Isabel Charisius, Bartók, Viola Concerto

Sequence published on 2/16/21

Composer : Bela Bartok

Year of composition : 1945

Artistic period : 20th century

Musical category : Concerto

Academy : Academy Feb. 14 - Feb. 21, 2021

Master(s) : Isabel Charisius

Student : Gregor Bugar

Date of recording : 10/22/21

Instrument(s) played :

Viola

"Many times we are a bit uncertain in our sound just because we are not absolutely certain what we want to say." Isabel Charisius

About the Alto class of Isabel Charisius on the Concerto pour alto

Master class de Alto, Isabel Charisius | Bartók, Concerto

In the process of working on the Concert for Viola by Béla Bartók, several technical, psychological,
and substantive problems were considered. Particular attention is paid to the methods of sound
production and changing the timbre coloration on string instruments. A connection was revealed
between physical muscle relaxation and the speed of performing, the removal of some muscle blocks
and clamps. The technique of correcting errors and inaccuracies in fast passages is shown. The
situation of errors during a concert and its psychological solution for the performer is also considered
during this session. The master emphasizes the importance of intention, prehearing and sound control
is indicated.

What we learn in this Alto Master class

- To manage the timbre change with the bow, vibrato, and the distance to the string bridge.
- To free the wrist between the phrases and double stops.
- To prepare the right position beforehand.
- To find the methods for passages correction.
- To control the psychological state and be positive.

About Béla Bartók's work

Béla Bartók. The Viola Concerto in A minor, Sz. 120, BB 128 (also known as Concerto for Viola and Orchestra) was one of the last pieces written by the composer. He began composing his viola concerto while living in Saranac Lake, New York, in July 1945. The piece was commissioned by William Primrose, a respected violist who knew that Bartók could provide a challenging piece for him to perform. The concerto was premiered on December 2, 1949, by the Minneapolis Symphony Orchestra with Antal Doráti conducting and Primrose as a violist.

The concerto has three movements, and Bartók states in a letter dated August 5, 1945, that the general concept is, "a serious Allegro, a Scherzo, a (rather short) slow movement, and a finale beginning Allegretto and developing the tempo to an Allegro molto.” Each movement or at least 3 of them will be preceded by a (short) recurring introduction (mostly solo for the viola), a kind of ritornello. The first movement is in a loose sonata form. The slow second movement is significantly shorter and closes with a very short scherzo movement that is an attacca right into the third movement. The first and third movements of the concerto are said to loosely contain a phrase that is reminiscent of the Scottish tune "Gin a Body Meet a Body, Colmin' Thro' the Rye."