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They had a repertoire of more than 400 works played by heart. They performed more than a thousand concerts between 18. They toured Spain, reaching their fame beyond the borders, which led them to perform in France, Portugal and Algeria. Later it became a quintet, with the entry of Emilio to the piano. It was composed by Manuel with the bandurria, Teresa with the lute and lyre, Magenia with the bandurria and lyre, and Estanislao with the guitar. His concert career developed alongside his brothers, forming the El Turia quartet.
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In 1887 they were in charge of organizing a rondalla of guitars, lutes and bandurrias with blind musicians, for the performance of the parade and the final jota of the first act at the premiere of Ruperto Chapí La Bruja's zarzuela, at the Principal Theater of Valencia, and in La Dolores, by Tomás Bretón. On many occasions he acted with his brother for some theater, opera and zarzuela companies. He had the opportunity to listen live and interact with the great figures of the time, such as Tárrega, who performed in November 1880, the violinist Pablo Sarasate, the Madrid soprano Adelina Patti, the tenor Francisco Viñas ], and Antón Rubinstein. There, when he was just eight years old, he began to learn musical interpretation and technique.
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He met Tomás Rico, businessman from the Principal Theater of Valencia, who authorized him free entry through the stage door that overlooked the pit where the musicians of the orchestra met, during the intermission.
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The lessons of music theory were received from his brother Manuel, who attended the music academy of maestro Penella, making great progress in a short time. His father Manuel Marco was an amateur guitarist and taught him the first notions of the instrument. Of very humble origin, at the age of five he moved with his family to Valencia, where he began his performances as a traveling musician through the streets and squares of the city.