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 |
---|---|---|---|---|
1727 | matthias damman [2] 4 | 방 | 2002.10.14 | 5019 |
1726 | - 7현기타 업네크 | 오모씨 | 2005.01.31 | 6699 |
1725 | 로제트는.. 어떻게 만드는거에요? | 아따보이 | 2002.07.13 | 4859 |
1724 | 명기들이 많은 ......우에노역 근처의 aura 5 | 수 | 2004.10.11 | 6445 |
1723 | - 7현기타 뒷모습 | 오모씨 | 2005.01.31 | 6791 |
1722 | Agustin Barrios' original guitar (1914) 7 | 고정석 | 2011.10.25 | 13272 |
1721 | Bernhard Kresse | 수 | 2000.10.23 | 4126 |
1720 | French Polishing(번역본) -- 전부 번역되면 수정하겠습니다. | 고정석 | 2002.07.26 | 6952 |
1719 | José Romanillos SP/IN (Classical) | 고정석 | 2002.10.19 | 5474 |
1718 | 마르비 사진 1 1 | Limpman | 2005.12.08 | 6089 |
1717 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5578 |
1716 | 바리오스의 기타? 2 | 웅수 | 2000.07.16 | 5480 |
1715 | 수님 보세요 | 이재화 | 2001.02.17 | 3918 |
1714 | 수님............ | 이재화 | 2001.02.28 | 3947 |
1713 | 싸즈(saz) 의sound hole(울림구멍) 1 | chokukkon | 2010.03.11 | 10859 |
1712 | 역시 기타를 칠려면 손가락이 가늘고 길어야 ㅠㅠ | 기타는멋쟁이 | 2006.01.18 | 5718 |
1711 | 이런 기타 이름을 뭐라해야.... ? 13 | 콩쥐 | 2008.09.07 | 9139 |
1710 | 전설적인 명기 | 수 | 2003.07.11 | 5961 |
1709 | 칠이넘 어려워......... | 이재화 | 2001.02.16 | 4247 |
1708 | 하카란다 에 대한 혼동 ? 19 | esteban | 2006.03.06 | 7655 |
1707 | ##이렇게 한 번 해보세요^^... | 박성운 | 2000.12.16 | 5036 |
1706 | 뭰히 길들이기 II 1 | 산넘 | 2001.10.09 | 4371 |
1705 | 뭰히 길들이기... 6 | 산넘 | 2001.09.12 | 5180 |
1704 | '라이징 보드'와 '노말 보드'의 차이점 5 | 로망스 | 2006.02.28 | 7461 |
1703 | '사바레즈 '의 특징은 뭐예요? 4 | 진 | 2001.05.31 | 5513 |
1702 | (현장길이, 장력, 왼손)과 이에 따른 오른손의 견해 4 | 우 | 2004.02.16 | 6404 |
1701 | - 7현기타 브릿지 | 오모씨 | 2005.01.31 | 6082 |
1700 | - 7현기타 사운드홀과 라벨 8 | 오모씨 | 2005.01.31 | 6822 |
1699 | - 7현기타 앞모습 | 오모씨 | 2005.01.31 | 7061 |
1698 | - 7현기타 포지션마크 | 오모씨 | 2005.01.31 | 7171 |
1697 | -- 뒷판 굽(heel)부분 1 | 오모씨 | 2004.02.15 | 5941 |
1696 | -- 뒷판 하까란다~ 4 | 오모씨 | 2004.02.15 | 6483 |
1695 | -- 라벨 -- 10 | 오모씨 | 2004.02.15 | 6263 |
1694 | -- 로제트 2 | 오모씨 | 2004.02.15 | 6567 |
1693 | -- 몸통 자세히 4 | 오모씨 | 2004.02.15 | 6943 |
1692 | -- 브릿지~ 3 | 오모씨 | 2004.02.15 | 6437 |
1691 | -- 암레스트래요~ 2 | 오모씨 | 2004.02.15 | 6483 |
1690 | -- 어쿠스틱포트 1 2 | 오모씨 | 2004.02.15 | 5934 |
1689 | -- 어쿠스틱포트 2 / 라이징 보드 | 오모씨 | 2004.02.15 | 6595 |
1688 | -- 헤드에요~ 2 | 오모씨 | 2004.02.15 | 5822 |
1687 | . 4 | 수 | 2002.07.13 | 5116 |
1686 | . 2 | 수 | 2001.12.27 | 5896 |
1685 | . | 웅수 | 2000.06.25 | 4827 |
1684 | . 1 | 수 | 2001.07.09 | 4680 |
1683 | ... | 수 | 2001.01.31 | 4666 |
1682 | 0프렛에 대해... 제로프렛??? 28 | 쏠레아 | 2008.09.12 | 11376 |
1681 | 100년된 하카란다 덩어리. 2 | 콩쥐 | 2005.09.20 | 9938 |
1680 | 10미터높이의 연주회장 천정....placio de la guitarra 2 | 수 | 2004.10.11 | 6928 |
1679 | 11현 기타의 조율...진철호님의 글에서 퍼왔습니다. 1 | 수 | 2002.03.10 | 5966 |
1678 | 120센티 갈라진 기타 | 수 | 2023.05.17 | 1508 |
1677 | 12구멍의 브릿지 | gaspar | 2000.12.27 | 4446 |
