1- 00:00:00 Suite for solo cello No. 1 in G major, BWV 1007, Prelude J. S. Bach 2 - 00:02:10 Theme & Variations On a Theme from Mozart's The Magic Flute, for Guitar, Op. 9 Fernando Sor 3 - 00:05:37 Petite Valse Manuel Ponce 4 - 00:08:13 Serenata Española for Piano in F Major Joaquin Malats 5 - 00:11:58 Suite for guitar in A minor ("in the Style of Weiss"). III. Sarabande Manuel Ponce 6 - 00:14:55 Prelude for lute in C minor, BWV 999 (BC L171) J. S. Bach 7 - 00:16:19 Suite española No. 1, for piano, Op. 47, B. 7. No.1: Granada Isaac Albéniz 8 - 00:20:40 Suite for guitar in A minor ("in the Style of Weiss"). IV. Gavotte I & II Manuel Ponce 9 - 00:23:38 Suite castellana for guitar. Fandanguillo Federico Moreno Tórroba 10 - 00:25:38 Preludio for guitar in E major Federico Moreno Tórroba 11 - 00:27:31 Suite española No. 1, for piano, Op. 47, B. 7. No.3: Sevilla Isaac Albéniz 12 - 00:31:49 Partita for solo violin No. 3 in E major, BWV 1006. Gavotte, Rondo Johann Sebastian Bach 13 - 00:34:35 Spanish Dances (12), in 4 volumes for piano, Op. 37, H. 142, DLR 1:2. No 10 in G major Enrique Granados 14 - 00:36:53 String Quartet No. 1 in E flat major, Op. 12. Canzonetta Felix Mendelssohn 15 - 00:41:08 Gigues, for guitar (unspecified). A gigue Johann Jacob Froberger 16 - 00:42:49 Fandanguillo, for guitar, Op. 36 Joaquín Turina 17 - 00:46:47 Sonata for guitar ("Omaggio a Boccherini"), Op. 77. Vivo e energico Mario Castelnuovo-Tedesco 18 - 00:50:30 Sonatina for guitar in A major. Allegretto Federico Moreno Tórroba 19 - 00:53:50 Nocturno for guitar in A minor Federico Moreno Tórroba 20 - 00:56:58 Suite for guitar in A minor ("in the Style of Weiss"). I. Prelude Manuel Ponce 21 - 00:58:43 Suite for guitar in A minor ("in the Style of Weiss"). II. Allemande Manuel Ponce 22 - 01:01:24 Sarabande, Bourree and Menuet for guitar (arr. Segovia). Menuet Robert de Visée 23 - 01:03:12 Suite for guitar in A minor ("in the Style of Weiss"). V. Gigue Manuel Ponce 24 - 01:07:51 Recuerdos de la Alhambra, for guitar Francisco Tárrega
Thanks a lot for uploading such a musical treasure. Segovia is one of the first recording artists of human history, and he did outstanding magical and unique interpretations.
Un diplomato al conservatorio medio di oggi, forse sarebbe più preciso e pulito tecnicamente, ma nessuno potrà mai suonare come Segovia. La sua classe è prodigiosa, è letteralmente un polistrumentista, per le voci e timbri che riesce a esprimere, sembra racchiudere le sezioni dell'orchestra:i violini, i celli i fiati, il canto. Tutto da solo con pochi capiscuola, senza registrazioni, creatore di tecnica e di repertorio e ispiratore di compositori.
Most people are familiar with Segovia the old guitar master, but once he was young, these recordings are from the 20s and 30s, when he was in his 30s, so of course he's playing faster, this is not technically sped up, this is a virtuoso in his prime..
We hope despite he's probably quite old now his health is OK and not threatened by coronavirus. We are also very greatful to the healthcare workers who are saving our lives daily.
After passing through the tunnel, the night disappears After my body is tilted A long long time runs through the day Looking at the stars that do not disappear I close the three curtains I opened my eyes and tried to sleep, but frost on my eyebrows It was dazzling The night was deep, but the lights went out I don't need it. The ants wandered around the house without knowing a word. In the blink of an eye, the aurora was swept away. It was a hazy white night. I forgot what I was going to say. I didn't need the place I just passed by, the silence passes by again While I was searching for a memory like a dream, the inside of the landscape grew in oblivion. I hear it I pick up my pen and start making dots again on the blank paper I travel again beyond the unsetting sun .. . .
