The opportunity to record two guitars built by Antonio de Torres came up – both are first epoch era works (dating between 1850-1868). Both Irina Kulikova and Johannes Möller, stellar players in their own right, performed on the 1864 Antonio de Torres, with Irina playing “Lagrima” by Francisco Tárrega and Johannes playing his own work “Eternal Dream”. Then, another good friend Evan Hirschelman plays his original composition “Shapeshifting (Mov. 1)” on an 1868 Antonio de Torres.

Enjoy all three videos below, and let us know which Torres sound you especially liked.

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9 Responses to “Torres Guitars – Hear Them in the Hands of 3 Great Players”

  1. Ayina lionel says:

    The video by Johaness Moller was incredible…he puts in emotion and his all in the playing the classic.

  2. RR says:

    The 1864.

  3. KG says:

    Love hearing Hirschelman on this Torres guitar. The guitar holds up even 150 years later!

  4. Hello Ladies / Gentlemen,

    My 2 CD’s are all about the comparison of the different
    guitars so I might say to be a bit knowledgable in this field.

    At first let me say that it would have been better to have the
    same player played the instruments AND with the same piece
    of music. When you look at the video’s presented here it is
    obvious that Irina strikes the strings much more near the finger-
    board than the players on the other two video’s. She makes a
    romantic tone which is of course explainable for this piece.
    ( In fact a good piece for judging guitars. ) My experience is that
    specific pieces sometimes are asking for a specific instrument.
    A guitar can excell when playing a certain “song” but can sound
    almost mediocre in another one! In order to make guitars
    comparable you need to be aware of a few factors:

    – Who is playing
    – Which piece has been played
    – The microphone set up ( small differences in placing ca make a hige difference
    – Strings used and even humidity during a recording day

    After all that has been done all we know is how the instruments
    are sounding in a recording proces.

    An instrument has to be judged following the rules here beyond:

    – How the player experiences the instrument played: Sound but also vibration, playability a.s.o.
    – How a listener experiences that instrument at the same time.
    – In what kind of environment the instrument has been played.
    – Climatological circumstances. This especially counts for spruce topped guitars.
    – The instrument in a recording process.
    – What you are looking for: Clear separation of the notes or maybe a lot of overtones.

    After 2 CD’s I just don’t know and I’m able to play an Eladio Molina, Vicente Arias 1899, Julian Gomez Ramirez and concert instruments made by Jose Ramirez II, Jose Ramirez III, Rafael Moreno and Manuel Contreras so…….

  5. Jane Terry says:

    All of these are wonderful, but I especially enjoyed Mr. Hirschelman’s lovely “Shapeshifting”. And just bought his album on iTunes. 🙂 Thank you for sharing these!

  6. Beautiful guitar to be sure.
    The remarks but Mr. Koevoets are spot on, even down to the humidity and temperature affecting the sound of the guitar, especially spruce guitars.
    So players, your guitars will usually sound the best between 45% – 50% unless they were built in extremely low or high humidity shops, which they shouldn’t be.
    All players need an accurate hygrometer, try Caliber IV available online. Have a system to humidify your guitar or de-humidify your guitar. The d’Addario system works well while the guitar is in the case but a room device is even better.

  7. Mario says:

    Very difficult to choose from two different guitars and three so different pieces and three different players. My choice is johannes Moller influence more by the piece he played than by the guitar itself. I think that it is not a good setup to make an objective choice… Anyway. It was very nice to ear these three recordings.

  8. Edna Turner says:

    I own a Rodolfo Paralupi 1951 guitar which my parents bought from him when they were in Rome in 1952.

    I studied the classical guitar with Adele Kramer who was head of the guitar department at the prestigious London Guildhall School of Music(England).

    I took up the guitar again 6 months ago, after not having played the instrument for 61 years. It was an absolute joy!

    Lacrima is an extremely easy piece, and I am rather surprised at the poor quality of Kulikova’s rendition.

    This made me realize very gratefully how fortunate I was to have had such an outstanding and extremely demanding teacher as Adele Kramer, and how fortunate I am to still have my beautiful sounding Paralupi guitar

  9. Michael David Rubin says:

    Really, no favorite is really feasible to determine – as Noud Koevoets’ comments point out.
    All quite wonderful; we should be glad to have these instruments, new & classic pieces, & many new (to us) fine guitarists presented so accessibly via GSI’s videos.

    With respect to Ms. Turner: “easy” or simple pieces may be deceptive – so often, they are simply easy to play badly; & I’d say that Irina’s interpretation here is fresh & sympathetic to its musical intent – not clear where “poor quality” arose.

    In our diverse listeners’ ears, of course. 🙂 Is the music of Satie “easy?” The paintings of Klee? Ask a cabinet maker how “easy” it is to craft the corner of a Parson’s table…


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