Which musical instrument is best associated with 20th Century Musician Andres Segovia?
"Air instrument In the context of musical performance, air instruments are imaginary musical instruments for which people mimic the sound-producing gestures in the air without touching a real instrument. In simple words air instruments are the musical instruments which could be played without touching the real instrument. Air instruments include: There are other air instruments as well. The playing of air instruments has been documented through the 20th century (see: Air guitar). However, no sources have been found that exclude the playing of air instruments in ancient times, during private performances, such as for air flute or air lyre (for"
"Andrés Segovia Andrés Segovia Torres, 1st Marquis of Salobreña () (21 February 18932 June 1987), known as Andrés Segovia, was a virtuoso Spanish classical guitarist from Linares, Spain. Many professional classical guitarists today were students of Segovia, or students of his students. Segovia's contribution to the modern-romantic repertoire not only included commissions but also his own transcriptions of classical or baroque works. He is remembered for his expressive performances: his wide palette of tone, and his distinctive musical personality, phrasing and style. Segovia was born in Linares, Jaén, Spain. He was sent at a very young age to live with"
"At the beginning of the 1920s, Andrés Segovia popularized the guitar with tours and early phonograph recordings. Segovia collaborated with the composers Federico Moreno Torroba and Joaquin Turina with the aim of extending the guitar repertoire with new music. Segovia's tour of South America revitalized public interest in the guitar and helped the guitar music of Manuel Ponce and Heitor Villa-Lobos reach a wider audience. The composers Alexandre Tansman and Mario Castelnuovo-Tedesco were commissioned by Segovia to write new pieces for the guitar. Luiz Bonfá popularized Brazilian musical styles such as the newly created Bossa Nova, which was well received"
"classical Torres and post-Torres style instruments coexisted with traditional ladder-braced guitars at the beginning of the 20th century, the traditional forms eventually fell away. Some attribute this to the popularity of Segovia, considering him ""the catalyst for change toward the Spanish design and the so-called 'modern' school in the 1920s and beyond."" The styles of music performed on ladder-braced guitars were becoming more and more unfashionable; and, e.g. in Germany, musicians were in part turning towards folk music (Schrammel-music and the Contraguitar), but this only remained localized in Germany and Austria and became unfashionable again. On the other hand, Segovia"
"Contraguitar), which only remained localized in Germany, etc. On the other hand, Segovia was concertizing around the world popularizing his Spanish guitar, as well as a new style of music in the 1920s: Spanish romantic-modern style, with guitar works by Moreno Torroba, de Falla, etc. In fact, Segovia's Santos Hernandez (Ramirez) guitar from 1912, has a slightly different sound aesthetic, than the earlier Torres design. While the Torres is a guitar that some consider more appropriate to the salon style music of Tarrega, Arcas or Llobet (or arrangements of Granados, Albeniz), the later romantic-modern style of Moreno Torroba (whom Segovia"
"met in 1918), Castelnuovo-Tedesco (whom Segovia met in 1932), etc.—combined with requirements of performing in large concert halls—was uniquely suited to Segovia's performance on the Santos Hernandez and later on the numerous Hauser guitars (1929, 1931, 1937, etc.) that he owned. Yet ""Andrés Segovia presented the Spanish guitar as a versatile model for all playing styles"", to the extent that still today, ""many guitarists have tunnel-vision to the world of guitar, coming from the modern Segovia tradition of revisionism"". Torres and post-Torres style modern guitars with their fan-bracing, have a thick and strong tone: but they are considered too saturated"
"classical guitar today is the Spanish guitar: usually fan-braced and strong in fundamental. While fan-braced Spanish (Torres, post-Torres style) instruments coexisted with traditional central European ladder-braced (19th-century style) guitars at the beginning of the 20th century, the central European guitars eventually fell away. Some attribute this to the popularity of Segovia, considering him ""the catalyst for change toward the Spanish design and the so-called 'modern' school in the 1920s and beyond"". The styles of music performed on ladder-braced guitars, were becoming more and more unfashionable; and e.g. in Germany musicians were in part turning towards folk-style music (Schrammel-music and the"
