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481:(1888) - Once owned by Leon Farre, one of the great enthusiasts of the Barcelona guitar world in the first half of the 20th century. Due to its particular sound qualities, the guitar received special attention from Miguel Llobet, Domingo Prat, Emilio Pujol and other guitar enthusiasts. Due to the beauty of its voice, Prat and Pujol gave it the nickname “La Italica”, while Llobet christened it with the epithet “La Leona de Farre”, in honour of its owner Leon Farre. The guitar later belonged to the Barcelona luthier Enrique Coll (a student of Simplicio and a mentor to Fleta). The guitar seems to have come out of a time machine, as it has never undergone restoration and is still in the original condition in which Torres left it in 1888. The guitar currently belongs to the Raccosta Collection (Verona, Italy);
294:" smilingly responded: 'Father, I am very sorry that a man like you also falls victim to that idea that runs among ignorant people, Juanito (that is how he addressed me) has been witness to the secret many times, but it is impossible for me to leave the secret behind for posterity; this will go to the tomb with me for it is the result of the feel of the tips of the thumb and forefinger communicating to my intellect whether the soundboard is properly worked out to correspond with the guitar maker's concept and the sound required of the instrument'. Everyone was left convinced that the artistic genius cannot be passed on "
44:
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328:, and then in the rest of the world. Although they are not particularly loud by modern standards, they have a clear, balanced, firm, and rounded tone that projects very well. His guitars were widely imitated and copied. Because he never signed his guitars, and only numbered those from his second epoch, many fake Torres have been made, some by well-known and expert makers.
427:
FE 13 (1860): owned by Miguel Llobet, who often used it in concerts in
Germany together with the FE09 (1859). Llobet sold it in the first half of the 1920s to Hermann Hauser I, who kept it throughout his life, drawing inspiration from it for the development of his famous guitar of 1937. The guitar is
261:
was key. To increase its volume, he not only made his guitars larger, but fitted them with thinner, hence lighter soundboards that were arched in both directions, made possible by a system of fan bracing for strength. These bracing struts were laid out geometrically, based on two isosceles triangles
314:
where he and his wife opened up a china and crystal shop on the Calle Real. About five years later, Torres began his "second epoch" (as he referred to it on the labels of his guitars), building part-time when not busy in the china shop. After the death of his wife Josefa, in 1883, Torres began to
289:
During his later years, Torres's close friend, a priest named Juan Martínez
Sirvent, lent him a hand in his workshop. Many years later, in 1931 Sirvent wrote a letter to Francisco Rodríguez Torres, mentioning the following explanation Torres made when he, at the age of 68 was asked by the famous
225:
broke out, and soon after Torres was conscripted into the army. Through his father's machinations, young
Antonio was dismissed as medically unfit for service. As only single men and widowers without children were subject to conscription, in 1835 his family pushed Torres into a hastily arranged
340:
is also frequently used. Luthiers have continued to develop the bracing of the soundboard, but most still use some version of the fan-bracing that Torres's pioneered. Torres's guitars were strung with gut trebles and basses of silk threads, overwound with silver. Since the 1950s almost all
323:
Torres guitars are divided into two periods: the first belonging to
Sevilla from 1852 to 1870, the second being the years 1871–1893 in Almería. The guitars Torres made were so superior to those of his contemporaries that their example changed the way guitars were built, first in
428:
a rare example of the originality of the guitar concept that Torres carried forward in the First Epoch period as it has never undergone restoration and is still in the condition in which its maker left it. The guitar is currently part of the
Raccosta Collection (Verona, Italy);
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While Torres was not the first to use this method he was the one who perfected the symmetrical design. To prove that it was the top, and not the back and sides of the guitar that gave the instrument its sound, in 1862 he built a guitar with back and sides of
775:
257:, that Torres made it his profession, and he began building in earnest. Julián Arcas offered Torres advice on building, and their collaboration turned Torres into an inveterate investigator of the guitar construction. Torres reasoned that the
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306:
to buy a Torres guitar from the maker of Julián Arcas' instrument. Torres offered him a modest guitar he had in stock, but on hearing him play, offered him a much better guitar that he had made for himself a few years before.
341:
classical guitars have been strung with nylon. The tuning heads of Torres's guitars were often set with traditional ebony friction pegs, similar to those of other string instruments. His later instruments were fitted with
285:
There is an anecdote about how he had made a guitar made like a
Chinese puzzle that could be assembled without glue and disassembled would fit in a shoe box. There is no evidence that he ever made such a guitar though.
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While the overall pattern of the modern classical guitar derives from Torres, there are some differences between Torres's classical guitars and the modern instrument. Torres's guitars all had soundboards of
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230:. Children soon followed: a daughter in 1836, another in 1839, and a third in 1842, who died a few months later. His second daughter also died. In 1845 his wife died at the age of 23, of
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that he shared with Manuel Soto y
Solares. Although he made some guitars during the 1840s, it was not until the 1850s on the advice of the renowned guitarist and composer
315:
devote increasing amounts of time to building guitars, making somewhere around 12 guitars a year until his death in La Cañada de San Urbano, Almería at the age of 75.
282:. (This guitar resides in the Museu de la Musica in Barcelona, and before the year 2000 it was restored to playable condition by the brothers Yagüe, Barcelona).
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Antonio de Torres was the son of Juan Torres, a local tax collector, and Maria Jurado. As was common, when he was 12 he started an apprenticeship as a
993:
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in
Seville, in 1869. The back and ribs were made from flamed maple. Sold by Vicente Tárrega (brother of Francisco Tárrega) to Domingo Prat in 1917.
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Although there is some debate as to who taught Torres, one theory is that sometime around 1842, Torres may have gone to work for
1013:
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234:. These were difficult years for Torres, who was often in debt and forced to look for more lucrative forms of employment.
418:
373:
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17:
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1074:
488:, restored and owned by luthier R. E. Bruné. Nearly identical to SE 114 but with birds eye maple sides and back.
909:
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1006:
899:
915:
Investigative
Methods for the Study of Historical Guitars: A Case Study of the Work of Antonio de Torres
1064:
705:
531:
974:
610:
Romanillos, José L. (1990) . "Antonio de Torres, Guitar Maker, His Life & Work". pp. 16–17.
599:
Grondona, Stefano (2001). "La
Chitarra di Liuteria, Masterpieces of Guitar Making". pp. 58–61.
454:
396:
485:
290:
father Garzón at a dinner about his "secret" of how to make his outstandingly sounding guitars:
262:
joined at their base creating a kite shape, within which the struts were set out symmetrically.
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About 1870, Torres, who was then in his 50s, closed his shop in Seville and moved back to
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In 1868, Torres married again, wedding Josefa Martín Rosada. Shortly after, Torres met
279:
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for the first time. Tárrega, who was then aged seventeen, had come to Seville from
202:
474:
SE 114 (1888) - owned by Francisco Tárrega, now in the collection of Sheldon Urlik
939:
693:
206:
1007:
Fretwork From the Land of Flamenco - A Masterful Collection of Classical Guitars
686:
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43:
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FE 17 (1864) - initially made by Torres for his personal use, acquired by
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917:, by Dr. James Westbrook, 2009, MA thesis, London Metropolitan University
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FE 18 (1864), presently owned by James Westbrook, www.theguitarmuseum.com
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Almeria, 1875 (actually housed in: Musée du Palais Lascaris in Nice)
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380:
This is an incomplete list of guitars made by Antonio de Torres.
246:
242:
195:
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529:
Bruné, R.E. (September 2011). "1883 Antonio de Torres No. 52".
325:
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marriage to Juana María López, the 13-year-old daughter of a
1015:
Articles Hemeroteca Digital - Biblioteca Nacional de España
353:
201:
It is with his designs that the first recognizably modern
245:, rapidly learning to build guitars. He soon returned to
946:
Measuring and documenting the FE 18 by Antonio de Torres
622:"MDMB 626: Guitarra, by Antonio de Torres Jurado (1859)"
570:"MDMB 625: Guitarra, by Antonio de Torres Jurado (1862)"
406:(1856) - owned by Erhard Hannen, now is being played by
391:
owns three Torres guitars (including the FE03 of 1856);
1028:
Caras y caretas (Buenos Aires). 04/07/1925, n. 1396
910:
Making Master Guitars By Roy Courtnall, Adrian Lucas
1034:
Caras y caretas (Buenos Aires). 05/09/1925, n. 1405
345:, which are universal on classical guitars today.
996:Website with videos and photos 360 of this guitar
778:- search-phrase: Facteur, auteur ou sujet :
1046:
190:(13 June 1817 – 19 November 1892) was a Spanish
424:Sevilla, 1862 - Collection of José Luis Postigo
444:FE 28 (1868) - Collection of Marcos Villanueva
994:Guitar Antonio de Torres 1884 “La Invencible”
990:Website with videos and photos of this guitar
438:Almería, 1864 - Collection of Félix Manzanero
209:in use today are derivatives of his designs.
387:have five Torres guitars of uncertain year.
