The development history of the violin in the Baroque era (detailed version)

The violin had essentially taken its current shape by the mid-16th century, so Baroque-era instruments look almost identical to modern violins at first glance. In fact, most of the most rare modern violins were made during the Baroque period by makers such as Amati, Stradivari, and Guarneri. However, when these manufacturers originally built their instruments, they made the necks shorter and protruded straighter from the end of the body. They also made a much smaller bass bar - a strip of wood that was glued under the top of the box. Most of the modifications to the current design were made in the early 19th century.

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The angel plays the violin with his thumb on the bow hair. Giovanni Francesco Barbieri (1591-1666) resting on a flight to Egypt (detail) on "Il Guercino". Cleveland Museum of Art 1967.123.

 

 

 

 

 

Baroque violin by Jacob Stainer (1668) in its original state (top) compared with the outline of a modern violin by Vuillaume (1867).

 

 

 

 

Baroque violin. Sonata No. 3 by Johann Schmelzer (excerpt), performed by Ingrid Seifert with the London Baroque Orchestra. From Venice to Vienna. EMI CDM 7 63147 2 (1989). TRK12.

The physical differences between modern violins and Baroque violins mean that Baroque violins are softer. The fact that the neck is tilted back on modern instruments means that the string tension can be higher without breaking the neck. The use of steel strings instead of strings and a larger bass bar also help make modern instruments sound louder. However, this Baroque instrument actually resonates more easily because the box is under less tension and vibrates longer after the bow stops moving. This helps explain why chordal passages (such as many works by Heinrich Bieber and Bach's unaccompanied sonatas and partitas) work so effectively on the Baroque violin.

 

 

 

Two violas and two violins and harpsichord. Concert by Antonio Domenico Gabbiani (detail). Berlin, Archives of Art and History. 

 

 

 

 

Francesco Verasini plays violin. The first volume of his Academy Sonata (1744).

 

 

 

Baroque violin. Vivaldi Concerto RV 332, 3rd mvt. (excerpt). "Il Giardino Armonico: The Four Seasons", soloist Enrico Onofri, director Giovanni Antonini. Teldec 4509 9761-2 (1994). TRK18.

One major aspect of string playing that underwent some changes during the Baroque period was the bow. Early Baroque bows were quite short, and the player's thumb usually rested on the bow hair. This way of holding the bow (along with the use of shorter bows, which were best suited for dancing) continued in France until the 18th century, but fell out of use long ago in Italy. The late 17th century saw the emergence of longer bows, but still with a softer attack and a basic diminutive contour (visual and musical). This is what is commonly referred to today as the "Baroque bow." Transitional bows with "tomahawk" heads appeared in the second half of the 18th century, and the Tourt bow took its current form about 1785. One major difference between modern bow technique and Baroque bow technique is that Baroque archers allowed more of the bow's own weight to rest on the string, allowing the bow's natural tendency to shape the sound—soft attack, crescendo, and diminution. A smaller type of violin called a "kit" or "pochette" was also used during the Baroque period, and was particularly associated with dancing masters because they could carry it with them on the dance floor.

Baroque violin. JS Bach's Gavotte from Partita No. 3 in E major (BWV 1006) (excerpt). Performed by Sigiswald Kuijken. JS Bach Sonatas and Partitas. German World Harmony Orchestra GD77043 (1983). Disc 2, trk 12.

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Bow silhouette comparison. 1) French dance bow, circa 1700. 2) Baroque "sonata" bow, duckbill bow. 3) Baroque "sonata" bow with barracuda head. 4) Transition bow. 5) Tourt Bow.

 

 

 

Clutch and bow with box (Paris, circa 1660). London, Victoria and Albert Museum.