Translated by Brian Jeffery, edited by Matanya Ophee
100 pp. $29.95, Presser Order number 494-00311a (RTFT-1a)
The Escuela Razonada de la Guitarra of Emilio Pujol needs no introduction. The work has occupied a major position in guitar pedagogy ever since it was first published in 1934 by Romero y Fernandez in Buenos Aires. Many subsequent guitar methods have drawn inspiration from it. The lack of an English language version, however, has prevented many English speaking guitarists from a clear understanding of Pujol’s teachings. Those who were fortunate enough to have attended Pujol’s master classes in Cervera have had first-hand exposure to his ideas, but others, who have used the lessons and examples without being able to read the text, can have gathered only a rough idea about Pujol’s approach to guitar pedagogy. In spite of certain preconceptions regarding this book, it is of paramount importance to the teaching of all facets of guitar technique, guitar musicianship, and guitar artistry.
Born just outside the city of Lerida, Spain, in a little village called Granadella, Emilio Pujol Vilarrubí (1886-1980) is considered by many as the leading spokesman for twentieth century guitar pedagogy. Pujol began his studies with Francisco Tárrega (1852-1909) at the Conservatory of Barcelona in 1901 when he was fifteen years of age. Pujol gave his first recital in Lerida in 1907. His concert debut in Barcelona took place in May, 1909, at the “Sala Novelty.” several months before Tárrega's death. By 1912 his career as concert guitarist was established by his appearance at Bechstein Hall in London. From 1912 to 1929 his concert activities took him mainly throughout Western Europe. Beginning in 1918 he undertook his first tour of South America, starting in Buenos Aires. The only major interruptions in his concert travels were his marriage to Matilda Cuervas in 1923, and the period of time he devoted to historical research in Paris into the instrumental predecessors of the guitar. The beginning signs of World War II, also prevented him from continuing his concert career. Pujol’s publishing career began approximately in 1915 with Ildefonso Alier. After his initial research into vihuela music, Pujol made his largest and most important contributions to guitar literature with the publishing house of Max Eschig in Paris beginning in 1928. By 1980 he had published more than 245 works with Eschig. Another 40-plus works, were published with Ricordi Americana, B. Schott, Julio Korn, and the Biblioteca-Fortea.
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