60 years ago I bought an Lp of Andres Segovia. It hit me so heavily, that I brought my trumpet back to the musicstore and changed to the classical guitar. The Dame in the store gave me the name and tel nr of a wonderful guitar teacher I studied with for about 10 years. And then I studied classical guitar for several years in a conservatory. I've seen Andres Segovia 3 times life in different cities in Germany. I remember the first concert I had goose bumps all over. And for decades now I'm a guitar teacher - all began with Andres Segovia ❤
@@adhardino9781 i got hold of an old copy of "Friday night in San Francisco" in a record shop in 1985. Up until that point, I was trying to be a shredder. Paco changed my mind and my life.
@@magnificentfailure2390 I had the pleasure of organizing a few concerts for Paco in Germany. He was so humble and shy and witty, unlike any other artist I have met!
Segovia played in my college gym in about 1970 to a huge sold-out crowd. He came out on stage to a loud sustained applause & sat down, tuned, then waited for the audience to quiet down. The audience quieted down. He waited & looked around the gym until the audience got the idea that they REALLY needed to quiet down. They quieted down more. He kept waiting. When this process was complete it was astoundingly quiet. I seemed that nobody was even breathing. Finally he played & the sense of focus that permeated the room was something I had never experienced before or since. The sound of his guitar was indescribably beautiful.
In 1979 or 1980 my dad knew I loved Jimmy Page of Led Zeppelin and suggested I see his favorite guitar player (dad went to Juilliard) I was skeptical when the only things on stage were a chair and a foot stool (I immediately realized I would not be hearing a cover of dazed and confused ) Then this very old man with white hair (I was only 19 or so at the time , 30 was old) was helped helped on stage . My girlfriend looked at me with a amused grin . Once he started playing Time Stood Still … Apparently dad knew his stuff
This is my personal experience with the Terrifying Spectacle of Andres Segovia When I was about 19 or 20, sometime around 1980 (the last of his years of strength as a guitarist), I attended a concert of Andreas Segovia at the Milwaukee Performing Arts Center I arrived about ten minutes before the concert, actually, I had been worried I would be late. But I made it in time and sat in the 13th row center. My attitude was that I would enjoy the concert and maybe learn something, or pick up some ideas. Little did I know,,, The house lights went down, and Maestro Segovia walked on stage. I had noticed there were no microphones or sound system; no amplification of any kind. And this was in a venue holding 1200 people (I think). The Maestro was carrying his guitar, but for some reason, I didn’t think it was the Hauser guitar he usually played. It also occurred to me that here was a man who not only had been playing guitar at the top of the game for almost 70 years, he single handedly defined modern classical guitar. He sat down, checked his tuning, and looked around. Then, his eyes fell upon me. And he stared at me. Yes, I was a victim of the dreaded Segovia Stare! With God as my witness, I was not fidgeting or making noise. I sat quietly and respectfully waited for the Maestro to play. Perhaps he didn’t like the way I looked (I was a rock & roll gladiator from hell with long scraggly hair, wearing a denim jacket and a colorful Jimi Hendrix t-shirt). After pinning me to my seat with his unnerving stare, he got up and walked off stage. The audience was murmuring like “what the hell is going on.” I was terrified that I was somehow the cause of him walking off. Then he returned, carrying a different guitar, one that looked like his usual Hauser! I thought that he had read my mind and knew I recognized that the first guitar he carried wasn’t his usual one! From that moment on, I was scared to death of him. He knew more about me than I knew about myself. Then he began to play. Watching videos of Segovia is always a pleasure. But actually being there is quite another thing. Everyone heard every note he played. His sound filled the auditorium. Every phrase was sublime poetry, every note was a perfectly crafted work of art. After the concert, he was speaking to some people near the stage. I considered approaching him with the same youthful brazenness I had once approached Joe Pass and others. But I didn’t; I was still scared of him. Needless to say, I regret not doing so. Even if he told me off, it would have made for a great story. I went home, picked up my guitar, and tried to play it. I couldn’t. I put it in its case and couldn’t touch it for three weeks. In retrospect, Segovia set forces into motion that are still impacting the world of music. Some of it was not what he'd intended. And he was a flawed and imperfect man. But we owe him a debt. At this point, I would forgive him his very human failings and shortcomings and celebrate the good things he achieved.
He had several great guitars throughout his life. The first was the 1912 Manuel Ramirez guitar that was more than likely actually made by Santos Hernandez. The Hauser guitar replaced the Ramirez for him in 1937. Later in his career (I forget if this started in the '60s or '70s), I believe he was playing Fleta guitars. Anyhow, it's a shame you didn't approach him. My great-grandfather approached him after a concert, and wound up having him over for dinner, and took a lesson from him.
I was at the very same show. As an eighteen year old I took my mother, and my grandmother to this concert. I remember he injured his arm in San Francisco the week before while closing his hotel window. I was afraid he was going to cancel. The PAC's stage had glass panes suspended 20 feet above the stage to direct sound toward the audience. No microphones.
I love that the comment section of this video is basically a list of anecdotal stories about meeting/hearing/studying with Segovia. RIP to perhaps his most impactful pupil, Oscar Ghiglia, who passed just a few days ago. For my generation, Oscar was the closest any of us could ever get to Segovia.
As a member of the Pittsburgh Classical Guitar Society, I had dinner, as part of a small group, with Segovia on several occasions. His Hauser guitar seldom left his side.I also attended after concert coffee with Segovia, along with perhaps -67 other classical guitar aficionados. His taste and enthusiasm for traditional guitar music has been viewed as narrow and restrictive, in the same manner as Horowitz was a romantic, or Glenn Gould was about J.S. Bach. Critics always have something to say. Our brief meetings with this master impressed me as to his kindness, inquisitiveness and interest in other people, and his generosity with his time, when he was very fatigued from travel. He wanted only the very best music for the guitar and music that would resonate its beauty. It was evident he explored many avenues to bring his masterful playing and the beauty of the music to the world. Unlike many musicians who may be pedantic, or irritable, we never witnessed this, in his presence. I found him to be a pure. musical academic with genuine warmth for his fans.
@@JulioLeonFandinho Yes, I don't condone it, but I understand that was quite common back in the 20th Century, as it is now, since we've turned the learning of classical music into a competitive blood sport.
I remember my Mom went to see Segovia, he was in THE theater of our town, Maastricht Netlerlands. I was only 5, too young to join her. She came home an hour later than expected. The theater was too cold for the guitar, the master explained. He invited the whole room to a cup of coffe, his treat, in the theater foyer, and only after an hour tit was warm enough for the guitar to give it's lovely warm sound. So, as far as I know, he was not always grumpy, altho he was, of course, dead serious when it was about Guitar. 8 hours of study a day. He said that on TV when he turned 80. "And still" he said "There is improvement, it is still a slowly ascending line. Don't ever stop studying" That is a lot of hard work.....
I was at his last New York solo recital in the mid 1980s. He walked very slowly out to the stage. He was a large man, almost ungainly, until he sat down and began to play. Then he was the soul of elegance, with an almost understated expressiveness that, like that of the pianist Alicia De Larrocha, paradoxically came over as a powerful, authoritative expressive style. He seemed like a gentleman from another era that day to me.
I was fortunate to attend several of Segovia's "last concerts," in different cities throughout my youth. I loved his playing. I was a teenager and didn't care about his politics, his teaching style, his compositional style. He literally made the classical guitar. And I was simply entranced with his sound. That amazing sound. That no one has yet come close to. I understand that many modern players have rejected that sound. Not all. And I believe that when a player who is capable of it (because it is difficult!) plays that sound, it will again be popular. Simply because it is beautiful.
I was a student from one of Segovia's nephews, on the Madriguera side. This professor is still active in Dallas, TX. I was told a story about how Segovia got his large audiences in these big auditoriums to remain silent. So apparently after coming on stage and checking his tuning, he would do the stare down and then proceed with playing, but not audible. He literally faked playing for a few moments to make the audience become absolutely silent. Then he'd start to play for real.
Dear Jakob (and Professor Goss), Thank you for this interesting perspective on our Godfather, Segovia. I heard Segovia play at Florida State University in February 1969 and was profoundly moved. In grad school that fall I studied religion getting ready for a doctorate in Theology, but also studied guitar with Mario Abril. On December 13, 1969, I was drafted for the Vietnam War and everything in my life changed with two exceptions: My wife of 55 years is still by my side, and before dawn on the morning you published this brief opinion piece on Segovia, I played the preludes for BWV 998, 999, and BWV 1007, and spent an hour working on a fugue. Dear friends, Segovia is alive in me and millions of others who have been in love with the classical guitar since hearing him perform. Segovia should be studied not because he has "holy status" for putting the guitar to work as a concert instrument, or because of his superior skill among all other performers on the instrument. Rather, we should pay homage to him as a major influencer, the one destined to bequeath to almost a century of guitarists around the world a burning love for music and a reverence for the classical guitar that have eternal life. Segovia created the inspiration for guitarists, young or old, to move from his shadow into the bright light carried forward by each successive generation of performers who are taking interpretation, execution, composition, theory, and guitar construction to higher ground. Very respectfully, Vance Renfroe
I attended the concert your reference in Minnesota, in February of 1961 in Northrup Auditorium at the University of Minnesota. This was a very large hall. The audience was respectful. He played to the upper balconies without amplification. The performance was riveting. I knew not of his support for Franco, but I am nonetheless grateful for Segovia's transformation of the guitar repertoire. Thanks for this excellent exposition.
I met Segovia at UCLA in the ĺate 60s. I worked for the university. I was able to talk with him before he played Royce Hall. He told me that he warmed up for two hours before a performance. It was just he and me.
