Hermann Hauser II　[ヘルマン・ハウザー2世] Segovia　No.968

Product Description

Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Lacquer
Finish(Back & Sides):Lacquer
Tuning Machines:Landstorfer
String Height(1st):3.5mm
String Height(6th):4.5mm

[Luthier]

Hermann Hauser II (1911–1988)

Hermann Hauser is regarded as one of the finest German guitar-making traditions of the 20th century. The Hauser workshop continues to preserve this tradition today under the fourth generation, with guitar making passed down within the family for more than a century.

It is well known that Hermann Hauser I (1884–1952) developed his guitars based on an Antonio de Torres guitar owned by Miguel Llobet and the Manuel Ramírez guitar owned by Andrés Segovia, ultimately creating the “ultimate” model that would later become known as the Segovia model. This represented one of the most significant events in the history of guitar making since Torres' revolutionary innovations, exerting a profound influence on both guitar performance and guitar construction thereafter.

Hauser II, the son of Hermann Hauser I, studied violin making for four years at the violin-making school in Mittenwald, one of Germany's foremost centers of string-instrument making. In 1930, he began working in his father's workshop. Father and son worked largely together in the construction of guitars, although the instruments were shipped under Hauser I's label.

Following his father's death in 1952, Hauser II formally took over the family business and produced the first guitar bearing his own label, No. 500. He remained remarkably active until his retirement in 1983, producing and shipping more than 500 guitars.

Like his father, Hauser II developed his own philosophy of guitar making through exchanges with leading musicians such as Andrés Segovia, Julian Bream, and Pepe Romero. At the same time, he brought a more distinctly German approach to tonal design, resulting in many outstanding instruments whose character differed subtly from those of Hauser I.

Perhaps the most famous example is the 1957 guitar favored by Julian Bream. Its sound is exceptionally clear and refined, even more so than that of Hauser I, with every individual note perfectly balanced and imbued with a classical elegance. It possesses a unique combination of austerity and lyricism.

From the 1970s onward, Hauser II became increasingly notable for his originality. He produced models such as the Pepe Romero model, while also experimenting with specifications that had not previously been employed in the Hauser workshop, perhaps reflecting his willingness to respond flexibly to rapidly expanding international demand.

Nevertheless, in terms of overall refinement, the Segovia model, inherited and further developed from Hauser I, remained outstanding. Even as modern guitar-making trends began establishing new standards during the 1980s, Hauser guitars never lost their status as an ultimate expression of the instrument. Today, they remain among the most highly valued guitar brands on the market.

In 1974, Hauser II's son, Hermann Hauser III (b. 1958), joined the workshop and worked alongside his father for approximately ten years. Hauser III has continued to produce instruments of exceptionally high craftsmanship, incorporating his own preferences while preserving the essential qualities inherited from Hauser II.

[Instrument]

Hermann Hauser II 1974 Segovia Model No. 968 – Used

After spending much of the 1950s bringing the artistic achievements of Hauser I's tradition to a high point, Hauser II moved during the 1960s toward a distinctly German refinement, developing a pan-European tonal aesthetic of his own. The 1970s can therefore be regarded as a period in which he explored flexible variations on the models that he and his father had established, a development closely connected with his growing awareness of the expanding international market.

During this period, he produced a fascinating range of instruments: larger-bodied models presumably intended with North American players in mind; models such as the Pepe Romero, with structures and concepts entirely different from the Segovia model; and instruments that retained the basic Segovia concept while displaying a stronger sense of Spanish character in a way distinct from Hauser I.

Each of these models reflects Hauser II's exceptionally high level of craftsmanship while arriving at its individual concept without any sense of compromise. They therefore represent a particularly interesting chapter when considering the history of the Hauser brand as a whole.

The 1970s also coincided with the period during which his son Hauser III was completing his training and gradually establishing his own approach. Considering that Hauser III was producing notably “orthodox” Segovia models during this period, it is worth emphasizing how clearly Hauser II's experimental and varied approach of the 1970s stands in contrast.

