I agree with everything Segovia said here, and the transformation in Marcelo's playing is wonderful to hear. You've got to love each and every phrase, not just play through them. A good lesson, I think, which the player seemed to learn.
I cannot imagine how nerve-wracking it must have been for anyone to perform before Segovia. I play acoustic steel fingerstyle music nowhere as complicated as all this, but I can really admire and appreciate it. Marcello was open to constructive criticism, played great and did not seem flustered by the interruptions and comments.
What can we learn from Maestro Segovia? "Not so quickly" "Sing it" "You have to hear what you are playing" "Expression and loving the thing you are playing is the best lesson"
tem que respeitar o Marcelo Kayath , é pra poucos e muita moral pra tocar essa peça, sonoridade impar. lembrar que ele trás no violão a bandeira brasileira. parabéns pelo grande musico que vc é brother.
I feel he has no intent to insult. He is giving great advice in general trying to teach something, a quality, that is fairly abstract. You realize he is 93 here so he entitled to one trifle. I am learning this piece and feel I was able to learn from the teacher and the student. This is a great video over all.
Although having been a participant at a Segovia's master class, having performed in front of the legendary maestro, and especially, having learned specific performance practice directly from him, is an enormous credential for any classical guitar player, no longer available to anybody since 1987; it must have been, simultaneously, a sought-after honor and a torture! Segovia's style of teaching was old-school rough. He was from a time when teachers used to physically beat the hell out of their students. It was the norm at the time and it was reflected in the way he approached teaching. We are, after all, products of our time! And, it also speaks volume about those who performed before him and were publicly criticized by him. If, after all that barrage of unmerciful and unflattering remarks, they didn't break down and storm out crying like little girls, well, they were ready for the toughest audience. So, that was the unintended side-effect of taking part in a Segovia's master class: a training to withstand the most flint-hearted criticism and a sure way to shatter the participants' egos.
Great document Marcelo, my master Áureo Herrero give me class the same (singing to me), the difficult art in guitar of play slowly and clear. Hear sing a song to Segovia is a autentic gift. Thanks for share!
Parabéns!! e obrigado por compartilhar. Sabe Marcelo, quando escuto gravações com essa sonoridade (que tem a ver com a construção do instrumento mas muito com as escolhas na interpretação) me dá uma sensação de me transportar para um outro lugar do tempo e do espaço...um lugar que veio se perdendo nas últimas décadas...eu consigo entender quando vc diz que é "a aula que mais ficou comigo esses anos" e percebo o quanto vc compartilha essa concepção nos seus comentários no fórum e master-class. O legal, é que desse lugar eu não quero sair não!!! Nos leve mais para esse lugar....com as novas possibilidades tecnológicas...grande abraço. kleber
Mr. Kayath, thank you for sharing. Reading your article posted through GSI brought me here as I wanted to explore more of your playing. Incredible, 30 years ago exactly (this next week). What a privilege, honor and such an intimidating experience no doubt! What he lacked in courtesy, he certainly made up for in brilliance and resolve to help raise up a generation in this school of guitar. Also, I noticed you are from Brazil. My wife is from Rio but we here live here in Nashville TN where I grew up. I love Brazil and am also sad for Brazil. So many warm, wonderful people (not to mention the food and natural beauty!) but the world as a whole sees the actions of those violent and corrupt or negligent. It is very sad. I also love so much of the beautiful Brazilian music which has TRUE artistry that you had advocated for in your article. Perhaps more of that should be brought forward into the nylon string players repertoire (going beyond Villa Lobos) even if doesn't classify as purely classical. In fact, wasn't that the beauty of Jobim to blur the lines of classical, jazz and popular music. This could be a whole discussion right!? All that to say I look forward to exploring your playing further and following the trail of inspiration. And yes, I too believe in more traditional guitar sounds even with subtle application. What is the shame in slightly amplifying a beautiful sound? Why have a less beautiful sound just to fill a hall? It's the beauty of the sound that inspires. Where I live in Nashville, this old school tension doesn't exist but neither does a rich heritage of classical guitar even though it is a guitarists town. Perhaps that's why I spent the last 15-20 years myself playing anything but nylon string until I found my real passion. No clue where the journey will lead but it's never lead late to walk the right artistic path. -Kyle
Marcelo, obrigado por compartilhar. Tive o privilégio de conhecer vc aqui em Belém do Pará, e ouvir vc tocar essa peça na casa da sua tia. Realmente é impossível agradar a Segovia 100%, mas vc chegou a 99,99%. Fica muito claro no vídeo, que ele gostou muito de ouvir você! Abraços, Mário Ribeiro
Mario Ribeiro Ola Mário estou graduando em violão aqui em Belém, ouço muito sobre você! Nossa como é bom ouvir sobre todos esses fatos, nos deixam envolvidos com esse mundo incrível que é o violão!
