California State University, Northridge

The Transition from Violin to Viola

A thesis submitted in partial fulfillment of the requirements

For the Degree of Master of Music in Music, Performance

By

Brandon Encinas

May 2017

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The thesis of Brandon Encinas is approved: ____________________________ _____/_____/_____ Diane Roscetti Date: ____________________________ _____/_____/_____ Robert Berg Date: ____________________________ _____/_____/_____ Lorenz Gamma, Chair Date:

California State University, Northridge

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Table of Contents

Signature Page ii

Abstract iv

Chapter 1: Introduction 1

Chapter 2: A Brief History of the Viola 2

Chapter 3: Influential Composers 4

-Carl Stamitz 4

-Theodore Thomas 5

-Paul Hindemith 6

-Elizabeth Coolidge 7

-Ernest Bloch & Rebecca Clarke 7

Chapter 4: Violin and Viola Technique 9

-The right hand 10

-The left hand 14

-Colour and Timbre 20

Chapter 5: Employment Opportunities 23

Conclusion 25

Bibliography 26

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Abstract

The Transition from Violin to Viola

By

Brandon Encinas

Master of Music in Music, Performance

The viola has always been an instrument with an ambiguous history, and has been

somewhat misunderstood for nearly two centuries. For years, it was frequently mistaken for a

violin and never fully given its chance to flourish as one of the leading voices in the music world

like it is today. Around the end of the nineteenth and beginning of the twentieth centuries, the

viola began to pick up momentum, and would soon gain a foothold in the symphonic, chamber,

and solo work genres. Many of today’s master violists have been highly revered as great

violinists as well. Having seriously studied both the violin and the viola diligently, the distinct

differences between the two have become apparent. Although very similar, they differ

specifically in construction, technique, and musical interpretation. One who makes the decision

to transition from violin to viola must acquire an ever-more thorough awareness of the role for

which they are responsible in an ensemble setting. Violists are asked to be the most flexible of

the string instruments and there are many factors that play into this sense of alertness of which

they are demanded. As a violinist, this transitional philosophy has caused me to be more

cognizant as a musician in terms of what to listen for, and how to achieve a plethora of colours

and textures I never thought possible, all within the confines of having to weave vocal contrasts

between the violin and cello voices. I will explore the nuances of both violin and viola technique,

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pull from historic reference, as well as discuss interviews from other violinists who have

transitioned into working violists.

1

Chapter 1: Introduction

In Los Angeles there are a great many musicians who come from all over the world to

create a better life and pursue their passion in music and the arts. It was not until my own

relocation to Los Angeles county that I realized how vast the music business is. Upon my

constant networking and performances, one thing became very clear. Within Los Angeles, there

is a large number of competent and talented violinists; but much fewer violists. Even during my

undergraduate studies in violin performance, I found myself doing more work as a violist, simply

because I could read the clef and play the instrument decently. It wasn’t until I was ready for

graduate school that I seriously considered pursuing a degree in viola performance. With two

weeks notice, I changed my plan to audition for a masters degree in the viola rather than the

violin. I spent countless hours in the practice room doing my best to solidify some repertoire that

would be polished and ready for an audition. It wasn’t until practicing faithfully, however, that I

realized how different violin and viola truly are. After two years of seriously studying the viola,

I’ve concluded that, although similar to the violin, the viola is distinctly different in more ways

than one. The viola is different from the violin not just in size, but in touch, timbre, repertoire,

history, musical voicing, as well as in business. I will explore the nuance and uniqueness of the

viola by drawing from historical context, physical context, first hand accounts from professional

violists throughout the world, as well as personal experience.

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Chapter 2: A Brief History of the Viola

The history of the viola differs greatly from the violin. For one, it was notoriously

mistaken for the violin for a great number of years, and therefore, its history in Europe cannot

necessarily be traced accurately. Many think that the viola was modeled after the violin,

however, instruments such as the viola da gamba and viola da braccio have been around for

centuries, dating back as far as the fifteen-hundreds. The viola da gamba referred to an

instrument that would sit between the legs like the cello, and the viola da braccio referred to a

viol played on the arm. So rather than thinking of the viola as an instrument that derived from the

violin, one can look at the viola simply as an instrument that has changed and evolved from its

predecessors over time. Some of the first records of the viola are taken from household

inventories of wealthy families. Often these instruments would be classified under many

different names, such as: viol, tenor viol, tenor violin, large violin, large fiddle, etc. The problem

with names like the “large violin,” or the “large fiddle,” however, is that such inventories may

have only been referring to a violin.1 This perplexing issue raises many questions about the

viola’s true origins in Europe, making the first official sighting of the instrument regrettably

ambiguous.

