making the guitar more popular again. In 1921 in Paris, Segovia met Alexandre Tansman, 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. In 1921, he also met Agustín Barrios in Buenos Aires, Argentina. Segovia was impressed by Barrios' Bach-inspired and arguably magnum opus La Catedral. 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 "classicising" Concurso was to preserve flamenco in its purity from being distorted by modern popular music. Segovia had already developed as a fine tocador of flamenco guitar, yet his direction was now classical. Invited to open the Concurso held at the Alhambra, he played Homenaje a Debussy by Falla. In 1923, Segovia visited Mexico for the first time. There Manuel Ponce was so impressed with the concert that he wrote a review in El Universal. Later Ponce went on to write many works for Segovia, including numerous sonatas. In 1924, Segovia, visited the German luthier Hermann Hauser Sr. after Segovia heard some of Hauser's instruments played in a concert in Munich. In 1928, Hauser provided Segovia with one of the guitars, which Segovia used during his tour of the United States and in other concerts up to 1933. Segovia ordered a further guitar from Hauser and after receiving it passed on the 1928 model to his American representative and close friend Sophocles Papas, who in his turn gave it to his 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, persuaded Francis Charles Coppicus from the Metropolitan Musical Bureau to present the guitarist in New York. After Segovia's debut tour in the US in 1928 the Brazilian composer Heitor Villa-Lobos composed his now well-known Twelve Études (Portuguese: Doze estudos; French: Douze études; German: Zwölf Studien) and later dedicated them to Segovia. Their relationship proved to be lasting, and Villa-Lobos continued to write for Segovia. He also transcribed numerous classical pieces himself and revived the pieces transcribed by predecessors like Tárrega. In 1932, Segovia met and befriended the composer Mario Castelnuovo-Tedesco in Venice. Since Castelnuovo-Tedesco did not play the guitar, Segovia provided him with guitar compositions (Ponce's Folias variations