The History of Violinmaking

Although the origins of bowed string instruments go back thousands of years, it was the artistic and cultural development of Europe during the Renaissance that set the stage for the development of the modern violin family.

The advances in architecture and design which produced Europe's great cathedrals were a manifestation of a tremendous leap in understanding of the nature of materials and their physical limits. Centuries of accumulated experience in painting created a rich heritage in the use of drying oils, colored pigments, mediums and varnishes. The bell founders and early instrument makers had left an acoustical legacy of considerable sophistication, while the willingness of wealthy families, courts, and the church to support the arts provided the necessary economic base.

By the sixteenth century, northern Italy had for some time been a center of fine woodcarving and instrument making. Sources of wood and other supplies were already established; Venice was one of the worlds major seaports and functioned as a link between East and West.

In the early fifteen hundreds, the first violins appeared, probably from the workshop of Andrea Amati in Cremona. The popularity of this new instrument quickly spread, and soon they were being made throughout Europe.

Isaac Newton once said, “If I have reached great heights, it is because I have stood on the shoulders of giants.” Stradivari might have said the same, benefiting as he did from the century and a half of violin making experience that had been accumulated by members of the Amati family, with whose last great proponent, Nicolo, he is believed to have studied for some thirty years.

The existence of the guild system greatly facilitated the growth of violinmaking by maintaining an ever expanding body of knowledge and tradition. This was handed down from masters to apprentices, who would work for years in established shops before starting out on their own.

Musical Influences

Violin making, string music and string playing all evolved hand in hand, challenging and inspiring one another in the development of greater technique and tonal variety. In the time of the classical violinmakers, instruments were set up in what we now refer to as the ‘baroque’ style; using a relatively short fingerboard and string length, and a stouter neck. As composers and musicians began to exploit an extended upper register, a longer fingerboard was adopted. The overall string length was increased to provide greater power, and the resulting increase in tension on the instrument was supported by a sturdier bassbar. Bowmakers, in turn, developed the modern bow; extended in length and with more strength than its baroque predecessor. The violins which seemed to respond best to the new demands being made on them were the flatter and more powerful models developed by such masters as Stradivari, Guarneri, and Guadagnini.

After the Italians

With the social and economical upheavals of the late 18th century came the end of golden period of violinmaking in Italy. Following the disintegration of the guild system, something unique to the Italian way of making instruments was lost so quickly and completely that a half century later their methods and materials seemed already surrounded by impenetrable mystery. The thrust of violinmaking became an attempt to recapture the Italian spirit, and copies of Italian instruments came forth in large numbers.

In the 1800's in France, Mirecourt became the center of what was to become a violinmaking industry. New techniques were adopted in the making of instruments, sacrificing freedom of line for an increase in precision. The production of violins in series, with various makers specializing in each part, increased output. The Italian varnishes were replaced with more durable, if less attractive, alcohol soluble resins.

Firms for the restoration and resale of string instruments came into being. French craftsmen took advantage of the abundant selection of pernambuco wood imported for dye making, and did for bow making what the Italians had done for the violin. They developed and perfected the modern bow we use today. During this time, Germany produced many fine instruments, albeit without much innovation. In the middle of the 19th century they picked up the trend set by the French, and began the production of stringed instruments in factories. Commercial retailers, rather than violinmakers, became the principal distributors of violins.

However, the tradition of handmade violins was continued by individual makers and families throughout Europe. Firms specializing in dealing and restoration helped keep together a body of traditional knowledge, and started cataloguing and recording known examples of classical instruments.

America

Violinmaking in America reflects the combination of diverse European influences with a native energy and willingness to experiment. Until the second world war, the trade was largely repair oriented. It therefore tended to center around repair shops. The best of these became focal points for violin culture, providing a meeting place for musician and maker, and a training ground for young talent. Flourishing in the vigorous economic and musical climate of post war America, these firms handled the very best in old instruments and set standards of restoration unmatched in Europe. As superb Italian instruments found their way to America, a new generation of makers, tutored in restoration and inspired by the fine instruments they were surrounded by, began to emerge.

The Route to Mastery

Today, young makers typically go through several years of study at one of the violinmaking schools followed by a period of work in restoration at one of the major shops. They may then strike out on their own, pursuing careers in dealing, repairing, making, or some combination of these. Further progress depends on dedication to the craft and an ability to keep learning. Vital to this learning process in continued contact with first class musicians who can provide informed criticism together with the inspiration of hearing great music performed on the instruments they have made.

The Age of Information

Huge amounts of material, once the guarded secrets of violinmaking families and shops, are becoming available today. Under the auspices of professional associations and research societies, new information is continuously being published on both the history and acoustics of the violin family, shedding new light on the workshop practices of the classical Italians. This has much the same tonic effect on contemporary craftsmen that research into baroque performance practice has had on today's performers.

A Violin's Lifespan

In the shaded light and conditioned air of a museum, an instrument will last almost indefinitely. Subject only to gradual oxidation, the passing centuries would see little change; a darkening of the wood, a muting of the brighter colors, while outside civilizations rose and fell. But in the hands of even the most careful musician, eventual damage is almost inevitable. Wars, floods, accidents, wood-worm, and the stress of concert life all take their toll. Although the instrument's journey through practice rooms and concert halls into permanent retirement or oblivion may be as long as three or four hundred years, it is often far briefer.

The Challenge to Today's Makers

If a violin's life spans the professional careers of six or seven of its owners, then clearly for every eighth violinist, a new violin must be born. Unfortunately, in the last century, despite a large increase in the number of professional musicians, most of the new violins made were produced in factories. This has caused staggering increases in the prices of antique instruments, increases that reflect rarity and historical status more often than remaining tonal potential. Yet, history has shown that when there is a need for good work and a favorable climate in which to do it, talent has always appeared. Today we are enjoying a renaissance in string instrument making, and musicians who take advantage of this opportunity can in fulfilling their own needs ensure a legacy of fine instruments for generations to come.