In this book I have collected some of the tricks, passes and routines that I have created or discovered. Some of them have been published in European or American magazines, others in my book-magazine Magia Potasio; the majority have never been published. Several of them have been written up by Harry Lorayne and were published in Apocalypse, one was written by Fred Robinson and was published in Pabular. To all of them, to José Puchol, to Mary Pura Mirelis, to Luis H. Trueba, and to Ricardo Marré, my thanks for their permission to reproduce this material here. Also, I want to thank my dear musician-magician friend Rafael Benatar who has conscientiously and clearly written up four of my routines for this book.
In as much as the material comes from various sources and different periods, there is a wide diversity of styles in the literary descriptions and graphics, which include some little sketches and schematic drawings of mine.
I decided not to try to correct or rewrite, just to achieve greater homogeneity in style in the book. I rather decided to leave each routine as it was written, so that the book that reaches your hands is like a palpitating scrapbook, full of pieces of magic, scraps of a life dedicated to this eternal love, presented as I lived them (as I wrote of them) or as they . were seen by others.
It is logical and quite likely that some of the new ideas contained in this book have already been written up by other magicians who have discovered them independently. And I'm sure that others have been discovered by one or several unknown magicians, who have never written down their magical ideas. To all of them, and to those who I don't mention due to my involuntary ignorance, which I am always willing to amend, I present my most sincere excuses, together with the joy of having coincided with you in our discoveries. A subtle bond now joins us fraternally.
I have used the majority of these effects and routines frequently in the course of my twenty years as a professional and another twenty as an amateur/lover of magic. They are not clever inventions, or recent ideas— the majority have been born, have evolved and changed, have suffered the audience test, and have been changed again, through a never-ending alchemical process. I have attempted to cleanse them, to purify them, striving to make them richer and quimerically transform them into magical gold. They are more a testimony of my efforts than proof that I have reached my goal, which means that they are still open to change. I realized, as I reread the proofs of this book, that some of them are already in a more advanced stage, and have been distilled once again by thought, experience, and reflection, ending up as always, victim of the tragic battle between fatherly love and the ruthless quest for authentic magical emotions, via mystery, holding the five points in magic by the hand, travelling up the magic way in search of the dreamed of magic rainbow.
I am talking, above all, about the more elaborate routines, and in the prologue-history of the Hypnotic Jokers routine, the reader will find a chronicle which is a fine example of this process.
To leave a written testimony to the people to whom these fugues owe their existence, I would have to write down Mary Pura's name first, because she worked with me so intimately during the many years that we lived together, then José Buchol's name would appear, my magic mentor, who taught me to love books on magic, and who offered me the chance to enjoy and learn from his legendary library, which is now available to every body, thanks to his generous and exemplary donation of the complete collection to the Juan March Foundation Library, in Madrid. Of course, I would never forget the name of Juan Antón, always alive in my memory, the man who transmitted the theories of Master Ascanio to me directly, enriched by the wise intuition and unparalleled art of Juanito himself, my left hand in «Los Mancos» (brilliant and delightful two man close-up routine, each using just one hand, performed by Juan T. and Juan Antón) and in my life.
To Master Ascanio himself, to Dai Vernon, «The Professor» and to the tender and brilliant Slydini, I dedicate the three movements that make up this Sonata, leaving René Lavand, «The Artist», Fu-Manchú and Fred Kaps, my idols, and my spiritual father, José Frakson, who guided me down the path of Magic-Love, for the Fugue, the next volume in this collection of my magic.
To avoid making this list interminable, I want to include in this «Thankyou» all the members of the Sociedad Española de Ilusionismo (SEI) and the Escuela Mágica de Madrid (EMM), from whom I have learned so much, and who bave put up with me over the years. I offer my thanks to all the magical authors who have transmitted their ideas and wisdom to me through their own magical medium, to so many spectators who, with their facial expressions, their words, their silence and their criticism have corrected me or encouraged me, and with whom I have shared this magic and so much more. I leave a blank line for you, dear reader (and friend, just for reading these words) so that you can sign your own name, and in that way receive, in a personal way, my gratitude.
To , a thousand thanks!
I can see that the author has very little space left and this realization is both a well deserved shower of humility and the joyous sensation of sharing; the disappearance, flitter! flutter! of solitude.
But after conceiving and gestating, a birth is necessary, and the people who have colaborated in this birth in a very special way are the Doctor, Ramón Mayrata, coeditor and friend, whose patient efforts helped to provoke the final contractions and whose magnificent skill brought this little baby to Ufe, and my companion, Marga Nicolau, who cleaned and dressed the baby with her elegant drawings and the lovely cover design that she graciously offered to me/us.
The reader shouldn't pay too much attention to the exaggerated praise that I dedicate to so many tricks— it is the fruit of fatherly love and my andalusian blood (read that as arab/andaluz), and my desire to pass my enthusiasm on to you so that this, our son, attracts your attention and causes you to read these routines with an open mind, and with the hope that some of these ideas, some note from this Sonata will give you pleasure, or stimulate new ideas, or move you to play them on your own instrument (your hands, your cards).
Later, following this Sonata, I will write a Fugue with other routines, a Symphony in Mnemonic Major, a Concierto for Two Card Sharps, and probably, other pieces which will form, when finished, my opus, Bewitched Music.
Let all their chords be harmonious, let their magic sound beautiful to your ears, and let all of us, readers, authors, and possible spectators feel pleasure, love, joy, and happiness!
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