<?xml version="1.0" encoding="UTF-8" ?>
<feed xmlns="http://www.w3.org/2005/Atom">
    <link href="https://www.corilon.com/gb/library/instruments/?sAtom=1" rel="self" type="application/atom+xml" />
    <author>
        <name>Corilon violins</name>
    </author>
    <title>Blog/Atom feed</title>
    <id>https://www.corilon.com/gb/library/instruments/?sRss=1</id>
    <updated>2026-06-13T11:11:19+02:00</updated>
    
        <entry>
            <title type="text">The violin label - overview of the history of violin labels and stamps </title>
            <id>https://www.corilon.com/gb/library/instruments/violin-labels</id>
            <link href="https://www.corilon.com/gb/library/instruments/violin-labels"/>
            <summary type="html">
                <![CDATA[
                
                                            Violin labels – an overview of their history, stamps, and other marks deliberately made on violins. How can you tell if a label is authentic?
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  Although violin labels contribute absolutely nothing to the sound of an instrument, they have always attracted a great deal of attention. How can real labels be distinguished from fake ones, what markings and hidden messages are there besides them - and why do some violins have several labels from different makers?  
 Violin sheet music: overview 
 
 Violin labels - form and use 
 Brand marks and signatures as alternatives and supplements to the violin label 
 History of the violin label 
 Determining the authenticity of a violin label 
 Repair label 
 Sources for research on violin labels 
 
 Violin labels - form and use 
 Violin labels are manufacturer&#039;s information in the form of small paper labels stuck inside the body of a stringed instrument with a bit of glue. The German word &quot;Geigenzettel&quot; does not exclusively refer to labels in violins, but also functions as a generic term - analogous to &quot;Geigenbauer&quot; - for labels in violins, violas, cellos and other stringed instruments. Similar markings occur in other instruments as well, and are especially common in stringed instruments of the European musical tradition throughout the ages. 
     Traditionally, a violin label contains:  
 
 the name of the violin maker 
 an indication of the place, 
 the year in which the instrument was made, 
 if applicable, a work number (opus), 
 graphic marks (logos), not infrequently with a religious reference, 
 a formula such as &quot;fecit&quot; or &quot;me fecit&quot; - &quot;has built&quot; or &quot;has built me&quot; respectively, 
 graphic decorative elements in the style of the respective epoch. 
 
 &amp;nbsp; 
 However, most violin labels give only the name, place and year. The usual place for a violin label to be affixed is on the bottom below the F-hole on the bass bar side; the size usually varies with lengths up to about 10 cm and heights up to about 5 cm. The labels are cut from paper of different grades and usually printed. Fully handwritten violin labels are comparatively rare, but occur in all periods of violin making history. Individual handwritten indications such as a signature, year and work number, on the other hand, are quite common with printed slips and usually also serve the purpose of personal authorization by the violin maker. The year is often pre-printed to the thousands, or more rarely to the hundreds, and then added by hand. 
 Brand marks and signatures as alternatives and additions to the violin label 
 As an alternative or in addition to the violin label, stringed instruments are marked with a brand (also: brand mark) and other handwritten signatures. A traditional place to place a branding stamp is on the outside of the back, on the button or directly below it. However, brand marks can also be found inside the body; some masters even stamp the top and back individually to document the authenticity of all parts of the instrument. Hidden marks in some cases probably also reflect concern that the instrument might be anonymized by removal of the original label or claimed by competitors as their own work. Additional handwritten signatures usually serve the same purposes as branding marks, but sometimes include dedications or references to biographical or historical data, such as in this  violin by Louis Moitessier.  
 History of the violin label 
 Like the question of the  origins of the violin , the early history of the violin label will probably ultimately remain hidden from research, since original instruments in the European context have only been preserved since the Renaissance, and labels can already be found in them. At the same time, their information always requires historical classification and interpretation, even if they are used in the comparatively straightforward environment of artisanal workshops, often run by families, which formed the authoritative frame of reference especially for the earlier history of violin making until the late 18th century. Thus, it is true for all information on violin labels that it does not necessarily have to correspond to the full truth: Especially in well-established, successful workshops, it was good practice over the centuries to continue using the slips of the father or predecessor after the business had been inherited or transferred. 
 In addition, with the introduction of the division of labor in &quot;publishing&quot; and industrial production, the violin label developed more and more into a &quot;model label&quot; that gave - more or less justified - references to classical models of the violins produced in large numbers, but often enough was simply intended to use the sound of big names for advertising, if not to deceive unsuspecting customers. This practice is responsible for the &quot;Stradivari flood&quot;, the enormous amount of 19th century Saxon or Mittenwald violins with often quite well made replicas of historical Stradivari slips. While earlier eras of violin making always knew unmarked instruments, today the violin label is standard on instruments of all quality classes.    
 This contrasts with another practice that was cultivated, for example, by the famous house of Lendro Bisiach in Milan: The &quot;adoption&quot; of selected instruments that were finished to varying degrees in their own workshop and then sold under their own label. Many outstanding Bisiach instruments, which today are traded at good prices and are popularly played, are of Saxon origin - and received not only the varnish but also the famous master&#039;s blessing in the form of his note. 
 Determining the authenticity of a violin label 
 The above-mentioned need for interpretation of the violin label naturally also raises the question of how imitations and forgeries can be reliably distinguished from original labels. Research on musical instruments uses comparisons of the paper used, the printing technique, the contents and, of course, not least, the instruments in which the slips are found. Apart from clumsy forgeries or facsimiles that are deliberately kept recognizable, it is usually impossible for laymen to tell whether a slip is authentic or not. 
 Repair labels 
  Fine stringed instruments  in particular are often doubly marked and bear, in addition to the maker&#039;s label, other labels, stamps or signatures that indicate repairs or alterations - a practice that the great master luthier and teacher Otto Möckel strongly condemned in his standard work &quot;Geigenbaukunst&quot;: &quot;Furthermore, one should not defile violins with repair labels. However, if one does not want to suppress one&#039;s vanity, one should make these labels as small as possible.&quot; This harsh verdict, however, should be countered by historical honesty and respect for the collegial performance for which repair notes also stand and which have their unconditional right, especially in the case of major interventions in historical instruments. 
 Sources for research on violin labels 
 The standard works on the history of violin making by Luetgendorff, Vannes, Jalovec and others contain extensive collections of violin slip reproductions. In addition, the Leipzig publisher and musical instrument collector Paul de Wit published &quot;Geigenzettel alter Meister,&quot; a comprehensive work presenting slips up to the mid-19th century, the first edition of which can be downloaded  here  or read online. 
                ]]>
            </content>

                            <updated>2021-09-01T12:00:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">History of the violin - a historical sketch</title>
            <id>https://www.corilon.com/gb/library/instruments/the-history-of-the-violin</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-history-of-the-violin"/>
            <summary type="html">
                <![CDATA[
                
