Christoph Heidemann
I play two Konrad Kohlert violins, both of which are a joy to play in their own separate way. One is a replica of an Amati baroque violin; the other is a classically shaped Guarneri model.
What I love about my baroque violin, which is tuned to 415 hz, is its soft and even tone, which blends beautifully into an ensemble of old instruments.
The E string - often just an iota too nasal on baroque instruments - has an open and soft timbre; there is no sign of dullness on the low strings.
The classical instrument (430 hz) combines these characteristics with a more incisive sound, so that I enjoy using it as the first violin in string quartets.
It also performs excellently as a solo instrument with orchestra.
- Christoph Heidemann -
Christoph Heidemann, born in 1965 in Osnabrück, Germany, studied the violin in Hanover under Werner Heutling and Oscar C. Yatco. Amongst other engagements, he held the position of leader of the Young German Philharmonic before concentrating more heavily on the baroque violin. Master classes with Sigiswald Kuijken and Ingrid Seifert and collaboration with cembalo player Lajos Rovatkay influenced his search for an intensive sound and more distinct style.
In 1992 he founded the baroque orchestra "L'Arco Hannover". He is also a member of the "La ricordanza" chamber ensemble, the Hoffmeister Quartet and the Hanover "Hofkapelle". In these ensembles, he has been involved in several broadcasts and CD productions.
Jost Thöne
This year, we purchased several Konrad Kohnert violins for the "Violin Expo Cologne".
Our clients are thrilled!
Both in terms of sound and aesthetics, these violins are a realistic alternative to the old masters!
- Jost Thöne -
Prof. Christian Sikorski, State University of Music and Performing Arts, Stuttgart
In 1990, I met violin maker Konrad Kohlert at an event organised by the Georg Hesse Foundation in Lenzkirch. At a concert, I was so impressed by the sound of a violin he had recently made, a small Guarneri model whose varnish had not yet quite dryed, that I purchased it without hesitation. Since that time I have been using the instrument as a very good backup instrument and in recent years my colleagues, students and I have used it fre-
quently in concerts and rehearsals.
I have also followed Konrad Kohlert's development as a violinmaker for a long time. His instruments are always characterised by an open and pleasant tone. Particularly pleasing - both artistically and optically - is his varnish work, especially on his replicas of old master instruments.
- Prof. Christian Sikorski -
