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Desde el Escritorio de Randy Osborne

Interview with Villa-Lobos

by Gilbert Imbar (Director of "Guitare et Musique") 

Issue #18, June 1958

November 7, 1997

Copyright Randy Osborne F.F.S.I. La Guitarria Fina, September 17, 1997

One can compare Villa-Lobos to the rivers of Brazil. This comparison imposes itself on one who finds himself in the presence of the great Brazilian composer. Villa-Lobos is a force of nature, but of a tropical nature, majestic, enormous, overflowing of sap and of vitality. Briefly, Villa-Lobos resembles music. There is no need of encouragement to have an interview with the author of "The Discovery of Brazil". It's a matter of shutting up within the limits of the interview: the conversation is quick - tempered like a torrent..., a torrent of images and from colored expressions.

What place does the guitar occupy in your existence?

A place very important, essentially. I had only seven or eight years of age when I made my acquantence with the guitar. But I have played the piano since the age of... three years old. My mother, worried about the precocious passion that I showed for music --- she had for my other ambitions, very dignified, she thought, as a Villa-Lobos --- decided one day to deprive me of the piano. Then I arranged to get ahold of a small guitar that I could hide under my bed. I ignored all of the technique of the guitar as I ignored all of the great classics of that instrument. I never started to execute in my manner quantities of works by Bach, Hayden, Handel and Chopin. I had transcribed about 14 pieces of Chopin. It is on the guitar that I have for a long time prepared my symphonic compositions.

There was a glorious precedent: Berlioz...

It was not too much later that I had discovered the classics of the guitar, Carcassi, Carulli, Sor. I could then give an account at that point of the guitar technique that I had personally; I was using the little finger of the right hand. Why, from the moment that I had to pinch five strings, I was deprived of that resource... I also used the thumb of the left hand, in the manner of the cellists, for obtaining things not executable otherwise.

Narciso Yepes utilizes frequently that procedure...

Briefly, my guitar technique that I had was so special that when I met Segovia for the first time and he was getting to know my compositions for the guitar, he raised his arms to the heavens. The first contact was rather stormy. But we were to become soon the best friends in the world. I have for him the greatest admiration and that for him I dedicated the majority of my works for guitar until the last concerto that Segovia must soon play in Paris with the National Orchestra. But again we have passionate discussions in the subject of the guitar: thus I estimate, as for me, that the guitar has enough by it's own means to fill a recital hall, especially with a Segovia---, it cannot give a concerto totally supported by an orchestra en masse. In my opinion, the guitar can and must. For the concerto, to be amplified with the aid of a microphone, technology has made enormous progress and one can affirm that the character of the instrument will not at all become distorted. Why should we deprive ourselves of the possibilities that this offers us? But Segovia doesn't want to hear anything about it, and that I regret sincerely.

The guitarists often interpret your works in recital. In the club Plein-Vent, Christian Aubin, Jose-Maria Sierra and Ramon Cueto play every night from the works of Villa-Lobos. But there are among them in lively discussions over the way in which it is suitable to interpret the songs. Is it necessary to emphasize the folkloric character? Or else play them as classic works?

Villa-Lobos responded to us with liveliness, almost with anger:

There is nothing folkloric in my music. It needs to be adapted in the way it is written, how one does for the classical music, like it was done of Bach.

Yet there seems to be a strong national character markedly in your music.

That's true. But I never attempted to make it Brazilian. I am a symphonist, and if in my music you find it to be Brazilian, that's because I am Brazilian. My personality is Brazilian. But I am in no way a folklorist. Whoever interprets my music like Brazilian folkmusic is grossly mistaken. My choros are not sambas!

What do you think of the interpretations of your music by Julian Bream?

I know Julian Bream well, for whom I have much esteem. I consider him as one of the best interpreters.

Yet it seems to us that Bream has put in your choros a strong folkloric color.

Bream plays them as he needs to play them.

There on top of it, the master gives us a playing of a record by a guitarist of his country -- a gavotte-choro.

It's been a long time since I wrote that gavotte, and I confess that I have forgotten it.

How can that be? Is it possible that you have forgotten your own works?

What do you want? I am like a father of a family too numerous who doesn't happen to recognize his own infants.

The gavotte-choro which we just listened to was played very slowly, too slowly, it seems to us, for a gavotte.

You are right, it paces as a gavotte, like the others. But it's a gavotte-choro. Choro, that is to say cries. It needs to be played more slowly like a gavotte classic.

Are you now writing works for the guitar?

No. At this instant I am no longer composing music for the guitar. But Segovia is undertaking to transcribe a few pages from my "Practical Guide"...

That you have unfortunately written for the piano.

That's true, but one can transcribe them for the guitar and the results are excellent.

Another question: Where is the classical guitar in your country?

The classical guitar in Brazil has indeed made some progress since the time when I was the only, with Barrios, to write for the guitar, and since the first concert of classical guitar given in my country by Llobet. Since that epoch the tours of Segovia, the activities of the societies of the friends of the guitar have made the classical guitar known. But, sadly, the real guitar is again far from being popular in Brazil. The instrument that is the most widespread is the "viola", the kind of guitar which produces a hard sound, violent, staccato, and which one cannot derive anything musical. And in a pejorative sense you can't qualify it as a guitar "classic". There is still much to do for the Brazilians to come to the classical guitar.

Quick tempered by his cause, Villa-Lobos put a curse against the people of bad taste which dishonors the guitar and pretends to serve it.

What do you want, the guitar is all for intelligence, or all for stupidity.

One observes that in all of the countries of the world the young come to the guitar. In your opinion, is it a temporary fad, an infatuation without a future, or on the contrary is it a true renaissance of the instrument?

The young come to the guitar because it is an instrument intimate by excellence, the instrument of the sensabilities, of the delicateness, comical about the guitar. One can get carried away on a voyage. One can play in a room without bothering anyone. Moreover a guitar doesn't cost much... unlike a piano. There are therefore a mass of reasons why the young love the guitar. And that love of the guitar, I am convinced, they are going to be developing toward the future.

Do you think that the guitar merits to be taught in the National Conservatory of Paris?

Yes, without a doubt. I don't ignore that there still exists a lot of prejudice against the guitar, but now the guitar has conquered the right to be in universities of music in the world. In any case I am prepared to sign, with other composers, a petition which will have the objective of obtaining that the guitar is to be taught at the Conservatory of Paris like it is now at the majority of Conservatories of the great capitals.

Our interview is interrupted by the arrival of Ramon Cueto who, armed with his guitar, prepares to study a text of Villa-Lobos under the guise of the master himself in person. A rare opportunity for a young guitarist! And now to Cueto who tells us the following...

Desde el Escritorio de Randy Osborne

Translation of the French:

Dossier Ints. 9 Guitars of luthiers on the testing bench

Dossier done by Thierry Faradji

September 24, 1997

Copyright Randy Osborne F.F.S.I. La Guitarria Fina, October 20, 1995

The young French luthiers awaken. A true elaborate national school, the refined French, the cold region. Look and listen over a musical phenomenon in full momentum. Facing the grand procession of musical instruments, the guitar is alone. Across its repertoire, its folklore, its concertizers, its luthiers, the guitar is Regent of the world of six strings in an exclusive manner. Strong of that identity, the guitar is one of the very rare instruments today that has again evolved since its conception. If the violin of Stradivarius has not increased in size one millimeter after three centuries, the guitar had not possessed the equivalent standard then and must have been a kneeling servant. Indeed the moderness of the present is always inspired by the skillful architecture elaborated by Torres of the 19th century, but all the variations are tolerated. In reality all guitars are on interpretation of the guitar of Torres. If one is permitted, then every luthier will impose their artistic imagination. Today the hand made guitars are authentic musical sculptures, magnificent and luminescent. In these nine guitars, eight are made by the new generation of French luthiers, and one by Yamaha, who has trained its own team of luthiers in Japan.

Michel Donadey

 Maurice Dupont

 Olivier Fanton D'Andon

 Jean-Marie Fouilleul

 Jean-Luc Joie

 Joel Laplane

 Martine Montassier

 Alain Raifort

 Yamaha

Michel Donadey

Michel Donadey, at 39 years, belongs a little more to the exploratory luthiers side than to the conventional luthiers side. Indeed, his 15 guitars annually at 27,000 Francs a piece for 80 to 100 hours of work are ahead of all of the concert instruments although they appear identical to those of other luthiers. But the demarcation Donadey makes is the difference of the level of the interior architecture and its equivalent of vibrations. After 7 years its conception has not enlarged. Upon first look, the back in rosewood ardour is a marvelous aesthetic, emitting the precious wood by excellence. In the same way the rosette, designed by the luthier is repleat in Indian mosaic of blue and red, linked together are symbols of the Yin and the Yan. Blink your eyes. The bridge in Brazilian rosewood presents a profile tapering to its edges, and a spark of fiery wood decorates the tie block. Besides the veneer of the headstock being an open book, the soundboard is of Red Cedar. To the interior, the sides are laminated with Cedar and the small braces are reinforced with carbon fiber that present the advantage of retaking their initial position after the 1000's of deformations. The fan bracing consists of 8 barres and two transverse barres also in carbon. The Fustero gears are black and hand engraved. The two ebony bars in the neck contribute to the strength of the neck. The fingerboard intentionally very thick, therefore must rid itself of all vibrations of the soundboard and does not confiscate and distribute any to the neck. One condition Donadey follows to achieve more harmonics.

Soundtest:

The note and only the note. It appears that the luthier has hit his target. That guitar is of great precision, it chisels every note toward crystal sonority without some parasitic or secondary vibration. The trebles themselves are kept lightly in check by so much of the precision, the tone remains long with a very good balance over the whole entire fingerboard. The indolent charm, that interior seduction called intimacy - "the occult experience" according to one of the musicians doing the test it has a fullness that will serve all repertoires with confidence. The neck, lightly too large, can offer the guitarists accustomed to instruments of ease what they seek. In conclusion, one guitar of flavor, for learning a different sonority and maybe to let yourself be carried away.

Maurice Dupont

Some of his aid comes from two workers and two apprentices. Maurice Dupont achieved his belief of making 100 guitars in a year. That is a record for an artisan of only 34 years. Every instrument demands around 70 hours of attention and the Grand Concert classical model costs 21,000 Francs. Maurice Dupont furthermore makes an enormous amount of Jazz and Folk guitars besides an original system of amplification. On examination the instruments appear to be solid and very stable. This is because overall its internal structure of sparkling braces. Above the traditional bracing in fan style of 7 braces of 5mm height, 2 transverse braces 13mm in thickness reinforcing throughout. It results in creating a soundboard that is very rigid, theoretically sheltering it from sinking while letting it correctly age. The top is domed toward the edges, facing a back of Brazilian Rosewood that accentuates its brilliant sound. The bridge is tapered toward the ends, in a V-shape, typical of Romantic guitars, signs the linking of the sides, and marks equally in a V-shape the joining of the neck and headstock. The high quality gears are Gotohs from Japan. The binding of the top is of "amourette". Maurice Dupont purchased this wood directly from the woodcutter, practically on foot.

Soundtest:

One of the guitars tested with the most balanced response, in particular the three trebles are linked one after the other without the slightest hint of Wolf Notes. The projection is not timid, the result is due largely tothe sonority of nuances that are situated at the hinge of its roundness and clarity. If that is not enough, then consider it learned balance. This instrument has contributed to edify the fame of the French who have appeared to have elaborated with the new generation of luthiers. One guitar of undeniable qualities and without major defect, beneficient from the increase in connection to high quality efforts. To the guitar buyer from the tester now by putting its color in parallel with its competitors. The rest was an affair of enjoyments.

Olivier Fanton D'Andon

This luthier from Chateaudun offers one of the concert guitars highly finished that one can find in the French marketplace. Fanton D'Andon, the born perfectionist, makes 8 guitars a year, spending close to 200 hours on each of them. A little tempermental to the standard of Rosewoods, Indian or Brazilian, that will utilize to the taste of what is available, it designates the instrument with a soundboard that is very curved. A bracing that is a double fan of 16 spruce bars, and one transverse the whole waist. Four bars criss-cross the back, by that amazing architecture, one of the instruments very rigid, to the positive sense of the word, considered by anyone. A bar of ebony is embedded in the neck. The finish is pushed to the extreme. Example, the 19th fret is drowned in the mass of ebony by not letting it appear to reach the ends of its placement. The baroque "pistagne" that surrounds the rosette is made by the luthier himself. Its motif is made by alternating filets of light and dark wood at angles. In the interior the linings are made lightly with a pen knife that follows the sides elegantly. The instrument is French polished and border marquetry is done in rosewood or "violette" wood. The luxury is to be found in the Rodgers gears. Hand made gears that cost 3,000 Francs alone. An instrument exquisitely made that justifies largely the 30,000 Francs demanded for this concert guitar.

Soundtest:

Thanks to the strings being very close to the neck, this guitar is exceptionally easy to handle. Its neck, relatively slim, begets by furthermore a pleasure of playing lightly with the left hand for some aspects that are very physical. The sonority is spontaneously clear, enriching a color somewhat nasal but not to the point of having too much twang, that gives it an original profile. That sonority rounds out the wishes of the lovers of silky tints. In connection with that clear sonority the attack delivers immediately a sound consistent and luminescent. The guitar from virtuosity by excellence.

Jean-Marie Fouilleul

At 34 years, she is one of the luthiers of the modern aesthetic. It is enough by seeing one of his guitars to tell the difference. Incrustations in the rosette and headstock of tinted wood marquetry as well as abstract motifs and geometric shapes in tin or pewter. The present model G.W. is the crown of the range of Fouilleul's work. He makes 4 models from student to concert. This G.W. at 21,000 Francs contains an aspect that is very charming, bringing a spruce top with Indian rosewood back and sides. The soundboard benefits from being domed, and is made to coincide its summit with the bridge. With 4mm of an arch in the top it offers a comfortable parabola of resonance. Classically, a system of 7 fans supports the soundboard. Those fans are adjusted over the top, thus the linings when they are in a row give rise to the spherical mould. One transverse brace the height of the bridge width accentuates the inherent acoustic hinge to that place. The purflings of "amourette" surround the body. Indicated to us is the fact that although "amourette" is a delightful wood, it is difficulat to work with - it splinters easily. He builds 3 guitars at a time, 25 per year.

Soundtest:

This guitar offers a good compromise between roundness and brilliance which the clarity opposes and compliments a sonority guitaristic. This French sonority, lightly nasal, made to twinkle the trebles vibrantly with a long duration to the ear. A major asset for an instrument which has a natural tendency to "eat" the trebles in crystaline droplets. The basses are very sonorous and pleasantly support by following the trebles. On the other hand, a curious effect secondarily, the vibrant trebles possess a color too contrasting for a connection to the other strings. The first string is too sour or acid like. The detail that may be able to rub out the problem could be to change the strings because the enrichment of the trebles appears to be almost excessive. In evidence the Savarez alliance reds don't lie well for the first string. Delicate equilibrium between a guitar and its vocol chords.

Jean-Luc Joie

Jean-Luc Joie is the luthier of the future. Letting go of the idea to make a conventional acoustic guitar, he has deliberately chosen to cultivate a revolutionary one for attaining his musical goal. At 40 years of age he produces about 15 guitars per year, every one of those demands around 100 hours. His ideal: to obtain very right sounds, very straight, devoid of all parasitic resonance. The means: soundboard of Kevlar, beesnest, glass, moss, carbon-(graphite), and all imaginable composite materials, light solids, ultra-vibrants. The tender wood such as balsa provides the base for this pyramid technology. Two open rosettes, from either side of the neck are discharged on the top of the soundboard covered by a robe of overlapping granite. The vibrating surface spreads out thus without obstacle. The neck, shouldered of an ebony fingerboard, brings three different materials. The headstock is compact with gears borrowed from the electric guitar school. No pressure what-so-ever weakens the soundboard since the strings stride over until they are linked with the sides. The traction has thusly come down to the structure of the instrument. Besides the bracing of classical fans, the structure of the soundboard and its special material maximize its concentric profile. One guitar for exploratory musicians frees you of all paralytic conservatism. To discover this, listen to a disc of Alan Carl Garcia who uses this guitar.

Soundtest:

Another galaxy of sonority, which seemed to bring a great pleasure to the 3 guitarists. The reserve of power is collosal and there is nothing to see with the other guitars. This instrument is a deviant piano, the fantasy of all the 19th century luthiers who dreamt to make the guitar a concert-horse. The equilibrium between the registers is complete, without Wolf notes or dead notes. This is fortunate otherwise the basses devour the trebles or vice versa. It appeared that under the avalanche of clarity, some harmonics were blurred, in particular the octave vibration. Graced by a certain virility, masculinity, that others researched with annexed amplification. This guitar could well arouse new repertoirs.

Joel Laplane

This acoustician of 43 years of age was a student of Professor Louis Davalle, the spiritual inheriter of the luthier Arthur Carbonel-Torres, reknowned in the past from Marselle. After having followed his scientific university studies of solids, Joel Laplane has cultivated his knowledge of acoustics in becoming a luthier and making about a dozen or so instruments per year. Each one of these needs between 70 and 120 hours to complete. Laplane has defined more and more how the new lutheir who searches constantly to attainthe impossible perfection of the classical guitar by his original approach that bears fruit immediately. Having started by researching wood, using spruce or Canadian Cedar for the soundboard, sides and back of Brazilian rosewood or Indian or even Padouk (wood of Coral). The neck is of South American Cedar, and the fingerboard of ebony from India. Organic research next, since the guitar Grand Concert costs 34,000 Francs (the range of guitars begins at 18,000 Francs) and posesses a particularly personalized architecture with its two rosetes. The rosette of the soundboard is in the form of a pebble raised up and not flush to the top toward the neck, thereby freeing a large vibrant surface. The second rosette is small and on the side. It projects a complement of power to the ear of the musician directly. The neck prolongs itself to the interior of the body and ropes the string lightly addressing the soundboard. The headstock has added to it the form of a peak. The bracing of the soundboard is assymetrical, very rigid on the treble side, and very supple on the bass side. The supplementary braces surround the fan bracing of the top and are to be found on the back of the guitar. A blend of retaining and liberation of tensions.

Soundtest:

No, the resulting sonority is not what you have always been waiting for, an artifical flame of white colors and brights. This guitar offers on the contrary one of the sonorities very smooth, very round and warm. The first string in particular abundantly buzzy, butterfly-like without falling toward the vulgarity of its own garishness. For the guitarist who plays naturally clear like Michel Sadanowski, one such sonority that proves ideal. This emission retains but does not exclude the virtuosity. Between the plate of the fingerboard, well constructed, and the strings a flower of the neck, it permits the flight totally. Remarkable woodworking to surely draw attention.

Martine Montassier

After having followed the courses of the school of Lutherie of London and obtaining his diploma after 4 years of apprenticeship, Martine Montassier is one of the young luthiers to have arrived on the French scene. His pace furthermore is not breakneck speed since he builds only 5 guitars a year and sells them for 16,500 Francs each. The concert instrument being examined presents this rare characteristic offering a cutaway. A little like the manner of the Jazz guitars which are not embarrassed by visual protocol. The cutaway disequalibriates a certain aesthetic of the instrument but offers an access to the treble notes making them infinitely easy to play. Theoretically, all the guitars must be made thusly, to be of service to a certain ergonomic factor. But only 1 in 10 of this type of instrument is ordered of the luthiers. Paradox. Afraid of jarring the public? Habits of a game of changing? What can one say? The concertizers rarely are orientated toward this option but all praise its flagrant advantages. The guitar of Martine Montassier comes with a rosette of marquetry and back and sides of Brazilian rosewood. Its fan bracing pattern is of six braces consolidating by the transverse brace traditionally parallel to the bridge. The German gears are by Schaller. The last characteristic to mention is that this instrument is very light, and one supposes therefore of a certain ease to play.

Soundtest:

The notes come out of this guitar naturally enough, maybe due to the lightness mentioned above. But the basses avail themselves to a light tendency to be cold throughout the first 4 frets. The projection and the clarity are blended, the sound quivers and evaporates near a reason of clarity a little too much luminescent which might disconcert the lovers of smooth and muffled sonorities. According to the musicians, this instrument must become better with time, surely over time it will be rid of any youthful sourness, which currently is mixed with its clear tone, yet having to acquire more charm. In summerizing, an instrument to keep for a long time, to shape itself over time, by cultivating it daily.

Alain Raifort

Everything takes its full course of gestation, the guitar of this young luthier of 36 years of age is an instrument perfectly mature. This guitar of concert quality is immediately recognizable with its soundboard of Western Red Cedar - the color of chocolate milk and its rosette in sequins of rosewood. To the difference of Spruce which, theoretically, penalizes the new instrument of one color a little bit green since its improving with time advancing its acoustic qualities. The Red Cedar of the Rockies at the outset gives the better part of itself but doesn't evolve more ulteriorly. The slotted headstock treelike with its filets of wood cementing the holes and edges of its sides. To the aesthetic, these filets have on eprecise function: they maintain the solidarity of the slotted fibers, cushioning the eventual shocks and preventing the humidity of penetrating the fragile areas. Very close to the guitar of Torres, the interior has a pattern of 7 fan braces which maintain the soundboard, reinforced by one transverse brace. The profile of the soundboard is quite domed, by design of an "open book", graced by a piece of wood open and affixed symetrically. The set up of the strings is very lightly tilted by a millimeter. The fingerboard is rounded, to such a point that the next guitars probably will be less rounded by admission of Alain Raifort himself. 80 hours are necessary to make such and instrument. Raifort produces a small dozen per year. Their price is 15,000 Francs, surprising for such quality. This price probably will not last. This is price marketing.

Soundtest:

The balance is good from one side of the guitar to the other without any inequality between the basses and the trebles. The sound, well projected toward the front, an honest tone, though there is a slight weakness in the trebles which is marked by the tenure and duration. Nevertheless, the color charming, feminine, of the instrument, allied to a great ease of execution, translating, according to the musicians, the revival of a certain lutherie typically French, particularly luminescent and attractive. The connection of quality-price, unfindable elsewhere, is as much amazing that the price is artificially deflated by the luthier.

Yamaha

The Yamaha GC40 is not dealt with for obvious reasons.

Next Article:

Who used three metronomes while composing? What unorthodox right hand techniques did he employ? --- An interview translated from French 1 1 /2 years before the death of this great musician.

Desde el Escritorio de Randy Osborne

Almost everything you wanted to know about Mexican Mariachi music but were afraid you wouldn't find out even if you became bilingual and tuned into the Spanish Language Broadcast "Cuatro Estrellas en Cielo" (Four Stars in Heaven).

September 10, 1997

Copyright Randy Osborne F.F.S.I. La Guitarreria Fina, 1997

Here in San Jose on Sunday Mornings we have a beautiful program on KLOK Radio 1170 AM, 9am-11am, called "Cuatro Estrellas en Cielo". In listening to this 2 hour broadcast of the greatest singers of this century accompanied by the remarkable Mariachi musicians, we also receive snippets of history. In the early days of Mariachi, percussion instruments initially accompanied the singers. Later came the violins, trumpets, guitars, and the guitarron (the bowl-backed instrument that provides the pungent bass). The documentation of Mariachi music dates to 1848 in newspapers. At that time in Mexico's history, the country and it's people were ruled by Maximillan and Carlotta who were French. Their army was eventually defeated at Puebla by a great ragtag force of Mexican peasant farmers and that is why Cinco de Mayo (5th of May) is celebrated today.

The word Mariachi is probably not derived from any Spanish root, but rather from these possibilities. University thesis have been done (not that they include the ultimate point of research I will divulge here) and upon reading you may become convinced that the French wanted Wedding Music and there is the source of the word (FR. marier - to Marry, ie: mariachi). My colleague, eminent historian and luthier Richard Brune has suggested that the word mariachi comes from the french word maraich/er which means a couple of things. The Oxford French Dictionary defines maraicher as:

market gardner

truck farmer

The former is an American usage. As agrarian as Mexico was and still is, there may be some weight worthy of that vantage point.

If we go far enough North in Spain we will eventually be out of the sphere of influence of the Moorish or Arabic melody that we are accustomed to hearing in the Flamenco Cante. A century ago Francis Tarrega arranged a song known as "The Gran Jota" with it's 20 variations of virtuoso and rhythmic varieties. In the Province of Aragon north of Madrid is the birthplace of the Jota but not the only place one will find the Jota. In Navarre above Aragon and just south of hte Pyranees mountains, the Jota will also be found; not to leave out the island of Mallorca, hte area of Segovia and Valencia. The Jota of Aragon dates to teh 18th century with songs written as far back as 1779. In the period of about 1809 when the War of Independance took place is the time when the popularity of the Jota spread all over Spain. The instrumentation of accompaniment for the Jota of Aragon consists of Lauds, bandurrias, guitars, and castanets (called pulgaretas in Aragon because the Spanish word for thumb is pulgar). It is normal for the ensemble to start at an Andante pace and after the introduction to change to a Largo pace. Then the female singer begins an incredible emotional vocal followed by a repeat of the intro as an outro. At first you think, "Is this a vocal that is tangent to Rhythm and Blues because of the intense outpouring of emotion?" Then you realize that this is the root of the Mariachi vocals. In duets of male and female, the heart wrenching harmonized voices are just as if they were the spine tingling melodies of Mariachi music of Mexico.

As to when the Jota came to Mexico with it's beautiful melody I'm not certain. It is very interesting also in Spain that the guitar makers call themselves "guitarreros", but that guitar makers of Paracho, Michocan (of which there are 2000 makeing 5000 instruments weekly) call themselves "lauderos" from the word Laud.

The term for the instrumentation to accompany the Jota is Rondalla, though another is Tuna. It is very common for students in Spain to form Rondallas or Tunas as a recreative and social if not a business venture.

As to the manufacturing of Lauds and Bandurrias, 60 years ago all the guitar makers of Spain made them personally, usually in at least 3 grades. If you didn't and a customer came along, whoever on the street who had an instrument ready to go got the deal. Now the times have changed (although I understand that there are 600 small orchestras in and around Valencia) and we see that even the guitar makers of Granada since the 1960's have gradually phased out the making of Lauds and Bandurrias due to lack of demand. Now we find that principally the manufacturing of Lauds and Bandurrias is left to the factories of Valencia such as Alhambra and others.

In my Golden Era CD series G.E. 41, Lauds and Bandurrias 1960 Vol. 2, my favorite vocals are from the recordings of Rondalla Goya de Jorge Sanchez Candial.

Coming next week

Comment ce va l'ecole de luthier francais aujourd'hui? (How goes it for the French school of lutherie today?)

Desde el Escritorio de Randy Osborne

The Big Bang Theory or how we got to where we are today in the world of Classical & Flamenco guitar music

September 5, 1997 Updated October 22, 2026.

Copyright Randy Osborne F.F.S.I. La Guitarreria Fina, 1997

A funny thing happened to me on the way to this column. I acquired 378 issues of Banjo, Mandolin and Guitar commonly known as B.M.G. They date between 1936 and 1976. The magazine was published in Great Britain starting in 1903. This collection was in Germany in November of 1996 and acquired from an East Coast dealer in late February of 1997. Having read the 11,000 pages of material twice, I am now ready to write this lengthy article. In the midst of the first read through which took 10 days (40 hours), I noticed that my collection was that of the last editor before the name was changed to The Guitarist in 1976. James W. McNaughton was a 5 string banjo player (They were known as Zither-Banjos because there was not a fifth string peg as we know in North America, the 5th string went through a metal tube up to the headstock) who had written banjo articles since the June 1953 issue. He took over from the late A.P. Sharpe, who was preceded by Bert Bassett, who was preceded by Emil Grimshaw who became the editor in 1913 replacing, I believe, Clifford Essex. When B.M.G. began in 1903, the music of the day was ragtime in America and due to the fact that there was already the availability of 78 RPM records of Banjo, Mandolin, Flamenco guitar, violin, piano, opera, etc. for at least 10 years, America's virtuosos were quite well known in Europe and the same in reverse for North America. Unlike today, the society and it's music had a different socialization. Every music magazine not devoted to Classical music and Opera included articles about Mandolin Orchestras. (The year that the mandolin really took off was 1884 - if you have the magazines from this era, one can verify just what was going on.) In the U.S. there were tens to hundreds of towns that had Mandolin and Banjo Orchestras at this time (Crescendo and Cadenza magazines from 1900-1935 had large size photos (1/3 of a page) every month and listed conventions in large cities where associations and competitions were held. I n England alone there were not less than 35 Banjo, Mandolin and Guitar clubs. On the continent there were competitions of large Mandolin Orchestras (65 performers in the "Circolo Mandolinistico of Livorno, Italy"). Virtuosos could immigrate from Italy to England and create a solid career teaching and performing in theatres, restaurants, recording and publishing their methods and compositions.

Then came WWI and after the wounds had healed the new optimism brought Dixieland music to America in the 1920's. Vaudville had already been a tradition since the 1880's I believe. Before the advent of silent movies, actors or singers had to deliver high quality performance and a constant basis. With the growth of the motion picture industry, stars could be in two places or actually more places than that at once. Hawaiian music was the rage in 1916. It outsold every other style to the degree that Victor Records, which became RCA Victor decades later, spent over $1 million in advertising in that year alone. Not to mention that in Winnepeg, Canada in 1904, a Ukulele instructor had 500 students at the same time, using a board with electric lights to show chord shapes from the stage and having a few aids in amongst the students to help tune 2000 strings.

Meanwhile, Flamenco guitar had been on record since 1902-03. It was the rage in Spain to such a degree that it could be why Francisco Tarrega was not approached to record though he was a professor, with stature to publish within his own lifetime. (Shortly after he died some publications had a title page mentioning that the works listed were released posthumously.) We all know of the said decline of the classical guitar in the last 40 or so years of the 19th century. Empressarios of the recording world knew that Classical piano and violin would be a sure success. Juan Parga who had taught Flamenco and published the same was in his professorship at the Conservatory of Malaga in the 1890's but died in 1899 and so barely missed the opportunity to record. Had he lived another decade, perhaps we might be touting him in place of Don Ramon Montoya. The skinny on Parga is that one of his falsetas of continous triplets from a Soleares that was published in 1892 can also be found intact in the published work of Guillermo Gomez in Mexico after 1904. And also it's indemicness in Flamenco is that the same falseta can be found once again intact in the 1954 published work of Rafael Morales hard bound method in English and Spanish. Morales was a student of Ramon Montoya whose autographed picture graces the inside preface of his method.

The only guitarist who would be heard on record in the U.S. in the 1st decade of this century was Roy Butin who played a Harp-Guitar (with extra bass strings) and was the accompanist for the mandolin virtuoso Valentine Abt. In Mexico at this time duets of voices and guitars appear on record.

At the end of the first decade Segovia was just about to start his debut in Spain. Miguel Llobet already had somewhat a name for himself and Emilio Pujol as well. In South America Augustin Barrios was just about to start his illustrious recording career (c. 1910-1913). When Barrios began his recording debut, Argentina was the 6th largest economy in the world, not to be confused with the Argentina of the '80s when banks posted on the Electronic billboards the time, temperature, and the percentage they would pay daily on your deposited funds (c. 2 1/2 %) - because inflation was so extent that about every 7 weeks the money in your pocket was worth half of what it had been.

We see that the recording industry enabled the profusion of fame to spread like wildfire. In Fernando Sor's case, had he lived in the 1950's, he might have overdubbed his duets instead of putting Aguado's name on the second guitar part, which angered Aguado. It is said that Emilio Pujol did not like the sound of the playback of an early recording he made and so did not follow suit. Before 1926 all recordings were made playing into a megaphone and after they became "Electric recordings". The fidelity of early Barrios recordings or lack of it compared to his later being able to take advantage of the progress in recording techniques is one of the widest parabolas to the ear. A Barrios recording in mint condition sounds great, but couple steel treble strings and a record that has had a steel needle chew up the shellac surface countless times and you might come close to an observation that Barrios didn't even have the tone quality equal to any Flamenco guitarist that could be mentioned. All Flamenco guitarists used gut strings and therefore even when the record is a little scratchy it sounds great. I have a version of Tarrega's "Capricho Arabe" on a mint 78 RPM record by Barrios and it well surpasses the sound content of the version on the CD by the European concern. I acquired this record from the estate of the late Fred Stockton - who had a tape recorder, it's probably why it is still mint - you record it once and play it for your students a 100 times. Fred was a bay area classical guitar teacher who advertised in The Guitar Review in #14 in 1952. He was a Vahdah Olcott Bickford student since the 1930's and because of that I now have a few 1st editions of Giulio Regondi and Zani de Ferranti. Imagine my delight turning a page in a bound volume to see Regondi's Op' 19 1st edition (thinking gee I've had a facsimile from Europe for 15 years - wow).

Another aspect of the beginning of the age of recording is that before that period everything that was known was what one experienced in person. Once the age of recording began the influence of music from one part of the world could be an influence on an audience unaware of where some of what they heard came from. For example, George Smith who did guitar studio work for the motion picture industry, The Grapes of Wrath, had a record collection that included discs of Guillermo Gomez from 1928 when there were silent movies and two decades later on a rare 78 RPM titled Carlotta there are obvious influences from G. Gomez's Zambra.

Now in Flamenco it is very different than a century ago, easiest understood from the standpoint that contemporarily we expect any and I do mean any virtuoso will be expected to play every style from all over Spain - it's been that way for decades. Whereas a 100 or so years ago I am not certain that there was one or more accompanist in the "Cafe Cantante" period that played all styles - maybe Paco Lucena knew 3, 4, 5, or more styles but he would have to have travelled all of Spain to know all the styles or the only other manner would to have been the opportunity to meet travelling musicians.

In Americana, the 1930's blues legend Robert Johnson was the first recording artist that had access to recordings of other artists from far away or neighboring states - and influences of Lonnie Johnson and other greats added to his repertoire and licks.

In the case of Ida Presti, she was a child prodigy and we were able to capture her ability on record at the age of 13. Whereas in the days of Giulio Regondi and Madame Sidney Pratten, they were child prodigies that eventually became adults but we could not have more of a record than newspaper clippings because that was in 1830. Regondi didn't publish until he was a 37th year player at the age of 42.

As music changed with the times, so did opportunity to learn new styles for those who wish to widen their horizons. One of those people who wished to do so is Wilfred Appleby. In the late 1930's he put a small advert (classified ad) in the B.M.G. "wanted classical guitar" - when I saw that I immediately thought, wow, this guy was publishing Guitar News 15 years later. Wilfred was an incredible figure on the classical scene in England. He did much research and wrote a long list of articles well before starting his magazine Guitar News. Most people don't know that he also funded Julian Bream's first concert when Julian was just a teenager. Wilfred wrote "The Spanish Guitar" articles for B.M.G. in the 1940's. In A.P. Sharpe's book, The Story of the Spanish Guitar, which was published in 1957, the information on the Panormo family and Rene Lacote was initially written by Wilfred Appleby in theB.M.G. in 1946. But by the time A. P. was writing his tome he had omitted several apprentices of the Panormo shop that Wilfred had uncovered. Wilfred was understandably a fanatic about the classic guitar; after all, having been exposed to all the other types of music before he "discovered" classic guitar he became acutely aware of the extraordinary amount of musicianship not to be found elsewhere in the other palettes of music. He became such an ardent voice for the increasing popularity of the classic guitar that when there was a Guitar Festival to be held in England in the late 1940's, he unequivically stated that the festival should only be of classic guitar while the other board members said no, that Hawaiian and plectrum guitar should be included.

Being aware of the lack of growth (Wilfred probably would have agreed with the other board members if this discussion had been in 1935) of the other members musical appreciation and stubborness to include what Wilfred had taken the stance that although many of the invited Hawaiian and plectrum guitarists that were scheduled had been recording artists in some cases for over 10 years, he knew that this was not the forum for guitarists outside the classic world. Having a worthwhile agenda Wilfred Appleby resigned and ceased to write his informative column. The correspondence to the B.M.G. in the following months was needless to say, vitriolic. Some of the letters written in anger were by, in a few cases, from those who had yet to become converted. Plectrum guitarist Freddie Phillips fired off his salvo only to appear on the cover of the B.M.G. in the early 50's with his nine string classical guitar and a sober appearance instead of being hip. I almost left out an important aspect. World reknowned composer and arranger John Duarte wrote jazz harmony articles for the B.M.G. since the mid-40's but under the name Jack Duarte. Wilfred Appleby was the window for these folks and now John Duarte is known on every continent. This information is not found in the biography of John Duarte in the book "The Classical Guitar" by Maurice Summerfield. One must remember Django Reinhardt was still alive and a considerable influence in the belief of pick style guitar. If Django couln't blind you to the musicianship of piannisimo to forte, no one could. I personally have not less than 650 different, of 900 plus, recordings made by Django from 1928-1953. I learned of him in 1968 and classic guitar more or less in 1978. Django could dazzle your ears - if one can acquire 11 different versions of his celebrated "Nuages" recorded with different groups over a 15 year period, why not. And then comes that day when one's previous heroes become extremely disposable. I used to think everyone famous was important. Not so says wisdom.

Back to the wonderful Wilfred Appleby in the early 1950's he started his publication Guitar News. It was the only publication in England that covered exclusively Classical Guitar and somewhat Flamenco as well. If you would like a biography of the guitar maker Manuel Velazquez you got in Wilfred's magazine in 1955. He had correspondents all over the world. I never saw a mention of his magazine in B.M.G., though one could find tidbits that had appeared in the U.S. magazine The Guitar Review in B.M.G. & Guitar News. Strangely enough, when Wilfred could no longer publish Guitar News in 1972, a month or so later there was a laudatory article in B.M.G. about how Guitar News was a goldmine of history of classical guitar and that there really was nothing else like it in England that had been on the scene at the time. But here is the clincher: there is no, I said no mention that Wilfred Appleby had ever written for B.M.G. for an extensive time in the 1940's. There are few people who come along at the right time such as Wilfred and his wife Kay Appleby.

If we had not seen the advent of the airplane, our world would be very different. For centuries, ships had transported Miguel Llobet to the New World and every one else above and below him as an example. But the advent of flying made our world smaller - I think you've heard that before. It really allowed tourism to be what we know it to be today. It let artists travel quicker once they had sufficient reputation and conversely it let people be in another environment within hours. Ivor Mairants - guitarist and businessman is responsible for putting artist grade guitars at reach to the musician in England who may not have had the ability to travel to Spain. And his proximity to Spain did not put him there first. The late Jack Buckingham (who taught Flamenco at the University of California at Berkeley as well as Laney and Merritt colleges in Oakland, CA in the early 1960's) travelled to Spain in 1956. Mairants visited Marcelo's shop about 6 months before Marcelo passed away. Jack Buckingham also studied with Jose Navas Garcia at the Concervatory of Malaga in the 50's and 60's for advanced Flamenco instruction. His teacher Jose had been on the scene since the late 20's. In fact, some of the hand written manuscripts he gave to his student Jack were songs that had been published by Romero and Fernandez in Buenos Aires in 1927 but were out of print. Romero and Fernandez, the firm that had published in 1934 Domingo Prat's "Diccionario de Guitarristas".

In 1959, Ignacio Fleta's waiting list was 6 months. Andre Segovia had already had his first Fleta at least a year.

By 1961 Fleta's waiting list was a year and a half.

In 1964-65 period the waiting list had grown to 4 1/2 years. Before going on I should mention that these were the most expensive priced guitars available, but they were at hand. You could walk in to Ivor Mairants store and at times choose from maybe two that were for sale.

By 1972 Ignacio Fleta's waiting list had grown to nine years, a length of time which would outstrip his own life as we lost him five years later. He also had been the cellist Pablo Casals repair person. Ignacio had opened his shop in 1927 and about 1964 was the point in time when thereafter, all guitars that came out of the shop were a collaborative effort due to the aid of his sons Francisco and Gabriel.

Today the sons of Fleta have an 18 year waiting list.

10-22-26 In 2008 a cello was auctioned off at Bonham's in London, the label read: Ignacio Fleta e Hijos Construido en 1942 Calle Barcelona Espana. The sons, Francisco (1925-) and Gabriel (1929-) learned from a young age to be luthiers.

The pervasiveness of export of Flamenco guitar records was to such an extent that for Brits that were accustomed to hearing real flamenco since 1940 or so, to near 1960, was such an eye opener that when Manitas de Plata went on British TV in the early 1960's and was touted as the "Greatest Flamenco Guitarist Ever" he was trounced pretty heavily in the B.M.G. and I am sure elsewhere as well. There was all the hype: he did not really like to travel so all the recording equipment had to be brought to his small town in France. Having not listened to Manitas again until just recently I can understand how he deserved all the adamant criticism. Sure he was or is a virtuoso, but is he flamenco? Not any more than when Carlos Montoya is performing "Blues in the Night" or "St. Louis Blues". Manitas lived close enough to Spain to pick up on Flamenco but far enough away to be out of compas. And some of his stuff is so far off (dune, du, dune, du dune) sometimes for so long you think "Where did he get this?" or "Why is he even doing this part of what would otherwise be close at having aimed at being Flamenco?".

