Editing Andrés Segovia

{{Short description|Spanish guitarist (1893–1987)}}
{{Use dmy dates|date=April 2022}}
{{Use British English|date=April 2016}}
{{family name hatnote|Segovia|Torres|lang=Spanish}}
{{Infobox person
| honorific_prefix  = [[The Most Illustrious]]
| name              = Andrés Segovia
| image             = Andrés Segovia (1963) by Erling Mandelmann.jpg
| caption           = Segovia in 1963
| birth_name        = Andrés Segovia Torres
| birth_date        = {{Birth date|1893|2|21|df=y}}
| birth_place       = [[Linares, Jaén]], Spain
| death_date        = {{Death date and age|1987|6|2|1893|2|21|df=y}}
| death_place       = [[Madrid]], Spain
| occupation        = Guitarist
| years_active      = 1909–1987
| website           = {{Official website|http://www.segoviaguitar.com}}
}}

'''Andrés Segovia Torres,{{efn|Spanish pronunciation: {{IPA|es|anˈdɾes seˈɣoβja ˈtores|}}}} 1st Marquis of Salobreña''' (21 February 1893 – 2 June 1987), was a Spanish virtuoso classical guitarist. Many professional classical guitarists were either students of Segovia or students of Segovia's students.<ref name="Tosone2000">{{cite book|last=Tosone|first=Jim|title=Classical guitarists: conversations|url=https://books.google.com/books?id=hgBOOU_Y7xwC&pg=PA7|date=October 2000|publisher=McFarland|isbn=978-0-7864-0813-9|page=7}}</ref>
Segovia's contribution to the modern-romantic repertoire included not only commissions but also his own transcriptions of classical or baroque works. He is remembered for his expressive performances: his wide palette of tone, and his distinctive musical personality, [[Musical phrasing|phrasing]] and style.

== Early life ==
Segovia was born on 21 February 1893<ref name="amg" /> in [[Linares, Jaén]]. He was sent at a very young age to live with his uncle Eduardo and aunt María. Eduardo arranged for Segovia's first music lessons with a violin teacher after he had recognised that Segovia had an aptitude for music. That proved to be an unhappy introduction to music for the young Segovia because of the teacher's strict methods, and Eduardo stopped the lessons. His uncle decided to move to [[Granada]] to allow Segovia to obtain a better education. After arriving in Granada, Segovia recommenced his musical studies. Segovia was aware of [[flamenco]] during his formative years as a musician but stated that he "did not have a taste" for the form and chose instead the works of [[Fernando Sor]], [[Francisco Tárrega]], and other classical composers.<ref>Secrets From The Masters (Edited by Don Menn) – (Published by GPI Books) ({{ISBN|0-87930-260-7}}) – p.&nbsp;237 Segovia quote: "I did not have a taste for the flamenco. My friends began to look in private houses and in music shops for something written for the guitar. And they found something by Sor, Giuliani, Aguado, and little things published by Tarrega."</ref> Tárrega agreed to give the self-taught Segovia some lessons but died before they could meet, and Segovia states that his early musical education involved the "double function of professor and pupil in the same body".<ref>Secrets From The Masters (Edited by Don Menn) – (Published by GPI Books) ({{ISBN|0-87930-260-7}})</ref>

== Career ==
Segovia's first public performance was in Granada<ref>Secrets From The Masters (Edited by Don Menn) – (Published by GPI Books) ({{ISBN|0-87930-260-7}}) – p.&nbsp;238 Segovia quote: "The first concert I gave was in Granada. Then I had to give it in Seville about two months later."</ref> at the age of 16 in 1909.<ref name="Castro2006">{{cite book|last=Castro|first=Iván A.|title=100 Hispanics you should know|url=https://archive.org/details/100hispanicsyous0000cast|url-access=registration|access-date=23 July 2011|date=December 2006|publisher=Libraries Unlimited|isbn=978-1-59158-327-1|page=[https://archive.org/details/100hispanicsyous0000cast/page/260 260]}}</ref> A few years later he played his first professional concert in [[Madrid]], which included works by [[Francisco Tárrega]] and his own guitar [[Transcription (music)|transcriptions]] of [[Johann Sebastian Bach]]. Despite the discouragement of his family, who wanted him to become a lawyer, and criticism by some of Tárrega's pupils for his idiosyncratic technique,<ref>[http://www.guitarramagazine.com/andres_segovia_memory#p16 In Memory of Andres Segovia] {{Webarchive|url=https://web.archive.org/web/20090305093112/http://www.guitarramagazine.com/andres_segovia_memory#p16 |date=5 March 2009 }}; by Vasilios Avraam</ref> he continued to pursue his studies of the guitar diligently.

He played again in Madrid in 1912, at the [[Paris Conservatory]] in 1915 and in [[Barcelona]] in 1916 and made a successful tour of South America in 1919.<ref name="amg">{{cite web|url={{AllMusic|class=artist|id=q5675|pure_url=yes}}|title= Andrés Segovia Biography|website=[[AllMusic]]|author=Stevenson, Joseph}}</ref> Segovia's arrival on the international stage coincided with a time when the guitar's fortunes as a concert instrument were being revived, largely through the efforts of [[Miguel Llobet]].<ref>Phillips, Robert Michael, "The influence of Miguel Llobet on the pedagogy, repertoire, and stature of the guitar in the twentieth century" (2002).</ref> It was in that changing milieu that Segovia, thanks to his strength of personality and artistry, coupled with developments in recording and broadcasting, succeeded in making the guitar more popular again.

In 1921 in Paris, Segovia met [[Alexandre Tansman]],<!--<ref>[https://web.archive.org/web/20120330152637/http://solo.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572390&catNum=572390&filetype=About%20this%20Recording&language=English Naxos Guitar Recital: Kulikova, Irina] </ref>--> who later wrote a number of guitar works for Segovia, among them Cavatina, which won a prize at the Siena International Composition contest in 1952.<ref name="AnnaHannu">{{cite book|last2 = Mätlik|title = Handbook of Guitar and Lute Composers|url = https://books.google.com/books?id=8_cS-jP7ntoC&pg=PA64|year=2008|publisher = Mel Bay Publications|isbn = 978-0-7866-5844-2|page=64|first1 = Hannu|last1 = Annala|first2 = Heiki}}</ref> In 1921, he also met [[Agustín Barrios]] in Buenos Aires, Argentina. Segovia was impressed by Barrios's Bach-inspired and arguably [[magnum opus]] ''La Catedral''.<ref>Sila Godoy and Luis Szaran. ''Mangoré: vida y obra de Agustín Barrios''.  Editorial Don Bosco y Editorial Ñanduti, Asunción, Paraguay. 1994, pp. 40–48</ref>

At Granada in 1922, he became associated with the [[Concurso de Cante Jondo]], promoted by the Spanish composer [[Manuel de Falla]]. The aim of the "classicising" ''Concurso'' was to preserve [[flamenco]] in its purity from being distorted by modern popular music.<ref>Carol A. Hess, ''Manuel de Falla and modernism in Spain, 1898–1936'' (University of Chicago 2001) at 175.</ref> Segovia had already developed as a fine ''tocador'' of [[flamenco guitar]], yet his direction was now classical.<ref>D. E. Pohlen, ''Lives and Legends of Flamenco'' (Madrid 1964, revised 1988) at 73.</ref> Invited to open the ''Concurso'' held at the [[Alhambra]], he played ''Homenaje a Debussy'' by Falla.<ref>Eduardo Molina Fajardo, ''Manuel de Falla y El "Cante Jondo"'' (Universidad de Granada 1962; 2d ed. 1998) at 116.</ref>

[[File:Segoviaguitar.jpg|thumb|right|Guitar by [[Hermann Hauser, Sr.|Hermann Hauser]], 1937, Munich, Germany. Concert guitar of Andrés Segovia's from 1937 until 1962. Gift of Emilita Segovia, Marquesa of Salobreña, 1986 (1986.353.1). Housed in the [[Metropolitan Museum of Art]].]]
In 1923, Segovia visited Mexico for the first time. There [[Manuel Ponce]] was so impressed with the concert that he wrote a review in ''[[El Universal (Mexico City)|El Universal]]''.<ref>[https://books.google.com/books?id=qr_IBab-KrwC&pg=PA18&dq=andres+segovia Manuel M. Ponce and the guitar] By Corazón Otero, J. D. Roberts; Bold Strummer, 1994; {{ISBN|0-933224-85-0}}</ref> Later Ponce went on to write [[Manuel Ponce (composer)#Guitar music|many works]] for Segovia, including numerous sonatas.

In 1924, Segovia, visited the German [[luthier]] [[Hermann Hauser Sr.]] after Segovia heard some of Hauser's instruments played in a concert in Munich. In 1928, Hauser provided Segovia with one of the guitars, which Segovia used during his tour of the United States and in other concerts up to 1933. Segovia ordered a further guitar from Hauser and after receiving it passed on the 1928 model to his American representative and close friend [[Sophocles Papas]], who in his turn gave it to his student, the famous jazz and classical guitarist [[Charlie Byrd]], who used it on several records.

Segovia's first American tour was arranged in 1928 when [[Fritz Kreisler]], the [[Vienna|Viennese]] violinist who privately played the guitar,<ref>{{cite magazine|url=http://www.time.com/time/magazine/article/0,9171,770233,00.html|archive-url=https://web.archive.org/web/20081215081105/http://www.time.com/time/magazine/article/0,9171,770233,00.html|url-status=dead|archive-date=15 December 2008|title=Music: Frets in Minneapolis|date=29 June 1936|magazine=[[Time (magazine)|Time]]}}</ref> persuaded [[Francis Charles Coppicus]] from the Metropolitan Musical Bureau to present the guitarist in New York.<ref>[[Donal Henahan|Henahan, Donal]] (4 June 1987). [https://www.nytimes.com/1987/06/04/obituaries/andres-segovia-is-dead-at-94-his-crusade-elevated-guitar.html?pagewanted=all&src=pm "Andres Segovia Is Dead At 94; His Crusade Elevated Guitar"]. ''[[The New York Times]]''.</ref><ref>[http://www.cumpiano.com/Home/Articles/Transcriptions/Segovia/segovia_bio.html Andres Segovia, Spanish Guitarist] {{Webarchive|url=https://web.archive.org/web/20110628181841/http://www.cumpiano.com/Home/Articles/Transcriptions/Segovia/segovia_bio.html |date=28 June 2011}}; Biography; hosted at Cumpiano.com</ref>

After Segovia's debut tour in the US in 1928 the Brazilian composer [[Heitor Villa-Lobos]] composed his now well-known Twelve [[Étude No. 1 (Villa-Lobos)|Études]] (Portuguese: ''Doze estudos''; French: ''Douze études''; German: ''Zwölf Studien'') and later dedicated them to Segovia. Their relationship proved to be lasting, and Villa-Lobos continued to write for Segovia. He also transcribed numerous classical pieces himself and revived the pieces transcribed by predecessors like Tárrega.

[[File:Andrés Segovia by Hilda Wiener (1877-1940).jpg|thumb|left|Segovia at a recital in the "Concerts Ysaye" in Brussels, 15 December 1932 ([[Hilda Wiener]], 1877{{ndash}}1940)]]
In 1932, Segovia met and befriended the composer [[Mario Castelnuovo-Tedesco]] in Venice.<ref name="AnnaHannu" /> Since Castelnuovo-Tedesco did not play the guitar, Segovia provided him with guitar compositions (Ponce's ''Folias'' variations and Sor's ''Mozart Variations''), which he could study. Castelnuovo-Tedesco composed a large number of works for the guitar, many of them dedicated to Segovia. The Concerto Op. 99 of 1939 was the first guitar concerto of the 20th century and Castelnuovo-Tedesco's last work in Italy before he emigrated to the United States. It was premiered by Segovia in Uruguay in 1939.<ref name="AnnalaMätlik2008 64">{{cite book|last1=Annala|first1=Hannu|last2=Mätlik|first2=Heiki|title=Handbook of Guitar and Lute Composers|url=https://books.google.com/books?id=8_cS-jP7ntoC&pg=PA64|year=2008|publisher=Mel Bay Publications|isbn=978-0-7866-5844-2|page=64}}</ref>

In 1935, he gave his first public performance of Bach's ''[[Chaconne in D minor|Chaconne]]'', a difficult piece for any instrument. He moved to [[Montevideo]] and performed many concerts in South America in the 1930s and the early 1940s.

