From Wikipedia, the free encyclopedia

Yuri Bashmet (Russian: Юрий Башмет, Ukrainian: Юрій Башмет, (24 January 1953) Russian contemporary conductor and violist.

[edit] Biography

In 1971, he graduated from the Lviv secondary special music school. From 1971 till 1976, he studied in the Moscow Conservatoire. His first viola teacher was Professor Vadim Borisovsky; after whose death in 1972 was succeeded by Professor Feodor Druzhinin. Feodor Druzhinin was also the tutor of Yury Bashmet for the probation period and for his postgraduate study in Moscow Conservatoire (1976-1978).

In 1972, Bashmet purchased a 1758 viola made by Milanese luthier Paolo Testore, which he uses for his performances to date. When he was a student, he was granted the Second Award at the International Contest of Violists in Budapest (1975) and Grand Prix at the ARD International Music Competition in Munich (1976), attaining worldwide recognition.

In the late 1970s – early 1980s, Bashmet developed his career as a solo performer. He began his active concert activities in 1976, with a tour of Germany with the Moscow Chamber Orchestra founded by R. Barshay. He has performed in leading concert halls the world over: in Europe, USA, Canada, Latin America, Australia, New Zealand and Japan. He was the first violist to perform a solo recital in such halls as New York's Carnegie Hall, the Amsterdam Concertgebouw, the Barbican in London, the Berlin Philharmonic, La Scala of Milan, the Great Hall of the Moscow Conservatoire, and the Great Hall of the Leningrad Philharmonic.

Yuri Bashmet has performed under many noted conductors, including Rafael Kubelik, Mstislav Rostropovich, Seiji Ozawa, Valery Gergiev, Gennady Rozhdestvensky, Colin Davis, John Eliot Gardiner, Yehudi Menuhin, Charles Édouard Dutoit, Neville Marriner, Paul Sacher, Michael Tilson Thomas, Kurt Masur, Bernard Haitink, Kent Nagano, Simon Rattle, Yuri Temirkanov, and Nikolaus Harnoncourt.

He started his conducting activity in 1985, consistent with his reputation as a bold contemporary artist not afraid of taking risks.

In 1986, Yuri Bashmet founded the chamber orchestra, “Moscow Soloists”. In 1991, when the orchestra was on the tour in France, Yuri Bashmet, as an Art Director of the Orchestra, signed a temporary contract with the Administration of the city of Montpelier. Afterwards the musicians of the orchestra decided to stay in France; a decision untenable for Bashmet himself, who had committed contractually to return to Russia. He consequently resigned his position with the Orchestra, while inviting the musicians to return to Russia with him. Soon after that the Orchestra disbanded, and its members have joined other ensembles abroad.

In 1992, Bashmet reconstituted the orchestra featuring some of the most talented young musicians of Russia who are graduates and postgraduate students of the Moscow Conservatoire. This orchestra performs in the Great Hall of the Moscow Conservatoire and has toured extensively abroad. Its performances have been recorded for broadcast by major radio companies, including the BBC, Radio Bavaria, Radio France, and Radio Luxembourg.

The orchestra has recorded several CDs, among these a recording of the Alfred Schnittke Triple Concerto (ЕМI Records), soloists: Gidon Kremer, Yuri Bashmet and Mstislav Rostropovich. Another CD, of the Thirteenth String Quartet by Shostakovich and the quintet by Brahms (Sony Classics), was acclaimed "Best Album of 1998" by The Strad magazine, and was nominated for a Grammy Award.

As a soloist and a conductor, Bashmet has performed with leading symphony orchestras: Berliner Philharmoniker, Berlin Symphony, New York Philharmonic, Вауrische Rundfunk, San Francisco Symphony, Chicago Symphony, Boston Symphony, Wiener Philharmonic, Orchestra Radio France, Orchestre de Paris, etc. Repertoire with these orchestras has included the symphonic works of Brahms, Haydn, Schubert, Mozart, Tchaikovsky, and Beethoven. A particularly noted concert at the Bolshoi Theatre in Moscow featured Shostakovich's Symphony No. 13.

Bashmet has performed recitals, as well as his joint performances together with noted musicians including Mstislav Rostropovich, Gidon Kremer, Sviatoslav Richter, Isaac Stern, Anne-Sophie Mutter, Martha Argerich, Mischa Maisky, M. Portal, Shlomo Mintz, Oleg Kagan, Natalia Gutman, Viktor Tretiakov, and Maria Joao Pires.

