Hermann Hauser II #666 Ex. Breznikar, 1960
Spruce / CSA Rosewood
Overview
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. In fact, it is one of the more enchanting Hausers encountered, combining the hallmark Hauser clarity with a depth and richness that is not always present in guitars from this workshop.
Equally compelling is the instrument’s documented history. The guitar was owned and performed on for decades by concert guitarist Joseph Breznikar, who acquired it directly from his teacher, the influential guitarist and pedagogue Sophocles Papas in the 1970s. Through this lineage the instrument carries a remarkable connection to several of the most important figures in classical guitar history.
What makes this 1960 Hermann Hauser II especially remarkable becomes clear from the very first chord. The guitar possesses an unusually deep and resonant voice, driven by a main air resonance that sits between F and F#. That is exceptionally low for a Hauser II and gives the instrument a striking sense of depth and warmth while preserving the clarity, balance, and articulation for which the Hauser workshop is famous. The result is a sound that feels both expansive and refined, with basses that bloom richly and trebles that remain clear, singing, and focused.
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.
Sound & Playability
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 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.
The overall character is deeply musical. 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 often associate with instruments by Hermann Hauser I.
Playability is equally impressive. 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.
The instrument was purchased in the 1970s by concert guitarist Joseph Breznikar from his teacher, the renowned guitarist and educator Sophocles Papas. Papas was a central figure in the American classical guitar scene of the mid-20th century and maintained close relationships with many of the leading guitarists of the era.
During his years studying with Sophocles Papas, Breznikar recalls Papas telling him that the guitar had been played in his home by several visiting artists, including Andrés Segovia, Julian Bream, and John Williams. While this detail ultimately comes through Papas himself and cannot be independently verified today, 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. The guitar was played in concerts and chamber performances with distinguished guitarists Carlos Barbosa-Lima and Abel Carlevaro, both of whom spent time playing the instrument and expressed admiration for its sound.
Breznikar also performed on the guitar for a number of prominent composers including Guido Santórsola, Francisco Mignone, and Pulitzer Prize–winning composer Ned Rorem. Rorem was commissioned by the Cleveland Orchestra to compose Suite for Guitar for Breznikar, which Breznikar premiered at the Blossom Music Center in 1980.
The Hauser II was also used for Breznikar’s recordings for Coronet Records, including several premiere recordings of works by Santórsola, Francisco Araujo, Will Gay Bottje, and Breznikar himself, including the Twelve American Etudes.
Over the years the guitar was performed in numerous prestigious venues including the White House (1995), the Kennedy Center (1990), the 92nd Street Y in New York City, as well as concert appearances throughout South America, the Far East, and Eastern Europe.
Specs
Maker: Hermann Hauser II
Year: 1960
Serial Number: 666
Top: Spruce
Back & Sides: Brazilian Rosewood
Scale Length: 648 mm
Nut Width: 51 mm
Finish: Original finish with typical vintage checking on the top
Tuners: Original Landstorfer tuning machines
Condition
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. Some finish touch-ups and repair work were 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. The guitar today presents in excellent structural condition while retaining its vintage character.
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.
When a guitar plays and sounds this good, it tends to be played a lot. This one clearly was.
Statement from Joseph Breznikar
“Joseph Breznikar's Hauser II Guitar
I purchased the Hauser II guitar (Serial No. 666) from my former instructor Sophocles Papas in the 1970's.
He invited me to play the guitar at his home and told me that Segovia, Julian Bream, and John Williams had also played it while visiting him.
This is something I can't confirm but Mr. Papas was an honest and truthful man.
My own personal history with this guitar includes playing it for the esteemed guitarists Carlos Barbosa Lima and Abel Carlevaro in duets and as a soloist.
They both played on the instrument and expressed true fondness for its beautiful sound. I also performed on the guitar for the world renowned composers Guido Santorsola, Francisco Mignone, Ned Rorem (Pulitzer Prize Winner). Mr. Rorem was commissioned for me by the Cleveland Orchestra to compose Suite for Guitar which I world premiered at the Blossom Music Center (Cleveland Orchestra's summer home) in 1980 and recorded for Coronet Records.
My recordings for Coronet Records include several premier recordings including by Santorsola, Francisco Araujo, Will Gay Bottje and my own compositions - all on the Hauser II. This includes the Twelve American Etudes plus additional works.
Prestigious venues where I performed as soloist on my guitar include the White House (1995), The Kennedy Center (1990), The 92nd Street Y in New York City, and in South America, the Far East and Eastern Europe.
I performed on this guitar for many solo concerts and concertos over the years.”
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