Maestro Segovia played an important role in saving the guitar from going to obscurity. The guitar was notable in bars saloons and bordellos.He had transcribed the music from great composers and with his determination and exquisite sound..the guitar took a new place in the evolution of musical history. It was not an easy feat to do what he did through his perseverance talent we owe a lot of gratitude to him for the love the guitar and classical music.Bravo Segovia.
I am so fortunate to hear him perform in New Orleans back around 1976 (I was 18 years old), and I think he was 83 years old. My Mom took me there, since I was just starting to learn classical music on the guitar. He missed some notes due to the strength required for some of the phrases with his left hand, but overall, the tone and beauty was unmatched! I remember during one of the compositions when he was about 30 seconds into the piece, he stopped completely, retuned his guitar, and started from the beginning. Just a complete perfectionist.
We’re all forgetting the kindness of Daniele Magali who has not refrained to share with us the treasures in his possessions. Almost everything I have been able to find on you tube regarding Segovia during these time periods come from him. A lot of great companies who bring the finest modern guitar players sollicit and rightly so a contribution. How could we think Magli in our ways? I am not sure. Just throwing there. Thank you so much Daniele for your great contribution !!!
I am in the states ( Indiana). I was a student at Notre Dame University between 1958 and 1962. Segovia came to our campus, and I was fortunate enough to hear him perform. Even after more than 60 years I remember his performance. He is one of the great artist of all times.
I saw Segovia perform in Birmingham, AL in 1968 o. My 17th birthday. He was glorious! Sitting in the 3rd row, I could easily see the moment of his fingers as thry flashed across strings and frets. It was an experience I have never forgotten. Thanks, Dad. Segovia is the greatest guitarist I've ever heard.
Me too , along with my to be wife. We still talk about him now. Thank you Birmingham Town Hall for bringing us a plethora of wonderful artist over those years.
I'm 65 years old. When I was only six, my parents took me to a Segovia performance in Philadelphia. I still remember it-the pieces played, what he wore, everything. The experience has had a huge positive impact on me and made the classical guitar a huge part of my life.
I'm very pleased to see overwhelmingly positive comments about Segovia under videos about him. I remember when I was starting my classical guitar journey, well over 15 years ago, the opinions about Segovia seemed much more divided. I'm happy to see people widely admiring and appreciating what he did for the instrument. I see him as being by far the most important figure in classical guitar history and an inspiration to all great masters and us all, lesser players.
Agreed, he did help along with a short list of others to elevate the guitar and build a repertoire around it. But at some point, maybe in the 1980s or 1990s there was a push towards mechanics. I remember a guitar teacher telling me that my fingers has to sound like a little machine gun. Technique is important but a communication should be the goal.
Videos of Segovia playing Bach on guitar should be one of the wonders of our world. There are few artists who have literally transcended the human condition with their art, and Segovia is one of them… 😔
Many people don't realize the importance of the Maestro in the guitar world. The guitar was extremely popular in Germany, which was the main place in the world for classical music. Spain and Italy were competing to attract the attention of Germany as the country to court, Italy won with their operas. After WW2, God rest the souls who perished, Segovia had been transported to Uruguay and was something of a last remaining remnant of what was known as "The Bavarian Guitar Movement", even though his heritage is 100% Spanish, he was an European, and a great one. If this is 1966 then it is at a time when psychedelic music is beginning to gain in popularity, which basically got elevated above and beyond what Segovia was playing. Obviously, the Maestro is classes beyond the popular culture movement of the time, but his intensity, grace and benevolence are enduring and many, many people now flock to watch his brilliance on every known device the world over. With his delightful heart felt charm he is always inspiring and will always be the Maestro without need to be elevated, as the elevation from his touches within his playing are evidence enough that as God touched into his heart with the guitar, so he conveys what God's touch is and how it manifests in the physical world! Bravo, Bravo, Bravo... Clap, clap, clap :)))
Lui era un vero bardo, davvero, mi incanta sentirlo suonare era troppo bravo. in pochi arrivano a questo livello sublime di espressività con lo strumento
There is a beautiful story behind this performance / interpretation of Prelude n. 3 and of the Studio n. 1 of Heitor Villa Lobos. After about thirty years, Segovia spreads with a concert reported by Italian television the work of a Composer who, in 1956, the date of the concert, I believe was not yet well known. The beauty is that, according to what has been handed down, Segovia was not happy with the first meeting with that almost contemporary Composer (almost four years older than him), who, piqued by some criticisms by Segovia, almost snatched from the hands of Segovia his precious guitar of which the Maestro was very jealous, and he performed various pieces of his own composition. Segovia was impressed by the exhibition, so asked him the name of his guitar Maestro. Villa Lobos answered that he had studied the best guitar manuals, but he not had had a teacher. Segovia then went away, somewhat annoyed. The next day, Villa Lobos received Segovia at home, who, after sleeping on it, had gone to see him and, convinced of the Composer's genius, Segovia asked him to compose a Study for guitar and dedicate it to him. Villa Lobos dedicated twelve guitar Studio. And here Segovia performs just the first of them. Villa Lobos will then become the greatest Brazilian composer, the number one: today the entire repertoire of this Genius of Music is studied in guitar Conservatories all over the world, as the cognitive content of every guitar player.
