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SEGOVIA, Andres: 1950s American Recordings, Vol. 1 (Segovia, Vol. 3)

Composer(s):
Artist(s) Segovia, Andres, guitar
Period(s) Baroque (1600-1750)Classical (1750-1830)
Genre Classical Music
Category Instrumental
Catalogue 8.111089
Label Naxos Historical
Quality   320kbps
 This album is not available in your country due to licensing restrictions or copyright laws that provide or may provide for terms of protection for sound recordings that differ from the rest of the world.


Andrés Segovia was entirely selftaught, playing his first public recital at the age of 14. He is credited with elevating the guitar from a folk instrument to the highest levels of the international concert stage. This third release in the Naxos Segovia Edition is the first of six discs devoted to the great guitarist’s 1950s American recordings. Focusing on performances of his transcriptions of the works of J. S. Bach and Handel, it includes a number of war-horses such as the brilliant Courante from the Cello Suite No. 3 and the Gavotte en Rondeau from the Suite in E major, both of which preserve many of the virtuosic felicities of the originals. Segovia’s transcription of the Chaconne from the Violin Partita No. has become one of the most deeply loved items of the guitar repertoire.

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Review By ,Scherzo,May 2008


8.111089_Scherzo_052008_sp.pdf



Review By David Denton, Naxos,August 2007

Andres Segovia was totally unique in being self-taught yet becoming the leading guitarist of his time. Indeed it is his remarkable gifts that today has made the instrument acceptable in the concert hall. Born in Spain in 1893, he had fallen in love with the sound of local guitarists playing folk music, but was ten before he could own his own instrument. From therein he perfected his technique so that by the age of 16 he was ready to give his first public solo recital. With his modest finances international touring was difficult, but by the age of thirty he had stunned South America with his virtuosity and had played through much of Europe. The major problem he faced was a lack of guitar music, and those works that were available were be unknown composers. Though many were to write

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