Watch Marcin Dylla play the Valse Romantique from Alexander Tansman’s Hommage a Chopin on a stunning 1947 Robert Bouchet – the second guitar Bouchet ever built and the first he ever sold. Dylla’s performance is masterful and shows off some of the legendary elegance that Bouchet’s guitars are known for.

Bouchet is one of the giants of 20th Century luthiery and the founder of what would become the French School of luthiery which would go on to include Daniel Friederich, Dominique Field, Jean-Noel Rohe, Bertrand Ligier and more. You can also see the very first guitar ever built by Bouchet here.

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11 Responses to “Marcin Dylla – 1947 Robert Bouchet”

  1. I suppose that I should give a raving review in favor of the guitar but I just can’t get past my love for the Spanish sound. This reminds me of a Granada builder one of Robert Guthrie’s TA’s was trying out back in the 80’s when I went to Dallas to show Robert my 1917 replica of a Santos classical guitar that I made for him to try out.

    The TA played my Santos copy and told me that if Bob didn’t want it then he would buy it from me in place of the Granada guitar. Honestly, the Santos copy was superior in tone and it took Guthrie playing the guitar for an hour before he wrote me out a check for it.

    I think, in all candor, that the french styles are quite different from Spanish guitars. So, should I bad mouth the French…Heavens no.

  2. ronjazz says:

    While I share Tom’s affinity for the “Spanish” sound and style, one must admit that this is a damn fine guitar for a #2!
    And Dylla never fails to play MUSIC, no matter the maker of the instrument.

  3. larry brandes says:

    Huh? I don’t understand TB’s comments. This guitar is very even with clear full sounding notes in all ranges. I am not sure that a 1947 Bouchet was a set standard, this guitar that was made then just happens to sound like this now. I am sure that Mr. Dylla played this so nice that I listened to it three times. Oh heck, four times is a charm. Meistro? and a one and a two

  4. Ideally a concert artist might have several guitars for performances, each one expressing the unique sound of individual styles of music. Many years ago, as an adult beginner on guitar after academic preparation as an organist, I had a small variety of guitars more or less by chance. I could “hear” Bach & comparable literature on one which had a very full fundamental sound; sweet Spanish style pieces on a different one. In today’s world of widely varying styles of literature and instruments it seems to make some sense not to criticize an instrument because such-and-such pieces might be better on another style instrument. I agree with the comments about Dylla as an artist: He seems to be able to make just about any style literature sound good on any style guitar, by adapting the color of his articulation and interpretation.

    • Ian Grant says:

      I’m with Steve, but I’d like to hear it on a Perelman, a Blochinger and an early Robert Rack. Nevertheless, as everybody has said, Dylla always delivers superbly, no matter what the instrument

  5. Steve Biasini says:

    Fabulous playing….just about perfect on this tune, a treat. Hey Dave: Would love to hear it on a Fleta…you could arrange that right?

  6. dave blakey says:

    I think Mr. Dylla is a superb player.
    I found Mr. Blackshear’s comments off point.

  7. tom.c says:

    Possibly Tom B. wouldn’t be able to get past Sor, a Spaniard, albeit one before nationalism in art music took hold, playing a French guitar (Lacote). That Tom only makes guitars in the Spanish style (Miguel Rodriguez as I recall) shouldn’t be lost on anybody. That said, Dylla’s playing of Polish music inspired by another Polish composer was not in the least distracting to me in his colorful use of a French guitar. The instrument, in conjunction with the artist, is only the vehicle, not the message.

  8. mark m says:

    All I can say is, “Bravo ! Magnificent performance and instrument !” I’m a Tansman fan, but had not heard this piece. Thank you for sharing it.

  9. To put things in a different perspective, what would be optimal literature for the sound of this Bouchet? (as opposed to critiques about the piece Dylla selected)

  10. Marv Luse says:

    The Bouchet sounds just about perfect. The balance across registers is amazing. And, coupled with Dylla’s sensitive playing… wow, what a treat!


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