Back in 2016 I picked up Chris at a hotel and drove him to his venue. Even though I was an hour or more late due to traffic, missed messages, and a torrential thunderstorm he insisted on buying me lunch. My son was along and he bought him lunch too ! Just a regular guy. Wish I could get together with him again.
The guitar, the top of the art of musical interpretation. Probably the most difficult instrument both from a technical point of view and therefore also from the "feeling it" point of view. But when you dominate this instrument, you become someone who is able to single handedly open a door to a beautiful sonorous world.
Putting this on playlist now. I grew up (reluctantly, I admit) listening to Parkening, Bream, Williams, and the Master because my dad was *into* it. But I'm grateful now, because I actually got to see Segovia perform in New York in 1975.
Nobody can argue with the importance of Segovia's contributions. What he did cannot be underestimated. Most of all, and most importantly, he got people to listen to what he was trying to do. It is, however, important to remember that what he did was not in a vacuum. There were many others too. The truth is that many young players in conservatory today play much better than Segovia did. Maybe that is the best testimony to what he did.
I'm so glad he touched on the philosophy of giving a preference to using the same string for a melody. That explains so much of the "sound" Segovia achieved with his arrangements. I didn't know that it was also a preference of cello arrangements as well.
Thanks so much for sharing! I discovered the “Parkening Plays Bach” recording in the music library at the University of Tennessee in the Spring of 1989. The Music Department had a collection of CD’s along with both Sennheiser and AKG headphones that students could check out. I was so impressed (and emotionally captivated) by his recording of the Weiss Passacaglia that I went out and bought myself a copy on CD immediately. I set upon acquiring hi-fi equipment in an effort to be able to reproduce that recording with ever and ever greater fidelity. In 1995, I had the opportunity to hear him perform a concert in the UT Music Hall. Having only learned of the concert the day of after the tickets had been on sale for quite some time we could only get seats in the very rear of the auditorium against the rear wall. Halfway through the performance, we decided to close our eyes and just listen. The detail and nuance of expression that I could discern from Christopher’s playing (even sitting against the back wall of the auditorium) was so phenomenal that upon returning home and attempting to enjoy those pieces through my hi-fi system, I was so disgusted that I just wanted to throw all of it in the garbage.
Just came across this video. As a "struggling" guitarist I was fascinated to see this lecture and performance at the 92nd street Y. A wonderful message! Now that I have retired from almost 40 years as a Y employee, I can now put in the hours of practice I so desired.
A wonderful interview with the magnificent Christopher Parkening. I, too, was mesmerized by his album of Bach's music so elegantly rendered. I love his comments about passion being an essential ingredient that elevates performance. A great guitarist and likely a fascinating and kind human being. Thank you for your passion and dedication. Brilliance.
I have seen Segovia perform 3 times in my life. It was in the 70s and once in the 80s. I also went to see Julian Bream as well. I was just a kid and could only afford cheap tickets; I went alone. I had picked up playing classical guitar at age 17 and there weren't that many guitarists concertizing. Certainly I had never heard of Barrrios at that time. Eventually I would hear recordings of Ida Presti and I was amazed at her playing. Back then there were very few books on classical guitar and Segovia's publications were the absolute ones to look for. His Diatonic Major and Minor Scales were like a bible to us. I practiced those scales every day for over 3 years; it formed the basis of my technique until I began studying with George Sakellariou, a student of Segovia's. There is no denying that Segovia had a large ego, but then in order to get that great at something you have to have a bit of ego. Having said that I can't believe that there are some viewers who would say that Segovia did not have good technique.
I agree,with one being able to hear the difference and in some cases choosing to play a note on one string verses another,regardless of easier or more difficult.When one transcribes themselves, and cares enough to immerse themselves in the "spirit"( if you will) of the piece,then the insight will guide one to "know" what notes to use,how to play them as well as what to add or discard when using other interpretations as a reference,etc...this in turn results in your own natural expression 👽
Hahah, I asked the same question of Christopher about his relatively long fingernails during a reception held after a master class he gave at ETSU in 1997 and got the same answer. I remember waiting in line to speak to him immediately after the master class and being in such of awe of my idol that I was nearly unable to speak.
In addition to all Segovia had massive heavy hands with very thin fingertips. As if nature made him to be the best guitarist. He had what must be the ultimate guitar type of hand. His right hand produces relatively effortless all sound, and most prominent his majestic bases, and his left due to small fingertips fits comfortable between frets and strings. If you don't believe me try put weights on your right hand fingers and you'll see you getting better sound.
