Hector Berlioz, always original, did a fine thing for the viola by writing a big solo part for it in his Harold Symphony, which describes Byron’s wanderings of Childe Harold in Italy. The viola impersonates Childe Harold.
Wagner saw what fine use Beethoven had made of this instrument; and with his wonderful gift for understanding the character, quality and color of every instrumental voice in the Orchestra, Wagner was impressed with the possibilities of the viola.
GASPARD DUIFFOPRUGCAR
There are new original passages and splendid melodies for the viola in all of Wagner’s music-dramas (a student could find great profit and pleasure by taking the orchestral scores of these works and following the viola part from beginning to end), but one instance will suffice to emphasize the important use Wagner made of this instrument.
The next time you hear the Overture to Tannhäuser listen for the motive of the Venusberg! This phrase, which Lavignac so aptly says “recalls Weber when he is fantastic and Mendelssohn when he is fairy-like,” is given to the viola! Here in this melodious passage Wagner showed that the quiet, old, sedate viola could be wild, playful and fiery. And Wagner was the first to exhibit the viola in such a rôle.
Tschaikowsky’s Pathetic Symphony has a splendid part for this instrument. Elgar also gives the viola much to do in his works; and Richard Strauss, carrying Wagner’s fantastic ideas still farther, made the viola impersonate Sancho Panza in the Don Quixote Variations, where he treats it elaborately, whimsically and delightfully.
But very likely none of these composers would have thought about this instrument had it not been for Berlioz, who said: “Of all instruments in the Orchestra the one whose excellent qualities have been longest misappreciated is the viola. It is no less agile than the violin. The sound of its strings is peculiarly telling. Its upper notes are distinguished by their mournfully passionate accent; and its quality of tone, altogether of profound melancholy, differs from that of other instruments played with a bow.
“The viola has, nevertheless been long neglected or put to an unimportant and ineffectual use,—that of merely doubling in octave the upper part of the bass. Its quality of tone so strongly attracts and captivates the attention that it is not necessary to have in the Orchestra quite so many violas, as second violins; and the expressive powers of its quality of tone are so marked that in the rare occasions when the old masters afforded its display it never failed to fulfil their intentions. Melodies on the high strings of the viola have a marvellous beauty in scenes of a religious and unique character.”
These ideas, so new when they were written in the early days of the Nineteenth Century, set composers thinking. They began to realize that they had a color and quality of tone on their orchestral palette of which they had been unaware. The question was how to paint with it. Wagner boldly dashed forth with the Venusberg motive and showed how agile and fanciful the viola could be.