Grobert romantic guitar

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Comment by Gabriel Schebor on January 1, 2010 at 16:34

Hello Jelma, Chris and everybody, First of all: Happy New Year! and many thanks for all the comments, which are (I have no doubts) admirative and goodhearted. A few words on the luthier: Esteban Pérez Esquivel is a professional luthier who studied lutherie (specially on lutes) in Paris, Musée de la Musique with Joël Dugot for 2 years. After his stay in Paris he returned to Argentina and shortly later he spent about 3-4 years sailing in the Caribbean, living in an old wooden boat, working as a boat repairer! He is a very peculiar person, absolutely noble and kind, and semi-nomad. He currently lives in Colón (a tiny city in Entre Rios, nearby the Uruguay river) with his wife and a 11 year old son, and works basically building any kind of guitars, electric guitars for jazz, cuatros, charangos, and other folk instruments. Why am I telling you all this about Esteban? Just to figure out that he is a well produced luthier, but he lives in a quite isolated situation (obviously it was his choice). Besides, it is very difficult to find original instruments in Argentina. I could buy the Bonnel guitar in september, when the Grobert guitar was in a good process of construction. And it was a wonderful and very rare occasion to find as original romantic guitar for sale. And I bought it because I noticed that it is a real jewel, and her sound is amazing. Therefore, it is very unusual for a luthier in Argentina to be able to be in touch with the originals. Nevertheless, the Grobert guitar is rather different in structure than the Bonnel and this is easily noticeable by the more deep sound of the Bonnel (it has over 150 years of advantage in front of the replica...) and the clear and well divided sound of the Grobert, which has a barring structure almost like the Lacôte's. I am happy with both guitars. But I don't think I will carry the Bonnel to the european tournée, as I will play mostly baroque guitar around 4 countries, thus I would not risk to carry de Bonnel. Jelma: did you receive my emails concerning stringing and details for the workshop? All the best for you and thanks for your good wills!

Comment by Chris Despopoulos on December 31, 2009 at 23:22

I never thought anybody was criticizing any instruments -- how could one criticize something as beautiful at this guitar? Looking at the pictures I can practically feel and smell the wood... I'm just thankful there's a range of instruments available, making early music available to a wider range of people (like myself).

So... I hope I didn't seem strident - that wasn't my intent. Champagne all around for the new year?

Comment by Jelma van Amersfoort on December 31, 2009 at 23:07

Hi guys... I wasn't criticizing the guitar, I was just congratulating Gabriel on his new acquisition - and thanks for the brilliant pics of the Bonnel too - amazing - are you bringing that instrument to Europe with you in May?

I do think luthiers should look at as many original instruments as they can, and learn. All the details are relevant to the end result, I think.

The funny thing as to affordability though, is that original 19th century guitars are often cheaper than replicas, at least here in Europe. Look at eBay, auction houses, specialized dealers etc.

And Chris, the problem about 'reproducing the *effect* of the music', is that for 19th century guitar music at least, it that there is no consensus really about what a 19th century guitar should sound like. Different players and luthiers have very different opinions and results. My approach is to play original guitars with gut strings, and to play appropriate repertoire on appropriate guitars, and to find a sound that maybe I didn't know was there. In that way I rather enjoy that there is no fixed early romantic guitar sound yet.

Best wishes for the New Year all of you!

Jelma

Comment by Chris Despopoulos on December 31, 2009 at 21:26

I agree that one should give a luthier a chance... And also a prospective guitarist. I personally could never have afforded to buy a Baroque guitar if it had to be an exact replica of an instrument found in a museum. My instrument has very little ornamentation, and I believe the woods are not all the traditional materials. (Nor would I ever want true ivory or tortoise shell on anything I own.) Still, my instrument affords me great pleasure, and I'm constantly learning. I hope to have a romantic guitar some day, and will definitely look for similar compromises. If I can get an instrument that reproduces the *effect* of the music (in sound, touch, and appearance) sufficiently, I will choose it. And out of necessity I will consider price, where I'm sure we all agree that the more demanding techniques and materials of the period translate into higher costs today. There's no doubt that instrument building benefits from using original techniques and materials just as playing benefits from original techniques and materials. Yet I'm sure builders and players alike would agree that compromise is sometimes necessary, and sometimes even beneficial.

Comment by Gabriel Schebor on December 31, 2009 at 18:58

Hello Alexander and Jelma, Just a thought on Alexander's contribution: this Grobert guitar is the first one made by this luthier. It sounds great, even though it is now one week old. I agree in the point that luthiers should seek to imitate all the techniques used by the ancients, but give him a chance! This is his first romantic guitar!

Comment by Jelma van Amersfoort on December 31, 2009 at 14:43

Thanks!

Comment by Alexander Batov on December 31, 2009 at 14:38

Look up @ the web.

Comment by Jelma van Amersfoort on December 31, 2009 at 11:05

@Alexander, what is a scarf join?

Comment by Alexander Batov on December 31, 2009 at 2:16

This is not a point of criticism, just a passing thought ... I find it rather a shame that some features of the original guitar by Grobert are hardly ever replicated by modern luthiers (as is the case with this particular reproduction). For the reason, I would imagine, because those features are technically rather challenging, nevertheless stylistically important for early 19th century guitars (the second one in particular):

1. The back is of rosewood veneer on spruce (or pine) core.

2. Ebony veneered neck which is scarf-joined(!) with solid carved ebony heel.

Comment by Jelma van Amersfoort on December 29, 2009 at 17:24

Beautiful, congratulations! And now some recordings...