Of particular note are Bashmet's performances in collaboration with Sviatoslav Richter, two performers who belong to different generations but share common artistic views. They have staged joint performances at the “December Evenings” festival in the Pushkin museum in Moscow, as well as on world tours. Another of Bashmet's longstanding artistic friendships, personal and in performance, is with Mstislav Rostropovich.

Numerous modern composers have composed works especially for Yuri Bashmet or dedicated to him, including 50 viola concertos and other works: A. Schnittke - "Concerto", "Monologue"; S. Gubaidullina - "Concerto", E. Denisov -"Concerto", D. Tavener - "The Myth Bearer"; M. Pletnev – “Concerto”, A. Golovin - "Sonata-breve". A. Raskatov - "Sonata"; G. Kancheli - "Liturgy " and “Styx”; A. Tchaikovsky – two “Concertos”; Barkauskas - "Concert", A. Eshpay - "Concert"; P. Ruders - "Concerto". A. Schnittke - "Concerto for three" (dedicated to Mstislav Rostropovich, Yuri Bashmet, Gidon Kremer), and many other. Yuri Bashmet has transcribed the "String Trio" by A. Schnittke for string orchestra; this work was issued by “Sikorsky” (Vienna) under the name “Trio - Sonata”).

Particular works for which Bashmet is known include “Chakona by J.S. Bach, Sonata “Arpeggioni” by F. Schubert, Symphonia Concertante for violin and viola by W. Mozart, Viola Sonata by D. Shostakovich, and the Concerto for viola and orchestra by A. Schnittke.

Yuri Bashmet has participated in many festivals al over the world: Tanglewood (USA), Bordeaux, Biarritz, Menton (France), Brussels, Kainuu, Mikkeli (Finland), Kroyt (Germany), Siena, Sorrento, Camerino, Streza (Italy), and "March Music Lias" (Ruse, Bulgaria). He is an Artistic director and one of the organizers of the festivals in Rolandsek (Germany), Tur (France) and Elba Island (Italy). He is a regular participant of the Promenade-Concerts in Albert-Hall (London, UK). The highest appraisal of Bashmet’s talent was his appointment to the position of the art director of the “December evenings” music festival in Moscow, a position held for 17 years by Sviatoslav Richter.

Yuri Bashmet is a founder and a Jury Chairman of the International Contest of Violists in Moscow, the first and only event of its kind in Russia. He is the President of the L. Tertis International Contest of Violists in Great Britain, the member of Jury for the violists’ contests in Munich and “Maurice Vie” in Paris.

Bashmet has won acclaim with music critics on the international scene. Quotation from the German press: “the first violist of the world” - Yury Bashmet. "...His perfect interpretation and the brilliance of sound he can be compared only to David Oistrakh..."

Cinema and TV broadcasting companies of different countries (Great Britain, France, Russia) have filmed several movies about his art. Several times his CDs won prestigious European awards, including the “Diapason d’or” and "Choc."

Bashmet's artistry has won recognition in various awards and regalia in Russia and abroad. He has been granted the high titles of the Honorary Artist of RSFSR (1983), Honorary Artist of the USSR (1991), State Award of the USSR (1986), State Awards of the Russian Federation (1994 and 1996), Аward-1993 "Best Musical Instrument Performer of the Year” (a title comparable to the “Oscar” in cinema). Yuri Bashmet is an Honorary Academician of the London Academy of Arts.

In 1995, he was awarded one of the most prestigious awards in the world, of the "Sonnings Musikfond” in Copenhagen. Previous recipients include Igor Stravinsky, Leonard Bernstein, Benjamin Britten, Yehudi Menuhin, Isaac Stern, Arthur Rubinstein, Dmitri Shostakovich, Mstislav Rostropovich, Sviatoslav Richter, and Gidon Kremer.

In 1999, by the Act of the Minister of Culture of the Republic of France, Yuri Bashmet was grated the rank of the Officer of Arts and Literature. In the same time the Prime Minister of Lithuania marked his invaluable impact to the Art by granting Bashmet the highest honor of the Republic of Lithuania; in 2000 the President of Italy granted him a honor “For Contribution to Motherland”, and in 2002, the president of the Russian Federation Vladimir Putin presented him the honor “For Contribution to Motherland”, 3rd grade. In 2003, Yuri Bashmet was granted the rank of Commander of the French Legion of Honor.

