The History of the Violin: Baroque to Present
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- Опубликовано: 11 окт 2024
- The History of the Violin: Baroque to Present
This is the third, and final, video in our 'History of the Violin' series- this one focuses on the changes that underwent the violin itself in it's journey from the Baroque era to present day!
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Will you be continuing the series of playing rare violins that you did a while ago ? Yes I’m one of those who kept asking for the return of the Violin history videos also . Can never get too much of a good thing 😊😊
I really loved this series of videos. I appreciate all the work that you put into making them and editing them for us. I wish you and your family all the best.
Amazing! Thank you Katha! (This is from Parke)
Great work, Katha!
Thanks a lot, really interesting.
Extremely interesting. Today’s A is tuned to 440 which is a big leap from the days of the baroque, imposing a significant increase in stress on the violin. Perhaps you can include its effects in future videos. I know when my violin(s) has dropped in pitch when the sound improves !!
This is a good start! But I'm thinking may be you could get a gut string old fiddle and bow (or a contemporary re-make) and a modern violin and give us some basic sonic comparison?
Not a musician but very interesting, so, thanks.
Back to your music historian persona, if you please. I was listening to a piano piece on the cable TV- themes in it sounded familiar, but some of the piano work was so intricate, I thought I was a Beethoven piece. Then I looked and saw it was W.A. Mozart's piano concerto #20 and was surprised it was Wolfie. Wasn't he a violin prodigy or was that his father? Watta guy. thanks
great video! Do you have any tips for insurance? what kinds of insurance is good for a performing musician? It would be a very nerdy but much needed video!
Thanks Katha, a very nice presentation!
I have to present some personal observations, however, as I am a violin repair person, dealer, and collector, and not unacquainted with the subject...
First off, while both Northern Italy (Tuscany, and the "Provinces"), and the Tirol (Saxony, and what later became Germany) contributed enormously to the evolution of the modern violin, I am surprised at how so many "history of the violin" expositions, whether in print or onscreen, seem to dance around the fact that it was the French who ultimately invented the modern violin as we know it today! I believe the design changes were implemented in response to pitch increases being increasingly sought by 18th Century European orchestras, but it seems fairly obvious to me that the physical and radically important changes to the instrument were instigated by Giovanni Battista Viotti, under the impetus of his mentor, Pugnani, and that these changes were actually implemented by the Lupot family, and especially Nicholas Lupot, the true genius of French violin making (with attendant and abject apologies to our good friend Jean Baptiste Vuillaume!). Further, I contend that Francois Tourte was also mixed up in this, as a participating consultant and intuitive mechanical problem solver (even though functionally illiterate, he WAS trained as a watch maker!)...
The functional life of a modern violin is probably something like three to five hundred years, depending on the amount of use and vagaries of construction, like the thicknessing of the wood, and the design parameters of various different makers, and some with good fortune may last a bit longer, but entropy will have its day and its way, rest assured! I think most of the concert Strads,, and Guarneris, and Grand Pattern Amatis, and gorgeous Guadagninis, have lived hard lives, and many are slowly sinking below the tonality and projection they once possessed (a century or more ago the Hills were pleading that these overworked masterpieces should be "rested," to preserve their power and increase their longevity!). I believe that I heard my favorite violinist, Nicola Benedetti, hinting that she thought perhaps that the Golden Period Strad that she had on indefinite, and generous, and justifiable, loan, could use a little more oomph in the bottom end (not exactly her words, but that's what I heard!)...
And as far as that goes, I wouldn't hesitate, were I a violinist (but even as a dealer!), to choose an excellent Nicholas Lupot, or a fine Vuillaume, over a functionally half spent Strad, or Guarneri, or Bergonzi... although from a dealer's standpoint, the millions the last three would yield, whether to museums, or Mitsubishi, or Dubai, as opposed to the first two, now just breaking into those kind of figures, would merit consideration! Still, the Lupot and the Vuillaume (and the Bernardel?) are on the appreciation "up escalator," while the others are morphing daily into "objects d' art"...
But any good quality modern violin, with regular and requisite care, can easily withstand the rigors of frequent and robust use, and as far as the "ancients" go, which while originally built for baroque use, when modernized for contemporary use, with a bigger bass bar and a proper neck lengthening and modern fingerboard do just fine, it's the age and use that are the linchpins! I'd add here that "grafted scrolls" were functionally and structurally not a good idea, and again, the Hills complained that most of these grafted neck conversions were actuated by players wanting more flamey maple on their instruments, by grafting the original pegbox on a flamey neck, rather than the more structurally sound method of shimming the neck at the body to achieve increased length and neck angle, or "pitch." As far as nostalgically "preserving" baroque instruments, as the dealer who was converting what may have been the last unconverted Stradivari to modern playing requirements observed, "Baroque players are a notoriously impecunious lot." The needs of the baroque players of today can easily be met by extant violins, both old ones, but also new violins modified to baroque parameters. And also, there are today some number of makers building new baroque violins! And to finally nail the coffin lid onto the "poor baroque players" trope, I've got a 1753 Carlo Fernando Landolphi ( a real "fat lady," and I believe actually the one described at length by Jalovec in his "Italian Violin Makers" encyclopedia!), that I would gladly sell to anybody for $3,500... so there!
So thank you for letting me share a few things that I have been meaning to get off my chest (see also, "rant about") for a while! I always enjoy your wonderful posts, and I look forward to many more in the future! I'm grateful to the algorithm for bringing you to my attention once more, and I believe I'm subscribed (yes, I just checked!), so bring on the beautiful bowed brilliance, and more on all of this anon!
-- With most sincere regards,
Glenn Jones
Landolphi for $3,500?? Ill take it haha
there are three kings of strings: gut, steel, and synthetic. Please educate yourself
I'm sure she knows that but from a historical standpoint, gut strings were around for centuries until steel strings were invented in the early 20th century. Especially seeing as this is a video about the baroque-to-modern transition, steel strings are a more relevant comparison. After all, it's a 6 minute video. It's not that big of a deal.
@@ajmaltaujoo4277 it is. She’s called EP steel strings. If she wants to make informative videos, she must be informed.
@@thatoneguy8064she is... Sinthetic strings are the equivalent of gut strings... Duh...
@@Maxime_Ayrault_de_Saint-Henis equivalent how? If you don’t know the difference between flesh and plastic, you have an issue. Duh.
@@thatoneguy8064 synthetic strings were made to replace gut... They have similar characteristics... Duh...