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You must be logged in to Tag Records. In the Library Request this item to view in the Library's reading rooms using your library card. Details Collect From N Order a copy Copyright or permission restrictions may apply. We will contact you if necessary. To learn more about Copies Direct watch this short online video. Need Help? The proliferation of composers writing for the viola, international competitions, string quartets and festivals, have had a dramatic affect on viola playing techniques, which in turn has led to many more fine violists.
At the higher levels viola technique today is as demanding as its closest violin relation. Whereas the violin pedagogy of technical repertoire spans three hundred years, original highly technical material for the viola has spanned less than a century. For the purposes of this website, and for further use of the Crabbers Scale Manuals, students should perhaps look into a few of the following areas to further their knowledge and inspiration. Of course there are the essential violin studies and caprices arranged for the viola of: Sevcik, Kayser, Kreuzter, Mazas, Rode, Fiorillo Gavinies and Paganini.
The arrangement of Dr. What he valued more was being sure that the instrument was a good fit for the student, and he encouraged students to buy instruments by modern makers because of how difficult it is to afford the older, great instruments. Tertis model viola. Tertis liked playing the larger violas but he was a man of small stature, and could not continue playing the large instruments constantly.
He was hoping to get a big sound while reducing the length of the instrument. Derek Vaughn wrote a letter to the Strad magazine in March that greatly upset Tertis. I remember Mr. Ironically, Tertis was constantly trying to talk composers into writing for the viola while at the same time ignoring works for the instrument by emerging composers.
The Walton viola concerto was rejected by Tertis, although later he says that mainly it was on the grounds that he was unwell at the time and did not feel confident he could manage the performance. Tertis disliked the Hindemith style of composition, and was rather in favor of transcribing works by classic composers, and he was known as an excellent arranger. Turning to Paul Hindemith in Germany we find a wealth of compositions for the viola that catapulted it into an entirely new realm, with such a great composer, performer, and powerful figure focusing attention on the instrument.
Hindemith often performed on the viola, and when Tertis was watching him premier the Walton concerto Rebecca Clark was a witness.
And he was playing with practically no vibrato. And in a way that was quite different from the way Tertis would have wanted to. William Walton loved the old romantic style of music, but perhaps because he was much younger than Lionel Tertis he had less trouble accepting new styles of composition. Distinguishing between the sound produced on a violin and a viola is how the viola really came into its own as a solo instrument.
Lionel Tertis was a fan of the larger violas because of this important sound, but he was a very small man with subsequently short arms, making it difficult for him to continue playing this size of instrument as he grew older. One of his solutions to this problem was to help develop a new model of viola, the Tertis-model, that was shorter but essentially broader, and followed more in the tradition of the Gasparo da Salo violas, rather than the Stradivari tradition.
Shetler 12 The upper register. Lionel Tertis was a pioneer for the upper register of the viola, fighting for its beauty and defending it to those who would insult it. As a student at the Royal Academy of Music in London he was trying to promote the upper register at every opportunity. For this account his own words tell the story best: In those days when it was the rarest thing to hear a viola solo, the upper range of the instrument was completely unexplored.
Players of that time rarely climbed higher than the second leger line in the treble clef! To counteract this neglect of the higher registers I resolved to give demonstrations to show the improvement in the quality of those higher tones that could be achieved by persistent practice in them. As a student at the R. The morning after my performance of the Mendelssohn, I met Alfred Gibson who was for a time the violist of the Joachim Quartet.
The viola is not meant to be played high up- that is the pig department! Another time at a party hosted by pianist Katherine Goodson for Hungarian composer Ernst von Dohnanyi, Tertis in conversation with Dohnanyi mentioned that he had performed his C sharp minor sonata just as written for violin on the viola.
The bow. William Primrose was not always concerned with the largest violas like Tertis was, but similar to Tertis he was concerned with specific technique for viola that differs from that of violin. The left hand technique is mainly different because of fingerings and the part of the finger that touches the string which is the pad more similar to cellists rather than the tip Dalton, I can teach almost anyone how to develop dexterity with the left hand in a reasonably short time, given intelligence and application on the part of the student.
The right hand is an entirely different can of worms. By that I mean the technique espoused by many where the hand, wrist, and arm levels are above the level of the stick itself. In my opinion, this represents tone being produced through pressure. Pressure and viola playing are immiscible Dalton, The violin is more responsive and that is why violinists can more easily get away with slightly overpowering the instrument, but the viola is quite different Dalton, Shetler 14 Primrose offers helpful advice to the violist and does the instrument a favor in general by encouraging the student not to waste time in mindless scale practice, but rather to start at the top of the scale, or the middle, or use etudes that are built of scales but also have some musical value.
In that way the student will spend his time more musically and perhaps will enjoy time spent practicing. He also says that while he was forced to play Sevcik for hours each day, whether he played the exercises poorly or not, that was during a time where discipline and family life was a different thing and you did things because you had to.
But now times have changed and as a result it is better to spend time in a more focused way and play only that technique necessary so that you can work on repertoire, because time is short Dalton, While there were other important players of the viola and composers of its music, these three were instrumental not only because of their efforts to play the instrument beautifully and in a way that produced a unique viola sound, but two of them, Tertis and Primrose, because they spent their entire and long lives promoting the instrument through touring through the Americas, teaching prolifically, forcibly convincing composers to write for the instrument and writing their own autobiographies to showcase the new and wonderful world of solo viola.
Paul Hindemith, while a great player; was such a towering figure in the world of music and composing that even having his name affixed to great compositions for the viola, not to mention their quality, gave a tremendous amount of credibility and individuality to the viola as a solo instrument. Lionel Tertis lived to be ninety-seven, and in the photograph that he had taken for his ninetieth birthday it shows him looking very spry and holding a large viola White, plate With such a great personality and fervor it seems any cause could be amply promoted, and it falls to the current generation to apply the same concentrated effort mixing talent with musicality, passion, love for people and teaching and learning, and a great enthusiasm for life and all things viola.
Primrose published many books on technique for violists and violinists alike, including Technique is Memory, The Art and Practice of Scale Playing on the Viola, and he collaborated with Yehudi Menuhin who wrote Violin and Viola. Primrose was tremendously influential as a soloist and exacted that influence over his home in England and Scotland as well as in America, which he later made his home BYU.
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