David Spinks, later known as David Rubio or Jose Rubio the great guitar maker, was a very legitimate Flamenco guitarist at least by 1958 - after all he didn't need to lean on Manitas de Plata who didn't show on the scene for some years. David had learned from all the right tradition and was gigging in London restaurants and pubs because he was the real thing. And by 1965 Julian Bream was using Rubio's guitars and lutes. Rubio's guitar prices rivaled those of Fleta at that time in London. It's great to be well though of especially after all that work.

What was it like during WWII for the musician? The Clifford Essex company had one square inch ads in B.M.G. asking their customers "Please return your string envelopes as we need something to put your next set of strings in - paper is short, there is a war on you know". Also with all of Europe at war Ida Presti who had recorded as recently as 1937 had her picture on the cover of B.M.G. and inside in a small column about her it ended with the line "Does anyone know if she is still alive? Maybe someone serving in Paris can let us know". This being the February 1944 issue.

In the 1950's it seemed that every other month and once in a while two months in a row there would be an article on some unlucky electric guitarist who became electrocuted playing either due to amplifier problems or combination with microphones on stage. I don't remember hearing about electric guitarists being electrocuted when I was growing up in the 50's.

By mid-1960's the amount of articles in the B.M.G. on mandolin and banjo had decreased to the point it seemed all you read page after page was about guitar which is why it was changed to The Guitarist in 1976.

In 1878 I believe sound was first captured and by 1885 cylinders were available in London and Paris, and one sided platters became the norm around 1896, though cylinders were available until 1915, and two sided 78's appeared about 1908. In 1960, 78's were ceased to be manufactured. The 10" micro groove came along in 1948, the 12" LP in 1954, the 45 RPM in 1953, and now we are at the dinosaur age of vinyl. It seems to be a little funkier to have an old LP of Sabicas than a CD under ones arm, but time marches on. There were not less than 2800 78 RPM records recorded of Flamenco since it's recorded inception. That's why we see a lot of historical CDs coming about which is good because when the 78's were initially released, production quantities could range from 400 to 1500 / 3000. Some of the artists mentioned in this article had these said quantities released as a total or second pressing from same master, that's why some of these are quite rare.

In my G.E. cassette 13, Solos by Presti & Lagoya, there is a "Guajira" by Emilio Pujol played by Ida Presti. In a B.M.G. from 1950 we find out that she had been practicing that piece at least for 6 or 7 years before recording it. My teacher Byron Pang (a student of Jose Rey de la Torre and Maestro at the Music and Arts Institute in San Francisco 1970-74) told me when I had studied with him back in 1979-81 that the most difficult pieces are practiced sometimes 5 or more years before being added to the repertoire of the public stage; therefore I was reading what I should have been expecting to read when I found the article about Andre Verdier where Ida Presti had dropped by and was performing the "Guajira" on one of Andre's great Francisco Simplicio guitars that were a part of Mr. Verdier's collection.

Anita Sheer was a Carlos Montoya student (in fact his only protege) who passed away last July 8, 1996. She was the driving force (Artistic Director) behind the "Flamenco Society of Northern California in San Jose", for about 15-16 years. When I purchased the collection of B.M.G.s I did not expect to find anything about Anita, but here it is. In May of 1957 there was a Guitar Festival of the Fretted Instrument Guild held at St. Pancras Town Hall. It comprised Classical Guitar, Hawaiian Guitar, Plectrum Guitar, Guitar and Piano Duets, and Folk Music. Nice words are said about all performers except Anita. They raved about Anita - she was an invited guest making a surprise appearance under the auspices of Ivor Mairants. Anita Sheer was described as a "fretted bombshell", "she really made the sparks fly", that she "possesses a dynamic flamenco style" and that "her impassioned vocal technique enlivened the evening considerably". In June of 1957 our Anita was on the cover of B.M.G. holding her Flamenco Guitar, and on page three there was an article titled "Our Cover Subject" with 5 more photos of Anita with her guitar. With a caption under the photos that read "We do not think any B.M.G. reader will object ot seeing these further camera studies of ANITA SHEER - the flamenco singer and guitarist, whose debut in this country is still being talked about".

In the article it says on May 19th she made her British television debut as a featured artist in the Winifred Atwell show. Miss Sheer was in England with an introduction to Ivor Mairants from one of his New York pupils. She was enroute to the 1957 Fiesta in Seville. Ivor was so impressed by Anita's singing and flamenco playing that he introduced her to B.B.C. producer Peter Duncan who immediately put her on his program "In Town Tonight". She appeared with great success. Mr. Ivor Mairants then persuaded her to stay in London until the Guitar Festival on April 9th. With the deafening applause still in her ears she left for Seville the next day. The article also mentions that she, by that time, had already done transcriptions of various songs of Carlos Montoya for publications in the U.S. As well in the June issue in the correspondence section a Mr. E. Herbert writes he thought a couple of acts that preceeded Anita could have done more, but of Anita he says that she was a welcome surprise, and that afer playing three songs the audience responded with a tremendous ovation for which the delighted concert goers received an encore by Anita.

The Spanish Civil War really cannot be talked about in under 100,000 words. If General Franco had lost the war to the communist-socialist-anarchist coalition in Spain in the 1930's anyone who is known as a Classical & Flamenco Guitar dealer in the U.S. and elsewhere would probably be doing something else. We'd have to. If General Franco had not kept capitalism in Spain by winning the war, I doubt that the Jose Ramirez shop would have produced 25,000 "1A" concert guitars (current list price $7450) since the mid-1960's. Of course it's true that Andres Segovia's use of the Ramirez guitar in concert and recording helped immensely in sales. I expect that if the communists had won the war that the reality in Spain would be much like that of any region that just came out from under the scourge of communism. There are only two types of being poor: natural poverty and enforced poverty (communism).

With 50% of Spain being illiterate at the time of the war it's pretty easy to understand how the communists had a bone to offer. "Let us get for you what you have yet to get for yourself." Sixty thousand landless farm workers took over 3000 farms in a single day: March 23, 1936. In Barcelona by 1938 the communists had effectively gotten rid of money. They had a voucher system that meant that a farm worker got just as much credit as a skilled factory worker and meanwhile, blocks away, Ignacio Fleta was building guitars that would be worth $30,000 decades later. I don't think the landless workers ever stopped to think that their Patron (he who owns the farm and hires people) did not steal the land that they took from him on March 23, 1936. Oh, by the way, I have watched the Spanish Civil War on video on my list not less than 14 times (5 1/2 hours of details). Had the communists won, we probably would see guitars of the quality that we get from Bulgaria, Romania and Czechoslovakia. I know one of the local importers of those guitars and I've told him that the instruments are built with substandard woods (box material) and that understandably being inexpensive, they should last one to two years. Well folks, the people who have already bought this product have tried to trade this merchandise in at my store and the necks on the 90 day old instruments are already warped. In fact, I told one person "I can take your mandolin made in Paracho, Mexico in on trade because the neck is still straight."

The ex-iron curtain is a good example that not only does communism hurt the society when it's enforced, but it also takes more than a few years to get back on one's feet. It says a lot when Mexico with a 80% poverty rate has guitar builders whose wood supply is higher quality than that of beloved and worshipped Europe.

At times watching the Spanish Civil War video I would watch Franco's troops winning a battle and would think or at times yell "Go Fine Fretted". So it is the incentive in capitalism that has Spain not crying about it's ability to be prosperous in the guitar industry. Also, one can say if Franco had lost the war do you really think that there would be a guitar industry in Japan, Korea, Taiwan, Indonesia? Franco's efforts are why a lot of Pacific Rim people can send their children to college. You don't see any factories in Japan copying guitars coming out of the iron curtain. Neither do you see Japanese guitar collectors paying vast sums for guitars made in the ex-iron curtain. They are all buying Archangel Fernandez, Ignacio Fleta, Don Antonio de Torres and Hermann Hauser I (a German mastermaker designed after the Torres-Santos Hernandez models). If it takes money to make money, then it also takes no money to make no money as the communists belatedly found out. My condolences to everyone who has lost someone.

Coming next week

Mexican Mariachi music is sung in Spanish but doesn't sound Flamenco. Are there connections to Spain? Is the word Mariachi Spanish?

Desde el Escritorio de Randy Osborne

Pioneers in Flamenco in Film

May 2, 1997 Updated October 22, 2026.

Copyright Randy Osborne F.F.S.I. La Guitarreria Fina, 1997

The first real specific flamenco movie dates from 1909. It starred the singer El Mochuelo and was made by Ricardo de Baños. The photo is of the singer, El Mochuelo but taken from 1936, the video is by the director / producer Ricardo de Baños, but made in 1908 in Barcelona, Flamenco guitarist Miguel Borrull lived there at that time, so did Carmen Amaya she lived there too, Francisco Tarrega lived there, Emilio Pujol lived there, Miguel Llobet lived there, too all at the time this video was shot, they may well have ridden the cable car you see in the film. 

When this was written in 1997, You Tube did not exist, I encourage you to as time goes by, to continue to search to see if these films or clips from them are available on You Tube. Many many of them are on You Tube right now.

The silent silver screen came to Spain in 1896. In the first few shorts that were made reflected the Andalucian folklore, especially the dance. The first real specific flamenco movie dates from 1909. It starred the singer El Mochuelo and was made by Ricardo de Baños. In the year 1914, Jose Carrera contracted Pastora Imperio for several films. The first film was titled La Danza Fatal and was directed by José de Togores. In 1916 the Italian producer Mario Caserini brought La Argentinita to the screen in Flor de Otoño. Pastora Imperio returned to the screen in 1917 in Gitana Cani. It was produced by Armando Pou, and also starred Pastora's brother, guitarrist Victor Rojas. In the '20s, La Argentinita appeared in Rosario la Cortijera (1923) produced by José Buchs. In 1924, the dancer Mariquilla Ortega appeared in the biggest hit of the silent screen (cine mudo) Santa Isabel de Ceres. It was produced by José Sobrado de Onega. In 1927La Hermana San Sulpicio contained the debut of Imperio Argentina. In April of 1928, Rafael Salvador's film Rejas & Votos was released. It was a total failure publicly and critically. Though it had flamenco scenes it was without any real guidelines of quality. At the end of 1929 the first version of La Copla Andaluza, a comedy by Pascual Guillén and Antonio Quintero and directed by Ernesto Gonzalez was released.

The first sound motion picture was produced by Florián Rey in 1929 and was titled Fútbol, Amor, & Toros. A star who appeared was the singer and recording artist Guerrita. With its mechanical defects at the dawn of the sound picture age it was not a success. In 1932 Fernando Roldán directed the film El Sabor de la Gloria which starred the singer Angellio & guitarist Luis Yance. A year later Guerrita returned to the spotlight in El Relicario. It was directed by Ricardo Baños. The second version of La Hermana San Sulpicio was directed by Florián Rey in 1934 and starred once again Imperio Argentina at the height of her fame. Pepe el de La Matrona also sings sporadically in this film. In the same year Benito Perojo directed El Negro que Tenia el Alma Blanca in which sang Angelillo. In 1935 one of the most nourished representations of flamenco came to the screen. It was directed by José Buchs and was titled Madre Alegria which starred La Niña de La Puebla. Rosario la Cortijera was directed by León Artola and included Estrellita Castro, Niño de Utrera, and Niño Sabicas. Producer Fernando Roldan created Paloma de Mis Amores which was the first starring role for Niño de Marchena. The first version (which was the most popular) of La hija de Juan Simon was directed by José Luis Sáenz de Heredia. It starred Angelillo who sang the celebrated milonga of Juan Simón. Carmen Amaya also acted in this film. The German producer Max Nosseck made Una Aventura Oriental which had as a part of its cast Guerrita. In 1936, besides the few shorts of Sabino Antonio Micón which reflected Flamenquismo there appeared two more films with flamenco artists. Francisco Elias directed Maria de la O starring Pastora Imperio & Carmen Amaya. Florián Rey directed Carmen de la Triana which starred Imperio Argentina and Don Ramon Montoya. Florian Rey made another film with Imperio Argentina named Morena Clara, based on a work by Guillén and Quintero. During the civil war, the debut of Amor Gitana, directed by Alfonso Benavides casted once again Guerrita. Also, in 1937 he made a short with Carmen Amaya Embrujo del Fandango with Sabicas in Cuba.

In the '40s, films produced (like almost every postwar period) had a true explosion of nationalism - better or worse understood - that had invaded the theatres. Among the nationalist elements occupying the primordial position was folklorism, although rarely would it bring the authentic Spanish folklore, and over all it was looking for more than quality-commercial potential. Two films that starred Niño de Marchena came to the theatres of Madrid in 1940. La Dolores directed by Florián Rey also cast Conchita Piquer. The other being Martingala directed by Fernando Mignoni. Pastora Imperio starred in La Marquesona directed by Eusebio Fernández Ardavin. The following year Fernando Rivero directed Carmen Amaya in Seda, Sangre & Sol. Ignacio Fernández de Iquino directed Trini Borull in Alma de Dios. Carmen Amaya also was directed by Sol Hurok in Original Gypsy Dances in 1941 which featured Sabicas. Niño del Brillante was directed by Alejandro Galindo in Ni Sangre Ni Arena. In 1942 Mercedes Borull La Gitana Blanca worked in Malvaloca. In 1943 Eusebio F. Ardavin made Forja de Almas which narrated the life of educator Andrés Manjón, and portrayed folkloric scenes of the Sacromonte in Granada. In 1944 Carmen Amaya made Sueños de Gloria with Sabicas and directed by Edward Sutherland. She also made Pierna de Plata with her family troupe directed by Harry Joe Brown. Lola Flores and her songs starred in Alegrias directed by Jesús Rey. Antonio Guzmán Merino made Macarena with Mercedes Borull and Juanita Reina. Floriá Rey debuted his Ana Maria which had a cameo by Niño de Marchena. In 1945 Juan de Orduña - one of the most characteristic figures of the national cinema at that time appeared in Leyenda de la Feria with Trini Borull and Niño de Constantina. Juan de Orduña also was in La Lola se va a los puertos with Juanita Reina, Pepe Pinto accompanied by Melchor de Marchena. Taking advantage of the popularity of the couple Lola Flores & Manolo Caracol, Carlos Serrano de Osma offered them the roles in Embrujo in 1947. It was panned by the critics. In the end of the '40s the Flamenco dance drew the most attention. Carmen Amaya was directed by José Diaz Morales in Pasión Gitana. In 1948 Florián Rey directed José Greco in Brindis a Manolete, participating also were Rafael Romero, Manolo Manzanilla, Luis Maravilla & Rosa Durán. Another film directed by Jose Diaz Morales in 1949 was La Revoltosa. which starred Vincente Escudero. Adolfo Aznar directed the dancing duo of Antonio & Rosario in El Rey de Sierra Morena in 1949. Also in the same year Antonio Román coached Pastoria Imperio, Manolo Vargas, and Ana Esmeralda in El Amor Brujo. Besides all these feature length films, documentary shorts such as Sevillana (1941), Fandanguillo (1942), and Pregones del Embrujo. In those years flamenco was episodic and at times was purely in the background of the scenes. The folkloric movies for the most part had little artistic ambition or cinematic sense and some directors had little technical preparation. What was tried fundamentally was to make a star of someone whose fame was from recordings and theatre spectaculars and into getting a secure foothold on the silver screen. The singers Estrellita Castro, Lola Flores, Conchita Piquer, Juantia Reina, Imperio Argentina, Gracia de Triana, Angelillo Miguel de Molina, that create the dreams of the public with their lyrics and the music of the Maestros - Azagra, Quintero, León, Quiroga, Ochaita, Solano, Valero, etc.

In the '50s save the honorable exceptions such as Duende y Misterio starring Pilar Lopez and Luis Maravilla, the lean was toward commercialism. Inundating the screen were Lola Flores, El Príncipe Gitano, and Antonio Molino principally. Edgar Neville's film Duende & Misterio by being the definitively most consacrated in the history of Flamenco Cinema deserves attention. Edgar Neville brought flamenco the screen in 1946 in which a cuadro performed in Traje de Luces. But it was his Duende & Misterio which debuted in Madrid on December 15, 1952, that was praised highly by the most demanding critics. For better or worse it undoubtably was a force causing investigation of the background of flamenco. The film was conceived as a succession of sequences, with every scene dedicated to the song or dance, and within the evocative mark of style, documentative, or informative. It didn't have a story line and was not in need of one. The most memorable artists that took part were Pilar López. Antonio Ruiz Soler, Jacinto Almadén, Aurelio de Cádiz, Antonio Mairena, Bernarda and Soler, Jacinto Almadén, Aurelio de Cádiz, Antonio Mairena, Bernarda and Fernanda de Utrera, Pepe de Badajoz, Rafael de Jerez, Luis Maravilla, El Poeta Mercedes Brocco, and Pacita Tomás.

Besides dancing in Duende & Misterio, Antonio also made Niebla y Sol in 1951. He was directed by José Maria Forqué, and also had Rosario in the cast. In 1953 Maurice Clauche. directed Noches Andaluces. In the following year José Luis Sáenz de Heredia directed Todo es Posible en Granada. Later in 1958 Javier Setó directed Pan Amor & Andalucia. Also in the same year, Michael Powell directed Carmen Sevilla in Luna de Miel. Pepe Marchena and Antonita together were directed by Raúl Alfonso in the 1954 release of La Reina Mora. Also in the cast were the singer José Cepero and guitarists Andrés Heredia and Benito de Merida. In 1955 Ramon Torrado directed Angelillo in Suspiros de Triana. Ricardo Nuñez made Tremolina in 1956. Lola Flores being a permanent figure in the '50s appeared in the film Jack el Negro in 1950 and was directed by Jilien Duvivier. Lola also appeared with Manolo Caracol in Ramón Torrado's 1951 release La Niña de la Venta. After the artistic separation of Caracol she starred in another Torrado film in 1952, Estrella de Sierra Morena. Florián Rey directed Lola in his film La Danza de Los Deseos in 1954. In the same year Luis Lucia directed her in Morena Clara. Also in the same year and with the same director she appeared in La Hermana Alegria. In '57 under Miguel Zacarias' direction she made Maricruz. Also in '57 she appeared in Torrado's remake of Maria de la O. 1958 brought her to the screen in Fernando Cortes' Echame la Culpa. Later in the same year she was directed by Enrique Cahen in Venta y Vargas. Antonia Molina was directed by Luis Lucia in El Piyayo in 1955. Antonio also appeared in El Pescador de Coplas, directed by Antonio del Amo in 1953. Luis Lucia also directed Antonio in Esa Voz es Una Mina (1955). Gonzalo Delgrás directed Antoni o in the 1956 remake of La Hija de Juan Simón Ricardo Nuñez also directed him in the 1956 release of Malgueña. Gonzalo Delgrás also directed Antonio in 1957 in El Cristo de Los Faroles.

Enrique Vargas-El Principe Gitano appeared in José Buchs 1953 film Brindis al Cielo. Enrique also was in Miguel Iglesias's 1955 film Veraneo en Espana. In 1956 Enrique also appeared in Iglesias's film Herederos en Apuros. The remake of La Copla Andaluza by Jerónimo Mihura in 1959 starred Rafael Farina, Adelfa Soto, Porrinas de Badajoz, La Paquera, de Jerez, Fernanda Romero, El Sevillano & Beni de Cádiz.

Antonio Momplet directed Imperio Argentina in 1951 in the film Café Cantante. Luis Lucia directed Ana Esmeralda in Lola la Piconera in 1952. Also in 1952 José Maria Elorrieta directed Ana in Maria Dolores. One of the last works of Florián Rey was in 1954 - Cruz de Mayo starring Manolo El Malagueño. In 1953 Luis Torreblanca directed Niño Ricardo in El Festival de la 3D. Juanito Valderrama appeared in El Rey de la Carretera in 1954 by Juan Fortuny which also included the music of Niño Ricardo and the dance of Gracia de Sacromonte. La Chunga danced in José Maria Forqué's 1959 film De Espaldas a la Puerta.

In the following decade, besides Lola Flores, El Príncipe Gitano and Antonio Molina, brought to the screen were Rocío Jurado, Peret, the dancers and choreographers Rafael de Córdova and Antonio Gades, among others. The number of films that were folklyric-flamenco decreased in comparison to the previous decade. Producers took into account that the audience was not what it once was. In 1963 Francisco Rovira Beleta produced Los Tarantos which was based on Alfredo Mañas's theatre work Historia de Los Tarantos. It related a beautiful yet tragic story of the love of two gypsies belonging to rival families. A grand creation, not only having dance but drama as well. Carmen Amaya made this film a year before she passed away. Sara Lezana, in the beginning of her career played Juana La Zoronga - the girlfriend. Other actors in Los Tarantos were Antonio Gades and El Chocolate. ALthough it is a film from years ago, it is still much requested and packs theatres. Los Tarantos was nominated for an Oscar. Another film by Rovira Beleta was a remake of El Amor Brujo. It had a musical adaption by Ernesto Halfter, and music by classical guitarist Narcisco Yepes. In 1960 Gonzalo Delgrás brought Antonio Molina & Rafael Farina, and the dancer Maria Albacin to the screen in Café de Chinitas. In 1961 the same pair Molina-Farina were directed by Santos Alcocer in Puente de Coplas which also starred Porrinas de Bádajoz and Ana Mariscal. Ana Mariscal as director made the film Feria de Sevilla in 1964. It starred Porrinas de Badajoz, Ana la Tomata, Maria Rosa, and the off screen voices of La Niña de los Peines, Juanito Valderrama, Argentina Coral & Dolores Vargas. Joaquín Bollo Muro contracted the couple Juanito Valderrama-Dolores Abril to appear in two consecutive films:Gitana with El Güautito in 1965 and Barro y Oro in 1966. Juanito and Dolores were invited to participate in Armando de Ossorio's movie La niña del patio in '67. It was about the life of singer Estrellita Castro. Pío Ballesteros in '64 made the screenplay by Guillén and Quintero into the movie El Alma de la Copla. The cast headed by El Príncipe Gitano included Adelfa & Pepe Soto, La Niña de La Puebla, Juan Varea, Jacinto Almaden, and the recorded voices of Antonio Chacon, La Sallago and Luquitas de Marchena. Among the films of Juan Antonio Bardem in this decade, there are two with flamenco participation, although minimal. A Las Cinco de la Tarde (1960) with Jarrito, and the other Los Pianos Mecánicos (1965) with Maria Albacin. El Príncipe Gitano and Rafael Farina shared the lead in J.M. Zabalza's 1966 work El Milagro del Cante. Jesús Yagüaute brought to the screen Jarrito, Fosforito, Juan Vargas, Enrique El Culata, Adela Escudero and José Osuna in the 1966 production of Los Flamencos. In Silvio F. Balbuena's 1967 film Los Celos y El Duende the cast included Porrinas de Badajoz, Jarrito, Fosforito, Juan Varea, Flor de Cordoba, Carmen Rojas, Félix de Utrera, and flamenco cuadros from the tablaos El Corral de la Moreria and Las Cuevas del Nemesio. Antonio Gades starred in Mario Camus's 1967 filmCon el Viento Solano. Also in that movie were Imperio Argentina and Vincente Escudero. Antonio Gades also appeared in Antonio Eceiza's Ultimo Encuentro in '66. In '64 Luis Marquina's Valiente Maria Rosa and Fosforito starred. Valiente's star was the bullfighter Jaime Ostos. Documentaries made at this time include Fernando Pallares and Manuel Gutiérrez Torrero's Antonio en las Cuevas de Nerja and Julian de la Flor's Llanto and Saeta en Sevilla, both made in '63.

The most notable film of the '70s is Ley de Raza (1970). It is based on a novel by Ildefonso Manuel Gil and was directed by José Luis Gonzalvo, and stars Antonio and La Chunga. In '75 Julio Diamanta's La Carman starred Julián Mateos, Sara Lezana, Rafael de Córdova, Enrique El Cojo, Enrique Morente, El Agujeta, El Bico, Enrique de Melchor, Pepe de Lucía and the cuadro from Tablao Las Brujas. A documentary short worth mention is Miguel Alcobendas's Cantes de Malaga (1974).

Carlos Saura in the last decade produced three films with Antonio Gades:Bodas de Sangre (1981) with Christina Hoyos, El Guito, Jose Mercé, Gómez de Jerez, Manolo Sevilla and Antonio Solera. Then, in '83 Carmen with Christina Hoyos, Lara del Sol, Paco de Lucía, Gomez de Jerez, Manolo Sevilla, and Antonio Solera. This film Carmen won two prizes in the Cannes Film Festival: best artistic contribution and best technical quality. And in '86 El Amor Brujo again with Hoyos and del Sol, along with Rocío Jurado singing, and acting by La Polaca, Enrique Ortega, Diego Pantoja, and Gómez de Jerez.

In '84 Nicolás Astirriaga directed Maria Maya in Corre Gitano. Also appearing were Carmen Cortes, singer Manuel de Paula, Miguel López, Miguel El Rubio, and the guitars of Angel Cortés and Chuscales.

In '84 Jaime Camino made the film El Balcon Abierto with José Mercé, Juan Habichuela and Ricardo El Veneno.

Coming next week

When did our current interest of Classical guitar and Flamenco music start? What modes of progress facilitated it? What effect did the Spanish Civil War have on contemporary availability of concert guitars?

Desde el Escritorio de Randy Osborne

This was initially put on the internet in a classical guitar news group, by a student in February of 1994, (The next day the phone rang off the hook.) and later when I had my own dot.com in 1997.

Since 1987 I have sold guitars by 22 of these great guitar makers.

I have some in stock as well, made by them:

Paco Santiago Marin

Eduardo Ferrer

Antonio Ariza

Rene Baarslag

Juan Miguel Carmona

Manuel de la Chica

Jose Lopez Bellido

Pedro Martinez Peñalver

Manuel Perez Paez as of October 24, 2026.

Guitar Makers of Granada

April 10, 1997 Updated October 22, 2026.

Copyright Randy Osborne F.F.S.I. La Guitarreria Fina, 1997

Antonia Ariza - Born 1939. Cabinet maker at first, then studied with Casa Ferrer. He went solo in the mid-sixties. He has a son who is learning to build.

L. Arostegui Granados - Born in Granada in 1932. Now is located in Madrid. Started as cabinet maker. He studied with Manuel de la Chica and others. Settled in Madrid in 1960 and since then has been influenced by the Madrid school of builders. Builds more classicals than flamencos. Now he is the treasurer of the Spanish Society of the Guitar.

Juan Miguel Carmona - Born in 1960. Cabinet maker at first. At 14 years of age he began working for Manuel Lopez Bellido for about 6 months. Then for between 5 and 6 years with Antonio Duran. Afterwards for about 1 year with Francisco Manuel Diaz. He then set up his own shop in 1982. He is very interested in the secrets of the master makers.

Manuel de la Chica - Born in 1911. Cabinet maker til '38 or '39 when he began building Santos Hernandez inspired forms. Built bandurrias, laudes, bandurrins, laudins, laudons and guitar basses. He taught Antonio Lopez of Paris and Francisco Manuel Diaz of Granada. Has not built since '73 due to poor health. His instruments were played by Andre Segovia, Celedonio Romero, Luis Sanchez, Manuel Cano and Sebastian Maroto.

Francisco Manuel Diaz - Born in 1943. Studied with Casa Ferrer later and later with Manuel de la Chica. Has built guitars with transparent acrylic back and sides as well as guitars with 14 strings. He has taught Antonio Arroyo, Juan Miguel Carmona, Rafael Diaz (his brother), and on a certain occasion, the great grandson of Antonio de Torres.

Rafael Diaz - Born in 1941. He started in the Casa Ferrer making castenets. Was vocalist and arranger for his music group. Started to learn lutherie with his brother F.M. Diaz in '69. He opened his own shop in '75.

Antonio Duran - Born in 1940. Became cabinet maker at age of 10. Later he made castenets in the Casa Ferrer. He lost his right arm in an accident in 1957 but opened his own shop the very next year. At first he timidly sold his guitars without a label to music stores but then took pride in putting his own label where it belonged. He taught Juan Lopez Aguilarte, Antonio Velazquez, Rafael Moreno, Juan Miguel Carmona and also physically disabled people to make castenets.

Manuel Fernandez Fernandez - Born in 1930. Cabinet maker at age 9. Studied with Eduardo Ferrer and has been building since the mid-50's. He also builds Bandurrias & laudes.

Francisco Fernandez - Born in 1930. At 15 years of age he was a restorer of art works. Then at 22 he began making guitars. He learned from his brother in law Manuel Martinez. In 1954 he moved to Madrid and opened a shop with Miguel Robles. About 1960 he left to work for 8 years for the widow of Santos Hernandez. Afterwards he opened his own shop alone, his brother-in-law having left Madrid.

Benito Ferrer - Born in 1845. Studied with Jose Ortega. He built Andre Segovia's first guitar. Later he taught Nicolas Ortega, Jose Castano, and his nephew Eduardo Ferrer. He built guitars from 1875 until 1925 when he died.

Eduardo Ferrer - Born in 1905. In 1915 or 1917 he began working in his uncle's shop. A few years later he thought he might like to become a priest. He changed his mind and in 1925 when Benito died, he took charge of his uncle's shop. In 1966-1968 he spent 3 months each year in Japan showing Yamaha workers how to build guitars. He also taught every guitar maker in Granada.

Jose Ferrer - Born in 1926. After the Spanish Civil War he moved to Barcelona where he continued to make professional castenets as he had in Granada, though now in Barcelona he was at the side of the Enrique Sanfeliu, student of great Enrique Garcia. He stayed in Barcelona 7 years then moved to Palmade Mallorca and stayed there 10 years. In 1974 he set up shop in Granada. He died July 1, 1976.

Isidro Garrido - Born in 1922. Was a cabinet maker at 14 years old. Started building guitars in 1948. Studied with Eduardo Ferrer and later with Rafael Morales. Antonio Fernandez Ladron studied with him.

Francisco Guardia - Born in 1936. He studied with Miguel Robles.

Juan Lopez Aguilarte - Born in Seville in 1941. He moved to Granada at age of only 2 years. At 14 he became a cabinet maker. He studied with Antonio Marin, Manuel Bellido, Eduardo Ferrer, and Antonio Duran.

Jose Lopez Bellido - Born in 1943. At 13 he was making castenets. Then made bandurrias for Casa Ferrer. Afterwards worked in his brother Manuel's shop til he went on his own. At first he made guitars without a label that were sold in a Madrid luthier's shop. Many years later Antonio Raya Pardo studied with him.

Manuel Lopez Bellido - Born in 1939. At 13 he became a cabinet maker. He began his study in the Casa Ferrer. He maintains a shop in which to build as well as a shop run by someone to sell guitars and give lessons. He makes more flamencos than classicals. His sons Roberto and Jesus have studied with him from time to time.

Miguel Lopez Munoz - Born in 1907. At 12 he began as a cabinet maker. He set up his furniture shop and when his sons were old enough to run it, he began making guitars. Basically self taught but he is known to have consulted with Benito Ferrer. By the 1980's he had been building over 40 years. His guitars seem to be inspired by Marcelo Barbero.

Antonio Marin Montero - Born in 1933. From 14 until about 20 years of age he built cabinets. Then he started his apprenticeship with Eduardo Ferrer. Years later after becoming reknowned, his two nephews Jose Marin and Francisco Santiago Marin now study with him.

Manuel Martinez de Milan - Born in 1923. When he made a great guitar his canary Frasquito would sing and when mediocre not a peep uttered.

Rafael Moreno Rodriguez - Born in 1954. At 13 he began to study with Manuel Bellido and Antonio Marin when they shared a shop. Rafael spent 5 years there. Afterwards he studied with Eduardo Ferrer and Antonio Duran. He went solo in 1976 though he had an agreement to share a shop with Antonio Reinosa.

Jose Ortega - Born in 1836. He worked at the side of his faterh until about 1875. It's obvious that he was influenced by Torres for an example from 1880 in the collection of F. M. Diaz.

Nicolas Ortega Ruiz - Born in 1861. He worked with his father and brother and later with Benito Ferrer.

German Perez Barranco - Born in 1940. At 16 he began as a cabinet maker. In his 20's he studied with Eduardo Ferrer, then with Manuel de la Chica. Built more flamencos than classicals and is rather well known in Japan. By 1983 his shop was closed and he became a manager of apartments.

Antonio Raya Pardo - Born in 1950. Moved to Granada in 1966. He began to study with Jose Lopez Bellido in 1973. By the early 1980's he was a sought after builder. He makes more classicals than flamencos.

Antonio Reinosa Velazquez - Born in 1954. At 13 he began to study with Eduardo Ferrer and later with Antonio Duran. He went solo in 1976. He shared a shop with Rafael Moreno but later they each went their own way. Both Moreno and Reinosa are considered the last students of Eduardo Ferrer.

Miguel Robles - Born in 1902. In 1920 or 1922 he began his studies with Benito Ferrer. Later in 1932 with Ramirez in Madrid. After a falling out in 1938 or 1939 he returned to Granada. Ramirez, having much to lose, went to Granada to get Robles to come back to Madrid. That was in 1940. In the mid-40's he returned to Granada; and again to Madrid in 1954 to be associated with Manuel Martinez de Milan & Francisco Fernandez. In 1960 he was in Granada again where he died in 1970. Manuel Cano & Trio Los Panchos played his guitars. It is also well known that Jealous Madrid luthiers put their own labels in his guitars to bask in his glory.

Juan Roman Padilla - Born in 1928. At 14 he began as a cabinet maker. He consulted with Eduardo Ferrer and Manuel de la Chica but basically is self taught. In 1966 the Japanese guitar company Kurosawa invited Don Juan to move to Japan. The mountain had come to Muhammed. Being the genius that he is he sent his brother to share the secrets of the masters.

Antonio Rosales Lopez - Born in 1928. Fascinated at 9 years with lutheria. But it was not until the 1960's that he studied with German Perez Barranco. He experimented a lot until other luthiers began seeking his advice. Also, he has invented a new varnish. He calls it "petrified". Seems it fills all the pores but leaves the guitar exuding more sound.

Francisco Santiago Marin - Born in 1946. At 11 or 12 years he began as a cabinet maker. He studied with his unclde Antonio Marin. At first he sold all his guitars to other artisans. At one point Yamaha paid him to come to Japan. Before leaving they made an agreement to buy his total production. Therefore his is more well known in the Orient than his own town.

This information was translated from Spanish without exagerration or guessing February 10 & 11, 1995. We thank Eusebio Rioja for his insightful book "Inventario de Guitarreros Granadinos 1875-1983". It was first published in 1976. My copy is a 3rd edition. Included are living guitar makers. Excluded are 19th centurey makers, not out of prejudice but to make available information on luthiers we are more than likely to come across.

Yours Guitaristically,

Randy Osborne - Owner

Who was the most widely recorded guitar builder before WWII?

Who used his instruments?

March 13, 1997 Updated October 22, 2026,

Copyright Randy Osborne F.F.S.I. La Guitarria Fina 1997

Santos Hernandez

Santos Hernandez was born on November 1, l874. At the age of 10 he was an apprentice in a shop that made clothes for the Catholic clergy. Then at the age of 12, he began working in the guitar shop of Valentin Viudes Jr. Somewhat shortly after he was working in the Rafael Ortega shop, following his continued apprenticeship in the taller of Saturnino Rojas then in the workshop of Hijos de Gonzalez (whose father in law was Maestro to Jose Ramirez I starting in l870). In l893 he entered military service (artillery). After a stint of 2 1/2 - 5 years, depending on the source of information , he entered the taller of Manuel Ramirez in 1898. He stayed there until Manuel's death in l916. In l912 he built an 11 string classical for Antonio Gimenez Manjon. Manjon offered Manuel Ramirez substantially less for the guitar though it was a special order. Manuel was disgusted with Manjon's ridiculous offer and the guitar remained unsold. Somewhere between the time it was originally constructed and 1916 it was converted back to a 6 string (not being a lot of buyers for 11 string models that one can play J. S. Bach compositions at original pitch).

Andres Segovia

In 1912 Andres Segovia came to the Manuel Ramirez shop hoping to rent a concert guitar for his upcoming recital in Madrid. Upon hearing Andres bring out the glorious tones from the guitar, Manuel offered the instrument as a gift telling Segovia "Go out in to the world and make my works better known by your marvelous playing" In 1924 the gift from Manuel was in need of repair but Manuel was dead 8 years by then and Segovia went to the Santos Hernandez shop at Aduana 23 in Madrid. Whereupon Andres was to learn all this time that the guitar had been made by Santos himself -Santos being the foreman of Manuel's shop at the time. Santos wanted to put his own label on the guitar and Andres refused saying only "Put a label inside that states you repaired it." To which Santos replied "My initials SH are to the right of center to identify that I made it though the label says Manuel Ramirez." This was the instrument that Andres Segovia was to begin his glorious recording career just 3 years later in 1927. He recorded 20 songs on this instrument until in 1937 Andres began to use a Herman Hauser I guitar. Hauser took every opportunity to measure this 1912 Manuel Ramirez by Santos when Segovia would be concertizing in Germany. This viewing of the 1912 Santos went on from about 1923 -1936, but Hauser also took in to account his occasional viewing of Miguel Llobet's 1860 Antonio de Torres. So the "greatest guitar of our epoch" to quote Segovia was a combination of a Santos and a Torres.

Ramon Montoya

One of the earliest flamenco virtuosos was Ramon Montoya. He was born on November 2,1880. Though born in Madrid faraway from Andalucia, he grasped the ability to play flamenco so that by the time he was 14 he was employed in a Madrid cafe to accompany cantantes. His virtuosity grew as fast as his fame. His recording profile begins at about 1910 more or less. He was active until about 10 years before his death in l949. The cantantes that he accompanied were: (listed by artist then quantity of songs)

Nino de Almaden 8

Angelillo 13

Aurelio de Cadiz 22

Juan Breva 10

Nino de Cabra 30

El Canario de Colmenar 8

Manuel Centeno 6

Jose Cepero 30

El Cojo Luque 2

El Cojo de Madrid 4

El Cojo de Malaga 22

Don Antonio Chacon 26

Chaconcito 12

Antonio Grau 8

Fernando E. Herrero 11

Nino de la Isla 20

Nina de Jerez 10

Nina de Linares 17

Nino de Los Lobitos 14 (Bernardo de los Lobitos)

Pepe Marchena 133

Nino de las Marianas 21

Nino de Medina 23

Juan Mojama 10

Nino del Museo 16

Manuel Pavon 18

Nina de los Peines 88

El Pena hijo 44

El Personita 8

Nino de Priego 2

Nina de la Puebla 16

Jose Rebollo 10

Luisa Requejo 10

Nino de la Ribera 3

Encarna Salmeron 4

El Sota 10

La Trianita 20

Juanito Valderrama 25

Manuel Vallejo 26

Juanito Varea 5

This accounts for 765 recordings on a Santos Hernandez Flamenco guitar. We must also add 24 solos, that Ramon did in l936, making a total of 789.

Nino Ricardo

Our next immortal figure is Nino Ricardo. He was born in Sevilla on July 1, 1904. At 13 years of age he began playing in the Salon Vigil in Sevilla. In 1924 he began his long career by accompanying La Nina de los Peines and her brother Tomas Pavon. Nino Ricardo was to be extremely influential guitarist having his fingerprints in the playing of Paco de Lucia. He died on April 14,1972. The great cantantes he accompanied were:

El Chato de Valencia                                       2

Carmen Florido                                               2

Guerrita                                                           2

Nina de Jaen                                                   4

L. Lavao de Parades                                       2

El Limpio                                                        8

Manolo El Malagueno                                    6

Manolo Manzanilla                                        4

El Mochuelo died in 1937           unknown quantity of about 350 songs

Nino Olivares                                                  6

Pepe El Moro                                                 2

Palanca                                                          10

El Pena hijo                                                   24

Pericon de Cadiz                                             7

Platerito de Alcala                                            8

La Andalucita                                                  12

El Cojo Luque                                                  6

Manuel Vallejo                                               10

La Nina de Los Peines                                    41

Tomas Pavon                                                  12

Pepe Marchena                                                18

Manuel Centeno                                             10

Jose Cepero                                                    24

Nino Isidro                                                    14

Nino de Alcala                                               12

Paco Mazaco                                                  10

Bernardo El de Los Lobitos                           11

Nina de Gloria                                               13

Nino de La Huerta                                          12

Nino de Alfalfa                                                6

Pepe Pinto                                                       72

Paco El Boina                                                  8

Emelio Abadia                                                  4

Nino de la Calza                                               8

Canalejas de Puerta Real                                 42

Rafael Canete                                                  4

El Carbonerillo                                                23

Cepero de Triana                                             8

Currito de San Julian                                      11

Curro de Utrera                                                2

Nina de Puebla                                                 9

Rafael de Jerez                                                2

Antonio Rengel                                               16

Nino de la Ribera                                              2

El Sevillanito                                                   4

El Sevillano                                                   40

Juanito Valderrama                                         56

Nuanito Varea                                                20

Nino de Velez                                                  2

Nino Villanueva                                              8

So this brings us another 650 recordings done on a Santos Hernandez Flamenco guitar.

