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Musician’s annals are well endowed with the names of those who enjoyed success during their lifetime, fell into obscurity after death, but later enjoyed a significant renaissance in popularity and recognition. These generally had two things in common: they were either highly capable composers whose manuscripts were accessible to future generations, or twentieth century musicians who left a discography as testament of their greatness. Agustín Pio Barrios was born in an epoch that afforded him the opportunity to make audio recordings; he was in fact one of the very first classical guitarist to do so. They bear testimony of his highly refined technique, musicality and mastery of the guitar. He has also been described by guitarist John Williams as the greatest composer for guitar and one of the greatest musicians of all times. His opera for the instrument constitutes more than one hundred significant works. Barrios died in 1944 and it was not until 1977, when John Williams released an all-Barrios recording that a global revival of interest in this genius of the guitar began. Despite his volume of compositions for the guitar, during the intervening period between his death and the Williams recording, very few were accessible. To this Barrios had contributed by not writing many of his compositions down. During his own lifetime it was often only under the duress of close friends that he committed these to paper. Prior to the Williams’ epic effort, other guitarists had recognized the quality of Barrios’ compositions, and recorded pieces for which scores were available. Laurindo Almeida and Baltazar Benitez both recorded Waltz op. 8, no. 4 and Alirio Diaz recorded Danza Paraguay No.1, Aire de Zamba and Cueca in the early 1970s. One of the earlier more prolific exponents of Barrios’ music was José Luis González Julia (1932-1998). He recorded Danza Paraguay No.1 , Aire de Zamba, Prelude in G minor, and The Old Medallion for CBS Australia, in the 1960s. Later a number of other pieces by Barrios appeared on his Sony, Japan recordings from the 1980s. The classical guitar, in the format we have come to recognize it, has a rather brief history, but one with its fair allocation of colourful characters; Barrios certainly was one of these. It becomes very evident as we sift through the historical information available about Barrios that myth and legend have infiltrated the record, and the passage of time distorted it with inconsistencies and inaccuracies. Just one illustrative example well worth pursuing in some detail, is the type of strings he used on his guitar. It is commonly believed that Barrios used steel strings instead of the traditional gut, the dominant choice of guitarists of the day. A Barrios biographer, Uruguayan, Miguel Herrera Klinger, documents a conversation he heard in a guitar store in Buenos Aires around 1912 before Segovia met Barrios in 1921. The discussion between Segovia, Domingo Prat and Regino Sainz de la Maza, centred on the metal strings that Barrios was using. Sainz de la Maza was the only one who did not reject steel strings, provided it was Barrios who played on them. Segovia commented: ‘Well as far as I am concerned I would not know what to do with that wire fence.’ Segovia’s analogy of a wire fence suggests more than one strand of wire, but as this was well before Segovia met Barrios we can be fairly sure that he had never seen the Paraguayan’s instrument. A biographical sketch published in Guitar World by Mark Antony pursues the stringing of Barrios’ guitar. An interested reader seeks clarification to which Antony replies: ‘It is true that Barrios had a steel first string.’ Anyone evenly modestly familiar with the anatomy of the classical guitar will quickly realize that such an instrument, strung with steel strings and tuned to concert pitch, would not maintain its structural integrity for very long. The pressure exerted by a set of steel strings is almost twice that of nylon strings. Such is the preoccupation with the pressure that strings exert, classical guitarists are well advised to replace strings one at a time, tuning to pitch after each replacement and working from the extremities to the centre. The use of a first steel string appears more plausible. For those who have listened to the historical recordings by Barrrios, there is no conspicuous evidence of the typical metallic sound of steel strings. Sometime during the period 1916-29 while Barrios was based in São Paulo, he met the famous Italian composer Gino Marinuzzi, who attended his concert at the Itamaraty Palace in Rio de Janiero. Marinizzi felt the use of steel strings on his instrument produced a brash sound in the upper register, and questioned Barrios’ use of them at a time when most classical
