Maite Iglesias playing the violin, in an ornate gold frame

Historically informed violin playing, not only for specialists

Historically informed performance is often introduced as a specialised subject later in a violinist's education. Yet the music of Bach, Vivaldi and Mozart is encountered much earlier. Questions of articulation, bow movement, dance rhythm and phrasing can begin to be explored while technique is still developing, without waiting for advanced training.

I teach violinists online, from developing students to experienced players, introducing historical perspectives through the repertoire they already study. The aim is to connect what we know about the music with what the hands can do and the ear can recognise.

Different stages, a shared historical perspective

At an earlier stage

A student learning Bach or Vivaldi may already explore how dance rhythm, bow articulation and the shape of a phrase belong together. Historical ideas enter through repertoire and techniques that are within reach.

At a later stage

Someone with more experience may be preparing a Mozart concerto, studying a Bach sonata or rehearsing chamber music. The questions can become more detailed: how articulation reflects period conventions, where ornamentation belongs, or how bowing, harmony and rhetoric shape a convincing musical interpretation.

The historical perspective is shared. The technical demands and depth of exploration need not be the same.

See the work in practice

From history to sound

I begin with the music the student is already playing, listening to how the bow shapes the notes and what the phrase conveys.

I may demonstrate different bow strokes, explore where a dance places its weight, or show how articulation brings a cadence into focus. We compare the results, listening to what changes and considering how the music's historical context can inform those choices.

The aim is to understand what historical practices can offer, and to hear their effect in the student's own playing.

How the teaching works

Clear guidance, without a single prescribed version

I do not teach Baroque or Classical style as one fixed version that every violinist must reproduce.

I may demonstrate a bowing, explain its historical purpose or correct a gesture that obscures the phrase. We then explore alternatives and listen to their musical consequences.

My role is to explain, demonstrate and correct, drawing on historical knowledge. The aim is for each student to understand what changes in sound, why a choice matters and how to apply it independently.

Maite Iglesias

Maite Iglesias is a violinist and teacher whose work brings together modern violin training, historically informed performance and a longstanding commitment to teaching.

She studied Baroque violin with Hiro Kurosaki at the Real Conservatorio Superior de Música de Madrid, alongside her training in modern violin and chamber music. She has performed with orchestras and chamber ensembles, and taught in several Spanish conservatoires, working with violinists at different stages of their development.

Her particular interest is to bring specialist historical knowledge into violin education earlier, helping students develop technical understanding and musical judgement while discovering the expressive possibilities of Baroque and Classical style.

About Maite

Where this teaching fits

This is specialised violin teaching, but it is not reserved for advanced or historically trained players.

I work with the technique and repertoire each student brings. The way a bow releases a note, the pulse of a dance or the shaping of a phrase can be explored at a level the player can manage. These ideas can then grow with their technique, and many can be explored using a modern violin.

This work is intended for violinists who already have some playing experience, including students in training, adult amateurs and more advanced players. What matters is an interest in Baroque or Classical music and a willingness to explore how its historical context can influence the way it is played.

If this relates to the music you are playing now

You can begin with the repertoire you are studying and the questions it raises.

Tell me a little about your violin experience, the music you are playing and what interests you about its historical style. I will read your enquiry personally and consider whether these lessons might be useful for your present work.