Classical

Andres Segovia - Recital Intimo (1975)

2015-08-16T18:35:14Z

Andres Segovia - Recital Intimo (1975)


1 	S.L. Weiss-Bourrée	3:25
2 	G. Benda-Sonatina In D-Dur	2:25
3 	G. Benda-Sonatina In D-Moll	3:10
4 	J.S. Bach-Prélude Aus Der Suite Nr. 1 G-Dur Für Violoncello	2:38
5 	J.S. Bach-Sarabande	2:48
6 	J.S. Bach-Menuett I&II	4:10
7 	D. Scarlatti-Larghetto	2:55
8 	D. Scarlatti-Menuett	1:30
9 	F. Sor-Andante In C-Moll & Menuett In C-Dur	7:00
10 	F. Sor-Menuett In A-Dur	2:26
11 	F. Sor-Menuett In C-Dur	3:14
12 	V. Asencio-Dipso

Andrés Segovia – guitar

The father of the modern classical guitar movement, Andres Segovia raised his chosen instrument to new peaks of popularity and respectability; it is widely held that without his efforts, the classical guitar would still remain in the eyes of purists a lowly bar instrument, to be performed only by peasants. Born in Linares, Spain on February 21, 1893, Segovia began playing at the early age of four; although discouraged by his family, who felt he should adopt a "real" instrument instead, he continued studying and made his concert debut in Granada at the age of 16. His professional debut came four years later in Madrid, and was met by many with disbelief — the guitar was widely believed to be incapable of proper classical expression, but Segovia astounded naysayers with his skill. The central problem facing him, however, remained that the guitar's sound could not properly fill a concert hall; in the years to follow, Segovia solved the dilemma by experimenting with new woods and designs, all to increase the instrument's natural amplification. The advent of nylon strings also enabled the guitar to produce more consistent tones, while projecting the sound much farther. In 1928, Segovia made his American debut in New York City, where he again wowed audiences with his prowess; before long, composers like Heitor Villa-Lobos even began to compose original pieces specifically for the guitar. Segovia himself began transposing the classical canon for the guitar as well, most notably his notoriously difficult translation of Bach's Chaconne, as well as many transcriptions of lute and harpsichord music. In addition to recording and performing, Segovia spent the remainder of his life and career successfully influencing the authorities at conservatories, academies, and universities to include the guitar in their instruction programs with the same emphasis given the violin, cello and piano; his early struggles were recounted in his 1983 memoir Andres Segovia: An Autobiography of the Years 1893-1920. He died in 1987. --- itunes.apple.com

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Andrés Segovia - The Art of Segovia (Early Years)

2010-02-21T17:27:44Z

Andrés Segovia - The Art of Segovia (Early Years)

CD 1
JOHANN SEBASTIAN BACH (1685-1750):
1: Prelude (from Suite BWV 999, arr. Segovia)
2: Prelude (from Suite BWV 1007, arr. Ponce)
3: Gavotte (from Partita BWV 1006, arr. Segovia)
4: Courante (from Suite BWV 1009, arr. Segovia)
5: Fugue (from Sonata BWV 1001, arr. Segovia)

ROBERT DE VISEE (1660 ca. - 1720 ca.):
6: Bourree (arr. Segovia)
7: Menuet (arr. Segovia)

JOHANN JACOB FROBERGER (1616-1667):
8: Gigue (arr. Segovia)

FERNANDO SOR (1778-1839):
9: Theme Varia Op.9

FELIX MENDELSSOHN-BARTHOLDY (1809-1847):
10: Canzonetta (from Quartet Op.12, arr. Segovia)

FRANCISCO TARREGA (1852-1909):
11: Recuerdos de la Alhambra
12: Etude in A major

ISAAC ALBENIZ (1860-1909):
13: Granada (from Suite Espanola)
14: Sevilla (from Suite Espanola)

ENRIQUE GRANADOS (1867-1916):
15: Danza Espanola Op.37 No.10
16: Danza Espanola Op.37 No.5

MARIO CASTELNUOVO-TEDESCO (1895-1968)
17: Vivo ed energico (from Hommage ? Boccherini)

MANUEL MARIA PONCE (1882-1948):
18: Prelude (from Suite dans le Style de Weiss)
19: Sarabande (from Suite dans le Style de Weiss)
20: Petite Valse (arr. Segovia)

FEDERICO MORENO-TORROBA (1891-1982)
21: Nocturno
22: Allegretto (from Sonatina in A major)

