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Violins by Alexander Rabinovich are presented by best performers of the world classical scene and outstanding workers of musical culture.
Ilia Gringoltz, Virtuoso violinist, winner of Paganini contes.

For me as a performer it is very important that the instrument not only met my creative demands but also made me reckon with it, respect it as a strong individuality. I have what to compare with, for in the recent 6-7 years I have been playing a violin by Stradivarius and several violins by Guarneri; the instruments by Alexander Rabinovich have the same force of persuasion, bear the same message...
Alexander Kantorov,The leader and conductor of the state symphonic orchestra “Classics”

In the course of decades of devoted work, violins by Alexander Rabinovich have gained quite a number of admirers all over the world, and often enthusiastic ones. Thus the concertmaster of the Covent-Garden Orchestra played his violin together with us in the Big Philharmonic Hall and the instrument was likely to favor the success of the concert, which we still recollect with pleasure. Like a bad instrument “pulls the orchestra down”, so a good instrument raises the standard of the whole orchestraís sound. The bow group should not only just sound beautifully and strongly, it should be adjusted in timbre and this adjustment just cannot be reached with low-class instruments. What group timbre can be spoken about if each instrument separately is not interesting? Of course, such problems can never happen with the violins by Alexander Rabinovich.
— Alexander, what do you think about the situation with instruments for young performers?

ņ. . I have an experience of dealing with musicians who came to play in my orchestra, and it is quite often when you see with disappointment that the musician is obviously trained better than he can “squeeze out” of his instrument. Itís obvious that the performer has a good school, a good will and good abilities to play and there is no real sound only because of his violin.

— Should one study to play a good instrument from the very beginning?

ņ. . The essence of the string school is first of all to teach efficient mastering oneís hands, putting reflexes in order. With a bad violin reflexes may be fine but the sound is bad. If such a violinist takes a brilliant instrument he cannot immediately start to play brilliantly: there comes a painful breaking of the fixed reflexes taking years and years. When a young man studies with a violin with a good sound, he can seriously cut down the road to mastership. And if you change the instrument Ė then only from good to unique.
Leo Klychkov, the first concertmaster of St. Petersburg Philharmonic orchestra.

The most important in the violins by Alexander Rabinovich is that they are your live partners. It is interesting to communicate with them as if they were interesting people. There is an incredible potential in his violins, and itís a performerís task to reveal it in full.
Sergey Levitin, the concertmaster of British Royal Opera House Covent-Garden

“More than two years ago I first took a violin by Alexander Rabinovich in my hands. It is difficult to reveal that feeling of a specific contact with the instrument which I got then. During these two years I had a chance to play three of the Masterís instruments and each had its own character. Each had a live soul, which responded to you. With all variety of instruments they are united with the hand of one master, and this discovers extraordinary ensemble possibilities. Timbre equilibrium and richness of sound palette of such an ensemble surpass all expectations. Every violin by Alexander Rabinovich is unique. They are like beautiful women — each is beautiful in her own way”. [2000 y.]
Maria Leonhard, the founder of authentic violin performing.

A violin made in the end of the XX century by Alexander Rabinovich according to the criteria followed by the masters of the XVII-XVIII centuries meets all the musicianís expectations in responsiveness and sound brightness...
Emilio Moreno,
the concertmaster of “Orchestra of the XVIII Century”,the director of LA REAL CAMARA (Barcelona -Madrid)

Alexander Rabinovich proves with his violins that the instruments made by him in the end of the XX c. Ė beginning of the XXI c. do really meet the criteria of the famous violin-makers of the XVII - XVIII c.