should leave the Aranjuez alone and stay well clear. When Rodrigo praised his version he was just being polite.

    • cuchares says:

      The best recording ever of the Aranujez is arranged by Gil Evans and played by Miles Davis.
      The Paco de Lucia version w/ the Marching band is ghastly.
      When Paco sticks in his silly speed picado run, that is the cap snapper.
      What a cheese ball.He’s colder than John Williams.

  8. Lawrence Tendler says:

    To cuchares : Funny you should say that .Williams playing the Aranjuez always leaves me cold .There is something missing somehow.Although in other music he really shines big time.

    • cuchares says:

      Not being a fan of the banjo I have trouble listening to ol’ steel fingers.
      .I saw a video of him once on PBS where he played Austurias out of time.
      , i was amazed that this is a common problem in the classical world.
      I love Ida Presti.Segovia was a MAN among men.Julian Bream has soul ,the rest,
      well ;to go back
      to,no matter how well a bad piece of music is played on no matter how beautiful a guitar,it’s a non -starter.

  9. Lawrence Tendler says:

    Williams sure plays the banjo well.

    • cuchares says:

      I await the “Dueling banjo” w/ Paco.
      I don’t know why Paco didn’t do it w/ John and Al on that fatefull night in San Fran.

  10. Humberto says:

    When I read the comments (specially the bad ones) about the flamenco guitarist playing classical music, or better saying, giving their approach to the classical guitar music from the flamenco perspective, I can’t help but wonder if this people are some how intimidated by the technique and flamenco caracter that the flamenco artists can offer, after all, they are doing that: giving their interpretation to this piece. Where are the rules or regulations or the laws that govern how the music must be interpreted other than the basic indications on the score? If so then one just one musician would earn the right to play certain pieces and so on, just because some people think that one is the best in this or the other. Personally I think we can only point differences and make our personal choice on what we like best, I can say that I love the concert’s version from Pepe and Angel Romero, as well the one from John Williams, and also the Paco’s version is outstanding, but the last thing that I would do is to say: “this is horrible or this is worst than the other or this one is destroying this and that”. Doing so only reveals the lack of appreciation from this so called “critics” that only base their expressions on their own insecurities. Who gave them the “all knowing” sense and “authority” to say a word in that way about these great artists? Cañizares did it great and again, it is his version and interpretation, as respectable like any other. The composer always welcomed the new interpretations with respect and appreciation. Shame on those bitter ones that can’t extend their art boundaries beyond their little bubble.

    • cuchares says:

      If you like the Paco version that speaks to your taste and sophistication.
      He plays his silly Picado addition .Rodrgo didn’t write that part.
      I guess you might call that an inadvertant cadenza that is his own personal Tourett’s syndrom.
      He can’t seem to help himself as it’s in every piece.
      I also believe that Rodrigo wrote the violins in pitch and simultaneously executed.
      I don’t hear the “Flamenco” part.
      He plays it flawlessly but playing all the notes isn’t the point.
      Perhaps it is to you but that doesn’t make you the “Expert” either.
      Some people don’t like Jesus ;that is the way of the world.

    • cuchares says:

      Maybe you can help me out.
      I like the early Elvis but not the late stuff.Should i just keep quiet about this?
      It’s the same artist but one is terrific ,and the later just a lounge act.
      What should i do?

      Oh wait ,I feel the same about PDL.
      What a conumdrum!

  11. Lawrence Tendler says:

    Humberto ,you do not know what you are talking about.The Aranjuez is neither a modern jazz piece nor flamenco . The number of decent recordings of the aranjuez can be counted on one hand.Very very few guitarists do it justice if any . Please check out Charles Ramirez new recording on Signum Classics label for a masterful rendition of the aranjuez and an example of how it should be played. That is Signum Classics sigcd244 .

  12. Lawrence Tendler says:

    Humberto ,there are no rules as to who can play what .That is the trouble.

  13. Lawrence Tendler says:

    I have been listening to the Aranjuez for decades.My views ? Bream ,struggles to play it from the first note to the last ,he simply did not have the technical facility / fingers .Williams version .a cold fish who puts everything down an octave and just uninspiring and dull .Yepes ,his early recording from the 1950s was very good but later recordings were horrible and eccentric .The Romeros ,flashy and vulgar .One of the most beautiful recordings was an old one by Siegfried Behrend ,it was stylish and musical with beautiful tone .Segovia avoided the aranjuez ,supposedly because it was not dedicated to him exclusively. The Aranjuez was not as big as Segovias’ gigantic humungous ego and arrogance ,or in other words he simply was not able nor good enough to play it well .

