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Through the music he championed, arranged and inspired, Segovia’s legacy lives on.

On the 120th anniversary of his birth, students and associates of the founder of modern classical guitar performance pay homage to the master.

#92YSegovia: Enjoy special features on Segovia, including an audio broadcast of his 1980 92Y recital, an exclusive interview at the Metropolitan Museum of Art, a gallery of musical manuscripts and more. (They are also posted on the tabs above.)

Benjamin Verdery, artistic director & guitar
Eliot Fisk, guitar
Oscar Ghiglia, guitar
Adam Holzman, guitar
Martha Masters, guitar
Richard Savino, Baroque guitar
Christopher Parkening, speaker


TURINA: Sonata, Op. 61
BACH: Gavotte en Rondeau from Partita, BWV 1006 (arr. Segovia)
"Segovia Antiqua"
     MILÁN: Fantasia
     MILÁN: Pavana No. 1
     NARVÁEZ: Fantasia del quarto tono
     NARVÁEZ: Guardame las vacas
     SANZ: Pavanas
     SANZ: Canarios
     VISÉE: Prelude, Allemande & Gigue from Suite in D minor
     RONCALLI: Passacaglia from Sonata in A minor
PONCE: Sonatina méridional
MENDELSSOHN: Lied ohne Worte in A major, Op. 19, No. 4 (arr. Segovia)
SCHUMANN: “Mai, lieber Mai” from Album für die Jugend, Op. 68, No. 3 (trans. Segovia)
DE FALLA: Homenaje, ‘Le tombeau de Claude Debussy’
CASTELNUOVO-TEDESCO: Tonadilla on the Name of Andrés Segovia, Op. 170, No. 5
SEGOVIA: Estudio sin luz
VILLA-LOBOS: Candenza from Concerto for Guitar
TURINA: Fandanguillo, Op. 36
MORENO TORROBA: Sonatina

 

Join us for a pre-concert talk at 6:30 pm with Christopher Parkening.

 

Subscribe and Save! This event can be purchased as part of the following subscription: Art of the Guitar—Series Subscription 2013/14. Learn about the benefits of subscribing.

 

Art of the Guitar and 92nd Street Y Guitar Institute are generously supported by The Leir Charitable Foundations in memory of Henry J. and Erna D. Leir; The Augustine Foundation; and The D’Addario Music Foundation.

From 92YOnDemand: An exclusive interview between 92Y’s Ben Verdery and the curators of the Metropolitan Museum of Art’s Musical Instruments collection about Segovia and the Met’s two Segovia Guitars.

From 92YOnDemand: An audio recording of Andrés Segovia’s 92Y solo recital, 3/10/80. Program includes works by Bach, Scarlatti, Tchaikovsky, Torroba and Villa-Lobos.

From 92Y blog: Andrés Segovia performs Luiz de Narváez’s “Guardame las vacas” at his White House recital, Mar 11, 1979. Richard Sarvino performs the same work at 92Y’s “American Tribute to Andrés Segovia” concert, Oct 26, 2013.

From 92Y blog/MetMuseum.org: The Metropolitan Museum of Art has created a short film in its “82nd & Fifth” series, titled “String Theory,” with curator Jayson Kerr Dobney, about Segovia’s beloved 1937 Hauser guitar, which he donated to the Met’s Musical Instruments collection.

A master class with Andrés Segovia and a young Oscar Ghiglia in Spain, 1965. Mr. Ghiglia is participating in the 92Y Segovia Tribute Concert, Oct 26, 2013.

Andrés Segovia performing “Asturias” from Albéniz’s Suite Española, from a 1967 TV special, “The Glory of Spain,” filmed at the Prado Museum in Madrid.

On the Blog

(Click the names below to expand info)

From 92Y Facebook:


A photo gallery of original musical manuscripts by Andrés Segovia, courtesy of Yale University School of Music. Included are his transcriptions of works by Mendelssohn and Schumann, which will be performed by Benjamin Verdery at the Oct 26 Segovia Tribute Concert.

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From Metmuseum.org:


Information pages on the Metropolitan Museum of Art’s two “Segovia Guitars”: The 1912 Ramírez and the 1937 Hauser.

