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 |
---|---|---|---|---|
1726 | [ 로메로가의 기타] | 말괄량이 | 2000.05.30 | 4955 |
1725 | 조나단 힌베스.... 1 | 고형석 | 2000.05.30 | 6097 |
1724 | Jonathan Hinves 둘.... | 고형석 | 2000.05.31 | 6363 |
1723 | acoustic port design.......ruck invention. | 말괄량이 | 2000.06.10 | 4768 |
1722 | ☞:스프러스 아이힝거에 대해... | 고형석 | 2000.06.12 | 5003 |
1721 | 꼬벨라리 자살한지 한참됬는데..... | 명노창 | 2000.06.14 | 5325 |
1720 | ☞:꼬벨라리가???? | 고형석 | 2000.06.12 | 5233 |
1719 | 스프러스 아이힝거에 대해... | 고형석 | 2000.06.11 | 5181 |
1718 | 오홍.... | 형서기 | 2000.07.10 | 5272 |
1717 | ☞:자기 악기를 바꾸는 것은 바보? | 명노창 | 2000.07.09 | 4863 |
1716 | 소리로 앞판 건조 시킨다면서요? | 말괄량이 | 2000.06.17 | 5162 |
1715 | 조나단과 스프러스 아이힝거.... | 형서기 | 2000.07.05 | 5147 |
1714 | red violin | 말괄량이 | 2000.07.07 | 6107 |
1713 | 기타를 배우시려면.... | 형서기 | 2000.07.11 | 4843 |
1712 | [질문]초보자 | 강씨.. | 2000.07.10 | 4927 |
1711 | ☞:제가아는 정도 | 명노창 | 2000.07.13 | 5256 |
1710 | ☞:비밀스런 이야기는요... | 웅수 | 2000.07.12 | 4874 |
1709 | [왕초보]기타 종류에 대해 물어볼것이... | 승은 | 2000.07.12 | 5299 |
1708 | 허영만 만화속 기타 | 지우압바 | 2000.07.14 | 6686 |
1707 | [초보자인데]도움을 주세여... | 용남 | 2000.07.14 | 4950 |
1706 | 기타 치는 법을 제대로 알고 싶어요~ | 천상민 | 2000.07.19 | 8775 |
1705 | 어떤걸 사야하나? | 이병훈 | 2000.07.21 | 5096 |
1704 | 수경낭자 감사*^^* | 이병훈 | 2000.07.21 | 4738 |
1703 | 셸락이라구여? | 형서기 | 2000.07.26 | 5756 |
1702 | ☞:안녕하세요..명노창입니다.80년대 당시 가격표 | 명노창 | 2000.08.05 | 5467 |
1701 | ☞:안녕하세요..명노창입니다. | 명노창 | 2000.08.04 | 4886 |
1700 | 기타수리 감사하답니다.. | 형서기 | 2000.07.23 | 4837 |
1699 | 명노창님께... | 김남호 | 2000.07.29 | 5005 |
1698 | 조나단 힌베스에 대한 소식하나. | 수 | 2000.07.30 | 4838 |
1697 | ☞:고노기타 가격이....2. | 수 | 2000.08.25 | 5288 |
1696 | 프랑스에는 굴러다닌다던데... | 泳瑞父 | 2000.08.10 | 5256 |
1695 | 술취한 기타소리 들어는 보셨는지요? | 泳瑞父 | 2000.08.08 | 4529 |
1694 | 아! 이런 사람이였구나! | 泳瑞父 | 2000.08.08 | 4377 |
1693 | 줄리안 브림이 한국전에 오려 했는데... | 수 | 2000.08.01 | 5028 |
1692 | ☞:베렌트의 사망원인. | whisky | 2000.08.24 | 4883 |
1691 | 오호...갔다가 왔군... | 형서기 | 2000.08.03 | 4578 |
1690 | ☞:곰발바닥아이힝어 햐, 존 기타구나... | cc | 2000.08.10 | 5026 |
1689 | 곰발바닥아이힝어 주인임다...^^ | 쪼~옹대 | 2000.08.03 | 4961 |
1688 | 쇠줄기타의 난문제. | whisky | 2000.08.30 | 4367 |
1687 | 쇠줄기타의 난문제. | cc | 2000.08.29 | 4111 |
1686 | 그 아름다운 기타는... | 수 | 2000.08.25 | 4224 |
1685 | ☞:쇠줄기타(통기타) 한대만들라고하는데... | cc | 2000.08.28 | 4398 |
1684 | 호세 로마닐료스라는 악기에 대한 생각(?).... | 왕초보 | 2000.08.25 | 6785 |
1683 | ??? | 언플러그 | 2000.08.26 | 4672 |
1682 | 콘트라레스는요.... | 수 | 2000.08.31 | 4743 |
1681 | 마뉴엘 콘트라레스를 알고시퍼여.. | 민성 | 2000.08.31 | 5812 |
1680 | 윽! 이것을 어찌 짜집기 할꼬? | TORRES | 2000.09.02 | 4246 |
1679 | <font color=blue>감샤! 꾸벅! [진짜내용없음]</font> | 泳瑞父 | 2000.09.02 | 4937 |
1678 | 후배님 있쟈나여... | 형서기형 후배 | 2000.09.02 | 5325 |
1677 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 형서기형 후배 | 2000.09.02 | 4768 |
1676 | <font color=blue>구경이라도 하고 싶은데 어찌 안될까요?</font> | 泳瑞父 | 2000.09.01 | 4504 |