A history of the viola can better be traced in America due to records of concert programs

and newspaper clippings. One of the first performances on record in the U.S. dates all the way

back to 1743 on Christmas day at a Monrovian worship service held in Pennsylvania.2 In this

particular case, the concert was programmed with the name, “viola da braccio,” which as we

know refers to the viol played on the arm. Monrovian settlements in the United States during

1 David M. Bynog, "The Viola in America: Two Centuries of Progress," Notes 68, no. 4 (2012): 730.

2 Ibid., 731.

3

theseventeen-hundreds can be credited for bringing the viola to the west. The Monrovians were

very musical people and founded the “collegio musica,” which were meetings of amateur

musicians.3 Many of them brought instruments and even made their own, in order to fulfill their

needs as a musical society. Other references such as advertisements for violas are also found

closer to the eighteen-hundreds. In 1852 for example, the viola appeared in an advertisement for

musical instruments in The Daily Dispatch in Richmond, Virginia. Among the other instruments

mentioned in the paper are “Clarionetts, Flageolets, and Fifes, etc”.4 It is recorded sightings such

as these that make the history of the viola in America more accessible and provide an idea of

when it began to become an instrument of interest in the United States.

Fig. 1 Advertisement in an issue of The Daily Dispatch, July 21, 1852.5

3 David M. Bynog, "The Viola in America: Two Centuries of Progress," Notes 68, no. 4 (2012): 734. 4 "Musical Instruments," The Daily Dispatch (Richmond, Virginia ), July 21, 1852. 5 Ibid.

4

Chapter 3: Influential Composers

For many years, the viola was used simply as a middle voice, and was never really

established as a solo instrument until much later. In Europe this movement towards using the

viola as a solo instrument began to take hold as early as the seventeen-hundreds. Some of the

biggest names in this movement are Carl Stamitz (1745-1801), Franz Hoffmeister (1754-1812),

Henri Vieuxtemps (1820-1881), Theordore Thomas (1835-1905), Béla Bartók ((1881-1945),

Paul Hindemith (1895-1963), Ernest Bloch (1880-1959), Rebecca Clarke (1886-1979) and

William Walton (1902-1983). These are just a few of the many gifted composers that helped

bring the solo viola repertoire to life. Although there were countless other composers who wrote

for viola, these important figures were the few that produced some of the most lasting effects.

Stamitz was one of the first of the European composers to bring the viola to the forefront

of solo works. Although there had been concertos and other solo pieces written for the viola

before, none had really lasted nor had attracted much attention in comparison to Stamitz’s Viola

Concerto in D Major, which is still considered a staple piece of the viola repertoire today.

Stamitz was very popular in his time and was knowingly adored and respected by much of the

public. There had been a few exceptions, however. Mozart for example, did not appreciate his

work. In a letter back home to his father he wrote, “Of the two Stamitz brothers only the one

{Anton} is here, the elder {Carl} (the real composer a la Hafender) is in London. They are

indeed two wretched scribblers, gamblers, swillers, and adulterers. {Letter of 9 July 1778}.”6

However, in the same year, Ernst Ludwig Gerber, German composer and pupil of J.S. Bach

wrote in his book, Historischbiographisches Lexikon der Tonkünstler,

6 Allan Badley, "HOFFMEISTER, F.A.: Viola Concertos," HOFFMEISTER, F.A.: Viola Concertos / STAMITZ, C.P.: Viola Concerto No. 1 (Victoria Chiang, Baltimore Chamber Orchestra, Thakar), , accessed April 14, 2017, https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572162&catNum=572162&filetype=About this Recording&language=English.

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“With what extraordinary art and facility he plays the viola! With what heavenly

sweet tone and cantilena he enchants our ears with his viola d’amour-and with

what fire and surety he plays the violin as Konzertmeister! Berlin, Dresden, many

capitals and large cities are witness of his prowess! And certainly would have

been long attached to one of the German courts, if this artist’s unusual dislike for

all connections of this sort had not stood in the way of his entering an orchestra.

Indeed, it is a great undertaking to live in Germany as a free artist. And he who

tries and wishes to succeed must not have any less art than Stamitz ... in his

relationships, as highly esteemed for his honorable and noble character, as for his

art.”7

Among artists of the time, opinions of him were greatly mixed. The negative however, did not

surpass the positive and popular public view of him during that time. The style of his concerto

for viola in D major is very classical in nature and as a violinist, reminds me of the standard

Mozart violin concerto in G major. They both serve as the entry level concerto for the musician

beginning a more serious attitude towards their respective instruments and are considered by a

majority of the music community to be necessities as part of the standard repertoire.

Theodore Thomas is another important name to know. Although he was essentially a self- taught

musician, he eventually would become a very successful composer and conductor, as well as one

of the most influential to the growth and popularization of the viola in America. Thomas’s early

works were mainly small chamber pieces; however, he is widely known for his compositions for

7 Allan Badley, "HOFFMEISTER, F.A.: Viola Concertos," HOFFMEISTER, F.A.: Viola Concertos / STAMITZ, C.P.: Viola Concerto No. 1 (Victoria Chiang, Baltimore Chamber Orchestra, Thakar), , accessed April 14, 2017, https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.572162&catNum=572162&filetype=About this Recording&language=English.

