The guitar is synonymous with Spain, and during the 20th century was equally identified with the great virtuoso Andrés Segovia.
John Williams looks at the background to his playing, and the works of Tárrega and Llobet, as well as the playing of Segovia's contemporary Regino Sainz de la Maza.
He explores the traditional Spanish music that was adapted for the guitar, and explains why it was for de la Maza, not Segovia, that Rodrigo composed his celebrated Concierto de Aranjuez, the best-known guitar concerto of the 20th century.
The creation of the British 20th century guitar repertoire was largely due to one man, Julian Bream, and the way he worked with many composers to create new works for the instrument.
John Williams introduces Bream's famous recordings of works by Walton, Britten and Arnold, and also discusses his own collaborations with such composers as Stephen Dodgson and Richard Harvey.
He also gives the background to Stanley Myers' composition Cavatina, and how it became one of the most widely-known of all guitar pieces.
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In the first of his new series about the great instrumentalists and composers who created the classical guitar repertoire, John Williams looks at the way the instrument developed in the 19th century.
He demonstrates the kind of playing techniques used by the celebrated virtuosi Legnani and Paganini, and introduces recordings of their major compositions.
He also explores the works of the two giants of the period, Sor and Giuliani and their very different ways of writing for the instrument.
exploring the playing of Segovia and de la Maza and the works of Tarrega and Llobet.
John Williams continues a series about instrumentalists and composers who created the classical guitar repertoire and plays recordings by Julian Bream.
John Williams explores guitar music from South America, including composers Augustin Barrios (Brazil), Antonio Lauro (Venezuela) and Leo Brouwer (Cuba).