Illustrated biographical encyclopedic dictionary. Segovia Andres

Styles to which can be attributed by the artist: Jazz, Instrumental music, Acoustic music, Classical music, Hevi Metal, Guitar Music, Classic Rock, Latin, Classic, Baroque, Flamenco

Andres Torres Segovia (Span. Andrés Torres Segovia, since 1981, with the addition of title Markiz de Salobreña, Sp. Marqués de Salobreña; February 21, 1893, Linares - June 3, 1987, Madrid) - Spanish guitarist, considered the father of a modern academic guitar.

Segovia since childhood dreamed of making a guitar as a recognized tool in the area academic musiclike piano or violin. He began to learn the playing guitar since childhood from his relatives, inspiring as a sample of the master-satellite technique of guitarists performing flamenco. In adolescence, Segovia moved to the city of Granada, where he took the lessons of playing guitar, and at the age of 16, he spoke with the first concert in Madrid, fulfilling the transcription of various works made for the guitar of Francisco Tarrega, and the Armage of Johanna Sebastian Baha. Early speeches of Segovia were composed of cool - partly due to the fact that his performing equipment was noticeably different from the Tarregy technique and most of his students: Following Migesel, Lelghet (who may have managed to get a few lessons) he played using not only pads Finger, but also nails, which makes the sound more and sharp (there is a point of view that this distinction is associated with the desire of Segovia to endorse the guitar from living rooms and salons to large concert halls).

Starting from the mid-1910s. The executive skill of Segovia conquered an increasing recognition for an academic guitar in Spain. In 1919 and 1921. his first tour in South America, and in 1928 - the first trip to the United States. Constantly expanding the guitar repertoire (this consisted one of the main merits of this musician), Segovia shifted for guitar wide circle writings of different authors - including such outstanding and complex works as "legend" Isaac Albenis and<<Чакона>\u003e Bach. At the same time, Segovia appealed to contemporary composers with a request to write for the guitar, and over time Spanish, as well as European and Latin American composers (F. Moreno Toroba, H. Turina, M. Kastelnovo-Tedesco, M. Ponse, etc.) Began to respond. Durable turned out creative Commonwealth Segovia and Eitor Villa Lobosom, who wrote a whole range of works for the famous guitarist, starting with the famous "twelve etudes".

From the mid-1950s. Segovia taught a lot - first in Siena, and then in Santiago de Compostela, where he also contributed a lot to creating local music festival. Among his students, many outstanding modern guitarists (D.Villiams, D. Clrym, A.Dias, K. Parkening, etc.)

In 1958, Segovia became the owner of Grammy Prize for the best recording of solo academic music.

In 1981, the King of Spain Juan Carlos I, as a sign of the recognition of the merit of Segovia, before the Spanish culture, built him to noble dignity with the title of Marquis. In 1985, Segovia was awarded the prestigious reward in the world of academic music - the Ernst Siemens Prize.

To the deep old age Andres Segovia continued the concert and pedagogical activity. More than seventy years lasted creative way This great artist!

Biographies of guitarists - composers (classics)

Segovia Andres

Segovia Andres (1893-1987) is an outstanding Spanish guitarist and a teacher. As a child, he studied the game on piano, violin and cello, at the same time he independently studied the game on the guitar. Helped him a hearing folk music, Flamenco and the study of music literature. In 1909, the first concert of Segovia took place, but world Glory came to him in 1924, after a concert in Paris. Game A. Segovia is marked by exceptional virtuosity skills, interpretation depth; He expanded technical and expressive opportunities Guitars, introduced into a repertoire classic and modern music (many works in their own handling), raised guitar perforing for high art level. For Segovia, the compositions of H. Turin, H. De Manten, A. Russel, M. Castelnovo-Tedesko, S. Scott, E. Vilabosa, A. Tansman, and others are written and devoted to Segovia.
Segovia is one of the few concerts, in which criticism could not disclose deficiencies. On the contrary, every subsequent performance of the artist detected the new advantages of his game, which is associated with both its outstanding talent and with tense daily work to improve their skill.
Three times, in 1926, 1927, 1935-1936, he came to the USSR and with constant success gave concerts in Moscow, Leningrad, Kiev and Odessa. Segovia spoke not only with concerts, but also met with local guitarists, listened to their game, conducted methodical conversations and open lessons. This affected the development of guitar art in the Soviet Union: after the tour, many professionals were playing the guitar as a tool worthy of serious study. The consequence was the opening of the classes of the guitar in the music schools (then technical schools), as well as in some music universities. Segovia brought a brilliant Guitar Pleia - D. Williams, D. Brim (United Kingdom), A. Dias (Venezuela), H. Thomas (Spain), K. Parkening (USA), M. Gasbarronic (Italy) and others. Activity of Andres Segovia acquired such a swing because already at the very beginning of his musical career He looked at the guitar as one of the components of the whole musical culture generally. With it was revived old and born new literature for guitar, he interested the guitar professional musicians and composers, which entailed the rise of interest in the art of the game on classic guitar. His musical activity It is considered and estimated as an outstanding event of the twentieth century. In Venice Segovia was awarded the most honorary Prize - "Life, given to the art."
Active activities The concert artist did not interfere with Segovia to lead training courses on the guitar game in Santiago de Compostela, at the Kijan Music Academy in Siena, at the University of Berkeley. At the same time, he enriches the repertoire with guitar transcriptions of works famous composers, as well as plays for Lute and Viuela.
The very merit of Segovia in the field of repertoire is considered to be the fact that he managed to convince many composers to abandon the established negative stereotypes in views on the guitar and turn them to writing the writings for this tool.

