Andrés Segovia

Infobox musical artist
Name = Andrés Segovia

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Background = classical_ensemble
Birth_name = Andrés Torres Segovia, Marqués de Salobreña
Born = birth date|1893|02|21
Linares, Jaén, Spain
Died = death date and age|1987|06|02|1893|02|21
Madrid, Spain
Instrument = Guitar
Genre = Classical
Occupation = Classical guitarist
Years_active = 1909-1987
Label = EMI, Deutsche Grammophon ,MCA
URL =
Notable_instruments = Herman Hauser 1937 [ [http://www.cduniverse.com/search/xx/music/pid/6803528/a/Guitar+Of+Andres+Segovia+-+Herman+Hauser+1937.htm Guitar Of Andrés Segovia - Herman Hauser 1937] Accessed 2008-06-22.]

Andrés Torres Segovia, 1st Marquess of Salobreña (21 February 1893–2 June 1987) was a Spanish classical guitarist born in Linares, Jaén, Spain. He is widely regarded as one of the most important figures of the classical guitar in the beginning and mid 20th century. Segovia's main musical aesthetic preferences were "Spanish romantic and Spanish nationalist music of the late 19th and early 20th century" - a style that is very "different" from flamenco. Many works of this style were written especially for him and formed part of his core repertoire, e.g. the guitar works of Federico Moreno Torroba (1891-1982).

Early life

Segovia said that he began playing the guitar at the age of six. [cite web|url=http://tesla.liketelevision.com/liketelevision/tuner.php?channel=4&format=tv&theme=history|title=This Day in History - January 4th | publisher=LikeTelevision] Angelo Gilardino, who has worked at the Fundación Andrés Segovia in Spain, noted: "Though it is not yet completely documented, it seems clear that, since his tender childhood, he [Segovia] learnt playing as a flamenco guitarist. In fact, the first guitar he owned had formerly been played by Paco de Lucena, the greatest flamenco guitarist of the epoque, who died when Segovia was five years old. Since then, Segovia was given some instruction by Agustinillo, an amateur flamenco player who was a fan of Paco de Lucena." [cite web | url=http://groups.google.com/group/rec.music.classical.guitar/msg/17b1150b5dbd3936 | title="Segovia's early years"| author=Angelo Gilardino | date=2007-06-04 | publisher=rec.music.classical.guitar]
Nevertheless Segovia was opposed to flamenco and its aesthetics, since he did not play flamenco: he has remarked that when he was a young boy and first heard a flamenco guitarist, " [he] jumped from [his] chair and fell backward" "at the first brutal rasguado" [The Song of the Guitar - A Christopher Nupen Film] ; and he has later said that he "..rescued [the guitar] from the hands of flamenco gypsies"Fact|date=October 2008 [ [http://homepages.dordt.edu/~niso/programnotesfall06.html better citation needed] ] .

As a teenager, Segovia moved to the town of Granada, where he studied the guitar and soaked up the other-worldly atmosphere of the Palace at Alhambra, a Moorish relic overlooking the town which he regarded as his spiritual awakening.

Professional career

Segovia's first public performance was in Spain at the age of 13, and a few years later he held his first professional concert in Madrid, playing guitar transcriptions by Francisco Tárrega and some works by J.S. Bach, which he had transcribed and arranged himself. Although he was always discouraged by his family, and looked down on by many of Tárrega's pupils, he always continued to diligently pursue his studies of the guitar.Segovia's technique differed from that of Tárrega and his followers, such as Emilio Pujol. Both Segovia and Miguel Llobet (who taught Segovia several of his transcriptions of Granados' piano works) plucked the strings with a combination of his fingernails and fingertips, producing a sharper sound than many of his contemporaries. With this technique, it was possible to create a wider range of timbres, or tones, than when using the fingertips or nails alone. Historically, classical guitarists have debated which of these techniques is the best approach. The vast majority of classical guitarists now play with a combination of the fingernails and fingertips.

Segovia's status as a student of the guitar is a matter of debate among guitarists. The Segovia autobiography, written for mass consumption at the height of his career, depicts him as being self-taught. There are admissions of his seeking out Llobet's advice only for a short time when in his early twenties, but Segovia is quite clear about the lack of any real influence on his playing. Although at that age Segovia may well have been much more than a neophyte, he was still youthful enough to have received valuable instruction, and to have been significantly influenced by it. Indeed, Ronald Purcell points out that "Segovia, whose performance style and technique reveals [sic] the principles of Tárrega, was basically influenced by Llobet....This stylistic influence can be heard when comparing Llobet's Parlophone Electric recordings (Chanterelle Historical Recordings CHR 001) with Segovia's Angel recordings, ZB 3896" (Llobet 1989, 1: ii).