Parkening's early Bach recording has a very important place in my life, starting in my teens. I think I checked out the CD from the library. I also borrowed a book with an arrangement of "Jesu, Joy of Man's Desiring," but, alas, it was in a different key from Parkening's. Also, a bit later, I was given a cassette tape (which I now have on CD) of Segovia and John Williams (which I thought was odd at the time, but makes more sense now). I loved how Segovia took such risks (almost extreme use of rubato, vibrato, etc.), almost to the point of being sloppy. I know it's practically sacrilegious to use that word and "Segovia" in the same sentence, but since Segovia's and Williams' recordings were forcibly presented to me back to back, I couldn't help but notice the difference between the romance of Segovia and the precision of Williams. I preferred the Segovia performances by far, despite the fact that the recording quality was much lower, since they were recorded much earlier with the technology available. I've since come to also appreciate and deeply enjoy Williams' work, but as a younger person the raw energy and emotion I felt from Segovia really impressed me.
I appreciate your respect for Segovia because of all of your personal interaction---But you may be giving him too much respect---As documented in Agustin Barrios biography seems to show a dark side of jealousy on Segovia's part, Why did he not try to bring Barrios into Europe ---why did he criticize Barrio's compositions ----he was dead wrong---Barrios compositions are now considered at the highest level. He also seemed closed minded to new things---new types of music Please somebody respond--am I wrong?
I wonder how good Segovia would have been if he had been born into poverty instead of being a Marquis. It's easy to have the best teachers etc when your filthy rich, but I wonder how far he would have got on sheer talent if he'd been poor. I also think certain doors were opened for him because of his position. I do agree he was one of the best guitarist ever by the way.
+PurdyBear1 Segovia became a Marquis in 1981, when his career was over, precisely for his achievements. His family did not have to pay for his training - he was self-taught. A guitar was the only expense - cheap deal for a sheer talent.
+The 10-String Guitar Channel Man, all your knowledge of Segovia (if it is indeed knowledge and not hear-say) was gotten at second and third-hand, and I'd bet you went into your first Segovia recording with your prejudices already well established. I'd bet you think the Wright Brothers were amateurish too, no? After all, their little plane was fabric and wood for crying out loud. how crude, right? I studied guitar formally, and there is no guitarist who moved me like Segovia did, and I knew nothing about him. I judged the musicianship I was hearing.
"Maestro, gee that Chaconne sure's a neat piece of music." He is referring to the Partita in D minor for solo violin (BWV 1004) by Johann Sebastian Bach, 5th movement. It is glorious! Love it on the guitar more than the violin. But I am biased.I play the guitar, not the violin.
I find that what Segovia has said about the pains of playing an instrument is entirely accurate. Moreover, I have always had a strain on the heart from playing for the last 27 years. I am for sure not the person who synchs up the breathing best. Please let me know if you guys have encountered this strain on the heart while playing too. Segovia’s uncontrollable bursts of anger are somewhat of a confirmation. I don’t know if any of you guys have also had this love-hate relationship with the guitar throughout the years. I would love to play for 3 h straight and not feel aggitated in the least. But playing does cause this aggitation. I am not looking for advice, as my profession is in a different field. I am just looking to know whether you guys share this experience or not.
This is so awesome (and often funny)! Also, the open and loud coughs ( like from the anecdotes Parkening mentions) in live classical performances really are outrageous and unbelievable sometimes; like, can't people clear their throats beforehand, or at least muffle it like Segovia said?
Chris was a good friend of Chet Atkins. I’ll say this much, Chet could easily play Segovia’s pieces. In fact, he did an album or two of purely classical pieces. Nailed ‘em. But I’ll bet Segovia could not get close to doing Chet’s arrangements.
As guitarists we owe Segovia our gratitude, however we should acknowledge that he promoted a rather unhealthy guitar personality cult with himself at its apex. Traces of it are well evident in this interview.
lol it's hilarious reading some of these comments from people who think they're more qualified to talk about quality of playing than the guy who made the entire world respect the instrument for the first time, or one of his star pupils. Segovia may have been a snob, but at least he earned the right to be one. How many cities were on YOUR last world tour? 🤣
He was coming to the Hult Center in Eugene. They gave me a replacement ticket to see Isaac Stern who filled in for Segovia. I went, but it wasn't the same.
Parkening is telling stories that show Segovia's pathetic flaws as a human being but he is doing so with a voice that would seem to be talking about virtues.