They spoke privately and Barrios proposed to visit. he would have elevated Barrios to inaccessible heights thus distracting from his own artistic prestige. a quarter of an inch from the bridge.Friends. 1944? Luthier Jose Maria Dura Argenta who made Barrios’ last guitar indicated that Barrios used many guitars during his lifetime. but not once during the five weeks that they were both in Uruguay did the two meet. observed that gut strings quickly perished in such a humid environment. The expense of gut was also probably prohibitive for some guitarists and Barrios was not the only player who used metal strings. and logically so: if he had played it with the extra ordinary abilities he possessed. Whether the copy arrived before Segovia’s departure we can never be sure. On these and many other matters about Barrios we are well advised by the observation of Nabokov in his novel. Segovia is recorded as having given Barrios a set of gut strings. of course Segovia only heard the first two sections because the third was not added by Barrios until some years later in Cuba. Barrios had to ask a friend to send it from Uruguay. Barrios explained he had learned to play on steel strings and preferred the range of musical tonal effects and sounds offered. he never played. At the same time Barrios returned from Brazil to Montevideo. If indeed Barrios’ preoccupation with steel strings related to the range of musical tone effects and sounds offered. but switching to nylon strings before he died.’ The work to which Klinger referred was La Catedral. One particular work he liked very much and indicated he would play in his concerts. He noted: ‘I could not tell the steel ‘E’ string from the others. He compromised by using a rubber mute on the three highest strings to dampen the timbre. The Real Life of Sebastian Knight. a photograph taken of Barrios in 1923 also reveals small black marks on the 2nd and 3rd strings suggesting Barrios was also using steel for those strings. ten days before Segovia left Buenos Aires. (Minstrel of Magical Strings) Nylon strings were first tried in Jan.’ The seeming antipathy even went as far as Segovia banning the playing of any Barrios music in his master classes right into the 1970s.’ Asked by a student.’ One major question that is confusing. 22. If Barrios was still using steel strings when he and Segovia met in March 1944. Despite being in a prime position to do so. reshaped by the listener. laced with misinformation. he sometimes used a steel first. what is your opinion of the music of Barrios which has become so popular recently?’ Segovia paused. With the passage of years it became increasingly obvious to Barrios that Segovia was not his friend and referred to the Maestro as ‘deaf in the heart. five months later in Aug. whether as a ninety-year-old man he felt exhausted from the three hour session in English or . David Norton after a master class at California State University. In June. Guitarist /historian Richard Stover has on many occasions referred to Segovia’s comment that ‘Barrios was not a good composer. On close examination. On the occasion of their second meeting in March 1944. 1944 during a concert in New York. this is where Barrios did much of his playing. implying that Barrios was still using steel string(s) (Barrios Vs Segovia. myth and legend and that has long preoccupied guitarists is why Segovia never recorded any of Barrios’ music. Segovia never assisted Barrios in any way in the furthering of his career. introduced by a mutual friend. It has also been suggested that Barrios never actually gave a copy of the original to Segovia as he didn’t have one with him at the time. concealed from both by the dead man of the tale. He totally ignored the music of Barrios in both his concerts and discography. he traded some of this by using rubber mutes.Northridge. Reference is also made to Barrios never using gut strings. Does it really matter? The answer to that question depends on individual attitude and there are many who relentlessly seek enlightenment on such issues related to the great historical characters of the classical guitar. prior to the advent of nylon strings. Dr. Those who played the guitar in the tropics. Barrios was the one who took the initiative and visited Segovia. sometimes all three trebles and sometimes all six strings. The narrative is again spiced by comments apparently taken out of context. Robert Edgeworth Johnstone had lessons with Barrios while both were living in Trinidad.guitarist were using gut strings. Foes or Just Different? by Pablo Antuna ). It was not until 1921 that they met at a concert in Buenos Aires. April 1981 or 1982. was the question: ‘Maestro. This shortened the life span of his guitars designed for gut strings. or included it in any of his concerts. Miguel Klinger declared of this encounter: ‘Barrios played a cascade of musical gems for the great Segovia who was surprised… but yet he was floored. ‘Remember that what you are told is really three fold: shaped by the teller. 1920 Segovia was giving concerts in Montevideo. he wrote that letter on Nov.’ He described the ‘E’ string as having a piece of unvulcanised rubber folded around it. it is unlikely that he would have had access to nylon strings before he died.
