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111088 bk Segovia2EU

3/9/06

3:59 PM

J. S. BACH (1685-1750)
1 Prelude in C minor, BWV 999

Cello Suite No. 3, BWV 1009:


2 Courante
Musicraft 1183, mx 5848-D2
Lute Suite No. 2, BWV 996:
3 Sarabande

HEITOR VILLA-LOBOS (1887-1959)


1:15

2:45

3:24

Lute Suite No. 2, BWV 996:


4 Bourre

1:29

Musicraft 1184, mx 5849-D1


Cello Suite No. 6, BWV 1012:
5 Gavotte
Musicraft 1184, mx 5850-D1
6 Fugue in G minor, BWV 1000

3:47

9 Etude No. 8 in C sharp minor

2:43

0 Etude No. 1 in E minor

1:57

Columbia LX 1229, mx CAX 10568


Recorded 27th June 1949
FEDERICO MORENO TORROBA
(1891-1982)
Suite Castellana
! No. 2 Arada
@ No. 1 Fandanguillo
Columbia LX 1248, mx CAX 10568
Recorded 27th June 1949

4:21

Partita No. 4 for Solo Violin, BWV 1004


12:13

(transcr. Segovia)
Musicraft 1185/6, mx 5852/4, all take D2

MANUEL MARIA PONCE (1886-1948)


Sonata Meridional:
% Campo (Allegretto)

8:32
3:54

MARIO CASTELNUOVO-TEDESCO
Guitar Concerto No. 1 in D major Op. 99 18:59
* Allegro giusto
6:11

^ Copla (Andante)

2:07

( Andantino alla romanza

6:32

& Fiesta (Allegro con brio)

2:31

) Ritmico e cavalleresco

6:15

Columbia LX 1275, mx CAX 10574/5


Recorded 29th-30th June 1949
2:58
1:48

Columbia LX 1404/6, mx CAX 10582/7


Recorded 11th-12th July 1949
New London Orchestra Alec Sherman
Tracks 9-20 recorded in London

3:53

Columbia LX 1248, mx CAX 10569


Recorded 27th June 1949
MARIO CASTELNUOVO-TEDESCO
(1895-1968)
$ Tarantella in A minor Op. 87a
Columbia LX 1229, mx CAX 10570
Recorded 30th June 1949

ADD
8.111088

Andrs
SEGOVIA

BACH
3:50

VILLA-LOBOS
TURINA

Lute Suite No. 4 in E major, BWV 1006a


8 Gavotte

Great Guitarists Segovia

The 1946 New York


and the 1949 London
Recordings

JOAQUIN TURINA (1882-1949)


# Fandanguillo

(transcr. Segovia)
Musicraft 1183, mx 5851-D1

7 Chaconne in D minor

Page 5

2:52

Musicraft 1185, mx 5855-D2

PONCE

Tracks 1-8 recorded December 1946, New York


Tracks 1-6 issued as Musicraft Album M-90
Tracks 7-8 issued as Musicraft Album M-85

TORROBA
CASTELNUOVO-TEDESCO

8.111088

8.111088

111088 bk Segovia2EU

3/9/06

3:59 PM

Page 2

Great Guitarists Andrs Segovia (1893-1987)


Volume 2: Original 1946-1949 Recordings
Bachs so-called works for lute still provoke debate and
controversy. That he loved the sound of the lute cannot
be doubted. He may not have played it; as a greatly
skilled keyboard player, he would have felt more at
home with the Lautenwerk, a hybrid keyboard
instrument he is known to have possessed. Strung with
gut strings, it sounded like a lute, and it is possible that
the lute works were written for this instrument.
Certainly the series of low-register spread chords in the
Prelude in C minor suggest that Bach at least had the
lute in mind. Whatever instrument it was written for, it
made an ideal piece for Segovia to take into his
repertoire.
Segovia described the impact Bachs music made
on him by comparing it to a gigantic tree, so tall that (an
Andalusian exaggeration) it took two men to look at it.
A well-worked out fugue does indeed have a certain
dimension, and the Fugue in G minor is no exception.
Bach himself made the transcription from the second
movement of his Sonata for unaccompanied violin,
BWV1001, the first of three sonatas for that form and
dating from Bachs period at Cthen, a particularly
productive time for his instrumental music.
The sonatas and partitas for unaccompanied violin
and the sonatas for unaccompanied cello have proved to
be fruitful ground for guitarists who, taking their cue
from Bach himself, have not hesitated to transcribe his
instrumental works. Segovias landmark recording of
the Chaconne from Bachs D minor Partita was a
notable example of what could be achieved. The cellist
Pablo Casals had already discovered the suites for
unaccompanied cello and by performing them with his
unique powers of expression had, practically singlehandedly, reversed the old custom of playing Bach as a

