Since Aguado came from Spain, he must have used Spanish instruments early in his career, but information as to which specific builders has not surfaced.
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Legnani also played an 8-string Stauffer and wrote compositions (notably op 201,202,203) for it. Prior to arriving in Paris, Legnani undoubtedly played Italian guitars similar to Fabricatore. by Reis, mention Legnani on the label, but it is not clear whether this was a collaboration, or simply copying the Stauffer style.
Legnani also collaborated with Ries and possibly others which also have the Legnani label.
Most guitars of this era have lost their label and are identified by estimating their country of origin and time period, based on design characteristics of other labeled, known dated guitars.
It often helps the resale value of the guitar to pay for a written appraisal.
The historical facts of most of these builders have fallen into historical obscurity and are lost.
Even the primary builders remain surrounded by uncertainty as to the most basic details.
My best guess is that Giuliani switched from Fabricatore to Stauffer while in Vienna.
Depictions of Huerta from his own time clearly show Huerta playing a Panormo guitar.
I asked musicologist Matanya Ophee, and he is also not aware of any sources which reveal Carcassi's guitar, other than the following: "The only reference to this I know, was an article in Cadenza magazine in the late 1890s, where an American claims to have bought a guitar from Carcassi and bring it to the US.
There is a fairly good description of the instrument, but no name attached to it." Prior to arriving in Paris, Carcassi undoubtedly played Italian guitars similar to Fabricatore.
Published music was issued and underwritten by Louis Panormo, and Huerta was married to Mr. Luthier Gary Southwell also confirms Huerta's concert guitar was made by Panormo.