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larger arrangements. His composition, Divertissement, for viola and piano written in 1860,

required a very skilled performer with great technical ability.8 Although it was not so well

received at the time, it was one of the first pieces of Thomas’s that displayed his likeness to the

virtuoso viola. His name became very popular when, in 1863, he conducted and premiered

Hector Berlioz’s Harold in Italy for viola and orchestra. At the time, he used viola soloist

Edward Mollenhauer, but later would program Berlioz’s work much more by using several other

soloists. Thomas would eventually go on tour and program this piece, among many other works

that featured viola as a solo instrument. Such works include: Mozart’s Sionfonie Concertante in

E flat for violin, viola and orchestra, Bach’s Brandenburg concertos, Hans Sitt’s Viola concerto,

etc. Because Thomas frequently took the viola as a solo instrument on the road, it resulted in a

familiarization of viola throughout America. More amateurs began to take interest in learning to

play the viola for themselves and more books were soon published to address this new positive

attitude towards the instrument.9 With that said, Theodore Thomas can be considered to have

greatly influenced the viola in terms of aiding it to become as popular and as familiar as it has

become today. He was one of the first conductors to make the viola more widespread throughout

the United States and almost single-handedly dissolved a majority of the ambiguity associated

with the viola at the time.

Paul Hindemith, a German composer who lived from 1895 to 1963, also played an

important role in making the viola what it is today. In many ways, he is deemed one of the most

prolific composers for viola of the twentieth century, as he himself was a violist who understood

the capabilities of the instrument in an intimate way. As a violist myself, who has recently

worked on one of his pieces, I have come to believe that Hindemith is the one composer that

8 David M. Bynog, "The Viola in America: Two Centuries of Progress," Notes 68, no. 4 (2012): 739. 9 Ibid.

7

gave viola its own unique voice. His style is rhythmic, romantic and modern, energetic and

whimsical. Some of his most famous works include Der Schwanendreher for Viola and

Orchestra, and his viola sonatas especially are considered to be some of the most important

works for the viola solo repertoire. Soloist, Antione Tamestit, said in an interview with the Strad

Magazine, “If it hadn’t been for Hindemith in the first half of the twentieth century, there

wouldn’t have been such an extension of the viola repertoire in the latter half, or such and

understanding of the complete possibilities of viola technique. He gave the viola the chance to be

an individual instrument with its own world of colours.”10 Although Hindemith wrote for many

different genres: ballet, opera, orchestra, chamber ensemble, etc, he succeeded in featuring the

viola in nearly eleven of his compositions. As a violist himself, he truly understood the

instrument on a deep and profound level. He understood its capabilities and succeeded in

developing a unique approach to the instrument, which featured its strengths in ways that had

never been done before.

What eventually became a catalyzing factor in the history of viola was Elizabeth

Coolidge’s Berkshire Festival in 1919, featuring a composer’s competition. The requirements

were that the composition had to be for viola and piano, and each competitor was to remain

anonymous. Each composer would write a pseudonym in place of their name, to ensure that the

judges remained impartial to the identity for winner of the competition. In the end, there were

two finalists, Ernest Bloch and Rebecca Clarke. Ernest Bloch was a Swiss born American

composer, and Rebecca Clarke an English born American composer. The festival not only

sparked successful careers for each of them, but also put America on the map as the global

artistic center for viola. Bloch’s Suite for viola and piano became famous and well-known for its

10 Christian Lloyd and Peter Somerford, "Viola Visionary ," The Strad, December 2013, 67.

8

time, and Rebecca Clarke’s sonata for viola and piano became a staple piece that is still

celebrated by violists all over the world today.

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Chapter 4: Violin and Viola Technique

Although there has been progress on the familiarization of viola in the last century, there

are still many people who lack an understanding of its significance. Surprisingly, even a great

number of musicians simply mistake it for a bigger violin. However, the viola is a different

instrument entirely. Not only is it the one string instrument that exclusively uses the alto clef as

its primary language, but it also requires a different physical and philosophical approach in

comparison to the violin as well. The first mistake that people often make is to think that the

viola is bigger and has thicker strings, therefore, in comparison to violin, one must add pressure

from the bow, and press harder with the left hand to be more articulate. This is simply not the

case. From a personal perspective, playing the viola has prompted me to learn how to play with a

more relaxed grip from the left hand, and to create a sonorous tone with less pressure from the

right hand. Regardless of the instrument being played, it should be one’s goal to create a warm

and sonorous tone quality with relative ease. This can be achieved very similarly between the

violin and viola technique, only with a few minor adjustments.

