Viola
Example of the sound of a viola (?·i)The viola is a bowed string musical instrument, similar in terms of materials and construction to the violin but larger and with a deeper sound. Its range is between the bass and middle of the violin and the treble of the cello.
The viola is considered the contralto or dramatic tenor of the string family.
The strings of the viola are tuned in intervals of fifths: do, sol, re, la (being the do the lowest string).
The interpreter of this instrument is called a «viola» or «violista».
Ancestors of the viola
The appearance of the viola as the direct heir of the string viella (the viella was like a violin whose strings were vibrated by means of a keyboard; the bow is replaced by a polished string and rubbed with rosin) marks an important advance in the history of bowed instruments.
Created in the XIV century, its cultivation began to take on artistic value from the XV century. In 1543, Silvestro Ganassi dal Fontego published the first method, under the name Regola rubertina.
Taking into account that at that time most instruments had three or four variants corresponding to the range of human voices (soprano, alto, tenor and bass), that is, the traditional four voices of the mixed choir, the viola did not it escaped this custom and for this reason the viola quintón (the most acute, that is, soprano) was created. The name of quintón comes from its five strings instead of the six that the other violas had. The viola a spalla ('shoulder viola'), the viola da braccio ('arm viola', which is the most similar to the current one) and the viola da gamba ('leg viola', with a range and playing style similar to that of the cello).
From the viola da braccio came the viola d’amore (‘viola of love’). The difference between them consists only in the fact that brass strings were added to the second, which, resting on the bridge under the gut strings, vibrated sympathetically, expanding the sound of the instrument with this procedure, apart from also giving it a special timbre. thanks to this common vibration and the metallic sonority of the lower strings.
In these instruments, the transformation that had been taking place gradually since previous centuries is accelerated. Instead of the so-called "rosa" (opening made in the middle of the harmonic board or sound box like the lute, the vihuela, the guitar, etc., that is, the instruments whose strings are pinched or plucked), there are some small openings known as ears or efes and C-shaped placed one in front of the other and in reverse. There are also some curved side cuts to facilitate the movement of the bow. These cuts became in some cases very pronounced. Like the harpsichord, the viola was also used in temples to double human voices, particularly those with a low range.
Wolf, in his book History of Music (Editorial Labor), underlines the English contribution in the field of music for viola:
Introduced this instrument in that country probably with Italian vocal music, it serves at the beginning, as it happened in Italy, to support the voices of the whole in religious or profanous vocal works. Madrigal publícanse that carry the indication apt for viols and voices. With the madrigal it was probably introduced into society as well. In no house of the good bourgeoisie was missing the set of violas, which consisted almost always of six instruments: contraltos, tenores and bass, placed in the antechamber at the disposal of the visits that awaited. It has already been said that it was considered to be part of a good education to be in charge at first sight of a vocal role in the whole of the madrigal; it was completely indispensable of any refined and distinguished education an artistic domain of the viola that would allow at all times to collaborate satisfactorily in the chamber.Johannes Wolf (1869-1947)
Other types of violas
Other types of violas were known under the name of viola bastarda, viola di borbone, viola pomposa, etc.
It is often claimed that the viola pomposa was invented in 1720 by Johann Sebastian Bach and built by the Leipzig luthier Hoffmann. It was somewhat larger than the current viola and had five strings that were tuned in this order, from low to high: do, sol, re, the, my. This instrument could be attached to the back by means of a strap and replaced the cello in the high notes of its range. But as the technique of the cello was perfected, the pompous viola -by the way uncomfortable and quite difficult to play-, fell into disuse until it was completely forgotten years later.
Shape
The viola is similar in material and construction to the violin. The body of a normal size viola is between 25mm and 100mm longer than the body of a normal size violin (i.e. between 38 and 46cm, with an average length of 41cm. Small violas made for children they usually start at 12", which is equivalent to a half-size violin. For a child who needs a smaller size, a fractional-size violin is often strung with the strings of a viola. Unlike the violin, the viola it is not a standard full size.The body of a viola would have to be approximately 20.1 in (51 cm) long to match the acoustics of a violin, making it impractical to play it in the same way as the violin. For centuries, viol makers have experimented with the size and shape of the viol, often adjusting the proportions or shape to make a lighter instrument with shorter strings, but with a soundboard large enough to retain sound. sound of the viola. In the 18th century, violas were not of uniform size. Large (tenor) violas were designed to play the lower register viola lines or the second viola in five-part harmony, depending on the instrumentation. A smaller viola, closer to the size of the violin, was called an upright viol or alto viola. It was better suited for writing in higher registers, such as in viola 1 parts, as its sound tended to be richer in the upper register. Its size was not conducive to a full tone in the low register.
