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while Segovia’s sheer instrumental mastery is revealed FERNANDO SOR (1778-1839): @ Study in B minor, Op. 35, No. 22 2:40 at its most brilliantly triumphant throughout the Deuxième Grande Sonate, Op. 25: # Study in A major, Op. 6, No. 6 1:47 virtuosic semiquaver figurations. 1 II: Allegro non troppo 5:28 Decca DL 9794, mx MG 4043; March 1955 ANDRÉS SEGOVIA Decca DL 9633, mx MG 2671; March 1952 Graham Wade MAURO GIULIANI (1781-1829): 2 IV: Minuet 2:47 Sonata, Op. 15: 1950s American Recordings Author of A New Look at Segovia, His Life, His Music, Decca DL 9647, mx MG 2756; March 1952 $ I: Allegro spiritoso 5:38 Vols. I & II (with Gerard Garno), Segovia - A Celebration of the Man and His Music, and Maestro Decca DL 9638, mx MG 2742; March 1952 3 Volume 2 Segovia. Variations on a Theme by Mozart, Op. 9 7:07 Decca DL 9638, mx MG 2741; April 1952 MANUEL PONCE (1882-1948): % Andantino variato on a theme by Paganini 7:39 ÉS SEGO Grande Sonate, Op. 22: DR V Decca DL 9647, mx MG 2756; April 1952 N IA 4 III: Minuet 3:14 A Also available Decca DL 9751, mx MG 3728; April 1954 FRANZ SCHUBERT (1797-1828): Piano Sonata in G major, Op. 78, D. 894: Six Divertimentos for the Spanish Guitar, Op. 2: ^ III: Menuetto 5:43 5 No. 3: Andantino 3:14 Decca DL 9633, mx MG 2672; March 1952 Decca DL 9751, mx MG 3728; April 1954 FELIX MENDELSSOHN (1809-1847): Deux Thèmes et Douze Menuets & Songs without Words, Op. 19: Pour la Guitare, Op. 11: No. 6 (Venetian Gondola Song) 2:58 6 No. 5 in D major 2:08 Decca DL 9633, mx MG 2672; April 1952 Decca DL 9751, mx MG 3728; April 1954 FRYDERYK CHOPIN (1810-1849): Sonata (Grand Solo), Op. 14: * Prelude in A major, Op. 28, No. 7 0:59 7 Introduction and Allegro 8:55 Decca DL 9647, mx MG 2756; March 1952 Decca DL 9794, mx MG 4043; March 1955 1 95 gs FELIX MENDELSSOHN: 2, in 19 ord Folies d’Espagne and Minuet, Op. 15a: String Quartet No. 1 in E flat, Op. 12: 54 & 1955 Rec 8 Minuet in E major 1:46 ( II: Canzonetta 4:35 8.111089 Decca DL 9794, mx MG 4043; March 1955 Decca DL 9751, mx MG 3728; April 1954 9 Minuet in A major, Op. 11, No. 6 2:30 All selections recorded in New York Decca DL 9794, mx MG 4043; March 1955 Fernando Sor • Mauro Giuliani • Franz Schubert All arrangements by Andrés Segovia 0 Study in A major, Op. 6, No. 12 5:17 Manuel Ponce • Felix Mendelssohn • Fryderyk Chopin ! Study in G major, Op. 29, No. 11 1:52

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Great Guitarists • Andrés Segovia (1893-1987) there, but having fallen in love with a ballerina, he the key of C with inventive melodies and subtle Mauro Giuliani, like Sor, wrote a vast quantity of triplets and various unexpected twists and turns. travelled with her to Russia and Poland. He returned to harmonic touches. Andantino Op. 2, No. 3, is from Six guitar music, variations, sonatas, concertos, duets, and Variation 4 re-visits the triplets of the first variation for 1950s American Recordings, Volume 2 Paris in 1826/7 where he composed many pieces in his Divertimentos for the Spanish Guitar, beginning in D studies. An important part of his career was spent in two bars before introducing new thematic material. Andrés Segovia, was born in Linares, Jaén, in the region performed in Russia and Britain, in 1927 in final years. minor before moving to D major for the middle section. Vienna where he was well acquainted with Beethoven, Variation 5, in C sharp minor and marked lento, brings of Spain known as Andalusia, on 21st February 1893. Scandinavia, in 1928 came his first tour of the United Allegro non troppo in C major, the second Segovia makes this exquisite miniature a study in tone Moscheles, Hummel, and other leading musicians. In in a poignant chromatic melody with subtle interplay of From early childhood Segovia was deeply responsive to States, and in 1929 he made his début in Japan. From movement of Sor’s Deuxième Grande Sonate, Op. 25, quality, exploring the guitar’s inherent colours. Minuet Italy he knew both Paganini and Rossini and may have bass and treble, a mood dispelled by Variation 6, a the sound of the guitar, an instrument which was part of then on Segovia’s guitar was heard in almost every was published in Paris in 1827, shortly after his return in D, Op. 11, No. 5, from Deux Thèmes et Douze performed concerts in their company. Following the lively tremolo study. Variation 7, Andante, a majestic everyday life in southern Spain. At the age of ten he country in the world. He continued touring until the age from Russia. (Segovia’s edition of Sonata No. 2 was Menuets Pour la Guitare, was published in Paris around monumental publication of Giuliani’s complete works valedictory statement, begins with octaves and striding moved from Linares in order to attend school in of 94, his last concert taking place in Miami on 4th issued by Ricordi Americana in 1956.) This energetic 1822. Marked Andante maestoso, it is in binary form, in 38 volumes (ed. Brian Jeffery, 1984), Giuliani’s chords, ending with a short Moderato coda featuring Granada. Here he acquired his first guitar. Despite the April 1987. Andrés Segovia died at his home in Madrid movement with its ingenious modulations, displays a deploying many of Sor’s characteristic hallmarks such prolific achievements at long last gained rightful brilliant arpeggios and a final rapid descending scale. absence of any competent teachers, he soon gained a two months later on 2nd June 1987. range of guitar textures including rapidly repeated notes as passages in thirds, fragments of Alberti bass, and recognition. The transcription of Schubert’s Menuetto was prodigious mastery of the instrument and discovered the The present recording celebrates Segovia’s over chords, melodies in the bass under a treble elegant melodic lines. Giuliani’s Sonata pour la Guitare, Op. 15, in C accredited on the original recording to ‘the great existence of many fine guitar compositions surpassing performances of original works and transcriptions from accompaniment, harmonics and passages in thirds, as The work which Segovia entitled Introduction and major, published in Vienna in 1808, was not performed Spanish guitarist, Tárrega’, though Segovia invariably the limitations of Andalusia’s folkloric guitar styles. the