# Ten Terrific Compositions for Classical Guitar



## Doublestring

Here are ten of the greatest compositions for classical guitar. I've put them in chronological order with a link to Youtube, and wrote a short introduction for each. The classical or Spanish guitar dates from the middle of the nineteenth century, but I included one Baroque and one Early Romantic work as well, because they are played very often on the classical guitar. The list then includes some Spanish romantic music, some Latin American music and some modern 20th century works.

1. Silvius Leopold Weiss - Passacaglia (Julian Bream)





When a classical guitarist wants to play Baroque music he has to rely on transcriptions from music for lute, theorbo or Baroque guitar, which are instruments with a different tuning and a different number of strings. Two Baroque composers that are often played on the classical guitar are J. S. Bach and his compatriot Silvius Leopold Weiss (1867-1750). Weiss was an important lutenist who served at courts in Breslau, Rome and Dresden. He wrote a lot of suites and sonatas for lute, but also this passacaglia. A passacaglia is a composition on an bass-ostinato, a repetitive bass line.

2. Fernando Sor - Introduction et variations sur "Marlbrough s'en va-t-en guerre" op. 28 (Gabriel Estarellas)





In 1709 there was a false rumour that John Churchill, 1st Duke of Marlborough had died during the Battle of Malplaquet. A French folk song "Marlbrough se va-t-en guerre" ("Marlbrough goes to war") was based on this rumor. It's roughly the same tune as the later "For he's a jolly good fellow". Spanish guitarist and composer Fernando Sor (1778-1839) wrote a set of variations on this tune. Sor had fled from Spain after Napoleon's defeat in 1813. He lived in Paris when he wrote most of music for the early romantic guitar. This instrument was smaller and sounded one third higher than the classical guitar.

3. Francesco Tárrega - Recuerdos de la Alhambra (Xuefei Yang)





The music of Spanish guitarist and composer Francesco Tárrega (1852-1909) is the first that was actually written for what we call the classical guitar (or Spanish guitar). His "Recuerdos de la Alhambra" uses the tremolo technique, which means that the note in the melody is repeated swiftly by three different fingers after the thumb plays the bass note.

4. Isaac Albéniz - Asturias (Leyenda) (Ana Vidovic) 





Isaac Albéniz (1860-1909) was one of the founders of the Spanish romantic style, along with composers like De Falla, Granados etc. This style combined 19th century romanticism with influences from Spanish folk music, which was itself influenced by Moorish music. "Asturias (Leyenda)" was originally written for the piano, but became one of the most popular virtuoso guitar pieces after it was transcribed by a.o. Andrés Segovia, who meant a lot for the recognition of the guitar as a classical instrument.

5. Joaquín Turina - Fandanguillo (Julian Bream)





Joaquín Turina (1882-1949) was a Spanish composer who combined Spanish romanticism with influences from impressionism. He studied at the Paris Conservatory under Vincent D'Indy, who was also Debussy's teacher. "Fandanguillo" means "little fandango". A fandango is a Spanish folk dance in triple meter, often performed with guitar, castagnets and hand-clapping.

6. Agustín Barrios - La catedral (John Williams)





Barrios (1885-1944) was a guitarist and composer from Paraguay. "La catedral", a composition in three parts, was inspired by the instrumental music of J. S. Bach. It has a melancholic, mystical atmosphere. The second part has the rhythm of a funeral march. The first and third part use broken chords, like in Bach's lute and violin works.

7. Heitor Villa-Lobos - Five Preludes (Pepe Romero)





Brazilian composer Villa-Lobos (1887-1959) wrote a lot of orchestral, chamber and vocal music, but he also became one of the greatest composers for the classical guitar. His early works are heavily influenced by Brazilian folk music. Later he spent a lot of time in Paris and became more influenced by European composers like Ravel. His Twelve Études are as important to the guitar as Chopin's études to the piano. His Five Preludes explore the possibilities of the classical guitar and combine technical brilliancy with intimate and poetic moments.

