기타살롱의 리브라님의 글 퍼왔습니다..
..................................................................
델캄프 포럼에 재미있는 글이 있어서 가져왔습니다.
가계도도 있네요.^^
In an earlier thread the question of a “Granada School” of builders was raised, leading to heated discussion regarding whether the term holds realistically meaningful validity. Now that passions have subsided, and without wishing to take a side in the matter, I’d like to share my understanding of the term strictly as evidenced by a chronological overview of the historical record. Perhaps this background information will help others elucidate their positions.
Evidently the first coinage of the term “Granada School” in English may be attributed to a translation of words by Eusebio Rioja, who published the book Inventario de Guitarreros Granadinos, (1875-1975) in 1976. George Clinton and John Roberts (Editor and History Columnist of the English magazine “Guitar”, respectively), visited Granada in 1976 and Roberts, as a result, published an article entitled “The Guitar in Granada” in the February, 1977 issue (pages 9-11). Roberts quotes from it extensively (in his own translation) in his article, and specifically quotes Rioja’s phrase in the introduction, "la escuela guitarrera granadina", as “the Granada School of makers”. Roberts then goes on to cover Rioja’s list of Granada makers.
Ivor Mairants, the English jazz guitarist and classical enthusiast turned guitar dealer (who was importing and selling guitars by Antonio Marín Montero, Manuel Bellido, and Antonio Raya Pardo among others already), covered six “Guitarreros of Granada” in his 1980 book My Fifty Fretting Years (pages 356-357) without using the term, however.
Rioja published a second edition of his book, this one entitled Inventario de Guitarreros Granadinos, (1875-1983), in conjunction with the 11th Congresso Nacional de Actividades Flamencas in Granada in 1983. Mairants was in attendance, met Rioja, and returned to England to publish the two-part article “Granada: City of Guitar Makers” in the March/April and May/June issues of “Classical Guitar” magazine (pages 71-74 and 59-60, respectively). Like Roberts’ article seven years earlier, Mairants covers Rioja’s now extended list of Granada luthiers. While not using the term “Granada School”, Mairants opts instead to use “pupils of the House of Ferrer”, “the school of Ferrer”, and “the Ferrer school”.
The aforementioned George Clinton returned to Granada in 1988 for a week’s visit, thereafter writing a series of twelve articles entitled “Escuela Granadina de Luthiers” (The Granada School of Luthiers) in “Guitar International” magazine from September 1988 through 1989. Not merely parroting Rioja’s term, Clinton instead was referring to an actual organization called the Escuela. In his words, “The Escuela was formed in 1987—in truth to bureaucratize an already close association—and comprises twelve makers” (namely, Antonio Marín Montero, José Lopez Bellido, Juan Miguel Carmona, Rafael Moreno, Germán Pérez Barranco, Antonio Raya Pardo, José Marín Plazuelo, Manuel Diaz, Bernd Martin, René Baarslag, and Jonathan Hinves). In addition to his introductory article, essays in future issues were each devoted to one of the makers (save Manuel Diaz, who was unavailable). Each essay bore the main title, “Escuela Granadina de Luthiers”.
Clinton was the first to define the Escuela vis-à-vis the Madrid (i.e. Ramirez) “School” of builders. He states, “As a school, the present makers share several characteristics…”. He then goes on to list:
1. smaller plantilla
2. built up from the top
3. Spruce tops
4. Top domed on solera
5. Torres type strutting (usually 7)
6. Peones instead of continuous lining
7. 650mm scale length
8. Mosaic rosette construction technique
9. French polish finish
A year later, in 1990, Lisa Hurlong (aka “Lisa de Granada”) published her article on select Granada makers, after having purchased an Antonio Marín Montero while on a concert trip to Granada in 1979, and having reacquainted herself with Granada in 1984. The article, “Guitarra Granada Ole” appeared in the summer, 1990, issue of “Soundboard” magazine (pages 14-21), and covered Antonio Marín Montero, José Marín Plazuelo, René Baarslag, José Lopez Bellido, Jonathan Hinves, and Bernd Martin. (Later, in the winter, 1992, issue of “American Lutherie”, she covered Antonio Raya Pardo in a separate article). Nowhere in her writings, however, does Lisa de Granada use the term “Granada School”.
John Huber’s book, The Development of the Modern Guitar (Bold Strummer, 1991, and second edition, 1994), is careful to use the term “Granada School” in double quotes, as does Kenny Hill in his 2001 essay, “Visit to Legendary Granada” on his website.
