Baroque violin
Encyclopedia
A baroque violin is, in common usage, any violin
whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque
period. Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form. "Baroque cellos" and "baroque violas" also exist, with similar modifications made to their form.
Following period practices, most baroque violinists use gut strings. This lends a certain purity and even at times earthiness to the sound. Baroque violinists commonly play their instruments without a chin rest or shoulder rest, as they had not yet been invented in the baroque period. The relaxed and natural baroque violin posture is quite different as compared with the more poised modern violin position. The baroque violin is usually positioned more in front of the player than the modern violin, with the strings often running perpendicular to the player's collarbone. This causes the player's bow arm to be positioned differently as well, facilitating articulations which would be difficult and less natural in a modern violin posture. Some players do not touch their chin to the instrument at all. However, when used, the player's chin is usually placed on the treble side of the tailpiece.
Other typical differences from the modern violin include: a smaller or longer (such as some french instruments like Médard) bass bar
, a differently shaped bridge for most instruments (The modern bridge model is based on Guarnerius del Gesu model, so it could be used as a "baroque" bridge...) with all kind of thickness, a shorter fingerboard, a fuller neck, and the absence of fine tuners. The biggest difference between the modern and baroque violins is the tension of the strings and the pressure on the bridge. Most old Masterviolins have had new necks fitted - transplanting the original headstocks - that were slanted backwards so the strings would make a more acute angle on the bridge [this is not completely true: it depends on the maker. Some have a neck more inclined than others but usually the neck is shorter (not for some Nicolo Amati and German violin with a short distance between the upper edge and the bridge) so the angle is normally of 157,5°, like on modern instruments]. Some renaissance violins have their necks in line with the underside of the plate but most of baroque violin have the contact point between the string and the upper saddle in the same level as the underside of the plate which means that the neck isn't in the line with the underside of the plate (cf. Amati piccolo violin of the Shrine to music Museum. The necessary upward angle is achieved by a wedge-shaped fingerboard. Modern violin has a standard length but Baroque violin can be very small or very long: it depends on the maker. Baroque bows are also quite different in construction and how they are handled. The modern violin bow curves downward in the middle while the baroque bow will look straight or bent outwards under tension. The baroque bow is thinner near the tip which comes to an exaggerated point. The common myth that the so-called Bach-bow had a huge exaggerated arch shape so as to play all four strings, in the manner of a lyra or lira di braccio, at once, remains under debate. http://www.music.princeton.edu/~jwp/texts/bachbow.html
Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance. Their renewed use reflects an attempt to rediscover the original style of violin playing in the baroque period. Many luthiers today are able to offer copies of baroque instruments as well as modern instruments. As is always the case with period instruments, merely having authentic equipment does not necessarily guarantee a persuasive performance. Typically, period instrument players receive extensive university training in the style and often use original treatises and facsimile editions as a necessary resource. With an increased openness to period performance practice, many modern violinists prefer to concertize baroque music on the modern violin in a period style. This practice is referred to as HIP
, or Historically informed performance
.
whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque
period. Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form. "Baroque cellos" and "baroque violas" also exist, with similar modifications made to their form.
Following period practices, most baroque violinists use gut strings. This lends a certain purity and even at times earthiness to the sound. Baroque violinists commonly play their instruments without a chin rest or shoulder rest, as they had not yet been invented in the baroque period. The relaxed and natural baroque violin posture is quite different as compared with the more poised modern violin position. The baroque violin is usually positioned more in front of the player than the modern violin, with the strings often running perpendicular to the player's collarbone. This causes the player's bow arm to be positioned differently as well, facilitating articulations which would be difficult and less natural in a modern violin posture. Some players do not touch their chin to the instrument at all. However, when used, the player's chin is usually placed on the treble side of the tailpiece.