Regarding violin technique, Ivan Galamian (1903-1981) is considered to be by many, the

most effective and influential violin pedagogue of his time. One famous joke that was often said

during his lifetime was that he was such a great teacher, “he could teach a chair how to play the

violin.”11 Considering his reputation, it would be important to consider what Galamian has to say

about tone and sound production on the violin, before relating it to the viola. According to Ivan

Galamian, “good tone production is dependent upon two things, the flexible spring like action of

the arm and bow, and the motion of the stroke at right angles to the length of the string.”12 These

11 Ivan Galamian, Principles of Violin Playing & Teaching - With a New Introduction by Sally Thomas (Dover .: Dover publications, 2013), vii. 12 Ivan Galamian, Principles of violin playing & teaching, 3rd ed. (Dover .: Dover publications, 2013), 45.

10

are just the basic fundamentals. Galamian talks about each joint in the hand, wrist and arm to be

like a set of springs that “react in much the same way as do mechanical springs.”13 Part of this

spring system is artificial, like the flexibility of the stick and the “resilience of the bow hair.”14

The rest is up to the musician to be flexible in the shoulder, arm, wrist and fingers. This is not to

say that sometimes these springs cannot be stiffened or firmed in order to achieve a specific

articulation. But it should be flexible to the degree that one can have a sense of ease when

bowing the instrument, while at the same time having the utmost control over the balance and

direction of the bow.

Outside of the basics, there are three main factors to tone production: speed, pressure, and

sounding point. The speed of the bow stroke is relative to the pressure of the bow into the string

and the sounding point. For example, more pressure into the string requires more speed,

otherwise the sound can seem choked. Less pressure typically means less speed. If one must

decrease in pressure with a constant speed, then the location of the sounding point must move

more toward the fingerboard. An increase in pressure with a consistent speed will require that the

sounding point be moved closer to the bridge.15

The second point in Galamian’s philosophy of good tone production has to do with the

pressure of the bow exerted onto the strings. This can be achieved from “either the weight of the

bow, weight of the arm and hand, from a controlled muscular action, or from a combination of

these factors.”16 Galamian compares the bow to that of a lever, in the sense that the weight of the

bow is lighter at the tip and heavier at the frog. Therefore, one must take this factor into account,

and in order to produce an even tone, must distribute the weight of the hand and arm into the tip

13 Ivan Galamian, Principles of violin playing & teaching, 3rd ed. (Dover .: Dover publications, 2013), 45. 14 Ibid. 15 Ibid., 55. 16 Ibid.

11

as it is being approached during a stroke. In Galamian’s own words, “what counts in tone

production is not just the amount of pressure used but, if one may so term it, the quality of the

pressure... it must not, under any circumstances take the effect as a dead weight, inelastic and

inarticulate, that would crush the vibrations of the string or, at best, produce a tone of inferior

quality.”17 To achieve a good tone one must be intently listening to the quality of the sound being

produced. Many of these issues can be ironed out simply by being aware and sensitive to that

goal. On the same note, pressure must be executed with the idea of the fundamentals in mind, the

spring system in the joints and the straight direction of the bow parallel to the bridge, for

example.

The word “pressure” should be used with caution. Pressure can sometimes imply pressure

with the fingers directly from the bow grip and can result in a general stiffness in the hand and a

straining of the muscles to push out sound. Rather, one should imagine the weight of the arm

being distributed from the dropping of the elbow below the string, being transferred directly

from the hand and into the stick. As one approaches the tip of the bow, that weight is seamlessly

transferred by the pronation of the hand into the stick. When returning to the frog the “springs”

in the hand retract and bring the center of balance back into the frog or center of the bow grip.

The relaxation and flexibility of the muscles in the hand allow for a continuity of sound that is

not choked, but rather more sonorous. Therefore, although one might feel that they are applying

less intense pressure from the hand into the stick, the reality is that, because of the smothering of

vibrations from too much intense pressure, the sound of the instrument is not heard as well as

one might think. It is the sonority of the vibrations that are ultimately heard more easily by the

human ear, and perceived to be more robust and full in sound and volume.

17 Ivan Galamian, Principles of violin playing & teaching, 3rd ed. (Dover .: Dover publications, 2013), 55.

12

Lastly, the sounding point also has much to do with the sound quality being produced.

The sounding point is a term Galamian uses to refer to the contact point of the bow to the string;

more specifically, the bow in relationship to the bridge. His philosophy is that the sounding point

doesn’t just change depending on the speed and pressure of the bow, but it also must be adjusted

according to the string being played as well the left hand position that is being utilized in a

particular moment.

“All that needs to be understood is the fact that on thinner strings the sounding

point is closer to the bridge than on thicker strings, and that in the higher positions

the sounding point is also closer to the bridge than in the lower position. This

means, of course, that with every change from one string to another and with each

shift of the left-hand position, the sounding point has to change, however slightly,

if the speed and pressure of the bow are to remain the same.”18

This might seem like a very cumbersome task to be given to a player who is also trying to sight

read and perform a piece all at the same time. However, this exercise is not meant to be trivial

but rather more intuitive. The prerequisite to this skill is that the musician must have a developed

ear, or at least a tasteful one in order to discern which tones are going to produce a higher quality

tone than others. One should be able to feel where his or her instrument opens and resonates best

with each stroke and left hand position. In the end, it is about musicality and artistic intuition

over an exact calculation of physics.

