# Andres Segovia



## Lukecash12

Quote:

"Born Andres Segovia Torres, February 21, 1893, in Linares, Jaen, Andalusia, Spain; died of a heart attack June 2, 1987, in Madrid, Spain; father was an attorney; married first wife (divorced, 1962); married Amelia Corral Sancho; children: (first marriage) Beatrice, Andres; (with Sancho) Carlos.

Made debut in Granada, Spain, 1909; made debuts in Paris, France, Berlin, Germany, and London, England, 1924; made American debut, 1928. Taught guitar at schools and universities throughout the world, including the University of Southern California, Los Angeles, and the Academia Musicale Chigiana, Siena, Italy.

Member: Royal Music Academy of Stockholm, Sweden; Academy of St. Cecilia, Rome; Academia Filarmonica of Bologna, Italy; Royal Academy of Fine Arts of San Fernando, Madrid; Fine Arts Santa Isabel of Hungria, Seville, Spain; Royal Academy of Fine Arts of Nuestra Senora de las Angustias, Granada, Spain. Andres Segovia, the most celebrated classical guitarist the world has ever known, is unquestionably acknowledged as the founding father of the modern classical guitar movement. Through his performances on concert stages worldwide, arranging and commissioning of new works for guitar, and teaching activities, Segovia gave the guitar new stature.

He changed the guitar from an instrument of popular entertainment into a vehicle of serious classical music, thus inscribing his name in the annals of music history. Segovia was born February 21, 1893, in Linares, Jaen, in the region of Spain known as Andalusia. Because his father, a lawyer, found it difficult to support his large family, Segovia was sent to live with an aunt and uncle in Granada at age ten.

It was the uncle who introduced Segovia to music, and the boy studied piano and violin at the Granada Musical Institute. While he was little interested in these instruments, he was attracted to the guitar upon hearing it played at a friend's home. Because the guitar--used to accompany folk songs and dances in taverns--was not a well-respected instrument, Segovia had to learn to play on his own. Thus, he was largely self-taught, applying what he had learned of classical music theory and history in general to the guitar in particular.

As a result he developed his own technique, which is characterized by a beautiful sonority, supreme expressivity, and the eliminating of extraneous sound and movement. In 1909 at age 16, Segovia made his public debut at the Centro Artistica in Granada. His recital was so well received that he began to perform throughout Spain, and in 1916 he made a successful tour of Latin America. From this early in his career, Segovia aspired to elevate the guitar from the noisy and disreputable realm of folkloric amusements, where it was held in contempt by serious composers of classical music.

Throughout his career Segovia never lost sight of this goal, which he knew could only be realized by distinguished performances of serious pieces. Since the repertoire was extremely limited, Segovia looked to the works of the great composers for pieces suitable for transcription, and during his lifetime he produced dozens of transcriptions and editions of works. Segovia's 1924 debut in Paris, France, was attended by many distinguished dignitaries of the music world and gave direct impetus to the composing of new guitar works by major composers of the era, such as Manuel de Falla and Manuel Ponce.

Many composers did not know enough about the guitar's capabilities or limitations to compose works for it without Segovia's direct assistance. New pieces heard in concert inspired the writing of others, gradually building the body of literature for classical guitar. Throughout the 1920s and 1930s, Segovia's popularity rose with his repertoire, with country after country being captivated by his performances.

While at first many thought that the guitar would not be able to be heard in a large concert hall, Segovia proved otherwise, demanding and getting complete silence from sell-out crowds of often more than a thousand. "The real music lover wants to hear the small instrument speaking straight to the heart of the people," he once said."

Andres Segovia playing Albeniz- Asturias (Leyendas): 




This puts me to tears. It's a Spanish Fable/Legend (Leyendas translates to legend). The powerful chords that break up the main motif in the beginning, repetitive notes and tremolos, broken octaves, trills, grace note progressions towards the middle, and the wonderful Spanish chord progressions make this piece one of the most deserving pieces for any guitar virtuoso. A piano version was also written, but I believe the guitar characterizes the history of Spain better (the stringed guitars/lutes were brought to Spain by the Moors).

I can't help but think of the Saints of Spain it was dedicated to. Spain has been conquered by many different peoples, and the Moors (ancient Muslims) were some of the chief offenders. Because of this, Spain has very a mixed cultural background, but holds on to it's Catholic roots as firmly even as Italy.

