I always come back to this video as a reminder of what to NEVER do as a teacher - we are supposed to work with others to inspire the best in them and not bully them into our way of playing Unfortunately I see too many people here in the comments (and elsewhere) hero-worshipping Segovia and praising Chapdelaine for taking this "like a humble student" and not how absolutely UNHINGED Segovia is here - he's on an ego-trip like a tech CEO!
A teacher should encourage their student to play and explore. The teacher guides along the path and inspires. I’ve never always my students to figure things out for themselves and then maybe I can learn something from them
you should never do this to students who aspire to be a professional or less, but if theyre already at the highest level i mean i would assume if its not the teacher doing it, its the critics and fans. plus this was a 30 year old man who had already recieved all the possible education he could have received on guitar and years of professional experience. I dont think its that bad and it overall had a net positive effect on him
Wow. I wish I could have seen this when I was studying with Chapdelaine. Really gives a whole other perspective on who he is and where he comes from. What a humble and wise response to what Segovia said to him. I just gained a lot more respect for Chapdelaine as a person after seeing this.
I'm not sure that I am accomplished enough as a guitarist to have a worthwhile opinion, but my instinctual reaction is that Segovia was too hard on Michael. I think Segovia should've explained to Michael why he thought his fingerings were better than Michael's.
For me, this video sums up the sad part of the classical guitar world. The cult-like worship of Segovia as a God was so great that when he narcissistically throws someone out of his class for not obeying his dogmatic vision, the student actually blames himself rather than dare admit Segovia was acting like a child on a power trip.
trying to get into the head of music teachers back them (especially at the Elite level of Segovia). The dogmatic approach (to almost be a 'tape recorder' of/for your teacher) was a hang up of prerecording days (imho). Classical music, in order to keep music (that could only be a written record) 'true and pure'. It was transferred with the strictest teaching. This also helped assure, only the most committed and best players became the ambassadors of Classical Guitar (a relatively new 'thing'). Rather than be someone who may collapse, at some pointer later in their career (wasting the time the teacher spent with them). Ironically. the pressure of lessons like this, was seen as an important way to test and improve a players ability to handle Stress. The stresses of performance, advanced training and dead line pressures etc. If you could handle these lessons, nothing would phase you in the 'real world' of composing and performing etc. If you survived that fire, what was forged was always strong :) Just look at the lessons some of the great composers, musicians received in past centuries (lots of beatings and long, forced, training periods). It makes sense, the intense pressure, once you see how teaching evolved over the last few hundred years.
Segovia was a good enough player but not as good as he thought he was. Barrios was far better and Segovia was jealous of him and ruined his European and international chances: nasty piece of work. David Russell is a far better player than Segovia was and yet is very humble and gentle in master classes as is Pepe Romero. Sadly Julian Bream though I love his playing was sarcastic and uptight in master classes. Not everyone is a natural teacher I guess.
Mr Chapdelaine, I remember that masterclass vividly. My goodness, I can't believe it. It's all flooding back to me and I was 9 years old back then studying with James Smith. You were definitely one of my favorites. You probably don't remember but I did say hello to you at the end of the festival. Love your playing very much.
Yes, I remember. Your kindness and belief in me was very moving. Funny how that moment flooded right back as I read your words. hope life has been kind to you and your family.
Speaking as a student who studied w Professor Chapdelaine for 6 years, I can assure those of you that haven't studied w him, he is an absolute musical genius, especially w fingerings. Many arrangers use the fingerings that are the easiest and most obvious. Professor Chapdelaine taught me to run down every possible fingering w relentless persistence, and be prepared to justify every fingering that I chose over another. It was anything but easy, especially when you only have a week before your next lesson and this had to be done before you could even start learning the piece. For something like a Bach Cello or Lute Suite the possibilities seemed endless. But eventually I learned to do it and on occasion he even complimented my choices. He only required me to use his fingerings until he trusted and trained me enough to find my own. He was never an easy teacher and expected a lot. But in the end he was teaching me to be my own artist rather than 'his pupil'. In my opinion, this is where his pedagogy surpassed Segovia's. It wasn't long before I could do solo guitar arrangements for the complete instrumentation of orchestral pieces and bands including every instrument simultaneously. His instruction was invaluable to me and my ability to understand music. I think he asked more from me than any other teacher I had (though it would've been a toss up w Dr. Richard Hermann). He will always have my deepest respect and most heart felt gratitude... Miss you Professor, and hope your life is unfolding beautifully... and if you're ever up for a game of chess, I'll be prepared };{] Your friend always; saludos, Carlos VG
Yes, I miss our time together, Carlos VG. That was as good as professors ever get. I did expect a lot from you and you always delivered a bit more. I hope you are still working hard and getting good at whatever calls to your fine mind.
As a former resident of NM I have heard about this for a long time but this is the first time I have ever seen it. You have to give it to Michael, he kept his cool and used this experience for the better. Good for you Michael.
Por lo que escucho aquí en la guitarra de Chapdelaine, su forma, expresión, sonido, fue especial y muy propio desde muy joven. No entiendo por qué Segovia lo paraba a cada momento. Admiro la paciencia del joven Chapdelaine.
Imagino que Segovia, mientras lee la partitura, vería portamentos tachados, números de dedos cambiados. Nosotros no vemos la partitura que lee Segovia. Es cierto que Chapdelaine toca muy bien, pero no supo razonar por qué cambió toda la digitación.
@@naegleriafowleri2230 La versión es la de Segovia, escrita en partitura. No hay ninguna improvisación. Es una transcripción de Segovia, el original es para piano.
I understand Chapdelaine had a bad time with Segovia but on the other hand he had a masterclass from the author of the piece! I mean, really hard and though for the player but there is learning here...learning directly from Segovia. Isn't that great? It reminds me when I was an Architecture student and I came to my teacher with what I thought were good buildings, good projects... he laughed and said it was worthless and I wanted to kill myself. But I decided to listen and try to see it his way. I worked very hard for a long time and finally I got back to my teacher and he told me "Now you've got it! This is Architecture!" I really thank him for that. He made me hate him. He made me got ill. He got me in a nervous breakdown...but he gave me this gift about always try to improve and do things better. These lines are for him, wherever he is right now. Thank you so much, master!
chapeau for chapdelaine, such sweet tones he produced, what remains after seeing the poor Segovia is deep respect for Chapdelaine who obviously loves music deep in his soul.
Wow, Michael Chapdelaine took this with so much more insight than many of the commenters here. Chapdelaine (C) and Segovia (S) were at cross purposes. C was trying to find his own voice, but S was trying to pass on his voice. S had to get C to stop imposing his voice on S's repertoire so that C could learn to play it in S's voice. Once C mastered S's voice he would be free to develop his own however he wanted. It just wasn't the time and place for originality. A masterclass is not a show.