This same philosophy on sound production can be applied when a violinist is transferring

over to the viola. The goal is essentially the same, but the physical and technical means must be

adjusted in order to arrive to a similar outcome. Overall, the spring system is going to remain the

18 Ivan Galamian, Principles of violin playing & teaching, 3rd ed. (Dover .: Dover publications, 2013), 57.

13

same; that is basic. With that said, the concept of weight or pressure with the bow must be

evaluated in a slightly different light. Yes, the strings are thicker than those on the violin, so one

must direct more weight into the string to get the sonorous vibrations desired. One more

important factor in this philosophy is ultimately the start of each stroke. The violin is a very

sensitive instrument, and even the slightest movement of the bow against the string can be heard

quite clearly without much work from the musician. In comparison, the viola’s thicker strings

mean that the beginning each bow stroke will take slightly longer to resonate. It takes more work

in order to speak each note clearly. It is important not only be aware of this inherent difference

between the violin and the viola, but also to make the physical change of putting more muscular

weight from the hand into the string, at least for the start of the stroke. Once it is articulated, the

lasting weight from the arm into the bow can be relied on to carry the tone through.

In some ways, this makes it easier to fade into a note when playing on the viola. The

effect of fading into a string section from a piano dynamic marking, for example, becomes much

easier. The sounding point in general must be closer to the bridge. This is especially true for the

C string when playing a forte dynamic. Galamian’s philosophy for the violin, is that the thicker

the string, the further away the sounding point should be from the bridge. This concept, however,

contradicts the nature of the C string on the viola. The lowest and thickest string on the violin is

the G string, and is not quite the same. The C string on the viola is significantly thicker and

because of its sheer density, it cannot just be touched. It has to be pulled in such a way the start

of the bow stroke begins with a firm grip into the string, and is sustained all the way through,

almost as if fighting to prolong the vibrations of a pluck. Additionally, if one plays too close to

the fingerboard on the C string, the quality of the sound becomes unclear, and if played forte

away from the bridge, the vibrations of this string are so wide that the string can actually hit the

14

fingerboard or the next string over if one is not careful. The solution to this problem is to place

the sounding point much closer to the bridge to ensure that the vibrations are being directed as

sonorously as possible without worrying that the weight of the bow would force the string down

to hit the fingerboard before it even gets a change to ring out.

Another technique that must be adjusted when playing the viola is the left hand.

According to Galamian, there should always be two parts of the hand touching the violin at all

times. This allows the hand to establish a frame of reference when it comes to memorizing the

placement and distance between the fingers. In the first position, the inside of the thumb and the

lower part of the index finger are to be placed on either side of the neck. In regard to the thumb,

Galamian notes that there are two areas of the neck that it can be placed; this is either next to

where the first finger in first position is placed, or for those with smaller hands it is permissible

to place the thumb a bit higher in between the first and second finger.19

Fig. 2 Positioning of the hand with long fingers. 20

19 Ivan Galamian, Principles of violin playing & teaching, 3rd ed. (Dover .: Dover publications, 2013), 17. 20 Ibid.

15

Fig. 3 Positioning of the hand with short fingers.21

The left hand itself should be relaxed. The hand position is merely a placement, not a grip or a

clutch. The goal is to have the most natural hand position possible so as to have freedom in

articulating the left hand notes. In regard to the height of the thumb, from pictures of his hand

position, it’s safe to say that Galamian was under the school of thought that a violinists thumb in

first position should peek over, just lightly so that the tip of the thumb is slightly above the

fingerboard but not as far as past the first knuckle or joint. The idea behind this is that there is a

little bit of space underneath the neck, which allows for flexibility when needing to shift to

higher positions. When studying violin, my teacher spoke about different points of energy in the

left hand. The way he would describe it is similar to that of the spring system in the right hand.

There are just four digits, the very first knuckles on each finger that one should use to direct

energy into the string. Everything from the first digit down to the wrist must be flexible, almost

like gum. For the violin, this technique definitely works. It allows for subtleties in texture and

colour, and keeps the hand working loosely, so as to have a relaxed and more widened vibrato.

Some of these same philosophies are aimed toward the viola as well. However, each of

21 Ivan Galamian, Principles of violin playing & teaching, 3rd ed. (Dover .: Dover publications, 2013), 17

16

these goals in the left hand are achieved in a slightly different manner. Since the beginning of my

college years, I’ve had the opportunity to have lessons with several viola professors. What I

found was that each professor had similar goals in mind regarding the left hand, but each of them

approached the intent in a different way. The placement of the thumb, for example, can vary

from violist to violist. I’ve been told by a professor before in a lesson that I should try having a

higher thumb so that there is almost no space underneath between my hand and the bottom of the

neck. The idea is, that by raising the thumb, one cannot clench the neck between the thumb and

the index finger so easily. For those who have the tendency for unnecessary tension in the left

hand, this may be a good solution. However, changing the placement of the thumb also changes

the way the fingers are placed onto the fingerboard. Adjustments must be made by re-learning

the contact point of the index finger from the neck, in relation to the distance in the placement of

each finger in every left-hand position. This is not to say that all violists have this school of

thought, but it does exist.

