ETUDE
July 1938
volume LVI
number 7
page 482, 488

The Guitar

By George C. Krick

ACCORDING TO RELIABLE STATISTICS, the number of guitars sold in this country in 1937 reached the almost unbelievable total of half a million. This, of course, includes all varieties, classic, plectrum and Hawaiian. By way of contrast, it is interesting to note that Torres, the most celebrated of the Spanish guitar makers, whose productive period occurred during the middle of the nineteenth century, made not more than three hundred instruments during his lifetime. Of these about twenty-five were considered instruments superior to all others and gradually found their way into the hands of guitar virtuosos in different parts of the world, where they are prized very highly by their proud possessors. Miguel Llobet, one of the leading Spanish guitarists, is the owner of one made in 1853. Emile Pujol uses one; and the Torres guitar of Tarrega, after the latter’s death, crossed the Atlantic and is now owned by Maria Anido, the celebrated guitarist of Buenos Aires. These guitars are noted for their beautiful tone quality, carrying power and excellent workmanship. The instrument treasured above all others by Torres, was produced in 1856, and was named by him “La Lione” For many years he refused to part with it at any price, but finally it came into the possession of a young woman, a pupil of Tarrega and a member of a family of great wealth. Twenty years later this family experienced severe financial difficulties and the instrument was sold to an amateur guitar enthusiast and collector, Nicolo Gimenez for twenty thousand dollars. It is said that on the day of change of ownership the whole family was dressed in mourning and, with heavy hearts and tears in their eyes, bade farewell to their beloved guitar.

Senor Gimenez took the guitar to Paris, had it insured against fire and theft for the amount quoted, and frequently permitted some of the prominent artists to use it in their concerts. It created quite a sensation amongst the fraternity, and everyone agreed that it was the finest guitar ever constructed.

While there were other guitar makers of high rank in Spain at that time, none of them was considered quite the equal of Torres. The guitars of Lacote enjoyed great popularity in the early years of the nineteenth century; and after Ferdinand Sor made his home in Paris he used the instruments made by this French master. These guitars were somewhat smaller than those of the Spanish makers. The Italian model was also of smaller dimensions, rather slender and shallow, producing a crisp tone of fine quality and good carrying power, but lacking the depth and sonorous quality of the Spanish model.

Some Famous Viennese Makers

DURING THIS PERIOD Vienna was the guitar hub of Europe, and sooner or later most of the players of note were to be found in this beautiful city on the banks of the Danube. Amongst the numerous guitar makers of Vienna, J. G. Stauffer (1800-1850), J. G. Scherzer (1834-1870), and F. Schenk ( 1809-1850) were the most renowned; the instruments produced by these craftsmen were most popular with the Russian and many of the Italian virtuosos. While the six string guitar was widely used, some of these artists preferred an instrument with three or more added bass strings. J. K. Mertz, the celebrated Austrian guitar virtuoso and composer, played an instrument having four extra bass strings. The Terz guitar, a smaller model tuned a minor third higher than standard, was also quite popular at this time, especially for playing duets with another guitar or piano, or in ensemble with string quartet.

From that time up to the present, it has been the ambition of every serious maker to improve the instrument, to give it greater carrying power and, withall, to retain its characteristic tone quality. It was after the sensation created in Europe by the performances of Miguel Llobet, followed, a few years later, by that of Andres Segovia, that the European makers came to accept the principles as laid down by Torres, with results that have been, quite surprising and satisfying to players. The most successful, perhaps, of the present generation of guitar makers is Hermann Hauser. His concert guitar, called the “Segovia Model,” is slightly larger than the old Torres, and has been acclaimed by many of the great artists, including Segovia, who used one during his recent American concert tour. Classic guitars that also deserve recognition are those made by Vincente Tatay and Luigi Mozzani.

And in America

AMONGST THE AMERICAN manufacturers of gut string guitars, the F. C. Martin Company has enjoyed an enviable reputation since the house was founded in 1833, and the instruments made by this firm have been most popular with the American guitar fraternity.

It was the founder of the Gibson Company who first conceived the idea of making guitars with carved top and back, and this type is now recognized as the ideal instrument for the professional orchestra player and has been adopted as a standard model by all of the leading American manufacturers. These instruments are of a much heavier construction, in order to withstand the strain of wire strings and are intended to be played with a plectrum.

The writer hopes that at least a few of our guitar makers will put some of their ingenuity and inventive genius into the creation of a gut string guitar that will equal or perhaps excel those made abroad, in order to satisfy the desires of many players who prefer the classic school of guitar playing.

Now a few words of advice to those contemplating buying an instrument.

Consult a reliable dealer; and, if possible, have someone along who knows something about guitars, preferably the teacher from whom you expect to take lessons.

Do not buy an instrument because it is cheap, but get the best you can afford. Remember that this guitar may become your companion for the rest of your life.

A poorly constructed instrument is a handicap to the beginner as well as to the advanced player.

The best of the classic type are made of Rosewood, with a thin, sensitive spruce top, strung with three gut and three silk wound strings. See that the treble and bass strings are evenly balanced as to tone; strings should be adjusted fairly close to the fingerboard.

For orchestra work most professionals choose the guitar with carved top and back, as the tone of this instrument is big, crisp and penetrating. Some players still prefer the instrument with flat top, for its subdued and ingratiating tone quality. On all modern orchestra guitars the body of the instrument joins the neck at the fourteenth fret. Most Hawaiian players use the flat type of guitars of fairly large size, with body joining the neck at the twelfth fret.

Having selected your instrument, get busy with it.