??). Emilio Peralto was a regionally renowned guitar maker in Almería circa 1930. (Photograph courtesy of Felix Manzanero). Evans, Tom and Mary Anne Evans. Milanese, Diego and Umberto Piazza. In 1910 they are recorded as living on the Calle Caravaca in Almeria. Josef Sebastián Benedid Díaz (Cádiz, active 1760-1836). Perhaps this is why his guitars have survived and remain prized, where those of many of his contemporaries in Sevilla seem to have perished. An example of his work dated 1870 is in the collection of Felix Manzanero. Joaquín Ruíz was born in Almería in 1804. Isidro Alarcón Briones (Casasimarro, b. He was born in 1874 in Pueblo Nuevo del Mar, Valencia. He is generally credited with being the only luthier in the 19th century whose instruments rivaled those of Antonio de Torres in the elegance and constructional quality. Ignacio learned not only the basics of guitar construction from Francisco Manuel, but how to make other stringed instruments as well. 35. Manuel Martinez (Málaga, active c. 1810s- 1830s). Juan Ponce (Valencia, active c. 1889-1920). His label reads JUAN MARIA GARCIA / Fabrica de Guitarras y Bandurrias / BARCELONA / Plaza de San Pedro No 403. I was first repeating just the basic pattern for quite a long time, but at one moment – it just came to me, and I just suddenly understood the accents and the very essence of the rhythm. What flamenco players wanted was the so-called “tablao” guitar, with a “domed” top and back. He claimed that the secret to making a great guitar was to take maximum of the vibrations that begin at the bridge and stop at the height of the sound hole. He died on Juanary 15, 1878. 1824- d. 1885). In 1898-01 they were at Calle Ancha 50; they moved to Calle Ancha 30 in 1902, Juan Estruch Sasate (Barcelona b.1895 - d.1970). He was the son of Juan Torres, a local tax collector, and Maria Jurado. His workshop was located on Mesones, 4. The guitars Torres made so superior to those of his contemporaries that their example changed the way guitars were built, first in Spain, and then in the rest of the world. Andrés Benítez (Cádiz b.c. Antonio de Lorca Garcia was born in Cartagena in 1798 and died in Málaga in 1870. 1805-d.1867), his apprentice and disciple who had joined his shop in the 1840s. He was sent to Cuba to fight during the Spanish-American war. Enrique Garcia Castillo (Madrid, 1868-Barcelona 1922). His guitars followed French tastes. The essence of this Video Testimonial is that Samir has learned the flamenco rhythm – COMPÁS – FROM THE SOFTWARE ON THE WEBSITE – LIVING SOME 3000 MILES FROM SPAIN – IN LESS THEN 6 MONTHS…! Francisco Dominguez (Málaga active c. 1895-1957). (Photograph courtesy of Felix Manzanero). Columbus, Ohio: Ediciones Orphée Inc. [Originally published in 1934]. After his death, Francisco Fernández who appears to have studied with him took over his shop. Ignacio died in 1977, but not without successors-- having worked for many years with his two sons Francisco born in 1925, and Gabriel born in 1929. Antonio Molina was a luthier born in Málaga and active there toward the end of the nineteenth century. 32,  where Antonio de Torres worked from 1856-1868. Follow this link for the latest information on deliveries and supplies. José Serrano, a guitar maker from Sevilla was active in the mid-nineteenth century. 1921- d. 1965). Between 1946 and 1950, documents show that he bought some materials from the Telesforo Julve workshop in Valencia Miguel Gonzalez Abad's workshop was located in the Bairro Alto. He had his shop at calle Flamencos, 197 in Cadiz. His shop was located on the calle Manifestación, No. In 1960, he moved the work shop to the calle Moro Zeit 2. Juan de Mata Alarcón Briones was born in Casasimarroin 1824. Photograph courtesy of Felix Manzanero, Eduardo Ferrer Castillo (Granada, b. Agustin Carmona and his son also work in Antonio Duran's shop. In 1882,  José opened his own workshop in the Rastro ofMadrid, on Cava Baja-- a street that runs along what was the moot around the old city, and