Richard R. Knepp
Andrés Segovia was the primary voice in the world of classical guitar performanceduring the first half of the twentieth-century. He collaborated with various composers, including Manuel M. Poncein an effort to expand the guitar’s repertoire. Many of the composers Segovia worked with did not play the guitar, making his editorial influence a necessity. This document explores a possible link between the performer’s collaborative influence and the composer’s interpretive intent.
An examination of the Segovia style reveals an interpretive approach that is based on a consistent method for fingering and arranging music on the classical guitar. The first performance edition in this document details the Segovia style by modifying the urtext based on two sources: Segovia’s published performance edition and a recording made by Segovia over thirty years after the initial publication date. The second performance edition applies theSegovia style to a composition that has survived without Andrés Segovia’s editorial influence.
Tracing the Segovia style: Collaboration and composition in the guitar Sonatinas of Mario Ponce