Hermann Hauser® I as a German luthier, holds a leading position among luthiers worldwide. He took over the instrument workshop of his father while Josef Hauser ® was still managing the music publishing house. Hermann Hauser® I specialised in making lutes and guitars but also remained true to the construction of zithers. In the context of the Guitaristic Movement in Bavaria, Hermann Hauser® I built a large number of different guitars; in particular the Vienna models and the Munich models in all kinds of forms, but all in absolute perfection. The Terz, Prim and the very rare Quintbass guitars of Hermann Hauser ® I are of highest quality. Even today, the sound of those instruments is still unsurpassed. Based on his special virtuosity, Hermann Hauser® I developed technical, patented innovations in the area of construction of the guitar’s tops and body-neck connections. The Spanish virtuosi Miguel Llobet and Andres Segovia became attentive to Hermann Hauser ® I’s art of making guitars at the beginning of the 20th century.
Hermann Hauser® I‘s way to build guitars greatly evolved throughout the 1920s. Strongly influenced by Miguel Llobet’s Antonio de Torres and Andrés Segovia’s Manuel Ramirez/Santos Hernandez, he progressively let the traditional Bavarian Tierce-guitars, Viennese models, etc. aside in order to focus on the construction of Spanish guitars. Not only did he succeed to adapt his craft to this new concept, but he overtook his predecessors. Improving his instrument’s sound qualities and giving them a unique pure personality, he eventually built the guitar that would be played and recorded for more than 20 years by Andrés Segovia, who called the instrument “the greatest guitar of our epoch”.
This rare instrument is a Segovia model made by the famous luthier Hermann Hauser® I. One can tell from the shape of the headstock that this guitar was influenced by Andrés Segovia’s famous 1912 Manuel Ramirez, and so could one tell from its sound too. This is genuinely one of the most Spanish-sounding Hermann Hauser® I guitars of the 1920s we’ve had the chance to play. Moreover, this piece of history is in its extraordinary condition, with only a minor repair on the heel and a minimal perfectly repaired hairline crack on the soundboard nearby the fingerboard. The one-piece Madagascar rosewood back and Indian rosewood sides are in excellent condition despite their age and have no structural damage. It is also equipped with original and perfectly working Landstorfer tuning machines. Acoustically, this guitar is breathtaking. The pure and sophisticated timbre is something that one will never be able to replicate. The bell-like trebles are ringing endlessly with vibrant colors. The deep and responsive basses complement all the voices in perfect harmonization. Aesthetically, the mother of pearl rosette has brought this guitar to the next level of elegance. This instrument deserves its legendary status as one of the greatest guitars of all time.
Check out the presentation video of this particular guitar below, where you will find a lot of additional information about its playability and sound.
|Back and sides:||Madagascar/Indian rosewood|
|Air body frequency:||A#|
|Strings:||Knobloch EDC 34.0|