There will never be another Segovia. His sound, discipline and soul were all the classical guitar could be. Wes Montgomery is copied but there will never be another Wes. My college teacher studied at Segovia master classes and had a masters in music theory. Only the best could be near him to experience his gift. I listened to Segovia as a teenager and realized he was beyond any technique or analysis. His soul spoke and lived discipline and beauty of sound that many try to copy but will never come near to Segovia and the expression of classcal guitar and the full potential of its power. Rock, Jazz and Blues guitarists have sought amplification levels at many times bearable levels. Segovia was the loudest guitarist of all time because he commanded respect instantly and when you realized it, you were drawn to his sound and mastery and were mesmerized by his phrasing and control. He was sent to show us what could be done with and on the guitar but only fools would think he can be copied. His genius is inspiration and joy. He left an example for us to try to reach but he was the master. God Bless him.
I saw Segovia play at the Dorothy Chandler Pavilion in 1972. He waited for the audience to quiet down, and when he still heard the rustle of the paper programs, he looked up and stared until the rustling stopped. Then, confident the room was completely quiet, he began to play completely unamplified. I will never forget this night. The guitar filled the huge room as people allowed him to be heard with complete and utter respect for the great maestro.
I think Segovia has some of the most pronounced phrasing of any instrumentalist. It is similar to listening to a great orator give a speach. There is an unmistakable ebb and flow of energy and a distinct and easy to distinguish grouping of ideas. There seems to be no blurring or overlap of intent. Everything has time and space to be expressed and absorbed before the next is presented.
There are many great guitarists, but no one has ever approached his way of communicating the music the way he did! When I hear others, unfortunately, I am never moved in the same way!
I went to a Segovia concert at the Dorothy Chandler Pavilion in Los Angeles around 1973. I and my family sat high in the balcony, but we could hear every note. More than that, though, what I recall is the man's singular presence, his gravitas. It was almost as though it was his very presence filling the concert hall, leaving very little room for the rest of us.
Jazz guitarist here with a lot of classical study. My earliest exposure to classical guitar was Segovia, Bream and Williams. I liked many others but i always preferred the musicians who had their own sound and concept. In the jazz world, thats one of the signal virtues; respectfully learning the past but developing your own sound and approach. When i hear the aforementioned guitarists, i hear their personalities shine through...most importantly from Segovia. Hearing him play, he has his own poetry that all great artists of the 20th century had. I never tire of his playing, even in his later years.
Don't use "whom". You'are using it wrong. Better to be wrong using "who" than to use "whom" wrong. People don't notice a wrong "who" usage, but a wrong "whom" usage jumps right off the page -- or screen, in this case.
What's this deal with criticizing anyone who has any flaws? Those criticizing him are also flawed. He's the main reason classical guitar is what it is today.
As he is not bigger than the instrument himself, and he tried to occupy that field, it is good for others to know the good and bad of such a towering figure so that people can make their own musical choices about whether to listen to his music or follow his example.
Thank you so much for this video! My mother received an LP of Segovia in 1960, the year I was born. I grew up listening to Segovia so much that every nuance in how he played each piece is etched in my memory. I finally saw him play in person in 1983. He was very old, and couldn't play well at all. Nevertheless, there were moments in his playing that were so characteristic of him that my brain resonated with those moments, and I was moved to tears. (I am not given to such moments, and I was embarrassed for my friends to see it.) While I now prefer players such as David Russell and Manuel Barrueco, Segovia was the beginning, and he deserves great respect and acknowledgement. Thanks again!
While this is a very well done piece, I think that this video understates or fails to mention Segovia’s sound and tone, which was incredibly unique. Underpinning this was a very deep understanding of musical phrasing and line. His charisma, adeptness at self-promotion, unique mission to promote the guitar and his outsized ego would not have been enough to draw and hold audiences as he did were he not a great musician who played “con alma” and “con duende”. (oh and also because he was a man - Ida Presti may have matched or excelled him on all fronts as a musician). Like a Coltrane or a Hendrix, as a musician he could coax his audiences into a timeless place when he was really on. Later it became fashionable to disrespect him, but many of those who engaged in this behavior may have lacked the ability to communicate musically the way Segovia did. Da vergüenza su apoyo a Franco, but as the video implies, there was a certain naivety and remove that may have informed this. Aun asi, no lo justifica and it remains a stain on his character for many people.
I saw him at the Ford Auditorium, a 3,000-seat concert hall in Detroit (in 1979, I believe?). We were in the very last two seats of the very last row in the highest corner of the hall. He came out with his guitar, sat on a chair (w/footstool), and played acoustically - no mics or sound equipiment of any kind - an we heard every single note clearly! Talk about low overhead!
I still remember the first time I heard Segovia. It was 1970, I was maybe 15 years old, and a Segovia LP was one of the first classical music albums I bought after talking my parents into buying me a small stereo. I put it on the record player in my tiny white bedroom in Pine Bluff, Arkansas, sat down on the edge of my bed to listen, and the first notes of the Violin Partita No. 3 were almost stunning, revelatory. I'll never forget it.
There is none better in my opinion. The poetry of his phrasing, tone, technique, and interpretations changed the way I hear music and classical guitar. After all of these years, his recordings still give me beautiful chills. We are all standing on the maestro’s shoulders!
The Flamenco issue. When Frederico Garcia Lorca and Manuel De Falla held the first Cante Jondo flamenco festival in Granada in 1922 , Segovia played a Soleares, while Lorca recited his poem Silverio. I studied classical guitar with a peer of Segovia, Vicente Gomez. Gomez insisted that I include flamenco in my repertoire (which I did begrudgingly because of the Segovia rule). I believe that as you point out Segovia was on a personal mission to “rescue the guitar from the busy hands of the flamenco players” to establish the guitar as a respected part of the classical tradition. Also, it was a class issue as Gitanos at that time were not part of the upper class structure he wanted to infiltrate. Gomez included both classical and flamenco in his concerts much to the joy of his audience.
"Also, it was a class issue as Gitanos at that time were not part of the upper class structure he wanted to infiltrate." ToMaybe sr. Gómez forgot to mention to his foreigner pupils that flamenco wasn´t a musical genre of "gitanos", just a musical genre born in Andalucía, south of Spain, created by spanish andalusians and gypsies from Andalucía. Gypsies are everywhere around the world, but only gypsies from Andalucía, mainly in the province of Cádiz, played flamenco at first and always interacting with andalusians begining in the XIX. And 100 years ago, when Segovia was young, there were celebre flamenco singers and dancers, but guitar players were as important as clappers marking the beat, just third rate in importance in the band. Flamenco guitar players were mediocre in the best case back then, there wasn´t any famous guitarrist. Flamenco guitar virtuosos came after spanish and world wars. Segovia had good reasons for not liking flamenco players, he was the heir of an uninterrumpted line of spanish virtuosos of vihuela and guitar since XVI: Luis de MIlán, Mudarra, Sanz, Sor, Tárrega, etc etc etc. Paganini was a virtuoso violin player and nobody think that violin was a musical instrument of gypsy street playersback them, well thats the battle that Segovia had to fight abroad of Spain. If Segovia was born 50 years later probably he would had different opinions about flamenco players. And about your "infiltration" thing, honors and titles of nobility fell on Segovia inevitably because he was a genius who worked until the last day of his long life, he did not waste time lobbying for medals nor did he get involved in politics or seek the company of socialites. You foreigners have very strange opinions about spanish things. Segovia wasn´t a god nor a devil, he was a decent man.
the reason i don't like segovia is his huge huge ego my man has the ego of satan to say paco de lucia is not a musician nor a guitarist is insane even tho paco de lucia was and is miles above segovia not in just technique in both emotions, composing, rhythm and many more i hope i could've heard segovia playing in his 20-30s but we sadly could not since it was a very long time ago if he wanted to talk about the buzzy sound of the flamenco guitarists why didn't he talk about how boring some classical guitar repertoire is? luckily people like camaron, tomatito, vicente amigo and paco de lucia made flamenco more popular than classical guitar worldwide
Ultimately the only reason any of us are here is because of Segovia. I love a lot of modern players but I will always return to Segovia’s recordings. It’s simply that SOUND… that stunningly beautiful sound he could create.
This is true. While in the audience with almost 1,000 seats filled, Segovia would play a musical phrase and take a ritardando and then strike a lower bass string with his thumb (with vibrato) and it would sound huge.
This is a great comment and reminds me of something …years ago I was at Parkenings masterclass in Montana and he was demonstrating a passage on Prelude no 1 by Bach for a student… near the end of the piece…anyway he hit this vibrato with such beauty ( and I know baroque isn’t big on vibrato but this relates to Segovia’ genius too) that to this day I can still feel that sound made by Christopher. I’m not joking. Segovia was a true artist in every sense … he took musical chances all the time. He’s maybe criticized for that but I don’t care he was a genius. I especially loved when he hit a chord and then pulled off all the notes but the top one and lingered there…kind of like you said here. Stunning and breathtaking. Peace. @@TaiChiBeMe
Julian Bream is just about the only one I can think of… I’m talking artistry not velocity of playing or speed for speeds sake. Gen Z is producing speed demon tap happy guitarists that are unlistenable. It’s all sizzle no steak. David Russell has beautiful sound I’ll say that too and Barrueco. But seriously I’m not a hater give me your list of “ better” especially before him… during maybe Rey De La Torre? He was great. @@edzmuda6870
When I was a teen wanting to get a start at learning guitar I picked up a Segovia instruction book and first page I opened to showed him teaching that the thumb must ALWAYS be behind the guitar neck and can never wrap around. My favorite guitarist at the time was Jimi Hendrix (still actually), who nearly always wrapped his thumb so... I later came to appreciate Segovias mastery but, the effect of that experience was to cause me to never take the established taught way as gospel without experimenting myself, and to always look at alternate grips, instrument angles, and other ways of doing things than what is commonly taught. I have his dominant obnoxious teachings style to thank for sending me running the other way! I would have loved to have seen his concert however.
