I would like to ask if anybody knows about a recording of the Turina
Sonata played by A. Segovia. All I can find are recordings of the
fandanguillo, but not the sonata. I read in the Segovia-Ponce letters
somewhere, that Segovia thought this sonata was a failure... If it is,
that's another discussion...
Could someone tell me more about this?
thanks in advance
SD
<sam.d...@gmail.com> ha scritto nel messaggio
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At the best of my knowledge, there is no recording of Segovia playing the
Sonata by Joaquin Turina and no evidence that he ever performed it in
concert: this last point is not definitely sure, however, because a complete
list of the pieces which Segovia performed has not been compiled (Frédéric
Zigante ia taking care of it).
The composition is no failure at all - it is a good work, masterfully shaped
and with an original form in its first movement. Perhaps one could observe
that the writing is a bit simplistic, either in single lines supported by
chords or arpeggios or rasgueados, and with no polyphony, but this is true
for much Spanish 20th century music, included the Concierto de Aranjuez and,
within the limits of the given forms, it makes no fault, it is just a way of
writing adopted by composers who had a limited knowledge of the instrument.
A manuscript prepared by a copyst working for Turina - so, practically, an
autograph - gives much a better look of the music, with phrasing slurs -
especially in the area of the 2nd theme in the first movement.
It is convenient, however, to retain the tuning of the 6th string in D also
in the second movement.
ag
"agil" <calat...@hotmail.com> ha scritto nel messaggio
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David Norton kindly informs me with the following note:
"Graham Wade wrote about this Sonata in "A New Look at Segovia", Volume 1,
page 54:
The Sonata Op. 61 was premiered by Segovia in the Academia Santa Cecilia in
Roma on 29 January 1932, was given its first Spanish performance at the
Associacion de Cultura Musical in Madrid in April 1932, and published by
Schott later the same year.
On the same page, Wade also quotes from a conversation he had with AS in
1983:
GW: You didn't play the Sonata of Turina very much, did you?
AS: I played the Sonata on one tour, and no more. That is because the themes
are not really those of a sonata at all. Look at the sonatas of Ponce. All
these themes are appropriate to the form of a sonata. Turina's themes are
like a very robust lady doing a dance; they are not dignified."
Curiously enough, one of the reasons that make the first movement of the
Sonata an original work is the special character of the two themes. The
first one, in fact, is a sort of Prelude, preceded by a free Introduction,
whilst the second one is a theme in the true sense of the world. Turina
created such a peculiar form with a deftness of what he was doing, and today
one can appreciate the piece just because of what Segovia considered its
weakness.
ag
Thanx for the lesson, Maestro!
C
I like fat chicks!!
Jay
(:-)