Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives.
(2016)
author(s): Agnieszka Papierska
published in: KC Research Portal
Name: Agnieszka Papierska
Main subject: Baroque violin
Title of research: Holding the violin and how it influences sound and playing in historical performance practice. Historical perspectives.
Research coach: Margaret Urquhart
Research questions: How much would the sound of the violin change with holding it in different position? Could this be a tool of expression? Does the way we hold the instrument influence other choices we make about performance practice e.g. regarding fingering, bowing? Could this knowledge be used in performance practice today?
Summary of results:
During the baroque and classical period many different ways of holding the violin existed, often at the same time. This paper investigates the way in which the different positions of holding the instrument could change the sound of it. After studying at sources and making experiments with different posture it can be confirmed that that the sound changes with different ways of holding the violin. The technique and interpretation are also affected. The main conclusion is that violin technique is not unchangeable. We can adjust it in order to develop sound that we desire.
Biography:
Agnieszka is an accomplished and experienced chamber music and orchestral musician. She started her professional career at a very early age. While still a student in Poland she collaborated with many professional orchestras where she worked with world-class conductors and soloists.
After completing her Bachelor's diploma in modern violin an interest in historical performance practice let to her move to the Netherlands in order to study in the early music department of The Hague Royal Conservatory. In 2012 she also completed the master studies in Wroclaw Academy of Music in Poland.
Currently she works with Theresia Youth Baroque Orchestra in Italy and also performs with other groups in the Netherlands and abroad.
She plays an anonymous 18th century violin from the Klingenthal region.
