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.
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