In summary, then, it would appear that “Granada School” as a term in English has its origin in print in a translation of the 1976 writings of Eusebio Rioja. An actual Granada School was formalized in 1987, and George Clinton wrote extensively about it and its makers in English from 1988-1989. (Perhaps one of our Granada contributors might enlighten us as to the fate of the Escuela as an organized body of luthiers).
Aside from the formal organization which utilized the name, “Granada School” has, it seems, come to be associated with virtually any builder in Granada whose guitars exhibit most of the characteristics that Clinton enumerated in his 1988 article. In addition, it would seem that, as Mairants insinuated, luthiers of the “Granada School” can trace their lineage of teachers back to the House of Ferrer. Unlike the “Madrid School”, where few lineages spanned more than two generations save for the House of Ramirez, in Granada we find fathers teaching sons (e.g. Manuel and Jesus Bellido, Antonio Durán and Eduardo Durán Ferrer, Antonio Raya Pardo and Antonio Raya Ferrer, and Bernd and Lucas Martin), uncles teaching nephews (e.g. Benito and Eduardo Ferrer, Antonio Marín Montero and both Paco Santiago Marín and José Marín Plazuelo), brothers teaching brothers (e.g. Manuel and José Lopez Bellido), brothers-in-law teaching brothers-in-law (e.g. José Lopez Bellido and Antonio Raya Pardo), husbands teaching wives (e.g. René Baarslag and Ana Espinosa Rodriguez), etc. Hence familiarity is literally key, with the exception of expatriates, of course. Even then, for example, Antonio Marín Montero has referred to René Baarslag as being “like a son to me”.
Cheers,
David Gansz
P.S. The renowned historian, author, luthier, and guitar dealer Richard Brune, having read the above, has contacted me and graciously shared the following information: Brook Zern, author of a regularly appearing column on the Spanish tradition of lutherie in the publication "Flamenco Information Service Library Newsletter" in 1968, having finished a multi-part series on the Madrid school, indicated that his next month's installment would be on the "Granada school". So Richard, without having actually surveyed his vast archival collection of literature on the subject for verification, believes this to be the first appearance of the term in English. Interestingly, Richard notes that, in the actual article (No. 8, Vol 1, page 3...December, 1968), Zern states, "Granada has its own group of constructors (I'd hesitate to call it a School)". I am very grateful to Richard, an acknowledged expert in these matters, for freely sharing this information with us.
번호 | 제목 | 글쓴이 | 날짜 | 조회 수 |
---|---|---|---|---|
