Most guitarists select the music they wish to play. Far fewer are selected by the music, but here the maestro was. This interpretation remains unmatched to this day.
This is what a virtuoso sounds like. When Segovia died, John Tesh of "Entertainment Tonight" played this clip with him speaking over it. I had recorded it, and wore that little section out. Now, 30 years later, I get to hear it all I want on TH-cam. Thank you maestros Torroba and Segovia!
For methis is, by far, the best peice ever written. And I love how Maestro Segovia plays it. It feels like it has taken me back in time everytime I hear this.
Uma das mais belas interpretações musicais. Ele exibe a sonoridade possível do violão em toda a sua plenitude! Dá vontade de ouvir mais música, de estudar, de tocar, de achar que o mundo dá para ser melhor.
What a dazzling display of the execution of the colors that the classical guitar can produce in the hands of the master!!! Segovia was to the guitar, what Bruce Lee was to the martial arts!!! Bravo maestro!!!🥂
Incomparable!! Le gustaba decir que la guitarra encerraba, en un solo instrumento, todos los sonidos de una orquesta. Escuchando interpretaciones como ésta, te das cuenta de que no era una frase hecha. La riqueza de matices sonoros que arranca de la guitarra, es impresionante.
Sans Segovia, les grands compositeurs comme Torroba, Villa-Lobos, Turina , Ponce et j'en passe, n'auraient pas écrit pour la guitare ! Merci maestro R.I.P.
It's unfortunate we don't have more recordings of Segovia in his earlier years like this one. Many of the ones available are when he was up in age and his technical facility had diminished. Fantastic recording
Absolutely just sublime! I'd like to to know exactly how the sound has been edited on this recording, because, the origional sound on this wasn't so good on this session, being done so long ago. Exactly how has the sound engineer managed to capture the magic of Segovias' unique tone on this astounding instrument from such an old recording?? Whatever has been done has captured the magic here!! Hats off to the sound man!!!
He had made the classical guitar the concert instrument . And who can surpass him now after he had left us ? And whom can we listen with such a gladness now ?
@@amcdougall9998 Yes, you are right . Giant . He wanted to make the classical guitar a concert instrument . And He did it . I was talking about what I said in the comments , the one that you answered, in particular . You listen to a well-recognized , so to speak , classical guitarist, for example, on TH-cam .And for more than an hour of his game, you can not catch yourself thinking that you liked half a minute of what he does : the way he plays, the tempo of a musical work chosen by him, and so on . And what happens . A person studied with a famous Maestro , or even with several, as is often the case in our time , gives a lot of concerts , and after listening to it, you catch yourself thinking that you have unnecessarily spent time . I don't speak English well , I was helped by a Yandex translator .
Thank you for your response. It was kind of you to reply. I think we both agree on who the Maestro is but I do love to search for and listen to his ‘children’. It was good to make contact with you through this wonderful music, and your English is much better than my Russian. 👏
@@amcdougall9998 , Thank you for an answer . But what do you mean by the word ‘children’ ? Maybe playing of this boy : th-cam.com/video/LbWnx86e8aw/w-d-xo.html
I must say a lot of people look down on Segovia because he didn't like it when people changed the chord and note placements from how the original piece was suppose to be played and he was in the right for this when it comes to Classical guitar because its about form and order. Really to me It doesn't matter how fast or how many songs you think you can play, or how you think you can make it sound better by changing all the fingerings from its originality. Its not a crime to do so but It's all about the tone. He played around Miguel Llobet who also had wonderful tone in his music, they new each other. Also Maria luisa Anido was around Llobet so no doubt they all played great. If you don't have tone you don't have life in your music.
Oh gosh how could you have missed this? Of course fingerings matter, but who says the fingerings Segovia liked where the best? Remember most of the guitar music that existed during Segovia's time were transcriptions from other instruments, so a reference to the "originality" of a fingering didn't even exist. It was and it is still Today up the players to find out what works best for them and use it.
Totally agree with Joel Salazar. Besides this, most of the times Sebovia's fingering was not the best option. I do not deny his artistry by saying this, but he was not an innovator in any aspect, long before him Tárrega and Llobet already transcripted Bach and with great success.