Puse pulgar abajo porque Marcelo Kayath no desarrolló su interpretación tranquilo. Cada vez que Marcelo acometía, el maestro Segovia lo paraba. Me gustaría escuchar una grabación completa de Marcelo (esta misma obra) pero sin interrupciones. Además, ningún intérprete debe imitar a otro por muy Maestro que sea. Cada cual debe hacer su propia versión, siempre que respete en líneas generales la música y la intención del autor. Muchas gracias.
De todos modos...(y es mi opinión personal) Segovia era un maestro interpretando, pero su paciencia y dote didáctica, un poco deficiente...razón tienes al decir que cada uno debe interpretar sin "imitar" maestros...
Tiritpampam pompom tititi. NO NO Eeehh tadadaaa. Prim pram pram param!! Taarom pipiii ! NOO! Tiritata? NONO! Tritri tree dom PIPI! Now there is a master class for you.
Those using the term "arrogant" to describe Segovia need a dictionary.. ar·ro·gant "having or revealing an exaggerated sense of one's own importance or abilities." Who can honestly say that that is the case with Segovia? He was only blunt and direct, as well correct, in his assessment of Marcello's playing of the piece. He's not there to stroke anyone. Nor to allow them to continue with poor articulation and with rushed phrases. Any player that attended his classes and expected to impress him were sorely disappointed, as Michael Chapdelaine discovered. They are there to have their playing taken apart. There is a unmatched lyricism and poetry in Segovia's playing. That is what they were there to learn, and he explains how it is done succinctly and with wry humor. They are not "insults" . They are just not sugar coated.
Seems to me that old Segovia fits to perfection your dictionary definition of :arrogant". How can U deny it? He had such an exagerated sense of his own importance, and being continually surrounded by fawning Yes Man, only enforced that quality in him. Why anyone would subject themselves to this silly idea of "Master class" is hard to fathom.
Who is more important to the guitar, then? all these fine players took the class to learn how he did what he did, because they knew he was the best and wanted to play more like him. he wasn't there to stroke them. if they can't stand pressure they don't belong on a top level concert stage. all the advice he is giving them regarding their playing is 100% right. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wiAbqfaYGwk.html
Segovia was wrong at 13:21. He calls for a natural F, but the score is in G minor. The dominant is D and F natural is nowhere there (in fact, if you look at the score, that's bar #4, and it goes D - C - F#).
Please find away to forgive him, he was more than 90 years old at that time and probably he had some dementia with him ,because he had been playing correct score at least before ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-gSlnhvYTB14.html
salve , Kayath, excelentes videos e fantástica sua volta ao mundo social da música! Como faço para entrar em contato contigo? o meu é fuks arroba ufrj ponto br . Queria muito conversar contigo , abraços - Leonardo Fuks
Every teaching should lead to more consiousness in the student's heart, mind and fingers of how he really wants to play a piece. It is all about being congruent and therefore a journey inside: how does one hear and feel a piece of music. I don't see Segovia do that except when he asked MK to sing the triplets. He had a point with that. But random Segovia places himself in the centre and whilst teaching he uses the piece and the student to ventilate his ideas. I don't say his ideas are unmusical, because they are not and yes one can always learn from a Maestro. At the same time I feel that MK played it in the beginning very soulfull and from the heart and later on I felt he was losing contact with his deeper self and trying to play the way Segovia dictated it. Music is no algorithm, there are many heuristic, didactical ways and as C.P.E. Bach ones quoted: a player who is not moved can't move others. MK certainly played with great intensity....in the beginning, and with the triplets more at ease it would have sounded slightly more organic, natural and expressive.
