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!