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From classicalguitar.net:


A biographical essay on Andrés Segovia. Here’s an excerpt:

His uncle used to sing songs to him and pretend to strum an imaginary guitar in his lap. Luckily for us, there was a luthier nearby and Segovia took an instant liking to the guitar. Although discouraged by his family (according to them he should play a "real" instrument), he continued to pursue his studies of the guitar.

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From nytimes.com:


Obituary of Andrés Segovia by Donal Henahan in The New York Times, June 4, 1987. Here’s an excerpt:

In his furtherance of his chosen instrument, Segovia can be fairly compared to such similarly influential performers as Paganini (violin), Liszt (piano), Casals (cello) and Landowska (harpsichord). As they did, Segovia left his instrument richer in technique, in repertory and in public esteem.

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From nytimes.com / cumpiano.com:


Review of Andrés Segovia’s New York debut in The New York Times by Olin Downes, Jan 9, 1928; from the website of William Cumpiano, guitarmakers. Here is an excerpt:

He belongs to the very small group of musicians who by transcendent power of execution, by imagination and intuition create an art of their own that sometimes seems to transform the very nature of their medium. Segovia could be if he chose the trick player of his generation. He draws the tone colors of half a dozen instruments from the one that he plays.

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Explore the Music

(Click the names below to expand info.)

Artistic Director’s note

by Benjamin Verdery

Every instrument at some point in its history has a player who breaks through to uncharted musical and technical waters. Such was the case with the guitarist born in Linares, Spain in 1893: Andres Segovia. Segovia was a soldier for the classical guitar if there ever was one, relentlessly touring, recording and teaching. His mission was to convince all those who listened that there was nothing more beautiful and poetic than the classical guitar.

Segovia’s fame in this country during his lifetime was such that it was a common occurrence for a stranger to approach me when I had a guitar by my side while I was, say, waiting for a train, and exclaim “How about that Spanish guy, Segovia? He’s good!” If they had not seen the Maestro in concert, they would have heard his recordings on the radio, or they may have seen him playing Sor’s “Mozart” Variations on one of his four "Ed Sullivan Show" appearances, or later on his PBS master class videos, or even later in his life on his televised White House concert.

For this was a man who never missed an opportunity to introduce and convert new ears to the guitar’s repertoire. If he were starting out today, he would be on all the social media and most likely tweeting fingerings!!!

In curating tonight’s program, I attempted to give the audience a “snap shot” of some of the repertoire that was dear to Segovia. The relationships the Maestro had with Villa-Lobos, Falla, Tedesco and Ponce deeply enriched his artistry. His interest in vihuela and Baroque guitar music was evident in almost all of his programs. His love of Bach and his extraordinary performances of the Bach Chaconne are legendary.

In addition he was a tireless transcriber and arranger. Segovia’s arrangements of Albeniz and Granados convinced us all that their music was actually written for his instrument. He was forever transcribing musical jewels by master composers. In so doing, he placed the guitar in a larger musical arena.

And in that arena he was coach to all players, wherever they came from. Most of the performers tonight worked directly with the Maestro in classes spanning many years. What all of us share is a common lineage. We have all had some musical truth passed down to us via Segovia. Perhaps it was his mastery of finesse, like how to give attention to sound using the thumb, or shape a phrase, or play a chord by muting all the previous notes to let the top note sing, or use vibrato. Or perhaps it was his care for the music itself, like how to shape a program, or to commission works from composers you profoundly believed in, or of course in his numerous publications— the list is substantial. And his influence won’t stop; for generations to come aspects of the Maestro’s creative ideas will be passed on from player to player.

To Oscar Ghiglia, Chris Parkening, Eliot Fisk, Richard Savino, Adam Holtzman and Martha Masters, un gran abrazo for sharing your artistry and your love for the Maestro with our audience tonight! And to all of you, peace, love and guitars!

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Introduction

by John Henken

It may be possible to overestimate the importance of Andres Segovia, but it hardly seems worth the effort. The most casual biography will be strewn with “firsts” and superlatives for the artist who essentially created the market for the classical guitar in the 20th century, shaping its repertory, artists and audience alike. “Whatever byways guitarists travel, Segovia has already made the highway,” John Williams said 35 years ago.

