He suggests Pujol’s treatment of the instrument, over and above the school of Tarrega, can be viewed as a continuation of a violinistic tradition from Paganini via Sarasate and Kreisler to Ysaye.
#EMILIO PUJOL ESTUDIO 25 IN A MINOR SHEET MUSIC FULL#
In the liner notes, guitarist Frank Bungarten is full of accolades for the method and describes personal successes over a forty year period with musical and technical development in guitar playing. The Pujol method comprises four volumes written between 1923 and the 1960s.
While Pujol’s method follows on from the art of Aguado and Sor, it does so on a technical level far beyond them. Most guitar players will have encountered didactic pieces by Pujol, but few will be aware that he wrote a very important method for the guitar. He was a student and disciple of the great Francisco Tarrega, and along with Miguel Llobet, the most celebrated of Tarrega’s pupils. To listen to a broader selection of his music one must revert to such sources as YouTube.Įmilio Pujol Vilarrubi was born in 1886 in Le Granadella. His music is parsimoniously recorded and infrequently included in concert programmes. This recording presents a composer whose name is well known in the guitar world, but whose actual compositions are generally not so well known, with minor exceptions such as El Abejorro (track 18). His strategy was to approach contemporary composers of significance to write original works for the guitar, and to make his own arrangements and transcriptions of music suitable for the guitar.
A number of the early guitar virtuosi wrote their own compositions, and while some are not without merit, Segovia initially struggled with a repertory that, while expansive in breadth, had a paucity of quality. There are no original works by Mozart, Beethoven or Mendelssohn in the guitar repertory. Segovia was able to overcome both these challenges and establish the guitar internationally as a concert instrument.Īn instrument with few virtuosi, and the limitations the guitar possessed, did not attract major composers. He had some brilliant predecessors, but for both technical reasons, and the sound limitations of the guitar prior to Antonia Torres (1817-1892), the focus of the guitar had been as a salon instrument, not one to be played in large venues. The reason is simple: few serious musicians embraced the guitar, and it was not until the 20 th century that Andres Segovia commenced a life-long career of promoting the guitar globally, and having it established as a serious concert instrument. Unlike other concert instruments, the annals of the guitar are not full of renowned virtuosi. 2018, Konzerthaus der Abtei Marienmünster, Germany Support us financially by purchasing this from
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