Of all subjects on which Williams differed with the Maestro. Segovia was a master of ambiguity and inconsistency. Mexico and Venezuela are both ex-Spanish colonies. We know that through the editorial process. who was Artistic Director of the Segovia Foundation. Aside from a number of revealing biographies that emerged over the past few years since the Maestro’s death. and find skilled performers of the art. Stover only heard the last part of Segovia’s comments and with vested commercial interest repeated it. . Permeating Segovia’s repertory. and been suggested as a prime reason for Segovia’s shunning of Barrios. renew public interest in it. it may be that Segovia would have come to similar conclusions about Chopin? Or did he ill advisedly use the word ‘good’ instead of ‘great?’ Some have discredited and dismissed the concept that Segovia treated Barrios the way he did to protect his own emergence and establishment as ‘King’ of the guitar. he (Segovia) played the guitar with rasgueado and falseta. it is not a legitimate reason for Segovia’s attitude to Barrios. competition for singers and guitarists in Granada.struggling for the right words. Domingo Prat in his Diccionario de Guitarristas. the full extent of Williams’ response was not aired. While.deep song. Probably already aware that John Williams has been overtly critical about aspects of Segovia. In 1922. We could say. He proposed that the attitude of Segovia may have had its genesis in the cultural antipathy that Spaniards have for ex-colonies.’ John Williams elected to feature Agustín Barrios in the programme. Barrios has also been referred to as ‘The Chopin of the Guitar.’ It is not difficult to understand how not so well-informed writers gained this impression regarding Segovia’s purported antipathy for the association of folk music and flamenco with the guitar. Lorca and Segovia and others organized an important cante jondo. and not infrequently did he refer to the ‘noisy flamencos’ and make what appeared to be derogatory remarks about flamenco.’ (Guitar Review No 89. the Spanish may harbour such feelings. that reflect the essence of the folk music true to its Mexican stylistic features. Segovia also recorded Antonio Lauro’s most popular work: Valse Criollo. Falla. Foes or Just Different?’ Pablo Antuna noted: “He (Segovia) despised anything that related the guitar to folk music. 1934 noted: ‘Down there in Granada. Segovia is very clear about this during his interview with Christopher Nupen in the biographical documentary ‘Los Olivos.’ On Jan. It certainly would not have been convenient for the guitar world to know about this genius from Paraguay. generally. 1997-2005. Segovia was a true aficionado of flamenco music. writers such as Angelo Gilardino. but with a caveat: the ‘true flamenco’ not what the art evolved into under the influence of guitarists like Paco de Lucia and others. recordings and published music are works such as Sonata Mexicana. Barrios. who wrote only shorter pieces. ‘Great Lives. Segovia also played flamenco pieces.’ In assessing Chopin relative to Beethoven. it is important to dispel one major myth that has infiltrated the writings of many. Spring 1992).’ Other authors have referred to ‘Segovia’s hatred of flamenco music. 2010. On other occasions he carefully explained the context in which his seemingly derogatory remarks about flamenco were made. 26.Friends. it is also now equally well-known as Natalia. indicated that in comparison to Ponce or Castelnuovo-Tedesco. In his article ‘Barrios Vs Segovia. 3. it is difficult to support the opinion that Segovia avoided Barrios’ compositions because they represented the music of an ex-colony. or Valse No. justifiably that contrary to popular belief. but that did not inhibit Segovia recording guitar music written by natives of those countries. Before examining some of the reasoning behind these dismissals. John Williams and guest Berta Rojas appeared on the BBC 4 programme. Segovia was five years old when Lucena died and inherited his guitar. Their objective was to preserve cante jondo.’ He further explained: ‘Segovia admired Barrios as a musician but didn’t want to popularize his music with folk character. One such article by Gilardino suggests that Segovia commenced his career as a flamenco guitarist and received tutelage from Agustinillo who was a pupil of the great Paco Lucena. but a couple of comments that he did make are worth response. facilitator Matthew Parrish asked Williams why Segovia essentially shunned Barrios in his recording and concert activities.’ In 1977 Segovia transcribed an example of Lucena’s improvisations and declared: ‘[It] is proof of the depth and simplicity of his noble style. Manuel Ponce was a composer greatly influenced by native Mexican folk music. and Tres Canciones Populares Mexicanas. from his earliest childhood. A stated goal of Segovia’s was ‘to extract the guitar from the noisy and disreputable folkloric amusements’. attacking it over ensuing time. and using the same criteria. was not a good composer for the guitar. Although notated that way on the recording cover. have placed much private and revealing information about Segovia in the public domain. In such an environment. few were so strongly disparate as the quality of Barrios’ music. and invariably evasive if interviews infringed on the myth and legend that he so assiduously generated his entire life.
