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Hermann Hauser I
Out of the inheritance of a Dutch guitarist I bought a Hauser from 1927. Hermann Hauser I (1882-1952) acquired international fame for his collaboration with Andrés Segovia. Hauser I combined the influence of the Viennese guitarmaker Stauffer – whose sound, according to Hermann Hauser III “can bring tears to your eyes” – with the Torres-guitar that belonged to Miguel Llobet and the guitar that Segovia received in 1912 as a gift from Manuel Ramirez. I use gut strings on my Hauser I, which produces the best sound. Hermann Hauser III and his daughter Kathrin were impressed when I played for them. Hermann III thought it would be difficult to play on any other instrument.

Antonio Marin Montero
I have two guitars made by Antonio Marin Montero (1933), from Granada; I love the suppleness, the broad range of colors, and the sensitivity.  Marin was a student of the famous French guitar maker Robert Bouchet. On these instruments I’ve been able to develop my own personal sound, a certain refinement, elegance, and singing tone, but also power.  I bought my first guitar from Marin in 1993 in Amsterdam and used it on my first recording, Segoviana. I commissioned a second Marin, which has an even greater playability, and acquired it in 2008.

Auguste Sébastien Bernardel
My oldest instrument is a romantic guitar from around 1846, which I bought in 2006 in Paris.  I wasn’t looking for such an instrument, but the sound is so extraordinary that I could not resist.  It is a gorgeous gem of an instrument, built by the French violin maker Auguste Sébastien Bernardel (1798-1870), with boxwood inlay in rosewood back and sides. The sound-color, sensitivity, and singing tone are immediately evident, and in a space with good acoustics, such as in a salon in an old canal house in Amsterdam, the sound is as full as a modern instrument.