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His long and distinguished career was recognised in the award of numerous honorary degrees, culminating in his elevation to the rank of Marquis of Salobreña.įederico Moreno Torroba, Manuel Ponce and Mario Castelnuovo-Tedesco were among the composers who responded to Segovia’s appeal for new compositions.
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Along with this self-discipline went an unusually robust constitution, enabling him to continue concertising into his nineties. Segovia left a large number of recordings, beginning in the difficult days of the 78rpm twelve-inch shellac disc, where each side had only four minutes of playing time and an expensive retake was necessary if the artist made a mistake (a rare occurrence in Segovia’s case). Accomplished young guitarists began to appear eminent composers began to write for it music academies began to establish a faculty of guitar and regular guitar concerts became a feature of musical life in cities around the world. His tireless programme of travelling, teaching and performing is considered to be an integral part of the guitar’s rise in the twentieth century.
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The recording industry was in its infancy when Segovia began his lifetime of touring. His next teacher, a flamenco guitarist, made a better impression, but the rhythms of flamenco, seductive though they were, were not enough and he devoted the rest of a long life to exploring the guitar’s capacity for melody, harmony and polyphony. He was born in the Spanish town of Linares, in the Andalusian province of Jaén, and had his first music lesson before his sixth birthday with, in his own words, a violinist ‘of hard ear and stiffer fingers’. In the world of the guitar no name is more illustrious than that of Andrés Segovia, who did so much to establish the guitar as a concert instrument in the twentieth century.
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