目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Recuerdos de la Alhambra | 00:05:16 |
| 2 | Capricho árabe | 00:05:26 |
| 3 | Marieta | 00:02:29 |
| 4 | Romance de los pinos | 00:01:46 |
| 5 | Madroños | 00:02:56 |
| 6 | Serenata burlesca | 00:02:55 |
| 7 | Variations on a Theme by Mozart, Op. 9 | 00:07:10 |
| 8 | Homenaje “Le Tombeau de Debussy” | 00:02:39 |
| 9 | Theme, Variations and Finale | 00:07:57 |
| 10 | Mexican Folksong (Arr. Segovia for Guitar) | 00:01:32 |
| 11 | Sevillana | 00:05:59 |
| 12 | Sarabanda | 00:05:04 |
| 13 | Capricho diabolico, Op. 85 | 00:09:14 |
| 14 | No. 5, Tonadilla on the Name of Andrés Segovia | 00:05:10 |
| 15 | No. 1 in E Minor | 00:04:27 |
| 16 | No. 3 in A Minor | 00:05:14 |
| 17 | Guitarreo | 00:01:27 |
| 18 | Segovia, Op. 29 | 00:03:00 |
| 19 | If My Complaints Could Passions Move | 00:02:07 |
| 20 | The Frog Galliard (Arr. for Guitar) | 00:00:50 |
| 21 | Suite No. 4 in D Minor, HWV 437 III. Sarabande (Arr. Segovia for Guitar) | 00:03:58 |
| 22 | Cello Suite No. 1 in G Major, BWV 1007 I. Prélude (Arr. for Guitar) | 00:02:19 |
| 23 | Violin Partita No. 1 in B Minor, BWV 1002 VII. Bourrée (Arr. for Guitar) | 00:03:36 |
| 24 | Cello Suite No. 3 in C Major, BWV 1009 III. Courante (Arr. for Guitar) | 00:02:59 |
| 25 | Violin Partita No. 3 in E Major, BWV 1006 III. Gavotte en Rondeau (Arr. for Guitar) | 00:03:01 |
| 26 | Aria e Corrente | 00:06:40 |
| 27 | Sonata in C Minor, Kk. 11 (Arr. for Guitar) | 00:03:17 |
| 28 | Nouvelles Suites de Pièces de Clavecin: Suite in G Major, RCT 6 Menuet in G (Arr. for Guitar) | 00:03:39 |
| 29 | Andantino variato (Arr. for Guitar) | 00:07:40 |
| 30 | 24 Préludes, Op. 28 No. 7 in A Major. Andantino (Arr. for Guitar) | 00:01:00 |
| 31 | String Quartet No. 1 in E-Flat Major, Op. 12 II. Canzonetta (Arr. for Guitar) | 00:04:34 |
| 32 | L’Organiste II. Quasi lento. Preludio (Arr. for Guitar) | 00:01:08 |
| 33 | L’Organiste I. Andantino poco allegretto (Arr. for Guitar) | 00:03:04 |
| 34 | Pictures at an Exhibition II. The Old Castle (Arr. for Guitar) | 00:04:52 |
| 35 | Lyric Pieces, Book IV, Op. 47 No. 3, Melody (Arr. for Guitar) | 00:03:31 |
| 36 | Préludes, Book I, CD 125, L. 117 No. 8, La fille aux cheveux de lin (Arr. for Guitar) | 00:02:55 |
| 37 | 5 Preludes, Op. 16 No. 4 in E-Flat Minor. Lento (Arr. for Guitar) | 00:01:14 |
| 38 | Suite española, Op. 47 No. 5, Asturias (Arr. for Guitar) | 00:06:26 |
| 39 | Piezas características No. 7, Zambra granadina (Arr. for Guitar) | 00:04:45 |
| 40 | Estudio sin luz | 00:02:49 |
| 41 | Fantasía para un gentilhombre III. Danza de las Hachas. Allegro con brio | 00:02:15 |
专辑简介
DG has put together a fascinating compilation of Segovia’s art that reminds us what a protean figure he was. Segovia single-handedly put the instrument on the map by making classical guitar concerts popular events, broadening the instrument’s repertory through commissions and transcriptions, and convincing even doubters that it could be a vehicle for serious music. He’s heard here in brief pieces recorded between 1952 and 1969. Even in those made when he was well into his 70s, his fingers remain nimble and interpretations lively. Listening straight through, one hears many all-time Segovia favorites as Turina’s Sevillana and Albeniz’s Asturias and Zambra Granadina and renews appreciation for path-breaking composers like Castelnuovo-Tedesco. He wrote extensively for Segovia and his Capriccio diabolico and Tonadilla are pieces of real substance. Disc two is largely made up transcriptions and it’s amazing how well so many of them work on the guitar, at least under Segovia’s magic fingers. Thus the transformations of Bach’s violin music and even a Chopin Prelude sound idiomatic, and the gorgeous melodies of the Canzonetta from Mendelssohn’s Op. 12 String Quartet are irresistible here. An entrancing set. –Dan Davis
