{"id":73556,"date":"2024-02-21T15:30:56","date_gmt":"2024-02-21T15:30:56","guid":{"rendered":"https:\/\/www.flamencoguitarsforsale.net\/?p=73556"},"modified":"2024-02-21T15:30:59","modified_gmt":"2024-02-21T15:30:59","slug":"quintin-esquembres-guitars-by-santiago-miguez-de-la-rosa","status":"publish","type":"post","link":"https:\/\/www.flamencoguitarsforsale.net\/en\/quintin-esquembres-guitars-by-santiago-miguez-de-la-rosa\/","title":{"rendered":"QUINT\u00cdN ESQUEMBRE’S GUITARS, By Santiago M\u00edguez de la Rosa"},"content":{"rendered":"

LAS GUITARRAS DE QUINT\u00cdN ESQUEMBRE
\nPor Santiago M\u00edguez de la Rosa
\n\"\"<\/p>\n

[vc_row][vc_column width=’1\/2′]Solera Flamenca<\/em> surprises us once again with the discovery and acquisition of the three guitars of Quint\u00edn Esquembre: two Santos Hern\u00e1ndez guitars, one made of Rio rosewood from 1924, another made of cypress from 1933, and a third one by Marcelo Barbero made of Brazilian rosewood from 1949.
\nSEE Santos Hern\u00e1ndez 1924<\/span><\/a>
\nSEE Santos Hern\u00e1ndez 1933<\/span><\/a><\/p>\n

It is not the purpose of this article to delve into the life and work of this illustrious native of Villena, born in 1885, as for this matter I refer to the excellently documented and very enjoyable book about Quint\u00edn Esquembre’s disciple, \u00c1ngel Iglesias, titled: ‘Vida y obra de un guitarrista extreme\u00f1o universal \u00c1NGEL IGLESIAS 1916-1977<\/em>‘ by Jacinto S\u00e1nchez and Fernando Bermejo; our purpose is to shed light on the three guitars that belonged to his private collection.<\/p>\n

Quint\u00edn Esquembre continues in the wake of great composers who combined cello performance with guitar, such as Mauro Giuliani, who was a cellist in the orchestra at the premiere of Ludwig van Beethoven’s S\u00e9ptima sinfon\u00eda<\/em> on December 8, 1813, or Heitor Villa-Lobos, whose technique differed from the T\u00e1rrega school but was capable of unsettling even Andr\u00e9s Segovia himself.<\/p>\n

Esquembre is not counted among the disciples of Francisco T\u00e1rrega, but it is known for certain that he received lessons from Miguel Llobet when his parents moved to Madrid.<\/p>\n

He was the first Spanish guitarist to offer a radio concert in 1924, probably with his Santos Hern\u00e1ndez guitar from that same year.<\/p>\n

The Diccionario de Guitarristas<\/em> by Domingo Prat, published in 1934, documents Esquembre’s output up to that date:<\/p>\n

As a composer, he has a String Quartet awarded at the National Music Competition in 1926; a Symphony titled Homenaje a Beethoven, Guitarra andaluza<\/em>, capricho orquestal, Estampas de Goya<\/em>, suite para orquesta, and several less grandiose pieces that have achieved great success. Currently, he is fully dedicated to composition, and it is hoped that he will not forget to offer the guitar some of his great inspiration.<\/p>\n

However, his most well-known work is the pasodoble for the La Entrada<\/em> Music Band, composed for the fiestas de Moros y cristianos<\/em> of Villena.<\/p>\n

To support his family in times of hardship, he played the cello in the Municipal Music Band and in the Philharmonic Orchestra of Madrid under the direction of Pablo Soroz\u00e1bal, the last great composer of zarzuelas, whom he tried to emulate with the creation of the zarzuela Si vas a Calatayud<\/em> premiered at the Teatro Victoria in Barcelona, all of this at the expense of his career as a guitar concert performer.<\/p>\n

\"\" Trio Esquembre<\/p><\/blockquote>\n

[\/vc_column][vc_column width=’1\/2′]The Espa\u00f1a Trio, consisting of Manuel Hern\u00e1ndez, Carmen Gonz\u00e1lez, and Quint\u00edn Esquembre’s son, Miguel Esquembre, made its debut in Madrid with a concert held on February 5, 1948, at the Auditorium of the National Delegation of Syndicates with guitar arrangements by the maestro.<\/p>\n

As was customary at that time, the Espa\u00f1a Trio was part of dance shows alongside choreographer Soledad Miralles, just like their disciple \u00c1ngel Iglesias, who traveled the world with his wife, the dancer Nati Morales. This reminds us that the classical and flamenco worlds in Spain did not experience division until the appearance of Andr\u00e9s Segovia, who belittled flamenco guitarists, recognizing only the talent of Sabicas.<\/p>\n

\"\" Carmen Gonz\u00e1lez, recipient of Quint\u00edn Esquembre’s Canci\u00f3n Playera<\/em>, with the Marcelo Barbero 1949 guitar.<\/p><\/blockquote>\n

After the dissolution of the trio, Carmen Gonz\u00e1lez and Miguel Esquembre continued as a duo and got married in 1955.<\/p>\n

\"\" Duo formed by Carmen Lorenzo and Miguel Esquembre with the Marcelo Barbero guitars from 1949 and Quint\u00edn Esquembre’s 1924 Santos Hern\u00e1ndez guitar.<\/p><\/blockquote>\n

Quint\u00edn Esquembre suffered from palmar fibromatosis in his left hand in 1951, which marked the end of his career as a guitarist and cellist. He passed away on April 2, 1965.<\/p>\n

Santiago M\u00edguez de la Rosa<\/p><\/blockquote>\n

[\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

LAS GUITARRAS DE QUINT\u00cdN ESQUEMBRE Por Santiago M\u00edguez de la Rosa<\/p>\n","protected":false},"author":1,"featured_media":73654,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[140],"tags":[],"class_list":["post-73556","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\nQUINT\u00cdN ESQUEMBRE'S GUITARS, By Santiago M\u00edguez de la Rosa - Solera Flamenca<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.flamencoguitarsforsale.net\/en\/quintin-esquembres-guitars-by-santiago-miguez-de-la-rosa\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" 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