It just reflects the fact that Parkening is more of a conservative than Williams. Naturally he is attracted to the simplistic answets of an arrogant, incompetent dictator like Segovia for the same reason there are Trump supporters.
Did not know Parkening was illiterate. Shocking, horrible.Other than that , inspiring and informative.As fellow classical guitarist and Segovia student/friend, Ray Reussner, has said about playing the guitar.." Please, just one soulful note".
Segovia was a conservative and Nazi apologist. Parkening is a conservative. Naturally there is an attraction. Also certain rigid and oversimplistic notions about art that attend conservatism. And their narratives being more real to them than what can actually be observed.
@Doug Miles No,, they were not in line with the socialists. Franco, Mussolini and Hitler were fascist/far right. The republicans in Spain which were supported by Stalin were far left. they were opposites. That is one of the reasons why the USA and UK wouldn't get involved and Spain and later the USA was slow to get involved against Germany. They hated the far left (Spainish Republicans/Soviets) and far right ( Franco/Mussolini/Hitler/Fascist/Nazis) equally. Where you make your flaw in reasoning is in thinking that Southern Democrats of that time were liberals. They were not. The Republicans in the USA were liberal and the Democrats (particularly the southern ones) were conservative. Things started to change with Roosevelt. Roosevelt and especially his VP Henry Wallace were liberal while much of the Democrat party were still southern conservatives. They are the ones that were responsible for pushing Wallace out and getting Truman in. As Democrats started to champion liberal causes more and more, the Republicans started becoming more conservative and trying to win over the conservative southern Democrats that were still racist. Just look up "Southern Strategy" and you will see how the Republicans became more conservative and the Democrats became more liberal after the Civil Rights bills were passed.
Can anyone precisely translate the vernacular of "Snot Nose" into Segovian in what merely reflects the shallow fickle nature of his audiences and claque. Sorry only Andre Segovia best demeans Segovia where he is the best detractor of his life so well in his rude callous remarks and life in being a musician who should give the guitar back to "those noisy flamenco guitarists" for Segovia was sad tyrant.
I was very interested to hear this talk, but when I checked Mr. Parkening's discrography I found out that he only changes places of compositions, which are in every guitarist's repertoire, in about a dozen of his CDs... It appears that Mr. Parkening's sell-point is the fact he was Segovia's student... I was very inspired by the talk, but it ended up in a bitter disappointment👎👎👎
Luckily, he didn't "imitate" Segovia at all; it would have been a catastrophe. We understand that Parkening owes him gratitude but Segovia has never been what the management companies wanted to make him appear to be. Not even close.
I can't listen anymore (at 9 minutes). I have no tolerance for bullies-whether on the playground or in a music class. I finger a piece of music as I please and if someone doesn't like it, they can leave the room. I have no patience for prima donnas. The best players are humble and caring (e.g. John Williams, Xuefei Yang).
You think John Williams is humble? He is an Englishman! ffs. All he has to do is open his mouth to say 'good morning' and the pomposity comes out like a flood. What a joke.
Segovia was everything Christopher Parkening says he was- the greatest ever. If you play classical guitar, and disrespect Segovia, you're just a third rate player by definition.
Yet another reason why TH-cam is the best thing for Guitar since nylon
Back in 2016 I picked up Chris at a hotel and drove him to his venue. Even though I was an hour or more late due to traffic, missed messages, and a torrential thunderstorm he insisted on buying me lunch. My son was along and he bought him lunch too ! Just a regular guy. Wish I could get together with him again.
The guitar, the top of the art of musical interpretation. Probably the most difficult instrument both from a technical point of view and therefore also from the "feeling it" point of view. But when you dominate this instrument, you become someone who is able to single handedly open a door to a beautiful sonorous world.
Putting this on playlist now. I grew up (reluctantly, I admit) listening to Parkening, Bream, Williams, and the Master because my dad was *into* it. But I'm grateful now, because I actually got to see Segovia perform in New York in 1975.
Nobody can argue with the importance of Segovia's contributions. What he did cannot be underestimated. Most of all, and most importantly, he got people to listen to what he was trying to do. It is, however, important to remember that what he did was not in a vacuum. There were many others too. The truth is that many young players in conservatory today play much better than Segovia did. Maybe that is the best testimony to what he did.
I'm so glad he touched on the philosophy of giving a preference to using the same string for a melody. That explains so much of the "sound" Segovia achieved with his arrangements. I didn't know that it was also a preference of cello arrangements as well.
