1927 HAUSER
A wonderful and somewhat early example of Hauser in the Spanish model. This guitar confirmed for me that the genius of Hauser was present from the beginning. To be fair, in 1927 Hauser was not a new builder but rather he was expanding beyond the Viennese guitar model he always built. This guitar is an extremely successful example of his ability to work within the Spanish design and established all the qualities he is known for, from the very beginning.
Besides its physical beauty and wonderful preservation, this guitar has the sound that made Hauser so famous and his guitars so desired. Once again, the notes are dense and complex, without being ponderous. The attack is lightning fast but the weight and depth of the notes behind are equally extraordinary. The first string is powerful and even, singing and lyrical. That actually took me by surprise as I was expecting a bit of a dialed-back first string due to its age (within Hauser's oeuvre) and the materials. But no, the first string is literally on fire and leaves nothing to be desired.
The condition and structural integrity are amazing. The material choices are, as usual, beyond any criticism and the guitar plays like a dream. I generally am not a fan of maple guitars but this one has made me a real believer.
YouTube:
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1931 HAUSER EX MOYSE EX WALLACE
If you want a real player's Hauser that can satisfy the most discriminating ear (because it's been the companion of such an ear for decades) then this represents the best value in a Hauser I've had yet. The provenance of this guitar is as incredible as its sound. Originally built for a 20th century musical icon Blanche Moyse who, at the time, was a student of Segovia. Ms. Moyse is a figure well worth investigating but let's just say she left a large mark on classical music and moved in some pretty rarified circles. Of course, she had a fantastic guitar. My dear friend and collaborator Frank Wallace purchased this instrument about 20 years ago, right after it was restored by Hauser III. Mr. Wallace has recorded albums with this instrument and I can attest to his tremendous ability to help any guitar realize its full potential.
This magnificent instrument predates the official "Segovia" model designation but is clearly not a Llobet model, so the most appropriate designation would be a Segovia model. As I have mentioned before in other Hauser listings, the work of Hauser I always impresses me with his sonic consistency, and yet, the design of every single one I've had has always been a variation on a theme. This one is no exception.
If I were to describe this instrument's sound, it has the balance and nobility of the greatest Hausers while also possessing a friendly, warmer response than many. I would say that its sound is more "Spanish" in that regard. While there is no shortage of sonic possibilities for the most masterful of guitarists, it is not as demanding as some for the rest of us mere mortals. The first string sings beautifully, the basses are full and rich and this guitar is just a lot of fun to play.
Regarding the aforementioned restoration by Hauser III, this guitar is obviously not untouched and, as such, the price is reflective of that. The work was masterfully done with the greatest attention to detail. This guitar has generations of life in it and should be viewed as a guitar that great musicians felt was worthy of constant use. In the violin world they charge a premium for that; the guitar world has not quite caught up to that realization in value. It is what it is and, for those with ears that hear, I am proud and honored to represent such a guitar.
YouTube:
Suite Compostelana by Mompou | performed by Frank Wallace
A Heavy Sleep by Frank Wallace
In Concert Tribute to Segovia by Frank Wallace
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1939 HAUSER LLOBET
Twice blessed with another phenomenal Hauser I Llobet model. This example was built in Munich workshop prior to Hauser's relocating to Reisbach Vils. This instrument is also unique in my experience with Hauser Llobet models as it is fit with a tornavoz, made of sterling silver. I have been told of others but they have yet to pass through my hands. The Hauser Llobet model was based on a Torres known as FE05, owned by Miguel Llobet. The Torres original is fitted with a tornavoz as well but Hauser altered this feature in a few ways to suit his better intentions and sense of design and acoustics.
In stunningly beautiful condition this guitar has an angelic, lyrical voice. The complexity and balance that so typifies Hauser Senior's best work is amply present. This guitar does not sound like it has a tornavoz to my ear at all, which generally reinforces the bass response of an instrument. Like anything else, it's all in how you do it and in this case the guitar projects like few others, has a surprising amount of horsepower, a powerful and present first string and is a joy to play. Rather than cover the same ground as the 1947 Llobet model also in stock, both instruments are unique in their own way and beyond any comparison. I'd love to keep them both!
YouTube:
Frank Wallace - Shaker's Dance
FrankWallace - Thumb Songs from Sketches
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1940 HAUSER
An utterly magnificent Hauser in every way. This one didn't hang around for very long. It sold to a delightful client who I know is providing the best home a guitar could want. As happy as I am for them both, I am also glad to have these photos and video for posterity. Soon to be featured in an article in Fretboard Journal along with the 1947 Llobet model I am currently offering.
Of all the Hauser guitars I've had the pleasure to represent, this one is probably the Hauser-est of them all. In that, I mean the stereotypical sound and response that is associated with Hauser. Very classical and refined in tone, unbelievably broad tonal palette, controlled response and yet utterly alive. This guitar exudes balance in all things. No component of it's voice is out of balance with any other and that is no small trick. My use of the word stereotypical is intentional because in my experience with Hauser I guitars, they rarely sound the same, in fact the one thing that is a consistent in his sound is the incredibly refined and complex tone these guitars possess. The more I come into contact with Hauser's work, the more I admire that which he was able to achieve and the great style with which he did it.
