{"id":14984,"date":"2020-07-17T05:00:25","date_gmt":"2020-07-17T12:00:25","guid":{"rendered":"https:\/\/classicalguitarmagazine.com\/?p=14984"},"modified":"2020-07-15T15:49:44","modified_gmt":"2020-07-15T22:49:44","slug":"segovia-a-centenary-celebration-part-xii-1960s-golden-jubilee-record-released","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/segovia-a-centenary-celebration-part-xii-1960s-golden-jubilee-record-released\/","title":{"rendered":"Segovia: A Centenary Celebration Part XII, 1960&#8217;s &#8216;Golden Jubilee&#8217; Record Released"},"content":{"rendered":"<h5>BY GRAHAM WADE | FROM THE JANUARY 1994 ISSUE OF <em>CLASSICAL GUITAR<\/em><\/h5>\n<p>As we have seen, 1959 witnessed the celebration of <a href=\"https:\/\/classicalguitarmagazine.com\/tag\/segovia\/\">Segovia&#8217;s<\/a> Golden Jubilee Anniversary of 50 years of recitals since his debut at the Centro Artistico, Granada, in 1909. Segovia was 66 years old in 1959 and at the time it must have seemed that his career was now entering its autumnal and final phase, a rich Indian summer but with limited horizons for the future. But, as we now know, there were over 30 years of concerts left to come, and for Segovia himself there would be a new lease of life, a great increase in his international fame, and various summits to be conquered.<\/p>\n<p><strong><em>Note: This is part 12 of a <a href=\"https:\/\/classicalguitarmagazine.com\/segovia-centenary\/\">17-part series<\/a> from the<\/em> Classical Guitar<em> archive.<\/em><\/strong><\/p>\n<p>In retrospect 1959 can be seen as a significant watershed both in any study of Segovia&#8217;s artistic career and also in the development of 20th century guitar history. Julian Bream signed for RCA, in 1959, a recording contract destined to change every aspect of our perception of the guitar&#8217;s role in contemporary music. Also, John Williams was now launching out into his recitalist&#8217;s career following his Wigmore Hall triumph in November 1958, and his debut recordings were of course issued in Segovia&#8217;s Golden Jubilee year. Thus, several potentially great players seemed at last poised to be able to take over the succession from the generation of 1893 in due course.<\/p>\n<p>In the meantime Segovia continued to present a formidable challenge with a monumental recording in three volumes, <i>Segovia Golden Jubilee<\/i>, on Brunswick, one of the finest guitar recordings ever issued and a landmark in guitar history in various ways. The contents of the three volumes were as follows:<\/p>\n<p><strong>SEGOVIA GOLDEN JUBILEE<br \/>\n<\/strong>Volume 1 Brunswick AXTL 1088<br \/>\nSide 1<br \/>\nConcierto del Sur: Manuel Ponce with The Symphony of the Air (Conductor: Enrique Jord\u00e1)<br \/>\nI <i>Allegretto\u2014<\/i>II <i>Andante\u2014<\/i>III <i>Allegro moderate e festivo<\/i><\/p>\n<p>Side 2<br \/>\n<i>\u2022 Fantasia Para un Gentilhombre<\/i>: Joaquin Rodrigo with The Symphony of the Air (Conductor: Enrique Jord\u00e1)<br \/>\n<em>Villano\u2014Ricercare\u2014La Espa\u00f1oleta\u2014Toques de la Caballer\u00eda de N\u00e1poles\u2014Dwizas de las Hachas\u2014Canario<\/em><\/p>\n<p>Volume 2 Brunswick AXTL 1089<br \/>\nSide 1<br \/>\n<i>\u2022 Prelude<\/i>: S. L. Weiss\u2014M. Ponce with Rafael Puyana, harpsichord<br \/>\n<i style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\">\u2022 Pi\u00e9ces caracteristiques<\/i><span style=\"font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;\">: F. Moreno Torroba <\/span>(<i>Preambulo, Oliveras, Canci\u00f3n, Albada, Los Mayos, Panorama<\/i>)<br \/>\n<i>\u2022 Anta\u00f1o<\/i>: 0. Espl\u00e1<br \/>\n<i>\u2022 Allegro in A<\/i>: M. Ponce<\/p>\n<p>Side 2<br \/>\n<i>\u2022 The Old Castle<\/i>: M. Mussorgsky (from <i>Pictures at an Exhibition<\/i>)<br \/>\n<i>\u2022 Segovia<\/i>: A. Roussel<br \/>\n<i>\u2022 Study<\/i>: A. Segovia<br \/>\n<i>\u2022 Three Pieces<\/i>: A. Tansman (<i>Canzonetta, Alla Polacca, Berceuse d&#8217;Orient<\/i>)<br \/>\n<i>\u2022 Tonadilla<\/i>: E. Granados, arr. M. Llobet<\/p>\n<p>Volume 3 Brunswick AXTL 1090<br \/>\nSide 1<br \/>\n<i>\u2022 Prelude and Allegro<\/i>: S. de Murcia<br \/>\n<i>\u2022 Study No. 1 in C<\/i>: F. Sor<br \/>\n<i>\u2022 Study No. 9 in A minor<\/i>: F. Sor<br \/>\n<i>\u2022 Sonata \u201c\u00adHomage to Boccherini&#8217;<\/i>: M. Castelnuovo\u00adTedesco<br \/>\n<i>\u2022 Fandango<\/i>: J. Rodrigo<\/p>\n<p>Side2<br \/>\n<i>\u2022 Passacaglia<\/i>: L. Roncalli<br \/>\n<i>\u2022 Gigua<\/i>: L. Roncalli<br \/>\n<i>\u2022 Gavotta<\/i>: L. Roncalli<br \/>\n<i>\u2022 Study No. 20 in C major<\/i>: F. Sor<br \/>\n<i>\u2022 Two Minuets<\/i>: F. Sor<br \/>\n<i>\u2022 Spanish Dance No. 10 in G<\/i>: E. Granados<\/p>\n<p><iframe title=\"Prelude and Allegro\" width=\"1170\" height=\"878\" src=\"https:\/\/www.youtube.com\/embed\/SkdIV6SsM30?