Tenho a impressão de que o áudio original foi melhorado (talvez o vídeo também). Mas, não interessa: eis o melhor do Segóvia, absolutamente incomparável em termos de som, coloratura, timbre, fraseado e nuançes musicais. Aliás, parece aqui que está no auge de sua forma técnica, e toca com extrema facilidade e um estilo impossível de ser imitado por qualquer outro. Ele é muito mais feliz nesse repertório (Ponce, Tansman e os romãnticos) do que tocando Bach ou Villa-Lobos. No minimo, uma performance transcendental.
The audio has been restored of course. This is taken from this other video: /watch?v=rjRLpE_TzdA You must see it, he plays the Variations on Mozart by Fernando Sor amazingly. It's awesome. About the year in which it was recorded i don't know, but considering the hair he has this must be around the 50' when he was 50 or 60 years old, simply awesome. This video demonstrates the genious of Segovia from every aspect of the interpretation of the guitar: technique, expression, dynamics... Of course, Segovia had technique, not always he was the sloppy guitar player most of the people know. This only happened in the last period of his career when, as it's logical, his technical capacities decreased due to age. This performance can't be equalized nor for any other guitarist nor for any other musician (pianist, violinist). Simply genious.
Absolutely, Julan. This is such a fluid sound and way of playing (those "milked" notes) that only he had. Obviously, age reduced his dexterity. But we should appraise technique by the final musical result, and here it is unsurpassable. This is a moment where the guitar shines likes no other instrument (I´ve seen the Variations, and I agree it´s on this level of transcendence). These performances are worth more than probably 90% of classical guitar recordings or performance. There are moments (albeit with a totally different esthetic) like this: I think of some of Breams, some things by Yepes, Pepe or Angel Romero playing the Aranjuez, some Barrueco, some Russell, some Galbraight, some early Parkening...well, there´s more, but these moments are few and far between. Generally, we don´t find this level of musical transcendence on the guitar.
Ahh... the guitar... what a polemical instrument. Most of the times it speaks absolutely nothing (take a look to what Ana Vidovic makes with this piece and see how it is possible to destroy it, for instance), but give it to the appropiate hands and it will speak in such a way that it is unbeliable how such a little instrument is able to produce such incredible sounds. An instrument that talks so sincerely and directly to your hearth, really. The reason of such extraordinary difference lays in the little details of the interpretation, and the guitar is expert in these little details as you know. It's amazing and even degrading how much the music changes from one guitarist to another. Indeed, most of the times i don't want to know anything about many modern guitarists and the route that the guitar has taken because they just make me sad to know that i'm playing the same instrument they play. But then i come back to Segovia, Yepes and the old school and i switch from the absolut dissapointment to the absolut joy and amazement. Definitely the most difficult instrument.
That´s well said, and I would go further: most things most of the time say little or nothing; if they say someting, it´s soon forgotten. Few (and I say few compared to the sheer mass of art objects - books, movies, music -things in any field - that just fall into oblivion). Obviously there are experiences in literature, film and music to last one a lifetime, but out of the 100 or 1000, how many. That´s why if someone is going to talk about music, they must listen to much to remember little. One has to have read much, to remember those few absolutely worthwhile books. And so on. The really transcendental is a rare occasion (a performance or experience). Today musicians (not just guitarrists) are being cranked out left and right: so many, with impeccable techniques, but I just don´t remember them in the same way as this. Countless names being replicated so quickly, and the memory blurs them while this remains clear and one constantly returns to it and it always sounds fresh. Perhaps the problem we feel is that so many performances sound "cloned," whereas in this one, there´s an aura (Walter Benjamin examined this, albeit in the context of the culture industry - but he does talk about the "magic" origins of art, i.e. "The storyteller" - an essay - and "The work of art in the age of reproductibility) that sets it apart from the rest (certainly from Vidovic, she´s a fine player, but I listen, and when it´s over, I just say OK...and then I think of something else, like having a beer or going to the bathroom ). The fact is, our age is becoming just as insensible to any transcendence (I´m not talking about religious crap here) as it has become accustomed to the worst atrocities, banalities or cultural shit. If we don´t believe in any kind of transcendent experience (once again, leave religion, God and all those excremental entities out of it), it´s like saying "I don´t believe such and such a place exists (say, Paris, Rio or NY)": we will obviously never take a trip there. I would recommend reading Zigmaunt Bauman, who talks about this shattering of human sensibility in the Iphone and Facebook era. To forget the past (any certain tradition), to ignore it, to not know it, is to impoverish oneself in a way that one cannot even really know he´s impoverished. The consequences are making them felt through depression, violence, insanity, all the flotsam and jetsam of a self-contradictory society that creates the very disease it tried to cure. Anyway, this is a lovely performance and I agree with you on this one. (I like what you said to Vik 10-String: for a guy who doesn´t share my faith in some possible dialog with perhaps a few individuals, he sure does write long stuff. Best
