Mostrando entradas con la etiqueta Guitarras (Modelos y especificaciones). Mostrar todas las entradas
Mostrando entradas con la etiqueta Guitarras (Modelos y especificaciones). Mostrar todas las entradas
jueves, 7 de mayo de 2015
lunes, 4 de mayo de 2015
jueves, 23 de abril de 2015
domingo, 22 de marzo de 2015
martes, 10 de marzo de 2015
sábado, 7 de febrero de 2015
The Collection Online, Archtop Guitar ,James D'Aquisto (American, New York 1935–1995 Corona, California)
http://www.metmuseum.org/collection/the-collection-online/search/506807
Archtop Guitar
Maker: James D'Aquisto (American, New York 1935–1995 Corona, California)
Date: 1993
Geography: Greenport, New York, United States
Medium: Spruce, maple, ebony
Dimensions: W. 17 in.
Classification: Chordophone-Lute-plucked-fretted
Credit Line: Gift of Steve Miller, 2012
Accession Number: 2012.246
On view in Gallery 684
During the final years of his life the famed James D'Aquisto created a remarkable series of guitars that were a radical departure from traditional design. The twenty-four instruments represent the full maturity of his skill as a maker and his concept of eschewing metal and plastic hardware in favor of all natural materials. D'Aquisto also broke with traditional guitar architecture, which had been based largely on Art Deco motifs popularized in the 1930s, by using new shapes for sound holes, a sleeker overall outline, asymmetrical lines, and an expanded palette of finish colors. This magnificent example has a stunning natural to honey sunburst finish and, unusual for D'Aquisto in those years, decorative inlaid maple strips on the macassar ebony hardware pieces. The headstock has a heart-shaped cutout, a motif that occurs on only one other D'Aquisto instrument. The guitar was finished and signed by D'Aquisto on November 23, 1993, and was subsequently purchased by D'Aquisto's good friend the rock and roll musician Steve Miller, who has donated it to the museum to be "played and enjoyed."
FUENTE:http://www.metmuseum.org/collection/the-collection-online/search/506807
Recent Acquisition: PRS GuitarJayson Dobney, Associate Curator and Administrator, Department of Musical Instruments
Jayson Dobney, Associate Curator and Administrator, Department of Musical Instruments
Posted: Monday, January 13, 2014
I first met the guitar manufacturer Paul Reed Smith at a NAMM (National Association of Music Merchants) convention in Anaheim, California, several years ago. I had the opportunity to visit with him about his guitars and the company he founded. He began building electric guitars in the 1970s, when he was in college, and showed his instruments to many of the top guitarists of the day, who appreciated his work. In 1985, he founded PRS guitars, and has gone on to have a major influence in the music world.
The Museum was recently able to accept into its collection of musical instruments a custom-made electric guitar made by PRS Guitars. Like all of PRS guitars, it is made of beautiful wood, in this case a curly red maple top with an African ribbon mahogany back. It is also decorated with beautiful inlaid birds, made of mammoth ivory, for fret markers; and the entire body has paua heart abalone purfling. The instrument has an attractive gold finish, which Paul calls a "Light Tiger Eye Micro Burst" finish.
In the last few decades of the twentieth century, Paul Reed Smith was introducing new models, aesthetic designs, and finishes to electric guitars, even as other large manufacturers such as Gibson and Fender were still building guitars on their traditional—and famed—models dating to the middle of the twentieth century. PRS was pushing forward, and has found success through continuing to introduce new electric guitars for contemporary players of all genres.
The custom electric guitar was given to the Museum by Warren and Kateryna Esanu, supporters of the Museum and friends of Paul Reed Smith. To celebrate the gift, the legendary guitarist John McLaughlin played a short demonstration of the guitar in the Temple of Dendur, accompanied by Gary Husband on the piano. We are extremely pleased to be able to welcome this guitar into the collection.
Department(s): Musical Instruments
FUENTE: http://www.metmuseum.org/about-the-museum/museum-departments/curatorial-departments/musical-instruments/of-note/2014/prs-guitar
Archtop Guitar John D'Angelico
http://www.metmuseum.org/collection/the-collection-online/search/506815
Archtop Guitar
Maker: John D'Angelico (American, New York 1905–1964 New York)
Date: 1932
Geography: New York, NY, United States
Medium: Spruce, maple, ebony, steel, celluloid, mother-of-pearl
Dimensions: Overall: 41.8 x 14.3 x 106.7 cm (16 7/16 x 5 5/8 x 42 in.)