8. Federico Moreno Torroba - Sonatina (Ana Vidovic)
https://www.youtube.com/watch?v=yJH-ltIzTus
(Sonatina starts after 2:40 minutes.)

Moreno Torroba (1891-1982) was a Spanish composer. He was a late follower of the Spanish romantic style. He wrote operas and zarzuelas, but his most popular works were written for the guitar, including the "Suite Castellana" and the "Sonatina". The latter is a composition in three parts that combines Spanish dance rhythms with lyrical melodies.

9. Leo Brouwer - Elogia de la Danza (Pepe Romero)





Leo Brouwer is a Cuban composer (B. 1939) and guitarist who combined influences from modern composers like Bartók and Stravinsky with Latin American elements. His "Estudios sencillos" ("Simple Studies") are often played by guitar students. "Elogia de la danza" is a terrific example of how he combines modern compositional techniques with Latin rhythms.

10. Roland Dyens - Hommage à Villa-Lobos (Roland Dyens)





Roland Dyens (b.1955) is a French classical guitarist. He's a good improviser, influenced by jazz music. His compositions often contain a show element and are technically innovating. "Hommage à Villa-Lobos", in spite of its title, isn't actually written in the style of Villa-Lobos although it draws some inspiration from the kind of Brazilian folk rhythms that Villa-Lobos also used.


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## MrCello

Well done.

I was lucky enough to see Pepe Romero live a while back. Love him on the Villa-Lobos preludes.


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## Echoes

Thank you for the list . I'm new to Classical music and an amateur rock/blues guitarist. I was looking for classical guitar pieces to listen to.


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## Triplets

Doublestring said:


