The Most Famous Classical Guitars: Icons of the Classical Music World

Antonio de Torres (1817–1892)

Few instruments have been shaped as profoundly by individual hands as the modern classical guitar. In the nineteenth century, designs varied widely across Europe, but the Spanish maker Antonio de Torres brought coherence and vision to the craft. His introduction of fan bracing beneath a thin, domed soundboard and his enlargement of the guitar’s body created instruments with warmth, clarity and projection. Often described as the father of the modern classical guitar, Torres set a template that remains central to today’s concert instruments. Musicians such as Julian Bream later noted how Torres’s guitars surpassed earlier Baroque models in tonal depth and playability, establishing a design that carried the instrument into modern concert halls.

José Ramírez I

Building on this Spanish heritage, the Ramírez family of Madrid continued the developments initiated by Torres. Founded in 1882 by José Ramírez I, the workshop soon became a leading force in Spanish lutherie. Early Ramírez instruments were especially valued in flamenco circles, but as classical performance expanded, the makers adapted their designs for concert use. A defining moment occurred in 1913 when a young Andrés Segovia visited the shop of Manuel Ramírez seeking a concert guitar. Manuel loaned him a guitar built by Santos Hernández, which Segovia played for more than two decades. This collaboration helped launch Segovia’s international career and established the Ramírez name among the world’s top guitar makers.

José Ramírez III

Each generation of the Ramírez family contributed new ideas. José Ramírez III enlarged the soundboard, pioneered the use of cedar tops and worked with guitarist Narciso Yepes to design a ten-string guitar in 1963. That same year, Segovia adopted a José III guitar and performed on it well into his later career. Esteemed guitarists including Yepes, Christopher Parkening and Kazuhito Yamashita have praised Ramírez guitars for their resonant bass and expressive range. Today, under the direction of Amalia Ramírez, the fifth generation continues to build instruments rooted in traditional Spanish craftsmanship.

Hermann Hauser I (1882–1952)

In Germany, Hermann Hauser I introduced a distinctive blend of precision and tonal refinement. Segovia first encountered Hauser’s guitars in the 1920s and later described his 1937 Hauser as “the greatest guitar of our epoch.” When Segovia’s Manuel Ramírez instrument developed structural issues, the Hauser became his main concert guitar for decades. Many other leading players, including Miguel Llobet and Julian Bream, performed on Hauser instruments. Hauser’s contributions to bracing and neck design resulted in guitars noted for their sustain, clarity and balance. The Hauser tradition continued through Hermann II and Hermann III, whose guitars remain favored by artists such as Pepe Romero.

Ignacio Fleta (1897–1977)

While Hauser represented German precision, Ignacio Fleta embodied Spanish craftsmanship with a bold, individual style. Originally trained as a violin maker, Fleta turned to guitar building after hearing Segovia in 1955. His instruments, often constructed with thick cedar tops and multiple fan braces, produced a powerful projection suitable for large concert halls. Segovia commissioned a Fleta in 1957 and used it extensively throughout his career. Guitarists such as John Williams, Alirio Díaz and Turibio Santos also chose Fleta guitars for their strength and lyrical sustain. During the 1960s and 1970s, Fleta’s workshop reached its creative peak, with his sons Gabriel and Francisco joining him.

Daniel Friederich (1932–2020)

In Paris, Daniel Friederich established himself as one of the twentieth century’s most influential luthiers. His guitars are known for their balance, responsiveness and craftsmanship, combining tonal refinement with visual elegance. Friederich’s meticulous approach resulted in instruments prized by performers and collectors, despite his relatively limited production. His legacy reflects both acoustic insight and artistic detail.

José Luis Romanillos (born 1932)

José Luis Romanillos revived and reinterpreted the traditional Spanish sound after moving from Madrid to London in the 1950s. He built his first guitar in 1961 and later gained the admiration of Julian Bream, who invited him into his workshop. Bream’s recordings on Romanillos’s 1973 guitar brought international recognition to the maker, whose designs were strongly influenced by Torres. Romanillos’s instruments became famous for their balance, clarity and expressive tone, earning him comparisons to Stradivari. His family continues the craft, and his writings on guitar history remain authoritative.

Greg Smallman (born 1947)

In Australia, Greg Smallman introduced a radical new approach to classical guitar design. His lattice-braced guitars, reinforced with carbon fiber and paired with extremely thin cedar tops, offer exceptional volume and sustain. In the 1980s, John Williams adopted a Smallman guitar, praising its projection and tonal power. Smallman’s innovations have influenced numerous contemporary makers, and his family workshop, Greg Smallman & Sons, continues to explore modern guitar construction.

From Torres’s early designs in Andalusia to Smallman’s modern lattice structures, these makers have shaped the voice of the classical guitar. Their instruments influenced the careers of Segovia, Bream, Williams, Díaz and Yepes, each of whom expanded the instrument’s expressive range. The relationship between guitarist and luthier remains central to the evolution of the classical guitar.

Today, the legacy of these master builders continues. Whether preserved in collections or used on the concert stage, their guitars stand as benchmarks of tone and craftsmanship. Modern makers study them closely, and performers seek them for their authenticity and voice. Every note played on a Torres, Ramírez, Hauser, Fleta, Friederich, Romanillos or Smallman instrument carries a lineage of artistry that continues to define the classical guitar.