Agreed. I know people that think that guitarist like Segovia and Yepes has been "surpassed" by others like Russell for instance. I admire Russell, i like his honesty and also his guitar playing, but something i will never forgive him is to play with lattice braced guitars and the unpleasant plastic sound they produce for me, specially in the bass strings. Check John Williams playing lattice braced guitars, it's like the sound of the gum in your mouth, he uses one of these guitars for playing the Concierto de Aranjuez. For me it's like... REALLY???? How's it even possible that being such a master he ALLOWS himself to play it like that? I'm totally sure that he knows the recording of Yepes of the Concierto de Aranjuez and i wonder how is it even possible for him not to think "Omg, this is just it, he (Yepes) was born to be a representative man of this instrument. I must 'imitate' his playing because he SURE does something more than what i do. Something trascendental and musical and not just the typical 'charming' guitar sound (if in the case of John Williams it may even sound charming). (You said it: you can play with a perfect technique but for the serious listener something is missing. You see, Arthur Rubinstein opined that doing music is almost something metaphysical.) But this is just an example (and an important one actually: the lattice braced guitars) of what i said and also what you said about ignoring traditions and the past, the origin. For me it must be refreshed and recreated, not in the same way, not imitating 100% but just understanding it and putting your spirit into it, the same way as those old masters did. But during these days the guitar world has put barrier with it's past really, and you find people saying: "hey! Segovia and Yepes has been surpassed! LOook, you see how old they look? For me surpassing those masters means to put the guitar almost paralel to the body and play as fast as possible with a lattice braced guitar. But in reality i don't really know what i'm saying, i'm just saying what they've suggested to me to think because that's my nature and i'm crucified". That's perhaps the only reason of the clones you mentioned and the lack of real STRONG personalities in the world of art today, not to mention the classical guitar... Because what made Segovia and Yepes as well as Bream for instance to be masters is to follow their own intuition and sensibility and after that they became absolutely essential figures to play the guitar even if people still don't realise this. They were submerged in their own world searching for solutions and exploring it (as it is characteristical of probably all geniuses and talents) and they succeded, instead of searching for solutions in the others. Viktor also know this, (that's why he complains so much haha) that one of the problems for todays art, even if it's seen as a solution to ones personal hell and confusions, is the otherness - which comes from the other or the Other. But after all (related to this i said about the metaphysical stuff) it's just what Yepes said already in an interview: i find that a great artist are always a great person. Perhaps the real problem is the lack of great persons. Well, actually sure it is! Oh yes, i had to say it. Because i don't agree with him. We need to share our opinions, it's our duty. Because we are all participants and builders of the public opinion and beliefs and thoughts of it. Perhaps discourses of these kind do not have much repercussion, but you know we try. It's a pity and ironic that the ones that have more to say do not have the means to do it or are completely ignored.
+Eduardo Picasso Si, La que Carlevaro tenía en su poder era una Hausser. Segovia Uso Ramirez, Hausser, Fleta y desconozco si uso otras Guitarras ajenas a esas marcas. Su mejor Guitarra, dicho por el mismo fue la Hausser de 1937.
@@claudiosolaresMMX Probably a lot has changed since that time and something better became the strings and the calibers of the strings Rose Augustine changed too .
This is awesome, but there's a version of this on an album "Segovia, My favorite Spanish encores" that I like a little better because it's a little bit slower. I think that album was probably recorded about 20 years after this video when he was 80 so that might explain why it's a little slower.. I really love that version.
Completely agree with you on this. I bought Segovia's "My Favorite Encores" cassette tape almost 30 years ago, and that performance of this piece is my favorite. This one is too rushed for me.
I still have my cassette and I also found the album on E-bay. There's a very easy way to transfer the album recording into digital form and onto a CD. I purchased a $50 dollar turntable (nowadays they come with a usb port), I downloaded it on to my iPod and into my iTunes (then I returned the turn table). I bought that cassette about 35 years ago, you could say it's burned into my soul at this point..
de las pocas que he escuchado las que me han gustado han sido el primer preludio de villa-lobos y este. el gran mozart un negado comparando con esto en mi opinion.
