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See Terms & Conditions for p&p rates. | |  | Celebration
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| |  | The Art of Segovia
Albéniz: | Asturias (from Suite espanola, Op. 47) Zambra Granadina | Bach, J S: | Prelude in D (after Prelude from Cello Suite No. 1 in G BWV1007) Partita for solo violin No. 1 in B minor, BWV1002: Bourrée Cello Suite No. 3 in C major, BWV1009: Courante Gavotte (Rondeau) from Partita No. 3 in E major BWV1006 | Castelnuovo-Tedesco: | Capriccio diabolico (Homage to Paganini) Tonadilla on the name of Andrés Segovia, Op. 170, No. 5 | Chopin: | Prelude Op. 28 No. 7 in A major | Debussy: | Préludes - Book 1: No. 8, La fille aux cheveux de lin | Dowland: | If my complaints could passions move Frog Galliard | Falla: | Homenaje a Debussy | Franck, C: | L'Organiste: Quasi lento (Preludio) L'Organiste: Andantino poco allegretto | Frescobaldi: | Aria e Corrente | Grieg: | Lyric Pieces Op. 47: No. 3 - Melody | Handel: | Sarabande from Suite in D minor, HWV437 | Mendelssohn: | String Quartet No. 1 in E flat major, Op. 12: Canzonetta | Mussorgsky: | Pictures at an Exhibition: The Old Castle | Paganini: | Andantino variato | Pedrell, C: | Guitarreo | Ponce, M: | Theme Varie et Finale | Rameau: | Minuet in G major | Rodrigo: | Zarabanda lejana Fantasia para un Gentilhombre: Danza de las hachas Symphony of the Air, Enrique Jordá | Roussel: | Segovia for guitar, Op. 29 | Scarlatti, D: | Keyboard Sonata K11 in C minor | Scriabin: | Prelude, Op. 16 No. 4 in E flat minor | Segovia: | Estudio sin luz | Sor: | Introduction and Variations on a Theme by Mozart, Op. 9 | Tárrega: | Recuerdos de la Alhambra Capricho árabe Marieta (Mazurka) | Torroba: | Romanza de los piños Madroños Serenata burlesca | trad.: | Mexican Folksong | Turina: | Sevillana, Op. 29 | Villa-Lobos: | Prelude No. 1 in E minor Prelude No. 3 in A minor |
(All transcriptions by Andrés Segovia)
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| |  | Segovia - 1950s 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’. “Expected composers like Villa-Lobos, de Falla and Torroba are joined by Grieg, Schumann, Brahms, Franck and Scriabin in transcriptions which, under Segovia's hands, sounds entirely natural and convincing.” BBC Music Magazine, September 2008 **** “…there have been…few to rival the variety and beauty of the sounds [Segovia] produced…he was certainly the guitar's most powerful advocate, the ultimate 'effective guitarist' who opened doors for all those who followed” Gramophone Magazine | | | (also available to download from $9.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | Andrés Segovia - The Edinburgh Festival Recital 1955
“A rare opportunity to hear one of the greatest of all guitarists live in concert.” Gramophone Magazine | | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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