Essay PreviewMore ↓
Andres Segovia was born on February 21, 1893 in the Andalusian city of Linares,
Spain. His father was a prosperous lawyer and hoped that one day that his son would join him
in his work. Andres’ father, trying to build a wide cultural background for his son, began to
provide Andres with musical instruction at an early age. He thought him how to play the piano
and the violin, but Andres did not seem to be too enthusiastic about either instrument. When
he heard the guitar at one of his friend’s home being played his interest in music it self had
begun. Even though his parents disapproved of him playing the guitar, Andres still continued to
play the instrument. Andres applied his previous acquired musical knowledge to his study of the
guitar. Because of this Andres developed his own technique, he had discovered quite early that
certain piano exercises were beneficial in strengthening the fingers for the guitar. He believed
that the guitars rightful place was in a concert stage, but at this time the guitar was considered
unsuitable in place like a concert stage (Cumpiano, William).
Andres Segovia’s Impact on The Guitar
Because of Andres Segovia, the history of the guitar changed forever. Andres
Segovia’s performances also helped make guitar makers like Manuel Ramirez, and Herman
Hauser become famous themselves. His expertise also helped the Yamaha corporation, but
his greatest impact was as a teacher. To study with the great Segovia was considered one of
the finest honors of a classical guitarist. Segovia felt that he was the person to bring the guitar
to an unseen level of fame. He had an encounter with Jose del Hierro, who had heard him play
at the shop of Manuel Ramirez and told Segovia to take up the violin instead, but Segovia told
Del Hierro that it was too late for him to take up another instrument and that the guitar of
tomorrow needed him. Segovia’s first concert quality guitar was from the shop of Manuel
Ramirez built by Santos Hernandez in 1912. He got the guitar in preparation for his concert at
the Ateneo, Andres needed a guitar that could be used in a concert. The guitar he had was
made by a famous maker, but was only a student model which was made from cheap wood
He went to the store to look for something to play on a “rent to own” basis.
How to Cite this Page
"Andres Segovia." 123HelpMe.com. 15 Dec 2019
Need Writing Help?
Get feedback on grammar, clarity, concision and logic instantly.Check your paper »
- Curiosity is a trait found in various individuals throughout history and present time. Curiosity constantly keeps your mind active instead of passive, helps your mind become observing of new ideas, opens up the doors to new possibilities that were hidden behind the shadow of normal life, and may overall change your character. Individuals such as Albert Einstein, Thomas Jefferson, Stephen Hawking, and Leonardo Da Vinci, were just a few of many people that not only benefited from curiosity, but set an irremovable mark in history.... [tags: curiosity and food, cooking]
980 words (2.8 pages)
- When you sit down to read anything that is trying to persuade you, you are being subjected to the three modes of persuasion that have been outlined by Aristotle in his book “rhetoric” (Meyer). Ethos; the mode of persuasion that attempts to change your opinion by using the author 's credibility, Pathos; appeals to your feelings and finally logos; that uses logic to try and sway your opinion. “On Teenagers and Tattoos”, an article written by Andres Martin, is an example of a persuasive work that can affect an audience very well and it does this by effectively using these three modes of persuasion.... [tags: Rhetoric, Logos, Ethos, Pathos]
818 words (2.3 pages)
- Lionel Andrés "Leo" Messi; born 24 June 1987, is an Argentine professional footballer who plays as a forward for Spanish club Barcelona and the Argentina national team. Often considered the best player in the world and rated by many in the sport as the greatest of all time, Messi is the only football player in history to win the FIFA World Player of the Year/FIFA Ballon d 'Or five times, four of which he won consecutively, and the first player to win three European Golden Shoes. With Barcelona he has won seven La Liga titles and four UEFA Champions League titles, as well as three Copa del Rey titles.... [tags: FC Barcelona, La Liga, Lionel Messi, Ronaldo]
720 words (2.1 pages)
- Lionel Andrés “Leo” Messi; born 24 June 1987, is an Argentine professional footballer who plays as a forward for Spanish club FC Barcelona and the Argentina national team. Often considered the best player in the world and rated by many in the sport as the greatest of all time, Messi is the only football player in history to win the FIFA World Player of the Year/FIFA Ballon d’Or five times, which is the most prestige’s award, four of which he won consecutively, and the first player to win three European Golden Boots.... [tags: FC Barcelona, Lionel Messi, La Liga, Ronaldo]
