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A viola shown from the front and the side
A viola shown from the front and the side

The viola (/viˈoʊlə/ vee-OH-lə,[2][3] also UK: /vaɪˈoʊlə/ vy-OH-lə,[4][5][1] Italian: [ˈvjɔːla, viˈɔːla]) is a string instrument that is bowed or played with varying techniques. It is slightly larger than a violin and has a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth above) and the cello (which is tuned an octave below).[6] The strings from low to high are typically tuned to C3, G3, D4, and A4.

In the past, the viola varied in size and style, as did its names.

The viola was popular in the heyday of five-part harmony, up until the eighteenth century, taking three lines of the harmony and occasionally playing the melody line. Music for the viola differs from most other instruments in that it primarily uses the alto clef. When viola music has substantial sections in a higher register, it switches to the treble clef to make it easier to read.

The viola often plays the "inner voices" in string quartets and symphonic writing, and it is more likely than the first violin to play accompaniment parts. The viola occasionally plays a major, soloistic role in orchestral music. Examples include the symphonic poem, "Don Quixote", by Richard Strauss, and the symphony, [[LINK|lang_"en|Harold_en_Italie|Harold en Italie"]], by Hector Berlioz. 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 and William Primrose. English composers Arthur Bliss, York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten, Rebecca Clarke and Ralph Vaughan Williams all wrote substantial chamber and concert works. Many of these pieces were commissioned by, or written for Lionel Tertis. William Walton, Bohuslav Martinů, Toru Takemitsu, Tibor Serly, Alfred Schnittke, and Béla Bartók have written well-known viola concertos. Paul Hindemith, who was a violist, wrote a substantial amount of music for viola, including the concerto, "Der Schwanendreher". The concerti by Béla Bartók, Paul Hindemith, Carl Stamitz, Georg Philipp Telemann, and William Walton are considered major works of the viola repertoire.

Form


The viola is similar in material and construction to the violin. A full-size viola's body is between 25 mm (1 in) and 100 mm (4 in) longer than the body of a full-size violin (i.e., between 38 and 46 cm [15–18 in]), with an average length of 41 cm (16 in). Small violas typically made for children typically start at 30 cm (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.[7] Unlike the violin, the viola does not have a standard full size. The body of a viola would need to measure about 51 cm (20 in) long to match the acoustics of a violin, making it impractical to play in the same manner as the violin.[8] For centuries, viola makers have experimented with the size and shape of the viola, often adjusting proportions or shape to make a lighter instrument with shorter string lengths, but with a large enough sound box to retain the viola sound. Prior to the eighteenth century, violas had no uniform size. Large violas (tenors) were designed to play the lower register viola lines or second viola in five part harmony depending on instrumentation. A smaller viola, nearer the size of the violin, was called an alto viola

Several experiments have intended to increase the size of the viola to improve its sound.

One of the most notable makers of violas of the twentieth century was Englishman A. E. Smith, whose violas are sought after and highly valued. Many of his violas remain in Australia, his country of residence, where during 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 problems associated with playing the viola by making it shorter and lighter, while finding ways to keep the traditional sound.

Other experiments that deal with the "ergonomics vs. sound" problem have appeared.

Method of playing


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.[13]

  • The viola is held in the same manner as the violin; however, due to its larger size, some adjustments must be made to accommodate.
  • The viola is generally strung with heavier strings than the violin.[14] This, combined with its larger size and lower pitch range, results in a deeper and mellower tone.
  • The viola's bow has a wider band of horsehair than a violin's bow, which is particularly noticeable near the frog (or heel in the UK). Viola bows, at 70–74 g (2.5–2.6 oz), are heavier than violin bows (58–61 g [2.0–2.2 oz]). The profile of the rectangular outside corner of a viola bow frog generally is more rounded than on violin bows.

Tuning


The viola's four strings are normally tuned in fifths: the lowest string is C (an octave below middle C), with G, D and A above it. This tuning is exactly one fifth below the violin,[15] 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 fine tuners, that make finer changes. These adjust the tension of the string via 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, though pegs and adjusters are usually used together. Adjusters work best, and are most useful, on metal strings. It is common to use one on the A string, which is most prone to breaking, 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.

The tuning C–G–D–A is used for the great majority of all viola music.

Organizations and research


A renewal of interest in the viola by performers and composers in the twentieth century led to increased research devoted to the instrument.

