We recently had a visit from Pepe Romero, who came to play and tell us about one of the rarest guitars we’ve ever seen – an 1894 Hijos de Melchor Moya. Moya was a contemporary of Antonio de Torres, and over the years he and his brother and sons worked with and learned much from Torres. Moya’s brother Miguel even had ‘disciple of Antonio de Torres’ on his own labels. This guitar is the first we’ve ever played by any of the Moya’s, and it is a fantastic example of a Torres-era instrument, as you’ll hear in Pepe’s demonstration below.

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3 Responses to “Pepe Romero plays Hijos de Melchor Moya”

  1. tom says:

    The depth of the guitar looks very shallow. Guitars were sometimes made like that to accommodate the female form.

  2. Sam Candido says:

    Yes maybe but probably that would have been a smaller guitar overall in scale. Think Parlor Guitar which were popular late 1700s on. Mostly played by women. The narrower rib is typical of the Flamenco guitar which imparts part of that very “flamenco” sound. These guitars had a tremendous influence on guitars made in Spain and it was a slow transition to what we consider the “standard” for the classical guitar. Think Ramirez compared to Hauser in terms of the rib. And today, many flamenco guitars are “negra” and also with as deep a body as the standard classical guitar. So I think it’s just the way Moya made the guitar, and not specifically for women. IMHO as always.

    • tom says:

      The guitars that I have seen were not ‘parlor’ guitars – imo a different genre altogether – just noticeably shallower bodies. It’s true that there is sometimes a difference in the body depth of some flamenco guitars; typically, it’s about 4mm in the examples I have seen.
      I’m not sure that guitars of the 1800s can be described as parlor guitars; it is more that parlor guitars can be described as somewhat similar to 19th century guitars. You would be right to say that the earliest examples of a six (single) string guitar were not Spanish but apparently the earliest examples of fan strutting were Spanish. In fact, the well-known 19th century Italian guitar maker, Louis Panormo, advertised his guitars as being ‘in the Spanish style’, as recommended by Fernando Sor. This approach to the interior design of the soundboard was then perfected by Torres in the late 19th century, on whose work Hermann Hauser was to base his own.
      There is some useful information about the parlor guitar here:


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