1675 | 기타메이커 빠진거 확인부탁여.. | 형서기형 후배 | 2000.09.01 | 4382 |
1674 | 토레스 기타플랜은 여러가진데... | 수 | 2000.09.03 | 4914 |
1673 | 토레스 기타 프랜 갖고 계신가여 수 선생님?? | 형서기형 후배 | 2000.09.01 | 4307 |
1672 | 베르나베 좋져.... | 형서기 | 2000.09.03 | 4058 |
1671 | 베르나베 좋긴 좋더군여.. | hochma | 2000.09.02 | 4561 |
1670 | 지우압바가 연주한 기타아! | M.Rozas | 2000.09.02 | 6859 |
1669 | ☞:paulino Bernabe 헤드 사진 | 형서기형 후배 | 2000.09.01 | 5422 |
1668 | Ignasio M. Rozas 헤드. | 형서기형 후배 | 2000.09.01 | 5878 |
1667 | paulino Bernabe 헤드 사진 | 형서기형 후배 | 2000.09.01 | 5831 |
1666 | We can do it! C~HA~HA! | 맹글고시포 | 2000.09.02 | 4286 |
1665 | 기타맹글고 싶어하는분...명단. | whisky | 2000.09.02 | 4019 |
1664 | <font color=blue>me?designer게시판의 45번 글쓴이...</font> | m?d 45번 | 2000.09.01 | 4739 |
1663 | Rodolfo Camacho 헤드 | 형서기형 후배 | 2000.09.01 | 5736 |
1662 | We can do it! C~HA~HA! | 김 재한 | 2000.09.16 | 4145 |
1661 | ☞:TORRES PLAN BACK ☞ 그럼 모조? | 토러스플랜 | 2000.09.04 | 5915 |
1660 | 초보를 위한 클래식기타 제작 강습회 제안... | 신우현 | 2000.09.01 | 5068 |
1659 | 전형적인 토레스. | 수 | 2000.09.04 | 4314 |
1658 | TORRES PLAN FRONT ☞ 왠지 짜가? | 토러스플랜 | 2000.09.04 | 6178 |
1657 | ☞:음....그 플레타... | 형서기 | 2000.09.16 | 4188 |
1656 | Daniel Friedrich라는 제작가에 대해 알려주세용 | illiana | 2000.09.17 | 5096 |
1655 | 골루세스의 기타는... | 뺑코 | 2000.09.17 | 4311 |
1654 | 오호? | 형서기 | 2000.09.30 | 4291 |
1653 | 한가지 더. | malhute | 2000.09.29 | 5482 |
1652 | 한가지 더. | 형서기 | 2000.09.28 | 5247 |
1651 | 이정원님의 잘못이 아닙니다... | 형서기 | 2000.10.02 | 4463 |
1650 | 폴리우레탄 냄새? | 형서기 | 2000.09.28 | 5331 |
1649 | ☞:깔레바로형 기타-Contreras | 수 | 2000.09.23 | 5903 |
1648 | ☞:컥.. | 이정원 | 2000.10.01 | 4188 |
1647 | ☞:기타 냄새....제기타는 장미향이 납니다. | hochma | 2000.09.27 | 4250 |
1646 | 깔레바로형 기타-Contreras | 가스파르 | 2000.09.23 | 6111 |
1645 | 기타 냄새... | 이정원 | 2000.09.26 | 4650 |
1644 | 저도 얼마전 기타를 하나 장만했습니다. | 왕초보 | 2000.09.28 | 4622 |
1643 | 이런 방이 있다는걸 이제야 알았습니다. | 이재화 | 2000.10.01 | 4593 |
1642 | GSP 하루 후 연주후기.... | 명노창 | 2000.10.04 | 5579 |
1641 | ☞:웅수엉아............. | 명노창 | 2000.10.04 | 4190 |
1640 | 기타를 새로 장만 했는데.... | 이종철 | 2000.10.03 | 4743 |
1639 | 고노가 알리앙스랑 결혼해부렸구만요.... | 수 | 2000.10.05 | 4087 |
1638 | 휘었다면 수리는 가능한지? 수리가 어려운가요? | essene | 2000.10.05 | 5101 |
1637 | 휜것도 가지가지..... | 말괄량이 | 2000.10.05 | 5859 |
1636 | 어제 미제 GSP하이텐션 기타줄을 몇벌 구했습니다. | 명노창 | 2000.10.03 | 4485 |
1635 | 휘었다면 수리는 가능한지? 수리가 어려운가요? | 수 | 2000.10.06 | 5844 |
1634 | 네크가 휘어졌는지 확인하는 방법을 알려주십시요 | 김민철 | 2000.10.05 | 4690 |
1633 | 5벌 수입해서 다 뽕발났네....... | 명노창 | 2000.10.08 | 4900 |
1632 | 텐션이 강하다면 흥미가 매우 생기는데... | 형서기 | 2000.10.08 | 4030 |
1631 | ☞:gsp? 고은별님 명노창입니다. | 명노창 | 2000.10.06 | 5326 |
1630 | ☞:베이스 기타좀.... | 수 | 2000.10.06 | 4243 |
1629 | ☞:gsp? 궁금하네요.. | 고은별 | 2000.10.05 | 5035 |
1628 | 베이스 기타좀 알려주세요. | 이재화 | 2000.10.05 | 4116 |
1627 | 명노창님... | 고은별 | 2000.10.08 | 4318 |
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