Old masters
Our foundation is the custodian of a unique collection of high-quality string instruments crafted by old masters and selected by leading baroque players. The instruments are set up with a lower tension on the strings and have gut strings to aid the player with his period play.
The crafting of violins started in 16th century and has been handed down through apprenticeships from generation to generation. There are still a lot of mysteries that determine the mechanisms underlying the great tonal qualities that players hear and feel in old masters.
Some attribute this to the age of the wood. Why does aged wood play better? No one is quite sure. Scientists know that once a tree is cut, crystals begin to form in its cell walls helping the instrument to resonate better. Others believe it is the wood density. Possibly the result of even growth rings in the summer and winter during the Little Ice Age. This might influence how vibrations travel through the wood.
Certain craftsmen believe that a violin needs 80 years of good playing to get broken in properly. Players often report that an unused instrument "goes to sleep" and requires regular playing to bring back its luscious sound.
The design and way the instrument is built affect the sound: plate thicknesses, thickness of the bass bar and geometry of the f-holes. Could it be changes in varnish? Others seem to think the reason is climate change and pollution that have affected the wood and varnish. There are still a lot of unsolved questions which all contribute to the mystery of the sound of old masters.
Since the mid 16th century the violin’s measurements, form and number of strings have not changed. Set-up, playing techniques and style have evolved over time.
Baroque and classical instruments may differ in the following ways:
• Hardly angled neck back from the top
• Lower and rounder bridge in wide variety of forms
• Lighter bass bar and thinner soundpost
• Shorter, lighter and wedge shaped fingerboard
• Tailpiece without fine tuners
• Plain gut strings, occasionally using a copper or silver wound G-string
• No chin or shoulder rest for a violin
• No endpin for the cello
Jumpstart Jr. provides the players with instruments to aid them with their period play.
The crafting of violins started in 16th century and has been handed down through apprenticeships from generation to generation. There are still a lot of mysteries that determine the mechanisms underlying the great tonal qualities that players hear and feel in old masters.
Some attribute this to the age of the wood. Why does aged wood play better? No one is quite sure. Scientists know that once a tree is cut, crystals begin to form in its cell walls helping the instrument to resonate better. Others believe it is the wood density. Possibly the result of even growth rings in the summer and winter during the Little Ice Age. This might influence how vibrations travel through the wood.
Certain craftsmen believe that a violin needs 80 years of good playing to get broken in properly. Players often report that an unused instrument "goes to sleep" and requires regular playing to bring back its luscious sound.
The design and way the instrument is built affect the sound: plate thicknesses, thickness of the bass bar and geometry of the f-holes. Could it be changes in varnish? Others seem to think the reason is climate change and pollution that have affected the wood and varnish. There are still a lot of unsolved questions which all contribute to the mystery of the sound of old masters.
Since the mid 16th century the violin’s measurements, form and number of strings have not changed. Set-up, playing techniques and style have evolved over time.
Baroque and classical instruments may differ in the following ways:
• Hardly angled neck back from the top
• Lower and rounder bridge in wide variety of forms
• Lighter bass bar and thinner soundpost
• Shorter, lighter and wedge shaped fingerboard
• Tailpiece without fine tuners
• Plain gut strings, occasionally using a copper or silver wound G-string
• No chin or shoulder rest for a violin
• No endpin for the cello
Jumpstart Jr. provides the players with instruments to aid them with their period play.