After [[World War II]], Segovia began to record more frequently and performed regular tours of Europe and America and would maintain that schedule for 30 years. In 1954, [[Joaquín Rodrigo]] dedicated ''[[Fantasia para un Gentilhombre|Fantasía para un gentilhombre]]'' (''Fantasy for a Gentleman'') to Segovia.<ref>{{cite news|url=https://www.nytimes.com/1999/08/29/arts/music-a-composer-who-found-strength-in-an-inner-vision.html|title=Music; A Composer Who Found Strength in an Inner Vision | first=Pablo |last=Zinger |author-link=Pablo Zinger | date=August 1999 | newspaper=The New York Times}}</ref> Segovia won the 1958 [[Grammy Award]] for [[Grammy Award for Best Instrumental Soloist Performance (without orchestra)|Best Classical Performance, Instrumentalist]] for his recording ''Segovia Golden Jubilee''.<ref>[http://www.grammy.com/nominees/search?artist=&title=segovia&year=All&genre=All Segovia] at Grammy.com</ref>

[[John W. Duarte]] dedicated his English Suite Op.&nbsp;31 to Segovia and his wife, Emilia Magdalena del Corral Sancho, on the occasion of their marriage in 1962.<ref>{{cite book|author=Jim Tosone|title=Classical guitarists: conversations|url=https://books.google.com/books?id=hgBOOU_Y7xwC&pg=PA31|date=October 2000|publisher=McFarland|isbn=978-0-7864-0813-9|page=31}}</ref> Segovia told the composer "You will be astonished at the success it will have".<ref name="Duarte1998">{{cite book|author=John W. Duarte|title=Andrés Segovia, as I knew him|url=https://books.google.com/books?id=q2kIAQAAMAAJ|year=1998|publisher=Mel Bay|isbn=978-0-7866-3319-7}}</ref><ref>[http://www.antigonigoni.com/record/duarte.htm Few words from the composer, John Duarte] {{Webarchive|url=https://web.archive.org/web/20160304034226/http://www.antigonigoni.com/record/duarte.htm |date=4 March 2016 }}; Goni website</ref>

In recognition of his contributions to music and the arts, Segovia was ennobled on 24 June 1981 by King [[Juan Carlos I]], who gave Segovia the hereditary title of ''Marqués de [[Salobreña]]''<ref name="Marqueses de Salobreña">{{cite web|url=http://www.geneall.net/H/tit_page.php?id=25799|title=Marqueses de Salobreña | publisher=Geneall.es}}</ref><ref name="An Armory of Famous Musicians">{{cite web|url=http://www.heraldica.org/topics/famous/music.htm|title=An Armory of Famous Musicians | publisher=Heraldica | access-date=12 April 2016}}</ref> (English: Marquis of Salobreña) in the [[Spanish nobility|nobility of Spain]].

Segovia continued performing into his old age, and lived in semi-retirement during his seventies and eighties on the [[Costa del Sol]]. Two films were made of his life and work, one when he was 75 and the other when he was 84. They are available on DVD under the titles ''Andrés Segovia—in Portrait''. His final RCA LP (ARL1-1602), ''Reveries'', was recorded in Madrid in June 1977.

In 1984, Segovia was the subject of a 13-part series broadcast on [[National Public Radio]], ''Segovia!'' The series was recorded on location in Spain, France and the United States. Hosted by Oscar Brand, the series was produced by Jim Anderson, Robert Malesky and Larry Snitzler.

Segovia died on 2 June 1987<ref name="amg" /> in Madrid of a heart attack at the age of 94. He is buried at Casa Museo Andrés Segovia in Linares.

== Technique ==
The right hand is responsible for the guitar's musical sound and so in examining the technique, the way the right hand is placed in relation to the strings is most important.{{citation needed|date=May 2023}} For several years, it was thought among the guitar community that Segovia plucked the strings with a combination of fingertip and nail, as stated by [[Christopher Parkening]]{{citation needed|date=September 2020}}, but Segovia plucked the strings only with the nails. When asked which technique he used, he replied that it was "the only one there is: nails. Because they bring timbre differences and colour variation and give sonorous volume to the guitar."<ref>{{Cite web|url=http://www.rtve.es/alacarta/videos/personajes-en-el-archivo-de-rtve/seis-cuerdas-guitarra-andres-segovia-1972/1402719/|title=Las seis cuerdas de una guitarra. Andrés Segovia (1972)|date=14 May 2012}}</ref> His right hand was placed so that the nails were perpendicular to the strings. That way, the nail alone would press the string. At the same time, it was thought that was the only way to avoid unpleasant noise coming from the low strings (E, A and D) of the guitar when they were  plucked.

Segovia created a strong bass sound with his right thumb in spite of his technique, largely because of the flexibility that he had in his thumb, which helped to create a very strong and voluminous sound in the bass notes.

Another innovation that separated Segovia from the Tárrega school was the search for the tension in the strings by placing his right hand further to the right side. That way, he could obtain colour variation but also an especially strong, round and voluminous sound, which was very helpful for giving concerts in big halls (the technique was later used by [[Narciso Yepes]]). Before Segovia, guitarists from the Tárrega school played the guitar with the hand right over the soundhole and thus created a mellow sound but could not fill the whole space of a large concert hall.

