Fiddlover Blogs

During the Baroque period, violin-making was a thriving industry. The rapid development of music in the 17th century created a high demand for instruments, which in turn stimulated the growth of the instrument-making trade.

The glory and decline of the glorious Baroque era

The number of craftsmen involved was remarkable, and it would be quite challenging to chronicle all their work or even just mention all their names. Previously mentioned were only the most significant and outstanding master makers, but these were also the most representative masters of their respective schools. Through their work, we can perhaps gain a general idea of the state of violin-making during that era.

It is worth noting that all these masters lived and worked within a relatively short historical period, with many of them being contemporaries. Perhaps the first half of the 18th century should be considered the pinnacle of violin making, as it was during these decades that Antonio Stradivari and Giuseppe Guarneri found their ideal styles and crafted the finest instruments. However, it was also during these decades that the last generation of the greatest master makers passed away one by one.

Stradivari ended his long and prolific career in 1737, and Giuseppe Guarneri lived only seven years longer. Many other great makers also disappeared during this period. In the latter half of the 18th century, there were still many excellent makers working in Italy, such as Giovanni Battista Ceruti (about 1755-1817), Tomaso Balestrieri (flourished around 1750-1780), Pietro Antonio dalla Costa (flourished around 1740-1768), and others. The Gagliano family continued to excel in the craft, passing down the tradition from generation to generation. However, none of these outstanding makers were able to make contributions to violin making that could compare to those of Stradivari or Giuseppe Guarneri. In fact, after the mid-18th century, there were no makers in the history of violin making who could be compared to these masters. Although excellent violins continued to be produced, the overall trend was not as favorable as it was in the first half of the 18th century.

There is no reason to believe that all geniuses are concentrated within one or two centuries, leaving future generations destined to be mediocre. From a statistical standpoint, genius is likely distributed relatively evenly throughout history, but whether individuals have the opportunity to fully develop their potential often depends on the specific circumstances of the time period in which they live and work.

In fact, the phenomenon of outstanding masters' activities being concentrated within a relatively short historical period and then suddenly disappearing is not uncommon in cultural history. For example, during the 15th and 16th centuries in Italy, Leonardo da Vinci, Michelangelo, Raphael, and Titian created their masterpieces, marking the golden age of the Italian Renaissance. However, the subsequent decline came rather abruptly, and Italy has never since played such a prominent role in art history. If we consider many similar examples, the events in violin making history after 1750 become easier to understand.

From 1500 to 1750, violin making experienced rapid development, resulting in an accumulation of increasingly excellent violins. However, after 1750, there was not as much demand for high-priced, outstanding violins. Instead, there remained a need for instruments of acceptable quality at more affordable prices. Furthermore, as time passed, the demand for repairs on existing instruments increased, often more beneficial for instrument makers than creating new instruments.

It was under the influence of these pragmatic factors that fewer top-quality instruments were produced, and the overall quality of violins declined from its peak. The prosperity of the early Italian violin making industry can largely be seen as a direct result of the rapid development of instrumental music in Italy. However, after 1750, the roles played by Germany and Austria became more significant, even dominant.

This shift is also reflected in Italian violin making. Italian violin makers continued to produce and export their excellent instruments, but their most glorious peak had passed.

Perhaps the most significant development in the history of violin making after the mid-18th century is that almost all old violins underwent some changes.

The violins crafted by makers such as Amati, Stradivari, Guarneri, and all others mentioned earlier are now referred to as Baroque violins. These instruments were designed for Baroque music and are best suited for performing Baroque music, including its specific repertoire, style, techniques, and performance contexts. The challenge arises because all these factors are not fixed but constantly changing. Almost every step forward in music brings about some changes, and the accumulation of all these changes demands modifications to the instruments themselves to meet the requirements of the new era.

The evolution of the violin

If we were to enumerate the direct causes that prompted these changes, we might first note the expansion of the range used in violin music.

Initially, the violin was not a solo instrument but was used to double vocal parts and accompany dances. At that time, violin playing techniques were relatively primitive and simple.

In the early 17th century, the violin began to be used as a solo instrument for the first time. The earliest works by Biagio Marini (Affetti musicali, Op.1, 1617) could be entirely played in the first position. However, position playing techniques rapidly developed, reaching the third position in Ottavio Maria Grandi's works (Sonate per ogni sorte di stromenti Op.2, 1628), and requiring the sixth position in Marco Uccellini's Op. 5.

While surviving works by Vivaldi rarely demand beyond the eighth position, there is evidence that he also used much higher positions.

In the following century, Pietro Locatelli utilized up to the seventeenth position in his "L'arte del violino" (1733), a practice rarely seen even today. The use of high positions undoubtedly brought about certain changes in the structure of the violin, particularly in the fingerboard and neck. This also necessitated higher string tension, thus leading to further alterations. Another significant reason for change was the demand for increased volume brought about by the development of instrumental music.

After 1700, the violin concerto genre began to flourish in Italy. Initially, soloists were accompanied solely by string instruments, but sometimes soloists had to compete with thirty to forty other instruments.