Сеговия в молодости Чакона Баха он играл более быстро после стал играть медленно и плавно современные гитаристы плавно не играют. Сеговия когда стал старше больше уделять внимание качество это можно определить по записи раннее и позже записи отличаются по качеству я прослушал все записи разных времен. Он вошёл в истории гитары его часто упоминают в музыкальной литературе общался с гитаристами высокого класса Мигель Льобет, Эмилио Пухоль, Мария Луиза Анидо ученица Мигель Льобета а так все они ученики школе Франциско Таррега. В заключение можно сказать что сейчас таких гитаристов нет я имею ввиду качество а не количество . Россия г.Саратов на Волге. Александр.
Creativity and playfulness = Segovia. I can listen to him for hours, just like I can look at nature without ever getting tired of it...emotion and expression. Thankyou Segovia.
@@BertaJo Maybe they should become attention whores, who purposely seek out videos of artists whom they don't like, with a pre-planned mission to trash the artists and their fans, while desperately seeking to evoke negative responses with their child-like pleas for negative attention.
RegFabrizio, some if what you say is correct, but I think your exaggerated it a bit. You make it sound like Segovia is some Devine being beamed down to earth with special super human emotional powers, and all the rest are dull. I don’t think that is true. There is plenty if great players out there since him, some evens more expressive. Rather, I think the reason for the lack of interest is something else: composition. When Segovia first played his repertoire, he was introducing the world to this music. No one had heard Ponce or villa lobos…. Even Bach was not none to the general public, especially the suites. It was fresh and exciting. It was hard to play it bad. Now, we keep playing the same old songs 75 years later… still Ponce, Torroba, Bach….. it’s the new music of today, in my opinion, that doesn’t quite have the appeal. There are some good ones…. But Segovia really knew what the public wanted to hear… such good music. If we only had more Ralph Towners, at there….. these young talents would be enthused to play something that was new and good.
@@wernerretief4569 Segovia gra Segovię.Wytłumaczę: interpretacje Segovii są tak charakterystyczne dla Jego stylu wykonawczego,że pozwoliłem sobie na żart,że są one Jego kompozycjami. Naturalnie,że grał różnych kompozytorów z tym,że w tamtym czasie nie dbano zbytnio o oddanie ducha czasu danego utworu,a szczególnie nie dbał o to Segovia. Dla przykładu utwory Bacha grane przez Segovię są całkowicie pozbawione ducha barokowego,przypominają muzykę okresu romantycznego.W wielu innych utworach słuchacz jest zaskoczony nagłą synkopą nie tam gdzie się spodziewał,albo fermatą co robiło wrażenie jakby Segovia zapomniał co dalej.Czyli Segovia jakby sobie zawłaszczał prawo do własnej,często niezgodnej z intencją kompozytora,interpretacji.Można o tym dużo pisać,ale ja tego nie krytykuję,rozumiem,że Segovia chciał gitarę pokazać jako instrument melodyczny ,a nie rytmiczno-akompaniujący. O to mi chodziło.Mam nadzieję,że teraz zrozumiałeś i za moim przykładem też sobie czasem pozwolisz na podobny żart. Pozdrawiam.
Most of his recordings are from after at his peak when he was 80 ore more. Segovia at his young age beared extraordinar skills virtuosity and sens of musicality. After his seventies he suffered from several ilness like diabetes and neuropathy. He wasn't able to play so fast any more. Despite of this his interpretations style remained unique andf suggestive. I think the love of music which he keep alive him so long time.
