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In 1912 a young Andrés Segovia visited Manuel with a request to rent a guitar for a concert. After hearing him play, Manuel gave him the guitar, which had been largely made by Hernandez. [2] [6] Segovia used the guitar in concerts and on recordings from 1912 to 1937, and played it at his United States debut in New York's Town Hall in 1929. [7]
Guitar by Torres (1862) at Museu de la Música de Barcelona (MDMB 625). [3] While Torres was not the first to use this method he was the one who perfected the symmetrical design. To prove that it was the top, and not the back and sides of the guitar that gave the instrument its sound, in 1862 he built a guitar with back and sides of papier ...
The following is a partial list of LPs recorded by Sabicas. Some but not all have been reissued on CD or MP3, many under different titles. Some dates are tentative, since many LPs (Decca in particular) did not carry a date (or carried the date of reissue). The many anthologies are not listed. [6] 1949 Flamencan Guitar Solos
The guitar is a vital instrument to flamenco; it marks the measure of a song, and is frequently used in expressive solos during which the guitarist will improvise short variations called falsetas. Ramón Montoya was the most influential early guitarist, known for having solidified the guitar as a solo instrument.
Guitar Legends was a concert held over five nights, from October 15 to October 19, 1991, in Seville, Spain, with the aim of positioning the city as an entertainment destination to draw support for Expo '92 beginning the following April.
The composer who was identified from the beginning with the phalanx, to be on the national side. decided to go to America in 1946 to avoid the economic and food shortages of the postwar Spain. Moreno Torroba also composed operas, of which La Virgen de Mayo (1925) and El poeta (1980) with Plácido Domingo in the title role, are his best known. [3]
From 1935 through 1940, Pujol continued giving a few concerts and lectures as well as pursuing his research in Spain, London and Paris. By 1941 he was back in Spain to the end of his life, and he started preparing the volume covering the composer for vihuela, Luis de Narváez, for the series Monumentos de la Música Española (vol. III).
During the early part of his career, at the age of 15 (1944 - 1954), he began touring extensively with the best known flamenco companies throughout Spain and the rest of Europe (Rosario and Antonio, Vicente Escudero, Estrellita Castro, and Carmen Amaya), playing both as soloist and guitar accompanist.