Tuesday, October 26

A bond of more than three centuries


Andrés Segovia with José Tomás and José Luís González

Andrés Segovia with José Tomás and José Luís González
José Luis González Archive

More than three years of work has led to the development of the next issue of the Canelobre magazine, The guitar and Alicante. A story of the future, which It is presented on Friday at 8:00 p.m. in the Auditorium of the Diputación de Alicante (ADDA) with a recital by Paola Requena and Isabel Martínez. Admission is by invitation, which must be reserved at the Gil-Albert Institute.

Coordinated by the guitarist Ignacio Rodes, also academic director of the Master in Classical Guitar Interpretation at the University of Alicante, the volume has 32 articles distributed over almost 400 pages, which show “the rich musical heritage and the close relationship that the province of Alicante maintains with the guitar for more than three centuries ”, as Rodes points out, who considers that with this number – 71 in the history of Canelobre – the weight of this instrument in the province is closer to the public, unknown to many.

«Sometimes I have perceived that the average Alicante was not very aware of this important cultural heritage. At first it seemed like too big a company but the result is exceptional, it has been worth doing this publication, which will remain for the future and will interest both the guitarist and the amateur or any layman in the field “, explains the coordinator, who does not doubt in affirming that the guitar, and plucked string instruments in general or pulse and pick orchestras (such as La Wagneriana), have a preferential place in our sociocultural environment, both in their cultured and popular aspects.

Although it is in the 19th century when this instrument shines in the province, in Canelobre some antecedents are explained, such as its presence at the Misteri d’Elx festival, with documents from the 17th and early 18th centuries that show the ownership of the guitar or vihuela to its music chapel; or its inclusion in chamber compositions of the Alicante guitarist Antonio Ximénez Brufal, musician from the chapel of the Collegiate Church of San Nicolás, in the 18th century; or the existence in that century of the first guitar and vihuelas builders in Orihuela, Francisco Martínez and Antonio Hernández.

Already in the 19th century, Trinidad Huerta, also from Oriolano, known as «the Paganini of the guitar», is one of the most outstanding guitarists of his time -as Javier Suárez-Pajares, from the Complutense University of Madrid recalls in an article- , while Francisco Tárrega, married to the noveldense María Josefa Rizo, developed an important concert and pedagogical work in the province, with Alicante disciples such as Rafael Pérez Vilaplana, Vicente Moya Valor or Elvira Mingot, daughter of Francisco Mingot, brief mayor of Alicante in 1874, that thanks to Tárrega’s mediation, he acquired for his daughter one of Antonio de Torres’ mythical guitars: La Leona.

José Tomás and José Luis González, disciples of Andrés Segovia, placed Alicante in a privileged place for teaching guitar during the 1970s and 1980s, which has continued to this day with the introduction in 2013 of the Master of Guitar Interpretation, in full effervescence, through whose eight editions 120 students from 40 countries have already passed and among the teachers are some of the best guitarists in the world.

From flamenco to electric

To explain the presence of the guitar in other musical genres, articles by the musician Luis Ivars about the arrival of the first electric guitars in the 60s in Alicante and their introduction into Alicante pop-rock stand out; the special attention to flamenco guitar with Mario Escudero, El Niño de Alicante, one of the greatest influences of Paco de Lucía, rescued by Ignacio Ramos; or the importance of the plucked string instruments in the popular habaneras of Torrevieja, in an article by Aurelio Martínez.

Canelobre’s number also looks at other cross-cutting aspects of the guitar such as references in Spanish literature, from the poems of the Mester de Clerecía to the verses of Lorca or Félix Grande, as reported by Ángel Luis Prieto de Paula and Elisa Prieto Conca; of his presence in art, in an article written by José Luis Martínez Meseguer; in the trademarks of the European Union, by Virgina Melgar, or in the toy industry, by Josep Gisbert.


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