The anecdote about the thumb is just hilarious. What a passion, I love this.
Parkening is my favorite guitarrist and I have seen this interview over 8 times already, thanks for posting this!
That was a great talk.... love the part at 30:44 about proper fingerings. I have the upmost respect for CP.
A beautiful and moving talk ,thank you Mr . Parkening.
Thanks so much for sharing! I discovered the “Parkening Plays Bach” recording in the music library at the University of Tennessee in the Spring of 1989. The Music Department had a collection of CD’s along with both Sennheiser and AKG headphones that students could check out. I was so impressed (and emotionally captivated) by his recording of the Weiss Passacaglia that I went out and bought myself a copy on CD immediately. I set upon acquiring hi-fi equipment in an effort to be able to reproduce that recording with ever and ever greater fidelity. In 1995, I had the opportunity to hear him perform a concert in the UT Music Hall. Having only learned of the concert the day of after the tickets had been on sale for quite some time we could only get seats in the very rear of the auditorium against the rear wall. Halfway through the performance, we decided to close our eyes and just listen. The detail and nuance of expression that I could discern from Christopher’s playing (even sitting against the back wall of the auditorium) was so phenomenal that upon returning home and attempting to enjoy those pieces through my hi-fi system, I was so disgusted that I just wanted to throw all of it in the garbage.
thank u very much Mr Parkening for u your remarkable speech on our dear Maestro Segovia...you r also amongst the greatest too...
Christopher, thanks for this great talk. So little of your personality on the web.
This is such a wonderful interview, thank you for sharing this insightful series
This is a great talk!
Just came across this video. As a "struggling" guitarist I was fascinated to see this lecture and performance at the 92nd street Y. A wonderful message! Now that I have retired from almost 40 years as a Y employee, I can now put in the hours of practice I so desired.
A wonderful interview with the magnificent Christopher Parkening. I, too, was mesmerized by his album of Bach's music so elegantly rendered. I love his comments about passion being an essential ingredient that elevates performance. A great guitarist and likely a fascinating and kind human being. Thank you for your passion and dedication. Brilliance.
Playing with feeling and soul as CP puts it,is what music as an art should deliver,well said.
I have seen Segovia perform 3 times in my life. It was in the 70s and once in the 80s. I also went to see Julian Bream as well. I was just a kid and could only afford cheap tickets; I went alone. I had picked up playing classical guitar at age 17 and there weren't that many guitarists concertizing. Certainly I had never heard of Barrrios at that time. Eventually I would hear recordings of Ida Presti and I was amazed at her playing.
Back then there were very few books on classical guitar and Segovia's publications were the absolute ones to look for. His Diatonic Major and Minor Scales were like a bible to us. I practiced those scales every day for over 3 years; it formed the basis of my technique until I began studying with George Sakellariou, a student of Segovia's.
There is no denying that Segovia had a large ego, but then in order to get that great at something you have to have a bit of ego. Having said that I can't believe that there are some viewers who would say that Segovia did not have good technique.
Awesome! Love Christopher Parkening. great spirit!
Amazing, thought provoking interview. Really enjoyed it.
Great interview. Enjoyed it.
excellent
55:00 Players today should take heed of this. Still very relevant. You cannot tell players apart.
I agree,with one being able to hear the difference and in some cases choosing to play a note on one string verses another,regardless of easier or more difficult.When one transcribes themselves, and cares enough to immerse themselves in the "spirit"( if you will) of the piece,then the insight will guide one to "know" what notes to use,how to play them as well as what to add or discard when using other interpretations as a reference,etc...this in turn results in your own natural expression 👽
Humble and decent man as well as a great player
Hahah, I asked the same question of Christopher about his relatively long fingernails during a reception held after a master class he gave at ETSU in 1997 and got the same answer. I remember waiting in line to speak to him immediately after the master class and being in such of awe of my idol that I was nearly unable to speak.
38:38 Ben sits still for more than ten seconds.. 35:50 Ben rocks on.. 58:00 Ben's foot decides to rock on its own..
ahahaha I had noticed the second, but his foot was funny, looks like a rabbit or something
In addition to all Segovia had massive heavy hands with very thin fingertips. As if nature made him to be the best guitarist. He had what must be the ultimate guitar type of hand. His right hand produces relatively effortless all sound, and most prominent his majestic bases, and his left due to small fingertips fits comfortable between frets and strings. If you don't believe me try put weights on your right hand fingers and you'll see you getting better sound.
What a Guy! What an artist!
