Howard, -------------------------------------------- On Sun, 12/15/13, howard posner <[email protected]> wrote: > In Segovia's edition of Sor studies (which > features Segovia's name in much bigger type than Sor's on > the cover) he changed it to "con calma." Up yours, > Fernando... It was shown some time ago that Segovia did not use Sor's original versions in making his edition of the 20 studies. Instead, he knew them through versions edited by Sor's student Napoleon Coste. I don't know whether Coste or Segovia introduced the change you mention as I've never cross-referenced them. While we may frown on Segovia's slack research methodology, at the time it would have been quite acceptable. (It is apparently acceptable today, as the 20 Studies are still in print and still obligatory pedagogical material for classical guitarists.)
But this does serve as another example of Segovia's massive influence: These 20 studies out of the considerable number (hundreds?) written by Sor are the only ones known to 99% of guitarists, simply because they feature his name on the cover. Chris Dr. Christopher Wilke D.M.A. Lutenist, Guitarist and Composer www.christopherwilke.com > Some > teachers think, students should follow them first then develop their > own ideas, Some of Segovia's master class "students" were better players than he was, and in any other context, the "master" tossing a student out of a master class because the student didn't religiously follow the master's transcription (even the portamento inserted into a transcription of a piano piece) would be a grotesque absurdity. But of course, for many of those students the point of being in Segovia's class was to put "student of Segovia" on their resumes -- as if it actually meant something other than "I played in his master class" -- and perhaps even get some sort of testimonial. So I suppose the rules were different. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