For a more factual account of Segovia's thoughts about Villa Lobo's works I recommend reading "Don Andres and Paquita-The Life of Segovia in Montevideo" and the "Segovia Ponce Letters'. While the above "story" may be "beautiful'" , it's not correct. Villa Lobos was a highly acclaimed and famous composer for 20 years before meeting Segovia, which is one of the reasons Segovia sought him out. Villa Lobos is credited with over 2,000 compositions to include concertos for piano, harp and cello--symphonies, chamber music, string quartets, and operas. His guitar works are about 35, which is a pittance compared to his works for other instruments. Villa Lobo's guitar works only made him famous with classical guitarists and would still be famous without his guitar compositions. Yes, Classical guitarists study and revere Villa Lobo's preludes, etudes, a choro and his Suite Populaire Bresilienne (which Segovia never recorded), and play them ad nauseum. It's a shame classical guitarists hardly bother listening to his other 1,500+ works. I would suggest the quartet for flute, oboe, clarinet, and bassoon written in 1928 for starters.
@@xpursangjock8724 I listen to the string quartets, they are just crazy enough to turn me on! lol I have an arrangement of Sentimental Melody I’d like to work up Someday....
@@MrDizzyvonclutch Interesting! Do it! Yes, "crazy enough"! Carlos Barbosa Lima plays a guitar solo of Villa Lobos' Sentimental Melody, nice tune, which he masterfully played. Some of Villa Lobos works though are rather too "unique" for my taste. His Trio for Oboe, Clarinet and Bassoon come to mind, which is about 20 minutes of music I just don't get. It sounds like an Alfred Hitchcock movie score or something. But hey, that's just me. I can't stand Britten's Nocturnal either. I could care less what the pointy headed academics say about it.
Sorry to say , yes his technique is sublime but his interpretation is rushed. His lyric approach is minimal which happens to a lot to public performers. He can do it though. I have lots of his records where he takes the time as one should.
...es un , Documento histórico, precioso.., de " sonidos mágicos" ..( .y cada día ., . más valioso../!!.. ........" RAI.." It.... " 1956 " ............. " Sale Pleyel..', Paris , .. " 1964 " ... .............. .(:y es , . dónde tuve insólita fortuna de conocer al Maestro SEGOVIA... ........
Redmartian I saw him at the University of Connecticut in the mid 1970s. He performed #1,2 and 6. That sticks in my mind because I was playing them myself.
@@uncjim At UCONN? That would have probably been in the von der Mehden recital hall, if I remember correctly from a friend who went to see him there in the 70's Capacity is about 500 people. The other place would have been the Jorgensen auditorium.
Este es de lo más hermoso que he escuchado jamás en el mundo , melodías tan perfectas y gran ejecución del maestro Andres segovia , esto es tan hermoso como escuchar a paganini .
En estos aciagos días, en que el mundo está convulsionando por pandemias, guerras, y las graves consecuencias económicas que estas calamidades conllevan. Viene el sublime arte del maestro Segovia, ha mostrarnos el camino de la razón, la lógica y la inteligencia humana, en el etéreo mundo de las armonías... haciendo que la conciencia vuelva a confiar en el destino cósmico de la raza humana, en su eterno viaje através del universo.
Looks and sounds like he is playing a Ramirez and not his beloved Hauser, which would date this concert after 1966 ! It doesn't really matter; Segovia would sound amazing on any reasonable quality guitar. Thanks for posting this Red. I used to play some of the earlier pieces as a teenager (and beyond) but never sounded like the Maestro. My consolation is that no-one else did either. Now, at seventy years of age, I can't play anything except the fool.
Thanks so much for the cleanup! Let me just fix a minor detail. I remember seeing this when RAI aired it. I also made a reel-to-reel tape audio recording, now lost. As I was born in 1957, this cannot be from 1956. It is likely 1966.
@@scottanderson6807 Entirely possible. I saw that tv show in Italy, and it was dubbed in Italian. Hence its original version must be slightly earlier. 1964 seems reasonable.
When you listen , you think you are hearing two guitars or even three But when You're watching it happen right in front you, you're confused to see one man playing
To understand Segovia, be it his playing style or personality, it's important to understand what he referred to as his "Four Goals". In his own words, ''First, to redeem the guitar from flamenco and all those other things. Second, to create a repertory - you know that almost all the good composers of our time have written works for the guitar through me and even for my pupils. Third, I wanted to create a public for the guitar. Now, I fill the biggest halls in all the countries, and at least a third of the audience is young - I am very glad to steal them from the Beatles. Fourth, I was determined to win the guitar a respected place in the great music schools along with the piano, the violin and other concert instruments.''
