Any other violists out there?

[kelly_kelly]

Just wondering 

[richard black]

I think violists are inevitably out there. Really out there.

[keypeg]

I think violists are inevitably out there. Really out there.

Because theyre' the best? 

[kelly_kelly]

Because theyre' the best? 

Of course! 

[Bob]

I don't remember seeing any violist on this site. 

Maybe they're buried behind the violins?

[pianoplayer88]

If anyone read that sorry...I think I read the topic wrong.

Oops! 

[Bob]

I vaguely remember practicing a viola in string tech class.

[a-sharp]

Like they would ever admit it LOL

[keypeg]

Like they would ever admit it LOL

Why not?  The viola is a unique and wonderful instrument.  Unfortunately there is a tendency to get weak violinists to take up the viola, because the repertoire is slower.  You end up with poor violinists playing the viola like a violin that needs more force.  I would not call someone like that a real violist.

The viola has some difficult acoustic challenges because its proportions are not ideal.  There are particular technical approaches designed to draw out the character of the instrument in both bowing and the left hand.  These are all rather recent, with Tertis leading the way followed by Primrose, who has a lot to say about violinists who think they are violists because they dig in harder.

Since there is a real violist in my household who plays the viola as it should be played, and as I probably would not be able to, I can never get the jokes about violists.  The music that can be drawn out of this instrument can only be described as powerful-heavenly, and it takes a lot of artistry and technical ability to do so.

If violists have any kind of character trait it would not be unmusicality or stupidity.  Perhaps patience and less hubris of the diva for many.  In an orchestral or ensemble setting, the viola plays the middle notes.  A fine sensitivity to the basses below him, and the sopranos above him, will allow him to bring out the music as a whole to its best advantage.  It is the middle note that brings out the flavour and colour of any multi-part work.  What personality trait attempts to make others shine, and the group as a whole sound better? 

Come to think of it, "bringing out the best" would seem to be the role of the violist, beginning with an instrument that has physical disadvantages to its structure.

[Bob]

I did like its sound.  It's just an alto instrument and they've gotten stuck with a lot of boring inner part.  Along with vocal altos and French horns.  At least that's my understanding. 

It definitely did have a nasal quality to it, but it wasn't bad.  I liked it.

[keypeg]

The nasal quality goes away with the right technique.  I got to play it for a week when we traded instruments because he had one last orchestra pit performance to do on violin.  When I got my violin back my intervals tended to be large and I almost smacked myself in the face with the bow.  I absolutely adored the deep sound, and the vibrations on chin and chest - like cuddling a gigantic oversized purring cat or maybe a purring lion. (what an image)

[mikey6]

The Brahms fmin sonata was the best fun I've ever had playing with a violist.
There are some amazing players, the teacher at uni gave the London premiere of Britten's orchestration of the Lachrymosa.  He's got an awesome sound.

[a-sharp]

Keypeg - it was a joke. I love the viola. I have heard - from various orchestra members that there are more viola/violist jokes than there are jokes for any other instrument/instrumentalist.

Hence - the LOL and the 

[keypeg]

Not to worry, I knew it was a joke, lol and all.     But the thing is that violists are always the butt of jokes, and I have a high respect for violists and love the instrument.  I felt it might be time to mention some of the positive attributes.

[Bob]

Someone's got to play those parts. 

And if there wasn't something worthy about the instrument, it wouldn't have lasted.  There are plenty of instruments that didn't survive.

[paris_hilton]

Violists are sexy. 

[squinchy]

Oo, I play viola! I started it after 4 years of piano, and have been playing for 4-ish years. Knowing the alto clef makes theory exams easier. I also get easy orchestra parts and calls for chamber music. Huzzah!

The most advanced pieces I've ever played were Der Schwanendreher (mvt. 1) and Arpeggione (also mvt. 1). My state's regional and all-state audition pieces seemed to get harder every year, staying at a good challenge-level for me, so they pushed me along.

[kelly_kelly]

The first movement of Der Schwanendreyer is so much fun to play! I've also worked on the first 2 movements of Walton, which are great pieces in my opinion, and I may be starting on Bartok in fall. I started playing with our school orchestra program about 7 years ago, but I've only been playing seriously for 4 and a half years. I think I could make regionals easily, and probably even states, but my mom won't let me go because it's too long a drive... I find playing the viola rewarding, because we are always in demand - I've never been in a section with enough violas - and the repertoire is never overplayed!

[squinchy]

The first movement of Der Schwanendreyer is so much fun to play! I've also worked on the first 2 movements of Walton, which are great pieces in my opinion, and I may be starting on Bartok in fall. I started playing with our school orchestra program about 7 years ago, but I've only been playing seriously for 4 and a half years. I think I could make regionals easily, and probably even states, but my mom won't let me go because it's too long a drive... I find playing the viola rewarding, because we are always in demand - I've never been in a section with enough violas - and the repertoire is never overplayed!

Kelly, we seem to have several things in common. I spent a lot of time on the cello suites (not to imply that I'm anywhere close to being done with them); I'd love to learn the Walton (quadruple stops!).

Being in demand is awesome, and taking in the span of performances, viola repetoire is not overplayed at all, but the downside is that there's hardly any repetoire to "hide behind," so to speak. If you meet a violist and play something, chances are that that violist has studied it, or at least heard it. Piano repetoire is so large that, if necessary, one could pick an obscure piece so that onlookers are unlikely to know it intimately.

[kelly_kelly]

You have a good point, squinchy. Last year, my friend (who is at about the same level as I am) was studying the Walton at the same time as I was. We had to play in different recital programs. And it made me realize how little advanced viola repertoire there is. There are only 3 big viola concertos (Hindemith, Walton, and Bartok) whereas violinists (and pianists) have hundreds to choose from!

I actually hope to spend more time on the cello suites this year. I've only played the 1st and the 3rd. The 20th century stuff is all well and good, but there's nothing like Bach!

Out of curiosity, have you played any of the Reger suites? I've only played the first two movements of the 1st, but I think they are really interesting pieces that are often overlooked even by violists. You may want to give them a try.

[healdie]

i remember reading somewhere that the Viola was Mozarts favourite instrument