In 2000, the Russian Biographic Society granted Yuri Bashmet the honorary title “The Man of the Year”, in 2001 – “Zealot of the Enlightenment”. In 2003, Bashmet has become the laureate of the “Olympus” National Award.

Since 1978, Yuri Bashmet teaches students of the Moscow Conservatoire; at first at the position of docent (since 1988), now he is a professor of the Moscow Conservatoire (since 1996).

Since 1980, Yuri Bashmet conducts master classes in Japan, Europe, USA, and Hong Kong. He teaches at the summer courses in the music academies of Kidzhan (Siena, Italy) and Tours (France). His students have won many of the international contests and now are performing in orchestras worldwide.

In 1996, he created and heads the “Experimental Chair of Viola”, where in addition to the works of solo viola repertoire, the curriculum includes extended studies of the viola parts in the chamber, operatic and symphonic music, as well as advanced study of the performance styles of the past and the present time.

Yuri Bashmet leads national education projects, as a presenter and art director of the TV programs "The Station of Dream" and "Music in the Museums of the World".

Yuri Bashmet has participated in many large-scale charity actions of the international importance, in Carnegie Hall (with Elton John and Stevie Wonder), in London (in the memory of Princess Diana); in the concerts, whose proceeds were transferred to the funds aimed to help the victims of the natural disasters in Armenia, Japan, and to the funds helping handicapped children.

The International Charity Fund, established by Yuri Bashmet, has established the Shostakovich International Award for outstanding achievements in the field of the international art. This award was granted to Gidon Kremer, Thomas Quasthoff, Victor Tretyakov, Valery Gergiev, Anne-Sophie Mutter, Olga Borodina, Irina Antonova, Natalia Gutman, and Evgeny Kissin. Its impact into the peacemaking activities can hardly be overestimated.

[edit] Awards

• Sonning Award (1995; Denmark)

[edit] External links

• Yuri Bashmet official website

From Wikipedia, the free encyclopedia

The viola (French, alto; German Bratsche) is a bowed string instrument. It is the middle voice of the violin family, between the upper voice of the violin and the lower voice of the cello.

The casual observer may mistake the viola for the violin because of their similarity in size, closeness in pitch range (the viola is a perfect fifth below the violin), and identical playing position. However, the viola's timbre sets it apart: its rich, dark-toned sonority is more full-bodied than the violin's. The viola's mellow voice is frequently used for playing inner harmonies, and it does not enjoy the wide solo repertoire or fame of the violin.

The name of the instrument is properly pronounced "vee-oh-la" (but often incorrectly pronounced "vye-oh-la" as the woman's name "Viola" is spoken).

[edit] The form of the viola

The viola is similar in material and construction to the violin but is larger in size and more variable in its proportions. On average, a "full size" viola's body length is between one and four inches greater than the body of a full size violin. Viola sizes are measured in inches or in centimeters, with an average size of about 16 inches (41 cm). Small violas made for children typically reach down to 12 inches (30 cm), which is equivalent to a half-size violin. Often, a fractional sized violin will be strung with the strings of a viola (C, G, D and A) for those children who need even smaller sizes. Unlike the violin, the viola does not have a standard full size. The body of a viola would need to measure about 21 inches (53 cm) long to match the acoustics of a violin. This large size would make it impractical to play in the same manner as the violin. For centuries, viola makers have experimented with the size and shape of the viola, often compensating by tweaking the proportions or shape of the instrument in order to make an instrument with a shorter scale length and lighter weight, but which still has a large enough sound box to create the unmistakable "viola sound."

Experiments with the size of the viola have tended to increase it in the interest of improving the instrument's sound. These include Hermann Ritter's "viola alta", an instrument measuring about 18.9 inches (48 cm) intended for use in Richard Wagner's operas. The Tertis model viola, which has wider bouts and deeper ribs to promote a better viola tone, is another slightly "non-standard" shape which allows the player to use a larger instrument than normal. Many experiments with the acoustics of a viola, particularly increasing the size of the body, result in a much deeper tone of the instrument, making the instrument resemble the tone of a cello. Since many composers wrote for a traditional-sized viola, changes in the tone of a viola, particularly in orchestral music, can have unintended consequences on the balance in ensembles.

