Emilio Pujol

from Wikipedia, the free encyclopedia

Emilio Pujol Vilarrubi ( Catalan Emili Pujol i Vilarrubí ; born April 7, 1886 in La Granadella / Province of Lleida in Catalonia , † November 15, 1980 in Barcelona ) was a Spanish guitarist and composer .

life and work

Tárrega's heirs: Andrés Segovia (1893–1987), Miguel Llobet (1878–1938), Daniel Fortea (1878–1953) and Emilio Pujol (1886–1980)
Miguel Llobet , Emilio Pujol, Juan Carlos Anido, María Luisa Anido and Domingo Prat in the Anido house, 1919

Emilio Pujol is the last of five children of Cristina Vilarrubí and Ramón Pujol Subirat, married in 1869. He began playing the guitar in his birthplace, 40 km south of the provincial capital Lleida , but moved to Barcelona in 1894, where his brother, eleven years older, was already living as a student. At first Emilio Pujol played on the bandurria and was a soloist in a student orchestra, an "Estudiantina", which mainly consisted of bandurrias and guitars. With the success of this ensemble performed during the Paris World Exposition 1900 on.

Pujol then began to play the guitar. After he had returned to his home village and had survived a life-threatening pleurisy, he received an instrument from Enrique García from his father and learned from Dionisio Aguado at the guitar school .

Finally, Pujol attended the music school in Barcelona . There he introduced himself to Francisco Tárrega and was his pupil from 1902 until Tárrega's death in 1909 (as did Miguel Llobet and Daniel Fortea ). After Tárrega's death in 1909, Pujol studied music theory and composition with Agustín Campo , a student of Dionisio Aguado, at the Madrid Conservatory .

He made his debut as a soloist in Lleida in 1907 and in Barcelona in 1909 . Mediated by his friend, the painter Pablo Antonio de Béjar , he played in May 1911 in the Madrid Royal Palace in front of the Spanish royal family (including Queen Victoria ). On December 4, 1912, he first appeared in the Bechstein Hall in London. His mother died in 1919, his father on August 12, 1921. At the end of that year Emilio Pujol settled in Paris for the next 20 years. In 1923 he married the flamenco guitarist Matilde Cuervas (1888-1956) in Paris , with whom he also performed together in concerts or as a duo from around 1929 to 1954. He made his first concert tour through Germany in October 1926.

In addition to his concert and teaching activities, he also earned merit by publishing old lute, vihuela and guitar music from 1926 onwards. In Emilio Pujol's famous library of old and new music , he brought together previously unknown works from the Renaissance and Baroque periods . Together with Felipe Pedrell , who also taught him about the vihuela and guitar literature of the 16th to 18th centuries. Century, and later in París with Lionel de la Laurencie , he pursued further musicological studies, in particular on the history of the vihuela, about which he also gave a lecture developed from 1938 to 1945. Pujol also played vihuela at concerts and performed works for vihuela and vocals with the soprano Concepció Badia .

In 1940 Pujol went back to Spain. He then lived in Barcelona, ​​where he worked at the Instituto Español des Musicologia and in 1945 at the Conservatorio Superior de Música set up and directed a seminar on the vihuela and its literature.

Pujol is also the author of some didactic works and an epoch-making guitar school Escuela Razonada de la Guitarra (Buenos Aires, from 1934) designed in 1923 , which is based on the guitar school Dionisio Aguados and the guitar technique Tárregas and should comprise five volumes. Emilio Pujol was next to Miguel Llobet an influential spokesman and propagandist of the Tárrega method, which is also evident from the introduction of his now incomplete four-volume guitar textbook (published in German as Theoretical-Practical School of Guitar ). Unlike most guitarists, Pujol struck the strings of the guitar not with his fingernails, but always with his fingertips. From 1946 to 1969 Pujol was Professor of Guitar at the State Conservatory in Lisbon. In 1953, Andrés Segovia , who was ill , appointed him as a substitute lecturer at the Accademia Musicale Chigiana in Siena . In 1955 a course for vihuela and baroque guitar was set up there under the direction of Pujols, which was held from June 1965 as I Curso Internacional de Guitarra, Laúd y Vihuela in the Spanish province of Lérida (initially in the city of Lérida, and from 1970 to July 28, 1976 in Cervera ) was continued.

Matilde, his first wife, died on December 22, 1956 in Barcelona. In Rome, on August 17, 1963, Pujol married the singer Maria Adelaide Robert, born in Lisbon in 1910 (died 2010).

1970 Pujol got the Spanish Ministry of Science and Education of the Order of La Cruz de la Encomienda de la Orden Civil de Alfonso X El Sabio awarded.

