I was captivated by Ida Haendel and her distinctive, passionate tone from the first moment. The personal encounter with her enriched my life in a special way.
PHOTO: JELLE PIETER DE BOER
Künstler
»My highest praise goes to our Creator,
the Author of all creativity and inspiration.«
Philipp Manuel Augustin
»I find great joy in Philipp Augustin's young violin. It is an extraordinary instrument with tremendous potential for development. I eagerly await the forthcoming decades, cherishing the harmonious companionship with this exquisite violin.«
»I am fortunate to have known Philip's violins from the very beginning, and I am impressed by the unique personality that each of his instruments possesses. I fell in love with my violin instantly - its sound, its possibilities. For me, the real work begins - the search for our shared sound. Throughout this journey, Philipp is always patient and incredibly helpful, which continues to bring me joy with his violin to this day.«
JULIA FISCHER
www.juliafischer.com
»My Philipp Augustin violin is a remarkable instrument. It boasts a brilliant and powerful tone, balanced across all registers. I feel very fortunate to own this violin, and I enjoy playing on it.«
AUGUSTIN HADELICH
www.augustin-hadelich.de
»For numerous years, I exclusively played on my Lorenzo Guadagnini until one day, I had the chance to hold Philipp Augustin's violin in my hands. It was evident right away that this, and no other violin, was meant to be. Not only does it sound phenomenally, but it also possesses a visually captivating allure like no other.«
LENA NEUDAUER
www.lena-neudauer.de
»My viola by Philipp Augustin is truly something extraordinary: inspiring in all registers, full of warmth, rich with colors and shades. Furthermore, its generous sound, so clear and radiant, makes it a true universe for me. It is this versatility that adds a new dimension to my voice as a soloist and chamber musician.«
NILS MÖNKEMEYER
www.nilsmoenkemeyer.com
»Thank you so much for the magnificent violin you built for me! From the very first play, I was fascinated by how I can shape the tones. It has both the dark, earthy tone, and the light and radiant one. After just four days, I was able to perform Sibelius' Concerto on it.«
»Whether it was the choice of wood, the selected model, the nuanced thickness of the body, or all of it combined and much more – it's his secret, but he has indeed captured the desired tone. Moreover, it's beautiful and devoid of the 'quirks' one often encounters with the old Italians. It responds well, the fifths are in tune, and it possesses a room-filling sound. My colleagues are enthusiastic about the remarkably pleasant and warm tone.«
PETER WÖPKE
Solo cellist of the Bavarian State Orchestra in Munich
