The concerto for guitar and orchestra “In the Mariola Mountains” is divided into three movements that evoke different places in the Mariola Mountains (Alicante, Spain):
1. The first movement, entitled “Leaving the ancient square”, is written in sonata form and conjures the solemnity of churches and old monuments that stand in the main squares of towns in the region, as well as the jovial and cheerful nature of its people.
2. The second movement, called “Among olive trees” recreates a walk through the fields where nature takes center stage. On the olive-studded terraces of the Mariola Mountain valley – olives are one of the chief crops of the area –, one feels the bliss of senses stimulated, whetted and refreshed. Standing on one of these terraces, gazing at the golden afterglow of the setting sun as it retreats behind Montcabrer (Mariola’s highest peak), its burnished rays, and their reflection in the whispering brooks all at once enliven the spirit. The concerto’s second movement brings all these aspects of life in nature together and sings their magic as it leads us through the valley.
3. The third movement, entitled “From the Friar’s Rock” is descriptive. Written according to the principles of program music, it recalls a moment in one of the battles waged during the Reconquest in Spain between 722 and 1492. Here this battle is witnessed by a bystander from the top of the Friar’s Rock (a friar-shaped rock at one end of the Mariola Mountain range).
The third movement begins with two calls to assembly and arms. A march follows in which the troops parade and prepare for battle (the guitar presents the martial theme). The constant pedal low note and dissonances reflect the tension of the moment before battle. Echoes of 7 cannon shots are heard in the distance. Rasps of ammunition and clashes of weapons and armor are evoked by “jumping” notes performed by different instruments that accompany the melody. The martial theme is taken up by the orchestra, and a high-pitched second voice over the main theme recalls soldiers’ spirituality and how they entrust themselves to Heaven as they seek protection. Once again, echoes of 7 cannon shots are heard in the distance.
The guitar develops a thematic trope that mimics the captain haranguing the soldiers. Cheers are exchanged between the captain and troops, and together both display their strength for battle. A period of retreat and recounting begins, observed by the bystander from the Friar’s Rock. References to a popular song indicate where the battle will rage, and remind the observer of peacetime. The song is “Uncle Pep goes to Muro” (El Tio Pep se‘n va a Muro), which is presented first in a surreptitious non-explicit way in fugal style, then made overtly explicit while still keeping the fugato pattern.
A sudden interruption holds and tautly strains the tension of the movement, with cheers and harangues exchanged between the captain and his troops. A low repetitive note gives way to a last attempt at dialogue between the two sides; a dialogue full of arguments, retorts, responses and more rejoinders. The dialogue is interrupted by the shouts of the troops, and all the soldiers return to their posts to get ready for battle. The first spears cut through the air. More and more follow, until spears from both directions cover the sky, and the clash of battle between the two sides comes to the fore. The initial theme, presented by the orchestra with fast guitar notes, shows the heat of the moment, and builds until the captain runs atop a hill and waves his flag to declare victory.
