Lovemyguitar wrote:All anybody is justified in saying, after having read that "blog", is that somebody has found similarities between Segovia's transcription and Busoni's arrangement, rather than jumping to all sorts of conclusions beyond that and making loaded allegations about Segovia's "intentions".
There is clear evidence that Segovia borrowed extensively from Busoni's arrangement - hunches and guesswork (as you put it) are not required. At the time however Busoni's ciaccona was famous and recognisable - it was simply not necessary to state the obvious.
Guitarists (generally the bottom of the class as far as breadth of musical knowledge is concerned) are several steps removed to begin with; exposure to the work is usually through the guitar, as a stand-alone piece orphaned from its partia (sic) setting. If a guitarist does follow up with some research they are generally led (and rightly so) to the violin originals rather than the various piano arrangements and accompaniments, so perhaps a certain surprise on hearing of Busoni is inevitable.
If anyone is seriously interested in Segovia's inspiration and transcription/arrangement methods a look at the work of Llobet, Tárrega, Fortea et al throws light on some remarkable similarities.
RobMacKillop wrote:My own published arrangements for guitar in DADGAD tuning - arranged directly from the lute tabs - but including variations of my own, have been presented as arrangements for classical guitar - claimed to be arranged from the tablature - yet curiously including eight bars that I had invented.
You show remarkable restraint and kindness Rob - I know of at least one such piece and a weasel worded excuse from the culprit who never actually fessed up - you are far too polite and let him off lightly.