A Brief History of the Viola

A Brief History of the Viola; an Unfinished Story

By David Milward, 2004

In writing this short article I have attempted to give an outline of the history of the viola and in doing so illustrate the influences which have given direction to my own work as a Luthier specializing in making new violas

Contemporary luthiers… Many contemporary luthiers seem content with directly copying violin and viola forms from earlier models. Indeed, there is little wrong with this approach when considering the violin, which is generally excepted to have reached its ‘perfect’ form in the ‘classical making period’ of the 17th and early 18th Centuries. The challenge for the maker here is to acquaint himself with, and attempt to understand the conditions under which the design originated. However, regarding the viola, many modern makers, with some exceptions, appear to have little understanding of either the original forms of the viola or its continuing history of slow development relative to that of the violin. The viola as we know it today has still to reach its optimum potential. It should be said, however, that rather than a criticism of modern lutherie this is due mostly to the inheritance of centuries of neglect. With the violin pattern well established over three centuries ago, together with a minimal amount of interest in the viola throughout most of this time, makers have understandably lost the initiative of innovative design inherent of the earlier luthiers, which is essential when considering the modern viola.

Original conception… Since its original conception, together with the gradual emergence of the wider violin family as a whole, in the 16th and early 17th Centuries by the makers of Northern Italy, most notably those of Brescia and Cremona, as the smaller ‘alto’ and the larger ‘tenor’ instruments, the instrument we know today as the ‘viola’, has, relative to the violin, for much of its time been ignored. During these early centuries a typical four-part ensemble would use violas to take both the alto and tenor registers, with some five-part ensembles requiring three violas. Whereas by the early part of the 18th Century a typical four part ensemble would use just a single viola to take the middle ground. Along with the growing popularity for the violin sonata, the violin became the acceptable form of acoustical perfection, whilst the ‘viola’ fell into decline, most players opting for the smaller ‘alto’ instrument, which was less demanding to play than the larger ‘tenor’. Demand was for the violin and naturally makers responded.

The excepted acoustical qualities of the violin have only, I believe, been achieved by simple consideration of basic viola geometry. In the same way as the ‘alto’ and ‘tenor’ instrument patterns may be generated, by altering such basic elements as body size and string length, by simple proportion from a geometrical working workshop standard form, the proportions of the violin may also be achieved. It would seem quite acceptable that makers such as Gasparo da Salo, recognised as one of the principal early makers of the viola, should be able to generate different forms of the instrument in their own style. It is interesting to note that in the 16th and 17th Centuries the violin was known as ‘soprano di viola da braccio’, the term ‘viola’ having an earlier, more general, meaning to describe a variety of string instruments, later being modified to mean a specific instrument, such as ‘viola da braccio’ ‘arm viola’, or ‘viola da gamba’ ‘leg viola’ (which was more specifically the Italian term for the viol).

Introduction of ‘Tourte’ bow… At the time of the introduction of the improved modern, ‘Tourte’, bow in the late 18th Century, alterations to increase string tension were being experimented with. Greater carrying power together with improved technique had to be facilitated. This ‘transitional’ period led to the higher tension instruments of the violin family with which we are familiar today, with improved string technology, longer string length and an elevated neck set. Instruments before this time loosely referred to as ‘Baroque’, a very general term which in itself also embraces different periods of transition. The instruments of the violin family had become very different to those known to makers and players of an earlier time. With the original geometrical relationship changed, the concept and the knowledge of their original design were forgotten. This transition reflected, however, musical progress and requirements of the day. From a makers perspective it is interesting to note here, that, in very general terms, some of the more highly arched instruments popular throughout Europe at this time and the inspiration of much of the contemporary English work, did not take too well to this transition, while those with a more ‘flatter’ style excelled under a higher tension set up.

The need for an improved viola became more evident during the course of the 19th Century. Hector Berlioz (1803-1869) comments in his ‘Treatise on orchestration’ published in 1843/4:
…Among all orchestral instruments, the viola’s excellent qualities have suffered the longest neglect. The viola is as agile as the violin; its lower strings have a peculiarly penetrating quality; its higher notes are distinctive and have a sad passionate intensity; in general its tone has a quality of deep sadness which distinguishes it from all other stringed instruments. And yet for a long time it has been left idle, or used mostly for the lowly and pointless function of doubling the bass part an octave higher.
…The expressive qualities of its tone stand out so clearly that in those very rare cases when composers of the past have given it a prominent role the instrument has never failed to live up to expectation.