Purcell later states, "At the age of twenty-two he (Segovia) pursued what he considered the only direct contact to Tárrega, Llobet, for refinement of his technique and especially for the music that both he and Tárrega had written and transcribed for the guitar..."(ibid). The accuracy of this date (Segovia would have been twenty-two in 1915) seems to be somewhat questionable. A photograph taken at the exhumation of Tárrega in 1915, clearly shows Segovia at the foot of the coffin, but Llobet does not appear in the photo, and would likely have been present had he, in fact, been in Spain at the time. It may well have been another two years before Segovia began to work with Llobet and there seems to be nothing that would contradict this 1917 date. [cite web|url=http://en.wikipedia.org/wiki/Miguel_Llobet|title=Miguel Llobet|]

The status of the classical guitar at the beginning of the twentieth century had declined, and only in Barcelona and in the Rio de la Plata region of South America could it have been said to be of any significance. When Segovia arrived on the scene, this situation was just beginning to change, largely through the efforts of Llobet. It was in this changing milieu that Segovia, whose strength of personality and artistry coupled with new technological advances such as recording, radio, and air travel, succeeded in moving the guitar forward to become more popular again.

In 1924, Segovia visited the German luthier (guitar builder) Hermann Hauser Sr. after hearing some of his instruments played in a concert in Munich. Segovia had been impressed with the quality of Hauser's work ["I immediately saw the potential of this great artisan if only his mastery might be turned to the construction of the guitar in the Spanish pattern as immutably fixed by Torres and Ramirez" (Segovia 1954)] and he encouraged Hauser to copy his 1912 Manuel Ramirez guitar (an instrument generally believed to have been built by Santos Hernandez while he was foreman of the Ramirez shop). He examined and made measurements of this instrument. As Llobet, who also visited the luthier in the same year, owned an 1859 Antonio Torres, Hauser also had opportunity to examine it as well. In 1928 Hauser provided Segovia with one of his personal guitars for use in his United States tour and Segovia used this guitar in concerts through 1933. When Hauser delivered the new instrument Segovia had ordered, Segovia passed his 1928 Hauser to his USA Representative and close friend Sophocles Papas who gave it to his classical guitar student, the famous jazz and classical guitarist Charlie Byrd who used it on several records.

After World War Two Segovia became among the first to endorse the use of nylon strings instead of gut strings. This new advance allowed for greater stability in intonation, and was the final missing ingredient in the standardization of the instrument.

After Segovia's debut tour in the United States in 1928, the Brazilian composer Heitor Villa-Lobos composed his now well known Twelve Études ("Douze études") and later dedicated them to Segovia. This proved to be a lasting relationship as Villa-Lobos continued to write for Segovia. He also transcribed numerous classical pieces himself and revived the pieces transcribed by men like Tárrega. Many guitarists in the Americas, however, had already been playing these same works before Segovia arrived.

In 1935, he gave a premiere of Bach's "Chaconne", a difficult piece for any instrument. He moved to Montevideo performing many concerts in South America in the thirties and early forties. After the war, Segovia began to record more frequently and perform regular tours of Europe and the USA, a schedule he would maintain for the next thirty years of his life. In 1954, Joaquin Rodrigo composed "Fantasía para un gentilhombre" at the request of Segovia. Segovia won the 1958 Grammy Award for Best Classical Performance, Instrumentalist for his recording, "Segovia Golden Jubilee".

In recognition of his contributions to music and the arts, Segovia was ennobled on 24 June 1981 by King Juan Carlos I, who elevated Segovia into the first hereditary Marquess of Salobreña, formally styled as "El señor don Andrés Torres Segovia, marqués de Salobreña" (the Most Illustrious Lord The Marquess of Salobreña). He was granted the following coat of arms: "en campo de azur sobre ondas de azur y plata, unas rocas de su color, sumadas de una torre donjonada de oro, aclarada de azur" (a field of azur on waves of azur and silver, rocks of the same color, plus a gold dungeon tower, with azur highlights).