nineteenth-century, including music by Fernando well as demonstrating Sor’s perennial ability to exploit Allegro, was published in Paris as Sonata Prima pour la in its entirety by Segovia. What we hear is the first made his own edition of every composition he By 1909 Segovia was ready to offer his public Sor and Mauro Giuliani, two of the early great masters the guitar’s cantabile nature. The piece exemplifies Guitare around 1810 and later edited as Grand Solo in a movement, Allegro spiritoso, a finely structured performed. This arrangement of the third movement of début at the Centro Artístico in Granada. Concerts in of the guitar. The transcriptions from Schubert, Sor’s ambitious approach to the guitar as a ‘miniature slightly different version by Dionisio Aguado (1784- statement in the form of a classical sonatina. The work Schubert’s Piano Sonata in G, Op. 78, D. 894, for Cordoba and Seville followed and later he went to Mendelssohn, and Chopin are by Segovia but based on orchestra’. Allegro non troppo is followed by the 1849). Another of Sor’s seminal masterpieces, it has a lyrically Italianate quality, with two delightful piano, suits the guitar exceptionally well with its strong Madrid where in 1912 he gave a recital at the Ateneo similar arrangements by Francisco Tárrega, guitarist, Minuet and Trio which ends Sonata Op. 25. Its demonstrates the guitar’s capability to communicate themes, a short development section and a lively rhythms and firm thematic outlines. Contrasting with and was presented with a concert guitar of superlative composer and inspired teacher who laid the foundations delightful Haydnesque lilt and classic thematic extended formal works. After the Introduction, the recapitulation rounded off with a brief coda. The use of the Allegro moderato and key of D major of the first quality by the luthier, Manuel Ramírez. Segovia’s first of the twentieth-century renaissance of the guitar. simplicity have been admired by generations of guitar ‘orchestral’ guitar is revealed, with ornamented melodic keyboard techniques including Alberti basses and pedal section, the Trio, molto legato, in B minor, lends itself international tour was to South America in the early A further composition (believed at the time to be by students after the piece was made famous by Segovia. lines, arpeggio figurations, powerful chords and many notes is well integrated with guitaristic effects such as most idiomatically to Segovia’s gradations in tone 1920s, while his European reputation was established Paganini), is actually a set of variations on a theme of Sor’s Variations on a Theme of Mozart, Op. 9, was nuances of mood and tension. lively arpeggio patterns and melodic passages in thirds colours. by a resoundingly successful concert in Paris in 1924, Paganini by the Mexican composer Manuel Ponce, who first published in an English edition in London in 1821. Next Segovia performs Minuets from Op. 15a and and sixths. Mendelssohn’s Song without Words, Op. 19, No. 6, attended by many distinguished musicians. From this wrote a number of pastiches for Segovia allegedly by Segovia’s interpretation omits the Introduction and Op. 11. Minuet in E major from Op. 15a appears as the When Segovia’s recording of Andantino variato (subtitled Venetian Gondola Song) for piano is period of his life onwards Segovia not only enriched the musicians such as Sylvius Leopold Weiss, Alessandro begins with what Sor entitled the ‘Theme’, in itself a last movement in Sor’s Variations on Les Folies was first released it was described as ‘originally a transposed from the original G minor to E minor on the range of the guitar repertoire by transcribing and Scarlatti, or, in this instance, Paganini. Segovia’s light- further variation. The real theme is O cara armonia d’Espagne. Somewhat Mozartian in its lightly movement from a Sonata for Guitar and Violin, now in guitar. In the form of a Barcarolle, evoking the performing works by great composers of the past, but hearted subterfuge was not revealed until the late 1960s, from the first act of Mozart’s opera The Magic Flute embellished melody and packed with harmonic a freely transcribed version for guitar alone, by the gondola’s gentle rhythm, the piece exemplifies the art also persuaded his contemporaries to write new pieces. although certain individuals had been ‘in the know’ for where Papageno, threatened by a gang of slaves, ingenuity, Minuet Op. 11, No. 6, proved to be one of Mexican composer, Manuel Ponce’. It was soon of cantabile, the smooth articulation of a melodic line Composers such as Moreno Torroba, Turina and Manén some years. Nevertheless for this reason, even remembers his magic chime and so enchants his Segovia’s favourite encores. After the majestic opening apparent that this work was actually a set of variations supported by elegant bass sequences. (Spain), Ponce (Mexico), Castelnuovo-Tedesco (Italy), nowadays, many re-issues bear misleading attributions adversaries that they begin to dance and disappear. chords and the presentation of the theme, the piece composed entirely by Ponce on the theme from the third Chopin’s Prelude in A, Op. 28, No.7, (here in the Villa-Lobos (Brazil), Roussel (France), and Tansman even though the stylistic characteristics of early The variations extend from the virtuosic to the deploys broken chords to evoke a harp-like sound. movement of Paganini’s Grand Sonata, written for key of D rather than the original of A major), is another (Poland), wrote significant compositions for him during composers are now far more familiar to audiences than inwardly reflective. Variation 1 deploys thirds and rapid In 1945 Segovia selected twenty Sor studies to create ‘guitar with violin accompaniment’. The publication of transcription by Segovia based on a precedent by this crucial period of Segovia’s early concert career. they were when Segovia first performed these pieces. scale runs to create dazzling patterns of colour. an edition which proved the best selling publication in Segovia’s edition of Manuel Ponce’s Andantino variato Francisco Tárrega. Both versions place an extra note at Following the Second World War, other composers Sor has a significant rôle in musical history. Variation 2, in the minor key, exploits the treble range guitar