> Here are ten of the greatest compositions for classical guitar. I've put them in chronological order with a link to Youtube, and wrote a short introduction for each. The classical or Spanish guitar dates from the middle of the nineteenth century, but I included one Baroque and one Early Romantic work as well, because they are played very often on the classical guitar. The list then includes some Spanish romantic music, some Latin American music and some modern 20th century works.
> 
> 1. Silvius Leopold Weiss - Passacaglia (Julian Bream)
> 
> 
> 
> 
> 
> When a classical guitarist wants to play Baroque music he has to rely on transcriptions from music for lute, theorbo or Baroque guitar, which are instruments with a different tuning and a different number of strings. Two Baroque composers that are often played on the classical guitar are J. S. Bach and his compatriot Silvius Leopold Weiss (1867-1750). Weiss was an important lutenist who served at courts in Breslau, Rome and Dresden. He wrote a lot of suites and sonatas for lute, but also this passacaglia. A passacaglia is a composition on an bass-ostinato, a repetitive bass line.
> 
> 2. Fernando Sor - Introduction et variations sur "Marlbrough s'en va-t-en guerre" op. 28 (Gabriel Estarellas)
> 
> 
> 
> 
> 
> In 1709 there was a false rumour that John Churchill, 1st Duke of Marlborough had died during the Battle of Malplaquet. A French folk song "Marlbrough se va-t-en guerre" ("Marlbrough goes to war") was based on this rumor. It's roughly the same tune as the later "For he's a jolly good fellow". Spanish guitarist and composer Fernando Sor (1778-1839) wrote a set of variations on this tune. Sor had fled from Spain after Napoleon's defeat in 1813. He lived in Paris when he wrote most of music for the early romantic guitar. This instrument was smaller and sounded one third higher than the classical guitar.
> 
> 3. Francesco Tárrega - Recuerdos de la Alhambra (Xuefei Yang)
> 
> 
> 
> 
> 
> The music of Spanish guitarist and composer Francesco Tárrega (1852-1909) is the first that was actually written for what we call the classical guitar (or Spanish guitar). His "Recuerdos de la Alhambra" uses the tremolo technique, which means that the note in the melody is repeated swiftly by three different fingers after the thumb plays the bass note.
> 
> 4. Isaac Albéniz - Asturias (Leyenda) (Ana Vidovic)
> 
> 
> 
> 
> 
> Isaac Albéniz (1860-1909) was one of the founders of the Spanish romantic style, along with composers like De Falla, Granados etc. This style combined 19th century romanticism with influences from Spanish folk music, which was itself influenced by Moorish music. "Asturias (Leyenda)" was originally written for the piano, but became one of the most popular virtuoso guitar pieces after it was transcribed by a.o. Andrés Segovia, who meant a lot for the recognition of the guitar as a classical instrument.
> 
> 5. Joaquín Turina - Fandanguillo (Julian Bream)
> 
> 
> 
> 
> 
> Joaquín Turina (1882-1949) was a Spanish composer who combined Spanish romanticism with influences from impressionism. He studied at the Paris Conservatory under Vincent D'Indy, who was also Debussy's teacher. "Fandanguillo" means "little fandango". A fandango is a Spanish folk dance in triple meter, often performed with guitar, castagnets and hand-clapping.
> 
> 6. Agustín Barrios - La catedral (John Williams)
> 
> 
> 
> 
> 
> Barrios (1885-1944) was a guitarist and composer from Paraguay. "La catedral", a composition in three parts, was inspired by the instrumental music of J. S. Bach. It has a melancholic, mystical atmosphere. The second part has the rhythm of a funeral march. The first and third part use broken chords, like in Bach's lute and violin works.
> 
> 7. Heitor Villa-Lobos - Five Preludes (Pepe Romero)
> 
> 
> 
> 
> 
> Brazilian composer Villa-Lobos (1887-1959) wrote a lot of orchestral, chamber and vocal music, but he also became one of the greatest composers for the classical guitar. His early works are heavily influenced by Brazilian folk music. Later he spent a lot of time in Paris and became more influenced by European composers like Ravel. His Twelve Études are as important to the guitar as Chopin's études to the piano. His Five Preludes explore the possibilities of the classical guitar and combine technical brilliancy with intimate and poetic moments.
> 
> 8. Federico Moreno Torroba - Sonatina (Ana Vidovic)
> https://www.youtube.com/watch?v=yJH-ltIzTus
> (Sonatina starts after 2:40 minutes.)
> 
> Moreno Torroba (1891-1982) was a Spanish composer. He was a late follower of the Spanish romantic style. He wrote operas and zarzuelas, but his most popular works were written for the guitar, including the "Suite Castellana" and the "Sonatina". The latter is a composition in three parts that combines Spanish dance rhythms with lyrical melodies.
> 
> 9. Leo Brouwer - Elogia de la Danza (Pepe Romero)
> 
> 
> 
> 
> 
> Leo Brouwer is a Cuban composer (B. 1939) and guitarist who combined influences from modern composers like Bartók and Stravinsky with Latin American elements. His "Estudios sencillos" ("Simple Studies") are often played by guitar students. "Elogia de la danza" is a terrific example of how he combines modern compositional techniques with Latin rhythms.
> 
> 10. Roland Dyens - Hommage à Villa-Lobos (Roland Dyens)
> 
> 
> 
> 
> 
> Roland Dyens (b.1955) is a French classical guitarist. He's a good improviser, influenced by jazz music. His compositions often contain a show element and are technically innovating. "Hommage à Villa-Lobos", in spite of its title, isn't actually written in the style of Villa-Lobos although it draws some inspiration from the kind of Brazilian folk rhythms that Villa-Lobos also used.


Thank you for that. I want to explore Guitar Music more but haven't known where to start


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## Torkelburger

11.


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## Guest

I'm not sure about the "greatest," but those are certainly the most over-played, clichéd pieces!


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## Doublestring

Kontrapunctus said:


> I'm not sure about the "greatest," but those are certainly the most over-played, clichéd pieces!


I included some popular pieces like Asturias and Recuerdos de la Alhambra, but the others aren't overplayed at all. I could have included another piece by Tárrega instead of Recuerdos. You should be glad I didn't include "Jeux interdits".



