Violin- an instrument that is called both the “queen of instruments” and the “queen of the orchestra.” A huge number of works have been written for solo violin and accompanied by orchestra, even musical notation begin by studying the clef, called the treble clef.
Alto, although it is a close relative of the violin, does not receive such attention. Most often it is perceived simply as a large violin, and not as an independent instrument. For a long time, the viola was the “loser violin”; it was believed that if a violinist showed no promise, he could be retrained as a violist. IN Lately viola became popular, they really appeared talented musicians, drawing full houses.
The appearance of the violin is quite vague. Let's dwell on one of the generally accepted versions: the ancestors of both the violin and the viola were stringed instruments called viols. They differed from the violin in that they had more flat shape, six or seven strings, and played them with the instrument resting on the knee. In the sixteenth century there was already a clear division into two families: viols and violins. But some researchers argue that the first in the violin family were not violins at all; they appeared a little later, but violas. They were the first to be introduced into orchestras and gradually began to replace the quiet-sounding viols.
Structure
The violin belongs to the high register strings and consists of a body and a neck. The body is two decks connected by strips of wood, shells. Inside the case there is a damper that transmits vibration between the decks. A headstock is attached to the top soundboard, onto which the strings are attached. On one side, the neck is attached to the body, its lower part is attached to the neck, which passes into the head of the violin. The neck has special holes for pegs, which are used to tune the violin.
Externally, a viola can easily be confused with a violin: soundboards, neck, four strings. But it is significantly larger than the body of a violin, from 385 to 445 mm, and the neck is also longer. This instrument is more massive than a violin. And the musician who plays this instrument must also be of a fairly strong build and have strong hands.
Sound
The violin is a four-string musical instrument tuned in fifths. The sound of a violin is influenced by the smallest details: material of manufacture, varnish, symmetry. The violin's sound range is from small octave G to A fourth.
The viola sounds a fifth lower than the violin. The range of this instrument is from C small octave to E third octave. The notes for this instrument are written in a special alto clef, but can also be in the treble clef.
Conclusions website
- The viola and violin have a similar structure, but the viola is much larger in size and has an elongated neck.
- The viola is not taught to play from childhood, like the violin. To play the viola you need a person with strong hands, so people switch to this instrument in adulthood.
- The viola is tuned a fifth below the violin.
Musical instrument: Viola
At first glance, this string instrument an uninitiated listener can easily confuse it with a violin. Indeed, apart from the sizes, they are similar in appearance. But you just have to listen to its timbre - the difference is immediately noticeable, a chesty and at the same time surprisingly soft and slightly muffled sound, directed inward, reminiscent of a contralto - soft and expressive.
When they think about string instruments, the viola is usually forgotten in favor of its smaller or larger brothers, but the rich timbre and interesting story make you take a closer look at it.
The viola, so to speak, is a philosopher’s instrument, without attracting attention to itself, it modestly settled down in the orchestra between the violin and cello.
Sound
Languid, eloquent, noble, velvety, sensitive, powerful, and sometimes veiled - this is how one can describe the varied timbre of the viola. Its sound may not be as expressive and bright as that of violins, but much warmer and softer.
The colorful timbre coloring is the result of the varied sound of each string of the instrument. The lowest C string has a powerful, resonant, rich timbre that can convey a feeling of foreboding and evoke dark and gloomy moods. And the upper “A”, in sharp contrast to the other strings, has its own individual character: soulful and ascetic.
Game techniques
Do you know how much effort playing the viola requires? Its large body plus the length of the neck require considerable strength and dexterity from the musician, because playing this instrument is difficult even physically. Due to the large size of the viola, playing technique is somewhat limited compared to the violin. The positions on the fretboard are further away, which requires a greater stretch of the fingers of the performer's left hand.
The main technique of sound production on the viola is “arco” - moving the bow along the strings. Pizzicato, col legno, martle, detaile, legato, staccato, spiccato, tremolo, portamento, ricochet, harmonics, use of mute and other techniques that violinists use are also available to violists, but require a certain skill from the musician. One more fact should be paid attention to: violists, for the convenience of writing and reading notes, have their own clef - alto, however, they must be able to read notes in the treble clef. This causes some difficulties and inconveniences when playing from sight.