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>As this was in every way an American production, there was the inevitable time lag before Segovia&#8217;s new recordings were either received or assimilated in Europe. <i>The Gramophone<\/i> first responded as late as July 1960, with a review of Volume 1:<\/p>\n<p><i>In 1909 Segovia gave, in Granada, his first concert: in 1960 comes now Vol. 1 of the gramophonic celebration of his Golden Jubilee. It is an outstanding production alike for the pleasure of the occasion, for the interest of the music, and for the superb quality of both playing and recording&#8230;<\/i><\/p>\n<p><i>Seeking something special with which to commemorate this Golden Jubilee, Brunswick could surely have chosen nothing better than this pairing of two works, both new to the catalogue, and both abundantly worthwhile. By way of bonus a final band acknowledges further the historical nature of the occasion: in a few words of English Segovia ensures for posterity the preservation of his voice along with his superlative playing.<\/i> (<i>The Gramophone<\/i>, July 1960, page 72).<\/p>\n<p>In the somewhat less frenetic world of 1960 (compared with 1993), a critic could still talk (and be taken more or less seriously) along the lines of \u201censuring for posterity,\u201d portentously aware of history at his elbow. Paradoxically enough \u201cposterity\u201d since 1960 has not been particularly solicitous of <i>The Golden Jubilee<\/i> albums as a momentous statement of Segovia&#8217;s achievement. Individual items were gathered from the album in various compilations here and there over the years and the two concertos recently found a suitable home on <i>The Segovia Collection Vol. 2<\/i>, MCAD 42067 (coupled with Torroba&#8217;s <i>Castles of Spain<\/i> recorded in Spain in December 1969). The recordings in their entirety were never however re-issued, and the Golden Jubilee albums remain collectors\u2019 items.<\/p>\n<p>In October 1960 the second volume was reviewed by the same critic, MM, in <i>The Gramophone<\/i> with a pleasing final paragraph:<\/p>\n<p><i>What does show all the music at its best, throughout the disc, is a standard of performance in which artistry declares itself uncompromisingly in every bar. It is combined too, with a similarly impeccable standard of recording; in these two important respects the extremely high standard of this Jubilee celebration is well maintained.<\/i> (op. cit, October, 1960, page 219).<\/p>\n<p><i>The Gramophone <\/i>completed the last of the trilogy in November 1960, accepting on board two \u201cnew composers to the current catalogues,\u201d Santiago de Murcia and Ludovico Roncalli. The somewhat revolutionary <i>Fandango<\/i> by Rodrigo attracts the epithets \u201cshort\u201d and \u201cmodern,\u201d and there is a small moment of ritual enthusiasm over Castelnuovo-Tedesco&#8217;s Sonata, \u201cwhich deploys in its four movements different aspects of a general affection for this style rather than the idiom of Boccherini&#8217;s music.\u201d<\/p>\n<p>A more elevated level of celebration and enthusiasm was given to the new recordings by John Duarte in an article entitled \u201cGolden Jubilee,\u201d which appeared in <i>BMG<\/i> in June 1960, with a photograph of Segovia on the front of the magazine:<\/p>\n<p><i>More than a year ago the American Decca Record Co. paid to Andr\u00e9s Segovia (this month&#8217;s cover) a tribute extremely rare, if not unique. They marked the 50th anniversary of his first public concert with a commemorative album (DXJ.148). This album, beautifully decorated and embossed, contained a booklet with article and photographs\u2014and three 12in. LP records. Of the latter, two were of solo items and the third with orchestra.<\/i><\/p>\n<p><i>This last, the English Decca Co, has now released.<\/i><\/p>\n<p><i>Before saying another word about the record itself I will say, emphatically, that the guitar lover who has a gramophone but who fails to buy this record should never raise his voice in complaint. This is surely a \u201cdesert island\u201d record of the highest order.<\/i><\/p>\n<p>Volume 3 was reviewed in <i>BMG<\/i>, December 1960, by John Duarte and this included an interesting account of Rodrigo&#8217;s <i>Fandango<\/i>:<\/p>\n<p><i>The remaining work is the <\/i>Fandango<i> of Rodrigo, played by Segovia during his visits to this country in 1958 and 1959. It has with its curious blend of pomposity and aggressive dissonance, a very individual character. The maestro plays it with autocratic authority and nothing less will do for this work\u2014this is no plaything for the little man. In accepting the magnificent tone, power, clarity, and perfection of Segovia\u2019s playing in this work (as in practically everything else) as his norm, we should never forget to acknowledge the miracle.