Cuatro comentarios sobran, para estar orgullosa de este español, poco conocido y reconocido. Yo de música desgraciadamente na!!. Pero oído tengo. Este hombre fue un genio que influyó en grandes músicos de todo el mundo
Very impressive performance and Segovia was the best classical guitar player of his time. I like his music very much. And he did also good transcriptions for the guitar. I also play guitar but I have to practice a lot to reach his skills. All the best for all the music lovers and a great time. 😊
Yup- have played a '54 Monch guitar from the same school/period of German guitar classical builders. Very light, exacting construction, loud, great separation, as if the guitar is ready to explode. You've got to play to these instrument to see what I mean...
L'aisance de tout interprète quelque soit l'instrument dont il est le champion fait tjs plaisir à voir autant qu'à entendre.C'est le cas ici pour la guitare , c'était vrai pour Rampal pour la flûte , pour Pablo Casals pour le violoncelle , etc après il reste la modestie devant le génie , l'admiration devant les compositeurs , et le plaisir de l'écoute.
Como puede ser jac, que la guitarra alla influido tanto en la música, por que tantos y tantos genios de la música admiran a A. Segovia? Escuchale. Y no es francés.
@@claranotario5569merci de votre réponse amicale.Depuis les disques de vihuela da mano d'Hopkinson Smith , puis bien sûr ceux d'André Segovia , j'admire cette instrument et son message d'une âme espagnole .La barrière de la langue est ainsi contournée et cela est un grand pas vers plus d'humanité et de paix.
What I find astounding for one of my generation (I'm 56) is the amount of negative criticism leveled at the man who single-handedly rescued the classical guitar from total obscurity. Yes, his sound is old-fashioned and romantic, but that is how musicians played in his day! Think of this. If it wasn't for Andres Segovia the guitar as a classical instrument would have remained a curiosity, like the ukulele. It was only played as such in private clubs, without nails, and without any respect from the classical community. The classical music scene's opinion was that the guitar, however charming, just didn't have the sonority to stand up and be heard in concert, and needed to be relegated, like the lute, to the past. There was no 'scene' outside of Spain, where it was a very minor thing of the late guitar composer Francisco Tarrega club. There were no classical guitar concerts and no way to make a living as a classical guitarist; unless you could convince the classical scene that you were a curiosity worth subsidising for a concert. This is what he achieved; He rescued the classical guitar from obscurity and enshrined it as a concert classical instrument, as well as educating a follower base to the extent of starting a whole new musical scene. He single-handedly mobilised the musical public to the glory of his music and created a sensation. He definitely was the father of us all - in this John Lennon was absolutely right. I'm not saying Maestro Segovia wasn't a concert classical snob and a classical guitar purist - he most definitely was - just think of his famous snub to the Beatles; apparently John Lennon opined in an interview that Segovia was the Daddy of us all, and when Andres Segovia was told this he noted that if this were the case he sadly had to admit that he couldn't remember the mother! To Wanda Landowska; the very great French/Polish harpsichordist, he stated that the harpsichord was a pointless instrument and past it's time, as it sounded like a piano with a cold! Diplomacy was definitely not on his CV; but listen to his playing! I've just played this same video to a friend of mine who records Bach, Mozart and Brahms on piano (and beautifully!), and he's totally blown away, of course. Maestro Segovia played beautifully, he was a consummate artist, and together with Julian Bream the reason why the classical guitar is my first instrument. Of the early performing guitar virtuosos they where the most unique, and both in their own way willing to forgo convention for the glory of their music. It was Segovia who started playing with his nails when everyone else was using fingertip flesh only; and Bream who was musician enough to realise the wisdom of this and change horses in midstream. He subsequently had to face the same kind of wannabe envy criticism Segovia knew only too well when he reintroduced John Dowland's lute music and played it with nails on his reconstructed Renaissance lute ; because it sounded better to him that way. I must admit that I value and love his vinyl recordings of Dowland and often play them; although they are also beautifully played by the more recent fingertip only crowd. Which of you chaps know that Fernando Sor was also of this persuasion and only played with fingertips! Fingertip only is more historically correct for lute and guitar; but I definitely concur with Segovia that nails are really necessary for a sonorous classical guitar tone. Needless to say; I'm a fan of them both and they were both part of the reason why the guitar captured my heart. Thank you Neil Yonamine for posting this video. I can listen to and watch my old Maestro any time. I don't find anything unmusical about this recording, as it suits the more romantic approach of his times. Given the context of the culture he came from, he made quite a romantic splash with his guitar. As a guitarist and knowing the technical difficulties inherent in our instrument; you don't get to look down on the likes of the great Segovia unless you have at least matched his achievements. Just experience his legato - if nothing else; this isn't easy on the classical guitar!