Other typical differences from the modern violin include: a smaller or longer (such as some french instruments like Médard) bass bar
, a differently shaped bridge for most instruments (The modern bridge model is based on Guarnerius del Gesu model, so it could be used as a "baroque" bridge...) with all kind of thickness, a shorter fingerboard, a fuller neck, and the absence of fine tuners. The biggest difference between the modern and baroque violins is the tension of the strings and the pressure on the bridge. Most old Masterviolins have had new necks fitted - transplanting the original headstocks - that were slanted backwards so the strings would make a more acute angle on the bridge [this is not completely true: it depends on the maker. Some have a neck more inclined than others but usually the neck is shorter (not for some Nicolo Amati and German violin with a short distance between the upper edge and the bridge) so the angle is normally of 157,5°, like on modern instruments]. Some renaissance violins have their necks in line with the underside of the plate but most of baroque violin have the contact point between the string and the upper saddle in the same level as the underside of the plate which means that the neck isn't in the line with the underside of the plate (cf. Amati piccolo violin of the Shrine to music Museum. The necessary upward angle is achieved by a wedge-shaped fingerboard. Modern violin has a standard length but Baroque violin can be very small or very long: it depends on the maker. Baroque bows are also quite different in construction and how they are handled. The modern violin bow curves downward in the middle while the baroque bow will look straight or bent outwards under tension. The baroque bow is thinner near the tip which comes to an exaggerated point. The common myth that the so-called Bach-bow had a huge exaggerated arch shape so as to play all four strings, in the manner of a lyra or lira di braccio, at once, remains under debate. http://www.music.princeton.edu/~jwp/texts/bachbow.html
Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance. Their renewed use reflects an attempt to rediscover the original style of violin playing in the baroque period. Many luthiers today are able to offer copies of baroque instruments as well as modern instruments. As is always the case with period instruments, merely having authentic equipment does not necessarily guarantee a persuasive performance. Typically, period instrument players receive extensive university training in the style and often use original treatises and facsimile editions as a necessary resource. With an increased openness to period performance practice, many modern violinists prefer to concertize baroque music on the modern violin in a period style. This practice is referred to as HIP
, or Historically informed performance
.
whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque
period. Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form. "Baroque cellos" and "baroque violas" also exist, with similar modifications made to their form.
Following period practices, most baroque violinists use gut strings. This lends a certain purity and even at times earthiness to the sound. Baroque violinists commonly play their instruments without a chin rest or shoulder rest, as they had not yet been invented in the baroque period. The relaxed and natural baroque violin posture is quite different as compared with the more poised modern violin position. The baroque violin is usually positioned more in front of the player than the modern violin, with the strings often running perpendicular to the player's collarbone. This causes the player's bow arm to be positioned differently as well, facilitating articulations which would be difficult and less natural in a modern violin posture. Some players do not touch their chin to the instrument at all. However, when used, the player's chin is usually placed on the treble side of the tailpiece.
Other typical differences from the modern violin include: a smaller or longer (such as some french instruments like Médard) bass bar
, a differently shaped bridge for most instruments (The modern bridge model is based on Guarnerius del Gesu model, so it could be used as a "baroque" bridge...) with all kind of thickness, a shorter fingerboard, a fuller neck, and the absence of fine tuners. The biggest difference between the modern and baroque violins is the tension of the strings and the pressure on the bridge. Most old Masterviolins have had new necks fitted - transplanting the original headstocks - that were slanted backwards so the strings would make a more acute angle on the bridge [this is not completely true: it depends on the maker. Some have a neck more inclined than others but usually the neck is shorter (not for some Nicolo Amati and German violin with a short distance between the upper edge and the bridge) so the angle is normally of 157,5°, like on modern instruments]. Some renaissance violins have their necks in line with the underside of the plate but most of baroque violin have the contact point between the string and the upper saddle in the same level as the underside of the plate which means that the neck isn't in the line with the underside of the plate (cf. Amati piccolo violin of the Shrine to music Museum. The necessary upward angle is achieved by a wedge-shaped fingerboard. Modern violin has a standard length but Baroque violin can be very small or very long: it depends on the maker. Baroque bows are also quite different in construction and how they are handled. The modern violin bow curves downward in the middle while the baroque bow will look straight or bent outwards under tension. The baroque bow is thinner near the tip which comes to an exaggerated point. The common myth that the so-called Bach-bow had a huge exaggerated arch shape so as to play all four strings, in the manner of a lyra or lira di braccio, at once, remains under debate. http://www.music.princeton.edu/~jwp/texts/bachbow.html
Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance. Their renewed use reflects an attempt to rediscover the original style of violin playing in the baroque period. Many luthiers today are able to offer copies of baroque instruments as well as modern instruments. As is always the case with period instruments, merely having authentic equipment does not necessarily guarantee a persuasive performance. Typically, period instrument players receive extensive university training in the style and often use original treatises and facsimile editions as a necessary resource. With an increased openness to period performance practice, many modern violinists prefer to concertize baroque music on the modern violin in a period style. This practice is referred to as HIP
, or Historically informed performance
.
