Suite española No. 1, for piano, Op. 47, B. 7: 3. Sevilla
Suite española No. 1, for piano, Op. 47, B. 7: 1. Granada
Zambra granadina (danse orientale), for piano in D minor, B. 42
Piezas características, for guitar
Work(s): Estudios (Nos. 10, 15, 19 & 6)
Recuerdos de la Alhambra, for guitar
La maja de Goya, song for soprano & piano (Tonadillas al estilo antiguo, No. 8), H. 136/8
Recuerdos de viaje, pieces (7) for piano, Op. 71, B. 18: 2. Leyenda
Sevillana, fantasia for guitar, Op. 29
Capriccio diabolico, for guitar ('Omaggio a Paganini'), Op. 85
It's a strange fact, but many of the most popular Spanish guitar pieces are actually transcriptions of piano originals. Of course, many of these actually use the piano in imitation of the guitar, and if a guitarist of Sego... more »via's ability had been around at the turn of the century, there might have been a lot more authentic guitar music written than we now have. Segovia's particular gift, evident in the Albeniz pieces, is to make this piano music sound like guitar originals. In short, this essential CD contains many of the most famous Spanish guitar favorites in inimitable performances. --David Hurwitz« less
It's a strange fact, but many of the most popular Spanish guitar pieces are actually transcriptions of piano originals. Of course, many of these actually use the piano in imitation of the guitar, and if a guitarist of Segovia's ability had been around at the turn of the century, there might have been a lot more authentic guitar music written than we now have. Segovia's particular gift, evident in the Albeniz pieces, is to make this piano music sound like guitar originals. In short, this essential CD contains many of the most famous Spanish guitar favorites in inimitable performances. --David Hurwitz
Another Immortal interpretation by Maestro Andres Segovia
scarmer | 04/06/1999
(5 out of 5 stars)
"There is only one description (Buy this CD). Take a trip to the Alhambra by listening to RECUERDOS DE LA ALHAMBRA. Andres Segovia will make you understand what feelings Francisco Tarrega was feeling when he compose Recuerdos de A. even though it was recorded in mono. 5 ***** CD."
scarmer | Lakewood, CO USA | 06/29/2001
(5 out of 5 stars)
"what more can I say. I love classical guitar and this CD is one of the best. I have the entire Segovia collection and I strongly recommend this CD, along with all the rest in the collection."
Top Classical Guitar Recording Ever
Jonathan Jaynes | Greenville, SC | 06/28/2001
(5 out of 5 stars)
"The standard by which all else is judged! As a classical guitarist for over 25 years, I can assure you this is the definitive classical guitar recording of the 19th century. When you combine the powerfully romantic music of arguably the most notable composer of the guitar with the recordings, both old and new, of unarguably the "Master" of the classical guitar, the result is a recording that may never be equalled. Each piece is imaginative, stirring and emotional. This is a must for anyone who enjoys not only the Spanish Guitar but simply music at its best!"
M. Levitt - classical music buff | Philadelphia, PA | 07/24/2005
(5 out of 5 stars)
"What can I say? Though other fine guitarists have recorded much of the music on this CD, Segovia's playing is incomparable, a joy to hear, the standard by which all other guitarists must be judged.
This CD, Volume 3 of The Segovia Collection (MCA) contains several works by Albeniz (Sevilla, Granada, Zambra Granadina, Leyenda), as well as those by Torroba (Piezas Carateristicas), Tarrega (Recuerdos de la Alhambra), Granados (Tonadilla), Turina (Sevillana), and Sor (excerpts from the Twenty Studies) among others.
This CD is worth having even if it mostly duplicates DGG's The Segovia Collection (4 CDs) because it gathers so many fine works on one CD, it is a fine example of Segovia'a art, and it is attractive pricewise for the collector not interested in purchasing the 4CD DGG Box. Though out of print, it is available from Amazon.com's Marketplace Sellers.
One correction: Segovia performs Sor Studies nos. 14 in A Major, 16 in G Major, 5 in B Minor, and 12 in A Major, NOT the Studies listed (the keys that the studies are in is correct)."
Great performances, CD transfer sucks
Paul Magnussen | Campbell, CA USA | 03/27/2008
(3 out of 5 stars)
"This disc has no recording data, as have Vol. 1 and Vol. 2, but the Sor Studies, "Recuerdos" and the "Capricho Diabolico" are asterisked as mono. This would seem to imply that the others are stereo, but they apppear to me to be victims of the grisly process known as "electronically rechannelling to simulate stereo". In the case of a solo guitarist, this usually means adding some echo, and on this disc it sounds more appropriate to Hank Marvin than Segovia. The effect is like sitting in the living room, listening to someone playing in the bathroom.
The first Segovia record I ever bought (in France, as it happens) was a Deutsche Grammophon EP containing four magnificent (mono, naturally) performances: "Sevilla", "Torre Bermeja", and Granados's "Spanish Dances 5 & 10". "Sevilla" is the identical recording to the one on this CD, but, worn though that EP is, it still sounds better. The same applies to the "Tonadilla" (*the* definitive performance of that piece) and the "Piezas Características", which are from the superb three-record "Golden Jubilee" album recorded in 1958.
A great deal of though went into designing the CD format, even in tiny details (e.g. to scan an English bookshelf or record rack, you turn your head to the right; a Spanish one, to the left. Have you noticed that the spines of a CD can have their title either way?). CDs were conceived as an expensive, up-market commodity, and no one was sure they would catch on; that is why early CDs all have indexing for the movements of long works.
With CDs succeeding beyond anyone's wildest dreams, this careful wooing of the purchaser has in many cases gone by the board -- as here. Neither the Torroba nor the Sor has any indexing, so that if you just want to listen to (say) "Albada", you're S.O.L. In this respect, the CD is *worse* than a gramophone record, for at least with the latter you can move the pick-up arm forward.
In short, Vol. 3 is a disgrace and should be withdrawn and redone.
I would have liked to have had a CD version of the original "Golden Jubilee", in glorious mono, but now I don't suppose we shall ever see it (although some of it has now appeared on the remastered Deutsche Grammophon Collection). The latter also contains the Torroba work -- with proper banding!