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Andrés Segovia

Andrés Segovia
Andrés Segovia

this style were written especially for him and formed part of his core repertoire, e.g. the guitar works of Federico Moreno Torroba (1891-1982).

Early life
Background information Birth name Born Andrés Torres Segovia, Marqués de Salobreña February 21, 1893(1893-02-21)
Linares, Jaén, Spain

Died Genre(s) Occupation(s) Instrument(s) Years active Label(s)

June 2, 1987 (aged 94)
Madrid, Spain

Classical Classical guitarist Guitar 1909-1987 EMI, Deutsche Grammophon ,MCA

Notable instrument(s) Hermann Hauser Sr. 1937 Manuel Ramirez 1912 Ignacio Fleta 1957 [1]

Segovia said that he began playing the guitar at the age of six.[2] Angelo Gilardino, who has worked at the Fundación Andrés Segovia in Spain, noted: "Though it is not yet completely documented, it seems clear that, since his tender childhood, he [Segovia] learnt playing as a flamenco guitarist. In fact, the first guitar he owned had formerly been played by Paco de Lucena, the greatest flamenco guitarist of the epoque, who died when Segovia was five years old. Since then, Segovia was given some instruction by Agustinillo, an amateur flamenco player who was a fan of Paco de Lucena."[3] Nevertheless, Segovia did not really play flamenco; instead he preferred expressive artmusic such as that by Torroba, or others - he has said that he "..rescued [the guitar] from the hands of flamenco gypsies"[4], reviving interest in the instrument, as an expressive medium for the performance of classical artmusic. As a teenager, Segovia moved to the town of Granada, where he studied the guitar and soaked up the other-worldly atmosphere of the Palace at Alhambra, a Moorish relic overlooking the town which he regarded as his spiritual awakening.

Andrés Segovia’s signature Andrés Torres Segovia, 1st Marquess of Salobreña (21 February 1893–2 June 1987) was a Spanish classical guitarist born in Linares, Jaén, Spain. He is widely regarded as one of the most important figures of the classical guitar in the beginning and mid 20th century. Segovia’s main musical aesthetic preferences were music of the late 19th and early 20th century especially in the Spanish romantic and nationalist style - a style different from flamenco. Many works of

Professional career
Segovia’s first public performance was in Spain at the age of 16, and a few years later he held his first professional concert in Madrid, playing guitar transcriptions by Francisco Tárrega and some works by J.S. Bach, which he had transcribed and arranged himself. Although he was always discouraged by his family, and looked down on by many of Tárrega’s pupils, he always continued to diligently pursue his studies of the guitar. Segovia’s technique differed from that of Tárrega and his followers, such as Emilio Pujol.


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Both Segovia and Miguel Llobet (who taught Segovia several of his transcriptions of Granados’ piano works) plucked the strings with a combination of his fingernails and fingertips, producing a sharper sound than many of his contemporaries. With this technique, it was possible to create a wider range of timbres, than when using the fingertips or nails alone. Historically, classical guitarists have debated which of these techniques is the best approach. The vast majority of classical guitarists now play with a combination of the fingernails and fingertips. Segovia’s status as a student of the guitar is a matter of debate among guitarists. The Segovia autobiography, written for mass consumption at the height of his career, depicts him as being self-taught. There are admissions of his seeking out Llobet’s advice only for a short time when in his early twenties, but Segovia is quite clear about the lack of any real influence on his playing. Although at that age Segovia may well have been much more than a neophyte, he was still youthful enough to have received valuable instruction, and to have been significantly influenced by it. Indeed, Ronald Purcell points out that "Segovia, whose performance style and technique reveals [sic] the principles of Tárrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet’s Parlophone Electric recordings (Chanterelle Historical Recordings CHR 001) with Segovia’s Angel recordings, ZB 3896" (Llobet 1989, 1: ii). Purcell later states, "At the age of twentytwo he (Segovia) pursued what he considered the only direct contact to Tárrega, Llobet, for refinement of his technique and especially for the music that both he and Tárrega had written and transcribed for the guitar..."(ibid). The accuracy of this date (Segovia would have been twenty-two in 1915) seems to be somewhat questionable. A photograph taken at the exhumation of Tárrega in 1915, clearly shows Segovia at the foot of the coffin, but Llobet does not appear in the photo, and would likely have been present had he, in fact, been in Spain at the time. It may well have been another two years before Segovia began to work with Llobet and there seems to be nothing that would contradict this 1917 date.[5] The status of the classical guitar at the beginning of the twentieth century had declined, and only in Barcelona and in the Rio