The present 1974 No. 968 is surprisingly large in perceived volume for a Hauser, with a highly percussive attack and a robust, almost rugged tonal image possessing considerable power. The sound may even strike Hauser enthusiasts as unusually “brilliant,” a quality not normally associated with the brand.

Its character can at times evoke the guitars of the Spanish Madrid school. The internal construction described below also suggests that Hauser II deliberately pursued these characteristics, while at the same time revealing his awareness of contemporary developments in guitar making and the changing demands of the era. This makes the instrument particularly intriguing for Hauser collectors.

Yet beneath these more extroverted qualities lies the unmistakable Hauser character. The keyboard-like tonal architecture, created through a highly coherent phase relationship, the polished tactile quality of the sound, its density, and its unwavering sense of discipline all reveal the clarity for which Hauser is renowned.

Rather than prioritizing emotional coloration, the instrument places greater emphasis on the physical presence and integrity of each sound—a character particularly representative of Hauser II. This guitar is an excellent example of his pursuit, during the 1970s, of tonal variation while maintaining the fundamental philosophy of the Hauser tradition.

The soundboard bracing follows the basic concept of Hauser I's 1937 Segovia model, while incorporating a number of Hauser II's own modifications.

Above the soundhole, on the neck side, there is a single straight harmonic bar. Another harmonic bar is positioned below the soundhole, on the bridge side; this bar has a very slight curvature around its center, with both ends positioned marginally toward the upper bout. Two reinforcing plates, one on each side of the soundhole, connect the areas between these upper and lower bars.

Below the waist, the instrument employs seven symmetrically arranged fan braces, while a reinforcing plate covers approximately the same area as the bridge plate.

Compared with Hauser I's Segovia model, several features are particularly notable: the use of a single harmonic bar above the soundhole rather than two; the slightly curved harmonic bar below the soundhole; and the presence or absence of the closing bar in the lower bout.

Especially unusual within Hauser II's designs is the treatment of the fan braces where they pass over the reinforcing plate beneath the bridge area. These braces are shaped in an arch so that they pass over the plate without actually touching it.

This construction can be considered to slightly moderate the vibration of the bridge area, thereby contributing to the vivid response at the moment of attack.

The fan braces themselves vary in dimension from the center outward. The central brace is approximately 8 mm wide and up to 10 mm high, gradually decreasing in size toward the sides; the outermost braces are approximately 3 mm wide and 7 mm high. Compared with Hauser I's construction, the central brace in particular is substantially more robust, measuring more than twice the size.

The bars on the back are thin but relatively tall, with their upper edges shaped to a pointed profile—another characteristic form associated with Hauser II.

The resonance is set at slightly below G♯.

The instrument retains its original factory lacquer finish and has no history of refinishing, major repairs, cracks, or structural modifications.

Considering its age, the guitar remains in remarkably good overall condition, with relatively few signs of wear. Most marks on the soundboard are minor, shallow, and unobtrusive. There are several small impact marks of approximately 2–10 mm around the lower bout, but none significantly detract from its appearance.

The back and sides show a number of short and long surface marks caused by normal contact with clothing and playing wear, all within a level appropriate for the instrument's age. There is slight wear to the back of the neck, but this has no effect whatsoever on playability.

The neck remains straight. The frets show slight wear from the 1st through 7th frets, but this does not affect playability and the guitar can continue to be played without issue.

The neck has a compact feel, with a D-shaped profile softened almost to a C-round, and is somewhat wider than average. The action is currently set relatively high at 3.5 mm on the first string and 4.5 mm on the sixth string at the 12th fret, with 0.5 mm of saddle protrusion remaining. However, because the string tension is moderate to relatively light, the guitar feels comfortable and easy to play.

The tuning machines are the original Landstorfer tuners supplied with the guitar when it left the Hauser workshop. They remain fully functional with no current issues.