Thanks to him Barrios was not allowed to be played by pupils in concert and he abandond the great Paraguayan from his masterclasses. We all know why: Barrios was a thread to this ego. Furthermore when it comes to interpretation, one can say that Andres is unique, but I hear Andres, not the music. It is a style of playing. Listen to Alicia de la Rocha play Granados, La Maya de Goya, see the score, hear the expressiveness and than play this guys' rendition. Furthermore he bullies his pupils, it must be played in his way, with his idiotic fingerings and changes. He even knew better then the great Villa Lobos how it should be played and how the composition should be. And another thing: when a woman plays, he is allways gentile, well after all he stays human, right, but I would say: different strokes different folks, I never felt the emotion in Andres' playing nor did I admire his aura, but some do, well do what you feel and think and write it down. And yes he has done a lot, but also destroyed a lot, so it may be...
No disrespect to the master but the way he chases Chapeldine out of a master class is shocking - it’s here on RU-vid- all because of the changing of the fingering.
@NASACrooks In what kind of crooked world Barrios music is popular music. Even if you play it on a Mandolin, the composition and structure is classical music. How is Mazurka Apassionata something for guitar begginers. Most of his pieces are above intermediate level. On the other hand, Segovia only played the instrument, he didn't compose. Yeah he may have done a lot of groundwork for classical guitar recognition in classical music, but that's it. Barrios composed some of the finest, intrincate and most popular pieces for the instrument.
There is something in the playing of this man that always captivates me. I dont give a fuck to the momentary sloppiness. I always hear music in Segovia. And virtually every note-perfect player seems boring to me. The difference is in the most little details, definitely. Segovia is essential. People say that he is overcomed because there are people with better technique and blabla. If you think Segovia is overcomed and you dont listen to him and the old school you don't really know what the guitar is really all about.
Segovia said this often: "Study music more than you study the guitar." The magic you hear is because Segovia is not trying to play the guitar. He is trying to play music. Also, those note-perfect players with excellent technique are standing on the shoulders of Segovia, who came before them all and worked out many of the issues the newer players never had to face in the same way because Segovia had already blazed the path for them.
@@The6pruz truth. My dad used to play Asturias a lot when I was a kid and it's what made me ask him to teach me so that's what he used as a template for teaching me scales, chords and left/right hand coordination. If I'm playing some sequence that mixes some hybrid picking with multi finger tapping and string skipping with some inside picking and sweep sprinkled in, while Andres might never think to play the same sequence in that style or even be able to, the only reason I can play that way is because I had him and his ilk as a template.
An interesting truncated version of Sor's 'Gran Solo'. This is the first time I've seen the Ponce 'Gavotte' attributed to (A.) Scarlatti, too. All in all this is wonderful expressive playing!
The famous flamenco maestro, Nino Ricardo, once said "To play flamenco the fingers must dance upon the strings". Maestro Segovia teaches us another understanding of what that means in that he writes to us with his guitar the pen and the music his paper. He says we are alive and we can celebrate it with every fibre of our beings, just hear it, it is there, follow it and you find it! Thank Maestro and thank you for sharing this exceptionally beautiful tv recording of a talent of all the talents.
Arte siempre por encima del mal llamado "virtuosismo", lo verdaderamente difícil (en guitarra) es tocar despacio, que se oigan las diferentes voces y con sonido equilibrado según requiera el estilo de la composición, pocos después lo han logrado.
I used to play the first piece. The Gavotte by Scarlatti but it was another arrangement in another key. I love Segovia. Very expressive performer in a time when the recording technology was not that good. I have to say this though, John Williams is the absolute best classical guitarist of all time in my opinion. His technical skills are flawless. But they're both amazing masters.
Scarlatti....really? This Gavotte has been attributed to Dowland - who definitely didn´t write it....then to Ponce, which is somewhat more possible, as he could write in most styles and had that slightly nostalgic tone. What number would this piece have in Scarlattis production?
