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Por favor, no me pidan este libro a mi sino en su librería. Hoy llegan los libros a los distribuidores. La nueva versión de “La escuela granadina de guitarreros” está disponible ya con el título “La guitarra tradicional en Granada”. Sepan que es el mismo libro solo con 10 guitarreros añadidos y sus correspondientes textos y fotos. En España deben pedir el libro en su librería favorita y citar el ISBN 978-84-09-62794-3 y el editor John Lawrence Ray. Si no lo encuentra dígales que distribuye Azeta Distribuciones. Pidiendo el libro en librerías me están ayudando mucho dar a conocer el libro y la guitarra granadina. Fuera de España contacten con Madera Guitarras.

Today is the big day. The new version of the book “The Granada School of Guitar-makers” is going out to the distributors today. The new version is called “Granada and the Traditional Guitar” and is exactly the same as the original except that we have added 10 new makers and their photos and texts. If you have the original there is no reason to buy this one. In Spain it will be available in bookshops and in the rest of the world I hope to see it at the same shops which sold the first edition as well as a few new ones. Ask at your guitar shop or music store and give them this link Madera Guitarras. For now I think that DK Classical Guitars in Glasgow, Strings by Mail, Guitar Salon International, Sicccas Guitars and a few others will be carrying it. If you can’t find it you can order direct from Madera Guitarras. Please don’t contact me about acquiring this book.

The guitar festival held every year in Granada is now in full swing and I have been to a few concertsalready. I think I might catch Julia Trintschuk this week and Iliana Matos next week and of course I will watch the final of the guitar-making competition. Last night we saw Raphaël Feuillâutre play a repertoire which included pieces from the baroque period right up to relatively modern times. His playing was very musical and of a perfection which I think few today could show on such difficult and rapid passages. On Saturday I saw Carles Trepat who also offered an excellent concert with a very well chosen programme of pieces which are not so commonly played. The expressiveness and authenticity with which he plays is second to none. He plays these days with period instruments and gut strings. It really is just like stepping back in time to hear how these guitars sounded. He played his 1892 Torres and a guitar made by Domingo Esteso. I attended with a friend who also plays on historic guitars and he referred to Carles as “the poet of the guitar”.

Spain is beyond a doubt the birthplace and the historical focal point of the guitar. So why is there no national museum, why don’t we talk about the guitar heroes the way we do Velazquez, Cervantes, Goya, Buñuel, Dalí, Picasso, Lorca or Lola Flores? There are a few museums or cultural centres with a very narrow focus but even those are underfunded and ignored. One example of a great museum honouring a true star of the classical guitar is the Andrés Segovia museum in Linares which is visited by tourists and scholars, guitarists and guitar-makers. This newspaper article is a plea to the the different levels of government to recognize the importance of the this man and the work that has already gone into preserving that (our) heritage.