Michael O'Toole is one of the leading figures in the Irish guitar scene today. He has given many memorable solo recitals and also contributed significantly to the development of the instrument as artistic director of both The Waltons International Guitar Festival and The Chord Ennis International Music Festival. Michael also currently has the honour of being a director of the prestigious Kilkenny Arts Festival. Michael holds a PhD from the DIT Conservatory of Music and Drama, and a master's degree in performance from University College Cork.

• Introduction The ‘Segovian’ narrative John Williams and diversity Aims 1 Andrés Segovia and John WilliamsSegovia: 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 Conclusion2 John Williams’ approach to the classical guitarFollowing 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 1Sky Africa Venezuela – El Diablo Suelto John Williams and jazz Summary4 New directions in classical guitarSculthorpe Takemitsu Dodgson Performing with Julian Bream Richard Harvey Williams’ own compositions Programme choices Leo Brouwer Agustin Barrios Mangoré SummaryConclusionBroadening the repertoire and appeal of the classical guitar Critical perception SummaryBibliography Index

Michael O'Toole is one of the leading figures in the Irish guitar scene today. He has given many memorable solo recitals and also contributed significantly to the development of the instrument as artistic director of both The Waltons International Guitar Festival and The Chord Ennis International Music Festival. Michael also currently has the honour of being a director of the prestigious Kilkenny Arts Festival. Michael holds a PhD from the DIT Conservatory of Music and Drama, and a master's degree in performance from University College Cork.

• Introduction The ‘Segovian’ narrative John Williams and diversity Aims 1 Andrés Segovia and John WilliamsSegovia: 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 Conclusion2 John Williams’ approach to the classical guitarFollowing 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 1Sky Africa Venezuela – El Diablo Suelto John Williams and jazz Summary4 New directions in classical guitarSculthorpe Takemitsu Dodgson Performing with Julian Bream Richard Harvey Williams’ own compositions Programme choices Leo Brouwer Agustin Barrios Mangoré SummaryConclusionBroadening the repertoire and appeal of the classical guitar Critical perception SummaryBibliography Index