The concert tours

Pujol gave his first recital in Lérida (now Lleida) in 1907. After seven years of study, he finally went on concert tours, first in Spain , then in South America (1918 Buenos Aires). In 1921 he took up residence in Paris . From here he went on concert tours in several countries starting in Central Europe in 1921. On December 2, 1922, he gave a concert in the Salle du Conservatoire in Paris . In October and November 1926 he made his first appearance in Germany.

Works

Emilio Pujol composed many of his own works, created over 275 transcriptions and arrangements for guitar and wrote the first encyclopedia on the history of the guitar with “La Guitarra”, a work that was given in 1928 in several major cities. In 1960 he published a biography of Tárrega in Lisbon. His work Das Dilemma des Klangs bei der Guitar was published in German in 1975 in Hamburg .

  • El Abejorro
  • Ondinas
  • Canción de Cuna
  • Barcarolle
  • Cubana
  • impromptu
  • Piezas Españolas
  • Pieza nº 2 (Guajira o Evocación Cubana)
  • Pieza nº 3 (Tango Español)
  • Preludios
  • Scottish Madrileño
  • Seville
  • Danzas Españolas
  • tango

Solo guitar:

  • ME 7899 Aquelarre (Danse des sorcières - 1969) Pujol n ° 1246
  • ME 7028 Atardecer (Crépuscule) Pujol n ° 1229
  • ME 7238 Barcarolle Pujol n ° 1235
  • ME 7580 Becqueriana (Endecha) Pujol n ° 1240
  • ME 3130 Cancion de Cuna (Berceuse) Pujol n ° 1203
  • ME 7884 Canto de Otono (Chant d'automne) Pujol n ° 1245
  • ME 7939 Cap i Cua (Variation désuète sur l'exercice 19 d'Aguado) Pujol n ° 1248
  • ME 7848 Caprice varié sur un thème d'Aguado Pujol n ° 1242
  • ME 7541 Endecha a la Amada Ausente Pujol n ° 1238
  • ME 2186 Étude n ° 1 Pujol n ° 1200
  • ME 2187 Étude n ° 2 Pujol n ° 1201
  • ME 2188 Étude n ° 3 Pujol n ° 1202
  • ME 3128 Exercices en formes d'études, 1st Cahier Pujol n ° 1221
  • ME 7847 2nd Cahier Pujol n ° 1243
  • ME 2189 Impromptu Pujol n ° 1206
  • ME 7579 La Libelula Pujol n ° 1239
  • ME 2586-88 Trois Morceaux espagnols: 1st Tonadilla, 2nd Tango, 3rd Guajira Pujol n ° 1204
  • ME 3129 Pequena Romanza Pujol n ° 1222
  • ME 7885 Pizzicato Pujol n ° 1247
  • ME 7236 Deux Préludes Pujol n ° 1233
  • ME 7027 Rapsodie Valenciana Pujol n ° 1228
  • ME 2190 Seville (Evocation) Pujol n ° 1205
  • ME 7030 Triquilandia (Jugando al Escondite) Pujol n ° 1231
  • ME 7237 2nd Triquilandia: 1st Œdipe et le Sphinx, 2nd Variation, 3rd Jeu, 4th La Plume de perdreau, 5th Branle bourguignon Pujol n ° 1234
  • ME 7533 3e Triquilandia: 1st Le Petit Grenadier, 2nd Cantilène, 3rd Valse Pujol n ° 1241
  • ME 7991 Triptyque campagnard (1971): 1. Aube, 2. Bucolique, 3. Fête Pujol n ° 1249
  • ME 7883 Variations sur un thème obsédant Pujol n ° 1244
  • ME 7029 Veneciana Pujol n ° 1230

Two guitars:

  • ME 8046 Canaries (Canarios), air de danse populaire ancienne Pujol n ° 1415
  • ME 8081-01 Duet (étude) Pujol n ° 1417a
  • ME 6942 Manola del Avapies (Tonadilla) Pujol n ° 1403
  • ME 7239 Ricercare Pujol n ° 1409
  • ME 8081 Tyrolienne (Tirolesa) Pujol n ° 1417b
Arrangements of early music
  • Hispanae Citharae Ars Viva. Antologia de musica selecta para guitarra transcrita de la tabulatura antigua por Emilio Pujol. (German subtitles: A collection of selected guitar music from old tablatures, edited by Emilio Pujol. ) (Spanish, French, English and German) Schott, Mainz 1956 (= guitar archive. Volume 176), ISMN M-001-09612-6.