After World War II, Segovia became among the first to endorse nylon [[strings (music)|strings]], instead of [[catgut]] strings.<ref>[http://albertaugustine.com/ Augustine Strings]; see history</ref> That advancement allowed for greater tonal stability and was the final ingredient in the standardization of the instrument.

== Repertoire ==
Segovia's repertoire consisted of three principal pillars: first, contemporary works, including concertos and sonatas, usually specifically written for Segovia himself by composers with whom he forged working relationships, notably [[Federico Moreno Torroba]], [[Federico Mompou]], and [[Joaquín Rodrigo]], the Mexican composer [[Manuel Ponce (composer)|Manuel Ponce]], the Italian composer [[Mario Castelnuovo-Tedesco]], and the great Brazilian composer [[Heitor Villa-Lobos]]; second, transcriptions, usually made by Segovia himself,<ref>Julian Bream (A Life on the Road) by Tony Palmer (First Published in the UK by Macdonald & Co 1982) ({{ISBN|0-356-07880-9}}) p125 "the composer Peter Warlock&nbsp;... persuaded the Oxford University Press to publish his edition of Dowland's Lachrimae or Seven Tears, and this was the edition Segovia used for his guitar transcriptions."</ref> of classical works originally written for other instruments (e.g., lute, harpsichord, piano, violin, cello) by [[Johann Sebastian Bach]], [[Isaac Albéniz]], [[Enrique Granados]], and many other prominent composers; third, traditional classical guitar works by composers such as [[Fernando Sor]] and [[Francisco Tárrega]]. Segovia's influence enlarged the repertoire, mainly as a commissioner or dedicatee of new works, as a transcriber, and as a composer<ref>[http://www.justclassicalguitar.com/vpmusicmedia/dbpocci/dbopere.php?Name1=segovia&Title1=&Publi1=&Instr1=&Apply=+Search+ Andrés Segovia's compositions] {{Webarchive|url=https://web.archive.org/web/20111009132518/http://www.justclassicalguitar.com/vpmusicmedia/dbpocci/dbopere.php?Name1=segovia&Title1=&Publi1=&Instr1=&Apply=+Search+ |date=9 October 2011 }}; Pocci Catalog (see [http://www.vpmusicmedia.com/ also])</ref> with such works as his ''Estudio sin luz''.

[[File:Andrés Segovia (1962).jpg|thumb|{{center|Segovia in 1962}}]]

Segovia's main musical aesthetic preferences were music of the early 20th century (and turn of the century) especially in the Spanish romantic-modern and nationalist style. That is perhaps best typified by Segovia's own work ''Estudio sin Luz''. Many works of that and similar styles were written especially for him and formed part of his core repertoire: particularly the guitar works of [[Federico Moreno Torroba]] (1891–1982), such as the ''Sonatina'', which was first performed by Segovia in Paris in 1925.<ref name="duarte">{{cite web | url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.554555&catNum=554555&filetype=About%20this%20Recording&language=English | title=''Guitar Recital''| author=John W. Duarte | publisher=Naxos | access-date=12 April 2016}}</ref>

Segovia was selective and performed only works with which he identified personally. He was known to reject atonal works or those that he considered too radical even if they were dedicated to him; he rejected [[Frank Martin (composer)|Frank Martin]]'s ''Quatre pièces brèves'', [[Darius Milhaud]]'s ''Segoviana'', etc.<ref name="AnnalaMätlik2008 104">{{cite book|author1=Hannu Annala|author2=Heiki Mätlik|title=Handbook of Guitar and Lute Composers|url=https://books.google.com/books?id=8_cS-jP7ntoC&pg=PA104|year=2008|publisher=Mel Bay Publications|isbn=978-0-7866-5844-2|page=104}}</ref><ref>[http://markmarrington.com/2009/08/22/britishness-and-the-classical-guitar-after-1950-composers-performers-and-identity-in-the-contemporary-british-guitar-repertoire/ Britishness and the classical guitar after 1950: composers, performers and identity in the contemporary British guitar repertoire] {{webarchive |url=https://web.archive.org/web/20111023233555/http://markmarrington.com/2009/08/22/britishness-and-the-classical-guitar-after-1950-composers-performers-and-identity-in-the-contemporary-british-guitar-repertoire/ |date=23 October 2011}} by Mark Marrington</ref> Even though rejected by Segovia, all of those works are today published and available.<ref>[http://www.universaledition.com/4-Pieces-breves-for-Guitar-Frank-Martin/sheet-music-and-more/detailview/UE12711/kid/310013 Frank Martin: Quatre pièces brèves]; Universal Edition</ref><ref name="Wade2001">{{cite book|author=Graham Wade|title=A Concise History of the Classic Guitar|url=https://archive.org/details/melbaypresentsco00wade|url-access=registration|access-date=23 July 2011|date=1 August 2001|publisher=Mel Bay Publications|isbn=978-0-7866-4978-5|pages=[https://archive.org/details/melbaypresentsco00wade/page/118 118]–}}</ref><ref>[http://www.alphonseleduc.com/EN/recherche.php?q=Segoviana Darius Milhaud: Segoviana]; Éditions Alphonse Leduc</ref><ref>[http://www.thefreelibrary.com/Piezas+liricas+para+guitarra.-a0151592104 Book Review: The Andres Segovia Archive, edited by Angelo Gilardino, Liugi Biscaldi] by Silvio Jose dos Santos</ref><ref>{{cite web|url=https://groups.google.com/group/rec.music.classical.guitar/msg/bb098424ba8a7813|title=Gilardino on the Andrés Segovia Archive|work=google.com}}</ref><ref>[http://www.berben.it/doc/htm/eng/frame_novit%C3%A0.htm Andrés Segovia Archive] at Bèrben</ref>

