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Heads of three violin bows. Top: Late 18th-century Tourte-style. Middle: swan-bill head of a long 18th-century model. Bottom: pike-head of a 17th-century model. Baroque bows generally look straight or bent slightly outwards in the middle, with an elegant "swan-bill" pointed head. They are typically made from strong, heavy snakewood.
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.
Sonya Monosoff (born June 11, 1927) [1] is a violinist, a pioneer of the Baroque violin and one of the first American performers to use the Baroque violin in performance. Biography [ edit ]
A Stradivarius bow, The King Charles IV Violin Bow attributed to the Stradivari Workshop, is currently in the collection of the National Music Museum Object number: 04882, at the University of South Dakota in Vermillion, South Dakota. The Rawlins Gallery violin bow, NMM 4882, is attributed to the workshop of Antonio Stradivari, Cremona, c. 1700 ...
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.
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.
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