Andrés Segovia
de la Plata region of South America could it have been said to be of any significance. When Segovia arrived on the scene, this situation was just beginning to change, largely through the efforts of Llobet. It was in this changing milieu that Segovia, whose strength of personality and artistry coupled with new technological advances such as recording, radio, and air travel, succeeded in moving the guitar forward to become more popular again.

Guitar by Hermann Hauser, 1937, Munich, Germany. Concert guitar of Andrés Segovia’s from 1937 until 1962. Gift of Emilita Segovia, Marquessa of Salobreña, 1986 (1986.353.1). The Metropolitan Museum of Art. In 1924, Segovia visited the German luthier (guitar builder) Hermann Hauser Sr. after hearing some of his instruments played in a concert in Munich. Segovia had been impressed with the quality of Hauser’s work[6] and he encouraged Hauser to copy his 1912 Manuel Ramírez guitar (an instrument generally believed to have been built by Santos Hernandez while he was foreman of the Ramirez shop). He examined and made measurements of this instrument. As Llobet, who also visited the luthier in the same year, owned an 1859 Antonio Torres, Hauser also had opportunity to examine it as well. In 1928 Hauser provided Segovia with one of his personal guitars for use in his United


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States tour and Segovia used this guitar in concerts through 1933. When Hauser delivered the new instrument Segovia had ordered, Segovia passed his 1928 Hauser to his USA Representative and close friend Sophocles Papas who gave it to his classical guitar student, the famous jazz and classical guitarist Charlie Byrd who used it on several records. After World War Two Segovia became among the first to endorse the use of nylon strings instead of gut strings. This new advance allowed for greater stability in intonation, and was the final missing ingredient in the standardization of the instrument. After Segovia’s debut tour in the United States in 1928, the Brazilian composer Heitor Villa-Lobos composed his now well known Twelve Études (Douze études) and later dedicated them to Segovia. This proved to be a lasting relationship as Villa-Lobos continued to write for Segovia. He also transcribed numerous classical pieces himself and revived the pieces transcribed by men like Tárrega. Many guitarists in the Americas, however, had already been playing these same works before Segovia arrived. In 1935, he gave his first public performance of Bach’s Chaconne, a difficult piece for any instrument. He moved to Montevideo performing many concerts in South America in the thirties and early forties. After the war, Segovia began to record more frequently and perform regular tours of Europe and the USA, a schedule he would maintain for the next thirty years of his life. In 1954, Joaquin Rodrigo composed Fantasía para un gentilhombre at the request of Segovia. Segovia won the 1958 Grammy Award for Best Classical Performance, Instrumentalist for his recording, Segovia Golden Jubilee. In recognition of his contributions to music and the arts, Segovia was ennobled on 24 June 1981 by King Juan Carlos I, who elevated Segovia into the first hereditary Marquess of Salobreña, formally styled as "El señor don Andrés Torres Segovia, marqués de Salobreña" (the Most Illustrious Lord The Marquess of Salobreña). He was granted the following coat of arms: "en campo de azur sobre ondas de azur y plata, unas rocas de su color, sumadas de una torre donjonada de oro, aclarada de azur" (a field of azure on waves of azure and silver, rocks of the same color, plus a gold dungeon tower, with azure highlights).

Andrés Segovia
Andres Segovia continued performing into his old age, living in semi-retirement during his 70s and 80s on the Costa del Sol. Two films were made of his life and work—one when he was 75 and the other, 84. They are available on DVD called "Andrés Segovia - in Portrait".[7] Segovia died in Madrid of a heart attack at the age of 94. He is buried at Casa Museo de Linares, in Andalusia.