Chapdelaine’s a brilliant performer. Can see both sides. Segovia was one of virtuosi of the time. He built its repertoire from literally nothing. He transposed/inspired pieces never heard before, perhaps like for the ukulele as an extreme example. Appears the old school way was showing how to play pieces instead of today’s interactive approach. Played for several masterclasses in the 90’s. It was a combination of showing how you how to play and/or “new” approaches to discussion. Up to that time I think we were all conditioned to “play for a guitar god” and all the pressure and expectation that comes with it. There’s a fine line between modeling vs acquiring your own voice in playing. Much of my own playing is influenced by the Romero teaching method. As I understood and mastered concepts, I looked back at other styles i.e, Segovia, Parkening, and Williams. It helped me better appreciate their sound. Doesn’t make one better than the other, but you gain insight into the evolution of Classical guitar. It’s still very much a young instrument compared to the history of the violin, piano, or flute. Its repertoire and keys signatures are limited, so we can only perpetuate it, find new pieces, keep loving it...
Segovia wasn't ready for Barrios' music. He liked ''La Catedral" actually, they were friends at first but he never played a single piece because Barrios were late for a meeting. We'll never know what really happened.
Chapdelaine just had to find himself and he did big time. Now he plays acoustic guitar, and makes his own improvisations and is absolutely great! One of the best accoustic guitar players today.
I'm working on a Prelude (no. 1) and as I was writing out the music and trying to figure out the best fingerings, I was getting frustrated and needed some direction. Listening to Chapdelaine here, I realize what I need is a good teacher. The music I want to play is already written and a technique and approach has been worked out. I just have to put my experience and emotion behind it all to breathe my own life into it. Good video.
Michael won the first Guitar Foundation of America Competition (GFA 1982), four years earlier. He was well established. His fingerings were valid. His interpretaion was wonderful. Had he chosen any other edition to refinger, it would have been very different. Segovia was insulted & misunderstood his intention. Michael and Segovia made up in the end, but this had a great impact on him and his career. There is no denying that he was, and is a great artist in whatever genre he chooses to perform.
Unfortunately, this only confirms to me the reservations John Williams had to Segovia's approach (expressed in a few interesting interviews). The cult of the 'maestro' is a tradition in music teaching that has its roots, in the way manifested here, in the nineteenth century, and evident in many other music disciplines like piano and violin ( eg the Russian schools), so there is historical context to Segovia's approach as a teacher. This can present a problem for the modern player who is encouraged to (informatively) find his or her own way, which includes fingerings and necessary experimentation. Yes, it will ultimately be the death of music and individual expression to slavishly imitate a 'master', but on the other hand, keeping that goal in sight, what an extraordinary challenge it for us as players to try. There are so many elements to the playing here that are not easy to re-produce: the limbic sense of rubato born out of a very close connection with nineteenth century romanticism, and the ability to use all the romantic reserves of the guitar to realise it: unsurpassed vibrato etc. You can here this as well in other players like Ida Presti. What I get from Segovia, regardless of his harshness and even brutal treatment of some students, is his unwavering musicality. You can tell he 'sings', when playing and when reading a score. Having said all this, I think Chapdelaine was remarkable in his response, and very respectful and humble, and played the opening phrases beautifully. Just wish I had the chance to hear the whole piece!
I think that what kills the music as you say has a lot to do with expectations. The first thing a teacher should do is to make sure the student understands what he/she is walking into. Make sure there is an understanding why things are done the way it is done, make sure it is understood that there is a goal. When both agree on this, it is no longer bullying and snobby, it becomes a setting where there is respect and hard work towards a goal. However, there are very different ways to teach and learn music. Being a trained musician myself, I know for sure, I would never ever take a piano class or guitar class with academic music teacher. That does not fit my taste nor my way of learning music.
@Pablo Rivera I know... Working with academic musicians in a teacher / student relationship is a special thing that's not for everyone. It's most certainly not my cup of tea. But it can work, but way too often it does not. And I'm talking about academic musicians that have the respect for other views. This guy in specific, I would take the abuse one or two times, and I would demand respect or leave. No need to explain why to him, because he would probably think I was crazy. I haven't taken many classes myself, as I am in a totally different world when it comes to the music. However, I have taken violin classes bitd - that was fun. Teacher was highly educated, but had a way of teaching where he respected me as different than him, and worked around that. Basically, it was about the music, not the what kind of music and how it is supposed to be executed :). That said, I have taken some classes with a drum teacher. It was bitd when I was at school. I usually keep away from the drums, but I thought it would be interesting to broaden my perspective a bit, and seized the oportunity for 20 classes during 6 months. Don't get me wrong, I know my way around a drumkit, and can play it pretty good if I spend some time with it. But the first teacher I had, started with sitting me down on the chair, and said - play. I did so, and he immediately started to pick apart every technique I used, which was perfectly valid techniques used by thousands of skilled drummers, but it wasn't his way. He told me if he was gonna teach me, I was to do it his way. I told him - soooo... we are gonna spend these classes me relearning a new way of doing everything just because you don't want me to play it my own (and thousands of other's) way? I basically told him to stop wasting my time and MY money and be gone. Two weeks later, the teacher was fired. Nobody was interested in working with him - I wonder why. The next teacher was a nice dude, but a slacker, and always had something come up so he couldn't come. So it was a failed experiment and I let the school know I was demanding a total refund, which I got. That first drum teacher reminds me of the stereotypical academic musician type. Which I will never seek out myself ever again, and that kinda teachers are not to be near my kids, exactly because of what you said - they have a way of shattering the joy for music.
I used to walk by pianist Claudio Arrau's house on Saturdays in the 70s in Queens, N.Y. when all his students would come for their lessons from Julliard. Alot of yelling in 4 different languages. It was loud. 2 pianos and Chopin. Just sayin'
Great Chapdelain! Great humility and intelligence in making the best out of this encounter...he was scolded by a giant, a guitar hero. Chapdelain today is a great player...maybe also for this lesson.
I guess you could take it and go away feeling abused by a master or you could try to work it around in your head to make something of it. He seems to have managed that.
My friend Fred Benedetti played the Chaconne the same day and Segovia mostly hummed along to stress a cantabile quality and then praised his approach vs a cold rendition reminding us all that Bach fathered 20 children! Watch Oscar Ghiglia play La Frescobalda in an old master class: he changed fingerings and added an extra variaton and Segovia was delighted.
This is a great student. His interpretation of his experience with Segovia is brilliant. He came back to the mind of the beginner, or as Phillipp Sudo who wrote "Zen Guitar" says, he 'put on the white belt.' He can handle the criticism of a sensei.
What a great guy! I would have been very unlikely to react with such maturity and wisdom, and I'm 62 Even so, I do think that fingerings are to some degree a personal choice, where taste and who you are as an artist at a particular moment come into play. Are you trying to be Segovia, or to express what you hear as a possibility in the music at a particular time in your life. What you hear will change as you develop, and there is surely no final word, or completely authoritative version.
Not injustice. Without that lesson, he would have no idea what important parts of musical education and guitar expression he could explore for own benefit. Dumb students always take shortcuts to achieve "overall look", and quick satisfaction, but that fools them and they miss important parts of the entire structure. Fortunately, Chapdelaine was not so dumb like many of us - he listened to the hard advice. It took him a while to see serious flaws in his playing.
Segovia would have said "cut off your fingers, maybe you will grow better ones". Think I'm kidding? He actually said it to a student who subsequently tried to commit suicide. Segovia was a Nazi-supporting cunt. His musical attitudes reflected his concealed political allegiances.
After quite a while of reading negative comments here and there about this famous chewing by Segovia I finally found this video n let me tell you: If you don't play an instrument or do other art, craft or sport, and you've never been thru something like this it can be hard 2 understand how this could amount 2 anything good, but just take a second listen 2 Michael's words afterwards. A good 'ego ass-kicking' can give you so many new perspectives! And that, in the end, is what it's all about!
Who the world do some of these people think they are to be criticizing Segovia? One was there to LEARN from him, not for an “everyone’s a winner” trophy to take home to mommy. Even Chapdelaine himself acknowledged that as much in the interview afterwards.
Everyone has there moments. Segovia had quite a few. He lived a very public life. A lot of people were intimidated by him. He would often take advantage of this to have a little fun. He could charm your socks off if he liked, but many people were put off by him, others regarded him as a saint or even God. He was human with faults like everyone else. Regarding his work on the guitar, he earned his position, but the instrument did not stop with him.
Segovia devoted his whole life to discipline and the Catholic tradition of obedience. He had to follow exactly what the superiors told him to, he had no chance for mistakes. He had to follow the perfection of what the composers wanted with the piece. In that unforgiving world, he expected everyone to play exactly his way.
4 місяці тому
Man, Chapdelaine is missed. Wisdom, Perspective, and courage…. And more skill than I’ll ever have.
Very humble man. If it'd been me, my temper would've snapped and I'd've broken my instrument on his head and stormed out. Never would've learned a thing and been famous on every headline: "Man hits Segovia over the head with guitar." I do wish more artists played with the portamenti and vibrato that make the instrument truly sing. These days, people want to be machine-like and precise. Very stogy.
OK I think this guy is amazing. I would LOVE for him to be my teacher. I do the same thing all the time! I would play the way i feel sounds best. I always change other people's work to my liking. That is not a bad thing, otherwise we should just listen to computer generated music.
It’s to my understanding that the Segovia fingerings sound better, but they’re much harder. Christopher Parkening talks about this in a couple videos you can find on UA-cam. He changed the fingerings Segovia made, and Segovia was livid. He told Parkening to come back the next day with his fingering. And Christopher Parkening admits that they sounded much better.
Kaimi is fully wright... The reason why we go to the masterclasses is to see opinion and way of the lecturer, and after we reproduce it there, we can freely decide is it good for our playing or not... But, possibility to accept and develop other ways in interpretation is way to become a full builted musician.
We don't lose money. There is nothing wrong with dropping the word classical, or the tux either. In 1956, we had a folk singers division. No one drew the line then. The repertoire for "solo guitar" has grown by leaps and bounds since that time. Much is very worthwhile. The themes wind up in "more serious works." This has always been the treadition. Our audiences are progressive and appreciate "the guitar." They trust us to deliver a great performance and they are not disappointed.
This young man played very well. his sound was very beautiful and if he lacked depth of age or experience. that's why we commit our life to this instrument. to learn the lessons of life and voice it in our music. I still love the conversation I had with Angel Romero who got in his face in his earlier life( a young monster player) and pissed Segovia off, but in the end Segovia held Angels hands and said,what a gift god gave us in these hands. James Hunley
I had a master class with Mr. Chapdelaine and got my teenager monster ego blown out of the water in a similar fashion. This is funny at poor Mr. C's expense. I think the issue is musicality. You have to feel the music, eat drink and breathe the music. Musicality is such a fleeting thing on the guitar and can be easily shaken and lost. I think in the end, it taught him a lesson because the guy is a genius now.
To these ears Mr. Chapdelaine was barely given his chance to play for Segovia as the Maestro is so unaware of himself and his role here and the effect and influence he had over a young artists career that the constant (from the onset) interruptions deny the arc of interpretation and respect that these beautiful pieces of music and indeed the players deserve.Well navigated M.C.!
According to one of his biographers, in the late 20s Segovia set the following logic: what did not please him on the guitar, was not feasible. That logic gave Ponce a lot of overwork. For instance Segovia disliked playing bariolage or a campanella. Hence he stated that the prelude from BWV 1006, written for violin and filled with 2nd intervals, could not be played on the guitar. Same logic in this video: his transcription of Mallorca is the only way to play it on the guitar. Anything different is not musical. The "continue, I don't mind" @ 1:21 reminds me of myself learning Asturias in the 80s: "what if I play this chord like this?"; "do as you like", was the huffy reply. Edit: just to make it clear, the guitar teacher who replied was not Segovia 🙂 but greatly admired him, as much as I do.
I got the same impression too. He was making excuses for him. Had it been me, I would have been pissed that I spent all that money on a masterclass only to be told to leave because I played a passage in a different position.
If you believe this for one moment then you have got blinders on, my friend. MC expanded the repertoire in new ways with his own compositions which are not simple, by any stretch. So he has arranged a few pop tune. So did Brouwer & Takemitsu. Barrueco and many others have recorded lots of the stuff. MC may have left your party, but he is not washed up any more than anyone else. I am speaking as one who has presented MC three times in the last two years, and will very likely present him again.
@blackhole142 Actually I heard that some of the people Segovia bashed became friends of his and studied under him. I think it was right Segovia to be so stern. He was trying to make the guitar looked upon better instead of some instrument that is not worth composing for. He couldn't just talk to the people softly or they won't take him seriously. He's kinda like a boot camp instructor.
This is an example of what John Williams said. " Segovia bullied students into playing his way". Ironically tho, according to Julian Bream, the composer Villa Lobbos didn't like the way that Segovia played one of his Preludes and told him not to play it in concert!.
In the day you had to get Segovia's blessing to get a gig in that world. So everyone was scared to death of him. He set himself up as the only authority on the subject and no one dared oppose his judgement. Kiss his ssss or forget a career. Not one in a thousand can make a living at it so most play popular music in small gigs and make alot more than they ever did as classical guitarists. Others end up teaching or quitting altogether. The music isn't popular anymore thats it.
I totally agree with your comments "tenstringguitarINFO"... I attempted to learn the Bach's Chaconne (Segovia's edition). I realized that his fingerings were so heavy and impossible to play and would not sound like "Baroque". After I listened to David Russel's Chaconne, I dropped Segovia !
I've been a fan of Segovia for decades, but I confess that I was disappointed after watching this video. No one is forced to play with his typing. Not even Segovia kept his own typing throughout his life. I watched countless videos and heard records where he plays differently than he transcribed and typed in the score. Congratulations to Chapdelaine for execution and education. I was amazed at the master's lack of education. May God enlighten him.
What a wimp….so Segovia was a bit mean at the student boo-hooo… “waahhh mommy” was the Master supposed to LIE and say “brilliant”, “perfection”? No one learns anything if the master LIES to the student. You can read the exact words spoken by Liszt (he INVENTED the master class concept). Liszt said some tough things to the students at times that’s how the student playing learns and everyone else listening. “Master’s lack of education”?? If Andres Segovia says you sound bad …I’m so so very sorry but then you sound bad. Period. Go home and cry to mama
Guys this is not about the character of Segovia. Don't judge greatness of a person by his style or character. Segovia was simply great, and was great as a teacher too and if you listen to what Chapdelaine had to say about the experience he confirms it. The main point some of you are missing is that something essential got transferred to Chapdelaine.
