{"id":5410,"date":"2016-11-11T15:27:01","date_gmt":"2016-11-11T23:27:01","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=5410"},"modified":"2016-11-16T14:49:36","modified_gmt":"2016-11-16T22:49:36","slug":"segovias-strings-and-the-augustine-collaboration","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/segovias-strings-and-the-augustine-collaboration\/","title":{"rendered":"Segovia&#8217;s Strings and the Augustine Collaboration"},"content":{"rendered":"<h6><a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/featured-products\/products\/no-384-winter-2016\" target=\"_blank\">From the Winter 2016 issue of <em>Classical Guitar<\/em><\/a> | BY MARK SMALL<\/h6>\n<p>Augustine Strings, the company that provided financial support for Tennant\u2019s recording, enjoyed a long and fruitful relationship with Segovia. Most significantly, company founder Albert Augustine and Segovia worked together to develop the nylon guitar string in the 1940s.<\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"6WerdMwsjg\"><p><a href=\"https:\/\/classicalguitarmagazine.com\/scott-tennant-pulls-out-all-the-stops-for-a-recording-that-sheds-light-on-andres-segovia-as-a-composer\/\">Scott Tennant Pulls Out All the Stops for a Recording that Sheds Light on Andr\u00e9s Segovia as a Composer<\/a><\/p><\/blockquote>\n<p><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;Scott Tennant Pulls Out All the Stops for a Recording that Sheds Light on Andr\u00e9s Segovia as a Composer&#8221; &#8212; Classical Guitar\" src=\"https:\/\/classicalguitarmagazine.com\/scott-tennant-pulls-out-all-the-stops-for-a-recording-that-sheds-light-on-andres-segovia-as-a-composer\/embed\/#?secret=6WerdMwsjg\" data-secret=\"6WerdMwsjg\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>For the first half of Segovia\u2019s career, classical guitars were strung with catgut strings. Many wrongly assume that \u201ccatgut\u201d means that the strings were produced from feline intestine. However, the \u201ccat\u201d in catgut refers to cattle, which the Oxford Dictionary defines as including bovines as well as sheep, goats, and other animals. The catgut strings Segovia is said to have preferred were made of sheep intestine by Pirastro GmbH, a string manufacturer that has operated in Offenbach, Germany, since the 1890s.<\/p>\n<p>During WWII, catgut was in high demand for medical use as sutures, and to Segovia\u2019s consternation, catgut guitar strings became difficult to obtain. Wallace Carothers, an employee at Du Pont, had invented nylon back in 1935. New York instrument maker Albert Augustine chanced upon some nylon at an army surplus store, and contacted the Du Pont Company with the idea of using the material for guitar strings. Augustine worked for three years with Du Pont, and brought Segovia onboard to advise them on refining the tone of the strings. After much experimentation, the first Augustine nylon guitar strings were manufactured with the assistance of Olinto Mari, president of E. &amp; O. Mari\/La Bella Strings, in Mari\u2019s New York factory in 1948.<\/p>\n<p>\u201cIt is my understanding from conversations with Rose Augustine,\u201d states Stephen Greisgraber, president of Augustine Strings, \u201cthat Segovia played the black label sets and that these were the \u2018original\u2019 Augustine strings. Rose also told me that he later played Imperial\/Red sets, which were also used by Julian Bream.\u201d The string innovations of Albert Augustine and Segovia were quickly embraced by guitarists the world over.<\/p>\n<p><a href=\"http:\/\/store.elizabethl27.sg-host.com\/collections\/featured-products\/products\/no-384-winter-2016\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignnone\" src=\"https:\/\/i0.wp.com\/cdn.shopify.com\/s\/files\/1\/0632\/7849\/products\/CG_384_1024x1024.jpg?resize=463%2C610\" alt=\"\" width=\"463\" height=\"610\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>From the Winter 2016 issue of Classical Guitar | BY MARK SMALL Augustine Strings, the company that provided financial support for Tennant\u2019s recording, enjoyed a long and fruitful relationship with Segovia. Most significantly, company founder Albert Augustine and Segovia worked together to develop the nylon guitar string in the 1940s. Scott Tennant Pulls Out All the Stops for a Recording that Sheds Light on Andr\u00e9s Segovia as a Composer For the first half of Segovia\u2019s career, classical guitars were strung [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":5411,"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":[5],"tags":[],"class_list":["post-5410","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2016\/11\/Augustine-Guitar-Strings-Andres-Segovia.jpg?fit=1500%2C920&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/5410","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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=5410"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/5410\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/5411"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=5410"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=5410"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=5410"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}