Viola training in childhood impossible, since the tool is large. They start studying it in the last grades music school or in the first year of music school.
A hollowed-out wooden trough covered with a flat plate, three strings, a bow-shaped bow tied at the ends with a tuft of hair from a horse's tail - this folk instrument Slavic origin became the ancient ancestor of the modern violin, one of the main instruments of a symphony orchestra.
Violin and viola.
Two or three performers, and have already sounded on outdoors catchy dance tune. Itinerant musicians, wandering from city to city, from country to country, played folk violins at fairs. And they still sound in the villages of Belarus and the Smolensk region folk ensembles from two violins.
Bowed instruments have been known in Rus' for a long time. In the north tower St. Sophia Cathedral in Kyiv, built in the 11th century, there is a fresco depicting a musician playing a bowed instrument. The performer holds it at his chin, like a violin.
But she was not allowed into the palaces, where the muffled voice of the viola sounded. For the first time, the violin entered the orchestra only in the “stable choir” - the orchestra that accompanied the royal hunt.
The first violins appeared in France and Italy at the beginning of the 16th century. Soon they began to be made throughout Europe. But Italy was famous for its best violins, which gave the world outstanding violin makers: N. Amati, A. Guarneri, A. Stradivari. Their violins, made from well-dried, varnished maple and spruce plates, sang more beautifully than the most beautiful voices. The instruments created by the hands of these brilliant wizards were played and are still played today. outstanding violinists peace.
The violin has 4 strings, each of which has its own unique sound color. The top one is brilliant and bright, the two middle strings have a more gentle, poetic tone (the third is more intense, the second is soft), and the lower one - the “bass” - has a rich timbre and strength. The technical capabilities of the violin are great: it is the most mobile and flexible instrument among the bowed instruments. The techniques of playing it were improved along with the art of individual virtuosos. The Italian N. Paganini especially greatly expanded the capabilities of the instrument. Many wonderful violinists subsequently appeared, but no one could surpass him. And yet the Belgian A. Vietan, the Pole G. Wieniawski, the Hungarian J. Joachim, the Spaniard P. Sarasate each in their own way managed to touch new strings of the violin’s heart. “Legend”, polonaises and mazurkas by Wieniawski, “Gypsy tunes” by Sarasate are still popular among listeners.
Wonderful works for the violin were created by A. Vivaldi, J. S. Bach and W. A. Mozart, L. Beethoven and J. Brahms, P. I. Tchaikovsky and A. K. Glazunov.
And in the 20th century. E. Isay, F. Kreisler, J. Heifetz, I. Menuhin, I. Stern, M. B. Polyakin captivated the audience with their virtuosity and colorful playing, penetration into expressive capabilities violins. Their art inspired composers to write new concerts, sonatas, and plays.
Creative friendship connected D. F. Oysgrakh with S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian. Oistrakh was an outstanding interpreter of their works, many of which were dedicated to him. The concerts of T. N. Khrennikov and K. A. Karaev were given life by the outstanding Soviet violinist L. B. Kogan. His brilliant virtuosity and enormous temperament were also evident in the interpretation of classical and romantic works.
The violin acts not only as a soloist in an orchestra. She is an indispensable member of chamber ensembles, participating in duets (an ensemble of two musicians), trios (of three), quartets (of four), quintets (of five) and other ensembles.
The performances of the Bolshoi Theater Violin Ensemble enjoy great success in our country and abroad.
Alto by appearance It is not easy to distinguish from a violin - it is only slightly larger. The length of the body of a modern viola exceeds the length of the body of a violin by 3–4, rarely by 6 cm.
The viola has 4 strings tuned a fifth below the violin strings. In registers common to the violin, the timbre of the viola has a more dull, matte tint. Its first string has a very poetic, chesty timbre, the fourth - “bass” - is distinguished by the density of its sound and is similar to the deep, expressive, rich timbre of a cello. In general, the viola timbre is inferior to the violin in brilliance and brightness; sometimes it seems that it is somewhat “squeezed.” This happens for purely acoustic reasons. After all, the viola is tuned a fifth below the violin. But there is no sharp difference in timbre between the viola and the violin, since when played in an ensemble they blend well.
