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outstanding guitar builder, as well. The two held deep discussions on instrument construction. At that time, Spanish guitar construction had not been widely publicized, but, providentially, Llobet had brought his
Antonio de Torres–made guitar with him to Munich. Hauser was able to closely study the construction techniques used by Torres and incorporate many of them into his own efforts. He built several Spanish-style guitars for his friend Llobet.
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a famous guitar and zither maker in Munich. As was common at the time, Hermann Sr. built not only guitars, but also violins, zithers, lutes and viols. Apparently, his earliest guitars were similar to the small French- or
Italian-made instruments popular in the 1800s, although he was by 1905 making Viennese models based on the designs of
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Hauser's Torres model is "one of the most copied guitars of today," with master luthiers such as Simon
Ambridge (England), German Vazquez Rubio and Brian Cohen (UK), Paolo Coriani (Italy) and Francisco Navarro Garcia (Mexico) among many others, as well as popular manufacturers such as Cordoba, all offering Hauser-inspired models.
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A little over a decade later, the process was repeated, but this time it was Andrés
Segovia whom the Munich Guitar Union invited to play. Llobet was there as well. By this time, the basic design and construction concept of the Hauser guitar had been completed, based on the Torres system. Segovia had
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Hauser Sr. was himself the son of a luthier, Josef Hauser (1854-1939), and attended the State School for Violin Making in
Mittenwald as a youth. Becoming a luthier involved passing a state exam that covered all aspects of the luthier's art, and Hauser's examination master was Johann Otto Haslvanter,
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Together with the Munich entrepreneur, producer, and guitarist Klaus
Wolfgang Wildner, Hermann Hauser III established the non-profit Hermann Hauser Guitar Foundation in 2004 to "support and promote science and culture in the scope of guitar music and lute music," dedicated to Hermann Hauser Sr.
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was invited by the Guitar
Association of Munich to perform in concert. Hauser Sr., who played the smaller terz guitar in the then-famous Munich Guitar Quartet, met Llobet there, and the two men soon became friends. The Spanish guitarist realized that Hauser was not only a guitar player but an
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described
Hausers as "the very essence of classicism in guitar sound" and recorded at least eight of his albums using Hauser Sr. Torres models of various vintages. Renowned antiquarian dealers Christie's and Brompton's Fine & Rare Instruments regularly offer Hauser Sr. guitars at auction.
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Herman Hauser Sr. worked patiently with
Segovia for several years, making various modifications to the instruments. Finally, in 1937, the builder delivered the instrument that Segovia declared “the greatest guitar of our epoch,” and which now sits in New York's Metropolitan Museum of Art.
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for which he "is generally considered to have been the greatest guitar maker outside Spain." His Torres-based instruments are historically important, having profoundly influenced classical guitar builders and performing artists of the modern era.
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collection. Met curator of musical instruments Jayson Dobney described
Segovia's 1937 Hauser as having "changed music history": "This guitar, as much as Andre Segovia, established classical guitar playing." The British guitarist and lute player
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heard and seen Llobet's Hauser-built guitars and was interested in obtaining one for himself. He had brought his Santos Hernandez–built RamĂrez guitar with him to Munich, so he was able to show the luthier the aspects he required.
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models by Hermann Hauser Sr. included the Vienna Model and the Munich Model, the Terz-Guitar, the Prim-Guitar and the Fifth-Bass Guitar (Quintbass). But it was his innovations based on the designs of
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Hauser's son, Hermann Hauser II (1911–1988), grandson, Hermann Hauser III (born in 1958) and great-granddaughter, Kathrin Hauser (born 1982), have continued the master luthier's tradition.
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Between 1924 and his death in 1952, Hauser built some 250 Torres-style guitars, often designing them to fit specific qualities desired by the customer, as he had done with Segovia.
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described the 1937 Hauser Sr. with which he performed and recorded from 1938 to 1962 as the "greatest guitar of our epoch," and it is one of two Hauser Sr. guitars in the
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Metropolitan Museum of Art | Hermann Hauser I Andres Segovia Guitar built 1937
143:(born in Erding, 28 December 1882–died Reisbach, 28 October 1952) was a German
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294:(1st ed.). New York, NY: Yale University Press. pp. 170–171, ill.
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J. Kenneth Moore, Jayson Kerr Dobney, Bradley Strauchen-Scherer (2015).
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This article is about the luthier. For the technology entrepreneur, see
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Elliott, Jeffery R. (1986). "An Overview of the Hauser Tradition".
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Musical Instruments: Highlights of the Metropolitan Museum of Art
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Please help to demonstrate the notability of the topic by citing
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442:"The Definitive Elements of the Hermann Hauser Spanish Guitar"
493:"Kathrin Hauser: The Next Generation for a Guitar Dynasty"
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Things changed in 1913, when the Spanish guitar virtuoso
549:. Westport, CT: The Bold Strummer, Ltd. pp. 69–71.
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Segovia, Andrés (1954). "In Memoriam—Hermann Hauser".
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SĂĽddeutsche Zeitung | Hermann Hauser Guitarfoundation
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José Romanillos & Marian Harris Winspear (1995).
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547:Antonio De Torres: Guitar Maker—His Life and Work
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237:The Classical Guitar Book: A Complete History
314:: CS1 maint: multiple names: authors list (
239:(2nd ed.). Backbeat Books. p. 26.
590:Romanillos & Winspear, op. cit., ibid.
599:Narezo, Guitar Salon International. Ibid.
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344:. London: Macdonald.
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