More results...

Claire Givens Violins, Inc

Dealers, Makers & Restorers of Fine Violins, Violas, Cellos & Bows

the fine art of restoring, conserving, and building historic musical instruments

More results...

Choosing the Right Children’s Violin, Viola, or Cello: A Parent’s Guide

by

A Parent’s Guide to Choosing the Right Children’s Violin, Viola or Cello

Starting a child on a string instrument is a wonderful investment in their creativity, discipline, and sense of expression. Whether your child is interested in the violin, viola or the cello, choosing the right instrument, and the right size, is essential to ensuring that their first experiences are comfortable, positive, and musically satisfying.

A child playing a fractional violin with guidance from a parent, demonstrating proper setup and sizing for young beginners.

A child learning to play a fractional violin with hands-on guidance. Correct instrument size and posture are key to early musical success.

Many parents understandably feel overwhelmed when faced with a wall of unfamiliar sizes and pricing options. At Givens Violins, we work closely with families to help navigate this process, always prioritizing musicality, playability, and proper setup.

Understanding Fractional Sizes

Violins and cellos come in a range of fractional sizes to accommodate players at different stages of growth. While a full-size (4/4) instrument is typically suited for adults and older teens, children often begin with smaller instruments such as 1/10, 1/8, 1/4, or 1/2 size, depending on their age, arm length, and overall build. 

For the violin, the most common sizes for young beginners range from 1/10 to 1/2. Violists often start with an 11” viola which is the same length as a ½ size violin.For cello, 1/8 to 3/4 sizes are often used. It is important to remember that fractional sizes are not precisely scaled mathematically, they reflect general size categories that vary slightly by maker.

Proper sizing should always be assessed in person. A correctly sized instrument allows the child to maintain a relaxed posture, avoid overreaching, and develop technique without strain. Playing on an instrument that is too large can lead to physical discomfort and discourage progress.

Why Setup Matters at Every Size

Even a small or entry-level instrument should be properly set up by a knowledgeable luthier. This means that the bridge is correctly shaped and fitted, the fingerboard is smooth and even, and the strings are at a comfortable height. A poorly adjusted instrument, even if inexpensive, can be difficult to play and sound muted or scratchy.

When the instrument is well set up, the child can focus on learning rather than fighting the instrument. They are more likely to enjoy the sound they produce, which builds motivation and confidence.

Buying vs. Renting

For many young beginners, renting a fractional size instrument can be a smart and economical choice, but there are distinct playing advantages to owning too. Children grow quickly, and it is not uncommon to change sizes every 6 to 18 months in the early years. A quality violin shop will provide instruments that are professionally set up and maintained, with the flexibility to exchange sizes as needed.

Avoid mass-produced instruments sold online without proper setup. These can be frustrating to play and may require expensive adjustments just to become usable.

At GivensViolins.com we offer a trade up program that helps ensure your child can continue to use an optimal instrument as they grow, while helping to mitigate costs over time.

When to Consider Stepping Up

As your child grows physically and musically, their needs change. A more advanced instrument may offer better projection, richer tone, and greater responsiveness. These qualities support developing technique and encourage more expressive playing.

Your child’s teacher is a valuable partner in identifying when the time is right to move up in size or quality. Many music programs will even hold “size checks” at the beginning of each school year.

Supporting the Musical Journey

Introducing your child to a string instrument is a gift that extends beyond music. It fosters patience, attention to detail, and a sense of accomplishment. Choosing the right instrument is part of nurturing that experience.

We invite you to visit Givens Violins to explore our curated selection of fractional violins, violas and cellos. We are here to ensure that your child begins their journey with the right foundation.

 

Choosing a Fractional Violin, Viola, or Cello for Your Child

by

What Makes a Good Starter  or Fractional Violin, Viola, or Cello for Children?

Three fractional violins of varying sizes shown side by side, illustrating differences in body proportions for student sizing.

Side-by-side comparison of fractional violins in different sizes, designed to accommodate young players at various stages of growth.

Choosing a first string instrument for your child is both a joyful milestone and a meaningful responsibility. Whether your young musician is starting violin, viola, or cello, the quality and setup of their first instrument will shape their early musical experiences. A well-chosen starter instrument inspires confidence and curiosity. A poor one can hinder progress, frustrate effort, and even lead to giving up.

At Givens Violins, we have helped thousands of families find the right instrument to begin their musical journey. Our approach combines thoughtful sizing, careful setup, and a commitment to tonal quality, even at the student level.

Playability Comes First

For young beginners, playability is the most important feature of any instrument. A good starter violin, viola, or cello should speak easily under the bow, respond clearly across all strings, and be physically comfortable to hold and play. This is especially important for smaller hands and developing muscles.

Too often, inexpensive instruments sold online are difficult to play due to poor setup. The bridge may be too high or too low, the fingerboard may be uneven, or the strings may require excessive pressure to produce sound. These issues make it harder for students to learn correct technique and can slow their progress significantly.

When the instrument is properly adjusted, bridge height and curvature, string spacing, nut shaping, and peg function, it becomes a reliable partner in the learning process. The student can focus on building skills instead of struggling against physical limitations.

The Importance of Proper Sizing

Fractional sizes are available for violins, violas, and cellos to accommodate children of different ages and body types. A properly sized instrument allows for relaxed posture and natural hand positions. Playing on an instrument that is too large can lead to poor form and even injury.

Violas in particular require special attention. Unlike violin and cello, viola sizes are not expressed as fractions but in inches, typically ranging from 11 to 15 inches for student models. The correct size is determined by the length between the neck and the wrist when the child holds their arm out straight. A properly sized viola should rest comfortably on the shoulder with the arm slightly bent.

We always recommend having a child sized in person by a knowledgeable teacher or shop staff member. Sizing charts found online can be helpful for general reference, but they cannot account for individual proportions and comfort.

Sound Quality, Even for Beginners

Beginner instruments should produce a warm, centered tone. While tonal complexity may develop with higher-end models, even a first instrument should have a pleasing sound. Harsh, shrill or nasal tones can discourage young players and make it harder to distinguish pitch or develop musical sensitivity.

Quality of sound is influenced by materials, workmanship, and setup. A good student instrument will use properly aged tonewoods, a carefully graduated top plate, and quality strings selected for that instrument’s size. These features contribute to better resonance, response, and projection, making it easier and more satisfying to play.

What About Brand Names and Outfits?

Parents are sometimes drawn to instruments that come as part of bundled “starter kits” or outfits with accessories included. While this can seem convenient, it is important to recognize that these packages often compromise on the instrument itself.

Rather than choosing based on brand or bundled accessories, look for instruments curated and adjusted by a professional violin shop. The difference in sound, playability, and long-term reliability is significant. Ask questions about how the bridge was fitted, whether the fingerboard has been planed, and what type of strings are included. These details often determine whether the instrument supports learning or hinders it.

Perspective on Renting for beginning students

For many families, especially those just beginning, renting a violin, viola, or cello is a smart option. Children grow quickly, and fractional sizes may only be used for a year or less. Renting allows the parent to have some time to determine the interest of their child before purchasing an instrument & bow..  The downside is that few rental instruments are set-up well.

At Givens Violins, our fractional instruments receive the same attention to detail as our full-size inventory.  We don’t have a rental plan (except for fractional violas) but our 100% trade-in policy allows families to move from one size to the next with minimal new investment. 

Investing in the Experience

Choosing the right starter instrument is not just about getting something that works, it is about setting a foundation for musical growth. A child’s early experience with sound and feel, posture and tone, can determine their enthusiasm and momentum in the months and years ahead.

The most important thing is to, start with quality. Your child’s hands and ears deserve it, and the difference is felt from the very first note.

At Givens Violins, we are always available to answer your questions, assist with sizing, and guide you through the many choices. Our goal is not just to supply an instrument, but to help foster a love of music that lasts a lifetime.

Baroque vs. Modern Violin: A Comprehensive Guide

by

Baroque vs. Modern Violin: A Comprehensive Guide

Baroque and modern violins may look similar at a glance, but they differ in construction, setup, and playing style. This guide provides an expert comparison, covering how materials and design affect sound and technique, with insights for collectors interested in historical instruments.

                     Hermann Joseph Stoss 1729 Baroque violin from Füssen, authentic example in the Givens Violins collection Back of Hermann Joseph Stoss 1729 Baroque violin from Füssen, richly flamed maple – Givens ViolinsScroll and neck detail of Hermann Joseph Stoss 1729 Baroque violin, original Baroque setup – Givens Violins

                                             Hermann Joseph Stoss violin, Fussen 1729

Construction and Design Differences

Neck and Fingerboard: Baroque violins have a shorter, thicker neck set at a shallower angle, usually without a supporting neck block, whereas modern violins feature a longer neck angled back for higher tension. The fingerboard on Baroque instruments is shorter and often slightly wedged (thicker at the body end) since early repertoire didn’t venture into very high positions. The fingerboard surface is often a veneer of ebony glued to a spruce core.  Modern fingerboards are longer and nearly flat in thickness, optimized for virtuoso playing in high positions.

Bass Bar and Bridge: The internal bass bar (which supports the top plate under the low strings) is shorter and lighter in Baroque violins. Modern violins, seeking more power, have a longer, heavier bass bar to withstand greater string tension. Baroque bridges are lower and flatter in curvature, facilitating the playing of multiple strings at once (common in Baroque chords), whereas modern bridges are more arched, suiting single-string melodic playing and louder projection. These structural tweaks mean Baroque violins were built for a sweeter, resonant sound in intimate chamber settings, while modern violins evolved for volume and projection in larger halls.

Tailpiece and Tailgut: Original Baroque tailpieces were often wedged to alter string angle and made of light wood, with a tailgut (tailpiece gut loop) of actual gut. Modern violins use metal or nylon tailguts and heavier tailpieces. Additionally, chinrests were not used in the Baroque period – they weren’t invented until the 19th century – so Baroque violins lack the chinrest hardware mounted on modern instruments. The absence of a chinrest affects how the instrument is held; Baroque players typically gripped the violin partly with the left hand and against the collarbone, rather than clamping with the jaw.

Strings and Materials: Perhaps the most notable difference is in the strings. Baroque violins are almost always fitted with gut strings (made from sheep or cattle gut) for all strings. These gut strings give a warm, rich tone but at lower tension. Modern violins usually use steel or synthetic-core strings which can sustain higher tension and produce a brighter, louder sound. The higher tension of modern strings is one reason modern violins required structural changes like a stronger bass bar and steeper neck angle. Early violins also had tuning pegs, tailpieces, and fingerboards often made of lighter woods or stained fruitwood. Modern violins favor ebony for these fittings (pegs, fingerboard) for durability, which also adds weight to the instrument’s neck.

Bows: While not part of the violin’s construction, the bow used greatly impacts performance. Baroque violins are played with Baroque model bows, which are shorter and convex (bending outward) or straight, as opposed to the longer inward-curving Tourte bows of the modern violin. We’ll explore bows in detail in the bow section, but it’s important to note here because the design of instrument and bow evolved hand-in-hand.

A Modern violin (front and side view) with a longer neck, raised fingerboard, and chinrest. These adaptations, along with metal-wound strings, allow greater string tension and volume than Baroque models.

Sound and Tone Quality

These physical differences give Baroque and modern violins distinct voices. A Baroque violin, with its gut strings and lighter build, produces a softer, sweeter sound often described as warm and transparent. The tone has a rich complexity at lower volumes, ideal for the intimate acoustics of Baroque chambers. By contrast, a modern violin is engineered to project a brilliant, forceful sound that can fill a concert hall. The greater string tension and heavier bow allow modern violins to speak with a bold, declarative tone.

Contemporary listeners often notice the Baroque violin’s delicate bloom on each note – gut strings speak a split-second slower, yielding a gentle swell especially when played with a Baroque bow. Leopold Mozart in 1756 described the Baroque bow stroke as having a “small softness” at the beginning of each note, contributing to the nuanced swelling-fading envelope of Baroque violin tone. Modern violins, in contrast, respond quickly and aggressively under a modern bow, allowing for sustained, powerful legato and brilliant volume, but losing some of that natural swell.

Vibrato and Articulation: Another factor in perceived sound is playing style. In Baroque era practice, continuous vibrato was rarely used – vibrato was an ornamental effect, not the constant warming of tone employed by modern players. This gives Baroque violin sound a purity of pitch and timbre. Instead, Baroque musicians varied their bowing for expression, using the lighter bow to shape each note. Modern violinists, by contrast, use vibrato almost constantly to add warmth and intensity to sustained notes, contributing to the modern violin’s passionate singing quality. They also tend to sustain notes longer, whereas Baroque phrasing uses more detached, articulated notes by default (due in part to the bow’s nature).

Playing Technique Differences

Holding the Violin: Without a chinrest or shoulder rest, Baroque violinists often hold the instrument differently. The instrument might be held more against the chest or collarbone rather than tightly under the jaw. This affects left-hand technique: shifting positions must be achieved without a rest’s security. Baroque players develop a light thumb support and often use the left hand to help gently stabilize the violin. Modern violins, with chin and shoulder rests, allow the player to completely free the left hand for vibrato and shifting by clamping the violin between chin and shoulder. A modern player switching to a Baroque setup must un-learn the habit of squeezing and rely more on balance.

Bow Grip and Technique: The Baroque bow is held with a different balance; players often use a thumb-underhair grip or hold the bow higher along the stick, and naturally produce a speaking articulation where each bow stroke has clear diction. Rapid string crossing and chords are easier on Baroque setups due to the flatter bridge, which is why double-stops and triple-stops (playing two or three strings together) feature prominently in Baroque music. Modern violin technique favors sustained single-string melodies and powerful, even sound – techniques like long legato strokes and aggressive spiccato (off-string bouncing bow) are hallmarks of modern playing facilitated by the modern bow and violin setup.

Tuning and Range: Baroque violins were typically tuned to a lower reference pitch (often A = 415 Hz instead of modern A = 440 Hz or 442 Hz). This means Baroque violinists must adjust intonation when switching to modern instruments. The lower tension of gut strings at A415 contributes to a darker timbre. Also, because of the shorter fingerboard, Baroque violin repertoire generally doesn’t go as high up in pitch; 3rd to 5th position was common, but very high positions (above 7th) are rare in Baroque music. Modern violins with their extended fingerboards and supportive setup routinely play in high positions, enabling the virtuoso Romantic and 20th-century repertoire.