More recent (and more radically-shaped) innovations address the ergonomic problems of playing the viola by making it shorter and lighter while finding ways to keep the traditional sound. These include Otto Erdesz "cutaway" viola (which has one shoulder cut out to make shifting easier); the "Oak Leaf" viola (which has two extra bouts); viol shaped violas like Joseph Curtin's "Evia" model (which also utilizes a moveable neck and a maple-veneered carbon fiber back to reduce weight); violas played in the same manner as cellos (see vertical viola); and the eye-catching "Dalí-esque" shapes of both Bernard Sabatier's violas in fractional sizes (which appear to have melted) and of David Rivinus' "Pellegrina" model violas.[1]

Other experiments besides those dealing with the "ergonomics vs. sound" problem have appeared. American composer Harry Partch fitted a viola with a cello neck to allow the use of his 43-tone scale. Recently, several luthiers created five-stringed violas, which allow a greater playing range. Modern music is played on these instruments, but viol music can be played as well.

[edit] Playing the viola

Playing a 17" viola in 3rd position.

A person who plays the viola is called a violist or simply a viola player. While it is similar to the violin, the technique required for playing viola has some differences, even though bowings, for example, are named the same and dynamic markings look the same on paper. The most notable of these spring from the size of the viola, making it more physically demanding to play than the smaller, lighter violin. (There is anecdotal evidence that violinists who play the viola for a few months or more return to the violin as improved players).

• Compared to a violin, the viola will generally have a larger body as well as a longer string length. The most immediately noticeable adjustments a player accustomed to playing violin has to make are to use wider-spaced fingerings. It is common for some players to use a wider and more intense vibrato in the left hand and to hold the bow and right arm farther away from the player's body. The player must also bring the left elbow farther forward or around, so as to reach the lowest string. This allows the fingers to be firm and create a clearer tone. Unless the violist is gifted with especially large hands, different fingerings are often used, including frequent use of half position and shifting position, where on the violin staying in one place would suffice.
• The viola is generally strung with thicker strings than the violin. This, combined with its larger size and lower pitch range, results in a tone which is deeper and more mellow. However, the thicker strings also mean that the viola "speaks" more slowly than its soprano cousin. Practically speaking, if a violist and violinist are playing together, the violist must begin moving the bow a fraction of a second sooner than the violinist to produce a sound that starts at the same moment as the violinist's sound. The thicker strings also mean that more weight must be applied to the strings in order to play.
• The thicker and longer strings result in the violist using the pads of their fingers rather than the tip, moving towards cello technique.

Bow frogs, top to bottom: violin, viola, cello

• The viola bow is the longest bow in an orchestra, with a wider band of horse-hair, particularly noticeable near the frog (or 'heel' in the UK). Viola bows (70 to 74 g) are heavier than violin bows (58 to 61 g). Bowing technique differs from violin bowing in that more weight must be applied to pull sound from the strings.

See also: Playing the violin

[edit] Tuning

The viola's four strings are tuned in fifths: the C an octave below middle C is the lowest, with G, D and A above it. This tuning is exactly one fifth below the violin, so that they have three strings in common—G, D, and A—and is one octave above the cello. Although the violin and viola have three strings tuned the same, the tone quality or sound color is markedly different.

Violas are tuned by turning the pegs near the scroll, around which the strings are wrapped. Tightening the string will raise the note (make it sharper) while loosening the string will lower the note (making it flatter). The A string is tuned first, typically to 440 Hz (see pitch). The other strings are then tuned to it in intervals of perfect fifths, bowing two strings simultaneously, or using a tuner, or the method often used in symphony orchestras: comparing the sound to instruments/violas that have been tuned (a piano can also be used). Most violas also have adjusters (also called fine tuners) that are used to make finer changes. These permit the tension of the string to be adjusted by rotating a small knob at the opposite end of the string, at the tailpiece. Such tuning is generally easier to learn than using the pegs, and adjusters are usually recommended for younger players, although they are usually used in conjunction with one another. Adjusters work best, and are most useful, on higher tension metal strings. It is common to use one on the A string even if the others are not equipped with them. The picture on the right shows normal stringing of the pegs. Some violists reverse the stringing of the C and G pegs, so the thicker C string does not turn so severe an angle over the nut, although this is uncommon.

