The Golden Age of Violin Making in Spain is a book published by Tritó Editions and the first of its kind in Spain. Everyone knows the Italian tradition of violin making but Spain also has its history, the most important figure being José Contreras who apparently began his career as a guitar-maker in his native Granada. The photo shows a Contreras violin in the Barcelona Museu de la Música. This book until now had escaped my attention perhaps due to my focus on guitars, guitars and guitars.  I have yet to get my hands on a copy but the photography looks fantastic and the researchers and authors have excellent reputations. Editor Jorge Pozas says: “From the very beginning, one of my great ambitions has been to restore and preserve the national musical heritage of my country.” I can only applaud his intent and be inspired by it.  Too many instruments of incalculable value to our heritage have been sold to collectors outside of Spain. For ordering just go to the link at the top of the page.

A recent trip to Madrid for the presentation of “Roseta” enlarged my guitar vocabulary in unexpected ways. I made some new friends and came to understand a little better those whom I had always considered to be my polar opposites. I heard for the first time the term “the Granada syndrome”, apparently coined by Lesure while writing about Debussy. It refers to the attribution of romantic longing to this admittedly romantic, moorish oriental city. In Debussy’s case without ever having visited. You can read more about this in Lesure’s “Le syndrome de Grenade” or in the article by Angelo Gilardino, “Andrés Segovia: Paradigma de una identidad” in the latest Roseta journal. As always, Gilardino’s writing is beautiful and insightful. Later in the evening, the sort of guitar-maker I am familiar with (artesano) was referred to as a “guitarrero de portal” meaning that they work with a view of the street or in view of the street. The alternative of course being a larger operation with someone out front to deal with the public. I have to assume that no offense was intended (and none taken) but the distinction was made to imply that the larger operation is a very serious affair. I often make the same distinction to highlight the quality and dedication of the artisan. Not surprising I guess that we each defend the particular model that we have chosen.

As the night “poured” on and conversation turned inevitably lighter I heard the term “New Madrid school of guitar-makers”. Nothing strange in that but when I was told that, in the opinion of my drinking companion, it is made up of a Swiss man, a Korean woman and a Catalonian I wondered how the others in town might react. The references made were to Leonard Plattner, Yunah Park and Elías Bonet. I have seen guitars made by two of these makers and have heard great things about all of them. Without a doubt, they come from a place of tradition and respect for the guitar and share a desire to improve both the guitar and the Madrid school. More power to them. I got some very negative feedback when I published an article here praising the first foreigners to take up guitar-making in Granada so maybe this too will get some negative attention.

I had the pleasure of meeting Amalia Ramírez and sharing a drink with her and her nephew Enrique Ramírez. The latest José (Enrique) in an unbroken line of Ramírez is passionate about guitars and interested in every aspect of this six-string world. In answer to a question I posed to Amalia I think the answer is “Yes, he has what it takes”. All that tradition and family history together with a personal committment to the guitar can bring great things. As for Amalia, after our conversation and reading her interview in the latest issue of Roseta, I feel like I understand her much better and can only congratulate her for her success with the family business. There is no doubt as to the fact that it is her success and that the next generation owes her a great debt.

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The news from Madrid is better than expected, it seems we will be able to continue using Indian Rosewood to make our guitars. Furthermore, the burden will be mostly on the builder as opposed to the clients. Anyone who has any species of Dalbergia should count what they have and report it to the provincial office of SOIVRE. We were told that in the case of Rosewoods already on the CITES list, we should have bills to prove acquisition pre-CITES whereas in the case of the new entries to the list that will not be necessary. Of course for Brazillian it is much too late for any legalization.

Once our wood is registered we should be able to get CITES certificates for exporting or selling the guitars made with it. One worry we had was about the tourist who comes and buys a guitar and leaves the next day. We will be able to make a “tourist” certificate that will allow him to take his guitar back home. Afterwards any travel with the guitar will be allowed without paperwork beacause of the 10kg exemption for personal items. We will be allowed one year’s grace period for legalizing the wood but of course until we do so we will not be able to export. One thing that has become very clear is our obligation to keep up to date with the CITES appendices.

Madinter has very kindly offered to clear up any points on this subject and will be celebrating an informative presentation on December 20 in Madrid. They ask that anyone interested in attending please let them know. They will tell you the time and place.

Personally I would reccommend that those of you who make guitars as a hobby register any Dalbergias that you have just as you would an elephant tusk carving that your grandfather left you. That way in the future you can sell the wood or even export a guitar made with it even though you might not be exporting what you make these days.

A new shipment of books “The Granada School of Guitar-makers” was recently received at Strings By Mail in the U.S. Just in time for Christmas gifts, both guitarist and “luthier” will love this book. Here is a low resolution capture of a page in the book. Buyers of the book get a full size image file of this plan drawn by Richard Bruné of a Manuel de la Chica. You can find the book in a few other places but this is the only seller in the U.S. that buys direct from the publisher. As I am sure that you know, they are a great source for books, music, strings, recordings and a myriad of other music related products.