Segovia Andres (1893-1987) is an outstanding Spanish guitarist and a teacher. As a child, he studied the game on piano, violin and cello, while simultaneously with this independent, but studied the game on the guitar. He helped him the hearing of folk music, the game Flamenco and the study of music literature. In 1909, the first concert of Segovia took place, but the world glory came to him in 1924, after a concert in Paris. Segovia's game is marked by exceptional virtuoso mas-moles, interpretation depth; He expanded the technical and expressive guitar opportunities, introduced the classic and repertoire and modern music (Many works in their own treatments), raised a guitar performer to a high art level. For Segovia on-chisanis and are devoted to H. Turin, H. de Mana-on, A. Russel, M. Castelnovo-Tedesco, S. Scott, E. Vila Lobosa, A. Tsansman, and others.

Segovia is one of the few concerts, in which criticism could not disclose deficiencies. On the contrary, each subsequent performance of the artist revealed the new advantages of his game, which is associated with him with its issuing talent and with tense daily work to improve their skills.

Andres Segovia successfully toured in the Soviet Soyu-Ze in 1926, 1927 and 1936, and once again - in December 1929 - was in the USSR passage, returning to his homeland by train on the Transsiberian highway after the tour in Japan and China. In the USSR, he with constant success gave concerts in Moscow, Leningrad, Kharkov, Kiev, Odessa and some other cities of the country. Segovia spoke not only with concerts, but also met with local guitarists, listened to their game, conducted methodical conversations and open lessons. This has also affected the development of guitar art in the Soviet Union: after the tour, many professionals began to look at the guitar as an instrument worthy of serious study. The consequence was the opening of the Guitar classes in the music schools (then technical schools), as well as in individual music universities. The hottest adherent of Segovia was P. S. Agafoshin, who was first in the USSR created a "school game on six-string guitar", based on the methodological installations Issue-rich guitarist. Thus, Andres Segovia was not only an artist, but also an active promoter of his instrument.

Being in the USSR, A. Segovia showed interest in young guitarists, conducted open lessons with them. On March 27, 1927, he gave a concert specifically for young Leningrad residents - P. I. Isakov's students. Communication Segovia with young guita rists continued in 1936 during his arrival in Leningrad, as evidenced by photographs, imprinted the Spanish artist with students V. I. Yasneva.

A. Segovia with students V.I.Yashneva
In the lower row of the second on the right of Ville Belilnikov, on the left in the lower row of Lilian Sedletskaya.

A. Segovia with V.I.Yashnev and his students
To the right of Segovia - Vilian Belilnikov, on the left - Lilian Sedletskaya; For Segovia is Vasily Ivanovich Yashane.
Leningrad, Hotel "European", 1936

Segovia brought up a brilliant play of guitarists - D. Williams, Julian Brim (United Kingdom), Alirio Diaz (Venezuela), José Thomas (Spain), K. Parkening (USA), M. Gasbarrony (Italy) and others. The activities of Andres Segovia acquired such a swing because at the very beginning of his musical career he considered the guitar as one of the components of the whole musical culture as a whole. With his help, the old and new literature for the guitar was revived, he was interested in a guitar of professional musicians and composers, which led to a rise in the art of the game on the classic guitar. His musical activity is considered and estimated as an outstanding event of the twentieth century. In Venice Segovia, the most honorable premium was awarded - "Life, given to Art".

The active activity of the concert artist did not interfere with Segovia to learn the guitar playing courses in Santiago de Compostela, at the Kijan Music Academy in Siena, at the University of Berkeley. At the same time, it enriches the repertoire with guitar transcriptions of the works of famous composers, as well as plays for lute and viuela.