It was in fact written by Ponce... Segovia was hoping that by attributing the piece to a more obscure composer, the general public would not question the credibility of it's origin and he could then "back fill" the catalog of guitar pieces from different time periods in history.
ES CIERTO,LA TÉCNICA GUITARRÍSTICA A PROGRESADO MUCHO Y AHORA , LOS VIRTUOSOS ACTUALES PUEDEN SUPERAR TÉCNICAMENTE AL MAESTRO SEGOVIA PERO...EL SONIDO Y LA EXPRESIÓN ARTÍSTICA DE DON ANDRÉS ,AHÍ QUEDARÁ PARA SIEMPRE COMO UN EJEMPLO DEL ARTE MÁS REFINADO.
It looks like he's playing a Fleta. If so, this was just after the '37 Hauser mishap, after which Segovia began trying out different concertizing/recording guitars: Fleta, Ramirez etc.
@@ChrisWrightOM1 Sometime in late 1961 or early '62, the 1937 Hauser suffered an accident in the recording studio when a microphone fell on it.. Segovia took it to Hermann Hauser ll for repair; his solution was to refinish the whole top. In retrospect, this was a bad move, because afterwards, Segovia claimed the guitar no longer sounded the same, particularly the high E string, which he said, seemed to have "died."
@@excellenceinguitars3282 Wondering how anyone can tell the difference, in such a grainy/old film, between a Hauser II and Segovia's more famous 1937 Hauser I.
After the show a great player who’s a fan, “Excuse me maestro, but why did you leave out so much of the gran solo?” All of the sudden a portal opens up and he gets sucked into oblivion.... HA!!!
7:49 lol.. it looks like he’s wearing those glasses that have the flashlights built in! Which I had thought about getting a pair of so o could sight read better in low lighting situations.. ha
This work is by Manuel Ponce….Segovia said that he disguised as Scarlati because he desnn’t like a programme with to many works of one composer and he play to many pieces of Ponce..
Where does such knowledge come from? Yes, the thing is that, if, for example, Segovia had strings of medium tension, but judging by how pumped up his fingers were, Andres had fleshy ones, and even in this case they sounded, if necessary (when it was necessary), as loud as strings strong tension would not sound like the average guitarist. That's what I'm guessing now.@@DanFrechette
Yo creo que Andrés Segovia es a la guitarra lo que Chaplin al cine: un precursor imprescindible que abrió caminos por todo el mundo. Pero hoy se toca muchísimo mejor. Uno necesita adorarle de vez en cuando pero lo hace como un acto de agradecimiento arqueológico, para disfrutar más con el sonido hay muchos guitarristas en RU-vid.
Estoy de acuerdo en que son insuperables en su aportación, en su momento. Concretamente me parece mentira que en una sola vida Andrés Segovia fuera capaz de poner en pie toda la música que él sugirió y dio a conocer en las salas de concierto y en sus grabaciones, ese es un terreno que él ganó para la guitarra y nadie puede quitárselo, pero hoy aquí en youtube hay mil guitarristas que tocan mejor que él, con más gracia, con mejor sonido, obras más virtuosas. Es lo que pienso yo. Ayer mismo Jose María Gallardo ha publicado un Homenaje a Debussy maravilloso. Me encanta Thu Le, Ekaterina Puskarenko y alucino con Yamandu Costa, Antoine Boyer pero hay muchos, muchos
@@juandelacruz471 es cierto hoy hay infinidad de guitarristas extraordinarios yo mismo hice una lista acvtual de 140 mujeres guitarristas q son en su mayoria rusas y japonesas por otra parte sabia usted q jose maria gallardo fue quien le enseño a tocar el concierto de aranjuez a paco de lucia
Andres Segovia es MUCHO más que esta mera grabación. Esta grabación no le hace justicia por ningún lado, todo lo contrario; lo desacredita. Las interpretaciones de las piezas son buenas, pero la grabación y el sonido no. Artistas de la vieja escuela como Yepes, Segovia y Bream nunca han sido superados, es más, la nueva tradición guitarrística tiene mucho que aprender de genios como estos. Hace falta volver a los orígenes. El simple hecho de la existencia de guitarras tipo Smallman demuestra claramente que la tradición moderna de la guitarra se ha desviado y se ha descarrilado. El legado de los grandes que le dieron a la guitarra el renombre que tiene hoy en día se ha malinterpretado completamente. Qué pena que haya tantos interpretes con una gran técnica que sin embargo no dicen nada; qué pena que malgasten sus energías tratando de tocar legato, tratando que la guitarra suene como un piano con guitarras tipo Smallman, qué pena que no tengan sentido del ritmo, los acentos y la articulación tipo staccato que caracterizaba a la vieja escuela, qué pena que les gusten tanto compositores como Barrios, etc...