history and remains an essential text for students. (ed. Segovia, Peer International Corp., 1976), ultimately the end of phrases in order to add sonority, the guitar contributed to his musical treasury including Rodrigo, Following the eighteenth century neglect of the guitar, of the guitar while the third variation, returning to the The four studies here are: Op. 6, No. 12 (Segovia No. 14), banished any doubts about the work’s origin. lacking the piano’s sustaining pedal. Mompou and Asencio (Spain), Duarte (England), and he set out to establish a new repertoire for the major, is a cantabile melody with a subtle a study in A major for legato melodic articulation over a Ponce provides his own harmonization of Canzonetta from Mendelssohn’s String Quartet Haug (Switzerland), among others. Since Segovia’s instrument, aspiring to emulate the great composers of accompaniment. Variation 4 offers a dialogue between complex accompaniment, the work being in four voices; Paganini’s theme, occasionally keeping the original No. 1 in E flat, Op. 12, is Segovia’s somewhat revised death, further compositions by a variety of composers his epoch by writing sonatas, fantasias and sets of treble and bass strings. Variation 5, an embellished Op. 29, No. 11 (Segovia No. 16), in G major, to bass line but thickening chords throughout to achieve a version of a transcription by Tárrega. The piece is in including Vicente Arregui, Lennox Berkeley, Henri variations, as well as studies. Born in Catalonia, Sor version of Sor’s theme, leads into a sparkling coda. This familiarise students with chords and accustom the right- fuller texture. Variation 1 imitates Paganini’s opening ternary form, the vigorous dance-like opening themes Collet, Cyril Scott, Gaspar Cassadó, and Raymond Petit was educated at the choir school of Montserrat before composition is justly acclaimed as one of the perennial hand thumb to playing the correct note on varying lower variation of lively triplets but with different melodic contrasting against the scintillating arpeggios of the have been discovered among his private papers. attending a military academy. After Napoleon’s masterpieces of the guitar. strings; Op. 35, No. 22 (Segovia No. 5), the well known and harmonic patterns. The repeated chords and brief middle section. The entire composition (with its Armed with an expanding repertoire, Segovia’s invasion of Spain, he became sympathetic to French Minuet and Trio in C, the third movement of Sor’s B minor study combining melody and harmony over rapid scale passages of Variation 2 take us into Ponce’s sprightly melodies, passages in thirds and pizzicato international esteem rapidly increased, especially after ideals and settled in Paris in 1813. He also lived in Grande Sonate, Op. 22, published in Paris in 1825, has chord patterns; and Op. 6, No. 6 (Segovia No. 12), in A characteristic landscape, while Variation 3 evolves octaves), is extremely technically demanding as the his initial commercial recordings in 1927. In 1926 he London (1815-1823), becoming a musical celebrity distinct affinities with the Minuet from Op. 25, being in major, a challenging virtuosic study in thirds. through intricate harmonic progressions with angular guitar accommodates the voicings of a string quartet 8.111090 2 3 8.111090 4 8.111090 111090 bk Segovia4 EU 20/8/07 9:16 am Page 2

Great Guitarists • Andrés Segovia (1893-1987) there, but having fallen in love with a ballerina, he the key of C with inventive melodies and subtle Mauro Giuliani, like Sor, wrote a vast quantity of triplets and various unexpected twists and turns. travelled with her to Russia and Poland. He returned to harmonic touches. Andantino Op. 2, No. 3, is from Six guitar music, variations, sonatas, concertos, duets, and Variation 4 re-visits the triplets of the first variation for 1950s American Recordings, Volume 2 Paris in 1826/7 where he composed many pieces in his Divertimentos for the Spanish Guitar, beginning in D studies. An important part of his career was spent in two bars before introducing new thematic material. Andrés Segovia, was born in Linares, Jaén, in the region performed in Russia and Britain, in 1927 in final years. minor before moving to D major for the middle section. Vienna where he was well acquainted with Beethoven, Variation 5, in C sharp minor and marked lento, brings of Spain known as Andalusia, on 21st February 1893. Scandinavia, in 1928 came his first tour of the United Allegro non troppo in C major, the second Segovia makes this exquisite miniature a study in tone Moscheles, Hummel, and other leading musicians. In in a poignant chromatic melody with subtle interplay of From early childhood Segovia was deeply responsive to States, and in 1929 he made his début in Japan. From movement of Sor’s Deuxième Grande Sonate, Op. 25, quality, exploring the guitar’s inherent colours. Minuet Italy he knew both Paganini and Rossini and may have bass and treble, a mood dispelled by Variation 6, a the sound of the guitar, an instrument which was part of then on Segovia’s guitar was heard in almost every was published in Paris in 1827, shortly after his return in D, Op. 11, No. 5, from Deux Thèmes et Douze performed concerts in their company. Following the lively tremolo study. Variation 7, Andante, a majestic everyday life in southern Spain. At the age of ten he country in the world. He continued touring until the age from Russia. (Segovia’s edition of Sonata No. 2 was Menuets Pour la Guitare, was published in Paris around monumental publication of Giuliani’s complete works valedictory statement, begins with octaves and striding moved from Linares in order to attend school in of 94, his last concert taking place in Miami on 4th issued by Ricordi Americana in 1956.) This energetic 1822. Marked Andante maestoso, it is in binary form, in 38 volumes (ed. Brian Jeffery, 1984), Giuliani’s chords, ending with a short Moderato coda featuring Granada. Here he acquired his first guitar. Despite the April 1987. Andrés Segovia died at his home in Madrid movement with its ingenious modulations, displays a deploying many of Sor’s characteristic hallmarks such prolific achievements at long last gained rightful brilliant arpeggios and a final rapid descending scale. absence of any competent