In the master class, Snitzler had asked Segovia about the idea of moving some bass notes down an octave in a piece by Santiago de Murcia.
In a photo that Larry Snitzler provided, this relationship is nicely illustrated. In Santiago, Tomás was Segovia's "right-hand man," and as such Segovia regularly consulted with him about interpretation, techniques, fingerings, and the like. In fact, Snitzler is the bearded fellow sitting in the second row on the right in the YouTube videos from 1965. Segovia considered Tomás as his "guitar son," according to guitarist Larry Snitzler, who came to know Segovia and Tomás well during his many years living and studying in Europe. José Tomás's respect for Segovia was vast, but he differed from Segovia in some ways, including his belief that the guitar could, and should, evolve. He's wearing a striped tie and a very intense expression, his gaze fixed, respectfully, intensely, on Segovia.
That's Tomás sitting to the right of Segovia. On YouTube ( ) there are several clips from Segovia's 1965 Música en Compostela master class. Tomás's apartment on Calle Taquígrafo Martí became a kind of international crossroads, and a chance to sit there facing the maestro meant the world to aspiring classical guitarists.Īndrés Segovia, Larry Snitzler, José Tomás in Santiago de Compestela, 1963, courtesy of Larry Snitzler. But for some, it was the presence of José Tomás that made Alicante attractive, although inexpensive and tasty paella, cheap red wine, and easy access to Mediterranean beaches didn't hurt. The city also has long been a favorite vacation spot for Madrileños and a lively port-of-call for the U.S. Alicante is a jumping off point for the Balearic Islands - Mallorca, Ibiza, Formentera among them - which made the city a destination (or, rather, a pass-through point) for a good many free-spirited young people from the world over in the heady days of the 1960s and 70s. José Tomás Pérez Sellés (AugAugust 7, 2001) was born and lived his entire life in the Spanish port city of Alicante, Spain, on the Costa Blanca, south of Valencia. Among those who helped foster this interest was José Tomás, a guitarist of great skill and discernment whose name and reputation may not resonate with the general public, but whose legacy as a teacher is firmly fixed among a generation of guitarists, and not a few lutenists.
The seeds of interest and enthusiasm that Segovia, Bream, and Williams sowed in the middle of the 20th century have borne an amazing harvest.
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