Perspectives for Collectors and Value

For collectors, the distinction between Baroque and modern violins is crucial. Original Baroque violins (built in the 17th–18th centuries) are rare in untouched condition. Virtually all old violins by makers like Stradivari or Guarneri have been modified (“modernized”) in the 19th century to meet modern playing standards. They had their necks lengthened and angled, bass bars replaced, and often new fingerboards and bridges fitted. For example, the famous 1716 “Messiah” Stradivari, often cited as a pristine specimen, in fact also has a lengthened neck and replaced bass bar and fittings. Truly unconverted Baroque violins are exceedingly scarce; most reside in museums or collections and are not played regularly.

Collectors therefore encounter Baroque violins in two forms: original-period instruments converted to modern setup, which are valued for their historical origin but function as modern violins; and authentic Baroque setup replicas or restorations, which are either recent reproductions or conversions of lesser-known old instruments back to Baroque style. The latter are used by specialist musicians in historically informed performance.

Value Considerations: A fine old violin by a master (Amati, Stainer, etc.), even if converted to modern form, holds immense value to collectors – often six or seven figures – due to its provenance. However, if one were to find an instrument still in true Baroque setup, that rarity could add to its collectible value (as a historical artifact) though it might not be immediately practical for modern performance without modification. Some collectors specifically seek instruments in original condition, even if not by the top makers, for the historical authenticity. On the other hand, modern reproductions of Baroque violins are generally valued for utility rather than investment – they are tools for musicians. These copies allow players to experience Baroque setup without altering a priceless original.

In terms of sound, many collectors and players note that even on a modernized antique violin, using Baroque accessories (gut strings, Baroque bridge, Baroque bow) can recapture much of the Baroque character. This underscores that the setup and playing technique contribute greatly to the sound. Therefore, the line between Baroque and modern can be somewhat blurred if one considers that an old violin can be set up either way. A collector who enjoys playing Baroque repertoire might outfit a fine old Italian violin in Baroque style – a reversible change if done carefully – to enjoy its original voice.

Choosing Between Baroque and Modern

For musicians, the choice between Baroque and modern violins depends on the repertoire and experience they seek. Modern violins are versatile and projective, required for most contemporary orchestra and solo work. Baroque violins (or Baroque setups) offer an authentic sound palate for 17th–18th century music, and many players find that using the true equipment of the era (gut strings, Baroque bow, etc.) unlocks new insights into phrasing and tone. It is not uncommon today for professional violinists to have two violins – one set up modern, and another in Baroque configuration – each optimized for its purpose. In fact, historically informed performance has grown so popular that Baroque violins have become relatively common in recent decades, with many violinists returning to older models or replicas to achieve an authentic sound.

Collectors appreciate both for what they represent: the modern violin is the culmination of centuries of refinement, while the Baroque violin is a direct link to the musical past, a time machine in wood and string. Understanding the differences outlined in this guide will help collectors make informed decisions and allow players to approach each instrument on its own terms, maximizing the musical possibilities contained in these marvelous violins of then and now.

We invite you to discover which violin is right for you, and shop our Baroque Violins at GivensViolins.com

.

 

Caring for Historical Instruments: Maintenance Tips for Baroque Strings

by

Caring for Historical Instruments: Maintenance Tips for Baroque Strings

Owning a historical stringed instrument or one set up in Baroque style is a joy and a responsibility. Whether you have a centuries-old violin with gut strings or a modern reproduction Baroque cello, proper care and maintenance are crucial to preserve its condition and ensure it performs at its best. Baroque instruments (often fitted with gut strings, natural materials, and delicate original parts) require some different care strategies than modern instruments. In this guide, we provide practical maintenance tips to help you keep your antique or Baroque setup instrument healthy – covering everything from controlling humidity for gut strings to gentle cleaning and storage.

Climate Control and Humidity

One of the greatest enemies of historical instruments (and their gut strings) is environmental fluctuation. Gut strings are quite sensitive to humidity changes: gut is a natural material that absorbs and releases moisture, which can cause it to expand or contract. Likewise, the wood in an old instrument – especially if it still has original Baroque construction like old glue joints or varnish – can react poorly to extreme dry or damp conditions.

Ideal Humidity: Aim to keep your instrument in an environment of about 30–50% relative humidity (RH). Consistency is key – sudden swings from very dry to very humid can cause gut strings to fray or even snap, and can lead to wood cracks or open seams on the instrument. Use a reliable hygrometer in your music room or instrument case to monitor RH. If you live in a dry climate or during winter heating season, consider using a room humidifier or case humidifier. Conversely, in very humid climates, ensure your case has some silica gel packs or use air conditioning/dehumidifier to keep RH in the safe range.

Temperature: Avoid exposing the instrument to extreme heat or cold. Never leave it in a hot car or in direct sunlight. Heat can soften glues (Baroque instruments usually use hide glue that can loosen in heat) and warp wood; cold can make wood brittle and cause tuning instability. A steady room temperature (around 65–75°F or ~18–24°C) is generally safe.

Storage: When not in use, keep the instrument in its case, in a temperate part of your home (not in an attic or damp basement). The case provides a buffered environment against rapid changes. Many violin cases for Baroque or modern violins come with built-in hygrometers – while those can sometimes be inaccurate, they give a ballpark. Check them occasionally and adjust environment accordingly. Storing the instrument in its case also protects it from drafts (hot dry air blowing directly on a gut string can dry it out quickly) and accidents.

Tip: If your gut strings seem to go out of tune drastically day to day, it’s often a sign of humidity swings. They might get sharp in dry weather (gut contracts as it loses moisture) and flat in humid weather (gut expands). If you notice this pattern, double down on humidity control to reduce the swings – your tuning will become more stable and the strings will last longer.

Cleaning and Handling

Antique varnish and gut strings both need gentle handling. Here’s how to keep them clean:

Wipe After Playing: After each practice or performance, gently wipe down the instrument and strings with a soft, dry cloth. This removes rosin dust, sweat, and oils. Pay special attention to the area of the strings between the bridge and fingerboard – gut strings accumulate rosin there, which can dampen their vibration and attract moisture. Also wipe the fingerboard and under the strings where rosin falls. Regular wiping prevents build-up that could harm the varnish or string surface.

Gut String Care: You might notice over time that gut strings develop little fuzz or fraying on the surface. This is normal as the twisted gut fibers wear. Do not pick or aggressively rub these. A neat trick: use a small sharp nail clipper to carefully trim any excess gut hairs that stick out. This tidies the string and prevents those fibers from grabbing more rosin or causing a false tone. Some gut strings will need to be oiled to preserve them from moisture and humidity fluctuations.

Varnish Cleaning: The golden rule is no alcohol or solvents on the varnish. Many historical instruments have delicate varnish that can be dissolved or damaged by alcohol (even a brief touch with an alcohol swab can leave a permanent dull spot). To clean the varnish, use a dry soft cloth. If there’s stubborn rosin build-up that the dry cloth won’t remove, slightly dampen a microfiber cloth with distilled water and very lightly wipe, then immediately dry with another cloth. Avoid touching any cracks or open seams with a damp cloth. If the instrument is very dirty (decades of grime or rosin), the safest route is to take it to a professional luthier for cleaning. They have gentle cleaning solutions specifically formulated for violin varnish. As a routine, wiping after each use is best because it prevents heavy build-up that would require such intensive cleaning.

Fingerboard and Pegs: For Baroque setups, sometimes fingerboards aren’t ebony (could be stained wood) and pegs might be old-style wood that isn’t as hard as modern ebony pegs. Keep the peg shafts smooth by occasionally using a tiny bit of peg compound (peg dope) if they stick or slip – this helps maintain the friction balance. When changing strings, you might wipe the fingerboard with a cloth slightly dampened with water or a touch of a mild cleaner to remove finger oils, but avoid polishes. If the fingerboard is true ebony, it’s quite durable; if it’s stained or maple (sometimes on 18th c. originals), just dry wipe to avoid stripping any color.

Metal Parts: If your instrument has Baroque-style tailpiece with hooks or old tuner, or an old baroque-style frog on the bow with brass parts, you can gently wipe metal with a soft cloth too. Avoid any metal polish liquids on parts attached to the instrument – polish can drip onto wood or react with strings. Usually a dry or slightly damp cloth brings back shine on metal without chemicals.

Managing Gut Strings and Tuning

Gut strings require a bit more TLC than synthetic:

Stretching New Strings: When you put on a fresh gut string, expect a longer breaking-in period. They will stretch and go flat quite a lot initially. It’s wise to pre-stretch new gut strings a bit: some players will gently pull the string (after mounting on instrument) away from the fingerboard a few times and re-tune, repeating that to help it settle. Don’t overdo it – gut can snap if yanked too hard. You can also tune the new string a half-step sharp and let it sit overnight, then bring to pitch. Within 1-3 days, a new gut string should stabilize in pitch somewhat, though minor adjustments will always be normal.

Fine Tuners: Most Baroque instruments avoid metal fine tuners (they add weight and affect the afterlength). You’ll likely be tuning using the pegs only. Make sure your pegs are well-fit (a luthier can help if they slip – sometimes just some compound or adjusting the taper helps). If you have a modern tailpiece with a fine tuner (say for an E string on violin), that E might be steel anyway, which is okay. But for aesthetic and weight reasons, many Baroque violinists use a plain gut or light metal E without fine tuner, adjusting by peg. Develop the habit of small, gentle peg moves – gut is more elastic, so you may find you have to move the peg a little more than with steel strings to get the pitch change, but do it smoothly to avoid overshooting and to minimize stress on the string.

Detuning for Storage: If you won’t play the instrument for an extended period (say a baroque violin is going into storage for a few weeks), should you loosen the gut strings? There are differing opinions. Completely loosening can cause the soundpost or bridge to fall, which is risky. Many experts suggest simply tuning the instrument down a whole step (i.e., lower tension but not slack). This reduces tension on the structure and strings slightly, but keeps everything in place. However, if you’re using it regularly, keep at pitch – gut actually likes to be under consistent tension (it’s when tension wildly changes that trouble happens).

String Lifespan: Gut strings don’t last as long as synthetics. You’ll notice a loss of tone purity (they’ll start sounding false or harder to tune) when they are past their prime. Treble gut strings (like violin A) may wear out faster than thick bass strings. As a rule of thumb, with daily playing you might change gut strings every 2-3 months for top performance, though some players push longer. Watch for unwinding (if you use gut-core with metal winding, those can unravel). Always have a spare set on hand since gut can break unexpectedly (often at the worst time, like before a concert!). The E string (if gut or plain steel) and A string on violin are the most prone to sudden breaking, whereas D and G usually just gradually deteriorate in sound.

Instrument Integrity: Inspections and Repairs

Historical instruments often have old repairs or fragile components. Be proactive in caring for these:

Regular Check-ups: It’s wise to have a luthier familiar with historical instruments inspect your instrument perhaps once a year (or any time you suspect an issue). They can check for open seams (glue joints that have come unglued – common with changes in humidity), soundpost fit, and bridge condition. Baroque bridges, with their flatter top, still can warp like any bridge. If you see the bridge leaning or deforming, have it adjusted or replaced. Open seams should be reglued promptly as playing with an open seam can lead to wolf tones or further opening. Hide glue is used for these repairs – make sure any repair person uses traditional materials on an antique (avoid synthetic glues, as those are not reversible and can damage value).

Cracks and Stability: If you’re lucky enough to own an original Baroque-period instrument, it likely has some repaired cracks – baby it! Keep an eye on any repaired cracks (especially on the top plate). If you see any movement or separation along a crack line, loosen the tension and take it for repair. Never attempt to glue anything yourself; improper repair can drastically reduce value. Professionals have the tools and clamps to do it right.

Pegbox and Neck: Many old violins have had neck grafts (modern neck attached to old scroll). This is usually stable if well done. Just avoid any shocks to the instrument (don’t drop or hit the pegbox). If your instrument still has a Baroque neck (nailed neck original setup), be cautious with string tension changes and consult a luthier before any major alterations – original neck instruments are quite rare and have special considerations for string gauge, etc., to not overload them.

Varnish Preservation: Over the years, avoid using any polishes or oils on the varnish. Some well-meaning players think a bit of violin polish from the store will make it shiny – but unless recommended by a luthier, it’s better to leave the patina as is. Polishes can build up or contain solvents. The best shine is achieved by a gentle buffing with a clean cloth. Embrace that an antique instrument will look aged; cleaning should only remove dirt, not the beautiful old varnish or its craquelure.

Baroque Bow Care Highlights

While this guide focuses on instruments, a quick note on Baroque bow maintenance since it goes hand-in-hand:

Loosen the bow hair after each use to let the Baroque bow’s stick relax (very important for snakewood bows to avoid warping).

Use an appropriate rosin – often a slightly softer, stickier rosin is good for gut strings (some companies even make “Baroque rosin” formulated for gut, which provides a good grip without being too harsh). Too hard a rosin (like some used for steel strings) might not give you the traction on gut and can produce a harsher sound.

Rehair your Baroque bow when it’s lost enough hair or won’t hold rosin. Baroque bows sometimes need rehair a bit more often if you’re playing a lot, as you might be using more bow hair for chords, etc. Treat the bow as carefully as the instrument – many Baroque bows don’t have metal winding or protective thumb leather, so avoid excessive sweat on the stick (wipe it if you notice perspiration). If the bow has an open frog (no ferrule), take care the hair doesn’t get oily from fingers at the frog end.

Final Thoughts: Respect the Old, Enjoy the New

Caring for a historical or Baroque instrument is about respecting its materials and age. These instruments have voices that have sung for hundreds of years in some cases. By following these maintenance tips, you ensure that they continue to sing for years to come. There’s something deeply satisfying about playing an old violin strung in gut, knowing that with each careful wipe and tuning, you’re preserving a piece of history.

In summary:

Keep the climate steady (moderate humidity, avoid extremes).

