1957 Hermann Hauser II No. 594 SP/CSAR (ex Julian Bream)

This 1957 Hermann Hauser II No. 594 is the spruce and CSA rosewood classical guitar that Julian Bream played from 1959 to 1963 and recorded on "The Art of Julian Bream" – from the Russell Cleveland collection.

Julian Bream's Hauser II, 1959–1963

This is arguably one of Hermann Hauser II's most important and famous instruments. It was immortalized in 1960 on the album "The Art of Julian Bream", featuring works by Mateo Albéniz, Scarlatti, Berkeley, Cimarosa, Rodrigo, Frescobaldi, Ravel and Roussel. Bream played this instrument from 1959 to 1963, as is written on the label – "Julian Bream 59–63" – in what appears to be the handwriting of Hauser II, next to the number 594 and the address "Reisbach/Vils".

Sound and Condition

Its voice has everything that has drawn great players to Hauser – Bream, Segovia, the Romeros and beyond: crystal clear fundamentals, each note almost perfectly separated, steady and precise basses, and trebles full of lyrical charm and sweetness. The old, aged top has a deep, honey/amber quality that can only come with over a half century of age.

Even though Bream is known to really "dig in" and really push his guitars, condition is surprisingly great – despite a fair amount of playing wear over the entire guitar, it remains in original condition including finish. There are some cracks that have been conservatively repaired. Overall a rare, spectacular sounding and historically important instrument by all standards.

In the Videos

We were thrilled to provide this guitar for Andrew York to debut his suite "The Equations of Beauty" (six movements in the videos above). You can also hear it with Rupert Boyd (Dowland), Jacob Cordover ("Here, There and Everywhere"), Jennifer Kim (Rodrigo) and Duo Deloro, where Mak Grgic plays this Hauser and Adam del Monte the 1969 José Ramírez that belonged to Segovia, in Granados' "Goyescas".

Hermann Hauser II: Third Generation of the Hauser Dynasty

Hermann Hauser II (1911–1988) – Hermann Hauser Jr. – is considered to be one of the greatest makers of the twentieth century. Grandson of the luthier Josef Hauser and son of Hermann Hauser I, he learned his craft working alongside his father, and after his father's death in 1952 he carried the family's Torres-based "teutonic" style into the second half of the century from the Hauser workshop in Reisbach, Bavaria. His son Hermann Hauser III (the fourth generation) and granddaughter Kathrin (the fifth) still work there today – see Hermann Hauser III & Kathrin Hauser – with many of the same tools and even woods stocked by the earlier generations.

The Hauser dynasty, now spanning five generations, has produced instruments played by countless concert artists including Andrés Segovia, Julian Bream, the Romeros and many others.

The Hauser II Sound

The sound has the attributes of a great Hauser that have attracted great players from Bream to Segovia to the Romeros and beyond – crystal-clear fundamental tones with almost perfect separation, basses that are steady and precise, and at the same time a lyrical charm and sweetness, particularly in the trebles. At its best, a Hauser II is like a loud and balanced piano, with the warmth of a great Hauser I. Playability is easy, thanks to his slender and very comfortable neck shape.

Books on Hermann Hauser II

Orfeo Magazine No. 4 is devoted to the Hauser dynasty, and a 1960 Hauser II is among the guitars shown in Orfeo's "34 Classical Guitars in Life Size":

Orfeo Magazine 1-5

Orfeo – 34 Classical Guitars in Life Size