String Bows Recordings

The string bows were recorded on 17 July 2008 by Margaret Faultless (MF).

To illustrate the contrast between the bows and to allow more direct comparison between them, the same pieces of music were used for bows of the same period of development, and a selection of samples was also recorded.

For the earlier, late 18th-century bows, a series of long notes and scales were recorded to highlight the range of responses inherent by playing at different points of the bow.

For the later bows, simple long notes were recorded.

The bows cover more than 100 years of making and three main stages of development:

From late 18th-century bows with the frog usually made of ivory and ‘open’ in style (the bow hair is not secured to the frog by a ferule) and transitional style heads;
Through mid-19th-century bows which have frogs made of a variety of materials (mostly ivory or ebony) and hatchet style heads;
Arriving at late 19th/early 20th-century bows which have square-shaped, fully-mounted frogs, usually made of ebony, with a standard ‘modern’ head shape.

Late 18th-century bows

These bows were recorded using a violin by Bergonzi, c 1760. The finger-board is shorter than the modern equivalent and neck-angle is less acute, with no chin rest or shoulder rest. The strings used were plain gut for the E, A and D strings, and a silver-wound gut G string.

Pitch: A4 = 415 Hz

10.21 – Violin bow by Dodd

♦ Samples: WAV |
1. messa di voce, using the middle part of the bow;
2. messa di voce, using the upper part of the bow;
3. slow ascending and descending scale, using the middle part of the bow;
4. slow ascending and descending scale, using the upper part of the bow;
5. fast ascending and descending scale, using the lower part of the bow;
6. fast ascending and descending scale, using the upper part of the bow.
♦ Franz Haydn: 1st movement, Allegro from Symphony 104, ‘London’ (1795). |
Notes: MF found bow created a softer sound than other late 18th-century bows. Easy to crack notes.

10.26 – Violin bow, School of John Dodd

♦ Samples:WAV |
1. messa di voce, using the middle part of the bow;
2. messa di voce, using the upper part of the bow;
3. slow ascending and descending scale, using the middle part of the bow;
4. slow ascending and descending scale, using the upper part of the bow;
5. fast ascending and descending scale, using the lower part of the bow;
6. fast ascending and descending scale, using the upper part of the bow.
♦ Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). |
Notes: MF found bow creates a soft sound, easier to crack notes and hard to get loud dynamics.

10.13 – Violin bow by Louis Torte

♦ Samples: WAV |
1. messa di voce, using the middle part of the bow;
2. messa di voce, using the upper part of the bow;
3. slow ascending and descending scale, using the middle part of the bow;
4. slow ascending and descending scale, using the upper part of the bow;
5. fast ascending and descending scale, using the lower part of the bow;
6. fast ascending and descending scale, using the upper part of the bow.
♦ Musical example: Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). |

Notes: MF found bow very light and easy to articulate.

10.17 – Viola bow by Dodd

♦ Samples: WAV |
1. messa di voce, using the middle part of the bow;
2. messa di voce, using the upper part of the bow;
3. slow ascending and descending scale, using the middle part of the bow;
4. slow ascending and descending scale, using the upper part of the bow;
5. fast ascending and descending scale, using the lower part of the bow;
6. fast ascending and descending scale, using the upper part of the bow.
♦ Musical example: Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). |
Notes: MF found heavier bow and weighted more towards upper half of bow.

Early to mid 19th-century bows

These bows were recorded using a violin by Francesco Ruggeri, c 1677, with a 19th-century set-up and central chin-rest. The strings used were plain gut for the E, A and D strings, and a silver-wound gut G string.

Pitch: A4 = 435 Hz

10.12 – Violin bow by John Dodd

♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): Be Not Afraid, from Elijah (1846). |
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). |
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, Italian. |
Notes: Responds very well to the wide variety of articulations. (MF)

10.18 – Violin bow by John Dodd

♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): Be Not Afraid, from Elijah (1846). |
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). |
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, Italian. |
Notes: Creates a softer edge to the sound than 10.12. (MF)

10.15 – Violin bow by John Dodd

♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): Be Not Afraid, from Elijah (1846). |
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). |
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, Italian. |
Notes: MF found it quite easy to articulate notes. Possibly a kink in the stick.

10.19 – Violin bow by James Dodd

♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): Be Not Afraid, from Elijah (1846). |
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). |
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, Italian. |
Notes: Doesn’t come off the string as well and is more whispy in character than other early to mid 19th-century bows. (MF)

10.29 – Violin bow by Dodd

♦ Sample: Long note using the whole bow. |
♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): Be Not Afraid, from Elijah (1846). |
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). |
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, Italian. |

Late nineteenth century bows
These bows were recorded using a violin by Francesco Ruggeri, c 1677, with a 19th-century set-up and central chin-rest. The strings used were plain gut for the E, A and D strings, and a silver-wound gut G string.
Pitch: A4 = 435 Hz

10.30 – Violin bow by W Tubbs

♦ Excerpt 1: Edward Elgar (1857 - 1934): Chanson de Matin Op 15, No. 2, (1899, using first edition with original bowings and fingerings). |
♦ Excerpt 2: Edward Elgar (1857 - 1934): Variation 4 W.M.B from Enigma Variations Op 36 (1899). |
Notes: MF, a good all-round bow.

10.28 – Violin bow by J Tubbs

10.31 – Violin bow by J Tubbs

♦ Sample: Long note using the whole bow. |
♦ Excerpt 1: Edward Elgar (1857 - 1934): Chanson de Matin Op 15, No. 2, (1899, using first edition with original bowings and fingerings). |
♦ Excerpt 2: Edward Elgar (1857 - 1934): Variation 4 W.M.B from Enigma Variations Op 36 (1899). |
Notes: MF, sound cracks easily.