No es cierto Julian, se trata de combinar precisión y relajación, relajar el dedo tan pronto como pulsas la cuerda, así si se puede conseguir virtuosismo. Además para un llenar una sala de concierto hace falta un tono apropiado más que mayor volumen. Un cuerda de 664milímetros no puede dar un volumen grande sin hacer vibrar el traste y producir vibraciones desagradables, tiene que ser mediante un tono sin parciales superiores. Yepes llenó la sala de Carnegie Hall con su tono claro y poco brillante. Segovia tuvo muchos problemas siempre que quiso tocar sin amplificación en salas grandes.
Hola, entiendo lo que dices. Solamente estaba citando una frase de Segovia. Cuenta él que su tio le cantó esa frase cuando era niño. Por cierto, puedes explicarme a qué te refieres cuando hablas de parciales superiores? gracias.
Hola Julián. TH-cam no me avisó de tu respuesta, así que fíjate lo que he tardado en responderte. Me refiero a las vibraciones armónicas que resuenan con la frecuencia principal. Cuando oyes una nota LA (440hz), además de la frecuncia principal (440hz) suenan otras frecuencias a diferente intensidad y por ellas puedes saber si suena una trompeta o un oboe por ejemplo. Es un tema muy apasionante y ningún guitarrista debería pasarlo por alto.
The amount of tonal variation he's able to get is astounding. Bright to dull-muted, soft, loud.... crazy.
And this is Segovia, the best guitar player ever, in his prime guys. His best footage to date I think. Pure genius, technique, music and grace.
People forget that he had INCREDIBLE technique.
I really love his right hand, which magically created different kinds of sound and all the songs played by maestro like an orchestra
When I need to clear and purify my mind I listen to Segovia at his best. He is at his absolute best here.
This is by the far the best recorded version I have ever heard!!!'
Чего?
Most guitarists select the music they wish to play. Far fewer are selected by the music, but here the maestro was. This interpretation remains unmatched to this day.
He’s the only one that plays Torroba correctly till this day!
His playing was so effortless.
His tone beautiful.
RIP Maestro
This is what a virtuoso sounds like. When Segovia died, John Tesh of "Entertainment Tonight" played this clip with him speaking over it. I had recorded it, and wore that little section out. Now, 30 years later, I get to hear it all I want on TH-cam. Thank you maestros Torroba and Segovia!
Escuchar a Segovia cada tanto te da una sensación increíble es algo mágico!!!!
Запись из разряда гениальных. Маэстро на пике творческих сил и технических возможностей. Великолепный симбиоз.
there are several breathtaking moments in this video... THE BOSS!
Just plays it, not too high not to low always just right. Perfectly beautiful.
Maestro sublime skills, so beautifully, musically expressed
For methis is, by far, the best peice ever written. And I love how Maestro Segovia plays it. It feels like it has taken me back in time everytime I hear this.
1:19 the lick
I love you 😆
It just missed one note to be the REAL lick
Uma das mais belas interpretações musicais. Ele exibe a sonoridade possível do violão em toda a sua plenitude! Dá vontade de ouvir mais música, de estudar, de tocar, de achar que o mundo dá para ser melhor.
What a dazzling display of the execution of the colors that the classical guitar can produce in the hands of the master!!! Segovia was to the guitar, what Bruce Lee was to the martial arts!!! Bravo maestro!!!🥂
This piece is a beast to play, especially at this pace... let alone interpret this well. Amazing stuff from the Maestro.
Incomparable!! Le gustaba decir que la guitarra encerraba, en un solo instrumento, todos los sonidos de una orquesta. Escuchando interpretaciones como ésta, te das cuenta de que no era una frase hecha. La riqueza de matices sonoros que arranca de la guitarra, es impresionante.
I haven't found a recording that matches this performance.
Actually, I prefer the way he plays it in the 1976 Christopher Nupen film...
@@muiscman807 I think much earlier, somewhere in 1954.
Don't forget that by this stage he had been including it in concerts for three decades.
He jolly well should have been comfortable with it.
A perfect playing of this piece of music for guitar: I have not seen any modern classical guitarist do it better. Bravo maestro !!👍😍
Sans Segovia, les grands compositeurs comme Torroba, Villa-Lobos, Turina , Ponce et j'en passe, n'auraient pas écrit pour la guitare ! Merci maestro R.I.P.
