The viola in Zoltan Almashi creation: the view of the first performer

Abstract

The article examines the viola works of Z. Almashi from the position of their first performer and addressee. The importance of such an approach was emphasized, since the author is not only well familiar with the presented material, but also has the opportunity to communicate directly with the composer, being in the center of the creative process. The lack of researches, devoted to the viola works of Z. Almashi and all his works in general, determine the obvious relevance and scientific novelty of the article. Its main objective is to introduce the viola part of Z. Almashi composer’s creation into musicological use, looking at it from the point of view of the practitioner, and in the case of works, presented in this article – the first performer. First of all, we were interested in the reasons, that prompted the composer to turn to the solo viola timbre for the musical and artistic concept embodiment of «Genesis» and how Z. Almashi reveals the artistic and technical capabilities of this instrument in this and other considered works.

Research methodology. In the process of writing our article, we have applied a complex of various scientific methods, the main of which are: historical and biographical (when selecting information about the composer’s biography, studying the circumstances of his works creation); structural and intonational analysis (in the analytical section), as well as comparative (in various comparisons).

Research results. The analytical section of the article includes the main solo viola work, which arose as a result of the collaboration of the composer with A. Tuchapets – «Genesis». The information about the history of creation and the artistic concept of the opus is provided there. The features of the structure, instrumental solutions, means of practical implementation by the composer’s artistic conception are investigated. Also the cadence, written by Z. Almashi for the second movement of the Concerto for Viola and Orchestra by J. Ch. Bach with its intonational source and the influence of this source on the artistic concept of the work are considered. The viola solos from his Concerto for two violins and orchestra «Unspoken Words» and viola parts in works for string quartet, in particular Quartet № 3 «Carols», «Carpathian Song» and «PENITA. opera» are also regarded. The conclusions emphasize the importance of collaboration of composers with performers, especially in part of development of solo viola playing. It was revealed that the uniqueness and exceptional richness of the timbre palette of this instrument, obviously, attracts Z. Almashi with exceptional opportunities for the embodiment of artistic imagery, consonant with his composing style. It is also said about the significance of this article – it can serve as a basis for further researches and draw more attention to the considered works