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Seguidilla emilio pujol series#

ME 7030 Triquilandia (Jugando al Escondite) Pujol n☁231.ME 2190 Sevilla (Evocation) Pujol n☁205.ME 7027 Rapsodie Valenciana Pujol n☁228.ME 2586-88 Trois Morceaux espagnols: 1.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.(ME numbers refer to the catalogue number of his publisher, Max Eschig, Paris)

Pieza nº 2 (Guajira o Evocación Cubana).

Main article: List of compositions by Emilio Pujol Original compositions His words on Tárrega'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." It was repeated every summer over a ten-year period, and in 1969 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. 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. Also at this time, Pujol's first wife Matilde Cuervas died (1956). 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 at guitar competitions. In 1946, Pujol began his guitar classes at the Lisbon Conservatory of Music, which continued through to 1969. 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).

Seguidilla emilio pujol series#

By 1941 he was back in Spain to the end of his life, and he started 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. During this period he partnered with the publisher Max Eschig in publishing his "Bibliothèque de musique ancienne et moderne pour guitare" (from 1927), resulting in numerous works for solo guitar by historical and contemporary composers. The only major interruptions in his concert travels were his marriage to Matilde Cuervas in Paris, an Andalusian flamenco 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. ĭuring the war years 1914–1918 he did not travel much and mainly remained in Catalonia. Pujol fondly remembered his first encounter with Tárrega and in his biography of his teacher, he described his mestre in very endearing, romantic terms. At this time, Miguel Llobet was making his debut as a concert artist outside Barcelona. He began his studies with Francisco Tárrega in 1902, when he was sixteen years of age. Emili Pujol was born in the little village of Granadella just outside Lleida, Spain.