8.111088

kind of mechanical exercise. This set the scene for the


particular emotional qualities of the guitar.
Segovia first performed the Chaconne in Paris in
1935. The public response was enthusiastic, and almost
at once it became an essential repertoire work. One of
greatest sets of variations ever composed. It remains a
perpetual challenge for guitarists and violinists alike.
Only a fraction of the enormous output of the
Brazilian composer Heitor Villa-Lobos (1887-1959) is
ever played. His guitar music is an exception, forming
an important and substantial part of the guitarists
repertoire. The twelve Etudes have a historical
significance: for the first time, the guitar fingerboard
was liberated from the tonal restrictions of music based
mainly on the keys of E, A and D (the notes to which
the three lowest strings are normally tuned). To play the
Etudes of Villa-Lobos requires a mastery of every key,
something that a good pianist or violinist takes for
granted but a technique that guitarists generally did not
get round to until well into the twentieth century.
Segovia did not play all the Etudes but, as was his
custom, selected the ones he liked best. In any case his
feelings about Villa-Lobos were ambivalent; he did not
embrace his music with the warmth he showed to
Ponce, Moreno Torroba and Castelnuovo-Tedesco,
even though he recognised its significance in the
contemporary scene.
Federico Moreno Torroba (1891-1982) was the first
composer to respond to Segovias request for new
guitar music, and the two men remained close friends
throughout their long lives. Moreno Torroba already
had a reputation as a composer of orchestral music, and
was a noted exponent of the zarzuela, the traditional
Spanish form of comic opera. Over the years he wrote

many works for Segovias guitar, of which the threemovement Suite Castellana is a fine example: a
markedly national style, based on traditional music
from central Spain, given a light and lyrical touch by
Moreno Torrobas skilful hand. In Arada, the first of the
two movements played here, he seems to be looking
back in nostalgia to the golden age of Spanish
romanticism, as personified by Albniz and Granados.
Joaqun Turina (1882-1949) was a pianist and
conductor besides being a prominent composer. Like
Falla, he studied composition in Paris, but a meeting
there with his compatriots Falla and Albniz determined
his subsequent career as a composer of national Spanish
music. The guitar formed part of that pattern, and he
wrote several pieces for it, which he dedicated to
Segovia. He was not a guitarist, however, and the great
guitarist had to change one or two notes in order to fit
his fingerboard. Segovia remained unswerving in his
admiration of Turinas musical values, and
Fandanguillo, written in 1925, became one of his
favourite pieces. Full of instrumental techniques such as
pizzicato, harmonics and the particular guitar technique
of tambor (a drum effect obtained by striking the strings
near the bridge), it manages to compress into less than
four minutes the essence of Spanish dance with the
dramatic contrasts associated with Andalusian
flamenco, memorably tinged with the impressionistic
colouring Turina had acquired during his studies in
France.
Segovias first request to Mario CastelnuovoTedesco (1895-1968) for a guitar concerto had not been
taken up by the composer, who doubted the guitars
ability to mix with orchestral instruments. Instead, in
1936, he wrote the short Tarantella, a light and
rhythmic piece with suggestions of Rossini, something
that he knew the guitar could do very well.