You can't wrap your thumb around the top of the type of guitar Segovia played. That technique only works on skinnier necked guitars like electric and many steel string guitars. He wasn't wrong and neither were the other guitarists, the instruments were different.
I have been playing classical guitar for 20-ish years. Now I learned that I brake another of Segovia's rules. I have huge hands, my thumb shows very often in many positions, it's just how it's comfortable. Also btw - there's no one complete methodology of playing any instrument. Segovia was quite bigotted and anything he like or disliked tried to enforce as universal rules/truths, he always tried to make his style the only style, he also diminished Latin American composers.
I grew up listening to Segovia(on lp)and I admire him so much.Times are changing,there are really many great guitarists nowdays,but I think he made a first step for the world we are living today,in that matter.Who knows what aould happened if the world didn't have Segovia..He jas my deepest respect
Segovia is the goat. Younger guitarists like myself are so concerned with speed, social media, and winning competitions that they lack Musicality and the emotions that segovia and his generation brought. It's unfortunate that there's so much of a push to get away from the old masters like segovia. Obviously that's a generalization and there are some phenomenal players out there right now. I just graduated conservatory and this is just an observation I have seen over the past 4 years. Long live Segovia!
"At the same time, we can also be grateful that his ideas and methods and ideas no longer dominate." Yet it was that "domination" that made it possible for the guitar to be brought to the widespread prominence and stylistic freedom it has enjoyed to this day. Segovia did more for the guitar than anyone ever has or ever will. But more than all this, to simply listen to his performances is a blessing and a gift to all mankind.
I was fortunate enough to see Segovia live when I was at university. I had only been playing guitar for a year at that time, so it was completely overwhelming - but awesome! I moved on to Jazz and Bossa Nova and it was rewarding to learn how many Jazz guitarists attribute him as massively influential, much like Django Reinhardt’s ubiquitous influence. Not sure we would’ve even had greats like Luis Bonfa and Charlie Byrd without Segovia.
In my early teens I heard his Chaconne in D and it changed my life forever. That recording has remained for me a benchmark in understanding and loving Bach. For this one thing I will be eternally grateful to Segovia.
"The guitar didn't have a serious classical tradition." What?! Charles II and Louis XIV took guitar lessons. People were crazy about the guitar in Europe in the 19th century Salon Era. If Segovia was never born, the guitar still would have had a serious classical tradition. Perhaps it would be be more accurate to say: The mainstream classical world had forgotten about the guitars serious classical tradition and Segovia helped re-establish it.
Hi Brandon, thank you for showing up here, wow! Fair point, this quote could have used a bit more context in hindsight. I think what Steve Goss is trying to get at here is not claiming that there is no classical tradition in guitar (of course there is), but that it wasn't considered *serious* by the musical establishment of the time, which I think is correct. Also, even during the 'Great Vogue' of the early 19th century the temporarily elevated standing of guitar within a perceived hierarchy of instruments was nowhere near uncontested. I'm actually about to release a new episode on exactly this topic in a few days, happy coincidence! -Jakob
@@tonebase I'll look forward to your new episode, Jakob! I love what Tonebase is doing and just feel the need to add my two cents so others don't misunderstand.
I'm finally studying Royal Conservatory Classical Guitar, just finishing level 4. I've always admired players like Segovia, the depth of knowledge, skill and technical complexity that the Classical guitar has to offer, even though I may not give it rightful listening attention. There's something to be said about the "muse" in music that supercedes the medium through which it is expressed. You have my full attention when you're able to balance all those elements... where the muse within music leads the way.
I got started with classical guitar in the early 2000s, and at the time it was really hard to find recordings of Segovia in his prime, but it is much easier now. If your impression of Segovia is based on recordings he made in his 80s or 90s, you owe it to yourself to look up the early recordings.
I was privileged to attend an S. Hurok Presents concert once in the late sixties, including performances by Pablo Casals and Andreas Segovia. It still ranks as one of the greatest musical experiences I have ever witnessed.
I saw him in concert at the Royal Festival Hall. He played Fantasia para un Gentilhombre and invited its composer Joaquin Rodrigo , to stand and take a bow. The composer was in the seat in front of me. I think this was in 1976.
Was given 2 Segovia cassette tapes many years ago in the late 1980’s. I’ll never forget how it felt to listen to these songs. I had already been playing classical guitar and listening to various pop and rock music. I’m more into mood and feel than technical virtuosity. For me Segovia’s music was a bridge from the old classical music not written for guitar and the new, popular and romantic music that I found appealing.
I saw Segovia at the Dorothy Chandler Pavilion, LA some 50 years ago. It's a huge hall. No microphone! It was a great concert and I was able to shake his hand afterwards. I have large hands his dwarfed them. Mid seventies, I studied at USC with Pepe Romero et al. Segovia held master classes at USC. I wasn't able to play for him because I graduated before the series. I personally don't think he was a great teacher but he was larger than life in what ever he did. When I started college in the 60s, only several colleges offered a degree in classical guitar. Thanks to Segovia, Bream, Pepe and others, there are many excellent guitarists these days. (douglas hein)
I saw Segovia twice in LA and a good friend of mine studied with him for a couple of years. He was a spell-binding performer - I think in large part due to lack of amplification (as pointed out, people had to listen closely) and he was also a very dynamic player. Segovia definitely holds an important place in the guitar world. As I studied guitar more seriously, my interest shifted much more towards flamenco which I feel is more expressive (without doubt, a generalization). At this point I started listening much more to artists like Sabicas who touched me much more on an emotional level (and flamenco technique blew my mind TBH). Still, there's no denying the impact that Segovia had on the guitar. Sad to hear that Segovia was a Franco supporter but not surprised. My friend who studied with him told me many interesting stories about his personal interactions with him that were eye-opening to say the least. A reminder that great artists aren't necessarily great human beings.
Hello, thank you for this video! Could someone please list all the background songs, because I don't know some of them and unfortunately I can't find them on the internet either... Thank you in advance!
I like the topic. I started taking lessons some years a few years ago and played some open chords which was enjoyable for pop songs (to an extent) and thus only a passing by hobby. Until a few years ago when i purchased a John Wiliams LP. I then wanted to know more about classical guitar and ended up listening to Andres Segovia and knew I had to take classical guitar lessons. I found myself researching him as much as possible and now did a career change by studying music as a profession with classical guitar as my main instrument.
It's not fair to judge him in terms of today's sensibilities. His outlook was formed by the consciousness of the 19th Century, and what he achieved within that context is extraordinary. Thank you for making this video - much appreciated. I always go back to a beautiful film that was made in the mid-Seventies called, Andre Segovia- The Song Of The Guitar. It's available on You Tube, and it's pure magic.
I'm studying with Jack Cecchini who thinks very highly of him and had a chance to meet and play with/for him. I'm fortunate for this because he is on my radar. I was also able to purchase a 16-book set of his arrangements and transcription that haven't been out of circulation for a very long time - they are from Japan from the 70-80s.
I agree with what Stephen Goss says in this video. I started classical guitar in 1968 and I saw Segovia once in the 60s and two more times in the 70s and, sadly, once in the 80s. He should have retired by the last time I saw him. All that was left was his personality. The musicianship had suffered from the loss of his physical abilities. He admitted that he "just tried to do his best." What remained was his intent. It was clear what he was attempting to do on the instrument, and it was his way of hearing the music. He had always injected his personality into the music, for example, he played Baroque music romantically because that's how he heard it. Even more importantly, that's how he wanted to appear to his audience. He was a romantic at heart. When he heard Barrios' music, he was intrigued but he downplayed it because it had folk elements in it. Nevertheless, I have heard from South American guitar friends that Segovia secretly played Barrios' music behind closed doors. This they heard. Also, perhaps the most played concerto in the world, Rodrigo's Aranjuez, was discarded by Segovia because it had that popular folk element in it. Just consider the opening strums of the concerto. Nevertheless, Segovia's great ego demanded that the guitar be heard in his way and he succeeded. We old guitarists remain grateful.
While I was studying classical guitar in the late 1970s, Segovia was at the height of his thought leadership, and there were both restrictive and liberating elements to it. For instance, it’s still a vivid memory seeing his endorsement note in every packet of Augustine strings, condemning the very thought of improvisation. On the other hand, the strict hand-positioning techniques I learned, thanks to the orthodoxy he promoted, still equip me (much older and often out of practice) to produce a beautiful spectrum of sounds that sometimes impress people more than I deserve. So yeah, glad he’s no longer dictator, glad he was there.
I saw him play in Philadelphia. Magnificent. My guitar teacher, who sat in the row in front of me and one seat to the right, studied in Spain with Segovia's student.
I saw him play in the 60s--he never said a word the entire concert. A security guard was there to keep anyone off stage and also protect the valuable instrument, I suppose. I read that he made his greatest strides in learning this instrument during those periods when he was "in love" with this or that female. I always marveled at how the chubby fingers could have such dexterity! My father fell asleep during the concert.
Those chubby fingers were secret to his tone I believe. I had two students with Segovia-like fingers who, within a few weeks of lessons, sounded just like Segovia when they played slow rest strokes. Unfortunately, neither student thought they were doing anything special and eventually quit playing.
