When Carmen Perez Ramirez She came home, as a teenager, and told her father and mother that she had enrolled in the Conservatory because she wanted to study music, “the shoe flew, I was punished and yet here I am, 28 years later teaching as a music teacher.” music, specifically folklore, and studying since he was 11.”
His parents preferred that he opt for a university degree because they believed that music “did not give a future”, but years later he showed them that this premise could be easily broken. The only requirement is to want to do what you like and dedicate time and soul to it.
Born in the municipality of Arucas, Gran Canaria, Carmen is passionate about instruments, their history, their composition, and everything behind them that most people do not know but that she strives to discover.
His first approach with the timple was when he was young. On one occasion he needed one to play and the first one that arrived was one made by Juan Negrín, one of the great manufacturers of this instrument. But it became too small for him and coinciding with the fact that he began to study with Domingo Rodríguez ‘el Colorao’, he had the great pleasure of meeting ‘Maestro Andrés’, who assured him that he was going to build one for her. And he kept his promise.
Carmen has an incredible affection for the timple built by this popular builder from Gran Canaria who in his small workshop – it was actually the balcony of his apartment – built authentic “jewels” although it was a trade that he had as a hobby since he worked on the docks. . “It’s the one on the top left,” and he points to the middle showcase, one of the three that are on display at the Pinolere Regional Craft Fair, in the room called Timpleros, where you can see part of his collection. and that of other musicians such as Pedro Izquierdo and David Sánchez.
The Fair, in which 170 artisans participate, and which closes its doors today, is dedicated this year to the timpleros, artisans who build timples from the Canary Islands. For two days, book presentations, shows and free workshops were held for the youngest and this Sunday you can enjoy, among other things, performances by the timplist Alba Chávez and Raquel Álvarez; Domingo ‘El Colorao’, Juan Carlos Pérez ‘El Palmero’, and the voice of Ayla Rodríguez Hernández; and the shows The Drum of the Islands, by Güicho and Comer y Cantar, by Parranda Villera.
Little by little Carmen acquired more timples, which were followed by percussion instruments, bandurrias, lutes, and mandolins from different makers.
Currently, he has a room in his house where he has almost a hundred instruments, among which are four bandurrias by Juan Aguiar, one of the most prominent luthiers in the Canary Islands, and others that he has brought from different countries, old mandolins , Italian, Peruvian, a bouzouki, a balalaika (a lute of Russian origin with three metal strings that is characterized by its triangular, almost flat body), another that he brought from Mongolia that has the head of a horse “whose name is unpronounceable” , in reference to the morin juur, and several flutes, to name a few examples.
He took advantage of every trip he made to increase his collection. The same exquisite treatment that he gave them to transport them from their place of origin – he always carried them in the cabin because they are made of very sensitive wood and run the risk of breaking easily – is what he gives them every day.
This music teacher is passionate about Canarian folklore, which she teaches to her students from the earliest ages. “It is important that they correctly recognize the different instruments that are unique to them. Fortunately, schools also collaborate and the timple is already beginning to be seen in the music subject,” she explains.
He assures that from the age of 4 or 5 the timple is something that catches their attention. Perhaps, because unlike other string instruments, it is small, “you can take it anywhere and it is the identity of our culture. That is why many parents choose to give it to their sons and daughters when they start studying music.”
Carmen assures that there are also women who play the timple whose careers have not been made known but who have participated in competitions and having placed third or fourth, “they are never talked about.” For this reason, she wants to highlight the important value that women have in music and folklore, “that she has had to start and start in a world that was previously a bit masculine.”
Regarding the conservation of this instrument, he assures that you have to be a little careful, especially when it is very hot, both with the strings, which are dusted with a small cloth, and with the wood, which is kept with special oils. Another important precaution that must be taken into account is the room in which they are stored, which must be acclimated to a medium temperature so that they do not dry out too much.
Instruments in general and timples in particular are Carmen’s great passion. That’s why she didn’t hesitate when they suggested coming and exhibiting part of her collection at this year’s Pinolere Fair.
“I have always come and I have bought most of my instruments there, but in this case I participate from the other side,” he says without hiding his emotion.
Surely on this occasion he will also take some timple to add to his family of musical instruments although he prefers not to reveal what his preferences are on this occasion. “I have a card in my pocket but I’m not going to tell you who,” he points out with a knowing look.