teachers, he soon gained a two months later on 2nd June 1987. range of guitar textures including rapidly repeated notes as passages in thirds, fragments of Alberti bass, and recognition. The transcription of Schubert’s Menuetto was prodigious mastery of the instrument and discovered the The present recording celebrates Segovia’s over chords, melodies in the bass under a treble elegant melodic lines. Giuliani’s Sonata pour la Guitare, Op. 15, in C accredited on the original recording to ‘the great existence of many fine guitar compositions surpassing performances of original works and transcriptions from accompaniment, harmonics and passages in thirds, as The work which Segovia entitled Introduction and major, published in Vienna in 1808, was not performed Spanish guitarist, Tárrega’, though Segovia invariably the limitations of Andalusia’s folkloric guitar styles. the nineteenth-century, including music by Fernando well as demonstrating Sor’s perennial ability to exploit Allegro, was published in Paris as Sonata Prima pour la in its entirety by Segovia. What we hear is the first made his own edition of every composition he By 1909 Segovia was ready to offer his public Sor and Mauro Giuliani, two of the early great masters the guitar’s cantabile nature. The piece exemplifies Guitare around 1810 and later edited as Grand Solo in a movement, Allegro spiritoso, a finely structured performed. This arrangement of the third movement of début at the Centro Artístico in Granada. Concerts in of the guitar. The transcriptions from Schubert, Sor’s ambitious approach to the guitar as a ‘miniature slightly different version by Dionisio Aguado (1784- statement in the form of a classical sonatina. The work Schubert’s Piano Sonata in G, Op. 78, D. 894, for Cordoba and Seville followed and later he went to Mendelssohn, and Chopin are by Segovia but based on orchestra’. Allegro non troppo is followed by the 1849). Another of Sor’s seminal masterpieces, it has a lyrically Italianate quality, with two delightful piano, suits the guitar exceptionally well with its strong Madrid where in 1912 he gave a recital at the Ateneo similar arrangements by Francisco Tárrega, guitarist, Minuet and Trio which ends Sonata Op. 25. Its demonstrates the guitar’s capability to communicate themes, a short development section and a lively rhythms and firm thematic outlines. Contrasting with and was presented with a concert guitar of superlative composer and inspired teacher who laid the foundations delightful Haydnesque lilt and classic thematic extended formal works. After the Introduction, the recapitulation rounded off with a brief coda. The use of the Allegro moderato and key of D major of the first quality by the luthier, Manuel Ramírez. Segovia’s first of the twentieth-century renaissance of the guitar. simplicity have been admired by generations of guitar ‘orchestral’ guitar is revealed, with ornamented melodic keyboard techniques including Alberti basses and pedal section, the Trio, molto legato, in B minor, lends itself international tour was to South America in the early A further composition (believed at the time to be by students after the piece was made famous by Segovia. lines, arpeggio figurations, powerful chords and many notes is well integrated with guitaristic effects such as most idiomatically to Segovia’s gradations in tone 1920s, while his European reputation was established Paganini), is actually a set of variations on a theme of Sor’s Variations on a Theme of Mozart, Op. 9, was nuances of mood and tension. lively arpeggio patterns and melodic passages in thirds colours. by a resoundingly successful concert in Paris in 1924, Paganini by the Mexican composer Manuel Ponce, who first published in an English edition in London in 1821. Next Segovia performs Minuets from Op. 15a and and sixths. Mendelssohn’s Song without Words, Op. 19, No. 6, attended by many distinguished musicians. From this wrote a number of pastiches for Segovia allegedly by Segovia’s interpretation omits the Introduction and Op. 11. Minuet in E major from Op. 15a appears as the When Segovia’s recording of Andantino variato (subtitled Venetian Gondola Song) for piano is period of his life onwards Segovia not only enriched the musicians such as Sylvius Leopold Weiss, Alessandro begins with what Sor entitled the ‘Theme’, in itself a last movement in Sor’s Variations on Les Folies was first released it was described as ‘originally a transposed from the original G minor to E minor on the range of the guitar repertoire by transcribing and Scarlatti, or, in this instance, Paganini. Segovia’s light- further variation. The real theme is O cara armonia d’Espagne. Somewhat Mozartian in its lightly movement from a Sonata for Guitar and Violin, now in guitar. In the form of a Barcarolle, evoking the performing works by great composers of the past, but hearted subterfuge was not revealed until the late 1960s, from the first act of Mozart’s opera The Magic Flute embellished melody and packed with harmonic a freely transcribed version for guitar alone, by the gondola’s gentle rhythm, the piece exemplifies the art also persuaded his contemporaries to write new pieces. although certain individuals had been ‘in the know’ for where Papageno, threatened by a gang of slaves, ingenuity, Minuet Op. 11, No. 6, proved to be one of Mexican composer, Manuel Ponce’. It was soon of cantabile, the smooth articulation of a melodic line Composers such as Moreno Torroba, Turina and Manén some years. Nevertheless for this reason, even remembers his magic chime and so enchants his Segovia’s favourite encores. After the majestic opening apparent that this work was actually a set of variations supported by elegant bass sequences. (Spain), Ponce (Mexico), Castelnuovo-Tedesco (Italy), nowadays, many re-issues bear misleading attributions adversaries that they begin to dance and disappear. chords and the presentation of the theme, the piece composed entirely by Ponce on the theme from the third Chopin’s Prelude in A, Op. 28, No.7, (here in the Villa-Lobos (Brazil), Roussel (France), and Tansman even though the stylistic characteristics of early The variations extend from the virtuosic to the deploys broken chords to evoke a harp-like sound. movement of Paganini’s