1676 | 12줄 Kali... 2 | 간절한 | 2002.07.27 | 5530 |
1675 | 12현기타 자세히보기 15 | 콩쥐 | 2009.09.30 | 11299 |
1674 | 12홀 브릿지 줄 매는 법(알마기타 펌) 2 | 그놈참 | 2004.10.07 | 7603 |
1673 | 12홀 브릿지는 장력이 센가요? 17 | 브릿지 | 2010.05.18 | 13176 |
1672 | 12홀 브릿지에 유감 있음 (-_-) 11 | audioguy | 2004.10.06 | 6038 |
1671 | 12홀 상아단추의 길버트모델브릿지 7 | sangsik | 2003.05.04 | 6953 |
1670 | 13현 기타 5 | 13s | 2009.11.13 | 7451 |
1669 | 1863 Torres Guitar played by Richard Brune 10 | 고정석 | 2009.07.11 | 7284 |
1668 | 1920년 싼또스 에르난데스 1 | 혁 | 2004.12.22 | 6921 |
1667 | 1930년 헤르만 하우져 1세 | 혁 | 2004.12.22 | 6358 |
1666 | 1962 Classical guitar by Robert Bouchet_Brompton's 경매회사 4 | guitarguitar | 2013.10.19 | 10401 |
1665 | 1965 David Rubio Julian Bream SP/BR | 고정석 | 2002.06.16 | 7446 |
1664 | 1970 Ignacio Fleta | 고정석 | 2002.06.16 | 9503 |
1663 | 1973년 Romanillos Guitar Plan | 고정석 | 2007.12.09 | 10066 |
1662 | 1년 걸려 부쉐 모델로 Gregorio 2호 완성했어요 24 | 그레고리오 | 2007.08.28 | 8182 |
1661 | 1달러짜리 기타줄 | 수 | 2023.05.17 | 1264 |
1660 | 2%님은 나머지 98%를 어따 뒀어? | sophia | 2000.08.19 | 4766 |
1659 | 2005년 5/3~5. 일본동경근처의 기타문화관에서의 기타전시회. | 수 | 2005.02.17 | 5091 |
1658 | 20년된 기타 | gdream7 | 2005.12.31 | 6404 |
1657 | 20년된 기타 | gdream7 | 2005.12.31 | 7309 |
1656 | 20년지난기타 올 쉘락칠. 1 | gdream7 | 2005.12.31 | 6417 |
1655 | 20프렛 장착 | 수 | 2023.12.01 | 798 |
1654 | 24 Strings Sympitar!!! 1 | 간절한 | 2002.07.27 | 4828 |
1653 | 2만달러짜리 담만기타 사진(앞,뒤) | 명노창 | 2000.10.23 | 7239 |
1652 | 2홀 슈퍼칩 3 | 리브라 | 2011.05.12 | 14051 |
1651 | 30년 건조된 이탈리안 스프르스 | 수 | 2024.04.14 | 153 |
1650 | 30분전에 준비된 소리가... | 새내기 | 2001.04.10 | 4289 |
1649 | 30분후 기타 소리가 조아지는데... | 새내기 | 2001.04.02 | 4365 |
1648 | 350년된 스트라디바리우스 | 수 | 2024.04.14 | 176 |
1647 | 3번선이 얇아지면 해결? | 개팔자 | 2000.09.13 | 5220 |
1646 | 3번선이 얇아지면 해결? | 개풀 | 2000.09.13 | 4925 |
1645 | 3피스 넥 핑거보드 | 수 | 2023.01.19 | 1357 |
1644 | 42현 피카소기타 12 | Amigo | 2007.01.08 | 8597 |
1643 | 5 Famous Torres Guitars 2 | 고정석 | 2017.08.23 | 8038 |
1642 | 5 piece guitar 1 | 수 | 2023.01.27 | 1394 |
1641 | 5 PIECES TOP | 수 | 2022.09.15 | 1791 |
1640 | 50호정도의 기타를 구입하려는데 조언을 17 | 오원근 | 2001.04.18 | 4458 |
1639 | 5벌 수입해서 다 뽕발났네....... | 명노창 | 2000.10.08 | 4886 |
1638 | 5피스 기타 | 수 | 2023.11.22 | 856 |
1637 | 630mm 기타에 관한 이야기(번역) 5 | gaspar | 2004.01.09 | 10488 |
1636 | 635 사이즈도 좋아요 | 수 | 2023.06.12 | 1120 |
1635 | 6번현보다 5번현 소리가 특히 큰데....~ 3 | 으랏차차 | 2002.03.27 | 5035 |
1634 | 6현기타가 10현기타로... 1 | 콩쥐 | 2009.09.08 | 7232 |
1633 | 71번글. 글쎄요? 과연 그럴까요? | 개풀 | 2000.08.17 | 4196 |
1632 | 7현 기타~ 12 | 오모씨 | 2004.01.12 | 6446 |
1631 | 7현기타 4 | 수 | 2020.07.09 | 3729 |
1630 | 7현기타 | 수 | 2023.06.14 | 1200 |
1629 | 7현기타 옆구리 5 | 오모씨 | 2005.01.31 | 7359 |
1628 | 8-stringed guitar.....brahms guitar. | 수 | 2000.08.28 | 41296 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5