The use of the chinrest is relatively recent: it did not become standard until the mid‑19th century.
Until then, the violin rested freely on the collarbone or against the chest, in a supple balance where the player’s body naturally followed the instrument.
The arrival of the chinrest profoundly altered this relationship. By anchoring the violin to the musician’s neck, it opened the way to new surges of virtuosity and to a technical freedom that had previously been difficult to achieve.
But this new intimacy, this graft between wood and flesh, also brought its share of tension, adjustments, and at times discomfort, which the violinist must learn to tame so that the instrument may merge with them like a second voice.
Bois d'Harmonie Chinrests
Morawetz Chinrest
Side Chinrests
Véronne Chinrest
Over-the-tailpiece Chinrests
Guarneri 1 Chinrest
PVS Chinrest
Chinrest Flesh
Chinrest Guarneri 2
Tibor Varga Chinrest
We produce Tibor VARGA chinrests, Original model.
It is the only chinrest offering a choice of three plate curvatures and three heights, allowing it to adapt as closely as possible to your morphology.
Varga chinrests are made exclusively to order.
Technical Notes
Fittings
The attachment mechanisms of our chinrests are available in several versions, designed to accommodate different playing habits and mounting preferences.
All screws are made of titanium, with the exception of the simple traditional clamp, available either in titanium or in nickel‑plated brass.
For any further information regarding attachment systems, we remain at your disposal.