The very merit of Segovia in the field of repertoire is considered to be the fact that he managed to convince many composers to abandon the established negative stereotypes in views on the guitar and turn them to writing the writings for this tool.

Formulating the goals of his creativity Segovia wrote: "I dedicated my life to four main tasks:

separation of the guitar from thoughtless fun folk-oil type;

providing its repertoire high Qualitycomposed of essays having great importance in music and came out from under the pen composers, usually writing for the orchestra, piano, violins, etc.;

reporting the beauty of the sound of the guitar to the philharmonic public of the whole world;

"All my creature was covered by indescribable happiness when I started playing a guitar, because the sound in bass was deep and sweet, and in the tops with trembling and trembling. And her emphasis, her soul in her voice was expressed firmly and convincingly. I forgot about All in the world except the guitar. "

Spain like centuries collected strength to create such a giant as Segovia. Segovia could not be born out of Spain, because the guitar was born here. To the question: "When did you start playing the guitar?" - Segovia replied: "Before I was born."

Andres Segovia was born in Andalusia, in the city of Linares, February 21, 1893, and a few weeks later the family was re-drove in Khan. The wonderful art of improvisation on native guitarists Andalusia and the original culture of this ancient land Very influenced his worldview.

In the autobiography of Segovia described a meeting with his first guitar teacher:

"Once a guitarist flamenko came to our house. At the first time, I jerked off the chair and fell. But when he began playing beautiful folk tunes, I was captured.
- Do you want to learn how to play? - he asked. I nodded in agreement. "

In 1910, the first public concert of A. Segovia, organized by his friends, held in the "Artistic Center" of Granada, organized by his friends.

"On the way to the scene (my friend's guitar was carried) the old flaretist approached me:
- Are you familiar with the guitarist who will play now?
I smiled and said:
- Good familiar: We are close friends.
- Is he talented?
- Not at all. Now you will hear yourself.
He was surprised by my unkind characteristic. close friend and asked:
- Do you envy him? - And with dislike, turning away from me, he entered the hall. But after the concert, the flutist came to hug me and said:
"Indeed, your friend deserves at the same time my congratulations, and your envy."

The first significant success of Segovia was associated with Seville. He was painted by success, he began to dream of a concert in the capital, however, the first speech did not bring the desired success.

In 1915, Segovia met the guitarist Miguel flareThanks to which he managed to give a concert in Barcelona in January 1916. However, the guitar did not strive to let in the big halls. She was not a popular tool, and everyone believed that her sound was not-accurate, and it would simply be heard in a large room.

A concert was a concert in the Palau Palace Palace of the Palau Music Palace in Barcelona, \u200b\u200bwhere Andres Segovia finally got permission to speak. The beauty of the sound of an acoustic guitar literally defeated listeners.

The atmosphere of Renasimento, the movement for the revival of folk traditions in the music and culture of Spain contributed to the further success of Segovia. Over the next six years, the guitarist won recognition to his tool not only in Madrid's concert halls and Barcelona, \u200b\u200bbut also in other cities of Spain. To this you need to add the success of two touring trips to South America in 1919 and 1921.

The main problem that Segovia seeks to solve is the creation of an original professional repertoire. He tied creative contacts with other musicians and personally appealed to many composers. Manuel de Olla, responding to his request, wrote a play "Debussy's memory". Federico Moreno Toroba - Dancing, Nocturons, Pieces, Preludes, "Castille Suite", "Castilian Concert". In 1919, Segovia made the transcription of the piano play Albenis "Legend"which was really expected to legendary future.

The 20s were the time of birth of a new era in guitar art and the beginning of the world's recognition of Segovia. Each speech from Segovia was perceived as a miracle as the opening of a new one. He sought to overcome stereotypes and approve the guitar as a solo tool.

Andres Segovia and Guitar conquer Paris, London, Buenos Aires. In 1928, a day, when the seventh concert in Buenos Aires was supposed to take place, on the same hour opposite gave a concert worldwide famous pianist Arthur Rubinstein, on all previous speeches of which, as at the concerts of Segovia, the halls were crowded. But fears about the "duel" guitars with the piano were in vain: constantly hanging signs at the halls, where Rubinstein and Segovia were performed, reported: "There are no free places."