The viola appeared in the 16th century. But it did not immediately take its rightful place among the instruments of the orchestra. Only in the works of Beethoven and the Romantics did the viola acquire the significance of a melodic instrument.
Mozart, who himself played the viola, composed a duet for him and the violin - the “Symphony Concertante,” where the two instruments compete in expressiveness. At the request of Paganini, G. Berlioz wrote the symphony “Harold in Italy”, where the image of the disappointed hero J. G. Byron was embodied by the viola. Paganini himself created the Sonata for Grand Viola.
Our time has produced many outstanding violists. A remarkable performer was P. Hindemith - one of major composers XX century He wrote 2 viola concertos, Funeral music for viola, violin (or cello) and string orchestra, and a sonata.
Soviet violist V.V. Borisovsky, a member of the Beethoven Quartet, captivated listeners with his wonderful viola sound and refined technique. He completed M. I. Glinka's unfinished sonata for viola and piano.
Borisovsky's traditions were continued by his student F. S. Druzhinin, to whom Shostakovich dedicated his last sonata for viola and piano. The timbre of the instrument here is perfectly suited for the embodiment of harsh and solemnly sad images, deep reflections on life. Nowadays, the viola participates not only in ensembles and symphony orchestras (usually an orchestra has 8-10 violists), but it is also an invariable participant in a bow quartet, and rarely performs as a solo instrument.
Bratsche) or viola violin- a stringed-bowed musical instrument of the same structure as the violin, but somewhat larger in size, which is why it sounds in a lower register. The viola strings are tuned a fifth below the violin strings and an octave above the cello strings - c, g, d 1 ,a 1(do, G of the small octave, D, A of the first octave). The most common range is from c(to small octave) to e 3 (mi of the third octave), in solo works it is possible to use more high sounds. Notes are written in alto and treble clefs.| Alto | |
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| Range (and build) |
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| Classification | Bowed string musical instrument, chordophone |
| Related tools | Violin, Viola, Cello, Double bass |
| Viola at Wikimedia Commons | |
History of the origin and development of the instrument
The viola is considered to be the earliest existing bowed instruments. The time of its appearance dates back to the turn of the 15th–16th centuries. The viola was the first instrument that was exactly the shape we are used to seeing.
The ancestor of the viola is considered viola da braccio(Italian viola da braccio), or viola for the hand. This viol, like today's violins and violas, was held on the left shoulder, unlike the viola da gamba (Italian: viola da gamba), which was held on the knee or between the knees. With time Italian name the instrument was reduced to just viola, under which he entered, for example, English language, or until Bratsche(distorted braccio), established in German and similar languages.
The design of a modern viola is almost no different from a violin, with the exception of size. The viola does not have a size division like the violin; the size of the viola is measured in millimeters. There are violas from 350 mm (this is less than a whole violin) to 425 mm. The choice of instrument size depends on the length of the performer's arms.
Of the entire violin family, the viola was closest to the viol in size and sound, so it quickly became part of the orchestra as a middle voice and harmoniously joined it. Thus, the viola was a kind of bridge between the fading viol family and the emerging violin instruments.
Technique of playing the viola
Techniques for playing the viola are slightly different from those for playing the violin in terms of sound production and technique, but the playing technique itself is a little more limited due to the larger size, and as a result, the need for greater stretching of the fingers of the left hand. The timbre of the viola is less bright than the violin, but thick, matte, velvety in the lower register, somewhat nasal in the upper register. Such a timbre of a viola is a consequence of the fact that the dimensions of its body (“resonator box”) do not correspond to its tuning: with an optimal length of 46–47 centimeters (such violas were made by old masters Italian schools) a modern instrument has a length of 38 to 43 centimeters. Larger violas, approaching classical ones, are mostly played solo performers with stronger hands and developed technique.
Until now, the viola has been used relatively rarely as a solo instrument, due to its small repertoire. However, in our time, quite a lot of very good violists have appeared, among them Yuri Bashmet, Kim Kashkashian, Gerard Causset, Yuri Kramarov and others. But, nevertheless, the main area of application of violas is symphony and string orchestras, where they are usually assigned middle voices, but also solo episodes. Viola is a required participant
"Organ of the Middle Ages"
Viola is an ancient stringed musical instrument that appeared a little earlier medieval era Baroque - at the turn of the 15th - early. XVI centuries. This instrument was the progenitor of all bowed string instruments. musical instruments, this can be easily seen in foreign titles stringed bowed instruments, especially in Italian, since the instrument itself comes from sunny Italy.
The development of the Spanish Vihuela was Viola (in Italian “Viola”), which received its Russian name thanks to French(French "Alto"), which for a long time was widely known in Russia. The closest relative of the viola is Viola d'amore (Italian "Viola d"amore" - viola of love). Then, on the basis of the viola, new instruments appeared - a small viola - violin (Italian "Violino"), big viola– cello (Italian: “violoncello”), double bass (Italian: “cello”), viola da gamba (Italian: “viola da gamba” - foot viol), viola da braccio (Italian: “viola da braccio” - hand viol) .
The viola itself has three close relatives - the violin, which borrowed its playing position (i.e., a “hand” instrument) and the cello, which borrowed its tuning (the only difference is that the cello’s tuning is an octave lower, whereas in the violin it differs by a fifth).
The viola, like the violin and cello, is built in fifths. The viola strings are tuned a fifth below the violin strings and an octave above the cello strings - c, g, d 1, a 1. notes are written in alto and treble clef.
Contrary to public opinion, the technique of playing the viola is significantly different from the violin. For example, the viola is characterized by playing a pizzicato harmonic (the sound of a harp harmonic), playing a pizzicato with pressing the string with the nail of the second finger (the sound of a snare drum), a chord with a rich bass, and much more. However big size the viola makes it difficult to quickly perform complex passages. But this one small drawback pales in comparison to the sea of possibilities opening up to the performer.
“The timbre of the viola is less bright than the violin,” we read in famous encyclopedia, but it’s easy to argue with this, since a good violist plays much brighter than even five violinists. The timbre of the viola is bright, rich, colorful, velvety (especially in the lower registers) and a little nasal, born from the depths of wood, glue joints, varnish... a tree that has stood for many centuries under downpours, experienced drought, winter, spring, summer, autumn...
“A feature of the viola’s timbre is the greater variety of sounds of individual strings than on other string instruments, for example on a violin,” writes E. Yu. Stoklitskaya. Regarding the brightness, richness, and even the grandeur of the timbre of the viola, the famous teacher I. D. Labinskaya likes to repeat: “This is not some kind of violin, this is a viola.” It’s not for nothing that in many viola works they write: “risoluto” (Italian – decisively). It is impossible not to note the piano performance on the viola. V.V. Borisovsky emphasized that “piano is not a colorless, faceless nuance. The quietest piano should be crisp and clear, like the choreographed voice of a singer...” (E. Stoklitskaya, “Viola Pedagogy of V.V. Borisovsky,” 2007).
The timbre of the viola can only be matched by that of the organ - both of these instruments can accurately reproduce other instruments. Only the timbre of the organ is limited by the number of registers, and the timbre of the viola has no restrictions.
This timbre is a consequence of the inconsistency of the instrument’s tuning. With an optimal length of 48o - 490 mm (decks only), dimensions modern instruments range from 350 to 420 (extremely rare, 430).
The viola is not learned from childhood, but violinists with a developed physique and large vibration move on to more advanced ones. mature age. Many outstanding performers, such as Niccolo Paganini and David Oistrakh, perfectly combined playing the viola with playing the violin.
Having “reigned in palaces” for a long time, the viola, like the viola art (playing the viola – true art), fell into disrepair, and dirty rumors began to circulate that “violists are failed violinists,” which subsequently became the basis for many, often offensive, jokes. For example: “What is the same between a grenade and a violist’s fingers? They don’t fall in the same place twice,” “The violist and the priest died on the same day and found themselves at the gates of heaven at the same time. Saint Apostle Peter happily allows the violist to enter Paradise, but asks the priest to wait. The priest is indignant:
I've been praying all my life, and this guy has been playing his viola all his life! Why are you letting him go ahead?!
“When you prayed,” Peter answers, “everyone fell asleep.” And when he started playing, everyone began to pray...", "Program international competition for violists: 1st round – tuning the instrument, 2nd round – moving the bow along open (original: empty) strings. The program for the 3rd round is not announced - no one gets to him anyway,” “There were three sons in the family: two smart, and the third is a violist...” and many others. As you can see, these jokes are not only untrue, but are offensive (not only for violists), humiliating and contain a large number of gross mistakes.
