String Sonority in the Nineteenth and Early Twentieth Centuries

This chapter probes what comprised the likely fundamental sonorities of late ‘Romantic’ violin performance. After a working definition of terms, the chapter makes reference to a range of aesthetic preferences indicated by relevant historical literature, alongside consideration of aspects of posture, deportment, and organology. It then cross-references these elements with two of the author’s recent practice-as-research experiences. The first of these was participation in the TCHIP ‘Accordes!’ project, involving the use of thick, unwound gut strings, similar to those advocated by a number of historical writers. The second was the author’s first experience of making acoustic recordings using early twentieth-century methods and technologies. This second context is particularly significant because one of the chief determinants of our understanding of string sonority in this epoch is gained from historical sound documents. The result of these observations and experiences tends towards the conclusion that a strong and projected sonority was both theoretically desired and practically necessary in the historical context in question. While acknowledging that the topic resists empirical certainty, its fundamental importance demands consideration by HIP performers wanting to experiment with elements of likely historical performing practices.