Curved bow

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The BACH.Bow for Cello BACH.Bogen - Ausstellung BACHLAUFE.JPG
The BACH.Bow for Cello

The curved bow for string instruments enables string players to control the tension of the bow hair in order to play one, two, three and four strings simultaneously and to change easily among these possibilities. The high arch of the bow allows full, sustained chords to be played and there is a lever mechanism that affects the tension and release of the bow hair. The stick of the curved bow is bent upwards (convex) and forms a circle segment. Since the four strings of a string instrument are arranged on a curved bridge, the bow hairs must be loosened so that they can reach all three or four strings (Fig. 1). Currently used bow sticks are slightly bent in the other direction (concave), that is it is only possible to play two strings at a time and, for a short time with a lot of bow pressure, three strings simultaneously (Fig. 2).

Contents

History

Curved Bow on four strings (Fig. 1) Curved Bow (BACH.Bogen).jpg
Curved Bow on four strings (Fig. 1)

The practice of polyphonic playing is documented by Alessandro Striggio (1540–92), violinist Nicolaus Bruhns (1665–97), and German violinist Johann Paul von Westhoff (1656–1705), who also developed a unique notation for that. There exist also some polyphonic pieces for violin and viola by Niccolò Paganini (1782–1840), documented by Dr. Philippe Borer. [1]

Cello Bow on two strings (Fig. 2) Cello bow.jpg
Cello Bow on two strings (Fig. 2)

Ever since the publication in 1905 of Albert Schweitzer's book about J. S. Bach, [2] the question of the curved bow has been widely debated. For Schweitzer, however, the use of the curved bow was essential in performing Bach’s compositions for solo violin and cello. Asked to write an article in the Bach year in 1950 (Bach-Gedenkschrift), forty-five years after his book on J. S. Bach, Schweitzer still focused on his ideas about the curved bow. [3]

David Dodge Boyden and other musicologists provided compelling arguments against the authenticity of the "Bach bow". According to them, historic indications as to a strongly curved bow in the 18th century are missing. There are images of strongly curved bows from mediaeval times, but these have taut hair. Two texts, on the other hand, document use of the curved bow in modern times, mainly as a means to better analyze polyphonic baroque music: Rudolf Gaehler's book Der Rundbogen für die Violine – ein Phantom? (The Curved Bow for the Violin – a Phantom?), [4] and Michael Bach’s article on the Suites for Cello of J. S. Bach. [5] The blog the bach update presents texts and harmonic analyzes of the works for solo violin and cello by Bach which come to the conclusion that the use of an appropriate bow is necessary.

Mstislav Rostropovich with BACH.Bow in 1999 Rostropovich with BACHBow 1999.jpg
Mstislav Rostropovich with BACH.Bow in 1999

The curved bow for violin was firstly constructed by Rolph Schroeder, Kassel, Germany in 1932. Later the Hungarian violinist Emil Telmányi and Knud Vestergaard, a Danish violin- and bowmaker [7] invented a different model for performing Sonatas and Partitas for violin solo by Johann Sebastian Bach.
The violinist Tossy Spivakovsky used a curved bow from Knud Vestergaard with which he performed the Bach Sonatas and Partitas for unaccompanied violin. His article entitled "Polyphony in Bach's Works for Solo Violin," published in 1967 in the Music Review, Vol. 28, No. 4, provides evidence that Bach wanted certain chords in his solo violin suites played without arpeggiation. [8] In 1998 Rudolf Gaehler recorded all Sonatas and Partitas for violin solo by Johann Sebastian Bach using a curved bow. [9]

In 1990, German cellist Michael Bach invented a curved bow for cello, violin, viola and bass. [10] He named it "BACH.Bogen" (BACH.Bow) whereby the name "BACH" refers to his own name and not to Johann Sebastian Bach. During the years 1997 and 2001, Rudolf Gaehler and Mstislav Rostropovich were intimately involved in the development and testing of the BACH.Bogen. [11] Rostropovich invited Michael Bach to present the BACH.Bogen on the occasion of the 7th Concours de violoncelle Rostropovitch in Paris 2001. [12] In 2012, during an exhibition "BACHLAEUFE – The Imprint of Johann Sebastian Bach on Modern Times", held at Arnstadt, Germany, the First Prize was awarded to the BACH.Bow.