Clean gently and regularly (no harsh chemicals, just soft cloths).

Monitor the condition of strings and structure (change strings as needed, fix small issues before they become big ones).

Involve professionals for significant maintenance – early music specialists or luthiers with restoration experience are ideal.

Play the instrument regularly if you can; instruments are meant to be played. Often, regular playing keeps an instrument “awake” and can even prevent problems (for example, seams can sometimes open simply from seasonal changes if an instrument sits unused – when played, you tend to catch tuning or buzz issues early).

By giving your Baroque instrument conscientious care, you’ll be rewarded with stability and sublime sound. After all, these delicate creations have survived centuries – with our help, they will continue to enchant audiences and players in the modern day. Happy playing, and take care!

 

Spotlight on Baroque Masters: Instrument Maker Profiles

by

Spotlight on Baroque Masters: Instrument Maker Profiles

The Baroque period was a golden age of string instrument making. Many of the violins, violas, and cellos crafted in the 17th and 18th centuries remain unsurpassed in tone and are treasured by musicians and collectors today. In this spotlight, we profile five renowned Baroque-era instrument makers. Each of these masters has left an indelible mark on violin making, with signature styles and surviving instruments that tell the story of their craft. We’ll delve into their background, the characteristics of their instruments, and notable examples that have endured through the centuries.

Nicolo Amati (1596–1684)

Background: Nicolo Amati was the top luthier of the Amati family of Cremona, Italy – a dynasty that essentially invented the violin as we know it. Grandson of Andrea Amati (the early violin pioneer), Nicolo brought the family craft to its height. He survived the Italian plague of 1630 which claimed his father’s life, and went on to teach the next generation of makers. His workshop possibly trained or influenced greats like Antonio Stradivari and Andrea Guarneri.

Signature Style: Amati’s violins are known for their elegance and sweetness. They often have slightly smaller model sizes compared to later Cremonese instruments, with high arching of the top and back plates that produces a clear, silvery tone. Nicolo’s early instruments followed his father’s templates (sometimes called the “Amatise” style: small, deeply arched). Later, Nicolo developed what is now termed the “Grand Pattern” Amati violin – a slightly larger model (about 35.6 cm body length) introduced around the 1640s. These Grand Amati violins have fuller arching and broader dimensions, allowing for a more powerful sound while retaining Amati’s characteristic sweetness. They are considered perhaps the height of classical elegance in violin making: well-proportioned curves, exquisite purfling (the decorative border inlay), and a golden-brown varnish of soft quality.

Notable Instruments: Several Nicolo Amati violins are famed. The “Alard” 1649 is one often cited as a pinnacle of his work as it’s well-preserved and shows the Grand Pattern style. Amati’s instruments were so admired in their time that many makers across Europe copied them (some even branded their violins with fake Amati labels!). His violins are sought after today for their sweet tone well-suited to chamber music and Baroque repertoire. Interestingly, of all Amati family violins, those of Nicolo are considered most suitable for modern playing too – many have been successfully used in orchestras and as solo instruments after being fitted to modern setup.

Legacy: Nicolo Amati’s greatest legacy might be the makers he influenced. It’s often stated that without Nicolo, there would be no Stradivari or Guarneri as we know them. He was generous in imparting knowledge (even if informally). His style bridged the early Baroque small violin to a larger pattern that set the stage for the powerful instruments of the 1700s. Collectors prize Nicolo Amatis not only for their sound but for their historical importance as the link between the first violins of Andrea Amati and the later Cremonese masters.

Antonio Stradivari (1644–1737)

Background: Arguably the most famous violin maker of all time, Antonio Stradivari (also spelled Antonius Stradivarius in Latin on his labels) worked in Cremona and took violin making to its zenith. He may have apprenticed in Nicolo Amati’s workshop (there’s a debated label from 1666 suggesting he was a pupil), but even if not formally, he was clearly influenced by Amati’s work early on. By the 1680s, Stradivari began developing his own models, and from around 1700–1720 (his “Golden Period”) he produced his most magnificent instruments.

Signature Style: Stradivari’s violins are renowned for their versatile tonal power – they can project a brilliant, rich sound to the back of a concert hall, yet also whisper sweetly in soft passages. Several design choices contribute to this: Strads have slightly flatter arching than Amatis, giving a bit more brightness and power; they often have a slightly longer body stop (distance from nut to bridge) which can enhance brilliance; and Stradivari perfected the proportions of the violin’s outline and thicknesses for maximum resonance. He also used superb wood – many top Strads have backs of beautifully flamed maple and bellies of fine-grained spruce. His varnish has a luminous quality, usually a golden ground with orange-red transparent color on top, often imitated but never quite reproduced.

During his Golden Period, Stradivari made instruments like the “Messiah” (1716) which is pristine in condition and shows his work at its peak – it’s often cited as the only Strad in like-new Baroque condition (though even it has had minor setup changes). Strads from 1700–1720 have a robust sound with great clarity. He also experimented – for instance, some 1690s Strads are “Long Pattern,” slightly elongated. By 1700 he reverted to a classic outline slightly broader, which is the template for most modern violins.

Notable Instruments: There are around 600 surviving Stradivari instruments, including violins, violas, cellos, even a few guitars, lutes and mandolins. Famous violins include the “Soil” Stradivari (1714), known for its brilliant tone (once played by Itzhak Perlman), the “Kreisler” 1733, the “Il Cremonese” 1715 at the Cremona museum, and the “Lady Blunt” 1721, which fetched record prices at auction due to its fine condition. The “Messiah” 1716, kept at Oxford’s Ashmolean Museum, is legendary for never having been played substantially – it looks as if it just left Stradivari’s shop, offering a view of his craftsmanship without wear.

Stradivari also made the finest cellos (e.g., the “Davidov” 1712 used by Yo-Yo Ma, and the “Duport” 1711 played by Mstislav Rostropovich) and violas (the “Macdonald” 1719 viola being one of only about 10 extant Strad violas). Each is revered and often given an illustrious name and history.

Legacy: Stradivari’s legacy is monumental. His instruments set the standard of excellence; in fact, modern makers still strive to replicate the “Stradivari sound.” His interpretation of geometry and design became the conceptual model for violin-makers for the last 300 years. A testament to his fame: countless trade violins carry labels “Stradivarius” (as copies) – a point the Smithsonian Institution often clarifies: a Strad label doesn’t guarantee authenticity! Genuine Strads are among the most valued objects in the music world, often insured for millions of dollars. The mystique around what makes them so special continues to inspire scientific studies (wood density? varnish composition? arching geometry? – likely a combination of many factors). For collectors, owning a Stradivari is the ultimate prestige; for players, performing on one can be a career highlight.

Giuseppe Guarneri “del Gesù” (1698–1744)

Background: Bartolomeo Giuseppe Guarneri, known as “del Gesù” (because his labels incorporated the letters I.H.S. and a cross – signifying “Jesus Savior of Men”), was a member of the Guarneri family of Cremona. His grandfather Andrea and father Giuseppe “filius Andrea” were fine makers (Andrea was an Amati pupil). But del Gesù’s work would break the mold and rival Stradivari’s for posterity, even though he died young at 46. Working in the 1720s–1740s, he was a contemporary of late Stradivari and the next generation after.

Signature Style: Guarneri del Gesù violins have a reputation for power and a darker, robust tone. They often have slightly shorter, thicker bodies with broad waists (C-bouts) and f-holes that are a bit more vertical and elongated. His later violins, especially in the 1730s, can look almost rough in workmanship compared to Strad – thicker edges, asymmetries, even tool marks left visible. It seems del Gesù prioritized acoustics and experimentation over pristine craftsmanship. This results in violins that sometimes have an intense, deep sound with strong projection. Players of “del Gesùs” often describe the sound as rich, dark, and capable of great power, sometimes a tad raw or wild in the best way. They typically respond well to a strong bow arm, suiting virtuosi who want to push the limits.

Guarneri’s output was smaller – perhaps around 150 violins survive. In his last years (1740–1744) he made some of his most celebrated instruments, which have a very distinctive style: thick, squat f-holes, a slightly pinched upper bout shape, and often one-piece backs of plain maple. These violins have character in spades.

Notable Instruments: The most famous del Gesù is “Il Cannone” (1743), the violin beloved by Niccolò Paganini. Its nickname “the Cannon” was earned for its explosive sound. It resides in Genoa, Italy, and is still played occasionally (often by the winner of the Paganini Competition). Another legendary one is the “Lord Wilton” 1742, once owned by Yehudi Menuhin – known for its deep, gutsy tone. The “Soil” Strad’s rival is the “Vieuxtemps” Guarneri del Gesù (1741), which was on loan to violinist Anne Akiko Meyers – it’s one of the most expensive violins in the world, valued in the tens of millions, noted for its superb condition and tone. Other famous examples: the “d’Egville” 1735, “Leduc” 1745 (possibly his last instrument), and the “Ole Bull” 1744.

Players like Jascha Heifetz, Isaac Stern, and Pinchas Zukerman performed on Guarneri del Gesù violins, often preferring them for their strong personality. In fact, many soloists assert that a Guarneri del Gesù can project through an orchestra even more assertively than a Stradivari. Del Gesù’s have “incomparably good sound…with unsurpassed depth and darkness” that some players prefer.

Legacy: Initially, Guarneri del Gesù’s work was not as celebrated as Stradivari’s in the years following their lives. It was really in the 19th century, particularly with Paganini’s advocacy, that del Gesù violins became legendary. Today, Stradivari and Guarneri del Gesù are considered the two greatest violin makers in history, often compared like two towering figures with different personalities. If Stradivari violins are like a refined soprano voice, Guarneri del Gesù’s are like a dramatic tenor – powerful, dark, and passionate. Collectors covet del Gesùs; each instrument has a name and storied provenance. The mystique of why they sound as they do (e.g., del Gesù sometimes left his tops a bit thicker in spots, contributing to their sound density) is a subject of ongoing discussion. From a craft perspective, Guarneri del Gesù showed that looseness in craftsmanship doesn’t impede achieving acoustic perfection – a fact that intrigues modern luthiers and collectors alike.

Jacob Stainer (c.1617–1683)

Background: Moving away from Cremona, Jacob Stainer was an Austrian (Tyrolean) luthier whose instruments were the most prized in Europe before Stradivari’s violins took that title. Stainer worked in Absam, near Innsbruck, in the mid-17th century. He likely had exposure to the Amati influence (some speculate he may have traveled to Italy or at least seen Amati instruments; he may have apprenticed with Nicolo Amati or another Italian maker, though evidence is sparse). Stainer’s violins were the favorites of the baroque era in many courts and churches, especially in German-speaking regions.

Signature Style: Stainer violins are noted for their high arching and sweet tone. They often have a quite pronounced arch – both top and back – higher than Amati and much higher than Stradivari instruments. This gives them a distinctive tone: typically described as sweet, silvery, and softer in volume. Contemporary accounts in the Baroque era praised Stainer’s sound as very pleasing and brilliant in the treble, though somewhat lacking in the strong low end. Indeed, modern analysis suggests the high arching favored the upper harmonics and a resonant but intimate sound. Stainer also often made his f-holes slightly higher up on the body and with a elegant narrow shape, and his overall outline and workmanship are very refined. Visually, Stainers have a lovely varnish often of amber-orange color, and sometimes ornate scrolls (some Stainer scrolls have an elongated final turn or even a lion’s head carving on some instruments).

One unique trait: Stainer’s purfling (the inlaid border) can be set quite close to the edge, and the edgework is delicate. Internally, Stainers sometimes have smaller-sized stop lengths. These factors all contribute to the special sound. They were ideal for Baroque players using gut strings and playing in small chambers – the sound carried in a church but wasn’t strident.

Notable Instruments: Stainer’s instruments were widely distributed in their time. Many have survived (though exact counts are hard, likely dozens). They were imitated heavily; in the 18th century, if you couldn’t afford a Stainer, you might get a “Stainer model” from another maker. Famous historical figures – Leopold Mozart, for instance – preferred Stainers for their sweetness. One surviving example is a 1658 Stainer in somewhat original condition (often cited in literature). The instrument called “The Elector Stainer” of 1665 is another famous one, very well preserved in a museum. Also, several Stainer violins reside in the collection of the Saxon State (Germany) since they were favorites at German courts.

Stainer also made violas and cellos, though his violins were especially prized. Interestingly, by the 19th century, many Stainers were “updated” to modern setup, which often involved regraduating (thinning) their plates to get more power. Unfortunately, this sometimes had detrimental effects on their tonal character which was built around that high arching and thickness. A Stainer in original Baroque setup, with Baroque neck and bass bar, strung with gut, can be a revelation of the true Baroque sound world – described by some as the “voce angelica” or angelic voice, and historically referred to as having a “silvery voice” that was highly sought after.

Legacy: In the Baroque era, Stainer was considered the pinnacle. For example, an 18th-century English publication rated violins: Stainer was at the top, above Amati, and Stradivari was not fully appreciated until later. Stainer’s influence on violin making in Germany, Austria, and even England was enormous – many makers copied his high arch into the late 1700s (the so-called “Germanic” school). Over time, musical tastes shifted toward the more projecting Cremonese style, and Stainers fell out of fashion for a while in the concert scene. However, historically informed performance movement has renewed interest in Stainer’s sound for Baroque music. Collectors now understand that an original Stainer is both a beautiful instrument and a historical treasure. They represent an alternative evolution of violin design – one focused on a sweet tonal aesthetic that was the preference before power became the main goal. Some chamber musicians still use Stainer or Stainer-model violins when they want that blend and sweetness. In summary, Jacob Stainer is the exemplar of the Austro-German Baroque violin, and his instruments remind us that in 1700, Cremona did not yet have the monopoly on fame that it holds today.

Domenico Montagnana (1686–1750)

Background: Moving to Venice, Italy – Domenico Montagnana was a master luthier who, while making violins, is most celebrated for his cellos. Montagnana likely trained in Venice (possibly with Matteo Goffriller or another Venetian maker) and established his own shop “Alla Cremona” in Venice. His instruments are roughly contemporary with late Stradivari and del Gesù, but from a different school. Venetian instruments of that era have their own character.