I had a custom 62 Ramirez made for him and it was difficult to play, I guess you had to have perfect technique. I sold it to a student in Christopher Parkening's master class
But very much still in his prime, it wouldn't until be much later that we knew he was falling still he would surprise us with his expression. 1976 Christopher Nupen captured so much for us.
I think I have already read some observations and contempt for the particular predilection of concert players, scholars and guitar enthusiasts for the works that HVL composed for this instrument. Sectoral and partial admiration? So? I think it is poor in spirit to despise them, to whom the appreciation should go for having made HVL known all over the world, even in Japan. I will repeat the previous response to a comment similar to that I read here and seem to re-read. Perhaps in doing so, it will not disappear again ... 《I understand that Villa Lobos was interested in being presented in Segovia, *. The studies and preludes for guitar of HVL are not studied for a particular musical beauty, but for the extraordinary ability to enhance and innovate the musical characteristics of the classical guitar, the beauty of the vibrato, the complexity of the arpeggios, Studies of scales in very rare tones. to be performed on the guitar: a knowledge, therefore, which in every part of the world is considered fundamental for the formation of a class guitarist. Nor is it true that guitarists are not interested in the other works of HVL, quoted in about 1,300 pieces **. In the little that I know, I know of guitar transcriptions of lullabies (Nesta rua tem um bosque), songs (Tristorosa), solo guitar reductions of an I think I have already read observations and contempt for the particular predilection of concert players, scholars and guitar enthusiasts for the works that HVL composed for this instrument. Sectoral and partial admiration? So? I think it is poor in spirit to despise them, to whom the appreciation should go for having made HVL known all over the world, even in Japan. I will repeat the previous response to a comment similar to that I read here and seem to re-read. Perhaps in doing so, it will not disappear again ... 《I understand that Villa Lobos was interested in being presented in Segovia, *. The studies and preludes for guitar of HVL are not studied for a particular musical beauty, but for the extraordinary ability to enhance and innovate the musical characteristics of the classical guitar, the beauty of the vibrato, the complexity of the arpeggios, Studies of scales in very rare tones. to be performed on the guitar: a knowledge, therefore, which in every part of the world is considered fundamental for the formation of a class guitarist. Nor is it true that guitarists are not interested in the other works of HVL, quoted in about 1,300 pieces **. In the little that I know, I know of guitar transcriptions of lullabies (Nesta rua tem um bosque), songs (Tristorosa), solo guitar reductions of an accompaniment work to an opera for soprano, orchestra and eight cellos (Bachiana Brasileira no. 5). work to an opera for soprano, orchestra and eight cellos (Bachiana Brasileira no. 5). I understand that it is not compulsory that classical guitar music should be liked, but from here to talk about boredom and nausea ... what a lack of spirit! It is a question of sensitivity, of culture: if they are lacking and if there is none, it is better to be silent and seem stupid than to talk and remove the doubt. And, speaking of culture, apart from the criticisms that, perhaps with too little generosity, you have addressed to my enthusiasm for a small part of HVL's work, I am instead happy to have found in many Japanese young people a great interest in classical guitar and the works dedicated to it, with an audience of guitarists of excellent quality and sensitivity towards this instrument, and many prestigious self-taught luthiers who in those lands have brought the production of classical guitars to a level of world excellence. And this incredible interest in Western and Latin American music on the part of Japanese culture, developed over the centuries on musical canons absolutely unmatched with others, is truly commendable, also and above all because it has been recorded for a few decades. This is why in the face of so much enthusiasm, one has the opportunity to forgive perhaps contemptuous judgments, more realistic than the king. ~~~~~~~ (*): ~ Wikipedia, HVL; ~ www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.573116&catNum=573116&filetype=About%20this%20Recording&language=Italian ~ www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.573117&catNum=573117&filetype=About%20this%20Recording&language=Italian ~ bibliolmc.ntv31.com/node/148 (**): Enciclopedia Treccani, HVL;
La musique pour plus d'humanité .Quand deux pays se font la guerre c'est par ignorance de leur culture respective. Un grand interprète est un passeur de paix . Au milieu des ruines il faut que l'ame survive , une guitare peut aider à cela .
The only picture ieye can just remember 30yrs ago ieye steyed thkg oveyou I will always be inlove with you Christina frivascabia iloveyoumemust and yes your beautiful face and family ieye just Love you so much and ieye
The date of video recording of 1956 cannot be correct. Based on Segovia’s year of birth 1893 he must have been 63 at the time of this recording. He looks at least 73 in this video ! Anyway he is Guitar and Guitar is Segovia. I don’t think anyone can ever feels and plays guitar like him.
