Tag Archives: flamenco
The real link to the concert
It seems there was technical difficulties with Sunday’s concert. I had the same problems that you all. Here is a link to the video which you can see at any time. It really is very good.and interesting. Despite the problems it seems it was a success and more like it are apparently being planned. For this video I had to start playback and then roll back to the beginning and then it worked well, nothing is perfect I guess.
Online concert
To attend this unique event, you need only click on the YouTube link:“Marcus Toscano Live Concert”, according to the time zones of the countries included:8 pm in Spain (CET),3 pm in Brazil (Brasilia time)2 pm New York (EDT)11 am California time (PDT)13 pm Texas (CDT)This event is free of charge, but strictly voluntary donations will be accepted via Paypal or bank transfer. The information is provided below to those who wish to contribute. Since the beginning of the Covid-19 pandemic, musicians have dependent on voluntary contributions to support themselves with their art.We ask those who cannot contribute financially, to assist our efforts and help spread the word about the eventevent to others, either by forwarding this message from theiremail address or on social networks (see attached banner).Summarizing:What: Marcus Toscano’s online guitar concert with historical instrumentsWhen: Sunday, May 17th, 2020.Local Time zones: Spain, 8 PM
Brasil: 3 PM
New York: 2 PM
California: 11 AM
Where: Search on Google: Marcus Toscano Live Concert.Direct link: https://www.youtube.com/watch?v=BVL4bKEl0bwThose willing to donate please utilize the information:
Spanish Bank AccountMarcus Vinicius Rodrigues ToscanoBBVA Bilbao Bank
IBAN INTERNATIONAL CODE: ES12 0182 7066 2802 0075 1903
PAYPAL WEBSITE: alainit@gmail.com
(The best option for international transfers).
To enjoy Marcus Toscano’s music:
DETAILED INFORMATION
Guitars Showcased in this Event:
José Pernas 1851, Calle Fabrica Vieja 7 – Granada
This early instrument displays the proportions and definitive measurements of the current guitar.
We can relate it directly to “La Leona (1856)” by Don Antonio de Torres,
the most important and famous guitar in history. Pernas built this instrument five years before the famous “La Leona”. Emilio Pujol
wrote, in 1931, in Almería’s La Independencia newspaper: “Torres was a
true artist: a revolutionary in his art, as is necessarily for all
creators, he felt a passion for the construction of guitars from a young age, and learned this art under the direction of José Pernas in Granada. The best builders up to that time had been Pagés, Benedit, Recio, Altimira and his mentor Pernas”.
Mr. Toscano states: “This instrument is in excellent condition for its 170
years and it is impressive how it still preserves its robust and wonderful sound, suitable for concerts and recordings.
I recently offered concerts at the Alhambra Castle and Carmen de
los Mártires without the need for amplification.”
Domingo Esteso 1928, “The Dog” (Cuenca 1882 – Madrid 1937).
Calle Ministriles 7 – Madrid
Domingo Esteso learned his craft under the tutelage of Manuel Ramirez,
in Madrid, together with figures who later reached maximum
notoriety in the world of guitar construction, like Enrique Garcia,
Modesto Borreguero and Santos Hernandez.
In 1915, Esteso opened his own workshop together with his wife, and
his work stands out for its impeccable finish, aesthetic lightness, and,
above all, as a clean and bright sound, sometimes qualified as old.
“This instrument, from 1928, remains in its totally original state, including varnish. It was partially repaired in 2018 by the great Master Yuris Zeltins (American based in Seville, maximum authority in guitar restorations). During the repair, Yuris jokingly named to this guitar “The Dog” or “Stray Dog”, due to its visible marks of excessive use for decades by Gypsy street flamenco players in Spain ”, says the artist.
Marcelo Barbero 1953 (Madrid 1904-1956).
Calle Ministriles 6 – Madrid
Marcelo Barbero is considered one of the greatest luthiers of the 20th century, perhaps the most important and innovative in the construction of flamenco guitars. A fine example of the builder’s best period (1951-1955), this instrument was originally commissioned by the great flamenco guitarist Jose Motos (Salamanca 1930 – Barcelona 1978).
Jose Motos recorded several albums (photo below) as a soloist with this
instrument, and became famous for accompanying great artists such as the genius Sabicas and the famous flamenco dancer Carmen Amaya. This one instrument is in its original state and has been featured on the cover
the album entitled Fantasia Flamenca, in 1956 by Mr. Motos.
“It really is an instrument with extraordinary timbric qualities, perhaps the best guitar I have found in Spain ”, Marcus Toscano states.
Program:
With a guitar by Jose Pernas (1851), Granada:
Aria detta la Frescobalda Girolamo Frescobaldi (1583 – 1643)
Aria detta la Frescobalda Girolamo Frescobaldi (1583 – 1643)
Study in Bm Fernando Sor (1778 – 1839)
Andante Largo op 5 n 5
Bolero Julián Arcas (1832 – 1882)
Lagrima Francisco Tárrega (1852 – 1909)
La Maja de Goya Enrique Granados (1867 – 1916)
With a guitar Domingo Esteso 1928, “The Dog”
Song without Words, op 19 n 6 Felix Mendelssohn (1809 – 1847)
With a flamenco guitar Marcelo Barbero 1953 ” Ex Jose Motos”
Soleá Julián Arcas (1832 -1882)
Torre Bermeja Isaac Albéniz (1860- 1909)
Part 2 of article for Leonardo García
Leonardo García has published the second part of my article about the Granada guitar-makers on his Six String Journal. When I started this blog I tried to exchange guest posts with a few bloggers and no one was interested. To me it seems like a great way to get more people reading about the guitar.
Inlay
Guitars can be absolutely beautiful but usually the beauty is in the wood or in the functional form of the instrument. There are exceptions, however, and clients seem to love something a bit extra. My concert model and the Santos are decorated quite simply but the Torres SE 153 is pretty flashy. Another model that I used to make, a copy of Antonio de Lorca García used mother-of-pearl inlays in the bridge as well. Its something that takes some skill but really draws the eye. I like it but would never put it on all of my guitars. Furthermore I use MOP almost only when making my exact copies.