Known students

Sources and literature

  • Maurice J. Summerfield: The Classical Guitar. Its Evolution, Players and Personalities Since 1800 . 5th Edition, Ashley Mark Publishing Company, Newcastle upon Tyne 2002, ISBN 1-872639-51-8 , p. 235.
  • Hannu Annala, Heiki Matlik: Handbook of Guitar and Lute Composers . Mel Bay Publications, Pacific 2007, ISBN 0-7866-5844-4 , p. 118.
  • Wolf Moser: "The desire to dedicate myself to an ideal ...". Conversation with Emilio Pujol. In: Guitar & Laute 1, 1979, 2, pp. 3–9.
  • Wolf Moser: Emilio Pujol's Theoretical-Practical Guitar School. In: Guitar & Laute 8, 1986, Issue 2, pp. 21-29.
  • Wolf Moser: "... from someone out of line ...". A conversation with Alberto Ponce about Emilio Pujol. In: Guitar & Laute 8, 1986, pp. 8-14.
  • Life dates of Pujols. In: Guitar & Laute 8, 1986, p. 51.
  • Juan Riera: Emilio Pujol. Lérida 1974, ISBN 978-8400040291 .

Web links

Individual evidence

  1. ^ Emilio Pujol: Memories of the Beginning. In: Guitar & Laute 8, 1986, issue 2, p. 18 f .; here: p. 18.
  2. ^ Emilio Pujol: Memories of the Beginning. In: Guitar & Laute 8, 1986, issue 2, p. 18 f.
  3. ↑ Pujol's first concert tour through Germany: That was the opinion of the press. In: Guitar & Laute 8, 1986, issue 2, p. 30 f.
  4. ↑ Wolf Moser : The repertoire second hand. The history of the transmission and its tasks. In: Guitar & Laute 9, 1987, 3, pp. 19-26; here: p. 25
  5. ↑ See for example Emilio Pujol (ed.): Hispanae Citharae Ars Viva. A collection of selected guitar music from old tabs, edited by Emilio Pujol. (Spanish, French, English and German) Schott, Mainz 1956 (= guitar archive. Volume 176), ISMN M-001-09612-6.
  6. ↑ Wolf Moser: The missed repertoire. In: Guitar & Laute 5, 1983, No. 6, pp. 388-395; here: p. 391.
  7. ^ Emilio Pujol: The Vihuela and their players. Edited by Wolf Moser. In: Guitar & Laute 8, 1986, issue 2, pp. 47–50.
  8. ^ Emilio Pujol (1986), p. 19.
  9. ^ Hermann Leeb: From Segovia, Pujol and Llobet. In: Guitar & Laute 2, 1980, 6, p. 32 f.
  10. ↑ Emilio Pujol: Escule Razonada de la Guitarra. I – IV, Buenos Aires 1934, 1935, 1954 and 1971
  11. ↑ Wolf Moser (1986), p. 23
  12. ^ Emilio Pujol: Theoretical-Practical Guitar School. I – IV, Munich 1981, 1978, 1983 and 1987.
  13. ^ Emilio Pujol: The guitar and its technique. (Slightly abbreviated introduction to Theoretical-Practical School of the Guitar. Volume I. , preprint (with permission from G. Ricordi & Co., Munich) translated by Wolf Moser . In: Guitar & Laute 1, 1979, Issue 4, p. 8–12)
  14. ^ Emilio Pujol: Excerpts from Volume IV of Theoretical-Practical School of the Guitar . In: Guitar & Laute 8, 1986, Heft 2, pp. 33-39.
  15. ↑ Wolf Moser: "... from a person out of line ...". A conversation with Alberto Ponce about Emilio Pujol. In: Guitar & Laute 8, 1986, pp. 8-14; here: p. 10.
  16. ↑ including the world-famous Catalan Christmas carol El cant dels ocells (The song of the birds).
  17. ↑ including Tres libros de música en cifra para vihuela by Alonso Mudarra (Barcelona, ​​December 24, 1949) and Libro de música de vihuela, intitulado Silva de Sirenas by Enríquez de Valderrábano (1965) in critical editions.
  18. ^ Emilio Pujol: La Guitarra y su Historia, Conferencia. Romero y Fernandez, Buenos Aires 1930.
personal data
SURNAME Pujol, Emilio
ALTERNATIVE NAMES Pujol Vilarrubi, Emilio; Pujol i Vilarrubí, Emili
BRIEF DESCRIPTION Spanish guitarist and composer
DATE OF BIRTH April 7, 1886
PLACE OF BIRTH La Granadella
DATE OF DEATH November 15, 1980
Place of death Barcelona