John Cage, [13] Dieter Schnebel, Walter Zimmermann, Hans Zender and Michael Bach Bachtischa have written works for cello with curved bow which explore the new perspectives and potential of it.

Curved bow players

Curved bow of Rolph Schroeder Schroeder Rundbogen.jpg
Curved bow of Rolph Schroeder

Musicians who have been identified as playing instruments using a curved bow include Herman Berkowski, [14] [15] Rolph Schroeder (1900–1980), Emil Telmányi (1892–1988), Georges Frey (1890–1975), Roman Totenberg (1911–2012), Otto Büchner (1924–2008), Tossy Spivakovsky (1906–1998), Rudolf Gaehler (b. 1941), Hartmut Lindemann, Reinhold Dolin (1938–2006), Klaus der Geiger  [ de ] (b. 1940), Michael Bach (b. 1958), Mstislav Rostropovitch (1927–2007), Philippe Borer, Burkard Weber (b. 1969), Noah Sorota, Hitoshi Ando, Alexander Waterman (b. 1975), Monica Germino, Nikos Veliotis (b. 1970), Sue Schlotte (b. 1967), Gustav Rivinius (b. 1965), Anton Lukoszevieze (b. 1965), Carlos Zingaro (b. 1948), Ernesto Rodrigues (b. 1959), Guilherme Rodrigues (b. 1988), Bill Robinson (b. 1955), Ted Mook (b. 1953), 12 Cellisten Tübingen, Torsten Harder (b. 1965), Oliver Coates, Brice Catherin (b. 1981), Tomoki Tai, Nora Krahl, Marei Seuthe, Tanja Orning, Dorsten Klauke, Jennifer Bewerse, Andrew Phillips, Maresuke Okamoto, Sonja Schebeck, Maya Fridman, Vid Veljak, Sam Sweeney (b. 1989), Sara Cubarsi, Kyle Armbrust, Killick Erik Hinds, Kei Yamazawa, Jaron Lanier (1960).

Compositions for the curved bow

VEGA BACH BOW of Tossy Spivakovsky VEGA BACH BOW of Tossy Spivakovsky.jpg
VEGA BACH BOW of Tossy Spivakovsky

Composers who have written works intended to be played with a curved bow include Bernd Alois Zimmermann, Dieter Schnebel, Walter Zimmermann, John Cage, Michael Bach Bachtischa, Gerhard Stäbler, Hans Zender, Burkard Weber, Yoshifumi Tanaka, Daniel Ott, Marei Seuthe, Brice Catherin, Ludovic Thirvaudey, Roland Moser, Catherine Kontz, Arash Yazdani, Haris Kittos, Reyaldo Young, Dimitris Kamarotos, Michalis Adamis, Daryl Runswick, Dai Fujikura, Rupert Huber. [16]

Related Research Articles

<span class="mw-page-title-main">Cello</span> Bowed string instrument

The violoncello ( VY-ə-lən-CHEL-oh, Italian pronunciation:[vjolonˈtʃɛllo]), often simply abbreviated as cello ( CHEL-oh), is a bowed (sometimes plucked and occasionally hit) string instrument of the violin family. Its four strings are usually tuned in perfect fifths: from low to high, C2, G2, D3 and A3. The viola's four strings are each an octave higher. Music for the cello is generally written in the bass clef, with tenor clef, and treble clef used for higher-range passages.

<span class="mw-page-title-main">Mstislav Rostropovich</span> Russian and American musician (1927–2007)

Mstislav Leopoldovich Rostropovich was a Russian cellist and conductor. In addition to his interpretations and technique, he was well known for both inspiring and commissioning new works, which enlarged the cello repertoire more than any cellist before or since. He inspired and premiered over 100 pieces, forming long-standing friendships and artistic partnerships with composers including Dmitri Shostakovich, Sergei Prokofiev, Henri Dutilleux, Witold Lutosławski, Olivier Messiaen, Luciano Berio, Krzysztof Penderecki, Alfred Schnittke, Norbert Moret, Andreas Makris, Leonard Bernstein, Aram Khachaturian, and Benjamin Britten.

