There are figures in the history of the guitar who did more than simply build instruments: they shaped the sound of an entire musical culture. Santos Hernández was one of them. He was neither a media-famous builder nor especially prolific, but his acoustic sensitivity and understanding of the musical moment in Spain made him one of the key names in the evolution of 20th-century flamenco and classical guitars. Undoubtedly, Santos Hernández stands alongside D. Antonio de Torres and Hermann Hauser as one of the greatest references in guitar construction throughout history.

To understand his career is to understand how the guitar evolved from accompanying singing in cafés cantantes to becoming a solo instrument with its own identity.

Beginnings

Born in Madrid in 1873, Santos began his career as an apprentice in the workshop of the luthier Valentín Viudes. After a brief period there, he moved to Granada to work with José Ortega, returning shortly after to Madrid to collaborate with Saturnino Rojas and at the renowned shop of Francisco González.

In 1893, Santos was recruited and assigned to an artillery unit, serving five years in the military and later participating in the Spanish-American War in Cuba.

In 1905, he was hired by Manuel Ramírez as foreman to replace Enrique García, who had moved to Barcelona to open his own workshop. After Ramírez passed away in 1916, Santos continued working for his widow until 1920. Several of the instruments built during this period bore the initials S.H. or D.E. in the corner of the label. Finally, in 1921, he opened his own workshop at Calle Aduana nº 27 in Madrid, which became a meeting point for the finest guitarists of the time, both classical and flamenco: Miguel Llobet, Andrés Segovia, Daniel Fortea, Ramón Montoya, Sabicas, and Luis Molina, among others.

Despite still working for Ramírez’s widow, in 1918 Santos Hernández opened his own shop in Madrid, without neglecting his duties for her. The guitars from this period bear the label with the address Plaza de Nicolás Salmerón, until he opened his permanent workshop in 1921 at Calle Aduana 27, and later at ** nº 23** from 1931 onwards.

The 1912 Guitar That Changed His Destiny

Santos Hernández’s reputation grew remarkably when it became known that he was the true maker of the 1912 guitar signed by Manuel Ramírez, the instrument that Andrés Segovia would use for much of his career.

The story of this guitar has become part of the legend of the Spanish guitar.

Segovia was only 18 years old when he arrived at Manuel Ramírez’s workshop in Madrid. He had traveled from Córdoba intending to give a concert, but he was not satisfied with the instrument he owned. He needed a guitar capable of meeting his artistic ambitions.

He proposed something unusual for the time: renting the best available instrument, with the option to purchase it later if it met his expectations. While it was common to rent pianos, renting guitars was not.

Ramírez agreed to consider the proposal and asked Santos Hernández to bring a guitar that had recently been built for a musician named Manjón, who had rejected the instrument after criticizing its volume, sustain, and certain execution details.

According to Segovia’s later account, when that client dismissed the guitar, Ramírez was deeply offended and preferred not to sell it rather than diminish its value.

When Segovia tried the instrument, the story took an unexpected turn. Hearing the young guitarist play, Ramírez recognized his talent and decided to give him the guitar. That 1912 Ramírez would be used by Segovia for approximately twenty-five years.

Although it bore Manuel Ramírez’s label, most scholars agree that its construction was primarily the work of Santos Hernández.

The Repair and the Label

In 1922, Segovia returned to Santos Hernández’s workshop to have that famous guitar repaired. Aware that he had been its original maker, Santos suggested replacing the original label with his own.

Segovia declined the change but allowed Santos to add an additional label inside, acknowledging the repair.

This detail reflects both the historical importance of the instrument and the discreet role that Santos Hernández maintained for years under the shadow of the Ramírez name.

The Rift and “La Inédita”

The relationship between Santos Hernández and Segovia did not remain intact.

In the mid-1920s, Segovia showed Santos an exact replica of the 1912 guitar, made by a Swiss luthier. The guitarist expressed enthusiasm for the qualities of that copy.

At that time, Santos was working on a new guitar intended for Segovia. The guitarist’s attitude was perceived as a slight. Moreover, he seemed to show little interest in the instrument that Santos was specially crafting for him.

The luthier’s response was decisive: he chose not to deliver that guitar and kept it for himself. He named it “La Inédita.”

Decades later, in the 1970s, Santos Hernández’s nephew, Santos Bayón, sold this instrument following the death of the luthier’s widow, turning it into a historic piece of immense value.

The Guitar at the Premiere of the Concierto de Aranjuez

Another episode that directly links Santos Hernández to the great history of Spanish music is the premiere of the Concierto de Aranjuez.

In 1940, guitarist Regino Sainz de la Maza premiered Joaquín Rodrigo’s work in Barcelona using a guitar built by Santos Hernández.

The Concierto de Aranjuez marked a turning point in the international projection of the guitar as a solo instrument within the symphonic repertoire. That a guitar by Santos was present at this historic moment is far from incidental.

This confirms something fundamental: his instruments were not only linked to the development of modern flamenco, but also to the definitive consolidation of the guitar in the classical concert arena.

In a way, Santos Hernández’s work served as a bridge between two worlds that had evolved in parallel for decades: flamenco and classical concert guitar.

Training and Maturity as a Luthier

Santos Hernández was born in Madrid in 1874 and developed his training in the guitar-making environment of the capital, under the indirect influence of Antonio de Torres’ legacy.

His period in Manuel Ramírez’s workshop was decisive, not only for technical refinement but also for the responsibility he assumed within the construction process.

After Ramírez’s death, he opened his own workshop in Madrid and consolidated his identity as an independent luthier.

This stage represents his maturity:

– Consolidation of a stylized and elegant template
– Refinement of the bracing system
– Pursuit of balance between power and control
– Limited and meticulously crafted production

Encounter with Modern Flamenco

At the same time, flamenco’s evolution demanded new qualities from the instrument. The figure of Ramón Montoya was key in this process.

The guitar needed to project more, respond quickly to attacks, and maintain clarity in picado and rasgueado. Santos Hernández understood these needs, and many consider his instruments to mark the beginning of the modern flamenco model.

Technical Characteristics of His Guitars

Santos Hernández’s guitars build on the tradition established by Torres, but develop a distinct character of their own.

Among their most recognizable traits are:

– Extremely light and highly responsive soundboard
– Immediate response to attack
– Dry and defined basses
– Clear but non-shrill trebles
– Notable tonal balance across registers
– Comfortable action adapted to flamenco playing

Each instrument seems designed to engage in a dialogue with the musician, not to impose itself through volume, but to offer control, nuance, and musicality.

Legacy

Santos Hernández passed away in 1943. His production was not numerous, which today increases the historical value of his guitars.

His legacy can be summarized in several key aspects:

– Consolidation of the modern flamenco model
– Influence on the subsequent Madrid school
– Integration of classical tradition with flamenco evolution
– Artisan sensitivity oriented toward the performer

Beyond the historical anecdote or market value, his true importance lies in understanding that the guitar must evolve alongside the musician. In that silent dialogue between builder and performer, Santos Hernández occupies an irreplaceable place.

Among the instruments we offer, there is a guitar by Santos Hernández. It is a unique opportunity for those who wish to experience the authentic sound of one of the great builders of the Spanish guitar. More details and photographs are available in our section of guitars for sale or by clicking on the image below.