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Critica da estréia de

Segoviaem Nova York, 1928 , Olin Downes, New York Times

Vejam qual é a reaç o do cr!tico, inteligente mas totalmente descon"ecedorde viol o# O $arcelo %a&at" notou uma coisa im'ortante( em nen"ummomento ele )ala de )orça, velocidade ou lim'e*a, é s+ a 'arte art!stica daa'resentaç o e a sonoridade do viol o#Ou seja, estudar o 'assado 'ara mel"or direcionar o )uturo#Vale lem rar que, em -./0, Segovia j1 tin"a 23 anos de idade, e n o "aviaainda c"aconne, nem Sonata de Castelnuovo4Tedesco, nem Villa45o os, nemsonatas de 6once, nem concertos com orquestra, nem nada# O que eletocava era essencialmente o re'ert+rio de Tarrega#

T"e )ame o) 7ndrés Segovia, t"e S'anis" guitarists w"ose name "as een a'rominent one o) late &ears in ca'itals o) 8uro'e, "ad 'receded "im# 7naudience including man& S'aniards and man& more o) t"e musicalconnoisseurs o) t"e cit& greeted "im w"en "e made "is 9rst a''earance&esterda& a)ternoon in Town :all#;ut t"e a''earance o) $r# Segovia is not t"at o) t"e trum'eted virtuoso# :eis rat"er t"e dreamer or sc"olar in earing, long "air, e&eglasses, a lack)rock coat and neckwear o) an earlier generation# :e seats "imsel),t"oug"t)ull&, 'laces "is le)t )oot on its rest, strikes a so)t c"ord, t"en endsover "is guitar and 'roceeds to 'la& like t"e 'oet and master "e is o) t"einstrument#ecution, & imagination andintuition create an art o) t"eir own t"at sometimes seems to trans)orm t"ever& nature o) t"eir medium# Segovia could e i) "e c"ose t"e trick 'la&er o) "is generation# :e draws t"e tone colors o) "al) a do*en instruments )romt"e one t"at "e 'la&s# :e "as an e>traordinar& command o) nuances, "eseems to discover w"ole 'lanes o) sonorit 7lt"oug" "is instrument cannot)urnis" a genuinel& connected series o) tones "e 'roduces u'on it, ver&)requentl&, t"e illusion o) sustained song# ?"en "e 'la& a melod& o) ;ack or:a&dn "e '"rases it, slurring certain notes, detac"ing t"e ot"ers, according

to t"e directions o) t"e com'oser# :e "as, o) course, t"e vi rato and t"e'ortamento to "el' "im in e>'ression# :e is remarka le, almost unique, )or

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not a using t"ese e@ects# :is le)t "and is as ama*ing to watc" as to "ear, asit Aies wit" an incredi l& lig"t, swi)t, geometrical 'recision over t"eke& oard Bsic , or divides 'assages digitall& in suc" a wa& t"at one or two9ngers sto' t"e strings w"ile t"e ot"ers 'la& various t&'es o) melod& or9guration#?e "ave said t"at all t"is command o) tone, tec"nique and s'ecial e@ects'ossi le to t"e instrument are onl& t"e ve"icles o) musical intention on t"e'art o) t"e 'er)ormer# $r# Segovia 'la&ed man& 'ieces )rom ;ac", 'rinci'all&movements )rom suites, and a :a&dn minuet )or t"e classic 'art o) "is'rogram# :e 'la&ed ;ac" like a consummate musician# T" relation etweent"e guitar and t"e old lute, )or w"ic" ;ac" wrote some o) "is music'ro a l& some o) t"e music $r# Segovia 'la&ed &esterda& and t"e mannerin w"ic" t"e instrument o) 'lucked strings ecame t"e instrument o) struckwires in t"e 9nal )orm o) t"e 'iano, was roug"t "ome wit" es'ecial )orce o)illustration# Nevert"eless, t"e most remarka le o) $r# Segovia=s

'er)ormances were not t"ose o) ;ack, inter'reted wit" so muc" taste andmusicians"i', ut t"e 'ieces, 'rinci'all& & S'anis" masters, com'osed )ort"e guitar#

T"e 9rst two o) t"ese 'ieces were t"e com'ositions o) Sor, w"o is given littleattention & t"e dictionaries, ut w"o, as stated & t"e 'rogram, lived )rom-EE0 to -02. an wrote music e>cellent in st&le and digni9ed in invention#

T"ere was a "aunting sim'licit& and sentiment in t"e 'er)ormance, w"ic"was o) a jeweled 9nis" and grace)ulness o) 9guration# 7nd t"e eig"teent"centur& Aavor was em'"asi*ed & t"e idiom o) t"e instrument#$ore native in c"aracter, and o) t"e S'anis" genre, were t"e FSerenataF o)

$alats, t"e FDan*aF and F8tudeF o) Tarrega# 8ac" o) t"ese com'ositionsmade di@erent demandsG eac" revealed anot"er side o) t"e 'er)ormer=sequi'ment# Ht was "ere t"at "e 'roved e&ond contraction t"e rig"t o) "isinstrument and o) "imsel) as a 'er)ormer and creator u'on it, to t"eattention and t"e res'ect o) all music lovers# Ior wit" certain instruments,as wit" muc" music, t"e a''earance o) t"e master, wit" "is "andicra)t and"is vision, is required, e)ore t"at w"ic" is in"erent can e roug"t to li)eand ecome articulate )or t"e multitude#Sa&ing all t"is, it must e added t"at $r# Segovia did not and cannotsucceed in removing t"e limitations w"ic" will alwa&s surround "is

instrument# "e "as stretc"ed t"ese limitations to t"e utmost# :e "as )aroutdistanced in "is knowledge and "is musical conce'tions t"e ordinar&twanger o) strings# Nevert"eless, t"e guitar remains t"e guitar, wit" limits o) sonorit&, color, d&namics# T"ese limitations make ;ac" less im'ressivet"roug" its medium t"an on t"e 'iano or "ar'sic"ord# T"e& reac" t"eirutmost e@ect and t"eir entire signi9cance in music less scul'turesque andcontra'untal t"an ;ac"Js and wit" warmer "armon& and more elementar&r"&t"ms# :ence $r# SegoviaJs audience was most ent"usiastic w"en "e'la&ed "is own S'anis" music in a wa& t"at revealed its essence o) s'iritand idiom#

T"is was an unusuall& signi9cant a''earance, and t"e 9rst o) concerts t"at

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$r# Segovia will give "ere# :is rece'tion s"ould "ave grati9ed "im# 7 New York audience "as seldom een quicker or warmer wit" its a''roval#