                                            The history of the violin presents a number of enigmas – a short historical sketch from the origin of the violin family to today&#039;s electric violin
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The development of the violin and the violin family of stringed instruments 
 The history of the violin presents a number of enigmas to scholars, the first and foremost of which is the evolution of the instruments in the violin family. More specifically, this question involves the violin itself, the viola, cello and – with certain systematic limitations – the double bass. How exactly did medieval stringed instruments such as the the bowed lyre, the rebec, the giga, the crwth and the tromba marina emerge into the viola da braccio?     For what reasons and in what increments did the Baroque violin develop? It was used in  Brescia during the days of Gasparo da Salò  and ultimately defined a standard at the  Cremonese workshops of the Amati, Stradivari and Guarneri familie s that underwent only minimal modifications over the centuries. Despite the fact that scholars to date have unearthed many interesting details of this epoch of violin-making history that is so vital to Western music, recreating a seamless depiction of the era remains elusive – and will stay that way, too, since it cannot be anticipated that any further instruments from this transitional period or additional documents from influential luthiers are yet to be discovered. 
 Overview: The history of the violin 
 
  The development of the violin and the violin family  
  The violin&#039;s triumphal march through European musical culture  
  From the Baroque violin to contemporary instruments  
  Striking a balance between tradition and manufacturing  
  The electric violin as the latest innovation in violin making history  
 
 The violin&#039;s triumphal march through European musical culture 
 What is known without a doubt is that after its &quot;discovery&quot;, the violin spread from northern Italy to the musical culture at central European courts within a comparatively short time, usually in the hands of Italian musicians whose art stirred up demand for these fascinating new instruments and inspired the instrument makers they encountered along the way to replicate the new model. As a result, regional violin making schools, emerged such as the Saxonian Hopf violin and Alemanni violins as well as distinctive traditions like the Stainer violin which enjoyed a considerable range of influence and had a lingering effect on the instruments’ style. 
 From the Baroque violin to contemporary instruments 
 The most fundamental further optimisation of its era transpired in the late 18th and early 19th century: changes in performance standards encouraged the development of the violin as we now know it – as an instrument which still reflects the key elements of its classic role models of early Cremonese Baroque violin making art, yet featured a more dynamic and resonant sound. In spite of all of the craftsman innovations that occurred, the traditional model continued to assert itself, which amongst other things is evident in the fact that most of the Baroque violins which still existed during this period were modernised – a magnificent feat of both historic acknowledgement and damage. 
 Striking a balance between tradition and manufacturing 
 The modern violin model continued to differentiate itself further in the course of the 19th century. For example, variations could be observed in Italian, French, German and English violin making, and from the very beginning, serial manufacturing took place in factories and companies, dividing labour and specialising in response to the explosive global demand that began in the 19th century. In the late 20th century, these tasks largely shifted to Chinese manufacturers. Even though the differences between classic-artisanal master violins and mass-produced instruments are apparent, it does not seem appropriate to regard industrial violin making as a sign of a decline in traditional musical culture. For one thing, production at large and internationally active companies such as  J. T. L. in Mirecourt , Schuster &amp;amp; Co. in Markneukirchen and Neuner &amp;amp; Hornsteiner in Mittenwald rapidly reached a more than respectable standard which met even sophisticated musical standards by offering suitable product lines. For another thing, these workshops served as incubators of entire generations of excellent luthiers who underwent their training at these companies and then went on to become successful masters of top-quality work themselves.&amp;nbsp; 
     
 The electric violin as the latest innovation in violin making history&amp;nbsp; 
 The newest chapter in the history of the violin is the  electric violin  (i.e. an electrically amplified violin). However, unlike the  Baroque violin  or contemporary instruments, it has not supplanted its predecessors; instead, it has contributed to a steadily growing niche of musical settings, especially in popular music. 
                ]]>
            </content>

                            <updated>2020-01-12T06:30:00+01:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Amnon Weinstein&#039;s Violins of Hope</title>
            <id>https://www.corilon.com/gb/library/instruments/amnon-weinsteins-violins-of-hope</id>
            <link href="https://www.corilon.com/gb/library/instruments/amnon-weinsteins-violins-of-hope"/>
            <summary type="html">
                <![CDATA[
                
                                            On the Violins of Hope as the world’s most moving collection of historic instruments
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  How &quot;Violins of Hope&quot; came to be  
 In 1940s Tel Aviv, during the turbulent period when the state of Israel was founded and fought for its independence,  &quot;Violins of Hope&quot; , the world&#039;s most moving collection of instruments gradually came together at Moshe Weinstein&#039;s workshop. Survivors of the Holocaust kept bringing him their instruments or, in some cases, the instruments of their relatives who had not successfully made their way out of Europe. Simpler instruments by unknown luthiers, well-crafted pieces by German and Jewish masters as well as magnificent violins with a star-of-David inlay which had become memorials to the devastation that had occurred in Eastern European klezmer culture ― all of them found a safe haven with Amnon Weinstein, the luthier who himself had immigrated from Vilnius in 1938 and lost many members of his family. 
 Violins of Hope: Overview 
 
  Moshe Weinstein: How &quot;Violins of Hope&quot; came to be  
  A luthier’s grief: Amnon Weinstein  
  Violins of Hope today  
 
 &amp;nbsp; 
  A luthier’s grief: Amnon Weinstein restoring and researching the Violins of Hope  
 For over fifty years, the unintentional collection of what would later be called Violins of Hope was kept in a corner as tributes to the grief and pain which their previous owners could not bear. And as was the case in many Israeli families, the Weinsteins also needed more than a generation until Amnon Weinstein, Moshe&#039;s son and successor, mustered up the courage to address the disturbing history of this set of instruments. 
 After being encouraged by a German intern, Amnon Weinstein began gathering information about the instruments and the people they belonged to, and he started lovingly and painstakingly restoring the violins, some of which were badly damaged. Within a short time, he received support from his son Avshalom. A presentation and a concert in Istanbul in 2006 initiated the the project, and Violins of Hope, as it was soon called, started to take shape. 
  Violins of Hope today: Concerts, exhibitions and educational programmes  
 Since then, the voices of the approximately 60 instruments in the Violins of Hope collection have been heard at famous music festivals and concerts of renowned orchestras such as the Berliner Philharmoniker and the Cleveland Symphony – often with contributions from world-renowned soloists such as Itzhak Perlman. With its clever interplay of exhibitions and events at schools to accompany the performances, the Violins of Hope are creating unique inroads to the lives, sorrows and art of the musicians who once played them. You can find more information about the Violins of Hope project, Amnon and Avshalom Weinstein, and current events at the project&#039;s website. 
                ]]>
            </content>

                            <updated>2019-08-09T17:31:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The violin wolf tone</title>
            <id>https://www.corilon.com/gb/library/instruments/the-violin-wolf-tone</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-violin-wolf-tone"/>
            <summary type="html">
                <![CDATA[
                
                                            Is it all right for a fine violin to have a wolf tone? About the the wolf frequency in a violon or cello
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Is it all right for a violin to have a wolf tone? 
 Cellists and bassists are all too familiar with something known as a wolf tone. This treacherous acoustic phenomenon occurs most frequently in larger stringed instruments: violinists do not encounter the problem nearly as much. Musicians whose violins or cellos have a wolf tone learn very quickly where it is, and they intuitively develop avoidance strategies: whenever possible they try not to use the note in question, play with uncertainty or become sloppy in their intonation in an effort to work around the wolf.  But what is all of this about, and what does it tell us about the quality of a string instrument? Is a  fine violin  flawed if they have a wolf? 
 
  What is a violin wolf tone?  
  Why do violins and other stringed instruments have a wolf tone?  
  So can a violin wolf be tamed?  
 
 What is a violin wolf tone? 
 A wolf tone (also just called a “wolf”) is a note that cannot be played properly on a stringed instrument. It happens most commonly when musicians play quietly, which is to say when the bow is applying very little pressure. The only thing you can hear is whistling overtones (harmonics) or a breathy sound. Particularly persistent wolves can only be conquered with intense pressure; in these cases, the string will reverberate as it should, but the sound itself is stuttery and not pretty. Its name probably comes from the howling sound of the overtone – or perhaps it comes from the suggestion that a wolf is “attacking” and “swallowing” the tone.&amp;nbsp;In case of uncertainty whether your violin has a wolf tone, a good&amp;nbsp; violin shop &amp;nbsp;can help - also in its &quot;elimination&quot;. 
 Why does a violin or cello have a wolf tone? 
 Many musicians blame themselves the first time they encounter a wolf. But even the most refined technique can only help a little, if at all, and there is no point in changing strings or using different rosin. The reason? The wolf does not come from outside; it is caused by the specific design of the instrument affected. The simple explanation is that a wolf develops when a stringed instrument plays a particular frequency that overlaps with a strong unmuted frequency of the instrument itself – and when this frequency also overlaps with the frequency of a certain note. When the note in question is played, the body of the instrument starts reverberating in such a way that the frequency of the string begins to “wobble” or is cancelled out completely. 
 The place where the wolf frequency is found depends on the design of the instrument and is different in every case. The cello and and bass have a wolf tone much more often than violins, since their bodies are too small relative to their tuning. On the violin, the wolf is generally in F or F#. On a cello, wolves are usually around located the F or F# rarely lower than that, although they may occur all the way down to the D. 
     
 When a violin has a wolf tone, it is fundamentally regarded as a construction flaw, but this is not the case! It is true that top-quality instruments should not have a wolf, but if individual notes are poor in their response, that is not necessarily a defect in the instrument. The violins of historic masters are often known for being quite temperamental; an off-note may in fact have more to do with a musician’s capabilities, or it may also be that the culprit disappears because the musician knows the instrument well enough. Having an instrument set up properly – for example, by the experts at Corilon violins – can also get rid of wolves. 
 So can a violin wolf be tamed?&amp;nbsp; 
 There are tried-and-true methods for weakening the effect of the wolf, if not getting rid of it altogether. Something known as a  wolf eliminator  can be put on a string between the bridge and the windings and then be adjusted to dampen the problematic frequency. As a rule, violins need to be set up or optimised acoustically, a process which tends to affect the entire character of the sound. Here a violin maker will attempt to manipulate the wolf tone towards a frequency between two notes in such a way that it rarely, if ever, occurs during normal playing. In other words, the violin and cello wolf is not gone but has been “hidden,” musically speaking.&amp;nbsp; 
 &amp;nbsp; 
  Information and further violin-related reading:   
 The violin: practical tips on care and maintenance 
 Finding a student violin in the proper size 
 How to select a violin, provenance, value and violin appraisal 
 The violin bow: practical tips on care and maintenance 
 Selling your violin to Corilon violins 
 The history of the violin bow 
 &amp;nbsp; 
 Originally published by Corilon violins. 
                ]]>
            </content>

                            <updated>2019-08-09T17:25:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">Electric violins: guide to technical standards</title>
            <id>https://www.corilon.com/gb/library/instruments/electric-violins-guide-to-technical-standards</id>
            <link href="https://www.corilon.com/gb/library/instruments/electric-violins-guide-to-technical-standards"/>
            <summary type="html">
                <![CDATA[
                
                                            Guide to technical standards and quality characteristics of e-violins. Overview of technical details and a guide to selecting the right instrument. How do I determine the quality of an electric violin?
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Electric violins: an overview of technical details and a guide to selecting the right instrument. How do I determine the quality of an electric violin? 
 The  electric violin  is still considered exotic creature in the world of stringed instruments, especially when classical musicians such as Nigel Kennedy play it. There are two widely held prejudices against electric violins – that they are little more than high-tech toys, and they can only really be used in pop music – but neither one seems justified. As a matter of fact, good electric violins can certainly satisfy artistic standards, and they can be used effectively in a wide variety of genres, including but not limited to classical music. Beyond that, their sound also opens up the door to exciting new artistic opportunities. 
 The electric violin: overview 
 
  Technical standards in creating the sound of an electric violin  
  Practical aspects of e-violins  
  Quality characteristics of electric violins  
 
   
 Technical standards in creating the sound of an electric violin 
 Fully electric, battery-operated violins are also known as “silent violins.” Like their classical counterparts, they generate mechanical sound waves, but here an electroacoustic transducer converts the waves into electric voltage, i.e. audio signals. These transducers are usually piezoelectric pick-ups which are placed at specific sites such as under the bridge, and an amplifier makes the sound loud enough to hear. For the most part, electric violins work with active pick-ups that have preamplifiers and equalizers, making it possible to modify the sound. In some cases, particularly when premium models are involved, these elements and effect devices are housed in a separate control box. Electro-acoustic violins can also be played without amplification, and they tend to feature passive pickups that do not allow for the sound to be modified; consequently they are quieter, although their sound is warmer. An external device is recommended for use in larger halls and/or when playing with other amplified instruments: it combines the amplifier and speaker in one device. 
 Practical aspects of e-violins 
 Electric violins not only produce greater volume and offer the option of tonal experimentation, they also have several other advantages. For one thing, electric violins are much easier to record in a studio setting: they can simply be hooked up to a computer, and no microphone is needed. Another benefit is that they can be played in such a way that their sound is only audible via headphones. Consequently, musicians can practice in perfect silence, much like they could with the help of the silent practice violin which classical luthiers crafted at the turn of the previous century. 
 In terms of how they are played, four-string electric violins are not much different than acoustic instruments, which theoretically makes them suitable for beginners as well. A standard violin bow can be used for both. However, an electric violin may have a greater weight, especially if a preamplifier has been installed. Depending on the shape, the weight distribution of an electric violin can also be somewhat different than that of an acoustic. In the past several years, an astonishing array of aesthetic choices has evolved. Since the violin does not need a body to produce sound, it is often left off altogether or given an extravagant design. Today’s electric violins can be found in shapes such as a sound hole, a dollar sign, a note or even a skull. Furthermore, they can also be given frets, additional strings, baritone strings and other extras. 
 Quality characteristics of electric violins 
 One point which absolutely has to be kept in mind is the fact that simpler electric violins may not sit well in the player’s hand, and/or they may not lend themselves to the use of a shoulder rest. When it comes to their hands-on playability, this means the differences in quality can be significant. The same thing applies to the sound: only top-tier electric violins can create a truly authentic violin sound. Beginners in particular should be aware of this, because a direct clean transfer of sound is critical during intonation training. 
 One major step in the development of electric violins was introducing electromagnetic pickups for stringed instruments. In this case, a Humbucker pickup is integrated directly into the instrument, something that previously had only been done for electric guitars and basses. This makes it possible to amplify the sound without ambient noise or feedback effects – one of the largest problems encountered in using piezoelectric pick-ups. Several instrument makers had already tried their hand at this system – including Leo Fender, the inventor of the electric guitar – by the time Munich-based luthier Wolfgang Löffler developed a similarly styled patent-pending model for the  electric violin  in 2011. 
 &amp;nbsp; 
  Related articles:  
  The violin : How to select a violin, provenance, value and appraisal 
  International violin making competitions  -- an overview 
  The Baroque violin : more than catgut stings 
  Sell your violin  to Corilon violins 
                ]]>
            </content>