Viola development…The violas development had not been required to keep pace with that of the violin. Composers of the Romantic era, particularly Berlioz, Weber and later in the century Wagner were starting to favour the lower registers and began writing more demanding parts for the viola. Consequently there were attempts to either improve the small viola, or develop a new instrument entirely. Although interesting, many of these attempts were somewhat off the beam in not addressing the real need for a viola that was of suitable size which would deliver the required tonal dimension, together with relative ease of playability. As a consequence none of these attempts gained any real popularity. One of the more interesting however, if often overlooked contribution, was the experimental contralto viola by Jean Baptist Vuillaume (1798-1875). Though only 16¼in. (41.3cm), in length it was made extremely wide and although not a practical instrument, it made the valuable comment that the width of the viola could be a consideration as well as the length. However, the need for an improved instrument was more astutely observed in the later part of the century by violist Hermann Ritter (1849-1926), who developed, his large ‘viola alta’, initially made in collaboration with luthier Karl Adam Horlein (1829-1902) of Wurzburg, with a body length of some 19in. (48 cm). Wagner who included the instrument in his orchestra at Beyreuth enthusiastically supported his efforts. Ritter based his design on an enlargement of the acoustical properties of the violin; and reinvented the ‘tenor’ viola. (Various acoustical studies in the late 20th Century made the same, I believe mistaken premise, of taking the violin as the acoustical standard.) More importantly, irrespective of the success or otherwise of Ritter’s ‘viola alta’, Hermann Ritter stands at the beginning of the modern school of viola playing, his ideas having led the trend towards the acceptance of bigger instruments. He should also be regarded, to some degree, as the principal architect of modern viola making.

20th Century… Shortly after this in the 20th century, and probably the most original development, was due to the influence of English violist Lionel Tertis (1876-1975), who in the 1930’s presented his ‘Tertis Model’ viola. I cannot conjecture as to whether Tertis had any knowledge of, or was at all influenced by, the work of Ritter, but I do feel that the trend towards developing a truly modern viola had been set. Made in collaboration with celebrated makers of the day this ‘full size’ instrument at 16¾in. (42.6cm), was significant in demonstrating that improved viola design was not only possible, but could also be original. From this point it was very obvious that the development of the viola was an unfinished story.

History of neglect… It is important that contemporary makers have an understanding of this history of relative neglect which the viola has suffered and from where the preconceived ideas about its limitations have arisen. Composers and players have discovered the new potential of the instrument and the technical standard of playing technique has been dramatically expanded, particularly during the past century. Makers approach to design and construction should be supportive of these advances and put aside the idea that we are unable to improve on what has gone before; we should remember that the violas history is still in the making. Modern instrument makers should be aware of the demands that are now being placed upon the instrument if they are to regain the initiative necessary for its evolution into a modern form.

The term ‘contralto’, applied to the modern viola, suggests it encompasses both the alto and countertenor voices. The register of the old ‘tenor’ violas was due to their larger size and the instrument was conceived as part of a group It should be remembered that originally the large ‘tenor’ violas were fitted with a shorter neck and finger board, which, together with a less demanding repertoire, made many of the problems associated with these large instruments today less of a concern at the time in which they were in regular use. Today’s requirements of the viola are somewhat different as it has become established as a single instrument. The dark Brescian tone of the old ‘tenors’ is still a recognisable goal, but this has to be associated with focused power, balance and playability.

Unique opportunity… Contemporary makers of the viola have the unique opportunity of being in a similar position today as the makers of the violin in the 16th and early 17th Centuries; a time in which our instrument, the modern viola, is entering a ‘golden age’ of opportunity, supported by an increasing popularity, with players, composers and audiences. Musical instrument development and innovation is always led by demand, it is up to the maker to respond. The viola has not until recent times received the attention that it deserves. The challenge for contemporary makers is to establish the violas identity. Rather than directly copying earlier forms of small ‘alto’s’ or (for today’s purposes), unsuitably large ‘tenors’ designed for a different musical era, today’s luthier should be striving to develop a truly ‘modern’ viola.

David Milward 2004