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 |
---|---|---|---|---|
1626 | 험프리 스몰맨카피인가보당..... | 이쁜이 | 2000.10.05 | 5452 |
1625 | gsp? 궁금하네요.. | 고은별 | 2000.10.05 | 5541 |
1624 | 험프리기타의 뱃속...and | gaspar | 2000.10.05 | 6186 |
1623 | 험프리 and Guitar | gaspar | 2000.10.05 | 5293 |
1622 | 고맙습니다. | 명노창 | 2000.10.09 | 3805 |
1621 | ☞:노창님~ 어떤음반 듣고싶어요? | 명노창 | 2000.10.08 | 3646 |
1620 | 악보를 한 장 보내드릴까합니다. | 고은별 | 2000.10.09 | 4360 |
1619 | 소리를 들어 보고 나서 | 고은별 | 2000.10.18 | 3727 |
1618 | GSP 약 5일 후 연주후기.... | 명노창 | 2000.10.08 | 4884 |
1617 | 귀찮기는요. 기쁘게 보내드리죠. | 고은별 | 2000.10.12 | 3682 |
1616 | 이런이런... | 악보네방장 | 2000.10.10 | 3835 |
1615 | ☞:귀찮지 않으시다면...고은별님... | 가스파르 | 2000.10.10 | 3881 |
1614 | when i dream 악보있으신분 메일로 띄어주세용~ | kangyong | 2000.10.09 | 5100 |
1613 | 귀찮기는요. 기쁘게 보내드리죠. | 가스파르 | 2000.10.12 | 3753 |
1612 | 귀찮지 않으시다면... | 가스파르 | 2000.10.10 | 3711 |
1611 | 이런....................아항.. | 지영이 | 2000.10.13 | 3855 |
1610 | 기타랑 첼로랑... | 수 | 2000.10.11 | 3929 |
1609 | 이런.................... | 이재화 | 2000.10.13 | 3734 |
1608 | 궁금한것이 있어서요....... | 이재화 | 2000.10.11 | 3695 |
1607 | 이런 | 이재화 | 2000.10.13 | 3796 |
1606 | 재화님 바이올린 만드신 이야기 해주셔요.. | 지영이 | 2000.10.12 | 4256 |
1605 | Karl Heinz Roemmich | 수 | 2000.10.23 | 3956 |
1604 | 힛힛...누구 따라 가는중인가여?? | 형서기 | 2000.10.21 | 4755 |
1603 | Karl Heinz Roemmich | 형서기 | 2000.10.16 | 3577 |
1602 | Bernhard Kresse | 수 | 2000.10.23 | 4123 |
1601 | 질문) 영자님 Bernhard Kresse란 어떤 악기이죠? | illiana | 2000.10.21 | 3648 |
1600 | 2만달러짜리 담만기타 사진(앞,뒤) | 명노창 | 2000.10.23 | 7230 |
1599 | 담만 사운드홀.... | 명노창 | 2000.10.23 | 4459 |
1598 | 부럽당...정말 부럽죠? | sophia | 2000.10.22 | 3706 |
1597 | 부럽당 | 기타마니아 | 2000.10.22 | 3924 |
1596 | 국내에도 주문하신분이 몇명이나 되다니... | sophia | 2000.10.22 | 3888 |
1595 | ☞:마티아스 담만...... | 명노창 | 2000.10.22 | 5502 |
1594 | 폴 피셔. | 수 | 2000.10.22 | 5023 |
1593 | 연이은질문]Paul Fischer에 대해... | 형서기 | 2000.10.21 | 3749 |
1592 | 혹시 Dammann 아세요? | 기타마니아 | 2000.10.21 | 4613 |
1591 | 담만앞사진 | 명노창 | 2000.10.23 | 4845 |
1590 | 내 조회수 돌리도................ | 명노창 | 2000.10.23 | 3680 |
1589 | Frank Bungarten의 악기 | 기타마니아 | 2000.10.24 | 3740 |
1588 | 같이 잠수함 타게요.. | 지우압바 | 2000.10.31 | 3850 |
1587 | ☞ 셈난다...자기들끼리만..... | 명노창 | 2000.10.30 | 4584 |
1586 | 급해서 지송... | 지우압바 | 2000.10.30 | 3623 |
1585 | 담만이 누군가 했더니..... | 수 | 2000.10.28 | 3721 |
1584 | 차로 실고간데... | 곰팽이 | 2000.11.03 | 3927 |
1583 | 콘트라베이수...손톱 갈아 묵는 애... | 형서기 | 2000.11.03 | 3721 |
1582 | ☞ 수님만 보세요... | 곰팽이 | 2000.10.30 | 3755 |
1581 | 광합에는 콘베가 없어여. | 지우압바 | 2000.11.02 | 3679 |
1580 | 진촌놈이라 모르구먼유.. | 곰팽이 | 2000.11.02 | 3702 |
1579 | 곰팽! 타우너 탑차 빌려줄께....공짜로! | 샌빠이 | 2000.11.03 | 4597 |
1578 | ☞ 제발 귀 좀 귀울여 주심 안될까요? | sendy | 2000.11.06 | 3629 |
1577 | ☞ 제발 귀 좀 귀울여 주심 안될까요? | 가스파르 | 2000.11.06 | 3719 |
1576 | 그만한 열정이 있다면...... . | 고은별 | 2000.11.10 | 3926 |
