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This Website and Domain
are FOR SALE Violin and Fiddle Lessons |
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The History of the Violin |
A Little Bit More Than You Probably Wanted to Know, but....
Dates of the First Documented Appearances of the Violin
 | The violin, as illustrated above, was not borne of a single
parent, but evolved from several instruments, early in the sixteenth
century. An instrument embodying the modern traits emerged about 1550,
with the earliest type appearing not later than 1530 (it had three
strings---g, d', a'---and a smaller body). |
| 1523: Earliest date of a documented reference to the
violin. Recorded in Italy in the town of Vercelli. The payment of six
scudi for the services of 'trompettes et vyellon.' 17 December. |
| 1529-30: An early rendition of the instrument in artwork;
also in Vercelli, Italy, at the Church of St. Christopher: 'La Madonna
degli aranci,' by Gaudenzio Ferrari. |
| 1538: An appearance of the term 'violino.' Pope Paul
111(1534-49), wishing to impress Emperor Charles V and Francis I who
were attending a peace conference in Nice, brought with him
trombonists from Bologna, violinists from Milan (violini Milanesi) and
trumpet, drum and bombard players from Genoa. Violin Milanesi refers
to Milan and surrounding areas (Bresci, Cremona, Saronno, Vercelli,
Turin, with Milan as the cultural center) as producing more than its
fair share of violins and violinists. |
| 1556: Epitome Musicale, by Philibert Jambe de Fer,
published. Makes a distinction between viols--used by "gens du vertuùm,"
people of taste--and violins--"br dances and weddings." |
| 1581: Earliest extant musical example specifically for the violin. Music for dancing at a Royal wedding in France. Nothing especially idiomatic to the instrument nor technically demanding. The violin is used for dancing music due to its power of rhythmic articulation and penetrating, sprightly tone. Also mainly used to double vocal parts in vocal ensembles. |
Instruments Closest to and Contributing to the Modern Violin
(items in bold make up the traits of the modern violin)
Rebec
| Dates back to the thirteenth century (Arabian, Oriental) |
| Contains soprano, alto, bass members in family |
| Three strings, tuned in 5ths |
| Strings secured and tightened by pegs laterally inserted into peg box |
| No frets |
| Body shaped like half a pear, neck and peg box are integral parts of the body |
| Playing position at the breast or neck |
| Bowed, held overhand |
| No sound post |
Renaissance Fiddle
| Five strings, one of which may be a drone |
| Soprano register |
| Constructed of a top and back with connecting ribs |
| Separate neck, peg box, fingerboard |
| Frets |
| Front pegs, heart or leaf-shaped peg box |
| Oval or indented shape |
Lira da braccio
Species of fiddle in the Fifteenth century
| Close body outline, size varying from small to large |
| Arched top and back, overhanging edges, ribs |
| Sound post |
| Seven strings, two of which were drones and ran off the fingerboard. |
| Occasionally had frets |
| Tuning pegs set horizontally in heart or leaf shaped peg box |
| or C-shaped sound holes |
The rebec provided for the uniform fifth tuning system which contributed to a more consistent fingering technique, had fewer strings, and had the lateral tuning pegs which are easier to tune.
The Renaissance fiddle provided a greater sonority of sound due to
its sound post and flat sound box, had the separate neck and fingerboard, and
was a more efficient, easier-playing instrument.
The Lira da braccio had the typical outline, including the upper,
lower and middle ("waist") bouts, arched top and back, connecting ribs and
overhanging edges. The sound holes, now called f-holes, were indeed f- (or
C-) shaped.
The violin emerged as a family: the violin, viola and cello appeared at
roughly the same time. Rebecs also came in families of three registers.
Commentary
| The construction of the violin is dominated by the laws of physics
and acoustics. Nothing about it can be changed without seriously
disturbing its equilibrium as a work of art. |
| Spiritually the violin is a creation of the Renaissance;
architecturally it is a child of the Baroque. It does not have the
clear, serene straight lines of Classicism and Renaissance. Its curves
and complexities resemble the shapes of the angels and saints in
Baroque sculptures. Baroque art was created by passionate, exultant
artists who believed in God and the glory of the church. The violin
too was invented by artists who were passionate, exultant and devoted
in their beliefs. Princes of the Church as well as worldly rulers were
among the patrons of the Amati and Stradivari (masters of violin-
making). |
| The violin is a marvel of science, of mathematics, physics, chemistry and acoustics; it is also a miracle of passion and the love of music. It is the synthesis of emotion and intellect, passion and science. Passion came first, but it was subdued by adherence to the strict laws of science; otherwise, the violin would have been a failure as a musical instrument. |
