Format : Score
SKU: HL.50574183
SKU: UT.CH-191
ISBN 9790215322295. 9 x 12 inches.
Davide Anzaghi: SegovianaAndrea Cappelli: Corpo e animaFabio Luppi: Rondò delle quarteGian Paolo Luppi: Bagatelle per Andrés SegoviaMarco Reghezza: Fughetta sulle corde vuoteAlessandro Spazzoli: Preludio CoraleRoberto Tagliamacco: Homenaje a SegoviaPaolo Ugoletti: Omaggio a SegoviaOne outstanding feature of Andrés Segoviaâ??s artistic activity was the systematic way in which he commissioned new works from leading composers who were not guitarists. This highly original initiative proved to have historic consequences for the emancipation of the guitar from the rather provincial milieu of aficionados in which it was confined, enabling it to emerge as a major protagonist in its own right on the international music scene.To mark the 25th anniversary of his passing (1987-2012) I asked some composers to write a piece paying tribute to Andrés Segovia. Most responded with enthusiasm and I was able to perform their tributes to Segovia in the concerts honouring the memory of the Maestro I held in 2012 â?? in venues including the Ravenna Festival, the Ateneo in Madrid, the Royal Academy of Music, London, and the Meeting in Rimini, as well as many others. In my turn I dedicate this volume, containing a selection of these pieces, to the memory of the Maestro.The volume is undoubtedly enhanced by the inclusion of two further tributes to Segovia, both produced to accompany concerts I gave in 2012: a poem by Davide Rondoni and a portrait of Segovia by Roberto Casadio.(Piero Bonaguri).
SKU: HL.50603687
ISBN 9781705128282. UPC: 840126953848. 9.0x12.0x0.05 inches.
The vast musical production by Darius Milhaud (Marseille, 4 September 1892-Geneva, 22 June 1974) is made up of more than 450 titles, including theatrical works, ballets, stage and choral music, vocal and instrumental compositions, as well as chamber and piano music. The guitar, on the other hand, occupies only a marginal place, with one short composition, written in 1957, entitled Segoviana. The Andalusian guitarist Andrés Segovia (1893-1987) was not only its dedicatee but its protagonist, seeing that the piece was conceived in his image. The present edition, edited by Frédéric Zigante, differs from the first one of 1959 for a layout that makes reading easier and the addition of fingering indications.
SKU: FG.55009-365-2
ISBN 979-0-55009-365-2.
Nieminen has an intense awareness of colours, and the possibilities of expressing these on the classical guitar, an instrument on which he is himself a fine performer. This piece is Nieminen's touching tribute to Segovia. It is mostly in quiet and thoughtful mood. Segovia's charming Estudio sin luz is quoted briefly towards the end of the work.
SKU: UT.LB-22
ISBN 9788881094905. 5.90 x 8.26 inches.
Il presente testo, concepito come aiuto ai compositori non chitarristi intenzionati a scrivere per chitarra, si presenta in forma di osservazioni e suggerimenti provenienti dalla ormai trentennale esperienza sul campo dell’autore. Non si tratta dunque di un manuale o trattato sistematico sulle possibilità foniche e timbriche della chitarra, bensì di una serie di osservazioni, spunti di riflessione e suggerimenti pratici che possano fornire un aiuto concreto ai compositori. Spesso la musica per chitarra scritta da compositori non chitarristi ha sofferto e soffre, più di quello che può apparire superficialmente, a causa di una mancata o inefficiente collaborazione tra chitarrista e compositore. Fu il grande Andrés Segovia ad avere per primo e poi a svolgere operativamente e sistematicamente l’intuizione che la chitarra avesse bisogno di compositori non chitarristi per uscire dalle secche di un interesse circoscritto agli aficionados dello strumento. E la collaborazione di Segovia con i compositori consisteva non solo nell’invito a scrivere e nel fornire al compositore preliminari informazioni sullo strumento, ma anche nella successiva assistenza ai compositori e nella continua revisione dei pezzi, prima ed anche dopo la loro pubblicazione. Sulla scia dell’esempio di Segovia, l’autore reputa insostituibile il rapporto diretto tra chitarrista e compositore; questo scritto si propone appunto come testimonianza di tale dialogo e come strumento per approfondirlo ed estenderlo ulteriormente.
SKU: HL.49010720
ISBN 9790001095952. UPC: 842819110255. 9.0x12.0x0.015 inches.
SKU: UT.CH-388
ISBN 9790215328242. 9 x 12 inches.
Main source of the present editions is the manuscript by Manuel M. Ponce, kept in the Manuel M. Ponce Archive, located in the Cuicamatini library of the Facultad de Música de la Universidad Nacional Autónoma de México. The preludes were composed around 1929 after the invitation of Segovia who, urged by the publishers to write a method, asked Ponce to compose some short pieces to include in this didactic project. In April 1930 Segovia published only 12 preludes with Schott publishing house. Many of Ponceâ??s manuscripts remained unknown for a long time, until 1977, when the Mexican guitarist and musicologist Miguel Alcázar, thanks to the collaboration of Carlos Vázquez, pupil and heir of Manuel Ponceâ??s manuscripts, began an important recovery of Ponceâ??s guitar music by preparing the first complete edition of the preludes.
SKU: HL.49010682
ISBN 9790001095587. UPC: 073999873085. 9.0x12.0x0.066 inches.
SKU: UT.ES-47
ISBN 9790215314511. 9 x 12 inches.
The few available biographical data tell us that Francisco Correa de Arauxo (or de Acevedo) was born in Seville and baptized probably in September 1584. He was appointed organist of the Salvador, the second church in Seville, in 1599, and ordained priest probably in 1608. After several unsuccessful attempts to become organist of the Cathedral, he accepted an offer to take the main position at the Cathedral of Segovia and remained there until his death, in spite of invitations by the Chapter of Seville to return home and take the office he had always wanted. He is buried in the Cathedral of Segovia.Not unlike J.S. Bach, Correa gives the image of an artist inbetween times, with one foot in tradition and establishment, and the other in revolution and novity. We must recognize the amazing beauty and genius of his music, a genius which sets him apart from all other Spanish, just as Frescobaldi from all other Italians, Grigny from all other French and Bach from all other German composers of their times.The Facultad Organica was published in 1626. This new Urtext edition, edited by Guy Bovet, is based on the Brussels copy; doubtful passages have been compared with the two copies of the Madrid Biblioteca Nacional.
