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).
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, Miquel 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. His esteemed pupil Emilio Pujol, the leading twentieth century musicologist and teacher of the classical guitar, wrote his biography which was originally published in Spain as TÁRREGA: Ensayo biográfico (Los Talleres Gráficos de Ramos, Afonso & Moita, Lda., Lisboa 1960).Emili Pujol Vilarrubí (10 September 1886 – 21 November 1980) was a composer, guitarist and a leading teacher of the classical guitar.Įmili Pujol was born in the little village of Granadella just outside Lleida, Spain. His life was dedicated to increasing interest in the concert guitar, establishing the proper technique, transcribing music from folklore to masterworks by the greatest composers and composing many of the timeless pieces still heard throughout the world today. His e Francisco Tárrega, often called the “father” of guitar, laid the foundations for the modern classical guitar. Francisco Tárrega, often called the “father” of guitar, laid the foundations for the modern classical guitar.
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