Rob, This is one of a few nails you have hit on the head in this thread - there is a lot of 'being wise after the event' in the debate(s) about 'authentic' performance. Segovia is 'blamed' for the mis-naming of the De Visee pieces, but titling of this video (analogue tape, so some wow/flutter obviating good sound) was probably done by the producers. The video is probably related to the marvellous 'BBC Legends: Segovia' CD (BBCL 4108-2) recording of his 'live' concert at the Edinburgh Festival (28th August, 1955) in which the De Visee pieces performed were programmed by Segovia as "Six pieces from the Suites No. 9n in Dm/No.12 in Em' - the last piece, clearly designed to end the set with a flourish (and clearly not a Minuet) is distinguished by an asterix to signify "arranged by Andres Segovia"; it is, of course, the Courante from Ponce's 'Suite in D'. It is possible Segovia was playing a 'secret Weiss' type joke, as how many spotted it at the time? The BBC CD mentioned is 'the closest approach to the original sound' of Segovia (heard in at least six recitals, possibly eight) I have heard, much superior to the video and proving how few 'flubs' he made in concerts (never heard by most of the You Tube debunkers).Rob MacKillop wrote:It is interesting, this 'ego-centric' approach versus a more 'democratic' approach - I hope it is not a case of Borgias versus cookoo clocks! I've been heavily involved in the Early Music thing for a couple of decades - the right instrument and historically-informed technique for each period - but I feel the Early Music movement has told us more about the decade the CDs were recorded in than the original performance practice. The idea of having a different approach for each period, indeed each decade, is a modern thing.
With this you can advocate any kind of interpretation ! (easy, no ! too easy...) but why not... the important is music after all... but let me say I don't like his way of playing De Visée (subjective point of view) for the same reason I don't like Karajan's version of Vivaldi's four seasons with the Berlin Philarmonic. (Or any André Rieux....)Rob MacKillop wrote: Many guitarists argue over how to play Bach with some degree of authenticity, yet rarely think of doing so with Tarrega, for instance. Listen to Llobett playing El Testamen...very strange rhythm by today's standards. That's the world Segovia grew up in, and he performed Bach and de Visee within that tradition, which makes his interpretation - in one sense - entirely authentic.
As you already know I don't agree with the last sentence, for me it is more a sugar lollypop... but, as said, matter of taste.Rob MacKillop wrote:even though we might sound closer to de Visee than Segovia did. Segovia was acting closer to how de Visee acted. So in one sense (only one) he is more authentic than we are
Actually, I think his performance is magnificent!