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TURINA: Sonata, Op. 61 / Fandanguillo, Op. 36

Prominent among the first cadre of nonguitarist composers that Segovia recruited to write for the instrument was JOAQUÍN TURINA (born Seville, December 9, 1882; died Madrid, January 14, 1949). A pianist, Turina studied in Madrid and Paris, but his hometown of Seville remained his strongest musical influence. The name of the city is referenced in the titles of many of his works, which are deeply imbued with Andalucian elements.

The Sonata, Op. 61 (composed in 1930; 11 minutes), seems aloof from such things on the surface, with its three compact, neo-classically organized movements. But all three are lit with flamenco fire, from moody Moorish inflected melodies to the third movement bulerías, with its vigorously strummed interjections. The Sonata was dedicated to Segovia, who edited it in 1931 and published it in his groundbreaking series for Schott in 1932.

Unlike the Sonata, Turina’s Fandanguillo, Op. 36 (composed in 1926; 5 minutes), the penultimate work on tonight's program, turns up often in Segovia’s discography, a tangled web of issues and re-issues in most shellac and vinyl formats, of lost and possibly apocryphal recordings, going back to 1927. (Segovia’s earliest recording of the Fandanguillo is from 1928.) But very much like the Sonata, it is an evocative and virtuosic reinterpretation of traditional flamenco forms and gestures.

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BACH: Gavotte en Rondeau

Segovia was renowned for his transcriptions and arrangements of music by JOHANN SEBASTIAN BACH (born Eisenach, March 21, 1685; died Leipzig, July 28, 1750) at a time when Baroque music generally was a highly specialized interest and Bach’s lute music and works for solo violin and cello were truly arcane. Yet the Gavotte en Rondeau (composed in 1720; arr. Segovia; 4 minutes) from the Partita No. 3, BWV 1006—a confidently stepping dance with contrasting couplets (hence the “en Rondeau” description)—is one of the first pieces that Segovia recorded, in 1927, just two years after the first “electrical” recording was made.

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“Segovia Antigua”

As much as Segovia enjoyed early music, he had little patience or affection for the historically informed performance practices then blossoming. “I prefer the pieces of the Renaissance and music of the 17th and 18th centuries to be played on a magnificent Steinway, or a Bechstein—by a great pianist—rather than on a harpsichord,” Segovia said in a 1972 interview. “Some people like to hear it played on the harpsichord because they think that they can remember it—you know, the old time. But it’s not. We musicians sigh when the third or fourth piece is played by the harpsichord, because it’s always the same thing. I used to tease Wanda Landowska; I used to tell her that the harpsichord was like a guitar that had caught a cold.” And so Segovia played lute, vihuela and Baroque guitar music, but in his own way. (And the earliest “lute” music that he recorded was not by its nominal composer, Sylvius Leopold Weiss, but were pastiches by Ponce in imitation of Kreisler’s imitations.)

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MILÁN: Fantasia / Pavana

LUYS (LUIS) MILÁN (born c. 1500; died c. 1560) was perhaps Segovia’s favorite of the seven great 16th-century vihuelistas. Milan was a courtier in Valencia, where he published at least three books, including the Libro de musica de vihuela de mano intitulado El Maestro in 1536. This was the first printed tablature for the vihuela, a guitar-shaped member of the viol family. It is also the earliest known collection of Spanish instrumental music and accompanied songs, among other “firsts.” It is a “how to” tutor, with music arranged in order of increasing difficulty by genre and mode.

Although it includes Spanish, Portuguese and Italian songs as well as instrumental pavanas, by far the largest group of pieces in the book is its 40 fantasias, free pieces based on Milan’s improvisations on the instrument. The tenth Fantasia is certainly characteristic, full of toccata-like runs and riffs that clearly suggest the work’s origins in improvisation, with limited suggestions of imitation created by repeating brief motifs in different ranges.

Dance music is relatively rare in the vihuela repertory, but Milan’s frequently anthologized first Pavana is a noble one, a briefly strutting flourish much like a miniature fantasia.

