"I thought that the only thing worthy of Segovia would be to place
him together with another great guitarist and composer, born in the
XVII century, a gentleman in the court of Philip IV, Gaspar Sanz.
I consulted Segovia himself, who approved the plan, but not
without first warning me of the difficulties of its realization, saying
that I would have to work with themes which were very short. Right
away, Victoria, my wife, selected for me from the book of Gaspar
Sanz a short number of themes which we judged appropriate to form
a sort of suite-fantasia and which we very soon decided to call
Fantasìa para un Gentilhombre, playing thus on the names of these
two nobles of the guitar: Gaspar Sanz and Andrès Segovia, in his
turn Gentleman of the Guitar of our days.
"All of the thematic material, except for certain brief episodes in the
last movement, is derived, as is no small part of the harmonic
texture, from the work of Gaspar Sanz, who was employed by
Philip IV of Spain, and more especially by his son, John of Austria.
"Musical taste had greatly changed in the years that passed between
the reigns of Philip II and Philip IV. Unlike poetry, music had too
faithfully followed the pull of the people, and had been extensively
popularized. To the noble grace of pavanes and galliards there
succeeded the lighter style of marzipanos, villanos, españoletas,
canarios, and so on, which were more appropriate to the hurly-
burly of the popular theatre than the palace balls. The dances
which Gaspar Sanz wrote on these and other tunes??
faithfully reflect these tastes and manners, and are, for the most part,
short, simple and light."