John,
Actually, what Segovia did rhythmically was quite acceptable within the
late Romantic performance practice aesthetic. Llobet does pretty much
the same thing. This is not confined to guitar: pianists like Cortot
and vocalists like Patti and Melba -most performers, in fact- also
indulge in this subjective approach (although contexts are not nearly
as random as might strike modern listeners at first).
It appears that Fritz Kreisler and his generation were responsible for
the beginnings of a more recognizably modern school that is based upon
a literalist reading of the printed score.
Of course, this is not to say that one can't criticize Segovia's style.
After all, he wasn't part of the earlier generation and so that is
perhaps why many of his mannerisms seem so idiosyncratically
anachronistic today.
Chris
[1]Sent from Yahoo Mail for iPhone
At Jan 22, 2015, 1:36:38 PM, John Mardinly<'[email protected]'>
wrote:
Even when Segovia DID have a pulse, he had this really annoying habit
of just pausing on random notes just because the guitar sounded pretty
good on that note. I called it the "Segovia fermata". It did not cause
me to move to the lute directly-I moved to the Bream guitar first.
A. John Mardinly, Ph.D., P.E.
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-----Original Message-----
From: [3][email protected]
[mailto:[4][email protected]] On Behalf Of Dan Winheld
Sent: Tuesday, January 20, 2015 12:53 PM
To: Ron Andrico
Cc: [5][email protected]
Subject: [LUTE] Re: 16th century tuning and stringing
On 1/20/2015 10:22 AM, Ron Andrico wrote:
> Sorry if this seems like a plug. I'm just trying to demonstrate that
> pulse is very important - a fact that seems to have escaped those who
> came to the lute via Segovia.
Segovia continued to perform for years after he had no pulse.
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