"was playing in concerts around the world, popularizing his modern classical guitar, as well as a new style of music in the 1920s: Spanish romantic-modern style with guitar works by Moreno Torroba, de Falla, etc. Some people consider it to have been this influence of Segovia which led to the domination of the Torres instrument. Factories all over the world began producing them in large numbers. It was the 19th century classical guitarist Francisco Tárrega who first popularized the Torres design as a classical solo instrument. Composers of the Renaissance period who wrote for four course guitar include Alonso Mudarra,"
"got away from it. A few years ago, I picked up a Segovia five-CD set in New Zealand. Then came home, bought some classical records - by Liona Boyd, Ana Vidovic, Julian Bream. But I really fell in love with this record by Segovia. It's just called ""Segovia"", composed by Tansman, Federico Mompou, and Maria Esteban de Valera. It was then that I decided, for my next record, that I wanted to play guitar and sing as beautifully as I could. With the classical guitar, the whole range of sounds is covered. Bass and drums would have swamped up the"
"by some of Tárrega's pupils for his idiosyncratic technique, he continued to pursue his studies of the guitar diligently. He played again in Madrid in 1912, at the Paris Conservatory in 1915, in Barcelona in 1916, and made a successful tour of South America in 1919. Segovia's arrival on the international stage coincided with a time when the guitar's fortunes as a concert instrument were being revived, largely through the efforts of Miguel Llobet. It was in this changing milieu that Segovia, thanks to his strength of personality and artistry, coupled with developments in recording and broadcasting, succeeded in making"
"was established in May 1995, and Linares (Segovia's birthplace) also has a bronze statue in his honour, created by Julio López Hernández and unveiled on 25 May 1984. Segovia influenced a generation of classical guitarists who built on his technique and musical sensibility, including such luminaries as Christopher Parkening, Julian Bream, John Williams and Oscar Ghiglia, all of whom have acknowledged their debt to him. Further, Segovia left behind a large body of edited works and transcriptions for classical guitar, including several transcriptions of J S Bach—in particular, an extraordinarily demanding classical guitar transcription of the Chaconne from the 2nd"
"conductor Leopold Stokowski, New York Pro Musica and classical guitarist Andrés Segovia. Some of Horowitz's best known recording were the works he did with Segovia at Decca and as an independent producer. The albums they produced included lute and vihuela pieces, as well as original works written for Segovia by Mario Castelnuovo-Tedesco, Manuel María Ponce and Alexandre Tansman. Segovia won the Grammy Award for Best Instrumental Soloist Performance (without orchestra) at the Grammy Awards of 1959 for the ""Golden Jubilee"" album they worked on. Segovia and Horowitz also collaborated on ""The Guitar and I"", which was to include records with"
"Lifetime Achievement Award in 1986. Segovia's first wife was Adelaida Portillo (marriage in 1918). Segovia's second wife (marriage in 1935) was the pianist Paquita Madriguera, who also made some piano roll recordings. From 1944, he maintained a relationship with Brazilian singer and guitarist Olga Praguer Coelho, which was to last for over a decade. In 1962 Segovia married Emilia Magdalena Corral Sancho. They had one son, Carlos Andrés Segovia, the current Marquis of Salobreña. Segovia had several notable students throughout his career: Andrés Segovia Andrés Segovia Torres, 1st Marquis of Salobreña () (21 February 18932 June 1987), known as Andrés"
"Andrés Segovia, Leo Brouwer and John Williams. Like many South Americans of his generation, Lauro was a fervent cultural nationalist, determined to rescue and celebrate his nation's musical heritage. As a member of the ""Trio Cantores del Trópico"" in 1935–1943 (Lauro sang bass and played both guitar and ""cuatro""), he toured nearby countries to introduce them to Venezuelan music. Lauro was particularly attracted to the myriad colonial parlour ""valses venezolanos"" (Venezuelan waltzes) created in the previous century by accomplished national composers such as Ramón Delgado Palacios (1867–1902). Unfailingly melodic and characterized by a distinctive syncopation (created by a hemiola in"
"However, the validity of Segovia's criticism can be called into question: Firstly, Segovia seems to have been ignorant of the predominance of 'multi-string' guitars in the 19th Century, including the 21-stringed harpolyre for which Fernando Sor composed, as is evidenced in his claim that ""Sor...did not feel a need for additional strings"". Secondly, Segovia incorrectly claims that Yepes ""added four thick tongues"" to the guitar. In fact, Yepes added one ""thick"" (seventh) string only. As Yepes pointed out, the first criticism from Segovia already came ""before he had seen or even heard the instrument, soon after Ramírez made the ten-string"
