Kundenstimmen:
Da es sich um Original-Zitate der jeweiligen Musiker/-innen handelt, habe ich
mich entschlossen diese nicht zu übersetzen.
In alphabetischer Reihenfolge:
Alister Barker, Australien
I am delighted to play a beautiful cello by Wolfgang Schnabl, completed in 2005.
I had been searching for a fine modern instrument for some time, before having
the opportunity of trying several cellos by Wolfgang in 2004. I was immediately
struck by the exceptionally fine sound quality and playability of each instrument.
I also noticed that all sounded totally individual in character, crafted with
a very clear sound concept in mind.
I subsequently ordered a cello from Wolfgang and have not looked back! My Schnabl
cello is incredibly responsive and possesses a rich, refined and complex tone
that blends easily and has excellent projection. Its sound, in accordance with
Wolfgang´s predictions, has continued to deepen and mature with playing. It
is a very even and reliable instrument in which Wolfgang has beautifully captured
the tonal qualities that I was seeking. Quite simply, I could not be happier
with my cello!
With many thanks!!
Josep Maria Galí, Phd.,
Spanien
Associate professor of Consumer Behavior, ESADE, Barcelona Business Consultant
My early and continued obsession for the cello sound and a thorough and extensive
process of evaluation led me to order a cello from a maker that I can only recommend:
Wolfgang Schnabl. I ordered a first Schnabl cello in 2001, and a second one
with a poplar back is in process. In my opinion, and after having played instruments
from many of the most reputed modern makers, I concluded that Wolfgang has a
somewhat unique ability to create instruments that allow musicians to reach
the voice they seek.
One of the most "strange" and irrational things that happen in the string world,
seen from an outsider amateur cellist and professional analyst of behaviour,
is the idealization of the old instruments by musicians, as if they were an
amulet, something magic, thinking perhaps that sound comes only from the instrument.
This fact, which is completely irrational, is fuelled by the economic interests
of most of the dealers and speculators on old instruments, and to me is of great
concern. It creates a distortion in the market prices, a prejudice to contemporary
makers and prepares the land to fraud and abusive endorsing by so called "experts"
and teachers. But the target is weak: anxious musicians and young players that
behave without knowledge and self confidence in the purchasing process.
Danjulo Ishizaka, Deutschland
(aus einem Interview mit Laurinel Owen)
I am playing the Wolfgang
Schnabl cello on loan of the Kronberg Academy and it has been played by Boris
Pergamenschikow before for whom it had also been made.
Therefore I can not tell why Pergamenschikow chose Schnabl to make the cello
for him. I can only imagine that some of the reasons are that Mr. Schnabl is
very talented also in terms of creativity. Even though the Schnabl cello that
I am currently using is a quite exact copy of the ex Konstantin Romanow Montagnana
and also very close to the original one in terms of sound and character (what
is already a great achievement) it has very much its own complexity that you
have to adjust to as a player. This complexity could also be described as sorts
of own will, which is, thanks to God, not as strong as that some Strads have;
still it is very challenging to really get to know this aspect of the instrument.
Generally spoken I like this cello because its sound is warm and rich; at the
same time it projects very well and doesn't set you limits if you liked to play
a piece like the Prokofjew Sinfonia Concertante that - simply spoken - requires
really loud playing sometimes. At the same time it offers you an amazing variety
of colours. Having these requirements the cello fits perfect for any kind of
music.
Tanya Prochazka, Kanada
(aus einem Interview mit Laurinel
Owen)
Wolfgang is a meticulous maker and has the personality and playing needs of each player well in mind for each of the cellos he makes. He is a maker with the utmost integrity and skill, with a highly refined sense of tone and a total awareness of the resonant potential of each instrument. He takes no shortcuts and each instrument is as masterfully built as its brother. All models are of the highest quality, and can sound from very mellow to bright and carrying. He gets a feel for the personality of each player and makes accordingly.'