Classification: Chordophone-Lute-plucked-fretted
Credit Line: Gift of John and Christina Monteleone, 2012
Accession Number: 2012.480
On view in Gallery 684
FUENTE: http://www.metmuseum.org/collection/the-collection-online/search/506815
The New York City Workshop of C. F. Martin (Jayson Dobney, Associate Curator and Administrator, Department of Musical Instruments)
http://www.metmuseum.org/about-the-museum/museum-departments/curatorial-departments/musical-instruments/of-note/2014/cf-martin
Christian Frederick Martin (American, 1796–1873). Guitar, ca. 1834. Spruce, maple, ebony, ivory, mother of pearl, mastic. The Personal Collection of C. F. Martin IV. Photo by John Sterling Ruth, courtesy of the Martin Museum
The exhibition Early American Guitars: The Instruments of C. F. Martin, on view through December 7, brings together more guitars by Christian Frederick Martin (1796–1873) than have ever been publicly exhibited before. Among the many treasures that can be seen in this exhibit is the earliest known guitar built by Martin. The instrument (above) was built around 1834, at which point Martin was working in his New York City workshop at 196 Hudson Street, an area of the city now known as Tribeca, near the Holland Tunnel. In that shop he repaired instruments, sold musical items that he imported from Germany, and both built and sold his own guitars.
At the time Martin arrived, New York City was booming, thanks largely to the opening of the Erie Canal in 1825. However, its musical life was far removed from what it would become even a few decades later: the predecessor orchestra of the New York Philharmonic (the oldest symphony orchestra in the country) was founded in 1842; the Metropolitan Opera organized in 1880; and Carnegie Hall opened its doors in 1891. Martin himself had already moved his operations to Nazareth, Pennsylvania, well before Henry Steinway—the instrument manufacturer perhaps most closely associated with New York—arrived from Braunschweig, Germany, in 1850 to build pianos.
Martin was born in Markneukirchen, Saxony, a town that was renowned as a center for musical instrument making. He was the son of Johann Georg Martin, a furniture maker who was also known to have built a few guitars. Christian Frederick spent some time in Vienna and would later claim to have been a "pupil" of the guitar builder Johann George Stauffer, although there is no documented evidence to support this claim. Martin married Ottile Kühle, daughter of the Viennese guitar builder Karl Kühle, in 1825, and then returned to Markneukirchen to begin building guitars. He found himself caught between the violin-making and furniture-making guilds, both of whom wanted to control the growing market for guitars. Perhaps influenced by his friend Heinrich Schatz, a guitar builder active in Pennsylvania, Martin ultimately decided to move to the United States in 1833.
As a German immigrant, Martin used his connections within the German community to establish himself in New York. The population of German immigrants and German-Americans was already more than twenty-four thousand in 1840, a number that exploded over the next two decades: By 1855, New York City boasted the third largest population of German-speakers in the world, ranked only behind Berlin and Vienna.
Martin's earliest guitars are similar to those of Viennese makers, especially the "Legnani" model guitars—named for the Italian virtuoso Luigi Legnani—of Johann Georg Stauffer. The 1834 Martin exhibits many of the Viennese features, including the scroll-style headstock with in-line tuners off to one side. The fingerboard is raised above the body of the instrument, and the neck can be adjusted by use of a clock-key. The guitar has a spruce top, with the back and sides made of maple. The strings terminate in a moustache bridge with pins holding the strings in place.
The 1830s were a tumultuous time in New York City. The city erupted in anti-abolitionist riots in July of 1834, and the nearby Laight Street Presbyterian Church—as well as the home of its pastor, Samuel Hanon Cox—was targeted and vandalized during several days of rioting. The church was a mere two blocks from the Martin shop. The Great Fire of 1835 destroyed seventeen city blocks, and perhaps as many as seven hundred buildings, on December 16, and many New Yorkers soon moved their homes and businesses farther uptown to the area around Martin's workshop. Then, in May 1837, a financial panic hit, throwing the city and the nation into a years-long recession. It's no surprise then that C. F. Martin and his family left New York City and chose to settle in the German community of Nazareth, Pennsylvania, which reminded them of their home region of Saxony. New York continued as an important business center for Martin's company, though, with the city name stamped on its guitars even after C. F. Martin's death in 1873.
Follow Jayson on Twitter: @JayKerrDobney
FUENTE: http://www.metmuseum.org/about-the-museum/museum-departments/curatorial-departments/musical-instruments/of-note/2014/cf-martin
jueves, 22 de enero de 2015
sábado, 17 de enero de 2015
sábado, 8 de noviembre de 2014
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