1 Suite for solo cello No. 1 in G major, BWV 1007: Prelude 0:00 2 Partita for solo violin No. 3 in E major, BWV 1006: Gavotte, Rondo 3 Prelude for lute in C minor, BWV 999 (BC L171) 4 Introduction, Theme & Variations on a theme from Mozart's 'The Magic Flute,' for guitar, Op. 9 2:10 5 Sarabande, Bourree and Menuet for guitar (arr. Segovia): Menuet 6 Gigues, for guitar (unspecified): A gigue 7 Sonata for guitar ('Omaggio a Boccherini'), Op. 77: Vivo e energico 8 String Quartet No. 1 in E flat major, Op. 12: Canzonetta 9 Serenata española for piano in F major 10 Suite española No. 1, for piano, Op. 47, B. 7: No.1: Granada 11 Suite española No. 1, for piano, Op. 47, B. 7: No.3: Sevilla 12 Spanish Dances (12), in 4 volumes for piano, Op. 37, H. 142, DLR 1:2: No 10 in G major 13 Fandanguillo, for guitar, Op. 36 14 Suite castellana for guitar: Fandanguillo 15 Sonatina for guitar in A major: Allegretto 16 Preludio for guitar in E major 17 Nocturno for guitar in A minor 18 Petite Valse for guitar 19 Suite for guitar in A minor ('in the Style of Weiss') 20 Suite for guitar in A minor ('in the Style of Weiss') 21 Suite for guitar in A minor ('in the Style of Weiss') 22 Suite for guitar in A minor ('in the Style of Weiss') 23 Recuerdos de la Alhambra, for guitar 1:07:52
Thank you for sharing! He would have rendered better service to the music without the exaggerations that he makes all over the place and which got transmitted to generations of students. He managed to make even a romantic piece like "Serenata Española" sound weird.
Music is a language and can be inflected differently. Just like two speakers sound differently reciting Shakespeare. Segovia's vision of the piece was clear and he transmitted that which is not in the score. The soul. And expression. It would be a mistake for students to try and imitate Segovia, because it comes from his soul. Not from his fingers. His interpretations matured in time as he got older. Sometime Segovia's interpretation was orchestral. And went beyond what the instrument could deliver. When you are playing to a large audience you have to exaggerate so it can be heard. I do find Pepe Romero's version of the Malats more to my liking. The recording balance was too bass heavy. Not Segovia's fault. His later recordings were better. The recording quality was very lacking here.
¿Mejor en qué? ¿Cuál odio y desprecio? Ambos artistas son igualmente admirados. En lo personal, prefiero las interpretaciones de Segovia que las de Mangoré, y Mangoré destaca como un genial compositor de guitarra. No sé de dónde saca eso del odio y desprecio.
@@vladimirglam3821 es su creencia y es respetable, pero no aclara a qué se refiere con que fue mejor. ¿Mejor de qué? Y no comparto esa visión de odio. Barrios es un fantástico compositor, Segovia un fantástico intérprete. Segovia también compuso, pero no era su fuerte.
1- 00:00:00
Suite for solo cello No. 1 in G major, BWV 1007, Prelude
J. S. Bach
2 - 00:02:10
Theme & Variations On a Theme from Mozart's The Magic Flute, for Guitar, Op. 9
Fernando Sor
3 - 00:05:37
Petite Valse
Manuel Ponce
4 - 00:08:13
Serenata Española for Piano in F Major
Joaquin Malats
5 - 00:11:58
Suite for guitar in A minor ("in the Style of Weiss"). III. Sarabande
Manuel Ponce
6 - 00:14:55
Prelude for lute in C minor, BWV 999 (BC L171)
J. S. Bach
7 - 00:16:19
Suite española No. 1, for piano, Op. 47, B. 7. No.1: Granada
Isaac Albéniz
8 - 00:20:40
Suite for guitar in A minor ("in the Style of Weiss"). IV. Gavotte I & II
Manuel Ponce
9 - 00:23:38
Suite castellana for guitar. Fandanguillo
Federico Moreno Tórroba
10 - 00:25:38
Preludio for guitar in E major
Federico Moreno Tórroba
11 - 00:27:31
Suite española No. 1, for piano, Op. 47, B. 7. No.3: Sevilla
Isaac Albéniz
12 - 00:31:49
Partita for solo violin No. 3 in E major, BWV 1006. Gavotte, Rondo
Johann Sebastian Bach
13 - 00:34:35
Spanish Dances (12), in 4 volumes for piano, Op. 37, H. 142, DLR 1:2. No 10 in G major
Enrique Granados
14 - 00:36:53
String Quartet No. 1 in E flat major, Op. 12. Canzonetta
Felix Mendelssohn
15 - 00:41:08
Gigues, for guitar (unspecified). A gigue
Johann Jacob Froberger
16 - 00:42:49
Fandanguillo, for guitar, Op. 36
Joaquín Turina
17 - 00:46:47
Sonata for guitar ("Omaggio a Boccherini"), Op. 77. Vivo e energico
Mario Castelnuovo-Tedesco
18 - 00:50:30
Sonatina for guitar in A major. Allegretto
Federico Moreno Tórroba
19 - 00:53:50
Nocturno for guitar in A minor
Federico Moreno Tórroba
20 - 00:56:58
Suite for guitar in A minor ("in the Style of Weiss"). I. Prelude
Manuel Ponce
21 - 00:58:43
Suite for guitar in A minor ("in the Style of Weiss"). II. Allemande
Manuel Ponce
22 - 01:01:24
Sarabande, Bourree and Menuet for guitar (arr. Segovia). Menuet
Robert de Visée
23 - 01:03:12
Suite for guitar in A minor ("in the Style of Weiss"). V. Gigue
Manuel Ponce
24 - 01:07:51
Recuerdos de la Alhambra, for guitar
Francisco Tárrega
Gracias!! 👍🙂
Wow, I listen to the classic guitar a lot, but he is so good. Different level. Thank you.
Thanks a lot for uploading such a musical treasure. Segovia is one of the first recording artists of human history, and he did outstanding magical and unique interpretations.
Yes! The man who accents' every note he plays with heart and passion. Bravo!
Listen Classic guitar played by Maestro Segovia and drinking coffee = pleasant time= best time in winter too
Same, right now in summer, also quite nice! Cheers!
Grandissimo Segovia!!!
Bela guitarra, Segovia e a eternidade. Excelente compartilhamento.
Un diplomato al conservatorio medio di oggi, forse sarebbe più preciso e pulito tecnicamente, ma nessuno potrà mai suonare come Segovia. La sua classe è prodigiosa, è letteralmente un polistrumentista, per le voci e timbri che riesce a esprimere, sembra racchiudere le sezioni dell'orchestra:i violini, i celli i fiati, il canto. Tutto da solo con pochi capiscuola, senza registrazioni, creatore di tecnica e di repertorio e ispiratore di compositori.
Most people are familiar with Segovia the old guitar master, but once he was young, these recordings are from the 20s and 30s, when he was in his 30s, so of course he's playing faster, this is not technically sped up, this is a virtuoso in his prime..
Le beau qui fait du bien
Very pleasant to listen to.
Bravo et merci Sylvain! Viva Segovia!
Yes indeed " Long live Segovia "
We all wish that!
We hope despite he's probably quite old now his health is OK and not threatened by coronavirus. We are also very greatful to the healthcare workers who are saving our lives daily.
Just listen without judgement and you can feel that he was transported by the music and let it also for yourself be true..
Segovia is beyond compare !
After passing through the tunnel, the night disappears After my body is tilted A long long time runs through the day Looking at the stars that do not disappear I close the three curtains I opened my eyes and tried to sleep, but frost on my eyebrows It was dazzling The night was deep, but the lights went out I don't need it. The ants wandered around the house without knowing a word. In the blink of an eye, the aurora was swept away. It was a hazy white night. I forgot what I was going to say. I didn't need the place I just passed by, the silence passes by again While I was searching for a memory like a dream, the inside of the landscape grew in oblivion. I hear it I pick up my pen and start making dots again on the blank paper I travel again beyond the unsetting sun
..
.
.
(?)
damn. Checking out the comment section; who knew Segovia was so contentious. Like his music, never boring
Has guitar picking ever reached a greater crescendo aye don't know but how lovely are the theoretical possibilities.
01:07:52 Recuerdos de la Alhambra
Simply the best !