MrCello said:


> Well done.
> 
> I was lucky enough to see Pepe Romero live a while back. Love him on the Villa-Lobos preludes.


He's one of my favorite players. It must be great to see him live.


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## norman bates

Doublestring said:


> I included some popular pieces like Asturias and Recuerdos de la Alhambra, but the others aren't overplayed at all. I could have included another piece by Tárrega instead of Recuerdos. You should be glad I didn't include "Jeux interdits".


I appreciate the idea of the thread, but also the Fandanguillo, La catedral and the Sonatina are some of the most popular pieces.
I remember that when my interest in classical guitar started I recorded a tv program where the guitarist played most of those pieces. For Villalobos and Brouwer there were different pieces (villalobos the classic study n.1, I don't remember what the Brouwer piece was), but Fandanguillo, Sonatina, Recuerdos and Asturias were there. And also Dyens is very popular, I mean I don't know how many times I've saw people playing Tango en skai.


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## Doublestring

norman bates said:


> I appreciate the idea of the thread, but also the Fandanguillo, La catedral and the Sonatina are some of the most popular pieces.
> I remember that when my interest in classical guitar started I recorded a tv program where the guitarist played most of those pieces. For Villalobos and Brouwer there were different pieces (villalobos the classic study n.1, I don't remember what the Brouwer piece was), but Fandanguillo, Sonatina, Recuerdos and Asturias were there. And also Dyens is very popular, I mean I don't know how many times I've saw people playing Tango en skai.


If you would make a top ten of piano music, you could hardly escape Beethoven, Chopin, Liszt, Brahms etc. If you make a top ten of guitar music, you can hardly ignore Sor, Tárrega and Villa-Lobos. Of course you could try to make a list of less obvious guitar compositions also.


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## norman bates

Doublestring said:


> If you would make a top ten of piano music, you could hardly escape Beethoven, Chopin, Liszt, Brahms etc. If you make a top ten of guitar music, you can hardly ignore Sor, Tárrega and Villa-Lobos. Of course you could try to make a list of less obvious guitar compositions also.


Considering "objective" lists I think that many persons would object to see Torroba (altough I like the Sonatina), Dyens or Barrios and not Britten's Nocturnal for instance. Even if personally I'm not a particular fan of that piece.


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## Atoqsaykuchi

I don't see my three personal favourites mentioned: Mompou's Suite compostelana, Ponce's Variations on La Folia, Ginastera's Guitar Sonata.


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## Perotin

Stanley Myers: Cavatina. I don't know if this piece is terrific, but it sure is popular.


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## Doublestring

Atoqsaykuchi said:


> I don't see my three personal favourites mentioned: Mompou's Suite compostelana, Ponce's Variations on La Folia, Ginastera's Guitar Sonata.


Yes, Ginastera's sonata is an impressive modernist work. Mompou is great as well. From Ponce I like the Sonata romantica.



Perotin said:


> Stanley Myers: Cavatina. I don't know if this piece is terrific, but it sure is popular.


From "The Deer Hunter", nice romantic tune. That can't be too hard to play.


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## senza sordino

Perotin said:


> Stanley Myers: Cavatina. I don't know if this piece is terrific, but it sure is popular.


According to Wikipedia, this piece was written in 1970, before the Deer Hunter. 
It's a very nice piece of music, I once could play it on the guitar. It isn't too hard to play, since I learned to play it. Sometimes terrific music isn't that difficult to play and perform.


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## nightscape

Lauro's 4 Valses venezolanos. Listen. Now.


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## norman bates

I've already mentioned in another topic, but recently I've truly enjoyed the music of the little known composer Carlo Mosso. He didn't write a lot for the instrument, so his complete work for guitar has been recorded on a single CD by Davide Ficco.









