This collection contains selected pieces for 4 violas. In a sense, this is an attempt to start
fresh the history of consort music on behalf of a person who knows everything that will happen
to it next — up to the present. In my work, I tried to follow the principles of consort writing,
allowing each voice to follow its own logic, independent of other voices. Sometimes (in order
to achieve a certain artistic effect in climaxes, preparation for modulations, etc.) I violated this
principle, which, in my opinion, produced an interesting result making consort music more like
later quartet music.
Also, tending to a darker saturated sound and taking into account the extremely small number of soprano viola performers in Russia, I shifted the consort sound towards bass viols, in contrast to the standard 4-voice consort. Thus, these pieces should be performed with: soprano viola (in D), alto viola (in G), and 2 bass violas (the one that is responsible for the bottom line is a 7-string). The upper voice can also be played on viole d’amour. This will separate it a bit from the consort, but I think this voice is important enough for it.
As for the ornamentations, they are generally in line with the typical French ornamentation of the late 17th and early 18th centuries (with the the trills played from the top note). Besides, it is possible (and even encouraged) to use percussion and violon, occasionally amplifying the bass voice. I haven’t noted the places where to use these instruments, giving the performers additional opportunities for creativity and imagination.
Enjoy playing music!
Нотный редактор С. Стройкин
Технический редактор Е. Воронова