It's written by Ponce imitating the baroque style, but Segovia liked to deceive the public putting the name of old composers to pieces written by contemporary composers. Maybe to avoid possible prejudices from the public.
Segovia didn’t have nice slender fingers like most guitarists have, but fat stubby ones. That proves that it’s not the size and shape of the fingers that counts the most in being an outstanding guitarist!
I think that being recorded not in a studio and with portable equipment in 1961 makes less than an ideal recording. Julian Bream and others have said it was an amazing guitar. Even on his recordings I don't think we get the true sound of this guitar. Some modern recordings of older guitars sound wonderful. (just my 2 cents....)
Luthiers struggle to get good highs in a classical guitar. Assuming that by metallic you mean the highs, that would be a good thing generally speaking.
+Julian It's not Hausser that sounds metallic. It's Segovia. And he sounds like that on every single guitar. His right hand position is 90 degrees against the strings. That gives you a cold, metallic sound. That's why I like the modern hand position more. It gives you much warmer sound.
It is hard to believe that the Scarlatti gavotte really is by Scarlatti. I have a notion, that Ponce might have written it - as a tribute to an earlier style.
Nice to know that even the MASTER is fallible. Considering his age he is forgiven. His voicing is superb. Technique? There are today's young guitar players who are by far better. Nevertheless- a pleasure listening to him.
Segovia has a unique sound, having said that I find many things unmusical in this video. I don't hear the singing lines he teaches himself in his autocratic masterclasses and although art is not about comparissing I prefer Julian Bream much more ( listen to his Grand Solo recorded in 1968). Let's face it, Segovia was unique but surpassed by many nowadays. And yet many classical guitarists owe a lot to Segovia, so see it in a historic perspective. The fact that he abandond Barrios was not only an unforgivable mistake but in the first place an action of an ego which saw a thread to his hegemony. A great player by other standards then nowadays, but he can't help that, can he?!
Than he should play easier stuff. It has to do with musicallity not technique, at least that should be the startingpoint from the side of the performer. Listen to Bream at the same age playing Sor opus 35 no 22. A very easy piece played with an enormous depth and emotion. To me Segovia has got a lot to do with a certain style, an aura of the untouchable and autocratic grandmaster, bullying players who don't copy him. I am sure after I have seen many videos of "masterclasses" and with the conversation I had with Michael Chapdelaine and having read what JW said, that my conclusion is justified. This is beyond age and has everything to do with ego.
We must see that he is old on those videos.. All the new guitarist have a better technique... What will be when they are older.. And all transcriptions.. The nylon used He invented so many things.. I prefer to see Ana vidovic barrueco etc.. But they wouldn't exist without Segovia
Bream had days in the recording studio to tweak his playing to perfection in his prime. Segovia is OLD here. This is a live concert. Unfair comparison. Besides you can't really compare two different masters, they are a universe unto themselves. I love Bream too, especially his 20th century guitar album. It's too easy to speak ill of the dead. Compassion and gratitude are needed in this world, not more judgement.
Respeto mucho a ese gran maestro, pero yo en lo particular me aburre su estilo. Tal vez es por ver hoy día una guitarra clásica verdaderamente con técnicas brillantes. Solo hay que ver obras de chapan y muchos más tocadas con guitarras que uno se queda con la boca abierta por la gran Técnica súper moderna. Bueno a Francisco Tarraga ya eso es otra cosa. Mi opinión con respeto al gran Segovia y claro a sus seguidores. Lo que yo no entiendo porqué no tocaba Segovia esas obras bien hermosas y bien cocidas como hoy día las tocan los músicos de guitarra y no algo tan aburrido y de tan poca a armonías hermosas.
