2017 Edmund Blochinger "1492 Granada Pine" PI/CSAR


Year: 2017 Top: Pine
Back & Sides: CSA Rosewood Scale Length: 650 mm
Nut Width: 52 mm Finish: French Polish
Country: Germany Condition: New
Case: Yes Exchange Policy: ExchangePlus


ITEM: 07036A


Firmly established as one of the top living builders, master luthier Edmund Blochinger is now in great demand world-wide. He originally began building his guitars in the style of Hauser and Torres and in recent years has been influenced by the great Spanish masters of the late 19th and early 20th centuries, particularly Antonio de Torres. For years, Pepe and Celin Romero have been great champions of these instruments and they both play on Blochinger guitars regularly as one of their main concert instruments. In Pepe's words, Blochinger is "one of the greatest" luthiers in the world today. Many other young professional players and competition winners also play Blochinger instruments.


This is the second of two instruments that Blochinger built nearly side-by-side, using a flitch set of CSA for the back and sides but using two different (but equally ancient) tops for each one. A couple of weeks before this instrument arrived, we had received the first of these, his "dome" guitar with the sister set of back and sides to this pine, which itself has its own incredible back-story which can be read here. But let us turn to this pine-topped instrument, which is an entirely different marvel unto itself also with its own compelling background.

In 2013, the great guitarist Pepe Romero was having renovation work done to his second home in Granada, Spain. His carpenter, Paco MontaƱez was working on another job - restoring the roof of the "Hospital Real", which was built in 1492 (yes, the same year that "Columbus sailed the ocean blue") as a part of a series of building projects initiated by Queen Isabel I of Castile and her husband King Ferdinand II of Aragon to celebrate the defeat and expulsion of the last Moorish ruler, Boabdil in the 10-year "War of Granada". After 521 years of supporting the roof of this hospital, it was finally time to replace the pine beams in the structure. Paco MontaƱez told Pepe Romero about this ancient wood and suggested that parts of it be used for some of the decorative elements in his home including the steps of his tiled staircases, and some of the fittings in his kitchen. Blochinger was visiting Pepe at this time and was also able to see this wood as well. Blochinger was stunned at what he found and after having the chance to evaluate the wood determined that this could be incredible material for use in a guitar soundboard. Pepe Sr. made the arrangements and secured enough wood that was shared evenly between his son (luthier Pepe Romero Jr.) and Blochinger. There was just enough usable material suitable for soundboard construction so that each builder would be able to make about 3 guitars each.

Pine is a very difficult material to source for guitar making since it requires many decades of aging and drying to be usable - much longer than spruce. There is an enormous amount of sap in pine (which is precisely the desirable ingredient in the wood for tone production - but ONLY after it has dried and fully crystalized) and so this unfortunate reality makes it very unpractical, if not impossible to source easily for use. This is why it is so rarely seen in guitars despite its very desirable sound qualities. There are several examples of absolutely magnificent pine instruments, including this 1890 Torres which we had just a few years ago. Pepe Romero himself also owns a pine Torres from 1856 (which has a handwritten date of 1812 on the underside of the top, which means it would have been over 40 years old when Torres built the guitar) that he has used in live concerts (including concerto work with orchestra) and for two commercial recordings, the second of which is about to be released.

This instrument has an absolutely unique quality of sound and it is difficult to find words to adequately describe its tone. There is simply a timeless richness, depth and soulful character in every note that makes this a delight and honor to play. We at GSI feel absolutely privileged to have this instrument and we thank not just Edmund Blochinger for building it but Pepe Romero as well for finding this ancient, precious material.

Orfeo article on Hauser III, Blochinger and Ober

Luthier Bio: Edmund Blochinger

Don't show me this again