Parkening's early Bach recording has a very important place in my life, starting in my teens. I think I checked out the CD from the library. I also borrowed a book with an arrangement of "Jesu, Joy of Man's Desiring," but, alas, it was in a different key from Parkening's. Also, a bit later, I was given a cassette tape (which I now have on CD) of Segovia and John Williams (which I thought was odd at the time, but makes more sense now). I loved how Segovia took such risks (almost extreme use of rubato, vibrato, etc.), almost to the point of being sloppy. I know it's practically sacrilegious to use that word and "Segovia" in the same sentence, but since Segovia's and Williams' recordings were forcibly presented to me back to back, I couldn't help but notice the difference between the romance of Segovia and the precision of Williams. I preferred the Segovia performances by far, despite the fact that the recording quality was much lower, since they were recorded much earlier with the technology available. I've since come to also appreciate and deeply enjoy Williams' work, but as a younger person the raw energy and emotion I felt from Segovia really impressed me.
2:36 The passion of Andres Segovia.
Thanks for the surf wax tip!
I appreciate your respect for Segovia because of all of your personal interaction---But you may be giving him too much respect---As documented in Agustin Barrios biography seems to show a dark side of jealousy on Segovia's part, Why did he not try to bring Barrios into Europe ---why did he criticize Barrio's compositions ----he was dead wrong---Barrios compositions are now considered at the highest level. He also seemed closed minded to new things---new types of music Please somebody respond--am I wrong?
Barrios was a better player, and far greater composer
I wonder how good Segovia would have been if he had been born into poverty instead of being a Marquis. It's easy to have the best teachers etc when your filthy rich, but I wonder how far he would have got on sheer talent if he'd been poor. I also think certain doors were opened for him because of his position. I do agree he was one of the best guitarist ever by the way.
+PurdyBear1 Segovia became a Marquis in 1981, when his career was over, precisely for his achievements. His family did not have to pay for his training - he was self-taught. A guitar was the only expense - cheap deal for a sheer talent.
+The 10-String Guitar Channel Man, all your knowledge of Segovia (if it is indeed knowledge and not hear-say) was gotten at second and third-hand, and I'd bet you went into your first Segovia recording with your prejudices already well established. I'd bet you think the Wright Brothers were amateurish too, no? After all, their little plane was fabric and wood for crying out loud. how crude, right?
I studied guitar formally, and there is no guitarist who moved me like Segovia did, and I knew nothing about him. I judged the musicianship I was hearing.
Please someone help me with what he is saying here 7:47
"Maestro, gee, that Chaconne sure is a neat piece of music!"
"Maestro, gee that Chaconne sure's a neat piece of music."
He is referring to the Partita in D minor for solo violin (BWV 1004) by Johann Sebastian Bach, 5th movement. It is glorious! Love it on the guitar more than the violin. But I am biased.I play the guitar, not the violin.
I like this hosts energy.
I find that what Segovia has said about the pains of playing an instrument is entirely accurate. Moreover, I have always had a strain on the heart from playing for the last 27 years. I am for sure not the person who synchs up the breathing best. Please let me know if you guys have encountered this strain on the heart while playing too. Segovia’s uncontrollable bursts of anger are somewhat of a confirmation. I don’t know if any of you guys have also had this love-hate relationship with the guitar throughout the years. I would love to play for 3 h straight and not feel aggitated in the least. But playing does cause this aggitation. I am not looking for advice, as my profession is in a different field. I am just looking to know whether you guys share this experience or not.
This is so awesome (and often funny)! Also, the open and loud coughs ( like from the anecdotes Parkening mentions) in live classical performances really are outrageous and unbelievable sometimes; like, can't people clear their throats beforehand, or at least muffle it like Segovia said?
Hi I'll see. I think about a Segovia play, so easy , how to play low tempo, metoronome, 60, 70, 80, tempo up, good to play ?
49:00 golden truth
Augustine classic guitar strings!!
54:30 damn!
Chris was a good friend of Chet Atkins. I’ll say this much, Chet could easily play Segovia’s pieces. In fact, he did an album or two of purely classical pieces. Nailed ‘em. But I’ll bet Segovia could not get close to doing Chet’s arrangements.
As guitarists we owe Segovia our gratitude, however we should acknowledge that he promoted a rather unhealthy guitar personality cult with himself at its apex. Traces of it are well evident in this interview.
