1939 Hermann Hauser I SP/CSAR

This 1939 Hermann Hauser I is a "teutonic" style classical guitar in spruce and CSA rosewood from Munich – with no cracks or repairs of any kind.

The Mature "Teutonic" Hauser I Style at Its Zenith

It has the classic curves, compact (yet sturdy) build, and aesthetic features that make this one of the most iconic (and copied) models in the history of the craft. A full-sized guitar, it is nearly identical to Segovia's 1937 Hauser in its measurements and internal structural details.

A Hauser I Sound of Rare Caliber

Not surprisingly, it has the unmistakable "archetypal" Hauser I sound that has mesmerized audiences for nearly a century in the hands of Miguel Llobet, Andrés Segovia, Julian Bream and countless others. Its tone ticks virtually every box on a wish-list of sonic qualities: piano-like clarity in all registers, precise balance and a vast color palette – bright and brassy ponticello, milky and luminous sul tasto, and everything in between. Each note has a clearly defined, "anchored" fundamental, coated with very controlled and transparent overtones.

For fear of overstating just how refined and beautiful the sound of this instrument is: in all our years in business we have seen only a handful of other "teutonic" style Hauser I instruments of this caliber.

Condition: No Cracks, No Repairs

As if this weren't enough, the guitar is in fantastic condition – it has no cracks or repairs of any kind, and only a modest amount of minor, superficial playing wear, including a small, nearly invisible ding behind the bridge. For those in search of the ultimate Hauser I, this has it all – the elegant and classic Hauser design, superb feel and playability, and most importantly, incredible nuance and subtlety of sound.

Hermann Hauser I: Master Guitar Maker of Munich

Hermann Hauser Sr. (1882–1952) is best remembered for the remarkable instruments he built in the Spanish style after 1924. In that year, both Andrés Segovia and Miguel Llobet visited Hauser. Segovia was impressed by the quality of Hauser's work and wrote his impressions, noting that he "immediately saw the potential of this great artisan if only his mastery might be turned to the construction of the guitar in the Spanish pattern, as immutably fixed by Torres and Ramirez as the violin had been fixed by Stradivarius and Guarnerius" (Segovia in Guitar Review, 1954).

Segovia, Llobet and the Spanish Model

Segovia encouraged Hauser to build instruments based on his 1912 Manuel Ramírez guitar (built by Santos Hernández) after he examined and made measurements of this instrument. At this time Hauser also had the opportunity to examine Miguel Llobet's famous 1859 Torres, which would also become a decisive influence on the maturing "Hauser" style.