First Baroque Violin lessons: Part 2

Penelope Spencer
Jun 10, 2024
4 min read

What is actually the difference between Baroque and “classical” violin playing?

In the first lesson, it became clear that when approaching Baroque music, we need to rethink our priorities. Instead of striving for perfectly even down-bows and up-bows, we become interested in the natural difference between them—something that can be felt particularly clearly with a Baroque bow. We begin to “speak” with the bow.

An endless variety of bow strokes

And this brings us to the second major difference. When playing with a Baroque bow, the boundaries between different “strokes” are far less defined than in classical bow technique. In classical training, we learn and practise distinct bow strokes—détaché, martelé, spiccato, staccato, ricochet, sautillé, and so on. These are often clearly indicated in the score, and we also learn to decide consciously which stroke to use.

In Baroque playing, however, the strokes blend into one another—there are endless possibilities in how the bow can be used. What matters is that each note is shaped differently, or rather, that each note “speaks” like a word or part of a word. It is relatively rare for two notes in succession to be exactly the same—this is usually a special effect, clearly indicated by the composer, for example with a dot or a special sign. Just like in speech: repeating the same word twice in exactly the same way is itself an expressive device.

The famous violinist and pedagogue Francesco Geminiani, in his violin treatise of 1751, clearly described this idea of shaping tones and phrases independently:

Buono (good):

Notes have shape—messa di voce, a gentle, expressive swelling.

Mediocre (not beautiful):

Notes are all equal and flat.

Cattivo o particolare (poor or special effect):

Notes are equal and also very short.

Ottimo:

Notes are shaped in an interesting and expressive way. There are no strict rules for this (except perhaps in certain French traditions, which we will explore later), but with experience—and by playing with excellent musicians—one develops “good taste.”

We carry the responsibility

Unlike in much classical training, Baroque musicians carry far greater responsibility for shaping the music. But what does that mean—and how do we learn this today?

Broadly speaking, these are the areas we should first explore:

1. “Good taste”

In the Baroque period, “good taste” was constantly discussed and considered essential. Different countries had distinct stylistic approaches. A refined sense of style and aesthetics is crucial.

2. National styles

There were significant differences in performance practice between countries. Understanding these differences is essential for an authentic interpretation.

3. Composition and music theory

Many violinists were also composers and had a deep understanding of musical structure. A strong awareness of harmony and character (dance, church, key, etc.) is necessary in order to create tasteful ornamentation or improvisation—something that is central to Baroque music.

How do we learn this today?

This is a vast topic, but in short: I believe it is best learned like a language—by playing with others, especially more experienced Baroque musicians. For this reason, I try to play as much as possible with my students (often taking the bass line myself on violin or viola).

There are also many excellent recordings—it is important to listen widely.

And of course, there are important historical texts and sources to read (more on that later!).

Technical differences

There are also important technical differences between playing with a Baroque bow and a modern (Tourte) bow (and even among Baroque bows there is great variety—there is no single “standard” model). These differences help us to realise our musical ideas more effectively on historical instruments.

In general, most players must learn to play with greater flexibility in the wrist and a more refined use of the fingers. While modern training often focuses on projection and a strong “tone” suitable for large concert halls, Baroque playing seeks subtlety and articulation, suited to salons or churches and requiring finer gestures.

The motion should come from the joints of the wrist and elbow when playing fast notes, and very little—or not at all—from the shoulder… The bow should be pressed onto the string only with the forefinger, not with the full weight of the hand.

Different bows reflect different musical needs—so it is highly recommended to try as many different bows as possible. It is also valuable to experiment with different bow holds. Whether one plays with the thumb under the frog (as in early French or Italian practice), or on the stick (as became common later and is still used today), makes a significant difference.

Let us take a look at some of my bows and experiment with these holds. The world of Baroque music opens yet another door…

“Shortissimo” for early Italian music and Biber. The length is only 60cm, the weight 37g. (Pieter Affourtit, 2019)

Viola D’amore or Violin bow after Caspar Stadler 1714 by Eitan Hoffer, 2014

This Bow is made after an original bow by Caspar Stadler in the “Germanishes National Museum” in Nurnberg. It is 66 cm long and it’s weight makes it an excellent violin bow as well. Eitan considers this to be the most perfect bow for the music of J.S Bach.