Here’s Marc Teicholz playing the final guitar from our ‘Valseana Live’ event – an exquisite 1867 Torres. The guitar is 145 years old and as far as most of us are concerned there aren’t many guitars, new or old, that can touch this. It’s kind of amazing that such a small guitar can sound so big after all these years. And while it’s hard to say how much of the experience has to do with knowing that you’re hearing a piece of history, almost everyone who hears this guitar (or other similarly preserved Torres guitars played by a great player) agrees that there’s something about them – the term ‘magical’ is used a lot.  At any rate – you don’t get to hear these every day, so I hope you all enjoy Marc’s performance of some of Sérgio Assad‘s Brevidades and his Valseana movement from Aquarelle.

Both comments and pings are currently closed.

16 Responses to “Marc Teicholz – 1867 Torres”

  1. Aaron Green says:

    Bravo Marc!

    Wonderful sound, makes you wonder why people are so willing to forgo a sound like that for uber horsepower modern style guitars that don’t have nearly the tonal palette. Even odder since in many cases even with these modern guitars, the performer still amplifies.

  2. José Ademir de Oliveira says:

    Very good,Mr Marc is big interpret.

  3. Absolutely marvelous. I love the sound of this guitar.

  4. gitano del norte says:

    one of the previous comments underlines a great point. I amplify all my guitars when i perform live. I have played smallman and many others with new style fan, reverse fan, lattice bracing and so on. many of them can’t compete with older style guitars in terms of quality of the sound. like an older paulino bernabe for instance, or a hernandez-aguado. these guitars blow the smallman away in terms of the quality of the sound in my opinion. the Torres played here is another example. just listen to it.

  5. Joe Franklin says:

    The “loudness” comes not so much from size as from efficiency. There are six standing waves in the guitar’s make-up such that their dimensions must agree with the wave speed of the system. When these are in balance we are getting harmonic resonance and the sound soars as does the inspirations of the performer. It is harder to get these balances in a smaller guitar because millimteters are wavelengths and short waves have high frequencies that even a wet day will change. It is called Physical Science.

  6. alvar says:

    What happen with Marc? In the waltz he is absolutly time out.The music is more that to play speedly

  7. Ivan says:

    I’ve been waiting for this!! Thanks…

  8. Peter McIntyre says:

    I am wondering whether this is the same 1867 Torres that was (or may still be) in the Guitar Culture Museum in Japan. There can’t be too many Toprres 1867’s floating around. If so, interested readers might wish to know there is a superlative, literally state-of-the-art (but now out of print) recording of it. You might still be able to find copies if you are lucky. The CD of the guitar is amazing. The disc is called “The Soul of Antonio de Torres 1867″, Cosmo Village CV-S0001G.

  9. Garrett says:

    Marc’s playing is exemplary, as always. Thank you. As it turns out, I just picked up a CD of “The Soul Of Antonio De Torres” by Isao Kitaguchi. A rare recording.

  10. What a glorious treat. Thanks for this Mark and GSI.After 50 years of studying the guitar and all of its nuances and more than 30 years of guitar making I still marvel at Antonio Torres’ accomplishments.

  11. Joao Ernani F. Filho says:

    The celebrated guitar builder José Romanillos wrote a book about that genius of Almeria, “Antonio de Torres. Guitarrero, su vida y obra”. On that work that is a catalog of Torres’ guitars. Romanillos counted 08 guitars made on 1867: three in Japan; one at Yale, one at California, other at Germany, one that belongs to the house of José Ramirez and one with unknown owner.
    The dazzling sounds of Torres’ guitars can be estimated on records by the great Llobet (including those with Maria Luisa Anido), Lieske, Trepat, Grondona and, as Mr. McIntyre mentioned, by Kitaguchi.
    The “Valseana” project deserves a DVD version!
    The “tempo” (time) of Brazilian waltzes is not square.
    Marc Teicholz played three “Brevidades”: Nº 3, Feliz (Happy); Nº 5, Cantiga (can be translated as a Lullaby) and Nº 6, Saltitante (Hopping). On “Valseana” He sings.
    How can He keep the eyes closed using such different guitars that are not those He pratices (I think He uses a Paulino Bernabe’s one)?

  12. Pierre MAGNIER says:

    Quel bonheur!

  13. This guitar is #FE27B in the Romanillos catalog and he reports that it was in the collection of Tetsukazu Hosokawa in Japan. It is worth noting that the ribs and back are maple, not rosewood. While maple is not commonly used in modern classical guitars, it can be a wonderful tonewood, as this guitar elegantly demonstrates.

  14. Michael says:


    wonderful played. What strings did you use for the torres? Thank you !

  15. Magnificent guitar and music
    Thanks for giving us a syperb rendition

  16. Mike in Madrid says:

    An incredible instrument, and a phenomenal performer. Thanks to GSI for creating this moment, and sharing it.


Change language: