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A viola shown from the front and the side
|Other names||French: alto; German: Bratsche|
(Composite chordophone sounded by a bow)
A viola shown from the front and the side
|Other names||French: alto; German: Bratsche|
(Composite chordophone sounded by a bow)
The viola (//) is a bowed string instrument. It is slightly larger than a violin in size and has a deeper sound. Since the 18th century it has been the middle voice of the violin family, between the violin (which is tuned a perfect fifth above it) and the cello (which is tuned an octave below it).
Music that is written for the viola differs from that of most other instruments, in that it primarily uses the alto clef, which is otherwise rarely used. Viola music employs the treble clef when there are substantial sections of music written in a higher register.
The viola occasionally has a major role in orchestral music. In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis. Englishmen Arthur Bliss, York Bowen, Benjamin Dale, and Ralph Vaughan Williams all wrote chamber and concert works for Tertis. William Walton, Bohuslav Martinů and Béla Bartók wrote well-known viola concertos. Paul Hindemith wrote a substantial amount of music for viola. In the latter part of the 20th century a substantial repertoire was produced for the viola.
The "MacDonald" Stradivarius viola, one of only 10 surviving violas made by Antonio Stradivari, and which was once played by Peter Schidlof, will have an initial asking price of $45 million when it is put up for sale at Sotheby's in spring 2014. This is the most expensive price tag for any instrument sold at auction, eclipsing the sale of the Lady Blunt Stradivarius violin in 2011.
The viola is similar in material and construction to the violin. A full-size viola's body is between 25 millimetres (0.98 in) and 100 millimetres (3.9 in) longer than the body of a full-size violin (i.e., between 38 and 46 centimetres (15 and 18 in)), with an average length of 41 centimetres (16 in). Small violas for children typically start at 30 centimetres (12 in), which is equivalent to a half-size violin. For a child who needs a smaller size, a fractional-sized violin is often strung with the strings of a viola. Unlike the violin, the viola does not have a standard full size. The body of a viola would need to measure about 51 centimetres (20 in) long to match the acoustics of a violin, making it impractical to play in the same manner as the violin. For centuries, viola makers have experimented with the size and shape of the viola, often adjusting the proportions or shape to make a lighter instrument with shorter string lengths, but which still has a large enough sound box to create an unmistakable "viola sound".
Experiments have tended to increase the size of the viola, in the interest of improving the instrument's sound. Hermann Ritter's viola alta, which measured about 48 centimetres (19 in), was intended for use in Wagner's operas. The Tertis model viola, which has wider bouts and deeper ribs to promote a better tone, is another slightly "nonstandard" shape that allows the player to use a larger instrument. Many experiments with the acoustics of a viola, particularly increasing the size of the body, have resulted in a much deeper tone, making it resemble the tone of a 'cello. Since many composers wrote for a traditional-sized viola, particularly in orchestral music, changes in the tone of a viola can have unintended consequences upon the balance in ensembles.
More recent (and more radically shaped) innovations have addressed the ergonomic problems associated with playing the viola by making it shorter and lighter, while finding ways to keep the traditional sound. These include the Otto Erdesz "cutaway" viola, which has one shoulder cut out to make shifting easier; the "Oak Leaf" viola, which has two extra bouts; viol-shaped violas such as Joseph Curtin's "Evia" model, which also utilizes a moveable neck and a maple-veneered carbon fibre back, to reduce weight: violas played in the same manner as cellos (see vertical viola); and the eye-catching "Dalí-esque" shapes of both Bernard Sabatier's violas in fractional sizes—which appear to have melted—and David Rivinus' Pellegrina model violas.
Other experiments that deal with the "ergonomics vs. sound" problem have appeared. The American composer Harry Partch fitted a viola with a cello neck to allow the use of his 43-tone scale. Luthiers have also created five-stringed violas, which allow a greater playing range.
A person who plays the viola is called a violist or a viola player. The technique required for playing a viola has certain differences compared with that of a violin, partly because of its larger size: the notes are spread out farther along the fingerboard and often require different fingerings. The viola's less responsive strings and the heavier bow warrant a somewhat different bowing technique, and a violist has to lean more intensely on the strings.
The viola's four strings are normally tuned in fifths: the lowest string is C3 (an octave below middle C), with G3, D4 and A4 above it. This tuning is exactly one fifth below the violin, so that they have three strings in common—G, D, and A—and is one octave above the cello.