Alto gave up his seat. The ancient instrument fell silent. The great viola works of Bach, Mozart, Paganini, Berlioz and others have been forgotten. Of course, during the period of oblivion, some composers continued to compose music for the viola - B. Bartok, W. Walson, M. I. Glinka, J. Brahms, R. Schumann, N. Roslavets, A. Adam, L. Delibes, R. Strauss , L. Janacek, I.F. Stravinsky, M. Reger - the famous organist, etc. There were also performers of these works, but, alas, there were few of them.
The revival of viola art occurred only at the end of the 19th century and lasted throughout the 20th century. The father of the Russian viola school was V.V. Borisovsky. His teacher V.R. Bakaleinikov, although he was a violist, emigrated to the USA in 1927, where, at the invitation of conductor Fritz Reiner, he took the post of his assistant and first viola in Symphony orchestra Cincinnati.
Borisovsky himself became “fascinated” with the viola, one might say purely by accident. One day, he heard an orchestra perform, where the viola was the soloist. Closing my eyes and not listening to low notes, the viola sounded like a violin.
V.V. Borisovsky - in the past famous violinist, accompanist of the first violins of the Moscow State Conservatory. P.I. Tchaikovsky, but having felt the fullness of the sound of the viola, he became a violist.
Vadim Vasilyevich literally “promoted” the viola everywhere, infecting everyone with its magical sound. “The idea of equalizing the viola in the rights of a solo instrument with the violin and cello, proclaimed by Borisovsky at the beginning of his creative activity, in those years she seemed... not only brave, but even daring. The level of viola performance was extremely low, and the creation of the school had to start almost from scratch” (Yuzefovich V. “V.V. Borisovsky - founder of the Soviet viola school, 1977”).
Founding the viola school, Vadim Vasilyevich studied the technique of playing the Viol d'Amour, which is closest to the viola technique.
“Before my eyes and ears, a special viola class was emerging. For a long time now, but especially today, I am convinced that historically, practically and in every possible way, its creation and subsequent non-stop, very successful development have been justified. “You have done a lot, a lot for the prosperity of your brainchild,” MGK professor K. G. Mostras wrote to Borisovsky in 1956. Many famous composers such as D. D. Shostakovich, B. Astafiev, E. Denisov, often friends of the great violist, wrote for the viola, and Vadim Vasilyevich was the first performer of these works.
A huge part of the works for viola are transcriptions and arrangements by Borisovsky. Among them are “Unfinished Sonata” by M. I. Glinka, “Pavane for the Death of the Infanta” by M. Ravel.
The number of viola fans increased. Professional violists were F. S. Druzhinin, Yu. A. Bashmet, E. Yu. Stoklitskaya, I. I. Boguslavsky, A. Koval, A. V. Bagrintsev, I. D. Labinskaya, L. N. Gushchina, E. Strakhov, R. Seid-Zade and others.
In our time, this phenomenon has become global and is called world altism. Sites dedicated to viola have become increasingly popular. For example, the site of violists “Violamusic”, whose main users are already more than 1800 people, not to mention those who just drop by.
In 2010, the entire world viola community celebrated a remarkable event: the 110th anniversary of the birth of V.V. Borisovsky. Also, in 2010, the teacher of violin and viola, I. D. Labinskaya, celebrated her 80th birthday. Inessa Dzhamilievna dedicated most their lives, training and education of future musicians. She still works at the Children's Music School named after M. M. Ipollitov - Ivanov. I am happy that I had the opportunity to learn from her. And now I have the opportunity to simply communicate with her. The love and professionalism with which she teaches little children how to extract sound from small violins is like a miracle (future violists, in primary school study violin, and only at an older age switch to viola). She is that kind teacher who lives with her students: their successes and failures, teaching them to love music and understand. Although she did not want to be mentioned in this article, this is just a small thank you for her enormous work. I would like to wish Inessa Dzhamilievna good health, strength and many years of life.
In conclusion, it should be noted that the viola no longer enters the musical “arena”, but is rapidly overtaking other instruments, increasingly establishing itself as the king of musical instruments, having rich history full of ups and downs.
