Andres Segovia: 1950s American Recordings Vol. 3 | Naxos - Historical 8111091

Andres Segovia: 1950s American Recordings Vol. 3

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Label: Naxos - Historical

Cat No: 8111091

Format: CD

Number of Discs: 1

Genre: Instrumental

Release Date: 27th November 2007

Contents

Works

Alard
Ten artistic studies for violin Op. 19 - No. 2 Study in A

Tarrega
Marieta (Mazurka)

Tarrega
Preludio No. 5

Tarrega
Preludio No. 2

Tarrega
Maria (Gavota)

Tarrega
Mazurka in G

Tarrega
Adelita (Mazurka)

Tarrega
Capricho arabe

Tarrega
Recuerdos de la Alhambra

Albeniz
Suite espanola Op. 47 - No. 5 Asturias (Leyenda)

Aguirre
Cancion

Malats
Serenata espanola

Ponce
Preludes: No. VI, No. VII, No. IX, No. I, No. III, No. IV

Ponce
Tres Canciones populares mexicanas: Mexican Folksong No. 3 La Valentina

Ponce
Theme varie et Finale

Ponce
Sonata III

Ponce
From Four pieces - Mazurka / Valse

Espla
Levantine Impressions Nos. 2 & 5

Artists

Andres Segovia (guitar)

Works

Alard
Ten artistic studies for violin Op. 19 - No. 2 Study in A

Tarrega
Marieta (Mazurka)

Tarrega
Preludio No. 5

Tarrega
Preludio No. 2

Tarrega
Maria (Gavota)

Tarrega
Mazurka in G

Tarrega
Adelita (Mazurka)

Tarrega
Capricho arabe

Tarrega
Recuerdos de la Alhambra

Albeniz
Suite espanola Op. 47 - No. 5 Asturias (Leyenda)

Aguirre
Cancion

Malats
Serenata espanola

Ponce
Preludes: No. VI, No. VII, No. IX, No. I, No. III, No. IV

Ponce
Tres Canciones populares mexicanas: Mexican Folksong No. 3 La Valentina

Ponce
Theme varie et Finale

Ponce
Sonata III

Ponce
From Four pieces - Mazurka / Valse

Espla
Levantine Impressions Nos. 2 & 5

Artists

Andres Segovia (guitar)

About

Volume 3 of Segovia’s 1950 American recordings focuses on music by Francisco Tarrega, the great nineteenth century pioneer of the guitar, as well as a noted composer and arranger, and Manuel Ponce, founding father of the twentieth century Mexican music and a close friend of Segovia. The great guitarist himself commented “From the time I first became acquainted with Ponce in Mexico in 1923…he composed more than eighty works for the guitar; large or small, they are, all of them, pure and beautiful.”

Pieces by Albeniz, Aguirre, Malats and Espla are also included. With such composers (four Spanish and two from Latin-America), Segovia was in his element, expressing cultural affinities which matched the natural idioms of the Spanish guitar.

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