Respect to chapdelaine!! Alot of people forget segovia was intimidated by Narciso Yepes bad mouthed yepes alot etc etc and all Mr yepes ever did was to show him respect and never said anything bad or criticised segovia!! I was blessed to have studied classical guitar with Fritz buss who constantlt reminded us that most of Segovias fingering was stupid!! Respect to chapdelaine!! Respect to Narciso Yepes!!!! Much love and respect from cape town south africa😎👊✌🇿🇦🇿🇦🇿🇦
I would be real curious if Michael Chapdelaine has those same thoughts today. It seems that classical guitarist that studied in the 60's, 70's and 80's were often taught to hold Segovia in since high regard almost like God status.
How you treat others means more than how good you are. Chet had a sign in his studio. It said "It nice ot be important, it's more important to be nice." Words to live by.
Although i agree with what Segovia is saying. There is the need of having personality on the guitar, because it's an instrument which its sound changes a lot from one player to another. It's really an instrument that shows your personality. Therefore portamentos are necessary for that expression/persoinality.
@erikolten Thanks for the reply. Well I like your comment about his teachableness at least that brought him to that level; that's fair. But MC himself says he had only played for 3 or 4 years and was playing a piece by a man who has played the guitar for near 70 yrs. He was with Ponce he says when he wrote the piece. If he is as great as you say what did he seek an audience with the master? As for the being broken comment, just because a value is modern doesnt make it right.
John Williams wrote in his autobiography that Segovia bullied his students and was a social snob. I didn't even understand much of what Segovia said in this video. Just a few words of English sprinkled here and there.
"- One moment, one moment... you give me this. Is the transcription... my transcription, but you have modified all the fingering, por qu... why? - Just decisions i made. - Do you think that it's better what you have found? - No - Then, why do you play it? - I think it's good. - Mmmmmm... i don't mind, that is for you. - (músic) - ...and you cut all the portamentos. I'm no very rich in portamentos myself. I criticise Tárrega and Pujol and all this people. But there are portamentos that are necessary! The guitar is not a dry instrument! I don't know many of the people that are coming, but to me... pa pa pa pi po pa pa pa pi pi po pi pa pam (indicating that they play without portamentos, just technically, without emotion) Continue... - Taroreiraró! Eso es! There is prison... eh, eh, eh... pression! (portamento) Very only that? (is that what he says?), and then? - Well listen, if you have to play my transcription, play my transcription! Otherwise go to another person that makes better transcriptions that I. Fuera!"
It is a tremendous lesson. And a gift to be told the truth. Sometimes painful. But if the lesson is remembered. And one takes his art seriously and does not pretend, Then Segovia's anger was a priceless gift. But often the young think they know everything. they don't listen or respect their elders, They just want to use the masters name without an understanding of his values, and the tremendous responsibility to hold up the art of music,
Wow, that was brutal. That could have totally destroyed a lesser man. It is amazing that you recovered from that and play so well and inspire so many people on UA-cam. I wonder if Segovia could have imagined that his cantankerous old bellicose self he displayed that night one day be viewed across the planet on the world wide web one day?
@erikolten It's interesting that Chapdeleine himself would disagree with you. It was misplaced confidence, and he knew it after being rebuked by the master. This is what he says in so many words. He needed to be broken in order to be teachable. Simple.
Apparently this experience devastated Michael Chapdelaine. There's a recent interview of him where he claims that he lost concert bookings and other engagements almost overnight. He plainly says that it devastated him and ruined his classical guitar career in a way. Here's that link to his recent interview ua-cam.com/video/DminHkp_PUg/v-deo.html
I will never listen or respect Segovia again. There is no justification for his inhumanity and harm he meted out to Michael. Michael is so gifted. Men or women of lesser strength of character could have had a terrible outcome. Cruelty from a teacher is inexcusable.
Michael, you were brave. And you handled the criticism well. Too many students today just want to have their egos stroked. Sometimes (as Martín Prechtel said) you have to sit there like a cat taking a crap and take the criticism). I will agree that Michael is a great guitarist today and this experience that he went through can only contribute to that). And re: the other comments I read: stop the abusive name calling! More than one opinion can exist!!
Goes to prove, not every hero is a hero up close. Personally, I would've played to him *his version,* and then later recorded *MY VERSION,* because he obviously needed, in his mind, to preserve what he considered as tradition, while I had my own ideas.
I always come back to this video as a reminder of what to NEVER do as a teacher - we are supposed to work with others to inspire the best in them and not bully them into our way of playing
Unfortunately I see too many people here in the comments (and elsewhere) hero-worshipping Segovia and praising Chapdelaine for taking this "like a humble student" and not how absolutely UNHINGED Segovia is here - he's on an ego-trip like a tech CEO!
A teacher should encourage their student to play and explore. The teacher guides along the path and inspires. I’ve never always my students to figure things out for themselves and then maybe I can learn something from them
you should never do this to students who aspire to be a professional or less, but if theyre already at the highest level i mean i would assume if its not the teacher doing it, its the critics and fans.
plus this was a 30 year old man who had already recieved all the possible education he could have received on guitar and years of professional experience. I dont think its that bad and it overall had a net positive effect on him
Wow. I wish I could have seen this when I was studying with Chapdelaine. Really gives a whole other perspective on who he is and where he comes from. What a humble and wise response to what Segovia said to him. I just gained a lot more respect for Chapdelaine as a person after seeing this.
Michael was amazing. I'm saddened at his passing and miss the opportunities to watch and listen to him play
It's hard not to think the influence this episode had on Chapdelaine's later development as a musician. Damn, he was good!
I'm not sure that I am accomplished enough as a
guitarist to have a worthwhile opinion, but my
instinctual reaction is that Segovia was too
hard on Michael. I think Segovia should've
explained to Michael why he thought his
fingerings were better than Michael's.
For me, this video sums up the sad part of the classical guitar world. The cult-like worship of Segovia as a God was so great that when he narcissistically throws someone out of his class for not obeying his dogmatic vision, the student actually blames himself rather than dare admit Segovia was acting like a child on a power trip.
trying to get into the head of music teachers back them (especially at the Elite level of Segovia).
The dogmatic approach (to almost be a 'tape recorder' of/for your teacher) was a hang up of prerecording days (imho). Classical music, in order to keep music (that could only be a written record) 'true and pure'. It was transferred with the strictest teaching.
This also helped assure, only the most committed and best players became the ambassadors of Classical Guitar (a relatively new 'thing'). Rather than be someone who may collapse, at some pointer later in their career (wasting the time the teacher spent with them).
Ironically. the pressure of lessons like this, was seen as an important way to test and improve a players ability to handle Stress. The stresses of performance, advanced training and dead line pressures etc. If you could handle these lessons, nothing would phase you in the 'real world' of composing and performing etc.
If you survived that fire, what was forged was always strong :)
Just look at the lessons some of the great composers, musicians received in past centuries (lots of beatings and long, forced, training periods). It makes sense, the intense pressure, once you see how teaching evolved over the last few hundred years.
No Feel at all then, or now wasted he time and Segovias, needs therapy for his lack of self awareness, that’s all.
