Conde Hermanos "AC23" - 2000

2009 Conde Hermanos "A26" SP/CY

2008 Conde Hermanos "AF25/R" SP/CV

2008 Conde Hermanos "Felipe V" SP/AR

2001 Conde Hermanos "EF5N" SP/IN

Felipe Conde "CE-4"

2006 Conde Hermanos "A28" SP/CY

2006 Conde Hermanos "EF3" SP/CY

2006 Conde Hermanos "A26 Cutaway" SP/CY

2005 Conde Hermanos "AC23/R" (Ac/El) CD/CSAR

A History of Esteso and Conde guitars, as told by Felipe Conde

First Epoch: DOMINGO ESTESO (1882-1937)

Domingo Esteso is one of the greatest makers in the history of the Spanish guitar. He

began working as an apprentice in the workshop of Manuel Ramirez, and upon Ramirez’

death he worked for his widow, though including his own name on the labels. He ended up

working in this workshop at the same time as Santos Hernandez and Enrique Garcia, the

three of them becoming the standouts of the Manuel Ramirez workshop. The guitars from

this shop to this day have a special quality that sets them apart from all others of this

period, be it for their exquisite workmanship or their sonic characteristics.

Later, Domingo Esteso went independent and set up shop at Gravina No. 7, with his wife

Nicolasa Salamanca, who polished the guitars. This was his most prolific period – one can

still find specimens of beautiful workmanship that have had the good fortune to fall into the

hands of those who knew how to care for them, and they are played and enjoyed to this

day. Many of these guitars were sold abroad, especially to Argentina, where they carry the

label he made for Romero Y Hernandez of Buenos Aires. This was primarily due to the high

cost of the guitars and the terrible economic situation in Spain during that period.

My uncle Faustino Conde joined the workshop in 1926, and my father, Mariano Conde

joined in 1929. This was the beginning of the next epoch of these guitars. My father and

uncle learned their craft and their love of the art of guitar making from Domingo Esteso.

They stayed with Domingo Esteso until his death in 1937, in the middle of the Spanish Civil

War. Esteso died of a respiratory infection due to an air current in the workshop, which

might have been cured but for a lack of penicillin. They continued making guitars until 1939,

but very few, due to the civil war.

Second Epoch: VIUDA Y SOBRINOS DE ESTESO (1940-1960)

After the Civil War the brothers kept the label ‘VIUDA Y SOBRINOS DE ESTESO’ (Widow

and nephews of Esteso) out of respect for their aunt, Nicolasa Salamanca, and they kept

this label until her death in December of 1959. In this epoch the third and youngest brother,

Julio Conde, entered the workshop. The brothers continued the tradition of their uncle,

introducing only minor changes. Before 1953 they had designed a new headstock for their

top model, which came to be known as the ‘Media Luna’ (half-moon), and which they used

interchangeably with Domingo Esteso’s headstock. They began introducing new rosettes.

This epoch was characterized by the warm sound of their guitars, which was the result of a

marriage between tradition and the constant search for improvement in quality of sound

and volume, which was spearheaded by my father, Mariano Conde. In 1957 they opened

the workshop at Pozuelo De Alarcon to make their student models, which carried no

signature or label. These are the guitars that later came to be known as ‘guitarras de

segunda.’

Among the guitarists who played the guitars of this epoch are Regino Sainz de la Maza,

Alirio Diaz, Quintin Esquembre, Manolo de Huelva and many more.

Third Epoch: SOBRINOS DE DOMINGO ESTESO / CONDE HERMANOS (1960-1988-

89)

Upon the death of Nicolasa Salamanca they opted to use the name SOBRINOS DE

DOMINGO ESTESO/CONDE HERMANOS which was used interchangeably with

HERMANOS CONDE/SOBRINOS DE ESTESO.

During this epoch they were prolific in their construction of guitars which were in demand by

the great majority of professionals, including: El Niño Ricardo, Sabicas, Melchor de

Marchena, Mario Escudero, Paco de Lucia, Paco Cepero, Enrique de Melchor, los

“Habichuela”, Oscar Herrero, Gerardo Nuñez, Rafael Riqueñi, Tomatito, Al Di Meola, John

Maclaughlin ,Bob Dylan, Cat Stevens and many many more.

In 1960 they established the use of the ‘media luna’ (half-moon) headstock for their top of

the line guitars, and this became the symbol of the Conde name. They modified the plantilla

and the inner bracing of the top of the guitar. They introduced new rosettes that were

inspired by designs from the past. They differentiated the classical and flamenco models in

the plantilla and in construction, giving them distinct sounds. They achieved a characteristic

sound, with great volume and its own personality, which is recognized throughout the guitar

world. In 1971 I, Felipe Conde, entered the workshop at Gravina, 7, at the side of my

father, Mariano Conde, and my uncle, Faustino Conde, and this marked the beginning of

the next generation.

From my father I learned two fundamental lessons that shaped my entire professional

career: On the one hand a respect for tradition and good workmanship in construction; and

on the other hand how to relate to the public and to guitarists, which gave me the key to

improving and investigating the sound of my guitars.

Some years later my brother, Mariano Conde, also joined the workshop.

Fourth Epoch:

CONDE HERMANOS SUCESORES SOBRINOS DE ESTESO (1980-2010)

In 1980 my father, Mariano Conde, established a new shop at Felipe V #2 and with his

sons began the next phase in the family history. Until the death of my uncle Faustino in

1988 we worked in conjunction with the shop at Gravina 7. From 1988 on the Felipe V shop

functioned independently.

In 1989 Mariano Conde, my father, died, and my brother and I took over the shop. At first

we continued to make guitars as my father had, but with time and with the improvements in

materials, tools and technology we began to innovate, while always maintaining the

characteristic sound and the tradition of workmanship in order to give each instrument its

history and its own personality.

We introduced new models:

The Felipe V model, which uses woods that are selected for their beauty, quality and age,

and with beautifully elegant detailing; and the Domingo Esteso re-edition and the Viuda Y

Sobrinos de Esteso 1953 re-edition which was inspired by a guitar from that year that Tim

Miklaucic, owner of Guitar Salon International, asked us to make a copy of. These guitars

are made with the original forms and plantillas as the original, and with aged woods.

Many of the guitarists who play our guitars during this epoch are the very same ones who

had played them in the previous epoch, and who remained loyal to our sound. Added to

them were the new generation of guitarists, including Javier Conde, Roberto Morón, Lenny

Kravitz, David Byrne, Sergio Vallin and many more.

During this epoch I develop the brand, securing the lessons I learned from my father and

uncle, and taking the Conde name worldwide by going to international trade fairs such as

NAMM, Frankfurt and Japan.

Fifth Epoch: FELIPE CONDE

In 2010, now in full professional and personal maturity, I enter a new phase of guitar

construction. I am moved by great hope and energy to make the guitar the most admired

instrument in the world. The memory of my father, my greatest teacher, is with me at this

time. From him I learned my profession. He gave me, as only he could, an appreciation for

good workmanship and a close relationship to players. He gave me enormous experience

and a love for the tradition into which I was born. I have tried to always maintain that

contact with the final link of my work: the player. From this dialog springs the desire to

constantly improve the construction of my guitars, which transforms my work into a

passion, a way of life. With the goal of having more direct contact with players and of

creating a comfortable and intimate space for trying out guitars, I have moved to my new

shop at Arrieta #4, across from the old workshop at Felipe V (which was on the corner of

Arrieta). Here I welcome any guitarist who would like to see me or my guitars.