JAVS Fall 1991

5

On Viola Technique by Maurice Vieux

Editor's note: This is a translation of the following article which appeared in a Freru.:hjoumQ1 in 1928. (translation by Rick Anderson) Viola "technique," in the proper sense of the term, is a recent development. In the past it was completely dependent on violin technique, which for several centuries prescribed its own methods, with no thought of adaption. Certain 18th century masters, dissatisfied with the oral transmission of playing technique which, at the time, was the basis of traditional violin teaching, had decided to establish once and for all the knowledge that progressive observation would allow them to reveal to their students. Montclair, around 1712, was one of the first to do so: he took daily note of the ideas and methods his professional experience suggested to him, then classified them in progressive order, including with them appropriate exercises. His undertaking served as the basis for the work of those who followed. Thus violin methodology and study were born. The viola was not so favored until much later; for some time, if a work contained a viola part it was played by a second violinist, who would yield to necessity by setting aside his preferred instrument in favor of the viola. The viola was not frequently used as a solo instrument. Such playing opportunities as those afforded by Schumann, for instance, can hardly be considered, since his Marchenbilder was practically ignored and eventually sank into oblivion. Though not difficult, this piece was limited to the middle register of the instrument, never reaching the high positions. But the laws of nature must be satisfied, and since necessity is the mother of invention, 20th century compositions required the training of violists capable of rivaling their favored ancestors, the violinists. The development of contemporary viola works created insurmountable difficulties; a formal viola methcx:l was necessary. The Paris Conservatory opened its doors, and the first viola class was established. As a result, the viola became a truly expressive voice and rose to the higher spheres of virtuosity in the orchestra. Delivered from its apprenticeship to the violin, the viola gained in stature and voice. Today, luthiers are establishing a new framework for the viola-a rational one, which is no longer affected by the condescending attitude of other instrumentalists. The sound, mechanics and technique of the viola belong to it alone. Its bow is specially weighted. To obtain the correct extension of the left hand, the thumb must execute subtle adjustments of position and movement. Its longer, denser strings require a more vigorous and wholly unique bowing approach; the grip between the thumb and forefinger of the right hand must be somewhat modified. These considerations do not represent a radical departure from violinistic practice, but are significant nevertheless. The execution on the viola of a bowstroke identical to that on the violin often requires adjustments in the left hand, and when the player is struggling with chromatics, the problem is compounded. The viola's larger intervals and greater stopping pressure require a somewhat modified chromatic technique; for perfect clarity it is best to finger each note-or in other words use a "diatonic" execution (Le. without sliding) of the chromatic passage. If we were to open a modem score at random, looking at each line of music, we would see similar melodic lines written for each type of stringed instrument. Difficult passages pass indiscriminately from one instrument to another, altered only where they would otherwise be utterly unplayable. The viola is no longer the "poor cousin" of the orchestra, relegated to the musical background. Its unique characteristics give it the right to be heard and to take part in musical discourse on the same level as its associates. Moreover, the viola shoulders its responsibilities well, and today all large and small orchestras are equipped with top.. rate players who rival the best trained violinists. The problem of furnishing theatre and symphony orchestras with excellent violinists has been resolved; we must now envision the viola's role as a virtuoso instrument. Are its voice and eloquence capable of captivating audiences? Indeed, experience has already shown conclusively that it can; we must continue to explore the possibilities. The fairly narrow viola repertoire already includes several important works, and the