Serranilla Bank

Disputed islands
Geography
Serranilla Bank (Colombia)
Location	Caribbean Sea
Coordinates	15°50′N 79°50′W / 15.833°N 79.833°W / 15.833; -79.833Coordinates: 15°50′N 79°50′W / 15.833°N 79.833°W / 15.833; -79.833 [1]
Total islands	4
Major islands	Beacon Cay
Administered by
Colombia
Department	San Andrés and Providencia
Claimed by
Honduras
Nicaragua
United States
Territory	unorganized, unincorporated
Demographics
Population	0

Serranilla Bank shown on satellite image.

Serranilla Bank (Spanish: Isla Serranilla or Banco Serranilla) is a partially submerged reef, with small uninhabited islets, in the western Caribbean Sea. It is situated about 350 kilometres (220 mi) northeast of Punta Gorda, Nicaragua, and roughly 280 kilometres (170 mi) southwest of Jamaica.^[1] The closest neighbouring land feature is Bajo Nuevo Bank, located 110 kilometres (68 mi) to the east.

Serranilla Bank was first shown on Spanish maps in 1510. It is administered by Colombia as part of the department of San Andrés and Providencia.^[2][3] Although the bank is currently occupied by Colombia,^[4] it is subject to a sovereignty dispute involving Honduras, Nicaragua and the United States.

History[link]

This section requires expansion.

The Serranilla Bank was first shown on Spanish maps in 1510. The United States claimed the bank under the Guano Islands Act in 1879 and 1880.^[5]

Geography[link]

Serranilla Bank is a former atoll, now a mostly submerged carbonate platform consisting of shallow reef environments. It is about 40 km in length and 32 km in width, covering an area of over 1200 km², almost entirely under water. Three small cays and two rocks emerge above the water to form the bank's islands. These are West Breaker, Middle Cay, East Cay, Beacon Cay and Northeast Breaker.^[6] They are largely barren, with sparse vegetation of bushes and some trees. Most of the reef is drying and many shipwrecks are located in its vicinity.^[7]

Beacon Cay is the largest islet in the Bank. It is overbuilt with small military facilities, which house a small rotating garrison of Colombian naval personnel. There is a lighthouse on a coral ledge in the southwest approach to the bank. It is a 33 m (108 ft) tall skeletal tower built atop a 3-storey crew residence. The lamp emits a focal plane beam of light as two white flashes every 20 seconds. The current lighthouse was first erected in 1982,^[8] and was reconstructed in May 2008 by the Colombian Ministry of Defence. It is currently maintained by the Colombian Navy, and overseen by the state's Maritime Authority.^[6][9][10]

Territorial dispute[link]

Serranilla is the subject of conflicting claims made by a number of sovereign states. In most cases, the dispute stems from attempts by a state to expand its exclusive economic zone over the surrounding seas.

Between 1982 and 1986, Colombia maintained a formal agreement with Jamaica which granted regulated fishing rights to Jamaican vessels within the territorial waters of Serranilla Bank and nearby Bajo Nuevo Bank.^[11][12] In November 1993, the two states agreed upon a maritime delimitation treaty establishing a "Joint Regime Area" to cooperatively manage and exploit living and non-living resources in designated waters between the two banks.^[13] However, the territorial waters immediately surrounding the cays themselves were excluded from the zone of joint-control, as Colombia considers these areas to be part of her coastal waters.^[14][15] The agreement came into force in March 1994.^[12]

Nicaragua lays claim to all the islands on its continental shelf,^[16] covering an area of over 50,000 km² in the Caribbean Sea, including the Serranilla Bank and all islands associated with the San Andrés and Providencia archipelagoes. It has persistently pursued this claim against Colombia in the International Court of Justice (ICJ), filing cases in both 2001 and 2007.^[17][18]

The United States claim was made in the 19th century by James W. Jennett^[19] under the provisions of the Guano Islands Act.^[20] Most claims made by the U.S. over the guano islands in this region were officially renounced in a treaty with Colombia, dated September 1972.^[21] But whether or not Serranilla Bank was included in the agreement is disputed—there is no specific mention of the feature in the treaty and, as per Article 7 of the said treaty, only matters specifically mentioned in the document are subject to it. According to other records, as well as claims made within the ICJ, Colombia is recognised by the United States as having varying degrees of sovereignty over Serranilla Bank through the treaty of 1972, which took effect in September 1981.^[16][22] The U.S. considers the reef to be an unorganized, unincorporated United States territory.^[20][23]