The Mexican composer Manuel Mara Ponce


(1886-1948) met Segovia while he was studying with
Paul Dukas in Paris. His warm romanticism and a
notable gift for melody (his song Estrellita became a
world best-seller) attracted Segovia, who encouraged
him to write for the guitar. Sonatina Meridional was
only partly the Spanish work that Segovia had wanted,
its outer movements being distinctly Mexican in
flavour. Only the central movement, Copla, can be said
to evoke Spain, its essentially vocal content having the
feel of Andalusian flamenco.
Castelnuovo-Tedesco began his first Guitar
Concerto in a mood of optimism inspired by a visit to
Florence by Segovia in 1938. It was a time of political
turbulence, and the composer was soon to find himself
uprooted from his beloved Italy by Mussolinis antiJewish activities. He settled in Hollywood, after being
assured by his friend the violinist Jascha Heifetz that he
could find work in motion pictures. Segovia too had
alleviated his despair, managing to convince him that
his creative talent would enable him to start a successful
new life in America. He found work in plenty, and in
fact became better known for his film music (which he
called his vegetable garden) than for his flower
garden, into which category his three guitar concertos
fall.
The first movement, written in a single sitting, is in
Castelnuovo-Tedescos neo-classical style, lightly
orchestrated and clear almost to the point of simplicity.
The classical Italian composer Boccherini was
apparently in his mind. The Andantino alla romanza
that follows can be interpreted as a touching farewell to
the Tuscan countryside that he loved so well and would
soon be leaving. The concluding Ritmico e cavalleresco
may reflect the composers Iberian antecedents, but is
more likely to be a recognition of the Spanishness of its
first performer, Andrs Segovia. The work was first

8.111088

performed in Montevideo in 1939.


In a letter to Manuel Ponce, Segovia paid tribute to
Castelnuovo-Tedescos choice of themes, and his
development of them without obscuring the quiet voice
of the guitar (Segovia would never have considered
electrical amplification: his solution to problems of
balance would have been to move the orchestra back).

He felt that the guitar part could have had more


brilliance, but that did not diminish his praise for the
concerto, which he called a very ingenious and
successful work.

Colin Cooper

Producers Note
Andrs Segovias Musicraft recordings originally appeared in two 78-RPM albums, at a time when less than a third
of his 1944 Decca recordings had been issued. Musicraft ceased operations in 1948 and the Segovia recordings then
appeared on a variety of labels over the next decades. Despite Musicrafts notoriously poor surfaces, it was felt that
the original 78s provided the fullest overall sound, and two of the sides were transferred from a rare vinyl pressing.
David Lennick

8.111088

111088 bk Segovia2EU

3/9/06

3:59 PM

Page 2

Great Guitarists Andrs Segovia (1893-1987)


Volume 2: Original 1946-1949 Recordings
Bachs so-called works for lute still provoke debate and
controversy. That he loved the sound of the lute cannot
be doubted. He may not have played it; as a greatly
skilled keyboard player, he would have felt more at
home with the Lautenwerk, a hybrid keyboard
instrument he is known to have possessed. Strung with
gut strings, it sounded like a lute, and it is possible that
the lute works were written for this instrument.
Certainly the series of low-register spread chords in the
Prelude in C minor suggest that Bach at least had the
lute in mind. Whatever instrument it was written for, it
made an ideal piece for Segovia to take into his
repertoire.
Segovia described the impact Bachs music made
on him by comparing it to a gigantic tree, so tall that (an
Andalusian exaggeration) it took two men to look at it.
A well-worked out fugue does indeed have a certain
dimension, and the Fugue in G minor is no exception.
Bach himself made the transcription from the second
movement of his Sonata for unaccompanied violin,
BWV1001, the first of three sonatas for that form and
dating from Bachs period at Cthen, a particularly
productive time for his instrumental music.
The sonatas and partitas for unaccompanied violin
and the sonatas for unaccompanied cello have proved to
be fruitful ground for guitarists who, taking their cue
from Bach himself, have not hesitated to transcribe his
instrumental works. Segovias landmark recording of
the Chaconne from Bachs D minor Partita was a
notable example of what could be achieved. The cellist
Pablo Casals had already discovered the suites for
unaccompanied cello and by performing them with his
unique powers of expression had, practically singlehandedly, reversed the old custom of playing Bach as a

