- Ingolf Turban and his Schleske violin: Mendelssohn violin concerto in E minor (op. 64) | Radio and television recording session on July 15, 2008.
“I feel like I receive the best possible care in all areas at the Martin Schleske Master Studio for Violinmaking. This includes restoring old masterworks with the necessary instinctive touch, or making the perfect tonal adjustment, or creating new instruments that set new standards and fill the player with immediate inspiration.”
Prof. Ingolf Turban, Munich, December 2007
Since October 2011 Ingolf Turban plays most of his solo concertos on our Violin Opus 130, which has a very projective tone. Still in some concerts he plays a fine Stradivarius (anno 1721), which for many years used to be one of our highly admired “teachers”.
Ingolf Turban after playing our Opus 130 in the Berlin Philharmonie with Paganini Concerto Nr. 2: “I have never been playing any violin with such a singing E string. You can quote me on that. It is no longer like playing violin but like singing […]. With this violin, you can easily be heard over any orchestra […]. I am so happy as you have given me my voice!"
- Ingolf Turban with his Schleske violin during TV recordings for Bayerischer Rundfunk
Ingolf Turban:
With solo performances in greatest concert halls of the world including the Berlin and Munich Philharmonic; the Kennedy Center, Washington; Avery Fisher Hall, New York; Tonhalle, Zurich; Goldenen Saal, Vienna or the Scala, Milan; working with directors like Sergiu Celibidache, Charles Dutoit, Lorin Maazel, Zubin Mehta, Yehudi Menuhin, Jun Märkl and Marcello Viotti, Ingolf Turban commands a repertoire of works, some of which have rarely been performed on stage. Since 2006 professor for violin at the University of Music and Theater in Munich. His extensive repertoire in all branches has produced over 30 albums. His much celebrated premiere performances have gained world wide acclaim and are now recognized as standard concert works.
Since 2010, Ingolf Turban has played almost all of his concerts and CDs on his Schleske Op.130 rather than on his Stradivarius. Here are a few examples that make the character and authority of this powerful solo violin audible:
- Théodore Dubois Violin Concerto with the Deutsche Radio Philharmonie
- Three sonatas - three violins: Stradivari - Schleske - Lupot
- Our Violin Op. 130 in the violin concerto by Enjott Schneider
- Alban Beikircher, Solist und Geiger des Korngold Quartett. Künstlerischer Leiter des Festivals „Tonkunst Bad Saulgau“.
Alban Beikircher on his Schleske Op. 149: "I have never held a better violin in my hands! An unbelievably solo violin with a tremendous richness of color in the sound!"
“When I was getting ready to record a new CD for ARTE NOVA, I decided to have some tonal adjustment work done on my violin by Domenico Montagnana. Master luthier Martin Schleske did an amazing job of optimizing the sound. I never imagined he could achieve such results. No other violinmaker has come close to Schleske's level of sensitivity and artistry in working on my instrument [...] If you were rating the instrument based solely on the sound, I would say that my Montagnana is worth at least 30% more after his tonal adjustment…"
"No violin maker has ever dealt with my instrument so sensitively and at such a high artistic level. I also played his concert instruments several times. In terms of sound, they can be compared to the great Italian violin makers of the 18th century.”
Alban Beikircher, extensive concert activity as a soloist. Primarius of the Korngold Quartet
Alban Beikircher is leader of the Korngold Quartet. He studied in Saarbrücken with Prof. Joshua Epstein | Solo class with Prof. Yfran Neaman in London. Extensive concert activity as a soloist and chamber musician in most European countries, Israel, China, Saudi Arabia and Egypt. Beikircher is a chamber music partner of artists such as Gottfried Schneider, Mirijam Contzen, Daniel Müller-Schott, Alfredo Perl and Benedikt Koehlen.
Alban Beikircher played a violin by Domenico Montagnana (1729) as a soloist for many years. For years, this was the concertmaster violin of the Berlin Philharmonic under Herbert v. Karajan been played.
Since 2010, Alban Beikircher has no longer played all of his concerts and CDs on his Montagnana (1729) but on his Schleske Op.149. Here are some examples of the characterful instrument:
- BR Klassik: Album of the week | Alban Beikircher with our violin Op.149
- Five Centuries of Violin Music. Played by Alban Beikircher on our Violin Op.149
Dorothea Stockmann about her Schleske Viola Opus 289 made in 2019:
“One of the finest Violas in the World!"... Es war überwältigend. Das Instrument ist überwältigend. Ich habe die Bratsche genommen und darauf gespielt und musste nur weinen. Es ist ein himmlischer Klang, mit einer überwältigenden Schönheit und Klarheit. So strahlend. Sie spielt sich so besonders. Das kann ich kaum in Worte fassen. Die Bratsche berührt mich fast auf einer übermusikalischen Ebene. Die Herrlichkeit vom Himmel ist schon in dem Instrument drin.
