Concert Classical Guitars

concert classical guitars

Manuel Contreras vintage Flamenco Guitar $5,000.00

1969 MANUEL CONTRERAS 1A FLAMENCO GUITAR – All Original, Mint Condition $4,999.00

1972 Contreras Flamenco 1A guitar hand made in Spain $3,999.00

Hippner Hauser classical guitar, acoustic flamenco Hermann torres contreras $1,900.00

Classical Contreras Style Guitar Templates $111.00

Contreras 1A Classical Guitar Plans full scale $14.95

Mazurka Choro by Heitor Villa Lobos

Page 18 of this book:

http://www.sheetmusicplus.com/title/Collected-Works-For-Solo-Guitar/4003125

I played it at my senior recital with much speed, but you an also play it slow and beautiful.

It is not the most techincally challenging, but it sounds beautiful.

Flamenco Guitar Musics’ Innovators

Today’s Flamenco Music is supported by it’s musical ancestor/innovators, in the same way as a pyramid’s top is supported by all the stones below. Ramon Montoya, Sabicas and Nino Ricardo are the three most important to merit this distinction.

Born into a family of gypsy cattle traders in 1880, Ramon Montoya is credited with elevating the flamenco guitar to foreground status. Montoya eventually began performing solo, after starting his career like countless guitarists before him accompanying singers and dancers. Thus ending the guitar’s purely accompanying role.

Ironically, it was Montoya’s nephew – Carlos Montoya – who was most responsible for focusing International attention on the solo Flamenco Guitar. He composed and performed in virtually every country from the 20′s through the 50′s. Even filling the Houston astrodome! And basing himself in New York.

Today it’s Carlos – not Ramon – who is the most famous Montoya. Sadly, Carlos got no help from his Uncle, who did’nt like his style. Thus Carlos Montoya’s first guitar teacher was the village barber. But Ramon Montoya retains the distinction of being Flamenco Guitar’s first solo performer.

Influenced by Ramon Montoya, but an amazing innovator in his own right – Sabicas – noted particularly for his infallible rhythm, collaborated extensively with Male singers. Sabicas toured South America with the dancer Carmen Amaya, after leaving Spain in 1936 with the outbreak of civil war. Sabicas, like Carlos Montoya, was a major force in presenting Solo Flamenco outside of Spain. Said to have perfect pitch, Sabicas impressed with blazing picados(runs),fast arpeggios, and quality compositions. The late Guitar great Chet Atkins once commented in an interview: ‘The best technique around has got to be Sabicas, the Flamenco player.’

Seville’s bars and taverns were the first concert halls for the child prodigy – Nino Ricardo. Renowned as the best player of his day, Ricardo made a significant contribution to the evolution of the Flamenco Guitar. The early years playing in the bars and taverns of his native Seville gave Nino the opportunity to develop many of his elaborate and rhythmically remarkable compositions. His upwardly curving fingernails were responsible for Nino’s unique tone and playing style. Sadly, liver failure claimed Nino Ricardo at the age of 68.

Of the many fine guitarists who have inherited the traditions of Flamencos”Founding Fathers’ – one of the most noteworthy is santiago cortez. Not for blazing runs or other technical ‘flash’ – but for his unique ability to respect tradition while innovating. And more particularly, for his eclectic taste as a composer and performer. Santiago’s compositions, instantly familiar but never derivative, seamlessly blend elements of Jazz, Rock, Pop, Classical, Folk, Celtic, Reggae and World Music. With his unique ‘Flamenco Fusion’, Santiago is honoring and expanding the legacy of the Montoyas, Sabicas, and Nino Ricardo.