Segovia's collection of Sor has value as a pedagogical tool regardless
of its source.
Re: Segovia's name is larger than Sor's on the book. It occurred to me
that this may have been at the suggestion of the publisher. Segovia was
probably more well known than Sor at the time so his name would sell
more books.
Gary
On 2013-12-15 09:23, Christopher Wilke wrote:
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.
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