Especially his tre quaderni are (for my tastes obviously) far more interesting that many of those classics mentioned above.
Very austere compositions, so it's not the best choice for those who are looking for virtuoso showpieces, but it's fascinating, dark and poetic music.


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## Peter Gibaloff

By my opinion you missed some which deserve to be in ten.

for example:


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## Dirge

Joaquín RODRIGO: Invocación y danza (Homenaje a Manuel de Falla)
:: Pepe Romero [Philips]
https://play.spotify.com/album/3c6ANuPXFmUkYQrTD7OmMh (tracks 9 & 10)

The quasi-religious Invocation builds in tension throughout, and the release-but not quite total release-of that tension at the segue to the Dance is a downright magical little moment. Romero gives an impressive performance: eyebrow-raisingly focused and precise yet wide-ranging and spirited, with a certain flinty flamenco flair to boot. He screws up tension gradually but surely in the intricately atmospheric Invocation (bringing out the tolling of the bells especially well) and releases it with a just tempered joy in the ambivalent Dance, which is at once joyful and nostalgic. All in all, this is the most well-rounded and catholic overall performance of the work that I know.


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## ahammel

There is a disturbing lack of Takemitsu in this thread.


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## KenOC

As Darth said, "I find your lack of Takemitsu disturbing."


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## clara s

good list

but I do not see Segovia in the proposed guitarists. Recuerdos de la Alhambra is a poem in his hands

nor Narciso Yepes

and where is Rodrigo? Concerto de Aranjuez? or Fantasía para un gentilhombre?


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## tdc

ahammel said:


> There is a disturbing lack of Takemitsu in this thread.


Takemitsu's _All in Twighlight_ (composed for one of my favorite guitarists - Julian Bream) I think is a great piece (it is on my playlist of guitar works I listen to most often) and certainly deserves to be mentioned in this thread, his _Toward the Sea_ for Alto flute and Guitar is another great piece.


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## tdc

My personal favorite 20th century composer for the guitar is Rodrigo, and in addition to the previously mentioned _Invocación y danza_, I think his _Toccata for Guitar_ is among his best guitar compositions. My preferred interpretation (Jeremy Jouve) is unfortunately not on youtube, but this version by Marcin Dylla is not bad. (This piece is one of the more difficult works in the repertoire)


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## tdc

clara s said:


> good list
> 
> but I do not see Segovia in the proposed guitarists. Recuerdos de la Alhambra is a poem in his hands
> 
> nor Narciso Yepes
> 
> and where is Rodrigo? Concerto de Aranjuez? or Fantasía para un gentilhombre?


Segovia's recording of Bach's _Chaconne_ I think is still among the better interpretations on guitar to this day, and Yepes has made a number of recordings I consider great, particularly of certain Spanish composers like Sanz, Tarrega and Ruiz Pipo.


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## Giordano

tdc said:


> Segovia's recording of *Bach's Chaconne* I think is still among the better interpretations on guitar to this day,


I agree... but I prefer Paul Galbraith's.


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## tdc

Giordano said:


> I agree... but I prefer Paul Galbraith's.


I haven't heard it, but I am a fan of his playing. The best version I've heard was at a live performance I attended by Pavel Steidl.


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## clara s

tdc said:


> Segovia's recording of Bach's _Chaconne_ I think is still among the better interpretations on guitar to this day, and Yepes has made a number of recordings I consider great, particularly of certain Spanish composers like Sanz, Tarrega and Ruiz Pipo.


preferences usually depend on the psychosynthesis of each individual person

Paul Galbraith has a more modern, fine, elegant interpretation on Bach's Chaconne

Segovia brings out all the spiritual power that Bach gave to the partita.
Listening to his playing, you can not do anything else, but unfold your most secret thoughts.

For me Andrés Segovia is a class on his own in guitar.
Especially the spanish music, is played in a unique way.

Listening to recuerdos de la Alhambra by Segovia, you can not avoid
flying over the beautiful gardens and palaces of Alhambra,
even if you never have been there.

