The Most Famous Classical Guitars: Icons of the Classical Music World
Antonio de Torres (1817–1892)
Few instruments have been so profoundly shaped by individual hands as the modern classical guitar. In the 19th century, guitar designs varied wildly across Europe, but Spanish master Antonio de Torres (1817–1892) brought order and vision to the craft. His work defined the concert guitar as we know it today. Torres introduced fan bracing beneath a thin, domed soundboard and enlarged the guitar’s body, producing an instrument of unmatched warmth, clarity, and projection. He is often described as the father of the modern classical guitar—an innovator whose influence still resonates in every fine instrument made since. Musicians like Julian Bream later marveled at how Torres’s guitars surpassed earlier Baroque designs in tonal depth and playability, establishing a template that would launch the instrument into the modern concert hall.
José Ramírez I
Building on this Spanish legacy, the Ramírez family of Madrid carried Torres’s innovations into the 20th century. Founded in 1882 by José Ramírez I, the family workshop became a pillar of Spanish luthiery. Early on, Ramírez guitars were popular in flamenco circles, but as classical music flourished, they adapted their designs to the concert stage. A pivotal moment came in 1913 when a young Andrés Segovia visited Manuel Ramírez’s shop seeking a concert-quality guitar. Manuel loaned him a Santos Hernández–built instrument, which Segovia used for more than two decades. This gesture not only launched Segovia’s international career but cemented the Ramírez name among elite guitar makers.
José Ramírez III
Each generation of the family added its own refinements. José Ramírez III expanded the soundboard, pioneered the use of cedar tops, and collaborated with guitarist Narciso Yepes to design a ten-string guitar in 1963. Segovia himself adopted a José III guitar that same year, performing on it well into his later career. Other luminaries—such as Yepes, Christopher Parkening, and Kazuhito Yamashita—praised Ramírez guitars for their rich bass and expressive range. Now under the stewardship of Amalia Ramírez, the fifth generation continues to produce instruments that embody the deep, resonant voice of traditional Spanish craftsmanship.
Hermann Hauser I (1882–1952)
Beyond Spain, German makers brought their own precision to the art. Hermann Hauser I (1882–1952) of Munich bridged Spanish warmth with German engineering. Segovia first encountered Hauser’s work in the 1920s and was so taken with its balance and tonal purity that he called his 1937 Hauser “the greatest guitar of our epoch.” When Segovia’s old Manuel Ramírez guitar cracked, the Hauser became his trusted companion for decades. Other greats, including Miguel Llobet and Julian Bream, also favored Hauser instruments. Hauser’s innovations in bracing and neck design created guitars of remarkable sustain and clarity. The Hauser lineage continued through Hermann II and III, whose instruments remain prized by performers such as Pepe Romero for their perfect equilibrium of power and refinement.
Ignacio Fleta (1897–1977)
While Hauser epitomized German precision, Ignacio Fleta (1897–1977) exemplified Spanish artistry with a bold twist. Trained as a violin maker, Fleta turned to guitars after hearing Segovia perform in 1955. His instruments, often built with thick cedar tops and multiple fan braces, produced a commanding projection that filled concert halls with ease. These were the “Rolls-Royce” of classical guitars—luxurious, resonant, and built for the grand stage. Segovia commissioned one in 1957 and used it throughout much of his career. John Williams, Alirio Díaz, and Turibio Santos also played Fleta guitars, admiring their power and lyrical sustain. During the 1960s and 1970s, Fleta’s workshop reached its golden age, with his sons Gabriel and Francisco joining him to refine and perpetuate the family tradition.
Daniel Friederich (1932–2020)
In Paris, Daniel Friederich (1932–2020) quietly carved a name for himself as one of the most innovative luthiers of the 20th century. His guitars were masterpieces of balance and sensitivity—clear, responsive, and visually stunning. Friederich’s attention to every microscopic detail gave his instruments an extraordinary evenness of tone. Though he built relatively few guitars, each was a work of art, sought after by collectors and leading performers alike. His legacy endures as one of refined craftsmanship and subtle innovation—proof that artistry and acoustics can coexist in perfect harmony.
José Luis Romanillos (born 1932)
Meanwhile, José Luis Romanillos (born 1932) revived the traditional Spanish sound in a new land. Moving from Madrid to London in the 1950s, he built his first guitar in 1961 and soon gained the admiration of Julian Bream, who invited him into his own workshop. Bream’s recordings on Romanillos’s 1973 guitar brought international acclaim to the builder, whose designs were deeply inspired by Torres. Romanillos’s guitars, known for their balance and tonal beauty, earned him comparisons to Stradivari. Today, his sons continue the family’s work, and Romanillos’s writings on guitar history and craftsmanship remain essential reading for luthiers worldwide.
Greg Smallman (born 1947)
Across the world, innovation found a new voice in Australia through Greg Smallman (born 1947). Smallman broke from centuries of tradition, introducing a lattice-braced design reinforced with carbon fiber and paired with an ultra-thin cedar top. This architecture allowed for immense volume and sustain, making his guitars ideal for large concert halls. The renowned guitarist John Williams switched from his Fleta to a Smallman in the 1980s, praising its projection and tonal power. Smallman’s designs inspired countless contemporary builders, and his family workshop, now Greg Smallman & Sons, continues to push the boundaries of what a classical guitar can achieve.
From Torres’s first experiments in Andalusia to Smallman’s futuristic lattice bracing in Australia, these luthiers have defined how the classical guitar sings. Their instruments have shaped the careers of artists like Segovia, Bream, Williams, Díaz, and Yepes, who in turn expanded the guitar’s expressive range and repertoire. The partnership between player and maker has always been symbiotic—each innovation in design opens new possibilities in music.
Today, the legacy of these master builders endures. Their guitars, whether preserved in museums or played on stage, remain benchmarks of beauty and sound. Modern luthiers study them as blueprints, while performers seek them out for their authenticity and voice. Every note that resonates from a Torres, Ramírez, Hauser, Fleta, Friederich, Romanillos, or Smallman guitar carries more than music—it carries a lineage of passion, craftsmanship, and artistry that continues to shape the very soul of the classical guitar.