Lista de piezas por favor 🙏
Сеговия в молодости Чакона Баха он играл более быстро после стал играть медленно и плавно современные гитаристы плавно не играют. Сеговия когда стал старше больше уделять внимание качество это можно определить по записи раннее и позже записи отличаются по качеству я прослушал все записи разных времен. Он вошёл в истории гитары его часто упоминают в музыкальной литературе общался с гитаристами высокого класса Мигель Льобет, Эмилио Пухоль, Мария Луиза Анидо ученица Мигель Льобета а так все они ученики школе Франциско Таррега. В заключение можно сказать что сейчас таких гитаристов нет я имею ввиду качество а не количество . Россия г.Саратов на Волге. Александр.
Creativity and playfulness = Segovia. I can listen to him for hours, just like I can look at nature without ever getting tired of it...emotion and expression. Thankyou Segovia.
What you say is so correct......
His playing still amazes me. We shall not hear his like again.
I agree! Beautifully said.
@@BertaJo music like art is a means of self expression, if there is no real expression and emotion, it is simply dead.
@@BertaJo Maybe they should become attention whores, who purposely seek out videos of artists whom they don't like, with a pre-planned mission to trash the artists and their fans, while desperately seeking to evoke negative responses with their child-like pleas for negative attention.
RegFabrizio, some if what you say is correct, but I think your exaggerated it a bit. You make it sound like Segovia is some Devine being beamed down to earth with special super human emotional powers, and all the rest are dull. I don’t think that is true. There is plenty if great players out there since him, some evens more expressive. Rather, I think the reason for the lack of interest is something else: composition. When Segovia first played his repertoire, he was introducing the world to this music. No one had heard Ponce or villa lobos…. Even Bach was not none to the general public, especially the suites. It was fresh and exciting. It was hard to play it bad. Now, we keep playing the same old songs 75 years later… still Ponce, Torroba, Bach….. it’s the new music of today, in my opinion, that doesn’t quite have the appeal. There are some good ones…. But Segovia really knew what the public wanted to hear… such good music. If we only had more Ralph Towners, at there….. these young talents would be enthused to play something that was new and good.
Everything that plays Segovia .... composed by Segovia, the names of the original composers
left with innate elegance.
Rather write in Polish. Your comment doesn't make sense.
@@wernerretief4569 Segovia gra Segovię.Wytłumaczę: interpretacje
Segovii są tak charakterystyczne dla Jego
stylu wykonawczego,że pozwoliłem sobie
na żart,że są one Jego kompozycjami.
Naturalnie,że grał różnych kompozytorów
z tym,że w tamtym czasie nie dbano zbytnio
o oddanie ducha czasu danego utworu,a
szczególnie nie dbał o to Segovia.
Dla przykładu utwory Bacha grane przez
Segovię są całkowicie pozbawione ducha
barokowego,przypominają muzykę okresu
romantycznego.W wielu innych utworach
słuchacz jest zaskoczony nagłą synkopą
nie tam gdzie się spodziewał,albo fermatą
co robiło wrażenie jakby Segovia zapomniał
co dalej.Czyli Segovia jakby sobie zawłaszczał prawo do własnej,często niezgodnej z intencją kompozytora,interpretacji.Można o tym
dużo pisać,ale ja tego nie krytykuję,rozumiem,że Segovia chciał gitarę
pokazać jako instrument melodyczny ,a
nie rytmiczno-akompaniujący.
O to mi chodziło.Mam nadzieję,że teraz
zrozumiałeś i za moim przykładem też
sobie czasem pozwolisz na podobny żart.
Pozdrawiam.
:D
I wonder if pace of this playing was not accelerated in artificial way (technology)... Segovia did not like playing fast...
Most of his recordings are from after at his peak when he was 80 ore more. Segovia at his young age beared extraordinar skills virtuosity and sens of musicality. After his seventies he suffered from several ilness like diabetes and neuropathy. He wasn't able to play so fast any more. Despite of this his interpretations style remained unique andf suggestive. I think the love of music which he keep alive him so long time.
@@kakukkpeter thank you!
qué obras tiene?
Interesting how taste has changed especially concerning vibrato.
For the worse, in my opinion. To say the least.