1434 | ☞ 스몰맨 기타에 대해... | 형서기 | 2001.02.18 | 4708 |
1433 | 부산가서 베르나베 6현 쳐 보고... | 미니압바 | 2001.02.18 | 4271 |
1432 | 스몰맨 기타에 대해... | 으랏차차 | 2001.02.18 | 4485 |
1431 | 기타 수리에 대하여 | alteclub | 2001.02.19 | 3929 |
1430 | 덜렁이님 기타 넘 좋다!!!!!! | illiana | 2001.02.19 | 4117 |
1429 | 호세 루비오 | 과객 | 2001.02.20 | 5412 |
1428 | 궁금 | guitarra | 2001.02.20 | 4038 |
1427 | 마린몬테로 아저씨....아니 할아버지..... | 명노창 | 2001.02.20 | 5125 |
1426 | 이게 바로..중국제 스몰맨 카피 기타..! | 으랏차차 | 2001.02.21 | 5471 |
1425 | 로버트 락 아저씨...... | 명노창 | 2001.02.22 | 5250 |
1424 | 지금 내가 치는기타... (심심해서 올려요..^^) | 으랏차차 | 2001.02.22 | 4493 |
1423 | ☞ 스테판 슈미트의 악기.... | 미니압바 | 2001.02.26 | 4112 |
1422 | 시적왈츠 악보구해요~ | 은표 | 2001.02.24 | 4194 |
1421 | 스테판 슈미트의 악기를 알고싶읍니다. | 매니선 | 2001.02.25 | 4067 |
1420 | 수님............ | 이재화 | 2001.02.28 | 4190 |
1419 | Jonathan Hinves 덧붙여.. | 형서기 | 2001.03.08 | 5821 |
1418 | ☞ Jonathan Hinves는요..(형서기님 설명 좀 더해줘요) | 궁금이 | 2001.03.07 | 4489 |
1417 | ☞ Jonathan Hinves악기 사진..... | 명노창 | 2001.03.02 | 6556 |
1416 | Jonathan Hinves는요.. | 형서기 | 2001.03.02 | 4764 |
1415 | 이작펄먼의 바이올린. | 수 | 2001.02.28 | 4093 |
1414 | Jonathan Hinves는... | 마~당발 | 2001.03.01 | 4723 |
1413 | 줄이 두겹씩 되어있는 기타? | 해피보이 | 2001.03.01 | 4123 |
1412 | 어린칭구가 연주할 기타는 얼마나 작아야죠? | 김종표 | 2001.03.02 | 3967 |
1411 | 어린이용 기타아 | 문병준 | 2001.03.02 | 3977 |
1410 | 어린이용 기타 | 마~당발 | 2001.03.03 | 4126 |
1409 | ☞ 라미레즈 갖고시퍼라 | csr | 2001.03.07 | 4209 |
1408 | 라미레즈 갖고시퍼라 | 라미레즈팬 | 2001.03.03 | 4499 |
1407 | 몇번본 베르나베. | 수 | 2001.03.06 | 4315 |
1406 | 베르나베라는 악기가 궁금합니다 | 악기사랑 | 2001.03.06 | 4041 |
1405 | ☞ 8현사랑. | 피어리나 | 2001.03.17 | 4006 |
1404 | ☞ 중국은 황사로 너무 건조한가보네요. | 으랏차차 | 2001.03.09 | 4136 |
1403 | 다현기타의 특징및 제작가는? | illiana | 2001.03.06 | 5130 |
1402 | ☞ ☞ 중국은 황사로 너무 건조한가보네요.(정정) | 으랏차차 | 2001.03.09 | 4102 |
1401 | ☞뜨아..울림은 좋을것 같은데 맑지는 않을것 같다... | 명노창 | 2001.03.10 | 4012 |
1400 | 기타 뒷판이 터지면???? | 으랏차차 | 2001.03.08 | 4526 |
1399 | Thurman Guitar | 고정석 | 2001.03.09 | 21874 |
1398 | 기타 계간지가 있다고 들었는데.. | 윤성규 | 2001.03.13 | 4002 |
1397 | 수님 반갑습니다....그리구요.. | yosip | 2001.03.14 | 4091 |
1396 | ☞ ☞ 수제품기타의 정의....개인적인 생각. | 피어리나 | 2001.03.17 | 4580 |
1395 | 기타를 사랑한다 하면서도 | maria | 2001.03.15 | 3998 |
1394 | 수제품기타의 정의는? | 으랏차차 | 2001.03.16 | 4000 |
1393 | 지나가던 녀석입니다.. (-.-) (_._) 꾸벅! | 변태원숭이 | 2001.03.17 | 4113 |
1392 | 직업때문에 연주회 구경 못가는 심정 | 백영업 | 2001.03.17 | 3980 |
1391 | 셸락칠의 단점극복에 기대하며... | 수 | 2001.03.18 | 4149 |
1390 | ☞ 베르나베 연습용은 하청... | ^_^ | 2001.03.19 | 4097 |
1389 | 세락을 능가하는 한국 고유의 "황칠" | 일랴나 | 2001.03.17 | 5709 |
1388 | 나의 베르나베는 이렇게 1 | LAEL | 2001.03.18 | 4488 |
1387 | 이병우의 기타 컬렉션.. | ganesha | 2001.03.22 | 8195 |
1386 | ☞ ☞ ☞ ☞ 중국 사업 | 으랏차차 | 2001.03.27 | 4262 |
1385 | ☞ ☞ ☞ 앙...으랏차차님 이구나..... | 명노창 | 2001.03.26 | 4086 |
1384 | ☞ ☞ 댐핏대용으로 쓸 수 있는것,,, | 명노창 | 2001.03.26 | 4339 |