Obrigado This is the singer that Segovia spoke about. Esta é a cantora que segovia recomendou. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9nkWGGRHXsM.html.
Uno de los problemas de nosotros los guitarristas es que ante la carencia de sonoridad del instrumento se quiere suplir con velocidad disfrazada de "virtuosismo", se nota más aún en las transcripciones de piano a guitarra. Cuando la riqueza de la música no está en la velocidad. 👍
Curiosamente assiste hoje a um vídeo de uma entrevista com o premiado Sérgio Abreu, violonista brasileiro, que fazia dupla com Eduardo Abreu, e que faleceu neste fim de semana, em que ele fala exatamente isto. Num recital em duo, tinha que prestar atenção no parceiro, para não sair acelerado.
I dont know but seems Segovia was not in a good mood that day hahhah Segovia is the guy who just started to play Villa-Lobos cus Bernstein told Villa-Lobos's music was amazing...
Watching and listening to MK play the Folias de Espana is a wonderful demonstration of his marvelous technique and musicianship. But to me , what the maestro was trying to convey was that this piece by Granados is NOT a guitar piece… it is a vocal. And the guitarist must let his instrument also sing it. As beautiful and expressive as the guitar can be , it cannot match to nuances of the human voice. Towards the end of the video, MK begins to understand that , but still fails to accent via rubato certain notes that Segovia does on his recordings of the piece that make such a work of poetry from the composition . Nevertheless, Mr K is a very gifted guitarist .
a bit like a Fawlty Towers episode! student trying so hard to please his master, but no matter what he is unsuccessful. A sucker for punishment this student. Old Segovia is loving his power here, belittling his student to the max. He thrived when people fawned to him.
QUE POCO AMABLE CON ESTE JOVEN Y VIRTUOSO GUITARRISTA .SON MUY POCO INTERESANTES LAS MASTER CLASS QUE LE HE VISTO EN VIDEOS. ´PERO BUENO....DA CHAPA. FELICITACIONES A MARCELO KAYATH
I seldom agree with Segovia, but he's right on the money here. Kayath plays with good technique and a very nice sound, but he's just not getting into the music. He's just getting through it and there is a subtle but important difference. I believe that the more romantic pieces, needs the player to enjoy every phrase like a sip of fine wine. The audience can tell the difference.
Intimidated by Segovia... . People granted him much more authority than he deserved. He was right though about listening to human voice -- the most wonderful instrument.
He had the ear and an 80 year career to back up that authority. Also I don't think Marcelo was intimidated by him as much as he need his instructions and rebukes. What's really cool is he doesn't allow Marcelo to put himself down. He tells him "you have a good sound." That's huge coming from the Master.
"Intimidated" ...what kind of special-snowflake reasoning is that? In awe, yes. Self-Conscious, undoubtedly. I felt his tempo modulation was where he was weakest, but this is one Damn Hard Piece on Gtr. and Segovia forced him to really bring some soul into his execution. If that's intimidation than I'd suggest giving up the guitar and apply for a job in the public sector. I don't know why the OP would troll just to slag on Segovia, master of tone, but whatever.
Jonathan Mohler Segovia wouldn't even have had a career had he been tossed in with today's guitarists. He'd struggle to get a gig alongside our now ubiquitous virtuosic elite. He did much to bring the guitar to the concert halls, transcribed, commissioned & inspired much music, not realised that it was perfect for the guitar. It is, however, as an arrogant, pompous ass that he truly shines !!
Epi Phone ; I agree. He was a pompous old snob. But that was what it took for the guitar to be accepted by the other old snobs of the 'classical' music world. He really saw himself as a"Master of the Universe", the funny thing being how many applauded and encouraged his upper class KnowAll pretensions. That was just how it was then, as the apologists still say today.
Mesmo eu não entendendo nenhuma palavra que o Mestre segovia falou, eu entendi qual a sonoridade que ele quer que seja tocada no violão. Cada frase precisa ter seu tempo pra aparecer nítida, mesmo que seja um compasso com fusa, com ligados, tudo precisa ser claro aos ouvidos. Tudo precisa ter uma articulação bem feita para ficar belo. Realmente poucos MORTAIS conseguiram esse feito. O Marcelo kayath é tão genial que entende rápido e reproduz o que precisa ser feito com tanta calma, pelo menos é o que transparece pra nós. Será que o Marcelo fez algum vídeo comentando sobre esse dia??? Fiquei curioso pra saber sobre.