"Andrés Segovia which were larger and more powerful than those of Torres. These guitars featured a longer scale length, and asymmetrical bracing unlike the symmetrical Torres pattern. Both these innovations and many others are standard today. More radical still, in 1963 he built a ten-string guitar for Narciso Yepes, to accommodate Yepes' unique chromatically balanced tuning, and later an eight-string guitar for José Tomás. High-end professional models based on both of these extended-range guitars remain in the company's current catalog. In the 1960s, to cope with increasing demand, José III moved the workshop to General Margallo street, and greatly expanded"
"as a commissioner or dedicatee of new works, as a transcriber, and to a far lesser extent as a composer with such works as his ""Estudio sin luz"". Segovia's main musical aesthetic preferences were music of the early 20th century (and turn of the century) especially in the Spanish romantic-modern and nationalist style. This is perhaps best typified by Segovia's own work ""Estudio sin Luz"". Many works of this and similar style were written especially for him and formed part of his core repertoire: particularly the guitar works of Federico Moreno Torroba (1891–1982), such as the ""Sonatina"", which was first"
"key, E minor. According to the guitarist and guitar scholar Stanley Yates, the first guitar transcription of the piece was probably by Severino García Fortea, although Andrés Segovia's transcription is the most famous and most influential. The piece has become one of the most important works of the classical guitar repertoire. Robbie Krieger, guitarist of The Doors, uses a reworking of the melody from this classical piece in The Doors song ""Spanish Caravan"" from their 1968 album ""Waiting For The Sun"". Asturias (Leyenda) Asturias (Leyenda), named simply Leyenda by its composer, is a musical work by the Spanish composer and"
"technique, it was possible to create a wider range of timbres than when using the fingertips or nails alone. Historically, classical guitarists have debated which of these techniques is the best approach; the vast majority of classical guitarists now play with a combination of the fingernails and fingertips. After World War II, Segovia became among the first to endorse the use of nylon strings instead of catgut strings. This new advance allowed for greater stability in intonation, and was the final missing ingredient in the standardization of the instrument. Segovia's repertoire consisted of three principal pillars: firstly, contemporary works, including"
"Alejandro Escovedo Alejandro Escovedo (born January 10, 1951, in San Antonio, Texas) is a Mexican-American rock musician, songwriter, and singer, who has been recording and touring since the late 1970s. His primary instrument is the guitar. He has played in various rock genres, including punk rock, roots rock and alternative country, and is most closely associated with the music scene in Austin, Texas. He comes from a well-known family of musicians. The son of Mexican immigrants to Texas, Escovedo is from a family that includes several professional musicians, including his brothers (and percussionists) Coke Escovedo and Pete Escovedo, and Sheila"
"of Santiago de Compostela. Segovia also taught at the Accademia Musicale Chigiana in Siena for numerous years, where he was aided by Alirio Díaz. Later it was Oscar Ghiglia who continued the Siena class. His teaching style is a source of controversy among some of his former students, who considered it to be dogmatically authoritarian. One of Segovia's most celebrated former students of the classical guitar, John Williams, has said that Segovia bullied students into playing only his style, stifling the development of their own styles. Williams has also said that Segovia was dismissive of music that did not have"
"he performed at his first concert at the Teatro Arriaga of Bilbao. He later moved to Barcelona, where he worked as a concert musician. There, he befriended Miguel Llobet and Andrés Segovia. In 1920, he played for the first time in Madrid. A year later he toured South America, giving 90 concerts. On 20 May 1920, he was awarded a Golden Medal by the National University of Buenos Aires, where he became friends with composer Antonio José Martínez Palacios, who dedicated some guitar compositions to Sáinz de la Maza. He toured Europe, giving concerts in France in 1926, in Germany"
"put together a musical arrangement that followed the origins of Argentine tango from its beginnings in the 19th Century to the nuevo tango of Piazzolla. Originally Segovia had hoped to use the orchestra of the great Aníbal Troilo; however, Troilo had died in 1975. In homage to Aníbal Troilo, every performance of ""Tango Argentino"" begins and ends with ""Quejas de bandoneón"", which was Troilo's signature piece. In addition to ""Sexteto Mayor"", Segovia recruited the great Horacio Salgán to complete the music. In his book ""Tango: The Art History of Love"", Robert Farris Thompson describes tango as music, poetry and dance."