Each string of a viola is wrapped around a peg near the scroll and is tuned by turning the peg. Tightening the string raises the pitch; loosening the string lowers the pitch. The A string is normally tuned first, typically to a pitch of 440 Hz or 442 Hz. The other strings are then tuned to it in intervals of perfect fifths, sometimes by bowing two strings simultaneously. Most violas also have adjusters, also called "fine tuners", that are used to make finer changes. These permit the tension of the string to be adjusted by rotating a small knob at the opposite or tailpiece end of the string. Such tuning is generally easier to learn than using the pegs, and adjusters are usually recommended for younger players and put on smaller violas, although pegs and adjusters are usually used in conjunction with one another. Adjusters work best, and are most useful, on metal strings. It is common to use one on the A string, even if the others are not equipped with them. Some violists reverse the stringing of the C and G pegs, so that the thicker C string does not turn so severe an angle over the nut, although this is uncommon.
Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be tuned down by pulling it above the fingerboard, or tuned up by pressing the part of the string in the pegbox. These techniques may be useful in performance, reducing the ill effects of an out-of-tune string until an opportunity to tune properly.
The tuning C-G-D-A is used for the great majority of all viola music. However, other tunings are occasionally employed, both in classical music, where the technique is known as scordatura, and in some folk styles. Mozart, in his Sinfonia Concertante for Violin, Viola and Orchestra in E flat, wrote the viola part in D major and specified that the viola's strings were to be raised in pitch by a semitone: his intention was probably to give the viola a brighter tone so as to avoid it being overpowered by the rest of the ensemble. Lionel Tertis, in his transcription of the Elgar cello concerto, wrote the slow movement with the C string tuned down to B-flat, enabling the viola to play one passage an octave lower. Occasionally the C string may also be tuned up to D.
A renewal of interest in the viola by performers and composers in the twentieth century has led to increased research devoted to the instrument. Paul Hindemith and Vadim Borisovsky made an early attempt at an organization in 1927 with the Violists' World Union. But it was not until 1968, with the creation of the Viola-Forschungsgellschaft, now the International Viola Society (IVS), that a lasting organization would take hold. The IVS now consists of twelve sections around the world, the largest being the American Viola Society (AVS), which publishes the Journal of the American Viola Society. In addition to the journal, the AVS sponsors the David Dalton Research Competition and the Primrose International Viola Competition.
The 1960s also saw the beginning of several research publications devoted to the viola, beginning with Franz Zeyringer's Literatur für Viola, which has undergone several versions, the most recent being in 1985. In 1980, Maurice Riley produced the first attempt at a comprehensive history of the viola in his History of the Viola, which was followed with a second volume in 1991. The IVS published the multi-language Viola Yearbook (from 1979 to 1994): several other national sections of the IVS publish newsletters. The Primrose International Viola Archive at Brigham Young University houses the greatest amount of material that is related to the viola, including scores, recordings, instruments and archival materials from some of the world's greatest violists.
Music that is written for the viola differs from that of most other instruments, in that it primarily uses the alto clef, which is otherwise rarely used. (Tenor-voiced instruments, including the trombone, cello, and bassoon occasionally use the alto clef, but not primarily. The comparatively rare alto trombone primarily uses the alto clef.) Viola music employs the treble clef when there are substantial sections of music written in a higher register. In the alto clef, the note A4 is above the top line of the clef, D4 is in the second space down, G3 is in the space at the bottom of the staff, and C3 is two spaces under the staff. In treble clef, the note A4 is the second space, D4 is one space under the staff, and so on.
As the viola is tuned exactly one octave above the cello (meaning that the viola retains the same string notes as the cello, but an octave up), pieces written for the cello can be easily transposed to the viola clef. For example, there is a viola version of Bach's Cello Suites which retains the original key, notes, and musical patterns.
In early orchestral music, the viola part was frequently limited to filling in harmonies and little melodic material was assigned to it. If the viola was given a melodic part, it was often duplicated (or was in unison with) the melody played by other strings. A notable exception is the Brandenburg Concerto No. 6 composed by J. S. Bach, scored for 2 violas, cello, 2 violas da gamba, and continuo, in which the two violas were placed in the primary melodic role.
