Carles Trepat is perhaps the most interesting guitarist in Spain right now.  His musicality and expression is second to none and his work in composing and arranging is bringing new repertory to our beloved instrument.  Not only do I enjoy his playing but I am also a beneficiary of his generosity.  As you might know I make a replica of the Torres that he owns and plays.  He allowed me to examine it a number of times and then agreed to put the first finished copy through its paces and compare it side by side to the original.   So about 30 Torres copies later I see that time as a turning point in my career.

Trepat gave a concert last night here in Granada and it was great on every level.  Bach, Llobet’s catalan folksongs and Trepat’s own arrangements of Manuel Quiroga.  He has been investigating the life and music of Padre Basilio (to whom we attribute the addition of the sixth string on the guitar) and played two pieces which he recently unearthed.  One of his strengths (or weaknesses depending on the type of concert-goer you are) is how seriously he takes the music.  From the moment he sat down to play right up to the end, not a word, not a drink of water, nothing.  All his energy was focussed on expressing himself musically.  My wife remarked on the contrast with Zoran Dukic whom we saw in January and who reaches out to the audience and talked about each piece.  However, she enjoyed Trepat’s concert as much or more than Dukic’s.

Trepat is also known for the guitars he plays, he has the Torres I mentioned, the Pagés you see in the video, a Santos Hernandez, an Antonio Marin I have seen him play with an orchestra and last night he was playing on a Romanillos.  My experience with Romanillos guitars is very limited but this was much better than the last one I heard, an excellent instrument.

Here is an interview with Trepat, in spanish and a bit more information about him this time in English.

I am a big fan of the old masters but an important part of that is my respect for tradition.  My interest in historic instruments has helped me learn but I must admit I have learned so much more from makers here in Granada.  I have always maintained that there is a line from the spanish makers of the 18th and 19th century right up to Antonio Marin and Manuel Bellido as well as a lot of the other makers here in Granada.  My connection is that my teacher learned from both Manuel and Antonio.  Ever since Rolf’s death I have thought that I really should make a “hommage” model and try to get as close as I can to the guitars that Rolf made with that model.  Well, among the wood, tools, jigs and junk from his workshop there were quite a few guitar “parts”.    So my first “copies” of his guitar will be made with these parts, I will try to dig up some of his labels and put mine and his on the ones that reflect his work and mine.  My biggest challenge will be respecting  his aesthetic philosophy – Rolf studied industrial design and had a great eye for sober, function-driven aesthetics. In general I imagine that these guitars will sound quite similar to my concert model with the possible exception of the first one.  The top is already braced and glued to the neck, sides are bent and the back it braced too.  It will be interesting to compare it to one of his own guitars when I finish it. 

Rolf was neither overly modest nor was he any sort of divo but he did desire to be recognized for the work he was doing.  However, as he barely sold guitars in the U.S. and Japan his presence in publications and the internet was minimal.  I don’t see how I will come up with the time but I think that a plan of one of his guitars or a method based on his teachings would go over very well. 

An excellent concert Sunday night in Granada, don’t miss him if you get a chance.  I spoke to a few friends about this concert beforehand and they were reticent about spending an hour or two with “just a guitar and classical at that”.  Well, they would have loved it, not only is Dukić a great guitarist but also very comfortable on stage, engages the audience and had something interesting to say about each piece that he played.  This guy should be named ambassador of the classical guitar.  In Spain (and maybe elsewhere) classical guitar concerts are always attended mostly by guitarists but musicians like Zoran Dukić might change that, he is one of the best choices if you want to turn someone on to guitar concerts.

I should mention his tone too.  My wife loved the “sound of his guitar” and I tried to convince her that to a large degree it is the player who makes the tone but she wasn’t having any of it.  “It sounds great, I’ll bet it’s a Granada guitar”, she said.  Well it was a Friederich so at least it’s made of wood and it did sound good.

Thanks to the Palacio de Congresos and the musical director of this series of concerts, Gloria Medina.  We don’t get enough classical guitar concerts in this city.  Speaking of which, the International Music and Dance Festival of Granada has a new director and he has been heard to say that he would like to see more guitar music in this year’s edition, we’ll keep an eye out.