In defense of Segovia, I played in Segovia masterclasses in 1982 at the
Metropolitan Museum and in 1987 at the Manhattan School of Music and I found
him to be a very fine coach.
He knew the music I played backward and forward.
Segovia was at his best when you were playing his editions. When I played
Albeniz' Sevilla in a transcription by Barrueco and Segovia did not seem
pleased. He learned this piece at the feet of Llobet in the 20s or before and
I am sure the version he knew was hard wired into his brain and what I was
playing simply sounded wrong.
As far as his influence on the lute: I heard Paul O'dette say that it was the
"Six Lute Pieces from the Renaissance" based on Chilesotti (and made famous by
Segovia) that inspired O'dette to seek out a lute. He was studying them on the
guitar and he took the title of the piece seriously enough to find a lute.
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