It's unfortunate we don't have more recordings of Segovia in his earlier years like this one. Many of the ones available are when he was up in age and his technical facility had diminished. Fantastic recording
The best guitar ever.he will always be remember.
How perfect image!
Nor I can believe, is very perfect!!
Thank you!!!
Kelvin Borrero
Segovia Sang Maestro...Love...❤❤❤👍👍👍⚘⚘⚘🙏🙏🙏
Segovia understood this state-of-the-art piece of music like anybody else
What a marvelous performance! And splendid transcription! A Segovia’s Master Seal!
No transcription this is originally written for classical guitar my friend.
Absolutely just sublime! I'd like to to know exactly how the sound has been edited on this recording, because, the origional sound on this wasn't so good on this session, being done so long ago. Exactly how has the sound engineer managed to capture the magic of Segovias' unique tone on this astounding instrument from such an old recording?? Whatever has been done has captured the magic here!! Hats off to the sound man!!!
I agree with you it has been edited
They overdubbed lil’ Wayne on top of the video
@@jpdupont25 kek
There are perhaps a dozen or a score of works that Segovia absolutely owns. This is one of them.
Absolutely brilliant!!!
played with ease. sonido maravilloso.
Simply,the best classical guitarist ever.Segovia
Awe and adoration . No one before or since maestro.
fantastic!
Unique and wonderful.
Sonido limpio e impecable.Irrepetible.
What a fingers movement ! Even better than best modern guitarist`s play .
Just Amazing.....
Wonderful!
Breathtaking !
wow!!! muchos gracias!
They say the young players of today are above his level technique wise. I say BS! Segovia was and will always be the grand master
he makes it seem so easy
As often happens when the master is playing .
im in love with this
I really like your taste, Soytu. Put Joyce's poem sung by Barrett on the playlist along with Segovia's incomparable Chaconne!
Me too! Thank you!
y pensar que el desarrollo de la técnica fue suya,,,hace que sea aún mas fabuloso
Que coisa linda, cara ! O homem pode fazer coisas bonitas.
Duende! Blood soaked soil. I cannot hear him without the thought arising: "He always keeps one toe in the dirt."
Вот образцовое исполнение: оркестровое мышление, музыкальность и техника!
Perfect.
AWESOME!!!
Amazing...
Poetry in motion ! xxxxxxx
El mejor de todos
what a tone! WoW :O
Note to students new to this piece, in this performance Segovia simplifies two or three chords from the published edition, see if you can find them.
He had made the classical guitar the concert instrument . And who can surpass him now after he had left us ? And whom can we listen with such a gladness now ?
I could give you 10 names immediately but they all owe it to him. They stand on the shoulders of giants, Maestro Segovia
@@amcdougall9998 Yes, you are right . Giant . He wanted to make the classical guitar a concert instrument . And He did it . I was talking about what I said in the comments , the one that you answered, in particular . You listen to a well-recognized , so to speak , classical guitarist, for example, on TH-cam .And for more than an hour of his game, you can not catch yourself thinking that you liked half a minute of what he does : the way he plays, the tempo of a musical work chosen by him, and so on . And what happens . A person studied with a famous Maestro , or even with several, as is often the case in our time , gives a lot of concerts , and after listening to it, you catch yourself thinking that you have unnecessarily spent time . I don't speak English well , I was helped by a Yandex translator .
Thank you for your response. It was kind of you to reply. I think we both agree on who the Maestro is but I do love to search for and listen to his ‘children’. It was good to make contact with you through this wonderful music, and your English is much better than my Russian. 👏
@@amcdougall9998 , Thank you for an answer . But what do you mean by the word ‘children’ ? Maybe playing of this boy : th-cam.com/video/LbWnx86e8aw/w-d-xo.html
All current classical guitarist are the musical descendants (children) of the Maestro.
I takes another 100 years before someone plays this better.
1000
I must say a lot of people look down on Segovia because he didn't like it when people changed the chord and note placements from how the original piece was suppose to be played and he was in the right for this when it comes to Classical guitar because its about form and order. Really to me It doesn't matter how fast or how many songs you think you can play, or how you think you can make it sound better by changing all the fingerings from its originality. Its not a crime to do so but It's all about the tone. He played around Miguel Llobet who also had wonderful tone in his music, they new each other. Also Maria luisa Anido was around Llobet so no doubt they all played great. If you don't have tone you don't have life in your music.