Honduras claims Serranilla Bank as part of its national territory in Article 10 of its Constitution.^[24] In 1986, it agreed upon a maritime boundary demarcation with Colombia that excluded Honduras of any control over the bank or its surrounding waters.^[3][25] The ratification of this boundary on 20 December 1999^[26] proved to be controversial within Honduras, as it ensured that the state implicitly recognised Colombia's sovereignty over the claimed territory.^[27] Nicaragua, which has not resolved its maritime borders with Honduras or Colombia, disputed Honduras' legal right to hand over these areas before the ICJ.^[16][28] Despite the agreement with Colombia, however, the government has yet to officially renounce the claim in the Constitution.

See also[link]

• Alice Shoal
• Rosalind Bank
• Serrana Bank
• List of Guano Island claims

References[link]

Sources and external links[link]

• Statoids — states Serrana Bank and Serranilla Bank transferred from United States to Colombia.
• Oceandots — aerial image of Serranilla Bank.
• WorldStatesmen.org — lists the bank under the United States.
• Panoramio — photos of the islands here [1] and here [2].

v t e Political divisions of the United States States Alabama Alaska Arizona Arkansas California Colorado Connecticut Delaware Florida Georgia Hawaii Idaho Illinois Indiana Iowa Kansas Kentucky Louisiana Maine Maryland Massachusetts Michigan Minnesota Mississippi Missouri Montana Nebraska Nevada New Hampshire New Jersey New Mexico New York North Carolina North Dakota Ohio Oklahoma Oregon Pennsylvania Rhode Island South Carolina South Dakota Tennessee Texas Utah Vermont Virginia Washington West Virginia Wisconsin Wyoming Federal district Washington, D.C. (District of Columbia) Insular areas American Samoa Guam Northern Mariana Islands Puerto Rico U.S. Virgin Islands Outlying islands Bajo Nuevo Bank Baker Island Howland Island Jarvis Island Johnston Atoll Kingman Reef Midway Atoll Navassa Island Palmyra Atoll Serranilla Bank Wake Island

Andrés Segovia in 1963

Andrés Segovia Torres, 1st Marquis of Salobreña (pronounced: [anˈdɾes seˈɣoβja ˈtores]) (February 21, 1893 – June 2, 1987^[1]), known as Andrés Segovia, was a virtuoso Spanish classical guitarist from Linares, Jaén, Andalucia, Spain. He is widely considered to be one of the best known and most influential classical guitar personalities of the 20th century,^[2][3] having a considerable influence on later guitarists, particularly because of important guitar works that were dedicated to him by composers such as Federico Moreno Torroba.^[4][5]

Segovia is credited for his modern-romantic repertoire, mainly through works dedicated to him by modern composers, but he also created his own transcriptions of classical works that were originally for other instruments. He is remembered for his expressive performances: his wide palette of tone, and his distinctive (often instantly recognizable) musical personality in tone, phrasing and style.

Early life[link]

Segovia stated that he began to play the guitar at the age of six.^[6] Angelo Gilardino, who has worked at the Fundación Andrés Segovia in Spain, noted: "Though it is not yet completely documented, it seems clear that, since his tender childhood, [Segovia] learnt playing as a flamenco guitarist. The first guitar he owned had formerly been played by Paco de Lucena who died when Segovia was five years old. Since then, Segovia was given some instruction by Agustinillo, an amateur flamenco player who was a fan of Paco de Lucena."^[7] Nevertheless, Segovia did not really play flamenco. Instead he preferred expressive art-music such as that by Federico Moreno Torroba, and revived interest in the instrument as an expressive medium for the performance of classical art-music.

As a teenager, Segovia moved to the town of Granada, where he studied the guitar. However, his father had wanted him to become a lawyer.^[8] After his time in Granada, he returned home and spent much time at the Alhambra palace, a Moorish relic overlooking the town which he regarded as his spiritual awakening.

Career[link]

Segovia's first public performance was in Spain at the age of 16 in 1909,^[8] and a few years later he held his first professional concert in Madrid, playing works by Francisco Tárrega and some guitar transcriptions by J.S. Bach, which he had transcribed and arranged himself. Although he was always discouraged by his family who wanted him to become a lawyer and he was looked down on by some of Tárrega's pupils,^[9] he continued to diligently pursue his studies of the guitar.

