To Torres or not to Torres.

Javier Riba was in town this week for some fret work and while he waited he was working on the pieces for his upcoming concert in Italy.  I asked him to record something for me on the Torres copy and the same thing on a cypress concert guitar.  I made the Torres copy in 2005 and the cypress in 2010.  The video was made with a digital still cam, there was a thunderstorm, and a few car noises so sound is about as bad as it gets, let’s say this is just for fun.  Tárrega’s Prelude No. 1

 


Concert guitar

 

 

 

Maple Torres copy

 

 

Antonio de Lorca

Antonio de Lorca Garcia was a guitar maker in Málaga, Spain in the 19th century.  He was an excellent maker and one of the last to use the elongated body shape in Spain but at the same time used fan bracing.  In the above pictures the only non-original elements are the pegs.  The instrument that I was able to study was part of the collection of Ángel Luis Cañete of Málaga with whom I coincided at the workshop of my first teacher José Ángel Chacon.  This guitar was built in 1847 and is very similar to the Pages guitars that I have seen having a similar shape and almost identical fan braces. 

Exclusive from Alex Garrobé

Alex Garrobé is an old friend and one of the best players in Spain. His resourcefulness and professionalism shine both on the stage and in his masterclasses.  He kindly gave me permission to stream this track from his new album.  If the player does not appear click here and try again.   Have a look at his website for more information. The album is available from Amazon.  Prelude from the Suite Compostelana by Frederic Mompou. Prelude from the Suite Compostelana by Frederic Mompou.

New guitar making book in Spanish

This is news (even for you English speakers) because there has never been a decent book written in Spanish on the subject; something I find quite ironic.  “La Guitarra en la Luthería”  by José Ángel Chacón Tenllado was published by the regional government here in Andalucia, Spain earlier this month.  I am sorry to say that I have yet to see a copy of the book but I did see some of the drawings and content while it was being written.  Chacón was my first teacher in instrument-making back in 1990 and prides himself on being a luthier – a maker of all stringed instruments- not just the bowed instruments for which he is  well-known.  He developed his professional skills in Italy so for me the Italian influence combined with the violin maker’s influence enriched what I later learned here in Granada.  I am excited about this book because I know how systematic and organized Chacón is so I know that everything will be explained to perfection.  Teaching has been a very important part of his work ever since he returned to Spain in the eighties.  And now for the baffling politics of this:  There were an extremely limited number of copies printed and it is not for sale, go figure.