Rigorosum: Daniela Braun - findet in der Aula statt
Playing with Resonance
The viola d'amore, renowned for its distinctive sound and resonance, has been poorly represented in the existing literature, which contains often significant errors and inconsistencies. Much of the existing scholarship is based on flawed sources and hearsay, which has lead to marked discrepancies between the documented history, the extant repertoire and instruments and indeed the actual useage of the instrument. To reconcile these theoretical and practical aspects of the viola d'amore's useage and history a blend of theoretical and practical research, which emphasises the instrument's overlooked strengths and singularities is required.
Although often dismissed as a Baroque curiosity, the viola d'amore has maintained a continuous presence from the mid-17th century to the present day. Its lasting popularity is evidenced by a wealth of repertoire and preserved instruments. While 18th-century literature praised its sound, 19th-century musicology began to belittle the instrument, misinterpreting its characteristics as deficiencies.
The use and soundscape of the instrument has changed significantly over time, with notable changes in tuning, temperament and bow shape, all of which influence its resonance. Understanding the role of the sympathetic strings in shaping resonance and timbre is crucial for further exploration of the viola d'amore. While Baroque composers exploited the full resonance of the instrument's tuning key, late 18th century use focussed more on the tonal variations achieved by using different keys while maintaining the same tuning. During this period performers and composers also began experimenting with the by then standardised D major tuning, making use of combined resonance systems.
To further advance the viola d'amore's development, it is crucial to focus on its unique qualities rather than its perceived limitations. Reassessing the technical challenges involved and fostering instrument-specific techniques can enhance its appreciation and integration into contemporary music, ensuring its continued evolution and relevance.
Daniela Braun
Viola d'Amore
Daniela Braun was born in Vienna and studied viola at Universität für Musik in Vienna, Conservatoire national supérieur de musique in Paris and Guildhall School of Music and Drama in London. She now works as a freelance period-instrument player, and performs on the viola d’amore, baroque viola and baroque violin. As a viola d’amore soloist, she also performs with modern orchestras and ensembles. Daniela is a founder member of ensemble Paulus Barokk, a period-instrument ensemble based in Norway, which performs baroque and contemporary music on period instruments. As well as researching and playing baroque and classical repertoire for the viola d’amore, Daniela has an interest in contemporary music for the viola d’amore and has premiered several works.