On Thursday, October 19, I had the pleasure of having dinner with Carlos Bonell, Juan Grecos, with the Na-Mara Duo -Paul McNamara and Roberto García- David Berry, Laura Rossi (Schott), María Torre, Cristina Martín and Pablo de la Cruz.
Thus began for us the XXXVII edition of the Andrés Segovia International Festival in collaboration with the UNED.
The participation of Guitarras Ramírez in the XXXVII Andrés Segovia Festival
The next day I gave a talk about Manuel Ramírez’s guitar that he gave to Andrés Segovia and that is on display at the Metropolitan Museum of New York and, although it was a very brief talk, I was able to tell a little about the master’s role in a artisan workshop who is responsible for his research, the elaboration of his templates, the teaching transmitted to his disciples and officers, among other things and, finally, the person responsible, for better and for worse, for the guitars that come out of his workshop.
You can read more about this in another of my articles published on the blog: “The work of the master”, “Tribute to the figure of the master” or “The structure of our workshop” among others.
After the talk, Adrián Baratech performed two pieces that Andrés Segovia played in his legendary concert at the Ateneo de Marid in 1913, with the copy number 0 of Manuel Ramírez’s guitar that he had given to Segovia a few days before.
I ended up reading an anecdote told by Andrés Segovia in his biography, reviewed and authorized by him, written by Alberto López Poveda, Vida y Obra.
The anecdote refers to his experience days after his concert at the Ateneo, when Segovia believed it had been a failure and, fearing that Manuel would want to get back the guitar he gave him, he decided not to go to his workshop.
But as Manuel did not receive any news from him after a few days, he sent for him. So Segovia, fearful and somewhat ashamed, attended his call, to hear Manuel’s following words:
“(…) What strength! What passion! I was moved to feel how the four boards that I had put together were transformed into beautiful music, and I was never so proud of the miraculous result of my work. Seeing the enthusiasm of the public, I felt like shouting: Direct some palms towards this side, because I also have the right to share a little bit of the success; If it weren’t for me, I’m sure you would have a harder time listening to this young artist and you wouldn’t find the music so clear and well sung.” ·
Performances by notable artists with a Ramirez guitar
I also attended the concert, as always masterful, by Carlos Bonell who, with that exquisiteness, elegance and delicacy of his, kept us all suspended in a time without time, and ended up making the entire audience stand up in an excited and grateful ovation.
Likewise, I had the immense pleasure of listening to the duo Na-Mara who, opening a new dimension in the guitar music traditionally involved in the Andrés Segovia Festival, enchanted the audience by getting us up from our chairs to express our gratitude for giving us an unforgettable session with their excellent performance of traditional English and Scottish songs.
And finally, I enjoyed the original and beautiful concert by Ciro Carbone, of pieces of traditional Italian music adapted by him to the guitar.
I am honored that these artists whom I mention here played guitars built in our workshop, and turned them once again into channels through which they could masterfully express their art and talent.
After the Na-Mara duo, Simone Onnis closed the day’s program with pieces by Domeniconi, Tárrega and Gitanerías Arabes with a powerful and remarkable performance that left us wanting more.
In short, a high-class Festival with leading figures in the world of guitar and surprising us with unexpected news that made us enjoy its quality and excellence.
Amalia Ramírez
Madrid, October 29, 2023
Andrés Segovia, Life and Work, volume 1, page 94, “Manuel Ramirez raises his spirit”
