Recording the Classical Guitar

Contents

• Preface and Acknowledgements
• 1 Recordings and the Evolving Identity of the Classical
• Guitar in the Twentieth Century
• De!ning the Terms of the Study
• Narratives of the Classical Guitar in the Twentieth Century
• The Recording Model Established
• The Recording Model Consolidated
• The Recording Model Interrogated
• The Recording Model Deconstructed
• PART ONE THE RECORDING MODEL ESTABLISHED
• 2 The Classical Guitar in the Early Period of Recording: Spain
• Introduction: Evaluating the Early Period of Classical Guitar Recording
• The Technological Conditions of Early Recording
• Recording Plucked String Instruments
• Early Classical Guitar Recording in Spain, 1897-1936
• The Recordings of Miguel Llobet
• Spanish Guitarists on the Regal Label
• Other Signi!cant Recordings Made by Spanish Guitarists During the 1920s and 1930s
• 3 Segovia at HMV (1923-1939)
• Introduction
• Segovia's First Recording
• Segovia at HMV: Repertoire and Recording Strategy
• The Reception of Segovia's HMV Recordings
• The Sound of Segovia's HMV Recordings: Early Classical Guitar Recording Aesthetics
• The HMV Recordings and Later Critical Perspectives on Segovia's Performance Style
• 4 The Classical Guitar in the Early Period of Recording: Latin America
• Introduction
• Edison, Victor and the Classical Guitar in Cuba and Mexico
• Mexican and Cuban Guitarists Recording in the Late 1920s and Early 1930s
• Classical Guitar Recording in the Rio de la Plata and the Legacy of Agustin Barrios
• The Eclectic Roots of Solo Guitar Recording in Brazil
• PART TWO THE RECORDING MODEL CONSOLIDATED
• 5 Segovia at American Decca
• Introduction
• Early Post-war Recordings and the Transition to LP
• Return to Abbey Road
• Segovia at American Decca: Rede!ning the Classical Guitar in the Post-war Period
• The LP and the Structure of Segovia's Early Recorded Programs
• Repertoire Programming and Evolution of the Segovian Album Concept
• Segovia in the Studio
• Segovia's Recordings and the Aesthetics of "High Fidelity"
• Acoustics in Classical Guitar Performance: A Brief Digression
• The Sound of Segovia's American Decca Recordings
• 6 The North American Backdrop to Segovia
• Introduction
• The Foundations of the North American Classical Guitar
• Marketplace
• The Recordings of the Spanish Music Center
• The Spanish Music Center and Lo-Fi Recording Aesthetics
• The Recording Career of Rey de la Torre
• Laurindo Almeida's Recordings of the 1950s and 1960s
• The Sound of Almeida's Recordings
• The Classical Guitar and American Popular Music and Jazz
• 7 Developments in Latin America
• Introduction
• The Documentation of Latin American Guitar Music
• The Emergence of the Brazilian Classical Guitar
• Guitarists of the Rio de la Plata
• Alirio Diaz and Venezuelan Music
• The Classical Guitar in Mexico
• Cuban Perspectives on the Classical Guitar
• PART THREE THE RECORDING MODEL INTERROGATED
• 8 Nationalism and Modernism in the Recordings of Julian Bream
• Introduction
• Early Recordings for Decca and Westminster
• Recording Aesthetics: Westminster's "Natural Balance"
• Re-thinking the Classical Guitar Album Program: Bream at RCA
• Modernizing the Repertoire: 20th Century Guitar, '70s and Dedication
• Bream's Quest for an Acoustic Aesthetic
• Re-orienting Recorded Guitar Perspective After Bream
• Bream and the Recording Process
• 9 Non-conformity in the Recordings of John Williams
• Introduction
• Early Recordings: Delyse, Westminster and CBS
• Williams' Early Recording Aesthetic
• Recording and Repertoire Experiments After 1970
• Constructing the Solo Guitar Recording
• Crossover Projects from Changes to Sky
• Williams' Changing Attitude to Recorded Classical Guitar Sound
• Multi-tracking the Classical Guitar
• 10 The Wider European Context
• Introduction
• Spain: The Early Recordings of Narciso Yepes
• Yepes at Deutsche Grammophon
• Spanish Contemporaries of Yepes
• Guitarists in Austria
• The Recordings of Siegfried Behrend and Anton Stingl
• The Emerging Czechoslovakian Guitar Scene
• Classical Guitar Recording in France
• PART FOUR THE RECORDING MODEL DECONSTRUCTED
• 11 Post-Segovian Narratives of the Classical Guitar
• Introduction
• The Classical Guitar and the Recording Industry at the End of the 1960s
• The Assimilation of the Bream Paradigm
• Leo Brouwer and the Avant-garde Classical Guitar
• The Album Program Re-imagined
• The Rise of the North American Progressives
• Contemporary Eastern European Perspectives
• Traversing Boundaries: The Recordings of Liona Boyd
• Popular Music as Repertoire: The Classical Guitar Canon In!ltrated
• 12 Retaining and Revitalizing the Tradition
• Introduction
• Segovia's Legacy in North America: Christopher Parkening
• The Spanish Perspective Retained
• Recordings and the Classical Guitar Transcription
• Historical Composer Recording Projects
• Latin America and the Classical Guitar Canon
• Audiophile Recording and the Classical Guitar
• Recapturing Liveness: Classical Guitarists and "Direct to Disc" Recording
• 13 Narrative Threads Since the 1990s
• Introduction
• The Consolidation of the Progressive Paradigm
• The Revival of the Classical Guitarist-Composer
• Classical Guitar Recording in Britain Since the 1990s
• North American Perspectives After 1990
• Popular Music and the Canonization of The Beatles
• The Canon Upheld: The Recordings of David Russell
• The Segovian Paradigm Reinstated
• The Repertoire Documented: The Naxos Guitar Collection
• The Emergence of the Specialist Classical Guitar Recordist
• New Critical Perspectives on Classical Guitar Sound
• Extensions of the Audiophile Recording Aesthetic
• 14 Two Contemporary "House" Guitarists and the Future of Classical Guitar Recording Practice
• Introduction
• Xuefei Yang
• Milos Karadagli
• Concluding Remarks
• Archives and Bibliography
• Select Discography
• Index