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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]
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).
Celedonio Romero was born in Cienfuegos, Cuba, [1] while his parents were on a business trip to the island. He began playing the guitar at the age of 5, and eventually studied music theory, harmony, composition, and counterpoint at the Conservatory of Málaga and at the Madrid Royal Conservatory, where he was taught by Joaquín Turina.
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]
The modern classical guitar and its baroque predecessor were invented in Spain. In Spain, music has a long history. It has played an important role in the development of Western music, and has greatly influenced Latin American music. Spanish music is often associated with traditional styles such as flamenco and classical guitar. While these ...
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.
According to Yepes, Asencio "was a pianist who loathed the guitar because a guitarist couldn't play scales very fast and very legato, as on a piano or a violin. 'If you can't play like that,' he told me, 'you must take up another instrument.'" Through practice and improvement in his technique, Yepes could match Asencio's piano scales on the guitar.
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.