Grand Sonata, written for key of D rather than the original of A major), is another (Poland), wrote significant compositions for him during composers are now far more familiar to audiences than inwardly reflective. Variation 1 deploys thirds and rapid In 1945 Segovia selected twenty Sor studies to create ‘guitar with violin accompaniment’. The publication of transcription by Segovia based on a precedent by this crucial period of Segovia’s early concert career. they were when Segovia first performed these pieces. scale runs to create dazzling patterns of colour. an edition which proved the best selling publication in Segovia’s edition of Manuel Ponce’s Andantino variato Francisco Tárrega. Both versions place an extra note at Following the Second World War, other composers Sor has a significant rôle in musical history. Variation 2, in the minor key, exploits the treble range guitar history and remains an essential text for students. (ed. Segovia, Peer International Corp., 1976), ultimately the end of phrases in order to add sonority, the guitar contributed to his musical treasury including Rodrigo, Following the eighteenth century neglect of the guitar, of the guitar while the third variation, returning to the The four studies here are: Op. 6, No. 12 (Segovia No. 14), banished any doubts about the work’s origin. lacking the piano’s sustaining pedal. Mompou and Asencio (Spain), Duarte (England), and he set out to establish a new repertoire for the major, is a cantabile melody with a subtle a study in A major for legato melodic articulation over a Ponce provides his own harmonization of Canzonetta from Mendelssohn’s String Quartet Haug (Switzerland), among others. Since Segovia’s instrument, aspiring to emulate the great composers of accompaniment. Variation 4 offers a dialogue between complex accompaniment, the work being in four voices; Paganini’s theme, occasionally keeping the original No. 1 in E flat, Op. 12, is Segovia’s somewhat revised death, further compositions by a variety of composers his epoch by writing sonatas, fantasias and sets of treble and bass strings. Variation 5, an embellished Op. 29, No. 11 (Segovia No. 16), in G major, to bass line but thickening chords throughout to achieve a version of a transcription by Tárrega. The piece is in including Vicente Arregui, Lennox Berkeley, Henri variations, as well as studies. Born in Catalonia, Sor version of Sor’s theme, leads into a sparkling coda. This familiarise students with chords and accustom the right- fuller texture. Variation 1 imitates Paganini’s opening ternary form, the vigorous dance-like opening themes Collet, Cyril Scott, Gaspar Cassadó, and Raymond Petit was educated at the choir school of Montserrat before composition is justly acclaimed as one of the perennial hand thumb to playing the correct note on varying lower variation of lively triplets but with different melodic contrasting against the scintillating arpeggios of the have been discovered among his private papers. attending a military academy. After Napoleon’s masterpieces of the guitar. strings; Op. 35, No. 22 (Segovia No. 5), the well known and harmonic patterns. The repeated chords and brief middle section. The entire composition (with its Armed with an expanding repertoire, Segovia’s invasion of Spain, he became sympathetic to French Minuet and Trio in C, the third movement of Sor’s B minor study combining melody and harmony over rapid scale passages of Variation 2 take us into Ponce’s sprightly melodies, passages in thirds and pizzicato international esteem rapidly increased, especially after ideals and settled in Paris in 1813. He also lived in Grande Sonate, Op. 22, published in Paris in 1825, has chord patterns; and Op. 6, No. 6 (Segovia No. 12), in A characteristic landscape, while Variation 3 evolves octaves), is extremely technically demanding as the his initial commercial recordings in 1927. In 1926 he London (1815-1823), becoming a musical celebrity distinct affinities with the Minuet from Op. 25, being in major, a challenging virtuosic study in thirds. through intricate harmonic progressions with angular guitar accommodates the voicings of a string quartet 8.111090 2 3 8.111090 4 8.111090 111090 bk Segovia4 EU 20/8/07 9:16 am Page 2

Great Guitarists • Andrés Segovia (1893-1987) there, but having fallen in love with a ballerina, he the key of C with inventive melodies and subtle Mauro Giuliani, like Sor, wrote a vast quantity of triplets and various unexpected twists and turns. travelled with her to Russia and Poland. He returned to harmonic touches. Andantino Op. 2, No. 3, is from Six guitar music, variations, sonatas, concertos, duets, and Variation 4 re-visits the triplets of the first variation for 1950s American Recordings, Volume 2 Paris in 1826/7 where he composed many pieces in his Divertimentos for the Spanish Guitar, beginning in D studies. An important part of his career was spent in two bars before introducing new thematic material. Andrés Segovia, was born in Linares, Jaén, in the region performed in Russia and Britain, in 1927 in final years. minor before moving to D major for the middle section. Vienna where he was well acquainted with Beethoven, Variation 5, in C sharp minor and marked lento, brings of Spain known as Andalusia, on 21st February 1893. Scandinavia, in 1928 came his first tour of the United Allegro non troppo in C major, the second Segovia makes this exquisite miniature a study in tone Moscheles, Hummel, and other leading musicians. In in a poignant chromatic melody with subtle interplay of From early childhood Segovia was deeply responsive to States, and in 1929 he made his début in Japan. From movement of Sor’s Deuxième Grande Sonate, Op. 25, quality, exploring the guitar’s inherent colours. Minuet Italy he knew both Paganini and Rossini and may have bass and treble, a mood dispelled by Variation 6, a the sound of the guitar, an instrument which was part of then on Segovia’s guitar was heard in almost every was published in Paris in 1827, shortly after his return in D, Op. 11, No. 5, from Deux Thèmes et Douze performed concerts in their company. Following the lively tremolo study. Variation 7, Andante, a majestic everyday life in southern Spain. At the age of ten he country in the world. He continued