As a tangent to the most recent Segovia criticism threads these past few weeks, I propose looking from a different approach.
Here's a fun little "what-if" exercise. For this to work, you need a solid fundamental awareness of "who other than Segovia?" was active in the CG world from 1918 (end of WWI) to 1936 (Spanish Civil War) or even 1939 (WWII).
"WHAT IF"... Segovia hadn't been around? He took up the violin, or became a chef, or got stabbed by a jealous husband, or fell off a ladder, or whatever. If you like, he can even have a CG career, on up until 1919, because he was still quite obscure until then. But as of Janaury 1, 1919: he's out of the game.
EVERYONE ELSE involved in the CG world 1919-1936 still exists. Barrios, Llobet, Presti, Oyanguren, Foden, Sainz de la Maza, Arguello, Fleury, Borges, everyone. All lived within their historically defined lifespans. The flamenco people like Ramon Montoya or Nino Ricardo had their own careers, with their own resultant lines-of-influence. And composers such as Ponce and Tansman and and Tedesco, Turina, Torroba and Rodrigo were quite alive, too, but they never met Segovia, because he doesn't exist. Villa-Lobos and Barrios woudl still do their own music in South America. HVL's 12 Etudes may or may not come about, without Segovia's existence. Hard to say. The Aranjuez probably still would be composed, it's written for Sainz de la Maza. And all the pre-1919 people -- Tarrega, Sor, Mertz, and so on -- lived their lives, too. No change to that historical angle.
But without Segovia, what does the CG world look like 75-80 years later, in A.D. 2012? Bream and Williams never were influenced by Segovia, nor was anyone else.
As I said, this mental exercise requires good knowledge of the other players of the era. Let's see how well we can envision a CG world without the legacy of Andres Segovia as its baseline.
Last edited by David_Norton on Fri Apr 13, 2012 2:01 pm, edited 2 times in total.