And a performance of Albeniz- Serenade from "Piezas caracteristicas", op 92: 




And here's a list if you want more and more of Segovia: http://www.youtube.com/view_play_list?p=0C8E072BCA4E5ECE

Edit: I cut the quote into paragraphs. Sorry for it originally being such an imposing block of text. Enjoy


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## Lukecash12

Here's another great little snippet for you folks:


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## jurianbai

hail Segovia! Still wonder why guitar can't make it more to the classical repertoire.


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## Tapkaara

Charo, a great guitarist herself, was a student of Segovia.


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## Lukecash12

Supposedly (don't quote me on this just yet) Segovia was a very stern, down to earth teacher. He'd get mightily pissed at you if you played a piece well, but used some incorrect fingering. You'd think he's a simple kind of fella, but that just isn't the way people are in Spain. He dressed very well, spoke very poignant English (with a thick Spanish accent), and simply wouldn't talk about things that were uncouth. That guy had class. He actually kinda reminded me of a Sicilian.


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## Mark Harwood

Please allow me to recommend the DVD on the Opus Arte label: Andres Segovia - In Portrait. It's quite entrancing.
There are two by Julian Bream as well: Guitarra! - The Guitar In Spain; and "My Life In Music". You might say that Mr. B. carried on the good work of Mr. S.


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## Lukecash12

Indeed. Thanks for the reference!


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## shsherm

I am pretty sure I saw Segovia perform with the Chicago Symphony in the mid '50s. I have no idea what was played.


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## Lukecash12

What do you remember of it?


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## shsherm

I am sorry to say that My memories are vague but I was aware that I was hearing one of the greatest musicians of the time.


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## handlebar

A god in the guitar world. No wait: Zeus himself. He was an incredible artist and will live on forever.

As for repertoire, there are enough works to last a long time. So many guitar compsitions out there still to be played and recorded. Sor still needs his due as well as others.

I own the complete Segovia and love it!!

Now if only I can learn to play as well as he does 

Jim


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## Lukecash12

handlebar said:


> A god in the guitar world. No wait: Zeus himself. He was an incredible artist and will live on forever.
> 
> As for repertoire, there are enough works to last a long time. So many guitar compsitions out there still to be played and recorded. Sor still needs his due as well as others.
> 
> I own the complete Segovia and love it!!
> 
> Now if only I can learn to play as well as he does
> 
> Jim


I love it when he plays Mozart's Magic Flute!


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## Nathand

As mentioned above, Sor is brilliant. Barrios has some great pieces as well.


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## Sid James

We can also be grateful to Segovia for commissioning some of the great works for his instrument composed in the C20th. One such piece I can think of is Villa-Lobos' _Concerto for guitar & small orchestra_...


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## michael walsh

I had the following published: Some might find it interesting:-

*THE STAR'S THE GUITAR
​Mike Walsh*

Musically nothing evokes the Spanish experience as does Richard Harvey's melody Concerto Antico; especially when it is played by John Williams, the internationally acclaimed guitarist. The sincerest form of flattery being imitation, this guitar concerto is adorned in a rich filigree of Spanish lace. It is a paradox of life that this beautiful Mediterranean music was composed by a Londoner for the Australian master guitarist, John Williams.
This in itself was a challenge. The greatest classical Spanish guitarist of all time, Andres Segovia had said of Williams: "A Prince of the Guitar has arrived in the musical world. God has laid a finger on his brow, and it will not be long before his name becomes a byword in England and abroad, thus contributing to the spiritual domain of his race." 
*A MELODY SO DAUNTING*
It was for such a guitarist that Richard Harvey set out to compose a melody so daunting that even Williams would find it impossible to play, yet at the same time challenge him to attempt it. In fact the concerto is a kaleidoscope of old dance and song forms that mirror different parts of Europe; but surely Mediterranean in essence. 
Harvey later wrote of Williams: "His imperious response to this challenge, particularly in the fifth movement, makes me thrill with delight each time I hear it." 
Neither Harvey nor Williams are strangers to challenge for the Londoner's gift for creating great music is already familiar even if his name isn't immediately recognisable. 
Born in 1953 Harvey was as musically talented as any of the great classical composers. When after graduating from the Royal College of Music he formed the folk group Gryphon, he was already talented as a player of traditional orchestral instruments.
*THE EPITOMY OF THE ONE MAN BAND*
The group was soon haunting three continents, winning hearts and minds as the London-born prodigy displayed his skills through a repertoire of thirty different musical instruments and five albums. He has an impressive collection of nearly 600 musical instruments - and plays most of them.
Harvey may be remembered for his musical scoring of dozens of iconic movies and television dramas: the Harry Potter films; The Lion King, Kingdom of Heaven. Death of a President, 'Les Deux Mondes', The Da Vinci Code and many more. But will he be best remembered for a simple Mediterranean melody so beautifully evocative it stretched the already impressive limitations of master guitarist John Williams?
*THE NEW KINGS OF WALTZ*
It was Williams' father, Len, who in 1952, on returning to London from Australia set up the world renowned Spanish Guitar Centre. By the 1960s, when the rocking and rolling world was warming to The Beatles, John was a shining star in his own constellation. 
This was a period as musically exciting and innovative as that experienced under the Hapsburgs two centuries earlier. 
Among the new 'waltz kings' figured cellist Jacqueline du Pre', Daniel Barenboim, Vladimir Ashkenazi, Isaac Perlman; soon to be involved with Michael Tippet's 'King Priam' and Pierre Boulez's ambitious recordings. 
Amidst these prodigies, whose names and compositions will surely span centuries, Harvey and Williams Concerto Antico may best evoke the timelessness and beauty of Mediterranean and Spanish musical culture. ©


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## Wigmar

Segovia, reflecting Andalucia (Granados' Danza espanola no 5, recorded 1962, 'Granada', Decca DL 710063, MCA 1968)
and Albeniz' 'Granada', on the same disc.
Fantastic. Segovia's musicality is not to be put by words. 

I have all, or almost all, of Maestro's recordings, dating from 1927 to 1977


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## NoCoPilot

Segovia is to guitar as Bela Fleck is to banjo and Jake Shimabukuro is to ukulele.


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## Wigmar

shsherm said:


> I am sorry to say that My memories are vague but I was aware that I was hearing one of the greatest musicians of the time.


I find that Segovia had a splendid musicality and excellent musical taste. This aspect made me collect Segovia recordings, of which I have almost all of the studio recordings.


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## Becca

I remember seeing Segovia in a recital about 1986 which would be about a year before his death. It was fascinating but his age was definitely showing.


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## NoCoPilot

Wigmar said:


> This aspect made me collect Segovia recordings, of which I have almost all of the studio recordings.


His catalog was re-released in 10 discs by MCA Classics between 1987 and 1991. Unfortunately they re-compiled them, did not stick to the original LPs we grew up loving... but I think just about everything of note is in the set.


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## Wigmar

NoCoPilot said:


> His catalog was re-released in 10 discs by MCA Classics between 1987 and 1991. Unfortunately they re-compiled them, did not stick to the original LPs we grew up loving... but I think just about everything of note is in the set.


I think Segovia's recordings of Sor studies nos 6, 10, 15 and 19 from 1962 are splendid.


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## NoCoPilot

Yes, and his Bach transcriptions.


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## Rogerx

I have a LP with amongst others, Purcell. stunning.


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## Bachtoven 1

I'm grateful for all he has done for the guitar, but I wish he had been more open minded and approached more adventurous composers to compose for the guitar. (Schoenberg, Ravel, and Debussy come immediately to mind.) Frank Martin wrote "Four Brief Pieces" for him, but he refused them. They languished for a while until Karl Scheit took them up and published them. Martin was deeply hurt by the rejection, but he thought very highly of the pieces and arranged them for piano and even orchestrated them. Segovia could also be very cruel during masterclasses. He tore one guitarist a new one for changing fingerings in Bach's Chaconne. "Do you think you know better than I do?" Maybe he did! It's well acknowledged that Segovia's fingerings can be idiosyncratic to say the least. One of my early teachers played in a Segovia's masterclass, and after he played Guiliani's "Grand Overture," Segovia said, "Why do you waste your time on such trash" and asked him to leave. Can you imagine the humiliation? In Segovia's case, it's essential to separate the man from his artistry!