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NARVÁEZ: Fantasia del quarto tono / “Guárdame las vacas”

LUIS DE NARVÁEZ (born Grenada, c. 1500; died c. 1552) produced the second printed volume of vihuela music, Los seys libros del Delphin de música, in 1538, though he seems not to have known Milan’s book. His first eight fantasias appear in order by mode, followed by six easier ones. (There is a Fantasia del quarto tono, “in the fourth mode,” in both groups.) These are typically more seriously contrapuntal than Milan’s and more abstract. Narvaez was the first to publish sets of variations, called diferencias. “Guárdame las vacas” (“Watch my cows”) was a metrically pliable folk song that provided the basis for Narvaez’ buoyant variations.

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SANZ: Pavanas

“The lute was not, of course, in Spain,” Segovia said, “and the vihuela was, so to speak, the guitar of the rich, and the guitar, the vihuela of the poor!” This sociological distinction was true enough in the 16th century, but the popular craze for the Baroque guitar (five course, mostly doublestrung and tuned in several different ways) in the 17th century also infected the nobility throughout Europe. The repertory, however, was overwhelmingly based in popular dance and song.

GASPAR SANZ (born Calanda, Aragon, 1640; died 1710) published the first volume of his guitar primer and anthology, Instrucción de música sobre la guitarra española, in 1674. He followed it with two more volumes, and the whole went through at least eight editions. His Pavanas contrasts vividly with Milan’s more restrained work in the genre, and the zesty Canarios was popularized in the Fantasia para un gentilhombre for guitar and orchestra that Rodrigo composed for Segovia on tunes from Sanz’ collection.

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DE VISÉE: Prelude, Allemande & Gigue

The French multi-instrumentalist ROBERT DE VISÉE (c. 1655-c.1732) flourished at the courts of Louis XIV and Louis XV. He was an elegant and moving master of the French Baroque dance suite, as revealed in the Prelude, Allemande & Gigue (composed in 1686; 4 minutes) from the D-minor Suite in his second collection of guitar suites, Livre de pieces pour la guitarre (1686). Emilio Pujol transcribed it in 1928; Karl Scheit’s popular arrangement was published in 1944.

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RONCALLI: Passacaglia

Passacaglias are probably best known today from Bach’s monumental examples, but the genre of continuous variations over a repeating harmonic pattern is based on a popular dance model. The sectional Passacaglia (composed in 1692; 3 minutes) by LUDOVICO RONCALLI (b. 1654; d. 1713), the final movement of the Suite No. 5 in A minor from the nobleman’s 1692 collection Capricci armonici sopra la chitarra spagnola, retains those earthy dance elements. The passacaglia from the end of the Suite No. 9 in D minor was popularized as the finale of Respighi’s third suite of Ancient Airs and Dances in 1932.

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PONCE: Sonatina meridional

Segovia met MANUEL PONCE (born Fresnillo, Mexico, December 8, 1882; died Mexico City, April 24, 1948) in 1923, after the composer had reviewed one of the performances of the guitarist’s first tour to Mexico, and the two formed an immediate and productive friendship. Segovia later remembered, “I had to tell him how to approach the technique of the instrument and although he didn’t play the guitar, he immediately took to the spirit of its technique and musical possibilities. But of course one can never really know what is possible on the guitar, and the last piece he wrote for me, the Sonatina meridional (Southern Sonatina) (composed in 1932; 10 minutes), was fine until he presented me with the last movement in Paris. It was impossible, and after so many pieces he had composed! I told him I was sorry but that I couldn’t adapt it to the guitar. He said, ‘don’t be sorry, tomorrow you will another one.’ And I did, and it was wonderful.”

Though shorter and easier (slightly) than the three guitar sonatas Ponce also wrote, the Sonatina meridional nonetheless opens with a full sonata–form movement, just in miniature. Titled “Campo” (“Countryside”— Segovia recorded it separately as “Cancion y paisage”), this Allegretto suggests rusticity with open-string bass drones and Andalucian gestures. The Andante “Copla” (“Couplet” or “Song”) also rides over open strings, and it leads directly into the “Fiesta” finale (Allegro con brio), like an improvisatory prelude to a dance fantasy.

