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Full-Text Articles in Musicology
Andrés Segovia And Federico Moreno Torroba’S Danza Castellana, Julio Gimeno
Andrés Segovia And Federico Moreno Torroba’S Danza Castellana, Julio Gimeno
Soundboard Scholar
The guitar’s early twentieth-century repertoire is of unique importance, containing as it does the first guitar pieces by non-guitarist composers known for their symphonic, operatic and chamber music. Many of these composers wrote for the pioneering Andalusian guitarist Andrés Segovia, and among the most prolific of them was Federico Moreno Torroba. In various memoirs and interviews, Segovia identified Torroba’s miniature Danza castellana as not only the first piece written for him by a non-guitarist composer but even the first such piece by anyone, predating, in Segovia’s telling, Falla’s 1920 Homenaje. This article challenges Segovia’s claim by recounting the details …
"The Lutenist!": Anxieties, Ambiguities, And Deviations In Julian Bream’S Discography, Sidney Molina
"The Lutenist!": Anxieties, Ambiguities, And Deviations In Julian Bream’S Discography, Sidney Molina
Soundboard Scholar
The recent passing of English guitarist Julian Bream (1933–2020) has prompted a reevaluation of his artistic legacy by critics around the world. In this article, I propose a way of reading Bream’s discography in relation to that of his predecessor, Andrés Segovia, utilizing Harold Bloom’s theory of influence, a methodology that I first proposed in application to music in 2006. After dividing Bream’s fifty albums into phases inspired by Bloomian categories, I examine the works that Bream chose to record more than once, with a focus on those to which he returned three or more times.
"For Andrés Segovia": Francisco De Lacerda’S Suite Goivos (1924), Pedro Rodrigues
"For Andrés Segovia": Francisco De Lacerda’S Suite Goivos (1924), Pedro Rodrigues
Soundboard Scholar
Suite goivos by Francisco Lacerda (1869–1934) stands out not only as one of the first examples of symbolist literature for guitar but also as the first work written for guitar by a Portuguese non-guitarist composer. So far, however, it has remained in relative obscurity. In this article, I first explore the suite’s context and history: its origin in meetings and correspondence between Lacerda and the work’s dedicatee, Andrés Segovia; its place among new works commissioned by Segovia from non-guitarist composers; and available manuscript sources for the work. I then argue for the work’s importance as music, highlighting its innovative features, …
Soundboard Scholar No. 3: Editor's Letter, Thomas Heck
Soundboard Scholar No. 3: Editor's Letter, Thomas Heck
Soundboard Scholar
An introduction to the contents of this issue.