I think he's miming, it's really Chuck Berry behind the curtain. I had the pleasure of attending one of Maestro's performances. He broke a string and everyone gasped. He made a quelling gesture with his hands and we all got a lesson in how the boss does a quick string change (about 4 minutes).
The name (in italian) is "Vaghe bellezze e bionde trecce d'oro", and there is on TH-cam a performance of this piece by the italian guitarist Mario Gangi. Search for "mario gangi vaghe bellezze".
Non mi ero accorto che probabilmente sei italiano e avrei potuto evitare di commettere errori in inglese. Però può servire a qualche non-italiano-parlante 🙂
I don't think this is 1956. He is playing a Ramirez 1a which he did not play until the early 1960's. In 1956 he probably would have played a Hauser guitar.
Es un maestro, pa igualarle se inventaron las guitarras eléctricas y mesas de mezclas, puede parecer laud, piano, arpa, y aveces percusión, todo. Pero Andrés siempre lo veo igual ya mayor, siempre igual. 😊
Excellent performance but this is certainly not 1956. He’s playing a long scale a Ramirez that didn’t even exist until 1961. I would estimate this to be 1962-1964.
![The Best of Andrés Segovia /// Guitar Masterpieces for Classical Music Lovers (Full Album) [HQ]](http://i.ytimg.com/vi/uRz3AQx21y8/mqdefault.jpg)
![The Best of Andrés Segovia /// Guitar Masterpieces for Classical Music Lovers (Full Album) [HQ]](/img/tr.png)
There is Segovia then there's everyone else. The planet is better for him having been here
Maestro Segovia played an important role in saving the guitar from going to obscurity. The guitar was notable in bars saloons and bordellos.He had transcribed the music from great composers and with his determination and exquisite sound..the guitar took a new place in the evolution of musical history. It was not an easy feat to do what he did through his perseverance talent we owe a lot of gratitude to him for the love the guitar and classical music.Bravo Segovia.
The mantle was then taken up by Julian Breame.
🙏
😊
I am so fortunate to hear him perform in New Orleans back around 1976 (I was 18 years old), and I think he was 83 years old. My Mom took me there, since I was just starting to learn classical music on the guitar. He missed some notes due to the strength required for some of the phrases with his left hand, but overall, the tone and beauty was unmatched! I remember during one of the compositions when he was about 30 seconds into the piece, he stopped completely, retuned his guitar, and started from the beginning. Just a complete perfectionist.
We’re all forgetting the kindness of Daniele Magali who has not refrained to share with us the treasures in his possessions. Almost everything I have been able to find on you tube regarding Segovia during these time periods come from him. A lot of great companies who bring the finest modern guitar players sollicit and rightly so a contribution. How could we think Magli in our ways? I am not sure. Just throwing there.
Thank you so much Daniele for your great contribution !!!
I am in the states ( Indiana). I was a student at Notre Dame University between 1958 and 1962. Segovia came to our campus, and I was fortunate enough to hear him perform. Even after more than 60 years I remember his performance. He is one of the great artist of all times.
You are fortunate. That is a gift you have forever my friend.
I saw Segovia perform in Birmingham, AL in 1968 o. My 17th birthday. He was glorious! Sitting in the 3rd row, I could easily see the moment of his fingers as thry flashed across strings and frets. It was an experience I have never forgotten. Thanks, Dad. Segovia is the greatest guitarist I've ever heard.
Merci pour ce témoignage ❤
Me too , along with my to be wife. We still talk about him now. Thank you Birmingham Town Hall for bringing us a plethora of wonderful artist over those years.
I agree i have heard many as you have, no one matched the warmth he got from the guitar
Glad to hear you had the experience
I'm 65 years old. When I was only six, my parents took me to a Segovia performance in Philadelphia. I still remember it-the pieces played, what he wore, everything. The experience has had a huge positive impact on me and made the classical guitar a huge part of my life.
Father of guitar. .thanx forever
I saw Segovia twice and it was magical both times. I also got to shake his hand.
Which one?
Just imagine how many hours Segovia must have spent learning to play these pieces, perfecting & polishing them for concert performance. Oh mamma!
I know the famous Paco Delucia practiced 12 hours EVERY DAY!
Η μαγεία του ήχου της κιθάρας του είναι αξεπέραστη!!!
Que placer poder escuchar y ver a Andres Segovia, gracias
I'm very pleased to see overwhelmingly positive comments about Segovia under videos about him. I remember when I was starting my classical guitar journey, well over 15 years ago, the opinions about Segovia seemed much more divided. I'm happy to see people widely admiring and appreciating what he did for the instrument. I see him as being by far the most important figure in classical guitar history and an inspiration to all great masters and us all, lesser players.