The guitar has been blessed with many great players, and in many different styles. But, Segovia made the guitar sound absolutely majestic and inspiring, even on a simple piece. He played every piece like it was the greatest music ever written. It was an astounding achievement. It was the way Segovia played music that inspired me to learn the guitar, and who stills inspired me to this day. There is a young electric Fusion guitarist named Matteo Mancuso playing incredible fingerstyle that has all the top players gobsmacked. He is also something very special, and is worth checking out.
I saw him in '83. He was 80. He shuffled slowly the wings to his simple chair, fingers like sausages, then he stared playing...wow. w What a great experience.
Saw him in the Fulcrum Centre in Slough maybe around that time or a few years before. "Fingers like sausages"... I noticed that too, very large hands, and you wondered how he could still play with those huge banana-like fingers. He seemed very old and you wondered if he should still be doing concerts at that age. Then he started and you immediately realised he wasn't in decline at all.
Thank you for this. Many boomers and many stories about Segovia, and there are many controversies. The fingerings on his arrangements were often counterintuitive, if possible, to reproduce. This may be due to the fact that his little finger was huge, nearly the size of an index finger. His left hand squeaked all over the fretboard on his recordings and performances. He had zero tolerance for Agustín Barrios' compositions, famously telling John Williams to stop playing during a master class. On and on. All this said, Segovia is responsible for an immense body of beloved works including Concierto De Arajuez, Villa-Lobos - Concerto for Guitar & Orchestra and more that have sunk deep into our psyche and culture. Controversy or not he was a giant.
I saw him when he was in his 80's. He played in a large hall, with no amplification. He had a beautiful tone and played slowly. He was very contemplative. He asked the audience to please refrain from coughing.
Un excelente video sobre la vida del virtuoso de la guitarra clásica Don Andrés Segovia, y lo que él representó para los músicos de nuestra generación (años 70’), además de cómo pudo llevar de la mano el nivel de la guitarra del folklore al clásico.
Really quite fascinating ... didn't even know that I would find it so intriguing. I wasn't a classical player when I played, but always enjoyed it and found it so "serious". Thanks for this brief history of the man.
The EMI recordings from 1927-1939 are insane! Complete takes, no edits. He plays with immense musicality and personality and sometimes really rips some fast passages. Segovia in the early years was about as good at guitar as is humanly possible.
You're right. When I started studying classical guitar at the little music school in my hometown back in 1985, there was just one class for classical guitar (five pupils) and four classes for piano. I remember taking solfege classes on Saturday afternoon, and the teacher would often say, "Well, we're all pianists here, aren't we?", and then me and another kid would raise our hands and say, "Erm, no, Sir. We aren't." I played guitar, he the clarinet. Now things have changed dramatically: a handful of pianists, and lots of guitarists.
A long New Yorker profile of Eliot Fisk from about 30 years ago speculated that had there been no civil way in Spain-Segovia would almost assuredly by inclination been a royalist… I’m not so sure the classical guitar isn’t dead again. I see videos of many current fine players in front of a smattering of audience. When I was a much younger man in the 80s, I recall seeing Parkening playing at Davies in SF before 2,000 people. The Romeros regularly played in a large hall down the peninsula at the same time. Hard to imagine that today. I don’t think the guitar has such a grip on young people any longer. Its popularity has always waxed and waned…
I and high school friends drove to Houston in 1973 to see him in Jones Hall with 2500 others. His stage presence and playing were spellbinding. But I also learned something about the power of silence. He demanded it, but not just so people could here. A shared silence is a far more unifying and emotional experience than the loudest stadium.
I saw him in in concert in Los Angeles in the late seventies. He was I believe in his 90’s and still touring. He walked on stage with a cane, and his assistant brought out his guitar. I feel very lucky to have been able to see him play.
Greatly enjoyed this video. I remember Segovia. When I was a college student Bream was the new guy on the block. As a member of Tonebase, I agree it is a great resource for all classical guitarists.
I'm just starting to get into classical guitar, coming from blues and rock, and of course Segovia came up very quickly in my research, such as his performance of Asturias. Thank you for this great and informative video!
Yes I’m so impressed by fact composers who wrote pieces for him like Tedesco and Ponce. My father saw him in Greece while in the army before shipping off to Korea. Segovia toured the world and never stopped he was an intellectual with many friends…my fave story is being almost run off the road while driving only to find the driver was his friend Picasso.
I started playing classical guitar around 1962 and got bored with the repertoire and took up piano in 1979. I had discovered more modern composers like Barrios, Rodrigo, and even early Brouwer, but the real masterpieces written for the guitar were virtually nonexistent. The commonly played pieces were mostly "nice" or "charming", near salon music. Where were the Chopin Ballades, or Rachmaninoff Preludes, or Scriabin Etudes? This video fleshes out the downward trajectory due to Segovia's invention of the guitar story, but also the rebound since the demise of his influence. Funny how it mirrors my personal "journey", as I recently took up the guitar again. Totally into Brouwer and other modern composers.
I relate Segovia to my childhood since my father played some of his records. Im not a professional classical guitarist but I do play the instrument and I love his interpretations, they sound like an old church to me. As a person he seemed to be someone who I would not like.
I have similar feelings. As I love his interpretations of classical guitar music, e.g. I listen to his interpretations of El Noi de la Mare while learning this song. But he was an old grumpy bigot who tried to enforce his likings and style as the only way of playing classical guitar and hated Latin American classical guitar music (or at least diminished it). He has such a long list of recorded toxic behaviors as, I think, no classical musician of the modern age. He also is the cause of why playing with flesh instead of nails is something deemed inferior nowadays.
This video presentation is fascinating and profound. I think there is little doubt that Segovia resurrected an instrument which would otherwise have been languishing in the folk tradition. It's deeply ironic that a man who clearly had an enormous ego and could be described as a fundamentalist created a pathway for the classical guitar to emerge as a unique and important musical expression. I have observed that it is often the case that a great artist develops a conduit through which they are able to express the deepest feelings of their heart in direct antithesis to their behavior as a human being, an ironic juxtaposition which on the face of it is bewildering. His tonal beauty is often indescribably exquisite.
He's got amazing tone, and musicality. Something alot of contemporary classical guitarists lack. You hear from his playing that it's Segovia, these new kids? not so much.
My memory which I have to admit is sometimes flawed, says his hands had sausages for fingers. Didn’t hamper his playing or audience appreciation when I saw him at The Royal Festival Hall, London. He played twenty encores.
I only got to see him live once, but it remains 1 of the greatest concert experiences of my life (61)..... then again I also got to see michael hedges (many times), leo kotke, stevie ray vaughn and many other greats along my journey.......
When the Beatles said: "you are the father of all of us" he answered them "you are not even my bastards" He was faithful to his ideas and it is because of that that he did all he did. He was free to not like the Beatles or flamenco or whatever, like anyone of us. Do not confuse discipline with "dictatorship", he was stubborn, yes, and his mind was fixed on his goals, yes, like many other artist geniuses. Do NOT mix politics with art, those words you are using, dictatorship, democracy... are you in a political meeting? or just uplifting the wonderful sound of music in a guitar in Segovia´s hands? Thanks to his discipline all that has come to us and we can develop it even more, for yes, discipline is necessary to attain freedom on any domain, years of practice to be free to play with the heart.
He didnt write a single piece for the lute. His "lute suites" are written in nearly unplayable keys for the lute and were actually composed on a keyboard instrument called the lautenwerk.
60 years ago I bought an Lp of Andres Segovia. It hit me so heavily, that I brought my trumpet back to the musicstore and changed to the classical guitar. The Dame in the store gave me the name and tel nr of a wonderful guitar teacher I studied with for about 10 years. And then I studied classical guitar for several years in a conservatory.
I've seen Andres Segovia 3 times life in different cities in Germany. I remember the first concert I had goose bumps all over. And for decades now I'm a guitar teacher - all began with Andres Segovia ❤
Nice story, I was similarly impressed by Paco de lucia...
@@adhardino9781 i got hold of an old copy of "Friday night in San Francisco" in a record shop in 1985. Up until that point, I was trying to be a shredder. Paco changed my mind and my life.
@@magnificentfailure2390 I had the pleasure of organizing a few concerts for Paco in Germany. He was so humble and shy and witty, unlike any other artist I have met!
Great story about the value of your fellow man.
I wonder why some guys write about Francisco Sanchez instead of the person this video is about.
Segovia played in my college gym in about 1970 to a huge sold-out crowd. He came out on stage to a loud sustained applause & sat down, tuned, then waited for the audience to quiet down. The audience quieted down. He waited & looked around the gym until the audience got the idea that they REALLY needed to quiet down. They quieted down more. He kept waiting. When this process was complete it was astoundingly quiet. I seemed that nobody was even breathing. Finally he played & the sense of focus that permeated the room was something I had never experienced before or since. The sound of his guitar was indescribably beautiful.
In 1979 or 1980 my dad knew I loved Jimmy Page of Led Zeppelin and suggested I see his favorite guitar player (dad went to Juilliard) I was skeptical when the only things on stage were a chair and a foot stool (I immediately realized I would not be hearing a cover of dazed and confused ) Then this very old man with white hair (I was only 19 or so at the time , 30 was old) was helped helped on stage . My girlfriend looked at me with a amused grin .
