Baroque stringed instrument makers2/16/2024 ![]() This had a negative effect on the stability of the neck, which until that time was only glued on and nailed through the upper block. In turn, higher bridges increased the pressure of the strings. The first changes were made to the thickness and vibrating length of the violin strings modifications here automatically meant that the height of the bridge had to be altered. Larger concert venues and ensembles also prompted experimentation amongst luthiers to meet the higher demand for instruments with more powerful voices, such as those of Stradivari and Guarneri, unlike the quieter violins by Nicolo Amati and Jakob Stainer. The absolutist rulers of the day had a growing desire to be culturally represented, and after the French Revolution new bourgeois performance standards became commonplace: both factors shaped the need for greater volume. In the 18th century, the aforementioned series of mutual influences pushed the prevailing standards to their limits in the world of stringed instruments. Distinctions between Baroque violins and modern violins ![]() Concurrently, the composers of the Bolognese school, the court in Mantua and no less a figure than the great Arcangelo Corelli were also taking decisive steps in the virtuoso stringed music of the early Baroque period. In the workshops of Stainer, the Amatis, Antonio Stradivari and Guarneri del Gesù, a long evolution was reaching its culmination, yielding instruments with highly refined acoustic qualities. The resulting changes created a major foundation upon which Baroque music evolved. During the Renaissance period, the music played at representative events at court and church had to meet greater acoustic demands, and this probably provided the key impetus for the violin to be modified. As was the case in the history of the bow, new musical interests spurred on improvements to the instruments' design, which in turn encouraged even further musical development. It is noteworthy that the dates of Baroque music do not coincide with the “Baroque” violin-making period, yet at the same time, the two cannot be regarded independently of one another. Musical factors that shaped the development Baroque violin By the early 19th century it had largely reached its fruition and become the kind of instrument we know today. The idea not only assumes the end of the "Baroque age,” it also assumes the beginning of the modern violin standard, a style which began to assert itself in the second half of the 18th century. ![]() Like many other historical phrases, the “Baroque violin” is a retronym - a collective term that only emerged once innovations in 19th century violinmaking created a distinction that set newer stringed instruments apart from older Baroque violins. The story of the Baroque violin is the story of the violin ![]()
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