925 words (2.6 pages)
- History of the Guitar Throughout its centuries-old history, the guitar has alternately experienced times of extreme popularity and cultural obscurity. Through the diversity of instruments that now belong to the guitar family and through the diversity of musical styles played upon the guitar, its existence has now been secured. The guitar originated in Persia about four thousand years ago. Historians think that a resonating body such as a tortoise shell combined with the plucking of the hunting bow created the first plucked instrument, which later developed into such instruments as the sitar of India and the guitarra of Spain.... [tags: Papers]
492 words (1.4 pages)
- What comes to mind when you hear the word “art”. For some people, it might be the image of a beautiful painting, an intricate sketch, or maybe even an elegant granite statue. However, the true value of an artwork lies much deeper than its physical qualities. Rather, the power of an artist lies in his ability to provoke strong emotion and critical thinking in the minds of observers. Recently, while on a class trip to the Allen Priebe Gallery, a community art gallery at the University of Wisconsin-Oshkosh, I was exposed to the work of two local artists.... [tags: Art, Aesthetics, Emotion, Andres Serrano]
1027 words (2.9 pages)
- During the clash of any two cultures, there will always be disaccord in major ideologies and ways of thinking which eventually leads to reform or sometimes regression. Concepts of morality and cultural practices can create dissonance when there are opposing views, causing a shift in ethics in order to protect their original way of existence. At times, this conflict can birth efforts at positive social reconstruction, however during specific instances it causes severe destruction and loss of ethical direction.... [tags: Indigenous peoples, Culture, Colonialism]
1524 words (4.4 pages)
- ... This is one, but not the only way to make the phenomenon we know as earthquakes. This fault has not only caused trouble in the past but is likely to bring devastating destruction in the relatively near future. San Francisco had an earthquake, because of this fault, in April 1906 killing over 700 people and causing millions in damage (San). If a new earthquake were to happen it would kill thousands of American citizens along the west coast. Consequently, there would be a major drop in population over there which could reduce the amount of production created in this region all tying back into why the geological aspect of America is a main determining factor for seeing the importance of why... [tags: geological history, san andres fault]
907 words (2.6 pages)
- Andreas Capellanus' De Amore: An Instructional Book for Men in the Ways to Treat Women Andreas Capellanus was born between the years 1150-1160 and died sometime after 1186. Not much of his life is known besides that he is believed to have been a chaplain in the Court of Henry of Troy. Capellanus wrote a book named De Amore, which became the definitive work on the subject of courtly love throughout medieval times. De Amore is a book stylized in the form of a letter to a fictitious friend, Walter, about the intricacies of love.... [tags: Andreas Capellanus De Amore]
517 words (1.5 pages)
- Through out history, music has played a big role. It has let people communicate and others release their creative minds. Throughout the life of music, instruments have made it happen. The guitar has become one of the most popular of all instruments. In fact, almost every band heard on the radio has a lead guitar accompanying the vocals. Thanks to the greats like B.B. King, Jimi Hendrix, Andres Segovia, and Eric Clapton the guitar has been made the lead instrument in much of music. With contributions from each one of these legendary players, the guitar is used in a variety of styles; heavy metal to classical.... [tags: essays research papers]
2148 words (6.1 pages)
time nobody would ask for a guitar to be rented, it was mostly pianos that were rented. Segovia
then tried out the guitar and Ramirez listened to Segovia. Ramirez was convinced that Segovia
was a great muscian and gave him the guitar for free. As time went on Segovia needed a new
guitar. In one of Segovia’s concerts, Segovia met Herman Hauser. Segovia discussed about
what qualities he was looking for in a guitar. Twelve years later in 1937 Hauser presented the
new guitar. The guitar was known as “The Segovia model.” Today many makers have made
their own versions of that guitar. Years later Segovia got involved with the Yamaha corporation.