Andrés Segovia, Marquis of Salobreia, was born near Jaen, Granada, Spain. He became a guitarist against the double opposition of his parents. First, they opposed his learning the guitar and got him cello and piano teachers instead. When he persisted in teaching himself guitar, they opposed his becoming a musician. He sought a guitar teacher at the Granada Institute of Music when he studied there, but found none, so continued learning the instrument on his own. He made his debut at the Centro Artística in Granada at the age of 15. He played so skillfully that he was urged to become a professional soloist. He played in Madrid in 1912, at the Paris Conservatory in 1915, and in Barcelona in 1916, and made a wildly successful tour of South America in 1919. He made his formal debut in Paris on April 7, 1924, in a program which included a new work written for him by Albert Roussel, named Segovia. It was the first of many works which were written for him by distinguished composers, enriching the instrument's repertory as Segovia had elevated its artistic potential. His U.S. debut was at Town Hall, New York, on January 8, 1928.

Being self-taught, his technique was unique. It was, in fact, superior to that which was being taught at the time, and extended the flexibility and expressive possibilities of the instrument. The main difference was in the method of using the right hand for strumming and picking the strings: Segovia's method paid much attention to the means of attack: whether hard parts of the fingers, fleshy parts, or the nails were used; other subtleties that affected the dynamics of the instrument; and an economy of motion that allowed longer and more sustained playing. There were classical guitarists before him, and distinguished ones even when he appeared, but it was not an instrument that was regarded as a serious vehicle for classical music. Segovia personally changed that, and not by accident. No doubt affected by his parents' attitude toward his chosen career, he had a driving desire to make it so. He wrote numerous transcriptions of older music for lute and for the Spanish vihuela. He transcribed music of Bach, Haydn, Mozart, Chopin, Handel, and others. He commissioned works by Castelnuovo-Tedesco (notably the great suite Platero and I), Falla, Turina, Tansman, Villa-Lobos, Torroba, Ponce, and Rodrigo, whose Fantasia para un gentilhombre was written for him. His reinstatement of the guitar as a solo instrument was sealed by his becoming one of the great teachers of music history. He established guitar schools or courses at the Accademia Musicale Chigiana, Siena, Santiago de Compostela, and the University of California in Berkeley. His students included Alirio Diaz, Oscar Ghilia, and John Williams.

Segovia become one of the great names in classical music, whose mere name was enough to sell out houses worldwide. He received numerous awards and honors during his lifetime, including the Grand Cross of Isabela and Alfonso, the Gold Medal of the Royal Philharmonic Society of London, and many honorary degrees. The house where he was born had a commemorative plaque attached to it in 1969 proclaiming him the "leading son of the city." King Juan Carlos of Spain ennobled him as the Marquis of Salobreia in 1981, and in the same year a Segovia International Guitar Competition was established in his honor. He continued to give recitals and concerts until an advanced age, and had the rare opportunity, in 1984, of playing at a gala concert honoring the 75th anniversary of professional debut. --- Joseph Stevenson, AMG

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Andrés Segovia - The Baroque Guitar (1989)

2013-08-31T15:59:11Z

Andrés Segovia - The Baroque Guitar (1989)


1. Prelude, 
2. Minuet, 
3. A New Irish Tune, 
4. Jig, 
5. Rondo, (Scarlatti) 
6. Sonata in A, (Handel) 
7. Sonata in D minor, 
8. Fughette, 
9. Menuet, 
10. Air, 
11. Passepied, (Frescobaldi) 
12. Passacaglia, 
13, Corrente, Weiss) 
14. Fantasie, 
15. Tombeau sur la mort de M. Comte d'Logy, 
16. Minuet I - Minuet II, (Bach) 
17, Prelude (from Cello Suite No. 1), 
18. Gavotte (From Cello Suite No. 6), 
19. Bouree (From Lute Suite), 
20. Bouree (from Violin Partita No. 1), Handel) 
22. Allegretto Grazioso, 
23. Gavotte, 
24. Minuet, 
25. Sarabande, (Scarlatti) 
26. Sonata.

