You know what's really interesting is the classical guitar was never regarded as a serious concert instrument. Consequently, few famous composers wrote music for the guitar. So when Andrew Segovia began playing for the public he had to transcribe music originally written for other instruments such as the violin, cello and piano to play on his beloved instrument. As it turned out, many of these violin, cello and piano pieces sound better on the guitar than the instruments they were originally written for. The Bach's Chaconne in D minor comes to mind as an example. This piece is so famous that it has been played on many instruments. However, it's most suited for the guitar.
Well, there is more music ever written for the plucked-string instrument than any other. Because during the renaissance, while the voice was ruler of all, the lute was by far the instrumental choice. Michelangelo was dubbed Il Divino, but he was not the only one. So was Da Milano, and they both worked for the Pope (best gig in Europe, highest paying).
While overshadowed by other instruments, the guitar was definitely around during the romantic era. Giuliani was one, and I believed he performed in Beethoven's orchestra, on the cello, IIRC. IMO, no one touches Regondi though. Good luck finding a worthy recording though. The Reverie/Notturno is one of the real gems of the guitar literature, but is very rarely played with the style it deserves. Its rather rarely played because its so hard as well, I suppose. The Intro/Cappricio reminds me of those violin showpieces, a la Saint-Saens and Sarasate. There are stories of him as a nine y.o. getting 50 encores a concert. If you happen on one of the bad recordings, you might find it boring. However, the harmonies are as complex as they get during that era, think of Chopin.
Segovia did so much for the guitar literature. But he was far from perfect. Stravinsky wanted to write for it, but Segovia refused saying that one of the greatest composers (and for some the greatest period) of the 20th century... sucked. Martin's work for guitar is now a main-stay, but it was never performed by Segovia due to his ultra-conservative tastes. Bream championed it, did his damndest to get more out of the composer, but Martin already had enough. I think perhaps Segovia's greatest contribution was his work with Ponce (even though he'd lose stuff). I've got the complete works, but see these aren't transcriptions or arrangements, but originally written for guitar.
Segovia plays the Chaconne like its a romantic work. Its not.
For certain works to sound better on guitar, this is very arguable. The Ciaccona as well. The fact that its so effective on the violin, with only 4 strings, shows Bach's techno-musical mastery, of his innumerable masteries. Having worked on it on both violin and guitar, I believe the work is best suited for the first though it can be performed in so many variations. Don't we hear orchestrations of the Goldberg? I've heard a cello suite on solo trombone in concert.
I'd say for the Chaconne on the guitar, off the top of my head, the most ineffective it becomes is during the first half of the major section, in instrumental terms, due to the guitar's nature lack of sustenance.
Isn't Busoni's arrangement for piano the most famous of arrangements? Its not even Bach anymore. Why mess with perfection?
People should stick with the urtext more. If you like guitar, and you like Bach, I'd recommend getting your hands on Tilmann Hoppstock's urtext editions of the lute suites.
For those who aren't familiar with this work, some people say that the transition from D major to D minor is the greatest moment in musical history. I don't know enough to make an opinion.
I love the piano, due mainly because of complex harmonics. But also adore the violin and cello just as much. Below that is the harp for me.
Its called "harmonies" not, "harmonics". Just FYI.
