This compact work is not quite the lush extravaganza the term "symphonic rhapsody" may imply; the orchestra is limited to strings and the piano sometimes falls back into an accompaniment role. Yet it's full of Iberian atmosphere, particularly in the second half, and like Falla's Nights in the Gardens of Spain, it sensitively evokes a nocturnal scene in Andalusia, the gypsy-dominated area of southern Spain. The rhapsody begins with a slow but assertive statement by the strings, punctuated by a couple piano notes; the keyboard makes its true entrance with a vaguely oriental cascade of notes, similar to the piano's appearance in Ravel's Left-Hand Concerto (which was premiered the same year Turina wrote this rhapsody). This Andante section continues with the piano and orchestra uttering and answering each other's richly harmonized phrases. Occasionally, a solo violin comes forward with its own brief commentary, slick with portamento. A long passage for strings alone ultimately leads to the rhapsody's Allegro vivo section, a scherzo in which the piano takes a more prominent, flashy role. The excitement eases after a few moments, allowing a more romantic interlude, but soon the scherzo material returns with its rondeña rhythms and quickly alternating 3/4 and 6/8 passages to exciting effect. Even so, Turina moves the rhapsody toward its conclusion with a restatement of the broader, romantic material, giving the piano almost the last word with a flamenco-like flourish.

© James Reel, All Music Guide