Agreed, he did help along with a short list of others to elevate the guitar and build a repertoire around it. But at some point, maybe in the 1980s or 1990s there was a push towards mechanics. I remember a guitar teacher telling me that my fingers has to sound like a little machine gun. Technique is important but a communication should be the goal.
Il più grande del 900,non ci sono parole da aggiungere ❤
i saw him once in my life..
in Berlin in 1982 still deep in my heart with his performanc.
Videos of Segovia playing Bach on guitar should be one of the wonders of our world. There are few artists who have literally transcended the human condition with their art, and Segovia is one of them… 😔
Thank you TH-cam for allowing us to experience such a beautiful performance.
Thank God mankind invented TH-cam, which makes it so easy to watch this brilliant rare
Many people don't realize the importance of the Maestro in the guitar world. The guitar was extremely popular in Germany, which was the main place in the world for classical music. Spain and Italy were competing to attract the attention of Germany as the country to court, Italy won with their operas. After WW2, God rest the souls who perished, Segovia had been transported to Uruguay and was something of a last remaining remnant of what was known as "The Bavarian Guitar Movement", even though his heritage is 100% Spanish, he was an European, and a great one. If this is 1966 then it is at a time when psychedelic music is beginning to gain in popularity, which basically got elevated above and beyond what Segovia was playing. Obviously, the Maestro is classes beyond the popular culture movement of the time, but his intensity, grace and benevolence are enduring and many, many people now flock to watch his brilliance on every known device the world over. With his delightful heart felt charm he is always inspiring and will always be the Maestro without need to be elevated, as the elevation from his touches within his playing are evidence enough that as God touched into his heart with the guitar, so he conveys what God's touch is and how it manifests in the physical world! Bravo, Bravo, Bravo... Clap, clap, clap :)))
Say what???? Lol
Otro grande de la guitarra clásica
Guitarra clásica española
Thanks for your very kind words. We are only left then to go on to the grace and glory of God in Jesus Christ, the saviour of all that turn to him.
@@WimbledonChurch Which God, have you read Deuteronomy 12.1?
I was born in 1956. As I was growing up, my Dad and I would watch this amazing man on PBS or something like that. (NY channel 13)
私も１９５６年生まれです。
我が家では「ギターのギの字」もありませんでしたが、こうして観ると産声をあげた時代の空気を感じますね🇯🇵
I think this gentleman is the Spanish guitar virtuoso Andres Segovia.
There are many amazing classical guitarists on TH-cam but few of any are better than this master on whose shoulders they all stand.
Eu não sabia que existia uma gravação do Segovia tocando Villa Lobbos!! Que grata satisfação!!
Bravo! Segovia playing Villa-Lobos!
FOR EVER ANDRES MAESTRO
Truly wonderful & inspiring.
Thank you for this priceless treasure.
Segovia -always superb.
Consummate badass! lol
Me encanta los sonidos de majico España. Increíble.
Bravo!!
Timeless..Snap shot of a musician who understood the magic and moment of the 'Guitarria'.
I dalje svira kao u trenucima najveće slave nadaleko poznat Segovia 😊😊😊❤
Lui era un vero bardo, davvero, mi incanta sentirlo suonare era troppo bravo. in pochi arrivano a questo livello sublime di espressività con lo strumento
Every time listen Maestro Segovia playing classic guitar i feel the magic of guitar music in the air .
Ma pensate quanta bellezza mostrava la RAI negli anni 50 e 60! Ora mandano solo spazzatura.
Thanks redmartian for posting this Segovia video
👏великолепно, гитара словно поёт. Техника на грани виртуозности помогает раскрыть композиции ещё ярче. Браво, Маэстро!
There is a beautiful story behind this performance / interpretation of Prelude n. 3 and of the Studio n. 1 of Heitor Villa Lobos.
After about thirty years, Segovia spreads with a concert reported by Italian television the work of a Composer who, in 1956, the date of the concert, I believe was not yet well known.
The beauty is that, according to what has been handed down, Segovia was not happy with the first meeting with that almost contemporary Composer (almost four years older than him), who, piqued by some criticisms by Segovia, almost snatched from the hands of Segovia his precious guitar of which the Maestro was very jealous, and he performed various pieces of his own composition.
Segovia was impressed by the exhibition, so asked him the name of his guitar Maestro.
Villa Lobos answered that he had studied the best guitar manuals, but he not had had a teacher.
Segovia then went away, somewhat annoyed.
The next day, Villa Lobos received Segovia at home, who, after sleeping on it, had gone to see him and, convinced of the Composer's genius, Segovia asked him to compose a Study for guitar and dedicate it to him. Villa Lobos dedicated twelve guitar Studio.
And here Segovia performs just the first of them.
Villa Lobos will then become the greatest Brazilian composer, the number one: today the entire repertoire of this Genius of Music is studied in guitar Conservatories all over the world, as the cognitive content of every guitar player.
