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Ask about similar guitarsJose Ramirez - 1968 "MT" Mariano Tezanos No. 2957
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About the luthier
Under José Ramírez III, the Madrid workshop became one of the defining forces in twentieth-century Spanish guitar making. As demand for his concert instruments grew, Ramírez trained a generation of highly skilled oficiales who worked within the construction principles of the house while remaining responsible for building each guitar from beginning to end. The normal “MT” stamp found inside this 1968 instrument identifies Mariano Tezanos Martín, one of the distinguished makers from this period. His name is particularly closely associated with the great concert guitars of the Ramírez III era: Andrés Segovia is known to have particularly favored a 1968 Ramírez bearing Tezanos’s MT stamp. Instruments such as No. 2957 therefore bring together the design language of José Ramírez III, the hand of an individual master craftsman, and the enduring tradition of the Madrid school.
About the guitar
Some guitars reveal their character most clearly in a single chord, and this 1968 MT is a striking example. Its projection is powerful, but what stands out even more is the equilibrium within the sound: individual voices emerge with remarkably even weight and intensity, yet remain clearly separated from one another. This combination of balance and definition allows dense chords and contrapuntal textures to retain transparency without sacrificing body or presence.
The sustain is generous and gives melodic lines a naturally singing quality, while the trebles carry an elegant brilliance that remains free from excessive sharpness or hardness. There is considerable energy in the sound, but it is controlled rather than aggressive; notes project with authority while preserving colour, separation, and a refined sense of proportion across the registers.
A cedar soundboard is paired with Indian rosewood back and sides, while the sides themselves follow the substantial doubled construction associated with Ramírez instruments of this period, with an inner layer of cypress. The resulting voice has both breadth and focus: full-bodied enough to support sustained melodic playing, yet sufficiently articulate for every line within a chord to remain distinct. Together with its historical position in the Ramírez III workshop and the MT stamp of Mariano Tezanos Martín, this gives the guitar a particularly compelling connection to one of the most influential periods of the Madrid guitar-making tradition.
Condition
The guitar is in very good condition, showing normal wear consistent with its age and careful use. There are two well-repaired cracks on the back, one of which has been stabilised internally with a cleat. Otherwise, the instrument remains in very good condition.
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