In music, a bow is a tensioned stick which has hair coated in rosin affixed to it. It is moved across some part of a musical instrument to cause vibration, which the instrument emits as sound. The vast majority of bows are used with string instruments, such as the violin, viola, cello, and bass, although some bows are used with musical saws and other bowed idiophones.

<span class="mw-page-title-main">Double stop</span> Playing two strings at once on an instrument

In music, a double stop is the technique of playing two notes simultaneously on a stringed instrument such as a violin, a viola, a cello, or a double bass. On instruments such as the Hardanger fiddle it is common and often employed. In performing a double stop, two separate strings are bowed or plucked simultaneously. Although the term itself suggests these strings are to be fingered (stopped), in practice one or both strings may be open.

<span class="mw-page-title-main">Emil Telmányi</span> Hungarian violinist

Emil Telmányi was a Hungarian violinist.

The Concerto for Two Violins in D minor, BWV 1043, also known as the Double Violin Concerto, is a violin concerto of the Late Baroque era, which Johann Sebastian Bach composed around 1730. It is one of the composer's most successful works.

<span class="mw-page-title-main">Sonatas and Partitas for Solo Violin (Bach)</span> Set of compositions by Johann Sebastian Bach

The sonatas and partitas for solo violin are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas in dance-form movements. The 2nd Partita is widely known for its Chaconne, considered one of the most masterly and expressive works ever written for solo violin.

Daniel Müller-Schott is a German cellist.

Johann Sebastian Bach composed suites, partitas and overtures in the baroque dance suite format for solo instruments such as harpsichord, lute, violin, cello and flute, and for orchestra.

Mikhail Emmanuilovich Goldstein, was a German composer, violinist and violin teacher of German-Jewish origin, brother of prominent violinist Boris Goldstein. His great uncle was the physicist Eugen Goldstein.

<span class="mw-page-title-main">Tossy Spivakovsky</span> Musical artist

Nathan "Tossy" Spivakovsky, a Jewish, Russian Empire-born, German-trained violin virtuoso, was considered one of the greatest violinists of the 20th century.

<span class="mw-page-title-main">Andreas Makris</span> Greek-American composer and violinist (1930–2005)

Andreas Makris was a Greek-American composer and violinist, born in Kilkis, Greece, on March 7, 1930. He was a Composer-in-Residence for many years at the National Symphony Orchestra in Washington DC, working with conductors such as Howard Mitchell, Mstislav Rostropovich, Antal Dorati, and Leonard Slatkin. He composed around 100 works for orchestra, chamber ensembles, and solo instruments, including the Aegean Festival Overture, which, transcribed for concert band by Major Albert Bader of the USAF Band, became a popular piece with US bands. Grants and awards he received include the Damroch Grant, National Endowment for the Arts Grant, the Martha Baird Rockefeller Award, ASCAP Award, the Fulbright Scholarship, and citations from the Greek Government.

<span class="mw-page-title-main">Michael Bach (musician)</span> German artist, composer and cellist

Michael Bach, also known as Michael Bach Bachtischa, is a German cellist, composer, and visual artist.

<span class="mw-page-title-main">Rudolf Barshai</span> Soviet and Russian conductor (1924–2010)

Rudolf Borisovich Barshai was a Soviet and Russian conductor and violist.

<span class="mw-page-title-main">Concerto for two harpsichords in C minor, BWV 1060</span> Composition by Johann Sebastian Bach

The concerto for two harpsichords in C minor, BWV 1060, is a concerto for two harpsichords and string orchestra by Johann Sebastian Bach. It is likely to have originated in the second half of the 1730s as an arrangement of an earlier concerto, also in C minor, for oboe and violin. That conjectural original version of the concerto, which may have been composed in Bach's Köthen years (1717–1723), is lost, but has been reconstructed in several versions known as BWV 1060R.

