Hermann Hauser Guitar of Germany

Story of Hermann Hauser Guitar.

Hermann Hauser

     Hermann Hauser Sr. (1882-1952) is best remembered for the exceptional instruments he in-built the Spanish vogue once 1924. In that year, each Andrés Segovia and Miguel Llobet visited Hauser. Segovia was impressed by the standard of Hauser's work and wrote his impressions, noting that he "immediately saw the potential of this nice artisan if solely his mastery may be turned to the development of the guitar within the Spanish pattern, as immutably fastened by Torres and Ramirez because the violin had been fastened by Stradivarius and Guarnerius" (Segovia in Guitar Review 1954). Segovia inspired Hauser to make instruments based mostly on his 1912 Manuel Ramirez guitar (built by Santos Hernandez) once he examined and created measurements of this instrument. At this point Hauser additionally had the chance to look at Miguel Llobet’s famous 1859 Torres which might additionally become a decisive influence on the maturing “Hauser” vogue.

     Whereas the story of Hauser's conversion to the Spanish tradition because it is sometimes told places the stress on what he learned from these nice Spanish luthiers, very little attention has been paid to what Hauser himself contributed by method of the German tradition he inherited by birth. Hauser was himself the son of a luthier, Josef Hauser (1854-1939), and attended the State faculty for Violin creating in Mittenwald as a youth. To become a luthier, one had to pass a state exam that coated all aspects of the luthier's art, and Hauser's examination master was Johann Otto Haslvanter, a famous guitar and zither maker in Munich.

      Whereas Hermann started his career by building zithers by 1905 he was additionally creating guitars shortly afterwards, largely based mostly on the Viennese models – notably of Stauffer. Following his graduation, he visited work within the Amberer's look, a family of luthiers who had been building for many generations. However, by the time of Segovia's and Llobet's visit Hauser had established his own look, and had developed a superb name for his precise work building guitars, lutes, lyre-guitars, and historical reproductions.

      Whereas justifiably Hauser's name rests on some 250 instruments that he engineered between 1925 and 1952, he had by 1924 maybe already created 250 guitars within the German tradition. Today, the Hauser I instruments most coveted by performers and collectors are 

those that clearly resist on the Torres style however are imbued with the precision (in each craftsmanship and quality of tone) of Hauser’s “Teutonic engineering principles” to yet again quote the famous and extremely apt words of Julian Bream.

     The Hauser tradition has remained alive continuously to the current day, the torch being passed down through the descending generations, next of whom was Hermann Hauser II (1911-1988), another of the twentieth centuries most significant and gifted builders. His son, Hermann Hauser III (b.1958) is presently the living heir of the family tradition however is currently ushering within the fifth generation: His daughter, Kathrin Hauser, completed her opus one this past year.