Oh gosh how could you have missed this? Of course fingerings matter, but who says the fingerings Segovia liked where the best? Remember most of the guitar music that existed during Segovia's time were transcriptions from other instruments, so a reference to the "originality" of a fingering didn't even exist. It was and it is still Today up the players to find out what works best for them and use it.
Totally agree with Joel Salazar. Besides this, most of the times Sebovia's fingering was not the best option. I do not deny his artistry by saying this, but he was not an innovator in any aspect, long before him Tárrega and Llobet already transcripted Bach and with great success.
yeah tone is one of the most important things in music
Tenho a impressão de que o áudio original foi melhorado (talvez o vídeo também). Mas, não interessa: eis o melhor do Segóvia, absolutamente incomparável em termos de som, coloratura, timbre, fraseado e nuançes musicais. Aliás, parece aqui que está no auge de sua forma técnica, e toca com extrema facilidade e um estilo impossível de ser imitado por qualquer outro. Ele é muito mais feliz nesse repertório (Ponce, Tansman e os romãnticos) do que tocando Bach ou Villa-Lobos. No minimo, uma performance transcendental.
The audio has been restored of course. This is taken from this other video: /watch?v=rjRLpE_TzdA
You must see it, he plays the Variations on Mozart by Fernando Sor amazingly. It's awesome.
About the year in which it was recorded i don't know, but considering the hair he has this must be around the 50' when he was 50 or 60 years old, simply awesome. This video demonstrates the genious of Segovia from every aspect of the interpretation of the guitar: technique, expression, dynamics...
Of course, Segovia had technique, not always he was the sloppy guitar player most of the people know. This only happened in the last period of his career when, as it's logical, his technical capacities decreased due to age. This performance can't be equalized nor for any other guitarist nor for any other musician (pianist, violinist). Simply genious.
Absolutely, Julan. This is such a fluid sound and way of playing (those "milked" notes) that only he had. Obviously, age reduced his dexterity. But we should appraise technique by the final musical result, and here it is unsurpassable. This is a moment where the guitar shines likes no other instrument (I´ve seen the Variations, and I agree it´s on this level of transcendence). These performances are worth more than probably 90% of classical guitar recordings or performance. There are moments (albeit with a totally different esthetic) like this: I think of some of Breams, some things by Yepes, Pepe or Angel Romero playing the Aranjuez, some Barrueco, some Russell, some Galbraight, some early Parkening...well, there´s more, but these moments are few and far between. Generally, we don´t find this level of musical transcendence on the guitar.
Ahh... the guitar... what a polemical instrument. Most of the times it speaks absolutely nothing (take a look to what Ana Vidovic makes with this piece and see how it is possible to destroy it, for instance), but give it to the appropiate hands and it will speak in such a way that it is unbeliable how such a little instrument is able to produce such incredible sounds. An instrument that talks so sincerely and directly to your hearth, really. The reason of such extraordinary difference lays in the little details of the interpretation, and the guitar is expert in these little details as you know. It's amazing and even degrading how much the music changes from one guitarist to another.
Indeed, most of the times i don't want to know anything about many modern guitarists and the route that the guitar has taken because they just make me sad to know that i'm playing the same instrument they play. But then i come back to Segovia, Yepes and the old school and i switch from the absolut dissapointment to the absolut joy and amazement.
Definitely the most difficult instrument.
That´s well said, and I would go further: most things most of the time say little or nothing; if they say someting, it´s soon forgotten. Few (and I say few compared to the sheer mass of art objects - books, movies, music -things in any field - that just fall into oblivion). Obviously there are experiences in literature, film and music to last one a lifetime, but out of the 100 or 1000, how many. That´s why if someone is going to talk about music, they must listen to much to remember little. One has to have read much, to remember those few absolutely worthwhile books. And so on. The really transcendental is a rare occasion (a performance or experience). Today musicians (not just guitarrists) are being cranked out left and right: so many, with impeccable techniques, but I just don´t remember them in the same way as this. Countless names being replicated so quickly, and the memory blurs them while this remains clear and one constantly returns to it and it always sounds fresh.
Perhaps the problem we feel is that so many performances sound "cloned," whereas in this one, there´s an aura (Walter Benjamin examined this, albeit in the context of the culture industry - but he does talk about the "magic" origins of art, i.e. "The storyteller" - an essay - and "The work of art in the age of reproductibility) that sets it apart from the rest (certainly from Vidovic, she´s a fine player, but I listen, and when it´s over, I just say OK...and then I think of something else, like having a beer or going to the bathroom ).