Andres Segovia continued performing into his old age, living in semi-retirement during his 70s and 80s on the Costa del Sol. Two films were made of his life and work—one when he was 75 and the other, 84. They are available on DVD called "Andrés Segovia - in Portrait". [ [http://www.amazon.com/dp/B000AOGMHQ Andrés Segovia - in Portrait] DVD]

Segovia died in Madrid of a heart attack at the age of 94. He is buried at Casa Museo de Linares, in Andalusia.

egovia's goals

As Segovia's career and acclaim grew he determined "five purposes" as goals for his legacy. They were outlined by Segovia in "Guitar Review" No 32, Fall 1969:

# To extract the guitar from the noisy and disreputable folkloric amusements...
# I requested the living composers not in the field of guitar to write for me. This was the second of my purposes: to create a wonderful repertoire for my instrument.
# My third purpose was to make the guitar known by the philharmonic public of the world.
# ... to provide a unifying medium for those interested in the development of the guitar. This I did through my support of the now well known international musicological journal, the "Guitar Review"
# I am still working on my fifth and maybe the last purpose, which is to place the guitar in the most important conservatories of the world for teaching the young lovers of it, and thus securing its future.

Critical acclaim and modern perspectives

Awards and bringing the guitar to the concert stage

Segovia was awarded many prizes and honours including Ph.D, honoris causa from ten universities. [cite web|url=http://www.cervantesvirtual.com/servlet/SirveObras/57927252545269054754491/ima0009.htm|title=Honores y Distinciones|work=Andrés Segovia. Síntesis biográfica. Honores y distinciones. by Alberto López Poveda|publisher=(Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) [http://www.cervantesvirtual.com/servlet/SirveObras/57927252545269054754491/index.htm] ] Segovia was credited by his publicity for bringing the guitar (as a solo instrument) to the concert stage. While this is undoubtedly an exaggerated claim, the fact that he widened the audience for the guitar and was a vital fore in helping it to gain respectability among other serious musicians, critics, and academe is beyond dispute.

He received the Danish Sonning Award in 1974 and a Grammy Lifetime Achievement Award in 1986.

Editorial legacy

Segovia left a large body of edited works and transcriptions. His editions of works originally written for guitar include newly fingered and occasionally revised versions of works from the standard repertoire (most famously, his edition of twenty "estudios" by Fernando Sor), as well as compositions written for him. Many of the latter were edited by Segovia, working in communication with the composer, before they were first published. Because of Segovia's predilection for altering the musical content of his editions to reflect his interpretive preferences, many of today's guitarists prefer to examine the original manuscripts, or newer publications based on the original manuscripts in order to compare them with Segovia's published versions, so as to accept or reject Segovia's editorial decisions.

Repertoire

Segovia was selective in his choice of repertoire, playing only works with which he identified with, in a personal way. He distanced himself from many classical works, from the end of the 18th to the mid 19th century: e.g. he did not play any Legnani, or Regondi, or the larger works by Giuliani, etc. (a notable exception being Sor's famous Op. 9; and a few minor works by Sor).
Instead Segovia's main musical preference (favorite repertoire) was "Spanish romantic and nationalist music of the late 19th and early 20th century". This is evident from his cultural surrounding and background; by his many performances of works by Torroba and others, etc. This style is very different from flamenco; which he never really played, although a few works did have a flamenco influence, such as Turina's "Sevillana op.29" or Turina's "Homeneja a Tarrega - Garotin, Soleares op.69" (which is ironically in a very different style, than the Spanish romantic salon style of its dedicatee, Tárrega).
And while some of Segovia's baroque interpretations are considered controversial, it is in some of the performances of this "Spanish romantic and nationalist repertoire" that he is most prized.