Segovia’s goals
As Segovia’s career and acclaim grew he determined "five purposes" as goals for his legacy. They were outlined by Segovia in Guitar Review No 32, Fall 1969: 1. To extract the guitar from the noisy and disreputable folkloric amusements... 2. I requested the living composers not in the field of guitar to write for me. This was the second of my purposes: to create a wonderful repertoire for my instrument. 3. My third purpose was to make the guitar known by the philharmonic public of the world. 4. ... to provide a unifying medium for those interested in the development of the guitar. This I did through my support of the now well known international musicological journal, the Guitar Review 5. I am still working on my fifth and maybe the last purpose, which is to place the guitar in the most important conservatories of the world for teaching the young lovers of it, and thus securing its future.

Critical acclaim and modern perspectives
Awards and bringing the guitar to the concert stage
Segovia was awarded many prizes and honours including Ph.D, honoris causa from ten universities.[8] Segovia was credited by his publicity for bringing the guitar (as a solo instrument) to the concert stage. While this is undoubtedly an exaggerated claim, the fact that he widened the audience for the guitar and was a vital force in helping it to gain respectability among other serious musicians, critics, and academe is beyond dispute.


From Wikipedia, the free encyclopedia
He received the Danish Sonning Award in 1974 and a Grammy Lifetime Achievement Award in 1986.

Andrés Segovia
music as a whole, is in some way expressive. I view them as simply mannerisms[...]"[14] • "and my father was a great teacher... so that was the most important part of my teaching, not with Segovia!" [Segovia] was "a great inspiration for a young person," but "not a good teacher - he was a rather bad teacher. He was very simplistic and authoritarian... it doesn’t actually help you as a musician."[15] David Russell relates the following about his private meetings[16] with Segovia (as opposed to Masterclass situations) : • "Segovia was very kind to young, talented students, you know. He was like this grandfather figure. For an hour, I was sitting in front of . . . well, "One next to God" [laughs], and he says, "Hey! C’mon kid, don’t be so nervous. Just play me something!" [Laughs] For weeks or months afterward the memory of being with him was inspiring and kept me practicing. He was great—really very nice."[17] Segovia made numerous editorial and personal changes to works (esp. those that were dedicated to him; even changing parts). This is in keeping with the traditions of musicians from virtually all previous eras. It is somewhat ironic, that while he allowed himself these liberties, there are controversial examples of Segovia arguing with students, for daring to change his fingerings.[12] And as John Williams has mentioned "Everyone knew that he was happiest when they imitated him."[14] On the other hand Piero Bonaguri mentions that "Segovia, so [...] personal in his performances, did not try to induce us to imitate him"[18] (though this sentence may perhaps be more in reference to "reflecting on Segovia" and "learning by example" (Segovia performing), than actual teaching) but also that "Segovia, who was generally goodnatured, got angry (and he knew also how to be caustic), when he faced wrong ideas which required more determined means of correction"[18]

Editorial legacy
Segovia left a large body of edited works and transcriptions. His editions of works originally written for guitar include newly fingered and occasionally revised versions of works from the standard repertoire (most famously, his edition of twenty estudios by Fernando Sor), as well as compositions written for him. Many of the latter were edited by Segovia, working in communication with the composer, before they were first published. Because of Segovia’s predilection for altering the musical content of his editions to reflect his interpretive preferences, many of today’s guitarists prefer to examine the original manuscripts, or newer publications based on the original manuscripts in order to compare them with Segovia’s published versions, so as to accept or reject Segovia’s editorial decisions.

Segovia viewed teaching as vital to his mission of propagating the guitar and gave master classes throughout his career. His most famous master classes took place at Santiago de Compostela in northern Spain.[9] His teaching style is a source of controversy among some of today’s players, who consider it to be dogmatically authoritarian.[10][11][12][13] John Williams has mentioned • "I have to say, with the benefit of hindsight, that I don’t think he was a good teacher. He didn’t tell us what to aim for in the structure. For example, in a Bach suite [...]"[14] • "The general mood in all of his classes was one of great fear. People were frightened because he made such an example of the people who failed and would get angry. Everyone knew that he was happiest when they imitated him."[14] • "The Segovia gestures—extra vibrato and dwelling on a note or chord at a cadence—is not musical freedom. There has been a tendency among guitar players to think that doing these things for their own sake quite apart from the context of a piece of


