Hermann Hauser II - 1956 - No.577
Hermann Hauser II - 1956 - No.577
Details
Details
Overview
Overview
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Shipping important note
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Details about GPSR
Details about GPSR
Video overview
More details about the guitar
About the luthier
Hermann Hauser II (1911–1988) stands as one of the pivotal figures in twentieth-century classical guitar making. He began his training at the Staatliche Fachschule für Geigenbau in Mittenwald, and in 1930 entered his father’s workshop in Munich, working side by side with Hermann Hauser I. In 1952 he officially assumed responsibility for the family workshop and from that year until 1983 instruments bore his own signature. Over time he refined and developed his father’s designs in close collaboration with leading guitarists, cultivating both tradition and personal innovation. His clients included Andrés Segovia, Julian Bream, Django Reinhardt, and others who valued not only his instruments but also his warm personal relationships. The Hauser lineage continues today under Hermann Hauser III and Kathrin Hauser, sustaining that legacy of excellence.About the guitar
This is a truly exceptional instrument by Hermann Hauser II from 1956, bearing the number 577 and built for the Venezuelan composer and guitarist Antonio Lauro (1917–1986). The provenance is documented through his handwritten signatures on the label and internal bracing. The association with Lauro gives this guitar additional historical and cultural resonance. Lauro was one of the foremost composers of guitar music in the twentieth century, known particularly for his Venezuelan waltzes and works such as Suite Venezolana, Angostura, and Maria Luisa. Listening to this instrument is an almost poetic experience: it blends refined clarity and tonal separation with a lyrical, singing quality. The individual voices in a chord remain distinct and vibrant, yet the voice as a whole remains warm and silkily expressive. The sustain is unusually long for a Hauser design, allowing the treble lines to sustain nearly as visibly as the bass; the balance across registers is impeccable. The weight is remarkably light, underscoring the precision and sensitivity of its response even in quiet dynamics. Over time, its timbral character has matured: the voice retains a refined elegance rather than becoming loose at the low end, and its midrange clarity is especially compelling. For repertoire spanning from Baroque to Romantic to modern Latin, this guitar offers not only heritage but also expressive freedom. This instrument features a finely aged spruce top and back and sides made of beautifully figured Brazilian rosewood, CITES certified. Both tonewoods have matured gracefully, contributing to the instrument’s deep resonance and nuanced tonal palette. Notably, the nut and saddle are original, as are the precision-crafted Landstorfer tuning machines, all of which have been preserved in excellent working condition.Condition
The guitar is in excellent condition considering its age and provenance. A crack on the back has been carefully repaired and reinforced with cleats to ensure long-term stability. The top shows playing marks typical of an instrument that has been actively used, but there are no deep scratches or structural concerns. The original thin nitrocellulose finish is well preserved, and the original Landstorfer tuners, nut, and saddle remain in place and function well. The instrument is stable, well maintained, and fully performance-ready.Regular care extends the life of the instrument
Even with careful use, a classical guitar may gradually change in appearance or respond to unstable storage conditions. Have a close look at your guitar regularly and be attentif to changes. If your instrument is suffering from its environement, it will let you know.
Protect Your Guitar: Handle with Care
Be mindful when touching your instrument with greasy or unwashed hands: any skin contact is a small attack on the varnish. Of course, a guitar is made to be played, but taking a few precautions helps preserve its beauty: wash your hands before playing, wear long sleeves, and avoid unnecessary direct skin contact with the body of the instrument.
Pro tip: Avoid playing with a button-up shirt, heavy jewelry, or a belt, as these can scratch the guitar. Also, make sure your guitar case is free of any objects that could damage the instrument during storage.
String care
A good habit to adopt is wiping down your strings briefly after each playing session. This small action significantly extends their lifespan and helps maintain a consistent, comfortable feel under your fingers.
Most importantly, clean strings are essential for keeping your instrument in tune. Corrosion, sweat, and dust can affect the uniformity of the strings and interfere with accurate tuning across the entire fingerboard.
Pro tip: If you're having trouble getting your guitar in tune, it might be time to change the strings. A useful test is to compare the pitch of the 12th fret harmonic with the fretted note at the 12th fret; if there's an unusually large gap between them, your strings may have lost their integrity and should be replaced.
Keep Your Shellac Finish Shining!
Got a guitar with a shellac (French polish) finish? Here's a simple trick: Take a clean microfiber cloth and gently breathe on the surface to create a light mist. Then, softly rub to remove fingerprints, sweat, and grease. That’s usually all it takes to keep it looking great, no products needed!
Pro tip: Every few years, treat your guitar to a check-up with a luthier to keep it in top shape.
Storing Your Guitar: Climate Matters
Your guitar can safely stay outside its case, as long as the surrounding environment maintains 42–55% humidity and a temperature between 18–25°C.
Keep in mind that humidity levels can still fluctuate inside the case, especially during seasonal changes.
- Too much humidity may cause overtightened strings and a dull tone.
- Too little humidity can lead to a bulging top, string buzz, or even cracks.
Avoid placing your guitar near radiators, air conditioners, or windows with direct sunlight.
Pro tip: Always close your guitar case while playing. This helps preserve a stable microclimate inside the case, so your instrument is protected the moment you put it back in.