Andrés Segovia and his Contemporaries - Volume 14
The Guitar in Spain Part 2, 1928-1957
rec 1928-1957
DOREMI DHR 8139 [52:33]
The history of the classical guitar, in the incarnation currently widely recognised, is relatively short: a little more than two centuries. Little of that history detail is readily available to the non-Spanish speaking world. There is no definitive biography of its greatest hero Andrés Segovia, and probably never will be. Segovia’s incomplete autobiography, only up until 1920, is full of important omissions and questionable facts. Even though he spent almost ten years of his life in Montevideo, no biographer ever included details of this until the volume by Alfredo Escande, Don Andrés and Paquita (2009) was translated into English (2012). In his 100-page biography of Segovia, Carlos Usillos could only include three sentences on the subject.
This disc presents Segovia and his contemporaries during the period 1928- 1957. My association with the history of the classical guitar and its players is both long and detailed. However, of the eight players presented in this recording, aside from Segovia, only three other names are familiar. Given the high level of performance by some of these guitarists, competence cannot be used as a pretext for that obscurity.
The two more familiar names that appear on the programme are Angel Iglesias and Vincente Gómez.
They shared several things in common including tutelage by Quintin Esquembre. An absolute master of the guitar, Esquembre was plagued with performance nerves, and sought refuge as an orchestral cellist. It is rather unusual to find a classical guitar concert artist who is equally capable in the flamenco genre. In Gómez and Iglesias we find this combination to high levels of excellence.
Iglesias was an outstanding guitarist with total command of the instrument in both classical and flamenco genres. Younger than Segovia, he was active during a similar period, albeit shorter, as he passed away in 1977. Given his prowess, one may ask why he never attained a similar level of global recognition to that of Segovia? The absolute dedication of Segovia to a life of global travel and concertizing placed him aside from his contemporaries. The great José Luis González possessed every credential required to reach the same level of global appreciation and recognition as his mentor, Segovia. Aside from a short period domiciled in Australia, González elected to live in Spain and teach and concertize locally. Today, this giant of his craft is relatively unknown among the guitar fraternity. The three tracks by Iglesias on the review disc are a fair example of his prowess. A more comprehensive overview can be found on his recording, Arabesca (PVCD 9702).
Vincent Gómez left Spain in 1936, and ultimately settled in the USA. In 1948 he established La Zambra night club, on 52nd street, in New York City; it became a favoured meeting place for guitar enthusiasts, including the meeting venue for The Society of the Classical Guitar. In 1950 the Academy Awards presentations were held there. Gómez wrote music for, and played in a number of movies, including Blood and Sand and The Captain from Castille. In 1953 he moved to California and established a teaching school there.
Gómez was a fine guitarist, but many purists considered his style too flamboyant; the same has been said of very capable player Jorge Morel. Gómez made a number of recordings, both as a soloist and in conjunction with orchestras. His versatility and eclecticism can be gauged from the recording MCA DL74992 on which he recorded a solo version of the old Hank Williams standard: Your Cheatin’ Heart. His rendition of Sor’s Minuet op 11 no 6 (Festival FL 31 161) is significantly superior to that of Alfonso Sorrosal on this disc (19).
There is some very capable playing by the more obscure artists on this disc, but it is disadvantaged by the considerable surface noise on these early recordings. The playing of Lalyta Almiron is technically impressive, but marred by excessive rubato, especially in the Chopin op 9, no.2 (14). Most guitarists will recognize the name Luis Maravilla from the guitar tutor he wrote. He was a capable and enjoyable player.
Finally we come to Andrés Segovia: his five tracks are mainly from 1957 and one from 1943 .All are live recordings, and have never before been released. In terms of recording quality, this places him, comparatively, at an unfair advantage. Aside from that, he exhibits the guitar playing that made him world famous, especially the beautiful, and refined tone on his Hauser guitar. Whatever accolades were bestowed on Segovia, there is ample evidence that certain of his contemporaries possessed comparable technical and musical skills What they did not possess was the missionary zeal and marketing prowess that he continued to demonstrate right up until his passing.
Zane Turner
Previous review: Jonathan Woolf
Contents
Andrés Segovia (guitar)
Enrique GRANADOS (1867-1916)
Danzas españolas, Op 37 Nos 1-12: No 5, Andaluza [3:52]
André Kostelanetz and His Orchestra
Luis de NARVÁEZ (1526-1549)
Canción del Emperador (sobre "Mille Regretz" de Josquin des Prez) [3:26]
Guardame las vacas I [2:47]
Jean-Philippe RAMEAU (1683-1764)
Platée; Minuet (transcr. Segovia for guitar) [3:25]
Johann Sebastian BACH (1685-1750)
Cello Suite No 6 in D major, BWV1012: V. Gavottes I & II (arr. for guitar) [4:15]
Miguel Borrull (guitar)
Isaac ALBÉNIZ (1860-1909)
Suite española No 1, Op. 47 No 1, Granada [3:23]
Francisco TÁRREGA (1852-1909)
Adelita [2:16]
Rosita Rodés (guitar)
Daniel FORTEA (1878-1953)
Andaluza [3:13]
Johann Sebastian BACH
Cello Suite No 3 in C major, BWV1009 III. Courante (arr. for guitar) [2:27]
Francisco Alfonso (guitar)
Joaquín MALATS (1872-1912)
Serenata espanola [2:56]
Enrique GRANADOS
Danzas españolas, Op 37 Nos 1-12 No 5, Andaluza (arr. for guitar) [3:22]
Johann Sebastian BACH (1685-1750)
Prelude in C minor, BWV 999 - Lute Suite in E minor, BWV 996 II. Allemande (arr. for guitar) [3:09]
Cello Suite No 3 in C major, BWV1009 III. Courante (arr. for guitar) [2:31]
Lalyta Almirón (guitar)
Fryderyk CHOPIN (1810-1849)
Nocturne No 2 in E-flat major, Op 9 No 2 [3:28]
Francisco TÁRREGA
Sueno [3:07]
Vicente Gómez (guitar)
Francisco TÁRREGA
Tárrega: Gran Jota [4:11]
Vicente GÓMEZ (1911-2001)
Guajiras Cubanas [3:39]
Lamento for guitar [3:31]
Alfonso Sorrosal de Villalonga (guitar)
Fernando SOR (1778-1839)
Themes variés et 12 Menuets, Op 11 No 6, Menuet [2:23]
Alexander BORODIN (1833-1887)
Petite Suite VI. Sérénade (arr. for guitar) [2:00]
Ángel Iglesias (guitar)
Enrique GRANADOS
Danzas españolas, Op 37 Nos 1-12; No 5, Andaluza (arr. for guitar) [3:12]
Ángel IGLESIAS (1917-1977)
Arabesque for Guitar [3:10]
Francisco TÁRREGA
Gran Jota [3:22]
Luis Maravilla (guitar)
Manuel de FALLA (1876-1946)
Danza del Molinero: El sombrero de tres picos (arr. for guitar) with Roberto Ximenez (flamenco dancer) [2:23]
Luis MARAVILLA (1914-2000)
Aires Gallegos [3:18]