Segovia was a good enough player but not as good as he thought he was. Barrios was far better and Segovia was jealous of him and ruined his European and international chances: nasty piece of work. David Russell is a far better player than Segovia was and yet is very humble and gentle in master classes as is Pepe Romero. Sadly Julian Bream though I love his playing was sarcastic and uptight in master classes. Not everyone is a natural teacher I guess.
Brandon Acker said it very well. Segovia’s playing does not compensate for his rudeness.
Couldn't agree more with you Brandon.
Mr Chapdelaine, I remember that masterclass vividly. My goodness, I can't believe it. It's all flooding back to me and I was 9 years old back then studying with James Smith. You were definitely one of my favorites. You probably don't remember but I did say hello to you at the end of the festival. Love your playing very much.
Yes, I remember. Your kindness and belief in me was very moving. Funny how that moment flooded right back as I read your words. hope life has been kind to you and your family.
bu bu bu bu pi bu bu bu pi pu bi bu bo bo
Priceless!
+Napoleon4778 that made me lol. :-)
+Napoleon4778 that made me lol. :-)
+Napoleon4778
Yep me too - that was funny and I'm rolling on the floor now. What a contrast - Segovia's guitar ability -v- his vocal ability. LOL
***** His guitar ability was a stuff of propaganda.
If i was Chapdelaine i would be suffering trying not to laugh.
Speaking as a student who studied w Professor Chapdelaine for 6 years, I can assure those of you that haven't studied w him, he is an absolute musical genius, especially w fingerings. Many arrangers use the fingerings that are the easiest and most obvious. Professor Chapdelaine taught me to run down every possible fingering w relentless persistence, and be prepared to justify every fingering that I chose over another. It was anything but easy, especially when you only have a week before your next lesson and this had to be done before you could even start learning the piece. For something like a Bach Cello or Lute Suite the possibilities seemed endless. But eventually I learned to do it and on occasion he even complimented my choices. He only required me to use his fingerings until he trusted and trained me enough to find my own. He was never an easy teacher and expected a lot. But in the end he was teaching me to be my own artist rather than 'his pupil'. In my opinion, this is where his pedagogy surpassed Segovia's. It wasn't long before I could do solo guitar arrangements for the complete instrumentation of orchestral pieces and bands including every instrument simultaneously. His instruction was invaluable to me and my ability to understand music. I think he asked more from me than any other teacher I had (though it would've been a toss up w Dr. Richard Hermann). He will always have my deepest respect and most heart felt gratitude... Miss you Professor, and hope your life is unfolding beautifully... and if you're ever up for a game of chess, I'll be prepared };{]
Your friend always; saludos,
Carlos VG
Yeah, actually you can tell his fingerings were pretty good, tbh that’s why mr. Maestro was upset.
Yes, I miss our time together, Carlos VG. That was as good as professors ever get. I did expect a lot from you and you always delivered a bit more. I hope you are still working hard and getting good at whatever calls to your fine mind.
As a former resident of NM I have heard about this for a long time but this is the first time I have ever seen it. You have to give it to Michael, he kept his cool and used this experience for the better. Good for you Michael.
Por lo que escucho aquí en la guitarra de Chapdelaine, su forma, expresión, sonido, fue especial y muy propio desde muy joven. No entiendo por qué Segovia lo paraba a cada momento. Admiro la paciencia del joven Chapdelaine.
Imagino que Segovia, mientras lee la partitura, vería portamentos tachados, números de dedos cambiados. Nosotros no vemos la partitura que lee Segovia. Es cierto que Chapdelaine toca muy bien, pero no supo razonar por qué cambió toda la digitación.
lo esta tocando completamente diferente y practicamente improvisando encima, su propia version
@@GuitarMaster2410 no es la partitura, es su version, la partitura que segovia tiene es la que el toca, esta version de chapdelaine es muy diferente
@@naegleriafowleri2230 La versión es la de Segovia, escrita en partitura. No hay ninguna improvisación. Es una transcripción de Segovia, el original es para piano.
A credit to you for not walking away devastated from that experience and finding the wherewithal to build upon it.
My hero!
I understand Chapdelaine had a bad time with Segovia but on the other hand he had a masterclass from the author of the piece! I mean, really hard and though for the player but there is learning here...learning directly from Segovia. Isn't that great?
It reminds me when I was an Architecture student and I came to my teacher with what I thought were good buildings, good projects... he laughed and said it was worthless and I wanted to kill myself.
But I decided to listen and try to see it his way. I worked very hard for a long time and finally I got back to my teacher and he told me "Now you've got it! This is Architecture!"
I really thank him for that. He made me hate him. He made me got ill. He got me in a nervous breakdown...but he gave me this gift about always try to improve and do things better.
These lines are for him, wherever he is right now. Thank you so much, master!
This dude came to my school in VA and played a couple tunes. Met him afterwords got to shake his hand. Real nice guy. He also played with no shoes on.
chapeau for chapdelaine, such sweet tones he produced, what remains after seeing the poor Segovia is deep respect for Chapdelaine who obviously loves music deep in his soul.
Wow, Michael Chapdelaine took this with so much more insight than many of the commenters here. Chapdelaine (C) and Segovia (S) were at cross purposes. C was trying to find his own voice, but S was trying to pass on his voice. S had to get C to stop imposing his voice on S's repertoire so that C could learn to play it in S's voice. Once C mastered S's voice he would be free to develop his own however he wanted. It just wasn't the time and place for originality. A masterclass is not a show.
@alfredo paris chill buddy
Muchisimas gracias
Excelente interpretación
Me encanto a pesar de todo.
He visto tu trabajo y es de admirarse.
Soy estudiante de guitarra clásica.
Chapdelaine’s a brilliant performer. Can see both sides. Segovia was one of virtuosi of the time. He built its repertoire from literally nothing. He transposed/inspired pieces never heard before, perhaps like for the ukulele as an extreme example.
Appears the old school way was showing how to play pieces instead of today’s interactive approach. Played for several masterclasses in the 90’s. It was a combination of showing how you how to play and/or “new” approaches to discussion. Up to that time I think we were all conditioned to “play for a guitar god” and all the pressure and expectation that comes with it. There’s a fine line between modeling vs acquiring your own voice in playing. Much of my own playing is influenced by the Romero teaching method. As I understood and mastered concepts, I looked back at other styles i.e, Segovia, Parkening, and Williams. It helped me better appreciate their sound. Doesn’t make one better than the other, but you gain insight into the evolution of Classical guitar. It’s still very much a young instrument compared to the history of the violin, piano, or flute. Its repertoire and keys signatures are limited, so we can only perpetuate it, find new pieces, keep loving it...
OMG I didn't know whether to laugh or cry after seeing this. I am just so pleased Michael didn't give up the instrument! Fuera!
I'd be honored to be thrown out of Segovia's room. One artist to another.
Hehe
I had a similar experience studying with Pierre Bensusan! I can't thank him enough for what he gave me.
Been playing guitar since 10 ..He is about hundred in this..Guitar is always You're Expression!!!
-Mr. Gambini?
Yes judge...
-That is a lucid, intelligent, and well thought-out objection...
Thank you ju--
OVERRUUULED.
Chapdelaine plays awesome! Great man!