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, during which several other national chapters of the IVS published respective newsletters. The Primrose International Viola Archive at Brigham Young University houses the greatest amount of material related to the viola, including scores, recordings, instruments, and archival materials from some of the world's greatest violists.

Music


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. The trombone occasionally uses 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. The alto clef is defined by the placement of C4 on the center line of the staff. In treble clef, this note is placed one line below the staff and in the bass clef (used, notably, by the cello and double bass) it is placed one line above.[16]

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 alto clef.

In early orchestral music, the viola part was usually limited to filling in harmonies, with very little melodic material assigned to it. When the viola was given a melodic part, it was often duplicated (or was in unison with) the melody played by other strings.

The concerti grossi, "Brandenburg Concerti", composed by J. S. Bach, were unusual in their use of viola. The third concerto grosso, scored for three violins, three violas, and lower strings with basso continuo, requires occasional virtuosity from the violists. The sixth concerto grosso, "Brandenburg Concerto No. 6", which was scored for 2 violas "concertino", cello, 2 violas da gamba, and continuo, had the two violas playing the primary melodic role.[17] He also used this unusual ensemble in his cantata, Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 and in Mein Herze schwimmt im Blut, BWV 199, the chorale is accompanied by an obbligato viola.

There are a few Baroque and Classical concerti, such as those by Georg Philipp Telemann (one of the earliest viola concertos known), Alessandro Rolla, Franz Anton Hoffmeister and Carl Stamitz. Hector Berlioz's, "Harold in Italy

The viola plays an important role in chamber music. Mozart used the viola in more creative ways when he wrote his six string quintets. The quintets use two violas, which frees them (especially the first viola) for solo passages and increases the variety of writing that is possible for the ensemble. Mozart also wrote for the viola in his, "Sinfonia Concertante", 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 explores 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 solo in his other work, In the South (Alassio), the pas de deux scene from Act 2 of Adolphe Adam's Giselle and the "La Paix" movement of Léo Delibes's ballet Coppélia

Gabriel Fauré's Requiem was originally scored (in 1888) with divided viola sections, lacking the usual violin sections, having only a solo violin for the Sanctus. It was later scored for orchestra with violin sections, and published in 1901. Recordings of the older scoring with violas are available.

While the viola repertoire is quite large, the amount written by well-known pre-20th-century composers is relatively small.

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, Béla Bartók, Miguel del Aguila, and Rebecca Clarke 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 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. Miguel del Aguila wrote a viola concerto (Concierto en Tango) and several chamber works including Silence for viola and piano, Submerged for viola, flute, harp and Disagree! for viola, clarinet and piano. 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 Italian composer Alessandro Appignani dedicated to the viola two concerts, a suite and some songs. 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. Neo-Romantic, post-Modern composers have also written significant works for viola including Robin Holloway Viola Concerto op.56 and Sonata op.87, and Peter Seabourne a large five movement work with piano, Pietà.

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, Imagine Dragons, folk duo John & Mary, Flobots, Beethoven's 5th, British Sea Power, 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 bowed string instruments in contemporary popular music.

Although not as commonly used as the violin in folk music, the viola is nevertheless used by many folk musicians across the world.

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 G3–D4–A3 (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").

Performers


There are few well-known viola virtuoso soloists, perhaps because little virtuoso viola music was written before the twentieth century.

Among the great composers, several preferred the viola to the violin when they were playing in ensembles,[19] the most noted being Ludwig van Beethoven, Johann Sebastian Bach[20] and Wolfgang Amadeus Mozart. 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 composers and violists Kenji Bunch, Scott Slapin, and Lev Zhurbin have written a number of works for viola.

Electric violas


Amplification of a viola with a pickup, an instrument amplifier (and speaker) and adjusting the tone with a graphic equalizer can make up for the comparatively weaker output of a violin-family instrument string tuned to notes below G3. There are two types of instruments used for electric viola: regular acoustic violas fitted with a piezoelectric pickup and specialized electric violas, which have little or no body. While traditional acoustic violas are typically only available in historically used earth tones (e.g., brown, reddish brown, blonde), electric violas may be traditional colors or they may use bright colours, such as red, blue or green. Some electric violas are made of materials other than wood.

Most electric instruments with lower strings are violin-sized, as they use the amp and speaker to create a big sound, so they don't need a large soundbox.

Instruments may be built with an internal preamplifier, or may put out a unbuffered transducer signal. While such 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. In rock and other loud styles, the electric viola player may use effects units such as reverb or overdrive.

Audio examples


See also


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