during his earlier career some of this music may not have been readily accessible. who left treasures for its repertory that Segovia incorporated extensively in his concerts and recordings. he demonstrated little interest. Rodrigo. to these may be added Segovia’s harmonization of Norteña. Did Segovia avoid the work of Barrios because much of it comprised only short compositions inspired by folk music and did not meet his criteria for new repertory? In reality he needed more developmental. Barrios was not the only composer of the time fusing European art music with the folk music of his country. Of course in arranging the piano music of the Spanish Nationalists. Another reason given for Segovia ignoring the music of Barrios relates to their disparate objectives in establishing a repertory for the guitar. It certainly does not suggest he was awed by the technical difficulties that Barrios’music represented. form-wise. served as an unofficial archivist and a stabilizing force in the life of the passionate young man. are considered fairly minor in the repertory of the original instrument. that ‘in comparison to Ponce and Castelnuovo-Tedesco. Heitor Villa-Lobos (18871959). recordings and published music. Turina and Torroba. Segovia was endorsing the folk music of Spain as relevant to the classical guitar. Relative to major compositions for other concert instruments. Martin Borda y Pagola who was a guitar aficionado. Barrios references a meeting between him and Segovia. this music is rather ‘lightweight. Barrios mentions that Segovia ‘treated him with much consideration and respect. serenades. To reference but three: Ernesto Nazareth (18631934) was doing the same thing with piano music and the folk music of Brazil. and it has been suggested that this may have been another reason that Segovia avoided it. dedicated to his wife Gloria. Tárrega and Llobet arranged from the opera of Albéniz and Granados. There are numerous examples which clearly illustrate that Segovia was well disposed to the fusion of classical and folk music in compositions for the guitar repertory. did the two movement La Catedral have special appeal to Segovia because it was. Segovia’s response to student David Norton in the Northridge master class of 1981/82. A brief listen to the recordings made in his earlier career will quickly dispel any doubts about his technical abilities. Joseph Sickman Corsen (1853-1911) was also composing piano music that was a fusion of folk music of his native Curaçao and traditional classical music . some concluded that he was trying to totally disassociate his classical repertory from compositions inspired by folk music. It was the major works of Ponce. Although Segovia had a reputation for arrogance and even ruthlessness toward fellow musicians. Castelnuovo-Tedesco. being able to learn by rote some of the pieces that Llobet had personally arranged and played for him. he needed to have a repertory for the guitar appropriate to that new status. a Prelude. His efforts also met resistance. may have had more significance than is immediately apparent. Another contemporary. While the concerti of Carulli. In correspondence with Pagolita in 1921. Molino and the fantasies. sonatas of Sor pre-existed Segovia. but did he have scores for other pieces he played for Segovia? Or was Segovia astute and intuitive enough to quickly analyze and replicate what Barrios was playing? We know that his skills in this area were highly refined. During his four years in Montevideo. more substantial than many of his other short pieces based on folk music? If such an impression existed it could only have been enhanced by Barrios’ 1938 addition of a third movement. Tansman. The examples of Ponce. with the exception of the latter. was recorded later in Segovia’s life when his technical prowess was not at its zenith. Giuliani. ‘weightier’ music to elevate the status of the guitar and make it better accepted on the concert stages of the world. These he pursued in concerts. Lauro and Villa-Lobos have already been cited. also the arrangements. among others that he embraced to elevate the guitar repertory and give it more substance relative to the piano. and adaptations that Miguel Llobet made of Catalan folk songs.’ Even the most beloved pieces for the guitar that Segovia. Villa-Lobos. Aside from its intrinsic beauty. when some of his original compositions were proposed for inclusion in the concert programme of the National School of Music in Rio de Janeiro. It is evident that Barrios did not have a score of La Catedral with him. he played some of my own compositions on his own guitar and liked them. ‘Dear Pagolita’ as Barrios referred to him. there was such a protest that police had to intervene. Based on erroneous conclusions regarding Segovia’s attitude to traditional flamenco music.’ One source suggests that Segovia actually played La Catedral on that occasion. violin and cello. If Segovia was going to elevate the guitar to the same status as other recognized instruments. an Indian lullaby that Crespo adapted from Argentinian folk music. One aspect was Barrios’ fusing of the essential elements of traditional European art music with South American folk and popular music. Barrios established a strong and enduring friendship with a prosperous land owner. was not a good composer for the guitar’. Despite . Closer to the guitar was Brazilian.The music of Barrios is also very technically demanding. It is unfortunate that much of the recorded music to which we have access. Barrios who only wrote short pieces.
