Origins of the Violin and the Mystery of the Stradivarius Sound

The violin as we understand it now, evolved from quite early stringed instruments sometime in the 15th century. These instruments occasionally just had 2 strings, but like the violin, were additionally played with a bow. Two distinguished “schools” of violin creating started in the 16th century. The Cremonese school was started with a well-known creator of that period, Andrea Amati. About that same time, there was clearly another distinguished machine, Gasparo da Salo, who was of the Brescian school. During this time period, all violin creation was completed in Italy. Later, in the 17th century, great violins started to be created in Germany furthermore.

The many distinguished violin machines of all time were Stradivari and Guarnieri. Both of these Italian master violin machines produced violins in the early 18th century. Violins from either of these 2 masters are the many very prized and popular in every the globe. The best pro violinists nowadays play 1 of their instruments. There was moreover a great German violin creator of the time period called Jacobus Stainer. However, he didn’t achieve the same amount of notoriety as the Italian machines.

The sound standard of the Stradavarius and Guarnierius violins are considered the number one in the planet. Although there were good standard violins yielded after the 18th century, and great standard violins are yielded now, they are doing not have the same wealthy phonic characteristics as the violins these early masters yielded. There has been a great deal of research and speculation into why this might be. Some believe it was the standard of lumber chosen at that time, or the truth that the lumber was transported by flying the logs down a river, or the talent of the craftsmen, or it is very caused by the aging of the lumber as well as the varnish through the centuries that produces their specific sound.

There are others nonetheless, that believe it has more to do with all the lumber “filler” which was utilized before the varnishing, and possibly equally the varnish itself. It can be done now to duplicate a Stradivarius or Guarnierius violin in every technique, utilizing the same kind of fairly older lumber, and utilizing the same dimensions, techniques and tools. But, before varnishing, a newly prepared violin was coated in a fluid to fill the microscopic spaces in the lumber, thus that the varnish wouldn’t soak into the lumber but have a well even finish. It is this “filler” that violin machines and restorers cannot duplicate. Today’s violin machines never recognize what was employed by the early masters, so, cannot duplicate it. There are craftsmen that commit a lot of time experimenting with numerous formulations in an effort to locate the “secret”, but is has eluded them thus far. Also, the varnish nowadays is a fast-drying range. The aged varnishes might take months to dry. Perhaps a mixture of all these aspects makes it impossible to precisely duplicate the sound of the early masters’ violins, despite the reality they is physically duplicated.

While duplicating the sound of the Stradivarius is impossible, happily, understanding to play like a master violinist can be done. Though it takes commitment and concentrated practice, the techniques selected by today’s master violinists is learned by the severe student, who might 1 day moreover become a master violinist capable to teach others.

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