Pieter Schoeman (London Philharmonic Orchestra - Leader):

I fell in love with the Pluhar violin which became mine 4 days later. Three days after trying it, I used it in a concerto performance with the Wiener Concert-Verein. The next day I bought it. I'm blown away by the depth and richness of the bass while sparkling in the upper register. The D string is unusually powerful too.... all in all an amazingly even and balanced instrument with quick emission of sound yet warm qualities that would shine under any circumstances. I will never sell it.... ever.

Rupert Bawden:

I met Hans in London around 1999 as a quartet-playing partner. At the time he was just beginning his career as a maker and would bring instruments along for us to try. I was very intrigued and soon became intent on buying a new violin which I did in 2002, trading up with a second one in 2006 and a viola in 2008. I have performed the Mendelssohn and both Brahms concertos on them as well as many of the big 'plays' of the twentieth-century repertoire, sonatas by Bridge, Walton, Poulenc, Ravel, Ysaye - they have always served me brilliantly. I recently played the Bartok 'Contrasts' for which I borrowed my friend Ambrose Hogan's specially commissioned violin for the scordatura so played two Pluhars within a few seconds. Another friend, David Hoyle, wrote the sound-track to a radio-play, 'Never a Rose,' multi-tracking parts for two violins and viola. Once again Hans' instruments stood me in good stead. I salute him as a major talent!

Mae Betts:

I am so enjoying my Pluhar violin. Simply hearing the sound of this instrument is music to my heart. It has a beautiful tone, a wonderfully even, balanced sound from string to string, and a good response. All of this makes it a joy to play as well as to look at as it is so beautifully crafted too.

Marleen de Bruin:

I play on a violin from Hans Pluhar for two years now , daily with a lot of pleasure. During playing in a symphonic orchestra the violin provides a clear yet profound sound. Playing more soloistic repertoire, I'm happy to notice the ease and comfort in virtuose passages and possibility to make so many different musical colours.

Nick Gazey:

I am now playing a lot thanks to the quality of the instrument not least- the sounds really cuts through the rest.

Ambrose Hogan:

Thank you again for the fabulous violin. I thought you should know that it and I are doing a lot of progressive folk at the moment, drawing on Irish and English sonorities and blending them with all sorts of other influences (a bit of blues here, a bit of jazz there, some classical techniques). It is such a pleasure working with your instrument, that I don't know how I coped as a boy and teenager on the instrument I then had.

Sebastian Holzknecht:

Like a wand chooses the wizard, the violin chose me. Once in its spell I couldn't resist the enormous beauty of this instrument. Both the warm-hearted sound and the fabulous appearance convinced me when I took out the violin of its case for the first time. For me this violin is more than just an instrument made from wood. It seems as if I can feel a soul in it's sound like a Samurai feels the soul of his sword when he touches it. Thank you Hans for this great work!

Jill Jones:

Still love the violin and it is becoming stronger and richer with use. An extremely good buy for me. I hope that your business continues to thrive.

Camilo da Rosa Simoes:

I bought my Pluhar violin (a Stradivari model) in 2007, brand new. I've been continuously thrilled by its refined and projective sound. And it seems to keep evolving for the better! Besides making great violins, Hans is a really nice guy, open and straightforward.

Johannes Wels:

What I like about my violin:

• The easy response (one could think, one is playing an old instrument).
• The projection (outdoors even several 100 metres) and evenness in all registers.
• It's clear, pure tone which mixes well with other instruments.
• The violin has also proven successful at a 415 Hz tuning when played in old music.
• It sounded very good from the beginning and needed no 'playing in phase', this gives the musician security and reinforces confidence to the instrument.
• The clean and diligent execution of the workmanship.
• The beautiful and transparent varnish.

Yang Zhang

I first played Hans' violin in 2006 when it was just one month old. After playing it for a week I had fallen in love with it. The violin has a mature and rich quality. It has a sweetness on the E string and a mellowness in the lower register, it is a beautiful instrument! Since then we performed (with the London Philharmonic Orchestra) at major halls throughout Europe, Asia and the United States.