{"id":34733,"date":"2026-10-24T10:00:22","date_gmt":"2026-10-24T08:00:22","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/?p=34733"},"modified":"2026-10-21T16:03:03","modified_gmt":"2026-10-21T14:03:03","slug":"un-desequilibre-parfait","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/allgemein\/2026\/10\/un-desequilibre-parfait","title":{"rendered":"Uno squilibrio perfetto"},"content":{"rendered":"
\"\"
Jacques Vincenti. Photo : DR<\/figcaption><\/figure>\n

C\u2019est en 1979 qu\u2019il ouvre son magasin dans sa ville natale. \u00ab\u2009J\u2019avais vu un prospectus\u2009: d\u2019un c\u00f4t\u00e9 il y avait un magasin d\u2019instruments anglais, de l\u2019autre c\u00f4t\u00e9 l\u2019atelier d\u2019un luthier en Espagne. Je me suis dit qu\u2019il fallait mettre ensemble les deux dans un seul et unique concept, et c\u2019est ce que j\u2019ai essay\u00e9 de cr\u00e9er\u2009\u00bb, explique-il. Apr\u00e8s un passage en Angleterre, il travaille dans quelques ateliers espagnols. Il ouvre alors son atelier \u00e0 Gen\u00e8ve, en misant sur l\u2019aspect pluriel de l\u2019activit\u00e9\u2009: vendre et accompagner le client, et, \u00e0 l\u2019occasion, construire, restaurer et conseiller.<\/p>\n

Depuis le temps il a r\u00e9ussi \u00e0 fid\u00e9liser les conservatoires et les \u00e9coles locaux, ainsi qu\u2019une pl\u00e9thore de professionnels romands et internationaux. L\u2019atelier n\u2019est plus seulement un centre de lutherie, mais aussi le si\u00e8ge d\u2019une association qui organise les fameux Jeudis de la guitare, et le c\u0153ur du monde guitariste de toute une r\u00e9gion.<\/p>\n

\u00ab\u2009Un vrai constructeur fait entre dix et quinze instruments par an, moi c\u2019en est un, quand j\u2019y arrive\u2009: il y en a, en tout, une quarantaine \u00e0 mon nom. J\u2019ai eu beaucoup de chance car on m\u2019a amen\u00e9 de tr\u00e8s belles guitares \u00e0 restaurer\u2009\u00bb, raconte-t-il, avec la modestie qui le caract\u00e9rise. \u00ab\u2009La curiosit\u00e9 que j\u2019ai accord\u00e9e \u00e0 ces instruments m\u2019a ouvert des portes et m\u2019a fait apprendre \u00e9norm\u00e9ment. Je collabore toujours avec les autres personnes de mon atelier\u2009: Mariann Burri et Guillaume Dayer, ce dernier ayant pris la place de L\u00e9onard Plattner. C\u2019est essentiel de pouvoir se confronter avec d\u2019autres professionnels et professionnelles, car on \u00e9change des r\u00e9flexions, on met nos savoir-faire en commun. Il y a une \u00e9thique \u00e0 respecter lorsqu\u2019on intervient sur des instruments qui ont une histoire\u2009: s\u2019y mettre \u00e0 plusieurs aide \u00e0 faire les bons choix.\u2009\u00bb<\/p>\n

La restauration est devenue un des points forts de cet atelier en partie gr\u00e2ce \u00e0 la passion que Jacques a d\u00e9velopp\u00e9e vers une \u00e9cole particuli\u00e8re\u2009: la lutherie catalane du d\u00e9but du 20e si\u00e8cle. En t\u00e9moigne le livre qu\u2019il signe et qui vient de sortir aux \u00e9ditions Camino Verde, avec de magnifiques photos d\u2019Alberto Martinez\u2009: Enrique Garc\u00eda, constructor de Barcelona<\/em>.<\/p>\n

