Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
RE: The Schism of the Conde Hermanos Empire
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
gj Michelob
Posts: 1531
Joined: Nov. 7 2008
From: New York City/San Francisco
|
RE: The Schism of the Conde Hermanos... (in reply to keith)
|
|
|
Hi Keith, good to see you[r post]. At this point, Conde, be it Felipe or Hermanos, is a reference, a vestigial credential of an individual enterprise now evaporated into a "label". As "Ramirez" did, regardless of whether it is Jose I or II or III or IV or Joselita (Amelia). Much to the point Orsonw makes above, both labels define and guarantee fine guitars, steady and reliable, regardless of who makes them where. On the other hand, however, shouldn’t we cautiously weigh the apparently inherent value of all luthier’s guitars? There are a lot of guitar-makers out there, mostly self-appointed and certainly lacking the excruciatingly long but profound apprenticeship a Manuel Contreras must have undergone at the house of Ramirez. How many did and do that any longer? I spoke recently to your friend R.E. Brune. I was reverently impressed by his sweeping knowledge of flamenco and guitars. And speaking to him I was compelled to remember the other infallibly critical aspects required to succeed at any craftsmanship, including guitar making, which must add to the steep learning curve of a serious training (and not everyone naturally has): talent, taste, class, ascetic devotion and integrity…. How many of the guitar makers today have proper training (as say Felipe Conde must have) and really have all of these gifts? Even if a Felipe Conde simply uses his knowledge or experience to supervise someone else’s work he is –just as RE Brune is- one very long step ahead of those who may need to google “how to glue a bridge”. I have a Conde and I love it. I am advertizing it for sale, but am sending it to Richard Brune next week to see to a “buzz” it developed. I would not want a buyer of such a guitar (if I will ever sell it, ultimately) to inherit anything which may detract from the beauty of sound and playability my Conde has given me.
_____________________________
gj Michelob
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 16 2010 2:20:31
|
|
New Messages |
No New Messages |
Hot Topic w/ New Messages |
Hot Topic w/o New Messages |
Locked w/ New Messages |
Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.0625 secs.
|