1969 José Ramírez "1a MT" No. 3435 CD/CSAR

This 1969 José Ramírez "1a MT" No. 3435 is a cedar-top classical guitar with CSA rosewood back and sides, built in Madrid by Mariano Tezanos and in incredible condition; Aaron Haas plays Hisaishi's "The Legend of Ashitaka" on it in the video above.

A 1969 Ramírez by Mariano Tezanos

This guitar was built in the famous José Ramírez III workshop, which for over half a century has produced instruments performed on by countless professionals – from Sting to Segovia, Chet Atkins to Sabicas and Lee Ritenour to Christopher Parkening. Here is that classic, identifiable Ramírez sound of the period – rich and thick, yet clear throughout the range, with the warm, mysterious and moody quality that made Ramírez famous. Its builder was Mariano Tezanos, whose MT stamp is inside; he and AM (Antonio Martínez) are the most sought-after of the Ramírez makers, especially given Segovia's fondness for his 1968 MT, arguably one of his two favorite Ramírez guitars (our full list of the Ramírez makers of this period has more).

A Genuine 1a – and a Curious Label

This is a genuine "1a", as can be seen by the blue-grey trimmed label (the 2a's had gold trim in the 1960s and red trim in the 1970s), although it appears that at some point over the course of its life someone oddly scratched out the class in the lower right corner and added a "2" for some reason... The label is signed by José Ramírez III and numbered 3435. This guitar was originally sold out of the Sherry-Brener shop in Chicago (we have the original documentation with the guitar), and labels on guitars from this period were often altered, typically by the addition of stickers covering this area. But rest assured this is a top example of a "1a MT" in every regard.

Condition

Condition is also incredible, with no repairs or prior damage. Overall, a striking and bold example of a top Ramírez from their golden era by one of their most legendary builders.

Curious about the family? Our blog has The Ramírez Family: Masters of the Guitar, the whole line from Amalia Ramírez back to José I, and a little fact-checking on the myths and facts about this legendary workshop.

The José Ramírez Workshop of Madrid

Founded in Madrid in 1882 by José Ramírez I, the Ramírez workshop has produced guitars for more than a century and through five generations of the family. José Ramírez III (1922–1995) took over as maestro in 1957 and developed the Ramírez concert guitar we know today – large in body, with a long string length and a cedar or spruce top, with great power, sustain, sweetness and balance across the entire register. He popularized western red cedar as a soundboard wood, and from the 1960s Andrés Segovia played José Ramírez guitars to the end of his days.

Ramírez Craftsmen and the Next Generations

From the 1960s to the 1990s the workshop trained many of the most talented guitarreros of the day, among them Paulino Bernabé and Manuel Contreras. In 1995 the shop moved from Calle Concepción Jerónima 2 to Calle de la Paz 8, and since the death of José Ramírez IV in June 2000 the business has been directed by his sister, Amalia Ramírez, who inspects every guitar during and after construction.

Ramírez Models, Labels and Builders' Stamps

For decades the workshop sold its guitars by class rather than by model name. The "1a" (first class) was the standard concert guitar; the "2a" (second class) was built the same way, and the shop explained its lower price tag by materials that might have minor aesthetic blemishes, or by its having been built by an apprentice rather than a foreman. Flamenco guitars add an "F" – "1aF" and "2aF". Until 1967 the labels carried only the year; from 1967 they were signed by José Ramírez III and gave the guitar's number and class, and from 1973 the 2a had a grey label of its own, with a red border and "R" numbers. Until 1971, many Ramírez guitars were stamped inside with the initials of the craftsman who built them – AM for Antonio Martínez, MT for Mariano Tezanos, PB for Paulino Bernabé and many more (see our list of Ramírez workshop luthiers). Later decades brought new models: the "Centenario", which roughly marked the workshop's hundredth anniversary; the "Da Cámara"; the shorter-scale C86 of 1986; and, under José Ramírez IV, the "Tradicional" and the "Especial".