![]() ![]() #Ponce sonata clasica pdf seriesThe two Spanish Dances, including the familiar No.5 (Andaluza), come from a series of twelve by this still-underrated composer whose life was ended so tragically in an act of war. La Maja de Goya, by Enrique Granados, is a tonadilla (little song) for piano, based on Goya s fulllength portraits, clothed and unclothed, of the Duchess of Alba. The occupation of Spain by the Moors was a significant part of those traditions, reflected in the almost obsessional interest in the Alhambra palace by both Tárrega and his friend Albéniz in compositions such as Granada, Torre Bermeja (the vermilion tower) and the imperishable Recuerdos de la Alhambra. Tárrega s many compositions and transcriptions appealed strongly to Segovia, who responded not only to their imaginative poetry but also to the sense that the musical traditions of Spain were finding a place in the music of Europe. The modern Spanish nationalist school he regarded as ideal for the guitar s purpose, and he found rewarding material in the piano pieces of both Albéniz and Granados. The considerable bulk of Romantic nineteenth-century guitar music by such as Giuliani, Mertz and Regondi was largely ignored, with the exception of that by Paganini and Sor. Segovia also wanted a classical heritage comparable with that of other instruments, and with a characteristic energy set about arranging and transcribing music directly from the Classical, Baroque and Renaissance periods. ![]() Federico Moreno Torroba, Manuel Ponce and Mario Castelnuovo-Tedesco were among the composers who responded to Segovia s appeal for new compositions. His long and distinguished career was recognised in the award of numerous honorary degrees, culminating in his elevation to the rank of Marquis of Salobreña. Along with this self-discipline went an unusually robust constitution, enabling him to continue concertising into his nineties. Segovia left a large number of recordings, beginning in the difficult days of the 78rpm twelve-inch shellac disc, where each side had only four minutes of playing time and an expensive retake was necessary if the artist made a mistake (a rare occurrence in Segovia s case). Accomplished young guitarists began to appear eminent composers began to write for it music academies began to establish a faculty of guitar and regular guitar concerts became a feature of musical life in cities around the world. His tireless programme of travelling, teaching and performing is considered to be an integral part of the guitar s rise in the twentieth century. The recording industry was in its infancy when Segovia began his lifetime of touring. His next teacher, a flamenco guitarist, made a better impression, but the rhythms of flamenco, seductive though they were, were not enough and he devoted the rest of a long life to exploring the guitar s capacity for melody, harmony and polyphony. He was born in the Spanish town of Linares, in the Andalusian province of Jaén, and had his first music lesson before his sixth birthday with, in his own words, a violinist of hard ear and stiffer fingers. 1 Great Guitarists Segovia ADD Andrés SEGOVIA The 1944 American Recordings ALBÉNIZ DOWLAND HAYDN GRANADOS PURCELL SCARLATTI PONCEĢ Great Guitarists Andrés Segovia ( ) Volume 1: Recordings In the world of the guitar no name is more illustrious than that of Andrés Segovia, who did so much to establish the guitar as a concert instrument in the twentieth century. ![]()
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