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	Baroque violin - Wikipedia, the free encyclopedia
		A Baroque violin is, in common usage, any violin whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque period.
		Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form.
		Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance.
	en.wikipedia.org /wiki/Baroque_violin (147 words)

	Violin - Wikipedia, the free encyclopedia
		When determining the violin size appropriate for a child, a general rule is to have the child hold the instrument against the neck, and reach out past the end of the scroll.
		Violins are tuned by turning the pegs in the pegbox under the scroll, or by turning the fine tuner screws at the tailpiece.
		A violin is usually played using a bow consisting of a stick with a ribbon of horsehair strung between the tip and frog (or nut, or heel) at opposite ends.
	en.wikipedia.org /wiki/Violin (5594 words)

	Early History of the Violin-Connie's Violin Page (Site not responding. Last check: 2007-10-07)
		The two uses of violins contrast sharply; on the one hand, the undignified and festive use of violins for dancing, (jamming), with no music in sight; and on the other, the serious use of violins for religious or semi-religious purposes, in church, say, with instruments held at the neck and longer bows.
		Violin playing was not considered a lady-like or gentlemanly pursuit; violinists were considered to be a species of servant, and the violin had little social or musical prestige.
		Early Baroque violin music, (of which there is very little before the turn of the century, and that in the last 20 years, and not idiomatic), seldom ventures beyond the third position.
	www.geocities.com /conniesunday/early.html (2630 words)

	MHN Instrument Encyclopedia (Site not responding. Last check: 2007-10-07)
		However, the western European violin as we know it today, a four-stringed instrument held on the shoulder and played with a bow, emerged in the 16th century.
		The years from 1650 to 1750 have been called the most illustrious century for violin manufacturing; though violins were being made all over Europe during this time, this era in violin making history undoubtedly belongs to a town in northern Italy, Cremona where it is estimated that 20,000 violins were made.
		The younger Venetian Antonio Vivaldi (1678-1741), on the other hand, is mainly known for his solo violin concerti, and the contribution he thus made to the rise of modern concepts such as the virtuoso performer and public concerts for profit.
	www.si.umich.edu /chico/instrument/pages/brq_violin_gnrl.html (503 words)

	The Baroque German Violin Bow: A Lost Art
		But look closely at the baroque lady playing the violin in our headline illustration - the bow is convex-arched well away from the bow strings, and her thumb is placed under the bow strings.
		Bach’s solo violin sonatas and partitas would benefit particularly from the use of a proper German bow, especially in the wonderful chaconne from the Partita 2 in d-minor BWV 1004, where the alternation between single-line melody and chordal harmony is such an important feature of the musical structure.
		The violin bow then in use was curved and loosely strung, enabling the performer to touch the instrument’s four strings simultaneously.
	www.baroquemusic.org /barvlnbo.html (1415 words)

	Baroque Violin Restoration Demonstration, conducted at the Tafelmusik Summer Workshop in Toronto, June 2002
		The objective of the demonstration was to provide the string players participating in the workshop the opportunity to hear, see and play for themselves an entry level 18th-century instrument undergoing reconstruction, so that they may make better informed choices about what changes they may wish to make on their own instruments in the future.
		I bought this instrument as an 18th-century violin in modern set-up, put a baroque bridge and gut strings on it, and used it as a baroque violin for two years before deciding to proceed with a full reconstruction.
		Shapes of the Baroque, The Historical Development of Bowed String Instruments, catalog of an Exhibition presented by William L Monical at the Amsterdam Gallery, Library and Museum of the Performing Arts at Lincoln Center, NY, NY, in 1989.
	www.violadamore.com /restoration.asp (1729 words)

	Violin Makers: Nicolo Amati (1596-1684) and Antonio Stradivari (ca. 1644-1737) \| Special Topics Page \| Timeline of Art ... (Site not responding. Last check: 2007-10-07)
		Violins are judged by their tone, responsiveness, elegance of design, visual appeal, and precision of their craft, and the instruments of Stradivari are superlative in all categories.
		The Baroque sound post (a wooden stick wedged inside between the belly and back of the violin under the treble foot of the bridge) was slimmer, and the bass bar (a piece of wood glued inside under the bass foot of the bridge) was thinner and shorter, changing the tone of the instrument.
		Violin chin rests were not used until the nineteenth century, and so shifting the left hand from position to position was audible.
	www.metmuseum.org /toah/hd/strd/hd_strd.htm (1161 words)