Small, temporary tuning adjustments can also be made by stretching a string with the hand. A string may be tuned down by pulling it above the fingerboard, or tuned up by pressing the part of the string in the pegbox. These techniques may be useful in performance, reducing the ill effects of an out-of-tune string until the arrival of a rest or other opportunity to tune properly.

The tuning C-G-D-A is used for the great majority of all viola music. However, other tunings are occasionally employed both in classical music (where the technique is known as scordatura) and in some folk styles. Mozart, in his Sinfonia Concertante for Violin, Viola and Orchestra, which is in E flat, wrote the viola part in D major and specified that the viola strings were to be raised in pitch by a semitone; his intention was probably to give the viola a brighter tone to avoid its being overpowered by the rest of the ensemble. Lionel Tertis, in his transcription of the Elgar cello concerto, wrote the slow movement with the C string tuned down to B flat, enabling the viola to play one passage an octave lower. Occasionally the C string may also be tuned up to D.

[edit] Viola music

Historically, the viola was used less often for solo concerti and sonatas than the violin and the cello. This was often attributed to its sound, which, being mellower and perhaps less sharp than that of the violin, was said to be less suited to virtuoso display.

[edit] Reading music

Sheet music written for the viola differs from that of other instruments in that it primarily uses alto clef (sometimes called "viola clef"), which is otherwise rarely seen. Viola sheet music also employs the treble clef when there are substantial sections of the music written in higher registers.

Mnemonic devices are sometimes used to teach students to remember the pitch names of the alto clef, for example:

• Lines: Fat Ants Catch Every Goodie
• Spaces: Green Bugs Do Fly.

[edit] The role of the viola in pre-twentieth century works

In early orchestral music, the viola part was frequently limited to the filling in of harmonies with little melodic material assigned to it. When the viola was given melodic parts in music of that era, it was often duplication in unison or octaves of whatever other strings played. A notable exception would be J.S. Bach's Brandenburg Concerto No. 6, which placed the two violas in the primary melodic role (it was scored for 2 violas, cello, 2 violas de gamba, and continuo).

An example of a piece written before the 20th century which features a solo viola part is Hector Berlioz's Harold in Italy, though there are also a few Baroque and Classical concerti, such as those by Telemann (one of the earliest viola concertos known), Franz Anton Hoffmeister and Carl Stamitz.

The viola plays an important role in chamber music. Mozart succeeded in liberating the viola somewhat when he wrote his six string quintets, which are widely considered to include some of his greatest works. The quintets use two violas, which frees the instrument (especially the first viola) for solo passages and increases the variety and richness of the ensemble. Mozart also wrote for the viola in his Sinfonia concertante in which of the two soloists, the viola is equally as important as the violin. From his earliest works Johannes Brahms wrote music that features the viola prominently. His first published piece of chamber music, the sextet for strings op.18 contains what amounts to a solo part for the first viola. Late in life he wrote two greatly admired sonatas for clarinet and piano, his Opus 120 (1894); later Brahms transcribed these works for the viola. Brahms also wrote Two Songs for Alto with Viola and Piano (Zwei Gesänge für eine Altstimme mit Bratsche und Pianoforte), Op. 91, "Gestillte Sehnsucht" or "Satisfied Longing" and "Geistliches Wiegenlied" or "Spiritual Lullaby," which was a present for the famous violinist Joseph Joachim and his wife, Amalie. Antonín Dvořák played the viola, and apparently said it was his favorite instrument; his chamber music is rich with important parts for the viola. Another Czech composer, Bedřich Smetana, included a significant viola part in his quartet "From My Life"; the quartet begins with an impassioned statement by the viola.

The young Felix Mendelssohn wrote a little-known viola sonata in C minor (without opus number, but dating from 1824). Given the beauty of the melodies in this early work, it is perhaps surprising that this sonata has not been played more frequently in concert halls.

The viola occasionally has a major role in orchestral music, for example the sixth variation of the Enigma Variations by Edward Elgar, called "Ysobel".

While the viola repertoire is quite large, the amount written by well-known pre-twentieth century composers is relatively small. Violists may therefore be forced to choose to play solo arrangements of works transcribed from other instruments.

