Andrés Segovia , The Father Of Classical Guitar : Segovia plays his repertoire live in various locations . Segovia Style at my Blog danielemagli.blogspot.com/2017/05/andres-segovia-style.html www.classicalguitarvideo.com
In 1975, while stationed in Germany, I bought Frédrick Noad’s book on guitar technique. I had not really heard Classical Guitar before. I got it to learn right hand technique to play like Jethro Tull and Jim Croce. After getting out of the Army, I was looking at classical guitar records in a store. I found one with this old man on it, and I thought “looks pretty boring “. It was Segovia. I liked the music. I found a good teacher. Now I can play many of the pieces on this film. I did weddings, art fairs, concerts for Guitar societies. At 65, I still play a couple hours a day. Thank You Segovia. Thank You Larry Long. I’m still in love with the guitar. Now, time to play:)
What a beautiful story! I just started playing Classical guitar last year at 60 . Love it! I played acoustic since I was 20 Bob Dylan Neil Young like that.....Classical is incredibly beautiful ❤
Chuck, I must add... This is the most helpful wat to learn guitar Same as you, I left the electric guitar after find it boring and bought classic one, the result was astonishing, I practice at my small room for hours just from hearing notes Segovia, bream, Williams, aguado, tarrega
I heard him in Copenhagen in 1971 and in 1973 (I think). I remember him giving many encores. At last he stood up and adressed the audience with a little smile and the words: "It is not me, but my guitar, that is tired". Then he nodded, bowed and retreated. The applause was enormous.
It Is said that back then he used special gut/silk strings in his recitals that last few hours with good sound and intonation. How much of it Is true? idk, but It may be x)
Once I met Andres Segovia at a solo concert in Southern California. After he had signed my program with his name, we shook hands. I was amazed at the huge size of his hand. It was much larger than my own hand and my hands are what I would say are normal size. I will never forget that hand shake.
Glad to hear the tones he achieves which few (if any) can match. Classical guitar is not a technical exercise of speed and accuracy. Segovia was one of the first to bring tears from my eyes. He played with his heart and for that will always remain in mine.
Superbe ! Cette vidéo est antérieure à 1975, ce décor figure sur la pochette des disques "Les Américains" (1967) et "Les Italiens", mais ce n'est qu'un détail, l'essentiel étant le document, une perle !
Thanks to ANDRES SEGOVIA: In 1972, I taught myself to play classical guitar in my mid-teens! I collected his recordings and scores, Music IS my PASSIONATE PRIVATE PERSONAL enjoyment. I still got his Sor Book of 20 Studies with his playing all of them and with The John Williams edition of the book. Then I discovered ALIRIO DIAZ, JOHN WILLIAMS, JULIAN BREAM, CHRISTOPHER PARKENING, JOSE REY de la Torre, CARLOS BARBOSA LIMA and many more of ANDRES SEGOVIAS' STUDENTS' recordings. Then I joined the US Navy, 1977, and I was in Rota, Spain for a short period of time and visited the surrounding cities of Andalucia, Spain: SEVILLA, CORDOBA, CADIZ, JEREZ... I continued to study alone bringing Segovia's SOR LESSONS and repertoire to build my 'technique'. I still play for my ENJOYMENT TODAY. Gracias a ANDRES SEGOVIA: ¡En 1972, aprendí a tocar la guitarra clásica a mediados de mi adolescencia! Recopilé sus grabaciones y partituras, la música ES mi disfrute PERSONAL PRIVADO APASIONADO.
This video was not done in 1975. It is part of three videos (in youtube) named "El renacimiento de la guitarra", filmed in the early sixties. The principal place is Santiago de Compostela and his home.
Thanks! I thought this was dubbed with the sound of an old recording. But now it seems obvious that a b&w recording should have been much older than 1975.
El genio y el amor a nuestra madre la guitarra nunca nadie lo expreso como el Maestro Don Andres Segovia un genio irrepetible nadie nadie nunca jamas como el.
Se te olvido decir que Bream en su propio documental dijo que oyendo a Segovia ( creo que tocando Recuerdos, o quizas el Romance, no estoy seguro)fue lo que lo inspiro a estudiar clasicamente. Y Bream tambien fue discipulo de Segovia...Ademas oye lo que dice Barrueco de Segovia y probablemente pensaras mejor de su importancia, que no se puede negar...