1383 | ☞ photo of my guitar-1 | 으랏차차 | 2001.03.26 | 4049 |
1382 | ☞ 내기타에 문제들..웅수님도 보셔요~ ^^ | 길손입니다. | 2001.03.26 | 3935 |
1381 | photo of my guitar-1 | UraCHaCha | 2001.03.25 | 4453 |
1380 | 자잘한 상처들은 좋아요. | 수 | 2001.03.27 | 4512 |
1379 | ☞ ☞ ☞기타 사느라 장가 포기를 포기.... | 간절한 | 2001.04.01 | 4227 |
1378 | ☞ ☞ 정말 스페인에 가면 바로 살수..... | 간절한 | 2001.03.29 | 4000 |
1377 | ☞ 기타 추천 | 수 | 2001.03.28 | 4298 |
1376 | ☞ 몬테로 부쉐모델 | 명노창 | 2001.03.29 | 4882 |
1375 | 기타 추천 바랍니다. 1 | 박재만 | 2001.03.28 | 4024 |
1374 | 몬테로 부쉐모델 쓰시는 분 안계시나요? | 간절한 | 2001.03.29 | 4083 |
1373 | 안녕하세요 ^^ 제 기타입니다 | 나이스드림 | 2001.03.29 | 4858 |
1372 | [초보]질문있습니다 | 기타치고시퍼 | 2001.03.29 | 3957 |
1371 | 최근에 기타제작 콩쿨이 있었다는데.. | 방문객 | 2001.03.31 | 4059 |
1370 | 국산기타와 외제기타 | 으랏차차 | 2001.03.31 | 4858 |
1369 | 기타제작콩쿨은 아무도 .. | 방문객 | 2001.04.01 | 4234 |
1368 | 30분후 기타 소리가 조아지는데... | 새내기 | 2001.04.02 | 4607 |
1367 | 정말 놀랬습니다 | 기타지존 | 2001.04.03 | 4329 |
1366 | 수제품을 구입하려는데... | 세고비아 | 2001.04.03 | 4119 |
1365 | 험프리, 밀레니움 모델, 경사진 앞판 디자인. | 서정실 | 2001.04.07 | 5122 |
1364 | 두분 의견 감사드립니다. | 길벗맨 | 2001.04.06 | 4335 |
1363 | ☞ 가오리가 쓰는 기타가? | 왕초보 | 2001.04.05 | 4015 |
1362 | 세고비아의 기타. | 수 | 2001.04.05 | 4479 |
1361 | 안토니오 마린 몬테로에 관한 나의 견해 | 길벗맨 | 2001.04.05 | 4890 |
1360 | ☞ 군대에서 있었던 추억담~ 기타이야기^^;; | 딴따라~! | 2001.04.06 | 4583 |
1359 | 나의 기타 | 수집걸 | 2001.04.06 | 4234 |
1358 | 군대에서 있었던 추억담~ 기타이야기^^;; | 정성민 | 2001.04.06 | 4652 |
1357 | 가격대별 기타 사진(headstock, rosette, label) | 고정석 | 2001.04.08 | 6057 |
1356 | 유명악기에 대한 평이 엇갈리는건... 1 | 수 | 2001.04.09 | 4120 |
1355 | 질문요. 1 | 방문객 2 | 2001.04.08 | 3965 |
1354 | ☞ Ruck 애기가 나오길래. 2 | 서정실 | 2001.04.09 | 4591 |
1353 | 무대용과 녹음용 악기의 차이?? 4 | 일랴나 | 2001.04.09 | 4114 |
1352 | 카즈오 사또 시몬(?)에 대해 알고싶습니다. 5 | 청년 | 2001.04.10 | 3951 |
1351 | 30분전에 준비된 소리가... | 새내기 | 2001.04.10 | 4518 |
1350 | 가즈오 사또 3 | 강명구 | 2001.04.12 | 4148 |
1349 | 아름다운 CF 한편... | 木香 | 2001.04.13 | 4048 |
1348 | 연주회합니다~ 3 | 정호중 | 2001.04.14 | 4098 |
1347 | 김희주양 클래식기타독주회(현 서울음대2년재학중) 1 | guitar~ | 2001.04.16 | 4151 |
1346 | 50호정도의 기타를 구입하려는데 조언을 17 | 오원근 | 2001.04.18 | 4705 |
1345 | 고노와 사쿠라이의 가격 2 | 기타좋아 | 2001.04.19 | 5116 |
1344 | 네크의 두께.. 2 | 으랏차차 | 2001.04.20 | 3994 |
1343 | 기타케이스...skb 2 | 목향. | 2001.04.22 | 5136 |
1342 | 기타 머리 11 | Lacote | 2001.04.26 | 4959 |
1341 | 제 생각엔요.. | 형서기 | 2001.05.03 | 5018 |
1340 | ☞ 써봤습니당. 엄씨가문의 기타를!!!보았습니당. 엄씨가문의 기타를!!! | 간절한 | 2001.05.03 | 5291 |
1339 | 해드가 신기하게 생겨서... 4 | 목향 | 2001.04.30 | 5825 |
1338 | ☞ 현재 사용중입니다. 평이라...글쎄요.. 4 | 꼬 | 2001.05.03 | 4722 |
1337 | 엄씨 가문의 기타에 관한 냉철한 평을 부탁드립니다. 15 | 남경민 | 2001.05.02 | 5305 |
1336 | 기타내부에 칠을 하면... | 수 | 2001.05.06 | 3955 |
1335 | 기타도료에 관한 사소한 질문입니당-특히 수님께 여쭙니다용??? 3 | 간절한 | 2001.05.05 | 4060 |
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