Another matter for consideration when playing the viola, is the pressure that is exerted

into the string from the left hand. On the violin, we’ve already discussed the transfer of energy

being focused into the fingertips. This concept is adjusted slightly, and one should consider the

energy coming from all the way back to the base of each finger, rather than exclusively from the

tips. This concept involves a bit of imagination. One should imagine that a weight is attached to

a string and when the left arm is raised up in a playing position, that weight is tied to the bend of

the elbow which is pulling on the whole arm as one unit, down into the fingerboard. The weight

of the entire arm is now directed into the hand, pulling everything down with it. This allows for

more pressure to be directed down into the strings, without having to strain the forearm or the

joints in the hand. For some bigger violas, this method may prove to be quite useful. For smaller

17

violas, it may not be as necessary. Currently, my personal instrument is a 15 1⁄2 inch viola. Prior

to that, the viola I used measured to be about 16 3⁄4 inches. The smaller viola did not require

very much adjustment; however, the larger instrument did require the implementation of this

alternative concept to weigh down into the string. This brings up another point, that unlike violin,

there are many different sizes and models of the viola. Just by switching to a larger or smaller

viola means that the player must make the necessary adjustments. Although this can be true for

violin as well, viola requires this to be applied in more dramatic ways.

The viola also requires a greater efficiency in the left hand in comparison to violin. One

factor in particular that must be taken into consideration is the left-hand articulation. One can

imagine tapping a finger on a table. It can be tapped softly with a minimal click sound upon

impact, or the finger could be lifted slightly higher in the air before landing, in order to create a

more articulate tapping sound on the table. Often the viola may require a more present tapping

sound, but as soon as it contacts the string, the finger should relax and only keep the amount of

pressure needed to hold it in place. Violin is very similar, however, from personal observation, it

is generally not as necessary to have the same level of left hand articulation which is often

demanded from the viola. The strings on the viola are thicker and heavier, which require a more

direct placement of each finger.

Another component to left hand technique for viola is the amount of flesh that should be

applied to the string while playing. There are two parts to the top of each finger: the “tip,” which

is on the very top next to the fingernail, and the “pad,” which is the more fleshy part in the front

of the fingertip. Since half steps are closer on the violin in comparison to the viola, it is often

necessary to angle the fingers so that only the tips are touching the string. Many times, to achieve

an accurate half step on the violin, especially in the higher positions, the tips of the fingers are

18

pressed very tightly together. If one were to play only with the fingertips on the viola, it would

quickly become evident that there needs be a slight space between the fingers especially in first

position when playing half steps. In some ways, this makes intonation slightly more difficult

because there is more room for variants and nuance between each note. On the viola, it may be

more useful to use a little more of the pad when pressing down into the strings. The cushion from

the pad not only produces a nice warm tone, but also allows for a greater flexibility when

adjusting pitch for intonation.

Using more of the pad also impacts the effectiveness of vibrato. This is true for the violin

as well. When playing solo repertoire one should prefer a wider vibrato so that it will carry all

the way to the back of the hall. A very narrow and fast vibrato might only carry as far as the front

of the room. On the viola, a wider vibrato is often more necessary than not. Vibrato is created by

placing the finger at a centered pitch, and then rotating the finger back and forth in order to bend

above and below that center at a rapid frequency. Because the half steps are further apart on the

viola, this means that the finger must cover more surface area in order to successfully bend the

pitch to the point of creating a vibrato effect. The use of a flatter finger in this instance allows for

a more efficient execution of vibrato. There are also two types of vibrato used by string

musicians, wrist and arm vibrato. A wrist vibrato is a vibrato that is performed with the

movement of the wrist which helps to rotate a given finger when placed on the fingerboard. In

this technique, the arm and forearm are essentially still. The only part of the hand that is in

motion stems from the bottom of the wrist into the tips of the fingers. An arm vibrato achieves

the same effect; however, the rotation of the finger is directed by the movement of the entire

forearm going back and forth parallel to the neck of the instrument. In this technique, the wrist

stays in place. For violinists, one has more of a decision to make between the two. Violists have

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the same choice, however, from personal experience an arm vibrato in most cases has proven to

be far more affective. The movement of the wrist on its own typically does not provide enough

rotational motion to the tips of the fingers needed to produce a wide enough vibrato on the viola.

The half steps on the violin are so close that bending the pitch back and forth comes with greater

ease. But for the viola, a flatter finger and a greater motion directed from the arm is often

preferred.

As mentioned before, there is one factor to the viola that is not as much of an issue with

the violin. This factor is simply the size of the instrument. The issue of size is not relevant to the

violin because once an adult, there is only one size that professional violinists will play on. The

full-size violin measures to have a 14 inch back. The viola can range anywhere from 15 1⁄2 to 18

inches in length. Depending on the size of the instrument, the techniques discussed above may be

exaggerated more or less in order to reach one’s desired musical goals. Size also changes the

texture and timbre of the instrument. For example, for about one year I played on a size 16 3⁄4

sized viola, which projected very well, and had a very rich and dark tone. Sometimes in

recordings one could mistake it for a cello. Although I loved this instrument, it had a few key

problems. For one, as someone who goes back and forth from playing violin and viola on a

regular basis, the immediate adjustment of the spacing between the fingers for accurate

intonation was very difficult to achieve. Half steps on the violin can be air tight, but on the viola,

there is a slight space between the fingers when playing a half step. Additionally, it was very

difficult to maneuver around. I could never shift fast enough or accurately enough. I also found it

difficult to play softly, and blend in with the rest of the orchestra and my quartet groups. This

instrument had a great and powerful sound, however, it wasn’t for me. It was more of a soloist’s

instrument that projected to the very back of the hall with ease. When I finally switched to the

20

smaller 15 1⁄2 sized viola that I currently use, I was amazed by how confidently and musically I

could play. It is not necessarily the size of the instrument that matters, as much as it is to find the

size that fits the musician well enough to allow them to fully and freely express themselves

without restraint. For some, that might mean a smaller instrument, and for others that might

mean a larger one. As soon as I switched I noticed that I could blend more easily with my quartet

groups, I could suddenly play softer and louder with more confidence, and I was able to express

musical nuances that were never possible for me on the larger instrument.

Another factor that is affected by the size of a viola is the timbre of the instrument. A

smaller viola tends to have a softer, less penetrative voice. The larger violas tend to have a more

powerful sound, more dark and bold. If one were to put it in terms of wine, the larger viola

would be the bold dark red-blend, while the smaller viola would be more like the subtle flavors

in a merlot or rosé. In an interview with WRTI radio station, Philadelphia Orchestra principal

violist Choon-Jin (C.J.) Chang, described it in this way, “Violas can range anywhere from 15 1/2

to 17 1⁄2, sometimes 18 or over 18. I used to use a 17 inch viola and it was very hard to get

around. Smaller violas sound more like a contra-alto more than a tenor.”22 Chang’s current

instrument is a model of William Primrose’s Guarneri, measuring approximately 16 1⁄4 inches in

length. Primrose’s Guarneri is said to have a lighter tone in comparison to many other violas.

Although 16 1⁄4 inches is still quite a large instrument, it further proves how personal the issue of

size can be. Even for highly-revered violists such as Choon-Jin, there is a such thing as too big. It

is important that when switching from violin to viola, one is sensitive to this issue and does not

immediately turn to the biggest instrument available only for the sake of playing on a large viola.

William Primrose (1904-1982) was one of the world’s most successful and prolific

22 "The Special Tone of the Viola," interview by Susan Lewis, Www.wrti.org, March 13, 2017, , accessed April 7, 2017, http://wrti.org/post/special-tone-viola.

21

violists of his time. Although he was also a professional violinist, he was very well known for his

solo virtuoso viola performances. He was another important figure who preferred the contra-alto

sound. Apparently in his early years, he was told that his playing was too “violinistic” to make a

career as a viola soloist.23 Obviously, he proved whoever told him that to be wrong. “From the

start of his recording career as a violist in 1935, Primrose challenged perceived ideas of how a

viola should behave, playing Paganini’s Caprices and other virtuoso works. Above all, he

released a kaleidoscope of colours from the viola, especially from the middle two strings, the

most evocative and haunting register of the instrument.”24 His first viola was his father’s Amati,

which had a large and dark sound. That viola measured to be just a little over 15 1⁄2 inches in

length. Ironically, later in his career, he switched to a larger 16 1⁄4 inch Guarneri viola which

was said to have a lighter tone similar to that of a “mezzo soprano.”25 One could argue that this

might’ve been Primrose’s preference simply because he was a violinist and leaned more towards

the lighter tone of the Guarneri, however, there is something to be said about the variety of

colours offered in a more mezzo-soprano sounding viola, that is simply not found on the darker

and more robust sounding instruments. It is interesting to note, however, that both Chang and

Primrose were at one time great violinists, who found satisfaction in eventually starting careers

in viola. Both seem to prefer the lighter tone rather than the tenor sound of the Amati or other

larger instruments. This kind of decision in size does not exist for violinists. Of course, every

violin is different and offers a multitude of unique characteristics, but generally not at the same

level when comparing two violas between different makers and sizes.

The repertoire for viola also differs greatly to that of the violin. Many are attracted to the

23 Tully Potter, "William Primrose and his violas," Tarisio, June 20, 2012, , accessed April 14, 2017, https://tarisio.com/cozio-archive/cozio-carteggio/william-primrose-and-his-instruments/. 24 Ibid. 25 Ibid.

