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Son of, Louis Simon (b ? Grenoble, 1759; d Mirecourt, 31 Jan 1804), who was also a bowmaker.He produced excellent bows. "Pajeot remains one of the most brilliant craftsmen of his generation. He produced a large number of bows of remarkable quality, appreciated by musicians for their technical possibilities and by collectors f
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.
In the late 17th century, Bologna was a great centre for art and especially of string playing, being Arcangelo Corelli's home town. By the early 18th century, Venice had become a more important cultural centre (for music and lutherie and instrument making).
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.
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.
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.
Les Vingt-quatre Violons du Roi (in original orthography Les Vingt-quatre Violons du Roy and in English The King's 24 Violin-Family Instruments) was a five–part string ensemble at the French royal court, existing from 1626 to 1761.
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.
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