Hermann Hauser II #666 Ex. Breznikar, 1960

Few names in classical guitar making carry the historical importance of the Hauser workshop. The instruments built by Hermann Hauser I helped define the modern concert guitar, and the tradition was carried forward by Hermann Hauser II, whose guitars remain among the most respected and sought-after instruments ever built.

This particular example, built in 1960 and bearing the memorable serial number 666, comes from the golden period of Hauser II’s career. While the number may raise an eyebrow or two, there is nothing sinister about the guitar itself. It is one of the more enchanting Hausers we have encountered, combining the hallmark Hauser clarity with a depth and richness that is not always present in guitars from this workshop.

Built with a spruce top and Brazilian rosewood back and sides, the guitar displays the refined, understated aesthetic associated with the Hauser tradition. The top has developed a beautifully darkened patina over time, and the original finish exhibits the characteristic vintage checking commonly seen on Hausers from this period.

Specifications

Luthier: Hermann Hauser II
Year: 1960
Serial Number: 666
Top: Spruce
Back & Sides: Brazilian Rosewood
Construction: Traditional
Scale Length: 648 mm
Nut Width: 51 mm
Finish: Original finish with typical vintage checking on the top
Tuners: Original Landstorfer
Provenance: ex. Joseph Breznikar; acquired from Sophocles Papas
Strings: D’Addario XTC45FF with normal tension nylon first string
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Condition: Excellent for age, with professional restoration by Marshall Brune and honest playwear

Sound

This particular Hauser stands out even among other guitars from the same workshop. The main air resonance sits between F and F#, making it one of the deepest tuned Hauser II guitars we have encountered. That unusually low resonance gives the instrument a striking sense of depth and richness in the bass register while preserving the clarity, balance, and elegance for which the Hauser name is famous.

Many Hauser guitars are admired for their sparkling clarity and brilliant trebles, but this example adds an additional layer of warmth and depth that is not always present. The basses feel expansive and resonant, while the trebles remain focused, singing, and beautifully articulate. Notes bloom easily after the initial attack and sustain with remarkable grace, creating the lyrical quality often associated with the finest examples of the Hauser tradition. In some ways, the voice even recalls the tonal character that players associate with instruments by Hermann Hauser I.

Playability

The guitar features a thin, comfortable C-shaped neck paired with a low and highly responsive setup that allows the instrument to be driven with power while remaining clean and controlled. This kind of playability is surprisingly rare in vintage guitars and makes the instrument exceptionally satisfying to perform on.

Provenance

This guitar carries a fascinating and well-documented performance history. It was purchased in the 1970s by concert guitarist Joseph Breznikar from his teacher, the renowned guitarist and educator Sophocles Papas, a central figure in the American classical guitar scene of the mid-20th century. During his studies with Papas, Breznikar recalls being told that the guitar had been played in Papas’s home by several visiting artists, including Andrés Segovia, Julian Bream, and John Williams. That detail comes through Papas himself and cannot be independently verified today, but Papas was widely respected as a truthful and honorable figure within the classical guitar community, and the story has remained part of the instrument’s history ever since.

Throughout his own career, Breznikar performed extensively on this Hauser II, including concerts and chamber performances with Carlos Barbosa-Lima and Abel Carlevaro, both of whom played the instrument and expressed admiration for its sound. He also performed on it for prominent composers including Guido Santórsola, Francisco Mignone, and Pulitzer Prize winning composer Ned Rorem, who was commissioned by the Cleveland Orchestra to write Suite for Guitar for Breznikar, premiered at the Blossom Music Center in 1980. The guitar was used for Breznikar’s recordings for Coronet Records, including premiere recordings of works by Santórsola, Francisco Araujo, Will Gay Bottje, and Breznikar himself, among them the Twelve American Etudes. Over the years it was performed at prestigious venues including the White House (1995), the Kennedy Center (1990), and the 92nd Street Y in New York City, as well as throughout South America, the Far East, and Eastern Europe.

The guitar is in excellent condition for its age. Minor cosmetic wear is present throughout, including small nail marks on the top and natural wear along the back of the neck from decades of playing. The instrument has also benefited from careful professional attention, with some finish touch-ups and repair work carried out by renowned restorer Marshall Brune, whose work, along with that of his father Richard Brune, is widely regarded among the most respected in the field of historic instrument restoration. There are also light surface scratches and areas of finish wear consistent with a guitar that has been actively played and enjoyed over its long life. The guitar today presents in excellent structural condition while retaining its vintage character.