Signature Style: Montagnana’s violins and especially cellos are characterized by a full, powerful tone with plenty of depth. His cellos tend to be slightly shorter in body length but with very wide bouts (Montagnana cellos are sometimes referred to as “wide model”). This yields a cello that is easier to play (the stop length isn’t overly long) but has a great bottom-end punch due to the broad body. Jacqueline du Pré, who played the 1712 Davidov Strad, once noted that Montagnana cellos speak more readily – “you can hit the bow hard and the sound will continue to come out and become more interesting” compared to some Strads which you have to coax. Indeed, Montagnana cellos are often described as having a rich, penetrating sound with an “uncomplicated” response – they are user-friendly for the player, yielding a big sound even under heavy bowing.

In terms of construction, Montagnana’s violins are a bit larger than Strad’s, with a robust build. His f-holes can be slightly more spread. The varnish of Venetian instruments like Montagnana’s is often a sumptuous thick red or red-brown. They tend to use local maple (which can be intensely figured or sometimes plainer). Montagnana violins are not as common as his cellos but share the strong tonal characteristics – powerful and often a bit darker or earthier tone than Cremonese.

Notable Instruments: Montagnana’s cello output includes some of the finest cellos in existence. The “Sleeping Beauty” Montagnana (1739) is famous (it got its nickname from lying unplayed for many years before being “awakened” and sold for high value). The “Du Pré Montagnana” (Rosemary) 1740 was played by Jacqueline du Pré before she acquired the Strad; it’s known for its velvety, booming sound. The “Feuermann” Montagnana 1735 is another storied cello, used by the great Emanuel Feuermann and later by Stephen Isserlis. These instruments are soloists’ dream cellos – exceptionally resonant. Montagnana violins, while less in the spotlight, are used by some violinists who want a big sound – a Montagnana violin holds the auction record for any violin by a maker other than Strad or del Gesù, selling for about $900k in 2010, underscoring their value.

Legacy: Montagnana is often considered the Stradivari of cellos. His designs (short wide cellos) have influenced modern cello makers significantly. Many soloists specifically seek out Montagnana or Goffriller cellos for their tonal qualities in concerto playing. In the violin world, Montagnana might not eclipse Strad or Guarneri, but his instruments are respected and valued at the top tier. For collectors, a Montagnana offers the allure of Venice – a different city’s take on violinmaking during the Baroque era – and in the case of cellos, arguably the best of the best. Montagnana, along with his Venetian contemporaries, adds diversity to the pantheon of great makers, proving that the Baroque period had multiple centers of excellence.

Each of these Baroque master luthiers – Amati, Stradivari, Guarneri del Gesù, Stainer, and Montagnana – produced instruments that reflect a unique blend of art and function. They had distinct goals and styles: from Amati’s sweet elegance to Stradivari’s all-round perfection, from Guarneri’s fiery power to Stainer’s angelic sweetness, and Montagnana’s robust sonority. For collectors, owning an example from any of these makers is owning a piece of musical history. For musicians, playing one can be a transformative experience, connecting them directly to the Baroque era’s sound world.

In the modern day, these instruments often live dual lives: revered as collectible artifacts and actively used as performance tools (in modernized form). Notably, the historically informed performance movement has also encouraged some owners to set up certain instruments in original Baroque form, to hear them as they were intended. For instance, some Amati or Stainer violins (and the Messiah Strad in the museum) remain in Baroque configuration, offering insights into Baroque setup and tone.

When we listen to a concert violinist’s Strad or a Baroque ensemble using Stainer models, we are directly experiencing the legacy of these Baroque masters. Their craftsmanship has stood the test of time – not only visually in surviving wood and varnish, but audibly in living sound that still thrills audiences. The profiles above celebrate their achievements and remind us why these names carry such weight. Each instrument by these makers has its own story (often even a name and pedigree), making the world of fine string instruments a rich tapestry of history, music, and art.

 

Starting Your Early Music Journey: Baroque Instruments for Modern Musicians

by

Starting Your Early Music Journey: Baroque Instruments for Modern Musicians

Transitioning from a modern setup to Baroque instruments is an exciting journey that opens up new dimensions in your playing. For the modern violinist or violist curious about historically informed performance (HIP), this guide offers practical advice on making the switch. We’ll discuss how to get started with Baroque instruments, what equipment you’ll need, technique adjustments, and considerations like cost and repertoire. Whether you’re a seasoned professional or an avid amateur, these tips will help you step back in time to the Baroque era.

Embracing the Baroque Mindset

Before delving into gear, it’s important to adopt a Baroque mindset. Early music performance is about more than just using old instruments; it involves understanding stylistic conventions of the 17th and 18th centuries. This means learning to phrase differently (e.g. leaning into strong beats, ending phrases lightly), using vibrato sparingly, and focusing on bow articulation. Many modern players find this refreshingly expressive – it can feel like learning a new dialect of a language you already speak.

One key concept is historically informed performance. In recent decades, historically informed approaches have become popular, leading many violinists to return to older instrument models or replicas to achieve an authentic sound. As you begin your journey, listen to recordings by Baroque specialists and consider taking lessons or workshops focused on Baroque technique. This will help retrain your ear and muscle memory.

Equipment: What Do You Need to “Go Baroque”?

You might wonder if you need to buy an expensive 18th-century violin to play Baroque music. Good news: you don’t! There are several entry-points:

Baroque Bow: The simplest way to start is to get a Baroque bow for your current violin. A Baroque violin bow is typically shorter (around 65–70 cm) and lighter than a modern bow, with a distinctively curved shape and often an open frog. Using a Baroque bow on your violin will immediately encourage Baroque bowing techniques – it naturally produces the light, articulated strokes ideal for Baroque music. This is often the most cost-effective first step (quality Baroque bows can be found in the few-hundred-dollar range).

 

Gut Strings: Next, consider trying gut strings on your violin (or at least a gut G and D string). Plain gut or gut-core strings have a warm, soft tone and slower response that will instantly lend a Baroque quality to your sound. Playing on gut will require gentler bow pressure and will sharpen your intonation skills (gut strings can be less forgiving pitch-wise but reward you with rich tone colors). Many players transition gradually: for example, start with a gut A and D while keeping a modern steel E for stability, then go full gut as you become comfortable.

 

Baroque Violin or Viola: Ultimately, if you become serious, you may acquire a dedicated Baroque instrument. These can be original period instruments (which are rare and costly) or modern replicas/conversions. Many luthiers offer Baroque setups on new violins; these typically involve a shorter neck, wedge fingerboard, Baroque bridge, and sometimes a lighter bass bar, as discussed in our comparison above. A decent Baroque violin replica can range from a few thousand dollars and up, depending on maker. If you’re a cellist, Baroque cellos (often played without an endpin) are also available. However, it’s perfectly valid to start by converting an inexpensive or old violin to Baroque setup. Some shops offer reversible conversions – for example, a new shorter neck can be grafted on without permanently altering the instrument’s corpus.

 

Other Instruments: Perhaps your early music journey extends beyond violin. Many modern musicians fall in love with Baroque violas (which were similar to modern violas in size, just set up with gut strings) or decide to try the viol family (e.g., viola da gamba) or instruments like the Baroque cello or viola d’amore. It’s wise to start with what you know (violinists to Baroque violin, etc.), then branch out once you’re comfortable with Baroque performance basics.

 

Budget Tip: You don’t have to get everything at once. Many players start by buying a Baroque bow and a set of gut strings, which together might cost a few hundred dollars, rather than investing in a Baroque violin immediately. This allows you to experiment with Baroque sound on your familiar instrument. As you progress, you can upgrade components or get a separate instrument.

Playing Technique Adjustments

Switching to Baroque equipment will require some adaptation in technique:

Holding the Instrument: Without a chinrest (and shoulder rest), you’ll explore different ways of holding the violin. Baroque violinists often rest the instrument against the collarbone and left thumb, using the jaw only lightly if at all. At first, this can feel insecure. Practice shifting and moving the violin around without a chinrest – you’ll develop a feel for the balance. Some players use a soft chamois cloth on the shoulder for friction. You may also experiment with the Baroque violin hold which sometimes angles the violin more downward or to the front. Find a grip that is comfortable for you; remember, 18th-century players managed just fine without modern rests, often playing for hours!

 

Left Hand Technique: You’ll likely play without the kind of heavy vibrato used in modern playing. Focus on intonation and clarity of pitch. Because gut strings have a different feel (a bit thicker gauge and more pliant), you might press a little less with the left hand. Shifts need to be smooth since you don’t have a chinrest anchor; practice slow shifts with minimal finger pressure. Another change: Baroque setup often means playing in lower positions more and using open strings (open gut strings have a beautiful resonant ring in Baroque music). Embrace open strings where appropriate, even if you were trained to avoid them on modern violin.

 

Bow Technique: The Baroque bow will fundamentally change your bowing approach. Its balance point is lower (closer to the frog) and the tip is lighter. You’ll find it naturally creates a decay toward the tip – use that to shape phrases (stronger, fuller sound at the beginning of the stroke, tapering off toward the end). You can achieve a delightful spiccato (off-string bouncing) at the balance point without forcing – Baroque bows are great for quick articulated passagework with clear separation. However, sustained long bows are more challenging; don’t expect to play a 8-bar legato phrase on one bow like you might with a Tourte bow. Instead, Baroque phrasing breaks into shorter bow segments. Practice Italian Baroque bowings like the Corelli bow stroke – multiple fast notes on a single bow with a slight swell on each – to get comfortable. Also, fret not if your bow hold changes a bit; Baroque players sometimes use a thumb-under-hair grip or a higher grip on the stick to help manage the lighter frog tension.

 

Intonation and Tuning: As mentioned, Baroque ensembles often tune to A = 415 Hz (approximately a half-step down from modern pitch). If you’re practicing alone or with keyboard, you might tune your instrument down to 415 to get used to the sonority and the “feel” of lower tension. It can be disorienting at first – pieces will sound in a different key, and your muscle memory for pitches might rebel. Give it time; your ear will adjust. In fact, some modern players say learning to play at 415 Hz improved their overall intonation and ear training. Be prepared to retune frequently; gut strings are more sensitive to temperature and humidity changes, and they stretch. It’s normal – even historically, musicians commented on needing to tune often.

 

Articulation and Expression: One of the joys of Baroque performance is discovering the expressive range of soft dynamics and articulate bowings. You’ll use more affekt (emotional affect) through articulation, timing, and ornamentation, rather than the lush sustained vibrato and heavy dynamics of later music. Try to let silence and space into your playing – for instance, the release at the end of a phrase or a tiny breath between motifs. This was part of Baroque rhetoric in music. Also, experiment with ornaments (trills, turns, appoggiaturas) appropriate to the style – this is where having a Baroque instrument helps, as the ornaments often speak more cleanly on gut strings and with Baroque bow.

 

Repertoire and Learning Resources

Starting out, you might choose some Baroque repertoire that lends itself to your new gear. Good pieces to begin with include solo works like Telemann’s Fantasias or the more straightforward Handel sonatas, where the technical demands are moderate and you can focus on style. The Bach Partitas and Sonatas are of course a pinnacle of Baroque violin music – they are wonderful on Baroque setup, but you might want to ease into them after getting comfortable with easier pieces, as Bach demands a lot of double stops and sustained playing (though many say Bach “feels easier” on a Baroque violin once you’re accustomed).

Consider joining a local Baroque ensemble or workshop. Playing with others in Baroque pitch (415) and style is immensely helpful. If you don’t have that opportunity, there are online communities and summer courses (like Baroque performance institutes) that welcome modern string players venturing into Baroque.

Mentorship: It can’t be overstated how useful it is to seek guidance from a teacher experienced in Baroque violin or viola. They can help you avoid discomfort and fast-track your technique adjustments. Even a few lessons can set you on the right path – for instance, learning how to execute a proper Baroque trill or how to hold the bow for a French dance piece.

Cost Considerations

Budget is a real consideration when adding another set of equipment to your arsenal. Here are some cost-savvy approaches:

Start with a Baroque bow – entry-level snakewood Baroque bows are available for a few hundred dollars. Many violin shops offer reasonably priced Baroque bows; some even have trade-in programs if you later upgrade.

 

Strings: A full set of gut strings (A, D, G gut; E maybe plain steel or gold alloy) might cost $100 or more, which is comparable to high-end modern strings. They do wear out faster, though – gut strings might last you 3-6 months of regular playing, less if you perform often. This is an ongoing cost to consider. Many Baroque players keep spare strings and learn a bit about string maintenance (for example, how to gently stretch a new gut string to stabilize it, or how to tie a string if it slips at the peg).

 

Instrument purchase or conversion: If you decide to buy a Baroque violin, student-level Baroque violin replicas can sometimes be found for under $5,000. Fine replicas by renowned makers can run into five figures. Converting an existing instrument can be a more affordable route – ask a luthier for an estimate. A Baroque bridge and soundpost adjustment is relatively cheap; having a neck reset to Baroque angle or a fingerboard wedge installed will be more. Some luthiers will do a temporary conversion (meaning they keep the original parts and don’t alter anything irreversibly). This could be a few hundred to a couple thousand dollars depending on the extent of work.

 

Rental: If you’re not ready to commit to a purchase, check if any violin shops or instrument rental programs offer Baroque instruments or bows. Some early music organizations have an instrument lending program for students or newcomers to Baroque playing.

 

Overcoming Challenges

As you start your Baroque journey, you may face some frustrations: tuning those pesky gut strings frequently, bowing that feels underpowered at first, or playing in an ensemble where you’re unsure how to fit in stylistically. Remember that this is normal. Give yourself time to adapt. When you switch back to modern violin, you might initially feel like everything is so loud and tense! But many musicians report that learning Baroque style enhances their modern playing – they become more aware of articulation, they discover new tonal colors, and they build strength in their hands from handling both setups.

It’s also worth noting the reward: the first time you draw your Baroque bow on gut strings and produce that sweet, golden sound, or when you execute a phrase from a Handel sonata and it sounds like the 18th century, it’s a thrill. It’s akin to a pianist playing a harpsichord for the first time and suddenly understanding the Baroque phrasing – it’s revelatory. That tangible connection to the era’s sound world is the payoff for the patience in reworking technique.

