Daniel Fortea i Guimerà
Fortea showed his love for music very early on. It is said that he learned music theory and to play the clarinet, the bandore and the guitar. As an adult, he learned to play the piano and the fundamentals of the violin. He studied the guitar with the methods of Carcassi, Napoleón Coste, Dionisio Aguado and Fernando Sor. The bandore is studied with the methods and studies of Baldomero Cateura and Félix de Santos.
Little is known about Fortea’s childhood and adolescent years, and it is unknown whether he lived in Benlloch until he joined the military service in the capital of La Plana. In the barracks, he played in the military band and the experience was so pleasant that he considered becoming director of military bands. But he gave up on it because he was not convinced of his military vocation and devoted himself to the guitar. It was never known if he got any lessons from a guitar teacher, other than the instructions he was meant to receive from his family. This is the reason why he was considered self-taught until he met Tárrega.
It is after Tárrega’s death that Daniel Fortea moved to Madrid, his performances at the Teatro de la Comedia, Ateneo and Círculo de Bellas Artes, among others, having great success. At the same time, he created his guitar academy and the foundations of what would be his famous Biblioteca Fortea, an archive-collection of musical works through which he made his music and good works known to the world part of guitar literature. The first editions are of works for piano, guitar, triplet, mandolin and piano and, also, singing and piano. Catalogues in those days announced: “Music Academy directed by Daniel Fortea”, where piano, guitar and mandolin lessons were taught. This great collection of scores had a unique acceptance and diffusion unparalleled to date.
Thus, in 1911, he founded “Biblioteca Musical” which later would be known as “Biblioteca Fortea”. In 1913 he published the “Revista Musical” to which Joaquín Barrachina, José Ferrer, Alfred Cotín, Miguel Llobet, Emilio Pujol and Andrés Segovia, among others, subscribed.
During those years he edited: by Miguel Llobet, “El testament de N’Amelia”, “Romanza in C minor” and some transcription. By Emilio Pujol edits “Romanza”, “Lullaby”, “Waltz” and “Twilight”, in addition to some transcriptions. And, by Andrés Segovia edits “3 Preludes”, “Impromptu” and “Tonadilla”.
Of all these works, is kept in Biblioteca Fortea together with the autograph manuscripts, their authorization and recommendation for their publication.
Biblioteca Fortea Publications
In addition to the extensive collection of works for guitar that make up the Biblioteca Fortea, we make the following publications available upon request.
All orders must be formalized through the contact form on this website and will be attended to as soon as possible.
Método de guitarra (I)
34 pages with works for guitar that can be studied alternating them with the Studies of this Method.
Método de bandurria y laúd
16 pages of exercises and little getting started.
Two complementary sides of a great man and artist: elegant, bohemian and austere in his daily life and modest, and uneasy/unconfortable in large crowds.
The real Fortea was found at short distances: talkative, witty, prudent and very polite.
This was Daniel Fortea i Guimerà (1878-1953), one of the greatest Spanish classical guitar composers.
You may find here his work and legacy, in Biblioteca Fortea, founded by himself in 1911.
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