                            <updated>2019-08-09T17:07:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The Classical violin bow </title>
            <id>https://www.corilon.com/gb/library/instruments/the-classical-violin-bow</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-classical-violin-bow"/>
            <summary type="html">
                <![CDATA[
                
                                            The Classical violin bow: consolidating bow design during the Classical period in the late 18th / early 19th century. (History of the violin bow, part II)
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  The Classical violin bow: consolidating bow design during the Classical period  (late 18th / early 19th century)  
 The term “ Classical bow ” does not encompass as broad a spectrum of different styles of bow and variations in structure as the &quot; Baroque bow &quot; does. However, as a term it is almost equally liable to misinterpretation, because like the Classical bow, it describes a canon of certain styles that were still only evolving at the time. Objectively speaking, a more appropriate name is the “transitional bow”: in the history of bow making, the Classical period was a very short one that was open to all influences. It was during this time that advances made in the field were consolidated. 
 As was the case during the Baroque era, music itself was what provided the main impetus to keep refining the design of the violin bow. While the focus during the 17th and early 18th century was on fulfilling the demands of increasingly challenging compositions which were orientated towards solo performance, the emphasis shifted during the 18th century towards bourgeois concert performance, which called for a powerful sound which could also assert itself in larger spaces. The violin had become established as a solo instrument that had to be able to hold its own in larger ensembles such as symphonic orchestras. The musical world of this day focused more and more on outstanding virtuosi, a trend which was very much in keeping with the rising interest in the principle of genius. The performance style of these virtuosi was defined by a multi-facetted bowing technique. The first name which needs to be mentioned here is the soloist and composer  Giovanni Battista Viotti  (1755-1824); he is considered one of the fathers of modern violin playing, and his motto “Le violon – c‘est l‘archet!” emphasised the role of the bow like no one else had (except Arcangelo Corelli). The key developments which led from the classical violin bow to the modern violin bow occurred under the influence of Viotti along with other soloists who remain legendary today, such as Rodolphe Kreutzer (1766-1831) and Niccolò Paganini (1782-1840).  John Dodd  (1752-1839) improved the breaking strength of the stick by introducing a new technique for splitting wood, whereas Christian Wilhelm Knopf (1767-1837) of  Markneukirchen  invented an underslide of metal, thereby eliminating a critical weak point in the screw mechanism of Baroque bows. The model known as the “ Cramer violin bow ” became the most popular model among major soloists with its characteristic high and hammer-shaped head, a solid and concave stick and clip-in frog. Ultimately, it was  François Xavier Tourte  who created a modern violin bow model that perfected the style of the Classical violin bow, and in doing so, he launched a new era. 
 &amp;nbsp; 
   Related articles:   
  Overview “The violin bow”  
  The Baroque bow  (violin bows, part I) 
  John Dodd : a legend of oyster shells and silver spoons 
  François Xavier Tourte , founding father of the modern violin bow 
 The  Baroque violin  - more than catgut strings 
                ]]>
            </content>

                            <updated>2019-08-09T16:46:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The Baroque violin bow</title>
            <id>https://www.corilon.com/gb/library/instruments/the-baroque-violin-bow</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-baroque-violin-bow"/>
            <summary type="html">
                <![CDATA[
                
                                            The Baroque violin bow as part of a musical revolution: violin making, music and bow making in the 17th and 18th century. (History of the violin bow, part I)
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  The Baroque violin bow as part of a musical revolution: violin making, music and bow making in the 17th and 18th century.  
 The development of the Baroque violin bow is a story of attempts and errors, an interplay of craftsmanship and music during the course of which widely varied models were designed, modified and improved. When the  baroque violin  was invented in the late 16th century, the art of creating stringed instruments reached a zenith that triggered a musical revolution. The violin&#039;s predecessors were predominantly used to keep time on the dance floors of weddings and festivals, but this newer form of the instrument quickly liberated itself from its disdained origins. At first, however, the early masters of violin making paid no thought to the issue of a proper bow, so people continued to play using the fiddle and rebec bows of the late middle ages. Many of these bows were very clearly designed as rhythm instruments. Some of them were only 20 to 30 cm (8-12 inches) and had a strong convex curve; their length was further restricted by the player using an underhand or closed-fist grip. 
 The Baroque arch – content overview: 
 
  The musical reasons that explain the evolution of the Baroque bow  
  Design elements of the Baroque bow  
  The joys of aesthetics: The diversity of materials and shapes in the Baroque bow  
 
 &amp;nbsp; 
  The musical reasons that explain the evolution of the Baroque bow  
 At first, French Baroque music in particular stayed close to the styles in the canon of dance music, so it had little reason to re-examine how the bow was used and constructed. In Italy, however, there was vivid interest in cantabile playing. People there preferred the overhand grip, which opened doors to new sounds and ways of playing the violin: the “Italian” grip (as opposed to the “French” underhand grip) allowed the player to bow with greater sensitivity and modify the sound. Legato and spiccato techniques became more widespread as music grew more soloistic in nature, and longer violin bows meant that longer tones and sequences were now possible. By composing pieces which relied on the long Baroque violin bow, 
  Design elements of the Baroque bow  
  Arcangelo Corelli  (1653-1713) made fundamental changes to the character of the violin; its aural ideal came to resemble that of singing more and more. The introduction of a longer violin bow triggered a series of changes in construction, especially an increase in the height of the head so as to achieve a more even distribution of weight and playability along the full length of the bow. Baroque bows with less of an arch gradually became more popular until eventually the straight to slightly concave line evolved.    Players once determined the pressure of the bow by modifying their grip, e.g. by applying pressure with the thumb, but over time, the detachable frog and &quot;toothpick&quot;-style bows made a greater variety in tension possible, until at last the frog with an eyelet and screw established itself as the standard. 
  The joys of aesthetics: The diversity of materials and shapes in the Baroque bow  
 These technical improvements were accompanied by more sophistication in the aesthetic design of the Baroque violin bow. Premium woods, especially the very hard amourette, were processed with great artistry, sticks were fluted, and frogs and heads were shaped into fanciful designs and decorated. No uniform standards emerged on a widespread scale, i.e. in this context one cannot speak of there being a typical model of a Baroque violin bow. What is, however, typical of Baroque-period bows is the diversity of shapes and designs. 
 &amp;nbsp; 
   Related articles:   
  Overview: “History of the violin bow”  
  The Classical violin bow  (The violin bow, part II) 
  F. X. Tourte , founding father of the modern violin bow (History of tge violin bow, part III) 
  The Baroque violin  - more than catgut strings 
  John Dodd : a legend of oyster shells and silver spoons 
  J &amp;amp; A Beare (Beare&#039;s) , London: expertise in changing times 
                ]]>
            </content>

                            <updated>2019-08-09T16:45:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The violin bow: a brief depiction of its history</title>
            <id>https://www.corilon.com/gb/library/instruments/the-violin-bow-a-brief-depiction-of-its-history</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-violin-bow-a-brief-depiction-of-its-history"/>
            <summary type="html">
                <![CDATA[
                
                                            The history of the violin bow is the history of a violin&#039;s sound. A brief historical overview
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 The history of the violin bow is the history of a violin&#039;s sound. A brief historical overview 
 The history of the violin bow is a frequently neglected chapter in the annals of violin making. To put it in other words, it is a central chapter in the history of instruments, given that it is the very history of the sound of a violin. The violin bow is what first brings the voice of a violin to life, and the composition of the stick, frog, head and horsehair reveals just as much about the instruments of a given era as the angle of a violin&#039;s arch or the  violin varnish . The development of the violin and the development of the violin bow has always followed a recurring pattern of musical and artisanal/technical factors mutually influencing one another in history. Every significant advance in the history of the violin either was followed by new musical standards or created the conditions necessary for them to evolve – but at each phase, this progress could not take place until a new violin bow model emerged. With each new step in the history of the violin bow, the promise of new qualities of sound became reality. Those who wonder why the violin became a leading instrument in Europe&#039;s musical tradition can find solid answers by taking a closer look at the violin bow.    
 Three short introductory articles outline the history of the violin bow: 
 &amp;nbsp; 
 
 
  Part I: The Baroque violin bow : The Baroque violin bow as part of a musical revolution 
 
 
  Part II: The Classical violin bow : consolidating bow design during the Classical period 
 
 
  Part III: The modern violin bow : F. X. Tourte and and the new classics of bow making 
 
 
  Related articles:  
  The violin bow: Practical tips on care, rehair and maintenance  
  The violin: practical tips on care and maintenance  
  The violin wolf tone: explanation and definition  
     
                ]]>
            </content>

                            <updated>2019-08-09T16:44:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The Baroque violin – more than catgut strings</title>
            <id>https://www.corilon.com/gb/library/instruments/the-baroque-violin-more-than-catgut-strings</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-baroque-violin-more-than-catgut-strings"/>
            <summary type="html">
                <![CDATA[
                
                                            Baroque violins: The history of the Baroque violin raises questions that cannot be easily answered. Imformation about a phrase that was retroactively coined
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Baroque violins: The history of the baroque violin raises questions that cannot be easily answered: A look at a phrase that was retroactively coined 
 The  Baroque violin  has never been as popular as it is in our day: the status of Baroque stringed instruments has been growing since the 1950s, in tandem with the way historically informed performance has progressed from being something revolutionary to a widely-acknowledged approach to interpreting such music. The sound of the Baroque violin – “quiet but with a sweet sharpness,” as Nikolaus Harnoncourt stated – has long since become more than merely a favourite topic in circles dedicated to historical music. Instead, the sound seems to fit in well in an epoch such as ours which is loud and acoustically overloaded. It is easy, however, to overlook the fact that even the term “Baroque violin” itself is young and dynamic at least if it is understood to mean more than an instrument with catgut strings. 
 &amp;nbsp; 
 The Baroque violin – overview of contents 
 
  The story of the Baroque violin is the story of the violin  
  Musical factors that shaped the development Baroque violin  
  Distinctions between Baroque and modern violins  
  The Baroque violin and the new interest in old music  
  Baroque violins today  
  Baroque violins for sale  
 
 &amp;nbsp; 
 The story of the Baroque violin is the story of the violin 
 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 idea not only assumes the end of the &quot;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. By the early 19th century it had largely reached its fruition and become the kind of instrument we know today. 
 Musical factors that shaped the development Baroque violin 
 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. As was the case in the  history of the bow , new musical interests spurred on  improvements to the instruments&#039; design , which in turn encouraged even further musical development. 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. The resulting changes created a major foundation upon which Baroque music evolved. 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. 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. 
 Distinctions between Baroque violins and modern violins 
 In the 18th century, the aforementioned series of mutual influences pushed the prevailing standards to their limits in the world of stringed instruments. 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. 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 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. In turn, higher bridges increased the pressure of the strings. 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. The result was the most visible trait that separates modern violins from Baroque violins: the  neck is now set into the upper block at an angle , and the fingerboard is much lengthier and no longer needs to be positioned from underneath with a wedge. These modifications naturally had an impact on the interior of the violin body as well. Back in the Renaissance, luthiers were looking for a way to secure the top against the greater pressure from the strings, and in doing so they coincidentally discovered the positive effects that the  sound post and bass bar  had on the way the entire instrument reverberated. The &quot;new&quot; physical properties of more modern violins called for louder voices and  longer, stronger bass bars . The latter were no longer fashioned out of the wood used for the violin&#039;s table, but glued on instead. At the time no one was aware that these fundamentals of modern violinmaking helped define what constitutes a Baroque violin, even if the definition is a retroactive one that encompasses the sum of an antiquated earlier style. Other revisions in the design of instruments reinforced the legitimacy of this new violin standard. 
 The Baroque violin and the new interest in old music 
 Most notably, they were the shift from catgut strings to steel wound or synthetic ones in the 20th century, and the gradual increase in  concert pitch . At nearly the same time, a revived interest in historical music and the related instruments emerged, as could be seen in the founding of early 20th-century ensembles such as the “Société de concerts des instruments anciens” and “Deutsche Vereinigung für Alte Musik.” By the time historically informed performance standards had established themselves, violin makers were being called upon to return to the premodern style of constructing stringed instruments. Nowadays there are quite a few  luthiers  who enjoy pursuing experimental excursions in this area, and some ateliers even specialize exclusively in making and repairing Baroque instruments. Baroque violins can be grouped into four historical phases, regardless of the clearly distinctive and period-related characteristics in their design: 
 
  historic, pre-modern instruments  which date from the earliest origins of the violin family to the time when modern standards became the norm. Such pieces have rarely survived in their original condition (see [b]), 
  instruments of the aforementioned group  which were rebuilt around the turn of the 19th century “all&#039;uso di Parigi,” i.e. in the style of the leading Parisian ateliers which modernised violins, 
  truly rare anachronistic Baroque violins of the 19th century  and 
  copies and replicas made in the 20th century  and up to the present day; these instruments contributed to the development of a relatively uniform style in Baroque violins. 
 
 Baroque violins today 
 When it comes to the Baroque violins which have been preserved in their  original condition , it is difficult to define them without discussing what they are not, i.e. it is easiest to characterise them only based upon how they differ from the modern violin. In other words, the most typical characteristic of early violins appears to be the  breathtaking variety amongst them , given what we can tell by examining original pieces from the 16th to 18th centuries. One of Europe&#039;s most complex and interesting cultural achievements took place as the craft of instrument making matured from generation to generation, thanks to the fact that there were few widely prevailing norms, and luthiers were fundamentally open to regional and family-based traditions. By no means were all Baroque instruments defined by the aforementioned &quot;quiet sweet sharpness.&quot; In fact, this may perhaps be less of a true historic characteristic than a projection and an acoustic ideal that emerged in the context of reminiscence. There are neither recordings nor consistently reliable documents to confirm our interpretation. Presumably this lack of clarity was what led the way for pioneers of historical music to blaze a trail beyond the increasingly normative world of the 19th century, thus opening up the great artistic liberty that we know today in interpreting Baroque music. As a matter of fact, Baroque performance techniques have become part of the musical education for stringed instruments (at least for professional musicians). The many concerts and publications of recent years prove there is no truth to the old accusation made that historically informed performances were being left to stagnate like lifeless museum exhibition objects. At the end of the day, if we want to determine what a Baroque violin really is, we have to take a closer look at how it is played. What a lovely twist in music history! 
 &amp;nbsp; 
  Related articles:  
  The Baroque bow (The violin bow, part I)  
  The Classical violin bow (The violin bow, part II)  
  On the history of Mittenwald violin making  
  Cremona, the cradle of Italian violin making  
  How to select a violin, provenance, value and violin appraisal  
  E. Sartory: the modern classic of bow making  
  J. &amp;amp; A. Beare: expertise in changing times  
  Library - text about the history of stringed instruments  
                ]]>
            </content>