YouTube:
Frank Wallace - Romanza - Mertz
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1948 HAUSER SEGOVIA MODEL
In the world of collectible and desirable guitars, Hauser I sits pretty much at the top and this particular guitar from 1948 is among the most glorious Hauser that I have yet had the pleasure of representing.
The consistency of Hauser I guitars is utterly remarkable and yet the evolution and the character of each individual instrument makes them all unique gems. This guitar has the evenness of response and complexity to its voice that is a hallmark of Hauser I guitars. However, what I find unique to this guitar is the expansive tone palette and flexibility of color that this guitar possesses beyond any other Hauser I have yet encountered. Or any other guitar for that matter. It is so flexible in this regard, with such color available, it seems that all you have to do is think it and the guitar responds. The power and projection are remarkable, the first string in particular sings out with great presence and beauty. The basses are deep and clear with perfect balance across the board.
This is also among the cleanest Hausers I have had the pleasure of representing. The structural integrity is astounding, the soundboard shows no distortion at all and as expected, the material choices leave nothing to be desired. One of these days I will have one of these guitars for myself and, if this were the one, I would be a very happy man indeed!
Francisco Tárrega - Isabel
Francisco Tárrega - Adelita
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1949 HAUSER LLOBET
For a glorious and short amount of time, I had in my shop two of the greatest Hausers ever made. Both from 1949, one Segovia model and this Llobet model. It was without a doubt an embarrassment of riches.
This Llobet model is the second I've represented and, is in many ways, the most unique Hauser I've played. While the Llobet model itself is based on Torres, I've never played one that sounded like anything other than Hauser, except this one. The easiest way to describe it is that it sounds like a Hauser and a Torres had a baby. All the incredibly complex tonal density and utter balance that (for me) defines Hauser senior's sound at it's best, is completely present. This comes along with a more sultry and expansive bloom that is Spanish through and through.
The history of this guitar is worthy of note. Originally made for George Giuisti, the famous graphic illustrator in NYC who lent his immense talents to The Guitar Review, this guitar lived in New York until his passing. Many years ago I encountered two Llobet models in NYC, both from the early 1950s. One of which was Rey de la Torre's. It is easy for me to imagine that Rey saw this guitar and ordered one like it. Which is exactly what I would have done in his place.
The guitar then moved to the most capable hands of Angel Romero and then to the seller I represented (a great and accomplished musician in his own right). Now owned by one of my nearest and dearest friends and clients who traveled no small distance to see the guitar. When it arrived I called him up and said, "If there's ever a Hauser for you, this one is it...but lest you think I'm biased, there's another great Hauser here too for you to try out". As I predicted he opted for the Llobet model although it was far from an easy choice.
Thankfully, Frank Wallace was able to capture this guitar in its glory and for all posterity. A high point for me in my career as a dealer and a guitar I learned a lot from as a builder.
YouTube:
Frank Wallace - Two Catalan Songs
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1949 HAUSER SEGOVIA MODEL
This utterly magnificent Hauser represents his work at it's greatest pinnacle. This instrument has achieved a nearly supernatural degree of balance, not only across the registers but within the notes themselves. It possesses the quality that Julian Bream referred to "refined and distilled"; as if all possible sounds have been reduced to their absolute purest and exist within perfect relationship to each other. The guitar has a modern guitar immediacy and vitality to it's response with powerful and deep response. Volume is the best I've seen out of this maker and the projection is unreal. A perfect Hauser from every possible perspective. This is one I would keep for myself if that were possible. Condition is mint and original with no repairs.
YouTube:
Frank Wallace - Sagreras - La Ideal
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1959 HAUSER
This is the fourth Hauser from 1959 that I've had the opportunity to represent. Which is pretty remarkable indeed. Although I will also say, as remarkable as that is, the guitar itself is far more so. I was so impressed with it, that when it arrived, I called a dear friend who is one of my best clients, told him about it and it was sold.
However, the guitar needed some help before I could send it off. The neck had pulled forward rather dramatically because the frets (which were replacements) were far too loose in the slots. Thankfully, the fingerboard itself did not appear to have been altered at all and, once the frets were removed, it was obvious that the slots themselves were simply blown out. The neck was pretty much straight once the string tension was removed. The path forward was clear albeit extremely tedious and time consuming. I hand fit ebony pieces into the slots and, after they were glued, I recut the slots. When I installed the frets I introduced a slight backbow to the treble side of the board. Since I had created a very slight amount of relief to the bass, the bass side ended up dead straight. Once the strings were on, the tension pulled the neck into exactly what I wanted: dead straight on the treble with a very slight amount of relief on the bass. And the guitar now plays like a dream.
The more I get exposed to the guitars of Hauser I and II, the more I appreciate their genius. These guitars are a paradigm of balance. Not just in their response but within the voice itself. All the qualities of their voices in equal measure. This is an incredible accomplishment and I am truly grateful for the example they set. As well as for the insight I have gained in studying them as I integrate all that into my own instruments. Which is how it should be.
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2009 HERMAN HAUSER III
An excellent and as new instrument from Hermann Hauser III. This guitar has all the hallmarks of the great Hauser guitars. Very clear with great separation of the voices, excellent projection and a broad tonal palette. I just put this guitar up against a mid 30s Hauser I had in the shop for an adjustment and the lineage could not be more clear to my ear. Hats off to Maestro Hauser III.
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