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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
"Violas can be found in sizes ranging from 5 to 7 centimeters, whereas violins are rarely more than a few millimeters in size." explains luthier Yann Besson, based near Saintes in Charente-Maritime. A variety of models and ranges that can be 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 specified 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 have been trying to standardize the measurements of the viola… and to no avail! A delicate balance must be found between its size, its sound, its projection of sound… 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, a professor at Oregon State University in the United States.
The luthier's creativity
« When making a viola today, one naturally draws inspiration from well-known models.explains Yann Besson. Gasparo da Salo or Maggini with the Brescia school, the Cremonese school with Stradivari's Archinto or Guarneri's Conte Vitale… , Illustrious models that guide contemporary luthiers, each remaining free to respect the letter or the spirit. “Most luthiers ‘trace,’ meaning they draw inspiration from the aesthetics of a viola, its proportions, but not in a copying approach. For a creative luthier, the viola is an exciting field of expression – and experimentation.” We have more freedom than with a violin or cello, where everything is supposedly perfect and where you mustn't alter the proportions."That's what luthier Patrick Charton says." 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: a pegless instrument with a leather scroll – less heavy for the left arm – and modified angles (When you take off the handle, the hand meets the table later"). Of the four instruments stamped "21", the viola is the most successful. 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 Cremonese school.“With the establishment of a true viola school in the second half of the 20th century, the craftsmanship of this instrument developed considerably,” explains Yann Besson. Because there are not enough antique violas, the demand for contemporary instruments is very high. The quality of the available instruments has greatly improved. improved "That's Patrick Charton's opinion."
Vintage violas, a rare commodity
If contemporary violas easily win over performers, it's because antique models are not readily available in stores. Unlike the abundance of 18th and 19th-century violins, there are very few period violas on the market, and few luthiers 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 incomparable:” Baroque violas are relatively rare on the market. This is probably because the instrument is not taught like the violin or the baroque 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 played it willingly: on the viola, he felt he was at the heart of the harmony. Mozart, too, systematically took the viola part in chamber music… For the luthier Claire Ryder, the reason is different: Music written for viola during the Baroque period is less complex than that for violin. Therefore, it was often a violinist who took on the task. "It was not 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 is 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 that between a modern violin and a baroque violin. “For Yann Besson, the question of baroque violas – and of early instruments in general – is more delicate: The market for antique 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. One can only conceive of 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 be more a matter of technique and interpretation."