touring until the age from Russia. (Segovia’s edition of Sonata No. 2 was Menuets Pour la Guitare, was published in Paris around monumental publication of Giuliani’s complete works valedictory statement, begins with octaves and striding moved from Linares in order to attend school in of 94, his last concert taking place in Miami on 4th issued by Ricordi Americana in 1956.) This energetic 1822. Marked Andante maestoso, it is in binary form, in 38 volumes (ed. Brian Jeffery, 1984), Giuliani’s chords, ending with a short Moderato coda featuring Granada. Here he acquired his first guitar. Despite the April 1987. Andrés Segovia died at his home in Madrid movement with its ingenious modulations, displays a deploying many of Sor’s characteristic hallmarks such prolific achievements at long last gained rightful brilliant arpeggios and a final rapid descending scale. absence of any competent teachers, he soon gained a two months later on 2nd June 1987. range of guitar textures including rapidly repeated notes as passages in thirds, fragments of Alberti bass, and recognition. The transcription of Schubert’s Menuetto was prodigious mastery of the instrument and discovered the The present recording celebrates Segovia’s over chords, melodies in the bass under a treble elegant melodic lines. Giuliani’s Sonata pour la Guitare, Op. 15, in C accredited on the original recording to ‘the great existence of many fine guitar compositions surpassing performances of original works and transcriptions from accompaniment, harmonics and passages in thirds, as The work which Segovia entitled Introduction and major, published in Vienna in 1808, was not performed Spanish guitarist, Tárrega’, though Segovia invariably the limitations of Andalusia’s folkloric guitar styles. the nineteenth-century, including music by Fernando well as demonstrating Sor’s perennial ability to exploit Allegro, was published in Paris as Sonata Prima pour la in its entirety by Segovia. What we hear is the first made his own edition of every composition he By 1909 Segovia was ready to offer his public Sor and Mauro Giuliani, two of the early great masters the guitar’s cantabile nature. The piece exemplifies Guitare around 1810 and later edited as Grand Solo in a movement, Allegro spiritoso, a finely structured performed. This arrangement of the third movement of début at the Centro Artístico in Granada. Concerts in of the guitar. The transcriptions from Schubert, Sor’s ambitious approach to the guitar as a ‘miniature slightly different version by Dionisio Aguado (1784- statement in the form of a classical sonatina. The work Schubert’s Piano Sonata in G, Op. 78, D. 894, for Cordoba and Seville followed and later he went to Mendelssohn, and Chopin are by Segovia but based on orchestra’. Allegro non troppo is followed by the 1849). Another of Sor’s seminal masterpieces, it has a lyrically Italianate quality, with two delightful piano, suits the guitar exceptionally well with its strong Madrid where in 1912 he gave a recital at the Ateneo similar arrangements by Francisco Tárrega, guitarist, Minuet and Trio which ends Sonata Op. 25. Its demonstrates the guitar’s capability to communicate themes, a short development section and a lively rhythms and firm thematic outlines. Contrasting with and was presented with a concert guitar of superlative composer and inspired teacher who laid the foundations delightful Haydnesque lilt and classic thematic extended formal works. After the Introduction, the recapitulation rounded off with a brief coda. The use of the Allegro moderato and key of D major of the first quality by the luthier, Manuel Ramírez. Segovia’s first of the twentieth-century renaissance of the guitar. simplicity have been admired by generations of guitar ‘orchestral’ guitar is revealed, with ornamented melodic keyboard techniques including Alberti basses and pedal section, the Trio, molto legato, in B minor, lends itself international tour was to South America in the early A further composition (believed at the time to be by students after the piece was made famous by Segovia. lines, arpeggio figurations, powerful chords and many notes is well integrated with guitaristic effects such as most idiomatically to Segovia’s gradations in tone 1920s, while his European reputation was established Paganini), is actually a set of variations on a theme of Sor’s Variations on a Theme of Mozart, Op. 9, was nuances of mood and tension. lively arpeggio patterns and melodic passages in thirds colours. by a resoundingly successful concert in Paris in 1924, Paganini by the Mexican composer Manuel Ponce, who first published in an English edition in London in 1821. Next Segovia performs Minuets from Op. 15a and and sixths. Mendelssohn’s Song without Words, Op. 19, No. 6, attended by many distinguished musicians. From this wrote a number of pastiches for Segovia allegedly by Segovia’s interpretation omits the Introduction and Op. 11. Minuet in E major from Op. 15a appears as the When Segovia’s recording of Andantino variato (subtitled Venetian Gondola Song) for piano is period of his life onwards Segovia not only enriched the musicians such as Sylvius Leopold Weiss, Alessandro begins with what Sor entitled the ‘Theme’, in itself a last movement in Sor’s Variations on Les Folies was first released it was described as ‘originally a transposed from the original G minor to E minor on the range of the guitar repertoire by transcribing and Scarlatti, or, in this instance, Paganini. Segovia’s light- further variation. The real theme is O cara armonia d’Espagne. Somewhat Mozartian in its lightly movement from a Sonata for Guitar and Violin, now in guitar. In the form of a Barcarolle, evoking the performing works by great composers of the past, but hearted subterfuge was not revealed until the late 1960s, from the first act of Mozart’s opera The Magic Flute embellished melody and packed with harmonic a freely transcribed version for guitar alone, by the gondola’s gentle rhythm, the piece exemplifies the art also persuaded his contemporaries to write new pieces. although certain individuals had been ‘in the know’ for where Papageno, threatened by a gang of slaves, ingenuity, Minuet Op. 11, No. 6, proved to be one of Mexican composer, Manuel Ponce’. It was soon