From Wikipedia, the free encyclopedia

Andrés Segovia
often breaking the line and disrupting the momentum of pieces that must flow in ways that Mr. Segovia’s severe use of rubato did not permit."[24] • Related to this point, I would like to add a comment about Bach on the guitar made to me by Yehudi Menuhin, the great American violinist, in Jerusalem in March 1979. He said, "the Segovia playing of the Bach Chaconne in D minor was, in a word, thick;" and when I asked him to explain he said: "the transcription to guitar of this work didn’t seem to work because there is too much contrast in tones, too much rubato in shifting positions and dreadful phrasing."[25]

Segovia was selective in his choice of repertoire, playing only works with which he identified with, in a personal way. He distanced himself from many classical works from the end of the 18th to the mid 19th century: e.g. he did not play any Legnani, or Regondi, etc. (a notable exception being Sor’s famous Op. 9; and a few minor works by Sor and Giuliani - though even here some of Segovia’s recorded performances are critically viewed by some[19] ). Instead Segovia’s musical preference (favorite repertoire) was music of the late 19th and early 20th century especially in the Spanish romantic and nationalist styles. This is evident from his cultural surrounding and background; by his many performances of works by Torroba and others, etc. This style is very different from flamenco; which he never really played, although a few works did have a flamenco influence, such as Turina’s Sevillana op.29 or Turina’s Homeneja a Tarrega Garotin, Soleares op.69 (which is ironically in a very different style, than the Spanish romantic salon style of its dedicatee, Tárrega). And while some of Segovia’s baroque interpretations are considered controversial, it is in some of the performances of this Spanish romantic and nationalist repertoire that he is most prized.

Early music interpretations Controversy
Segovia’s unique expressive way of performance (such as his early 20th century "spanish late-romantic rubato", etc.) is considered very effective, expressive and suitable for works by Torroba, etc. However, in many early music works (baroque etc.) his spanish late-romantic mannerisms are often considered less idiomatic (or inappropriate) to the style: David Russell when asked about "romanticizing Baroque pieces like Segovia" responded: "There is a big difference between using baroque phrasing and romanticizing like Segovia"[26]. But he has also said "Segovia was great for his time and I think he is very unfairly criticized".[27] "For today’s listener who have grown accustomed to more authentic playing he can appear dated, heavy and rather unsubtle. Take Luys Milan’s Pavana III as an enlightening example. It is energetic and played with great conviction but rather four-square."[28] "[...] but the anonymous Gaillard, formerly attributed to Dowland, is robust almost to a fault."[28] Raymond Cousté (from the McClellandCousté Duo) noted in an interview in 2000, that when a young guitarist today records some of Segovia’s transcriptions such as "La Frescobalda", then "it’s terrible" and "degrades the guitar" today, since "it’s an outdated arrangement" and "the proper references [to the original material] are available to everyone now".[29] Many modern performers endeavour to play music with a more historically informed

Controversy regarding Segovia
Segovia was frequently lauded as the world’s greatest classical guitarist[20][21], Today however, this view has been called into question[22][23]: John Williams (in 1999) has called him "a very limited teacher and a limited musician",[11] though he refers to Segovia’s inspiration and the people he met [around Segovia] as "essential".

Technical hesitations versus expressiveness
Segovia has been criticized for "conveniently" slowing in difficult areas (esp. noticeable in later recordings), guised as being expressive rubato (or phrasing); but actually being due to e.g. difficult finger-progressions, as in the shifting of positions. However, this must be contrasted with his highly insightful, expressive, intentional phrasing at other times. • "He was not at his best in this group, his hesitations over difficult fingerings too