He played again in Madrid in 1912, at the Paris Conservatory in 1915, in Barcelona in 1916, and made a successful tour of South America in 1919.^[1] The status of the classical guitar at the beginning of the twentieth century had declined, and only in Barcelona and in the Rio de la Plata region of South America could it have been said to be of any significance. When Segovia arrived on the scene, this situation was just beginning to change, largely through the efforts of Miguel Llobet^[10]. It was in this changing milieu that Segovia, whose strength of personality and artistry coupled with new technological advances such as recording, radio, and air travel, succeeded in making the guitar more popular again.

In 1921 in Paris, Segovia met Alexandre Tansman^[11], who later wrote a number of guitar works for Segovia, among them Cavatina, which won a prize at the Siena International Composition contest in 1952.^[12]

At Granada in 1922 he became associated with the Concurso de Cante Jondo promoted by the Spanish composer Manuel de Falla. The aim of the "classicizing" Concurso was to preserve flamenco in its purity from being distorted by modern popular music.^[13] Segovia had already developed as a fine tocador of flamenco guitar, yet his direction was now classical.^[14] Invited to open the Concurso held at the Alhambra, he played Homenaje a Debussy by Falla.^[15]

Guitar by Hermann Hauser, 1937, Munich, Germany. Concert guitar of Andrés Segovia's from 1937 until 1962. Gift of Emilita Segovia, Marquessa of Salobreña, 1986 (1986.353.1). Housed in the Metropolitan Museum of Art.

In 1923 Segovia was in Mexico for the first time. There Manuel Ponce was so impressed with the concert, that he wrote a review in El Universal.^[16] Later Ponce went on to write many works for Segovia, including numerous sonatas.

In 1924, Segovia visited the German luthier Hermann Hauser Sr. after hearing some of his instruments played in a concert in Munich. In 1928 Hauser provided Segovia with one of his personal guitars for use during his United States tour and in his concerts through to 1933. When Hauser delivered the new instrument Segovia had ordered, Segovia passed his 1928 Hauser to his U.S. representative and close friend Sophocles Papas, who gave it to his classical guitar student, the famous jazz and classical guitarist Charlie Byrd, who used it on several records.

Segovia's first American tour was arranged in 1928 when Fritz Kreisler, the Viennese violinist who privately played the guitar,^[17] persuaded F. C. Coppicus from the Metropolitan Musical Bureau to present the guitarist in New York.^[18][19]

After Segovia's debut tour in the U.S. in 1928, the Brazilian composer Heitor Villa-Lobos composed his now well-known Twelve Études (Douze études) and later dedicated them to Segovia. Their relationship proved to be lasting as Villa-Lobos continued to write for Segovia. He also transcribed numerous classical pieces himself and revived the pieces transcribed by predecessors like Tárrega.

Andrés Segovia at a recital in the "Concerts Ysaye" in Brussels, 15 December 1932 (Hilda Wiener, 1877-1940)

In 1932, Segovia met and befriended composer Mario Castelnuovo-Tedesco in Venice.^[12] Since Castelnuovo-Tedesco did not play the guitar, Segovia provided him with guitar compositions (Ponce's Folias variations and Sor's Mozart Variations) which he could study. Castelnuovo-Tedesco composed a large number of works for the guitar, many of them dedicated to Segovia. The Concerto Op. 99 of 1939 was the first guitar concerto of the 20th century and Castelnuovo-Tedesco's last work in Italy, before he emigrated to the United States. It was premiered by Segovia in Uruguay in 1939.^[12]

In 1935, he gave his first public performance of Bach's Chaconne, a difficult piece for any instrument. He moved to Montevideo, performing many concerts in South America in the thirties and early forties.

After World War II, Segovia began to record more frequently and perform regular tours of Europe and the U.S., a schedule he would maintain for the next thirty years. In 1954, Joaquín Rodrigo dedicated Fantasía para un gentilhombre (Fantasy for a Gentleman) to Segovia.^[20] Segovia won the 1958 Grammy Award for Best Classical Performance, Instrumentalist for his recording Segovia Golden Jubilee.^[21]

John W. Duarte dedicated his English Suite Op.31 to Segovia and his wife (Emilia Magdalena del Corral Sancho) on the occasion of their marriage in 1962.^[22] Segovia told the composer "You will be astonished at the success it will have".^[23][24]

In recognition of his contributions to music and the arts, Segovia was ennobled on 24 June 1981 by King Juan Carlos I, who gave Segovia the hereditary title of Marqués de Salobreña^[25][26] (English: Marquis of Salobreña) in the nobility of Spain.

