Granada buzzes with distinguished visitors and activities a few days prior to the Contest. Valladar reported on the excitement in his magazine on Wednesday May 31. He dedicated a laudatory piece to Tomas Breton, and he also wrote about the arrival in Granada of Santiago Rusinol (illustrious writer and artist, dear friend, and dear collaborator of this publication), and discussed the preparation of an “interesting exhibition of works by the illustrious painting.” He also comments on Gaspar Casado’s May 24 concert, in which he performed Falla’s Homage To Debussy with Jose Cubiles and Andres Segueva. Valladar had given a wonderful critique of Segovia in 1913. He confronted the flamenco guitar with the classical guitar and vindicating Spanish vihuelists. Segovia played in Granada 34 times between that performance and June 7, 1922. Valladar mentions him only briefly in a concert on 02/28/1914 which he calls a “beautiful concert” by the great guitarist Segovia. Comments (The Alhambra March 15, 1914, page 93). It seems that Linares’ native did not play the vihuelists from the 16th century, and included transcriptions for guitar works for piano or orchestra in his recitals. Valladar does not seem enthusiastic about the “modernist style” of Moreno Torroba and Falla.
“With genuine emotion, I heard Andres Segovia, a young artist, masterfully interpret the admirable repertoire that Breton presented me in a letter. He referred to him as the Sarasate for the guitar; the most talented of his class. Tarrega was a wonderful romantic. The memories of his shrewd interpretations are still fresh in our minds. His disciples and followers also remember him well. Tarrega transformed the guitar into an amazing instrument that is not like the one that accompany the walking flamenco jipios. You can hear the difference in his repertoire, interpretations, and sound effects. I am reminded of him through Llovet, Segovia, my two most famous disciples. The guitar survived in these and their imitators. Tarrega and his followers have made the guitar an instrument.
<<[…] Other concerts have recreated the soul: the Segovia concert, which was organized by the Artistic Center at the Alhambra Palace's beautiful theater. Segovia, for which I cordially felicitate you, pays special attention to the works and life of Sors, the heir of the great Spanish vihuelists and those of Tarrega who will be remembered by all of us who had the chance to hear him. Whatever the differences in the arrangements, music written for guitar is very different from music for orchestra or piano. Segovia, a great Spaniard has long known the extraordinary music composed by Spanish vihuelists between the 16th and the 18th centuries. […] Two new works Segovia made available to us include Castellanas by Moreno Torroba, and Homenaje a Debussy by Falla. Both are part of the concept modernism, and… we'll talk about it another day.
[The Alhambra May 31, 1922, page 105]