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## bagpipers

Segovia was a once in 1000 years talent or a talent that comes along once in a thousand years (better put)
He had a love of the instrument unsurpassed and a combination of being spawned from a classical culture but of an southern Spanish Andalusian culture that made him perfect for the guitar.


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## Animal the Drummer

Segovia was a personal friend of my grandfather (I've seen photos of the two of them together). I never knew Segovia was so personally unpleasant, but my granddad could take care of himself and would have stood up to the kind of rudeness described above, and then some. Maybe that's what Segovia liked about him.


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## bagpipers

Animal the Drummer said:


> Segovia was a personal friend of my grandfather (I've seen photos of the two of them together). I never knew Segovia was so personally unpleasant, but my granddad could take care of himself and would have stood up to the kind of rudeness described above, and then some. Maybe that's what Segovia liked about him.


Segovia was very elitist and could be unpleasant depending on who you were and remember unlike a typical western European musician he fought a war (Spanish Civil on the pro-Franco).And I think the strong robust fascist mentality influenced him.

I know people who knew Segovia and was the kindest person in the proper circumstance and if people acted as they should.But yes he could utterly humiliate those who he felt had acted improper to his aristocratic standards or played the guitar improperly in a way the portrayed it as the Flemenco instrument he was embarrassed by.He wanted the instrument on par with the violin,cello,piano etc.........and resented those who playing further belittled the instrument.

Segovia was good at heart mostly but did not understand the meaning of his aristocratic standing and it's meaning.Whereas a British nobleman would have a sense of humor dealing in dealing with the less educated and not be rude.Segovia was a complex man in a lot of ways.


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## Wigmar

bagpipers said:


> Segovia was very elitist and could be unpleasant depending on who you were and remember unlike a typical western European musician he fought a war (Spanish Civil on the pro-Franco).And I think the strong robust fascist mentality influenced him.
> 
> I know people who knew Segovia and was the kindest person in the proper circumstance and if people acted as they should.But yes he could utterly humiliate those who he felt had acted improper to his aristocratic standards or played the guitar improperly in a way the portrayed it as the Flemenco instrument he was embarrassed by.He wanted the instrument on par with the violin,cello,piano etc.........and resented those who playing further belittled the instrument.
> 
> Segovia was good at heart mostly but did not understand the meaning of his aristocratic standing and it's meaning.Whereas a British nobleman would have a sense of humor dealing in dealing with the less educated and not be rude.Segovia was a complex man in a lot of ways.


Maybe Segovia had a more of a latino temperament which was perhaps different from that of a british nobleman ? I have read that he could react to other fingerings than his own


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## bagpipers

Wigmar said:


> Maybe Segovia had a more of a latino temperament which was perhaps different from that of a british nobleman ? I have read that he could react to other fingerings than his own


Yes fingerings indeed.Segovia took pride in the guitar and wanted it respected like the cello or piano and who he felt played wrong upset him greatly.Fingering's do matter in guitar because they are not as obvious as other instruments.Segovia's technique was primo for his time but is now outdated .I think Richard Provost is the father of 21st century guitar fingering's.


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## Wigmar

Nathand said:


> As mentioned above, Sor is brilliant. Barrios has some great pieces as well.


Yes, Sor is brilliant, as e.g. studies 10, 15 & 19 from Segovia's '20 studies', and also Aguado's 'Eight lessons', and Ponce's cancion no 2 from 'Tres canciones populares'.


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## Wigmar

bagpipers said:


> Segovia was a once in 1000 years talent or a talent that comes along once in a thousand years (better put)
> He had a love of the instrument unsurpassed and a combination of being spawned from a classical culture but of an southern Spanish Andalusian culture that made him perfect for the guitar.


His brilliant musicality appeals to me, especially as to spanish works as e. g. Albeniz' 'Granada'.


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## Viajero

The legacy of Segovia, for me, is that he elevated the guitar from a popular folk instrument to a serious Classical genre and introduced, through his transcriptions and others, Classical Guitar Music to the world. It was his legacy that defined what "traditional" Classical guitar means. He also promoted Latin composers as Albeniz, Villa-Lobos, Tarrega, Llobet, Barrios, Ponce, etc. His master classes on YouTube are second to none for serious guitarists. I have often said that a guitarist must learn the legacy of Segovia before attempting to find his own voice.
Viajero


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