Andrés Segovia continued performing into his old age, living in semi-retirement during his 70s and 80s on the Costa del Sol. Two films were made of his life and work—one when he was 75 and the other, 84. They are available on DVD called Andrés Segovia — in Portrait. His final RCA LP record (ARL1-1602), Reveries, was recorded in Madrid in June 1977.

In 1984, Segovia was the subject of a thirteen part series broadcast on National Public Radio, entitled Segovia! The series was recorded on location in Spain, France, and the United States. Hosted by Oscar Brand, the series was produced by Jim Anderson, Robert Malesky, and Larry Snitzler.

Segovia died in Madrid of a heart attack at the age of 94. He is buried at Casa Museo de Linares, in Andalusia.

Technique[link]

Segovia's technique differed from that of Tárrega and his followers, such as Emilio Pujol. Both Segovia and Miguel Llobet (who taught Segovia several of his transcriptions of Granados' piano works) plucked the strings with a combination of his fingernails and fingertips, producing a sharper sound than many of his contemporaries. With this technique, it was possible to create a wider range of timbres, than when using the fingertips or nails alone. Historically, classical guitarists have debated which of these techniques is the best approach. The vast majority of classical guitarists now play with a combination of the fingernails and fingertips.

After World War II, Segovia became among the first to endorse the use of nylon strings instead of gut strings.^[27] This new advance allowed for greater stability in intonation, and was the final missing ingredient in the standardization of the instrument.

Repertoire[link]

Segovia's repertoire consisted of three principal pillars. Firstly, contemporary works, including concertos and sonatas, usually specifically written for Segovia himself by composers he forged working relationships with, notably Spaniards such as Federico Moreno Torroba, Federico Mompou, and Joaquín Rodrigo, the Mexican composer Manuel Ponce, the Italian composer Mario Castelnuovo-Tedesco, and the great Brazilian composer Heitor Villa-Lobos. Secondly, transcriptions, usually made by Segovia himself, of classical works originally written for other instruments (e.g., lute, harpsichord, piano, violin, cello) by Johann Sebastian Bach, Isaac Albéniz, Enrique Granados, and many other prominent composers. Thirdly, traditional classical guitar works by composers such as Fernando Sor and Francisco Tárrega. Segovia's influence enlarged the repertoire, mainly as a commissioner or dedicatee of new works, as a transcriber, and to a far lesser extent as a composer^[28] with such works as his Estudio sin luz.

Segovia's main musical aesthetic preferences were music of the early 20th century (and turn of the century) especially in the Spanish romantic-modern and nationalist style. This is perhaps best typified by Segovia's own work Estudio sin Luz. Many works of this and similar style were written especially for him and formed part of his core repertoire: particularly the guitar works of Federico Moreno Torroba (1891–1982), such as the Sonatina, which was first performed by Segovia in Paris in 1925.^[29]

Segovia was selective and only performed works with which he identified personally. He was known to reject atonal works, or works which he considered too radical, even if they were dedicated to him; e.g. he rejected Frank Martin's Quatre pièces brèves, Darius Milhaud's Segoviana, etc.^[12][30] Even though rejected by Segovia, the works are today all published and available.^{[31][32][33][34][35][36]}

Teaching[link]

Segovia viewed teaching as vital to his mission of propagating the guitar and gave master classes throughout his career. His most famous master classes took place at Música en Compostela in the northern Spanish city of Santiago de Compostela.^[37]

Segovia also taught at the Accademia Musicale Chigiana in Siena for numerous years, where he was aided by Alirio Díaz.^[38] Later it was Oscar Ghiglia who continued the Siena class.^[39]

His teaching style is a source of controversy among some of today's players, who consider it to be dogmatically authoritarian.^[40][41][42] John Williams for instance criticized his scope as a teacher and spoke of the atmosphere of fear in his classes.^{[citation needed]}

Legacy[link]

Segovia can be considered a catalytic figure in granting respectability to the guitar as a serious concert instrument capable of evocativeness and depth of interpretation. It was Federico Moreno Torroba who said: "The musical interpreter who fascinates me the most is Andrés Segovia".^[43] He can be credited to have dignified the classical guitar as a legitimate concert instrument before the discerning music public, which had hitherto viewed the guitar merely as a limited, if sonorous, parlor instrument.

In Linares the Segovia Museum "Fundación Andrés Segovia" was established in May 1995^[44] and this birth-town of Segovia, also has a bronze statue in his honour, created by Julio López Hernández and unveiled on 25 May 1984.^[45][46][47]

Segovia influenced a generation of classical guitarists who built on his technique and musical sensibility, including such luminaries as Christopher Parkening, Julian Bream, and Oscar Ghiglia, all of whom have acknowledged their debt to him. Further, Segovia left behind a large body of edited works and transcriptions for classical guitar, including several transcriptions of J S Bach, in particular, an extraordinarily demanding classical guitar transcription of the Chaconne from the 2nd Partita for Violin (BWV 1004).

His editions of works originally written for guitar include newly fingered and occasionally revised versions of works from the standard repertoire (most famously, his edition of a selection of twenty estudios by Fernando Sor, as well as compositions written for him, including by Heitor Villa-Lobos, Federico Mompou, and Castelnuovo-Tedesco.^{[citation needed]} Many of the latter were edited by Segovia, working in communication with the composer, before they were first published. Because of Segovia's predilection for altering the musical content of his editions to reflect his interpretive preferences, many of today's guitarists prefer to examine the original manuscripts, or newer publications based on the original manuscripts in order to compare them with Segovia's published versions, so as to accept or reject Segovia's editorial decisions.^{[citation needed]}

There are guitar festivals and competitions that were named after Segovia.^[48][49]

Awards[link]

Segovia was awarded many prizes and honours including Ph.D, honoris causa from ten universities.^[50] On 24 June 1981, he was ennobled by King Juan Carlos I, who gave Segovia the hereditary title of Marqués de Salobreña^[25][26] (English: Marquis of Salobreña) in the nobility of Spain in recognition of his contributions to music and the arts. He received the Danish Sonning Award in 1974, the Ernst von Siemens Music Prize in 1985, and a Grammy Lifetime Achievement Award in 1986.

Personal life[link]

Segovia's first wife was Adelaida Portillo (marriage in 1918).^[51] Segovia's second wife (marriage in 1935) was the pianist Paquita Madriguera, who also made some piano roll recordings.^[52][53] From 1944, he maintained a relationship with Brazilian singer and guitarist Olga Praguer Coelho, which was to last for over a decade.^[54] In 1962 Segovia married Emilia Magdalena del Corral Sancho.^[55] They had one son, Carlos-Andrés de Segovia y del Corral. On his death the marquessate passed to his son.^[56]

See also[link]

• Michele Pittaluga International Classical Guitar Competition founded with his support

References[link]

Bibliography[link]

• Alberto López Poveda: Andrés Segovia - Vida y Obra (2010; Tome1: 864 pages; Tome2: 408 pages) (1, 2), 2009
• Alfredo Escande: Don Andrés y Paquita - La vida de Segovia en Montevideo
• The Segovia-Ponce Letters
• Andrés Segovia. Un secolo di storia nella musica del grande chitarrista spagnolo (2005)
• Graham Wade: Traditions of the Classical Guitar(John Calder, London, 1980)
• Graham Wade: Segovia - A Celebration of the Man and his Music (Allison & Busby, London, 1983)
• Graham Wade: Maestro Segovia (Robson, London, 1986)
• Graham Wade and Gerard Garno: A New Look at Segovia, His Life, His Music, Volumes 1 & 2 (Mel Bay Publications Inc., Pacific, Missouri, 1997)
• Graham Wade: A Concise History of the Classic Guitar (Mel Bay Publications Inc., Pacific, Missouri,2001)
• Machilis, Joseph. The Enjoyment of Music: An Introduction to Perceptive Listening. New York: W.W Norton and Company, 1977, Pages 107-109.

External links[link]

• Andrés Segovia by Mark Small (Acoustic Guitar, November 2010)
• (Spanish)Cronología de la Vida y Obra de Andrés Segovia (1893-1987)
• Segovia's life before he left Spain for the first time (1920) info by Angelo Gilardino (3 June 2007, rec.music.classical.guitar)
• (Spanish)Andrés Segovia. Síntesis biográfica. Honores y distinciones. by Alberto López Poveda (Real Academia de Bellas Artes de San Fernando, Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1986. Número 63.) ref.
• (Spanish)Andrés Segovia y Federico Mompou ante el centenario de su nacimiento. by Antonio Iglesias (Boletín de la Real Academia de Bellas Artes de San Fernando. Segundo semestre de 1992. Número 75.) ref.
• In Memory of Andres Segovia by Vasilios Avraam (www.guitarramagazine.com)
• Biography by Joseph Stevenson (Allmusic)

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