	Gerard's Bass Shop - first baroque violin (Site not responding. Last check: 2007-10-07)
		I made a start on this violin a number of years ago at a request from a collegue.
		The violin body was almost finished in 5 weeks, but as the deadline approached I apologized and moved on to other pressing projects.
		The sitka spruce of my violin bellies is from coastal BC mountainsides, and the maple from valleys on northern Vancouver Island.
	www.luthier.ca /baroqueviolin1.html (299 words)

	Baroque Violin Shop ~ Cincinnati finally gets a Stradivarius article page
		And gradually the talk drifted to fine violins in general and Stradivarius violins in particular, a subject Bartel (owner of the Baroque Violin Shop in Finneytown and another shop in Dayton) has immersed himself in.
		Bartel's metier is classical music, his club of choice is the sixteen-ounce violin, and so far as is known, he never plays from a squatting position.
		But it was the apprentice, Antonio Stradivari, who ultimately fashioned the proportions of the modern violin, created a mysterious varnish and elevated the fragile one-pound box of wood to legendary status.
	www.baroqueviolinshop.com /article.html (1497 words)

	Baroque violins
		A baroque violin can be very loud and complex, but the personality isn't the same as a modern set of instruments, so you'd definitely be noticible.
		Getting the most out of a baroque violin involves a completely different playing style that modern players don't have even a tiny bit of, so your chances of picking up one, playing it right, and getting anything nice out of it are just about zero.
		The thing is, many players wanting to try the baroque violin, just can't find enough information material to get started, nor other players around with whom to share their experiences, and that can work as a turn off.
	www.violinist.com /discussion/response.cfm?ID=8152 (3415 words)

	Going for Baroque (Site not responding. Last check: 2007-10-07)
		Of her attraction to Baroque music, she says: "Most of the early repertoire is still mostly unknown and rarely played, so there are no 'traditional' ways of playing the pieces.
		Powell's Baroque violin, she says, "is still a baby." Timothy Johnson finished it in May. "I'm still getting to know the instrument and it opens up more and more each day.
		When asked what it is about the Baroque violin that attracts her, she says, "I love the repertoire, the expressive possibilities of the instrument--which are much different from 'modern' violin--and the early music circle.
	www.oberlin.edu /con/bkstage/200006/going_for_baroque.html (506 words)

	All Things Strings: Modifying a Violin for Baroque Performance
		For readers who want to get their feet wet with historical performance, here is an explanation of the basic differences between Baroque and modern stringed instruments and bows, as well as how to "Baroque" an instrument and where to find ones ready to play.
		Used initially in "violin bands" to accompany dances, the violin family of instruments became invaluable to the emerging musical genres of the 17th and 18th centuries: opera, concerto, sonata, and symphony.
		Bows are neither as hardy as violins nor as adaptable.
	www.stringsmagazine.com /issues/Strings94/shoptalk.html (1519 words)

	[No title]
		Its importance and universal popularity however are owed to its ability to move listeners with wordless utterances from the most public of profundities to the sweetest nothings using strings as sonorous as vocal chords and a bow as deft as a tongue.
		The techniques used in the violin’s construction were (and some still are) shrouded in secrecy, passed from father to son or a master to apprentice.
		The violin was often described as the devil’s instrument, perhaps because of the intricacy of the techniques used in playing it, or maybe because of its alchemical powers over the soul.
	www.aam.co.uk /features/9710.htm (1126 words)

	Albuquerque Baroque Players
		Perhaps because of the Baroque interest in drama and affective performance, composers of the 17th and 18th centuries were well disposed toward the use of solo instruments.
		The Passacaglia for solo violin was appended to his collection of 15 "Mystery" sonatas, intended for liturgical use and written for scordatura violin—that is, a violin with its strings tuned in unusual ways--with basso continuo.
		Violin and oboe are well-matched in the trio sonata by Telemann.
	www.unm.edu /~sbpatric/notes_20Nov99.htm (821 words)