Once he started playing Time Stood Still … Apparently dad knew his stuff
This is my personal experience with the Terrifying Spectacle of Andres Segovia
When I was about 19 or 20, sometime around 1980 (the last of his years of strength as a guitarist), I attended a concert of Andreas Segovia at the Milwaukee Performing Arts Center I arrived about ten minutes before the concert, actually, I had been worried I would be late. But I made it in time and sat in the 13th row center. My attitude was that I would enjoy the concert and maybe learn something, or pick up some ideas. Little did I know,,,
The house lights went down, and Maestro Segovia walked on stage. I had noticed there were no microphones or sound system; no amplification of any kind. And this was in a venue holding 1200 people (I think). The Maestro was carrying his guitar, but for some reason, I didn’t think it was the Hauser guitar he usually played. It also occurred to me that here was a man who not only had been playing guitar at the top of the game for almost 70 years, he single handedly defined modern classical guitar.
He sat down, checked his tuning, and looked around. Then, his eyes fell upon me. And he stared at me. Yes, I was a victim of the dreaded Segovia Stare! With God as my witness, I was not fidgeting or making noise. I sat quietly and respectfully waited for the Maestro to play. Perhaps he didn’t like the way I looked (I was a rock & roll gladiator from hell with long scraggly hair, wearing a denim jacket and a colorful Jimi Hendrix t-shirt).
After pinning me to my seat with his unnerving stare, he got up and walked off stage.
The audience was murmuring like “what the hell is going on.” I was terrified that I was somehow the cause of him walking off. Then he returned, carrying a different guitar, one that looked like his usual Hauser! I thought that he had read my mind and knew I recognized that the first guitar he carried wasn’t his usual one! From that moment on, I was scared to death of him. He knew more about me than I knew about myself.
Then he began to play.
Watching videos of Segovia is always a pleasure. But actually being there is quite another thing. Everyone heard every note he played. His sound filled the auditorium. Every phrase was sublime poetry, every note was a perfectly crafted work of art.
After the concert, he was speaking to some people near the stage. I considered approaching him with the same youthful brazenness I had once approached Joe Pass and others. But I didn’t; I was still scared of him. Needless to say, I regret not doing so. Even if he told me off, it would have made for a great story.
I went home, picked up my guitar, and tried to play it. I couldn’t. I put it in its case and couldn’t touch it for three weeks.
In retrospect, Segovia set forces into motion that are still impacting the world of music. Some of it was not what he'd intended. And he was a flawed and imperfect man. But we owe him a debt. At this point, I would forgive him his very human failings and shortcomings and celebrate the good things he achieved.
That was a joy to read!
It's still a great story. ✌
He had several great guitars throughout his life. The first was the 1912 Manuel Ramirez guitar that was more than likely actually made by Santos Hernandez. The Hauser guitar replaced the Ramirez for him in 1937. Later in his career (I forget if this started in the '60s or '70s), I believe he was playing Fleta guitars. Anyhow, it's a shame you didn't approach him. My great-grandfather approached him after a concert, and wound up having him over for dinner, and took a lesson from him.
Amen.
I was at the very same show. As an eighteen year old I took my mother, and my grandmother to this concert. I remember he injured his arm in San Francisco the week before while closing his hotel window. I was afraid he was going to cancel. The PAC's stage had glass panes suspended 20 feet above the stage to direct sound toward the audience. No microphones.
I love that the comment section of this video is basically a list of anecdotal stories about meeting/hearing/studying with Segovia. RIP to perhaps his most impactful pupil, Oscar Ghiglia, who passed just a few days ago. For my generation, Oscar was the closest any of us could ever get to Segovia.
As a member of the Pittsburgh Classical Guitar Society, I had dinner, as part of a small group, with Segovia on several occasions. His Hauser guitar seldom left his side.I also attended after concert coffee with Segovia, along with perhaps -67 other classical guitar aficionados. His taste and enthusiasm for traditional guitar music has been viewed as narrow and restrictive, in the same manner as Horowitz was a romantic, or Glenn Gould was about J.S. Bach. Critics always have something to say. Our brief meetings with this master impressed me as to his kindness, inquisitiveness and interest in other people, and his generosity with his time, when he was very fatigued from travel. He wanted only the very best music for the guitar and music that would resonate its beauty. It was evident he explored many avenues to bring his masterful playing and the beauty of the music to the world. Unlike many musicians who may be pedantic, or irritable, we never witnessed this, in his presence. I found him to be a pure. musical academic with genuine warmth for his fans.
He was also dogmatic, competitive and a tyranic teacher
@@JulioLeonFandinho Yes, I don't condone it, but I understand that was quite common back in the 20th Century, as it is now, since we've turned the learning of classical music into a competitive blood sport.
I remember my Mom went to see Segovia, he was in THE theater of our town, Maastricht Netlerlands. I was only 5, too young to join her. She came home an hour later than expected. The theater was too cold for the guitar, the master explained. He invited the whole room to a cup of coffe, his treat, in the theater foyer, and only after an hour tit was warm enough for the guitar to give it's lovely warm sound. So, as far as I know, he was not always grumpy, altho he was, of course, dead serious when it was about Guitar. 8 hours of study a day. He said that on TV when he turned 80. "And still" he said "There is improvement, it is still a slowly ascending line. Don't ever stop studying" That is a lot of hard work.....
I was at his last New York solo recital in the mid 1980s. He walked very slowly out to the stage. He was a large man, almost ungainly, until he sat down and began to play. Then he was the soul of elegance, with an almost understated expressiveness that, like that of the pianist Alicia De Larrocha, paradoxically came over as a powerful, authoritative expressive style. He seemed like a gentleman from another era that day to me.
I was fortunate to attend several of Segovia's "last concerts," in different cities throughout my youth. I loved his playing. I was a teenager and didn't care about his politics, his teaching style, his compositional style. He literally made the classical guitar. And I was simply entranced with his sound. That amazing sound. That no one has yet come close to. I understand that many modern players have rejected that sound. Not all. And I believe that when a player who is capable of it (because it is difficult!) plays that sound, it will again be popular. Simply because it is beautiful.
I was a student from one of Segovia's nephews, on the Madriguera side. This professor is still active in Dallas, TX.
I was told a story about how Segovia got his large audiences in these big auditoriums to remain silent.
So apparently after coming on stage and checking his tuning, he would do the stare down and then proceed with playing, but not audible. He literally faked playing for a few moments to make the audience become absolutely silent.
Then he'd start to play for real.
Dear Jakob (and Professor Goss),
Thank you for this interesting perspective on our Godfather, Segovia. I heard Segovia play at Florida State University in February 1969 and was profoundly moved. In grad school that fall I studied religion getting ready for a doctorate in Theology, but also studied guitar with Mario Abril. On December 13, 1969, I was drafted for the Vietnam War and everything in my life changed with two exceptions: My wife of 55 years is still by my side, and before dawn on the morning you published this brief opinion piece on Segovia, I played the preludes for BWV 998, 999, and BWV 1007, and spent an hour working on a fugue. Dear friends, Segovia is alive in me and millions of others who have been in love with the classical guitar since hearing him perform. Segovia should be studied not because he has "holy status" for putting the guitar to work as a concert instrument, or because of his superior skill among all other performers on the instrument. Rather, we should pay homage to him as a major influencer, the one destined to bequeath to almost a century of guitarists around the world a burning love for music and a reverence for the classical guitar that have eternal life. Segovia created the inspiration for guitarists, young or old, to move from his shadow into the bright light carried forward by each successive generation of performers who are taking interpretation, execution, composition, theory, and guitar construction to higher ground. Very respectfully, Vance Renfroe
Now that's a tribute.
@@csieweng Thank you. It was a pleasure to write about a mentor who is a constant motivation to tackle the next measure....
I attended the concert your reference in Minnesota, in February of 1961 in Northrup Auditorium at the University of Minnesota. This was a very large hall. The audience was respectful. He played to the upper balconies without amplification. The performance was riveting. I knew not of his support for Franco, but I am nonetheless grateful for Segovia's transformation of the guitar repertoire. Thanks for this excellent exposition.
I met Segovia at UCLA in the ĺate 60s. I worked for the university. I was able to talk with him before he played Royce Hall. He told me that he warmed up for two hours before a performance. It was just he and me.
Damn what a experience. Lucky you.
He was obviously very dedicated to his music and wanted to sound on point when he performed.
There will never be another Segovia. His sound, discipline and soul were all the classical guitar could be. Wes Montgomery is copied but there will never be another Wes. My college teacher studied at Segovia master classes and had a masters in music theory. Only the best could be near him to experience his gift. I listened to Segovia as a teenager and realized he was beyond any technique or analysis. His soul spoke and lived discipline and beauty of sound that many try to copy but will never come near to Segovia and the expression of classcal guitar and the full potential of its power. Rock, Jazz and Blues guitarists have sought amplification levels at many times bearable levels. Segovia was the loudest guitarist of all time because he commanded respect instantly and when you realized it, you were drawn to his sound and mastery and were mesmerized by his phrasing and control. He was sent to show us what could be done with and on the guitar but only fools would think he can be copied. His genius is inspiration and joy. He left an example for us to try to reach but he was the master. God Bless him.
I saw Segovia play at the Dorothy Chandler Pavilion in 1972. He waited for the audience to quiet down, and when he still heard the rustle of the paper programs, he looked up and stared until the rustling stopped. Then, confident the room was completely quiet, he began to play completely unamplified. I will never forget this night. The guitar filled the huge room as people allowed him to be heard with complete and utter respect for the great maestro.
I think Segovia has some of the most pronounced phrasing of any instrumentalist. It is similar to listening to a great orator give a speach. There is an unmistakable ebb and flow of energy and a distinct and easy to distinguish grouping of ideas. There seems to be no blurring or overlap of intent. Everything has time and space to be expressed and absorbed before the next is presented.
There are many great guitarists, but no one has ever approached his way of communicating the music the way he did! When I hear others, unfortunately, I am never moved in the same way!