                            <updated>2019-08-09T16:17:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">François Xavier Tourte and the modern violin bow </title>
            <id>https://www.corilon.com/gb/library/instruments/francois-xavier-tourte-and-the-modern-violin-bow</id>
            <link href="https://www.corilon.com/gb/library/instruments/francois-xavier-tourte-and-the-modern-violin-bow"/>
            <summary type="html">
                <![CDATA[
                
                                            The F.X. Tourte violin bow and the new classicism of bow making in the style of the great François Xavier Tourte
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                  The modern violin bow and the new classics of bow making in the style of the great François Xavier Tourte  
 While bow making in the Classical and  Baroque periods  was defined by many fluid shifts, the modern age of bow making has a clearly identifiable founding father and classic figurehead:  François Xavier Tourte  (1747/48-1835), whose reputation as the “Stradivarius of bow making” is undisputed. It is thought that François Xavier Tourte as a bow maker&#039;s son was initially trained as a watchmaker before joining his older brother Léonard&#039; Tourte&#039;s workshop and learning the family trade. 
 François Xavier Tourte and the modern violin bow – Contents: 
 
  François Xavier Tourte&#039;s violin bow design  
  Playing characteristics of the modern violin bow after Tourte  
  Carbon fibre bows  
 
 &amp;nbsp; 
  François Xavier Tourte&#039;s violin bow design  
 François Xavier Tourte&#039;s violin bow design took the accomplishments of  Classical bow making  and perfected them, always with an eye to the growing demands of the era&#039;s soloists. One of his earliest innovations still stands the test of time: he used premium pernambuco wood. This permitted François Xavier Tourte to apply complicated physics to the shape of the stick, and as a natural material the wood remains unequalled to this day. The logarithmic narrowing of the later-period Tourte violin bows is an exceptional and historical achievement in terms of mathematical complexity and the related challenges in mechanical accuracy. It was not until a generation had passed that the great  Jean-Baptiste Vuillaume  (1798-1875) managed to comprehend and describe the precision of Tourte bows. 
  Playing characteristics of the modern violin bow after Tourte  
 The massive successes which François Xavier Tourte enjoyed even during his lifetime were not solely due to the mathematical sophistication of his bows; they were also attributed to the ideal playing characteristics he made possible. The F.X. Tourte bow was perfectly balanced and had a quick and agile response because of its strong inward arch. This bow offered the largest spectrum of playing techniques ever encountered — from full cantabile playing to newer spiccato techniques such as saltando, ricochet and sautillé. François Xavier Tourte perfected every aspect of the model, including the contours of the head and the mounting for the horsehair, which he widened and increased. Much like Cremonese violins, F. X. Tourte&#039;s style was only marginally modified by other craftsmen. The most significant heirs of his legacy include the “German Tourte,”  Ludwig Christian August Bausch  (1805-1871),  François Nicolas Voirin  (1833-1885) and, last but not least, the great  Eugène Sartory  (1871-1946).    
  Carbon fibre bows  
 The most recent development in modern bow making involves working with composite materials such as fibreglass and   carbon fibre , which have been manufactured since the 1960s and the 1990s, respectively. In the meantime they are also available as high-quality models. The use of these materials is partially a response to the shortage of good pernambuco; this in turn is due to an expansion of agricultural areas and major construction activity which have affected the most important sites in Brazil where the pernambuco tree Caesalpina echinata is grown. 
    
   Related articles:   
  The bow makers of Markneukirchen  
  H. R. Pfretzschner – a biographical sketch&amp;lt;7a&amp;gt;  
  Ludwig Bausch: the &quot;German Tourte&quot;  
  Morizot père et frères : The short history of a great family of bow makers 
  Eugène Nicolas Sartory  – a modern classic among bow makers 
  Bazin – The turbulent history of a great violin bow maker dynasty  (two parts) 
  Joseph Alfred Lamy Père – a key figure in modern bow making  
  James Tubbs : the classic name in English bow making 
  John Dodd – a legend of oyster shells and silver spoons  
 Originally published by Corilon violins. 
                ]]>
            </content>

                            <updated>2019-08-09T16:13:00+02:00</updated>
                    </entry>

    
    
        <entry>
            <title type="text">The violin: provenance, value and appraisal</title>
            <id>https://www.corilon.com/gb/library/instruments/the-violin-provenance-value-and-appraisal</id>
            <link href="https://www.corilon.com/gb/library/instruments/the-violin-provenance-value-and-appraisal"/>
            <summary type="html">
                <![CDATA[
                
                                            Violin valuation advice from Corilon violins. On the inital valuation, age, provenance, value and certificate of an old violin. 
                                        ]]>
            </summary>
            <content type="html">
                <![CDATA[
                 Valuation advice from Corilon violins. On the inital valuation, age, provenance, value and certificate of an old violin. 
 A  violin  is in the eyes of the owner a trusted musical partner, and at the same time it is full of enigmas which are never fully understood. Over the course of time, most musicians develop a deep and intuitive kind of interaction with their instrument, yet as soon as a decision has to be made about buying the best violin or the about the  violin value , there are endless questions. For many years our violin experts have helped musicians around the world as they look for the valuation of their old violin or stringed instrument.&amp;nbsp;This article is intended to provide some information on the initial  violin valuation  which is especially important as you make your choice. Gain valuable insights into the cost of violins in our&amp;nbsp; comprehensive overview of old and new violin prices . 
   Favored instruments: &amp;nbsp;  Cremona violins  &amp;nbsp;|  &amp;nbsp;Italian violins  &amp;nbsp;|&amp;nbsp;  Fine violins  &amp;nbsp;|&amp;nbsp;  Antique violins  
 Overview of our guide to selecting and  purchasing a violin : 
 
  The general signs of a quality violin  
  The age and provenance of a violin  
  The old violin value, appraisals, certificates and valuations  
 