In the subsequent period, the birth of the classical symphony occurred. Its development, along with the expansion of orchestra size and the performance of public concerts in larger venues, demanded increasingly powerful violins. A larger and more penetrating sound became crucial. This is why not only the neck and fingerboard but also the bass bar, bridge, soundpost, and strings had to undergo significant changes.

We can explore the changes that occurred in various parts of the violin during this period and to what extent these changes occurred. However, it's important to remember that unlike modern violins, the term "Baroque violin" is a relatively general term that encompasses all violins made during this era.

There were no strict specific standards. There were various types of violins, especially in terms of size and dimensions. Therefore, all we can do is to point out the general trends in development, and obtaining precise information about these changes is not easy.

A notable characteristic of Baroque violins is that the neck and body are on the same plane. Typically, three pegs are used to secure this "straight" neck to the body. To achieve the required angle for the fingerboard, a wedge-shaped piece of wood is inserted between the fingerboard and the neck. Later, even the fingerboard itself was made wedge-shaped. However, necks and fingerboards fixed in this manner were not sturdy enough for increased volume demands. The reason being, increased volume inevitably leads to increased tension. Thicker strings require longer effective string lengths, thus necessitating a longer neck. Increased amplitude of string vibration demands higher bridge height; all of which increase tension. The inevitable change was altering the angle of the neck, making the scroll lower than the plane of the body. The angle between the neck and the body ensures the distance between the vibrating strings and the soundboard.

The wedge-shaped wooden insert between the neck and the body of Baroque violins became unnecessary and was discarded. The neck of Baroque violins is usually shorter (though not always) and was extended by approximately 30 millimeters during the modification process. Therefore, new necks are typically used to replace old ones, although the scroll and pegbox are often retained. In the early 17th century, fingerboard lengths were only about 190 millimeters, allowing for up to the fifth position at most. With the development of position playing techniques, fingerboard lengths naturally increased. By the 18th and 19th centuries, fingerboards had lengthened to 265 millimeters, and later further extended to the modern standard of 270 millimeters.

The bridge of a Baroque violin also needed to be altered. Typically, too much wood was removed, its feet were too thick for the higher tension, and the bridge height was too low, usually around 23 to 25 millimeters. While this design was helpful in producing a transparent sound, it was insufficient for filling a large concert hall. Therefore, all old bridges were replaced with modern-style bridges, with heights increased to 27 to 32 millimeters, and even up to 35 millimeters. These taller bridges also changed the angle formed by the two parts of the strings at the bridge, resulting in much greater tension. With the increased tension, the delicate Baroque soundpost was no longer sufficient to support the soundboard, so it had to be thickened, its diameter increasing from 3 millimeters to 5 millimeters during that time, reaching 5-7 millimeters today. Even more importantly, the bass bar, crucial for the resonance of the lower tones, had to undergo thorough changes. The Baroque-era bass bar was too short, too thin, and too narrow. In the 18th and 19th centuries, its length increased from the original 120 millimeters to 175-280 millimeters. Nowadays, it can even reach 270 to 290 millimeters and is much thicker and wider.

The part that underwent the least change was the violin body. Although there were indeed some Baroque violins crafted by makers such as Stradivari, Stainer, and especially Guarneri, where the soundboard was made thinner to resonate better (although this practice was not always successful), the designs of these masters' violin bodies remained unchanged. This design was so exceptional that, when combined with modernized fingerboards, bridges, soundposts, and bass bars, they could produce a sound capable of meeting all the requirements posed by later developments. This may also be one of the reasons why so many string instruments, such as the viola da gamba, were phased out, while the violin remained the most important high-pitched string instrument.

All these changes to Baroque violins occurred shortly after Stradivari and Guarneri had pushed violin making to its brilliant peak. Many of the finest Italian Baroque violins began to be altered as early as the 1770s, and this process of alteration continued for decades, so that by 1830 to 1840, in fact, all violins made before 1750 had been modernized. This work was so difficult and delicate that many fine instruments were damaged or severely compromised during the process. However, on the other hand, most old violins became suitable for later playing styles. Today, finding a completely original Baroque violin is very difficult. If we want to recreate the atmosphere of that earlier era in our performances, we may have no choice but to remake these Baroque instruments.

All these changes to Baroque violins occurred shortly after Stradivari and Guarneri had pushed violin making to its brilliant peak.

Many of the finest Italian Baroque violins began to be altered as early as the 1770s, and this process of alteration continued for decades, so that by 1830 to 1840, in fact, all violins made before 1750 had been modernized. This work was so difficult and delicate that many fine instruments were damaged or severely compromised during the process. However, on the other hand, most old violins became suitable for later playing styles.

Baroque Violin Now

Today, finding a completely original Baroque violin is very difficult. If we want to recreate the atmosphere of that earlier era in our performances, we may have no choice but to remake these Baroque instruments.

Baroque violin bow recommendations

4/4 Snakewood Baroque Violin Bow B214

Price: $196

Click on the image to see details of the Baroque bow.