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#Emilio pujol book 1 series

Claudio Marcotulli *(1958) Publisher: Genova, Italy : Dynamic, [2002 Program notes and biographical notes in Italian, English, and French and German (19 p. : portrs.) inserted in container.3CD recording of Pujol compositions by students of Alberto Ponce.Spanish Songs - Historical Live Recording Of The 1954 Madrid Recital (Rosa Barbany, soprano Emilio Pujol vihuela) (EMEC Discos E-050).Romances et villancicos espagnols du 16e siècle Paris, France ref1 ref2.Musique instrumentale espagnole au 16e siècle Paris, France ref1 ref2.Waltzes, arr from the piano Paris : Editions M. (Verleger: Max Eschig Paris) TranscriptionsĢ75 transcriptions (Juan Riera) Guitar duoįrancis Poulenc (1899–1963). ME 8081 Tyrolienne (Tirolesa) Pujol n☁417b,.ME 6942 Manola del Avapies (Tonadilla) Pujol n☁403,.ME 8046 Canaries (Canarios), air de danse populaire ancienne Pujol n☁415,.ME 7883 Variations sur un thème obsédant Pujol n☁244,.ME 7030 Triquilandia (Jugando al Escondite) Pujol n☁231,.ME 2190 Sevilla (Evocation) Pujol n☁205,.ME 7027 Rapsodie Valenciana Pujol n☁228,.ME 3128 Exercices en formes d’études, 1.ME 7541 Endecha a la Amada Ausente Pujol n☁238,.ME 7848 Caprice varié sur un thème d’Aguado Pujol n☁242,.

ME 7939 Cap i Cua (Variation désuète sur l’exercice 19 d’Aguado) Pujol n☁248,.

ME 7884 Canto de Otono (Chant d’automne) Pujol n☁245,.

ME 3130 Cancion de Cuna (Berceuse) Pujol n☁203,.

ME 7580 Becqueriana (Endecha) Pujol n☁240,.

ME 7028 Atardecer (Crépuscule) Pujol n☁229,.

ME 7899 Aquelarre (Danse des sorcières - 1969) Pujol n☁246,.

Pieza nº 2 (Guajira o Evocación Cubana),.

Main article: List of compositions by Emili Pujol Original compositionsġ24 original compositions (Joan Riera) ? His words on Tàrrega's School of Guitar are also applicable to his own spirit which constantly strived to “resolving in advance all the problems which can arise out of the diverse elements which contribute to the performance of a work: instrument, hands and spirit.” Prominent students It was repeated every summer over a ten year period, and in 1972 it was moved to the thirteenth-century village of Cervera. This event became quite popular and was attended by students and teachers from throughout the world. Also at this time, Pujol's first wife Matilde Cuervas died (1956) and seven years later he married Maria Adelaide Robert, a noted Portuguese pianist and singer who greatly assisted him in his final years.īeginning in the summer of 1965, Pujol launched his International Courses of Guitar, Lute and Vihuela in the city of Lleida, Spain. During this period he was involved in giving master classes (in 1953 he was personally invited by Andrés Segovia to give classes at the Accademia Musicale Chigiana) and adjudicating guitar competitions. In 1946, Pujol began his guitar classes at the Lisbon Conservatory of Music which continued through to 1969, perhaps the first instance of guitar instruction being included in an academic institution. He considered this book to be the pinnacle of the vihuela school and regarded Fuenllana as the final spokesman for this brief courtly instrumental period in Spanish music. Prior to his death, Pujol had begun work on the largest of vihuela music books, the Orphenica Lyra by Miguel Fuenllana, published in 1554. The volume was eventually followed by volumes covering Alonso Mudarra (1949) and Valderrábano (1963) in the series.

#Emilio pujol book 1 series

By 1941, he was back in Spain until 1946, preparing the volume covering the composer for vihuela Luis de Narváez for the series Monumentos de la Musica Española (Vol. The beginning signs of World War II, also prevented him from continuing his concert career.įrom 1935 through 1940, Pujol continued giving a few concerts and lectures as well as pursuing his research in Spain, London and Paris. The only major interruptions in his concert travels were his marriage to Matilda Cuervas in Paris, an Andalusian singer and guitarist, and the period of time he devoted to historical research in Paris into the instrumental predecessors of the guitar. In 1918 he undertook his first tour of South America, starting in Buenos Aires. Pujol fondly remembered his first encounter with Tárrega and in his biography of his teacher, he described his mestre in very endearing, romantic terms.ĭuring the war years 1914-1918 he did not travel much and mainly remained in Catalonia. At this time, Miquel Llobet was making his debut as a concert artist outside Barcelona. He began his studies with Francisco Tárrega at the Conservatory of Barcelona in 1901, when he was fifteen years of age. Emili Pujol was born in the little village of Granadella just outside Lleida, Spain.