Posts Tagged ‘segovia’
Spotlight On Guitar #4 with Vinny Stefanelli
Here’s the latest ‘Spotlight’ segment, in which Vinny shares with us Segovia’s practice routine, a new stretch, and plays a really cool fretless guitar.
Here’s an article written by Marcelo Kayath, who in the early 80′s was considered one of the great up-and-coming guitarists of his generation (see his bio below). I find his thoughts on the current state of the guitar really interesting, but I have a feeling that not everyone will agree with him. I’m very curious to see what everyone has to say.
So here’s the final part of David Collett’s interview with Grisha, where they discuss the role of flamenco in the classical repertoire. I’m trying to decide if I agree that classical players are really prepared to integrate flamenco into their repertoires without a solid foundation in flamenco. I guess I feel that it’s not as simple as just learning the notes to really get the feel of flamenco, but there are probably a lot of solo guitar pieces that could be learned that way. Now accompaniment…
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Here’s part 2 of that Williams interview, where he talks about Segovia and about nails. Turns out they’re important.
The intro to this is at least as good as the interview itself, but the footage of what looks like a teenaged Williams is pretty priceless as well.
We just acquired an incredibly rare guitar – a 1937 Hermann Hauser I. Most of you already know that Segovia played a 1937 Hauser and at one point called it ‘the greatest guitar of our epoch.’ This isn’t that guitar of course (Segovia’s is at the Met in NYC), but it’s the same year. It also has a tornavoz, which is kind of cool. We used this guitar when we recorded our CD ‘Valseana’ (to be released very soon) on which guitarist Marc Teicholz recorded 18 waltzes on 18 historically important guitars. You can check out the guitar here (and hear Marc’s recording), and I’ve found some videos of Segovia and his 1937 Hauser – which he mistakenly says was made in 1936 (It has to be a mistake since he so famously played that 1937 one for so long).
Truth is, of course, that YouTube is unkind to the Maestro for obvious reasons. His fault, really, for being born before camera phones. Here’s a slightly more elegant performance, though to hear him in his prime you have to go to his recordings. Turns out there are still some things in life you can’t experience on YouTube. That thought makes me happy.