when Segovia’s private papers were made accessible fourteen years after his death. was duly praised by Debussy scholar. made two years later by the composer. and later in Buenos Aires was simply the first movement of the Sonatina is uncertain.J. shorter pieces that became the core of what aficionados loved and revered about the instrument and the Maestro’s playing. came with the understanding that he would arrange and adapt their music should it contain aspects unplayable on the instrument. It has subsequently been played in concert by Julian Bream and recorded by Tilman Hoppstock and Carlos Bernal. As with the music of Barrios music . Ramírez had built for José Tomás. He noted that: ‘Segovia had a clear vision of what the classical guitar should be and didn’t accept anyone who was heading in another direction. Whether the ill-fated Reverie by Scott that Segovia performed in the Wigmore Hall on May 11. Was this approval based on its contextual usage.’ Barrios played using steel strings. Paco de Lucia and Abel Carlevaro. each deviating from Segovia’s theoretical ideal. During the years between the two great World Wars Segovia was the source of inspiration for several composers to write new music for the guitar. On balance it must be acknowledged that the work of Barrios was not the only music of calibre that Segovia elected to ignore despite the missionary zeal with which he often pursued composes to write new music for the instrument. Vicente Arregui Garay and Jaime Pahissa was discarded only to be rediscovered in 2001. Segovia’s appeal to composers. He certainly took that initiative on behalf of Ponce and others. Segovia is known to have had this work in his possession in 1927. a diametrically opposite attitude about yet another guitar variant. Segovia also personally pursued a developmental repertory inspiring a policy that motivated other players and composers to collaborate with larger-scale works. 1928. It represented weightier music that had all the qualifications necessary for its inclusion in Segovia’s developmental repertory. especially suited for playing unarranged Baroque music. The initiative was taken from him by others who. Despite the fact that Segovia totally ignored Barrios’ music in his own lifetime it became universally recognized and accolade. That augmented the guitar’s recognition as a legitimate concert instrument. one that is now taught in most of the major academic institutions throughout the world. a good reason for Segovia to reject him. Segovia did include in his repertory music by Father Donostia: ironically a piece for piano that Segovia arranged for guitar (Dolor)! The British did not fare much better in this process. That did little for Segovia’s credibility because he had the opportunity to embrace it and include it at a time when the guitar’s repertory was rather meagre. Vladimir Jankélévitch. Few would debate the classification of Rodrigo’s. None of this development would have been hindered by Segovia including some of the beautiful pieces by Barrios in his music making. until re-discovered (two pages missing) with the aforementioned pieces in Segovia’s papers. one wonders whether this was based on the sound or physical aesthetics of the instrument. who developed the ten string guitar in conjunction with Yepes. he was equally capable of making exceptions when it suited him. A treasure such as this will not be dismissed simply because it lacked the Maestro’s acknowledgement and endorsement. José Antonia de San Sebástian’s (Father Donostia) composition. British composer Cyril Scott (1879-1970) wrote for Segovia a substantial three movement work entitled Sonatina. at least in this instance. A subsequent arrangement of this ‘failed ‘guitar piece for piano. despite encouragement that he would make amendments to playability should any be necessary. but he did not include it. The music of composers such as Raoul Laparra. There are doubtless other reasons proferred for Segovia’s attitude to Barrios. but a final one worth comment is mentioned in the previously cited article by Pablo Antuna. Oddly enough Segovia expressed to José Ramírez III. Ramírez III). Concierto de Aranjuez as the greatest concerto ever written for the instrument.his observation that ’Barrios only wrote short pieces’ openly expressed some 60 years after his initial exposure Segovia’s concerts and recordings over that intervening period included numerous small. Errimina written for Segovia in 1925 was acknowledged by him as unsuitable for the guitar. of this instrument Segovia approved (Things About the Guitar. the latter somewhat distorted by this new variant. Barrios being one of them. While Segovia may have been uncomplimentary about the ten-string guitar. Segovia’s assistant at Compostela Music. We can never be absolutely sure why Segovia’s attitude to Barrios was as manifested. an eight-string guitar.’ Also referenced as evidence of this attitude. unfamiliar with writing for the instrument. Despite this he rejected music on that basis. or was Segovia again demonstrating inconsistency that suited him to do so? It is obvious that if Segovia did generally reject anything outside his theoretical ideal.’ It appears unequivocal from Barrios’ biographers that Segovia admired his music. is the harsh nature of Segovia’s criticism toward Narciso Yepes’ ten-string guitar. It seems rather incongruous that the greatest classical guitarist never played or recorded this masterpiece and ignored it for most of his life. It vanished from his repertory and the manuscript for the entire Sonatina was assumed lost.‘it is concealed from all by the dead man of the tale. proved him myopic.