Yamaha talked to Segovia for the design of their highest grade guitar, it was called the GC71.
The guitar included a reduced angle between the head and neck, which would produce a mild
tone a new branching pattern to increase bass response. The finest woods were also used for
this guitar, Rumanian spruce for the top and Brazilian rosewood for the back and sides.
Because of the detail and the endorsement of Segovia, the guitar is on the market for about
$10,000 in US funds. Because of Segovia showcasing Ramirez, Hauser, and Yamaha guitars
those brands have been ingrained in the history of the classical guitar (Zondag, Curtis).
Segovia a Teacher
Segovia spread his philosophies in teaching the guitar in many ways. He released
many books of repertoire, which include some of his work and his arrangements of works that
other have. One way that he thought was by television. He made teaching videos, and also
made a thirteen episode series called “The Segovia Master Class.” His classes were held in
Sienna, Italy, Santiago de Compostela, Spain, and Berkeley, California. Many of the students
Segovia taught went on to become experts in the field. One of the most successful is
Christopher Parkening. In Christopher’s early teens he would practice the guitar for about an
hour and a half before school. At the age of fifteen he was invited to attend a Master Class with
Segovia. His private lessons were taught after Segovia had told Chris that he great potential for
a career in classical guitar (Lorimer, Michael).
A regular class would begin with students arriving early an tuning their guitars,
talking and exchanging music. Their would be two chairs one for the teacher, Segovia and the
other for the student. When Segovia arrived, the students would rise in respect as he entered
the room. He would then tell them to sit down an call each student up so they could perform.
The student would then play. Segovia might interrupt the student with comments such as, keep
the tempo and don’t pause at the end of each phrase, and be careful of your tone. Segovia
would also lose his temper, especially when the students don’t listen and when the students
have chosen poor editions of music. Segovia didn’t try to create musicians like him, but did try
to bring out the students own individuality in music (Lorimer, Michael).
At the age of fifteen, in 1909 Segovia made his first public debut in Granada. He
then had later concerts in Madrid in 1912 here he played transcriptions for guitar by Francisco
Tarrega and some songs by Johan Sebastian Bach which he had transcribed himself
(Wikipedia). After receiving recognition outside his own country by 1919 Segovia was ready
for a full-fledged tour. In that year Segovia performed in South America. There he gained an
enthusiastic reception. He did not go to Europe because of the shows he kept on giving but
returned in 1923. At this time some people considered him as a curiosity. His most important
early success occurred at his Paris debut in April 1924. This performance was arranged by
Pablo Casals. The audience included a circle of musical celebrities like Paul Dukas, Manuel Dc
Falla and Madam Debusy. They loved him immediately. His reputation became international.
In January 1928 he appeared at Town Hall In New York City (Cumpiano, William). Here is
the article written by the New York Times :
The fame of Andrés Segovia, the Spanish guitarists whose name has been a prominent one of late years in capitals of Europe, had preceded him. An audience including many Spaniards and many more of the musical connoisseurs of the city greeted him when he made his first appearance yesterday afternoon in Town Hall.
But the appearance of Mr. Segovia is not that of the trumpeted virtuoso. He is rather the dreamer or scholar in bearing, long hair, eyeglasses, a black frock coat and neckwear of an earlier generation. He seats himself, thoughtfully, places his left foot on its rest, strikes a soft chord, then bends over his guitar and proceeds to play like the poet and master he is of the instrument (Downes, Olin).