Teaching

Segovia viewed teaching as vital to his mission of propagating the guitar and gave master classes throughout his career. His most famous master classes took place at Santiago de Compostela in northern Spain.cite web|url=http://www.egtaguitarforum.org/ExtraArticles/SegoviaTeaching.html|title=John Mills: The Teaching of Andres Segovia]

His teaching style is a source of controversy among some of today's players, who consider it to be dogmatically authoritarian.cite web|url=http://www.guitarteacher.com.au/johnwilliams.htm|title=John Williams Interview with Austin Prichard-Levy|work= [http://www.guitarteacher.com.au/guitar_journal.htm The Twang Box Dynasty] ] cite web|url=http://groups.google.at/group/rec.music.classical.guitar/msg/7f13976396e414ff?&hl=en|title=The infamous Chapdelaine Segovia incident|work=by Tony Morris (12 June 2007, rec.music.classical.guitar)] [cite web|url=http://www.mangore.com/carlevaro.html#carlevaro|title=Abel Carlevaro technique: Technique compendium|publisher=Renato Bellucci]

John Williams has mentioned:*"I have to say, with the benefit of hindsight, that I don’t think he was a good teacher. He didn’t tell us what to aim for in the structure. For example, in a Bach suite [...] "cite web|url=http://www.smallclementeduo.com/articles/williams_new_world.html|title=John Williams—Into the New World|work=by Mark L. Small] :*"The general mood in all of his classes was one of great fear. People were frightened because he made such an example of the people who failed and would get angry. Everyone knew that he was happiest when they imitated him.":*"The Segovia gestures—extra vibrato and dwelling on a note or chord at a cadence—is not musical freedom. There has been a tendency among guitar players to think that doing these things for their own sake quite apart from the context of a piece of music as a whole, is in some way expressive. I view them as simply mannerisms [...] "

David Russell relates the following about his "private meetings"cite web|url=http://www.math.uga.edu/~schang/music/russell2.pdf|title=Manuel Barrueco Talks to David Russell] with Segovia (as opposed to "Masterclass situations") ::*"Segovia was very kind to young, talented students, you know. He was like this grandfather figure. For an hour, I was sitting in front of . . . well, "One next to God" [laughs] , and he says, "Hey! C'mon kid, don't be so nervous. Just play me something!" [Laughs] For weeks or months afterward the memory of being with him was inspiring and kept me practicing. He was great—really very nice."cite web|url=http://www.acousticguitar.com/issues/ag133/feature133.html|title=Scottish Fandago|work=by Patrick Francis]

Segovia made numerous editorial and personal changes to works (esp. those that were dedicated to him; even changing parts). This is in keeping with the traditions of musicians from virtually all previous eras. It is somewhat ironic, that while he allowed himself these liberties, there are controversial examples of Segovia arguing with students, for daring to change "his" fingerings. And as John Williams has mentioned "Everyone knew that he was happiest when they imitated him."

On the other hand Piero Bonaguri mentions that "Segovia, so [...] personal in his performances, did not try to induce us to imitate him"cite web|url=http://www.seicorde.it/Articles/segoveng.htm|title=Segovia's Teaching: An Outburst Of Freedom|publisher=Piero Bonaguri] (though this sentence may perhaps be more in reference to "reflecting on Segovia" and "learning by example" (Segovia performing), than actual teaching) but also that "Segovia, who was generally good-natured, got angry (and he knew also how to be caustic), when he faced wrong ideas which required more determined means of correction"

Controversy regarding Segovia

Segovia was frequently lauded as the world's greatest classical guitarist [cite web|url=http://guitarsofspain.com/Guitar_magazine/18_04.htm|title=Andres Segovia - Greatest of the great|publisher=Guitarra Magazine, Issue 18, p.4 (1966)] [cite web|url=http://www.britannica.com/eb/article-9066603/Andres-Segovia|title=Andres Segovia|publisher=Encyclopædia Britannica] with the result that many believed that he set an unassailable standard of virtuosity. [cite web|url=http://www.rateitall.com/r-2294237.aspx|title=Opinion on Segovia (Mar. 2007)|publisher=RateItAll] [cite web|url=http://www.rateitall.com/r-2394285.aspx|title=Opinion on Segovia (Jul. 2007)|publisher=RateItAll] [cite web|url=http://www.rateitall.com/r-1918145.aspx|title=Opinion on Segovia (Nov. 2005)|publisher=RateItAll]

Today however, this view has been called into question, not only by revisionists, but by some musicians.cite web|url=http://findarticles.com/p/articles/mi_qn4176/is_20040924/ai_n14585894?lstpn=article_results&lstpc=search&lstpr=external&lstprs=other&lstwid=1&lstwn=search_results&lstwp=body_middle|title=OK, so Segovia was a pioneer, but he doesn't top today's guitarists|publisher=by Stephanie von Buchau - Oakland Tribune, Sept. 24, 2004] [cite web|url=http://www.mangore.com/career_of_a_guitarist.html|title=A career in guitar|publisher=by Renato Bellucci] John Williams (in 1999) has called him "a very limited teacher and a limited musician",cite web|url=http://www.tar.gr/en/content/content.php?id=498|title="John Williams on Segovia" |author=Takis Atsidakos (May 2007)|publisher=www.tar.gr citing BBC Music magazine, May 1999] though he refers to Segovia's inspiration and the people he met [around Segovia] as "essential".