Violin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
period. Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form. "Baroque cellos" and "baroque violas" also exist, with similar modifications made to their form.
Other typical differences from the modern violin include: a smaller or longer (such as some french instruments like Médard) bass bar
Bass bar
In a string instrument, the bass bar is a brace running from the foot of the neck to a position under the bridge, which bears much of the tension of the strings. Bass bars are used:* In all members of the violin family;* In some archtop guitars;...
, a differently shaped bridge for most instruments (The modern bridge model is based on Guarnerius del Gesu model, so it could be used as a "baroque" bridge...) with all kind of thickness, a shorter fingerboard, a fuller neck, and the absence of fine tuners. The biggest difference between the modern and baroque violins is the tension of the strings and the pressure on the bridge. Most old Masterviolins have had new necks fitted - transplanting the original headstocks - that were slanted backwards so the strings would make a more acute angle on the bridge [this is not completely true: it depends on the maker. Some have a neck more inclined than others but usually the neck is shorter (not for some Nicolo Amati and German violin with a short distance between the upper edge and the bridge) so the angle is normally of 157,5°, like on modern instruments]. Some renaissance violins have their necks in line with the underside of the plate but most of baroque violin have the contact point between the string and the upper saddle in the same level as the underside of the plate which means that the neck isn't in the line with the underside of the plate (cf. Amati piccolo violin of the Shrine to music Museum. The necessary upward angle is achieved by a wedge-shaped fingerboard. Modern violin has a standard length but Baroque violin can be very small or very long: it depends on the maker. Baroque bows are also quite different in construction and how they are handled. The modern violin bow curves downward in the middle while the baroque bow will look straight or bent outwards under tension. The baroque bow is thinner near the tip which comes to an exaggerated point. The common myth that the so-called Bach-bow had a huge exaggerated arch shape so as to play all four strings, in the manner of a lyra or lira di braccio, at once, remains under debate. http://www.music.princeton.edu/~jwp/texts/bachbow.html
Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance. Their renewed use reflects an attempt to rediscover the original style of violin playing in the baroque period. Many luthiers today are able to offer copies of baroque instruments as well as modern instruments. As is always the case with period instruments, merely having authentic equipment does not necessarily guarantee a persuasive performance. Typically, period instrument players receive extensive university training in the style and often use original treatises and facsimile editions as a necessary resource. With an increased openness to period performance practice, many modern violinists prefer to concertize baroque music on the modern violin in a period style. This practice is referred to as HIP
Historically informed performance
Historically informed performance is an approach in the performance of music and theater. Within this approach, the performance adheres to state-of-the-art knowledge of the aesthetic criteria of the period in which the music or theatre work was conceived...
, or Historically informed performance
Historically informed performance
Historically informed performance is an approach in the performance of music and theater. Within this approach, the performance adheres to state-of-the-art knowledge of the aesthetic criteria of the period in which the music or theatre work was conceived...
.
Baroque violin concertmasters, soloist or professors
A baroque violin is, in common usage, any violinViolin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
period. Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form. "Baroque cellos" and "baroque violas" also exist, with similar modifications made to their form.
Other typical differences from the modern violin include: a smaller or longer (such as some french instruments like Médard) bass bar
Bass bar
In a string instrument, the bass bar is a brace running from the foot of the neck to a position under the bridge, which bears much of the tension of the strings. Bass bars are used:* In all members of the violin family;* In some archtop guitars;...