\u00ab\u2009J\u2019ai tout d\u2019abord d\u00e9couvert les guitares de Francisco Simplicio\u2009\u00bb raconte-t-il, \u00ab\u2009qui t\u00e9moignaient d\u2019une \u00e9b\u00e9nisterie et d\u2019un savoir-faire exceptionnels. Il \u00e9tait l\u2019\u00e9l\u00e8ve d\u2019Enrique Garc\u00eda et j\u2019ai \u00e9t\u00e9 curieux de savoir qui \u00e9tait ce dernier. J\u2019ai trouv\u00e9 une guitare de lui, et cela m\u2019a compl\u00e8tement s\u00e9duit. Un instrument \u00e9quilibr\u00e9 est rarement int\u00e9ressant, et cette Garc\u00eda avait \u00e0 mon go\u00fbt un d\u00e9s\u00e9quilibre parfait\u2009: des basses pleines, des m\u00e9diums discrets et des aigus chantants, mais contenus.\u2009\u00bb<\/p>\n

Passion pour le travail<\/h3>\n

La passion pour le travail de ce luthier devient objet d\u2019\u00e9tude et Vincenti s\u2019aper\u00e7oit que certaines de ces guitares sont construites selon un plan suivant le nombre d\u2019or et la suite de Fibonacci, avec des clins d\u2019\u0153il \u00e0 l\u2019architecture romane catalane. On y trouve aussi des correspondances entre la longueur vibrante des cordes sur des notes pr\u00e9cises et les mesures des parties de la caisse harmonique. \u00ab\u2009Puis il y a un quelque-chose de visuel et de tactile\u2009: ce sont des guitares aux belles proportions, ouvertes, \u00e9l\u00e9gantes et avec une certaine douceur. Ce que je ressens c\u2019est que cette douceur, ce plaisir tactile se transmet \u00e0 l\u2019interpr\u00e8te\u2009\u00bb, argumente-t-il. \u00ab\u2009Sans parler des qualit\u00e9s du son qui sont objectives\u2009: une palette de nuances tr\u00e8s large et particuli\u00e8re, changeante selon les positions o\u00f9 l\u2019on joue. Cela en fait des instruments tr\u00e8s imparfaits si les crit\u00e8res sont la performance, la stabilit\u00e9, etc. mais c\u2019est une imperfection sublime, l\u2019extr\u00eame oppos\u00e9 de la froideur d\u2019un instrument num\u00e9rique.\u2009\u00bb<\/p>\n

Cela s\u2019est impos\u00e9 comme un mod\u00e8le auquel, comme constructeur, il avait envie d\u2019adh\u00e9rer. \u00ab\u2009Avec toutes les guitares que j\u2019ai vues passer dans mon laboratoire, je peux dire qu\u2019il y a beaucoup d\u2019\u00e9coles de construction diff\u00e9rentes et que certaines d\u2019entre elles sont arriv\u00e9es \u00e0 des r\u00e9sultats d\u2019excellence. Cela peut varier beaucoup. Ce que je vois avec Garc\u00eda, c\u2019est qu\u2019il avait un plan pr\u00e9cis, une m\u00e9thode \u00e0 laquelle se tenir, et avec \u00e7a il savait comment arriver \u00e0 un r\u00e9sultat incroyable. Cela correspond \u00e0 une id\u00e9e de travail que j\u2019ai aussi. Un id\u00e9al de son pr\u00e9cis, pour lequel il ne faut faire aucun compromis.\u2009\u00bb<\/p>","protected":false},"excerpt":{"rendered":"

A Ginevra non ce ne sono nemmeno un migliaio che si dedichino alla costruzione, alla riparazione, alla vendita e a tutto ci\u00f2 che riguarda la chitarra. Pochi negozi e liutai, che si contano sulle dita di una mano. Eppure, quando si parla di chitarra classica, il punto di riferimento \u00e8 il laboratorio di Jacques Vincenti.<\/p>","protected":false},"author":36265,"featured_media":34740,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1],"tags":[1817,1647,2427],"class_list":["post-34733","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allgemein","tag-geneve","tag-guitare","tag-jacques-vincenti"],"acf":[],"yoast_head":"\nUn d\u00e9s\u00e9quilibre parfait - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/it\/allgemein\/2026\/10\/un-desequilibre-parfait\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Un d\u00e9s\u00e9quilibre parfait - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Il n\u2019y en a pas mille en ville de Gen\u00e8ve, \u00e0 se d\u00e9dier \u00e0 la construction, \u00e0 la r\u00e9paration, \u00e0 la vente ainsi qu\u2019\u00e0 tout ce qui concerne la guitare. 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