Various experiments have attempted to increase the size of the viola to improve its sound. Hermann Ritter's viola alta, measuring about 48 cm (18.9 in), was intended for use in Wagner's operas. The Tertis model viola, which has wider picks and ribs deeper to promote better tone, is another slightly "non-standard" which allows the performer to use a larger instrument. Many experiments with the acoustics of the viola, especially increasing the size of the body, have resulted in a much lower tone, resembling that of a cello. Since many composers wrote for a traditionally sized viola, particularly in orchestral music, changes in the viola's pitch can have unintended consequences on the balance of ensembles.
One of the most notable viola makers of the 20th century was the Englishman A. E. Smith, whose violas are highly sought after and valued. Many of his violas remain in Australia, his country of residence, where for some decades the violists of the Sydney Symphony Orchestra had a dozen of them in their section.
More recent (and more radically shaped) innovations have addressed the ergonomic issues associated with playing the viola by making it shorter and lighter, while finding ways to maintain the traditional sound. Among them is the "cutaway" by Otto Erdesz, which has a cut-out shoulder for easy changes; the "Oak Leaf" viola, which has two additional peaks; viola shaped violas such as the "Evia" by Joseph Curtin, who also uses a movable neck and maple carbon fiber veneered back, to reduce weight: violas played in the same way as cellos (see upright viola); and the striking "Dalí-esque" both Bernard Sabatier's violas in fractional sizes - which appear to have been cast - and David Rivinus's Pellegrina model violas.
Other experiments addressing the "ergonomics vs. sound". American composer Harry Partch adapted a viola with a cello neck to allow the use of its 43-tone scale, called the 'adapted viol'. Luthiers have also created five-string violas, which allow for a greater range of playing.
The modern viola
The viola that is currently used in orchestras was born between the 16th and 17th centuries under the name viola da braccio. Its size is somewhat larger than the violin. It serves as a sound bridge between it and the cello, the same in the string quartet as in any orchestral formation. Its timbre is very beautiful, although with a sweetly opaque tint. It is held with the left arm in a horizontal position, like the violin and its harmonic box is supported in the same way as it is, that is, under the chin.
It has four strings that are tuned with the notes do, sol, re, la (de grave to sharp rising in fifth intervals). For his musical reading he uses the do clef in the third line and, when the notes are very sharp, the treble clef.
Its extension is more than three octaves. Like all bowed string instruments, natural and artificial harmonics can be used, so that their scope is greater.
Paper of the viola
Repertoire
In the 17th century the role of the viola was limited to reinforcing the bass line or completing the harmony. In the 18th century the viola played a more exposed role (for example in Bach's Sixth Brandenburg Concerto).
In this century Telemann composed the first concerto for viola in 1731 called Koncert g - dur (concert in G major). In the following hundred years the golden age of the history of the viola is reached. 150 concerts are composed by various composers such as Stamitz, Hoffmeister, Benda, Zelter, Rolla, among others.
Some violist composers whose repertoire has allowed the development of the viola as a solo and virtuoso instrument are, among others: Lionel Tertis (1876-1975); Paul Hindemith (1895-1963); Vadim Borisovsky (1900-1972); William Primrose (1904-1982).
Evolution in design
Violas built in the 18th century had dimensions of 38 cm to combine their use with the violin. At this time the scordatura appeared, which was based on tuning the viola higher than normal. At the end of this century, large violas began to be built, although they were very rare. These had a size of 45 to 47 cm but were still of very low quality.
Currently, inches are used to designate viola sizes (1 inch = 2.54 cm). There are violas from 11" (27.9 cm) up to 16.5" (41.9 cm). Depending on the age and height of the performer, one size or another is chosen.
During romanticism composers such as Weber, Berlioz, Wagner and others destined their compositions for aristocratic salons where the viola acted as the protagonist and interpreter because its weak range limited by its size did not allow it to face the orchestras every ever larger and to audiences.
Later there was a period of experimentation by viola makers. In the 19th century the viola model was around 41 cm. This new sound and the contrast it had in the orchestra inspired many composers such as Anton Rubinstein, Max Reger, Béla Bartók, Benjamin Britten, etc.
Note: The viola is known in France as the alt and in Germany as the bratsche (pronounced brache), whose origin comes from Italian (viola da bracchio).
Importance of the viola
The viola is now known as a bowed string instrument somewhat larger than the violin; however, this name was used in the Middle Ages for all multi-piece bow chordophones and this was the first name used to define bowed string instruments, both arm and leg.