, a differently shaped bridge for most instruments (The modern bridge model is based on Guarnerius del Gesu model, so it could be used as a "baroque" bridge...) with all kind of thickness, a shorter fingerboard, a fuller neck, and the absence of fine tuners. The biggest difference between the modern and baroque violins is the tension of the strings and the pressure on the bridge. Most old Masterviolins have had new necks fitted - transplanting the original headstocks - that were slanted backwards so the strings would make a more acute angle on the bridge [this is not completely true: it depends on the maker. Some have a neck more inclined than others but usually the neck is shorter (not for some Nicolo Amati and German violin with a short distance between the upper edge and the bridge) so the angle is normally of 157,5°, like on modern instruments]. Some renaissance violins have their necks in line with the underside of the plate but most of baroque violin have the contact point between the string and the upper saddle in the same level as the underside of the plate which means that the neck isn't in the line with the underside of the plate (cf. Amati piccolo violin of the Shrine to music Museum. The necessary upward angle is achieved by a wedge-shaped fingerboard. Modern violin has a standard length but Baroque violin can be very small or very long: it depends on the maker. Baroque bows are also quite different in construction and how they are handled. The modern violin bow curves downward in the middle while the baroque bow will look straight or bent outwards under tension. The baroque bow is thinner near the tip which comes to an exaggerated point. The common myth that the so-called Bach-bow had a huge exaggerated arch shape so as to play all four strings, in the manner of a lyra or lira di braccio, at once, remains under debate. http://www.music.princeton.edu/~jwp/texts/bachbow.html
Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance. Their renewed use reflects an attempt to rediscover the original style of violin playing in the baroque period. Many luthiers today are able to offer copies of baroque instruments as well as modern instruments. As is always the case with period instruments, merely having authentic equipment does not necessarily guarantee a persuasive performance. Typically, period instrument players receive extensive university training in the style and often use original treatises and facsimile editions as a necessary resource. With an increased openness to period performance practice, many modern violinists prefer to concertize baroque music on the modern violin in a period style. This practice is referred to as HIP
Historically informed performance
Historically informed performance is an approach in the performance of music and theater. Within this approach, the performance adheres to state-of-the-art knowledge of the aesthetic criteria of the period in which the music or theatre work was conceived...
, or Historically informed performance
Historically informed performance
Historically informed performance is an approach in the performance of music and theater. Within this approach, the performance adheres to state-of-the-art knowledge of the aesthetic criteria of the period in which the music or theatre work was conceived...
.
Baroque violin concertmasters, soloist or professors
A baroque violin is, in common usage, any violinViolin
The violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
whose neck, fingerboard, bridge, and tailpiece are of the type used during the baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
period. Such an instrument may be an original built during the baroque and never changed to modern form; or a modern replica built as a baroque violin; or an older instrument which has been converted (or re-converted) to baroque form. "Baroque cellos" and "baroque violas" also exist, with similar modifications made to their form.
Other typical differences from the modern violin include: a smaller or longer (such as some french instruments like Médard) bass bar
Bass bar
In a string instrument, the bass bar is a brace running from the foot of the neck to a position under the bridge, which bears much of the tension of the strings. Bass bars are used:* In all members of the violin family;* In some archtop guitars;...
, a differently shaped bridge for most instruments (The modern bridge model is based on Guarnerius del Gesu model, so it could be used as a "baroque" bridge...) with all kind of thickness, a shorter fingerboard, a fuller neck, and the absence of fine tuners. The biggest difference between the modern and baroque violins is the tension of the strings and the pressure on the bridge. Most old Masterviolins have had new necks fitted - transplanting the original headstocks - that were slanted backwards so the strings would make a more acute angle on the bridge [this is not completely true: it depends on the maker. Some have a neck more inclined than others but usually the neck is shorter (not for some Nicolo Amati and German violin with a short distance between the upper edge and the bridge) so the angle is normally of 157,5°, like on modern instruments]. Some renaissance violins have their necks in line with the underside of the plate but most of baroque violin have the contact point between the string and the upper saddle in the same level as the underside of the plate which means that the neck isn't in the line with the underside of the plate (cf. Amati piccolo violin of the Shrine to music Museum. The necessary upward angle is achieved by a wedge-shaped fingerboard. Modern violin has a standard length but Baroque violin can be very small or very long: it depends on the maker. Baroque bows are also quite different in construction and how they are handled. The modern violin bow curves downward in the middle while the baroque bow will look straight or bent outwards under tension. The baroque bow is thinner near the tip which comes to an exaggerated point. The common myth that the so-called Bach-bow had a huge exaggerated arch shape so as to play all four strings, in the manner of a lyra or lira di braccio, at once, remains under debate. http://www.music.princeton.edu/~jwp/texts/bachbow.html
Baroque violins have surged in popularity since the 1980s as part of the growing interest in authentic performance. Their renewed use reflects an attempt to rediscover the original style of violin playing in the baroque period. Many luthiers today are able to offer copies of baroque instruments as well as modern instruments. As is always the case with period instruments, merely having authentic equipment does not necessarily guarantee a persuasive performance. Typically, period instrument players receive extensive university training in the style and often use original treatises and facsimile editions as a necessary resource. With an increased openness to period performance practice, many modern violinists prefer to concertize baroque music on the modern violin in a period style. This practice is referred to as HIP
Historically informed performance
Historically informed performance is an approach in the performance of music and theater. Within this approach, the performance adheres to state-of-the-art knowledge of the aesthetic criteria of the period in which the music or theatre work was conceived...