The fact is, our age is becoming just as insensible to any transcendence (I´m not talking about religious crap here) as it has become accustomed to the worst atrocities, banalities or cultural shit. If we don´t believe in any kind of transcendent experience (once again, leave religion, God and all those excremental entities out of it), it´s like saying "I don´t believe such and such a place exists (say, Paris, Rio or NY)": we will obviously never take a trip there. I would recommend reading Zigmaunt Bauman, who talks about this shattering of human sensibility in the Iphone and Facebook era. To forget the past (any certain tradition), to ignore it, to not know it, is to impoverish oneself in a way that one cannot even really know he´s impoverished. The consequences are making them felt through depression, violence, insanity, all the flotsam and jetsam of a self-contradictory society that creates the very disease it tried to cure.
Anyway, this is a lovely performance and I agree with you on this one. (I like what you said to Vik 10-String: for a guy who doesn´t share my faith in some possible dialog with perhaps a few individuals, he sure does write long stuff.
Best
Agreed. I know people that think that guitarist like Segovia and Yepes has been "surpassed" by others like Russell for instance. I admire Russell, i like his honesty and also his guitar playing, but something i will never forgive him is to play with lattice braced guitars and the unpleasant plastic sound they produce for me, specially in the bass strings. Check John Williams playing lattice braced guitars, it's like the sound of the gum in your mouth, he uses one of these guitars for playing the Concierto de Aranjuez. For me it's like... REALLY???? How's it even possible that being such a master he ALLOWS himself to play it like that? I'm totally sure that he knows the recording of Yepes of the Concierto de Aranjuez and i wonder how is it even possible for him not to think "Omg, this is just it, he (Yepes) was born to be a representative man of this instrument. I must 'imitate' his playing because he SURE does something more than what i do. Something trascendental and musical and not just the typical 'charming' guitar sound (if in the case of John Williams it may even sound charming).
(You said it: you can play with a perfect technique but for the serious listener something is missing. You see, Arthur Rubinstein opined that doing music is almost something metaphysical.)
But this is just an example (and an important one actually: the lattice braced guitars) of what i said and also what you said about ignoring traditions and the past, the origin. For me it must be refreshed and recreated, not in the same way, not imitating 100% but just understanding it and putting your spirit into it, the same way as those old masters did.
But during these days the guitar world has put barrier with it's past really, and you find people saying: "hey! Segovia and Yepes has been surpassed! LOook, you see how old they look? For me surpassing those masters means to put the guitar almost paralel to the body and play as fast as possible with a lattice braced guitar. But in reality i don't really know what i'm saying, i'm just saying what they've suggested to me to think because that's my nature and i'm crucified". That's perhaps the only reason of the clones you mentioned and the lack of real STRONG personalities in the world of art today, not to mention the classical guitar... Because what made Segovia and Yepes as well as Bream for instance to be masters is to follow their own intuition and sensibility and after that they became absolutely essential figures to play the guitar even if people still don't realise this. They were submerged in their own world searching for solutions and exploring it (as it is characteristical of probably all geniuses and talents) and they succeded, instead of searching for solutions in the others. Viktor also know this, (that's why he complains so much haha) that one of the problems for todays art, even if it's seen as a solution to ones personal hell and confusions, is the otherness - which comes from the other or the Other.
But after all (related to this i said about the metaphysical stuff) it's just what Yepes said already in an interview: i find that a great artist are always a great person. Perhaps the real problem is the lack of great persons. Well, actually sure it is!
Oh yes, i had to say it. Because i don't agree with him. We need to share our opinions, it's our duty. Because we are all participants and builders of the public opinion and beliefs and thoughts of it. Perhaps discourses of these kind do not have much repercussion, but you know we try. It's a pity and ironic that the ones that have more to say do not have the means to do it or are completely ignored.
I am in love now
Super!
Que hermosa Interpretación y si no me equivoco esa Guitarra es la famosa Hauser de 1937 que reemplazó a la Ramirez.
SEGOVIA TENIA MUCHAS GUITARRAS,UNA DE SUS GUITARRAS LA USO CARLEVARO
+Eduardo Picasso Si, La que Carlevaro tenía en su poder era una Hausser. Segovia Uso Ramirez, Hausser, Fleta y desconozco si uso otras Guitarras ajenas a esas marcas. Su mejor Guitarra, dicho por el mismo fue la Hausser de 1937.
Wow!