[edit] Twentieth century and beyond

In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialised soloists such as Lionel Tertis. Englishmen Arthur Bliss, York Bowen, Benjamin Dale, and Ralph Vaughan Williams all wrote chamber and concert works for Tertis. William Walton, Bohuslav Martinů and Béla Bartók wrote well-known viola concertos. One of the few composers to write a substantial amount of music for the viola was Paul Hindemith; being himself a violist, he often performed the premieres of his own viola works. Debussy's Sonata for Flute, Viola and Harp has inspired a significant number of other composers to write for this combination. Elliot Carter also wrote extensively for the viola. his Elegy is one of many fine compositions employing the viola; it was subsequently transcribed for clarinet. Ernst Toch wrote an Impromptu (opus 90b) for solo viola. Ernest Bloch, a Swiss-born American composer best known for his compositions inspired by Jewish music, wrote two famous works for viola, the Suite 1919 and the Suite Hebraique for solo viola and orchestra. Rebecca Clarke was a 20th century composer who also wrote extensively for the viola. Lionel Tertis records that Edward Elgar (whose cello concerto Tertis transcribed for viola, with the slow movement in scordatura), Alexander Glazunov (who wrote an Elegy, op. 44, for viola and piano), and Maurice Ravel all promised concertos for viola, yet all three died before substantial work on them. In the latter part of the 20th century a substantial repertoire has been produced for the viola; many composers including Alfred Schnittke and Krzysztof Penderecki, have written viola concertos.

[edit] Contemporary pop music

The viola is sometimes used in contemporary popular music, mostly in the avant-garde. The influential group Velvet Underground famously used the viola, as do some modern groups such as 10,000 Maniacs, Defiance, Ohio, The Funetics, and others. Jazz music has also seen its share of violists, from those used in string sections in the early 1900s to a handful of quartets and soloists emerging in from the 1960s onward. It is quite unusual though, to use individual string instruments in contemporary popular music. It is usually the flute or rather the full orchestra appearing to be the favoured choice, rather than a lone string player. The upper strings could be easily drowned out by the other instruments, especially if electric, or even by the singer.

See The viola in popular music below.

[edit] The viola in folk music

Although not as commonly used as the violin in folk music, the viola is nevertheless used by many folk musicians across the world. Extensive research into the historical and current use of the viola in folk music has been carried out by Dr. Lindsay Aitkenhead. Players in this genre include Cath James, David Lasserson, Eliza Carthy, Mary Ramsey, Ben Ivitsky, Gina Le Faux, Helen Bell, Jayne Coyle, Jim O'Neill, Jim Wainwright, Lindsay Aitkenhead, Mark Emerson, Miranda Rutter, Nancy Kerr, Pete Cooper and Susan Heeley. Clarence "Gatemouth" Brown was the viola's most prominent exponent in the genre of blues.

The viola is also an important accompaniment instrument in Hungarian and Romanian folk string band music, especially in Transylvania. Here the instrument has three strings tuned g - d' - a (note that the a is an octave lower than found on the standard instrument), and the bridge is flattened with the instrument playing chords in a strongly rhythmic manner. In this usage, it is called a kontra or brácsa (pronounced "bra-cha").

[edit] Violists

Main article: Violist

There are only a few well known viola virtuosi, perhaps because the bulk of virtuoso viola music was written in the twentieth century. Some of the better known violists from the twentieth century are Lionel Tertis, William Primrose, Paul Hindemith, Lillian Fuchs, and Walter Trampler. Contemporary well-known violists include Roger Chase, Yuri Bashmet, Pinchas Zukerman, Rivka Golani, Nobuko Imai, Paul Neubauer, and, from the younger generation, Paul Coletti, Kim Kashkashian, Tabea Zimmermann, Cathy Basrak, and Antoine Tamestit.

Among the great composers, several preferred the viola to the violin when playing in ensembles^{[citation needed]}, the most noted being Ludwig van Beethoven, J.S. Bach and Wolfgang Amadeus Mozart. Numerous other composers also chose to play the viola in ensembles, including Joseph Haydn, Franz Schubert, Felix Mendelssohn, Antonín Dvořák, and Benjamin Britten. Among those noted both as violists and as composers are Rebecca Clarke and Paul Hindemith. Many noted violinists have publicly performed on the viola as well, such as Pinchas Zukermann, David Oistrakh, Eugene Ysaye, Yehudi Menuhin, Maxim Vengerov, and Nigel Kennedy.