, or Historically informed performance
Historically informed performance
Historically informed performance is an approach in the performance of music and theater. Within this approach, the performance adheres to state-of-the-art knowledge of the aesthetic criteria of the period in which the music or theatre work was conceived...
.
Baroque violin concertmasters, soloist or professors
- Amandine Beyer
- Emilie AutumnEmilie AutumnEmilie Autumn Liddell , better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, and violinist. Autumn draws influence for her music—the style of which she has alternatively labeled as "Victoriandustrial" and glam rock—from plays, novels, and history, particularly the...
- Fabio BiondiFabio BiondiFabio Biondi is an Italian violinist and conductor.Born in Palermo, Sicily, Biondi began his international career at the age of 12 playing a concerto with the RAI Symphony Orchestra. When he was 16, he performed Bach's violin concertos at the Musikverein in Vienna...
- Giuliano CarmignolaGiuliano CarmignolaGiuliano Carmignola is an Italian violinist.- Life :Coming from a family of musicians, Carmignola began his violin studies with the support of his father Antonio to enter the Conservatorio di Musica Benedetto Marcello di Venezia with Luigi Ferro...
- Alessandro Ciccolini
- Enrico GattiEnrico GattiEnrico Gatti is a baroque violinist.Gatti graduated from the Geneva Conservatory as a puplil of Chiara Banchini and the Dutch Royal Conservatory in The Hague with Sigiswald Kuijken. He has been a professor of Baroque violin at several conservatories...
- Scott B.R. Campbell
- Sigiswald KuijkenSigiswald KuijkenSigiswald Kuijken is a Belgian violinist, violist, and conductor known for playing on authentic instruments.-Biography:Kuijken was born in Dilbeek, near Brussels. He was a member of the Alarius Ensemble of Brussels between 1964 and 1972 and formed La Petite Bande in 1972...
- Elizabeth WallfischElizabeth WallfischElizabeth Wallfisch is an Australian Baroque violinist.Wallfisch debuted as a concert soloist at the age of 12 and took part in such competitions as the ABC Concerto Competition. She studied at the Royal Academy of Music under Frederick Grinke and was awarded, among other prizes, the President's...
- Chiara BanchiniChiara BanchiniChiara Banchini is a Swiss violinist, involved in the historical performance practice movement. She specializes in the music of the Baroque.Banchini was born in 1946 in Lugano, Switzerland. She graduated from the Geneva Conservatory; following this she studied under Sandor Vegh and then at the...
- Pavlo Beznosiuk
- Elizabeth Blumenstock
- Lucy van DaelLucy van DaelLucy van Dael is a Dutch baroque violinist and member of the faculty of the Amsterdam Conservatory. Her principal violin studies were at the Royal Conservatory in The Hague....
- Marc Destrubé
- Florian Deuter
- François Fernandez
- Rudolf Gähler
- Sophie Gent
- Reinhard GoebelReinhard GoebelReinhard Goebel is a German conductor and violinist specialising in early music on authentic instruments. Goebel received his first violin lessons at the age of twelve...
- Gottfried von der GoltzGottfried von der GoltzGottfried von der Goltz is a German-Norwegian violinist and conductor, specialising in the baroque repertoire. His first teachers were his parents, Georg Conrad von der Goltz and Kirsti Hjort. After further education in Hannover, New York and Freiburg he joined the radio orchestra of the...
- Richard Gwilt
- Alice HarnoncourtAlice HarnoncourtAlice Harnoncourt is a violinist. She is noted for her playing of the Baroque violin, viol, and other stringed instruments...