Und sie sieht einfach auch schon schön aus, und fühlt sich so gut an. Sie strahlt und hat einen Klang, den habe ich noch nie gehört – bei keiner Bratsche. Es ist total außergewöhnlich, dass ein neues Instrument so ausgewogen und so herrlich klingen kann, dass man auf jeder Seite und jeder Lage solche Töne hervorbringen kann..."
Berti Hamburger (A Coruña, Spain) about his Schleske Cello Opus 310 made in 2020:
Martin’s work results from artistic mastery, exhaustive scientific research and, most importantly, a complete and intuitive understanding of the musicians needs and requirements. His unique ability to tailor the instrument to the personality of the artist sets him apart from all other makers I have known. Therefore, when I decided to invest in a new instrument, my obvious choice was to order a cello from him.
Martin crafted my cello op. 310 during the lockdown in 2020 and when I could finally play it in Mai 2021, it felt like meeting an old friend. Martin is a passionate horseback rider and the best analogy to describe the sensations playing this cello is riding a beautiful and powerful horse. It demands skill, flexibility, and lightness from the player and offers an infinite range of colors and nuances in return. At the same time, it will not tolerate roughness, just the way a horse will not respond to brute force. In that manner, my cello op. 310 has not only become my beloved artistic companion but also my daily coach, by teaching me how to exploit the endless possibilities it offers."
- Emanuel Salvador with his violin op. 66 (anno 2004) by Martin Schleske.
“Dear Mr. Schleske,
In the last days you can't imagine how happy I am with the new violin. I already had rehearsals solo with orchestra and rehearsal with piano, and with harp. Everyone is astonished how different my playing is! For me it just feels like everything is in place! Everything I once struggled now seems to be a thing of the past! For example, the clarity of sound, the volume, the amazing range of sound... The resources seem to be just endless!”
“ …the response from virtually everyone who has heard me playing the violin is always really positive! Many people who heard me have had some ravishing comments about it and the improvement in my playing with its help! One of these persons is my professor, Dr. Felix Andrievsky… I feel I am beginning to discover many more things that were hidden... It is really great to realize all of its capacity! Thank you once again for this amazing instrument that will be my supporting partner for many years to come!” Foto einbinden."
Emanuel Salvador, Royal College of Music in London, 1st concertmaster of the Orquestra do Norte in Portugal.
Nathanael Turban on his unusual sculptural violin Opus 343 from 2023:
It's been a week since we were allowed to visit you in Landsberg. When I unpack your Opus 343, I almost have to be a little careful not to let the awe of this instrument go to my head. In fact, I've never felt so strongly for anything in this world. […] Perhaps you have also noticed how infinitely long the reverberation in the body itself is? This is really unbelievable - as if a whole valley stretched out in it. […] And you are right: the sound of this violin has an inherent wisdom that, in a gentle but firm way, allows every listener to calm down and be silent. I'm still speechless when I hold it in my hands! One thing I know for sure: this violin will change my life. Many, many, many thanks.
Your Nathanael Turban
Jehi Bahk about his Schleske Violin Opus 131 made in 2010:
"I feel like your Opus 131 is gaining new tonal colors every day. It is exciting to keep making new discoveries on this instrument. It is hard to put down. At the same time, I find it difficult to find words to sufficiently praise it."
I'm finding it hard to find words to sufficiently praise your Opus 70. I was already familiar with some of your instruments and was well aware that each of them has a unique character as well as a sound that, in my opinion, ranks in the highest echelon. I’m not afraid to say that since I served as a jury member for the instrument-making competition in Cremona some years ago and had the opportunity to judge the sound of more than 200 violins. In addition, I am well acquainted with the tonal properties of violins by the old masters. I had the pleasure to play the J. B. Guadagnini violin known as "ex Busch" (1783) over several years and am very familiar with the sound of various violins by Antonio Stradivari and Guarneri “del Gesu”.
- Schleske Violin Soloistclass
- Jehi Bahk mit seiner Op.70 von Martin Schleske
He has won multiple prizes in international competitions and is the founder and first violinist of the Hugo Wolf Quartet (1993-2004). In 2005, he became associate concertmaster of the Seoul Philharmonic Orchestra and was recently appointed to a professorship at the German School of Music Weimar. Jehi Bahk was a member of the sound jury for the Triennale international violinmaking competition in Cremona.
