The history and origins of the violin from ancient times to the eighteenth century

¶ … History of the Violin

The violin is one of the oldest and most respected instruments that exists today, often considered the centerpiece of the orchestral musical ensemble. The violin is not simply an instrument complex in nature, but also a work of art. Depending on who you consult with, the violin might be considered one, the other or both.

The violin is widely appreciated for the complex sound and it produces and the complex craftsmanship utilized in its construction. The violin is the one instrument that might be considered both a work of art and a musical instrument because of its great complexity. The history and origins of the violin have been disputed by historians and musicians alike for some time.

Though there is evidence to suggest that the modern violin did not surface until the seventeenth or eighteenth century, there are those that argue that the violin is represented as early back as biblical times.

The violin as both a work of art and a musical instrument as well as its complex and often disputed history is explored in greater detail below.

History of the Violin

The violin has been around for centuries, though its exact origins are often debated by musicians and historians alike. Emerging as early as 1500 the violin developed 'officially' during the mid sixteenth century only to take on its characteristic shape during the late seventeenth/early eighteenth century (Kolneder & Pauly, 1998:13). It was during the early eighteenth century that many well noted violin makers surfaced "including Nicolo Amati, Jacob Stainer and Antonio Stradivari" (Kolneder & Pauly, 1998).

Bowed instruments similar to the violin are mentioned in early ancient Greek and Roman texts. Generally Renaissance images portray individuals using instrument similar to the violin. Even in the Old Testament "there is mention of fiddlers and pipers," suggesting that the violin has a pre-history that dates 2000 B.C. Or more (Kolneder & Pauly, 1998).

String players were not uncommon as mentioned among the Greeks and Romans. It wasn't until the eighteenth century however that evidence surfaced suggesting the true violin did not emerge until about the Middle Ages (Kolneder & Pauly, 1998). Johann Tinctoris "refers to the use of a bow in a work entitled De inventione et usu misucae circa 1487" (Kolneder & Pauly, 1998).

Interestingly there is some historical debate about the true origins of the violin. Many historians believe that the violin is basic in nature and thus many early civilizations might have utilized some version of the instrument. What needs to be differentiated is whether stringed instruments of ancient times were 'plucked' or 'bowed' the latter indicating that more of a violin type instrument was utilized.

There is evidence suggesting that in the 12th century stringed instruments were plucked for the most part; despite this other evidence including a written document produced in the seventh century depicts the use of a bow as early as the seventh century (Kolneder & Pauly, 1998).

It wasn't until the seventeenth and eighteenth centuries that the violin took the center stage and was exploited as much as possible during concertos and within the realm of orchestral excellence (Sternfeld & Wellesz, 1973). In the eighteenth century the emergence of the musical amateur helped popularize the violin even more. Chevalier de Saint Georges was one of the more popular violin virtuosos who used the violin in a manner that drove individuals to symphonies and concerts (Sternfeld & Wellesz, 1973).

One can at best conclude that the violin is many years in coming, and took many years to perfect and be considered the stringed instrument it is today. Depending on one's interpretation of what constitutes a violin, it may have originated as early as biblical times or as late as the eighteenth century.

Conclusions/Analysis

The violin is one of the most remarkable and at the same time complex of string instruments. One cannot argue that the violin of today is both a work of art and a musical instrument that must be appreciated for its complexity and brilliance.

The quality of sound and tonal differentiations produced when playing depend on many factors, including the construction of the actual instrument itself and the skill of the player.

The history of the violin is long and highly debated. There are those that claim the violin has been in existence since early biblical times, whereas others argue that the true violin as we know it today did not emerge until the mid 17th to eighteenth centuries. These differences in opinion are due largely to one's interpretation of the violin.

Some consider musical iconography a testament to the actual presence of the violin in ancient cultures, whereas others believe that a true violin can only be considered based on sound and tone quality. Evidence of violins that produced the sound and tone most modern day enthusiasts have grown to love did not emerge until the 17th to 18th centuries.

Though the skills and abilities of the violin player are an essential component of acoustical quality, so too is the structure and craftsmanship of the instrument. Scientific analysis has shown that many factors impact the quality of sound produced by a violin, including the type of wood used to craft the instrument, the density of the instrument, the specific measurements used and even the type of varnish and drying technique used when creating the instrument. There is a great deal of debate concerning the proper construction of a violin and what materials and methods are most likely to result in the best possible outcome. All of these factors contribute to the complex nature of the violin as an instrument and work of art.

The violin is appreciated as a work of art and as a musical masterpiece significant in all realms of orchestral and symphonic music today. It cannot be considered simply one or the other, but rather a combination of the two. Ask any experienced violinist or master crafter, and they will likely suggest the same.

References:

Abbott, R.B. "Response Measurements and Harmonic Analysis of Violin Tones."

Journal of the Acoustical Society of America 7: 1936

Auer, Leopold. 1921. "Violin Playing As I Teach It." New York. 3d ed. 1960. In,

Kolneder & Pauly. The Amadeus book of the violin: Construction, history and music. Portland, Amadeus Press: 1998.

Knocker, E. & Mozart, L. A treatise on the fundamental principles of violin playing. Oxford: Oxford University Press. (1985).

Beament, J. The violin explained. Components, mechanism and sound. Oxford: Oxford

University Press: 2000

Devoney, Frank. 1893. The Acoustics of Violin Making. Edinburgh: University of Edingburgh Press.

Johnson, C. & Courtnall, R. The art of violin making. New York: Robert Hale &

Company: 1998

Kolneder, W. & Pauly, R.G. The Amadeus Book of the Violin: Construction, History and Music. Portland: Amadeus Press, 1998.

Kuriloff, A.H. "On Building a Violin." TriQuarterly, 89:158

Read, G. Thesaurus of orchestral devices. New York: Pitman Publishing: 1953

Sternfeld, F. & Wellesz, E. The age of Enlightenment, 1745-1790. Oxford: Oxford

University Press: 1973