On the occasion of the 25th anniversary of the Starnberg Music Days, we spoke with founder and artistic director Rudens Turku about his personal story, which is inseparably intertwined with the history of the International Music Days.
Rudens Turku founded the Music Days at the age of 20. Originally launched as a modest "Music Day in Starnberg" with 6 participants and an audience of 20, the International Music Days in Starnberg near Munich and Seefeld in Tyrol have now become one of the most important support programs for young musicians in Europe. In this interview, discover the mind behind these prestigious music festivals, what goes on behind the scenes of the concerts, and the philosophy that drives the International Music Days.
Good day, Mr. Turku! Here in Seefeld, during the festival preparations, it feels like being part of a grand family gathering, where everyone is a master of their instrument. Do you also come from a musical family?
I grew up in Albania in the 1980s, one of the poorest communist countries in Europe at the time. You could say it was a “silent island”—a land without music. It was incredibly difficult to get access to sheet music and recordings. I was fortunate that my father taught violin and viola at the music high school in Durrës. Some of my earliest memories are of his students coming to our home to perform, and I was allowed to watch. That was my good fortune.
Was that the spark that inspired you to take up the violin?
We were poor in many ways—not just materially but also in experience, knowledge, and information. We lacked a great deal. But my father handed me a violin at a very young age. As simple as our circumstances were, music had a profound pull on me. Music was a treasure that cost nothing, a possession that no one could take away. It opened my mind and awakened my curiosity about the countries and cultures behind these strange and beautiful names in the pieces I played.
As the situation in Albania worsened, you began attending the music high school where your father taught, at the age of six. What was that like?
Imagine a long hallway with 60 to 80 children practicing diligently until their teacher called them in. It was a chaotic symphony of hope—hope to make our parents proud, and perhaps also to escape inwardly. While other kids studied math, we had ear training on our schedule. In a country where heads were bowed, voices were hushed, and speaking could be dangerous, playing, singing, trumpeting, and drumming at the music high school was both happiness and salvation for us children.
And that salvation became literal: when you were in 8th grade, your parents began preparing to flee Albania. Without music, that escape might not have been possible.
There came a day when my parents sold everything except for their instruments. On the dining table was an invitation for my father to audition in Germany—a once-in-a-lifetime opportunity. A year later, I received my own invitation to audition as a pre-college student at the conservatory in Munich. At the age of 14, I left Albania—not entirely alone, as my violin was with me.
Your family introduced you to music, music separated your family, and then music reunited you…
… and from that point on, music would continue to bring me more people whom I now consider my family. After two years of pre-college at the conservatory, during which I also attended a Montessori school in Starnberg, I had the chance to audition for Ana Chumachenco at age 16. From that moment, Ana became my mentor, teacher, friend, and second mother, guiding me through every phase of life. She was the most formative influence for me, appearing at just the right time. Her incredible skill and her deep sensitivity to people shaped me both as a musician and as a person. She gave me the freedom to run when I needed to but reined me in when I was at risk of losing myself. She sensed my insecurities and gave me the confidence to search for my own musical voice. She taught me to overcome my fear of myself and to look inward. Deep inside lies the tone, the personal expression, and the will—but also the entire world, as it processes itself within us.
Ana Chumachenco, a musical legend and dedicated advocate for her students, was instrumental in your success. At age 24, you completed your master’s diploma under her guidance. Did she inspire you to start the Starnberg Music Days at just 20 years old?
It’s hard to say where ideas come from. I was incredibly happy and inspired at the time. My lessons with Ana were a big part of that. I felt like I was blossoming internally. I had an overwhelming desire to pass on the gift I had received. I remember sitting on a train with my close friend and former classmate Daniel Röhn, returning from a concert invitation by Igor Oistrakh in Belgium. The world passed by the window, and memories of my life played before my mind’s eye: the children at the music high school, Ana taking me under her wing, our remarkable cohort at the conservatory. I wasn’t even 21, but I suddenly knew I wanted to give other children and young people what I had been given.
That idea eventually grew into the Music Academy Circle. How did you choose Starnberg as the location?
The only place with children I really knew well was my old Montessori school in Starnberg. So I met with my former director and asked for one or two rooms and the auditorium for concerts. Then I called my mother, who agreed to cook for us. I even convinced a journalist acquaintance—who had no connection to music—to read Mozart’s biography and give lectures to the kids during the summer. Six children, maybe 20 people in the audience. The first Starnberg Music Day—or back then, simply the "Music Day in Starnberg"—already had that special magic you just described as a “family gathering.”