=== Teaching ===
Segovia viewed teaching as vital to his mission of propagating the guitar and gave master classes throughout his career. His most famous master classes took place at ''[[Música en Compostela]]'', in the Spanish city of [[Santiago de Compostela]].<ref name="The Teaching of Andrés Segovia by John Mills">{{cite web|url=http://www.egtaguitarforum.org/ExtraArticles/SegoviaTeaching.html |title=John Mills: The Teaching of Andres Segovia |url-status = dead|archive-url=https://web.archive.org/web/20071018062021/http://egtaguitarforum.org/ExtraArticles/SegoviaTeaching.html |archive-date=18 October 2007 }}</ref>

Segovia also taught at the [[Accademia Musicale Chigiana]] in [[Siena]] for numerous years, where he was aided by [[Alirio Díaz]].<ref>[https://books.google.com/books?id=tp6LO9n1TrIC&pg=PA115&q=Siena The Guitar from the Renaissance to the Present Day] by Harvey Turnbull; Bold Strummer, 1992; {{ISBN|0-933224-57-5}}</ref>

His teaching style is a source of controversy among some of his former students, who considered it to be dogmatically authoritarian.<ref>{{cite journal|last=Krieger|first=Diane|title=The Astonishing LAGQ|journal=University of Southern California Trojan Family Magazine|date=Summer 2002|url=http://www.usc.edu/dept/pubrel/trojan_family/summer02/LAGQ/LAGQ_page1.html|access-date=29 September 2013|archive-url=https://web.archive.org/web/20131002131501/http://www.usc.edu/dept/pubrel/trojan_family/summer02/LAGQ/LAGQ_page1.html|archive-date=2 October 2013|url-status = dead}}</ref> One of Segovia's most celebrated former students of the classical guitar, [[John Williams (guitarist)|John Williams]], has said that Segovia bullied students into playing only his style and stifled the development of their own styles.<ref name=alberge>{{cite news|last=Alberge|first=Dalia|title=John Williams says guitar maestro Andrés Segovia bullied students and stifled their creativity|url=https://www.theguardian.com/music/2012/oct/14/john-williams-accuses-segovia-snob|newspaper=The Guardian|date=14 October 2012}}</ref><ref name="williams_interview">{{cite web|url=http://www.guitarteacher.com.au/johnwilliams.htm |title=John Williams Interview with Austin Prichard-Levy |work=The Twang Box Dynasty |url-status = dead|archive-url=https://web.archive.org/web/20070825045035/http://www.guitarteacher.com.au/johnwilliams.htm |archive-date=25 August 2007 }}</ref> Williams has also said that Segovia was dismissive of music that did not have what Segovia considered the correct classical origins, such as South American music with popular roots.<ref name=alberge /> He was also critical of Williams' work with the group [[Sky (English/Australian band)|Sky]] for the same reasons.

=== Legacy ===
Segovia can be considered a catalytic figure in granting respectability to the guitar as a serious concert instrument capable of evocativeness and depth of interpretation. [[Federico Moreno Torroba]] said, "The musical interpreter who fascinates me the most is Andrés Segovia."<ref>[http://hemeroteca.abcdesevilla.es/nav/Navigate.exe/hemeroteca/madrid/abc/1975/10/12/166.html ABC Madrid]; 1975/10/12; translated from the Spanish: "El intérprete musical que más me fascina es Andrés Segovia"</ref> He can be credited to have dignified the classical guitar as a legitimate concert instrument before the discerning music public, which had hitherto viewed the guitar merely as a limited if sonorous parlour instrument.

In [[Linares, Jaén|Linares]], the Segovia Museum "Fundación Andrés Segovia" was established in May 1995,<ref>{{cite web|url=http://www.segoviamuseo.com/marcoin.htm |title=Pagina nueva 2 |work=segoviamuseo.com |access-date=12 April 2016 |url-status = dead|archive-url=https://web.archive.org/web/20160304044528/http://www.segoviamuseo.com/marcoin.htm |archive-date=4 March 2016 }}</ref> and Linares (Segovia's birthplace) also has a bronze statue in his honour, created by Julio López Hernández and unveiled on 25 May 1984.<ref>[https://books.google.com/books?id=6lYTp7HqQn0C&pg=PA171&q=bronze statue A Concise History of the Classic Guitar] by Graham Wade; Mel Bay Publications, 2001; {{ISBN|0-7866-4978-X}}</ref><ref>{{cite web|url=https://www.panoramio.com/photo/53377292|title=Panoramio – Photo of Monumento a Andrés Segovia (Linares)|work=panoramio.com|access-date=12 April 2016|archive-url=https://web.archive.org/web/20160422164447/http://www.panoramio.com/photo/53377292|archive-date=22 April 2016|url-status=dead}}</ref><ref>[http://guitarra.artepulsado.com/guitarra/segovia_fundacion_visita.htm Visita a la Fundación Andrés Segovia]; Artepulsado</ref>

Segovia influenced a generation of classical guitarists who built on his technique and musical sensibility, including [[Christopher Parkening]], [[Julian Bream]], [[John Williams (guitarist)|John Williams]] and [[Oscar Ghiglia]], all of whom have acknowledged their debt to him. Further, Segovia left behind a large body of edited works and transcriptions for classical guitar, including several transcriptions of Bach, particularly an extraordinarily-demanding classical guitar transcription of the [[Chaconne]] from the [[Partita for Violin No. 2 (Bach)|2nd Partita for Violin (BWV 1004)]]. During his lifetime, guitarists were eager to claim association with Segovia, who suggested that he had not actually taught as many students as has been claimed. He once said, "All over the world I have 'pupils' I have never met."<ref>Duarte, John W. ''Andres Segovia As I Knew Him''. Pacific, MO: Mel Bay, 1998. p. 5</ref>