Granting a knowledge far greater than this reviewer possesses of the technics of the matter, it would not avail to describe Mr. Segovia’s performance in technical terms. He belongs to the very small group of musicians who by transcendent power of execution, by imagination and intuition create an art of their own that sometimes seems to transform the very nature of their medium. Segovia could be if he chose the trick player of his generation. He draws the tone colors of half a dozen instruments from the one that he plays. He has an extraordinary command of nuances, he seems to discover whole planes of sonority. Although his instrument cannot furnish a genuinely connected series of tones he produces upon it, very frequently, the illusion of sustained song. When he play a melody of Back or Haydn he phrases it, slurring certain notes, detaching the others, according to the directions of the composer. He has, of course, the vibrato and the portamento to help him in expression. He is remarkable, almost unique, for not abusing these effects. His left hand is as amazing to watch as to hear, as it flies with an incredibly light, swift, geometrical precision over the keyboard [sic], or divides passages digitally in such a way that one or two fingers stop the strings while the others play various types of melody or figuration (Downes, Olin).
We have said that all this command of tone, technique and special effects possible to the instrument are only the vehicles of musical intention on the part of the performer. Mr. Segovia played many pieces from Bach, principally movements from suites, and a Haydn minuet for the classic part of his program. He played Bach like a consummate musician. Th relation between the guitar and the old lute, for which Bach wrote some of his music—probably some of the music Mr. Segovia played yesterday—and the manner in which the instrument of plucked strings became the instrument of struck wires in the final form of the piano, was brought home with especial force of illustration. Nevertheless, the most remarkable of Mr. Segovia’s performances were not those of Back, interpreted with so much taste and musicianship, but the pieces, principally by Spanish masters, composed for the guitar (Downes, Olin).
The first two of these pieces were the compositions of Sor, who is given little attention by the dictionaries, but who, as stated by the program, lived from 1778 to 1839 an wrote music excellent in style and dignified in invention. There was a haunting simplicity and sentiment in the performance, which was of a jeweled finish and gracefulness of figuration. And the eighteenth century flavor was emphasized by the idiom of the instrument.
More native in character, and of the Spanish genre, were the "Serenata" of Malats, the "Danza" and "Etude" of Tarrega. Each of these compositions made different demands; each revealed another side of the performer’s equipment. It was here that he proved beyond contraction the right of his instrument and of himself as a performer and creator upon it, to the attention and the respect of all music lovers. For with certain instruments, as with much music, the appearance of the master, with his handicraft and his vision, is required, before that which is inherent can be brought to life and become articulate for the multitude (Downes, Olin).
Saying all this, it must be added that Mr. Segovia did not and cannot succeed in removing the limitations which will always surround his instrument. he has stretched these limitations to the utmost. He has far outdistanced in his knowledge and his musical conceptions the ordinary twanger of strings. Nevertheless, the guitar remains the guitar, with limits of sonority, color, dynamics. These limitations make Bach less impressive through its medium than on the piano or harpsichord. They reach their utmost effect and their entire significance in music less sculpturesque and contrapuntal than Bach's and with warmer harmony and more elementary rhythms. Hence Mr. Segovia's audience was most enthusiastic when he played his own Spanish music in a way that revealed its essence of spirit and idiom.
This was an unusually significant appearance, and the first of concerts that Mr. Segovia will give here. His reception should have gratified him. A New York audience has seldom been quicker or warmer with its approval (Downes, Olin).
- New York Times
Andres Segovia, then in 1936 was forced to give up his home because of Civil
War in Spain. He lived to be 94. He died of a heart attack.
Andres Segovia. 5 Apr. 2005. Wikipedia Encyclopedia. 18 Apr. 2005. .
Cumpiano, Wlliam. . -1 2005. Andres Segovia. 16 Apr. 2005. .
Downes, Olin. "Segovia's American Debut." New York Times. 9 Jan. 1928: .
Lorimer, Michael. "Andres Segovia-The Teacher." 1970. 17 Apr. 2005: .
Zondag, Curtis. Segovia and The 20th Century Guitar. -1 2005. . 49 Apr. 2005. .