For a more factual account of Segovia's thoughts about Villa Lobo's works I recommend reading "Don Andres and Paquita-The Life of Segovia in Montevideo" and the "Segovia Ponce Letters'. While the above "story" may be "beautiful'" , it's not correct.
Villa Lobos was a highly acclaimed and famous composer for 20 years before meeting Segovia, which is one of the reasons Segovia sought him out. Villa Lobos is credited with over 2,000 compositions to include concertos for piano, harp and cello--symphonies, chamber music, string quartets, and operas. His guitar works are about 35, which is a pittance compared to his works for other instruments. Villa Lobo's guitar works only made him famous with classical guitarists and would still be famous without his guitar compositions. Yes, Classical guitarists study and revere Villa Lobo's preludes, etudes, a choro and his Suite Populaire Bresilienne (which Segovia never recorded), and play them ad nauseum. It's a shame classical guitarists hardly bother listening to his other 1,500+ works. I would suggest the quartet for flute, oboe, clarinet, and bassoon written in 1928 for starters.
The unbelievable Villa Lobos, a truly phenomenon.
@@xpursangjock8724 I listen to the string quartets, they are just crazy enough to turn me on! lol I have an arrangement of Sentimental Melody I’d like to work up Someday....
Love the Bachianas also!
@@MrDizzyvonclutch Interesting! Do it! Yes, "crazy enough"! Carlos Barbosa Lima plays a guitar solo of Villa Lobos' Sentimental Melody, nice tune, which he masterfully played.
Some of Villa Lobos works though are rather too "unique" for my taste. His Trio for Oboe, Clarinet and Bassoon come to mind, which is about 20 minutes of music I just don't get. It sounds like an Alfred Hitchcock movie score or something. But hey, that's just me. I can't stand Britten's Nocturnal either. I could care less what the pointy headed academics say about it.
Great! The unmistaken "Segovia" sound!
Genial guitarrista. Sublime en sus acordes. Gracias maestro por habernos dejado estas magnificas presentaciones
Segovia had a stunning performance as it has never seen among others guitarists
Sorry to say , yes his technique is sublime but his interpretation is rushed. His lyric approach is minimal which happens to a lot to public performers. He can do it though. I have lots of his records where he takes the time as one should.
cacho tirao maybe... search "la boliviana". god mode on xD
Très joli morceau j.adore
Siempre se aprende algo de sus interpretaciones
copiar para criar , é o caminho . . .
...es un , Documento histórico, precioso.., de " sonidos mágicos"
..( .y cada día ., . más valioso../!!..
........" RAI.." It....
" 1956 "
.............
" Sale Pleyel..',
Paris , ..
" 1964 " ...
..............
.(:y es ,
. dónde tuve insólita fortuna de conocer al Maestro SEGOVIA...
........
It's such a pleasure to hear Segovia play his transcription of the Six Lute Pieces of the Renaissance - thanks for the share!
Is there anytime he performed those lute pieces like that? I had heard from people that studied with him that is how he arranged them.
Redmartian
I saw him at the University of Connecticut in the mid 1970s. He performed #1,2 and 6. That sticks in my mind because I was playing them myself.
El mejor guitarrista del mundo, tube El gusto de oirlo tocara en E. U. En Gardena Calif. En el colegio del camino, creo que fue en el año 1970.
@@uncjim At UCONN? That would have probably been in the von der Mehden recital hall, if I remember correctly from a friend who went to see him there in the 70's Capacity is about 500 people. The other place would have been the Jorgensen auditorium.
@@xpursangjock8724 It was Jorgensen.
Este es de lo más hermoso que he escuchado jamás en el mundo , melodías tan perfectas y gran ejecución del maestro Andres segovia , esto es tan hermoso como escuchar a paganini .
En estos aciagos días, en que el mundo está convulsionando por pandemias, guerras, y las graves consecuencias económicas que estas calamidades conllevan. Viene el sublime arte del maestro Segovia, ha mostrarnos el camino de la razón, la lógica y la inteligencia humana, en el etéreo mundo de las armonías... haciendo que la conciencia vuelva a confiar en el destino cósmico de la raza humana, en su eterno viaje através del universo.
@@maxhernandez7696 has escuchado " romance de los pinos" ? , es una pieza pequeña pero perfecta.
@@andresftrovaypoesia7921 quizás lo haya escuchado, pero por el nombre... No lo recuerdo. Sí puedes darme una pauta. Gracias.
@@maxhernandez7696 es una pequeña pieza del maestro Andres segovia, en la lista de Spotify está.
@andresftrovaypoesia7921 gracias por la recomendación
Looks and sounds like he is playing a Ramirez and not his beloved Hauser, which would date this concert after 1966
! It doesn't really matter; Segovia would sound amazing on any reasonable quality guitar. Thanks for posting this Red. I used to play some of the earlier pieces as a teenager (and beyond) but never sounded like the Maestro. My consolation is that no-one else did either. Now, at seventy years of age, I can't play anything except the fool.