8.111088

kind of mechanical exercise. This set the scene for the


particular emotional qualities of the guitar.
Segovia first performed the Chaconne in Paris in
1935. The public response was enthusiastic, and almost
at once it became an essential repertoire work. One of
greatest sets of variations ever composed. It remains a
perpetual challenge for guitarists and violinists alike.
Only a fraction of the enormous output of the
Brazilian composer Heitor Villa-Lobos (1887-1959) is
ever played. His guitar music is an exception, forming
an important and substantial part of the guitarists
repertoire. The twelve Etudes have a historical
significance: for the first time, the guitar fingerboard
was liberated from the tonal restrictions of music based
mainly on the keys of E, A and D (the notes to which
the three lowest strings are normally tuned). To play the
Etudes of Villa-Lobos requires a mastery of every key,
something that a good pianist or violinist takes for
granted but a technique that guitarists generally did not
get round to until well into the twentieth century.
Segovia did not play all the Etudes but, as was his
custom, selected the ones he liked best. In any case his
feelings about Villa-Lobos were ambivalent; he did not
embrace his music with the warmth he showed to
Ponce, Moreno Torroba and Castelnuovo-Tedesco,
even though he recognised its significance in the
contemporary scene.
Federico Moreno Torroba (1891-1982) was the first
composer to respond to Segovias request for new
guitar music, and the two men remained close friends
throughout their long lives. Moreno Torroba already
had a reputation as a composer of orchestral music, and
was a noted exponent of the zarzuela, the traditional
Spanish form of comic opera. Over the years he wrote

many works for Segovias guitar, of which the threemovement Suite Castellana is a fine example: a
markedly national style, based on traditional music
from central Spain, given a light and lyrical touch by
Moreno Torrobas skilful hand. In Arada, the first of the
two movements played here, he seems to be looking
back in nostalgia to the golden age of Spanish
romanticism, as personified by Albniz and Granados.
Joaqun Turina (1882-1949) was a pianist and
conductor besides being a prominent composer. Like
Falla, he studied composition in Paris, but a meeting
there with his compatriots Falla and Albniz determined
his subsequent career as a composer of national Spanish
music. The guitar formed part of that pattern, and he
wrote several pieces for it, which he dedicated to
Segovia. He was not a guitarist, however, and the great
guitarist had to change one or two notes in order to fit
his fingerboard. Segovia remained unswerving in his
admiration of Turinas musical values, and
Fandanguillo, written in 1925, became one of his
favourite pieces. Full of instrumental techniques such as
pizzicato, harmonics and the particular guitar technique
of tambor (a drum effect obtained by striking the strings
near the bridge), it manages to compress into less than
four minutes the essence of Spanish dance with the
dramatic contrasts associated with Andalusian
flamenco, memorably tinged with the impressionistic
colouring Turina had acquired during his studies in
France.
Segovias first request to Mario CastelnuovoTedesco (1895-1968) for a guitar concerto had not been
taken up by the composer, who doubted the guitars
ability to mix with orchestral instruments. Instead, in
1936, he wrote the short Tarantella, a light and
rhythmic piece with suggestions of Rossini, something
that he knew the guitar could do very well.

The Mexican composer Manuel Mara Ponce


(1886-1948) met Segovia while he was studying with
Paul Dukas in Paris. His warm romanticism and a
notable gift for melody (his song Estrellita became a
world best-seller) attracted Segovia, who encouraged
him to write for the guitar. Sonatina Meridional was
only partly the Spanish work that Segovia had wanted,
its outer movements being distinctly Mexican in
flavour. Only the central movement, Copla, can be said
to evoke Spain, its essentially vocal content having the
feel of Andalusian flamenco.
Castelnuovo-Tedesco began his first Guitar
Concerto in a mood of optimism inspired by a visit to
Florence by Segovia in 1938. It was a time of political
turbulence, and the composer was soon to find himself
uprooted from his beloved Italy by Mussolinis antiJewish activities. He settled in Hollywood, after being
assured by his friend the violinist Jascha Heifetz that he
could find work in motion pictures. Segovia too had
alleviated his despair, managing to convince him that
his creative talent would enable him to start a successful
new life in America. He found work in plenty, and in
fact became better known for his film music (which he
called his vegetable garden) than for his flower
garden, into which category his three guitar concertos
fall.
The first movement, written in a single sitting, is in
Castelnuovo-Tedescos neo-classical style, lightly
orchestrated and clear almost to the point of simplicity.
The classical Italian composer Boccherini was
apparently in his mind. The Andantino alla romanza
that follows can be interpreted as a touching farewell to
the Tuscan countryside that he loved so well and would
soon be leaving. The concluding Ritmico e cavalleresco
may reflect the composers Iberian antecedents, but is
more likely to be a recognition of the Spanishness of its
first performer, Andrs Segovia. The work was first

8.111088

performed in Montevideo in 1939.