If you have been to Alhambra, then every time you listen to Segovia
you will feel this sad passion for the past...


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## donnie a

The Ponce sonatas are some of my very favorite works for solo guitar, especially the Sonatina Meridional. But in general, I think the early nineteenth century composers are underrated (Sor, Aguado, Diabelli, Giuliani, Molino, others) compared with the later Spanish and South American composers.


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## Guest

For contemporary music, I really like Olga Amelkina-Vera's "The Heaven's Hundred"--dedicated to those killed in the Eukraine protests. Here it's play by dedicatee Matt Palmer. Poor sound, but the intensity of the piece comes across well. He has recently recorded a CD of it.


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## HaydnBearstheClock

Check out this piece by Telemann, originally for 4 violins and transposed for guitar quartet:


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## Vaneyes

Ten terrific compositions? Whatever Segovia and Bream chose to play, is okay with me.


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## ComposerOfAvantGarde

Here is a movement each from two terrific sonatas


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## ComposerOfAvantGarde

Some excellent 19th century repertoire


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## clara s

Vaneyes said:


> Ten terrific compositions? Whatever Segovia and Bream chose to play, is okay with me.


then you have much much more than 10 terrific compositions 

do you like this?


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## Giordano

clara s said:


> preferences usually depend on the psychosynthesis of each individual person
> 
> Paul Galbraith has a more modern, fine, elegant interpretation on Bach's Chaconne
> 
> Segovia brings out all the spiritual power that Bach gave to the partita.
> Listening to his playing, you can not do anything else, but unfold your most secret thoughts.


I get "higher" with/on Paul Galbraith's version.

I am waiting for Kyuhee Park and Xeufei Yang to do the Bach Chaconne.


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## ComposerOfAvantGarde

I'm not a big fan of Segovia. For the repertoire he played I find myself going for other guitarists, and even Segovia's preferred repertoire is not usually what I like to listen to or play. David Starobin and Ricardo Gallén are two of my favourite guitarists who have quite a few recordings out already. I want to see more releases from Ana Vidovic and Kyuhee Park because they have fantastic videos on YouTube but not much on CD it seems. When I listen to Segovia and then compare the same piece with interpretations by these other guitarists it makes me wonder what people find so brilliant about his tone and interpretation. 

Ricardo Gallén does amazing Bach if you ask me.

Could someone recommend a *really* good recording made by Segovia? I would like to change my mind about him because I'm yet to hear something performed by him which I truly enjoy.


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## donnie a

With all due respect to Segovia (and he deserves a lot for all he did for the instrument), I have to say that he thoroughly massacres this piece. I just don't understand why in the world he plays it like that. The minor variation in the middle is especially bad. A performance like this would be unacceptable today, and that's not just due to changes in interpretive style.

As a matter of fact, I've had a hard time finding a recording of the Sor Mozart Variations (one of my favorite for guitar) that totally satisfies me. I guess Bream's is the best I've heard.


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## ComposerOfAvantGarde

donnie a said:


> With all due respect to Segovia (and he deserves a lot for all he did for the instrument), I have to say that he thoroughly massacres this piece. I just don't understand why in the world he plays it like that. The minor variation in the middle is especially bad. A performance like this would be unacceptable today, and that's not just due to changes in interpretive style.
> 
> As a matter of fact, I've had a hard time finding a recording of the Sor Mozart Variations (one of my favorite for guitar) that totally satisfies me. I guess Bream's is the best I've heard.


Haha, one thing that really gets on my nerves about Segovia is how he always cuts notes short without giving time for the notes and the instrument to really _breathe._


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## Guest

ComposerOfAvantGarde said:


> Here is a movement each from two terrific sonatas


I've tried learning that Koshkin movement--it's extremely difficult. I keep putting it away then taking it back out a while later. Some day I will conquer it! To me, it's about as close to a work by Shostakovich as we'll ever get. By the way, that's a very sloppy performance--must be a live recording. Elena Papandreou's recording on BIS is superb.


