Giannini: Modelo Abreu

[grune]

(This is an update to comments I made earlier. I believe the topic of Giannini is worthy of a dedicated thread).

In philosophy 101, students are asked: are all swans white?
I own a Giannini classical guitar: Modelo Abreu. Not all swans are white.

The comments posted by others at this site, stem from perception, not fact. Not all Giannini guitars are made from laminated woods. True, the Giannini of today makes commercial guitars, but this was not always so. In fact, 40-60 years ago, Giannini made some of the world's finest guitars. The Giannini history must be considered, plus the history of rosewood and other factors.

The founder, Tranquillo Giannini, emigrated from Italy, and built his reputation on his excellent guitars, long ago. His customers were the Brasilians. He used solid woods. Starting about 1970, Americans came to Brasil and advised Tranquillo he could make a lot of money by constructing cheaper guitars for the US market, and by focussing upon steel string guitars. With his expanding family needs, Tranquillo bought the story. After his death, his sons took over and expanded the commercial operations. But this caused the brand to degrade, even in Brasil, so the family decided to ensure some guitars would be hand-made with solid woods, like Tranquillo did prior. Though the guitars would be made in the factory, they were, in fact, hand-made with solid woods. To differentiate the models, the top-of-line guitars received the Tranquillo labels; lesser guitars had not this name.

Then in the 1970s, from Brasil, a pair of brothers made their mark upon the music world: the Abreu brothers, Sergio and Eduardo. Please research their story. The brothers stopped performing soon after reaching fame. Eduardo went on to academic studies with distinction, and Sergio remained in music. While performing, Sergio performed on a Hauser 1, on loan.

After performing, Sergio turned his hand, starting ca 1980, to building guitars, as he wanted to create the Brasilian Hauser. Guess where Sergio got his start? yup, Giannini.

I met Sergio, once. He told me he learned how to craft guitars via the Giannini factory. From about 1980-85, he collaborated with the factory while he was branching out on his own. The Abreu-made guitars in Sergio's early years were good, but not on par with the greats of Hauser or Ramirez: still they sold well, and at high prices (in those days). Concurrently, Sergio made a deal with Giannini; he would guide the design, select the woods, fabricate the sound boards, tune the setup, etc for guitars made in the factory, and these would bear his Abreu name on the Giannini label.

Then came the ban on rosewood: for export, not for domestic guitars. Up to about 1985, made-in-Brasil guitars for domestic market received rosewood, but in very, very limited quantities. Gone were the days of mass production and exports. After 1985, the ban was extended and policed in Brasil, too. Today, no more Brasilian rosewood.

Thus was born a special guitar during the years 1980-85. Giannini created a special label: Giannini, Tranquillo series, modelo Abreu. Made with the direct involvement and supervision of Sergio Abreu. The modelo Abreu is made with solid Brasilian rosewood sides and back (Jacaranda da Bahia, the very best); solid Spruce top, from the Alps - the top and braces are calibrated and placed by hand in Sergio's presence; solid Brasilian Mahogany neck; black Ebony fingerboard, equal temperament 650 mm scale - frets placed by hand in Sergio's presence, to ensure the very best intonation possible. Only 12 modelo Abreu guitars were made each year, 1980-85.

I bought my guitar factory-direct via one of Abreu's advanced students (I could not buy direct by myself). Abreu himself marked the fret positions, and trialled the guitar. This trial service was part of Abreu's deal with Giannini: Abreu would not allow an inferior guitar to leave the factory if his name was branded. I met Sergio at the factory. My guitar has a few flaws: but the sound and playability passed Sergio's strict standards. I regret I could not ask Sergio to autograph my guitar: permanent markers were not invented then.

That was back in 1985. My guitar is among the very last of the modelo Abreu guitars by Giannini (even maybe the last one). Since then, I have not seen nor heard of another person owning a modelo Abreu. After 1985, Sergio went on to produce his own exclusive guitars. Today, an Abreu guitar is ranked among the finest.

My guitar has some of the most beautiful woods I have ever seen for a guitar. The sound is sweet with sustain; unlike the percussive, metallic sound of Spanish guitars.The intonation is very good. The woods are officially extinct now. I doubt I will ever see such woods nor hear a similar sound again. I have kept this guitar in as pristine condition as I can. Sadly, the finish has superficial cracking, but the woods are all intact. I am taking this guitar to my grave, which I hope will be yet a long while from now.

The sound of this guitar is appreciated only when guitar history is considered. Prior to Segovia, guitars were of the Flamenco genre: loud and percussive, able to take a beating from strumming and drumming. Segovia went to Ramirez and requested a guitar that could produce colours and sustain. Ramirez was so impressed by Segovia, he donated his very best soloist guitar to Segovia, who used this guitar exclusively until Hauser came along. Hauser, too, donated his best to Segovia, who played this guitar in all of Segovia's recordings and performances thereafter. Segovia, near single-handedly, created the classical guitar genre. But his Ramirez and Hauser retained the percussive sound of the Flamenco genre.

During Segovia's time, a new genre was developing; the Bossa of Brasil. These guitars required sustain, too. But due to the uniqueness of Brasilian woods, their sound was markedly different from the Ramirez and Hauser. The Brasilian Bossa guitar sound is more versatile: it can be gentle sweet AND percussive; suitable for both classical and bossa. Many Brasilian guitarists became famous for their musicality and sound. Who led the entire Brasilian guitar industry for this sound? yup, Giannini.

I am told Segovia was impressed by the finest Giannini guitars, and received one, but preferred the percussive sound from his Hauser and Ramirez. The bossa sound simply did not fit his style.

Sadly, Giannini no longer makes guitars to the standard of modelo Abreu. They may be among the rarest of guitars now. I have yet to find another person in the world who owns a modelo Abreu, but I hope a few remain in Brasil.

Since 1985, the artisans who created such great guitars have passed away, and the woods are no more. During the early '90s, the Giannini premises were nearly burnt to the ground. A vast collection of valuable data and history went up in smoke. For example, nobody today at Giannini knows what the old label numbers mean exactly: so tragic.

If the label is intact on an older guitar, it will display the model and date. Label designs and colours changed over the years.

Giannini guitars have no serial numbers, per se. This is a huge misconception prevalent among foreigners (more so among Americans, for some unknown reason). Most older Giannini labels will have this information printed in one line: Tranquillo Giannini S.A. CGC 61.196.119. This number refers to the company registration by Tranquillio! This number has changed since the company was reorganised.

If anybody wants to hear a genuine Sergio Abreu guitar played by a true master, please follow this link, and please listen carefully to the subtleties...

https://www.youtube.com/watch?v=OuF-AVKJ8nY