His editions of works originally written for guitar include newly-fingered and occasionally-revised versions of works from the standard repertoire (most famously, his edition of a selection of twenty ''estudios'' by [[Fernando Sor]],<ref>{{cite web |title=Fernando Sor: Twenty Studies |url=https://www.guitarsalon.com/store/p2807-fernando-sor-twenty-studies-wcd.html |website=Guitar Studies International |access-date=16 September 2018}}</ref> the "cornerstone" of every serious student's technique since its publication in 1945 although somewhat ironically, Segovia, in the preface to that work, disparaged Sor as "not among the vigorous talents") as well as compositions written for him, including by Heitor Villa-Lobos, Federico Mompou, and Mario Castelnuovo-Tedesco.<ref name="blair jackson">{{cite web |last1=Jackson |first1=Blair |title=Bringing the Andrés Segovia Archive to Life with Spanish Guitarist Roberto Moronn Pérez |url=https://classicalguitarmagazine.com/bringing-the-andres-segovia-archive-to-life-with-spanish-guitarist-roberto-moronn-perez/ |website=Classical Guitar |date=7 September 2017 |access-date=12 September 2021}}</ref>

==== Namings ====
* The main-belt asteroid [[3822 Segovia]] was named in his memory in 1989.<ref name="springer" />
* A competition co-sponsored by the European Guitar Teachers Association is named after Segovia.<!--<ref>[https://web.archive.org/web/20071213111132/http://www.certamenandressegovia.es/ Certamen Internacional de Guitarra Clásica "Andrés Segovia"]</ref>--><ref>{{cite web|url=http://www.gitarrevelbert.de/|title=International Youth Competition for Guitar Velbert Internationaler Jugend-Wettbewerb für Gitarre in Velbert|work=gitarrevelbert.de|access-date=12 April 2016}}</ref>

== Awards ==
Segovia was awarded many prizes and honours, including doctorates ''[[honoris causa]]'', from ten universities.<ref name="honores indice">{{cite journal | title=Honores y Distinciones | journal=Andrés Segovia. Síntesis biográfica. Honores y distinciones. By Alberto López Poveda | year=1986 | publisher=(Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) | url=http://www.cervantesvirtual.com/servlet/SirveObras/57927252545269054754491/index.htm | access-date=12 April 2016| last1=López Poveda | first1=Alberto }}</ref><ref name="honores">{{cite journal | url=http://www.cervantesvirtual.com/servlet/SirveObras/57927252545269054754491/ima0009.htm | title=Honores y Distinciones | journal=Andrés Segovia. Síntesis biográfica. Honores y distinciones. By Alberto López Poveda | year=1986 | publisher=(Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) | access-date=12 April 2016| last1=López Poveda | first1=Alberto}}</ref> On 24 June 1981, he was ennobled by King [[Juan Carlos I]], who gave Segovia the hereditary title of ''Marqués de [[Salobreña]]''<ref name="Marqueses de Salobreña" /><ref name="An Armory of Famous Musicians" /> (English: Marquis of Salobreña) in the [[Spanish nobility|nobility of Spain]] in recognition of his contributions to music and the arts. He received the Danish [[Sonning Award]] in 1974, the [[Ernst von Siemens Music Prize]] in 1985, and a [[Grammy Lifetime Achievement Award]] in 1986.

== Personal life ==
Segovia's first wife was Adelaida Portillo (marriage in 1918).<ref>[http://hemerotecadigital.bne.es/datos1/numeros/internet/Madrid/Nuevo%20Mundo%20(Madrid)/1922/192205/19220505/19220505_00000.pdf#search=%22andres%20segovia%22&page=24 Family image: Segovia with wife Adelaida Portillo and baby]  {{webarchive|url=https://web.archive.org/web/20111004214137/http://hemerotecadigital.bne.es/datos1/numeros/internet/Madrid/Nuevo%20Mundo%20%28Madrid%29/1922/192205/19220505/19220505_00000.pdf |date=4 October 2011 }}; Nuevo Mundo (Madrid), 5 May 1922</ref> Segovia's second wife (marriage in 1935) was the pianist [[Paquita Madriguera]], who also made some [[piano roll]] recordings.<ref>{{cite web|url=http://www.dal-segno.com/DSPRCD0015.html|title=The Great Female Pianists, Vol. 5 Paquita Madriguera | publisher=Dal Segno | access-date=12 April 2016}}</ref><ref>{{cite web|url=http://www.rprf.org/Rollography.html |title=Rollography |publisher=The Reproducing Piano Roll Foundation |url-status = dead|archive-url=https://web.archive.org/web/20050306063111/http://www.rprf.org/Rollography.html |archive-date=6 March 2005 }}</ref> From 1944, he maintained a romantic relationship with Brazilian singer and guitarist [[Olga Praguer Coelho]], which was to last for over a decade.<ref>{{cite web|url=http://www.finefretted.com/html/golden_era_cds_for_sale_g_e_74.html |title=Golden Era 74 Olga Coelho South American Folksongs 1944–1957 |url-status = dead|archive-url=https://web.archive.org/web/20101128081122/http://finefretted.com/html/golden_era_cds_for_sale_g_e_74.html |archive-date=28 November 2010 }}</ref>{{Unreliable source?|date=December 2018}} In 1962 Segovia married Emilia Magdalena Corral Sancho.<ref>{{cite web|url=http://www.aureoherrero.org/cronologia.htm|title=Cronología de la Vida y Obra de Andrés Segovia (1893–1987)}}</ref> They had one son, [[Carlos Andrés Segovia]],<ref>[https://ucjc.academia.edu/CarlosSegovia Carlos A. Segovia]; at Academia.edu</ref> the current Marquis of Salobreña.<ref>[http://www.geneall.net/H/per_page.php?id=1010944 Genealogía de los marqueses de Salobreña]; at Website GeneAll.net</ref>