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## ComposerOfAvantGarde

Kontrapunctus said:


> I've tried learning that Koshkin movement--it's extremely difficult. I keep putting it away then taking it back out a while later. Some day I will conquer it! To me, it's about as close to a work by Shostakovich as we'll ever get. By the way, that's a very sloppy performance--must be a live recording. Elena Papandreou's recording on BIS is superb.


I'll have to check it out. The only one I've listened to in full is a recording on Naxos.....


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## Guest

Koshkin it wrote for her. Her tempos are broader, but she plays with a far greater range of colors and dynamics.


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## tdc

ComposerOfAvantGarde said:


> I'm not a big fan of Segovia. For the repertoire he played I find myself going for other guitarists, and even Segovia's preferred repertoire is not usually what I like to listen to or play. David Starobin and Ricardo Gallén are two of my favourite guitarists who have quite a few recordings out already. I want to see more releases from Ana Vidovic and Kyuhee Park because they have fantastic videos on YouTube but not much on CD it seems. When I listen to Segovia and then compare the same piece with interpretations by these other guitarists it makes me wonder what people find so brilliant about his tone and interpretation.
> 
> Ricardo Gallén does amazing Bach if you ask me.
> 
> Could someone recommend a *really* good recording made by Segovia? I would like to change my mind about him because I'm yet to hear something performed by him which I truly enjoy.


I didn't like Segovia's playing at all to be honest when I first listened to it, he has quite an idiosyncratic style and the sound on the recordings he has made is generally not the highest quality. For me I just think his Chaconne is incredible - he gets a lot more out of the piece than most guitarists and listen to how well he handles the fast passages - very few (if any) guitarists have done a better job of it imo. That piece was what made me start to appreciate his style more. Check out his Chaconne and some of his Albeniz I'd say, if you don't enjoy the playing on that he just might not be to your taste.


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## clara s

Giordano said:


> I get "higher" with/on Paul Galbraith's version.
> 
> I am waiting for Kyuhee Park and Xeufei Yang to do the Bach Chaconne.


you definitely are not a southern european

you have more refined passion than me


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## clara s

ComposerOfAvantGarde said:


> I'm not a big fan of Segovia. For the repertoire he played I find myself going for other guitarists, and even Segovia's preferred repertoire is not usually what I like to listen to or play. David Starobin and Ricardo Gallén are two of my favourite guitarists who have quite a few recordings out already. I want to see more releases from Ana Vidovic and Kyuhee Park because they have fantastic videos on YouTube but not much on CD it seems. When I listen to Segovia and then compare the same piece with interpretations by these other guitarists it makes me wonder what people find so brilliant about his tone and interpretation.
> 
> Ricardo Gallén does amazing Bach if you ask me.
> 
> Could someone recommend a *really* good recording made by Segovia? I would like to change my mind about him because I'm yet to hear something performed by him which I truly enjoy.


following your introduction, it is quite risky to recommend something of Segovia to you,
because there is already a heavy denial for his playing


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## Guest

I appreciate Segovia's contribution to the classical guitar's status, but I dislike his actual playing for the reasons Coag mentions, plus he was musically narrow minded and a massive egotist. (He would kick students out of masterclasses if they changed any of his fingerings in his editions of pieces, for instance.)


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## clara s

now, that's a different thing you are saying here, but tell me, 
how many masters of arts and great composers are not egotists or arrogants?
I am sure not many, but this is a different subject.

Segovia was a master of guitar, when at many many countries classical guitar was a terra incognita.

He was a perfectionist, with his own air and style, he was the first to exploit the true meaning 
of the touch between fingers and strings. There was an acoustic beauty in his playing.
He could play the most complicated piece with the most natural way.

His technique was not an external and cold one, 
but it was firmly tied to his temper and spiritual wealth.
That’s why I mentioned before, that if you visit Alhambra, 
then Recuerdas de la Alhambra won’t be the same again.

