Taso Comanescu, who recently recorded some great videos for us (check them out here) came back to record some duos with Mak Grgic, this week, and while he was here we asked him to play a little on the new Lorenzo Frignani ’1910 Manuel Ramirez’ that just arrived. So Taso recorded Tarrega’s ‘Lagrima’ on this guitar, which sounded perfect for the piece.
Lorenzo Frignani lives and works in the charming city of Modena, Italy. Established as an independent luthier in 1986, he has been building a variety of instruments including guitars, lutes and violins for nearly 3 decades. In addition to his own concert guitar models, Frignani makes a unique replica of a 1910 Manuel Ramirez guitar (Frignani owns the original and has studied it extensively) and gives it an aged/distressed look, built into each new guitar – a technique common in the violin world which he has adopted for this model. Frignani has won many awards for his guitars and his lutes both in Italy and around the world (Including his nomination in July of 2011 as “luthier of the year” by the town of Fiuggi-Lazio.).
Here’s the final guitar that will be featured in our upcoming event with Scott Tennant and Pepe Romero Jr. featuring guitars from the Romero collection that have inspired Pepe Jr. – an 1886 cypress and spruce guitar by Antonio de Torres. Pepe says “My father bought this Torres on my grandfathers advice 2 days before he passed away in 1996. The guitar has haunting basses and trebles that sing like only a guitar of over 120 years can do. It is as beautiful a sound as I’ve heard and packs plenty of power. It is an honor to be able to have a guitar like this to play and to hear. Torres deserves every bit of credit that he has earned, what a master!”
One of the amazing details about this guitar is that it has repairs made with discarded music from Celedonio Romero. Apparently Celedonio would often practice in Santos Hernandez’ workshop, so that Santos’ trash can was filled with discarded music – arrangements Celedonio would have been working on – and when Santos needed some paper for a repair he would grab it from the trash can. In this case, some of that music made its way into the guitar, as you can see in the photos. I don’t imagine that either Celedonio or Santos was unaware of the beauty of doing a repair in this way.
Hungarian guitarist Andras Csaki came by GSI last week. He’s been touring the world and winning competitions since 1999 – you can read more about him here. He played Dowland’s ‘Farewell’ on a Sakurai-Kohno Professional-J spruce guitar and Barrios’ Vals Op. 8, No. 3 on a Thomas Norwood ’1932 Esteso’ model.
The registration deadline is just a few days away – May 15th – so click here for more info on the NYGS website.
BE A PLAYER: Exploring Entrepreneurship and Creating Performance Opportunities
Welcome to the 13th annual New York Guitar Seminar at Mannes College. We are thrilled to bring together again an international faculty of renowned performers and teachers for five full days of workshops and master classes in New York City. The New York Guitar Seminar is open to high school, college, and graduate students; music teachers; professional performers; and all classical guitar players seeking to broaden their musical horizons. Performers at all levels of playing skill are welcome.
The next guitar for our upcoming Scott Tennant and Pepe Romero Jr. concert on June 1st is a 1919 Santos Hernandez spruce and cypress guitar – I asked Pepe if he considered it a flamenco, a classical or just a guitar, and he said it was just a cypres guitar (cypress was cheap and readily available at the time – flamencos were generally cheaper guitars, which is why cypress was almost always used for them).
Pepe also says “It definitely has a flamenco attack and I have it set up between classical and flamenco. If ever a guitar had duende, this one has it. It is pure magic! This is easy to play, explosive and beautiful sounding. It is super light weight and totally alive. My head stock is my version of this guitar. When I started to build guitars my father took out 5 Santos Hernandez guitars and told me to take the one that I liked the most, study it, play it and get inspired. I am inspired just thinking of this guitar! This is the one that I chose that day.”
We’ve got two guitars From Granada builder Lucas Martin just finished and ready to make their way over to us – a flamenco blanca and a cedar and rosewood classical. Lucas’s guitars don’t tend to stay in the showroom for very long – between the sound, the playability, the beautiful workmanship and the price they’ve become very popular very quickly.
The next guitar that will be featured in our upcoming Scott Tennant/Pepe Romero Jr. event on June 1st is this 1958 Miguel Rodriguez flamenco nicknamed ‘Henrietta’ (Henrietta was the name of the previous owner). This was the guitar that Pepe Romero used to record his Flamenco Fenomeno record when he was just 15 and his next record at age 18. Celedonio Romero also recoded on this guitar. When Pepe Jr. turned 15 his father gave it to him, and Pepe Jr. says that he “played it for years and was moved by the beauty and raw attack that this guitar has.”
In the latest episode of Scott Wolf’s podcast All Strings Considered Scott talks with Andrew York:
“I had a great chat over some of my almost-as-good-as-Scott-Tennant’s espresso with the Grammy winning guitarist and composer Andrew York. We talked about a whole series of interesting topics, and you will have the chance to hear lots of new music from his recently released double album Yamour.
We’ve got a bunch of great flamencos at the moment, so I thought I’d record the same little bit – a Soleá Por Buleria falseta of mine – on five of them. I ended up recording an 2006 Antonio Raya, a 2012 Juan Fernandez, a 2012 Juan Fabian Manjon, a 1998 Lester DeVoe and a 2010 pau ferro Felipe Conde, the only negra of the bunch.