David Russell when asked about "romanticizing Baroque pieces like Segovia" responded: "There is a big difference between using baroque phrasing and romanticizing like Segovia" [cite web|url=http://www.guitarfoundation.org/drupal/node/3933#comment-315|title= Cross-string ornamentation, romanticizing early music, tone color (5. April 2008, David Russell forum reply)|publisher=GFA] . But he has also said "Segovia was great for his time and I think he is very unfairly criticized". [http://www.math.uga.edu/~schang/music/russell2.pdf]

Raymond Cousté (from the McClelland-Cousté Duo) noted in an interview in 2000, that when a young guitarist today records some of Segovia's transcriptions such as "La Frescobalda", then "it's terrible" and "degrades the guitar" today, since "it's an outdated arrangement" and "the proper references [to the original material] are available to everyone now".cite web|url=http://pagesperso-orange.fr/mcclelland.couste/us_art.html#November2000|title=Interview|work=Classical Guitar Magazine, November 2000] Many modern performers endeavour to play music in an historically informed manner of the specific period, thus "tread [ing] a different stylistic path [than Segovia] , while retaining the greatest respect for Segovia's achievement".cite web|url=http://www.egta.co.uk/content/articulation|title= Articulation and Authenticity in Nineteenth-Century Guitar Music|publisher=Stephan KenyonEGTA Guitar Journal no.8 (1997)] (article: Articulation and Authenticity in Nineteenth-Century Guitar Music)

(It should be remembered, however, that during Segovia's most active period, there was no historically informed performance - yet today some of the attempts at historically informed performance (especially as a standardization or a movement) is itself the subject of considerable controversy, as noted by Taruskin (e.g. in his work "Text and Act") and numerous others.)

Recordings

Segovia made numerous recordings, and often recorded the same work more than once. There is a large discrepancy of "performance quality" between many of his recordings, which may also be a reason for some controversy. In particular some later recordings seem to be lacking in "performance quality", with many people preferring some of his earlier recordings (even if the recording technology might not have been as sophisticated).

Although Segovia's recordings can now be scrutinized (e.g. highlighting some of his stylistically dubious idiosyncrasies in performances of some works), they also offering an important glimpse into his very personal and expressive way of performance and generally favorable performance of his preferred late 19th / early 20th century Spanish repertoire.

egovia's legacy

Ultimately, Segovia's legacy does not lie in the recordings that he left, or in his controversial performances of some works (e.g. baroque), or in his often controversial behaviour towards others (masterclasses, etc.), or in the claims of his self-promotion... Instead it lies in the memory of the deeply personal way in which he performed during live recitals - communicating, sharing and connecting with his listeners in a very personal and unique way.

During his performances Segovia is said to have inspired his listeners and students to find and use their own "heritage of experience, knowledge, taste":
"Segovia, so brilliantly personal in his performances, did not try to induce us to imitate him, but helped each of us to develop his own musical personality fully, by [using] all his heritage of experience, knowledge, taste [...] . He introduced us through the living and present example of his artistic personality (with his temper and preferences) into a human and artistic learning which rose above any particular “version”"

Segovia's himself is to have said, that a true performer needs a "sacred fire", which is "that love, without which [...] a performer may be perfect, but nothing else..."

Allan Kozinn noted (in 1986) that "By today's musicological standards, his rolled chords, quick vibrato and slurred phrases may seem antique; yet they carry Andres Segovia's unmistakable interpretive thumbprint, and they are classics of their kind." [cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9A0DE0DC1238F935A35757C0A960948260&sec=&spon=&pagewanted=1|title= Segovia's Legacy: Half a century of guitar disks|publisher=by Allan Kozinn - NY Times, April 6, 1986]

" [...] his artistry is so sincere we're inclined to forgive his indulgences and "wrong" Baroque performance practices" [Classical Music, p.1116 Alexander J. Morin, Harold C. Schonberg, ISBN 0879306386]

ee also

* Michele Pittaluga International Classical Guitar Competition founded with his support

