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He seems to have begun building guitars around 1860. The playing throughout is refined, intelligent and highly musical the tone, though never sweet, is fulsome and appealing. Vicente Arias was born in Alcazar de San Juan, Ciudad Real in 1833. Jacobsson also includes other Tárrega favourites such as Capricho árabe and Recuerdos de la Alhambra, as well as a selection of well-known works by Tárrega pupils Miguel Llobet and Emilio Pujol. As a result, not only does the stylistic influence of Chopin’s music on Tárrega’s become even more apparent instances of literalism, such as the use of the repeated dominant note in Chopin’s ‘Raindrop’ Prelude echoed by a similar device in Tárrega’s prelude Lagrima (the Spanish for ‘teardrop’ – geddit?) are thrust under the spotlight. But Korhonen doesn’t include any original Tárrega, whereas talented young Swedish guitarist Mattias Jacobsson, whose teachers included Sharon Isbin and Göran Söllscher, does something smart here by presenting a selection of preludes and mazurkas by both composers (all the Chopin transcriptions are by Tárrega) side by side, allowing direct comparison. So not only are Tárrega’s guitar transcriptions of Chopin’s piano music likely to be – putting aside an avidness for portamentos and glissandos characteristic of his age – superbly executed: Chopin probably would have been delighted with the result.įor my money the best Chopin/Tárrega on disc is still Finnish guitarist Timo Korhonen’s (Ondine) – subtly romantic and richly characterised. The great 19th-century guitarist/composer Francisco Tárrega was by all accounts also a very fine pianist, whose friends included Albéniz and Granados, while Chopin himself was much enamoured of the sound of a guitar, admitting that nothing was more beautiful – except maybe two. Recuerdos de la Alhambra Traditional (arr Llobet) Cançó del lladre.
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Preludes – No 2 No 9, ‘Lagrima’ No 18 No 20, ‘Endecha’. Preludes, Op 28 – Nos 6, 7, 15 & 20 Pujol Trois Morceaux espagnols Tárrega Capricho árabe.
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In parallel with his activity as a concert performer he was a renowned teacher and he trained generations of guitarists from all over the world in line with the teaching of Masters Tarrega and Pujol.Chopin Mazurkas – No 22, Op 33 No 1 No 25, Op 33 No 4. He also taught at the conservatories of Argenteuil, Courneuve, Marly-le-Roi and became a professor at the National Conservatory of Paris. In 1961, he was invited by Nadia Boulanger to teach at the American Conservatory of Fontainebleau. He then met Alfred Cortot who gave him the guitar class at the Ecole Normale de Musique de Paris (ENMP). In 1962 he won first prize at the Concours International de Paris, organized by Robert Vidal and the French Broadcasting Office (ORTF). In 1961 he won first prize in the Mathilde Cuervas vihuela competition at the Chigiana Academy. He then continued for five years under the direction of his Master, perfecting the Vihuela and early music, especially from the Spanish Golden Age at the Chigiana Musical Academy in Siena. After graduating from Barcelona Conservatory Alberto Ponce followed Maestro Pujol for three years at the Lisbon Conservatory. You searched for: emilio pujol (author/artist etc.) Edit your search. This meeting with Maestro Emilio PUJOL to whom he was deeply attached, marked and influenced Alberto Ponce’s entire artistic life. 3 (Spanish Edition) by Pujol, Emilio and a great selection of related books. Following an audition requested from Maestro Emilio PUJOL by their father, Alberto Ponce and his sister Sonia, received instruction from the Catalan Maestro. He graduated from the conservatory with the highest distinction, the “Mencion de Honor”. He then entered the Municipal Conservatory of Music in Barcelona, where, in addition to guitar, he studied piano, harmony, counterpoint, chamber music and the history of music. Born in Madrid on March 13, 1935, Alberto Ponce started playing the guitar at the age of 7.