In a letter to Manuel Ponce, Segovia paid tribute to
Castelnuovo-Tedescos choice of themes, and his
development of them without obscuring the quiet voice
of the guitar (Segovia would never have considered
electrical amplification: his solution to problems of
balance would have been to move the orchestra back).

He felt that the guitar part could have had more


brilliance, but that did not diminish his praise for the
concerto, which he called a very ingenious and
successful work.

Colin Cooper

Producers Note
Andrs Segovias Musicraft recordings originally appeared in two 78-RPM albums, at a time when less than a third
of his 1944 Decca recordings had been issued. Musicraft ceased operations in 1948 and the Segovia recordings then
appeared on a variety of labels over the next decades. Despite Musicrafts notoriously poor surfaces, it was felt that
the original 78s provided the fullest overall sound, and two of the sides were transferred from a rare vinyl pressing.
David Lennick

8.111088

111088 bk Segovia2EU

3/9/06

3:59 PM

Page 2

Great Guitarists Andrs Segovia (1893-1987)


Volume 2: Original 1946-1949 Recordings
Bachs so-called works for lute still provoke debate and
controversy. That he loved the sound of the lute cannot
be doubted. He may not have played it; as a greatly
skilled keyboard player, he would have felt more at
home with the Lautenwerk, a hybrid keyboard
instrument he is known to have possessed. Strung with
gut strings, it sounded like a lute, and it is possible that
the lute works were written for this instrument.
Certainly the series of low-register spread chords in the
Prelude in C minor suggest that Bach at least had the
lute in mind. Whatever instrument it was written for, it
made an ideal piece for Segovia to take into his
repertoire.
Segovia described the impact Bachs music made
on him by comparing it to a gigantic tree, so tall that (an
Andalusian exaggeration) it took two men to look at it.
A well-worked out fugue does indeed have a certain
dimension, and the Fugue in G minor is no exception.
Bach himself made the transcription from the second
movement of his Sonata for unaccompanied violin,
BWV1001, the first of three sonatas for that form and
dating from Bachs period at Cthen, a particularly
productive time for his instrumental music.
The sonatas and partitas for unaccompanied violin
and the sonatas for unaccompanied cello have proved to
be fruitful ground for guitarists who, taking their cue
from Bach himself, have not hesitated to transcribe his
instrumental works. Segovias landmark recording of
the Chaconne from Bachs D minor Partita was a
notable example of what could be achieved. The cellist
Pablo Casals had already discovered the suites for
unaccompanied cello and by performing them with his
unique powers of expression had, practically singlehandedly, reversed the old custom of playing Bach as a

8.111088

kind of mechanical exercise. This set the scene for the


particular emotional qualities of the guitar.
Segovia first performed the Chaconne in Paris in
1935. The public response was enthusiastic, and almost
at once it became an essential repertoire work. One of
greatest sets of variations ever composed. It remains a
perpetual challenge for guitarists and violinists alike.
Only a fraction of the enormous output of the
Brazilian composer Heitor Villa-Lobos (1887-1959) is
ever played. His guitar music is an exception, forming
an important and substantial part of the guitarists
repertoire. The twelve Etudes have a historical
significance: for the first time, the guitar fingerboard
was liberated from the tonal restrictions of music based
mainly on the keys of E, A and D (the notes to which
the three lowest strings are normally tuned). To play the
Etudes of Villa-Lobos requires a mastery of every key,
something that a good pianist or violinist takes for
granted but a technique that guitarists generally did not
get round to until well into the twentieth century.
Segovia did not play all the Etudes but, as was his
custom, selected the ones he liked best. In any case his
feelings about Villa-Lobos were ambivalent; he did not
embrace his music with the warmth he showed to
Ponce, Moreno Torroba and Castelnuovo-Tedesco,
even though he recognised its significance in the
contemporary scene.
Federico Moreno Torroba (1891-1982) was the first
composer to respond to Segovias request for new
guitar music, and the two men remained close friends
throughout their long lives. Moreno Torroba already
had a reputation as a composer of orchestral music, and
was a noted exponent of the zarzuela, the traditional
Spanish form of comic opera. Over the years he wrote