  14. cuchares says:

    Gunfight at the Okey Dokey corral:-)

  15. Lawrence Tendler says:

    Check out You Tube : SIEGFRIED BEHREND ALBUM RODRIGO 8:31 for a superior rendition of the adagio from Aranjuez.

  16. Humberto says:

    Well my friends, it seems that cuchares on the comparision of PDL with Elvis is totally out of context, Elvis is a commercial product and PDL is pure art, the first case speaks of the degradation of a product and the second is evolution of art and most importantly: creation, so with that kind of comparisions that you make, well, I have to say that your “taste” and “sophistication” are in a very interesting place. By the way, if you might not like the latter work of PDL or any modern flamenco artist, well, that also speaks of your lack of understanding of the evolution and integration that this art has to offer. You also admit that the notes of PDL concert are in place flawlessly, and that is not the point either, then I guess you know the the real “point” perfectly in order to say it like that. To Lawrence about the rules on the score, that more than being a problem, I would say that precisely that is the beauty in the scores, that space of freedom where the artists can give their interpretations, and I’ll gladly going to check your recomendations. And another thing, do you play something cuchares? I mean, are you musician, guitarist, classical or flamenco?, any thing at all? because if so or not you remind me a little to Segovia, as Lawrence pointed out “Segovias’ gigantic humungous ego and arrogance”.

    • cuchares says:

      Is your first name Payo?
      Paco is a giant Commercial product.
      John and Al was that arte puro?
      The “Jazz” band mucho arte?

      All that ruining of the Cante accompaniment w/ jazz chords.Commercial.
      Entre Dos Aquas is as commercial as it gets.
      The entire Guitar community followed Paco because he made MONEY.(Ie Commercial)
      The evolution of Flamenco?The cante remains the same and the accompaniment went metrosexual.

      Elvis was a backwoods boy that sang gospel.Not too commercial.
      I don’t think you are using your head to think.

    • cuchares says:

      Paco plays every note, kind of like a Dutch marching band @ 1943.

      The point is to play the music

    • cuchares says:

      Wait I know i know!
      Payo Humberto ,whose playing i admire, railled against Flamenco fusion (PDL’s musical treacle)

      So you are just some angry Humberto that can’t tell a joke from a truth.

  17. Humberto says:

    Another thing Lawrence, good that that flamenco artists do not listen to people like you, “stay away from Aranjuez Concert”, yeah, like that is going to happen, and for that matters, the more the better, to all flamenco artists: lets get in to the classical repertoire and give it an improvement with the superb technique that flamenco has to offer!!!!!!!!! It is already happening, good thing indeed.

    • cuchares says:

      I would rather hear Flamencos try to play classical.
      Nothing would hurt the ennui that is Ponce,Brouwer et al.
      Classical players dabble in flamenco harmlessly.

      First Flamenco player would need to read music (Your god PDL had to memorize the Rodrigo because he can’t read music)

      BTW Sabicas did magic w/ classical pieces he arranged (albeit from orchestral music)He was terrific and wonderfully musical

  18. Humberto says:

    Lawrence, on you recomendations, really great musician this SIEGFRIED BEHREND, nice version, struggling in some sections as usual, not very precise on the arpeggios and rasgeados at the end of the cadenza, but yet, nice musicality, some extra notes in the main theme, not respectig measures of the notes before expressing the melody, but still accomplishes his interpretation. Not something that I would prefer over other versions.

  19. Lawrence Tendler says:

    Well why did Segovia never play this most famous composition? And he was the most arrogant SOB ever to play the guitar. Even John Williams will confirm that fact.

  20. Lawrence Tendler says:

    Rodrigo was an excellent composer.Rodrigo did not need Segovia and his bitchiness and arrogance .Rodrigo had a huge hit with Aranjuez and probably made a fortune through it.The arabjuez is not a flamenco piece nor jazz, it is inspired by spain in the time of the Bourbon royalty and the palace of aranjuez.

    • cuchares says:

      I read it was an homage to his stillborn son.

      • cuchares says:

        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. It was composed in 1939 in Paris.[1]

  21. Alessandro says:

    Hi, the videos here do not load, if you want to share excerpts from the Europa Konzert 2011 in Madrid, please feel free to use our trailer, we would be happy to share it!
    The excerpt is available at :



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