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estebanana -> RE: Antonio de Torres 200 years (Jun. 15 2017 3:41:55)
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quote:
There's a 1934 spruce/Indian Barbero for sale at Guitar Salon in L.A. They have a video
http://tinyurl.com/y9pn6lcv
of it played by Tomasz Fechner. I don't know about the neck angle and bridge height, but I like the sound of it.
RNJ
Wow, I think Tomasz Fechner my new favorite classical player. Not a bruto at all.
After much reading, researching and correspondence with Brune' and other authorities, I'm of the opinion that the narrative that supports a 'classical' guitar came first paradigm is largely false. The evidence for a development that holds the Torres era guitar makers outside such binary narrative is very strong. The schism narrative was planted in the mind of the public well into the 20th century. Long after Torres and his contemporaries had passed away. The evidence for a Sevilla based guitar industry that catered mainly to flamenco guitarists is very solid.
On the topic of the tablao guitar, that is part of another split between Manuel Ramirez and this brother. The 'tablao guitar' was an egg shaped thingy that was not like a flamenco guitar, it was more like this: https://www.guitarsalon.com/store/p4924-1897-jose-ramirez-i-spcy.html
The split between Jose I and Manuel was not just that swift move that Manuel pulled by saying he was moving to Paris, and then opening his own shop across town, they also quarreled over the Torres concept. As I understand it, Manuel was a solid Torresian, and Jose I was into other avenues of exploration. But Manuel's genius was that he recognized and dissected the Torres concept and developed within the scope of Torres work. Santos learned this too by intellectual capillary action. Santos Hernandez sponged up Manuel's study of Torres first hand and received the knowledge or what ever it was that Manuel learned.
There was not a lot of discernment market wise as to what was flamenco and what was classical in the days of Manuel moving out on his own. The the idea of a clear division between two fields had not developed yet in the mind of the public, if they even thought about it at all. That division will not become entrenched in the pubic consciousness until the Segovia press corps begins to write concert notices with the differentiation noted, and this occurs in the late 1920's and early 1930's; and is then expanded upon by those who identify with Segovia doctrine of separating 'classical' music from forms of popular music.
Torres and his fellow builders on the Calle' Cuna, Carpenteria, and Cerragerria did not know they were inventing classical guitars because they were mainly making guitars for the dual clientele of some senoritos and mostly flamencos, and some guys who played a mixed bag everything to get a gig. The invention of a label that branded the Segovia Doctrine followers from Flamencos came fifty years after the middle of Torres' Segunda Epocha, or about 1880.
I say Segovia Doctrine with a bit of humorous sarcasm- His ideas were truly taken as doctrinal by many and amounted to a kind of religious vision we still feel palpably today. It will eventually unravel and the narrative will be adjusted to allow the doctrinal aspects of Segovia to be seen objectively without out so much ego. He was truly a great musician, but the mythos around his ideas have taken on a life of their own.
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