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Product Description

Neck: Cedro
Fingerboard: Ebony
Finish(Top): Polyurethane
Finish(Back & Sides): Polyurethane
Tuning Machines: Fustero
String Height(1st): 2.1mm
String Height(6th): 2.8mm

[Profile]
The Moreno y Castro brand is the result of a brief but notable collaboration between two master luthiers: Arturo Sanzano Moreno and Mariano Tezanos Castro (b. 1949). Both craftsmen began their careers in the prestigious workshop of José Ramírez III, where they trained extensively and were later recognized as senior artisans, receiving the workshop's hallmark initials—"AS" for Sanzano and "MTC" for Tezanos.

Mariano Tezanos Castro is the son of the legendary luthier Mariano Tezanos Martín (1915–1982), who also worked in the Ramírez workshop under the initials "MT." His guitars played a pivotal role in classical guitar history, notably becoming the primary instrument for Andrés Segovia after moving away from his Hauser I, and producing the first 10-string guitar for Narciso Yepes before Yepes transitioned to Bernabé. His influence firmly placed him at the heart of the Madrid school’s golden era.

Inspired by his father, Mariano Tezanos Castro began working in the Ramírez workshop in 1963 and remained there until 1984, when he partnered with Sanzano to launch the Moreno y Castro brand. Although this partnership lasted only three years, Tezanos continued his journey as a solo builder and in 1992 began a long and fruitful collaboration with fellow Ramírez alumnus Teodoro Pérez, producing guitars under the name M. Tezanos Pérez. This partnership flourished for over a decade, earning high acclaim and standing out amid a crowded Madrid scene of former Ramírez artisans. Tezanos eventually returned to independent work in the late 2000s but retired from luthiery around 2010 due to illness.

[Description]
We are pleased to offer a rare 1985 Moreno y Castro flamenco guitar, labeled Para Casa Arcangel, indicating that it was built for the workshop of Arcángel Fernández, a master luthier also based in Madrid. This is a “negra” model with a spruce soundboard and Indian rosewood back and sides—a traditional combination for powerful and refined flamenco tone.

The internal bracing pattern reflects their Ramírez heritage more than Arcángel's designs: one harmonic bar each above and below the soundhole, five symmetrical fan braces, and two closing bars forming a V-shape at the lower bout. A thin reinforcement plate under the bridge, slightly longer than the bridge itself, is also included. The resonance is set slightly higher than typical flamenco guitars, between G# and A, which aligns with standard Ramírez tuning preferences.

Tonally, this guitar represents one of the finest expressions of the Ramírez-influenced Madrid school. It offers deep, resonant projection with controlled sustain and clear note definition. The sound has a rounded, elegant character with excellent dynamic response—ideal for the percussive and expressive demands of flamenco. The instrument feels responsive and energetic, naturally driving the rhythm forward under the player’s touch. Particularly notable is the high degree of linearity, meaning the guitar responds musically and sensitively across a wide range of right-hand techniques. Rasgueado and other percussive elements speak clearly and with satisfying punch.

The scale length is 648 mm, slightly shorter than typical flamenco guitars but still delivering ample power. There are no major cracks or structural repairs. There are expected signs of play, especially around the fingerboard edges, golpeador, and soundhole area, though overall wear is relatively modest for its age. Back and sides show some light scratches and rub marks from contact with the player’s body. The neck is in excellent condition, with moderate fret wear (mainly on frets 1–5) within acceptable limits. It features a flat, slim D-shaped profile that offers a comfortable grip. String action measures 2.2 mm on the 1st string and 2.8 mm on the 6th string at the 12th fret, with 1.0 mm of saddle remaining.

The headstock design shows early hints of what would later become the signature Tezanos style, retaining a touch of originality, though still lacking the refinement seen in his later work.