Joaquin Rodrigo's famous Concierto de Aranjuez generated throughout the entire world a harmonious passion for the
Study of the guitar. This work was dedicated to Sainz de la Maza and was first played on the twelfth of December 1940. Its interpretation by this genial guitarist brought a great triumph for both performer and composer.
"The Concierto de Aranjuez," says Father Federico Sopena, "is a conclusive, disengaged, and perfect work. It is almost anecdotal in its apprenticeship, which is suggested by the guitar in its dialogue with the orchestra. It gives us almost an unrestricted happiness, but it also brings an ordered and soft personal sadness, a limitless expression, apt not only for the Spanish, but for all hearts."
Andres Segovia, who was born in Linares in 1894, succeeded Tarrega. "He did not become a direct pupil of Tarrega," says F. Sopena, "self dictated, his triumph is, above all, a personal triumph." If the Bach of Cassals carries historical significance in the world of interpretation, Segovia's discovery of particular works for the lute marks the beginning of another revolution. The guitar, a polyphonic instrument, not only adapted music from similar or extinct instruments such as the vihuela, but also violin works as important as Bach's Chacona which are transmigrated into a distinct and very deep beauty.
It is not easy to succeed with the guitar without any picturesque motivation. Only through cultural and social refinement is the mastery of Segovia's music possible. Segovia has incorporated such important names of European and American composers, such as Tannsmann, Villa-Lobos, Castelnuovo-Tedesco and many more. He stimulates continuously all the possible instrumental combinations with the guitar and, above all, rises to such heights as to make the performer and the work inseparable. "There only exist two
great musicians in the world: Cassals and Segovia," said Kreisler, the violinist.
Sainz de la Maza, a single figure in our musical life, a musician and humanist, historian of the vihuela and guitar critic, composer and academician, triumphed at a very early age in Granada, in the Granada of Garcia Lorca, on the twenty-seventh of May, 1920. Of Sainz de la Maza, the poet Garcia Lorca tells us this: "On Thursday, the 20th, there was presented before the public of Granada one of the most interesting artists of Spanish youth, interesting because of his life and because of his art. He is, like Llobet and Segovia, a knight errant who with his guitar over his shoulder, traverses land after land, drinking in the countries and leaving places through which he passes full of ancient melancholy music.
"Regino Sainz de la Maza is, above all, a man full of uneasiness and melancholy. Melancholy like all who wish to fly but realize they are wearing iron shoes; melancholy like he who with full delusion, goes to the grotto of a sorcerer and finds it decorated with English furniture; melancholy like all we who cannot shine with the splendid wings which God has attached to our shoulders. The ideal for Sainz de la Maza is to walk, to see new things and to change horizons. This unending search for life, of enjoying fresh and extraordinary flowers in one's path, is also experienced through art, this passion of removing from the ancient coffins, the Spanish vihuela players of the sixteenth century, where, covered with cobwebs, they slept perhaps the sleep of the forgotten.
"This is what we owe with sincere gratitude to Sainz de la Maza. This great artist of the guitar has joined those who patiently set about discovering an uncovering the ancient Spanish music. It is one double task of the artist and the patriot. These admirable Spanish musicians of the sixteenth century, who saw the birth of the fugue and the canon, and who opened the path which Bach and Mozart were to cross, have awoken in their dusty tombs, thanks to this valiant and passionate young man who makes us look at these ancient flowers through an anxious and vital temperament. The melancholy and happiness of Luis de Narvaez and Mudarra, and the hidden sadness of that delicate artist Luis de Milan, are heard once more in the Spanish twentieth century thanks to this eminent guitarist, who has searched with affection for the yellowing parchments, and has allowed the greatest emotion to run through those six lyrical veins which the most difficult instrument possesses."
The man from Burgos, Sainz de la Maza, like the Catalan Llobet and like other great concert players, also has himself composed works guitar-Studies, Preludes, Solea, Cantilena, Boceto andaluz, and Castilian songs, among others-born of that marvelous world of music contact with the guitar, which has been and for Regino Sainz de la Maza the irreplaceable instrument. He himself tells us that the guitar "became my guide and my lazarillo through the infinite wood of music, and on penetrating a glorious past I could perceive and verify in a direct way the importance which the guitar assumes that vast area of instrumental music."