<span class="mw-page-title-main">Six Sonatas for Violin and Harpsichord, BWV 1014–1019</span> Works by J. S. Bach

The six sonatas for violin and obbligato harpsichord BWV 1014–1019 by Johann Sebastian Bach are works in trio sonata form, with the two upper parts in the harpsichord and violin over a bass line supplied by the harpsichord and an optional viola da gamba. Unlike baroque sonatas for solo instrument and continuo, where the realisation of the figured bass was left to the discretion of the performer, the keyboard part in the sonatas was almost entirely specified by Bach. They were probably mostly composed during Bach's final years in Cöthen between 1720 and 1723, before he moved to Leipzig. The extant sources for the collection span the whole of Bach's period in Leipzig, during which time he continued to make changes to the score.

<span class="mw-page-title-main">Philippe Borer</span> Swiss violinist (1955–2023)

Philippe Borer was a Swiss violinist, scholar and teacher.

<span class="mw-page-title-main">Georges Frey</span> Musical artist

Georges Frey was a French violinist, viola player and specialist of the curved bow. He is the father of the pianist and organist Jean-Claude Frey.

<span class="mw-page-title-main">Rudolf Gaehler</span> German violinist

Rudolf Gaehler is a German violinist. He uses the curved bow for playing polyphonic music.

References

Notes

  1. https://www.bach-bogen.de/produkt/philippe-borer-the-twenty-four-caprices-of-niccolo-paganini/ | Philippe Borer, The Twenty-Four Caprices of Niccolò Paganini, Zurich 1997
  2. Albert Schweitzer, Johann Sebastian Bach – XVII. Kammer- und Orchesterwerke, Die Sonaten für Solovioline, Seite 337–343, Breitkopf & Härtel, Wiesbaden 1954
  3. Albert Schweitzer: Der für Bachs Werke für Violine solo erforderte Geigenbogen. in: Bach-Gedenkschrift, Seite 75–83, Zurich 1950
  4. https://www.bach-bogen.de/produkt/rudolf-gahler-der-rundbogen-fur-die-violine-ein-phantom/ | Rudolf Gaehler: Der Rundbogen für die Violine – ein Phantom? ConBrio-Fachbuch, Band 5, ConBrio Verlagsgesellschaft Regensburg 1997, ISBN   3-930079-58-5
  5. https://www.bach-bogen.de/blog/thebachupdate/die-suiten-fur-violoncello-gedanken-zu-ihrer-ausfuhrung-1997/ | Michael Bach: Die Suiten für Violoncello von Johann Sebastian Bach. in Das Orchester , Mainz 7-8/1997
  6. https://www.bach-bogen.de [ bare URL ]
  7. "Emil Telmányi | vonokeszites.hu". Archived from the original on 2017-01-05. Retrieved 2017-01-04.
  8. https://www.bach-bogen.de/blog/thebachupdate/tossy-spivakovsky-introduction-to-the-curved-bow-for-playing-bachs-violin-solo-works/ | Tossy Spivakovsky, Introduction to the Curved Bow for playing Bach’s violin solo works
  9. ARTE NOVA Musikproduktion GmbH
  10. https://www.bach-bogen.de/produkt/michael-bach-fingerboards-overtones/ | Michael Bach: Fingerboards & Overtones, Pictures, Basics and Model for a New Way of Cello Playing edition spangenberg, München 1991, ISBN   3-89409-063-4
  11. "Mstislav Rostropovich – Atelier BACH.Bogen".
  12. "Presentation of the BACH.Bogen®".
  13. "John Cage – Atelier BACH.Bogen".
  14. "The World of Music - A New Violin Bow". The Etude: 561. August 1927 via Theodore Presser Co. A new violin bow is reported to have been invented by Herman Berkowski, of Berlin. It is said to enable the player to sound several strings at a time, producing a poly-phone effect of rare volume and tone-color.
  15. Berkowski, Herman (July 28, 1927). "Bow for String Instruments" (PDF). Free Patents Online. Retrieved September 22, 2020.
  16. https://www.bach-bogen.de/compositions/ | Compositions for the Curved Bow