Hermann Hauser II - 1956 - No.577

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.