1 Suite for solo cello No. 1 in G major, BWV 1007: Prelude 0:00
2 Partita for solo violin No. 3 in E major, BWV 1006: Gavotte, Rondo
3 Prelude for lute in C minor, BWV 999 (BC L171)
4 Introduction, Theme & Variations on a theme from Mozart's 'The Magic Flute,' for guitar, Op. 9 2:10
5 Sarabande, Bourree and Menuet for guitar (arr. Segovia): Menuet
6 Gigues, for guitar (unspecified): A gigue
7 Sonata for guitar ('Omaggio a Boccherini'), Op. 77: Vivo e energico
8 String Quartet No. 1 in E flat major, Op. 12: Canzonetta
9 Serenata española for piano in F major
10 Suite española No. 1, for piano, Op. 47, B. 7: No.1: Granada
11 Suite española No. 1, for piano, Op. 47, B. 7: No.3: Sevilla
12 Spanish Dances (12), in 4 volumes for piano, Op. 37, H. 142, DLR 1:2: No 10 in G major
13 Fandanguillo, for guitar, Op. 36
14 Suite castellana for guitar: Fandanguillo
15 Sonatina for guitar in A major: Allegretto
16 Preludio for guitar in E major
17 Nocturno for guitar in A minor
18 Petite Valse for guitar
19 Suite for guitar in A minor ('in the Style of Weiss')
20 Suite for guitar in A minor ('in the Style of Weiss')
21 Suite for guitar in A minor ('in the Style of Weiss')
22 Suite for guitar in A minor ('in the Style of Weiss')
23 Recuerdos de la Alhambra, for guitar 1:07:52
Infelizmente não é verdade. Também fui nesse site, mas quando fui ouvir vi que não era
who came here from julian lage?
Moi, qui ai publié cet enregistrement qui est mon plus vu à date, merci pour autant de succès pour ce vieux truc qui date de la guerre......
I didn't know Aldous Huxley played guitar.
only when he was tripping
Hahah i like your sense of humor, i hope u never get cancelled
@my pronoun is Master: We didn't know you were ignorant of Andre Segovia.
@@stddisclaimer8020 brody he might know all about segovia , its just a joke
@@OneSliceNation Are you his mouthpiece?
Maybe there should be time stamp bots instead of all the stupid CREATED BY UA-cam ITSELF SCAMMER BOTS!!! Damn….
What on earth are you talking about?
Matrix glitch. Easy, Hoss
Thank you for sharing! He would have rendered better service to the music without the exaggerations that he makes all over the place and which got transmitted to generations of students. He managed to make even a romantic piece like "Serenata Española" sound weird.
Music is a language and can be inflected differently.
Just like two speakers sound differently reciting Shakespeare.
Segovia's vision of the piece was clear and
he transmitted that which is not in the score. The soul. And expression.
It would be a mistake for students to try and imitate Segovia, because it comes from his soul.
Not from his fingers. His interpretations matured in time as he got older.
Sometime Segovia's interpretation was orchestral. And went beyond what the instrument could deliver.
When you are playing to a large audience you have to exaggerate so it can be heard.
I do find Pepe Romero's version of the Malats more to my liking.
The recording balance was too bass heavy. Not Segovia's fault.
His later recordings were better. The recording quality was very lacking here.
Nonsense
You may enjoy listening to a metronome instead.
So you don’t like Segovia which is okay, but your critique is just opinionated.
@@i.hirschman6046 Brilliant ! Cheers from Canada.
Siempre fue mejor mangore que segovia por eso este siempre lo odio i lo desprecio
¿Mejor en qué? ¿Cuál odio y desprecio? Ambos artistas son igualmente admirados. En lo personal, prefiero las interpretaciones de Segovia que las de Mangoré, y Mangoré destaca como un genial compositor de guitarra. No sé de dónde saca eso del odio y desprecio.
Ya llegó el porrista de Barrios y su bulo...
Aunque se molesten esa es la realidad Mangore fue siempre mejor.
@@vladimirglam3821 no molesta, divierte ...aunque ya muy poco
@@vladimirglam3821 es su creencia y es respetable, pero no aclara a qué se refiere con que fue mejor. ¿Mejor de qué? Y no comparto esa visión de odio. Barrios es un fantástico compositor, Segovia un fantástico intérprete. Segovia también compuso, pero no era su fuerte.
Le beau qui fait du bien