Andrés Segovia

Segovia - 1950's American Recordings Volume 6

In this sixth and last volume of André Segovia’s 1950s American recordings, the great guitarist is heard in a number of his transcriptions from eminent nineteenth century composers as well as in original guitar solos composed by his Spanish and South American contemporaries. The considerable diversity of the music is presented in Segovia’s inimitable manner, every nuance of sound and colour being uniquely exploited in delicately refined interpretations. Of particular note is Segovia’s interpretation of Falla’s Homenaje ‘Le Tombeau de Claude Debussy’, now regarded as one of the most emotionally charged solo guitar works. In his preface to Villa-Lobos’s Douze Etudes, that the composer had dedicated to him, Segovia writes: ‘Villa- Lobos has made a gift to the guitar’s history of the fruits of his talents as vigorous and as wise as that of Scarlatti and Chopin’.

The Art of Andrés Segovia - Volume 4

Studio Recordings 1952 - 1958

Andres Segovia: Guitar Magician

Selected works for guitar by Castelnuovo-Tedesco, Villa-Lobos and more

Segovia - 1950's American Recordings Volume 5

Volume 5 of Segovia’s 1950s American recordings includes music by composers of various nationalities, (Italian, Spanish, Polish, Argentinian, Venezuelan, and Swiss), demonstrating the international appeal of the guitar. The diversity of musical styles featured is considerable, ranging from the folkloric appeal of South America to the more esoteric inwardness of European composers. Of particular interest is Segovia’s performance with a string quartet of the great Italian composer, Mario Castelnuovo-Tedesco’s Capriccio diabolico, one of the most successful examples of the synthesis of plucked and bowed sonorities.

Segovia - 1950's American Recordings Volume 4

1952-1957 Recordings

Volume 4 of Segovia’s 1950’s American recordings is devoted in the main to his arrangements of music composed between 1535 and 1750. Although today it is customary to play this repertoire on reproductions of instruments authentically modelled on concepts of musicological research, Segovia preferred the 20th Century guitar to all other instruments as an expressive medium. To his interpretations of the 16th century works of Milan, Narvaez, Mudarra and Dowland, as well as the Baroque guitar of Robert de Visee and transcriptions from Scarlatti or Rameau, Segovia brings the same application of colour, variety of dynamics and rhythmic freedom as he applied to romantic pieces. This full blooded approach to early music was greatly appreciated during his lifetime and often provided one of the few opportunities for the general public to become acquainted with this area of the repertoire.

Segovia - 1950's American Recordings Volume 3

Segovia - Guitar Masterclass

Segovia - 1950's American Recordings Volume 2

Segovia - 1950's American Recordings Volume 1

Recorded in New York in 1952, 1954 and 1955

Great Guitarists - Andrés Segovia

The 1946 New York and the 1949 London Recordings