Very Kool post🔥thank you...haa
He started playing Ramirez in 1960,
Thanks so much for this: a true treasure!
he da man. had a son at 77 and was performing at 90
😮
Muchas gracias por subir este vìdeo del maestro SEGOVIA.
Meraviglioso!
The Torroba is incomparable
Сппсибо, Andres!!!
Сказка, нет слов.😁👍
Very cool, thanks!
Genial ❤
Maravillosisimo, precursor, ahí está el solo. Toma. Evocando, percusión, quizá, aire, quizá fina cuerda, ole, ole esté hombre valiente.
y qué joya de video!!!
MARAVILLA
Sublime
Bravo
Wonderful ! xxxxxxxx
Thanks so much for the cleanup! Let me just fix a minor detail. I remember seeing this when RAI aired it. I also made a reel-to-reel tape audio recording, now lost. As I was born in 1957, this cannot be from 1956. It is likely 1966.
I believe you, and Segovia looks significantly older than he did in filmed performances from around
1956.
I’m guessing this is between 1962-1964.
He is playing a 1960-62 spruce top Ramirez guitar here.
By 1965 he was playing cedar top Ramirez guitars.
@@scottanderson6807 Entirely possible. I saw that tv show in Italy, and it was dubbed in Italian. Hence its original version must be slightly earlier. 1964 seems reasonable.
Muito bom
Segovia le père de la guitare classique. Mon professeur de guitare classique louis davalle le connaissait paix à leur âme
❤
very nice
When you listen , you think you are hearing two guitars or even three
But when You're watching it happen right in front you, you're confused to see one man playing
Que belleza de interpretación¡!!!!
The Guitar 🎸
Soul
and on the Ed Sullivan show Elvis was moving music in an entirely different direction, what a time the mid 20th century was!
To understand Segovia, be it his playing style or personality, it's important to understand what he referred to as his "Four Goals". In his own words, ''First, to redeem the guitar from flamenco and all those other things. Second, to create a repertory - you know that almost all the good composers of our time have written works for the guitar through me and even for my pupils. Third, I wanted to create a public for the guitar. Now, I fill the biggest halls in all the countries, and at least a third of the audience is young - I am very glad to steal them from the Beatles. Fourth, I was determined to win the guitar a respected place in the great music schools along with the piano, the violin and other concert instruments.''
Однажды я услышал что мастер не бзыкает по струнам , теперь же бзыканье вносит свою нитку.😁👍
Has anyone noticed the efficiency of his hand and finger movements? They rarely jump all over the fingerboard like a spider doing a Scottish jig.
연세가 많으신데 연주실력은 최고네요,,과연 세고비아 위대합니다,,,
How's Korea treating you bud?
I had a custom 62 Ramirez made for him and it was difficult to play, I guess you had to have perfect technique. I sold it to a student in Christopher Parkening's master class
He was already an old man by 1956.
But very much still in his prime, it wouldn't until be much later that we knew he was falling still he would surprise us with his expression. 1976 Christopher Nupen captured so much for us.
Was the guitar tuned down a half step, or is that an artefact of cleaning it? Sounds very well. Clear highs, resonant bass.
The poster may want to add Sevilla at the end... .
What song is he playing at 1250 ?
Prelude 3, Study 1 - Heitor Villa-Lobos
I think I have already read some observations and contempt for the particular predilection of concert players, scholars and guitar enthusiasts for the works that HVL composed for this instrument. Sectoral and partial admiration?
So? I think it is poor in spirit to despise them, to whom the appreciation should go for having made HVL known all over the world, even in Japan.
I will repeat the previous response to a comment similar to that I read here and seem to re-read. Perhaps in doing so, it will not disappear again ...
《I understand that Villa Lobos was interested in being presented in Segovia, *. The studies and preludes for guitar of HVL are not studied for a particular musical beauty, but for the extraordinary ability to enhance and innovate the musical characteristics of the classical guitar, the beauty of the vibrato, the complexity of the arpeggios, Studies of scales in very rare tones. to be performed on the guitar: a knowledge, therefore, which in every part of the world is considered fundamental for the formation of a class guitarist. Nor is it true that guitarists are not interested in the other works of HVL, quoted in about 1,300 pieces **. In the little that I know, I know of guitar transcriptions of lullabies (Nesta rua tem um bosque), songs (Tristorosa), solo guitar reductions of an I think I have already read observations and contempt for the particular predilection of concert players, scholars and guitar enthusiasts for the works that HVL composed for this instrument. Sectoral and partial admiration? So? I think it is poor in spirit to despise them, to whom the appreciation should go for having made HVL known all over the world, even in Japan. I will repeat the previous response to a comment similar to that I read here and seem to re-read. Perhaps in doing so, it will not disappear again ... 《I understand that Villa Lobos was interested in being presented in Segovia, *. The studies and preludes for guitar of HVL are not studied for a particular musical beauty, but for the extraordinary ability to enhance and innovate the musical characteristics of the classical guitar, the beauty of the vibrato, the complexity of the arpeggios, Studies of scales in very rare tones. to be performed on the guitar: a knowledge, therefore, which in every part of the world is considered fundamental for the formation of a class guitarist. Nor is it true that guitarists are not interested in the other works of HVL, quoted in about 1,300 pieces **. In the little that I know, I know of guitar transcriptions of lullabies (Nesta rua tem um bosque), songs (Tristorosa), solo guitar reductions of an accompaniment work to an opera for soprano, orchestra and eight cellos (Bachiana Brasileira no. 5). work to an opera for soprano, orchestra and eight cellos (Bachiana Brasileira no. 5).