many works for Segovias guitar, of which the threemovement Suite Castellana is a fine example: a
markedly national style, based on traditional music
from central Spain, given a light and lyrical touch by
Moreno Torrobas skilful hand. In Arada, the first of the
two movements played here, he seems to be looking
back in nostalgia to the golden age of Spanish
romanticism, as personified by Albniz and Granados.
Joaqun Turina (1882-1949) was a pianist and
conductor besides being a prominent composer. Like
Falla, he studied composition in Paris, but a meeting
there with his compatriots Falla and Albniz determined
his subsequent career as a composer of national Spanish
music. The guitar formed part of that pattern, and he
wrote several pieces for it, which he dedicated to
Segovia. He was not a guitarist, however, and the great
guitarist had to change one or two notes in order to fit
his fingerboard. Segovia remained unswerving in his
admiration of Turinas musical values, and
Fandanguillo, written in 1925, became one of his
favourite pieces. Full of instrumental techniques such as
pizzicato, harmonics and the particular guitar technique
of tambor (a drum effect obtained by striking the strings
near the bridge), it manages to compress into less than
four minutes the essence of Spanish dance with the
dramatic contrasts associated with Andalusian
flamenco, memorably tinged with the impressionistic
colouring Turina had acquired during his studies in
France.
Segovias first request to Mario CastelnuovoTedesco (1895-1968) for a guitar concerto had not been
taken up by the composer, who doubted the guitars
ability to mix with orchestral instruments. Instead, in
1936, he wrote the short Tarantella, a light and
rhythmic piece with suggestions of Rossini, something
that he knew the guitar could do very well.

The Mexican composer Manuel Mara Ponce


(1886-1948) met Segovia while he was studying with
Paul Dukas in Paris. His warm romanticism and a
notable gift for melody (his song Estrellita became a
world best-seller) attracted Segovia, who encouraged
him to write for the guitar. Sonatina Meridional was
only partly the Spanish work that Segovia had wanted,
its outer movements being distinctly Mexican in
flavour. Only the central movement, Copla, can be said
to evoke Spain, its essentially vocal content having the
feel of Andalusian flamenco.
Castelnuovo-Tedesco began his first Guitar
Concerto in a mood of optimism inspired by a visit to
Florence by Segovia in 1938. It was a time of political
turbulence, and the composer was soon to find himself
uprooted from his beloved Italy by Mussolinis antiJewish activities. He settled in Hollywood, after being
assured by his friend the violinist Jascha Heifetz that he
could find work in motion pictures. Segovia too had
alleviated his despair, managing to convince him that
his creative talent would enable him to start a successful
new life in America. He found work in plenty, and in
fact became better known for his film music (which he
called his vegetable garden) than for his flower
garden, into which category his three guitar concertos
fall.
The first movement, written in a single sitting, is in
Castelnuovo-Tedescos neo-classical style, lightly
orchestrated and clear almost to the point of simplicity.
The classical Italian composer Boccherini was
apparently in his mind. The Andantino alla romanza
that follows can be interpreted as a touching farewell to
the Tuscan countryside that he loved so well and would
soon be leaving. The concluding Ritmico e cavalleresco
may reflect the composers Iberian antecedents, but is
more likely to be a recognition of the Spanishness of its
first performer, Andrs Segovia. The work was first

8.111088

performed in Montevideo in 1939.


In a letter to Manuel Ponce, Segovia paid tribute to
Castelnuovo-Tedescos choice of themes, and his
development of them without obscuring the quiet voice
of the guitar (Segovia would never have considered
electrical amplification: his solution to problems of
balance would have been to move the orchestra back).

He felt that the guitar part could have had more


brilliance, but that did not diminish his praise for the
concerto, which he called a very ingenious and
successful work.

Colin Cooper

Producers Note
Andrs Segovias Musicraft recordings originally appeared in two 78-RPM albums, at a time when less than a third
of his 1944 Decca recordings had been issued. Musicraft ceased operations in 1948 and the Segovia recordings then
appeared on a variety of labels over the next decades. Despite Musicrafts notoriously poor surfaces, it was felt that
the original 78s provided the fullest overall sound, and two of the sides were transferred from a rare vinyl pressing.
David Lennick

8.111088

111088 bk Segovia2EU

3/9/06

3:59 PM

J. S. BACH (1685-1750)
1 Prelude in C minor, BWV 999

Cello Suite No. 3, BWV 1009:


2 Courante
Musicraft 1183, mx 5848-D2
Lute Suite No. 2, BWV 996:
3 Sarabande

HEITOR VILLA-LOBOS (1887-1959)


1:15

2:45

3:24

Lute Suite No. 2, BWV 996:


4 Bourre

1:29

Musicraft 1184, mx 5849-D1


Cello Suite No. 6, BWV 1012:
5 Gavotte
Musicraft 1184, mx 5850-D1
6 Fugue in G minor, BWV 1000

3:47

9 Etude No. 8 in C sharp minor

2:43

0 Etude No. 1 in E minor

1:57

Columbia LX 1229, mx CAX 10568


Recorded 27th June 1949
FEDERICO MORENO TORROBA
(1891-1982)
Suite Castellana
! No. 2 Arada
@ No. 1 Fandanguillo
Columbia LX 1248, mx CAX 10568
Recorded 27th June 1949

4:21

Partita No. 4 for Solo Violin, BWV 1004


12:13

(transcr. Segovia)
Musicraft 1185/6, mx 5852/4, all take D2

MANUEL MARIA PONCE (1886-1948)


Sonata Meridional:
% Campo (Allegretto)

8:32
3:54

MARIO CASTELNUOVO-TEDESCO
Guitar Concerto No. 1 in D major Op. 99 18:59
* Allegro giusto
6:11

^ Copla (Andante)

2:07

( Andantino alla romanza

6:32

& Fiesta (Allegro con brio)

2:31

) Ritmico e cavalleresco

6:15

Columbia LX 1275, mx CAX 10574/5


Recorded 29th-30th June 1949
2:58
1:48

Columbia LX 1404/6, mx CAX 10582/7


Recorded 11th-12th July 1949
New London Orchestra Alec Sherman
Tracks 9-20 recorded in London

3:53

Columbia LX 1248, mx CAX 10569


Recorded 27th June 1949
MARIO CASTELNUOVO-TEDESCO
(1895-1968)
$ Tarantella in A minor Op. 87a
Columbia LX 1229, mx CAX 10570
Recorded 30th June 1949

ADD
8.111088

Andrs
SEGOVIA

BACH
3:50

VILLA-LOBOS
TURINA

Lute Suite No. 4 in E major, BWV 1006a


8 Gavotte

Great Guitarists Segovia

The 1946 New York


and the 1949 London
Recordings

JOAQUIN TURINA (1882-1949)


# Fandanguillo

(transcr. Segovia)
Musicraft 1183, mx 5851-D1

7 Chaconne in D minor

Page 5

2:52

Musicraft 1185, mx 5855-D2

PONCE

Tracks 1-8 recorded December 1946, New York


Tracks 1-6 issued as Musicraft Album M-90
Tracks 7-8 issued as Musicraft Album M-85

TORROBA
CASTELNUOVO-TEDESCO

8.111088

8.111088

111088 bk Segovia2EU

3/9/06

3:59 PM

J. S. BACH (1685-1750)
1 Prelude in C minor, BWV 999

Cello Suite No. 3, BWV 1009:


2 Courante
Musicraft 1183, mx 5848-D2
Lute Suite No. 2, BWV 996:
3 Sarabande

HEITOR VILLA-LOBOS (1887-1959)


1:15

2:45

3:24

Lute Suite No. 2, BWV 996:


4 Bourre

1:29

Musicraft 1184, mx 5849-D1


Cello Suite No. 6, BWV 1012:
5 Gavotte
Musicraft 1184, mx 5850-D1
6 Fugue in G minor, BWV 1000

3:47

9 Etude No. 8 in C sharp minor

2:43

0 Etude No. 1 in E minor

1:57

Columbia LX 1229, mx CAX 10568


Recorded 27th June 1949
FEDERICO MORENO TORROBA
(1891-1982)
Suite Castellana
! No. 2 Arada
@ No. 1 Fandanguillo
Columbia LX 1248, mx CAX 10568
Recorded 27th June 1949

4:21

Partita No. 4 for Solo Violin, BWV 1004


12:13

(transcr. Segovia)
Musicraft 1185/6, mx 5852/4, all take D2

MANUEL MARIA PONCE (1886-1948)


Sonata Meridional:
% Campo (Allegretto)