The term violist is not universally used in English; some players, generally British, prefer viola player, since the word "'violist" is used in the UK to mean "player of the viol".

[edit] The viola in popular music

The viola sees limited use in popular music. It was sometimes part of popular dance orchestras in the period from about 1890 to 1930, and orchestrations of pop tunes from that era often had viola parts available. The viola largely disappeared from pop music at the start of the big band era. With the Charlie Daniels Band, Charlie Daniels has played viola instead of violin for some of the fiddling "Redneck Fiddlin' Man."

John Cale, a classically trained violist, played the instrument to great effect (amplified and often distorted) on some Velvet Underground tracks, most notably on "Venus in Furs", "Heroin", "The Black Angel's Death Song", "Stephanie Says", and "Hey Mr. Rain". He also played viola on "We Will Fall" a track on the debut Stooges album which he also produced.

Producer and songwriter DonKayvan is classically trained violist and regularly uses the viola on rap, r&b, alternative and pop songs.

Singer songwriter Patrick Wolf is a trained violinist and viola player, and regularly uses viola in his songs and onstage.

Kansas' "Dust in the Wind", as well as other tracks by the band, features a viola melody. Robby Steinhardt plays violin, viola, and cello on the song and at least one of these on every Kansas song during his membership.

Dave Swarbrick of the English Folk-Rock group Fairport Convention has been known to contribute viola among other stringed instruments to the band, most notably on the Liege & Lief album on the track "Medley..." where he plays violin with an overdubbed viola playing the same part an octave lower.

The viola has made a slight comeback in modern pop music; aided and abetted by string groups, bond and Wild. In her latest album, Lonely Runs Both Ways, Alison Krauss uses the viola in many of her songs. However, not many "traditional" instruments are used in contemporary music at all. Vienna Teng, a folk/indie artist, used the viola as a solo instrument in two of her songs from her recent album Dreaming Through the Noise (2006).

Norwegian noise rock band Noxagt had a viola player until very recently; this musician left the band and was replaced by a baritone guitarist. New indie pop band The Funetics, use two violas and guitar for its instrumentation. The Six Parts Seven also used a viola. Neo-new wave indie rock band The Rentals features classically trained violist Lauren Chipman.

[edit] Electric violas

Amplification and equalization can make up for the weaker output of a violin string tuned to notes below G3, so most electric instruments with lower strings are violin-sized, and as such, are called "violins." Comparatively fewer electric violas do exist, for those who prefer the physical size or familiar touch references of a viola-sized instrument.

Instruments may be built with an internal preamplifier, or may put out the unbuffered transducer signal. While such raw signals may be fed directly to an amplifier or mixing board, they often benefit from an external preamp/equalizer on the end of a short cable, before being fed to the sound system.

[edit] Bibliography

• Dalton, David. "The Viola & Violists." Primrose International Viola Archive. Retrieved Oct 8, 2006
• Chapman, Eric. "Joseph Curtin and the Evia". Journal of the American Viola Society, Vol.20, No.1, Spring 2004, pp.41-42.
• Curtin, Joseph. "Otto Erdesz Remembered". The Strad, November 2000. Retrieved July 30, 2006
• Curtin, Joseph. "Project Evia" (Retrieved Oct 8, 2006). American Lutherie Journal, No. 60, Winter 1999.
• Maurice, Joseph. "Michael Balling: Pioneer German Solo Violist with a New Zealand Interlude." Journal of the American Viola Society, Summer 2003. Retrieved July 31, 2006.

[edit] See also

• Vertical viola
• Viola d'amore

[edit] External links

• Primrose International Viola Archive library website
• Viola web site, with links to resources & viola societies
• Rivinus- David Rivinus' site with pictures of his oddly shaped violas
• Curtin - Joseph Curtin's "Evia" (Experimental viola) model
• viola link center
• Viola in music - The role of viola in music. Information, description of works, videos, free sheet music, MIDI files, RSS update.
• Anechoic Recordings of Viola Tones - University of Iowa Electronic Music Studios
• Brothers Gahl fighting violism – a film made by the Oslo String Quartet
• Dr. Lindsay Aitkenhead's folk viola research page.

[edit] Listening

• Bowed Radio (podcast focusing on new music for bowed string instruments)
• Habanera - Viola & Piano [2]
• This amazing performance demonstrates some viola capabilities, Carmen Fantasie for viola and piano, Bizet-Waxman