Not even a huge fan of the song but I like watching this video
The GOAT
We're not worthy! We're not worthy!
Finally, la introducción de la guitarra y sus interpretes
How can he play with that fingers?
Supreme
best guitarist
Donde fue ese concierto?
Gênial!
He was just soooo familiar with his guitar, he couldnt have made a mistake if he had wanted to. As if it was a part of him.
At his peak!
Playing scales hours a day to warm up apparently pays off!
What caliber of strings does he play ? Does anybody know ?
Back in those days only Augustine red, blue, and black label were available. Remember he worked directly with Rose Augustine to produce them.
@@claudiosolaresMMX Probably a lot has changed since that time and something better became the strings and the calibers of the strings Rose Augustine changed too .
I wonder when this recording was made ? What year ?
listener- “what a beautiful sounding guitar!”
Guitarist sets the guitar down, “ how does it sound now?”
😊
A complete lesson here on the right hand technique
at 2:26 he repeats his index finger?
Parfait
This is awesome, but there's a version of this on an album "Segovia, My favorite Spanish encores" that I like a little better because it's a little bit slower.
I think that album was probably recorded about 20 years after this video when he was 80 so that might explain why it's a little slower.. I really love that version.
Completely agree with you on this. I bought Segovia's "My Favorite Encores" cassette tape almost 30 years ago, and that performance of this piece is my favorite. This one is too rushed for me.
I still have my cassette and I also found the album on E-bay. There's a very easy way to transfer the album recording into digital form and onto a CD.
I purchased a $50 dollar turntable (nowadays they come with a usb port), I downloaded it on to my iPod and into my iTunes (then I returned the turn table).
I bought that cassette about 35 years ago, you could say it's burned into my soul at this point..
When did classical guitarists start plucking with their fingernails? Was Segovia the exception in plucking with the pads of his fingers?
Contact with the strings begins with the pad to make tactile feeling of the string and then fingernail beats the string in most cases .
de las pocas que he escuchado las que me han gustado han sido el primer preludio de villa-lobos y este. el gran mozart un negado comparando con esto en mi opinion.
💥
thats how its done
davehshs, Segovia used a combination of his nails and fingertips. This is what most classical guitarists do.
What year was this recorded?
1967.
Andrea Segovia non si chiama così.Il suo vero nome è:El Maestro della chitarra classica.Unico e irripetibile.
@theprof1958
heehehehehehh! Fantastic comment!! Im still laughing!!! haahahahah!!!
0:38 - 0:50
?
何故先セゴビアを越える人が現れないの。こんなにお手本を見せてくれてるのに。残念。
So thats how you do a G...
No es porque sea segovia, pero a es al que mejor le sale
@theprof1958 jajajajajajaaj
il timbro della chitarra è un po' strano
Forse non sapeva accordarla...o forse e'una registrazione semplicemente di tanti anni fa
E' stato rieditato.
sobresaliente
his fingers are not only fat but also long...
"el tocar la guitarra no tiene esencia, si no fuerza en el brazo. Permanecencia"
Ojala solo se tratara de fuerza seria mucho más fácil tocar guitarra
No es cierto Julian, se trata de combinar precisión y relajación, relajar el dedo tan pronto como pulsas la cuerda, así si se puede conseguir virtuosismo. Además para un llenar una sala de concierto hace falta un tono apropiado más que mayor volumen. Un cuerda de 664milímetros no puede dar un volumen grande sin hacer vibrar el traste y producir vibraciones desagradables, tiene que ser mediante un tono sin parciales superiores. Yepes llenó la sala de Carnegie Hall con su tono claro y poco brillante. Segovia tuvo muchos problemas siempre que quiso tocar sin amplificación en salas grandes.
Hola, entiendo lo que dices. Solamente estaba citando una frase de Segovia. Cuenta él que su tio le cantó esa frase cuando era niño. Por cierto, puedes explicarme a qué te refieres cuando hablas de parciales superiores? gracias.
Hola Julián. TH-cam no me avisó de tu respuesta, así que fíjate lo que he tardado en responderte. Me refiero a las vibraciones armónicas que resuenan con la frecuencia principal. Cuando oyes una nota LA (440hz), además de la frecuncia principal (440hz) suenan otras frecuencias a diferente intensidad y por ellas puedes saber si suena una trompeta o un oboe por ejemplo. Es un tema muy apasionante y ningún guitarrista debería pasarlo por alto.