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perspective of the specific period, thus "tread[ing] a different stylistic path [than Segovia], while retaining the greatest respect for Segovia’s achievement".[30] (article: Articulation and Authenticity in Nineteenth-Century Guitar Music) "Segovia’s approach to music composed between 1535 and 1750 was very different from modern performance practices espoused by the early music movement. Nowadays it is customary to play this repertoire on reproductions of instruments authentically modelled on concepts of musicological research with appropriate adjustments to techniques and overall interpretation. Thus over recent decades we have become accustomed to specialist artists with expertise in the art of vihuela (a sixteenth-century type of guitar popular in Spain), lute, Baroque guitar, nineteenth-century guitar, etc. In the realm of keyboard, recitalists concentrating on the Baroque era now choose to perform on harpsichords and clavichords rather than the grand piano. Andrés Segovia, preferring the twentieth-century guitar to all other instruments as an expressive medium, interpreted the sixteenth-century works of Milan, Narváez, Mudarra, and Dowland (as well as the Baroque guitar of Robert de Visée or transcriptions from Scarlatti or Rameau), with the full application of colour, variety of dynamics, and rhythmic freedom as he applied to romantic pieces."[31] (The last sentence may be misleading, since early music works do require ample use of colour, variety and rhythmic freedom - but in a way that is different from that used for his preferred spanish romantic pieces.) (It should be remembered, however, that during Segovia’s most active period, there was no historically informed performance yet today some of the attempts at historically informed performance (especially as a standardization or a movement) is itself the subject of considerable controversy, as noted by Taruskin (e.g. in his work Text and Act) and numerous others.)

Andrés Segovia
recordings (even if the recording technology might not have been as sophisticated): When I reviewed HMV Treasury’s 1979 release of Segovia’s 1949 recordings my enthusiasm for the album was somewhat restrained. While the reissue was worthwhile, the performances still were not those of Segovia as a young man, when his technique and spirit were most different from the artist we know today through his many Decca and RCA recordings made since his sixties. In my review, I expressed the hope that HMV would continue their commendable efforts and "give the music world a truly satisfying glimpse of this guitarist as few know him" by reissuing his earliest 78s, a few of which I had heard at the time. This new collection [reissue of Segovia’s recordings from 1927-39 ([32])] is the answer to that request and I can report with great pleasure that it is a marvelous set, filled with superb performances [...][33] —Gregory Dinger — The Art of Segovia (The H.M.V. Recordings; 1927-39), ARSC JOURNAL Volume XIII, No. 3 (1981), p. 116-119 "The original recordings were made by Decca in New York over the five years following 1952 [...] You can equally detect how Segovia’s playing had declined over those five years."[34] —David’s review corner

Segovia’s legacy
Ultimately, Segovia’s legacy does not lie in the recordings that he left, or in his controversial performances of some works (e.g. baroque), or in his often controversial behaviour towards others (masterclasses, etc.), or in the claims of his self-promotion... Instead it lies in the memory of the deeply personal way in which he performed during live recitals - communicating, sharing and connecting with his listeners in a very personal and unique way. During his performances Segovia is said to have inspired his listeners and students to find and use their own "heritage of experience, knowledge, taste":

Segovia made numerous recordings, and often recorded the same work more than once. There is a large discrepancy of performance quality between many of his recordings. In particular some later recordings seem to be lacking in performance quality, with some commentators preferring some of his earlier


From Wikipedia, the free encyclopedia
"Segovia, so brilliantly personal in his performances, did not try to induce us to imitate him, but helped each of us to develop his own musical personality fully, by [using] all his heritage of experience, knowledge, taste[...]. He introduced us through the living and present example of his artistic personality (with his temper and preferences) into a human and artistic learning which rose above any particular “version”"[18] Segovia’s himself is to have said, that a true performer needs a "sacred fire", which is "that love, without which [...] a performer may be perfect, but nothing else..."[18] Segovia was opposed to an outwardly "professional" (precise, exact) way of playing, that nonetheless lacks "soul", as is revealed by his statements, such as: "I like very much the true flamenco, which is played with heavy fingers, roughly but from the soul. But flamenco has departed from the good simple tradition. The flamencos should not be professionals."[35] Allan Kozinn noted (in 1986) that "By today’s musicological standards, his rolled chords, quick vibrato and slurred phrases may seem antique; yet they carry Andres Segovia’s unmistakable interpretive thumbprint, and they are classics of their kind."[36] "[...] his artistry is so sincere we’re inclined to forgive his indulgences and "wrong" Baroque performance practices"[37] About young conductors, Segovia has said: "For most of them the academy has been the mirror and the gramophone."[35], which seems to hint at his disregard for learning only by outwardly copying someone else ("mirror", "grammophone"), yet lacking a personal insight. But more important than any label I can use to describe Segovia’s "approach" is a certain general quality found in his playing which I think most music lovers would find almost irresistible: an intense identification with the music he is playing that breathes life and gives character to every note and phrase. Occasionally (or perhaps frequently, particularly with Bach) we may find the character inappropriate, due to changing taste and/or musicological evidence, but with Segovia the intention is always utterly sincere and deeply felt.[33]

