In the delcamp forum, Brigitte Zaczek explained that in 1965 she actually wanted to perform another piece which was already taken. So it was suggested that she played the Chaconne, which she already performed in Paris 1964 (she won a prize there). Not easy to play the very Segovia piece in such a situation! Oscar Ghiglia explains in a very good interview about Segovias playstyle, which explains why he is so insisting all the time.
For Bridgette to have been surrounded primarily by men and the master Segovia with the film running: imagine. Segovia would’ve been a professional musician for roughly 45 years by this time. He knows what he is hearing no doubt. Proper and efficient changes can help a young player save a lot time. No matter, this is treasure.
NO , you would not have because you would not have the heart to take instruction from maybe the greatest player ever. Every word is for her benefit so she can strive to be as good as she can be. he says these things out of love and respect for the instrument and the music. Each feeling is indeed different but the technique. It remains constant.
This is true. Then again, it is his transcription, so he knows a thing or two about it. Plus, she's really banging through it, and Segovia hated nothing more than a lack of sensitivity and feeling.
un grave error que encuentro en casi todos los alumnos de estos cursos es que tratan de tocar o imitar al maestro...Ellos deben desarrollar su propia personalidad y tocar como ellos , no como Segovia.
I think all of you don't heare that he always said "tres bien" when she played good. Of course, he was a perfectist so he wanted to repaid every mistake even it's very small. We are not prof so of course we can't recognize but not with Segovia.
this girl's only concern was to play the piece all the way, possibly thinking she would show off or make segovia take hats off. She wouldn't stop playing in order to listen even when the maestro was talking to her. Rude is the least to describe it. Well, it was like 45 years ago, who cares! just saying...
8:05 "it never works when I'm nervous". Music teachers make you feel nervous because they always want you to play it their way. They constantly interrupt you to nag you about unessential things. Yes they are unessential because all great musicians play the same song differently. But ok, sometimes they have a point. But it is kind of subjective.
A diferença é que ele era rígido por ter muita experiência e estudo sobre. Se ela quisesse tocar da sua própria forma, não teria ido ao encontro de Segóvia. Entende onde quero chegar? Claramente há esse desprezo pela classe exaltada na música erudita, mas é importante haver essa preservação. Caso ela quisesse ser apenas uma guitarrista popular, não haveria nem se quer a intenção de colocar os pés nessa Masterclass.
As I have always said, this is terrible teaching. Who stops an advanced student every phrase and tries to spoon feed an interpretation? Just playing along? I've been to a lot of great masterclasses, some not so great ones, but they were all better then this.
Segovia never even stopped to think that other people might be allowed to interpret a piece of music differently than himself. He was a massive control freak and a miserable narcissist.