Bravo al Gran Maestro Andrés Segovia! Mago de la Intrepretación Artesanal Limpida y Pura, Resonante y no solo Exacta, pero Sensible , Rubata y Poética, a la vez Sobria! Grazie mille all' Aprezzatore Italiano che ci consigna questi maravigliosi vídeo di questo Maestro Spagnolo. Saliti da Sud América! ajc 2020
What a terrific video find...The Maestro is of course brilliant, playing so gracefully with sensitivity and dynamic contrast, all while defining the beauty and technique of the instrument we love. I actually view he steady gestures and movements as “cool” in performance. It is also a reminder of why so many of us wanted a Ramirez 1a... what a fantastic sound. Thanks for posting!
Then you'll love The Fucking Champs.. They have a song named after him, Enjoy. All of their albums are incredibly good, just 3 dudes, 3 incredibly talented dudes. If you appreciate the guitar 🎸, they jam.
I am 59 /soon, but in my 30s, I had to trade my classical guitar playing passion for a job that could afford me a family life. For this reason, I have had many sabbaticals from guitar. I am sure that I have always been and will always be a musician- the music has not left me. It has kept me going- with the hope that I will return to it. When I listen to this, I remember long periods - 3-4 hours a day in my life consisting of the quite study of guitar music. In those moments, there was peace within the world. These were times that taught me that there is much to be gained in quiet solo spaces.
Cold comfort here. Nobody today gets wealthy playing classical guitar. Many able guitarists barely get by. Increase of players and decrease of audience contributes to the stagnant place 21st century guitar is in. Segovia was a hard act to follow.
It is a great hobby in older age- but as anyone who was once a classical player with high performance standards, the drive is to uphold to the same standards no matter the task. And with Segovia, and having so much technology abound , there is no need for some things be replicated, unless one has the financial means to sustain this passion!
So ..the top music Technic not suppose only Bloom now day but have been long time ago This Talent man proved many years ago ,, that surprise me a lot ..cause I never thouht so .
Daniele, you post so many excellent Segovia videos. Thank you. It's not necessaty but is there any listing of the works played here? I'm familiar with most and am curious which composers wrote the other ones. But overall, at 82, he is still at the service of recreating music for us. Thanks again
ПЕРЕВОД Чак Маккроски 4 дня назад (изменено) В 1975 году, находясь в Германии, я купил книгу Фредрика Ноада "техника игры на гитаре". Я никогда раньше не слышал классическую гитару. Я получил его, чтобы изучить технику правой руки, чтобы играть, как Джетро Талл и Джим Кроче. Выйдя из армии, я искал в магазине пластинки с классической гитарой. Я нашел один с этим стариком на нем, и я подумал, что “выглядит довольно скучно “. Это была Сеговия. Мне нравилась музыка. Я нашел хорошего учителя. Теперь я могу играть многие пьесы На этом фильме. Я устраивал свадьбы, художественные ярмарки, концерты для гитарных обществ. В 65 лет я все еще играю пару часов в день. Спасибо, Сеговия. Спасибо, Ларри Лонг. Я все еще люблю гитару. Теперь, время играть:)
Definitely put classical guitar on the world stage. During his time when there was no formal training or degrees. Segovia was the source, pedagogy, and ruled with an iron will. His RH slicing strokes, tasto/ponticello, and timbres are amazing. He appeared incredibly strong, had large hands, and was built to play guitar with such an unnatural posture. It's reported that most of his successors- Parkening, Mills, Williams, and Bream have various back, hand, and injury issues using footstools. Plus Ramirez guitars are not the easiest to play. They have notoriously high string action and require accurate technique to sound good. My '78 Ramirez 1A is stock and strung with light tension string sets. Normal or high tension strings make it very hard to play. By comparison, Miguel Rodriguez guitars played by my last teacher (an assistant to the Romeros) have low action, punchy responsiveness, great overtones, and are much easier to play. Thanks for posting this...
A very interesting comment. I had a [stock] Ramirez [entry level model?] for a few years. It had an nice/punchy, but slightly odd sound and response I always thought, it was also rather hard to play - compared to many other makes I've tried over the years.
Yes he took the guitar from the masses into the concert halls of the upper class, however, he had a nemesis , he was Augustin Barrios, who he did everything to keep him out of the limelight, Barrios was a composer and could play classical as well,(variations on Tarrega lagrimas and legend of Spain just to mention few , he compose more that 200 works one of the best composers and interpreter of the 20 century, if you like guitar music ,check him out.
@@christofinb Segovia asked Barrios to send him some music and Barrios never did. Great artists don't have nemeses. Segovia did nothing to keep anyone out of the limelight, what a ridiculous statement.
Corrección, Tárrega estableció una técnica guitarrista superior a la de sus antecesores. Fue un excelente compositor y realizó, quizá la primeras transcripciones de calidad. Sin embargo, el impulso que Segovia le dio a la guitarra es incomparable. Tárrega no inició la labor de internacionalizar el instrumento. Él, por cierto, era muy tímido y preferirá tocar en reuniones sociales.