Andres Segovia - guitar

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Andres Segovia – The Great Master (2004)

2009-10-20T19:53:43Z

Andres Segovia – The Great Master (2004)

Mario Castelnuovo-Tedesco -  	5 Pieces From "Platero Y Yo", Op. 190  (20:16)
1-01 		1. Platero 	2:47 	
1-02 		2. Melancolia 	4:09 	
1-03 		3. Angelus 	3:58 	
1-04 		4. Golondrinas 	4:05 	
1-05 		5. La Arrulladora 	5:17 	
 Mario Castelnuovo-Tedesco - Quintet For Guitar And String Quartet, Op. 143 (22:53)
1-06 		1. Allegro, Vivo E Schietto 	5:33 	
1-07 		2. Andante Mesto 	6:37 	
1-08 		3. Scherzo: Allegro Con Spirito Alla Marcia 	4:44 	
1-09 		4. Finale: Allegro Con Fuoco 	5:59 	
Heitor Villa-Lobos 
1-10 		Etude No. 6 In C-sharp Minor 	3:12 	
1-11 		Etude No. 1 In E Minor 	2:03 	
Federico Moreno Torroba
1-12 		Albada (From Piezas Caracteristicas) 	1:25 	
  	Sonatina In A Major (11:26)
1-13 		Allegretto 	3:41 	
1-14 		Andante 	4:07 	
1-15 		Allegro 	3:38 	
Oscar Espla - Impressiones Levantinas (3:23)
1-16 		(1) Andante 	1:39 	
1-17 		(2) Andante 	1:44 	
Antonio Lauro
1-18 		Valse Criollo (Valse Venezolano No. 3) 	2:37 	
Manuel Ponce
1-19 		Canción (No. 2 From Tres Canciones Populares Mexicanas) 	3:02 	
1-20 		Canción Y Paisaje 	4:32 	

Luis Milan
2-01 		Pavana No. 6 	2:16 	
2-02 		Pavana No. 5 	1:17 	
Robert de Visee
2-03 		Passacaille 	3:17 
Luis de Narvaez	
2-04 		Canción Del Emperor (Sobre "Mille Regretz" De Josquin Des Prez) 	3:00 	
2-05 		Variations On "Grárdame Les Vacas" 	2:49 	
John Dowland - Two Pieces For Lute (2:48)
2-06 		Song (Captain Digorie Piper's Galliard) 	2:03 	
2-07 		Allemande 	0:45 	
Manuel Ponce
2-08 		Preambulo 	4:13 	
2-09 		Gavotta 	3:09 	
Domenico Scarlatti
2-10 		Sonata In G Major, K. 391 (L. 79) 	2:46 	
Silvius Leopold Weiss
2-11 		Fantasie 	2:44 	
Manuel Ponce
2-12 		Prelude 	2:04 	
2-13 		Ballet 	2:42 	
2-14 		Gigue 	4:48 	
George Frideric Handel
2-15 		Allegretto Grazioso (Menuet I & II From Suite In G Minor, HWV 453) (Transposed To A Minor) 	2:50 	
2-16 		Gavotte In G Major, HWV 491 (Transposed To A Major) 	1:23 	
2-17 		Minuet In G Major, HWV 531 (Transposed To D Major) 	2:30 	
Alexandre Tansman - Suite In Modo Polonico (24:56)
2-18 		Branle 	3:19 	
2-19 		Gaillarde 	1:14 	
2-20 		Kujawiak 	3:10 	
2-21 		Polonaise 	1:16 	
2-22 		Kolisanka No. 1 	3:27 	
2-23 		Mazurka 	3:11 	
2-24 		Rêverie 	2:30 	
2-25 		Alla Polacca 	2:02 	
2-26 		Kolisanka No. 2 	2:23 	
2-27 		Oberek 	2:24 	
Manuel Ponce - 6 Preludes (5:12)
2-28 		No. 1 In A Major 	1:30 	
2-29 		No. 2 In A Minor 	1:17 	
2-30 		No. 3 In E Major 	0:37 	
2-31 		No. 4 In F-sharp Minor 	1:13 	
2-32 		No. 5 F-sharp Major 	1:37 	
2-33 		No. 6 In B Major 	0:58 	
Manuel Ponce
2-34 		Valse 	3:11 	

Andrés Segovia – guitar, arranger
Quintetto Chigiano (tracks: 1-06 to 1-09)

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The Legendary Andres Segovia (1999)

2010-02-19T23:38:43Z

The Legendary Andres Segovia (1999)

