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When I was about twelve years old, I vividly recall an incident during a recital at the Chicago Musical College, where I studied under Leon Sametini, a distinguished teacher and pupil of Ysaÿe. After my performance, a fellow student’s mother asked, “Why doesn’t my daughter sound like Aaron?” Sametini humorously replied, “He uses different strings!” The mother then insisted, “So, please, professor, why don’t you tell my daughter to buy the same ones?”
Around that time, I became an inadvertent contributor to the development of steel strings. Frank Sindelar, a skilled violin maker near my childhood home in Chicago, took an interest in me following my debut with the Chicago Symphony at age ten. He loaned me a lovely small Gagliano violin, and with this instrument, I participated in various string experiments.
I was chosen as the test player for new steel strings of all thicknesses produced by the predecessor of the Super-Sensitive Musical Strings Company. Through these trials, I learned how string thickness influences both response speed and tonal quality. The strings’ maker, a steelworker and amateur violinist, accepted my youthful suggestion to make them thinner for quicker response. These strings were very durable and accompanied me throughout high school.
Later, when I studied at the Curtis Institute of Music with Efrem Zimbalist Sr., philanthropist Max Adler of Chicago loaned me a beautiful Giuseppe “filius Andreae” Guarneri violin. It was strung with aluminum and silver wound gut strings for the G and D, a Thomastik A, and a steel E. The A string was always a challenge; it sounded too glassy compared to the gut D and G strings, required more pressure, and sometimes squeaked. I realized a softer A string improved balance in the quartet of tones: the G as baritone, D as alto, A as the coloratura providing tonal coloration, and E the soprano voice. This concept is particularly relevant to Bach fugues, which I interpret like string quartets.
Encouraged by Zimbalist, I tried a new gut-core A string with nylon winding, which I liked, but it was discontinued after two years. I then switched to an unwound gut A string, a choice I still maintain. Although I have tried various strings during my career, for performances and touring, I always use a Pirastro Wondertone E string, a gut A string, and Pirastro Eudoxa D and G strings.
Choosing strings depends on the instrument being played. In 1957, I acquired the renowned “Kochánski” Guarneri “del Gesù” violin, a time when gut strings were common. After experimenting with different thicknesses, I found the thinnest gauges ideal for the G, D, and A strings, while a thicker gauge enhanced the brilliance of the E string.
Historically, all great violinists used only gut strings. Heifetz, for instance, played on open gut A and D strings, believing that subduing the middle strings allowed the E and G strings greater power. His recordings confirm this approach. I also knew Milstein well, who always used gut A strings. When I visited him in London at age 90, he asked me to try his favorite Ansaldo Poggi violin. The gut A string on his violin was thicker than I was accustomed to, but he insisted he would play on nothing else. Our views on the A string’s role aligned: the D and G strings must blend, but the A string should not dominate to preserve the penetrating brilliance of the E string. Milstein added that gut A strings reduce pressure on the instrument, enabling freer resonance.
It is unclear precisely when synthetic-core strings became widespread, but their rise may have contributed to the modern quest for a bigger sound. Additional factors include concert halls with poor acoustics, conductors demanding louder playing, violinists using heavier bows and applying excessive pressure (a mistaken technique), and posture changes from shoulder rest use requiring more bow pressure.
Synthetic string manufacturers mainly make medium and thick gauges, based on the assumption that thinner strings produce less sound. Synthetic strings require more bow pressure and tend to wear bow hair more quickly. However, they offer excellent durability across climates and maintain pitch better than gut strings. I began using them in the 1980s during extensive performances in humid regions like Asia. I chose the thinnest gauge Dominant strings, labeled “Weich,” as effective alternatives to my Pirastro Eudoxas, responding well while needing less bow pressure.
By the 1990s, I noticed a decline in gut string quality compared to older samples and therefore incorporated Dominant synthetic strings regularly, retaining a gut A string by Damian Dlugolecki, whose strings come plain or with a special coating that prevents fraying and extends lifespan.
Selecting strings is highly individual, influenced by the violin, the player’s skill, desired tonal colors, and required gauge. I seek sensitivity beneath my fingers, achievable with flexible gut strings, which also enhance my left-hand gliding for expressive technique. Gut strings provide a warmer sound, especially on the A, and enhance the brilliance of the E string. Comparing historical recordings reveals a warmer, more personal tone distinct from contemporary artists using synthetic strings.
Today offers more string options than ever, with excellent products from Thomastik-Infeld, D’Addario, Super-Sensitive, and Pirastro. Recently, I tested Pirastro’s new “Gold” set, which impresses with power, clarity, and gut-like playability. In my opinion, Pirastro’s Passione is the finest gut string, a staple for all my violins. My favorites also include the 16¼ gauge Passione G, 13¼ gauge Passione D, Pirastro Chorda 14 gauge A, and Pirastro Gold E string.
I continue exploring new strings on the path to perfection. Manufacturers frequently release promising new designs. Regardless of the string, I switch them out after five to six weeks, as they lose freshness and crispness after prolonged daily playing.
Playing softly with minimal bow pressure can be enlightening. Observe if the bow skids or catches without pressure. Use ample rosin, especially on synthetic strings, to prevent sliding. In fast passages, try playing lightly to test note clarity.
Ultimately, select strings that produce a beautiful sound to your inner ear. Test them softly, focusing on tone quality rather than volume. Elman was once asked the secret to his great tone; he humbly replied, “What big tone? The violin is not a trumpet. My secret is that I know how to play pianissimo!”
— The Violin Post Editorial Staff