Manolo de Badajoz

The next figure of extensive recordings is Manolo de Badajoz. He was born in the city of Badajoz in 1892. He was a disciple of Javier Molina and Don Ramon Montoya. Manolo died in Madrid in 1962. The important Cantantes that he accompanied were:

Nino de Alcala                   2

Nino de Almaden                  3

Nino de Alora                    2

El Americano                     40

La Andalucita                    6

Angelillo                        18

Andres Heredia (EL Bizco)        4

Pepita Caballero                 4

Lola Cabello                     2

Nino de Cabra                    12

Nino de la Calza                 6

Canalejas de Puerto Real         6

Nino de Caracol (Manolo )        8

El Carbonerillo                  19

Estrellita Castro                2

Manuel Centeno                   15

Jose Cepero                      16

El Cojo de Pomares               4

El Corruco de Algeciras          6

El Cuacua                        1

El Chato de Jerez                1

El Chato de Valencia             2

El Chato de Las Ventas           24

Luis El Chulito                  2

Encarna la Finito                2

Nino de la Flor                  10

Paco Flores                      2

Nino de la Fuente                6

Nino de Fuentes Andalucia        6

Rosario Garcia                   8

Nino de Gloria                   14

El Gorito (de Triana)            10

Gracia de Triana                 10

Guerrita                         10

Herrerito                        2

Miguel Herrero                   2

Nino de la Huerta                60

Isabelita de Jerez               8

Nino Isidro                      10

El Limpio                        6

Nina de Linares                  10

Bernardo de Los Lobitos          2

Pepe Marchena                    4

El Malagueno                     8

Paco Mazaco                      8

Pepe El Molinero                 8

Paquita Moran                    4

Nino del Museo                   4

Mariquita Ortega                 2

Palanca                          16

Nina de Los Peines               12

El Peluso                        18

El Pena hijo                     34

Jesus Perosanz                   34

Pepe Pinto                       28

Nina de la Puebla                22

Jose Rebollo                     10

Antonio Rengel                   3

Nino de la Ribera                4

El Rojo de Salamanca             2

El Sevillanito                   2

Jose Suarez                      8

Nino de Talavera                 4

Juanito Varea                    10

Nino de Velex                    8

These listings comprise 636 recordings on a Santos Hernandez Flamenco guitar.

Luis Maravilla

Next on our journey of those who used a Santos is Luis Maravilla. He was born in Sevilla in 1914. He and his wife Pilar Calvo were the principals in the 1952 motion picture "Duende yY Misterio". But well before that time he accompanied the following artists:

Pilar Calvo                      2

El Cojo de Huelva                2

Jose Greco                       2

Roque (Jarrito) Montoya          4

El Gafas (Manolo)                2

Luis also recorded 4 guitar solos- Danza Oriental, Tanguillo de Cadiz, and 2 Zambras. This adds another 16 recordings on a Santos Hernandez Flamenco guitar.

Javier Molina

Javier Molina was born in Jerez de la Frontera (Cadiz) in 1868. He probably played in more Cafe Cantante environments than anyone else due to the time in which he was born (1868). A notable singer that he accompanied was Manuel Torre for 4 songs.

So our composite totals of recordings on a Santos Hernandez Classical or Flamenco guitar before the death of Santos in 1943 are as follows:

Don Ramon Montoya          789 (includes 24 solos)

Nino Ricardo                       650

Manolo de Badajoz            636

Luis Maravilla                       16

Javier Molina                          4

Andres Segovia                     20

 2115

Paco de Lucena had a prodigious student Rafael Marin who in 1902 published a Flamenco method in Spain. Rafael played a Manuel Ramirez flamenco guitar but at that time Santos had already been working in Manuel's shop for 5 or 6 years. As to who actually made Rafael's guitar your guess is as good as el mio.

Coming next week

In Granada there is a street named Cuesta de Gomerez. There are at least 6 guitarmakers on that street. Who did they learn from?

Desde el Escritorio de Randy Osborne

An Early Sighting of the Use of Reststroke Technique in Northern Europe

February 24, 1997

Copyright Randy Osborne F.F.S.I. La Guitarreria Fina, 1997

In 1948, in The Guitar Review - #5, there appeared a translation from Russian of The Memoirs of Makroff. It was the last of 4 installments. Nicolai Makroff (1810-1890) was a well to do classical guitar afficiando who travelled extensively to hear new players who had attained virtuoso status. He was also a colleague of many famous guitarists at the time. Guitar makers in Vienna, Paris, St. Petersburg and other cities were graced by his visits. In early 1856 he arranged a guitar composition and guitar making contest in Bruxelles. The most notable players & makers were contestants:

players - Napolean Coste, Johann Kasper Mertz, etc.

makers - Johann Schertzer of Vienna, Fisher of Vienna - Luthier to the Conservatory, Argusen of St. Petersburg, Eirich of Paris - successor to Rene Lacote, and others from Prague and Munich

One of the contestants was Chibra (Makroff's spelling) who was actually born as Jose Ciebra in Seville at the beginning of the 19th century. He had been performing in Paris and London since 1835. Makroff said his compositions were mediocre but had a lot of originality and were quite different than the works of the well known Giuliani and Mertz. He continues to say that truly Ciebra's songs are sweet and melodious when played by the composer. Makroff claims the main defect was the overall monotony. He says, "The style was poor, only suitable for dancing." Sounds like Flamenco to me. Please read on. Makroff says for the purpose of having a varied repertoire he learned 2 compositions of Ciebra's, and that 20 years later he was well received for a performance of these songs on a boat trip abroad, especially by the ladies.

Dispensing with Makroff's thoughts of Ciebra's compositional skills, he goes on to say much about Ciebra's technique. Just like every other Spanish guitarist, his fingernails were long. He did not hold his hand perpendicular to the strings, but at an angle. To quote again, "Moreover, he did not actually strike the string with the nail, but simply pressed it on the string, slipping off from the string onto the neck of the guitar." Sounds like restroke (apoyando) technique to me, especially when we read the glowing review of his tone and that no one else had it. Makroff says in this manner Ciebra was able to draw "remarkably tender, deep melodious tones from the guitar", unequalled by any of those in the virtuoso circle. "Not even the great Zani de Ferranti (court guitarist to the King of Belgium since 1834), who was known for the softness of his playing." Ciebra's vibrato he maintains, "was really divine, the guitar actually sobbed, wailed, and sighed, "Ciebra only exhibited this on slow songs. When he played fast, the reverse side of the medal was to be found - he derived a disagreable, metallic sound rather than the velvety tones of his adagios, having to produce freestrokes (tirando) instead of being able to let the nail slide off to the adjacent string.

From another source - Domingo Prat in his tome published in 1934 "Diccionario de Guitarristas" tells us that Ciebra played both 6 and 8 string guitars. Ciebra, having left his profession as a lawyer to be a concert artist, was well thought of by professors and intellectuals alike. In many cases, his concerts were improvised completely, the only peculiarity was that he would announce to his listeners how long the next song would last. Ciebra wrote 25 plus opuses which included rasgueado, staccato, and ponticello techniques well marked in the scores. Some of his works were published by A. Lafout in Paris.

So it is very possible or highly likely that Ciebra's use of the reststroke actually predates the documentation of Julian Arcas use of the same, which was passed down to Don Francisco Tarrega. Another possibility is that his oblique angle at which he plucked the strings could be the same school as Presti-Lagoya where the right hand strikes the string on the right side, not the left of the nail. A picture is worth a thousand words.

Coming next week

The next column will be about the undisputed, most widely recorded guitar builder before WWII. Who is he? Who used his instruments?

This article and these interviews come from the great resource of the Biblioteca Nacional de España. It was written by Vicente Del Olmo.

There are interviews with Daniel Fortea, Pantaleón Minguella and Román García.

The guitar, a classic Spanish instrument, occupies our central page today. It was born with the people, and the people worship and venerate it. They love it, they venerate it in such a way that, even in the midst of their misfortunes, the common people have it as a companion. The soldier who goes to war, to brighten his hardships in the camp, carries it on his backpack; In days of drought or scarcity and lack of bread, when those long lines of the hungry multitude form, or of people dying of thirst, as a contrast to the pain, the guitar emerges. The guitar, which in the trenches evokes longing for the homeland or intones the war song that leads to victory... The guitar, which in public calamities lifts the heart and overcomes misfortune with the joy of the jota and the jingle of popular songs!...

Daniel Portea, Pantaleón Minguella and Román García, each in their style, are three masters of the vihuela, the Spanish "sistro". Pedagogues in their art, as teachers they possess a mastery. And, kindly and respectfully to the readers of HERALDO DE MADRID, they have gladly lent us their assistance for this information that we have. 

A GUITAR AND A KISS!... THE GUITAR IS THE ONLY INSTRUMENT THAT CAPTURES WITHIN ITS STRINGS THE EXPRESSIONS OF THE SOUL. FATHER BASILIO, THE SIXTH STRING, AND MARÍA LUISA:

A Galician fado: A guitar and a kiss— oh, what beautiful things they are! The guitar sings to the soul, and the kiss speaks to the heart. Old ballads speak of the Hispanic sistro. The sistro, as is known, possessed neither the shape the guitar has today nor the number of strings it boasts nowadays. In a recent study, in which...

We have discussed the way music is recorded in Spain—in these very columns, in fact—and we have noted that Spain has always had a passion for this beautiful art. Judging by the most ancient historical accounts, the guitar has been known in our homeland for over twenty thousand years.

The sistro—or primitive guitar—originated among shepherds. Like the flute, the horn, the conch shell, and other wind and string instruments, it served a purpose; our people likely needed the *sistrum* for their cantatas and rustic melodies. There are expressions of the soul—such as those found in the Galician fado—that only the guitar can capture within its strings, externalize, and make felt.

The fateful chest in the Cave of Hercules in Toledo foretold the Moorish invasion to D. Rodrigo. Upon their violent entry into Spain, the Moors paid tribute to only three things: the beauty of Spanish women, the valor of our knights, and the guitar.

Our ancient vihuela—the sistro mentioned by the Romans—caught the interest of the Muslims and adapted to their musical tastes and preferences, leading to the creation of the "Moorish guitar," a three-stringed instrument somewhat akin to the lute.

The vihuela consisted of four strings. It underwent its first modification in 1581. The poet Vicente Espinel, while performing his famous "espinelas"—ten-line poetic compositions—introduced the fifth string.

From the 16th to the 18th century, as far as we know, the vihuela underwent no significant change. Many believe that the addition of the sixth string must have occurred during that period; others, however, attribute the addition of this final string to Friar Miguel García—known as "Padre Basilio." Padre Basilio, a guitar teacher at the court of Charles III, transformed the guitar into a solo instrument and introduced the *punteado* (plucking) technique—even if he did not add the sixth string itself. For prior to the reverend father, the instrument was played primarily by *rasgueado* (strumming). It is often said that Tárrega modernized this resonant string instrument in the second half of the 19th century; yet, in truth, if we consider the plucking technique, that modernization should be credited to Padre Basilio. Furthermore, if the guitar triumphed over the harpsichord and became a favorite of the palace; if noble ladies and princesses of that era held it close to their hearts to confide their romantic sorrows to it—then this leap for the guitar, moving from plebeian hands to the coffered halls of our beautiful aristocrats, is owed to the guitar-playing friar.

Fernando Sor and Dionisio Aguado—the two great guitar theorists—were, it must be said, pupils of Father Basilio and carried on his teachings. Among the noble ladies who studied under Friar Miguel García, we must include María Luisa, the wife of Charles IV and patroness of Godoy. 

In medieval Spain, the instrument was known as the guiterna; later, through the works of J. Osma, Espinel, and Velasco, it came to be called the vihuela.

Speaking of Osma and Velasco, and to enlighten the reader on this point, the earliest treatises on this Spanish instrument are: *Declaración de instrumentos* by J. Osma, published in León in 1555; and *Guitarra española y vandola, en dos maneras de guitarra, castellana y catalana, de cinco órdenes* by Velasco, published in Naples in 1640.

THE GUITAR IS THE COMPANION OF ROMANTIC PRINCESSES. I WOULD PREFER, LIKE MARIE ANTOINETTE, TO BE TAKEN TO THE GUILLOTINE RATHER THAN END UP A DETHRONED QUEEN! "...THE PRINCESS OF WIED, DUE TO HER MYSTERIOUS AND RESERVED NATURE, BELIEVES THE GUITAR IS CORDIAL.

When the guitar moved beyond mere strumming to become a solo instrument, it rose from humble circles to the highest echelons of the aristocracy. It was not only the romantic and passionate Maria Luisa who embraced it with delight—using it for moments of intimate solitude and to shake off the tedium of her illustrious spouse's company; many foreign princesses, too, adopted the guitar as a companion and a discreet confidante for their melancholic moods. In more recent times, a picturesque example is found in Princess Sophie of Schönburg-Waldenburg—wife of the Prince of Wied and Queen of Albania.

In 1914—as reported by Italian newspapers and as we ourselves recounted in a chronicle about the poet—the Spanish bard Pedro Luis de Gálvez served as Generalissimo of the naval and land forces in the Principality of Albania.

To recount in minute detail the poet's adventures leading up to his elevation to the rank of Generalissimo is beyond the scope of this text. But, for what..." As the poet Pedro Luis explained, we can give a glimpse of the soul of the Princess of Wied.

When, abandoned by the European powers at the outbreak of the European war, Prince William of Wied found himself alone, with no resources other than his gilded "luises" and the forces commanded by General Pedro Luis de Gálvez, a war council agreed that the prince and his august wife, if they wished to save their lives, had to leave Albania.

"Oh, no!... Absolutely not!" cried Princess Sofia.

"Your Highness!" said Gálvez. "The Turk is coming with a formidable army, and the precious lives of your august children and the serene Prince of Wied are truly in danger!" —Oh, no, I repeat! I prefer, like Marie Antoinette, to be taken to the guillotine than to remain in the position of a dethroned queen!... As you can see, Sophie of Schönenburg-Valdembourg, Princess of Wied, is a great romantic. Such a sensitive lady, with such a delicate spirit, she must necessarily be one. And, as a romantic, she is passionate about the guitar. When she was in Madrid this past spring, staying at the Palace Hotel, the reporter asked her:

"Madam: Do you still enjoy playing the guitar?"

"Oh, very much so! In moments of intimacy, the piano, the violin, or any other instrument are not discreet enough! They proclaim those moments of abandonment to the whole world! The guitar, mysterious and silent, playing for us, is the most cordial!"...

The photograph illustrating this center page, showing the Princess of Wied and one of her daughters, was taken in Albania. When Sophie of Schönenburg-Waidembourg, on the throne of the principality, would retreat to her rooms and give herself over to dreaming, to holding a lively conversation with the instrument of strings.

Beautiful, enchantingly beautiful, the Princess of Wied embraced the guitar. The literary trope, the poetic image, by its forms, compares the guitar to the woman. Probabaly one is a continuation of the other. More than a "pendant of diamonds" and more than a rich necklace of pins. With the harmonious of its lines and its ornamental aesthetic, the guitar embellishes the woman. The Princess of Wied, as will be seen in the photo, is a lovely woman; ..pressed against his chest, the Spanish instrument looks even more beautiful.

WHO IS LEFT AMONG THOSE WHO PLAY THE GUITAR?  LITTLE MUSIC HAS BEEN WRITTEN FOR IT. " I CANNOT RESIST THE GUITAR PLUCKED WITH THE  FINGERNAILS . . . " THE ONLY ONES WHO PLAY THE GUITAR WITH THE FINGERPADS. THE TIME OF HIS LEARNING....

In a brilliant article in *El Liberal*, published some twelve years ago, Prudencio Iglesias Hermida called Daniel Fortea the "guitar wizard." And indeed, he is. Like the snake charmer of India, Fortea possesses much of the wizard or sorcerer about him. He knows the magic of sound and coaxes tones of supreme precision from the guitar.

Pujol and Fortea—the only disciples with true personality in our "sistro" tradition—studied under Francisco Tárrega. Daniel Fortea dislikes showmanship. Devoted to guitar pedagogy, he has always neglected concert performance and has turned down good offers from abroad. Studious and hardworking, he seeks to make a name for himself as a vihuela authority. He aspires to hold— as indeed he does—a unique place in the art world. He wishes to leave a legacy like that of Dionisio Aguado and Fernando Sor.

Fortea, as we have noted, dislikes showiness. Like Chopin—who was admired by George Sand—and Alfred de Musset, he detested the public concert. His preferred audience consisted of ladies.

Daniel Fortea, like Chopin, prefers refined, select gatherings to playing before the heterogeneous mass of a paying audience. He would rather share his art as a gift than turn it into a commercial transaction, obliged to perform a program designed to please everyone.—In which concerts did you perform?

—In many. But of them all— cherishing the fond artistic memories I hold—I wish to recall only those with Tárrega...

—One.

—The one at the Teatro Principal in Castellón.

—Others.

—I don't know!... You asked me for one!

—What guitar theorists are there?

—Aguado, Sor, and Tárrega.

—Dear Fortea!... And Huerta, and Arcas, and Cano!

—I said that, as teachers, as theorists: Aguado, Sor, and Tárrega.

—Who among today's players will endure?

—No one. They all dedicate themselves to performance. Starting with Regino Sáinz de la Maza—my pupil—and continuing up the scale with Miguel Llobet, Andrés Segovia, and Emilio Pujol—all ranked as top-tier concert artists—none of them is the Pestalozzi of the future.

—And you, Fortea?

Daniel Fortea smiles. He looks intently at us with his clear eyes.

And with an affirmative nod of his head, he emphasizes:

—I am.

A pause. With his chest resting against the curves of the guitar, his fingers move nimbly over the strings. It seems as though he attached no great importance to his statement. A clear, precise statement, made simply, without arrogance. We fall silent... Daniel Fortea continues:

—Little, very little music has been written for the guitar. After Aguado and Sor, Tárrega; then, no one. In truth, there were many who adapted music for the vihuela— Schubert, Wagner, Paganini!—; ...composers specializing in guitar music— few. Likewise, in the art of playing the guitar, there are few— very few indeed—who do so with art... very few who do so in accordance with the precepts of Sors. Fernando Sor—an eminent composer and guitar artist (Sors was Catalan)—published his works in France. He was the one who introduced the modern art of performance; later, Francisco Tárrega perfected it. Fernando Sor and Dionisio Aguado were close friends. And once, at an intimate gathering, Sor remarked:

"I cannot stand the guitar when played with the fingernails. Because Dionisio Aguado is elderly—and a friend of mine, besides—he is the only one whose harsh, nail-produced guitar tones I can tolerate."

A guitarist wishing to produce a round, mellow, perfect sound—free from the shrillness of the mandolin or *bandurria*, and achieving a harmonious blending of notes—should play the instrument using the fleshy tips of the fingers. Fernando Sor—despite his mastery of the rules, as I have said before and repeat now—did not quite reach perfection; the true genius, the quintessential authority on technique, was Francisco Tárrega... An anecdote! Francisco Tárrega, as he once told me, could not get used to playing with the fleshy tips of his fingers... In desperation, one fine day, he cut his fingernails off for good!

—Excuse me, but who are the ones that, in accordance with the modern art of guitar playing, use the fleshy tips of their fingers?

—The truth—just between us?

—The truth—which I shall put into print. Don't forget one thing.

—What is that?

—That a reporter, like a phonograph record, simply repeats what he is told.

—Pujol and I. We were the only disciples of Tárrega who, fully aware of what we were doing, learned this new technique from the sublime master.

Daniel Fortea, as everyone knows, is the teacher to the aristocracy. The lavish drawing rooms and intimate gatherings of the nobility are well acquainted with Fortea's art. Outwardly, Daniel Fortea pays great attention to his appearance. Impeccably dressed, sparing with words, and composed in judgment and debate, he is always seen in the company of the elite of the arts and letters. —Who has a greater aptitude for the guitar: women or men?

—Women, gentlemen—because they are more sensitive, more romantic, or perhaps because they see the guitar as an extension of themselves—adapt to it more readily. After all, the guitar is an intimate instrument; with its whispering notes—like a lover’s sotto voce conversation—it possesses a mysterious charm.

—Who is currently writing for the guitar in Spain?

—Falla, Turina, Esplá, Moreno Torroba, and Salazar.

—Does it take a long time to play the guitar well—to perfection?

—It depends. Regino Sáinz de la Maza, my pupil, required three years.

Amidst the exhausting desert of journalistic reporting, Daniel Fortea offered us an oasis of repose. "Poetic Studies," of classical construction; "La Andaluza," based on soleares and tangos motifs, capturing the full flavor of the skies of southern Spain; the "Nocturne," a piece inspired by Toledo; and his childhood songs, based on folk themes—all these delighted our ears and offered a moment of solace to the weary spirit of the interviewer.

Meanwhile, the photographer prepared the flash powder, and—seeking to escape the lens's intrusion—we left Daniel Fortea immersed in his magical creations.

PLAYING THE GUITAR WITH THE FINGERTIPS, ACCORDING TO MINGUELLA, IS AN EASY TASK. FROM THE "SISTRO" AND THE "GUITERNA" TO THE GUITAR OF TODAY!... FROM ONE, TWO, THREE, SIX, AND EIGHT-COURSE VIHUELAS... THE GUITAR HAS A FUTURE.

Pantaleón Minguella—in Paris, London, Berlin—across all of Europe— before select audiences... He practiced classical art. In the theaters of the Comedy and the Princess, in Madrid, he recently made a name for himself, an artistic personality.

Like Daniel Fortea, he is a virtuoso of the instrument. When we burst into his house, he was accompanied by the priest D. Dionisio Cerro, also a guitarist, professor of religious music at the National School, in the existing Seminary. Pantaleón Minguella is a great teacher of the vihuela, and the priest Mr. Cerro, a scholar of its history.

"My friend Minguella: how do you teach your students: to play with their fingernails or with their fingertips?"

Pantaleón Minguella and D. Dionisio Cerro burst into laughter. Our question must have seemed childish to them. We know that it isn't. That's why we insist. Pantaleón Minguella replies:

"With the fingernail and the fingertip, because it's the easiest way and how it should be played. But don't confuse the fingernail with the old-fashioned thimble, or with claws that get tangled in the strings... The cut of the fingernail is one of the prescribed things for the guitar: barely the edge of a piece of paper, that horny part should protrude from the fingertips... Sor didn't play with his fingertips until his last years!... With fingertips and fingernails, the sound, the timbre of the guitar's notes, is more beautiful; It is not so quiet, it does not have such a small range... Above all, for the concert audience, so that the guitar—which, in itself, has a small range—reaches all areas of the hall, it is necessary to play with the fingernail... Segovia, Sáinz de la Maza, etc., all play with the fingernail. The tremolo, so that it is produced with greater brilliance, must be plucked with the fingertip and nail; and for the changes in timbre—one of the most beautiful facets in Segovia's art!—the nail and the fingertip play a primary role, it being unknown which of the two prevails... Furthermore, to play with the fingertips alone, one must have special fingers. He who has plump, round fingers cannot produce the necessary effects when plucking the guitar with his fingertips; he who has long, narrow, sharp, pointed fingers can... The important thing, for me, is to explore all the resources available on the guitar. On the violin, for example, the bow is used to pluck the strings and to strike the body; whereas in pizzicatos, the thumb and index fingertips are used. "Let's see. Regarding those five sounds in unison... how would you manage to produce them clearly, crisply, and perfectly?"

"We wouldn't know, Mr. Minguella." "We once saw a circus seal play the guitar. But we are so unversed in the instrument that we don't even measure up to the seal's level of skill."

"Well, no matter how much you knew, without using both the fingernail and the fleshy tip of the finger, it would be impossible."

"Let's talk about the guitar."

"'The guitar,' Mr. Minguella tells us, 'along with the violin, the piano, and the flute, is one of the most perfect instruments in existence today. There is a vast gulf between the ancient *sistrum* and *gittern* and the modern guitar—graceful and elegant in its construction, with its precisely tuned tones. Anything—absolutely anything—can be played on the guitar. Democratic and popular, with a simple mechanism, it is very easy to learn. Some people even teach themselves to play with just a few basic lessons. Of course, to become a true master of the guitar—to achieve a flawless performance—requires much more, a great deal more! First, a deep calling and boundless love for the instrument; and second, beyond perseverance in study, a refined musical sensibility and knowledge.'" "In times not so long past, it was used as an instrument for religious music... But this —exclaims Minguella, pointing to the priest—is a matter for Don Dionisio!"...

Mr. Cerro picks up the thread of the discourse and confirms:

"Yes, gentlemen. The guitar has been an instrument of religious music. In the Escorial archives, you will find 'masses' for one, two, three, six, and eight vihuelas. Father Luis Villalba—an Augustinian, now deceased—published the works of the Spanish vihuelists. Among them are the 'Masses' by Morales, written for the vihuela. Morales was one of Spain's finest polyphonists, of the same caliber as Don Luis Victoria, the *maestro di cappella* of Ávila... Don Luis Victoria is known as the 'Spanish Palestrina.' He lived during the 16th century. You know that Palestrina, "maestro di cappella" at St. Peter's in Rome, reformed religious music and composed the celebrated Pope Marcellus Mass. Well, Morales, regarding the masses for vihuelas, created true masterpieces of intricate artistry."

In the program for the Teatro de la Princesa, Pantaleón Minguella is called the "King of the Guitar." Minguella takes up the vihuela. And.....show us how easy it is to play. He treats Luque—the photographer—and us to a performance: Tárrega’s "Capricho árabe," Albéniz’s "Granada," and Malats’s "Serenata española" were all played with artistry and mastery.

Pantaleón Minguella is a short, stocky man. Yet, with a guitar in his hands, he seems to grow in stature, revealing himself as a giant.

—Is there much enthusiasm for the guitar, Mr. Minguella?

—A great deal. It grows every day. The guitar has a bright future. There are many violin and piano virtuosos, but few guitar virtuosos—few serious concert artists.

—Which guitar concert artists do you like best?

—Segovia, Pujol, Sáinz de la Maza!... As a professional myself—and to avoid succumbing to the base passion of envy—I’d say all of them!... I mean... when it comes to the guitar, yes, I even like the blind man who goes around banging on the soundboard of his instrument!

CONCHITA PECHE IS A FLAMENCO ARTIST... THE FLAMENCO GUITAR REACHES THE PEOPLE MORE. FLAMENCO...TRUE FLAMENCO... THE VARIATIONS OR

"FALSETAS" OF THE FLAMENCO GUITAR. THE DOLORES OF THE ETERNAL CAMI​NATA.

Román García, a flamenco teacher, enjoys a fine reputation. He achieved resounding success with his flamenco artistry in Paris, London, and Nice. For three years, he was a featured performer at the Opéra-Comique in the "City of Light," playing the flamenco guitar. Now based in Madrid, he makes his living by giving lessons. Among his students—aside from an aristocratic young lady bearing a distinguished surname within the Conservative Party—is Conchita Peche, our radiant beauty queen, who is absolutely passionate about flamenco.

"Flamenco," Román García tells us, "is unfairly looked down upon. Those dedicated to classical guitar treat it with disdain—whether out of spite or arrogance. They treat it this way because flamenco music, with its deep emotion, resonates more strongly with the common people. Flamenco captures and embodies both sorrow and joy..."

—What is true flamenco?

—The Gypsy style, with its soleares, seguiriyas, polos, cañas, and bolerías. Granadinas, fandanguillos, malagueñas, and the like are not flamenco in the strict sense of the word. They may be, more or less, regional expressions of Andalusian music, but not "authentic flamenco."

—Is flamenco popular abroad?

—More so than classical guitar. So much so that, when I was hired, it was almost always as a soloist—without a singer—to express the full range of Andalusian music through the strings of my guitar.

—Where is flamenco guitar performed nowadays?

—With the disappearance of the traditional café cantante—oh, the likes of El Filio, Silverio, Juan Breva, Paca Aguilera, Chacón!—flamenco has moved to the concert stage (as with Montoya at the Teatro de la Comedia), invaded the theater, and is heard at private gatherings.

—What is the most important characteristic when the flamenco guitar accompanies a singer?

—Its variations during the singer's pauses. Because, while the singer rests from the main theme—whether it be malagueñas, tangos, granadinas, etc.—one must entertain the audience with variations, or falsetas. —Is flamenco guitar easy?

—Well, if you just strum without plucking the strings—sure... But fretting the notes and giving substance to the performance is just as difficult as classical guitar.

—Which tango is the most cheerful?

—The one from Cádiz—although the one by La Niña de los Peines, the tango-tiento, holds no joy at all.

—People play better today than in the past, don't they?

—Much better. Flamenco has undergone a profound transformation. In the old days, since the flamenco guitar was limited to merely accompanying the singer, it was truly at a disadvantage compared to the classical guitar. Now they are on equal footing. Back then, variations were played using the thumb and strumming—and that wasn't really flamenco guitar...—but today, you need to train your hand extensively... Because the variations are harmonized... Variations can be arpeggiated or played with tremolo, and plucking them requires the use of every finger.

—Is flamenco very old?

—If it was born with the Gypsy, then it is as old as the Gypsy. The Gypsy—a nomadic, wandering race—was always viewed with hostility. The hardships of that eternal trek, the fierce hatred directed at them, and their constant struggle wrung groans from the Gypsy... Those groans, embodied in their songs, form the music flamenco.

FINAL

Here is the guitar—in its history, its art, its aristocracy, and its distinguished performers. Fortea, Minguella, and García have presented it; we have simply acted as a phonograph record.

VICENTE DEL OLMO

This is from the great resource of the Biblioteca Nacional de España in Madrid. It is from the daily newspaper La Voz (Madrid) of July 20, 1927, page 3.

It is an article / interview with Flamenco singer Antonio Chacon (1869-1929) and Flamenco guitarist Ramon Montoya (1880-1949). Both of these musicians were recording artists and icons for decades at this time.

Stepping out into the street, under a clear azure sky, we left the tavern where we had spent a long time conversing with a famous *cante flamenco* artist.

From within—much like in the final acts of plays set in Andalusia— one could hear the strumming of a guitar and the plaintive notes of a lighthearted song.

Earlier, a group of striking women—well-dressed, brazen, and living unconventional lives— had arrived in flocks. Accompanied by gentlemen "with money in their wallets"—as the fandanguillo goes— they seemed ready to laugh at all of Spain; their merriment was fueled by an excess of "manzanilla" sherry—a drink that enlivens without causing drunkenness, possessing the unique quality of raising voices and spreading joy to those around.

The revelers had ordered plenty of wine, followed by a cantaor (singer) and a guitarist. And then, even more wine. 

Much has been written recently about :cante flamenco". "Bagaría," a dedicated reporter, published extensive articles in these columns covering the songs and the singers. Yet, nothing has been said about the guitarist, and very little about the guitar itself. That is our aim here. In upcoming articles, we intend to give the reader an impression of... ...how the quintessential instrument is made, how it is sold, and who buys it. 

Today we shall speak simply of the guitarists—and among them, not of Tárrega, Segovia, or Cubas, but of those others who, without formal musical training, specialized in accompanying cante jondo (deep song), a genre deeply rooted in Spanish folk tradition. 

For the delicate, aristocratic guitar of a virtuoso concert artist bears, in reality, no relation whatsoever to the Andalusian guitar—an instrument made to weep and wail; to underscore the drama of the song with its falsetas (melodic interludes) and offer a shrewd commentary, all while the voice quivers through an intricate *tercio* (melodic phrase) or a brilliant, bold opening flourish. 

We have heard the guitar of the Gypsy Ramón Montoya utter human laments that harmonized perfectly with the sorrow of a copla. And when a soleá spoke desolately of a dark-haired girl who died in the bloom of youth—cut down by a treacherous, jealous dagger—the guitar’s bass string became a funeral bell, casting its solemn, anguished tolling upon the wind. It evoked, too, the slow, measured pace of the funeral procession, the hoe digging into the grave, and the anguished sob of a loved one as the earth fell upon the coffin lid. 

A flamenco guitar, skillfully played, holds more expression than a violin—and possesses more personality and more human memories within the vibration of its strings. He speaks, weeps, laughs, and sings. 

To flesh out these brief impressions regarding the guitar, we initially considered interviewing Montoya. However, Montoya would naturally speak from a personal perspective, which would not suit our aim of providing an objective account. 

We therefore thought that someone else connected to the cante—even if not a guitarist—might serve our purpose better.So, we went in search of Don Antonio Chacón, the veteran flamenco singer—a true gentleman of the art—whose authority and independence would allow him to enlighten us with absolute impartiality. 

We found Chacón at the authentic tavern we mentioned earlier. 

A brief digression: this veteran artist is deeply devoted to his craft. Years ago, during a debate about flamenco, Don Antonio sought to "convert" us to the faith of *cante hondo*. 

The session was attended by actors Emilio Díaz and Joaquín García León, the poet Joaquín Dicenta, and the writer recounting this story.

Chacón, accompanied by Montoya, poured his very soul into the performance. But since "feeling" flamenco singing requires a special atmosphere and golden Andalusian wine—poured into fine glass tumblers—Don Antonio ensured there was plenty of it. By the end of the delightful gathering—which left us fervent devotees of our folk music and where dramatic expressions brought tears to the eyes of even the most hardened skeptic—a genuine contest of generosity and bravado broke out between the *cantaor* and the guitarist. They vied to see who would foot the bill for what had been consumed—a hefty tab!—while strictly warning that it would be a grave offense for any of the guests to attempt to pay the money in question. 

But let us return to our subject. 

Chacón, a master of his craft like no other, knows more about guitarists—to use his own words—"than the person who invited them." 

Nowadays, guitar accompaniment is essential in cante jondo. The accompanist must know all the styles—better even than the singer does—and, specifically, the individual style of each cantaor. Yet this has only been the case since the 1880s. Before that, accompaniment for the cante was provided by tapping with the knuckles......of fingers on the wooden tables. 

In Andalusian cante (song), Patiño—known as "Patiño de Cádiz"—began to distinguish himself as an accompanist; he represents the true classic style. Later, in the same style—though more of a virtuoso performer—Paco "el Barbero" (from Jerez de la Frontera) appeared, performing between 1882 and 1894. Paco "el de Lucena" was an even more accomplished instrumentalist, though he possessed less style and classical purity. Antonio Sol (from Jerez) and Javier Molina—who is still alive—seem to have surpassed the traditional artistry of those previously mentioned. 

Don Antonio Chacón notes that the Andalusian guitar took on a new dimension with the Gypsy guitarist Miguel Borrull, whose highly personal style and distinctive school of playing have inspired today's tocaores (flamenco guitarists). 

The contemporaries who, in Chacón's view, deserve special mention are "Habichuela" (who recently passed away), Ramón Montoya, Luis Molina, and "Niño de Huelva." 

Paco "el de Lucena," Borrull, and Montoya specialized in performing malagueñas, cartageneras, taranto, and murcianas. 

Chacón speaks of a time when the guitar was overshadowed and no tocaor dared to perform in public. It was Paco "el de Lucena" who elevated the art of the guitar, bringing it to the stage—just as Silverio Franconetti did for cante. 

That tocaor (flamenco guitarist) used to perform at the Café Monedero—which closed many years ago—and earned the then-exorbitant sum of 20 pesetas; when taken to a private gathering, he might earn as much as five duros (25 pesetas).

"Habichuela" earned between 10 and 15 pesetas per session. 

When Don Antonio Chacón—leveraging his friendships and connections among the aristocracy—began performing at private parties, his guitarists started charging 16 or 20 duros. Nowadays, the standard average fee for a guitarist is 20 duros. 

The "juergas" (impromptu flamenco gatherings) of that caliber happen every day? —It varies greatly. Sometimes you go fifteen days without work, and other times ten or twelve come in a row, with two or three sessions a day.

—Does the singer charge a set fee? 

—No. You’ll understand that... there is no fixed rate... The artist plays or sings without asking for anything. He is invited to the gathering and attends. And when it is over, his work is paid for with greater or lesser generosity, depending on his performance and the listener's appreciation.

(In parentheses, we'll mention that a few nights ago, Chacón received 900 pesetas for his work before a lively gathering, and Montoya, who was playing, received roughly the same amount: these reports come from the owner of the establishment where the revelry took place.)

The chronicler poses a bold question to Chacón. Tell me: Is it true that the "flamenco" generally dedicates himself to seducing the women at the gathering, and that he achieves great success?

Absolutely not. That's the legend of the "flamenco lover," which I want to dispel. The artist goes to sing or play, and neither dares nor should dare to offend with ill intentions the person who makes him work and earn money. Besides the fact that it would be pathetic. A few days ago, there was the case of one of those "insinuating" young men, and he earned a superb series of slaps: very justified and very timely. 

Let's return to the guitar. Are all the "cantes" accompanied by it?

No, sir. Soleares, seguiriyas, javeras, serrenas, rondeñas, the café, and the polo are all accompanied by it; but neither the "tonas", nor the liviana, nor the martinete, nor the saeta can be accompanied by the guitar. 

Reasons? 

Because these last ones don't have, let's say, a rule of art or a peculiar form. They are sung in a special and arbitrary way; lengthening and shortening thirds. As one wishes. In reality, they are improvisations. Look: in my land, in Jerez, the saeta is accompanied by a long whistle. 

Which guitarists do you prefer, those of today or those of before? The classics. They were purer, more authentic. Nowadays, only two kinds of seguiriyas are played for everything; but there are many, just like soleares. 

And of the modern guitarists? Ramón Montoya. He's not a classical player; but believe me, he plays arpeggios and plucks the strings like no one from the moderns or the old-timers...

—One last detail, Chacón. I saw Montoya cry while he was accompanying you on some songs. —Don't believe it. He did cry, yes, but it wasn't because of my song, but because he liked how he was playing. That same song is accompanied by another guitarist and Montoya doesn't get emotional...

Up to here are the reports of the veteran Chacón, who was, in reality, the one who tried to give a category of art to the "deep song". His proper conduct, his good judgment and discretion, and his absolute chivalry won him the sympathy and affection of those like Santa Coloma, Fernando Díaz de Mendoza, and others, who introduced flamenco to the Spanish aristocracy. This is surely the group that keeps alive the sacred flame of the traditional Andalusian and Murcian song in their typical and elaborate celebrations, which take place almost daily. 

Another interesting and very important aspect of the Andalusian guitar is its accompaniment to dance. Everyone remembers Víctor Rojas solemnly accompanying the brilliant Pastora Imperio on stage with her tangos and bulerías. 

Montoya, Mariscal, Molina, also cultivate this specialty of the guitar, giving the spectacle of Spanish dance a characteristic and authentic stamp that separates it from the frivolous and counterfeit "variété" 

This is taken from my book published in May 2020: Annotations for the History of the Classical Guitar in Argentina 1822-2000 by Randy Osborne and Hector Garcia Martinez.

It begins on page 1,1516 in Volume 2, and ends on page 1,528.

Luis M. Castellano lecture program: “Principales Caracteristicas de las Guitarras de Autores de Renombre Mundial” (“Principal characteristics of the Guitars by Makers of World Renown”), it is the lecture given on May 15, 1938 for the Asociacion Guitarristica Argentina in the (Hall) Salon de los Actos de la Asociacion in Pasaje Barolo, Buenos Aires.

In the “Guitar News” magazine issue No. 85 of September-October 1965, the editor, Wilfrid Appleby, wrote Part V of an article titled: The Evolution of the Classic Guitar — a Tentative Outline. On page 4 of that article are the photos shown on the next page of the Vicente Arias, Antonio de Torres and Manuel Ramirez headstocks. For whatever reason there is no credit given to Luis M. Castellano as a source at all.

Effectively it was the very first real classical guitar-collectors book that was written in 1938. It was a 22 page booklet entitled “Principales Caracteristicas de las Guitarras de Autores de Renombre Mundial”. The detail that Luis Castellano provides is extremely thorough. Besides this being a lecture for the Asociacion Guitarristica Argentina, it was published some weeks later as the booklet. In this same year in Europe Charles Delauney published his book “Hot Discography”. I only mention this from the standpoint that connoisseurs began to take notice of the passing of time, and the high-quality art, that had been produced in the previous few decades. Delauney took it upon himself to catalog the great early Jazz 78 RPM records of Louis Armstrong, King Oliver, Django Reinhardt and hundreds of other artists including Blues singers such as Bessie Smith, etc, that were already 15 years old, and out of print. Some of these original label recordings have sold recently for $15,000, in that there are 1-4 known copies of the disc. Luis Castellano, with over two decades of experience being an appraiser, saw instruments that were unforgettable and priceless today, during the sunset of the epoch of the premier great modern guitar constructors.

Translation of the lecture:

“Ladies and Gentlemen:

Invited by the distinguished professor, Miss Maria Esperanza Pascual Navas, Secretary of the Artistic Board of the Association, I have accepted to develop a short talk about a theme of the guitar, without anymore merits than having seen daily during almost a quarter of a century, an infinity of instruments and the unquestionable impartiality that signifies the personal and official evaluation responsible of what is going to be subjected to public judgement.

In effect, to make an appraisal, not only do we have to take into account my opinion, but also that of those who approve or disapprove of ours with their offers, in the moment of the auctions.