22

sound of the violin because it is almost always featured, even in an orchestral setting or chamber

setting. The repertoire is endless and offers a wide range of character. Some of the staple pieces

for violin are complete masterpieces that feature the violin in ways that no other instrument

really could; Max Bruch’s violin concerto in G minor for example, or his Scottish fantasy, the

Mendelssohn violin concerto in D minor, the Sibelius concerto, etc. All of these works are only

the beginning of a long list of repertoire for the violin that give it its unique presence as an

emotionally dramatic voice in the world of string instruments.

In comparison to the violin, repertoire for the viola varies greatly and it is associated less

with major masterpieces like a Mendelssohn or Bruch concerto. Some of the staple pieces tend to

be more twentieth century, impressionist, chromatic, etc. In many ways, this type of repertoire

fits the violas personality very well. It is still considered by many to be sort of the misfit of the

orchestra, sitting in between the cello and the violin. It is not surprising that there are so few

serious violists. Nevertheless, this sort of unorthodoxy and awkwardness of the viola fits with the

exotic and avant-garde repertoire written for it. Pieces like Rebecca Clarkes viola sonata, Bloch’s

Suite for viola and piano, Hindemith’s viola sonatas, Bartok’s viola concerto, etc., all exemplify

an attitude of exoticism and unorthodoxy in music when compared to the romantic voices of

major violin works. Viola virtuoso and professor at Moscow Conservatory, Yuri Bashmet,

explains it like this, “on the relationship between the violin and viola, the violin [is] more

dramatic, but the viola more philosophical. He described the peculiar sound of the viola as the

‘sound of the cosmos.’ The viola is not male and not feminine, it is simply beauty. While some

describe the viola as an ‘instrument between the violin and the cello,’ the viola is for him the

central instrument, the others are around the viola.”26

26 Mascha Seitz, "Music for Viola - The web music directory for Viola," Music for Viola - The web music directory for Viola, 2017, , accessed April 08, 2017, http://www.music4viola.info/Bashmet1?l=en.

23

Chapter 5: Employment Opportunities

Aside from the physical and musical differences between the violin and the viola, there is

also one other issue that is often neglected when comparing the two. This is the issue of

employment. As a violinist who decided to transition into viola, it is from a first-hand account

that I can say there are far more opportunities for a violist to make a living than there are for

violinists. This is most likely due to the high demand for violists in comparison to the minimal

numbers of serious violists available to take jobs. From a simple numbers standpoint, there are

typically 12-15 seats for violinists in a large professional orchestra. For viola, there can be

anywhere from 5-8 seats available in an orchestra. If one can play both the violin and the viola,

their chances of being hired are now 1 to 23 rather than 1 to 15 or 1 to 8 at best. Why is there

such a shortage of good violists around? There are many ways to answer this question. One

reason is that the viola is often too big to introduce to young musicians who would not be able to

physically play the instrument without straining their bodies. Therefore, many young musicians

are forced to choose between the violin or the cello and double bass. Even fewer of those young

musicians go on to pursue a professional degree in music, and choose instead to study other

fields of interest unrelated to music. There is also a joking attitude towards the viola that is often

expressed as an undesirable, or step child instrument of the orchestra. “Dan Neufeld, a busy L.A.

studio violist, says: ‘Very often, you'll be introduced to somebody and you say, 'I play the viola,'

and the next time they see you they'll say, 'How's the cello?' The mind says it's a stringed

instrument and it's not the violin.’ Another frequent comment, he says, is ‘Gee, I go to the

symphony all the time, and I've never seen a viola.’”27 In many ways this joking attitude is also a

27 Constance Meyer, "Violas: They're hardly second string," Los Angeles Times, December 12, 2004, accessed May 7, 2017, http://www.latimes.com/entertainment/arts/la-ca-violas17-2009may17-story.html.

24

blessing as much as it is a curse. There is a subconscious or even conscious awareness of young

musicians that must encounter this kind of scrutiny when deciding to transfer from violin to viola

at a young age. Many young people would rather avoid dealing with it altogether. The blessing

comes in the fact that it opens up doors for the fewer serious violists who come into an already

competitive music industry looking for more job opportunities. There is always a need for a good

violist.

25

Conclusion

Through the years, the viola has often been misunderstood and not necessarily recognized

as one of the most important voices of the string sections. Although very similar to the violin and

the cello, it has taken centuries for it to fully embody its own unique voice and to be granted the

respect and reputation it holds today. It is responsible in upholding a very diverse and dynamic

voice, which requires a musician that is flexible and intently conscious of his or her surroundings

in order to be successful at maintaining a fulfilling career in the music workplace. When

transitioning from the violin to the viola, a musician must not only note the similarities between

the two instruments, but must also recognize their differences, and how those differences can be

transformed into strengths.

26

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