01. Andres Segovia - Enrique Granados - Danza Espanola no.10 in g Major, op. 37
02. Andres Segovia - Federico Torroba – Nocturno
03. Andres Segovia - Federico Torroba - Preludio
04. Andres Segovia - Federico Torroba - Sonatina in a Major - Allegretto
05. Andres Segovia - Federico Torroba - Suite Catellana - Fandanguillo
06. Andres Segovia - Felix Mendelssohn - String Quartet no.1 in e-Flat Major, op. 12 - Canzonetta (Arr. Segovia)
07. Andres Segovia - Fernando Sor - Theme Varie, op. 9
08. Andres Segovia - Francisco Tarrega - Recuerdos de la Alhambra
09. Andres Segovia - Isaac Albeniz - Suite Espanola - no.1; Granada
10. Andres Segovia - Isaac Albeniz - Suite Espanola - no.3; Sevilla
11. Andres Segovia - J.S. Bach - Cello Suite in g Major Bwv 1007 - Prelude (Arr. Ponce
12. Andres Segovia - J.S. Bach - Partita no.3 in e Bwv 1006 - Gavotte e Rondo (Arr. Segovia
13. Andres Segovia - J.S. Bach - Prelude in c Minor For Lute Bwv 999 (Arr. Segovia
14. Andres Segovia - Joachin Malats - Serenata
15. Andres Segovia - Joaquin Turina - Fandanguillo
16. Andres Segovia - Johann Jakob Froberger - Gigue
17. Andres Segovia - Manuel Ponce - Petite Valse (Arr. Segovia
18. Andres Segovia - Manuel Ponce - Suite in a Major (1
19. Andres Segovia - Manuel Ponce - Suite in a Major (2
20. Andres Segovia - Manuel Ponce - Suite in a Major (3
21. Andres Segovia - Manuel Ponce - Suite in a Major (4)
22. Andres Segovia - Mario Castelnuovo-Tedesco - Vivo e Energico (From 'Hommage a Boccherini')
23. Andres Segovia - Robert de Visee – Menuet

Andrés Segovia - Guitar

The Segovia heard in these recordings, made between 1927 and 1939, is quite different from the somewhat enfeebled legend who toured and recorded through his 80s. The flashing virtuosity and color of the best of these 78s compares better with the virtuosic standards of the '90s. Just hearing Tárrega's familiar Recuerdos de la Alhambra in this 1927 recording is enough to convince you that you're listening to one of the great guitar virtuosos of all time. It's unclear why Segovia's often-sentimentalized Bach became so famous, and the transcriptions that lead off this disc are quite unstylish by our contemporary standards. But once you get past those and the following Baroque items, which take up only a few minutes, you're into the romantic and 20th-century repertoire that Segovia played so brilliantly. The amazing transfers make the recordings sound much more recent than they actually are. ---Leslie Gerber, Editorial Reviews

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The Legendary Andres Segovia in an All-Bach Program (1987)

2012-04-24T15:28:26Z

The Legendary Andres Segovia in an All-Bach Program (1987)


1. Suite for lute in E minor, BWV 996 (BC L166): Allemande	
2. Partita for lute in C minor, BWV 997 (BC L170): Sarabande	
3. Partita for lute in C minor, BWV 997 (BC L170): Gigue
4. Partita for solo violin No. 1 in B minor, BWV 1002: Sarabande,
5. Partita for solo violin No. 1 in B minor, BWV 1002: Bourrée	
6. Partita for solo violin No. 1 in B minor, BWV 1002: Double	
7. Suite for solo cello No. 3 in C major, BWV 1009: Prelude 	
8. Suite for solo cello No. 3 in C major, BWV 1009: Allemande 	
9. Suite for solo cello No. 3 in C major, BWV 1009: Courante 
10. Suite for solo cello No. 3 in C major, BWV 1009: Sarabande 	
11. Suite for solo cello No. 3 in C major, BWV 1009: Bourree I / Bourree II 
12. Suite for solo cello No. 3 in C major, BWV 1009: Gigue 	
13. Prelude for lute in C minor, BWV 999 (BC L171) 	
14. Sonata for solo violin No. 1 in G minor, BWV 1001: Siciliano	
15. Partita for solo violin No. 3 in E major, BWV 1006: Gavotte en Rondeau	
16. Partita for solo violin No. 2 in D minor, BWV 1004: Chaconne

This collection of Baroque music consists of works by a composer that Segovia ceaselessly promoted throughout his career: J.S. Bach. As his compatriot Pablo Casals's performances of the Bach cello suites added so much to the great composer's reputation, Segovia's performances of Bach's lute suites and other works greatly enhanced the public's perception of the Leipzig master as the most "universal" of composers. His playing imbues Bach's music with a very special warmth and humanity. This disc is one of the most important and rewarding in the Segovia discography. ---David Hurwitz, Editorial Reviews

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