It looks to me like he leads through insult. Not everyone thrives with that teaching mindset. You can give the same musical corrections without adding the insults and probably the student would com out of their head and be able to hear better.
Craig B Segovia always was an arrogant head pickle. Who else has the hubris to play concerts at 93 ? I understand that he wanted to provide for his young family (more hubris) but still. Remember, he bestowed John Williams with the mantle of 'Prince of the Guitar', only to slyly put himself as the 'obvious' (??) King. He was a bully & a product of his time. I'm glad both are over.
and Pablo Casals, to name other arrongant more. It´s like the flies flying around the bull´s tail, there´s a wonderful video of Segovia and the same old silly stuff about Segovia: arrongant, J.Williams, Barrios and blablabla. None of the guitarrists present in this class of 1986 will regret being pupil of Segovia until this day.
I do not believe he was insulting the student. He in fact complemented him on his tone and technique. What the Maestro was doing was to encourage the student to play with more expression. This is why Segovia emphasized the importance of being able to sing the tune that one is playing. Segovia's goal in teaching was always to push the student to strive for excellence of expression as well as tone and technique.
@@Michajeru Yes he was. He was notorious for giving advice based on pride as well. If you had a different fingering he would lose his mind (even though it is well known Segovia purpously had some editions with impossible fingerings so he could keep them for himself). Not to mention the playing while the student is playing and not in the helpful way Dyens used to do it. He often wanted to overplay ppl and just hear his own voice. I respect what he did for the guitar and how he brought it to the concert hall and uncovered plenty of our repertoire that lay unknown, but even Williams said he was not a good teacher lol. He was an arrogant man who was also known to be a selfish person in many other aspects of life
"No...no...no...plimplampliriliplum...no so quickly...timtamturumumum" Caramba! Marcelo tocou muito bem, mas esses ensinamento ("Don´t facilitate your lazyness...no...no...plimplamparaplimplumplam...tatata...lalalala) e, no mínimo, duvidoso. Gostei da resposta dele quando erra ("I missed it"). Antigamente, Segovia pelo menos tocava nas aulas com o aluno, mas esse "plimplamparaplimplumplam" não parece muito eficiente.
I think Segovia was hard of hearing here. he corrected a note but the guy played the correct note. strange. anyway... it was ok because Segovia was well into his 90s
Creo que el 80% de las correcciones e interrupciones de Segovia fueron totalmente innecesarias. Ya el fraseo es bello, los trecillos que dice “no estar claros”suenan y se oyen todas las notas. Creo que hay intérpretes que van a Seminarios y ya son Maestros…
Segovia was a man with a lot of personality and he knew how to translate that personality to the guitar. But for me it's almost impossible to teach the personality, one must own it from the beggining. Or perhaps i'm wrong, because that personality comes from the feeling, and it is possible to teach how to feel a particular piece of music.
cuando corrije,y hace que los melismas no los haga ta rapido (no quickly) se olvida que estos vienen de andalucia y se hacen-very quickly-.Por suerte Segovia se ha muerto por el bien de la musica en guitarra
Ha, ha 13:22 is a classic moment in comedy. Segovia is hilarious! Yes, the piece sounds much better that way. I wish I could be that funny. The gibberish is the whole point: "Pim-pom-poom" and "No, no, no..." "Re-lo-tato-la-tin" "Dee-do-lo-eso" is great! The only thing missing here is a live turkey on stage gobbling next to Segovia.
hahah, old people are funny. But this is for me a bit suspicious, i mean he was old but his mind was actually not sleep. Not even the rage he showed in these masterclasses is justified with the fact of being old. He seems the same as in 1965. Now, i don't really know why he would make a trick like that. What is obvious is that he knew he was being recorded. And there are some interesting moments also , for example, instead of saying sing he says think
I was thinking the same but at the same time, they chose to be there and for some people just being in his presence was an honor...it must've been immense pressure, though