Dear Mr Schleske,
Last week I graduated with honors from my bachelor's degree in Munich. This could not have been possible without your violin. Not only I, but everyone (colleagues and also professors) are enthusiastic about the violin.
My Schleske Violin Op.330 is not only a gem aesthetically speaking (such a beautiful looking violin is seldom seen) but also sonically. Round, balanced, projective and delicate but powerful when you want it. It has opened up a world of tonal possibilities for me.
My technique was also affected. The violin cannot be treated "anyhow" and requires the finest bowing technique. Through work and good instructions, I have developed in such a way that I can now meet the demands of this instrument.
I have found my voice. I'm grateful to be able to play on it.
Best regards,
Gianni Rossini (Argentinia)
Eric Pritchard, Prof. for Violin Duke-Universität USA:
"I have never been more pleased with an instrument.
It seems that we are in the midst of another golden age of instrument making, and there are some wonderful makers at work both in the U.S. and around the world.
I had heard about Martin Schleske, a German luthier, and I found his philosophy of instrument making -- which incorporates a high degree of both science and spirituality -- so intriguing that I was inspired to commission him to make me a violin without having ever seen or heard one of his instruments.
The sound of this violin isn't so different from an old instrument. That's the appeal of this violin for me and the main selling point of every contemporary maker. I'm also happy to say that it actually feels like an older instrument, meaning the response is very responsive and flexible.
My new violin by Martin Schleske has evolved quite a bit this past year (becoming more complex and variable) although it's been consistently easy to play."
Source: today.duke.edu/2014/04/violin
Seit dem Jahr 2008 spielt der Geiger Tomo Keller eine Violine unserer „Solistenklasse“. Bereits nach wenigen Tagen stand er mit diesem Instrument mit Beethovens Violinkonzert in Schloss Morsbroich (Spiegelsaal) auf der Bühne und schwärmte anschließend von der „ungeheuren Tragfähigkeit“ und dem „wunderbaren Farbenreichtum“ seiner neuen Geige, die es ihm erlaube, mühelos auch in den feinsten Solopassagen über das Orchester zu strahlen.
Die Rheinische Post schreibt dazu: "Tomo Keller hat im Herbst 2008 mit Beethovens Violinkonzert als einer der interessantesten Geiger der jungen Generation nachhaltig auf sich aufmerksam gemacht („so einen Glücksfall hört man selten“, Rheinische Post). 1974 in Stuttgart geboren, studierte er u.a. an der Juilliard School of Music in New York. Weitere Anregungen erhielt er von Geigern und Pädagogen wie Igor Oistrach und Igor Ozim."
Tomo Keller errang zahlreiche nationale und internationale Preise (u.a. 1998 den Großen Preis des deutschen Musikwettbewerbs Berlin), war u.a. Co-Leader des Chamber Orchestra of Europe, Konzertmeister der Westdeutschen Sinfonia Leverkusen und ist seit September 2009 stellvertretender Konzertmeister des London Symphony Orchestra.
Wir sind glücklich darüber, dass ihn in all dem ein klassisches Modell (nach Stradivarius) aus unserm Atelier begleitet.
"I am full of gratitude to be able to play this unbelievable violin. Every tone coming from this instrument is like a gift. I wouldn’t have thought that instruments of such a quality do exist. Also in my Orchestra the violin finds great admiration and enthusiasm."
György Fejer, principal 2nd violin, Philharmonic Orchestra Suedwestfalen, about his Schleske-Violin Opus 193 (anno 2013).
“I feel like I receive the best possible care in all areas at the Martin Schleske Master Studio for Violinmaking. This includes restoring old masterworks with the necessary instinctive touch, or making the perfect tonal adjustment, or creating new instruments that set new standards and fill the player with immediate inspiration.”
Mathias A. Freund, 1.Violine (as. concertmaster) Munich Philharmonic Orchestra.
"I feel like your Opus 70 is gaining new tonal colors every day. It is exciting to keep making new discoveries on this instrument. It is hard to put down. At the same time, I find it difficult to find words to sufficiently praise it."
I'm finding it hard to find words to sufficiently praise your Opus 70. I was already familiar with some of your instruments and was well aware that each of them has a unique character as well as a sound that, in my opinion, ranks in the highest echelon. I’m not afraid to say that since I served as a jury member for the instrument-making competition in Cremona some years ago and had the opportunity to judge the sound of more than 200 violins. In addition, I am well acquainted with the tonal properties of violins by the old masters. I had the pleasure to play the J. B. Guadagnini violin known as "ex Busch" (1783) over several years and am very familiar with the sound of various violins by Antonio Stradivari and Guarneri “del Gesu”.
