Scott Tennant - The Segovia Sessions
- Scott Tennant
- Composer last name
- Andres Segovia
- Guitar CoOp
THE SEGOVIA SESSIONS
To understand the music composed by Andrés Segovia, one must be well aware of his life history. He was the greatest guitarist of the twentieth century, and his figure dominates the history of the guitar of the last century with the glorified grandeur of a monarch. He was the concert performer most admired by the public, praised by critics and contentiously sought after by promoters. He was also the great impetus for the creation of a new repertoire of original music for the guitar that European and Latin American composers readily and enthusiastically wrote for him.
His existence, however, was affected by his enormous commitment to the exorbitant number of concerts that he held in all the countries of the world. Few other virtuosos could sustain the burden of the schedule he did since 1909, (the year of his first recital in Granada) until 1987, (the year in which he gave his last concert in Miami at the age of 94). He took it upon himself to dutifully endure the fatigue and discomfort of his continuous travels, forced to spend most of his time in hotels rather than at home. A holiday was considered a luxury that he was able to concede to only in rare circumstances.
This nomadic and precarious lifestyle gave rise to a curious contradiction. On the one hand, he continued to solicit composers for new guitar works, promising performances and recordings. On the other hand, lacking the time to properly dedicate himself to the music that arrived, he was forced to apologize to the composers, complaining about the impossibility of studying and performing what he liked. Thus, we have two Segovian repertoires: what he could assimilate, play and record, making it known and famous; and what he was forced to keep in the shadows, works that have been discovered and published only since the beginning of the new millennium.
How he was able to find within such constraints the small windows of time that allowed him to quickly write his own few brief compositions is a question that can be answered only with consideration of his inexhaustible creative yearning.
It didn’t matter how abundant the body of works prepared for him by the composers was, something in him demanded a more direct and highly personal expression. Here are the Estudios, the Preludios, the Anecdotes, the Canciónes Populares. Here is also that strange work, recently rediscovered, entitled Fandango de la Madrugada, written while forty years old and exiled in Montevideo during the world war. With this piece he evokes his remote Andalusia, vibrant with memories of that flamenco which seduced him as a boy before his discovery of the great music and vocation that would make him the king of the guitar.
(English translation: Joe LoPiccolo)