Tom Blackshear -> RE: Ramon Montoya's guitar (Jul. 17 2009 6:40:26)
|
quote:
ORIGINAL: Doitsujin quote:
I don’t like guitars in museums because you don’t get to touch them. Well.. that is exactly the reason why it should be in a museum.. That its protected from you and your friends fatty uncareful fingers. ;.) Well,.. the Montoya guitar is not a masterpiece like a strad nor expensive and unique like the death mask of Tut-san. Its just a piece of glued rotten wood that was found in the backyard of the Flodders. So,, there is no reason to play it further.. because the tone is not the important part of that piece of crap. Its just a document of evolution in flamenco.. a small part of the milestone Montoya and a recall on his work. Like so many other broken statues from greek in museums or old hand made cups from rome in museums... Its just rubbish from a past time period. But its in a museum to remember and take a look. Not touching, because if everybody touches it... it becomes within a very short while a broken small fatty piece of crap.. To talk clear..it would look like pure ****. (I guess its censored.. haha ) So,.. saving the guitar in a museum is the best choice IMO. [;)] I think you should be aware of the way Brune feels although he does not have much time to be on chat lists, which I can understand since he is a slave to guitar orders that just won't quit. 1. The guitar is a 1923 Domingo Esteso ex collection of Luis Maravilla, which I legitimately own. I don't know why someone said "no one" owns it, unless this was intended as an insult. If it was supposed to be humor, I'll gladly forward a $5 bill for humor lessons if they are courageous enough to give me their actual name and address. 2. I have previously published articles about this guitar and its history in Guitar Player Magazine, August 1988, page 22, and Vintage Guitar Magazine, July 2004, pages 68-72. If any foro member wishes to contact me directly with their actual name and email, I'll be happy to email copies of either or both articles at no charge. They can contact me through my web site. Over the past 40 + years I have tried to make as much of my collection and archival material as possible available to others through my published articles, and contributions to other author's works, most done for little or no compensation. I do this out of my aficion for the instrument. 3. The guitar is hardly hidden away "in the middle of nowhere" as one writer put it, as Evanston is right next to Chicago, Illinois, a city of some world wide notoriety. It has been played and admired by artists such as Paco Peña, Pepe Romero, Eliot Fisk, Tomas de Utrera, Paco Fonta, and many others. It is available to any aficionados who visit my shop to see, play and study, as are the many other instruments also in my collection. 4. Anyone who feels strongly enough that this guitar should be in a museum in Spain is welcome to make me an offer I can't refuse and in turn, donate the guitar to the museum of their choice in Spain. Otherwise, they should study the concept of private property as set forth in the U.S. Constitution. Right now the guitar currently IS in a museum, the Bruné Museum, which I daresay is probably under better storage, security and humidity control than just about any museum in the world. I understand as well as anyone in Spain the significance of this and all the instruments and archival material in my collection, and I intend to preserve this for future generations to study, love and appreciate as I have. And I might add that Brune has the expert skills to keep the guitar in its restored value and material conditioning. Any museum would have to depend on an expert restoration artist, like Brune, to be able to keep the instrument in its best condition. Tom Blackshear
|
|
|
|