The violin as we learn it now, evolved from extremely 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 by a distinguished machine of that period, Andrea Amati. About that same time, there was another well-known creator, 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, good violins started to be created in Germany furthermore.
The many distinguished violin makers of all time were Stradivari and Guarnieri. Both of these Italian master violin makers produced violins in the early 18th century. These violins are very prized and popular. The right specialist violinists of now play 1 of their instruments. There was moreover a good German violin machine of the time period called Jacobus Stainer. However, he didn’t achieve the same amount of notoriety as the Italian makers.
The sound standard of the Stradavarius and Guarnierius violins are considered the number one in the globe. Although there were great standard violins yielded after the 18th century, and great standard violins are yielded now, they never 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 really is. Some believe it was the standard of lumber selected at that time, or the truth that the lumber was transported by floating the logs down a river, or the talent of the craftsmen, or it happens to be caused by the aging of the lumber and the varnish through the decades that produces their specific sound.
There are others yet, that believe it has more to do with all the lumber “filler” which was selected before the varnishing, and maybe equally the varnish itself. It can be done now to duplicate a Stradivarius or Guarnierius violin in every technique, utilizing the same kind of really older lumber, and utilizing the same dimensions, techniques and tools. But, before varnishing, a newly created violin was coated in a liquid to fill the microscopic gaps 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 makers and restorers cannot duplicate. Today’s violin makers never recognize what was selected by the early masters, so, cannot duplicate it. There are craftsmen that commit a amazing deal of time experimenting with different formulations in an effort to obtain the “secret”, but is has eluded them thus far. Also, the varnish of now is a fast-drying range. The older varnishes would take months to dry. Perhaps a mixture of all these factors makes it impossible to precisely duplicate the sound of the early masters’ violins, despite that 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 dedication and concentrated practice, the techniques chosen by today’s master violinists is learned by the severe student, who will 1 day additionally become a master violinist capable to teach others.