Enrico Bottelli　［エンリコ・ボッテーリ］ No.261

Product Description

Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:RODGERS
String Height(1st):2.9mm
String Height(6th):3.9mm

[Luthier]

Enrico Bottelli was born in Milan, Italy, in 1961. An accomplished acoustic guitar player in his youth, he gradually developed a deeper interest in the instrument itself. In 1981, he entered the guitar-making school of Carlo Raspagni (1925–1999), located near his native Milan, where he learned the fundamentals of guitar construction. The following year, he traveled to Berkeley, California, to attend an intensive course given by the renowned acoustic guitar maker Ervin Somogyi (b. 1944). In 1988, he furthered his studies under Richard Schneider, a luthier known for his practical application of the Kasha theory.

The Kasha theory was proposed by physicist Michael Kasha as a structural approach intended to improve the acoustical performance of the classical guitar. Schneider became particularly well known for putting this theory into practice through more than three decades of collaboration with Dr. Kasha. Although the resulting construction methods were highly innovative, guitars based on the theory continue to be made today in both classical and acoustic guitar circles, demonstrating the enduring relevance of the concepts.

What is particularly noteworthy is that, after—or partly alongside—his practical studies of these innovative makers and their theories and construction methods, Bottelli developed an increasingly deep interest in the traditional classical guitar. The decisive turning point came through his encounter with the Spanish luthier José Luis Romanillos (1932–2022). In 1994 and 1995, Bottelli participated in guitar-making courses held in Córdoba, Spain. There, deeply impressed by the master luthier's passion for the instrument, he decided to devote himself to the study and construction of the traditional Spanish classical guitar.

In 1999, he had the opportunity to restore a 1952 Hermann Hauser I Segovia model. His research into vintage guitars was further expanded under the influence of the distinguished Italian guitarist Stefano Grondona. Much as Romanillos had done, Bottelli came to recognize the guitars of Antonio de Torres—particularly their musical expressiveness—and Hermann Hauser I—particularly their ultimate balance as instruments—as fundamental pillars of his own guitar-making philosophy.

Bottelli's guitars pay profound respect to the Torres and Hauser traditions while combining them with his own tonal preferences and philosophy. His highly developed aesthetic sensibility, also cultivated through his experience with acoustic guitar makers, is evident in every aspect of his instruments, from the selection of woods to the design of the rosettes. The resulting guitars are exceptionally beautiful and distinctive, and Bottelli has earned a prominent reputation within the contemporary classical guitar world.

His instruments are constructed relatively lightly, with particular attention paid to achieving a soundboard that is both light and sufficiently stiff. This contributes to a supple, fast response. The sound is consistently warm and full-bodied, yet possesses a strong, focused core, with an exceptionally well-controlled balance from the bass and lower midrange through to the treble. The tonal character offers remarkable expressive depth and reflects a deep respect for the Spanish guitar tradition. At the same time, as Bottelli himself has pointed out, his approach can be seen as a practical counterpoint to the modern tendency to place excessive emphasis on volume.

Bottelli builds exclusively with spruce soundboards. His current range includes the Concert, Special, Hauser 1952, and Torres models, as well as Art Guitar models incorporating his own distinctive aesthetic vision. In Italy, where a remarkable number of talented luthiers—both established makers and younger generations—are currently active, Bottelli stands among the most closely watched and highly regarded makers of contemporary classical guitars.

[Instrument]

We are pleased to offer this 2017 Enrico Bottelli Concert model, #261.

Following the traditions of Torres and Hauser, this instrument combines them with Bottelli's own Italian sensibility, updating the tradition with both generosity of character and rigorous craftsmanship. It is an exceptionally accomplished guitar in every respect, with a highly refined balance of acoustical performance, expressive capability, and playability.

Perhaps the most striking expression of Bottelli's aesthetic philosophy is the rosette. His conviction that “an instrument should be beautiful and visually compelling when it is opened” is particularly evident in this design. Beyond the rosette, the carefully selected high-grade tonewoods and the exceptionally delicate shellac finish further demonstrate the visual individuality and luxurious character that are among the great attractions of the Bottelli brand.

The soundboard bracing consists of one short and one long harmonic bar on the upper side of the soundhole, together with a somewhat thicker reinforcement plate extending across the area beneath the fingerboard. A further harmonic bar is positioned below the soundhole on the bridge side. Around the soundhole, another somewhat thicker reinforcement plate follows the concentric shape of the rosette area.

The lower portion of the soundboard features seven symmetrical fan braces, while two closing bars are arranged in a V-shape at their lower ends, supporting the structure toward the bottom of the guitar. A thin reinforcement plate is also fitted beneath the bridge area.

Although the precise dimensions and details of the individual braces differ, the overall arrangement can be regarded as following the approach of Hermann Hauser I's Segovia model.

As Bottelli himself has explained, however, the soundboard is somewhat thinner and more supple than that of a Hauser, while still maintaining sufficient stiffness. By carefully selecting wood that combines reduced thickness and flexibility with adequate hardness, he aims to give the sound a certain roundness while simultaneously reducing the physical resistance encountered during plucking.

The resonance is set at approximately F♯–G.

From the leisurely, resonant bass—with a pleasing sense of elasticity and depth that seems to support the entire tonal structure—to the clear, incisive treble, which nevertheless contains a delicate quality in its articulation, the instrument demonstrates an exceptionally balanced acoustic design.

The sound image is crisp and well separated. Its consistently warm and generous resonance may be described as distinctly Italian in character, yet it possesses a particular strength that is not commonly encountered in other Italian instruments. Subtle changes in expression, dynamic range, and the speed of both attack and decay give the instrument a distinctly contemporary sense of responsiveness—not in the sense of a modern double-top guitar, but through a different and more refined approach.

Melodic lines emerge with an organic sense of continuity, while the clarity of each individual note is particularly satisfying in contrapuntal passages. Its exceptionally high functional versatility allows it to respond fully to a wide range of repertoire, from Baroque music through contemporary works.

The guitar remains in very good overall condition. There are a few fine scratches below the bridge on the soundboard, presumably from string changes, as well as minor playing marks and light scratches extending from both sides of the fingerboard toward the soundhole. These are only visible at close inspection. On the back, there is a very slight area of friction where the player's chest would make contact with the instrument, likely caused by clothing. There are also a few minor nail marks on the treble side of the back of the neck. None of these marks detract from the overall appearance of the instrument.

There is no history of major repairs, cracks, modifications, or refinishing. Considering that this is a used instrument with a shellac finish, it can be considered to be in excellent cosmetic condition.

The neck has a very slight forward bow, but remains within the normal range of adjustment. The frets are also within appropriate specifications.

The neck profile is a relatively slim, rounded D-shape. String height at the 12th fret is approximately 2.9 mm on the 1st string and 3.9 mm on the 6th string. The saddle has approximately 2.5 mm of remaining height, allowing the action to be lowered further according to the player's preference.

The guitar is fitted with Rodgers Hauser-style tuners, which are currently functioning properly.

Body weight: 1.60 kg