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By contrast, a modern bow is made from pernambuco and has a marked inwards bend, particularly when the hair is relaxed, and has a "hatchet" head at right-angles to the stick. Bows underwent more changes within the Baroque period than did violins. Bows of the earlier 17th century were used interchangeably between violins and viols. They were ...
Bows for Musical Instruments of the Violin Family is a seminal luthier reference book compiled by the late Chicago violinist Joseph Madison Roda (1894–1970) [1] and published in 1959 by William Lewis and Son of Chicago. The book is about bows and bow makers and includes detailed illustrations prepared by Gladys Mickel Bell (1901–1992). [2]
Tourte spent eight years as a watchmaker's apprentice before finally becoming an apprentice to his luthier father, Nicolas Pierre Tourte père (c.1700 - 1764). [3] After his father's death, Tourte, in collaboration with the violin virtuoso G. B. Viotti, made important changes in the form of the bow in the Classical period between 1785 and 1790.
17th-century baroque bow. In the early bow (the Baroque bow), the natural bow stroke is a non-legato norm, producing what Leopold Mozart called a "small softness" at the beginning and end of each stroke. A lighter, clearer sound is produced, and quick notes are cleanly articulated without the hair leaving the string.
The origin of the violin family is obscure. [1] [2] Some say that the bow was introduced to Europe from the Byzantine Empire and the Islamic world, [3] [4] [5] while others say the bow was not introduced from the Middle East but the other way around, and that the bow may have originated from more frequent contact between Northern and Western Europe.
The classical bow was pioneered by François Xavier Tourte, a French master bowmaker from the late 18th and early 19th century. [3] With the help of virtuoso violinist G.B. Viotti he sought to improve upon the limitations of the Baroque bow by lengthening it, strengthening its tip, and introducing a curvature that allowed for greater flexibility and improved the springing action of the bow.
The celebrated 20th-century violist, Lillian Fuchs, owned a fine viola bow which sold in May 2014 for $22,800 at Tarisio Auctions. Though Dodd was often in dire need of funds, it was recounted that he was very secretive about his art, and once turned down an offer of 1000 pounds sterling for a copy of his pattern.
Nicolas Maline (28 February 1822 – 28 April 1877 in Mirecourt) was a luthier and an archetier/bow maker.. He was apprenticed in Mirecourt and worked for Etienne Pajeot, J.B. Vuillaume and other makers.
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