of cantabile, the smooth articulation of a melodic line Composers such as Moreno Torroba, Turina and Manén some years. Nevertheless for this reason, even remembers his magic chime and so enchants his Segovia’s favourite encores. After the majestic opening apparent that this work was actually a set of variations supported by elegant bass sequences. (Spain), Ponce (Mexico), Castelnuovo-Tedesco (Italy), nowadays, many re-issues bear misleading attributions adversaries that they begin to dance and disappear. chords and the presentation of the theme, the piece composed entirely by Ponce on the theme from the third Chopin’s Prelude in A, Op. 28, No.7, (here in the Villa-Lobos (Brazil), Roussel (France), and Tansman even though the stylistic characteristics of early The variations extend from the virtuosic to the deploys broken chords to evoke a harp-like sound. movement of Paganini’s Grand Sonata, written for key of D rather than the original of A major), is another (Poland), wrote significant compositions for him during composers are now far more familiar to audiences than inwardly reflective. Variation 1 deploys thirds and rapid In 1945 Segovia selected twenty Sor studies to create ‘guitar with violin accompaniment’. The publication of transcription by Segovia based on a precedent by this crucial period of Segovia’s early concert career. they were when Segovia first performed these pieces. scale runs to create dazzling patterns of colour. an edition which proved the best selling publication in Segovia’s edition of Manuel Ponce’s Andantino variato Francisco Tárrega. Both versions place an extra note at Following the Second World War, other composers Sor has a significant rôle in musical history. Variation 2, in the minor key, exploits the treble range guitar history and remains an essential text for students. (ed. Segovia, Peer International Corp., 1976), ultimately the end of phrases in order to add sonority, the guitar contributed to his musical treasury including Rodrigo, Following the eighteenth century neglect of the guitar, of the guitar while the third variation, returning to the The four studies here are: Op. 6, No. 12 (Segovia No. 14), banished any doubts about the work’s origin. lacking the piano’s sustaining pedal. Mompou and Asencio (Spain), Duarte (England), and he set out to establish a new repertoire for the major, is a cantabile melody with a subtle a study in A major for legato melodic articulation over a Ponce provides his own harmonization of Canzonetta from Mendelssohn’s String Quartet Haug (Switzerland), among others. Since Segovia’s instrument, aspiring to emulate the great composers of accompaniment. Variation 4 offers a dialogue between complex accompaniment, the work being in four voices; Paganini’s theme, occasionally keeping the original No. 1 in E flat, Op. 12, is Segovia’s somewhat revised death, further compositions by a variety of composers his epoch by writing sonatas, fantasias and sets of treble and bass strings. Variation 5, an embellished Op. 29, No. 11 (Segovia No. 16), in G major, to bass line but thickening chords throughout to achieve a version of a transcription by Tárrega. The piece is in including Vicente Arregui, Lennox Berkeley, Henri variations, as well as studies. Born in Catalonia, Sor version of Sor’s theme, leads into a sparkling coda. This familiarise students with chords and accustom the right- fuller texture. Variation 1 imitates Paganini’s opening ternary form, the vigorous dance-like opening themes Collet, Cyril Scott, Gaspar Cassadó, and Raymond Petit was educated at the choir school of Montserrat before composition is justly acclaimed as one of the perennial hand thumb to playing the correct note on varying lower variation of lively triplets but with different melodic contrasting against the scintillating arpeggios of the have been discovered among his private papers. attending a military academy. After Napoleon’s masterpieces of the guitar. strings; Op. 35, No. 22 (Segovia No. 5), the well known and harmonic patterns. The repeated chords and brief middle section. The entire composition (with its Armed with an expanding repertoire, Segovia’s invasion of Spain, he became sympathetic to French Minuet and Trio in C, the third movement of Sor’s B minor study combining melody and harmony over rapid scale passages of Variation 2 take us into Ponce’s sprightly melodies, passages in thirds and pizzicato international esteem rapidly increased, especially after ideals and settled in Paris in 1813. He also lived in Grande Sonate, Op. 22, published in Paris in 1825, has chord patterns; and Op. 6, No. 6 (Segovia No. 12), in A characteristic landscape, while Variation 3 evolves octaves), is extremely technically demanding as the his initial commercial recordings in 1927. In 1926 he London (1815-1823), becoming a musical celebrity distinct affinities with the Minuet from Op. 25, being in major, a challenging virtuosic study in thirds. through intricate harmonic progressions with angular guitar accommodates the voicings of a string quartet 8.111090 2 3 8.111090 4 8.111090 111090 bk Segovia4 EU 20/8/07 9:16 am Page 5

while Segovia’s sheer instrumental mastery is revealed FERNANDO SOR (1778-1839): @ Study in B minor, Op. 35, No. 22 2:40 at its most brilliantly triumphant throughout the Deuxième Grande Sonate, Op. 25: # Study in A major, Op. 6, No. 6 1:47 virtuosic semiquaver figurations. 