- Ingolf Turban y su violín Schleske Op.108 con el concierto para violín en mi menor op. 64 de Mendelssohn (Grabación para radio y televisión de 15 de julio 2008)
“Nunca he tocado un violín cuya cuerda mi suene de forma tan bella. Doy fe. Tengo la sensación de estar cantando […], no tocando el violín. Con este violín el sonido se eleva por encima del de cualquier orquesta con gran facilidad.”
“En el taller para construcción de violines de Martin Schleske me siento bien atendido en todos los sentidos: ya sea restaurando los antiguos violines de los maestros con la debida delicadeza, ya sea en el ajuste del sonido perfecto o viendo las últimas construcciones recién acabadas que, en parte, marcan nuevas normas e inmediatamente inspiran al músico.”
Prof. Ingolf Turban, Múnich en diciembre 2007
- Ingolf Turban con su violín Schleske durante las grabaciones de televisión para Bayerischer Rundfunk
Ingolf Turban:
Ingolf Turban, Solista en las Filarmónicas de Berlín y Múnich, en el Kennedy Center en Washington, en el New Yorker Avery Fisher Hall, en la Tonhalle de Zúrich, en el Salón Dorado del Musikverein de Viena o de la Scala de Milán, con directores como Sergiu Celibidache, Charles Dutoit, Lorin Maazel, Zubin Mehta, Yehudi Menuhin, Jun Märkl y Marcello Viotti toca, además de las grandes obras de la literatura para violines, un repertorio, en parte, jamás oído en el mundo. Anteriormente primer violín de la Filarmónica de Múnich, profesor de violín en el Conservatorio Superior de Música de Múnich sobre la ejecución del violín Op. 108 de Martin Schleske. Desde 2006 profesor de violín en la Universidad de Música y Teatro de Munich.
Desde 2010, Ingolf Turban ha tocado casi todos sus conciertos y CD en su Schleske Op.130 en lugar de en su Stradivarius. Aquí hay algunos ejemplos que hacen audible el carácter y la autoridad de este poderoso solo de violín:
- Concierto para violín de Théodore Dubois con la Deutsche Radio Philharmonie
- Tres sonatas - tres violines: Stradivari - Schleske - Lupot
- Nuestro violín Op. 130 en el concierto para violín de Enjott Schneider
- Alban Beikircher, Solist und Geiger des Korngold Quartett. Künstlerischer Leiter des Festivals „Tonkunst Bad Saulgau“.
„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…"
Alban Beikircher, extensa actividad concertista como solista. Primarius del Korngold Quartett
Desde 2010, Alban Beikircher ya no toca todos sus conciertos y CD en su Montagnana (1729), sino en su Schleske Op.149. Aquí hay algunos ejemplos del instrumento característico:
- BR Klassik: Álbum de la semana | Alban Beikircher con nuestro violín Op.149
- Cinco siglos de música para violín. Interpretado por Alban Beikircher en nuestro violín Op.149
Dorothea Stockmann sobre su viola, construida en 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 (La Coruña, España) en su Cello Opus 310 de 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 con su violín Op. 66 (anno 2004) de 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 everything 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 that has heard me playing the violin is always really positive! Many people that heard me have had some ravishing comments about it and the improvement of my playing with its help! One of these persons is my professor, Dr. Felix Andrievsky… I feel I start to discover many more things that where 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!”
Emanuel Salvador, Royal College of Music de Londres, primer violín de la Orquestra do Norte de Portugal.
Nathanael Turban on his 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 en su Schleske Opus 131 de 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 ith some of your instruments and was well aware that each of them has a nique 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 instrumentmaking ompetition in Cremona some years ago and had the opportunity to judge the ound of more than 200 violins. In addition, I am well acquainted with the tonal properties f violins by the old masters. I had the pleasure to play the J. B. Guadagnini violin nown as "ex Busch" (1783) over several years and am very familiar with the ound of various violins by Antonio Stradivari and Guarneri “del Gesu”.
- Jehi Bahk con su Op.70 de Martin Schleske
He has won multiple prizes in international competitions nd 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, Professor for Violine 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.
„All things considered, you are truly a first-class musician! I have spent my whole life dealing with the most renowned violins by Stradivari, Montagnana, Guadagnini and Guarneri and I am well acquainted with these supposedly "inimitatable" violins! But you have combined craftsmanship, science and most importantly, a fine sense of artistry to produce something that I find astonishing and new[…] That really takes a degree of artistry and creativity that people can only be born with. That's what makes it so special and rare…!”
Mathias A. Freund, primer violín (concertino) Filarmónica de Múnich.
"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 ith some of your instruments and was well aware that each of them has a nique 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 instrumentmaking ompetition in Cremona some years ago and had the opportunity to judge the ound of more than 200 violins. In addition, I am well acquainted with the tonal properties f violins by the old masters. I had the pleasure to play the J. B. Guadagnini violin nown as "ex Busch" (1783) over several years and am very familiar with the ound of various violins by Antonio Stradivari and Guarneri “del Gesu”.
„…darum wage ich zu behaupten, dass es sich bei den von Martin Schleske geschaffenen Instrumenten um Kunstwerke handelt. Der Vergleich scheint vermessen, aber die Instrumente eines Antonio Stradivari wurden zu seinen Lebzeiten auch schon als Kunstwerke angesehen. Meiner Meinung nach handelt es sich hier um einen ähnlichen Fall…“
Jehi Bahk unterrichtete als Violinprofessor in Wien und in Seoul. Seine internationale Konzerttätigkeit führte ihn u. a. in die Carnegie Hall New York, den Wiener Musikverein, die Berliner Philharmonie, die Wigmore Hall London und Suntory Hall Tokyo.
- Jehi Bahk con su Op.70 de Martin Schleske
He has won multiple prizes in international competitions nd 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, violonchelo solista de la Orquesta Nacional de Brandenburgo, Junio 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, primer violín de la Orquesta Filarmónica de Ulm.
„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, violinista (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…!"
Carta de la violinista Uta Kerner (master class en el Conservatorio de Múnich) sobre su «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, violinista – segundo violín principal de la 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, violonchelista.