I understand that it is not compulsory that classical guitar music should be liked, but from here to talk about boredom and nausea ... what a lack of spirit!
It is a question of sensitivity, of culture: if they are lacking and if there is none, it is better to be silent and seem stupid than to talk and remove the doubt.
And, speaking of culture, apart from the criticisms that, perhaps with too little generosity, you have addressed to my enthusiasm for a small part of HVL's work, I am instead happy to have found in many Japanese young people a great interest in classical guitar and the works dedicated to it, with an audience of guitarists of excellent quality and sensitivity towards this instrument, and many prestigious self-taught luthiers who in those lands have brought the production of classical guitars to a level of world excellence. And this incredible interest in Western and Latin American music on the part of Japanese culture, developed over the centuries on musical canons absolutely unmatched with others, is truly commendable, also and above all because it has been recorded for a few decades. This is why in the face of so much enthusiasm, one has the opportunity to forgive perhaps contemptuous judgments, more realistic than the king. ~~~~~~~
(*):
~ Wikipedia, HVL;
~ www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.573116&catNum=573116&filetype=About%20this%20Recording&language=Italian
~ www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.573117&catNum=573117&filetype=About%20this%20Recording&language=Italian
~ bibliolmc.ntv31.com/node/148
(**): Enciclopedia Treccani, HVL;
La musique pour plus d'humanité .Quand deux pays se font la guerre c'est par ignorance de leur culture respective.
Un grand interprète est un passeur de paix .
Au milieu des ruines il faut que l'ame survive , une guitare peut aider à cela .
Where can I find a list of these songs ?
Hello, they're all documented in the description, thank you for watching!
Solo ĺa modita' e' il futoro come il passato
O my guitar 🎸
The only picture ieye can just remember 30yrs ago ieye steyed thkg oveyou I will always be inlove with you Christina frivascabia iloveyoumemust and yes your beautiful face and family ieye just Love you so much and ieye
The date of video recording of 1956 cannot be correct. Based on Segovia’s year of birth 1893 he must have been 63 at the time of this recording. He looks at least 73 in this video ! Anyway he is Guitar and Guitar is Segovia. I don’t think anyone can ever feels and plays guitar like him.
I think he's miming, it's really Chuck Berry behind the curtain. I had the pleasure of attending one of Maestro's performances. He broke a string and everyone gasped. He made a quelling gesture with his hands and we all got a lesson in how the boss does a quick string change (about 4 minutes).
Мне очь понравилось , ну очень.😁👍
What is the name of the first piece he plays? It is not gavotte l or ll. Thanks
The name (in italian) is "Vaghe bellezze e bionde trecce d'oro", and there is on TH-cam a performance of this piece by the italian guitarist Mario Gangi. Search for "mario gangi vaghe bellezze".
Non mi ero accorto che probabilmente sei italiano e avrei potuto evitare di commettere errori in inglese. Però può servire a qualche non-italiano-parlante 🙂
@@willymartinez2038 grazie
17:38
Да сам Маэстро Андрей Сеговия
I don't think this is 1956. He is playing a Ramirez 1a which he did not play until the early 1960's. In 1956 he probably would have played a Hauser guitar.
He was actually thin as a young man. Theres a picture of him with Miguel Llobet and hes actually skinny.
min 18:30 track id plizzz????
Etudies n.1 heitor villa lobos
@@manueldemartinis695 🙏
see john renbourn
More like 1968. He plays a Ramirez guitar
Es un maestro, pa igualarle se inventaron las guitarras eléctricas y mesas de mezclas, puede parecer laud, piano, arpa, y aveces percusión, todo. Pero Andrés siempre lo veo igual ya mayor, siempre igual. 😊
19:04 even the master made mistakes.
A note played wrong at 15:07.
1956? That's a Rameriz.
Excellent performance but this is certainly not 1956. He’s playing a long scale a Ramirez that didn’t even exist until 1961. I would estimate this to be 1962-1964.