Wise words, Franz
Whilst still at Conservatory, we had the opportunity of having lessons
with many of the great musicians in early music. Not all were great
teachers. But if we prepared ourselves well, we could get the best out
of any lesson by asking the right questions and
Segovia's early years seem to be unclear. Does anybody know where he
learned to play? Did he study with a master?
Most of us need to stand on the shoulders of giants, one way or
another. Nowadays we are fortunate to be able to attend summer schools
where we can have a lesson with
Dear David,
thanks for your fine words. So what is the best way to teach and learn
an instrument, say: the lute? Are there general advices? Differences
from children and amateurs to serious students? Differences from the
less comfortable situation of a teacher feeling the need or
On 2013-12-14 03:53, David van Ooijen wrote:
I don't see any bullying here, as uncomfortable as it is to watch. And
in the student's discussion of the event, he says Segovia's criticisms
and behavior were justified and an eye opener. That same student later
plays for Segovia who praises his
Did Michael Chapdelaine tell IN WHICH REGARD his eyes were opened by
Segovia's behaviour? Did he explain WHAT he learned? Is it obvious WHY
his playing pleased the maestro afterwards? Is there any INSIGHT or
only a clever guy trying to accomodate to a brutal social game? My
first
Now wouldn't that be something? A magic formula for every
teacher-student combination?
To learn any instrument, you'll need to study an extended period of
time with a teacher who's good at teaching you a solid technique. To
become a good musician, you'll need to work with teachers
I've heard that Segovia's response to Julian Bream's success was, An
Englishman playing guitar is an abomination, although I don't think
that constitutes bullying, just the crankiness of an extremely
opinionated man whose opinions were not always correct. Bream later
dedicated an entire
Pity help anyone in the future trying to find something about the
Bream Collection The majority of the comments bear no connection to
the subject but seem to be based on much conjecture and sometime
,wishful thinking. Sure, discuss technique etc but please give an
appropriate
On 15/12/13 4:47 AM, William Samson wrote:
Segovia's early years seem to be unclear. Does anybody know where he
learned to play? Did he study with a master?
The Wikipedia article on Segovia gives some of his early history, though
I don't know how reliable it is.
On 15/12/13 5:41 AM, David van Ooijen wrote:
To learn any instrument, you'll need to study an extended period of
time with a teacher who's good at teaching you a solid technique. To
become a good musician, you'll need to work with teachers who can help
you to develop your own
I had many teachers for guitar and one for lute. Only Allan Alexander taught
ergonomic and tonal techniques, whereas he others were all about speed and
repeating scales (or their own exercises). Only Allan taught simple but real
music, rather than children's tunes (for the adult learner).
Howard,
On Sun, 12/15/13, howard posner howardpos...@ca.rr.com 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
On 12/14/2013 5:45 AM, Chris Barker wrote:
Re: Gary's comments on Segovia... If it were not for Segovia's
efforts, the guitar, lute, and kindred instruments would not occupy
the places they have today. I was at a dinner put on by the old
Dallas Classical Guitar society almost a decade ago
Last summer, while passively experiencing one of the many instructional
videos of Prof. Robert Greenberg of the San Francisco conservatory, I
learned that the master class was invented by peripatetic
peacock Franz Liszt, who seems to have helped create the 18th c.
mythology of the
On Dec 15, 2013, at 9:26 AM, Tobiah t...@tobiah.org wrote:
I find his tone anemic, his rhythm unmusically erratic,
I certainly agree about his rhythm (and unless you've heard his recordings from
around 1930 you don't know the half of it), but he pulled a lot of sound out of
the guitar. In
Sir,
Respectfully I must remind you that Segovia's early 20th Century work made the
classical guitar and related plucked instruments the popular things that they
have become today. We all owe him reverence for that. Andres Segovia has been
at rest for twenty six years. Please help to make
The scholarly thought has it rather that he jumped on Llobet's bandwagon.
RT
On 12/15/2013 1:52 PM, Chris Barker wrote:
Sir,
Respectfully I must remind you that Segovia's early 20th Century work made the
classical guitar and related plucked instruments the popular things that they
have
I heard both Segovia and Bream in the Stockholm Concert-hall in the early
70's and was of course highly impressed. But naturally, we were all in awe
in those days. It was like being in heaven, sitting at the feet of the
greatest of masters whom we all revered, total guitar nerds as we were. I
On Dec 15, 2013, at 1:47 AM, William Samson willsam...@yahoo.co.uk wrote:
Segovia's early years seem to be unclear. Does anybody know where he
learned to play? Did he study with a master?
