Paul Fischer - 1982 - No. 470

About the luthier

Paul Fischer, born on the Isle of Man and raised in Oxford, began his career in instrument making under the guidance of harpsichord builder Robert Goble, where he was trained in the finest European tradition. He furthered his studies at the Oxford College of Art and Technology before meeting the late David Rubio in Duns Tew, Oxfordshire. Rubio’s workshop was an important hub visited by leading guitarists such as Julian Bream and John Williams, and Fischer served there as chief instrument maker and workshop manager. During this time, his guitars were produced under the Rubio label with the mark “P.F,” many of which remain in circulation today. In 1975 Fischer established his own studio, and in 1983 he received a Winston Churchill Travelling Fellowship to carry out research in the forests of Brazil. Beyond his building, Fischer has acted as an advisor to the Southern Arts Association and the Crafts Council of Great Britain. His instruments, frequently noted for their elegance and tonal qualities, are featured in major publications such as Richard Chapman’s The Complete Guitarist (1993) and John Morrish’s The Classical Guitar: A Complete History (1997). With decades of work dedicated to the evolution of the modern concert guitar, Fischer stands among the most respected British luthiers of his generation.

About the guitar

This guitar, built in 1982, reflects Fischer’s mature craftsmanship during a period when he had already established himself as one of Britain’s foremost makers. Constructed in the traditional style, it features a spruce top paired with Brazilian rosewood back and sides, the latter dating from before CITES restrictions. The instrument is finished with French polish and fitted with Rodgers tuning machines, weighing 1655 grams. Tonally, the guitar presents an intimate and refined voice. The sound is soft and silky, with a long sustain that allows both bass and treble voices to ring clearly. One of its most striking qualities is the evenness of the first string, an attribute rarely found even in more recent instruments. The timbre has a piano-like clarity, balanced with enough brilliance to project convincingly in a concert hall. The guitar responds sensitively to right-hand dynamics, making it both comfortable to play and highly expressive. The overall tonal character is pleasant and lyrical rather than forceful, ideally suited for a wide range of repertoire.

Condition

The guitar is in excellent condition for its age. There are no cracks, and the structure is entirely sound. The top bears normal playing marks and light superficial scratches, but no deep wear. The French polish is in good condition. The original Rodgers tuners function precisely. This is both a fine concert instrument and a highly collectible example of Fischer’s work, distinguished by its Brazilian rosewood and refined tonal qualities.