Back / Sides :
String height :
Argentina - Buenos Aires
Ebony - width : 50 mm
Body length : 465 mm - Body width : 270/230/340 mm - Body depth : 88/92 mm
1 334 g
Emilio Antonio Pascual Viudes Aznar was born in Crévillente in the Alicante region of Spain on November 10, 1883, into a family of luthiers. He began his luthier's training with his family, but at the age of 14 his family sent him to Madrid to do his apprenticeship in Manuel Ramirez's famous workshop. He remained there from 1897 to 1909, with a one-year stay with José Ramirez. In 1909, he moved to Buenos Aires where he opened his own workshop, making violins, violas, cellos, cellos, guitars and other quality instruments until the late 1950s. Although he lives in Argentina, he continues to include the city of Madrid on his labels. Antonio Emilio Pascual died in 1959.
This very beautiful guitar has an aesthetics and a small size similar to some of Manuel Ramirez's guitars. The balance and sound qualities are remarkable. The notes are clear and vibrant, the timbre is full o charme, deep and lyrical. An exceptional instrument built by one of the greatest names in the history of guitar making.
Excerpts from the article concerning Emilio Viudes Pascual in Domingo Prat's dictionary: "the love of construction has a primary motivation for Viudes (...) the format of his instruments is of the Torres type : elegant in its lines, discreet in the motifs of the rosette and the purflings decorated with subtlety and finesse (...) its guitars are distinguished by their great sound intensity (...) the construction of bowed instruments gives it an undeniable superiority, allowing it to affirm that, if its work in this specialty had been developed in Mirecourt or Markneukirchen, it would have obtained a prompt and well-deserved fame. His professional secrets seem to be ancestral, since they come from his ancestors in genealogical successions (...) his instruments are played by the first and second violins of the Teatro Colón de Buenos Aires orchestra, the artists Carlos Pessina and Pedro Napolitano, as well as the Catalan cellist Ramón Vilaclara. Such an enlightened luthier dresses the virtuoso in modesty, his fine work being appreciated by the subtle instrumentalists of the bow and the guitar (1931)"