The Beauty of the Baroque Violin

August 21, 2025

of Note

WDAV begins a new season of Small Batch concerts on September 18th, bringing you a rich, varied selection of artists sure to stir the soul and delight your ears. We’re kicking off the season with the North Carolina Baroque Orchestra (NCBO) chamber players. The instruments this beloved local period ensemble performs with are quite unique; in fact, many have been around since the greatest Baroque composers were writing their masterworks. Longtime NCBO member David Wilson, who will be a violin soloist at the upcoming Small Batch concert, tells us more about the beauty of the baroque violin and the distinct experiences it creates for musicians and audiences alike.

By David Wilson

I play the baroque violin, or as it was known in the time of Vivaldi, Bach, and Handel, “the violin.” The instrument and bow I use are like the ones those composers would have been familiar with, meaning there are some significant differences between my instrument and the violins played in a modern symphony orchestra. Like every other baroque violinist I know, I started out playing the modern violin and eventually made the choice to learn to play baroque music on a historically-appropriate instrument and in a historically-appropriate manner. It wasn’t an easy process, and I struggled with a lifetime of habits and expectations around playing the violin.

So why bother, when I was already a decent player with a perfectly satisfactory career? Well, for one thing, I’ve always loved baroque music and was fascinated by the idea that there was even more to it than I had already realized. I’d also been bitten by the period-instrument bug; at about 15, I heard the Harnoncourt recording of Bach’s Mass in B minor, which features baroque instruments. I’ll never forget listening to those sounds with wide eyes and goosebumps, feeling incredibly moved and thinking, “I want to do THAT.”

When I went off to college, I played in the Baroque Ensemble and learned that one can (and should) play things that aren’t notated on the page, which was a revelation and a joy – my first encounter with improvisation. Baroque Ensemble also introduced me to other concepts in baroque performance practice, such as considering the role of vibrato rather than using it all the time. A few years later, I was able to obtain a baroque violin and bow of my own and began grappling with the different physicality of playing the instrument.

What makes all the effort worth it is that baroque instruments are, to quote a colleague, native speakers of the language of baroque music. The sound of the baroque violin, with its gut strings and low-tension architecture, is exceptionally warm and resonant, making the artificial resonance of constant vibrato neither necessary nor desirable. Quick, light, and agile, the bow is designed to make a huge range of tone colors and articulations. These qualities are perfectly suited to the artistic requirements of baroque music, and indeed they help inform us about the nature of baroque music.

That last point is a significant one. Having tools which fit the task is only the beginning; the real pleasure (and the real work) is exploring the musical world they help to open. It’s a world I’ve been happily exploring for over 40 years, and it continues to amaze and delight me.

Don’t miss your opportunity to hear these beautiful instruments live! Grab tickets for our upcoming Small Batch concert on September 18th today.