G2E Ep 005 Andrés Segovia

Goes2Eleven

PART 1: LATE TO THE PARTY

Andres Segovia. Even the mention of his name elicits tones of hushed reverence in certain circles. But in the 70’s, there was a backlash against the style of playing that Segovia popularized. I began my guitar studies at a time when the guitar world was reassessing Segovia’s legacy. As a result, I was a latecomer to recognizing the genius of Andres Segovia.

Recordings:

David Russell, Capriccio Arabe by Fransisco Tárrega from Reflections of Spain

“Ding Dong the Witch is Dead” from The Wizard of Oz

Oscar Ghiglia, “Allegro Moderato” from Sonata III by Manuel Ponce from Ponce Guitar Collection Volume 3

Theme Music: Matthew Cochran, “Cicadas at the Equinox” from Vapor Trail from a Paper Plane

Commercial Break: Season Sponsor, Strings By Mail

Music Bed: Pat Metheny, “Fast” from Electric Counterpoint by Steve Reich

PART 2: SEGOVIA ON RECORD

Approaching Segovia’s recordings requires that you set aside a few modern expectations. We’re used to hearing music that’s been created in pristine conditions—soundproof booths, advanced microphone technology, digital editing software, etc. Segovia came along at a time when recorded music was just getting started. On his 1920’s recordings, you’re hearing the guy through a ribbon microphone with no processing, no reverb, very few edits, if any at all. What you’re hearing is just him. It’s basically a live performance captured on the best sound equipment available at the time.

Recordings:

Andrés Segovia, Recuerdos de la Alhambra by Francisco Tàrrega from The Art of

Segovia

Andrés Segovia, “Allegro Con Spirito” from Guitar Sonata Op 77, “Omaggio a Boccherini” by Mario Castelnuovo-Tedesco from The Art of Andres Segovia Vol. 5

Andrés Segovia, “Canción” from Suite Compostelana by Frederic Mompou, from The Segovia Collection

Andrés Segovia, Sevillana by Joaquín Turina from The Art of Segovia

Lionel Loueke, “Ami-O” from Mwaliko

PART 3: A GUITARIST WITH A MISSION STATEMENT…THAT’S RIGHT, A MISSION STATEMENT

Nicholas Goluses talks about Segovia’s vision for the guitar. Nick is Professor of Guitar at the Eastman School of Music. He’s been there for over 20 years now and in that time has racked up enough awards and honors to fill up his own garage and maybe yours and mine as well. Oh, and he’s a total badass guitar player.

Recordings:

Nicholas Goluses, Variations and Fugue on La Folia d’España by Manuel Ponce from From Afar

John Williams, “Allegro Preciso” from Concerto for Guitar & Small Orchestra by Heitor Villa-Lobos. English Chamber Orchestra conducted by Daniel Barenboim.

Commercial Break: Peghead Nation

Music bed: Punch Brothers, “Flippen” from Who’s Feeling Young Now?

PART 4: GRAN TORINO, OR GET YOUR FILTHY HANDS OFF MY FINGERINGS

Segovia had a hands-on approach when it came to commissioning pieces from composers. We talk about Segovia’s fruitful and affectionate relationship with the Mexican composer Manuel Ponce, and the collaboration between the two.

For die-hard enthusiasts and aspiring professional classical guitarists, THE way to learn Segovia’s approach was to play for him in a masterclass. But that could get a bit dicey. The old guy could be cantankerous, especially if you didn’t cotton to his ideas. There’s a certain poignancy to all of this that, a lot of times, gets missed in the conversation. Yeah, Segovia was a bully. And, yeah, he had a tendency to be snobbish and dictatorial about his approach to the guitar. But you know, through his efforts to popularize the guitar as a respected concert instrument, he created a necessary reaction against his own vision of beauty. We hear from David Foster Wallace’s 2005 commencement address titled “This is Water”, and ask some fundamental questions about the responsibility inherent in artistic life to think independently.

But thankfully, some of those people who cultivated their own vision of beauty continue to draw from Segovia’s enormous well. Nicholas Goluses has the last word about how his approach to the guitar has changed over the years, and how that approach is at least partially influenced by Segovia.

Recordings:

Andrés Segovia, “Allegro Moderato” from Sonata Romantica by Manuel Ponce, from Andrés Segovia, Dedication

Andrés Segovia, “Gavotte en Rondeau” from Violin Partita in E Major, BWV 1006 by Johann Sebastian Bach, from The Art of Andrés Segovia

David Foster Wallace, “This is Water”

Andrés Segovia, “Asturias” from Suite Española No 1, Op 47 from The American Decca Recordings

Videos referenced:

https://www.youtube.com/watch?v=DJrEl4Nsmsg

https://www.youtube.com/watch?v=PWA0HEOFHpo

https://www.youtube.com/watch?v=x2xh0YW1R4o

https://www.youtube.com/watch?v=CNjNXuGQaAE

https://www.youtube.com/watch?v=fVV10Higj9E

https://www.youtube.com/watch?v=wiAbqfaYGwk

https://www.youtube.com/watch?v=7aINpJzg5Bs

https://www.youtube.com/watch?v=1GY3i8EqYPA

https://www.youtube.com/watch?v=3OFXIG_3P40

https://www.youtube.com/watch?v=1nXJ744velc

https://www.youtube.com/watch?v=s-69wdduiOE

https://www.youtube.com/watch?v=4_neeq6ObEM&spfreload=1

https://www.youtube.com/watch?v=XZDA1crTi9A

https://www.youtube.com/watch?v=QxWCYLLZRNw