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SCHUMANN: “Mai, lieber Mai”
MENDELSSOHN: Lied ohne Worte

Following the model of Tarrega, Segovia was a prolific arranger of encore pieces, ranging widely across periods and styles, from Haydn and Gluck to Scriabin and Debussy. Tonight’s program features examples by ROBERT SCHUMANN (born Zwickau, Germany, June 8, 1810; died Endenich, July 28, 1856) and FELIX MENDELSSOHN (born Hamburg, Feb. 3, 1809; died Leipzig, Nov. 4, 1847). Schumann’s “Mai, lieber Mai” (“May, Sweet May”) (composed in 1848, trans. Segovia; 3 minutes) comes from the Album für die Jugend collection that he created for his three daughters. Mendelssohn’s Lied ohne Worte (composed in 1829; trans. Segovia; 2 minutes) is from the first of his eight volumes of “Songs Without Words.” Both arrangements are typical examples of Segovia’s idiomatic way with lyric grace and charm.

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FALLA: Homenaje, Pour le Tombeau de Claude Debussy

Segovia was not directly involved in the creation of the darkly brooding Homenaje, Pour le Tombeau de Claude Debussy (composed in 1920; 3 minutes) by MANUEL DE FALLA (born Cadiz, Spain, November 23, 1876; died Alta Gracia, Argentina, November 14, 1946). The work had been written for a 1920 edition of Revue musicale which was dedicated to Debussy, who had died in 1918. (The “Tombeau de Claude Debussy” of the title was the name given to that issue of Revue musicale.) But when Falla invited him to open the Concurso de Cante Jondo (organized to preserve flamenco puro) at Granada in 1922, Segovia played the Homenaje, saturated with Andalucian deep song, in the Alhambra.

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CASTELNUOVO–TEDESCO: Tonadilla on the Name of Andrés Segovia

MARIO CASTELNUOVO–TEDESCO (born Florence, April 3, 1895; died Los Angeles, March 17, 1968) was another composer Segovia brought to the guitar. Trained in his native Florence, Castelnuovo- Tedesco was already a well-established composer and pianist when he met Segovia in 1932 at a festival in Venice. Inspired by the charismatic guitarist, Castelnuovo- Tedesco then averaged nearly three new pieces involving guitar every year for the rest of his life. He fled Fascist Italy in 1939, ultimately landing in Los Angeles, where he found a ready home in the film industry and passed his skills on to other composers and students, including Jerry Goldsmith, Henry Mancini, Andre Previn, Nelson Riddle and John Williams. Castelnuovo- Tedesco created a distinctively skewed theme out of the letters of the guitarist’s name for his Tonadilla on the Name of Andrés Segovia (composed in 1954; 5 minutes), an affectionate character study cum tribute.

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SEGOVIA: Estudio sin luz

ANDRÉS SEGOVIA himself (born Linares, Spain, February 21, 1893; died Madrid, June 2, 1987) wrote a body of small pieces in the tonally oriented, classically crafted style he sought in other composers. The Estudio sin luz (Study Without Light) (composed in 1955; 3 minutes) was composed in 1955 while Segovia was recuperating from cataract surgery; it is dedicated to Jose Rubio, his surgeon. A melancholic current does run through it, but the piece is devoid of selfpity and surprisingly robust and active.

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VILLA-LOBOS: Cadenza for Guitar

Concertos and other works for guitar and orchestra form another area where Segovia had a huge impact. Before him, there had been little need for such things since the days of Mauro Giuliani a century earlier. The Brazilian composer HEITOR VILLA-LOBOS (born Rio de Janeiro, March 5, 1887; died Rio de Janeiro, November 17, 1959) met Segovia in Paris in the 1920s, and after years of nudging, finally gave Segovia a concerto for guitar and chamber orchestra in 1951. Segovia ’s pleasure was greatly undercut by the lack of a cadenza, and the work went unperformed until Villa-Lobos finally added one in 1956. The virtuosic cadenza (4 minutes) comes between the second and third movements, serving as both rumination on the previous music and as a prelude to the super-charged finale. In addition to playing the Cadenza as a solo work, Eliot Fisk often uses it as a prelude to Villa-Lobos’ massive Twelve Etudes, as he did in his 1983 solo recital at 92Y.

