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快乐飞艇平台互联网2机灵系统: 曼纽尔·拉米雷斯 (1864 - 1916)

1891年,27岁的曼纽尔·拉米雷斯(Manuel Ramírez de Galarreta y Planell)决议立业,在马德里Cava Baja街24号设立作坊,后迁至Santa Ana's square 5号,最初假寓在Arlabán街10号。在很短的时候内,曼纽尔不只在吉他并且在小提琴的建造上建立了很大声望,他成为马德里皇家音乐学院闻名的弦乐建造巨匠。别的,他持续在马德里吉他建造黉舍讲授,他的先生包含桑托斯·埃尔南德斯(Santos Hernández)、多明戈·埃斯泰索(Domingo Esteso)、毛地斯特·博瑞盖若(Modesto Borreguero)。

1912年,1个年青人离开他的作坊,服装奇异,想租把吉他。曼纽尔一起头也不当回事,拿了把吉他让他试奏。但是,当听了年青人的吹奏,曼纽尔受惊之至,乃至将这把吉他送给了他。这位那时在酒馆里以弹奏吉他调换咖啡的年青人便是厥后闻名的吉他巨匠安德列斯·塞戈维亚(Andrés Segovia),曼纽尔送给他的那把吉他现摆设在纽约大都会博物馆。

Manuel Ramírez de Galarreta y Planell was born in Alhama of Aragon in 1864. Although the habitual residence of the family was Madrid, the father's profession forced them to reside some time in this town. Manuel learned from his elder brother, José, the guitar-maker's trade. And at the age of 27, in 1891, he decided to establish himself on his own. At the beginning, his idea was to move to Paris, and when he communicated his idea to José, he helped him to carry out his project.

However, for an unknown reason, Manuel changed his plans, and he finally established himself in the nº 24 Cava Baja Street of Madrid, which sowed an enmity between the two brothers. The situation between them was never to clear up. After a time in Cava Baja Street, Manuel moved his shop to nº5 Santa Ana's square, and later on to nº10 Arlabán Street, where he stayed definitively. In a short period of time he was to develop great prestige, by not only making guitars, but also violins, and he was named luthier of the Royal Conservatory of Madrid. In addition, he continued the school begun by his brother, and the guitar-makers he formed were recognized as amongst the best. These pupils were Santos Hernández, Domingo Esteso and Modesto Borreguero.

With all the success obtained by the tablao guitar designed by his brother José, it was natural that Manuel continued building it, but little by little he started developing it and perfecting it until getting an instrument that, still today, is the "model" for this type of guitar. Around 1912, a young man presented himself in the workshop in Arlabán street with the purpose of renting a guitar for a concert he was to give. The clothes and general appearance of Andrés Segovia were outlandish. The strangeness of the petition, as well as the visitor's aspect, made Manuel play with the situation giving him a guitar but not taking him very seriously.

However, after listening the youth playing, Manuel was so amazed that he decided to give him the guitar. That prodigious guitarist who played in taverns in exchange for a coffee was Andrés Segovia. The guitar that Manuel gave him is now on display in the Metropolitan Museum of New York.



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