A Belgian Addition to the Viola Repertoire: Joseph Jongen and his Viola Works
Belgian composer Joseph Jongen (1873–1953), famous for his organ and chamber works, contributed significantly to the viola repertoire, yet lesser-known. Jongen collaborated with Lionel Tertis and formed the Belgian Piano Quartet after moving to England during WWI. Many chamber works of Jongen paid great attention to the viola and brought out the instruments’ potential.
Jongen’s music reflect both French compositional style and Belgian folklore influence. This resulted in unique deigns on his melodic writing, resulting in music both indulging and fulfilling. It is old yet new, fresh, and unheard, rooted in tradition and is strikingly personal. The choice of assigning those melodies into a back-then “unheard” solo instrument further promoted such vitality.
Jongen’s work demonstrates a deep understanding of the viola acoustics. It highlights the warmth of the C string and extends brilliantly to all other strings and registers. In this way Jongen uses the viola to its fullest potential. The extensive mapping throughout the fingerboard of the viola may require certain editorial direction or choices to help the viola sound balance out through orchestra and piano accompaniment. The lecture recital will examine how Jongen successfully delivers this smoothing, virtuosic yet personal viola voice through excerpts from his major viola works. I will also address the technical challenges such as registral playability, projection and potential solutions as we cover the lesser-known pieces for all age-group performers.
Violas need to showcase their own unique personality on stage, distinct from that of violins and cellos. Jongen was able to recognize the unique voice the viola and brings and produce sonority that only violas have. The orchestration and piano writings also exemplify chamber works: Jongen understands the lower voicing of viola, while lacking bass resonance, needs special accompaniment writing to have it be audible. Jongen affirmed the viola’s potential as a solo instrument. His works deserve a place on concert stage and the soothing quality of viola deserves great discussion and wider public exposure.