After this Michael was for sure for the whole year or more the hero of the day between the classic guitar players.
maybe you've should asked him to play barrios
Lmao
Segovia wasn't ready for Barrios' music. He liked ''La Catedral" actually, they were friends at first but he never played a single piece because Barrios were late for a meeting. We'll never know what really happened.
Chapdelaine just had to find himself and he did big time.
Now he plays acoustic guitar, and makes his own improvisations and is absolutely great! One of the best accoustic guitar players today.
Este video es GLORIOSO. .
a great musician's time is never over my man. Especially a legend's :D
RIP. Such a mature and thoughtful person. Definitely a greater person than me. I thought Segovia was a jerk.
I'm working on a Prelude (no. 1) and as I was writing out the music and trying to figure out the best fingerings, I was getting frustrated and needed some direction. Listening to Chapdelaine here, I realize what I need is a good teacher. The music I want to play is already written and a technique and approach has been worked out. I just have to put my experience and emotion behind it all to breathe my own life into it. Good video.
The piece performed here is Mallorca, by Isaac Albeniz.
¡Salúd, Señor Chapdelaine! Your humility served you well.
Talk about grace under pressure.
Michael won the first Guitar Foundation of America Competition (GFA 1982), four years earlier. He was well established. His fingerings were valid. His interpretaion was wonderful. Had he chosen any other edition to refinger, it would have been very different. Segovia was insulted & misunderstood his intention. Michael and Segovia made up in the end, but this had a great impact on him and his career. There is no denying that he was, and is a great artist in whatever genre he chooses to perform.
Michael is a great player. Especially playing at that level of musicianship for that age.
Unfortunately, this only confirms to me the reservations John Williams had to Segovia's approach (expressed in a few interesting interviews). The cult of the 'maestro' is a tradition in music teaching that has its roots, in the way manifested here, in the nineteenth century, and evident in many other music disciplines like piano and violin ( eg the Russian schools), so there is historical context to Segovia's approach as a teacher. This can present a problem for the modern player who is encouraged to (informatively) find his or her own way, which includes fingerings and necessary experimentation. Yes, it will ultimately be the death of music and individual expression to slavishly imitate a 'master', but on the other hand, keeping that goal in sight, what an extraordinary challenge it for us as players to try. There are so many elements to the playing here that are not easy to re-produce: the limbic sense of rubato born out of a very close connection with nineteenth century romanticism, and the ability to use all the romantic reserves of the guitar to realise it: unsurpassed vibrato etc. You can here this as well in other players like Ida Presti. What I get from Segovia, regardless of his harshness and even brutal treatment of some students, is his unwavering musicality. You can tell he 'sings', when playing and when reading a score.
Having said all this, I think Chapdelaine was remarkable in his response, and very respectful and humble, and played the opening phrases beautifully. Just wish I had the chance to hear the whole piece!
Very insightful comment!
Mark Norton brutal approach completely unnecessary...
I think that what kills the music as you say has a lot to do with expectations. The first thing a teacher should do is to make sure the student understands what he/she is walking into. Make sure there is an understanding why things are done the way it is done, make sure it is understood that there is a goal. When both agree on this, it is no longer bullying and snobby, it becomes a setting where there is respect and hard work towards a goal.
However, there are very different ways to teach and learn music. Being a trained musician myself, I know for sure, I would never ever take a piano class or guitar class with academic music teacher. That does not fit my taste nor my way of learning music.
@Pablo Rivera I know... Working with academic musicians in a teacher / student relationship is a special thing that's not for everyone. It's most certainly not my cup of tea. But it can work, but way too often it does not. And I'm talking about academic musicians that have the respect for other views. This guy in specific, I would take the abuse one or two times, and I would demand respect or leave. No need to explain why to him, because he would probably think I was crazy.
I haven't taken many classes myself, as I am in a totally different world when it comes to the music. However, I have taken violin classes bitd - that was fun. Teacher was highly educated, but had a way of teaching where he respected me as different than him, and worked around that. Basically, it was about the music, not the what kind of music and how it is supposed to be executed :).
That said, I have taken some classes with a drum teacher. It was bitd when I was at school. I usually keep away from the drums, but I thought it would be interesting to broaden my perspective a bit, and seized the oportunity for 20 classes during 6 months. Don't get me wrong, I know my way around a drumkit, and can play it pretty good if I spend some time with it. But the first teacher I had, started with sitting me down on the chair, and said - play. I did so, and he immediately started to pick apart every technique I used, which was perfectly valid techniques used by thousands of skilled drummers, but it wasn't his way. He told me if he was gonna teach me, I was to do it his way. I told him - soooo... we are gonna spend these classes me relearning a new way of doing everything just because you don't want me to play it my own (and thousands of other's) way? I basically told him to stop wasting my time and MY money and be gone. Two weeks later, the teacher was fired. Nobody was interested in working with him - I wonder why. The next teacher was a nice dude, but a slacker, and always had something come up so he couldn't come. So it was a failed experiment and I let the school know I was demanding a total refund, which I got.
That first drum teacher reminds me of the stereotypical academic musician type. Which I will never seek out myself ever again, and that kinda teachers are not to be near my kids, exactly because of what you said - they have a way of shattering the joy for music.
I used to walk by pianist Claudio Arrau's house on Saturdays in the 70s in Queens, N.Y. when all his students would come for their lessons from Julliard. Alot of yelling in 4 different languages. It was loud. 2 pianos and Chopin. Just sayin'
He still plays classical too. His Mexico album was fantastic. Lots of Ponce.
Great Chapdelain! Great humility and intelligence in making the best out of this encounter...he was scolded by a giant, a guitar hero. Chapdelain today is a great player...maybe also for this lesson.
I realize this comment is six years old, but in what world would he be a better player because of this so called lesson?
I guess you could take it and go away feeling abused by a master or you could try to work it around in your head to make something of it. He seems to have managed that.
My friend Fred Benedetti played the Chaconne the same day and Segovia mostly hummed along to stress a cantabile quality and then
praised his approach vs a cold rendition reminding us all that Bach fathered 20 children! Watch Oscar Ghiglia play La Frescobalda in an old master class: he changed fingerings and added an extra variaton and Segovia was delighted.
This is a great student. His interpretation of his experience with Segovia is brilliant. He came back to the mind of the beginner, or as Phillipp Sudo who wrote "Zen Guitar" says, he 'put on the white belt.' He can handle the criticism of a sensei.
What a great guy!
I would have been very unlikely to react with such maturity and wisdom, and I'm 62 Even so, I do think that fingerings are to some degree a personal choice, where taste and who you are as an artist at a particular moment come into play. Are you trying to be Segovia, or to express what you hear as a possibility in the music at a particular time in your life. What you hear will change as you develop, and there is surely no final word, or completely authoritative version.
what a class act Chadelaine was and is. he handled that injustice beautifully. Bravo sir, bravo!
Not injustice. Without that lesson, he would have no idea what important parts of musical education and guitar expression he could explore for own benefit. Dumb students always take shortcuts to achieve "overall look", and quick satisfaction, but that fools them and they miss important parts of the entire structure. Fortunately, Chapdelaine was not so dumb like many of us - he listened to the hard advice. It took him a while to see serious flaws in his playing.