8:32
3:54

MARIO CASTELNUOVO-TEDESCO
Guitar Concerto No. 1 in D major Op. 99 18:59
* Allegro giusto
6:11

^ Copla (Andante)

2:07

( Andantino alla romanza

6:32

& Fiesta (Allegro con brio)

2:31

) Ritmico e cavalleresco

6:15

Columbia LX 1275, mx CAX 10574/5


Recorded 29th-30th June 1949
2:58
1:48

Columbia LX 1404/6, mx CAX 10582/7


Recorded 11th-12th July 1949
New London Orchestra Alec Sherman
Tracks 9-20 recorded in London

3:53

Columbia LX 1248, mx CAX 10569


Recorded 27th June 1949
MARIO CASTELNUOVO-TEDESCO
(1895-1968)
$ Tarantella in A minor Op. 87a
Columbia LX 1229, mx CAX 10570
Recorded 30th June 1949

ADD
8.111088

Andrs
SEGOVIA

BACH
3:50

VILLA-LOBOS
TURINA

Lute Suite No. 4 in E major, BWV 1006a


8 Gavotte

Great Guitarists Segovia

The 1946 New York


and the 1949 London
Recordings

JOAQUIN TURINA (1882-1949)


# Fandanguillo

(transcr. Segovia)
Musicraft 1183, mx 5851-D1

7 Chaconne in D minor

Page 5

2:52

Musicraft 1185, mx 5855-D2

PONCE

Tracks 1-8 recorded December 1946, New York


Tracks 1-6 issued as Musicraft Album M-90
Tracks 7-8 issued as Musicraft Album M-85

TORROBA
CASTELNUOVO-TEDESCO

8.111088

8.111088

MADE IN
THE EU

SEGOVIA 2: The 1946 New York & 1949 London Recordings

1
2
3
4
5
6
7
8

Andrs Segovia (1893-1987)

Playing
Time
The 1946 New York and the 1949 London Recordings
76:47

J.S. BACH:
Prelude in C minor BWV 999
Cello Suite No. 3, BWV 1009: Courante
Lute Suite No. 2, BWV 996: Sarabande
Lute Suite No. 2, BWV 996: Bourre
Cello Suite No. 6, BWV 1012: Gavotte
Fugue in G Minor BWV1000
Partita No. 4 for Solo Violin, BWV 1004: Chaconne in D minor
Lute Suite No. 4 in E major, BWV 1006a: Gavotte
VILLA-LOBOS:

9 Etude No. 8 in C sharp minor


0 Etude No. 1 in E minor

TORROBA: Suite Castellana:

! No. 2 Arada
@ No. 1 Fandanguillo

# TURINA: Fandanguillo
$ CASTELNUOVO-TEDESCO: Tarantella in A Minor Op. 87a

PONCE: Sonata Meridional

% Campo (Allegretto)
^ Copla (Andante)
& Fiesta (Allegro con brio)

CASTELNUOVO-TEDESCO: Guitar Concerto no.1 in D major Op. 99 *

* Allegro giusto
( Andantino alla Romanza
) Ritmico e cavalleresco

* New London Orchestra conducted by Alec Sherman


Transfers & Production: David Lennick
Digital Restoration: Graham Newton

Cover Photograph: Andrs Segovia (The Tully Potter Collection)

8.111088

www.naxos.com

Andrs
Segovia
was
entirely self-taught, playing
his first public recital at the
age of 14. He is credited
with elevating the guitar
from a folk instrument to
the highest levels of the
international concert stage.
This
retrospective
of
recordings from 1946 and
1949
showcases
the
maestros incomparable
artistry in a musical
panorama ranging from
Bach through masters of
the 19th and 20th centuries.
Several of the works were
composed expressly for
him.
Segovias
1944
American Recordings can
be heard on Naxos
8.111087.

SEGOVIA 2: The 1946 New York & 1949 London Recordings

NAXOS Historical

ADD

NAXOS Historical

8.111088
ALL RIGHTS IN THIS SOUND RECORDING, ARTWORK, TEXTS AND
TRANSLATIONS RESERVED. UNAUTHORISED PUBLIC PERFORMANCE,
BROADCASTING AND COPYING OF THIS COMPACT DISC PROHIBITED.
 &  2006 Rights International Ltd.

8.111088

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