Tuesday, June 13, 2017

Perfect guitars

                  PERFECT  GUITARS

I am a man of this era and so using only the utmost best there is. I am at the point to acquire a motor and am considdering a Harley Davidson. You yourself may be looking for a piano and are investigating a Steinway. Steinway and Harley Davidson both represent icons of todays quality level.  And that is quite similar in guitarworld
where it looks like we all want to play a guitar with concert quality. Must it be that way? Oh yes, absolutely. Today we just want to hear concert quality. We want the volume, sparkling notes and well balanced harmony. We won’t go for less! Every single guitar should be a concert type, every single piano should be a Steinway and yes, every motor a Harley Davidson…… Suppose this all will become true, will we feel much better then? When everything is perfect when all our music comes from Steinways or concert guitars… Really better?   mmmmm..  Sometimes I do not know, dou you?
 I am paying a visit to a valencian friend who is showing me his guitar collection.    While I am busy investigating and photographing his guitars, I hear him perform on different guitars.
Then I catch a sound I recognize at once. It reveals Spain for me: dry, dusty, hot and above all Extramadura. I return to him and find him playing a guitar of Telesforo Julve from Valencia.  I feel proud and happy that I (who has an untrained ear) was able to determine the sound of the subject of my investigations.
Not at all a concert guitar, but character? Oh yess, it is fully loaded.
In general this type of sound will disappear as we dislike that today. It is too shril,  frayed, unbalanced, etc. These guitars are left in cellars and ceilings to finally burst, waste away or consumed by a hungry woodworm.


Soy un hombre de esta época, y por tanto uso sólo lo mejor de lo mejor. Estoy a punto de comprarme una moto y estoy pensando en una Harley Davidson. Usted mismo puede estar buscando un piano y esté mirando un Steinway. Tanto Steinway como Harley Davidson son iconos del nivel de calidad actual. Y algo muy parecido ocurre en el mundo de las guitarras, donde parece que todos queremos tocar una guitarra de concierto. ¿Tiene que ser así? Oh, sí, desde luego. Hoy en día sólo queremos oír calidad de concierto. Queremos el volumen, el sonido brillante y la armonía equilibrada. ¡No nos conformamos con menos! Todas y cada una de las guitarras deberían ser de concierto, todos y cada uno de los pianos deberían ser un Steinway y, sí, todas y cada una de las motos deberían ser una Harley Davidson... Supongamos que todo esto se convierte en realidad: ¿nos sentiríamos mucho mejor en ese caso? Cuando todo es perfecto, cuando toda nuestra música procede de Steinways o guitarras de concierto... ¿Es realmente mejor? Mmmm... A veces no lo sé, ¿y usted?

Estoy visitando a un amigo valenciano que me está enseñando su colección de guitarras. Mientras estoy ocupado investigando y sacando fotos de las guitarras, le oigo tocar en varias de ellas.
Entonces oigo un sonido que reconozco inmediatamente. Me muestra lo que es España para mí: seca, polvorienta, cálida y, sobre todo, Extremadura. Me vuelvo hacia él y lo encuentro tocando una guitarra de Telesforo Julve, de Valencia. Me siento orgulloso y feliz de que yo (que no tengo un oído entrenado) haya sido capaz de reconocer el sonido del objeto de mis investigaciones.
No es una guitarra de concierto en absoluto, ¿pero y el carácter? Oh, sí, lleva mucho.
En general, este tipo de sonido tenderá a desaparecer, puesto que hoy en día no gusta. Es demasiado penetrante, desgastado, poco equilibrado, etc. Estas guitarras se olvidan en sótanos y desvanes para que terminen desencolándose o comidas por la carcoma.
                                                                                               traducción Lucía Vergara Herrero

Sunday, June 4, 2017

Salvador Ibáñez: all guitar labels /// Salvador Ibáñez: todas las etiquetas de guitarra

Versión de Julio # Version July 2017

 Labels Ibáñez


Download the collection of Salvador Ibáñez guitar labels, including dating help.

Descargue la colección de etiquetas de guitarras de Salvador Ibáñez + ayuda para datarlas.

Tuesday, May 16, 2017

AGUSTIN BARRIOS: 67 works (incl. rediscovered) transcripted by Chris Erwich------67 composiciones (incl.redescubridas), transcripción por Chris Erwich >>

Since his passing in obscurity in El Salvador the 7th day of August, 1944, the ever-expanding shadow cast by pioneering Paraguayan guitarist-composer, Agustín Barrios Mangore, falls today on every corner of the earth. In a career spanning 34 years, Barrios’ performance tour took him throughout South America, the Caribbean, Central America, Mexico, and three countries in Europe. Performing original compositions as well as a broad spectrum of arrangements of works by other composers, Barrios’ demanding concert schedule required his generating a continuous flow of new material, which he assiduously and continually refined.
It is generally accepted by historians and scholars of this esoteric subject that Barrios’ bohemian lifestyle and constant peregrination were not conducive to the preservation of a significant number of his compositions, also ensuring that an overwhelming majority of his works would go unpublished during his lifetime. Editions of varying quality of the Barrios canon have been published over the past century with editors and transcribers often relying on the artist’s commercial recordings when original manuscripts were inaccessible.
Now, Dutch guitarist Chris Erwich has helped rectify this situation with this thorough and methodical study using preferred source materials – Barrios’ original recordings made from 1913 to 1942 – meticulously analyzing 67 works performed by this genius from the jungles of Paraguay. Using digital tools previously unavailable to transcribers, Mr. Erwich has captured to a high degree of precision, “Barrios as played by Barrios”.
Mr. Erwich adds these unique transcriptions to his previous publications exploring the decades-old mystery shrouding Barrios’ 1935 performances in Nazi controlled Germany, in which are detailed the intrepid Paraguayan’s stay in Berlin in the company of his Brazilian, mulatto companion, Gloria Silva (1903-1965) and friend and patron, Paraguayan Ambassador, Tomas A. Salomoni.
Frederick Sheppard       Luthier and contributor to El Inalcanzable: A. Barrios Mangore


Tuesday, January 3, 2017

Guitarras SANCHIS, Ricardo (3x), Vicente y David & Germán

Updated with data from the Sanchis families
Actualizado con datos de las familias Sanchis 
Nov. 2016