Bibliography

* Graham Wade: Traditions of the Classical Guitar(John Calder, London, 1980)
* Graham Wade: Segovia - A Celebration of the Man and his Music (Allison & Busby, London, 1983)
* Graham Wade: Maestro Segovia (Robson, London, 1986)
* Graham Wade and Gerard Garno: A New Look at Segovia, His Life, His Music, Volumes 1 & 2 (Mel Bay Publications Inc., Pacific, Missouri, 1997)
* Graham Wade: A Concise History of the Classic Guitar (Mel Bay Publications Inc., Pacific, Missouri,2001)

References

External links

Biographical information

* [http://groups.google.com/group/rec.music.classical.guitar/msg/17b1150b5dbd3936 Segovia's life before he left Spain for the first time (1920)] info by Angelo Gilardino (3 June 2007, rec.music.classical.guitar)
* [http://www.tar.gr/en/content/content.php?id=490 Andrés Segovia - Twenty years after his passing (1987-2007)] includes various articles (TAR)
* [http://www.guitarramagazine.com/andres_segovia_memory In Memory of Andres Segovia] by Vasilios Avraam (www.guitarramagazine.com)
* [http://www.cervantesvirtual.com/servlet/SirveObras/57927252545269054754491/index.htm Andrés Segovia. Síntesis biográfica. Honores y distinciones.] by Alberto López Poveda (Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) [http://www.cervantesvirtual.com/FichaAutor.html?Ref=13426]
* [http://www.cumpiano.com/Home/Articles/Transcriptions/Segovia/Segovia.html Andrés Segovia page] also includes early U.S. performance reviews (www.cumpiano.com)
* [http://www.allmusic.com/cg/amg.dll?p=amg&sql=41:5675 Biography] by Joseph Stevenson (Allmusic)

Publications

* [http://groups.google.com/group/rec.music.classical.guitar/msg/bb098424ba8a7813 The Andrés Segovia Archive] by Angelo Gilardino (13 May 2004, rec.music.classical.guitar) [http://www.berben.it/doc/htm/novita.asp Published by Bèrben (scroll down)]

Performance reviews and newspaper articles

* [http://www.cumpiano.com/Home/Articles/Transcriptions/Segovia/Segovia.html Early U.S. performance reviews] (www.cumpiano.com)
* [http://query.nytimes.com/search/query?query=Andres+Segovia&d=&o=&v=&c=&n=10&dp=0&daterange=period&srcht=a&year1=1851&mon1=09&day1=18&year2=1980&mon2=12&day2=31&srchst=p&hdlquery=Andres%20Segovia&sort=oldest Articles] from NY Times (1951-1980) (none of these are free; they must be purchased)
* [http://query.nytimes.com/search/query?query=Andres+Segovia&d=&o=&v=&c=&n=10&dp=0&daterange=full&hdlquery=Andres%20Segovia&sort=oldest Articles] from NY Times (since 1981)

Recordings

* [http://digital-library.csun.edu/cdm4/results.php?CISOOP1=exact&CISOFIELD1=CISOSEARCHALL&CISOROOT=/IGRAdiscography&CISOBOX1=Segovia%2C+Andr%C3%A9s+Torres Some photos of LP covers] (Oviatt Library Digital Collections)

Videos

* [http://video.google.com/videoplay?docid=3498259327940116934 Google Video] Video of Segovia from 1976, almost 17 mins. Both him playing and narrating about himself
* [http://video.google.com/videoplay?docid=4877710728748067045 Google Video] Video of Segovia playing Fernando Sor's "Variations on a theme by Mozart"
* [http://tesla.liketelevision.com/liketelevision/tuner.php?channel=4&format=tv&theme=history Segovia Video Clip]
* [http://www.youtube.com/watch?v=9efHwnFAkuA Video of Segovia at Asturias]

Other

* [http://www.segoviamuseo.com/ The Segovia Museum] Fundación Andrés Segovia [http://guitarra.artelinkado.com/guitarra/segovia_fundacion_visita.htm]
* [http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=18&viewmode=0&item=1986.353.2 The Metropolitan Museum of Art] Pictures of Segovia's first concert guitar
*
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* [http://www.heraldica.org/topics/famous/music.htm Heraldica.org] - Armory of Famous Musicians: Andres Segovia, el marqués de Salobreña