Feb 1983) It is challenging to correlate the opinions of John Williams and Segovia on this subject. The eighty-four-year-old musician accepted the academy chair left vacant by the death of Oscar Esplá. It may have been that the passage of time and thoughts of imminent death mellowed Segovia’s attitude to other things. one may come to different conclusions than those of Diaz. among them. During the acceptance speech Segovia made reference to other guitarist carrying on his life’s work: ‘And what makes me most happy is to observe that the guitar’s progress continues without interruption with me and apart from me. Mark Antony).’ (Guitar International. He ignored and dismissed outstanding compositions by both guitarists/composers and from composers generally. The Sonatina by Cyril Scott was anything but too Spanish.’ (Ibid. every effort has been made to obtain balance in presenting what information is accessible. one could have anticipated Segovia’s inclusion of his own compositions in concerts and recordings. Nor should we omit to mention even though it relates to a previous epoch. the distinguished Sainz de la Maza for whom our eminent Jaoquín Rodrigo created the Concierto de Aranjuez. Given his large ego. He once made reference for the need to: ‘Isolate the guitar from these microbes. both the student and aspiring professional. such as Remembranza. There is ample evidence that Segovia acted as a discriminating filter when selecting music for inclusion in his repertory. The most notable artist. despite its quality and structure it too was excluded from his repertory. Sydney. written for the guitar around the same time and subsequently. because in my opinion it is not really musical. and while they are not the calibre of Barrios’ work. Just two years prior.he was instinctive. In summary. Could this seeming indifference be related to the fact that Rodrigo dedicated it to the Spanish master Regino Sainz de la Maza. there are repertory treasures. More understandable is Segovia’s neglect of contemporary works for the guitar.’ However with the advancing years. Zane Turner. Australia . This is the reason why I never play anything by him. Although both Regino and his brother Eduardo wrote some excellent pieces for the instrument. The real reasons for Segovia’s attitude to Barrios can never be known with any degree of certainty and readers will come to their own conclusion. He believed that in wanting the guitar to be a universal instrument. was motivation to try and correct past errors in actions and attitude? In a letter dated Jan 1985. during a discussion with guitarist John Mills. legend and inaccuracy. Analyzing the music that Segovia embraced. At a time when smaller works and studies were programmed in concerts. as well as entertain.’ (Translated from the Spanish by Graham Wade). albeit potentially tainted by myth. He wrote more than thirty small pieces and studies for the guitar. Segovia had this to say about the music of Barrios: ‘He was certainly gifted for composition. among musicians and the guitar/music-loving public alike. Segovia made these comments: ’Señor Agustín Barrios was a master of the poetic guitar. it became a revered treasure. Segovia made some concessions to this stance. Their acceptance in different circumstances and in different epochs negates the question of competence and quality. Any repentant proclivity he harboured. Segovia was always looking for music that was not particularly Spanish. Many felicitations to my amigo Agustín for their nobleman efforts. and not to the ‘King’ of the guitar? Regino Sainz de la Maza further stamped his identity on it with the inaugural performance in 1940. make of it what you will. Julian Bream receives from Benjamin Britten the splendid gift of the Nocturnal. Segovia opted for alternative composers to himself.four decades later. To John Williams other well known English composers offer likewise concertos for guitar and orchestra and solo works for his recitals. The beauty of these compositions is they instruct. 1978 he became a member of the Royal Academy of Fine Arts of San Fernando. one of most beautiful compositions of contemporary music. In Jan. but unfortunately he had not the whole knowledge for composing. During his lifetime Segovia only ever recorded two of these and there is no evidence of him including them in concerts. Madrid. All facts considered. this writer remains of the opinion that professional rivalry and jealousy played a key role. two years before he died. Alirio Diaz had another reason for Segovia ignoring the Concierto de Aranjuez. Segovia ignored their very idiomatic music. There appears to be no commonality in his actions that included even his own compositions. and I always had sympathy for him. that piece of music was too Spanish.
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