Andrés Segovia – 1950s American Recordings
- Volume 2 Fernando SOR (1778-1839)
Deuxieme Grande Sonate Op.25 Allegro non troppo and Minuet
Variations on a Theme by Mozart Op.9 (1821) [7:07]
Grande Sonate Op.22 – Minuet (1825) [3:14]
Divertimentos for the Spanish Guitar Op.2 - No.3 Andantino
Deux Themes et Douze Menuets Pour la Guitare Op.11 No.5 in
D major [2:08]. Sonata - Grand Solo Op.14 - Introduction and
Allegro (1810) [8:55]
Folies d'Espagne and Minuet Op.15a - Minuet in E major [1:46]
Minuet in A major Op.11 No.6 [2:30]
Study in A major Op.6 No.12 [5:17]
Study in G major Op.29 No.11 [1:52]
Study in B minor Op.35 No.22 [2:40]
Study in A major Op.6 No.6 [1:47] Mauro GIULIANI (1781-1829)
Sonata Op.15 - I Allegro spiritoso (1808) [5:38] Manuel PONCE (1882-1948)
Andantino variato on a theme by Paganini [7:39] Franz SCHUBERT (1797-1828)
Piano Sonata in G major Op.78 D894 – Menuetto [5:43] Felix MENDELSSOHN (1809-1847)
Songs without Words Op.19 No.6 - Venetian Gondola Song [2:57]
String Quartet No.1 in E flat Op.12 – Canzonetta [4:35] Fryderyk CHOPIN (1810-1849)
Prelude in A major Op.28 No.7 [0:59]
rec. New York, 1952-55 NAXOS HISTORICAL
This is the second of the Naxos American Recordings edition
devoted to Segovia’s Deccas. And the two discs thus far issued
mark a distinctive change in livery from the same company’s Great
Guitarists series in which Segovia features prominently.
This disc is dominated, though not swamped, by Sor, a composer
so nobly and vibrantly promoted by Segovia throughout his long
career. The Grande Sonata Opp.22 and 25 are heard in abbreviated
form. We get the Allegro non troppo and Minuet of Op.25 – the second and fourth movements
therefore – and they’re full of the most brilliantly etched
colour and texture. The Minuet has a more Haydnesque charm,
which Segovia excavates with precision-tooled acumen. Segovia’s
recording of The Variations on a Theme by Mozart set a daunting
Gold Standard for his successors; in terms of vibrancy, scalar
runs, characterisation and sheer virtuosity few have equalled
him though some, such as Bream, have stamped their own notable
mark independent of Segovia, though surely not independent
of his influence.
Andantino (from the Divertimentos for the Spanish Guitar Op.2
No.3) is a charming miniature, a character study of great warmth
whereas the Grand Solo Op.14 is a sterner, stiffer challenge.
Its gravely measured introduction leads on to some compelling
chordal writing, dramatically etched and projected by Segovia,
who gives such passages enormous dynamism, aeration and lift.
The fast runs are played with tremendous clarity as well. The
gallant charms of Folies d'Espagne and Minuet, though brief,
are expertly realised and the Studies, a Segovia selection
of which appeared in print in 1945, attests to his command
of their rhetoric.
The rest of the programme
is equally diverting and makes for attractive listening. The
Ponce, once alleged to be Ponce-Paganini is actually all Ponce.
The Schubert transcription works crisply and well and the Mendelssohn
Venetian Gondola Song, a favourite piece for transcribers – Tertis
recorded it on viola for instance – receives its full measure
of cantabile barcarolle quotient in this performance. All these
arrangements are by Segovia.
Graham Wade’s commendably
insightful notes and the fine transfers ensure that the high
standards set by this series are properly maintained.
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