Domingo Prat: Diccionario De Guitarristas (Spanish Text)
Item #: 497-00309 Price: $300.00
Sheet Music : Classical Guitar : History/biography
The Diccionario de Guitarristas by Domingo Prat was originally published in July of 1934 in a limited edition of 1605 copies, all of which were personally signed by the author. This 488 page reprint contains all of the original text as well as an introduction by Matanya Ophee. An index to the work by Jan de Kloe is also available separately (494-02835)
It followed in the footsteps of several earlier lexicons and histories of the guitar such as Philip J. Bone's The Guitar and Mandolin of 1914, Josef Zuth's Handbuch der Gitane und Laute, Maria Rita Brondi's Il Liuto e la Chitarra, Fritz Buek's Die Gitarre und Ihre Meister, all three published in 1926, and Ricardo Munoz' Historia de la Guitarra of 1930. Prat was acutely aware of the contributions of his predecessors. He was also of the opinion that occasionally, they have not been successful in their respective missions. This was an easy observation to make and he expressed it often. Hence, he took it upon himself to improve their work and enlarge its scope. He borrowed from them extensively and in many instances was diligent in giving them credit. Because he saw his task in ameliorating the work of his predecessors, he attempted to provide a systematic account of his sources. Thus, his entries are replete with dates, page numbers, newspaper clippings, copies of birth and death certificates, and his own personal scribbling of relevant and irrelevant data. In addition, he was careful to record in his notes the time and place they were made. Prat's peculiar method of compilation is, perhaps, outdated by present bibliographical standards. However, it is the method itself which constitutes a valuable element of knowledge.
Prat had a voracious appetite for guitar related data. He noted down every bit of information which he came across, however incomplete it happened to have existed at the time. He covered the ground from the earliest times, through the Renaissance and Baroque to the classical era up to and including the present. He spoke eloquently about anything and anybody with which he could find even a remote association with the guitar: the recognized masters of the past and present, his colleagues in Buenos Aires and abroad, obscure amateurs, celebrities, students in whom he saw a promise, mythological figures, and even fictional personalities from general literature. He gave ample space to his friends, neighbors and relatives and also spoke about himself and his family: