In 1826 he built and patented, together with the Paris instrument-maker René Lacote, an unusual, ten-string guitar, which he called a decacordo (popularized by Narciso Yepes in the 20th century), for which he also wrote a Méthode complete, op.293 (1826).Ī pioneer in the evolution of the six-string guitar and its use as a solo instrument, Carulli was one of the founders of the guitar’s modern expressive vocabulary. His privileged position lasted at least until 1823, when Fernando Sor arrived in Paris. For years he had practically no serious rival, except for his two fellow Italians Matteo Carcassi and Francesco Molino. The work which signalled his success more than any other was the Méthode complette op.27 (1810 or 1811), which was soon being reprinted repeatedly both in France and abroad, and for decades was the basic teaching work for entire generations of guitarists. Within a few years he also published dozens of the manuscripts which he had brought with him from Italy. According to contemporary music critics, Carulli was the first to reveal to Paris audiences what the guitar was capable of in terms of expressivity, timbre, harmony and virtuosity, and he brought about a change in taste and performing practice. From 1809 Carulli made Paris his permanent home, where he was at the centre of the phenomenon known as guitaromanie, establishing himself as a virtuoso, composer and teacher. The first indication of his presence outside Italy dates from around 1803, when Gombart of Augsburg brought out a handful of publications other works were published in Paris and Vienna in 1806–7, principally by Leduc, Pleyel and Artaria, and in Hamburg (Böhme) and Milan (Monzino). The leading Italian guitarist of his time, he moved to Paris some time after the birth of his son (1801) with his French-born wife Marie-Joséphine Boyer. He was born into a well-to-do family and was taught the rudiments of music by his cello teacher, a priest, though around the age of 16 his interest shifted decisively to the guitar.
Hector Dufranne sang Don Quijote ( Quixote ), Wanda Landowska played the harpsichord ( Falla composed his 1926 Harpsichord Concerto for her in appreciation ), and Ricardo Vi馿s and Emilio Pujol were among the artists and musicians serving as stagehands.After studying with his mother, Clara Romero, at the Havana Municipal Conservatory, Isaac Nicola ( 1916 1997 ) continued his training in Paris with Emilio Pujol, a disciple of Francisco T醨rega.By the end of the 1870s, T醨rega was teaching the guitar ( Emilio Pujol, Miguel Llobet, and Daniel Fortea were pupils of his ) and giving regular concerts.From 19 he attended the Academy Chigiana in Siena courses by renowned international guitarists such as Alirio Diaz and Emilio Pujol, from whom he learned the vihuela.It's difficult to see emilio pujol in a sentence.He moved to Europe in 1973 to study lute and vihuela with the renowned Spanish classical guitarist Emilio Pujol, as well as Eugen Mueller-Dombois.He won first prize at the 2002 Alhambra International Guitar Competition in Alcoy, Spain, and again at the Emilio Pujol Guitar Competition in Italy.He is officially retired, but maintains a strong interest in the advancement of the instrument and the ideas set forth by Emilio Pujol.
In 1976, he attended the last classical guitar course given by Emilio Pujol who was a student of Francisco T醨rega.Segovia's technique differed from that of Fernando Sor or T醨rega and his followers, such as Emilio Pujol.In 1939 Isaac Nicola continued his training in Paris with Emilio Pujol, a disciple of Francisco T醨rega.Both, Alirio Diaz and Emilio Pujol became lifelong friends of Pieter van der Staak.
For the fingering of these works he cooperated with Miguel Llobet and Emilio Pujol.His fellow students were, among others, Emilio Pujol and Miguel Llobet.With Emilio Pujol he studied the vihuela and ancient music notation.