1 II: Allegro non troppo 5:28 Decca DL 9794, mx MG 4043; March 1955 ANDRÉS SEGOVIA Decca DL 9633, mx MG 2671; March 1952 Graham Wade MAURO GIULIANI (1781-1829): 2 IV: Minuet 2:47 Sonata, Op. 15: 1950s American Recordings Author of A New Look at Segovia, His Life, His Music, Decca DL 9647, mx MG 2756; March 1952 $ I: Allegro spiritoso 5:38 Vols. I & II (with Gerard Garno), Segovia - A Celebration of the Man and His Music, and Maestro Decca DL 9638, mx MG 2742; March 1952 3 Volume 2 Segovia. Variations on a Theme by Mozart, Op. 9 7:07 Decca DL 9638, mx MG 2741; April 1952 MANUEL PONCE (1882-1948): % Andantino variato on a theme by Paganini 7:39 ÉS SEGO Grande Sonate, Op. 22: DR V Decca DL 9647, mx MG 2756; April 1952 N IA 4 III: Minuet 3:14 A Also available Decca DL 9751, mx MG 3728; April 1954 FRANZ SCHUBERT (1797-1828): Piano Sonata in G major, Op. 78, D. 894: Six Divertimentos for the Spanish Guitar, Op. 2: ^ III: Menuetto 5:43 5 No. 3: Andantino 3:14 Decca DL 9633, mx MG 2672; March 1952 Decca DL 9751, mx MG 3728; April 1954 FELIX MENDELSSOHN (1809-1847): Deux Thèmes et Douze Menuets & Songs without Words, Op. 19: Pour la Guitare, Op. 11: No. 6 (Venetian Gondola Song) 2:58 6 No. 5 in D major 2:08 Decca DL 9633, mx MG 2672; April 1952 Decca DL 9751, mx MG 3728; April 1954 FRYDERYK CHOPIN (1810-1849): Sonata (Grand Solo), Op. 14: * Prelude in A major, Op. 28, No. 7 0:59 7 Introduction and Allegro 8:55 Decca DL 9647, mx MG 2756; March 1952 Decca DL 9794, mx MG 4043; March 1955 1 95 gs FELIX MENDELSSOHN: 2, in 19 ord Folies d’Espagne and Minuet, Op. 15a: String Quartet No. 1 in E flat, Op. 12: 54 & 1955 Rec 8 Minuet in E major 1:46 ( II: Canzonetta 4:35 8.111089 Decca DL 9794, mx MG 4043; March 1955 Decca DL 9751, mx MG 3728; April 1954 9 Minuet in A major, Op. 11, No. 6 2:30 All selections recorded in New York Decca DL 9794, mx MG 4043; March 1955 Fernando Sor • Mauro Giuliani • Franz Schubert All arrangements by Andrés Segovia 0 Study in A major, Op. 6, No. 12 5:17 Manuel Ponce • Felix Mendelssohn • Fryderyk Chopin ! Study in G major, Op. 29, No. 11 1:52

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while Segovia’s sheer instrumental mastery is revealed FERNANDO SOR (1778-1839): @ Study in B minor, Op. 35, No. 22 2:40 at its most brilliantly triumphant throughout the Deuxième Grande Sonate, Op. 25: # Study in A major, Op. 6, No. 6 1:47 virtuosic semiquaver figurations. 1 II: Allegro non troppo 5:28 Decca DL 9794, mx MG 4043; March 1955 ANDRÉS SEGOVIA Decca DL 9633, mx MG 2671; March 1952 Graham Wade MAURO GIULIANI (1781-1829): 2 IV: Minuet 2:47 Sonata, Op. 15: 1950s American Recordings Author of A New Look at Segovia, His Life, His Music, Decca DL 9647, mx MG 2756; March 1952 $ I: Allegro spiritoso 5:38 Vols. I & II (with Gerard Garno), Segovia - A Celebration of the Man and His Music, and Maestro Decca DL 9638, mx MG 2742; March 1952 3 Volume 2 Segovia. Variations on a Theme by Mozart, Op. 9 7:07 Decca DL 9638, mx MG 2741; April 1952 MANUEL PONCE (1882-1948): % Andantino variato on a theme by Paganini 7:39 ÉS SEGO Grande Sonate, Op. 22: DR V Decca DL 9647, mx MG 2756; April 1952 N IA 4 III: Minuet 3:14 A Also available Decca DL 9751, mx MG 3728; April 1954 FRANZ SCHUBERT (1797-1828): Piano Sonata in G major, Op. 78, D. 894: Six Divertimentos for the Spanish Guitar, Op. 2: ^ III: Menuetto 5:43 5 No. 3: Andantino 3:14 Decca DL 9633, mx MG 2672; March 1952 Decca DL 9751, mx MG 3728; April 1954 FELIX MENDELSSOHN (1809-1847): Deux Thèmes et Douze Menuets & Songs without Words, Op. 19: Pour la Guitare, Op. 11: No. 6 (Venetian Gondola Song) 2:58 6 No. 5 in D major 2:08 Decca DL 9633, mx MG 2672; April 1952 Decca DL 9751, mx MG 3728; April 1954 FRYDERYK CHOPIN (1810-1849): Sonata (Grand Solo), Op. 14: * Prelude in A major, Op. 28, No. 7 0:59 7 Introduction and Allegro 8:55 Decca DL 9647, mx MG 2756; March 1952 Decca DL 9794, mx MG 4043; March 1955 1 95 gs FELIX MENDELSSOHN: 2, in 19 ord Folies d’Espagne and Minuet, Op. 15a: String Quartet No. 1 in E flat, Op. 12: 54 & 1955 Rec 8 Minuet in E major 1:46 ( II: Canzonetta 4:35 8.111089 Decca DL 9794, mx MG 4043; March 1955 Decca DL 9751, mx MG 3728; April 1954 9 Minuet in A major, Op. 11, No. 6 2:30 All selections recorded in New York Decca DL 9794, mx MG 4043; March 1955 Fernando Sor • Mauro Giuliani • Franz Schubert All arrangements by Andrés Segovia 0 Study in A major, Op. 6, No. 12 5:17 Manuel Ponce • Felix Mendelssohn • Fryderyk Chopin ! Study in G major, Op. 29, No. 11 1:52

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8.111090 5 6 8.111090 NAXOS Historical SEGOVIA • 4: American Recordings, Vol. 2 8.111090 Time 76:18 Playing Andrés Segovia, who was self-taught, the age at recital his first public played of 16. with elevating He is credited the of the highest levels the guitar to concertinternational stage. This Segovia in the Naxos fourth release second of six discs Edition is the 1950s guitarist’s to the great devoted American recordings. It celebrates of original performances Segovia’s the and transcriptions from works nineteenth-century, including music Giuliani, Sor and Mauro Fernando by masters of the great of the early two guitar. The transcriptions from Schubert, Mendelssohn, and Chopin on similar but based Segovia by are Tárrega, Francisco by arrangements guitarist, composer and inspired of teacher who laid the foundations of the twentieth-century renaissance the guitar. 7:07 2:30 5:17 1:52 2:40 1:47 7:39 0:59 5:43 4:35 Minuet in E majorMinuet 1:46 Introduction and Allegro and Introduction 8:55 ANDRÉS SEGOVIA (1893-1987) SEGOVIA ANDRÉS III Minuet III Minuet 3:14 1950s American Recordings • Volume 2 • Volume Recordings American 1950s ADD 8.111090 FERNANDO SOR (1778-1839):FERNANDO Sonate, Deuxième Grande Op. 25: non troppo Allegro II IV Minuet Mozart,Theme by on a Variations Op. 9 Grande Sonate, Op. 22: the Spanish Guitar, for Six Divertimentos Op. 2: No. 3:Andantino la Guitare, Pour Thèmes et Douze Menuets Deux Op. 11: No. 5 in D major Solo),Sonata (Grand Op. 14: d’Espagne and Minuet,Folies Op. 15a: A major, in Op.Minuet 11, No. 6 A major,Study in Op. 6, No. 12 Study in G major, Op. 29, No. 11 Study in B minor, Op. 35, No. 22 A major,Study in Op. 6, No. 6 GIULIANI (1781-1829):MAURO Sonata, Op. 15: I Allegro spiritosoMANUEL PONCE (1882-1948): 5:28 Paganini by Andantino variato on a theme (1797-1828): FRANZ SCHUBERT Piano Sonata in G major, Op. 78, D. 894: III Menuetto FELIX MENDELSSOHN (1809-1847): 2:47 Words, Op.Songs without 19: 3:14 No. Song) Gondola (Venetian 6 (1810-1849): CHOPIN FRYDERYK 2:08 A major, in Op.Prelude 28, No. 7 FELIX MENDELSSOHN: String Quartet No. 1 in E flat, Op. 12: II Canzonetta 5:38 2:58 Transfers & Production:Transfers Lennick David Digital Restoration:Alan Bunting Collection) Potter Photograph:Tully Cover (The Andrés Segovia www.naxos.com 1 2 3 4 5 6 7 8 0 ! @ # $ % ^ & * ( 9

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Unauthorised public performance, broadcasting and copying of this compact disc prohibited. & 2007 Naxos Rights International Ltd. Made in the EU NAXOS Historical SEGOVIA • 4: American Recordings, Vol. 2 8.111090