I once took lessons from ELI KASSNER, a student of Segovia…..my life has been blessed 🎸
I went to a Segovia concert at the Dorothy Chandler Pavilion in Los Angeles around 1973. I and my family sat high in the balcony, but we could hear every note. More than that, though, what I recall is the man's singular presence, his gravitas. It was almost as though it was his very presence filling the concert hall, leaving very little room for the rest of us.
Jazz guitarist here with a lot of classical study. My earliest exposure to classical guitar was Segovia, Bream and Williams. I liked many others but i always preferred the musicians who had their own sound and concept. In the jazz world, thats one of the signal virtues; respectfully learning the past but developing your own sound and approach. When i hear the aforementioned guitarists, i hear their personalities shine through...most importantly from Segovia. Hearing him play, he has his own poetry that all great artists of the 20th century had. I never tire of his playing, even in his later years.
Same here. You've just saved me a lot of writing.
Don't use "whom". You'are using it wrong. Better to be wrong using "who" than to use "whom" wrong. People don't notice a wrong "who" usage, but a wrong "whom" usage jumps right off the page -- or screen, in this case.
@@استاذدانيال Looks like he fixed it. Now you can rest easy.
What's this deal with criticizing anyone who has any flaws? Those criticizing him are also flawed. He's the main reason classical guitar is what it is today.
So too the Beatles and everything after , perhaps to his chagrin.
As he is not bigger than the instrument himself, and he tried to occupy that field, it is good for others to know the good and bad of such a towering figure so that people can make their own musical choices about whether to listen to his music or follow his example.
Thank you so much for this video! My mother received an LP of Segovia in 1960, the year I was born. I grew up listening to Segovia so much that every nuance in how he played each piece is etched in my memory. I finally saw him play in person in 1983. He was very old, and couldn't play well at all. Nevertheless, there were moments in his playing that were so characteristic of him that my brain resonated with those moments, and I was moved to tears. (I am not given to such moments, and I was embarrassed for my friends to see it.) While I now prefer players such as David Russell and Manuel Barrueco, Segovia was the beginning, and he deserves great respect and acknowledgement. Thanks again!
While this is a very well done piece, I think that this video understates or fails to mention Segovia’s sound and tone, which was incredibly unique. Underpinning this was a very deep understanding of musical phrasing and line. His charisma, adeptness at self-promotion, unique mission to promote the guitar and his outsized ego would not have been enough to draw and hold audiences as he did were he not a great musician who played “con alma” and “con duende”. (oh and also because he was a man - Ida Presti may have matched or excelled him on all fronts as a musician). Like a Coltrane or a Hendrix, as a musician he could coax his audiences into a timeless place when he was really on. Later it became fashionable to disrespect him, but many of those who engaged in this behavior may have lacked the ability to communicate musically the way Segovia did. Da vergüenza su apoyo a Franco, but as the video implies, there was a certain naivety and remove that may have informed this. Aun asi, no lo justifica and it remains a stain on his character for many people.
yes I agree w you. I was fortunate to see (hear..) Segovia concert at least ten times. TONE QUALITY!
Agreed. Also regarding Ida Presti.
De acuerdo😮
I saw him at the Ford Auditorium, a 3,000-seat concert hall in Detroit (in 1979, I believe?). We were in the very last two seats of the very last row in the highest corner of the hall. He came out with his guitar, sat on a chair (w/footstool), and played acoustically - no mics or sound equipiment of any kind - an we heard every single note clearly! Talk about low overhead!
He's the reason I'm a guitarist and recording artist ❤
I still remember the first time I heard Segovia. It was 1970, I was maybe 15 years old, and a Segovia LP was one of the first classical music albums I bought after talking my parents into buying me a small stereo. I put it on the record player in my tiny white bedroom in Pine Bluff, Arkansas, sat down on the edge of my bed to listen, and the first notes of the Violin Partita No. 3 were almost stunning, revelatory. I'll never forget it.
I saw him when he was 82 inspired me to practice 10 hours a day. In my opinion nobody plays classical guitar like him always the best
@@jaybavet1 always the best 😍
There is none better in my opinion. The poetry of his phrasing, tone, technique, and interpretations changed the way I hear music and classical guitar. After all of these years, his recordings still give me beautiful chills. We are all standing on the maestro’s shoulders!
The Flamenco issue. When Frederico Garcia Lorca and Manuel De Falla held the first Cante Jondo flamenco festival in Granada in 1922 , Segovia played a Soleares, while Lorca recited his poem Silverio. I studied classical guitar with a peer of Segovia, Vicente Gomez. Gomez insisted that I include flamenco in my repertoire (which I did begrudgingly because of the Segovia rule). I believe that as you point out Segovia was on a personal mission to “rescue the guitar from the busy hands of the flamenco players” to establish the guitar as a respected part of the classical tradition. Also, it was a class issue as Gitanos at that time were not part of the upper class structure he wanted to infiltrate. Gomez included both classical and flamenco in his concerts much to the joy of his audience.
"Also, it was a class issue as Gitanos at that time were not part of the upper class structure he wanted to infiltrate." ToMaybe sr. Gómez forgot to mention to his foreigner pupils that flamenco wasn´t a musical genre of "gitanos", just a musical genre born in Andalucía, south of Spain, created by spanish andalusians and gypsies from Andalucía. Gypsies are everywhere around the world, but only gypsies from Andalucía, mainly in the province of Cádiz, played flamenco at first and always interacting with andalusians begining in the XIX. And 100 years ago, when Segovia was young, there were celebre flamenco singers and dancers, but guitar players were as important as clappers marking the beat, just third rate in importance in the band. Flamenco guitar players were mediocre in the best case back then, there wasn´t any famous guitarrist. Flamenco guitar virtuosos came after spanish and world wars. Segovia had good reasons for not liking flamenco players, he was the heir of an uninterrumpted line of spanish virtuosos of vihuela and guitar since XVI: Luis de MIlán, Mudarra, Sanz, Sor, Tárrega, etc etc etc. Paganini was a virtuoso violin player and nobody think that violin was a musical instrument of gypsy street playersback them, well thats the battle that Segovia had to fight abroad of Spain. If Segovia was born 50 years later probably he would had different opinions about flamenco players. And about your "infiltration" thing, honors and titles of nobility fell on Segovia inevitably because he was a genius who worked until the last day of his long life, he did not waste time lobbying for medals nor did he get involved in politics or seek the company of socialites. You foreigners have very strange opinions about spanish things. Segovia wasn´t a god nor a devil, he was a decent man.
the reason i don't like segovia is his huge huge ego
my man has the ego of satan
to say paco de lucia is not a musician nor a guitarist is insane even tho paco de lucia was and is miles above segovia
not in just technique in both emotions, composing, rhythm and many more
i hope i could've heard segovia playing in his 20-30s but we sadly could not since it was a very long time ago
if he wanted to talk about the buzzy sound of the flamenco guitarists why didn't he talk about how boring some classical guitar repertoire is?
luckily people like camaron, tomatito, vicente amigo and paco de lucia made flamenco more popular than classical guitar worldwide
Ultimately the only reason any of us are here is because of Segovia. I love a lot of modern players but I will always return to Segovia’s recordings. It’s simply that SOUND… that stunningly beautiful sound he could create.
Yes!
This is true. While in the audience with almost 1,000 seats filled, Segovia would play a musical phrase and take a ritardando and then strike a lower bass string with his thumb (with vibrato) and it would sound huge.
This is a great comment and reminds me of something …years ago I was at Parkenings masterclass in Montana and he was demonstrating a passage on Prelude no 1 by Bach for a student… near the end of the piece…anyway he hit this vibrato with such beauty ( and I know baroque isn’t big on vibrato but this relates to Segovia’ genius too) that to this day I can still feel that sound made by Christopher. I’m not joking. Segovia was a true artist in every sense … he took musical chances all the time. He’s maybe criticized for that but I don’t care he was a genius. I especially loved when he hit a chord and then pulled off all the notes but the top one and lingered there…kind of like you said here. Stunning and breathtaking. Peace. @@TaiChiBeMe
BS. His name precedes his talent. There were always better guitarists before during and after his time.
Julian Bream is just about the only one I can think of… I’m talking artistry not velocity of playing or speed for speeds sake. Gen Z is producing speed demon tap happy guitarists that are unlistenable. It’s all sizzle no steak. David Russell has beautiful sound I’ll say that too and Barrueco. But seriously I’m not a hater give me your list of “ better” especially before him… during maybe Rey De La Torre? He was great. @@edzmuda6870
When I was a teen wanting to get a start at learning guitar I picked up a Segovia instruction book and first page I opened to showed him teaching that the thumb must ALWAYS be behind the guitar neck and can never wrap around. My favorite guitarist at the time was Jimi Hendrix (still actually), who nearly always wrapped his thumb so... I later came to appreciate Segovias mastery but, the effect of that experience was to cause me to never take the established taught way as gospel without experimenting myself, and to always look at alternate grips, instrument angles, and other ways of doing things than what is commonly taught. I have his dominant obnoxious teachings style to thank for sending me running the other way! I would have loved to have seen his concert however.
Mine said the same thing 😂 I said tell Jimi Hendrix you're not supposed to reach over the top lol
You can't wrap your thumb around the top of the type of guitar Segovia played. That technique only works on skinnier necked guitars like electric and many steel string guitars. He wasn't wrong and neither were the other guitarists, the instruments were different.
@@catocall7323 I like your reply and thoughts. Quick to listen slow to speak and only after considering all of the factors combined.