Please read the history of Francesco Tarrega. He is credited with introducing the Torres guitar to the concert stage. Then there are Fernando Sor and Emilio Pujol. As performers, teachers, composers, and in Sor's case also publisher of guitar music, they accomplished the majority of what this presentation ascribes to Segovia in calling him the father of the (classical) guitar. And by the way, in case you really did want to witness true virtuosity in a 20th century classical guitarist, (not to harp upon his transcriptions of Liszt, DeBussy, and Mozart, or on the fact that he was self-taught,) try Mario Parodi, and understand that the publicity which came with being a Spanish hero of the Spanish guitar, a Spanish national treasure, so to speak, had much to do with Segovia's fame.
Thank you much Daniele for making these priceless recordings available once more. Can you tell us what the titles and authors are, especially for the two pieces played at 4:50 and 12:17? Thank you in advance.
Piece at 4:50 is the second movement of Manuel Maria Ponce’s Sonata no. 3, Chanson. Piece at 12:20 is the fifth movement of Frederico Mompou’s Suite Compostelana, Cancion.
Really uninformed question here...it seems like the time around 15:10 to 16:55 is a short piece. What is its name (perhaps one of his most famous and I am just such a newbie that I dont know what it is, but I really like that one). Any help?
PLEASE correct the pitch. It's a least a half-step flat. I really appreciate your posting by the way. Awesome. Audacity - works for MP3 to change pitch without affecting the tempo. But it doesn't work for video.
Segovia tuned his guitar by ear. Thats why the tuning is changing over the years in recordings and films. 440 hz has not been there forever. Check history with fantasy and compassion and things will clear out. The recordings of Llobet are probably speeded up, so the pitch rices, if I remember right. Manipulation in art and entertainment is not rare.
In this video it's his 69 Ramirez 1a . His Hauser was retired due to a studio mic accident that went through the soundboard never to be the same again.
He is called father of the classical guitar because he cultivated lots of people becoming masters, John Williams prince of classical guitar, to name one.
I think that historically, the term "Apostle" is a more accurate descriptor for Segovia than "Father", whilst the term "Father" most accurately describes Tarrega. This entire kerfluffle over "fatherhood" is self-evidently & merely yet another of the many ridiculous & toxic teapot tempests that traditionally disfigure ALL of so-called "classical" arts genres....
Segovia wasn't the father of the classical guitar. There were great classical guitarists of the 19th century who were famous as concert performers and composers for the guitar: Carulli, Giuliani, Sor, Aguado and a few others. But by the late 19th century the classical guitar had lost its status as a concert instrument. The only great classical guitarists were Tarrega and his pupil Llobet and also Barrios, who were also good composers and transcribers for guitar but not very famous. Segovia learned from Tarrega and Llobet and had a dismissive attitude toward Barrios' compositions (although he secretly admired them) out of professional jealousy and dislike of Latin American folk music culture. He forbade his students from playing them. What Segovia accomplished that makes him important was bring the guitar back into prominence as a concert instrument and built up its repetoir by making a lot of transcriptions of music by great composers for guitar and commissioning composers to write for it.
@@nicolawilliamsfeng He didn't make guitars sound better and louder, guitar makers did it. And the sound of the 20th century guitars are not necessarily an improvement on the sound of 19th century guitars. The tone quality of 19th century guitars have their own appeal. And playing louder doesn't make someone the father of a modern instrument.
@@anthonypuccetti8779 A guitar without a real musician, just a box with strings. Segovia showed the coloristic and dynamic capabilities of the instrument. Gave samples to be guided by. In addition, great masters who contributed to the development of guitars in the 20th century, such as Herman Hauser, and Jose Ramirez III, collaborated with Maestro Segovia. Segovia also contributed to the expansion of the repertoire. All this led to the fact that the classical guitar from a subculture, interesting only to a narrow circle of fans, has turned into a popular instrument around the world.
Just by seeing all the classical composers who created new guitars pieces for him, and all of his students that became renown and made the guitar as popular as it is today all over the world, just and justly because of that, he deserves the high place he is at in the history of the classical guitar..Just listen to the good things Barrueco, Russell have said of him...
@@user-if3tw9pf1k Other guitarists showed the capabilities of the guitar. The difference is that Segovia made a lot of good recordings that were distributed around the world and he traveled around the world giving big concerts, whereas the great guitarists of the 19th century were not recorded so we don't know how they sounded, and the recordings of Tarrega and Llobet don't sound well. The guitar did not become a popular instrument around the world because of Segovia but because of mass production of guitars and American folk and popular music. Not many people listen to classical guitar music.
