The history of the violin

The birth of the violin is, in many ways, shrouded in history, but written records have been found from the 1550's (de Ferin: Empitome musical, 1556), of a violin with four strings, tuned in the modern manner. Before that, a three-stringed rebec was brought to Spain by Arabs. The instrument was tuned like the violin's three lower strings. A rebec-like instrument is still in use around the Aegean Sea. The violin was known in various parts of Europe about the middle of the sixteenth century. The birthplace of the violin is Northern Italy, particularly around Milan, Brescia, Cremona and Venice. Constituent parts of the violin may be found in the instruments of the early sixteenth century, such as the rebec, the renaissance fidel and the lira da braccio. The narrow waist of the lira da braccio was combined with the tuning of the rebec in fifths, and one string was added, to make the violin. The fidel is usually a five-stringed instrument, but the number of its strings varies and drone strings were common. The fidel became common in the twelfth century. Many folk instruments, including those which are still played today, are descendants of the fidel.

1300's rebec

To Finns, the most familiar of these instruments is the jouhikko, with roots in instruments from the middle ages. At least the Welsh crawth, the Bulgarian gadulka and the Icelandic fidla and langspil all developed from the fidel. The lira de braccio had seven strings and was the closest predecessor of the violin. The Viola da gamba is sometimes mentioned in connection with the birth of the violin, but this is substantiated neither by construction, tuning nor playing technique.

Development of soundholes: From 1200's fidel to 1500's violins. There has been many changes during development.

The complete violin family was born round about the same time. The viola is sometimes considered the prototype. In 1535 appeared descriptions of both the viola and the cello. The violin rapidly replaced both the rebec and the lyre, but the viola da gamba instruments were common for almost another couple of centuries. Time eventually overtook the gamba, when polyphonic music, suitable for the gamba, was replaced by new musical fashions. It is not possible to say precisely when the first violin was created, but apparently the form was evident around the turn of the fifteenth and sixteenth centuries. No individual can be named as the originator of the violin. It is known only that the violin originated in Italy, and from there it spread throughout Europe. The inventor-genius Leonardo da Vinci (1452-1519) made sketches of the modern violin. One of the first known violinmakers was Andrea Amati (circa 1452-1519 : dates given for his birth and death vary). He was the master and founder of the Cremona School. Amati was famed as far as the French court, and his instruments were brought to the court of Kaarle XI, during the 1560's and 70's. The tradition of Amati was continued by the Amati family of skilled makers, who developed and improved the skill of violin-making still further. The most renowned of them were Andrea's sons Antonio (b. 1540) and Hieronymous Girolomo (1561-1630). It was due to Girolomo's son Nicolas, that the Cremona School became the main style of violin-making. The most famous of all violin makers, Antonio Stradivarius (1644-1737) is thought to have obtained his training in the Amati workshop. Stradivarius' early instruments have some of the features of Amati violins. Later Stradivarius developed his own model, and in his instruments of the eighteenth century "golden age", he achieved the peak of his skill in violin making. Stradivarius' sons Francesco (1671-1743) and Ombono (1679-1742) continued their father's tradition, but never achieved the same level or fame as their father. The Guarneri family, beginning with Andrea Guarneri (1626-1698), was to continue the Amati tradition. Of the family's five members, perhaps the most famous was Giuseppe (1698-1744), whose epithet was "del Gesu". In all probability Jacob Stainer (1621-1683), the founder of the German School, was also one of the apprentices in the Amati workshop. Gasparo da Salo (1542-1609) was, after Amati himself, one of the first famous early violin makers. He founded the Brescia School and Giovanni Paolo Maggini (1580-1630) was one of the makers to continue this tradition. Violin making reached its zenith in Italy under the hands of masters of many Schools. The construction of the violin developed. The fingerboard was extended in length, because compositions were beginning to demand the use of the seventh and even higher positions. The shape of the bridge was altered, and the dampening effect of the mute was invented in 1636. The violin achieved its final form at the beginning of the nineteenth century. The neck also became longer, the angle of the neck in relation to the body was made more acute, and the bridge took on a more curved and higher form. With the changeover to metal strings, the tension forces on the violin body grew, which in turn demanded a stronger base bar and soundpost. In 1820 a chinrest, which supported the playing position, was added to the violin by L. Spor. Through these changes, the violin gained in dynamics and carrying power over the old baroque violin. Violins made before 1800 were adapted to incorporate these changes, so that the violins of the old masters were no longer in their original state. There are differences between the Amati or Stainer violins, and the Stradivarius or Guarneri violins. In the former, the back, and to a greater extent the belly, are more concave. In contrast, the forms of Stradivarius and Guarneri violins are flatter and thus better withstand the increased tension forces imposed by the new developments. Their sound is also stronger. At the end of the nineteenth century, violins were hand crafted. During this century makers began to specialize in particular instruments, whereas previously they had made other instruments too, such as gambas and lutes. Factory production reached its peak at the turn of the century, particularly in Germany and France. Violins were made on a production line by specialized part makers and assemblers. Despite this development, the handmade violin still has no rival, having continued the tradition and its values through the centuries.

Viola Made by Jussi Laasanen, 1998 (copy of Stradivarius)