How did things develop in the following years?
At first, it was very much a one-man show: I printed the posters and programs myself and handled most of the logistics. But we were lucky—many people were enthusiastic about our idea and supported us in various ways. Every year, more young musicians wanted to join. So I brought in colleagues, we secured scholarships, venues, and accommodations. Eventually, I established the Faviola office, which now manages the PR and organization of the festivals year-round. As artistic director, I’m there for the 100 souls of the festival at every event.
Today, the Starnberg Music Days are an international cornerstone of the music scene. You’ve since added festivals in Seefeld, Tyrol, and Flims, Switzerland. What’s the story there?
I visited Seefeld when I was 18 and immediately found it enchanting—idyllic and beautiful. Though known for Olympic sports, I felt music in the air. Years later, after winning the Lions competition in Hamburg, I met Sebastian Sauter, a Lions Club member from Seefeld. I told him about my idea to bring the festival there, and we decided to organize a concert. I told him, “Invite whoever you want.” Among the audience were the mayor, council members, and other local leaders. They loved the idea, and for the past 15 years, Seefeld has been part of our festival family.
What motivated you to expand to Flims, Switzerland?
After many successful spring and summer academies, I wanted to add an autumn program to support young musicians year-round. Three years ago, Flims became the perfect location for this vision. We’re excited to continue exploring the town, both musically and personally.
From Easter to October, the Music Academy Circle offers students masterclasses, chamber music, and concerts. But it’s more than just music, isn’t it?
Absolutely. Like the Music Days themselves, the program has grown naturally. Luthiers demonstrate their craft in open workshops, there are lectures on music and composition, and we even go to the cinema together to discuss films. Physiotherapists help musicians understand their bodies, as the instrument is simply an extension of the self. We’re also integrating work with psychologists to help young artists in their self-discovery. The program includes chamber music, group lessons, orchestras, solo and open-air concerts, as well as awards for participants and audience favorites. And we eat, play, sing, and hike together.
And the masterclasses: four intense days with a professor. What do these sessions offer?
They give students the chance to work with extraordinary musicians, build connections, gain inspiration, and meet like-minded peers. Each professor has their own focus, but for me, it’s about understanding and pushing personal boundaries. I believe everyone has endless potential within them. My goal is to help students find the courage to uncover what lies hidden and explore their unique sound.
With your professorship at the Stella University in Austria, annual masterclasses, and a career as an internationally renowned violinist, do you ever think about stepping back from the festivals?
Never. This project has grown with me, and I with it. The locations, the participants—many of whom have returned for over a decade—the professors, and the friends and colleagues involved truly feel like family. We’ve also received tremendous feedback from local communities and the thousands of audience members who attend every year. Sponsors increasingly want to support us and help foster the next generation of musicians.
What keeps you motivated to continue year after year?
Behind the scenes, Faviola and I handle a lot of work. While the festival office focuses on logistics, scholarships, and advertising, I dedicate myself year-round to artistic planning and leadership. It’s immensely rewarding, and the festival itself propels me forward.
I told you I came from a “silent island” lacking diversity. When you’ve experienced scarcity, you realize that diversity is society’s greatest gift. Through the Music Days, we’ve created a place where people from different backgrounds come together and speak the universal language of music. Each year, it’s a privilege to witness the growth and connections among these young people.
You’ve already guided an entire generation of musicians. What do you hope for the future?
Many alumni now play in top orchestras, teach, or enjoy successful performance careers. Having received so much support myself, I’m committed to helping young people find their paths. If even a fraction of our participants are inspired to give back to the next generation, then we’ve set a wonderful chain of generosity in motion.
Finally, is there a memory from the Music Days that stands out to you?
There’s one: A mother brought her autistic son, who was exceptionally gifted. When I extended my hand to greet him, he took a large step back. We worked together for six days. At the end of the masterclass, he hugged me.
I’ve come a long way in life, but that moment felt like crossing an infinite distance—from a step back to an embrace. I will never forget it.
Thank you for sharing your story, Mr. Turku. Any advice for young artists based on your experiences?
Don’t define your limits. You have endless possibilities. Trust yourself and stay adaptable. Explore new paths. Take care of your body and mind. Look beyond your immediate world—what’s happening globally? What legacy are we leaving? Be mindful of the influences around you and the impact you can make. Music has the power to drive change, even politically. Be aware of your strength. Your violin is a bow and arrow—learn to shoot it straight to the heart. And pass on the gifts you’ve received to the next generation.
Thank you for this inspiring conversation!
Thank you!