ROYAL GREENWICH GUITAR FESTIVAL JUNE 25th - JUNE 27th 2017

 A fine rosette by Miles Henderson-Smith. mileshendersonsmith.com

In the past, the old Spanish guitar makers would leave their hot and dusty workshops, throw some guitars over the back of a donkey, and head off to market to sell their wares. It's still a bit like that today to be honest, except for the bit about the donkey. I've recently got back from the Royal Greenwich Guitar Festival where I was exhibiting a guitar. Guitar exhibitions are hard work; you have to have a guitar ready to exhibit, you have to drag yourself away from the workshop for a couple of days and you have to lug yourself and your guitar to the venue. In fact, a donkey could well come in handy.

I have to say that this festival was one of the friendliest and most stimulating guitar events I've been to in a long time. Run by Graham Anthony Devine at Trinity Laban Conservatoire of Music, this festival has been going from strength to strength. Three days of concerts, master classes and lessons set against the dramatic backdrop of the Old Royal Naval College. Tutors and performers included John Mills, Carlo Marchione, Fiona Harrison, Charles Ramirez, Cobie Smit, Tim Pells and Graham Antony Devine.

The Guitar Makers Expo was a new addition this year, and a welcome one as makers always like to show their work and hear their guitars being played. That interaction with players is crucial to luthiers, and the feedback we get from players of all levels helps us produce better instruments. There were some fine makers exhibiting this year and it was a pleasure to meet them and admire their work. I love talking about guitars, discussing ideas and experiences and for me this was an inspirational part of the 3 days.

I would like to add a special thank you to Jonathan Parkin who is currently finishing his Masters at Trinity with Graham Devine. Jonathan demonstrated all the guitars in a short performance at the end of the festival; not an easy thing to do on unfamiliar instruments. He did it superbly.

I have included a picture of each maker's work. The pictures were taken in less than ideal lighting conditions so please take time to visit their websites to see better pictures and more information.

A guitar by Argyll-based maker Pete Beer with spectacular cocobolo back and sides www.petebeerguitars.com

 

Shaun Newman with his guitar with paduak back and sides. shaunnewmanguitars.co.uk

James Lister displayed this maple and spruce guitar with a distinctive leaf-patterned rosette. jameslisterguitars.co.uk/

This striking rosette is the work of Jose Marques. 

josemarquescustomguitars.jimdo.com

 

Toon Lauwers made the trip over from Belgium with this elegant rosewood guitar. www.toonlauwers.be

 

Johan Sarens was showing this fine sounding guitar with its sophisticated rosette.

 www.johansarens.be

 

Stuart Christie had 2 guitars with him. This one included purflings made from holly cut from Stuart's garden. www.stuartchristieguitars.co.uk

Sam McClaren had this lovely looking and sounding Madagascan Rosewood guitar on display. www.mcclarenguitars.co.uk

Paul Fischer

Open day at the London College of Furniture 1986.

(from left to right, Lily Mairants, Terry Pamplin, Marian Romanillos, John Mills, Jose Romanillos, Ivor Mairants, Paul Fischer and Herbert Schwarz)

I have recently heard that Paul Fischer has retired from guitar making after a long and successful career as an internationally acclaimed guitar maker. It seems strange to think that Paul, who has been such a force in UK guitar making will no longer be at the workbench, but I hope he may be able to contribute some of his expertise and enthusiasm in other ways.

I first met Paul in the mid 80's when I was an aspiring guitar making student at the London College of Furniture. Paul made several visits to the college and students found it very encouraging to have his support and encouragement. I remember attending a presentation of his research into alternative south American timbers. Paul had made 8 guitars, one with Brazilian rosewood for the back and ribs; the other 7 using timber that Paul had identified as being suitable alternatives. John Mills played on each guitar (from behind a screen) and a panel was asked to pass judgement on the tonal merits of each one. The exercise was a thought provoking one and Paul's careful research and enthusiasm was inspiring.

Paul started making guitars in what now seems like a different age. If you wanted a good guitar, you would have to go to Spain, or at least, go to one of the few dealers who imported Spanish guitars. Paul can be seen as one of the pioneers of modern English guitar making and did much to promote the craft.
Much to my surprise, I find that I have never played one of Paul's guitars, except  for a rather fine David Rubio guitar, stamped 'PF' but I'm sure I will rectify that one day. In the meantime I wish Paul a long and happy retirement.