@@markmartin3221 I studied classical guitar and also like playing different styles and guitar types. 😅
I have been playing classical guitar for 20-ish years. Now I learned that I brake another of Segovia's rules. I have huge hands, my thumb shows very often in many positions, it's just how it's comfortable.
Also btw - there's no one complete methodology of playing any instrument. Segovia was quite bigotted and anything he like or disliked tried to enforce as universal rules/truths, he always tried to make his style the only style, he also diminished Latin American composers.
I grew up listening to Segovia(on lp)and I admire him so much.Times are changing,there are really many great guitarists nowdays,but I think he made a first step for the world we are living today,in that matter.Who knows what aould happened if the world didn't have Segovia..He jas my deepest respect
Segovia is the goat. Younger guitarists like myself are so concerned with speed, social media, and winning competitions that they lack Musicality and the emotions that segovia and his generation brought. It's unfortunate that there's so much of a push to get away from the old masters like segovia. Obviously that's a generalization and there are some phenomenal players out there right now. I just graduated conservatory and this is just an observation I have seen over the past 4 years. Long live Segovia!
"At the same time, we can also be grateful that his ideas and methods and ideas no longer dominate." Yet it was that "domination" that made it possible for the guitar to be brought to the widespread prominence and stylistic freedom it has enjoyed to this day. Segovia did more for the guitar than anyone ever has or ever will. But more than all this, to simply listen to his performances is a blessing and a gift to all mankind.
I was fortunate enough to see Segovia live when I was at university. I had only been playing guitar for a year at that time, so it was completely overwhelming - but awesome! I moved on to Jazz and Bossa Nova and it was rewarding to learn how many Jazz guitarists attribute him as massively influential, much like Django Reinhardt’s ubiquitous influence. Not sure we would’ve even had greats like Luis Bonfa and Charlie Byrd without Segovia.
In my early teens I heard his Chaconne in D and it changed my life forever. That recording has remained for me a benchmark in understanding and loving Bach. For this one thing I will be eternally grateful to Segovia.
Same here. Then I acquired his trascription of the Chaconne, and studied it. It was my graduation piece as a professor of guitar.
Same here... until I heard Pepe Romero's version
Excelente video, very eye opening, and inspiring. My respect For Segovia and his legacy. Tone base is ruling this era of guitar. Thanks
"The guitar didn't have a serious classical tradition." What?! Charles II and Louis XIV took guitar lessons. People were crazy about the guitar in Europe in the 19th century Salon Era. If Segovia was never born, the guitar still would have had a serious classical tradition.
Perhaps it would be be more accurate to say: The mainstream classical world had forgotten about the guitars serious classical tradition and Segovia helped re-establish it.
Hi Brandon, thank you for showing up here, wow! Fair point, this quote could have used a bit more context in hindsight. I think what Steve Goss is trying to get at here is not claiming that there is no classical tradition in guitar (of course there is), but that it wasn't considered *serious* by the musical establishment of the time, which I think is correct. Also, even during the 'Great Vogue' of the early 19th century the temporarily elevated standing of guitar within a perceived hierarchy of instruments was nowhere near uncontested. I'm actually about to release a new episode on exactly this topic in a few days, happy coincidence! -Jakob
@@tonebase I'll look forward to your new episode, Jakob! I love what Tonebase is doing and just feel the need to add my two cents so others don't misunderstand.
I'm finally studying Royal Conservatory Classical Guitar, just finishing level 4. I've always admired players like Segovia, the depth of knowledge, skill and technical complexity that the Classical guitar has to offer, even though I may not give it rightful listening attention. There's something to be said about the "muse" in music that supercedes the medium through which it is expressed. You have my full attention when you're able to balance all those elements... where the muse within music leads the way.
I got started with classical guitar in the early 2000s, and at the time it was really hard to find recordings of Segovia in his prime, but it is much easier now. If your impression of Segovia is based on recordings he made in his 80s or 90s, you owe it to yourself to look up the early recordings.
I was privileged to attend an S. Hurok Presents concert once in the late sixties, including performances by Pablo Casals and Andreas Segovia. It still ranks as one of the greatest musical experiences I have ever witnessed.
I saw him in concert at the Royal Festival Hall. He played Fantasia para un Gentilhombre and invited its composer Joaquin Rodrigo , to stand and take a bow. The composer was in the seat in front of me. I think this was in 1976.
the best for ever ,my hero in guitar❤
Thanks so much for this warts-and-all snapshot. After all this time it's amazing to see the passions that the maestro stirs in us!
Was given 2 Segovia cassette tapes many years ago in the late 1980’s. I’ll never forget how it felt to listen to these songs. I had already been playing classical guitar and listening to various pop and rock music. I’m more into mood and feel than technical virtuosity. For me Segovia’s music was a bridge from the old classical music not written for guitar and the new, popular and romantic music that I found appealing.
I saw Segovia at the Dorothy Chandler Pavilion, LA some 50 years ago. It's a huge hall. No microphone! It was a great concert and I was able to shake his hand afterwards. I have large hands his dwarfed them. Mid seventies, I studied at USC with Pepe Romero et al. Segovia held master classes at USC. I wasn't able to play for him because I graduated before the series. I personally don't think he was a great teacher but he was larger than life in what ever he did. When I started college in the 60s, only several colleges offered a degree in classical guitar. Thanks to Segovia, Bream, Pepe and others, there are many excellent guitarists these days.
(douglas hein)
Superb presentation, and very brave. Being of a certain age, everything I suspected but couldn't dare to bring up. Thank you!
I saw Segovia twice in LA and a good friend of mine studied with him for a couple of years. He was a spell-binding performer - I think in large part due to lack of amplification (as pointed out, people had to listen closely) and he was also a very dynamic player. Segovia definitely holds an important place in the guitar world.
As I studied guitar more seriously, my interest shifted much more towards flamenco which I feel is more expressive (without doubt, a generalization). At this point I started listening much more to artists like Sabicas who touched me much more on an emotional level (and flamenco technique blew my mind TBH).
Still, there's no denying the impact that Segovia had on the guitar. Sad to hear that Segovia was a Franco supporter but not surprised. My friend who studied with him told me many interesting stories about his personal interactions with him that were eye-opening to say the least. A reminder that great artists aren't necessarily great human beings.
Hello, thank you for this video!
Could someone please list all the background songs, because I don't know some of them and unfortunately I can't find them on the internet either...
Thank you in advance!
I remember watching Segovia on PBS performing at the Lincoln Center! His genius came through a 2 inch speaker on an old black and white TV!
I like the topic. I started taking lessons some years a few years ago and played some open chords which was enjoyable for pop songs (to an extent) and thus only a passing by hobby. Until a few years ago when i purchased a John Wiliams LP. I then wanted to know more about classical guitar and ended up listening to Andres Segovia and knew I had to take classical guitar lessons. I found myself researching him as much as possible and now did a career change by studying music as a profession with classical guitar as my main instrument.
It's not fair to judge him in terms of today's sensibilities. His outlook was formed by the consciousness of the 19th Century, and what he achieved within that context is extraordinary. Thank you for making this video - much appreciated. I always go back to a beautiful film that was made in the mid-Seventies called, Andre Segovia- The Song Of The Guitar. It's available on You Tube, and it's pure magic.
I'm studying with Jack Cecchini who thinks very highly of him and had a chance to meet and play with/for him. I'm fortunate for this because he is on my radar. I was also able to purchase a 16-book set of his arrangements and transcription that haven't been out of circulation for a very long time - they are from Japan from the 70-80s.
What an amazing video btw. The script is excellent
I agree with what Stephen Goss says in this video. I started classical guitar in 1968 and I saw Segovia once in the 60s and two more times in the 70s and, sadly, once in the 80s. He should have retired by the last time I saw him. All that was left was his personality. The musicianship had suffered from the loss of his physical abilities. He admitted that he "just tried to do his best." What remained was his intent. It was clear what he was attempting to do on the instrument, and it was his way of hearing the music. He had always injected his personality into the music, for example, he played Baroque music romantically because that's how he heard it. Even more importantly, that's how he wanted to appear to his audience. He was a romantic at heart. When he heard Barrios' music, he was intrigued but he downplayed it because it had folk elements in it. Nevertheless, I have heard from South American guitar friends that Segovia secretly played Barrios' music behind closed doors. This they heard. Also, perhaps the most played concerto in the world, Rodrigo's Aranjuez, was discarded by Segovia because it had that popular folk element in it. Just consider the opening strums of the concerto. Nevertheless, Segovia's great ego demanded that the guitar be heard in his way and he succeeded. We old guitarists remain grateful.
Classical musicians ever since strike me as being unbalanced.
Es muy conocido y muy desagradable su encono hacia Barrios. Temía ser opacado por el gran genio paraguayo.
While I was studying classical guitar in the late 1970s, Segovia was at the height of his thought leadership, and there were both restrictive and liberating elements to it.
For instance, it’s still a vivid memory seeing his endorsement note in every packet of Augustine strings, condemning the very thought of improvisation.
On the other hand, the strict hand-positioning techniques I learned, thanks to the orthodoxy he promoted, still equip me (much older and often out of practice) to produce a beautiful spectrum of sounds that sometimes impress people more than I deserve.
So yeah, glad he’s no longer dictator, glad he was there.
Qà
I saw him play in Philadelphia. Magnificent. My guitar teacher, who sat in the row in front of me and one seat to the right, studied in Spain with Segovia's student.
I saw him play in the 60s--he never said a word the entire concert. A security guard was there to keep anyone off stage and also protect the valuable instrument, I suppose. I read that he made his greatest strides in learning this instrument during those periods when he was "in love" with this or that female. I always marveled at how the chubby fingers could have such dexterity! My father fell asleep during the concert.
Those chubby fingers were secret to his tone I believe. I had two students with Segovia-like fingers who, within a few weeks of lessons, sounded just like Segovia when they played slow rest strokes. Unfortunately, neither student thought they were doing anything special and eventually quit playing.
fascinating. i'm so glad you have been a teacher.@@Lutemann
Thank you Andrés, for all your hard work & vision. Some day we will all get to 'Jam' with you! Ooops, I mean... watch you perform
The prelude in D minor by JS Bach that he plays in the opening is maybe the first baroque song I ever learned. Love hearing his version….
You are a very good host with an excellent voice and ease when
discussing events and people.
Cheers,
Rik Spector
Excellent video...!
The guitar has been blessed with many great players, and in many different styles. But, Segovia made the guitar sound absolutely majestic and inspiring, even on a simple piece. He played every piece like it was the greatest music ever written. It was an astounding achievement.
It was the way Segovia played music that inspired me to learn the guitar, and who stills inspired me to this day.
There is a young electric Fusion guitarist named Matteo Mancuso playing incredible fingerstyle that has all the top players gobsmacked. He is also something very special, and is worth checking out.
I saw him in '83. He was 80. He shuffled slowly the wings to his simple chair, fingers like sausages, then he stared playing...wow. w
What a great experience.
Saw him in the Fulcrum Centre in Slough maybe around that time or a few years before. "Fingers like sausages"... I noticed that too, very large hands, and you wondered how he could still play with those huge banana-like fingers. He seemed very old and you wondered if he should still be doing concerts at that age. Then he started and you immediately realised he wasn't in decline at all.
Thank you for this. Many boomers and many stories about Segovia, and there are many controversies. The fingerings on his arrangements were often counterintuitive, if possible, to reproduce. This may be due to the fact that his little finger was huge, nearly the size of an index finger. His left hand squeaked all over the fretboard on his recordings and performances. He had zero tolerance for Agustín Barrios' compositions, famously telling John Williams to stop playing during a master class. On and on. All this said, Segovia is responsible for an immense body of beloved works including Concierto De Arajuez, Villa-Lobos - Concerto for Guitar & Orchestra and more that have sunk deep into our psyche and culture. Controversy or not he was a giant.
I saw him when he was in his 80's. He played in a large hall, with no amplification. He had a beautiful tone and played slowly. He was very contemplative. He asked the audience to please refrain from coughing.
Un excelente video sobre la vida del virtuoso de la guitarra clásica Don Andrés Segovia, y lo que él representó para los músicos de nuestra generación (años 70’), además de cómo pudo llevar de la mano el nivel de la guitarra del folklore al clásico.
Really quite fascinating ... didn't even know that I would find it so intriguing. I wasn't a classical player when I played, but always enjoyed it and found it so "serious".
Thanks for this brief history of the man.
The EMI recordings from 1927-1939 are insane! Complete takes, no edits. He plays with immense musicality and personality and sometimes really rips some fast passages. Segovia in the early years was about as good at guitar as is humanly possible.
You're right. When I started studying classical guitar at the little music school in my hometown back in 1985, there was just one class for classical guitar (five pupils) and four classes for piano.
I remember taking solfege classes on Saturday afternoon, and the teacher would often say, "Well, we're all pianists here, aren't we?", and then me and another kid would raise our hands and say, "Erm, no, Sir. We aren't."
I played guitar, he the clarinet.
Now things have changed dramatically: a handful of pianists, and lots of guitarists.
A long New Yorker profile of Eliot Fisk from about 30 years ago speculated that had there been no civil way in Spain-Segovia would almost assuredly by inclination been a royalist…
I’m not so sure the classical guitar isn’t dead again. I see videos of many current fine players in front of a smattering of audience. When I was a much younger man in the 80s, I recall seeing Parkening playing at Davies in SF before 2,000 people. The Romeros regularly played in a large hall down the peninsula at the same time. Hard to imagine that today. I don’t think the guitar has such a grip on young people any longer. Its popularity has always waxed and waned…
Saw Segovia in NY in January ‘66. Seven encores.
I saw him at Flint Center, Cupertino in 1971. and he admonished the audience for coughing. He played marvelously
My Dad was at that concert too, and loves telling that story!
I and high school friends drove to Houston in 1973 to see him in Jones Hall with 2500 others. His stage presence and playing were spellbinding. But I also learned something about the power of silence. He demanded it, but not just so people could here. A shared silence is a far more unifying and emotional experience than the loudest stadium.
I saw him in in concert in Los Angeles in the late seventies. He was I believe in his 90’s and still touring. He walked on stage with a cane, and his assistant brought out his guitar. I feel very lucky to have been able to see him play.
I saw him in Boston for that tour. Stage seats.
Great video! Bravo.
Greatly enjoyed this video. I remember Segovia. When I was a college student Bream was the new guy on the block. As a member of Tonebase, I agree it is a great resource for all classical guitarists.
I'm just starting to get into classical guitar, coming from blues and rock, and of course Segovia came up very quickly in my research, such as his performance of Asturias. Thank you for this great and informative video!
Yes I’m so impressed by fact composers who wrote pieces for him like Tedesco and Ponce. My father saw him in Greece while in the army before shipping off to Korea. Segovia toured the world and never stopped he was an intellectual with many friends…my fave story is being almost run off the road while driving only to find the driver was his friend Picasso.
I saw him perform at The Academy of Music in Philadelphia in the 1970's. Great show. No mics.
I started playing classical guitar around 1962 and got bored with the repertoire and took up piano in 1979. I had discovered more modern composers like Barrios, Rodrigo, and even early Brouwer, but the real masterpieces written for the guitar were virtually nonexistent. The commonly played pieces were mostly "nice" or "charming", near salon music. Where were the Chopin Ballades, or Rachmaninoff Preludes, or Scriabin Etudes? This video fleshes out the downward trajectory due to Segovia's invention of the guitar story, but also the rebound since the demise of his influence. Funny how it mirrors my personal "journey", as I recently took up the guitar again. Totally into Brouwer and other modern composers.
Great to see Stephanie's album art behind you! Very supportive couple!
Every time I hear a young popular virtuoso like Tim Henson I also hear that innovative classical technique that Segovia perfected so many decades ago.
I relate Segovia to my childhood since my father played some of his records. Im not a professional classical guitarist but I do play the instrument and I love his interpretations, they sound like an old church to me.
As a person he seemed to be someone who I would not like.
I have similar feelings. As I love his interpretations of classical guitar music, e.g. I listen to his interpretations of El Noi de la Mare while learning this song. But he was an old grumpy bigot who tried to enforce his likings and style as the only way of playing classical guitar and hated Latin American classical guitar music (or at least diminished it). He has such a long list of recorded toxic behaviors as, I think, no classical musician of the modern age.
He also is the cause of why playing with flesh instead of nails is something deemed inferior nowadays.
Great video.
I would like to hear about Segovia’s influence on guitar construction.
This video presentation is fascinating and profound. I think there is little doubt that Segovia resurrected an instrument which would otherwise have been languishing in the folk tradition. It's deeply ironic that a man who clearly had an enormous ego and could be described as a fundamentalist created a pathway for the classical guitar to emerge as a unique and important musical expression. I have observed that it is often the case that a great artist develops a conduit through which they are able to express the deepest feelings of their heart in direct antithesis to their behavior as a human being, an ironic juxtaposition which on the face of it is bewildering. His tonal beauty is often indescribably exquisite.
Interesante vídeo, esperando los próximos sobre Segovia
Yes, more please! Thank you!
He's got amazing tone, and musicality. Something alot of contemporary classical guitarists lack. You hear from his playing that it's Segovia, these new kids? not so much.
I taught Segovia how to achieve a good tone. He thanked me and polished my boots.
Thanks for the great little doco
My memory which I have to admit is sometimes flawed, says his hands had sausages for fingers. Didn’t hamper his playing or audience appreciation when I saw him at The Royal Festival Hall, London. He played twenty encores.
Tonebase
What is the graph that you briefly show at 3:52?
I only got to see him live once, but it remains 1 of the greatest concert experiences of my life (61)..... then again I also got to see michael hedges (many times), leo kotke, stevie ray vaughn and many other greats along my journey.......
You've seen some good ones!
that's hardly a complete list to who I've seen. well into the thousands of concerts. music has been a major influence on me....
youre funny
I saw him at the Kennedy Center in Washington DC around 1980. Yes he stopped a song to demand silence
good for him
Saw him once, 1980-ish? He made the simplest every-guitarist-should-have-one pieces sound completely new, fresh and expressive.
When the Beatles said: "you are the father of all of us" he answered them "you are not even my bastards" He was faithful to his ideas and it is because of that that he did all he did. He was free to not like the Beatles or flamenco or whatever, like anyone of us. Do not confuse discipline with "dictatorship", he was stubborn, yes, and his mind was fixed on his goals, yes, like many other artist geniuses.
Do NOT mix politics with art, those words you are using, dictatorship, democracy... are you in a political meeting? or just uplifting the wonderful sound of music in a guitar in Segovia´s hands? Thanks to his discipline all that has come to us and we can develop it even more, for yes, discipline is necessary to attain freedom on any domain, years of practice to be free to play with the heart.
HEIL SEGOVIA!
It’s not true that Bach didn’t write for the guitar, he wrote pieces for the lute.
He didnt write a single piece for the lute. His "lute suites" are written in nearly unplayable keys for the lute and were actually composed on a keyboard instrument called the lautenwerk.
Excellent video analysis. More please!
Excellent documentary.
Thank you
A great video made with honesty and reflecting the good and the bad of his legacy.
Excellent piece - well researched and delivered. Thanks.