JAVS Summer 2021

Chamber Music

The Viola-Guitar Duo Performance Considerations and Repertoire By Bill White and Elizabeth White

The combination of viola and guitar creates a certain kind of magic. Both instruments share similar ranges and can fluidly switch between being a lead and accompanimental voice. The guitar gives the viola freedom to explore it’s quieter side, to not always push to project, and the viola provides the guitar with rich timbral support. There is a respectable collection of high-quality original music for this duo if one does some digging. This article spotlights this special combination, offers some considerations for playing together, and serves as a resource for finding repertoire. Since little has been written about the viola-guitar duo, we interviewed performers who regularly play this music to shine a light onto this unique ensemble. These interviews are compiled in Elizabeth White’s DMA document, “The Viola-Guitar Duo: Analysis and Performance Considerations of Gilbert Biberian’s Folklore III .” 1 All of the quotations in this article are from this document. Interviewees for this project include: • Gilbert Biberian, composer and guitarist, wrote Folklore III for viola and guitar • Carlos Boltes, violist for the Alturas Duo • Alfonso Aguirre Dergal, guitarist for Duo Ditirambo • Nicholas Goluses, Professor of Guitar at the Eastman School of music, has recoded and performed with violists Philip Ying and George Taylor • Noelia Gómez González, violist for Duo Ditirambo • Scott Hill, guitarist for the Alturas Duo • Christopher Kenniff, guitarist of the former Duo Fresco

topic will be presented with advice to both the violist and guitarist.

Balance

In terms of the balance and blend between the instruments, Gilbert Biberian offered a succinct summary:

The two instruments are extremely compatible. The lower pitch of the viola sits well with the register of guitar, which is velvety, but they don’t cancel each other out, this is the thing. They are velvety, or they are both capable of velvet textures, but they don’t cancel each other out, which is fantastic. The viola and guitar are particularly well matched and, with a few considerations, an even balance can be achieved. The guitar is naturally a quieter instrument and guitars and guitarists vary greatly in their projection capabilities. The degree to which balance might become a problem will depend on the tendencies of the individual violist and guitarist. This seeming issue is also a great opportunity. Playing in a viola-guitar duo challenges both musicians to develop their technique to be more expressive and play with power and sensitivity. This transforms an issue into an opportunity for musical growth, into something that can benefit both musicians. Regarding the viola, Nicholas Goluses advises violists to “explore quiet colors.” This is an opportunity not often afforded violists in other chamber ensembles. The guitar gives the violist space to explore their instrument’s quiet side and opens the door to new sound worlds. Noelia Gómez González found that this exploration gave her new options which informed and elevated her playing outside of the duo. Gómez González’s duo partner and

Their advice fell under four categories: balance, intonation, performance set-up, and repertoire. Each

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

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