== Partial discography ==
* ''Guitar Solos'' – Decca, 1949.
* ''An Evening With Andres Segovia'' – Decca, 1954 ([[Grammy Hall of Fame Award]] 1999).
* ''Golden Jubilee'', 2 volumi – Brunswick, 1958–60 ([[Grammy Award for Best Instrumental Soloist Performance (without orchestra)]] 1958).
* ''Ingterpreta: Granados, Albéniz, Scarlatti, Paganini'' – Deutsche Grammophon, 1961.
* ''Segovia plays Bach'' – Saga, 1969.
* ''Castles of Spain'' – Decca, 1970.
* ''El arte de Andrés Segovia'' – MCA, 1970.
* ''Fantasia para un Gentilhombre'' – MCA, 1972.
* ''Recital intimo'' – Intercord, 1975.
* ''The Segovia Collection'', 9 volumi – MCA, 1989–91
** Vol. 1: ''The Legendary Andrés Segovia in an All-Bach Program''
** Vol. 2: ''The Legendary Andrés Segovia plays "Fantasia para un Gentilhombre", "Concierto del Sur", "Castles of Spain"''
** Vol. 3: ''The Legendary Andrés Segovia: my Favorite Works''
** Vol. 4: ''The Legendary Andrés Segovia: The Baroque Guitar''
** Vol. 5: ''The Legendary Andrés Segovia: five centuries of the Spanish Guitar''
** Vol. 6: ''The Legendary Andrés Segovia: Ponce sonatas''
** Vol. 7: ''The Legendary Andrés Segovia: Guitar etudes''
** Vol. 8: ''The Legendary Andrés Segovia: Mario Castelnuovo-Tedesco''
** Vol. 9: "The Legendary Andrés Segovia: The Romantic  Guitar"
* ''The complete 1949 London Recordings'' – Testament, 1994.
* ''The complete Early Recordings (1927–1939)'' – Fono Enterprise, 1997.
* ''The Art of Segovia'' – Deutsche Grammophon, 2002.
* ''The Segovia Collection'', 4 volumi – Deutsche Grammophon, 2003.
** Vol. 1: ''Rodrigo, Boccherini, Ponce''
** Vol. 2: ''Rodrigo, Ponce, Castelnuovo-Tedesco, Torroba, Mompou''
** Vol. 3: ''Albeniz, Granados, Sanz, Sor''
** Vol. 4: ''Johann Sebastian Bach''
* ''Andres Segovia: 1950s American Recordings'' – Naxos, 2007.
* ''Ponce: "Concierto del Sur". Rodrigo: "Fantasia para un Gentilhombre"'' – Naxos, 2012.
*'' Segovia – Guitar Music'', compositions by Segovia performed by Alberto La Rocca – CD Brilliant Classics, 2016. Contains: ''11 Preludios'', ''Estudio en mi mayor'', ''Estudio para Deli'', ''Recordando a Deli'', ''Estudios'', ''Estudio-Vals'', ''Estudio sin luz'', ''Improntu'', ''Two Pieces'', ''Veintitrés canciones populares de distintos paìses''.

== Compositions ==
* ''Estudio en mi mayor'' (1921)   
* ''Estudio para Deli'' (1938)   
* ''Estudio sin luz'' (1954)   
* ''Estudio-Vals'' (1960)
* ''Recordando a Deli - Estudio para sus deditos inteligentes'' (1960)   
* ''Impromptu''  
* ''Estudios ("Daily Studies")'':
** I. Oraciòn   
** II. Remembranza   
* ''Two Pieces'':
** I.  Estudio   
** II. Humorada (composed by Paquita Madriguera)   
* ''Preludios''
** ''Preludio n. 1''   
** ''Preludio n. 2 - Fatiga''   
** ''Preludio n. 3 - Leòn''   
** ''Preludio n. 4''   
** ''Preludio n. 5 - Preludio a Deli''   
** ''Preludio n. 6 - Preludio en si menor'' (1959)   
** ''Preludio n. 7 - Preludio madrileño'' (1936)   
** ''Preludio n. 8 - Preludio sobre un tema de Aparicio Méndez'' (1962)   
** ''Preludio n. 9''  
** ''Preludio n. 10''   
** ''Preludio n. 11 - Vara'' (1950)   
* ''3 Preludios''
* ''Prelude in Chords''
* ''Preludio (a Vladimir Bobri)''
* ''Veintitrés canciones populares de distintos paìses'' (1941):
** 1 - ''Inglesa''   
** 2 - ''Escocesa''   
** 3 - ''Irlandesa''   
** 4 - ''Rusa''   
** 5 - ''Rusa''   
** 6 - ''Tscheca''   
** 7 - ''Polaca''   
** 8 - ''Polaca''   
** 9 - ''Finlandesa''   
** 10 - ''Finlandesa''   
** 11 - ''Serbia''   
** 12 - ''Serbia''   
** 13 - ''Croata''   
** 14 - ''Croata''   
** 15 - ''Eslovania''   
** 16 - ''Sueca''   
** 17 - ''Bretona''   
** 18 - ''Vasca''   
** 19 - ''Catalana''
** 20 - ''Catalana''   
** 21 - ''Catalana''   
** 22 - ''Francesa''   
** 23 - ''Catalana''    
* ''5 Anécdotas'':
** 1. ''Allegretto''
** 2. ''Allegro moderato con grazia''
** 3. ''Lento malinconico''
** 4. ''Molto tranquillo''
** 5. ''Allegretto vivo''
* ''Neblina''
* ''Macarena''
* ''Fandango de la madrugada'' (1945)
* ''For Carl Sandburg''
* ''Tonadilla''
* ''Allegro (Para Doña Paz Armesto di Quiroga)''
* ''Four Easy Lessons''
* ''Lessons Nos. 11 & 12''
* ''Divertimento'' (for two guitars)

== Students ==
Segovia had several notable students throughout his career:{{citation needed|date=May 2024}}
{{div col|colwidth=25em}}
* [[Lily Afshar]]
* [[Liona Boyd]]
* [[Julian Bream]]
* [[Charlie Byrd]]
* [[Abel Carlevaro]]
* [[Charo]]
* [[Alirio Díaz]]
* [[Eliot Fisk]]
* [[Oscar Ghiglia]]
* [[Adam Holzman (guitarist)|Adam Holzman]]
* [[Michael Laucke]]
* [[Antonio Membrado]]
* [[Christopher Parkening]]
* [[John Williams (guitarist)|John Williams]]
{{div col end}}