During the Renaissance, the original viola family split into two branches: the viola da braccio and the viola da gamba. The arm violas were relegated to the taverns, where they played popular music; while violas da gamba were exclusive to the most refined courts. This instrument ended up falling into disuse and the violin gradually replaced it due to its brilliance. Composers preferred this instrument for its sound width and agility instead of the delicacy of the viola da gamba.
In the Baroque, the violin gained the utmost importance. The viola beats it in warmth and resonance, and is almost as manageable and agile as the violin.
The role of the viola is fundamental in the orchestra as it gives depth and support to the harmony, making it rich and velvety. We must not forget either the great variety of works composed for solo viola or sonatas for accompanied viola.
The viola has a lesser reputation within the strings but it is a prejudice carried over from the origins of the modern orchestra (19th century), when it was assumed by violinists in decline.
His expressive power
The viola has remarkable expressive power. With a rather soft, collected and somewhat melancholic accent, it lends itself more to passages of little movement than excessively fast. Among the orchestral works that have been assigned important parts are Mozart's Sinfonía concertante and Richard Strauss's symphonic poem Don Quixote, both with a solo character, in addition to many others whose relationship it would be overly long.
Great composers, classics. Romantics and moderns, appreciating the highly emotional qualities of this instrument, have written very important works such as concertos, sonatas, suites, etc., which alone justify the presence of the concert viola player in audition rooms. The viola is an instrument of great importance in today's orchestra since it contributes to the fact that the sound between the bass instruments and the treble is not so prominent, in addition to having a really intermediate sound that balances the string sounds of the orchestra.
Relevant violists
- See Intérpretes de viola.
Selection of works for viola
- Sixth Concert of Brandenburg (Johann Sebastian Bach).
- Suites for rape alone (J. S. Bach)
- Concert for rape (Bela Bártok).
- Concert for rape in minor do (Johann Christian Bach).
- Harold in Italy (Hector Berlioz).
- Sonatas for viola or clarinet (Johannes Brahms).
- Two pieces (Bridge).
- Sonata n.o 12 «La follía», op. 5, n. 2 (originally for violin) (Arcángelo Corelli).
- In nomine (home to J. S. Bach) (Pascal Dusapin).
- Concert piece for viola and piano (George Enescu).
- Elegía, op. 44 (Glazunov).
- Sonata para viola y piano en re menor (Glinka).
- Les espaces acoustiques: prologue (Gérard Grisey).
- Sonata para viola da gamba (Haendel).
- Concert in the minor (Haendel).
- Der Schwanendreherfor rap and orchestra (Paul Hindemith).
- Meditation (Hindemith).
- Trauermusik (Hindemith).
- Three sonatas to rape alone and three with piano (Hindemith).
- Concert en re mayor (Hoffmeister).
- Concert in if bemol mayor (Hoffmeister).
- Fantasy for viola and piano (Hummel).
- Concert-Rapsodia to viola solo and small orchestra, 1996-1997 (David Johnstone).
- Choice to rape with piano or string orchestra, pub.2008 (David Johnstone).
- Sonatango, Sonata with influences of tango, to viola solo, pub.2007 (David Johnstone).
- Six nights, op. 186 (Kalliwoda).
- Romance oubliée (Liszt).
- Five old French dances (Marin Marais).
- Threesome for viola, clarinet and piano (Mozart).
- Concerting symphony, for violin, viola and orchestra (Mozart).
- Three suites, op. 131 (Max Reger).
- Sonata for piano and viola, op. 147 (Shostakovich).
- Sonata arpeggione (Schubert) (originally for arpeggione).
- Concert in do mayor (Schubert).
- Märchenbilder for rap and piano, op. 113 (Robert Schumann).
- Adagio and allegro, op. 70 (Schumann).
- Concert for rape (Stamitz).
- Don Quixote (Richard Strauss, he's got an important rap solo.)
- Trenodia (1989), Hypnosis (in another room) (2004) Astat (Haiku Nr. 7) (2008) for rape alone (John Maria Solare).
- Concert in the sun (Telemann).
- Sonata for the great rap (Paganini).
- Concert for rape (Walton).
- Sonatas for rape (Vivaldi).
- Capriccio rapes herself (Henri Vieuxtemps).
- Concertpiece (Hans Sitt).
- Phantom Fantasy (J. S. Bach).
- Concert for rape (Sofia Gubaidulina).
- Night for viola and piano op. 42 (Beethoven).
- Romance in fa mayor, sun greater op. 50 (Beethoven).
- Duet with two glasses required for rape and cello (Beethoven).
- Sonata for flute, rape and harp (Debussy).
- Sonata for viola and piano (José Pablo Moncayo).
- Concert for viola and orchestra in my major bemol (Carl Friedrich Zelter)