{"id":8661,"date":"2017-12-17T06:00:17","date_gmt":"2017-12-17T14:00:17","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=8661"},"modified":"2017-12-16T11:33:36","modified_gmt":"2017-12-16T19:33:36","slug":"segovia-sunday-8-the-maestro-speaks-about-love-infidelity-and-nails-and-plays-some-llobet","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/segovia-sunday-8-the-maestro-speaks-about-love-infidelity-and-nails-and-plays-some-llobet\/","title":{"rendered":"Segovia Sunday #8: The Maestro Speaks About Love, Infidelity&#8230; and Nails! (And Plays Some Llobet)"},"content":{"rendered":"<p>In this short video, Andr\u00e9s Segovia speaks over a clip of himself playing a truly gorgeous version of <em>La Filla del Marxant<\/em> (The Merchant&#8217;s Daughter), adapted from a Catalan folk song by Spanish composer Miguel Llobet (1878\u20131938). Llobet studied guitar with T\u00e1rrega and also is known for conceiving of the guitar arrangements for a number of Alb\u00e9niz&#8217;s\u00a0 piano works. Segovia and Llobet were quite close beginning around 1915, and it has been suggested by some that it was through Llobet that Segovia learned some of the nuances of T\u00e1rrega&#8217;s style (not to mention Llobet&#8217;s).<\/p>\n<p><em>Filla del Marxant<\/em>\u00a0is part of a loose grouping of more than a dozen arrangements Llobet made of Catalan songs, known collectively as <em>Canciones populares Catalanes<\/em>. The two most commonly played by guitarists today are <em>El noi de la Mare <\/em>and<em> El testamento d&#8217;Am\u00e8lia\u2014<\/em>both recorded by Segovia in New York in January 1944. He recorded a version of <em>Filla del Marxant<\/em> in Madrid in May 1973 (along with another from Llobet&#8217;s <em>Canciones<\/em>, <em>El Mestre<\/em>).<\/p>\n<p><em>Below is audio of that 1973 recording, from the Segovia album <\/em>Obra breves espa\u00f1olas<em>:<\/em><br \/>\n<iframe src=\"https:\/\/www.youtube.com\/embed\/XKT9a4rfgVw\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In this short video, Andr\u00e9s Segovia speaks over a clip of himself playing a truly gorgeous version of La Filla del Marxant (The Merchant&#8217;s Daughter), adapted from a Catalan folk song by Spanish composer Miguel Llobet (1878\u20131938). Llobet studied guitar with T\u00e1rrega and also is known for conceiving of the guitar arrangements for a number of Alb\u00e9niz&#8217;s\u00a0 piano works. Segovia and Llobet were quite close beginning around 1915, and it has been suggested by some that it was through Llobet [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":8664,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","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":[1,7],"tags":[],"class_list":["post-8661","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-uncategorized","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2017\/12\/segovia-8.jpg?fit=480%2C360&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8661","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\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=8661"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/8661\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/8664"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=8661"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=8661"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=8661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}