Differences between French and German VIolins.

December 26, 2013 at 09:20 PM · I think at least some old German violins are Stainer models (He was German). I'm not sure about the French, but I think they would be more like the Italian.

December 26, 2013 at 11:32 PM · I've heard French violin makers tended toward reddish varnishes. Germans tended for darker brown. I don't know if that's true.

December 26, 2013 at 11:54 PM · I think you have to narrow down the time period for comparison. French instruments from 1770, for example, look quite different from those of 1870, and the same for German violins from different eras and schools.

I think the most useful thing is to look at some websites with many of both for sale, such as Ifshin, or Johnson strings or other shops with lots of photos. You'll soon get a feel for the different looks.

December 26, 2013 at 11:55 PM · I haven't researched the differences. But I do have 2 older German fiddles -- 1883, 1869; and 1 older French fiddle -- 1921. Among these 3 instruments, some things I notice:

1. The German fiddles feel a tad bigger in my hand -- body and neck very slightly wider. In 1st position especially, I have to use a bit greater hand spread.

2. With wound-gut A-D-G strings -- notably Pirastro Oliv and Eudoxa -- the German instruments give a pronounced viola tone in the contralto range. Not so with the French instrument.

3. This particular French instrument comes to life more with composite-core A-D-G. Wound-gut strings on this fiddle sound dull by comparison. Currently, I've set it up with a Tomastik split combo -- Vision Solo A; Peter Infeld D-G -- the D being aluminum.

4. On the German instruments, the top and bottom plates are slightly farther apart, so the ribs are slightly longer. I have to use a low chin rest on each of them -- currently a Dresden model. On the French instrument, I can use a Teka medium -- my build won't allow for anything taller.

5. About color: The French instrument and one German are light orange-brown -- you see this tone often, I'm sure. The other German is dark brown.

These aren't meant to be generalizations -- far from it; but they are what I've observed in the 3 older hand-made fiddles I own.

December 27, 2013 at 03:36 AM · Thanks John, Marty, Scott and Jim. I bought a mysterious violin for about 1000 dollars. After a extensive search on the web for information, I found this Aristo violin made by Fiat Musica may be was made in france, however have two labels the first one is the usual Aristo label you can see in other Aristo violins. Below this label there is another one that says Made in Germany. The violinist who sold to me says he have not doubts, in his mind the sound and construction is French. Give me some minutes and I will upload some pictures.

Thanks for the help

Andres

December 27, 2013 at 04:30 AM · Please take a look to the pictures, the Aristo is the yellow one.

http://s31.photobucket.com/user/picheto/library/Ange%20Garini

December 27, 2013 at 05:14 AM · Does not look French to me. Purfling and edging not what I have seen being French.

Even the cheaper French violins ( the best you could hope for here)

have a well executed edge and purfling even if the purfling was not inlaid. I don't think the scroll looks French either. But I have been confused about these things before. Your best bet is to ask Lyndon Taylor here on the forum:

http://www.violinist.com/directory/bio.cfm?member=Lyndon-Taylor

December 27, 2013 at 06:57 AM · Not me, Ive had some french violins but I get them professionally appraised, I'm getting pretty good at differentiating north german from south german/czech, but never have been able to recognize what makes a violin french, but its not most of whats been mentioned above!!

December 27, 2013 at 07:24 AM · I found the next, right here in the forum.

http://www.violinist.com/discussion/response.cfm?ID=7144

And this in other site.

http://www.atlantastreetviolins.com/violin_items/329_artisto.htm

December 30, 2013 at 02:39 AM · Actually Stainer was austrian...

Anyway, both countries have many different schools, but I think that the easiest thing to recognize is the f hole. Also other things are scroll, purfling and ultimately the shape of the instrument itself. For what I've seen in my little experience, german violins tend to me more robust, with larger proportions. French violins are more "fit", with thinner scrolls and f holes, halfway between german and italian schools.

December 30, 2013 at 06:37 PM · "german violins tend to me more robust, with larger proportions."

Again, this all depends on which particular time period and school you're talking about. For example, I've tried Klotzs that were petite, and I've played a Chanot that was quite big (barely fitting in my case).

December 31, 2013 at 12:01 AM · Jim, your description of your German violin fits my No 1 violin very closely. #1 violin is believed to be late 18th c German by at least two luthiers who have handled it. Like yours, the body is slightly bigger than standard, and the response in the lower registers is also reminiscent of a viola. It is at its best when strung with plain gut A (Pirastro Chorda), plain gut D (Savarez), and a Pirastro Chorda G. Much as I like the sound and feel of a gut E my orchestral work on this violin really requires me to use a steel E, so it is a Goldbrokat (Stark) which, oddly enough, works better with gut than with synthetics (possibly this may be something to do with string tensions?).

My #2 violin, a Jay Haide, is 100% gut strung (same as the #1 violin, but with a Chorda E), which brings out its best. With gut, the JH violin feels closer to a Baroque violin than does my #1 violin.

Before playing, I always wipe down my gut strings with a chamois lightly moistened with olive oil, extra virgin of course. This helps to maintain the integrity of the strings' surface (especially the E), since my strings aren't varnished, and probably insulates them a little from the vagaries of humidity. They are also nicer to play on.

January 3, 2014 at 02:40 AM · Trevor, thanks for your input on strings. Although I used some wound E's in the past, the steel E gives me the ring and brilliance I'm looking for in the high tones. At present, I use Goldbrokat medium E's on the German fiddles, which have wound-gut A-D-G; and a Westminster heavy E on the French instrument, which has composite-core A-D-G.

Haven't yet tried Chorda or Savarez, but you've definitely piqued my curiosity.