¢ Andrés Segovia + FANDANGO DE ‘ LA MADRUGADA ( para guitarra WTO TT OM@ Andrés Segovia FANDANGO DE LA MADRUGADA Q para guitarra edited by Scott Tennant FRONT COVER: Lluis Foix Villuendas (1875-1951) “PAISAJE” (oil on canvas) BERBENAndrés Segovia “FANDANGO DE LA MADRUGADA” (“Fandango of the dawn”’) para guitarra I grew up surrounded by recordings, tales, rumors and legends of Andrés Segovia. If I wasn’t listening to his recordings, it seems I was listening to guitarists who had been his students. My teacher in Detroit (Joe Fava) was a great friend and student of the Maestro's as well. One of my favorite Segovia recordings was an LP with his own composition Estudio sin luz. | listened to it over and over, finally learned it, and had a dream come true when I was able to play it for hin in his masterclass at USC in 1986. He told me with a smile: “You played it very well young man, Now please suppress it !”. He was supremely confident in his role as a concert artist, but as a composer I realized that he was actually quite shy. Of all the pieces he wrote, there were only two or three he ever played in concert. I believe he was a great composer. In pouring oyer all of his compositions, I found he was a master at imitating the greats: Aguado, Debussy, Falla, Ravel, Sor, Tarrega and-Turina. His material revealed to me a man searching for his true compositional voice. The Fandango de la madrugada was presented to me by the good graces of An- gelo Gilardino and David Norton. Hearing of my project where I was recording Segovia’s compositions on his own 1969 José Ramitez guitar, I received a copy of a barely legible manuscript of the Fandango: it was a copy of some microfilm image of music on decaying, moldy paper. Generally one could make out the overall gist of the piece, but details were dull, and some were entirely gone ! It took several months of staring at it before I was able to really decipher the piece as I truly believe it was intended. Atleast as close as possible. A second manuscript also surfaced of a slightly different version of the piece, but more like a sketch, including side notes he had made as alternatives. I ended up merging the best of the two versions into a piece I believe he might have approved of. The Fandango de la madrugada is unlike any other Segovia work. I see.a man far away from home, trying to recall music of his youth. For a man who tried to elevate the sound of the guitar, muting any “harsh” flamenco rasgueados or picado techniques, the Fandango is filled with flamenco strumming, form and sentiment. I must thank Angelo Gilardino, David Norton and David Collett for their patient support and encouragement with this. Scott TennantAndrés Segovia (1893-1987) FANDANGO DE LA MADRUGADA para guitarra edited by Scott Tennant Lento J=90 ancélica (fiat xg 3 3 2 © Copyright 2018 by BERBEN, Ancona (Italy) ~ All international rights secured.gWeeere a oo Allegretto Vivo Tr PCopla 6 Lento 129 = dos = 9 o> eo tun poco ad libitumdolee _ dole doleea rit, molto ’= == BERBEN TEAC mld ANCONA, Italia FRONT COVER: Lluis Foix Villuendas Por Pes Tree ton) “PAISAJE” rer} a EE pA Guitarnotes é HAM gitar