- John HollowayJohn Holloway (musician)John Holloway is a British baroque violinist and conductor, currently based in Dresden, Germany. John Holloway is a pioneer of the early music movement....
- Monica HuggettMonica HuggettMonica Huggett is a British conductor and leading baroque violinist.-Biography:At the age of 16, Huggett started studying at the Royal Academy of Music, London, with Manoug Parikian and Kato Havas, baroque violin with Sigiswald Kuijken.She co-founded and served as leader of the Amsterdam Baroque...
- Manfredo Kraemer
- Hiro Kurosaki
- Jeanne LamonJeanne LamonJeanne Lamon , violinist and conductor, born in New York, was raised in New York state, and began studying the violin at the age of seven. She studied violin at the Westchester Conservatory of Music with Editha Braham...
- Marie Leonhardt
- Gunar Letzbor
- Sergiu LucaSergiu LucaSergiu Luca was a Romanian-born American violinist, renowned as an early music pioneer who first introduced playing J. S...
- Catherine Mackintosh
- Florence Malgoire
- Andrew ManzeAndrew ManzeAndrew Manze is an English violinist and conductor.As a guest conductor Manze has regular relationships with a number of leading international orchestras including the Deutsches Symphonie-Orchester Berlin, Munich Philharmonic, Royal Stockholm Philharmonic, Finnish Radio Symphony Orchestra,...
- Stephen Marvin
- Ingrid MatthewsIngrid MatthewsIngrid Matthews is a violinist and Music Director of the Seattle Baroque Orchestra,Ingrid Matthews is recognized as one of the leading baroque violinists and period instrument performers...
- Robert MealyRobert MealyRobert Mealy is a performer and teacher of baroque violin. He holds a joint position at the Yale School of Music and the Department of Music of Yale University, where he directs the and teaches classes in musical rhetoric and historically-informed performance...
- Eduard MelkusEduard MelkusEduard Melkus is an Austrian violinist and violist.Following the Second World War, Melkus dedicated himself to the exploration of historically informed performance...
- Petra Müllejans
- Enrico Onofri
- Rachel Barton PineRachel Barton PineRachel Barton Pine is a violinist from Chicago. Considered a child prodigy at the violin, she started playing at the age of 3 and a half. She played at many renowned venues as a child and teenager...
(performs primarily on the modern violin) - David Plantier
- Rachel PodgerRachel PodgerRachel Podger is an English violinist specialising in the performance of baroque music. She often conducts baroque orchestras from the violin, and in 2004 took up a guest directorship with the Orchestra of the Age of Enlightenment, having previously been leader of The English Concert from 1997 to...
- Johannes PramsohlerJohannes PramsohlerJohannes Pramsohler is an Italian violinist specialising in the performance of baroque music, currently based in Paris.Johannes Pramsohler was born 1980 in Sterzing South Tyrol, and studied at the Conservatorio Claudio Monteverdi in Bozen, at the Guildhall School of Music and Drama in London and at...
- Walter Reiter
- Rodolfo Richter
- Stanley Ritchie
- Hélène SchmittHélène SchmittHélène Schmitt is a prize-winning French violinist and a professor of baroque violin in Boulogne-Billancourt, France.Schmitt first started out as a chamber musician before specialising in baroque music. She spent 10 years in Bâle, Switzerland, next to Chiara Banchini and Jesper Bøje Christensen...
- Jaap SchröderJaap SchröderJaap Schröder or Jaap Schroeder is a Dutch violinist, conductor, and pedagogue.He studied at the Amsterdam Conservatory and at the Sorbonne in France. He has served as the director and concertmaster of the Academy of Ancient Music, and in 1982 he was appointed the visiting music director of the...
- Ingrid Seifert
- Midori Seiler
- Simon StandageSimon StandageSimon Andrew Thomas Standage is an English violinist and conductor best known for playing and conducting music of the baroque and classical eras on original instruments.- Biography and career :...
- Anton SteckAnton SteckAnton Steck is a German violinist and conductor .-Life:Steck began studying the modern violin with Jörg-Wolfgang Jahn in Karlsruhe and the baroque violin with Reinhard Goebel in Cologne. After his studies he served as concertmaster for Musica Antiqua Köln and the French ensemble Les Musicians du...
- Daniel Stepner
- Tuomo Suni
- Ryo Terakado
- David Douglass (violinist)