The responsibility is at once moral and material; our judgement in as much, must be meditated, serene and impartial. Perhaps previously, I might have spoken about something of the history of the guitar, about its music or about purely spiritual things of it, that of course are very interesting as difficult. But the theme that I have had the audacity to confront, I haven’t heard that it might never have been developed, therefore, I have confidence in the benevolence of the audience to proceed. We will develop a subject of arranged material, tangible, that you can touch, that you can see, that the senses can perceive, and there is the touchy part. In the immaterial, can exist opinions found that subsist, because they can’t elucidate. Instead in the material it is or it isn’t, it will be certain or in error. The difficulty of this work, is based on determining differential characteristics, in every one of the integral parts of the instruments, then to have them compared as such. This practice, can be qualified as improvised, by as much in its briefest time that they have accorded me to do it, it hasn’t been possible for me to do something worthy of this qualified audience. Some aficionados, might affirm with more or less exactitude, if a guitar is or isn’t authentic, but maybe if they saw it in predicaments, if you ask them the why it is or why they let it be. In most haste the beginners see it, when they have to evaluate certain instruments and appraise those as if “God had helped them”.

Today, the situation has varied a bit, because we possess a specie of school of appraisers, in which those of the most experience, divulge without egoism, the knowledge that they have assimilated in the daily practice or in the studies made in the moments destined to leisure. The thousand different problems are very heterogeneous in what must be erudite, that is a necessary constancy and an energy extraordinary to confront them. Overall there has to be taken into account, that they haven’t written special books that are of interest to us.

The investigations that we must make practically, for drawing the conclusions, that permit us to act with efficacy. We have to hear different opinions, some evidently partial, to compare them then, to find that which is closer to the truth.

NOMENCLATURE OF THE INSTRUMENT

Although when the majority of you listen to me, you know the nomenclature of the guitar, it can be that some of its internal parts, that generally aren’t mentioned, might not be sufficiently known, by which I believe it’s opportune to detail them. The guitar is composed: of the body of resonance, the neck, the headstock or tuning gear location, and six strings (three of gut and three wound called basses). The body of resonance, is formed by two flat and parallel surfaces, the back and the harmonic top, both united in their contour by a band of wood of 9 to 10 centimeters in height, that are called the sides. The interior of the back has a few transverse bars, which are called braces. The harmonic top, has braces like the back, and some thin sticks in the mode of a fan, that are the harmonic bars or simply the fan braces. The top and the back, are united in their internal contours with the band, by way of a specie of chain, generally made of cedar or beech, that is called the kerfing liner. The perforation of the harmonic top, is called the rosette. In the center of the lower part of the harmonic top, between the rosette and the base is found a rectangular piece of wood: it is the bridge; in the front part of it, there is a slot in which is inlaid a stick of ivory or bone, called the saddle, by way of which, a mode of a membrane, the strings transmit the vibrations to the sonorous body. The back part of the bridge, has six transverse holes, in which the end of every string is mounted. The neck, remains attached to the body of resonance by a thick piece of wood, which is called the heel. The flat part and frontal area of the neck, is called the fingerboard and over it are inlaid some pieces of metal transversely, called frets; between the neck and the head, there is a small bridge of bone or ivory, called the nut. In the part above, is the head or geared tuners that subject the strings to tuning.

It’s called a tornavoz, a tube of resonance, lightly conical, that is applied in the soundhole, inside the sonorous body.

I said on a certain occasion, “that the guide of best security, in appreciation of a guitar, is the fame of a “luthier”, according to the critical judgements, emitted by impartial experts” and a measure that passes the time, I can repeat that same, with more firmness. For an instrument to be tested, it doesn’t have to respond to the demands of the player, without permitting it to be therefore very good. Every guitar, must be plucked according to its characteristics; the very fine instruments can also be uneven, of course in proportion to the ordinary ones. Such a situation, obliges the player to pluck differently, supporting with more or less force to the determined strings. In the majority of cases, the accomodation toward the instrument, is unconsciously done and from that part the generally erroneous concept of the musicians, that believe that then playing a guitar for a time, they improve making it produce better and more quantity of sound, when in reality what happens, is the player adapts to the instrument and not that the instrument might have suffered fundamental modifications, save that it could have been a long time in disuse, because in such cases can lose momentarily, a part of its string vibration.

When you try a guitar with a tornavoz, it’s convenient to solicit the collaboration of someone, that can listen at a distance, because when this apparatus is well placed, the player perceives a small quantity of sound, occurring on the contrary to the listeners. By this reason, some concert guitarists prefer the instruments without a tornavoz, to avoid the preoccupation it causes them, the thought that the audience doesn’t hear them.

A guitar can be presented, that might not be totally adjusted, that is to say, that is out of tune. That is due to two causes: uncalibrated strings, that aren’t important and is determined easily, testing it with harmonics, or a badly divided fingerboard, that has much importance, because its reparation demands an appreciable expense. In the instruments of the consecrated constructors, it is a little difficult to find bad fingerboards, because, it is supposed, that all of them carry out the classic geometric calculations, that they must make especially for each guitar, according to the string length, that I’m not going to detail by going into technical profundities, inappropriate for this dissertation. I only want to concretely demonstrate, a method of very rapid and of easy practice, which we carry out in the cases in where the intonation of the instrument is in doubt. The open string is measured from the nut to the seventh fret, a distance that must be exactly equal to that between the seventh to the nineteenth fret and as well equal, to a distance between the nineteenth fret and the saddle on the bridge. The exact half, of the total length of the string, must be at the twelth fret.

OF THE GREAT MAESTROS OF LUTHERIE

It is interesting to know the maestro of every constructor, where as some strokes of the educators, remain in many cases adopted by the disciples, over all until they form their own personality. We will begin with Don Antonio de Torres, of Almeria, creator of the modern guitar. He began his activities, constructing in the taller that José Pernas had established in Granada, by the year 1850. (Now a discounted historical myth. — R. O.) His works were made by his own inspiration, without neither copying nor letting himself be influenced by anyone. Vicente Arias, of Ciudad Real and Manuel Ramirez, of Madrid followed the path outlined by Torres, adopting his school, This last, forged in his taller to four “luthiers” of great fame: Antonio Emilio Pascual, of Alicante; Santos Hernandez, of Madrid; Domingo Esteso, of Cuenca and Enrique Garcia, of Madrid, who had the best disciple, Francisco Simplicio of Barcelona.

OF THE DATES AND THE LABELS

It is important to know the dates of birth and death of the fabricators, whereas, an error of this nature, in a counterfeit badly documented, will draw suspicion of the evaluator, making then, a more meticulous analysis of other characteristics, that are denounced in the evident form of the mystification. The same can be said, of the epochs and places in which they constructed the instruments. Don Antonio de Torres, born in San Sebastian de Almeria the 18th of June of 1817, and died in the same city, the 19th of November of 1892. He constructed in two distinct epochs. The labels of the first epoch, between the years 1850 and 1869, say the following: 1st line: Por D. Antonio de Torres. 2nd line: Sevilla. 3rd line: with Gothic lettering: Calle de la Cerrageria numero 32 (cerrageria written with g). 4th line Año de 186...I have seen another label from the first epoch, whose difference was that it wasn’t written with Gothic and cerrajeria written normally, that is to a say, with j and not having the de before the surname Torres. Two of the labels of the second epoch are known between the years 1880 and 1892. One of them says: 1st line: Por D. Antonio de Torres. 2nd line: constructor. 3rd line: de guitarras en Sevilla. 4th line: vive hoy. 5th line: en Almeria calle Real No. 20 Cañada 6th line: Año de 18...7th line: Guitarra...2nda Epoca. the other label says: 1st line: Por D. Antonio de Torres. 2nd line: Almeria. 3rd line: calle Real No. 20 Cañada. 4th line: Año de 18...

5th line: Segunda Epoca 6th line: No...

Manuel Ramirez, born in Madrid in the year 1869, approximately and died in the same city in the year 1920. (1916. Misinformation from Domingo Prat’s Diccionario de Guitaristas.) His instruments were all constructed in Madrid. The first labels say: Manuel Ramirez — Constructor de guitarras — Plaza Santa Ana — Madrid — From the years 1897-1911, his labels say: Manuel Ramirez — Constructor de violines y guitarras — Luthier del Real Conservatorio — Arlaban 10 — Madrid. After 1911 until his death, he moved in front of the antique location, calle Arlaban No. 11, whose address is what is different on the last, labels of the next to the last ones.

In those that he exported to Buenos Aires, they had following added: Fabricacion Especial para la Casa Romero Agromayor y Cia, Buenos Aires. (Special Fabrication for the music house of Romero, Agromayor and Company.)

Above: Translation: “1864 Antonio de Torres Guitar (First Epoch), Historical relic, of incalculable worth, having belonged to Tárrega and presently is the property of the brilliant concert guitarist Maria Luisa Anido.”

Manuel Ramirez never put a date on his labels.

Vicente Arias, born in Ciudad Real between the years 1840 and 1850, (we haven’t been able to arrive at an exact fixed date) and died in 1912 in Madrid. His first labels say: Vicente Arias — Construida en Ciudad Real en el Año 18...

The last labels say: Vicente Arias — Sta. Isabel No. 20 — Madrid — Año 1906 — (they have the hand written signature).

Enrique Garcia, born in Madrid the year 1868 and died the 31st of October in 1922. His first guitars were constructed in Madrid, in the taller of his maestro Manuel Ramirez, and one of them conquered the First Prize in the Chicago Expostition, the year 1893.

The first labels say: Enrique Garcia — Constructor Guitarras Bandurrias — y Laudes — Primer Premio en la Expon-de Chicago 1893 — Calle Aragon 455 (handwritten en quatrain). Barcelona — handwritten in the upper corners in quatrain, left: Año, right: 1899.

The second labels say: Enrique Garcia — Constructor Guitarras, Bandurrias — y Laudes — Primer Premio en la Expon-de Chicago 1893 — Calle Paseo Sn. Juan 110 — Gtrra No... Barcelona — Of every side where it says: Primer Premio, has the medal stamped in its front and reverse — in the upper part of the label handwritten, to the left: Año, to the right: 1920.

Those of the last epoch, are exactly alike, but carry the signature.

Francisco Simplicio, born in Barcelona the 18th of October of 1874 and died in the same city the 14th of January of 1932. All of his instruments were made in Barcelona. In his first guitars, he put the labels of Enrique Garcia, writing in hand: Suc. y Unico discipulo Francisco Simplicio (Successor and Only disciple Francisco Simplicio).

A little later he fashioned his own labels in the following form: Francisco Simplicio — Luthier — Suc. y Unico discipulo-de Enrique Garcia — Primer Premio en la Expon-de Chicago 1893 — Calle Paseo San Juan 110 — Año 1929-Guitarra..... Barcelona.

Domingo Esteso, born in San Clemente de Cuenca the 12th of May of 1882 and died in the middle of the year of 1937 in Marseilles. His instruments were all constructed in Madrid, but it is possible that in Marseilles, where death surprised him, he might have made some, but of that we don’t have any firm history.

Two labels are known, one that says: Domingo Esteso — Constructor de Guitarras — Gravina 7 Madrid — Año 19....

Another says: Domingo Esteso — Constructor de Guitarras — Gravina 7 Madrid — Año....Num....Fabricacion Especial para mis unicos — representantes en la Republica Argentina — Romero y Fernandez, Buenos Aires. (Special Fabrication for my only representatives in the Republic of Argentina — Romero and Fernandez, Buenos Aires.)

Antonio Emilio Pascual, of the surname Viudes, that presently only uses labels in his violins, was born in Crevillente, Alicante province, on the 10th of November of 1883, presently resides in our country. He arrived in his first voyage to Argentina, the 4th of October of 1909, making since then various voyages to his homeland.

The first labels that he used until the year 1920 say: Construyo — Antonio Viudes — Luthier — Madrid — Año 19......

Since the year 1920 until 1928, he had the label with the following details: Antonio Emilio Pascual — Constructor de guitarras, violines, arpas — discipulo de Manuel Ramirez — Madrid — Num. Año 192.... Unicos representantes para Sud-America — Romero y Fernandez — Bmé. Mitre 947, Florida 255, Buenos Aires (it has a signature).

After 1928, the label is the same except below Romero y Fernandez, that says: Sucesor José B. Romero and the number of the street Bmé. Mitre 961.

Santos Hernandez, was born in Madrid the year 1873. He constructed all of his instruments in the city of his birth. His labels, are characterized by the good taste in the design of his frame. The first ones have a frontal adornment very elegant of fine lines. The last ones that are more vigorous and stout, they were sketched by the celebrated Professor Carlos Berger — maestro of the Academia de Bellas Artes de Madrid. They say: Santos Hernandez — Luthier — Madrid — Año 19....Aduana 27.

OF THE NUMERATIONS AND THE SIGNATURES

Don Antonio de Torres, only numbered the guitars of his second epoch. He never signed the labels.

Manuel Ramirez, never numbered nor signed the labels and was the only one who didn’t put a date on his guitars.

Vicente Arias didn’t put numeration. He signed those of his second epoch in Madrid.

Enrique Garcia, numbered those of his second epoch, of the calle San Juan era and signed those of the last, a short time before his death. (Until 1920 inclusive he hadn’t signed them).

Francisco Simplicio, numbered and signed all of his labels.

Domingo Esteso, numbered the last labels, but he never signed them.

Antonio Emilio Pascual, put numbers and signed his guitars from the number 112.

Santos Hernandez, never signed nor numbered his labels.

OF THE SOUNDHOLES

All of the eight great maestros made their soundholes round, save in some instruments Simplicio that made them ovals and placed them a little higher, but this modification was temporary, because soon he returned to construct in accord with the Torres model.

OF THE TORNAVOZ

All the maestros, placed in some of their instruments a tornavoz of brass, except for Arias and Pascual.

OF THE NECKS

We never have found knots in the center of those necks of the good instruments. Simplicio painted some of his necks with a color of Caoba red.

OF THE FINGERBOARDS

Generally they were constructed with Ebony, but they made some in Indian Rosewood or Brazilian Rosewood, even in the instruments of Torres, Arias, Ramirez and Garcia, over all of the first epochs. Simplicio is characterized by a fingerboard of greater thickness.

OF THE HARMONIC TOPS (SOUNDBOARDS)

Torres made some tops, with two halves of different fibers. All of the rest used only one piece for the top, sectioning in middle of its thickness, of a manner that the two halves resulting in equally, in fibers, knots and characters.

Santos Hernandez, is characterized after becoming independent of his maestro, by making his thin tops, and in some cases, perhaps the lesser, too thin.

Simplicio, gave to some of his tops, a smooth color of canary yellow.

OF THE BACKS

Torres, made various backs of three or four pieces, some united with delicate mosaics.

Santos Hernandez, constructed some backs of only one piece of wood. All of the rest used two pieces united in the middle.

OF THE PATTERNS, MOSAICS AND FILETS

Don Antonio de Torres, combined in his mosaics the colors black, green, red and yellow in smooth tones. He effected many diminutive checkerboard patterns characterizing it, by placing some very small yellow wheat grains over a background of green, which no one has repeated to this date.

Vicente Arias, liked the linear pattern a little, made many Arabic taraceas with flowery adornments.

It is characterized, by placing some shields, on which they are predominately round lines.

Manuel Ramirez, is personalized by some filets of holly, a very white wood without equal and of great hardness, that he placed around the border of the body.

Santos Hernandez, has something in common with his maestro in the same sense, but then replaced the holly with filets of ivory.

Enrique Garcia, made some marquetries around the soundhole, that was different than the rest, over all in a few small yellow points over a dark background, in the form of a circular belt.

Francisco Simplicio, used a greater variety of colors, distinguished by the vivacity of them. In some mosaics of the bridge, placed in the center are the colors of the Spanish flag and in many seen are the colors of the Argentine flag.

Antonio Emilio Pascual, is distinguished clearly by the harmony and good taste of his marquetry in smooth tones. He has knowledge as an aficionado of sketching and of painting; for that reason he combines colors and tones more diverse; his dark greens he makes them with died erable. It is characterized, by being the only one to use violet, taking advantage of the natural color of the palid violet of amaranth, for the dull tones and the died acer, for the lively tones.

OF THE HARMONIC BARS OR FAN BRACING

Torres employed the bars, not only as braces, but also as an element of collaboration to the body of resonance.

He formed the fan bracing in the guitars of the large type with seven braces (one in the center and three on each side). All the constructors adopted this school, except Enrique Garcia in his second epoch and his disciple Francisco Simplicio, that augmented one more brace, on the side of the gut strings; that is to say, placing four braces on the side of the trebles, one in the center and three on the bass side. Domingo Esteso, is characterized, by in making braces that are taller and triangular, with round angles. Santos Hernandez, in the latest guitars modified the transverse brace of the top, near the soundhole in the lower part, placing it in a diagonal form; nearing the extremity of the bridge corresponding to the treble side and backing away from corresponding to the bass side. Of a manner that, the braces of the fan, of the side of the gut strings, resulting in a shorter length, than that of the side of the basses.

OF THE EXTERIOR OF THE HEELS

All the luthiers were enlarging the heels of their guitars. Torres, in his first epoch made them small and round. In his second epoch, he constructed them larger and a little longer in relation to the neck.

Manuel Ramirez, constructed his heels a medium size, in a form like those of Torres in both of his epochs.

Vicente Arias. I only know, a class of heel very much like those of Torres of his first epoch (I have only seen three guitars by him).

Santos Hernandez, made his heels exactly equal to those of the second epoch of Torres.

Domingo Esteso, of the same forms, but somewhat larger than those of Santos Hernandez.

Francisco Simplicio, constructed all of his heels large, in a quadrangle form, with the angles being rounded.

Enrique Garcia, in the beginning constructed small heels in a like form to that of Torres in his first epoch, but a little larger. Then he enlarged them noticeably, without arriving however to the size that later his disciple Simplicio made.

Antonio Emilio Pascual, made his first heels of a medium size. Then he enlarged them arriving to construct them of a larger size than even those of Simplicio. In as much, it is he that placed in his instruments, the exterior heel of larger volume, among the eight great constructors of which we are concerned.

OF THE GENERAL CONTOURS

Since that Torres gave definite forms to the instrument, all those that were inspired by him or followed his path, made the contours very much alike, that only the experienced view of the experts can define, being a little less than impossible to reflect with words, what the senses transmit to the brain. The waist a little close fitting and a greater amplitude of the lower part of the sonorous body can characterize only the guitars of Vicente Arias, he makes them a little taller than Torres.

OF THE MECHANICAL GEARS

Many of the original Ramirez gears and some of the Torres, we find placed in a manner that, for lifting the string, it must make a turn toward the left, instead of the right. In many of the gears of Garcia, in almost all of those of Simplicio, and in some of those of Santos Hernandez, we find a specie of a barrel with a little point for tying the string, in place of the classic cylinder with a hole, that all the other gears have.

OF THE HEADSTOCKS

One of the parts, in which the constructor lets his personality impress, as if a stamp of his signature, is in the headstock of the guitar.

Their sizes. — We are going to name the authors, of accord with the size that they generally make the headstock of their instruments, starting with the smallest: Manuel Ramirez, Domingo Esteso, Antonio de Torres, Vicente Arias, Santos Hernandez, Enrique Garcia, Antonio Emilio Pascual, and Francisco Simplicio. Between the small and the large, that is to say, between those of Ramirez and those of Simplicio there is a difference of more than 3 centimeters in length. All of them have the smallest variants in their sizes, except for Santos Hernandez, who enlarged those in the second epoch by a centimeter and a half.

Their contours. — Torres, didn’t modify the contours of his headstocks. Esteso always conserved the likeness of the most beautiful of Ramirez; this he changed a bit, but always conserved the simple lines. Santos Hernandez, differentiated some between those of his two epochs. Garcia, made in his first epoch, a combination between those of Arias and of Ramirez, and then to imitate Torres and later to be modified, leaving a style with which Simplicio is characterized.

Pascual, apart from the school of his maestro making unmistakable headstocks, yet those that he constructed were smooth.

Their mosaics. — Torres, was the only one that put Greek mosaics in his headstocks.

Their Carvings. — Garcia and Simplicio are characterized by their carvings done over a headstock overlay of Ebony; they did them in garlands of flowers of magnificent artistic taste. Pascual, as we’ve said before, had the love of drawing, has created truly works of mastery of cabinetry in his headstocks, putting him without discussion in the seat of greatest category, when it comes to this part of the instrument.

++++O++++

I want to thank the kindness of my listeners that have honored me, hearing a subject that maybe might not have been of interest as they imagined. I ask you to excuse in as much, if I have defrauded the general expectation, but must justify myself, because the character of our office, makes it appear to us of interest, all that helps us to decipher enigmas and discover falsifications.

FINAL CONSIDERATIONS

I want to emphasize that we have mentioned in this dissertation, the great masters in the art of the construction of the guitar, that we have cataloged as having world renown. This category, of the eight most notable, we have formed, not only taking into account the opinions of the erudite of this art, but also, then having made extensive statistics of the prices, that they have brought at public auction. I repeat in as much, that our opinions are equidistant and sincere. Many times I have thought if an Enrique Sanfeliu disciple of Garcia, to the prolific Juan Galan, to Celestino Mendez, to José del Puerto, to Evaristo Fernandez, to Vidoudez, to Hauser, or to many other known and excellent constructors, we must include among those of notable category, but until the material works and the public opinion doesn’t impose them, we must respect the voice of the populace, that is the voice of God.”

My colleague, Richard Brune, guitar maker, classical guitar historian, recently said in an email that: "Yes, that Luis Castellanos book still holds up exceedingly well. He was the first (I think) to use a light bulb inside to create a kind of x-ray photo of the top barring, a technique we still use today. "

His full name is Francisco Tostado y Carvajal. He played pieces by Fernando Sor, Ferdinand Carulli, and wrote his own music. He was the favorite student of Miguel Garcia - known as Padre Basilio who also taught Dionisio Aguado and Fernando Sor.

He played guitars fabricated by Manuel Perez and other unknown makers.

From the great resource of the Biblioteca Nacional de España we glean:

Diario mercantil de Valencia December 19, 1837, page 4

—Francisco Tostado has just arrived in this city, enroute to foreign lands. He is a distinguished guitar virtuoso—well-known in Spain's major theaters for his extraordinary execution, precision, and taste in composition, particularly in Seville, where he performed alongside Trinidad Huerta to great acclaim (as widely reported in that city's press) and has played before members of the Royal Family. He will give a concert at the theater, for which appropriate announcements will be posted.

El Guardia nacional (Barcelona) March 22, 1839 page 4

The celebrated and extraordinary guitar virtuoso Don Francisco Tostado has arrived in the capital from France. On this coming Sunday, the 24th, he will give a concert featuring the instrument at the home of Mr. Biosca, located at No. 14 Calle Santo Domingo del Call. Tickets will be sold at the shop of the guitar maker Francisco España for the price of 6 *reales de vellón*, and the performance will begin promptly at eight o'clock.

El Guardia nacional (Barcelona) April 17, 1839 page 4

Liceo

1.° The piece in one act "La Cuaretena". 

2." The professor of guitar Francisco Tostado will have the honor to perform  "Gran variations on a theme by Bellini" with the accompaniment by an orchestra. 

3. Another piece in one act, "Don Benigno de Pancorbo".

4. Adagio sentimental solo to which he will follow a Fandango with variations by the indicated professor, with the left hand alone improvised imitating a mute and a bandolin.  Held at 7:30 PM

Diario constitucional de Palma de Mallorca August 28, 1839 page 4

The renowned guitar professor Don Francisco Tostado has arrived in this city; a member of various philharmonic academies, he has performed before royalty and is well known in theaters across Spain and, more recently, France—where he has garnered the highest praise, as attested by the press in those countries. The professor will give a concert, details of which will be announced in due course.

Diario constitucional de Palma (1839) October 3, 1839 page 4

I AM RETURNING TO MADRID. 

Immediately following, the guitar professor Don Francisco Tostado—grateful for the warm reception this kind audience accorded him during his debut—will perform a grand modulation sonata of his own composition, dedicated to his friend and fellow student Dionisio Aguado; he will play this as a solo. This will be followed by an Andalusian air known as the *zapateado*, which the professor will perform with guitar variations accompanied by the Quartet. 

An INTERLUDE OF DANCE will follow. 

The performance will conclude with brilliant variations on a theme from the "Waltz of Love," played as a guitar solo by Mr. Tostado, followed by an *allegro* section featuring variations on the "Hymn of Riego" accompanied by the instrumental ensemble, with the final variation played with the guitar held behind his back.—At 7:30 PM. 

Diario constitucional de Palma (1839) October 6, 1839 page 4

THE ARTIST'S WIFE. 

Next, a *terceto* from *Fausta* will be performed. 

Immediately following, Professor Francisco Tostado will perform a moving *adagio* as a guitar solo, succeeded by brilliant and challenging variations on a theme by the immortal Bellini, accompanied by a quartet. Then, the *sainete* (short comic play) titled:

*The Innkeeper's Prank* will be presented. 

The performance will conclude with a second appearance by Mr. Tostado, in which he will play the expressive *adagio* from *La Tambora*. This will be followed—at the request of several local gentlemen enthusiasts—by a *fandango*, featuring improvised variations and a section played using only the left hand, all performed as a guitar solo. At 7:30 PM.

Diario constitucional de Palma (1839) October 26, 1839 page 4

4. Don Francisco Tostado will perform—for the last time on the guitar—brilliant variations by Fernando Sors accompanied by the quartet, followed by an *allegro* known as the *Guaracha*, featuring modulations and played as a guitar solo. 

5. The one-act piece titled *El Error de muchos viejos* [The Mistake of Many Old Men]. 

6. The aforementioned Mr. Tostado will play a symphony by Carulli as a guitar solo, followed by an *allegro* and a charming Andalusian air. —At 7:30.

El Diablo (Madrid) September 13, 1848 page 4

CADIZ.=The extraordinary guitar professor, D. Francisco Tostado, who has received so much praise in the principal theaters of Spain, France, and America, as is recorded in the public papers of said capitals, is in this city on his way to the court of Madrid.

El Espectador (Madrid. 1841)1October 1, 1848 page 4

ARRIVAL. The renowned guitarist Don Francisco Tostado has been residing in Seville for only a few days, and his departure for the theater is already being announced. It is to be expected that the inhabitants of Madrid will soon have the opportunity to admire his acknowledged skill.

La Correspondencia de España January 22, 1860 n.º 507 page 4

Masters of the guitar.—From the fourth volume of the *History of Spanish Music*—currently being published by Mariano Soriano Fuertes—we shall excerpt an interesting account regarding those who have most distinguished themselves in Spain in the art of playing the guitar, an instrument defined by Covarrubias as... so easy to play, especially...

All the great guitarists are mentioned in this article which is a snipet of Mariano Soriano Fuertes book "Historia déla música española". The item below is drawn from the article.

Don Francisco Tostado toured the entire peninsula, playing the guitar to great acclaim, and composed—among other pieces—a *fandango* with 53 variations.

Diario de Jerez (Jerez. 1984) November 20, 2016 page 52

en 1824. Otros musicos flamencos de la epoca en Nueva York son el guitarrista Francisco Tostado el

Diario de Sevilla (Sevilla. 1999) November 20, 2016 page 55

Huerta en 1824. Otros musicos flamencos de la epoca en Nueva York son el guitarrista Francisco Tostado el

Europa sur20/11/2016pagina 58

1824. Otros musicos flamencos de la epoca en Nueva York son el guitarrista Francisco Tostado el

It is known that Francisco Tostado was in Havana.

On October 2, 2026 I used the wayback machine and got close, one day away from finding the complete article now almost 10 years old. Randy Osborne

AI undoubtedly will choose the most publicized information, then place below that ranking, the next item relevant to the search. On You Tube and in available published sheet music we would find Francisco Tarrega's (1852-1909) version of the "Gran Jota aragonesa", also being able to find a version published by Julian Arcas (1832-1882), reprinted 20 years ago in a compilation of his works.

Joseph Stalin expert Stephen Kotkin says:

"Those that don't know history, think everything is unprecedented."

Last week in doing research connected to the concert guitarists who owned guitars, while the maker was alive, fabricated by Manuel Perez of Zaragoza, Spain: Dionisio Aguado (1784-1849), Vicente Ayala - Maestro to Antonio Cano, before Cano became a student of Aguado, Antonio Cano (1811-1897), then I came across the concert listing by Tomas Damas from January 30, 1845, from the monthly magazine "Revista de teatros (Madrid)", from the great resource of the Biblioteca Nacional de España.

At the present time we offer an 1844 Manuel Perez, which has such a huge sound, it's obvious why these legends owned his instruments. The resonant tone and loud volume is due to the bracing that is very Torres like, aimed at the 14th fret, unlike the Valencian style which points to the center sound hole, still used by Francisco Gonzalez in 1869.

The famous "Jota Aragonesa", used by Franz Liszt already in 1844. listed on Facebook on September 3, 2026 by the administrator of the Franz Liszt Group.

Franz Liszt famously played the Jota aragonesa during his concert tour of Spain and Portugal, specifically performing it in recitals such as in Cordoba on December 12, 1844.

When Jose Campo y Castro (1832-1911) opened his music store "Centro Musical " in 1867, the population of Madrid was between 330, 000 and 350, 000, 1/10th of its current population.

The most extraordinary publication of the almost 300 works published by Jose Campo, undoubtedly, was the "Seis pavanas para guitarra", by Luis Milán published in June of 1901. 10's of 1,000s of guitarists have learned these pieces with their teachers, or University professors. I did in 1980 with Byron Pang, who learned these pieces with Jose Rey de la Torre 1966-1970. Jose learned these when he was a student of Miguel Llobet from 1932-1934. Almost all of these guitarists more than likely didn't know the modern source they need to give thanks to, including the 100's of guitarists performing these on You Tube.

He is mentioned in the daily newspaper "La Esperanza" (Madrid. 1844) on March 23, 1867, page 4 in the article entitled: CENTRO MUSICAL (His music store name)

"...formed by several composers who were awarded the gold medal at the Royal Conservatory of Music and Declamation.

Driven by the noble ambition to cultivate an art to which they have dedicated—and continue to dedicate—all their efforts and enthusiasm, the members have not hesitated for a moment to join forces fraternally. They aim to foster the development and cultivation of the musical art in all its branches and to spread it across all social classes. To this end, they propose to create and provide compositions of every type—ranging from religious to secular music, including salon, dance, concert, and street music—scored for voices with piano or organ, orchestra, band, or specific instruments. They will employ the full resources of the art, tailoring the work to the needs and desires of the client regarding ease of performance or limitations on the number of instruments. This initiative offers an honorable opportunity to showcase their creative aspirations and expertise, given that—unfortunately—the fine arts, and music in particular, do not receive the encouragement and patronage in our country that one would hope for.

Anyone wishing to commission a work or learn more about our guiding vision is invited to contact the Musical Center’s representative, José Campo y Castro (at the guitar shop located at Calle de Cádiz, No. 16), enclosing a stamp for the reply; prospectuses are available there."

By September of 1867, his publishing business even offered tablature for guitar, bandurria and octavilla.

In January of 1868, in his 2nd year, they offered sheet music editions for Flutes, Violins besides Guitars.

In 1869, he only found to have advertised once.

In 1870 he introduced the inclusion of Zarzuelas to his musical offerings. Late that year he debuted the new edition of the Aguado method book with an appendix.

In 1871 he released his "Malagueña facil" (easy version).

On March 23, 1871 he began offering gut strings for Guitar, Violin, Viola, Cello and Double Bass and Harp. He offered vocal and piano editions, 4 styles of flamenco pieces, at his expanding music store. He had been offering mail orders too.

In May 1871, he offered music written by his brother Agustin, who was Dionisio Aguado's favorite student amongst the two.

In the daily "El Diario español" on June 22, 1871 in the "Esposicion del Fomento de las Artes", it mentions Francisco Gonzalez (1820-1879) won 1st prize, Jose Campo 2nd prize, among the many awarded in all categories, Gold medal, 3rd prizes and honorary mentions.

In November he began to offer religious music for piano and organ, and piano for four hands.

On December 1, 1871 he began publishing 8 pages of piano music, "La Melodia", like magazine 8 new pages every month.

On January 19, 1872, they published Malagueña for voice and piano.

On March 7, 1872 a New Method with tablature for guitar with 24 songs was released. At this point in his business the advertisements were distributed in a dozen of the daily newspapers of Madrid.

On June 19, 1872 the published "Serenata" by Gounod for piano.

On September 23, 1872 they mentioned the 8 new pages of piano music was original music by Spanish authors.

On January 30, 1873 it states that new subscribers to the monthly piano offerings can get volume 1 with 108 pages and an elegant cover for the price of 52 reales. (52 Spanish reales were worth 13 pesetas, which was equivalent to approximately $2.51 USD - $2.51 USD in 1873 has the equivalent purchasing power of roughly $70.00 USD today.)

On January 31, 1873 they mention "La Melodia" was in its 2nd year of monthly offerings.

In 1874 the store moved from Calle Cadiz 16, which was the same address as his father Benito Campo (1798-1857), to Calle Espoz y Mina 9, Madrid, he and his wife lived at Calle de la Cruz, 30, 500 feet away from his store..

On October 10, 1876 is the 1st ad in over a year we find in the listing by the great resource: Biblioteca Nacional de Madrid. It has a song "La vuelta del soldado" moruno y seguidillas for voice and piano.

The 1876 guitar shown at the "Guitarras del Imperio" exhibition (Guitars of the Empire) in 2010 in Madrid was made at the new store location and is 620 mm scale like the guitar we currently offer, also shown in a photo.

Years ago we sold an 1852 Agustin Altimira guitar also shown at this exposicion, from the collection of Marcellino Lopez Nieto, this is now in our Museum page..

On December 20, 1876 they offered small toy guitars called "guitarritas".

In 1877 the population of Madrid was 398, 000.

On March 1, 1877 they offered a collection of waltzes by Federico Chueca dedicated to Ricardo Zamacois, a famous actor.

On June 20, 1877 "La dama de las camelias" dedicated to the eminent actress Mrs. Pezzana with her photo on the cover, was released, written by Ricardo Oyanarte,  

On December 19, 1877 was the ad shown below "Guitars, Musica, Cuerdas", it mentions the Silver medal awarded on June 22, 1871 in the "Esposicion del Fomento de las Artes", and that this store is providing sheet music for the Escuela Nacional de Musica .

On December 29, 1877 in the magazine "El Solfeo" is mentioned "Ante la tumba de Narciso Serra" for violin and piano, by Luis Arnedo y Muñoz, it had been sung in October at the Conservatory of Music in honor of the late poet.

On January 7, 1878 in the "Gaceta musical de Madrid " it mentions that some of their composers and pianists are Gold Medal winners.

On March 1, 1878 in "El globo" they offer 5 pieces by Federico Chueca. In the "Anuario-almanaque del comercio, de la industria, de la magistratura y de la administración" for 1879, his store is listed under Instrumentos de Musica, including the minimum price for an instrument, and the lowest prices for sheet music, whether for method books or presentational pieces.

On July 1, 1879 in the "La Unión" (Madrid. 1878) the "Larghetto of the Quintette" [Op. 587) by Mozart was offered.

On July 15, 1880 in the "Crónica de la música" is a simple ad.

On July 22, 1880 in the "Crónica de la música" he is mentioned as one of eight dealers of the Bernareggi Gassó pianos, very famous,

On January 20, 1881 in the "Crónica de la música" it mentions he is among the several dealers in Madrid now carrying Erard pianos from Paris, he is also now specializing in high quality Violin Bows since 1880.

From July 15, 1880 it appears he limited his advertising to the "Crónica de la música" to August 17, 1881.

In 1887 the population of Madrid was 472, 000.

In the "Anuario del comercio, de la industria, de la magistratura y de la administración" of 1888 it also mentions that Jose's brother Ignacio Agustin Campo y Castro was teaching at the music store.

In the "Boletín oficial de la propiedad intelectual e industrial" of 1886 to1892 Jose's contributions are included CAMPO Y CASTRO (D . Jose) .-Presenter: Lecturer musical.-Secci6n primera.-Un vol. - Ntimero 8.050 .-(Numero 62 del «Boletfn» .).

In the daily "El Resumen" of May 30, 1893 was the inclusion of the following: That the following musical compositions be registered in the Intellectual Property Registry in the name of Mr. José Campo y Castro and Mr. Ignacio Agustín Campo y Castro, the only surviving sons of Mr. Benito and Mrs. María:

A new method with the appendix, Appendix to the method, Three brilliant rounds, Great solo voice, El Minueto afandango with variations, A varied fandango,

Brilliant variations, Variations dedicated to Mr. Agustín Campo y Castro. This all being music of Dionisio Aguado.

In the "Diario oficial de avisos de Madrid" from January 25, 1894 to June 15, 1894 VIVETTE-VALSE Brillante vals, para piano, by Otto Schlff, from París was advertised day in day out for almost 5 months straight, it must have been a big hit.

In 1900 the population of Madrid was 540, 000.

In the magazine "Gedeón" (Madrid). of December 4, 1901 is the ad included, which for the first time is the mention of lauds of the bandurria family.

In the daily "El Globo" on April 4, 1902 is an appeal to Conservatory students, for all the items they need. In the "Guía oficial de España"of 1905 and 1906 Ignacio Agustín Campo y Castro was listed as a Harmony teacher at the Conservatory of Music and Declamacion.

In 1907 Ignacio Agustín Campo y Castro was also listed in the "Guia", but was located at a new address. In the "Guía oficial de España" through 1911 Ignacio Agustín Campo y Castro was included.

In 1920 the population of Madrid was 751, 000.

In 1940 the population of Madrid was 1,089 000.

In 1960 the population of Madrid was 2,259 000.

In 1970 the population of Madrid was 3,146 000.

In 1991 the population of Madrid was 2,985 000.

In 2009 the population of Madrid was 3,265 000.

Also in July 2023, I learned that in a November 2008 Bonham's Auction there was a cello offered that was labelled: Ignacio Fleta e Hijos Construido en 1942 Calle Barcelona Espana. 

From: El Fomento industrial y mercantil July 30, 1899 n.º 300 page 3 Seccion lndustrial MONOGRAFIAS INDUSTRIALES MADRID Columns 1, 2 and 3.

""Guitarreria Universal" (Universal Guitar Workshop), owned by Messrs. Hijos de Gonzalez, established at Calle 33 Carretas. Were the nature of this work to permit it, we would most gladly dwell upon the description, history, and artistic vicissitudes of the guitar an instrument so popular in every country, yet in all of them so rarely truly mastered by the generality of players.

It made its first appearance in almost prehistoric times among the Hebrews, as a derivative of the *cithara* indeed, the Book of Genesis records that Tubal was the father of those who played such instruments. The *cithara*and its successor, the guitar were the very first musical instruments known to mankind.

The earliest guitars possessed only four strings. The celebrated native of Ronda, Vicente Espinel, added a fifth string toward the end of the 16th century however, it remains unknown exactly who added the sixth. In Italy, guitars with only five strings were still the norm at the close of the 18th century. Conversely, it is a matter of record that a Cistercian friar an organist at a Madrid convent named Fray Miguel Garcia, and generally known as *Padre Basilio" was the one who added the seventh string to the guitar, a feature now fallen into disuse. This same friar was also the one who introduced the technique of *punteado* (fingerpicking) to the guitar, which until then had been played exclusively using the *rasgueado* (strumming) technique. The aforementioned Padre Basilio was a truly marvelous performer, and he had the honor of serving as the instructor to Queen Maria Luisa, the wife of King Charles IV. There have been times in history when it was common practice to fit guitars with twelve strings, arranged in six courses of two strings each, tuned in unison. A few such examples are still crafted today, though the aficionados who specifically request them have become exceedingly rare.

Nowadays, the guitar in general, and the Spanish guitar in particular consists of six single strings. It possesses a more graceful form furthermore, for the greater comfort of the player, the dimensions of the soundbox specifically its depth have been somewhat reduced. However, we must acknowledge that whatever has been gained in slenderness through this reduction has been lost in sonority and sweetness or, as aficionados generally term it, *rumor*.

Spain has been, and remains, home to truly gifted geniuses who have drawn astonishing capabilities from this instrument. The names of Sor, Aguado, Huerta, Arcas, Cano, Tarrega, Lucena, and several others we cannot recall at this moment, are cited with pride throughout the world indeed, the art of crafting this instrument has reached the very highest degree of perfection.

The firm that currently stands at the pinnacle of this specialized craft in our country is, undoubtedly, that of "Hijos de Gonzalez" (Sons of Gonzalez), known as the *Guitarreria Universal*.

This aforementioned firm is the oldest of its kind established in Madrid. It was founded in 1850 by Don Francisco Gonzalez, a craftsman of exceptional intellect who achieved triumphs that remain unsurpassed. He increased the dimensions of the soundbox without compromising its aesthetic proportions he imbued the notes with greater sweetness and enhanced the overall volume of his guitars' resonance instruments whose vibrations sustain themselves for a truly marvelous duration. It was for these very qualities that his instruments were awarded prizes at exhibitions in Paris, Zaragoza, and elsewhere.

Upon the passing of Mr. Gonzalez, the establishment was entrusted to the care of his daughter, Doña Concepcion a highly distinguished artist and a guitarist of exceptional talent who has found no rival among players of her sex. Upon her marriage to the no less renowned artist Don Enrique Romans, they continued manufacturing operations under the trade name "Hijos de Gonzalez" a name they proudly bear to this day.

Mr. Romans' direct involvement in the firm's guitar manufacturing process served to place the definitive seal of perfection upon the instruments crafted there. Hence the company's incomparable professional reputation and the marked favor with which it is regarded by the public.