 &amp;nbsp; 
 General signs of quality in a violin 
 How do you recognise a good violin? What is a violin worth? How is the old violin value determined and which is the best violin?    When you want to determine the quality and value of a stringed instrument, one reliable point of departure is to look at the materials used to craft it. The first thing to focus on is usually the grain of the  wood  not only on the body of the violin, but its neck and scroll as well. Fine to moderate grain is generally seen as a sign of quality when it comes to spruce, which is commonly used for the top. The even lines of the grain also indicate well-selected tone woods. Maple, which is used for the back, ribs and neck of most stringed instruments, often features interesting flaming, and this too provides visible evidence about the structure of the tonewood. 
 An  old violin  with a  spruce  top that has evenly-distributed fine to moderate grain and a back of beautifully flamed  maple  already provides initial clues that it may be a high-quality instrument. But as always, there are exceptions to every rule, and that is as much the case in the world of violin-making as it is in other demanding forms of artisanry. For example,  bearclaw spruce  is a type of timber highly prized in violin making due to its good physical properties, yet this wood is also known for the irregular streaks (the &quot;bearclaws&quot;) in its grain. Furthermore, there are certain regional traditions and individual luthiers who outright prefer to work with unconventional kinds of wood. It appears as if many Italian masters wanted to demonstrate their experience and expertise by deliberately selecting cuts of wood with irregular grain or even worm tracks. More often than not, these aesthetically unusual but outstanding-sounding violins confirmed that they chose well.  Fine violins  have been crafted from such &quot;inferior&quot; material since Guarneri&#039;s day. 
 When it comes to the wood used to make a violin, the  fingerboard  is in a category of its own. Premium violins built before approximately 1900 were usually fitted with a fingerboard of solid  ebony , whilst other hardwoods such as beech were seen as less-valuable alternatives. Occasionally softer woods were used, but this did not have an impact on the sound. Older violins in particular, e.g.  Baroque-era instruments , often had fingerboards made of soft wood that was then given an ebony veneer or perhaps even simply varnished in black. Areas where there has been a great deal of wear gradually reveal the lighter-coloured material underneath. At the beginning, ebony was a truly rare and expensive wood, and its very use can be understood as an acknowledgement of the fact that violins were made for a refined clientele, and the quality had to reflect this. This statement no longer applies to newer instruments, however: today there is enough ebony available (albeit usually in poorer quality) to produce even simplest industrially-manufactured violins. 
    Not only is the wood a reflection of how good an old violin is, the  varnish  also reveals quite a bit about differences in quality. It is well known that the old  Italian masters of Cremona  used varnishes that have become the stuff of legend, and even though nowadays varnish is no longer considered critical to a violin&#039;s sound, it nevertheless remains an eye-catching calling card for the luthier&#039;s art. Contemporary violin makers such as  Christoph Götting  spent a great deal of time observing and successfully imitating the methods of the old masters. An old violin&#039;s varnish plays a large part in determining its origins (see below), and at the same time it indicates the care and time that went into its construction. Many  Italian violins  are famous for their rich  oil varnish , and some luthiers applied over 40 coats before they deemed the instrument ready to play. Since oil varnish also dries very slowly, it was not uncommon for several months to pass before a violin&#039;s varnish was complete.  Spirit-based varnish  can be handled much more quickly, and it sometimes forms delicate crackling but may nevertheless be of very high quality. In some situations spirit varnishes dry as they are being applied, which means they demand a great deal of artisanal confidence and experience – unlike oil varnishes, some of which never fully harden and can thus always be slightly touched up. Spirit varnishes are not a fundamental sign of a less valuable instrument, however; on the contrary, they may be evidence of a craftsman&#039;s well-trained and practiced hand. By contrast, nitrocellulose lacquer or synthetic resin, which are extremely common on Chinese mass-produced instruments, are a clear sign of low quality. These varnishes can have a negative effect on the violin&#039;s ability to vibrate, especially if they were applied with certain industrial spraying techniques. What&#039;s more, they are unpleasant both optically and in terms of the unpleasant odour they give off for at least the first several weeks and months after they were made. 
    Older violins often undergo gradual changes in the appearance of their varnish, and this too says something about their quality. One factor here is the  patina , which many aficionados of historic violins appreciate. It is evidence of a natural ageing process which may occur to varying degrees, depending on the ingredients in and nature of the varnish.  Crackling  is another process which can be interpreted in different ways: it may indicate that the varnish was poorly formulated, yet it can just as easily be seen as an  aesthetically pleasing  kind of art which was created by coincidence. Even scratches can only be attributed to their respective mechanical cause sometimes; after long and intense use, a violin with a soft oil varnish will naturally show more wear and tear than one with a harder spirit varnishes. These traces often communicate a great deal; for example, there may be many minor flaws around the fingerboard if a previous owner played a great deal in high positions. An old violin with such marks invariably spent a long time in the hands of good musicians who had the ability to play the upper registers. And the more they were satisfied with their instrument, the more traces of use they will have left. Varnishes and the wood they coat can also undergo significant changes in colour over the years. Taken as a whole, these factors all contribute to the typical aesthetic of an old violin — the varnish may no be longer flawlessly smooth and may have an uneven colour, but its overall character is distinctive and charming. For generations, several violin makers have deliberately attempted to imitate this look by &quot;antiquing&quot; their new violins. As a result, the art of antiquing varnish has become a violin-making discipline unto itself since the 19th century. It should not be overlooked, because it can also indicate a well-crafted instrument. 
 In other words, the varnish provides some important information about the craftsman standards with which it was made, but beyond that, there are another few details which also help you assess an instrument&#039;s quality. Special tools and extensive experience are both needed to review important acoustic characteristics such as how the thickness of the top and back were crafted. However, even lay people can often see for themselves whether the  scroll and the purfling  were made carefully and by hand. On an old violin, these parts serve as a good point of orientation, even though they do not provide any information about the violin&#039;s musical properties. Once again, however, the Italian violin-making tradition offers numerous exceptions to the rule, dating all the way back to famous masters such as Guarneri del Gesù. Some such instruments show very sloppily crafted details but still possess an exceptional sound. Another exception to the rule is the manufactured work from the French violin-making town of  Mirecourt , which was created with the objective of providing instruments that were as good and as affordable as possible. Particularly in the 19th century and the fin de siècle period, these violins sometimes only had traced-on purfling, which significantly decreased the time needed to produce them. Nevertheless, amongst these violins there are several instruments with a truly good sound and outstanding playing characteristics which are certainly adequate for the standards of an advanced student musician. And of course, there are luthiers who emphasise the overall &quot;cosmetics&quot; of an instrument at the expense of its musical quality. The result is that sometimes there are exquisite-looking violins with features such as a meticulously carved scroll, complicated purfling and perfectly executed antiqued varnish, but their sound is mediocre. In assessing violins, an important rule of thumb is never to focus on a single characteristic by itself, but rather to look at the instrument in its entirety.&amp;nbsp; 
 Last but not least, older violins, violas and especially the large cellos commonly have undergone  repairs , which themselves do affect the value of a stringed instrument and can be a sign of quality work. For example, bushed and reworked peg holes usually indicate that the instrument was in use for a long time and was frequently tuned, which in turn meant that the peg holes expanded due to the friction from the pegs and thus had to be readjusted. Furthermore, a new neck or new scroll is no longer considered to be damage that lowers the value of an instrument; instead, this confirms that the violin was good enough to justify such extensive maintenance work. This is also true of cracks in the top, back or ribs, as long as the repairs were done properly and do not have an effect on the sound. The quality of these repairs can often be a good signal about the instrument&#039;s value, and highly respected restorers often sign their work by applying their own label in the violin&#039;s body. 
   For those who see their violin as a musical instrument (as opposed to a decorative object), once the material and craftsmanship have been assessed, the next step is to examine the  sound and playing characteristics . It goes without saying that individual preferences and personal prerequisites are the most important factor here: everything from the volume of the instrument&#039;s voice to its timbre all the way to its response depends on who is playing the violin and what musical goals they have. 
 The&amp;nbsp; Corilon online violin shop &amp;nbsp;places great importance on presenting an accurate description of each instrument&#039;s acoustic character, and we further document its sound with an audio clip to provide an initial point of orientation. By offering an extended  return policy , we also provide additional security as you explore the musical personality of your instrument. 
 The age and provenance of a violin 
 The advantages of old violins vis-à-vis new violins – and vice versa – is one of the most widely-discussed issues in the world of stringed instruments. Nearly every six months a new article makes its way through the media in which a scientific study claims to have found definitive proof for one standpoint or another. For the most part, these alleged revelations only point towards a one-dimensional approach which can never adequately address a phenomenon as complicated as a stringed instrument. The quality of an old violin — especially of the finest historic master instruments — can never be traced back to a single factor, such as a secret kind of varnish, a specially textured wood, climatic conditions where the violin was crafted, or the effects of certain fungi. None of these alone can turn a violin into a masterpiece. What&#039;s more, the ever-popular blind comparisons in which the acoustics of old and new violins are directly contrasted with each other make one thing clear above all: they reveal a dubious understanding of the way musicians deal with their instruments. They have to interact with their violins intensely so they can fully understand and make the most of its tonal opportunities. 
 In other words, there is no rule stating that old violins always sound better than new ones. There can, however, be no doubt that countless historic violins have an unmistakable and distinctive maturity in their sound. And this in turn may be due to anything ranging from the grain of the wood, the individual way the wood aged, or advantages of a particular design, not to mention the art and agile hand of its maker. At Corilon violins, our enthusiasm for the personalities of these older instruments is what informs our work and our catalogue, yet we also appreciate contemporary violins of outstanding quality.    
 The  provenance , in other words the fact that an old violin comes from a particular region or luthier is neither inherently a guarantee of quality nor a shortcoming. The many varying traditions have all resulted in certain distinctive identifying traits. When you select a violin, these regional differences are not primarily a question of quality, since bad instruments were (and are) produced everywhere, and there is no place on earth which produced only good violins. Instead, you should focus on the acoustic profile and its ability to create the sound you desire. As a rule, for example, Italian violins are highly praised for their soft, melting undertone which is often accompanied by an unconventional and ingenious aesthetic design. Good French violins are characterised by a dominant sound that is ideal for soloist performance, and many experienced musicians prefer these instruments because of their extreme precision. Others may incline towards the comparatively strict sound of English violins for nuanced ensemble playing.&amp;nbsp; 
 Many different regions favoured  particular nuances in craftsmanship   which are often evident only to the trained and experienced eye, although there are also many far more conspicuous features that frequently serve as proud indications of a local tradition. One prominent example here is the very striking and eye-catching design favoured by the  Hopf violin-making dynasty  in the Saxonian village of Klingenthal: it is easily identified by its slightly &quot;angular&quot; upper bout. Many of these violins, including those with more conventional contours, also feature the traditional Vogtland brown varnish against a striking yellow background that shines through. As a general rule, an old violin&#039;s varnish and colourful ornamentation provide good information about its provenance, such as the extremely dark, if not almost black, varnish found on many 19th-century Bohemian and Austrian instruments. On a similar note, French violin making commonly involves a very elegant aesthetic and blackened edges on the body and especially the scroll. Regional characteristics of this kind should not be confused with prominent individual characteristics which were inspired by the personal style of certain master luthiers. The famous Italian luthier Maggini developed flourishes such as double purfling or a scroll with an additional winding, and they were soon imitated around the globe. 
 The value of a violin, appraisals, certificates and valuations 
 Today, violins are sold at a  greater spectrum of prices than ever before , ranging from extremely cheap mass-produced instruments (usually from China) all the way to priceless historic collectors&#039; items. This divergence in value started in the late 18th century: publishing companies and factories first made it possible to churn out large numbers of simple and affordable violins, and simultaneously the exceptional traits of historic instruments made by Stradivari, Guarneri and other classic masters were being discovered. The exceptional quality of the latter meant that musicians became more interested, although soon collectors and investors followed, and general demand led to a sharp increase in prices. In the second half of the 20th century, these masterpieces by famous luthiers ultimately became objects of speculation, and in some cases prices rose 200 times over. The development of value and price of fine stringed instruments also opens the door to fraud and forgery that exploits the ignorance and naivety of most musicians. The purchase of an expensive violin that exceeds a certain price range should be considered only from legitimate sources, via the retailer; from private individuals if offered with a  appraisal  or  certificate  of a recognized expert. 
     
