Aye, You are right. Wrong guitarist, I was thinking of Django,( definitely not Iommi ) god knows where I got that idea about Sergovia, but it has been a long day.
Gracious in having the error pointed out Neil -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of Eugene C. Braig IV Sent: 14 July 2009 22:04 To: [email protected] Subject: [LUTE] Re: Andres Segovia They were rather stumpy, but I'm not aware that any were outright missing. Are you maybe thinking of some other genre's greats, like Reinhardt or Iommi? Segovia was a tremendous personality and didn't mind equating his opinions to fact, whatever the reason for his opinions. Best, Eugene > -----Original Message----- > From: Narada [mailto:[email protected]] > Sent: Tuesday, July 14, 2009 4:50 PM > To: 'Eugene C. Braig IV' > Cc: [email protected] > Subject: RE: [LUTE] Re: Andres Segovia > > Good grief, > > I never really looked at it from that point of view. Do you think > Segovia's disability ( ?missing fingers )may have jaundiced his opinion > on the type of music he chose to play/promote? Rather than just a > dislike. > > Neil > > -----Original Message----- > From: [email protected] [mailto:[email protected]] On > Behalf Of Eugene C. Braig IV > Sent: 14 July 2009 21:35 > To: [email protected] > Subject: [LUTE] Re: Andres Segovia > > Not only within the US. Almost all things guitar that Segovia did not > choose to champion were neglected in Segovia's shadow; decades of what > guitarists knew of guitar were filtered through Segovia's personal > tastes. > The whole of substantial bodies of baroque and post-Sor romantic > repertoire > were almost totally forgotten until recently. This not only involved > (sometimes insipid) US composers (like the Bickfords, Foden, Holland, > etc.) > but European romantics (like Mertz, Regondi, Zani di Ferranti, etc.) > Evidently, Segovia didn't like (or couldn't play) dedicated baroque and > romantic compositions for guitar (the latter often overtly virtuosic for > no > better reason than being overtly virtuosic), so he entirely invented > baroque > and romantic repertoires through transcription of music by composers he > considered to be great (and that didn't necessarily involve the > techniques > that had developed around those eras guitars). > > He also cast his shadow upon the instruments themselves. Thriving > non-Spanish, quite "classical" schools of guitar making in the US > (typified > by the gut-strung guitars of Martin, etc.), Italy, Germany, etc. were > all > Iberified in part thanks to Segovia's popularity. Even Hauser built > guitars > that were a natural extension of the work of Germanic luthiers like > Stauffer > and Scherzer. Such things were largely neglected once Segovia > championed > Hauser's more Spanish-like models. Perhaps the most obvious example, > early > in the 19th c., all the world's "classical" guitars had moved away from > tie-block bridges to fixing strings through the soundboard with > pins...except in Spain. Note the most readily accepted paradigm of > "classical" guitar bridge in the world after Segovia. > > Of course, this is all a little simplified, but the point remains: > Segovia's > massive popularity certainly left a mark on plucky art music, but not > all of > it was positive. > > Eugene > > > -----Original Message----- > > From: [email protected] [mailto:[email protected]] On > > Behalf Of Christopher Stetson > > Sent: Tuesday, July 14, 2009 3:58 PM > > To: [email protected]; [email protected]; [email protected] > > Subject: [LUTE] Re: Andres Segovia > > > > Hi, all, > > > > Actually, in the little bit I watched, the maestro was advising his > > student to avoid imitating the lute on the guitar. Perhaps that > was > > your point, Gert? If my historical knowledge is correct, far from > > trying to revive ancient styles (as distinct from ancient music), > > wasn't Segovia actively trying to reform and modernize guitar > > technique? > > > > > > > > While, as has been said, he was an impressive musician, I'm no > > particular fan of Segovia. His USA visit of 1929 effectively > brought > > an indigenous, if sometimes insipid, American school of guitar > > composition to an abrupt end. (Well, OK, he had some help from > Thomas > > Edison and Duke Ellington.) > > > > > > > > Best to all, and keep playing. > > > > Chris. > > >>> <[email protected]> 07/14/09 6:55 AM >>> > > Well, not such a good imitation, I think. But he was a wonderful > > guitarist and musician. > > __________________________________________________________________ > > Looking for love this summer? [1]Find it now on AOL Personals. > > -- > > References > > 1. http://personals.aol.com/?ncid=emlcntuslove00000003 > > To get on or off this list see list information at > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > -- > >