Conclusion: Enriching Your Musical Life

Starting your early music journey can deeply enrich your musical life. Not only do you gain the ability to perform a vast repertoire as it was originally intended to be heard, but you also develop flexibility as a player. Switching between Baroque and modern playing can make you more adaptable and sensitive in all your music-making.

Baroque instruments offer a window into history. As a modern musician, stepping through that window can feel like meeting the great composers on their own terms – you’ll experience Vivaldi’s rapid string crossings with the kind of bow he wrote them for, or Mozart’s early works on the type of violin he knew in his youth. It’s a form of time travel that occurs through sound.

Remember, you can take this journey in stages. It’s perfectly fine to perform Baroque music on a modern violin using some stylistic adjustments; but as you adopt more Baroque equipment and technique, you’ll find yourself ever closer to the heart of the style. Enjoy each new discovery – the road to mastery in early music is a joyful one, filled with aha moments and beautiful sounds. Happy Baroque playing!

 

The Baroque Bow Unveiled: Evolution and Selection Guide

by

The Baroque Bow Unveiled: Evolution and Selection Guide

The violin bow has undergone remarkable evolution from the Baroque period to today. The Baroque bow is not just a primitive version of the modern bow – it is a distinct tool with its own strengths, designed to achieve the nuanced articulation and expression of Baroque music. In this guide, we’ll unveil the history of the Baroque bow’s development, highlight the differences between Baroque, transitional, and modern bows, and provide a practical selection guide for musicians and collectors looking to purchase a Baroque bow.

A Brief History of Bow Evolution

Baroque Era Bows (17th–early 18th century): Early violin bows in the 17th century were generally shorter and convex in shape – that is, they arched outward slightly when slack. They often had a simple clip-in frog (a removable frog without a screw mechanism) or early fixed frogs, and were made of woods like snakewood or other dense tropical woods available through trade. These bows varied regionally: for instance, 17th-century Italian bows (sometimes called “Corelli model” after Arcangelo Corelli) were often around 65–70 cm long, with an elegant swan-bill head (a gently curving tip) and produced a naturally lighter tone. Meanwhile, shorter bows around 60 cm with a more pronounced outward curve were also common for dance music where agility was needed. There was no single standard bow design in the Baroque era – makers experimented with different lengths, curvatures, and head shapes.

Key characteristics of early Baroque bows: A light weight (often ~50–55 grams for violin bows), a balance point closer to the frog, and a relatively narrow ribbon of hair. The tension on the hair was lower (players sometimes even placed a finger under the hair to control tension), and bow strokes naturally had a non-legato quality with a gentle decay on each note. Leopold Mozart in his 1756 treatise described the ideal bow stroke as having a soft beginning and end, which the Baroque bow intrinsically supports.

Comparative bow head shapes (top to bottom): a later 18th-century bow head with more angular tip, a mid-18th century swan-bill Baroque head with graceful curve, and an early Baroque style head. The evolution of bow design can be seen from the slim, outward-curved early Baroque tip to the stronger head used in transitional bows, leading up to the modern head shape.

Transitional Bows (mid-late 18th century): As musical demands increased (composers wanted longer singing lines and bigger dynamics for growing concert halls), bow makers responded by lengthening and changing the camber of bows. By the mid-18th century, we see transitional bows that are somewhat longer (around 70–74 cm, approaching modern length) and begin to adopt a slight inward bend when tightened. One famous transitional model is the Cramer bow, named after violinist Wilhelm Cramer (1746–1799). The Cramer bow, prevalent ~1750–1780, still used snakewood and had a distinctive “battle-axe” head profile – a reinforcement behind the tip for strength. It often included a screw mechanism at the frog (the invention of the screw-nut tension frog was by the early 18th century, but became standard in these transitional models). The Cramer bows were noted to be slightly heavier in the tip than earlier bows, but still lighter than the fully developed modern bow, and they often had a wider band of hair than early Baroque bows, but not as wide as modern.

During this period, different makers had varied approaches – there was no uniform standard yet. Some bows had fluted sticks (grooves carved along part of the wood to reduce weight and add style), and makers in England (like the Dodd family) and in France (early Tourte family, father of François Xavier Tourte) were innovating. The goal was to allow greater volume and sustain, aligning with the late Baroque and early Classical music that had more legato and extended phrasings. By around 1780, François Xavier Tourte “le Jeune” in Paris (1747–1835) experimented with the concave stick (inward bend) and higher head that ultimately became the modern bow standard. Tourte standardized the violin bow length (~74–75 cm) and weight (~58–62 g) and introduced the spread wedge and fully optimized screw frog mechanism. His bows, made of pernambuco wood (which Tourte popularized, as it provided superior elasticity and strength), produced the powerful sustained tone needed for Romantic era music.

In summary, the transitional era bows like the Cramer model were a decisive step toward the modern bow, incorporating longer length, screw frogs, and gradually shifting from snakewood to pernambuco for better spring and strength. Top experts consider Cramer and similar bows as the missing link – they still had some Baroque qualities (lighter, with some curvature outwards remaining) but pointed the way to the Tourte design.

Modern Bows (19th century onward): By the early 19th century, the Tourte design became the template for all bows. The modern bow has a pronounced inward camber (the stick curves toward the hair when the bow is at rest), a head with a defined angle and a metal tip plate for reinforcement, a consistent balance, and usually uses Pernambuco wood (high quality modern bows still do, as it remains the gold standard for bow-making). The modern bow provides a stronger attack and the ability to sustain an even tone across the entire bow length – essential for the long lyrical lines of Romantic composers. The trade-off is that it’s heavier and can be less agile for certain rapid articulations. That’s why some Baroque specialists prefer the old bows for Bach and Vivaldi, as they feel more nimble and transparent in fast passagework.

How the Baroque Bow Plays

A Baroque bow feels quite different in hand compared to a modern bow:

Balance and Weight Distribution: The Baroque bow is typically balanced lower (closer to the frog). This means the frog end feels a bit heavier relative to the tip than a modern bow. As a result, up-bow strokes (from frog to tip) naturally lose weight – which is actually useful for the musical style, where down-bows on strong beats are emphasized and up-bows on weak beats are lighter. The player doesn’t have to consciously lighten the up-bow as much; the bow’s design does it.

 

Stroke and Articulation: The inherent non-legato nature of Baroque bowing comes from the bow’s camber and weight. When you draw a slow bow, you might notice a gentle swell then decay – unlike a modern Tourte bow which can maintain a consistent pressure, the Baroque bow will want to ease off toward the tip. Quick notes (16ths, etc.) are very clean and crisp with a Baroque bow; you can play rapid passages with clarity without the need to lift the bow (the light tip doesn’t dig in heavily, so each note speaks and then fades, creating separation). This is perfect for Baroque detached bowings like semi-staccato strokes and fast string crossings in Vivaldi concertos.

 

Limitations: What the Baroque bow doesn’t do as well is sustain a long, loud note. If you try to play a big legato line with forte dynamics across the whole bow, you’ll find the sound decays and you may not get the even volume you’re used to. This is why Baroque phrasing often breaks long notes into multiple bow strokes or adds ornamentation to avoid an overly long sustain. The bow also might not produce as powerful a spiccato ricochet as a modern bow – it can bounce, but it’s a lighter bounce (great for quick passages, not for, say, the kind of robust ricochet in Paganini).

 

Bow Grip: You might adjust your bow hold slightly for a Baroque bow. Many players bring the hand a tad higher up the stick (since there’s often no thumb leather or a smaller frog, you might naturally hold a bit closer to the balance point). Some Baroque bows encourage holding with the thumb contacting the hair (historically documented technique) which gives fine control of tension. There’s no one “correct” Baroque bow hold today – players use variations that feel secure given the lighter tension of the hair.

 

In essence, playing with a Baroque bow teaches you to work with the bow’s nature. Instead of forcing a sustained sound, you capitalize on its strengths: articulate speaking quality and expressive shaping of each note.

Evolution in Pictures: Baroque to Modern

Visually, a Baroque bow is often easily identified by its shape and frog:

The curve of a Baroque bow (when not under tension) is either straight or gently bent outwards. Modern bows have a pronounced inward (concave) curve even before tightening.

The head (tip) of early Baroque bows can be very elegant and slender, sometimes with a pointed “pike” or swan-bill shape. Transitional bows developed heads with more wood mass above the hair (like the Cramer bow’s reinforced tip) to prevent breakage with higher tension. Modern heads are angular and strong, built to handle the high tension of metal strings and aggressive playing.

The frog of Baroque bows is typically simple. Early ones had no screw – you’d adjust hair tension by wedges or by simply moving the frog in a notch (clip-in system). Later Baroque and transitional frogs started to have screws, but often the frog is still open (no metal ferrule in early versions, until later 18th century when the ferrule – the metal band that spreads the hair – was introduced). Modern frogs are fully engineered: ebony with metal ferrule, mother-of-pearl slide, and a secure screw tightening system.

Because of these differences, a Baroque bow usually weighs less. For example, an original late 17th-century violin bow might weigh only ~50 grams (some even less), whereas modern violin bows range ~60 grams (give or take a couple grams). The length also increased over time: ~65 cm in 1700 to ~75 cm by 1800 for violin bows.

It’s fascinating to observe old bows in museums; one can see how bow makers gradually lengthened the sticks, increased the head size, and changed the camber over the course of the 18th century. These physical tweaks were driven by the music: as composers wrote longer phrases (think of the legato melodies of early Classical period composers like Boccherini or Mozart’s early violin works), players needed bows capable of sustaining and connecting. Thus, by Mozart’s time in the 1770s, many players had adopted transitional bows akin to the Cramer model.

By the Romantic era, Tourte’s design reigned, enabling the broad strokes and powerful dynamics of Beethoven, Mendelssohn, and beyond. The evolution was effectively complete – and the bow has changed little since Tourte’s time.

Choosing a Baroque Bow Today: What to Look For

If you are in the market for a Baroque bow (violin, viola, or cello), here are considerations to keep in mind:

Period and Style: Decide if you want an early Baroque bow, a late Baroque (transitional) bow, or something in between. Early Baroque bows (shorter, often clip-in frog) are great for 17th-century repertoire and dance music – they yield a very authentic light sound for early Italian and German music. Late Baroque/transitional bows (with screw frog, a bit longer) might serve you well if you plan to also play early Classical pieces. Many players opt for a “Rule of 18th century”: use a shorter bow for pre-1740 music and a longer transitional bow for 1740–1800 repertoire. However, if budget allows only one, a mid-length bow around 68–70 cm can be a versatile compromise.

 

Material: Most Baroque bow replicas are made from snakewood. Snakewood (named for its mottled appearance) was historically favored in Baroque bows for its density and attractive look. It gives a nice weight and stiffness appropriate for Baroque designs. Some makers also use ironwood or other exotic hardwoods. Pernambuco was not commonly used in early 18th century (it became popular with Tourte), but some transitional bows now are made in pernambuco to emulate the classical period bows. In general, snakewood bows are a bit heavier than equivalent pernambuco bows; a snakewood Baroque bow might be ~5g heavier than a pernambuco one of same dimensions. This can give extra stability for string crossing. Try both if you can – some players prefer the feel of snakewood’s slight extra heft, while others like the liveliness of pernambuco even in Baroque models.

 

Craftsmanship: Look for good workmanship – the straightness of the stick, the carving of the head, the fit of the frog. A well-made Baroque bow should have a responsive stick (if you tap it or flex it slightly, it should feel elastic, not brittle or overly soft). The curve should be smooth and appropriate (some cheap replicas might have either too much camber or too little, affecting playability). If it’s a screw-frog bow, test the mechanism for smoothness and whether the frog seats well; there’s no modern ferrule on some, so hair should spread evenly.

 

Weight and Balance: Check the weight – typically ~54–60 grams for violin Baroque bows, ~60–70g for viola, ~70–80+g for cello (cello Baroque bows are often more stout and sometimes shorter relative to modern). More important is how it balances in your hand. A bit frog-heavy is expected, but it shouldn’t be unwieldy. If you can, play fast scales and slow bows on open strings: does it feel comfortable in both? Good balance will allow fast string crossing without feeling like a club, and also let you sustain decently on long bows.

 

Hair Tension: Because Baroque bows have different camber, some need more hair (or less) for ideal tension. A good maker will have haired it appropriately. When tightened to playing tension, the gap between hair and stick at the middle might be larger than on a modern bow. You don’t want to over-tighten (that could negate the natural camber advantage). If the bow plays well at moderate tightness (hair just taut enough not to touch stick in use), that’s a good sign. If you notice you have to crank it very tight to get any firmness, it might be under-cambered or too lightly haired. Conversely, if even at minimal tension the hair is too tight, that’s also not ideal. These can often be adjusted by a re-hair, though.

 

Aesthetic and Authenticity: Some buyers care about historical authenticity of design. There are makers who create replicas of specific historical bows (for example, copies of an actual Dodd bow from 1770, or a copy of the famous “Stradivarius attributed bow c.1700” in the Salzburg collection). If this matters to you, do some research or ask the maker what model the bow is based on. That can be a fun aspect – playing on a bow modeled after one that might have been used by Tartini or Geminiani! However, for practical purposes, playability should trump strict historical accuracy. Many contemporary Baroque bows are actually hybrids of various features that the maker has found work well.

 

Try Before Buy: Whenever possible, test the bow on your instrument. Each bow might pull a slightly different sound from the violin. Check how it handles the kind of passagework you’ll be doing – if you’re a Bach solo sonata aficionado, try some chords and bariolage; if you’re playing Handel sonatas, test long sustained notes and quick triplet runs; if Vivaldi concertos, try some spiccato and fast string crossings. See if the bow enhances your ability to phrase in the Baroque style. A good Baroque bow will almost teach you – you’ll feel phrases falling into place because of how the bow wants to move.

