Translated by Brian Jeffery, edited by Matanya Ophee
Book II
132 pp. $32.95, Presser Order number 494-00311b (RTFT-1b)
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.
Copyright © 2004 by Editions Orphée, Inc. All Rights Reserved.