And just remember what most people say, 
that his playing and his mastership of the guitar as a serious instrument, 
made it possible for the next generations players to be heard and be known worldwide.


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## norman bates

clara s said:


> he was the first to exploit the true meaning
> of the touch between fingers and strings.


I have many many doubts about this.


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## clara s

norman bates said:


> I have many many doubts about this.


why? please clarify

who was the first master to conquer the guitar strings with his fingers for you?


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## norman bates

clara s said:


> why? please clarify
> 
> who was the first master to conquer the guitar strings with his fingers for you?


I don't know, but to say that "he was the first to exploit the true meaning of the touch between fingers and strings" means that before Segovia the touch wasn't considered important. While for what I know many guitarists didn't like the choice of playing with nails used by Segovia because while technically it allows a greater speed it's also worse in terms of sound and dynamics.


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## tdc

norman bates said:


> I don't know, but to say that "he was the first to exploit the true meaning of the touch between fingers and strings" means that before Segovia the touch wasn't considered important. While for what I know many guitarists didn't like the choice of playing with nails used by Segovia because while technically it allows a greater speed it's also worse in terms of sound and dynamics.


Actually there is definitely a greater range of dynamics possible playing with nails - and the majority of classical guitarists play with some nails. I think it is hard to compare guitarists before Segovia simply due to a lack of available recordings.


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## norman bates

tdc said:


> Actually there is definitely a greater range of dynamics possible playing with nails - and the majority of classical guitarists play with some nails.


I don't know, after few months I've always played with nails and I know very few modern guitarists who play without nails (Paulinho Nogueira and few others) so I'm not sure. But what I've read is that even centuries ago a lot of expert guitarists despised the use of nails for their ugly sound. Now, Segovia obviously has a great sound, but I was just disputing the fact that he wast the first to really care about sound as Clara S. suggested.


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## tdc

norman bates said:


> I don't know, after few months I've always played with nails and I know very few modern guitarists who play without nails (Paulinho Nogueira and few others) so I'm not sure. But what I've read is that even centuries ago a lot of expert guitarists despised the use of nails for their ugly sound. Now, Segovia obviously has a great sound, but I was just disputing the fact that he wast the first to really care about sound as Clara S. suggested.


Well I'm not sure she was suggesting he was the first to really care about sound, but more so that he found a more profound meaning there, possibly?

As far as the nails - the actual shape of them, as well as how they are filed or cut makes a huge difference between sounding amazing and sounding absolutely terrible, so perhaps this is why some of the older players who used nails had some difficulty at times in maintaining a consistently good sound - they hadn't yet mastered how to maintain their nails. For a lot of guitarists it actually takes them years to figure out what works for them as it is a different approach depending on the individuals natural nail shape - I think this is the main reason some guitarists just choose to play without them. That said, those who can manage to get a nail shape that works for them do have a big advantage.


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## ComposerOfAvantGarde

Different nail shapes affect the attack on the string as well as the sound itself. My _i_ nail has a slope on its left side for coming in contact with the string at the same time as the flesh in order to give a very rounded sound:















This shape also enhances ponticello when played square to the string, there is definitely a greater variety of possible colours that can be produced with nails as to without.









Different guitarists who play with nails have different philosophies as to placement on the string, length (some people call my nails quite short actually), tone, shape etc. and each guitarist can have a very very different sound depending on what they are trying to achieve with their nails. Personally, I don't like Segovia's tone all that much.

EDIT: oh dear, the images seem to have been uploaded upside down. Sorry about that! I hope you get the idea anyway.


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## clara s

Segovia used equally flesh and nail of his right hand. 
That was what gave the sensual and dynamic sound in his playing. 
He was the first to search so much to this combination, and deepen in it. 
That’s how he produced his world famous whine in playing. 

Now regarding his “championship” in classical guitar, 
just remember that most of the repertory that famous masters play, 
was transcribed by him. 

Maybe, people that do not like Segovia, they have not heard much of his repertory.


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