"folk musicians at the turn of the 20th century, and it became a popular instrument for amateur musicians in Texas and Northern Mexico. The accordion has been a primary instrument in Mexican music. It is mostly associated with Norteño music, which has become one of the most popular music genres in Mexico since the 1990s, but the instrument is also featured in other genres such as Cumbia. Ramon Ayala is arguably the best-known accordion player in Mexico; nicknamed the ""King of the accordion"", Ayala has recorded over 113 albums since the 1960s. In some countries, such as Brazil, the accordion"
"the guitar more popular again. In 1921 in Paris, Segovia met Alexandre Tansman, who later wrote a number of guitar works for Segovia, among them Cavatina, which won a prize at the Siena International Composition contest in 1952. At Granada in 1922 he became associated with the Concurso de Cante Jondo promoted by the Spanish composer Manuel de Falla. The aim of the ""classicizing"" ""Concurso"" was to preserve flamenco in its purity from being distorted by modern popular music. Segovia had already developed as a fine ""tocador"" of flamenco guitar, yet his direction was now classical. Invited to open the"
"recorded and performed numerous times with Mr. Connolly, most recently on her CD Birdwatcher Hill. Anisa Angarola Anisa Angarola is one of twelve guitar soloists selected nationwide to perform in the historic 1980 master class given by Andrés Segovia. She is also founder of the renowned Los Angeles Guitar Quartet, recording and touring with the group for ten years to international acclaim. Performances included the Hong Kong Arts Festival, Wigmore Hall in London, Carnegie Hall, Teatro Nacional María Guerrero in Madrid, Zurich Tonhalle, the International Cervantino Festival of Mexico, international radio-television broadcasts including ZDF Mainz, Germany. Anisa has also concertized"
"Ignacio Fleta Ignacio Fleta Pescador (31 July 1897 – 11 August 1977) was a Spanish luthier and a crafter of string instruments such as guitars, violins, cellos, violas, as well as historical instruments. Fleta is widely regarded as one of the foremost guitar makers in the history of the instrument and sometimes described as the Stradivarius, or Steinway, of the guitar. Born into a family of cabinet makers, he initially built string- and historical instruments, and was inspired by Andrés Segovia to focus his efforts on the guitar. During Ignacio Fleta's Golden Age, from the 1960s to the 1970s, he"
"into these three categories helps the guitar enthusiast to understand Barrios's musical intent. Over 300 of Barrios' compositions survive. He is still revered in Latin America to this day, where he is seen as one of the greatest musicians of all time by many. John Williams, former student of Andres Segovia, said of Barrios: """"As a guitarist/composer, Barrios is the best of the lot, regardless of era. His music is better formed, it's more poetic, it's more everything! And it's more of all those things in a timeless way."""" Outstanding pieces in his repertoire include: He also wrote a couple"
"concertos and sonatas, usually specifically written for Segovia himself by composers with whom he forged working relationships, notably Spaniards such as Federico Moreno Torroba, Federico Mompou, and Joaquín Rodrigo, the Mexican composer Manuel Ponce, the Italian composer Mario Castelnuovo-Tedesco, and the great Brazilian composer Heitor Villa-Lobos; secondly, transcriptions, usually made by Segovia himself, of classical works originally written for other instruments (e.g., lute, harpsichord, piano, violin, cello) by Johann Sebastian Bach, Isaac Albéniz, Enrique Granados, and many other prominent composers; thirdly, traditional classical guitar works by composers such as Fernando Sor and Francisco Tárrega. Segovia's influence enlarged the repertoire, mainly"
"century but suffered a decline in popularity in the 17th and 18th centuries until the 19th century renaissance of the instrument. The early 20th century saw another decline. Then, beginning in about the 1970s, a roots revival heralded another rebirth. The folk revival may have peaked in the late 1990s, with the release of acclaimed albums by Galician Carlos Núñez (""A Irmandade Das Estrelas"") and Asturian Hevia (""Tierra De Nadie""). Both releases broke records, and ""Tierra De Nadie"" sold more than a million copies. In the 18th century, an important teaching school was opened in Asturias, created by José Remis"
"performed by Segovia in Paris in 1925. Segovia was selective and only performed works with which he identified personally. He was known to reject atonal works, or works which he considered too radical, even if they were dedicated to him; e.g. he rejected Frank Martin's ""Quatre pièces brèves"", Darius Milhaud's ""Segoviana"", etc. Even though rejected by Segovia, the works are today all published and available. Segovia viewed teaching as vital to his mission of propagating the guitar and gave master classes throughout his career. His most famous master classes took place at ""Música en Compostela"" in the northern Spanish city"
"Spain, France and the United States. Hosted by Oscar Brand the series was produced by Jim Anderson, Robert Malesky, and Larry Snitzler. Segovia died in Madrid of a heart attack at the age of 94. He is buried at Casa Museo de Linares, in Andalusia. Segovia's technique differed from that of Fernando Sor or Tárrega and his followers, such as Emilio Pujol. Segovia and Miguel Llobet (who taught Segovia several of his transcriptions of Granados' piano works) plucked the strings with a combination of fingernails and fingertips, producing a brighter, often louder, sound than many of his contemporaries. With this"
"for repertoire of all periods is sometimes critically viewed: Torres and post-Torres style modern guitars (with their fan-bracing and design) have a thick and strong tone, very suitable for modern-era repertoire. However, they are considered to emphasize the fundamental too heavily (at the expense of overtone partials) for earlier repertoire (Classical/Romantic: Carulli, Sor, Giuliani, Mertz, ...; Baroque: de Visee, ...; etc.). ""Andrés Segovia presented the Spanish guitar as a versatile model for all playing styles"" to the extent, that still today, ""many guitarists have tunnel-vision of the world of the guitar, coming from the modern Segovia tradition"". While fan-braced modern"