The guitar's best friend--Segovia.
lol it's hilarious reading some of these comments from people who think they're more qualified to talk about quality of playing than the guy who made the entire world respect the instrument for the first time, or one of his star pupils. Segovia may have been a snob, but at least he earned the right to be one. How many cities were on YOUR last world tour? 🤣
Hard to believe Bill said that?
I had a ticket to a Segovia guitar concert, but he died on me.
Wow, that's sucks.
I, too. Carnegie Hall. I had seen him not too long before that in Portland, Oregon. Amazing.
He was coming to the Hult Center in Eugene. They gave me a replacement ticket to see Isaac Stern who filled in for Segovia. I went, but it wasn't the same.
Mangore is the best of all times
GOOGLE ...ALEX FOX ...TH IS GUY IS THE REAL DEAL! SUPER TALENTED AND ENTERTAINING .....HE MAKES GUITAR PLAYING SO.......EFFORTLESS
Parkening is telling stories that show Segovia's pathetic flaws as a human being but he is doing so with a voice that would seem to be talking about virtues.
So CP and JW talk; one loves Segovia, the other "hates" him. Interesting.
What? When was it ever established that John Williams 'hates' Segovia?
It just reflects the fact that Parkening is more of a conservative than Williams. Naturally he is attracted to the simplistic answets of an arrogant, incompetent dictator like Segovia for the same reason there are Trump supporters.
Did not know Parkening was illiterate. Shocking, horrible.Other than that , inspiring and informative.As fellow classical guitarist and Segovia student/friend, Ray Reussner, has said about playing the guitar.." Please, just one soulful note".
Segovia was a conservative and Nazi apologist. Parkening is a conservative. Naturally there is an attraction. Also certain rigid and oversimplistic notions about art that attend conservatism. And their narratives being more real to them than what can actually be observed.
@Doug Miles No,, they were not in line with the socialists. Franco, Mussolini and Hitler were fascist/far right. The republicans in Spain which were supported by Stalin were far left. they were opposites. That is one of the reasons why the USA and UK wouldn't get involved and Spain and later the USA was slow to get involved against Germany. They hated the far left (Spainish Republicans/Soviets) and far right ( Franco/Mussolini/Hitler/Fascist/Nazis) equally. Where you make your flaw in reasoning is in thinking that Southern Democrats of that time were liberals. They were not. The Republicans in the USA were liberal and the Democrats (particularly the southern ones) were conservative. Things started to change with Roosevelt. Roosevelt and especially his VP Henry Wallace were liberal while much of the Democrat party were still southern conservatives. They are the ones that were responsible for pushing Wallace out and getting Truman in. As Democrats started to champion liberal causes more and more, the Republicans started becoming more conservative and trying to win over the conservative southern Democrats that were still racist. Just look up "Southern Strategy" and you will see how the Republicans became more conservative and the Democrats became more liberal after the Civil Rights bills were passed.
Can anyone precisely translate the vernacular of "Snot Nose" into Segovian in what merely reflects the shallow fickle nature of his audiences and claque. Sorry only Andre Segovia best demeans Segovia where he is the best detractor of his life so well in his rude callous remarks and life in being a musician who should give the guitar back to "those noisy flamenco guitarists" for Segovia was sad tyrant.
I was very interested to hear this talk, but when I checked Mr. Parkening's discrography I found out that he only changes places of compositions, which are in every guitarist's repertoire, in about a dozen of his CDs... It appears that Mr. Parkening's sell-point is the fact he was Segovia's student... I was very inspired by the talk, but it ended up in a bitter disappointment👎👎👎
Bingo. No creativity whatsoever. A bunch of copying machines.
@@jeremystuart149 Thats the entire industry though. Parkening at least has the definitive version of every piece he has recorded. Especially Chaconne
Horrible camera work for a lot of this video.
Luckily, he didn't "imitate" Segovia at all; it would have been a catastrophe. We understand that Parkening owes him gratitude but Segovia has never been what the management companies wanted to make him appear to be. Not even close.
I can't listen anymore (at 9 minutes). I have no tolerance for bullies-whether on the playground or in a music class. I finger a piece of music as I please and if someone doesn't like it, they can leave the room. I have no patience for prima donnas. The best players are humble and caring (e.g. John Williams, Xuefei Yang).
You think John Williams is humble? He is an Englishman! ffs. All he has to do is open his mouth to say 'good morning' and the pomposity comes out like a flood. What a joke.
Segovia was everything Christopher Parkening says he was- the greatest ever. If you play classical guitar, and disrespect Segovia, you're just a third rate player by definition.
Lol, so you think John Williams is a third rate player?