I think this nails it. The growth of classical guitar as a concert instrument took root in the 1950s' and you have to look to history to understand why. Segovia sowed the seeds prior to WW2 but it didn't really happen until after then. People were looking for something different, they had just gone through the worst period in modern history and anything new was refreshing and didn't remind them of what existed prior to 1939. The UK was still going through massive depredations with rationing and depressed living standards so when Bream starts gaining attention here was a chance to fly the flag again, a local boy makes good. Williams really built on that. Despite being born in Australia he made his name in the UK and was in some ways adopted by that country. He credits Bream as giving him his start on the circuit as by the early 60s' Bream was being offered more work than he could cope with. He offloaded it to Williams. The public at the time accepted the guitar as a classical instrument.David_Norton wrote:In the GFA's "Soundboard" magazine, Vol 37 #4 from late 2011, there is a lengthy and very detailed article by Mark Small titled In Pursuit of the New Poets: Observations on whether The Segovia Phenomenon Could Happen Again". The article goes beyond Segovia, and addresses some of the reasons for the career success of The Big Three. A key paragraph begins:
"Notwithstanding the popularity of extraordinary and hard-working recitalists such as Pepe Romero, Parkening, Fisk, Barrueco, Isbin, and others who built a profile in the 1960s and 1970s, the careers of Segovia, Bream, and Williams represent a different order of magnitude." He solicited input on this "phenomenon" from Jason Vieaux, Ana Vidovic, David Russell, Eliot Fisk, and Ben Verdery.
Summing up, "things are different today" than 50-60-80 years ago. Record labels are no longer "kingmakers", high-profile impresarios such as Sol Hurok or Columbia Artists Management are a thing of the past. The novelty of solo guitar playing is gone, we hear solo guitar played on countless TV programs and movies and radio jingles. Social Media is now a dominant force. People balk at the idea of "paying for music" and seek free downloads and YT videos instead. There's too much competition for people's attention spans and wallets.
Taken all together, the dominance of the Segovia-Bream-Williams troika of roughly 1950 to 1975 was a unique event, very unlikely to ever be seen again.
I was at the Brahms Guitar launch, I think it was 1996. In 1991 he was playing a conventional (Rubio) 6 string in a similar position, without the extra features.David_Norton wrote:He's been playing it for what, 25-30 years now? If it were going to "take off", it would have done so.Jeffrey Armbruster wrote: Galbraith's guitar may be a one off. But if it takes off over the years, with more and more players using that style of instrument and playing, then he'll be looked back on as a revolutionary. He will have changed how the instrument is built, approached and played.I have no idea if that will happen.
A great shame it was a bad show. I've heard the diametrical opposite set of reactions quite a few times.zupfgeiger wrote:Are you serious with Galbraith? I was in his concert at the 2016 Brussels Guitar Festival and it was awful. ..
Bream retired at least in part due to ill-health, and can no longer play at all with arthritis. He loved to tour, and did so very regularly; Williams wasn't that keen on touring on his own, and there's the story related by JB of how they were on a duo tour and waiting in a wet rail station with the rain pouring off the roof and JW took this as an excuse to cancel his next solo tour. Long periods of solitude, changes of time zone, fawning hangers-on, dodgy catering, unpredictable accommodation ... probably aren't everybody's favourite things.Rick Beauregard wrote:... But Segovia toured the world by train and steamship. .... He toured till he died. B&W: retired. They don't like to tour.
True! Just to clarify, I am not putting him on the same level as the three giants. I just think he has the most potential to become a household name. Already, Miloš is performing with popular vocalists and recording Beatles songs. It wouldn't surprise me if some pop starlet decides to record a song needing a classical guitar and Miloš is the first one called - because of his playing and his movie star looks. When it comes to pop culture, it is not always about being the best, but it is certainly about exposure and he has oodles of it.Adrian Allan wrote:^ pure, unadulterated sacrilege, lolartdecade wrote:I wouldn't rate him as highly as Williams, Bream, and Segovia, but Miloš Karadaglić certainly seems to getting a lot of pop exposure. He probably has the most potential to crossover and bring some much needed exposure back to classical guitar. DM is focusing their marketing both on his playing and his charisma.Nick Cutroneo wrote:
From a perspective of pop-culture identification, Gary is kind of right. There are plenty of amazing players out there, but none were so present in our pop-culture than Segovia, Bream and Williams. I'd say Vieaux is close (as he won a grammy for his solo album, Play a few years back), but the biggest issue is lack of attention classical music gets in today's culture.
However, there are plenty of amazing players that deserve to be in the company of the "holy guitar trinity".
Well if only the show had been bad, no problem. But actually the performance was bad -confirmed by several world class giutarists and a bunch of advanced students.Stephen Kenyon wrote:A great shame it was a bad show. I've heard the diametrical opposite set of reactions quite a few times.zupfgeiger wrote:Are you serious with Galbraith? I was in his concert at the 2016 Brussels Guitar Festival and it was awful. ..
By show I meant 'performance'. Sorry to be oblique.zupfgeiger wrote: Well if only the show had been bad, no problem. But actually the performance was bad -confirmed by several world class giutarists and a bunch of advanced students.
I must admit, I also found it difficult to believe that he was terrible in concert. I have watched him play since 1980, when he first appeared on UK TV at the age of around 18, and he was brilliant then, with the Rodrigo concerto.Jeffrey Armbruster wrote:"Are you serious with Galbraith? "
Zupfgeiger, do you not like his recordings either? Again, the video link on the "new Galbraith cd" thread nearby shows him playing Mozart, with no edits, pretty brilliantly it seems to me. Maybe he just had a bad day when you saw him. I don't think that stains him forever. Why, that would be like taking a few seconds of some professional guitarist's video performan, slowing it down, and then faulting them when you found a mistake. Technique fails all of us at some moments. Most moments with me, apparently.
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