Weight is one of the many qualities that define a cello bow, alongside balance, strength, and flexibility. These attributes significantly influence how a bow feels and performs, tailored to the cellist’s personal style and the music’s demands.
Understanding Bow Weight:
Heavy Bows: Generally, a heavier bow (around 75-80 grams) can produce a robust, resonant sound, ideal for romantic, melodic, or aggressive playing. However, they might lack the agility for quick, nuanced movements. Lay the bow on the string, and allow it to stay there as you draw a rich sound.
Light Bows: These bows, 65-70 grams, encourage a different approach. They’re nimbler, enabling more expressive and dynamic playing. The sound might not be as ‘thick’ but can project beautifully if the cellist wisely manipulates bow speed and contact point.
Historical Perspectives:
Emanuel Feuermann was known for his preference for bows lighter than 65 grams, whereas Leonard Rose favored heavier ones, over 90 grams.
Yo-Yo Ma, a student of Rose, began with heavy American-made bows but later embraced lighter French models, an example of personal evolution influencing bow choice.
Modern Innovations:
In an excellent article from ‘The Strad’, David Finckel, former cellist of the Emerson Quartet, discusses his custom 88-gram carbon fiber bow, crafted by Yanbing Chen of Cleveland Violins:
Made by a family of instrument makers from Shanghai, these bows are rock-solid dependable. They are strong to the point of being indestructible and are so evenly balanced you can do almost anything with them. They feel like a fine tool in my hand, and from one to the next perform the same way. The 88-gramme model I special-ordered, as I like a super heavy bow for some music, and Cleveland Violins, in the hands of Yanbing Chen, delivered a superb product.
Here’s a rundown of Finckel’s impressive bow collection:
Dominique Peccatte c.1850, Mirecourt, France
Étienne Pajeot, c.1825, Mirecourt, France
Louis Joseph Morizot, c.1925, Mirecourt, France ‘ex-Berlinsky’
Ole Kanestrom, 2010, Port Townsend, WA (commissioned by David Finckel)
Yanbing Chen, two bows, 2013 made in China of carbon fibre, Cleveland Violins
Yanbing Chen, one bow, 88 grammes, made in China of carbon fibre, Cleveland Violins (commissioned by David Finckel)
Finckel shares his selection process:
I have two bow holders in my cello case. Before I leave for a concert I usually select two bows that I think might enhance my playing for a particular performance. It might have to do with the composers I’m playing, the style of the repertoire and its technical demands. My decision might be affected by the size of the hall, and the people I’m playing with and how their instruments sound.
David Finckel on his French bows:
When I was much younger, I owned a few French bows, but not ones on the level of this Pajeot and Peccatte. They are different animals. In the first place, they are old, each well more than a century, and like an instrument, when something comes to you from another age, it brings along its own history. I swear I can hear it in the sound, and my cello does not sound the same when I play them. It is as if the instrument is playing with a voice from the past. Also, as they are crafted at the highest level, they have their own way of playing – not mine, theirs – which I have had to teach myself to learn. These bows are teaching me how to play them. And that is a magical and wonderful experience.
Buying Tips:
In-Store Experience: Many violin shops offer a trial room where you can test bows at your leisure.
Trial Periods: Some shops or mail-order companies like Shar Music allow you to take bows home for trial, making the choice more personal and informed.
The debate over whether the bow or the cello holds more importance continues, but for most players, the key is finding a versatile bow that enhances and complements your cello’s unique sound.
Happy bow hunting!
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