	Music : Rachel Barton Pine.com : : the official website for violinist Rachel Barton Pine : (Site not responding. Last check: 2007-10-07)
		The instrument - along with the Baroque bow she uses and years of study and development of Baroque style - allows Pine a distinctive approach to the works on this recording.
		She calls the Biber, Westhoff and Pisendel "the pieces that really jumped out at me as the strongest" of the unaccompanied Baroque violin music she has been collecting since she first became interested in the repertoire at age 14.
		Rachel Barton Pine's new unaccompanied Baroque disc, her sixth for Cedille Records, comes in the wake of international acclaim for her recording of Brahms and Joachim Violin Concertos with the Chicago Symphony Orchestra and conductor Carlos Kalmar, released in June 2003.
	www.rachelbarton.com /mus/mus_10_release.htm (898 words)

	New Trinity Baroque > Artists > John Holloway, baroque violin (Site not responding. Last check: 2007-10-07)
		John Holloway, baroque violin, was 8 years old when he played his first public concert in 1956.
		In 1975 John Holloway founded the Baroque ensemble L'Ecole d'Orphée, which made the first complete recording on baroque instruments of the instrumental chamber-music of Handel.
		He is also much in demand as a teacher, and has since June 1999 been Professor of Violin and String Chamber-Music at the Hochschule für Musik in Dresden, Germany.
	www.newtrinitybaroque.org /artists/johnholloway.html (321 words)

	Newport Baroque Orchestra (Site not responding. Last check: 2007-10-07)
		Newport Baroque Orchestra is a professional period-instrument orchestra devoted to the music of the 17th- and 18th-centuries.
		Violins, violas, and cellos were strung in gut; bows had a different shape; trumpets and horns did not have valves; flutes were made of wood and had few keys; and the piano was not yet a viable instrument.
		She performs on baroque violin with La Donna Musicale, Amphion's Lyre, and Renaissonics and has also played with the Rialto Ensemble and Musicians of the Old Post Road.
	www.newportbaroque.org /newportbaroque/bachathon.htm (1358 words)

	New Trinity Baroque > Artists > Carrie Krause, baroque violin (Site not responding. Last check: 2007-10-07)
		She has also appeared with ensembles such as Chatham Baroque and the Oberlin Baroque Orchestra, at Calvary Episcopal Church in Pittsburgh and at the festivals at Oberlin and Longy.
		She is currently pursuing a graduate degree in violin at the Cleveland Institute of Music.
		Carrie Krause is appearing with New Trinity Baroque in the concerts on April 30 and May 1, when she will lead the ensemble in recreation of Vivaldi's masterpiece "Gloria", with Emory University's Concert Choir and Eric Nelson conducting.
	www.newtrinitybaroque.org /artists/carriekrause.html (178 words)

	Violins by Dmitry Badiarov on Brussels
		My violin-making principles are based upon the research into the aesthetics and theory of Baroque Art described in various primary sources, on the study of old masters' techniques and materials, and on the practical experience as a violinist, and on the years of experience as a violin maker.
		The violoncello is one of the bass instruments of the violin family together with the treble, alto and tenor.
		As a baroque violinist, I was able to try-out over one hundred of different historical models before I came to the conclusion that these few are best.
	www.violadabraccio.com /historical_violin (590 words)

	Seattle Early Music Performers - Strings
		Ronn Fullerton, viola da gamba and baroque violin
		Principal cellist with the Seattle Baroque, she has also performed with the Philharmonia Baroque Orchestra, the American Bach Soloists, the Boston Baroque Orchestra, and the Handel and Haydn Society in Boston.
		She is concertmaster of the Portland Baroque Orchestra, and is a member of the Seattle Baroque and San Francisco's Philharmonia Baroque Orchestra and American Bach Soloists.
	www.earlymusicguild.org /emg/Perf.strings.html (1567 words)