The firm's original founder had already made considerable strides in this field however, it was essential that the manufacturer's technical expertise be complemented by the artist's practical experience&ampmdashspecifically, to anticipate and address the myriad subtle nuances required to craft a truly perfect guitar. This was precisely the element contributed by Mr. Romans. An artist at heart an eminent guitarist possessing extraordinary musical erudition and unparalleled instrumental training he dedicated his tireless efforts to eliminating those minor flaws which, however slight, can truly mar the merit of even the finest and most luxuriously constructed instrument. Mr. Romans has achieved his objective. His motto is to triumph and compete on the basis of quality, without raising standard prices. Enthusiasts now know exactly where to turn to acquire an instrument that is both unsurpassed in quality and affordable.

In closing, we wish to note that the advancements and triumphs achieved by this distinguished maker are also owed to the effective and exceptionally astute collaboration of his talented partner. The students of both hold their beloved teachers in as much affection as respect indeed, when they step before the public to pursue their professional careers, the ovations they receive equal the very number of pieces they perform.

We congratulate Messrs. Hijos de Gonzalez on the brilliant standard they uphold in both the craftsmanship and the instruction of the classical Spanish guitar. After making due mention of their characteristic graciousness, our only wish is that our readers might have the opportunity to hear a concert given by this happy couple who have had the honor of performing before royalty abroad and whose portraits we feature on the front page of this issue."

In the daily newspaper "El Barcelonés (Barcelona. 1845)" Thursday May 16, 1850 on pages 1 and 4 is the listing of a guitar concert with three great artists: Antonio Cano, Jose Viñas and Jaime Bosch, as well as some others to be intervening.

2 years before this Antonio Cano and his brother Vicente had performed in Madrid for the Royal Family. In the daily newspaper "El Eco del comercio" on April 27, 1848, n.º 1.711, page 4, is the first mention that this would take place soon. This appears to have taken place in the 1st week of May 1848.

At the bottom of the listing of the concert titles is the mention of the locations where tickets were made available: in the music stores on calle Escudillers, at the Bernareggi piano store at calle Ancha, Agustin Altimira guitar workshop on calle Escudillers and Altimira music store location on calle Santo Domingo, 10, Barcelona.

Besides producing concert guitars since 1825 the Agustin Altimira guitar workshop sold concert tickets also for the venues of Julian Arcas, Trinidad Huerta and even Francisco Tarrega in 1878.

The 8 PM concert was to be held on Thursday May 16, 1850 in the hall at the home of Mr. Biosca.

Last year, on July 20, 2023 I found out where in Madrid these could be purchased and the prices, yesterday, September 4, 2024 I learned of the Parisian shipments early on, as the Dionisio Aguado invention initially was announced on May 16, 1838. There are 14 mentions of this device in the dailies all the way to May 20, 1853. In the newspaper image page the text will be found in the right column, just below the the center. To find the original large article, scroll quite a bit down, I have written 50 articles since then DIONISIO AGUADO (1784-1849) AND THE 1838 GUITAR TRIPOD.

This from the daily: "Diario de avisos de Madrid" November 22, 1838 page 2

Se acaba de recibir de Paris una remesa
de TRIPODISONES o maquinas donde se
colocala guitarra para aumentar su voz y
facilitar la ejecucion del tocador. Dicha
maqiina es inventada por Don Dionisio Aguado,
y la han adoptado los mas celebres
guiitarristas. Se hallan de venta en esta corte
en la guitarreria de Campo.

This from the daily El Sol (Madrid. 1917) November 4, 1928 page 3. The writer was born in Northern Spain in 1866, by 1890 he was in Buenos Aires, where he stayed until 1903.

He sees and hears the difference between the quickly made guitars of Valencia and the more carefully fabricated instruments of Madrid, it's that I draw your attention to with this article. These comments appear about two thirds of the way into the article.

For us to understand each other from the first moment, a

little previous explanation is urgent: guitar maker (guitarrero), according to the official lexicon

Dictionary of the Academy, is the one who

makes guitar maker and guitarist, the one who plays or plucks them. The clarification is

necessary, because in the Argentine Republic the guitar maker (guitarrero) is called

the same as the player (guitarrista), and who we are going to deal with here is especially the builder. I ignore the linguistic difference between the gauchos (guitarrero) and the academics (guitarrista), they see the philological reasons. It may be as true that

"the guitarmaker is the one who makes guitars and guitarist is the one who plays them as it is to apply the name guitarist to the one who plays them and guitar maker to the one who makes them. There is no way to resolve this linguistic difference nor does it imply the resolution of the guitar players. These linguistic disputes are difficult because... "it's another thing with a guitar", the gauchesco with which the difficult point,

"busilis" (dificulty), of any problem is expressed. In reality, what

evaluates is the use. When in Argentina it is said "he is

a gaucho guitar player," it is expressed not only that he plays the

guitar, but that he is something vague, bohemian from the Pampas,

the rural, a payador (singer)and a "piringundin" party-goer (dance

of candil). This second translative sense is neglected

in Spain. Given the moral significance, apart from

the strummer, that the noun guitar player has in South

America, it is not easy that, thanks to a limited purism,

it disappears from the popular language. After

that small prologue, which we could well equate

use of the guitar to sing this pamphlet, we enter into the matter.

***************************

The history of the guitar, like all histories,

is full of gaps, obscure points, conjectural versions, erudite disputes, hypotheses, conflicting judgments and great confusion, might be said in a word. It appears --

seems nothing more than its origin comes from the

citara venerable by its antiquity and the multitude of

string instruments, almost all, that came from its

fertile and sonorous maternal womb. Before acquiring its current and definitive form, the guitar went through many

evolutions. It is impossible to follow them all through the times and sounds. I will only recall that the Romans called it "Spanish zither".

The word guitar comes from Arabic. This makes certain scholars suppose that the instrument arrived in Spain with the Saracen invasion. But others deny the consequence. In reality, giving a name to an instrument

doesn't imply having built it for the first time. And the

the proof that it was made is that the Romans already called the vibrating instrument "Hispanic zither," to whose beat the legions undoubtedly danced in their forays through the Iberian countryside. The relationship between Andalusian airs and the Arabs is not enough to suppose an Arabic origin for the guitar, since it is also the instrument of the jota, which has nothing languid and

undulating, being, on the other hand, an extremely energetic and vigorous song. The jota is the air of national unity, the lyrical glue of all regions.

And let us suspend here what we could call the prehistory

of the guitar. At the beginning of its true history,

it only has four strings Today it has six: three

of goat gut and three of metal, which are made by the

same process as military braid, that is

with a silk cord protected or covered with gold or silver.

Every time I hear the violin played I cannot help

remembering the origin of the sublimity of its notes, which

could not be more prosaic: the hairs of a brown

dog's tail scratching on the guts of a goat. Of course, when our emotions are analyzed in this way, almost all of them

are laughable. That is why it is best to give oneself over to its enchanting spell, ignoring cold analytical reasoning about the way to be induced. Let the violin sighs intoxicate our spirit, without us seeing where they come from. Let the alienation of

our soul and the flight of our heart take place, even if the

springboard of departure is a rubbing of such vulgar materials.

Within the group of glorious chaplains that make up

our golden century, Vicente Espinel, the greatest cassock-wearer, is the one who best symbolizes the customs of the time in his adventures. To the author of the "Life of the squire Marcos de Obregon" belongs the double

glory of two great inventions: the fifth string of the

guitar and, in poetry, the tenth or espinela, a metrical form

of immediate success, especially in the theater,

because it is suitable for sonorous declamations. Calderon

immediately adopted the new rhythm in "Life is euphemus."

The tenth would later be, almost entirely, the exclusive form

of gaucho poetry in the popular songs

of Hernandez, Ascasubi and Estanislao del Campo.

The chaplain of Ronda, Espinel, is an accomplished guitarist. All the great writers of the time dispute his friendship. Cervantes calls him "my admired friend". Lope de Vega showers him with praise in his dedications. The knight of Illescas" and "The widow of Valencia". Quevedo, Gongora, Mateo Aleman, the whole golden galaxy of poets is devoted to the great player

and inspired "decimer". Espinel is the soul of the revels of the classics. A liberal, he leads the

student riots in Salamanca against the inquisitorial process to which Friar Luis de Leon is subjected. Our heroes Lemos and Medina Sidonia take him to Italy so that

he can liven up the governorship of Naples and Milan with the guitar. Later he goes to Flanders, enrolled or enlisted, in the army of Farnesio. He is never in Ronda, but he keeps and collects the cavalry, plus another in Madrid, which he also does not attend. The people of Ronda want him dismissed. Useless effort. He is protected by the king, the ministers,

the dukes and the whole century of gold, which in terms of ethics was far from being pure gold. Do not worry, the people of Ronda if the chaplain escapes now, his presence in bronze will become eternal to the honor of Ronda and the entire nation.

Espinel only played in a strummed form. The plucked

music was born much later it was a happy creation of Father Basilio, who, due to this digital skill, which gave new sonority to the instrument, was to be chosen as teacher of Maria Luisa, the wife of Carlos IV the kind monarch who historians say blocked

the arches of the Arcane bridges in their path. While Father Basilio was teaching his new method and Godoy was pleased with the queen's progress in the difficult art, Napoleon's troops invaded the country to put on the throne "Pepe Botellas", one of the few teetotalers

in France.

Such is, in broad strokes or very roughly the history

of the guitar. One point remains obscure. We know

that Espinel invented the fifth string. But who

invented the sixth? Mystery. Nobody knows, not even Haeckel himself,

one of the ninety-three German scholars,

author, as we know, of the "History of Creation",

which, to be complete, had to include the sixth string

of the guitar...

***********

No less difficult than playing it well is building a

good guitar. The guitar industry is divided

between two cities: Valencia and Madrid, but it has character. Strictly speaking, the real

industry, the large-scale manufacturing organization, is

found in Valencia, where guitars are made

by the thousands, in series, at breakneck speed. The Valencian

factories have vast and complicated modern

machinery. In an instant, the trunk of a tree, passing through a series of mechanisms, saws,

lathes, planes, chisels, gouges and braces comes out

converted into mandolins and guitars, just as in

Chicago forgive the comparison a live pig enters a machine and, without realizing the transformation, comes out through another converted into hams and sausages.

In Madrid there is no industry like that in

Valencia. They are small, almost domestic, personal workshops,

where guitars are built one by one,

by hand, slowly, with concentrated attention on each piece, as a lapidary crafts is a jewel. It is, in short, an artistic work, with exquisite mother-of-pearl inlays

between the frets and fantastic ringorrangos (frills) on

the neck and the body. The superior manual skill of

Madrid workers over all Europeans means that machining is not yet praise the delay a problem in Madrid. Only in Madrid is there

manpower in the rest of the world everything is already machine work.

Being a great guitar maker is as difficult as being a

great guitarist, and in reality the success of the guitarist

depends largely on the guitar maker. It seems at first

sight that all guitars are the same. This is a

mistake. Just as there is a great difference between the "Stradivarius" and the other

violins, there is no less difference between a Madrid guitar and those made in

other parts. And even within Madrid there are

categories among guitar makers, just as in

Cremona the genius of Stradivarius dominated overall,

the Cremona makers of the 17th century

The secret of the Madrid builder is to achieve

the most beautiful sound. Hence each guitar proclaims

in its vibrations the personality of the guitar maker. The workers why not artists? who achieve purer sounds are very sought after and earn high

wages, but as almost all of them work for their own account,

as independent, self-employed guitar makers, the few workshops that exist suffer from the lack of personnel. The solid reputation that Madrid enjoys in guitar matters means that orders rain down copiously,

not being able to be served in proportion to the demand. And this explains why work is abundant and wages are high. You will have already noticed that there are never any strikes or conflicts in this lyrical and melodious cabinetmaking. A guitar makers' strike would be as inexplicable

as a guitarists' strike.

Just as in Toledo each master swordsman carved and polished the weapon from tip to hilt,

imprinting the seal of his personality on the heroic blade,

in the same way the Madrid guitar maker puts

all his spirit and refined manual art into the perfect

construction of the instrument, achieving the purest and most sublime resonances from the boards and strings. From this form of medieval hand-made workmanship comes the excellence of the Madrid guitar. The machine

would be a profanation. Can you explain Stradivarius

with a large machine, a powerful turbine, a

vast sawmill, extensive warehouses for storing wood and goat guts, a formidable factory,

without end, to make his delicate and groaning violins?

Such an assumption would make the ashes of

the sublime son of Cremona shudder with horror.

The Toledo swordsmiths made their best pieces with scrap metal and horseshoe calluses. Ah, how many times

has the most worn-out footwear of a tired donkey

shined, transformed into a triumphant sword, under the sky

of Peru, Mexico, Flanders, Naples and Sicily!

Materials of identical value, acquired at the Rastro,

are used by guitar makers. There they buy old furniture,

beds saved by flotation from the flood ancient wardrobes, century-old chests, knick-knacks and rickety and useless

tools. The wood of these venerable things is very dry, very cured, an essential condition

for building good guitars. Nothing dies, everything is transformed. And so, the bed of our most

remote grandparents, where the chain of which we are the last link began, suddenly takes on miraculous youth in the form of strummed jotas, impetuous and

brave. If we emphasize the illusion a little, we can almost see our most distant ancestors resurrected.

A very advanced culture and a great social organization are adverse conditions for the development of the guitar industry. Its progress requires the patrol and its consequent derivation: the brawl and the brawl. Only in this way can consumption be encouraged. The guitar, alien to the orchestral discipline, fits admirably with our individualistic character. Hence its diffusion in Spain. An instrument of old romantic tradition, it is

frequent to put on the top, inlaid in relief, a heart, which sometimes represents the handsomeness of the guitarist and other times the tender viscera of the beloved. Of course, these guitars are usually destined for the alert and

ambitious. Be careful, reader: do not cross the path of a guitarist with a heart in his guitar, a sign that he has a very prosperous heart within his chest...

Francisco GRANDMONTAGNE

Entrevista hizo en el año 1928 y publicado primero día de Enero en 1929 en la revista "Estampa", en la segunda pagina hay un grupo de estudiantes en Buenos Aires, el Maestro es Domingo Prat de pie ala derecha.

En la fila de atrás, en el centro, hay un señor con bigote, parece sostener una guitarra fabricada por Manuel Domínguez.

Interview conducted in 1928 and published on January 1, 1929 in the magazine "Estampa", on the second page there is a group of students in Buenos Aires, the Professor is Domingo Prat (1886-1944), standing on the right.

In the back row, in the center, there is a gentleman with a mustache, he appears to be holding a guitar fabricated by Manuel Dominguez.

This from the "El Indicador de España y de sus posesiones ultramarinas1864" ("The indicator of Spain and its overseas possessions") The great value of this book is that, no other concrete documentation of the city by city listing of guitar makers exists until 1879 with the "Anuario del comercio, de la industria, de la magistratura y de la administracion", the listings continue until 1910 in the Biblioteca Nacional de Espana de Madrid.

28 Guitar makers in Spain in 1864 (revised from 21 Guitar makers September 19, 2024)

BALEARES islands

Casanovas, Francisco, guitarrero, 103, 78.

Font, Vicente, guitarrero, M. 103, 68.

PROVINCIA DE CADIZ

Bonichi, Francisco, guitarrero, Palma 7

PROVINCIA DE CORDOBA

Luque, Rafael de, guitarrero, Pimenteria

Rey, Ramon, guitarrero, San Francisco

PROVINCIA DE LERIDA

Font, Manuel guitarrero. Mayor.

Fort, Juan, guitarrero. Hospital

PROVINCIA DE MADRID

Campos, Vuida. de, guitarrero, Cadiz, 16 The widow of Benito Campos, a good friend of Dionisio Aguado

Carracedo, Gregorio, guitarrero, Urosas, 12.

Gonzalez, Andres, guitarrero, Latoneros, 1 - Francisco Gonzalez was at this address in 1862, that was not known by the late Jose Romanillos, in his great Spanish luthiers dictionary: "The Vihuela de Mano and The Spanish Guitar"., though he knew of the usage of the property in 1863 and 1864. He says that Francisco was still using the Latoneros, 1 address as a workshop even in 1866, paying 240 reales a month in rent. It is not known who Andres Gonzales was, a brother, a nephew or just someone with the same surname. Francisco had had apprentices since 1850, my having found in the last 2 years the newspaper advertisements seeking to locate those workers.

Gonzalez, Francisco, guitarrero, Carrera de San Geronimo, 15 - the late Jose Romanillos, though he knew of the usage of the property in 1865, we now know the property was being used in 1864, and Jose does mention the listing of this address in the trade guides from 1864-1866.

Had Francisco expanded his operations to have two locations for fabrication of guitars and space for teaching students and customers? These locations are 1.1 km apart, 3,609 feet or about 2/3 of a mile. See the map at the bottom of this page.

There were 17 men named Francisco Gonzalez in Madrid at this time

Nieto, Manuel, guitarrero, Santa Isabel, 12

Ogero, Felix, guitarrero, San Millan, 16

Vindes, Francisco, guitarrero, Medio dia Grande, 10

PROVINCIA DE MURCIA

Martinez, Mariano, guitarrero. San Francisco

Alcaniz, Jose, guitarrero, Pilar.

Calvo, Jose, guitarrero, Pilar.

Ruiz, Antonio, guitarrero. Alameda.

PROVINCIA DE SEVILLA

ECIJA

Castillo, Juan, guitarrero.

PROVINCIA DE VALENCIA

Sanchordi, Silvestre, guitarrero. Bolseria, 38.

PROVINCIA DE ZARAGOZA

Ceperuela, Marcelo, guitarrero, Albarderia.

Luna, Juan, guitarrero, Cedaceria.

On September 17, 2024, I found more guitar makers, these are from Granada:

PROVINCIA DE GRANADA

Bueno, Ana guitar string maker (cuerdas de Guitarra) San Cecilio (not found in Romanillos' "The Vihuela and The Spanish Guitar" - there are dozens of string makers listed in other cities, but not Granada.)

Espinel, Jose Professor of Music, Triana (included as music related)

Garcia, Jose guitar string maker (cuerdas de Guitarra) Elvira (not found in Romanillos)

Ortega, Francisco, guitarreria, Elvira, 42.

Ortega, Jose, Guitarrista, Elvira, here we see the guitar maker when he was a budding guitarist at the age of 10 years old.

Pernas, Jose, Guitarrista, Laurel

Robles, Jose N., Guitarrista, Elvira 58

Segura, Antonio Maestro of Music, Capuchinas (included as music related)

Torres, Antonio Professor of Music, Elvira (included as music related)

Valle, Agustin, Guitarreria, Elvira 52

Valle, Antonio, Guitarreria, Elvira 40

Valle, Nicolas del, Guitarrista, Elvira 56

There are several ebanistas (cabinet makers) among the carpinteros (carpenters) listed, had the cabinet makers delved into making the guitars they would have become immortal.

We have at least 7 guitar makers in Granada at this time, the population being about 50,000. There are also 2 string makers and several music professors. It's great knowing that a city of this size could support this much artistry. It is not known why the adjective: Guitarrista (Guitarist) was used in place of Guitarreria, (Guitar shop) as that distinction is not found in the other pages of this book.

The wonderful review of Miguel Llobet is a little ways down this page. This is a review of my guitar teachers' teachers' teacher.

Jose Rey de la Torre studied with Miguel Llobet from 1932-1934 in Barcelona and gave a few concerts there before he went back to Cuba.

Byron Pang studied with Jose Rey de la Torre from 1966-1970, then was asked by Jose Rey de la Torre to be an instructor at the Music and Arts Institute in San Francisco, where Jose was the director of the Guitar Department, which Byron was teaching at from 1970-1974, teaching 45 classical guitarists a week, of which 6 became equal to him.

I studied with Byron at his home 1 hour a week from December of 1979-February of 1981. I had been told: "Go study with Byron Pang, he is better than Christopher Parkening."

Byron could play scales at 14 notes a second. He said "I'm slow I have friends that can play scales at 17 notes a second and make the guitar sound like a quintet." "When I play faster than 9 notes a second it gets uneven." "Do you notice the loping triplets, when you listen to Parkening? He learned that from the Romeros." Byron said: "Jose Rey de la Torre had the best musicianship of all classical guitarists. If the composer said do this on the sheet music Jose did it. The composer comes first, the interpreter after that"

Byron used a reel to reel tape recorder and recorded LPs, then turned the tape recorder down to 1/2 speed to see where the accent was: before the click of the metronome, on the click of after the click. One night he played "Asturias" 3 times and said, "Now I'm going to imitate Julian Bream, now John Williams, etc.

Byron played the "Concierto de Aranjuez" with a 16 piece small chamber ensemble. It took him 3 months to perfect it.

In 1976 Byron attended the Manuel Lopez Ramos Master Clesses at San Jose State University that were held for two weeks. Manuel said: "I take 1/2 hour to practice a 5 minute long song the first time. That way I have nothing to unlearn."

One of Byron's students attended the classes as well. But that was a student who didn't like to practice scales. Manuel told him: "Look, I'm here  just for 2 weeks, I need you to practice scales, to create the flexibility you need to get more out of the music." Three days later, Manuel complained to the student: "Look I don't have time for you because you will not practice scales like I suggest, which I know you need to do for your own benefit. Please leave the class, so I can give my time to those who will practice what I tell them to do."

Some months later Byron said at the end of a class. "The student I told you about, just graduated and got his degree, would you like to hear a tape of that student?" "Sure." At the end of listening to a few pieces I said: "So this is what you only have to sound like to get a degree? It sounds a little bit stiff." "He didn't like to practice scales, and that's the sound you get when you don't."" 

Then Byron told me the most profound thing I ever heard in my life. "College teaches you how to get out of college."

Byron had attended classes at San Jose State University with Fred Trana (now deceased) in 1965, and quit, because he needed a better teacher, he was better than Fred Trana, and soon found Jose Rey de la Torre to study with.

They say in 1963 you could find Byron at Foothill College, playing the Top Ten hit: "Pipeline" portraying the Bass line, Rhythm and Melody on one guitar. He would also play "Nola" by Chet Atkins.

He had a Physics degree from Stanford, and when I studied with him, his father was teaching Mathematics at UC Berkeley.

From the daily "El País" (Madrid. 1887) November 25, 1902 page 2.

"A Notable concert guitarist

Miguel Llobet

Yesterday afternoon the concert was held at the Teatro de la Comedia by the guitarist Miguel Llobet.

Without having heard it, it is not possible to form an idea of ​​the marvels of execution that Llobet achieves in his seemingly limited work.

As a singer and accompanist at the same time, it seems difficult for those familiar with guitar technique to achieve the proper balance between the melodic and harmonic elements to the perfect degree that Llobet achieves, for which there are no difficulties of accommodation.

As a general rule and in the current field, even when it has truly extraordinary performance characteristics, when the guitar sings within the limits of the purely Spanish genre to which it seemed relegated, the harmonic part periodically falls silent while the melody is unleashed in endless bullfights; the same happens when the prevailing bass is heard, breaking up the typical turns of melancholic solitude, or another similar one; and if both elements, harmonic and melodic, are brought together, the development of one is always obtained at the expense of the other, judging a different result impracticable, due to the natural limitation of the instrument or lack of initiation in the performers.

The mastery of this difficulty, apparently insurmountable, is the ideal pursued by the great guitar artists and satisfactorily carried out by the young Llobet, in truly exceptional proportions.

One only has to review the programs of the concerts of the concert guitarist Miguel Llobet; for example, the one from yesterday afternoon.

Study and minuet, by Sor; another minuet by Haydn; an andante, by Beethoven; prelude and nocturne, by Chopin.

Such was the first part, truly elastic, of the last session.

In order to form a complete idea of ​​the work that is involved in adapting these pieces to the instrument, and the proper interpretation that can be obtained, one must listen to Llobet and then applaud him for the eccentricity that produces what is truly wonderful.

All the effects that can be obtained humanly and some others of true inspiration. The celebrated critic seems to possess are attributed to the cited works, showing the purity of his complicated work and classic development.

The different timbres of the different strings, the succession of harmonics so difficult to obtain, in sufficient proportion to form true melodic designs; A rhythmic, sounding, round bass and an interesting, central, well-balanced harmony are the elements of color, strength and mechanism that Miguel Llobet brings together and dominates.

Two numbers by Albeniz, Spanish serenade and Capriccio (Granada); study, scherzo, arabesque and |ota, by Tarrega, formed the second part, offering a necessary contrast with the classicisms and boldness of the first.

And as a graceful piece the delightful "dúo de los paraguas", of which Llobet has made a true beauty.

The artist was acclaimed at the end of all the pieces, joining the astonishment of the intelligentsia with the enthusiasm of the general public.

Líobet will give his second and last concert on Monday, December 1st, at the same Comedia theater and at the same time in the afternoon.

Our most enthusiastic applause to the distinguished concert artist, destined to make a brilliant career, awakening the admiration of friends and strangers.

More from strangers than from friends, according to traditional idiosyncrasy, and judging by the excessive public that gathered yesterday afternoon at the Comedia theater!

(Signed): L.A."

From the weekly magazine "Iris" (Barcelona. 1899) October 14, 1899 n.º 23 page 7.

"The artists who make up this important cultural centre, eager to celebrate the inauguration of their new and beautiful premises, gathered for a fraternal banquet last Saturday night, in the number of about one hundred and fifty. During the event there reigned the fraternal expansion that was to be expected among people of such a well-established reputation, as artists and as individuals, and the very happy idea of ​​not having to toast was had. But, if there were no discussions, on the other hand there were thousands of jokes, witticisms, phrases and thoughts, and the eminent guitar concert player Mr. Llovet provided a moment of true artistic enjoyment to the attendees, who applauded him wildly."

From the daily "Diario oficial de avisos de Madrid" March 25, 1887 page 2. The original Spanish text begins in the "Noticias" section in the last paragraph in the left column of the 4 at the bottom.

"Having just returned from Andalucia to this capital, here is the guitarist, José Martinez Toboso.

He plans to give some concerts in Madrid before leaving for Paris.

And using this purpose, he has been hired by the owner of the Romero café, located on calle Atocha.

Last night we had the pleasure of hearing the distinguished artist. In the presence of a very large audience,

he performed several selected pieces, among them some very

difficult and beautiful ones for guitar, such as the serenade of the "Fantasia Morisca y Moraima,"

Guajiras, Soleares, a beautiful Waltz and an original soulful Jota, a composition by the performer.

We say nothing of the astonishing nature of the

execution or of the marvelous nuances that his inspiration gives to the works

he interprets.

We prefer to leave the pleasure of surprise to our readers."

From the weekly magazine: "Cronica de la musica" December 25, 1879 n. 66 page 4. This is from an article "Carta de Valencia": Letter from Valencia.

"In the new society "El Iris", with the object of providing pleasant solace to the families of the members, concerts will be held weekly that will give the desired result. But what is truly remarkable about them is the surprising abilities that a young guitarist, Mr. Martinez Toboso, is demonstrating. Without exaggerating the praise, he is a worthy emulator of Huerta, Arcas and others who are no less celebrated.

Every night that he plays he receives an ovation, and on the last night he received from the president of the society a very rich crown that is a true work of art."

The original Spanish text is at the bottom of the left hand column.

Jose Romanillos says in his valuable tome published in 2004 "The Vihuela and the Spanish Guitar", that Francisco Gonzalez was at this address in 1863-1864, but here on June 21, 1862 we see that he's at the same address: calle de Latoneros num. 1, Madrid. This information is from the daily "La Discusión" (Madrid. 1856) June 21, 1862 n.º 1.992 page 4., courtesy of the invaluable resource: Biblioteca Nacional de España in Madrid.

Julian Arcas was 29 years old, he was performing at the Conservatorio de Madrid on Sunday June 22, 1862, (This is mentioned in the "Espectaculos" section - to the left of that is the "Gacetillas" section where it notes that the following Sunday June 29th, a second concert by Julian Arcas will be held in the same location.) with an 1856 Antonio de Torres classical guitar with a Lute Bridge, known as "La Leona", made in Seville. This is likely the largest format guitar to be used in the city of Madrid in a concert venue, it also had a tornavoz. Francisco Gonzalez had concert guitarist Antonio Cano teaching guitar at his workshop since 1857-lots of activity.

If you look at the newspaper in the lower right it mentions tickets for the concert at the Conservatorio de Madrid that were 10 reales were available at 3 locations Mr. Romero's music store, at: calle del Arenal, Mr. Martin y Salazar's music store, at, calle de Esparteros and the guitar workshop of Francisco Gonzalez: calle de Latoneros Num. 1, Madrid, I don't wish to forget to tell you that both store owners were also music publishers as well.

I include the program from the concert from the book "El Guitarrista Julian Arcas" published in 2003, by Javier Suarez-Pajares and Eusebio Rioja Vazquez, this is also a courtesy from the Conservatorio de Madrid. 

It is not known who made the guitar used by Julian Arcas in concerts before that of the 1859 Antonio de Torres classical guitar, known as "La Leona".

Also of historical interest is the fact that Trinidad Huerta played a concert at the Conservatorio de Madrid on February 16, 1862, and that the ticket prices were 300% the price of the Arcas concert tickets: 30 reales. This information is from the daily "La Discusión" (Madrid. 1856) February 16,, 1862 n.º 1.889 page 4., courtesy of the invaluable resource: Biblioteca Nacional de España in Madrid. Javier Suarez-Pajares and Eusebio Rioja Vazquez, also report that Trinidad Huerta played a concert on May 22, 1862 at the Salon de recreo de Teatro de la Opera in Madrid.

This is from: "Diario mercantil de Valencia January 26, 1838 page 4.

"Guitars of new invention, which consist of two harmonic tops,

and the fingerboard is carved in such a way that it is played very

smoothly. Its construction makes it produce the voices of a piano,

and the trebles in particular are

equal to any piano with good voices, which

until now have not been known to have guitars

of such superior qualities. These have been

suggested and approved in the highest degree by the

professor of said instrument, Mr. Jose Rolly,

the same who has confessed to finding them superior to those he has seen in Paris. Its author Luis

Reig lives at Calle de la Bolseria No. 8 old

and 25 modern, where they are for sale"

Original Spanish text:

"Guitarras de nueva invencion, las que constan

de dos tapas armonicas, y el diapason labrado

de manera, que se ejecuta con mucha

suavidad. Su construccion la hace producir las

voces de un piano, y los tiples en particular son

iguales a todo piano de buenas voces, la que

hasta el dia no se han conocido haya guitarras

de tan superiores cualidades. Dichas han sido

insinuadas y aprobadas en sumo grado por el

profesor de dicho instrumento Don Jose Rolly,

el mismo que ha confesado encontrarlas supe-

riores a las que ha visto en Paris. Su autor Luis

Reig vive calle de la Bolseria num. 8 antiguo

y 25 moderno, donde se hallan de venta."

From the bi-weekly magazine: "Boletín oficial de la propiedad intelectual e industrial. February 1, 1897, n.º 251.

I need to interpret the name of the bi-weekly. It is "Bulletin of intellectual and industrial property,"

"Mr. Manuel Soto y Solares, has patented his invention, for 20 years, of a 'procedure of fabrication of a twisted string for musical instruments.' This was presented for solicitation to the Government of Seville on the 5th of December 1897. Received the 12th of the same month. Under review."

From the bi-weekly magazine: "Boletín oficial de la propiedad intelectual e industrial. February 16, 1897, n.º 252.

"Mr. Manuel Soto y Solares, has patented his invention, for 20 years, of a 'procedure of fabrication of a twisted string of aluminum for musical instruments, the difference being that until today has been of a fabrication of a twisted string of copper. Approved February 6, 1897.' 

We see the magazine  "Industria é invenciones" of February 27, 1897, n.º 9 had the same text of the February 1, 1897 entry in this article.

From the bi-weekly magazine: "Boletín oficial de la propiedad intelectual e industrial." December 16, 1897, n.º 272, this mentions that the 2nd year of his patent has now come about.

From the daily newspaper "El Noticero Sevillano" of Friday,  May, 17, 1895 Año III No. 778.

"The eminent guitarist Mr. Francisco Tárrega gave a concert last night that all the fans who attended will keep fond memories of. The room was completely occupied, and occupied by true virtuosi with fine palates, who appreciated the work of the Spanish guitarist at its proper value. It is no small triumph to seize, for more than two hours, the attention of a large audience, to make them feel and captivate them in such a way that they did not realize what is happening in the outside world around them. Tárrega achieved this, and he achieved it, performing a chosen program, solidly, of true music, without resorting to musical numbers of those that excite, drawing applause from light and unconscious audiences.

The program was made up of a Neapolitan song, by Verdi, a romance by Mendelsson, the serenata Granada, by Albeníz, the tremolo by Gottschalk and a Spanish fantasy composed by Tárrega himself, which was highly applauded. After each number the applause was many and unanimous and at the end of the study by Gottschalk, with such characters of affectionate enthusiasm, that the applauded concert pianist, to reciprocate in some way, admirably played the "Umbrella duet" (dúo de los paraguas). 

The Spanish fantasy excited again. The clear and meticulous diction, the cantabile highlighted with exquisite delicacy, the instrumentation of the entire piece, done with inimitable taste and propriety, drew new applause. A real ovation. 

A ballad, by Albeniz, a minuetto, by Bolzoni, the funeral march, by Thalberg, some Variations on a theme by Paganini and some national airs (these are Flamenco pieces), by Tárrega, these last two numbers formed the second part of the program, with delight heard and with equal fervor applauded that the first one, a theme by Paganini was an enchantment.

Tárrega was not satisfied with this and ended the musical session with a whim of his admirably executed, which received the last applause of the night, surely not all that the concert attendees would have given him, even if there were many.

The guitars that Tárregja used in it were certainly a gift from the manufacturer Mr. Manuel Soto y Solares, one of his most fervent admirers.

The Spanish guitarist is now leaving for London where he is contracted to give a series of concerts during the summer season."

From the daily newspaper "El Noticero Sevillano" Saturday May 17, 1896. Año IV No. 1,132.

Last night, Friday, May 8, 1896, we had a nice party in the newsroom of the "El Noticero Sevillano". The eminent guitarist Mr. Tárrega honored us with a concert, of which we will keep fond memories. On a magnificent concert guitar, from the workshop of Soto y Solares, he played the most notable of his repertoire, with the delicacy and perfection that have earned Tárrega an enviable reputation. It goes without saying that each number of the select program was celebrated with enthusiasm, with everyone who heard the eminent guitarist desiring repeated opportunities to applaud and admire him.

Here's what I learned about Jesus on Saturday night, January 27, 2024, the demographics of where he lived.

Population of Jerusalem at the time of Jesus was 20,000. 

500 people saw him when he came back one out of every 40 people in that city saw him

The population of the Roman empire then was 45 million or 15% of the population of the Earth. 

2 1/2% of the population of Jerusalem saw Jesus after he came back that's a lot of people.

On Wikipedia, it says between 150 million and 300,000,000 people were alive when Jesus was alive around the world so that we now have 48 to 24 times that population on the planet respectively.

It wasn't until 1871 that Germany became a country, as we know it today, there had been over a dozen Germanic states, where the German language was spoken by the industrious people. In 1846 the railroads became a common way to ship products toward their destinations.

Due to the massive increase of power of the piano forte in the 19th century it became very very popular.

As the interest waned for the guitar in Europe in the mid to late 19th century, it blossomed in Argentina and other countries above and next to that land whose capital, Buenos Aires, was the Paris of South America.

In the daily "El Constitucional" (Madrid. 1851) on March 11, 1852 on page 3 was an interesting small article about the production of Musical Instruments in the capital of the undefined Germanic state.
Translation: "Musical Instruments" I have here a list of the constructors of musical instruments that exist in the capital of Germany: 12 of organs, 20 of wind instruments, of metal and wood, 19 of string instruments, 100 of pianos, 80 of the variety of parts that comprise the piano, 4 fabricators of filo-harmonicas and 39 of harmonicas; a type of instrument very appreciated in Austria. Total 303."

In the daily "El Espectador" (Madrid. 1841) February 5, 1848 page 3, in the "Gacetilla de Madrid" section was this article about a concert held on February 4, 1848:

El texto en Español es al fin de este pagina.

Children's Philharmonic Session.—Yesterday,

at nine o'clock in the evening, they had the honor of playing

presence of SS. MM. a girl of nine

years, disciple of Mr. Álbeniz; the Monastery child,

violinist, the boy Agustin Campo, thirteen years old

old, disciple of Mr. Aguado: and the brothers

Llórens.

H.H. MM., always kind, listened

with dizzying pleasure and with the most tender affability

the pieces for each one executed in their respective

instruments, expressing their satisfaction

and Knowledge when seeing the expression and bright

execution of the children.

H.H. MM., after having deigned to address them

the word several times, they were given the honor of

that they kissed the royal hands twice too; and

They encouraged and exhorted them with inexplicable tenderness.

to continue applying themselves in the difficult race

in which with so much advantage they start from their first

age.

The teachers Valdemósa, Albeníz, Lidon and Guelbenzu,

who also attended, were pleased

of the ability of such tender children.

We are very pleased to notice the goodness of His Holiness. MM.

which serves as a stimulus to artists at the same time

which gives them a notable honor. More since

This opportunity presents itself to us, we want to take advantage of it.

something to talk about the guilarra, even

by executing it we must hurt the modesty of the great

teacher.

Agustin Campo, thirteen years old, (son

from the accredited guitar master of the street

Majaderitos has appeared to play in the presence of

H.H. MM., making use of the instrument tripodion,

invented by the famous Dionisio Aguado, for

place the guitar, and provide it with safety

and voices that are otherwise missing.

Dionisio Aguado, whose reputation and merit

are as great as his modesty, and whose fame resonates

with justice in both worlds. He has set out to demonstrate practically through his outstanding disciple, the boy Aguslin, what he is.

the guitar capable despite the difficulties that

he offers.

The invention of the tripod has caused

a kind of revolution in that beautiful instrument

rich in harmony, exquisite in melody, full

give graces and resources that no one else possesses. But

Dionisio Aguado must realize that his

Annoyance is a real evil for those who love

guilarra, either out of hobby, or because they seek

their subsistence. He must keep in mind that he should not

not to himself, but to his country, to his fans; to that one

truly and essentially Spanish instrument;

Dionisío Aguado does not let himself be heard so that people admire him

some, so that others learn, to stimulate

to the others. He is like the life-giving air, which does not

It is seen only by its effects. We understand

that he intends to make the aforementioned happy disciple of him,

give a concert in which guitar fans

can adrnirair the security, cleanliness and feeling

with which he executes that one, despite his tender

his age, passages full of difficulties; But we,

witnesses of the wonders that this disciple does,

that he seems destined by providence to inherit

the merit and skill of such a great teacher,

We would like him to be, conquering or quite his genius

take part in that concert, and have the dignity

to often let oneself be heard even only from people

amateur and knowledgeable. Otherwise not all

They will be convinced of the importance of the tripod

nor of the beauties of the guitar.

Surely the enthusiasm for this is notable,

precious and difficult instrument is discovered every day,

despite the fact that we have not yet heard how much and good

that is executed in it because even when there are great

compositions full of novelty, difficulties

of good taste, which leave nothing to be desired in

harmony and melody, not all of them have been published.

Dionisio Aguado, is in the position to contribute

on his part to increase that hobby; and one of

the means that, among us, seem convenient

adopt for this, in addition to the indicated one, would be the

to form a company, under the direction of such a distinguished

teacher, for the publication of selected and

great compositions; because nothing is published for the

guitar, worthy of attention. If the respectable

guitar genius needed the cooperation of

or other people to realize this thought, be

sure that it will be found: this is too clear to us.

Fans of the beauties of the guitar will welcome

with pleasure a newspaper in which they are published

pieces of merit; and no one like the famous Aguado

should be put in front of the publication.

We think the women deserve this gift well.

many people who love the guitar, among them

which are counted not a few ladies too, who

like those of Morejon and Bueno we have had the

pleasure of hearing difficult and clean compositions

quite executed.

Sesión filarm(5n¡ca infantil.—Ayer, á

las nueve de la noi'be, tubieron la honra de tocar á

presencia de SS. MM. una iiiilade edad de nueve

aíios, discípiula del señor Álbeniz; el niño Monasterio,

violinistr, el niño Agustin Campo, de trece afios

de edad, discípulo del señor Aguado: y los hermanos

Llórens. SS. MM., siempre amables, escucharon

con mareado gusto y con La mas tierna afabilidad

las piezas por cada cual ejecutadá en sus respectivos

instrumentos, maniféstando su cual complacencia

y Conocimientos al ver la espresion y brillante

ejecución de los ñiños.

SS. MM., después de habese dignado dirigirles

la palabra varías veces, les dispensaron el honor de

qué besásen las reales manós dós veces' tambien; y

les animaron y exhortaron con inesplícable ternnia

á que continnaren aplicándose en la difícil carrera

en que con tanta ventaja se inician desde su primera

edad.

Los maestros Valdemósa, Albeníz, Lidon y Guelbenzu,

qne igualmente asistieron , quedaron conplacidos

de la habilidad de tan tiernos niños.