If in the 20s the name of the great guitarist was associated with the birth of new art, then in the 30s it was possible to call the creator of the XX century guitar art. His noble goal was to exalted the guitar, and only a highly artistic professional repertoire could provide a decent place guitar. Segovia did not stop looking for new writings, referring to different composers. For his requests, Moreno Toroba, Pablo Caamba, Joaquin Rodrigo, Federico Muta, Gaspar Cassado, Manuel Ponce, Vila Lobos and many other composers in Europe and America were responding to his requests. Many before the meeting with Segovia did not compose for the guitar. Thanks to Segovia in most conservatory and musical schools of the world, a guitar class was introduced. Since 1955 he was engaged with students in the picturesque Italian city of Siena, and then taught Santiago de Compostela, a medieval city in Spain (in Galicia), where two-week festivals called for entertainment of rich tourists since 1958 "Music in Compost", the main purpose of which was the propaganda of Spanish old and modern music. The organizers of the festival attracted to participate in them and Segovia, which began to conduct classes with students. The room where they were conducted is a large room with stone arches, "said the church or monas-tyrn. Silence, severe architecture of a feudal lock with its inner courtyards, fragrant roses, walls covered with curling grapes. In this setting, each indication of the authoritative musician was perceived with almost religious trepidation, and the classes were remembered for life.

In the history of Spain there was no artist, which would be so Ak-tunic advocated Spanish music around the world. Once, explaining why the guitar is a favorite tool in Spain, Andres Segovia Skival, that one Spaniard is a whole society, like one guitar - a whole orchestra!

See also:

Vladimir Bobz about some technical techniques of Andres Segovia (short-present account on the book M. Weissboard "Andres Segovia", M., Music, 1981)

Denis Kolvach "Technique Segovia"

Collection of materials about Segovia, containing the most significant publications about him in the Soviet press and literature (many of which are presented in the photographic copies of originals), read in the special release of our electronic magazine "History of Guitar in Persons" (2012, No. 3) - "Segovia in Soviet Press and literature. "

Discography

CENTENARY CELEBRATION

COMPLETE 1949 London Recordings

Emi Recodings Volumes 1 and 2

• Poet of the Guitar

• Segovia Collection.

  1. Ponce, Rodrigo, Torroba

     My Favorite Works.

     PURCELL, SCARLATTI, HANDEL, BACH, FRESCOBALDI

     Five Centuries of the Spanish Guitar

  2. Castelnuovo-techesco

Short Spanish Pieces.

Andres Torres Segovia (Span. Andrés Torres Segovia, since 1981, with the addition of title Markiz de Salobreña, Sp. Marqués de Salobreña; February 21, 1893, Linares - June 3, 1987, Madrid) - Spanish guitarist, considered the father of a modern academic guitar.

Segovia since childhood dreamed of making a guitar as a recognized tool in the field of academic music, like a piano or violin. He began to learn the playing guitar since childhood from his relatives, inspiring as a sample of the master-satellite technique of guitarists performing flamenco. In adolescence, Segovia moved to the city of Granada, where he took the lessons of playing guitar, and at the age of 16, he spoke with the first concert in Madrid, fulfilling the transcription of various works made for the guitar of Francisco Tarrega, and the Armage of Johanna Sebastian Baha. Early speeches of Segovia were composed of cool - partly due to the fact that his performing equipment was noticeably different from the Tarregy technique and most of his students: Following Migesel, Lelghet (who may have managed to get a few lessons) he played using not only pads Finger, but also nails, which makes the sound more and sharp (there is a point of view that this distinction is associated with the desire of Segovia to endorse the guitar from living rooms and salons to large concert halls).

Starting from the mid-1910s. The executive skill of Segovia conquered an increasing recognition for an academic guitar in Spain. In 1919 and 1921. His first tours in South America took place, and in 1928 - the first trip to the United States. Constantly expanding the guitar repertoire (this was one of the main merit of this musician), Segovia shifted for a guitar a wide range of works of different authors - including such outstanding and complex works as "legend" Isaac Albenis and\u003e Baha. At the same time, Segovia appealed to contemporary composers with a request to write for the guitar, and over time Spanish, as well as European and Latin American composers (F. Moreno Toroba, H. Turina, M. Kastelnovo-Tedesco, M. Ponse, etc.) Began to respond. Durable turned out to be the creative Commonwealth of Segovia and the Aitor Villa Lobos, who wrote a whole series of works for the famous guitarist, starting with the famous "twelve etudes".

From the mid-1950s. Segovia taught a lot - first in Siena, and then in Santiago de Compostela, where he also contributed a lot to creating a local musical festival. Among his students, many outstanding modern guitarists (D.Villiams, D. Clrym, A.Dias, K. Parkening, etc.)

In 1958, Segovia became the owner of Grammy Prize for the best recording of solo academic music.

In 1981, the King of Spain Juan Carlos I, as a sign of the recognition of the merit of Segovia, before the Spanish culture, built him to noble dignity with the title of Marquis. In 1985, Segovia was awarded the prestigious reward in the world of academic music - the Ernst Siemens Prize.

Dead old age Andres Segovia continued concert and pedagogical activities. More than seventy years lasted the creative path of this great artist!