	NYS Baroque \| Core Players (Site not responding. Last check: 2007-10-07)
		Elizabeth Hedrick, bassoonist of NYS Baroque and secretary-treasurer/co-executive director of NYSEMA, is a graduate of Oberlin College, with further studies at Yale, the Mozarteum in Salzburg, and with members of the Concentus Musicus of Vienna.
		Marc Vanscheeuwijck, baroque celist is an assistant professor of musicology at the University of Oregon.
		Vanscheeuwijck studied cello and chamber music at the Bruges and Ghent Conservatories and baroque cello with Wouter Maeller; he holds degrees in art history, Romance languages, and pedagogy, and a doctorate in musicology from the University of Ghent.
	www.nysema.com /players.html (1180 words)

	BaroqueViolin WebRing
		Baroque violin/viola player, Scandinavian fiddle player, musicologist, music teacher and linguist Olve Utne's Early Music resource site focusses on historic performance practice of classical and traditional music from Europe, including Hebrew and Castilian (Spanish) historic phonology/pronunciation.
		The group is led jointly by its founder, Predrag Gosta, who is New Trinity Baroque's artistic director, and baroque violinist, John Holloway, as the music director.
		Doorway to bookstores for violin, viola, cello and piano literature.
	w.webring.com /hub?ring=baroqueviolinweb (487 words)

	David T. Van Zandt, Violin Maker in Seattle, Washington, USA
		You can find out how I got into violin making, read an interview published in the Violin Society of America Newsletter about why I construct baroque violins and early Stradivari violin models.
		Violin Resources Menu for links to general information about violins, bows and their makers.
		I make new violins, violas and cellos in Seattle, Washington and construct instruments suitable for contemporary performance practice as well those intended for historically informed period performance practice.
	www.vanzandtviolins.com (209 words)

	No. 104: Baroque Violin
		Baroque violins don't really differ that much from modern ones.
		The modern violin sounds forceful and declamatory in comparison with its baroque ancestor.
		Baroque violin playing has a gentler tone with hardly any vibrato.
	www.uh.edu /engines/epi104.htm (457 words)

	Mensa Sonora
		Before the emergence of the string quartet in the second half of the eighteenth century, it was the combination of two violins and basso continuo which held the preeminent position in European chamber music for nearly two hundred years.
		Teaching credits include baroque violin instruction at Oberlin Conservatory of Music and, for the past three years, direction of the baroque orchestra and teacher of baroque dance at Case Western Reserve University.
		She holds an M.M. from Northwestern University and a B.M. from the University of Denver and is currently a doctoral candidate for degrees in Historical Performance and Violin Performance at CWRU and the Cleveland Institute of Music.
	gfhandel.org /bleissa/sonora.htm (734 words)

	BAROQUE MUSIC PAGE: biogs, pictures, music samples
		There are currently two schools of thought in the performance of baroque music: the "modern" and the "authentic" - though both names are misleading.
		Or discover the difference between the Italian violin bow which we know today, and the German baroque bow which is never seen nor heard today, though popular in baroque Germany (check the accompanying illustration from 1732).
		ontemporary with, and a personal friend of JS Bach was one of the two leading baroque organ-builders: Gottfried Silbermann.There are still some 30 of Silbermann's organs extant in Saxony, southern Germany, many in near-original condition, from the small village organs in which he excelled, to the 3-Manual 44-Stop organ in Freiberg Cathedral.
	www.baroquemusic.org (539 words)

	Violin Acoustics
		An introduction to modes of vibration of violin plates and Chladni patterns
		Making a violin A good series of photos by amateur maker Joseph Sedlak.
		Violin acoustics from Martin Schleske's lab in Munich.
	www.phys.unsw.edu.au /music/violin (236 words)

	[No title] (Site not responding. Last check: 2007-10-07)
		Pine says it is “almost unheard of to find an instrument of this quality in this condition.” “When a violin has gone under the knife and been modernized and then ‘re-baroqued’, the result isn’t always great, because you are always approximating what it might have sounded like — you never know for sure,” she adds.
		“You can ‘re-baroque’ a violin by changing all the removable parts, but you can’t put back the wood that was scraped away when it was ‘re-graduated’ — a process that makes the top and bottom plates thinner, to make the instrument louder for modern concert halls and later repertoire.
		It looks like it left the maker’s shop yesterday.” The instrument — along with the Baroque bow she uses and years of study and development of Baroque style — allows Pine a distinctive approach to the works on this recording.
	www.rachelbarton.com /kit/Pine_Press_Release.doc (752 words)

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