Mucho nos place advertir la bondad de SS. MM.

que sirve de estímulo á los artistas al propio tiempo

qué les dispensa un senalado honor. Más ya que

se nos presenta esta ocasion, queremos aprovecharla

alguna cosa para hablar de la guilarra, siquiera

al ejecutarlo hayamos de herir la modestia del gran

maestro.

Don Aguitin Campo, de trece años de edad, (hijo

del acreditado maestro guitarrero de la calle de

Majaderitos se ha presentado á tocar á presenciá de

SS. MM., hacíendo uso de la tripode instrumento

inventado por el célebre Dionisio Aguado, para

colocar la guitarra, y proporcionarla la segúridad

y voces que de otra suerte la faltan.

Dionisio Aguado, cuya reputación y mérito

son tán grande como su modésitiá, y cuya fama resueña

con justiciá en los dos mundos. Se ha propuesto demostrar practicamente por medio de aventajado discípulo, el niño Aguslin, de cuanto es

capaz la guitárra a pesar de las dificultadas que

ofrece.

La invención de la trípode, ha venido á causar

uná especié de revolucioñ en ese hermoso instrumento

rico én armonia, exquisito en melodia, lleno

dé gracías y recursos que ninguno otra posea. Pero

Dionisio Aguado debe penetrarse de que su

molestia es un verdadero mal para cuantos aman la

guilarra, sea por aficion, sea porque en ella buscan

su subsistencia. Debe tener presente, que no se debe

ya á si mismo , sino al pais, á los aficiónado; á ese

instrumento verdadera y esencialmenle español; 

Dionisío Aguado no se deja escuchar para que le admiren

unos, para que aprendan otros, para estimular

á los demas. És como el áire vivificador, que no

se deja ver sino por sus efectos. Tenemos entendido

que se propone hacer que su feliz ya citado discipulo,

dé uni concierto en que los aficionados a la guítarra

puedan adrnirair la seguridad  limpieza y sentimiento

con que ejecuta aquel, á pesar de su tierna

edad, pasages llenas de dificúltades; pero, nosotros,

testigos de Ios prodigios que hace este discípulo,

que parece destinado por la providencia para heredar 

el mérito y habilidad de tan gran maestro,

desearíamos que este, venciendo o bastante su genio

tomase parte en ese concierto, y tubiese la dignación

de dejarse oír amenudo siquiera solo de las personas

aficionadas y entendidas. De otra suerte no todos

se convenceran de la importancia de la trípode

ni de las bellezas de la guitarra.

Seguramente es notable la afición que hacia este

precioso y difícil instrumento cada día se descubre,

á pesar de qne no se ha oido aun lo mucho y bueno

que en él se ejecuta porque aun cuando hay grandes

composiciones llenas de novedad, de díftcultades

de buen gusto, que nada dejan que desear en

armonia y melodía, no todas se han publicailo.

Dlionio Aguado, está en el caso de contribuir

por su parte á aumenter esa afición; y uno de

los medios que, entre nosotros nos parece convendría

adoptar para ello, ademas del indicado, seria el

de formar una empresa, bajo la dirección de tan insigne

maestro, para la publicación de escojidas y

grandes composiciones; pues nada se publica para la

guitarra, que merezca la atenicion. Si el respetable

genio de la guitarra necesitase la cooperación de

o ras personas para realiza.- este pensamiento , esté

seguro de que se hallará: esto nos consta demasiado.

Los aficionados á las bellezas de la guitarra, acojieran

con gusto un periódico en que se publiquen

piezas de merito; y nadie como el celebre Aguado

debe ponerse al frente de la publicación.

Parécemos que bien se merecen este obsequio las

muchas personas amantes de la guitarra, entre las

cuales se cuentan no pocas señoritas también, que

como á las de Morejon y Bueno hemos tenido el

gusto de oir composiciones dificiles y con limpieza

bastante ejecutadas.

In the daily newspaper "El Constitucional" (Barcelona) July 3, 1841 page 4 and in the daily "El Guardia nacional" (Barcelona) July 3, 1841 page 4 as well, is the listing of the concert at the Teatro Nuevo on Saturday July 3, 1841, where we see the Classical Guitarist, Buenaventura Bassols (1812-1868), using the Tripodion, invented by his colleague and friend, Dionisio Aguado, in concert. He played the "Fantasia for Guitar over the theme from Semiramis", in the first part of the program.

The text indicating this usage is: "Fantasía de Guitarra sobre un

tema de la Semiramís ejecutada por Buenaventura

Bassols que tocará sobre el pie inventado por el celebre

Guitarrista Dionisio Aguado."

These Tripodions had been available for purchase in Madrid since 1838, see the other historical article on the subject, with the prices.

In the sketch of Dionisio Aguado, we see him holding a guitar made in Paris by Etienne Laprevotte. We sold one made in 1839 over a year ago.

The other photo shows the cover of the 1843 method book.

Vicente Arias (1833-1914), who became an award winning guitar maker several times, initially in 1887, then in 1888, 1890 and 1907, was an accomplished "Ebanista", which is the highest grade of woodworker in the industry, Cabinet Maker being a journeyman. In 1881 he was listed as living and working on calle Paloma, Ciudad Real. The other five woodworkers in Ciudad Real were listed as journeymen carpenters, as "carpinteros".

Usually we see the Guitar makers listed as "Guitarreros", sometimes as "Carpinteros" (carpenters) such as the Moya Hermanos in Almeria, and as Ebanistas such as in the case of Vicente Arias. Francisco Simplicio was an Ebanista for over 20 years before he went to work for Enrique Garcia in Barcelona - one can see the extraordinary bindings and carved headstocks he produced until his passing in 1932.

Upon further investigation in 1881 the same notice was published, six years before he won his first award as a guitar maker at an Artesan exposition, at the age of 54.

"Anuario del comercio, de la industria, de la magistratura y de la administración:

1881 page 788 of 2,238 pages. To be found in column one half way down.

In 1881 the population of Ciudad Real was 14,000, the railroad had come to this city the year before, in 1900 when Vicente Arias moved to Madrid he rode on the train on this railroad to his new city to live and work, where the population was 500,000. Presently the population of Ciudad Real is 75,000.

When Vicente began to make guitars about 1870 the population was probably about 12,000, having been 10, 366 in 1860 and 13, 277 in 1877, due to the census that was taken at the times.

This information is due to the insight of the Biblioteca Nacional de España in Madrid. It has published online the "Anuario del comercio, de la industria, de la magistratura y de la administración." 1886 n.º 20     Page 2 of 17 pages of information on this city.

Provincias - Ciudad Real.

Correspondence:

Mr. Editor: Dear sir, the affability with which

you admit and give rise to how much they address, to communicate;

ideas that can be useful to the arts and public illustration, and the simplicity and clarity with which I impartially convey them to the

public, criticize each other with that modesty and integrity that is

characteristic, and giving to others the true value and dignity of which they are

worthy, so that they reach the state of perfection, is the reason that

invites me to address you, so that if you have it right, I can insert it in your newspaper

the following question and reflect consecutively on this our

Spanish harmonic guitar with six simple strings and 17 frets of extension, because as a fan of this instrument, charming,

I spent some fun moments examining their vast harmony, and each

day I find in it more particularities that deserve all praise and

attention, being very sensitive that his merit is so obscured

only because of bad Intelligence and vain concern: let's get to our question. The guitar is the only Spanish national instrument, very complete.

In its harmony, and so comfortable for its simplicity and low cost, so graceful

for the fair sex, which in our days has already become and not

received the attention of many Spanish medical professors, and the admiration

from foreigners, even from Maestro Rossini himself in the concerts

that the Spaniards themselves have doubted in Paris in the presence of this

brilliant professor, invited by them to witness what

progress of this instrument and how susceptible it is to being able to be perfected

even more. Concluded that it was the first part of one of the

These concerts could not help Rossini being touched and moved by

His heart embraced the Spanish Arabs, Mr. Sor and Mr. Aguado,

admired what had just happened on our Spanish guitar. Now, with this principle established, what is it that makes it so

little case of; its merit in Spain, with a specialty in schools,

both of this capital and in those of the provinces, which in none of them

they teach their music, having teachers of all the other institutions.

for the decoration and fun of the students of both classes,

without anyone remembering to promote our harmonic guitar, being thus superior to almost all other musical instruments, because it by itself constitutes the most perfect harmony, like the piano and harp, without the help of any other instrument, both in instrumental music and in vocal instruments, which is not the same with the violin, flute and others, which need company to form it, as we are seeing in orchestras and concerts?

I will say more: if, as his voice is medium, and only adaptable for a hall, his tone were fuller, the Spanish guitar would be the first to occupy the preferred place in orchestras. Some individuals from the schools, moved by their natural inclination, or stimulated by some progress of other friends in this matter, have several times wanted to learn this instrument, and requested the corresponding permission from their directors; but they have not allowed it, dissuading them from this hobby, telling them that the guitar is an ordinary instrument, and a barber's tool: what a beautiful stimulus for their progress, and what an expression, daughter of the grossest ignorance! Well, are we in that time when the vihuela served no purpose other than to spin around in the air, and scratch some bad lines at the door of a barbershop?

We could also express ourselves in the same terms and say the piano is something of sacristans because of how obscured this was.

instrument not many years ago, since we only had a bad manucord and a harpsichord of very little extension, similar to our primitive vihuela, whose angry voices damaged even the tympanum of our ears, and we see in the state of impulse and perfection that is found in our days because we find ourselves in the same case, Mr. Editor: this is not about our primitive and common vihuela, both

in its construction as well as in its short extension, which has only been and is adaptable to playing, singing and dancing our manchégás and some other national dances and yes we are talking about the harmonic guitar, as I have said, so that the directors of the schools and many other people, who do not stop expressing themselves in the same terms: distinguishing colors, not confusing one with this, and giving it

the merit, protection and appreciation of which it is worthy we already have famous guitar makers in Madrid, Cádiz, Seville, Málaga and other provincial capitals, who have succeeded in giving it a fairly good

body and duration to their good voices: we have equally good teachers, an abundant assortment of the best music, and excellent guitar methods by well-known authors, and some other individuals whose teaching experience has made some of them train under the same system. modern, with which they can guide us correctly, teaching us how to analyze and read modern music well, separating us from all routine, and even clearly showing us the different way of writing ancient guitar music from that of the day. In Paris, great figures of both sexes and many individuals have adopted our harmonic guitar with great enthusiasm, and in the schools of that capital they already have this instrument for the decoration and entertainment of their students, whose teachers are Spanish, and They glorify each other that they have found the most opportune opportunity to give it an accelerated impulse, the only object of their trip, more than the benefit or interest that could result from it. In London, since Sor appeared expressly to make known what was being done in the Spanish harmonic guitar, they have also made a corresponding appreciation of this instrument, and are continually making requests to Paris and Madrid for the best methods and works of the most famous authors, the same thing happens in Havana, where our guitar is becoming more widespread since Professor Huerta went to that capital with the same objective and it gives rise to our teachers going away to other countries, and that within a very long time In a few years they will come to give us a lesson and teach us foreigners, since we are the ones who have raised it from nothing, and the teachers who are currently teaching them are Spaniards, what a shame! and how they will brand our laziness and laugh at us! It will be inevitable that this same thing will happen, because they have taken up the harmonic guitar with enthusiasm and determination, while we are scratching strings with our primitive vihuela, and worried

with our old nonsense that the guitar is an ordinary and common instrument. It seems to me, Mr. Editor, that the question and reflections said are not without foundation, and are obvious enough to stop showing one's face for such a beautiful instrument, and to know that we Spaniards are doing an insult and contempt of esteem that he deserves.

You admit. Propitious, Mr. Editor, this article, which has been

encouraged to write the affection that as an amateur I have for our national instrument, and the poor intelligence with which it is received among us; and if he judges it fixed he will have vrad. the goodness of inserting it in his newspaper, and transmitting it to our readers so that they are distracted for a while, since their goodness of you It expands us and provides these moments of distraction. You excuse me, of this annoyance, and waiting for his orders with which my gratitude can pay him the respects of my obedience rendered, send to his brother. server Q. S. M. B. the amateur lyricist.

Two years ago I became aware that Gregorio Carracedo (1790-187- had made 2 guitars that Trinidad Huerta used in a concert held in Madrid in September 1847. Now we have an article from a newspaper also published in Madrid in the same year, just 2 1/2 months later, claiming that his son, Antonio Carracedo (1831-), made the guitars. Who knows?

Did Gregorio tell Antonio to say to the journalist that he made them? Gregorio had been in his business at least since 1820, and he was 57 years old as the meeting took place. The year after this event took place, guitar maker, Francisco Gonzalez, had a workshop just blocks away from Gregorio and Antonio's workshop on the same street.

Antonio had been working in the workshop since he was 13 or maybe even 9 or 10 years of age. If you read other articles about him on my site, you learn he won awards, in 1873, in expositions when he was 42 years of age, and that Francisco Gonzalez (1820-1879) did in the same expositions as well.

Huerta had been called the "Paganini of the Guitar" for 14 years repeatedly in the press.

In the daily "El Heraldo" (Madrid. 1842) on 9-11-1847 on page 4 and "El Español" (Madrid. 1835) on 9-12-1847 #989 on page 4

"—The famous guitarist Huerta begs us

that we announce to his friends, to the fans and to the

guitar teachers that Gregorio Carracedo, fabricator

of guitars on calle de la Cruz, has built

two rosewood of an extraordinary quality,

being able to assure that he has not seen them louder, and

that his excellent voices meet all the conditions

that requires such a difficult instrument. Various fans,

they have also seen them and have assured the same thing, that

giving very pleased to see such good works due

to the application and talent of a Spanish artist.

and so that the general public can play, Mr.

Huerta at the farewell concert that will have the honor

to give in the Liceo before leaving for abroad,

he will play on said guitars, that he truly

They deserve the name of harps."

In the daily "El Eco del comercio" 11-28-1847 # 1,585 on page 4

—On Thursday night we had the pleasure of hearing

playing the guitar by Professor Francisco Huerta,

whose skill has been so applauded abroad,

whose countries he has traveled. Among the different

pieces that he played were an Aria from Lucia, from

Lucrecia, the anthem of Riego and the Andalusian airs, (Flamenco pieces)

the last two composed by the same gentleman

Mr. Huerta, with a multitude of hilarious variations and

of exquisite taste, When the strings of its beauty vibrate

guitar in the sentimental parts that he played, experienced

our hearts the same emotions,

producing such an effect on the spectators, that

as if they were listening to the famous Ronconi and

Moriani, burst into resounding applause and bravery;

However, if feelings were caused by the pulsations

of Mr. Huerta in the pathetic part, older

was the joy when the scene changed with the anthem of

Irrigation and the Andalusian air, since any comparison

It is little, to taste, to truly manners

nationals and the admirable execution of the

Mr. Huerta, who received samples of the taste

with which he was listened to. We have the

complacency that a Spaniard, and playing with

such perfection, also a Spanish instrument,

He has managed to cause the admiration of foreigners

and helped many unfortunate people who moaned in the

emigration and that without his help they would have perished.

On another occasion we mentioned the idea of opening

a guitar academy under the protection of the

government, because it is very miserable that when

and rightly rewards those who are noted for their

ability in other instruments is condemned

to oblivion the one who, both for being Spanish and for

being able to perform things in it that it does not lend itself to

no other, had to spread at the expense of anyone

sacrifice. And so that it is not believed that we are dragged

for friendship or for pleasant memories

that Mr. Huerta has left in us,

we would agree with the idea that before giving the

address of the museum that we propose, precede

a contest in which others would measure their strength

professors in Spain obscured by

not having had a chance to show off his knowledge.

And we say it with so much more sincerity

since Mr. Huerta would be the first to accept

this honorable fight in which his victory would be more

pleasant, and his defeat alone would console him, seeing that

Hear you marched along the path in which he made

sprout so many flowers.

Before concluding we must tell the public

that the two very beautiful guitars on which he played the

Mr. Huerta said night, they have been built

with careful taste by Antonio Carracedo,

16-year-old young man, who lives on Calle de la Cruz

where his father has the establishment; we owe a lot

promise us from the application of this young man,

whose advances are more satisfactory every day.

In the daily "El Correo" (Madrid) on 9- 23-1833 # 814 on page 2

In spite of how little our French neighbors generally are in lavishing praise on our compatriots, we believed that by an exception due to some chance circumstance they had praised the merit of Trinitario Huerta in an extreme and incredible way. So it is, that despite the respect that the Fetis and the Castil-Blaze deserve in us, we judge that calling him the Paganini of the guitar, the guitar man, and even the god of this instrument, came rather from the singular affection that they professed to Huerta that of his admirable skill. 

But after the four concerts that he has given in this town in the hall of the Cafe Suizo, which have been attended by the most intelligent and chosen part of the town, they have all agreed to say that the fame he has had preceded Huerta was undoubtedly inferior to the surprising mastery with which he masters an instrument, as thankless and dull as it is stingy in its resources, in any hands other than those of this inimitable artist. And wouldn't we be excessively unfair if we denied him the tribute of praise that in the most populous and cultured foreign cities of both hemispheres has been granted to him with so much enthusiasm, without envy having yet disputed any of the applause won by his genius and application?

In the most beautiful pieces of Rossini, which he has played with exquisite taste and delicacy, in the whims that his creative fantasy has suggested to him and in the national airs, which with equal grace and brilliance as novelty and intelligence made his docile guitar resonate, we have admired at the same time the prodigious flexibility of his fingers, the magical harmony of the strings struck by them, and the enchanting expression of all sounds, always clear, distinct and melodious, which, gently introduced into the ear, flattered the heart. He felt especially moved by the sweet memories of the national sonatas that had so often enraged him with pleasure, and that more than ever produced in him a delicious vibration that filled his breath, and caused the entire competition to burst into loud and unanimous applause.

Who would have thought, having already seen the prodigies of Sor and Aguado, that the guitar still hid within it a new treasure, reserved for the talent of Mr. Huerta, and that this young man could be appreciated on a path not trodden until now, he had to cross with happy daring the goal set by his two able predecessors? Not only can it be said that naturally has inspired the art of varying tones in a very rich and inexhaustible way but also that of producing, with seemingly so limited means, clean, harmonious and robust sounds; forcing a poor instrument played by others, and incapable of a safe and pleasant effect, to penetrate with its sweetness into the very depths of the soul, as a faithful interpreter of the most harmonically complicated music. By saying that the mind cannot imagine anything that surpasses or that even equals Huerta in the perfection with which he plays the guitar, we persuade ourselves that we will be somewhat better understood, because we cannot explain the wonderful speed with which they run through the strings his divine fingers, nor the most wonderful faculty of making them sigh now with a full, sonorous and vigorous voice, now with a tender, languid and pathetic voice, now with all these accents artificially combined.

We have come to know with a certain kind of pride that he is a member of almost all the musical academies of the towns he has visited, that he is a member of the philharmonic societies of London and Paris, of the athenaeum of sciences and arts of the latter. capital and its famous conservatory, in which the guitar class was created for Huerta. Such are among countless others the most flattering and honorable awards that he has achieved and that redound to his glory in Spain, the cradle of enlightened talents of all kinds, which unfortunately we are rarely the first to recognize.

We're just 6 months away from the Bicentennial of when Huerta began dazzling his audiences in the New World in the principal cites of New England on May 15, 1824, when James Monroe was the 5th President of the United States. The population of  the US was 9,638,453 when Huerta arrived. Boston (where his sheet music was for sale) had 43,298 inhabitants, Philadelphia 63,802, Baltimore 62,738 and New York City where he held his first concert 123,706, and Saratoga, New York 2,233, being the cities where he gave concerts.

This text timeline is drawn from the book by my colleague and friend, Robert Coldwell and Javier Suarez-Pajares "A.T. Huerta Life and Works" published in 2006 by Digital Guitar Archive. I encourage everyone to acquire the book, these skimpy details are drawn from 50 pages of detailed notes, from the 200+ page book.

There are the additional historical notes by myself, about guitar makers and players and the invaluable resource of the Biblioteca Nacional de España en Madrid.

There are at least 111 concerts listed in the book, with 13 documented in the United States and a total of 167 plus concerts noted due to additional research. Dr. Brian Jeffery told me Fernando Sor gave 99 Concerts, that are documented. Andres Segovia gave 5,204 concerts.

Most notably are the concerts where Huerta performed with Fernando Sor and Dionisio Aguado, as they accompanied 6 females singers, and some years later Huerta played duets on stage with Frederic Chopin and Franz Liszt.

He played for the Queens of Spain and Portugal, the King of Belgium, the King of France as well. Segovia, Pujol, etc. performed for Royalty  in the 20th century.

Huerta performed on guitars made by Louis Panormo, Gregorio Carracedo, Agustin Altimira, (2 in stock for sale - 6 of Francisco Tarrega's students and colleagues brought their Altimira guitars to his home) Antonio Carracedo.

Throughout this article the dates of when these were acquired are notated. You can bet he visited the guitar workshops in every city he played in, I will mention in some cases who was fabricating where and when.

The performer was on stage at 8 PM and in the taller of the guitarrero (guitar workshop) at 1 PM.

R and G means the French music magazine Revue et Gazette, D de B means the newspaper Diario de Barcelona

6-8-1800 born in Orihuela 

1819 attends the colegio de San Pablo in Salamanca 

1823 maybe went to Lisbon then Gibraltar then Paris

In the daily "Diario de Madrid" May 20, 1823 

"Musica- 6 grandes valses para guitarra sola composed by A. T. Huerta and dedicated to Doña Maria Almazan drawn and printed by D. B. Wirmes, found for 6 reales at the music stores en calle del Turco and the Carrera de san Geronimo, in front of Soledad. Mr. Huerta professor of guitar has the pleasure to accept various aficionados who have demonstrated the desire to take some guitar lessons, all persons who would like to attend these classes, may be directed to the music store on Carrera de san Geronimo where they will be informed of the location of the professor and the rest of the information they need."

11-14–18-1823 concerts 18 with Rossini

"Mr. Huerta, Spanish guitarist, arrived from Madrid

4-26-1824 arrives in New York

5-15-1824 concert in City Hotel NY

5-18 announces that he will teach in NY

5-24-24 marries pianist Sabina Meucci

6-5-24 Washington hall with Mrs. Huerta on the piano

7-8-24 accused of beating wife

6-15-24 accused of adultery in Philadelphia  where is was giving concerts (Baltimore Patriot 7-1-24)

6-16-24 1st concert Philadelphia Masonic hall. Concerto with orchestra 

6-22-24 2nd in Philadelphia solos duets (pianos) Sor Sonata 

7-1-24 concert Baltimore w/ piano

8-3-24 concert Saratoga NY piano

Grand Potpourri Fandango Bolero

8-13-24 accused of adultery in NY

9-9-24 Washington hall

9-13-24 again Washington hall announced 

in the NY Evening Post 

11-20-24 arrived in Baltimore 

12-2-24 concert (Sor is his European rival) but none on this side of the Atlantic at Mr Bulet’s Assembly Room

12-13-24 concert at Mallet’s Ballroom 

12-17-24 announced 12-15-24

3-2-25 publication of the Gran marcha in Philadelphia 

7-16-15 accused of abandonment 

8-25 Giuseppe Pasta writes to his own wife

“Manuel Garcia received a letter from Huerta-he said he had made a fortune in a few years”

9-19-25 Boston Music store received Hymn of Riego  (supposedly written by Huerta but unsubstantiated)

10-12-25 concert access from Washington Hall 

11-8-25 deposition of divorce 

12-17-25 publication of divorce 

1/2/26 Farewell concert tickets $2.00 each =  $65.00 (In 2023) 3-4 times Roland Dyens and GFA winners concert ticket prices ay local guitar societies.

10-3-26 Meucci family naturalization papers produced 

1826 trip to Havana?

1827 London arrived March 1827 3 waltzes published 

5-18-27 takes part concert Almack Rooms 

6-22-27 Argyll Rooms Theo Labarre Charles De Beriot 

6-29-27 Sonata at Duke of St Alban’s mansion 

5-13-28 concert Town Hall Cambridge 

6-6-28 concert Argyll Rooms Pío Cianchettini

9-27-28 married Angiolina Panormo guitar maker Louis Panormo's daughter 

1829 Louis gives him a guitar as a wedding present 

April 9, 1829 concert 

April to March 1830 Paris?

3-20-30 concert Clifton hotel 

5-22-30 benefit concert didn’t go well 

Orchestra promised but didn’t show

5-26-30 He writes to The Times threatens to leave England

9-11-30 poem on hearing Huerta in The Atheneum 

10-20-30 concert Petzold salons 

1-16-31 concert participation for Spanish family of refugees

Same day the Austrian guitarist Schmidt and Regondi play in Paris 

3-31 Grand Waltz reviewed disingenuously

Guitar put down

3-10-31 letter to George Cumberland

No students no concerts no money - his greatest enemies were: Sor and Carulli 

5-16-31 concert Sala Chanteraine sponsored by Rossini received 100 francs from King Louis Phillipe I

10-27-31 concert Athenee Musical Paris Rene Lacote (Used by Sor) and Etienne Laprevotte (used by Aguado) making guitars

12-17-31 concert Hotel Fesch Paris

1-7-32 concert Dietz salons Paris review in Revue Musicale “you have to hear him’

2-15-32 Sor praised but “why such dedication to such an instrument?”

3-17-32 concert Petzol salons announced and reviewed in Revue Musicale 

6-15-32 concert Dietz salons very highly praised in Revue Musicale

12-14-32 concert Sala Taitbout Paco de Lucena would play here in 1880 for 6 weeks

2 announcements for 12-14 concert 

12-16-32 he and Sor and Aguado play in Historical Concert by Fetis “Spanish villancico by Soto de la Puebla for 6 female voices 8 guitars 

3-19-33 concert Dietz salons with Franz Liszt cello Franchomme 

4-2-33 Berlioz benefit for Harriet Smithson 

Huerta Chopin Liszt did duets Berlioz did not mention Huerta in his memoirs! and was very upset that Paganini didn’t want to participate.

In this year Huerta began to be called the Paganini of the Guitar in the press repeatedly. We see that Fernando Sor also was called this, but posthumously, and Julian Arcas in 1855 at the age of 23. 

4-23-33 Huerta organized a concert at Dietz salons good review

5-2-33 another Berlioz concert

6-21-1833 in San Sebastián for infante Francisco de Paula 

9-8-33 2 concerts in Burgundy in salons Finck

In the daily "El Correo" (Madrid) on 9-23-1833 # 814 on page 2 

Review of a Bilbao September 17, 1833 concert. 

1834 Angelina born to Angiolina

1-26-34 Fetis mentions Huerta in Revue Musicale large article dedicated to Zani de Ferranti

3-16-34 Letter from Victor Hugo to Huerta 

Spain

4-15-34 concert Barcelona Teatro de la Cruz or Principal Pedro Antonio Chemena making guitars with a tornavoz at this time he was the inventor.

6-21-34 article/ autobiography boletín de la revista española no. 247

1834-1835 concerts in Valencia and Madrid  Silvestre Sentichordi (1 in stock for sale) making guitars in Valencia. Juan Muñoa, Manuel Narciso Gonzalez (made a guitar for the Queen of Spain at this time), Gregorio Carracedo making guitars in Madrid 

In the daily "El Observador" (Madrid. 1834) on 4-13-1835 on page 4 to be held on Sunday the 19th at the salon Santa Catalina in Madrid.

In the daily "La Abeja" (Madrid) on April 26, 1835 review of a concert at an unnamed location in Madrid on Tuesday April 21, 1835.

In the daily "La Abeja" (Madrid) on June 2, 1835 there are reports of concerts held in Sevilla.

On June 27, 1835 there were terrible floods in Granada, Trinidad Huerta asked the local governing officials to be able to do a benefit concert for those ravaged by the calamity. This was reported in the daily "La Abeja" (Madrid) on July 7, 1835.

In the daily "La Abeja" (Madrid) on 7-17-1835 on page 4

"— Trinitario Huerta, honorary member of the

Royal Conservatory of Music in 

Paris and several philharmonic societies of

Europe, decorated with crosses of distinction,

has offered to give a guitar concert in the city of Granada, as long as

the quota of 150 people is filled per subscription at 20 reales each."

In the daily "La Abeja" (Madrid) on August 14, 1835 is mentioned that in Malaga there was a concert on August 7.

9-17/27-35 publication of controversy of performance in Malaga Antonio de Lorca Garcia making guitars

9-19-35 20 reales per ticket Farewell concert w/ Orchestra and dancing

1836 concerts in Sevilla Manuel Guitierrez making guitars

In the daily "El Eco del comercio" on 6-26-1836 # 788 on page 2 is mentioned that on June 17, 1836 a concert took place in Cadiz at the main patio at the convent of San Agustin.

1837 concerts in Cadiz Josef and Pages family making guitars, also Benedid family - in 1997 I sold an 1835 Mateo Benedid to the late great Frank Wallace, it had the thickest bass notes of all guitars I had played up until that time in the early part of my career.

England and Ireland

6-26-38 Willis’s Room London “Paganini of the guitar’ (The Musical World) 

7-2-38 Queens Concert Rooms London 

9-16-38 Manchester best ever heard hall not filled but should have been to the reviewer

1839

1-22-39 Rotunda of Dublin

3-9-39 Theatre Royal of Dublin plays 2 pieces among Harp and Violin

52 concerts played 1824-1840

Paris 

1840

1-25-40 Paris 

2-16-40 critical reference by Berlioz

3-23-40 Richter salons plays a piece dedicated to Berlioz

May 1840 problems some concerts in Paris

6-11- 40 concert in Salons de la rue Monsigny 5, Paris 

Mrs. Huerta did a concert with Jose Ciebra on 6-10-40 Jose Ciebra was using the rest stroke in Northern Europe, one of the first to do so, I wrote about this on the internet in 1997.

6-22/27-40 farewell concert

7-3-407-8-40 last concert

7-10-40 tickets 3 francs no discount 

2-4-41 review of 4 works published 

11-28-23

1842 concerts in Germany 

3-3-42  Queen’s concert rooms of Hanover square London 

4-2-42 Mrs. Huerta plays Piano in the same location 

10-2-42 Henri Blanchard writes in Revue and Gazette comments by Berlioz and Huerta

1843 Berlioz’s Grande trait de instrument … op 10 Zani de Ferranti Huerta Sor des célebre guitarists

1-13-43 Miguel Agustin Principe “La  guitarra” (El Andion Matritense) los famosos son Sor Aguado Carnicer Ciebra Huerta

11-1843 poorly attended concert in Brussels 

The daily "El Eco del comercio" on May 9, 1844 n.º 515 on page 4

"Our famous guitarist Huerta,

is in Brussels, where he has surprised us with his

skill.. This privileged genius, this

Spaniard notably has shown that his profound

knowledge encompasses and masters with equal mastery

the light and lively airs that the melancholic

and majestic that start from serious and pathetic."

Paris 

3-16-45 R and G “is in Paris and does unbelievable effects on the guitar “

5-17-45 concert Sala Pleyal de 

Paris 

Announced 4-6-45 and 4-16-45

Review 4-20-45

Concert Salons Hesselbein

Announced 5-23-45 took place 4-27-45

4 long pieces Huerta

R and G 6-1-45 Turco in Italia, Barber de Séville, Grande Waltz Huerta Soivenir de Bellini

7-2-45 salons Hesselbein R and G 7-6-45 Sequidilles and Boleros y 4 otras last farewell 

11-18-45 sketch of Huerta in Le Charivari by Cham “Huerta 1st guitarist of France et Navarre “ 

1-8-46 in Allgemeine Wiener Musik-Zeitung  “the Spanish guitarist Huerta is now the number one living guitarist” his effects in the Semiramis overture and Black Dominos is the greatest virtuosity on the concert instrument 

1-11-46 salons Hesselbein R and G 2–22-46 Illustrious Huerta,  the celebrated guitarist dignified with improvised variations his  thankless instrument 

1-3-46 concert salons Hesselbein R and G 3-22-46 Blanchard said “played a funeral March where you could feel the grief of the burial”

The daily "El Heraldo" (Madrid. 1842) on March 1, 1846 page 3

"What the foreign newspapers say is true

we will soon have in this capital

the famous guitarist Huerta. Before returning to

Spain he seems to be planning to give some concerts

in Paris, where it is currently located."

4-12-46 R and G 4-12-46 Farewell to Royal Academy in Paris en route to La Harve

The daily El Heraldo (Madrid. 1842) on April 23, 1846 on page 2 Also the daily "El Espectador" (Madrid. 1841) April 23, 1846 on page 4 reported it as well.

"—The famous guitarist Huerta has given a

chosen concert in Marseille, in the brilliant hall

of the philharmonic society, and the numerous and elegant gathering.

The audience that heard the delicious notes of his instrument applauded our compatriot, frantically,

 and left very satisfied.  "El Correo

de Marsella", when describing this musical soireé,

'Hueita has reached perfection in the difficult one

of playing the guitar, and which has no rival in the

pressure, lightness and grace of his airs.'

We know how much appreciated the artist thinks

he'll Spain in a few days."

The daily "El Heraldo" (Madrid. 1842) on June 7, 1846 on page 3

"Yesterday the magnificent steamer anchored in this port

the ship "Malaga" from Havre, bringing the,

the famous guitarist Huerta, who had the

pleasure to play some variations of a

brilliant effect at the request of several people, who

were amazed at his execution. This ship left in the afternoon for Santander and La Coruña." 

The daily "El Clamor público" Madrid on June 23, 1846 on page 4

"Tonight the famous guitarist gives his second performance at the Liceo theater (in Burgos),

the guitarist Huerta. In the first one he was very applauded, because it seems

impossible to show more skill."

In the daily "El Heraldo" (Madrid. 1842) on July 28, 1846 on page 4

"The famous guitarist Huerta has given a concert at this theater

(in Vitoria) and another at the Liceo, admiring with

justice the numerous attendance that he has obtained

surprising skill on such a difficult instrument."

The Basque Country 

In the daily "El Heraldo" (Madrid. 1842) on August 14, 1846 on page 4 and "El Clamor público" on August 15, 1846 on page 4

"The famous guitarist Huerta is

currently in the Basque provinces receiving numerous applause from all who have the opportunity

to admire the surprising ability of that

artist. Lately he has given a concert in the

Arechavaleta baths, which he extremely liked."

In the daily "El Tiempo" (Madrid. 1844) 8-16-1846 page 4

"—They say he will come very soon to this area the famous guitarist Huerta, who is currently found in the Basque Provinces, where he has given many performances, making him admired by all who have had the opportunity to hear him."

8-46

El Barcino Musical 8-23-46 he is waiting in Madrid the celebrated Huerta having done some concerts in the Basque Country 

In the daily "El Heraldo" (Madrid. 1842) 8-26-1846 page 4

"Also look out for the guitarist Huerta, who

He will give two concerts at the theater."

In the daily "El Clamor público" September 12, 1846 page 4

"We also have the famous guitarist Huerta, who before

last night he gave a concert in the Villa's home, which was attended by a large crowd; but either because he thought that most of it was not understood by his merit, or because he was not in the mood, he did not satisfy the concept that the public had formed of him."

In the daily "El Clamor público" on September 20,1846 on page 4

"—THE GUITARIST HUERTA.—They write to us from Bilbao on the 14th. Yesterday the guitarist gave a concert in this theater. The most select of the population attended and they were very pleased with the attendance of this professor's merit, as they could not help but expect from his vast knowledge of what he has so much evidence of in various capitals of the kingdom and abroad."

1847 3rd edition of Fetis, he says Carulli was the first to play difficult variations and Carcassi Huerta and Aguado had raised this art to the highest level and new talent of Cano Arcas would work this miracle.

In the daily "El Español" (Madrid. 1835) on 5-20-1847 #891 on page 4

"—The famous guitarist Huerta left the day before yesterday

from this capital to the royal site of Aranjuez, where

he believes that he will play in the presence of His Majesty, and even that he will give

some concert. He will then return to Madrid, where he will

will make himself heard in one of the theaters."

In 1847 Gregorio Carracedo made two Guitars Huerta used in concerts in Madrid both were Rosewood back and sides concert models.

In the daily "El Heraldo" (Madrid. 1842) on 6-11-1847 on page 4

"—The famous guitarist Huerta who, like

as our readers know, a few days ago it was

in this area, he will have the honor of being admitted the

night after tomorrow on Sunday into the royal chamber

giving in the presence of Her Majesty the Queen to execute

some pieces with the surprising skill that so many

his fame has brought him. Huerta, despite being Spanish,

he had not yet had the opportunity to be 

heard in the Queen's palace, despite having

having already been heard and given performances in all the courts of Europe."

In the daily "El Heraldo" (Madrid. 1842) on 6-12-1847 on page 4

"—As soon as the guitarist Huerta

let Her Majesty the Queen hear that, as our

readers know, it will be next Sunday night, he will have

the concerts that he plans to give for the public,

and that many fans want to verify themselves at the

soonest, because when the heat begins, the emigration of many polite people will also begin, who would not help but regret leaving.

without having had the pleasure of hearing this notable

artistic work, which has received so much applause, and which

fame has been acquired with its admirable execution

on the guitar."

In the daily "El Clamor público" on 6-15-1847 on page 4

"—THE GUITARIST HUERTA.—Last night he played in the palace

and in the presence of the Queen and her august uncle and

cousin - the famous Spanish guitarist Huerta. With the

mastery as ever, he executed a fantasy on themes

of the Semirámide and other Spain, deserving

the highest praise from H.M. and AA. Having completed

the pieces, the Queen sent Mr. Huerta

that will play in an immediate room, so that

to hear her stewards, whose order he carried out in the

moment of his, also giving of his own will

the ears of male servitude."

In the daily "El Heraldo" (Madrid. 1842) on 6-20-1847 on page 4

"—It seems that the guitarist Huerta has not yet arranged any of the concerts that he plans to give, due to lack of suitable venue to hold them; But lately he has addressed the board of the Liceo requesting the society's hall, and depending on the result of this request he will decide what he must do to carry out his plan, which many fans want to see carried out so much."

In the daily "El Clamor público" on 6-7-1847 on page 4

"—AWARD OF MERIT.—It is said that the Queen is going to

award the famous guitarist Huerta the Cross of Carlos

III. We believe this resolution is very fair and correct,

much more than when they are lavished with so much excess

thanks and distinctions to people who do not deserve them.

Mr. Huerta in his genre is a specialty

and to this recommendable circumstance that is enough

alone so that His Majesty gives him the reward that he is

worthy, combines the ability to be a great musician and possess talents

of an eminent artist."

In the daily "El Heraldo" (Madrid. 1842) on 7-11-1847 on page 4 and in "El Recopilador general" on 7-13-1847 on page 4 and "El Español" (Madrid. 1835) 7-15-1847 #938 on page 4

"—Finally it seems that, having overcome the difficulties

that were in the way, the hall of the

Liceo to the famous guitarist Huerta, and that very soon

will give there the first of his public concerts."

In the daily "El Genio de la libertad" 7-15-1847 on page 2

Award of Merit =It is said that the Queen is going

to award the famous guitarist Huerta the cross of Carlos III. We believe this resolution is very fair and correct, much more so when so many thanks and distinctions are lavished on people who do not deserve them. Mr. Huerta in his kind is a specialty and this commendable circumstance that is enough on its own for His Majesty to give him the award of which he is worthy, combines that of being a great musician and possessing talents as an eminent artist." ("El Clamor público")

In the daily "El Heraldo" (Madrid. 1842) on 7-15-1847 on page 4

"—The famous guitarist Huerta has been

awarded by His Majesty with the cross of Carlos III."

In the daily "El Español" (Madrid. 1835) on 7-16-1847 #939 on page 4

"—The famous guitarist Huerta has been

awarded by Her Majesty with the cross of Carlos III. Knowing

of this grace Mr. Rubí gave it to him before

yesterday in proof of how much he appreciates its

merit."

In the daily "El Clamor público" on 7-23-1847 on page 4

"—CONCERT.—On one of the nights next week, the eagerly awaited concert that the admirable guitarist Huerta will give us will be held at the Liceo. Some distinguished amateurs and professors will take part in it, and everything will contribute to highlighting the amazing ability of the Spanish artist. Everything indicates that both on the artistic side and on the attendance, the concert will be brilliant."

in a daily "El Español" (Madrid. 1835) on 7-23-1847 #945 on page 4

"- In a long-awaited concert that the amazing guitarist Huerta will give us will be held at the Liceo soon. Some distinguished amateurs and professors will take part in it, and everything will contribute to highlighting the astonishing skill of the Spanish artist."

In the daily "El Español" (Madrid. 1835) on 7-24-1847 #946  onpage 4

"~-On one of the nights next 

week the concert he will give in

the Liceo the guitarist Huerta, in which we talked about

in one of our latest issues."

In a daily "Diario constitucional de Palma" (1839) on 7-27-1847 on page 3

"— The famous guitarist Huerta has been awarded by His Majesty with the cross of Carlos III."

In the daily "Diario de avisos de Madrid" August 6, 7 and 8, 1847 see the photo of the advertisement, for the concert at the Museo del Madrid on August 8, 1847.

In the daily "El Clamor público" on 8-10-1847 on page 4

"—CONCERT BY SENOR HUERTA.—The night before last

the concert given was big in the Museum theater

by the famous guitarist Huerta. Against what usually

happens in such functions, the attendance

It was numerous, and the first artists were noted in it

from the capital.

