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Daniel Friederich Concert 1960 spruce – ex Romain Worschech

A unique opportunity to acquire a 1960 Daniel Friederich made for Romain Worschech, the famous composer, arranger, performer and guitar teacher (1909-1996). Romain Worschech published more than 108 pieces and methods and received this guitar at the age of 51 as a tribute to his work as a guitarist. This ‘Worschech’ guitar is not a Récital or Arpège model, but a concert model, as evidenced by the quality of the wood, the dedication and the importance of the owner, given that it was only a few years later that Daniel Friederich began to number his concert guitars. The guitar has been perfectly maintained. Overpowering, it offers an unrivalled sound. Without a doubt, it’s one of the best Friederich guitars we’ve ever played.

SKU: 25FRI960 Categories: All, Classical guitar luthiers, Daniel Friederich, New arrivals, Pre-owned, Traditional Tags: preowned, traditional

Description
Additional information

The guitar was made in 1960 in his workshop at 21 rue Ramponneau and was repaired after 1966, probably by Daniel Friederich. In 1966 Daniel Friederich moved his workshop to rue Sergent Bauchat, which is why there are 2 Daniel Friederich labels, the old one and a newer one.

The guitar has been professionally repaired and maintained and is in perfect playing condition. The varnish has been redone to the highest standard.

This guitar is a concert model and not a Récital or Arpège d’études model, as confirmed by the use of very fine Rio rosewood – this was reserved for the concert model – and the reputation of the first owner, Romain Worschech, a true personality on the Parisian guitar scene (dedication ‘A Romain Worschech amicalement DF’).

Here are a few details about the guitar:

Spruce top with a repair under the bridge, which has been professionally repaired.
Frets and saddles have been replaced
The tuners have been replaced with what we believe are Rodgers
The guitar has been professionally varnished with a very fine pad varnish.
The back and sides are unrepaired and made of South American rosewood.
65 cm and 52 mm

Without a doubt, the classical guitars made by luthier Daniel Friederich are among the finest classical guitars in the world. The magic of the legendary Friederich sound is enhanced by the use of spruce, which adds complexity, and rosewood from Rio: beautiful dynamics with big, deep bass, incredible sound quality and a perfect balance between low and high notes. What’s more, we found the neck to be less shouldered than on the later Friederichs, and therefore more pleasant.

About Daniel Friederich:

Daniel Friederich was born on 16 January 1932 in Paris, into a family of cabinet-makers, and grew up in the Faubourg Saint-Antoine district of Paris, where the capital’s cabinet-making workshops were located. It was here that he learned the art of guitar making. In 1948, he bought his first guitar and took lessons with Christian Aubin. At the time, Aubin, who was both a guitarist and a luthier, was putting the finishing touches to a guitar based on a model by Antonio de Torres. It was this model that inspired Friederich’s first guitar in 1955.

At the end of the 1950s, Friederich opened his first workshop at 21 rue Ramponneau, where he developed mainly three models – the Arpège, the Récital and the Concert – as well as a few flamenco models. In 1966, he moved to rue Sergent Bauchat, in the cabinetmakers’ district, where he remained until his retirement.

The following year, he took part in a violin-making competition in Liège, where he was awarded a gold and a silver medal by the famous composer Joaquin Rodrigo, the virtuoso Alirio Diaz and the violin-makers Robert Bouchet and Ignacio Fleta. His meeting with Ignacio Fleta led him to work for the Fleta family.

Daniel Friederich was a passionate luthier who always took a rational approach to making his instruments. He was meticulous, and each of his guitars is the result of extensive work and various tests and measurements. In the early 1960s, he joined the acoustics laboratory at the University of Paris IV to conduct experiments aimed at improving the guitar. This is one of the reasons why his instruments are so sought-after today.