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Máximo Diego Pujol: “When Musicians Put the Music in the First Place, Staying Behind, They Appeal to the Best of the People”


This interview delves into the multifaceted career of Máximo Diego Pujol, an influential figure in the global dissemination of Argentine music within conservatories. Examining the impact of the pandemic, Pujol reflects on the challenges and opportunities it presented. The postponement of international tours led to a concentration on pending projects, notably a research essay tracing the evolution of guitar composition from the 18th century to the present, highlighting the influences of key figures like Sor, Tárrega, Villa-Lobos, and Brouwer.

Pujol shares insights into teaching tango, emphasizing the unique Argentine context where the guitar is deeply embedded in the culture. He underscores the importance of understanding not only technical aspects but also the cultural and historical nuances that inform tango interpretation. Pujol notes the distinct identity of Argentinian guitarists as ‘border musicians,’ bridging academic and popular realms.

The interview explores Pujol’s early immersion in guitar, beginning at eight years old, and his family’s connection to tango. Reflecting on the origins of his compositions, he associates his music with the color green, expressing a personal and emotional connection to his creations. Pujol also shares anecdotes from significant performances, including encounters with renowned guitarist John Williams and touching moments with audience members.

Discussing his recordings, Pujol describes “El recorrido argentino de mi guitarra” as a testament to his journey with the guitar, featuring traditional works and compositions from contemporary Argentine guitarists. The Máximo Pujol Trio, inspired by the early tango ensembles, aims to break away from traditional guitar audiences and connect with wider audiences through a blend of guitar, bandoneon, and double bass.

The interview concludes with Pujol reflecting on his early compositions, particularly the Preludio tristón and Candombe in E, created during a tumultuous period in Argentina. Pujol acknowledges the dual emotions associated with these pieces—anguish due to the political climate and pride in their eventual recognition as classics. Composing, for him, was a therapeutic outlet, a means to navigate despair and leave an indelible mark on the world of guitar music.

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ISSN: 2792-8349

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International Journal of Music