As a concertmaster and soloist, I have been very pleased to be able to play my concerts on your opus 70 since 2006! On my recent concert tour through the United States, listeners were regularly amazed to find out that I was playing on a “newly made” violin as opposed to one of those fabulous old Italian instruments! Thank you for this unbelievable violin!
He has won multiple prizes in international competitions and is the founder and first violinist of the Hugo Wolf Quartet (1993-2004). In 2005, he became associate concertmaster of the Seoul Philharmonic Orchestra and was recently appointed to a professorship at the German School of Music Weimar. Jehi Bahk was a member of the sound jury for the “Triennale” international violinmaking competition in Cremona.
"I immediately fell in love with this cello by Martin Schleske and I simply couldn't let it go […] I had a similar experience as a soloist for the Brandenburg State Orchestra. Once again, the sound of the cello had no trouble getting through. Colleagues described it as rich in harmonics and clear as glass even in the lower registers. A reviewer enjoyed the colors of the sound "ranging from the dark timbre of a lyric alto voice to that of a coloratura soprano". The range of overtones mentioned above is a key to the easy response of the instrument, which in turn makes for a relaxed approach to playing with a lot of room for sound inflections… Thanks again for this unbelievable cello!"
Thomas Georgi, solo cellist for the Brandenburg State Orchestra, June 2004
“Ever since I began playing this 'Schleske', I have been overwhelmed with enthusiastic concertgoers coming up to me after my performances and asking who made my instrument!…”
Tamás Füzesi, 1st concertmaster of the Ulm Philharmonic Orchestra.
“I met Martin Schleske in April 2000, as I flew from Israel to Munich for a concert. […] As soon as I played one of Schleske’s violins, I knew I would buy one. I understood that I was not dealing with a regular violinmaker […] Each violin Schleske achieves, is inspired and comes from his soul, and his achievement reflexes deepness and creativity. His violins speak more than they sound: they tell the listener that violin making can be more than just “handwork”. It can be Art.
Indeed when a handworker goes beyond all the requirements and rules of his profession, in order to achieve “his” perfection, his handwork becomes art and he becomes a Master, the same way a great painter distinguishes himself from the mass of good technical painters through the “define” inspiration…”
Perle Levy, violinist (Tel Aviv).
"Your work represents a unique combination of artistic intuition, musical empathy and true craftsmanship. You seem to combine art and science in a very natural way (maybe you don't even feel any ambivalence about the two?) […] Each of your instruments reflects a great respect for centuries of violinmaking tradition as well as an insatiable hunger for personal artistic expression and innovation […]
When I ordered a violin from you, all I did was play for you and rely on your artistic intuition to make the right instrument for me. I have been playing your instrument since March 2000 and I have to say that it has exceeded my highest expectations in every regard: It is a living artwork that allows me to get down to the business of musical creation each and every day. It has played an active role in guiding my career as a musician. So far, there has been nothing but praise for this instrument from the public and from my colleagues […]
I believe you have produced an artistic creation that will easily exceed the limits of our short lives to become a great ambassador of what our age has been able to accomplish. I can only express my deepest gratitude!"
Gabriel Bussi, violinista, Orquestra Sinfónica de Galicia.
Taking your violin out of the case every morning is a great gift. It is always a wonderful way to start my day. At first I was overwhelmed by the range of possibilities, but I quickly got over my initial shyness and began exploring a new world of tonal colors. I feel like a painter who has spent his whole life limited to just black and white. Suddenly I have access to a huge palette of fundamental colors of the highest quality. My creativity is really enjoying the challenge…!"
Letter from the violinist Uta Kerner (master class at the Munich Conservatory) about her "Schleske" opus 65, anno 2004]
„Dear Martin,
I am pleased to write a few comments about your artistic work. Your violins are very powerful and dynamic instruments. To one as a player it seems as if they sounded by themselves. Under any conditions (high air humidity or dry acoustics) they fill the hall with sound and music in an amazing way.
I am also owner of a superb Italian master instrument, a “Joseph Rocca” from the 19th century. At some point in my career as a musician I had certain trouble and felt some limitations. This was the time I knew about your violins, and I immediately ordered one from you, telling you about my situation and wishes. The violin you built for me was exactly what I needed. With its big and clear sound, and a very positive energy, it helped me continue my development and has since been played on my most important concerts in various countries…”
Fumika Yamamura, violinist – Principal 2nd Violin of the Orquestra Sinfónica de Galicia.
"We tested my new Schleske cello in a number of different halls. It projects all the way to the back row. Fast passages have incredible articulation and I can separate everything with no effort. Plus there is an incredible variety of tonal colors... I am starting to find my sound on my Schleske cello! I can get the sound of my Amati plus ten more tonal colors...!"
Jakob Schmidt, cellist.