 

Budget vs. Quality: There are inexpensive Baroque bows often made in workshops (some in Brazil, China, etc.) which can be quite serviceable for starting out. These might cost a few hundred dollars or less. Then there are hand-made bows by specialist bowmakers which can be $1,000 and up. If you’re just beginning Baroque playing, an entry-level bow might suffice (some shops like Claire Givens Violins offer entry-level baroque bows that are hand-selected by experts for good quality). Keep in mind a trade-up policy if available – some shops allow 100% trade-in of a student bow toward a better one later, which is fantastic if you plan to upgrade as you progress. As you gain experience, you’ll better appreciate the refinements of a high-end Baroque bow.

 

Caring for Your Baroque Bow

Owning a Baroque bow entails similar care to any fine bow, with a few notes:

Always loosen the hair after playing. This is critical, especially for Baroque bows with clip-in frogs (to avoid warping the stick) and for snakewood bows (to prevent taking a set).

Avoid overtightening. Baroque bows usually don’t need as much tension as modern – you typically want the hair a bit looser. Over-tightening can straighten or even reverse the intended camber.

Keep it away from extreme heat or dryness – the woods used can be prone to cracking if mishandled. Snakewood in particular, while strong, can be a bit brittle, so don’t drop the bow or flick it unnecessarily.

Rehair as needed. Gut strings and Baroque playing may use a little less rosin than modern (depending on rosin type), but hair still wears out. Some Baroque bows have no metal ferrule, which means the spread of hair at the frog is done by wedges. It’s wise to have a rehair done by someone familiar with Baroque bows so they can tie and wedge it correctly.

The Baroque Bow in Modern Times

With the rise of period performance, interest in Baroque bows has surged. Not only early music specialists but many modern violinists are adding a Baroque bow to their toolkit to explore Bach or simply to improve their baroque phrasing. Even some orchestra players use Baroque bows when their symphony performs Baroque repertoire to achieve a lighter sound.

For collectors, antique bows from the 18th century are quite rare – far rarer than antique violins – because bows were less likely to survive intact (players wore them out, re-cambered them, or discarded them as styles changed). A genuine 18th-century violin bow in original condition is a museum piece. Thus, most “collectible” Baroque bows are either 19th-century reproductions or modern-made historical copies. If you’re a collector, look for bows made by renowned contemporary makers who specialize in historical bows – their works can be considered art pieces in their own right and can hold value.

In summary, the Baroque bow is a fascinating study in how form follows function. Its evolution was directly tied to musical needs. Understanding that history helps a player appreciate why a certain bow works best for Bach’s Chaconne versus Mozart’s Concerto. When selecting a Baroque bow, consider where on that evolutionary timeline you want to place yourself, and choose a bow that resonates with your instrument and your artistic intent. With the right bow in hand, you’ll find your Baroque music making gains new authenticity and ease – as if the spirit of a 18th-century violin master is guiding your arm. Happy bow hunting!

 

Violas: The Origin of the Modern Violin Family

by

Violas: The Origin of the Modern Violin Family

By: Andrew Dipper and Anika Barland

 

The Lira da Braccio from the 1500’s is considered by many to be the origins of the modern violin family. In his study on the development of bowed strings in North Italy from 1480-1580, Laurence Witten states, “…the Violin family, which should really be called the Viola family, because nearly all the earliest instruments of the type [with four corners] appear to have been very large violas” (Witten).  In this newsletter, we will discuss the origins of this instrument, an example from the courts of King Henry II of France, and a reconstruction Andrew Dipper has made, inspired by the work of Andrea Amati.

A 1505 depiction of Leonardo da Vinci shows him with a lira da braccio. It is known that Da Vinci visited the Duke of Milan in 1494 and was fond of this instrument. He crafted this lira with his own hands and was said to surpass all the musicians who had come to the court to play.

The design of the Lira da braccio fell out of common practice in the early 17th century, Witten theorizes, due to the plagues of the 1630s. The viola da braccio also fell out of common practice at this time, though it is recorded to have had a brief resurgence from 1685 to about 1730, “when a comparatively small and short-lived demand for viols seems to have been constructed in Italian court orchestras by northern music and/or musicians” (Witten).

The presence of drones on the lira da braccio is what differentiates it from the viola da braccio. While both instruments remained in use, the viol was popular in court and domestic playing during the Renaissance and Baroque periods. It was from the designs of the lira da braccio that we have the modern-day violin family.

One of the earliest known lira da braccios is currently in the collections of the National Music Museum. While this lira da braccio was

converted into a modern playing viola, it retains designs from the 1550s French Court. Traces of the original coat of arms from King Henry II of France are visible on the back. The Henry II motto “DONEC TOTVM IMPLEAT ORBEM” is painted on the ribs. This translates to “Til He Replenish the Whole World.” The National Music Museum has this instrument cataloged as a quinton; we believe originally it was a lira da braccio.

 

 

 

 

This instrument, dated to the 1550s, was played by Dr. Gerald Gaul when it was first acquired by the National Music Museum. I asked Dr. Gaul what his experiences were like playing this instrument:

“I had a wonderful experience with the Henry II! It had been adapted into a viola in the eighteenth century and it was set up with modern strings. I remember that it had a very powerful voice and was very responsive. I remember thinking that it was like the instrument was alive. Later, Claire and Andrew found me another viola that was cut down from a lira da braccio. It had been made in 1590 and cut down to viola size in 1770. It has the same powerful voice and quick responses. I use it as my early music viola.”

 

 

Andrew Dipper has recreated what this original lira da braccio would have looked like in the French Courts of King Henry II. I asked him some questions about the process.

AB: Where did the inspiration to build a reconstruction for this lira da braccio come from? 

AD: From a discussion with Arian Sheets, Curator, at the NMM South Dakota, who was the initial owner of the Henry II viola. There were obvious changes to the outline of the instrument, and these had to be addressed so that we could determine what the instrument was in its first iteration. The best way to do this was to attempt a reverse entropic copy.

AB: What considerations were important for this project?

AD: The position of the armorial on the back, relative to the cc bout and the length of the decoration on the rib garland, plus the original rib height.

AB: How does this lira represent the lineage of the early violin family?

AD: It is the precursor to the family of five violin family instruments that were arranged and made in predetermined pitches to make an orchestra of voices, like a choir. This orchestra of matched voices was used to perfection in Monteverdi’s Orfeo. https://baroque.boston/monteverdi-lorfeo

 

The story of this lira da braccio is interesting and continues to gather data and opinion. There are a few theories regarding the reason for this viola being commissioned. The first that it came to France for the 1559 marriage celebration between King Henry II’s daughter Elisabeth of Valois, to King Phillip II of Spain. The second is that this was commissioned by Catherine de Medici, wife of King Henry II, for the Fête at Bayonne in 1565.

The third theory, promoted by Andrew Dipper, is that this viola was commissioned by King Henry II himself, in a trip he took to the North of Italy. He would have ordered this viola, among others, from Andrea Amati in Cremona. This is shown by the painting of his coat arms on the back of the instrument. Though the painting has been painted over, we can see the coat of arms is the original.

 

 

 

The instruments created for either these celebrations or by order of King Henry II would have been made to be kept in France. This is how Diane of France became be the owner and player of this viola da braccio. One of the larger signifiers of this instrument belonging to her are the carnation flowers painted in the corners, or as they’re named in Latin, Dianthus.

Diane de France (pictured left) was the daughter of King Henry II and one of his mistresses Fillipa Duci de France. Diane was raised under the care of Diane de Poitiers (pictured right), the favorite mistress and long-term partner of King Henry II. Diane de France grew up with staff and tutors. She mastered all the French court languages as well as the viola and the keyboard. This Amati lira da braccio would have accompanied her throughout her youth in 16th century France. Diane de France went on to become the Duchess of Angoulême and build the Hôtel d’Angoulême, now the Hôtel Lamoignon. She would remain in good favor with the French Kings and court until her death in 1619.

 

AB:  What songs do you image Diane de France may have played on this instrument?

AD:  Chansons de court, these are some of the first examples of block printed music for public consumption and practice.

Images from Google Books, click on the image to be directed to the page:

 

 

Andrew Gonzalez, the violist of the Jasper String Quartet, played this lira da braccio at Givens Violins in June of 2022.

 

If you are interested in learning more about this historic instrument and the reconstruction Andrew Dipper has made, contact us at cgivens@givensviolins.com or call 612.375.0708. If you are interested in viewing a lira da braccio in-person, you can visit the National Music Museum, an appointment is required. Additionally, if you are interested in viewing a viola da braccio, you may make an appointment with the Metropolitan Museum.

 

References:

  1. Laurence C. Witten II (page 7) Apollo, Orpheus, and David, pages 5-55, Journal of the American Musical Instrument Society, Volume 1, 1975.
  1. Benjamin Hebbert, “Andrea Amati and the Spanish Set.” Violins and Violinists, Accessed 26 March 2024. https://violinsandviolinists.com/2024/03/08/andrea-amati-and-the-spanish-set/
  2. “Henry II of France.” Wikipedia, Wikimedia Foundation, 17 March 2024, https://en.wikipedia.org/wiki/Henry_II_of_France
  3. “Diane de France.” Wikipedia, Wikimedia Foundation, 6 November 2023, https://en.wikipedia.org/wiki/Diane_de_France
  4. “Diane de Poitier.” Wikipedia, Wikimedia Foundation, 23 March 2024, https://en.wikipedia.org/wiki/Diane_de_Poitiers
  5. “Viola” National Music Museum eCollection website. Accessed 23 March 2024. https://emuseum.nmmusd.org/objects/16804/viola?ctx=07e7f90b-0846-446f-9dfb-b997d605068c&idx=9

Viola Jokes Competition

by

Viola Jokes Competition

March is Viola Month at Givens Violins, and we are celebrating all things Viola…including the jokes! We set up a giveaway to give our audience a chance to show off their favorite viola jokes, after making sure the violists would definitely not be offended! To commemorate all the fun we’ve had, we’re going to post our weekly winning jokes, staff picks, and a good long list of great viola jokes!

Week 1 Winning Joke: Lily Bronson

There was once a violist who sat in the back of the section in a community orchestra. One day after rehearsal, as he was sifting through the storage in the back of the orchestra room, he bumped against an old, musty viola case. To his surprise, out popped a genie!

“Hello!” said the genie. “As the lucky person who has awoken me from my slumber, you are granted three wishes!” The violist was amazed. Never before had he had such luck! “Well, gosh,” he said, “I guess I’m pretty happy with my life, but it does get a little old sitting in the back of the section all the time. For my first wish, I want to be the BEST violist in the community orchestra!” The genie agreed, snapped his fingers, and Poof! He was gone.

The next day, the violist showed up to rehearsal at the community orchestra and discovered that he had been promoted to first chair! His peers were congratulating him on his ability, and the conductor gave him a compliment after rehearsal. It was amazing! The violist had never felt so appreciated, talented, or important. After a couple days of basking in his glory, the violist went back to the musty viola case and summoned the genie again. “Genie,” he said, “I have been loving all of this recognition from my community orchestra, but it’s not enough! I want to be the best violist in the WORLD!” Once again, the genie agreed, and disappeared after snapping his fingers.

The next day, the violist awoke to many emails from major orchestras asking him to come solo with them. Major conservatories were begging him to come be on their faculties. Recording labels were offering him amazing deals to work with him. There were articles about him in music magazines, and the Library of Congress was offering him their Stradivarius viola for free. He was the best and most famous violist in the entire world! The violist lived in this frenzy of glamor and success for a couple of weeks. He travelled the world, made lots of money, met with his adoring fans, and felt like he was the most important violist there had ever been. It was the best two weeks of his life. When he finally settled down enough to remember he still had one wish left from the genie, he didn’t even know what he could ask for! Finally, he summoned the genie again. “I am so happy with my life as the best violist in the world!” he said. “Genie, I don’t even know what to ask for, so please give me whatever could possibly be Better than this!”

The next day, when he woke up, he was the last chair second violinist in the community orchestra.

Week 2 Winning Joke: Anne Welna

The concert is about to begin and the conductor is stuck in traffic…they’re not going to make it. The concert master asks the orchestra if there is anyone who can possibly fill in? The show must go on! The principal violist looks around and, when there are no other volunteers, slowly stands up. I can do it, she says. After a stunning performance, she runs into her stand partner and asks them how they felt it went. It went pretty well, they said, but where were you?

Week 3 Winning Joke: Jacob Crosby

There was once a woman who had auditioned and was accepted into a prestigious orchestra. She played violin, and had been granted a seat in the 2nd violin section. She was shy, and nervous about meeting the other musicians and making friends. Fortunately, the principal violist introduced himself before the first rehearsal, and made her feel welcome. He showed her around the rehearsal space, introduced her to the conductor, and helped her make some new friends. The two musicians got along well, and from that day on, they had a wonderful working friendship. The violinist noticed that her colleague always wore the same suit to every rehearsal and ever concert. Each time, before the orchestra would begin, the principal violist would peek inside his left breast pocket, and then grab his instrument and play. She thought that was odd, and asked the violist about it one day. “We are good friends,” he said, “but you must never ask me about that again. It is a secret.” Naturally, the violinist didn’t want to cause trouble with her good friend. As the years wore on, she became more and more curious about that viola player, his suit coat, and that left breast pocket. Years went by, but the two musicians remained good friends, and did their best to make newcomers feel welcome. But each and every rehearsal, and every concert, the principal violist would check inside his left breast pocket in his coat, before he started to play. Finally, it came time for the Principal Violist to retire. The day of his final concert approached. On the day of the concert, the violinist showed up extra early to make sure she was as prepared as possible to see her friend off. As she arrived to the rehearsal room, she noticed the same old suit coat draped over the Principal Violist’s chair, and he was nowhere in sight! Brimming with curiosity, she knew she would never have another chance to see what was in that left breast pocket. Quietly and quickly, she snuck to the violist’s chair, grabbed the coat, and peeked inside the left breast pocket. Inside, she found a yellowed, tattered note. It read: Viola = left hand, bow = right hand.

Week 4 Winning Joke: John Thomson

The annual convention for viola players was taking place. All the viola players gathered were having a wonderful time sharing tales of their experiences and comparing stories of their various orchestras and conductors. A rumour circulated that there was a very special player in attendance. A virtuoso viola player who could actually play 32nd notes! Astonished, several attendees found this played and asked him (with great respect and reverence) if it were indeed true. “Are you really able to play 32nd notes?” The virtuoso was very affable. “Well yes. It is true. I have worked hard and managed to acquire the skill of playing 32nd notes. Would you like me to play one for you?”

