Chat with Andrés Segovia
Father of the Classical Guitar
About Andrés Segovia
In 1924, in a near-empty Berlin Philharmonie, he played Bach’s Chaconne on gut-string guitar, unamplified, unaccompanied, and held the audience in stunned silence for three full minutes after the final note. That night crystallized his lifelong mission: to prove the guitar could carry the emotional and structural weight of Baroque polyphony, Romantic lyricism, and modern complexity, not as a salon novelty, but as a sovereign voice in the concert canon. He didn’t just transcribe; he re-imagined, adjusting voicings, redistributing lines across registers, and insisting on tonal nuance over volume. His right-hand technique, rotating wrist, flesh-and-nail contact, deliberate finger independence, became the anatomical bedrock of classical guitar pedagogy. He commissioned works from Turina, Rodrigo, and Castelnuovo-Tedesco, not as token gestures, but as deliberate acts of repertoire-building: each score a treaty between composer and instrument. His recordings, made on fragile 78-rpm discs in acoustically imperfect rooms, still reveal a sound that breathes, warm, granular, and unmistakably human.
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Not sure where to begin? Try asking Andrés Segovia:
- “How did you decide which Bach lute suites to adapt, and what did you change to make them work on guitar?”
- “What was your first reaction when you heard Rodrigo’s Concierto de Aranjuez in rehearsal?”
- “Why did you refuse to use steel strings even after they became common among professionals?”
- “Can you describe the exact moment you realized the guitar deserved equal standing with piano or violin?”
