Golden Era CDs For Sale

Golden Era 69 Classical and Flamenco Guitar Solos 1920-1943 CD $17.00

The recordings by Emilio Pujol and his wife Matilde Cuervas are performed on guitars made by Antonio de Torres. The solos by Federico Galimberti in 1927 are performed on a Luigi Mozzani Due-Bracci Harp Guitar. Julio Martinez Oyanguren's recording of Un Momento by Juan Alais is one of the most popular folk songs of Argentina with umpteen editions printed. The Flamenco Guitar Solos by Manolo de Badajoz are some of the first non-accompaniment guitar solos ever made. They became more prevalent in the mid 1930's and onward. The impeccable recordings by Renato Giuseppini made in 1939 will surprise you with his astounding technique and speed.

The selections are:     

Francisco Polonio and E. Maciel accomp. 1920
  1. Miraflores  (Polonio) Victor 77155 A
  2. Chiche (Polonio) 77155 B
     Federico Galimberti 1927
  3. La Wally (Catalani) Odeon 7672
  4. I pescatori di perle (Bizet)
     Julio Martinez Oyanguren
  5. Un Momento (Juan Alais) Victor 37072 A
  6. Jota  (Oyanguren)  Victor 37072 B
     Manolo de Badajoz 1929
  7. Tarantas Odeon 193744 A
  8. Solea por Rosa Odeon 193744 B
     Matilde Cuervas and Emilio Pujol c. 1943 Italian Pressing
  9. El Sombrero de tres picos (de Falla) La Voce del Padrone DA 4332-110-2349
10. La Vida Breve (de Falla) La Voce del Padrone DA 4332-110-2350
     Renato Giuseppini 1939
11. Funiculi-Funicula C.L. Denza Decca 18056 A
12. Maria Mari E. DiCapua Decca 18056 B
13. Torna a Surrento Ernesto Di Curtis Decca 18058 A
14. Marcia Militare E. Mario Decca 18058 A
15. Santa Lucia Decca 18059 A
16. Mazurka di Papa Decca 18059 A
     Andrés Chazarreta  1925
17. Una Boliviana Electra 060
18. Un Gato Correntino Electra 060

Italian translation from the Dizionario dei chitarristi e luitai italiani:

"Renato Giuseppini is a virtuoso guitarist, born in Rome on August 1908.
His great passion for music stems from childhood, he studied theory and
composition with maestro Boichiuto, and he studied the piano. He
frequented the mandolin orchestra practices and got the idea to play the guitar.
After learning the basics he could play accompaniments. He then
went about studying the Carulli and Carcassi methods with professor
Di Ponio. He quickly developed a tremendous technique and at the age of
sixteen he joined a variety company as a soloist and accompanist. At the
end of a tour, he joined another troupe as a director of Neapolitan mandolin
orchestra. He went to Florence and was employed at the Buca di S. Ruffillo
restaurant. There he met Amerigo Parrini, historian and guitar teacher.
Under his guidance Renato studied the works of Sor, Giuliani,
Leganani, Regondi, Diabelli and other modern authors, that he studied with
teanacity, to the point he received praise from maestro Segovia, in a private
performance. Renato would undoubtedly show a great promise for the guitar,
becoming a great concert guitarist with tone color, sentiment and interpretation."
(1937) The recordings are from 1939.
He died in 1970.

    "Emilio Pujol was born in Granadella, Lerida Province, Spain on 
April 7, 1886. Since he was a child he studied solfeggio and 
bandurria. With this instrument he formed a part of an estudiantina, 
that went to Paris with the motive of performing in the Exposition of 
1900 and distinguishing themselves greatly, as a soloist, he drew the 
attention of the President of the French Republic, Emilio Loubet, from 
whom he received effusive congratulations. A few years later Emilio 
Pujol heard Tarrega privately, and was impressed by the art of the
maestro, he abandoned the bandurria to dedicate himself to the guitar 
under the direction of the Villareal artist. Pujol is an artist of 
fine sensibility and careful execution, but in his long artistic 
career, yes it is certain that he conquered success and deserves the 
goodwill of the critics, he never gave the sensation to dominate with 
ease and facility the difficult instrument. He doesn't know in what
measure the prescence of the  public has influenced his execution;
but its evident that this influence is great in whom has the capacity to
offer very interesting private audtions. He has been, by this circumstance
and in spite of his delicate temperament, a discussed guitarist."

Partial Spanish translation from the Diccionario de Guitarristas by Domingo Prat. (1934)



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