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Many Indonesians know of him only as “the guy who plays violin in that coffee commercial,” but in Europe, Iskandar Widjaja is known as a violin prodigy.

His technical aptitude as a young violinist mixed with his poignant performances on stage have led to him playing at acclaimed concert halls including the Konzerthaus Berlin, the Tel Aviv Opera House and the Opera di Brescia.

“In Europe, there’s more appreciation for fine arts, and there’s lots of support from the government, such as scholarships for musicians,” Iskandar said via Skype.

“I think Berlin is a Mecca of culture. You have all the important concerts here. Plus, music education is cheap here.”

A Berlin resident of Indonesian descent, Iskandar was born and raised in Germany by a pianist mother.

At four years of age, he was first introduced to the fiddle, and since then he hasn’t stopped perfecting his prowess with a bow.

“I told my mother that I wanted to play the violin, so she took me to an instructor who teaches using the Suzuki Method,” the 25-year-old said. “I have never quit practicing since then.”

Developed in mid-20th century, the Suzuki Method is based on the idea that every child, if properly taught from a young age, is capable of high-level musical achievement through an instinctive approach, like learning a mother tongue.

Originally, the method was used to teach violin, however it has since been adapted to other instruments such as the flute, piano, guitar and cello.

With his talent, Iskandar performed a Vivaldi concerto in Italy at the age of seven. Before he had even entered high school, the tall, slender violinist was accepted at Berlin’s Hanns Eisler music academy.

“I was 11 when I joined the program, so I would go to school like usual in the morning and then went to the college to practice violin in the afternoon,” Iskandar said.

To further improve his skills, Iskandar entered the Julius Stern Institute in Berlin, one of Germany’s leading music schools. He went on to the University of the Arts in Berlin under professors Uwe-Martin Haiberg and Ilan Gronich.

Having completed his formal studies last year, Iskandar still practices every day for up to seven hours, and squeezes in extra preparation ahead of concerts.

“Every composition is hard in its own way,” Iskandar said. “With an emotional composition, you have to deliver a very tender, emotional sensitivity. With a virtuoso composition, you need to focus on technical brilliance and showmanship.

“But you have to make it look easy. The audience should not notice that it’s incredibly difficult to play the violin.”

Asked why he opted for violin instead of other instruments, Iskandar said: “The violin’s sound resembles the human voice.

“In my opinion, the human voice is the most touching instrument. When you hear somebody sing, you can instantly relate to the person and I think the violin is very close to that. The piano, for instance, can be very abstract at times, while violin is more personal.”

The violin is more than just an instrument to Iskandar; it is an emotive device in its own right.

“In the end, the violin is a tool to express emotion through music. My violin is a F. Geissenhof, Vienna 1793, which is much older than I am and it will exist long after I pass away,” Iskandar said of his favorite violin, which he has owned for about nine years.

When playing, Iskandar prides himself on his honesty and precision.

“Like Robert Schumann — one of my favorite composers — I can never hide what I think and feel about a composition, my emotion toward it. Sometimes it can be very extreme, like aggression and depression.

“Schumann is crazy, romantic and poetic. He has this combination of madness and romantic, melodious language. He’s a very honest composer and he displays his most intimate and fragile feelings, which makes him incredibly vulnerable. To be vulnerable is very touching.”

Nevertheless, understanding that not everyone is as familiar with classical music as he is, Iskandar also loves to play Johann Sebastian Bach’s pieces.

“He has the perfect balance and it’s also the most universal music. So, most people can enjoy it.

“But I wouldn’t put significant borders around music genres because in the end, it’s all about quality. Any kind of music can be played well or badly. I think the audience will notice whether it’s a great performance or not even if they’re not specialists.

“I’m very grateful that I’m getting good responses from people, even from those who are not familiar with classical music. I can feel their energy and excitement.”

Iskandar is not only playing for the sake of beauty; he wants to deliver sensitivity, quality and musical cognizance in unison. He often explains to audiences the structure of pieces and their histories so people can relate.

“Playing violin gives me a feeling of being alive, it’s like a meditation. It gives a sense of purpose to my life,” Iskandar said.

He has given recitals and performed as a soloist and chamber musician in several countries including Indonesia, where he serves as a musical advisor at Musik Klasik Indonesia Company.

His engagements this year include solo performances with the Dubrovnik Symphony Orchestra, Sydney Symphony Orchestra, Das Sinfonieorchester Berlin at Berlin Philharmonic Hall, l’Orchestre de la Suisse Romande, and a recital tour through Southeast Asia.

“Going on tour is fun because I love traveling and when I do, I always look for new energy and inspirations,” Iskandar said. “Instead of just staying in the studio the whole time to focus on the technical stuff, I meet different people and learn from them.”

Iskandar’s talents have produced not just a steady stream of concert invitations, but also prizes for his performances.

In November 2009, he received the Goldener Julius award in the “Young Talent” of Berlin as the best cultural newcomer. He also won a gold medal at the International Hindemith Competition in 2008 and received scholarships from the Deutsche Stiftung Musikleben and the Gerd Bucerius Foundation.”

With countless awards, competitions, scholarships and international fame, Iskandar can certainly give himself a pat on the back.

“All these blessings only make me more grateful, they don’t really change me in any way,” he said. “The music itself has sculpted me. I have made myself a tool for classical music, nothing more.”

And what about those female fans who may idolize him more for his looks than musical talent?

“Fans in Indonesia have been very sweet to me. I take that as a compliment and I don’t mind as long as it serves the purpose of developing classical music in Indonesia.”

Indonesian fans of all motivations can get excited, because Iskandar is planning to visit Medan in October, and Yogyakarta and Jakarta in November to promote his debut album, “Bach ’n’ Blues.”

The album consists of compositions by Francis Poulenc, Maurice Ravel, Heinrich Ignaz Franz von Biber and Johann Sebastian Bach.

“The album is a combination of conservative/classical- and jazz/pop-influenced compositions,” Iskandar said.