738:, Collection of Flamencoguitarsforsale.net
609:
491:In the Museum Cité de la Musique in Paris
42:
27:Spanish guitarist and luthier (1817-1892)
965:image - José Martinez Toboso with guitar
598:
365:
352:
264:
900:Antonio De Torres by Jose L. Romanillos
467:SE 107 (1887) - now is being played by
348:
160: 1868; died 1883)
137: 1835; died 1845)
14:
1047:
665:archived from www.guitarraspostigo.com
511:In the Museu de la Música in Barcelona
494:Almeria, 1885 (Torres 11-string model)
528:
626:Catalogue online, Museo de la Música
574:Catalogue online, Museo de la Música
545:
24:
1022:Estampa (Madrid. 1928). 01/01/1929
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249:and opened a shop on the Calle de
25:
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953:Regarding Torres 11-string models
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653:archived from gourmet-guitars.com
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722:Collection of Marcos Villanueva
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663:Collection of José Luis Postigo
419:Museu de la Música de Barcelona
417:, now in the collection of the
374:Museu de la Música de Barcelona
271:Museu de la Música de Barcelona
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484:SE 124 (1888) - Once owned by
13:
1:
933:http://www.antoniodetorres.es
927:Web Oficial Antonio de Torres
749:1888-antonio-de-torres-no-124
687:Collection of Félix Manzanero
515:
988:www.lainvencibledetorres.com
877:Online catalog - Search for
776:Instruments et oeuvres d'art
677:page 122 www.guitarsalon.com
550:. Guitar Salon International
212:
7:
1009:LA Times, February 17, 2002
766:mediatheque.cite-musique.fr
712:www.earlyromanticguitar.com
269:Guitar by Torres (1862) at
10:
1091:
696:www.guitarrasmanzanero.com
628:. MDMB 626. Archived from
576:. MDMB 625. Archived from
318:
370:Guitar by Torres (1859)
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113:
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91:Almería, Andalucía, Spain
80:
50:
41:
34:
942:Antonio de Torres Jurado
793:(Torres 11-string model)
724:www.marcosvillanueva.net
453:SE 52 (1883) - owned by
447:SE 49 (1883) - owned by
413:FE 09 (1859) - owned by
188:Antonio de Torres Jurado
55:Antonio de Torres Jurado
36:Antonio de Torres Jurado
1070:Classical guitar makers
486:Regino Sainz de la Maza
959:Multi-stringed guitars
895:Hill Guitar, Short Bio
377:
363:
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205:are to be seen. Most
178:Maria Jurado (mother)
982:La Invencible (1884)
948:by Florian Vorreiter
938:29 July 2019 at the
692:3 March 2016 at the
349:Inventory of guitars
175:Juan Torres (father)
147:Josefa Martín Rosada
1075:People from Almería
548:"Antonio De Torres"
906:Google Book Search
850:Museu de la Música
763:Cité de la Musique
708:picture; see also
651:video, lieske_live
378:
364:
275:
977:(harpguitars.net)
971:(harpguitars.net)
961:(harpguitars.net)
858:on 1 January 2013
535:. pp. 84–88.
449:Francisco Tárrega
433:Francisco Tárrega
362:and Wulfin Lieske
343:mechanical tuners
338:western red cedar
300:Francisco Tárrega
203:classical guitars
185:
184:
124:Juana María López
18:Antonio de Torres
16:(Redirected from
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1065:Spanish luthiers
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854:. Archived from
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469:Stefano Grondona
251:Cerrajería No. 7
207:acoustic guitars
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84:19 November 1892
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694:Wayback Machine
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632:on 26 June 2015
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546:Morrish, John.
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836:Almeria, 1875
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814:Almeria, 1852
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803:Sevilla, 1882
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791:Almeria, 1885
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736:La Invencible
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497:Sevilla, 1882
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462:La Invencible
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415:Miguel Llobet
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408:Wulfin Lieske
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221:. In 1833, a
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904:Julian Bream
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860:. Retrieved
856:the original
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842:
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786:
779:
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706:FE 18 (1864)
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675:FE 17 (1864)
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634:. Retrieved
630:the original
625:
616:
605:
594:
582:. Retrieved
578:the original
573:
564:
552:. Retrieved
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478:
461:
455:Angel Romero
403:
397:Angel Romero
393:Celin Romero
379:
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280:papier-mâché
276:
255:Julián Arcas
236:
232:tuberculosis
223:dynastic war
216:
200:
187:
186:
86:(1892-11-19)
65:13 June 1817
29:
1060:1892 deaths
1055:1817 births
636:3 September
584:3 September
389:Pepe Romero
385:The Romeros
273:(MDMB 625).
239:José Pernas
97:Occupations
1049:Categories
516:References
479:La Itálica
376:(MDMB 626)
259:soundboard
228:shopkeeper
61:1817-06-13
1036:; page 76
1030:; page 20
304:Barcelona
219:carpenter
213:Biography
192:guitarist
103:Guitarist
73:Andalucía
1001:Articles
936:Archived
690:Archived
404:La Leona
358:La Leona
1024:page 29
975:Players
761:Museum
477:SE 116
421:, Spain
360:(1856)
319:Guitars
312:Almería
247:Seville
243:Granada
196:luthier
169:Parents
162:
154:
150:
139:
131:
127:
114:Spouses
106:luthier
75:, Spain
69:Almería
879:Torres
862:24 May
780:Torres
734:SE 70
464:(1884)
460:SE 70
402:FE 04
336:; now
554:8 May
326:Spain
156:(
152:
133:(
129:
1039:etc.
864:2010
638:2018
586:2018
556:2011
395:and
194:and
81:Died
51:Born
969:ref
372:at
241:in
1051::
1018::
967:,
902:,
624:.
572:.
410:.
158:m.
135:m.
71:,
866:.
852:"
848:"
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588:.
558:.
471:.
457:.
63:)
59:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
