John Williams: Changing the Culture of the Classical Guitar

Introduction

The 'Segovian' narrative

John Williams and diversity

Aims

1 Andres Segovia and John Williams

Segovia: career, tributes and reception

Other contributions to classical guitar culture in the early twentieth century

Attitudes to other musical styles

Teaching

Interpretation of the Segovia legacy

The king and the prince

Williams as a child prodigy

Contrasting approaches to popular and folk music styles

Williams and politics

Shifting attitudes about classical guitar

Conclusion

2 John Williams' approach to the classical guitar

Following the pulse

Performance anxiety

Approach to J.S. Bach's Chaconne in D minor

Contrasting approaches to Mauro Giuliani's Guitar Concerto No. 1 in A major, Op. 30 (1808)

Ensemble playing and sight-reading

Amplification and other manipulations of the natural sound

'Squeaks'

Guitar design

Williams and guitar teaching

Summary

3 'Putting the guitar out of classical music'

Cavatina and other film projects 1

Sky

Africa

Venezuela - El Diablo Suelto

John Williams and jazz

Summary

4 New directions in classical guitar

Sculthorpe

Takemitsu

Dodgson

Performing with Julian Bream

Richard Harvey

Williams' own compositions

Programme choices

Leo Brouwer

Agustin Barrios Mangore

Summary

Conclusion

Broadening the repertoire and appeal of the classical guitar

Critical perception

Summary

Bibliography

Index