The aspects of this relationship in the repertoire can be seen from three perspectives. There are works juxtaposing viola and voice, sometimes along with another instrument. The comparison between them is then easy, the sounds answer each other and merge, or support each other. One of the most sublime examples is Brahms’ two lieder opus 91 for viola, alto, and piano, which is also featured in this CD.
Other works from the viola repertoire quote vocal works or refer to the voice, either directly (Britten’s Lachrymae opus 50 uses the theme of two 15th century songs from Dowland) or in a more subtle way (Schumann’s Märchenbilder are instrumental tales, using the codes of orality adapted into pure music pieces).
Beyond this, Benjamin is exploring in his solo CD the adaptation and transcription of vocal works. This is a great way to question and challenge the preconceived differences between the viola and voice…
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