Andrés Segovia

See also
• Michele Pittaluga International Classical Guitar Competition founded with his support

• Graham Wade: Traditions of the Classical Guitar(John Calder, London, 1980) • Graham Wade: Segovia - A Celebration of the Man and his Music (Allison & Busby, London, 1983) • Graham Wade: Maestro Segovia (Robson, London, 1986) • Graham Wade and Gerard Garno: A New Look at Segovia, His Life, His Music, Volumes 1 & 2 (Mel Bay Publications Inc., Pacific, Missouri, 1997) • Graham Wade: A Concise History of the Classic Guitar (Mel Bay Publications Inc., Pacific, Missouri,2001) • Machilis, Joseph. The Enjoyment of Music: An Introduction to Perceptive Listening. New York: W.W Norton and Company, 1977, Pages 107-109.

[1] Guitar Of Andrés Segovia - Herman Hauser 1937 Retrieved 2008-06-22. [2] "This Day in History - January 4th". LikeTelevision. liketelevision/ tuner.php?channel=4&format=tv&theme=history. [3] Angelo Gilardino (2007-06-04). "Segovia’s early years". 17b1150b5dbd3936. [4] better citation needed [5] "Miguel Llobet". wiki/Miguel_Llobet. [6] "I immediately saw the potential of this great artisan if only his mastery might be turned to the construction of the guitar in the Spanish pattern as immutably fixed by Torres and Ramirez" (Segovia 1954) [7] Andrés Segovia - in Portrait DVD [8] "Honores y Distinciones". Andrés Segovia. Síntesis biográfica. Honores y distinciones. by Alberto López Poveda. (Real Academia de Bellas Artes de San


From Wikipedia, the free encyclopedia
Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) [1]. servlet/SirveObras/ 57927252545269054754491/ ima0009.htm. [9] "John Mills: The Teaching of Andres Segovia". ExtraArticles/SegoviaTeaching.html. [10] "John Williams Interview with Austin Prichard-Levy". The Twang Box Dynasty. johnwilliams.htm. [11] ^ Takis Atsidakos (May 2007). ""John Williams on Segovia"". citing BBC Music magazine, May 1999. content.php?id=498. [12] ^ "The infamous Chapdelaine Segovia incident". by Tony Morris (12 June 2007, 7f13976396e414ff?&hl=en. [13] "Abel Carlevaro technique: Technique compendium". Renato Bellucci. carlevaro.html#carlevaro. [14] ^ "John Williams—Into the New World". by Mark L. Small. articles/williams_new_world.html. [15] Wade, Graham; Gerard Garno (1997). New Look at Segovia: His Life and His Music. Mel Bay. [16] "Manuel Barrueco Talks to David Russell" (PDF). music/russell2.pdf. [17] "Scottish Fandago". by Patrick Francis. ag133/feature133.html. [18] ^ "Segovia’s Teaching: An Outburst Of Freedom". Piero Bonaguri. segoveng.htm. [19] "Segovia’s Contribution to Technical Studies". Graham Wade, 1993. articles_about_guitarists/ segoviatechnique. [20] "Andres Segovia - Greatest of the great". Guitarra Magazine, Issue 18, p.4 (1966).