The European fame that Mr. Huerta enjoys, tells us that he

avoids talking about his skill on the instrument, essentially

Spanish. What are we talking about saying, that already

our readers may not know, of the eminent artist who

have France, England and Italy admired?

That he plays with surprising beauty and security;

that he executes with just one hand what many

teachers would like to execute with both; that

the guitar played by him is not only a guitar,

but another instrument, whose sounds resemble

those of the harp or the forte piano; and finally, that even 

he takes advantage of the wood, playing a tambor effect

on it. Where the Lord truly admires

Huerta is into the pianos, as he demonstrated before

yesterday in the Semirainis symphony and in other

difficult pieces that he executed.

We would be unfair if we did not make particular mention

of the artists who entertained the concert. The

Messrs. Oudríd and Gastambide, on the piano; the Lord

Sarmiento on the flute, and Mr. Romero on the oboe,

They corresponded worthily to the reputation they have

in the artistic world.

The audience, naturally, applauded resoundingly.

to Mr. Huerta and his companions, following the

hour of conception, evident proof of pleasure with

that he heard; it surprises us so much, how little I like those

instrumental concerts generally."

In the daily "El Clamor público" on 8-18-1847 on page 4

"—PRINCIPE.-In one of the first performances given at the Teatro del Principe, the guitarist Huerta will appear to perform some pieces."

In the daily "El Clamor público" on 7-9-1847 on page 4 and "El Eco del comercio" on September 8, 1847 n.º 1.515 on page 4 and "El Heraldo" (Madrid. 1842) on September 8, 1847 page 4 and "El Popular" (Madrid. 1846) on September 8, 1847 and "El Espectador" (Madrid. 1841) September 9, 1847

"—CONCERT.—The Liceo society has granted

to the famous guitarist Huerta, the permission to give a

concert in its halls. With this reason let's go out

to the philharmonic meeting that will be held very soon,

which they will take part in addition to the other very  

distinguished artists, the Albini ladies.

This concert is the last one he intends to give

Mr. Huerta before emerges from Madrid."

We see in this last item that it was covered by 5 newspapers!

In the daily "El Heraldo" (Madrid. 1842) on 9-11-1847 on page 4 and "El Español" (Madrid. 1835) on 9-12-1847 #989 on page 4

"—The famous guitarist Huerta begs us

that we announce to his friends, to the fans and to the

guitar teachers that Gregorio Carracedo, fabricator

of guitars on calle de la Cruz, has built

two rosewood of an extraordinary quality,

being able to assure that he has not seen them louder, and

that his excellent voices meet all the conditions

that requires such a difficult instrument. Various fans,

they have also seen them and have assured the same thing, that

giving very pleased to see such good works due

to the application and talent of a Spanish artist.

and so that the general public can play, Mr.

Huerta at the farewell concert that will have the honor

to give in the Liceo before leaving for abroad,

he will play on said guitars, that he truly

They deserve the name of harps."

In the daily "El Español" (Madrid. 1835) on 10-15-1847 # 1,016 on page 4 and "El Clamor público" on 11-11-1847 on page 4 and "Diario oficial de avisos de Madrid" on 12-11-1847 on page 8 and El Español (Madrid. 1835) on 12-11-1847# 1,040 on page 4

"—The famous guitarist Huerta is ready

to give his farewell concert."

in the daily "El Observador" (Madrid. 1848) on 1-27-1848 #3 on page 2

"Several newspapers of this court have announced the death of generals Isidro and Capaz, and the famous guitarist Huerta; However, we can assure our readers that all of these

These people are still alive, and that their illnesses have never been so serious."

1-27-48 false report of his death several newspapers in Madrid reported this.

1-13-48 on 1-14-48 el eco del comercio reported “ it is not necessary to speak of his mastery”

1-18-48 concert in Madrid? 

In the daily "El Heraldo" (Madrid. 1842) on 12-9-1848 on page 4 and "El Popular" (Madrid. 1846) on 12-9-1848 on page 4

"—In Valencia has arrived on the way to Rome

the famous guitarist Huerta. It is believed that he will give some concerts in the first of these capitals."

In the daily "El Clamor público" on 12-16-1848 on page 4

"—GUITARIST HUERTA.—Our correspondent

from Valencia writes to us on the 12th what we copied to

the foot of these lines:

'The famous guitarist Don Francisco Huerta will give

tonight his second concert in the theater of this

capital. In the first one he achieved brilliant success.

and unanimous applause. Said professor goes to Rome.

Good time to go with music to the Italians!' "

1849 1st son Enrique born to Salvadora Viguria of Pamplona 3rd marriage 

1-21-49 concert in Liceo de Tortosa 1-26-49 Diario de Barcelona 1-27-49 also

1-2-49 Arrives in Barcelona 

In the daily "El Clamor público" on February 4- 1849 on page 4

"—THE GUITARIST HUERTA.

They tell us about Tortosa with the date

29 of the past month:

These last few days we have had in this city

to the famous guitarist Huerta, who received so much applause

he has received in Spain and in foreign courts:

he worked at the Liceo and in the theater, being

both received with the greatest ovation by the

large gathering that he had rushed to

listen to me In the first, in particular, the second

night that I am freely driven alone.

Due to his enthusiasm as an artist, he showed up to play at

the intermissions of the dramatic section that the

society gave, he was admirable in every way,

awakening in the hearts of all

spectators an unparalleled interest in that privileged

legendary talent. The Liceo society, to express

in some way the appreciation deserved by the

Mr. Huerta, has named you his merit partner

and he has reciprocated it, as well as the public

dertosense, inserting two communicative expressives

in one of its newspapers.

The last Sunday at five in the afternoon had 

the opening of the new premises of the Círculo take place, located

in the Plaza de la Constitución: all rooms

They were decorated with the greatest luxury and in the manner I

that must remain, except the curtains of the

doors that had not yet been received from Barcelona.

The one we liked the most was the one intended for the

game, not only because of the mat and tables built

with all the requirements, but for the beautiful

combination of three colorful continuous solar lamps

along suspended from the ceiling. The one of

dance was only lit by a large lamp

of scraped glass. The Liceo orchestra was

playing selected pieces while the members

they were showing the premises to the ladies who were involved in such an act.

They deigned to attend. Then to give to the

young people danced a waltz and a rigodón. Laudable,

very laudable is the asset placed by the board of directors

of the Circle, in front of which stands the Most Excellent

Marquis de la Roca, has deployed in this

opportunity to deserve the pleasure of society.

This is not only the first step that the

enlightened people from Tortosa towards the career of

civilization, even in the midst of civil discord

the Lyrical Dramatic Liceo that dates back to

1842 is a respectable corporation, which despite

of the fight that has been experienced by people

envious, always honor this most faithful and exemplary

city.

To accompany Mr. Huerta, of whom we have

already spoken, a subject who has acted as a writer,

and it seems that he takes him with him as a secretary.

The editors of El Dertosense had

the weakness of inserting a poetry that enters

other nonsense and measurement errors tells us

that soda has petals, and that in his country it 

breeds quite a bit. There are some rooms there."

2-15-49 D de B 

2-19-49 concert in private salon D de B 2-21-48 Antonio Fargas y Soler talks about the joy to listen to Huerta

2-20-49 D de B announced 2 concerts in Teatro del Liceo de B

2-24-49 he follows a two act comedy with Semiramide the 2 dancers then Huerta grande concert in Bb minor

Jota Aragonesa with dancers  the Huerta plays Cachucha and Jaleo de Cadiz 4 reales

2-25-49 turco in Italia Rossini tema de Sor his and Huerta’s variations, estudio by Aguado and Huerta’s variations then comedy then improv over Galician bagpipes and la Muñiera

2-27-49 D de B Fargas y Soler critic on 2 concerts 

In the daily "El Clamor público" on 3-6-1849 on page 4

"—THE GUITARIST HUERTA.—We read in "El Fomento" of Barcelona of the same date:

The famous guitarist gave his first concert the day before yesterday at the great Liceo theater in this city. The fame that had preceded him attracted a large gathering at the said coliseum. The various pieces that he performed earned him a flood of applause, because Mr. Huerta has managed to achieve on his instrument what can hardly be improved anymore. We advise amateurs not to lose out on the opportunity to admire him this artistic day."

In the daily "El Heraldo (Madrid. 1842)" on 3-7-1849 on page 4

"The famous guitarist Huerta gave the 27th (of February)

he gave his first concert at the great theater of the

Liceo dt Barcelona, being highly applauded by the gathering

who came to hear him."

In the daily "El Barcelonés" (Barcelona. 1845) on 3-17-1849 on page 1 and El Barcelonés (Barcelona. 1845) on 3-19-1849 on page 1

"The famous guitarist Huerta

whose artistic talent was appreciated. so much

named above all the European capitals,

deserving honorable decorations by

several sovereigns, and lately from our

young Queen he is going to give a concert

Thursday of the next week in the spacious

Salon de San Agustin, located in

calle de Hospital. We know that the applauded

artist is going to execute pieces from all

the genres, and that he will alternate some of

songs of several gentlemen who, with their gifts 

they have lent themselves to liven up this 

academia musical here to wait is that Mr.

Huerta receives a brilliant reception, and

that the concert, the details of which are

they announced this very gathering for all

who want to listen to this notability

that deserved so much applause from his

presentation in the great theater of the Liceo.

The tickets at the price of 10 reales have been

They will be selling at the instrument store

of Francisco España calle de Escudellers." Francisco España made guitars and violins (I have 2 of his 1860's violins for sale.)

3-17-49 Gazette Musicale de Paris 4-1-49 review of 2 concerts in Barcelona in teatro de Liceo

3-24-49 concert Salons de San Agustin de Barcelona D de B announced 3-18-49 critic 3-28-49 

Buenaventura Bassols played 2nd guitar in "Lucia" at the end of the show

Agustin Altimira made a guitar for Huerta in 1850, maybe for Buenaventura Bassols too, it's unknown.

4-4-49 does a guest set in the intermission of a Sociedad Filarmónica de Barcelona 3 pieces marcha Fúnebre capricho and otra  sobre aires nacionales (Flamenco pieces)

In the daily "El Bien público" (Barcelona) on 4-10-1849 on page 4 has an article "ACADEMIA DE GUITARRA.", about a school that Huerta is installing to have at least 20 students. Classes held twice a week, gentlemen in the morning, ladies in the afternoon paying 4 reales.

5-4-49 farewell to salons de San Agustin  Barcelona D de B 4-23-49 announced 5-2-49 2nd announcement 

9-27-49 concert Gerona Liceo de Gerundense D de B 9-30-49 (Domingo Prat was born in this city decades later in 1886)

10-6-49 teatro de Gerona D de B 10-12-49 

In the daily "El País" (Madrid. 1849) on 10-23-1849 on page 4 and "La Nación" (Madrid. 1849) on 10-25-1849 on page 4

"—The execution of a

elegant birdhouse made in this area for S. M. the

Queen, by Mr. Gregorio Carrecedo, already advantageously known for a guitar that he made for Her Majesty, according to the model

from that of the famous guitarist Huerta.

This birdhouse is made of gilded brass, placed on

a beautiful mahogany table. It is less than two rods

long and one wide, by about three high.

Its framework is supported by a well-understood colonnade,

same metal, and is divided into two bodies that conclude

in a showy crown finished by the crown

real. The aviary is divided into twelve departments, with

ease of eating, drinking and cleaning cages

and its total appearance presents that of a jewel.

Regal for decoration and recreation in the grandest living room.

There is no doubt that the architect obtains a quotation

of royal splendidness, and the work that is in his workshop

Calle de la Cruz, next to the corner of Majaderitos, should deserve the attention of the curious and the

lovers of the progress of Spanish industry."

In the daily "El Clamor público" on 11-7-1849 on page 4

"—CELEBRATE GUITARIST.—The famous guitarist Huerta is said to have died in Zaragoza. We would be very sorry if such unfortunate news came out, which would deprive us of one of the artists who have most honored our country abroad."

12-27-49 Artículo por Eduardo Velaz de Medrano La España mentions flamenco pieces and Sors Aguado Huerta “true concert instrument” Aguado’s recent death 

1-1850 concert Marseille D de B 1-25-50

In the daily "La España" (Madrid. 1848) on 3-10-1850#589 on page 4 and "El Observador" (Madrid. 1848) on 3-11-1850 # 642 on page 4 and "El Clamor público" on 3-12-1850 on page 4 and "El País" (Madrid. 1849) on 3-12-1850 on page 4

"Arrival of the artist.-.—I know that he will soon have to

arrive at this area the famous guitarist Huerta who

the season is found in Marseille collecting numerous

triumphs."

In the daily "El Bien público" (Barcelona) on 5- 23-1850 on page 4

"Arrival of an artist.—The famous guitarist

Huerta has just arrived in this capital, and we have

 understood that within a few days we will return to

have the opportunity to admire his musical talent in said

instrument."

5-24-50 soirée in home of Victor Balaguer D de B 5-25-50 

In the daily "El Bien público" (Barcelona) on June 7, 1850 on page 3

"The guitarist Huerta.—That celebrated and famous

Spanish artist will give on Sunday at 12 noon

a great morning concert in the luxurious hall of the

recess at the Liceo theater. He will play selected pieces

among others some variations by Sor and they filled 

the whites of his guitar the singers Mrrss. Font and Barilli

with applauded pieces of song and accredited music

of the regiment of Valencia that in a brilliant state

has such a worthy maestro director. We don't hesitate

to affirm the gathering of this concert will be large and select 

already by this hour of the day and by taking place in the central

fresh and spacious lobby of the Liceo and letting hear the

inimitable Huerta, the man who has caused a revolution on the guitar.

We have been told the tickets are 10 reales and are available at the

music store of Mr. Bernareggi the piano maker to the Queen S.M. on

calle Ancha and that of Mr. Altimira on calle Escudillers."

In the daily "La Patria" (Madrid. 1849) on 6-11-1850 on page 3

"—The guitarist Huerta, that celebrated and famous Spanish artist, will have given a great morning concert on Sunday at twelve o'clock in the luxurious recreation room of the Liceo theater in Barcelona."

6-9-50 matinée in Circulo del Liceo Barcelona D de B 5-29-50 announced D de B 2nd announcement 6-7-50 guitar made by Altimira 

In the daily "La Patria" (Madrid. 1849) on 6-14-1850 on page 4

"—Says a newspaper from Barcelona: We know that a distinguished lady from this capital gave the famous guitarist Huerta a beautiful bow for his guitar, with white and red velvet ribbons, with the initials decorated and in the center the name of Huerta surrounded by a laurel wreath, embroidered all in gold."

6-23-50 D de B Huerta supposedly enroute to Palma, Majorca BUT delayed for 2 weeks

In the daily "El Heraldo" (Madrid. 1842) on 6-27-1850 on page 3

"—The famous guitarist Huerta had left Barcelona for Palma de Mallorca in order to give some concerts."

6-28-50 private concert in Barcelona D de B 6-29-50 review 

7-5-50 ship in Palma 

El balear 7-7-50 7-7-50 follows military band plays one hand alone piece in between 1 act plays

11-29-23

7-21-50 concert salon Casa-Lonja Palma,Majorca El balear 7-18 and 19-50 tickets in 2 bookstores 

D de B 7-19-50 Newspapers in Palma Mallorca give eulogies to the great guitarist

In the daily "Suplemento al Diario constitucional" on 7-31-1850 on page 2

"Last Sunday the second concert took place

by the famous guitarist Huerta. We can say in the sense

but it is clear that the audience was chosen and that they heard

with pleasure and interest the delicate sounds that

excellent pulsation produced on a difficult instrument

notable artist. Regarding the genre of music that

flaunted, we will just say that all composition is good

for this notability. The overtones of it, the slight imitation of a

harp, the flourishes in addition to his own style, awaken

the attention of his fans in terms of starting

applause, even if you show these thanks

continually mixed like the superb noises that form

their safety and their touch resemble the sound of a

war box. The Palma public, enthusiastic about the

divine science of harmony has formed its just judgment and

disinterested in the merit of Mr. Huerta. Also

he knew how to appreciate the talent of an Ole-Bull in the same way

of on Casella and it is believed in the case of uo being obliged to

repeat in chorus the causes that have been mentioned elsewhere

fact of the merit or demerit of philharmonic notables.

We encourage the artist we focus on

He continued his studies, giving preference to the genre of music

sensitive, in whose images he will make the beauty of

the sounds that he knows how to make over one or two

strings.

In this concert we had the satisfaction of hearing with

pleasure and even with pride to our colleague Mr. Alsamora

that with his natural kindness and without time to prepare

He acceded to the pleas of his former friend in London.

Mr. Huerta. Let us frankly confess that we did not expect

so much of his violin. The cleansing of it, the execution of it, his

good taste the difficulties to overcome the tremolo, the singing

double string adding pizzicato bass effects

and the use of harmonics

they excite us in a way

that we make it our duty to recognize its extraordinary

ability of him. The prolonged applause that he drew.

You must persuade the audience that they are appreciated. To the

presenting himself revealed the natural fear of every person

that for many years one has made his ability heard,

that perhaps due to the lack of exercising it I would believe it had declined, and

that for the first time in Spain he makes it heard in a concert

public! but in the difficult arpeggios of the conclusion

bravery and energy were evident in his

appearance of him.

He played a beautiful fantasy of his composition, and we had

the feeling that he didn't knock a second time to see.

He will shine in the fullness of his strength. The contest was waiting for him and Mr. Alsamora was willing; but

Mr. Huerta precipitated the concert and concluded with his jota,

which he made it interesting by his successful imitations."

(Daily newspaper of the 23rd.)

8-5-50 concert in former refectory San Agustin Palma El balear 8-2,4&5-50 farewell concert Norma, Rossini, Aguado, Semiramis, marcha funebre , La cachucha Jaleo de Cádiz, Gaita gallega La muñeira , Fandango Folías de españa Róndeña andaluza 

In the daily "El Heraldo" (Madrid. 1842) on August 6, 1850 on page 3

"In this city he is getting extraordinary applause,

the famous guitarist Huerta, who has already caused confusion."

In the daily "La Nación" (Madrid. 1849) on August 7, 1850 on page 4

"—ARTISTS APPLAUDED.—On July 29

the second concert took place in Palma de Mallorca

given by the famous guitarist Huerta, so

applauded in all the areas of Europe, and the violinist

Mr. Alzamora. Both artists obtained

repeated applause from the numerous and chosen audience

who attended to hear them."

8-11-50 2nd farewell concert same location 

Turco in Italia Rossini Sor /Huerta mano izquierda el bolero favorito las manchegas 2nd set Huerta piece Marcha española temas italianas y españolas final de Lucia tickets in 4 localidades Antonio Cano plays 2 concerts with less impact in the press than Huerta according to D de B 8-31-50

In the daily "Diario constitucional de Palma" (1839) on 9-8-1850 on page 3 states the information of a concert on the previous Sunday September 1, 1850 held in Felantix on Mallorca.

October 1850 returns to Barcelona 

El Barcelonés 10-12-50 Altimira guitar used in casi todos los conciertos de Huerta 

D de B 10-13-50 private concert

10-20-50 matinee in teatro Odeon Barcelona D de B 10-17-50 announced D de B 10-20-50 raffle of rosewood back and sides guitar Cano did a concert 19th Huerta 20th El Barcelonés 10-22-50

Huerta most popular guitarist in English society in Barcelona, Madrid Zaragoza Barcelona and Valencia 

11-6-50 farewell concert Barcelona salon de San Agustin, teatro Odeon

El Barcelonés 11-4-50 announced D de B 11-5-50 D de B 11-10-50 The audience was silent during the performance and spoke lively during the intermission

November- December 1850 in Madrid?

11-9-50 concert teatro Odeon Barcelona Semiramis, Variations Sor Huerta Aguado 

"God save the Queen" aires nacionales Norma and several operas Bellini Jota Aragonesa and Fandango 

1851

In the daily "El Áncora" (Barcelona. 1850) on 1-5-1851 on page 4 states that a concert is to be held at the Odeon. 

In the daily "El Sol" (Barcelona) on 1-9-1851 on page 3 states that a concert is to be held at the Odeon on Thursday January 9, 1851. 

In the daily "El Áncora" (Barcelona. 1850) on 1- 9-1851 on page 16 are the titles of the concert of four sets.

1-25-51 L’Italia Musicales Naples concert home Helzel 

2-7-51 Malaga El avisador malagueño first time he’s played in the city since 1835 

Dazzles everywhere 

2-8-51 departs for Cadiz

March 1851 concert in Ceuta Spanish Morroco La Nación 3-26-51 has given a concert there 

Malaga 7-10-51 El avisador Malagueño announced arrival

7-31-51 concert Ex-convent Santo Domingo 7-12 / 7-29-51 announcements 

11-30-2023

8-9-51 D de B echoes success in Malaga 

8-10-51 2nd concert in salon Santo Domingo 

Huerta had at least two programs under his belt so that he could play back to back concerts in the cities where he could arrange concerts a day or two apart. In 1892 concert pianist Ignacy Paderewski practiced 17 hours a day to prepare 3 concerts to tour the United States.

The concert at the salon Santo Domingo was not any different for the follow up repertoire 

9-3-51 El porvenir Sevilla The newspaper mentions that he is conquered the audiences in Paris, London and Saint Petersburg and that he will arrive soon from Malaga Manuel Gutierrez making guitars, Antonio de Torres arrives about this time to work on the same street

9-11-51 farewell concert in Malaga in salons Santo Domingo 

April to July 1852 excitement in the press for the next Huerta concert in Sevilla

7-8-52 takes part in the intermission at the Teatro San Fernando of Seville

January to February 1853 he appears in the newspaper El porvenir 3 times

2-6-53 concert in teatro de Hercules 

3-1-53 expected in Cadiz El Nacional says he had been in Havana Recio family of guitar makers building at this time, also Juan Perfumo making guitars

4-24-53 concert Salon de Oriente de Sevilla baile y concert plays aires nacionales 

July to September 1853 reappears in the civilian press three times El porvenir 

7-4-53 concert Circulo filarmónico de Cádiz 7-1-53 announced El Nacional 

Says he’s in route to the Americas

7-6-53 concert teatro Principal de Cádiz 

7-23-53 concert in San Fernando 

8-23-53 concert in cafe del Correo de Cadiz in 2nd announcement for the concert it mentions the Queen of England and the wife of the King of Belgium being admirers of the great player who has no rival

9-24-53 concert for season-ticket holders to the Academia de Medicina de Sevilla 

12-2-53 concert salon de Oriente de Seville

I should probably mention at this point singers were being paid to show their expertise in Sevilla since 1842 

Portugal Barcelona 1854 plays for the Queen of Portugal 

1-22-55 The writer Manuel Jimenez mentions the performance for the Queen of Portugal says that Huerta is not from the school of Fernando Sors nor the school of Aguado.

In the daily "La Iberia" (Madrid. 1854) on 9-11-1855 on page 4 it states he has recently given a concert in Valladolid and that he has no rival as a guitarist.

October 1855 Huerta’s brother suicide in Nice but the wild fire in the newspapers was that Trinidad had done so

12-13-55 Huerta’s son verifed that it was not his father but it’s uncle in “Le Guide Musical”

1-18-56 arrives in Madrid after playing for the queen of Portugal

February 1856 La zarzuela 2-25-56 Huerta tried to obtain a position as a guitar teacher in the Conservatory music but was told that Guitar didn’t have enough importance to be able to be awarded the position.

In Japan as I write, the guitar is not being taken seriously to have the Classical Guitar included in the College and University schools of higher education, despite the fact that 1,000,000 players out side the pop realm and the fact that there are over 60 classical guitar stores in Japan, 8 or more in Tokyo. I learned about this amount of stores in Japan in September of 2007 reading it in Japanese in Gendai Guitar or Guitar Dream magazines.

In the daily "La España" (Madrid. 1848) on 2-21-1856 # 2,415 on page 1

"A Spanish artist, very renowned in the musical world,

who was left for dead not long ago

foreign newspapers, is currently in

Madrid, healthy, robust and always ready to delight

the ear of his admirers. We talk about the famous

Huerta, recognized in Europe for the most extraordinary

guitarist of the century.

He barely arrived in Madrid, he has had the honor of becoming

hear from SS. MM., who on another occasion had known

already appreciate the admirable execution and singular skill

of Huerta in the national instrument of the

Spanish people. With reference to well-informed persons:

We know that he was so pleased that he had to

play!' four more pieces than those indicated in the program.

In a fantasy based on the Somnambula motifs,

and in the bolero, of his composition, he did prodigies of

execution, imitating in the first the sound of the harp,

i that of the piano and the human voice, accompanied by the instrument

After about an hour and a half had passed,

The Queen deigned to entertain herself for a while with the famous

guitarist, who, encouraged by the ineffable kindness of

S.M., she stated that his only ambition would be to enter

as a professor at the Conservatory of Music, finally

practice teaching, and work hard so that

the tradition of the national instrument was not lost and

favorite of the Spanish.

It seems that the Queen welcomed the idea,

adding finally, before retiring to the Tégia room,

It was a delight to listen to Huerta.

There is no shortage of those who consider the employee wasted time

in learning the guitar; but time is wasted

also what many spend studying other instruments.

The guitar does not have the necessary importance

so that in conservatories and music schools

be taught to practice! but it is no less true that

It has been and continues to be the instrument. favorite of

Spanish village. When in other countries we see that

the fair sex begins to dedicate itself with particular predilection

to the guitar studio, we could well

Spaniards think about raising altars to the idol of our

older, who did not reach, fortunately,

the time of the invasion of the piano, which overwhelms everything

and dominates today in the salons. If anyone can do

the counter-revolution, is without a doubt Huerta, the most

suitable among all, since it was not without reason that they called him in Paris

and London the Paganini of the guitar, when the

immortal violinist was at his peak.

It seems that he is preparing a concert that he promises to be

interesting.

EDGARD"

In the daily "La Iberia" (Madrid. 1854) on 3-4-1856 on page 4

CONCERT. This week it will probably take place

that of the guitarist Huerta. Mr.Fernando

Uries has not only been very accommodating,

granting authorization for the

artists of the Italian company can take

part in said concert, but that he has had the

kindness to offer Huerta the concert hall

of the theater."

3-25-56 concert in the salon de Columnas at Conservatorio de Madrid Huerta invites the Queen of Spain to his concert

4-15-56 concert in teatro del Circo de Madrid Francisco Gonzalez making guitars at this time at least since 1848 - in this year he was located on the same street as Gregorio Carracedo just blocks away both were on calle de la cruz, a few years later Francisco Gonzalez moved to a known address one can find in the published research books. In the fall of 2021, when I learned of this unknown address for Francisco Gonzalez I wondered who taught him to make guitars was it Gregorio Carracedo, 30 years his senior, it is still unknown who taught Francisco Gonzalez to fabricate high quality instruments. Gregorio's son Antonio was born in 1831 and surely was involved in the fabricating of the instruments made in 1847 that Trinidad Huerta used in the Madrid concert. Did Francisco Gonzalez work for Gregorio and train under him?, it's not known, the only aspect that is known as them being on the same street in 1848.

In the daily "La Zarzuela" (Madrid. 1856) on 4-21-1856 on page 7

"We ignore the difficulties that have

occurred and canceled the

guitarist Huerta's concert at the Circo Theater."

5-13-56 he receives an appointment as the guitarist for the Real Cámara 

In the daily "El Parlamento" (Madrid. 1854) on 5-18-1856 on page 3

"—S. M. the Queen has awarded celebrated guitarist Huerta the honors of chamber guitarist

with the use of uniform considerations annexed to this distinction."

5-30-56 he asks his friend Barbieri for money because he’s in a severe cash crunch to pay rent

6-22-56 concert teatro Tirso de Molina Madrid

7-13-56 concert salon Capellanes de Madrid 

9-30-56 2nd concert same location 

11-7-56 concert salon de la Postas Peninsulares de Madrid 

In the daily "La Iberia" (Madrid. 1854) on 2-13-1857 on page 3

"For the trip. The famous guitarist Huerta, due to

lack of protection and resources, is seen in the

precision of leaving the homeland, perhaps to as

always. We know that before leaving he thinks

give a great concert."

3-7-57 serious financial problems he writes to Barbieri pleading for more money to help feed his wife and three children 

10-31-57 concert salon de la sociedad protectora de la Bella’s artes de Madrid 

11-28-57 The fourth child a daughter is born

1858 listed as residing in Madrid with his wife and three children

In the daily "La España" (Madrid. 1848) on 8-27-1858 # 3,784 on page 1

"Concert. The famous guitarist Huerta is going to give

a concert in Valencia in the Fénix hall, accompanied by a ten-year-old son, who notably plays

the violin.

11-19-58 D de B appears in Barcelona with the intent of giving concerts

11-23-58 D de B newspaper says he has to appear at the Teatro Odeon with his son playing violin tickets to be available at a bookstore the Altimira workshop (Altimira holds the distinction of selling concert tickets for Julian Arcas, Antonio Cano, Trinidad Huerta, and Francisco Tarrega at his workshop / music store) and the Benarrechi piano store in Barcelona

11-30-58 typical great applause for Huerta and his son received applause on every piece he played 

11-12-58 D de B concert canceled in the Circo Barcelonés 

12-20-58 Julian Arcas (1832-1882) in the convention of Malaga concert review is compared to Miguel Asensio "EL Malagueño" and to Huerta 

1-9-59 matinee farewell concert in the salon de Descansó de la Gran teatro del Liceo de Barcelona 

His 10 year old son Enrique plays violin in this concert as well.

In the daily "La Iberia" (Madrid. 1854) on 1-18-1859 on page 3

Dulce concert. Under the auspices of the captain

General of Cataluña, Don Domingo

Dulce, there was a concert in Barcelona

on the 9th, having played different parts,

In addition to the famous guitarist Huerta, the

artists of the great theater of the Liceo,

and then Dulce, the general."

1858-1859 The photo taken by E. Julia possibly taken in Barcelona between November 1858 in January 1859

1859 listed as residing in Madrid with his wife and three children 

Paris 1860? Photo by Nadar

9-22-60 Rossini writes to Huerta published in the journal amusant on November 24, 1860

Two issues later in the same magazine a caricature of Huerta by Gillot appears

7-23-61 he passes through Bilbao on the way to Santander

La abeja 8-13-61 gives concerts in the Café Del Occidente

October 1861 he returns to Bilbao

10-17-61 concert in the salon of Charlen de Bilbao 

9-8-61 El museo universal he returns to Madrid and requests a position in the Conservatorio

1-7-62 concert in the home of Soler in Madrid 

2-17-62 concert in the salon of the conservatorio 

5-22-62 concert in the salon de Descanso del teatro de la Ópera 

5-23-62 "La Discusión" Roberto Robert says that he used to guitar made by Antonio Carracedo this is the second time Huerta used guitars made at this shop in 1847 he used two in a Madrid concert made by the father Gregorio Carracedo 

In 1873 at the Exposición de Madrid Antonio Carracedo won awards for making a very ornate Bandurria and guitar Francisco Gonzalez did as well

6-28-62 Huerta writes a letter to his son Enrique who is studying violin with Alard (son in law of J. B. Vuillaume) in Paris

In the daily "La Iberia" (Madrid. 1854) on 9-5-1862 on page 4

"THE GUITARIST HUERTA. He has been highly applauded

at the Zarzuela Circo in Zaragoza,

this notable guitarist, performing various pieces."

1-14-63 D de Z Huerta plays in the Teatro principal de Zaragoza and his performance of his variations on the hymn of Riego provokes an incident with the public

Paris 

1-9-65 La Gaceta Musical Barcelonesa upcoming concerts of Huerta in Paris

In the daily "El Lloyd español" on 8-10-1865 on page 2 states Huerta has recently given 3 concerts in London.

In the daily "La Época" (Madrid. 1849) on 1-26-1867 # 5,856 on page 4

"It was made up of two parts: in the first one distinguished

our compatriot the famous guitarist Huerta,

In the second part an ancient symphony was played."

1-31-67 participates in a concert at the Cirque artistique de Paris.  At the Paris exposition in 1867 Francisco Gonzalez was awarded a Bronze Medallion for his 2 Guitars and 2 Bandurrias entered.

2-17-67 revista y gaceta musical published In Madrid el guitarrista Trinidad Huerta y Catavela en Paris

3-21-67 L’Art Musical Concert by Jane Midoz and Huerta plays a bolero

12-31-67 he has a son name Noel born in Paris his wife is  40 and he is 67 

1868 Arthur Pougin wrote about Huerta’s financial hardships during his last years in “Le Revue et Gazette de Paris” 10-25-68

1869 Le Guide Musical published in Brussels 12-9-69 entitled “Huerta The Spanish guitarist is in Paris guitar what do you want from me”

December 1871 he plays for the Queen of Belgium

1-27-72 concert in Brussels Cercle artistique et Litteraire for his benefit Le Guide musical 4-25-72 announced reviewed in the same magazine May 2, 1872

59 concerts since 1840 total of 111.

4-21-73 Noel passes away in Paris at 15 years old

1874 Valera Silvari says in the article "La Guitarra" in the magazine La España Musical 2-14-74 that Huerta was a street musician (musico ambulante) at the very end of his life

June 19-1874 Huerta passes away in his home at 12:30 am 

Yesterday I learned that Francisco Garcia Sanchiz, three years after the passing of Tarrega, he had already written the lecture, which is published in the newspaper "El Liberal" that I found three days ago, and he would do that as the opening address before Daniel Fortea’s performance at the Ateneo of Madrid in March of 1912, three decades later, Ricardo Munoz, in Buenos Aires, was doing the same thing speaking about Miguel Llobet after his passing opening with a lecture that was interspersed by the performance of Celia Salomon de Font.

Original text: Castellaño texto al fin de esta pagina.

THE EXCELLENCE OF TÁRREGA by Federico Garcia Sanchiz

A man has just died in silence

divine. He was a musician, romantic, good, candid,

unhappy. His name was Francisco Tárrega, the guitarist Tárrega

Some, a few, newspapers and magazines publish

the portrait of him. There you can see him with

his hair wrapping his voluminous head like a turban, with his thick glasses, behind which some eyelids fall asleep

scalded, with its wide knob

like a beard from the Assyrian reliefs, with

the usual fervent disposition

the white hands placed in the box

the guitar, just like for a sacrifice;

the foreshortening all manifesting demure softness,

anointing, delight of gracious beauty,

perhaps gallant, and in the same photograph,

that he will present to you blessed and venerable,

like the altar to his image, you will find

a sample of his candor and his picturesqueness,

slow and constant martyrdom. Because

you blessed of the portrait painter it did not occur to him

but to sit Tárrega on a stool

of cane from the Indies, next to a table

of the same thing, only the wicker boards

a nightstand of those that are not understood

without the rag flower pot,

the ashtray with an imitated porcelain cigar,

and that constitute the central decoration

from any barbaric and evil platform

taste. The photographer committed a

irreverence forcing Tárrega to pose

where a tavern keeper would sponge off his 

Sunday best, a wedding in the square.

And, thanks to the winnings and

to the widespread popularity of the guitar,

instrument that shares the praise of

a hobby of bullfighters, many rough ones

and left-handed people approach him

supreme spirit of elegance and exquisiteness,

and although he noticed it well, he resigned himself

he and he cared for them, and he suffered persecution

of the slimy fulfillment of him Brother

wolf, sister ant, said Saint Francis

of Assisi.

But Tárrega was not a guitarist.

Francisco de Tárrega was a poet in love

of music, a madrigal poet,

serenades, evocations and contemplations.

He could compose verses like Garcilaso,

compete with Sarasate on the violin,

Sarasate who, with his pride, admired him;

he could run the world as a virtuoso pianist,

or hugged a cello that would have a

famous fact. He preferred the guitar

although he did not belong to the admitted

instrumental aristocracy—he preferred, the

guitar for more sensual, transparent and

endearing and here, in Spain, with the prejudice

of a grocery store that we have of the guitar,

without remembering those petrimeters

that with guitars lulled the last

days of the 18th century, we did not listen to him,

We don't want to hear him but in England we often do

The lords entertained Tarrega,

and in Italy the poets celebrated perfumed

and celebrate them with flowers in honor of the

guitarist of the serenades, the minuets,

of kindnesses.

You understand how intimate and pure it would be

the refinement of a very elevated musician,

that for refinement he chooses a popular instrument.

There, in Levante, on the coast

parallel to the Italian, adorned shores

of the most beautiful sea, I felt it many times

times. Tárrega lived in Barcelona.

He frequently, at times, forced by

the need, he went to Valencia, he gave concerts.

He returned to Barcelona with some

hundreds of pesetas. And so he lived, wanderer

with his guitar, his draped frock coat and his

montmartrese hat. He caressed her

speech, affable, calm, lordly, erudite

he spoke like a miraculous apparition

and kind. He had a sing-song voice.

and the slight gesture; and it's not that he was weak

nor mean, it's just that he was sweet. Brother wolf,

sister ant , he said, like Saint Francis,

and as brother Saint Francis

told a wonder of tender grace, and a

is that when he was studying in the gallery

his country house a multitude of birds

They arrested him; around and they stopped their light

games, learning, serious, like

boys who are formalized, from what they heard.

This cordial generosity he took to his

music of his, which he intoxicated like a 

penetrating balm. I remember one night in July,

night of drunken sky, of sensual air;

night of murmuring fountain and crickets; evening

of vehemence for sentimental hearts.

In the patio there was a trellis

of branches like rattles, and under his shelter,

In the darkness, some people gathered

women in light suits with uncovered hair

and bare brush. Give them some

men, us smoking cigarettes, that,

When they lit up they illuminated the female faces

and they wrenched strange judgments from the

rings and bracelets. The chest swells.

like the sail of a hopeful ship.

The senses languished, because they were excited

and my heart dreamed. The house was left

back with its illuminated windows,

decoy and reminder. In this it appeared

at the door the host, with Tárrega by the

arm, some rapazus followed both of them

with Japanese lanterns, which were hung

of the vine: and with its modest and firm light,

like a first love, warmly polychrome

in various roles, as a

faded rainbow, fringed and shaped

rhythmic, they improvised a festival that

Albabaca heard, and the women swung

in the rocking chairs, opening and closing

the fan, showing the feet with

their white boots. The hours were going to roll

like the lines of the Moorish ferris wheel,

that all pour the limpid crystal

of water...

And in that moment of eternity, Francisco

Tárrega shelled, making them bounce

in the strings, their evocations and their

contemplations of him. It was the song of the night

summer, the song of the stars, was

a perfume of songs. music off

like a grill colloquium. guitar that

It sounded like psaltery and gave life to pale

beauties that we saw, in distant miniatures,

in a display case. Guitar that raised tumults

and audacity of feelings. Guitar

of celestial harp sound. guitar

the contemplations, whose word told us

the secret of those black eyes and

transparent that imprisoned ours

on the night of July. Guitar of the

evocations, gives the lavish evocations

planters, italianesque, garden with

pomegranates and nightingale, river with boats,

towers of burnished heraldic stone, harmonious

Tasso's lamentations, purple, jewels,

ideal fade...

Francisco Tárrega slid his fingers

with passion for the strings that shook

and they sighed. The presentiment

that poetry protected us, had us

silent and collected. That way of playing

the guitar brought back the memory in that way

how Saint John of the Cross tempted

his beloved to take refuge in the cave

from the mountain, to drink the ambrosia of voluptuousness.

Meanwhile, the "car" and the

"bear" turned in the sky. passed

midnight. For a moment he stopped

the guitarist, and in it he gave some

A tower clock chimed, and it grew cold

the breeze of the sea, and a lantern burned,

writhing among the branches...

We leave the charm. We talk, we get up,

the circle was broken, it ended

like this the concert... I mean, yeah no. Then

there was a secret collection, which secretly

Tárrega was offered 40 some duros. And then a game was made

of letters. And Tárrega, who did not play,

He persisted in sitting on the mat, and they snatched him

forty duros.

                               *

Tárrega has died, and here, in Madrid,

few, very few, have written about him.

They don't know him. I have wanted to discover myself

before his burial, that the great ones

see across the mountains. Saving

The seas and mountains will once again honor

nor bohemian saint of the frock coat and the

haldudo chambergo, the italian poets

who celebrated perfumed and floral parties

in the honor of him, and of the serenades of him, the

lyrics that frequently praised him...

Federico Garcia Sanchiz

A EXCELSITUD DE TÁRREGA

Acaba de morir en el silencio un.itombre

divino. Era músico, romántico, bueno, candoroso,

infeliz. Se llamaba Francisco Tárrega, el guitarrista Tárrega

Algunos, pocos, diarios y revistas publican

su retrato. Allí podéis verle con

su melena envolviendo la voluminosa testa como un turbante, con su gruesas gafas, tras las que se aduermen unos párpados

escaldados, con su poril!a amplia

oomo una barba de los relievíte asirios, con

la acostumbrada disposición fervorosa

las blancas manos puestas en la caja de

la guitarra, igual que para un sacrificio;

el escorzo todo manifestando suavidad recatada,

unción, deliquio de graciosa belleza,

tal vez galante, y en la misma fotografía,

que os le presentará bieato y venerable,

como el altar á su imagen, hallaréis

una muestra de su candor y de su pintoresco,

lento y ccnstante martirio. Porque

ti bendito del retratista no se le ocurrió

más sino sentar á Tárrega en un taburete

de caña de las Indias, junto á un velador

de lo mismo, sólo que los tableros de mimbre

un velador de esos que no se comprenden

sin la maceta de flores de trapo,

el cenicero con un cigarro imitado de porcelana,

y que constituyen el adorno central

de cualquier estrado bárbaro y de mal

gusto. El señor fotógrafo cometió una

irreverencia obligando á posar á Tárrega

donde se esponjaría de vanidad un tabernero

endomingado, una boda de la plazuela.

