The creation of an instrument from scratch is a fundamental part of a luthier’s daily work. Some luthiers exclusively dedicate themselves to instrument creation, while others combine this task with restoration and repair. In any case, the work of a luthier is comparable to that of any artist, who tries to express their imagination in a single piece—a way of seeing, feeling, and understanding the world reflected in one musical instrument. In the case of Luthier Vidal, these are violins, violas, and cellos: unique pieces that will last over time, changing with the years, maybe even centuries, as the musicians who play them evolve.

Luthier Xavier Vidal, who has led Luthier Vidal for over 40 years, excitedly explains that the creation of an instrument is one of the most emotional and intense parts of his work. "A luthier is nothing more than a creator who, as in other artistic disciplines, tries to embody their identity and personality in their creations. It’s true that in other fields, there may be more creative freedom, but when creating an instrument, there are limitations derived from functionality and specific regulatory processes, the result of 400 years of evolution." In any case, Vidal continues, "in the end, the desire of a good luthier, as with any other artist, is to be identified through the instruments they create."

Lutherie schools and workshops

Creating instruments requires acquiring theoretical and practical knowledge based on specific techniques and processes that have evolved in lutherie and instrument construction since the 17th century. These skills are currently learned in lutherie schools or, historically, alongside master luthiers in workshops. Both schools and lutherie workshops must provide all the necessary training and knowledge so that students and future luthiers can create freely, without limitations, to give the best of themselves with only the functional requirements of the instrument as boundaries.

At Luthier Vidal, we believe that a good luthier must have all the possible information from their teacher, but then must be able to work in absolute freedom. Only then can they develop the expressive and artistic side of instrument making, as generosity in the transmission of knowledge and acquired experience is the foundation of evolution and excellence.

Where to begin

The birth of a new instrument always begins with the musician's curiosity. That feeling that runs through a professional seeking new ways of expression, different ways of releasing their creativity and emotions. For this, the luthier must take into account many factors when designing and creating an instrument, and all these factors must come together in the final piece. "It’s not only about the sound, which may initially seem like the most important thing, but also the form, color, and aesthetics. In other words, the instrument must adapt to the musician from different angles," explains Vidal. For the master luthier at the helm of Luthier Vidal, "music has the peculiar characteristic that it’s an art that requires a lot of technique to reach virtuosity, but it’s also very emotional. A good instrument must be able to combine both factors." Let’s not forget, Vidal continues, "that it remains the primary means of expression and communication for the musician with the world around them."

At Luthier Vidal, they combine the creation of instruments from scratch with the restoration of others, which has its advantages and disadvantages. On the one hand, the luthiers at the shop are familiar with multiple violins, violas, and cellos from different countries, eras, and styles. They are fortunate to have access to some of the best instruments in the world on a daily basis, talk with the musicians who play them, and share time and confidences with them, which gives them a unique perspective when it comes to creating. However, the restoration work sometimes means there isn’t always enough time to dedicate to creating instruments from scratch. "We work with closed proposals. We offer them directly to musicians, although we know we generally compete with other luthiers and the musician will end up choosing from 3 to 5 options," explains Vidal. For him, this healthy competition "helps us keep working, and enriches us because we often compete with luthiers we know and whose work we deeply admire."

The privilege of being a luthier

A luthier’s work doesn’t end once an instrument is completed and sold. "A musician usually takes about a year to make it their own. We are always there to make the necessary adjustments during the first stage when the musician is getting used to it." Generally, those seeking newly created instruments are advanced students or professional musicians who require a sound and performance so specialized that it cannot be found in the conventional instrument market. This represents a great responsibility for the Luthier Vidal team, but also an honor. "We have an enormous privilege in our hands: we are creating instruments that will last forever," states Xavier Vidal.