Segovia would have said "cut off your fingers, maybe you will grow better ones". Think I'm kidding? He actually said it to a student who subsequently tried to commit suicide. Segovia was a Nazi-supporting cunt. His musical attitudes reflected his concealed political allegiances.
You gotta love Segovia. I don’t think he was being as harsh as perceived he was just stuck in his ways 😆
After quite a while of reading negative comments here and there about this famous chewing by Segovia I finally found this video n let me tell you:
If you don't play an instrument or do other art, craft or sport, and you've never been thru something like this it can be hard 2 understand how this could amount 2 anything good, but just take a second listen 2 Michael's words afterwards.
A good 'ego ass-kicking' can give you so many new perspectives!
And that, in the end, is what it's all about!
Very eloquently and humbly spoken Michael.
Spoken like a true gentleman, with a bit of experience.
I guess one of your one of the dopest guitarists ever to step foot on the face of the earth you can do what segovia did in this vid.
Who the world do some of these people think they are to be criticizing Segovia? One was there to LEARN from him, not for an “everyone’s a winner” trophy to take home to mommy. Even Chapdelaine himself acknowledged that as much in the interview afterwards.
Everyone has there moments. Segovia had quite a few. He lived a very public life. A lot of people were intimidated by him. He would often take advantage of this to have a little fun. He could charm your socks off if he liked, but many people were put off by him, others regarded him as a saint or even God. He was human with faults like everyone else. Regarding his work on the guitar, he earned his position, but the instrument did not stop with him.
this video is amazing
Segovia devoted his whole life to discipline and the Catholic tradition of obedience. He had to follow exactly what the superiors told him to, he had no chance for mistakes. He had to follow the perfection of what the composers wanted with the piece. In that unforgiving world, he expected everyone to play exactly his way.
Man, Chapdelaine is missed. Wisdom, Perspective, and courage…. And more skill than I’ll ever have.
I hope he got his money back.
very humble young man
What a humble personality!
Viendo este video..no me queda otra que decir..larga vida a agustin barrios don segovia..!!!!!!
Very humble man. If it'd been me, my temper would've snapped and I'd've broken my instrument on his head and stormed out. Never would've learned a thing and been famous on every headline:
"Man hits Segovia over the head with guitar."
I do wish more artists played with the portamenti and vibrato that make the instrument truly sing. These days, people want to be machine-like and precise. Very stogy.
I wonder what student today would put up with Michael's attitude and actually absorb what is being tought. Not many i guess
OK I think this guy is amazing. I would LOVE for him to be my teacher. I do the same thing all the time! I would play the way i feel sounds best. I always change other people's work to my liking. That is not a bad thing, otherwise we should just listen to computer generated music.
It’s to my understanding that the Segovia fingerings sound better, but they’re much harder. Christopher Parkening talks about this in a couple videos you can find on UA-cam. He changed the fingerings Segovia made, and Segovia was livid. He told Parkening to come back the next day with his fingering. And Christopher Parkening admits that they sounded much better.
Kaimi is fully wright...
The reason why we go to the masterclasses is to see opinion and way of the lecturer, and after we reproduce it there, we can freely decide is it good for our playing or not...
But, possibility to accept and develop other ways in interpretation is way to become a full builted musician.
We don't lose money. There is nothing wrong with dropping the word classical, or the tux either. In 1956, we had a folk singers division. No one drew the line then. The repertoire for "solo guitar" has grown by leaps and bounds since that time. Much is very worthwhile. The themes wind up in "more serious works." This has always been the treadition. Our audiences are progressive and appreciate "the guitar." They trust us to deliver a great performance and they are not disappointed.
Segovia was a Beast😂😂
This young man played very well.
his sound was very beautiful and if he lacked depth of age or experience.
that's why we commit our life to this instrument.
to learn the lessons of life and voice it in our music.
I still love the conversation I had with Angel Romero who got in his face
in his earlier life( a young monster player) and pissed Segovia off, but in the end Segovia held Angels hands and said,what a gift god gave us in these hands.
James Hunley
1:44 turn on subtitles. You’re in for a ride
I had a master class with Mr. Chapdelaine and got my teenager monster ego blown out of the water in a similar fashion. This is funny at poor Mr. C's expense. I think the issue is musicality. You have to feel the music, eat drink and breathe the music. Musicality is such a fleeting thing on the guitar and can be easily shaken and lost. I think in the end, it taught him a lesson because the guy is a genius now.
To these ears Mr. Chapdelaine was barely given his chance to play for Segovia as the Maestro is so unaware of himself and his role here and the effect and influence he had over a young artists career that the constant (from the onset) interruptions deny the arc of interpretation and respect that these beautiful pieces of music and indeed the players deserve.Well navigated M.C.!
Very, very well stated!!!
According to one of his biographers, in the late 20s Segovia set the following logic: what did not please him on the guitar, was not feasible. That logic gave Ponce a lot of overwork. For instance Segovia disliked playing bariolage or a campanella. Hence he stated that the prelude from BWV 1006, written for violin and filled with 2nd intervals, could not be played on the guitar. Same logic in this video: his transcription of Mallorca is the only way to play it on the guitar. Anything different is not musical.
The "continue, I don't mind" @ 1:21 reminds me of myself learning Asturias in the 80s: "what if I play this chord like this?"; "do as you like", was the huffy reply.
Edit: just to make it clear, the guitar teacher who replied was not Segovia 🙂 but greatly admired him, as much as I do.
I got the same impression too. He was making excuses for him. Had it been me, I would have been pissed that I spent all that money on a masterclass only to be told to leave because I played a passage in a different position.
Papapa pi papapapapa papa pi papipa po. epic.
If you believe this for one moment then you have got blinders on, my friend. MC expanded the repertoire in new ways with his own compositions which are not simple, by any stretch. So he has arranged a few pop tune. So did Brouwer & Takemitsu. Barrueco and many others have recorded lots of the stuff. MC may have left your party, but he is not washed up any more than anyone else. I am speaking as one who has presented MC three times in the last two years, and will very likely present him again.
@blackhole142
Actually I heard that some of the people Segovia bashed became friends of his and studied under him. I think it was right Segovia to be so stern. He was trying to make the guitar looked upon better instead of some instrument that is not worth composing for. He couldn't just talk to the people softly or they won't take him seriously. He's kinda like a boot camp instructor.
Should've played Stairway to Heaven after the 5th time he stopped you since you had nothing to lose anyway at that point
That's funny! Wish I had thought of that in 1986.
lol
This is an example of what John Williams said. " Segovia bullied students into playing his way". Ironically tho, according to Julian Bream, the composer Villa Lobbos didn't like the way that Segovia played one of his Preludes and told him not to play it in concert!.
Very true. As Christopher Hitchens said, never forget....just primates. Too much veneration for an old Franco follower.
Villa-Lobos, BTW, didn't give a flying f**** about Segovia's opinión. He was a composer, not some concert artist.
My mathematics teacher was like Segovia.
I am not that good at math now.
chances are it is not your teacher's fault, and you are just not good at math, take some responsibility
chances are: it was his teacher’s fault. anyone can be good at math and find it beautiful. they just need a proper presentation and “key”.
But I'm sure that math teacher has taught many who are now good at math. YOU'RE not one of them.