in 1890 moved toConcepcion Jerónimo 2where the Ramirez shop remained for over a hundred years. He seems to have been Benito Ferrer's teacher. His father, José Recio Perini was a carpenter. When he next reappears in the historical record in 1890, he was at Cerrageria No 7. Primativo Alarcón Parreño(Casasimarro b. The Vihuela and the Spanish Guitar. Flamenco Guitar Lessons Blog, Spanish Guitar Construction. In 1907, his father sent Francisco Manuel to Barcelona to apprentice with Benito Jaume (1860-1934), a violin maker. He was the son of José Guerra Pina, a guitar maker. These were difficult years for Torres, he was often in debt, and looking for more lucrative forms of employment. Rising through the ranks at Ramirez, Manuel soon became a master craftsman. Francisco Istrell (Barcelona, active c. 1685). Around 1957, he suddenly abandoned his family, and went to France, and there in his forty's he died. Although Benito Ferrer is perhaps best remember for giving Andrés Segovia a classical guitar at the difficult beginning of his career, seeing that the poor young lad hadn't the money to buy it, and was spending his days practicing on instruments lent to him by friends; however, he is remembered by the family as a man of good humor, a prankster at times, but a saint who never married, and sacrificed his own happiness to raise his siblings. His guitars were patterned after the school or  Salvador Ibáñez. In 1918, he moved his shop to the calle Mayor. He probably apprenticed with his father, but probably build under his own label until after his father died c. 1830. Manuel Soto y Solares (Sevilla, b. He was a son of the guitar maker, Josef Sebastian BenedidDíaz, and learned his craft from his father. He did this work until the late 1930s, when he decided to build guitars. In 1897, Manuel moved his shop to the Calle Arlabán, No. About 2000, Vicente's son-in-law, Naza, joined the firm, and in 2010, they moved to workshop again to the calle Moro Zeit 2. Luis Reig was a guitar maker from Valencia active around the middle of the nineteenth century whose guitars were awarded prizes by the King of Spain. Jacinto was a luthier who had studied with Laberte and Magnié in Mirecourt, France and had spent several year with the Etablissements Couesnon in Paris. In addition to guitars, he made bandurrias and laúdes. Museo Municipal Madrid, The Metropolitan Museum of Art. Julian Gómez Ramirez was befriended by Robert Bouchet (1898-1986), and was a frequent visitor in Julian's tiny, dark and jumbled workshop, and credits Julian with inspiring him to become a guitar maker. He seems to have died in 1867. Antonio Gómez Rodriguez was a luthier in Madrid active circa 1930. Antonio Carlos Garcia was a maker of guitars and bandurrias active in Madrid circa 1860. He also built some guitars under his own name between 1899-1909 when he had a shop on calle Elvira. ), Modesto Borreguero (Madrid b. In 1815 he was in the Real Cuidad de San Fernando; in 1835 he was again in Havana, at his old address. When his uncle died in 1925, Eduardo took over his shop. This guitar's label reads "José López Beltrán/Unico Discipulo/de/Don Antonio Torres/Teatro Apolo/Almeria Anno 18[94]" (penned in). Five of his guitars are know to have survived, as well as two cellos. was at Calle Sierpes 61. Among the stories that Juan Montero Aguilar (a guitar maker in Córdoba who knew him) told me is that on one occasion Don Miguel to visit him with one of his sons, and was admiring the very clean work Juan was doing on the interior of a guitar he was building. Joseph Pagés  (b.Ecija 174?- Cádiz d. after 1819). At a tender age he began his apprenticeship with his father, also learning to play the guitar. Issue No. He advertised on his label that he made guitars, bandurrias, and laudes. 1869 - d. 1944). The Conde brothers continued building under the label Sobrinos de Domingo Esteso into the 1970s when they took the name Hermanos Conde (the Conde Brothers).

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