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MORENO TORROBA: Sonatina

This tribute comes full circle with the Sonatina (composed in 1924; 11 minutes) by FEDERICO MORENO TORROBA (born Madrid, March 3, 1891; died Madrid, September 12, 1982), the first non-guitarist to write for Segovia. As with Turina’s Sonata, the three movements of this Sonatina are marked simply with abstract tempo indications, but are deeply rooted in Spanish dance rhythms. The first movement has an insouciant swagger in its main section and slyly winking wit; the second is a modal reverie, hauntingly embellished. The finale is lively and easily distracted from its principal motivic interest, with a brief reference to the middle movement and crisp repeated notes that link it to the opening. The first movement is probably the first piece that Segovia recorded, in May 1927.

© 2013 John Henken

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Artist Bios

Benjamin Verdery, artistic director & guitar

Artistic director of 92nd Street Y’s Art of the Guitar series since 2006, Benjamin Verdery has performed in such famed venues and with such renowned institutions as the Theatre Carre in Amsterdam, the International Guitar Festival at Havana, Wigmore Hall in London, and the Chamber Music Society of Lincoln Center and Metropolitan Opera in New York. He has toured throughout the US, Canada, Europe and Asia, and he has worked with such artists as John Williams, Frederic Hand, Leo Kottke, Jessye Norman, Paco Pena and Hermann Prey.

Mr. Verdery has released more than 15 CDs. His most recent are Happy Here with William Coulter and Branches, featuring Bach, Mozart, Strauss, Jimi Hendrix and the traditional song, “Amazing Grace.” Many composers have written for Mr. Verdery, including Ingram Marshall, Ezra Laderman, Martin Bresnick, Anthony Newman and Roberto Sierra. Mr. Verdery is also a prolific composer. Last year he received commissions from the Pensacola Guitar Orchestra and Kyo-Shin-An Arts; both works premiered last fall.

Since 1985 Mr. Verdery has been chair of the guitar department at the Yale University School of Music and artistic director of the bi-annual Yale Guitar Extravaganza. Each summer he holds an international master class on the island of Maui. His website is benjaminverdery.com.

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Eliot Fisk, guitar

Guitarist Eliot Fisk has transformed the repertoire of the classical guitar, through his transcriptions of works by Bach, Scarlatti, Mozart, Paganini, Schubert, Albeniz and many others, and through works written for him by such leading composers as Luciano Berio, Robert Beaser, Leonardo Balada, George Rochberg and Kurt Schwertsik. He performs with orchestras and in chamber music combinations in myriad musical styles on five continents.

Mr. Fisk opened his 2013/14 season last month with a concert and master class at the Festival of Contemporary Music in Munich. Earlier this month he appeared with his wife, guitarist Zaira Meneses, and daughter, pianist Raquel Fisk, in a gala concert for the Bethlehem Bach Choir. He will return to 92Y on April 24 for a duo concert with flamenco guitarist Paco Pena as part of a US tour.

Mr. Fisk’s recordings have frequently entered the Billboard charts as best sellers. Upcoming releases include Amazing Grace with clarinetist Richard Stoltzman and CDs with Mr. Pena and with cellist Yehud Hanani. He is founder and artistic director of Boston GuitarFest (bostonguitarfest.org), a cross-disciplinary event co-sponsored by the New England Conservatory and Northeastern University.

Mr. Fisk was the last direct pupil of Andres Segovia. He is professor at the Iniversitat "Mozarteum" in Salzburg, Austria, where he teaches in five languages, and in Boston at the New England Conservatory. His website is eliotfisk.com.

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Oscar Ghiglia, guitar

Born into an artistic family—his father and grandfather were both famed painters, and his mother was an accomplished pianist—Oscar Ghiglia began as a painter, but after spending a day holding a guitar while posing for his father, he realized his true calling. After graduating from the Santa Cecilia Conservatory of Rome, Mr. Ghiglia studied with Andres Segovia, and he would eventually take over Segovia’s famed class at Siena’s Accademia Musicale Chigiana.

