#MICROSOFT VISUAL STUDIO 2010 PREMIUM FULL#

The guitar used is from the hands of luthier Garry Southwell, and was made in 2018. On repeated listening one confirms an initial impression that BungartenРІР‚в„ўs playing reflects the passion he articulates for the music in the informative liner notes. The playing on this disc is sure-footed and robust, complemented by a fine tone. He has taught as a professor at the Lucerne University of Music and continues to teach at the Hanover University of Music, Theatre, and Media.

For three decades he has recorded the significant composers of the guitar and on two occasions he has been honoured as The Instrumentalist of the Year by Echo Klassik for this contribution. He subsequently concertized throughout the world in over forty countries.

In 1981 his distinguished teacher, Andres Segovia, presented him with First Prize at the Granada Guitar Competition of that year.

#MICROSOFT VISUAL STUDIO 2010 PREMIUM FULL#

This significantly limits the full didactic value to the non-Spanish/French speaking student who cannot access the meticulous execution directions supplied by the author.Р”Р‡rank Bungarten was born in Cologne in 1958. It is also only published in Spanish although Bungarten indicates volume two is also available in French. The general unfamiliarity with the volumes of PujolРІР‚в„ўs method is probably a direct consequence of its limited availability in the past, now relieved via the electronic media. Here PujolРІР‚в„ўs music employs techniques in common with the violin. In addition to its length, the latter is particularly interesting: one variation is played with the left hand only and another exclusively on only one string.

In total 20 studies are presented, the shortest 0:47 and the longest 30:45. In this recording Bungarten concentrates on the etudes by Pujol because this genre best illustrates the link between the characteristic idiom of the instrument and the composerРІР‚в„ўs didactic mission. While Tarrega and LLobetРІР‚в„ўs music had more in common with the violin than the piano, this is even more obvious with Pujol. He suggests PujolРІР‚в„ўs treatment of the instrument, over and above the school of Tarrega, can be viewed as a continuation of a violinistic tradition from Paganini via Sarasate and Kreisler to Ysaye. In the liner notes, guitarist Frank Bungarten is full of accolades for the method and describes personal successes over a forty year period with musical and technical development in guitar playing. The Pujol method comprises four volumes written between 1923 and the 1960s. While PujolРІР‚в„ўs method follows on from the art of Aguado and Sor, it does so on a technical level far beyond them. Most guitar players will have encountered didactic pieces by Pujol, but few will be aware that he wrote a very important method for the guitar. He was a student and disciple of the great Francisco Tarrega, and along with Miguel Llobet, the most celebrated of TarregaРІР‚в„ўs pupils. To listen to a broader selection of his music one must revert to such sources as YouTube.Р”В®milio Pujol Vilarrubi was born in 1886 in Le Granadella. His music is parsimoniously recorded and infrequently included in concert programmes. This recording presents a composer whose name is well known in the guitar world, but whose actual compositions are generally not so well known, with minor exceptions such as El Abejorro (track 18). His strategy was to approach contemporary composers of significance to write original works for the guitar, and to make his own arrangements and transcriptions of music suitable for the guitar.

A number of the early guitar virtuosi wrote their own compositions, and while some are not without merit, Segovia initially struggled with a repertory that, while expansive in breadth, had a paucity of quality. There are no original works by Mozart, Beethoven or Mendelssohn in the guitar repertory. Segovia was able to overcome both these challenges and establish the guitar internationally as a concert instrument.Р”Р„n instrument with few virtuosi, and the limitations the guitar possessed, did not attract major composers. He had some brilliant predecessors, but for both technical reasons, and the sound limitations of the guitar prior to Antonia Torres (1817-1892), the focus of the guitar had been as a salon instrument, not one to be played in large venues. The reason is simple: few serious musicians embraced the guitar, and it was not until the 20 th century that Andres Segovia commenced a life-long career of promoting the guitar globally, and having it established as a serious concert instrument. Unlike other concert instruments, the annals of the guitar are not full of renowned virtuosi. 2018, Konzerthaus der Abtei MarienmР“Сnster, Germany Support us financially by purchasing this from

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