There are a few Baroque and Classical concerti, such as those by Georg Philipp Telemann (one of the earliest viola concertos known), Franz Anton Hoffmeister and Carl Stamitz. Hector Berlioz's Harold in Italy was written for solo viola and orchestra.
The viola plays an important role in chamber music. Mozart liberated the viola when he wrote his six string quintets, some of which are considered to be among his greatest works. The quintets use two violas, which frees them (especially the first viola) for solo passages and increases the variety and richness of the ensemble. Mozart also wrote for the viola in his Sinfonia Concertante in which the solo viola and violin are equally important, a set of two duets for violin and viola, and the Kegelstatt Trio for viola, clarinet, and piano. The young Felix Mendelssohn wrote a little-known viola sonata in C minor (without opus number, but dating from 1824). Robert Schumann wrote his Märchenbilder for viola and piano. He also wrote a set of four pieces for clarinet, viola, and piano, Märchenerzählungen.
Max Bruch wrote a romance for viola and orchestra, his Op. 85 which examines the emotive capabilities of the viola's timbre. In addition, his Eight pieces for clarinet, viola, and piano, Op. 83, features the viola in a very prominent, solo aspect throughout. His Concerto for Clarinet, Viola, and Orchestra, Op. 88 has been quite prominent in the repertoire and has been recorded by prominent violists throughout the 20th century.
From his earliest works, Brahms wrote music that prominently featured the viola. Among his first published pieces of chamber music, the sextets for strings Op.18 and Op.36 contain what amounts to solo parts for both violas. Late in life he wrote two greatly admired sonatas for clarinet and piano, his Op.120 (1894): he later transcribed these works for the viola (the solo part in his horn trio is also available in a transcription for viola). Brahms also wrote "Two Songs for Alto with Viola and Piano", Op. 91, "Gestillte Sehnsucht" ("Satisfied Longing") and "Geistliches Wiegenlied" ("Spiritual Lullaby") as presents for the famous violinist Joseph Joachim and his wife, Amalie. Dvořák played the viola and apparently said that it was his favorite instrument: his chamber music is rich in important parts for the viola. Another Czech composer, Bedřich Smetana, included a significant viola part in his quartet "From My Life": the quartet begins with an impassioned statement by the viola. It should also be noted that Bach, Mozart and Beethoven all occasionally played the viola part in chamber music.
The viola occasionally has a major role in orchestral music, a prominent example being Richard Strauss' tone poem Don Quixote for solo cello and viola and orchestra. Other examples are the "Ysobel" variation of Edward Elgar's Enigma Variations and the "La Paix" movement of Léo Delibes's ballet Coppélia which features a lengthy solo for viola.
While the viola repertoire is quite large, the amount written by well-known pre-twentieth-century composers is relatively small. There are many transcriptions of works for other instruments for the viola and the large number of 20th-century compositions is very diverse. See "The Viola Project" at the San Francisco Conservatory of Music, where Professor of Viola Jodi Levitz has paired a composer with each of her students, resulting in a recital of brand-new works played for the very first time.
In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis. Englishmen Arthur Bliss, York Bowen, Benjamin Dale, and Ralph Vaughan Williams all wrote chamber and concert works for Tertis. William Walton, Bohuslav Martinů and Béla Bartók wrote well-known viola concertos. Paul Hindemith wrote a substantial amount of music for the viola; being himself a violist, he often performed his own works. Claude Debussy's Sonata for flute, viola and harp has inspired a significant number of other composers to write for this combination.
Charles Wuorinen composed his virtuosic Viola Variations in 2008 for Lois Martin. Elliott Carter also wrote several fine works for viola including his Elegy (1943) for viola and piano; it was subsequently transcribed for clarinet. Ernest Bloch, a Swiss-born American composer best known for his compositions inspired by Jewish music, wrote two famous works for viola, the Suite 1919 and the Suite hebraïque for solo viola and orchestra. Rebecca Clarke was a 20th-century composer and violist who also wrote extensively for the viola. Lionel Tertis records that Edward Elgar (whose cello concerto Tertis transcribed for viola, with the slow movement in scordatura), Alexander Glazunov (who wrote an Elegy, op. 44, for viola and piano), and Maurice Ravel all promised concertos for viola, yet all three died before doing any substantial work on them.
