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Rodrigo is best known for having written what is probably the most popular piece of classical guitar music: the Concierto de Aranjuez. But my favourite is one of his less prominent works.

Fantasía para un gentilhombre (Fantasia for a gentleman) was written in 1954 for the guitarist Andrés Segovia, the gentleman of the title. The piece uses themes from short dances for solo guitar by the 17th century Spanish composer, Gaspar Sanz (1640-1710), and the movements retain the names that Sanz originally gave them. Rodrigo took these themes, arranged them for guitar and orchestra, and expanded them to produce over twenty minutes of music.

The opening movement gives an idea of what is to follow – it repeats Sanz’s theme many times, varying it so that it never becomes tiresome. This is the form of the other movements of the work. The music also hints subtly at themes used in the subsequent movements. The second section of the movement has the form of a fugue – the Ricercare was a type of fugal composition in the 17th century.

Next comes the sorrowful Españoleta. This contrasts with the more upbeat Fanfare for the Cavalry of Naples which forms the middle section. The Españoleta then returns to conclude the movement.

Then follows a complete change of mood with the Danza de las hachas, or Candledance. This lively, short movement is in effect an interlude linking the more mournful part of the Fantasía with the cheery Canario, which forms the concluding movement. Canario is probably the most popular movement, and is occasionally heard in Sanz’s original form under the title Canarios. The name means Canary; the music represents a type of dance popular in the Canary Islands, but is also influenced by the Canary – bird calls are evident towards the end.

The Fantasía is highly inventive, and combines the courtly mood of 17th century Spanish music with the best of twentieth century music and modern virtuoso guitar playing. Its upbeat ending reminds us to look on the bright side of life.