Viola Jokes Entries

  1. William Primrose was enjoying a well-deserved slice of pie at a local Cafe with some colleagues from the Jacobs School of Music after a Quartet performance one fine Spring Friday evening. Suddenly he dropped his fork, stood up and exclaimed: “Oh no! I left the Amati in the car unlocked! I fear the worst!” Dashing from the Cafe he ran to the car where the door was already ajar. Sure enough, the worst had happened. Inside the car someone had filled the back seat with MORE Viola’s!
  2. A violist was meeting with some new neighbors one day. The subject of what each person did for work came up to which the violist replied, “I’m a professional musician.” “That’s so cool! What kind of music do you play?” asked the neighbors. “I’m a violist and play classical music,” beamed the violist with pride. Not wanting to let the conversation die, there one of the polite neighbors asked the violist if they had a favorite composer or piece of music. “Of course!” said the violist, but all of a sudden, the violist’s mind went blank from the shock of being put on the spot. “I’m blanking on the name of the piece, but it’s a piano piece by Beethoven.” The neighbor replied, “That’s cool. Maybe I know it. I used to play the piano when I was kid. “The violist enthusiastically nodded. “Maybe you do! It’s the one that starts with the really fast trill!” (Hums opening of für Elise)
  3. A man went on a safari in darkest Africa with a bunch of other people and some native guides. They traveled on foot, going deep into the jungle where they could hear the screeching of birds and howling of wild cats and other fierce wild animals. After a few days of travel, the man came to notice that there was a constant drumming noise in the background. He asked the leader of the guides what the drumming was. He got no answer, just a stony silence. The drumming continued all day and all night for the next several days. In fact, as they traveled deeper into the jungle the drumming got even louder. He tried again to find out what the drumming meant by asking the other native guides, but he still got no answer. Finally one morning, after days of marching to this drumming (which by now was sounding quite ominous), the drums suddenly stopped. The native guides screamed and ran into the jungle to hide in the undergrowth. The leader remained behind with his charges, but he was trembling with fear. The man asked “What is wrong? Why have the drums stopped?” The native guide replied “Very bad. When drum stops, then comes the viola solo!”
  4. A few years ago an orchestra was on tour in France. One evening they decided to go find some snails so they could have escargot for dinner. Everybody was given a bag and sent into the vineyards. Gradually everybody came back with their bags filled with snails. All sections were there except the violists, who returned several hours later. The concertmaster asked, “Were have you been for so long and why are your bags empty?” “Well,” they said, “I don’t know how you managed, but it was a disaster. We saw a lot of snails, but they were quick! Just as we went to get them, whoosh…and they were gone!”
  5. New viola student goes to first lesson and learns the basics 🙂 Teacher is happy. Second lesson; how to hold the bow and read the alto clef. Teacher super happy and proud! Third lesson, student misses. Fourth lesson, no show. Oh well, thinks the teacher, he is gone! Next month he runs with the former viola student in the street and asks him why he stopped coming to lessons! The students says: Too busy gigging around 🙂
  6. Why is viola called “bratsche” in Germany? Because that’s the sound it makes when you sit down on it
  7. How many violists does it take to make a batch of chocolate chip cookies? Ten. One to stir the batter and nine to peel the M & M’s
  8. What separates the violists from the animals? A: The second violins.
  9. Why did the violist marry the accordion player? Upward mobility.
  10. Why did the Stokowski Shift produce the most popular Symphonic seating we see today? Because it made it easiest for the director to hide the violists.
  11. Question: What’s the difference between a viola player and a large pepperoni pizza? Answer: The pizza can feed a family of four.
  12. Whats the only thing that separates violists from the apes? The 2nd violin section
  13. How will a violist’s brain cell die? Alone.
  14. There was once a violist who sat in the back of the section in a community orchestra. One day after rehearsal, as he was sifting through the storage in the back of the orchestra room, he bumped against an old, musty viola case. To his surprise, out popped a genie! “Hello!” said the genie. “As the lucky person who has awoken me from my slumber, you are granted three wishes!” The violist was amazed. Never before had he had such luck! “Well, gosh,” he said, “I guess I’m pretty happy with my life, but it does get a little old sitting in the back of the section all the time. For my first wish, I want to be the BEST violist in the community orchestra!” The genie agreed, snapped his fingers, and Poof! He was gone. The next day, the violist showed up to rehearsal at the community orchestra and discovered that he had been promoted to first chair! His peers were congratulating him on his ability, and the conductor gave him a compliment after rehearsal. It was amazing! The violist had never felt so appreciated, talented, or important. After a couple days of basking in his glory, the violist went back to the musty viola case and summoned the genie again. “Genie,” he said, “I have been loving all of this recognition from my community orchestra, but it’s not enough! I want to be the best violist in the WORLD!” Once again, the genie agreed, and disappeared after snapping his fingers. The next day, the violist awoke to many emails from major orchestras asking him to come solo with them. Major conservatories were begging him to come be on their faculties. Recording labels were offering him amazing deals to work with him. There were articles about him in music magazines, and the Library of Congress was offering him their Stradivarius viola for free. He was the best and most famous violist in the entire world! The violist lived in this frenzy of glamor and success for a couple of weeks. He travelled the world, made lots of money, met with his adoring fans, and felt like he was the most important violist there had ever been. It was the best two weeks of his life. When he finally settled down enough to remember he still had one wish left from the genie, he didn’t even know what he could ask for! Finally, he summoned the genie again. “I am so happy with my life as the best violist in the world!” he said. “Genie, I don’t even know what to ask for, so please give me whatever could possibly be Better than this!”
  15. The next day, when he woke up, he was the last chair second violinist in the community orchestra.
  16. What’s the difference between a viola and a trampoline? You take your shoes off to jump on a trampoline.
  17. How do you get a violist to play flying spiccato? Give them a double whole note and mark it “solo.”
  18. What is a dead giveaway that a person telling a joke is a violist? Their humor is offbeat.
  19. Violists are violinists who understand that size matters. Cellists are violinists trying to compensate. They’re always showing off the instrument between their legs. Bassists? Let’s not even go there. And when you think about it, aren’t the first violins the castrati of the string world?
  20. Six Viola Movies We’ll Never See: 1) Die Hard: “Resurrection of the Viola Player”, music by Tristan Schulze, performed by a choir of auditioning violists 2) The Hunger Games: Mockingjay Pro Violist edition, directed by Carl Stamitz 3) Terminator: Darkest Fate, starring Arnold Der Schwanendreher 4) Lost in Transposition, Bill Murray principal violist 5) Groundhog Day: Viola Sectionals 5) Gone with the Winds, music by Anthony Plog featuring “Four Miniatures for Viola and Wind Quintet”
  21. Why did the violist get arrested? He got in treble when he got high.
  22. What’s the difference between a video game addict and a dyslexic violist? Nothing. They both love their Tetris.
  23. Why did the Stokowski Shift produce the most popular Symphonic seating we see today? Because it made it easiest for the director to hide the violists.
  24. I hate to break it to you, violists, but there’s a reason the stop signs in Central America say “ALTO”.
  25. What’s the difference between first stand and last stand violist? About a half step!
  26. Why does Wednesday Addams play the cello? Because viola is too ghastly.
  27. One day the last chair violist of the Bemidji Philharmonic stumbles upon a lamp and out pops a Minnesotan Genie! He says “Oh dontcha know I fer sure can grant ye three wishes!” For the first wish, this violist wishes to be a better musician and the genie says “Ope! Drive safe now and be sure to watch out fer deer!” and the violist’s skills have dramatically improved. The next year the principal viola position opens up in Bemidji and the violist wins the job! After a few years, our violist decides it’s time to use the next wish and again wishes to be a better musician still. The genie says “Ope! Be sure to tell yer folks I says hi now!” and the violist’s skills once again dramatically improve. The next year there is a posting for Principal Viola of the Berlin Philharmonic and our Bemidji violist wins the top job in the world! After a few more years our violist decides it’s time to use the final wish. Our violist once again wishes to be a better musician. The genie says “Ope! I hope ye still like the taste o’ tater tot hot dish!” and the violist’s skills improve dramatically for the last time…and our violist is now back at home in the back of the second violin section of the Bemidji Philharmonic.
  28. Why did the Viola swim across the ocean? To find his C String!!!

In conversation with Janet Horvath

by

In conversation with Janet Horvath

Conducted by Anika Barland

Janet Horvath, author of Playing (Less) Hurt: An Injury Prevention Guide for Musicians, Gold-Medal winner of the 2009 IPPY award, joins us for a conversation on how musicians, violists in particular, can rethink their playing habits to stay physically and mentally healthy.

String Player Issues

As the “Olympians of the small muscle groups,” musicians face the highest rate of occupational injury, with string players making up the highest percentage- 84% having at least one injury. The term for many of these injuries is RSI, repetitive stress injury. This comes from our playing and practicing habits, in combination with the effects of day-to-day living.

Horvath finds that much of the RSI problems come from static work- extending your arm out to hold your instrument or bow, tilting your head for prolonged periods, keeping a slight twist of your spine to sit on your chair, reading your music, and playing with expression. These static holds create tension and lead to fatigue. Your muscles wear and tear. You may find yourself waking up in pain or having trouble holding a pencil after a long day of practice.

Fixing it: Step 1

Lucky for us, Janet has tangible fixes we can implement throughout our day to aid in prevention and recovery. Her first fix? Simply to take breaks whenever possible, even if for a second or two. “If I could tell violists one thing, it would be to lower your arm and move it around, uncurl your fingers, lubricate your joints.”

In her book, Janet outlines a series of quick stretches musicians can do, quite discreetly, while onstage. Some quick stretches include:

  • shoulder shrugs.
  • shoulder rolls.
  • turning your head side to side/up and down to stretch your neck.

“We are taught to appear like statues on stage, not to move. However, it is important, for our ability to play with expression, that we take small moments to release our bodies from these static holds.”

Step 2: Good Habits!

In addition to small stretches on-stage, our off-stage habits can aid greatly in how our bodies store this tension. Stretching at home, practicing yoga or Pilates, finding a physical therapist.

These are all great helps. In her book, Janet provides a series of stretches you can do on a foam roller or soft surface. She even provides a series of stretches that can fit into your daily routines, “Can’t find time to stretch? Try these: they feel great in a warm shower!”

 

 

Healthy Heads

Another way to reduce our risk of injury and stay mentally healthy can be accomplished with just our thoughts. Janet warns of pre-performance anxiety, “When we are nervous, our breathing tends to be shallower. Our muscles may not get adequate blood flow and we may start to shake. Our heart rate might increase to the point that cardiac output is diminished, reducing blood flow to the brain.”

While the stresses of performing are multi-faceted and we all have our own worries, it’s known to us all that working through these negative feelings leads to a better performance and a better quality of life. Janet highlights the power of positive thinking, stating “practicing too much before you go onstage leads to overuse of your muscles. It leads to anxious thinking. Instead, visualize the music and how you would like it to sound. Tell yourself that you can play this, it is going to sound great!”

If you’re looking for something more physical, restorative stretches are great before a performance. “Try a child’s pose, do something calming.”

Violists!

For our violists, Janet has one thing on her mind, “Make certain you have a viola that plays well, one that you’re comfortable with. Size really does matter.”

The viola comes in different sizes and measurements. Consider the weight and length of the viola. When the viola is too large, you overextend your muscles trying to hold it up. Your body twists, your neck strains. “Having a well-fitted combination of shoulder and chin rests is very important. Your head should be neutral and upright. Any tilting or cocking will result in long-term damage.”

All in All:

Janet closes out our conversation with her top five rules for a healthier life as a musician.

  1. Warm-up. Taking the time to warm up your muscles will aid in protecting your body and preventing unnecessary strains and tears. “An athlete wouldn’t show up to their match and start playing without a proper warm-up. Why shouldn’t we do the same?”
  2. Take Breaks. Janet recommends a 10-minute break every hour, “Fatigued small muscles experience a 90% recovery in 10 minutes.” Set a reminder on your phone. When practicing in a large group, break whenever you can.
  3. Increase practice load gradually. Janet provides templates on how to gradually increase after taking a break, whether from injury, vacation, or other life circumstances.
  4. Vary repertoire. Give your muscles groups a break and switch out the pieces you’re working on. Janet recommends a different piece every 15 minutes.
  5. Reduce practice intensity before performance. Take some time to relax your mind and body. Practice some stretching or positive thinking. Your body and mind will thank you after your performance and years down the line.

Thank you to Janet Horvath for this valuable conversation. For more information, check out her book Playing (Less) Hurt: An Injury Prevention Guide for Musicians on her website: https://janethorvath.com/books/playing-less-hurt/

Additional links to Publications and Practitioners:

  1. International Musician, Pilates for Musicians https://internationalmusician.org/pilates-for-musicians-great-exercise-for-seated-athletes/
  2. Yoga for the Arts, Yoga for Musicians https://yogaforthearts.com/
  3. Symphonic Blog, Mental Health for Musicians https://blog.symphonic.com/2023/05/08/mental-health-resources-for-musicians/#:~:text=Over%2070%25%20of%20independent%20musicians,toll%20on%20anyone’s%20mental%20health.

 

Introducing Matthew Dehnbostel, our Viola Specialist!

by

Introducing Matthew Dehnbostel, our Viola Specialist! 

Interview conducted by Anika Barland 

 

AB: What does an average day at Givens Violins look like for you? 

MD: On any given day you’ll find me working with current clients and the instruments and bows they’re playing while on trial. We’re always looking to find the best fit for them. I’m also working with new customers, getting them acquainted with our inventory and the services we provide. I help customers select accessories for their instruments and bows, as well as get them set up with our workshop for repairs, estimates, and their various needs. I’m always looking to the market to update our inventory, with the goal of serving the needs of our customers. In my free time, I’m looking into new products and learning about the history of important luthiers and how their work has evolved. We’re blessed to have an amazing workshop and restoration team, so it’s important that I continue to learn as much as I can to better help our customers! 

AB: Which violas in our current inventory do you enjoy playing the most?  

MD: As a violist, I prefer a rich and dark sound that still has an energy to it. I love it when you find the right instrument pairing and it almost feels like the bow is flying across the strings! I’ve had quite a few favorite instruments come through Givens violins while I’ve been here- including my current instrument. Right now, one of my favorite violas is one we just recently acquired by Otto Erdesz, known in his time as the ‘King of Viola Makers’! 

AB: What qualities stand out to you in a high-quality viola? 

MD: The complexity and control of its color palette is really telling of the quality of instrument. As well as how easy it is to draw the sound you are looking for. 

AB: When working with a young viola player, what factors are most important when finding and fitting a viola for them? 

MD: There are a couple important things that I try to keep in mind when picking instruments for young players. Firstly, I want to find an instrument that fits them properly. Viola is already a very physically demanding instrument to play, so finding them something that fits well will help their growth immensely. The other thing that is just as important is finding an instrument that sounds great. I want young players to feel good while playing and enjoy the sound they produce. This is important to enhance the motivation to play! 

AB: What factors are important when helping a violinist make the change to playing the viola? 

MD: Congratulate them on choosing the superior instrument… 😊 Then we make sure to size them properly for an instrument. The biggest hurdle for starting viola is always finding the right fit; that is something I have lots of experience doing. The next hurdle is adjusting techniques slightly to account for the larger size of the instrument. More weight in the bow arm is needed to get the instrument to sound, and the finger spacing in the left hand is further apart which requires a bit more flexibility. 

 

 

 

 

 

 

 

 

AB: In fitting a customer for a viola, what tools do you use to match them with a suitable instrument? 

MD:  I have played every viola we have for sale, enough to gain an in-depth understanding of the instrument and what it can achieve. I then commit it to memory. During my conversation with a new customer, I always ask 2 questions that help me gauge what they are looking for in a new instrument: “what sound quality do you prefer?” and “what are you hoping to achieve with a new instrument?” These questions along with my memory of the instruments help me know what to suggest to them. Though I’m a violist, I’m not perfect in every way, I do make sure to play the instruments again to make sure my memory of them is accurate. This helps me fit violas to a customers preferred sound palette. 

 To physically fit a viola there are some tools you can use to help the process go smoother. A caliper can help measure the thickness and depth of the instrument’s neck, and a tape measure to go over the instrument’s body dimensions, but the most important tool is a well-trained pair of eyes. If you know what to look for it’s very easy to see if an instrument fits properly or not. I keep an eye on the players right and left shoulders to make sure they aren’t raised when playing and an eye on their chin/neck to make sure they aren’t squeezing the instrument to hold it up. Also, I look at how far the arm extends from the body when playing in first position and the shape of the hand when playing on the C-string. We also track the 7 major viola measurements, because it’s not just about the body length of the viola.  

AB: How do you find the right bow? 

MD:  At Givens Violins we use the method the bow maker William Salchow developed, which divides the bow auditioning process into two phases, testing for sound and testing for response. This method allows the player to be systematic in their considerations and find the best sounding and playing bow for their instrument. I typically suggest auditioning 3 bows at a time to not overwhelm their process.  

AB:  Finally, why is the C string so important? 

MD:  Because it is better than every other string! 

 Contact Matthew at mdehnbostel@givensviolins.com or (612) 375-0708 to schedule an appointment.  

International Women’s Day 2024

by

International Women’s Day 2024

This year, International Women’s Day falls into our ‘March is Viola Month’ at Givens Violins. To celebrate both violas and the accomplished women we get to work with, we interviewed some prominent players and makers. Featured in this article are conversations with Violists CarlaMaria Rodrigues, Jennifer Houck and Sue Sidoti as well as Viola Makers Carrie Scoggins and Elisa Scrollavezza.

We are so grateful to these women for taking the time to speak with us about their journeys and careers. Happy International Women’s Day and Happy Viola Month!

CarlaMaria Rodrigues,  Principal Violist of the San Francisco Opera

AB: You’ve done quite a lot of traveling around the world! What have you noticed in playing styles across the globe?

CMR: I have noticed that there is a wide variety of styles around the world, and I continue to enjoy a rich life exploring these with many new and old friends. It has been quite exciting to see how performance styles have changed in response to a growing awareness of the importance of Historically Informed Performance (HIP). What began in Europe with the rediscovery of treatises detailing historical performance practice and the use of period instruments and their replicas, has led many of us to pursue different approaches in performance. Initially adopted in the study of early music, these new approaches are increasingly applied to later composers such as Schumann and Brahms and as this has been a new approach for me, I have relished the challenge to develop different ways of producing sounds with my bow and different ways to utilize my vibrato and hope to explore this further on period instruments.

AB: Who are your biggest inspirations and influences?

CMR: This is not an easy question to answer as there have been so many influences and inspirations. But if I was to pull a specific time out of a hat, I would say my initial influences were found growing up at the Yehudi Menuhin School. There were many instances in that environment that to this day hold a place in my heart and memory. One such memory was playing Chausson Concerto for Violin, Piano, and String Quartet with Yehudi and Hepzibah Menuhin and 3 other colleagues from the school. We were 14 years old and at that time were mesmerized by how these icons rehearsed and discussed the music, and while offering advice and suggestions to us, never instilled any specific idea except that of ‘listening’. This is something I continue to reflect on today as I feel very fortunate to have grown up in a time where information and access to information preceded the internet and seeking out the performers and performances felt like the driving force of curiosity. The mentors that I had the privilege of working with and hearing perform include Hans Keller, Vlado Perlemuter, Nadia Boulanger, Sir Michael Tippett, Stéphane Grappelli, Ravi Shankar, Louis Kentner, Sylvia Rosenberg and many more. These artists in person inspired me then and continue to inspire me today.

AB: Tell us about one of your great successes.

CMR: Any successes I have achieved over the years I attribute to the many teachers, colleagues and friends I have met along the way. I have had the fortune to play in the Zukerman & Friends’ Ensemble for many years with amazing colleagues traveling to South America, Australia and Israel. And my time at the Marlboro Music Festival was such an inspiring and fulfilling journey, to have made so many friends and to have worked with Rudolph Serkin was a real gift.

AB: What is your advice to young players, or those beginning in their careers?

CMR: My advice to students and young artists I meet and work with is to be open to experiencing all forms of musical and artistic mediums including other art forms i.e. theatre, dance, painting and literature. Encourage people you meet to experience live music and art. The interaction between performer and listener is exciting, relevant and enriching.

AB: Is there a piece you’re particularly interested in playing?

CMR: This year I will be taking some time off to learn some new repertoire for me, including Lera Auerbach – 24 Preludes for Viola and Piano and the Sonata No.1 “Arcanum” for viola and Piano.

Jenifer Houck, Violist in the Kansas City Symphony

AB:  I noticed your involvement in musical theater, choir, and the Disney National Youth Orchestra, along with acting in commercials and TV shows as a child. How did you decide on playing the violin over your other involvements?

JH:  I’m not 100% sure I ever stopped wanting to pursue musical theater, or acting, but I believe I grew weary of the 3+ (each way) hour drive to do so, in Los Angeles, from my home town.  I still sang in small chamber choirs and worked for churches in college, and also participated in opera scenes.  Even when working at NRO (National Repertory Orchestra) in college, I sang with the orchestra with rep like DeFalla, and several times had the opportunity to sing “Summertime” by Gershwin.  I think that with viola (I switched in college permanently), I had immediate success (luckily) and although I worked hard, I got to experience really amazing opportunities early on.

AB:  You’ve soloed with several orchestras and played as Co-Principal here in the states and abroad. What do you see as some of your best career achievements? What have been some of your most memorable performances?

JH: I have played in orchestras (or with orchestras) in 11 countries.  I have played anywhere from Carnegie Hall to the Sydney Opera House, in Tokyo, Seoul, at a jazz festival in Switzerland, and in our acoustically perfect hall here in Kansas City.  I do not say this lightly, but there is NOTHING like playing the National Anthem for 76,000 people at the loudest stadium in the world, Arrowhead Stadium, home of the Chiefs.  It was unbelievable.

AB: What advice do you have for young viola players? 

JH: I think that music is something one should do because they love it.  However, it’s incredibly difficult to win an orchestral job, and the statistics are that of almost the NFL…only about 3% will ever do so.  My wish is that more teachers were honest with their students about the playing level/talent/work ethic required to be in an orchestra, and overall should NEVER discourage the need and power of a great band/orchestra director, music therapy, administration, and other careers in music.  Also, the power of just loving music, and doing something else for a career.  There are incredible opportunities in music, both for participants and patrons and no job is beneath another.

AB:  You mentioned your love for a crisp Provençal Rosé on the patio… what piece comes to mind when you think of this. What would pair well with a Rosé on a sunny day?

JH: I may be the worst ambassador for classical music by saying this, but I rarely, if ever, listen to classical music outside of work (or preparing for work).  I grew up listening to classical music of course, but my parents made sure I also had a very solid knowledge of everything 1920-1970.  I think that I missed out on a lot of great music from the 80’s and 90’s, but I’m making up for it now.  You definitely could find me listening to anything from Tech9ne, Taylor Swift, to the Punch Brothers, to Garth Brooks and Laney Wilson, to Beyoncé, Ludacris and anywhere in between.   Also, if you didn’t happen to know, I play in the Kansas City Symphony, and we are about to play a concert with Tech9ne, and he put the song “Red Kingdom” on the map.  Go Chiefs!!!!

Sue Sidoti, Violist for the South Dakota Symphony Orchestra

AB: How did you get you start as a violist?

SS: I am a violinist who started playing the viola in 9th grade to join a string quartet. The technique was similar, and all I had to do was learn a new clef. I’ve loved playing string quartets ever since then, and it has always been one of my favorite ways to spend time with friends. I still love playing the violin, and each has its own great sound characteristics. The rich, chocolaty sound of the viola is perfect to fill in the sonority of a string quartet (or an orchestra, for that matter—especially if the conductor doesn’t try to shut you up all the time!).

AB: What skills do you consider most important for being an effective orchestra member?

SS: The skills you need to play in any ensemble include being able to fit your intonation, sound, and technique with other players. There is a certain give and take, and ability to adapt on the spur of the moment to what someone else in the group did. For a quartet or trio to work, the players have to respect each other musically and be able to disagree without condescension.

AB: How would you describe your style of teaching?

SS: My teaching style depends a lot on what each student needs and responds to. Intonation is one of the first things I try to prioritize. After that, producing a beautiful sound that can vary with musical style and expression, understanding of musical phrasing, rhythmic stability, familiarity with musical styles, etc., etc., —there are many aspects to playing the viola well, but how one achieves them may be different for each student. Some people are good at imitation, some need detailed analytic description, and some need little more than a standard they can look up to. I don’t insist that my students use the same bow grip, fingerings, or type of vibrato that I use—I try to find a style that fits a student’s natural tendencies.

AB: Do you think your playing style or technique has evolved over time?

SS: I don’t know that I would say that my playing has “evolved” over time, but as I keep improving, I am freer to express myself musically. I learn a lot from my colleagues, my students, and great artists of the past and present. Playing music is one of the most exhilarating things you can do, and I can’t imagine life without it!”

Carrie Scoggins, Viola Maker in Salt Lake City, USA

AB: What considerations or models do you think of when you’re designing a viola?

CS: My intent when choosing a model for my violas is to make something that is player friendly. The upper shoulder shape must not be too wide so the player can get into higher positions easier. I also chose a shorter string length. The patterns I have are based on the Amati model.

AB: What sort of wood do you prefer for viola?

CS: I use different woods for the viola also. Violins are always European maple but for my violas I will use Tulip Poplar, Big Leaf Maple, or European Maple for the backs. I am just finishing three different size violas right now – each one a different wood for the backs.

AB: How did you get your start in viola making?

CS: I grew up studying the violin but started playing the viola in college and loved its’ deep, rich sound. When I started making violas here in Utah, I built a number of them for David Daltons students at BYU. I learned a lot from those instruments and following the players through the years.

AB: What is your focus when making these instruments?

CS: What I focus on is building an instrument that is even across the register, speaks quickly, has a wide dynamic range, and color to the voicing. Can you play pianissimo and still have clarity and be heard? A viola that is just loud, without color to its voicing, is boring to me. A viola that can stand up to chamber music work must have character!”

Elisa Scrollavezza, Viola Maker in Parma, Italy

AB: What are the differences in viola making rather than other stringed instruments?

ES: The viola is the instrument that, in musical ensembles, acts as a union of the low and high registers, so it is usually comfortable to have a warm and defined sound. Unlike the violin, there are many models of violas which vary especially in length, and I believe that every violist is more comfortable with one size rather than another, but from the luthier’s point of view I think that the belief that small violas don’t produce a large sound is false (in fact the violin is smaller than the viola). Rather, one must keep in mind that the shorter violas must have different relationships in the heights of the ribs based on the arching of tops.

AB: What styles of wood do you use in your violas?

ES: The choice of wood is very important, always considering the model you decide to make. It must be kept in mind that softer woods help the lower registers, of course the luthier’s experience lies in finding the right balance.

Contact

1201 Marquette Ave. Suite 150
Minneapolis, Minnesota 55403
Directions

Phone: 612-375-0708 or
800-279-4323
Fax: 612-375-0096
cgivens@givensviolins.com

Contact Us

Connect With Givens

Sign up for our Newsletter

By submitting this form, you are consenting to receive marketing emails from: . You can revoke your consent to receive emails at any time by using the SafeUnsubscribe® link, found at the bottom of every email. Emails are serviced by Constant Contact

Hours

Tuesday – Saturday
10:00 a.m. – 5:00 p.m.

612/375-0708 

Parking

Parking is available at: The Plaza Ramp and the Hilton Hotel Ramp (11th Underground Ramp). Click here for details.

Translate Our Site

Sphinx Partnership

Givens Violins is a proud Partner of the Sphinx Organization!- Transforming lives through diversifying the arts.

Our Affiliations

Accessibility Statement

Review us on : Google

Inventory

About Us

Services

Resources

Claire Givens Violins Inc. © 2025
Developed by EMOD, LLC