Nicely explained. Just one suggestion- if you want your clipin bow to last a long time without repair, you shouldn't click the frog in and out as you did in this video- that makes for a lot of wear and tear at the front of the frog and slot. Bend the bow so there's no tension on the hair first. cheers from a bowmaker who's built and repaired many clipin bows.
Very informative video but could you post another where you play the baroque violin with a baroque bow alongside a modern one so that we could hear the difference?
Whenever I see someone else holding a violin, I always think they look bigger than I expect, but then when I hold a violin in my hands, it feels incredibly small.
I got to try playing a half million dollar plus Amati violin, and it was just amazing. Very interesting how different it was from my modern (and cheaper...) violins that I own. Sounded spectacular too of course for a price tag that high.
Wow, every generation gets an easier way. I bought-up the remaining (local) supply of "flint" to learn to make my own ignition flints for a muzzle loader. Guess the percussion cap is not "cool", well I now respect our founding pioneers a bunch more. Great video and this knowledge is valuable.
I enjoyed that talk. I'm no musician but it's good to understand the differences between the older violin and the more modern incarnation of the same instrument. It would have helped had there been sound to demonstrate how different they are but I'm sure there are other videos to watch which will give that information. Thanks.
Really? I would've been hugely disappointed to find it was just a sound clip from each one without any discussion of the physical differences. It might've been nice to have heard them both played, but I was mainly here for the technical details, not the sound.
The baroque violin sounds more folkish and gritty, and makes fine articulation better, as the instrument is much looser in construction. The modern violin can sound silkier and creates a louder sound to fill a large hall. Both offer different advantages and reflect the musical values of their respective time periods.
One important difference is that you can't play a Baroque violin in the eleventh position. You would be pressing the strings down to empty air instead of the fingerboard.
I'm in a music appreciation course. Because we are remote, I wasn't able to really tell the difference from the lecture. But this vid really made it clear. Thanks!
François Xavier Tourte (1747-1835) was a famous french bow maker whose former profession was clockmaker. He nicknamed "the Stradivari of the bow" because determining Pernambouc was the best wood for bow making due to its great suppleness, lightness and strength. He achieved experiences to obtain the better bow shape which becomes now the modern standard. In past times, bows were made of Snakewood (Bois d'Amourette / Brosimum Aubletti) for its resistivity but it was an heavy wood.
I have to ask a question. Stradivarius and other older violins made during the Baroque Period which continue to be played today in a modern setup would mean that those old instruments of high-value have been altered. Why then does that not affect the price negatively as they are no longer in their original configuration? Antique furniture for example if altered or refinished takes a huge drop in value from an original piece that has not been tampered with.
I- Woods used to make bows were different in accordance to the period, the technical and style needs No wood is versatile Snakewood was used at the very late of the baroque period and during the classical times During the baroque period the bow wood depended on the producing country and the wood availability. Italian makers used frequently the yew while german's rather larch. English, french, spanish or dutch who had colonies in America or Africa used exotic woods instead of locals
Certainly this is a great video ! I wish some sound samples were inserted for our pleasure. I am still a Learner, starting late ! I have an old Chinese Bow (1995) that got distorted. The wood is curving outward. For some reason, I have the impression that this outward curve of the wood, reduces the bow bouncing. Recently, I saw on the net the new incredibow with outward curve. Have not tried it yet. Thank you.
I would assume, given that he said the lengths weren't standardised, it would possibly have been down to the personal preference and dimensions of the violinist of the period. This is, of course, my own personal hypothesis.
The baroque violin is noticeably lighter also. I have a handmade modern baroque violin made by a now retired luthier from the violinmaking school in Salt Lake City...it is now 25yrs old and sounds like it should..warm with a solid core acoustic wood sound...with a nice sympathetic ring after the short bow attack ends...a kind of hum...good wood and great materials..the fingerboard is veneered spruce!...light as a feather and a pleasure to play...sometimes we get lucky and win the tone lottery...5 grand in 1996...wouldn't sell it for under 25 grand today...I am 70 yrs young...maker was John Jacob Karwandy..labelled john jacob karvendi...an award winner in Canada...thanks for the info...I actually enjoy learning new stuff about my past musical adventures.
I had thought that Baroque violins were shorter by an inch or two, not as short as a 3/4 vs a 4/4 however. I was surprised to see that the two instruments compared at the beginning were similar in body length.
I've been fancying to play the violin. Though, now I am interested in playing the baroque violin as well. Should I start by playing the baroque, or modern violin first?
The top of my Meinel violin body has the same shape as the first modern fiddle you showed. I’ve never seen that same shape. It doesn’t look like a Strad.
I am learning Bach to play for a wedding of on of my friends. I have a moth to learn it, and I wanted to know if you could give me tips on learning it. Also, I've been wanting to know the difference between the tuning of a baroque and a modern. Emilie Autumn, a violinist, said that the baroque was tuned in slightly lower notes than a modern violin.
Joseph Barnabé Saint Sevin so called "L'Abbé le fils" (1727-1803) was a famous french violinist and composer. He was a pupil of the great violin virtuoso Jean Marie Leclair. He taught about the chin rest in his violin method (1761) "Principes du Violon, pour apprendre le doigté de cet instrument et les différens agrémens dont il est susceptible » œuvre dédiée à Monsieur le Marquis de Rodoüan de Damartin, It proves the chin rest was used long before the method publishing.
Aso the tuning changed over the years. Bach's era was 415 HZ I believe - gut strings etc. Later various tuning but 432 to 435 was used. Now it's 440 and everything has become larger, longer and perhaps some of the natural beauty inherent in a 432 HZ has become lost? These pieces were composed at a time when the HZ was lower. So now the intended sound is different. If you play a stringed instrument, try tuning down to 432 and give it time to develop.
II- Snakewood is acceptable only for Baroque or classical bows while pernambuco is mostly recommanded for the romantical or modern violins because it is a responsive wood which has a greatest reactivity However on a period bow the hair tension of the bow is given by fingers only when the frog is non adjustable that's to say without ferrule or rack This is the reason of this technique You have to inform about the wood properties but not on your bow maker reputation
II- However, previous and during the Baroque period only hazelnut, yew, larsh and later snakewood were used for bow making. Pernambuco was used mainly for romantic bow. Today it's proved carbon fiber is the best and cheaper material for bow making. Though in aim to respect the time uses, the frog wouldn't be equiped with ferrule on a baroque bow but with rack, would you ? Producing tiny sound doesnt involve the bow but the violinist ability and sometimes the violin on a baroque model.
I- According to bow makers, pernambuco is more resilient, suppler, lighter, more homogeneous than snakewood. So, It's rot resistant and can be put out of form scarcely. Snakewood has this qualities too but in a less degree. The snakewood disadvantages are its weight and its highter rigidity. Snakewood can included knots too leading to fissures and cracks. Pernambuco bows are well believed to be of the best quality by all the makers. But the most important is the bow maker adjustements.
@bandreification I know. Absurd. I might as well have read a wiki entry instead. The BaroqueBand segment on clavichord/harpsichord/piano is outstanding, though.
No handmade Violin is the same, they all have their own unique character because even the wood used uses different parts, from different trees, and different types For each violin. (I know its not relatable with the Topic)