1575 | ☞ 아래 글 올린 왕 초보 입니다.. 1 | 樂 前 孤 鬪 | 2000.11.05 | 3767 |
1574 | 제발 귀 좀 귀울여 주심 안될까요? | 전우화 | 2000.11.03 | 3789 |
1573 | 아래 글 올린 왕 초보 입니다.. | 전우화 | 2000.11.03 | 3741 |
1572 | 마린 2000년산 얼마전 600만원 | 이상한사람 | 2000.11.11 | 4274 |
1571 | 수님감사함다. | 곰팽이 | 2000.11.05 | 3787 |
1570 | ☞ 타우너를 우습게 알다니 ...이노옴! | 지우압바 | 2000.11.12 | 3794 |
1569 | ☞ 타우너를 우습게 알다니 ...이노옴! | 곰팡이 | 2000.11.12 | 3775 |
1568 | ☞ 정말 좋은 기타 안토니오 마린 몬테로..... | 명노창 | 2000.11.11 | 6032 |
1567 | 타우너를 우습게 알다니 ...이노옴! | 센빠이 | 2000.11.12 | 3832 |
1566 | 외국기타의 주문방법좀 가르쳐 주셔요, | 간절한 | 2000.11.11 | 3796 |
1565 | ☞ ☞ 타우너를 우습게 알다니 ...이노옴! | 형서기 | 2000.11.12 | 3773 |
1564 | 센빠이 혹시 영서부 | 곰팽이 | 2000.11.11 | 3978 |
1563 | 그 사람이 그 사람이우...왕야맹 | 형서기 | 2000.11.12 | 3775 |
1562 | 중국이야기가 궁금타? 음반짱님.... | 곰팡이 | 2000.11.12 | 3742 |
1561 | 기타 초보인데... | 기타 | 2000.11.14 | 3642 |
1560 | 까를로스 보넬이 기타를 내놓았더군요.... | 수 | 2000.11.15 | 3936 |
1559 | ☞ 폴피셔 누구까?....퍼온글(붙이는 재미에) | 수 | 2000.11.17 | 3854 |
1558 | Paul Fisher | 기타마니아 | 2000.11.17 | 4401 |
1557 | 알고 싶어요 | 평민 | 2000.11.18 | 3766 |
1556 | 기타 제작자 이야기(1): 토레스 | 고정석 | 2000.11.18 | 5209 |
1555 | ☞ 사진 몇개 | 기타마니아 | 2000.11.19 | 4192 |
1554 | ☞ ☞ ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 4115 |
1553 | ☞ ☞ ☞ 기타 제작자 이야기(3) | 안진수 | 2000.11.19 | 4007 |
1552 | ☞ ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 4198 |
1551 | ☞ ☞ 기타 제작자 이야기(3) | 기타마니아 | 2000.11.19 | 3768 |
1550 | ☞ 기타 제작자 이야기(3) | 안진수 | 2000.11.18 | 4120 |
1549 | 기타 제작자 이야기(2) | 고정석 | 2000.11.18 | 5476 |
1548 | ☞ 사진 한장 | 고정석 | 2001.01.17 | 3706 |
1547 | ☞ 이마이 | 기타마니아 | 2000.11.28 | 3771 |
1546 | ☞ 앗...그래였나? | ("@") | 2000.11.27 | 3759 |
1545 | 기타 제작자 이야기(3) | 고정석 | 2000.11.18 | 4487 |
1544 | 이마이딜러가 그만뒀다고 그러네요.... | 수 | 2000.12.11 | 3744 |
1543 | ☞ 기타학원아시는 분 꼭 글좀 남겨주세요! | 기타마니아 | 2000.12.02 | 3684 |
1542 | ☞ ☞ 더하기 위치... | 화음 | 2000.12.03 | 3734 |
1541 | 베르나베 아자씨.... 음.. 할아버진가?? | 변소반장 | 2000.12.05 | 3804 |
1540 | 기타학원아시는 분 꼭 글좀 남겨주세요! | 소정이 | 2000.12.02 | 3641 |
1539 | 베르나베 기타가 어쩌고 저쩌고... 흠냐뤼.. 무식해서.. | 변소반장 | 2000.12.05 | 5058 |
1538 | 사이몬마티를 아시나요? | 왕초보 | 2000.12.06 | 3870 |
1537 | ##이렇게 한 번 해보세요^^... | 박성운 | 2000.12.16 | 5034 |
1536 | ☞ 겨울철에 습도유지하는 방법2.... | 수 | 2000.12.12 | 4010 |
1535 | 이마이.. 관둔게 아니래요.. | 오모씨 | 2000.12.11 | 3764 |
1534 | ☞ 겨울철에 습도유지하는 방법.... | 명노창 | 2000.12.19 | 4166 |
1533 | 겨울철에 습도유지하는 방법.... | 명노창 | 2000.12.12 | 4043 |
1532 | 손이 기준이죠.... | 수 | 2000.12.20 | 3704 |
1531 | ☞ 네크가 휘는경우는요....... | 수 | 2000.12.27 | 3823 |
1530 | 수님! 어린이용 기타의 기준은? | 泳瑞父 | 2000.12.20 | 3728 |
1529 | ☞ ☞ ☞ 역시 연주가는 악기만드는거 50%는 따돈거야.. | 형서기 | 2000.12.28 | 3649 |
1528 | ☞ ☞ 네크가 휘는경우는요....... | 망상 | 2000.12.28 | 3873 |
1527 | ☞ ☞ 역시 연주가는 악기만드는거 50%는 따돈거야.. | 명노창 | 2000.12.27 | 4005 |
Designed by sketchbooks.co.kr / sketchbook5 board skin
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5
Sketchbook5, 스케치북5