<\/i><\/p>\n<p>Segovia had started off 1960 in his customary way, completing a series of 41 recitals in the United States between 4 January and 29 April. <i>Guitar News<\/i> (July\/ August 1960) received reviews of the concert at Orchestra Hall, Chicago on 13 March, where \u201cthe Bach <i>Chaconne<\/i> was the crowning glory of a wonderful Segovia recital.\u201d The encores included <i>Introduction and Allegro<\/i> (Sor), <i>Study in A<\/i> (Alard\/Tarrega), <i>Etude No. 1<\/i> (Villa-Lobos) and <i>Fandanguillos<\/i> by both Torroba and Turina.<\/p>\n<p>Segovia visited the Royal Festival Hall, London, on 13 October, 1960, to perform with the London Philharmonic Orchestra. It was intended at the time to play Tansman&#8217;s <i>Guitar Concerto<\/i> but as the work was apparently not completed in time, Segovia performed Rodrigo&#8217;s <i>Fantasia para un Gentilhombre<\/i>, with Hugo Rignold conducting. Segovia played the same work the following day at the Swansea Festival in the Brangwyn Hall, with the London Symphony Orchestra, conducted by Enrique Jord\u00e1. Solos were also performed including <i>Suite in D minor<\/i> (De Visee), <i>Gavotte<\/i> (Bach), <i>Allegretto<\/i> (Sor), and <i>Torre Bermeja<\/i> (Alb\u00e9niz).<\/p>\n<p>Segovia then travelled to Stockholm and Hamburg, and from there to Malta, where he gave his first recital on the island since 1927 at the De Porres Hall, Sliema, on 19 October, commemorating the 25th Anniversary of Rediffusion in Malta. According to <i>Guitar News<\/i> (Jan\/Feb 1961), Segovia was accompanied on the trip by \u201chis niece, Srta. Corral.\u201d<\/p>\n<p>The critic <i>Rasgueado<\/i> of <i>The Times of Malta<\/i> reviewed the first concert:<\/p>\n<p><i>The programme, judiciously planned, provided an interesting cross-section of guitar music. In the midst of such richness and perfection it is difficult and invidious to single out any one item. The <\/i>Allegro in D<i> by Sor, the <\/i>Sonata in A flat<i> by Scarlatti, the <\/i>Fugue<i> by Bach, <\/i>Canzonetta<i> by Mendelssohn, and the glorious <\/i>Sevilla<i> by Alb\u00e9niz were perhaps primi inter pares.<\/i><\/p>\n<p>A further programme on Friday, 21 October included works by Galileo, Sor. Torroba (<i>Sonatina<\/i>), Frescobaldi, Bach, Mendelssohn (<i>Two Romanzas<\/i>), T\u00e1rrega, Crespo, C. Pedrell, and Alb\u00e9niz (<i>Granada and Leyenda<\/i>). Sor\u2019s <i>Op. 9 Variations<\/i> were included in the three encores. A reception was given for Segovia on 21 October at the Rediffusion Anniversary Reception. Chevalier Vasallo, who was Segovia&#8217;s host during the trip, is quoted in <i>Guitar News<\/i>:<\/p>\n<p><i>It was most delightful to be with Segovia again and I must say that he captivated the hearts of all who came into contact with his genial personality. His wide culture, his humour, and wealth of opposite illustration were most refreshing. We really missed Sr. Segovia and his niece when they left\u2026 Music lovers in Malta were enthralled by his art and they long to hear him again.<\/i><\/p>\n<p>Also in 1960 Segovia gave a recital in Vienna, his first trip there since before the war. <i>In The Guitar Review<\/i> No. 25, after a long delay, Segovia&#8217;s reminiscences were resumed, and he gave an account of his youthful days in Madrid.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>BY GRAHAM WADE | FROM THE JANUARY 1994 ISSUE OF CLASSICAL GUITAR As we have seen, 1959 witnessed the celebration of Segovia&#8217;s Golden Jubilee Anniversary of 50 years of recitals since his debut at the Centro Artistico, Granada, in 1909. Segovia was 66 years old in 1959 and at the time it must have seemed that his career was now entering its autumnal and final phase, a rich Indian summer but with limited horizons for the future. But, as we [&hellip;]<\/p>\n","protected":false},"author":23,"featured_media":14987,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8],"tags":[134,137],"class_list":["post-14984","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-classics","tag-segovia","tag-segovia-centenary"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2020\/07\/CG-Segovia-Centenary-12-featured-image.jpg?fit=700%2C400&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/14984","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/23"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=14984"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/14984\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/14987"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=14984"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=14984"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=14984"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}