I just happen to own a copy of Segovia: an Autobiography of the Years
1893-1920, translated by
I hope Segovia saw that his work was good, and rested on the 6th day.
RT
On 12/15/2013 1:52 PM, Chris Barker wrote:
Sir,
Respectfully I must remind you that Segovia's early 20th Century work made the
classical guitar and related plucked instruments the popular things that they
have
On 12/15/2013 10:52 AM, Chris Barker wrote:
Sir,
Respectfully I must remind you that Segovia's early 20th Century work
made the classical guitar and related plucked instruments the popular
things that they have become today. We all owe him reverence for
that. Andres Segovia has been at rest
On 12/15/2013 10:31 AM, howard posner wrote:
On Dec 15, 2013, at 9:26 AM, Tobiah t...@tobiah.org wrote:
I find his tone anemic, his rhythm unmusically erratic,
I certainly agree about his rhythm (and unless you've heard his
recordings from around 1930 you don't know the half of it), but he
My cursory perusal of the available
YouTube videos show mostly an aging man. I'll make an
effort to expose myself to more of his recordings.
Toby
Be careful: his recording may sue you for gross indecency.
RT
To get on or off this list see list information at
Really? What about the others? What about Tarrega's disciples
(specially Pujol), Barrios, and all the other latin american
guitarists? They wouldn't exist without Segovia? I don't think so.
There are so many forgotten names...
2013/12/15 Chris Barker [1]csbarker...@att.net
I went to a concert by Segovia in Edinburgh many years ago when he was
90 something. My wife, who has two cloth ears, kept asking me if the
music was supposed to be played that way. Why couldn't anyone stop him
performing at that age?
The audience were all delighted with the performance. I
If anyone would like to know more about Segovia's early years, just
contact Thomas Garcia (Miami University - OH). He has contributed to
the Lute Society journal for many years.
2013/12/15 howard posner [1]howardpos...@ca.rr.com
On Dec 15, 2013, at 1:47 AM, William Samson
Emilio Pujol was a fine teacher and performer. Francisco Tarrega was
Pujol's teacher. Pujol, though a master, never received the exposure
Segovia had. Tarrega taught Pujol to play with nailess right hand
fingertips, and Pujol passed that technique on to others. I presume that
Segovia's use of
HAHA Everybody at that time appreciated the blessings of nylon.
Nowadays part of the lute fraternity seems hell bent on going back to
gut.
I'll stick with my nylon. Life's too short.
Bill
From: Chris Barker csbarker...@att.net
To: 'Bruno Correia' bruno.l...@gmail.com;
That's interesting, Chris. What part of the string would get repaired?
Would that be a gut string? If it's not too much trouble may I ask you
to scan that page for me. I confess, it's pure curiosity.
Sean
On Dec 15, 2013, at 1:01 PM, Chris Barker wrote:
Emilio Pujol was a fine teacher
On Dec 15, 2013, at 1:01 PM, Chris Barker csbarker...@att.net wrote:
Tarrega taught Pujol to play with nailess right hand
fingertips, and Pujol passed that technique on to others. I presume that
Segovia's use of nails, and increased volume of his instrument because of
that, might have gotten
They were right, the guitar is soft compared to the orchestral
instruments. Segovia made fame because of the new technology of
recording, something paralel to the exposure given by youtube
nowadays.
2013/12/15 howard posner [1]howardpos...@ca.rr.com
Segovia's Autobiography of
Sorry, I couldn't resist.
I have no need to express the hands must be kept white and clean. It is
the mark of a gentleman and a lady,and it were better never to play of
the lute than to play with nasty hands. For the nails, they must be
short and smoothly cut (which some do with a
I heard Julian Bream in concert a number of times. Once in a very large
auditorium in Syracuse NY. I was way back in the Balcony, and I was truly
astounded at the volume that came out his lute. He filled the hall.
Allan
To get on or off this list see list information at
I had a similar experience seeing Bream in concert. His projection on both lute
and guitar was nothing short of amazing.
Rick
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Allan Alexander
Sent: Sunday, December 15, 2013 6:46 PM
To:
Hi Rick
I had a similar experience seeing Bream in concert. His projection on both
lute and guitar was nothing short of amazing.
what also always amazed me about him is that he was not tied into only playing
difficult pieces, he sometimes played the easiest of pieces and made them sound
just
The sign of a true master!
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
guitarandl...@earthlink.net
Sent: Sunday, December 15, 2013 7:14 PM
To: Lindberg, Richard
Cc: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Bream in Concert
Hi Rick
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.
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