== See also ==

* [[Michele Pittaluga International Classical Guitar Competition]], founded with his support

== Notes ==

{{notelist}}

== References ==

{{Reflist|30em|refs=

<ref name="springer">{{cite book
  |title      = Dictionary of Minor Planet Names – (3822) Segovia
  |last       = Schmadel | first = Lutz D.
  |publisher  = Springer Berlin Heidelberg
  |page       = 324
  |date       = 2007
  |isbn       = 978-3-540-00238-3
  |doi       = 10.1007/978-3-540-29925-7_3815 |chapter       = (3822) Segovia }}</ref>

}}<!-- end of reflist -->

== Bibliography ==

{{Refbegin}}
* Alberto López Poveda: [https://web.archive.org/web/20100406144805/http://www3.ujaen.es/servpub/Noticias/invitacion-SEGOVIA.pdf Andrés Segovia – Vida y Obra] (2010; Tome1: 864 pages; Tome2: 408 pages) ([http://www.ideal.es/jaen/v/20100325/cultura/andres-segovia-desde-amigo-20100325.html 1], [http://diariodigital.ujaen.es/node/14836 2] {{Webarchive|url=https://web.archive.org/web/20110814150112/http://diariodigital.ujaen.es/node/14836 |date=14 August 2011 }}), 2009
* Alfredo Escande: [https://web.archive.org/web/20110716095330/http://www.internet.com.uy/aescande/DonAndres.html Don Andrés y Paquita] – La vida de Segovia en Montevideo
* [http://www.editionsorphee.com/store/index.php?_a=viewProd&productId=29 The Segovia-Ponce Letters]
* [http://www.farandola.it/farandola/chitarra/festival/catalogo.htm Andrés Segovia. Un secolo di storia nella musica del grande chitarrista spagnolo] {{Webarchive|url=https://web.archive.org/web/20110722033047/http://www.farandola.it/farandola/chitarra/festival/catalogo.htm |date=22 July 2011 }} (2005)
* Graham Wade: Traditions of the Classical Guitar(John Calder, London, 1980)
* Graham Wade: Segovia – A Celebration of the Man and his Music (Allison & Busby, London, 1983)
* Graham Wade: Maestro Segovia (Robson, London, 1986)
* Graham Wade and Gerard Garno: A New Look at Segovia, His Life, His Music, Volumes 1 & 2 (Mel Bay Publications Inc., Pacific, Missouri, 1997)
* Graham Wade: A Concise History of the Classic Guitar (Mel Bay Publications Inc., Pacific, Missouri, 2001)
* Machilis, Joseph. The Enjoyment of Music: An Introduction to Perceptive Listening. New York: W.W Norton and Company, 1977, Pages 107–109.
{{Refend}}<!-- end of Bibliography -->

== External links ==
{{Commons category}}

* [http://segoviamuseo.com Andrés Segovia Foundation]
* [https://www.segoviaguitar.com Website dedicated to the music of Segovia]
* [https://web.archive.org/web/20130116095923/http://acguitar.com/article/default.aspx?articleid=25674 Andrés Segovia] by Mark Small (Acoustic Guitar, November 2010)
* {{in lang|es}} [http://www.aureoherrero.org/cronologia.htm Cronología de la Vida y Obra de Andrés Segovia (1893–1987)]
* {{in lang|es}} [http://www.cervantesvirtual.com/servlet/SirveObras/57927252545269054754491/index.htm Andrés Segovia. Síntesis biográfica. Honores y distinciones.] by Alberto López Poveda (Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) [http://www.cervantesvirtual.com/FichaAutor.html?Ref=13426 ref.]
* {{in lang|es}} [http://www.cervantesvirtual.com/servlet/SirveObras/35761607878043509754491/index.htm Andrés Segovia y Federico Mompou ante el centenario de su nacimiento.] by Antonio Iglesias (Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1992. Número 75.) [http://www.cervantesvirtual.com/FichaObra.html?Ref=23681 ref.]
* [https://web.archive.org/web/20090305093112/http://www.guitarramagazine.com/andres_segovia_memory In Memory of Andres Segovia] by Vasilios Avraam (Guitarramagazine.com)
* [{{AllMusic|class=artist|id=q5675|pure_url=yes}} Biography] by Joseph Stevenson ([[AllMusic]])
* (In Greek) [https://www.tar.gr/kitharistika_portreta_afierwma_ston_antres_segkobia_andr_eacute_segovia-article-737.html?category_id=5 A Tribute to Andres Segovia by TaR online magazine] (19 articles)

{{S-start}}
{{S-reg|es}}
{{S-new}}
{{S-ttl|title= Marquess of Salobreña| years = 1981–1987}}
{{S-aft|after=[[Carlos Andrés Segovia]]}}
{{S-end}}

{{Ernst von Siemens Music Prize}}
{{Grammy Lifetime Achievement Award}}
{{Gramophone Hall of Fame}}
{{Léonie Sonning Music Prize laureates}}
{{Portal bar|Biography|Classical music|Spain}}
{{Authority control}}

{{DEFAULTSORT:Segovia, Andres}}
[[Category:1893 births]]
[[Category:1987 deaths]]
[[Category:20th-century Spanish composers]]
[[Category:20th-century male composers]]
[[Category:Musicians from Andalusia]]
[[Category:Composers for the classical guitar]]
[[Category:Ernst von Siemens Music Prize winners]]
[[Category:Grammy Lifetime Achievement Award winners]]
[[Category:Marquesses of Spain]]
[[Category:Recipients of the Léonie Sonning Music Prize]]
[[Category:Royal Philharmonic Society Gold Medallists]]
[[Category:Spanish classical guitarists]]
[[Category:Spanish male guitarists]]
[[Category:20th-century Spanish guitarists]]
[[Category:20th-century Spanish male musicians]]
[[Category:Exiles of the Spanish Civil War in Uruguay]]
[[Category:Academic staff of Accademia Musicale Chigiana]]