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The viola, an instrument in search of lutherie
Long neglected by luthiers, the viola has experienced a resurgence in popularity in recent decades. Less standardized than the violin, it inspires creativity among instrument makers.
"No one specializes solely in the Baroque viola since, at the time, violinists all played the viola and vice versa."
François Fernandez, head of the baroque viola master's program at the Paris Conservatory
“You can find violas ranging in size from 5 to 7 centimeters, whereas it’s rarely more than a few millimeters for the violin,” explains luthier Yann Besson, based near Saintes in Charente-Maritime. This variety of models and ranges is explained by the relative freedom enjoyed by makers for the past four hundred years, because “ the viola remains much less standardized than the violin .”
Proportions, a constant challenge
Indeed, there are light violas, bright violas, small violas that tend towards the violin, others that are lower and deeper, reminiscent of the cello, or, more rarely, tenor violas that are only ever played in first position… While the violin's dimensions were defined by Stradivarius, freedom still reigns for the viola. This ambiguity persists and will continue to persist, according to violist Antoine Tamestit: “ For four centuries, we've been trying to standardize the viola's measurements… and it's no use! You have to find a delicate balance between its size, its tone, its projection… The viola is a constant challenge for the luthier. ” Therefore, choosing a viola is more delicate – and even more personal? – than choosing a violin. “ The first thing the luthier asks you is: ‘What size do you want?’” " explains Arnaud Ghillebaert, professor at Oregon State University in the United States.
The luthier's creativity
“ When we make a viola today, we naturally draw inspiration from well-known models ,” explains Yann Besson. “ Gasparo da Salò or Maggini with the Brescia school, the Cremonese school with Stradivari’s Archinto or Guarneri’s Conte Vitale… These are illustrious models that guide contemporary luthiers, each remaining free to respect the letter or the spirit. ” Most luthiers “trace,” meaning they are inspired by the viola’s aesthetics and proportions, but not in a copyist’s approach. For a creative luthier, the viola is an exciting field of expression—and experimentation. “ We have more freedom than with a violin or a cello, where everything is supposedly perfect and where you can no longer alter the proportions ,” asserts luthier Patrick Charton. With the viola, it's like with the double bass; we're dealing with instruments that aren't very ergonomic, and there are still solutions to be found . The luthier designed the A 21: an instrument without pegs, with a leather scroll—less heavy for the left arm—and modified angles (" when shifting, the hand meets the soundboard later "). Of the four instruments stamped "21," the viola is the most functional. Luthiers can also count on the curiosity of performers: " Violists look favorably upon innovation in instrument making, much more so than violinists, who swear only by the Cremona school ," explains Yann Besson. "With the establishment of a true viola school in the second half of the 20th century, the craftsmanship of this instrument has developed considerably." Since there aren't enough antique violas, the demand for contemporary instruments is very high. "The quality of the offering has greatly improved ," says Patrick Charton.
Vintage violas, a rare commodity
While contemporary violas readily win over performers, it's because antique models are scarce. Unlike the abundance of 18th- and 19th-century violins, there are very few period violas on the market, and luthiers rarely offer instruments made before 1950. " Violas from the 17th, 18th, and 19th centuries in good condition are very expensive… and don't necessarily sound good ," explains Yann Besson. While the viola is gaining recognition thanks to contemporary composers*, it struggles to emerge from obscurity in early music. Here again, the comparison with the flourishing of Baroque violins is stark: " There are relatively few Baroque violas on the market. Probably because this instrument isn't taught like the Baroque violin or cello ," laments Antoine Tamestit.
At the Paris Conservatory, François Fernandez is in charge of the baroque viola master's program, which opened in 1998: " Honestly, nobody specializes solely in the baroque viola since, at the time, violinists all played the viola and vice versa. "
The Baroque viola, an eternal compromise
The relative obscurity of the Baroque viola might be explained by the fact that, at first glance, one doesn't associate the viola with early music? Wrong! One of Bach's sons, Johann Christian, recounts that his father readily played it: on the viola, he felt he was at the heart of the harmony. Mozart, too, systematically took on the viola part in chamber music… For luthier Claire Ryder, the reason is different: “ Music written for viola during the Baroque period is less complex than that for violin. It was therefore often a violinist who took on the role .” It wasn't until Bach and the Sixth Brandenburg Concerto that the viola acquired a solo role.
A Baroque viola will therefore have a very short neck. In Lully's orchestra, the viola is used to play the inner voices; it's rare to leave the first position. However, few Baroque violas made from copies have retained their original neck length , explains François Fernandez. 21st-century musicians are more likely to request a Baroque viola with modern proportions.
If you want to buy a Baroque viola, don't hesitate to contact modern luthiers and bow makers. Claire Ryder makes them. " The difference between a modern viola and a Baroque viola is the same as between a modern violin and a Baroque violin. " For Yann Besson, the question of Baroque violas—and early instruments in general—is more complex: " The market for early instruments is, for me, a gray area, because there isn't a single model of Baroque viola or violin. There are dozens and dozens of Baroque instrument makers. You can only design instruments that approximate the construction of the Baroque period in a certain country at a certain time. " The "Baroque" dimension of an instrument would therefore depend more on technique and interpretation.