Mr. Ghiglia further established his fame as a teacher by founding the guitar department at the Aspen Music Festival as well as the Incontri Chitarristici di Gargnano and the International Guitar Competition of Gargnano. He held a professorship in guitar at the Basel Music Academy from 1983–2005, and he has been a visiting professor or artist in residence at such centers as the Cincinnati and San Francisco conservatories, the Juilliard and Hart schools, and Northwestern University.

Besides touring as a solo performer, Mr. Ghiglia has played and recorded with such illustrious artists as singers Victoria de Los Angeles, Jan de Gaetani and John McCollum; flutist Jean-Pierre Rampal; and violist Pinchas Zuckerman. He was a founding member of the International Classic Guitar Quartet, and he has worked with the Cleveland, Emerson, Juilliard and Tokyo string quartets, among others. Following his latest CD, Manuel Ponce’s Guitar Music, the Stradivarius label issued a re-release of his performances of Bach lute music.

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Adam Holzman, guitar

For more than twenty years, Adam Holzman’s extensive international performances have taken him throughout Europe and the Americas. He has performed at the Concertgebouw in Amsterdam and such New York venues as Merkin Hall, Weill Recital Hall and 92Y as well as in music festivals and series across the country.

Mr. Holzman’s six recordings for the Naxos label have received critical acclaim. Among them are Mertz’s Bardenklange, Op. 13, a two-volume set of the guitar works of Manuel Ponce, two discs of music by Fernando Sor, and Antonio Lauro’s Venezuelan Waltzes for guitar. Mr. Holzman’s commitment to new music led him to co-commission Samuel Adler’s Concerto No. 1 for Guitar and Orchestra. He was also the first person to perform the music of Roland Dyens in North America, and he has premiered works by Robert Helps and Stephen Funk Pearson.

Born in New York City, Mr. Holzman began the guitar at the age of 7 with his older brother Bruce Holzman and then Albert Valdes Blain. He finished his studies with his brother at Florida State University, where he earned his degrees. He has worked with Oscar Ghiglia in Siena at the Academia Musicale Chigiana and at the Aspen Music Festival. Twice he was chosen to perform in the master classes of Andres Segovia. He is founder and head of the guitar department at the University of Texas at Austin. His website is adamholzman.net.

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Martha Masters, guitar

Martha Masters first achieved international recognition in 2000 when she won the Andres Segovia International Guitar Competition in Linares, Spain. That same year she also took first prize at the Guitar Foundation of America (GFA) International Solo Competition, and she was named a finalist in the Alexandre Tansman International Competition of Musical Personalities in Lodz, Poland.

Since then, Ms. Masters has been active as a solo recitalist, chamber musician and concerto soloist around the world. She first appeared at 92Y for the 2006 Guitar Marathon: 450 Years of the Spanish Guitar. Her 2013/14 season began in September at the La Guitarra California Festival in Pismo Beach, followed by the Festival Vivace Peru in Lima and a tour of the western US. Earlier this month Ms. Masters gave a faculty recital at Loyola Marymount University in Los Angeles, and her future engagements include appearances in Ecuador, Mexico City and at the Guitar Art Festival Belgrade.

In addition to Loyola Marymount, Ms. Masters serves on the guitar faculty of California State University at Fullerton, and she is president of the GFA. She has five recordings on the Naxos and GSP labels. Her first CD, Serenade, is now in its second printing, and other releases include discs of Italian music and early 20th-century Spanish works. Ms. Masters’ latest publication, The Total Classical Guitarist, came out last December in a book-CD set by Alfred Music. Her website is marthamasters.com.

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Richard Savino, Baroque guitar

Grammy Award–nominated guitarist/lutenist Richard Savino has been a featured performer throughout the US and abroad. He is currently director of El Mundo, an ensemble dedicated to 16th through 19th–century Latin American, Spanish and Italian chamber music, and he has been principal theorbist/lutenist for the opera companies of Santa Fe, Glimmerglass, San Francisco, Houston and many others. Mr. Savino has also served as visiting artistic director of the Aston Magna Academy and Music Festival, the Connecticut Early Music Festival and Ensemble Rebel. He made his 92Y debut at the 2008 New Year’s Eve concert with Eliot Fisk and others.

