Chris Wilke wrote, in a response to an increasingly unfocused string of comments on Segovia's influence on Lutes: | Actually, Paul told me that his idol as a young player was Eric Clapton and he was thrilled to have finally met him at the Grammys | a few years ago. Maybe Paul was also inspired by Segovia, but I don't recall him ever mentioning him. Maybe it is just me, but I don't see a conflict here. Mr. Odette could well have both idolized Eric Clapton _and_ been inspired to search out a lute because of Chilesotti's arrangements (or Segovia's arrangements, see below) of lute pieces which were recorded by (and made famous by) Segovia. From [1]http://www.musicweb-international.com/classrev/2008/Apr08/Segov ia_4_8111092.htm: "The six 16^thcentury pieces are from an anthology by the Italian 19^thcentury musicologist Oscar Chilesotti and Segovia was very fond of these miniatures as concert-openers. They are melodious and attractive, the last one a lively dance over an ostinato bass was composed by Vincenzo Galilei, father of physicist and astronomer Galileo Galilei." Heaven knows I have had enough idols in my time, anyway. I doubt that we're limited to just one. As for the intermediate suggestion that Chilesotti was made famous by Segovia and not Respighi, I think it's safe to say that very few who know of Respighi's arrangements associate Chilesotti with them. Most liner notes and information sources I've seen omit any reference to Chilesotti, which is odd, since Chilesotti died in 1916 and the first of the suites of Respighi, on Ancient Airs and Dances, is dated 1917. According to notes associated with Chilesotti's collection, the source ( Codice Lautenbuch) is supposed to have disappeared, so only Chilesotti's transcriptions would have been available for Respighi's inspiration. On the other hand, Segovia's suite of six are often referred to as coming from Chilesotti's collection, although Segovia is often named as the arranger. So I'd say it is safer to claim Segovia as the one who carried Chilesotti's name out of the 20th Century, than to make that claim for Respighi. Query: Has the copy of Codice Lautenbuch been found, or another copy/version surfaced? It is interesting to survey liner notes and reviews, since they seem to alternate without regard between late-16th C, 17th, and late 1600s as the claimed period.
-- References 1. http://www.musicweb-international.com/classrev/2008/Apr08/Segovia_4_8111092.htm To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