In the latter part of the 20th century a substantial repertoire was produced for the viola; many composers including Miklós Rózsa, Revol Bunin, Alfred Schnittke, Sofia Gubaidulina, Giya Kancheli and Krzysztof Penderecki, have written viola concertos. The American composer Morton Feldman wrote a series of works entitled The Viola in My Life, which feature concertante viola parts. In spectral music, the viola has been sought after because of its lower overtone partials that are more easily heard than on the violin. Spectral composers like Gérard Grisey, Tristan Murail, and Horațiu Rădulescu have written solo works for viola.
The viola is sometimes used in contemporary popular music, mostly in the avant-garde. John Cale of The Velvet Underground used the viola, as do some modern groups such as alternative rock band 10,000 Maniacs, folk duo John & Mary, Defiance, Ohio, The Funetics, Flobots, Beethoven's 5th, British Sea Power, Hangedup and others. Jazz music has also seen its share of violists, from those used in string sections in the early 1900s to a handful of quartets and soloists emerging from the 1960s onward. It is quite unusual though, to use individual string instruments in contemporary popular music. It is usually the flute or rather the full orchestra appearing to be the favoured choice, rather than a lone string player. The upper strings could be easily drowned out by the other instruments, especially if electric, or even by the singer.
Although not as commonly used as the violin in folk music, the viola is nevertheless used by many folk musicians across the world. Extensive research into the historical and current use of the viola in folk music has been carried out by Dr. Lindsay Aitkenhead. Players in this genre include Eliza Carthy, Mary Ramsey, Helen Bell, and Nancy Kerr. Clarence "Gatemouth" Brown was the viola's most prominent exponent in the genre of blues.
The viola is also an important accompaniment instrument in Slovakian, Hungarian and Romanian folk string band music, especially in Transylvania. Here the instrument has three strings tuned g — d' – a (note that the a is an octave lower than found on the standard instrument), and the bridge is flattened with the instrument playing chords in a strongly rhythmic manner. In this usage, it is called a kontra or brácsa (pronounced "bra-cha", from German Bratsche, "viola").
There are few truly well-known viola virtuosi, perhaps because little virtuoso viola music was written before the twentieth century. Pre-twentieth century viola players of note include Carl Stamitz, Alessandro Rolla, Antonio Rolla, Chrétien Urhan, Casimir Ney, Louis van Waefelghem, and Hermann Ritter. The most important viola pioneers from the twentieth century were Lionel Tertis, William Primrose, Paul Hindemith, Théophile Laforge, Cecil Aronowitz, Maurice Vieux, Vadim Borisovsky, Lillian Fuchs, Dino Asciolla, Frederick Riddle, Walter Trampler, Ernst Wallfisch, Csaba Erdélyi, the only violist to ever win the Carl Flesch International Violin Competition, and Emanuel Vardi, the first violist to record the 24 Caprices by Paganini on viola. Many noted violinists have publicly performed and recorded on the viola as well, among them Eugène Ysaÿe, Yehudi Menuhin, David Oistrakh, Pinchas Zukerman, Maxim Vengerov, Julian Rachlin and Nigel Kennedy.
Among the great composers, several preferred the viola to the violin when playing in ensembles, the most noted being Ludwig van Beethoven, Johann Sebastian Bach and Wolfgang Amadeus Mozart. Numerous other composers also chose to play the viola in ensembles, including Joseph Haydn, Franz Schubert, Felix Mendelssohn, Antonín Dvořák, and Benjamin Britten. Among those noted both as violists and as composers are Rebecca Clarke and Paul Hindemith. Contemporary composer and violist Kenji Bunch has written a number of viola solos.
Amplification and equalization can make up for the weaker output of a violin string tuned to notes below G3, so most electric instruments with lower strings are violin-sized, and as such, are called "violins." Comparatively fewer electric violas do exist, for those who prefer the physical size or familiar touch references of a viola-sized instrument. Welsh musician John Cale, formerly of The Velvet Underground, is one of the more famous users of such an electric viola, who has used them both for melodies in his solo work and for drones in his work with The Velvet Underground (e.g. "Venus in Furs").
Instruments may be built with an internal preamplifier, or may put out the unbuffered transducer signal. While such raw signals may be fed directly to an amplifier or mixing board, they often benefit from an external preamp/equalizer on the end of a short cable, before being fed to the sound system.
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