Mr. Savino has built an extensive discography of over 30 CDs as director, soloist and principal performer. Among his recent recordings as soloist are a CD of sonatas by Roncalli and a duo disc of music by Giuliani for flute and guitar with Laurel Zucker. El Mundo’s recent CDs include The Kingdoms of Castille, which received a 2012 Grammy nomination for best small ensemble performance, and Salir el Amor del Mundo—the title work is an early zarzuela by Baroque composer Sebastian Duron.

Early in his career Mr. Savino was chosen by Andres Segovia to perform in master classes at the Conservatoire de Musique in Geneva, the Metropolitan Museum of Art in New York, and twice at the International Segovia Fellowship Competition. A distinguished author and musicologist, he presently serves on the faculties of the San Francisco Conservatory of Music and the California State University at Sacramento. His website is richardsavino.net.

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Christopher Parkening, speaker

Christopher Parkening is one of the world’s preeminent virtuosos of the classical guitar. For over 40 years his concerts and recordings have received the highest worldwide acclaim, and he has been hailed as heir to the legacy of Andres Segovia. Last year he was inducted into the Guitar Foundation of America’s “Hall of Fame” and given its Artistic Achievement Award.

Mr. Parkening’s performances, recordings and collaborations have included artists like Kathleen Battle, Renee Fleming, Placido Domingo, Josh Groban and Jubilant Sykes, and composers/conductors John Williams and Elmer Bernstein. He received two Grammy nominations in the best classical recording category for Parkening and the Guitar and The Pleasures of Their Company with Ms. Battle. A frequent soloist with leading orchestras, he has performed at the White House and appeared on “Live from Lincoln Center,” “20/20,” “The Today Show,” “The Tonight Show,” “Good Morning America” and two broadcasts of “The Grammy Awards.” He made his 92Y debut in 2000 with a solo recital and returned in 2004 for a joint recital with Mr. Sykes.

Mr. Parkening is currently professor of music and chair of the guitar department at Pepperdine University, where the Parkening International Guitar Competition, founded in 2006, is held every three years. He has authored The Christopher Parkening Guitar Method and has published numerous folios and transcriptions. In 2006 he wrote his autobiography, Grace Like a River. His website is parkening.com.

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Need Help?

If you have any questions, need assistance with your order or require special seating considerations, such as wheelchair accessible seating or hearing assistance, please call Customer Service at 212.415.5500 during our Hours of Operation.

If you prefer, you can order your tickets and class enrollments by calling Customer Service at 212.415.5500 during our Hours of Operation, using Visa, MasterCard or American Express. You can also place your order by fax, by mail, or in person at our Box Office on Lexington Avenue at 92nd Street.

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Groups of 10 or more receive a 15% discount. Please note that certain events may not qualify for a group rate. To make group arrangements or need further assistance, you may contact Customer Service at 212.415.5500 during our Hours of Operation.


About 92Y YourStage

92Y YourStage provides a venue for independent curators, performers, and educators to mount a professional production. Yourstage events are confirmed once they meet a threshold for ticket sales by a certain date.

YourStage events that are ON have been confirmed; PENDING events need to generate more ticket sales; If an event fails to generate enough ticket sales, the event will be CALLED OFF, and all ticket holders will be refunded.

Get to the front of the line!

Priority registration puts you at the front of the line to register for courses and events for an upcoming semester.

Eligible patrons will be able to order priority registration online.

 

Who is eligible for priority registration?

Individuals who have participated in 92nd Street Y programs over the past year in selected program areas, participants in certain memberships, and those who have made contributions of $500 or more to 92Y, are eligible to register for programs before they become available to the general public.

How do I know if I qualify?

Patrons that qualify for Priority Registration will receive packets in the mail explaining how to purchase online. Priority registration is normally mailed 2-3 weeks before a catalog is available. Registration information includes your Patron ID#. You can use this ID# to setup your login information online. This will allow you to register early for a course or event. Please note: if you receive a packet, you are only eligible to priority register for the programs covered in your packet.

Priority Registration Support

To find out if you are eligible for priority registration, don't have your Patron ID#, or having difficulty ordering online, please call 212.415.5500 or email.