Recording the Classical Guitar
- Author: Marrington, Mark
Book
$66.25Printed on demand
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