@@CrawlingAxle Are you saying the teacher hasn't taught others who are good at math now?
In the day you had to get Segovia's blessing to get a gig in that world. So everyone was scared to death of him. He set himself up as the only authority on the subject and no one dared oppose his judgement. Kiss his ssss or forget a career. Not one in a thousand can make a living at it so most play popular music in small gigs and make alot more than they ever did as classical guitarists. Others end up teaching or quitting altogether. The music isn't popular anymore thats it.
I totally agree with your comments "tenstringguitarINFO"...
I attempted to learn the Bach's Chaconne (Segovia's edition). I realized that his fingerings were so heavy and impossible to play and would not sound like "Baroque".
After I listened to David Russel's Chaconne, I dropped Segovia !
I've been a fan of Segovia for decades, but I confess that I was disappointed after watching this video. No one is forced to play with his typing. Not even Segovia kept his own typing throughout his life. I watched countless videos and heard records where he plays differently than he transcribed and typed in the score. Congratulations to Chapdelaine for execution and education. I was amazed at the master's lack of education. May God enlighten him.
What a wimp….so Segovia was a bit mean at the student boo-hooo… “waahhh mommy” was the Master supposed to LIE and say “brilliant”, “perfection”? No one learns anything if the master LIES to the student. You can read the exact words spoken by Liszt (he INVENTED the master class concept). Liszt said some tough things to the students at times that’s how the student playing learns and everyone else listening. “Master’s lack of education”?? If Andres Segovia says you sound bad …I’m so so very sorry but then you sound bad. Period. Go home and cry to mama
@@RozarSmacco This is why we dont see Segovia's anymore in the world. Participation trophy and victimhood generations.
well put indeed.
I know and understand him..Chapdelaine
.
Guys this is not about the character of Segovia. Don't judge greatness of a person by his style or character. Segovia was simply great, and was great as a teacher too and if you listen to what Chapdelaine had to say about the experience he confirms it. The main point some of you are missing is that something essential got transferred to Chapdelaine.
Ok, thanks. I didn't know that, and what I did say was because once I read that.
Respect to chapdelaine!!
Alot of people forget segovia was intimidated by Narciso Yepes bad mouthed yepes alot etc etc and all Mr yepes ever did was to show him respect and never said anything bad or criticised segovia!! I was blessed to have studied classical guitar with Fritz buss who constantlt reminded us that most of Segovias fingering was stupid!! Respect to chapdelaine!! Respect to Narciso Yepes!!!!
Much love and respect from cape town south africa😎👊✌🇿🇦🇿🇦🇿🇦
Wow. Intense
I would be real curious if Michael Chapdelaine has those same thoughts today. It seems that classical guitarist that studied in the 60's, 70's and 80's were often taught to hold Segovia in since high regard almost like God status.
wow! looks like they're having a lot of fun!
How you treat others means more than how good you are.
Chet had a sign in his studio. It said "It nice ot be important, it's more important to be nice."
Words to live by.
Although i agree with what Segovia is saying. There is the need of having personality on the guitar, because it's an instrument which its sound changes a lot from one player to another. It's really an instrument that shows your personality. Therefore portamentos are necessary for that expression/persoinality.
@erikolten Thanks for the reply. Well I like your comment about his teachableness at least that brought him to that level; that's fair. But MC himself says he had only played for 3 or 4 years and was playing a piece by a man who has played the guitar for near 70 yrs. He was with Ponce he says when he wrote the piece. If he is as great as you say what did he seek an audience with the master? As for the being broken comment, just because a value is modern doesnt make it right.
This is when you need to heed the advice of Eddie Van Halen. "If it sounds good, it is good." "His" fingerings are not carved in stone.
John Williams wrote in his autobiography that Segovia bullied his students and was a social snob.
I didn't even understand much of what Segovia said in this video. Just a few words of English sprinkled here and there.
"- One moment, one moment... you give me this. Is the transcription... my transcription, but you have modified all the fingering, por qu... why?
- Just decisions i made.
- Do you think that it's better what you have found?
- No
- Then, why do you play it?
- I think it's good.
- Mmmmmm... i don't mind, that is for you.
- (músic)
- ...and you cut all the portamentos. I'm no very rich in portamentos myself. I criticise Tárrega and Pujol and all this people. But there are portamentos that are necessary! The guitar is not a dry instrument! I don't know many of the people that are coming, but to me... pa pa pa pi po pa pa pa pi pi po pi pa pam (indicating that they play without portamentos, just technically, without emotion) Continue...
- Taroreiraró! Eso es! There is prison... eh, eh, eh... pression! (portamento)
Very only that? (is that what he says?), and then?
- Well listen, if you have to play my transcription, play my transcription! Otherwise go to another person that makes better transcriptions that I. Fuera!"
Yo le hubiese partido la guitarra en la cabeza.. esto no es bluegrass ;) tontito
Juan o' Juanito Por... why? jajaja
Juan o' Juanito como se llama el tema qie toca al principio?
Napoleon4778 where can I read that ?
It is a tremendous lesson.
And a gift to be told the truth.
Sometimes painful. But if the lesson is remembered. And one takes his art seriously and does not pretend,
Then Segovia's anger was a priceless gift.
But often the young think they know everything. they don't listen or respect their elders, They just want to use the masters name without an understanding of his values, and the tremendous responsibility to hold up the art of music,
Wow, that was brutal. That could have totally destroyed a lesser man. It is amazing that you recovered from that and play so well and inspire so many people on UA-cam. I wonder if Segovia could have imagined that his cantankerous old bellicose self he displayed that night one day be viewed across the planet on the world wide web one day?
@erikolten It's interesting that Chapdeleine himself would disagree with you. It was misplaced confidence, and he knew it after being rebuked by the master. This is what he says in so many words. He needed to be broken in order to be teachable. Simple.
Apparently this experience devastated Michael Chapdelaine. There's a recent interview of him where he claims that he lost concert bookings and other engagements almost overnight. He plainly says that it devastated him and ruined his classical guitar career in a way.
Here's that link to his recent interview ua-cam.com/video/DminHkp_PUg/v-deo.html
I will never listen or respect Segovia again. There is no justification for his inhumanity and harm he meted out to Michael. Michael is so gifted. Men or women of lesser strength of character could have had a terrible outcome. Cruelty from a teacher is inexcusable.
@@michaelmosesman8211 Yes , musicians are quite sensitive creatures and to be humiliated like that was not very nice I agree.
Michael, you were brave. And you handled the criticism well. Too many students today just want to have their egos stroked. Sometimes (as Martín Prechtel said) you have to sit there like a cat taking a crap and take the criticism). I will agree that Michael is a great guitarist today and this experience that he went through can only contribute to that). And re: the other comments I read: stop the abusive name calling! More than one opinion can exist!!
Could Segovia do this with Paul Galbraith, David Russell, Manuel Barrueco, Marcan Dilla, Sanel Redzic, Moran Wasser, or so many others?
That piece is great what's the name
Mallorca by Isaac Albeniz.
Goes to prove, not every hero is a hero up close. Personally, I would've played to him *his version,* and then later recorded *MY VERSION,* because he obviously needed, in his mind, to preserve what he considered as tradition, while I had my own ideas.