Rachel Podger speaks about her violin and bow with deep affection and insight. She owns a single instrument, a Pesarini (or Pazarini or Pesarinius) made in Genoa in 1739, which she has cherished since 1996. This violin has been her constant companion for decades, and she knows it intimately. Depending on the depth at which she plays the strings, she can produce either a rich, dark tone or a lighter, more silvery sound. Despite its richness, the instrument retains a pleasing Baroque woodiness that she particularly appreciates.
Podger explains that while her violin has a slightly longer tailpiece than those made in the 1680s, its setup remains Baroque, resulting in a relatively small sound. The violin is capable of projecting well, but she prefers not to force it beyond its natural range. It is ideal for venues like Wigmore Hall. For performances with larger ensembles or louder instruments, such as a piano by Érard, she will borrow a different violin, often from the Royal Academy of Music, where she is on staff. This arrangement allows her access to exceptional instruments, like the 1718 “Maurin” Stradivari, which she used for her Beethoven sonatas disc in 2021, and various others, including a Guarneri for the Biber “Mystery” (Rosary) Sonatas, which required multiple instruments for different scordatura.
When it comes to choosing a bow, Podger emphasizes the importance of finding the right one. The relationship between the violin and bow is crucial; she likens it to a true partnership. The ideal bow should feel as though it is an extension of the arm, like her René-William Groppe copy of a French bow from 1720. Some bows may feel lifeless and pencil-like, while others may seem too excitable. Often, the right bow is immediately apparent, and she can sense instantly when the combination is perfect.