 Whilst cheap violins have never been as affordable and expensive instruments never as pricy as they are today, these two extremes are viable options for only a very few musicians. For years now, even outstanding soloists have not been able to afford valuable historic instruments, which is why old violins are often made available to them as part of a scholarship or a donation from a patron of the arts. On the other end of the scale, today&#039;s factory-made violins include many items which are sold at bafflingly low prices. This is a response to the demand amongst the many beginners and students, but most of the instruments are not suitable for learning how to play. It is certainly true that most people&#039;s budget for buying a violin is quite modest, and having the wide range of acoustic possibilities which a top-quality master instrument provides is a luxury which is not critical in the first few years. That said, however, a proper musical education will not be a success unless you have an instrument with a good sound which is responsive, &quot;forgiving&quot; and motivates you. Trying to meet this standard obviously means production cost can be rationalised only to a limited extent, which in turn creates a natural limit on price structures. It is thus truly astonishing that there is hardly any public discussion about whether environmental and social principles are being upheld in the mass production of stringed instruments. The very fact that new sets of violins and bows are available for less than €100 should give rise to numerous critical questions. 
     Old violins  provide opportunities to offset these countervailing tendencies. Today, fine stringed instruments with certificate or appraisal and major names on the labels have become collectors&#039; items, regardless of the violins&#039; musical value, whilst violins with a heritage that is not fully known or is less in demand often have brilliant playing and acoustic characteristics – and are available at surprisingly low prices. Such instruments sold by  reliable sources  feature extensive documentation that takes full advantage of all of the technical tools the Internet has to offer. Furthermore, the violin&#039;s value is determined by experts after the instrument was professionally set up, thus ruling out any hidden repair costs. This high standard is the guideline for the   Corilon violins online catalogue  , which also features our client-friendly terms and conditions, including an extended 30-day return policy. By providing extensive consultation, we help our clients select the right violin for their needs — the perfect instrument with the format and musical character to suit each musician&#039;s individual style. 
 &amp;nbsp; 
  Related articles:  
 Corilon violins&amp;nbsp; certificates and appraisals   
 The&amp;nbsp; violin wolf tone : Taming the wolf in a stringed instrument 
  History of the violin bow  
  Ernst Heinrich Roth : a rediscovered master 
  Hopf : a dynasty of Vogtland violin makers 
 Jérôme Thibouville-Lamy -  J.T.L.  
 Bow maker and entrepreneur  H. R. Pfretzschner  
  Contemporary violin makers  - the modern artisans 
  Mittenwald violin makers  - contemporary masters 
  Violin makers from China and Taiwan  
  E. Sartory : the modern classic of bow making 
 Guide to  silent electric violins &amp;nbsp; 
 &amp;nbsp; 
  Related information:  
  New arrivals  in our catalogue 
  Library - texts about the history of stringed instruments  
 Our  returns and refund policy  
  Shipping and payment methods  
                ]]>
            </content>

                            <updated>2019-03-22T16:18:00+01:00</updated>
                    </entry>

    
</feed>