Y es que, gracias á la gañanesca y

á la tenderil popularidad de la guitarra,

instrumento que comparte los.plausos de

una afición de los toreros, muchas toscas

y zurdas gentes se acercan á aquel

espíritu supremo de elegancías y exquisiteces,

y aunque él bien lo notaba, resignábase

v los atendía, y sufrió persecución

de sus babosos cumplimiento Hermano

lobo, hermana hormiga, decía San Francisco

de Asís.

Pero Tári'ega no era un guitarrista.

Francisco de Tárrega fué un poeta enamorado

de la música, un poeta de madrigales,

serenatas, evocaciones v contemplaciones.

Pudo componer versos como Garcilaso,

competir con Sarasate en el violín,

Sarasate que, con su orgullo, lo admiraba;

pudo correr el mundo de virtuoso pianista,

ó abrazado á un violoncello que se habría

hecho célebre. Prefirió la guitarra

no obstante que no pertenecía á la admitida

aristocracia instrumental—prefirió, la

guitarra por más sensual, transparente y

entrañable. Y aquí, en España, con el prejuicio

de colmado que tenemos de la guitarra,

sin acordarnos de aquellas petrimetras

que con guitarras arrullaron los últimos

días del siglo xviii, no le escuchamos,

no querirmos oirle Pero en Inglaterra frecuentamente

agasajaban á Tarrega los lores,

y en Italia los poetas celebraron perfumadas

y floréales fiestas on honor del

guitarrista de las serenatas, de los minuetos,

de las gentilezas.

Comprendéis cuan íntimo y puro sería

el refinamiento de un músico elevadísimo,

que por refinamiento elige un instrumento popular. 

Allá, en Levante, en la costa

paralela de la italiana, engalanadas orillas

del mar más bonito, yo lo sentí muchas

veces. Tárrega vivia  en Barcelona.

Frecuentemente, en ocasiones, forzado por

la necesidad, iba á Valencia, daba conciertos.

Tornábase á Barcelona con unos

centenares de pesetas. Y así vivía, romero

con su guitarra su haldada levita y su

chambergo montmartrese. Acariciaba su

discurso, afable, sosegado, señoril, erudito

hablaba como una aparición milagrera

y bondadosa. Tenia una voz cantarína

y el ademán leve; y no es que fuese débil

ni ruin, es que fué dulce. Hermano lobo,

hermana hormiga, decía, corno San Francisco,

y como hermano San Francisco

contaba maravilla de tierna gracia, y una

es que cuando estudiaba en la galería de

su casa de campo multitud de pájaros se

detenían á si; aírededor y paraban sus livianos

juegos, enterándose, graves, como

chicos que se formalizan, de lo que oían.

Esta generosidad cordial llevábala á su

música, que embriagaba como un bálsamo

penetrante. Recuerdo una noche de Julio,

noche de cielo borracho, de aire sensual;

noche de rumor de fuente y grillos; noche

de vehemencia para los corazones sentimentales.

En el patio había un emparrado

de pámpanas como sonajas, y á su cobijo,

en la obscuridad, agrupábanse unas

mujeres de trajes claros cabellos descubiertos

y brozo desnudo. Eníie ellas unos

hombres, nosotros fumando cigarros, que,

al encenderse iluminaban los rostros femeninos

y arrancaban extrañas Iuece á los

anillos y pulseras. El pecho se henchua.

como la ve!a de una nave esperanzada.

Languidecían los sentidos, porque se ilusionaba

y soñaba ei corazón. La casa quedaba

atrás con sus ventanas iluminadas,

señuelo y recordatorio. En esto apareció

en la puerta el anfitrión, con Tárrega del

brazo A entrambos seguían unos rapazucos

con farolas japonesas, que se colgaron

de la parra: y con su luz pudorosa y firme,

como un primer amor, tibiamente policroma

en los diversos papeles, como un

desvaído arco iris, flecosas y de formas

rítmican, improvisaron una verbena que

oída á albabaca, y las mujeres se columpiaban

en las mecedoras, abriendo y cerrando

el abanico, mostrando los pies con

sus botinas blancas. Las horas iban á rodar

como los rengilones de la noria morisca,

que vierten todos el cristal límpido

de agua...

Y en aquel momento de eternidad, Francisco

Tárrega desgranó, haciéndolas rebotar

en las cuerdas, sus evocaciones y sus

contemplaciones. Era la canción de la noche

estival, la canción de las estrellas, era

un perfume de canciones. Apagada música

corno un coloquio de reja. Guitarra que

sonaba á salterió y daba vida a pálidas

bellezas que vimos, en lejanas miniaturas,

en una vitrina. Guitarra que levantaba tumultos

y audacias de sentimientos. Guitarra

de son celeste de arpa. Guitarra de

las contemplaciones, cuya palabra nos decía

el secreto do aquellos ojos negros y

transparentes que aprisionaban los nuestros

en la noche de Julio. Guitarra de las

evocaciones, da las fastuosas evocaciones 

jardineras, italianeiscas, jardín con

granados y ruiseñor, río con barcarolas,

torres de bruñida piedra heráldica, armoniosos

lamentos del Tasso, púrpura, joyas,

desvanecimiento ideal...

Francisco Tárrega deslizaba sus dedos

con pasión por las cuerdas que se estremecían

y suspiraban. El presentimiento

de que la poesía nos amparaba, nos tenía

mudos y recogidos. Aquella manera de tocar

la guitarra traía el recuerdo de aquella manera 

cómo San Juan de la Cruz tentaba

á su amada á refugiarse en la cueva

del monte, á beber la ambrosía de la voluptuosidad. 

En tanto, el "carro" y la

"osa" volteaban en el firmamento. Transcurrió

media noche. Un instante se detuvo

el guitarrista, y en el mismo dio unas

campanadas un reloj de torre, y se enfriaba

el cefirillo de la mar, y un farol ardió,

retorciéndose entre los pámpanas...

Salimos del encanto. Hablamos, nos levantamos,

se rompió el círculo, terminó

así el concierto... Es decir, seí no. Luego

hubo una reservada colecta, que secretamente

se ofreció á Tárrega, una cuarentena

de duros. Y después se armó un juego

de cartas. Y Tárrega, que no jugaba,

obstinóse en sentarse al tapete, y le arrebataron

los cuarenta duros.

                              *

Se ha muerto Tárrega, y aquí, en Madrid,

pocos, muy pocos, han escrito de él.

No le conocen. Yo he querido descubrirme

ante su entierro, que el de los grandes se

divisa á través de las montañas. Salvando

los mares y las montañas volverán á honrar

ni santo bohemio de la levita y el

chambergo haldudo, los poetas italianos

que celebraron perfumadas y floréales fiestas 

en su honor, y de sus serenatas, los

lires que lo enaltecían frecuentemente...

Federico Garcia Sanchiz

This event took place on July 2, 1896 and was reported on August 7, 1896 in the newspaper:  "L'Indépendant des Basses-Pyrénées" in France, then later in the Spanish press.

A Good Record     "Buen Record"

There are some that are more extravagant, and one of these is what happened a few days ago at the Bufos theater in Bordeaux, where it was announced, through pompous posters widely distributed among the population, that the maestro Taddey would play the guitar for 60 hours.

The tireless player, in order to get away, had his temples moistened from time to time with a sponge, which was handled by six boys who were replaced every five hours.

In order not to waste a single moment, the guitarist had a bell under his foot that was used to call the waiter in charge of providing him with a glass of ice water. This is as far as the drink is concerned, as for the food, this was done every twelve minutes, in which there was a ten minute rest.

In the daily "El Imparcial" (Madrid. 1867) February 4, 1873 page 4:

TO THE PLAYERS OF THE BANDURRIA     "A LOS TOCADORES DE BANDURRIA"

and other plucked instruments.

Easy and progressive method to play the

Bandurria, Octavilla and the laud-lyre

by a new system that provides

more advantages for execution and brilliance

of all kinds of pieces in these popular

instruments, in a short time and

more easily than by ordinary methods

known until today, by the small

novelty that its author introduces,

Tomás Damas, Spanish guitarist, both

in the way of tuning them, as in the

construction of the Bandurria, which without altering

in no way its current form, according to

explains in the method, gains not only in

softness of touch, but its sounds

It seems like a small harp.

The new laud-lyra has, like the bandurria,

six double strings and it is tuned the same

according to the model of the method, and it is

a surprising effect due to its pretty figure

and special sound timbre. It is built

in the guitar work shop of the accredited craftsman

Antonio Carracedo, Calle del Duque

de Alba, no. 4, Madrid. This method

It is written by music and by number (tablature)

compared to the reach of all levels,

by the Spanish guitarist and teacher

honorary from the Escuela Nacional de

música Tomas Damas.—The price of it

completed work, recorded, with good paper

and color cover, with 4 pages of

large size, it will be 24 rs., and for deliveries

at 40 rs. each. For Overseas and

the foreign destinations 56 rs. the work completed

24 each delivery. The orders, 

shipping, to the administrator of the publication

and of the commerce of this area Antonio

Rovira, calle Real de Francia, number, B, in

easy collection letters or in stamps, sending

two more for each copy or delivery that

requested.—To builders who wish a

template of the reformed bandurria, 

we will send it by paying 4 rs.

Antonio Carracedo was awarded an Honorable Mention for a very ornate Bandurria and a Guitar entered in 1873.

25 years ago I told all clients when talking about Bandurrias or Lauds in stock, that, even in Granada or Madrid in the 1960-1970's all guitar makers would make these instruments in their workshops, but later, say, 1980, these instruments were made in Valencia only.

In late 2012 Rico Stover, the biographer of Agustin Barrios Mangore, asked me to assist him in doing the research for the actual composer of the well known Spanish Romance - Romance de Amor. who is: Antonio Rubira.

I begged off at first saying: "I'm working on my own book "Annotations for the History of the Classical Guitar  in Argentina 1822-2000", I've been doing this since September of 2000, I can't help you sir."

"Oh come on your archives are so vast you even have the oldest printed version of this Romance from 1904, you have the largest archive of materials relating to the guitar in the Rio de la Plata area in North America." Rico said this because my Annotations book was written from the accumulation of 12 archives that were 26 feet thick in the metal cabinets they are housed in.

So, I allowed myself to get involved. Eventually Rico said: "I have over 200 emails on this subject we have both been studying."

Here is one such email from September 9, 2013:

"The Antonio Rubira entry in Domingo Prat's "Diccionario de Guitarristas y Guitarreros" (p. 274) gives no birth date nor death date. He claims that Julian Arcas and Juan Parga were devoted admirers who were attracted by the his sublime pulsation and believed that they had discovered in this artist a supernatural talent. Prat continues mentioning that Rubira published music that included fantasias on operatic motifs, also mentioning three single works: Valses fantasticos, El Aniversario and Estudio, this last being the Romance Anonimo, which Prat observes has been published many times for its simplicity and appeal."

I used the profits from my store to fund the purchase of books, originals or reprints, that we found referenced in online libraries, such as the Biblioteca Nacional de Espana in Madrid.

Six months later the six pages of historical documentation of Richard D. Stover's edition was ready for publication by Mel Bay in April of 2013.

Yesterday, October 20, 2023, I found this article written in 1857 for the weekly magazine "Zarzuela" by Antonio Rubira, the composer of the Spanish Romance - Romance de Amor.

THE GUITAR February 2, 1857

The article that appears below has been sent to us by an intelligent person who is very passionate about the guitar, who also brings together, for us, the favorable circumstance of being a constant subscriber to LA ZARZUELA since the appearance of the first issue of this newspaper. This makes us wonder that Mr. Rubira could have forgotten what, about his favorite instrument, appears in numbers 4 and 9 corresponding to February 25 and March 31 of last year (1856). In the Madrid chronicle and in the section of criticism, our valued subscriber can see that we have not wasted the opportunity to come out in defense of the guitar, so neglected today in Spain.

Nor do we believe that the accusation that Mr. Rubira directs to the press is very well-founded, when in the columns of the newspapers, not infrequent praise has appeared on repeated occasions, dedicated to the guitarists who have made themselves heard in Madrid, in

regarding the doctrines that the writer puts forward to

that guitar teaching be adopted at the Conservatory

of music, it is to be feared that it will not be realized

the good wish of him, because the guitar does not have the same

application than other instruments, even the piano

that the guitar will never be able to banish, due to

to the immense advantages that the former has over the latter.

I wish what the gentleman is proposing could be verified.

ftubira, that we certainly would not be the ones

that we would oppose. That's what made us welcome

with particular predilection his writing that says

So:

"Thirteen years ago the distinguished writer Don

Miguel Agustin Principe, wrote in El Anfion Matritense

an article in favor of the guitar. After

no one has written a line about it until now

because another one has appeared in La Gaceta Musical,

signed by Mr. Florencio Gomez Parreño.

A piano composition is published, the newspapers

They talk about her. A good piece is played on

the same instrument, the newspapers mention it

honorifically, the same as the performer. Comes

a foreign pianist, or any instrumentalist,

The newspapers lavish praise on him.

A brilliant work for guitar is published, no one

says a word. There is a distinguished guitarist,

unattended passes. Since he doesn't believe his reputation,

The press does not provide protection. Furthermore, few

they understand e! merit of the guitar, and this consists,

in which there are many bad guitars, very bad

touches that cause annoyance, and this happens because

There are few who play them well, because they need

special qualities to play it. Good teaching

and direction, difficult exercises, perseverance without limits,

patience, faith and tireless spirit, with these requirements

and with a purposeful organization and a

heart of a musician, satisfactory success can be achieved.

It takes many years, but it is achieved

the aforementioned circumstances occur.

A perfectly built guitar, in good condition.

wood, with convenient dimensions, with

excellent strings, put in the hands of a good

Professor, make him produce full, round sounds,

vibrant and expressive, it is the instrument

more moving, more eloquent, sweeter and more

poetic of all that exist.

If there is anyone who calls what was said an exaggeration

listen to the distinguished professor Antonio Cano and

he will confirm what we have just expressed.

By mentioning this great professor we cannot even

we must refrain from saying anything about its magnificent

compositions of his, among which one stands out, which

The kindness of its author has placed it in our hands, destined for the competition that Mr. Makarroff has opened in Brussels.

The contest! The court presided over by Mr. Makarroff?

We do not intend to infer insult to the Russian fan, on the contrary, we believe that he deserves praise

for having exposed our national

instrument, it is enough for it to be Spanish to

that in Spain it is looked at with indifference. But

Will there be anyone who believes that 64 compositions, all of

first force, have been included in a

term as reduced and short as that indicated by

Mr. Makarroff? We don't pretend we know what we say

We affirm, without fear of being denied,

that to judge correctly about the merit of the 64 works presented, the guitarist needed

Russian 64 weeks, assuming he is a good teacher,

because guitar works are not graded or judged

by the simple sight of them, but by touching them and

studying different effects they contain, and

This is not done suddenly.

From this we deduce very logically that the prizes

have not been able to be awarded with absolute impartiality.

We want to conclude by not being vague, although we could

add many more things, which we would like to

more authorized people would expand us.

But we will not conclude without recording a thought

highly important.

At the Conservatory you learn, under the direction

of excellent teachers, to play the piano and other

instruments, and these and that one play well. Likewise

the guitar would be played well and it would become widespread,

if the Conservatory had a Guitar Academy.

The nationality character of this patriotic

and Spanish instrument make him eligible to have

entry into it. The Management would not act fairly

of the Conservatory if it rewarded the high merit of the

eminent professor Antonio Cano making him Director

of this Academy? We believe that it brings together this

teacher all the necessary qualifications, brilliant way

of playing and excellent original works, among which

that there is a method that can and should appear

next to the one published by the immortal Dionisio

Aguado.

The teachers and fans of Madrid and the

provinces would do a service to art, if convinced

dc the truths that we have just expressed, will support

our purpose.

The glory, if it were achieved, would belong to everyone, and

then the guitar would emerge from prostration and despondency

in which it is found, the music that was written

for this instrument it would be known, played

and more appreciated than now, than for one

who interprets it regularly, forty disfigure it

and they destroy it without mercy, and the

case that the guitar was fashionable and banished

at the piano, which would not be difficult, given the little attention

price of it compared to the size of a piano,

however cheap it may be, and given the ease of

move it and a thousand other advantages that we did not list.

It is up to the guitarists, we repeat, to support the

Feeling that we have had the honor to initiate,

The future of the guitar depends on them, if not

they till it will be everyone's fault, and they will never have

reason to make complaints."

A. Rubira.

We know that private lessons had been available for at least two centuries or more, but now in 1821 at a Madrid bookstore named Gobeo or Goveo as well, group lessons in reading guitar music became available. Of course the sales of the sheet much would add to the economy of this location as well.

100 years later in Buenos Aires, the Testuri sisters, Victoria and Magdalena, who were both child prodigies with their photos and articles in magazines when they were very young, some 20 years later they offered guitar lessons and student recitals in a college environment, being some of the first professors of guitar in the higher education level of stature, as documented in my book: 

ANNOTATIONS FOR THE HISTORY OF THE CLASSICAL GUITAR IN ARGENTINA 1822-2000, 4 VOLS. by RANDY OSBORNE, HÉCTOR GARCÍA MARTÍNEZ  INDEX BY JAN J. DE KLOE

Lessons were available from 7:30-9:30PM

Translation: "With the reason of the season and greater comfort of the public hours have been varied at the previously announced guitar music school. It is open from half past seven at night until half past nine. It is subscribed at a rate of 40 reales, per month when the Gobeo bookstore in front of the national printing press building."

A little over 2 years later another advertisement can be found.

Diario de Madrid (Madrid. 1788) May 3, 1823 page 4.

"A guitar music academy has been opened, in which it will be said, instrument by the method of one of the best authors.

The knowledge of music theory dates back to the same time; and in order for the students to find the study of the guitar more pleasant, all the best pieces by the famous maestro Rossini that have been performed with greater acceptance in the theaters of this capital will be arranged on this instrument.

The teaching hours will be from 7 pm to 9 pm. Gentlemen and ladies who wish to attend said academy will pay 40 reales. a month in advance, going to subscribe to the Goveo bookstore located on calle de Carretas, and those who want to teach lessons at home will leave details in the same bookstore."

A year later we see this ad in the daily "Diario de Madrid" (Madrid. 1788) July 21, 1824 page 3

"In one of the best places in this neighborhood is a guitar music school that has been opened, in which this instrument and music theory will be thoroughly taught by the method of Zayas.

30 reales paid in advance, and those who like to give lessons in their houses do so as it is subscribed in the Gobeo bookstore in front of the  the national printing press building."

So things are advancing this is from the daily "Diario de Madrid" (Madrid. 1788) December 22, 1824 page 1

In one of the best places in this neighborhood, there is established a guitar music school run by one of the most accredited teachers, and who has directed with superior permission several academies in this capital: clarity and simplicity that has adept and the teaching method presents an advantage known to all that have been used to this day, with which the students will be able to play any song on the guitar in a short time: the academy boots will be from 10:00 p.m. onwards. , the price 30 reales. paid in advance, and 60 in the houses: gentlemen who wish to attend may subscribe at the Miyar bookstore, Calle del Principe, where the ladies and gentlemen who want to give lessons in these houses will leave the address where students must go.

Now guitar lessons were being offered before work hours in the morning.

From the daily "Diario de avisos de Madrid" June 14, 1825 page 2.

In the Miyar bookstore, Calle del Príncipe, there will be a school of guitar music, established in the vicinity of Puerta del Sol, directed by one of the best and most accredited teachers of this court, for a simple method, with which in a short time the disciples will be able to execute some pieces. The price will be 30 reales. early, and the hours from 6 to 8 in the morning j and for those who do not accommodate these hours it will be from dusk onwards.

From the daily "Diario de avisos de Madrid" June 26 , 1825 page 2.

A professor of guitar music, who has directed several academies in this capital with superior permission, presents to the amateur ladies and gentlemen that there is a collection of music, which brings together the best arias and cavatinas that have been sung in the operas of the Maestro Rossini, perform them in el teatro del Príncipe: in order to make the study of the guitar more pleasant for the disciples, the prices will be 60 reales. a month in advance in the house of the disciples, and 30 in that of the teacher.

The largest and most explicit advertisement yet, including guitar duets. From the daily "Diario de avisos de Madrid" July 27, 1825 page 3.

On calle del Príncipe, no. 1, on the corner de la Cruz, fourth mezzanine, there is established a guitar music school, directed by one of the best teachers of this court, in which singing and playing said instrument is taught with complete perfection. The advances made by the ladies and gentlemen who have attended the establishment are very public, drawing attention to some of the music academies that have presented themselves. In order for the love of music to spread and the disciples to advance, the director of said school has determined to give some concerts of vocal and instrumental music, to which only those who are disciples may attend. These particular concerts will be performed by the best teachers with a large orchestra, having chosen the best pieces from the operas of the famous maestro Rossint, which will be performed alternately with two guitars, and in the orchestra, some ladies who are students of the teacher will be willing to sing. The prices will be: for you will learn to play and sing at the music school 30 rs. a month in advance; for having, in addition to teaching, entry to the concerts 40 and the ladies and gentlemen who like to give the lesson in their boxes 60. The hours that have been allocated for the disciples who would like to attend the teacher's house are; from 6 to 8 in the morning, and from 8 to 10 at night.

From the daily "Diario de avisos de Madrid" September 23, 1825 page 3.

At the Fonda del Angel there will be a vocal and instrumental concert today, Friday, at half past six in the evening, for Madame Marcial and company. The professor who has the guitar music academy established in the fourth second of said inn, who led so many applauses for the direction of the concerts in the same cafe, and grateful for the favors given to him by the fans, has composed an allure about the theme from the duetto buffo of the Cenérentela, a secret of Rossini, which will be performed: on the fortepiano with a good symphony by the professor, who has earned so much applause in previous performances. The author of this composition will see his desires satisfied and will please a public as indulgent as it is enlightened. On this night all kinds of drinks and sorbets and sweetened milk made with the greatest care will be served.

In the guitar academy established with the corresponding permission in the second room of the Fonda del Ángel on the nights, one of the most accredited teachers of this court will attend to sing. with the piano several pieces that deserve more acceptance in the operas of the famous maestro Rossini, among them the aria of the Barber of Seville and the cavatina of the Tancredo, this would be recorded by D. Bartolomé Virues, and arranged for the guitar by Don Ventura María de Ripail.

From the daily "Diario de avisos de Madrid" August 6, 1826 page 3. Now the King of Spain has even given Royal approval for the quality of education being provided. This would be mentioned in all subsequent advertising.

His Majesty (may God preserve) having deigned to grant his royal approval for the continuation of the academy of guitar music that is located in the Fonda del Ángel, second room, directed by one of the most accredited professionals of this area. Gentlemen who wish to attend these lessons are advised to be given all the knowledge of music theory, and will be provided with the best concert pieces that are performed with greater acceptance in the Italian operas of the most famous masters of the day. The hours designated in said establishment are from eight to ten at night, without prejudice to varying them according to the season and comfort of those present: the price of the lessons is 30 reales. per month in advance.

At the bottom of the page is the listing of the bookstore of the newspaper printer, that has guitar sheet music for sale.

Several paragraphs above this is the listing of 14 slaves for sale, with the sexes, ages, abilities of work to be provided and lastly the prices. 

Cuba stopped officially participating in the slave trade in 1867 but the institution of slavery was not abolished on the island until 1886. The demand for cheap labor never abated of course, and plantation owners sought other ways of obtaining workers.

In the "Gaceta de los caminos de hierro" on May 17, 1874 on pages 7 and 8 is the listing of many entrants who were awarded in all categories of fabrication of works produced and entered in 1873.

Francisco Gonzalez was awarded a Medallion of Copper for 3 Guitars and a Bandurria he entered.

Antonio Carracedo was awarded an Honorable Mention for a very ornate Bandurria and a Guitar entered.

(Editor's note: Antonio Carracedo's (1831-) father, Gregorio Alvarez Carracedo (1790-), made 2 rosewood guitars that were played in a Madrid concert by Trinitario Huerta (1800-1874) in 1847, he had been making guitars over 25 years. One year later, in 1848, Francisco Gonzalez (1820-1879) moved into a shop just down the street from Gregorio Carracedo on calle de la Cruz.)

In the daily "El Imparcial" (Madrid. 1867) February 4, 1873 page 4 we find the workshop address of Antonio Carracedo in an article on Bandurrias. It was: calle del Duque de Alba, núm. 4, Madrid.

The Guitars December 12 1901 From the magazine: "Alrededor del Mundo" by: ROBERTO DE PALACIO

The two pages from the article with its drawings of Luthers doing various aspects of guitar construction

are found at the bottom of this listing, below the original Spanish text.

Original Spanish (Castellano) text below English translation.

Four words. How to make a guitar. The Wood. - The Body. -The Sides. The neck. The fret board. -The Frets. Fecit. Spanish industry. Valencia

Las Guitarras December 12 1901 Alrededor del Mundo

Cuatro palabras. Cómo se hace una guitarra. La madera. - La caja. -El aro. El mástil. El diapasón. —Los trastes. Fecit. Industria española. Valencia, acaparadora.

Perfection in the art of building guitars,

as we see them today, it was not achieved until the end of the

18th century or early 19th century.

This now popular instrument only existed before with

five strings; the fret board that, as we know,

today it is done with a raised fret board, nothing came up to

nothing more than to the sound hole that is, to the point where

that joins the neck and the top. The frets that are placed

from the cross (top edge of the body) to the sound hole were embedded

with some little pieces of rosewood or ebony, in turn

also embedded in the top.

This is how Pagés built his famous guitars, in the

era in which constitutionalists and royalists settled

the differences of their political creed at gunpoint and he French entered

for the second time into Spain.

This was the classic vihuela that enlivened the intermissions

in the theaters and corrals of the Cross, of the

Prince and others, when the contest of

patio and casserole with imported spooky dramas

of foreign literature, with soldiers' ditties

and rogues and with theatrical grotesqueries of all

castes and genders.

Those who perfected and built them

became famous, especially Antonio de Torres,

Julián Llórente, Antonio Carracedo and the

Sevillian - Cárdenas; and previously, the brother of

Pages, Joseph, who settled in Havana and achieved

until the year 1840.

(Editor's note: Antonio Carracedo's (1831-) father, Gregorio Alvarez Carracedo (1790-), made 2 rosewood guitars that were played in a Madrid concert by Trinitario Huerta (1800-1874) in 1847, he had been making guitars over 25 years. One year later, in 1848, Francisco Gonzalez (1820-1879) moved into a shop just down the street from Gregorio Carracedo on calle de la Cruz.)

*

Making a guitar is a difficult task, if the instrument

has to be perfect. That is why it is explained that

there are so few who achieve honor and profit in the

art and that their names are known, not only

throughout Spain but in those points abroad

where more instruments of this class are bought,

What are the guitars in Paris like? London and the main towns

from United States.

There are excellent guitar makers in Seville, Malaga.

Cádiz, Valencia and Madrid. In our capital, 

there are also ancient and notable ones, well known

by concert artists and flamenco players: among them

Ramirez, the one from calle Arlaban, where

the best of the Spanish genre players gather together

by excellence; the one on calle Cádiz and the one on

Concepcion Jeronima. which also builds

laudes and bandurrias, and violins the first of

those mentioned also makes.

Good guitar makers don't do that job.

to battle out that which sells for a low price, and that necessarily

it must therefore be defective.

Because the wood used is expensive and has

to be very well chosen; it is Cuban mahogany, cypress, Brazilian rosewood,

Indian rosewood, maple, spruce, cedar, ebony and pine.

For the back of the bodies, they use any of

the first five; for the harmonic tops that,

As you already know, it is the one at the top of the

guitar, he puts on the spruce and the pine tree. The necks:

they are of cedar; the fretboard, which is the piece that goes

from the headstock to the sound hole, glued

and superimposed, it is invariably built of rosewood

or ebony, as they are the best woods that meet the

conditions of hardness, which is why

they are also among the most expensive. The bridge, which is

where the strings are attached, it is made of the same wood

as the fretboard.

All wood that is intended for the construction of guitars must be well

dried and cured. This is why guitar makers look for and buy

with preference, even paying much higher prices

to whatever they proposed, the ancient coffers, which

they were to our ancestors what they were to us

today they are armoires and trunks.

These woods are sawed in the presence of the builder,

in boards approximately the thickness of a

two-peseta coin for the bodies, and they are given the

contour shape of half a pear cut in section

longitudinal, or rectangular if intended for the

sides, which with the back and top must constitute the

body.

The two pieces that make up the

back, the same thing is done with those of the top, after having

made the rosette, and once they are finished.

The adhesives are well joined and dry, the back is trimmed

and the top, adjusting its shape to a wooden template.

While these pieces are drying, the

neck, the lower part and back of it, called the

zoque, which is what joins the neck with the body and reinforces

the set. The zoque is built of several

pieces of wood; the more that these have, the more

solidity it will have.

Dry and dry back and top, they are carved, leaving

the wooden surface clean and smooth, and then

they make the incrustations in the sound hole (which you will already know

my readers that is the hole in the soundboard).

These inlays are made of wood of various

colors, mother-of-pearl, ivory or metals, and constitute

a very delicate job. remarkable, even better, wonderful,

in which no one has been able, no longer to equal,

but to imitate the Spanish worker, who cuts and puts

those microscopic little pieces of the mosaic so

so perfect, that it looks more like a miniature drawing

than different parts placed next to each other.

In this work, the workers of our country have arrived

sometimes to outdo their teachers the Arabs.

The operation that follows the previous one is that of reinforcing

the soundboard and the back with some slats

called transverse bars and locks for the first and bars

and joint reinforcements for the second. This work

It is made by placing the two pieces in molds

of wood that guitar makers call soleras.

The sides are shaped by heat, placing

the wood next to a special stove fueled

with charcoal.

All the pieces are already arranged, and then

they proceed to be assembled. Sometimes they are assembled first

the neck and the top, and others that and the sides:

but it is generally carried out in the manner indicated in the

first place. Together, then, the top and neck, they are assembled

with the sides and stick some triangular pieces of

wood, which in guitar making is known by the name

of zoquetillos (and in carpentry berengenos).

The girders are then glued, a strip of wood that

is placed on the edge of the side to give the necessary

solidity to the stickiness of the back, and when they are dry

this joins the rest of the body. You make what you do

called the recess at the junction of the rim, with the back and

with the top, and the piping (purling) of

ivory, ebony, rosewood. of holly, etc., according to

the taste or whim of the builder and the price

that the instrument must have. When this is

luxury model, another hole (over the end block at the bottom of the top and round in shape) is made in the top and it is decorated

with inlays, mosaic too, like

in the sound hole.

The most delicate operation of all those required

in the process of building guitars is the

preparation and gluing of the back of the body, and in

it precisely ensures that it is well leveled,

the instrument: if it is warped, then the construction

it is defective and the preparation was done poorly;

with which the guitar, even if it had gold and a look

of brilliance, it would have no artistic value.

It is placed and glued. then the fret board on the neck,

and when it is well dried, put the frets, rods

of brass or white metal, and whose application of

everyone is known. The neck is given its final shape

that it must have, as well as the zoque and headstock of

that, either to put pegs or mechanical tuners,

the entire instrument is carefully scraped

with the blade, which is a sheet of. rectangular steel,

and finally, after polishing it, to smooth it

and varnish it, the strings are put on and it is in

ready for skillful hands to make it

emit the vibrant tones. poetic and dreamy notes of

the music of Spain, which does not sound good anywhere

as on an instrument as in the genuinely Spanish one,

like on the guitar.

Thus this industry is also genuinely Spanish,

and the reputation that they enjoy is lied about,

as for taking advantage of us, some builders are

foreign.

The proof is that guitars go to everywhere from Spain,

throughout the world, and it is the one that exports the most. England, so

protectionist and more possessive than anyone of that

national spirit, imports an enormous amount of

these kinds of musical instruments.

Valencia is the city in Spain that has the greatest

amount of production and the one that exports the most. It is the one that

with its fame, and also because of the cheap conditions

in which factories monopolize the foreign market.

Also, like Madrid, Seville, Cádiz and Málaga,

Valencian masters make excellent guitars

for the flamenco genre.

ROBERTO DE PALACIO.

Las Guitarras Dicembre 12 1901

Alrededor del Mundo

Cuatro palabras. Cómo se hace una guitarra. La madera. - La caja. -El aro. El mástil. El diapasón. —Los trastes. Fecit. Industria española. Valencia, acaparadora.

La perfeccion en el arte de construir guitarras,

tal como hoy las vemos, no se logró basta fines del

siglo xviii ó principios del xix.

Este hoy popular instrumento solo constaba antes

de cinco cuerdas; el diapason que, como sabemos,

se hace hoy corrido basta la boquilla, llegaba nada

más que hasta la cruz, es decir, hasta el punto en

que se unen mástil y tapa. Los trastes que hay

desde la cruz basta la boquilla estaban incrustados

en unas piececitas de palosanto ó de ébano, á su vez

incrustadas tambien en la tapa.

Asi construia Pagés sus famosas guitarras, en la

epoca en que constitucionales y realistas dirimian

las diferencias de su credo político á tiros y entraban

por segunda vez los franceses en España.

Así era la clásica vihuela que amenizaba los intermedios

en los teatros y corrales de la Cruz, del

Principe y otros, cuando se solazaba el concurso de

patio y cazuela con dramas espeluznantes importados

de extranjera literatura, con tonadillas de soldados

y picaros y con esperpentos teatrales de todas

castas y géneros.

Los que las perfeccionaron y construyendolas se

hicieron famosos, espcialmente fueron Antonio

Torres, Julián Llórente, D. Antonio Carracedo y el

sevillano Cárdenas; y anteriorinente, el hermano de

Pagies, Josef, que se estableció en la Habana y alcanzó

hasta el año 40.

*

Hacer una guitarra es tarea difícil, si el instrumento

ha de ser períecto. Por eso se explica que

haya tan pocos que alcancen honra y provecho en

el arte y que sus nombres sean conocidos, no sólo

en toda España sino en aquellos puntos del extranjero

que más instrumentos de esta clase compran,

como son Paris. Londres y las principales poblaciones

de los Estados Unidos.

Hay guitarreros excelentes en Sevilla, Málaga.

Cádiz, Valencia y Madrid. En nuestra capital, los

hay también antiguos y notables, bien conocidos

por concertistas y tocadores flamencos: entre ellos

figuran Ramirez, el de la calle de Arlaban, á donde

concurre lu mejor de los tocadores del genero español

por excelencia; el de la calle de Cádiz y el de la

Concepcion Jeronima. los cuales construyen también 

laúdes y bandurrias, y violines el primero de

los citados.

Los buenos guitarreros no hacen ese trabajo de

batalla que se vende por poco precio, y que forzosamente

ha de ser defectuoso.

Porque la madera que se emplea es costosa y ha

de ser muy escogida; es caoba, ciprés, palosanto,

palorosa, arce, abeto, cedro, ébano y pinabete.

Para el fondo de las cajas se usa cualquiera de

las cinco primeras; para las tapas armónicas que,

como ya se sabe, es la de la parte superior de la

guitarra, se pone el abeto y el pinabete. Los mástiles

son de cedro; el diapasón, que es la lámina que va

desde la cabeza del mástil hasta la boquilla, pegada

y superpuesta, se contruye invariabilemente de palosanto

o  de ebano, por ser las maderas que mejores

condiciones de dureza reunen, razón por la cual

son también de las más costosas. El puente, que es

donde van sujetas las cuerdas, es de ia misma madera

que el diapasón.

Todas las, maderas que se destinan para la construccion de guitarras han de estar bien secas y curadas. Por esto los guitarreros buscan y compran

con preferencia, aun pagando precios muy superiores

á lo que se propusieran, las arcas antiguas, que

eran para nuestros antepasados lo que para nosotros

son hoy armarios y baules.

Estas maderas se sierran a presencia del constructor,

en tablas del grueso aproximado al de una

moneda de dos pesetas para las cajas, y se les da la

forma en contorno de media pera cortada en sección

longitudinal, ó de rectangulo si se destina para los

aros, que con fondo y tapa han de constituir la

caja.

Se juntan con cola los dos trozos de que consta el

fondo, se procede lo mismo con los de la tapa, después de haberse hecho la boquilla, y luego que están

bien unidas y secas las pegaduras, se recortan fondo

y tapa, ajustando su forma á una plantilla de madera.

Mientras se secan estas piezas, se preparan el

mástil, la parte inferior y posterior de éste, llamada

zoque, que es la que une el mástil con la caja y refuerza 

el conjunto. El zoque se construye de varios 

pedazos de madera; cuantos más sean estos, más

solidez tendrá.

Secos y enjutos fondo y tapa, se labran, dejando

la superficie de madera limpia y tersa, y luego se

hacen las incrustaciones en la boquilla (que ya sabrán

mis lectores que es el agujero de la tapa armónica).

Estas incrustaciones son de maderas de varios

colores, de nácar, marfil ó métales, y constituyen

un trabajo delicadisimo. notable, mejor aún, maravilloso,

en el cual nadie ha pudido, no ya igualar,

sino imitar al obrero español, el cual corta y pone

esas piececitas microscópicas del mosaico de modo

tan perfecto, que más parece dibujo en miniatura

que partes distintas colocadas unas junto á otras.

En esta labor, los obreros de nuestro pais han llegado

en ocasiones a aventajar á sus maestros los

árabes.

La operacion que sucede a la anterior es la de re-

forzar la tapa armonica y el fondo con unos listones 

llamados barras y cadenas para la primera y barras

y refuerzos de junta para el segundo. Este trabajo

se realiza colocando las dos piezas en unos moldes

de madera que los guitarreros llaman boleras.

Se da forma al aro por medio del calor, colocando

la madera junto á un hornillo especial alimentado

con carbón vegetal.

Ya están dispuestas todas las piezas, y entonces

se procede a montarlas. Unas veces se montan primero

el mastil y la tapa, y otras aquél y los aros:

pero generalmente se efectua del modo indicado en

primer lugar. Unidos, pues, tapa y mástil, se arman

los aros y se pegan unos pedacitos triangulares de

madera, que en guitarreria se conoce con el nombre

de zoquetillos (y en ebanisteria berengenos).

Se pegan despues las jacenas. tira de madera que

se coloca en el borde del aro para dar la necesaria

solidez á la pegadura del fondo, y cuando están secas

se une este al resto de la caja. Se hace lo que se

llama el cajeado en la union del aro, con el fondo y

con la tapa, y se le pone en los bordes el vivo de

maríil, de ébano, de palosanto. de acebo, etc., según

el gusto ó el capricho del constructor y el precio

que haya de tener el instrumento. Cuando éste es

de lujo, se hace otro cajeado en la tapa y se la adorna

con incrustaciones, de mosaico tambien, como

en la boquilla.

La operacion más delicada de todas las que requiere

el proceso de construir las guitarras, es la

del preparado y pegado del fondo de la caja, y en

ella precisamente estriba el que quede bien nivelado

el instrumentn: si éste queda alabeado, la construccíon

es defectuosa y la preparacion se hizo mal;

con lo que la guitarra, aun cuando tuviese oro y

brillantes, no tendría ningún valor artístico.

Se coloca y pega. después el diapasón en el mástil,

y cuando está bien secó se ponen los trastes, varillas

de laton ó de metal blanco, y cuya apilicación de

todos es conocida. Se da al mástil la forma definitiva

que ha de tener, asi como al zoque y cabeza de

aquel, bien para poner clavijas o clavijero mecánico,

se rasipa todo el instrumento cuidadosamente

con la cuchilla, que es una lámina de. acero rectangular,

y por ultimo. despues de pulimentarle, alijarle

y barnizarle, se le ponen las cuerdas y está en

disposicion de que unas manos hábiles le hagan

emitir las vibrantes. poeticas y soñadoras notas de

la música de España, que no suena bien en ningún

instrumento como en el genuinamente español,

como en la guitarra.

Asi esta industria es también genuinamente española,

y es mentida la fama de que disírutan, en

cuanto á llevarnos ventaja, algunos constructores

extranjeros.

I.a prueba es que de España van guitarras á todo

el mundo, y es la que más exporta. Inglaterra, tan

proteccionista y más poseedora que nadie de ese

espirito nacional, importa una cantidad enorme de

esa clase de instrumentos musicos.

Valencia es la ciudad de España que en mayor

escala produce y la que mas exporta. Es la que por

su fama, y tambien por las condiciones de baratura

en que fabrica. acapara el mercado extranjero.

También, como Madrid, Sevilla, Cádiz y Málaga,

hacen los maestros valencianos excelentes guitarras

para el género flamenco.

ROBERTO DE PALAClO.