The baroque violins, altos and cellos
The legendary violinmakers of the 17th and 18th centuries such as Stainer, Stradivari and Guarneri del Gesù all made so-called baroque instruments. Most of their and their contemporaries' instruments went trough an alternation process during the late 18th and early 19th century. This alternation included a new thinner neck which formed an angle with the body of the instrument whereas original necks where in straight line with it. Also the bass-bars which are located under the G string side of the table of the instrument were made considerable bigger. The models of bridges, fingerboards and tailpieces were also altered. In general, all the new parts have more mass than their earlier counterparts.
The changes had to do with a new kind sound ideal and playing technique. With the new thinner necks it was easier to play in high positions. The sound of the violin was more equal in different registers and had more "direct projection". Whether they actually had more volume is debatable. The earlier models, that are principally used in period orchestras such as Finnish baroque orchestra, have instead more richness of sound in form of rich overtone-resonances and an incredible scale of sound colour. Metal strings only became norm in orchestras between the world wars, so our orchestra naturally uses gut strings, which also contribute to the variety and richness of sound colour..
The use of baroque and classical bows facilitates the speach-like, flexible articulation that the repertoire of the orchestra demands. Unlike modern bows, which are made to give equal sound on down and up-bow and on every part of the bow, the earlier models give characteristically different sound quality on different part of the bow. This suits the repertoire and its idiomatic demands.