Andrés Segovia Guitar_magazine/18_04.htm. [21] "Andres Segovia". Encyclopædia Britannica. eb/article-9066603/Andres-Segovia. [22] "OK, so Segovia was a pioneer, but he doesn’t top today’s guitarists". by Stephanie von Buchau - Oakland Tribune, Sept. 24, 2004. mi_qn4176/is_20040924/ ai_n14585894?lstpn=article_results&lstpc=search&l [23] "A career in guitar". by Renato Bellucci. career_of_a_guitarist.html. [24] Donal Henahan (March 13, 1983). "Music: Andres Segovia Plays At Lincoln Center". 03/13/arts/music-andres-segovia-plays-atlincoln-center.html. [25] Guitar & Lute. Galliard.. 1979. [26] "Cross-string ornamentation, romanticizing early music, tone color (5. April 2008, David Russell forum reply)". GFA. drupal/node/3933#comment-315. [27] music/russell2.pdf [28] ^ "Review: Andrés Segovia - 1950s American Recordings: Volume 4". Göran Forsling (April 2008). classrev/2008/Apr08/ Segovia_4_8111092.htm. [29] "Interview". Classical Guitar Magazine, November 2000. us_art.html#November2000. [30] "Articulation and Authenticity in Nineteenth-Century Guitar Music". Stephan Kenyon EGTA Guitar Journal no.8 (1997). content/articulation. [31] "SEGOVIA, Andres: 1950s American Recordings, Vol. 4". Graham Wade. blurbs_reviews.asp?item_code=8.111092&catNum=8 [32] "the most recent reissue of these recordings from 1927-39, is the 2008 EMI release: "Icon: Andres Segovia"". release.php?id=5099920807726. [33] ^ "The Art of Segovia (The H.M.V. Recordings; 1927-39)". by Gregory Dinger — ARSC JOURNAL Volume XIII, No. 3 (1981), p. 116-119.


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Andrés Segovia intelectual y sus ideas políticas by Carlos v13n3p116-119.pdf. A. Segovia [34] "Review: 1950s American Recordings, Vol. 4 (Segovia, Vol. 6)". Publications • The Andrés Segovia Archive by Angelo reviews.asp?reviewdate=2/0-0/ Gilardino (13 May 2004, 2008&rvwtyp=2008/ Published by 2&reviewtype=david#8.111092. Bèrben (scroll down) [35] ^ "Andres Segovia is dead at 94; his crusade elevated guitar". by Donal Performance reviews and newsHenahan - NY Times, June 4, 1987. paper articles • Early U.S. performance reviews fullpage.html?res=9B0DE4DF113BF937A35755C0A961948260&sec=&spon=&pagewanted=all. ( [36] "Segovia’s Legacy: Half a century of • Articles from NY Times (1951-1980) (none guitar disks". by Allan Kozinn - NY of these are free; they must be purchased) Times, April 6, 1986. • Articles from NY Times (since 1981) fullpage.html?res=9A0DE0DC1238F935A35757C0A960948260&sec=&spon=&pagewanted=1. Recordings [37] Classical Music, p.1116 Alexander J. Morin, Harold C. Schonberg, ISBN • Discography of original recordings 0879306386 (compiled by Andreas Wiggen) • Some photos of LP covers (Oviatt Library Digital Collections)

External links

Biographical information
• Segovia’s life before he left Spain for the first time (1920) info by Angelo Gilardino (3 June 2007, • Andrés Segovia - Twenty years after his passing (1987-2007) includes various articles (TAR) • In Memory of Andres Segovia by Vasilios Avraam ( • Andrés Segovia. Síntesis biográfica. Honores y distinciones. by Alberto López Poveda (Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) [2] • Andrés Segovia page also includes early U.S. performance reviews ( • Biography by Joseph Stevenson (Allmusic) • Andrés Segovia: su relación con el arte flamenco by Eusebio Rioja • Algunos datos y reflexiones sobre la biografía de Andrés Segovia, su formación

• Google Video Video of Segovia from 1976, almost 17 mins. Both him playing and narrating about himself • Google Video Video of Segovia playing Fernando Sor’s "Variations on a theme by Mozart" • Segovia Video Clip • Video of Segovia at Asturias

• The Segovia Museum Fundación Andrés Segovia [3] • The Metropolitan Museum of Art Pictures of Segovia’s first concert guitar • The Metropolitan Museum of Art Segovia’s famous guitar by Hermann Hauser • Andrés Segovia at • Andrés Segovia discography at MusicBrainz • - Armory of Famous Musicians: Andres Segovia, el marqués de Salobreña

Retrieved from "" Categories: 1893 births, 1987 deaths, Andalusian musicians, Classical guitarists, Composers for guitar, Deaths from myocardial infarction, Grammy Award winners, Grammy Lifetime Achievement Award winners, Royal Philharmonic Society Gold Medallists, Spanish classical guitarists


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Andrés Segovia

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